51 Sacred Peethas of the Goddess by Alka Pande; An Excerpt

Alka Pandey
In her book 51 Sacred Peethas of the Goddess Dr Alka Pande narrates that while the Shakti Peethas represent a single philosophical fold, they are a testament to the diverse legends of Shakti. An excerpt: 


Originating from Sanskrit, the word ‘Peetha’ means ‘seat, altar, shrine or dwelling’. In the case of the Shakti Peethas, it is very specific. It is the sacred space where the Supreme Goddess takes a strong, well-founded seat on Earth. Each of the Peethas have been turned into shrines for the Goddess by the very people who believe in the absolute power of the feminine. Each site where the 51 body parts of Sati fell, came to be known as a Shakti Peetha.

A teertha is a crossing. As with most Sanskrit words, there are multiple meanings of this too. Teertha is also the passing of the atman to the parmatman the crossing from the physical world to the metaphysical world. These 51 sacred sites are also linked by theologists and scholars to the 51 alphabets of the Sanskrit language. In each of the Peethas also resides Kaalbhairava, which is another name of Shiva. Most of the Shakti Peetha shrines contain a naturally appearing stone which becomes the object of worship around which the temple shrine is built.

Vindhyavasini is an additional Shakti Peetha, which I have deliberately not included in the 51 Peethas. While a powerful dwelling of Shakti, Vindhyavasini is not the abode of Shakti as Sati’s body parts. It is, however, the preferred choice and home of Yogamaya, the sister of Krishna, who escaped from Kamsa’s prison at Mathura.

Kalika Purana indicates that there are four Adi Shakti Peethas, which is further affirmed in the commentary and text of Brihat Samhita. It lists the names of the location at various places in India such as Vimla temple, Odisha, where her feet fell, Tara Tarini temple in Behrampur, Odisha, where her breasts fell, Kamakhya temple in Guwahati, Assam, where her yoni or vagina fell and lastly, the Kalighat temple in West Bengal, where her right toe fell.


Since antiquity, Goddess worship has been part of the Indic tradition of India. In fact, the Goddess is even more popular than Shiva and Vishnu. All the manifestations, avataras or appearances of the many forms of Devi belong to the pantheon of the Shakti cult. The Supreme Goddess can be a gentle lifegiver as in the case of Lakshmi, Saraswati or Parvati, or as the mistress of death in the form of Durga, Kali and Chamunda. She is a fascinating juxtaposition, both life-perpetuating and potently destructive. In her life-giving form, Shakti can be represented as beautiful, benevolent, maternal, knowledgeable, compassionate and even desirable to the best. She invigorates, cheers and brightens the entire universe. She is represented and described as an idealized woman who is imbued with beauty, virtue and righteousness, and adorned with jewels. In fact, her iconography is drawn from the pre-modern depictions of the salabanjikas, apsaras and surasundaris. In this form, Shakti embraces and enlivens all aspects of reality. As the goddess of destruction and disease, she takes on rather unattractive and repulsive forms. As Sitala Devi Manasa, or Kali, the Devi is shown as haggard, ugly, unkempt and emaciated. However, whatever the form, it is always powerful.

I have dipped into both Puranic and Shakta texts to read the many interpretations and mythologies associated with the iconography, rituals of worship, devotion and representation of the Shakti Peetha as sites of immense power and energy. Each devotee enters the site of the Peetha through their own path of worship, through their respective understanding of the Great Goddess. The wama panthis or Shakt worshippers, for whom Shakti/Devi is supreme, enter through the tantric path, which is a sectarian movement.

 The 51 Peethas have their own singular iconography and their own specific modes of rituals, worship and even prasada, with some standard common offerings like flowers, sweets and vermilion.

‘Extracted from  SHAKTI : 51 Sacred Peethas of the Goddess  by Alka Pande, with permission from Rupa Publications India’.