Yama:

Yama (Sanskrit: यम), also known as Kala and Dharmaraja, is the Hindu god of death and justice, responsible for the dispensation of law and punishment of sinners in his abode, Naraka. He is often identified with Dharmadeva, the personification of Dharma, though the two deities have different origins and myths.In Vedic tradition, Yama was considered to be the first mortal who died and espied the way to the celestial abodes;Thus, as a result, he became the ruler of the departed.His role, characteristics, and abode have been expanded in texts such as the Upanishads, the Ramayana, the Mahabharata and the Puranas.

Yama is described as the twin of Yami, and the son of the sun god Surya (in earlier traditions Vivasvat) and Sanjna. He judges the souls of the dead and depending on their deeds, he assigns them to the realm of the Pitris (forefathers), Naraka (hell), or be reborn on the earth.Yama is one of the Lokapalas (guardians of the realms), appointed as the protector of the south direction. He is often depicted as a dark-complexioned man, riding a buffalo and carrying a noose or mace to capture souls.Yama was also adopted subsequently adopted by Buddhist, Chinese, Tibetan, Korean, and Japanese mythology as the king of hell. In modern culture, Yama has been depicted in various safety campaigns in India.
Etymology and epithets

The word "Yama" means 'twin' (Yama has a twin sister, Yami), and later came to mean 'binder' (derived from "yam"); the word also means 'moral rule or duty' (i.e. dharma), 'self-control', 'forbearance', and 'cessation'. Yama is also known by many other names, including Kala ('time'), Pashi (one who carries a noose') and Dharmaraja ('lord of Dharma').

Identification with Dharmadeva :Yama and Dharmadeva, the god personifying the concept of Dharma, are generally considered to be one and the same person. Author Vettam Mani speculates a reason for this identification."Vyasa has used as synonyms for Dharmadeva in the Mahabharata the words Dharmaraja, Vṛsa and Yama. Now among the synonyms for the two there are two words in common- Dharmaraja and Yama. This has led to this misunderstanding. Because Kala weighs the evil and good in man he got the name Dharmaraja. Dharmadeva got that name because he is the incarnation of Dharma. The real name of Kāla is Yama. Dharmadeva got the name Yama because he possesses 'Yama' (control of the self for moral conduct)."
  

      Mani believes that Yama and Dharmadeva are two different deities, citing that the Puranic scriptures attest different myths about the deities

    Yama is the judge of the dead, while Dharmadeva is one of the Prajapatis (agents of creation)
    Yama is the son of sun god Surya and his wife Sanjna, while Dharmadeva is born from the chest of the god Brahma.
    Yama is married to Dhumorna.On the other hand, Dharmadeva is married to ten or thirteen daughters of Daksha.
    Yama has a daughter Sunita.Dharmadeva fathered many sons from his wives. He also fathered Yudhishthira, the eldest of the Pandavas.

In Hinduism, Yama is the lokapala ("Guardian of the realms") of the south and the son of Surya. Three hymns  in the 10th book of the Rig Veda are addressed to him.In Puranas, Yama is described as having four arms, protruding fangs, and complexion of storm clouds, with a wrathful expression; surrounded by a garland of flames; dressed in red, yellow, or blue garments; holding a noose and a mace or sword; and riding a water-buffalo. He holds a noose (pasa) of rope in one hand, with which he seizes the lives of people who are about to die. He is also depicted holding a danda which is a Sanskrit word for "staff". Yama is the son of Surya and Saranyu. He is the twin brother of Yami, brother of Shraddhadeva Manu and the step brother of Shani and his son was Katila. There are several temples across India dedicated to Yama. As per Vishnu Dharmottara, Yama is said to be represented on a buffalo, with garments like of heated gold, and all kinds of ornaments. He has four arms with the complexion of rain clouds. Dhumorna, his wife, is represented sitting on the left haunch of Yama and she has the colour of a dark blue lotus.

Literature: Vedas,Dharma-raja, a form of Yama, presides over a "hell" of punishments for the wicked; bazaar art, c.1960'

In the Rigveda, Yama is the son of a solar deity Vivasvat and Saraṇyū and has a twin sister named Yami. He is cognate to the Avestan Yima, son of Vīvanhvant. The majority of Yama's appearances are in the first and tenth book. Yama is closely associated with Agni in the Rigveda. Agni is both Yama's friend and priest, and Yama is stated to have found the hiding Agni. In the Rigveda, Yama is the king of the dead, and one of the two kings that humans see when they reach heaven (the other being Varuna). Yama is stated to be a gatherer of the people, who gave dead people a place to rest. Out of the three Rigvedic heavens, the third and highest belong to Yama (the lower two belong to Savitr). Here is where the gods resides, and Yama is surrounded by music. In the ritual sacrifice, Yama is offered soma and ghee, and is invoked to sit at the sacrifice, lead the sacrificers to the abode of the gods, and provide long life.

In the dialogue hymn between Yama and Yamī (RV 10.10), as the first two humans, Yamī tries to convince her twin brother Yama to have sex with her. Yamī makes a variety of arguments, including continuing the mortal line, that Tvashtar created them as a couple in the womb, and that Dyaush and Prithvi are famous for their incest. Yama argues that their ancestors, "the Gandharva in the waters and the watery maiden," as a reason not to commit incest, that Mitra-Varuna are strict in their ordinances, and that they have spies everywhere. By the end of the hymn, Yamī becomes frustrated but Yama remains firm in his stance. However, by , Yama is stated to have chosen to leave offspring, but Yamī is not mentioned.

Vedic literature states that Yama is the first mortal, and that he chose to die, and then proceeded to create a path to the "other world", where deceased ancestral fathers reside. Due to being the first man to die, he is considered the chief of the dead, lord of settlers, and a father. Throughout the course of Vedic literature, Yama becomes more and more associated with the negative aspects of death and eventually becomes the god of death. He also becomes associated with Antaka (the Ender), Mṛtyu (Death), Nirṛti (Decease), and Sleep. Yama has two four-eyed, broad nosed, brindled, reddish-brown dogs, Sharvara and Shyama, who are the sons of Sarama. However, in the Atharvaveda, one of dogs is brindled and the other is dark. The dogs are meant to track down those who are about to die, and guard the path to Yama's realm. Scholars who adhere to Theodor Aufrecht's interpretation of RV 7.55 state that the dogs were also meant to keep wicked men out of heaven.

The Vājasaneyi Saṃhitā (the White Yajurveda) states Yama and his twin sister Yamī both reside in the highest heaven. The Atharvaveda states Yama is unsurpassable and is greater than Vivasvat. The Taittiriya Aranyaka and the Apastamba Srauta state that Yama has golden-eyed and iron-hoofed horses. Yama depicted on Hindu temple.

Upanishads: In the Katha Upanishad, Yama is portrayed as a teacher to the Brahmin boy Nachiketa. Having granted three boons to Nachiketa, their conversation evolves to a discussion of the nature of being, knowledge, the Atman (i.e. the soul, self) and moksha (liberation). From the translation by Brahmrishi Vishvatma Bawra: Yama says: I know the knowledge that leads to heaven. I will explain it to you so that you will understand it. O Nachiketas, remember this knowledge is the way to the endless world; the support of all worlds; and abides in subtle form within the intellects of the wise.
  

Mahabharata: A depiction of Yama and Savitri from the Vana Parva, In the epic Mahabharata, Dharmadeva (who is identified with Yama) is the father of Yudhishthira, the oldest brother of the five Pandavas. Yama most notably appears in person in the Yaksha Prashna and the Vana Parva, and is mentioned in the Bhagavad Gita.

Yaksha Prashna: In the Yaksha Prashna, Dharmadeva (Yama) appears as a yaksha (nature spirit) in the form of a crane to question Yudhishthira and test his righteousness. Impressed by Yudhishthira's strict adherence to dharma and his answers to the riddles posed, Yama reveals himself as his father, blesses him, and brings his younger Pandava brothers back to life.  The Yaksha [Yama] asked, "What enemy is invincible? What constitutes an incurable disease? What sort of man is noble and what sort is ignoble"? And Yudhishthira responded, "Anger is the invincible enemy. Covetousness constitutes a disease that is incurable. He is noble who desires the well-being of all creatures, and he is ignoble who is without mercy".

Vana Parva: In the Vana Parva, when Yudhishthira asks the sage Markandeya whether there has ever been a woman whose devotion matched Draupadi's, the sage replied by relating the story of Savitri and Satyavan.After Savitri's husband Satyavan died, Yama arrived to carry away his soul. However, Yama was so impressed with Savitri's purity and dedication to dharma and to her husband, he was convinced to instead bring Satyavan back to life.

Tirtha-Yatra Parva: In the Tirtha-yatra Parva , Lomasa tells Yudhishthira 'in days of yore, there was (once) a terrible time in the Satya Yuga when the eternal and primeval Deity [Krishna] assumed the duties of Yama. And, O thou that never fallest off, when the God of gods began to perform the functions of Yama, there died not a creature while the births were as usual.' This led to an increase in the population and the Earth sinking down 'for a hundred yojanas. And suffering pain in all her limbs.' The earth sought the protection of Narayana, who incarnated as a boar (Varaha) and lifted her back up.

Udyoga Parva: In the Udyoga Parva, it is stated that the wife of Yama is called Urmila.

Bhagavad Gita:In the Bhagavad Gita, part of the Mahabharata, Krishna states:  Of the celestial Naga snakes I am Ananta; of the aquatic deities I am Varuna. Of departed ancestors I am Aryamaa and among the dispensers of law I am Yama, lord of death.

Puranas: Yama and his abode are frequently mentioned in the Puranas,Bhagavata Purana / Srimad Bhagavatam, Third and Fourth Canto. In the third and fourth cantos of the Srimad Bhagavatam, Yama was incarnated as a shudra called Vidura due to being cursed by a sage for being too harsh in his punishments. From the A. C. Bhaktivedanta Swami Prabhupada / Bhaktivedanta Book Trust (BBT) translation:

As long as Vidura played the part of a sudra, being cursed by Maṇḍūka Muni [also known as Mandavya Muni], Aryama officiated at the post of Yamarāja to punish those who committed sinful acts. Vidura, a devotee of Krishna, is the main protagonist in the third canto. In this canto, after being thrown out of his home by King Dhritarashtra (his older half-brother) for admonishing the Kauravas' ignoble behaviour towards the Pandavas, Vidura went on a pilgrimage where he met other devotees of Krishna such as Uddhava and the sage Maitreya, the latter of whom revealed Vidura's true origin to him:

Krishna also states Yama punishes sinners, as relayed to Vidura (again, an incarnation of Yama) by Maitreya during their conversation about the origin and creation of the multiverse: The brahmanas, the cows and the defenceless creatures are My [Krishna's] own body. Those whose faculty of judgement has been impaired by their own sin look upon those as distinct from Me. They are just like furious serpents, and they are angrily torn apart by the bills of the vulturelike messengers of Yamaraja, the superintendent of sinful persons.

Sixth Canto:In the sixth canto, Yama (not as Vidura nor with Aryama in the post; see third and fourth canto) instructs his messengers, the Yamadutas, when questioned about who has supreme authority in the universe since there are so many gods and demigods:    Yamaraja said: My dear servants, you have accepted me as the Supreme, but factually I am not. Above me, and above all the other demigods, including Indra and Candra, is the one supreme master and controller. The partial manifestations of His personality are Brahmā, Viṣṇu and Śiva, who are in charge of the creation, maintenance and annihilation of this universe. He is like the two threads that form the length and breadth of a woven cloth. The entire world is controlled by Him just as a bull is controlled by a rope in its nose.

Tenth Canto:In the tenth canto, Krishna and Balarama travel to Yama's abode to bring back the dead son of their Guru, Sandipani Muni:     Lord Janārdana took the conchshell that had grown around the demon’s body and went back to the chariot. Then He proceeded to Saṁyamanī, the beloved capital of Yamarāja, the lord of death. Upon arriving there with Lord Balarāma, He loudly blew His conchshell, and Yamarāja, who keeps the conditioned souls in check, came as soon as he heard the resounding vibration. Yamaraja elaborately worshiped the two Lords with great devotion, and then he addressed Lord Kṛṣṇa, who lives in everyone’s heart: “O Supreme Lord Viṣṇu, what shall I do for You and Lord Balarāma, who are playing the part of ordinary humans?”

Brahma Purana:Yama depicted as regent of the South In the Brahma Purana, Yama is the lord of justice and is associated with Dharma. Mentions include:[41]

 Yama has a daughter called Sunita and a grandson called Vena, who turned his back on dharma
 The various hells of Yama are described along with their concomitant sins
 Yama chastises his mother for cursing him (to his father)
 Yama is destroyed by Shiva after coming to claim the soul of Markandeya (and at the behest of the Gods is revived afterwards)
 Krishna describes himself as Brahma, Vishnu, Shiva, Indra, and Yama ('I am Yama who restrains the universe.')
 Descriptions of the 'terrible servants of Yama' are given
 Descriptions of the agony of death for sinners including being caught by Yama with His noose, and the tortures suffered in His abode
 Yama is killed in battle by Karttikeya; on Shiva's orders, Yama is revived by Nandin ,    Riding on his terrible buffalo, the god of Death Yama hastened to that place. He was holding his sceptre (rod of chastisement). His physical body was yellow in colour. In prowess he was comparable to none. He was unparalleled in brilliance, strength and power of demanding obedience. His limbs were well developed and he wore garlands.
 

Garuda Purana: In the Garuda Purana, Yama and his realm where sinners are punished are detailed extensively, including in the twelfth chapter called 'The Realm of Yama'. In this text, the name of Yama's wife is Syamala.

Matsya Purana: In the Matsya Purana, In addition to his battles against the asuras, Yama is mentioned extensively:

    Chapter XI: Yama as boy is cursed
    Chapter XLIX: Yama fights Janamejaya in Hell and after being captured, gives him knowledge of emancipation
    Chapter XCIII: Yama is declared to be of Saturn
    Chapter CII: Synonyms of Yama are given (Dharmaraja, Mrityo, Antaka, Vaivaswata, Kala, Sarvabhutaksaya, Audumbara, Dadhna, Nila, Paramesthi, Vrikodara, Chitra, and Chitragupta)[45]
    Chapter CCXLVIII: Yama – like others – is controlled by Vishnu
    Chapter CCLIII: Yama is 13th of the 32 Devas

Vishnu Purana:n the Vishnu Purana, Yama is the son of sun-god Surya (named Vivasvan in the Vedas, also means 'sun') and Sandhya (named Saranya in the Vedas, is another name), the daughter of Vishvakarma (named Tvastar in the Vedas emerged from the navel of Vishvakarman).[46] During a conversation with his servant, Yama states that he is subordinate to Vishnu.While establishing the relationship between Vishnu and Lakshmi, the Chapter 8 of Book 1 describes Dhumorna as Yama's consort.
Marriage and children

Varying information about Yama's consorts and children are found in Hindu texts. The Mahabharata, the Vishnu Purana and the Vishnudharmottara describe Dhumorna (also known as Urmila) as his consort. In the Garuda Purana, Syamala is the name of Yama's wife. According to some other texts, Yama has three consorts—Hema-mala, Sushila and Vijaya.When identified with Dharmadeva, he also married 10 or 13 daughters of the god Daksha. According to the Brahma Purana, the name of Yama's eldest daughter is Sunita, who is the mother of the king Vena. Sobhavati, the wife of Chitragupta, is sometimes mentioned to be Yama's daughter. In the Mahabharata, Yudhishthira, the eldest Pandava, was blessed by Dharma to Kunti.

Worship: Yama Dharmaraja Temple is a Hindu temple located at Thiruchitrambalam in the Thanjavur district of Tamil Nadu, India. The temple is dedicated to Yama.

Varahi:

Varahi (Sanskrit: वाराही, IAST:Vārāhī) is one of the Matrikas, a group of seven mother goddesses in the Hindu religion. Bearing the head of a sow, Varahi is the shakti (feminine energy) of Varaha, the boar avatar of the god Vishnu. In Nepal, she is called Barahi. In Rajasthan and Gujarat, she is venerated as Dandini. Varahi is more commonly venerated in the sect of the Goddess-oriented Shaktism, but also in Shaivism (devotees of Shiva) and Vaishnavism (devotees of Vishnu). She is usually worshipped at night, using secretive Vamamarga Tantric practices. The Buddhist goddesses Vajravārāhī and Marichi have their origins in the Hindu goddess Varahi.

Legend: According to the Shumbha-Nishumbha story of the Devi Mahatmya from the Markandeya Purana religious texts, the Matrikas goddesses appears as shaktis (feminine powers) from the bodies of the gods. The scriptures say Varahi was created from Varaha. She has a boar form, wields a chakra (discus) and fights with a sword.After the battle described in the scripture, the Matrikas dance – drunk on the demons' blood.

   The goddess Durga leads the eight Matrikas in battle against the demon Raktabija. The red-skinned Varahi (bottom row, leftmost) rides a buffalo and holds a sword, shield and goad. Folio from a Devi Mahatmya According to a latter episode of the Devi Mahatmya that deals with the killing of the demon Raktabija, the warrior-goddess Durga creates the Matrikas from herself and with their help slaughters the demon army. When the demon Shumbha challenges Durga to single combat, she absorbs the Matrikas into herself In the Vamana Purana, the Matrikas arise from different parts of the Divine Mother Chandika; Varahi arises from Chandika's back.

The Markendeya Purana praises Varahi as a granter of boons and the regent of the Northern direction, in a hymn where the Matrikas are declared as the protectors of the directions. In another instance in the same Purana, she is described as riding a buffalo. The Devi Bhagavata Purana says Varahi, with the other Matrikas, is created by the Supreme Mother. The Mother promises the gods that the Matrikas will fight demons when needed. In the Raktabija episode, Varahi is described as having a boar form, fighting demons with her tusks while seated on a preta (corpse).

In the Varaha Purana, the story of Raktabija is retold, but here each of Matrikas appears from the body of another Matrika. Varahi appears seated on Shesha-nāga (the serpent on which the god Vishnu sleeps) from the posterior of Vaishnavi, the Shakti of Vishnu.[8] Varahi is said to represent the vice of envy (asuya) in the same Purana.The Matsya Purana tells a different story of the origin of Varahi. Varahi, with other Matrikas, is created by Shiva to help him kill the demon Andhakasura, who has the ability – like Raktabija – to regenerate from his dripping blood.

Associations: The Devi Purana paradoxically calls Varahi the mother of Varaha (Varahajanani) as well as Kritantatanusambhava, who emerges from Kritantatanu. Kritantatanu means "death personified" and could be an attribute of Varaha or a direct reference to Yama, the god of death.Elsewhere in the scripture, she is called Vaivasvati and described as engrossed in drinking from a skull-cup. Pal theorizes that the name "Vaivasvati" means that Varahi is clearly identified with Yami, the shakti of Yama, who is also known as Vivasvan. Moreover, Varahi holds a staff and rides a buffalo, both of which are attributes of Yama; all Matrikas are described as having the form of the gods, they are shaktis of.

In the context of the Matrikas' association to the Sanskrit alphabet, Varahi is said to govern the pa varga of consonants, namely pa, pha, ba, bha, ma.The Lalita Sahasranama, a collection of 1,000 names of the Divine Mother, calls Varahi the destroyer of demon Visukaran. In another context, Varahi, as Panchami, is identified with the wife of Sadashiva, the fifth Brahma, responsible for the regeneration of the Universe. The other Panch Brahmas ("five Brahmas") are the gods Brahma, Govinda, Rudra and Isvara, who are in charge of creation, protection, destruction and dissolution respectively.In yet another context, Varahi is called Kaivalyarupini, the bestower of Kaivalya ("detachment of the soul from matter or further transmigrations") – the final form of mukti (salvation). The Matrikas are also believed to reside in a person's body. Varahi is described as residing in a person's navel and governs the manipura, svadhisthana and muladhara chakras.Haripriya Rangarajan, in her book Images of Varahi—An Iconographic Study, suggests that Varahi is none other than Vak devi, the goddess of speech.

Iconography: Four-armed Varahi sculpture made of black chlorite stone in Odisha State Museum. Varahi's iconography is described in the Matsya Purana and agamas, such as the Purva-karnagama and the Rupamandana. The Tantric text Varahi Tantra mentions that Varahi has five forms: Svapna Varahi, Canda Varahi, Mahi Varahi (Bhairavi), Krcca Varahi and Matsya Varahi.The Matrikas, as shaktis of gods, are described to resemble those gods in form, jewellery and mount, but Varahi inherits only the boar-face of Varaha.

Varahi is usually depicted with her characteristic sow face on a human body with a black complexion comparable to a storm cloud. The scholar Donaldson informs us that the association of a sow and a woman is seen as derogatory for the latter, but the association is also used in curses to protect "land from invaders, new rulers and trespassers". Occasionally, she is described as holding the Earth on her tusks, similar to Varaha. She wears the karaṇḍa mukuṭa, a conical basket-shaped crown.Varahi can be depicted as standing, seated, or dancing.  Varahi is often depicted as pot-bellied and with full breasts, while most all other Matrikas – except Chamunda – are depicted as slender and beautiful

One belief suggests that since Varahi is identified with the Yoganidra of Vishnu, who holds the universe in her womb (Bhugarbha Paranmesvari Jagaddhatri), she should be shown as pot-bellied.Another theory suggests that the pot-belly reflects a "maternal aspect", which Donaldson describes as "curious" because Varahi and Chamunda "best exemplify" the terrible aspect of the Divine Mother. A notable exception is the depiction of Varahi as human-faced and slender at the sixth-century Rameshvara cave (Cave 21), the Ellora Caves. She is depicted here as part of the group of seven Matrikas.A third eye and/or a crescent moon is described to be on her forehead.10-armed Varahi seated on a Tiger. Folio 35 from the Tantric Devi series. India, Punjab Hills, Basohli, ca. 1660-70

Varahi may be two, four, six or eight-armed. The Matsya Purana, the Purva-karnagama and the Rupamandana mention a four-armed form. The Rupamandana says she carries a ghanta (bell), a chamara (a yak's tail), a chakra (discus) and a gada (mace). The Matsya Purana omits the ghanta and does not mention the fourth weapon. The Purva-Karanagama mentions that she holds the Sharanga (the bow of Vishnu), the hala (plough) and the musula (pestle). The fourth hand is held in the Abhaya ("protection gesture") or the Varada Mudra ("blessing gesture"). The Devi Purana mentions her attributes as being sword, iron club and noose. Another description says her hair is adorned with a garland with red flowers. She holds a staff and drinking skull-cup .The Varahini-nigrahastaka-stotra describes her attributes as a plough, a pestle, a skull-cup and the abhaya mudra. The Vamana Purana describes her seated on Shesha while holding a chakra and a mace.

The Agni Purana describes her holding the gada, shankha, sword and ankusha (goad). The Mantramahodadhi mentions she carries a sword, shield, noose and goad.In Vaishnava images, since she is associated with Vishnu, Varahi may be depicted holding all four attributes of Vishnu – Shankha (conch), chakra, Gada and Padma (lotus).The Aparajitapriccha describes her holding a rosary, a khatvanga (a club with a skull), a bell, and a kamandalu (water-pot).Vaishanava images often depict Varahi holding all four attributes of Vishnu.

The Vishnudharmottara Purana describes a six-armed Varahi, holding a danda (staff of punishment), khetaka (shield), khadga (sword) and pasha (noose) in four hands and the two remaining hands being held in Abhaya and Varada Mudra ("blessing gesture").She also holds a shakti and hala (plough). Such a Varahi sculpture is found at Abanesi, depicted with the dancing Shiva.She may also be depicted holding a child sitting on her lap, as Matrikas are often depicted. Matsya Varahi is depicted as two-armed, with spiral-coiled hair and holding a fish (matsya) and a kapala. The fish and wine-cup kapala are special characteristics of Tantric Shakta images of Varahi, the fish being exclusive to Tantric descriptions.

The vahana (vehicle) of Varahi is usually described as a buffalo (Mahisha). In Vaishnava and Shakta images, she is depicted as either standing or seated on a lotus pitha (pedestral) or on her vahana (a buffalo) or on its head, or on a boar, the serpent Shesha, a lion, or on Garuda (the eagle-man vahana of Vishnu). In Tantric Shakta images, the vahana may be specifically a she-buffalo or a corpse (pretasana).An elephant may be depicted as her vahana.The goddess is also described as riding on her horse, Jambini.Garuda may be depicted as her attendant.She may also be depicted seated under a kalpaka tree.

When depicted as part of the Sapta-Matrika group ("seven mothers"), Varahi is always in the fifth position in the row of Matrikas, hence called Panchami ("fifth"). The goddesses are flanked by Virabhadra (Shiva's fierce form) and Ganesha (Shiva's elephant-headed son and wisdom god).

Worship: For worship and temples of Varahi as part of the Sapta-Matrika group, see Matrikas § Worship. Varahi is worshipped by Shaivas, Vaishnavas and Shaktas. Varahi is worshipped in the Sapta-Matrikas group ("seven mothers"), which are venerated in Shaktism, as well as associated with Shiva.

Varahi is a ratri devata (night goddess) and is sometimes called Dhruma Varahi ("dark Varahi") and Dhumavati ("goddess of darkness"). According to Tantra, Varahi should be worshipped after sunset and before sunrise. Parsurama Kalpasutra explicitly states that the time of worship is the middle of the night. Shaktas worship Varahi by secretive Vamamarga Tantric practices, which are particularly associated with worship by panchamakara – wine, fish, grain, meat and ritual copulation. These practices are observed in the Kalaratri temple on the bank of the Ganges, where worship is offered to Varahi only in the night; the shrine is closed during the day. Shaktas consider Varahi to be a manifestation of the goddess Lalita Tripurasundari or as "Dandanayika" or "Dandanatha" – the commander-general of Lalita's army.

The Sri Vidya tradition of Shaktism elevates Varahi to the status of Para Vidya ("transcendental knowledge"). The Devi mahatmya suggests evoking Varahi for longevity. Thirty yantras and thirty mantras are prescribed for the worship of Varahi and to acquire siddhis by her favour. This, according to the scholar Rath, indicates her power. Some texts detailing her iconography compare her to the Supreme Shakti.Prayers dedicated to Varahi include Varahi Anugrahashtakam, for her blessing, and Varahi Nigrahashtakam, for destruction of enemies; both are composed in Tamil.

Temples: Apart from the temples in which Varahi is worshipped as part of the Sapta-Matrika, there are notable temples where Varahi is worshipped as the chief deity.India, A 9th-century Varahi temple exists at Chaurasi about 14 km from Konark, Orissa, where Varahi is installed as Matysa Varahi and is worshipped by Tantric rites. In Varanasi, Varahi is worshipped as Patala Bhairavi.

In Chennai, there is a Varahi temple in Mylapore, while a larger temple is being built near Vedanthangal.Ashadha Navaratri, in the Hindu month of Ashadha (June/July), is celebrated as a nine-day festival in honour of Varahi at the Varahi shrine at Brihadeeswarar temple (a Shaiva temple), Thanjavur. The goddess is decorated with different types of alankarams (ornaments) every day, during festivals while full moon days are also considered auspicious. An ancient temple of the goddess is also found at Uthirakosamangai. Ashta-Varahi temple with eight forms of Varahi is situated in Salamedu near Villupuram.

In Kerala, the Sree Panchami Devi Temple in Pettah, Thiruvananthapuram is a famous temple dedicated to Goddess Durga and Goddess Varahi. Another temple for the Goddess Varahi in Kerala is the Aalumthazham Sree Varahi Temple in Anthikadu, Thrissur. Other Varahi temples in the state include the Shi Varahi Daivasthana Pilikunda Kutel in Manjeshwar, Kasargod, Kumbalapally Sree Varahi Temple, Kanichukulangara, Cherthala, Vadakekkavu Varahi Temple, Pattuvam, Kannur, and Nellikkam Kandy Varahi Temple, Thamarassery, Kozhikode. In addition, Kerala's worship of Saptamatakal along with Goddess Bhagavati would mean that the Goddess Varahi along with her seven companions is worshiped in shrines in a lot of temples, such as the Ameda Saptamata Temple in Thrippunithura, Ernakulam, Kodungallor Bhagavati Temple, Paramekkavu Bagavathi Temple, and Parumala Valiya Panayannarkavu Devi Temple.

Nepal The Tal Barahi Temple is situated in the middle of Phewa Lake, Nepal. Here, Barahi, as she is known as in Nepal, is worshipped in the Matysa Varahi form as an incarnation of Durga and an Ajima ("grandmother") goddess. Devotees usually sacrifice male animals to the goddess on Saturdays. Jaya Barahi Mandir, Bhaktapur, is also dedicated to Barahi. Outside Hinduism, Vajravarahi, with a sow's head on her right side, Vajravarahi ("vajra-hog" or Buddhist Varahi), the most common form of the Buddhist goddess Vajrayogini, originated from the Hindu Varahi. Vajravarahi is also known as Varahi in Buddhism. Vajravarahi inherits the fierce character and wrath of Varahi. Both are invoked to destroy enemies.

The sow head of Varahi is also seen as the right-side head attached to the main head in one of Vajravarahi's most common forms. The hog head is described in Tibetan scriptures as representing the sublimation of ignorance ("moha"). According to Elizabeth English, Varahi enters the Buddhist pantheon through the yogatantras. In the Sarvatathagatatattvasamgaraha, Varahi is described initially as a Shaiva sarvamatr ("all-mother") located in hell, who is converted to the Buddhist mandala by Vajrapani, assuming the name Vajramukhi ("vajra-face"). Varahi also enters the Heruka-mandala as an attendant goddess. Varahi, along with Varttali (another form of Varahi), appears as the hog-faced attendant of Marichi, who also has a sow face – which may be an effect of the Hindu Varahi.

Dhandai Devi:

Kulswamini Shree Dhandai Devi (Adi Shakti) Mandir is a Hindu temple located at Mhasdi near Sakri Taluka in Maharashtra,India. Here, the worship of the goddess Kulswamini Shree Dhandai Devi is carried on right next to the Dhandai Plane, once a center of Hinduism. The temple is a prime spot of worship for the Marathi People. But along with the Marathi Family Kulswamini Dhandai Devi is worshipped by many other caste, people especially those belonging to the Marathi Bhramins, Maratha-Kunbi and somewhat Lonari and Marathi Mali caste as their presiding family deity, Kuldevi or Kuldevta.

      The devotees throng the temple on all occasions of Navaratri and Chaitri Navratra to worship and celebrate. It is believed that the Goddess has magical powers. Shree Kulswamini Dhandai Devi is Kuldevi of Shinde/Scindia of Khandesh Who came from Amirgarh (Present in Rajasthan) as Ravsaheb of West Khandesh in and 15th century. In 1500s The Shinde, Deore and Bedse Clan came from Rajasthan from different towns and has same clan deity in past. they made a stone architecture marathi temple and started worship as Kuldevi. Dhandai Devi also worshiped in Marathi caste like Rajput, Mali (Mahajan), Brahmin, Koli, Bhoi etc.

Chamunda:

Chamunda (Sanskrit: चामुण्डा, IAST: Camunda), also known as Chamundeshwari, Chamundi or Charchika, is a fearsome form of Chandi, the Hindu mother goddess, aka Shakti and is one of the seven Matrikas. She is also one of the chief Yoginis, a group of sixty-four or eighty-one Tantric goddesses, who are attendants of the warrior goddess Parvati. The name is a combination of Chanda and Munda, two monsters whom Chamunda killed. She is closely associated with Kali, another fierce aspect of Parvati. She is identified with goddesses Parvati, Kali or Durga.

The goddess is often portrayed as residing in cremation grounds or near holy fig trees. The goddess is worshipped by ritual animal sacrifices along with offerings of wine. The practice of animal sacrifices has become less common with Vaishnavite influences.
Origins : Ramakrishna Gopal Bhandarkar says that Chamunda was originally a tribal goddess, worshipped by the tribals of the Vindhya mountains in central India. These tribes were known to offer goddesses animal as well as human sacrifices along with liquor. These methods of worship were retained in Tantric worship of Chamunda, after its assimilation into mainstream Hinduism. He proposes the fierce nature of this goddess is due to her association with Rudra (Shiva), identified with the fire god Agni at times. Wangu also backs the theory of the tribal origins of the goddess.

   Iconography: The black- or red-coloured Chamunda is described as wearing a garland of severed heads or skulls (Mundamala). She is described as having four, eight, ten or twelve arms, holding a Damaru (drum), trishula (trident), sword, snake, skull-mace (khatvanga), thunderbolt, a severed head and panapatra (drinking vessel) or skull-cup (kapala), filled with blood. She stands or sits upon the corpse of a man (shava or preta), a defeated demon or corpse. She is adorned with bones, skulls, and serpents. She also wears a Yajnopavita (sacred thread) of skulls. She wears a jata mukuta, that is, a headdress formed of piled, matted hair tied together with snakes or skull ornaments. Sometimes, a crescent moon is seen on her head. Her eye sockets are described as burning the world with flames. She is accompanied by evil spirits. She is also shown to be surrounded by skeletons, ghosts and beasts like jackals, who are shown eating the flesh of the corpse the goddess sits or stands on.

The jackals and her fearsome companions are sometimes depicted as drinking blood from her skull-cup or the severed head she is holding, implying that Chamunda drinks the blood of the defeated enemies. This quality of drinking blood is a characteristic of all Matrikas, and Chamunda in particular. At times, she is depicted seated on an owl, her vahana (mount or vehicle), or a buffalo or Dhole. Her banner figures an eagleThese characteristics, a contrast to the typical depictions of Hindu goddesses with full breasts and beautiful faces, symbolise the inevitability of old age, death, decay and destruction. Chamunda is often seen as a form of Kali. She appears as a frightening old woman, projecting fear and horror.

Legends: In Hindu scripture Devi Mahatmya, Chamunda emerged as Chandika Jayasundara from an eyebrow of goddess Kaushiki, a goddess created from "sheath" of Durga and was assigned the task of eliminating the demons Chanda and Munda, generals of demon kings Shumbha-Nishumbha. She fought a fierce battle with the demons, ultimately killing them.According to a later episode of the Devi Mahatmya, Durga created Matrikas from herself and with their help slaughtered the demon army of Shumbha-Nishumbha. In this version, Kali is described as a Matrika who sucked all the blood of the demon Raktabija, from whose blood drop rose another demon. Kali is given the epithet Chamunda in the text. Thus, the Devi Mahatmya identifies Chamunda with Kali.
In the Varaha Purana, the story of Raktabija is retold, but here each of Matrikas appears from the body of another Matrika.

Chamunda appears from the foot of the lion-headed goddess Narasimhi. Here, Chamunda is considered a representation of the vice of tale-telling (pasunya). The Varaha Purana text clearly mentions two separate goddesses Chamunda and Kali, unlike Devi Mahatmya. According to another legend, Chamunda appeared from the frown of the benign goddess Parvati to kill demons Chanda and Munda. Here, Chamunda is viewed as a form of Parvati. The Matsya Purana tells a different story of Chamunda's origins. She with other matrikas was created by Shiva to help him kill the demon Andhakasura, who has an ability - like Raktabija - to generate from his dripping blood. Chamunda with the other matrikas drinks the blood of the demon ultimately helping Shiva kill him.Ratnakara, in his text Haravijaya, also describes this feat of Chamunda, but solely credits Chamunda, not the other matrikas of sipping the blood of Andhaka.

Having drunk the blood, Chamunda's complexion changed to blood-red. The text further says that Chamunda does a dance of destruction, playing a musical instrument whose shaft is Mount Meru, the string is the cosmic snake Shesha and gourd is the crescent moon. She plays the instrument during the deluge that drowns the world. Association with Matrikas: Chamunda is one of the saptamatrikas or Seven Mothers. The Matrikas are fearsome mother goddesses, abductors and eaters of children; that is, they were emblematic of childhood pestilence, fever, starvation, and disease. They were propitiated in order to avoid those ills, that carried off so many children before they reached adulthood. Chamunda is included in the Saptamatrika (seven Matrikas or mothers) lists in the Hindu texts like the Mahabharata (Chapter 'Vana-parva'), the Devi Purana and the Vishnudharmottara Purana.

She is often depicted in the Saptamatrika group in sculptures, examples of which are Ellora and Elephanta caves. Though she is always portrayed last (rightmost) in the group, she is sometimes referred to as the leader of the group.While other Matrikas are considered as Shaktis (powers) of male divinities and resemble them in their appearance, Chamunda is the only Matrika who is a Shakti of the great Goddess Devi rather than a male god. She is also the only Matrika who enjoys independent worship of her own; all other Matrikas are always worshipped together.

The Devi Purana describe a pentad of Matrikas who help Ganesha to kill demons. Further, sage Mandavya is described as worshipping the Maṭrpaňcaka (the five mothers), Chamunda being one of them. The mothers are described as established by the creator god Brahma for saving king Harishchandra from calamities. Apart from usual meaning of Chamunda as slayer of demons Chanda and Munda, the Devi Purana gives a different explanation: Chanda means terrible while Munda stands for Brahma's head or lord or husband. In the Vishnudharmottara Purana - where the Matrikas are compared to vices - Chamunda is considered as a manifestation of depravity. Every matrika is considered guardian of a direction. Chamunda is assigned the direction of south-west.
Chamunda, being a Matrika, is considered one of the chief Yoginis, who are considered to be daughters or manifestations of the Matrikas. In the context of a group of sixty-four yoginis, Chamunda is believed to have created seven other yoginis, together forming a group of eight. In the context of eighty-one yoginis, Chamunda heads a group of nine yoginis.

Worship: A South Indian inscription describes ritual sacrifices of sheep to Chamunda. In Bhavabhuti's eighth century Sanskrit play, Malatimadhva describes a devotee of the goddess trying to sacrifice the heroine to Chamunda's temple, near a cremation ground, where the goddess temple is. A stone inscription at Gangadhar, Rajasthan, deals with a construction to a shrine to Chamunda and the other Matrikas, "who are attended by Dakinis" (female demons) and rituals of daily Tantric worship (Tantrobhuta) like the ritual of Bali (offering of grain).

Temples
•    In the Kangra district of Himachal Pradesh, around 10 kilometres (6.2 mi) west of Palampur, is the renowned Chamunda Devi Temple which depicts scenes from the Devi Mahatmya, the Ramayana and the Mahabharata. The goddess's image is flanked by the images of Hanuman and Bhairava. Another temple, Chamunda Nandikeshwar Dham, also found in Kangra, is dedicated to Shiva and Chamunda. According to a legend, Chamunda was enshrined as chief deity "Rudra Chamunda", in the battle between the demon Jalandhara and Shiva.
•    In Gujarat, two Chamunda shrines are on the hills of Chotila and Parnera.
•    There are multiple Chamunda temples in Odisha. The 8th-century Baitala Deula is the most prominent of them, also being one of the earliest temples in Bhubaneswar. The Mohini temple and Chitrakarini temple in Bhubaneswar are also dedicated to Chamunda. Kichakeshwari Temple, near the Baripada and Charchika Temple, near Banki enshrine forms of Chamunda
•    Another temple is Chamundeshwari Temple on Chamundi Hill, Mysore. Here, the goddess is identified with Durga, who killed the buffalo demon, Mahishasura. Chamundeshwari or Durga, the fierce form of Shakti, a tutelary deity held in reverence for centuries by the Maharaja of Mysore.
•    The Chamunda Mataji temple in Mehrangarh Fort, Jodhpur, was established in 1460 after the idol of the goddess Chamunda — the Kuladevi and iṣṭa-devata (tutelary deity) of the Parihar rulers — was moved from the old capital of Mandore by the then-ruler Jodha of Mandore. The goddess is still worshiped by the royal family of Jodhpur and other citizens of the city. The temple witnesses festivities in Dussehra: the festival of the goddess.
•    Another temple, Sri Chamundeshwari Kshetram is near Jogipet, in Medak District in Telangana State.
•    Sree Shakthan Kulangara temple is one of Chamundeshwari temples. It is located in Koyilandy, Kozhikode District in Kerala.
•    One Chamunda Mata temple is situated in Dewas, Madhya Pradesh, It is situated on a hill top named Tekri above 300 feet. Chamunda Mata in Dewas is also called Choti Mata (the younger sister of Tulja mata, situated at the same hill top).
In Buddhism
In Vajrayana Buddhism, Chamunda is associated with Palden Lhamo. She is seen as a wrathful form of Kali and is a consort of Mahakala and protectress of the Dalai Lama and Panchen Lama of the Gelug school.
In Jainism: Early Jains were dismissive of Chamunda, the goddess who demands blood sacrifice - which is against the primary principle of Ahimsa of Jainism. Some Jain legends portray Chamunda as a goddess defeated by Jain monks like Jinadatta and Jinaprabhasuri.

Another Jain legend tells the story of conversion of Chamunda into a Jain goddess. According to this story, Chamunda sculpted the Mahavir image for the temple in Osian and was happy with the conversions of Hindu Oswal clan to Jainism. At the time of Navaratri, a festival that celebrates the Hindu Divine Mother, Chamunda expected animal sacrifices from the converted Jains. The vegetarian Jains, however, were unable to meet her demand. Jain monk Ratnaprabhasuri intervened, and as a result, Chamunda accepted vegetarian offerings, forgoing her demand for meat and liquor. Ratnaprabhasuri further named her Sacciya, one who had told the truth, as Chamunda had told him the truth that a rainy season stay in Osian was beneficial for him. She also became the protective goddess of the temple and remained the clan goddess of the Osvals. The Sachiya Mata Temple in Osian was built in her honour by Jains. Some Jain scriptures warn of dire consequences of worship of Chamunda by the Hindu rites and rituals. Many Kshatriyas and even the Jain community worship her as her Kuladevi or family/clan deity.