Kumari (goddess)

The word Kumari is derived from Sanskrit, meaning virgin. In the Newar language, Kumari is sometimes also referred to as kumhaḥ (Newar script: 𑐎𑐸𑐩𑑂𑐴𑑅‎).^[11]

The tradition of Kumari-puja, or virgin worship, has been around much longer in Nepal, while venerating the Kumari as a royal living Kumari in Nepal dates back to the 17th century. There is evidence of virgin worship taking place in Nepal for millennia. The worship of Kumari appears to have taken hold in Nepal in the 6th century.^[12] According to chronicles of Nepal, the tradition of Kumari-Puja is credited to King Lakshmikamadeva (1024–1040), who is said to have appointed a Shakya girl as a living goddess Kumari.^[13] Similarly, the first scripture about worship of kumari, is attested in the 1280 during Ananta Malla’s reign.^[14]

There are several accounts of how the current tradition of the Kumari began. Most of the accounts, however, involve the tale of King Jayaprakash Malla, the last Nepalese king of the Kantipur. Although there are also many sources that credit King Trailokya Malla with establishing the tradition of the royal Kumari.^[15]

According to legend, King Jayaprakash, along with the goddess Taleju, is said to play Tripasa, a dice game. The goddess came every night to play the game, with the condition that the king refrain from telling anyone about their meetings. One night, the king’s daughter intruded into his chamber in order to find out whom the king was meeting so often, which angered the goddess. Later, in the king’s dream, the goddess told him that if he wanted to see her again or have her protect his country, he would have to search for a girl among the Shakya clan of the Newar community, as she would be present as a little girl among them. Accordingly, the king started the tradition of the royal Kumari, and since then, it has continued until now.^[15]

Each year, the King of Nepal would seek the blessing of the Royal Kumari at the festival of Indra Jatra. This tradition changed in 2008 when Nepal voted to become a republic.

The worship of the goddess in a young girl represents the worship of divine consciousness spread over all creation. As the supreme goddess is thought to have manifested this entire cosmos out of her womb, she exists equally in animate as well as inanimate objects. While worship of an idol represents the worship and recognition of supreme through inanimate materials, worship of a human represents veneration and recognition of the same supreme in conscious beings.

In the Shakta text Devi Mahatmyam, or Chandi, the goddess is said to have declared that she resides in all female living beings in this universe. The ritual of Kumari is based on this verse. But for the purpose of worshipping a goddess, a young girl is chosen over a mature woman because of her inherent purity and chastity.

Hindu scriptures, such as the Jñanarnava Rudrayamala tantra, assign names to a Kumari depending on her age:

In Nepal, Kumaris are worshiped only for a day; these names are assigned only while the ritual lasts, often a few hours. Usually one cannot be a Kumari beyond 16 years of age because of menarche. In Bungamati, the Kumari reigns until her first milk tooth falls out.^[1]

The main target of a Kumari puja is to realize the potential divinity in every human being, mostly female. A Hindu spiritual aspirant sees the universal consciousness of humanity.

Once Taleju is believed to have left the sitting Kumari, there is a frenzy of activity to find her successor. During the period of monarchy, the selection process was conducted by five senior Buddhist Vajracharya priests, the Panch Buddha, the Bada Guruju or Chief Royal Priest, Achajau, the priest of Taleju and the royal astrologer. The king and other religious leaders who might know of eligible candidates were also to be informed of the commencement of the selection. Today, representatives of the president and vice president, as well as the federal parliament and cabinet, are also given word on the succession, alongside a few of the religious dignitaries mentioned and others.

Eligible girls are from the Newar Shakya caste of silver and goldsmiths. The candidate must be in excellent health, must never have shed blood or been afflicted by any diseases, must be without blemish, and must not have yet lost any teeth. Girls who pass these basic eligibility requirements are examined for the battis lakshanas, or "thirty-two perfections" of a goddess, which involves their bodies being stripped of all clothing and caressed by the priests. Some of these "perfections" are poetically listed, as such:

• A neck like a conch shell
• A body like a banyan tree
• Eyelashes like a cow
• Thighs like a deer
• Chest like a lion
• Voice as soft and clear as a duck's

In addition to this, her hair and eyes should be as black as possible, and she should have dainty hands and feet, small and well-recessed sexual organs, and a set of twenty teeth.

During the royal period, any candidate for the title was also observed for signs of serenity and fearlessness, and her horoscope was examined to ensure that it is complementary to the king's. It was important that there not be any conflicts, as she must confirm the king's legitimacy each year of her divinity. Her family was also to be scrutinized to ensure its piety and devotion to the king.

Once the priests have chosen a candidate, she must undergo yet more rigorous tests to ensure that she indeed possesses the qualities necessary to be the living vessel of Durga. Her greatest test comes during the Hindu festival of Dashain, also known as Vijaya Dashami. On the Kalaratri, or "black night", 108 buffaloes and goats are sacrificed to the goddess Kali. The young candidate is taken into the Taleju temple and released into the courtyard, where the severed heads of the animals are illuminated by candlelight and masked men are dancing about. If the candidate truly possesses the qualities of Taleju, she shows no fear during this experience. If she does, another candidate is brought in to attempt the same thing.

In the next test, the living goddess must spend a night alone in a room among the heads of ritually slaughtered goats and buffaloes without showing fear. The fearless candidate has proven that she has the serenity and the fearlessness that typifies the goddess who is to inhabit her. After passing all other tests, the final test is that she must be able to pick out the personal belongings of the previous Kumari from an assortment of things laid out before her. If she is able to do so, there is no remaining doubt that she is the chosen one.

There are claims contrary to the commonly believed ritual and screening process, however. The ex-Royal Kumari Rashmila Shakya states in her autobiography,^[16] From Goddess to Mortal, that this has nothing to do with the selection process, but rather is a ritual the Royal Kumari goes through each year, that there are no men dancing around in masks trying to scare her, and that at most, there are only a dozen or so decapitated animal heads in the scary room test. She also describes the requisite physical examination of each Kumari as neither intimate nor rigorous.

Once the Kumari is chosen, she must be purified so that she can be an unblemished vessel for Taleju. She is taken by the priests to undergo a number of secret Tantric rituals to cleanse her body and spirit of her past experiences. Once these rituals are completed, Taleju is believed to enter her, and she is presented as the new Kumari. She is dressed and made up as a Kumari and then leaves the Taleju temple and walks across the square on a white cloth to the Kumari Ghar, which will be her home for the duration of her divinity.

Once the chosen girl completes the Tantric purification rites and crosses from the temple on a white cloth to the Kumari Ghar to assume her throne, her life takes on an entirely new character. She will leave her palace only on ceremonial occasions. Her family will visit her rarely, and then only in a formal capacity. Her playmates will be drawn from a narrow pool of Newari children from her caste, usually the children of her caretakers. She will always be dressed in red and gold, wear her hair in a topknot, and have the agni chakshu, or "fire eye", painted on her forehead as a symbol of her special powers of perception.

The Royal Kumari's new life is vastly different from the one to which she has been accustomed to. Whilst her life is now free of material troubles, she has ceremonial duties to carry out. Although she is not ordered about, she is expected to behave as befits a goddess. She has shown the correct qualities during the selection process, and her continued serenity is of paramount importance; an ill-tempered goddess is believed to portend bad tidings for those petitioning her.

The Kumari's walk across the Durbar Square is the last time her feet will touch the ground until such time as the goddess departs from her body. From now on, when she ventures outside of her palace, she will be carried or transported in her golden palanquin. Her feet, like all of her, are now sacred. Petitioners will touch them, hoping to receive respite from troubles and illnesses. Especially during the royal period of Nepal, the king himself (regardless of Nepal today being a republic) will kiss the feet each year when he comes to seek her blessing. She will never wear shoes; if her feet are to be covered at all, they will be covered with red stockings.

The power of the Kumari is perceived to be so strong that even a glimpse of her is believed to bring good fortune. Crowds of people wait below the Kumari's window in the Kumari Chowk, or courtyard, of her palace, hoping that she will pass by the latticed windows on the third floor and glance down at them. Even though her irregular appearances last only a few seconds, the atmosphere in the courtyard is charged with devotion and awe when they do occur.

The more fortunate, or better connected, petitioners visit the Kumari in her chambers, where she sits upon a gilded lion throne. Many of those visiting her are people suffering from blood or menstrual disorders since the Kumari is believed to have special power over such illnesses. She is also visited by the President, members of Cabinet, parlimentariants, bureaucrats and other government officials. Petitioners customarily bring gifts and food offerings to the Kumari, who receives them in silence. Upon arrival, she offers them her feet to touch or kiss as an act of devotion. During these audiences, the Kumari is closely watched, and her actions interpreted as a prediction of the petitioners' lives, as follows:

• Crying or loud laughter: Serious illness or death
• Weeping or rubbing eyes: Imminent death
• Trembling: Imprisonment
• Hand clapping: Reason to fear the king
• Picking at food offerings: Financial losses

If the Kumari remains silent and impassive throughout the audience, her devotees leave elated. This is the sign that their wishes have been granted.

Many people attend to the Kumari's needs. These people are known as the Kumarimi and are headed by the patron. Their job is very difficult. They must attend to the Kumari's every need and desire while giving her instruction in her ceremonial duties. While they cannot directly order her to do anything, they must guide her through her life. They are responsible for bathing her, dressing her, and attending to her makeup, as well as preparing her for her visitors and for ceremonial occasions.

Traditionally, the Kumari received no education, as she was widely considered to be omniscient. However, modernization has made it necessary for her to have an education once she re-enters mortal life. Kumaris are now allowed to attend public schools and have a life inside the classroom that is no different from that of other students. While many kumaris, such as the Kumari of Bhaktapur, attend school, others, such as the main kumari in Kathmandu, receive their education through private tutors.

Similarly, her limited playmates must learn to respect her. Since her every wish must be granted, they must learn to surrender to her whatever they have that she may want and to defer to her wishes in what games to play or activities to play.

• The Kumari was featured in the 25 October 2015 episode of the CBS drama series Madam Secretary (season 2, episode 4), titled "Waiting for Taleju". In the episode, fictional US Secretary of State Elizabeth McCord meets with the Kumari in hopes of gaining support for a deal that will help secure US disaster relief funds in the wake of the April 2015 Nepal earthquake.
• In the Korean webtoon series For the Sake of Sita, the female lead character was a Kumari in Nepal.^[21]
• In the novel The Lives of Christopher Chant by Diana Wynne Jones, the character of the Living Asheth is a little girl worshipped as a goddess in one of the worlds visited by the main character and is based heavily on the Kumari, being the incarnation of a goddess and having to live by strict rules of ritual purity.
• In the Netflix limited series The Serpent episode 4, Monique sees a Kumari girl from outside of the temple.
• In the 2016 Indian film Kaashmora, The reincarnation of Rathna Mahadevi (Nayanthara's character), is portrayed as a girl dressed like a Kumari.
• In the game Far Cry 4, there is a myth known as Tarun Matara, which is heavily inspired by this tradition.

• Hinduism
  • Devi Kanya Kumari – Hindu goddess
  • Indrani – Consort of Indra in Hindu mythology
  • Kanwari
  • Kanya Puja – Hindu holy ritual
  • Kaumari
  • Matrikas – Group of Hindu mother goddesses