Whispers of the Unseen- The Quest for Sixty-Four Yoginis

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spirituality beyond conventional religious norms, rituals, and practices. It attempts to forge a connection with the essence of life and take the reader through a spiritual exploration of the dynamic interplay and union of masculine and feminine energies. Through her paintings, the artist-author revisits the cultural significance, richness, and symbolism of the sixty-four yoginis. The narrative delves deep into the realm of feminine power, drawing out the most pivotal manifestation of its expressive role in our lives. By doing so, it succeeds in integrating the practices of spirituality into our everyday existence. It prods readers to relish life's simple moments and to cherish the intersectionality of quotidian life. This will allow them access to ancient spiritual practices in contemporary time, leading to increased awareness and mindfulness in daily life. It encourages readers to embrace connecting with the divine, tapping into a higher power, and uncovering the creative force within.

S. Beena Unnikrishnan is an artist with multifaceted personality. Her career spans over three decades, encompassing various fields such as education, entrepreneurship, healing practices, filmmaking, and artistry. Her journey began in 1992 as an educator and has evolved into a remarkable exploration of diverse domains. At the core of her identity lies an unwavering connection to art as a medium of spiritual expression and transformation, drawing inspiration from mystical traditions.

The word yogini has several meanings. At one level, yogini is simply the feminine of yogi, and the word can be applied to humans too. At a more elevated level, yoginis are divine or semi-divine. They are Shaktis, manifestations of Devi. The names and number of yoginis vary from text to text. But, traditionally, in most texts, the number is given as sixty- four. There are sixty-four yogini temples in various states of disrepair and disuse. Typically, they are hypaethral, with no roof. Perhaps, the most famous of these, in better states of preservation, are the two in Odisha (Hirapur and Ranipur Jharial). The one in Mitaoli, Morena, is also worth mentioning. although the statues of the sixty-four yoginis are missing there. In addition, there are Khajuraho and Bhedaghat. Down the years, several temples have been plundered and looted. It is obvious that the yogini cult spread across a vast geographical swathe of Bharatvarsha, especially the north and the west. Yet, beyond the somewhat superficial, there hasn't been much work on yoginis. The books by Vidya Dehejia and Stella Dupuis are exceptions. One can understand why. As with tantra, there is an aura of secrecy, and it is difficult to elicit information.

Beena Unnikrishnan's book on sixty-four yoginis is a book with a difference. It is not an academic treatise. It is written by someone to whom the sixty-four yoginis manifested themselves. It is a journey that is not just physical and geographical but one that is internal and spiritual. It is a book of self-discovery. Therefore, it is permeated with a sense of bhakti and immersion.

am neither a poet nor a Iam writer. This book is the result of La metamorphosis of the colours that have spilt from my palette into words. When I say "I", I mean that I am just a brush or a pen of an infinite source of energy that I call Sreebala, the reflection of my love for Bala Tripura Sundari in me.

Writing this book was an artistic and spiritual journey that wove together my imagination, trust, clairvoyance, and blessings, all imbued with my love for Tripura Sundari, the universal Shakti. My love and trust in her have given me the strength to perceive this life with a new vision, to decipher mysterious patterns, to connect seemingly unrelated phenomena and thoughts, and to unleash the power of the feminine within.

My journey of painting the sixty-four yoginis is a testament to the supreme spiritual truth. I realised this when I contemplated my artistic endeavour and the sequence of my paintings. This journey maps spiritual experiences from my early years. I entrusted my life to the universe with an unquestioning mind, and the universe unveiled the mysterious pattern and made me experience the force of the unknown energy. This book is all about my mystic journey towards the goddess, and I realised that my journey was inwards, dispelling all my fears and insecurities while empowering the dormant female essence. It was a conscious awakening and reconnection to the harmonious feminine power.

My paintings are the visual representation of my journey to my inner goddess while harmonising with the cycles and rhythms of the universal Shakti through creativity, the most potent means to unite with your inner self. This journey may be seen as an illusion woven from thoughts shaped by my deep devotion to my goddess. The way you choose to interpret it is entirely up to you. I deeply respect every religious practitioner's discipline and practices while recognising that their path is not destined to be mine in reaching her. However, I have met many of them, and they have bestowed their blessings. That is the fuel for my journey.

I was never alone in this eventful time. I had many co- passengers who walked in and out, sharing their part of karma towards the goal of my life. I would like to express my deep-felt gratitude to all of them, and I will introduce them one by one in the coming chapters. I am indebted to all of them. Every person I encountered contributed value to my undertaking. Everyone in my past conveyed messages and connected me with experiences, people, and insights that guided me along the way.

I have been fortunate to have several significant individuals who played pivotal roles: My parents, T. Rajendran Nair and Sobhana, bestowed upon me the gift of life. My husband, Col. Unnikrishnan, stands as my unwavering support. My sons, Arjun and Akash, have been pillars of strength. My core strength is my family. My brothers, Biju and Binu, and their families were always there for anything I wanted. Simba, my silent companion, remained by my side like a shadow. Thanks are due to Annamalai Subbiah for his moral support and to Jain Joseph, who guided me in unlearning and helped me to align my experiences to gain a broader perspective on this subject.