Who is Chandraghanta
Chandraghanta, the third of the nine Navadurga forms, is revered as the goddess of peace, tranquility, and bravery. Her name combines 'chandra' (moon) and 'ghanta' (bell), referring to the crescent moon shaped like a bell that adorns her forehead. This form is worshipped on the third day of Navaratri, as prescribed in the Devī Māhātmya (also known as the Durgā Saptashatī), which narrates the exploits of the goddess. According to the Devī Bhāgavata Purāṇa, Chandraghanta embodies the fierce yet compassionate aspect of Parvati, who after her marriage to Shiva, adorned herself with the moon-bell to protect the universe from demonic forces.
Her iconography depicts her with ten arms, riding a lion (or tiger), holding a trishula, sword, bow, arrow, lotus, bell, and other weapons, symbolizing her readiness to combat evil while bestowing grace. The sound of her bell is said to terrify demons and dispel negative energies, as described in the Kālīka Purāṇa. In Vedic tradition, the moon is associated with the mind and emotions; thus, Chandraghanta governs mental peace and courage. Regional worship is pan-Indian, with special prominence in North India during Navaratri, where devotees offer kheer and sweets.
In Hindu cosmology, she represents the third stage of the goddess's evolution from gentle (Shailaputri) to fierce (Kushmanda), balancing maternal care with martial prowess. Her mantra, 'Om Candraghaṇṭāyai Namaḥ', is chanted for protection and inner strength. The Skanda Purāṇa mentions that meditating on Chandraghanta removes obstacles and grants victory over enemies. Her golden complexion and radiant expression symbolize the illuminating power of divine consciousness.
Roots of the name
The name Chandraghanta (Sanskrit: चन्द्रघण्टा) is a compound of 'chandra' (moon) and 'ghanta' (bell), meaning 'she who is adorned with the moon as a bell'. The crescent moon on her forehead is shaped like a bell, symbolizing the union of lunar coolness and the resonant power of sound.
Regional variants include Candraghaṇṭā in IAST transliteration. The Devī Māhātmya and Kālīka Purāṇa emphasize the bell's role in dispelling evil.
The Skanda Purāṇa associates the name with her protective aspect, where the moon-bell terrifies demons.
Episodes from scripture
Wedding to Shiva
Slaying of Jatukasura
Names by which the divine is addressed
What they hold
Form, mudras, weapons & vahana
Ten-armed form riding a lion. Holds trishula, sword, bow, arrow, lotus, bell, and other weapons. Crescent moon-shaped bell adorns her forehead. Golden complexion, radiant expression.
Sacred utterances
Vedic remediation guidance
- Marital discord
- Skin/beauty issues
- Lack of comforts
- Vehicle problems
Worship of Chandraghanta is prescribed when Venus, the significator of marital harmony and material comforts, is afflicted by conjunction with or aspect from malefics, debilitated, or placed in a dusthana (6th, 8th, or 12th house), as her iconography—bearing a crescent moon shaped like a bell on her forehead—directly links her to the lunar node of Venusian grace and emotional equilibrium. This deity’s worship is most recommended during Sade Sati (Saturn’s transit over the natal Moon), when a weak or combust Mercury occupies a trika house, or when Venus is in Gandanta (the junction between water and fire signs) or aspected by Rahu, causing marital discord, skin ailments, or loss of vehicular comforts. The remedial pattern involves reciting the Chandraghanta mantra, *Om Candraghaṇṭāyai Namaḥ*, 108 times daily for 40 days, beginning on the third day of Navaratri (Tritiya Tithi) or on a Friday during Shukla Paksha. Japa is performed facing east on a yellow asana, using a crystal or lotus-seed rosary. Complementary observances include fasting from grains, offering yellow flowers, kheer, and a bell to the deity, and wearing yellow clothing. This practice pacifies Venus, stabilizes the Moon, and removes obstacles from the 7th and 4th houses.
The year of Chandraghanta
Tīrthas & major shrines
Where to read further
Dance, music, art & literature
Chandraghanta is central to Navarātri celebrations, especially in North India, where her third day (Tritīyā) involves offerings of kheer and sweets. In Kathak dance, her story is enacted through abhinaya, emphasizing her graceful yet fierce demeanor.
Carnatic compositions, such as Muthuswami Dikshitar's 'Candraghaṇṭāṃ Bhajāmi' in Rāga Kāmbhojī, praise her. In Pahari miniature paintings (e.g., Kangra school), she is depicted with a golden glow and a lion.
Tanjore paintings show her with rich ornamentation. Folk forms like Bhavai in Gujarat include her legend.
Her worship has spread to Nepal and Bali, where she is invoked during Durgā Pūjā. The mantra 'Om Candraghaṇṭāyai Namaḥ' is widely chanted for protection.