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Slayer of Raktabija
In Kali's most famous myth, Durga and her assistants, Matrikas, wound the demon Raktabija, in various ways and with a variety of weapons, in an attempt to destroy him. They soon find that they have worsened the situation, as for every drop of blood that is spilt from Raktabija the demon reproduces a copy of himself. The battlefield becomes increasingly filled with his duplicates. Durga, in dire need of help, summons Kali to combat the demons. Kali destroys Raktabija by sucking the blood from his body and putting the many Raktabija duplicates in her gaping mouth. Pleased with her victory, Kali then dances on the field of battle, stepping on the corpses of the slain. Her consort Shiva lies among the dead beneath her feet, a representation of Kali commonly seen in iconography, the Daksinakali pose.

Daksinakali
In her most famous pose as Daksinakali, it is said that Kali, becoming drunk on the blood of her victims on the battlefield, dances with destructive frenzy. In her fury she fails to see the body of her husband Shiva who lies among the corpses on the battlefield. Ultimately the cries of Shiva attract Kali's attention, calming her fury.

As a sign of her shame at having disrespected her husband in such a fashion, Kali sticks out her tongue. However, some sources state that this interpretation is a later version of the symbolism of the tongue: in tantric contexts, the tongue is seen to denote the element (guna) of rajas (energy and action) controlled by sattva, spiritual and godly qualities.
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One South Indian tradition tells of a dance contest between Shiva and Kali. After defeating the two demons Sumbha and Nisumbha, Kali takes residence in a forest. With fierce companions she terrorizes the surrounding area. One of Shiva's devotees becomes distracted while doing austerities and asks Shiva to rid the forest of the destructive goddess. When Shiva arrives, Kali threatens him, claiming the territory as her own.

Shiva challenges her to a dance contest, and defeats her when she is unable to perform the energetic Tandava dance. Although here Kali is defeated, and is forced to control her disruptive habits, we find very few images or other myths depicting her in such manner.
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Maternal Kali
Another myth depicts the infant Shiva calming Kali, instead. In this similar story, Kali again defeated her enemies on the battlefield and began to dance out of control, drunk on the blood of the slain. To calm her down and to protect the stability of the world, Shiva is sent to the battlefield, as an infant, crying aloud. Seeing the child's distress, Kali ceases dancing to take care of the helpless infant. She picks him up, kisses his head, and proceeds to breast feed the infant Shiva. This myth depicts Kali in her benevolent, maternal aspect something that is revered in Hinduism, but not often recognized in the West.

Iconography
The iconography of Kali can be explained by studying the aesthetic formalities of the Nidanshastra -- an authoritative collective on South-Asian symbolism and plastic arts.

In Hindu iconography nothing is included without purpose. Starting with their various accompaniments, deities are usually portrayed holding objects in their hands and these objects always have some symbolic significance. The objects or icons which they hold can be roughly grouped into 4 categories: 1) Weapons 2) Plant forms 3) Humans, animals and birds 4) Everyday objects, like a book or a bowl. Some objects are generally carried by wrathful deities, while others are generally carried by peaceful deities. Some objects are traditionally masculine, while others are feminine. And finally, some objects are considered right-hand proper, while others are left-hand proper.

Furthermore, the deities may hold their hands in a specific, ritualized gesture or mudra, or similarly, their legs may be in a ritual pose or asana. The body pose or bhanga can have special significance, as well as the throne or seat, vahana on which the deity rests. Even the dress of the deity can (and often does) have a particular meaning. Virtually, the whole visual ensemble -- crown, ornamentation, garments, skin-pigmentation, etc. -- have significance and can be a vital aid in the interpretation of the particular deity.
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Das Mahavidya | 1 Kali | 2 Tara | 3 Tripura Sundari |
4 Bhuvaneshvari | 5 Bhairavi | 6 Chhinnamasta |
7 Dhumavati | 8 Bagalamukhi | 9 Matangi | 10 Kamalatmika |

Das Mahavidya Related topics
Das Mahavidya
1 Kali
2 Tara
3 Tripura Sundari
4 Bhuvaneshvari
5 Chhinnamasta
6 Bhairavi
7 Dhumavati
8 Bagalamukhi
9 Matangi
1 0 Kamalatmika

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