Das-MahaVidyas Once during their numerous love games, things got out of hand between Shiva and Parvati. What had started in jest turned into a serious matter with Shiva threatening to walk out on Parvati. No amount of coaxing an incensed Shiva or cajoling by Parvati cou ld reverse matters. Left with no choice, Parvati multiplied her s elf into f into ten different forms for each of the ten directions. Thus however hard Shiva might try to escape from his beloved Par v ati, he would find her standing as a guardian, guarding all esca pe r outes. Each of the Devi's manifested forms made Shiva realize ess ential truths, made him aware of the eternal nature of their mu tual l ove and most significantly established for always in the ca nnons of Indian thought the Goddess's superiority over her m ale counterpart. Not that Shiva in any way felt belittled by th is awareness, only spiritually awakened. This is true as as much f or t his Great Lord as for us ordinary mortals. Befittingly thus; th t hey are referred to as the Great Goddess's of Wisdom, known in Sanskrit as the Mahavidyas. Indeed in the process of s pir itual learning the Goddess is the muse who guides and inspires us. She is th e high pr iestess who unf olds the inn er tr uths. Acc or ding to Tantr ic Tr aditions, these Godde ddesses a re identif ied
as the f ollowi ng...
Sri
M a ha
Kali Dev i
Kali is mentioned as the first amongst the Mahavidyas. Black as the night she has a terrible and horrific appearance. Although her presentation in the West is usually as simply dark and violent, Kali is a goddess with a long and complex history i n Hinduism. Her earliest history as a creature of annihilation still has some influence, while more complex Tantric belief s sometimes extend her role so far as to be the Ultimate Rea lity and Source of Being. In the Rig Veda, the name Kali f ir st appears, not as a goddess but as the black tongue of the seven flickering tongues of Agni, the Hindu god of fire. The pr ototype of Kali however appears in the goddess ri. Raatri is considered to be the prototype of both Durga and named Raat ri. Kali. In the Sangam era of Tamilakam, a Kali-like bloodthirsty godde ddess named Kottravai appears in the literature of the period. Like Kali she has
dishevelled hair, inspires fear in those wh o approach her and feasts on battlegrounds littered with the dead. It is quite likely that the fusion of the Sanskrit godde ddess Raatri and the indigenous Kottravai produced the f ea r s om e goddesses of medieval Hinduism, amongst them Kali being the most prominent. It was the composition of the Puranas in late antiquity that firmly gave Kali a place in the Hindu pantheon. Kali or Kalika is described in the Devi-Mahatmyam (also known as the Chandi or the Durgasaptasati) 300-600CE, where she is from the M arkandeya Purana written between 300-600CE, said to hav e emanated from the brow of the goddess Durga, a slayer of demons, during one of the battles between the divine and anti- divine forces. In this context, Kali is considered the 'f or c eful' form of the great goddess Durga. Another account of the or igins of Kali is found in the Matsya Purana, which states that s he originated as a mountain tribal goddess in the north-centr al part of India, in the region regio n of Mount Kalanjara (now known as Kalinjar). However this account is disputed because of the f act that the legend was of later or igin . In most early representations, skulls, cemeteries, and blood are associated with her worship. She is black and emaciated. Her face is azure, streaked with yellow, her glance is ferocious; h er disheveled and bristly hair is usually shown splayed and spread like the tail of a peacock and sometimes braided with gree n serpents. She wears a long necklace (descending almost to her knees) of human skulls or intestines. She may be te n shown shown wearing a girdle of severed arms. Her purple lips are of te streaming with blood; her tusk-like teeth descend over her lower lip; and a nd her tongue lolls lolls out. She is often shown standing on the inert form of her consort, Shiva. She is sometimes accompanied by she-demons. In cert ain ered head of a representations, her four arms hold weapons or the s evered demon, while also making the 'peace' and ' boon- giving' gestures: these symbolize both her creative and her destructive power, for in some t e ambivalence personifies manifests itself, traditions Kali h of deity, which according to mu c h of Indian tradition, in the unceasing cycle of life and death, creation and destr uction. In the later traditions, Kali has become inextricably linked with Shiva. The unleashed form of Kali often becomes wild and uncontrollable,and only Shiva is able to match her wildness. The iconography often presents her dancing on his fallen body, and there are accounts of the two of them dancing together, and driving each other to such wildness that the world comes clos e to unravelling. To the Tantric worshippers, it was essential to face her Curse, the terror of death, as willingly as they acc epted te d Blessings from her beautiful, nurturing, maternal aspect. For them, wisdom meant learning that no coin has only one side: as death cannot exist without life, so life cannot exist without death. Kali's role sometimes increased beyond a chaos wh o could be confronted to bring wisdom, and she is given great metaphysical significance by some Tantric te x ts.
dishevelled hair, inspires fear in those wh o approach her and feasts on battlegrounds littered with the dead. It is quite likely that the fusion of the Sanskrit godde ddess Raatri and the indigenous Kottravai produced the f ea r s om e goddesses of medieval Hinduism, amongst them Kali being the most prominent. It was the composition of the Puranas in late antiquity that firmly gave Kali a place in the Hindu pantheon. Kali or Kalika is described in the Devi-Mahatmyam (also known as the Chandi or the Durgasaptasati) 300-600CE, where she is from the M arkandeya Purana written between 300-600CE, said to hav e emanated from the brow of the goddess Durga, a slayer of demons, during one of the battles between the divine and anti- divine forces. In this context, Kali is considered the 'f or c eful' form of the great goddess Durga. Another account of the or igins of Kali is found in the Matsya Purana, which states that s he originated as a mountain tribal goddess in the north-centr al part of India, in the region regio n of Mount Kalanjara (now known as Kalinjar). However this account is disputed because of the f act that the legend was of later or igin . In most early representations, skulls, cemeteries, and blood are associated with her worship. She is black and emaciated. Her face is azure, streaked with yellow, her glance is ferocious; h er disheveled and bristly hair is usually shown splayed and spread like the tail of a peacock and sometimes braided with gree n serpents. She wears a long necklace (descending almost to her knees) of human skulls or intestines. She may be te n shown shown wearing a girdle of severed arms. Her purple lips are of te streaming with blood; her tusk-like teeth descend over her lower lip; and a nd her tongue lolls lolls out. She is often shown standing on the inert form of her consort, Shiva. She is sometimes accompanied by she-demons. In cert ain ered head of a representations, her four arms hold weapons or the s evered demon, while also making the 'peace' and ' boon- giving' gestures: these symbolize both her creative and her destructive power, for in some t e ambivalence personifies manifests itself, traditions Kali h of deity, which according to mu c h of Indian tradition, in the unceasing cycle of life and death, creation and destr uction. In the later traditions, Kali has become inextricably linked with Shiva. The unleashed form of Kali often becomes wild and uncontrollable,and only Shiva is able to match her wildness. The iconography often presents her dancing on his fallen body, and there are accounts of the two of them dancing together, and driving each other to such wildness that the world comes clos e to unravelling. To the Tantric worshippers, it was essential to face her Curse, the terror of death, as willingly as they acc epted te d Blessings from her beautiful, nurturing, maternal aspect. For them, wisdom meant learning that no coin has only one side: as death cannot exist without life, so life cannot exist without death. Kali's role sometimes increased beyond a chaos wh o could be confronted to bring wisdom, and she is given great metaphysical significance by some Tantric te x ts.
Sri Tara Am bika
In Hinduism, the goddess Tara (meaning "star") is a manifestation of the queen of time, Kali. As the star is seen as a beautiful but perpetually selfcombusting thing, so Tara is at core the absolute, unquenchable hunger that propels all lif e. She is the second of the Dasmahavidyas. In the Hindu epic The Ramayan a, Tara is the name of Vali 's queen. Vali is the monkey ug riva. king who is killed by Rama, at the behest of his brother S brother Sugri The oral tradition gives an intriguing origin to the goddess Ta r a. The legend begins with the churning of the ocean. Shiva has drunk the poison that was created from
the churning of the ocean, thus
destruction, but has
f all en unconscious under
saving the
world
from
its powerful effect. Tara
appears and takes Shiva on her lap. She suckles him, the milk from her breasts counteracting the poison, and he recovers. This myth is reminiscent
of the one in which Shiva stops the r ampa gin g Kali by becoming an infant.
Seeing the child,
Kali's m ater nal instinct comes to the fore, and she
becomes quiet and nur s es the infant Shiva. In both cases, Shiva assumes the position of an f an infant vis-a-vis ddess. vis-a-vis the godde ss. The similarities in appearances between Kali and Tara a re striking and unmistakable. They both stand upon a su pine Shiva, identifiable here by his damaru. Both goddesses a re black. Both wear minimal clothing. Both wear a necklace of severed h uman heads heads and a girdle of severed human ar ms. Both have a lolling tongue, and blood oozes from f rom their m ouths. Their appearances are so strikingly similar that it is easy to mistake one for the other. Indeed, they are often said to be manifestations of each other; for example, in their thousand- name hymns they share many epithets as well as having each others names. Tara, for example, is called Kalika, li. Ugr-kali, Mahakali, and B h ad r a-kali. Like
Kali,
furthermore, Tara in her Hindu context enjoys blood. In her
hymn of a hundred names from the Mun damala-tantr a, she is called She Who Likes Blood, She Who Is Smeared with Blood, and She Who Enjoys Blood Sacrifice. The Ta r a-tantr a describes Tara's delight in both animal and human blood but says that the latter is more pleasing to her. The blood of devotees is to be taken from specified parts of the body, s uc h as the forehead, hands, breasts, head, or area between t he eyebrows; some of these areas may correspond to the diff ere nt chakras, spiritual centers within the body. Their appearances are so strikingly similar that it is easy to mistake one for the other.The distinguishing feature in Ta r a's iconography is the scissors she holds in one of her four hands. The scissors relate to her ability to cut off all attachm ents. Literally the word 'tara' means a star. Thus Tara is said to be the star of our aspiration, the muse who guides us along the creative path. These qualities are but a manifestation of her compassion. The Buddhist tradition stresses these qualities of this Goddess, and she is worshipped in Tibet as an im portant embodiment of com passion.
Sri Lalita - TripuraSun dari, Sodasi, Raj arajeshv ari
Sri Kamatchi Ambika The great Goddess who is the third of the Mahavidyas, h er name varies from Kamakshi or Kam atchi to Tripura-Sundari, L alit a, Rajarajeshvari and Sodashi. The goddess Tripursundari or Kamatchi in her aspect as Sodashi is represented as a sixteen year old girl, and is beli eved to embody sixteen types of desires. The Sodashi Tantra, a treatise on tantra, describes Tripursundari as "the radiant light in the eyes of Shiva."" She is described of deep red color, and is depicted in an intimate position with an aspect of Shiva, and both are shown on a bed, a throne or a pedastal resting of the significant male gods of Hinduism like Brahma, Visnu, Rudr a, and lndra.Tripura-sundari is described in great detail a s extremely attractive, beautiful, and erotically inclined. The Lali ta-sah asr an am a details her charms
from head to foot, and the majority of the Saundaryalahari is similarly occupied with her attractive appearance. She is often said to give desire and to suffuse the creation with desire. The Saundaryalahari als o states that that a worn-out old man, ugly and sluggish in th e arts of love, can be restored to sexual attractiveness and vigor by her glance. The Prapancasara-tantra says that her wor ship has such an amorous effect that celestial females such as gandharvas, yakshas, and siddhas come to the sadhaka "with gazelle-like eyes, breathing heavily, their bodies quiv er ing an d moist with the pearly sweat of passion; and throwing away their ornaments and letting their clothes fall from about them, bo w themselves before him and offer to do his will." The sev er al names that associate or identify her with the female s ex ual organ in her thousandname hymn in the Vamakeshvar a-tantr a also suggest the erotic character of the goddess.
..
Maa Bhuv aneshwari
The fourth Goddess among the Mahavidyas is Sri Bu van esh wari Amba. More than any other Mahavidya with the exception of Kamala, Bhuvaneshwari is associated and identified with the energy underlying creation. She embodies the cha r acter istic dynamics and constituents that make up the world and that lend creation its distinctive character. She is both a part of creation and also pervades its aftermath. B hu van eshwar i's She is described as having a r a diant beauty is mentioned often. complexion and a beautiful face, framed with flowing hair th e color of black bees. Her eyes are broad, her lips full and red, her nose delicate. Her firm breasts are smeared with sandal paste and saffron. Her waist is thin, and her thighs, buttocks, and navel are lovely. Her beautiful throat is decorated with ornaments, and her arms are made for embracing. Indeed Shiv a is said to have produced a third eye to view her more thoroughly. This beauty and attractiveness may be un der stood as an affirmation of the physical world. Tantric thought does not denigrate the world or consider it illusory or delusory, as do some other abstract aspects of Indian thought. This is ma de amply clear in the belief that the physical world, the rhythms of creation, maintenance and destruction, even the hanker ings and sufferings
of the human condition is exhilarating, joyous s port.
nothing
but Bhuvaneshwari's
play,
her
A modern text gives the legend of origin of Bhuvaneshwari as f oll ows:
'Before anything existed it was the sun which appeared in the heavens. The rishis (sages) offered soma the sacred plant to it so that the world may be created. At that time Shodashi was the main power, or the Shakti through whom the Sun c reated the three worlds. After the world was created the goddess assumed a form appropriate to the manifested world.' In this form she came to be known as Bhuvaneshwari, li ter all y 'Mistress of the World.' Bhuvaneshwari thus remains un- manifest until the world is created. Hence she is pr i mar ily related with the visible and material aspect of the created wor ld.
Sri Bhairavi Devi
The fifth form of Mahavidya is Sri Bhairavi Amman. Bhairavi is a fierce and terrifying aspect of the Goddess virtually indistinguishable from Kali, except for her pa rticular identification as the consort of the Wrathful Shiva. She is considered the female form of Lord Shiva known as B h air ava.
Creation and Destruction are two essential aspects of the universe, which is continually subject to their alter nating rhythms. The two are equally dominant in the world and indeed depend upon each other in symbiotic fashion. Bhair avi embodies the principle of destruction. She arises or bec om es present when the body declines and decays, which is a natural, Bhairavi is also inevitable, and irresistible force. evident in self destructive habits, such as eating tamsic food (food having a quality associated with ignorance and lust) and drinking liquor , which wear down the body and mind. She is present; it is s aid, in the loss of semen, which weakens males. Anger, jealousy, and other selfish emotions and actions Righ teous beh aviour , strengthen Bhair avi"s presence in the world. co n ver sely, makes her weaker. In short, she is an ever-present goddess wh o manifests herself in, and embodies, the destructive aspects of the world. Destruction, however, is not always negativ e, creation cannot continue without it. This is most clear in the process of nourishment and metabolism, in which life feeds on death; creation proceeds by means of transformed ener gy given up in destr uction. Bhairavi is also identified with Kalaratri, a name of te n associated with Kali that means "black night (of destr uction)" and refers to a particularly destructive aspect of Kali. She is als o identified with Mahapralaya, the great dissolution at the end of a cosmic cycle, during which all things, having been consumed with fire, are dissolved in the formless waters of procreation. She is the force that tends toward dissolution. This force, furthermore, which is actually Bhairavi herself, is present in each person as one gradually ages, weakens and finally dies. Destruction is apparent everywhere, and therefore Bhairavi is present ever y wh ere.
One of her dhyana mantras, that of Sampatprada-bhairavi, says that she is intoxicated with her youth, and most descriptions of her, despite her association with destruction, say that she is attractive, young, and shapely. Bhair avi"s association with sexual desire and fulfilment is mentioned often in her thousand-name hymns. In the Shakta-pramoda, for ex am ple, sh e is called She Who Is Fond of Semen and Menstrual Blood and She Who Is Worshiped by Those Who Worship with Sem en. In her thousand-name hymn in the Vishvasara-tantra, she is called Lovely One, She Whose Form Is Semen, Who Pr oduces Semen, Who Gives Love, Who Enjoys Sexual Intercourse, Who Is Dear To Kama, and Who Dwells in the Yoni. She is shown here seated on a lotus, with four arms, two of them making t he gestures of granting boons and removing fear respectively. T he other two hands hold a goad and noos e. Bhairavi has facets and epithets that assert her c osmi c importance, if not supremacy. A commentary on the P ar ashur ama- kalpasu tr a says that the name Bhairavi is der iv ed from the words bharana (to create), ramana (to protect), an d vamana (to emit or disgorge). The commentator, that is, s eeks to discern the inner meaning of Bhair avi"s name by identif ying her with the cosmic functions of creation, maintenance, an d destr uction.
Sri Chinnamasta Am bal
The sixth Goddess among the Mahavidyas is Sri Chinn am ast a, also known as Chinnamastaka. She is the goddess of cour age and discernment. The literal meaning of the word Ch innamasta is one with a severed head. She is traditionally portrayed as a naked or scantily dressed woman astride the bodies, in intimate position, of Kama (Hindu god of love and sexual lust), and his wife Rathi. Chinnamasta, having severed her own head with her own sword, holds her severed head on one of her hands. Th ree jets of blood spurt out of her bleeding neck, and one stre ams into her own mouth of her severed head, while the other two streams into the mouths of her two female associates. One day P ar vati went to bathe in the Mandakini River with her two attendants, jaya and Vijaya. After bathing, the grea t goddess's colour became black because she was sexually aroused. After some time, her two attendants asked her, "Giv e us some food. We are hungry." She replied, "I shall give you food but please wait." After awhile, again they asked her. She replied, "Please wait, I am thinking about some matter s." Waiting awhile, they implored her, "You are the mother of the universe. A child asks everything from her mother. The m other gives her children not only food but also coverings for the body. So that is why we are praying to you for food. You are known for your mercy; please give us food." Hearing this, the consort of Shiva told them that she would give anything when they reached home. But again her two attendants begged her, "We are overpowered with hunger, O Mother of the Universe. Giv e us food so we may be satisfied, O Merciful One, Bestower of Boons and Fulfiller of Desires." Hearing this true statement, the merciful goddess smiled and severed her own head. As soon as she severed her head, it fell on the palm of her left hand. Three bloodstreams emerged from her throat; the left and right f ell respectively into the mouths of her flanking attendants and the center one fell into her mouth. After performing this, all were satisfied and later returned home. (From this act) Pa r vati became known as Ch innamasta. In visual imagery, Chinnamasta is shown standing on th e copulating couple of Kamadeva and Rathi, with Rathi on the top. They are shown lying on a lotus. There are two diff ere nt interpretations of this aspect of Chinnamasta's iconogr aphy . One understands it as a symbol of control of
sexual desire, t he other as a symbol of the goddess's embodiment of sex ua l energy. The most common interpretation is one where she is believed to be defeating what Kamadeva and Rathi represent, namely sexual desire and energy. In this school of thought she signifies selfcontrol, believed to be the hallmark of a successfu l yogi. The other, quite different interpretation states that the presence of the copulating couple is a symbol of the goddess being charged by their sexual energy. J us t as a lotus seat is believed to confer upon the deity seated atop it's qualities of auspiciousness and purity, Kamadeva and Rathi impart to the Goddess standing over them the power and energy gener a ted by their lovemaking. Gushing up through her body, this ener gy spouts out of her headless torso to feed her devotees and als o replenish herself. Significantly here the mating couple is not opposed to the goddess, but an integral part of the r h ythm ic f low of energy making up the Chinnamasta icon. The image of Chinnamasta is a composite one, conveying reality as an amalgamation of sex, death, creation, destruction and regeneration. It is stunning representation of the fact that lif e, sex, and death are an intrinsic part of the grand unified schem e that makes up the manifested universe. The stark contrasts i n this iconographic scenario-the gruesome decapitation, the copulating couple, the drinking of fresh blood, all arranged in a delicate, harmonious pattern - jolt the viewer into an awa reness of the truths that life feeds on death, is nourished by death, and necessitates death and that the ultimate destiny of sex is to perpetuate more life, which in turn will decay and die in or der to feed more life. As arranged in most renditions of the icon, th e lotus and the pairing couple appear to channel a powerful li f e force into the goddess. The couple enjoying sex convey an insistent, vital urge to the goddess; they seem to pump her with energy. And at the top, like an overflowing fountain, her blood spurts from her severed neck, the life force leaving her, but streaming into the mouths of her devotees (and into her own mouth as well) to nourish and sustain them. The cycle is starkly portrayed: life (the couple making love), death (the decapitated goddess), and nourishment (the flanking yoginis drinking her blood).
Sri Dhumavati Dev i
The seventh aspect of Mahavidya is Sri Dhumawati Devi.She acts as the divine smoke screen in the form of old age and death. Only the ardent
devotee is able to see promise of imm ort ality.
beyond the f ea r of mortality to the Goddess's
The dhyana mantra of Dhumawati says: Dhumawati is ugly, unsteady, and angry. She is tall and wea r s dirty clothes. Her ears are ugly and rough, she has long teeth, and her breasts hang down. She has a long nose. She has t he form of a widow. She rides in a chariot decorated with the emblem of the crow. Her eyes are fearsome, and her hands tremble. In one hand she holds a winnowing basket, and with the other hand she makes the gesture of conferring boons. Her nature is rude. She is always hungry and thirsty and looks unsatisfied. She likes to create strife, and she is always f ri ghtful in appearance. The crow which appears as her emblem at op her chariot is a carrion eater and symbol of death. Indeed, she herself is sometimes said to resemble a crow. Th e P r ap ancasar asar a-samgr aha, for example, says that her nos e resembles a c r ow's. The dress she wears has been taken from a corpse in the cremation ground. She is said to be the embodiment of the tamas gun, the aspect of c reation associated with lust and ignorance. Her thousand-name hymn says that she likes liquor and meat, both of which are tam sic. Dhumawati is also interpreted by some Tantra scholars as "the aspect of reality that is old, ugly, and unappealing. She is generally associated with all that is inauspicious: she dwells i n areas of the earth that are perceived to be desolate, such as deserts, in abandoned houses, in quarrels, in mourning c hil dren, in hunger and thirst, and particularly in widows. The goddess tends to be in a sad state of mind and is quarrelsome. Her eyes are glaring red, stern, and without tenderness. Her lips too a re red, covered with blood. The legend behind Dhumawati's origin says that once, wh en Shiva's spouse Sati was dwelling with him in the Himalayas, sh e became extremely hungry and asked him for something to eat. When he refused to give her food, she said, "Well, then I will just have to eat you." Thereupon she swallowed Shiva, thus widowing herself. He persuaded her to disgorge him, and when she did so he cursed her, condemning her to assume the Dhumawati. This underlines Dhumawati's f or m of the widow myth destructive bent. Her hunger is only satisfied when s he consumes Shiva, her husband and who contains within h ims elf the whole world. Ajit Mookerjee, commenting on her per pet ual hunger and thirst, which is mentioned in many places, says t hat she is the embodiment of "unsatisfied desires." Her status as a widow itself is curious. She makes herself one by swa llowing Shiva, an act of self-assertion, and perhaps i ndependence.
Sri Bagalamukhi Devi
The eighth form of Mahavidya is Sri Bagalamukhi Amman wh o smashes the
devotee's misconceptions and delusions by her cudgel. The name literally means "crane faced," which is how this goddess is sometimes depicted. She has a golden complexion and her cloth is yellow. She sits in a golden thr one in the midst
of an ocean of nectar full of yellow lotuses. A crescent moon
adorns her head. She holds a club in her r ight hand with which she beats an
enemy, while pulling his tongue out with another. This image is sometimes interpreted as an exhibition of stambhana, the power
to stun
or paralyze
one"s enemy into silence. This is one of the boons for which Bagalamu khi"s
devotees worship her.
Other
Mahavi dya goddesses are
also
said
to
represent similar powers useful f or defeating enemies, to be invoked by their worshippers thr ough various r ituals. The legend states that a demon named Madan un dert ook austerities and won the boon of vak siddhi, according to which anything he said came about. He abused this boon by har assing innocent people. Enraged by his mischief, the gods wor shipped Bagalamukhi. She stopped the demon's rampage by taking hold of his tongue and stilling his speech. Before she could kill him, however, he asked to be worshipped with her, and she relen ted, That is why he is depicted with her . Bagalamukhi maha mantram meaning is as below: Oh Goddess, paralyze the speech and feet of all evil
people. Pull their
tounge, destroy their intellec t. She is the goddess of black magic, of poisons. She rules ov er the subtle perception which make us feel at a distance the death or misery of those we know. She incites men to t ortu re one another. She revels in suffering Hindu P ol yt heism, Alain Danielou. This bird is thought of as the essence of deceit. As can be seen from rules magic for the the hymn, she
suppression of an enemy's gossip. These enemies also have an inner meaning, and the peg she puts through the tongue may be construed as a peg or paralysis of our own prattling talk. She rules deceit which is at the heart of most speech. She can in this sense be considered as a terrible or Bhairavi form of Matrika Devi, the mother of all speech, Sri S ar aswati Devi herself (Consort of the creator God Lord B r ahma).
Sri Matangi Amman
The ninth form of Mahavidya is Sri Mat angi amman who is the patron of inner thought. She guides her devotee to th e uncaused primordial sound. Matangi has a dark em er al d complexion and has three eyes. Once P ar vati, seated on Shiva's lap, said to him that he always gave her anything she wanted and that now she had a desire to visit her father. Would he consent to her visiting her f ather , Himalaya, she asked� Shiva was not happy about granting h er this wish but eventually complied, saying that if she did not come back in a few days, he would go there himself to ask f or her return. Parvati's mother sent a crane to carry Parvati back to her family home. When she did not return for some day s, Shiva disguised himself as an ornament maker and went to her father's house. He sold shell ornaments to Parvati and then, seeking to test her faithfulness, asked that she have sex wit h him as his payment. Parvati was outraged at the mer c hant's request and was ready to curse him, but then she disc er ned with her yogic intuition that the ornament vendor was really her husband, Shiva. Concealing her knowledge of his true identi ty, she replied: "Yes, fine, I agree. But not just now." Sometime later, Parvati disguised herself as a huntress and went to Shiva's home, where he was preparing to do evening pr ay er . She danced there, wearing red clothes. Her body was lean, her eyes wide, and her breasts large. Admiring her, Shiva as ked: "Who are you?" She replied: "I am the daughter of a Ch andala. I've come here to do penance." Then Shiva said: "I am the one who gives fruits to those who do penance." Saying this, he t ook her hand, kissed her, and prepared to make love to her. Wh ile they made love, Shiva himself was changed into a Chandala. At this Point he recognized the Chandala woman as his wif e Pa r vati. After they had made love, Parvati asked Shiva for a boon, which he granted. Her request was this: "As you [Shiva] made love to me in the form of a Chandalini [Chandala w oman], this form should last forever and be known as Uccish th a- matangini (now popularly known as Matangi)."
The key to this legend is the essence of the word 'Chandala.' The Chandalas are believed to constitute the lowest strata of the caste hierarchy in orthodox Hindu belief. Associated with death and impurity they have always survived on the fringes of mainstream society. Derogatory in the extreme sense, The label chandala itself has become the worst kind of slur. Thus by disguising herself as a Chandalini, Parvati assumes the identity of a very low-caste person, and by being attracted, Shiva a llows himself to be identified with her. Both deities self -c onsciously and willingly associate themselves with the periphery of Hindu society and culture. The Chandala identity is sacr alised therefore, in the establishment of Goddess Matangi. This goddess summarizes in herself the polluted and the f or bi dden. Another myth related to Matangi reinforces this belief. Once upon a time, Vishnu and Lakshmi went to visit Shiva an d Parvati. They gifted Shiva and Parvati fine foods, and som e pieces dropped to the ground. From these remains arose a maiden endowed with fair qualities. She asked for leftover f ood (uccishtha). The four deities offered her their leftovers as prasada (food made sacred by having been tasted by deities). Shiva then said to the attractive maiden: "Those who repeat your mantra and worship you, their activities will be f r uitfu l. They will be able to control their enemies and obtain the objects of their desires." From then on this maiden bec am e known as Uccishtha-matangini. She is the bestower of all boons. The legend of her origin stresses Matangi's association wit h leftover food, which is normally considered highly polluting. Indeed, she herself actually arises or emerges from Shiva an d Parvati's table scraps. And the first thing she asks for is sustenance in the form of leftover food (uccishtha). Tex ts describing her worship specify that devotees should offer her uccishtha with their hands and mouths stained with lef tov er food; that is, worshippers should be in a state of poll ution, having eaten and not washed. Since for Matangi wor s hipper s make offering in a polluted state, she is known to have been offered a piece of clothing stained with the menstrual blood in order to win the boon of being able to attract som eone. Menstrual blood is regarded in almost all Hindu texts and contexts as extremely polluting, and menstruating women are forbidden to enter temples or otherwise serve the deities. In the case of Matangi, these strict taboo s are disregarded, indeed, a re f laun ted. We live in a society that is very much governed by reli gious rules. One of these rules asserts that physical cleanliness is a must whenever performing pooja or visiting a temple. As y oun g children, we were taught that we should have a shower bef ore performing a pooja and wash our feet before entering th e temple. These are good habits as ensuring cleanliness is a v er y important form of personal hygiene. At the same time, t hey freshen us up and make us more alert. However, does it mean that God will object to us connecting or praying to Him if we a re in a physically unclean state or if its something that's beyond our control, e.g. women undergoing menstrual cycle� Do you think their that the all-loving and allcompassionate God will ever object to His female devotees from worshipping Him wh en they are undergoing their menstrual cycles� No. The Mahavidya Matangi teaches us that one can be in the dirtiest of state physically and still be able to connect with Her. She is not at all concerned with the external cleanliness of her devotees. She is only concerned with the state of the devotees within. If the devotees' mind, thoughts and heart are clean, they will be able to connect with the Goddess. And this applies not just to Matan gi, but this applies to God in general. J ust think for an
instance. Will your parents prevent you from entering the hous e if you are having a menstrual cycle or if you are all dirty after a football gam e� Surely not. Then why would the all- compassionate and all-loving God prevent you from enter ing the temple or praying to hi m� Surely He won't. However, thes e are rules that we have been taught to obey and follow. Of
course, it is not proper to worship in an unclean state just t o mock at God. That shows that the mind is unclean. The detailed ways of worshipping Matangi, e.g. offering Her leftover food, is but a way to condition a person mentally that it is okay to worship the Divine even if one is physically unclean. Having observed rules of cleanliness for years, the best way to adopt a new thinking towards prayer and cleanliness is by physically performing an act and associating it with the thought, hence the act of offering leftover food and oth er s described in the scriptures. At the end of the day, one has to come to the realization that the Divine is only interested in the purity of the thoughts, mind and soul, not the physical body.
Sri Kamaleshwari Am bal
The L ast but not the Least Goddess of Mahavidya is Sri Kamala Devi who is in the fullness of her gr ac efu l aspect. Kamala as the tenth and last of the Wisdom G odd esses shows the full unfoldment of the power of the Goddess into the material sphere. She is both the beginning and the end of our worship of the goddess. The canonical texts are quite s pecif ic regarding her iconography: "She has a beautiful and golden complexion. She is being bathed by four large elephants wh o pour jars of nectar over her. In her four hands she holds two lotuses and makes the signs of granting boons and giving assurance. She wears a resplendent crown and a silken dress." The name Kamala means "she of the lotus" and is a comm on epithet of Goddess Lakshmi. Indeed, Kamala is none other than the goddess Lakshmi. Though listed as the last of the Mahavidyas, she is the best known and most popular. S ev er al annual festivals are given in her honor. Of these, the Diwali or Deepavali festival is most widely celebrated. This festival li nks Lakshmi to three important and interrelated themes: pr os per it y and wealth, fertility and crops, and good luck during the coming yea r . Kamala is a beautiful young woman with a shining com plexion. Two "
"
elephants flank her and shower her with nectar while s he sits on a lotus and holds lotuses in each of her four hands. The lotus is related to life and fertility. The cosmos as lotus-li ke suggests a world that is organic, vigorous and beautiful. It is the fecund vigor suggested by the lotus that is revealed pervades creation. Kamala's in Kamala. She is the life force that association with the elephant suggests other aspects of her character that are ancient and persistent. The elephants hav e two meanings. According to Hindu tradition, elephants are related to clouds and rain, and hence fertility. Second, elephants also suggest royal authority.The elephants pour ing nectar onto her are symbols of sovereignty and fertility. T hey convey Kamala's association with these highly desir able qualities. Though equivalent to Lakshmi, important differences exist wh en Kamala is included in the group of Mahavidyas. Most str ikingly, she is never described or shown accompanying Vishnu, wh o otherwise is her constant and dominating companion in all representations. In this respect unlike Lakshmi, Kamala is alm ost entirely removed from marital and domestic contexts. She does not play the role model of a wife in any way, and her ass ociation with proper dharmic or social behavior, either as an example of it or as the rewarder of it, is not important in the Mahavi dya context. Here a premium seems to be put on the independenc e of the goddesses. For the m ost part, the Mahavidyas are seen as powerful goddesses in thei r own right. Their m association with male deities. power and authority do not derive f ro Rather, it is their power that pervades the gods and enables them to perform their cos mic functions. When male deities are shown, they are almost alway s in supporting roles (literally as when they are shown supporting Sh odashi's throne), and are depicted as subsidiary f igures.
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this is the Panchadasakshari Mantra, which is one of the greatest mantras of Devi
and
next only to the Shodasakshari Mant r a.
"Omc Ai m cHr eemcShr eem cSr iclalitacTr i pu r asund ar i cPaduk amcPoo jayami cNamah"
Sri Chakra Consists of 9 Intersecting triangle. These nine triangles also represent the nine stages of growth of the human child in the womb. Surrounding the 43 triangles f ormed by the intersection of the nine triangles is the 16 petals circle. Surrounding the 16 petal circle is an 8 petal circle. In this 9 Triangles five are pointing downwards, and four are pointing upwards. Five downward pointing triangles representing Devi intersect with four upward pointing t riangles representing Siva, forming 43 triangles i ncluding the central triangle. From the five Shakti t riangles comes creation and from the four Shiva triangles comes the dissolution. T he union of five Shaktis and four Fires causes the chakra of creation to evolve. On the top of the t riangles there is a bindhu mandala. At the centre of the bindu of the Shri Yantra is Kamakala, which has three bindus. One is red, one is white and one is mixed. The red bindu is Kurukulla the Female form, the white bindu is Varahi t he Male form, and the mixed bindu is the union of Shiva & Shakti - the individual as the potential S hri Cakra. Varahi, the father-form, gives four dhatus to the child and Kurukulla, the mother-form, gives five dhatus to the child. Theses represent the nine dhatus of the human body.
Varahi s four fires are the 12 (4 x 3) sun Kalas, the 12 Zodiac constellations. Kurukulla s five t riangles are the 15 (5 x 3) Kalas of the moon, 15 lunar T ithis.
There are three kinds of Sri Yantra or Chakra, Bhuprastha, Meru prastha and Kurma prastha. Bhuprastha: this is the plain sri yantra. Meru prastha: pyramid form, this name came from sumeru or meru parvatha(mountain) described in hindu mythology. Kurma prastha: one which is raised on a tortoise back is called kurma prastha, it just looks like sree chakra drawn on semi shere.
"Omc Ai mc Hr eemcShr eemcSr i clalitacTr ipu r asundar i cPaduk amcPoo jayamicNamah"
Sri Chakra Consists of 9 Intersecting triangle. These nine triangles also represent the nine stages of growth of the human child in the womb. Surrounding the 43 triangles f ormed by the intersection of the nine triangles is the 16 petals circle. Surrounding the 16 petal circle is an 8 petal circle. In this 9 Triangles five are pointing downwards, and four are pointing upwards. Five downward pointing triangles representing Devi intersect with four upward pointing t riangles representing Siva, forming 43 triangles i ncluding the central triangle. From the five Shakti t riangles comes creation and from the four Shiva triangles comes the dissolution. T he union of five Shaktis and four Fires causes the chakra of creation to evolve. On the top of the t riangles there is a bindhu mandala. At the centre of the bindu of the Shri Yantra is Kamakala, which has three bindus. One is red, one is white and one is mixed. The red bindu is Kurukulla the Female form, the white bindu is Varahi t he Male form, and the mixed bindu is the union of Shiva & Shakti - the individual as the potential S hri Cakra. Varahi, the father-form, gives four dhatus to the child and Kurukulla, the mother-form, gives five dhatus to the child. Theses represent the nine dhatus of the human body. Varahi s four fires are the 12 (4 x 3) sun Kalas, the 12 Zodiac constellations. Kurukulla s five t riangles are the 15 (5 x 3) Kalas of the moon, 15 lunar T ithis.
There are three kinds of Sri Yantra or Chakra, Bhuprastha, Meru prastha and Kurma prastha. Bhuprastha: this is the plain sri yantra. Meru prastha: pyramid form, this name came from sumeru or meru parvatha(mountain) described in hindu mythology. Kurma prastha: one which is raised on a tortoise back is called kurma prastha, it just looks like sree chakra drawn on semi shere.
Meditation on the Sri Yantra with Moon Energy: Close your eyes and visualize the full moon in front of you, luminous and glowing, reflected in a pool of water. Feel the cool, calm energy wash over you. Now open your eyes and see the image of the moon merging with the Sri Yantra before you. Gaze on the bindu point in the center and let the awareness of the rest of the symbol slowly edge into your vision. It may help you to breathe the OM while doing so since the Sri Yantra is the physical symbol of this sound. Pray to the Divine (or Shakti- Shiva) to open your heart to its beauty while you do so.
Becoming one with the Sri Yantra is not about effort or making it happen but letting it flower open in your awareness with gentleness. It comes when you least expect it.
Breathing Meditation
:
Take a few deep breaths, breathing deep into the belly, and exhale w ith force, releasing all tension. With awareness of your breath coming in and going out, repeat your chosen mantra or affirmation in this ratio once f or ea ch in -breath and tw ice f or each ou t breath. As you start f ocusing on the mantra blending w ith the breath, f eel it spreading throughou t your body.
Continue until you feel totally relaxed and ref reshed. You can either stop repeating the mantra, but continue the breath awareness as you go about your tasks, or, mentally continue the mantras too. Observe how you feel at the end of the day! The Nithyas { Phases of the Moon) :
The Nithyas The word Nithya in Sanskrit means perennial or occurring every day . These paintings represent the constantly recurring Lunar cycle. Each of the fifteen lunar days or phases of the Moon has its own special vibration and radiates the energy of this vibration. In Tantra, they are recognized as Divine energies and are called Nithyas (since they occur every day) or Nithya Kala Devies . Each Nithya is a part of the Kaala -chakra or Wheel of Time, which is constantly revolving just as the Moon revolves. The Srichakra (Sri Yantra) is within this Wheel of Time, and the 15 Nithyas are like rays emanating from the Goddess Lalita who resides in the Srichakra. The Goddess Lalita represents Pure Consciousness, and the 15 Nithyas are 15 parts of the continuum of Consciousness. Each Nithya has her own yantra, mantra and group of energies (shaktis). Meditating on the yantra of the Nithya of a particular day helps us connect with those special energies and get the benefits that Nithya is known to give. If one focuses on one particular Nithya and meditates on her continuously, better results are obtained. The Fifteen Nithyas are: 1. Kameshwari- (The Nithya of first day of the cycle) She is The lady of Desire . She gives happiness, wealth, mental peace, good health and family congeniality. nd
2. Bhagamalini- (the Nithya of the 2 day of the cycle) She gives strength to win over enemies, power to attract the Three Worlds, fertility, and is very special for women as she protects pregnant women through pregnancy, preventing abortions and premature birth as well as ensuring safe delivery. rd
3. Nityaklinna- ( the Nithya of the 3 day of the cycle) Her name means Wet Nithya and she bestows- enjoyment of desires, a feeling of love and unity in the family and physical beauty. 4. Bherunda- ( the Nithya of the 4th day of the cycle) She frees us from the evil effects of poisons of all types. 5. Vahnivasini- ( the Nithya of the 5 th day of the cycle) Her name means Dweller in Fire . She devours the Universe, purifying and bringing clarity after burning negativities and low energy forms. th
6. Vajreshwari- ( the Nithya of the 6 day of the cycle) She destroys dense evils and helps us overcome our troubles. She also grants freedom from ignorance.
th
7. Shivaduti- ( the Nithya of the 7 day of the cycle) She destroys wickedness, annihilates injustice and unrighteousn ess. She also helps fulfil righteous desires, material or otherwise. th
8. Tvarita- ( the Nithya of the 8 day of the cycle) She grants good health, education, wealth, physical radiance and long life. She protects us from poverty and poisonous attacks. th
9. Kulasundari- (the Nithya of the 9 day of the cycle) She grants knowledge and scholastic excellence, wealth, and also helps in the annihilation of enemies. th
10. Nithya- (the Nithya of the 1O day of the cycle) She grants physical strength and oratory powers. She also governs the six chakras in the human body. th
11. Nilapataka- (the Nithya of the 11 day of the cycle) She grants victory in battle, success in trade, success in examinations, interviews as well as court cases. th
12. Vijaya- (the Nithya of the 12 day of the cycle) She bestows happiness, success in debates, success in buying and selling, and victory in battle. 13. Sarvamangala - (the Nithya of the 13th day of the cycle) Her name means All Auspicious . She grants progress- both material and Spiritual. Meditating on her before a journey brings a safe journey. th
14. Jvalamalini- (the Nithya of the 14 day of the cycle) Her name means garlanded with flames . She destroys enemies, and also bestows financial gains. th
15. Chitra- (the Nithya of the 15 day of the cycle) She grants our righteous desires, wealth and self -knowledge. 16. Lalita- She is Pure Consciousness from whom all the other Nithyas emanate. She is present in every day of the cycle, and both within and controlling each Nithya.
Dasa Maha Vidyas The " Dasa Maha Vidyas" or Ten Great Cosmic Powers is the latest in the Yantra series. Each focuses on one aspect of the Divine Energy of Shakti. Meditating on any one of them will help activate that energy within us and take us further along the path of Self - Realization. I am deeply grateful to S. Shankaranarayanan who has written "The Ten Great Cosmic Powers" and Dr. David Frawley, who has written " Tantric Yoga and the Wisdom Goddesses". It is these two books which inspired and guided me to work on this series, and I would like to add that working on each one was itself a meditative and insightful experience, bringing deeper knowledge and awareness.
Each painting of the Maha Vidyas has a description and meditation Click on the name of each yantra to read this: Kali, Tara, Tripurasundari, Bhuvaneshwari, Bhairavi, Chinnamasta, Dhumavati, Bagalamukhi, Matangi, Kamalatmika
The Dasa Maha Vidya series:
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Dasa Maha Vidyas
Kali Time is the great force of change and the rhythm of our life. Time, or 'kala', is birth and death, growth and decay, which is the essence of our existence. The Supreme Time-force or 'shakti' of kala is 'Kali'. Kali is also the prana or life-force within us. •
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In order for the new to come into being, we have to let go of the old. So time is both creation and destruction. Kali helps us destroy the attachments in our life so that we gain mastery over time. Kali is also Life and Death, which are movements in time. To worship Her, we must 'die' daily, that is, death of all our worries, ambitions, cares, anxieties, loves and hates. Before sleeping if we empty our minds of all this, we are 'born' again the next day, fresh and new. Kali is death of the separate self. Kali also relates to the element of air, and the lightning force that is in the atmosphere. She is located in the heart chakra of the human body. Kali is the 'kriya-shakti' or power of action, which i s an essential part of the Time-force, and is the first of the Maha Vidyas. Meditation : Keep your mental focus all the time on each inhalation and exhalation as your eyes focus on the seed mantra 'kreem' in the centre. Repeating 'Om Kreem' in your mind wi th each inhalation and exhalation, let your eyes take in the entire yantra and feel the colours penetrate your entire being. Experience the feeling of endless time. top
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Tara Tara is the second of the Maha vidyas. She is worshipped by Hindus, Buddhists and Jains. The Chinese Buddhists worship her as Kwan Yin. In the Hindu tradition, She is 'sabda shakti' or power of Sound. According to Tibetan Buddhist tradition Tara emanated from the tear of Avalokiteshvara. Once Avalokiteshvara liberated all beings from the lower realms and an instant later saw that the lower realms were again
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filled with suffering beings. Saddened, a tear fell from his eye and from it sprang Green Tara. Both Avalokiteshvara and Tara embody the principle of compassion (one of the three main aspects of enlightened mind: compassion, wisdom and power). Kwan Yin is generally explained as a Chinese (femi nine) equivalent of Avalokiteshvara, who manifested to help all those suffering on earth. "Tara" means the one who crosses and helps others to cross the river. She is the Saviouress who helps us overcome our difficult situations and also helps us transcend them. Tara is the feminine form of 'Aum'. She also relates to the power of perception and knowledge. Her location in the human body is the Manipura chakra or navel centre. As 'Aum' She is also in the Third Eye or Ajna chakra. Meditation : Let your eyes start focusing on the 'Aum' in the centre, and feel its energy enter you. Now start chanting 'Aum' slowly as your eyes move slowly around the yantra, absorbing the healing lavender colour, and let the water surrounding the yantra 'wash' over you. Bring your gaze now to the triangle with rainbow colours, and visualize this entering you through your Third Eye chakra, filling it, and then move down into your navel chakra. Feel your navel chakra fill with all the rainbow colours. Continue chanting Aum and feeling the rainbow as long as you wish. top
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Tripurasundari The third of the Maha Vidyas, Tripurasundari represents the ultimate beauty of pure perception which arises when we see all the Universe in ourselves. "Tripura" means 'three cities', the three worlds of matter, energy and thought, which we experience through our th ree bodies- physical, astral and causal. Tripurasundari helps us delight in these experiences of the three worlds and transcend them. She is also known and worshipped as Lalita, the deity of the Sri Chakra, and Rajarajeshwari, the Supreme rul er of the Universe. Her 'command' is based on Love. When we open ourselves to her command, we discover that beauty and bliss are the fundamental energy of existence, and play is the nature of all manifestation. When we experience this insight, we free ourselves from attachment and find happiness and delight in whatever life may bring us. Sundari represents the moon as the visible image of Delight. She resides in the Crown chakra in the body, the abode of immortal nectar. By her grace, the nectar descends through the Sush umna nadi, and pervades the whole body, an experience of bliss. She has her own yantra, the Tripurasundari yantra, as well as the great Sri Yantra. Meditation : Visualize the lotus in the yantra as your Crown chakra, and bring your focus slowly to the central point. Keep your focus there, relaxing the whole body, and let your peripheral vision take in the rest of the yantra. Feel the 'liquid' cool light flowing into your body and filling you with bliss.
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Bhuvaneshwari Bhuvaneshwari means 'the Queen of the Universe'. Fourth in the list of the 'Dasa Maha Vidyas', Bhuvaneshwari stands for the concept of space. Space has many levels of manifestation: The space of the physical Universe and the space of the mind. Just as there are many layers of space in the Universe, there are many layers in the higher levels of the mind. In our body, the heart is where the infinite space of the Universe resides, and this is the seat of the Divine Mother, Bhuvaneshwari, who represents this Space. By creating space, we release ourselves from stress and tension. Those seeking the supreme peace should invoke and worship the Goddess Bhuvaneshwari, who is the power of infinite 'expansion',peace and equanimity. Her sound- body is 'Hrim', which is as powerful as 'Aum'. 'Hrim' connects the space within the heart with the infinite, vast space of Consciousness. Meditation : Inhale deeply as you focus on the seed mantra 'hrim' in the centre, and feel your whole being expand. With each inhalation let your gaze move radially outwards, taking in the shining 6 -pointed star, then the soft, eight-petaled pink lotus, and the colour blue, which gives a feeling of expanding space. Then, the glowing eight -petaled lotus and the yellow circle surrounding that. Feel yourself expanding into space as your vision takes in the blue and white 'clouds' around the yantra. Continue breathing deep, and experience this feeling of expansion. top
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Bhairavi Fifth among the Maha vidyas, She is one of the most powerful and also popular Goddesses, also known as Durga. Bhairavi represents transforming heat, 'Tapas', and also Divine radiance, 'Tejas'. Tapas is not just asceticism, it is a heightened aspiration that consumes all secondary interests and attachments. She is also the basic will power of life which we strive to master. She is the 'warrior' Goddess, who with Her power of Divine speech and spiritual fire eliminates all obstacles to the unfoldment of true awareness, just as She destroyed the demon Mahishasura. She dwells in the Muladhara or Root chakra, and is the same as Kundalini. Meditation : Focus on the centre of the yantra with Light radiating, and then let your gaze move toward the red eight-petaled lotus and fill your root chakra with that colour. Then allow your visi on to take in the flame-like forms surrounding the yantra. 'Inhale' these flames and let them burn all the fears, doubts and negative 'attachments' inside you. Look at the golden circle surrounding the triangles, and visualize this encircling you and protecting you as you fearlessly move forward toward your goals. top
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Chinnamasta
The sixth of the Maha Vidyas, Chinnamasta is the Goddess who causes us to 'cut off our own heads', or, in other words, freeing ourselves from the limitations of the mind. She is the shakti or power of Indra lightning, the electrical energy of transformation. This represents direct perception, cutting through everything and revealing the Infinite beyond all forms. Chinamasta is also the Kundalini in her active role. Her activity is in the Sushumna nadi, where She traverses up and down and distributes this electrical energy through all the nadis throughout the body. She is also Yoga Shakti, or power of Yoga in its most dramatic action. One way of meditating on her is to see the light that makes the object visible, and not the object itself. Meditation : Look at the light in the centre of the yantra and keeping your focus there, take in the feeling of light cutting through the dark forms in the surrounding areas. Breathe in this light, and visualize it moving up and down your Sushumna nadi. Keeping this focus on the Sushumna nadi, let any thoughts drift into your mind. Sometimes you may get an unexpected resolution to a problem, or insight into something you were contemplating. top •
Dhumavati The seventh Mahavidya, Dhumavati represents the first and foremost state before creation. She contains within herself all potentials and shows the latent energies that dwell within us. 'Dhuma' means 'smoke', so Dhumavati means one who is composed of smoke. She obscures what is evident and known to reveal the hidden and the profound. She reveals all that is imperfect, the disappointments, sorrows, humiliation, defeat, loss and loneliness, and all the negative sta tes in our ordinary existence in order that we may transcend it. Learning from our negative experiences and treating them as lessons in wisdom, we honour Dhumavati. When we stop focusing on the outer forms and notice the background space instead, we begin to see her. Meditation : Let your eyes travel all around slowly, taking in the 'smoky' background. With each inhalation, slowly let your gaze move inwards, and take in the dark, eight-petaled lotus with its diffused glow at the base of each petal. Now let your vision take in the shining yellow six -pointed star which has the swirls of smoke within. Let your eyes rest there for a while. Contemplate on your negative experiences in a detached manner, and let the golden message come through with the Grace of Dhumavati. top
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Bagalamukhi The eighth Maha Vidya, Bagalamukhi represents hypnotic power, the power to 'stun'. She is the Goddess who stupefies the opponent and paralyses his speech. She is the paralysing power, the striking force. She induces sudden immobility or restraint. She also represents speech used as a weapon to destroy negativity.
In Yoga, asanas are postures of stillness the physical body attains through movement. The aim of asana is to give flexibility to the rigid human body by alternate arresting and releasing of the movement exprseed by it. Bagalamukhi grants complete control over our movements and the capacity to stop them at will. This stopping helps in self-awareness. It helps us achieve 'Mi ndfulness' in all our daily activities. One experiences th e play of Bagalamukhi while practising Hatha Yoga and Raja Yoga. Meditation : Start by gazing at the light in the centre of the yantra, the stillness there. Let your eyes move around the whole yantra, taking in the colours and balanced movement of forms. Bring your focus back to the stillness in the centre. Absorb the colours and light as you focus on y our breath. You can keep this yantra in the room where you practice yogasanas. It will radiate energy helping your practice. top •
Matangi Matangi is the ninth among the Dasa Maha Vidyas. She is the Word as embodiment of thought. She is the Goddess of the spoken word as well as outward articulation of inner knowledge, including all forms of art, music and dance. Matangi relates to Saraswati, the Goddess of wisdom and knowledge. She is the form of Saraswati directed towards inner knowledge. She represents the teachings of the guru, and the continuity of spiritual instruction in the world. By honouring her, we also ho nour the guru. Those seeking to teach others should seek the grace of Matangi. She is the manifest form of song, and the vibratory sound, Nada, that flows in the subtle channels, 'nadis', down through our entire body and mind. Matangi resides in the Throat chakra, the centre of speech. There is a special 'nadi' or channel that runs from the Third Eye to the tip of the tongue, which relates to Her. This is the stream of inspiration from the mind to its expression via speech. Matangi represents the flow of Bl iss through this channel, which is experienced by the creators of great literary, poetic and other artistic work, resulting in brilliant expressions of creativity. Meditation : Start by focusing on the seed mantra 'Aim' in the centre, and visualize its energy coming into your Throat chakra, and then moving into your Third Eye chakra. Let your eyes take in the surrounding forms very slowly, and absorb the green colour with each breath. Notice if you 'hear' any sounds or music. Let yourself hum whatever tune you hear. top
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Kamalatmika The last of the Dasa Maha Vidyas, Kamalatmika is Beauty revealed in all its glory. 'Kamala' means 'lotus', and Kamalatmika represents the unfoldment of Divine Nature and its manifestation in the physical world. Just as the lotus has its roots in mud and yet produces a beautiful flower, the beautiful soul emerges from the gross physical body.
Kamala nourishes and supports us in the elevation of our soul through our spiritual as well as worldly goals. She brings to the devotee abundance of worldly wealth as well as love and bliss. She is also the force who helps us to see the beauty and Divi ne quality in every thing. She is located in the heart chakra in the body. Meditating on the rays of the Sun awakens the process of inner unfoldment which is Kamalatmika. Meditation : Focus on the seed mantra in the centre, and slowly let your gaze absorb the rays radiating from there, and take in also the lotuses and water element surrounding the yantra. Relax, and just keep a relaxed focus on the golden radiance for a while. Feel this golden radiance filling you with its abundance of light, love and beaut y.
Here is the Sri Yantra radiating the light of the full moon:
The Sri Yantra which is also known as Sri Chakra is the king of the chakras . It is a magnificent representation in complex and intricate geometric pattern of the cosmic magnetic fields. It is the most auspicious of all yantras. It is the abode of Goddess Lalita. It is in fact the form pattern of the Goddess, and represents the union of Shiva-Shakti ( Male and Female elements) in the macrocosmic and microcosmic aspects ( the cosmos and the individual). This yantra is the most perfect of all yantras and the most complete . The very presence of the Sri Yantra creates positive vibrations in the space it is placed,
bringing positive changes. Meditation on the Sri Yantra: Close your eyes and visualize the full moon in front of you, luminous and glowing, reflected in a pool of water. Feel the cool, calm energy wash over you. Now open your eyes and see the image of the moon merging with the Sri Yantra. Gaze on the bindu point in the center and let the awareness of the rest of the symbol slowly edge into your vision. It may help you to breathe the OM while doing so since the Sri Yantra is the physical symbol of this sound. Pray to the Divine (or Shakti- Shiva) to open your heart to its beauty while you do so. Becoming one with the Sri Yantra is not about effort or making it happen but letting it flower open in your awareness with gentleness. It comes when you least expect it.
The configuration of the yantra is as follows: 1. There are five triangles with the apex downwards ( representing Shakti or the Female element) superimposed over four triangles with the apex upwards ( representing Shiva or the Male element). 2. The central configuration of triangles is surrounded by an eight -petalled lotus. 3. The eight-petalled lotus is surrounded by a sixteen -petalled lotus. 4. Next come the triple rings. 5. Last of all is the outer square with four portal s. This is the basic structure, but this whole chakra consists of Nine Enclosures, each representing a step in the journey inwards to the sanctum of Lalita, a step in our onward spiritual progress. They are: 1. "Trailokyamohana Chakra" { Enchanter of the Triple World) -{ see picture below) The region between the four sides of the square and the three concentric circles is the first enclosure. This is the most external and world-ori ented of the nine enclosures and is the first enclosure one crosses on the path to self -realization to overcome the material aspect in oneself. 2. " Sarvasaparipuraka chakra" { Fulfiller of all Desire s) The second enclosure comprising sixteen petals lies just within the three concentric circles. The 16 petals represent the 16 Yoginis (female yogic power or attendant deity) associated with the attainment of desires by the cultivation or strengthening of power over the following ( starting from the east in an anti -
clockwise manner)Desire, Intellect, Ego, Sound, Touch, Form, Taste, Smell, Thoughts, Fortitude, Recollections, Verbal Labels, Sources of Phenomena, Selfhood, Immortality and Body. This is the next step in self-realization- power over these aspects within ourselves. The corresponding centre in the human body is the Muladhara or Root chakra. 3. "Sarvasankshobhana chakra" { The Agitator of All) The third enclosure is the one with the eight -petalled lotus. The eight petals represent the eight forces which are psychophysical in nature (starting from the east)Speech, Apprehensions and reception, Locomotion, Urges of the body and elimination, Pleasure, Reactions, Concentration and Detachment. Control over these forces is the next step on the path to self-realization. The navel region in the human body is associated with this enclosure and represents absorption of all forces of agitation . 4. "Sarva-saubhagyadayaka chakra" { The Giver of All Auspiciousness) This fourth enclosure is the fourteen cornered figure created by the intersecting triangles. They stand for the fourteen realms, and also represent the fourteen main vital channels i n the human body ( the nadis ).The clearing and activating of these channels creates the space needed to bring in auspiciousness and prosperity- one more step in the path to self-realization. The corresponding centre in the human body is the Anahata or Heart chakra. 5. "Sarvartha Sadhaka chakra" { The Accomplisher of All P u rposes)- { see picture below) The ten-cornered figure immediately i nside the fourteen-cornered one is the fifth enclosure. The ten corners house the ten auspicious deities wh o bestow all good things like- fulfilment of desire, overcoming of obstacles, removing of suffering, beauty of body, prosperity, etc. Clearing of the channels in the previous enclosure creates the space and invites these deities to bestow these good things. The corresponding centre in the human body is the Vishuddha chakra or Throat chakra. 6. "Sarva rakshakara chakra" { The Protector of All) - { see picture below) The sixth enclosure is the inner ten-cornered one inside the previous one. The ten corners represent the ten powers of vital fire associated with digestion and elimination. It has the nature of fire, and activates the refinement and purification of bodily desires a nd actions, protecting us from dis -ease in the refined sense. This is the next step in purifying ourselves towards self -realization. The Manipura or Solar Plexus i s the corresponding centre in the human body. 7. "Sarvarogahara chakra" { The Remover of All Disease s)The eight-cornered figure within the smaller ten-cornered figure is the seventh enclosure. It represents the powers responsible for the eight fundamental urgesCold, Heat, Happiness, Desire, Pain, Activity, Inertia and Wisdom.
All dis-ease in the body is associated with one or another of these urges. Positive expression is the way to overcome dis-ease. This chakra helps in activating positive expression, which is the next step in the refinement of the self on the path to realization. The corresponding centre in the human body is the Svadhishtana chakra ( below the navel). 8. "Sarvasiddhiprada chakra" { The Giver of All Accomplishments) This is the primary triangle situated in the centre of the yantra with the apex pointing downwards. T he three corners of the triangle represent three forms of the power of the mother- Goddess: Kameshwari ( symbolizing the Moon) Vajreshwari ( symbolizing the Sun) Bhagamalini ( symbolizing Fire) The three units also symbolize the three fundamental tendencies of existenceDesire ( Iccha ), Knowledge ( Jnana ), and Activity ( Kriya ). Reaching this point in self -realization brings us very close to bliss. This chakra brings power over these three tendencies. The Ajna or Third eye chakra is the corresponding centre in the human body. 9. "Sarvanandamaya chakra" { Full of All Bliss) Although called an enclosure it is actually the point or bindu in the centre of the primary triangle. It is composed of three dots or three elements from the primary triangleMoon (red), Sun (white), and Fire (mixed colour). It is here that one is completely united with the Divine ( Goddess Lalita) and there is freedom from duality. This is the ultimate in self-realization. The Sahasrara or Crown chakra is the corresponding centre in the human body. Here are paintings from this series of the Nine Enclosures, as well as more representations of the Sri Yantra (all nine enclosures are available as prints, and a few as original works on canvas):
Who am I?How isittobef ound?from TalkswithSriRamanaMaharshi
M.: Ask yourself the question. The body (annamaya kosa) and its functions are not 'I'. Going deeper, the mind (manomaya kosa) and its functions are not 'I'. The next step takes on to the question. "Wherefrom do these thoughts arise?" The thoughts are spontaneous, superficial or analytical. They operate in intellect. Then, who is aware of them? The existence of thoughts, their clear conceptions and their operations become evident to the individual. The analysis leads to the conclusion that the individuality of the person is operative as the perceiver of the existence of thoughts and of their sequence. This individuality is the ego, or as people say 'I'. Vijnanamaya kosa (intellect) is only the sheath of 'I' and not the 'I' itself.
Enquiring further the questions arise, "Who is this 'I'? Wherefrom does it come?" 'I' was not aware in sleep. Simultaneously with its rise sleep changes to dream or wakefulness. But I am not concerned with dream just now. Who am I now, in the wakeful state? If I originated from sleep, then the 'I' was covered up with ignorance. Such an ignorant 'I' cannot be what the scriptures say or the wise ones affirm. 'I' am beyond even 'Sleep'; 'I' must be now and here and what I was all along in sleep and dreams also, without the qualities of such states. 'I' must therefore be the unqualified substratum underlying these three states (anandamaya kosa transcended). 'I' is, in brief, beyond the five sheaths. Next, the residuum left over after discarding all that is not-self is the Self, Sat-Chit-Anand Share
Plungethe P ureMindIntothe Heart
ONE day it was suggested to Sri Maharshi that no spiritual progress could ever be made without sadhana, or discipline. After a pause he made these observations: "Mind it is that binds man, and the same mind it is that liberates him. Mind is constituted of sankalpa and vikalpa desire and disposition. Desire is of two kinds the noble and the base. The base desires are lust and greed. Noble desire is directed towards enlightenment and emancipation. Base desire contaminates and clouds the understanding. Sadhana is easy for the aspirant who is endowed with noble desires. Calmness is the criterion of spiritual progress. Plunge the purified mind into the Heart. Then the work is over. This is the essence of all spiritual discipline!" Share
from talk5 97 'Ta lksw ithSriRamanaMaharshi' M.: A practiser gains peace of mind and is happy. That peace is the result of his efforts. But the real state must be effortless. The effortless Samadhi is the true one and theperfect state. It is permanent. The efforts are spasmodic and so also their results.
When the real, effortless, permanent, happy nature is realised it will be found to be not in consistent with the ordinary activities of life. The samadhi reached after efforts looks like abstraction from the external activities. A person might be so abstracted or live freely among people without detriment to his Peace and Happiness because that is his true nature or the Self.
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"Ha ppiness"From
'Ta lkswithSri RamanaMaharshi'
Talk 3. A question was asked as to the nature of happiness. M.: If a man thinks that his happiness is due to external causes and his possessions, it is reasonable to conclude that his happiness must increase with the increase of possessions and diminish in proportion to their diminution. Therefore if he is devoid of possessions, his happiness should be nil. What is the real experience of man? Does it conform to this view? In deep sleep the man is devoid of possessions, including his own bod y. Instead of being unhappy he is quite happy. Everyone desires to sleep soundly. The conclusion is that happiness is inherent in man and is not due to external causes. One must realize his Self in order to open the store of unalloyed happiness.
Sri Durga Mantra: Om Hrim Dhum Durgaa Devyai Namaha. When chanted 108 times, three times a day, one will be freed from all kinds of haunting karmas. When we say the name, "Durga," fear and terror are destroyed instantly. Da: destroys any demonic powers U: removes obstacles Ra: burns all sins and cures diseases Ga: eradicates gazillions of sins Aa: bestows assurance.
Surya
Om hram hreem hroum sah suryaya namah
Chandra namah
Om shram sreem shraum sah chandraya
Mangala namah
Om kram kreem kroum sah bhaumaya
Budha namah Guru Shukra namah
Om bram breem broum sah budhaya
Om jhram jhreem jroum sah gurave namah Om dram dreem droum sah shukraya
Shani Om shanaischaraya
pram
preem
proum sah namah
Rahu Om bhram bhreem bhroum sah rahave namah Ketu Om shram shreem shroum sah ketave namah
Mahamrityunjaya Mantra energised with the Mritsanjivini Vidya devised by Shukracharya. This is called Mritsanjeevani Mahamrityunjaya Mantra.
Om Hroum Om Joom Om Sah Om Bhooh Om Bhuvah Om Sw ah
