Mahavidyas

Mahavidyas

www.bhagavadgitausa.com

Veeraswamy Krishnaraj. Contact: [email protected]

Mahavidya means great knowledge and refers to a female deity; there are ten such deities. Knowledge is transcendental and all that is known, unknown and yet to be known. What Mantra is to a male god is Vidya to a goddess. Mantra or Vidya consists of one or more syllables with or without meaning, words, or phrases representing (being) the sound-body of a deity; there are ten great Mantras or Vidyas. If your name is Joan Smith, the vocalized sound of your name or JS is your sound-body; you and the sound-body are one; that is the power of sound or sabda.

Pronunciation of Mantra is important. What if somebody mispronounces your name as John Smythe? Would you answer the caller? The vibrations of deity-specific Mantra, when chanted according to the rules of Tantra, bounce off Yantra , go to the specific deity, gather power, blessings and boons from the deity and come back to the Sadhaka (chanter of Mantra), suffuse him with divinity and confer on him supernatural powers. Yantra = instrument, engine, apparatus, amulet with mystical diagram endowed with protective occult powers (Raksha Yantra). Yantra is a plate or paper on which geometric figures are drawn which concentrate the power of goddess. Yantra is the diagrammatic representation of a deity. Yantra can also be a three dimensional piece. Mantra (or Vidya), Tantra, and Yantra are complementary and necessary for supplicating the deity according to the rules of Tantra, bouncing the petition off Yantra, sending it on its way to the deity, and receiving the rewards from the deity.

The question comes up as to who devised these Mandalas (Yantras), the concentric configuration of geometric shapes. Here is an explanation. The west is of the opinion that the Hindu mind (brain) is wired differently. Let us compare Joe Schmo with Go Schlo. When JS goes from A to B, he forgets A and knows and thinks of only B. Not so with GS, who still remembers A and the present B and considers any other prospective point in the future. Both of them go to C, D, E, F, G, H, I, J,K,...Z in a random or sequential manner and come back to A. As JS goes from one point to the next point, he forgets the previous point and concentrates on the present one. But GS does not forget his previous point. If both of them take a random walk from point R to A to N to D to O to M, JS thinks only of his last point M; that is linear thinking. But GS thinks of

RANDOM, as if he has persistence of memory. Hindu thinking is nonlinear, clustery,

configurative, (progressive-conservative) according to Troy Wilson Organ. This persistence of memory is the basis for the concept of metempsychosis and making Mandalas. In modern terminology, it is connecting the dots. JS does not think his past life haunts him; GS thinks that his present life is a continuation of the past life. That is why GS keeps saying all day long, it is the past karma that haunts him at every turn (

When GS takes a walk right along the alphabets configured in a circular fashion, GS makes a Circle in the Mandala. If he walks on ABC, he makes a triangle. ABCD makes a square. Now you get the idea. This geometric thinking has to have a point of origin and point of return, which are one and the same in Bindu (the dot, the point, the seed). Bindu is that unique point from which all radiations connect all points in the compass, circle or Universe; that is global geometric thinking. That radiation from Bindu is the basis of Pravrtti, the evolution of the universe and beings. The return of all those radiations back to Bindu is the basis of Nvirrti, the involution of soul back to Bindu. GS knows where he had been, where he is and where he might go. That gave him the concept of the past, present, and future.

(Take the illiterate but intelligent Dabbawallas--lunchbox carriers--of Mumbai (Bombay) who operate pickup and delivery of lunchboxes on a color-coded system. The lunchboxes originate at disparate locations around Bombay, arrive at a central location (a railway station), undergo assortment and re-assortment depending on the color codes with no names on the lunch boxes and reach the office workers at their precise locations so that they can enjoy home-cooked meals. The process takes a reverse course and the lunchboxes come back home on the same color-coded system. It is no exaggeration to say that FEDEX system of collection and delivery mimics the practice of the century-old Dabbawallahs.)

ERODE Tamil Nadu India: Gangaram Lakshman Talekar, an unlettered person from Mumbai, delivered a lecture on management to professors and students in Erode on Friday, Jan 8, 2009 -- Hinduonnet.com

Speaking extempore in Hindi he said 3,500 people like him and another 1,500 with an average Standard VIII education had won Six Sigma certification for the company they are shareholders of: the Nutan Mumbai Tiffin Box Suppliers‘ Association.

The certification means an error margin of one in million and the association supplies tiffin boxes to office-goers in the metropolis.

He said the Association members, popularly Dabbawalas, could not afford to commit a mistake because a mistake meant a stomach went empty without food. Not only that a mistake had four consequences.

―The person for who the food was meant wastes time and money going to the nearest eatery and in the process invites his or her boss‘ wrath and the food from home goes waste,‖ he said and added that that‘s the reason the Dabbawalas had been successful in the business for over a century.

Five thousand of them deliver two lakh tiffin (200,000) boxes a day that too in time. And they return the tiffin boxes home, meaning there are four lakh (400,000) transactions a day. Not one mistake, though. Such is their precision and dedication to work that they did not have time for even Prince Charles, says Raghunath D. Medge, another Dabbawala.

―When the yuvaraj [prince] said he was interested to meet us, we welcomed him but made it clear that we could not afford to spare time to meet him because we had two lakh princes

[customers] to take care of,‖ he said and added the the former agreed and met them for 20 min at the Chathrapathi Shivaji Terminus railway station when they were working. He said the

association has a turnover of $ 10 million and maintains a strict discipline, which is also a reason for success.

The success has been so well recognised that Mr. Medge says that Dabbawalas are also engaged in ‗vidya dhan‘ (knowledge sharing) apart from ‗anna dhan' (something like Meals of Wheels). ―Our success has taken us to various management institutions within and outside the country and has also brought many more to us.‖

And in all humility the two Dabbawalas say they want to dedicate two of the Six Sigmas to the Mumbai suburban train service, another two to the bicycles they rely on for timely delivery and retain the rest.

The Indian place-system numerals spread to neighboring Persia, where they were picked up by the conquering Arabs. In 662, a Nestorian bishop living in what is now called Iraq said :

I will omit all discussion of the science of the Indians ... of their subtle discoveries in astronomy - discoveries that are more ingenious than those of the Greeks and the Babylonians - and of their valuable methods of calculation which surpass description. I wish only to say that this computation is done by means of nine signs. If those who believe that because they speak Greek they have arrived at the limits of science would read the Indian texts they would be convinced even if a little late in the day that there are others who know something of value.

Romans numerals, two, three, four, five, six, seven, eight, nine are double or multi-symbols. There was no concept of zero. See the table.

Most of the positional base 10 numeral systems in the world have originated from India, which first developed the concept of positional numerology. The Indian numeral system is commonly referred to in the West as the Hindu-Arabic numeral system, since it reached Europe through the Arabs. Roman numerals remained in common use until

about the 14th century, when they were replaced by Hindu-Arabic numerals. The Roman numeral system is decimalbut not directly positional and does not include a zero. The decimal Hindu-Arabic numeral system was invented in India around 500 CE. The system was revolutionary in that it included a zero and positional notation. It is considered an important milestone in the development of mathematics. One may

distinguish between this positional system, which is identical throughout the family, and the precise glyphs used to write the numerals, which vary regionally. The glyphs most commonly used in conjunction with the Latin alphabet since Early Modern times are 0 1

2 3 4 5 6 7 8 9.-Wikipedia.

Comparison of Hindu Sanskrit Numerals and Roman Numerals

१

२

३

४

५

६

७

८

९

०

1 2 3 4 5 6 7 8 9 0

TATTVAS-36. The whole Cosmos is represented in Sri Chakra made of 25 Tattvas (5 great elements + 5 Tanmatras + 10 Indriyas [5 motor and 5 sensory organs], + Mind + MAya + Suddha Vidya + Mahesa + Sadasiva). Devi is the creator, preserver and destroyer of the universe. She radiates innumerable rays. She is the Light of the Universe from which all lights are lit. If it is not for Her there is no light. Among Her many rays 360 rays in the form of Fire (118 rays), Sun (106) and Moon (136) radiate from her. She is Light in all the luminaries and She is the light in the eye and the heart. Time comes from her luminaries; the sun for the day, the moon for the night and the Fire between the two. 360 (365) days make a year. No one can take Kundalini through all the Chakras without the help of 360 Avarana Devatas residing in the Sri Chakra. Worship each one of them according to the established ritual.

Bindu = Seed, Semen, point, dot = விந்து (= vintu) in Tamil for seed or semen; Seed is also known as _{வித்து} (= vittu) in Tamil.

Here is how a Yogi makes a return (centripetal) journey to Bindu (Baindava) by subtracting all matter from his body and taking only his soul to Bindu, the goddess, the Essence or the

Fountainhead. (duality)

Savikalpa Samadhi = Philosophic meditation in which

sense of unity co-exists with the consciousness of the difference between the known, the knower and the knowledge.

There are two kinds of SamAdhi: Savikalpa SamAdhi, Nirvikalpa SamAdhi. Sa+vikalpa = Sa is a prefix and vikalpa means admission of distinction. Nir+Vikalpa = devoid of + distinction (absence of distinction)

samadhi [samaadhi]: advanced state of meditation; absorption in the Self; Oneness; the mind becoming identified with the object of meditation.

Savikalpa samadhi [suvikulp sumaadhi]: a state of concentration in which the distinction between the knower, knowledge and known is not yet lost.

nirvikalpa samadhi [nirvikulp sumaadhi]: the highest state of concentration, in which the soul loses all sense of being different from the universal Self, but a temporary state from which there is a return to ego-consciousness. See Apple, become apple. Meditate on Brahman, become Brahman.

As the mind of Sadhaka makes a journey from the outer enclosure to the innermost Bindu (the point), his body and mind become one with Sri Yantra; eventually body stays behind (body awareness is lost) and mind and spirit alone make the journey. The nine Avaranas are compared to the nine apertures of the body: two ears, two eyes, two nostrils, one mouth, one genital and one anal opening. (Of course, the females have one more separate opening above the vagina for urination--female urethra). Sri Chakra (Yantra) destroys lust, anger, jealousy, hatred, and other inauspicious qualities and their consequences. Sri Yantra is worshipped as if it is an idol or image. Each Avarana is populated by Saktis whose numbers correspond to the number of petals or triangles. There is one Yogini and one form of TPS (Chakra Isvari) in each Avarana. The petals and triangles represent qualities, organs, bodily functions, Nadis, transcendence of dualities, acquisition of spiritual knowledge. The Yogi with the help of Saktis leaves the mundane world, the body, its attendant functions and qualities and the mind rises to a spiritual level ready for Samadhi. This spiritual experience parallels with the rise of Kundali through the Chakras. The aim is to attain union and become one with the deity (Bindu). When you think of apple, you become the apple. Your entire being becomes the body and essence of the apple. There is no cognitive difference between you and the apple. That is Samadhi.

Samadhi [Samaadhi]: advanced state of meditation; absorption in the Self; Oneness; the mind becoming identified with the object of meditation.

http://shivashakti.com/shrichak.htm gives details about Sri Chakra Nyasa.

The yogi invites the deity into him by meditation. Once he has the deity (divinization of his body) in him, he transfers the deity to the Yantra by Mantra, Pranapratistha, and Mudra. Nyasa (digital pressure) is impressing of the body with fingers and mental appropriation or assignment of various parts of the body to the Deity. (By Nyasa, the Yogi seeks descent of the deity to the head, eyes, the limbs... and protect them. Consider it as divine protection. It is like the actress who insures her body, limbs, voice....) Consider it as a painless form of acupuncture without needles (Digipressure, digital pressure) that infuses divine power where the fingers apply pressure. Here you do not use Acus (needle as in ACU-PUNCTURE) but digits come in handy for application of touch and pressure. Digital application (Nyasa) is accompanied by chanting of Mantra, visualization of specific Devata and Bija (seed) Mantra. Sequential touching of the body parts in a geographic progression depends on the type of Nyasa.

Once Nyasa is complete, the worshipper transfers the divinity from inside him to the Yantra, which is known as Avahana (invitation). By Mudras (gestures), he infuses life into Yantra (Pranapratistha). Mudra is the language of the body, hands and fingers as a means of

communication with the deity. The basic principle is not different from Sign Language for the hearing impaired. Once the worship is over, the deity is dismissed from Yantra (Visarjana or Udvasa) by Samhara Mudra (expressive gesture of dissolution). Visarjana = discharging,

dismissal. Udvasa = leaving empty, uninhabited. The idea of invitation and dismissal of divinity with regards to Yantra sounds apparently ridiculous (on the surface) because goddess is

everywhere and She does not need invitation or dismissal. Avahana and Visarjana are confirmation of her presence in all of us, Yantra and everywhere.

Here is one of the Mudras (sign language) used during worship. (correction: The right palm should be on the top.) When the Sadhaka does the Matsya Mudra (Fish Pose), he invokes Brahman's bliss into the water, or wine in the case of Tantrics. The bliss in water will give him the bliss.

1 At Bhupura level, Tattva Suddhi (purification of building blocks of universe and body) takes place. Purity of body, elements and spirit assures easy journey. It involves 1) purification of pentads by uttering their names: first pentad, the five breaths, Prana, Apana, Vyana, Udana, and Samana; 2nd pentad, earth, water, fire, Air and Ether; 3rd pentad, Prakrti, Ahamkara (ego), Buddhi (intellect), mind, ears; 4th pentad, skin, eyes, tongue, nose, word; 5th pentad, hand, foot, anus, generative organ, and sound; 6th pentad, touch, taste, form, smell, ether; 7th pentad, air, fire, water, earth, soul. The Sadhaka declares that he is 1) Joythi (Light) and sinless and continues with 2) Tattva SvIkAra (appropriation or absorption of Tattvas; 3) Bindu SvIkAra (absorption of Bindu). The idea of all this is that the elements are purified and absorbed; this is involution. When the yogi goes from matter to Spirit in the Central Bindu, he cannot go there with a material body. The matter dissolves and the spirit rises. Siva's Consciousness works through Sakti in creating this world of souls, their consciousness and body and matter. When the souls make a centripetal journey to Sakti, all these have to be absorbed or given up so that the Spirit alone goes to the central Bindu. Six parts of the body of Devi at the four corners of the Yantra square are worshipped with Mantras followed by worship of Gurus and Kula Gurus. Six parts of body of Devi = Sikha (tuft or knot of hair on top of head), head, heart, the three eyes and two sides of the palm. Worship is offered to Indra and Dikpalas

(guardians of directions, Indra, Agni, Yama, Yaksa, Varuna, VAyu, Kubera, Isana, Brahma

and Ananta who carry weapons: Vajra, thunderbolt; Sakti, fire power of Vahini; Danda, staff; Khadga, sword; PAsa, noose; Ankusa, a hooked goad; GadA, mace; SUla, spear or trident; Padma, lotus flower; and Chakra, discus.

Sadhaka =

=

VAmA-Brahma abides in the navel guarding the East; Jayestha-Vishnu in the heart guarding the North; Raudri-Mahesa in the head guarding the west and Ambika guarding the south. Ambika, Mother Goddess is Her own Sphurana (manifestation; throbbing or

breaking; bursting forth; vibration). Her creative Sakti saw her own manifestation. The worshipper prays to these deities in East-North-West-South order.

The fire god (Vaisvanara, the son of Visvanara, the benefactor of all men) is invoked and invited with mantra, "come here, stay here, fix yourself, face me, be detained." This is followed by worshipping the eight forms of Vahini (fire god's other name). Vahini = bearer or carrier of oblations to gods.

The eight forms of Vahini (Fire): 1) JAta Veda = all-knowing; 2) Saptajihva = seven-tongued; 3) Vaisvanara = son of Visvanara; 4) Havya-VAhana = oblation carrier; 5)

Asvodaraja 6) Kaumara Tejah = the fire from which Kumara or Kartikeya, son of Siva and

Parvati was born; 7) Visvamukha = the mouth of devourer of the universe; 8) Deva Mukha = the Mouth of Deities to whom fire carries oblations.

Asvodaraja: Fire in the Mare's mouth. It is the Fire and smoke that emanate from the bowels of the earth. Fire in the Mare's mouth: A classic example of Fire in Mare's Mouth is the fire that burns in the coal mines in Centralia, Pennsylvania since 1962 along Route 61. It is still burning. Centralia is a ghost town now with fire, smoke, fumes and gases

emanating from below in the abandoned coal mines, backyards, streets and houses. I am not sure whether the term Asvodaraja refers to another form of Fire, Valcano.

Fire and Fuel are anthropomorphized as the head of a person: the fuel is the ear; smoke is the nose; dim flame is the eye; the head is the glowing coal; the light flame is the tongue of fire. --Woodroffe.

After the invocation of Fire, the worshipper meditates on Ida, Pingala and Susumna Nadis and utters Gayatri mantra. Kundalini Power. GAYATRI.

By now, he has become one with the Fire and Devi. By making Samhara Mudra, he invokes the transfer of Devi from the Fire to his heart. The fire oblation (Homa) is complete and the

worshipper takes the ash from the cinders and puts it on his forehead.

Once the Fire Ceremony is over, Japa (muttering prayers) is done with the result, the Deity, the Guru and the Mantra become one and are realized as one. Devata is the mantra and the Guru too; success is his or hers when one considers all three as one. The worshipper shrines the Guru in his head, the Deity in his heart and Mula Mantra in the form of Tejas (Light and energy) on his tongue. Now he attains the glory of all three. He worships the rosary and asks for success in Siddhi. Japa and Pranayama (breath control) follow with offering of Japa to the Deity. Then the Sadhaka makes circumambulation always keeping the Deity on his right hand side and making

Atma Samarpanam (dedication of his self to the deity) by the symbolic offering of water (self) to the deity at her feet (Sixty to seventy percent of our body is made of water; thus water is the stand-in for the body for dedication.) This procedure is Vilomarghya (reversed offering of water) because water is usually offered at the head of the deity. Before Atma Samarpanam, he utters mantra that declares the dedication of his vital airs, mind, thought, word, and deed during waking hours, dream sleep, deep sleep done by hand, feet, stomach, generative organ to Brahman. He submits (dedicates) himself and what is his at the lotus feet of the deity. Om Tat Sat. He supplicates, further declares his worshipful devotion and begs for forgiveness for any lapses in procedure and the trouble he caused to the deity. He bids farewell to the deity and performs Visarjana (dismissal) which reposes her in the eight-petal lotus in his heart, which is symbolized by taking the flower, smelling it and putting it on his heart. He offers Naivedya (food offerings) to Brahma, Vishnu, Siva and other deities and later his Guru, Guru's wife, and his wife to eat. Still later, he and the family members consume the Suddhi--wine, meat, fish, grains... Service and offering go down in a hierarchical fashion, spiritual seniors first, juniors last. Imbibed wine amounts to five cups or just enough before the mind, sight or body is

affected. Just enough water is used to clean the hands. Lastly he applies the ash from the fire pit on his forehead.

in number. The Yoginis are of nine classes appearing in the nine Chakras of Sriyantra in the centripetal direction. They are PrakatA, GuptA, GuptatarA, Ati-GuptatAra, Kula-kaulA, NigarbhA, RahasyA, ParA-RahasyA, ParapararahasyA. The first in the outermost Avarana is called Trailokya Mohana; the last in the innermost avarana is SarvAnandamaya.

The Devatas in the Avaranas from the outermost to the innermost are Tripura, Tripuresi, Tripurasundari, Tripuravasini, Tripurasri, Tripuramalini, Tripurasiddha, Tripuramba, and Mahatripurasundari.

The Chakras in the same order are Trailoka Mohana, Sarvasaparipuraka,

Sarvasamkshobana, Sarvasaubhagyaprada, Sarvarthasadhaka, Sarva Rakshakara; Sarva roghakara; Sarva siddhiprada, and Savanandamaya.

Please refer to pages 121 to 122 in The Great Liberation by Sir John Woodroffe for the specific names of Yoginis (Saktis) in the petals in the Avaranas.

the round of 16-petal lotus Kundalini Power

Jayestha

There are two kinds of SamAdhi: Savikalpa SamAdhi, Nirvikalpa SamAdhi. Sa+vikalpa = Sa is a prefix and vikalpa means admission of distinction. Nir+Vikalpa = devoid of + distinction (absence of distinction)

samadhi [samaadhi]: advanced state of meditation; absorption in the Self; Oneness; the mind becoming identified with the object of meditation.

Savikalpa samadhi [suvikulp sumaadhi]: a state of concentration in which the distinction between the knower, knowledge and known is not yet lost.

nirvikalpa samadhi [nirvikulp sumaadhi]: the highest state of concentration, in which the soul loses all sense of being different from the universal Self, but a temporary state from which there is a return to ego-consciousness. See Apple, become apple. Meditate on Brahman, become Brahman.

In Savikalpa SamAdhi (imperfect), there is an awareness of Triad: the contemplator1 (object) and the Contemplated2, the Subject and the process3 (In Hinduism God or Goddess is always the subject, the votary is the object); in Nirvikalpa (perfect) SamAdhi, the distinction disappears. The yogi becomes one with the One, the Brahman, who is One-without-a-second. The second SamAdhi is deeper than the first; in the first, one gets to enjoy bliss or ecstasy knowing fully well there is a chasm between the yogi and the Brahman. The first phase can go into the second phase. In Savikalpa samAdhi, the consciousness of the yogi is aware of its proximity to the Brahman, the self-awareness (individuality) is still present, and the yogi experiences bliss and ecstasy. In Nirvikalpa SamAdhi, the distinction between the yogi and the Brahman disappears, they become one (absorption of the yogi into Brahman takes place) and the yogi experiences bliss and ecstasy. Distracted mind, stray thoughts, ―astringent, sharp (Kasaya) reminiscences,‖ (simply put, an audiovisual tape running in the background of the mind), dreamless sleep, and Savikalpa samAdhi are the obstacles to Nirvikalpa samAdhi . Why is Savikalpa samAdhi an obstacle? This is so because the yogi is an enjoyer and wants to keep on enjoying the juice (rasa) of bliss. Still the mind has not crossed the subtle line, boundary, space or chasm between nearness and a total assimilation, union, absorption or merging. The

assimilation is similar to the wave falling into the ocean and disappearing. This cessation of action and motion in Nirvikalpa Samadhi is called Uparama. (There are five modification of mind, Pramana, Viparyaya, Vikalpa, Nidra and Smrti. Pramana = Correct notion, correct knowledge, true conception, comprehension. Viparyaya = inverted notion, perverse idea, misapprehension. Vikalpa: conceptualization. Nidra = sleep. Smrti = memory.)

The temple in the form of Sri Chakra or Yantra was designed by the founder of Devipuram, Dr. N. Prahalada Sastry (b. 1934), a former university professor and nuclear physicist who left a successful 23-year career with the Tata Institute of Fundamental Research in Mumbai to begin work on the Devipuram temple in 1983. http://en.wikipedia.org/wiki/Devipuram.

Devi Kamakshi gave several visions to Guru Amritananda (Dr. Sastry) to construct the Sri Chakra Meru Temple in Devipuram. It is the only temple in the world in perfect Sri Chakra Meru form with life size idols of all the 108 Devees of Sri Chakra. Lord Shiva created 64 Yantras and 64 mantras of various deities to attain various objectives and siddhis. For His consort Devi, He created the Sri Yantra and the Shodasi Mantra which is the equivalent of all the 64 put together. That is why the Sri Yantra is called Yantra Raja and the Shodasi Mantra is called Mantra Raja. The Devi resides at the central bindu of Sri Yantra along with Lord Shiva. There are another 108 Devis in the 9 avaranas. All the 8 Lakshmis, Saraswati, the Nityas, the Yoginis and in fact every Devi controlling each and every aspect of our life and the world reside in the Sri Yantra. In 1994, during the inauguration of the a temple a bright ray of light from the sky blessed it. http://www.astrojyoti.com/pujasatdevipuram.htm

Here is the youtube link on Srichakra and Khadgamala Goddesses in Devipuram http://www.youtube.com/watch?v=_dM-PXUOKpY

Here is a newspaper report on Devipuram.

http://www.hindu.com/2005/07/13/stories/2005071304010200.htm

If you want to draw Sri Yantra on a paper, here is the site that explains the method. http://tripuraastro.com/AboutTrust/SriYantra.aspx

In answer to a query by Sage Narada, Narayana says the following: Bhuta Suddhi is done by sprinkling water with Mantra (AstarAya Phat). Puja is continued. Worship the seat where the Devi will be placed. Meditate on Devi. Offer a seat to Devi. Bathe the Devi with water of Panchamrita. Ritual ablution of Devi with 100 jars of sugarcane juice will release the person from taking birth again on earth. They receive benefits from Lakshmi and Sarasvati. Bathing Devi with grape juice with participation of friends and relatives guarantees a life in Devi-loka for as many years as there are atoms in the juice. Likewise Devi is given a bath with water scented with camphor, aloe, saffron, musk with the result all sins of one hundred births are expunged. Ritual bathing of Devi with milk assures the devotee to live in Milk Ocean (Ksira Samudra) for one Kalpa. Ritual bathing is symbolic and esoteric, meaning flow of liquid currents in your body keeping you in spiritual health. Liquid flow is life; stagnant liquid is death. If one writes the Mantra of Maya, Hrim Bhuvanesvaryai Namah with red sandal paste thrice on Vilva leaf and dedicates it to the feet of Devi, he will become Manu. Worshipping Devi with ten million spotless Vilva leaves becomes the Lord of the entire universe. The central meaning of all these rituals is that worshipping Mother Goddess is essential for prosperity, edification, spiritual health and eventual liberation. Vishnu (Narayana) says that he attained Vishnuhood and became

Vishnu because he worshipped Devi, the Mother Goddess with one hundred million of Mallika and Malati flowers smeared with eight scents. Sri Mad Devi Bhagavatam, Book 11, Chapter18, V 1-40.

Mantras or Vidyas awaken the superconsciousness, instill knowledge of the Self and help liberate the soul. Sri Vidya Mantra is a string of fifteen syllables without any meaning based on Sanskrit letters and sounds" ka, e, i, la, hrim, ha, sa, ka, ha, la, hrim, sa, ka, la, hrim. (For the sake of illustration, here is what an English seed Mantra or Vidya looks and sounds like : k, e, l, h,s,h... or Greek Mantra: alpha, beta, gamma, zeta...) On the other hand Gayatri Mantra carries meaning. Here it is:

Gayatri, the sacred mantra of 24 syllables, is recited by Brahmanas in their daily worship. All castes, classes, races, and followers of all religions can chant this Mantra. It has universal appeal and no religious or sectarian accretion. When Gayatri has not been sung for three generations in a Brahmana family, the family loses its privilege and caste status and ceases to be Brahmanas. They still retain the Brahmin status; it is one or several notches below the real entity. Vaidika (Sanctioned by Vedas) Gayatri is a seed mantra and the Vedas are ensconced in it. Vaidika Gayatri: Om bhur-bhuvah-svah * tatsavitur varenyam * bhargo devasya dhīmahi * dhiyo

yo nah prachodayāt— Om, earth, atmosphere, and heaven, we meditate on the adorable glory of the radiant sun; may he inspire our intelligence—translation by Dr. Radhakrishnan. Sandya (junctional [transitional time zones] prayer—sunrise, noon and sunset) is performed three times a day. Now let us read the translation of Gayatri Mantra by Woodroffe: "Om, let us

contemplate upon the wonderful spirit of the Divine Creator of the terrestrial, atmospheric, and celestial regions. May he direct our minds (towards the acquisition of Dharma, Artha, Kama and Moksa)."

The presiding deity of Gayatri is Supreme Brahman, Devi, Vishnu, the Sun, or Saguna Brahman. It is suitable for all asramas

Asrama = from verbal root sram, meaning spiritual exertion. a monastery. four ages of man for spiritual development: Brahmacharin, Grihasta, Vanaprastha, and Sannyasa: 1) the student, 2) the householder, 3) the forest dweller, 4) the recluse.

Seed Mantras without any meaning are the basis of Mantras with meaning; the latter incorporate the seed or seeds (Sanskrit alphabets) in body of Mantra words. A, P, P, L, E have no meaning, while APPLE has meaning and is something into which your can sink your teeth; yes, A has meaning, but you can't bite and savor it.

The following explains the origin of Mahavidyas. Jagadamba defies Siva.

Daksha, a secondary creator (Prajapati) born of sexual union between Brahma and Aditi, was one of the ten sons of Brahma. Brahma‘s first and only mind-born sons were averse to sexual

reproduction and therefore Brahma out of frustration fathered Daksha, who willingly carried out his father‘s legacy of sexual reproduction. Daksha means right and is cognate with Latin Dexter.

Daksha, Vasistha, and Marici held a great sacrifice for which they invited all gods, demigods, celestials, gurus, munis and sages including Siva, Brahma, and Vishnu. When Daksha walked into the assembly hall, all except Siva rose and applauded Daksha, who was so offended by the sensed slight that he fumed and fulminated against disrespectful behavior of Siva, who was married to Daksha‘s daughter Sati, also known as Dakshayini. Brahma, Vishnu and Siva are hierarchically superior to Daksha, but Daksha felt that he deserved respect from his son-in-law, Siva, who wears russet hair, matted locks, a moon on his head and a snake around his neck. Daksha did not have a good opinion even before the sacrifice, because Siva looked poor by external appearance. There is a reason for it. Siva does not own anything, not even a house (He lives in the frigid Kailas in Himalayas, no heat to keep Him warm); He does not even have a family name (Akula--He is not Sakti; He is self-born according to Saivites) He is a Yogin and Vairagin, One who has no desires, possessions. Who wants a son-in-law like that? One of his devotees, Sundarar, calls him Pitthan (பித்தன்), the mad One, out of deep love and devotion. Out of spite, Daksha called Siva names: spoiler; mental dwarf; a refuge of the refuse, destitute and poor; boorish demigod; monkey‘s eyes; a kindred of Sudra unfit to learn Vedas; a

crematorium-dweller; wearer of a garland of skulls and bones; sloven. Daksha regretted his decision for having given his daughter in marriage to Siva on the recommendation of his father, Brahma. Daksha washed his hands and mouth and proceeded to pile some more insults on Siva. Daksha performed sacrifice to increase the material prosperity of the world. What is wrong with that? Find out later. Siva was a 'renouncer' and wanted no part in it. Daksha left the assembly

hall abruptly in a fury against the advice of Brahma and other gods. Daksha did not let Siva savor the oblations of the sacrifice. Nandisvara, Siva‘s close associate was angry with Daksha for the egregious treatment of Siva. Nandisvara spoke to the assembly, saying that they who took part in the sacrifice were materialistic (Faustian devils), considered body superior to Soul, the repository of transcendental knowledge and therefore, would lose that sacred knowledge. He further said that since Daksha considered body superior to soul and celebrated sex life over spiritual life, he would soon acquire face of a goat. (Remember, the Rocky Mountain goats fight over females, who huddle together and watch the ramming heads with blithe bleating mirth.) They who have vidya-buddhi, avidyam, and karma-mayam (material knowledge, ignorance, and delusion of karma) would be castigated to a life of repeated births and rebirths. Nandisvara cursed all the deviant Dvija-kulayas (the twice-born Bahmanas) for their materialistic pursuits in performing the sacrifice, by saying Brahmanas of the genre – sale,

Vedas-for-livelihood—would be wandering beggars, glorifying wealth, creature comforts and satiation of senses. Bhrgu Muni came on the stage and dished out counter-curses: Siva followers were heretics. Siva left the assembly hall without uttering one word in protest. He is God. Why would He protest? Only the weak protest. Years passed without incident. Puffed with false airy pride, Daksha arranged another sacrifice; this time he did not invite Siva, which is against all canons of sacrifice—no sacrifice was and is complete without Siva. Daksha‘s daughter, consort of Siva, heard the news over the celestial grapevine. She saw finely clothed celestials and their consorts whisk by in aerial cars on their way to Daksha‘s sacrifice. Sati felt left out for she wanted to meet her mother, sisters and their consorts at the sacrifice, which was the place to be then. She pleaded with Siva for permission to attend the sacrifice. Siva tried to reason with her as follows:

Daksha‘s wickedness, lack of judgment, and failure to see the greatness of exalted Souls

compromised and canceled his learning, austerity, wealth, beauty, youth, and pedigreed heritage. They (Siva and Sati) should not visit Daksha clouded by poor judgment, suspicious mind, and anger. He dissuaded and forbade her from attending the ceremony, for he foresaw death of Sati and Daksha, the latter inflicting indignity on Siva, the Supreme Being, the Lord of the Universe (Isvara = ஈஸ்யபன்).

Sati became very angry with Siva for refusing her permission to attend Daksha's sacrifice. Sati came to a conclusion that Siva being her husband was drunk with vanity and transformed herself into a terrible aspect of Sakti, Jagadamba with the idea of smashing the vanity and pride of Her husband, Siva. Her eyes were red blazing with fire of anger. Jagadamba thinks in her mind: I obtained Siva as my consort standing on my intrinsic virtue and after a long Tapas (austerities). On the stage of the universe, Siva plays my husband and my father Daksha plays Prajapati. Both are arrogant, vain and proud. I shall abandon both of them, retire and revert to My own state, Kaivalya (the fifth state in which mind comes to a standstill and becomes extinct, when the Self abides alone with its nature; blissful state of splendid isolation; [wakefulness, dream sleep, deep sleep, Turiya are four states.] Turiya = 4th state, union of soul and Brahman, Nirvana, Loss of brain-mind consciousness, Oblivion to the outside word, ego operates in physical and not spiritual consciousness). I will make sure in my next birth as Parvati, Himavat's daughter, that Mahesvara (Siva) in the name of Sambu begs to marry me. Thus thinking, Jagadamba, the daughter of Daksha and Consort of Siva-Mahesvara opened her eyes spewing fear and illusion which overpowered and deluded Siva. Her lips parted from the stillness of tranquility to the half-open derisive pouting anger; the eyes were aflame. (Closed [opposing] lips are symbolic of togetherness of Siva-Sakti, a conjoint seed; moving lips are symbolic of Mithuna (coition) as

movement while chanting a mantra; parted lips are symbolic of dissociation between Siva and Sakti.) Mahesvara became deluded, and was scorched by the flame of anger emanating from her eyes. Suddenly she bared her fang-like teeth, opened her flaming mouth and uttered a booming loud laugh which struck Siva like a thunderbolt rendering him paralytic. He could barely open his third eye from paralysis of fright and sound of laughter echoing in his head and saw the fiercest form of Jagadamba. Could she be really his loving consort, he wondered? When he cast his eyes on her, her golden complexion lost its luster, and became pitch-dark like collyrium (Anjana). There she appeared clad in space; her hair was unruly; her tongue was lolling out of her cavernous mouth; her four hands were flailing all over. Her countenance was etched in fright; she was fuming with fury; she was enveloped by lust; she was drenching in sweat; she wore a garland of skulls; her speech and laughter were like talking thunder; she wore a crown and a crescent moon on her. On seeing the Tejas (razzle-dazzle) of her appearance, Mahadeva's self-control was losing its hold on him, fright crept on him, and his feet wanted to take a flight. Daksha's daughter noticing the signs of fright and the impending flight, thundered reverberating peels of laughter and bellowed, "Do not Fear." Mahesvara's fright heightened in full throttle and his feet took flight in all ten directions in heaven. (Ten directions are N; NE; E; SE; S; SW; W; NW; Above and Below.) Suddenly Jagadamba became mellow with compassion for her

husband. She assumed the form of ten Mahavidyas blocking his exit in ten directions; each form of Jagadamba was different but not any less frightful. Mahesvara ran hither and thither, trying to run away from the terrible Jagadamba. Whichever direction he ran, Jagadamba was standing in front of him blocking his exit; nimble Jagadamba simply outran Mahesvara. Knowing that He cannot outrun (his consort) Jagadamba, He sat down on earth in failure, frustration and

exhaustion, and momentarily shut his three eyes, opened them soon and found Syama standing in front of him with face like a lotus blossom, with large turgid breasts, wide eyes, unkempt hair, four hands, and an effulgent black body bathed in ten million suns. She was facing south as heavenly Daksina. Mahesvara questioned her as to who she was and where His consort was.

Syama = black, another name for Siva's consort.

Devi answered: "My Lord Mahadeva, I am Sati, your consort. Don't you know me? Why do you look so confused."

Siva replied: " You look black and induce fear in me, unlike Sati (who is white). Who is this terrible being who stands in my way in all ten directions? You don't look like Daksa's daughter and my consort, Sati."

Sati-Syama in the form of Jagadamba replies: "I am subtle beyond speech and comprehension. I am Sati, your consort. I don't mean any harm to You. I was born a daughter of Daksa and performed penance to obtain You as my husband. (Actually, Sati was the adopted daughter of Daksa.) I have assumed this form to destroy Daksha's Yajna. I was trying to block Your exit only out of love for You."

Siva said: "Forgive me, O Paramesvari. I said many unkind words to you. The great illusion blocked my vision. Tell me now who these ten fearful forms are."

Sati in the form of Jagadamba replied: "O Mahadeva consider yourself as the center; in front of you are Tara and Kali, the former above the latter; behind you are Bagala below Bhairavi; to

your right is Chinnamasta; to your left is Bhuvanesvari; to the northeast is Shodasi; to the southeast is Dhumavati; to the south west is Kamala; to the northwest is Matangi."

All these forms destroy the fear of Samsara (birth and rebirth). These ten forms are the best among the 90 million manifestations of mine. Sadakhas worshipping my ten forms get Dharma, Artha, Kama and Moksa and also powers of causing Marana, Ucchatana, Ksobana, Mohana, Dravana, Stambhana and Vidvesana. These Mahavidyas are to be kept secret. You reveal Agama Sastras from your mouth. Agama and Veda are the two arms by which I support this universe. Vaishnavas worship the ten Mahavidyas with their heart abiding in me. My intention is to

destroy my father's Yajna with your permission; you should let me go to the sacrifice." (Sati was upset with her father Daksa, because he did not invite her husband Siva and her for the Yajna. Yajna is not complete without the presence of Siva. Yajna is sacrifice and an essential element is the sacrificial fire (the divine Agni) into which oblations are poured, as everything that is offered in the divine Agni is believed to reach the Devas.--Wikipedia.).

[Artha (wealth), Dharma (Righteousness), Kama (desire), and Moksa (liberation)]. Marana (death), Ucchatana (ruining an adversary), Ksobana (causing agitation), Mohana (causing confusion), Dravana (Putting to or instigating fight) , Stambhana (Immobilization and

paralysis),and Vidvesana (Stirring up hatred)

The above appears to be a good strategy in war. Nobody could have written a better manual of stratagems. Did Mahavidyas get credit for them?

Before her departure, she withdrew into her all ten forms out of which Ambika emerged. Another source tells that Tara merges with Kali and others simply vanish. Another source tells that Sati asks the Mahavidyas to attend to Siva in her absence, while she is away to Daksha's sacrifice. Students of Saktas (worshippers of or Sakti or Mother Goddess) point to the power and restraint Mahavidyas pose on Siva, thus, showing her to be a superior power. Saktas believe in Mother Goddess. Western analytical minds portray a picture of Sati as the victim of spousal and parental abuse and neglect, in that Daksha did not invite his daughter Sati for the sacrificial ceremony and Siva did not grant permission to His spouse Sati to go to the sacrifice. This is man analyzing and judging god and goddess. This is superficial and proximate thinking on the part of some minds; the deeper meanings and the internecine feuds and disputes among gods to bring forth a moral lesson to man does not even register in their minds. Siva and Sakti are one and each needs the other to form one whole. Sakti is not sequacious; Siva without Sakti is sava (dead); Sakti (Power) without Siva has no Consciousness. Siva being the Yogi of yogis foresees death of Daksha and Sati, if Sati were to attend the sacrifice. There is no spousal neglect or abuse in prevention of death. Daksha was a lout among the celestials because he offered sacrifice for the rise of wealth over spirit, when the embodiment of spirit, Siva, was not invited and every sacrifice demands the presence of Siva and offering of holocaust (burnt offerings) to Siva. Daksha never liked his son-in-law, Siva, because he was poor, smeared himself with ash, and wore animal skin and matted russet hair.

The West suggests that there is a twist in the Daksa' sacrifice. Daksa was the follower of Vedic religion. The Siva devotees at that time were the Pasupatas on the rise, who the West says were subversive and disruptive. The destruction of Daksa's sacrifice was symbolic of growing importance of Saivism and Pasupatas, and the denigration of Vedic religion. According to legend, Rudra, a form of Siva created Pasupata Saivism when He destroyed Daksa's sacrifice. Pasupata sect opposed the Vedic Caste System and was supported by wise men. Pasupatas were the forerunners of Agamic Saivites. At human level, Lakulisa before the 6th Century was the founder of the Pasupata sect, which was mostly the sect of ascetics and Yogis. The householders had only to utter Siva Mantra Namasivaya to adhere to the sect. The ascetic is naked except for a piece of cloth covering his private parts. He was smeared with ash all over his body, did

austerities among the five fires. He meditated in the temples. Once his guru declared he attained maturity, he was allowed to practice antinomian behavior, which included shouting obscenities, lewd gestures at women, idle prattling, pretend sleep, loud snoring on purpose and such anti-social behavior. The idea of this wild behavior was to invite abuse which eventually transferred good merits from the abuser to the ascetic victim. Though the Pasupata ascetic was allowed to exhibit extravagant lewd gestures and his upright assets, he was to remain strictly a

Brahmacharya without any private verbal or physical encounter with women. Most of the ascetics were of normal behavior though they were allowed by the Guru to practice such acts. Society and some Puranas were putting the breaks on this kind of behavior.

The ten Mahavidyas have each a function. For painting and depiction of Mahavidyas go to link http://www.kheper.net/topics/Tantra/Mahavidyas.html

Madhubani Painting on Hand Made Paper treated with Cow Dung Artist Dhirendra Jha

The universe pulsates with the energies of the ten objects of transcendental knowledge, the Maha-vidyas. The people of Mithila consider them the source of all that is to be known. This description by Renu Rana (for exoticindia.com).

Divided into ten equal spaces, each space houses one of the goddesses. The first goddess is Kali, the consort of Siva. Terrifying in her appearance, she is seen dancing on the supine body of her husband. Tara is quite like Kali in appearance, wearing a tiger skin around her waist, a pair of scissors in her hands. As Chinnamasta, Kali feeds upon her own blood drenching the positive and negative aspects of herself. Next she appears as a sixteen year old young maiden, followed by Bhuwaneshvari. Bhairavi is brilliant like the rising sun, has three eyes, wears a jeweled crown and various ornaments and also hold a rosary and book in two hands. Dhumavati is ugly, holding a winnow basket in one hand. Bagalmukhi‘s image is beautiful and she is associated with

magical powers. Matangi is worshipped to gain magical or physical powers. Kamala is resplendent like the sun. She is none other than goddess Lakshmi.

The following is commentary from the author, Krishnaraj. Mahavidyas represent the Total Woman in all aspects.

Western authors try very hard to establish a link and commonality among the Mahavidyas. They have many questions and concerns. Why are they called Mothers, when they have not given birth to children? To a devout Hindu, all females including his spouse and daughter is a mother. How old are the Mahavidyas? They know Sodasi is sixteen years of age. Are they sisters? Do they represent different stages in the life cycle of a woman? Do they hold the portfolios of creation, maintenance, and or destruction. Are they personification of Gunas: Sattva, Rajas, and Tamas? Yes, they found Sattva in Sarasvati, Rajas in Lakshmi and Tamas in Kali. Since Sattva is white, Rajas red, and Tamas black, they tried to paint them with colors. Sattva is Virtue, Rajas is motion and passion and Tamas is darkness. They try to categorize them by virginity, beauty, and terror. It appeared that most of them had all the qualities in different combinations. How could they be virgins if they declare themselves as the mother of all beings? That could be a question for them. (Think of Virgin Mary.) They tried to categorize them by qualities of ferocity and peace. It did not work out well. Usually deities have mountains, streams, and rivers named after them; Mahavidyas have no such association; that was a disappointment. Though they are called Mothers, they are not fecund in the ordinary sense; yet they are ten in One who is the Mother of all beings. Kali is addressed as Mother Goddess. Are they married? Yes, they have a weak connection with Siva, according to the western view. It worries a few that Kali and Tara have planted their feet on Siva. Tripura Sundari sits on a couch whose legs are Siva, Vishnu, Brahma and Rudra, whose mattress is Sadasiva, and whose pillow is Isana. How could TS treat the gods as furniture? Remember the human pyramid in Abhu Ghraib. Even Lakshmi in her capacity as a Mahavidya and Gajalakshmi stays far away from Vishnu and yet sits on a lotus flower flanked by showering elephants.

Their portfolios do not particularly address creation, maintenance and destruction, though in reality they (goddesses) are Nirguna Brahman. It appears that Mahavidyas shed their connection with Siva and Vishnu; it beguiles the curious west that such independence exists among the Mahavidyas. When they are with their consort they are either standing or sitting on Him. (Think of Virtus standing on evil man; KALI. Here some of Mahavidyas stand on their common consort Siva as a mark of defiance. You saw faded photos of a Maharaja or a British Civil Servant holding a rifle and keeping one foot on top of the tiger he killed with the rifle from a perch on a tree. I wished they dropped their rifle and fought with the tiger hand to paw.) Viparita Mithuna (reverse coition or female-superior position) is astonishing; that is for those who are not familiar with Kama Sutra or Biblical Lilith.

Bible says that Adam had two wives, the first one, Lilith and the second one, Eve. Lilith in her wisdom thought that Adam and she are equal and thus refused to sleep with or serve 'under him' in their consortium. Adam insisted on male-superior position, which upset Lilith and so she flew away from Eden and consorted with demons, conceiving by the hundreds every day. (No wonder the demons of today are her progeny.) God could not persuade Lilith to come back to Adam and so made Eve from Adam's rib to be his second wife. (The west may demand to know whether Adam and Eve were siblings.) Lilith was upset at being branded an ogre. Lilith morphed into a serpent and slithered into the Garden of Eden and tricked Eve into eating the forbidden fruit from the Tree of Knowledge of good and evil. From that moment on, humanity was going downhill. Hindus call this era, Kaliyuga. The erstwhile wise Biblical serpent of wisdom and rebirth was downgraded because of its trickery on Eve and Adam and thus on mankind. Adam, to begin with, was a strict fruitarian as the ancient Seers, Rishis and Ascetics of India, who picked and ate only fallen fruits. God created Adam from the dust of the ground and breathed into his nostrils the breath of life, causing him to become a living soul. Hindus call it Prana, the breath or the vital airs that drive every organ in the body. God created Adam on October 20, 4004 BC at 9.00 AM; he lived for 930 years and died in the year 3074 BC.

The modern woman is well groomed, polished, painted, pampered, and powdered. Look at the Mahavidyas. They roam around in the cremation grounds; their hair is disheveled; they wear skulls for a garland; they run around naked; their fierce and gaunt appearance do not appeal to the west, though they confer boons to their devotees. Some seem to have a perverse curiosity without understanding of the essence of the message.

Among Tamil Alphabets, Siva is the consonant or body-letter, while Sakti is the vowel or life-letter; thus, Siva's body and Sakti's soul make Siva-Sakti. Without Siva-Sakti, there is no speech. The talk of supremacy of Sakti over Siva is on the tongue of everyday Tamil speech: "(If you can't do it), be like silent Siva (and let Sakti do the job)." Siva is sava (dead) without Sakti; He is the inert foundation of a canvas on which Sakti paints (and also is) the picture of matter, life, support, growth, death and renewal; He is inert and She is dynamic. But there is no painting to look at without canvas.

They represent the state of the material world in all its starkly naked reality. Mantras "bring them to life;" when no Mantras are chanted, they become latent. Wherever Sadhaka goes, the

Mahavidya follows him or her. Sadhakas receive Dharma, Artha, Kama, and Moksa from her (Righteousness, wealth, sensual pleasure and liberation). She is Being, Consciousness and Bliss-Satchitananda. She brings to a Sadhaka, awareness, superconsciousness and eventual liberation. 1. Kali is the first Mahavidya, black as night. She is Time because everyone disappears into the blackness of Time, where they repose in the tender loving hands of Kali in peace, tranquility, and bliss. Man's phenomenal life comes to an end and god's eternal life comes to a pause. Kali, having killed a demon, continues on her unmitigated rampage with the Tejas (power, splendor) she received from all the gods. In order to diffuse this unspent, extravagant and redundant energy, Siva appears as an infant on the battleground and Kali stumbles on him. She takes pity, picks the infant and with motherly love and compassion, nurses infant Siva. (This is the

Motherly aspect of Kali.) Yes, Siva is her husband and also her son; don't let that bother you; there is no hanky-panky; that is divine unity in world of paradox. In some narratives, Siva appears on the battleground as himself; finding her husband at her feet, Kali takes pity and her unspent bursting redundant energy dissipates. Kali is not only the Consort of Siva Himself , but as occasion demands, her son also. This is Siva playing different roles with His Consort to

diffuse her superabundant energy and bring Her back to Her own self. Consider this situation.

When a tight-knit family dies in a car accident, earthquake, tsunami, or floods, they are reborn; the relationship with each other is reconfigured; father may become the son; mother may become the wife; this is all recycling of the soul according to the merit and demerits of the family members. They have no control over this new constellation in the relationship. It is the Karma that determines the new constellation. Consider this: In the west, the husband addresses his wife, babe. Is she really his baby? It is an expression on the part of the husband of his nurturing, protective and doting nature and attitude towards his wife. The wife nursing the husband is not unheard of in all cultures. I had the privilege to hear of such an incident in my practice. This was to relieve the engorged breasts, the wife admitted to me. Kali is the Mother of the universe, the protectress of her children and the destroyer of evil. The elements in this legend of Kali portray certain

qualities in a person and the accompanying passions. Man is divine and demonic at the same time, two sides of one person. There are gods and men who are divine; there are demons and men who are demonic. Kali goes by many names: Durga, Sati, Parvati, Uma, Bhavani. She is the Supreme Truth, realizing which is the Supreme state. Kali is portrayed with Sava (dead) Siva, lotus (Brahma) and lion (Vishnu), indicating that she holds the portfolios of creation,

maintenance, and destruction and offers Moksa (liberation) to her votaries. She is the Mother Goddess, the First Female of the Universe. She gave birth to Brahma, Siva and Vishnu and other gods. Later she gave birth to SivA (Rudrani--female), Brahmani, and Vaishnavi as their consorts. She is the Mother of all beings in the universe.

According to Rg Veda, the newly married woman is blessed with long life with her husband and 10 children plus the 11th child being her own husband. The reason is that a woman loves her last offspring the most; that love she reserves for her husband, whom she should think of as the most loved and the last child. In Hindu thinking, a son is the facsimile of her husband.

It appears that Siva knew exactly when to express and project Kali's anger, when to extinguish it and when to execute the strategies that go with them. Kali just finished killing the demons. The demons are euphemism for bad qualities of the human race. Demons are the Tamasic (Dark) demons in our mind: Kama, Krodha, Lobha, Moha, Mada, Matsarya (desire, anger, greed, delusion, pride, and envy). Siva had to extinguish the superabundant energy of Kali. Siva's Maya overpowered and deluded Kali and instilled in her a strong nurturing instinct. As Kali was wandering among the mutilated bodies and corpses, she was about to step on a crying baby; she stopped, picked him up and tenderly nursed him at her breast, exhibiting her maternal instinct. Here is an instance of the Lord playing the role of suckling baby to extinguish the unspent and redundant Tejas of Kali; suckling not only quenched his hunger

pains, but also drew out her unspent wrath and Tejas (the collective power derived from male gods), which he stomached along with her milk. Here you may notice the blur between wife and mother in one woman. By draining and drenching the fire of wrath, the Lord (Siva) became the protector of men, god and Tirthas (holy places). He took eight forms as his manifestation as the Supreme intelligent Protector of Tirthas: Sarva for earth, Bhava for water, Rudra for fire, Ugra for air, Bhima for ether, Pasupati for Ksetrajna, Isana for sun, and Mahadeva for moon

(according to Swami Sivananda). These eight forms are collectively called Murtayo'stau or Ashtamurti. See insert: Nursing Mother Goddess: exoticindia.com

A source says that Kali is associated with the waning tithis (digits) of the moon, while Sodasi is associated with the waxing digits of the moon. Amavasya (new moon) goes with Kali while Sodasi goes with Purnima (Full moon). Full moon of Sodasi is full knowledge; Kali's new moon is transcendence of all knowledge; thus, Kali and Sodasi complement each other.

(In the movie "Loc Kargil" the Indian soldiers were invoking Kali and Durga while they were attacking the rock-fortified positions of the enemy soldiers. They were invoking the Tejas (Radiant Energy, power) of Kali and Durga to overpower and conquer...

Got to KALI for more details.

One source tells that Kali is anjana (black, collyrium); Tara is Nila (dark blue); Matangi is asita (black) or shyamanga; Sodasi and Bhuvanesvari are of the color of rising sun (balarkakanti); Bhairavi is the color of a thousand rising suns; Chinnamasta is the color of a million suns; Dhumavati is of ashen color (Vivarna); Bagalamuki is of yellow color (Pitavarna); Kamala is of the color of lightning (Saudaminisannibha); ShyamAngI is of dark green color; If you think all races are represented in Mahavidyas, you are right. Kali is primarily black, the Eve of all Eves. The following is the panegyric hymns of Kali from Mahanirvana Tantra, adapted from Hymn to Kali (Woodroffe).

HRIM, O destroyer of time; SRIM the Terrific One; KRIM the beneficent one. You are the possessor of all arts. You are Kamala, Lakshmi Devi. You are Kalidarpaghni, destroyer of the pride of Kali Age. You show kindness to Kapardisa, Siva with matted hair. You are KAlikA (devourer) of the one who devours (MahAkAla). You are effulgent as the fires of final dissolution. You are Kapardini, the spouse of one with matted hair. You are of fearful countenance though you are the ocean of nectar of compassion. You are a vessel of mercy

without limits; you are reachable only by your mercy. You are tawny, you are fire, you are black. You augment the joy of the Lord of creation, Krishna (Krishna-ananda-vivardhini). You are KAlarAtri, the Night of darkness in form of desire and yet you are KAma-pAsa-vimOcini, the liberator form the bonds of desire and passion. You are KAdambini, the One as dark as cumulus clouds. You are KalAdhArA, the wearer of the crescent moon. You are Kali-kalmasa-nAsinI, the destroyer of the sin in Kaliyuga. You are KumAri-PUjana-pritA, the pleased one of the worship

of virgins (as is the custom in Bengal) and KumAri-Bhojana-ananda, the pleased one at the feasting of Virgins, and KumAri-rUpa-DhArinI, (the one of the form of a virgin). You wander in Kadamba forest, pleased with its flowers, having an abode thereof, wearing a garland of

You like and look pleased with drinking Kadamba wine. Your cup is a skull and you wear a garland of bones. You like Lotus and its fragrance and sit on a Lotus, abiding in its center. You move like a swan. You are the destroyer of fear. Your abode is KAmarUpa (in Assam, where her genital organ fell when Vishnu used his discus to cut the dead body of Sati carried by Siva after he destroyed Daksa's Yagna). Mother Goddess has many forms in various ages always being the consort of Siva. Wherever the body parts fell, that place became the holy spot where a temple in honor of Sati [Parvati, Mother Goddess] was built.) You are KAma-pitha-vilAsini. You are as beautiful as a creeper; beauty is your ornament. You have a tender body and slender waist. You love purified wine and bless those devotees who worship you with the wine. You love the smell of musk and appear luminous with Tilaka on your forehead. You love everything and everybody associated with musk, camphor, and sandalwood. You are pleased when worshipped with bija Mantra HUm. You are the embodiment of Kulachara. You show the path of Kulachara to

Kaulikas. You are the queen of Kasi and destroyer of suffering. You give blessings and pleasure to the Lord of Kasi; you are the beloved of the Lord of Kasi. As you move, your toe-rings emanate sweet sounds, and your girdle bells tinkle. You live in the mountain of KAncana, mountain of gold (Mt Sumeru). You heart gladdens at the recitation of Mantra Klim. You are KAma-bija-svarUpini. You are Kumatighni, mover of men in the right direction, KulI-nArti-nAsinI, the destroyer of the afflictions of Kaulikas. You are Kula-kAminI, Lady of Kaulas. You are the destroyer of the fear of death by your three bija Mantras, KRIM, HRIM, and SRIM. To Thee I make obeisance.

Hindu and Buddhist priests chanted sacred hymns and showered flowers and grains of rice over a 3-year-old girl who was appointed a living goddess in Nepal on Tuesday. The girl, Matani Shakya, left, received approval from the priests and President Ram Baran Yadav in a centuries-old tradition with deep ties to Nepal‘s monarchy, which was abolished in May. The new

Kumari, or living goddess, was carried from her parents‘ home to an ancient palatial temple in Katmandu, the capital, where she will live until she reaches puberty and loses her divine status. A panel of judges conducted a series of ancient ceremonies to select the goddess from several girls ages 2 to 4 who were members of the goldsmith caste. ---Oct 8 2008 New York Times. 2. Tara, dark-blue in color, as her name implies is a savior and a star. Tara = savior, carrying a cross; protector. She and Kali are depicted as standing on supine Sava Siva. (Sava = dead) with left foot planted on the body. Standing on a corpse is symbolic of victory over disasters and calamities; it is like the hunter standing on the ferocious animal he killed (with a bait and a rifle, perched on a tree house. Real men don't do that). Tara is a compassionate mother to Siva. On the urging of gods and Vishnu, Siva drinks up the spreading destructive poison generated during the churning of the milk ocean for ambrosia. That night Siva drank the poison to save this world is called Sivaratri (the Night of Siva). He drinks it up and falls ill. Tara finds him unconscious, revives him and nurses him back to health with her breast milk which counteracts the poison. Tara carries a pair of scissors in her hands, which means that she can sever all attachments. Siva without Sakti is dead (sava). Siva and Sakti are one integral unit. Four-armed Tara is pot-bellied and wears a tiger skin and long braids reaching the back of her knees. Tara and Kali are

presented in the images as companions (consorts) of Siva at their feet and at their lap with suckling Siva. Her protuberant abdomen is symbolic of creation; her large turgid breasts nutrition, growth, and maintenance; her sword destruction of the universe.

Tara (exoticindia.com)

She holds a knife, a severed head, a sword, an oar, a pair of scissors, lotus and more in varying combinations. Another source tells She has three eyes, protuberant belly, and turgid breasts; is of blue complexion; and wears ornaments, snakes, a garland of skulls and a one-braid donut hair. Jata (hair rounded as doughnut), lashing tongue, terrible white teeth, tiger skin around her waist, and bone ornaments over her forehead are her other features. She sits on the chest of a corpse. In another form she carries a pair of scissors, sword, and a skull bowl; her habitat is cremation ground. Buddhist Tara is gentle, while Tantric Tara is Ugra (fierce, Ugra Tara). Tara and Kali share many of the same qualities and features so much so that it may be difficult to distinguish one from the other. She likes animal and human blood, particularly the latter and esp., from parts such as head, forehead, chest, or hands, some of which may indicate locations of Chakras (Kundalini spiritual centers or planes). Sadhana (spiritual perfection) is Lifeblood of a Sadhaka (spiritually perfected). Spiritual perfection is what she wants of a votary.

Vamacara Tantrics are the usual votaries of Tara. Vamacara: Viras and Divyas (Heros and Virtuous or spiritual men) are permitted to practice Vamacara, the left-handed tantric rites, which involve Madya, wine; Mamsa, meat; Matsya, fish; Mudra, grain; and Maithuna, sexual union. (Go to Kularnava Tantra for more details.) Day time continence is practiced and nightly worship with Panchatattva (the Five Ms) is permitted. Vamacara practitioners regard the impurities, the forbidden and the auspiciousness of the Goddess equally; lower pleasures of animal passion are only preludes to higher Bliss of Brahman; it is sublimation, transformation and transmutation from the lower to the higher, from flesh to spirit, from the mundane to the metaphysical, and from the human to the divine. The Five Ms only serve as instruments to achieve that objective. It is a common Hindu saying that we are made of bone, blood, muscle, fat, skin, senses, and bowels and bladder containing feces, worms, and urine. No one would think of cutting off the bladder and bowels, the storehouses of excrements, because they hold impure objects. The universe of body is an agglomeration of the auspicious and the inauspicious, each having a necessary function. The universe of daily living is a blend of ugliness and beauty; the left-handed worship aims at transcending from the flesh to the spirit. Go to Kularnava Tantra for more details. Tara's habitat is cremation ground, the periphery of the society, indicating lack of refrain, rejection of subservience to male dominance, rules and mores, show of power, might and gore. She is creative, destructive, purifying by fire, and transformative; she embodies the powers of Brahma, Vishnu, Siva in their acts. What is Sankarshana fire at dissolution for the Vaishnava sect is Tara's symbolic fire in the cremation ground for the Saktas; the former is cataclysmic and the latter is

localized. The garland of skulls and the skirt of severed arms--hand is the doer of Karma--stand for the Sanskrit alphabets and destruction of Karma of her votaries. Why do heads represent Sanskrit alphabets? Head is where articulated speech or sound (Vaikhari speech) originates and is the seat of speech center, voice box, the tongue and the lips. Without the head, there is no spoken word or identity. The scissors and the sword cut the knots, bonds and Pasas (Bonds, impurities) of the soul-- which prevent Jnana (spiritual knowledge) from entering the soul-- taking the soul to higher consciousness and eventually to SatChitAnanda (Being, Consciousness and Bliss) and Moksa. Destruction (by the sword) leads to release and transformation to higher consciousness. The severed head is symbolic of severing the mind, ahamkara (ego), Avidya (ignorance), Kama (lust), Krodha (anger), Raga (passion), Dvesha (hatred). All these qualities abide in the head. The very fact that man appears on earth means that his karma is not resolved. Severing the hands is severing the karma with eventual release of the soul and attaining of moksa. Thought, word and deed constitute Karma; hand is the doer of Karma and therefore is logo or the iconic representation of Karma; the skirt of severed hands around Kali's waist represents her ability to expunge Karma.

Siva-Sakti is the origin of consciousness and Prakriti Tattvas (building blocks) which are made of Gunas or qualities: Sattva, Rajas and Tamas (virtue, action, darkness). These qualities give limitation, form, structure, and function to consciousness. Siva's Consciousness finds limitation in a human form. He who remains in a dark room wants light in his room; he needs only a little light to see; he cannot bring the sun into his room which will be incinerated by the sun; a sunroof allows sunlight to come in; that is limitation of sun as Siva's consciousness finds limitation in man. Here the roof is Tamas preventing the sunlight coming into the room; Sattva is the sunroof that allows the sunlight come into the room; Rajas is the shutter in the sunroof that can be opened and shut. When the shutter is closed, it is part of the roof. Rajas gives direction or expression to Sattva or Tamas. Sattva is light; Tamas is darkness and veiling; Rajas is activity. The world of minerals is Tamas, total darkness and complete lack of consciousness; there is no light and intelligence; the world of vegetables has a little Sattva and the rest is Tamas; the world of animals has more Rajas, very little sattva and the rest is Tamas; the world of man has variable amount of Sattva and the rest is Tamas and Rajas. Sattva in full measure in man is spirituality; as it rises Tamas attenuates proportionately. Rajas is the engine and gives that motion, that spin to all the physical, chemical, biological, psychological processes appropriate to minerals,

vegetables, animals, and man.

Man is a pasu (animal) in comparison with Viras, Divyas, and gods. The Five Ms are allegorical of certain principles. Panchatattva = Panchamakaara (Panchamakara) = Pancha = five + (Makara* = Ms) = Five Ms: Five essentials: Madya, wine; Mamsa, meat; Matsya, fish; Mudra, grain; and Maithuna, sexual union. Panchatattva practices are within the prescribed limitations and injunctions; ritual worship and ritual Maithuna are performed with one's own wife. If the sadhaka has no wife or if the wife is incompetent, he can take another woman for rituals. Drinking of wine is done only during rituals within prescribed limits. It is a sin to engage in extramarital relations and extra-ritual drinking. All these received bad publicity and reputation from some abuses. Latasadhana (worship with a woman) has its privileges and limitations; one, who does not follow the prescribed injunctions, believes in dualism, and is addicted to lust, is not fit candidate for Latasadhana; he goes to Raurava hell and suffer from painful excess of the fiery Tejas Tattva.

Makara* = M. Example Akara is for A; Ukara for U; Makara for M. Put together-- AUM. Alpha for A.... Alpha for A.

Killing of man is sin; ritual killing of animals to fulfill the tenets of panchatattva is rising above duality which means cutting the duality of man's animal nature (pleasure and pain, love and hate) with the sword of knowledge. The wandering senses in the ocean of Samsara like the schools of fish should be brought under control and yoked to the self; that is eating of fish. The woman worthy of love and attention is no other than Sakti that resides (sleeps) in you. The pasu (the animal man) lets the woman (Deity) sleep in the Muladhara Chakra or pelvic floor, but the Vira and Divya awaken the deity in him and take her to higher planes. The Bliss, one feels when Sakti (Kundalini) and Siva meet in the upper Chakra, is the bliss of Maithuna. All other unions are just animal acts. This is in essence the meaning of five Ms. There are three kinds of people: Pasus, Viras and Divyas. Pasus are animals in human form; Viras (the hero) are the transitional beings (man-man) going from animal nature to a higher nature and enjoy Bhoga (pleasures) of the world. Divyas are god-men and spiritual beings.