Bhairavi (Bhairavī) - the Fearful Goddess, the Power of Death.

Bhairavi (Bhairavī) - the Fearful Goddess, the Power of Death.

“Softly smiling, you shine with a crimson glow that may be compared to a thousand newly risen suns. You wear a silken veil and a garland of skulls. Blood smears your breast. Three voluptuous eyes adorn your lotus face; the moon is your diadem. Your lotus hands show the gestures of victory, of wisdom, the granting of boons, and the allaying of fear.” (Tripura-Bhairavī Tantra.)

Chinnamastā represents the end of things, the spectacular moment when the victim is sacrificed, beheaded; life, existence, comes to an abrupt end.

But this sudden end is only the culmination of a process that began long before. Destruction begins from the very first moment of existence. Death is the ever present reality operating in everything. This aspect of death is called the “perpetual-destruction” (nitya-pralaya).

The southern direction is dedicated to Yama, the God of death the southern fire (dakshiṇā agṇi) is the fire of destruction. The north is dedicated to Soma, the “essence of life,” of love (sneha tattva), the nourishing ambrosia of immortality.

In Śaiva theology the Southern-Image (Dakṣiṇā- mūrti) or the Time-of-the-Fearful (Kala-Bhairava) is associated with the South. The Shakti of death and destruction is the Fearful-Goddess, Bhairavī, also called the Fearful- Goddess-of-the-Three-Cities (Tripura-Bhairavī).

All that the lady-of- the-spheres (Bhuvaneśvarī) preserves and nurtures, the Fearful Goddess relentlessly destroys. She is the Tangible-Demoness (Apara- Dakini), always our constant companion lurking nearby.

Bhairavī’s presence is found in self-destructive habits that we possess — eating tāmasic food, alcohol, smoking, drugs etc. She is further strengthened by the destructive emotions like anger, jealousy, hatred, resentment etc.

Bhairavī Sadhana -

Bhairavī Sadhana is done to get rid of bad spirits and physical weaknesses. She is also worshipped for getting a beautiful spouse, for a successful love marriage and early marriage.

Bhairavī Moola Mantra -

ॐ ह्रीं भैरवी कलौं ह्रीं स्वाहा॥

Oṁ Hrīṁ Bhairavī Kalauṁ Hrīṁ Svāhā॥

Cchinnamastha (Chinnamastā) — the Beheaded, the Power of the Sacrifice.

Cchinnamastha (Chinnamastā) — the Beheaded, the Power of the Sacrifice.

“Her left foot forward in battle, she holds her severed head and a knife. Naked, she drinks voluptuously the stream of the blood-nectar flowing from her beheaded body. The jewel on her forehead is tied with a serpent. She has three eyes. Her breasts are adorned with lotuses. Inclined toward lust, she sits erect above the god of love, who shows signs of lustfulness. She looks like the red China rose. Her eyes are blue.” (Chinnamastā Tantra).

[Lord Śiva said] - “I shall describe Chinnamastā. During the Kṛta Yuga on the best of mountains — Kailāśa, I and Mahāmāyā were engaged in Mahāvrata (sexual intercourse).

When I ejaculated, she appeared as Chaṇḍikā, of fearsome visage, and from her body two Śaktis emerged who became her attendants — they were known as Dakini and Varnini.

One day Chaṇḍikā with two attendants went to the bank of the Puṣpabhadrā River. At midday her hungry attendants said to Chaṇḍikā, “Please give us food.”

Smiling and auspicious Chaṇḍikā heard their request, looked in all directions [finding no feed] she severed her own head. With the left bloodstream, she gratified Dakini, with the right one, she gratified Varnini and from the centre one, she drank own blood.

After exhibiting her pastime in this way, she replaced her head on her torso and assumed her original form. At dusk, they returned home.

When I saw her anaemic appearance, I suspected that she had been abused by someone. This infuriated me. From this anger a portion of me arose and became known as Krodha Bhairava. (Pranatoshini Tantra)

Once the progress of the day or the process of world unfoldment has reached a state of stability, it continues to exist, depending for its sustenance on destruction, on burning, on consuming.

The cosmic sacrifice (yajña) expresses this process of universal metabolism, and the ritual sacrifices (yajñas) are performed with the intention of harmonising and co-operating with the cosmic process. Yajña is the exchanging of energies between differing levels.

The aspect of Śiva which presides over the cosmic sacrifice is the Headless (Kabandha). The Vedic ritual of sacrifice consists in beheading the victim — “The sacrifice is indeed beheaded.” (Śatapatha Brāhmaṇa). Hence the Shakti of the sacrifice is depicted as the “Beheaded-one (Chinnamastā).

At the end of the ritual sacrifice there is a ceremony called the “joining of the head” (siro-sandhana), in which the head is symbolically reattached to the body of the victim.

This represents the consummation of the cycle, the ultimate resurrection of all forms, without which the meaning of the sacrifice would remain incomplete.

Chinnamastā rules over the five Great- Sacrifices (pañcha-mahā-yajñas). Every human born is liable to 5 debts (runas) and our duty as conscious humans is to discharge these 5 debts at every occasion for the entirety of our lives on the planet. The five Great Sacrifices are nothing but the continual expressing of gratitude to all those who facilitate our existence.

They are: —

Pitṛi yajña — to Ancestors - parental responsibilitiesn
Deva yajña — to gods, the cosmic forces which maintain the harmony of the universe.
Brahma yajña — to Supreme through the study of the teachings of the sages.
Manuṣya yajña — to fellow human beings - societal responsibilities.
Bhūta yajña — to the animals and elements - environmental responsibilities.

The myth of beheading is also found associated with Vishnu in the Śatapatha Brāhmaṇa. Vishnu’s head is cut off and it ascends into the sky to become the sun.

The solar radiation (Pravargya) is also a constant offering to the earth. The very life-essence of the sun, poured into the earth so that it and all beings upon it may live.

The solar energy is the essence of all food (anna). This outpouring of solar radiation is compared to a perpetual beheading of the sun and as such the Beheaded represents the life-giving and life-destroying power of the Sun.

In Buddhism Chinnamastā is called the Power-of-the-Thunderbolt (Vajra- yogini). Her philosophical form is Prajña-paramita, intuitive wisdom.

As a form of the eternal night Chinnamastā is the Night-of-Courage (Vīra- Rātri) when the victim is brought to the altar of sacrifice.

Chinnamastā Sadhana -

Chinnamastā Sadhana is limited to Tāntrics, Yogis and world renouncers due to her ferocious nature and her reputation of being dangerous to approach and worship. However, Chinnamastā Sadhana is done to destroy the enemy. She is worshipped to get rid of court cases, to seek government favours, to get stronghold in business and to gain good health.

Chhinnamaṣtā Moola Mantra -

श्रीं ह्रीं क्लीं ऐं वज्र वैरोचनीयै हूं हूं फट् स्वाहा॥

Śrīṁ Hrīṁ Klīṁ Aiṁ Vajra Vairocanīyai Hūṁ Hūṁ Phaṭ Svāhā॥

Bhuvaneshwari (Bhuvaneśvarī) — the Lady of the Spheres, Knowledge.

Bhuvaneshwari (Bhuvaneśvarī) — the Lady of the Spheres, Knowledge.

“With the moon as her diadem, with large breasts and three eyes, smiling, she shines like the risen sun. Her hands grant boons, allay fears, and hold an elephant hook and a noose. I bow to the fear-inspiring lady of the spheres.” (Bhuvaneśvarī Tantra.)

After the rising of the Sun after the gentle dawn period of the day and of projection of the universe, the Girl-of-Sixteen (Ṣoḍaśī) makes way for the resplendent Lady-of-the-spheres (Bhuvaneśvarī), consort of the Three-eyed Śiva (Tryambaka).

Creation now becomes a powerful flow, a constant evolving, over which rules the Sovereign Goddess. As the ruler of the universe she is also known as the Queen-of-Queens (Raja-rajesvari).

Bhuvaneśvarī is also associated and identified with the earth and the universe in general, and the underlying energy that brings it into being and pervades it. She embodies the characteristic dynamics and constituents that make up the world and that lend creation its distinctive character. In this sense she is identified with the mahā-bhūtas (the basic physical elements) and prakṛti (primordial nature).

The lady of the spheres is represented with various attributes. In the lower of her right hands she holds a vessel, in the upper right hand a mace, in the upper left hand a shield, in the lower left hand the Bilva fruit, called the fruit-of-Fortune (Sri-phala).

On her head are a serpent, a linga, and a yoni. Preciously coloured like molten gold, the all-powerful goddess wears a divine garland and gold ornaments.

The fruit in her hand shows her as the giver of the fruit of actions. Her club is the ‘power to act’ or ‘power of dispersion’ (vikṣepa śakti).

The ‘power of knowing’ (Jñana śakti) is her shield; the ‘tendency toward liberation, toward the Fourth stage’ (turīya vṛtti), is the vessel which contains the sap (rasa) of existence, that is, delight in the Self.

The linga is the male principle (puruṣa tattva), the yoni represents Nature (Prakṛti tattva). The serpent is ‘Time’ (kāla tattva). (Karapatri, Śrī Bhagavatī tattva.”)

As a form of the eternal night Bhuvaneśvarī is the Night-of-Realisation (Siddha-Rātri), the veil made of knowledge which surrounds the universe.

Bhuvaneśvarī Sadhana -

Bhuvaneśvarī Sadhana is done to gain all sorts of worldly pleasures. She is worshipped for progeny, wealth, knowledge and the fortune.

Bhuvaneśvarī Moola Mantra -

ॐ ऐं ह्रीं श्रीं नमः॥

Oṁ Aiṁ Hrīṁ Śrīṁ Namaḥ॥

Tripura-Sundari (Tripura Sundarī )— the beauty-of-the three-realms, Perfection.

Tripura Sundari/ Lalita (Tripura Sundarī /Lalitā )— the beauty-of-the three-realms, Perfection  

“I salute the auspicious goddess who shines like the orb of an infant sun, has four arms and three eyes, and holds a noose, an elephant hook, an arrow, and a bow.” (Ṣoḍaśī Tantra)

The number used to represent the totality of perfection is 16:

In human beings sixteen years represent the age of accomplished perfection, after which decline sets in — it is the age of the fullness of vigour and libido.

There are fifteen days (tithis) in the complete lunar cycle from the new moon to the full moon. The 15 day is either the full moon or the new moon. 16 therefore represents that which is full within time and yet beyond time.

The Girl-of-Sixteen (Ṣoḍaśī) rules over all that is perfect, complete, beautiful.

After dawn, after the hour of the Star (Tārā), comes the hour of perfection. The young sun has risen in its fullness; the sun is the source of all life on this planet and is numerologically connected with the number 5 and with the five elements and is represented by the five-faced Śiva.

Just after dawn its fierceness has not yet appeared. It seems gentle, bright, auspicious (Śiva). In the morning sun men worship the Progenitor, the principle that gives life to the three worlds and to all the mortals and immortals.

The Girl-of-Sixteen, the power of Śiva as the ruler of the three worlds, is, according to the Ṣoḍaśī Tantra, identified with the Beauty-of-the-Three-Cities (Tripura-Sundarī), said to be the light radiating from the three eyes of Śiva to illumine the worlds. Hence she is “the Girl-of-Sixteen in whom the three forms of light unite.”

She is also known as Lalitā. The wise say:

“The word Lalitā has eight meanings, namely brilliance, manifestation, sweetness, depth, fixity, energy, grace and generosity; are the eight human qualities.”

The Kāma-Shastra says: — Lalitā means erotic actions and also tenderness; as she has all the above- mentioned qualities she is called Lalitā.

It is said also: “Thou art rightly called Lalitā for thou hast nine divine attendants [in the Śrī Cakra,] and your bow is made of sugar- cane, your arrows are flowers, and everything connected with you is lovely (commentary on Lalitā Sahasranāma).

Indra, the wielder of the thunderbolt, is a solar aspect of Śiva, hence he is sometimes identified with the Girl- of-Sixteen. “Indra is Ṣoḍaśī” (Śatapatha Brāhmaṇa 4.2.5.14. )

As a form of the eternal night, Ṣoḍaśī is the Divine-Night (Divya-Rātri), the night of perfection.

Ṣoḍaśī Sadhana -

Ṣoḍaśī Sadhana is done for pleasure as well as for liberation. Tripura Sundarī Sadhana provides strength to control body, mind and emotions.

Ṣoḍaśī Sadhana is also done for family pleasure, favourable life partner and potency.

Ṣoḍaśī Moola Mantra -

ॐ ऐं ह्रीं श्रीं त्रिपुर सुंदरीयै नमः॥

Oṁ Aiṁ Hrīṁ Śrīṁ Tripura Suṁdarīyai Namaḥ॥

Tara (Tārā) — the Star, the Power of Hunger.

Tara (Tārā) — the Star, the Power of Hunger 

“I meditate upon the Divine Mother of the three worlds, who is sitting on a white lotus situated in the centre of the waters enveloping the universe.

In her left hands she holds a knife and a skull and, in her right hands, a sword and a blue lotus. Her complexion is blue, and she is decked with ornaments....

She is decorated with three beautiful serpents and has three red eyes. Her hair is bunched into a single plait of tawny colour. Her tongue is always moving, and her teeth and mouth appear terrible. She is wearing a tiger skin around her waist, and her forehead is decorated with ornaments of white bone.

Sage Akṣobhya, in the form of a serpent, is situated on her head. She is seated on the heart of a corpse and her breasts are hard.

Thus should one meditate on Bhagavatī Tārā who is the mistress of all three worlds.”

(Mantra Mahodadhi)

The Star (Tārā) is the first force that arises in the Bindu [Golden-Embryo — Hiraṇya-garbha], the cosmic location from which the universe evolves.

As soon as the germ of life is planted, hunger arises — the embryo wants food. Only through the process of combustion of some fuel, some nutrients, can the universe survive and develop.

This perpetual cosmic need to consume is the basis of the cosmic sacrifice, as well as of all the forms of existence and life.

The nature of the Golden Embryo can well be said to be hunger and its power lies in the ability to devour. The name given to this pure and absolute, hunger is — “the Star” (Tārā).

“In the night of time, which is the state of universal dissolution, light [the first combustion, the first satisfied hunger] appears as a star.

This light is the nature, the source, of all thought [for thought is also energy, combustion] and is the instrument of knowledge illuminating its object.”

(Karapatri, Bhagavatī tattva.”)

Although the word Tārā means a star, the Tantras take its etymology to mean “that which leads to the other shore.” “She who brings us to the other shore (Tārāti) is Tārā.”

Just as the nature of hunger is twofold - ravenous, all-consuming, driving, forcing before consumption, and the other pacified, peaceful and contented after consumption —

Tārā also is depicted in a dual aspect, the one fierce, fearful, all-devouring, the other pacified and luminous. This is duality is also the nature of the sun and of all beings.

“Hunger” [Kṣudhā] is defined as a desire to consume —food as well as knowledge, power, resources etc. Hunger [Tārā] and Time [Kālī] are inseparable since consumption is regulated by Time and Time consumes all things.

“In the Great Void, the sphere of the Egg-of-Immensity that is the universe (Brahmāṇḍa), there exist fifty forms of void. Five of these are the kingdom of the power-of-hunger (Tārā); the rest belong to the power- of-time (Mahā-Kālī).”

(Quoted in Karapatri, Bhagavatī tattva “)

In the cycle of day and night, Tārā represents early dawn, the hunger, the desire that first appears after the calm of sleep, after the rule of Kālī.

Hence Tārā rules from midnight to dawn. This is the Night-of-Anger (Krodha-rātri) when every living thing prepares to destroy and devour other lives, other beings.

Tārā as the Void

In its peaceful aspect, the power of hunger is merely spoken of as a void.

“She is the transcendent form of the Void, the divider (kalā), the Supreme Beauty (Mahā-Sundarī). Beautiful, she commands the king of kings. Boundless, she is the ruler of the vast universe.

“She is the Great Void, the Star from which all was gradually evolved and which leads all toward liberation from the endless [cycle of life].” (Mahā Sundarī Tantra. [5021)

“All deities are aspects of the Void. The universe arose from the Void and dissolves into the Void. Seeing the Void as the goal of the universe, the sages, leaving a world of delusion (moha), dissolve into the Void, into the changeless shape of the Immensity.” (Hirananda Sastri Gaud, “Tārā-rahasya,” P. 225.)

So long as food is provided, so long as offerings are poured into the fearful solar fire, the cosmic sun is at peace, but if food is lacking the sun becomes the Fearful-Star (Ugra-Tārā) and devours the worlds.

Buddhist Tārā

Jains and Buddhists also worship the goddess Tārā. For the Buddhists as for the Hindus hunger is eternal. In the Buddhist Scripture Tārā is represented as the power of Avalokiteśvara. In the Tantras she is the consort of the Never-decaying (Akṣobhya) which is an aspect of Śiva.

“O great goddess, without decaying, Śiva the lord of sleep, drank the halāhala poison, hence he is known as the Never- decaying (Akṣobhya). The transcendent power of illusion, ever in lustful dalliance with him, is the Star, Tārā.” (Tārā Tantra.1 )

Iconography of Tārā

The Hindu Tārā is always depicted in her fearful form with four arms entwined with poisonous snakes and serpents in her matted hair. She holds a head and a chalice, for in her fearsome mood she drinks blood, the sap of the world.

“Standing firmly with her left foot forward resting on a corpse, she laughs loudly -transcendent. Her hands hold a sword, a blue lotus, a dagger, and a begging bowl. She raises her war cry, hum! Her matted tawny hair is bound with poisonous blue snakes. Thus the terrifying Tārā destroys the unconsciousness of the three worlds and carries them on her head [to the other shore].”

“She shines upon a white lotus arisen from the water, pervading the world. She holds in her hands scissors, a sword, a skull, and a blue lotus. Her ornaments are snakes, which form a girdle, earrings, a garland, armlets, bracelets, anklets.

She has three red eyes, fearful tawny tresses, a wagging tongue, fearful teeth. Round the hips she wears the skin of a panther. She wears a diadem made of bleached bones.

One should meditate on Tārā, the mother of the three worlds, who is seated on the heart of a corpse, her face resplendent with the power of the Never-decaying (Akshobhya).”

(Tārā Tantra)

The Worship of Tārā

The Hindu Tantras specify that the goddess is to be worshiped according to the Buddhist ritual. Otherwise her worship remains fruitless.

“The proper way to worship me is the Buddhist way. O Tormentor of Men! That way one people alone know; none other knows its inner significance.” (Lalitā-upakhyana.)

Tara Sadhana -

Devi Tara Sadhana is done to achieve sudden gain of wealth and prosperity. Tara Sadhana sprouts seed of wisdom and knowledge in the heart of the worshipper.

Tara Moola Mantra -

ॐ ह्रीं स्त्रीं हुं फट्॥

Oṁ Hrīṁ Strīṁ Huṁ Phaṭ॥

Maha Kali (Mahā-Kālī )- the Power of Time

Maha Kali (Mahā-Kālī )- the Power of Time

Śiva, as Mahā-kāla is eternal time, he’s the substratum from which arise all the secondary cycles of time and the energies which rule them —

beginning with the cycles of evolution and involution of the cosmos and including all the cycles which govern everything from the sub-atomic particles to the galaxies, including the cycles which rule the existence of every single species of life, and it’s each and every moment.

The most representative division of the cycle of time is the alternation of day and night which are constant reminders of the rhythmic universal patterns of projection and dissolution of all that exists.

The Eternal Night

The original Absolute state of the universe is an Eternal Night.

The planetary movements of the Sun and the Moon which give rise to day and light by night, to our experience of divisible time, are only temporary phenomena implying a coming into being, existence in a location and some form of relativity.

The psychological state of deep dreamless sleep (turīya) resembles to a degree the absolute quiescence of the Universe after dissolution (pralaya) when all existences return to the state of the Great Night (Mahā-rātri). In this state of perfect integration nothing remains but the transcendent power of Time, Mahā-Kālī.

The term Śiva can be derived from the root Sin, which means “to sleep.” Hence Śiva is described as he in whom “all goes to sleep,” “he who puts all things to sleep,” etc. His power is represented by the eternal night in which all goes to sleep.

As absolute eternal time, Śiva is transcendent. He is the “Beyond the beyond” (parat paraḥ) of the Upanishads. The absolute, indivisible night (Mahā-rātrī) is the abode of the Transcendent-power-of-Time (Mahā-Kālī).

From the ‘Hymn to the Night’ (Rātri Sūkta of the Rig Veda 10.127) we can understand that there are two divinities of night, the one experienced by mortal beings, the other by the divine Being; the one experienced by all the spheres and in relation to which all activities come daily to rest, the other in which the activity of divinity also comes to rest.

This absolute night is the night of involution, inversion, and is the nature of the Power-of Time (Kālī). Nothing then remains except the transcendent Immensity chequered with its power of illusion. This stage is the stage of Unmanifest-Nature (avyakta).

“Night has for its substance the power of illusion of the Immensity (brahma-māyā- ātmika); the nature of night is dissolution into supreme divinity (paramesa-laya- atmika). The principle presiding over this absolute night is celebrated as the goddess-of- the-spheres (Bhuvanesi).” (Devi Purāṇa.)

“May the divinity of night (Rātri), the transcendent power of consciousness (cit-śakti), be pleased, so that we may nestle in happiness like birds in their nests at night!

Dwellers in the villages, their cows and horses, the birds of the air, men who travel on many a business, and jackals and wild beasts, all welcome the night and joyfully nestle in her; for to all beings misguided by the journey of the day she brings calm and happiness.

Then all comes to rest. Even those beings who have never heard the name of the lady-of- the-spheres (Bhuvaneśvarī) come to her lap, where they sleep as happily as unconscious children.

O merciful! O power of consciousness! O enfolding darkness! O divinity of Night! Overlook our deeds; take us away from the killers who harm us, the wolf that is sin, and the she-wolf that is never-ending desire.

Remove us from lust and the other passions which rob us of wisdom and wealth, and be for us the ship of gladness that brings us to the other shore and leads us to beatitude.” (Karapatri, Śrī Bhagavatī tattva.”)

The word Rātri (night) is symbolically derived from the root rā “to give,” and is taken to mean “the giver” of bliss, of peace, of happiness.

The Iconography of Kālī

“Most fearful, her laughter shows her dreadful teeth. She stands upon a corpse. She has four arms. Her hands hold a sword and a head and show the gestures of removing fear and granting boons. She is the auspicious divinity of sleep, the consort of Śiva.

“Naked, clad only in space, the goddess is resplendent. Her tongue hangs out. She wears a garland of heads. Such is the form worthy of meditation of the Power of Time, ‘Kālī, who dwells near the funeral pyres.- (Kālī Tantra. [496])

THE CORPSE

Kālī is represented as the supreme night, which devours all that exists. She therefore stands upon “non-existence,” — upon the corpse of the destroyed universe.

The corpse is that of Śiva. So long as the power that gives life to the universe remains predominant it is favourable (Śiva), but when it is without strength it becomes as a corpse (śava).

The lifeless body is indeed the symbol of whatever is left of the manifested universe when it reverts to the natural state of eternal time. At the time of universal dissolution (pralaya), the Power of Time, the power of destruction, is all that remains.

THE FEARFUL APPEARANCE

At the end of the battle, when the warrior stands among the corpses of the vanquished enemy and remains alone on the field of battle, her appearance inspires fear and horror — exhausted covered in blood and gore.

Who could dare to look her in the face? So terrible is Kālī. Her dread appearance is the symbol of her boundless power of annihilation.

THE NAKEDNESS

The universe which is projected from the Brahman and pervaded by the eternal power of time is also Its garb. “Having projected it [from himself], he entered into it.” (Taittirīya Upaniṣad 2.6.)

When the universe is dissolved, the Power of Time remains without a veil, naked. Hence the Goddess is “clad in space” (Digambara), having the vast emptiness of space as her only vesture.

The four arms

The four arms of Kālī represent the four directions of space identified with the complete cycle of time — four being the number of perfection. Completeness is usually represented by the four corners.

With her four arms, she stands as the symbol of the fulfilment of all and of the absoluteness of her dominion over all that exists. In the strict language of symbolism four arms always represent the idea of absolute dominion.

The laughter

The conqueror laughs in her triumph. That laughter is the expression of absolute dominion over all that exists.

It mocks at those who, in the folly of their vanity, hope to escape dissolution. It ridicules all those who cling to material existence and clutch their paltry possessions craving to continue their feeble existence in a cosmos in the grip of change and transformation.

The sword

The sword represents the power of destruction. The power of knowledge which cuts asunder the veil of ignorance and severs the bonds which bind us to our conditioned existence.

The severed head

The head represents the ego (ahaṁkāra) — the notion of individuality. The severed head in the hand of the Goddess reminds all living beings that there is no escape from the Omnipotence of-Time (Kālī). All the ego personalities that we assume and take with such seriousness are all trifling and unsubstantial. The ultimate state requires their decapitation.

The Gesture of Fearlessness

So long as there is existence, there is fear of destruction. Fear is inherent in all forms of existence; fear is the law of all that exists. “Out of fear of him fire burns; out of fear the sun shines.” (Kaṭha Upaniṣad 2.3.3.)

Every sentient being that is conditioned fears that which is beyond its limits of understanding.

Only absolute time (mahā-kāla) which pervades all things and has no limit knows no fear. The Upanishads say that he alone who exists “beyond the beyond” “exists without fear.”

Kālī, the power of time that destroys all, is the embodiment of all fear, while she herself is beyond fear; she alone who is beyond fear can protect from fear those who invoke her. This is the meaning of the hand removing fear.

The Gesture of generosity

All the pleasures of the world are transient; all human joy is but a momentary and feeble reflection of our true nature, which is unbounded joy. But such perception cannot last and is soon veiled by pain.

True happiness can only exist in that which is permanent. Only the Power of Time is permanent; it alone can grant happiness. Thus Kālī is the giver of bliss. This is represented by her giving hand.

THE GARLAND SKULLS

Life and death are inseparable aspects of our being. There is no life without death, no death without life. Hence there must be a common support for both life and death — Kālī is the supreme bliss which supports both and is the only refuge. She is the basis of all existence and non-existence.

The garland of skulls represents impermanence and the traces which are left behind by the dead as reminders of our own mortality and impermanence. They also represent all the assumptive identities which we use to validate ourselves.

The funeral pyre

Her dwelling place is the charnel ground illumined with the burning pyres of the world in destruction. A further reminder to us of the inevitability of our own physical dissolution and termination in the funeral pyre.

The black colour

Black is not actually a “colour” but the absence of all light. All colours of the spectrum merge in the colour black. In the Power of Time all colours and light dissolve into darkness.

As the embodiment of the tendency toward dispersion or obscuration (tamas), Kālī is depicted as black. All shapes return to shapelessness in the all-pervading darkness of the eternal night.

The lolling Tongue

Kālī’s gaping mouth and lolling tongue, her appearance and habits generally, are unquestionably repulsive to our ordinary sensibilities.

In Tantra, this is probably precisely the point. What we experience as disgusting, polluted, forbidden, and gruesome is grounded in and conditioned by limited human (or cultural) consciousness.

Our cultural and social conditioning has ordered and divided reality into categories that serve limited, ego-centred, selfish conceptions of how the world should be.

Kālī in her crass way de-constructs these categories, inviting us as her students to relax and open ourselves up to life in all its aspects — positive and negative, attractive and repulsive.

She invites us to dare to taste the world in its most disgusting and forbidding manifestations in order to discover for ourselves its underlying unity and divinity, which is the Great Goddess herself.

The dishevelled Hair:

- Pollution and Dissolution

Another striking feature of Kālī as with all the Mahā-vidyās is her long, loose, dishevelled hair.

Hindu women always wear their hair well kept, braided or bound (as do brāhmin men with long hair) – Loose hair is very uncommon — the only occasions being during the ritual impurity of menstruation in which it is forbidden to bind the hair and during mourning. The loose hair thus represents her as menstruating — pre-creation; or mourning — post creation.

Kālī is the ultimate suffragette openly and proudly displaying her disdain for social convention. She is totally liberated from all social convention, wild and uncontrolled in nature, and not bound to or limited by a male consort.

 Other unconventional features —

 her nudity, her standing atop her husband or consort, her dwelling in cremation grounds, and her rude, lolling tongue, messy, loose, tangled hair emphasises her socially liberated character.

The Sacred texts describe eight principle manifestations of Kālī corresponding to the eight aspects of Śiva.

Kālī Sadhana -

Kālī Sadhana is done to conquer over enemies. Kālī Sadhana helps to defeat and make enemies powerless. Kālī Sadhana is also performed to destroy diseases, to get rid of wicked spirits, wicked planets, fear of sudden death and to gain poetic skills.

Kālī Moola Mantra -

ॐ क्रीं क्रीं क्रीं हूँ हूँ ह्रीं ह्रीं दक्षिणे कालिका

क्रीं क्रीं क्रीं हूँ हूँ ह्रीं ह्रीं स्वाहा॥

Oṁ Krīṁ Krīṁ Krīṁ Hūṁ Hūṁ Hrīṁ Hrīṁ Dakṣiṇe Kālikā

Krīṁ Krīṁ Krīṁ Hūṁ Hūṁ Hrīṁ Hrīṁ Svāhā॥

DASHA MAHA VIDYAS -Ten Great Wisdom Goddesses

DASHA MAHA VIDYAS -Ten Great Wisdom Goddesses

Index: Intro (Mother Kālī) - 

1.Mahā Kālī  

2. Tārā 

3. Tripura Sundarī 

4. Bhuvaneśvarī

5. Chinnamastā 

6. Bhairavī 

7. Dhūmāvatī 

8. Bagalāmukhī 

9. Mātaṅgī 

10. Kamalā

KĀLĪ  -Intro

Of all the Hindu icons, Kālī is the most confronting for most westerners! It must also be mentioned in all fairness that many Indians also find her iconography disconcerting.

Mother Kālī is usually depicted dancing on the prostrate figure of Lord Shiva. She is black in colour with four arms. Her hair is dishevelled and her tongue lolls out of her mouth.

She has four hands — holding a decapitated head, a sword, a bowl of blood which she drinks and the lower right hand displays the gesture of fearlessness. She wears a garland of human heads and her skirt is comprised of severed arms.

Bearing in mind that Kālī is the embodiment of Time and that impermanence and change are the 2 underpinning realities of the universe and our existence in it — the image of the Goddess attempts to portray the force of disintegration and confronts us with the reality of our own mortality.

Symbols

The Kapāla — 

head she holds represents our Ahaṁkāra concept-of-self — the ego. It is the concept of ourselves as separate and unique individuals which is the foundation upon which the edifice of ignorance and delusion is built. It is the pivot of our assumptive personal universes.

The Khaḍga — 

sword - represents discrimination and wisdom.

Through discriminating between the real and the unreal, the truth and the untruth we gradually progress towards insight and wisdom which culminates in the elimination of the ego.

Our spiritual practice does not consist of achieving anything but rather removing those conditioning factors which obscure the vision of the Divine which is our essential, natural state.

The Muṇḍa-mālā —

garland of human heads - represents all the false personalities that we embody and the masks that we wear —all of which hinder and obscure insight into our true natures.

The severed hands-

 represent the countless actions - Karma that we engage in to support our assumed identities and to fulfil our cravings and repulsions —all in search of the actualisation of "happiness projects" which never really bring the ultimate happiness expected.

The demon who was Kālī’s nemesis on the field of battle was Rakta-bīja —the blood-seed demon, whose every drop of spilt blood generated another demon like him — representing our desires.

Each and every desire that is fulfilled begets another desire just as strong. The only way to terminate this cycle is to decapitate the demon and to drink his blood.

The drinking of the blood symbolises the quaffing of all desires, cravings and attachments which are the basis for our existential suffering.

The hand bestowing fearlessness indicates the need to overcome the greatest of all fears which is the fear of personal annihilation. By facing our fears and confronting the ultimate time-bound experience —death, we can achieve liberation from our spacio-temporal limitations and the cycle of rebirth and achieve Nirvana — the Supreme Bliss of "non-existence".

Mahā-Kālī is the personification of the universal power of transformation, the transcendent power of Time, the Great Goddess who rules unchallenged over the universe and all that is in it.

All processes in the universe are seen to be cyclic and can be divided in 10 phases connected with the symbolism attached to the mystical number 5 —the five aspects of Śiva and the five aspects of Śakti operate as day and night —the markers of Time.

Mahā-Kālī sub-divides herself into the 10 goddesses known as the Mahā-vidyās (ten objects of transcendent wisdom) which are the 10 aspects of the cycle of time — they’re representative of the entire processes of projection and withdrawal of the universe. They are the underlying subtle energies of which the gross universe is the outer expression.

Impermanence and change are the 2 underpinning realities of the universe and our existence in it, hence the Goddesses of Transcendental Wisdom are ultimately the powers of disintegration, but it is through the disintegration of all of our assumptive universes and everything that “appears” desirable and by facing what appears to us most fearful, (mahā-bhaya) the ultimate time-bound experience — death, that we can be liberated from bondage to the cycle of becoming and attain the ultimate goal of life, the limitless supreme bliss (parama-ānanda) of “non-existence”(existence is being conditioned by time and space.)

Hanuman

Hanuman 

Hanuman is one of the heroes of the Rāmāyana and he’s the embodiment of wisdom (jñāna) and devotion to God (bhakti) as well as courage and fortitude (bālā).

He is the quintessential spiritual Vīra or hero/warrior who is humble and submissive but also capable of immense acts of valour in the cause of Dharma. He’s totally dedicated to the Lord and to the preservation of the Dharma.

He is usually depicted as a humanoid monkey in the posture of submission standing in front of the temple or shrine of Lord Rāma.

When enshrined alone he is usually shown holding up the mountain or brandishing his favourite weapon the club or Gadā. The club represents Cosmic Order (Rita) as well as Karma.

Ayyappan

Ayyappan 

Ayyappan is the son of Lord Viṣṇu and Śiva. The energy of compassion (dayā) of Viṣṇu and wisdom (jñāna) of Śiva coalesced into the divine refulgence tejas personified as Ayyappan.;

He is the embodiment of Tapas or austerity — deep meditation which generates the internal heat of both compassion and wisdom.

It is believed that Lord Ayyappan has his divine control over Lord Shani – the ruler of Planet Saturn (Shani) – which governs over karma and karmic debts, forcing the one to work them out through hardships and austerities – towards liberation.

His worship is confined almost entirely to the state of Kerala in South India.

Ayyappan’s iconography is simple — he sits in a yogic posture displaying the Varadā and Abhayā mudras, wearing a jewel around his neck, hence named Manikandan, Literally meaning "With bell around the neck".

Sometimes he is shown riding on a tiger carrying a bow and arrows — symbolizing the harnessing of our courage and sagacity and directing it at the achievement of spiritual development.

Murugan - (Subrāmaṇya, Skanda, Saravanabhava, Kārttikeya, Kumāra)

Murugan  - (Subrāmaṇya, Skanda, Saravanabhava, Kārttikeya, Kumāra)

As the second son of Lord Śiva, Murugan the embodiment of skilful action, just as Gaṇeśa is the personification of wisdom. Skilful action (kuśala karma) is that which is direct at Ātmā bodha —self-realization. The several and collective human perfections are all personified in Murugan. When all the five senses and the mind as the co-ordinating factor are sublimated and directed towards enlightenment then one attains super-consciousness.

Lord Murugan was born from the Tejas or intense energy of Lord Śiva in order to relieve the gods of the oppression of Tārakāsura who had gained a boon of invincibility from Brahmā.

Tāraka-asura means the “demon-of-salvation” and he represents those factors which hinder real progress in both material and spiritual terms. The demon personifies our selfish delusions of what we think is in our own self-interest but is actually not.

A person with a migraine headache for example may think it in their best interest to have a hole drilled in their head to relieve the pressure —a misadventure which would surely result in death!!

So we as individuals and as a society are addicted to the pursuit of short-term self-interest goals which in the long term are detrimental to us. We see this in the environmental and economic policies of short-sighted administrators.

Skilful Means and real Universal Wellbeing requires that this demon of short-term self-interest be dispatched — requiring immense effort!

The 6 heads represent a number of concepts associated with spiritual growth and progress.

1. the organs of knowledge (jñānendriyas) i.e. touch, taste, hearing, smell, sight, and the mind as the 6th.

2. the six seats of consciousness in the subtle body — known as the Chakras: Mūlādhāra, Svādhiṣṭhāna, Maṇipura, Anāhata, Viśuddhā and Ājñā. The path of sādhana is a journey through these states of ever expanding consciousness.

3. They represent the 5 states of matter (earth, water, fire, air and ether) and the jīva.

4. The 6 qualities of the Supreme Being — omniscience, non-attachment, omnipotence, sovereignty, grace and glory.

He was born as 6 separate beings and was the coalesced into a single entity with six heads and twelve arms.

This is also indicative of the 5 kośas or sheaths and the jīvātman: The food sheath, the vital sheath, the mind, the intellect, and bliss sheath and the individual Self.

The 12 arms are symbolic of the skill and talent to perform multiple tasks and to progress skilfully materially. Both spiritual and material progress are inseparable from a well harmonised and integrated vision of the world and our place in it.

Murugan has many forms each one depicting a different aspect of his complex personality.

As Skanda or Kumāra he is the embodiment of chastity (brahmacārya) and conservation of the vital essence (retas) considered as essential for spiritual practice. In this form he appears as a young lad, a religious student clad only in a loin-cloth (kaupinam) and carry his spear.

As Ṣaṇmukha or Subrāmaṇya he is married to two wives:—

Valli (the earth) was the daughter of a humble farmer, unsophisticated and uneducated. She represents the casual or informal means of progress and growth. Through intuition and common-sense one can sometimes become more wise than an highly educated professor.

The other wife was Devasenā (army of the gods) or Devakunjari (divine celestial elephant) — these names are suggestive of ability and power of action. The Devas rose to their high position through sheer endeavour. Indra became king of the gods through the skilful performance of 100 yajñas. The eminence of the celestials is due to skilful means alone.

Symbols

Among many weapons of Murugan the most important is the Spear. The spear (kunta or vēl in Tamil) represents the focussed mind directed at the goal to be obtained or the enemy to be slain in the form of self-referent desire (kāma), anger (krodha), delusion (moha), arrogance or feeling of superiority (mada), niggardliness (lobha), and malicious envy (mātsarya).

A weapon which is unique to Murugan is the tanka or chisel used by sculptors and stone-masons — śilpis. It represents the work that needs to be done on ourselves in order to manifest our true essence nature. – The figure is already present in the stone, but it takes the skill of the sculptor to liberate it. In the same way the Jīvātman is present within the body/mind casing, it takes the skill of a sādhaka to reveal it.

Murugan’s vehicle the Mayūra — 

peacock which represents pride, arrogance and notions of superiority which need to be controlled in order to cultivate skilful means.

Another creature associated with Murugan is the insignia of cock which appears on his standard. The cock always symbolizes the immanent dawn of realization. The tame snake too is his companion, indicating the taming of anger and maliciousness.

Ganesha (Gaṇeśa)

Ganesha (Gaṇeśa)

Gaṇeśa is one of the most popular and well-known of all the Hindu gods and is always worshipped first. He is the god of Wisdom and the patron of learning.

Everything that we perceive in the universe must be grasped and expressed by the mind through the means of categories, therefore "category" is a fundamental principle of existence.

The 'principle' by which all classifications, and the relationship of one thing to another in the universe can be understood is called Gana-esha — "The-Lord-of-Categories".

Gaṇeśa — the Lord-of-categories has two wives Siddhi — Success, and Buddhi — Intelligence sometime his second wife is said to be Riddhi — Prosperity.

Gaṇeśa represents one of the basic concepts of Hindu Philosophy — the identity between the macrocosm and the microcosm. In religious terms this is the identity between the individual and the universe (humankind made in the image of God).

This idea of the potential divinity of the person and the immanence of God should be presented before the mind before beginning any undertaking.

This is the reason that Gaṇeśa is worshiped at the beginning of every enterprise. Not only this but his icon is seen at the entrance to almost every Hindu home and on every altar.

In iconography Gaṇeśa is represented as an Elephant-headed man:

The man part of Gaṇeśa represents the manifest Principle which is subordinate to the unmanifest Principle which is represented by the elephant's head.

The elephant head also represents certain qualities to which a sincere spiritual seeker is encouraged to aspire — strength, intelligence, endurance and gracefulness. The elephant is the only animal which has all its 5 organs in the head.

Thus we are taught that exerting control over the five senses is an essential pre-requisite to achieving knowledge and wisdom.

Symbols

The noose [pāśa] — 

represents the three things which are the cause of our bondage to the material world which necessitate continued rebirth:

• Ignorance of our true nature [avidya] as eternal modes of consciousness and an erroneous identification with the material body and mind.,

• Our actions done in conformity with the false identification with the material vehicle and their inevitable reactions [karma].

• The habitual pattern formations which we create [vāsanā].

Many of these are useful such as performing acts of daily living, and also special skills needed for our convenience such as driving, working computers and other forms of machinery and mechanical tasks needed for earning a living.

But there are more subtle and invidious pattern formation which cause suffering to ourselves and to others. These need to be uprooted — de-conditioned — in order to progress towards enlightenment.

In the hands of a free and enlightened being these three become a mere ornament!

The axe [paraśu] — 

represents non-attachment. In order to progress on the spiritual path the essential virtue to cultivate is that of non-attachment to the sense-object and their means of gratification — the noose held in the one hand needs to be cut with the axe of non-attachment in the other.

The Elephant Goad [ankuśa] —

 represents perseverance on the path of spiritual practice. The spiritual path is very arduous and difficult but if we are committed then Gaṇeśa when propitiated will prod us by means of the Goad, and guide us to our supreme destination — union with the Divine. But that incentivization will require pain and suffering!!

The sweet [modaka] — 

represents the basic needs for food, clothing and shelter. One should never neglect one's physical well-being while one is practicing spiritual discipline. The spiritual life is to be followed in harmony with a material life — not in opposition to it.

The Mouse Vehicle [muṣika] — 

The mouse is the master of the inner part of every building, and as such it represents the Ātman or the Self. The Self lives in the innermost recesses of the intellect, within the heart of every being.

The mouse is called muṣika in Sanskrit. It is derived the word mush which means to steal.

The Inner Ruler (Ātman) steals everything that we enjoy, hidden from our view it enjoys all the pleasures and remains unaffected by virtue or vice. The inner ruler is the real enjoyer of everything yet the ego in ignorance thinks that it is the enjoyer!

The mouse also represents the uncontrolled and negative mind that lives in the dark hidden places and destroys for the sake of destroying. Gaṇeśa, representing wisdom can control the mind by riding on it but the mind can never be completely crushed.

One Tusk [eka-dantā] - 

Ganapati acted as the scribe for the Mahābhārata, on the condition that he would on no account interrupt the recitation by Vyāsa who was dictating the Mahābhārata for the welfare of the world.

When the pen broke, Ganapati broke off his own tusk in order not to interrupt the work. Thus out of great compassion for beings the Lord was prepared to mutilate himself! This is the symbolism contained in the iconographical representation.

Ganapati is always depicted as being obese because all the universe is contained in his belly, yet he himself is not contained in anyone.

Dharma Princes or Devas of Inner Circle

Dharma Princes or Devas of Inner Circle

This part of series on Hindu icons and Symbols is dedicated to what we could call the Dharma Princes or Devas of Inner Circle - they are the most venerated deities right next to the Devas of Trimūrti and Divine Mother. I am speaking here about the 2 Divine sons of Lord Shiva - namely - Sri Ganesha and Lord Murugan, the Lord Ayyappa - often described as a son of Shiva and Vishnu, embodiment of best qualities of both, and finally - we should mention the most beloved and powerful devotee of Lord Rāma - Sri Hanumān.

DURGĀ (Durga)

DURGĀ  (Durga)

One of the most popular forms of the Goddess who is worshipped alone and has many temples and shrines dedicated to her is Durgā.

Durgā's feminine power contains the combined energies of all the gods. Each of her weapons was given to her by the various gods: Rudra's trident, Vishnu's discus, Indra's thunderbolt, Brahma's Kamaṇḍalu, etc. etc.

According to a narrative in the Devi Māhātmya, Durgā appeared as a warrior goddess to fight an Asura (an anti- god) named Mahiṣāsura or ’buffalo-demon’.

He had unleashed a reign of terror on earth, heaven and the nether worlds, and he could not be defeated by any man or god, according to a boon given him by Brahmā.

The gods went to entreat the aid of Lord Viṣṇu. Hearing of Mahiṣāsura’s atrocities, Vishnu, Shiva and all of the gods became very angry and beams of fierce light emerged from their bodies.

The blinding sea of light met at the Ashram of a sage named Kātyāyana and Durgā emerged from this coalesced pool of light. The goddess Durgā took the name Kātyāyanī from the priest and emerged from the sea of light.

She introduced herself in the language of the Rig-Veda, saying she was the form of the supreme Brahman who had created all the gods. Now she had come to fight the demon to save the gods.

They did not create her; it was her divine Līlā she emerged from their combined energy — she represents the totality of our higher potential for Self-realization.

Mahiṣāsura or the buffalo-demon represents the gross negative aspect of Tamas which obstructs and thwarts spiritual progress. As the personification of the Tāmasic Ahaṁkāra — he constantly and adroitly changes shape whenever he is confronted by Durgā.

We have the incredible capacity for self-delusion and whenever we are confronted we always manage to work our way out and somehow or other justify our actions both to ourselves and to others.

But finally, once we have exhausted all our excuses and self-delusions we are finally vanquished by our higher nature and experience the bliss of Ātma-bodha — self-realization.

The Names of the Goddess

The Names of the Goddess 

As the gentle companion of Śiva 's pleasure games the Goddess is mainly known as the Daughter-of-the- Mountain (Pārvatī) or the Mountain-born (Adri-ja or Giri-ja), the Daughter-of-the-Snow-capped-One (Haimavatī).

She is also the Earth-born (Ku-ja), the Fair-One (Gauri), the World's-Most-Fair (Jagad-Gauri), the Peace- of-the-Night (Umā).

Auspicious (Śivā), she is the Mother (Ambikā), the Mother-of-the-World (Jagan-mātā), the Giver-of-Existence (Bhavāni).

She is the Youngest (Avara), the Virgin (Kanyā), the Virgin-Girl (Kanyā- Kumārī). She is the Sustainer-of-the-World (Jagad- dhātṛi), the Auspicious-Power-of-Time (Bhadra-Kāli), the Giver-of-Food-and-Plenty (Annapūrṇā), the Shining- One (Devi), the Consort-of-the-Great-Lord (Mahā-devi).

As the embodiment of lust she is Wanton-eyed (Kamaksi), Her-very-Name-is-Lust (Kāmākhya). She is the Rubbing-or Squeezing-One (Mrda, Mrdani), Noble (Arya), Rich (Riddhi), Pearl-eared (Karna-moti), Recognizable-from-her-Lotus (Padma-lancana); she is Always-Auspicious (Sarva-mangala).

Like-a-Bee (Bhrāmarī), she is Śiva 's- Messenger (Śiva -Dūtī). She is the Goddess Beyond-Reach (Durgā), the Endless (Ananta), the Everlasting (Nitya).

Fearful, she is Tawny-Dark (Pingala), Spotted (Karburi), Naked (Koṭarī), Violent (Candi), Dark (Syama), Terrible (Bhairavī). She is the Fearful-Goddess (Bhima- devi), the Power-of-the-Anti-gods (Mahasuri), the Fierce (Rajasi), Red-toothed (Rakta-danti); she is the Mother-of-the-God-of-War (Skanda-mata), the Victorious (Vijaya).

The Chaṇḍī Māhātmya, one of the hymns of praise dedicated to her, depicts her as Ten-armed (Daśa-bhuja), Riding-on-a-Lion (Simha-vahani or Simharathi). She is the "Destroyer of the Buffalo-Demon" (Mahiṣa-mardini), the Disheveled (Mukta-kesini).

Being addicted to austerities, she is the Leafless (Aparna), the Widow (Kātyāyani), Grass-robed (Śākambharī).

From Śiva she obtains names which are the feminine form of his, such as the Tawny-One (Babhravi), the All-Powerful (Bhagavati), the Ruler (Īśānī), Divinity (Īśvarī), Dwelling-in-the- Kalinjar-Mountain (Kalanjari), Adorned-with-Skulls (Kapalini).

She is the Sentiment-of-Love (Kauśikī), the Savage-Girl (Kirātī), the Great-Goddess (Māheśvarī), the Goddess-of-Tears (Rudrāṇī), Universal (Sarvani), Auspicious (Śiva ), Three-eyed (Tryambaki).

Parvatī, Śakti, Kālī (Parvathi,Shakthi,kali)

Parvatī, Śakti, Kālī  (Parvathi,Shakthi,kali)

The Powers of Procreation, Development, & Destruction.

Like Śiva, his Śakti is also extremely complex. the Śakti of Śiva is depicted under three main aspects:— a creative, active aspect called simply "Energy" (Śakti), an abiding, peaceful, spatial aspect named Pārvatī, the "Daughter-of- the-Mountain" (i.e., Ether personified), and a destructive time aspect known as the "Power-of-Time" (Kālī ).

Pārvatī is a gentle benevolent goddess, daughter of the axial mountain — the Himalaya, from which the earth energy radiates into space. The mountain (parvata) or the Snow-capped-One (Himavat) is a symbol of ether — Ākāśa.

The peaks of the mountains are regarded as the places from which the earth energy flows into the ether. No dwellings are built on top of mountains and hills and only places of worship may be built there.

The mother of Pārvatī is Menakā, who represents intellect (buddhi). Born of Ether and Intellect, Pārvatī is the omnipresent conscious substance of the universe.

Pārvatī is also the matron of all the elemental spirits — the bhūtas and gaṇas (categories) that wander about the earth.

The Divine nature in Tantra is often conceived of as a playful young boy or girl, aged sixteen, full of vitality, energy and procreative desire, a playful being for whom the whole world is a toy, a the whole of life a game.

The Divine Playfulness is personified either as Krishna or as a manifestation of Pārvatī known as Lalitā. She holds the Pāśa, Ankuśa and a sugar-cane bow with which she shoots the five arrows of the sense-objects.

bhadra kaliBhadra Kālī Devi

Sometimes the Goddess is shown alone in which case she is depicted as Maheśvarī — the feminine counterpart of Lord Maheśvara.

The agency of Śiva’s procreation is the Goddess known as Power-of-Lust (Rati) — the wife of Kāma-deva. Without sexual desire no conception takes place. She appears to be the very opposite of the power of destruction — Kālī, the Power-of-Time.

When Śakti, which is also the power-to-think (Vimarśa), unites with the lord-of-sleep, a state of agitation, or unrest (unmana) arises, from which projection of the universe springs forth.

When Śakti separates herself and remains aloof from him, a state of perfect quiescence or harmonization occurs (samana), in which the world dissolves.

The Goddess Rati is the libido — the ubiquitous force of lust, of enjoyment, but strangely enough also the power of liberation — for liberation from the bonds of material nature is not a passive or a neutral state but indeed an very pro-active struggle.

LAKṢMĪ - She-of-the-Hundred-Thousands

LAKṢMĪ - She-of-the-Hundred-Thousands 

The Śakti of the all-pervading Preserver, Vishnu, is represented as the power of multiplicity or goddess of fortune, "She-of-the-Hundred-Thousands" (Lakṣmī). When she is associated with the universal principle of beauty she is known as Śrī.

Both "Lakshmi" and "Śrī" are mentioned in the Vedas in the context of "fortune." But Lakshmi as the Goddess of Fortune is depicted as a major goddess only in the epics.

The Taittirīya Saṁhitā declares that Śrī — Fortune and Hrī — Beauty are the two wives of the solar-principle (Āditya).

The Śatapatha Brāhmaṇa describes Hrī — Beauty as born from the lord-of-progeny (Prajāpati). Beauty is also the mother of Lust (Kāma). When the ocean was churned by the gods and the anti- gods, Lakshmi arose from the waves, a lotus in her hand.

The Vishnu Purāṇa says that Śrī — Fortune was first born as a daughter of the Crack-of-the- Ritual-Fire (Bhṛgu) united to the Hymns-of-Praise (Khyāti). Fortune is thus the fruit of the ritual- sacrifice (yajña).

As the consort of the Highest God Lord Vishnu, Lakshmi is also the embodiment of compassion (anugraha-śakti) and tempers His quality of Justice (nigraha-śakti). As the Goddess of compassion she further transforms and sanctifies resources into their use for the benefit of others.

Some of her other names are:— the Powerful-One (Indira), the Ocean-born (jaladhi-ja), the Fickle- One (Cancala or Lola), the Mother-of-the-World (Loka-mātā).

Lakshmi also has a sister — Misfortune (A- laksmi), fearful and ugly, also known as the Elder- Sister (Jyeṣṭhā).

Symbols

Padma — Lotus

By reproducing from its own matrix rather than the soil the lotus is a symbol of spontaneous generation (Svāyambhu). It grows in mud but rises in immaculate purity to the surface and opens to the sun - the evolution begins in the mire of Samsāra but rises to full enlightenment and purity.

The lotus is the quintessential symbol of purity and enlightenment. The closed lotus is a symbol of potential and the open the symbol of actualization.

She is usually depicted seated upon a lotus - representing the enlightened and pure mind. Her two lower hands are held in the gesture of fearlessness (Abhayā) granting freedom for fear and suffering to all beings, and the gesture of generosity (Varadā).

Mahā-Lakshmi as Vīra

A rarer form of Lakshmi is known as Vīra-Lakshmi or "Heroic-Lakshmi" — in which she displays all the qualities necessary for a pro-active social and spiritual involvement. Envisaged in a cosmic form as the Transcendent-Fortune (Mahā-Lakṣmī) — the power of progress, accumulation and advancement she embodies the characters of all the gods together.

She is seated on the "Lion-Throne" of universal dominance, in her upper hands she holds the symbols of Vishnu her consort — the conch and the discus — symbols of creation and transformation respectively.

The next two hands down hold the bow and moon- shaped arrow symbolic of the mind and its application single-mindedly to the objective being contemplated.

The two hands below these hold the trident and the razor. Symbolising control of mind, speech and action through the trident and the dangerous nature of the spiritual path — "the razor's edge".

The lowest 2 hands are held in the gestures of fearlessness and generosity.

SARASVATI — The Flowing-One

SARASVATI — The Flowing-One 

The Śakti of Brahma, represented as both his daughter and his consort, is the goddess of speech, the Flowing-One (Saras-vati). She represents the union of power and intelligence from which organized creation arises.

Speech is the power through which knowledge expresses itself in action. Sarasvatī is the source of "Sonic-creation". Creation or rather "Projection" of the universe occurs in two parallel processes — creation through sound (nāma) and the projection of forms (rūpa).

She is the goddess of eloquence, of all forms of knowledge, the patroness of the arts and of music. She is the source of all communication through language and writing. She is the power that resides within all poetry and writing.

The name Sarasvatī is that of a sacred river, mentioned in the Rig Veda as: — "She who goes pure from the mountains as far as the sea." This river dried up about 2000 years ago and the course can now be seen from space. According to the Mahābhārata, the river was dried up by the curse of the sage Utathya.

Saras, which means fluid, refers to anything that flows and as such applies to speech and thought as well as water. Other names of Sarasvatī are Eloquence (Bhāratī), Transcendent Knowledge (Mahā-vidyā), Speech (Vāc), Transcendent-Word (Mahā-vāṇi).

She is the Noble-One (Ārya), the Power-of-the-Immense-Being (Brahmi), the Wish-Cow (Kāma-dhenu), the Womb-of-the-Seed or Womb-of-the-Elements-of-Speech (Bīja-garbha), Divinity-of-Wealth (Dhaneśvari), etc.

Symbols

Pustaka (Book) - 

The sacred Scriptures and all forms of book learning and theoretical knowledge. In the modern context it would include computers and all other forms of visual and sound media as well.

Japa-mālā (Rosary) -

 Spiritual practice. Meditation and the recitation of mantras.

Vīnā (Lute) - 

Music, singing, dancing. Inner sound of spiritual harmony; the vibration of the atoms in motion, creation, the sound of the spheres, the harmony of all the diffuse elements of the cosmos.