Dhumavathi (Dhūmāvatī ) — the Smoky One, the Power of Poverty

Dhumavathi (Dhūmāvatī ) — the Smoky One, the Power of Poverty 

“She appears as a woman of unhealthy complexion, restless, wicked, tall, with a dirty robe and dishevelled hair. With gaps in her teeth, she looks like a widow, and holds in her hand a winnowing basket. Her eyes seem cruel, her hands tremble, her nose is long. She behaves deceitfully and is sly in her looks. Insatiably hungry and thirsty, she inspires fear and is the instigator of quarrels.” (Dhūmāvatī Tantra.)

After death the body is consigned to the funeral pyre, our entire subjective, assumptive universe ends in smoke; hence the power of ultimate destruction is called the Smoky-One (Dhūmāvatī).

She is the śakti that destroys the structure of all things, (structure is ruled over by the male principle whereas process is the feminine energy), hence she is called a widow (vidhava).

Nothing is left for her to own, hence she is utterly destitute. She is the goddess-of- poverty (Daridra), of frustration, of despair, identified with Mis-fortune (A-laksmi) and with the goddess-of-disease- and misery (Nirrti).

Her presence can be seen in the destitute, the beggars, the lepers, the diseased. She dwells in the wounds-of-the-earth (ksata-viksata-prthivi), in deserts, ruined houses, tatters, hunger, thirst, widowhood, quarrels, the mourning of children, the battle field etc..

Dhūmāvatī rules over the rainy season which lasts for four months, during which the life-giving solar light is hidden by the evil water-spirit (asura- apya- prāṇa). This corresponds in the cosmic cycle to the night of the gods when the spirits of darkness rule.

The night of Dhūmāvatī is the Night-of- Death (Kala-Rātri) — during the 4 months of the monsoon no public ritual can be performed, there are no pilgrimages, no festivals, no marriages, no initiation. At the end of the rainy period the rule of light returns and the festival of lights (Dīpāvalī) takes place.

Dhūmāvatī Sadhana -

Goddess Dhūmāvatī Sadhana is done to get rid of extreme poverty. She is also worshipped to make body free from all sorts of diseases.

Dhūmāvatī Moola Mantra -

ॐ धूं धूं धूमावती देव्यै स्वाहा॥

Oṁ Dhūṁ Dhūṁ Dhūmāvatī Devyai Svāhā॥

Bagalamukhi (Bagalāmukhī) — The Deceitful, Crane-headed, the Power of Cruelty

Bagalamukhi (Bagalāmukhī) — The Deceitful, Crane-headed, the Power of Cruelty 

In the middle of the ocean is a pavilion of jewels with an altar inside it. On the altar is a lion throne on which the goddess Bagalāmukhī is seated.

Her complexion is completely yellow, perfectly yellow, and she wears a yellow dress, yellow ornaments, and a yellow garland. I call to mind she who holds the tongue of the enemy in her left hand and a raised club in her right hand.

She has assumed a serious mood and is maddened with intoxication. Her brilliance reflects the golden hue of her body. She has four arms and three eyes and is seated on a lotus.

On her forehead is the crescent moon, which is yellow in colour. She wears yellow clothes, has high, firm breasts, and wears golden earrings. (Brihat Tantra sāra)

An aspect of our human psychology that we very quickly learn to repress is a subtle desire to kill other living beings – a desire to destroy all others but ourselves; the forbidden pleasure that we feel when hurting another — something we don’t like to admit to.

This desire to kill, to torture, is present to some degree in the psyche of everyone. This repressed destructive desire unconsciously motivates many of our actions in day to day life.

In the iconography of Tantra this aspect of mind-force is represented as a woman with the head of a crane, the placid, graceful crane being considered the most deceitful of all creatures.

Bagalāmukhī is also known as Pitambara-devi (The goddess garbed in yellow) she presides over all the subtle forms of killing.

She is more than any of the other Mahā-vidyās the presiding goddess of the supernormal yogic powers known as “siddhis” which can either be used for universal good (“white-magic”) or subjective self-agrandisement (“black-magic”). She is the cosmic force which incites men to kill and to torture one another.

A demon named Mādan undertook austerities won the boon of vāk siddhi, according to which anything he said fulfilled. He abused this siddhi by killing people.

Enraged by his mischief the gods worshiped Bagalāmukhī. She stopped the demon’s rampage by taking hold of his tongue and stilling his speech.

Before she could kill him, however, he asked to be worshiped with her, and she relented. That is why he is depicted with her:

“I bow to the two-armed goddess who with the right hand grasps the tongue of her enemy and with her left hand tortures him. She holds a mace and is clad in yellow.” (Bagalāmukhī Tantra.)

Bagalāmukhī is also strongly associated with sexual desire and pleasure — particularly that of the sado-masochistic type. Several of her epithets in her thousand-name hymn associate her directly with kāma, “sexual desire,” or the god of sexual desire, Kāma-deva.

She is called, for example: She Who Dwells Where There Is Sexual Desire, Who Likes Sexual Desire, Whose Form Is Sexual Desire, Whose Eyes Are Full of Desire, Who Promotes Sexual Desire, and Who Takes Pleasure in Sexual Play.”

Another string of epithets associates and identifies her with the female sexual organ:

She Whose Form is the Yoni, Who dwells in the Yoni, Whose form is the Lingam and Yoni, Who Has a Garland of Yonis, Who is adorned with Yonis, Who Enjoys the Union of the Lingam and Yoni, Who Is Worshiped with the Lingam and Yoni, and Who is Absorbed with the Lingam and Yoni.

Her consort is the One-faced (Ekavaktra) Rudra. The night of Bagalāmukhī is identical to that of Chinnamastā. It is the Night-of-Courage (Vīra- Rātri), the time of suffering.

Bagalāmukhī Sadhana -

Bagalāmukhī Sadhana is done to defeat and paralyze the enemy. She is also worshipped to win the court cases and to get success in all sorts of competitions.

Bagalāmukhī Moola Mantra -

ॐ ह्लीं बगलामुखी देव्यै ह्लीं ॐ नमः॥

Oṁ Hlīṁ Bagalāmukhī Devyai Hlīṁ Oṁ Namaḥ॥

Mathangi (Mātaṅgī ) — the Elephant Power, the Power of Domination, the Outcaste Goddess.

Mathangi (Mātaṅgī ) - The Elephant Power, the Power of Domination, the Outcaste Goddess.

She is seated on a corpse. Her clothes and all her ornaments are red. She wears a garland of ganja seeds. She is sixteen years old and has full breasts. She holds a skull and a sword in her two hands. She should be offered leftovers [ucciṣṭa].’

She is blue in colour and has the disc of the moon on her forehead. She has three eyes, is seated on a jewelled throne, and is adorned with jewelled ornaments. She has a very thin waist, and her breasts are round and firm. She has a smiling face and holds a noose, a sword, a goad, and a club in her four hands.’

One version of Mātaṅgī’s origin is found in the Pranatoshni-tantra:

Once upon a time, Pārvatī was seated on Śiva`s lap.

She said to him that he always granted her wishes and that now she had a desire to return to her father’s home for a visit. Would he consent to her visiting her father, Himalaya, she asked?

Śiva was not happy about granting her this wish but eventually complied, saying that if she did not come back in a few days, he would, go there himself to ask for her return.

Pārvatī’s mother sent a crane to carry Pārvatī back to her family home.

When she did not return for some days, Śiva disguised himself as an ornament maker and went to Himalaya’s house.

He sold shell ornaments to Pārvatī and then, seeking to test her faithfulness, asked that she have sex with him as his payment.

Pārvatī was outraged at the merchant’s request and was ready to curse him, but then she discerned with her yogic intuition that the ornament vendor was really her husband, Śiva.

Concealing her knowledge of his true identity, she replied: “Yes, fine, I agree. But just not now!”

Sometime later, Pārvatī disguised herself as a huntress and went to Śiva’s home, where he was preparing to do evening meditation. She danced there, near Mānasa Lake. She wore red clothes, and her body was lean, her eyes wide, and her breasts large.

Admiring her, Śiva asked: “Who are you? “ She replied: “I am the daughter of a Chaṇḍāla. I’ve come here to do penance.”

Then Śiva said:— “I am the one who rewards those who do penance.” Saying this, he took her hand, kissed her, and prepared to make love to her.

While they made love, Śiva himself was changed into a Chaṇḍāla. At this point he recognized the Chaṇḍāla woman as his wife Pārvatī.

After they had made love, Pārvatī asked Śiva for a boon, which he granted.

Her request was this:— “As you [Śiva] made love to me in the form of a Caṇḍālinī [Caṇḍālawoman], this form will last forever and will be known as Ucciṣṭa Caṇḍālinī.

The regal elephant is the mount of Indra, king of the gods as well as of temporal kings. It is the symbol of the power of domination.

After the terror of the night appears the reassuring sunlight. The demons are defeated; Mātaṅgī, the Elephant power, establishes the rule of peace, of calm, of prosperity.

The day is, however, a dream, a mirage that appears in the eternal night. As a form of night, Mātaṅgī is therefore the Night-of-Delusion (Moha-Rātri).

Mātaṅgī is associated with “left-overs” and indeed prefers pollution. Those who perform sādhana of Mātaṅgī must offer her left-over food and worship her after eating without washing. Even the highly “polluting” menstrual state is said to please this goddess.

Ucciṣṭa Mātaṅgī as the embodiment of the ritually polluted is the goddess by means of whom one can directly come to terms with pollution. As such she is very empowering and liberating. She also has a strong association with forests and jungles.

Mātaṅgī Sadhana -

Goddess Mātaṅgī Sadhana is prescribed to acquire supernatural powers, especially gaining control over enemies, attracting people to oneself, acquiring mastery over the arts and gaining supreme knowledge.

Mātaṅgī Moola Mantra -

ॐ ह्रीं ऐं भगवती मतंगेश्वरी श्रीं स्वाहा॥

Oṁ Hrīṁ Aiṁ Bhagavatī Mataṁgeśvarī Śrīṁ Svāhā॥

Kamala (Kamalā) — The Lotus-Goddess, the Power of Wealth

Kamala (Kamalā) — The Lotus-Goddess, the Power of Wealth 

“With a golden complexion, bathed in the stream of ambrosia flowing from golden vessels held by the trunks of four white elephants, she looks like the abode of snow, the Himalaya.

Her hands grant boons, allay fear, and hold two lotuses. She has a brilliant diadem. Her hips, like ripe fruits, are loosely draped in a silken garment. We bow to her who stands upon a lotus.” (Kamalā Tantra)

When Everlasting-Śiva (Sadā-Śiva) takes over the function of Vishnu and sustains the world then Kamalā becomes his consort.

She is the embodiment of all that is materially and spiritually desirable, the exact counterpart of the Smoky-One (Dhūmāvatī). The signs of the zodiac associated with these 2 goddesses are in opposition:

Kamalā rules over the auspicious nakṣatra Rohiṇī in Taurus, giver of wealth, while Dhūmāvatī rules over the nakṣatra Jyeṣṭhā in the sign Scorpio which brings poverty.

Kamalā is the power inherent in prosperity as the energy of preservation she represents the potential for universal well-being that can only be accomplished through the correct utilisation of wealth.

She is the only one of the goddesses who is totally benevolent and compassionate.

In fact coming last in the list of Maha-vidyās she represents the “normative” state of what most people are comfortable; with Kālī is that which is least comforting.

Kamalā represents material well-being, comfort, the familiar.

As the preserving energy she bestows stability and security —she represents the very state of mind which contributes to further continuity in Samsāra whereas Kālī represents the Liberating force. Kamalā consciousness is what one seeks to restrain, overcome and finally transcend.

The aspect of the eternal night corresponding to Kamalā bears the same name, Maha-rātri, as the night of Kālī but is interpreted to mean the Night of Splendour.

Kamala Sadhana -

Goddess Kamala Sadhana is performed to gain wealth and prosperity.

Kamala Moola Mantra -

ॐ ह्रीं अष्ट महालक्ष्म्यै नमः॥

Oṁ Hrīṁ Aṣṭa Mahālakṣmyai Namaḥ॥

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॥

62.Hanuman Sadhana Siddhi & Detailed Prayoga

Hanuman Sadhana Siddhi & Detailed Prayoga
Dear all let me outline the perfection of Hanuman sadhana.

An aspirant who with vrutha and dhayana, chants the mantra for 12,000 times and then do a homa of 1200 number with a mixture of milk , curd and ghee mixed equally with paddy grains(with the shell), he/she will get the perfection. With this perfection, he/she becomes eligible for fulfillment of wishes of both one's own and others.

kadali banana, musambi, the jaggery sweet made of rice, and mango if offered each one thousand in number followed by the offering of food to 21 brahmachari brahmins, he/she will be able to vanquish any ethereal inflictions, possessions, enemies, the bad effects of planets, asuras etc.

A perfected one if he/she takes a bowl of fresh water, infuse the mantra for 108 times to it and then gives it to anyone who have been poisoned, the effect of the poison wards off.

a perfected one if he/she chants the mantra for 900 times, every night for a period of 10 days , he/she will be mitigated from the fears and threats caused by any enemy ; even the enemy is the King.

Detailed Prayoga


Dear all, let me outline the detailed prayoga of the hanuman sadhana.

The fever that is caused by the abhicarini prayoga can be cured by first infusing the vidhuti with 108 times of the mantra and then do a marjara on the patient with the vibhuti in water or just by sprinkling the vibhuti itself on the patient. It takes three days of the same treatment to cure one person completely.

For the ease at treatment of diseases, an accomplished can infuse this mantra on medicines prescribed for the treatment and use them.

If an accomplished drinks milk with reciting the mantra for a battle, he/she never fails. If the vibuthi infused by this mantra is put all over body, the arrows of the enemies never find its way to the accomplished. When there is a wound in body with any weapons or made by insects like scorpion, the vibhuti infused with the mantra can be smeared and the wound will be healed. In all the above situations, mantra is rendered 108 times.

From the glowing fire, collect the ashes and keep it on a vessel. From sunrise to sunset the accomplished should chant the mantra touching the vessel. Now collect a new set of ashes from the fire. Drop both the ashes at the door steps of enemies. The enemies will create differences among themselves and drift apart. if the ashes is mixed with water and make a small smear of that on the forehead, and mix the mixture with sandalwood paste, then mix it with any food items and then give to any person whom you want to control , the person will be under your control as a servant.
Even wild animals are tamed with this.

if an accomplished make an idol of hanuman with the root of "ung" tree and that too to the size of his/her thumb, then do the prana prathista on that along with the pooja with vermilion , installed facing the home, he/she will not be affected by any ethereal beings , fire, poisons, 'enemity' of kings. Also the person will have a prosperity and wealth amassed on a daily basis.

Detailed Prayoga - Marana
Dear all, although marana is not a prayoga which comes under the purview of aghora, for the understanding of the readers i am mentioning a marana prayoga also now. The prayoga is as follows:

With the ashes or sand taken from the cremation ground, make an idol of the enemy. Write his/her name on the heart portion of the idol. Now do the pranaprathista on the idol and then with the chanting of this mantra, the accomplished should cut the idol with a sword. During the chant, one should add the name of the enemy making it "dwiteeyanta" and "cchinthibhindhi" and cut the idol, which means chanting "name of the person" cchinthi, bhindhi, "name of the person" maraya maraya. When one is doing it, he/she should bite her mouth and do the sankalpa dhyana that the body parts of the enemy is getting separated and he/she is dead. One should now press the hands against each other and leave the idol there and go back home. This should be repeated for 8 days. Enemy dies.

There are a few prayoga's in which one can invoke other ethereal beings as sub deities along with the help of a main deity. Its very common in vedic systems that more than one deva is present. But in any forms of other worships it’s rare. I am outlining the invocation of a vethala along with the marana prayoga now. :))

In the cremation ground, make a yagna kunda of semicircle nature (dimensions as per tantra yagna workbooks and not shrauta sutras). The homa is conducted facing the south. The accomplished should untie his/her hair. The articles of offerings are different for brahmanas who are accomplished and other groups castes who are accomplished due to inherent nature that brahmanas worship vedic rituals also.

The articles used for offerings are an equal mixture of salt and mustard, the seed and flower of durdhura,nail,poison,body hair along with chamtha of naruvari; for brahmanas. The offering has to be done 300 times. For non brahmanas,the articles are the wing of crow,kocha,eagle and owl along with 300 times of chamtha of naruvari.On the same night after the offering,one has to chant the mantra for 600 times. Once this process is repeated for 7 days, the enemy dies. Continue the same for another 3 days, a vethala will emerge and will make the accomplished known to the good and evil events and also the future of the accomplished. The vethala will ever remain after and accompany the accomplished one;obeying his/her commands. :))

If the accomplished one draws the picture of hanuman on the earth and chant the mantra adding to the beginning "name of the person to be freed from physical bondage by force, vimochaya vimochaya",then after once chant , he/she should erase the picture drawn with the left hand and repeat the same for 108 times.The person who is held in physical bondage by force will be freed.

The accomplished one of this mantra can perform the vidweshan and vasikaran with this mantra. The difference is the articles of offerings. For vidwesha , one should use karaveera , its flower or pepper. For Vashya; one should use mustard.

For the cure of jwara , one should offer ghee or milk.For the cure of serious
Stomach ailments one should offer the chamtha of kurunochi dipped in oil for 1000 times.

The accomplished one,if he/she offers sandalwood or gorochana or flowers which have good inherent scent, all the luck will be the granted to him as the result.

All shalkarmas can be performed with this mantra after perfection. But the aspirant should be keeping his brahmacharya during the austerities and also remember lord rama with affection.

if an accomplished person who have no specific desires (the aghori) chants this for 1 lakh times, he/she will be upasak to Hanuman.

61.Hanuman Sadhana

Hanuman Sadhana

Dear all, before moving into the real Hanuman sadhana and aspects of perfection, I would like to write a post about hanuman. Hanuman or Anjaneya is considered one of the most ferocious among the deities in the treatment of aghora. At the same time an aghori can relate very well more than any others in other schools of spiritual discipline with hanuman. The very name of the form of hanuman as Anjaneya is the example for how an aghori sees him. The son of Anjana –  Anjaneya.

The divine ma Adya is seen in every mother by an aghori. For Anjaneya, the very devotion to his mother is also well mentioned in scriptures. Such a similarity in relationship makes Anjaneya a brother, a protector for an adept, during his early stages of development.

For Anjaneya there are various practices and styles of worship spread across in various schools of thought. The way in which an aghori invokes anjaneya in cremation grounds clearly distinguishes him for the others.

The sadhana of anjaneya is also a proof of the neutrality of aghora as a treatise which is independent and not mere as a subset classification to a shaivite system.

Hanuman Sadhana
Dear all , let me outline the hanuman sadhana

Astra : sahasrara hum phal

Moola : haum hahsaehkhaehhraim saehkhaehhraim haehsaum haehsaehkhraehhraimhaehsaum hanumathae nama:

Anga :
1) haum hridayaya nama:
2) hahsaehkaehhraim sirase swaha:
3) sahkhahhraim shikhayae vashal
 4) hahsaum kavachaaya hum
5) hahsahkhahhraim nethrayaabhyam vaushal
6) hahsaum astrayaa phal

Chanda - ramachandra rishi: jagathi chanda: hanuman devatha:

Dhayana : omitted on purpose :))

Peeta shakti : sreem nama:

Peeta samishti : sreem vaishnavayogapeetaya nama:

Peeta pooja : garwathijnanatmanandae vimalaadinavashakthi , peeta samisti from beginning to end do pooja with water

Moorti kalpana : peeta shakti , moola and hanuman moortayae nama:

Upachara : balam dhaechi tanushnau balamindraauanalaustuna: balam taukaaya tanayaaya jeevasetwam hi baladaa asi

Aavahana : omitted as needed to be done on guru upadesha

Ayudha nyasa :
1) mulgaraya nama:
2) gadaaya nama:

Bhushana nyasa :
1) makudaya nama:
2) swarnakundalabhyaam nama:
3) haaraya nama:
4) angadaadi sarwabhushanaebhyau nama:

Upachara : arkyamidam, padyamidam, achamaneeyamidam

Moorti pooja : pranavathrya, upachara, moolathryaya, moolakshara, anga, ayudha, bhushana, after agnavarana ramabhaktyiadi , sugreevadi, indradi, vajradi, pushpadharinyae nama: as nirmalyadhari, with this mantra do pooja with water from beginning to end

Dwastas :
1) mudgarapaanayae nama:
2) gadapaanayae nama: and naivedya and remaining pooja as per generic pooja ways and complete the same

iti hanuman sadhana samaptam ||

60.Shulini Durga Siddhi and Prayoga

Shulini Durga Siddhi and Prayoga

Dear all, let me outline the perfection of the sadhana.

With dhyana and vrutha, the aspirant should recite the moola mantra to 100,000 times of the number of aksharas in the mantra. Then perform a havan with 10% of the total number with ghee. The perfection is happened.

If the perfected one, when performs a havan of 1000 times of the mantra on trimadhura mixed with thila, he/she receives the superhuman powers.

If the perfected one performs a havan of 100 times daily with ghee or karuka, he/she will receive the desired wealth in one year.

If the perfected one , do a havan of 10,000 times and sampata being smeared on the weapons, then the one who goes to battle with the weapons will be victorious over enemies.

If the perfected one, do a havan of 10,000 times with chamatha of banyan tree or trimadhura mixed with thila, then he can gain control over the people on higher positions.

If a weapon is on the hand and the perfected one , do a sankalpa of goddess black skinned as the vanquisher and then touch the weapon on anyone one who is under demoniacal possession, the possession will be released.

If the perfected one chants the mantra, the venom of snake, rat, and scorpion all will be cured.
If the perfected one energizes the arrows with this mantra, the very use of these arrows can make the enemies to leave the battle field. If the aspirant does the sankalpa of goddess carrying the 'shula' and 'paasha' as ayudha, then he can come back victorious from any wars.

Now I am outlining the marana prayoga. If the perfected one, do a hawan with thila and mustard for 100,000 times, with the name of the enemy mentioned with the mantra. On successful completion, the enemy dies.

iti shulini prayoga samaptham |

59.Shulini Durga Sadhana

Shulini Durga Sadhana


Dear all, let me outline now the Shulini Durga sadhana, the one form of goddess manifested along with Prathyangira

Astra : sahasrara hum phal

Moola : Om hreem jwalajwala shulini dushtagruha hum phal swaha

Anga :
1) shulini durge hum phal hridayaya nama:
2) shulinivaradae hum phal sirasae swaha
3) shulinivindyavasini hum phal shikayae vashal
4) shulinyasuramardini hum phal kavachaya hum
5) shulini yudhapriyae trasa yatrasaya astraya phal

Chanda : deerkhama: rishi: kukup chanda: shulinidurga devata:

Dhyana shloka :(omitted on purpose) :)

Peeta shakti , peeta samishti peeta pooja mantras as per durga sadhana

Moorthi kalpana : hreem nama: Om hreem jwalajwala shulini dustagraha hum phal swaha nama: shulini moorthayae nama:

Upachara - ayuda nyasa ( as mentioned below) and remaining as per durga sadhana

Ayudha nyasa :
1) chakraya nama:
2) shakhyaya nama:
3) sharaya nama:
4) chapaya nama:
5) khadgaya nama:
6) trishulaya nama:
7) gadaayae nama:
8) pashaaya nama:

Bhushana nyasa - upahara - moorthi pooja - dwastas -naivedya as all per durga sadhana.

iti shulini sadhana samaptham |

to be continued ... :)) 

58.Kubera Sadhana Perfection

Kubera Sadhana Perfection
Dear all, let me outline the kubera sadhana perfection.

With dhyana and vruta, if an aspirant chants this mantra for 100,000 times, the do a homa of 10,000 number with thila and then do the pooja. The perfection will be blessed on the person.

If the mantra is chanted 10,000 times in a temple of lord shiva, one will get vast riches and wealth.

If the mantra is chanted sitting in the shade of kuvala tree for 100,000 times, he/she will be bestowed with unmeasurable money.

57.Kubera Sadhana

Kubera Sadhana
Dear all, let me outline the Kubera sadhana.

Astra : Sleem pashu hum phal

Moola : Yakshaya kuberaya vaishravanaaya dhanadhaanyadhipathayae dhanadhaanyasamardhim mae dehi dadaapaya swaha

Anga :
1) yakshaya hridayaya nama:
2) kuberaya sirase swaha
3) vaishravanaaya shikaayae vashal
4) dhanadhaanyaadhipathayae kavachaya hum
5) dhanadhaanyasamardhim mae nethraabhyaam vaushal
6) dehi dadaapaya swaha astraaya phal

Chanda : vishrava rishi: , brihati chanda: , shivamithrau dhaneshswaro devata:

Dhayana :
“manujavaahyavimaanavarastitham
garudaratnanibham nidhinaayakam
shivasakham mukutaadivibhushitham
varagade dadhatham bhaja thundilam”

Peeta shakti , peeta samishti peeta pooja as per shiva sadhana

Moorti kalpana : peeta shakti with moola , dhanamoorthayae nama:

Upachara , aavahana as per vaishravana sadhana

Ayudha nyasa :
1) gadaayae nama:
2) varadaaya nama:

Bhushana nyasa, upahara, moorti pooja,

Dwastas and naivedya all as per vaishravana sadhana.

iti Kubera sadhana samaptham |

56.Bagalamukhi Sadhana Siddhi and Prayoga

Bagalamukhi Sadhana Siddhi and Prayoga
Dear all, let me outline the perfection and the detailed prayoga(use)

The aspirant for the perfection with vrutha and dhyana has to chant the mantra for 100,000 times and then do a homa with picchi flower for 10,000 times. Then again do the pooja as mentioned above. He/she gets the perfection.

The person who gains perfection in this way can do a stambhana on even devas [as bagalamukhi is a part of the dasamahavidyas and she is the stambhanashakthi. The RV 10.120.1 attributes to her, subtle intonations]. The aspirant has to use yellow colored garland, clothes, yellow colored anoints and with red sandalwood paste should do the pooja for bagalamukhi.

With thila mixed with trimadhura, if the perfected one offers for 10,000 times in homa, he enslaves all people around him. If salt is used instead of thila to mix with trimadhura, then he can attract people to him.

With neem leaves dipped in oil and do an offering 10,000 times, then it causes discord among desired people and entities.

With the dark palm leaves, mixed with salt and tamarind powder, 10,000 times, it causes stambhana of enemies.

Now I am providing you with a marana prayoga. But whoever performs it is at their risk as most marana prayoga has the innate ability required to deploy it against someone successfully. If one do not the have the innate ability, the spell back fires and the one who deploy loses his sthula sharira or physical body... :)

Now let me outline the marana deployment. The articles used are charcoal, mutha fruit, small mustard seeds, ghee of buffalo and gul gul. This is offered on any funeral pyre of 10,000 nos. It results in the slaying of the enemy intended.

One added comment I would like to make here as aghori is - if you are performing it and the sukshma or the fragment of sukshma of the person whose funeral fire you do the offering; is strong enough, it can definitely attack you. :) it attracts karmic debt for even the person whose funeral fire is being used.

Dear all, let me continue with the detailed prayoga.

If the perfected one do a homa of 10,000 times with the mixture of karuka , chitamrut, malar dipped in trimadhura , he can cure all the incurable diseases.[as stated in ayurveda]

For achieving a higher wattage, the aspirant can perfect the mantra by sitting on the top of mountain , or the deep jungles or the river confluences, adhering to brahmacharya and recite it the same 100,000 times. He will get all the perfections.

If the perfected one do a japa of 300 numbers with a mixture of milk from a cow having a single color , sugar and honey and give it to anyone for consumption, he will be cured of the effects of any venom.

If the perfected one makes a wooden sandal made out of white plash wood, then anoint it with mehndi, chant the mantra for 100,000 times touching the sandal and then do a homa of 10,000 numbers, the person can cover very long distances in a matter of seconds on wearing such a perfected sandal.

if the perfected one, cleanse and perfect mercury [this is one topic I am going to refrain from writing as it is a secretive alchemical methodology and should be passed from guru to disciple.. :)) ] grind with cleanse manola and juice of black palm fruit and honey and chant the mantra for 100,000 times and consume it. This will give the perfection to be invisible from normal eyes [you will be still visible to subtle levels.. :))]

Dear all , let me outline some of the prayoga with yantra.

With the charcoal taken from funeral pyre, draw the yantra on a copper plate or kanjira wood plank. Draw the shalkone and then use the juice of leaf of umma, mixed with tamarind and arithala and with that ink write on the chakra. The writing is as follows. On the center you write, hreem, on the shalkone, six six letters from the mantra. Encircling the madhyabeeja, write the saadhyanaama, karma (amuka stambhaya stambhaya), along with the yantranyaya. Do the prana pratishta on the yantra and tie it with a yellow thread completely. With the mud made of the potter’s clay wheel, make a small idol of ox and place this yantra concealed inside the stomach portion of the ox idol. With arithala, smear the entire ox idol. This ox idol is being worshiped with the mentioned mantra daily. Also one should chant this mantra for 108 times daily sitting near the ox. After the proper pooja for a few days (the number of days are omitted on purpose.. :)) ) , place this ox on the cremation ground. It will bring stambana to words, movements, intellect and all activities related to it to the chosen selected name of enemy.

If one perfected is using this yantra to be written on the cloth used to cover a dead body and writes the yantra on it with charcoal and do prana prathista to it with placing in the mouth of a frog, cover it deep with clothes and do pooja; after words keep in on cremation ground, its a stambhana for all enemies.

If there is a problem in a place with ethereal beings, the perfected one can write the yantra with the juice of aadalodaka leaf and do the prathista of yantra on the same land. Do the japa of the mantra for 10,000 nos and with this even the ethereal beings including lower order devas will be even stunned (stambhana).

With the root of forest grown type of cucumber plant, the perfected should chant the mantra for 108 times and drop it in water; it will cause stambana of water.

Any one who perfected the mantra and do perfect upasana of the yantra, the stambana of enemy activities, mobility and words are the voluntary results. As i mentioned earlier, Bagalamukhi is the devastambana and hence most of the karmas mentioned above and pertaining to the same. But the upasak will have all his wishes fullfiled by this manifestation of goddess saraswathi.

iti bagalamuki prayoga vidhanam samaptam |