64 tattva's of Kali Maa

1/31/2013

1. Kali Nitya Siddhamata

Mother of the Siddhas

2. Kapalini Nagalakshmi

Lakshmi of Naga

3. Kula Devi Svarnadeha

Of golden physique

4. Kurukulla Rasanatha

Ruler of bodily pleasure

5. Virodhini Vilasini

Residing within Self

6. Vipracitta Rakta Priya

Who loves passion

7. Ugra Rakta Bhoga Rupa

Enjoyer of ardour in the form

8. Ugraprabha Sukranatha

Ruler of the seminal essence

9. Dipa Muktih Rakta Deha

Liberation by way of the physique of passion

10. Nila Bhukti Rakta Sparsha

Who receives pleasure from the contact of passion

11. Ghana MahaJagadamba

Nice Mom of the world

12. Balaka Kama Sevita

Attended by the God of Love

13. Matra Devi Atma Vidya

The Goddess with data of Self

14. Mudra Poorna Rajatkripa

Who utterly radiates compassion

15. Mita Tantra Kaula Diksha

Initiatress of the Tantric Kaula Path

16. Maha Kali Siddhesvari

Queen of the Siddhas

17. Kameshvari Sarvashakti

Shakti of All

18. Bhagamalini Tarini

Who delivers from calamity

19. Nityaklinna Tantraprita

Keen on Tantra

20. Bherunda Tatva Uttama

Essence of Sexual Fluid

21. Vahnivasini Sasini

Radiance of the moon

22. Mahavajreshvari Rakta Devi

Senuous Goddess

23. Shivaduti Adi Shakti

Origional Feminie Power

24. Tvarita Urdvaretada

Giver of the Upward Ecstasy

25. Kulasundari Kamini

Need Itself

26. Nitya Jnana Svarupini

The Great type of Knowledge

27. Nilapataka Siddhida

Giver of perfection

28. Vijaya Devi Vasuda

Goddess who is Giver of wealth

29. Sarvamangala Tantrada

Who Bestows Tantra

30. Jvalamalini Nagini

Snake Goddess

31. Chitra Devi Rakta Puja

Goddess who is worshipped with passion

32. Lalita Kanya Sukrada

Pure Maiden

33. Dakini Madasalini

Shining with rapture

34. Rakini Papa Rasini

Destroyer of sin

35. Lakini Sarvatantresi

Ruler of all tantras

36. Kakini Naganartaki

Who dances with Nagaraj

37. Sakini Mitrarupini

38. Hakini Manoharini

Mind Stealer

39. Tara Yoga Rakta Poorna

Who in union bestows full passion

40. Shodashi Latika Devi

Creeper Goddess

41. Bhuvaneshwari Mantrini

Vitality of all mantras

42. Chinamasta Yoni Vega

With dripping yoni

43. Bhairavi Satya Sukrini

Supreme Purity

44. Dhumavati Kundalini

Primordial power of self

45. Bagla Muki Guru Moorthi

Type of the guru

46. Matangi Kanta Yuvati

Youthful magnificence enhanced by Love

47. Kamala Sukla Samsthita

Residing within the Semen

48. Prakriti Brahmandri Devi

Goddess residing in the crown

49. Gayatri Nitya Chitrini

Everlasting core of the energy of Self

50. Mohini Matta Yogini

Intoxicated

51. Saraswathi Svarga Devi

Goddess of Heaven

52. Annapoorni Shiva Samgi

With Shiva

53. Narasimhi Vamadevi

Beloved Goddess

54. Ganga Yoni Svarupini

Vitality of the Yoni

55. Aprajita Samaptida

Who Bestows Orgasm

56. Camunda Parianganatha

Ruler of sacred erection

57. Varahi Satya Ekakini

Oneness of Truth

58. Kaumari Kriya Shaktini

Energy of dedicated motion

59. Indrani Mukti Niyantri

Information to bliss

60. Brahmani Ananda Moorthi

Image of bliss

61. Vaishnavi Satya Rupini

Form of reality

62. Mahesvari Para Shakti

Transcendental energy

63. Lakshmi Monoramayoni

With stunning yoni

64. Durga Satchitananda

Fact consciousness and bliss

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The cover page photo:
The Natyasatra - A treatise on Hindu Dramaturgy and Histrionics
Ascribed to Bharata Muni

Translated into English by Manmohan Ghosh
Published by Asiatic Society of Bengal, Calcutta - 1951

Read Book Online:

http://bit.ly/1gjDYEc

Download pdf Book:

http://bit.ly/1Ooh38O

The Natya Shastra (Sanskrit: नाट्य शास्त्र, Nāṭyaśāstra) is an ancient Indian treatise on the performing arts, encompassing theatre, dance and music. It was written during the period between 200 BCE and 200 CE in classical India and is traditionally attributed to the Sage Bharata.

The Natya Shastra is incredibly wide in its scope. While it primarily deals with stagecraft, it has come to influence music, classical Indian dance, and literature as well. It covers stage design, music, dance, makeup, and virtually every other aspect of stagecraft. It is very important to the history of Indian classical music because it is the only text which gives such detail about the music and instruments of the period. Thus, an argument can be made that the Natya Shastra is the foundation of the fine arts in India. The most authoritative commentary on the Natya Shastra is Abhinavabharati by Abhinavagupta.

The text, which now contains 6000 slokas, is attributed to the muni (sage) Bharata and is believed to have been written during the period between 200 BCE and 200 CE. The Natya Shastra is based upon the much older Gandharva Veda (appendix to Sama Veda) which contained 36000 slokas. Unfortunately there are no surviving copies of the Natya Veda. Though many scholars believe most slokas were transmitted only through the oral tradition, there are scholars who believe that it may have been written by various authors at different times.

The document is difficult to date and Bharata's historicity has also been doubted, some authors suggesting that it may be the work of several people. However, Kapila Vatsyayan has argued that based on the unity of the text, and the many instances of coherent reference of later chapters from earlier text, the composition is likely that of a single person. Whether his/her name really was Bharata is open to question: near the end of the text we have the verse: "Since he alone is the leader of the performance, taking on many roles, he is called Bharata",indicating that Bharata may be a generic name. It has been suggested that Bharata is an acronym for the three syllables: bha for bhāva (mood), rā for rāga (melodic framework), and ta for tāla (rhythm). However, in traditional usage Bharata has been iconified as muni or sage, and the work is strongly associated with this personage.
- Wikipedia

Image:
Frieze with Dancer and Musicians, c. 973
Northwestern India, Rajasthan, Sikar, Harshagiri, 10th century.
Source: The Cleveland Museum of Art