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Buhachara Mata

1/23/2013

Bahuchara Mata is a Hindu goddess. She was a daughter of a charan Bapal dan Detha. She and her sisters were on journey with a caravan when a marauder named Bapiya attacked their caravan. It was common practice in charan men and women if overpowered by their enemies, not to surrender but to kill themselves. Shedding the blood of charan was considered heinous sin. When Bapiya attacked the caravan, Bahuchara and her sisters announced tragu and cut their breasts. Legend tells that Bapiya was cursed and became impotent. The curse was lifted only when he worshiped Bahuchara Mata by dressing and acting like a woman.[1] Today Bahuchara Mata is considered patroness of—and worshipped by—the hijra community in India. Though many of her followers believe in non-violence and consider killing of all animals and creatures a sin, historically Bahuchara Mata was, like many Hindu gods and goddesses, the recipient of annual animal sacrifices.

One important myth concerns a king who prayed before Bahuchara Mata to bring him a son. Bahuchara complied but the prince Jetho, who was born to the king, was impotent. One night Bahuchara appeared to Jetho in a dream and ordered him to cut off his genitals, wear women's clothes and become her servant. Bahuchara Mata identified impotent men and commanded them to do the same. If they refused, she punished them by arranging that during their next seven incarnations they would be born impotent. This is how the cult of Bahuchara Mata, whose devotees are required to self-castrate and remain celibate, developed.[2] In one of the many folk stories associated with Bahuchara Mata, the goddess was once a princess who castrated her husband because he preferred going to the forest and "behaving as a woman" instead of coming to her bridal bed. In another story, a man who attempted to molest Bahuchara Mata was cursed with impotence. He was forgiven only after he gave up his masculinity, dressed as a woman, and worshipped the goddess. Another theory says that she is one of the goddesses in Sri Chakra. The real symbol of her vehicle is kurkut which means the serpent which has two mouths. Bahucharaji is seated on low end and other end goes to sahastrar, which means that Bahucharaji is the goddess of starting the awakening of kundlini which eventually leads the liberation or moksha.

Becharaji Temple is located in Becharaji town in Mehsana district of Gujarat, India. It is 110 km from Ahmedabad and 35 km west of Mahesana. The original temple complex was built in 1783 AD. The temple is nicely decorated with stone carving. Every year 1.5 million pilgrims visit this temple.[3] Toda Mata (Bahuchara Mata) is located in Sankhalpur. The origin of Bahuchra Mata is situated at Varakhdiwala temple in Bechraji. Because Bhakta Vallabha Dhola wrote in his Aanand no Garbo the original place of Bahuchra Mata is situated at between Sankhalpur and Dedana village. The Toda Mata temple in Sankhalpur is 2 kilometers fare from Bechraji (Bahuchraji).

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Saumya.

1/22/2013

SAUMYA means ‘mild’.

It is a term used to refer to feminine deities in their benevolent, beneficent and gentle manifestation as opposed to ‘ghora’ – terrifying manifestations.

This distinction is particularly applicable to Shaivite goddesses, both of whom can appear in either form and whose worship can focus on either aspects. For a time, while forest dwelling ascetics and yogis attempted to break their attachments to the world. This belief flourished unbroken from the Vedic period. Goddesses played a minor role in the Vedic rituals. But as temples and devotional Hinduism underwent a dramatic growth in response to Buddhist and Jain challenge, powerful and appealing Shaktam female divinities surfaced as an equal partner to chase the intruder.

Indeed, they had already grown independent in Tantric rituals. In her life-perpetuating form, the auspiciousness of Mother Goddess Devi was depicted as Saumya - beautiful, benevolent, fertile, motherly, knowledgeable and compassionate. Saumya was also the object of desire and appropriate consort to a male God. Brahma’s Saraswati, Vishnu’s Lakshmi, Shiva’s Parvati, Rama’s Sita were all depicted as mild. Sri Krishna’s Radha transcended forms of desire to witness pleasure potency of the male gods. In Radha, Saumya’s desire saw a spiritual dimension.

Hara Hara Mahadeva

Sri Shantoshi Maaa!! Jai Maaa!!

1/18/2013

Bhavani Stuti ....

1/18/2013

|| Bhavani Stuti ||

न मन्त्रं नो यन्त्रं तदपि च न जाने स्तुतिमहो
न चाह्वानं ध्यानं तदपि च न जाने स्तुतिकथा:।
न जाने मुद्रास्ते तदपि च न जाने विलपनं
परं जाने मातस्त्वदनुसरणं क्लेशहरणम्॥1॥
Oh! I don’t know the Mantra, the Yantra, or the Eulogies. I don’t even know how to invoke You, how to meditate on You, and even the speech behind Your eulogies. I don’t know the postures [in which to say eulogies], and I don’t know how to wail. [But] O Mother! I know that following You absolves the biggest distresses.||1||

विधेरज्ञानेन द्रविणविरहेणालसतया
विधेयाशक्यत्वात्तव चरणयोर्या च्युतिरभूत्।
तदेतत् क्षन्तव्यं जननि सकलोद्धारिणि शिवे
कुपुत्रो जायेत क्व चिदपि कुमाता न भवति॥2॥
The offerings — which were due to the lack of knowledge of methodology, by the lack of resources, by indolence, or due to the lack of strength for submission — fallen [by me] on Your dual-feet, forgive all those mistakes, O Mother! O Shiva, Who absolves everyone! Because a son can become bad or ignorant about his duties as an offspring, but the Mother always remains a Mother.||2||

पृथिव्यां पुत्रास्ते जननि बहव: सन्ति सरला:
परं तेषां मध्ये विरलतरलोहं तव सुत:।
मदीयोऽयं त्याग: समुचितमिदं नो तव शिवे
कुपुत्रो जायेत क्व चिदपि कुमाता न भवति॥3॥
O Mother! There are many sons of Yours on this earth and they are gentle. Amidst them, I am Your son, who is extremely libidinous. I have the feelings of possession, and I have no compassion within me. But I am Yours, O Shiva! A son can become bad or ignorant about his duties as an offspring, but the Mother always remains a Mother.||3||

जगन्मातर्मातस्तव चरणसेवा न रचिता
न वा दत्तं देवि द्रविणमपि भूयस्तव मया।
तथापि त्वं स्नेहं मयि निरुपमं यत्प्रकुरुषे
कुपुत्रो जायेत क्व चिदपि कुमाता न भवति॥4॥
O Mother! O Mother of the world! Your feet has not been engaged upon [by me] and, even more so, Your feet has not been submitted with offerings by me. Even then, You shower immaculate benevolence on me. Because a son can become bad or ignorant about his duties as an offspring, but the Mother always remains a Mother.||4||

परित्यक्ता देवा विविधविधिसेवाकुलतया
मया पञ्चाशीतेरधिकमपनीते तु वयसि।
इदानीं चेन्मातस्तव यदि कृपा नापि भविता
निरालम्बो लम्बोदरजननि कं यामि शरणम्॥5॥
At an age of more than eighty-five years, by me, who lacks the prowess to perform various rituals, the Devas have been left along. O Mother of Lambodar (Parvati)! Now, in this situation, if Your benevolence does not happens on me, then, I, the unsupported one, will take whose refuge?||5||

श्वपाको जल्पाको भवति मधुपाकोपमगिरा
निरातङ्को रङ्को विहरित चिरं कोटिकनकै:।
तवापर्णे कर्णे विशति मनुवर्णे फलमिदं
जन: को जानीते जननि जपनीयं जपविधौ॥6॥
O Aparna! A dog-eater (Chandala) becomes a talkative person with honey-like sweet words coming out from the tongue; and a poor man roams fearlessly for long time in golden riches, when the chants of Your name fall [seat] inside the ear of anyone. O Mother! Then, in that case, who can know the achievements due to continuous chants of Your name based on the appropriate rules?||6||

चिताभस्मालेपो गरलमशनं दिक्पटधरो
जटाधारी कण्ठे भुजगपतिहारी पशुपति:।
कपाली भूतेशो भजति जगदीशैकपदवीं
भवानि त्वत्पाणिग्रहणपरिपाटीफलमिदम्॥7॥
Kapali, Who has ashes from the burnt corpses on body, Who has the directions as clothes (cloth-less), Who has thick tress-locks, Who has a garland of king of snake in neck, Who is known as Pashupati, and Who is the ruler of ghosts, attains the position of poison-destroyer and Lord of the world. O Bhavani! This is just a result of addition of You as His consort.||7||

न मोक्षस्याकाड्क्षा भवविभववाञ्छापि च न मे
न विज्ञानापेक्षा शशिमुखि सुखेच्छापि न पुन:।
अतस्त्वां संयाचे जननि जननं यातु मम वै
मृडानी रुद्राणी शिव शिव भवानीति जपत:॥8॥
I don’t have the desire to attain Moksha, neither I have the desire to attain luxuries and resplendence in the world. I don’t have expectations of sciences, and O the Moon-faced Goddess! I don’t even desire for luxuries and comfort. O Mother! Thus, I beg You, that whenever I am born, give me the chanting of these names to me — Mridani, Rudrani, Shiv, Bhavani.||8||

नाराधितासि विधिना विविधोपचारै:
किं रुक्षचिन्तनपरैर्न कृतं वचोभि:।
श्यामे त्वमेव यदि किञ्चन मय्यनाथे
धत्से कृपामुचितमम्ब परं तवैव॥9॥
O Shyama! You are not revered by me, using methods or various prescriptions. I didn’t do anything beyond the rough-thinking and speech. But even then, if You keep me, the destitute and orphan, in benevolence, then it suits You; since You indeed are beyond everything, O Mother!||9||

आपत्सु मग्न: स्मरणं त्वदीयं
करोमि दुर्गे करुणार्णवेशि।
नैतच्छठत्वं मम भावयेथा:
क्षुधातृषार्ता जननीं स्मरन्ति॥10॥
O Durga, Who is the abode of ocean of mercy! When I remember You in troublesome situations, don’t think it is stupidity. It is because when a child is hungry, the child only remembers the Mother.||10||

जगदम्ब विचित्रमत्र किं परिपूर्णा करुणास्ति चेन्मयि।
अपराधपरम्परापरं न हि माता समुपेक्षते सुतम्॥11॥
O Mother of the world! You are full of benevolence for me; [but] what is the surprise in this? [Because] Even when a son is full of faults, the Mother does not ignores or disowns the child.||11||

मत्सम: पातकी नास्ति पापन्घी त्वत्समा न हि।
एवं ज्ञात्वा महादेवि यथा योग्यं तथा कुरु॥12॥
O Mahadevi! There is no fallen one like me, and there is indeed no absolver of sins like You. Knowing this, You do what You think as appropriate.||12||

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Jai Laxshmi Maa!

1/18/2013

Sri Lakshmi Discription in various Puranas ;

According to the Vishnu Purana, Lakshmi is the daughter of Bhrigu and Khyaati and resided in Swarga, but, due to the curse of Durvasa, She left Swarga and made Ksheersagara her home. In Devi Mahatyam Lakshmi depicted as Devi in Her universal form as Shakti. The manifestation of the Devi to kill Mahishasura is formed by the effulgences of all the gods. The Goddess is described as eighteen-armed, bearing a string of beads, battle axe, mace, arrow, thunderbolt,lotus, bow, water pot, cudgel, lance, sword, shield, conch, bell, wine cup, trident, noose and the discus sudarsana. She has a complexion of coral and is seated on a lotus. She is known as Ashta Dasa Bhuja Mahalakshmi.

The Reappearance of Lakshmi after Samudra manthan and her marriage to Vishnu thereafter, remain the same. Laxmi is the power and Maya of Lord Vishnu. In some places She is seen in two forms, Bhudevi and Sridevi, both either side of Vishnu or Sri Venkateshwara. Bhudevi is the fertility form in which She is Mother Earth. Sridevi is the wealth and knowledge of Her which is seen with Narayan. Most people are mistaken that they are separate beings although they are one, Laxmi.

Mahalakshmi’s presence is also found on Lord Sri Venkateswara (at Tirumala) or Vishnu’s chest, at the heart. Lakshmi is the embodiment of love,through which devotess can readch Lord Vishnu. Lakshmi represents a more soothing, warm and approachable mother figure who willingly intervenes, acts as an advocate in the lives of devotees on His behalf. When asking Vishnu for grace or the forgiveness of sins, Hindus often approach Him through Lakshmi.

Lakshmi is the embodiment of God’s superior spiritual feminine energy, or the Param Prakriti, which purifies, empowers and uplifts the individual. Hence, she is called the Goddess of Fortune and also as the Mother of the Universe.
Names of Sri Lakshmi :

Lakshmi has many names. She is known to be very closely associated with the Lotus, and her many epithets are connected to the flower, such as:

Padma: lotus dweller.

Kamala: lotus dweller.

Padmapriya: One who likes lotuses

Padmamaladhara devi: One who wears a garland of lotuses

Padmamukhi: One whose face is as beautiful as a lotus

Padmakshi: One whose eyes are as beautiful as a lotus

Padmahasta: One who holds a lotus

Padmasundari: One who is as beautiful as a lotus
Other names of Goddess Lakshmi :

Bhargavi: One who is the incarnation of the daughter of Sage Bhrigu

Sridevi: Goddess of wealth

Chanchala: One who is fickle and does not stay at one place

Bhumi Devi: Earth goddess

Indira: Beautiful goddess

Rama devi/Vaishnavi: Wife of Vishnu

Jalaja: Born from sea.

Aiswarya: Wealthy.

Roma: Wife of lord Hari
Appearance of Goddess Lakshmi :

Physically, goddess Lakshmi is described as a fair lady, with four arms, seated on a lotus, dressed in fine garments and precious jewels. Her expression is always calm and loving. The most striking feature of the iconography of Lakshmi is her persistent association with the lotus. The meaning of the lotus in relation to Shri-Lakshmi refers to purity and spiritual power. Rooted in the mud but blossoming above the water, completely uncontaminated by the mud, thelotus represents spiritual perfection and authority. In the Sri Vaishnava philosophy, Sri (Lakshmi) is honored as the Iswarigm sarva bhootanam, i.e., the supreme goddess and not just the goddess of wealth.
http://www.facebook.com/HinduTemplesInformation.. .

January 14th, 2013

1/14/2013

Parvati's Wedding... Picture Shiva and Kali ..

1/12/2013

PARVATI’S WEDDING. The Bridegroom, in the name of Shiva, came to the wedding place astride an old bull, with skull and bone ornaments, His eyes rolling as if intoxicated, hair utterly disheveled and untidy, His body smeared with grey ash from cremation grounds, accompanied by the roar and howling of his bhuta ganas! Seeing this, the prospective mother-in-law, Meena, fainted immediately, since she could not imagine such a groom for her sweet daughter, softer than flowers. She thought Parvati had chosen mud instead of tumeric paste for Her body. Himavan, father of the bride stood still but disgusted.

Next scene – as Shiva’s foot touched the bridal pandhal, the wedding diaz, He changed form, glittering in a beautiful wedding robe, with golden ornaments and splendid clothing.....and his entourage emanated fragrance. Shiva's new beauty coupled with his immense cosmic powers finally convinced Himavan and Mena to consent to the marriage, and with the wedding vows the heavens rejoiced. What an illustration of Shiva lila…..? Then, Meena gets up. Probably she faked the whole fiasco! The implication here is that, other than Parvati, the rest were only seeing the external aspect and appearance of Shiva!

But this ‘golden’ transformation may not find much favour in Tamil Sangam literature. As in Purva Karana Agama, Shiva Kalyana Sundarar, had on him the three snakes, Vasuki, Tashaka and Pushkara fulfilling the role of any wedding jewel. His necklace, hara and his hand bracelet Keiura were serpents as symbols of His mysterios power.

Parvati’s wedding is a repeated tell-tale of various Puranas. Sati married against Daksha's wishes; subsequent event was self-immolation at Daksha's yagna. Grief-stricken Shiva lost interest in worldly affairs. In the Brahma Vaivarta Purana, Sati and Parvati are interchangeably named as manifestations of Goddess Mahadevi. But Parvati breaks the ice afterall…….

BRIDE: Each of Parvati’s names afford special significance. She is most commonly called Parvati; however, with the same mountain connotation she is also known as Girija and Shailaja. Because the goddess is the wife of Shiva, sometimes called Bhava, or Shiva, she is also recognized as Bhavani. Interestingly, it was Bhavani's devotion to Bhava and her hope of eventually winning him, that earned her the name Sarvamangala or ‘loyal one’ and established her as the source of all good things to all those who have faith and follow the path of virtue.

The Poet Kalidasa, describes the marriage with poetic beauty in his work, Kumarasambhava. He describes the Himalayas as a place for lovers who want to find happiness in life; it is also an ideal retreat for those who want to meditate. The bride, Parvati, in course of time she blossomed into a girl of matchless beauty. She was very good-looking, like a fine portrait drawn by a master-painter. Women wear jewelry with a feeling that their beauty is enhanced by it. But the neck of Parvati appeared to enhance the beauty of the necklace itself. Parvati’s speech was sweet as the playing of the Veena. And her bearing reminded one of a deer.

SUNDARI: Tamil literature triggers a hypothesis that the bride Parvati is Sundari opposite the groom Sundara. As Sarvamangala, the divine couple are accessible everywhere. This hyposthesis of them being is in a close and deep connection with the extremely favourable moments, occurs cyclically two days before the period of full moon. Also it is the most favourable monthly cyclic moment of the manifestation of the deeply beneficial subtle influence of the great cosmic powers of beauty and of love divine, Tripura Sundari. Sundara and Tripurasundari are said to manifest with greatest ease for those who call them with love and faith.

VIVAHIKAMURTI: Shilpa Ratna by Srikumara, is a South Indian classical text on performing arts. It is particularly influential in painting and theatrical performance. ‘Shilpa’ means sculptural and Ratna means gems. It describes artistic forms that either uses the body as a medium of expression. It ranks after Natya Shahstra and Abhinaya Darpana. Vivahika Murti is described in the Silpa ratna as one of Shiva’s forms, when the divine groom stands together with the bride Parvati. Parvati is in a state of profound self-absorption and totally independent of the surrounding conditions.

GROOM AS KALYANA SUNDARAR: By etymological implication, Kalayanasundrar mean God of Welfare. This is one of the main manifestations of Lord Siva. In Tamil ‘kalyanam’ means wedding; ‘sundaram’ means bliss. So Kalyanasundaram implies Shiva and Shakti as blissful eternal bride and bridegroom. One of the most important meanings of the name Siva in Shaiva Siddhanta, is ‘welfare’. So ‘Shivanamastu’ and the word ‘Kalyanamastu’ bring the same purport to mean ‘May you be blessed’. Lord Shiva is also referred to as Kalyanasundereshvar.

Shiva as bridegroom, Sundara, is represented as being an extraordinarily beautiful being, in his early youth, and with a face that is very bright, full of love bursting with a sublime, transfiguring eroticism, Sringara. Tamil Sangam literature often describes Sundara as adorned with many bright, multi-coloured jewels, and has an appearance which is full of goodwill. The colour of his skin is similar to the hue of red coral. He is standing with his left leg perfectly straight, while the right leg is slightly bent.

Shilpa Ratna: ‘Having his body the colour of bright red coral, Induram, with his third eye bright and full of happiness, his shoulders strong that resembles the four eras of the existence of macrocosm, the Yugas, wearing a necklace and bracelets of unparalleled beauty, with multi-coloured clothes, gleaming in his wedding clothes, with a enchanting and beautiful body and face, he, Shiva Kalyanasundra, holds the hand of his beloved Parvati in his divine hand, while in the others he holds a lotus, antelope, axe, and in his hair are caught the moon and heavenly Ganges’.

PANCHAMUKHA: Kalyanasundaram is the representation of Shiva embodying the true spirit of blessedness. The panchamukhas as Ishana, Tatpurusha, Aghora, Vamadeva and Sadyojata. Lord Shiva is said to serve all life forms with five faces, two on the left as Vama-deva and Kalagni; two on the right as Daksineshvara and Ishana and one in the centre as Kalyanasundaram, the Supreme Controller.

WEDDING FUNCTION: The highlight of the wedding is the attendance of Lord Mahavishnu himself. Despite all that is written in the Puranas and Upapuranas about the tensions between the Trimurtis, it is also equally true that Mahavishnu had a fair share in prompting the mendicant meditative Shiva to be householder. The universe was becoming bleak and dark when Lord Shiva goes into his Mahayogi state for centuries on end. At the instance of young Gauri praying to Brahma, Mahavishnu sends Kama to pierce an arrow but Kama is reduced to ashes by Shiva’s third eye. Kama is later brought back to shape as Manmata by Shiva himself. But by then the cupid’s arrow has been struck and he lays eyes on Gauri-Parvati.

In line with Trinity harmony, Mahavishnu himself descends to view the great wedding event. Intellects, siddhars, rishis and celestial beings were there in the thousand to view this wedlock. It is said that the weight offsets the balance on earth, so the sage Agastiyar was sent south of India to call it a balance. That actually implies the greatness of Agastiyar as one man opposed to the thousands who attended the wedding. It is said that as the beauty of the divine couple turned everyone breathless with excitement and reverence as the great Lord was to tie the nuptial knot with his beloved. Parvati had earned it by her severe austerities and tapas to win over Kalyanasundram.

Another highlight of this wedding is Lord Mahavishnu’s direct role in giving away the bride. The ambiance is charged for it is Lord Mahavishnu Himself who gives Parvati in hand to Lord Shiva who accepts her has his wedded wife. This famous depiction is often reflected in art and temple sculptures. It would be quite improper for Shaivites, knowingly or unknowingly, saying things to the contrary.

The Shiva Purana states that ‘with the conch shells blowing and the drums beating, the universe echoes just one note, the primordial sound of creation. The intensity is high and the great souls themselves have been driven to excitement and high emotion. The sheer brilliance of the moment, the shimmering lights, the shining glow on the faces of these great beings makes this an exalted experience that one cannot forget, for it is not driven by time but its driven by high blissful emotion that renders any great soul who is a part of this pantheon a complete slave to this supreme blissful state’.

Most iconography on the Shiva-Parvati wedding show the couple surrounded by subtle guardian beings of the directions of space, dihalpa, by Gods, Devas, together with their wives, Shaktis and also the demigods and spiritually accomplished being, Siddhars and sages, and the wise men, such as Narada, the matrikas and a multitude of beings from the seven mysterious realms of existence.

Meditative Lord Shiva now, a married man, gets into celebrative mood. So He dances for in front of the assembly. Shiva Tandava of the wedding day was a rare bonanza. The wedding hall was shining the brilliance of a million suns glowing together. It was a day in which everyone got to see Shiva Nataraja in all smiles as his skin glowed and fragrance of flowers spread in the hall. Nandikeshswara’s mridangam beat and Lord Shiva’s salangai sound and beat reverberated the whole of the universe.

Lord Shiva was the natya master of the day. His eyes twinkled as the primordial sound of the Damaru shook the hall vigorously. The Ganges was flowing over with bliss and the whole of Prakriti was in celebration mode. While the audience witnessed Shiva’s serpents dancing with gem studded hoods, the sages below heard all of this as silence. The wedding hall was representative of Prakriti as Parvati set the stage as Shiva’s material energy, His grand performance of life. The dance of vigor, the rhythms of the movements, the Bliss and Grace was undisputedly the half of Her that the Lord relied on. This was the Ananda Tandava.

The divine couple then departed for Kailasha for their honeymoon. As Shiva and Parvati proceeded towards the new palace, they were escorted by the invitees. The wives of munis led by Arundhati, wife of sage Vasishtha, performed arati for the couple as they stepped into the Kailas. You know the rest of the stuff, Kamasutra, so on so forth…..

UNION: Shiva-Shakti yoga is much written about in srutis, smrtis and much more in the Tantric texts. They have been the subject matter in the Kamashastras and Kamasutra also. Kalyanasundra Murthi is a direct reference to the wedding proper. It signifies the union of Truth-Siva; Wisdom-Shakti and resulting birth of Ananda-Skanda. Thus it is the birth of Bliss and Tantra has a different way of explaining this Bliss. In many Shaivite temples, the Shiva-Shakti wedding that is tied to spiritual Yoga is celebrated annually and also to celebrate Mother Parvati blessing the universe with the birth of Kumara, the destroyer of demons.

TEMPLE: Thirumanancheri is located near Kuttalam in South India. It is one among the popular temples of Lord Shiva, where He is devotedly worshiped as Kalyanasundareswarar and His consort, mother Parvati as Goddess Kokilaambal. In Sanskrit the lord is also called as Uthvaanganathar. In Tamil they are addressed as 'Arul Vallal' and 'Kuyilinmenmozhiammai'. It is a belief that Manmathan worshiped Lord Shivaat this stahalam. The Thrimanacheri shrine is linked to the divine wedding. ‘Thiruman’ means wedding. According to legends, this temple overcomes the obstacles of marriage. The usual offerings are wedding garlands and bhaktas returning for their prasada.

Hara Hara Mahadeva
(draft Parvati Kalyanam)
by Yogi Ananda Saraswathi

Forms of Parvathi

1/11/2013

FORMS OF MOTHER PARVATI.

Supreme Mother Goddess Devi is the most complex of all goddesses in the Hindu pantheon. She mirrors the various roles of Mahadeva, the Supreme Purusha. As Prakriti, Devi balances the male aspect addressed as Purusha. As Lord Shiva’s consort, She is Shakti. She is the one who gives life energy or Shakti to all beings and without her, all beings are inert. Parvati is Shakti herself, who actually lives in all beings in the form of power. Without power, one can do nothing, including yoga. Being the physical manifestation of Goddess Devi, Parvati is the Goddess of Power.

Shakti is needed by all beings, whether the Trimurti, the devas, humans, animals, or even plants. Parvati is the provider of shakti. Without her, life is completely inert. This power is required to see, to hear, to feel, to think, to inhale and exhale, to walk, to eat, and to do anything else. The goddess is worshiped by all gods, the Trimurti, rishis, and all other beings. But in each of her roles, Parvati has a different name to represent her mild and fierce forms.

DEVI BHAGAVATA PURANA: Goddess Parvati is linear progenitor of all other goddesses according to Devi Bhagavata Purana. This is also the Shaiva Siddhanta stand which extends to Shakta beliefs of holding her as a Universal Mother. She is one who is source of all forms of goddesses. She is worshiped as one with many forms and name. Her different mood brings different forms or incarnations.

PURANAS: Parvati takes several forms as reflected by the myths. She is not really a benign goddess but one who has a violent and dark side when it comes to beating up demons. She then crystallizes into a dark, blood thirsty, tangled-hair Goddess with an open mouth and a drooping tongue, the mark of Mahakali. But it would not be second before Parvati reverts to her true Self, the pure energy of Shakti.

LINGA PURANA: On the request of Shiva, Parvati summons Kali to destroy Daruka. After killing the demoness, Kali's wrath could not be controlled as She ran around trilokhas in blind fury. This endangered the Universe. All that Shiva could do was appear as crying baby in the middle of the battlefield. Even before she could invoke he motherliness, she steps on the baby Shiva and upon realising lolled her tongue. Then she started breast-feeding Shiva and resorted as Parvati and her original form.

SKANDA PURANA: Demon called Durg, assumes the form of a buffalo. Therefore, Parvati assumed the Durga form of a warrior-goddess and defeated him. Thereafter, she is known by the name of Durga. Parvati sheds her outer sheath, which takes an identity of its own as a warrior goddess. This is again another Durga assumption to defeat Sumbha and Nisumbha.

SRIKULA – KALIKULA: Each of her forms is backed up by Puranic myths. Parvati is also synonymous with Kali, Durga, Kamakshi, Meenakshi, Gauri and host of forms. For instance, while Shiva Purana holds Gauri as the younger version of virgin Parvati, other myths attribute the golden skin Goddess Gauri’s to the story of Parvati casting off her unwanted dark complexion after Shiva teased her. Another version is that Gauri is in essence a fertility Goddess. Here she is venerated as a corn mother. This is a suggestion that her golden skin represents hues of ripening grain, for which she is propitiated.

SRIKULA: Parvati has two main forms. As Srikula family of shaktism, She is Lalita Tripurasundari, the Supreme Mother. Her school is the Srividya which is one of Shakta Tantrism. Its central symbol is the Sri Chakra, the most visual image of Hindu tantrism. In Srikula practice all aspects of Goddesses are identified with Lalita Tripurasundari. Srividya paramparas are subdivided into Kaula and Samaya practices.

KALIKULA: In Kalikula, Parvati manifests as Kali, Chandi and Durga. Durga is demon fighting form of this Goddess, and some texts suggest Parvati took the form of Goddess Durga to kill Demon Durgam. Kali is another aspect that was assisted by Goddess Chandi while fighting with rakta bija. Goddess Chamunda comes in this list also. These goddesses share some common iconography as goddess Kali who is nobody but an aspect of Parvati in ferocious form.

TANTRA: Generally the Tantra discipline is governed by both Sri Kula and Kali Kula. Among the Dasa Mahavidyas Kali, Tara, Bhuvaneswari and Chinnamasta are said to come under Kali Kula. Likewise, Tripur Sundari, Bhairavi, Dhumavati, Bagalamukhi, Matangi and Kamala come under Srikula. The dividing line is a controversial one.

SHAKTI PEETHAS: Sati manifesting in 52 Shakti peeths are expansions of Parvati. However there are also milder incarnations such as Meenakshi and Kamakshi and a range of goddesses manifesting from Parvati.

DASA MAHAVIDYAS: This does not mean, just the ten aspects of Goddess Parvati. These are Tantra vidya goddesses being representation of transcendent knowledge and power. Mantra vidya means divine knowledge. These mantras cannot be understood by reasoning. Contrary to what is published here and there, Tantra is not paper based learning. The inherent meanings of mantras are revealed by gurus to deserving sadhaks. What is a ‘deserving sadha’ is a subjective issue.

Mantra Sakti opens the gate of truth, revealing the true nature and essence of the universe. This is the underlying principle behind all the Mahavidya upasana. The Mahavidya Mothers or ten manifestations of Goddess Parvati are: Tara, Sodasi, Bhuvaneshwari, Bhairavi, Chinnamasta, Dhumavati, Bagala, Matangi, Kamalatmika and Kali.

KALI: The first is Kali who is the goddess of time that destroys everything. She is the ultimate form of Brahman, ‘Devourer of Time’. In the Kalukula system, Kali is the Supreme Deity.

TARA: The second one, Tara is the power of golden embryo from which the universe evolves. She also stands for void or the boundless space. She is the Goddess as Guide and Protector who offers ultimate knowledge which gives salvation. She is also known as Neela Saraswati.

TRIPURASUNDARI OR SODASHI: The third one Sodasi literally means 'one who is sixteen years old’. The Mahabhagavata Purana lists Tripurasundari as Sodashi. (Also see Brhaddharma Purana). She is the personification of fullness and perfection. She is the Goddess who is Beautiful in the Three worlds. In the Srikula system, she is the Supreme Deity. She is also the Moksha Mukta in Shaivism or Tantric Parvati.

BHUVANESHWARI: The fourth, Vidya Bhuvanevari represents the forces of the material world. She is the Goddess or World Mother, or whose body is the Cosmos.

BHAIRAVI: The fifth one, Bhairavi stands for desires and temptations leading to destruction and death. She is the Fierce Goddess.

CHINNAMASTA: The sixth Vidya Chinnamasta represents the continued state of self-sustenance of the created world in which is seen continuous self-destruction and self-renewal, in a cyclic order. She is a naked deity holding her own severed head in hand and drinking her own blood. She is the Self-Decapitated Goddess.

DHUMAVATI: Dhumavati, the seventh one personifies the destruction of the world by fire, when only smoke (dhuma) from its ashes remains. She is the Widow Goddess or the Goddess of Death.
BAGALA: The eighth, Vidya Bagala is a crane - headed goddess. She represents the ugly side of living creatures like jealously, hatred and cruelty. She is the Goddess Who Paralyzes.

MATANGI: Matangi, the ninth Vidya is the embodiment power of domination. She is known as the Prime Minister of Lalita in the Srikula system; also known as Tantric Saraswati.

KAMALA: The tenth and the last Vidya Kamala is the pure consciousness of the self, bestowing boons and allaying the fears of the supplicants. She is identified with Lakshmi, the Goddess of Fortune. She is the Lotus Goddess or Tantric Lakshmi.

The details of the Dasa Mahavidyas have been posted as separate slots. There are some writings and justifications to state that the Mahavidyas are avatars of Vishnu with some tantra attributed to this claim. These are later additions to the original Mahavidya Tantric science. These are best left to the individual sadhak’s truth finding, even if there is an Eskimo mahavidya list in the making and an ‘ice-cold’ Kali.....

Hara Hara Mahadeva
(draft Parvati forms) by Yogi Ananda Saraswathi

Ramprasad Sen, Maaa Tara in Bengali, of course Tarapith..

1/9/2013

Everything is your will mother, Star container of will you are,
You do your work mother, people call it my doing.

Elephants sink in swamp,
while handicaped traverse mountains

One is given the path of enlightment,
another is given the path of downfall.

I am the machine, You are the user;
I am the house, you the Spirit dwelling there.

I am the chariot, you the charioteer;
the way you drive, that way I walk.

Sakali Tomari Ichha Iccha-Mayi Tara Tumi Tomar Karma Tumi Karo Ma Loke Bale Kari Ami (2x) Sakali Tomari Ichha Panke Baddha Kara Ari Pangure Langhao Giri (2x) Kare Dao Ma Brahma-Pada Kare Karo Adhogami (2x) Sakali Tomari Ichha Ami Jantra Tumi Jantri Ami Ghar Tumi Gharani Ami Ratha Tumi Rathi Jeman Chalao Temni Chali (2x) Sakali Tomari Ichha Iccha-Mayi Tara Tumi Tomar Karma Tumi Karo Ma Loke Bale Kari Ami Sakali Tomari Ichha.

O Mother, all is done after Thine own sweet will, Thou art in truth self-willed, Redeemer of mankind! Thou workest Thine own work; men only call it theirs. Thou it is that holdest the elephant in the mire; Thou, that helpest the lame man scale the loftiest hill. On some Thou dost bestow the bliss of Brahmanhood; Yet others Thou dost hurl into this world below. Thou art the Moving Force, and I the mere machine; The house am I and Thou the Spirit dwelling there; I am the chariot, and Thou the charioteer. I move only as Thou, O Mother, movest me.

Parvati's Weapons.

1/9/2013

PARVATI’S WEAPONS.

If gods are all powerful, why do they need weapons? Traditionally, Gods and Goddess have always been known for their unique weapons. Some are personal to older such as Shiva’s Trishul or Vishnu’s Sudarshana Chakra. These weapons symbolize a message or purport. Most of them have special characteristics. Indeed, weapons may change in accordance to divine manifestation of gods and goddesses.

Every aspect of divine attributes is a symbolic representation of a inner meaning towards self-realization. Their holding is representative their negative and positive use. If the weapons are terrifying, it is a call to fight fear. Negative energy does not reach one who has overcome fear.

Goddess Parvati has many forms and the most popular ones include Durga and Kali. Both these Goddess are always represented through the weapons that they hold in their hands. Kali’s terrible weapons is a call to kill ego. The weapons are held in the ten arms of Goddess Parvati and are known to depict the various directions of the universe.

Some people consider it to be a symbolic representation that the Goddess protects all those who turn to her in prayer from any direction. It also symbolizes Parvati’s all-pervasiveness. As universal Mother, far beyond these weapons, is Parvati’s motherliness.
Goddess Parvati is the wife of Lord Shiva and she has various weapons gifted to her by the Gods to destroy evil.

These weapons were given to Goddess Durga who is one of the forms of Goddess Parvati to destroy evil. They include Sword - Khadga, Trident - Trishula, Thunderdisc -Chakra, Arrow -Tir, Javelin - Bharji, Club -Khitaka, Bow -Dhanush, Noose -Pasha, Goad -Ankush, Shield -Sipar and Axe -Parashu.

CONCH: (Ankusha) – Not a weapon as such. It symbolizes the Pranava Om which indicates her holding on to God in the form of nada or sabta – sound.

SWORD: (Khadga) – The sword in the hands of Goddess Parvati symbolizes not just strength but also wisdom. It is the weapon that is also used to destroy ignorance. The shine that is found on the sword is known to represent knowledge that is free from all illusions.

BOW: (Dhanush) and Arrow (Tir) – These weapons represent energy and when both the bow and the arrow are held in one hand it is known to symbolize the twin aspects of energy. The Bow (Dhanush) was given to the Goddess by Vayu and Arrow (Tir) was gifted by Surya. The bow and arrow symbolize that the Goddess is indicating her control over both aspects of energy – potential and kinetic.

THUNDERDISC: (Chakra) – The chakra spins on the index finger of the Goddess. It spins on the finger without touching it and this is known to destroy all evil. The chakra is also known to represent life and death and was given to her by Lord Vishnu. This signifies firmness, It can break anything it strikes. This is an indication that a bhakta needs to attack a challenge without losing his or her confidence. It signifies that the entire world is subservient to the will of Parvati and is at her command.

GOAD: (Ankush) – This weapon is known to represent the action and power of Goddess Parvati.

TRISHULA: Trident (Trishula) – The trishul is known to symbolize three qualities. These include Satwa (inactivity), Rajas (activity) and Tamas (non-activity). Physical, mental and spiritual are the three miseries of life and the trident (trishula) is used to remove all these miseries by the Goddess.

AXE: Axe (Parashu) – This weapon is known to destroy ignorance and evil. An axe is sharpened to give a clean cut. On in the spiritual path has to sharpen his knowledge. One needs strength to give a single blow and bring about severance. All forms of yoga prepare one to severe maya from Consciousness.

LOTUS: Although many would not consider lotus as a weapon, it symbolizes success and its certainty. The flower does not fully bloom in the hands of the Goddess and this is known to represent spiritual evolution. It can also mean certainty of success but not finality. ‘Pankaja’ means born of mud, The lotus stands for the continuous evolution of spiritual quality of bhaktas and worldly mud of lust and greed.

These weapons have been used by the Goddesses to destroy evil and kill demons. Demons are themselves symbolic of karma, krodha and lobha. They stand for ego that has to be destroyed with weapon called knowledge. Different weapons are used for different purposes.

There are many weapons that are known to be magical as they have been gifted by the Gods themselves. Depending on the form that Goddess Parvati embraces the weapons will change. The lion that Goddess Parvati rides is also considered one of her weapons. Weapons are part and parcel of Shakti’s feminine power.

Hara Hara Mahadeva

by Yogi Ananda Saraswathi..