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Saraswati Devi

8/31/2012

GODDESS SARASWATI

is the Goddess of Learning and Speech. Her origin is the lost Vedic Saraswati River, the Mother of all Rivers. This is the source of her profound connection to the fluidity in water, speech and thought. She possesses all the learning of the Vedas, scriptures, dancing, musical power and poetry. Saraswathi symbolises wisdom, fortune, intelligence, nourishment, brilliance, contentment, splendour and devotion.

Evolution of Mother Goddess worship has a profound effect on the course of Hinduism. It led to the concept of Devi and her offshoots and above all the development of Shaktis or Shaktham. Despite the difficulty of ascertaining their functions in pre-vedic understanding they had some connection with fertility, creative principles and generally governed agricultural economy.

During the 1500 – 1300 BC Vedic period, the idea of Mother Goddess was kept alive at a popular level by the worship of female tree spirits or yakshis. At a higher level they were worshiped as Aditi or primodial originator; Prithivi or mother earth and as deities representing abundance and noursishment such as Saraswathi. The vedic people of the Indus civilization, realised the importance of water, and called it life. Obviously the water providing pure streams were no less than a mother, who nurtured life on its banks. There thrived the early days of spiritual writings also.

SARASWATI RIVER:

Goddess Saraswati and the river derive their names from the same source. Much of the Goddesses’ attributes are symbolically derived and understood. It was on the banks of Saraswati, that the Vedic ashrams thrived. It was on the waters of Saraswati that the vedic culture grew. She was thus called the Goddess of Knowledge and Wisdom. Saraswati is also known as Sharda. This name means that She is the fountain head from where all of knowledge arises. The literal meaning of the name Sarasvati is the one who gives the essential Sara -knowledge of our own Sva- Self. The goddess Sarasvati is also considered the Goddess of Learning, or of education, intelligence, crafts, arts, and skills. As she is the consort of Brahma, who is considered the source of all knowledge, Sarasvati is knowledge itself. Knowledge is is the only way to be able to dispense off with all the darkness from one’s life and allow the light and illumination of knowledge to enter ones path. This enables one to turn into a more advanced being and pursue other things in life.

The drying up of the river is noted in the Upanishads and explained as a myth. The Upanishas referred to Agni, the sacrificial fire that served as a link between human and the Gods. Agni was to be transported to the sea and the Gods entrusted Saraswati to perform this task. She gathered up all her waters and formed a body to perform the task. The gods chose Her due to her purity.

Thus she moved from a sacred river to a Goddess. This is also symbolic of removing sacrificial fire and replacing it with a sacrifice of the self through knowledge of music and speech. Thus she becomes the Goddess of knowledge and learning. In the place of rituals movements, sounds such as the Pranava Om and mantras became more important quality in spiritualism. The Saraswati may be dry but one can still ride on the currents and waves of Saraswati to become pure in pursuit of knowledge and learning and through the use of sound, speech and ultimate purity to achieve moksha.

NAMES:

Her name literally means the one who flows, which can be applied to thoughts, words, or the flow of a river. She is the deity of a river in the Rig-veda. Her other names include Sarada-giver of essence, Brahmi -wife of Brahma, Bijagarbha-womb of the elements of speech, Dhanesvari-divinity of wealth, Mahavidya-holder of supreme knowledge, Bharati-eloquence, Maha-vidya-transcendent knowledge, Arya- noble one, Mahavani-the transcendent word, Kamadhenu-like the wish-fulfilling cow, Dhaneshvari-the divinity of wealth, Vacdevi-divinity of speech, Vedamata, Mother of the Vedas and Vagishvari-mistress of speech. It is through speech that knowledge manifests in action. It is through her that language and writing is revealed.

PURANAS:

According to Matsya Purana, Brahma was self-contained and content when the cosmos was yet to be. Over time he longed for company and decided to split his being in two to create a consort. Saraswati emerged from his forehead as Satarupa, from his own body. Thus She is portrayed mostly as his wife and occasionally as his daughter. But Brahma inspired by the beauty of his own daughter, fell in love with her. He was looking at her amorously. In order to avoid his glances, Satarupa turned to the right side from his gaze. In order to see her then, Brahma created a second head.

As she passed to his left and his rear, in order to avoid his lustful glances, two other heads of the god successively appeared. At last she sprang to the sky, and following her, a fifth head of Brahma was also formed. Brahman then asked to create the universe. As his wife, Saraswati provided the creative force to execute what Brahma has conceived with his intelligence. She invented Vac, scriptures and scholarship and became the Mother of the Vedas.

DEPICTION AND SYMBOLISM:

Goddess Saraswati is always portrayed with water in background, blooming lotus, white swans, and bathing elephants. The meaning of the word Saraswati is ‘full of waters’ or ‘full of lakes’. Water element is inherently a teacher. Thus she is celebrated both as river diety and as the Goddess of speech and learning. The waters of the river Saraswati are inspiring. Her origins are obscure but the source of the river is considered to be in Plakasha Prasravana in the Himalayan mountains and the place where the river disappears is called Vinasana. As a river Goddess, she connected with fertility and procreation and particularly with purification. She is also associated with creative properties that water has for seeds and vegetation.

Saraswathi is represented as a pleasant deity with grace. She holds a lotus bud and ‘akshamala’ or rosary prayer beads in her right hand. The lotus is a symbol of the Supreme Reality, and a white lotus also denotes supreme knowledge. The prayer beads represent all spiritual sciences, like meditation and japa orchanting the holy names of God, and, being held in the right hand, that it is more important than the secular knowledge contained in the book in her left hand. The left hand carries a ‘pustaka’ or book and a sugar cane. Holding the book or scriptures in one hand also indicates that this knowledge alone can bring us to the Truth. Her four arms represent her unrestricted power in the four directions. She also represents creativity, or the combination of power and intelligence, the basis of creativity.

She is also symbolically portrayed to hold an arrow, bow, mace, discuss, conch shell, bell and plough. She is seated on a lotus or a swan symbolizing her transcendence of the physical world. That symbolises that she is rooted in the Supreme Reality. The lotus, symbolizes that she is founded in the experience of supreme knowledge and Absolute Truth. Thus, she has the knowledge and also the experience of the Highest Reality. She is supposed to be the goddess of dawn that will be able to enlighten the being and dispel darkness away from them. If there is no knowledge and wisdom on this earth, then the earth will be thrown into darkness and mayhem. In order to get the true meaning of wisdom for oneself, one has to give up the pleasure that is sensual and dependent on our senses but must search for the peace and calmness of the spiritual well being.The swan represents one who knows what to absorb or reject.

Her right leg is shown slightly pushing against Her left leg. A peacock by Her side gazing at Her There is a further implication that she floats over and above the muddy imperfections of water and the physical limitation of the world but remains poised and pure. She is said to cleanse and fertilise the earth. She is often seen with a ‘vina’ or ‘veena’ a string musical instrument. The vina shows the beauty of learning the fine arts. Playing her vina, she tunes the mind and intellect with her knowledge, and thus the seeker can be in harmony with the universe. The veena also personifies her connections to speech, words, learning and agriculture. Even in the modern context Hindus revere Saraswati as the inspirer of arts and knowledge. There is mention that she is also known as Vani or Gayatri and that the famous ‘Gayatri Mantra’ – the most significant of all mantras is addressed to her.

Saraswati does not have excuberent jewelry or bright colors adorning her. The white color symbolizes purity and knowledge is symbolized by the white sari that the Goddess is wearing. All that she wears is white and this symbolizes the purity and simplicity that she embodies. She is the kind who is not lured by materialistic wealth or baseless pursuits. This is the goddess that has arisen above the wanting of the fulfillment of desires and has the will power and control over her mind to be able to withstand all kinds of temptations. Everything that she stands for is simple, pure and a part of nature, away from materialistic pursuits.

Her omnipresence and omnipotence is symbolized by her four arms. The four hands represent the four elements of the inner personality. Her activity in the physical world is indicated by the front arms. The spiritual world is indicated by the two back arms. The manas-mind is represented by the front right hand, the buddhi-intellect by the front left hand, the conditioned chitta-consciousness by the rear left hand, and the ahankara-ego by the rear right hand. The left side of the body symbolizes the qualities of the heart and the right side symbolizes activities of the mind and intellect. A book in the rear left hand signifies that knowledge acquired must be used with love and kindness to promote prosperity of mankind.

The rosary signifies concentration, meditation, and contemplation, leading to samadhi, or union with God. A rosary in the rear right hand representing ego conveys that true knowledge acquired with love and devotion melts the ego and results in moksha- liberation of the seeker from the bondage to the physical world. The Goddess is shown playing a musical instrument that is held in Her front hands, which denote mind and intellect. This symbol conveys that the seeker must tune his mind and intellect in order to live in perfect harmony with the world. Such harmonious living enables the individual to utilize acquired knowledge for the welfare of all mankind.

Two swans are depicted on the left side of the Goddess. A swan is said to have a sensitive beak that enables it to distinguish pure milk from a mixture of milk and water. A swan, therefore, symbolizes the power of discrimination, or the ability to discriminate between right and wrong or good and bad. Saraswati uses the swan as Her carrier. This indicates that one must acquire and apply knowledge with discrimination for the good of mankind. Knowledge that is dominated by ego can destroy the world.

A peacock is sitting next to Saraswati and is anxiously waiting to serve as Her vehicle. A peacock depicts unpredictable behavior as its moods can be influenced by the changes in the weather. Saraswati is using a swan as a vehicle and not the peacock. This signifies that one should overcome fear, indecision, and fickleness in order to acquire true knowledge

SHRINES:

Goddess Saraswathi has many shrines that are built in her memory all over south India. These shrines are usually Shaivite temples. Here Shiva is seated to the right of Parvati’s shrines. Saraswati does not have temples dedicated to her alone except a notable Saraswati Temple in Thanjavur in Tamil Nadu. In Tiruchirapalli one finds shrines for Brahma and Mata Saraswati at Uttamar Koyil. In these temples, Hindus worship Her because of the knowledge and wisdom that she can embody on them.

VEDAS:

The link with Goddess Saraswathi and the river named after her is best explained etymologically. It means ‘to flow on.’ It may be interpreted in two ways: as an ever-flowing life sustaining river and to the ever flowing stream of wisdom and eloquence of the vedic era. She is therefore associated with speech - ‘Vac’ the river like flowing speech. In the tenth book of the Rig Veda, the rishis identify Saraswathi as the supreme creator: “My origin is in the midst of the ocean; and therefor do I pervade all beings, and touch this heaven with my form. Originating all beings, I pass like breeze; I am above this heaven, beyond this earth; and who is the great one, so am I.”

The river Saraswati that no longer flows was actually part of Vedic culture. This is the river in Goddess Saraswati as she flows to give us the wisdom to aspire mokha.

Hari Om
YOGI ANANDA SARASWATHI

CHATUHSASTHI YOGINI 64 Yogini's

8/31/2012

CHATUHSASTHI YOGINI. Charuhsasthi, Chausanth or Chausati means sixty four referring to 64 Yoginis. This was a mystical female cult of the 9nth century. It is a popular belief that the yoginis had their origins in animistic traditions of Adivasis or aboriginal people. They worshipped grama devatis. They are mentioned in the Skanda Purana variously as yoginis, dakinis, shaktis or bhairavis. Dakini is a term used to describe a ‘sky dancer’, female messenger or attendant with supernatural abilities practicing various forms of secret tantras.

Later, the term yogini, as used in the Chandi Purana referred to the form of Devi, the Supreme Goddess. Each of the yogini was seen as a different part of Devi’s body. Around the 7th century, the belief seems to have blended with Shakti cult and tantrism. The term dakini is still retained in the Buddhist tradition. In literature it even refers to sorceress, witch or even ghoul. It is said that they were a secret organisation with a secret communication called sandhya bhasa.

The purpose of the cult was to develop supernatural powers. They considered themselves as servants of Mother Divine. They were devotional in nature. It is said that they had tremendous supernatural abilities. These yoginis are linked to black tantrism using the destructive energies of Kali and Bhairavi but that hardly makes them witches! The saddhaka or practioner aspires to control body and mind to regulate the panchabhutas for material gains and also to acquire destructive powers. Their central focus of worship was Bhairavi, Kali and Shiva Bhairava. They used destructive energies of Kali or Bhairavi with a positive goal.

SIXTY-FOUR: There are various theories as to the number 64. But they are also enumerated as 60, 64 or 65 and even 81. The number 64 correlates to the currents or wind of human body as type of unproductive tendency. 64 also has its mystical use in Tantric rituals and numerology to get magical powers. The Matrikas are aspects of Devi. Ashta Matrikas are the eight mothers who arrive with their eight attendants. The Sapta Matrikas are seven Mothers. With a leading goddess in every group, making it eight the whole group counted to 64 yoginis.

TANTRIK WORSHIP: In Yogini worship, the Tantrik symbol is a chakra with 64 spokes in the wheel. Each spoke represents a Yogini form of Mother Devi. In the Buddhist Kalachakra tantric system, the navel chakra or the Wheel of Emanation, the 64 channels are the 64 goddesses of the Speech Mandala. In Kaula Marga Tantric system, eight chakras or lotus with eight petals each was taught by Matsyendranath.

Kaula Marga siddhas was a sub-sect of Kashmiri Shaivism. Matsyendranath is said to be the progenitor of the Kaula school of Tantra. Bhairavi is experienced in her wrathful form in a practice known as Bhairava Chakra. In the 9th chapter of the Kaulajnana Nirnaya attributed to Matsyendranath presents the 8 chakra system stating that the 64 yoginis are Kama-rupa. This means desire form, a way of referring to this reality where forms are born out of desire.

Apparently in sandhya bhasa of the siddhas, the word also refers to the female organ – trikona or triangle as used to depict the Muladhara or root chakra of the subtle body. By meditating on each of the 64 petals on induces the resident yogini to grant a boon in the form of siddhi. In the Kaula tradition, secrets of bodily perfection lie in the 64 fold complex matrices. The sadhana or ritual involves the 5 M’s: Matsya – dish, Mamsa – meast, Mudra – parched grain, Madya – alchoholic drink and Maithuna – sexual intercourse. Maithuna here is usually misquoted; so is Tantra wrongly attributed to black magic. Tantra goes beyond the naked eyes and weekly periodicals.

In a wider context Yoginis are women who practice yoga. Some of them possess supernatural powers such as transcending the aging process by internalization of their reproductive powers. Urdhva-retas are the upward refinement of the seed force. Many females have attained mastery of modern yoga asanas and meditation tradition through their feminine Shakti sensations. In Shaktam, creation myths place the Divine Feminine at their centre, taking the view that the nature of the Cosmos or Macrocosm is reflected in the human body or Microcosm and it is the female who the giver of life. In Shakta belief it is the female who can awakens the muladhara chakra, the seat of the kundalini shakti via fertility and sexuality while males must achieve that through kriya yoga.

In Tantra yoga, the Mahavidyas, the Ten Wisdom Goddesses, serve as models for a yogini’s disposition and behaviour. Bhairavi dwells in the Muladhara or Root chakra, and is the same as Kundalini. Bhairavi represents the successful aspirant of Tantra. Thus the title Bhairavi is bestowed upon a Kundalini Tantra Yogini. It presupposes that the yogini is beyond fear. In Hatha-Yoga-Pradipika, Bhairavis are yoginis who preserved their genital emissions or their rajas and contain the bindu, the male semen in a practice called Vajroli-mudra. Its reverse is practiced by the yogis.

TEMPLES: Stone inscriptions indicate dakini rituals well into the 16th century. But the cult seems to have diminished and the temples abandoned. Yogini temples are in dilapidated condition and neglected. These are found in Hirakud, Ranipur Jharial, Pheraghat near Jabalpur and Khajuraho. They are said to be scary, especially the one in Khajuraho which does not even attract tourists. The sculptures are intact. It was the cult’s belief that sex is not a path to self-discovery and none of the sculptures are erotic.

HIRAPUR: The ancient Yogini Temple at Hirapur was discovered only in 1953. Here, the principal Goddess of the Yoginis was Mahamaya, as referred in the Devi Bhagavatam. It is a hypaethral or roofless temple. While people leave the offerings at the foot of the deities, the presiding deity, Mahamaya, is still regularly adorned with ted cloth and vermillion. Mahamaya or Great Illusion is also Buddha’s name. The difference between Kali and Bhairavi is that Lord Shiva is extremely wrathful as Bhairavi’s consort but his wrathfulness is not seen so tremendous as the Kali’s consort. Thus it brings a notion that Bhairavi is thus the fiercest form of Mother Divine.

The iconography of the yoginis differ from place to place. In Haripur, the yogini deities are carved from a fine, black chlorite, each form or rupa represents a voluptuous woman wearing a kilt or skirt held around her hips by an ornate girdle. Besides the belt, she wears the other seven symbolic ornaments: bracelets, armlets, anklets, earrings, necklace, garland and headdress. Their hairstyles include the most common one which is a cluster or bun worn to one side, or else a coronet of tight curls. Some are depicted as warriors or huntresses with bows and arrows, others balance on a pair of wheels, or play a drum. Most have two arms but a few have four.

The yoginis in Hirapur are Bahurupa, Tara, Narmada, Yamuna, Shanti, Varuni, Kshemankari, Aindri, Varahi, Ranveera, Vanara-Mukhi, Vaishnavi, Kalaratri, Vaidyaroopa , Charchika, Betali, Chnnamastika, Vrishabahana, Jwala Kamini, Ghatavara, Karakali, Saraswati, Birupa, Kauveri, Bhaluka, Narasimhi, Biraja,Vikatanna, Mahalakshmi, Kaumari, Maha Maya, Rati, Karkari, Sarpashya, Yakshini, Aghora, Bhadrakali, Vinayaki,Vindya Balini, Veera Kumari. Maheswari, Ambika, Kamiyani, Ghatabari, Stutee, Kali, Uma, Narayani,Samudraa, Brahmini, Jwala Mukhi, Agneyei, Aditi, Chandrakanti, Vayubega, Chamunda, Murati, Ganga, Dhumavati, Gandhari, Sarva Mangala, Ajita,Surya Putri, Vayu Veena.

The vahana or mount of the dakini includes animals such as the fish, parrot, turtle, frog, snake, scorpion, rat, while some appear with a decapitated male head, an archer, or other representation at their feet. Several of the dakinis have animal faces.

SHAVA CHHEDAN: In Yogini temples Devi also manifests as the fearsome Chamunda. She has the form of an emaciating crone standing on a corpse. Shava Chhedan is a symbolic ceremony of beheading a dead body. This is the ultimate symbol of detachment from earthly desires. Yoginis do not harm living beings or human sacrifice as popularly stigmatised. They are known to have asked for corpses from poor families in exchange for a grand funeral after their rituals. With the coming of the Shakta bhakti movement preaching love as the finest path to self realisation, the practice seems to have died together with the cult.

Hari Om

by Yogi Ananda Saraswathi

BrahmaCharini Devi

8/29/2012

GODDESS BRAHMACHARINI is the second aspect of Goddess Durga in the Navarathri festivals. She is celebrated on the second day. It is wrongly written here and there that she has taken to sannyas due to the ‘brahmachari’ in her name! Brahma within the name Brahmacharini means meditation or penance. Veda, Tattva and Tapa are synonyms for Brahma. Indeed, the word ‘tapa’ or ‘tapasya’ and Brahma are interchangeably used in the scriptures. So Mother is also called Tapacharini. That is, the Goddess is the meditator or a practitioner of penance. Goddess Durga is capable of providing unending benefit. She gives devotees everlasting success.

DEPICTION: Goddess Brahmachirini is tremendously effulgent. She holds a rudraksha rosary in her right hand. Rudraksha is her most adorned ornament. The rudraksha mala becomes the most important item to be associated with her in her forest life while she pays penance for Lord Siva. stay It also says much about her austerities and penance. She holds the Kamandalu, the water utensil in her left hand. This symbolizes that in her final years of tapasya she reduced her diet to plain water and nothing else.

Mother is also shown with lotus attached to various parts of her body. Even her ear kundalas are two lotuses pointing towards the ground. Lotus symbolizes knowledge. The lotus plant grows from the mud of ignorance to seek light of knowledge. Towards that it grows above the water level symbolizing a person aspiring spiritual ascent. Mother is usually dressed in white saree to represent purity. She adorns a prominent crown just as Goddess Durga. This shows her majestic view despite her simplicity. Brahmacharini is always depicted with a smile and a very pleasing face. Her very sight is all but Grace.

MYTHOLOGY: Mother was reborn as the daughter of King Himavanth. She was single-pointedness of mind to win the heart of Lord Siva. The sage Narada advises her to undergo penance and she does just that. Her intense tapas for one thousand years, earn her the name Tapasyacharini. Her habits change as she is focused on tapas. She tolerates tormenting weather. Torrential rains and bitter cold do not hinder her tapas. She is simply sky-clad without heeding the scorching sun. Her mind was Siva and Siva only 24/7.

She cares not for food. Her menu is one of leafy vegetables. For three hundred years she diets on bilva leaves. When Siva does not make his descent to grace her, She is said to have given up fresh bilva leaves. She does that for Siva’s sake! It is now dry bilva leaves that the winds send dropping below the bilva tree. No Siva yet! This is also relinquished and the menu is further restricted to water only. This is the reference to her being called Aparna. She just carried her kamandala and pushed her austerities to the extremes.

Lord Siva is still not in sight. Brahmacharini continued her painstaking contemplation until she had grown thin. She reduced herself to skin and bones. This was observed by Mother Menaka one day. Looking at the skinny daughter, she exclaims ‘U’ ‘Ma’ meaning ‘O No No, Not’. In Sanskrit ‘U’ is a word of address. So Goddess Brahmacharini, the second aspect of Durga, bags another name as Uma. As Uma, she comes close to Lord Siva, doesn’t she?

Brahmacharini’s penance cannot be going unnoticed.Certainly not a penance of this nature. It starts to cause great disturbance in all the three lokhas. So the universe gets shaken. Up there the Gods, rishis, munis, sages and above all the siddhas are great Durga Maa devotees. They eulogised Brahmacharini’s virtuous tapas and the same is praised in all quarters. Lord Brahma is to act. So Brahma tells her that he was captivated by her meditation and devotion, Brahma blesses her. This blessing, after a few turns here and there, finally leads Brahmachirini into Lord’s Siva’s arms.

There she has her cut off point as being a kannya or virgin. It would be wrong to view Brahmacharini as a married consort of Lord Shiva. If they are depicted together, then Siva is the divine prize she earned out of tapasya. Saying it another way, Brahmacharini is the early phase or stage before Mother Parvathi’s marriage. This stage is called Devi Yogini and Devi Tapsvini.

PUJA: In the Hindu pantheon, each Gods and Goddess have their prayer rituals, rules and regulations. This is called pooja vidhi. Brahmacharini is sometimes worshipped along with other gods and goddesses. She is offered flowers, rice and sandalwood. These are placed in the kalash that was established on the first day of the Navrathri. Mother is given her abhishekam with milk, curd and honey. If a deity, then she is dressed immaculately. If an image, she is garlanded grandly. Aarti is performed. Prasada is offered as if it is offered to Mother Durga. Chanting is done.

It is to be noted, unlike Durga or Kali worship. Brahmacharini is not worshipped as a single deity. She is worshipped along with her consort Lord Shiva. This symbolizes the penance she did for achieve him. So she is worshipped with the Divine prize to represent that tapas pays. Hence, Lord Shiva has to be worshipped with full faith and devotion to please Brahmacharini. As prayers to her also involves Brahma in no small measure, the chant during her prayers are: Om Brahmane Namah .

CHAKRA: Mother Brahmacharini represents the Swadhistana chakra in spiritual practice. Sadhaks and yogis keep their mind on Swadhisthana Sneh Chakraburtty to maintain their devotion and dedication in a steady phase. Worship of this appearance enriches the faculties of sacrifice, honesty and self-discipline. In times of absolute distress the worship of this form gives success and the willpower to come out victorious. This way the mind of the aspirant that moves upward is established in Swadhisthana Chakra. The Yogi, who makes his mind stay in Swadhisthana Chakra, gets the devotion and blessings of the Goddess. Establishing the mind in the Swadhisthana chakra, while worshipping Devi is a pointed way of fulfilling desires.

Mother Brahmacharini represents one who practices devout austerity. She enlightens us in the magnificent embodiment of Durga with great powers and divine grace. The form of Devi Brahmacharini is similar to her name and gives infallible fruits to her devotees. By worshiping her, virtues such as penance, renunciation, dispassion and restraint progressively improves inherently. One also improves his or her ethical conduct.

MANTRA: Brahmacharini Dhyana mantra is recited on the second day of Navarathri. “Dadhanakara Padmabhyam akshamala kamandalam; Devi prasidathu mayi brahmacharinya nuththama.”

Goddess Brahmacharini is blissful and endows happiness, peace, prosperity and grace upon all devotees who worship her. A person earns freedom from all the troubles and sufferings in life. Filled with bliss and happiness, Goddess Brahmacharini is the way to liberation, Moksha.

Yet again Mother Durga is prayed to in another one of her milder and sweet manifestations via Brahmacharini. Together they bless us with immense courage, strength, dedication and concentration to face all challenges with courage and self-confidence. Goddess Brahmacharini is also not to be underwritten just as another goddess imposing the same story-line and blessing. Those having her close to the chest as Ishta Devata would know this truth. That being the eternal truth of attaining Sachidaanandamaya Brahmaswarupaya, the Existence-Knowledge-Bliss state.

Yogi Ananda Saraswathi

Chandraghanta Devi

8/29/2012

GODDESS CHANDRAGHANTA. The Nava Durga are nine sisters of the Goddess Durga. They are described as aspects of Devi in represented in a specific sequence. This sequence is important to their interpretation and understanding. Goddess Chandraghanta is the third facet of Goddess Durga who is worshipped on the third day of Navaratri.

Chandraghanta is the Goddess Wearing the Crescent Moon on her forehead. She represents supreme knowledge and bliss. She is worshiped for blessings of peace, tranquility and prosperity in life. One worshiping her is said to be relieved from the stress and pain caused by society. She is an apostle of bravery and possesses great strength to wage war against evil. Despite her appearance , she nonetheless exemplifies calm and material well being. Her pacifying form clears all the sorrows and sadness of her devotees.

One that worships her attains spiritual bliss. Mother is pleased with devotees that worship with full devotion and dedication. It helps him or her achieve respect, fame and glory. The energy level is always there in the devotee and the home where Mother is worshipped becomes holy and pure.

DEPICTION: She is is very charming and bright golden complexioned. Mother adorns a prominent jeweled crown. It is said that Mother’s face appears like an image of the solar system. Notwithstanding she is also intense with anger and violence. She has a ‘chandra’ or half moon in her forehead in the shape of a ‘ghanta’ or bell. The sound of the bell always protects her devotee from evil spirits.

In meditation, as soon as the sadhak invokes her, her bell immediately become active and starts ringing to protect the devotee under her shelter. The crescent moon is symbolic of feminine energy. It is also associated with clairvoyance and knowing without thinking. The crescent also represents illumination,new beginnings and making dreams a reality. It is connected to rebirths and how our true essence really is immortal. That is why she is called ‘Chandraghanta’. Her ornaments are rich and signify material comfort.

She has ten hands, three eyes. Eight of her hands display weapons. She holds bow, arrow, Trishul, sword and mace. She also holds a rosary, lotus and kamandal. The lotus is symbolic of knowledge and wisdom. The remaining two are respectively in the Varada and Abhaya mudras of boon and stopping harm. She is the apostle of bravery and possesses great strength to fight in the battle against demons. She is always in a prepared position for war.

Her vahana is the lion or tiger both symbolizing courage and dharma. This is symbolic of bhaktas becoming valorous and fearless like a lion. Her roaring voice while riding on her lion is said to make demons tremble. This is symbolic of the fear she instills in one’s enemies.

PUJA: The ritual on the third day is similar to that of the second day. All the gods and goddesses, are worshiped together with the planets and the Lords in the Kailash. Ganesha, Lakshmi, Vijaya, Kartikeya, and Sarswathi are worshipped first and the last worship is to Mother Chandraghanta. This is followed by a prayer to Lord Shiva and Lord Brahma. The devotees should worship the goddess chanting, “Ya devi sarvabhuteshu chandraghanta rupen sansthita, namastaseya namastaseya namastaseya namo namah”. It means that I join hands in front of the supreme Goddess and adore the goddess with a bell shaped mark of moon on her forehead. One can please goddess Chandraghanta by worshipping her with utmost devotion.

CHAKRA: She is the holder of potent energy that is yet to be unleashed. She claims Manipura Chakra as her own. This Chakra is influenced by the planet Mars. This is symbolized by a lotus with ten petals, this chakra is also known as the ‘nabhi’ or navel chakra. On this day, while worshipping Mother Chandraganta, yogis and practitioner of Tantra, meditate while concentrating their energy on Manipura Chakra. Their mind enters Manipura Chakra. With grace of Mother Chandraganta mysteries and divine things can be seen and heard. The sadhak smells the divine fragrance and many types of sounds become audible. She is said to relive the sadhaks of negative energies. In this stage of discipline, the sadhak is required to be most careful. The Manipur Chakra emboldies the change or conversion from simplicity to complexity.

PRAYER: The Chandra Ghanta Sthuti: ’Kalikaam thu kalatheethaam kalyana hurdayaam shivaam,Kalyana jananim, nithyam kalyanim pranamamyaham’.
I salute the Goddess who is forever auspicious,
Who is mother Kali, who is beyond measurement of time,
Who is consort of Shiva in the hearts of auspicious people,
Who is the mother who is auspicious and divine.

By her blessings all the hindrances coming in the way of a bhakta is said to be removed. She clears one of sorrows or sadness. Bhakatas are solaced by her ever-willingness and readiness for against evil and demons. In other words, she is the Goddess who rids our life of obstructions and evil energy.

MALE AND FEMALE PERSPECTIVES: There is a difference between masculine and femine interpretation of the Nava Durgas. The masculine interpretation demonstrates the process of creation from nothingness to ego. The female interpretation follows the path of a woman’s life. Separately, each shows a reverence for the path of creation and development of life. As a result of these interpretation, the Nava Durgas should be listed in the correct order to signify the individual phases of each interpretation. The male perspective of Chandraghanta represents fire while the female perspective represents a girl who has begun menstruating, a formative period of cycles of the season or phases of the moon.

Hari Om
Yogi Ananda Saraswathi

Healing power of Shakti

8/29/2012

Veda Vijnan Rishikulam

|| The Healing Power of Shakti ||

Shakti, the intrinsic grace of the Divine Mother Goddess, holds the supreme power of spiritual, psychosomatic and bodily well-being. Connecting to Shakti we can unravel all the energies of healing – both for healing ourselves and healing others. Drawing from the sacred source of the universal Shakti, one can move beyond the limitations of all outer therapies, medications and even psychoanalysis. The force and benevolence of the Goddess in her manifestations as Bhu Devi or Mother Earth, and Maha Prakriti or Great Nature, allow us to restore our health and rejuvenate through the flow of divine grace.

Mother Earth and Mother Nature carry the Shakti essence of all healing. Everything in the universe possesses its own special healing power or Shakti. Ayurvedic medicine teaches us how to recognize, understand and work with these different healing Shaktis in its various therapies. The Hindu yogic approach manifests a healing power through its sacred sciences of Devi Tantra, Bhakti Yoga, Ayurveda, Vedic Astrology, Mantra Jnana, Vedanta and Yogasana. To embrace the healing power of Shakti we must understand and inculcate the principles of our ancient rishi culture.

:: Vayu Mandala, the Atmosphere in Vedic Thought Holds the Pranic Shakti ::

The atmosphere forms the dominant realm of the Earth’s prana, the global vital force through which the planetary organism functions. The term “atmo” in atmosphere derives from the Greek term for breath that relates to the Sanskrit term Atman, which is not merely the breath but the spirit as well. The forces of the atmosphere—what is called the sphere of the winds or Vayu Mandala in Vedic thought—are responsible for the weather and seasonal changes that drive the movement of all life on the planet. The atmosphere is the sacred breath of the planet, which grants life to all creatures!

Being in sync with the rhythmic waves of the Vayu Mandala and sacred Vayu Yantra, patterns formed through the pranic atmospheric forces grace us with vitality. The rapid fluctuations of the atmospheric forces and their subsequent weather patterns are the primary factors in the outer world for health and well-being. Our ability to adjust to their daily and seasonal rhythms determines whether we resist or succumb to psychosomatic disorders, ailments or diseases starting with the common cold and extending to collective epidemics and plagues.

The forces of the atmosphere hold the Shakti of the universal prana. The ecosystem or flora and fauna convey the powers of heat and cold, dampness and dryness, wind and sunlight, making their mark upon nature, our physical being and its energies. Atmospheric forces shape the outer environment, to which our inner environment or bodily state must harmonize itself in order to maintain balance. Each one of us can be said to be a manifestation of the atmosphere, incarnate as an individual being, which exists as the breath or prana within us. Living creatures are atmospheric forms that move along the planet’s surface like the winds. In addition, we have our own ‘inner atmosphere’, which manifests our emotional and energy sphere. How we fine tune our emotions and mindset to its intrinsic nature, is essential to our psychological well-being.

Shiva is the great Lord of Prana and the Devi or Goddess is the grace which directs its flow. The divine Lila of Shiva and Shakti as a manifestation of cosmic dynamism reside behind the play of our own prana or life force. Being in sync with Mother Nature helps us live in this flow of benevolence. The lightning in the atmosphere reflects the vibrant Shakti or life force of the Earth, holding the solar energy in the clouds, which begets the rain that nourishes all living creatures. The atmosphere is the great sphere of Shakti on Earth with its dramatic storms and shifting clouds that move swiftly on a daily or even hourly basis. Without the dynamic flow of air through the atmosphere, life would not be possible even for a moment.

Bhairavi Goddess

8/28/2012

GODDESS BHAIRAVI. As the fifth Mahavidya or the Wisdom Goddesses, Bhairavi is a popular and fierce Goddess. She is the Goddess of Decay. Her consort is Bhairava. Bhairavi has facets and epithets that assert her cosmic importance, if not supremacy. Bhairavi’s name means ‘terrifying’ and she is also known as Tripura Bhairavi which implies that she is the supreme terror in the three worlds. According to the commentary on the Parashurama-kalpasutra, Bhairavi is derived from the words ‘bharana’ meaning to create, ‘ramana’ meaning to protect, and ‘vamana’ meaning to emit or disgorge. She shares many characteristics with Goddess Kali.

The inner meaning of Bhairavi's name identifies her with the cosmic functions of creation, maintenance, and destruction. Goddess Bhairavi represents transforming heat, ‘Tapas’, and also Divine radiance, ‘Tejas’. Tapas is not just asceticism, it is a heightened aspiration that consumes all secondary interests and attachments. Bhairavi is the transformation that comes with destruction, which is not necessarily negative. She personifies light and heat that can burn away the imperfections in the soul.

Goddess Bhairavi is an incarnation of Goddess Shakti and is a popular deity in Hindu rural folklore and among tantric practitioners. She is the ‘warrior’ Goddess, who with Her power of Divine speech and spiritual fire eliminates all obstacles to the unfoldment of true awareness, just as She destroyed the demon Mahishasura.

Goddess Bhairavi embodies the principle of destruction. She is considered the consort of Bhairava,the fierce form of lord Shiva and is an ever-present goddess who embodies the destructive aspects of the world. Destruction is not always negative, creation cannot continue without it. She is also known as Shubmkari, Good Mother to Good People. Then again she is terrible to bad people.

MAHAVIDYAS: Shaktam is Mother Goddess worship. The Dasa Mahavidyas personify the one Truth senses in ten different manifestations. The Divine Mother Devi is adored in ten cosmic personalities who have their individual roles in the cosmic scheme of creation, preservation and destruction. The Mahavidyas are associated with decay, death, violence, pollution etc. Their roles call into question the bhaktas experience while he stands in a material world struggling spiritual liberation. Bhairavi takes Her slot as the Fierce Goddess.

The major forms of the Mahavidyas are described in the Todala Tantra. Here Bhairavi is shown as ‘Her head garlanded with flowers, she resembling the red rays of 1,000 rising suns, smeared with red, holding milk, book, dispelling fears and giving boons with her four hands, large three eyes, beautiful face with a slow smile, wearing white gems...’

DEPICTION: Bhairavi is usually depicted as having dark greyish red skin, three eyes, and blood smeared on her lips and breasts. She smiles softly and wears a moon on her crown. Her complexion is red similar the thousands of rising-sun, wears smooth clothes and has a garland of heads roughly her collar. She has prominent kundalas, nose-ring, bangles and waistband. Her necklace hangs over her breasts. She wears a jewelled crown. Goddess Bhairavi’s lips are depicted with blood and she has three eyes. Bhairavi holds a book, a rosary. Her mudras are both the abhaya mudra and vara mudhra. Her palms are wet with blood as symbolised by kumkum. She is shown holding weapons such as a trident axe and thunderbolt. Some images shows her wearing a garland of skulls.

She shares with Goddess Durga, the vahana, the lion. This vahana is a symbol of fire or solar energy, from which she wields her weapons of light to kill the demons or negative forces. She is believed to reside in Patal, the netherworld. The depiction in the North slightly differs from the South. In Northern tradition, she has sunken eyes, shrivelled breasts, unkempt hair and shown in an ecstatic mood. Southern depiction portrays her as voluptuous, rounded breasts, small waist, wide hips, with fangs and in a ferocious mood. Generally she is of wild personality in the South art depictions. But she is also shown in her calm seated position to conceal her ferocity. This pose is not to be mistaken!

MYTHOLOGY: It is believed that when Goddess Bhairavi entered the battle field, her horrible appearance made the demons weak and very feeble, and the most of the demons started panicking as soon as they saw her. In Durga Saptashathi version of slaying powerful demons Shumbha and Nishumbha, Goddess Bhairavi is seen mainly as the goddess Kali. Goddess Parvati gave her a boon of being called Chamundeshwari when she killed and drunk the blood of Chanda and Munda.

CREATION AND DESTRUCTION are two essential aspects of the universe, which is continually subject to their alternating rhythms. The two are equally dominant in the world and indeed depend upon each other in symbiotic fashion. Bhairavi embodies the principle of destruction. She arises or becomes present when the body declines and decays, which is a natural, inevitable, and irresistible force. Bhairavi is also evident in self-destructive habits, such as eating tamsic food (food having a quality associated with ignorance and lust) and drinking liquor, which wear down the body and mind.

She is present, it is said, in the loss of semen, which weakens males. Anger, jealousy, and other selfish emotions and actions strengthen Bhairavi's presence in the world. Righteous behavior, conversely, makes her weaker. In short, she is an ever-present goddess who manifests herself in, and embodies, the destructive aspects of the world. Destruction, however, is not always negative, creation cannot continue without it. This is most clear in the process of nourishment and metabolism, in which life feeds on death; creation proceeds by means of transformed energy given up in destruction.

KALARATHRI: She is one of the most ferocious forms of Goddess Shakti and is equated with the Kal Bhairava form of lord Shiva. Thus Bhairavi is also identified with Kalaratri, one of the fiercest forms of Durga. Her appearance evokes fear. Kalarathri means the Death of Kaal or Time. She also means ‘black night of destruction’ referring to a particularly destructive aspect of Kali.

Kalarathri is identified with Mahapralaya. She is the force that tends toward dissolution. This is the great dissolution at the end of a cosmic cycle. All things, having been consumed with fire, are dissolved in the formless waters of procreation. The human microcosm is Bhairavi herself. The human grows, progressively ages, the body weakens and finally ends as ashes. Therefore destruction is everywhere and following that premise Bhairavi is also everywhere.

CHATUHSASTHI YOGINI. Refers to 64 Yoginis. This was a mystical female cult of the 9nth century. The purpose of the cult was to develop supernatural powers. They considered themselves as servants of Mother Divine. They were devotional in nature. It is said that they had tremendous supernatural abilities. These yoginis are linked to black tantrism but that hardly makes them witches! Their central focus of worship was Bhairavi, Kali and Shiva Bhairava. They used destructive energies of Kali or Bhairavi with goal to come to the positive end.

There is an ancient Yogini Temple at Hirapur. Here, the principal Goddess of the Yoginis was Mahamaya, as used in the Devi Bhagavatam. The difference between Kali and Bhairavi is that Lord Shiva is particularly extremely wrathful as the Bhairavi’s consort but his wrathfulness is not seen so tremendous as the Kali’s consort. Thus it brings a notion that Bhairavi is thus the fiercest form of Mother Divine.

Kaula Marga or the Path of Time practice identifies tantric practices associated with Goddess worship. Bhairavi is experienced in her wrathful form in a practice known as Bhairava Chakra. Yoginis of different categories are included in the chakra or circle of experience. The sadhana or ritual involves the 5 M’s: Matsys – dish, Mamsa – meast, Mudra – parched grain, Madya – alchoholic drink and Maithuna – sexual intercourse. Maithuna or sexual reference in Tantra is either a physical act or a secret code, which particulars should be sought from a guru.

TANTRA and KUNDALINI: Bhairavi is dwells in the Muladhara or Root chakra, and is the same as Kundalini. Bhairavi represents the successful aspirant of Tantra. Thus the title Bhairavi is bestowed upon a Kundalini Tantra Yogini. It presupposes that the yogini is beyond fear. In Hatha-Yoga-Pradipika, Bhairavis are yoginis who preserved their genital emissions or their rajas and contain the bindu, the male semen in a practice called Vajroli-mudra. Its reverse is practiced by the yogis.

In the Kalika Purana, the names Kali and Bhairavi are interchangeably used. She appears as the consort to the wrathful Shiva Bhairava when they are in Maithuna or the Great Rite of sexual union. There is another tradition of calling virgin girls Bhairavi when they are worshiped as goddesses in tantric rites. The Tantric worship of the Vidyas must be practiced under the guidance of a Siddha Guru. Hindu Tantra siddhas are the followers of the Mother Goddess view all girls and women as visible embodiment of Her. Mystical powers or siddhis and spiritual liberation are bestowed by Mother Goddess if one sees divinity on women.

Bhairavi is Kundalini. In her individualised aspect and the power of consciousness dwelling in us. Her power appears overwhelming at both the cosmic and individual level. The innate capacity to realise the Divine lies latent and unfolds through a guided spiritual path. We start seeking by a conscious effort. Once discovered, it causes us to see the world in a new light.

AGHORIS revere Bhirava and Bhairavi in Siva temples. They are also found in the proximity of smouldering funeral pyres. They stand as wrathful forms of Shiva and his consort Parvati represented by a stone boulder with a wrathful face painted upon it, and a trunk of wood painted with the three eyes of the goddess. In front of their shrine are three skulls, which represent Shiva's mastery over the three gunas. In front of the aghori is a female jackal, who serves as the 'messenger' or emissary of Smashan Tara - 'Tara of the Cremation Grounds'. Behind the jackal is a wrathful lamp fashioned from an upturned human skull. The skull rests upon a square block representing the element of earth, and is fuelled by human fat and a wick twisted from the hair of a corpse. From the flames of this lamp arises the symbol of a tantric staff or khatvanga, which is fashioned from a small skull mounted upon a handle of human vertebrae. At the top of this skull-staff is a flaming iron trident, which symbolizes the goddess's victory over the three realms, beneath, upon, and above the earth, three times past, present and future, and three poisons, ignorance, desire and aversion.

Goddesses are revered as they are simply love. Bhairavi has her rituals and those not given to tantra perhaps may focus on the milder goddesses. But then Goddesses are goddesses. There is a world of difference between fire from a matchbox and forest-fire.

Om Bhairaviye Namaha.

By Yogi Ananda Saraswathi

Prithivi

8/28/2012

GODDESS PRITHVI DEVI. She is Mother Earth. Earth is one of the panchabhutas in Hindu belief. The Sanskrit word for earth is ‘Prithvi’. Goddess Prithvi Devi is the personification of the Earth and mother goddess. Thus she represents one of the bhutas and also the essence of the earth element in Prithvi Tattva in Shaivism. She is Bhumi or soil and as Dharitri she is the Nurturer. She is also the Mother of Plants, Prshni. Hindus generally show a deep reverence to the earth as Mother Goddess. From time immemorial, all of the earth has been respected as the body of Goddess Earth. The Ganga River is taken to be the embodiment of liquid divinity, whose grace flowing over the bather’s body can be felt to empower, cleanse, purify and heal. The Shakti Pithas were actually Goddess Sati’s body parts that mythically fell to earth and installed themselves as seats of spiritual power.

Prithvi is also another form of Lakshmi, Vishnu’s consort. Her other names are Dhra, Dhrati, Dhrithri. These namplies that ‘she holds’ everything. Sometimes Prithvi is described to be the second wife of Lord Vishnu. Indeed Bhudevi or Bhuma Devi is the second wife; a stretched reference to Prithvi.

BIRTH: King Vena, according to Vishnu Purana, is wicked and known for his general neglect of religious duties. He was slaughtered by the Rishis for his impiety. Anarchy prevailed without a king and it was thought a bad king was still a king. The rishes rub the thigh of Vena and Nisida, a black dwarf appears, representing the relief of Kena’s sins. The right arm of the ‘pure’ corpse was rubbed and came a shining Prince by the name of Prithu. He takes over Kena’s kingdom.

There was a faminie and Prithu wanted to slay Earth and make her yield fruits. The earth assumed the form of a cow and pursued Prithu up to the heavens of Brahma. There she questions the sins of slaying a women. Prithu replies that it is a virtous act for the welfare of his subjects. The Earth declares all vegetable products, old and destroyed would be restored at the king’s command as developed from her milk. Prithu makes Swayambhuva Manu the calf, milk the Earth, and received the milk into his own hand for the benefit of mankind. Vegetation proceeded to subsist and life is given back to Earth. By this deed impliedly Prithu is Earth’s father and she deriving the name Prithivi.

Prithivi, the earth and Dyaus, the sky or heaven were symbolized as cow and bull. These were the early deities worshipped as fertility gods and are thought to have engendered all the other gods and men. In the later pantheons, the importance diminished. Ushas, the dawn, was the daughter of Agni. They claimed fame through Indra. However Prithvi was the heroic female and Dyaus was the vigorous god. Indra was himself born from Prithivi’s side. Her attempts to conceal the birth were ill-fated as Indra began to shine as a golden child and display energy and impulsiveness.

There is another version that states that Prithu married the earth as soon as he was born but that she refused to give up the treasures she was concealing. Prithu therefore plans to kill the earth to end the famine. He chased and thrashed her, she takes the form of a cow and sought Brahma’s asylum. Farmer digging, ploughing and hurting the fields is symbolic of Prithu, while the cow, Prithi, despite the ill-treatment, gives labour and nourishment and wanting nothing in return. The other symbolism here is the milking of the cow. Prithu is also an incarnation of Vishnu, who milks Prithvi to get food from her.

DEPICTION: Goddess Prithivi is depicted with two arms holding a blue lotus known as Komud in her right hand. Her left shows the fearless Abhaya Mudra. She is also depicted in votive statutory, seated on a square platform which rests on the back of four elephants representing the four corners of the world. The four arms each carry a pomegranate, a water vessel, a bowl containing healing herbs and one containing vegetables.

NAMES AND ATTRIBUTES: In the Vedic pantheon the whole universe is divided into three regions namely Prithvi – earth; Dyayus-heavens and Antariksha-space. Privithvi Devi is associated with Nandini, Vishnu avatar as Prithu. It is said she milked her in the cow’s form to get food from her. She takes many names such as Bhumi, Bhudevi, Bhuma Devi, Dhra, Dharti and Dhrithri. These names imply that she contains everything. Claimed to be a wife of Lord Vishnu, Prithvi is said to be a form of Laxmi. As a provider Prithvi Devi is Vanaspatinam Grbhir Osadhinam – Womb of the Forest, Trees and Herbs; Vishvadhya – All Nourishing; Vishgabha – World’s womb; Vishvamshu – Source of Everything; Dhara – Upholder; Drdha – Steady One and Ksama – Patient One. As a sustainer, Privithvi is Sthavara – Stable One; Vishdava – All-Preserving; Vishvadharini – All Supporting; Vishvamhara – All-Bearing and Ratnagarbha – Repository of Gems. As Enricher, She is Ratnavati – Abounding in Jewels and Vasundhara – Bearer of Treasure.

THEMES: Maternal and reproductive function; supportive nature; upholds and supports all things; encompasses all things; motionless; move freely; patient and strong; tolerating the wicked and the good, the demons and the gods; wealth, riches and power; water and the food; protect people from danger; expiate sin and to bring happiness.

PRITHVI DEVI AND DYAUS PITA: In the Hindu pantheon , Prithvi is the divine consort of Dyaus Pita, the Sky Father. Rig Veda 1.89.4b mentions Dyaus as ‘Father Sky’ and Mata Prithvi as ‘Mother Earth’. According to Rig Veda 4.17.4 Dyaus is the father of Agni, Indra and Usha. Usha represents dawn. As Dyavaprthivi, Dyaus Pitr and Prithvi are one single composite. ‘Dyavaprthivi’ also means ‘heaven and earth’. Having been cursed by Vasishta for injuring Nandini, the sacred cow, he is reborn as Bhismar and dies in Krukshetra war by suffering the karma of being pierced with arrows. Rig Veda states his abode to be Dyuloka which regarded as the Fountain-head of God, the primeval Purusha. Dyuloka also refers to the part of the heavens illuminated by the Sun and the Milky way. Thus it is the ultimate layer of heaven illuminated by cosmic lights.

Rig Veda further states that Dyaus Pitr impregnated Prithvi by way of rains. He is generally depicted as a red-bull during day time and Prithvi Mata as a cow. Rig Veda 4.18.12 states that he was killed by Indra, his eldest son. It is believed Dyaus had transformed himself as Shiva, the supreme God of the Shaivites.

Generally Dyaus and Prithivi are mentioned in the Vedas as parents of other Gods. They hold their position as wise and energetic promoting righteousness. They give boons to their worshippers. In their several roles, they are beneficent and kind. Indra gradually supersedes Dyaus and replaces him structurally in the Hindu pantheon. Dyaus in fact has sunk into the oblivion and it is Indra that is worshipped now. It is Indra that is said to have formed Heaven and Earth.

SITA: Sita is described to be the daughter of Goddess Bhumi. She was found in a furrow in a ploughed field by Janaka of Mithila. Later towards the end of her life, she returns to her mother, the Earth’s womb.

PRITHVI SUKTA: This is a hymn consisting of 63 verses stated in Atharvaveda 12.1. It is dedicated to Mother Earth.

In general, Hindu Gods and Goddesses are seen as celestials and it is the earth that is the stage for many of God’s activities. In that sense the Earth has made them terrestrial and the link between man and God much stronger. The Earth itself is a Goddess – Bhumadevi. Om
Yogi Ananda Saraswati

Shailputri Devi

8/28/2012

GODDESS SHAILPUTRI. She is the Goddess of Nature and Inspiration. Devi worship glorifies feminine divinity. Devi Maharmya, a book in the Markandeya Purana contains the nine appellations of Goddess Durga. During Navarathri, a different form of Durga’s shakti is worshipped. Each of these mothers are abound with myths of their origins and exploits. Goddess Shailputri is venerated on the first day of the Navarathri prayers. She is said to be the embodiment of the power of Brahma, Vishnu and Shiva. She is described as Goddess Parvathi, the consort of Lord Shiva and the mother of Ganesha and Kartikeya.

MYTHOLOGY: Her legend is found in the Shiva Purana and Devi Bhagavatam. ‘Shail’ means mountains. ‘Putri’ means daughter. As such she is the Daughter of the Mountains. The implication here is Shailputri being born as the daughter of Himalaya. As such she is popularly known as Uma-Parvathy in Puranic mythology. King of the Mountains, Himalaya and his wife performed many austerities. The Divine Mother was pleased and manifests as their daughter.
In previous birth she was the daughter of Prajapati Daksha. Her name was Sati, Lord Siva’s wife. Once Daksha had organized a big Yagna and did not invite Shiva. But Sati being obstinate, reached there against Siva’s advise. Thereupon Daksha insulted Shiva. Sati could not tolerate the insult of husband and burnt herself in the fire of Yagna. Shiva carried her and shook the world with his Thandava. Seeing his agony, Lord Vishnu used his sudharsana chakra to dismember the corpse. They fall on to the earth and became Shakti Peeths. In her next birth, Sati, became the daughter of Himalaya as Parvathi. In the Nava Durga pantheon she is referred as Shailaputri.

DEPICTION: Goddess Shailaputri has a half moon in her forehead during the Navarathri festivals. She rides a bullock. Shailputri holds a Trishul or trident in her right hand and a lotus in her left hand. Shailaputri wears a light pink or white coloured saree. She is portrayed to be calm and pleasing. She is the absolute form of the Mother Nature.

THEME: Durga’s slaying of the demons as per Purana stories has important lessons for the spiritually minded . Durga is a very important feminine form of divinity, especially for personal transformation from our lower or animal nature to our higher spiritual nature. These are all symbolical. Heaven is our own mind. The demon is our lower nature. And the demon in heaven is our own inability to control our own mind. By slaying them, she has torn down ego. In reality, this is a common challenge for most people, so one can see the relevance of the story and importance of Durga.

As Durga represents transformation through elevation in consciousness, we call on Durga to transform and elevate our minds. Durga as a goddess is a feminine form and therefore the divine mother, but she also has a form that relates to the earth – Shaila Putri. Her birth connections to the mountains are indicative of the sacredness of the mountains and their important connections to the earth. Goddess Shaila Putri is also strongly associated with the waters and air as well, as the waters represent the flow of consciousness, cleansing and purity. As she is associated with the atmosphere, Durga is on a similar level as Shiva in the cosmological hierarchy, as Shiva is also a deity of the atmosphere.

CHAKRA: Shailaputri is mobile. As from her father she begins a search, awakens her Shakti, sits on the Nandi, makes upwards journey to search for Lord Shiva. She is also the root chakra, whom when awakened begins the upward journey from the Muladarachakra. The first day of the Navarathri puja is the starting point of spiritual discipline for sadhaks. They keep the mind concentrated on Muladhara. Yoga sadhana starts from here. Shaila putru is the Muladhara Shakti to be realized within Self. The sadhak seeks higher depths in his yogic journey.

MANTRA: Dhyana Mantra of Shailaputri:
Vande vaanchhit laabhaaya chandrardha krita shekharaam,Vrishaarudham shuladharam Shaila-putrim yashasvinim’ meaning Salute the Mother Goddess who has a half moon in her forehead, who rides a bullock and holds a Trishul. We chant your name and praise you always Maa Shailaputri.

Yogi Ananda Saraswathi

Devi Gauri by Yogi Ananda Saraswathi

8/27/2012

GODDESS GAURI. Goddess Gauri is one of the manifestations of Goddess Parvati. Indeed she appears to be Parvathi herself on a retrospect time scale. The common epithets for Parvathi are Uma and Aparna. In the Ramayana the name Uma is synonym for Mother Parvathi. In the Harivamsa, she is Aparna meaning One who took to sustenance. These are also correlative to Sati. Mother Parvathi is Shakti or the Divine Mother, appearing in many forms such as Durga and Kali also. In describing Parvathi’s complexion, she is addressed as Gauri, the fair goddess or as the dark Kali. Could one say that Gauri was indeed Mother Parvathi in her teens and its corresponding emotions and feelings?

Notwithstanding, Goddess Gauri stands on her own as the divine energy of Mother Goddess. Gauri is auspicious and brilliant. She extends her protection to her bhaktas and is swift to punish evil doers. Mother Gauri enlightens the spiritual seeker and removes fear of rebirth by granting salvation. She is the symbol of growth and maturity. That also means she represents new life.

She is symbolic of fertility and motherhood and of the victory of good over evil. In her beauty and grace, She is considered as a perfect wife for Her husband, Lord Shiva. Mother clearly represents purity and austerity. Her mythology does not take her beyond being a Kanya Kumari or unmarried girl who set out to perform severe tapas or penance to marry Lord Siva.

MYTHOLOGY: Legends surrounding Goddess Gauri is most certainly linked to Parvathi’s complexion. Parvati first attempted to seduce Lord Siva. The Lord found her hardly attractive and does not entertain her. He reproached her. This taunt so incensed her that Parvati retreated into forest greens. Amidst nature, she performed a most severe course of austerities. But she was focussed to develop Her spiritual powers. This caught the attention of Lord Brahma. He decided to grant Her one wish. Parvati asked that Her dark skin be taken away, so that Shiva would love Her. Brahma took the darkness and created Goddess Kali with it. Brahma then bestowed that Parvati be shining with golden skin. From these circumstances, She became the Goddess Gauri. That was not enough to distract Siva. Brahma had to send Kama, Rati and Spring to draw the Lord's attention. Thereafter she re-manifests as Parvathi. Nothwithstanding, Hindus revere Gauri as a stand alone Goddess.

THEMES: Goddess Gauri’s themes are spring, protection, fertility, harvest, beauty, humor, youthfulness, wishes and equality. Her symbols are balsam, golden-colored items, milk, mirrors and lions. This fertile Hindu Goddess extends spring-like youth, beauty and tenderness into our lives. Gauri has a sympathetic ear for all human needs and wishes. She can also said to represent sexual restraint and the life giving aspect of Nature.

DEPICTION: In works of art, She is depicted as a fair maiden, attended by lions and bearing wild balsam and a mirror. She was born of a milky sea, and Her name translates as ‘golden one’, indicating a connection with the sun. She is usually depicted with light or golden skin. Because of Her golden color, She is associated with rice and grains, taking on the role of a fertility Goddess. Parvathi as Gauri is depicted wearing a green sari, bedecked in the sixteen love-charms and sitting demurely with Lord Siva. Her favourite offerings are rice based prasada. Bhkatas take the view that she blesses with a good rice crop.

GANESHA CHATHURTI: The deity of Goddess Gauri is also celebrated during Ganesha Chathurti. Both the deities are brought into the home together. This is often a fun affair with drumbeats, songs and music. Gauri’s arrival, usually after two days of Chathurti, to the homes is said to bring health, wealth, happiness and prosperity. The first day puja is the avahana, next day it is Satyanarayan puja and on the third day Gauri is immersed in water. Gouri finds her source in the Puranas. She is linked with Goddess Parvathi, Rajarajeswari and Lalitha Tripurasundari. Married women worship Goddess Gauri with kumkum for marital bliss or sowbhagyam. Unmarried girls pray for good husbands.

GAURI VRAT: This puja of austerity by unmarried women and young girls, is also known as Gauri Parvathi Vrat. In Tamil Vrat is Veratham. Based on Parvathi-Gauri-Siva mythology, unmarried females observe this vrat for divine blessings of obtaining an ideal husband like Lord Siva. The Vrat is observed for five days beginning on the Ekadashi day in the month of Ashada in the waxing phase of the moon. It ends on the day of Purnima. In some places corn shoots are grown in a small pot. The tender corn shoots emerging along with Lord Surya, the Sun God, are worshipped during the day..

Food vrat is observed during the whole day. The night menu would be food made from wheat flour, ghee and milk. Salt is prohibited. Fruits and fruit juices are consumed. At the end on Purnima, Gomata puja is performed. That is in reverence to Goddess Parvathi.

GOWRI HABBA. This is a celebration a day before Ganesh Chaturti. This festival is also known as Swarna Gowri Vratam. Swarna means gold which basically means worshipping along with Sivalinga. Gauri or Gowri Habba is attributed to the South and known as Hartalika Vrat in the North.

Goddess Gauri is worshipped as the wife of Lord Siva and Lord Ganesha’s mother. She is considered to be the incarnation of Adi Shakti Mahamaya bestowing courage and power. Gauri is brought into the homes like an unmarried girl and the following day events depict Lord Ganesha coming to receive and take her home to Kailasa. It is believed that Lord Siva sent Ganesha to bring the Mother home. It is common practice to make beautiful clay idols of Goddess Gauri and Lord Ganesha to be worshipped and thereafter immersed in a pond.

Gowri Puja is shradda or purity and dedication. Sometimes this is a group festival celebrated with friends and neighbours. The house is thoroughly cleaned. A temporary shrine is erected using banana stems and leaves. Alternatively a puja cabinet is used. The deity is either ready- made idols or the indigenous method to make an idol of Gauri. Her deity is decorated with garlands, mango leaves, turmeric, tulsi and sandalwood paste.

A sacred thread with sixteen knots called ‘Gauridaara’ is tied to their wrists. This is supposed to be with the blessings of Goddess Gauri. It is symbolical of Parvathi spending sixteen years in tapas to win Siva’s heart.

Pooja thala with puja items known as Baagina offering is a major part of the celebration. Usually five baaginas are prepared as part of the vratha. Each baagina contains a packet of arshina or turmeric, kumkum, black bangles, black beads which is used in the mangalsutra, a comb, a small mirror, coconut, blouse piece, dhaanya or cereals, wheat or rava and jiggery. Usually there are sixteen different items.

The main puja ceremony involves bathing the deity in milk, ghee, curd, honey and water. Aarti is performed followed by bhajans. The first baagina is traditionally offered to Goddess Gauri and the remaining is given to married women. According to the Puranas, Gauri Vratam bestows wealth and worldly well being to bhkatas who observe it. It is legendarily believed that the vrata is so powerful than even a dry tree will turn green after its observance.

It is to be always remembered that all rituals are man made. They facilitate prayers. Over time the rituals are added or subtracted. Rituals are also regional; some not having any vedic connection at all. These are customary ritual. In Hindu thoughts a simple prayer done in sincerity according to one’s means is sufficient. The core concept of Sanathana Dharma is Brahman and its realization and that should be the emphasis. Rituals may aid to a certain extent provided the woods are not missed for the trees.

By Yogi Ananda Saraswathi

Kalaratri

8/27/2012

GODDESS KALARATRI: Devi is the Sanskrit word for Mother Goddess. This theme in the Hindu pantheon of goddesses explodes Puranic literature around the end of the 3th century AD. New narratives take place to state the place of goddesses in the evolution of mankind and the universe, their checks and balances and momentary or ultimate destruction. Goddesses thereafter find a prominent role amidst, celestial gods, devas, asuras, genealogy if kings, sages, rishis and demigods. They are described in Tantra, cosmology and philosophy. Various Puranas take shape to give credit to Mother worship and Devi’s manifestations. Goddesses are variously depicted in anthromorphic iconography and rituals. They are diversely conceived and variedly named.

Markandeya Purana is the earliest known literature on Goddess Durga and her Nine Appellations. Cumulatively she is known as Nava Durga. This Purana contains a full book known as Devi Mahatmya in which Devi is conceptualized and adored. Devi is specifically referred to as Durga in this Purana. This is a departure from the Indus valley civilization goddesses.

Maa Durga is depicted as a supremely radiant goddess with ten arms, rifing a lion or a tiger, carrying weapons and a lotus flower while maintaining a meditative smile. She practices mudras or symbolic hand gestures. Durga manifests as nine shaktis who are seen as Goddesses with different roles. They are Goddesses Shailaputri, Brahmcharini, Chandraghanta, Kushmanda, Skandmata, Katyayani, Kalratri, Maha Gauri and Siddhidatri. The Nine Goddesses are worshipped on each different day during Mothers festival called Navarathri. Goddess Kalaratri is the seventh facet. Durga also took her place in the Dasa Mahavidyas, the Wisdom Goddesses to represent feminine divinity.

KALARATRI: Nav-Durga means Scourer of Darkness; Enemy of Darkness. Kalaratri is the seventh aspect Shakti of Maa Durga worshipped on the 7th day sequence during Durga Navaratri. She is also called Kaalatri Navadurga.

Indeed she is the most violent of Durga manifestations. She appears aggressive. She can curse and bless. Her intensity induces fear. She us believed to be the destroyer of demons, thus symbolizing destruction of evil. Kalaratri means the One who is “the Death of Kaal”. Here Kaal is dedicated as time and death. Kalaratri is the one who destroys avidya, ignorance and removes ru, darkness. This is symbolic of human life having dark side that Mother nature bombards one with violence to create havoc before all ‘dirt’ is removed. Darkness also represents Tamas gunas. So symbolically Kalaratri exhorts a devotee to get rid the tamasic qualities of bad, evil and negative tendencies.

Kalaratri destroys demons, devils, daanava, daitya, asura and also the wicked. It is said that bhota, pretha nad psacha will run upon hearing Kalaratri’s name. She is also the remover of planetary evils. But Mother always appears auspicious in her effect hence she is called Shubhankari, meaning ‘doing good’. As Subhankari, she makes bhaktas fearless. They have no fear from fire, water, wild being or the enemy. They do not the darkness of the night. By revering Goddess Kalarathri in the heart, meditating on her and doing japa-nama, her bhaktas worship single mindedly. He or she observes all Yamas, Niyamas and Samyamas, that is, spiritual rules of ‘dos’ and ‘donts’ .

MYTHOLOGY: In her fights with demons, she is known as Shubhankari. In this form Goddess Kalratri killed Raktabeej. Raktabeej was a demon who could multiply from every drop of his blood which fell on the ground. The Goddess Kaalratri killed him by licking the blood before it could reach the ground and hence conquered him. She endows her devotees with calm acourage.

DEPICTIONS: Kalaratri is the manifestation of a fearful Durga. She is of the dark night complexion which colour is black.
Her thorny necklace shines like the lights from thunders. Her three eyes, the Trinetri, emanate rays like lightning also. She is clad in loose red cloth to cover her upper body and wears tiger skin below her waist. Her whole body adorns various forms of thorny garlands, anklets, waist-bands, wrist-bands and armlets

Fierce flames hiss out from her nostrils when she inhales and exhales. Her hair is bountiful but disheveled. She has four arms called Chaturbhuji. On the left side are held the cleaver and torch. The right hands depict the ‘giving and protecting’ mudras. This is a gesture of protection assuring bhaktas of freedom and fear from troubles. Sometimes she carries a sharp thorn like iron weapon and the lower hand holds a sparkling sword to battle all evil.. She has a donkey for her vahana. Devotees need not fear her as she basically symbolizes auspiciousness.

NAVARATHRI: The seventh day of Navratri pooja is dedicated to Durga Kalratri. This is the most violent form of Godess Durga. Kalaratri is the one of the fiercest forms of Durga and her appearance itself evokes fear. This seventh day worship of much importance to yogis and sadhaks. They do penance on Shahasrara Chakra on this day. For such a striver the door of all Siddhis of the universe start opening. This day the sadhaka with all his faculties is identified with the mother Kalaratri. As a result of her direct vision the devotee becomes quite fit to earn all sorts of virtues. All sins and obstacles in his way are completely destroyed. He attains the abodes which are the fruit of inexhaustible virtues. For sadhaksrs every siddhi in universe is open on this day.

Maa Kalratri created the three forms before the creation of universe at the time when Brahma, Vishnu and Mahesha appeared. Kalratri is also known by the names of Mahamaya, Mahamari, Mahakali, Shudha, Trisha, Nidra, Trishna, Ekveera and Durtyaya. With her magnificent eyes, Maa has a vision of grace on her devotees.

Om Kalatriye Namah
By Yogi Ananda Saraswathi

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