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Devi Aditi (The Sky Goddess)

11/22/2012

ADITI is the Sky Goddess. She is honored in the Rig Veda as almost being the only goddess and mother of many gods. The Rig Veda is the oldest emanating from the Vedic period that goes back to 1500 BCE. Indeed the distinctive features of the Rig Veda suggest that it was complete before the Vedic period. Rig Vedic content makes it a remarkable religious text within the framework of Hindu belief and thoughts. It is organized in such a way that it was passed down orally for centuries before it was written down. In all, Rig Veda contains 1,028 hymns attributed to various gods designed to be sung during specific religious rituals and yagnas. Deeds and glory of Hindu gods were contained in the story-telling hymns. All said, Hindus believe that the Vedas were directly revealed to the Seers and not composed by people.

The name Aditi means ‘free’ or ‘boundless.’ She seems to represent the ruler of the boundless earth and heavens. She enjoys a status above and beyond gods and goddesses. As such She is beyond time and space in many ways and is unchained by the rules that bind other beings. This is reflected in one of the interpretations of Aditi; ‘A’ negativing the root word ‘da’ which means to bind. So, she is ‘unbound’ and bringing her worship close to liberation from samsara or for that matter any form of literal bondage.

SAPTARISHI KASYAPA: The seven Saptarishis are Kasyapa, Atri, Vasishta, Visvamitra, Gautama, Jamadagni and Bharadjwa. Collectively they form the Constellation of the Great Bear and married to several ladies. Kasayapa married thirteen of Daksha’s daughters and had a voluminous progeny which included the Adityas, the Daityas and Danavas, the Nagas and Garuda. There seems to be a birth certificate problem with the Rig Vedic phrase ‘Daksha sprang from Aditi and Aditi from Daksha’ so was she the mother or the daughter of Daksha? Probably the phrase makes reference to the eternal cyclic rebirth of the Divine essence and wisdom. According to Shiva Purana, Kasayapa married Daksha’s daughter Aditi and gave birth to the Adityas.

ADITYAS: Aditi’s motherhood is a central theme in the myths. That made her more important than other masculine sky figures. She challenged Vedic patriarchal ideas by being both sky goddess and earth goddess. This was a move from the old dual principle of Sky Father- Earth Mother; Dyaus Pita-Prithvi. In RV Mandala 1.106.7, her mothering presence is apparent to those who petition her. Thus she is sometimes identified with a nourishing cosmic cow and the feminized form of Brahma. It is no surprise that she is prayed to by those who need safety or assistance in the welfare of family life. The twelve Adityas are Tvasta, Savita, Bhaga, Vivasvan, Aryama, Varuna, Mitra, Urukrama, Vidhata, Dhata, Satru, and Indra.

DITI: She is Aditi’s sister and among the sixty daughters of Daksha. Diti is an earth goddess and the mother of the Maruts with Rudra. She too later married Kasayapa and becomes one of the thirteen wives. Obsessed with power, Diti is said to be mean and cruel to Kasayapa and Aditi. She wanted a son more powerful than Indra. She practices black magic to retain the fetus for a year. Learning this, Indra sends his thunderbolt to splinter the fetus into fragmented Maruts.

VISHNU: Aditi’s descriptions are not without contradictions. Vishnu is described as Aditi’s husband in some places of the Vedas but Vishnu is generally believed to be born of Aditi and Saptarishi Kasyapa. Kasyapa is the manasputra of Lord Brahma. This child grows up to be Vamana, the dwarf. Vamana approaches the generous King Bali to ask for three pieces of land. But then Vamana grew so large that he occupied two places covering heaven and earth and won back for the Gods Bali’s kingdom. Finally Vamana relinquished his rights to the third place to grant Bali dominion over the remaining area of the universe, the nether lands of Patala. Bali was also given right of access to his lost kingdoms once a year. This event still sees some form of celebrations even now.

Aditi’s role is spread beyond being the mother of gods. She is said to have bore Vishnu twice in different incarnations. First as Vamana through Saptarishi Kasyapa. The second was as Devaki, mother of Krishna through Vasudev. It is for this reason that Vishnu is sometimes referred to as Aditi.

INDRA: He too acknowledges Aditi as the mother and Kasyapa as the father. It was Indra that is linked to the earring story produced during the churning of the milk ocean. This earing was stolen by the demon Naraka but recovered by Krishna and eventually brought back and handed over to Indra.

SURYA: Vedic Surya absorbed the characteristics of all three sun gods; himself, Savitri and Vivasvat. Thereafter he was no longer said to be one of the three sons of Dyaus but rather shared the status of Savitri and Vivasvat to be the son of Aditi and Kasyapa. Otherwise, Surya is also considered as the son of Brahma himself.

VARUNA: He is the cosmic guardian of universal laws. He started off as the prime mover of the universe. He retained the rights to punish those transgressing these laws and for this reason he carries a rope with which to tie them up, symbolic of the sins which they fetter themselves in their ignorance. His ordinances were inscrutable. But he kept his elevated position for a relatively short time. The first change came with the advent of Varuna, Mitra and Aryaman triad. Varuna’s jurisdiction was split as Mitra could also bind humans with their sins as the guardian of the day. Varuna was pushed down the slot to become guardian of the night.

The Varuna, Mitra and Aryaman triad gave way to another triad, Agni, Vayu and Surya. Vayu later gave way to Indra. Agni is the Earth God; Vayu or Indra are Gods of the Atmosphere and Surya becomes the God of the Sky. Here again, Agni is closely united with Vishnu. By the Upanishadic periods, it is Vishnu and not Indra that shined as the most important Vedic gods. With Siva’s advent very high up the Hindu pantheon, Vishnu made amends as Hari Hara and both were counted as one deity. This ran contrary to Brahma, Vishnu, Shiva Trinity. However, despite his destructive Trinity role, Shiva, erstwhile denied his Rudra connections and roots, makes a comeback to be the most spoken of and revered Hindu god.
The second change came when the Adityas were joined by nine other gods, of whom Indra was to become the leader. This membership of the group brought a change in function and the adityas became minor gods representing the Sun in its twelve annual phases.

VIVASVAT: Some of Aditi’s children did not assume any prominence. One of them, Marttanda, was more commonly known as Vivasvat. When the Adityas were born, Aditi is said to have cherished the first seven but she felt no love for the eighth. So he was born in the shape of a lump which got thrown away. It was said to be taken up by the divine artificer and molded into Vivasvat. He turns up to be a mighty deity and enjoyed a role more of a husband then as Aditi’s son. He was married to Saranyu, the daughter of Tvashtri. Despite being a grand wedding with devas and god’s attending the feast, the bride bolts off by night. So another bride had to be created in the likes of Saranyu. Vivasvat was still deemed to be ‘double-wifed’ and in that happy marriage were born two pairs of twins, Aswins and Yama and Yami. Notwithstanding, over time, Surya surpassed Vivasvat in importance.

YAMA: Aditi’s grandson was not without rivals. He was challenged by the delights of and splendours of the heavens of Varuna and Indra. However Varuna, now the lord of the ocean, was no longer the judge of the dead as he sat with Yama to sit in judgment. Chitragupta was also gaining prominence as Yama’s accounts keeper of the deeds of men. But Varuna still got the attention of other minor deities such as the Adityas, the Nagas-serpents, Daityas and Danavas, the ocean demons, the spirits of the rivers, seas and waters. Indra’s heaven thus became Swarga while Yama retained his powers over Yamalokha.

KAILASH: There existed troops of minor deities while Lord Shiva ruled from the Kailasha mountains,. For one, the Ganadevatas, commanded by Lord Ganesha, included the Adityas, that is, in their late minor form representing the twelve annual phases of the sun. The adityas, in Shiva’s lokha simply joined others like the Vasus who personified various natural phenomena and attendants from Indra’s swargalokha, Sandhyas, the twelve sons of dharma, those who personified vedic rites, forty nine Maruts or Rudras, other storm deities and children of Diti. There were others, the 88,000 manifestations, who now become Shaiva Siddhas with great occult powers from their penance to Lord Shiva.

ELEPHANTS: The unused parts when Vivasvat was created fell to earth and transformed into elephants. It is for this reason elephants partake of the divine nature as they are also deemed to be Aditis children.

Hara Hara Mahadeva

by Yogi Ananda Saraswathi

Lalitha Sahasranamam Full Strotra and Meaning in Sanskrit... Jai Maa

11/20/2012

Devi Lalitambika

11/19/2012

GODDESS LALITAMBIKA: ‘Lalita’ means charming. Goddess Lalita Devi is the Divine Mother in the form of her power, Shakti. Lalita is the Goddess of Bliss, an epithet for Lord Shiva’s wife, Goddess Parvathi. ‘Lalita’ also means ‘She Who Plays,’ ‘spontaneous’ or ‘easy.’ Mother Goddess worship saw two major developments - Vedic and Tantrik. Both linked Mother Goddess to samsara, the manifest cycle of birth, death, rebirth; the material world and the realm of eternal change. Mother Goddess wasthe flow of energy, the substance that embodies the soul and gives form and identity.

As Shakti, Mother Goddess was supreme untameable universal energy. As Shree, she was the supreme domesticated goddess of fortune, She was also Maya, the supreme unfathomable delusion of existence. She was Prakriti, Mother Nature responsible for earthly existence. From Her came the worldly powers and illusions of arta and kama. Mother Goddess stood at the extreme end of the metaphysical spectrum with their male counterparts who stood more for the unmanifest reality or Pure Consciousness, the Self. Lord Shiva sought moksha, liberation from the material world while Lord Vishnu propounded the doctrine of dharma. But it was Mother Goddess that represented material reality to give life to spiritual reality.

TANTRIK LALITA: Vidya means knowledge, specifically female knowledge, or the goddess, and in this context relates to her aspect called Shri, Lalita or Tripurasundari whose magical diagram is called the Shri Yantra. She is a red flower, so her diagram is a flower too. According to Vamakeshavaratantra, “Tripura is the ultimate, primordial Shakti, the light of manifestation. She, the pile of letters of the alphabet, gave birth to the three worlds. At dissolution, She is the abode of all tattvas, still remaining Herself.”

In the tantrik tradition, symbols have a gross aspect, a subtle aspect, and a supreme aspect. In Her gross form, Mother Lalita, is the image of the goddess with her four arms etc; the subtle form is as yantra, and the supreme form is her mantra. All three are different aspects and colorful symbolisms for realizing the deep wisdom of Goddess Lalita. Realising Her is realising oneself.

The yantra of Devi Lalita is Shri Yantra. The divinity of the yantra always occupies the centre or apex. It refers to the worship of the diagram yantra of that Goddess, which is an epitome of Humankind and the Universe. The Shri Yantra has nine of these mandals, each filled with various aspects of the Devi. In Shri Yantra there are 111 aspects. The Shri Yantra is said to be a geometric form of the human body, which implies that goddess as Macrocosm is one with human being as Microcosm.

Father and Mother are represented in Shri Vidya by two limbs or aspects of Lalita known as Varahi and Kurukulla. The semen of Varahi, the father-form, gives four alchemical dhatus to the child. The ova of Kurukulla, the mother-form, gives five dhatns to the child. Consciousness enters via orgasm. The three bindus, collectively known as Kamakala, digit of sexual desire, are the root potential of sun, moon and fire. It is like sun and moon coming together in an eclipse, or the seed from which the plant human being grows.

SUBHAGODAYA: Lalita loves puja. Subhagodaya by Shivanandamuni is a treatise which details briefly the daily puja of Goddess Devi called Lalita, also known as Devi Maha Tripurasundari. The Great Beautiful Lady of the Three Cities. All creation, manifestation and dissolution is considered to be a play of Devi or the goddess. Her name is the transcendent beauty of the three cities, a description of the goddess as conqueror of the three cities of the demons, or as the triple city, Tripura, but really a metaphor for a human being. Lord Shiva, who is without attribute, is pure Consciousness, the source of light, and Shakti is the mirror in which Shiva knows himself. The Shaktis within the Shri Yantra are the Shaktis or Energies of Supreme Shiva.

BHAVANA UPANISHAD: The functions and faculties of a human being and its relationship with Lalita Chakra are given in this Upanishad. There are said to be three great Lights within a human being. These are Sun, Moon and Fire, Sun is situated in the heart, Moon in the brain, and Fire in the genitals. These three are the Three Beautiful Cities, which collectively form the triple being of Lalita, When these three Lights fully shine, then Pure Shiva, who is the Fourth, is fully manifested. By a daily act of Will, the Universe's Creation, Maintenance and Dissolution takes place.

The universe is also contained within the human body. Stars, planets, rivers, seas, Suns, Moons, even the smallest mote of dust, all these things which appear 'outside' are also found 'inside'. The real act of oblation is the offering of the entire cosmos both active and subjective into the Fire of Pure Consciousness, This is the Bhairava-Mudra, in which there is Self Remembering simultaneously with looking outwards. Realisation is said to consist of the firm knowledge that there is no difference between worshiper and worshiped, between Guru, Mantra, Yantra and Shakti.

BRAHMANADA PURANA: This purana tells the story of Goddess Lalita setting out to destroy Danda. After Daksha’s yagna and Sati’s death, Dakshayani is born as Gauri. Lord Shiva is engrossed in meditation while the Asura leader Taraka creates havoc. Only Shiva’s son could slay the asura. The Lord is not anywhere near Parvathi to conceive the warrior son. Kama, God of love was sent to intervene only to be burnt to ashes. Chitrakarma, Shiva’s host, made a figure from these ashes, which is given life when the Lord casts His eyes.

When Shiva cast his gaze upon this form, it assumed life as an extraordinarily powerful, resplendent person. The figure worshiped Mahadeva with the Shatarudriya mantra that Chitrakarma taught him. Shiva was delighted and blessed him ‘Bhanda’ meaning 'fortunate' as he acquired half of the opponent’s strength. The Daityas had previously ruled the three worlds, now flocked to join Bhanda to rebuild Shotinapur city. The gods also silently served Bhanda and prayed to Mahadeva while sixty thousand years, the wink of Shiva’s eyes, passed.

Now, Lord Vishnu, created an invisible all enchanting Maya to delude Bhanda. He and his Daitya counselors were infatuated and immersed in lust and neglected focus. The sage Narada advised the Gods to destroy the deluded Daityas by propitiating the transcendent Shakti. So they performed a great yajna to worship Parashakti on the Bhagirathi banks for ten thousand years. Shukra warns Bhanda of Daityas being slayed by Vishnu. He was advised to abandon Maya and rush to frustrate the yajna. Bhanda tried to shatter the yajna but Mother Goddess hindered him. He returned to the city to return with more vigour. Now, Shukra holds a maha-yajna offering Mahamamsa, human flesh to worship Shakti.

As this was done, Mahadevi Ambika, as massive wheel-shaped dazzling luster emerged from the flames. The essence of beauty and bliss, she resembled the hibiscus in complexion, wore robes of pomegranate-red and ornaments of all types, bearing noose, goad, sugarcane-bow and five shining arrows in her four hands. The gods chanted the praises of this Kamakshi, Kameshi, Kali, celebrating her as Mother Shri Lalita. The goddesses Durga, presiding deity of all mantras, and Shyama, presiding deity of all lores, joined Shri Lalita. Brahma commands Vishvakarma to built a wonderous city on the spot.

Lalita would not be complete without a consort and there was Maheshvara in the form of Kameshvara shining a million times more than Kama. Lalita garlanded him and was given in marriage by Vishnu. The Devas presented them with various weapons and ornaments. Thereafter, Lalita Devi led an army to conquer Bhanda. Her chariot was huge with 16 steps on which all the other siddhi Devis sat. From Lalita Devi’s noose emerged the swiftly moving deity Ativaritavikranti seated on the horse Aparajita, holding in her four hands the noose, the goad, the cane and the horse’s bridle. They were joined by the boar-faced Shakti Krodhamukhi leading an army carrying palm-leaf fans set with diamonds and dark Mantranayika on a chariot.

In the battle Lalita faced Banda. He released the Mahasurastra from which Madhu, Kaitabha, Mahisha, Dhumralochana, Chanda, Munda, Chikshura, Chamara, Raktabija, Shumbha, Nishumbha, Kalakeyas arose and smashed the army of Shaktis. Lalita became furious and burst into a loud angry laugh. From this appeared Durga. She stuck down these Danavas, bowed to Lalita. Bhanda now discharged the arnavastra, flooding the field, whereupon the goddess created a huge tortoise from the nail of her index finger who supported her armies.

Thereafter Banda discharged missiles named after Hiranyaksha, Hiranyakashipu, Bali, Shasrarjuna, Paulastya, Rajasura, Kali and Mahamoha. They were countered by the Goddess Lalita creating from her nails Varaha, Nrisimha, Vamana, Parashurama, Kodandarama, Vasudeva-Samkarshana, Pradyumna and Aniruddha, Kalki and finally Shambhava. Ultimately, by the Narayana missile, she burnt up the entire army of Danavas, followed by the Pashupata missile which killed the generals. Finally Lalita killed Bhanda with the Mahakameshvara missile.

TEMPLE: The Thirumeeyachur Lalithambika temple is located in Thiruvarur District , west of Peralam village.The presiding deities are Lord Meghanatha and his consort Goddess Lalitambika. Mother Lalitambika’s shrine is adorned by a five-tiered Rajagopuram. Her five-feet deity is installed over Sri Chakra in the sanctum sanctorum. The deity is seated resting her folded right leg on the seat. Her left leg is in Sukhasana posture. She is said to be in Manonmani Swaroopa and hence is also known as Santanayaki. It is said that Rajendra Chola and Sembian Maadevi renovated this ancient temple.

Sthala purana of the temple speaks of Kashyapa Maharishi and his two wives - Karththuru and Vinathai. The wives had a dispute over the black spot on the tail of Uchchaisiravas , the Horse of Indra. Repenting the erstwhile dispute, they came to Thirumaiyachur and worshiped Lord Meghanadhar. They were blessed and given an egg each for splendid sons. Thus Garudan and Arunan were born respectively.

Once Arunan took the form of Mohini like a charming girl . The Sun God, Surya, harmed her. When Arunan pleaded to the Lord Shiva here, he cursed Sun god Surya to get darkened. By Siva’s curse, Surya body was badly burnt and he prays to Lord Shiva. He was advised to undergo severe penance, so Surya does Tapas in Thirumeeyachur for seven months.

Surya Bhagavan is believed to have worshiped Lord Siva as Gajaaruda seated on an elephant among thick clouds. During his tapas, Surya started screaming to regain the color of his body. Goddess Parvathi who was in close quarters with Lord Shiva in their private confines, was very much disturbed by the scream. So She was about to curse Surya. Surya was already suffering Lord Shiva’s curse. He is only looking for relief, said Shiva and pacified Parvathi as he held her cheeks. Lord Shiva blessed her to be in peace as ‘Shanta Naayagi’ . Since Shiva himself asked Lalithambigai to be calm, the angels called ‘vasini devatas’ emerged from mouth of Mother and sung the thousand holy names in praise of Goddess which came to be known as Lalitha Saharanaamam.

Hayagrivar conveyed Lalita Sahasranamam to sage Agasthiyar. He came to worship Mother and salute her. He later sung the Lalita Navaratnamala and did amla phaladi krana puja as Surya did to honour Mother. Agasthyar also composed a hymn named Rahasyanamasahasram. It is said that Yama Dharma Raja also worshipped Mother Shakti here. Later day Saivite saints Tirugnana Sambandar and Tirunavukkarasar have also sung Mother’s praise.

LALITA SAHASRANAMA: This stotra is a dialogue between Hayagriva, an avatar of Mahavishnu and the sage Agasthya. The sage is said to be initiated into this sahasranama at the Thirumeyachur Temple. There is also a version that states that Agastya was initiated at the Upanishad Brahmam Mutt at Kanchipuram. Sahasranama is said to be composed by eight vaag devathas under the command of Devi Sri Lalitha. They are Vasini, Kameshwari, Aruna, Vimala, Jayinee, Modhinee, Sarveshwari, Koulini. They describe Lalita Devi from ‘head to feet’ – kesadhi padham. Mother’s names are organised in the form of a hymn for parayana-recitations, archana and homa.

Lalita Sahasranama is held as a sacred text for the worship of the Divine Mother, Lalita. It is also used in the worship of Durga, Parvathi, Kali, Lakshmi, Saraswathi and Bhagavathi. Lalita Sahasranama created a mind devoted to mankind, sincere love, unity and to be one with Atman. Thus it is said to be an integral part of life to develop the energy of faith, belief, confidence and determination. Lalita Saharanama also purifies the atmosphere.

LALITA PANCHARATNA STOTRAM or Lalita Pancha Ratnam Stotra is composed by Adi Shankaracharya. It is believed that those who chants Adi Sankaracharya’s Lalita Pancharatnam in the mornings are said to be blessed with knowledge riches, endless fame.

LALITA SAHASRANAMA DHYANAM:

Meditate on that Ambika,
Who has a body of the colour of saffron,
Who has the three graceful eyes,
Who has a jeweled crown ,
Adorned by the moon,
Who always has a captivating smile,
Who has high and firm breasts,
Who has wine filled cup made of precious stones,
And reddish flowers in her hands,
Who forever is the ocean of peace,
And who keeps her red holy feet.
On a jeweled platform.

I imagine of my goddess Bhavani,
Who has a colour of the rising sun.
Who has eyes which are waves of mercy,
Who has bow made of sweet cane,
Arrows made of soft flowers,
And pasanugusa in her hands,
And who is surrounded,
By her devotees with powers great,
As personification of the concept of “aham”

Meditate I do,
On her who sits on a lotus,
On her who has a smiling face,
On her who has long eyes like the lotus leaf,
On her who glitters like gold,
On her who wears red cloths,
On her who has a golden lotus in her hand,
On her who grants all desires,
On her who is dressed with perfection,
On her who gives protection,
On her who has soft heart to her devotees,
On her who is Sri vidya ,
On her who is forever peaceful,
On her who is worshipped by gods,
And on her who gives all wealth.

Meditate on her,
Who applies saffron on her body,
Who applies musk attracted by bees on her,
Who has a beautiful smile,
Who has with her bows, arrows and Pasangusa,
Who attracts all the souls,
Who wears red garland,
Who wears ornaments great,
And who is of the colour of the red hibiscus.

Hara Hara Mahadeva
By Yogi Ananda Saraswathi

Nila Saraswati Devi.

11/18/2012

GODDESS NILASARASWATI. Mother is the manifestation of Goddess Tara. The name Nila Saraswati itself is a combination of Nila which means blue and also that of Kali, the Rudra Sakti that remains after total dissolution. Coming only next to Mother Kali in the Dashamahavidya list of Tantrik goddesses, Nilasaraswathi’s iconography also comes close to that of Goddess Kali. Now this would be opposed to the same Goddess Saraswati given in the Puranas.

In Tantric literature, one finds three manifestations of Tara such as Eka Jata, Ugra Tara and Nila Saraswathi. Eka Jata is she who provides ‘kaivalya’ or unity with the Absolute; Ugra Tara is she who provides relief from unforeseen severe miseries and Nila Saraswathi is she who imparts jnana to her devotees.

It is said that the sage Vyasha muni accomplished work on the eighteen Mahapuranas by being a Nila Saraswathi sadhak to become all accomplished. Goddess Tara also manifests as Dakshina Kali, Tarini and Ugra Tara standing on a supine image of Lord Siva. Mother is dark blue or blue-black in colour with minimal clothes. She wears a tiger skin, a necklace of corpse’s skull and also a girdle of severed arms. Nilasaraswathi also enjoys blood just like Bhadra Kali. Thus she welcomes blood sacrifice. Worshiped mainly for wealth and poetic skill, She is aggressive and of fearful demeanour. Nilasaraswathi exposes her ability to rescue her devotees from calamities.

DEVI MAHATMYA: Normally Mother Saraswathi is given a benign form as the Goddess of Learning and Wisdom. Her white colour, spotless character, lotus seat, swan vahana, vina instrument, inkpot with pen and books, all point towards a loving goddess and also that of a life giving river. But as the guardian of the earth, Saraswathi takes the form of Durga, to fight the female demon ‘Drug.’ The word dru or dur also means ‘with difficulty’.

Mother Saraswati is in the trinity of Maha Kali, Maha Lakshmi and Maha Saraswathi. Mother is depicted as eight armed. The dhyana shloka given at the 5th chapter of Mahatmya is: “Wielding in her lotus-hands the bell, trident, plough, conch, pestle, discuss, bow and arrow, her luster is like that of a moon shining in the autumn sky. She is born from the body of Gowri and is the sustaining base of the three worlds. That Mahasaraswathi I worship here who destroyed Sumbha and other asuras”.

It is a stated fact that Mother Devi Nilasaraswathi puts her bhaktas to extreme challenges before she blesses and grants siddhis. The society of Tantra practitioners know of the ardent path to be taken to Devi Nilasaraswathi. This can also misfire if proper rituals are not observed. There cannot be a better example than the sage Vashista Muni. The great muni was plucked off several times in this sadhana despite his extreme austerities of many years. So he placed a curse on Tara-mantra. Following Vasishta’s seat below the same Shalmali tree known as Mundamalinitala where the sage performed his sadhana, Vamdeva, the Bhairava of Tarapith also worshiped Nilasaraswathi. This seat was also known as ‘panch-mundi-asan’ of the seat of five skulls.

Devi Nilasaraswathi was not without her boons. Her grants were poesy and eloquent. To the worthy bhakta, Mother Nilasaraswathi grants ‘vak-siddhi’ meaning she resides in the tongue of the bhakta and that explains her name. This means that the bhakta acquires the destructive power of speech giving him or her an upper hand in debates and contests of knowledge. But it would be essential for the upasak to stick to strict rules of Truth at all times and should not use Mother Nilasaraswathi to persist his opinions. There is still a dispute if Mahakavi Kalidas was blessed by Mother Kali in person or through Devi Nila Saraswathi. Her centre is the tongue though Tara primarily relates to the navel chakra.

MERU TANTRA mentions the Sapta Saraswathi as 1. Chintamani Saraswathi, 2. Jnana Saraswathi, 3. Nila Saraswathi, 4. Ghata Saraswathi, 5. Kini Saraswathi, 6. Antariksha Saraswathi and 7. Trikuta Saraswathi.

RIGVEDA: The three Saraswatis are Matangi, Tara and Vina-Sarasvati. The three are the spouses of Ganesh or Matanga Rishi, Brihaspati the Guru of the Gods or Akshobhya Shiva and Brahmanaspati or Brahma, the Creator. Mantra, Vak or speech itself is Shakti, the Goddess as power.

Mantra is more the primal forms as Matangi-Saraswathi. Vak or speech is more Tara-Saraswathi. Formalised language or Sanskrit is more Veena-Saraswathi. The three Saraswathis are important in Hinduism, and also represent the three wisdoms: Paravidya – Highest wisdom or Self-knowledge. Devavidya – Knowledge of the Divinities or the Divine Knowledge. Shastravidya – Knowledge of the Scriptures and Texts, or Science. Modern or Puranic Saraswathi is known as Vina-Saraswathi, and she is the last and lowest of these manifestations.

MAHAVIDYAS: In Tantra, there are Siddhavidyas and Paravidyas. Siddhavidyas are forms of mystical powers and perfection, and the Paravidyas are transcendental forms. These are forms of Mahavidyas. Nilasaraswathi is another form of Mahavidya Tara. There are separate dhyana shlokas and mantras for her worship in Tantrasara.

BRIHAD NILA TANTRA: This Tantra of the Kaula tradition is a source to know more of mother. It contains the Tararahasya, 'Secrets of Tara' of Brahmanda Giri which supplies every information in connection with the worship of Nila Sarasvati. The eleventh chapter of the Tantra describes at length how the Goddess of Wisdom became Nila or blue. The Tantra is written in the form of a dialogue in which Mahakalabhairava appears as the speaker and Mahakali as the listener. In this Tantra the Devi requests Bhairava to reveal the Nilatantra as promised at the time the Kalitantra was revealed. The Bhairava redeems the promise and declares that the Tantra which he is to reveal should be duly preserved and concealed, as that leads to many blessings.

It first deals with Nila-Saraswati-the Sapphire Blue Saraswathi. Here she is Brahma-Shakti or spouse of the Supreme Deity. Lord Dattatreya is the patron guru of the Natha tradition, the other aspects being Vishnu and Mahesh. We are not going to indulge on the Buddhist Tara here. Other names given here are Aniruruddha Saraswathi, Ugra Tara and Tarini. They are links between the White Saraswathi and Nilasaraswathi pointing to the Shakti of the Alphabet, the Matrika Shakti.

Mantra, words, music are considered to be the very source of the cosmos, so Nilasaraswathi has an important role in Tantrik cosmology. As Matrika Shakti, She deludes the entire human race with Her Maya of letters, and words. This has been expressed in a Tantrik form. It is apt to say that Maya reaches the human mind through the medium of words also. Thus the tantric role of Nilasaraswathi is justified. Her mantra is described as Siddha-Vidhya, the cause of Maya. Her bija mantra is ‘Aim’.

TODALA TANTRA; Daily puja of Nila Saraswathi is given in Todala Tantra, The Magic of Kali. It is done in isolated places including cremation grounds. Therefore Nilasaraswathi is bonded with Lord Siva. She is surrounded by jackals and known as Smasana Bhairavi also. There are no rules as to time. In the Maha China Krama, which is Vamachara or left hand tantra, the rule is essentially 'svecchachara' or acting according to one’s will. Meat, wine and sexual union is prominent. This is also given in Mundamala Tantra Tara associated with blood. Partners recite Tara Mantra mentally and there is no external worship as such. The conjunction of yoni and lingam is the essence of the ritual.

Hara Hara Mahadeva
Yogi Ananda Saraswathi

Devi Pole Ramma

11/16/2012

GODDESS POLERAMA. Mother belongs to the Seven Dravidian Sister Goddesses. The seven deities are Poleramma, Ankamma, Muthyalamma, Dilli Polasi, Bangaramma, Mathamma and Renuka. The Seven sisters are popular in Andhra Pradesh, Karnataka and Tamil Naadu. The principal deity is Poleramman and her name may vary according to the regional emphasis.

Mother Poleramma is worshipped as a village guardian goddess to protect the village. The shrine is usually kept outside the village, quire frequently on the banks of the irrigation tank. Sometimes the shrine has a makeshift-nature and appear crude bult with mud and stones. Although Poleramma does not enjoy the permanent basis of temple premises, there is nothing to doubt bhaktas devotion towards Mother.

In the rural setting Goddess Poleramma is considered as the goddess of small-pox, more in the nature of Mother Muthu Mariamman of Tamil Nadu. But then again, Mother also oversees cattle disease, drought, and general health welfare. To appease the goddess animal sacrifice is offered.

SEVEN SISTRS: Poleramma is a shrine kept outside the village. In some places she is depicted by stone tow or three feet long set upright. A flat stone is placed on the top, Ankamma has much similarities with Poleramma ad described as a household goddess. She is represented by a pot in which there are some shells, little earthern mugs and similar articles, The shells represent the teeth of devils and pots represent the food they yearn for. Muthyalamm is a form of Goddess Kali or Durga, She is worshiped in Ashada moth during Mahankali festival. Muthylamma is worshiped for rain. Dilli Polaso is a household deity. She is represented by several pots on over another.During household worship, the mother of the wife sends new cloths to her daughter and son in law. Sometimes a few families get together to pray Polasi.

Bangaramma, meaning golden one, is given less importance; she also does not have a temple of her own. But her worship is similar to that of Bangaramm and Poleramma. At times she recieves a small share from Poleramma worship. Mathamma is a special goddess of the Madigas. Madigas are poor, so her worship is not very elaborate. Renuka is worshipped as the Goddess of the fallen in the Hindu panthoen. She is the Patron Goddess of rural Karnataka, Andhra Pradesh and Tamil Naadu. Bhakatas revere her as the Mother of the Universe, Renuka is also known as Mahankali, Jogamma, Somalamma and Ranukamata.

SACRIFICE: When someone if affected by smallpox, cactus leaves are placed on the wall near the gate of the door. Mother Poleramma, seeing the cactus, would be given to think the place uninhabited and pass on as cactus would not be allowed to grow on the wall of an occupied house. Thereafter a sheep or small goat is tied to the leg of the cot on which the sick person is lying. The goat is an offering. It is hoped that with this Poleramma will be satisfied and leave the house. Irrespective of the cure, within a few days, the devoted animal will be taken outside the village and sacrificied. The head of the beheaded animal together with food-offering is left outside the village boundaries. Theleftover food is taken home as Poleramma prasada.

JATARA: When there is widespread smallpox, a general jatara is arranged and an appropriate announcement is made. The diety is given a bath and taken in a procession. This is led by the Madiga asadi or story teller. Food and buttermilk is the usual offering in each household she visits. The food is then divided amongst all. Then they gather in the centre of the village and take anew pot containing one-forth of an anna, tumeric, charcoal and rice. Poleramma’s story of her powers and dangers that visit is she is neglected, is told. Bhaktas make a vow the jatara vows.

Jatara is a four days affair. The pot is then carried throughout the village accompanies by drum beats. When it is carried past each house bhaktas come out and bow before it. The asadi calls upon the elders and and announces the various vows. As community affair, a sheep is sacrificed to seal the promise made in the vows. The temple is cleaned and purified with various ceremonies. On the second day, there are more processions and more food collections.

On the third day, villagers bring their decorated carts and oxen and form a procession to go around the temple. The second day also sees bhaktas bringing sheep, goats and chicken offerings. The fourth day, is the height of the ceremonies. A huge heap of bolied cholam, kaffir corn is pouen out before the goddess and the sacrificial animal is brought. Several rituals are performed after this. When the Poleramma’s worship is over, a sheep is offered to Potu Razu and some food is poured before him. Prayers are offered to him also in order to guard the village and this brings the ceremonies to an end.

POLALA AMAVASYA is amavasya puja. It is mainly observed in Andhra Pradesh and in some parts of Karnataka and by some of the people in Tamilnadu. Polala Amavasya Devata, Goddess Poleramma, is Goddess of the diseases like Chicken-pox and Small pox. A similar festival called 'Sheetala Saptami' is celebrated in North India. Poleramma, an aspect of Goddess Parvati Devi, is very similar to the North Indian Goddess, Sheetala Mata. In Tamilnadu goddess Mariamman or Muthu Marriamman is worshipped in a similar way. The usual offering to Mother is Thaligalu Paravannam-Rice flour noodles in rich coconut and cashew paste, Billalu with rice flour chapathi kind of thing which is not toasted in pan instead steamed and served with roasted urad dhal chutney.

Hara Hara Mahadeva
(Gods, Goddesses, Minor Deities and Sages)

Goddess Jyoti. Jyotir Vidya the Goddess of Jyotish.

11/12/2012

GODDESS JYOTI.

Mother is the Goddess of Lights and Illumination. Literally ‘Jyoti’ means Light. External lights pertain to sense of sight but Mother Jyoti blesses that one sees the Inner Light. Darkness signifies negativity, negative qualities, emotions or experiences. These symbolize ignorance and the ill-effects it brings to the human mind and life. Light signifies the very opposite and stands for Illumination, Truth and Love. In Vedantic thoughts Brahman is self-shining, self-luminous and shines by his own brightness. ‘As He shines, does everything else shine after.’

The concept of Jyoti is in line with Brihadaranyaka Upanishad 1.3.28: 'Asato ma sat gamaya; Tamaso ma jyotir gamaya ; Mrityor ma amritam gamaya' meaning 'From ignorance lead me to truth, From darkness lead me to light, From death lead me to immortality'. There are various scriptural commentaries on Jyoti connecting Light to the sacred fires of Agni and illumination of Surya, the Sun God. Indeed, the candle in a church or the Buddhist lamp point in the sale spiritual direction but said in their own way.

The Panchamahabhutas – earth, water, fire, air and space emanate from Brahman; they are the omnipresent Cosmic Consciousness which constitutes all matters and energy in the universe - Taittiriya Upanishad 2.1. The Yogakundalini Upanishad adds that after a person's body sees mortal death, he or she attains ‘a disembodied state, after which the person discards the body, as if moving through the air. The Highest Light that the emancipated ‘Self’ reaches is Divine by nature. Divinity goes by many names in Hinduism. However, spiritual tradition is clear that we see unity in variety and that these are manifestations of one Divine reality. Naradaparivrajaka Upanishad states this divinity is ‘higher than the highest, greater than the great, and naturally brilliant.’ Skanda Upanishad mentions this to be, the Light of all Lights.

Mythologically, this creative process is symbolised by the divine family of Lord Shiva. In addition to his spouse Goddess Parvathi, his sons, Ganesha and Skanda, a daughter Goddess Jyoti is mentioned allegorically. Did the Divine Couple have a daughter named Jyoti?

Goddess Jyoti, Goddess of Light, is said to represent the power of the Ultimate Reality – Brahman that illuminates our minds. She is said to give shape and form to all created things and beings in the world. In pinning her status, Goddess Jyoti is stated to be ‘Skanda’s sister’. Muruga’s Vel, Seval and Mayil needs further elaboration here as they seem connected to Jyoti. When Muruga stands as Danda Pani with his Vel, he represents both Saguna and Niguna aspects of the Infinite Divine.

His vahana, the peacock, is said to show the shape of the Pranava Om when it spreads its tail. Within it is the ‘Prahbrahma Jyoti’ and the subordinated serpent shows the Maya impurity completely overpowered by the power of Pranava. The joy revealed by the peacock dance displays inner joy symbolizing the predominance of Sattva over the Rajas and Tamas qualities. The predominating Sattva is a prerequisite for the acquisition of true knowledge, the Jyoti of Truth symbolized by Lord Muruga. Thus even his vahana has entirely conquered pride, egoism and vanity.

The Seval or cockerel also symbolizes the Pranava as Nada Brahman – the sound form of God. It is the cock that proclaims or announces the rising Sun. This symbolizes the dawn of Knowledge and the Sun, the heavenly body that dispels darkness. Thus the Seval is also Jyoti that dispels ignorance and announces the approach of knowledge.

VEL: Vel or Spear, in the hands of Lord Muruga, is an embodiment of his mother, Parvathi’s power to annihilate evil. In a sense it is also the power of Shiva-Shakti. It is of similar status to that of his father, Lord Shiva’s Trisulam. The Vel as an emblem of power, was presented by Parvathi to Muruga to indicate his rule over the Universe. Over time the Vel has become a symbol of worship and devotees do obeisance to it singularly.

In the Skanda Purana, the war between Murugan and the asura Surapadman is described. Sura disguises himself as a mango tree to evade detection. Muruga’s Vel, however splits the tree into two; one becoming a Seval - rooster and the other a Mayil – peacock. These are symbolic of Murugan’s battle flag and the other, symbol of valour. This is a triumph of good over evil, which allegory is succinctly explained by His Holiness Swami Sivananda.

Swami Sivananda writes that the Vel or Spear was given to Subrahmanya by Parvati, the embodiment of Siva-Sakti. It, therefore, indicates that the Spear was the symbol of true Knowledge as coming out of Parvati, the Para Sakti. The shape of the Vel also shows that Knowledge in the form of JYOTIS will start from Muladhara, which is the bottom of the Vel, pass through the intermediate Nadis, which are represented by the body of the Vel and pierce through the thousand-petalled Brahmarandhra, which is represented by the sharp, leaf-shaped end of the Vel.

The Spear or Vel is the weapon which pierces through the demon of Ignorance. This is Ekagra Chitta or the one-pointed mind so much insisted upon in Raja Yoga without which progress is impossible for the Yogi. It is the preliminary for concentration, meditation and absorption—all of which together constitute the Yogic Samyama. In the legend, it is Soorapadma, the Asura, who are slain by the Vel. That Asura is none other than Ignorance.”

SHAIVITE COSMIC CONSCIOUSNESS: How is Cosmic Consciousness represented by the Siva family? Lord Shiva -the cosmic consciousness, the Goddess Parvathi - creative energy, Ganesha symbolizes the elements of earth and water, Skanda represents the element of fire. Goddess Jyoti is said to symbolize the two elements of air and space. Since fire uses air and burns in space, in Hindu mythology Jyoti is always associated with Skanda and is known more as Skanda's sister than as Ganesha's sister. She is therefore worshipped in her formless- arupa aspect in all temples where Lord Skanda is worshipped.

In the Skanda Purana accounts, Skanda is Siva himself as he was born after intense tapas of six sparks from Shiva’s forehead. Goddess Jyoti is said to be born of one spark from Parvathi’s forehead and fashioned as the Vel to fight Surapadman. This Vel is thus said not just an invisible weapon but a deity in its own right. Dr Alaggapan writes: “Jyoti is a member of the Shiva family. She is a part of the eternal godhead. When Shiva - static consciousness, united with Shakti - kinetic energy, Ganesha - sound and Skanda -light were born. Jyoti, the 'spark of light' was also born out of this union. She represents the female principle of light since she is active in creation, while Skanda represents the male principle of light. She is predominantly made of light like Skanda and may be considered as Skanda’s sister.”

In her arupa state none other than the Vel in the hands of Lord Muruga. As an energized and dynamic weapon, she is ‘Shakti Vel’. As a precious stone she is ‘Ratna Vel’. Goddess Jyoti is ‘Jnana Vel’ as she removes darkness and ignorance. As she provides for victorious spiritual advancement, she is ‘Vetri Vel’. Thus Goddess Jyoti assists Lord Muruga to win over internal battles on the spiritual path leading to moksha. Since the Vel in question is made of fire, it cannot be defeated in its arupa or formless form. Goddess Jyoti is said to be the form of Durga to protect human kind.

KUNDALINI: The human body is the embodiment of a temple. Shiva and Shakti constitute the right and left nostrils through which one breathes. Sri Ganesha resides at the base of the spine from which Jyoti or the Kundalini force, rises through the five cakras – Muladhara, Manipuraka, Swadhistana, Anahata, Visudhi and Ajna cakra. These are said to be the six battle houses of Lord Skanda.

According to Tantra Yoga, Jyoti is the aroused kundalini shakti or latent energy that resides in the ajna chakra - psychic center between the eyebrows in the forehead and is experienced as light in deep meditation. “When the Kundalini Shakti travels up the spine and reaches the Ajna cakra in the forehead, the merger with Shakti residing there represents the confluence of the power of the Mother, being given to and becoming part of the son. The battle between the higher self and the lower self rages in the six cakras, or the battle houses of Lord Skanda. After winning the battles, Jyoti reaches her mother in the sixth battle house of Skanda, known as Ajna Cakra.”

JYOTI WORSHIP: In her brightness and of similar age to the girl in the myths surrounding Goddess Tripurasundari, she is said to symbolize the light of knowledge that dispels the darkness of ignorance. Light symbolizes illumination. Her worship is said to go towards wisdom and spiritual progress.

Goddess Jyoti in her Vel manifestation is inseparable from Lord Muruga. When the Vel is worshipped, one worships Goddess Jyoti also. As ‘Saravabavayai’ she is intertwined with Saravana and acts for him. In Palamutircolai Temple, Jyoti is worshipped as ‘Rakkayi’ on full moon days. As a village deity, Rakkayi has the face of fire symbolizing the Vel. It is said that the ‘Arutperum Jyoti’ of the Jyoti festival at Tiruvannamalai Temple refers to the Goddess. The north Indian ‘Jwalamukhi’ is claimed to be a reference to Goddess Jyoti.

Eloborations of the arupa worship of Goddess Jyoti seems to be a recent enlightenment by Sri La Sri Pandrimalai Swamigal. In putting together these notes, I have been inspired by a beautiful Tamil article ‘Swarupa Vel – Skanda’s Sister Jyoti’ by Dr Alagappa Alaggapan. The writer convincingly seems to have highlighted Goddess Jyoti to be among the pantheon of Hindu Goddesses.

Srimathi Radharani is not mentioned in the Bhagwatam but one feels her presence in the heart. One transcends metaphors and symbolism to achieve such presence. That is a overwhelming feeling about Radha. Similarly, much can be desired about the status of Goddess Jyoti as a member of the Shiva family or whether Hindu symbolism of Skanda’s Vel is being given a stretched interpretation to give life to a Goddess in the name of Feminine Energy so required of the Vel.

In the perennial wisdom tradition of Hinduism and Vedantic thoughts, one is to ‘'Fill the Heart with the oil of Love. Place in it the wick of single-pointed mind. Light it with the Knowledge of Truth and remove the darkness of Ignorance around you. Just as one lamp can light many lamps; let each of us kindle this Light in many hearts.' Goddess Jyoti is the divine reminder that "The light that shines above the heavens and above this world, the light that shines in the highest world, beyond which there are no others–that is the light that shines in the hearts of men” - Chandogya Upanishad 3.13.7.

JYOTI AHAVAL: The Tamil sage, Sri Ramalinga Swamigal or Vallalar, encouraged the worship Brahman as Light. Writing his experiences, He said, that ‘no sooner the Light was perceived, happiness prevailed on me; the sweet nectar was tasted by me as soon as the Arutperunjothi – Supreme Grace of Light, became visible.’ Swamigal advocates Jyoti Upasana. The hymns of 1000 verses are called Arul Perum Jyoti Ahaval. It was a favourite of Sri Bhagavan Ramana Maharishi.

Hara Hara Hara Hara Mahadeva.

by Yogi Ananda Saraswathi

Manonmani Devi..

11/8/2012

GODDESS MANONMANI DEVI. Mother Parvathi is the consort of Lord Siva. Her name origins are linked to being the daughter of the Himalayas – Parva. Mother also occupies Prakriti and one-half Parva of the universe, while the Lord occupies the other half in His aspects of Iswara or Purusha. Kenopanishad makes mention of Uma Haimavati, the daughter of Himavat declaring the greatness of Brahman.

In the Daksha yagna ceremony, Parvathi’s previous incarnation, Dakshayani, immolates herself. Daksha insulted the daughter and more so, the son-in-law, Shiva. Unable to stand the insult Dakshayani brings her life to an end. That was mentioned to be Sati also. So Dakshayani nee Sati is reborn as Parvathi. As a young virgin Gowri, she does penance to win the heart of Shiva and marries him.

MAA KALI: Mother Parvathi also has an independent existence outside the company of her husband Lord Shiva and Her children Ganesha and Skanda. She is separately known as Shakti, the material energy of Siva. She is the Siva-vamanga half of Shiva as Ardhanariswara. Mother Parvathi takes a terrible form as Kali. Mother Kali manifests seven ways as Brahmi, Maheswari, Kaumari, Vaisnavi, Vahahi, Narasimhi and Aindri. These goddesses are the combined energy of Lord Brahma, Lord Shiva, Lord Vishnu, Lord Skanda and Lord Varaha. Each of the goddesses display the basic attributes of the gods from which they descended. It is also a common depiction that they carry the same weapons as the male-counterparts.

TANTRAS: The Dasamahavidyas means the ten great branches of knowledge. Here, Mother Parvati manifests as ten Tantric Goddesses to expose ten great branches of jnana. (please refer to individual postings on the Maha Vidaya Mothers) They are Mothers Kali, Tara, Sodasi, Bhuvanesvari, Bhairavi, Chinnamasta, Dhumavathi, Bagala, Matangi and Kamala. In Tantra, Mother Parvathi is often referred to as Durga. Durga is the Mother Goddess aspect of Parvathi. So one has Mother Durga spearheading the Mahavidyas. Otherwise the general consensus would be use of the term Mother Lalitha Tripurasundari, linked to the Sri Chakra.

SRI CHAKRA: Sri Chakra is a geometric pattern believed to be invested with the power of the Devi and possess the capacity to manifest desired reality if it is worshipped in a proper manner accompanied by appropriate mantras. People use these patterns known as yantras as amulets and protective devices against evil spirits and adverse conditions. Each of the Mahavidya Devis have their own Yantras.Caution is to be exercised in the use of chakras and yantras. While Yantras are powerful sources of spiritual energy, they also cause immense harm to innocent worshippers or those who misuse them. Inappropriate mantras and rituals also have negative results, if not harm to the person. In that sense yantras are twin edged blades.

PERSONIFICATIONS: Mother Parvathi is also worshiped in many other forms from being grama-devata or village deity to formalized temple goddess. At times she is venerated as a manifestation for a particular purpose. So one has, Annapurna, Aparajita, Bala, Bhadrakali, Chamunda, Gayatri, Indrakshi, Jagadhatri, Kamesvari, Katyayani, Rajarajaswari and Sivaduti. Mother Manonmani comes in this list. In more than one way, Parvathi manifestations are connected to tantric practices either through the mainframe Mahavidyas or independently. Here and there one hears the emergence of new names of Tantric goddesses, unheard of in the scriptures or Puranas. Apparently these so-called goddesses are commercialized Yantra based inventions.

CHANDRA-CRESCENT MOON: Worship of Chandra is Pan Indian but emphasized in Shaiva-Siddhanta and Shakti Pujas. Lord Shiva honored Chandra by adorning him on His head. Thus He is known as Piraichudi and Chandrasekhar. Chandra is also known as Somam of the Hilamalayas. That gave the names Someswar and Somanathar. The Kapalikas are regularly reffered to as Somasiddhantins implying that they had formulated their own set of beliefs on a rational basis of Siddhanta. It is said that Chandra has 27 wives corresponding 27 stars. He is said to have mastered all the 64 ayakalais. The crescent moon worn by Lord Shiva is the third of the sixteen faculties of Chandra.

CHANDRA THEERTHA PUJA: When Vinayaka was born, Chandra made a courtesy call to Kailasa. There he ignored Vinayaka. Chandra’s tone was different, in fact Vinayaka was laughed at despite being Lord Shiva’s son. Thus he earned a curse that he would lose his beauty of phases. Out of the 27 wives, Chandra was partial to two, so the remaining 25 also cursed together with Vinayaka. Chandra prayed to Shiva and was told visit 64 Siva temples and worship Him to regain all the 64 phases. He does so with his 2 wives. His last stop was Chandrasekharapuram to regain the 64th faculty. This pleased the Lord and placed Chandra on his head. Chandra also earned the sthala namah.

Another legend states that Chandra suffered the depletion of 16 kalas by the curse of Daksha. At Lord’s Shiva’s instance, Chandra did puja in 16 kinds of theertas with his 27 Nakshatra Devi wives. These 16 temples are known as Theertha Shakti or Chadra Shakti Temples. This worship is said to be relevant for Kali yuga for it purifies the heart, intellect, mind and thoughts. One does grivakam or circumambulation of hill temples and worships Mother Goddess Manonmani Devi. Mother Manonmani’s blessings are necessary for shanti and one-pontedness of the mind.

THEERTHAS: The Siddhas consider the following 16 types of sacred waters for ritual holy bath: Rivers, Lakes, Ponds, Ponds on hills, Springs, Sea water, Water in river beds, Water in sea shores, Water that issues out of the mouth of a Nandi, Waterfalls, Water at the junction of three rivers, Water that issues from the Gomukha in a temple , Water that issues out of the melting of snow as streams on hills and Water from rock beds on hills.

MANONMANI also has other suffixes such as Manonmaniben, Manonmanidevi or Manonmanishree. Goddess Parvathi also manifests as Mantra Shakti. So there are Goddess like Yogamoola, Thavamoola, Mantramoola and Pujamoola. Manonmanidevi is the avtar connected with mind power. This manifestation is rarely seen in Siva temples. Sri Manonmanidevi worshipped the Lord with the help of Manimantra Shakti. There is a belief Mother Sri Sulini Durga and Mother Manonmanidevi, worshiped together with Chandra during Rahukaala daily, reap enormous benefits.

LALITHA SAHASRANAMAM: In Lalitha Sahasranamam, Sri Manonmani is the secret name of Mother Durga. Lalita Sahasranama hymns Devi as Sri Mata and Sri Maharani. Her Yantra is Sri Chakra or Sri Yantra and her mantra is Sri Vidya. She is common to Kashmir and in South India for the the Sri Vidya cult. Thus in Verse 1046, Thirmular in his Thirumanthiram describes her as “ She is Sundari, the Beautiful; Andari of the form of sky; Kum-Kumi of red color; Paripurai, Maintainer of the world; Narani, Tejas or power behind Narayana; Esi, the Sakti of Isan or Siva-Mahesvara; Manonmani, Sakti of Sadasiva, the grantor of Grace. Manon+ mani = Mind + Jewel, name of Durga, Parvati.

Therefore one Sakti of Tripurasundari manifests as many; She is one and her manifestations are many. Redness is a sign of Will and Desire of Devi; her forehead mark is red; Her seat is red; the Japa Pushpa -flower is Hibiscus; garments are red; in ritual red sandal is in use.

SIDDHANTA AND TANTRA: In Pascimamnaya, Devi is the highest state of Consciousness. Pascimamnaya belongs to a category of Saivagama variously called Kulagama, Kulasastra or Kulamnaya. This part of Siddhanta is diffused as Srividya. Therefore the Pascimamnaya is an essential Tantric tradition also. Kashmiri Kaula Tantra and Trika share many features of the Pascimamnaya. Trika is an entity in ritual rather than a theology. Trika’s ‘Para’ is also identical with Tripurasundari Mother cult.

Basically in Siddhanta, Shakti is the cause of all causes. She is Rudravaktara meaning the centre where there is no time, space, tattva. So Rudravaktara is complete freedon, purity and Supremacy. This is the Shakti of Siva where there no objects and subjects. So in the Rudradhyaya Sruti; ‘Salutation to Vamadeva, supreme excellence,’ it is defined that the Shakti of Siva is named Manonmani.

MAHASADASHIVA: In this manifestation, Lord Shiva is Pure Consciousness. The Uttarakamikagama depict Siva’s Vishvaroopa darshanam as being white complexioned with Chandra, the glowing crescent moon on His locks. With five or one face, he has three eyes symbolising Agni, Chandra and Surya or Iccha Shakti, Jnana Shakti and Kriya Shakti. Now, Mahasadasiva is accompanied by His consort Goddess Manonmani. Both Mahasadashiva and Manonmani depict a state of mind. Goddess Manonmani is an emphasis of this point. Here she is the manifestation of Mother Durga. Manonmani’s has appropriate yoga mudra, for she is a state where the eyes are neither closed not open, a state where breath is neither inhaled nor exhaled, and the mind is blank, it doesn't speculate or have doubting thoughts. It is after this stage that the super consciousness is reached.

Goddess Manonmani’s state of the eyes when they are neither opened nor closed is called Nilotpala or resembling a half opened padma -lotus. Manonmani is a kind of mudra according to the Yoga-sastra, its characteristics are described thus: ‘By this process the eyes neither close nor open, by which breath is neither inhaled nor exhaled and the mind is a blank neither speculating nor doubting, direct that Manonmani towards Me.’ This state of consciousness is only reached after conquering worldly illusions and fear of death. Manonmani’s spiritual status is complemented by Siva’s Abhaya mudra, the icons of truth emphasizing that this illusionistic world is just a facade, the real truth behind which is probably too difficult to imagine and hence is represented by the Rudra form of the terrific Sadashiva and the Tryambaka; the third eye is typically associated with fierceness, but in reality the eye radiates a brilliant light, a kind of eye, the blinding brilliance which is enlightenment and opens into consciousness. Such is the brilliance of the divine couple, Mahasadasiva and Manonmani.

An interesting point arises here concerning Lord Sadasiva. He is basically a manifestation of Siva but it His consort goddess that plays a role in rituals as that is characteristic of the worship of Siva’s throne and the establishment of ‘Linga-pratishta’. At the end of the ‘asanapuja’ before God is invited to sit by the Consort’s side, She is invoked as Manomani. The point here is, if Manonmani a completely different form of the Supreme Shakti of if she is the personification of Siva’s own Shakti. There are writings in the Agamas that Manonmani is identified with the inherent Shakti of Siva and that She is Kriyasakti. There are other declarations in the Agamas that the Linga is Jnanasakti and Pitha is Kiryasakti.

PANCHALINGAS: The Panchalinga Kshetrams represent the five 5 faces of Lord Shiva. They are Pathaleshwara or Vasukhishwara; Maruleshwara or Saikateshwara; Arkeshwara, Vaidyanatheeshwara and Mallikarjuna. These kshetras are dedicated to Lord Shiva worship. In Mallikarjuna temple, the Lord is Mallikarjuna Swamy and the Goddess is Brahmaraambigai. In Vaidyanatheeshwara Temple, the lord is Vaidyanatheeswara and the Goddess is Manonmani.

VAIDYANATHA TEMPLE: This is a Panchalinga kshetra in Talakadu, Karnataka. The presiding Deities in this temple are Lord Vaidyanatheeshwara and Goddess Manonmani. There are two huge beautifully structured and ornamented dwarapalakas at the entrance of the Vaidyanatha temple, a Ganesha idol on his munjur vahanam on the right. It is said that the royal family entered the temple for worship through an entrance to the south of the front mandapam. In the inner mandapam, there are idols of Lord Nataraja, Durgai, Badhrakaali, Kaaligambal, Shaaradaambigai. On either side of the main sanctum are the idols of Lord Ganesha and Muruga.

NAYANMAARS: Narasinga Muniyaraiyar Nayanar was as ardent devotee of Goddess Manonmani and Lord Siva. He was born in Thirunavalur and was the chieftain of Thiru Munaipadi. In the local temple, Narasinga worshipped Lord Thirunavaleswarar with his consort Goddess Manonmani in the temple located here. He treated devotees of Lord with utmost reverence. and provided them with all the necessities. As any other day, Narasinga Muniyaraiyar conducted a ritual on the auspicious day of Thiruvathira, the place was over crowded with the devotees of Lord.

On one such occassion, there appeared a devotee dressed dreadfully; smeared ash marks all over his bare body and the matted hair locks were adorned by Rudraksha. The devotees gathered were stared at him in an aversion. Narasinga leaped himself into the crowd, he envisioned Lord in his guest who was dressed awfully and prostrated before him. The crowds gathered were witnessed the modesty of Narasinga Muniyar. It was an illustration of the subtle way in which Nayanmaars manifest their cosmic vision and also the subtle way in which to bring about the necessary change in the outlook of others.

SRI GOURI ASTHOTHARA SATHANAMAVALLI: This stotra stars with the mantra “Om Maha Manonmani Shakthyai Nama” and ends with Parath Parayai Nama: Jai Ambey Ma. (It is too long to post here)

Hara Hara Mahadeva
(draft Gods, Goddesses, Minor Deities and Sages)

by Yogi Ananda Saraswathi