MAHAVIDYAS

Mahavidya means great knowledge and refers to a female deity; there are ten such
deities. Knowledge is transcendental and all that is known, unknown and yet to be
known. What Mantra is to a male god is Vidya to a goddess. Mantra or Vidya consists of
one or more syllables with or without meaning, words, or phrases representing (being)
the sound-body of a deity; there are ten great Mantras or Vidyas. If your name is Joan
Smith, the vocalized sound of your name or JS is your sound-body; you and the soundbody are one; that is the power of sound or sabda. Pronunciation of Mantra is important.
What if somebody mispronounces your name as John Smythe? Would you answer the
caller? The vibrations of deity-specific Mantra, when chanted according to the rules of
Tantra, bounce off Yantra , go to the specific deity, gather power, blessings and boons
from the deity and come back to the Sadhaka (chanter of Mantra), suffuse him with
divinity and confer on him supernatural powers. Yantra = instrument, engine, apparatus,
amulet with mystical diagram endowed with protective occult powers (Raksha Yantra).
Yantra is a plate or paper on which geometric figures are drawn which concentrate the
power of goddess. Yantra is the diagrammatic representation of a deity. Yantra can also be
a three dimensional piece. Mantra (or Vidya), Tantra, and Yantra are complementary and
necessary for supplicating the deity according to the rules of Tantra, bouncing the petition
off Yantra, sending it on its way to the deity, and receiving the rewards from the deity.

The question comes up as to who devised these Mandalas (Yantras), the concentric
configuration of geometric shapes. Here is an explanation. The west is of the opinion that
the Hindu mind (brain) is wired differently. Let us compare Joe Schmo with Go Schlo.
When JS goes from A to B, he forgets A and knows and thinks of only B. Not so with
GS, who still remembers A and the present B and considers any other prospective point in
the future. Both of them go to C, D, E, F, G, H, I, J,K,...Z in a random or sequential
manner and come back to A. As JS goes from one point to the next point, he forgets the
previous point and concentrates on the present one. But GS does not forget his previous
point. If both of them take a random walk from point R to A to N to D to O to M, JS
thinks only of his last point M; that is linear thinking. But GS thinks of RANDOM, as if
he has persistence of memory. Hindu thinking is nonlinear, clustery, configurative,
(progressive-conservative) according to Troy Wilson Organ. This persistence of memory
is the basis for the concept of metempsychosis and making Mandalas. In modern
terminology, it is connecting the dots. JS does not think his past life haunts him; GS
thinks that his present life is a continuation of the past life. That is why GS keeps saying
all day long, it is the past karma that haunts him at every turn (

; , = [I am] led on the path

of Karma; Karma, Karma has besieged me.) When GS takes a walk
right along the alphabets configured in a circular fashion, GS makes a Circle in the
Mandala. If he walks on ABC, he makes a triangle. ABCD makes a square. Now you get
the idea. This geometric thinking has to have a point of origin and point of return, which
are one and the same in Bindu (the dot, the point, the seed). Bindu is that unique point
from which all radiations connect all points in the compass, circle or Universe; that is
global geometric thinking. That radiation from Bindu is the basis of Pravrtti, the
evolution of the universe and beings. The return of all those radiations back to Bindu is
the basis of Nvirrti, the involution of soul back to Bindu. GS knows where he had been,
where he is and where he might go. That gave him the concept of the past, present, and
future.

(Take the illiterate but intelligent Dabbawallas--lunchbox carriers--of Mumbai

(Bombay) who operate pickup and delivery of lunches on a color-coded system. The
lunchboxes originate at disparate locations around Bombay, arrive at a central location (a
railway station), undergo assortment and re-assortment depending on the color codes with
no names on the lunch boxes and reach the office workers at their precise locations so
that they can enjoy home-cooked meals. The process takes a reverse course and the
lunchboxes come back home on the same color-coded system. It is no exaggeration to say
that FEDEX system of collection and delivery mimics the practice of the century-old
Dabbawallahs.)

-----------------------------------------------------------------------------------------------------------------Here is what Nestorian Bishop says (662AD). Source: Wikipedia.

The Indian place-system numerals spread to neighboring Persia, where they were picked
up by the conquering Arabs. In 662, a Nestorian bishop living in what is now called Iraq
said :
I will omit all discussion of the science of the Indians ... of their subtle discoveries
in astronomy - discoveries that are more ingenious than those of the Greeks and
the Babylonians - and of their valuable methods of calculation which surpass
description. I wish only to say that this computation is done by means of nine
signs. If those who believe that because they speak Greek they have arrived at the
limits of science would read the Indian texts they would be convinced even if a
little late in the day that there are others who know something of value.

TATTVAS-36. The whole Cosmos is represented in Sri Chakra made of 25 Tattvas (5

great elements + 5 Tanmatras + 10 Indriyas [5 motor and 5 sensory organs], + Mind +
MAya + Suddha Vidya + Mahesa + Sadasiva). Devi is the creator, preserver and destroyer
of the universe. She radiates innumerable rays. She is the Light of the Universe from
which all lights are lit. If it is not for Her there is no light. Among Her many rays 360
rays in the form of Fire (118 rays), Sun (106) and Moon (136) radiate from her. She is
Light in all the luminaries and She is the light in the eye and the heart. Time comes from
her luminaries; the sun for the day, the moon for the night and the Fire between the two.
360 (365) days make a year. No one can take Kundalini through all the Chakras without
the help of 360 Avarana Devatas residing in the Sri Chakra. Worship each one of them
according to the established ritual.

Here is how a Yogi makes a return (centripetal) journey to Bindu (Baindava) by

subtracting all matter from his body and taking only his soul to Bindu, the goddess, the
Essence or the Fountainhead.

(duality)
Savikalpa Samadhi =

= =

Philosophic meditation in which sense of unity co-exists with the consciousness of the
difference between the known, the knower and the knowledge.
There are two kinds of SamAdhi: Savikalpa SamAdhi, Nirvikalpa SamAdhi. Sa+vikalpa
= Sa is a prefix and vikalpa means admission of distinction. Nir+Vikalpa = devoid of +
distinction (absence of distinction)
samadhi [samaadhi]: advanced state of meditation; absorption in the Self; Oneness; the
mind becoming identified with the object of meditation.
Savikalpa samadhi [suvikulp sumaadhi]: a state of concentration in which the distinction
between the knower, knowledge and known is not yet lost.
nirvikalpa samadhi [nirvikulp sumaadhi]: the highest state of concentration, in which the
soul loses all sense of being different from the universal Self, but a temporary state from
which there is a return to ego-consciousness. See Apple, become apple. Meditate on
Brahman, become Brahman.

As the mind of Sadhaka makes a journey from the outer enclosure to the innermost Bindu
(the point), his body and mind become one with Sri Yantra; eventually body stays behind
(body awareness is lost) and mind and spirit alone make the journey. The nine Avaranas
are compared to the nine apertures of the body: two ears, two eyes, two nostrils, one
mouth, one genital and one anal opening. (Of course, the females have one more separate
opening above the vagina for urination--female urethra). Sri Chakra (Yantra) destroys
lust, anger, jealousy, hatred, and other inauspicious qualities and their consequences. Sri
Yantra is worshipped as if it is an idol or image. Each Avarana is populated by Saktis
whose numbers correspond to the number of petals or triangles. There is one Yogini and
one form of TPS (Chakra Isvari) in each Avarana. The petals and triangles represent
qualities, organs, bodily functions, Nadis, transcendence of dualities, acquisition of
spiritual knowledge. The Yogi with the help of Saktis leaves the mundane world, the
body, its attendant functions and qualities and the mind rises to a spiritual level ready for
Samadhi. This spiritual experience parallels with the rise of Kundali through the
Chakras. The aim is to attain union and become one with the deity (Bindu). When you
think of apple, you become the apple. Your entire being becomes the body and essence of
the apple. There is no cognitive difference between you and the apple. That is Samadhi.
Samadhi [Samaadhi]: advanced state of meditation; absorption in the Self;
Oneness; the mind becoming identified with the object of meditation.
http://shivashakti.com/shrichak.htm gives details about Sri Chakra Nyasa.
The yogi invites the deity into him by meditation. Once he has the deity
(divinization of his body) in him, he transfers the deity to the Yantra by Mantra,
Pranapratistha, and Mudra. Nyasa (digital pressure) is impressing of the body with
fingers and mental appropriation or assignment of various parts of the body to the Deity.
(By Nyasa, the Yogi seeks descent of the deity to the head, eyes, the limbs... and protect
them. Consider it as divine protection. It is like the actress who insures her body, limbs,
voice....) Consider it as a painless form of acupuncture without needles (Digipressure,
digital pressure) that infuses divine power where the fingers apply pressure. Here you do
not use Acus (needle as in ACU-PUNCTURE) but digits come in handy for application of
touch and pressure. Digital application (Nyasa) is accompanied by chanting of Mantra,
visualization of specific Devata and Bija (seed) Mantra. Sequential touching of the body
parts in a geographic progression depends on the type of Nyasa.
Once Nyasa is complete, the worshipper transfers the divinity from inside him to the
Yantra, which is known as Avahana (invitation). By Mudras (gestures), he infuses life
into Yantra (Pranapratistha). Mudra is the language of the body, hands and fingers as a
means of communication with the deity. The basic principle is not different from Sign
Language for the hearing impaired. Once the worship is over, the deity is dismissed from
Yantra (Visarjana or Udvasa) by Samhara Mudra (expressive gesture of dissolution).
Visarjana = discharging, dismissal. Udvasa = leaving empty, uninhabited. The idea of
invitation and dismissal of divinity with regards to Yantra sounds apparently ridiculous
(on the surface) because goddess is everywhere and She does not need invitation or

dismissal. Avahana and Visarjana are confirmation of her presence in all of us, Yantra and
everywhere.
Here is one of the Mudras (sign language) used during worship. (correction: The right
palm should be on the top.) When the Sadhaka does the Matsya Mudra (Fish Pose), he
invokes Brahman's bliss into the water, or wine in the case of Tantrics. The bliss in water
will give him the bliss.

1 At Bhupura level, Tattva Suddhi (purification of building blocks of universe and

body) takes place. Purity of body, elements and spirit assures easy journey. It
involves 1) purification of pentads by uttering their names: first pentad, the five
breaths, Prana, Apana, Vyana, Udana, and Samana; 2nd pentad, earth, water, fire,
Air and Ether; 3rd pentad, Prakrti, Ahamkara (ego), Buddhi (intellect), mind, ears;
4th pentad, skin, eyes, tongue, nose, word; 5th pentad, hand, foot, anus, generative
organ, and sound; 6th pentad, touch, taste, form, smell, ether; 7th pentad, air, fire,
water, earth, soul. The Sadhaka declares that he is 1) Joythi (Light) and sinless and
continues with 2) Tattva SvIkAra (appropriation or absorption of Tattvas; 3) Bindu
SvIkAra (absorption of Bindu). The idea of all this is that the elements are purified
and absorbed; this is involution. When the yogi goes from matter to Spirit in the
Central Bindu, he cannot go there with a material body. The matter dissolves and the
spirit rises. Siva's Consciousness works through Sakti in creating this world of souls,
their consciousness and body and matter. When the souls make a centripetal
journey to Sakti, all these have to be absorbed or given up so that the Spirit alone
goes to the central Bindu. Six parts of the body of Devi at the four corners of the
Yantra square are worshipped with Mantras followed by worship of Gurus and Kula
Gurus. Six parts of body of Devi = Sikha (tuft or knot of hair on top of head), head,
heart, the three eyes and two sides of the palm. Worship is offered to Indra and
Dikpalas (guardians of directions, Indra, Agni, Yama, Yaksa, Varuna, VAyu, Kubera,
Isana, Brahma and Ananta who carry weapons: Vajra, thunderbolt; Sakti, fire power
of Vahini; Danda, staff; Khadga, sword; PAsa, noose; Ankusa, a hooked goad; GadA,
mace; SUla, spear or trident; Padma, lotus flower; and Chakra, discus.
Sadhaka =

= One who practices or gets trained.

VAmA-Brahma abides in the navel guarding the East; Jayestha-Vishnu in the heart
guarding the North; Raudri-Mahesa in the head guarding the west and Ambika
guarding the south. Ambika, Mother Goddess is Her own Sphurana (manifestation;

throbbing or breaking; bursting forth; vibration). Her creative Sakti saw her own
manifestation. The worshipper prays to these deities in East-North-West-South order.
The fire god (Vaisvanara, the son of Visvanara, the benefactor of all men) is
invoked and invited with mantra, "come here, stay here, fix yourself, face me, be
detained." This is followed by worshipping the eight forms of Vahini (fire god's other
name). Vahini = bearer or carrier of oblations to gods.

The eight forms of Vahini (Fire): 1) JAta Veda = all-knowing; 2) Saptajihva = seventongued; 3) Vaisvanara = son of Visvanara; 4) Havya-VAhana = oblation carrier; 5)
Asvodaraja 6) Kaumara Tejah = the fire from which Kumara or Kartikeya, son of
Siva and Parvati was born; 7) Visvamukha = the mouth of devourer of the universe;
8) Deva Mukha = the Mouth of Deities to whom fire carries oblations.

Asvodaraja: Fire in the Mare's mouth. It is the Fire and smoke that emanate
from the bowels of the earth. Fire in the Mare's mouth: A classic example of Fire in
Mare's Mouth is the fire that burns in the coal mines in Centralia, Pennsylvania since
1962 along Route 61. It is still burning. Centralia is a ghost town now with fire,
smoke, fumes and gases emanating from below in the abandoned coal mines,
backyards, streets and houses. I am not sure whether the term Asvodaraja refers to
another form of Fire, Valcano.

Fire and Fuel are anthropomorphized as the head of a person: the fuel
is the ear; smoke is the nose; dim flame is the eye; the head is the
glowing coal; the light flame is the tongue of fire. --Woodroffe.
After the invocation of Fire, the worshipper meditates on Ida, Pingala and Susumna
Nadis and utters Gayatri mantra. Kundalini Power. GAYATRI.

By now, he has become one with the Fire and Devi. By making Samhara Mudra, he
invokes the transfer of Devi from the Fire to his heart. The fire oblation (Homa) is
complete and the worshipper takes the ash from the cinders and puts it on his forehead.
Once the Fire Ceremony is over, Japa (muttering prayers) is done with the result, the
Deity, the Guru and the Mantra become one and are realized as one. Devata is the mantra
and the Guru too; success is his or hers when one considers all three as one. The
worshipper shrines the Guru in his head, the Deity in his heart and Mula Mantra in the
form of Tejas (Light and energy) on his tongue. Now he attains the glory of all three. He
worships the rosary and asks for success in Siddhi. Japa and Pranayama (breath control)
follow with offering of Japa to the Deity. Then the Sadhaka makes circumambulation
always keeping the Deity on his right hand side and making Atma Samarpanam
(dedication of his self to the deity) by the symbolic offering of water (self) to the deity at
her feet (Sixty to seventy percent of our body is made of water; thus water is the stand-in
for the body for dedication.) This procedure is Vilomarghya (reversed offering of water)
because water is usually offered at the head of the deity. Before Atma Samarpanam, he
utters mantra that declares the dedication of his vital airs, mind, thought, word, and deed
during waking hours, dream sleep, deep sleep done by hand, feet, stomach, generative
organ to Brahman. He submits (dedicates) himself and what is his at the lotus feet of the

deity. Om Tat Sat. He supplicates, further declares his worshipful devotion and begs for
forgiveness for any lapses in procedure and the trouble he caused to the deity. He bids
farewell to the deity and performs Visarjana (dismissal) which reposes her in the eightpetal lotus in his heart, which is symbolized by taking the flower, smelling it and putting
it on his heart. He offers Naivedya (food offerings) to Brahma, Vishnu, Siva and other
deities and later his Guru, Guru's wife, and his wife to eat. Still later, he and the family
members consume the Suddhi--wine, meat, fish, grains... Service and offering go down in
a hierarchical fashion, spiritual seniors first, juniors last. Imbibed wine amounts to five
cups or just enough before the mind, sight or body is affected. Just enough water is used
to clean the hands. Lastly he applies the ash from the fire pit on his forehead.
in number. The Yoginis are of nine classes appearing in the nine Chakras of Sriyantra
in the centripetal direction. They are PrakatA, GuptA, GuptatarA, Ati-GuptatAra,
Kula-kaulA, NigarbhA, RahasyA, ParA-RahasyA, ParapararahasyA. The first in the
outermost Avarana is called Trailokya Mohana; the last in the innermost avarana is
SarvAnandamaya.

The Devatas in the Avaranas from the outermost to the innermost are Tripura, Tripuresi, Tripurasundari,
Tripuravasini, Tripurasri, Tripuramalini, Tripurasiddha, Tripuramba, and Mahatripurasundari.
The Chakras in the same order are Trailoka Mohana, Sarvasaparipuraka, Sarvasamkshobana,
Sarvasaubhagyaprada, Sarvarthasadhaka, Sarva Rakshakara; Sarva roghakara; Sarva siddhiprada, and
Savanandamaya.
Please refer to pages 121 to 122 in The Great Liberation by Sir John Woodroffe for the specific names of
Yoginis (Saktis) in the petals in the Avaranas.
the round of 16-petal lotus

Kundalini Power
Jayestha
There are two kinds of SamAdhi: Savikalpa SamAdhi, Nirvikalpa SamAdhi.
Sa+vikalpa = Sa is a prefix and vikalpa means admission of distinction. Nir+Vikalpa
= devoid of + distinction (absence of distinction)
samadhi [samaadhi]: advanced state of meditation; absorption in the Self; Oneness;
the mind becoming identified with the object of meditation.
Savikalpa samadhi [suvikulp sumaadhi]: a state of concentration in which the
distinction between the knower, knowledge and known is not yet lost.
nirvikalpa samadhi [nirvikulp sumaadhi]: the highest state of concentration, in which
the soul loses all sense of being different from the universal Self, but a temporary
state from which there is a return to ego-consciousness. See Apple, become apple.
Meditate on Brahman, become Brahman.

In Savikalpa SamAdhi (imperfect), there is an awareness of Triad: the

contemplator1 (object) and the Contemplated2, the Subject and the process3 (In Hinduism
God or Goddess is always the subject, the votary is the object); in Nirvikalpa (perfect)
SamAdhi, the distinction disappears. The yogi becomes one with the One, the Brahman,
who is One-without-a-second. The second SamAdhi is deeper than the first; in the first,
one gets to enjoy bliss or ecstasy knowing fully well there is a chasm between the yogi
and the Brahman. The first phase can go into the second phase. In Savikalpa samAdhi,
the consciousness of the yogi is aware of its proximity to the Brahman, the selfawareness (individuality) is still present, and the yogi experiences bliss and ecstasy. In
Nirvikalpa SamAdhi, the distinction between the yogi and the Brahman disappears, they
become one (absorption of the yogi into Brahman takes place) and the yogi experiences
bliss and ecstasy. Distracted mind, stray thoughts, astringent, sharp (Kasaya)
reminiscences, (simply put, an audiovisual tape running in the background of the mind),
dreamless sleep, and Savikalpa samAdhi are the obstacles to Nirvikalpa samAdhi . Why
is Savikalpa samAdhi an obstacle? This is so because the yogi is an enjoyer and wants to
keep on enjoying the juice (rasa) of bliss. Still the mind has not crossed the subtle line,
boundary, space or chasm between nearness and a total assimilation, union, absorption or
merging. The assimilation is similar to the wave falling into the ocean and disappearing.
This cessation of action and motion in Nirvikalpa Samadhi is called Uparama. (There are
five modification of mind, Pramana, Viparyaya, Vikalpa, Nidra and Smrti. Pramana =
Correct notion, correct knowledge, true conception, comprehension. Viparyaya =
inverted notion, perverse idea, misapprehension. Vikalpa: conceptualization. Nidra =
sleep. Smrti = memory.)

The temple in the form of Sri Chakra or Yantra was designed by the founder of
Devipuram, Dr. N. Prahalada Sastry (b. 1934), a former university professor and
nuclear physicist who left a successful 23-year career with the Tata Institute of
Fundamental Research in Mumbai to begin work on the Devipuram temple in 1983.
http://en.wikipedia.org/wiki/Devipuram.
Devi Kamakshi gave several visions to Guru Amritananda (Dr. Sastry) to construct the Sri Chakra
Meru Temple in Devipuram. It is the only temple in the world in perfect Sri Chakra Meru form with
life size idols of all the 108 Devees of Sri Chakra. Lord Shiva created 64 Yantras and 64 mantras
of various deities to attain various objectives and siddhis. For His consort Devi, He created the Sri
Yantra and the Shodasi Mantra which is the equivalent of all the 64 put together. That is why the
Sri Yantra is called Yantra Raja and the Shodasi Mantra is called Mantra Raja. The Devi resides
at the central bindu of Sri Yantra along with Lord Shiva. There are another 108 Devis in the 9
avaranas. All the 8 Lakshmis, Saraswati, the Nityas, the Yoginis and in fact every Devi controlling
each and every aspect of our life and the world reside in the Sri Yantra. In 1994, during the
inauguration of the a temple a bright ray of light from the sky blessed it.
http://www.astrojyoti.com/pujasatdevipuram.htm
The 108 Devees of the Sri Chakra represent the various aspects of our lives.

Here is the youtube link on Srichakra and Khadgamala Goddesses in Devipuram

http://www.youtube.com/watch?v=_dM-PXUOKpY
Here is a newspaper report on Devipuram.
http://www.hindu.com/2005/07/13/stories/2005071304010200.htm
If you want to draw Sri Yantra on a paper, here is the site that explains the method.
http://tripuraastro.com/AboutTrust/SriYantra.aspx
In answer to a query by Sage Narada, Narayana says the following: Bhuta Suddhi is
done by sprinkling water with Mantra (AstarAya Phat). Puja is continued. Worship
the seat where the Devi will be placed. Meditate on Devi. Offer a seat to Devi. Bathe
the Devi with water of Panchamrita. Ritual ablution of Devi with 100 jars of
sugarcane juice will release the person from taking birth again on earth. They receive
benefits from Lakshmi and Sarasvati. Bathing Devi with grape juice with participation
of friends and relatives guarantees a life in Devi-loka for as many years as there are
atoms in the juice. Likewise Devi is given a bath with water scented with camphor,
aloe, saffron, musk with the result all sins of one hundred births are expunged.
Ritual bathing of Devi with milk assures the devotee to live in Milk Ocean (Ksira
Samudra) for one Kalpa. Ritual bathing is symbolic and esoteric, meaning flow of
liquid currents in your body keeping you in spiritual health. Liquid flow is life;
stagnant liquid is death. If one writes the Mantra of Maya, Hrim Bhuvanesvaryai
Namah with red sandal paste thrice on Vilva leaf and dedicates it to the feet of Devi,
he will become Manu. Worshipping Devi with ten million spotless Vilva leaves
becomes the Lord of the entire universe. The central meaning of all these rituals is
that worshipping Mother Goddess is essential for prosperity, edification, spiritual
health and eventual liberation. Vishnu (Narayana) says that he attained Vishnuhood
and became Vishnu because he worshipped Devi, the Mother Goddess with one
hundred million of Mallika and Malati flowers smeared with eight scents. Sri Mad
Devi Bhagavatam, Book 11, Chapter18, V 1-40.
Mantras or Vidyas awaken the superconsciousness, instill knowledge of the Self and help liberate the soul.
Sri Vidya Mantra is a string of fifteen syllables without any meaning based on Sanskrit letters and sounds"
ka, e, i, la, hrim, ha, sa, ka, ha, la, hrim, sa, ka, la, hrim. (For the sake of illustration, here is
what an English seed Mantra or Vidya looks and sounds like : k, e, l, h,s,h... or
Greek Mantra: alpha, beta, gamma, zeta...) On the other hand Gayatri Mantra
carries meaning. Here it is:
Gayatri, the sacred mantra of 24 syllables, is recited by Brahmanas in their daily worship. All castes,
classes, races, and followers of all religions can chant this Mantra. It has universal appeal and no religious
or sectarian accretion. When Gayatri has not been sung for three generations in a
Brahmana family, the family loses its privilege and caste status and ceases to be
Brahmanas. They still retain the Brahmin status; it is one or several notches below
the real entity. Vaidika (Sanctioned by Vedas) Gayatri is a seed mantra and the Vedas are ensconced
in it. Vaidika Gayatri: Om bhur-bhuvah-svah * tatsavitur varenyam * bhargo devasya dhmahi *
dhiyo yo nah prachodayt Om , earth, atmosphere, and heaven, we meditate on the adorable glory
of the radiant sun; may he inspire our intelligencetranslation by Dr. Radhakrishnan. Sandya

(junctional [transitional time zones] prayersunrise, noon and sunset) is performed three times a day. Now
let us read the translation of Gayatri Mantra by Woodroffe: "Om, let us contemplate upon the wonderful
spirit of the Divine Creator of the terrestrial, atmospheric, and celestial regions. May he direct our minds
(towards the acquisition of Dharma, Artha, Kama and Moksa)."
The presiding deity of Gayatri is Supreme Brahman, Devi, Vishnu, the Sun, or
Saguna Brahman. It is suitable for all asramas
Asrama = from verbal root sram, meaning spiritual exertion. a monastery. four
ages of man for spiritual development: Brahmacharin, Grihasta, Vanaprastha, and
Sannyasa: 1) the student, 2) the householder, 3) the forest dweller, 4) the recluse.
Seed Mantras without any meaning are the basis of Mantras with meaning; the latter incorporate the seed or
seeds (Sanskrit alphabets) in body of Mantra words. A, P, P, L, E have no meaning, while APPLE has
meaning and is something into which your can sink your teeth; yes, A has meaning, but you can't bite and
savor it.
The following explains the origin of Mahavidyas. Jagadamba defies Siva.
Daksha, a secondary creator (Prajapati) born of sexual union between Brahma and Aditi, was one of the
ten sons of Brahma. Brahmas first and only mind-born sons were averse to sexual
reproduction and therefore Brahma out of frustration fathered Daksha, who willingly
carried out his fathers legacy of sexual reproduction. Daksha means right and is
cognate with Latin Dexter. Daksha, Vasistha, and Marici held a great sacrifice for
which they invited all gods, demigods, celestials, gurus, munis and sages including Siva,
Brahma, and Vishnu. When Daksha walked into the assembly hall, all except Siva rose and applauded
Daksha, who was so offended by the sensed slight that he fumed and fulminated against disrespectful
behavior of Siva, who was married to Dakshas daughter Sati, also known as Dakshayini. Brahma, Vishnu
and Siva are hierarchically superior to Daksha, but Daksha felt that he deserved respect from his son-inlaw, Siva, who wears russet hair, matted locks, a moon on his head and a snake around his neck. Daksha
did not have a good opinion even before the sacrifice, because Siva looked poor by external appearance.
There is a reason for it. Siva does not own anything, not even a house (He lives in the frigid Kailas in
Himalayas, no heat to keep Him warm); He does not even have a family name (Akula--He is not Sakti; He
is self-born according to Saivites) He is a Yogin and Vairagin, One who has no desires, possessions. Who
wants a son-in-law like that? One of his devotees, Sundarar, calls him Pitthan ( ), the mad One, out
of deep love and devotion. Out of spite, Daksha called Siva names: spoiler; mental dwarf; a refuge of the
refuse, destitute and poor; boorish demigod; monkeys eyes; a kindred of Sudra unfit to learn Vedas; a
crematorium-dweller; wearer of a garland of skulls and bones; sloven. Daksha regretted his decision for
having given his daughter in marriage to Siva on the recommendation of his father, Brahma. Daksha
washed his hands and mouth and proceeded to pile some more insults on Siva. Daksha performed sacrifice
to increase the material prosperity of the world. What is wrong with that? Find out later. Siva was a
'renouncer' and wanted no part in it. Daksha left the assembly hall abruptly in a fury against the advice of
Brahma and other gods. Daksha did not let Siva savor the oblations of the sacrifice. Nandisvara, Sivas
close associate was angry with Daksha for the egregious treatment of Siva. Nandisvara spoke to the
assembly, saying that they who took part in the sacrifice were materialistic (Faustian devils), considered
body superior to Soul, the repository of transcendental knowledge and therefore, would lose that sacred
knowledge. He further said that since Daksha considered body superior to soul and celebrated sex life over
spiritual life, he would soon acquire face of a goat. (Remember, the Rocky Mountain goats fight over
females, who huddle together and watch the ramming heads with blithe bleating mirth.) They who have
vidya-buddhi, avidyam, and karma-mayam (material knowledge, ignorance, and delusion of karma) would
be castigated to a life of repeated births and rebirths. Nandisvara cursed all the deviant Dvija-kulayas (the
twice-born Bahmanas) for their materialistic pursuits in performing the sacrifice, by saying Brahmanas of
the genre Vedas-for-sale, Vedas-for-livelihoodwould be wandering beggars, glorifying wealth, creature
comforts and satiation of senses. Bhrgu Muni came on the stage and dished out counter-curses: Siva

followers were heretics. Siva left the assembly hall without uttering one word in protest. He is God. Why
would He protest? Only the weak protest. Years passed without incident. Puffed with false airy pride,
Daksha arranged another sacrifice; this time he did not invite Siva, which is against all canons of sacrifice
no sacrifice was and is complete without Siva. Dakshas daughter, consort of Siva, heard the news over
the celestial grapevine. She saw finely clothed celestials and their consorts whisk by in aerial cars on their
way to Dakshas sacrifice. Sati felt left out for she wanted to meet her mother, sisters and their consorts at
the sacrifice, which was the place to be then. She pleaded with Siva for permission to attend the sacrifice.
Siva tried to reason with her as follows: Dakshas wickedness, lack of judgment, and failure to see the
greatness of exalted Souls compromised and canceled his learning, austerity, wealth, beauty, youth, and
pedigreed heritage. They (Siva and Sati) should not visit Daksha clouded by poor judgment, suspicious
mind, and anger. He dissuaded and forbade her from attending the ceremony, for he foresaw death of Sati
and Daksha, the latter inflicting indignity on Siva, the Supreme Being, the Lord of the Universe (Isvara =
).
Sati became very angry with Siva for refusing her permission to attend Daksha's
sacrifice. Sati came to a conclusion that Siva being her husband was drunk with
vanity and transformed herself into a terrible aspect of Sakti, Jagadamba with the idea
of smashing the vanity and pride of Her husband, Siva. Her eyes were red blazing
with fire of anger. Jagadamba thinks in her mind: I obtained Siva as my consort
standing on my intrinsic virtue and after a long Tapas (austerities). On the stage of
the universe, Siva plays my husband and my father Daksha plays Prajapati. Both are
arrogant, vain and proud. I shall abandon both of them, retire and revert to My own state, Kaivalya
(the fifth state in which mind comes to a standstill and becomes extinct, when the Self abides alone with its
nature; blissful state of splendid isolation; [wakefulness, dream sleep, deep sleep, Turiya are four states.]
Turiya = 4th state, union of soul and Brahman, Nirvana, Loss of brain-mind consciousness, Oblivion to the
outside word, ego operates in physical and not spiritual consciousness). I will make sure in my next
birth as Parvati, Himavat's daughter, that Mahesvara (Siva) in the name of Sambu
begs to marry me. Thus thinking, Jagadamba, the daughter of Daksha and Consort
of Siva-Mahesvara opened her eyes spewing fear and illusion which overpowered and
deluded Siva. Her lips parted from the stillness of tranquility to the half-open derisive
pouting anger; the eyes were aflame. (Closed [opposing] lips are symbolic of
togetherness of Siva-Sakti, a conjoint seed; moving lips are symbolic of Mithuna
(coition) as movement while chanting a mantra; parted lips are symbolic of
dissociation between Siva and Sakti.) Mahesvara became deluded, and was scorched
by the flame of anger emanating from her eyes. Suddenly she bared her fang-like
teeth, opened her flaming mouth and uttered a booming loud laugh which struck
Siva like a thunderbolt rendering him paralytic. He could barely open his third eye
from paralysis of fright and sound of laughter echoing in his head and saw the
fiercest form of Jagadamba. Could she be really his loving consort, he wondered?
When he cast his eyes on her, her golden complexion lost its luster, and became
pitch-dark like collyrium (Anjana). There she appeared dressed in space; her hair
was unruly; her tongue was lolling out of her cavernous mouth; her four hands were
flailing all over. Her countenance was etched in fright; she was fuming with fury; she
was enveloped by lust; she was drenching in sweat; she wore a garland of skulls; her
speech and laughter were like talking thunder; she wore a crown and a crescent
moon on her. On seeing the Tejas (razzle-dazzle) of her appearance, Mahadeva's
self-control was losing its hold on him, fright crept on him, and his feet wanted to
take a flight. Daksha's daughter noticing the signs of fright and the impending
flight, thundered reverberating peels of laughter and bellowed, "Do not Fear."
Mahesvara's fright heightened in full throttle and his feet took flight in all ten
directions in heaven. (Ten directions are N; NE; E; SE; S; SW; W; NW; Above and
Below.) Suddenly Jagadamba became mellow with compassion for her husband. She
assumed the form of ten Mahavidyas blocking his exit in ten directions; each form of
Jagadamba was different but not any less frightful. Mahesvara ran hither and thither,

trying to run away from the terrible Jagadamba. Whichever direction he ran,
Jagadamba was standing in front of him blocking his exit; nimble Jagadamba simply
outran Mahesvara. Knowing that He cannot outrun (his consort) Jagadamba, He sat
down on earth in failure, frustration and exhaustion, and momentarily shut his three
eyes, opened them soon and found Syama standing in front of him with face like a lotus blossom,
with large breasts, wide eyes, unkempt hair, four hands, and an effulgent black body bathed in ten million
suns. She was facing south as heavenly Daksina. Mahesvara questioned her as to who she was and where
His consort was. Syama = black, another name for Siva's consort.
Devi answered: "My Lord Mahadeva, I am Sati, your consort. Don't you know me? Why do you look so
confused."
Siva replied: " You look black and induce fear in me, unlike Sati. Who is this terrible being who stands in
my way in all ten directions? You don't look like Daksa's daughter and my consort, Sati."
Sati-Syama in the form of Jagadamba replies: "I am subtle beyond speech and comprehension. I am Sati,
your consort. I don't mean any harm to You. I was born a daughter of Daksa and performed penance to
obtain You as my husband. (Actually, Sati was the adopted daughter of Daksa.) I have assumed this form to
destroy Daksha's Yajna. I was trying to block Your exit only out of love for You."
Siva said: "Forgive me, O Paramesvari. I said many unkind words to you. The great illusion blocked my
vision. Tell me now who these ten fearful forms are."
Sati in the form of Jagadamba replied: "O Mahadeva consider yourself as the center; in front of you are
Tara and Kali, the former above the latter; behind you are Bagala below Bhairavi; to your right is
Chinnamasta; to your left is Bhuvanesvari; to the northeast is Shodasi; to the southeast is Dhumavati; to the
south west is Kamala; to the northwest is Matangi."
All these forms destroy the fear of Samsara (birth and rebirth). These ten forms are
the best among the 90 million manifestations of mine. Sadakhas worshipping my ten
forms get Dharma, Artha, Kama and Moksa and also powers of causing Marana, Ucchatana, Ksobana,
Mohana, Dravana, Stambhana and Vidvesana. These Mahavidyas are to be kept secret. You reveal Agama
Sastras from your mouth. Agama and Veda are the two arms by which I support this universe. Vaishnavas
worship the ten Mahavidyas with their heart abiding in me. My intention is to destroy my father's Yajna
with your permission; you should let me go to the sacrifice." (Sati was upset with her father Daksa,
because he did not invite her husband Siva and her for the Yajna. Yajna is not complete without the
presence of Siva. Yajna is sacrifice and an essential element is the sacrificial fire (the divine
Agni) into which oblations are poured, as everything that is offered in the divine Agni
is believed to reach the Devas.--Wikipedia.).
(Artha (wealth), Dharma (Righteousness), Kama (desire), and Moksa (liberation).
Marana (death), Ucchatana (ruining an adversary), Ksobana (causing agitation), Mohana (causing
confusion), Dravana (Putting to or instigating fight) , Stambhana (Immobilization and paralysis),and
Vidvesana (Stirring up hatred)
The above appears to be a good strategy in war. Nobody could have written a better manual of stratagems.
Did Mahavidyas get credit for them?
Before her departure, she withdrew into her all ten forms out of which Ambika emerged. Another source
tells that Tara merges with Kali and others simply vanish. Another source tells that Sati asks the
Mahavidyas to attend to Siva in her absence, while she is away to Daksha's sacrifice. Students of Saktas
point to the power and restraint Mahavidyas pose on Siva, thus, showing her to be a superior power. Saktas

believe in Mother Goddess. Western analytical minds portray a picture of Sati as the victim of spousal and
parental abuse and neglect, in that Daksha did not invite his daughter Sati for the sacrificial ceremony and
Siva did not grant permission to His spouse Sati to go to the sacrifice. This is man analyzing and judging
god and goddess. This is superficial and proximate thinking on the part of some minds; the deeper
meanings and the internecine feuds and disputes among gods to bring forth a moral lesson to man does not
even register in their minds. Siva and Sakti are one and each needs the other to form one whole. Sakti is not
sequacious; Siva without Sakti is sava (dead); Sakti without Siva has no Consciousness. Siva being the
Yogi of yogis foresees death of Daksha and Sati, if Sati were to attend the sacrifice. There is no spousal
neglect or abuse in prevention of death. Daksha was a lout among the celestials because he offered sacrifice
for the rise of wealth over spirit, when the embodiment of spirit, Siva, was not invited and every sacrifice
demands the presence of Siva and offering of holocaust (burnt offerings) to Siva. Daksha never liked his
son-in-law, Siva, because he was poor, smeared himself with ash, and wore animal skin and matted russet
hair.
The view from the West, Sep/29/2008
The West suggests that there is a twist in the Daksa' sacrifice. Daksa was the follower of Vedic religion. The
Siva devotees at that time were the Pasupatas on the rise, who the West says were subversive and
disruptive. The destruction of Daksa's sacrifice was symbolic of growing importance of Saivism and
Pasupatas, and the denigration of Vedic religion. According to legend, Rudra, a form of Siva created
Pasupata Saivism when He destroyed Daksa's sacrifice. Pasupata sect opposed the Vedic Caste System and
was supported by wise men. Pasupatas were the forerunners of Agamic Saivites. At human level, Lakulisa
before the 6th Century was the founder of the Pasupata sect, which was mostly the sect of ascetics and
Yogis. The householders had only to utter Siva Mantra Namasivaya to adhere to the sect. The ascetic is
naked except for a piece of cloth covering his private parts. He was smeared with ash all over his body, did
austerities among the five fires. He meditated in the temples. Once his guru declares he attained maturity,
he was allowed to practice antinomian behavior, which included shouting obscenities, lewd gestures at
women, idle prattling, pretend sleep, loud snoring on purpose and such anti-social behavior. The idea of this
wild behavior was to invite abuse which eventually transferred good merits from the abuser to the ascetic
victim. Though the Pasupata ascetic was allowed to exhibit extravagant lewd gestures, he was to remain
strictly a Brahmacharya without any private verbal or physical encounter with women. Most of the ascetics
were of normal behavior though they were allowed by the Guru to practice such acts. Society and some
Puranas were putting the breaks on this kind of behavior.

The ten Mahavidyas have each a function. For painting and depiction of Mahavidyas go to link
http://www.kheper.net/topics/Tantra/Mahavidyas.html

Madhubani Painting on Hand Made Paper treated with Cow Dung

Artist Dhirendra Jha
Ten Mahavidyas in one painting ( painting: credit Exoticindia.com)

The universe pulsates with the energies of the ten objects of transcendental knowledge, the Maha-vidyas.
The people of Mithila consider them the source of all that is to be known.
This description by Renu Rana (for exoticindia.com).
Divided into ten equal spaces, each space houses one of the goddesses. The first goddess is Kali, the
consort of Siva. Terrifying in her appearance, she is seen dancing on the supine body of her husband. Tara
is quite like Kali in appearance, wearing a tiger skin around her waist, a pair of scissors in her hands. As
Chinnamasta, Kali feeds upon her own blood drenching the positive and negative aspects of herself. Next
she appears as a sixteen year old young maiden, followed by Bhuwaneshvari. Bhairavi is brilliant like the
rising sun, has three eyes, wears a jeweled crown and various ornaments and also hold a rosary and book in
two hands. Dhumavati is ugly, holding a winnow basket in one hand. Bagalmukhis image is beautiful and
she is associated with magical powers. Matangi is worshipped to gain magical or physical powers. Kamala
is resplendent like the sun. She is none other than goddess Lakshmi.
The following is commentary from the author, Krishnaraj.
Western authors try very hard to establish a link and commonality among the
Mahavidyas. They have many questions and concerns. Why are they called Mothers,
when they have not given birth to children? To a devout Hindu, all females including
his spouse is a mother. How old are the Mahavidyas? They know Sodasi is sixteen
years of age. Are they sisters? Do they represent different stages in the life cycle of a
woman? Do they hold the portfolios of creation, maintenance, and or destruction. Are
they personification of Gunas: Sattva, Rajas, and Tamas? Yes, they found Sattva in
Sarasvati, Rajas in Lakshmi and Tamas in Kali. Since Sattva is white, Rajas red, and
Tamas black, they tried to paint them with colors. They try to categorize them by
virginity, beauty, and terror. It appeared that most of them had all the qualities in
different combinations. How could they be virgins if they declare themselves as the
mother of all beings? That could be a question for them. (Think of Virgin Mary.) They
tried to categorize them by qualities of ferocity and peace. It did not work out well.
Usually deities have mountains, streams, and rivers named after them; Mahavidyas
have no such association; that was a disappointment. Though they are called
Mothers, they are not fecund in the ordinary sense; yet they are ten in One who is
the Mother of all beings. Kali is addressed as Mother Goddess. Are they married?
Yes, they have a weak connection with Siva, according to the western view. It
worries a few that Kali and Tara have planted their feet on Siva. Tripura Sundari sits on
a couch whose legs are Siva, Vishnu, Brahma and Rudra, whose mattress is
Sadasiva, and whose pillow is Isana. How could TS treat the gods as furniture? Even Lakshmi
in her capacity as a Mahavidya and Gajalakshmi stays far away from Vishnu and yet sits on a lotus flower
flanked by showering elephants.
Insert: Gajalakshmi with two showering elephants. credit: exoticindia.com

Their portfolios do not particularly address creation, maintenance and destruction,

though in reality they (goddesses) are Nirguna Brahman. It appears that Mahavidyas
shed their connection with Siva and Vishnu; it beguiles the curious west that such
independence exists among the Mahavidyas. When they are with their consort they
are either standing or sitting on Him. (Think of Virtus standing on evil man; KALI. Here

some of Mahavidyas stand on their common consort Siva as a mark of defiance. You saw faded photos of a
Maharaja or a British Civil Servant holding a rifle and keeping one foot on top of the animal he killed with
the rifle from a perch on a tree. I wished they dropped their rifle and fought with the animal hand to paw.)
Viparita Mithuna (reverse coition or female-superior position) is astonishing; that is for those who are not
familiar with Kama Sutra or Bible.
Bible says that Adam had two wives, the first one, Lilith and the second one, Eve. Lilith in her wisdom
thought that Adam and she are equal and thus refused to sleep with or serve 'under him' in their consortium.
Adam insisted on male-superior position, which upset Lilith and so she flew away from Eden and consorted
with demons, conceiving by the hundreds every day. (No wonder the demons of today are her progeny.)
God could not persuade Lilith to come back to Adam and so made Eve from Adam's rib to be his second
wife. I can see a question coming from the readers. Does that mean Adam and Eve are brother and sister.
They are genetically identical except for the XX configuration of Eve and XY of Adam. What is the age
difference between Adam and Eve? Lilith was upset at being branded an ogre. Lilith morphed into a
serpent and slithered into the Garden of Eden and tricked Eve into eating the forbidden fruit from the Tree
of Knowledge of good and evil. That moment on, humanity was going downhill. Hindus call this era,
Kaliyuga. The erstwhile wise Biblical serpent of wisdom and rebirth was downgraded because of its
trickery on Eve and Adam and thus on mankind. Adam, to begin with, was a strict fruitarian as the ancient
Seers, Rishis and Ascetics of India, who picked and ate only fallen fruits. God created Adam from the dust
of the ground and breathed into his nostrils the breath of life, causing him to become a living soul. Hindus
call it Prana, the breath or the vital airs that drive every organ in the body. God created Adam on October
20, 4004 BC at 9.00 AM; he lived for 930 years and died in the year 3074 BC.
The modern woman is well groomed, polished, painted, pampered, and powdered. Look at the Mahavidyas.
They roam around in the cremation grounds; their hair is disheveled; they wear skulls for a garland; they
run around naked; their fierce and gaunt appearance do not appeal to the west, though they confer boons to
their devotees. Some seem to have a perverse curiosity without understanding of the essence of the
message.
Among Tamil Alphabets, Siva is the consonant or body-letter, while Sakti is the life-letter; thus, Siva's
body and Sakti's soul make Siva-Sakti. The talk of supremacy of Sakti over Siva is on the tongue of
everyday Tamil speech: "(If you can't do it), be like silent Siva (and let Sakti do the job)." Siva is sava
(dead) without Sakti; He is the inert foundation of a canvas on which Sakti paints (and also is) the picture
of matter, life, support, growth, death and renewal; He is inert and She is dynamic. But there is no painting
to look at without canvas.
They represent the state of the material world in all its starkly naked reality. Mantras "bring them to life;"
when no Mantras are chanted, they become latent. Wherever Sadhaka goes, the Mahavidya follows him or
her. Sadhakas receive Dharma, Artha, Kama, and Moksa from her (Righteousness, wealth, sensual pleasure
and liberation). She is Being, Consciousness and Bliss-Satchitananda. She brings to a Sadhaka, awareness,
superconsciousness and eventual liberation.

1. Kali is the first Mahavidya, black as night. She is Time because everyone disappears into the
blackness of Time, where they repose in the tender loving hands of Kali in peace, tranquility, and bliss.
Man's phenomenal life comes to an end and god's eternal life comes to a pause. Kali, having killed a
demon, continues on her unmitigated rampage with the Tejas (power, splendor) she received from all the
gods. In order to diffuse this unspent, extravagant and redundant energy, Siva appears as an infant on the
battleground and Kali stumbles on him. She takes pity, picks the infant and with motherly love and
compassion, nurses infant Siva. (This is the Motherly aspect of Kali.) Yes, Siva is her husband and also her
son; don't let that bother you; there is no hanky-panky; that is divine unity in world of paradox. In some
narratives, Siva appears on the battleground as himself; finding her husband at her feet, Kali takes pity and
her unspent bursting redundant energy dissipates. Kali is not only the Consort of Siva Himself , but as
occasion demands, her son also. This is Siva playing different roles with His Consort to diffuse her
superabundant energy and bring Her back
to Her own self. Consider this situation.
When a tight-knit family dies in a car
accident, earthquake, tsunami, or floods,
they are reborn; the relationship with each
other is reconfigured; father may become
the son; mother may become the wife; this
is all recycling of the soul according to
the merit and demerits of the family
members. They have no control over this
new constellation in the relationship.
Consider this: In the west, the husband
addresses his wife, babe. Is she really his
baby? It is an expression on the part of the
husband of his nurturing, protective and
doting nature and attitude towards his
wife. The wife nursing the husband is not
unheard of in all cultures. I had the
privilege to hear of such an incident in my
practice. This was to relieve the engorged
breasts, the wife admitted to me. Kali is
the Mother of the universe, the protectress
of her children and the destroyer of evil.
The elements in this legend of Kali
portray certain qualities in a person and
the accompanying passions. Man is divine
and demonic at the same time, two sides
of one person. There are gods and men
who are divine; there are demons and men
who are demonic. Kali goes by many
names: Durga, Sati, Parvati, Uma,
Bhavani. She is the Supreme Truth,
realizing which is the Supreme state. Kali
is portrayed with Sava (dead) Siva, lotus
(Brahma) and lion (Vishnu), indicating
that she holds the portfolios of creation,
maintenance, and destruction and offers
Moksa (liberation) to her votaries. She is
the Mother Goddess, the First Female of the Universe. She gave birth to Brahma, Siva and Vishnu and
other gods. Later she gave birth to SivA (Rudrani--female), Brahmani, and Vaishnavi as their consorts. She
is the Mother of all beings in the universe.

A source says that Kali is associated with the waning tithis (digits) of the moon, while Sodasi is
associated with the waxing digits of the moon. Amavasya (new moon) goes with Kali while Sodasi goes
with Purnima (Full moon). Full moon of Sodasi is full knowledge; Kali's new moon is transcendence of all
knowledge; thus, Kali and Sodasi complement each other.
(In the movie "Loc Kargil" the Indian soldiers were invoking Kali and Durga while
they were attacking the rock-fortified positions of the enemy soldiers. They were
invoking the Tejas (Radiant Energy, power) of Kali and Durga to overpower and
conquer...
Got to KALI for more details.
One source tells that Kali is anjana (black, collyrium); Tara is Nila (dark blue); Matangi is
asita (black) or shyamanga; Sodasi and Bhuvanesvari are of the color of rising sun (balarkakanti); Bhairavi
is the color of a thousand rising suns; Chinnamasta is the color of a million suns; Dhumavati is of ashen
color (Vivarna); Bagalamuki is of yellow color (Pitavarna); Kamala is of the color of lightning
(Saudaminisannibha); ShyamAngI is of dark green color; If you think all races are represented in
Mahavidyas, you are right. Kali is primarily black, the Eve of all Eves.
The following is the panegyric hymns of Kali from Mahanirvana Tantra, adapted from Hymn to Kali
(Woodroffe).
HRIM, O destroyer of time; SRIM the Terrific One; KRIM the beneficent one. You are
the possessor of all arts. You are Kamala, Lakshmi Devi. You are Kalidarpaghni,
destroyer of the pride of Kali Age. You show kindness to Kapardisa, Siva with matted hair.
You are KAlikA (devourer) of the one who devours (MahAkAla). You are effulgent as the fires of final
dissolution. You are Kapardini, the spouse of one with matted hair. You are of fearful countenance though
you are the ocean of nectar of compassion. You are a vessel of mercy without limits; you are reachable only
by your mercy. You are tawny, you are fire, you are black. You augment the joy of the Lord of creation,
Krishna (Krishna-ananda-vivardhini). You are KAlarAtri, the Night of darkness in form of desire and yet
you are KAma-pAsa-vimOcini, the liberator form the bonds of desire and passion. You are KAdambini, the
One as dark as cumulus clouds. You are KalAdhArA, the wearer of the crescent moon. You are Kalikalmasa-nAsinI, the destroyer of the sin in Kaliyuga. You are KumAri-PUjana-pritA, the pleased one of the
worship of virgins (as is the custom in Bengal) and KumAri-Bhojana-ananda, the pleased one at the
feasting of Virgins, and KumAri-rUpa-DhArinI, (the one of the form of a virgin). You wander in Kadamba
forest, pleased with its flowers, having an abode thereof, wearing a garland of Kadamba flowers. You are
youthful, of soft voice and sweetness as the cry of CakravAka bird. You like and look pleased with drinking
Kadamba wine. Your cup is a skull and you wear a garland of bones. You like Lotus and its fragrance and
sit on a Lotus, abiding in its center. You move like a swan. You are the destroyer of fear. Your abode is
KAmarUpa (in Assam, where her genital organ fell when Vishnu used his discus to cut the dead body of

Sati carried by Siva after he destroyed Daksa's Yagna). Mother Goddess has many forms in various ages
always being the consort of Siva. Wherever the body parts fell, that place became the holy spot where a
temple in honor of Sati [Parvati, Mother Goddess] was built.) You are KAma-pitha-vilAsini. You are as
beautiful as a creeper; beauty is your ornament. You have a tender body and slender waist. You love
purified wine and bless those devotees who worship you with the wine. You love the smell of musk and
appear luminous with Tilaka on your forehead. You love everything and everybody associated with musk,
camphor, and sandalwood. You are pleased when worshipped with bija Mantra HUm. You are the
embodiment of Kulachara. You show the path of Kulachara to Kaulikas. You are the queen of Kasi and
destroyer of suffering. You give blessings and pleasure to the Lord of Kasi; you are the beloved of the Lord
of Kasi. As you move, your toe-rings emanate sweet sounds, and your girdle bells tinkle. You live in the
mountain of KAncana, mountain of gold (Mt Sumeru). You heart gladdens at the recitation of Mantra Klim.
You are KAma-bija-svarUpini. You are Kumatighni, mover of men in the right direction, KulI-nArtinAsinI, the destroyer of the afflictions of Kaulikas. You are Kula-kAminI, Lady of Kaulas. You are the
destroyer of the fear of death by your three bija Mantras, KRIM, HRIM, and SRIM. To Thee I make
obeisance.
Hindu and Buddhist priests chanted sacred hymns and showered flowers and grains
of rice over a 3-year-old girl who was appointed a living goddess in Nepal on
Tuesday. The girl, Matani Shakya, left, received approval from the priests and
President Ram Baran Yadav in a centuries-old tradition with deep ties to Nepals
monarchy, which was abolished in May. The new Kumari, or living goddess, was
carried from her parents home to an ancient palatial temple in Katmandu, the
capital, where she will live until she reaches puberty and loses her divine status. A
panel of judges conducted a series of ancient ceremonies to select the goddess from
several girls ages 2 to 4 who were members of the goldsmith caste. ---Oct 8 2008
New York Times.
2. Tara, dark-blue in color, as her name implies is a savior and a star. Tara = savior,
carrying a cross; protector. She and Kali are depicted as standing on supine Sava
Siva. (Sava = dead) with left foot planted on the body. Standing on a corpse is
symbolic of victory over disasters and calamities; it is like the hunter standing on the
ferocious animal he killed (with a bait and a rifle, perched on a tree house. Real men
don't do that). Tara is a compassionate mother to Siva. On the urging of gods and
Vishnu, Siva drinks up the spreading destructive poison generated during the
churning of the milk ocean for ambrosia. That night Siva drank the poison to save
this world is called Sivaratri (the Night of Siva). He drinks it up and falls ill. Tara finds
him unconscious, revives him and nurses him back to health with her breast milk
which counteracts the poison. Tara carries a pair of scissors in her hands, which
means that she can sever all attachments. Siva without Sakti is dead (sava). Siva
and Sakti are one integral unit. Four-armed Tara is pot-bellied and wears a tiger skin
and long braids reaching the back of her knees. Tara and Kali are presented in the
images as companions (consorts) of Siva at their feet and at their lap with suckling
Siva. Her protuberant abdomen is symbolic of creation; her large turgid breasts
nutrition, growth, and maintenance; her sword destruction of the universe.

Tara (exoticindia.com)
She holds a knife, a severed head, a sword, an oar, a pair of scissors, lotus and more in varying
combinations. Another source tells She has three eyes, protuberant belly, and turgid breasts; is of blue
complexion; and wears ornaments, snakes, a garland of skulls and a one-braid donut hair. Jata (hair rounded
as doughnut), lashing tongue, terrible white teeth, tiger skin around her waist, and bone ornaments over her
forehead are her other features. She sits on the chest of a corpse. In another form she carries a pair of
scissors, sword, and a skull bowl; her habitat is cremation ground. Buddhist Tara is gentle, while Tantric
Tara is Ugra (fierce, Ugra Tara). Tara and Kali share many of the same qualities and features so much so
that it may be difficult to distinguish one from the other. She likes animal and human blood, particularly the
latter and esp., from parts such as head, forehead, chest, or hands, some of which may indicate locations of
Chakras (Kundalini spiritual centers or planes). Sadhana (spiritual perfection) is Lifeblood of a Sadhaka
(spiritually perfected). Spiritual perfection is what she wants of a votary.
Vamacara Tantrics are the usual votaries of Tara. Vamacara: Viras and Divyas (Heros and
Virtuous or spiritual men) are permitted to practice Vamacara, the left-handed tantric
rites, which involve Madya, wine; Mamsa, meat; Matsya, fish; Mudra, grain; and Maithuna,
sexual union. (Go to Kularnava Tantra for more details.) Day time continence is practiced
and nightly worship with Panchatattva (the Five Ms) is permitted. Vamacara practitioners
regard the impurities, the forbidden and the auspiciousness of the Goddess equally;
lower pleasures of animal passion are only preludes to higher Bliss of Brahman; it is
sublimation, transformation and transmutation from the lower to the higher, from
flesh to spirit, from the mundane to the metaphysical, and from the human to the
divine. The Five Ms only serve as instruments to achieve that objective. It is a common Hindu saying
that we are made of bone, blood, muscle, fat, skin, senses, and bowels and bladder containing feces, worms,
and urine. No one would think of cutting off the bladder and bowels, the storehouses of excrements,
because they hold impure objects. The universe of body is an agglomeration of the auspicious and the
inauspicious, each having a necessary function. The universe of daily living is a blend of ugliness and
beauty; the left-handed worship aims at transcending from the flesh to the spirit. Go to Kularnava Tantra
for more details. Tara's habitat is cremation ground, the periphery of the society,
indicating lack of refrain, rejection of subservience to male dominance, rules and
mores, show of power, might and gore. She is creative, destructive, purifying by fire,
and transformative; she embodies the powers of Brahma, Vishnu, Siva in their acts.
What is Sankarshana fire at dissolution for the Vaishnava sect is Tara's symbolic fire
in the cremation ground for the Saktas; the former is cataclysmic and the latter is
localized. The garland of skulls and the skirt of severed arms--hand is the doer of
Karma--stand for the Sanskrit alphabets and destruction of Karma of her votaries.
Why do heads represent Sanskrit alphabets? Head is where articulated speech or
sound (Vaikhari speech) originates and is the seat of speech center, voice box, the
tongue and the lips. Without the head, there is no spoken word or identity. The
scissors and the sword cut the knots, bonds and Pasas (Bonds, impurities) of the

soul-- which prevent Jnana (spiritual knowledge) from entering the soul-- taking the
soul to higher consciousness and eventually to SatChitAnanda (Being, Consciousness
and Bliss) and Moksa. Destruction (by the sword) leads to release and transformation
to higher consciousness. The severed head is symbolic of severing the mind,
ahamkara (ego), Avidya (ignorance), Kama (lust), Krodha (anger), Raga (passion),
Dvesha (hatred). All these qualities abide in the head. The very fact that man
appears on earth means that his karma is not resolved. Severing the hands is
severing the karma with eventual release of the soul and attaining of moksa.
Thought, word and deed constitute Karma; hand is the doer of Karma and therefore
is logo or the iconic representation of Karma; the skirt of severed hands around Kali's
waist represents her ability to expunge Karma.

Siva-Sakti is the origin of consciousness and Prakriti Tattvas (building blocks) which are made of Gunas or
qualities: Sattva, Rajas and Tamas (virtue, action, darkness). These qualities give limitation, form, structure,
and function to consciousness. Siva's Consciousness finds limitation in a human form. He who remains in a
dark room wants light in his room; he needs only a little light to see; he cannot bring the sun into his room
which will be incinerated by the sun; a sunroof allows sunlight to come in; that is limitation of sun as Siva's
consciousness finds limitation in man. Here the roof is Tamas preventing the sunlight coming into the

room; Sattva is the sunroof that allows the sunlight come into the room; Rajas is the shutter in the sunroof
that can be opened and shut. When the shutter is closed, it is part of the roof. Rajas gives direction or
expression to Sattva or Tamas. Sattva is light; Tamas is darkness and veiling; Rajas is activity. The world
of minerals is Tamas, total darkness and complete lack of consciousness; there is no light and intelligence;
the world of vegetables has a little Sattva and the rest is Tamas; the world of animals has more Rajas, very
little sattva and the rest is Tamas; the world of man has variable amount of Sattva and the rest is Tamas and
Rajas. Sattva in full measure in man is spirituality; as it rises Tamas attenuates proportionately. Rajas is
the engine and gives that motion, that spin to all the physical, chemical, biological, psychological processes
appropriate to minerals, vegetables, animals, and man.
Man is a pasu (animal) in comparison with Viras, Divyas, and gods. The Five Ms are
allegorical of certain principles. Panchatattva = Panchamakaara (Panchamakara) = Pancha =
five + (Makara* = Ms) = Five Ms: Five essentials: Madya, wine; Mamsa, meat; Matsya, fish; Mudra,
grain; and Maithuna, sexual union. Panchatattva practices are within the prescribed limitations and
injunctions; ritual worship and ritual Maithuna are performed with one's own wife. If the sadhaka has no
wife or if the wife is incompetent, he can take another woman for rituals. Drinking of wine is done only
during rituals within prescribed limits. It is a sin to engage in extramarital relations and extra-ritual
drinking. All these received bad publicity and reputation from some abuses. Latasadhana (worship with a
woman) has its privileges and limitations; one, who does not follow the prescribed injunctions, believes in
dualism, and is addicted to lust, is not fit candidate for Latasadhana; he goes to Raurava hell and suffer
from painful excess of the fiery Tejas Tattva.
Makara* = M. Example Akara is for A; Ukara for U; Makara for M. Put together-- AUM. Alpha for A....
Alpha for A.
Killing of man is sin; ritual killing of animals to fulfill the tenets of panchatattva is
rising above duality which means cutting the duality of man's animal nature
(pleasure and pain, love and hate) with the sword of knowledge. The wandering senses in
the ocean of Samsara like the schools of fish should be brought under control and yoked to the self; that is
eating of fish. The woman worthy of love and attention is no other than Sakti that resides (sleeps) in you.
The pasu (the animal man) lets the woman (Deity) sleep in the Muladhara Chakra or pelvic floor, but the
Vira and Divya awaken the deity in him and take her to higher planes. The Bliss, one feels when Sakti
(Kundalini) and Siva meet in the upper Chakra, is the bliss of Maithuna. All other unions are just animal
acts. This is in essence the meaning of five Ms. There are three kinds of people: Pasus, Viras
and Divyas. Pasus are animals in human form; Viras (the hero) are the transitional
beings (man-man) going from animal nature to a higher nature and enjoy Bhoga
(pleasures) of the world. Divyas are god-men and spiritual beings.
Tara's habitat is active cremation ground with smell of burning fires and flesh
hanging thick in the air; Tara is actually the fire itself. Fire is the purifier and thus,
karma is burnt along with other malas (impurities) and ignorance. At her feet she
has either Siva or ghost. Jackals scamper looking for raw or roasted flesh. Tara likes
worship at midnight in the cremation grounds. She is Masana Bhairavi (Smasana in
Sanskrit), the Terrible One of the cremation ground. If you see the diagram of the
Mahavidyas, you will notice that Kali and Tara are the first and the second among the
Mahavidyas.
Tara straddles Hinduism and Buddhism. Students of religion say that Tara was the
Goddess of worship for Brahma, Vishnu, and Buddha and later to Vasistha. Sage
Vasistha performed Tapas for ten thousand years with no results. He went to Brahma
who recommended meditating on and worshipping Tara. It is through her power that
Brahma creates this world, Vishnu maintains it and Siva destroys it. She is the
revealer of Vedas, shines like a thousand suns and is the light in everything that

shines. As a Guru, Brahma initiates Vasistha into worship with Tara Mantra. He sat in
one place in Kamakhaya, worshipped and meditated on Tara for one thousand years
without any success. Vasistha became angry and was about to curse Tara for her
inattention to him. Great Rishis have immense power and their curse inflicts injury to
the recipient, though the latter is a deity. The earth quaked, mountains shook, and
gods were tremulous. Tara appeared before him and pointed to him that he was not
worshipping her in the proper manner and with correct ritual. (One has to follow the
rules and do the right thing to get anywhere.) Yoga and Tapas had no value in her
worship. Buddha, the incarnate of Vishnu, knew her worship. Incarnation: carn means
flesh; being born in flesh. She said to Vasistha that he should worship her in the form of Cina-Tara (nothing
to do with Sinatra; Cina-Tara = China + Tara). That is worshipping of China Tara . The nearest area close
to China was Tibet and so Vasistha went there from India to find out more about Cina-Tara worship. The
Buddha initiated him in the worship of Tara and asked him to go back to India and meditate on Tara.
Buddha's intuitive mystical vision knew the sacred site near the River Dwaraka. Vasistha sat down on five
human skulls in that exact place and meditated and recited Tara Mantra three hundred thousand times. Tara,
pleased with Vasistha, appeared before him and offered a boon; Vasistha in a state of bliss, asked her to
reveal herself as Mother Goddess nursing infant Siva. As said by Buddha, the vision of Tara to Vasistha,
came to pass. Soon after this vision, she froze into a stone with the vision carved in granite; this is the
centerpiece of Tarapitha Temple. The story does not end here. Vasistha had flashbacks of an episode that
happened a long time ago. The following episode explains this further.
Mother Goddess nursing infant Siva: Siva's consort nursing her husband Siva is the
ordinary meaning that everybody thinks. It is not as simple as that. Let me give you
a commonly held belief in Hinduism: incarnation. Let us say that a whole family dies
in Tsunami, earthquake, car accident, terrorist attack, all members at the same
time. According to Hindu belief son may become the husband of his mother at
rebirth; the father may become the son; that sounds repulsive at first thought; it is
the migration of the soul from body to body; memory of prior life is forgotten
mercifully. Karma decides the relationship, environment, heredity and ancestry of
the newborn.
Daksa, father of Sati, conducted a great sacrifice to which he did not invite his
daughter Sati and son-in-law, Siva. Sati invited herself to the sacrifice; Daksa did not
pay any attention due to his daughter. Because sacrificial offerings were not allotted
to Rudra (Siva) which was compulsory according to the canons of sacrifice, Sati,
Sivas spouse flew into a rage and leveled criticism against the Brahmanas and
Daksha (her father) as follows: Brahmanas and Daksa have more regard to wealth
over Soul. They failed to recognize and praise the greatest Soul in the universe, Lord
Siva. His two-syllable name SIVA, when uttered, erased the sins. Brahma wore the
flowers that fell from the feet of Lord Siva. She told her father in the assembly hall
that she was ashamed to own and wear the body born of Daksha (actually Sati was
an adopted daughter of Daksa), who offended the most exalted Soul, Siva. She,
then, went into Tapas (Tapas* = heat, deep meditation) to remove the body
inherited from her father and the last impurities from her soul, commanded the air
and fire to come to her limbs and removed consciousness from her body; her body
went into flames subsequently--spontaneous combustion from the heat of
Tapas. (There are proven reports of spontaneous combustion in humans and
animals.) Unmindful of the self-immolation of Sati, Bhrgu Muni continued to pour
oblations on the Sacrificial Fire, Daksinagni (Dakshas fire), chanting Yajurveda which
had the power of destroying the obstructers of the sacrifice; the opponents scattered in all directions from
the force of the mantras.

Tapas*: Heat. Tapas has two polar meanings and opposites: 1) Heat of sexual
desire 2) Heat from the practice of asceticism. Heat of sexual desire can ruin the
heat of ascetic practice. KAma (Cupid of Hinduism) tries to wean Siva away from his
deep Ascetic Tapas to a desire for Parvati, Siva's consort. Siva woke up in a fiery
mood and reduced KAma to ashes for interfering with his Ascetic Tapas. Tapas in
man deepens Sraddha (faith), confers Jnana (Knowledge) and ensures peace of
mind, all of which helps the Tapasvi to unite with Brahman. The West is of the
opinion that heat treatment, magico-religious power, shamanism, autothermy are of
similar nature. The Tapasvis by virtue of their accomplishment become the residents
of upper heaven (Tapaloka), where they live with the deities who by Tapas attained
immunity from fire. --Harper's Dictionary of Hinduism.
The view from the West.
Self-immolation
Sati: 'In Vedic times Sati, self-immolation of the wife after the death of her husband, was only a mimetic
ceremony, in which the widow climbed on to the funeral pyre and lay beside her husband's body and was
then led away either by a relative or friend, after which the pyre was set alight.' It is a sign of a widow's
devotion to her dead husband. Sat is the origin of Sati and means 'real, true, virtuous'....The ceremony fell
into disuse but later resumed in the 6th century along the Ganges River, Rajputana and Bengal for the
widows of Ksatriyas (kings). Some tribals also practiced Sati. It was real in some and mimetic in certain
cases. In Bengal the year 1817 witnessed 706 cases which were reported to the officials. In 1829, under the
Governor-Generalship of Lord William Bentinck and chiefly the moral influence of Ram Mohan Roy , the
custom was lawfully abolished. The West says that Krishna's eight wives committed self-immolation by
embracing His body at the funeral pyre. The West compares and contrasts Sati with the Egyptian and
Mesopotamian practice of entombment of the wife, slaves and possessions of Pharaoh, who had no say in
the matter. The Indo-Germanic tribes committed immolation of the widow of a chieftain so that she would
accompany her husband to Valhalla, the Hall of Odin into which the souls of heroes slain in battle and
others who have died bravely are received. Odin = the ruler of Aesir and Scandinavian god of war, poetry,
knowledge, and wisdom; Germanic god Wotan, the chief god. Aesir = race of gods. One of the Indologists
from the West suggests that the greed of the priest was the motivating force in the enforcement of selfimmolation of the wife on the funeral pyre to obtain the property of the widow. That inflammatory
statement prompted the present-day priests to hold his feet to the fire on that issue and declared that the
fire-breathing Indologist was full of hot air. The West further says that the conniving priests altered the text
in Rg Veda (X 18,7) from the original statement (AGRE = in front) which asked the grieving widow to rise
from the pyre and go in front of it to an altered statement (AGNEH = into fire) that read that she should go
into the fire. Indologists of the West claim to have seen Sati in Bengal and elsewhere before the law
prohibiting it was passed. We should thank the British for the law enforcing prohibition of Sati.
Rg Veda (X 18,7) 7

Let these unwidowed dames with noble husbands adorn

themselves with fragrant balm and unguent.
Decked with fair jewels, tearless, free from sorrow, first let the dames go up to
where he lieth. English Translation by Griffith.
Siva picked up and carried Sati's burnt physical remains on his shoulders, wandered
and danced madly all over the universe. His dance shook the earth and roiled the
seas, sending tsunamis. This made gods very nervous. Vishnu decided to cut up the
body of Sati with his discus and lighten the burden and Shiva's anguish over the
death of his beloved consort. He deployed his discus fifty one times to cut the body
into 51 parts (there are 51 alphabets in Sanskrit). Wherever the body parts fell, they became
holy. The places became Sakti Pithas (sacred temples dedicated to Mother worship.) When Siva's

burden was cast off, He retired to Kailas for meditation. Sati was reborn as Uma
Parvati and married Siva. Sati's toes fell at Kalighat, Calcutta, where Mother Kali has her temple,
built by a woman devotee in 1847. Sati's womb fell in Kanchi, Tamil Nadu and became the temple for
Kamakshi, the consort of Siva. Mother Kali of four arms, whose "living image" made of black basalt,
stands majestically and fiercely on prostrate Siva made of white marble. She is embellished with gold
ornaments and pearl necklace. A garland of 51 human heads and a skirt made of severed human arms are
part of her accouterment. The lower left hand holds aloft a severed human head; the upper left hand holds a
blood-smeared sword. The right upper hand offers blessings and boons and the right lower hand offers
refuge and dispels fear. She has three eyes; the third eye is the eye of intrinsic wisdom, strikes terror to the
wicked, and offers benign glances of love and affection to the devotees. She is all rolled into One: creator,
preserver, destroyer, Prakrti, Tattvas, sakti, and universal Mother, even to the gods. The third eye of Sati fell
on earth at Tarapitha, which already had a temple for Ugra-Tara, which Vasistha saw before his recent
vision.
In Tibet, Vasistha had a vision of Buddha surrounded by a galaxy of frolicking sky-clad (naked) girls of
heavenly beauty; they were drinking and intoxicated. A voice coming from the sky told him that that was
the way to worship Tara, which would give immediate results. He rejected the idea of joining the girls for
Tara's mercy and spiritual liberation. He went to The Buddha, the incarnate of Vishnu, for instructions. The
Buddha instructed him on PANCHAMAKARAS, by which the aspirant can live in the midst
(of forces) of virtue, motion and passion, and darkness and yet remain
uncontaminated and unaffected by them. Good and bad, purity and impurity, beauty
and ugliness, grace and horror, compassion and cruelty, heaven and hell are all
variations of one theme, the Truth, the Goddess. Vasistha, having been instructed in
Panchamakaras became an adept. Go to TANTRA for more information on Tantric
worship.
The Five M's, known as Pancha Makaaras (Pancha Makaras)
The Five Ma's are the five words beginning with Sanskrit letter "Ma." These
notorious five caused a lot of controversy: Madya (wine), Mamsa (meat), Matsya (Fish),
Mudra (grains) and Mithuna (sexual union). For the modern man, these five acts within the confines of
marriage are normal. Actually, these acts are actively encouraged for one reason or another: mental and
cardiac health (meat not recommended). On superficial examination, it appears that these five acts are sins
of the flesh for the spiritually enlightened individuals in certain sections of India. But in the west, this is
the norm. Most of the epicures are guilty of these five acts, if you call the acts guilt. In the ordinary sense,
there is no law against these five acts and they are not prosecutable offenses. So what is the problem? Man
is drawn to these five in a natural way. In Buddhist icons and sacred texts, depiction of Mithuna or sexual
union carries an illustrative import: Enlightenment or Nirvana cannot be attained by wisdom or compassion
(right action) alone, but by a combination of both. This union of (male) compassion and (female) wisdom
produces Nirvana. If we are all products of compassion and wisdom, there will be no wars, conflicts or
miseries. See what Vaishnava Sacred Text Bhagavatam says on this topic.
Bhagavatam (Canto 11, Chapter 5, Verse 11- 13- 14) states the following: 11) man
is naturally inclined towards enjoyment of sexual pleasure, flesh and wine. No rules
enjoin them to indulge in them. A certain check is provided over these tendencies
(by the Sastra) by permitting sexual commerce with one's wedded wife, meat-eating
at the end of animal sacrifice, drinking of wine during SautrAmani sacrifice; the
intention is to turn man away from them. 12) They do not understand the pure
essence of their religion. Only the smelling of wine is sanctioned and animal sacrifice
is allowed for the adoration of the deities and it is not permissible to kill them for
meat. 13) Those who are ignorant of this Dharma and, though wicked and haughty,
account themselves virtuous kill animals without any feeling of remorse or fear of
punishment, and are devoured by those very animals in their next birth. Translation
from Sanskrit by C.L.Goswami Shastri.

Sexual indiscretion: Indra finds out the hard way the consequences of sexual indiscretion.
Ahalya was the typical beautiful, devoted, faithful, and loyal wife of Rishi (seer)
Gautama, who as usual was performing daily early morning rituals. Indra (married
to Suci) the chief of gods and god of thunder and lightning secretly seduced Ahalya.
The Rishi found out the infidelity of Indra and Ahalya, became angry, cursed his wife
to become invisible and avenged Indra's infidelity by inflicting on him tattoos of
female pudenda (genitalia); thus, he was the walking poster boy for infidelity in
heavens. Some report that the tattoos were a thousand eyes on his body
(SahasrAksa). Another version states that the Rishi Gautama by his yogic knife
emasculated him of his genitals (Vrsana -virility) and substituted it with that of the
goat. (You wonder why goat. Among goats their is no fidelity. Goats are not Ms. Duck
and Mr. Drake, bonded pair for life. Think of the Rocky Mountain Goats who ram their
heads against each other in plain sight of the kids and the does to earn the right to
mate with as many nannies (does) as possible during the rutting season. Lucky for
the he-goat, all nannies come into rutting season at the same time. Now you know
who has the headache during the rutting season. That does stop the ramrodding billy
goat from scoring.) Rama came along many years later and restored Ahalya to her
normal self and brought about reconciliation of Ahalya and Gautama. Indra paid for his indiscretion by
suffering defeat in the hands of Demon Ravana, when his subjects (gods) did not come to his rescue. The
West is of the belief that Markandeya Purana uses this myth to denigrate Indra and glorify Vishnu. This is
one of the many episodes which illustrate the downfall of Indo-Aryan elemental gods and the ascent of
Brahma, Vishnu and Siva and the Mother Goddess (Kali, Durga, Sarasvati and Lakshmi).

Buddhist Tara is an young beautiful girl full of compassion, always at the ready to help the votary in
peril. She appears out of the blue to save the votary, lead him out of dense forests, and rescue him at stormy
seas, from impenetrable prisons and death by fiat. Votaries have been saved from the jaws of death, the
very moment they think of her. Buddhist's Tara uses compassion and kindness while liberating the votaries;
Hindu Tara uses shock and awe while taking them to Moksa. Buddhists adopted Tara from the Hindus and
morphed her in such ways to fit their tenets.
Hindu Tara is Nirguna Brahman, though her clinical appearance (Isvari) have attributes. As Isvari, she is
the mistress of water (Jalesvari), earth, trees, flowers. She is easy of access to her devotees, who do not
have to be initiated by a Guru; she is ready to confer boons and blessings without special prayer, mantra, or
meditation. As she takes her votary from Avidya (ignorance) to Vidya (knowledge), she (Samsara-Tarini)
takes him or her across the ocean or river of Samsara to the shores of enlightenment, liberation, bliss, and

moksa. Tara = carrying across, saving. Thus, Tara carries an oar to save the votary lost in the ocean of
Samsara. Tara of Tarapitha temple is a benign Goddess whom the devotees regard as loving indulgent
Mother. She appears as nursing mother suckling baby Siva.
Ugra Tara is different in that she appears with four arms, a garland of skulls, and a lolling tongue.
Devotees offer goat sacrifices to her.

Rajarajesvari: TPS and Sodasi are her other names. Credit: exoticindia.com
Tarasaktakam from The Nila Tantra
In praise of Tara
The bija of Tara is Hrim, Strim, Hum, Phat. She has many names: Nilasarasvati because she has the power
of speech; Tara because she is a savior and giver of pleasure and liberation; Ugratara because she saves the
devotee from calamities. According to her qualities she has different vidyas or mantras: Srim, Hrim, Hum,
phat for granting wealth and beauty; Hrim, Hrim, Strim, Hum, Phat for granting all desires; Aim, Hrim,
Srim, Hum, Phat for facilitating speech; Hrim, strim, Hum, Phat for granting liberation. Her Yantra is a
circle with eight-petal lotus inside with down triangle in the center with Hum.

1. You are the grantor of wealth and prosperity to your devotees and I seek refuge with you. Your hands
hold a knife, a skull, a lotus and a sword; your three eyes are like fully blossomed lotuses. You have a
smiling face while you stand on Siva with your right foot on his chest and left foot upon his thigh.

2. You are the presiding deity of speech. You are slender like a creeper, granting Yogam, Bhogam, and
Siddhi and the facility to compose verse and prose. Your three eyes are like blue lotuses. You are the
unrivalled ocean of kindness and compassion. I pray to you so that you shower me the nectar of wealth.
3. O Sharabha, you dispel my fears. O Proud Lady, You wear brilliant garments. The serpents coil around
you and you wear tiger's skin. Tinkling bells grace your waist. You hold in your hands two freshly cut heads
of demons dripping blood. You wear a girdle of severed heads of demons as a garland. O formidable one,
You are so beautiful.
4. O Devi Tara, You are difficult to attain; I take refuge in You. Your beauty speaks of love and charm. You
are the Bindu and the Half moon (Chandra Bindu). Your substance is Hum and Phat. You are the Mantra
itself and offer refuge for all. You have three forms: subtle, gross and Supreme. You are beyond the Vedas.
5. By serving your lotus feet, your devotees attain Sayujya Mukti. O Parameshvari, You are the consort of
Brahma, Vishnu and the three-eyed One (Siva). The ignorant worship Devas, Indra and others who are
themselves are caught in the wheel of Samsara. O Mother, your devotees who know you serve you at your
feet.

Gnanamargam or
path of knowledge

Satputramargam or
path of the son

Sakhamargam or path Dasamargam or path

of companion
of Servant

Sanmarga-Union- Sarupa-LikenessSayujya
Sarupa

Samipa-Nearness- Saloka-Siva's
Kriyamarga
world-Dasamarga

Mannickavasagar

Sundaramurthy
Swamigal

Sambandar

Appar (rich peasant

family)

The paths to attain the Mother Goddess are four: the path of slave (Dasamarga), the
path of companion or nearness (Samipa), the path of likeness (Sarupa) and the path
of knowledge (Sayujya- union). The devotees will be born accordingly to progress of
these four stages; Sayujya is the last step before union.
6. O Mother, The Devas who carry the dust of pollen from your Lotus Feet on their
head gain victory over their enemies only because they rest in your lap. Their
disdainful enemies with frivolous claims of bravery perish and die as they befit them.
7. The lesser divinities--Bhuta, Preta, Pisasa, Raksasa, Daitya, Danava, Yaksa and
other creatures--take to their heels when they remember you and don't have the
power to do any evil.
8. Siddhi is the gift to those who serve at your lotus feet. He is more eloquent than
the Lord of speech and more beautiful than the god of love, Kama. He can charm,
mesmerize and paralyze the battle field elephants. He can stop the flow of water. He
controls Siddha and prosperity.
The Pure and the self-controlled, reading these eight verse three times a day at
morning, noon and evening, receives the power from the Mother Goddess to write
beautifully in prose and poetry, become knowledgeable in Sastras, accumulate
imperishable wealth, enjoy all bhogas of his choice, fame, beauty and wealth, earn
the love of men and at the end attain liberation.

---------------------------------------------------------------------------------------------------------------3. Sodasi (Shodasi) is a maiden of sixteen (years of age) and represents totality,
youth, vigor, and perfection. She goes by other names, Rajarajesvari or
Tripurasundari (TPS). Tri+Pura+Sundari = Three + City + Beauty. Three cities = the three realms of
heaven, earth, and air or Sun, Moon, and Fire. (See the woodcarving above--credit: exoticindia.com.)
Pradhana, the First Principle and the body of Siva became tripartite: the upper part, Brahma, the middle
part Vishnu, and the lower part Rudra; thus, Siva is Tripura and his consort, TPS, is Tripurasundari. Siva is
Tryambaka (Father of three, Brahma, Vishnu, and Rudra. TPS is Vimarsa Sakti in whom all 36 Tattvas
exist. Tattvas = building blocks of the universe.
TATTVAS-36. Vimarsa Sakti is the Object of experience. Siva is Aham (I). TPS is
Vimarsa (This or Idam). She is the Universe. When a King (Siva) looks at his own
reflection in a mirror and says, "I am he who is thus reflected." Siva is looking at His
own power (in the mirror or Sakti). He is the Perfect "I". AHAM is the union of A =
Siva + Ha = Sakti. M is the terminator of the word.. Siva is Knowledge (Jnana
Sakti) and Action (Kriya Sakti). He is Illumination (Prakasa). Siva is Sita or white
Bindu or Moon; Sakti is Sona or red Bindu or Fire. They are the divine couple:
KAmesvara and KAmesvari. The union of the couple is the Mixed or Misra Bindu or
the Sun. All three Bindus are termed KAmakalA. Sun, Moon and Fire are
Illumination and Bliss. They contain within them an endless mass of letters and
Mantras. Thus they are the origin of letters and words of all languages. Misra Bindu
has the creative aspect and is the origin of the manifested word (Vak) and its
meaning (Artha). NAda Sakti comes forth in seed form from Misra or Mixed Bindu,
which is the union of A and Ha. Maha-TPS (Great TPS) is diagrammatically
represented by the three Bindus, three lines and triangular Yoni. Her face is
the First Bindu (Blue Dot) at the top of the diagram and the Sun. The lower two
Bindus are her Breasts (Moon and Fire). The three lines are the folds below the
breast, a mark of Divine Beauty. The Triangle is half of Ha (Sakti) and Yoni (Womb).
That which issues out of her Yoni is NAda, the origin of all sounds. The word is
Brahman and the Universe is Brahman. The lower two Bindus (Moon and Fire) are
inseparable Prakasa and Vimarsa. He is Vak (word) and She is Artha (meaning).
He is Mantra and She is Realization. When Sadhaka attains realization by Sadhana,
Devata appears as Artha (meaning) of the Mantra (Vak or word). Thus Yogi
meditates on Mother Maha-TPS who is MahAkalA and the aggregate of three Bindus.
Vijnana-BhattArka says. "A Yogi by passing through various Mandalas in Sri Chakra
containing the gross letters rises up to Ardhendu, Bindu, NAdAnta and to SUnya in
BindurUpachakra and becomes Siva. The West says that this is the worship of
Pudendum Muliebre. The down Triangle is the Womb of Divine Mother of the
Universe, Maha TPS. This is the Locus of Secret play of Siva and Sakti as Moon and
Fire; the product of this Combine is the Sun (Divine Energy), the origin of Name
(NAma) and Forms (RUpa = Form = Meaning). Here Moon, Fire and Sun do not refer
to the entities that we ordinarily associate with but to Siva, Sakti, and the word (the
origin of the universe).

The sun reigns our soul and the moon our mind. Sun and Moon are Devatas; Rama descended from the Sun
and Krishna the Moon. The waxing and waning moon affects the
mind and the mood. Tripura Sundari sits on a couch whose legs
are Siva, Vishnu, Brahma and Rudra. In Tantra literature, there
are five Sivas: Sadasiva, Isa, Rudra, Vishnu, and Brahma; all of
them are described as Mahapreta ("Five Great corpses") because
they are all inert without Sakti. Siva is Sava (corpse, Sava
Rupa); hence, Sakti Devi (TPS) is portrayed as standing on
Sava-Siva. (Remember the Maharaja standing on the tiger he
killed! The British took up the sport by aping the Maharaja.) The
Five Great Corpses (pancha-maha-preta or Pancha Mahapreta)
become inanimate objects upon which Devi (Sodasi) sits,
reclines, presides, and merges as Consciousness. Siva is the
couch; Sadasiva is the mattress; Isa is the pillow; Isa, Rudra,
Hari (Vishnu), and Brahma are the four legs of the couch.
Tripurasundari/Sodasi reclines majestically on the couch. (This
picture shows that she is sitting on top of Siva on a couch whose
legs are the four deities.) In another portrayal, Devi is united
with Paramasiva in the palace of Cintamani stone in the Jeweled
island full of Kadamba trees surrounded by ocean of Ambrosia.
(A source says that there are seven Sivas: Parasiva, Sambhu and
the five Mahapretas.)
Kubjika Tantra states that the portfolios of creation,
maintenance, and destruction are held by Brahmi, Vaishnavi and Rudrani, and their husbands are dead
bodies. In the West, man has the power; in the India, woman (goddess) has the power; god is the wielder of
power; god without Sakti or power is dead for practical purposes.
Sankaracharya (788-720 CE) makes a reference to the gods who became the couch of Devi or
Tripurasundari. in his poetical composition, Saundarya Lahari, Flood of Beauty.

gtaSte mTv< ih[hirer-&t>

izv> SvCDCDaya "iqt kpq CDdpq> ,
TvdIyana< -asa< it)lnraga[tya
zrIrI z&arae rs #v za< daeiGx k
tukm! . 92 .
92. Gats te macatvam druhia harirudr eshvara-bhita
iva svacchac-chy-ghaita-kapaa-pracchada-paa .
tvadynm bhsm prati-phalana-rgruatay
arr rgro rasa iva dim dogdhi kutukam .. 92
92. Your surrogates Druhina, Hari and Rudra have assumed the shape of a cot (being
its four legs to serve you), while Sadasiva white in color becoming the bed sheet
appears red from the reflection of your color and presents Himself as the
embodiment of love and joy to Your eyes.

Devi is a palette of contrasts. She is Avidya (nescience) because she obscures and
binds; she is Vidya (knowledge) because she ends Samsara and gives liberation and
moksa. She is Vasaka Sakti and Vakya Sakti; Vakya Sakti is Brahman without
attributes (Parabrahman); she is the goal of Upasana; ordinary mortals except
perfected Yogis cannot realize him. Tantrics worship Vacaka Sakti, the clinical Brahman,
Sabdabrahman, Saguna Isvara, Saguna Brahman, or god with form; She is the fruit and the nut. She is the
essence and the fruit. She is the manifestation of Cit and Cit itself.
Noose is attachment and Moon is the icon for it; the goad is repulsion, the icon being the sun; Sugarcane
bow is the mind. Noose is a centripetal force drawing man towards the Goddess; the goad is centrifugal
force sending man on Pravrrti marga; mind is the seat of the senses which can send a person on Pravrrti if
not controlled, and to Nivrrti if controlled. There are more threes below. Pravrrti Marga is the
embodiment of human soul and its appearance on earth to eat the fruits of Papam and Punyam (Sin and
Merit). Nivrrti Marga is to shed the three Malas (impurities) of the soul, experience Saktinipatam (descent
of Grace into the human soul), and undergo Odukkam (merger) with the deity. In Christianity, the
Holy Grail is God's Grace readily available to all but realized by the spiritually
perfected ones. The Holy Grail is the Cup or Chalice used at the Last Supper. Grial in
old French and Gradalis in Latin mean a dish.
Grail = Also called Holy Grail. a cup or chalice that in medieval legend
was associated with unusual powers, esp. the regeneration of life and,
later, Christian purity, and was much sought after by medieval knights:
identified with the cup used at the Last Supper and given to Joseph of
Arimathea.

Insert: TPS sitting on the couch with the foursome deities supporting it as legs. exoticindia.com

She is Tripura because her body is made of three Saktis:

Brahmani, Vaisnavi, and Raudri. The three cities are a
metaphor for Goddess with three qualities: Sattva, Raja
and Tamas (virtue, motion and passion, lethargy). She is
the transcendent beauty of three cities or three gunas or
the three cities of the demons. These triads are called
Ktas ( Kuta, peaks, summit, prominence) or peaks of
Sri Vidya Mantra. Vidya of TPS consists of three
syllables. Pancha-dash-akshari (5 + 10 + syllables).
Mantra is of three peaks (Kuta): Vagbhava-kuta,
Kamaraja-kuta, Shakta-kuta. She is the Pervader of the
three worlds: Heaven, earth and netherworld. She is the
ruler of three bodies: Karana, Suksma and Sthula-causal, subtle and gross. TPS is the Self in the three
states of consciousness of man: wakefulness, dream
sleep, and deep sleep. She is also the Self in Turiya and
Turiyatita in Yogis--my interpolation.
Chanting of the thousand-syllabled Mantra (Sahasraksari
Vidya) accompanies worship of the deity and offering of
fistful of flowers (Puspanjali); worship concludes with
the Kadi Mantra Ka, Em, I, la, Hrim, Ka-Sa-Ka-Ha-LaHrim, Sa-Ka-La-Hrim, (Aim, Klim, Sauh, Klim, Aim, Srim). The 1000-syllabled Mantra consists of powerepithets, Siddhis, Nityas and Kadi Mantra of Lalita. The Guru offers flowers to the disciple who offers
them to the deity. Of all the Vidya mantras, Kadi Mantra (starting with K) and Hadi Mantra starting with H
are the most efficacious.
Sankaracharya says the following in the 32nd verse in Saundarya Lahari.
Syllables ka, e, i, and la with corresponding names Siva, Sakti, Kma, and Kshiti;
syllables ha, sa, ka, ha, and la with corresponding names Ravi, Sitakirana, Smara, Hamsa
and Sakra; and syllables sa, ka, and la with corresponding names Par, Mra and Hari
together with Hrllekhas syllable Hrim appended to the end of each of the syllables of the

three groups become your syllables and parts of Your name (Mantra), O Mother
(Tripurasundari = three city beauty--TPS, Sodasi).
Hrim: H = Siva, R = Fire, I = Maha Maya, m = Mother of the universe and destroyer of misery.
Srim16 ) TPS
Kadi Mantra lead to spiritual enlightenment; Hadi Mantra lead to earthly prosperity in
this life and hereafter. That is why Kadi practitioners offer worship of Involution
(Nivrrti) going from the perimeter of Sri Yantra to Bindu ( from the world of matter to
Bindu, the point of Spirituality. The Hadi practitioners do the centrifugal worship from
Bindu to the periphery of Sri Yantra in their desire to acquire material prosperity.
There are other interpretations as follows, advised by Kaivalyasrama.
Ha = Siva; Sa = Sakti; ka = KAma; la = Ksiti. Kaivalyasrama omits SRIM of
Lakshmidhara.

anthocephalus cadamba
king

Three Upasana (worship) Mantras:

Kadi Mantra, Vaghbhavakuta: ka e i la hrim
Hadi Mantra, Kamarajakuta: ha sa ka ha la
hrim
Sadi Mantra, Saktikuta: sa ka la hrim
The SriVidya Mantra encompasses the following six individual or composite entities:

1)TPS;
2) the Five Great Elements (Ether, Air, Fire, Water, and Earth) and thirty-six Tattvas
(building blocks of the Universe--TATTVAS-36);
3) the identical nature of individual atman or soul, the Guru and Siva as the three peaks
in one unity;
4) the non-difference between Vidya Mantra, the planets, the Indriyas (motor and sensory
organs) and their objects;
5) the world of matter and Spirit; the Kundalini Chakras of the body; and
6) SriVidya mantra, and all entities of the universe are partless.
Kadi Mantra): The Mantra begins with Ka. Kadi confers spiritual progress according
to its proponents.
1. Ka, Em, I, la, Hrim = 5 syllables = Vagbhava, Vama Sakti, Brahma, Jnana Sakti and
Eastern face.
2. Ha-Sa-Ka-Ha-La-Hrim = 6 syllables = Kamaraja, Jyesta Sakti, Vishnu, Ichcha Sakti
and Southern face.
3. Sa-Ka-La-Hrim = 4 syllables = Sakti, Raudri Sakti, Rudra, Kriya Sakti and western
face.
The 16th syllable (secretive kamakala) is secret and is given to the qualified pupil by a
bona-fide Guru.
The fourth part is hidden, a secret syllable and Sambhunatha, an aggregate of three saktis of knowledge,
Will and Action (Jnana, Itcha, and Kriya), and the Northern Face or Amnaya.

Guru Lakshmidhara gives Srim (the secret syllable) as the last symbolic syllable attached
to the 3rd string of SakadiMantra. Srim gives completeness or roundness to Srividya in
that Vidya has the syllable Srim as its seed.
Lalita Sahasranama says TPS is KLINKARI represented by Bija Mantra KLIM, also
known as Kamaraja Bija. Hence KAma BIja is Klm; when "Ka" and "La" (K and L) are
dropped the remaining "m" is known as KAmakalA in Turiya state. TPS or DEvi is the
creator/creatrix of Klim Mantra or Klinkari; Siva is Klmkra and Sivakma. One source
tells that Ka is Krishna, La is TPS or Laita, "im" is Bliss.
Hadi Mantra (Lopamudra Mantra). The mantra begins with Ha. Hadi mantra
confers prosperity now and hereafter.
Ha/Sa/Ka/La/Hrim = 5 syllables
Ha/Sa/Ka/Ha/La/Hrim = 6 syllables
Sa/Ka/La/Hrim = 4 syllables
15 syllables
The two are known as KaHadi Mantra. The devotees diverge in their worship of Sri
Yantra; the Kadi line devotees worship Sri Yantra centripetally (from outside to the
center); the Hadi devotees centrifugally.
The story behind Lopamudra
Lopamudra is named after a girl who was made out of the most beautiful parts of animals: the eyes of a
deer, the gait of a lion. Lopa = loss (sustained by the animals.) What the animals lose is gain for the most
beautiful girl who is a living agglomerate of transplanted animal parts from myriad animals.
Mudra = seal, stamp, finger position.

Agastya Muni put together the quintessence of all living beings and created the most
beautiful girl and called her Lopamudra, whom he gave to King of Vidarbha as daughter,
though the latter did penance for a son. The king, pleased with getting a daughter, raised
her with many maids to attend to her needs. Lopamudra grew up as a very beautiful girl.
Agastya came to the King and asked for the hand of Lopamudra in marriage to him. At
first the king was hesitant to marry his daughter to Agastya Muni, who wore bark and
matted hair. Afraid that Agastya may curse him, he was suffering inside. Lopamudra
broke the dilemma by coming to the King and asking him to give her in marriage to the
Agastya Muni. This was a child marriage, which was not consummated. When she
attained puberty, Lopamudra stood by the Muni and desired for a child. Knowing his
habits and habitat, she demanded that she would accept union with him only if he wore
flower garland and ornaments and he would give her divine ornaments. Penurious
Agastiya sustained a shock hearing Lopamudras demands. He went to three kings,
Srutarva, Bradhnasva, and Trasadasyu asking for money; all of them showed their empty
treasury but willingly accompanied Agastya in search of money. The three kings and
Agastya went to a noble Asura king of Ilavala, who gave him all the riches he needed and
more.

The other peaks in the triad are as follows: Brahma, Vishnu and Siva; Sun, moon and fire. The Sri Vidya
Mantra contains mystical artha (meaning), and is the Mantra of Tripurasundarai and is a string of fifteen
syllables (Pancha-Dasa-Akshari Mantra with three peaks) without any apparent meaning based on Sanskrit
letters and sounds" ka, e, i, la, hrim, ha, sa, ka, ha, la, hrim, sa, ka, la, hrim.
There are other triads too. By the Will of Pradhana (First Principle), the body of
Siva has three parts: upper Brahma, middle Vishnu and lower Rudra, which are the
three cities or bodies, thus Siva is Tripura and TPS is Tripur. Sivalingam in Gudumallam
temple in Andhra Pradesh has three parts: upper Siva, middle Parasurama with a head gear and lower
Gandharva, the last being the transmuted Brahma (into Citrasena, the Gandharva) under a curse. The
physical appearance of this three-part Lingam corresponds to the erect phallus with retracted prepuce, the
glans being Siva, the head gear being the retracted raised circular cuff of the prepuce of Parasurama and the
proximal shaft being transmuted Brahma: my opinion). The Nadis she resides in are three: Susumna, Ida
and Pingala--Central and subtle, left and right Nadis. Her Saktis are three: Iccha, Jnana and Kriya. Since
She is many Triads, she is Tryimayi.
Notes from Hymns to Goddess Tripurasundari.
She wanders in the Kadamba forest meaning that the Kadamba forest is
synonymous with the universe. She is the wife of Tryambaka, the father of Brahma,
Vishnu, and Rudra. She is Ambika, meaning the Mother Goddess. As the cloud
columns rains and quenches the thirst, TPS quenches the spiritual thirst of the Munis,
the Silent Sages. The mountains rival Her callipygian hemispheres. Note: She has
beautiful buttocks (Nitamba). Compare the poetic expression to the Grand Teton
Mountains of Jackson Hole Wyoming which rival the shapely breasts. Celestial
damsels are at attendance to serve her. She has the eyes of newly blossomed lotus.
She is dark blue like sky peering through the dark nimbus clouds.
I seek refuge with TPS, the Consort of the three-eyed One. She, the large-eyed One,
dwells and wanders in the Kadamba forest, holding a Golden Vina (stringed
instrument), wearing a necklace of priceless gems. Her face beams with rouge from
wine. She of Great Mercy bestows good fortune on Her votaries.
She abides in the Kadamba forest protecting us all. Her weighty breasts, adorned
with a garland of gems, rise like great mountains. Her cheeks show a flush from
wine. She is like a dark cloud singing melodious songs and playing. Playing is the
sport and avocation of Devas. Devi as such is Lalita and LilamAyi; creation and every
act are Lila (play). She shows compassion to one and all.
TPS gives refuge that I seek. The Consort of the three-eyed One abides in the
Kadamba forest. She sits in the golden circle and moves as Kundalini in the six Lotus
Chakras. Her beauty is like that of the Jaba flower (China Rose or Scarlet Hibiscus).
Her eyebrow sports the full moon.
I seek shelter from TPS, the daughter of Matanga; She speaks sweet words. Vina
abuts Her breasts. Curling hair of Her locks beautifies Her head. The destroyer of the
evil ones abides in the Lotus (Padma or Lakshmi); Her eyes are red with wine. She is
the Enchanter of the enemy of god of love.
The god of love (Manmatha/Kamadeva --Cupid) shot flower arrows to induce love
and passion for Parvati and disturbed Siva while he was in Yoga. Siva opened His
third eye and burnt him down to ashes.

I take shelter with TPS, the Consort of the three-eyed One, who should be meditated
upon in the very first blossom of Her nubile self which stained her blue skirt with
drops of blood. (Menarchial event in the girl). She held the wine goblet and rolled her
eyes with Her breasts held high and close together; Her dark hair was disheveled.
I worship the Universal Mother always served by celestials. The Consort of Indra
braided Her hair; The Spouse of Brahma applied unguents and sandal paste; the
Consort of Vishnu decorated her with beautiful jewels.
While I chanted, I saw the mother radiant like the scarlet Hibiscus; Her body was
painted with saffron and sandal paste; She had musk on her hair, She sported
smiling eyes; She donned ornaments, garments, and a garland. She holds an arrow,
bow, noose, and a goad. She is Sarvamohini, the charmer of men, Devas and
Daityas.
Sanskrit Tri (3) is cognate with three (3). Now you know if it is not for Sanskrit we won't know how to
count! Besides the humor, the Zero was an invention of India which the middle-east borrowed and passed
(it) on to the west and the rest. Sanskrit is the mother of languages. That is why Sanskrit and many of
European languages come to be called Indo-European family of languages. The first written text in living
letters in the world is Rg Veda. Genetically and linguistically speaking Indians and Europeans are called
Indo-Europeans. Some Indians gloat that the Indians gave the math, the speech, the language and the genes
to the Europeans. Since Europeans had less of sun exposure in their lands, their skin adapted to a lighter
tone to absorb as much as possible of the little available sunshine to manufacture vitamin D. As you know
melanin pigment blocks the sun. The Africans and Europeans have two variations of the same gene, Duffy
gene. The Africans acquired the gene and dark color 1.5 million years ago to protect themselves from the
scorching sun and prevent the sun's Ultra-violet rays from destroying the Folic Acid, deficiency of which
produced newborn infants with spinal meningocele (exposure of spinal nerves in the back from birth
defects in spine and the skin). When the original Europeans black in color went to Europe, their Duffy gene
mutated to adapt to existing deficient sun exposure thereby the melanin pigment-bearing melanosomes
(pigment cells) in the white skin became smaller in size and more dispersed (scattered) making them look
white and admit more sun light. The white skin still has pigment cells. In the black skin the pigment cells
are large and compacted together, thus giving a black skin, the tone and depth varying according to the size
and compaction. Just an example to illustrate this point: take a white person with freckles. Just imagine the
freckles are the pigment-bearing cells under the skin, which they are. That is European white color. Take
the same person and throw in more and bigger freckles; wherever there are white spaces, fill them with
freckles; now you have a white person who looks black or brown. This illustrates the size and compaction
of melanosomes. The scientists say that sexual selection was responsible for the perpetuation of black or
white color among the races. Africans preferred blacker person to partner with and the whites preferred to
partner with the whiter person, all this to have a healthy progeny. Here again there is another version of the
same story.
Dr. Pritchard's list of selected genes also includes five that affect skin color. The selected versions of the
genes occur solely in Europeans and are presumably responsible for pale skin. Anthropologists have
generally assumed that the first modern humans to arrive in Europe some 45,000 years ago had the dark
skin of their African origins, but soon acquired the paler skin needed to admit sunlight for vitamin D
synthesis. The African Adam and Eve take the ultimate credit for being the trunk and roots of the tree of
human race.
Mark Twain said: India is, the cradle of the human race, the birthplace of human speech,
the mother of history, the grandmother of legend, and the great grand mother of
tradition. Our most valuable and most constructive materials in the history of man are
treasured up in India only.

http://www.pbs.org/previews/storyof1/
To know about the story of 1 (the origin and dissemination of 0 and numbers) click
on the link above.
Excerpt:
The Indian numbers were a smash hit across the Islamic world before they were
finally brought to Europe, where they met fierce resistance. It took 500 years for the
battle between Roman and Indian numbers to play out, but by the 16th century, the
Indian figures, now commonly called Arabic numerals (Read Indian numerals- my
input), finally triumphed - perhaps because Florentine mathematician Fibonacci
showed Christian merchants how useful Indian numerals could be, for instance, for
calculating profits.
But the story doesn't end there. Within a hundred years, German mathematician
Gottfried Leibniz invented a binary system, using the Adam and Eve of mathematics,
One and Zero. Since then, as the language of computers, this two-digit binary
system has come to dominate every part of modern life.
The story of the number one is the story of Western civilization. Terry Jones ("Monty
Python's Flying Circus") goes on a humor-filled journey to recount the amazing tale
behind the world's simplest number. Using computer graphics, "One" is brought to
life, in all his various guises, in STORY OF 1, airing on PBS Wednesday, March 29,
2006, 8:00-9:00 p.m. ET. One's story reveals how celebrated civilizations in history
were achieved, where our modern numbers came from and how the invention of zero
changed the world forever - and saved us from having to use Roman numerals today.

1. TPS is the Sri Vidya Mantra herself.

2. Mantra and the five elements are the same, elements being Earth, Water, Air, Fire,
Ether. go to ETHER THE OPPRESSOR for details.
3. Mantra and thirty six Tattvas are identical. Go to TATTVAS-36 for details.
4. Siva, Guru and atman (pure state) are identical.
5. Unity and identity among Mantra and planets, Indriyas (senses) and their objects, matter and spirit.
6. Mantras play a strong role in Kundalini Chakras. Go to Kundalini Power.

7. Mantra brings unity in all creations of the goddess.

8. Sri Vidya Mantra and Sri Yantra Chakra are the sound body of TPS and its representation in a diagram.
Mantra is the sound element; Yantra is the visual element of TPS. See below for diagram.
she goes by other names: Kamesvari, Lalita, Rajarajesvari, Srividya. She is the third most important
Mahavidya after Kali and Tara. She forms one of the Triune, Adi Mahavidyas (Primary and primordial
Mahavidyas): Kali, Tara and Tripurasundari (TPS). While Kali is an amalgam of Sattva, Rajas and Tamas
and the Supreme Reality, TPS is mostly Sattvic. Lalita Sahasranama hymns her praise very
effusively. She glows like the rising sun; she sports arrows, a bow, a goad and a
lasso.
Lalita Sahasranama hymns her as Sri Mata (sacred Mother), Sri Maharajni (Great Empress). That she
is the Supreme reality is expressed in the hymn 58 as Sri Panca Brahmasana Sthita (Sitting on the
five: Brahma, Vishnu, Rudra, Isana and Sadasiva. Her Yantra is Sri Chakra or Sri
Yantra and her mantra Sri Vidya. She is an important Goddess in Tamil Nadu and
Kashmir for Sri Vidya Cult.
Tirumular of Tirumantiram describes her as follows:
Verse1046

.
Verse1046. 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 (Siva-Mahesvara);
Manonmani, Sakti of Sadasiva, the grantor of Grace. Manon+ mani = Mind + Jewel, name of Durga,
Parvati. 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.)
Verse 1047

.
Verse 1047. describes her of three cities-A-Ka-Tha Triangle (KAmakalA), three forms,
three colors (red, gold and white), and three boons of knowledge, enjoyment and
Moksa (Kalvi, Bhogam and Mukti)
She is Tripure, who is the treasure of Kula and a red beauty. Tripure = three cities;
three Bindus (three circles); three lines; three angles; three syllables; three lines of
Bhupura of Sri Yantra; creator of three Devis (Vama, Jyestha, Raudri) and three
Devatas (Brahma, Vishnu and Rudra); Iccha, Jnana and Kriya; three Kutas; three
Bindus as the face and two breasts; Rajas, Sattva, and Tamas. Traipura Trikona
(Triangle) in Muladhara is the Sthula aspect of the Suksma Sakti in Sahsrara.

Verse 1048:

Verse 1048. Tripurai bestows Nada and Nadanta; She as Para Bindu becomes many and thus,
the universe evolves. She is Parai, the Sakti of Para, the Supreme Siva; Abhirami of exceedingly
incomparable beauty; and Agochari beyond cognizance and comprehension. She bestows Arul and Bodham
(Grace and Spiritual Knowledge).
Siva and Sakti are one. Prapanchasara Tantra says Parabindu splits into two parts: the
right side is Bindu (male, Purusa or Ham) and the left is Visarga (female, Prakrti or
Sah. The union of Bindu and Visarga is Hamsah which is the universe.

Para Bindu is Siva Tattva

Synonyms are Sunyatisunya,

Unmani with No KalAs (parts). = NishkalA Nirguna Brahman. = Siva Sakti,
Parabindu, the abode of Siva, Kundali and Jiva merger in Sahasrara; Parabindu, the supreme Nirvana sakti, Nirvanana KalA, AmA KalA (that digit of the
moon from which nectar is derived) and the Fire of Nibodhika. - Nirguna Siva.
Isvara of Sahasrara is not the creative aspect. Supreme Bindu is in Maha Vayu and
Chandra Mandala. Bindu is void and Supreme Light, formless and decayless.
Supreme Guru is Siva residing in Sahasrara - Sivasthana. SarvAtma Siva. Nirvana
Sakti, the Sakti of Parabindu. The Mother of all three worlds. The knower of
Sahasrara attains Jivan Mukti. Sri Chakra in SahasrAra in the form of ParA sakti in
the middle of the Chakra, Baindava. She rests united with SadAsiva. She radiates
myriad rays, 360 of which illumine the world in the form of Fire, Sun and Moon.
Rays: Agni = 118; Sun = 106; Moon = 136. They light up the macro- and
microcosm. 360 rays make a year and KAla (Time). Siva is partless; He has no
KalAs.
Verse 1049:

Verse 1049. She wears anklets, a red silk sari, a diadem, and ruby ear-rings; her
breasts are contained in corsets; she holds flower arrows, a sugarcane bow, and
goad with noose.
Comments: The five flower arrows are the five senses: sound, smell, sight, taste and touch. When the
senses are controlled and extinguished, the flesh dies and the spirit rises. The sugarcane bow is the mind. If
the mind is the seat of the senses, it launches the senses. If the mind is controlled, the senses come under
control with the rise of spirit. Noose draws the devotee to the Bindu by a process of Nivritti, involution and
centripetal movement of the soul to wards the central Bindu. The goad represents the longing of the soul to
worldly objects, a process known as Pravrrti, evolution of the soul and centrifugal movement of the soul
from the center. Her ornaments, clothes and ample breasts (KAmakalA) indicate her auspiciousness,

sexuality and independence. Tantra says that she is three Bindus in one set as
face and the bottom two are Hari and Hara (Vishnu and Siva).

The top one is Her

1050:

Verse 1050. She wears Kundals on Her ears. Her brows curve like the killer bows;
her magnificent form is of ruddy complexion; she wears a necklace of Rudraksha
beads, a garland of flowers and a crown where the crescent moon shines; thus,
arrayed, Chandika stands supporting all four directions.
Verse 1051

.
Verse 1051. Tripurai is Puraatani, Parvati the ancient; She is Mohini whose beauty
never wanes; She is Karidini whose magnetic attraction radiates in four directions;
She is the purest of the pure sitting on a round of Lotus flowers. Ganga remains in
her tresses. She sees the Truth.
Verse 1052-1074. She is the repository of Bliss; She is atom within an atom; She is divine
manifestation; She is the Supreme Intellect. There are no Amarars (celestials), who know her not; there is
no Tapas without her; nothing gets done by the Five (Brahma, Vishnu, Isa, Mahesvara, and Sadasiva) if not
for her; She is the only path to liberation. They, in the know, know She is Parasakti; She is Ananda; She is
Formless; She is Param. Where there is Siva, there is Mahadevi; She is the Protector of life where there is a
body in flesh (and blood); Where there is sky and space there she is and beyond too; She is all-pervasive
and reigns over all. She is Parasakti and Masakti and in many ways she is a nurturing and protective Sakti.
She supports and protects through aeons; She is the Supreme joyousness of Divinity. She grants Grace and
is the hypostasis of the growing spiritual knowledge of the votary. She is the joy of my heart. The Parai,
Paraparai with ten faces is the origin of matter and diverse life forms. She is Sakti and the goddesshead of
Vid (Jnana or spiritual knowledge that liberates). She is the peacock who rules over my heart and the world.
She is Manonmani and Mangali (auspicious); She entered my heart; we merged in spirit. She showed me
Sivagati (Siva state); she made me shine in Siva Jnana; she redeemed me. She is the Cause of cause; she
revealed herself to me; her glory and radiance filled the Dance hall at Thillai; she pervades all three worlds.
She is the Paranjyoti, the Supreme Being and the Divine Light, holding the Book of Knowledge. She is the
Mother with three eyes, chanting Vedas. I adore her with stotras (hymns of praise). Hold her feet on your
head. She is the sister of Mal (Vishnu) who protects all. She destroys the evil doers. She is the Mother of
the five gods. Her Mantra is "Hrim."
There are protective mantras known as Trailokya-Vijaya.

Mantra
Hrim (MAya Bija)
Srim (Lakshmi Bija)
Krim (KAlI Bija)

The Protecting deity

The protected body part
AdyA (Primordial)
The head
KAli (the Black One)
Face
Supreme Sakti
Heart
ParAtparA (Supreme
Throat
Brahman)
JagaddhAtri (supporter of
Two eyes
universe)
SamkarI (Consort of Siva) Two ears
MahA-MAyA (veiler and
power of smell
revealer)
Sarva MangalA (Auspicious
taste
Deity)
KaumArI (Sakti of her Son,
teeth
Kumara)
KamalAlaya (Boarder in
cheeks
Lotus)
KsamA (Benevolence)
upper and lower lips
CAru-HAsinI (Sweet smiler) chin
KulesAnI (Mistress of
throat
Kaulas)
KripA-mayI (The Mercy)
nape of the neck
BAhu-dA (Arm strengthener)the two arms
Kaivalya DAyini
the two hands
(Emancipator)
KapardinI (knotted-hair deity shoulders
Trailokya TArinI (protector
the back
of 3 worlds)
AparnA (Leafless*)
two sides
KamathAsanA (Sitter on
hips
Tortoise)
VisAlAkshI (Wide-eyed)
navel
PrabhAvatI (the Radiant
organ of generation
One)
KalyAnI (auspicious One) thighs
PArvatI (mountain's
feet
daughter)
JayadurgA (Victorious
vital breaths
Durga)
SarvaSiddhida (Giver of all all parts of the body

Siddhis)
if any part is not mentioned, may the Eternal KAli protect all of them.
AparnA (Leafless*) = The One who eats NOT even a leaf before the Vrata or
Austerities are complete. KamathAsanA (Sitter on Tortoise) = The world rests on a
tortoise; it shows the power and virtue of patience.
Though the anthropomorphic worship of TPS is less common, her Sri Chakra Puja is
widely seen in the temples. Minakshi of Madurai, Akilandesvari of Tiruchirappalli,
Kanchi Kamakshi are associated with Sri Chakra. Rajarajesvari (TPS) temple in
Varnasi and Bangamaru in U.P. are TPS temples among others in North India.
Srividya Cult insists that Srividya Mantra and Yantra are she, herself. She has three
forms: Sthula (gross), Sukshma (subtle), and Para (Supreme form). Sthula is the
anthropomorphic form, the goddess in images, idols and icons. Sukshma form is
accessible only by Sadhakas, Para form is inaccessible to humans.

The Chakra (wheel, circle, diagram--simplified)

Note: Sri Chakra-Srsti Chakra: When Sri Chakra is drawn according to Samayacara sect,
Siva triangles point down while five Sakti triangles point up. Bindu is enclosed in a
quadrangle which is the creation of the intersecting triangles. Sri Chakra-Samhara
Chakra according to Kaula sect has five down Sakti triangles and four up Siva
triangles with the central Bindu enclosed in a triangle.
The three lines and gate of the outer wall of the above diagram. Yantra has human body laid out
within its contours. The three lines from outside to inside are the feet, knees and
thighs. The outer three concentric circles are the abdomen. (Author's note: The three
layers: could mean the three layers of abdominal wall, skin, fat and muscle?) The
sixteen petal lotus is the lower half of the trunk below the navel; the eight petal lotus
to the umbilicus; the triangles to the upper body, including the head. The center
corresponds to Sahasrara Chakra with a thousand petals on the Brahma Randhara,
the anterior fontanel area.
Sri Chakra, Sri Yantra, Mandala are used interchangeably. Note: Mandala is generic geometric form,
while Yantra is deity-specific. Yantra Sri Chakra means, The Wheel Of Sri, the Mother
Goddess. Sri Chakra is Lalita TripuraSundari's creative manifestation.

She exists in three forms.

Sthula form (gross)

Her Icon

Suksma form (Subtle)

Her Mantra

Para form Supreme)

Her Yantra

Mandalas are seen all over the world in disparate civilizations of yore; they were geometric shapes:
squares, lines, circles, spirals stood for the cosmos. The Indian Mandalas have been, from time
immemorial, gave meaning to every line, angle, circle, petal, square, gates. Indian and other civilizations
beyond the Indian shores and mountains also made association of a Deity or goddess with those geometric
shapes.

Vastu Purusha Mandala

A basic Mandala has an outer square and many inner squares or spaces; it may contain a circle. The square
is earth and the endless circle is heaven. Any object, structure, living being, or God(s) can be put inside a
Mandala, once we know the proper place, each of the parts of the entity should be. Vastu Purusha (Andha)
was a demonic Titan who arose from the sweat of Siva. (Remember the TV commercial where tennis
players rise from drops of water.) He caused tremendous amount of misery to the people of the world. He
was so huge that no one god could bring him down individually. The gods joined together, jumped on him
each pinning one part of the body of the tin cup Titan and put him in a square as depicted in the diagram.
Depending upon the part of the body held by the gods and the respective area of the square, they had a
claim to that part of the square. The big square was divided into little squares and each little square became
the station (Pada) for one god. The outer squares are occupied by 32 deities. When they stuffed the bad
demon in the square in a supine position, they placed his head on the northeast corner and feet in the
southwest corner. The top of the diagram here is the East instead of the North we are used to.

Kasyapa married Diti and Aditi (sisters); Aditi gave birth to Adityas (all gods) and Diti
to Daityas (demons). The moral of the story is that human beings are half gods and
half demons. Which half is dominant in a person determines his character. One of the
Daityas, Andhaka, walked like a blind man, though he had two good eyes with
perfect vision. Here the blindness refers not to physical causes but to spiritual
blindness. Andhaka walked into the celestial garden in heaven and attempted to
uproot and take the Parijata tree away. It is the India Coral tree (Erythrina indica).
The tree originated from the causal milk ocean as the gods and demons churned it to
obtain ambrosia. Indra, the god of thunder and lightning claimed the tree and
planted it in his heaven. His wife Saci, used the flowers to decorate her tresses.
Siva killed him and restored the tree. The flower and fruit had an excellent
fragrance. It had a reputation to bring faded and forgotten memories of past lives
back into the memory bank. Fragrance, scent, or odor sticks to the clothes; in like
manner memories of past lives stick to the subtle body which some can recall. Siva
killing the demon is a metaphor for killing Avidya (spiritual darkness) and giving us
spiritual wisdom. Andhaka's son Adi wanted to avenge the death of his father,
transformed himself into a snake, gained entry into Siva's abode, impersonated Uma
the consort of Siva by transformation, and yet could not deceive Siva, who instantly
recognized and killed him with his Vajra (thundrbolt).
Another source tells that Siva asked goddess TrikalA and MAtrikAs to destroy
Andhaka. They could not and so Siva asked Vishnu to destroy the demon. Vishnu in
turn created from his power of Maya the goddess Suska-Revati who killed all his
associates and Siva killed Andhaka with his trident. When Siva was fighting
Andhaka, a drop of sweat fell and morphed into a demon, VAstunara or VAstupurusa.
His body was so huge it occupied and obstructed earth and heaven. He was an
uncontrollable hungry monster. No man or god could take and subdue him. The gods
descended on him like a ton of bricks; each one held one part of the body which was

then squeezed into a square. The gods became the deity of the parts of the body
held by them. Siva-Isa became the deity of head; Brahma, the body; Aditya, the left
shoulder and hand; Soma the right shoulder and hand; Gagana elbow and right
forearm; Varuna, right lower limb; Agni left knee, Yama left lower leg; and Pavana
the feet. A temple, a house or any structure has parts of the house honored in the
deities' names and VAstunara receives homage. The dwelling has 81 squares; the
temple 64 squares, each of which is again divided into 9 or 8 squares with the center
reserved for the creator Brahma. VAstopathi is the protector of the house and its
foundation. Invoking him brings happiness and removal of disease. Rudra is the
VAstopathi. VAstusamana: To Assuage and propitiate spirits, the permanent
residents of the building site, the prospective home owner should perform rites, so
that they do not exhibit any hostility. VAstuvidya is the science of architecture.
There is another variation of the story in that Krishna Himself uprooted and mounted
the tree on Garuda to be flown to Dwaraka according to wish of Satyabhama, one of
his wives.
Indras wife Saci loved it so much that she weaved its flowers into garlands and
ornaments and wore them. Its fragrance was inimitable and spread through all the
worlds. Satyabhama and Krishna went to the heaven of the gods to restore the
earrings of Aditi, who eulogized and thanked Krishna. Indra took Krishna and
Satyabhama for a tour of Nandana of heaven (heavenly gardens) and other gardens.
Kesava-Krishna saw the Parijata tree, the favorite of Sachi, the wife of Indra.
Parijata tree came out of the causal milk ocean; its bark was gold; its leaves were of
copper color; the fragrant fruits in clusters hung delicately from the fruit-bearing
stems. Satyabhama saw the tree and was bitten by desire to own it. She asked
Krishna to transplant it to Dwaraka, so she could wear its flowers on her tresses.
The gardeners were upset to see Krishna uproot and put the tree on his vehicle
Garuda for transportation to Dwaraka. Satyabhama was in no mood to give up a
good fight. She sent a message to Sachi the wife of Indra to induce her husband
Sakra (Indra) to prevent her husband from taking the tree. As expected, Indra fell
for the cunning draw for a fight and attacked Krishna with his army and his
thunderbolt. Krishna saw the advancing army, blew His Conch, which was heard
through all the worlds and sent shower after shower of arrows on the soldiers of
Indra. The soldiers twanged their bows and discharged millions of arrows and
weapons in response, which Krishna cut into pieces with his shaft. Garuda, the everpresent aerial vehicle of Vishnu-Krishna located the noose of Indra and bit it into
pieces. Yama, the god of death came rushing and threw his mace at the son of
Satyabhama, who adroitly broke it into pieces. Agni, the fire god was fragmented
into a billion sparks and thus was extinguished. The whirling motion of the discus
cut the sharp ends of the tridents of Rudras. The Sadhyas, Visvas, Maruts, and
Ghandarvas were blowing in the wind like wisps of cotton upon encountering the
shafts of Krishna. Garuda bruised the deities with its beak, wings, and talons. With
all the weapons spent, Indra with his signature thunderbolt and Krishna with his
inimitable discus Sudarsana faced each other. Indra launched his thunderbolt
expecting to strike Krishna and sear his body with its high-voltage. Krishna caught it
with his bare hands, arrested and sent it down into the earth. Indra divested of his
thunderbolt and his elephant stood there on the battlefield vulnerable to Krishnas
discus and witnessed Satyabhama, Krishna and other remaining celestials. He
immediately started to retreat. Krishna had no mind to use His discus on Indra
without weapons. Satyabhama took pity at his defeat and offered to return the tree
to Indra. Indra without hesitation said, I am not ashamed to suffer defeat at the
hands of Krishna, the creator, preserver and destroyer of the universe. You may have

the tree as long as you wish. Hari Krishna accepted the proposal and returned to
Dwaraka with the tree. After Krishnas death, the tree was restored to Indra.
Devotees worship Sri Chakra in their house and temples; when worshipped on
birthdays, festival days, ashtami [(8th day following the the new moon (Prathama)]
or Chathurdasi (14th day), it brings benefits. The digits of the moon are 30, the
number of days it takes for the moon to orbit the earth. Tithis vary in length. The
waxing half is shiny and therefore it is Shukla half (bright fortnight); the waning half
is Krishna (dark) fortnight. Shukla and Krishna eponyms precede the day of the
digit--Shukla Paksha and Krishna Paksha (Paksha = side). The ninth day of white or
bright fortnight is Shukla-Navami. The names of the tithis (digits) are 1. Prathama (new moon), 2.
Dvitiya, 3. Tritiya, 4. Chaturthi, 5. Panchami, 6. Shashthi, 7. Saptami, 8. Ashtami, 9. Navami, 10. Dashami,
11. Ekadashi, 12. Dvadashi, 13. Trayodashi, 14. Chaturdashi, and lastly either 15. Purnima (full moon) or
15. Amavasya (new moon). The sixteen-petal lotus represents the 16 tithis or digits of the moon on the
bright and the dark side. The 16 Tithis are under the rule of 16 Nitya Devis or Sodasa Nityas (So + dasa = 6
plus 10): 1.Maha Tripura Sundari, 2.Kamesvari, 3.Bhagamalini, 4.Nityaklinna, 5.Bherunda, 6.Vanhivasini,
7.Maha Vajresvari, 8.Shivadooti (Roudri), 9.Twarita, 10.Kulasundari, 11.Nitya, 12.Neelapataka, 13.Vijaya,
14.Sarvamangala, 15.Jwalamalini and 16.Chidroopa (Chitra). Maha Tripura Sundari is Maha Sakti,
the ruler of all and therefore is not visible to the eye. Purnima Moon contains all
Nityas conferring the splendor and brightness to the Moon. As the moon wanes, one
Nitya leaves the moon for the sun and so on until all Nityas have left for the sun and
the moon disappears completely on Amavasya, the new Moon day. Amvsya = the day when
the sun and the moon dwell together. The Nityas one by one return to the Moon and make it wax again and
shine brighter and brighter. Krishna Paksa = dark side of the moon; waning moon; dark side does not mean
the geographical dark side of the moon that is not seen by the human eye. The first one to leave the moon is
Kamesvari and the last one Chitra; the first one to arrive at the moon is Chitra and the last one Kamesvari.
1.Maha Tripura Sundari, 2.Kamesvari, 3.Bhagamalini, 4.Nityaklinna, 5.Bherunda, 6.Vanhivasini, 7.Maha
Vajresvari, 8.Shivadooti (Roudri), 9.Twarita, 10.Kulasundari, 11.Nitya, 12.Neelapataka, 13.Vijaya,
14.Sarvamangala, 15.Jwalamalini and 16.Chidroopa (Chitra). The Devis populate the most central triangle
in the configuration depicted in the diagram.
The Devis leave the moon one by one for the sun resulting in waning of the moon. Krishna Paksa is the
dark side of the moon; Devi #2 leaves first followed by the rest from #3 to #16. TPS stays in the moon for
ever. On the Shukla Paksa bright side of the waxing moon after the new Moon, #2 comes first and the rest
later.

Krishna2
Shukla 16

3
15

4
14

5
13

6
12

7
11

8
10

9
9

10
8

11
7

12
6

13
5

14
4

15
3

16
2

The rulers of the moon depicted above, their departure and arrival. 9.Twarita, the
Nitya Devi is common and constant to both Shukla and Krishna Paksas at the 9th
position. As you see, the first (2.Kamesvari) to come is the first one leaving for the sun.
MahaTripurasundari is a constant resident goddess of the Moon: She is Number One.
Since Twarita occupies a constant position on both sides at position 9, she wears a
crown of Devi.
Kameswari to Chitra are the Nityas ruling the Krishna Paksha Tithis from Pratipada to
Amavasya. In Shukla Paksha the order of the Nityas is reversed, i.e., Chitra to
Kameswari.

1.Maha Tripura Sundari, 2.Kamesvari, 3.Bhagamalini, 4.Nityaklinna, 5.Bherunda, 6.Vanhivasini, 7.Maha

Vajresvari, 8.Shivadooti (Roudri), 9.Twarita, 10.Kulasundari, 11.Nitya, 12.Neelapataka, 13.Vijaya,
14.Sarvamangala, 15.Jwalamalini and 16.Chidroopa (Chitra). The Devis populate the most central triangle
in the configuration depicted in the diagram.
Shukla Paksha = Bright side. Krishna Paksha = dark side

The Mandala = Circle. Sri Chakra or Sri Yantra. There are nine triangles, five pointing down and four
pointing up. These intersecting nine primary triangles make forty-three secondary triangles. All these
triangles and other shapes are enclosed within a eight-petalled lotus, which again is enclosed within a
sixteen-petalled lotus. (The triangles, and two circles of lotuses are surrounded by four circles (my diagram
shows only one circle.) The four Upturned triangles represent Siva; the five downturns Sakti. The Siva
triangles are known as Srikanthas and the Sakti triangles Siv-Yuvatis. (Yuvati - young woman, maiden) The
above triangles are the nine elements (Dhatus, see below). The overlapping of the triangles represent SivaSakti merger out of which proceed the creation, protection and dissolution. The five triangles of Sakti give
rise to creation and four of Siva the fire of dissolution.
The Bindu in the most central Triangle is the sine qua non of the union of Siva and Sakti or Kmaeshvari;
thus, this triangle is known as Kma Kala, the seat of Supracosmic desire to create. Kamakala = Essence of
sexual desire. Bindu is described as Sarva Ananda Maya Chakra , meaning Chakra replete with Bliss.
Kamakala has three components or three subtype Bindus: Red Bindu, White Bindu and Mixed Bindu. Red
Bindu = Menstrual fluid; here it refers to the ovum. White Bindu = semen. Mixed Bindu (Misra Bindu) =
union of Siva and Sakti. Lalita (Goddess) has two aspects: Varahi and Kurkulla. Varahi, the father form of
the Goddess, provides the semen and the four Dhatus (elements) known as four fires to the offspring.
Kurukulla, the mother form of the Goddess, supplies the ovum and five Dhatus (five saktis) to the
offspring. Consciousness enters the child through orgasm. The four fires and five Saktis occupy the center
of the Chakra. The four up triangles of Varahi having 12 angles represent the 12 sun kalas and 12 sidereal
constellations. The five down triangles of Kurukulla having 15 angles represent 15 Moon Kalas (digits) in a
fortnight or 15 lunar days. Since man is the microcosm of the Macrocosm and Shri Yantra represents both,

the newborn is Sri Yantra or a seedling. Yantra's eight petal lotus and 16 petal lotus amounting to 24 petals
show the flowering of the plant.

Kurkulla: Batik Painting On Cotton

Credit exoticindia.com

In the primitive western thought when there was no concept of biology, man always thought that woman
possessed a magical autonomous ability to give birth to a live infant without any contribution from the
partner. Seminal ideas about human reproductive biology and man's contribution to fertilization came very
much later, though the primitive man did not stop and think about the utility of his effusion. He deified the
female for surviving every lunar blood loss. Parturition and surviving the monthly hemorrhage were reason
enough to call her the Cosmic Being who also had more geometric features than he had. He drew in caves
geometric forms to glorify the female. Ancient Indians thought the coming together of red blood (Red
Bindu) and vital fluid (White Bindu) formed the fetus. He drew diagrams (circle, square, circumference) in
the deification of the Female which in India became the Mandalas glorifying the goddess. The Mandala
specifically emphasizes the union of Siva and Sakti in triangles. The female pudendum and escutcheon are
the inverted triangle -- --representing the Great Goddess, while the upright triangle--- became the
Purusa or God. The Red Bindu occupies the true center of the overlapping triangles and the Mandala
itself, thereby confirming the overwhelming exclusive right and privilege of the Goddess to bring forth
beings and universe. Science may offer some help here. The Y chromosome is the copy of X chromosome
and underwent some changes and acquired some new genes to be called Y. Thus the Famous X is the
Origin of Y; Female is the origin of male. Eve first, Adam later. When the Y was in the process of
transformation, the being was androgynous, half female and half male. Goddess first, Androgyny second,
and God later. Woman first, Androgyny second and man later. To put it in Hindu belief system: Kali first,
Androgynous Ardhanarisvara (Siva-Sakti) second and Siva later. Androgyny (hermaphrodism) occurs in
modern times in human babies as an evolutionary leftover causing distress to the parents and patient. It is
like the flower having stamen and pistil (female part) in the same inflorescence. There is one blue print,
variations of which are seen in living things. Another leftover evolutionary vestige is the tail that some
times some infants are born with.

Here is what Swami Vivekanada (1863-1902) says about the woman's progress or regress around the
world.
"The ideal of womanhood centres in the Arian race of India, the most ancient in the world's history. In that
race, men and women were priests, 'sabatimini [saha - dharmini],' or co - religionists, as the Vedas call
them. There every family had its hearth or altar, on which, at the time of the wedding, the marriage fire was
kindled, which was kept alive, until either spouse died, when the funeral pile was lighted from its spark.
There man and wife together offered their sacrifices, and this idea was carried so far that a man could not
even pray alone, because it was held that he was only half a being, for that reason no unmarried man could
become a priest. The same held true in ancient Rome and Greece.
"But with the advent of a distinct and separate priest - class, the co - priesthood of the woman in all these
nations steps back. First it was the Assyrian race, coming of Semitic blood, which proclaimed the doctrine
that girls have no voice, and no right, even when married. The Persians drank deep of this Babylonian idea,
and by them it was carried to Rome and to Greece, and everywhere woman degenerated.
"Another cause was instrumental in bringing this about -- the change in the system of marriage. The earliest
system was a matriarchal one; that is, one in which the mother was the centre, and in which the girls
acceded to her station. This led to the curious system of the Polianders [polyandrous], where five or six
brothers often married one wife. Even the Vedas contain a trace of it in the provision, that when a man died
without leaving any children, his widow was permitted to live with another man, until she became a
mother; but the children she bore did not belong to their father, but to her dead husband. In later years the
widow was allowed to marry again, which the modern idea forbids her to do.
"But side by side with these excrescences a very intense idea of personal purity sprang up in the nation.
On every page the Vedas preach personal purity. The laws in this respect were extremely strict. Every boy
and girl was sent to the university, where they studied until their twentieth or thirtieth year; there the least
impurity was punished almost cruelly. This idea of personal purity has imprinted itself deeply into the very
heart of the race, amounting almost to a mania. The most conspicuous example of it is to be found in the
capture of Chito [Chitor] by the Mohammedans. The men defended the town against tremendous odds; and
when the women saw that defeat was inevitable they lit a monstrous fire on the market place, and when the
enemy broke down the gates 74,500 women jumped on the huge funeral pile and perished in the flames.
This noble example has been handed down in India to the present time, when every letter bears the words
'74,500,' which means that any one who unlawfully reads the letter, thereby becomes guilty of a crime
similar to the one which drove those noble women of Chito to their death.
"The next period is that of the monks; it came with the advent of Buddhism, which taught that only the
monks could reach the 'nirvana', something similar to the Christian heaven. The result was that all India
became one huge monastery; there was but one object, one battle -- to remain pure. All the blame was cast
onto women, and even the proverbs warned against them. 'What is the gate to hell?' was one of them, to
which the answer was: 'Woman'. Another read: 'What is the chain which binds us all to dust? Woman'.
Another one: 'Who is the blindest of the blind? He who is deceived by woman.'
"The doctrine of prenatal influence is now slowly being recognized, and science as well as religion calls
out: 'Keep yourself holy, and pure.' So deeply has this been recognized in India, that there we even speak of
adultery in marriage, except when marriage is consummated in prayer. And I and every good Hindoo
believe, that my mother was pure and holy, and hence I owe her everything that I am. That is the secret of
the race -- chastity."
The three Bindus are also known as Fire for Iccha or divine Will, Moon for Jnana or
Knowledge, and Sun for Action or Kriya. Thus, Will, Knowledge, and Action are three essential elements
in creation, maintenance and destruction. Moon is Siva Bindu, Sita (white) Bindu and Knowledge; Fire is
Sakti Bindu and Sona (red) Bindu; Sun is Misra (Mixed) Bindu, a mixture of the two resulting in Action.
Sun, Moon and Fire = Ravi, Chandra and Agni. Sun is action; Moon is knowledge; Fire is Will.

Sri Yantra has two forms: Bhuprastara, a flat two dimensional form and Meruprastara a
pyramidal form. They face either East or North. The Yantra is ready for worship only
when it is consecrated and infused with Bija (root) and other Mantras. The
worshipper or Pujarari should be an initiate.
The intersecting primary Triangles form 43 secondary triangles, which are enclosed in the eight-petal
lotus, the mystical lotus of creation. The triangles represent the Mulaprakrti (Root Matter), a product of
union of five Sakti principles and four Siva principles. The central Bindu is considered the 44th Triangle.
The perimeter square with Dvara (gates) has three lines. Outer line houses eight
Lokpalas (world protectors). The middle line houses eight siddhis associated with
senses. Inner line houses eight saktis ruling and controlling Anger, Delusion, Desire,
Envy, Greed, Jealousy, Vice and Virtue. These eight are the Mothers or Matrikas. All
these saktis, known as manifest saktis (Prakata Yoginis) are reined by Tripura Sundari, who looks
like a crystal, wears pearls, and holds a book, a pot, and a lotus in her four arms.

Eight petal Lotus of Sri Chakra or Sri Yantra

Sixteen Petal Lotus: The Vidya is Aim Klim Sauh. The Sixteen Saktis in this sixteen petal
florescence are hidden and fulfill the desires. Lalita TPS takes the name of Tripureshi. The 16 Yoginis of
red color help exercise control over desires, senses, mind and body. Each one of them holds a goad, a pot of
nectar, a noose and makes a benevolent stance. The Dhatu is Chyle, one of the first juices to appear in the
intestines during digestive fire.
The sixteen-petal lotus represents the sixteen kalas (digits) of the moon, described above. The Bindu, the
triangles, the eight-petal lotus and the sixteen-petal lotus are all enclosed by three-layered concentric
circles--mekhalatraya (Diagram shows only one circle.) mekhalatraya = mekhala + Triya = (belt, girdle)
+ (three). All these elements are enclosed inside a square with four gates (Dvara) at four cardinal
directions. During the centripetal journey that the Yogi takes from the periphery to the center to attain Sri,
he effects a transition from human consciousness to transcendental consciousness. The gates represent that
liminal interphase. The center of the Chakra is Bindu. (go to BINDU for more details. Mandala is
an elaborate Yantra with more embedded pictorial elements. Below is the
topographical presentation of Sri Chakra (Sri Yantra).
Bhuprastara, a flat two dimensional form and a Meruprastara, a pyramidal form

Saundaryalahari by Sankara--Verse 11. The four Sr-Kantas and five Siva-Yuvatis distinct from
(the central) Sambhu (Bindu), are the nine Mulaprakrtis; thus, this is your abode with

forty-four angles, two lotuses, one with eight petals and the second with sixteen petals,
three circles and three lines.
Sr-Kantas = refers to the husband, Siva. Siva-Yuvatis: Yuvati = young woman. Sambhu = Siva.
See the diagram below for details. There are two cults: Samaya for Siva and the Kaulas for Sakti.

(Dhatu: layer, component part, element. Dhatus take on contextual meaning. Human body
has ingredients derived from Sakti and Siva. They are skin, blood, flesh, fat, and bone originating
from Sakti, and semen, marrow, vital breath, and the individual soul originating from Siva.
Others say dhatus are alimentary juice, blood, flesh, fat, bone, marrow, and semen. In case of body parts,
the dhatus are ear, nose, mouth, heart, and abdomen. In context of etiology of diseases and humors, the
dhatus are wind, bile, and phlegm. Dhatus of earth or mountain are ore, mineral, metal, and red chalk. Five
properties of elements are gandha, rasa, rupa, sparsa, and sabda (smell, taste, form, touch, and sound.)
There are in all 43 triangles distributed over 5 layers from outside to inside: 14,
10, 10, 8, 1. There are a total of 64 shapes from outside to inside which include 14
red triangles, 4 white rectangles, 4 white triangles, and 2 white diamonds in the
outermost two intersecting layers. Fourteen points or corners are created by the
overlapping four Siva and five Sakti triangles and are the abodes of one deity in each
corner. Each Kona or small triangle produced by the intersecting large Siva-Sakti
triangles depicts union of Siva-Sakti. The central small triangle is the abode of Sakti
or the Mother Goddess (Bindu) also known as Kma Kala, the most creative
platform. The triangles create points at three-line intersections, Marma: critical point,
vital point, mortal spot. The Chinese call them Acupuncture points along the
meridians, the pathways of qi, vital energy. Marma is a mortal point by manipulating
which death can be caused. Marma is derived from mara, marana meaning death. Marma points
are situated along the meridians: the Mamsa (flesh), vessels and nerves (Sira), tendons (Sanyu), Asthi
(bones), and Sandhi (joints). Massage, digital pressure, acupuncture, magnets, herbals are applied to these
points for curative purposes. Vigorous finger strokes at critical points can cause paralysis, impotence and
other unwelcome events according to practitioners of the art. What is Prana in India is Qi in china. The

meridians are positive (Yang of China and Pingala of India) and negative (Yin of China and Ida of
India). Marma point is most susceptible to injury when Prana or vital energy flows through it. Ayurvedic
practitioners are of the opinion that professional massage of the Marma points (107 in number) releases
toxins from Marma and restores optimal health of body and mind by establishing normal energy flow.
Based on studies, allopathic medical doctors (M.D) are skeptical about the claimed cures of bronchial
asthma. Patients do claim (and show) a certain glow in their skin and a halo of relaxation. MDs dispute
claim of detoxification of the body by massaging of the Marma points. Toxins are eliminated from the body
in so many ways: body gets rid of unwanted carbon dioxide by exhalation; toxins, drugs, metabolites,
excess salt are eliminated by the kidneys in the urine; then there is the fecal elimination of waste products;
liver detoxifies myriad substances. Claims of elimination of cadmium, cholesterol, lead, mercury, nickel in
significant curative amounts by the sweat glands are to be proven by science. Go to Kundalini Power for
Ida and Pingala Nadis. The flow in negative meridians ascend on the body and the positive meridians
descend. Just like a diurnal variation of cortisol production in the body, the Prana flow along the meridians
have diurnal variation.
From outside to inside the shapes and their numbers in Sri Chakra: There are four layers of intersecting
shapes and one red triangle in the hub or the center in Sri Chakra.

Triangles
14 blue
triangles
10 red
2nd layer
triangles
10 black
3rd layer
triangles
8 green
4th layer
triangles
one yellow
Hub or center
Triangle
The 1st layer

Totals

43 triangles

Total plus
Bindu

Bindu is 44th
triangle

White
rectangles
4 white
rectangles
6 white
rectangles
6 white
rectangles
3 white
rectangles

19 white
rectangles

White
triangles
4 white
triangles
4 white
triangles
2 white
triangles
none

10 white
triangles

diamonds

Total

2 diamonds

total 24 shapes

no diamonds

20 shapes

no diamonds

16 shapes

none

11 shapes

none

1 shape

2 diamonds

Grand total 74
shapes.

The fourteen outer triangles of the first layer formed by the intersecting nine triangles bestow
good fortune. The Yoginis are hidden and the presiding deity is Tripura Vasini (the
Dweller in Tripura). Her Vidya (Mantra) is Haim Hklim Hsau.
The ten triangles of the 2nd layer bestow all desired things to the Sadhaka. The Saktis are
Kula Kaulas and the presiding deity is Tripura Sri. These two Yoginis are the 10 vital
breaths.
The ten triangles of the 3rd layer is the chakra offering protection. The presiding deity is
Tripura Malini and her Vidya is Hrim Klim Blem

The eight triangles of the 4th inner layer is Chakra curing all diseases. The Yoginis are
the Rahasya (secret) Yoginis. The presiding deity is Tripura Siddha and her Vidya is Hrim
Shrim Sauh.
In Mandala the sign or icon of earth is a square, as the sign of dollar is $. It was
of Hindu origin and the Buddhists adopted it for their meditative purpose. It is mostly
symmetric containing geometric shapes. Mandala components are placed in such
fashion that the eye of the beholder is drawn to the nucleus (Bindu) of the Mandala,
which is the meditative locus of the Sadhaka. Bhupura is the four squares with the
gates. The square stands for earth (Bhupura). It is marked by three lines; in the
diagram there is only one line. Eight Lokpalas (world protectors) are present on the
outermost line of the square. They are in charge of directions. Six Siddhi Saktis
associated with the senses are on the middle line. Eight Saktis in charge of Anger,
Desire, Delusion, Envy, Greed, Jealousy, Vice and Virtue are on the inner line. These
Saktis collectively carry the name Prakata Yoginis (the Visible or Manifest Yoginis),
who are under the control of TPS (TriPuraSundari). TPS here has four arms, wears
pearls, and holds a lotus, a vessel and a book. Her Vidya (Mantra) is Am Am Sauh.
Outer line inhabitants

East

SE
Agni /
Indra
Fire god
yellow
red
clothes
clothes
rides an mount:
elephant ram

South

SW

West

NE

North

Yam

Nirrti

Varuna

Vayu

Soma

black
holds a
stick

wears
blue
dark green
mount:
makara

NE
Isana or
Siva

light color pure white

Makara = a mythical animal resembling crocodile.

Middle line inhabitants are Siddhi Saktis, wearing red garland, holding noose, and a goad and smeared
with vermilion.
The inner line inhabitants are Brahmi, Mahesvari, Kaumari, Varahi, Indrani, Camunda and Mahalakshmi.
They all have their own special accouterments and weapons.
Sapphire is the gem of the Mandala.
Eight Petals: Each petal has its own Sakti- that of Speech, holding, Walking, Pleasure, Abandoning,
Concentration and Detachment.

Nada and Bindu are two saktis (power). Naada (Nada) is sound and Bindu is dot, or point. Nada and
Bindu are the progenitors of Tattvas, the building blocks of the universe. Nada is Sakti and Bindu is Siva
(Siva-Sakti); Nada is action and Bindu is static; Sakti is dynamic and Siva is static; Nada is white and
Bindu is red. They represent the center of the universe from which everything proceeds.
Bindu is enclosed in the first inverted triangle. It is like the nucleus of the cell
enclosed by cellular walls with receptors (gates) and all activities of the cell proceeds
from the (Bindu) nucleus. The centrifugal elements in the diagram are what the
cosmos and the universe are made of. Going from the center to the periphery is
evolution of the cosmos, universe, and beings. When man achieves Siddhi, he has
taken a centripetal journey of involution to merge with Bindu. That is Moksa,
liberation, nirvana. The triangles represent Sakti and Siva. Inverted triangle is female
escutcheon and applies to the creative dynamism of Sakti. There are five inverted
and four upright Tricona (Triangles). Tri = three. The word three came from Sanskrit
tri. Now you know why inverted triangle is applied to female and upright triangle to male. The
superimposition of polarized and charged triangles is symbolic of Siva-Sakti merger, interaction,
projection, evolution. The triangles represent the triads mentioned elsewhere; some of the other triads are
three Vedas, Rg, Yajur, and Sama Vedas; three points in Time, past, present, and future; three primary
seasons, Spring, summer, and winter; three Thirthas (pilgrimage destinations) Prayag, Gaya and Kasi; three
Padas (paths or feet) white, pure Samvit (consciousness), red, Parahamta (Supreme individuality), and
black (Ravi, mixed white and red; white, red and black color of Devi; Sattva, Rajas, and Tamas Gunas;
three Bindus (Bindu, Nada, and Bija); Iccha. Jnana, and Kriya; Sun, moon and fire; Brahma, Vishnu, and
Rudra.
Lotus is a symbol of creation, cosmos, spiritual purity, perfection and fullness. Male gods guard the outer
perimeter and goddesses inhabit the inner sanctorum.

Straight line is linear and does not yield a circumscription; when at least three lines come together in a
Tricona (three angles, Triangle), circumscription is created. Creation, preservation and destruction are
three lines attached to one another at three angles; each departing line (at an angle) is drastically angular
from the previous one. One line by itself is linear and endless and points to one attribute or function. There
is no renewal in such configuration. Delineation and circumscription as in a triangle become necessary for
activities, their description and scope. Manifested Siva-Sakti is endowed with three qualities, Iccha, Jnana
and Kriya (Will, Knowledge and Action; thus, there is circumscription that comes from the unmanifested
form which is variously called: Niskala (no parts), Niskriya (no action), Asabda (no sound), Amanaska (no
mind), Nirguna (no attributes), Attatva (beyond or lacking categories and parts). The three lines of tricona
are Vama, Jyestha and Raudri saktis (left-handed, elder, fierce powers).
Tricona, constituting the least number of lines for a triangle, provides for sprouting, growth, and withering
and the repetition of the cycle. If you take the circle, they are millions, billions and zillions of straight lines,
each one disposed at an angle from the previous one. The minute angular lines are attached and compacted
so close together in a round circle that we don't notice the angles (and the angled lines look like a circle).
The circle represents circumambulation around stupas and sanctorum. The circle is the zillion-angled
repulsive force against the surrounding evil forces. It is keeps the sanctorum pure for the performance of
ritual and liturgy. As said earlier the centrifugal evolutionary cascade from Bindu to Tattvas, matter and life
proceed from the center. The Hindu temple is the living sanctified stone Mandala with its nuclear deity,
peripheral deities, Prakarams for circumambulation and protective walls.
Diagram encompasses all divinities with their precise positions in regard to the nucleus (Bindu). The
Mandala is a compact, intense, and charged microcosm embracing deities and their powers in action in the
universe; it is the gathering place, the nucleus, of gods and universal forces (Rta). All the negative forces
are kept out by the formidable forces, deities and walls. Each deity occupies a hierarchal position in relation
to the nucleus or Bindu.
Each petal represents a female deity. These attendant satellite deities form a circle
around the central Siva-Sakti-Bindu complex enclosed in Sarva-Ananda-Maya-Chakra
(plethora-Bliss-Fullness-wheel, Wheel full of massive bliss); they are the perfected
ones. The distance from Bindu to the gates a deity is placed reflects the degree of
Siddhi (spiritual perfection) of a particular entity. Naturally, one at the gate is less
spiritually awakened than the one seated on one of the eight petals. The Siddhas
(the perfected ones) in the know can read the Yantra from the center to the
periphery and vice versa. The outer walls and gates are made of three lines (diagram shows only
one line); each line represents the feet, knees and thighs; thus, the Yantra is diagrammatic representation of
human body. The circles symbolize the abdomen, the sixteen outer petals the lower part of the trunk above
the abdomen, the inner eight petals the navel, the triangles the upper half of the trunk and the head, and the
hub the thousand petals of the Sahasrara Chakra which has Brahma Randhra, the opening corresponding to
the anterior fontanel. (Brahma Randhra is the entry and exit point of the soul. The Yantra, looking like a
chip or circuit board, is alive when the central deity is invoked according to agamic rites. Ritual is like
connecting the board (computer) to the power supply on the wall; the computer (deity) becomes alive.
As said earlier, centrifugal movement away from Bindu is Srstikrma, Pravrtti
(evolution, expansion, creation). Centripetal movement to Bindu is Nivrrti
(involution, samhArakrama), destroying all Malas (impurities), acquiring spiritual knowledge and
becoming one with Bindu. Kundalini Yoga teaches the Nivrrti path. Kundalini Power
The outer circle (four in number; only one is shown in the diagram) represents the motion of planetary
revolution. It means Time without beginning, middle and end. The other inner circles represent the twentynine Matrikas (Mother Deities), sixteen Matrikas, and sixteen Nityas (or fifteen digits or Tithis of the
waxing and waning moon, and the sixteenth is the Main Deity herself). The fifteen digits or Nityas are
personified as her attendants (Nitya Devis).

On the petals are seated deities and divinities. One deity occupies each one of
fourteen corners created by the nine superimposed triangles. TripuraSundari (TPS) is
eternal though she manifests differently; her state is eternity. This is expressed by
the Nityas or the digits of the moon. The moon remains the same but waxes or
wanes through its digits or phases. Likewise, TPS remains the same though she
sports different appearance with each digit or phase of the moon, acquires new
name, Mantra, and Yantra with each phase of the moon. Thus she has 15 names and
the rest through 15 phases of the moon and on the 16th day (Purnima, full moon)
she is her Whole Self, TPS. Lalita TPS sports a garland of skulls on the 12th Nitya.

Guru is essential in initiation. He teaches the initiate Mantra, Yantra, Tantra, Mudra,
and Sadhana; external and internal purification, worship of Devatas, panchattatvas. The
very fact that the initiate has come to this stage of spiritual advancement means that he
has performed a goodly amount of Punyam (meritorious acts) in previous births. This
qualifies him to receive Mantra (Srividya Mantra in case of Tripurasundari, TPS)
instructions in a proper ritual. The Guru presents the initiate the specific Yantra of the
goddess (Sri Chakra Yantra in case of TPS). Mantra is the sound-body or the soul of a
god or goddess; Yantra depicts the sound-body in a diagram; just imagine Mantra is the
computer code while Yantra is the computer electronic circuit board.
Mantra is the soul of Yantra; worship in Yantra pleases the Goddess. The vibrations from
mantra gather on the surface of Yantra; gain momentum and bounce off; go to the specific
god; receive his or her power, blessings, and grace; come back and deposit them on the
chanter. Yantra restrains, regulates, modulates, subdues, and sublimates all miseries born
of desire, anger, hate, greed, love and other entities. Worship without Yantra brings curse
from the Deity. While worshipping the Deities, the deity-specific Mantra and Yantra with
all the attendant rituals and paraphernalia (Tantra) should be brought into play,
guaranteeing the proper respect and reverence to the deity; invoking one deity and
worshipping another bring the wrath of both offended deities. The Inner power
(Antahsakti) is brought to the full force in worship with all its rituals. All this is done
under instructions from the Guru.
Lord Siva was seated in yogic meditation. Kama came along to disturb his meditation, but was destroyed
by Siva. Siva, the destroyer, was in meditation for sometime, which resulted in the increase in the
population of earth and a heavy burden on Mother Earth. The gods sent Kama (god of love, cupid, Amos,
Eros) to shoot flowery Harshana (one of the five erotic arrows) on Siva and disturb his penance at the
precise moment he woke up to receive his Divine Consort Parvati. He (Kama) by his magical power
created an ambience of spring in the air, earth, and trees, conducive to love. Siva woke up from meditation,
took one look at Parvati, and could not stop enjoying and articulating his appreciation of beautiful features
of Parvati, who, in the privacy of Sivas presence, lay bare gracefully, sporting sidelong glances. Siva felt
like two persons, one imbibing the beauty of Parvati and another, Yogi of all yogis bent on control of the
senses. He felt that if seeing is great pleasure, embracing must give even greater pleasure. Suddenly it
dawned on him that he was stung by Kamas arrows and bitten by love. How could that happen to a Yogi of
yogis, who has complete control over senses? Paramayogi Siva addressed Parvati in a loving manner and
wondered aloud to her, how he became a victim to Kama and how that downfall is harmful to his excellent
reputation as the Lord of Vairagya (detachment, desirelessness). He advised Parvati, in a spirit of platonic
detachment, not to sit by his side on the couch, and looked around for he felt uncomfortable in being
aroused. He felt that the Vairagin and Yogi (in him) was associating with a wife of someone else; such was
the depth of his Vairagya. Kama continued to shoot arrows at Siva with no effects. Siva's anger was
coming to surface. A fire rising from the third eye of Siva incinerated Kama into ashes. That incident
happened in Korukkai. One of Siva's Ganas (attendant of Siva) gathered the ashes of Kama and shaped it in
the form of man. The Gana begged Siva to teach him a mantra and confer half the power of Kama to the

ash-made man. Since the Ash-man was dead Kama and the result of Siva's fury, the Ash-man became a
demon (Bhanda), who with his newfound strength and power defeated the gods who sought the help of
Tripurasundari, who defeated the demon and restored the gods to their former status. (Bhasman or Sacred
Ash is euphemious for the semen virile of Siva. Incineration brings all substances to their pristine primal
state.) Rati, Kama's wife, came to Siva and begged him to give her husband back to her. Siva restored
Kama not to the physical state but to a mental image, a representation of true love and affection and since
then he is also known by the epithet, Ananga.
(The Ash-man asked and obtained Mantra from Siva who congratulates him with
epithet Bhand, Bhand (good, good); so the name Bhanda stuck with the Ash-man.
Since Bhanda is the product of Siva's anger and later ash and much later with the
power of mantra he built a city rivaling the City of gods ruled by Indra, Siva's Gana
becomes a demon. It appears that Bhanda is the fusion product of Siva's Gana and
the ash of Kama. Bhanda rules his kingdom for sixty thousand years. Bhanda
attacks the city of gods, Indra and his army; immediately on the advice of Narada
Muni Indra goes to TPS for help. The gods offer their own flesh and blood as
sacrificial present to TPS. The gods also perform a marriage of Siva with TPS, as an
act of propitiation. TPS sends the Saktis or the Matrakas (fighting mothers) to face
the demon Bhanda, who ridicules the fighting females. From the bodies of TPS and
Bhanda, many previously documented enemies are created to fight each other. When
Bhanda creates Hirayankasippu, TPS creates Prahalada to defeat him; in like manner,
Bhanda's Ravana sustains defeat at the hands of Rama created from the fingernail
of TPS. Nama 80 of Lalita Sahasranama says ten avatars of Vishnu emerge from her
fingernails to do the fighting against the Forces of Darkness. From the right thumb
nail of the Divine Queen, the all-pervading Narayana emerges in the form of great
Fish (Matsya). The ten Avatars, after the task is accomplished, stand before her with
folded hands and pay obeisance to Lalita. Demon Mahisasura comes alive and Durga
defeats him; at last TPS kills Bhanda. Once the battle is over, gods and Rati, Kama's
consort appear before TPS and beg her to bring Kama back to life from death caused
by Siva. TPS obliges the gods and Rati who panegyrize her. This episode shows that all avatars of Vishnu
are resident in her and she can produce them as the occasion demands. Not only male gods are her avatars,
but goddesses Bharati, Chandika, Gauri, Kali, and Kumari are her avatars too.
99) Sri Muladharaika-nilaya meaning that she dwells in Muladhara Chakra in the body.
Subsequent Lalitasahasranamas say that she is the resident goddess of all Chakras including Sahasrara
Chakra.
214) Sri Maha Pataka Nasini, the destroyer of the Great sins.
167) Papanasini, destroyer of evil deeds and karma.
199) Sri Sarva Sakti Mayi, the Mother of all Saktis.
252) Sri Paramananda: The Supreme Ultimate Bliss.
390) Sri Nirvana-sukha-dayini: Giver of the Bliss of emancipation
457) Sri Mata: Mother.
555) Sri Kali-kalmasa-nasini: Destroys sins in Kaliyuga. Kalmasa = stain, dirt, darkness.

568) Sri Niyantri: One who governs (by laws, rules and regulations).
572) Sri Para-Saktih: The Spureme Power.
618) Sri Atma: The (Supreme) Soul.
808) Sri Paramanuh: The Infinitesimal particle; the infinite minuteness; (Anu = atom).
Sodasi confers on her devotees omniscient knowledge, word power, health, wealth, and resistance to
poisons and sickness.
Her devotee becomes learned like Brhaspati, wealthy like Kubera, strong like a Wind,
profound like Ocean, blindingly shiny like Sun, pleasingly and softly glamorous like
Moon, beautiful like god of love, KAma touching the hearts of women, victorious by
grace of hymns to Goddess... He comes out a winner in battle, seeking help from
kings; disputes; confrontation with robbers, lions, and tigers; exposure to fires,
angry kings, lonely deserts and raging waters; maladies of all kinds; and bad
dreams. AdyA-KAli protects him from fear of sin or disease. He enjoys victory and
never a defeat. All dangers scoot at his very sight. He becomes the expounder of
sacred texts, a man of fortune, a leader in caste and dharma (duty), and the lord
among his kinsmen. The goddess of learning (VAni) resides on his fluent tongue and
Goddess of wealth (KamalA) resides in his house. Mention of his name elicits instant
bowing of the head from people. He attains Siddhis (eight powers) which to him are
worthless like blades of grass.
What are Siddhis?
Goddess gives Siddhis to her Votaries.

Siddhas are the yogins who possess eight siddhis or supranormal powers. Siddhas
have attained liberation (jivanmukti) while living. His body is secure from Time or death;
he can choose his death at will at a time and place of his choice. They are the gurus and
spiritual preceptors. Among Sivas, Siva is the Supreme Siddha; Siddhi is achieving a
siddha. The Supranormal powers are impediments to Samdhi, which is becoming one
with ONE. The siddhis are eight: Anima, Mahima, Gharima, Laghima, Prapti, Prakamya,
Isatva, Vashistva, (and Kmarutattva.) Note some texts do not mention Gharima or
Kamarutattva.
Major Siddhis which are possessed by Mother Goddess, Bhagavan, Bhagavati, Isvari or Isvara and to a
lesser degree by the Siddha.

All these Siddhis though impressive by ancient or modern standards are regarded as
Kshudra Siddhis (Insignificant, small, lesser supranormal powers. The real and greater
Siddhi is liberation from the round of births and rebirths.)
1.
2.
3.
4.
5.
6.
7.

Anima. (smallness): Supernatural power of becoming as small as an atom, atomization

Mahima. (largeness): The supernatural power of increasing size at will
Gharima. The supernatural power of making one self heavy at will
Laghima. (lightness): The supernatural power of levitation
Prptih. Supernatural power to obtain everything
Praakaamya. Capacity to accomplish anything desired
Isitva. Supremacy or superiority considered as a super natural power

8.

Vashistva. The supernatural power of subduing all to one's own will

---Definitions as found in Tamil Lexicon, Madras University
Kmarutattva (consummation of all desires)

Minor Siddhis (some are common to major and minor siddhis)

1.ability to apprehend Siddhas.
2.absence of passion or Raga.
3.acquisition of desired objects.
4.alchemy.
5. clairaudience.
6 clairvoyance.
7.control of mind.
8.Death upon demand
9.destroy diseases and miseries and control desires.
10.divining a hidden treasure
11.jump like a frog.
12.Karmic dissolution by multiple births in multiple bodies in one lifetime.
13.knowledge of his past life.
14.Knowledge of past, present and future.
15.knowledge of stars and planets.
16.levitation
17.mastery of the elements and Prana.
18. metamorphosis.
19. migration and animation of a dead body and transplanting his soul, migration into another living body
20.move to any place of his liking.
21.omnipotence and omniscience.

22.prophecy.
23.sporting with the gods.
24. tolerance of heat and cold.
25. tolerance of hunger and thirst.
26.transcend dualities like pain and pleasure.
27.Prapti.
28.touch distant objects.
29.predict future.
30.conversant with animal talk.
Prapti is power to enter anywhere. It also means the supernatural power of
obtaining everything. This includes Ability to touch the sun, the moon or the sky. The
Siddha can predict the future. He understands the language of birds and beasts, and
unknown kind. Prapti is defined as ability to apprehend knowledge and perceptions
perceived by the individual soul in his senses, which are presided over by god or
gods. Once a Yogi or Siddha enters the body of another, he can perceive and
modulate the feelings and perceptions of the the host's senses.
Prkmya is the ability to enjoy anything that is heard, seen, touched, thought and more.
Isitva is introduction and diffusion of Sakti of His Maya into every Jiva in the
universe. It also means supreme domination.
Clairvoyance, Clairaudience, Divination, and Hyperacuity to pain, taste, and smell are supranormal
faculties, which are an impediment to True Siddhi (Oneness with One) because they generate Ahankra, the
I-ness, and the Mine-ness and prevent total surrender to God. The eighth power indicates the consummation
of yogi's desire for God-realization and subduction from Kma or sexual desire. Go to the end of the
chapter for more details.

A realized Yogi Ramana Maharishi makes the following observations on Siddhis.

The Siddhis are not natural to the Self. That which is not natural, but acquired, cannot be
permanent, and is not worth striving for. They denote extended powers. All these Siddhis
are related to body and not to Brahman. A man is possessed of limited powers, and is
miserable; he wants to expand his powers so that he may be happy. But consider if it will
be so; if with limited perceptions one is miserable, with extended perceptions the misery
must increase proportionately. Occult powers will not bring happiness to anyone, but
will make him all the more miserable! He desires to display the Siddhis so that others
may appreciate him. Without appreciation he will not be happy. If he finds another one
with greater powers, he will be unhappy and jealous. The higher occultist may find
another higher Siddha and so on until there will come one who will blow up everything in
a trice. Such is the highest adept (Siddha) and He is God or the Self. --Talks with Ramana
Maharishi, page 19.

In Tantra literature, there are five Sivas: Sadasiva, Isa, Rudra, Vishnu, and Brahma;
all of them are described as "Five Great corpses" because they are all inert without
Sakti. Siva is Sava (corpse, Sava Rupa); hence, Sakti Devi is portrayed as standing
on Sava-Siva. The Five Great Corpses (pancha-maha-preta) become inanimate
objects upon which Devi (Sodasi) sits, reclines, presides, and merges as
Consciousness. Siva is the couch; Sadasiva is the mattress; Isa is the pillow; Isa, Rudra, Hari (Vishnu),
and Brahma are the four legs of the couch. Tripurasundari/Sodasi reclines majestically on the couch.
Sundari is united with Higher Siva, Paramasiva in Pranava, AUM. The Nada (Chandrabindu/ Nadabindu)
over the Omkara is the couch, on which Paramasiva in his Bindu form is reclining. Chandrabindu is Nada
and Bindu, Sakti and Siva in one unit. The erotic and sometimes morbid symbolism is illustrative of Sakti's
(Sodasi) power. Shodasi = Sho + Dasi = 6 + 10 = 16. Sodasi is sweet, soft, and sixteen all the time. She is
Lalita, sweet, soft and charming. Sixteen is the age and prime of youth and from there on it is downhill in
every sense. Even in a physiological and immunological sense, sixteen is the turning point for the worse. It
takes sixteen days for the new moon to become a full moon; from there on it is down hill. Sundari is sweet
sixteen all the time, the prime of everything imaginable.
Kali was once addressed as KALI (black) by Siva; Kali was upset, retired to Mount Sumeru, and became
an ascetic vowing to change her black complexion to white. Narada, the talebearing Muni, went to Kali and
told her that Siva was considering marriage to another woman and that she should immediately go to Siva.
Is this not a benign mischief on the part of Narada Muni? Kali by that time lost the pigment in her skin and
became light-skinned, but did not know about it. When she went to Siva, she saw a wheat-complexioned
woman in the mirror of the heart of Siva. She was upset, angry and jealous; Siva noticing her disposition
asked her to look more closely. Kali found her own light-skinned image and realized her misperception.
Siva calling her Tripurasundari said that she would remain sixteen for ever; that is how she became known
by that epithet, Sodasi. Sodasi likes to sit sometimes on the lotus sprouting out of the navel of reclining
Siva.
Association of sixteen with Sodasi may have several meanings.
1. She is sixteen years of age.
2. She has sixteen attributes.
3. She is the sixteenth Tithi (phase or digit of the moon) meaning that she is the sixteenth digit and thus,
beyond the fifteen digits of the waxing (Sukla Paksa) and waning moon (krsna paksa). The digits of the
moon are the goddesses; Sodasi is above and beyond these goddesses.
TRIPURASUNDARI (TPS) ASHTAKAM (Octal hymn / Octad)
Ashtakam = Octal hymn, that takes you to the eternal home.
Here is a string of pearls and gems from TPS Ashtakam by Samkara (Sankara)
Sam in Samkara means bliss, wellness, beloved. Kara = doer, causer, maker, producer, promoter.
Ashtakam 1. I seek refuge in Tripurasundari who is in the middle of Kadamba forest. TPS roams the
Kadamba forest. Kadamba = Cadamba indica. As the bank clouds quench the thirst, TPS quenches the
spiritual thirst of a confluence of Munis. Her hips excel the swell of the mountains; her eyes outshine the
fresh lotus; her dark complexion vies with the nimbus, as the callipygian celestial damsels serve her. She is
from the family of three-eyed Lord.

Kadamba is an allegory for the Universe of beings and matter.

Ashtakam 2. I seek refuge in Tripurasundari who is in the middle of Kadamba forest. Kadamba =
Cadamba indica. She holds a lute, wears gems and a face that glows with ambrosia, grace, auspiciousness
and mercy and wanders the woods with clear eyes. She is from the family of three-eyed Lord.
Vina is the universe and Rta is its music and rhythm. The musicians are TPS and other gods. TPS
orchestrates the musicians and the intricate music. Rta (Cosmic Law) brings order and meaning to what
otherwise would be the chaos of creation, maintenance, and destruction. Likewise, TPS brings order to the
universe. The stem of the Vina is the vertebral column, Merudanda, Axis Mundi, or Stambha. It stands for
the spinal column and the Susumna Nadi that runs along the central spinal canal, piercing through the
chakras on its way to Sahasrara Chakra.
Siva is the stem, strings Uma, end-piece Lakshmi, shoulder Vishnu, gourd Brahma, and the middle
Sarasvati. TPS orchestrates and coordinates all deities to create the music and rhythm of the universe. She
is the Primal Goddess out of whom emerged the gods and beings and the universe. She is the immanent
Self in all beings including gods.
Mount Meru is the Axis Mundi of the universe; Spine is the Axis Mundi or Skambha of the
universe of human body and so it is called Merudanda. Meru + danda = Meru + Pole. The jeweled Chakra
in the human body is Manipura Chakra; he jewels dazzle; our sins frazzle with her grace.
Varuni is nectar obtained from the Milk Ocean. Varuni in this context is that which
exudes from the union of Siva and Sakti in Sahasrara Chakra after the successful
ascent of Kundali and Yogi from Muladhara to Sahasrara Chakra. Kundalini Power. TPS
is red from intoxication with the nectar.
Some regard the nectar as the intoxicating liquor of Panchamakaras, the Five Ms: Madya, wine;
Mamsa, meat; Matsya, fish; Mudra, grain; and Maithuna, sexual union. The right-handed (Vama)
worshippers of Mother Goddess practice panchatattvas. Go to Kularnava Tantra.
If drinking wine leads to spiritual attainment, all drunkards would attain moksa. If
meat-eating leads to sojourn in heaven, all carnivores are righteous claimants to
heaven. If sexual intercourse with women is the ticket to liberation, all animals have
a right to liberation. Tantrics are of the view that sacrificial killing of approved
animals to please forefathers and gods is permitted. Killing and eating for
nourishment and enjoyment is proscribed. True devotee's offer of meat and wine to
Devi is Anananda (Bliss); they are dear to Devi; they are true Kaulikas. Bhairava
inculcates in those who drink wine the knowledge of Kula principles. Wine lights up
Atma enveloped in dark Maya. Drinking wine with the utterance of proper mantra
and offering it to Guru guarantee a Kaulika not to drink his mother's milk again--no
rebirth. A Kaulika enjoyer, who is a Vira, is Bhairava himself, while the meat he offers is Siva, and
Wine is Sakti. If you notice some commonality between Tantrics and Catholics with regard to wine and
meat (body of Christ), the catholic rituals are imports from Tantrics. The union of Siva and Sakti from such
offering is liberation. Bliss is Brahman; it is present in the body, waiting to be expressed by wine; thus,
Yogis imbibe it. Vira, the embodiment of Tantric virtue, untouched by polar opposites like pain and
pleasure, possessed of Kula and Vaidik knowledge, imbibes wine which gives him Bliss and liberation.
Mother Kali is the goddess of the Tantrics and Saktas.
Drinking of Soma is prescribed for Brahmanas, as wine is prescribed to Viras. Permitted user of wine,
meat, fish, and sex should have thorough knowledge of Kula Sastra, before he uses them. The Sakti of Vira
is alive and well, while that of Pasu is at sleep.

TPS alone is capable of conferring both worldly goods and pleasures and moksa (liberation). Other
deities can confer only the earthly bhoga or pleasures. She is clear-eyed in the sense she is above dualities.
She is a care-free wanderer without desires or dualities in the forest (universe) meaning that she is allpervasive and immanent in all beings; she has no wants; she is full of grace.
Ashtakam 3. I seek shelter in Tripurasundari who is in the middle of Kadamba forest. By her Lila (play
activity) we make the portrait of the universe. She lives in the Kadamba forest with her garland adorning
her mountainous breasts, her Grace flowing, her cheeks red from imbibing wine, her voice melodious and
her body cloud-blue. She is from the family of three-eyed Lord.
We are like a portrait. The mountains, people, beings and matter on the portrait do not exist without the
substratum (hypostasis) of the Divine Being. Garland indicates her auspiciousness. Her humongous breasts
stand for the everlasting nurture of the universe. Her Grace ensures liberation from Samsara.
Grace of Guru (Gurukripa) in TPS worship

Guru is essential in initiation. He teaches the initiate Mantra, Yantra, Mudra, and
Sadhana; external and internal purification, worship of Devatas, panchattatvas. The very
fact that the initiate has come to this stage of spiritual advancement means that he has
performed a goodly amount of Punyam (meritorious acts) in previous births. This
qualifies him to receive Mantra (Srividya Mantra in case of Tripurasundari, TPS)
instructions in a proper ritual. The Guru presents the initiate the specific Yantra of the
goddess (Sri Chakra Yantra in case of TPS). Mantra is the sound-body of a god or
goddess; Yantra depicts the sound-body in a diagram; just imagine Mantra is the
computer code while Yantra is the computer electronic circuit board.
Sequence of events, worship and prayer
External purification
Internal purification
Sanctification by Mantra "acupressure"
Sanctification by deifying body parts
Pujari, the surrogate of Goddess (or Siva)
Consecration of sacraments, vessels and worship site
Water for ritual ablution of feet of the deity
Water for Acamana (Sipping while uttering certain mantras a little water three times from the palm of the
right hand.)
Worshipping the conch with flowers
Offering Panchagavya (five products of the cow: milk, yogurt, butter, urine and cow dung.)
Worship of pots and water, bull, door,
Worship of Ganesa, the dispenser and remover of obstacles, and other gods.
Bathing of the Goddess, (TPS, Linga or Ishta-devata)
For all the world's creature including man, the first Guru is mother. Mother
Goddess TPS is the Mother of all Gurus. Go to The Saktas.
Ashtakam 4. I seek shelter in Tripurasundari who is in the middle of Kadamba forest,
seated on a golden dais. She abides in six lotus flowers and is constant lightning to the
unwavering Siddhas. She taunts the China Rose (Hibiscus) (with her complexion),
wearing the cloudless moon as Cudamani (jewel in a diadem). She is from the family
of three-eyed Lord.
For information on Six lotus flowers go to Kundalini Power.

Lightning is the manifestation of TPS when the Yogi in meditation shuts the world off and delves deep into
the transcendental world. When he ascends to Ajna Chakra, he receives the lightning from TPS. Siva and
Sakti manifest themselves as Cloud and Lightning (Meghesvara and Saudamini) in Manipura Chakra.
Lightnings are the ways Kundali communicates with the Siddhas.
TPS has red complexion; redness is Rajas (motion and passion). China Rose is sacred to TPS, as Ketaki
for Siva and Tulasi for Vishnu.
Ashtakam 5. I Seek shelter in Sage Matangas daughter whose Vina adorns her bosom, who has curly
tresses, abides in the Lotus, and disdains the evil-minded, whose eyes look red from nectar, who enchants
Cupids enemy, Siva, and whose speech is mellifluous.
Ashtakam 6. I seek refuge in Mahatripurasundari who holds the first flower of Smara
(Manmatha / Cupid), wears a blue shawl / Saree with red polka dots, and holds a vessel of wine, whose
eyes are languid and tipsy, whose close-set breasts are heavy and high, and whose hair droops gracefully
and who is of black complexion.
smara prathama pushpinim = Smara's first flower: The first flower is said to be an euphemism
for the onset of menarche, indicating her eternal blossom of youth. Smara = Manmatha,
the god of love.
The eyes looking languid and tipsy are a sign of internal bliss-SatChitAnanda.
Her hair drooping gracefully is a sign of her relaxed and yet Supreme status among gods, men and matter.
Ashtakam 7. During meditation I remember Ambika wearing vermilion and Kasturi Tilakam, sporting a
soft smile, holding arrows, bow, noose and goad, beguiling all people, wearing a red saree and radiating
with Japa flower.
Ashtakam 8. I revere the Bhuvanmbika who rules the world, who has the celestials do her hair, Brahmas
consort to apply unguents and sandal paste, Mukunda Ramani (Vishnus consort) to doll her up with jewels
and wives of Suras (gods) to do her bid as maids.
Devi Tripura is Brahma, Vishnu and Isa, while Siva is Sambhu, Sadasiva, Isana, Rudra, Vishnu and
Brahma.

Bhuvanesvari is Mistress of the world. Bhu = world. Isvara =

Lord; Isvari = Mistress / Lady. She is Rajarajesvari (Queen
of queens), the ruler of the universe. She is the embodied
form of the totality of transcendent knowledge (Para Vidya-Supreme knowledge), part of which makes the Vedas.
Tantrics say that Bhuvanesvari becomes a manifest goddess
after creation and thus controls the phenomenal world in all
its aspects. She is a beautiful goddess in every respect so
much so Siva acquired a third eye to imbibe her beauty.
Bhuvanesvari is the centerpiece of phenomenal world; she
causes creation, maintenance and destruction; all activities
and oscillations of the world, including love and hate,
happiness and misery, joy and suffering and other myriad emotions are her play
activity. Bhuvanesvari is the nourisher of the universe; appropriately, she is endowed

with generous engorged breasts which are in a perpetual state of spontaneous

letdown; she sports an effulgent full moon on her forehead; she holds a fruit on one
hand, is light-complexioned, smiles pleasingly, and confers Raksha (protection) with
one of her four hands. She is also gold, red and blue which stand for three gunas. (A
variation in theme: Since Sattva is white, Rajas red, and Tamas black, they tried to paint
her with colors.) She is also portrayed as having twenty hands wielding an
assortment of weapons (bow and arrows, scissors, sword, spear, club, disc, trident,
noose, and mace), holding conch and garland, and displaying a protective boongiving fear-not (Abhaya Mudra) pose. In another pose, she holds a red lotus and a jewel box with her
two hands. They represent vigor and wealth. Her face lights up in smile and radiates peace and amity. She
is bright-red in complexion; lends color to the lightning; shines like a thousand suns; wears a crescent moon
on her head and a nose ring; holds a snake, noose and goad; sits naked on a red lotus in a pond full of lotus
flowers; sports three eyes; wears pearls of many hues; and confers Grace by Abhaya Mudra pose. Her Bija
(Seed) Mantra is hrim. (Crescent moon is symbolic of renewal, replenishment, growth and vitality.) Bija
Mantras are seed letters (of Sanskrit language) which are the visual forms of Primeval Sound. If pen
(written word) is mightier than a sword, Primeval Sound is mightier than visual sound (Pasyanti) and
written word. Go to Sabda or Sound for more details. Bija mantra is usually a single-character Mantra;
there are exceptions like Hreem/hrm, a compound. Primeval Sounds apparently have no meaning, so is the
case with Bija mantra sounds; they possess mystic meaning. Since Sound (Nada) is the source of the
universe, the Maha-Bhutas (gross elements) have Bijas.
Bhuvanesvari, before her earthly appearance, was an
unmanifest energy and power. Sodasi was the only
goddess then. The sun appeared in the sky under Sodasi's
watch and the Rishis offered Soma sacrifice to the sun
which created the three worlds (Bhuvanas). Bhuvanesvari
became a manifest goddess and ruled over the three
worlds: Bhh, Bhuvah, and Svah (the earth or physical plane,
atmosphere or astral plane, and heaven or celestial plane). Since she is the
ruler of Bhuh, she became Bhuvanesvari, who is no other than Sodasi
herself. She is the fourth in line in importance: Kali, Tara, Sodasi and
Bhuvanesvari (BVS). BVS is Earth, Water, Fire, Air, Ether, Prakrti, sun,
moon and their creator. Since she is the controller of the five

gross elements (Mahabhutas), she is Pradhana and

Prapancesvari. The manifested world evolves from out of
BVS as the spider issues forth the web from its body. She is
the fire which crackles with sparks as souls coming out of the fire in BVS. The spider, the web, and
the sparks are analogies used by Ramanuja in explaining Brahman, earth and souls. Supplement.
Bhuvanesvari: Exoticindia.com
BVS, the origin of Tanmatras, gross elements, sensory organs and motor organs.

Five gross elements (pancha Five Tanmatras.

Bhutas).

Janendriyas, five sensory, five

motor

Ether, Air, Fire, Water, and Sound, Vision, Taste, Smell

Earth
and Touch.
HAM, YAM, RAM, VAM,
AND LAM
Note their colors.

Ears, Eyes, Tongue, Nose, and

Skin.
hearing, vision, tasting,
smelling, feeling touch.)
Larynx, hands, feet, anus and
genitals (speech, grasp,

ambulation, evacuation,
procreation.)
Bija Mantra for Ether is HAM, Air YAM, Fire RAM, Water VAM, and Earth LAM.
Salutations to Bhuvanesvari in the form of sound, Ether, hearing and ear; Fire, Vision,
and eyes; Water, taste and tongue; Earth, smell and nose; Air, touch and skin. According
to this table, Sound is the first manifestation in the universe; all things sequentially
evolved from sound, from which other Tanmatras came about; sequentially and
subsequently Tanmatras gave rise to gross elements, appropriate sensory organs (ear,
eyes, tongue, nose, and skin and motor organs*. BVS is thus the indwelling deity in all
these entities.
Motor organs* are larynx, hands, feet, anus and genitals and their functions are speech,
grasp, locomotion, evacuation and reproduction. All these above elements in the table
emerge from her and dissolve in her during pralaya (end of cosmic cycle). She is the
creator, sustainer and destroyer. She is the Mother of Brahma, Vishnu and Siva. The
female version of the Triad is Sarasvati, Lakshmi and Kali (for creation, maintenance and
destruction).
Matter (Prakrti) consists of 24 elements made of unevolved Primordial Prakrti
(Pradhana), intellect (Mahat), ego, Pada (five subtle elements or Tanmatras), Matra
(five organs of action, Karmendriyas, or motor organs), Varna (five organs of knowledge,
Janendriyas, or sensory organs), five gross elements (Yauvana, Mahabhutas) and the mind. Pradhana is the
womb (Bhuvanesvari, BVS) from which other elements take their origin.
BVS is sound itself and thus, the origin of seed sounds, Mantras and Vidyas,
(Sanskrit) letters, words, phrases, sentences and speech. Her Bija Mantra (Vidya) is
hreem: a combination of four elements, ha, ra, i (ee), m. Swami Vishnu Devananda says that ha
stands for Siva, ra for Prakrti, i (ee) for Mahamaya and m (Bindu) for dispeller of sorrow and Nada for the
Mother of the Universe.
The Sanskrit alphabets proceed or take their birth from these sound elements. She is
Sabdabrahman, Brahman of sounds and also Kundalini Devi. From hreem proceeds the
universe of sounds and letters, the deities, the universe, humans, animals, plants,
matter, forces of nature.
Yantras of all deities share many common features. The layout is the same with internal variations: the
gates, the square, the circles, the lotus petals, the peripheral deities. The basic Yantra consists of a central
anchor (Bindu), one or more triangles, rectangle, pentagon, hexagon and or spiral, letters on the lotus
petals of different colors with their respective petal deities, one or more circles, square, gates, a Bija Mantra
(as in the case of Kundalini Chakras).
BVS Yantra

The center is the imaginary Bindu or the seed Mantra of BVS, hreem. (The diagram is blank in the center.)
The inverted triangle is BVS and the upright triangle is Siva; together they appear as a six-pointed star.
There are the eight- and sixteen-petalled lotuses enclosed by a square and four gates. Bindu is the union of
Siva and Sakti, the overlapping triangles. This union of Siva and Sakti creates three pairs of Saktis: Iccha
and Vama Saktis; Jnana and Jyestha Saktis; Kriya and Raudra Saktis. They represent Iccha, Jnana and
Kriya Saktis, which are used by BVS to create, maintain and destroy the universe. The fourth pair is
Ambika and Santa Saktis. Iccha = Will; Vama = left handed; Jnana = Knowledge; Jyestha = elder; Kriya =
action; Raura = destruction; Ambika = good woman, wife of Siva; Santa = composure; Sakti = power.
These powers are called Mahapithas, sacred places around the country: Kamarupa, Jalandhra, Purnagiri,
and Uddiyana. Eight goddesses occupy the inner eight petals; four goddesses stand at the pericarp of the
inner lotus. One divine pair stand guard at each one of the six apices of the triangle. Eight forms of Rati are
present on the eight tips of the petals. There are again eight saktis present in the spaces between petals.
Each one of the sixteen outer petals has a resident deity. Four deities guard the gates; likewise four deities
guard four corners of the square. The inner parts of the Yantra are generally female domain and the
perimeter is generally the domain of the male gods. The central Bindu-Siva-Sakti is surrounded by all these
deities. The Sadhaka worships all these deities in Yantra.
She uses noose to laso the wayward votary and goad to discipline the devotee and destroy evil so that the
votary attains spiritual enlightenment. Another source tells that she uses the noose and goad to control his
Indriyas (sensory and motor organs), take him along the path of devotion and knowledge and give him
Grace. Noose and goad are the instruments of inculcating Dharma in a devotee.
A plethora of auspicious adjectives describes her face, hair, lips, nose, throat, breasts, waist, thighs,
buttocks, navel, and arms. Siva sprouted his third eye just to imbibe her beauty in full measure. The
beautiful features are an affirmation of the world. Tantra is of the opinion that liberation can be obtained
both by bhoga (enjoyment) and yoga. Worshipping her brings health, wealth, vigor, power and control over
enemies and friends, word power (Vac Sakti), and intentional prophesy (Vac Siddhi).

Bhuvanesvari's physical beauty is described to illustrate her inner beauty in Hymns to the
Goddess Bhuvanesvari by Sir John Woodroffe.
You are of beauteous face, outlined by the weighty hanging hair. Your body is moist
with the nectar flowing from Sahasrarapadma. You sport rounded breasts and
slender waist; holding a rosary, a Kalasa (pitcher), and a book in your three hands,
your fourth hand makes Jnanamudra. You are Lakshmi rivaling the luster of molten
gold. You hold two lotuses in two hands and with the other two hands you grant
boons and dispel fear (Vara and Abhayamudra). O Bhavani, I worship your body from
ankle to knee, which the bull-bannered one (Siva) gazes with great love and as if
not satiated by looking with two eyes made for himself a third eye. I recall to my
mind your two thighs which humble the pride of the trunk of an elephant and surpass
the plantain-tree in thickness and tenderness. O Mother, Youth fashioned those
thighs, which support the weight of your hips. Your great breasts and big hips seem
to have absorbed the waist with the downy fine hair of your youth clothing your
body. O Devi, Let me not forget your navel, a secure inviolate pool granted to you by
your blossoming youth filled with the liquid beauty. Your lotus-like breasts smeared
with sandal paste bears ash telling the embrace of Siva. Your breasts remind me of
the frontal bilobes of the elephant in musth rising from the waters flicked with foam.
(It is common to compare breasts to the two protuberances of the frontal bone of
the elephant. Consider the Great Tetons Nationa Park.) O Mother, your two arms are
beauteous with water dripping from your body. Again and again I look upon your
shapely neck, which has stolen the beauty of a well-formed shell and adorns a
pleasing necklace and other jewels. Yet I am not satiated. I oft recall to my mind
your face with large round eyes and noble brow, radiant cheeks and smile, the high
straight nose and lips red like a Bimba fruit. Whoever contemplates on your wealth of hair lit by
the crescent moon and resembling a swarm of bees hovering over fragrant flowers is free from all shackles
and will never be born again in this world. The mortal who reads these sweet hymns from his heart attains
all wealth in the form of Lakshmi at whose feet crowned kings fall prostrate.
Chinnamasta is Cut Head. Chinna + Masta = Cut + Head. She is Tantric form of Durga
with a severed head, fifth in line of Mahavidyas. The western students regard
Chinnamasta as an adopted goddess from Buddhist faith and Tantrics inducted her in
(the gallery) Hall of Mahavidyas, though they were afraid to alter her Buddhist
Mantra for fear of reaping the wrath of Chinnamasta. Buddhists call Chinnamasta, ChinnaMunda. Munda = head. Chinnamasta and Dhumavati along with other bevy of goddesses are regarded by
the west as sinister goddesses bent on Abhicaara; thus, they are worshipped in Abhicaara rites for the
express purpose of harming the enemies. Abhicaara = employment of spells for malevolent purposes. (In
the movie "Loc Kargil" the soldiers were invoking Kali, Krishna and Durga while they were attacking the
rock-fortified positions of the enemy soldiers. They failed to invoke Chinnamasta; no Abhicaara rites were
performed.) Some experts call Chinnamasta by other epithets: Vidya and Tara.

Chinnamasta standing on couple in union

exoticindia.com

Chinnamasta is portrayed against the background of mountains, rivers, verdure,

flowers, thunderclouds, and lightning. All look pleasant and appealing except the
thunder and lightening and the central figure who holds her own severed head
dripping blood on her left hand; three streams of blood are spouting out of the
severed neck, the right and the left stream going into the mouths of two females and
the central stream going into the mouth of the severed head; scimitar is held by the
right hand. Indophobes (and Indophiles) have a field day spouting
diagnostic opinions ranging from psychosis, personality disorder,
displaced anger, dissociation, destructive impulse behavior, selfmutilation. Everyone including some big names "oralized and analized" the
perturbing points in the portrait; none had the qualification of the insider. The one thing
that they lacked was the wisdom evinced by the Tantrics who were in the thick of it. After studying the
sanguine opinions of pseudo-pundits of all hues and nations on this subject of sanguine nature, I came to
the conclusion that the Tantrics in the know had the best explanation. I
The goddess of red hibiscus complexion with the severed head is Chinnamasta; she holds a scimitar on the
right hand and her own severed head on the left hand; the severed head with three eyes and body are living
units. Three streams emanate from the severed neck, two streams go into mouths of two goddesses, Varnini
on her right side and Dakini on her left side and one stream falls into the mouth of the severed head. Naked
Varnini of Raja Guna is white in color with cascading black hair, holds an upright sword on her left hand
and a skull-bowl on her right hand, moves her right foot forward in a walking stance so as to receive the
right stream into her mouth. Naked Dakini of Tamas Guna with cascading black hair holds the sword on
her right hand, the skull-bowl on her left hand and moves with the left foot forward so as to catch the left
stream into her mouth. Chinnamasta is sitting (standing) on a pair of lovers engaged in Viparita Mithuna
(reverse coition), involving supine Manmatha and prone Rati, who were stretched out on a open blossom of
lotus flower floating in a body of water (the older version of waterbed). In the background are the
mountains...What do all these disparate elements of a portrait mean?
Chinnamasta is associated with Kundalini Chakras; there is reference to that in her hymnal names:
Susumnasvarabhasini, Sahasradalamadhyastha and Sahasradalavarttini.
Susumnasvarabhasini = She who understands Susumna Nadi sound.
Sahasradalamadhyastha = One who is in the middle of a thousand-petalled lotus.
Sahasradalavarttini = She who abides in the thousand-petalled lotus.
Go to Kundalini Power for more details.

Manmatha and Rati are the archetypical lovers, living a life of indulgence in Muladhara and Svadhisthana
planes, which is not condemned by Tantrics. They have dominant oral, anal and genital traits--deglutition,
defecation, excretion, recreation and reproduction. Chinnamasta walks on them on this private moment and
stands on them, which is rather discomforting to the lovers. The flesh is put on notice; the flash of lightning
sword severs the head and the spirit rises. The head has all the sensory and motor organs (needed for a
successful sexual encounter), such as the brain, the motivator and the ultimate enjoyer; nose, the purveyor
of delicate aromas; mouth and tongue for creative osculation and tactile pleasures; ears for subtle sounds of
music; and eyes, the imbiber of visual delights. The head of senses has to come off for the spirit to rise.
Standing or sitting on Kama and Rati in Viparita Mithuna (Reverse Coition), Chinnamasta demonstrates
that she has overcome the sexual urges; self-decapitation with streams of blood points to fearlessness,
feeding and nurturing and sacrifice to her devotees. (Consider this statement: "Be sure you distinguish
(discern) the Body (bread) and Blood (wine) of Christ from the other food at the meal. Treat it reverently,
do not just gulp it down.") Her hymnal names, Yogini, Yoganirata, and Madanatura, indicate that she is a
female Yogi, a disciplined and controlled practitioner of Yoga, and the one who cannot be conquered by
Love god. Her nudity is a sign of truthfulness because Truth when clothed is no longer Truth. One who has
the courage to stand decapitation for sacrifice, Truth, devotion, and in war is a hero with discipline and selfcontrol; he is the battle-ready hero, a true devotee of Chinnamasta.
Some point out that willing participation of Siva and Chinnamasta in Viparita Mithuna, portray an image
of Tantric worship where the dominant performer is the female; there is no suppression or degradation of
sexual desire or energy. As further proof of glorification of Tantric sexual practice, Chinnamasta's Mantra
incorporates in it the common seed Syllable (Seed Mantra) of the Great Lovers, Krishna and Kama: klm.
Chinnamasta's Mantra is "Srm hrm klm aim Vajravairocaniye hum hum phat svh". This Mantra, some
say, attracts and holds woman in their sway. Her hymnal names point to her sexual energy, enjoyment and
desire: Kmarpa (her form is desire), Ratirgavivrddhini (Rati = sexual enjoyment) + (Rga = passion) +
(Vivrddhini = enhancer).
Other explanations.
Chinnamasta is object lesson for the amorous couple. The three streams are the Nadis: the lateral ones are
the Ida and Pingala (left and right) Nadis; the central one is the Susumna Nadi. Head is cortex and brain,
the seat of desires. Susumna Nadi rises through the brain which receives nourishment from central stream
of blood. Spirit (Kundalini goddess) rises to the top of the head via the roof of the mouth; severed head
represents severed mind-Amanaska, a state of paucity of mental function, conducive to higher states of
consciousness, whose destination is Atattva or Parasiva (absolute Reality). The Nadis break through the
Grantha (knot) in the Chakras and lift the head, the seat of human consciousness, off. Chinnamasta
represents Susumna Nadi, Varnini Pingala Nadi, and Dakini Ida Nadi. Kundalini Power
Chinnamasta is in a state of Amanaska devoid of all human foibles, distractions, and senses but not dead;
the proof is she is sitting or standing; the nourishing Susumna Nadi in the form of blood is keeping the head
alive. This is called Kapaala moksa--liberation by the skull. The confluence of Bindu and Nada (Light and
Sound / Lightning and thunder, Siva and Sakti, Seed and ovum / Sveta Bindu and Sona Bindu) creates a
cascade of Tattvas which result in matter and life; what Chinnamasta does on the cosmic scale, the
recumbent couple do it on a smaller microcosmic scale. The amorous couple are on the physical plane,
while Chinnamasta is on the spiritual plane; Prana has risen from the genital triangle to Ajna Chakra and
beyond through Susumna Nadi to Sahasrara Chakra where the union of Siva and Sakti produces nectar
which suffuses throughout the body. In the amorous couple, the flesh is rising and the spirit is sinking.
The trodden lovers living in Muladhara and Svadhisthana planes can control their senses to reach
Brahmarandhra with the grace of Chinnamasta who lives in Ajna Chakra.
The transformation of the Spirit, Pure Consciousness, or Paramatma (Supreme Atma or Soul) through a
cascade of Tattvas from Spirit through knowledge to lesser consciousness to matter is depicted as an
evolutionary process and the Tattvas measure the distance between matter and individual soul on one side
and Pure Consciousness on the other end. In this instance, the human consciousness ascends to Parasiva or

Atattva: an instance of involution. Chinnamasta facilitates that ascent from the prurient world to a world of
Pure transcendental Consciousness and Bliss.
Chinnamasta, as Tara, was adopted from Buddhist Tantrics who called her Vajra Yogini. There are a few
stories associated with Chinnamasta.
Parvati went to Mandakini River for bathing with two attendants, Jaya and Vijaya. When she finished
bathing, the attendants asked her for food for which she said that they had to wait until they reached home.
They kept persisting in their request and she, the merciful goddess, cut her own head and the attendants on
either side along with the severed head drank from the three streams coming out of her headless body. They
all came back home satisfied in their hunger. Since then Parvati was known as Chinnamasta. The attendants
were hungry for spiritual food, which can only be given by Chinnamasta.
This was told by Siva himself. When Siva and Parvati were in Viparita Mithuna (Reverse coition or Parvati
in superior position); this act was called Mahavrata (Great Religious vow). At the end of emission, Parvati
became very fierce and emanated two saktis from her body, Dakini and Varnini. One day Parvati/Chandika
and her two attendants went to Pasubhadra River. At noon, the attendants became hungry and
Parvati/Chandika cut her head and fed them and her own head with the streaming blood from her headless
body. Once the feeding was over, she put her head back on the body and headed back home. Siva noticed
pallor on Parvati/Chandika and thought that she was injured by someone. He became very angry which
made a part of him arise as Krodha Bhairava (Krodha = anger; Bhairava = terror). That day was designated
as Viraratri, the day Chinnamasta was born.
Dakini and Varnini are interchangeable names for Jaya and Vijaya.
In the above two episodes, some wonder why Chinnamasta did not nurse to satiate the hungry attendants as
Kali nursed Siva when she found him on the battlefield. Instead she gave them her lifeblood.
Another version tells that she (Pracandachandika) was engaged in war with the demons at the request of
gods. Once she won over them, she continued to be in rage and so cut her head off and drank her own
blood. Here some experts feel that her rage was so huge that she cut her head off to throttle down the rage.
Another story tells that Chinnamasta drank the demon's portion of Amrta (nectar, ambrosia) churned out of
milk ocean by the two groups of gods and demons. The demons demanded Amrta and she cut her head off
to deprive the demons of their portion of Amrta. This enabled the gods to remain dominant. Here the some
experts feel that she wanted the gods to succeed and the demons to fail. The act of self-beheading is an act
of sacrifice.
All these to some experts mean that they are acts of destruction and regeneration.
Chinnamasta, according to Buddhists, was Chinnamunda in Tantric Buddhism. Chinna = severed + Munda
= shaven head. A similar story of self-decapitation appears in their writings. Interpreters of Buddhist and
Hindu writings say that decapitation is symbolic and not actual. It means a spiritual awakening and ascent
beyond the head of senses. It is variously described as symbolic of enlightenment, rising of Kundalini
Sakti, compassion for the companions, nourishing of the fellow human beings, advancement of peace,
fearlessness. Severing the head and walking around with the severed head in hand without actually dying is
a magical and spiritual ability, according to Buddhist interpreters. Severing of the head is also symbolic of
excising of ego from one's psyche, which is a preliminary step before Nirvana or Mukti. Head is the seat of
human (false, not spiritual) consciousness, which is several notches below superconsciousness and spiritual
consciousness. There is only One who can claim the distinction of "I" and that is goddess (god). People
who go around calling themselves "I" come into conflict with the Supreme "I." There can be no two "I-s" in
front of the Supreme; the arrogance of human "I" challenges the authority of the goddess. Anava Mala
which falsely regards the soul as different from the Supreme soul and identifies with the body is a
recalcitrant obstruction to obtaining liberation. Symbolic severing the head and the egotistic "I" are the first

step towards merging with the goddess. Once merging takes place, all merged souls are a homogeneous
mass; there is no individuality in that mass; there is no ego in that.
Worship of Chinnamasta follows the same rituals as that of other Mahavidyas; the Mantra and the Yantra
are different and special to Chinnamasta, who confers many boons to her devotees: health; wealth; freedom
from fear; ability to influence family, friends, women, enemies, and rulers; and liberation. Chinnamasta's
hymns mostly talks about the following aspects: fierceness, anger, rage, sanguivorous guzzling,
dispensation of death by sight, deification of fear and terror, human flesh eating binges. The most notable
temple of Chinnamasta is part of the Durga temple in Ramnagar adjoining Varnasi, worshipped by Tantrics.
Chinnamasta appears in white marble sitting on a couple in Viparita Mithua and flanked by two women.
She wears a garland of skulls, and holds her severed head in her left hand and the sword on her right hand.
She is worshipped by left-handed Tantric worshippers (Vamachara Vira). Go to Kularnava Tantra for more
details.
Bhairavi is the sixth Mahavidya and the icon of death, whose power is irresistible and unavoidable, and
which is a continuous process in the phenomenal world. Bhairavi is in charge of Nitya Laya (Pralaya or
dissolution), which means decay and death of individual entities on a daily basis. There are other types of
Layas: Naimittika, Prakritika and Atyantika. Sanksrit Laya and Greek-English Lysis carry the same
meaning: loosening, dissolution. The whole universe comes to an end in Naimittika (periodic) Kalpal
(eonian) dissolution, when all life and matter are incinerated; it corresponds to sleep-wake cycle of
Brahma; sleep is dissolution and awakening is
life. Prakritika Laya is the involution of
matter (as opposed to evolution) into
primordial substance from which it came.
Saiva Siddhantists believe that matter and life
originated from Bindu, Nada, Siva and Sakti
which originated from Param. Atyantika Laya
is the emancipation and liberation (Moksa) of
the individual soul. On account of her power
over the life of individual, Bhairavi means
Terror. Bhairavi is the destructive force, redcolored with her breasts smeared with blood.
She is a goddess of great effulgence equal to a
thousand rising suns. Her favorite color is red,
esp., red silk. She holds a book and a rosary by
her two hands and the other two hands
dispense protection and boons. She wears a
garland of severed heads, moon on her head,
and many jewels. She has three lotus-like
eyes. In her depiction with ten hands she
carries an assortment of weapons and
accouterment: bow and arrows, noose and
goad, sword and club, drum and trident, and
book and rosary. A dead body (Savsana)
serves as her seat.

She wears a moon on her head and holds a pot of ambrosia. When Brahma, Vishnu, and Siva are
worshipped, she is there with them accepting worship.
She is half of Siva in that She is part of Ardhanarisvara.
She is Kundalini, Narayani, Gauri, and Sarasvati. She
confers blessings to her devotees and accordingly she is
named as follows: Sakala siddhi Bhairavi (Giver of all
perfections), Caitanya Bairavi (Giver of awakened
consciousness), Kamesvari Bhairvi (Giver of sexual
desires and pleasures), Bhayavidhvamsini Bhairavi
(dispeller of fears), Annapurnesvari Bhairavi (giver of
food), Bhuvanesvari Bhairavi (creator and preserver).
As goddess of destruction, she (Bhairavi) comes in the
form of fire at the end of Mahayuga and consumes the
whole universe.
Dhumavati is smoke-colored. Dhuuma = smoke; Vati =
cover. The story goes that Parvati, the consort of Siva,
was very hungry and asked for food from Siva to which
Siva did not pay any attention. Repeated requests for
nourishment went unheeded and therefore, Parvati
swallowed Siva satisfying her hunger, exhaling smoke
and at the same time widowing herself. Siva persuaded
Dhumavati to regurgitate him from her stomach which
she did. Since she exhaled smoke, Siva called her
Dhumavati. Siva contains the world in him; Parvati
swallows him; in effect She is on the top of the food chain; she is the Mother Goddess of the universe.
(Note: Different sources use Parvati, Sati, Dhumavati interchangeably.) Her regurgitation of Siva is
somewhat like giving birth to Siva and thus she is the Mother of Siva and possibly of Brahma and Vishnu.
Alakshmi or Jayestha the elder sister of Lakshmi and personification of Misfortune is associated with
Dhumavati.
Another source says that Sati was the origin of
Dhumavati. Sati generated extreme internal heat
at Daksha's sacrifice so much so the heat
consumed her and smoke emanated from her
charred body. The acrid spiraling smoke
transformed into Dhumavati and thus the basis
for the name and her qualities.
She looks widowed, tall, withered, old, ugly, and
angry with funny ears, a long sickle-nose, dry
pendulous longitudinal breasts, bad hair,
fearsome eyes, absent teeth, trembling hands,
forlorn glance. She eats and drinks constantly.
She is wrapped in dirty white rags. Engulfing
Siva is assertion of her independence, even at the
expense of widowhood, inauspiciousness, ill
luck, and avoidance by others. She sits on a
chariot with the flag decorated by a crow, a
scavenger and portent of death; her favorite
habitat is cremation ground where carrion crows
visit. She looks like a crow and acts like a crow.
She eats Tamasic foods such as meat and imbibes
wine and blood. She wears clothes of the

corpses. Mahavidyas are bold and beautiful; ugly and audacious; giving and rapacious; auspicious and
inauspicious; kind and terrorizing; hungry and thirsty for blood, wine and meat; and attractive and
repulsive. All these indicate the vagaries of life, which are not always to one's liking. She likes to eat meat
that sizzles and smokes. Smoke is her iconic sine qua non. Where there is smoke there is Dhumavati. They
give siddhis and liberation to their votaries. Her votaries practice the forbidden five, Panchamakaras also
called five M-s. The Saktas. At first it appears as living at the edge of society; at the end it is liberating.

Insert: Dhumavati; credit: exoticindia.com

Dhumavati understandably likes widows, widowers and single people. She has a peppery disposition and
likes people of that ilk. Where Sati's body part fell from the shoulder of Siva, that became the holy ground,
Pitha; a temple was built on that site in Dhumavati's honor in Varnasi by the famous Sage Dhurvasa, who
was known to become irascible and lay curses on flimsy grounds and in the style of Dhumavati a sloppy
dresser. Some regard Dhumavati as Smasana Kali (Cremation ground Kali). Recluses, Tantrics, widows,
widowers, single people and loners (but not lonely people) are her preferred client votaries; married people
are not invited and should not visit her. But the majority of worshippers are married people with children.
To the local worshippers, she is a boon giver. Paintings depicting her show profuse ornamentation, elegant
clothes, shapely breasts, peacock mount, intricate braiding of her hair, and various armaments. insert: credit
exoticindia.com
Another source says that Dhumavati was created by Durga for the express purpose of defeating Sumbha
and Nisumbha Daityas. Remember she exhales smoke. She does not inhale smoke and yet exhales smoke.
(She is the only one who has the right to say, "I did not inhale and yet exhale smoke.") The acrid smoke that
she exhaled was used as tear gas or poisonous gas to kill the demons. That was not bad breath, but a truly
Killer Breath. (You thought gassing people is a modern concept.!)
Another source says that she has the complexion of dark nimbus clouds, that gather at the time of Pralaya
(dissolution). Her face, accented by frown, is wrinkles galore; her nose, eyes and neck take after the crow.
She carries a broom, a fan, a club and a flame. Her hair is a mess; her clothes simple, and her appearance
old.
She is an amalgam of Nirrti, Jyestha and Alakshmi, worthy of running away from. All are inauspicious
goddesses.

Bhagavatam 8.13.5: Here is the story of Nirrti . Brahmas creative energy was showing
on his body and mind. Narada popped out from the lap, Daksa trotted out of his thumb,
Vasistha spiraled out of his breath, Bhrgu crawled out of his skin, Kratu muscled his way
out of his hand, Pulaha sprouted out of his navel, Pulastya wriggled out of his ear, Angira
gushed out of his mouth, Atri brimmed over the eyelid, Marici dawned out of his mind,
Dharma burst out of his right breast, Adharma scratched his way out of his back, the god
of love (Kma) blossomed out of his heart, Anger bounced off his brow, Greed gyrated on
his upper lip, the goddess of Speech (Vak) vaulted out his of mouth with the aid of a pole
of nimble wit, the oceans rained down from his phallus, Nirrti plunked out of his anus,

and the sage Kardama stepped out of his shadow. Dharma was Lord Naryana Himself.
Thus, Brahma's creations came out of his body and mind.
Nirrti is Calamity personified as the goddess of death and is the wife of Adharma,
Unrighteousness. Bhagavatam states that Nirrti and Adharma had three sons, Bhaya and
Maha-Bhaya and Myrtyu: Bhaya is fear himself; Mahabhaya, great Fear; and Mrityu,
death incarnate. Another version states that Nirrti is a daughter of Adharma and Himsa,
unrighteousness and violence (or injury) and mother of Bhaya and Naraka (Fear and
Hell). As you see, all the basic emotions are personified.
The following is a summary from Lingpurana, Chapter 36.

Jayestha (deity of misfortune, Aka Alakshmi) came out of the milk ocean when
the Devas and Asuras churned it for Ambrosia. She was married to a sage Duhsaha who
wandered around the world with her. (Her sister Lakshmi, who came out of the milk
ocean with a lotus in her hand married the most auspicious Lord of the universe, Sri
Vishnu.) Whenever there was a celebration of Vishnu and Siva with sacrificial fires and
smoke, loud chanting of Vedic Mantras by people smeared with ash, Jayestha went into a
panic attack and ran aimlessly. Both of them retired to the forest. (From medical point of
view she had hyperacusis , extreme sensitivity to sounds. This is a classic case of
migraine.) Once Markandeya came along and Sage Duhsaha gave him an earful of his
predicament with his wife. Markandeya knew her reputation from all his travels. He told
Duhsaha that Jayestha was inauspicious, Akirti (ill repute), and Atula (unbalanced) and
that she should not enter places where Vishnu and Siva are worshipped. He continued.
Avoid places where people smeared with ash assemble to chant and worship Siva. Avoid
all places of worship. Go to places where husband and wife fight; enter households
where Vishnu and Siva are hated; enter homes of Brahmins who are deluded and wicked
and do not chant the name of Krishna, Siva, Sarva and Paramesthin. Enter wicked houses
where parents do not feed their children. Enter the home of a housewife who can never
keep a secret. Enter the home where Dakini and Kali in the form of ghosts are the family
deities. Enter the home of a Buddhist where a statue of Buddha is kept. Enter the home of
heretics, knaves, dullards, and atheists. Enter the home of those with dirty faces and feet,
bad teeth, and dirty clothes. Enter the homes of gluttons, drunken slovens, gamblers,
flesh eaters, and wife cheaters. Sage Markandeya gave many more of the recommended
visits to inauspicious places and left Duhsaha, who dutifully visited all of the above
places. One day, Duhsaha entered the Nether word promising that he would come back
for her once he found a household; that was a long time ago. In desperation, Jayestha
went to Vishnu and asked for support. Vishnu told her that all those people who criticize
Siva, Vishnu and other gods would be her support.
Festival of Divali (festival of lights) is a hard time for Alakshmi. People make a lot of noises to
make Alakshmi unwelcome in their midst. The lights and din frighten her-- a classic case of migraine;
blaming her for that is lack of consideration. Daitya king Bali comes on his periodic visit to earth from the
underworld along with ghosts, goblins, evils spirits and Alakshmi. An effigy of Alakshmi is mutilated and
an image of Lakshmi is installed in its place to mark the victory of good luck and auspiciousness over the
bad luck, darkness and inauspiciousness.

Bagala means 'deceitful'; the cranes are regarded as the most deceitful of
birds. She has a crane head, is of yellow complexion and a purveyor of
illusion; she holds a club by one hand and a Demon's tongue
by the other hand. Demon Madan obtained Varam (boon)
of Vakya Siddhi, by which thought was his weapon and all
he said came true; he abused his power causing harm to
gods, who sought the help of Bagala Mukhi (Crane Face).
Bagalamukhi pulled his tongue and muted him; before
killing him, she obliged him by acquiescing to let him be on
her side during worship. By tongue traction, she exercises
her control over other's speech. Another source tells that
Bagala creates illusions in the battlefield, delusions in the
mind of the enemies, and paralysis of their muscles so that
they make grievous errors and perish. She exercises control
over the planets. Her devotees seek magical powers from
her to paralyze and immobilize their enemies just by
Mantras and rituals. She is goddess of Vak or speech; thus,
she has control over speech. By holding the tongue of
Madan, she was able to silence him from casting evil spells
and curses on gods and his enemies. How did she gain
her yellow complexion? During Krta Yuga, there was a
devastating storm and the universe was at the brink of total
destruction. Many living creatures died from the storm and
turbulent waves jostled against Vishnu lying on the bed of
Snake (Sesa). He went up to Haridra (Turmeric pond) and
performed austerities to alleviate the problem. Yellow color of the turmeric is a favorite color of Lord
Vishnu. Tripura Sundari, to whom he addressed his prayers, appeared in front of him in a blinding
effulgence of a million suns. Suddenly an yellow-colored goddess (Pitambara Devi, Bagalamukhi) emerged
from Tripura Sundari, took a dip in the pond and calmed down the storm. She of yellow complexion made
an appearance to Vishnu by the Turmeric lake, she goes by the name of Pitambara Devi. Pitambara =
yellow clothes; Pitambaran = male who wears yellow clothes. Pitambara Devi= Goddess wearing yellow
clothes. Brahma, Vishnu, and Siva are TPS's sons; whenever they have any problem that needs heavy
lifting (heavy-duty power), they always sought help of Mother Goddess, TPS. In this instance, Vishnu
himself sought her help. insert: Bagalamukhi: exoticindia.com
Another sources tells that Parvati swallows Siva whole, when he repeatedly ignores her asking for food.
This is like the swallowing of whole fish by the crane; thus, she is called Crane Face (Bagala Mukhi). She
confers Siddhis to her devotees, who can paralyze their enemies, make them deaf and dumb, turn them
from prosperity to poverty, reduce their intelligence to idiocy level, draw others like magnets, bring about
death by wish, counter the movements of planets in their favor or in the enemy's disfavor, and become
wealthy. There are special rituals and rites to bring about these effects. The West is of the opinion that
Bagalamukhi was village goddess (GrAmadevata) and later became identified with Durga. The West
portrays her as a personification of 'cruelty, black magic, poison and all destructive desires'.

Credit: Bagalamukhi: exoticindia.com

One portrait shows Bagalamukhi sitting on a supine corpse laid out on a chair and pulling the tongue of
the demon. She wears a diadem, a nose ring, a garland, and a sari; rests her right foot on a lotus flower, and
her bent left foot ankle on her right lower thigh; pulls the tongue by her left hand and holds aloft a club by
the raised right hand. It is somewhat like the hunter who kills the man-eating tiger, sits or stands on it with
a rifle on hand; it is victory over evil. That was in the days of British Raj. The experts on Bagalamukhi say
that the goddess defeated the demon to restore the cosmic order. The corpse stands for many things: evil,
ignorance, passions, static Siva, and the eternal immutable bliss of Siva; in order for the spirit to rise, the

flesh has to die. Thus, corpse is an icon of both evil and bliss. When all Tattvas involute into Siva, there is
death of the flesh, liberation of the spirit, involution or merging of the spirit into Siva (Odukkam).
Sava Sadhaka is a rite performed by a Vira (hero class tantric) with a corpse, imitating goddess
Bagalamukhi. A corpse is rented, given a good wash, doused with fragrant water with the chanting of
Mantras, smeared with sandal paste, offered flowers, paid respects and obeisance, and praised as the Lord
of the Kulas and the form of Ananda Bhairava. He makes a sankalpa (intention and desire) and sits with his
feet astride the corpse as he would do riding on a horse. This is followed by many acts: tying the hair of the
corpse in a knot, tying the feet of the corpse together, breath control, meditation on his Guru, and chanting
of the Mantra of his deity. During the foregoing acts, he mounts and dismounts the corpse a few times as
the ritual demands. A Pisaci (Devil, goblin; spirit of malevolent character) resides in the heart of the corpse,
appears in front of him in invisible form, whispers in his ear and answers questions. To qualify for this
privilege, the Vira should be an accomplished Sadhaka, who can look into his past, present and future with
the help of Pisaci.
Many unexpected things come alive when the Sadhaka performs the ritual acts. The female corpse, if that
is the case, may try to get up and the Sadhaka has to push her down to the ground. It growls, yells and
shouts. Sometimes the corpse may come alive and try to swallow the Sadhaka, who has to be alert to this
possibility and stop it by biting its tongue. Some portraits depict Bagalamukhi sitting astride the corpse to
control its spirit by her magical powers.
Kali, Tara, Chinnamasta, and Bagalamukhi sit on the corpses in their portraits. The Sadhakas also
emulate the goddesses in Sava Sadhaka. The main purpose of Tantric rites is to transform the consciousness
from a human dimension to expanded consciousness (superconsciousness). Normal everyday habitats do
not serve in elevating this consciousness to superhuman levels. Aspirants, as in all religions, seek quiet
places (away from hustle and bustle of daily living) like caves, forests, mountains, river banks, burial or
cremation grounds. In the burial grounds ("as quiet as the graveyards"), the spirit of the corpse is in no
man's land; its destination is not yet in sight, it may go to any one of the Mandalas or domains. In the mean
time, the spirit hangs around in the cremation ground, the transitional or liminal zone between the world
and other Mandalas. The aspirant feels that the cremation ground is the perfect habitat or liminal zone
wherein he can transform his consciousness from human dimension to a transcendent level, which is far
removed from the world of senses and panchamakaras. The vira practices Panchamakaras with an objective
of giving them up for a more enduring Bliss. It is like a physician who heals the sick so well that there are
no more sick patients and the doctor has to give up his practice. Harder he tries to heal the sick, nearer is
his extinction. That extinction is liberation, Nirvana or Mukti.

Cojugate embrace versus conjugal embrace

The pleasures of sweet vengeance
Siva and Parvati as Chandalas

Matangi (Maatamgi) is one of the ten Mahavidyas who are various manifestations of
goddess Parvati or Kali. Matangaka was the name of the chief of Chandalas. Chandalas
are one of the lowest among the castes, according to lore. In a game of impersonation,
"fool me, fool me not," Siva impersonated a traveling jewelry salesman, sold some
ornaments to His Consort Parvati while she was visiting with her father, and suggested
that she could pay him by sexual favors. Parvati without missing a beat said, "Yes, but not
now." She had the intuitive divine vision that the traveling salesman was her husband in
disguise. Siva went on his way and sat down on the banks of Manas Lake for meditation

and worship. Parvati assumed the appearance of a nubile outcaste (Chandala) girl with a
shapely body accentuated by a red dress, and beautiful and beguiling eyes, and danced in
front of Lord Siva jiggling her moon-like breasts. Siva's ravenous eyes imbibed Parvati's
beauty in motion and He gently asked her who she was. Parvati in the sweetness of
youthful voice replied with the utmost bashfulness, "Swami, I am a Chandala girl. I came
to do penance." Siva is the Yogi of Yogins. Who else is more fit to teach penance? Siva
gently took her lotus hand and pressed it tenderly against his lotus petal-soft lips. Then he
proceeded to make love to the captive but willing Parvati, whose identity was unknown
to Siva. While they were in the conjugate embrace in Siva's mind and conjugal embrace
in Parvati's mind, Parvati morphed Siva into a Chandala (in embrace with a Chandalini).
Siva in a flash realized that Matangi
(Chandala girl) was no other than his dear
wife.
Parvati reaped her sweet vengeance, laid
open utter lowness of her action and sexual
submission, and begged Siva to accept her in
his heart as "Ucchista Chandalini." Ucchista =
rejected (once used commodity), remnants of
food in the mouth after eating, that are spit out
of the mouth; food sticking in the mouth and
hands after eating, therefore impure;
remainder of sacrificial food; left over
crumbs. This is the Divine Grace of Parvati;
Siva does all the proscribed acts and the
victim begs for forgiveness or acceptance.
Explanation follows later. Siva accepted to
honor her supplication. She is thus called
Matangi (a woman from a degraded mountain
tribe or hunter-gatherers, who became Sudras
from neglecting all prescribed rites;
mlecchas.)
Parvati and Siva in their role as Chandala and Chadalini (low mixed castes worse than dogs according to
definition) have moved out of their orbit and entered the world of the loneliest, the least, and the last, the
refuse of the society. The Varna system is based on purity and pollution: Brahmins originate from the
mouth of the Lord, Ksatriyas the hands, Vaisyas the thighs and Sudras the feet. Siva makes conscious
contact with polluting things, such as corpse, crematorium and the rest. The question of interracial
marriage also is illustrated here. God Siva consciously enters into a liaison with a Chandala girl, the lowest
of a different race. When Siva has sex with a Chandala girl (Parvati in disguise), he morphs into a
Chandala; this transformation, according to some, speaks of the Vira who seeks transformative spiritual
experience while having sex with a low-caste woman, when his wife is incompetent for any reason.
Here pollution belongs to a very broad category: pollution with regards to race, caste, food, habits,
marriage, association, cohabitation, education. Matangi lives among the polluted people and near the
garbage dumps, marked by identifying marker stones according to a Nepalese source.
Matangi's association with impure filthy leftovers takes us to another myth that she actually likes to
receive Ucchista from the unkempt and the unwashed; goddess admires them for not rinsing the mouth and

the hands after eating, when they offer leftover food to the goddess against the established rules of
worship. She likes to eat fish, meat, cooked rice and milk. Eye-rolling black Matangi is inebriated and
slouches around in aimless circles. All these indicate that devotion rises above filth and purity. One can
offer left-over food to the goddess against all ritual injunctions and yet be very devoted.
Once upon a time, Parvati invited her sister-in-law Kauri Bai to her house. Kauri refused to visit Parvati
saying that she disliked her brother's bad habit of visiting the cremation grounds, associating with ghosts
and goblins, smearing himself with ash and drinking intoxicants. She remembered Siva leaving
crematorium ash, dust, and grime in his footprints on the newly cleaned floors of their house before his
marriage to Parvati. Having heard an earful of complaints about Siva, Parvati laid a curse that Kauri Bai
would be born in a Dalit Community in Varanasi and live in the midst of dirt, grime and garbage. The
reborn Kauri, knowing her curse, went to her brother Siva and received a boon that pilgrims to Varanasi
would stop in and pay her homage at her shrine near the dump before the pilgrimage is considered
complete. That is Matangi, the pollution-loving goddess.
Food is goddess; goddess is food.
Vishnu and Lakshmi, upon invitation from Siva and Parvati, brought some food, upon which they all
dined. A few morsels of food fell on the floor; from the droppings arose an young girl with auspicious
qualities. She begged to eat the leftover food (Ucchista); the divine couples gave her the leftovers as
Prasada (boiled rice offered to an idol; food leftover after eaten by a deity). Siva addressed her as follows:
"whoever worships you with your Mantra, their prayers and activities will bear fruits. They will get what
they want and defeat their enemies." That is the origin of Ucchista Matangi.

She sits on a corpse; her ornaments and clothes are red; She is sixteen and well
endowed; She holds a skull and a sword in her two hands; she loves ucchista (left-over
offerings). Her complexion is blue; a full moon adorns her forehead; She has three eyes
and sits on a jeweled throne. In her presentation as a four-armed goddess, she holds a
club, a goad, a noose, and a sword. Other times she is portrayed differently. She sits on an
alter with a smiling face and green complexion. She wears a garland of Kadamba flowers,
long hair, and a moon on her forehead. She shines and glows in her face from the
incipient perspiration. She is fully decked out in ornaments in the ears, waist, and wrists.
She is the repository of 64 arts and two flanking parrots enhance the ambience. Kadamba
= Anthocephalus cadamba.
Ucchista is a no-no according to Hindu tradition and worship. The living
tradition to the present day is that Hindus eat in their own micro
environment, involving their own caste people whenever it is possible or
when they are not traveling. Even among Brahmins, there is restrictive
family, group or community eating; one sect may not mix with the other or
eat each other's food. During secular gatherings, each group may segregate
into little conclaves. Matangi breaks all traditions and loves to eat polluted
food from polluted people. She rose above all pettiness and differences in
caste, creed, race or profession; to her purity and pollution are variables of
the same Brahman. She is (liberated from conventionality and) liberating.

Kamala (exoticindia.com)

Kamala is lotus flower. She is the most auspicious welcome goddess among the Mahavidyas, of whom she
is the tenth, the last but not the
least. She looks very much
like Lakshmi; she is Lakshmi
with a difference: there is no
Vishnu beside her. She is of
golden complexion with four
hands seated on a lotus flower
and bathed with holy water
poured from pitchers by
elephants. She is the icon of
wealth, fertility, and
prosperity. Two lotus flowers
and Mudras of refuge,
protection and boons grace her
four hands. Lotus flower is
always her seat or standing
platform and lotus posture is
her trademark. (She is all
smiles all the time because she
is the consort of the most
auspicious of all gods. When she came out of the milk ocean, she had the fortune of choosing from among
many suitors as her consort Vishnu, who was delighted at that prospect. But here as one of Mahavidyas she
stands alone.) She is effulgent and radiates like the sun and wears a moon on her forehead. She wears more
jewels than any of the other goddesses. She wears a crown. She stoops ever so little from the weight of her
large round firm breasts. The moon on her forehead, the Kastuba gem and the necklace vie together for
attention from her three lotuslike eyes, which illuminate her smiling face. She is the last manifestation of
the Mahavidyas, though she has more devotees throughout India. Kamala is Sri and Lakshmi. The first and
the Last, Kali and Kamala are the most widely known and worshipped goddesses among Mahavidyas.
The lotus is microcosmic icon of the whole universe. The following explains why it is so. Brahma, the
creator performed penance for a hundred divine years with his mind focused on the Lord Nryana, the
creator of Brahma. Brahma was sitting on the lotus flower sprouting from the navel of Lord Nryana in
the cosmic ocean buffeted by winds, whose force and tenacity did not die down but actually augmented
many times since the dissolution of the universe. Brahma was looking around to locate the origin of the
stem. As he looked around, he developed four faces, eight eyes, which were as beautiful as the lotus petals.
To find the origin of the stem, he bored through the stem of the flower to no avail. Exhausted and
disappointed, he came to the corolla and sat on it for a hundred divine years. His penance paid off at last;
the Lord of lords relented; and with his inner eye, he saw the Lord of the lords, Lord Nryana Himself
seated on Adisesha (bed of coiled snake) in the causal ocean. Nryana revealed His wonderful form. His
powers increased as his penance ended and were so great that he drew the wind and the water into his body.
The wind and the water are the two vital elements in the life of a being and Brahma had a plentiful supply
of them in Him. The Lotus seat started rising by the buoyancy provided by the swallowed air and touched
the worlds up above, which were destroyed in the previous kalpa. The corolla grew and grew until it
covered the whole universe. All the ingredients for dissemination of beings were in place in that one giant
lotus flower. He entered the whorl and divided the lotus flower into three parts namely Bhh, Bhuvah, and
Svah (the earth, atmosphere, and heaven) and later into fourteen parts. Now all the planetary systems were
in place. These three worlds are the regions where the jivas (the embodied souls) reside. The complex
structure of the lotus flower beautifully represents the complexity of universe. Lotus is a sign of fertility,
power, life, and dominion. The roots, mud, slime, grime and stem of the lotus flower are under the surface
water; the leaf floats in the water and yet water rolls off its surface. The slimy mud represents the building
blocks of the material world; its roots are anchored in humble mud (matter); the stem grows through the
water seeking the sun (spiritual knowledge). The leaf represents freedom from attachment because water
easily rolls off its surface. The beginnings are rooted humble mud but when it blossoms the sun of spiritual
knowledge kisses it : that is transcendence. The flanking elephants represent royal or divine power and
fertility. She is the icon of wealth. Sri or Lakshmi is known as Cancala meaning that she "moves to and fro

or unsteady. " This is because as long as Lakshmi is with somebody, he is prosperous; once she leaves, he is
poor.
She is the power or Sakti behind Vishnu; she creates, maintains and destroys the world with one billionth
of her sakti. She is the most important mediator between Vishnu and his devotees. Go to file Supplement
and read section 5: Brahman according to Ramanuja.
Lakshmi or Sri's equal status with Lord Vishnu is discussed in Vishnu Purana, chapter eight. He is meaning
and she is speech; she is understanding and she is intellect; he is the creator and she is the creation; he is the
sun and she is the radiance; he is the moon and she is the light; he is the ocean and she is the shore; he is
the lamp and she is the light; he is the tree and she is the vine; and he is the Male and she is the Female.
Nammalvar says that Sri (lakshmi), Lord's consort, removes the karma and facilitates attainment of moksa
at the feet of Vishnu / Narayana. The Tenkalais believe that Sri is very high up in the ontological status,
but separate and unequal to Vishnu, simply because she is a finite soul. But Vadakalais believe that Sri is an
integral part of Vishnu and infinite and therefore enjoys equal status. All the alvars and the followers agree
that Vishnu has become tender, understanding, loving, auspicious, creative, life-sustaining and is in a
constant state of bliss because of Sri. Sri is regarded as a facilitator and mediator between man and God,
Vishnu.
From Tantrasara hymns to Lakshmi (Laksmistotram)
O DEvi KamalA, You are the beloved of Vishnu, Devi of prosperity and beauty and adored by the three
worlds. As you are a constant with Vishnu, please be constant with me. Whoever worships Lakshmi and
reads these twelve names, Isvari, KAmala, Lakshmi, CalA, BhUti, HaripriyA, PadmA, PadmAlayA,
Sampat, Uchaih, Sri, PadmadhArinI will have a family with wife and children blessed by Lakshmi.
Isvari = the feminine form of Isvara; Kamala = She appears with and from Lotus. Cala = the fickle one,
because wealth and prosperity do not stay constant with anyone. Bhuti = prosperity. Haripriya = belowed of
hari-Vishnu. Padma = lotus. Padmalaya = She whose abode is Lotus. SAmpat = wealth. Uchaih = The
exalted One. Sri = beauty and prosperity. Padmadharini = One who holds lotus in her hands.
-----------------------------------------------------------------------------------------------------------------------1) Kali is Night of dissolution.
2) Tara is the compassionate Goddess and Savior.
3) Shodashi is the beautiful Goddess who is sixteen years of age all the time.
4) Bhuvaneshvari is the Creator of the World.
5) Chinnamasta is the Goddess who severs her own Head.
6) Bhairavi is the Goddess of catabolism, aging, death and decay.
7) Dhumawati is the Goddess who is ugly, eats Siva and becomes a widow.
8) Bagalamukhi is the Goddess who pulls the tongue of evil prophesier.
9) Matangi is the Goddess who loves slovenly worship (and a glutton for leftover food).
10) Kamala is the Goddess of wealth, fertility, power and prosperity.

Notes:
Worshipping one of the Mahavidyas confers the following auspicious things, boons and mystical abilities.
Dharma, Artha, Kama and Moksa (Righteousness, Wealth, Family life, and liberation.)

Marana: Maarana: a magical ceremony having for its object the destruction of an enemy.
Ucchatana: Ucchaatana: Causing a person to quit his occupation by means of magical incantation.
Ksobana: Agitation in the enemy
Mohana: Stupefaction, perplexing.
Dravana: Setting the enemy on flight
Sthambana: Causing Paralysis
Vidvesana.: Causing hate, inducing hate.
Siva answered to Sati: "You are Sakti, Who am I to stop you from going? Do as you please."
Tara figures both in Hindu and Buddhist lore. Lakshmi, one of the Mahavidyas, is the resident goddess of
Manipura Chakra. Widespread worship of Kali, Tara, Tripura Sundari and Lakshmi are seen among sects;
temples for Kali and Lakshmi are widespread.
Notes on Sati

Against the advice of Siva, Sati left Siva's Kailas and went to Dakshas sacrifice. Daksha
and his followers, except her sisters and mother, did not come near Sati to receive, greet
and hug her. Not received and addressed by her father Daksha, she refused to take the
exalted seat or accept presents offered by her mother and sisters. Because sacrificial
offerings were not allotted to Rudra (Siva) which was compulsory according to the
canons of sacrifice, Sati, Sivas spouse flew into a rage and leveled criticism against the
Brahmanas and Daksha (her father) as follows: Brahmanas and Daksa have more regard
to wealth over Soul. They failed to recognize and praise the greatest Soul of the universe,
Lord Siva. His two-syllable name SIVA, when uttered, erased the sins. Brahma wore the
flowers that fell from the feet of Lord Siva. She told her father in the assembly hall that
she was ashamed to own and wear the body born of Daksha, who offended the most
exalted Soul, Siva. She, then, went into deep meditation to remove the body inherited
from her father and the last impurities from her soul, commanded the air and fire to come
to her limbs and removed consciousness from her body; her body went into flames
subsequently--spontaneous combustion from the heat of Tapas. Some critics say that she
immolated herself by jumping into the sacrificial fire. Unmindful of the self-immolation
of Sati, Bhrgu Muni continued to pour oblations on the Sacrificial Fire, Daksinagni
(Dakshas fire), chanting Yajurveda which had the power of destroying the obstructers of
the sacrifice; the opponents scattered in all directions from the force of the mantras.
Narada, the omniscient Muni, told Lord Siva about Dakshas insult of Sati and Siva, selfimmolation of his consort, Sati, and the routing of his attendants by Bhrgu Muni. Sivas
rage at this personal loss knew no bounds. (Another version says Nandi and not Narada
was the bearer of bad news to Siva. Nandi is the bull mount of Siva. The West says that
Nandi the white bull was given as a gift to Siva the son-in-law by Daksha. Siva and Sati
ride the bull to go from here to there. It is even now a custom that the father-in-law gives

a car as a gift to his son-in-law so that his daughter and the bridegroom go in style from
here to there. How do you think I got my first car? yes, you guessed it right.) He pulled
one of his beautiful locks, jumped up on his feet, laughed like thunder and flung the lock
on the ground; it was like fearsome fulguration of lighting and thunder. From that dashed
lock, rose a gigantic being whose form scraped the skies with a thousand arms, with three
eyes shining like a sun, dark complexion like a rain cloud, fierce teeth, a garland of
skulls, matted locks resembling ropes of fire, and a host of weapons at the ready. That
was Virabhadra, a part manifestation of Siva in his fierce form. He immediately sought
and received his mission which is to annihilate Daksha and his sacrifice. After
circumambulating Siva, Virabhadra (also known as Bhairava) left like a thunder, hoisting
his trident, and with Sivas ganas at tow, he ran towards Daksha. (It is said that Siva
followed Virabhadra to claim the body of Sati and took the body over his shoulder.) He
was so powerful that even Death could not defy him. Dust rose from the earth, the ankle
bells of the ganas jingled, and the army was on the march. Dakshas Brahmanas, their
wives and other attendees saw a great cloud of dust obscuring the sky, and wondered
what it was and where it was coming from. There was no wind, there were no hanging
clouds, it is not from stampede of cows, and it is not from gang of thieves. What else
could it be? Is it the end of the world? Dakshas wife had foreboding of danger because
of her husbands evil act and his (their) innocent daughter Satis death by selfimmolation. Could it be Rudra-Siva in rage? She had vision of Rudra: matted hair, his
long arms flailing with terrible weapons, his trident, his thunderous roar and laughter, his
screwed eyebrows, his horrible teeth. The attendees showed signs of panic and imminent
doom: their eyelids twitched, their faces contorted, they turned pale from fright, they
wobbled, and they murmured. What is this world coming to? Suddenly out of
nowhere, waddling dwarfs appeared and ran amok in their midst knocking them off
their feet. They never saw an army of dwarfs in their life. Is this for real? This must
be a bad dream, they thought. The dwarfs came in all shades and colors, mostly redbrown and yellow. They had alligator faces and abdomens to match. They surrounded the
whole sacrificial arena and raised a ruckus frightening the attendees. Some of them
started knocking down the pillars supporting the eastern and western parts of the
sacrificial hall. Some of them waddled off and destroyed the quarters housing the
sacrificer, priests, and their wives. Assembly hall, kitchen, and utensils also suffered
destruction. They passed urine dousing the sacrificial fires and later destroyed the
barricades around the sacrificial pit. The priests and the Devas were molested, and their
wives were threatened. Bhrigu Muni, who spoke ill of Siva and his followers, was bound
by Maniman; Virabhadra tied down Daksha. The priests and the Devas took off in
different directions. Bhrgu Muni was caught by Virabhadra unawares and before he
knew what happened, his mustache and beard which he was so proud of, and stroked in
bravado during the ceremony, were yanked out his face and were hanging dripping blood
from the hands of Virabhadra. To add to humiliation, they were displayed in public.
Bhaga was next in line for Virabhadras fury. Bhaga turned his eye towards Daksha and
winked, when he was slandering Lord Siva. An act of avenge by Virabhadra: He knocked
Bhaga down and gouged out his eyes. Pusa had his teeth knocked out in one sweep by
Virabhadra for smiling and showing his teeth to Daksha while the latter was slandering
Siva. Virabhadra had no match to offer any resistance; he was the manifestation of Siva
and his fury; none can resist his onslaught. He proceeded to dress Daksha. Daksha was on

the ground in a trice with the foot of Virabhadra planted on his chest. Virabhadra with one
swing of the sword cut his head, which was still clinging to the body and neck; he waited
for a moment, and thought how the animals were sacrificed; a second swing completed
the job. Immediately, the head rolled off and was tossed into the sacrificial fire. Brahma
foresaw this tragedy and did not attend the sacrifice.
The Devas and other attendees went to Siva in Kailas and propitiated him. Siva was
praised by gods and had a plan for the slain and mutilated beings. Mortals cannot fathom
the mysterious ways of God. A goats head was attached to the body of Daksha who woke
up as if he was in slumber. It appears that Lord Siva dispensed condign punishment to
Daksa. Bhaga, whose eyes were gouged out, was allowed to look at his share of the
sacrificial offerings through the eyes of Mitra. Bhrgu Muni had the beard and mustache
of a goat attached to his avulsed face! All damages were ameliorated one way or another.
Daksha was at last free from his malice towards Siva.
In Tantric literature, the exploits of Krishna, Rama, Narasimha, Gopala and other personages are attributed
to the Sakti of the respective entities; thus, Sakti is operating principle in Gods and Goddesses, and Mother
Goddess takes her due credit for the Saktis of all gods, including her consort Siva.
Mahavidyas correspond to Vishnu Avatars.
Kali = Krishna; Chinnamasta =Narasimha; Kamala = Vishnu; (Bharavi =Rudra); Tara = Rama;
Chinnamasta = Matsya; (Matangi = Brahma); Dhumavati = Varaha; (Sodasi = Siva); (Bhuvanesvari =
formless Brahman); Bhuvanesvari = Varaha;
As you may notice, there is quite a confusion here in that all ten avatars are not listed and Siva, Brahma,
and Rudra, who are not avatars of Vishnu, figure in this group.
Sati took the form of Jagadamba and Mahavidyas, causing delusion in Siva. Other sources tell that
Mahavidyas are forms emanating from Parvati, Kali, Durga and Sataksi, who are all the different names of
the consort of Siva.

Mahavidyas dispense good and bad and also moksa (liberation) to her votaries; some of
them confer powers of dispensing death (maranam) on others by wish, and injury
(Ucchatanam) to enemies by willing, causing immobilization and paralysis (Tampanam in
Tamil, Stambana in Sanskrit) by wishing, controlling other's speech, staying young,
causing instant old age in others, and attracting others to one's side. Brahma and Vishnu,
the creator and protector, use Mahavidyas as their two arms in performing magical deeds.
Devi Bhagavata Purana tells that Demon Durgama usurped the kingdom, wealth and freedom of the gods
who sought and obtained the help of Mahadevi (Great Goddess). Devi upon seeing the misery of gods and
men shed tears from her zillion eyes. Thus, she came to be known as Sadakshi (one with one hundred
eyes). War broke out between the Devi and the demon and his army. Devi created Mahavidyas from her
own body and defeated the demon and his army.
Some regard that Sati took the form of Mahavidyas to coerce Siva into sending her to Daksha's sacrifice.
This assumption goes against what Sati herself says to Siva.
Sati in the form of Jagadamba replies: "I am subtle beyond speech and comprehension. I am Sati, your
consort. I don't mean any harm to you. I was born a daughter of Daksa and performed penance to obtain

you as my husband. I have assumed this form to destroy Daksha's yajna. I was trying to block your exit
only out of love for you."

Another source says that Mahavidyas are the manifestations of Parvati; at that time Siva
was living with Parvati's parents, Himavat and Mena in the Himalayas. For some reason
or other, he wanted to leave father-in-law's house. Parvati prevented him to stay, when he
attempted to leave the house. She assumed the forms of ten Mahavidyas and blocked his
exit at each of the ten-door house. Some regard this as an allegory to the ten gates of the
body: two nostrils, two eyes, two ears, one mouth, one anus and one male genital, one
female genital and Brahma Randhra, the area that corresponds to anterior fontanel.
Blocking the exit of Siva is allegorical of control of the senses.
Mahavidya means great knowledge and by extension Mahavidyas possess great
knowledge. Blocking of Siva at the exits indicates that Siva gains great knowledge from
Mahavidyas, whichever way he turned, because they are omnipresent, and omniscient.
No matter where Siva goes, Sati, Parvati, or Kali is there in one of her ten forms. It is
impossible for Siva or anyone to go where the Mother Goddess had not been; she
pervades the whole cosmos; she is the repository of knowledge.
It appears that a votary, a group, or a sect has a chosen Goddess, Sati, Parvati, Kali, or Durga. Each sect
takes that particular Goddess as the one Primary Goddess who becomes ten Mahavidyas. Another sect
considers Durga as the putative progenitor Goddess of the ten Mahavidyas. The primary progenitor
Goddess is always the consort of Siva, one goddess with many aliases depending upon circumstances.
One source tells that Mahavidyas have wide array of powers; Rama's killing of Taraka, Hanuman's defeat
of demon, Krishna's killing of Kamsa, Rama's killing of Ravana, and Indra's killing of Vrata are all the
handiwork of Mahavidyas employed by the respective gods. Hanuman persuaded Mahavidya to teach him
the art and magic of changing his body size at will; thus, he, becoming downsize and minute, entered the
Asuri (female demon) through her mouth into her innards and grew in size until she exploded.

Notes:

A devotee addresses the Mother (Jagadamba) as follows: O beauteous Mother of the

color of dark clouds laden with water. O Mother of Mercy, the shower of Mercy from
your three eyed-spring washes away the three sorrows of the three worlds. Show yourself
to the errant children; lift them to your bosom by your lotus hands which bestow blessing
and Grace and dispel fear. (Vara Mudra and Abhaya Mudra). O Mother, You grant us all
desires; You are the highest of all desires (Paramartha Svarupini). You are all to Siva, the
most precious to His heart.

Center: Sri Yantra; the Yantras of Mahavidyas. exoticindia.com