Origin
Once during their numerous love games, things got out of
hand between Shiva and Parvati. What had started in jest
turned into a serious matter with an incensed Shiva
threatening to walk out on Parvati. No amount of coaxing or
cajoling by Parvati could reverse matters. Left with no
choice, Parvati multiplied herself into ten different forms for
each of the ten directions. Thus however hard Shiva might
try to escape from his beloved Parvati, he would find her
standing as a guardian, guarding all escape routes.

Each of the Devi's manifested forms made Shiva realize

essential truths, made him aware of the eternal nature of
their mutual love and most significantly established for always
in the cannons of Indian thought the Goddess's superiority
over her male counterpart. Not that Shiva in any way felt
belittled by this awareness, only spiritually awakened. This is
true as much for this Great Lord as for us ordinary mortals.
Befittingly thus they are referred to as the Great Goddess's
of Wisdom, known in Sanskrit as the Mahavidyas. Indeed in
the process of spiritual learning the Goddess is the muse
who guides and inspires us. She is the high priestess who
unfolds the inner truths.
According to Tantric Traditions, these Goddesses are identified
as the following...
Sri Maha Kali Devi

Kali is mentioned as the first amongst the Mahavidyas. Black

as the night she has a terrible and horrific appearance.
Although her presentation in the West is usually as simply
dark and violent, Kali is a goddess with a long and complex
history in Hinduism. Her earliest history as a creature of
annihilation still has some influence, while more complex
Tantric beliefs sometimes extend her role so far as to be
the Ultimate Reality and Source of Being. In the Rig Veda,
the name Kali first appears, not as a goddess but as the
black tongue of the seven flickering tongues of Agni, the
Hindu god of fire. The prototype of Kali however appears in
the goddess named Raatri. Raatri is considered to be the
prototype of both Durga and Kali. In the Sangam era of
Tamilakam, a Kali-like bloodthirsty goddess named Kottravai
appears in the literature of the period. Like Kali she has
dishevelled hair, inspires fear in those who approach her and
feasts on battlegrounds littered with the dead. It is quite
likely that the fusion of the Sanskrit goddess Raatri and the
indigenous Kottravai produced the fearsome goddesses of
medieval Hinduism, amongst them Kali being the most
prominent. It was the composition of the Puranas in late
antiquity that firmly gave Kali a place in the Hindu pantheon.
Kali or Kalika is described in the Devi-Mahatmyam (also
known as the Chandi or the Durgasaptasati) from the
Markandeya Purana written between 300-600CE, where she is
said to have emanated from the brow of the goddess Durga,
a slayer of demons, during one of the battles between the
divine and anti-divine forces. In this context, Kali is
considered the 'forceful' form of the great goddess Durga.
Another account of the origins of Kali is found in the
Matsya Purana, which states that she originated as a
mountain tribal goddess in the north-central part of India, in
the region of Mount Kalanjara (now known as Kalinjar).
However this account is disputed because of the fact that
the legend was of later origin.
 
In most early representations, skulls, cemeteries, and blood
are associated with her worship. She is black and emaciated.
Her face is azure, streaked with yellow, her glance is
ferocious; her disheveled and bristly hair is usually shown
splayed and spread like the tail of a peacock and
sometimes braided with green serpents. She wears a long
necklace (descending almost to her knees) of human skulls
or intestines. She may be shown wearing a girdle of
severed arms. Her purple lips are often shown streaming
with blood; her tusk-like teeth descend over her lower lip;
and her tongue lolls out. She is often shown standing on
the inert form of her consort, Shiva. She is sometimes
accompanied by she-demons. In certain representations, her
four arms hold weapons or the severed head of a demon,
while also making the 'peace' and 'boon-giving' gestures:
these symbolize both her creative and her destructive power,
for in some traditions Kali personifies the ambivalence of
deity, which manifests itself, according to much of Indian
tradition, in the unceasing cycle of life and death, creation
and destruction.
 
In the later traditions, Kali has become inextricably linked
with Shiva. The unleashed form of Kali often becomes wild
and uncontrollable,and only Shiva is able to match her
wildness. The iconography often presents her dancing on his
fallen body, and there are accounts of the two of them
dancing together, and driving each other to such wildness
that the world comes close to unravelling. To the Tantric
worshippers, it was essential to face her Curse, the terror of
death, as willingly as they accepted Blessings from her
beautiful, nurturing, maternal aspect. For them, wisdom meant
learning that no coin has only one side: as death cannot
exist without life, so life cannot exist without death. Kali's
role sometimes increased beyond a chaos who could be
confronted to bring wisdom, and she is given great
metaphysical significance by some Tantric texts.
 Sri Tara Ambika

In Hinduism, the goddess Tara (meaning "star") is a

manifestation of the queen of time, Kali. As the star is seen
as a beautiful but perpetually self-combusting thing, so Tara
is at core the absolute, unquenchable hunger that propels all
life. She is the second of the Dasmahavidyas. In the Hindu
epic The Ramayana, Tara is the name of Vali's queen. Vali
is the monkey king who is killed by Rama, at the behest of
his brother Sugriva. The oral tradition gives an intriguing
origin to the goddess Tara. The legend begins with the
churning of the ocean. Shiva has drunk the poison that was
created from the churning of the ocean, thus saving the
world from destruction, but has fallen unconscious under its
powerful effect. Tara appears and takes Shiva on her lap.
She suckles him, the milk from her breasts counteracting the
poison, and he recovers. This myth is reminiscent of the one
in which Shiva stops the rampaging Kali by becoming an
infant. Seeing the child, Kali's maternal instinct comes to the
fore, and she becomes quiet and nurses the infant Shiva. In
both cases, Shiva assumes the position of an infant vis-à-vis
the goddess.

The similarities in appearances between Kali and Tara are

striking and unmistakable. They both stand upon a supine
Shiva, identifiable here by his damaru. Both goddesses are
black. Both wear minimal clothing. Both wear a necklace of
severed human heads and a girdle of severed human arms.
Both have a lolling tongue, and blood oozes from their
mouths. Their appearances are so strikingly similar that it is
easy to mistake one for the other. Indeed, they are often
said to be manifestations of each other; for example, in their
thousand-name hymns they share many epithets as well as
having each others names. Tara, for example, is called
Kalika, Ugr-kali, Mahakali, and Bhadra-kali.

Like Kali, furthermore, Tara in her Hindu context enjoys

blood. In her hymn of a hundred names from the
Mundamala-tantra, she is called She Who Likes Blood, She
Who Is Smeared with Blood, and She Who Enjoys Blood
Sacrifice. The Tara-tantra describes Tara's delight in both
animal and human blood but says that the latter is more
pleasing to her. The blood of devotees is to be taken from
specified parts of the body, such as the forehead, hands,
breasts, head, or area between the eyebrows; some of these
areas may correspond to the different chakras, spiritual
centers within the body.

Their appearances are so strikingly similar that it is easy to

mistake one for the other.The distinguishing feature in Tara's
iconography is the scissors she holds in one of her four
hands. The scissors relate to her ability to cut off all
attachments.

Literally the word 'tara' means a star. Thus Tara is said to

be the star of our aspiration, the muse who guides us along
the creative path. These qualities are but a manifestation of
her compassion. The Buddhist tradition stresses these qualities
of this Goddess, and she is worshipped in Tibet as an
important embodiment of compassion.

Sri Lalita -TripuraSundari,

Sodasi, Rajarajeshvari

Sri Kamatchi Ambika

This whole website is dedicated to this great Goddess who is

the third of the Mahavidyas. Her name varies from Kamakshi
or Kamatchi to Tripura-Sundari, Lalita, Rajarajeshvari and
Sodashi.

The goddess Tripursundari or Kamatchi in her aspect as

Sodashi is represented as a sixteen year old girl, and is
believed to embody sixteen types of desires. The Sodashi
Tantra, a treatise on tantra, describes Tripursundari as “the
radiant light in the eyes of Shiva.’’ She is described of
deep red color, and is depicted in an intimate position with
an aspect of Shiva, and both are shown on a bed, a
throne or a pedastal resting of the significant male gods of
Hinduism like Brahma, Visnu, Rudra, and Indra.Tripura-sundari
is described in great detail as extremely attractive, beautiful,
and erotically inclined. The Lalita-sahasranama details her
charms from head to foot, and the majority of the
Saundaryalahari is similarly occupied with her attractive
appearance. She is often said to give desire and to suffuse
the creation with desire. The Saundaryalahari also states that
that a worn-out old man, ugly and sluggish in the arts of
love, can be restored to sexual attractiveness and vigor by
her glance. The Prapancasara-tantra says that her worship
has such an amorous effect that celestial females such as
gandharvas, yakshas, and siddhas come to the sadhaka
"with gazelle-like eyes, breathing heavily, their bodies
quivering…and moist with the pearly sweat of passion; and
throwing away their ornaments and letting their clothes fall
from about them, bow themselves before him and offer to
do his will." The several names that associate or identify her
with the female sexual organ in her thousand-name hymn in
the Vamakeshvara-tantra also suggest the erotic character of
the goddess.

To know more about this Beautiful Goddess Kamatchi, feel free to

look through this whole website.
 Maa Bhuvaneshwari

The fourth Goddess among the Mahavidyas is Sri

Buvaneshwari Amba. More than any other Mahavidya with
the exception of Kamala, Bhuvaneshwari is associated and
identified with the energy underlying creation. She embodies
the characteristic dynamics and constituents that make up the
world and that lend creation its distinctive character. She is
both a part of creation and also pervades its aftermath.
Bhuvaneshwari's beauty is mentioned often. She is described
as having a radiant complexion and a beautiful face, framed
with flowing hair the color of black bees. Her eyes are
broad, her lips full and red, her nose delicate. Her firm
breasts are smeared with sandal paste and saffron. Her
waist is thin, and her thighs, buttocks, and navel are lovely.
Her beautiful throat is decorated with ornaments, and her
arms are made for embracing. Indeed Shiva is said to have
produced a third eye to view her more thoroughly. This
beauty and attractiveness may be understood as an
affirmation of the physical world. Tantric thought does not
denigrate the world or consider it illusory or delusory, as do
some other abstract aspects of Indian thought. This is made
amply clear in the belief that the physical world, the rhythms
of creation, maintenance and destruction, even the hankerings
and sufferings of the human condition is nothing but
Bhuvaneshwari's play, her exhilarating, joyous sport.
 
A modern text gives the legend of origin of Bhuvaneshwari
as follows:

'Before anything existed it was the sun which appeared in

the heavens. The rishis (sages) offered soma the sacred
plant to it so that the world may be created. At that time
Shodashi was the main power, or the Shakti through whom
the Sun created the three worlds. After the world was
created the goddess assumed a form appropriate to the
manifested world.' In this form she came to be known as
Bhuvaneshwari, literally 'Mistress of the World.' Bhuvaneshwari
thus remains un-manifest until the world is created. Hence
she is primarily related with the visible and material aspect
of the created world.

Sri Bhairavi Devi

The fifth form of Mahavidya is Sri Bhairavi Amman. Bhairavi

is a fierce and terrifying aspect of the Goddess virtually
indistinguishable from Kali, except for her particular
identification as the consort of the Wrathful Shiva. She is
considered the female form of Lord Shiva known as
Bhairava. Creation and Destruction are two essential aspects
of the universe, which is continually subject to their
alternating rhythms. The two are equally dominant in the
world and indeed depend upon each other in symbiotic
fashion. Bhairavi embodies the principle of destruction. She
arises or becomes present when the body declines and
decays, which is a natural, inevitable, and irresistible force.
Bhairavi is also evident in self-destructive habits, such as
eating tamsic food (food having a quality associated with
ignorance and lust) and drinking liquor, which wear down the
body and mind. She is present; it is said, in the loss of
semen, which weakens males. Anger, jealousy, and other
selfish emotions and actions strengthen Bhairavi’s presence in
the world. Righteous behaviour, conversely, makes her weaker.
In short, she is an ever-present goddess who manifests
herself in, and embodies, the destructive aspects of the
world. Destruction, however, is not always negative, creation
cannot continue without it. This is most clear in the process
of nourishment and metabolism, in which life feeds on death;
creation proceeds by means of transformed energy given up
in destruction.

Bhairavi is also identified with Kalaratri, a name often

associated with Kali that means “black night (of destruction)”
and refers to a particularly destructive aspect of Kali. She is
also identified with Mahapralaya, the great dissolution at the
end of a cosmic cycle, during which all things, having been
consumed with fire, are dissolved in the formless waters of
procreation. She is the force that tends toward dissolution.
This force, furthermore, which is actually Bhairavi herself, is
present in each person as one gradually ages, weakens and
finally dies. Destruction is apparent everywhere, and therefore
Bhairavi is present everywhere.
One of her dhyana mantras, that of Sampatprada-bhairavi,
says that she is intoxicated with her youth, and most
descriptions of her, despite her association with destruction,
say that she is attractive, young, and shapely. Bhairavi’s
association with sexual desire and fulfilment is mentioned
often in her thousand-name hymns. In the Shakta-pramoda,
for example, she is called She Who Is Fond of Semen and
Menstrual Blood and She Who Is Worshiped by Those Who
Worship with Semen. In her thousand-name hymn in the
Vishvasara-tantra, she is called Lovely One, She Whose
Form Is Semen, Who Produces Semen, Who Gives Love,
Who Enjoys Sexual Intercourse, Who Is Dear To Kama, and
Who Dwells in the Yoni. She is shown here seated on a
lotus, with four arms, two of them making the gestures of
granting boons and removing fear respectively. The other two
hands hold a goad and noose

Bhairavi has facets and epithets that assert her cosmic

importance, if not supremacy. A commentary on the
Parashurama-kalpasutra says that the name Bhairavi is
derived from the words bharana (to create), ramana (to
protect), and vamana (to emit or disgorge). The commentator,
that is, seeks to discern the inner meaning of Bhairavi’s
name by identifying her with the cosmic functions of creation,
maintenance, and destruction.

Sri Chinnamasta Ambal

The sixth Goddess among the Mahavidyas is Sri
Chinnamasta, also known as Chinnamastaka. She is the
goddess of courage and discernment. The literal meaning of
the word Chinnamasta is one with a severed head. She is
traditionally portrayed as a naked or scantily dressed woman
astride the bodies, in intimate position, of Kama (Hindu god
of love and sexual lust), and his wife Rathi. Chinnamasta,
having severed her own head with her own sword, holds her
severed head on one of her hands. Three jets of blood
spurt out of her bleeding neck, and one streams into her
own mouth of her severed head, while the other two
streams into the mouths of her two female associates.

One day Parvati went to bathe in the Mandakini River with

her two attendants, Jaya and Vijaya. After bathing, the great
goddess's colour became black because she was sexually
aroused. After some time, her two attendants asked her,
"Give us some food. We are hungry." She replied, "I shall
give you food but please wait." After awhile, again they
asked her. She replied, "Please wait, I am thinking about
some matters." Waiting awhile, they implored her, "You are
the mother of the universe. A child asks everything from her
mother. The mother gives her children not only food but also
coverings for the body. So that is why we are praying to
you for food. You are known for your mercy; please give us
food." Hearing this, the consort of Shiva told them that she
would give anything when they reached home. But again her
two attendants begged her, "We are overpowered with
hunger, O Mother of the Universe. Give us food so we may
be satisfied, O Merciful One, Bestower of Boons and Fulfiller
of Desires." Hearing this true statement, the merciful goddess
smiled and severed her own head. As soon as she severed
her head, it fell on the palm of her left hand. Three
bloodstreams emerged from her throat; the left and right fell
respectively into the mouths of her flanking attendants and
the center one fell into her mouth. After performing this, all
were satisfied and later returned home. (From this act)
Parvati became known as Chinnamasta.

In visual imagery, Chinnamasta is shown standing on the

copulating couple of Kamadeva and Rathi, with Rathi on the
top. They are shown lying on a lotus. There are two
different interpretations of this aspect of Chinnamasta's
iconography. One understands it as a symbol of control of
sexual desire, the other as a symbol of the goddess's
embodiment of sexual energy. The most common
interpretation is one where she is believed to be defeating
what Kamadeva and Rathi represent, namely sexual desire
and energy. In this school of thought she signifies self-
control, believed to be the hallmark of a successful yogi.
The other, quite different interpretation states that the
presence of the copulating couple is a symbol of the
goddess being charged by their sexual energy. Just as a
lotus seat is believed to confer upon the deity seated atop
it's qualities of auspiciousness and purity, Kamadeva and
Rathi impart to the Goddess standing over them the power
and energy generated by their lovemaking. Gushing up
through her body, this energy spouts out of her headless
torso to feed her devotees and also replenish herself.
Significantly here the mating couple is not opposed to the
goddess, but an integral part of the rhythmic flow of energy
making up the Chinnamasta icon. The image of Chinnamasta
is a composite one, conveying reality as an amalgamation of
sex, death, creation, destruction and regeneration. It is
stunning representation of the fact that life, sex, and death
are an intrinsic part of the grand unified scheme that makes
up the manifested universe. The stark contrasts in this
iconographic scenario-the gruesome decapitation, the copulating
couple, the drinking of fresh blood, all arranged in a
delicate, harmonious pattern - jolt the viewer into an
awareness of the truths that life feeds on death, is nourished
by death, and necessitates death and that the ultimate
destiny of sex is to perpetuate more life, which in turn will
decay and die in order to feed more life. As arranged in
most renditions of the icon, the lotus and the pairing couple
appear to channel a powerful life force into the goddess.
The couple enjoying sex convey an insistent, vital urge to
the goddess; they seem to pump her with energy. And at
the top, like an overflowing fountain, her blood spurts from
her severed neck, the life force leaving her, but streaming
into the mouths of her devotees (and into her own mouth
as well) to nourish and sustain them. The cycle is starkly
portrayed: life (the couple making love), death (the
decapitated goddess), and nourishment (the flanking yoginis
drinking her blood).

Sri Dhumavati Devi

The seventh aspect of Mahavidya is Sri Dhumawati Devi.She

acts as the divine smoke screen in the form of old age
and death. Only the ardent devotee is able to see beyond
the fear of mortality to the Goddess's promise of immortality.

The dhyana mantra of Dhumawati says:

Dhumawati is ugly, unsteady, and angry. She is tall and
wears dirty clothes. Her ears are ugly and rough, she has
long teeth, and her breasts hang down. She has a long
nose. She has the form of a widow. She rides in a chariot
decorated with the emblem of the crow. Her eyes are
fearsome, and her hands tremble. In one hand she holds a
winnowing basket, and with the other hand she makes the
gesture of conferring boons. Her nature is rude. She is
always hungry and thirsty and looks unsatisfied. She likes to
create strife, and she is always frightful in appearance. The
crow which appears as her emblem atop her chariot is a
carrion eater and symbol of death. Indeed, she herself is
sometimes said to resemble a crow. The Prapancasarasara-
samgraha, for example, says that her nose resembles a
crow's. The dress she wears has been taken from a corpse
in the cremation ground. She is said to be the embodiment
of the tamas gun, the aspect of creation associated with lust
and ignorance. Her thousand-name hymn says that she likes
liquor and meat, both of which are tamsic. Dhumawati is
also interpreted by some Tantra scholars as "the aspect of
reality that is old, ugly, and unappealing. She is generally
associated with all that is inauspicious: she dwells in areas
of the earth that are perceived to be desolate, such as
deserts, in abandoned houses, in quarrels, in mourning
children, in hunger and thirst, and particularly in widows. The
goddess tends to be in a sad state of mind and is
quarrelsome. Her eyes are glaring red, stern, and without
tenderness. Her lips too are red, covered with blood.

The legend behind Dhumawati's origin says that once, when

Shiva's spouse Sati was dwelling with him in the Himalayas,
she became extremely hungry and asked him for something
to eat. When he refused to give her food, she said, "Well,
then I will just have to eat you." Thereupon she swallowed
Shiva, thus widowing herself. He persuaded her to disgorge
him, and when she did so he cursed her, condemning her
to assume the form of the widow Dhumawati. This myth
underlines Dhumawati's destructive bent. Her hunger is only
satisfied when she consumes Shiva, her husband and who
contains within himself the whole world. Ajit Mookerjee,
commenting on her perpetual hunger and thirst, which is
mentioned in many places, says that she is the embodiment
of "unsatisfied desires." Her status as a widow itself is
curious. She makes herself one by swallowing Shiva, an act
of self-assertion, and perhaps independence.

Sri Bagalamukhi Devi

The eighth form of Mahavidya is Sri Bagalamukhi Amman

who smashes the devotee's misconceptions and delusions by
her cudgel. The name literally means “crane faced,” which is
how this goddess is sometimes depicted. She has a golden
complexion and her cloth is yellow. She sits in a golden
throne in the midst of an ocean of nectar full of yellow
lotuses. A crescent moon adorns her head. She holds a
club in her right hand with which she beats an enemy,
while pulling his tongue out with another. This image is
sometimes interpreted as an exhibition of stambhana, the
power to stun or paralyze one’s enemy into silence. This is
one of the boons for which Bagalamukhi’s devotees worship
her. Other Mahavidya goddesses are also said to represent
similar powers useful for defeating enemies, to be invoked by
their worshippers through various rituals.

The legend states that a demon named Madan undertook

austerities and won the boon of vak siddhi, according to
which anything he said came about. He abused this boon by
harassing innocent people. Enraged by his mischief, the gods
worshipped Bagalamukhi. She stopped the demon's rampage
by taking hold of his tongue and stilling his speech. Before
she could kill him, however, he asked to be worshipped with
her, and she relented, That is why he is depicted with her.

Bagalamukhi maha mantram meaning is as below:

Oh Goddess, paralyze the speech and feet of all evil

people. Pull their tounge, destroy their intellect.

She is the goddess of black magic, of poisons. She rules

over the subtle perception which make us feel at a distance
the death or misery of those we know. She incites men to
torture one another. She revels in suffering - Hindu
Polytheism, Alain Danielou. This bird is thought of as the
essence of deceit. As can be seen from the hymn, she
rules magic for the suppression of an enemy's gossip. These
enemies also have an inner meaning, and the peg she puts
through the tongue may be construed as a peg or paralysis
of our own prattling talk. She rules deceit which is at the
heart of most speech. She can in this sense be considered
as a terrible or Bhairavi form of Matrika Devi, the mother of
all speech, Sri Saraswati Devi herself (Consort of the creator
God Lord Brahma).

Sri Matangi Amman

The ninth form of Mahavidya is Sri Matangi amman who is
the patron of inner thought. She guides her devotee to the
uncaused primordial sound. Matangi has a dark emerald
complexion and has three eyes.
 
Once Parvati, seated on Shiva's lap, said to him that he
always gave her anything she wanted and that now she had
a desire to visit her father. Would he consent to her visiting
her father, Himalaya, she asked? Shiva was not happy about
granting her this wish but eventually complied, saying that if
she did not come back in a few days, he would go there
himself to ask for her return. Parvati's mother sent a crane
to carry Parvati back to her family home. When she did not
return for some days, Shiva disguised himself as an
ornament maker and went to her father's house. He sold
shell ornaments to Parvati and then, seeking to test her
faithfulness, asked that she have sex with him as his
payment. Parvati was outraged at the merchant's request and
was ready to curse him, but then she discerned with her
yogic intuition that the ornament vendor was really her
husband, Shiva. Concealing her knowledge of his true
identity, she replied: "Yes, fine, I agree. But not just now."
Sometime later, Parvati disguised herself as a huntress and
went to Shiva's home, where he was preparing to do
evening prayer. She danced there, wearing red clothes. Her
body was lean, her eyes wide, and her breasts large.
Admiring her, Shiva asked: "Who are you?" She replied: "I
am the daughter of a Chandala. I've come here to do
penance." Then Shiva said: "I am the one who gives fruits
to those who do penance." Saying this, he took her hand,
kissed her, and prepared to make love to her. While they
made love, Shiva himself was changed into a Chandala. At
this Point he recognized the Chandala woman as his wife
Parvati. After they had made love, Parvati asked Shiva for a
boon, which he granted. Her request was this: "As you
[Shiva] made love to me in the form of a Chandalini
[Chandala woman], this form should last forever and be
known as Uccishtha-matangini (now popularly known as
Matangi)."

The key to this legend is the essence of the word

'Chandala.' The Chandalas are believed to constitute the
lowest strata of the caste hierarchy in orthodox Hindu belief.
Associated with death and impurity they have always survived
on the fringes of mainstream society. Derogatory in the
extreme sense, The label chandala itself has become the
worst kind of slur. Thus by disguising herself as a
Chandalini, Parvati assumes the identity of a very low-caste
person, and by being attracted, Shiva allows himself to be
identified with her. Both deities self-consciously and willingly
associate themselves with the periphery of Hindu society and
culture. The Chandala identity is sacralised therefore, in the
establishment of Goddess Matangi. This goddess summarizes
in herself the polluted and the forbidden.

Another myth related to Matangi reinforces this belief. Once

upon a time, Vishnu and Lakshmi went to visit Shiva and
Parvati. They gifted Shiva and Parvati fine foods, and some
pieces dropped to the ground. From these remains arose a
maiden endowed with fair qualities. She asked for leftover
food (uccishtha). The four deities offered her their leftovers
as prasada (food made sacred by having been tasted by
deities). Shiva then said to the attractive maiden: "Those who
repeat your mantra and worship you, their activities will be
fruitful. They will be able to control their enemies and obtain
the objects of their desires." From then on this maiden
became known as Uccishtha-matangini. She is the bestower
of all boons.
The legend of her origin stresses Matangi's association with
leftover food, which is normally considered highly polluting.
Indeed, she herself actually arises or emerges from Shiva
and Parvati's table scraps. And the first thing she asks for
is sustenance in the form of leftover food (uccishtha). Texts
describing her worship specify that devotees should offer her
uccishtha with their hands and mouths stained with leftover
food; that is, worshippers should be in a state of pollution,
having eaten and not washed. Since for Matangi worshippers
make offering in a polluted state, she is known to have
been offered a piece of clothing stained with the menstrual
blood in order to win the boon of being able to attract
someone. Menstrual blood is regarded in almost all Hindu
texts and contexts as extremely polluting, and menstruating
women are forbidden to enter temples or otherwise serve the
deities. In the case of Matangi, these strict taboos are
disregarded, indeed, are flaunted.

We live in a society that is very much governed by religious

rules. One of these rules asserts that physical cleanliness is
a must whenever performing pooja or visiting a temple. As
young children, we were taught that we should have a
shower before performing a pooja and wash our feet before
entering the temple. These are good habits as ensuring
cleanliness is a very important form of personal hygiene. At
the same time, they freshen us up and make us more alert.
However, does it mean that God will object to us connecting
or praying to Him if we are in a physically unclean state or
if its something that's beyond our control, e.g. women
undergoing their menstrual cycle? Do you think that the all-
loving and all-compassionate God will ever object to His
female devotees from worshipping Him when they are
undergoing their menstrual cycles? No. The Mahavidya
Matangi teaches us that one can be in the dirtiest of state
physically and still be able to connect with Her. She is not
at all concerned with the external cleanliness of her
devotees. She is only concerned with the state of the
devotees within. If the devotees' mind, thoughts and heart
are clean, they will be able to connect with the Goddess.
And this applies not just to Matangi, but this applies to God
in general. Just think for an instance. Will your parents
prevent you from entering the house if you are having a
menstrual cycle or if you are all dirty after a football game?
Surely not. Then why would the all-compassionate and all-
loving God prevent you from entering the temple or praying
to him? Surely He won't. However, these are rules that we
have been taught to obey and follow. Of course, it is not
proper to worship in an unclean state just to mock at God.
That shows that the mind is unclean.

The detailed ways of worshipping Matangi, e.g. offering Her

leftover food, is but a way to condition a person mentally
that it is okay to worship the Divine even if one is
physically unclean. Having observed rules of cleanliness for
years, the best way to adopt a new thinking towards prayer
and cleanliness is by physically performing an act and
associating it with the thought, hence the act of offering
leftover food and others described in the scriptures. At the
end of the day, one has to come to the realization that the
Divine is only interested in the purity of the thoughts, mind
and soul, not the physical body.

Sri Kamaleshwari Ambal

The "Last but not the Least" Goddess of Mahavidya is Sri

Kamala Devi who is in the fullness of her graceful
aspect. Kamala as the tenth and last of the Wisdom
Goddesses shows the full unfoldment of the power of the
Goddess into the material sphere. She is both the beginning
and the end of our worship of the goddess. The canonical
texts are quite specific regarding her iconography: "She has
a beautiful and golden complexion. She is being bathed by
four large elephants who pour jars of nectar over her. In
her four hands she holds two lotuses and makes the signs
of granting boons and giving assurance. She wears a
resplendent crown and a silken dress." The name Kamala
means "she of the lotus" and is a common epithet of
Goddess Lakshmi. Indeed, Kamala is none other than the
goddess Lakshmi. Though listed as the last of the
Mahavidyas, she is the best known and most popular.
Several annual festivals are given in her honor. Of these,
the Diwali or Deepavali festival is most widely celebrated. This
festival links Lakshmi to three important and interrelated
themes: prosperity and wealth, fertility and crops, and good
luck during the coming year.

Kamala is a beautiful young woman with a shining

complexion. Two elephants flank her and shower her with
nectar while she sits on a lotus and holds lotuses in each
of her four hands. The lotus is related to life and fertility.
The cosmos as lotus-like suggests a world that is organic,
vigorous and beautiful. It is the fecund vigor suggested by
the lotus that is revealed in Kamala. She is the life force
that pervades creation. Kamala's association with the elephant
suggests other aspects of her character that are ancient and
persistent. The elephants have two meanings. According to
Hindu tradition, elephants are related to clouds and rain, and
hence fertility. Second, elephants also suggest royal
authority.The elephants pouring nectar onto her are symbols
of sovereignty and fertility. They convey Kamala's association
with these highly desirable qualities.

Though equivalent to Lakshmi, important differences exist

when Kamala is included in the group of Mahavidyas. Most
strikingly, she is never described or shown accompanying
Vishnu, who otherwise is her constant and dominating
companion in all representations. In this respect unlike
Lakshmi, Kamala is almost entirely removed from marital and
domestic contexts. She does not play the role model of a
wife in any way, and her association with proper dharmic or
social behavior, either as an example of it or as the
rewarder of it, is not important in the Mahavidya context.
Here a premium seems to be put on the independence of
the goddesses. For the most part, the Mahavidyas are seen
as powerful goddesses in their own right. Their power and
authority do not derive from association with male deities.
Rather, it is their power that pervades the gods and enables
them to perform their cosmic functions. When male deities
are shown, they are almost always in supporting roles
(literally as when they are shown supporting Shodashi's
throne), and are depicted as subsidiary figures.

==

Different portions(Mandalalms) of Sri Chakra

Sri Chakra has 9 Mandalas (Nava Mandalalu)

1. Trailokya Mohana or Bhupura, means the earth square

2. Sarva Asha Paripuraka sixteen petals of lotus
3. Sarva Sankshobahana eight petals
4. Sarva Soubhagyadhayaka composed of fourteen small triangles
5. Sarva Arthasadhaka composed of ten small Outer triangles
6. Sarva Rakshakara composed of ten small inner triangles
7. Sarva Rogahara composed of eight small triangles
8. Sarva SiddhiPradha Central Triangle
9. Sarva Anandhamaya or Bindhu mandalam

These are the 9 mandalam or portions of the sri chakra

1.Bhupura or Trailokya mohana :

Outer Line : In the outer line there are Eight World Protectors (lokapalakas or Dhikpalakas)

8 Lokapalakas or Dhikpalakas

1. Indra (east) , Indra Vahanam(vehicle) Iravatham(elephant)and he wears yellow

2. Agni (south east-Agneyam) Agni Vahanam Ram(horse) he wears red
3. Yama (South – Dhakshanam) Vehicle Buffalo, wears Black
4. Niruthi (southwest) His Vahana is a Gohoul which is a human Firm.color dark green
5. Varuna (west) His Vahana Maakara(crocodile) He Wears Blue
6. Vayu (north east) Vahana Deer, Wears pale color
7. Kubera (north) His Vahana Goat, Wears Pure White
8. Ishana (north east) is a form of Shiva, his vahana bull

Middle Line: In this Line The Siddhi Shaktis are smeared with vermillion(sindoor), wears
Red garland, carries noose(Pasam) and Goad(Ankusam)

Inner Line: In the Inner line there are 8 shakthis ruling Desire, Anger, Envy, Delusion,

Greed, Jealousy, Virtue and Vice. They are the Eight Matrikas

This Shakthis are collectively know as Prakata Yoginis.

1.Brahmi 2. Maheswari 3. Kaumari 4. Varahi 5. Indrani 6. Chamundi 7. Mahalakshmi

8. vaishnavi

Matha in the form of the Tripura rules all this shakthis in this individual mandala of yantra
know as the chakra rulling the three worlds

Her vidya is “AM AM SAUH”

2. Sixteen Petals (Sarva Asha Paripuraka)

The Shakthi in the circle are known as the hidden one

The whole mandala of sixteen petals is known as “Fulfiller of desires”. The Presiding form of
Lalitha is Thirpureshi

Her vidya is “ AIM KLIM SAUH ”

The 16 yoginis in this mandala are Associated with attainment of the desires.

3.Eight Petals : Sarva Sankshobahana

The Whole Circle of 8 petals is called “ All Exciting Chakra”

Here presiding form of Lalitha is Tripura Sundhari.

Her vidya is “ HRIM KLIM SAUH “

The 8 Shaktis in each of the 8 petals of the mandala are described as shakthis of Speech,
Holding, Walking, Excreting, Pleasure, Abandoning, Concentration, and Detachment.

Their names(Ananga Mandala) all conveys terms of loving sexuality.

4. Fourteen Triangles : Sarva Saobhagyadhayaka

This Manadala is called “ The Chakra Bestowing All Good Fortune ”

The Presiding Form of devi is Tripura Vasini

Her vidya is “ HAIM HKLIM HSAUH “

Fourteen shaktis of the triangles are associated with the chief nadis or currents of bioenergy.
They are described as being proud, wanton, young, color of cochineal, ornamented with gems,
holding noose, goad, mirror, wine cup full of nectar (Amritham). They are the Akarshanis or

Attractors.

5. Outer Ten Triangles : Sarva Arthasadhaka

This mandala is called 'The Chakra Bestowing All Objects to the Sadhaka'. The shaktis are
called the Kula Kaulas. The presiding aspect of Red Devi is Tripura Shri.

Here Matha is as Effulgent as 1000 rising suns.

The Ten Shaktis in this triangles are described as having Thrilled face holding Pasam and
Ankusam.

6. Inner Ten Triangles : Sarva Rakshakara

The mandala is called 'The Chakra Protecting All'. The Yoginis are called Without Origin.

The presiding aspect of Lalita is Tripura Malini.

Her vidya is “ HRIM KLIM BLEM “.

She holds noose(Pasam) and goad(Ankusam), dispels fear, and holds a skull. She is of
vermilion brightness. And showing the Gesture of knowledge and giving boons.

7. Eight Triangles : Sarva Rogahara

This mandala is called 'The Chakra Destroying all Disease'. The yoginis are know as secret or
Rahasya Yoginis. The presiding aspect of the Red Goddess is Tripura Siddha.

Her vidya “ HRIM SHRIM SAUH “

8. Central Triangle : Sarva Siddhi Pradha

This mandala is called 'The Cakra Giving All Success'. The Yoginis are called Very Secret.
Lalita dwells here as Tripura Amba.

Her Vidya is “ HSRAIM HSRKLIM HSRSAUH “

She is know as Sampathpradha Bhairavi with 3 eyes.

There are 3 Shaktis in this Triangle, Kameshvari, Vajreshi and Bhagamalini.

Kameshwari is called Shiva Shakti, Vajreshi is Vishnu Shakthi and Bhagamalini is Brahma
Shakti

9. Bindhu Mandala : Sarva Anandamaya

This mandala is called 'Purely Blissful'. her Transcendent Majesty Lalita as Maheshvari
Mahatripurasundari.

Her vidya (Kamaraja vidya) is

“ KA E I LA HRIM HA SA KA HA LA HRIM SA KA LA HRIM “

this is the Panchadasakshari Mantra, which is one of the greatest mantras of Devi and
next only to the Shodasakshari Mantra.

"Om Aim Hreem Shreem Sri Lalita Tripurasundari Padukam Poojayami Namah"

Sri Chakra Consists of 9 Intersecting triangle. These nine triangles also represent the nine stages of
growth of the human child in the womb. Surrounding the 43 triangles formed by the intersection of the
nine triangles is the 16 petals circle. Surrounding the 16 petal circle is an 8 petal circle.

In this 9 Triangles five are pointing downwards, and four are pointing upwards.

Five downward pointing triangles representing Devi intersect with four upward pointing triangles
representing Siva, forming 43 triangles including the central triangle. From the five Shakti triangles
comes creation and from the four Shiva triangles comes the dissolution. The
union of five Shaktis and four Fires causes the chakra of creation to evolve. On the top of the triangles
there is a bindhu mandala.

At the centre of the bindu of the Shri Yantra is Kamakala, which has three bindus. One is red, one is
white and one is mixed. The red bindu is Kurukulla the Female form, the white bindu is Varahi the
Male form, and the mixed bindu is the union of Shiva & Shakti - the individual as the potential Shri
Cakra. Varahi, the father-form, gives four dhatus to the child and Kurukulla, the mother-form, gives
five dhatus to the child. Theses represent the nine dhatus of the human body.

Varahi's four fires are the 12 (4 x 3) sun Kalas, the 12 Zodiac constellations. Kurukulla's five triangles
are the 15 (5 x 3) Kalas of the moon, 15 lunar Tithis.

There are three kinds of Sri Yantra or Chakra, Bhuprastha, Meru prastha and Kurma prastha.

Bhuprastha: this is the plain sri yantra.

Meru prastha: pyramid form, this name came from sumeru or meru parvatha(mountain)
described in hindu mythology.

Kurma prastha: one which is raised on a tortoise back is called kurma prastha, it just looks
like sree chakra drawn on semi shere.

"Om Aim Hreem Shreem Sri Lalita Tripurasundari Padukam Poojayami Namah"

Sri Chakra Consists of 9 Intersecting triangle. These nine triangles also represent the nine stages of
growth of the human child in the womb. Surrounding the 43 triangles formed by the intersection of the
nine triangles is the 16 petals circle. Surrounding the 16 petal circle is an 8 petal circle.

In this 9 Triangles five are pointing downwards, and four are pointing upwards.

Five downward pointing triangles representing Devi intersect with four upward pointing triangles
representing Siva, forming 43 triangles including the central triangle. From the five Shakti triangles
comes creation and from the four Shiva triangles comes the dissolution. The

union of five Shaktis and four Fires causes the chakra of creation to evolve. On the top of the triangles
there is a bindhu mandala.
At the centre of the bindu of the Shri Yantra is Kamakala, which has three bindus. One is red, one is
white and one is mixed. The red bindu is Kurukulla the Female form, the white bindu is Varahi the
Male form, and the mixed bindu is the union of Shiva & Shakti - the individual as the potential Shri
Cakra. Varahi, the father-form, gives four dhatus to the child and Kurukulla, the mother-form, gives
five dhatus to the child. Theses represent the nine dhatus of the human body.

Varahi's four fires are the 12 (4 x 3) sun Kalas, the 12 Zodiac constellations. Kurukulla's five triangles
are the 15 (5 x 3) Kalas of the moon, 15 lunar Tithis.

There are three kinds of Sri Yantra or Chakra, Bhuprastha, Meru prastha and Kurma prastha.

Bhuprastha: this is the plain sri yantra.

Meru prastha: pyramid form, this name came from sumeru or meru parvatha(mountain)
described in hindu mythology.

Kurma prastha: one which is raised on a tortoise back is called kurma prastha, it just looks
like sree chakra drawn on semi shere.

       Meditation on the Sri Yantra with Moon Energy:

        
         Close your eyes and visualize the full moon in front of you, luminous and glowing,
reflected in a pool of water. Feel the cool, calm energy wash over you. Now open your
eyes and see the image of the moon merging with the Sri Yantra before you.

     Gaze on the bindu point in the center and let the awareness of the rest of the symbol
slowly edge into your vision.

     It may help you to breathe the OM while doing so since the Sri Yantra is the physical
symbol of this sound.

     Pray to the Divine (or Shakti- Shiva) to open your heart to its beauty while you do
so.

     Becoming one with the Sri Yantra is not about effort or making it happen but letting
it flower open in your awareness with gentleness.
          
     It comes when you least expect it.

==
Breathing Meditation :

Take a few deep breaths, breathing deep into the belly, and exhale with
force, releasing all tension. With awareness of your breath coming in
and going out, repeat your chosen mantra or affirmation in this ratio-
once for each in-breath and twice for each out breath.
As you start focusing on the mantra blending with the breath, feel it
spreading throughout your body.
Continue until you feel totally relaxed and refreshed.

You can either stop repeating the mantra, but continue the breath
awareness as you go about your tasks, or, mentally continue the
mantras too.
Observe how you feel at the end of the day!
The Nithyas ( Phases of the Moon) :   

The Nithyas

The word 'Nithya' in Sanskrit means 'perennial' or 'occurring every day'. These
paintings represent the constantly recurring Lunar cycle.
Each of the fifteen lunar days or phases of the Moon has its own special
vibration and radiates the energy of this vibration. In Tantra, they are
recognized as Divine energies and are called 'Nithyas' (since they occur every
day) or 'Nithya Kala Devies'. Each Nithya is a part of the 'Kaala-chakra' or
Wheel of Time, which is constantly revolving just as the Moon revolves.
The 'Srichakra' (Sri Yantra) is within this Wheel of Time, and the 15 Nithyas are
like rays emanating from the Goddess Lalita who resides in the Srichakra. The
Goddess Lalita represents Pure Consciousness, and the 15 Nithyas are 15 parts
of the continuum of Consciousness.

Each Nithya has her own yantra, mantra and group of energies (shaktis).
Meditating on the yantra of the Nithya of a particular day helps us connect with
those special energies and get the benefits that Nithya is known to give. If one
focuses on one particular Nithya and meditates on her continuously, better
results are obtained.
The Fifteen Nithyas are:

1. Kameshwari- (The Nithya of first day of the cycle)

She is 'The lady of Desire'. She gives happiness, wealth, mental peace, good
health and family congeniality.

2. Bhagamalini- (the Nithya of the 2nd day of the cycle)

She gives strength to win over enemies, power to attract the Three Worlds,
fertility, and is very special for women as she protects pregnant women through
pregnancy, preventing abortions and premature birth as well as ensuring safe
delivery.

3. Nityaklinna- ( the Nithya of the 3rd day of the cycle)

Her name means 'Wet Nithya' and she bestows- enjoyment of desires, a feeling
of love and unity in the family and physical beauty.
 4. Bherunda- ( the Nithya of the 4th day of the cycle)
She frees us from the evil effects of poisons of all types.

5. Vahnivasini- ( the Nithya of the 5th day of the cycle)

Her name means 'Dweller in Fire'. She 'devours' the Universe, purifying and
bringing clarity after burning negativities and low energy forms.

6. Vajreshwari- ( the Nithya of the 6th day of the cycle)

She destroys dense evils and helps us overcome our troubles. She also grants
freedom from ignorance.

7. Shivaduti- ( the Nithya of the 7th day of the cycle)

She destroys wickedness, annihilates injustice and unrighteousness. She also
helps fulfil righteous desires, material or otherwise.

8. Tvarita- ( the Nithya of the 8th day of the cycle)

She grants good health, education, wealth, physical radiance and long life. She
protects us from poverty and poisonous attacks.

9. Kulasundari- (the Nithya of the 9th day of the cycle)

She grants knowledge and scholastic excellence, wealth, and also helps in the
annihilation of enemies.

10. Nithya- (the Nithya of the 10th day of the cycle)

She grants physical strength and oratory powers. She also governs the six
chakras in the human body.

11. Nilapataka- (the Nithya of the 11th day of the cycle)

She grants victory in battle, success in trade, success in examinations,
interviews as well as court cases.

12. Vijaya- (the Nithya of the 12th day of the cycle)

She bestows happiness, success in debates, success in buying and selling, and
victory in battle.

13. Sarvamangala- (the Nithya of the 13th day of the cycle)

Her name means 'All Auspicious'. She grants progress- both material and
Spiritual. Meditating on her before a journey brings a safe journey.

14. Jvalamalini- (the Nithya of the 14th day of the cycle)

Her name means 'garlanded with flames'. She destroys enemies, and also
bestows financial gains.

15. Chitra- (the Nithya of the 15th day of the cycle)

She grants our righteous desires, wealth and self-knowledge.

16. Lalita- She is Pure Consciousness from whom all the other Nithyas
emanate. She is present in every day of the cycle, and both within and
'controlling' each Nithya.

==

Dasa Maha Vidyas

The " Dasa Maha Vidyas" or Ten Great Cosmic Powers is the latest in the
Yantra series. Each focuses on one aspect of the Divine Energy of Shakti.
Meditating on any one of them will help activate that energy within us and take
us further along the path of Self- Realization.
I am deeply grateful to S. Shankaranarayanan who has written "The Ten Great
Cosmic Powers" and Dr. David Frawley, who has written " Tantric Yoga and the
Wisdom Goddesses".
It is these two books which inspired and guided me to work on this series, and
I would like to add that working on each one was itself a meditative and
insightful experience, bringing deeper knowledge and awareness.

Each painting of the Maha Vidyas has a description and meditation

Click on the name of each yantra to read this:

Kali, Tara, Tripurasundari, Bhuvaneshwari, Bhairavi,

Chinnamasta, Dhumavati, Bagalamukhi, Matangi,

Kamalatmika    

                        The Dasa Maha Vidya series:

 

 
 
 Dasa Maha Vidyas 

Kali

Time is the great force of change and the rhythm of our life. Time, or
‘kala’, is birth and death, growth and decay, which is the essence of our
existence. The Supreme Time-force or ‘shakti’ of kala is ‘Kali’. Kali is
also the prana or life-force within us.

 In order for the new to come into being, we have to let go of the old.
So time is both creation and destruction. Kali helps us destroy the
attachments in our life so that we gain mastery over time.

 Kali is also Life and Death, which are movements in time. To worship
Her, we must ‘die’ daily, that is, death of all our worries, ambitions,
cares, anxieties, loves and hates. Before sleeping if we empty our
minds of all this, we are ‘born’ again the next day, fresh and new. Kali
is death of the separate self.
Kali also relates to the element of air, and the lightning force that is in
the atmosphere. She is located in the heart chakra of the human body.
Kali is the ‘kriya-shakti’ or power of action, which is an essential part of
the Time-force, and is the first of the Maha Vidyas.

Meditation:
 Keep your mental focus all the time on each inhalation and exhalation
as your eyes focus on the seed mantra ‘kreem’ in the centre. Repeating
‘Om Kreem’ in your mind with each inhalation and exhalation, let your
eyes take in the entire yantra and feel the colours penetrate your entire
being. Experience the feeling of endless time.
                                         
                                                                    top

 Tara

Tara is the second of the Maha vidyas. She is worshipped by Hindus,

Buddhists and Jains. The Chinese Buddhists worship her as Kwan Yin.
In the Hindu tradition, She is ‘sabda shakti’ or power of Sound.
According to Tibetan Buddhist tradition Tara emanated from the tear of
Avalokiteshvara. Once Avalokiteshvara liberated all beings from the
lower realms and an instant later saw that the lower realms were again
filled with suffering beings. Saddened, a tear fell from his eye and from
it sprang Green Tara. Both Avalokiteshvara and Tara embody the
principle of compassion (one of the three main aspects of enlightened
mind: compassion, wisdom and power). Kwan Yin is generally explained
as a Chinese (feminine) equivalent of Avalokiteshvara, who manifested
to help all those suffering on earth.
"Tara" means the one who crosses and helps others to cross the river.
She is the Saviouress who helps us overcome our difficult situations and
also helps us transcend them.
Tara is the feminine form of ‘Aum’. She also relates to the power of
perception and knowledge.

 Her location in the human body is the Manipura chakra or navel centre.
As ‘Aum’ She is also in the Third Eye or Ajna chakra.

Meditation:
Let your eyes start focusing on the ‘Aum’ in the centre, and feel its
energy enter you. Now start chanting ‘Aum’ slowly as your eyes move
slowly around the yantra, absorbing the healing lavender colour, and let
the water surrounding the yantra ‘wash’ over you.
Bring your gaze now to the triangle with rainbow colours, and visualize
this entering you through your Third Eye chakra, filling it, and then
move down into your navel chakra. Feel your navel chakra fill with all
the rainbow colours. Continue chanting Aum and feeling the rainbow as
long as you wish.

                                                                     top

 Tripurasundari

The third of the Maha Vidyas, Tripurasundari represents the ultimate

beauty of pure perception which arises when we see all the Universe in
ourselves.
"Tripura" means ‘three cities’, the three worlds of matter, energy and
thought, which we experience through our three bodies- physical, astral
and causal. Tripurasundari helps us delight in these experiences of the
three worlds and transcend them.
She is also known and worshipped as Lalita, the deity of the Sri Chakra,
and Rajarajeshwari, the Supreme ruler of the Universe. Her ‘command’
 is based on Love.
When we open ourselves to her command, we discover that beauty and
bliss are the fundamental energy of existence, and play is the nature of
all manifestation. When we experience this insight, we free ourselves
from attachment and find happiness and delight in whatever life may
bring us.
Sundari represents the moon as the visible image of Delight.
She resides in the Crown chakra in the body, the abode of immortal
nectar. By her grace, the nectar descends through the Sushumna nadi,
and pervades the whole body, an experience of bliss.
She has her own yantra, the Tripurasundari yantra, as well as the great
Sri Yantra.

Meditation:
Visualize the lotus in the yantra as your Crown chakra, and bring your
focus slowly to the central point. Keep your focus there, relaxing the
whole body, and let your peripheral vision take in the rest of the yantra.
Feel the ‘liquid’ cool light flowing into your body and filling you with
bliss.

                                                                     top

 Bhuvaneshwari

Bhuvaneshwari means ‘the Queen of the Universe’. Fourth in the list of

the ‘Dasa Maha Vidyas’, Bhuvaneshwari stands for the concept of
space.
Space has many levels of manifestation:
The space of the physical Universe and the space of the mind. Just as
there are many layers of space in the Universe, there are many layers
in the higher levels of the mind. In our body, the heart is where the
infinite space of the Universe resides, and this is the seat of the Divine
Mother, Bhuvaneshwari, who represents this Space.
By creating space, we release ourselves from stress and tension. Those
seeking the supreme peace should invoke and worship the Goddess
Bhuvaneshwari, who is the power of infinite ‘expansion’,peace and
equanimity.
Her sound- body is ‘Hrim’, which is as powerful as ‘Aum’. ‘Hrim’
connects the space within the heart with the infinite, vast space of
Consciousness.

Meditation:
Inhale deeply as you focus on the seed mantra ‘hrim’ in the centre, and
feel your whole being expand. With each inhalation let your gaze move
radially outwards, taking in the shining 6-pointed star, then the soft,
eight-petaled pink lotus, and the colour blue, which gives a feeling of
expanding space. Then, the glowing eight-petaled lotus and the yellow
circle surrounding that. Feel yourself expanding into space as your
vision takes in the blue and white ‘clouds’ around the yantra.
Continue breathing deep, and experience this feeling of expansion.

                                                                    top

 Bhairavi
 Fifth among the Maha vidyas, She is one of the most powerful and also
popular Goddesses, also known as Durga.
Bhairavi represents transforming heat, ‘Tapas’, and also Divine
radiance, ‘Tejas’. Tapas is not just asceticism, it is a heightened
aspiration that consumes all secondary interests and attachments. She
is also the basic will power of life which we strive to master.
She is the ‘warrior’ Goddess, who with Her power of Divine speech and
spiritual fire eliminates all obstacles to the unfoldment of true
awareness, just as She destroyed the demon Mahishasura.
She dwells in the Muladhara or Root chakra, and is the same as
Kundalini.

Meditation:
Focus on the centre of the yantra with Light radiating, and then let your
gaze move toward the red eight-petaled lotus and fill your root chakra
with that colour. Then allow your vision to take in the flame-like forms
surrounding the yantra. ‘Inhale’ these flames and let them burn all the
fears, doubts and negative ‘attachments’ inside you. Look at the golden
circle surrounding the triangles, and visualize this encircling you and
protecting you as you fearlessly move forward toward your goals.

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 Chinnamasta

The sixth of the Maha Vidyas, Chinnamasta is the Goddess who causes
us to ‘cut off our own heads’, or, in other words, freeing ourselves from
the limitations of the mind. She is the shakti or power of Indra-
lightning, the electrical energy of transformation. This represents direct
perception, cutting through everything and revealing the Infinite
beyond all forms.
Chinamasta is also the Kundalini in her active role. Her activity is in the
Sushumna nadi, where She traverses up and down and distributes this
electrical energy through all the nadis throughout the body.
She is also Yoga Shakti, or power of Yoga in its most dramatic action.
One way of meditating on her is to see the light that makes the object
visible, and not the object itself.

Meditation:
Look at the light in the centre of the yantra and keeping your focus
there, take in the feeling of light cutting through the dark forms in the
surrounding areas. Breathe in this light, and visualize it moving up and
down your Sushumna nadi. Keeping this focus on the Sushumna nadi,
let any thoughts drift into your mind. Sometimes you may get an
unexpected resolution to a problem, or insight into something you were
contemplating.

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 Dhumavati

The seventh Mahavidya, Dhumavati represents the first and foremost

state before creation. She contains within herself all potentials and
shows the latent energies that dwell within us.
‘Dhuma’ means ‘smoke’, so Dhumavati means one who is composed of
 smoke. She obscures what is evident and known to reveal the hidden
and the profound.
She reveals all that is imperfect, the disappointments, sorrows,
humiliation, defeat, loss and loneliness, and all the negative states in
our ordinary existence in order that we may transcend it.
Learning from our negative experiences and treating them as lessons in
wisdom, we honour Dhumavati.
When we stop focusing on the outer forms and notice the background
space instead, we begin to see her.

Meditation:
Let your eyes travel all around slowly, taking in the ‘smoky’
background. With each inhalation, slowly let your gaze move inwards,
and take in the dark, eight-petaled lotus with its diffused glow at the
base of each petal.
Now let your vision take in the shining yellow six-pointed star which has
the swirls of smoke within. Let your eyes rest there for a while.
Contemplate on your negative experiences in a detached manner, and
let the golden message come through with the Grace of Dhumavati.

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 Bagalamukhi

The eighth Maha Vidya, Bagalamukhi represents hypnotic power, the

power to ‘stun’. She is the Goddess who stupefies the opponent and
paralyses his speech. She is the paralysing power, the striking force.
She induces sudden immobility or restraint. She also represents speech
used as a weapon to destroy negativity.
In Yoga, asanas are postures of stillness the physical body attains
through movement. The aim of asana is to give flexibility to the rigid
human body by alternate arresting and releasing of the movement
exprseed by it. Bagalamukhi grants complete control over our
movements and the capacity to stop them at will. This 'stopping' helps
in self-awareness. It helps us achieve ‘Mindfulness’ in all our daily
activities.
One experiences the play of Bagalamukhi while practising Hatha Yoga
and Raja Yoga.

Meditation:
Start by gazing at the light in the centre of the yantra, the stillness
there. Let your eyes move around the whole yantra, taking in the
colours and balanced movement of forms. Bring your focus back to the
stillness in the centre.
Absorb the colours and light as you focus on your breath.
You can keep this yantra in the room where you practice yogasanas. It
will radiate energy helping your practice.

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 Matangi

Matangi is the ninth among the Dasa Maha Vidyas. She is the Word as
embodiment of thought. She is the Goddess of the spoken word as well
as outward articulation of inner knowledge, including all forms of art,
 music and dance.
Matangi relates to Saraswati, the Goddess of wisdom and knowledge.
She is the form of Saraswati directed towards inner knowledge. She
represents the teachings of the guru, and the continuity of spiritual
instruction in the world. By honouring her, we also honour the guru.
Those seeking to teach others should seek the grace of Matangi.
She is the manifest form of song, and the vibratory sound, Nada, that
flows in the subtle channels, ‘nadis’, down through our entire body and
mind.
Matangi resides in the Throat chakra, the centre of speech. There is a
special ‘nadi’ or channel that runs from the Third Eye to the tip of the
tongue, which relates to Her. This is the stream of inspiration from the
mind to its expression via speech. Matangi represents the flow of Bliss
through this channel, which is experienced by the creators of great
literary, poetic and other artistic work, resulting in brilliant expressions
of creativity.

Meditation:
Start by focusing on the seed mantra ‘Aim’ in the centre, and visualize
its energy coming into your Throat chakra, and then moving into your
Third Eye chakra. Let your eyes take in the surrounding forms very
slowly, and absorb the green colour with each breath. Notice if you
‘hear’ any sounds or music. Let yourself hum whatever tune you hear.

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 Kamalatmika

The last of the Dasa Maha Vidyas, Kamalatmika is Beauty revealed in all
its glory. ‘Kamala’ means ‘lotus’, and Kamalatmika represents the
unfoldment of Divine Nature and its manifestation in the physical world.

Just as the lotus has its roots in mud and yet produces a beautiful
flower, the beautiful soul emerges from the gross physical body.
Kamala nourishes and supports us in the elevation of our soul through
our spiritual as well as worldly goals. She brings to the devotee
abundance of worldly wealth as well as love and bliss. She is also the
force who helps us to see the beauty and Divine quality in every thing.
She is located in the heart chakra in the body.
Meditating on the rays of the Sun awakens the process of inner
unfoldment which is Kamalatmika.

Meditation:
Focus on the seed mantra in the centre, and slowly let your gaze
absorb the rays radiating from there, and take in also the lotuses and
water element surrounding the yantra. Relax, and just keep a relaxed
focus on the golden radiance for a while. Feel this golden radiance filling
you with its abundance of light, love and beauty.

==

Here is the Sri Yantra radiating the light of the full moon:
  

The Sri Yantra which is also known as Sri Chakra is the 'king of the chakras'.  
It is a magnificent representation in complex and intricate geometric pattern of
the cosmic magnetic fields. It is the most auspicious of all yantras. It is the
abode of Goddess Lalita. It is in fact the form pattern of the Goddess, and
represents the union of Shiva-Shakti ( Male and Female elements) in the
macrocosmic and microcosmic aspects ( the cosmos and the individual).
This yantra is the most perfect of all yantras and the most 'complete'. The very
presence of the Sri Yantra creates positive vibrations in the space it is placed,
bringing positive changes.

Meditation on the Sri Yantra:

        
         Close your eyes and visualize the full moon in front of you, luminous and
glowing, reflected in a pool of water. Feel the
     cool, calm energy wash over you. Now open your eyes and see the image of
the moon merging with the Sri Yantra.

     Gaze on the bindu point in the center and let the awareness of the rest of
the symbol slowly edge into your vision.

     It may help you to breathe the OM while doing so since the Sri Yantra is the
physical symbol of this sound.

     Pray to the Divine (or Shakti- Shiva) to open your heart to its beauty while
you do so.

     Becoming one with the Sri Yantra is not about effort or making it happen
but letting it flower open in your awareness
     with gentleness.
          
     It comes when you least expect it.

The configuration of the yantra is as follows:

1. There are five triangles with the apex downwards ( representing Shakti or
the Female element) superimposed over four triangles with the apex upwards
( representing Shiva or the Male element).
2. The central configuration of triangles is surrounded by an eight-petalled
lotus.
3. The eight-petalled lotus is surrounded by a sixteen-petalled lotus.
4. Next come the triple rings.
5. Last of all is the outer square with four portals.
This is the basic structure, but this whole chakra consists of Nine Enclosures,
each representing a step in the journey inwards to the sanctum of Lalita, a step
in our onward spiritual progress. They are:

1. "Trailokyamohana Chakra" ( Enchanter of the Triple World)-( see

picture below)

The region between the four sides of the square and the three concentric circles
is the first enclosure.
This is the most external and world-oriented of the nine enclosures and is the
first 'enclosure' one crosses on the path to self-realization to overcome the
material aspect in oneself.

2. " Sarvasaparipuraka chakra" ( Fulfiller of all Desires)-

The second enclosure comprising sixteen petals lies just within the three
concentric circles. The 16 petals represent the 16 Yoginis (female yogic power
or attendant deity) associated with the attainment of desires by the cultivation
or strengthening of power over the following ( starting from the east in an anti-
clockwise manner)-
Desire, Intellect, Ego, Sound, Touch, Form, Taste, Smell, Thoughts, Fortitude,
Recollections, Verbal Labels, Sources of Phenomena, Selfhood, Immortality and
Body.
This is the next step in self-realization- power over these aspects within
ourselves.
The corresponding centre in the human body is the Muladhara or Root chakra.

3. "Sarvasankshobhana chakra" ( The Agitator of All)-

The third enclosure is the one with the eight-petalled lotus. The eight petals
represent the eight forces which are psychophysical in nature (starting from the
east)-
Speech, Apprehensions and reception, Locomotion, Urges of the body and
elimination, Pleasure, Reactions, Concentration and Detachment.
Control over these forces is the next step on the path to self-realization.
The navel region in the human body is associated with this enclosure and
represents absorption of all forces of 'agitation'.

4. "Sarva-saubhagyadayaka chakra" ( The Giver of All Auspiciousness)-

This fourth enclosure is the fourteen cornered figure created by the intersecting
triangles. They stand for the fourteen realms, and also represent the fourteen
main vital channels in the human body ( the 'nadis').The clearing and activating
of these channels creates the space needed to bring in auspiciousness and
prosperity- one more step in the path to self-realization.
The corresponding centre in the human body is the Anahata or Heart chakra.

5. "Sarvartha Sadhaka chakra" ( The Accomplisher of All Purposes)-

( see picture below)

The ten-cornered figure immediately inside the fourteen-cornered one is the

fifth enclosure. The ten corners house the ten auspicious deities who bestow all
good things like- fulfilment of desire, overcoming of obstacles, removing of
suffering, beauty of body, prosperity, etc.
Clearing of the channels in the previous enclosure creates the space and
'invites' these deities to bestow these good things.
The corresponding centre in the human body is the Vishuddha chakra or Throat
chakra.

6. "Sarva rakshakara chakra" ( The Protector of All)- ( see picture

below)

The sixth enclosure is the inner ten-cornered one inside the previous one. The
ten corners represent the ten powers of vital fire associated with digestion and
elimination. It has the nature of fire, and activates the refinement and
purification of bodily desires and actions, protecting us from 'dis-ease' in the
refined sense.
This is the next step in 'purifying' ourselves towards self-realization.
The Manipura or Solar Plexus is the corresponding centre in the human body.

7. "Sarvarogahara chakra" ( The Remover of All Diseases)-

The eight-cornered figure within the smaller ten-cornered figure is the seventh
enclosure. It represents the powers responsible for the eight fundamental
urges-
Cold, Heat, Happiness, Desire, Pain, Activity, Inertia and Wisdom.
All dis-ease in the body is associated with one or another of these urges.
Positive expression is the way to overcome dis-ease. This chakra helps in
activating positive expression, which is the next step in the 'refinement' of the
self on the path to realization.
The corresponding centre in the human body is the Svadhishtana chakra
( below the navel).

8. "Sarvasiddhiprada chakra" ( The Giver of All Accomplishments)-

This is the primary triangle situated in the centre of the yantra with the apex
pointing downwards. The three corners of the triangle represent three forms of
the power of the mother- Goddess:
            Kameshwari ( symbolizing the Moon)
            Vajreshwari ( symbolizing the Sun)
            Bhagamalini ( symbolizing Fire)
The three units also symbolize the three fundamental tendencies of existence-
Desire ( 'Iccha'), Knowledge ( 'Jnana'), and Activity ( 'Kriya').
Reaching this point in self-realization brings us very close to bliss. This chakra
brings power over these three tendencies.
The Ajna or Third eye chakra is the corresponding centre in the human body.
9. "Sarvanandamaya chakra" ( Full of All Bliss)-

Although called an enclosure it is actually the point or 'bindu' in the centre of

the primary triangle. It is composed of three dots or three elements from the
primary triangle-
Moon (red), Sun (white), and Fire (mixed colour).
It is here that one is completely united with the Divine ( Goddess Lalita) and
there is freedom from duality. This is the ultimate in self-realization.
The Sahasrara or Crown chakra is the corresponding centre in the human body.

Here are paintings from this series of the Nine Enclosures, as well as more
representations of the Sri Yantra (all nine enclosures are available as prints,
and a few as original works on canvas):
==

Who am I? How is it to be found? from Talks with Sri Ramana Maharshi

M.: Ask yourself the question. The body (annamaya kosa) and its
functions are not ‘I’.

Going deeper, the mind (manomaya kosa) and its functions are not ‘I’.
The next step takes on to the question. “Wherefrom do these thoughts arise?”
The thoughts are spontaneous, superficial or analytical. They operate in
intellect. Then, who is aware of them? The existence of thoughts, their clear
conceptions and their operations become evident to the individual. The analysis
leads to the conclusion that the individuality of the person is operative as the
perceiver of the existence of thoughts and of their sequence. This individuality
is the ego, or as people say ‘I’. Vijnanamaya kosa (intellect) is only the sheath
of ‘I’ and not the ‘I’ itself.
Enquiring further the questions arise, “Who is this ‘I’? Wherefrom does it
come?” ‘I’ was not aware in sleep. Simultaneously with its rise sleep changes to
dream or wakefulness. But I am not concerned with dream just now. Who am I
now, in the wakeful state? If I originated from sleep, then the ‘I’ was covered
up with ignorance. Such an ignorant ‘I’ cannot be what the scriptures say or the
wise ones affirm. ‘I’ am beyond even ‘Sleep’; ‘I’ must be now and here and
what I was all along in sleep and dreams also, without the qualities of such
states. ‘I’ must therefore be the unqualified substratum underlying these three
states (anandamaya kosa transcended).

‘I’ is, in brief, beyond the five sheaths. Next, the residuum left over after
discarding all that is not-self is the Self, Sat-Chit-Anand

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Plunge the Pure Mind Into the Heart

ONE day it was suggested to Sri Maharshi that no spiritual progress could ever
be made without sadhana, or discipline. After a pause he made these
observations:

“Mind it is that binds man, and the same mind it is that liberates him. Mind is
constituted of sankalpa and vikalpa desire and disposition. Desire is of two
kinds the noble and the base. The base desires are lust and greed. Noble desire
is directed towards enlightenment and emancipation. Base desire contaminates
and clouds the understanding. Sadhana is easy for the aspirant who is endowed
with noble desires. Calmness is the criterion of spiritual progress. Plunge the
purified mind into the Heart. Then the work is over. This is the essence of all
spiritual discipline!”

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from talk 597 ‘Talks with Sri Ramana Maharshi’

M.: A practiser gains peace of mind and is happy. That peace is the result of his
efforts. But the real state must be effortless. The effortless Samadhi is the true
one and theperfect state. It is permanent. The efforts are spasmodic and so
also their results.

When the real, effortless, permanent, happy nature is realised it will be found
to be not inconsistent with the ordinary activities of life. The samadhi reached
after efforts looks like abstraction from the external activities. A person might
be so abstracted or live freely among people without detriment to his Peace and
Happiness because that is his true nature or the Self.

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“Happiness” From ‘Talks with Sri Ramana Maharshi’

Talk 3.

A question was asked as to the nature of happiness.

M.: If a man thinks that his happiness is due to external causes and his
possessions, it is reasonable to conclude that his happiness must increase with
the increase of possessions and diminish in proportion to their diminution.
Therefore if he is devoid of possessions, his happiness should be nil. What is the
real experience of man? Does it conform to this view?

In deep sleep the man is devoid of possessions, including his own body. Instead
of being unhappy he is quite happy. Everyone desires to sleep soundly. The
conclusion is that happiness is inherent in man and is not due to external
causes. One must realize his Self in order to open the store of
unalloyed happiness.

==

Sri Durga Mantra:

Om Hrim Dhum Durgaa Devyai Namaha.

When chanted 108 times, three times a day, one will be freed from all kinds of
haunting karmas.
When we say the name, “Durga,” fear and terror are destroyed instantly.

Da: destroys any demonic powers

U: removes obstacles
Ra: burns all sins and cures diseases
Ga: eradicates gazillions of sins
Aa: bestows assurance.

==

Surya : Om hram hreem hroum sah suryaya

namah

Chandra : Om shram sreem shraum sah chandraya

namah

Mangala : Om kram kreem kroum sah bhaumaya

namah

Budha : Om bram breem broum sah budhaya

namah

Guru : Om jhram jhreem jroum sah gurave namah

Shukra : Om dram dreem droum sah shukraya

namah
Shani  : Om pram preem proum sah
shanaischaraya namah
   
 Rahu : Om bhram bhreem bhroum sah rahave
namah
Ketu : Om shram shreem shroum sah ketave
namah

Mahamrityunjaya Mantra energised with the Mritsanjivini Vidya devised by

Shukracharya. This is called Mritsanjeevani Mahamrityunjaya Mantra.

Om Hroum Om Joom Om Sah Om Bhooh Om Bhuvah Om Swah Om

Trayambakam Yajaamahe Sugandhim Pushtivardhanam
Urvaarukmiv Bandhanaan-mrityormuksheeya Maamritaat, Om
Swah Om Bhuvah Om Bhooh Om Sah Om Joom Om Hroum Om.