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Sri Danvantri Arogya Peedam, Ct:9443330203

Sunday, July 20, 2014

Dasamaga Vidya Homam On 24th july & 25th July at Danvantri Peedam.

Maha Kali Devi

Kali is a goddess with a long and complex history in Hinduism. Although sometimes presented as dark and violent, her earliest incarnation as a figure of annihilation still has some influence, while more complex Tantric beliefs sometimes extend her role so far as to be the Ultimate Reality (Brahman) and Source of Being. Finally, the comparatively recent devotional movement largely conceives of Kali as a straightforwardly benevolent mother-goddess. Therefore, as with her association with the Deva (god) Shiva, Kali is associated with many Devis (goddesses) - Durga, Badrakali, Bhavani, Sati, Rudrani, Parvati, Chinnamasta, Chamunda, Kamakshi or kamakhya, Uma, Meenakshi, Himavanti, Kumari and Tara. These names, if repeated, are believed to give special power to the worshipper.

She should not be confused with Kali, the male demon from the Mahabharata and Kalki Purana who is the personification of Kali yuga, whose name is spelled with a 'short' a and a 'short' i.

Origin of Goddess Maha Kali
DiyaKali first appears in the Rig Veda, not as a goddess, but as the black tongue of the seven flickering tongues of Agni, the Hindu god of fire. However, the prototype of the figure now known as Kali does appear, in the form of a goddess named Raatri. Raatri is considered to be the prototype of both Durga and Kali.

Kali YantraIn the Sangam era, circa 200BCE-200CE, 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. (See also Sanskritisation)

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 Mahatmya (also known as the Chandi or the Durgasaptasati) from the Markandeya Purana, circa 300-600CE, where she is said to have emanated from the brow of the goddess Durga, a slayer of demons or avidya, 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, circa 1500CE, 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 the legend was of later origin.

Goddess Maha Kali in Tantra Yoga

DiyaKaliGoddess play an important role in the study and practice of Tantra Yoga, and are affirmed to be as central to discerning the nature of reality as the male deities are. Although Parvati is often said to be the recipient and student of Shiva's wisdom in the form of Tantras, it is Kali who seems to dominate much of the Tantric iconography, texts, and rituals. In many sources Kali is praised as the highest reality or greatest of all deities. The Nirvnana-tantra says the gods Brahma, Vishnu, and Shiva all arise from her like bubbles in the sea, ceaslessly arising and passing away, leaving their original source unchanged. The Niruttara-tantra and the Picchila-tantra declare all of Kali's mantras to be the greatest and the Yogini-tantra , Kamakhya-tantra and the Niruttara-tantra all proclaim Kali vidyas (manifestations of Mahadevi, or "divinity itself"). They declare her to be an essence of her own form (svarupa) of the Mahadevi.
In the Mahanirvana-tantra, Kali is one of the epithets for the primordial sakti, and in one passage Shiva praises her:

Goddess KaliDiyaAt the dissolution of things, it is Kala [Time] Who will devour all, and by reason of this He is called Mahakala [an epithet of Lord Shiva], and since Thou devourest Mahakala Himself, it is Thou who art the Supreme Primordial Kalika. Because Thou devourest Kala, Thou art Kali, the original form of all things, and because Thou art the Origin of and devourest all things Thou art called the Adya [primordial Kali. Resuming after Dissolution Thine own form, dark and formless, Thou alone remainest as One ineffable and inconceivable. Though having a form, yet art Thou formless; though Thyself without beginning, multiform by the power of Maya, Thou art the Beginning of all, Creatrix, Protectress, and Destructress that Thou art.
DiyaThe figure of Kali conveys death, destruction, fear, and the consuming aspects of reality. As such, she is also a "forbidden thing", or even death itself. In the Pancatattva ritual, the sadhaka boldly seeks to confront Kali, and thereby assimilates and transforms her into a vehicle of salvation. This is clear in the work of the Karpuradi-stotra, a short praise to Kali describing the Panacatattva ritual unto her, performed on cremation grounds. (Samahana-sadhana)

He, O Mahakali who in the cremation-ground, naked, and with dishevelled hair, intently meditates upon Thee and recites Thy mantra, and with each recitation makes offering to Thee of a thousand Akanda flowers with seed, becomes without any effort a Lord of the earth. 0 Kali, whoever on Tuesday at midnight, having uttered Thy mantra, makes offering even but once with devotion to Thee of a hair of his Sakti [his female companion] in the cremation-ground, becomes a great poet, a Lord of the earth, and ever goes mounted upon an elephant.

DiyaThe Karpuradi-stotra clearly indicates that Kali is more than a terrible, vicious, slayer of demons who serves Durga or Shiva. Here, she is identified as the supreme mistress of the universe, associated with the five elements. In union with Lord Shiva, who is said to be her spouse, she creates and destroys worlds. Her appearance also takes a different turn, befitting her role as ruler of the world and object of meditation. In contrast to her terrible aspects, she takes on hints of a more benign dimension. She is described as young and beautiful, has a gentle smile, and makes gestures with her two right hands to dispel any fear and offer boons. The more positive features exposed offer the distillation of divine wrath into a goddess of salvation, who rids the sadhaka of fear. Here, Kali appears as a symbol of triumph over death.

Kali Mantra

Thara Devi
Thara Akshobhya. Seated in the pratyalidha asana, seated on the heart of a corpse, supreme, laughing horribly, holding cleaver, blue lotus, dagger and bowl, uttering the mantra Hum, coloured blue, her hair braided with serpents, the Ugratara.s quite well known to the West through Her Tibetan manifestations, but some are unaware of the important position She occupies in the Vedic tantrik pantheon. She is the second of the ten Mahavidyas.

Nila Saraswathi -- the Sapphire Blue Saraswathi. Saraswathi is the Brahma-Shakti, or spouse of the Supreme Deity in his Creative aspect. The other aspects are Vishnu and Mahesh -- all three symbolised in the three heads of Lord Dattatreya, patron guru of the Natha tradition.
Some have attempted to separate the Hindu Thara from the Tibetan Thara, but there is little doubt that She is the same Devi. This is shown in a reference to Thara in the Hindu Tantrarajatantra, where Her mantra is given as Om Tare Tuttare Ture Svaha -- identical to the Tibetan version. Here Thara takes her form as Kurukulla.

Mahavidhaya Thara YantraThe various other forms are given in Brihad Nila Tantra and Devirahasya, under the names Nila saraswathi, Aniruddha Saraswathi, Ugra Thara, Tarini.
Nila saraswathi gives as the fruit of worshipping Her poesy and eloquence. This, aside from clearly relating Nila saraswathi to White Saraswathi, also points to this Goddess being the Shakti of the Letters of the Alphabet, the Matrika Shakti.
She has an important role in Tantrik cosmology because mantra, words, music are considered to be the very source of the cosmos.

BellSwastikAs Matrika Shakti She deludes the entire human race with Her Maya of letters, and words. This has been expressed in a Tantrik form, but, practically speaking, it is sufficient to say that much hypnosis (Maya) comes about via the medium of words. Millions of people have lost their lives through this power.
Thus Her power and place in the Tantrik pantheon is quite justified, and Her mantra is described as a Siddha-Vidya, the cause of Maya and Englamouring.

Mahavidhya Thara Mantra
"Om Hreeng Streeng Hung Phutt"

Devi Tripura Sundari
Tripura Sundari, is third Mahavidya of Das Mahavidya.
Tripura Sundari, also called Shodashi, Lalita and Rajarajeshvari, is one of the group of ten goddesses of Vedic Belief, and these goddesses are collectively called mahavidyas.
Most poularly known as Das Mahavidya or ten great wisdom.
Das Mahavidya has great importance on tantra puja or tantric puja. But it can be also done in vedic way.
The goddess Tripura Sundari in her aspect as Shodasi is represented as a sixteen-year-old girl, and is believed to embody sixteen types of desire.
DiyaThe Shodasi Tantra, a treatise on the Tantra, describes Tripura Sundari as "the radiant light in the eyes of Shiva".

She is described as being of dusky color, and is depicted in an intimate position with an aspect of Shiva.
The couple are shown on a bed, a throne, or a pedestal resting on the significant male gods of Hinduism like Brahma, Visnu, Rudra, and Indra.The Vedic state of Tripura derives its name from the goddess Tripura Sundari.

Tripura Sundari is described in great detail as extremely attractive, beautiful., and erotically inclined.
Whilte LotusThe Lalitha Sahasranama details her charms from head to foot, and the most part 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 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 description of a beautiful woman, part by part, in the process of her arraying herself (shringar), was an established poetic form in Indian classical literature.
goddess shakti KalasaThe Prapancasara Tantra says that her worship has such an amorous effect that celestial females such as gandharvas, yakshis, and siddhas come to the sadhaka (devotee) "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, [they] 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.
The Tripura Sundari Ashtakam by Adi Shankaracharya describes her as a Mother, her nourishing breasts akin to mountain peaks that give birth to rivers. She is described wearing a blue dress with red spots, holding a pot of honey, her eyes quivering with intoxication.
DiyaDiya Tripura bhairavi as Tapas is especially worshipped by those seeking knowledge or by those seeking control of their sexual energy.

Tripura bhairavi gives control of the senses, the emotions and wandering thoughts. Tripura bhairavi helps us during fasting, vows of silence, meditation retreats, Pilgrimages, during the practice of celibacy, or any other concentrated spiritual discipline (Tapas) that we may be attempting. Whatever obstructions arise to our practice of Tapas we can call on Tripura bhairavi to help eliminate it.

Tripura Mantra
Om Mahatripura Sundaryai Namaha

Devi  Bhuvaneswari
Bhuvaneswari. Like the red rays of the rising sun, with the moon as her diadem, and with three eyes, a smiling face, bestowing boons, holding a goad, a noose and dispelling fears, thus I hymn Bhuvaneswari.
In Hinduism, Bhuvaneswari is the fourth of the ten Mahavidya goddesses and an aspect of Devi. According to some Hindu traditions, Bhuvaneswari, who is known for her beauty, co-operates with Shiva in bringing forth from the formless primal light the elements of the physical cosmos, in giving shape to the inchoate; hence her epithet "Creator (or Co-creatrix) of the World".Also Bhuvanewari is considered as the supreme goddesses who ceates everything and destroys all the unecessary evils of world.
DiyaShe is also considered as the Mother goddess of Parvathi, Lakshmi and Saraswathi also Gayathri. In hindu Mythology she is been considered as the most powerfull goddess in universe.
More than any other Mahavidya with the exception of Kamala, Bhuvaneswari 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.

Bhubaneshowri  Yantra Bhuvanesvari means Mistress of the World.
Bhuvaneswari's beauty is mentioned often. Her dhyana describes her as having a radiant vermilion complexion resembling the sunrise 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,and navel are lovely. Her beautiful throat is decorated with ornaments, and her arms are made for embracing. She is seated on a throne, adorned with a flower garland and anklets, bracelets of fine gems.

Bhuvaneswari She is also found seated on lions, also group of lions sit around her throne. A crescent moon adorns her forehead, resting atop a jeweled crown. She has three eyes and a pleasant, nurturing smile.
She has four arms, in two of which she holds a noose and a goad. With her lower left hand, she makes the gesture (varada-mudra) of offering a boon, and with the lower right she signals fearlessness (abhaya mudra).Indeed Shiva is said to have produced a third eye to view her more thoroughly.
SwastikaThis 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 Bhuvanewari's play, her exhilarating, joyous sport.
Bhuvaneshwari is another name for Goddess Lakshmi, the Goddess of Wealth. Bhuvanewari Temple

Bhuvaneshwari Mantra
Om Hrim Shreem Kleem Bhuvaneshrayah Namah

Devi Chinnamasta
In Hinduism, Chinnamasta (also called Chinnamastaka) is 6th mahavidyas, and an aspect of Devi.
The literal meaning of the word Chinnamasta is one with a severed head.
She is traditionally portrayed as a naked or scantly dressed woman astride the bodies, in intimate position, of Kama (Hindu god of love and sexual lust), and his wife Rati.
Diya 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.
She is the goddess of courage and discernment and sexual energy.

Origin of Mahavidya Goddess Chinnamasta
Goddess Chinamasta is said that one day Parvati went to bathe in the Mandakini River with her two attendants, Jaya and Vijaya. After bathing, the great goddess's color 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."

Chinnamasta YantraWaiting 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 to get sexual power, energy,courgage.

Goddess Chinnamasta Symbolism

In visual imagery, Chinnamasta is shown standing on the copulating couple of Kamadeva and Rati, with Rati 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 Rati 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 its qualities of auspiciousness and purity, Kamadeva and Rati 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).

Chinnamasta Mantra
" Om Shreeng Hreeng Kleeng Aing Vajravairochniye Hung Hung Phutt Swaha "

Devi Bhairavi
Bhairavi. Her head garlanded with flowers, she resembling the red rays of 1,000 rising suns, smeared with red, holding milk, book, dispelling fears and giving boons with her four hands, large three eyes, beautiful face with a slow smile, wearing white gems, I worship Bhairava.
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.
Bell of BaglamukhiGoddess Bhairavi is also identified with Kalaratri, a name often associated with goddess Kali that means “black night (of destruction)” and refers to a particularly destructive aspect of Kali.
Goddess Bhairavi 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.

DeepawaliOne 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.

SwastikaBhairavi 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.

Mahavidya Goddess Bhairavi Mantra
" Hassai haskari Hassai "

Devi Dhumavati

Dhumavati. The colour of smoke, wearing smoky clothes, holding a winnowing basket, dishevelled clothes, deceitful, always trembling, with slant eyes, inspiring fear, terrifying.
Dhumavati is one the of mahavidyas (Great Wisdoms); she is one of the many aspects of 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.

Origin of Dhumavati
The legend behind Dhumavati'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. Devi Dhumavati
She persuaded to disgorge him, and when she did he cursed her, condemning her to assume the form of the widow Dhumavati. The myth underlines Dhumavati's destructive bent. Her hunger is only satisfied when she consumes Shiva, who himself contains or creates the 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." The myth also emphasizes that Dhumavati as a widow is inauspicious. This is compounded by the fact that she has also been cursed and rejected by her husband. Her status as a widow is curious. She makes herself one by swallowing Shiva, an act of self-assertion, and perhaps independence.

Iconography of Dhumavati

The dhyana mantra of Dhumavati says:
DiyaDhumavati 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.

Worshipped to remove black magic, curse done by others.
DiyaThe 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.

Significance of Dipawali 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. Dhumavati 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.

Drumavati Mantra
Dhoong Dhoong Dhoomavati Thah Thah.

Devi Baglamukhi
Origin of Goddess Baglamukhi
Bagalamukhi YantraOnce upon a time, a Huge storm erupted over the earth. As it threatened to destroy whole of the creation, all the gods assembled in the Saurashtra region.
Goddess Baglamukhi Devi emerged from the 'Haridra Sarovara', and appeased by the prayers of the gods, calmed down the storm.

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 Baglamukhi. She stopped the demon's rampage by taking hold of his tongue and stilling his speech. Before Baglamukhi Devi could kill him, however, he asked to be worshipped with her, and Baglamukhi Devi relented, That is why he is depicted with her.
SwastikaGoddess Baglamukhi is containing the brightness of the Lord Vishnu and that is why she is also called Vaishnavi. She was revealed on the Tuesday containing Chaturdashi. She is infallible remedy for her devotees to help them out from the Daiveeya Prakop (Divine Wrath), demolishing the enemies, wealth and peace. This practice on the basis on importance and it can be used for the enjoyment or for salvation. By practicing this one can achieve unachievable things in lifetime
Nepal, where the worship of tantric goddesses Baglamukhi had Royal patronage, also has a large temple devoted to Baglamukhi iPatan.

The territory of Baglamukhi temple in Patan also has a couple other temples in there. Ganesha temple, Shiva temple, Saraswoti temple, Guheswari temple, Bhairabha temple and many other gods and goddesses.
In Hinduism there are 330 million separate gods and goddesses. And it is the main difference between any other temple and Baglamukhi temple that if someone worships all the gods in this temple, they would actually worship all 330 million gods and goddesses at one place.

Baglamukhi Devi is one of the ten Hindu Goddess of Power known as Das Mahavidhya. Baglamukhi Puja is performed as per vedic ritual, to defeat enemies, it not only decrease the power of the enemy but also create an atmosphere where he or she becomes helpless. Energise or Abhimantrit Baglamukhi Yantra is also used for the same purpose.It protects the person from enemies.

Baglamukhi Mantra
Om hlreem baglamukhi sarvadustanaam vacham mukham padam stambhaya jihvaam keelaya budheem vinashaya hlreem om swaha

Devi Matangi

Worshipped for Better Inner Thought, to make people positive about you.Matangi is the word as the embodiment of thought.
Matangi also relates to the ear and our ability to listen, which is the origin of true understanding that forms powerful thoughts.

Matangi bestows knowledge, talent and expertise.
Matangi is the Goddess of the spoken word and of any outward articulation of inner knowledge, including all forms of art, music and dance. Matangi is the aspect of goddess (in other words, the Mahavidya) who is the patron of inner thought.

Matangi guides her devotee to the uncaused primordial sound. Matangi has a dark emerald complexion and has three eyes.

Matangi is the word as the embodiment of thought. Matangi also relates to the ear and our ability to listen, which is the origin of true understanding that forms powerful thoughts.

Das Mahavidya goddess Matangi bestows knowledge, talent and expertise. Matangi is the Goddess of the spoken word and of any outward articulation of inner knowledge, including all forms of art, music and dance.
Matangi. Dusky, beautiful browed, her three eyes like lotuses, seated on a jewelled lion-throne, surrounded by gods and others serving her, holding in her four lotus-like hands a noose and a sword, a shield and a goad, thus I remember Matangi, the giver of results, the Modini.

goddess shakti KalasaAccording to the Upanishads the essence of the human being is speech. What we express through speech is the final product of all that we take into ourselves in life.
This ultimate residue and representation of who we are through speech is Das Mahavidya goddess Matangi. This, however, is not ordinary or casual speech, but the deepest expression of our hearts. The Divine Word has power, feeling, and passion, which is not mere human emotion but Divine bliss.

The Divine Word is not merely a theoretical or practical statement but an effusion of energy and delight. This joy is another aspect of Das Mahavidya goddess Matangi. Das Mahavidya goddess Matangi is thus a wild, playful and ecstatic Goddess.

Das Mahavidya goddess Matangi represents the ministerial power of the Goddess. She is the counselor to Rajarajeshvari or Tripura Sundari, the Supreme Queen of the universe. As such she is called Mantrini and has power over all mantras, particularly in their vocalization and articulation.

Matangi gives us the ability to communicate with all the other Gods and Goddesses through the power of the mantra. In fact she rules over all forms of knowledge, counseling and teaching. Those seeking proficiency in these areas should honor Das Mahavidya goddess Matangi.

Das Mahavidya goddess Matangi is dark emerald green in color, the color of deep knowledge and profound life-energy, which is also the color of the planet Mercury that governs intelligence. She plays the Veena, a stringed instrument like a sitar, which shows her musical and vibratory power.
Matangi is beautiful and carries various weapons with which to fascinate and subdue us. In this regard she has the same ornaments and weapons as Sundari. She is often said to have a parrot in her hands, which represents the powers of speech as inherent in nature. Matangi sits on a throne made of gems.

Matangi  Mantra
Aim, Aum Hring Kling Hum Matangaiye Phat Swaha

Devi Kamalatmika

Worshipped for Wealth, Family Happiness, Peace at home ,Peace of Mind, to get child.
Kamala, With a smiling face, her beautiful lily-white hands hold two lotuses, and show the mudras of giving and dispelling fear.

She is bathed in nectar by four white elephants and stands upon a beautiful lotus.
Kamalatmika is the Goddess Devi in the fullness of her graceful aspect. She is shown as seated on a lotus, symbol of purity.

The name Kamala means "she of the lotus" and is a common epithet of Goddess Lakshmi. Lakshmi is linked with 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 water while she sits on a lotus and holds lotuses in each of her four hands.
YantraThe 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

Kamalatmika Mantra
Om Shrim Shrim Kamalatmika Shrim svaha

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