#Devī Durgā

[wisdombyvinayakbhatt]

Bīja Mantras

Bīja Mantras or Seed-Mantras are the "seed" sounds associated with different aspects of Universal Manifestation. There are Bīja Mantras associated with Devatās or Deities, as well as with Mahābhūtas (Gross Elements), areas of one's body, etc. Each of these Bīja Mantras is the perfect sound representation of a particular deity, gross element, etc. The repetition of a Bīja mantra linked to a particular deity will develop in a person the qualities and attributes embodied by that very deity.

Mental repetition of a mantra is always more powerful than gross utterance performed by the physical tongue, as the mental tongue is subtler. However, it is usually good to start one's practice with gross utterance before entering the mental one.

Mantra must be chanted while one beholds its form, that is, the Sanskrit characters forming it, as it is extremely auspicious. Therefore, one must repeat a mantra while beholding its form and then close the eyes and keep repeating it mentally.

The Praṇava is the most sacred sound which is the core of all sacred words or mantra. Praṇava is the primeval Sound from which the entire universe arises. It is That from everything and everyone is manifested.

The three most important Bīja Mantras are the three Praṇavas–

(i) Śaiva Praṇava हूँ (Hūm̐)

(ii) Śākta Praṇava ह्रीँ (Hrīm̐)

(iii) Vaidika Praṇava ॐ (Om̐)

The Varadā Tantra lists the Bīja Mantras for various deities and explains the meanings of each of the letters forming the Bīja mantra in its sixth chapter Mantrārthābhidhānam. Like most tantrik texts, it is presented as a dialogue between Śiva and Śakti, where Śiva acts as the spiritual preceptor or guru, and Śakti as his disciple or śiṣyā.

𝐒́𝐢𝐯𝐚'𝐬 𝐁𝐢̄𝐣𝐚 𝐦𝐚𝐧𝐭𝐫𝐚 𝐇𝐚𝐮𝐦̐

शिववाची हकारस्तु औकारः स्यात् सदाशिवः।

शून्यं दुःखहरार्थं तु तस्मात्तेन शिवं यजेत्॥

Śivavācī hakārastu aukāraḥ syāt sadāśivaḥ|

Śūnyaṁ duḥkhaharārthaṁ tu tasmāttena śivaṁ yajet||

Listen, O Parameshvarī! Now I shall describe to You the meaning of the Mantras, in the absence of knowledge of which no one can get the fruit even with millions of Sadhana. O PārvatI! first of all listen to the meaning of the Prasāda Bīja. Ha denotes Śiva and Au indicates Śiva; ShUnya indicates duḥkhahara (destroyer of pain ). Thus Haum̐ is the Bīja for the worship of Śiva.

𝐃𝐮𝐫𝐠𝐚̄'𝐬 𝐁𝐢̄𝐣𝐚 𝐦𝐚𝐧𝐭𝐫𝐚 𝐃𝐮𝐦̐

द दुर्गावाचकं देवी उकारश्चापि रक्षणे।

विश्वमाता नादरूपा कुर्वर्थो बिन्दुरूपकः।

तेनैव कालिकादेवीं पूजयेद्दुःखशान्तये॥

Da durgāvācakaṁ devī ukāraścāpi rakṣaṇe|

Viśvamātā nādarūpā kurvartho bindurūpakaḥ|

Tenaiva kālikādevīṁ pūjayedduḥkhaśāntaye||

Da indicates Durgā, U indicates Raksana; the NādarUpa indicates Vishvamātā and Bindu indicates the Kurva. Thus Dum̐ is the Bīja for the worship of Durgā.

𝐊𝐚̄𝐥𝐢̄'𝐬 𝐁𝐢̄𝐣𝐚 𝐦𝐚𝐧𝐭𝐫𝐚 𝐊𝐫𝐢̄𝐦̐

क काली ब्रह्म र प्रोक्तं महामायार्थकश्च ई।

विश्वमातार्थको नादो बिन्दुर्दुःखहरार्थकः॥

Ka kālī brahma ra proktaṁ mahāmāyārthakaśca ī|

Viśvamātārthako nādo bindurduḥkhaharārthakaḥ||

The letter "ka" Kālī (kālī), "ra" is Brahma , and "ī" is Mahāmāyā , Nāda or half-moon signifies the Mother of the universe (viśvamātā) , bindu or dot means destroyer of pain (duḥkhahara). Thus made up of these letters, Krīm̐ is the Bīja for the worship of Kālikā Devi for getting relief from afflictions and pain.

𝐌𝐚𝐡𝐚̄𝐥𝐚𝐤𝐬̣𝐦𝐢̄'𝐬 𝐁𝐢̄𝐣𝐚 𝐦𝐚𝐧𝐭𝐫𝐚 𝐒́𝐫𝐢̄𝐦̐

महालक्ष्म्यार्थकः शः स्याद्धनार्थो रेफ उच्यते।

ई तुष्ट्यर्थोऽपरो नादो बिन्दुर्दुःखहरार्थकः।

लक्ष्मीदेव्या बीजमेतत्तेन देवीं प्रपूजयेत्॥

Mahālakṣmyārthakaḥ śaḥ syāddhanārtho repha ucyate|

Ī tuṣṭyartho'paro nādo bindurduḥkhaharārthakaḥ|

Lakṣmīdevyā bījametattena devīṁ prapūjayet||

The letter śa" indicates Mahālakṣmī , rephah or the letter "ra" means wealth (dhana). The vowel "ī" means atisfaction and contentment (tuṣṭi), Nāda or half-moon (nādaḥ) is Apara or That which is unrivalled (apara). Bindu means destroyer (hara) of pain (duḥkha). Thus Śrīm̐ is the Bīja for the worship of Mahālakṣmī.

𝐒𝐚𝐫𝐚𝐬𝐯𝐚𝐭𝐢̄'𝐬 𝐁𝐢̄𝐣𝐚 𝐦𝐚𝐧𝐭𝐫𝐚 𝐀𝐢𝐦̐

सरस्वत्यार्थ ऐशब्दो बिन्दुर्दुःखहरार्थकः।

सरस्वत्या बीजमेतत्तेन वाणीं प्रपूजयेत्॥

Sarasvatyārtha aiśabdo bindurduḥkhaharārthakaḥ|

Sarasvatyā bījametattena vāṇīṁ prapūjayet||

Ai stands for Sarasvatī and Bindu for Duhkhaharana. Thus Aim̐ is the Bīja for the worship of Vāṇī.

𝐊𝐫𝐬̣𝐧̣𝐚 𝐨𝐫 𝐊𝐚̄𝐦𝐚𝐝𝐞𝐯𝐚'𝐬 𝐁𝐢̄𝐣𝐚 𝐦𝐚𝐧𝐭𝐫𝐚 𝐊𝐥𝐢̄𝐦̐

कः कामदेव उद्दिष्टोऽप्यथवा कृष्ण उच्यते।

ल इन्द्र ई तुष्टिवाची सुखदुःखप्रदा च अँ।

कामबीजार्थ उक्तस्ते तव स्नेहान्महेश्वरि॥

Kaḥ kāmadeva uddiṣṭo'pyathavā kṛṣṇa ucyate|

La indra ī tuṣṭivācī sukhaduḥkhapradā ca am̐|

Kāmabījārtha uktaste tava snehānmaheśvari||

Ka stands for Kāmadeva or Krsna; La for Indra; ī for Tusti or satisfaction and contentment, and am̐ which grants (pradā) pleasure (sukha) and pain (duḥkha). This is the meaning of the Kāmabīja Klīm̐.

𝐕𝐚𝐫𝐦𝐚 𝐁𝐢̄𝐣𝐚 𝐦𝐚𝐧𝐭𝐫𝐚 𝐨𝐫 𝐒́𝐚𝐢𝐯𝐚 𝐏𝐫𝐚𝐧̣𝐚𝐯𝐚 𝐇𝐮̄𝐦̐

ह शिवः कथितो देवि ऊ भैरव इहोच्यते।

परार्थो नाद शब्दस्तु बिन्दुर्दुःखहरार्थकः।

वर्मबीजत्रयो ह्यत्र कथितस्तव यत्नत॥

Ha śivaḥ kathito devi ū bhairava ihocyate|

Parārtho nādo śabdastu bindurduḥkhaharārthakaḥ|

Varmabījatrayo hyatra kathitastava yatnataḥ||

Ha stands for Shiva; ū for Bhairava; nāda for ParA or Highest and the Bindu for Duhkhahara. These three letters make the Varma Bīja Hūm̐.

𝐁𝐡𝐮𝐯𝐚𝐧𝐞𝐬́𝐯𝐚𝐫𝐢̄'𝐬 𝐁𝐢̄𝐣𝐚 𝐦𝐚𝐧𝐭𝐫𝐚 (𝐒́𝐚̄𝐤𝐭𝐚-𝐏𝐫𝐚𝐧̣𝐚𝐯𝐚) 𝐇𝐫𝐢̄𝐦̐

हकाराः शिववाची स्याद्रेफः प्रकृतिरुच्यते।

महामायार्थ इशब्दो नादो विश्वप्रसूः स्मृतः।

दुःखहरार्थको बिन्दुर्भुवनां तेन पूजयेत्॥

Hakārāḥ śivavācī syādrephaḥ prakṛtirucyate|

Mahāmāyārtha iśabdo nādo viśvaprasūḥ smṛta|

Duḥkhaharārthako bindurbhuvanāṁ tena pūjayet||

The letter Ha is expressive of Śiva , repha or (the letter) "ra" is Prakṛti. "i" means Mahāmāyā and nāda is declared to be the Mother (prasūḥ) of the universe (viśvam). Bindu means destroyer of pain (duḥkha). One should worship Bhuvanā with the Bīja Hrīm̐.

𝐆𝐚𝐧̣𝐞𝐬́𝐚'𝐬 𝐁𝐢̄𝐣𝐚 𝐦𝐚𝐧𝐭𝐫𝐚 𝐆𝐚𝐦̐

गणेशार्थे ग उक्तस्ते बिन्दुर्दुःखहरार्थकः।

गँबीजार्थं तु कथितं तव स्नेहान्माहेश्वरि॥

Gaṇeśārthe ga uktaste bindurduḥkhaharārthakaḥ|

Gam̐bījārthaṁ tu kathitaṁ tava snehānmāheśvari||

Ga stands for Gaṇeśa; Bindu for Duhkhaharana. Thus is made the Bīja Gam̐ for the worship of Gaṇeśa.

𝐆𝐚𝐧̣𝐞𝐬́𝐚'𝐬 𝐎𝐭𝐡𝐞𝐫 𝐁𝐢̄𝐣𝐚 𝐦𝐚𝐧𝐭𝐫𝐚 𝐆𝐥𝐚𝐮𝐦̐

ग गणेशो व्यापकार्थो लकारस्तेज औ मतः।

दुःखहरार्थको बिन्दुर्गणेशं तेन पूजयेत्॥

Ga gaṇeśo vyāpakārtho lakārasteja au mataḥ|

Duḥkhaharārthako bindurgaṇeśaṁ tena pūjayet||

Ga stands for Gaṇeśa; La for one who pervades; Au for fire and light (Tejas); Bindu for Duhkhaharana. Thus the Bīja Glaum̐ is meant for the worship of Gaṇeśa.

𝐍𝐫𝐢𝐬𝐢𝐦̇𝐡𝐚'𝐬 𝐁𝐢̄𝐣𝐚 𝐦𝐚𝐧𝐭𝐫𝐚 𝐊𝐬̣𝐫𝐚𝐮𝐦̐

क्ष नृसिंहो ब्रह्म रश्च ऊर्ध्वदन्तार्थकश्च औ।

दुःखहरार्थको बिन्दुर्नृसिंहं तेन पूजयेत्॥

Kṣa nṛsimho brahma raśca ūrdhvadantārthakaśca au|

Duḥkhaharārthako bindurnṛsiṁhaṁ tena pūjayet||

Kṣa stands for Nrsimha; Ra for Brahma; Au for Urdhvadanta or teeth pointing upwards ; and Bindu for Duhkhahara. Thus the Bīja for the worship of Nrsimha is Kṣraum̐.

𝐕𝐚𝐝𝐡𝐮̄ 𝐛𝐢̄𝐣𝐚𝐦𝐚𝐧𝐭𝐫𝐚 𝐨𝐫 𝐁𝐢̄𝐣𝐚 𝐦𝐚𝐧𝐭𝐫𝐚 𝐨𝐟 𝐭𝐡𝐞 𝐒𝐮𝐩𝐫𝐞𝐦𝐞 𝐒́𝐚𝐤𝐭𝐢 𝐒𝐭𝐫𝐢̄𝐦̐

दुर्गोत्तारणवाच्यः स तारकार्थस्तकारकः।

मुक्त्यार्थो रेफ उक्तोऽत्र महामायार्थकश्च ई।

विश्वमातार्थको नादो बिन्दुर्दुःखहरार्थकः।

वधूबीजार्थ उक्तोऽत्र तव स्नेहान्महेश्वरि॥

Durgottāraṇavācyaḥ sa tārakārthastakārakaḥ|

Muktyārtho repha ukto'tra mahāmāyārthakaśca ī|

Viśvamātārthako nādo bindurduḥkhaharārthakaḥ|

Vadhūbījārtha ukto'tra tava snehānmaheśvari||

Sa stands for Durgottāṇa or deliverance (uttāraṇa) from difficulties and dangers (durga); Ta for TAraka or savior; Repha for Liberation; "ī"for Mahāmāyā; Nāda for VishvamAtrA or Mother (mātā) of the universe (viśva); and Bindu for Duhkhahara or destroyer of pain. Out of love for You O Parvati, the meaning of the Vadhū Bīja which I have described is Strīm̐.

Lord Śiva concludes saying, “Whenever there are two Bindus in a Mantra, the one stands for Duhkhaharana and the other for providing Sukha. Wherever are two Bindus in a Mantra, there the second is always used in the meaning of Pūrṇa. The Mātrās of Svāhā are famous in the meaning of Parā.

Vasat stands for Shakramātā; Girā for Haripriyā; Phat for Surā; and Vivrim for Hayagrīvā.

Yam-Bīja stands for Vāyu and Lam for Indra. In Bījas consisting of several letters each letter-Bīja denotes its respective Devatā.

Wherever the same Bīja is used twice, their meanings should be considered different. Thus knowing the meaning of the Mantra one should satisfy himself. One should use the Mantras for the purpose of Japa only after knowing both of their meanings. “

🌿🌹Namo Bhagavati Mahāmāye🌹🌿

[kailasanath]

Devī Durgā Mahiśāsuramardinī

A magnificent stone sculpture of the Goddess Durgā slaying the buffalo-demon Mahiśāsura. The Devī is depicted in her eight-armed (aṣṭabhuja) form – she holds the demon Mahiśā by his hair as he emerges from the buffalo form as she readies to strike the fatal blow.

Durgā Mahiśāsuramardinī was popularly worshipped across the Hindu kingdoms of Java throughout the Hindu – Buddhist period.

This well-preserved icon from the Prambanan complex probably belongs to the 9th or 10th Century CE.

[teanicolae]

i have had the great fortune to visit the United States for the very first time to be with my guru and saṅgha! during my trip, i had the opportunity to visit UMMA and i was mesmerised by its South Asian collection! not only are the sculptures magnificent in their precision and beauty, but their descriptive texts are poetry. attaching excerpts below.

1. Durgā on her lion mount

“In caves and temples, in metal and stone, artists captured the ferocious energy of the Goddess as revealed in her heroic victory [over Mahiṣāsura]. Here, her quiet grace signifies her boundless strength. Her round breasts and belly push forth from beneath her skin, indicating the distinctly feminine force behind her awesome capacities.”

2. Vārāhī

“She is boar-headed, and her rear hands would have held signature weapons. She has taut, youthful flesh and full breasts, signifying fecundity. Her crossed legs form a cradle, offering a tender sanctuary.”

3. Devī

4. Śiva as Bhairava

“Śiva’s sensuous pose and levity communicate liberation as a result of contemplating death in lone wanderings through vast cemeteries.”

5. Pot-bellied Ganeśa, endearing and gentle

6. Viṣṇu

“There is an intimate relationship between the God’s body and his sculptural surroundings: two arms are embedded in the plane behind him, while two project forward, echoing the curved bell of his hips. A garland unites the planes of carving in an elliptical halo, framing his body for the gaze of his devotees.”

7. Śiva

“Here, he is shown in his role as the divine ascetic or yogi, unclad but for an animal skin about his loins, with matted hair piled high on his head.”

8. Viṣṇu as Varaha

“The body of Viṣṇu’s boar-headed incarnation, Varaha, forges a diagonal bolt through this sculpture. His right foot is planted decisively at the corner of its projecting base; his left is flexed for leverage on a lotus pedestal. Against these rooting forces, his body surges upward, culminating in an acutely raised snout”.

[moonlit-archeress]

In the eloquent, richly detailed Śakrādistuti (DM 4.3–27) that follows, Indra and the other gods praise Durgā’s supremacy and transcendence before elaborating on the meaning of Mahiṣa’s slaying, which centers on the salvific nature of the Devī’s power and on her unconditional compassion. Her purpose is to preserve the moral order, and to that end she appears as “good fortune in the dwellings of the virtuous and misfortune in the abodes of the wicked” (DM 4.5), granting abundant blessings and subduing misconduct. “Ever intent on benevolence toward all” (DM 4.17), she reveals even her vast destructive power as ultimately compassionate, for in slaying those enemies of the world who “may have committed enough evil to keep them long in torment” (DM 4.18), she redeems them with the purifying touch of her weapons so that they “may attain the higher worlds” (DM 4.19). Since good and evil exist only relative to each other, no evildoer meets with eternal damnation. In the end, all are assured of the Divine Mother’s blessing

In Praise of the Goddess — The Devi Mahatmyam and it's Meaning by Devatta Kali

[shinymoonbird]

Devī Māhātmya देवी माहात्म्य

Manuscript,  16th century

An illustrated palm-leaf manuscript of the Devī Māhātmya, a devotional text in praise of Durgā. Made in Bhaktapur, Nepal.

What is the Devī Māhātmya?

The 700 verse text in Sanskrit, dated between the 6th and 8th century CE, is also known as Durgā Saptaśatī and Caṇḍī Pāṭha and is part of the Mārkaṇḍeya Purāṇa. It tells of the battle between the Goddess (Durgā or Devī) and the demons, who embody the evil forces threatening the universal order. One of the Devī Māhātmya’s main features is the fact that the Supreme Being is seen as feminine. Along with the deeds and praises of the Goddess, the text also deals with issues relating to social life, mythology and theology.

The Devī Māhātmya is recited in temples in India during the Dūrga Puja festival.

The manuscript

Written in black ink on decorated palm leaves held between two painted wooden boards, this manuscript was made for an unidentified patron who is depicted with his family in one of the miniature paintings. The illustrations of scenes from the text are very carefully executed with the use of an elaborate floral back-drop.

[chaitanyavijnanam]

🌹. శ్రీ మదగ్ని మహాపురాణము - 58 / Agni Maha Purana - 58 🌹 🌻. విష్ణ్వాది దేవతా సామాన్య పూజా నిరూపణ - 3 🌻

🌹. శ్రీ మదగ్ని మహాపురాణము - 58 / Agni Maha Purana - 58 🌹 ✍️. పుల్లెల శ్రీరామచంద్రుడు ప్రథమ సంపుటము, అధ్యాయము - 21 సేకరణ : ప్రసాద్ భరద్వాజ శ్రీ గణేశాయ నమః ఓం నమో భగవతే వాసుదేవాయ.

🌻. విష్ణ్వాది దేవతా సామాన్య పూజా నిరూపణ - 3 🌻

పిమ్మట సోమ - అంగారక - బుధ - గురు - శుక్ర - శని- రాహు - కేతువులను, తేజశ్చండుని పూజించవలెను పిమ్మట సంక్షేపముగ పూజ చెప్పబడుచున్నది. ఆసనము, మూర్తులు, మూలము, హృదయాదులు పరిచారకులు వీరి పూజ చేయవలెను విష్ణ్వాసనమును పూజించవలెను.

విష్ణువు యొక్క మూర్తిని పూజింపవలెను. ''రాం శ్రీం శ్రీం శ్రీధరాయ హరయే నమః'' అని మంత్రము. ''హ్రీం'' అనునది సర్వ మూర్తులకుమ సంబంధించిన త్రైలోక్య మోహన మంత్రము. ''క్లీం'' హృషీ హేశాయ నమః'' ''హూం విష్ణవే నమః'' అను మంత్రము లుచ్చరించవలెను. అన్ని ధీర్ఘ స్వరములచే హృదమాదికమును పూజించవలెను. ఈ పంచమ పూజ యుద్ధాదులో జయము నిచ్చును.

చక్ర - గదా - శంఖ - ముసల - ఖడ్గ - శార్జ - పాశ - అంకుశ -శ్రీవత్స - కౌస్తుభ - వనమాలలను పూజించవలెను. ''శ్రీం'' అను బీజాక్షరమతో శ్రీదేవిని, మహాలక్ష్మిని, తార్యని, గురువును, ఇంద్రాదులను పూజించవలెను.

సరస్వతీ పూజయందు ఆసనమును, మూర్తిని పూజించవలెను. ''రౌం హ్రీం దేవ్యై సరస్వత్యై నమః'' అని మంత్రము. హృదయాదులను పూజించవలెను. లక్ష్మి, మేధ, కల, తుష్టి, ప్రష్టి, గౌరి, ప్రభావతి దుర్గ, గణము, గురువు క్షేత్రపాలుడు - వీరినందరిని పూజించవలెను.

''గం గణపతయే నమః'' ''హ్రీం గౌర్యై నమః'', శ్రీం శ్రియై నమః'', ''హ్రీం త్వరితాయై నమః'', ఏం క్లీం సౌం త్రిపురాయై నమః'' అని మంత్రములు. వీటికి ప్రారంభమున ప్రణవమును చేర్చి పేరాలోని మొదటి అక్షరమునకు బిందువు చేర్చవలెను. లేదా పూజాజపములందు అన్ని మంత్రములను ''ఓం'' కారముతో ప్రాంభింపవలెను.

ఈ మంత్రములతో నువ్వులు, నెయ్యి, మొదలైనవి హోమము చేసినచో ధర్మార్థకామమోక్షములు లభించును. పూజా మంత్రములను పఠించువాడు భోగముల నన్నియు అనుభవించి స్వర్గమునకు వెళ్ళును.

అగ్ని మహాపురాణములో విష్ణ్వాది దేవతా సామాన్య పూజానిరూపణ మను ఇరువదియొకటవ అధ్యాయము సమాప్తము.

సశేషం…. 🌹 🌹 🌹 🌹 🌹

🌹 Agni Maha Purana - 58 🌹 ✍️ N. Gangadharan *📚. Prasad Bharadwaj *

Chapter 21 🌻 Method of worshipping Viṣṇu and other gods - 3 🌻

Then Soma (Moon), Aṅgāraka (Mars),Budha (Mercury), Jīva (Jupiter), Śukra (Venus) and Śani (Saturn) as well as Rāhu, Ketu, tejas, Caṇḍa are worshipped in order in brief. Then the worshipper (should worship) the seat of the image (of the deity) and the heart etc.

(The mantra) for the seat of Viṣṇu for the image of Viṣṇu. (is) “Rām, Śrīm, Śrīm, Śrīdhara, Hari.” Hrīm (is) the mystic syllable for the images (of all deities) which is capable of captivating the three worlds.

Hrīm, Hṛṣīkeśa (master of the senses) (Viṣṇu), Klīm, Viṣṇu. With long vowels (one should adore) the heart and other things. (The performance)of worship on the fifth day (pañcamī) with all these (mystic syllables) yields victory in battles.

22-23. Worship of the disc, mace, conch, pestle, sword, Śārṅga (the bow), noose, goad, Śrīvatsa (mark on the chest of the lord), with the garland of wood-flowers and with the mantra Śrīm, worship of Śrī, Mahālakṣmī, Tārkṣya (vehicle of Viṣṇu), the preceptor, Indra etc. (are made) in order. With the (mystic) syllable Aum, Hrīm, Devī (goddess) Sarasvatī (one has to worship) the seat of (Goddess) Sarasvatī.

The Hṛt etc., Lakṣmī, Medhā, Kalā, Tuṣṭi, Puṣṭikā, Gaurī, Prabhāvatī, (and) Durgā (the different female divinities), goblins, preceptor and the presiding deity of the field (are worshipped).

Then (one has to say) Gaṃ, (salutation) to the lord of the gaṇas, Hrīm to Gaurī, Śrīm to Śrī, Hrīm to Tvaritā, Aim, Klīm, Saum to Tripurā using the fourth declensional endings and ending with salutations.

All the mystic syllables are pronounced preceded by the Praṇava (syllable Om), adding bindu (the nasal sound marked by a dot), either while offering adorations or the performance of repetition.

By the offer of a homa (offer unto the fire) with sesamum and ghee and other things, (these mantras) become bestowers of dharma, kāma, artha and mokṣa (four principal objects of human life). Whoever reads these syllables of adoration reaches heaven after enjoying pleasures.

Continues…. 🌹 🌹 🌹 🌹 🌹

[vedic-tales]

👣 *Vaishnava Slokāvali*👣 - Sloka for the Day- ārādhanānāṁ sarveṣāṁ viṣṇor ārādhanaṁ param tasmāt parataraṁ devi tadīyānāṁ samarcanam Lord Śiva told the goddess Durgā, "My dear Devī, although the Vedas mention worship of demigods, the worship of Lord Viṣṇu is topmost and is ultimately recommended. However, above the worship of Lord Viṣṇu is the rendering of service to Vaiṣṇavas, who are related to Lord Viṣṇu." - Padma Purāṇa please Chant: "Hare Krishna Hare Krishna, Krishna Krishna Hare Hare, Hare Rama Hare Rama, Rama Rama Hare Hare" 16 mala everyday. (Speak n chant n focus on the words) And I guarantee you difference within 30 days & Within 6 months your life will change entirely. It's my Guarantee #krishna #ram #harekrishna #Radhakrishna #radha #radhe #radheradhe #prabhupada #iskcon #srilaprabhupada #iskcontemple #radhakrishn #vrindavan #mathura #barsana #kanha #lordkrishna #chanting #haribol #vishnu #RadhaRani #Krsna #Jagannath #VedicTales #bhagavadgita #jaishriram #hanuman #ramayana #rama #shriram https://www.instagram.com/p/CI9uFL1gr3T/?igshid=adjstnwf2lkq

[newzzhub]

Excerpt from Nine Nights of the Goddess: The Navaratri Festival in South Asia edited by Caleb Simmons, Moumita Sen and Hillary Rodrigues - books excerpts

Excerpt from Nine Nights of the Goddess: The Navaratri Festival in South Asia edited by Caleb Simmons, Moumita Sen and Hillary Rodrigues – books excerpts

[ad_1]

359pp, Rs 799

The Durgā Pūjā is a posh collection of devotional rites to worship the Great Goddess, who is usually known as Devī, Mā, or Durgā. The ceremony usually takes place throughout the śāradiya Navarātra (or Navarātri), which happens throughout the first 9 days of the waxing fortnight (śukla pakṣa) of the autumn month of Āśvina…

The Durgā Pūjā usually begins with the bodhana(awa…

[theharekrishnarevolution]

WHAT IS MAYAVADA PHILOSOPHY?

WHAT IS MAYAVADA PHILOSOPHY?

Answer by His Divine Grace A. C. Bhaktivedanta Swami Prabhupada Māyāvāda philosophy supports the impersonalist view that Nārāyaṇa, the Supreme Personality of Godhead, has no form. One can imagine impersonal Brahman in any form—as Viṣṇu, Lord Śiva, Vivasvān, Gaṇeśa or Devī Durgā. According to the Māyāvāda philosophy, when one becomes a sannyāsī  he is to be considered a moving Nārāyaṇa. Māyāvāda…

[mindfullofyoga]

Happy Navaratri: Celebration of Devi, Cosmic Energy Cosmic energy is personified here as Devī or Durgā, Mother of the universe. The last day of Navarātri, Wednesday, April 5, is known as Rāma Navamī, Lord Rama's birthday.

[prabhupadanugas]

In Bengal there is great pompous Durgā-pūjā. That is nature worship. I humbly request to study what Srila Prabhupada says about Durga Puja: https://vaniquotes.org/wiki/Durga-puja Lecture on CC Adi-lila 7.7 -- Mayapur, March 9, 1974:  So nature is dependent, although nature has got this power, very extensive power, sṛṣṭi-sthiti-pralaya, to create, to maintain and to annihilate. Such power nature has got, and therefore she is called Durgā, Durgādevī. In Bengal there is great pompous Durgā-pūjā. That is nature worship. So... But nature is yasya ajñāya; she is working under the order of Kṛṣṇa. We Vaiṣṇava, it is not that we do not care for Durgā-devī. Somebody, they say like that. No. We offer her all respect because she is the agent of Kṛṣṇa, but we do not accept foolishly that Durgā is all in all. No. That we do not accept. Durgā is the agent, working agent of Kṛṣṇa. Yasyajñaya. Sṛṣṭi-sthiti-pralaya-sādhana-śaktir ekā chāyeva yasya bhuvanāni vibharti durgā, icchānurūpam api yasya ca ceṣṭate sā (Bs. 5.44). Sā ceṣṭate yasya icchānurūpam. And Kṛṣṇa also confirms this: mayādhyakṣeṇa prakṛtiḥ sūyate sa-carācaram (BG 9.10). Therefore Kṛṣṇa is the supreme īśvara, controller. She is conducting the activities of the material nature. But those who are mūḍhas, they are captivated by the wonderful action of material nature. That is called materialist. Tribhir guṇamayair bhāvaiḥ mohitaḥ. That is stated in the Bhagavad-gītā. They are bewildered. Nature's business is to keep you fool always. And if you can surpass the bewilderment of material nature, if you agree to be controlled by the supreme controller, then your life is successful. Even there is worship of any other demigod, just like Durgā-pūjā, so even in that paraphernalia of gorgeous worshiping arrangement, when the worship will begin, the first worship is offered to Viṣṇu, Yajñeśvara. https://youtube.com/c/HearSrilaPrabhupada https://www.bhagavad-gita.us/famous-reflections-on-the-bhagavad-gita/ https://sites.google.com/view/sanatan-dharma https://m.facebook.com/HDG.A.C.Bhaktivedanta.Svami.Srila.Prabhupada.Uvaca/ #bhagavatam #srimadbhagavatam #vishnu #vishnupuran #harekrishna #harekrsna #harekrishna https://www.instagram.com/p/CjN5oPsMf2E/?igshid=NGJjMDIxMWI=

[kailasanath]

Devī Siddha Lakṣmī

A fierce Tāñtrika aspect of Devī Durgā the Mother Goddess and consort of Śiva Mahādeva, Siddha Lakṣmī was patron deity of the Malla kings of Kāṭhmaṅḍū she is depicted in a fierce five-headed form wielding many weapons and supported on the hands of Bhairava, a fierce form of Śiva.

Gilt copper alloy

17th Century CE, Nepāla

Rubin Museum of Art

[kailasanath]

Devī Durgā Mahiśāsuramardinī

Durgā the formidable one as slayer of the rākṣasa Mahiśāsura – the buffalo demon; whence the appellation Mahiśāsuramardinī.

Himalayan Art was heavily influenced by art produced in the Indian heartland. The influence of Pāla Artwork from eastern India is especially evident. Yet, both Nepāla and Tibet developed their own stylistic conventions and interpretations. Much of Pāla Art was executed in stone, but the art of Nepāla seems to reach its acme in some stunning metalwork.

This magnificent gilded copper image of Devī Durgā Mahiśāsuramardinī is a superb example of this evolution. Placing the main icon on a pedestal marked with lotus petals is a classic Pāla convention.  The goddess is portrayed with a slim waist and a calm visage with the eyes almost half closed in meditation – characteristic of the iconography of Nepāla.

The rākṣasa Mahiśāsura, obtained a boon that he could only be killed by a woman – foolishly assuming that a weak female could never kill him thus making him immortal! Thus intoxicated with power, Mahiśāsura embarked on world conquest wreaking violence and disruption, threatening to throw the cosmic order out of balance. Then, borne forth from the combined energy – Śaktī – of all the great Gods, having gathered their powerful weapon, mounting a giagantic and fierce lion as a vāhana, the Devī set out to destroy Mahiśāsura.

The figure beautifully conveys the dynamism of the scene, depicting the Devī in her moment of triumph over evil. Having cut off the head of the buffalo form assumed by the rākṣasa, the Devī has seized Mahiśāsura by his hair and dragging him out of the buffalo body, fatally stabbed him with her triśūla – trident before he can even draw his sword.

Her aṣṭadaśabhuja – eighteen-armed – form, each arm wielding a celestial weapon, is depicted with the arms fanned out on either side, creating a whirling sense of motion and the immense power Devī wields. This is in contrast with the Goddesses’ exquisitely beautiful form and calm and dispassionate expression.

Gilded copper alloy, 13th Century CE

Rubin Museum of Art

[kailasanath]

Daśabhuja Devī Durgā Mahiśāsuramardini

The Goddess Durgā, slayer of the buffalo demon.

A magnificent and highly ornate sculpture of the mother goddess in her – daśabhuja – ten-armed form, from the Hoysala Era.  The goddess is depicted in an unusually wrathful aspect – stabbing the demon Mahiśa with her trident while smiting one of his demon soldiers with her sword. Unusually for this form, her vahana, siṁha, the lion is not depicted. Also unusual in the monstrous buffalo is not shown decapitated as is the convention.

In contrast to this savage butchery the goddess’ face is calm and unperturbed.

Soapstone, circa 12th Century CE, Mysore region

Victoria and Albert Museum

[kailasanath]

Devī Durgā Mahiśāsuramardinī

The Goddess Durgā slaying the buffalo-demon Mahiśāsura. The iconography is highly dynamic, the imagery conveying a sense of motion. The great goddess has the demon’s buffalo body pinned down underfoot and its head is cut, but Mahiśāsura emerges in human form to continue fighting.

Niche outside the central maṅḍapa, Ambikāmātā Temple, Jagat Rājasthān

969 CE, Gurjara Pratihāra Era

[kailasanath]

Devī Durgā with Bāl-Kṛṣṇa

Unusual depiction of the Mother Goddess Devī Durgā cradling the baby Śrī Kṛṣṇa.

Hand Coloured Lithograph

Jubilee Art Studio, Calcutta, Circa 1880