#first form of devi durga

[whencyclopedia]

Devi

Devi, also known as Mahadevi or 'Great Goddess', is an all-embracing Mother Goddess first worshipped in India in Prehistoric times. In the Vedic period, she was assimilated into the Hindu pantheon and so came to represent the female energy or Sakti (Power) of her husband Shiva. Both Devi (meaning goddess in Sanskrit) and Sakti may also be used more generically to reference any female Hindu goddess, especially Parvati, Lakshmi, and Sarasvati. Devi is most often manifested as the fearsome female warriors Durga and Kali, both of whom famously killed a number of terrible demons in Hindu mythology. Devi is also the mother of Nandi, Shiva's doorkeeper and bull; Skanda, the six-headed god; and Ganesha, the elephant-headed god.

Devi's character has two opposing sides represented by various separate female deities: as Uma, the benevolent, and as Durga, the terrible. It is as the latter, more fierce personification that she is most frequently worshipped. Her dark side can also take the form of the fearsome black goddess Kali. The deity has a myriad of many other names and may, for example, also be referred to as Vindhyavasini, Kanya (the Virgin), Mahamaya (the Illusion), and Bhutanayaki, the queen of the Bhuta, those ghosts and goblins who haunt graveyards, make the dead live again, and trick the living so that they might feast on their flesh.

The Two Sides of Devi: Uma & Durga

Devi's more benevolent side is worshipped as Uma, and this facet of her character is represented as both beauty and light. This softer side is also referred to as Jaganmata (Mother of the World), Gauri (Yellow and Brilliant or Golden), Bhavani, Haimvati, and Parvati (the Mountaineer).

Devi's dark side is represented as the terrible Durga (the Inaccessible) who has ten arms, an impressive armoury of weapons, and who rides a magnificent lion or tiger. This side is further manifested in the forms of Kali, Kalika or Syama (the Black Goddess); Candi or Candika (the Fierce), in which guise she killed many a demon or asura; and Bhairavi (the Terrible). Worshippers of this face of Devi seek her favours and dark powers and so make blood sacrifices and perform wild rituals in the ceremonies of Durga-puja, Carak-puja, and the Tantrikas which call on Durga's sexual and magical powers.

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[ramayantika]

The dance of the devi

Flowers for the goddess 

in my alta-dyed hands,

I offer them at the lotus feet

of the Mother of the Universe.

***

Gentle blues of the skies move out 

And Surya slowly rises from slumber

in its captivating regal glory,

its golden rays adorning

the Devi’s forehead.

***

I behold the golden complexioned goddess

set in stone with a benevolent smile.

My anklets lay at her feet

with turmeric and vermillion coating

some of those melodious bells.

***

A sweet summer breeze blows by.

A bell jingles and a lotus from her garland

falls to the brown earth at my dust laden feet.

A jingle of bangles and anklets,

A low hum of a mysterious yet beautiful tune,

And a voice sings,

A voice that I can recognize anywhere –

The Devi has risen!

***

Draped in silks and gold,

fragrant garlands around her limbs,

She steps outside to my courtyard,

A very humble stage for the one

who is the abode of this entire Universe.

The sun makes her ornaments gleam, 

yet her moon-like face is the brightest.

My anklets are around her feet

But what truly do I own 

in this illusionary world?

What I receive –

Beauty, intelligence, riches and power,

All comes from her.

***

And by the bright yellows of dawn

I see her dance in my courtyard.

Wherever her feet travel, little blooms arise

and where her hands softly touch,

Golden dust flies.

She twirls round and round

And I see the might cosmic Gods

Swirling around her magnificence.

Her veil, the illusionary veil,

which she playfully casts 

around this world

escapes the clutches 

of her beautiful braided hair.

And now I see. Clearly.

***

She leaps into the air,

Resembling a warrior

and a warrior she is,

for she is the Devi,

The ferocious Bhairavi,

The invincible Durga,

the slayer of Mahishasura.

She is the dark one, Kali,

The slayer of Raktabija.

***

Her dance of grace and elegance

transforms to a dance of death and destruction.

She is Shivatrinayani and Maheshwari.

She leaps and twirls with her trident

and her anklets and the temple bells ring 

harmoniously,

Just like the eternal forces of nature.

Devi is Nitya, the eternal one.

***

I, a mere mortal woman, a devotee

akin to the turmeric and vermillion on her feet

watch the goddess dance in all her glory.

I see all the worlds and this vast universe 

dance with her,

And maybe it is really true:

That everything in the world dances.

Laasya performs in every object,

in the largest to the very smallest.

***

And then I see the radiant one

stretch her palm to me.

I see my world in her hand

And clasp her hand tightly.

Which daughter lets go of her mother’s hand?

So we dance.

***

Stars and galaxies, planets and cosmic bodies,

Fire and snow, gods, demons and mortals,

I see her in everything

And this is the Dance of Realisation.

The music, the drums and the bells slowly fade 

But the dancing soul now awakened

dances in ecstasy.

I see, I hear, I dance, I understand everything now.

***

The Devi twirls, spins, sings, smiles and laughs

And finally heads to her abode, to Shiva, her life.

My life, a thread in her hands,

I now submit to her eternal play 

of this Life’s Dance.

***

I haven't written poetry in a while now. Somehow I couldn't capture this in a story format, it felt bland and very large and long. I didn't like it. The poem format perhaps gives me a little peace to form the vision I once had a few years ago while meditating on the goddess. I will obviously edit this later for the book, but for now here's the first draft poem for the book

Tagging: @swayamev @indiansapphic @jukti-torko-golpo (big thank you to you for the devi content!) @navaratna @rhysaka @krishna-priyatama @krsnaradhika @inexhaustible-sources-of-magic @alhad-si-simran @ramcharantitties @kaal-naagin

[talonabraxas]

Shiva and Shakti - The Divine Union of Consciousness and Energy

In the Tantric cosmology, the whole universe is perceived as being created, penetrated and sustained by two fundamental forces, which are permanently in a perfect, indestructible union. These forces or universal aspects are called Shiva and Shakti.

The tradition has associated to these principles a form, respectively that of a masculine deity and that of a feminine one. Accordingly, Lord Shiva represents the constitutive elements of the universe, while Shakti is the dynamic potency, which makes these elements come to life and act.

From a metaphysical point of view, the divine couple Shiva-Shakti corresponds to two essential aspects of the One: the masculine principle, which represents the abiding aspect of God, and the feminine principle, which represents Its Energy, the Force which acts in the manifested world and life itself.

Shakti here stands for the immanent aspect of the Divine, that is the act of active participation in the act of creation. This Tantric view of the Feminine in creation contributed to the orientation of the human being towards the active principles of the universe, rather than towards those of pure transcendence.

Therefore, Shiva defines the traits specific to pure transcendence and is normally associated, from this point of view, to a manifestation of Shakti who is somewhat stronger (such as Kali and Durga), personification of Her own untamed and limitless manifestation.

Owing to the fact that in a way, Shakti is more accessible to the human understanding (because this regards aspects of life that are closely related to the human condition inside the creation), the cult of the Goddess (DEVI) has spread more forcibly.

Shaktism on Shiva and Shakti

Shaktism’s focus on the Divine Feminine does not imply a rejection of Masculine or Neuter divinity. However, both are deemed to be inactive in the absence of Shakti. As set out in the first line of Adi Shankara’s renowned Shakta hymn, Saundaryalahari (c. 800 CE): “If Shiva is united with Shakti, he is able to create. If he is not, he is incapable even of stirring.” This is the fundamental tenet of Shaktism, as emphasized in the widely known image of the goddess Kali striding atop the seemingly lifeless body of Shiva.

Broadly speaking, Shakti is considered to be the cosmos itself – she is the embodiment of energy and dynamism, and the motivating force behind all action and existence in the material universe. Shiva is her transcendent masculine aspect, providing the divine ground of all being. “There is no Shiva without Shakti, or Shakti without Shiva. The two […] in themselves are One”.

The 5 Powers of Shakti

There are many aspects, forms and names of shakti who is the mother of all. In creation she distinguishes herself, or through the will of Siva, into three basic aspects:

para-shakti (transcendental energy),

apara-shakti (immanent energy) and

para-apara-shakti ( an intermediary energy).

In the texts of Shaivism we also find a reference to five supernatural powers of shakti, awakened in himself by Siva. Their permutation, combination, concealment and manifestation is believed to be responsible for the multiplicity, plurality, diversity and duality of the beings and objects and their forms and shapes in the manifested worlds. The five aspects of shakti manifested by Siva are:

chit-shakti or the power of consciousness,

anada-shakti or the power of bliss consciousness,

iccha-shakti, the power of desire or will,

kriya-shakti the power of action and

jnana-shakti or the power of knowledge

Siva unleashes these five powers in the beginning of creation and withdraws them back into himself at the time of dissolution. In between he employs these energies for the purposes of creation (srishti), preservation (sthithi), samhara (destruction or modification), concealment (tirobhava) and revelation (anugraha).

Shiva Shakti Story

The legend of the marriage of Shiva and Shakti is one the most important legends related to the festival of Mahashivaratri. The story tells us how Lord Shiva got married for the second time to Shakti, his divine consort. According to legend of Shiva and Shakti, the day Lord Shiva got married to Parvati is celebrated as Shivaratri – the Night of Lord Shiva.

The Legend goes that once Lord Shiva and his wife Sati or Shakti were returning from sage Agastya’s ashram after listening to Ram Katha or story of Ram. On their way through a forest, Shiva saw Lord Rama searching for his wife Sita who had been kidnapped by Ravana, the King of Lanka. Lord Shiva bowed his head in reverence to Lord Rama. Sati was surprised by Lord Shiva’s behavior and inquired why he was paying obeisance to a mere mortal. Shiva informed Sati that Rama was an incarnation of Lord Vishnu. Sati, however, was not satisfied with the reply and Lord asked her to go and verify the truth for herself.

Using her power to change forms, Sati took the form of Sita appeared before Rama. Lord Rama immediately recognized the true identity of the Goddess and asked, “Devi, why are you alone, where′s Shiva?” At this, Sati realized the truth about Lord Ram. But, Sita was like a mother to Lord Shiva and since Sati took the form of Sita her status had changed. From that time, Shiva detached himself from her as a wife. Sati was sad with the change of attitude of Lord Shiva but she stayed on at Mount Kailash, the abode of Lord Shiva.

Later, Sati’s father Daksha organised a yagna, but did not invite Sati or Shiva as he had an altercation with Shiva in the court of Brahma. But, Sati who wanted to attend the Yagna, went there even though Lord Shiva did not appreciate the idea. To her great anguish, Daksha ignored her presence and did not even offer Prasad for Shiva. Sati felt humiliated and was struck with profound grief. She jumped into the yagna fire and immolated herself.

Lord Shiva became extremely furious when he heard the news of Sati’s immolation. Carrying the body of Sati, Shiva began to perform Rudra Tandava or the dance of destruction and wiped out the kingdom of Daksha. Everybody was terrified as Shiva’s Tandava had the power to destroy the entire universe. In order to calm Lord Shiva, Vishnu severed Sati′s body into 12 pieces and threw them on earth. It is said that wherever the pieces of Shakti’s body fell, there emerged a Shakti Peetha, including the Kamaroopa Kamakhya in Assam and the Vindhyavasini in UP.

Lord Shiva who was now alone, undertook rigorous penance and retired to the Himalayas. Shakti took a re-birth as Parvati in the family of God Himalaya. She performed penance to break Shiva’s meditation and win his attention. It is said that Goddess Parvati found it hard to break Shiva’s meditation but through her devotion and the persuasion by sages and devas, Parvati, also known as Uma, was finally able to lure Shiva into marriage and away from asceticism. Their marriage was solemnized a day before Amavasya in the month of Phalgun. This day of union of God Shiva and Shakti is celebrated as Mahashivratri every year.

There is no Shiva without Shakti and yoga is a realization of the unity of all things. That is not to say that everything in tantrik texts is figurative; many describe practices which are said to bring about this realization.

Shiva Shakti Mantras

Shiva Shakti Panchakshari Mantra

“Om Hrim Namah Shivaya”

Important Shiva Shakti Mantra

(i) “Om Shiva Om Shakti”

(ii) “Namah Shiva Namah Shakti”

(iii) “Om Sarva Mangal Mangaley Shivay Sarvarth Sadhike

Sharanye Trambhake Gauri Narayani Namostutey”

Therefore, Shakti is the dynamic power of Siva through which he manifests the worlds and their myriad objects and beings. He brings forth the worlds and their beings through his will and his dynamic energy, Shakti.

Art – Shiva & Shakti by Talon Abraxas

[santoschristos]

Maa Durga

Durga, in Hinduism, a principal form of the Goddess, also known as Devi and Shakti.

Happy Chaitra Navratri 2024!

Happy Chaitra Navratri 2024: The nine-day festival of Chaitra Navratri falls on April 9 this year. It will end with Ram Navami celebrations on April 17. Chaitra Navratri begins on the first day of the Hindu Luni-Solar calendar. Devotees worship Maa Durga and her nine incarnations - Maa Shailputri, Maa Brahmacharini, Maa Chandraghanta, Maa Kushmanda, Skanda Mata, Maa Katyayani, Maa Kaalratri, Maa Mahagauri and Maa Siddhidatri - on this day. They also worship Lord Ram on Ram Navami and celebrate his birth. --Krishna Priya Pallavi, Hindustani Times

[clearlyivy]

Day nine of Navratri

9 days, 9 Godesses

Day nine : Siddhidatri | सिद्धिदात्री

Purest form of energy

Siddhadhatri is pure energy-the first and purest form of energy. Modern science has only recently understood the concept of pure energy! She was formless but Shiva supplicated her and she became Adi Shakti. In her Parvati attained her supreme form as a complete manifestation of Mahashakti or the primeval power.

Siddhi means supernatural power and dhatri means the giver. So she is the sole source of all power-both material and spiritual. She is capable of giving us all the eight siddhis-ashta siddhis or supernormal powers.

Mantra for the day:

ॐ देवी सिद्धिदात्र्यै नमः ॥ "Aum Devi Siddhidhatrayai Namaha!"

Jai Maa Durga 🔱

[dweemeister]

Devi (1960, India)

One year following his stunning Apur Sansar (The World of Apu) (1959), director Satyajit Ray reunited actors Sharmila Tagore and Soumitra Chatterjee. By this point, Ray was no longer the studious yet inexperienced hand that shepherded the Apu trilogy to its conclusion. But his lead actors were still only starring in their second-ever film. Bengali cinema (Tollywood, based in West Bengal) had a proud history before Ray’s Apu trilogy (1955-1959), but now had caught the attention of audiences beyond India – disproportionately so, as Bollywood (Hindi cinema, based in Mumbai) has always been the largest part of the nation’s film industry. Unlike some of the most popular Tollywood and Bollywood films of the time (and now), Ray never showed interest in romantic-musical escapism and instead dared to make films challenging India’s caste system, sexism, and religious fanaticism.

In his first work addressing religious fanaticism (and arguably his first truly political film) comes Devi, also known by its English-language title as The Goddess. Unlike 1965’s Mahapurush (The Holy Man), which also covers the same topic, Devi is thoroughly a drama, with no hint of comedy or satire. The film’s somber tone did not sit well with general Indian audiences used to lighter fare, and its willingness to criticize the extremes of Hindu religiosity saw the film’s harshest critics deem it (and Ray) as anti-Hindu. If released today, Devi almost certainly would receive a similar, if not more intense, backlash from groups and individuals in India criticizing it out of bad faith.

Somewhere in a rural town in nineteenth century Bengal, younger brother Umaprasad (Soumitra Chatterjee) is ready to depart for Kolkata for university and to study English. Umaprasad’s family is wealthy, with numerous servants tending to their multistory mansion. All is well in their richly-furnished, well-kempt home as he leaves his teenage* wife Dayamayee‡ (Sharmila Tagore) to take of his aging father/her father-in-law Kalikinkar Choudhuri (Chhabi Biswas). One night, Kalinikar awakens from a marvelous dream. An adherent of the goddess Kali, his visions lead him to believe that his daughter-in-law is Kali’s physical incarnation. Upon awakening, he rushes to Dayamayee and falls to his feet in worship. Dayamayee’s life as Umaprasad’s wife has ended. Against her will, she becomes an object of religious devotion as word spreads of Kalikinkar’s dream and a supposed miracle shortly thereafter.

Devi also stars Purnendu Mukherjee as Umaprasad’s brother, Taraprasad; Karuna Banerjee as Harasundari, Taraprasad’s wife; and Arpan Chowdhury as Taraprasad and Harasundari’s son (Dayamayee’s nephew).

Where a year prior Apur Sansar was Soumitra Chatterjee’s movie, Devi is likewise Sharmila Tagore’s. Tagore, sixteen years old upon the film’s release year, again finds herself in a role with little dialogue, even less than her supporting role in Apur Sansar. The moment Tagore’s Dayamayee becomes a devotional figure, her dialogue and ability to exert her own agency disappears. Until Umaprasad returns home shortly after the halfway mark, so much of Tagore’s performance before and after seems spliced from a great silent film. Perched on a small block, a pedestal if you will, she almost never looks at the camera or those intoning “Mā” (“Mother” in Bengali; Kali is the avatar of Durga, and both are forms of the Mother Goddess, Devi) as men and women pray and prostrate themselves in front of her. At times, Dayamayee’s mental and physical exhaustion is clear, even if she is looking sideways or into the ground, as she sits in place for several hours at a time. Is there any one there to make sure that this “goddess” is properly being taken care of? It seems doubtful.

It is unclear how long it takes for word to reach Umaprasad in order for him to return home to see the daily scenes at his family’s residence. Even for less than a day, this whole situation is intolerable to Dayamayee. Her resignation is evident in her slightly hunched back, unable to find a psychological or physical escape. The scene where Umaprasad returns home to see Dayamayee venerated as a goddess contains striking facial acting from both Tagore and Chatterjee. In Chatterjee, we see Umaprasad comprehending the situation in real time, as his horror renders him almost speechless. In Tagore, Dayamayee looks up, and in a figment of hope, there is utter heartbreak. These long days of adoration and miracle-seeking pilgrims have even shaken her sense of reality, as almost all vestiges of her past life wither away. In a rare private moment with Umaprasad, she questions her very being: “But what if I am a goddess?”

Satyajit Ray, who also wrote this screenplay based on the 1899 Bengali short story of the same name by Prabhat Kumar Mukhopadhyay, was part of the Brahmo Samaj movement, which advocates for a monotheistic interpretation of Hinduism. Brahmos, crucially, reject the caste system and avatars/incarnations of gods and goddesses. Ray’s adherence to the reforms of Brahmo Samaj color his filmography more obviously as his career progresses (I have not seen too much of Ray’s work, but I have not yet encountered a film of his that inelegantly portrayed his beliefs). Ray’s reformist and Western-leaning stances are embodied by Chatterjee’s Umaprasad, who we see clash with his more traditional father over social mores (the latter is distrustful of his son’s education, and derides his son for supposedly espousing Christian beliefs). Except for the scenes of a religious procession immediately after the opening credits, at no point does Ray imbue any of the religious images with any sense of glory, wonder, or veneration. Cinematographer Subrata Mitra (the Apu trilogy, 1966’s Nayak) dispenses of any ethereal lighting until the closing seconds, and his medium to close shots capture the uncomfortable anguish on both sides – Dayamayee’s alternating ambivalence and despair, the worshippers’ desire for comfort, deliverance, and the miraculous.

Like in several of Ray’s films including Mahapurush and Ganashatru (An Enemy of the People) (1989), Devi rejects dogmatism, miracles, superstitions, and anything that cannot have a rational or scientific explanation. Simultaneously, Ray realizes that most Indians, in the face of events profound and improbable, find science and rationality cold, confusing, and unsatisfying. Faith endows meaning to such moments. Faith ascribes purpose to happiness and suffering – something rationalism cannot provide. The unsuitability of both to provide a solution in Devi is the film’s secondary tragedy, as belief systems confront a scenario where a middle ground is impossible.

Devi’s principal tragedy is the religious objectification of Dayamayee. Of all of Ray’s female protagonists from Pather Panchali (1955) to this point, none of them are as constrained as Tagore’s Dayamayee. She may not live in poverty like Apu’s sister and mother in the Apu trilogy, nor is she the wife of an indulgent husband (1958’s Jalsāghar or The Music Room). And though she is not bound by shackles or subject to physical or sexual abuse, Dayamayee is nevertheless a victim of the unpredictable whims of men (and it is almost entirely men who worship her). Her portrayal is nuanced: she does not succumb entirely to self-pity, nor does she possess the strength to tell her father-in-law and his fellow worshippers to halt their devotional displays. She is aware of the communal damage she will cause if she so much renounces her unwanted divinity. At the same time, she cannot help but yearn for freedom, for others to speak to her like a human again – complete with aspirations, desires, and fears that no one can associate with a god.

Too often in cinema – wherever and whenever it hails from, including midcentury India – women play simplistic roles: the lover, the damsel in distress, the spurned wife. Where numerous filmmakers and actresses in the Hollywood Studio System were actively working to dismantle this element of patriarchy, I do not detect a similar level of rebellion in mainstream Indian cinema in the 1950s and 1960s (and, to some extent, this remains true). Ray did not stand alone in attempting to endow female characters with complexity (within and outside Bengali cinema), but his contributions to this development within the context of midcentury Indian cinema are crucial. Many of his films attempt a cinematic dialogue that critiqued patriarchal abuses with subtlety and bluntness – often to the chagrin of the public and government officials. The public outrage following Devi’s initial domestic release saw the film banned from seeking international distribution. Prime Minister Jawaharlal Nehru intervened and reversed that decision.

Nevertheless, consider some of the works in Ray’s first decade as a filmmaker: The Apu trilogy, Devi, Teen Kanya (1961), The Big City (1963), and Charulata (1964). Together, all seven of those films reveal a filmmaker willing to take mainstream Indian filmmaking to task for regressive and simplistic portrayals of women, whether in lead or supporting roles. Devi might be the most shattering of that collection, caught between human weakness and the unknowability of the divine.

My rating: 8.5/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog. Half-points are always rounded down.

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

* There were no child marriage laws in India in the nineteenth century, when this film is set. Child marriage remains prevalent in India, despite loophole-filled laws and a lack of enforcement.

‡ Multiple spellings of the protagonist's name are out there from reputable sources. I am using either the most or second-most common spelling here.

[thewitchfarhan]

The Kaênaasthan Pantheon Series

Part 1: The PrótaDevi

Vada (Greetings)! Welcome to my Kaênaasthan Pantheon Series. In this series I will be outlining the Devis (Gods) in the Kaênaasthan Pantheon; their domains, affiliations, and what is sacred to them.

Today we will be starting with the 3 PrótaDevi - The First Generation of Devis.

Gaia-Shakti

Domain & Title: Mother Earth & Devi of Nature Body Part: Feet Element: Earth Planet: Earth Sacred Colors: Blue, Green, Brown, Gold Sacred Flowers: Chrysanthemums Sacred Animals: Cows, Lions Food: Garden Foods Syncretisms: Demeter, Gaia, Shakti Symbol: ⊕

Gaia-Shakti was the first Devi in all of creation, she is the mother of all Devis and because of this holds the title of MahaDevi. Gaia-Shakti is the personification of the planet Earth and the natural world.

She had two consorts, Ouranos and Pontoris-Varuna, and brought into existence a total of 6 Devis with them.

With Ouranos, Shakti brought into existence Cybele-Durga, Phoibê-Sarasvati, Kronos-Brahma, Koios, and Kriôs; and with Pontoris-Varuna she conceived and gave birth to Amiatê-Varuni.

Pontoris-Varuna

Planet: Neptune Element: Water Domain & Title: Devi of the Inhospitable Sea Sacred Colors: Blue, Grey, Black Syncretisms: Dôris, Pontus, Poseidon, Varuna Symbol: ꩜

Pontoris-Varuna was the second Devi in existence. He was the personification of the oceans at the dawn of creation, before there were organisms living in the sea.

In the Kaênaasthan Creation Myth (Shurūchí Samay aur Génnisi Devi) Pontoris-Varuna worked alongside Ouranos in an attempt to prevent new life forming on Earth. He then saw the error in his ways and moved to join the Devis fight against Ouranos.

His consort was Gaia-Shakti - with her he had one daughter, Amiatê-Varuni, whom he gave up his life and domain to protect.

Pontoris-Varuna is not considered a living deity and is not actively worshipped in Kaênaastha.

Ouranos

Planet: Saturn Element: Air Domain & Title: Devi of the Inhospitable Sky Sacred Colors: White, Grey, Black Syncretisms: Brahma, Ouranos Symbol: ☁︎

Ouranos was the third Devi in existence. He was the personification of the sky at the dawn of creation, before there were organisms living on land.

In the Kaênaasthan Creation Myth - Ouranos, with the help of Pontoris-Varuna, worked to prevent new life forming on Earth. Even when Pontoris-Varuna abandoned this effort, Ouranos continued to rule the skies as a tyrant until he was defeated by the progeny of Cybele-Durga and Kronos-Brahma - Jupiter-Brihaspati.

His consort was Gaia-Shakti - together the two brought into existence five Devis: Cybele-Durga, Phoibê-Sarasvati, Kronos-Brahma, Koios, and Kriôs.

Ouranos is also the father of the Devi Aphroditê-Kamakshi - who was created from Ouranos' severed penis after his death.

Ouranos is not considered a living deity and is not actively worshipped in Kaênaastha.

Want to learn more about Kaênaastha? Check out the hashtag or reach out via the askbox - anonymous asks welcome!

As It Was - As It Is - As It Shall Be

~||~

[byneddiedingo]

The Apu Trilogy

Subir Banerjee in Pather Panchali (Satyajit Ray, 1955)

Cast: Kanu Bannerjee, Karuna Bannerjee, Chunibala Devi, Uma Das Gupta, Subir Banerjee, Runki Banerjee, Reba Devi, Aparna Devi, Tulsi Chakraborty. Screenplay: Satyajit Ray, based on a novel by Bibhutibhushan Bandyopadhyay. Cinematography: Subrata Mitra. Production design: Bansi Chandragupta. Film editing: Dulal Dutta. Music: Ravi Shankar.

When I first saw Pather Panchali I was in my early 20s and unprepared for anything so foreign to my experience either in life or in movies. And as is usual at that age, my response was to mock. So half a century passed, and when I saw it again both the world and I had changed. I now regard it as a transformative experience -- even for one whom the years have transformed. What it shows us is both alien and familiar, and I wonder how I could have missed its resonance with my own childhood: the significance of family, the problems consequent on adherence to a social code, the universal effect of wonder and fear of the unknown, the necessity of art, and so on. Central to it all is Ray's vision of the subject matter and the essential participation of Ravi Shankar's music and Subrata Mitra's cinematography. And of course the extraordinary performances: Kanu Bannerjee as the feckless, deluded father, clinging to a role no longer relevant in his world; Karuna Bannerjee as the long-suffering mother; Uma Das Gupta as Durga, the fated, slightly rebellious daughter; the fascinating Chunibala Devi as the aged "Auntie"; and 8-year-old Subir Banerjee as the wide-eyed Apu. It's still not an immediately accessible film, even for sophisticated Western viewers, but it will always be an essential one, not only as a landmark in the history of movie-making but also as an eye-opening human document of the sort that these fractious times need more than ever.

Smaran Ghosal in Aparajito (Satyajit Ray, 1956)

Cast: Pinaki Sengupta, Smaran Ghosal, Kanu Bannerjee, Karuna Bannerjee, Ramani Sengupta, Charuprakash Ghosh, Subodh Ganguli. Screenplay: Satayajit Ray, Kanaili Basu, based on a novel by Bibhutibhushan Bandyopadhyay. Cinematography: Subrata Mitra. Production design: Bansi Chandragupta. Film editing: Dulal Dutta. Music: Ravi Shankar

As the middle film of a trilogy, Aparajito could have been merely transitional -- think for example of the middle film in The Lord of the Rings trilogy: The Two Towers (Peter Jackson, 2002), which lacks both the tension of a story forming and the release of one ending. But Ray's film stands by itself, as one of the great films about adolescence, that coming-together of a personality. The "Apu trilogy," like its source, the novels by Bibhutibhushan Bandyopadhyay, is a Bildungsroman, a novel of ... well, the German Bildung can be translated as "education" or "development" or even "personal growth." In Aparajito, the boy Apu (Pinaki Sengupta) sprouts into the adolescent Apu (Smaran Ghosal), as his family moves from their Bengal village to the city of Benares (Varanasi), where Apu's father  continues to work as a priest, while his mother supplements their income as a maid and cook in their apartment house. When his father dies, Apu and his mother move to the village Mansapota, where she works for her uncle and Apu begins to train to follow his father's profession of priest. But the ever-restless Apu persuades his mother to let him attend the village school, where he excels, eventually winning a scholarship to study in Calcutta. In Pather Panchali (1955), the distant train was a symbol for Apu and his sister, Durga, of a world outside; now Apu takes a train into that world, not without the painful but necessary break with his mother. Karuna Bannerjee's portrayal of the mother's heartbreak as she releases her son into the world is unforgettable. Whereas Pather Panchali clung to a limited setting, the decaying home and village of Apu's childhood, the richness of Aparajito lies in its use of various settings: the steep stairs that Apu's father descends and ascends to practice his priestly duties on the Benares riverfront, the isolated village of Mansapota, and the crowded streets of Kolkata, all of them magnificently captured by Subrata Mitra's cinematogaphy.

Soumitra Chatterjee in The World of Apu (Satyajit Ray, 1959)

Cast: Soumitra Chatterjee, Sharmila Tagore, Swapan Mukherjee, Alok Chakravarty, Dhiresh Majumdar, Dhiren Ghosh. Screenplay: Satyajit Ray, based on a novel by Bibhutibhushan Bandyopadhyay. Cinematography: Subrata Mitra. Production design: Bansi Chandragupta. Film editing: Dulal Dutta. Music: Ravi Shankar.

The exquisite conclusion to Ray's trilogy takes Apu (Soumitra Chatterjee) into manhood. He leaves school, unable to afford to continue into university, and begins to support himself by tutoring while trying to write a novel. When his friend Pulu (Swapan Mukherjee) persuades him to go along to the wedding of his cousin, Aparna (Sharmila Tagore), Apu finds himself marrying her: The intended bridegroom turns out to be insane, and when her father and the other villagers insist that the astrological signs indicate that Aparna must marry someone, Apu, the only available male, is persuaded, even though he regards the whole situation as nonsensical superstition, to take on the role of bridegroom. (It's a tribute to both the director and the actors that this plot turn makes complete sense in the context of the film.) After a wonderfully awkward scene in which Apu and Aparna meet for the first time, and another in which Aparna, who has been raised in comparative luxury, comes to terms with the reality of Apu's one-room apartment, the two fall deeply in love. But having returned to her family home for a visit, Aparna dies in childbirth. Apu refuses to see his son, Kajal (Alok Chakravarty), blaming him for Aparna's death and leaving him in the care of the boy's grandfather. He spends the next five years wandering, working for a while in a coal mine, until Pulu finds him and persuades him to see the child. As with Pather Panchali and Aparajito, The World of Apu (aka Apur Sansar) stands alone, its story complete in itself. But it also works beautifully as part of a trilogy. Apu's story often echoes that of his own father, whose desire to become a writer sometimes set him at odds with his family. When, in Pather Panchali, Apu's father returns from a long absence to find his daughter dead and his ancestral home in ruins, he burns the manuscripts of the plays he had tried to write. Apu, during his wanderings after Aparna's death, flings the manuscript of the novel he had been writing to the winds. And just as the railroad train figures as a symbol of the wider world in Pather Panchali, and as the means to escape into it in Aparajito, it plays a role in The World of Apu. Instead of being a remote entity, it's present in Apu's own back yard: His Calcutta apartment looks out onto the railyards of the city. Adjusting to life with Apu, Aparna at one point has to cover her ears at the whistle of a train. Apu's last sight of her is as she boards a train to visit her family. And when he reunites with his son, he tries to play with the boy and a model train engine. The glory of this film is that it has a "happy ending" that is, unlike most of them, completely earned and doesn't fall into false sentiment. I don't use the world "masterpiece" lightly, but The World of Apu, both alone and with its companion films, seems to me to merit it.  

[prabhushriram]

Difference between Chaitra Navratri and Sharad Navratri

Reading time- 5 mins

India, a land of diverse cultures and traditions, celebrates Navratri not once, but twice a year with great enthusiasm and devotion. Navratri, meaning 'nine nights,' is a Hindu festival dedicated to Goddess Durga and her various forms. These two celebrations, Chaitra Navratri and Sharad Navratri, hold unique significance and are observed at different times of the year. In this blog, we'll explore why Navratri is celebrated twice in India and delve into the captivating mythological stories behind the divine forms of Maa Durga.

Chaitra Navratri: Welcoming Spring

Chaitra Navratri falls in the Chaitra month of the Hindu calendar, typically in March or April. This festival marks the beginning of spring when nature awakens, and new life blossoms. During these nine days, devotees pay homage to Goddess Durga and seek her blessings for prosperity and good fortune.

Chaitra Navratri is believed to commemorate the day when Lord Rama, accompanied by his brother Lakshmana and devotee Hanuman, worshiped Goddess Durga to seek her blessings before embarking on his epic journey to rescue his wife, Sita, from the demon king Ravana. It symbolizes the victory of good over evil and the triumph of righteousness. The culmination of Chaitra Navratri is celebrated as Ram Navami.

Sharad Navratri: Celebration of the Harvest

Sharad Navratri, also known as Maha Navratri, is the more widely celebrated of the two. It falls in the lunar month of Ashwin, usually in September or October when the monsoon season ends and the country gears up for the harvest season. This grand festival celebrates the divine feminine and the goddess's prowess in defeating the buffalo demon, Mahishasura.

According to Hindu mythology, Mahishasura was a formidable demon who terrorized the gods. He received a boon from Lord Agni, according to which a woman would only kill him. Unable to defeat him, the gods created Goddess Durga, a symbol of ultimate feminine power. Durga fought Mahishasura for nine days and nights, ultimately slaying him on the tenth day, known as Vijayadashami or Dussehra. Sharad Navratri symbolizes the victory of good over evil, knowledge over ignorance, and light over darkness. It is the ultimate celebration of divine female energies.

Young girls all over India are worshipped as devotees who believe that the Devi resides in little girls.

Maa Durga is depicted in 9 various forms, each with its own significance and attributes, to defeat the shape-shifting demon: Mahishasura. During Navratri, these forms are celebrated on specific days, known as 'Navadurga.' Let's explore some of the most renowned forms:

Shailaputri: The first form of Durga, she is the daughter of the Himalayas and represents the purity and innocence of nature.

Brahmacharini: She symbolizes the pursuit of knowledge and is often depicted holding a rosary and a water pot.

Chandraghanta: This form represents bravery and courage, as she adorns a crescent moon-shaped ornament on her forehead.

Kushmanda: The creator of the universe, Kushmanda signifies the source of all energy and vitality.

Skandamata: As the mother of Lord Kartikeya, she stands for the power of a mother's love and protection.

Katyayani: This fierce form of Durga is worshiped for her ability to destroy evil forces and protect her devotees.

Kalratri: Depicting the dark side of life, she is a symbol of destruction and liberation from ignorance.

Mahagauri: This form represents purity and is often depicted in white attire, symbolizing peace and serenity.

Siddhidatri: The final form of Durga, Siddhidatri is believed to grant devotees spiritual powers and enlightenment.

Navratri is a spiritually enriching festival that honors the divine feminine. Whether it's the arrival of spring during Chaitra Navratri or the harvest season of Sharad Navratri, both celebrations remind us of the importance of faith, perseverance, and the victory of good over evil. The diverse forms of Maa Durga teach us valuable life lessons and inspire us to live virtuously.

Gujratis celebrate Navratri through vibrant Garba and Dandiya Raas dances, while in Bengal, this festival is celebrated as Durga Puja, which involves worshiping the goddess Durga with grand processions and cultural events. So, they celebrate Navratri, but how it's celebrated varies.

This Navaratri, bring home the divine presence of Goddess Durga with the Navaratri-Durga Puja Kit from Prabhu Shriram- Incense with a Story.

This pack contains-

Mata Vaishno Devi Agarbatti                                    

Upasana Dhoop

Sambrani Cups

Havan Samagri

Divya Jyot

Mauli Dhaga

Guggal Loban

Jau

Pavitra Ganga Sand Soil

Red Cloth

Mata Chunri

Laung

Supari

Sindoor/Roli

Haldi

Akshat

Mishri/Kaju/Kishmish/Elaichi

Camphor

[ramayantika]

–✦– 𝙂𝙤𝙙𝙙𝙚𝙨𝙨𝙚𝙨, 𝙍𝙞𝙨𝙝𝙞𝙠𝙖𝙨 𝙖𝙣𝙙 𝙒𝙤𝙢𝙚𝙣 –✦–

Reflection in the Mirror

Please note that this is only the end for the first part of the series. There are so many rishikas, apsaras, and divine women who have inspired me and been with me all this while, so they too deserve their own tales. But for now, I want to end these goddesses, rishikas and women series so that I can keep track and save them. To be honest, this started off purely out of spite when I saw comments and mean DMs to girls who were plainly stating their achievements regarding how they did it or when they were simply stating the obvious fact that a woman in India is looked upon as a form of the goddess.

These men (except some gems) were like you all are sluts who claim to be goddesses and the same women chi women tea and shit. This series was my reminder that no matter what the goddesses won't give a fuck about shit men like this, and certainly not their spouses. So here's an end tribute to these goddesses and rishikas with a light mention of the future stories I shall post soon because I do have an idea about what I want ;)

Usha Lakshmi Gargi Ratri Saraswati Rati Aditi

I stare hard at the mirror. If my brother saw the depth and sharpness of my gaze, he would start quivering. I am the soft elder sister of the family who loves kids, dances around the house, and speaks sweetly. But Maa Durga knows I carry Kali's fierceness in my heart. Maa Durga bestowed her strength in my bones. How else did he see my fight with that big bully for him?

The day I was born, my father got a promotion. Maa cheerfully tells me that I had blessed the home as my sakhi, the goddess of wealth and prosperity Lakshmi. When they think, she is the goddess of priceless treasure and money, I remind them that this wealth is also the food and good luck bestowed on me and on the house. I was named after prosperity and good luck, just like my goddess friend. My grandparents called me devi. I am still called devi during navaratri, and these men who have prayed to the goddess only for these selfish needs have the nerve to say that I do not carry the goddesses inside me?

I stare hard at the mirror. Lakshmi keeps her arm around my shoulder. Maa Durga stands just behind me and beside her is the fierce dark goddess Kali, who smiles benevolently.

With a wine coloured hue, I see the goddess of love, Rati enter the mirror, and tuck a loose strand behind my ear. She winks and waves her fingers at me, with a proud smile on my face as I wear a red lipstick again. I have known the lustful gaze of men over my form who think they could easily have me and bend me according to their whims and fantasies. They think they can shame me for my beauty and grace when my form has been blessed by the goddess herself.

And when you possess beauty, they think, the lovely maiden has no brain to go with. I see Rishika Gargi, Lopamudra, and Maitreyi enter the reflection, their faces shinning with the immense amount of penance for knowledge and wisdom. Someday, I aspire to reach an ounce of their knowledge. They look at the pearl bracelet on my wrist and look behind to welcome the goddess who narrated me the wisdom being pearls, Devi Saraswati. She pulls a string of her divine veena, and everybody bows down to her.

On a glorious chariot arrives the goddess who told me to keep my head held high, and emerge as strong as the sun, the one who reminded me that after the darkest of nights come the brightest of days, Devi Usha. She pats my head, and tells me that she is proud of me. She has seen me grow into a woman who is still far from perfect, still committing silly mistakes, but a woman in learning -- a woman who keeps desiring to refine herself who understood that mistakes, despair and failures help you grow.

Following her sister's trail comes the silent witness to my journey, the goddess who showed me the hidden magic of the night and provided me the comfort of the moon and the stars on days that were too difficult to pass by. She is Devi Ratri. She still wears the dress woven of stars and celestial elements making her the sparkling queen of the night. She looks back at me from the mirror, her gaze proud and strong, and if I am not wrong, a sisterly gaze in them.

Draupadi enters the room and playfully opens my hair. She has brought a bunch of jasmine flowers and weaves them through my hair. Her laughs sounds music to my ears. If I haven't told you all then listen now. The first tale, I heard in my childhood was the story of the queen of Indraprastha. The divine dark beauty, the cherished wife of the Pandavas was the one whom I carried in my heart for long to remind myself that if a queen could overcome tremendous difficulties and pains in life, I could do too. You can do it too.

A beautiful flute music makes all our heads turn at the teenaged girl. Donning pink and red robes with flower jewellery adorning her form, I see Radha smiling and waving at the goddesses and rishikas in the mirror. She pats my cheek and beams at me. She was the forgotten friend, but god, she never forgot me. She is the shining beacon of true friendship and unconditional love.

As a child, I got lost in a forest. My family grew petrified. A young child getting lost in the forest. What if someone took her away? They forgot that Aranyani, the lost goddess now exists in the lush green hilly forests. She nurtures the animals, be it prey or predator. She nurtures the wild shrubs and fruit giving trees. She keeps medicinal plants in the heart of the forest, so any poisoned or injured child of hers could be saved in the deep forest.

How can I forget the apsaras, divine celestial woman who have been misjudged so much? Apsaras were the beautiful ladies who came alive through my comic books into my dance classes. They taught me how to dance your heart out. They taught me how to move agile as a deer; how to have a sharp gaze to disarm the audience; how to dance like the gods; how to dance until nothing remains but dance. Menaka, Urvashi and Rambha, the main trio very popularly known in folk tales and dancing texts have danced with me. They still do. I carry their grace in my movements as I practice for hours. I know the beauty I carry in sweaty flushed faces and tired limbs, while embodying the fiery passion for a beautiful artform. Alas, how could you ever understand them or even my heart, and my practice? Here they are stretching again for another evening to practice with me and teach me their skills.

Sita, the woman who needs no introduction whose mere mention leads to pride soaring in the hearts of us womenfolk. She garlands me with fresh sweet-smelling flowers around my neck. Her serene face fills me with silent strength and support that sometimes you don't have to fight your battles out loud. Strength doesn't have to be physical. Sometimes she sits beside me in her forest robes to tell me about cute birds and their language. And for moments where I need to learn how to battle on the front without weapons, she comes in dressed as a queen fit for the throne, born with resilience just like Bhu Devi, and imparts the lesson to me.

With battles, I remember the warrior queen of Dwarka, Murari's Bhama. She walks in holding her bow, looking as regal like the queen she is. I remember her first appearance in a dream to know her, to write about her. She was a queen who sang to me about the lost kingdom of Dwaraka, whose glories are still sung, but now lie submerged under deep waters of the sea. She emerged from the lost kingdom and told me her story. Once again misjudged like several other women for not being docile and submissive, but being aware of her own sense of self and pride which got translated to arrogance by many. Satyabhama stands in the mirror, beside me, holding fire in her gaze and steady fingers on the bow she proudly owns.

Countless of other deities, and divine women and scholars join me in front of the mirror. Their faces glow with strength, power and centuries of wisdom. This is enough proof to know that each of them reside in every body, but for us women, we have a more intimate connection with out sister and motherly goddesses. Menfolk can call us prideful and arrogant, but these goddesses and divinities never have kept us below them. We stand with them as equals, as warriors, lovers, teachers, mothers and nurturers. This eternal bond of womanhood connects us alike. It's a pity to make some of these men understand.

Lastly, they merge into one, and I see myself as the only girl standing in front of the mirror.

*＊✿❀　❀✿＊**＊✿❀　❀✿＊**＊✿❀　❀✿＊*

Thank you for reading this till the end. It's not really an end because we still have too many tales to share. I am really glad that some of these stories resonated with you and you found solace in them. It's not me it's the goddesses work. Anyway hope you all have a blessed day! Love you ❤

[monkvyasaa]

Chaitra Navratri 2023: Rituals,Yoga, Days And Pujas To Perform

Navratri is a significant Hindu festival that is celebrated for nine nights on the Indian subcontinent during autumn. Traditionally, there are four seasonal Navratris, and the Sharada or Shardiya Navratri is celebrated after the monsoon season in remembrance of the Divine Feminine Devi. During this time, Hindus perform the customs and rites of Ghatasthapana and Sandhi Puja, which are considered to be the two most frequently observed muhurtas. Chaitra Navratri 2023 is particularly significant as it falls during the Shardiya Navratri, and Hindus observe the customs and rituals of Ghatasthapana and Sandhi Puja during this time.

The Navratri puja, also known as Vasanta Navratri, is a celebration that honors the sacred feminine Devi or Durga. Devotees worship and honor Divine Durga in her nine forms during this festival. The word "Vasanta" is derived from the Sanskrit language and signifies spring, which is when this Navratri occurs. It takes place during the Chaitra lunar month, which typically falls between March and April after the winter season. In some regions, this festival is celebrated after the spring season, while in others, it is observed after the harvest season. It is also significant as it marks the first day of the Hindu calendar, making it the Hindu New Year according to the Vikram Samvat calendar.

Chaitra Navratri 2023: Navratri days & pujas to perform

Here are the dates and details for Chaitra Navratri 2023:

Wednesday, 22 March 2023 (Pratipada): Maa Shailputri Puja and Ghatasthapana

Thursday, 23 March 2023 (Dvitiya): Maa Brahmacharini Puja

Friday, 24 March 2023 (Tritiya):Maa Chandraghanta Puja

Saturday, 25 March 2023 (Chaturthi): Maa Kushmanda Puja

Sunday, 26 March 2023 (Panchami): Maa Skandamata Puja

Monday, 27 March 2023 (Shashti): Maa Katyayani Puja

Tuesday, 28 March 2023 (Saptami): Maa Kalaratri Puja

Wednesday, 29 March 2023 (Ashtami): Maa Mahagauri Puja

Thursday, 30 March 2023 (Navami): Maa Siddhidatri Puja and Ram Navami

Friday, 31 March 2023 (Dashami): Navratri Parana

Chaitra Navratri is a festival where people worship the nine forms of Goddess Durga. They also try to find inner peace through meditation and seek happiness. During this festival, people also perform a ritual called Ghatasthapana or Kalash Sthapana. This involves setting up a sacred vessel for prayer. The Ghatasthapana Muhurta for Chaitra Navratri 2023 is from 06:23 AM to 07:32 AM.

Significance of Chaitra Navratri 

Chaitra Navratri is an auspicious Hindu festival that commemorates the ultimate feminine form of the Hindu deity, Goddess Durga. She is regarded as Shakti, the most powerful feminine energy in the universe, and is worshiped with great devotion during this nine-day festival. 

Navratri Puja is believed to bring immense wealth and fortune to those who seek the blessings of Goddess Durga. However, there are certain rules that the devotees must follow strictly, which include fasting without consuming grains, maintaining cleanliness, performing aarti and performing Ghatasthapana.

[6nikhilum6]

Navratri 2024: A Guide to the Nine Forms of Durga and Their Sacred Offerings

The Nine Forms of Maa Durga Each day of Navratri is dedicated to one of the nine forms of Goddess Durga, symbolizing various virtues and powers. The goddess is worshipped with devotion, with each form representing a specific attribute, which guides the rituals and offerings: Day 1: Devi ShailaputriGoddess Shailaputri, the first form of Durga, signifies strength and purity. She is associated with…

[lightup22]

Navaratri Pooja: Must-Know Rituals and the Divine Power of the Devi

Nine days of fervor and devotion are devoted to celebrating the goddess Durga, the embodiment of feminine power and the heavenly mother, during Navaratri Pooja. Translating to “nine nights,” Navaratri is observed twice a year, in the spring (April) and fall (May). Devotees worship the nine forms of Goddess Durga, each of which represents a distinct facet of the cosmos and existence, at this time. The celebration represents the victory of good over evil and is regarded as a fortunate occasion to ask the Goddess for protection, wealth, and well-being. There are many spiritual advantages to participating in Navaratri Pooja Online, whether you want to do it online or at home.

A deep spiritual event, Navaratri Pooja unites families and communities in adoration of Goddess Durga. Three sets of three days each, each devoted to a distinct facet of the Goddess, comprise the festival. Goddess Durga, the remover of barriers and the giver of courage and fortitude, is honored during the first three days. The goddess of riches and prosperity, Lakshmi, is honored during the course of the next three days. The final three days honor the goddess of knowledge and wisdom, Saraswati.

Aarti (the ritual of waving the light) and mantra chanting and singing are among the rituals that mark each day of Navratri Devi Pooja. In addition, devotees fast and present the Goddess with special foods. Households adorn their spaces with lamps and flowers, and many erect “Golus,” or displays of dolls that represent different Hindu mythological themes. The event culminates on the last day, Vijayadashami or Dussehra, when the idol of Goddess Durga is submerged in water, signifying her return to her heavenly dwelling.

When Should You Do the Navaratri Pooja?

➢ The Navaratri Pooja is conducted during the Navaratri festival, which takes place twice a year: in the autumn during Sharad Navaratri and in the spring during Chaitra Navaratri. The Hindu lunar calendar determines the exact dates, which are often in March or April for Chaitra Navaratri and September or October for Sharad Navaratri. These dates change every year.

➢ A specific form of the Goddess is honored on each day of Navratri Devi Pooja, and poojas are performed in accordance with this dedication.

Advantages Of The Navaratri Puja:

Provides power, protection, and the removal of obstacles with the blessings of Goddess Durga.

➢ Bestows wealth, prosperity, and abundance with the blessings of Goddess Lakshmi.

With the blessings of Goddess Saraswati, one can enhance their intelligence, knowledge, and artistic abilities. Additionally, one can purify their mind and soul, fostering spiritual growth and inner calm.

➢ Promotes harmony, contentment, and solidarity within the household and society.

By scheduling a Navaratri Pooja online or having one performed at home under the direction of our knowledgeable priests, you can experience the heavenly energy of this ritual.

Experience the divine energy of Navaratri Pooja by booking Navaratri Pooja online or arranging for Navaratri Pooja at home with the guidance of our experienced priests.

[livepujayagyain]

Online Durga Puja - Simplified Way Performing Navaratri for Devotees

Thinking of performing the Maha Navaratri this year? Well, you can do it online. Many virtual platforms offer puja services online these days. You can book Durga Puja online, Navaratri puja online, Ganesh Puja online, Rudra Puja online and so on. Durga puja booking online takes the height during the Navaratri season. For devotees who cannot arrange proper puja essentials at home or don’t have provision to perform the puja, online puja platforms are the best choice to serve their puja needs. 

However, today in this post, our focus of discussion is online Durga puja. So, let’s elaborate on our discussion to fill the knowledge bucket. 

What is Online Durga Puja? 

Online Durga puja is performed during the Navaratri. We worship Durga Maa in 9 different Avatars during the auspicious occasion of Navaratri. Let us know the nine avatars of Maa Durga, 

Sailaputri: The first day of Navaratri celebrates worshipping Maa Sailapurti. 

Brahmacharini: The 2nd day is celebrated by praying the Brahmacharini rupaa of Maa Durga. 

Chandraghanta: Devi Chandraghanta is worshiped during the 3rd day of Navratri or Durga puja anushthan. 

Kushmanda: The 4th day of Navaratri, and Maa Durga is worshipped as Kushmanda, the Ashtabhuja Devi. 

Skanda Mata: On the 5th day of Navaratri, Maa Durga is worshipped as the mother of Skanda, the Katrikeya. She is also known as Padmasana as she sits in Padam or Lotus here. 

Katyaynai: In this form, Maa Durga takes the form of Maa Katyaynai. She killed the ferocious demon Mahasasur in this avatar. Katyayani is worshipped on the 6th day of Navaratri. 

Kalratri: In this fierce avatar, Maa Durga removed her golden skin and attained the dark avatar to kill Sumbha and Nishumbha. Kalratri puja is performed on the 7th day of Navaratri, or Durga Puja. 

Mahagauri: In this form, Maa Durga is worshipped as Mahagauri on the 8th day of Navaratri. Maa wears only a white dress in this form and she is compared to Conch, Kunda flower, and Moon due to the extravagant fair complexion. 

Siddhidatri: Maa Durga is worshipped as Maa Siddhidatri. She is prayed by Rudra in this form. The puja takes place on the last day, the 9th day of Navaratri for the overall well-being of devotees and the universe. 

This is all about online Durga Puja or the Navaratri celebration. Devotees book slots for performing puja online with full Vedic rituals and customs under the proper guidance of priests. They can participate in the puja through online streaming or visit the puja place with prior notification to the virtual puja authority. 

Durga Puja Performed in Different Ways in India

Whereas, in most parts of India, Maa Durga is worshipped in nine avatars during these nine days of Navaratri, in West Bengal, Tripura, Assam, and some states in the Eastern region of India people celebrate Durga puja with all grandeur and full devotion. So, anyone can perform the puja at home or online. Some do it in the name of Navaratri and some in the name of Durga puja. Choice can be different but the puja provides the same results to the devotees.  If you want to perform Durga puja or Navaratri in the coming October, book Durga puja online now to avoid booking hassle or rush. 

[thewitchfarhan]

The Kaênaasthan Pantheon Series

Part 3: The TrítaDevi

[Link to Part 1] [Link to Part 2]

Vada (Greetings)! Welcome to my Kaênaasthan Pantheon Series. In this series I will be outlining the Devis (Gods) in the Kaênaasthan Pantheon; their domains, affiliations, and what is sacred to them.

Today we will be continuing the series with the 4 TrítaDevi - The Third Generation of Devis.

Jupiter-Brihaspati

Domain and Title: Devi of the Skies Body Part: Arms Element: Air Planet: Jupiter Sacred Colors: Purple, Yellow, Gold Sacred Flowers: Carnations, Jasmine Sacred Animals: Eagles, Elephants Food: Bananas, Pork Syncretisms: Brihaspati, Jupiter, Zeus Symbol: 🌩

Created from the union of Cybele-Durga and Kronos-Brahma, Jupiter-Brihaspati is the first of the TrítaDevi. Following his creation, Phoibê-Sarasvati bestowed upon him knowledge and Cybele-Durga bestowed upon him strength. Jupiter-Brihaspati harnessed these blessings in his battle with Ouranos, which culminated in Jupiter-Brihaspati severing Ouranos' phallus - ending his reign over the skies.

Jupiter-Brihaspati's consort is Lêta-Parvati, and together they have three children: Apollôn-Krishna, Hermes-Vishnu, and Shailputri.

Lêta-Parvati

Domain and Title: Devi of Marriage & Family Body Part: Heart Element: Earth Planet: Venus Sacred Colors: Teal, Turquoise, Gold Sacred Flowers: Calla Lilies Sacred Animals: Peacocks, Goats Food: Apples Syncretisms: Hera, Leto, Parvati Symbol: ♥

Following Ouranos' downfall, Koios and Phoibê-Sarasvati fell in love; and from this love came Lêta-Parvati; the embodiment of family (chosen or blood), marriage, and familial love.

Her consort is Jupiter-Brihaspati, and together they have three children: Apollôn-Krishna, Hermes-Vishnu, and Shailputri.

Persês-Rudra

Domain and Title: Devi of Chaos & Disorder Body Part: Shoulders Element: Fire Planet: Mars Sacred Colors: Red, Maroon, Black Sacred Flowers: Black Dahlias Sacred Animals: Vultures, Boars Food: Spicy Peppers Syncretisms: Hades, Persês, Rudra Symbol: ◣

Born from the chaotic collision in the battle between Kriôs and Amiatê-Varuni, Persês-Rudra is the Devi of Chaos and Disorder. Despite this seemingly negative domain, Persês-Rudra is revered as a kind and loving Devi. Chaos and Disorder are not negative, they are simply the natural opposites of order and organization. Kaênaasthans believe that it is not chaos and disorder that is negative, but how individuals respond to them that can be negative.

Persês-Rudra's consort is Asteria-Chandra, together they are akin to the concepts of Yin and Yang in chinese philosophy - while seemingly opposites the two compliment each other and bring reality into it's fullest form. Together they have two children - Hekatê-Kali and Dionysus-Shiva.

Asteria-Chandra

Domain and Title: Devi of the Moon & Stars Body Part: Back Element: Water Planet: Moon Sacred Colors: Navy Blue, White, Silver Sacred Flowers: Gardenias Sacred Animals: Nightjar Birds, Antelopes Food: Mooncakes, Bao Syncretisms: Asteria, Chandra, Luna, Selene Symbol: ☾✧

Following the death of Kriôs, the domain of the stars was left unoccupied. Never before had a Devi died without another to take over control of their domain. To fill this void, the universe granted Amiatê-Varuni the gift of a daughter - and that daughter was Asteria-Chandra, Devi of the Moon and Stars.

Asteria-Chandra's consort is Persês-Rudra, and together they have two children who embody both the peace and beauty of the moon and the chaos and madness of a raging fire; Hekatê-Kali and Dionysus-Shiva.

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As It Was - As It Is - As It Shall Be

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[pratikshachandra]

Navratri's here!!!!👣❤

Here's my depiction of the first avatar among the navdurgas- ❤MAA SHAILPUTRI❤

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||ॐ देवी शैलपुत्र्यै नमः||

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I have tried to paint the devi in Madhubani style.

This is the first painting that i have composed myself, so if you like it please do share and comment 🤗

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About maa Shailputri:-

She represents mata Parvati in her stage of childhood with the divine and principal form being Durga.

She is adorned with light ornamentation on her limbs and was clothed in red and pink robes. She has two hands both holding a trident and lotus. She is seated upon the behind of a white bull.

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