Saturday, May 23, 2020

Swami Laxmanjoo explains, the finest and highest concept of Kali and her twelve aspects have been discussed in the Fourth Ahnika of the Tantraloka by Abhinavagupt.
He discusses their respective function of creation (srsti), protection (sthiti), destruction (Samhara)and turya (anakhya)in the three states of objective (prameya), cognitive (pramana) and subjective (pramatr) consciousness.
Swami Laxmanjoo explains, the finest and highest concept of Kali and her twelve aspects have been discussed in the Fourth Ahnika of the Tantraloka by Abhinavagupt.
He discusses their respective function of creation (srsti), protection (sthiti), destruction (Samhara)and turya (anakhya)in the three states of objective (prameya), cognitive (pramana) and subjective (pramatr) consciousness.
A)Four kalis in the objective cycle (prameya)
1) Sristi Kali [creation] [Jagrit]
2)Rakta Kali (protection) [Swapna]
3) Sthitinasha Kali (destruction) [Sushupti]
4) Yama Kali (anakhya) [Turiya]
B)Four kalis in the cognitive cycle (pramana)
5) Samhara Kali (creation) [jagrit]
6) Mrityu Kali (protection)[swapna]
7) Bhadra Kali/Rudra Kali (destruction) [sushupti]
8) Martanda Kali (anakhya)[Turiya]
C)Four kalis in the subjective cycle (pramatr)
9) Paramarka Kali (creation)[jagrit]
10) Kalagni rudra Kali (protection)[swapna]
11) Mahakala Kali (destruction)[sushupti]
12)Maha bhairava-ghora-canda Kali (anakhya) [Turiya]
A practitioner has to see his own consciousness with respect to pramatr (the relative subject of knowing), pramana (the instrumental means of knowing), prameya (the object of knowing) and prama (the correct knowing).
He has to repeat constantly such contemplation regarding his own powers and such practice results in his correct self realization and deepens. It is useful in contemplative meditation of the Shaktopaya of the Trika system of Shaiva monism.
Jai guru dev.
A practitioner has to see his own consciousness with respect to pramatr (the relative subject of knowing), pramana (the instrumental means of knowing), prameya (the object of knowing) and prama (the correct knowing).
He has to repeat constantly such contemplation regarding his own powers and such practice results in his correct self realization and deepens. It is useful in contemplative meditation of the Shaktopaya of the Trika system of Shaiva monism.
Jai guru dev.

The Fourteen Kalis of Samvartamandala..............The Krama Tantricism of Kashmir

Jagadamba Mahakali Of the myriad forms of bhagavatī mahākālī, twelve/thirteen forms are discussed by various sampradāyas of Trika Tantra.
Abhinavagupta discusses the system of Twelve kAlI-s quoting sārdhaśatika:
द्वादशारं महाचक्रं रश्मिरूपं प्रकीर्तितम् |
नाम चैव प्रवक्ष्यामि रश्मीनां तु यदास्थितम् ||
सृष्टिः स्थितिश्च संहारो रक्तकाली तथैव च |
स्वकाली यमकाली च मृत्युकाली तथैव च ||
रुद्रश्च परमार्कश्च मार्ताण्डश्च ततः परः |
कालाग्निरुद्रकाली च महाकाल्यभिधा पुनः ||
dvādaśāraṃ mahācakraṃ raśmirūpaṃ prakīrtitam |
nāma caiva pravakṣyāmi raśmīnāṃ tu yadāsthitam ||
sṛṣṭiḥ sthitiśca saṃhāro raktakālī tathaiva ca |
svakālī yamakālī ca mṛtyukālī tathaiva ca ||
rudraśca paramārkaśca mārtāṇḍaśca tataḥ paraḥ |
kālāgnirudrakālī ca mahākālyabhidhā punaḥ ||
Based on this list, the Twelve KAlI-s are:
1 sṛṣṭikālī
2 sthitikālī
3 saṃhārakālī
4 raktakālī
5 svakālī (sukālī )
6 yamakālī
7 mṛtyukālī
8 rudrakālī (bhadrakālī )
9 paramārkakālī
10 mārtāṇḍakālī
11 kālāgnirudrakālī
12 mahākālī (parākālī, mahākālakālī, kālakālī )
The thirteenth kAlI is also listed in tantrāloka:
महाभैरवशब्दश्च घोरशब्दस्ततः परः |
चण्डकाली पदं चान्ते त्रयोदश उदाहृताः ||
mahābhairavaśabdaśca ghoraśabdastataḥ paraḥ |
caṇḍakālī padaṃ cānte trayodaśa udāhṛtāḥ ||
Thus, the thirteenth kAlI is महाभैरवघोरचण्डकाली (mahābhairavaghoracaṇḍakālī ).
The same list of thirteen is also discussed in tantrarāja bhaṭṭāraka:
सृष्टिकाली च संहारे सृष्टौ सा परमेश्वरी |
स्थितिकाली तथा घोरा ततः संहारकालिका ||
रक्तकाली चर्वयन्ती रक्तौघमविभेदतः |
सुकाली यमकाली च मृत्युकाली भयावहा ||
भद्रकाली तथा चान्या परमादित्यकलिका |
मार्ताण्डकाली कालाग्निरुद्रकालमहोल्बणा ||
महाकालकुले काली महाभैरवकालिका |
त्रयोदशविधा काली विज्ञेया नामभेदतः ||
sṛṣṭikālī ca saṃhāre sṛṣṭau sā parameśvarī |
sthitikālī tathā ghorā tataḥ saṃhārakālikā ||
raktakālī carvayantī raktaughamavibhedataḥ |
sukālī yamakālī ca mṛtyukālī bhayāvahā ||
bhadrakālī tathā cānyā paramādityakalikā |
mārtāṇḍakālī kālāgnirudrakālamaholbaṇā ||
mahākālakule kālī mahābhairavakālikā |
trayodaśavidhā kālī vijneyā nāmabhedataḥ ||
The dhyānas of the thirteen kAlI-s presented below are from various sources such as kramasadbhāva, pancaśatika, cidgaganacandrikā and kramastotra.
1. sṛṣṭikālī
कौलार्णवानन्दघनोर्मिरूपां
उन्मेषमेषोभयभाजमन्तः |
नीलीयते नीलकुलालये या
तां सृष्टिकालीं सततं नमामि ||
मन्त्रोदया व्योमरूपा व्योमस्था व्योमवर्जिता |
सर्वा सर्वविनिर्मुक्ता विश्वस्मिन् सृष्टिनाशिनी ||
या कला विश्वविभवा सृष्टर्थकरणक्षमा |
यदन्तः शान्तिमायाति सृष्टिकालीति सा स्मृता ||
विश्वसंहृतिपदे लयोज्झिते
लीयसे यदि निरंशतः शिवे |
सृष्टिकाल्यसि यया बहिः पदे
क्षिप्तमम्ब जगदाशु गृह्यसे ||
kaulārṇavānandaghanormirūpāṃ
unmeṣameṣobhayabhājamantaḥ |
nīlīyate nīlakulālaye yā
tāṃ sṛṣṭikālīṃ satataṃ namāmi ||
mantrodayā vyomarūpā vyomasthā vyomavarjitā |
sarvā sarvavinirmuktā viśvasmin sṛṣṭināśinī ||
yā kalā viśvavibhavā sṛṣṭarthakaraṇakṣamā |
yadantaḥ śāntimāyāti sṛṣṭikālīti sā smṛtā ||
viśvasaṃhṛtipade layojjhite
līyase yadi niraṃśataḥ śive |
sṛṣṭikālyasi yayā bahiḥ pade
kṣiptamamba jagadāśu gṛhyase ||
2. sthitikālī
वाजिद्वयस्वीकृतवातचक्र-
प्रकान्तसंघट्टगमागमस्थाम् |
शुचिर्ययास्तं गमितोऽर्चिषा तां
शान्तां नमामि स्थितिनाशकालीम् ||
हासिनी पौद्गली येयं बालाग्रशतकल्पना |
कल्पते सर्वदेहस्था स्थितिः सर्गस्य कारिणी ||
यदुत्पन्ना तु सा देवि पुनस्तत्रैव लीयते |
तां विद्धि देवदेवेश स्थितिकालीं महेश्वर ||
लब्धमास्यपवनं च या हृतं
वातचक्रमधितस्थुषी शिवे |
निर्गमागममहोज्झितान्तरा
त्वं स्थितं ग्रससि हि स्थिताम्बिके ||
vājidvayasvīkṛtavātacakra-
prakāntasaṃghaṭṭagamāgamasthām |
śuciryayāstaṃ gamito.arciṣā tāṃ
śāntāṃ namāmi sthitināśakālīm ||
hāsinī paudgalī yeyaṃ bālāgraśatakalpanā |
kalpate sarvadehasthā sthitiḥ sargasya kāriṇī ||
yadutpannā tu sā devi punastatraiva līyate |
tāṃ viddhi devadeveśa sthitikālīṃ maheśvara ||
labdhamāsyapavanaṃ ca yā hṛtaṃ
vātacakramadhitasthuṣī śive |
nirgamāgamamahojjhitāntarā
tvaṃ sthitaṃ grasasi hi sthitāmbike ||
3. saṃhārakālī
उन्मन्यन्ता निखिलार्थगर्भा
या भावसंहारनिमेषमेति |
सदोदिता सत्युदयाय शून्यां
संहारकालीं मुदितां नमामि ||
चण्डकाली शुद्धवर्णा यामृतग्रसनोद्यता |
भावाभावविनिर्मुक्ता विश्वसंहाररूपिणी |
तत्र सा याति विलयं सा च संहारकालिका ||
आत्मभावमखिलस्य जग्मुषी
त्वं शिवे निरवधिः सदोदिता |
भावसंहृतिनिमेषविग्रहा
संहृतं कलयसि ह्यनावृतिः ||
unmanyantā nikhilārthagarbhā
yā bhāvasaṃhāranimeṣameti |
sadoditā satyudayāya śūnyāṃ
saṃhārakālīṃ muditāṃ namāmi ||
caṇḍakālī śuddhavarṇā yāmṛtagrasanodyatā |
bhāvābhāvavinirmuktā viśvasaṃhārarūpiṇī |
tatra sā yāti vilayaṃ sā ca saṃhārakālikā ||
ātmabhāvamakhilasya jagmuṣī
tvaṃ śive niravadhiḥ sadoditā |
bhāvasaṃhṛtinimeṣavigrahā
saṃhṛtaṃ kalayasi hyanāvṛtiḥ ||
4. raktakālī
महाविनोदार्पितमातृचक्र-
वीरेन्द्रकासृग्रसपानसक्ताम् |
रक्तीकृतां च प्रलयात्यये तां
नमामि विश्वाकृतिरक्तकालीम् ||
न चैषा चक्षुषा ग्राह्या न च सर्वेन्द्रियस्थिता |
निर्गुणा निरहङ्कारा रञ्जयेद्विश्वमण्डलम् |
सा कला तु यदुत्पन्ना सा ज्ञेया रक्तकलिका ||
mahāvinodārpitamātṛcakra-
vīrendrakāsṛgrasapānasaktām |
raktīkṛtāṃ ca pralayātyaye tāṃ
namāmi viśvākṛtiraktakālīm ||
na caiṣā cakṣuṣā grāhyā na ca sarvendriyasthitā |
nirguṇā nirahaṅkārā ranjayedviśvamaṇḍalam |
sā kalā tu yadutpannā sā jneyā raktakalikā ||
5. sukālī
डकला भीषणा रौद्रा कुलकालिनिराकुला |
अलक्ष्या लक्ष्यनिर्लक्ष्या सुकाली नाम सिद्धिदा ||
कालपावकमुखं शिवान्तकं
विश्वमब्धिपतितोदबिन्दुवत् |
पूर्णतां वहति यत्र दीप्तिचित्
घस्मरी त्वमिह साधुकाल्यसि ||
ḍakalā bhīṣaṇā raudrā kulakālinirākulā |
alakṣyā lakṣyanirlakṣyā sukālī nāma siddhidā ||
kālapāvakamukhaṃ śivāntakaṃ
viśvamabdhipatitodabinduvat |
pūrṇatāṃ vahati yatra dīpticit
ghasmarī tvamiha sādhukālyasi ||
6. yamakālī
सर्वार्थसङ्कर्षणसंयमस्य
यमस्य यन्तुर्जगतो यमाय |
वपुर्महाग्रासविलासरागात्
सङ्कर्षयन्तीं प्रणमामि कालीम् ||
यमरूपस्वरूपस्था रूपातीतस्वरूपगा |
सा कला लीयते यस्यां यमकाली तु सा स्मृता ||
एतदम्ब सदिदन्तु नेति नः
शङ्कया हृदि विकल्पलक्षणः |
यो यमः स खलु काल्यते त्वया
भूतसंयमनकेलिकोविदः ||
अम्ब कार्यकरणे नियच्छतः
पूर्णचित्पदमहोत्सवत्विषः |
जृम्भितस्य हृदये स्वशङ्कया
त्वं यमस्य वपुषासि भीषणा ||
प्राण एष यमकाल उच्यते
मध्यवाहतनुरग्निमम्ब यः |
रुद्रमेतदुपनोय खं परं
तत्र सर्गविमुखं करोष्यसौ ||
sarvārthasaṅkarṣaṇasaṃyamasya
yamasya yanturjagato yamāya |
vapurmahāgrāsavilāsarāgāt
saṅkarṣayantīṃ praṇamāmi kālīm ||
yamarūpasvarūpasthā rūpātītasvarūpagā |
sā kalā līyate yasyāṃ yamakālī tu sā smṛtā ||
etadamba sadidantu neti naḥ
śaṅkayā hṛdi vikalpalakṣaṇaḥ |
yo yamaḥ sa khalu kālyate tvayā
bhūtasaṃyamanakelikovidaḥ ||
amba kāryakaraṇe niyacchataḥ
pūrṇacitpadamahotsavatviṣaḥ |
jṛmbhitasya hṛdaye svaśaṅkayā
tvaṃ yamasya vapuṣāsi bhīṣaṇā ||
prāṇa eṣa yamakāla ucyate
madhyavāhatanuragnimamba yaḥ |
rudrametadupanoya khaṃ paraṃ
tatra sargavimukhaṃ karoṣyasau ||
7. mṛtyukālī
ममेत्यहङ्कारकलाकलाप-
विस्फारहर्षोद्धत गर्वमृत्युः |
ग्रस्तो ययाघस्मरसंविदं तां
नमाम्यकालोदितमृत्युकालीम् ||
ओमित्येषा कुलेशानी मृत्य्कालान्तपातिनी |
मृत्युकालकला यस्याः प्रविशेद्विग्रहं शिवम् |
तदा सा मृत्युकालीति ज्ञेया गिरिसुताधव ||
वित्तदारमुखभोग्यगामिनी
या ममेत्यभिमतिर्मदोद्धता |
याप्यहङ्कृतिरनात्मनि स्थिता
मृत्युरूपमुभयं तवासनम् ||
विश्वमम्ब कुरुषे तवासनं
मृत्युसेचनमखण्डितोदया
चिद्विकल्पमयमन्तरुद्यमं
गामनाहितजगत्क्रमां घ्नती ||
mametyahaṅkārakalākalāpa-
visphāraharṣoddhata garvamṛtyuḥ |
grasto yayāghasmarasaṃvidaṃ tāṃ
namāmyakāloditamṛtyukālīm ||
omityeṣā kuleśānī mṛtykālāntapātinī |
mṛtyukālakalā yasyāḥ praviśedvigrahaṃ śivam |
tadā sā mṛtyukālīti jneyā girisutādhava ||
vittadāramukhabhogyagāminī
yā mametyabhimatirmadoddhatā |
yāpyahaṅkṛtiranātmani sthitā
mṛtyurūpamubhayaṃ tavāsanam ||
viśvamamba kuruṣe tavāsanaṃ
mṛtyusecanamakhaṇḍitodayā
cidvikalpamayamantarudyamaṃ
gāmanāhitajagatkramāṃ ghnatī ||
8. rudrakālī
विश्वं महाकल्पविरामकल्प-
भवान्तभीमभ्रुकुटिभ्रमन्त्या |
याश्रात्यनन्तप्रभवार्चिषा तां
नमामि भद्रां शुभभद्रकालीम् ||
इदं सर्वमसर्वं यत् संहारान्तं तु नित्यशः |
कुटिलेक्षणरेखान्तग्रस्तमस्तमितं च यत् ||
ततो बोधरसाविष्टा स्पन्दमाना निराकुला |
दीधितीनां सहस्रं यद्वमेच्च पिबते भृशम् |
सा कला लीयते यस्यां रुद्रकालीति सा स्मृता ||
गमागमसुगम्यस्था महाबोधावलोकिनी |
मायामलविनिर्मुक्ता विज्ञानामृतनन्दिनी ||
सर्वलोकस्य कल्याणी रुद्रा रुद्रसुखप्रदा |
यत्रैव शाम्यति कला रुद्रकालीति सा स्मृता |
भेदस्य द्रावणाद्भद्रा भद्रसिद्धिकरीति या ||
सक्रमाक्रमविमिश्रभावत-
स्त्वक्रमस्त्रितय चारुवीक्षणा |
तुर्यरश्मिमणविक्रमैकभू-
स्त्वं क्रमत्रिगुणभीमकाल्यसि ||
viśvaṃ mahākalpavirāmakalpa-
bhavāntabhīmabhrukuṭibhramantyā |
yāśrātyanantaprabhavārciṣā tāṃ
namāmi bhadrāṃ śubhabhadrakālīm ||
idaṃ sarvamasarvaṃ yat saṃhārāntaṃ tu nityaśaḥ |
kuṭilekṣaṇarekhāntagrastamastamitaṃ ca yat ||
tato bodharasāviṣṭā spandamānā nirākulā |
dīdhitīnāṃ sahasraṃ yadvamecca pibate bhṛśam |
sā kalā līyate yasyāṃ rudrakālīti sā smṛtā ||
gamāgamasugamyasthā mahābodhāvalokinī |
māyāmalavinirmuktā vijnānāmṛtanandinī ||
sarvalokasya kalyāṇī rudrā rudrasukhapradā |
yatraiva śāmyati kalā rudrakālīti sā smṛtā |
bhedasya drāvaṇādbhadrā bhadrasiddhikarīti yā ||
sakramākramavimiśrabhāvata-
stvakramastritaya cāruvīkṣaṇā |
turyaraśmimaṇavikramaikabhū-
stvaṃ kramatriguṇabhīmakālyasi ||
9. paramārkakālī
अस्तोदितद्वादशभानुभाजि
यस्यां गता भर्गशिखा शिखेव |
प्रशान्तधाम्नि द्युतिनाशमेति
तां नौम्यनन्तां परमार्ककालीम् ||
एकाकिनी चैकवीरा सुसूक्ष्मा सूक्ष्मवर्जिता |
परमात्मपदावस्था परापरस्वरूपिणी ||
सा कला पररूपेण यत्र संलीयते शिवः |
सा कला परमार्केति ज्ञेया भस्माङ्गभूषण ||
astoditadvādaśabhānubhāji
yasyāṃ gatā bhargaśikhā śikheva |
praśāntadhāmni dyutināśameti
tāṃ naumyanantāṃ paramārkakālīm ||
ekākinī caikavīrā susūkṣmā sūkṣmavarjitā |
paramātmapadāvasthā parāparasvarūpiṇī ||
sā kalā pararūpeṇa yatra saṃlīyate śivaḥ |
sā kalā paramārketi jneyā bhasmāṅgabhūṣaṇa ||
10. mārtāṇḍakālī
मार्ताण्डमापीतपतङ्गचक्रं
पतङ्गवत् कालकलेन्धनाय |
करोति या विश्वरसान्तकां तां
मार्ताण्डकालीं सततं प्रणौमि ||
शब्दब्रह्मपदातीता षट् त्रिंशान्तनवान्तगा |
ब्रह्माण्डखण्डादुत्तीर्णा मार्ताण्डी मूर्तिरव्यया |
सा कला लीयते यस्यां मार्ताण्डी कालिकोच्यते ||
यो मृताण्डनिभमर्थपञ्चकं
प्राणिनः स्फुरति भामयो रविः |
संहृतार्धमनुमन्तराहृतं
तं बहिः सृजति चार्थपञ्चकम् ||
संहृतोर्ध्वनिकरस्तुतावधि
व्यक्तमण्डतनुरम्ब भास्करम् |
काललक्षण कला प्रदीप्तये
त्वं हि विश्वरसभक्षमास्थिता ||
भूतचक्रमधुकोशसंभृतं
तत्तदर्थमधु पातुमुत्सुका |
यन्मरीचिविषयाः सभास्करः
त्वद्रुचौ शलभवत्प्रलीयते ||
mārtāṇḍamāpītapataṅgacakraṃ
pataṅgavat kālakalendhanāya |
karoti yā viśvarasāntakāṃ tāṃ
mārtāṇḍakālīṃ satataṃ praṇaumi ||
śabdabrahmapadātītā ṣaṭtriṃśāntanavāntagā |
brahmāṇḍakhaṇḍāduttīrṇā mārtāṇḍī mūrtiravyayā |
sā kalā līyate yasyāṃ mārtāṇḍī kālikocyate ||
yo mṛtāṇḍanibhamarthapa¤cakaṃ
prāṇinaḥ sphurati bhāmayo raviḥ |
saṃhṛtārdhamanumantarāhṛtaṃ
taṃ bahiḥ sṛjati cārthapa¤cakam ||
saṃhṛtordhvanikarastutāvadhi
vyaktamaṇḍatanuramba bhāskaram |
kālalakṣaṇa kalā pradīptaye
tvaṃ hi viśvarasabhakṣamāsthitā ||
bhūtacakramadhukośasaṃbhṛtaṃ
tattadarthamadhu pātumutsukā |
yanmarīciviṣayāḥ sabhāskaraḥ
tvadrucau śalabhavatpralīyate ||
11. kālāgnirudrakālī
कालक्रमाक्रान्तदिनेशचक्र-
क्रोडीकृतान्ताग्निकलाप उग्रः |
कालाग्निरुद्रो लयमेति यस्यां
तां नौमि कालानलरुद्रकालीम् ||
वरदा विश्वरूपा च गुणातीता परा कला |
अघोषा सा स्वरारावा कालाग्निग्रसनोद्यता ||
निरामया निराकारा यस्यां सा शाम्यति स्फुटम् |
कालाग्निरुद्रकालीति सा ज्ञेया मखवन्दित ||
kālakramākrāntadineśacakra-
kroḍīkṛtāntāgnikalāpa ugraḥ |
kālāgnirudro layameti yasyāṃ
tāṃ naumi kālānalarudrakālīm ||
varadā viśvarūpā ca guṇātītā parā kalā |
aghoṣā sā svarārāvā kālāgnigrasanodyatā ||
nirāmayā nirākārā yasyāṃ sā śāmyati sphuṭam |
kālāgnirudrakālīti sā jneyā makhavandita ||
12. kālakālī
नक्तं महाभूतलये श्मशाने
दिक्खेचरीचक्रगणेन साकम् |
कालीं महाकालमलं ग्रसन्तीं
वन्दे ह्यचिन्त्यामनिलानलाभाम् ||
ऋतोज्ज्वला महादीप्ता सूर्यकोटिसमप्रभा |
कलाकलङ्करहिता कालस्य कलनोद्यता |
यत्र सा लयमाप्नोति कालकालीति सा स्मृता ||
यः श्मशान इह भूतघस्मरे
रज्यतेऽम्ब करवीरनामनि |
ग्राहकं ग्रससि तं श्रुतं महा-
कालमप्यसुहुताशदुर्ग्रहाः ||
naktaṃ mahābhūtalaye śmaśāne
dikkhecarīcakragaṇena sākam |
kālīṃ mahākālamalaṃ grasantīṃ
vande hyacintyāmanilānalābhām ||
ṛtojjvalā mahādīptā sūryakoṭisamaprabhā |
kalākalaṅkarahitā kālasya kalanodyatā |
yatra sā layamāpnoti kālakālīti sā smṛtā ||
yaḥ śmaśāna iha bhūtaghasmare
rajyate.amba karavīranāmani |
grāhakaṃ grasasi taṃ śrutaṃ mahā-
kālamapyasuhutāśadurgrahāḥ ||
13. mahābhairavacaṇḍograghorakālī
क्रमत्रयत्वाष्टमरीचिचक्र-
सञ्चारचातुर्यतुरीयसत्ताम् |
वन्दे महाभैरवघोरचण्ड-
कालीं कलाकाशशशङ्ककान्तिम् ||
दशसप्तविसर्गस्था महाभैरवभीषणा |
संहरन् भैरवान् सर्वान् विश्वं च सुरपूजित ||
सान्तः शाम्यति यस्यां च सा स्याद्भरितभैरवी |
महाभैरवचण्डोग्रघोरकाली परा च सा ||
kramatrayatvāṣṭamarīcicakra-
sancāracāturyaturīyasattām |
vande mahābhairavaghoracaṇḍa-
kālīṃ kalākāśaśaśaṅkakāntim ||
daśasaptavisargasthā mahābhairavabhīṣaṇā |
saṃharan bhairavān sarvān viśvaṃ ca surapūjita ||
sāntaḥ śāmyati yasyāṃ ca sā syādbharitabhairavī |
mahābhairavacaṇḍograghorakālī parā ca sā ||
The fourteenth and the mysterious kālasaṅkarṣiṇī is described thus:
श्रीमत्सदाशिवपदेऽपि महोग्रकाली
भीमोत्कटभ्रुकुटिरेष्यति भङ्गभूमिः |
इत्याकलय्य परमां स्थितिमेत्य काल-
सङ्कर्षिणीं भगवतीं हठतोऽधितिष्ठेत् ||
भूतभाविभवदर्थगर्भितं
कालघस्मरमुपास्यते वपुः |
कालकर्षिणि वहन्ति योगिनः
कृष्णतः प्रभृति विश्वरूपताम् ||
śrīmatsadāśivapade.api mahograkālī
bhīmotkaṭabhrukuṭireṣyati bhaṅgabhūmiḥ |
ityākalayya paramāṃ sthitimetya kāla-
saṅkarṣiṇīṃ bhagavatīṃ haṭhato.adhitiṣṭhet ||
bhūtabhāvibhavadarthagarbhitaṃ
kālaghasmaramupāsyate vapuḥ |
kālakarṣiṇi vahanti yoginaḥ
kṛṣṇataḥ prabhṛti viśvarūpatām ||
Kālasaṅkarṣiṇī, the essence of the samvartamaṇḍala and of kālīkula, has been absorbed into śrīvidyā as well. Paraśurāma kalpasūtra includes it's own miniature form of Kālasaṅkarṣiṇī in raśmimālā. Cidambara Tantra, mahālakṣmī ratnakośa, paramānanda tantra, baḍabānala tantra etc. include Kālasaṅkarṣiṇī in uttarāmnāya or ūrdhvāmnāya of śrīvidyā Tantra.
As Kālī is the Ultimate Power that manifests everything and is the power of consciousness which is perfectly free and accountable for every phenomenon, she is called Vyomavāmeśvarī. She is also called Kālasaṅkarṣiṇī as she is not limited by time (kāla) and is identical to Bhāsā (encompassing sṛṣṭi, sthiti, saṃhāra and anākhya). She is also called Rudraraudreśvarī as she pervades the sixty-four rays of Vṛnda chakra and completely sways over the pañcavāhas identical with the Jñānasiddhas, Mantrasiddhas, Melāpasiddhas, śāktasiddhas and śāmbhavasiddhas. In fact, Abhinavagupta asserts that ‘laymen’ refer to Kālasaṅkarṣiṇī as Kālī.
While the number of Kālis is twelve according to Abhinavagupta, it may also be noted that seventeen forms are worshipped in the Anākhya chakra in the Krama Sadbhāva:
सप्तादशी तु सा काली विद्धि सर्वार्थकारिणी |

KALI IN KASHMIR SHIVAISM

KALI IN
KASHMIR SHIVAISM..........by.
The Krama Tantricism of Kashmir
All kinds of manifestations of all phenomena of the whole world are carried out by the Almighty Lord through His divine power, which is given the name "Kali" in Shivaism, that is, the power of God, through which he carries out all manifestations of all phenomena, as well as His five divine action.
The entire objective existence is just like a dream and is the result of the imagination of Osalpan) of the mind: these are the views of the Buddhist school of Vidjnanavad and Western idealists. But, according to the theistic absolutism of Kashmir’s monistic Shaivism, this is not imagination at all, but an external manifestation of the divine forces of absolute consciousness, and it is called a sea otter, that is, it is significantly different from mental imagination (kalpan:) m. In Tantralok, Abhinavagupta describes the sea otter as a process of clear manifestation in the five stages of growth, called kshepa, jnanam, samkhyanam, gati and nada. This can be explained as follows: Kshepa: everything, essentially and really, is a pure and absolute I-consciousness, since such a consciousness contains everything in itself in the form of divine power. This means that it has the ability to appear in the form of all phenomena, according to her free will, always playfully active in manifesting outwardly the infinite and divine power of such a consciousness. The penchant for the game of absolute consciousness reveals some phenomena outside as different from Him. Such an imaginary difference between these phenomena is known in Shaivism as kshepa, which means "throwing, throwing." It looks as if an all-inclusive absolute consciousness throws out phenomena from itself, forever shining as an omnipotent, infinite I-consciousness. It manifests phenomena outside in the state and form of Eternity. Thus, they seem to be thrown out of the Self and put in the position of esteem or objectivity. This Ego begins to shine as an entity other than the Self. Each creature continues to do the same, although without noticing it. Each step of the external manifestation was defined by Abhinavagupta with these words: “Svatmano bhedanam ksepah,” meaning that because of kshepa, the thing seems different from me. (TAlV-174).
At the second stage of phenomenal manifestation, the element of the Self makes an indefinite cognitive perception of such a differentiated Ego. Differentiated Ego initially shines in the psychic light of the I as an object that is not yet perceived in any clear definite form or under any particular name. She shines there by means of knowledge, not yet accompanied by any definite idea or word-image. This knowledge is known as nirvikalpa samvedana, or perception without a clear idea, and here is called jnana, the second step
objective manifestation. Abhinavagupta explains it this way: Jnana means knowing a differentiated object through nirvikalpa-cognition — cognition not accompanied by any clear idea or word-image (TA IV - 174). That is why in Nyaya-sastra, nirvikalpa is not considered a direct tool of prama - the right knowledge.
The third step of such an external manifestation is knowledge, accompanied by a certain specific idea, indicated by a certain specific word, the image of which permeates such knowledge and becomes an integral part of it. This kind of knowledge that sheds light on the name and shape of an object is called samkhyanam in the context of the five types of sea otters. This term should be interpreted as Samyak Khyanam - "to make something clearly known." This should not be understood in the meaning of mathematical calculation. As a sea otter, samkhyanam is savikalpa cognition, i.e. knowledge with a certain specific idea, which is always accompanied by any particular word-image denoting this idea. In the Tanggraqlok, this is stated as follows: “To know something through savikalpa-knowledge is called Samkhyanam, since it considers the object to be definitely different from another similar object ”(TA IV-174). In other words, the law of apokhana applies here. Apokhan is applied to the object of this knowledge through a clear idea of ​​it, expressed in a certain word-style, shining in its light with this idea.
The fourth step of the sea otter process consists of selfish knowledge of the object as
expressions in our I-consciousness as “I know this object” or “This object is known to me”. This is the stage of prama, the correct objective knowledge, the direct result of the savikalpa of knowledge, according to the analysis of the process of knowledge in Nyaya-sastra. In Shaivism, this is called gati in the meaning of knowledge (gatir jnanam) and Abhinavagupta is defined as follows: Gati is the adoption of the position of reflection of an objective idea in the I-consciousness of a knowledgeable subject (TA IV -175). Consciousness, as it were, carries an idea of ​​this object. The fifth step of the sea otter is the feeling of such self-satisfaction in which the objective appearance of this object is completely absorbed by our self-awareness, shining only as a pure residual Self or Aham. This is called nada, i.e. pure self-awareness, and in Tantraloka it is described as follows: “Nada is that residual self-awareness, which completely absorbed the objective manifestation ”(TA IV -175). These five stages of the sea otters represent the five divine activities of the Almighty Lord. Kshepa represents creation (srishti), jnanam represents sthiti (preservation, stability), and samahara, or absorption, is represented by gatis. Samkhyanam is something like gshdhana or obscurity, and nada represents anugraha, the gracious activity of discovery. Kali, appearing in the form of a five-membered sea otter, is realized by Shivaite yogis as the absolute divine power of God through the contemplative practices of Shivaite yoga of several kinds. Kalina - the name given to a special kind of shakta-upai yoga system of the Trika. Shakta-upaya is the practice of self-contemplative meditation. This is a subjective meditation done through practice. These five stages of the sea otters represent the five divine activities of the Almighty Lord. Kshepa represents creation (srishti), jnanam represents sthiti (preservation, stability), and samahara, or absorption, is represented by gatis. Samkhyanam is something like gshdhana or obscurity, and nada represents anugraha, the gracious activity of discovery. Kali, appearing in the form of a five-membered sea otter, is realized by Shivaite yogis as the absolute divine power of God through the contemplative practices of Shivaite yoga of several kinds. Kalina - the name given to a special kind of shakta-upai yoga system of the Trika. Shakta-upaya is the practice of self-contemplative meditation. This is a subjective meditation done through practice. These five stages of the sea otters represent the five divine activities of the Almighty Lord. Kshepa represents creation (srishti), jnanam represents sthiti (preservation, stability), and samahara, or absorption, is represented by gatis. Samkhyanam is something like gshdhana or obscurity, and nada represents anugraha, the gracious activity of discovery. Kali, appearing in the form of a five-membered sea otter, is realized by Shivaite yogis as the absolute divine power of God through the contemplative practices of Shivaite yoga of several kinds. Kalina - the name given to a special kind of shakta-upai yoga system of the Trika. Shakta-upaya is the practice of self-contemplative meditation. This is a subjective meditation done through practice. Samkhyanam is something like gshdhana or obscurity, and nada represents anugraha, the gracious activity of discovery. Kali, appearing in the form of a five-membered sea otter, is realized by Shivaite yogis as the absolute divine power of God through the contemplative practices of Shivaite yoga of several kinds. Kalina - the name given to a special kind of shakta-upai yoga system of the Trika. Shakta-upaya is the practice of self-contemplative meditation. This is a subjective meditation done through practice. Samkhyanam is something like gshdhana or obscurity, and nada represents anugraha, the gracious activity of discovery. Kali, appearing in the form of a five-membered sea otter, is realized by Shivaite yogis as the absolute divine power of God through the contemplative practices of Shivaite yoga of several kinds. Kalina - the name given to a special kind of shakta-upai yoga system of the Trika. Shakta-upaya is the practice of self-contemplative meditation. This is a subjective meditation done through practice. Shakta-upaya is the practice of self-contemplative meditation. This is a subjective meditation done through practice. Shakta-upaya is the practice of self-contemplative meditation. This is a subjective meditation done through practice.
the constant repetition of the correct conceptual knowledge (savikalpa-knowledge) of the true truth about the nature of Y. Kalina is a special kind of such practice and therefore it was included by Abkhina-vagupta in the shakta-upa of Trika in both of his most important works - Tantrolok and Tantrasara. This is contemplative meditation on the twelve aspects of Kali, the divine power of the Lord, manifesting itself in the basic nature of every being. The fivefold sea otter, discussed above, taking place in the sphere of phenomenal existence, IS THIS NATURAL ACTIVITY OF ABSOLUTELY EVERY LIVING BEING, INDEPENDENTLY OF IT, UNDERSTANDS IT OR NOT. The living being carries out such activity in relation to the world around it.
Kali, in fact, is the divine power of the Lord that performs the five-membered sea otter in relation to the whole manifest existence, and shines in the form of the divine power of absolute reality in transcendental existence. So she was contemplated, and so she was discovered in her main twelve aspects. Shaivite yogis have discovered that it carries all existence on the levels: pure unity at the Shakti stage, unity in diversity at the Vidya stage and complete diversity at the Maya stage. All phenomena must also exist in a transcendental state of absolute consciousness, otherwise they could not manifest themselves at the stages of Vidya and Maya. Therefore, Kali, the divine power of the Absolute, contains everything, even at the transcendental level. Thus, Kali appears in his four aspects and is called Paradevi, Paraparadevi, Aparadevi and the All-Penetrating
Kalakarshinidevi, the absolute transcendental divine power. Then they think about it as a creator of creation, preservation and dissolution at all four levels of existence. Such divine actions are in the form of the divine stir of Spanda, shining like Paradevi at the stage of perfect unity. At this stage, the phenomenon is identical to it. Paraparadevi contains a phenomenon in itself, just as a city is reflected in a mirror and seems different and at the same time not different from it. Aparadevi carries a phenomenon like the way the house contains different household items as different from it. The original and basic seeds of all phenomena, as well as the seeds of creation, etc., really exist in the transcendental absolute. Therefore, Kali is realized here as containing everything and performing all divine actions also in Her transcendental aspect. Here it shines as a single form - Para, Parapara and Aparadevi - and is called absolute Kalakarshini, that is, a force that draws in and absorbs the whole concept of Kala, or time, which, in essence, is a sense of consistency. This is the name given to the concept of a sequence of events and actions. In Sanskrit, the sequence is called krama. Since Kali in its transcendental aspect draws in all the concepts of sequence, this aspect of Kali is called Kalakarshini. This is the most refined and exalted concept of Kali and its twelve aspects, which Abhinavagupta discusses in Tantrasara, which he wrote after Tantraloka. The concept of the twelve Kali was also developed in several other ways,
applicable in contemplative shakta-upai meditation of the Tric system of monistic Shaivism.
A Kalinai practitioner should see his consciousness performing the five-membered sea otter in relation to the pramatra (the subject of the cognitive process), pramana (the instrumental means of cognition), pramey (the object of cognition) and prama (correct knowledge). He should constantly repeat such contemplative practice in relation to his own forces, and as a result, it will lead to self-realization and deepen the impression of the discovery that he is none other than the Almighty Lord, capable of manifesting his divine actions in relation to all existence, phenomenal and non-phenomenal. He recognizes the essential nature of his I-consciousness as Kali, the divinity of the Almighty Lord, playing the sea otter, the five-membered game of phenomenal manifestation through its twelve aspects.
A Kalinai practitioner visualizes the forces of his own self-awareness as embracing and absorbing by the I-consciousness the various phenomena of the twelve species around him - one after another - with the help of the twelve Kali. It is just as if he were swallowing the world around him with his strength, which consists of four components: pramatra, pramana, prameya and prama, going through creation, preservation and absorption, and thus appearing in twelve forms,
since Kali, like the divine power of the Lord, manifests all four elements of the process of cognition, discussed above, as his subject, object, etc., it is she who is the source and the true essence of the whole manifestation of pramativity [34]. Other
in words, everything related to phenomenal cognition, everything that appears as life in the Universe, in fact, is only It. Therefore, in the Trika Agamah Kali is called Matrisadbhava [35].
In addition, if absolute consciousness were deprived of His power and tendency to an external manifestation called a sea otter, it would lose all its beauty and charm. Kali, the source of all beauty, is absolute reality and therefore is called Vaeshvari in the Nisatana Agama, which speaks of Her as the mistress of the beautiful. The original meaning of the word vama is beauty. The same meaning is conveyed in the name of Vamadeva - the divine form of Shiva. Vamachara is a theology system that prescribes enjoyable activities and interactions with pleasing and beautiful objects. Words to youor, vamochanana, vamanga [36], etc. also convey this meaning in Sanskrit literature.
Such a subjective contemplation of one's own divine power was discussed in detail in the Tanthralok of Abhinavagupta as one of the important practices of the Shakta-upai. Tantrasar also speaks of this in detail. It is believed that such a practice brings results very quickly and this has made it so popular among Trikou practitioners. Since by its nature it is highly hidden, the Malinivijaya and Devilshla Tantras, which mention Matrisadbhava and Kalakarsini, are only hinted at. (MVT VIII-34). Abhinavagupta refers to this reference and Jayaratha quotes this passage in Tantraloka: (TA III - 70, 71).
Trikasara, an ancient work on the Trika system, speaks of her as a deity surrounded by twelve yoginis, and Abhinavagupta refers to this,
discussing Kali (TA III - 254). Such references in Tantralok prove that viburnum was an integral part of Trika long before Abhinavagupta wrote his Tantraloka. Vowels, with the exception of eunuchs - short and long “g” and “1” - were accepted as twelve Kali in the matrix yoga of Shambhavapaya. (TA III - 250-253).
Abhinavagupta perceives Kalina as an integral part of the Tric system and shows that it occupied such a position long before it, and was so adopted in some ancient agamic texts and philosophical works.
For the first time, viburnum was discovered, developed, and distributed thoroughly among practicing Shivaites by the Siddha Sivanandanath, who gave her the special name Kramanaya, or the sadhana system of Krama. Abhinavagupta mentions Sivananda as the master of the Uttara pitha {northern pitha, or northern center, approx. per.). In ancient times, there were four famous centers of tantric theology: Kamakhya - eastern pitha in Assam, Purnagiri - southern pitha in Andhra, Jalandhara - western pitha in Kangra (Himachal Pradesh) and Ariyana pitha in Jagannathapuri as the central one. There were many additional Iupa-numjc centers in many places in India. The Kashmir Valley, for example, is known as the Medha Pitha. It can be completely mistaken for Uttara-pithu Siva-nandanatha, who lived in Kashmir. The time of Sivanan-Danath - VIII century. A.D., since Somananda (IX century A.D. ) was a fourth generation student in his transmission line. The main disciples of Sivananda were three yoginis - Keyurawati, Madanika and Kalyanika. Their three main disciples were respectively Govindaraja, Chitrabhanu (also known as Bhanuka) and Erakanatha. Govindaraja handed over
a detailed Kalinaya method of Somananda, and his teachings reached Jayaratha in the 12th century AD through a long chain of mentors and students. The teachings of Chitrabhanu reached Abhinavagupta in Xv. AD through Udbhatu, which should not be confused with the author of Udbhatalankara (VIII century A.D.). Udbhata received knowledge of Kali worship from Ujata, who in turn received it through oral tradition through the line of disciples of Chitrabhan. Erakanatha was engaged in himself and did not create any line of transmission. All his life he tried to develop supernatural abilities, and at sunset her such achievements became disgusting to him. Then he wrote just a few stotras or religious hymns. Many more practitioners, scholars and authors appeared in this tradition from the disciples of Sivanandanath. Jayaratha mentions some of them by name, and some are known to us from the long passages from Kramakeli Abhinavagupta that Jayaratha quotes in the commentary on Tantraloka. Information about Sivanandanatha, about the line of his disciples and the history of the spread of Kalinai among practitioners can also be obtained from the notes of Jayaratha and the passage from Kramakeli that he quotes [37]. Abhinavagupta gives many quotes and excerpts from some of the works written in the folk languages ​​of Kashmir, which prevailed there during the literary evolution of Kalinai. The names of the authors of these passages and works from which they are taken are not mentioned. In ancient times, even educated ladies from the upper classes of society usually preferred Prakrit to Sanskrit. It is very likely that the three students of Sivanandanatha preferred to write The lineage of his disciples and the history of the spread of Kalinai among practitioners can also be obtained from the notes of Jayaratha and the passage from Kramakeli that he quotes [37]. Abhinavagupta gives many quotes and excerpts from some of the works written in the folk languages ​​of Kashmir, which prevailed there during the literary evolution of Kalinai. The names of the authors of these passages and works from which they are taken are not mentioned. In ancient times, even educated ladies from the upper classes of society usually preferred Prakrit to Sanskrit. It is very likely that the three students of Sivanandanatha preferred to write The lineage of his disciples and the history of the spread of Kalinai among practitioners can also be obtained from the notes of Jayaratha and the passage from Kramakeli that he quotes [37]. Abhinavagupta gives many quotes and excerpts from some of the works written in the folk languages ​​of Kashmir, which prevailed there during the literary evolution of Kalinai. The names of the authors of these passages and works from which they are taken are not mentioned. In ancient times, even educated ladies from the upper classes of society usually preferred Prakrit to Sanskrit. It is very likely that the three students of Sivanandanatha preferred to write which prevailed there during the literary evolution of Kalinai. The names of the authors of these passages and works from which they are taken are not mentioned. In ancient times, even educated ladies from the upper classes of society usually preferred Prakrit to Sanskrit. It is very likely that the three students of Sivanandanatha preferred to write which prevailed there during the literary evolution of Kalinai. The names of the authors of these passages and works from which they are taken are not mentioned. In ancient times, even educated ladies from the upper classes of society usually preferred Prakrit to Sanskrit. It is very likely that the three students of Sivanandanatha preferred to write
and speak the language of the people, and the quotes saved by Abhinavagupta in his Tantrasara and in the vivarana on Paratrishika could be taken from written works or sayings of Madanika, in the line of continuity of which he gained access. Some of these passages could belong to either of the other two yoginis.
A Kalinai practitioner had to visualize the forces of his own consciousness as twelve Kali, absorbing the whole existence, consisting of pramatra, pramana and prameya during the fulfillment or stay in the processes of creation, maintenance, absorption and absolute existence. He should have seen himself as a master containing such an existence within himself. Such contemplative meditation was to be performed in relation to the twelve aspects of Kali - one after another - in the established order of sequence. Sequence order

Goddess Bhargaśikhā : An Embodiment of Kālasankarshin

Goddess Bhargaśikhā : An Embodiment of Kālasankarshini.
____________________________________________
This Ancient temple of presiding deity Mata Bhargaśikha Bhagwati is located in Anantnāg district of South Kashmir at hilltop of Mārtand Tirtha [Mattan]. She is considered to be an embodiment of Goddess Kālasankarshini.
Kālikākrama is also known as Bhānavikrama - the sequence of Sun. In this tradition, twelve forms of Goddess Kalasankarshini Kali are venerated, which correspond with the principle of the manifestation of the universe in the solar circle. So Twelve kāli are the forms of twelve Sun.
In the tantric tradition of Kāli-krama, the practice of worshiping the Goddess Kali is mainly meditative. And she is meditated as (internal) Sun or a flame Burning inside the Heart.
Bharga [भर्ग ] is name of Śiva. Another meaning of Bharga is Sun. Shiva is called Bharga because he is the direct deity of Sun-God.
Maitrayani-Upanishad defines the word ‘Bharga’ as under—
भाभिर्गतिरस्य हीति भर्गः। भर्जयतीति वैष भर्ग इति रुद्रो ब्रह्मवादिनः।
अथ भ इति भासयतीमांल्लोकान्, र इति रञ्जयतीमानि भूतानि, ग इति गच्छन्त्यस्यिन्नागच्छन्त्यस्मादिमाः प्रजाः, तस्माद् भरगत्वाद् भर्गः॥
One who is reaching everywhere through his light, that is called Bharga. Or Bharga is one who parches the sensual objects. ‘Bha’ means the thing which illuminates all the planets, ‘Ra’ means one who entertains all the elements, ‘Ga’ means the source and ultimate destination of everything; and Shruti gives it a combined name as Bharga.
शिखा [ śikhā ] means "a pointed flame". Here, Śakti is the fire / Light of the sun ( Śiva).
Śiva is inseparable from Śakti as Heat/light from Sun.
Śikhā also means "tuft or lock of hair on the crown of the head" esoterically it is Śakti, that residing on the crown head of Śiva.
She is the light of Sahsrara-chakra.
Here Śakti symbolize the "Parātparā" the Higher than the highest. She is the transcendental Void (śunyatiśunya).
Another meaning of Śikha is "crest".
Kālī is the Crest of supreme radiance.
Where the twelve Sun in the form of the sense organs rise and set are destroyed within her.
Bhagwān Abhinava prays in Kramastotra to Goddess Paramarka-Kālī (as Bhargaśikha) :
I bow to the infinite Paramarka-Kali, which in its pacified flame contains 12 suns, completely dissolved. It is in Her that the ego (ahamkara) successfully dissolves its own light and pacifies, just as a flame is pacified in a quenching fire.
अस्तोदितद्वादशभानुभाजि यस्यां गता भर्गशिखा शिखेव।
प्रशान्तधाम्नि द्युतिनाशमेति तां नौम्यनन्तां परमार्ककालीम्॥९॥ (Kramastotra )
🌷🌷🌷🌷🌷🌷🌷🌷🌷🌷🌷🌷🌷🌷🌷
भर्गप्रिया भर्गशिखा हेला हैमवतीश्वरी ॥ ५७ ll
~ श्रीज्वालामुखीसहस्रनामस्तोत्रं l
🌷🌷🌷🌷🌷🌷🌷🌷🌷🌷🌷🌷🌷🌷🌷
ॐ ह्रीं भर्गशिखा भार्गी भार्गवेश्वरसुन्दरी ।
भर्ग्या भर्गाङ्गवसतिर्भर्गाख्याभर्गसुन्दरी ॥ ९५ ll
~ श्रीइन्द्राक्षीसहस्रनामस्तोत्रम् l

12 Kali and Pratyabhijna..The Krama Tantricism of Kashmir


12 Kali and Pratyabhijna..The Krama Tantricism of Kashmir
The doctrine of the 12th Kali is one of the earliest concepts of Kālīkula / Kālīkrama. Moreover, this doctrine is the most secret teaching in the tradition of Kashmiri Shaivism, which dominated the territory of Kashmir during the early Middle Ages. In the 10th-11th centuries, Abhinavagupta defined the teachings of the 12th Kali as the most exalted esoteric aspect of Trika. For him, the Kalikrama Goddess, the One who draws Time to Himself - Kālasaṁkarṣaṇī - outside the Supreme (Parātīta) of the goddesses of Trika: The Parā (Parā, the Supreme Goddess) and Parāparā (Aparā, the Inferior), which is doctrinal the basis of his Trika system.
According to Abhinavagupta, the doctrine of the 12 Kali was given to him along the line of spiritual continuity, in which Utpaladeva himself was present. Somananda IX century, the author of Shivadrishti, the first teacher in the Pratyabhidjna system was, according to Abhinavagupta, a follower of Govindaraja, the Teacher of the Krama line, who before his death gave him the teachings of the 12 Kali, set forth in Kālīkulapañcaśatakā.
Somananda gave this teaching along the line of spiritual continuity of Utpaladeva and Lakshmanagupta, and then it was transferred to Abhinavagupta. Utpaladeva did not address directly to his spiritual heritage, which was derived from the followers of Krama (probably in connection with the intentional advancement of the non-anatrical view of tradition).
Nevertheless, his view of sensual experience is imbued with the idea of ​​lunar nectar. This concept, outlined in Śivastotrāvalī, an outstanding work of spiritual literature of Kashmiri Shaivism, is close to the ideas of Kalikrama concerning sense organs. Thus, Krama is an important foundation for the schools of Pratyabhijna,Trika and Spanda.
Perhaps not only these reasons were guided by the commentators Utpaladeva, Kshemaraja and Maheshvarananda, who developed the important ideas of Utpaladeva in the light of Krama-Mahartha. Especially worth mentioning is Ksemaraja, who in his commentary on Shivastotravali Utpaladeva expressed a firm commitment to the Krama system. who developed the most important ideas of Utpaladeva in the light of Krama-Mahartha. Especially worth mentioning is Ksemaraja, who in his commentary on Shivastotravali Utpaladeva expressed a firm commitment to the Krama system.
On the other hand, in the 13th century Mahesvarananda in his commentary (Parimala) on his work Mahārthamañjarī , which is the South Indian version of Kalikrama, developed the deep foundations of Pratyabhijna, he used quotes from Śivastotravali in the context of substantiating the secret Kaula ritual ( kula-yāga), which he regarded as the practice of śāktopāya. From this interesting configuration follows a certain consequence, namely the vague relationship of the schools of Krama and Kaula, which can be logically justified using the pratyabhijna axiomatic system. For example, 12 Kali as an image of reflective awareness (vimarśa).
At the center of the 12th doctrine is the Kalimistic experience embodied in the 12 Suns known as bhānavī-krama. This teaching is considered the most important in the northern transmission (uttarāmnāya).
12 Kali incarnate:
1) the dynamism of the cognitive act (saṁvit-cakra, saṁvit-krama).
2) the universal vibration of consciousness (sāmānya-spanda).
3) the 12 deified senses (prakāśa-cakra, marīcidevatā-cakra, raśmi-cakra). According to this concept, the 12 Kali symbolize the method (krama) and the instrument (senses) of the cognition process that generates reflective awareness ( vimarśa), which is the capacity of pure luminous consciousness (prakāśa, bhāsa) to reflect its eternal nature.
The concept of the vimarsha was of great interest to Utpaladeva, (Īśvarapratyabhijñā-Kārikā ), where he defines the vimarsha as the energy of the action of consciousness (citikriyāśakti), expressed in his commentary ( Vṛtti) on Isvarapratya-bhijna-Karika.
In this sense, the 12 Kali form an analytical model of the process of cognition, where special attention is paid to the energies associated with cognition, the sense organs and thoughts accompanying the process of perception, indicating the path to mystical interaction with phenomenal reality.
Revealed on the basis of purification of thought forms (vikalpa-saṁskāra), 12 Kali awakens pure knowledge (suddha-vidyā). The onset of freedom from thought forms ( nirvikalpa) is achieved when the mind "reaches the state of inner purity and becomes a means of reflection," in this case, what remains is the universal factor of mental representations.
Therefore, "he, who perceives everything as his own essence, thus knows:" all this variety of forms belongs to me, "he, even being in the stream of thoughtforms, reaches the state of Mahesh." Thus, if an individual continues to create thought forms that stem directly from the energy of God, he perceives the universe without any separation and transforms all thought forms into pure reflective awareness, he attains the state of Maheswara.
In addition to these basic epistemological principles, generalized by Pratyabhijna's terminology, the higher theoretical foundation of sense experience and the interpretation of this process, develops in the teachings of Kalikrama and the 12 Kali. In particular, in the sphere where the work of the senses is confirmed by experience, the views of Kalikrama and Utpaladeva merge.
Sensual experience plays an outstanding role in the concept of devotion to Utpaladeva. The pleasure in the senses entails the immersion in the higher awareness of the nature of Shiva, this sudden recognition (sāhasa-abhijñāna), "impregnated with a pure, ever-flowing nectar of consciousness (saṁvit-amṛta), pervading awareness, "All are one."
However, apart from the frantic dynamism characteristic of religious fervor, devotion also has another dimension. At first it seems static, on the whole consistent with what is called the Kalikrama secret doctrine, because for Utpaladeva devotion represents a state of equilibrium and stability (sthiti).
Utpaladeva says:
"Nothing can be used to achieve sustainability (sthiti-krta / sthiti-kṛta) in one's own Self, Luminosity is absolutely indubitable and eternal Let this idea become my stronghold. Only those who are invariably in their true Self (svasthā) are betrayed to you. Having hardened (sthitvā) in the seat of your pure consciousness. May I always honor you, O Lord of the Body, with speech and mind."
The state of immutability (sthiti) is one of the parts of the cognitive process ( sṛṣṭi, sthiti, saṁhāra), in addition, it is also associated with the supreme state of the Kalasamkarsani Goddess, embodying total resilience in the pure consciousness presented in the form of "pure knowledge" of the wheel of consciousness (samvit-chakra = 12 Kali), and is tasted like the lunar nectar of immortality.
The stability state (sthiti) connects the solar and lunar dimensions within the Kalasamkarshani vidya. Therefore, what first appears to be a static basis (sthiti), in pure consciousness includes the amazing wealth of the sensory experience embodied in the Sun 12 Kali.
The work of the senses simultaneously includes both expansion and contraction. During the expansion, one enjoys the blissful nectar of the expanding consciousness, symbolized by the 16 phases of the Full Moon; in the state of compression, there is a delight in the inner lunar nectar of the state of shambhava (śāmbhava) - the 17th phase of the New Moon.
Samvit-Marga, Samvit-Chakra
One of the main problems of the recognition theory (pratyabhijna) of Utpaladeva is an attempt to single out the unique dynamic subject, the "I" of Shiva, which manifests itself in the duality of the prakasa-vimarsha, pure luminous consciousness ( prakāśa/Śiva) and reflective awareness (vimarśa/Śakti). Polarization of prakasha-vimarsh is performed in order to strengthen the experimental basis of ultimate non-duality ( paramādvaita), bound by the knot of their inner unity (abheda / abheda).
This determines the unshakable foundation of the concepts of "transcendence" and "immanence" when they are viewed from the perspective of the phenomenology of perception leading to the recognition of the Absolute ("I" of Shiva) in all objective phenomena. Indeed, in Śhivastotravali Shiva is depicted as endowed with the sun's rays (bhānumarīcyaḥ). Shiva is the goal, the light of pure consciousness ( prakāśa), achievable through the sun's rays of reflective awareness (vimarśa). The sun's rays embody the recognition of the senses, in the work of which reflective awareness is used. For the believer, the way of the senses (saṁvit-mārga) is the path to Shiva. At a more internal level of mystical immersion, feelings are transformed into deities of the senses, whose sensory perception is used as sacrificial substances offered by Shiva.
"Glory to your awful wheel of the goddesses of the senses (śakti-vṛnda)!
Which, sacrificing the objects of feelings, Honor you through enjoyment."
In the commentary on this sloka from Śivastotravali, Ksemaraja defines shakti-vrindu as the wheel of consciousness (saṁvit-cakra). The concept of the samvit-chakra is analyzed in detail in the fourth chapter of the Tantraloka of Abhinavagupta, in the section devoted to the śāktopāya, indicating how the Kali included the dynamism of the cognitive process. The interpretation of shakti-vrinda Kshemaraja is unique. This term does not appear in the Kalikrama texts in the context of the 12th Kali, since it was intended solely to refer to the general reality of the metaphysics of Kalikrama, known as the Vrinda-cakra. However, an exception was found in Cidgaganacandrikā of Shrivatsa.
In this text, dated at least the XIII century, shakti-vrinda is associated with the image of the Goddess as the Sun of Consciousness in the exact meaning of the samvit-chakra. As stated in the text, This is the level of the 12-fold sequence, manifested in the world in the form of words, and also manifested everywhere in the form of triads. The 12-fold system (3x4 = 12) reflects the processing of cognitive energy occurring in the trinity of the cognizing (pramātṛ / pramatma) - the methods of cognition (pramāṇa ) - the object of knowledge (prameya). Each of the aspects follows a four-fold sequence: creation (sṛṣṭi), preservation (sthiti), dissolution (saṁhāra ) and indescribable transcendental state (anākhya ).
A careful awareness of this sequence (krama-parāmarśa ), which is the basis of the whole experience, is a practical application of the samvit-chakra. Creation of the object, which takes place through the opening of the will, is akalitollāsa / sṛṣṭi). Whenever this will comes in contact with an external object, there is maintenance of sensual enjoyment ( tatsambhoga, sthiti). Returning to one's true essence, which is a movement from expansion to contraction, is carvaṇa / saṁhāra.
The ultimate rest of individual objects that are in the unity of consciousness, where they exist as reflections of their original source (the absolute "I" (pūrṇa ahaṁ ) - is a transcendental state of completion (virāma/anākhya).
Anakhya is consciousness , free from the duality of thoughtforms (nirvikalpa), it still knows, because it recognizes the movement of thoughts as a pure luminous consciousness, and, moreover, contains in itself knowledge: "all this is my radiance." Thus, in the transcendental state head (anākhya ) stored : Activity, knowledge and feelings.
Rays of devotion
Utpaladeva uses senses as the basis for chanting of Holy Name, in the sense that the most exalted devotion is the fullness of their realization.
Devotion governs experience through feelings, generating a field of blissful delight, whose strength increases with religious feeling. Perhaps more strikingly, the truth of devotion is proved through sensual ecstasy, which penetrates the subjective and objective essence of the cognitive process.
Utpaladeva writes:
"Only those who are truly devoted to you, who know the subject and object through an expanded range of sensations."
The whole range of sensations included in the "religious methodology", "rays of devotion," as Utpaladeva calls it, leads to the fact that the sensory experience that gives the opportunity to experience a mystical fusion (samāveśa ) is judged to be the most important. Both Utpaladeva and Ksemaraja are equated with devotion (bhakti), obsession (āveśa ) and mystic confluence (samāveśa ), in the sense that religious devotion plays an important role in sensual involvement that leads to immersion in elevated states (rasa), which ultimately leads to interaction with the Absolute.
At this stage, the sense organs work in accordance with the spontaneity inherent in them initially, extracting from the objective sphere an essence, a subtle part in the form of a smell, color, sound, etc., which are means for achieving a secret union with a pure consciousness represented by pleasure in taste (rasa ). This awareness of taste in the realm of the senses is expressed in terms such as "bliss of taste" (rasana), "pleasure" (carvaṇa), "enjoyment of taste" (āsvadā ). They express the idea of ​​universal interpenetration until the final merger. Pleasure with taste symbolizes mastering and means of increasing strength.
Acting at the junction of the semiotic and symbolic, the act of enjoying taste in the ontological sense means the process of dissolution (saṁhāra ), which serves as an example of the interiorization of the objective (the aram is the source of the krama).
Destruction occurs through the rays of the senses (which symbolize the 12 Kali), striving for universal dissolution. This metaphor is often found in the Kalikrama texts, it points to Paramarsh. As Torrell notes, the act of enjoying the taste, represented by terms such as charwana, aswada, rasana, are complementary to the vimarsha and its derivatives.
There is another point of view concerning those who are infatuated with the devotion of the senses. According to these ideas, feelings lead to the recognition of unity in differences (bhedābheda, kramākrama ) because of all-embracing connections and relationships. This is the idea of ​​spreading (vyāpti).
The sense organs, because of their all-pervasive nature, are transformed into instruments acting in the field of the spell of devotion. The pervasive nature of the senses, the concept of interweaving everything where the lower is imbued with the higher, is the basis of the Kalikrama tradition.
The rays represent the all-pervasive nature of the senses. Like solar energy, the rays of the senses illuminate the world separately and all together. The sunshine spreads outward, it is this spreading in all directions that personifies the all-pervasive nature of the senses.
This symbolizes the fact, that everything is manifested by the light of consciousness and, as such, reaches its true being by realizing its unity with everything. As a tool for Vyapti, the senses have the ability to interconnect things. At this level, the senses are already losing their separated character and become inseparable from the higher self. The higher self is the subject who recognizes the movement of the senses as the activity of pure consciousness.
Consequently, the process of connection causes the dynamic nature of the spread, it triggers the senses, which actually play the role of agents of the energy union (mahāmelāpa ). This synthesis clearly emphasizes the central place of identity in the dynamism of the senses, which, being all-pervasive (vyāpaka), leads to the enjoyment of the unified taste of the non-dual consciousness (sāmarasya ) at each moment of perception.
Utpaladeva, in the culmination of his anthem, glorifying devotion, apparently strives to postulate the fundamental role of the feelings involved in the union.Immersion in the work of feelings that permeate objectively and subjectively, and their eternal combinations are implied in the concept of the great feast of worship (mahotsava ).
Utpaladeva writes:
I worship Shiva,
whom during the feast of dissolution
Steadily and hugly embraces Shakti (Parvati)
Through whom the whole universe enjoys
Through food, drink and ornaments.
Oh, glory to the great feast of worship of the
Sweet and inexplicable
With which even falling tears
Have the taste of the nectar of immortality.
In the context of tantric practice, Mahottsava means the principle of excess of feelings related to the great feast where siddhis and yoginis come to join the union (melāpa) for the sole purpose of producing nectar (amṛta ). In fact, Mahesvaranada prefers this interpretation, placing the concept of the Mahotsava Utpaladeva at the center of his definition of the shaktopaya from the position of Kaula-Krama.
However, restraining the desire to put aside purely ritualistic meanings, we advance the "cognitive" interpretation, stating that siddhi and yogini are an image of the deities of the senses and senses that merge in a pulsating union that generates the nectar of bliss. The nectar of bliss is an enlarged consciousness characterized by the outpouring of the energies of the senses that permeate the phenomenal being from within and without. The flow of poured energy, experienced through a piercing gust of feelings, generates a state of unity that allows everything to manifest, maintain and dissolve in an endless chain of interconnected compounds. This is inherent in the very nature of the senses, which they enjoy in the state of expansion and contraction of their internal energies, which include all things in their essential unity.
Purna: The moonlit nectar of bliss
All levels of Śivastotravali are permeated with a strong desire for spiritual experience of perfect completeness (pūrṇa ) manifested in the lunar nectar of immortality. Utpaladeva most clearly expressed the importance of purnah, connected with the highest state of shambhava (śāmbhava). This idea is illustrated by the oozing nectar of immortality (amṛta-pūrṇatva ), which brings bliss and fills the phenomenal world. Perfect completeness (pūrṇa/paripūrṇa ) is the realization of the ontological identity between the being of the phenomenal world and the pure consciousness of Shiva, which is expressed in the statement:
"the whole world is your perfect fullness." Moreover, the attainment of perfect completeness (pūrṇa ) with the help of the senses is a necessary condition for their deification, which empowers feelings with "radiant splendor".
Purna is often associated with the symbolism of the moon, illustrating the self-regenerating source, which at the same time empties, and fills itself with the nectar of moonlight. The full moon symbolizes the highest degree of external saturation; The new moon, on the contrary, symbolizes the peak of inner fullness. Utpaladeva takes into account both these dimensions in her description of the lunar nectar, which generates the experience of bliss.
"Purna - the full moon of sensual experience
Even relying on objects of
Feeling bestow upon the
Followers the nectar of immortality"
According to the interpretation of the concept of feelings in the Kalikrama tradition, the experience of objectivity, achieved through the solar action of the senses, is embodied in the moon nectar, which is a form of bliss. When the rays of the sense organs are filled with pure will (icchā ) to flow outward, they bring the sensory experience to its fullness.
The nectar of bliss arises from the desire to make the sensory experience complete. In this state, "concentrated consciousness" is experienced as a fivefold object of feelings. The ten rays of the sense organs, together with the mind (manas ) and intellect (buddhi ), regarded as one, give rise to 11. Thus, the bliss of sense experience generates 16. Number 16 is the symbol of the full moon of objectivity, nectar is its form; this bliss, because it is based on the great bliss of the object of will.
"Purna aham - the new moon of perfect fullness "I"
Bows to
Whose exceptional activity is the destruction of the
Great darkness of error
Whose radiance exceeds any light
Whose symbol is the Moon The
Lord that is free from thoughtforms (nirvikalpa) The perfect fulness of supreme bliss ( mahānandapūrṇa )."
The perfect completeness of the Self (pūrṇa ahaṁ) lies at the heart of Pratyabhijna's goal, because it represents the highest state of shambhava (śāmbhava). This state of freedom from thoughtforms (nirvikalpa), where the three parts of the cognitive process (subject, object and methods of cognition) are nondifferent from pure consciousness (cinmātra ). This identification is maintained by enjoying one taste (ekarasa ). Purna aham is a state of rest (viśrānti) in which the mind and feelings, free from separation, act by the energy of bliss (ānanda-śakti ).
The interconnection of the perfect fullness of the self (pūrṇa ahaṁ ) and the dynamism of the cognitive process, embodied in the functioning of the senses, is described by the symbolism of reflection.Purna-aham is the mirror (bimba ) foundation of absolute freedom (svātantrya), which maintains the unity of the play of universal reflections (pratibimba ) unfolding in the cognitive process. Given the absorbing nature of Shiva, which realizes the universal dissolution, the perfect completeness of the Self (pūrṇa ) is symbolically portrayed as the 17th phase of a new moon, but not as a full moon.
17th lunar phase symbolizes the perfect completeness of the inner realization, containing the lunar nectar of immortality, poured out in the manifestation of objective reality.
"Purna is a combination of the superconscious (unmanā ) and the conscious (samanā ).
Wherever I am with the body,
speech and mind
All this is just you.
Let this highest truth be
Completely realized (paripūrṇa ) in me."
Having carefully examined the sensory element of Utpaladeva's views on the mystical experience, we can see that the perfect realization (paripūrṇa) experienced as a taste of the nectar of immortality (amṛta ) is a fusion of two states.
The first state of expansion pulsating in the enjoyment of the senses, is harmonized by the second state of rest of the shambhava. In Kalikram, they are respectively associated with states known as samana and unman.
Samana means the sensual pleasure of the organs of perception, experienced as amazement (camatkṛti), giving the senses an outlet through which the adept attains the beauty of the sensory world in various forms: sound, touch, etc .; This sequence (krama ) of the flow of feelings, flowing in and out, is experienced as a pleasure in taste (rasana ).
When this activity ceases to exist, it dissolves, consciousness enters the state of unman, akrama. The state of the unman is a form of eternally conscious radiance, in which the various cycles of perception are identical to the pure consciousness of Shiva. In the state of unman, objectivity is perceived as the enjoyment of nectar (amṛta ).
Through this nectar, an inner outpouring of the senses takes place, and the adept feels that the phenomenal world is immersed in the divine stream. The fusion of these two states, occurring in an inconsistent sequence (karamākrama), is rooted in the higher state of stability (sthiti ) that underlies Kalikrama's view of sensory experience.
( Prof. Aleksandra Wenta)

Friday, May 22, 2020

Vat Savitri

Vat Purnima (वट पूर्णिमा, vaṭapūrṇimā, also called Vat Savitri is a Hindu celebration observed by married women in Mithila and in the Western Indian states of Gujarat, Maharashtra, Goa and some regions of
Uttar Pradesh. On this Purnima (full moon) during the three days of the month of Jyeshtha in the Hindu calendar (which falls in May-June in the Gregorian calendar) a married woman marks her love for her husband by tying a ceremonial thread around a banyan tree. The celebration is based on the legend of Savitri and Satyavan as narrated in the epic Mahabharata.

History

The legends dates back to a story in the age of Mahabharata. The childless king Asvapati and his consort Malavi wish to have a son. Finally, the God Savitr appears and tells him he will soon have a daughter. The king is overjoyed at the prospect of a child. She is born and named Savitri in honor of the god.[citation needed]
Method of Vat Purnima Vrata in Skanda Purana, which is the 14th of Puranas
She is so beautiful and pure, and intimidates all the men in her village that no man will ask for her hand in marriage. Her father tells her to find a husband on her own. She sets out on a pilgrimage for this purpose and finds Satyavan, the son of a blind king named Dyumatsena who lives in exile as a forest-dweller. Savitri returns to find her father speaking with Sage Narada who tells her she has made a bad choice: although perfect in every way, Satyavan is destined to die one year from that day. Savitri insists on going ahead and marries Satyavan.
Three days before the foreseen death of Satyavan, Savitri takes a vow of fasting and vigil. Her father-in-law tells her she has taken on too harsh a regimen, but she replies that she has taken an oath to perform the regimen and Dyumatsena offers his support. The morning of Satyavan’s predicted death, he is splitting wood and suddenly becomes weak and lays his head in Savitri’s lap and dies. Savitri places his body under the shade of a Vat (Banyan) tree. Yama, the god of Death, comes to claim Satyavan's soul. Savitri follows him as he carries the soul away. She offers him praise and Yama, impressed by both the content and style of her words, offers her any boon, except the life of Satyavan.
She first asks for eyesight and restoration of the kingdom for her father-in-law, then a hundred children for her father, and then a hundred children for herself and Satyavan. The last wish creates a dilemma for Yama, as it would indirectly grant the life of Satyavan. However, impressed by Savitri's dedication and purity, he offers her one more chance to choose any boon, but this time omitting "except for the life of Satyavan". Savitri instantly asks for Satyavan to return to life. Yama grants life to Satyavan and blesses Savitri's life with eternal happiness.
Satyavan awakens as though he has been in a deep sleep and returns to his parents along with his wife. Meanwhile, at their home, Dyumatsena regains his eyesight before Savitri and Satyavan return. Since Satyavan still does not know what happened, Savitri relays the story to her parents-in-law, husband, and the gathered ascetics. As they praise her, Dyumatsena’s ministers arrive with news of the death of his usurper. Joyfully, the king and his entourage return to his kingdom.
Though the tree does not play a significant role of the story, it is worshiped in memory of the love in the legend. The festival is followed by married women only, and is prohibited for children and widows.

Vat Purnima
Big Banyan Tree at Bangalore.jpg
Tying threads around a banyan tree (wata).
StatusActive
GenreHindu; Religious
Begins13th date in the month of Jestha,
Ends15th date in the month of Jestha
FrequencyAnnually
Location(s)Maharashtra, Goa
CountryIndia
ParticipantsMarried woma

Festival

Vat Purnima in English means a full moon related to the banyan tree. It is a Hindu festival celebrated strictly in the Northern and Western Indian states Maharashtra, Goa, Gujarat . , The period of the festival is observed over three days, usually the 13th, 14th and 15th days in the month of Jestha (May–June). Women observe a fast and tie threads around a banyan tree and pray for the well-being of their husbands.

Fast and tradition

On the occasion of Vat Purnima, women keep a fast of three days for their husbands, as Savitri did. During the three days, pictures of a Vat (banyan) tree, Savitri, Satyavan, and Yama, are drawn with a paste of sandal and rice on the floor or a wall in the home. The golden engravings of the couple are placed in a tray of sand, and worshiped with mantras (chanting), and Vat leaves. Outdoors, the banyan tree is worshiped. A thread is wound around the trunk of the tree, and copper coins are offered. Strict adherence to the fast and tradition is believed to ensure the husband a long and prosperous life. During the fast, women greet each other with "जन्म सावित्री हो" (English: "Become a Savitri"). It is believed that until the next seven births their husband will live well.
In his book, B. A. Gupte provides a Pauranic excerpt to suggest that the mythology behind the festival is symbolic of natural phenomena.He notes that it is the representation of the annual marriage of the earth and nature represented by Satyavan and Savitri. It is like the way the earth dies every year and is rejuvenated by the powers of nature. He points out that the Vat tree was likely chosen due to the mythological aspects connected to the tree that are known to Indians.
In the present day, the festival is celebrated in the following way. Women dress in fine sarees and jewelry, and their day begins with the offering of any five fruits and a coconut. Each woman winds white thread around a banyan tree seven times as a reminder of their husbands. They fast for the whole day.
वट सावित्री व्रत रखा जाएगा. यह त्योहार हिन्दू पंचांग के अनुसार, ज्येष्ठ महीने की अमावस्या के दिन वट सावित्री व्रत मनाया जाता है. यह व्रत विशेषकर विवाहित महिलाओं के द्वारा अखंड सौभाग्य का आशीर्वाद पाने के लिए रखा जाता है. धार्मिक मान्यताओं के अनुसार माता सावित्री अपने पति के प्राणों को यमराज से छुड़ाकर ले आई थीं. अत: इस व्रत का महिलाओं के बीच विशेष महत्व बताया जाता है. इस दिन वट (बड़, बरगद) का पूजन होता है. ऐसा मान्यता है कि वट सावित्री व्रत कथा के श्रवण मात्र से महिलाओं के पति पर आने वाली बुरी बला टल जाती है. इस पर्व को देश के सभी हिस्सों में मनाया जाता है. आइए जानते हैं क्यों है ये त्योहार महिलाओं के लिए खास एवं इसकी विधि

जानिए क्यों हैं महिलाओं के लिए यह व्रत खास

आज का दिन महिलाओं के लिए बेहद खास है. इस दिन माता सावित्री ने अपने दृढ़ संकल्प और श्रद्धा से यमराज द्वारा अपने मृत पति सत्यवान के प्राण वापस ली थी. इसलिए महिलाओं के लिए ये व्रत बेहद ही फलदायी माना जाता है. इस दिन सुहागन महिलाएं पूरा शृंगार कर बरगद के पेड़ की पूजा करती हैं. वट वृक्ष की जड़ में भगवान ब्रह्मा, तने में भगवान विष्णु व डालियों, पत्तियों में भगवान शिव का निवास स्थान माना जाता है. महिलाएं इस दिन यम देवता की पूजा करती हैं. इसके बाद पूजा करने के बाद व्रती महिलाएं कथा सुनती है.
वट सावित्री व्रत के दिन दैनिक कार्य कर घर को गंगाजल से पवित्र करना चाहिए. इसके बाद बांस की टोकरी में सप्त धान्य भरकर ब्रह्माजी की प्रतिमा स्थापित करनी चाहिए. ब्रह्माजी के बाईं ओर सावित्री और दूसरी ओर सत्यवान की मूर्ति स्थापित करनी चाहिए.
इसके बाद टोकरी को वट वृक्ष के नीचे ले जाकर रख देना चाहिए. इसके बाद सावित्री और सत्यवान का पूजन कर, वट वृक्ष की जड़ में जल अर्पण करना चाहिए. पूजन के समय जल, मौली, रोली, सूत, धूप, चने का इस्तेमाल करना चाहिए. सूत के धागे को वट वृक्ष पर लपेटकर तीन बार परिक्रमा कर सावित्री व सत्यवान की कथा सुने. पूजन समाप्त होने के बाद वस्त्र, फल आदि का बांस के पत्तों में रखकर दान करना चाहिए और चने का प्रसाद बांटना चाहिए.

Thursday, May 21, 2020

BEDNI BUGHYAL


Himalayan History Group

According to prevelant legends , Maa Parvati to save herself from Mahishasura took refuge in vaitarni / BEDNI KUND located at BEDNI BUGHYAL, Uttarakhand state. Locals also say the original name was VEDANI ( the location where VEDAS were brought in to existence ) later came to be known as BEDANI.
Considered one of the most beautiful bughyals in Uttarakhand I decided to venture upto BEDNI Bughyal enoute ROOPKUND ( the high altitude lake approx.15 k feet ).During my visit ,I noticed temples of MAA Nanda Devi and latu Devta held by all in great reverence. The main intention behind this trek was to see the Beautiful BEDNI Bughyal and BEDNI KUND.However the water of kind was all dried up but the ancient twin idols of MAHISHASHURMARDINI was a blessing. Even localities are not aware of how these idols were placed in BEDNI KUND.
ROOPKUND (considered the mother of all mysteries due to the presence of large number of Human skeletons)at a staggering height of 5000 mts above sea level continues to be a favourite among trekkers and an important location for MAA NANDA DEVI RAJJAT YATA .
Research conducted points to a legendary event where people were killed in a violent hailstorm in 9 th century.
Source of information: wikepedia , conversing with locals at wan village ,pics clicked during my visit : May 2018.


BEDNI BUGHYAL ( ANCIENT IDOLS and temple of Maa Nanda Devi and Latu Devta ) May 2018.

oldest photograph of Kashmir

One of the oldest photograph of Amarnath yatra

Year 1898 Maharaja Pratap Singh of Jammu and Kashmir , with members of Royal Family & staff performing Puja at Chandanwari on way to Amarnath holy cave.....

Photograph by Diwan Alim Chand .....

Credits:- Seema Bhat 


1955 Oldest pic of Mattan the one of the holy place of kashmiri pandit community in kashmir