THOUGHTS TRAVELING THROUGH BRAIN.

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BRAMHAND.

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Nityaklinna Nitya

Her name means Wet Nitya, or Always Wet. The third Nitya's mantra is Aim Hrim Shrim Nityaklinne Madadrave Svaha im Nityaklinna Nitya Shri Padukam Pujayami Tarpayami Namah.

She is surrounded by 19 Shaktis, according to the Tantraraja, who are Kshobhini, Mohini, Lila, Nitya, Niranjana, Klinna, Kledini, Madanatura, Madadrava, Dravini, Vidhana, Madavila, Mangala, Manmatharta, Manashvini, Moha, Amoda, Manomayi, Maya, Manda and Manovati. The Nityaklinna herself, the same tantra says, is restless with desire, smeared with red sandal paste, wears red clothes, smiles, has a half moon on her head, and holds noose, goad, cup and makes the mudra dispelling fear.

The Dakshinamurti Samhita (chapter 42) gives her root mantra as being of 11 syllables, Hrim Nityaklinna Madadrave Svaha. The image is similar except that she holds a noose, a goad, a skull and dispels fears. Her face is bathed in sweat and her eyes move with desire. Here the yantra is described as trikona, eight petals, and earth square (bhupura). She bestows enjoyment and liberation and subdues the three worlds for one siddha (successful) in her vidya (mantra).

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Bhagamalini Nitya

Nitya Bhagamalini, whose name refers to the flowering yoni, is

second of the cycle of the waxing Moon and has a remarkable and very long vidya (mantra) which runs: Aim Hrim Shrim Am Aim Bhagabuge Bhagini Bhagodari Bhagamale Bhagavahe Bhagaguhye Bhagayoni Bhaganipatini Sarvabhagavashankari Bhagarupe Nityaklinne Bhagasvarupe Sarvani Bhagani Me Hyanaya Varade Rete Surete Bhagaklinne Klinnadrave Kledaya Dravaya Amoghe Bhagavicce Kshubha Kshobhaya Sarvasatvan Bhagodari Aim Blum Jem Blum Bhem Blum Mom Blum Hem Blum Hem Klinne Sarvani Bhagani Me Vashamanaya Strim Hara Blem Hrim Am Bhagamalini Nitya Shri Padukam Pujayami Tarpayami Namah.

She has six arms, three eyes, sits on a lotus and holds in her left hands a night water lily, a noose and a sugar cane bow and in her right a lotus, a goad and flowering arrows. Around her is a host of Shaktis all of whom look like her, according to the Tantrarajatantra.

The

Dakshinamurti Samhita has a different image (dhyana). Here (chapter 41), she is described as dwelling in the middle of a flowery forest, adorned with various gems, holding noose, goad, book, scales, nail (?) and writing implement, showing the mudras or hand gestures of allaying fears and bestowing boons. Her yantra is described differently, too, as triangle, hexagon, 16 petals, eight petals, then the bhupura or fence.

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According to the Tantraraja, the 15 Nityas are limbs or rays of Lalita, who is herself pure consciousness without additions.

Varahi and Kurukulla bear the relationship of father and mother respectively. The Nityas themselves can be meditated upon and worshipped in different forms and colours for the attainment of different ends. In daily worship (puja) of the Nityas, each has her own nyasa and ritual sequence and they are to receive puja on the lunar days associated with them. The vidya mantras of the different Nityas below are prefaced by Aim Hrim Shrim bija mantras and suffixed with Shri Padukam Pujayami Tarpayami Namah, that is Hail. I worship and libate the auspicious lotus feet [of the appropriate Nitya]. The yantras used below are those from the Tantraraja while the Sanskrit syllables are the vowel letters associated with each Nitya and day of the Moon.

Kameshvari Nitya

The first Nitya in the cycle is Kameshvari, a name which means Lady of Desire. Her vidya (mantra) according to the Tantrarajatantra, is Aim Hrim Shrim Am Aim Sa Ka La Hrim Nityaklinne Madadrave Sauh Am Kameshvari Nitya Shri Padukam Pujayami Tarpayami Namah.

The same tantra gives her dhyana or meditation image as red like 10 million dawn suns, having a diadem of rubies, wearing throat ornaments, necklaces, waistchains and rings. She is red, has six arms and three eyes, and bears a crescent Moon, smiling softly. She holds a bow of sugar cane, flowering arrows, noose, goad, and a nectar-filled begemmed cup, showing the mudra of bestowing boons. The five arrows of desire (Kama) in the five petals are Longing, Maddening, Kindling, Enchanting and Wasting. These five Kamas are five forms of Kamadeva, Lalita as

Krishna, who are Kamaraja (Hrim), Manmatha (Klim), Kandarpa (Aim), Makara (Blum) and Manobhava (Strim) with the colours yellow, white, red, purple and blue. Each of the Kamadevas has two eyes and two arms, the hands holding sugar cane bow and flowering arrows, the very form of the five elements.

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KARTIK PURNIMA.

Kartik poornima is also the birthday of Matsya, god Vishnu's fish-incarnation (Avatar). It is also the birthday of Vrinda, the personification of the Tulsi plant and of Kartikeya, the god of war and son of Shiva. This day also is considered special for Radha, the lover of Krishna - Vishnu's incarnation. It is believed that Krishna and Radha danced rasa and Krishna worshipped Radha on this day. This day is also dedicated to the pitrs, dead ancestors.[4][5]

  Underhill believes that the origins of this festival may lie in ancient times, when a sacrifice called Shakamedhah was performed to attain victory over enemies.[6]

  The festival has even more significance when the day falls in the nakshatra (lunar mansion) Krittika and is then called Maha Kartik. The nakshatra is Bharani, the results are stated to be special. If it is Rohini nakshatra, then the fruitful results are even much more. Any philanthropic act on this day is supposed to bring benefits and blessings equal to the performing of ten yajnas (sacrifices).[7]

  Hindu ritual

  Kartik Poornima is closely associated with Prabodhini Ekadashi which marks the end of Chaturmas, a four-month period when Vishnu is believed to sleep. Prabodhini Ekadashi signifies the awakening of the god. Chaturmas penance ends on this day. Many fairs that begin on Prabodhini Ekadashi end on Kartik Poornima, Kartik Poornima usually being the most important day of the fair.[4] Fairs that conclude on this day include Prabodhini Ekadashi celebrations at Pandharpur and Pushkar Fair. Kartik Poornima is also the last day to perform Tulsi Vivah ceremony that can be performed from Prabodhini Ekadashi.

  Also, it is believed that Vishnu, on this day, returns to his abode after completing his stay in Bali. Hence, the day is known as Deva-Diwali.[8]

  Puskar Mela,
  In Pushkar, Rajasthan, the Pushkar Fair or Pushkar mela commences on Prabodhini Ekadashi and continues till Kartik Poornima, the latter being the most important. This fair is held in honour of god Brahma, whose temple stands at Pushkar. A ritual bath on Kartik Poornima in the Pushkar Lake is considered to lead one to salvation. It is believed circling the three Pushkars on Kartik Poornima is highly meritorious. Sadhus gather here and stay from ekadashi to full moon day in caves. About 200,000 people and 25,000 camels assemble in Pushkar for the fair. Pushkar fair is Asia's largest camel fair.[9][10][11][12][13]

  A ritual bath at a tirtha (a sacred water body like a lake or river) at a pilgrimage centre is prescribed on Kartik Poornima. This holy bath is known as "Kartik snana".[4][14] An holy bath at Pushkar or in the Ganges river, especially at Varanasi is deemed as most auspicious. Kartik Poornima is the most popular day for bathing in the Ganges at Varanasi.[5] The devotees also take a bath in the evening during moonrise and offer worship by way of six prayers such as Shiva sambuti, Satait and so forth.[7]

  Annakuta, an offering of food to the deities, is held in temples.[4] People who have taken vows on Ashwin full moon day, end them on Kartik Poornima. God Vishnu is also worshipped on this day. Any form of violence (himsa) is prohibited on this day. This includes shaving, hair-cutting, cutting of trees, plucking of fruits and flowers, cutting of crops and even, sexual union.[14] Charity especially donation of cows, feeding of Brahmins, fasting are religious activities prescribed for Kartik Poornima.[5] Giving gift of gold is said to fulfill all desires of people.[7]

  Tripuri Poornima is only next to Mahashivratri, amongst festivals dedicated to Shiva worship.[6] To commemorate the killing of Tripurasura, images of Shiva are carried in procession. Temple complexes in southern India are lit up throughout the night. Deepmalas or towers of lights are illuminated in temples. People place 360 or 720 wicks in temples, to secure escape reaching hell after death.[4] The 720 wicks symbolizes the 360 days and nights of the Hindu calendar.[5] In Varanasi, the ghats come alive with thousands of diyas (brightly lit earthen lamps).[5] People gift lamps to priests. The lamps are kept throughout the night in houses and Shiva temples. This day is also known as "Kartik Diparatna" - the jewel of lamps in Kartik.[6] Lights are also floated in miniature boats in rivers. Lights are placed under Tulsi, Sacred fig and Amla trees. The lights in the water and under trees are believed to help fishes, insects and birds who saw the light to attain salvation.[

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TEMPLE JAGANNATH.

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TEMPLE RANAKPUR CEILING AT RAJSTHAN.

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RANAKPUR JAIN TEMPLE,RAJSTHAN.

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RANAKPUR JAIN TEMPLE ,RAJSTHAN.

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SHAKTI PRINCIPAL.

The Shakti Principle

In the traditional idea of Shakti we find a blending of two elements, one empirical and the other speculative. On the empirical side the idea of Shakti is associated with cosmogony. It has been the un- contradicted experience of man from the dawn of understanding that there cannot be any origination whatsoever without the union of the two principles of Shiva and Shakti, the Male and Female aspects. The human analogy was naturally extended to the universe as a whole, and thus we came to the concept of the primordial Father and Mother.

In India, from the age of the Indus civilisation of Harappa and Mohanjoi-daro down to the present, the Father God is represented by a linga (the male symbol) and the Mother Goddess by the yoni (the female symbol). This conceptual representation of Shiva and Shakti by the linga-yoni is quite common and in many temples the two are worshipped in their symbolic form. In both Hindu and Buddhist literature the lord (male deity) is symbolicallA strong belief in this Shakti has brought about a popular synthesis among philosophies like Sankhya, Vedanta, Vaishnavism and Tantra. Sankhya speaks of 'Purusha' and 'Prakriti' as two independent and ultimate realities whose interaction is a mere attribute resulting from the contact of the two. In the Puranas and other literature. Prakriti is plainly conceived of as being the female counterpart of Purusha, and as such the two realities have been practically identified with the Shakti and Shiva of the Tantras. In a similar manner the principle of Maya (illusion) has been conceived as the Shakti of Brahman, These pairs were later viewed in the form of Vishnu and his Shakti, Lakshmi: of Sita and Ram, and later of Radha and Krishna. Thus, in popular belief, Shiva-Shakti of the Tantras, Purusha-Prakriti of Sankhya, Brahman-Maya of Vedanta, and Vishnu- Lakshmi, Sita-Ram and Radha-Krishna of Vaishnavism, all mean the same.

The philosophy of Shakti is clearly suggested by the two passages in the Brihadaranyak Upanishad (1:4, 1:3) where it is said that in the beginning was the Cosmic Being as the Atman in human form, who could never feel satisfied and content for he was all alone. So he desired a complementary aspect. His being was something like a natural point where the ultimate principles of male and female lay unified as it were in a deep embrace. He divided himself into two, male and female, which formed the first pair, and all the pairs of creation are said to be the replicas of this odevi (female deity) is symbolically represented by a red dot (rakta bindu) to suggest the analogy with menstrual blood containing the ovum

A strong belief in this Shakti has brought about a popular synthesis among philosophies like Sankhya, Vedanta, Vaishnavism and Tantra. Sankhya speaks of 'Purusha' and 'Prakriti' as two independent and ultimate realities whose interaction is a mere attribute resulting from the contact of the two. In the Puranas and other literature. Prakriti is plainly conceived of as being the female counterpart of Purusha, and as such the two realities have been practically identified with the Shakti and Shiva of the Tantras. In a similar manner the principle of Maya (illusion) has been conceived as the Shakti of Brahman, These pairs were later viewed in the form of Vishnu and his Shakti, Lakshmi: of Sita and Ram, and later of Radha and Krishna. Thus, in popular belief, Shiva-Shakti of the Tantras, Purusha-Prakriti of Sankhya, Brahman-Maya of Vedanta, and Vishnu- Lakshmi, Sita-Ram and Radha-Krishna of Vaishnavism, all mean the same.

The philosophy of Shakti is clearly suggested by the two passages in the Brihadaranyak Upanishad (1:4, 1:3) where it is said that in the beginning was the Cosmic Being as the Atman in human form, who could never feel satisfied and content for he was all alone. So he desired a complementary aspect. His being was something like a natural point where the ultimate principles of male and female lay unified as it were in a deep embrace. He divided himself into two, male and female, which formed the first pair, and all the pairs of creation are said to be the replicas of this original pair.

These passages of the Brihadaranyak Upanishad have been used extensively in the Puranas, Tantras and later Buddhist and Vaishnava Sahajiya in which Shakti played an important part. Whatever has been created in this phenomenal process has been created from the union of the two- energy and matter, the consumer and the consumed. They represent the two aspects of the one non-dual truth, one internal and the other external; one illuminating, unchangeable and immortal and the other obstructive, gross and perishable.

Distinct mention of the various powers of God is found in the Swetaswatar Upanishad, in which it is said "'Various powers are heard of this Brahman. It possesses power as knowledge and power as force or activity by virtue of its very nature." (6:8). "Know Maya (the unspeakable mysterious power) as Prakriti and the possessor of the Maya as the Great Lord Maheshwara (a name of Shiva)" (4:10). "He who is one and colourless brings forth various colours through the agency of his various types of powers" (4:1), The possessor of Maya created the universe, and beings are fettered by his Maya.
Shiva and Shakti

There are different views on the relation of Shiva and Shakti as propounded in the Puranas and Tantras. One view holds that neither Shiva nor Shakti represents the absolute truth; that the absolute reality is a State of neutrality where Shiva and Shakti remain in a state of perfect union (yamala). This is called the 'samarasya', where all things become one in a unity of blissful realisation. Shiva and Shakti ate two aspects of the one truth - the static and dynamic, the negative and the positive, the abstract and the concrete, the male and the female.

Another view holds Shiva as the Ultimate Being to whom Shakti eternally belongs. Nevertheless, neither Shiva nor Shakti is 'real' without the other. As Shakti cannot be conceived of without Shiva, so also Shiva becomes 'shava' (dead) without Shakti. The two are therefore eternally and inseparably connected.

A third view considers Shakti as the highest truth and Shiva as the best support for Shakti. Shakti is more important as 'the contained', while Shiva is the 'container'. Shakti is the all-creating, all- preserving and all-destroying power of which Shiva is the adhara (base).

In some of the Puranas the male deity, as the Shaktimat (the possessor of Shakti) has been described as the male aspect of the Ultimate Truth which is Shakti. It is from this point of view that the Mother worshippers would give a subsidiary place to Shiva, where the Shakti as Mother is taken to be the highest object of adoration. In this, her sovereign majesty, the Goddess, is sometimes called Lalita Devi from whom the male deity proceeds as a transformation of her own self. Apart from this conception of the Goddess, Lalita often stands as the general Mother Goddess of India. She is called Tripurasundari in the Tantras.

Puranas: Chandi Saptashati

Shakti as the Great Mother and highest truth has found an elaborate exposition in the Devi Mahatmya, (Glory of the Goddess) of the Markandeya Purana, and this portion of the Purana, comprising thirteen chapters, is regarded as the most sacred text of Mother worshippers and is known as Chandi or Durga Saptashati. Here the goddess is seen as Devi and becomes well known later as Durga. The name Durga has been variously interpreted in Puranic and Tantric literature which means she is the Mother Goddess who saves us from all sorts of misery and affliction, from all dangers and difficulties. She is also known as Chandi the fierce goddess as she incarnates whenever occasion demands, for the purpose of destroying the asuras (demons) who may threaten mental peace and the heavenly domain of the divine beings.

Durga is the Mother Goddess whose worship during the Autumn is a most celebrated one. She is also worshipped as Annapurna or Annada (goddess of corn and food). In Autumn she is also worshipped as Jagadhatri (the maintainer of the world). During the Spring she is Vasanti (Goddess of Spring). In some Of the Puranas Devi is said to be worshipped by 108 names in 108 sacred places (in the Matsya Purana, chapter 13, it is said that, though she is all-pervading and underlies all forms, the devotee desirous of attaining perfection should worship her in different places).

In the Devi Kavacha of the Chandi, the Devi as Nawadurga is described as Shailaputri, Brahmacharini, Chandraghanta, Kushmanda Skandamata, Kutyayani, Mahagauri and Siddhidatri. Other forms of Shakti are Chamunda (seated on a corpse), Varahi (on a buffalo), Aindri (on an elephant), Vaishnavi (on the bird Garuda), Maheswari (on a bull), Kaumari (on a peacock), Lakshmi (on a lotus), Ishwar (on a bull) and Brahmi (on a swan). Many of the Shaktis are associated with different godheads, such as Varahi, Shakti of Varaha (the boar-god), Narasimhi of Narasimha (the man-lion god).

Some Shakti forms are also found within the Buddhist tradition. For instance, Tara, a popular Indian goddess, is also a famous Buddhist goddess, while Chhinnamasta may be compared to Vajrayogini of the Buddists.

The story of Chandi first introduces Shakti as the principle of great illusion (mahamaya) which prevents us from viewing the things of life and the world around us in their true perspective. It creates in the mind a fierce attachment to the world and thus binds us down to a lower plane of existence. But where does the principle of objective illusion originate? It is an aspect of the same divine power which is responsible for the creative process, and which is shaping the universe eternally to its end. It was there as one with the Supreme Being even when the cosmos was not, and it remains there absorbed in the existence of the Supreme Being even after the dissolution, as a potency, a seed of future creative manifestation. It has its sway, not only on all animates but also on the Supreme Being, and in connection with the latter it is called Yogamaya, the maya which is a direct part of the Lord.

Mahamaya, as the Mahashakti, remains absolutely inactive at the time of dissolution and this inactivity of the Shakti lulls the Supreme Being lo profound sleep in the ocean of causal potency. She is the Mahakali since she contracts eternal time (kala) within her and from her time proceeds again as an endless flow of creative vibration. It is incorrect to consider this power as being spiritual alone. She is 'The' power - spiritual, mental, intellectual, physiological and biological. Whatever exists is due to Her; whatever works, works due to Her.

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MAKING YOUR MIND DIVINE.

 we expose the mind and push it to higher ideals and engage ourselves in spiritual practices, divine vibrations are generated. These vibrations push the mind from the sub-conscious level to the super-conscious level which is nothing but divine energy.  This divine energy brings out intuition from within us and also establishes the discriminating mind [Viveka] to differentiate between good and evil. A good example for this can be found in the Mahabharata.  Once, Duryodhana asked Lord Krishna – “Why do people call me bad and my cousin, Dharmaraja, good?” In answer, Lord Krishna said – “By tomorrow, you identify a good person, and let Dharmaraja identify a bad person.” The next day, Duryodhana came back and said – “There is not even one good person in this world,” while Dharmaraja said – “Everybody is good. I could not find a single bad person anywhere.”  Lord Krishna laughed and said – “When you see only goodness everywhere, divinity permeates your whole being.”

We, too, can churn out divine energy even while interacting with mundane objects and people, because God is present in every atom of creation.  In the Bhagavad Gita, Lord Krishna says - “He who has … conquered his mind … by identifying himself with the divine core in all beings is a true Karmayogi….” [5-7]. To empower ourselves, we should begin each day with a prayer – “God, I know You exist in all beings.  May I cognise You everywhere today.”  Then, we begin to experience that every living and non-living thing around us is associated with divinity.  We establish the fact that God is inspiring us through every person and situation.  Interacting with people, we will realise – “I am serving God in them.”  When we receive help, we think – “God is helping me through them.” In this way, we change our perception and emit only divine vibrations. Then, all our relationships harmonise and pulsate with unconditional love, making our lives and that of others frictionless and free.

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