Significance of Dasa Maha Vidya Yagyas
Select a Yagya below to explore the significance:
Kali Maha Vidya
Tara Maha Vidya
Shodashi Maha Vidya
Bhuvaneswari Maha Vidya
Tripura Bhairavi Mahavidya
Chinnamasta Maha Vidya
Pratyangira
Dhumavati Mahavidya
Bhagalamukhi Mahavidya
Devi Matangi
Kamalatmika Mahavidya
Kali Maha Vidya
This Maha Vidya is known as the first and foremost one in Dasa Maha Vidya Devis. She has dark complexion and yet brightly radiating very powerful Divine aura.In the Vydic Month of “Aswayuja masa” (that is around September-October period) close to Saran Navarathi time, during “Krisha paksha” (the period of the fading or waning moonin the later part of the fortnight) on the ‘Ashtami Tithi’ that is on eighth day. Shakteya tradition says that Sri Kaali Upasana to be of utmost superior form of worship and best one. One who participates in Kaali Devi Worship will be relieved from all diseases and worries and protects them from enemies and eliminates them and gives long life and yields good name and gives popularity in the masses when worshipped in the ‘Tantric’ form of lineage. This Dasa Mahavidya Yagya Worship also a remedial measure to reduce planet Saturn’s influence in once life.
In the series of the ten Mahavidyas or wisdom aspects of the Divine Mother, Kali comes first, for she represents the power of consciousness in its highest form. She is at once supreme power and ultimate reality, underscoring the fundamental Tantric teaching that the power of consciousness and consciousness itself are one and the same.
Kali appears to us in countless ways, but some aspects are more commonly encountered than others. In the esoteric Krama system of Kashmir, she is said to have a succession of twelve forms, beginning with Guhyakali, the supreme mystery, the Absolute. The other eleven forms represent every subsequent level of awareness, all the way down to our ordinary, unenlightened state. From pure formlessness and throughout the countless forms she assumes, Kali is the sole reality. Mother is all, and all is Mother.
The earliest descriptions of Kali belong to the Puranas, and they place her on the battlefield. The Devimahatmya vividly depicts a scene with Kali and her associated goddesses ready to take on an army of demons. Here, Kali has emerged as the personified wrath of the Divine Mother Durga. She appears emaciated, with her dark flesh hanging loosely from her bones. Her sunken eyes glow red in their sockets. She is clad in a tiger’s skin and carries a skull-topped staff. A garland of human heads adorns her neck. Her gaping mouth shows her to be a fearsome, blood-thirsty deity. The battle culminates with the slaying of two demon generals, Canda and Munda, and this act earns her the name Camunda.
In the next episode Camunda takes on the demon Raktabija. His name means, “he whose seed is blood.” Whenever a drop of his blood falls upon the ground, another demon of equal size and strength springs up. In the battle, he sheds blood profusely until the world is teeming with Raktabijas. Just when the battle looks hopeless and the onlooking gods despair, Camunda roams the battlefield, avidly lapping up the blood and crushing the nascent demons between her gnashing teeth. Finally, drained of his last drop of blood, Raktabija topples lifeless to the ground.
On the surface this appears to be a grisly tale, but it symbolizes profound insight. Raktabija’s amazing replicative ability symbolizes the human mind’s ordinary state of awareness. The mind is constantly in motion, and one thought begets another in an endless succession. The mind rarely rests and is never fully concentrated. In the light of Patanjali’s Yogasutra, we can understand Camunda as the power to restrain the mind’s endless modulations, to stop them altogether. When all mental activity (cittavritti) ceases, that state is called yoga: consciousness resting in its own infinite peace and bliss. In that state of ultimate absorption, represented by Camunda’s imbibing of every drop of blood, the soul regains knowledge of its own original divinity. Camunda Kali’s battle scene represents the resorption of fragmented human awareness into transcendental wholeness.
Away from the battlefield Kali assumes more benign forms. As Dakshinakali, she is portrayed as young and beautiful, standing on the supine, ash-besmeared body of Siva, who looks up at her adoringly. Siva is absolute consciousness, ever blissful in its own glory. Kali is consciousness in motion—the overflowing joy that projects, sustains, and withdraws the universe. Consciousness and its power are one and the same reality.
With her lower right hand the four-armed Dakshinakali displays the varadamudra, the gesture of boon-giving. Her upper right hand makes the abhayamudra, reassuring us to have no fear. The upper left hand wields the bloodied sword of knowledge. This is the capacity we can call upon to cut through all appearances and perceive the underlying reality. It is the power of mental discrimination (viveka) essential to spiritual practice and growth. From Kali’s lower left hand dangles the freshly severed head of a demon. This represents the human ego—the small, false sense of individual selfhood that binds us to this world. It is our crippling limitation. Once it is out of the way, awareness expands to infinity. We become one with the Divine and are liberated.
Kali’s nakedness signifies her boundlessness. Nothing can contain her who is infinite. Her loose, flowing hair also represents freedom, in this case the freedom from social convention, from all the conditioning that has been imposed on us and that we impose on our own minds. Our true nature is unconditioned consciousness—nirguna caitanya. Another symbol of freedom can be found in the girdle of severed human arms that circles her waist. This represents the divine power to cut through the bonds of karma. It is the power inherent in our own consciousness—a freedom of choice in the moment that can also be taken as a sign of divine grace.
Around her neck Kali wears a necklace of skulls. All appearances to the contrary, this is a symbol of creative power. It is the varnamala, the garland of letters. Each skull represents a sound of the Sanskrit alphabet, a particular manifestation of energy. Physics tells us the same thing—that the universe is nothing but energy, vibrating at different frequencies and levels of intensity, and the result is this palpable world of name and form. The imagery of the skulls also reminds us that all created things pass away. Vibration is movement, and everything in the universe is constantly changing. Change is not possible except for time, and Kali is also time, the relentless devourer that in the end swallows up all things.
Kali’s iconography in its various forms invites deep contemplation, and that leads to ever-deepening insight. In general, we can say that all the dualities of life, the light and the dark, the beautiful and the fearsome, are united and reconciled in Kali. She represents supreme nonduality, for she is none other than Brahman. At the same time, the duality of this world is nothing other than her own self-expression.
Two incidents in the life of Sri Ramakrishna bear this out. As a young priest at Dakshinesvar, Ramakrishna developed an unbearable longing for the vision of Kali. One day, feeling he could stand it no longer, he seized the Mother’s sword from the wall in the shrine room, intending to end his life. Just then Kali revealed herself. In that moment the temple and all surroundings vanished, and Ramakrishna beheld only an endless, radiant ocean of consciousness. Feeling he was to be engulfed by the onrushing waves, he lost awareness of the outer world but continued to experience a steady flow of undiluted bliss. Kali had revealed herself as the Absolute. But she is also the relative. On another occasion in the same shrine room, Ramakrishna beheld the image, the altar, the worship vessels, the doorsill, the marble floor, and everything else as nothing but vibrating consciousness—even a cat, to whom he fed the Mother’s food offering! In that experience Kali revealed to him that it is she who has become everything.
From the Absolute to the relative and from the relative to the Absolute, Kali represents the power of transformation. For us, who wrongly think ourselves to be mere mortals, she holds out the promise of transformation from the human to the Divine.
Tara Maha Vidya
Goddess of Emergencies, The Savior, Deliverer, She Who Offers Guidance at Crossroads
Description & Benefits: Excellent speaking skills, the annihilation of your enemies and difficulties, and blessings of Divine knowledge and wealth.
Sri Tara Devi is the goddess of guide and protectress or the one who saves. She shines in a bluish hue and is the prime Goddess of Speech. One who offers the ultimate knowledge which gives salvation (also known as Neel Saraswati), Sri Tara Devi Maha Vidya Homa sponsors will be blessed with excellent oratory and presentation skills, overcoming your enemies and challenges as well as gains in a wisdom that leads to wealth and correct decisions.
Who is Goddess Tara?
Goddess Tara is the second of the Dasa (ten) Mahavidyas or “Great Wisdom Goddesses.” She is also considered as a form of ‘shakti.’ The Goddess Tara can be considered as the most popular deity in the Tibetan pantheon. This goddess has such a great influence in Tibetan Buddhism that some have suggested that Tibetan Buddhism should be renamed as Taraism. The Goddess Tara is mostly worshipped throughout Tibet, Nepal and much of South-East Asia. Although there is little or no significant reference found about her in China and Japan, she closely resembles “Quan Yin” or The Japanese Kannon.
According to popular myth, the Goddess Tara came into existence from the sacred tear of Avalokitesvara, which in turn formed a lake, when it fell to the ground. Out of this divine lake, a lotus rose up, which on opening, revealed the Goddess Tara. Like Avalokitesvara, Tara also guides people through the spiritual travel along the path to ‘Nirvana’.
What She Represents?
Viewed as a beautiful woman of white complexion, long golden hair, and blue eyes, Goddess Tara is called the ‘mother of liberation’ and represents the virtues of success in work and achievements. She takes care of the Underworld, the Earth, and Heaven. She also governs birth, death, and regeneration. Her notable animals are sows, mare, owl, and raven.
What is the Importance of The Goddess Tara?
In Hindu scriptures, the Goddess Tara is described as one of the eight major aspects of the Divine Feminine principle. Sometimes, she is also seen as a loving manifestation in contrast to the Hindu Devi ‘Kali’. The concept of the Goddess Tara was adopted by Buddhism from Hinduism by the 3rd century B.C. As of now, the Goddess Tara appears in Buddhism, Jainism, and specifically in Tibetan Lamaism. She actually creates a great array of manifestations and is worshiped as a mother creator and protectress of all humanity as they cross the sea of life.
In Tibetan mythology, Tara is known as a faithful deity. She is the feminine counterpart of the Bodhisattva. As mentioned Tara always blesses and helps souls who cross the sea of life. She also helps a human being in navigating life and guiding through the Earthy travel.
Shodashi Maha Vidya
Tripurasundari is sometimes spoken of as an adimahavidya, or primordial wisdom goddess, which puts her in the company of Kali and Tara as representing one of the highest experiences of reality. She is not the ultimate, absolute, or nirguna state devoid of all qualities; still, she represents the experience of consciousness in a high state of divine universality.
Her other names include Sodasi, Lalita, Kamesvari, Srividya, and Rajarajesvari. Each of these emphasizes a particular quality or function.
According to the description in her dhyanamantra, Tripurasundari’s complexion shines with the light of the rising sun. This rosy color represents joy, compassion, and illumination.
Tripurasundari has four arms, and in her four hands she holds a noose, a goad, a bow, and five arrows. The noose indicates the captivating power of beauty. The goad represents the ability to dissociate from ego-based attachment. The bow represents the mind (manas), and in this case it is no ordinary bow but one made of sugarcane. The five arrows, representing the five sensory faculties (jnanendriyas), are made of flowers. In other words, what we perceive and cognize is by nature good, sweet, juicy, and delightful. The world is a place of beauty, to be savored and enjoyed. To reinforce that idea, a profusion of jeweled ornaments adorns Tripurasundari’s body, symbolizing not only her splendor but also her inexhaustible abundance.
Tripurasundari is often shown sitting on the recumbent body of Siva, who rests on a throne. Siva is the absolute consciousness-in-itself, the sole reality and support of everything that has name and form. On that sole support sits Tripurasundari, who is Sakti. This is a graphic illustration of the great Tantric teaching that without Siva Sakti would have no being, and without Sakti Siva would have no expression. Consciousness and its power are one.
The four legs of Tripurasundari’s throne are the gods Brahma, Visnu, Rudra, and Mahesvara. Brahma is the power of creation or cosmic emanation (srishti); Visnu, of cosmic maintenance (sthiti); Rudra, of destruction, dissolution, or withdrawal (samhara). In a distinctively Tantric addition to this threefold activity, Mahesvara symbolizes the divine power of concealment (nigraha). When the nondual reality makes manifest the finite many, the infinite One becomes hidden from our awareness. Conversely, Siva, in the form of Sadasiva, is the power of self-revelation (anugraha), also known as divine grace. When we go beyond the appearances and division of name and form, we again experience the ineffable divine unity that is our true being. These five deities—Brahma, Visnu, Rudra, Mahesvara, and Sadasiva—represent Tripurasundari’s five divine activities (pancakritya).
In the Sakta Tantra, it is Mother who is supreme, and the gods are her instruments of expression. Through them she presides over the creation, maintenance, and dissolution of the universe, as well as over the self-concealment and self-revelation that lie behind those three activities. Self-concealment is the precondition as well as the result of cosmic manifestation, and self-revelation causes the manifest universe to dissolve, disclosing the essential unity.
With this in mind, the eighteenth-century commentator Bhaskararaya proposed that the name Tripurasundari should be understood as “she whose beauty precedes the three worlds,” meaning that she is divinity in its transcendental glory. However, the name is usually taken in an immanent sense to mean “she who is beautiful in the three worlds.” Present here is the idea of a triad, a grouping of three that plays out in many different aspects of the phenomenal world.
The triangle is the dominant motif of Tripurasundari’s yantra, the Sricakra. The innermost triangle represents the first stirrings of cosmic evolution. This takes place within divine consciousness. Pure, nondual consciousness is aware of nothing other than itself, for there is no other. It is pure subjectivity—the ultimate “I” (aham). As we learn from the Upanishads, the One, seeing itself alone, declares, “Let me be many; let me propagate myself.” Within the pure awareness of “I” (aham) arises the idea of” this” (idam). Now we have subjectivity and objectivity within the same singular reality of consciousness. And where there are two, there is always a third—the relationship between the two. Hence, the triangle of the knowing subject, the known object, and the act of knowing that relates them.
Tripurasundari represents the state of awareness that is also called the sadasivatattva. It is characterized as “I am this” (aham idam). Cosmic evolution is the outward flow of consciousness (pravritti). Spiritual practice reverses that flow, so for the yogin this stage is a very high level of attainment, close to final realization. In this state a person experiences the same sense of selfhood felt within his or her own heart as pervading everything. This experience of the Self in all beings, called sarvatmabhava, takes one beyond the confines of the individual ego to the realization that “I am all this.” This is the level of awareness known in the Tantra as sadasivatattva. This direct experience of the Divine simultaneously in oneself and throughout the whole of creation results in a feeling of universal love (visvaprema). One who lives in this exalted state of oneness feels no separation from others and therefore becomes a fount of compassion.
Even in our ordinary state of consciousness, Tripurasundari is the beauty that we see in the world around us. Whatever we perceive externally as beautiful resonates deep within. That is the meaning of the flower arrows and the sugarcane bow. Deep within dwells the source of all beauty, that ultimate truth of which the outer world is only a reflection, of which our experience is a recognition. True beauty lies not in the object perceived but in the light of awareness that shines on it and makes it knowable. One who lives mindful of Tripurasundari abides in a purity of consciousness and experiences a joy that can be tangibly savored. Yet if the creation is wonderful, how much more wonderful must be she who created it.
For the unenlightened the world appears imperfect. Perfection is wholeness and unity, but the world appears to be a vast assemblage of diverse parts. The unity of the divine cause is veiled by the multiplicity of its effects. We perceive beauty but feel also the pain of its fleetingness, forgetting that the source of beauty lies indestructible in the heart of our awareness as the Divine Mother, Tripurasundari.
Her sadhana is therefore the purification of our awareness—cleansing the mind of unworthy thoughts and the patterns of thinking that underlie them, recognizing beauty everywhere, seeing the miraculous in the commonplace, and rising to the conviction that nothing is alien to ourselves. As the Upanishads teach, “All this universe is truly Brahman” (sarvam khalv idam brahma); so too is this Self (ayam atma brahma).
Bhuvaneswari Maha Vidya
The fourth Mahavidya Godness is bhuvaneswari ,whose form closely resembles that of Tripurasundari. Even more than the goddess who is beautiful in the three worlds or transcends them, Bhuvaneswari is identified with the manifest world and our experience of it.
Her name consists of two elements: Bhavana, which means this ‘living world,’ place of dynamic activity and isvari, which means the ‘female ruler’ or ‘sovereign’. The name Bhuvaneswari is most often translated as “Mistress of the World,” but bhuvana is more than the earth we stand upon. It is the entire cosmos, the bhuvanatraya, consisting of the heavens, the atmosphere, and the earth. Because this is a living, dynamic phenomenon,Bhuvaneswari embodies all its characteristics and their interactions.
Some of her other names make this same point. She is called Mahamaya, meaning “she whose magical power is great.” Maya here is the power to create a magical appearance for the delight of the spectator; that is what a magician does.
She is called Sarvarupa, “she whose form is all” and Visvarupa, “she whose form is the universe” or “she who appears as the universe.” All that we experience in this life is in fact the Divine Mother. As Bhuvaneswari she is consistently associated with the here and now.
Her images closely resemble those of Tripurasundari in several respects. Bhuvaneswari’s complexion resembles the color of the rising sun, on her brow she wears the crescent moon and she is heavily bejeweled. This last feature affirms the value of the physical world. Sometimes she is shown holding a jeweled drinking cup filled to the brim with gemstones, reminding us that she is the source of all abundance.
The lotus on which she sits tells us that she is the source of the creation. Her full breasts symbolize her nurturing, maternal nature. As Mother she sustains all that she has given birth to, and her attitude toward all her children is most gracious.
This world, with its profusion of diversity, is her joyful play, to which she remains ever attentive. That is indicated by her three eyes, which represent her knowledge of past, present, and future. Nothing escapes her all-pervading awareness.
Bhuvaneswari is often shown holding a noose and a goad. Sri Paramahamsa Ramakrishna used to say that it is Mother who binds and Mother who sets free, and these two implements illustrate her captivating and liberating powers. With her noose she fulfills the functions of avidyamaya, casting us into the confusion by which we mistake appearances for reality.
According to another interpretation the noose represents the pancakosa, the five sheathes that surround and conceal the atman. They are the physical body (annamayakosa), its life-breath (pranamayakosa), the perceiving mind (manomayakosa), the determinative faculty (vijnanamayakosa), and the causal sheath or sense of individuality (anandamayakosa).
With her goad she pushes us to overcome any hindrances, any passions or negativities or wrong ideas that conceal our true, divine nature. She urges us to reach beyond the limitations of human life drawn by the body, mind and personality in order to aspire to true Self-knowledge.
The lotus is one of the most pervasive symbols in Indian iconography and its meaning can vary according to context. Here the lotuses in Bhuvaneswari’s upper hands represent growth and the vigorous energy pervading the cosmos. They also symbolize purity and perfection. Although the lotus plant has its roots in the mud, its blossom is untainted in its beauty. The lotus thus represents the state of spiritual perfection to be attained through sincere and ardent practice. Our ordinary lives may appear mired in worldliness, but we are in essence untouchably pure.
Because Bhuvaneswari is so closely associated with the manifest universe, it follows that the emphasis is on her creative power. As the physical universe begins to emerge out of the void, the first of the five elements (mahabhutas) to manifest is space (akasa). It only makes sense that there would have to be space before the remaining four elements would have a place in which to exist.
Space is also the medium of sound, and this sound is none other than the creative word. The two ideas are very closely related. In the Rigveda, which is the most ancient of all Indian sacred texts, space is personified as Aditi, the great mother goddess of early Vedic times. Aditi, whose name means “undivided,” had as her physical symbol the vast, shining expanse of the sky. This space, which appears to stretch on without limit, is a visible symbol of infinity. Aditi, the great mother who gave birth to the gods, and who is all that has been, is, and will be, was also identified with Vak, the goddess of the creative word, who in turn is identified with Sarasvati and later with Durga. Western philosophy recognizes this same concept of creative power as logos. In line with this thinking, another name of Bhuvaneswari is Vagisvari, “the sovereign of the creative word,” who rules over the process of cosmic manifestation.
Along with the idea of space comes the idea of pervasion, and so Bhuvaneswari is celebrated as the all-pervading divine presence. And all-pervading means just that. We think of exterior space as beginning where our physical body ends and then stretching out into the unimaginable reaches of the universe. That is one form of space. But there is also an inner space — the space within our own awareness and that too is infinite.
The inner space is the space of the heart. The word heart does not refer to the physical organ or even to its location in the chest. Heart means the center of awareness, the very essence of consciousness. For each of us the heart is the abode of the infinite Divine Mother. This means that wherever we go in this world, we are never away from her presence. We may often forget, and most often we do, owing to the myriad distractions which claim our attention and involve our thoughts, feelings, and actions. Still, the light of awareness is ever present, illuminating and making possible all experience. Without the Mother’s presence, there would be nothing.
In a treatise entitled Self-Knowledge (Atmabodha), attributed to Sankaracarya, the penultimate sloka (verse 67) takes up this same theme: “Risen in the space of the heart, the Self, the sun of knowledge, dispels the darkness; all-pervading and all-supporting it shines and causes everything to shine” (hridakasodito hy atma bodhabhanus tamopahrit / sarvavyapi sarvadhari bhati bhasayate ‘khilam).
Practically speaking,Bhuvaneswari, by her all-pervasiveness and identification with the universe, invites us to cultivate an attitude of universality. Any religion that lays claim to possessing the exclusive truth is indulging in a dangerous fantasy. All religions link humankind to a single reality that lies beyond this world of our petty differences yet abides in every heart and mind. Some choose to call this reality God or Heavenly Father or Divine Mother, but in truth he, she, or it is that which cannot be named, for to name is to limit, and who are we to limit the unlimitable? And why? For our own personal comfort or satisfaction, either individually or collectively? Does it serve us better to cling to our own parochial ideas of the Divine and ever to squabble among ourselves? Or to open ourselves to the Infinite, which we can never describe, but which in truth we are.
Benefit of Shri Bhuvaneswari in Tantra
In tantra, sadhana of Dasa Maha Vidya sadhakas consider ma Bhuvaneswari to give immediate results to obtain beauty, good fortune, immovable property, house and vehicle. The aspirant sadhaka, having perfected this sadhana get all ashta sidhis. This sadhana evokes innumerable advantages for all round financial prosperity and stability, blesses with lifelong fixed assets and real estates. The results are realized instantly after the accomplishment of the sadhana.
Benefit of Mata Bhuvaneswari Puja
Mata Bhuvaneswari protects a person from the following:
- Planetary positions forming a nirdhan yoga
- Obstacles in obtaining house or vehicle
- Social, financial and physical cases of misfortune
- Loss of confidence and memory, insensitivity
- Emotional immaturity, irresponsibility
- Bad influence of the planet Moon
Tripura Bhairavi Mahavidya
Goddess Ma bhairavi maintains the sixth significant position among all the ten Dus Mahavidya’s. Ma Bhairavi is also known as Tripura-Bhairavi, Bala Bhairavi or Kala-Bhairavi. She is an incarnation of learning and reasoning, bravery and blessings carrying a compassionate and kind smile on her face.
Bhairavi mata is represented graphically as the consort of Bhairava, referred as Shubmkari. She is beneficial to people with moral excellence and dreadful for people possessing negative qualities.
Creation and destruction is the phenomena of nature which exists everywhere in the form of Bhairavi. Bhairavi is the controlling goddess of this crumbling world. The tantrik sadhna of tripur bhairavi is beneficial for exercising control over sensual desires and for individuals overall spiritual growth.
Astrologicals Significance of Mahavidya Mata Bhairavi Puja
Mata bhairavi is the presiding goddess of an individuals lagna house in the horoscope/kundli. She purifies and protects the body, mind, soul and other attributes which are associated with the individuals lagna. Tantrik pujan of mata bhairavi removes the lagna dosha and is carried out for lagna shuddhi.
If you are going through the main and sub period of lagna rashi or lagna graha (mahadasha and antardasha) or having malefic effect of that lagna rashi or lagna graha it is recommended to carry out Vamtantra Dasa Mahavidya tantrik Mata Bhairavi puja. This puja is to be done to mitigate evil effects of lagna dosha.
Mata Bhairavi protects a person from the following:
- Tensions
- Worries
- Accidents
- Disrepute
- Negative energies
- Uncertainties
- Nervousness
- Malefic spirits
- Protects a person from akaal mrityu (premature death)
The name Bhairavi means “frightful,” “terrible,” “horrible,” or “formidable.” The basic idea here is fear. Ordinarily we associate fear with darkness. It is not uncommon to be afraid of the dark, or rather of the dangers that lurk there unseen, but that is not the sort of fear that Bhairavi provokes, for she is said to shine with the effulgence of ten thousand rising suns.
Bhairavi may be terrifying, but she is anything but dark. If this is puzzling at first, we need to find another example where brilliant light and terror meet face to face. That example is found in the eleventh chapter of the Bhagavad-Gita. Arjuna had been urging Sri Krishna to reveal himself in his supreme, universal form, but when Krishna complied and Arjuna beheld it, the experience was too much for him. The Gita describes the divine glory as the splendor of a thousand suns rising at once in the sky. In that blazing radiance Arjuna beheld the boundless form of the Divine with arms, eyes, mouths, and bellies without end. Arjuna saw gods and celestial beings and whole worlds looking on with dread and wonder, some praising, some trembling in fear. On every side he saw worlds disappearing into fiery mouths, like moths hurtling into the flames of their destruction. In this overwhelming experience of the Divine, Arjuna came face to face with the birth-less, deathless, infinite reality in which universes are born, subsist, and die. He was so struck with terror that he begged to see his beloved Krishna once again his familiar, gentle human form.
This experience of Lord Visnu’s universal form, his visvarupa, closely parallels the experience of the Divine Mother as Bhairavi. Just as Visnu’s forms range from the cosmic to the personal, so do Bhairavi’s. Reality is One, but it appears to us as many. We can think of Bhairavi in cosmic terms or in an individualistic sense. As a cosmic goddess Bhairavi is closely identified with Durga in her fierce form, known as Chandika. Because Durga presides over the birth, sustenance, and death of the universe, she projects three primary facets, called Mahakali, Mahalakshmi, and Mahasarasvati. These extremely subtle and immeasurably powerful aspects of consciousness manifest on the material level as the three gunas, the basic building blocks and driving energies of the universe.
In her individualized aspect, Bhairavi is the power of consciousness dwelling in every human being. Then she is known as Kundalini. Basic to both the cosmic and individual aspects is identification of Bhairavi with tremendous power. In other words, in either aspect she can appear as overwhelming.
The innate capacity to know—to experience—the Divine lies latent within every human being, and spiritual life unfolds through various stages of discovery. When we set out on the spiritual path, we start our seeking by making a conscious effort of some sort, but then what we find isn’t necessarily what we expected. If we have not sufficiently prepared ourselves to receive it, the light of spiritual knowledge may blaze so strongly that we may have all of our familiar and comfortable assumptions about the world and ourselves suddenly shattered. We may have our world stood on its head, and for a while we may lose our bearings. But the extraordinary nature of spiritual discovery is that it causes us to see the world in a new light and to have a different relationship with it.
Though Bhairavi can be disconcerting or even downright frightening, she is, in the end beneficent. Again, we are reminded that she is the color of fire, and what does fire do? At the physical level it burns. Its blaze of heat and light consumes whatever has form, and in this awesome manifestation of destructive power it is both magnificent and terrifying. Yet when controlled, fire can be beneficial, warming us when we are cold, cooking our food, and so on.
Fire as the light of consciousness likewise can be frightening or reassuring. This light of consciousness is sometimes called tejas, which means “resplendence.” It is through the light of awareness that we have knowledge of the world, that we experience our own existence, for better or for worse.
Another word frequently encountered in connection with fire is tapas. This is often translated as “austerity,” “mortification,” or “penance,” but all those words carry negative connotations. A more accurate translation would be ardor. Ardor is also the Latin word for flame, and along with the idea of heat and light it conveys the idea of enthusiasm, passion, and joy. In order to practice tapas, that self-purifying discipline that leads us Godward, we need that encouragement. According to one account, Bhairavi incites every form of passion, and she also grants the power to control it. That power is called yoga.
Each of the Mahavidyas has more than one form. Most have a variety of representations and a proliferation of names, but none can claim as many as Bhairavi. Accordingly, her images are widely divergent, and there is no single iconography to define her. Sometimes she is in the cremation ground, seated on a headless corpse. Like Kali, she has four arms. With two of her hands she holds the sword of knowledge and the demon’s head that represents the destruction of the ego. Her other two hands may display the abhayamudra, urging us to have no fear, and the varadamudra, the gesture of granting boons. More often they hold a mala, signifying devotion, and a book, signifying knowledge. The trident represents the pervasively threefold nature of her manifestation and can be interpreted in a variety of ways.
It is often said that Bhairavi represents divine wrath, but it is only an impulse of her fierce, maternal protectiveness, aimed at the destruction of ignorance and everything negative that keeps us in bondage. In that aspect she is called Sakalasiddhibhairavi, the granter of every perfection.
It is the Mother’s light that shines on every facet of our existence, making it knowable. That light sustains the created order, even though we find shadows here and there in this realm of duality. When the light grows stronger it roots out darkness from every corner. It eventually grows so bright that the created forms dissolve into pure radiance, and what remains is the state of spiritual illumination in which we have no more individuality, no more limitation—only our identification with the Infinite.
Chinnamasta Maha Vidya
Description & Benefits: Will gain victory over enemies, gain home, land and all past negative karmas from past births will be neutralized.
Sri Chinnamasta Devi is also popularly known as ‘Vajra Vairochani’ or ‘Prachanda Chandi Devi – The self-decapitated Goddess. She is very prominent and holds utmost importance for Shakteya Upasakas. Those who pray to her will gain blessings of victory over their enemies, gains in conveyances and neutralization of past misdeeds and miscreations.
Pratyangira
Sri Maha Pratyangira Devi is a powerful manifestation of the Divine Mother, who is revered as the mother of liberation. Her presence represents the values of righteousness, truth, and justice, and she is said to free her devotees from their karmas and the cycle of life and death.
She embodies pure bliss and Ananda, fiercely protecting her followers and removing their negativity. She manifests when the world is out of balance, guiding it towards the age of truth, or Satya Yuga. The Devi is present in all beings, waiting to be awakened.
Despite being formless, Sri Maha Pratyangira Devi assumes a form that is half-lion and half-human, symbolizing the balance between the masculine and feminine and the union of Shiva and Shakti. Her form and energy represent the balance between opposing forces, allowing her devotees to transcend dualities and achieve Oneness with their higher self.
In her full form, she is depicted as having 1008 heads and 2016 hands, each carrying a weapon or symbolic item. She rides a chariot pulled by four lions, symbolizing the four Vedas, four Yugas, four objectives of human birth, and four stages of spiritual evolution. Her form is fierce, with the power to destroy negative karmas and restore righteousness, while her smile radiates pure bliss and joy. Goddess Pratyangira is a proven energy factor and remedy for protecting personal and professional areas of life. This remedy can bestow protection from negative energies and evils. Importantly, this can be a life-saving remedy for legal battles in any aspect of life.
Dhumavati Mahavidya
Goddess Dhumavati
If Bhairavi represents overwhelming brilliance, Dhumavati personifies the dark side of life. We know from our own experience that life can be exhilarating, joyful, and pleasant—something we want to embrace and live to the fullest. But at other times we find that this same life can be depressing, sorrowful, painful, and frustrating.
At such moments we respond with pessimism, sadness, anxiety, or anger. It is then that we no longer want to embrace life but rather seek to avoid its misery.
This is where Dhumavati comes in. Her name means “she who is made of smoke.” Smoke is one of the effects of fire. It is dark and polluting and concealing; it is emblematic of the worst facets of human existence.
The concepts embodied in Dhumavati are very ancient, and they have to do with keeping life’s inevitable suffering at bay. Before there was the Mahavidya named Dhumavati, there were three earlier goddesses who were her prototypes. They are closely related to each other and have many characteristics in common. They share many of these same characteristics with Dhumavati as well, but with her there is also an important difference.
Dhumavati’s oldest prototype is the goddess Nirriti in the Rigveda. The early seers envisioned a principle of cosmic order and universal moral law that they called rita. The moral dimension of rita later came to be called dharma. The name Nirriti is a negation of rita. Whereas rita denotes order, growth, abundance, prosperity, harmony, well-being, and the goodness of life, Nirriti is the opposite. She personifies disorder, decay, poverty, misfortune, dissension, sickness, and the whole range of life’s ills, culminating in death. Nirriti was not worshiped in the same sense as other Vedic deities; rather she was ritually appeased so as to be warded off. In the Rigvedic hymn that mentions her (10.59) the refrain is, “Let Nirriti depart to distant places.” The idea was to keep her far away.
Closely related to Nirriti is Jyeshtha, whose name means “the elder.” She represents the state of decline that comes with old age, and naturally she is depicted as an old woman. She is instinctively drawn to households in which there is strife—where family members quarrel or where the adults feed themselves and disregard the hunger of their children. It is probable that she, like Nirriti, was propitiated to keep her at a safe distance.
One of Jyeshtha’s epithets is Alakshmi, this name indicates that she is everything that Lakshmi is not. She is Lakshmi’s dark mirror image. The Candi informs us that it is Alakshmi who visits misfortune upon the homes of the unrighteous. She stands for poverty and bad luck and all the miserable things that can happen to people.
All three of these names refer to an inauspicious goddess who is portrayed as dark-skinned, signifying her tamasic nature. It is clear that she is the prototype of the Mahavidya Dhumavati, because of the striking similarities not only of character but also of iconography.
A common feature is the association with a crow. The crow sometimes appears emblazoned on Dhumavati’s banner; sometimes it sits atop the banner. Occasionally the bird is shown as huge, serving as her mount (vahana). In some illustrations a flock of crows accompanies her. In any case the crow, as an eater of carrion, symbolizes death. It is a fitting companion for a goddess of misfortune, decay, destruction, and loss.
Dhumavati, like her prototypes, is associated with poverty, need, hunger, thirst, quarrelsomeness, anger, and negativity. She is consistently shown as old and ugly, with sagging breasts and crooked or missing teeth. She is dressed in filthy rags. We can draw two inferences here. One is that the unpleasant experiences of life will eventually engender a sense of disgust that will turn us toward the Divine. The other is that the Divine is present everywhere, even in what we ordinarily consider foul or ugly. How can there be a place where the infinite Mother is not?
Unlike her predecessors, Dhumavati is characterized as a widow, and this gives a clue to her unique nature as a Mahavidya and distinguishes her from the earlier goddesses, who are to be avoided. The difference is that Dhumavati has some positive aspects.
The state of widowhood in Indian society carries a range of complexities. Conventionally widowhood is an unenviable state. Without her husband, a widow has lost her former social standing and may come to be viewed as a financial burden on the extended family. This is symbolized by the cart in which Dhumavati sits; it has nothing to pull it. Occasionally an illustration shows two birds yoked to the cart, but far from expressing empowerment, they appear to be struggling against something too big and to heavy to pull.
In the context of traditional Indian society, the fact that widows can be socially marginalized can also indicate that for them the worldly concerns of life are past. Widows are free to follow a spiritual path, to go on pilgrimages, and to engage in sadhana that would have been impossible during the years of family obligations. No longer constrained by the demands of the married state, they are in a position to apply themselves wholeheartedly to spiritual practice. There is an implied parallel here between the enforced position of widowhood and the voluntary state of renunciation known as samnyasa.
Apart from the specific conditions and observances of traditional Hindu society, is there any broader lesson we can extract that is relevant to our experience? Since the Mahavidyas are all taken to be wisdom goddesses, intent on helping us toward enlightenment, there should be some practical insight that Dhumavati can impart.
A primary lesson is that misfortune may look different in retrospect. It is universally acknowledged that something that seemed painful or unfortunate at the time might have been for the best after all, in short a blessing in disguise. Most of us need look no further than our own lives or the lives of people we know for examples of disappointments, misfortunes, frustrations, defeats, or losses that led to positive transformation. Similarly, adversity can build character and turn an ordinary soul into an extraordinary one.
Another lesson is that with the ticking of the clock we inevitably face losses of one sort or another, and we must come to terms with them. Dhumavati represents the erosive power of time that robs us of loved ones, of our own youthful strength and vitality, of our health, and of whatever else contributes to our fragile happiness. Everything that we so desperately cling to for security is by nature transient. In the end we all face our own mortality. That is the fundamental problem of human existence.
The image of Dhumavati, old and ugly and alone and miserable in her cart of disempowerment, tells us what to do. The lesson is to cultivate a sense of detachment. Note that Dhumavati holds a bowl of fire in one hand and a winnowing basket in the other. The fire symbolizes inevitable cosmic destruction: all things shall pass away. The winnowing basket, used to separate grain from chaff, represents viveka, mental discrimination between the permanent and the fleeting. Even though her stalled cart represents an external life going nowhere, Dhumavati empowers us inwardly to reach for the highest, and there is nothing to stop us once we are resolved. In the end, she points the way to liberation.
Bhagalamukhi Mahavidya
Of all the Mahavidyas, Bagalamukhi is the one whose meaning is the most elusive. Her symbology varies widely, and its interpretation shows little consistency. The opinions of one informant often bear little relation to those of another, and even while making spiritually valid points they can seem rather arbitrary and disconnected. There is no satisfactory explanation even for Bagalamukhi’s name. The word bagala is not found in the Sanskrit lexicon and attempts to link it to baka (“crane”) are less than convincing.
One of her common epithets is Pitambaradevi, “the goddess dressed in yellow.” Her dhyanamantras also emphasize the yellow color of her complexion, clothing, ornaments, and garland. Her devotees are instructed to wear yellow while worshiping her and to employ a mala made of turmeric beads. Even her few temples are painted yellow. Although her verbal descriptions consistently emphasize the color yellow, her pictorial representations are strangely sparing in their use of the color. More often Bagalamukhi is shown wearing red or orange. There is no consensus on what the color yellow is supposed to mean either. The most plausible explanation out of several is that yellow, being the color of the sun, represents the light of consciousness.
The rest of Bagalamukhi’s symbols evoke similarly vague and widely divergent interpretations and produce no clear picture of what this Mahavidya is all about. This situation calls for fresh thinking. The explanation that follows is in large part unique but is based on a trail of clues found in her mantra.
Bagalamukhi is consistently associated with siddhis, which are yogic powers with magical properties. For a genuine spiritual aspirant such powers are obstacles to be avoided. That said, one such power is stambhana, the power to immobilize, to paralyze, to restrain an enemy. Proper understanding of what stambhana means spiritually is essential to knowing who Bagalamukhi is.
The first thing to keep in mind is that according to all schools of Indian philosophy the world of our experience consists of three levels—the gross or physical, the subtle or mental, and the causal or potential.
Illustrating the principle of stambhana at the gross level, there is an incident from the life of Holy Mother, Sri Sarada Devi, that took place around 1889 in the village of Kamarpukur. There a devotee named Harish returned home after a series of frequent visits to Sri Ramakrishna at Dakshinesvar and, after his mahasamadhi, to the monks at the Baranagore monastery. Harish, who sometimes behaved erratically, had neglected his wife and family during that time. To remedy the situation, his wife administered drugs and spells, and Harish became visibly deranged. One day he caught sight of Holy Mother on the road and began to chase her. When she reached the family compound, she found that no one was at home. She began to circle the granary, all the while with Harish in pursuit. After going around, it seven times, she could run no farther. Then, as she told it, she stood firm and assumed her own form. Putting her knee on his chest, she grabbed hold of his tongue and slapped his face so hard that he gasped for breath, so hard that her fingers reddened. At that moment the usually gentle Sarada Devi revealed herself in the form of Bagalamukhi and enacted the physical stance of stambhana.
This concrete symbolism represents a principle that penetrates through every level of our existence and beyond, all the way back to the essence of our being. In this incident we witness the actual presence of Bagalamukhi as a living counterpart of the painted images and verbal descriptions that show her stopping an adversary by grasping his tongue and striking him.
The tongue represents speech, or vak, which is elsewhere personified as a goddess. Vak is more than the spoken word; it is the divine creative power that encompasses the entire range of consciousness. Shown holding on to her adversary’s tongue, Bagalamukhi has the ability to render motionless the creative and destructive power of consciousness in any of its manifestations. These encompass motion, thought, and intention, the manifest forms of speech at the gross, subtle, and causal levels.
Beyond them the supreme level of speech is consciousness-in-itself, the ultimate, unconditioned reality. Emanating from it, intention, thought, and motion are the three stages of creativity that account for this world that we experience. The Chandogya and Taittiriya Upanishads contain passages explaining how Brahman, seeing itself as One, intended to express itself as the many, then thought out a plan, and then set it in motion. Tantric teaching defines these three stages as icchasakti (the power of will), jnanasakti (the power of knowledge), and kriyasakti (the power of action). This is how consciousness works at the cosmic or universal level.
At the individual level that same consciousness works within each of us, infusing everything we feel, think, or do. This internal awareness is also vak, the power of speech, but again the spoken word is only the end-product and grossest manifestation.
There are four levels of speech. The highest is para vak, the supreme, infinite consciousness without qualities or conditioning. It is our divine nature, our true Self—ever present, unchanging, and illuminating all of our experience. Next, pasyanti vak, isthe visionary stage, the urge for self-expression. Everything in our life’s experience begins here in a flash. Every feeling, every idea we formulate, everything we act upon, begins in an instantaneous flash of awareness. When we begin to think about whatever has flashed, ideas begin to take shape in logical sequence. This level of awareness is called madhyama vak, the intermediate, formulative phase. As the ideas become more and more definite, they assume a form expressed in language. This is vaikhari vak, the level of articulate speech. Vaikhari vak is both subtle and gross. The subtle form is the thoughts in our mind, now shaped into words, phrases, and sentences but not yet uttered. The gross form is what comes out of the mouth—the expression of our consciousness embodied in physical sound.
As long as we identify with the body and the mind, our experience of self is that of an individual amid the duality of “I and other.” We often feel the need to control the other, and sometimes that is legitimate, but not always. At a higher level we realize that control of self is a nobler and better, but much harder, discipline. Bagalamukhi symbolizes our innate power to go within and take control of our own awareness. That taking control is yoga, which Patanjali defines as the cessation of constant modulation (cittavritti) within our own field of awareness. Only by taking hold of the activity within our awareness and stopping it can we be freed from worldly bondage and rest in the peace and joy and glory of our own true nature.
Stambhana in the highest sense is yoga. After duly observing the ethical practices of yama and the ennobling disciples of niyama, we are ready for asana. Sitting quietly stops the motion of the body, which in turn calms the metabolic functions and prepares us to quiet the mind. The remaining states of pratyahara, dharana, dhyana, and samadhi are a continuum of ever decreasing activity, culminating in the experience of the Self as pure, unconditioned consciousness. Pulling us by the tongue, Bagalamukhi is drawing us there.
Devi Matangi
Divine Mother Devi Matangi holds the 9th significant position among the 10 Dasa Maha Vidya’s. She has dark complexion and yet is lavishly elegant and beauty with very refined beautiful features. Devi Matangi resembles Devi Sarasvati in appearance especially, the way she holds the divine musical instrument Veena. But there is significant difference in these 2 forms. Ma Saraswati grace is centered on more of ‘Saatvik’ form of learning such as fine arts, academics, mastery in language learning. Whereas Ma Matangi’s is ‘Tantric form of Ma Saraswati’. Ma Matangi’s sadhana helps in acquiring supernatural powers using ‘Tantric Prayog’ such as controlling people by influencing their minds, freezing thoughts.
Matangi Devi also holds Japa Mala, Lotus, Parrots, Shankh and Chakra. All these together symbolize the interrelated aspects of sound, knowledge, and power. Sound of the Veena represents creativity, parrot that accompanies Matangi associates with speech, Japa mala represents sound in the form of power of chanting Mantra. Combined power of all of these forms the power of Knowledge and knowledge is power. This is applicable to all aspects, skills relating to any field of learning. The more we know, the more knowledgeable we are, the stronger will be our hold on mastering that subject or skill.
Ma Matangi is also popularly known as ‘Ucchishta Chandalini or Ucchishta Matangini’. Devi Matangi is the repository of all 64 forms of art (Chatur Shashti Kalas). She is the one who bestows us with listening, speech, perception, learning, logical analytical skills, reasoning, and such other important learning factors.
Constant Sadhana of Ma Matangi helps one to acquire supernatural powers.
Devi Matangi is the quintessential Tantric Goddess and is often associated mastery in yogic or magical powers that are invoked to exert influence over environment or people etc. But this sort of power is something that true spiritual aspirants are not interested in. (They would rather seek mastery over other physical aspects such as control over their own emotions, impulses and thoughts and control over one’s own mind, which is higher and nobler gesture. One who seeks Spiritual growth should be more introvert than extrovert so as to discipline the mind and direct that energy towards God alone.
It is very important for us to focus on our actions first before judging others. Mind is never free its constantly roaming and therefore actions driven by mind without thinking are spontaneous and are emotionally conditioned yielding to different opinions formed by its experiences that bind us and these actions prolong our bondage. Unless one frees oneself from this bondage one cannot be liberated and unless one is not liberated, one cannot reach the Ultimate Eternal Truth, God. Devi Matangi’s teaches us to face our false notions, become free from bondages and leads us to progress on the path of Spiritual Salvation or Moksha).
Devi Matangi’s teaches us to face our false notions, become free from bondages and leads us to progress on the path of Spiritual Salvation or Moksha.
Ma Matangi Puja is advised strongly for those, whose Graha (Planetary) Transitions (for both – Antardasha or MahaDasha) for the period of Sun are going through malefic period. She can help relieving them from suffering and severe agony created by this Graha condition because she alone can mitigate the negative effect of ‘Surya Dasha’ and protect them from such afflictions. Persons going through such malefic period can be saved by Ma Matangi from very powerful accidents, obstacles in job or projects, dangers coming from unnatural calamities or to overcome very powerful enemies.
Benefits of Ma Matangi Pooja are:
- Disharmony in couples
- Overcoming strong and powerful enemies
- Accidents and harm coming from unnatural calamities
- Relief from strong mental afflictions such as memory, thinking issues
- Removes all strong obstacles in the path of learning
- Hearing disabilities
- Speech disabilities
- Removes strong negative forces and energies.
Kamalatmika Mahavidya
The series of ten Mahavidyas begins with Kali and ends with Kamalatmika. Both are aspects of the Divine Mother and are widely worshiped in their own right apart from the context of the Mahavidyas.
Lakshmi is a very ancient form of the Divine Mother. In Vedic times she was known as Sri. As she appears in the Vedic hymns, Sri represents light, radiance, luster, glory, and prosperity. She is the divine resplendence and power inherent in every deity.
In late Vedic times, in a hymn known as the Srisukta, Sri is identified with Lakshmi, who may originally have been a non-Vedic agricultural goddess. The Srisukta already associates her with the lotus and the elephant. The lotus represents cosmic order, life, and fertility. The universe unfolds like the blossoming of a lotus, and the creation is accordingly vibrant, beautiful, and good. The lotus also represents purity. The plant is rooted deep in the mud, but the exquisitely beautiful flower it produces is untainted. Similarly, water beads up on the lotus leaves and immediately runs off, so the lotus represents serene detachment as well as incorruptibility. Besides purity, the lotus is a symbol of spiritual authority, and the lotus on which Lakshmi-Kamala is seated is in fact a throne. The elephant stands for similar qualities. The water showered from its trunk represents rain, and rain is tied to fertility, growth, well-being, and wealth. The elephant, being the mount of kings, is also a symbol of authority.
To understand this better, we need to keep in mind that there are at least three different views of Lakshmi, depending on the sectarian standpoint of the viewer. Sri is the original Vedic goddess, who by late Vedic times had absorbed and assimilated to herself the probably non-Vedic Lakshmi. So today Lakshmi is a Vedic, or orthodox, aspect of the Divine Mother. In all likelihood, the probably non-Vedic Lakshmi also retained her original standing among her worshipers, and in that form, we know her as the Tantric goddess Kamala. In the aspect in which she is best known and most widely worshiped today; Lakshmi is the consort of Vishnu.
This helps to explain how Kamala, although overwhelmingly associated with lotuses, which represents purity and authority, can be reconciled with Matangi, who asks us to violate the outward purity laws and to question the authority that imposes them. In the end, spiritual life is about regaining our lost autonomy. Once we have realized our identity with the Divine, through whatever form of practice, we experience our own perfection. Questions of purity and impurity evaporate. To know the reality of divine consciousness in its unconditioned oneness is to become purity itself—the ultimate purity beyond the limitation of thought. Questions of authority likewise evaporate in the experience of absolute oneness, where there is no second. This is the experience of liberation or enlightenment, wherein any imposed authority vanishes in the radiance of divine autonomy (svatantrya).
Lakshmi, or Kamala, is the Divine Mother’s most popular aspect, for she relates to the world of the here and now. Devotees pray to her for good fortune, prosperity, abundance, and well-being—for all the good that life has to offer. There is no harm in this, as long as we wisely ask only for enough and no more. Lakshmi, our Mother, urges us also to pray and strive for the well-being of all our brothers and sisters. Then beyond that she calls us to strive for a higher wealth, the riches of dharma. This dharma includes devotion, kindness, compassion, truthfulness, and all other forms of moral excellence. Virtue is our highest treasure, more precious than gold. It will lead us to seek the still higher knowledge of self-realization that is the ultimate goal of human life.
In conclusion, all the Mahavidyas are states of spiritual awakening that we will experience within our own minds and hearts along the course of our journey back to the Divine. How often we’ve heard it said that God is love. Lakshmi or Kamala represents that love. To be saturated with the presence of Kamala is to become an embodiment of divine love. Then we come to understand her great secret: love is unique and unlike anything else, for the more of it you give, the more of it you have. And with this great secret Kamala offers us a direct path to the Divine.
The Benefit of Maa Kamala in Tantra:
In tantra sadhna of Dasa maha vidya sadhaks consider Kamala Goddess to give immediate results and it protects the sadhak from all sorts of problems about misfortune, poverty, debt, business failure and childlessness etc. This Sadhna evokes innumerable advantages for all round prosperity, stability, immense wealth and blesses with happy family life. The results are realized instantly after the accomplishment of the Sadhna.
The aspirant sadhak, having perfected Kamala Mahavidya Sadhana get all Ashtsidhis, after which he progresses spiritually and receives the physical energy or intensity to rescue from all troubles, gets all the desires fulfilled. The deity of wealth “Maha vidya Kamala”, who relieves her Sadhak of debts, poverty, tensions, problems, sins, maladies and danger of untimely death. She bestows upon him sharp intellect, influencing personality, wealth, health, a beautiful spouse, children, property, vehicles, name, fame and respect.
Who is Maa Kamala Mahavidya?
Goddess Kamala maintains the tenth significant position among all the ten Dasa Mahavidyas. She is seated on a lotus which symbolises purity. Mata Kamala is a pleasing young woman with a radiant complexion, delighting the senses, great intellectual and emotional admiration. Goddess has four hands with lotus flowers in her two hands, and her two remaining hands are in the posture of giving boons and blessings. She has a crown on her head and wears silken apparel. Four elephants as white as the snow of the Himalayas encircle her, carrying vessels of gold in their trunks.
Kamala is the goddess of prosperity, purity, integrity and generosity. Goddess Kamala is Lord Vishnu’s energy existing in bodily form and accompanies him in all his divine activities. Her sadhana, in reality, is the worship of Shakti (Power) the root cause of the existence of this world. Her devotion gives triumph, great quality, wealth etc. Mata Kamala like Mata Lakshmi is the goddess of fame, fortune, riches, material well-being, fertility and conception of children.
Benefits of Maa Kamala Dasa Mahavidya Puja:
• Misfortune and miseries
• Lack of material possessions
• Business failure
• Childlessness
• Disease
• Poverty
• Malefic Shukra
Astrological Significance of Maa Kamala Puja
Devi Kamala puja is done for Malefic period of Venus (shukra) or its Mahadasha or Antardasha for which affected individual requires immediate remedy to get relief from the suffering and agony created.
Persons going through the main and sub period of Venus (Mahadasha and Antardasha) or having malefic or retrograde Venus are suggested to carry out vamtantra Dasa maha vidya Kamala tantra puja. This puja is done to mitigate evil effects of shukra dosha.
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