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Thread: Mother Divine and Grahas

  1. #11
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    Re: Mother Divine and Grahas: Mātangi

    Hari O
    ~~~~~~

    The graha-s associated with the daśa mahāvidyā
    Kālī (Saturn)
    Tara (Jupiter)
    Tripurasundari (Mercury)
    Bhuvaneshvari (Moon)
    Tripura Bhairavi (Lagna or one's ascendant)
    Chinnamasta (Rahu)
    Dhumavati (Ketu)
    Bagalamukhi ( Mars)
    Matangi (Sun)
    Kamalatmika (Venus)
    Namaste

    Next in the list of daśa mahāvidyā-s or the 10 great (Maha) forms of power or knowledge (vidyā) is Mātangi. She aligns with Surya, ( some say Savitṛi) the sun, some call Ravi. Lets take a look at her name Mātangi.
    There are multiple meanings suggested in Her name.
    mā मा - is mother. Who has not heard of Mother Sun? This mā also means to measure. It is by the sun, Surya, that that day, a rasi or sign of the zodiac, and year is measured out. It is by the sun we measure the day and our activities 'Oh! we only have a few more hours of light to finish the project'' we hear people say.

    This mā also means light. When this mā is connected with yā we come to the familiar name of māyā - with is the Infinite measured out - that is the illusion of this māyā. The illusion ( some say deception ) the Infinite, Supreme can be measured, can be throttled down to finite things.

    mata मत - is a thought, an idea or an opinion and mati is the thinking mind where these thoughts take place. So we have Mātangi as that which goes to ( rises up) to the thought. That is, the unmanifest word ( the impulse) perceives itself for manifestation and rises it to the thinking mind for expression. Some would call this impulse paśyantī - the first pre-articulated aspect of sound. This state of the word is matanga.

    Now according to upon Śrī Śaṅkaranārayānan, when this impulse is fashioned by the heart and then formulated by the mind and is expressed, it has become mātangi. So these impulses of perfect purity become colored ( varṇa) during expression. This is articulated speech.

    Mātangi is also known as śyāmala - dark in color or complexion. Her complexion is dark as a green emerald and other times she is seen as nīla which is dark-blue (and again another name for a fig tree).

    In the Mahabharata its mentioned Mātangi was born of the sage Matanga who initially was a cāṇdāla (some write chandala) -a term fora less then desirable caste or class of people. Since Mātangi was born of this sage as cāṇdāla She also has been come to be known as Cāṇdāli ( or Chandali).
    To go even deeper at times she is referred to as ucchiṣṭa cāṇdāli; this ucchiṣṭa means left over, spit out. So not only is Cāṇdāli from a class that are considered despised, the name goes further to suggest even spit out.
    Here is a quick story¹ about this:
    It is said once Viṣṇu and Lakṣmī went to visit Śiva and Pārvatī. Viṣṇu and Lakṣmī offered Śiva and Pārvatī fine foods, and some pieces dropped to the ground. From these remains arose a maiden endowed with fair qualities. She asked for leftover food (ucchiṣṭa). The four deities offered her their leftovers as prasāda - food made sacred by having been tasted by deities). Śiva then said to the attractive maiden: "Those who repeat your mantra and worship you, their activities will be fruitful. They will be able to control their enemies and obtain the objects of their desires." From then on this maiden became known as Ucchiṣṭa-Mātangi. She is the bestower of all boons.

    The indicates Mātangi's association with leftover food, which is normally considered highly polluting. Indeed, she herself actually arises or emerges from Śiva and Pārvatī's table scraps. And the first thing she asks for is sustenance in the form of leftover food (ucchiṣṭa).
    Texts describing her worship specify that devotees should offer her ucchiṣṭa with their hands and mouths stained with leftover food; that is, worshippers should be in a state of pollution, having eaten and not washed.

    What then is the insight here? Here is my best effort on this matter: Śrī Śaṅkaranārayānan writes, cakśuśmanto' nu paśyantī. Those that have the vision to see though (cakśuśmanto) will have the faculties to appreciate and comprehend the knowledge (as represented by paśyantī - the pre-articulated ( unmanifest) sound. This paśyantī is used interchangeably with parā the highest, madhya the central point or turya; I this post calling it parā vāk (or vāc) would be appropriate as paśyantī is defined as that pre-articulated ( dormant ) sound ready to manifest.

    So what did I just say? if the person gets beyond the visual or the notion of ucchiṣṭa, spit out, or repulsive and is able to see beyond that, then this native is fit for the knowledge of understanding the Supreme; the others will be happy on the periphery.

    Mātangi, as she is associated with unmanifest word becoming manifest, is the Goddess who gives vāgvilāsa , grace and elegance to speech. We can then call Her Vāgvadini, or the Power (śakti) of Expression.
    Hence accomplished writers, musicians, skilled speech makers, singers that have excelled in their talent have been able to touch and express the śakti of Mātangi, Vāgvadini, the Power (śakti) of Expression.

    praṇām
    posted on Sunday, ravi-vāra, owned by Surya, hence Mātangi;
    Hora of the Sun; tithi is sukla tritiya ( bright half of the month)
    and tithi is owned by Gauri (Pārvatī), Śiva's consort.

    words and references
    • ravi रवि- the sun; also considered one of the 12 Adityas
    • māyā माया- illusion, unreality, deception; māyā, illusion personified is also another name for Bhuvaneshvarī, connected with ākāśa.
    • varṇa वर्ण - color, tint, dye, pigment; we also know this varṇa as it relates to caste, tribe, or order.
    • śyāmala श्यामल - dark-colored, even black; this is also another name for the fig tree
    • ucchiṣṭa उच्छिष्ट - left, rejected, stale; spit out of the mouth (as remnants of food); leavings , fragments
    • cāṇdāla चाण्डाल - a lower caste or class;
    • Story http://www.nationmaster.com/encyclopedia/Matangi
    • prasāda प्रसाद- clearness, brightness, purity; a propitiatory offering or gift (of food); blessing
    • paśyantī पश्यन्ती - sound; the first pre-articulated aspect of sound.
    • cakśuśmanto- cakśu चक्षु is to see or behold ; the organ of seeing, the eye ; śmanto? I could use some help on this derivation.
    • nu नु - indeed , certainly , surely
    • vāgvilāsa वाग्विलास - grace and fluency; elegant speech.
    • Mātangi is also worshipped as the minister to Rājarājeśvari, the great Goddess Lalita, discussed in our posts above as Tripurasundarī.
    Last edited by yajvan; 07 March 2011 at 01:22 PM. Reason: spelling
    यतस्त्वं शिवसमोऽसि
    yatastvaṁ śivasamo'si
    because you are identical with śiva

    _

  2. #12
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    Re: Mother Divine and Grahas: Bagalāmukhi

    Quote Originally Posted by yajvan View Post
    Hari Oṁ
    ~~~~~
    Namaste

    Next in the list of daśa mahāvidyā-s or the 10 great (Maha) forms of power or knowledge (vidyā) is Bagalāmukhi. She aligns with Mars.
    The Bagala Sukta which adores her as Valga is found in the Atharva Veda, 5 kandah, 8th anuvakah.

  3. #13
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    Re: Mother Divine and Grahas: Kamalatmika

    Hari O
    ~~~~~~
    The graha-s associated with the daśa mahāvidyā
    Kālī (Saturn)
    Tara (Jupiter)
    Tripurasundari (Mercury)
    Bhuvaneshvari (Moon)
    Tripura Bhairavi (Lagna or one's ascendant)
    Chinnamasta (Rahu)
    Dhumavati (Ketu)
    Bagalamukhi ( Mars)
    Matangi (Sun)
    Kamalatmika (Venus)


    Namaste

    Next in the list of daśa mahāvidyā-s or the 10 great (Maha) forms of power or knowledge (vidyā) is Kamalatmika. She aligns with Venus, or Śukla.

    Lets take a look at her name . Kamala is wealth and prosperity, the lotus-flower that pale-red , rose-colored i.e. pink. She is depicted sitting on a pink lotus (see image below) , a symbol of purity, comes the name Kamala. And this lotus is also the symbol for unfoldment of one's full potential.
    Inside this Kamala is ka, indicating the head, water, happiness , joy, pleasure and splendor. Kamala is associated with water the symbol for consciousness. Many pictures of Kamalatmika show her being showered by white elephants, the flow of consciousness, as She is one who wears water as a robe i.e. apovasana - apo +vasana : ap or apa is the waters + vasana or garment, apparel, attire. Thus the divine giving waters āpo daivīḥ.
    She is born of the waters, ambuja¹. It's is also another point of interest that Kamalā is another name for Lakṣmī¹, the one many associate with wealth and prosperity.

    Also the choice of being the 10th devata discussed is meaningful. the number 10 suggests the fullness (bhuma) of the absolute (0) + the fullness of the manifest field of creation (1). together they offer 10 , the number used to reflect the fullness of Brahman. It's said in the Chāndogya Upaniṣad 'He fills the space 10 fingers wide' - this is talking of Puruṣa's Vastness, Greatness. For more regarding this idea you may consider the HDF post¹ that reviews this.

    When we think of graha-s and beauty Venus (Śukla) is always identified. She is associated with beauty, art, fine ornaments, dance , music i.e. the arts, comforts, the vital fluids, flowers i.e. the pleasures of the senses. So this notion of beauty and balance comes to mind, as Śukla + Kamalatmika + Lakṣmī are the śakti of this beauty.

    And what makes things beautiful or suśamā? I think it is in the name suśamā which means very beautiful, splendid. Yet if you look at its components su+śamā; su is to possess supremacy + sama is same, equal, similar, like, equivalent. So we have beautiful or suśamā as something that is supremely equal, balanced. I have found and observed we as humans tend to favor and find beauty in proportions, in symmetry.

    Plato wrote¹ of the so called 'golden proportions' in which, amongst other things, the width of an ideal face would be two-thirds its length, while a nose would be no longer than the distance between the eyes. Plato's golden proportions, however, haven't quite held up to the rigors of modern psychological research. Symmetry ( balance) has been proven to be inherently attractive to the human eye. It has been defined not with proportions, but rather with similarity between the left and right sides of the face Thus, the Plato Greeks were headed in the right direction.

    Another way of looking at Kamala (and I am taking liberties here) could be Ka+mālā. This ka as mentioned has multiple meanings, yet let me off the ones that fit: Ka is the head, splendor, light, happiness , joy & pleasure . This mālā is a string of beads , necklace, rosary, and is also a series of offerings for obtaining any object of desire. So we the can surmise Kamalatmika wears as a garland (rosary or mālā) the splendor of joy and happiness, and by her blessings and the native's adoration; She gives the śakti for gaining objects of one's desires, The highest being the Supreme.

    The 1st stotra From Śrī Suktām. This is a khila rik or an addendum to the Rig Veda (ṛgveda) - if some one knows the ṛṣi and chandas or meter please add to the post.
    o||
    Hiraņya varnám hariņīm suvarna-rajata-srajám
    Chandrám hiranmay
    īm lakshmīm jatavedo ma avaha|
    Tám ma ávaha játavedo lakśhmīm anapa gáminīm
    Yasyám hiraņyam vindeyam gám aśvam puruśhán aham||
    Invoke for you O Agni, the Goddess Lakshmi, who shines like gold, yellow in hue, wearing gold and silver garlands, blooming like the moon, the embodiment of wealth. O Agni! Invoke for me that unfailing Lakshmi, blessed by whom, shall win wealth, cattle, horses and men.


    praṇām

    posted on Monday owned by Candra (Chandra) the Moon;
    tithi is śukla Caturthi owned by Ganeṣa, son of Pārvatī

    words and references
    • ka - the first consonant of the alphabet; the head, water, happiness, joy, pleasure, sound, king, a comet, splendor.
    • kamala कमल- a lotus , lotus-flower; pale-red , rose-colored; wealth, prosperity
    • Lakṣmī लक्ष्मी- beauty, loveliness, grace , charm, splendor, luster; the goddess of fortune and beauty
    • apovasana - apa+vasana : ap अप् the Waters considered as divinities + vasana वसन or garment , apparel; clothed in, surrounded by, engrossed in
    • ambuja अम्बुज - produced in water, water born
    • Śukla शुक्ल - pure , spotless , unsullied; a name for the graha Venus; the bright half of a lunar month or any day in it
    • Candra चन्द्र- the moon; glittering , shining (as gold) , having the brilliancy or hue of light; Gauri
      HDF post 10 fingers wide : http://www.hindudharmaforums.com/showpost.php?p=13877&postcount=6
    • Web site reference on Plato and proportions http://www.jyi.org/volumes/volume6/issue6/features/feng.html
    Last edited by yajvan; 07 March 2011 at 01:23 PM.
    यतस्त्वं शिवसमोऽसि
    yatastvaṁ śivasamo'si
    because you are identical with śiva

    _

  4. #14
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    Re: Mother Divine and Grahas: Observations

    Hari O
    ~~~~~

    Namaste

    If we step back we are looking at Śrī Devī in her various forms we can see some groupings and commonalities.
    Since it is Śrī Devī we're viewing it makes sense that there's overlap. The 10 Qualities of Śrī Devī are not rigid walls where one starts
    and the other stops. I think this will help:
    • Kālī + Chinnamasta + Dhūmāvatīi+ Bagalamukhi share the characteristics of Power and Force - either manifest or unmanifest.
    • Tripurasundarī + Bhuvaneshvarī + Tripura Bhairavi + Matangi + Kamalatmika share the charisticis of Beauty, Light and Delight.
    • Tripura Bhairavi + Bagalāmukhi + Mātangi has the characteristics of the Force-of-Sound, either expressed and unfolding or impeded and controlled.
    It's noted by observation that Tara takes on certain characteristics of Kālī and Tripurasundarī.

    Another observation is that of perception name and form become possible with prakāśa ( light) +nāda (sound). We can leave for a later post, yet a most interesting subject.

    Looking at it from another view I found this grouping to be quite useful (provided by David Frawley&#185.
    • Kālī (Saturn) + Chinnamasta (Rahu) = Time and transformation
    • Tara (Jupiter) + Mātangi (Sun) = The Word, manifest and unmanifest
    • Tripurasundarī (Mercury) + Kamalatmika (Venus) = Beauty/suśamā, Unmanifest and Manifest
    • Bhuvaneshvarī (Moon) + Dhūmāvatī (Ketu) = Space/ ākāśa, manifest and unmanifest
    • Tripura Bhairavi (Lagna or one's ascendant) + Bagalāmukhi (Mars) =Energy, in stillness and in motion
    If we looked just at a word or two for each devatā, it perhaps would look like this:

    • Kālī (Saturn) - Time -kalā
    • Tara (Jupiter) - wisdom- jñāna
    • Tripurasundarī (Mercury) - light - prakāśa
    • Bhuvaneshvarī (Moon) - space, ākāśa ( the space for existence to exist)
    • Tripura Bhairavi (Lagna) - śakti/energy of tapasya for burning up blemishes and weakness
    • Chinnamasta (Rahu) - power or śakti of striking for the Supreme
    • Dhūmāvatī (Ketu) - void or sūnyata
    • Bagalāmukhi ( Mars) - śakti of restraint; vāk stambhanakari i.e. paralysis or stupefaction over speech
    • Mātangi (Sun) - śakti of expression; vāgvilāsa , grace and elegance to speech
    • Kamalatmika (Venus) - Delight, joy, Fullness of Being - ka (splendor and light)
    Yet one could ask , what is the overall goal or intent of the devatā-s? Nothing less then svasaṃvedana ( self-consciousness) in its fullest.
    And what is that? Pratyabhijñā or the re-recognition of the SELF (svātman).
    This begins, says Abhinavagupta, by the individual becoming sahdaya - possessed of the heart, full of feeling. What is Abhinavagupta alluding to here? He is suggesting that the individual open one's self the finer levels of existence, of Being. This has been called the 'heart', consciousness, Supreme Consciousness, anuttara, the un-passable. We can talk more on this if there is interest, yet it would be best to have the strong start on the meditation folder on this subject.

    But why then the review of the daśa mahāvidyā-s ? how does this fit in. This is the wisdom Śiva offers - He says Śaivī mukha Ihocyate - Śakti ( Śrī Devī) is the entrance door ( mukhaṃ or mouth, opening ) to Śiva. This is said in Vijñāna Bhairava , the 20th and 21st kārikā, Śiva is known through Śakti.

    Last, I will list out the various books I used as reference material for the posts on the daśa mahāvidyā-s in the foot notes below.

    hari oṁ हरिॐ

    praṇām


    words and references
    • sahṛdaya सहृदय - possessed of the heart, full of feeling , sensible , intelligent
    • svātman स्वात्मन् - one's own SELF or nature
    • The 10 Great Cosmic powers (daśa mahāvidyās) - Śrī Śaṅkaranārayānan
    • Vedic Remedies in Astrology - Sanjay Rath
    • Tools for Tantra - Harish Johari
    • Tantric Yoga and the Wisdom Goddesses - David Frawley
    • Secrets of the Rig Veda - first 121 suktā-s - R.L. Kashyap
    • Bṛhadāraṇyaka Upaniṣad - Svāmi Śivanānda
    • Chāndogya Upaniṣad - Svāmi Muni Nārāyaṇa Prāsad
    • 10 Principle Upaniṣads - Svāmi Śivanānda
    • The Triadic Heart of Śiva - Kaula Tantricism of Abhinavagupta - Paul Eduardo Muller-Ortega ( this is a study of Parātrīśikālaghu-vṛttiḥ written by Abhinavagupti-ji)
    • Definitions rooted in the works and offerings of Sanskit-Engligh Dictionary 2002 Edition - M.F. Monier-Williams ( first published 1872)
    • Abhinavagupta-ji , his tradition.
      From my studies, svāmī Lakmanjoo's guru was svāmī mahatābakak and his was svāmī Rām… the lineage is traced back to durvāsā ṛiṣi.

      It is said durvāsā ṛiṣi received knowledge of bhairava tantra from śrikaṇṭhanathā (śiva) Himself. Accordingly durvāsā ṛiṣi was instructed by śrikaṇṭhanathā to expand the thought of bhairava tantra in all the universe with no restriction to varna or jāti, male or female.

      The first to receive his dīkṣā was Tryambakanātha, his son. What is of special note this sisya (śiṣya) was a mind-born son. He also created two more mind born sons and a mind born daughter for the upliftment of the family of man. Her name was ardhatryambakā.
      Why did durvāsā ṛiṣi pursue this venue? He was a brahhmacārī and therefore ūrdhvaretah or one preserving ones sexual energy and no displacement of sukra.

      From father to mind born son and daughter, some of the children also created mind born śiṣya-s. It's said that 15 siddhas were created in this manner. It was this 15th siddha that was unsuccessful in creating mind born śiṣyas.
      For this he searched for a female with all sattvic qualities to produce his children and śiṣyas. Up to this point it was always father-to-son initiation.

      Yet starting with somānandanātha muni the dīkṣā began from Master to disciple. It is from this lineage that Abhinavagupta came to be initiated into this great knowledge of kaśmir śaivism.
    Last edited by yajvan; 07 March 2011 at 01:23 PM.
    यतस्त्वं शिवसमोऽसि
    yatastvaṁ śivasamo'si
    because you are identical with śiva

    _

  5. #15

    Re: Mother Divine and Grahas

    Quote Originally Posted by yajvan View Post
    The graha-s associated with the daśa mahāvidyā
    • Kālī (Saturn)
    • Tara (Jupiter)
    • Tripurasundari (Mercury)
    • Bhuvaneshvari (Moon)
    • Tripura Bhairavi (Lagna or one's ascendant)
    • Chinnamasta (Rahu)
    • Dhumavati (Ketu)
    • Bagalamukhi ( Mars)
    • Matangi (Sun)
    • Kamalatmika (Venus)
    Excuse me, but according to my information Tripura Sundari = Sun and Matangi under the name of Mantrini is her counsellor = Mercury.
    I also read somewhere that Dhumavati stands for both, Rahu & Ketu, and Kali = Moon.

  6. #16
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    Re: Mother Divine and Grahas

    hari o
    ~~~~~~

    Namast jade

    Please note that there may be differences associated with the names of the grāhaka associated with the daśa mahāvidyā. How can this be?

    It can be influenced by the waxing and waning of the moon i.e. śukla pakṣa and kṛṣṇa pakṣa . It is my opinion this affects a tithi's prada - the giving , yielding , offering , granting , bestowing , causing , effecting , uttering, influence.

    There are some jyotiṣa's that view Kālī (Saturn) and Tara (Jupiter) as the full expression of mahāvidyā. The other devatā are then their śakti forms ( expressions of energy) considered vidya ( 4 of them) and siddhi vidya ( the remaining 4) for a total of 10 (2+4+4) that define the daśa mahāvidyā. I do not take this position as my studies suggest all 10 are complete in themselves.

    The Moon in jyotiṣ is considered the symbol for mother; In śukla pakṣa moon is considered Durgā (durgatināśinī); in kṛṣṇa pakṣa moon may be called Kālī. As you can see there is flexibility.

    The permutations on Matangi-ma that I see is Śrī Matangi and Raj Matangi. Some view Matangi-ma as Mīnākṣi ( some write Meenakshi).

    Now that said I have not seen Tripurasundari (Mercury) described as the Sun; I would be happy to read/review and consider any references you offer. My references are offered in post 14 above.

    praṇām

    words
    • tithi - a lunar day = the 30th part of a whole lunation
    • pakṣa - the half of a lunar month. The first half from new moon to full moon some call pūrva or apūryamāṇa , yet now we call it śukla (some call śuddha) ; the other half apara or apa-kṣīyamāṇa , we now call kṛṣṇa ( some still call this tāmisra) ; each fortnight or 1/2 lunar month consists of 15 tithi-s or lunar days called prathamā.
    यतस्त्वं शिवसमोऽसि
    yatastvaṁ śivasamo'si
    because you are identical with śiva

    _

  7. #17

    Re: Mother Divine and Grahas

    I would have sworn that I had read about Tripurasundari being associated with the sun in David Frawley's book about the Mahavidyas (Tantric Yoga and the Wisdom Goddesses).
    But I was wrong, he associates her with the moon instead and Matangi with Mercury (p. 142).

  8. #18

    Re: Mother Divine and Grahas: Bagalāmukhi

    Quote Originally Posted by yajvan View Post
    Hari Oṁ
    ~~~~~


    Namaste

    Next in the list of daśa mahāvidyā-s or the 10 great (Maha) forms of power or knowledge (vidyā) is Bagalāmukhi. She aligns with Mars.

    Mars is aligned with fire ( tejas or agni) as on of the 5 paca mahābhūtas. I mention this because agni aligns with our speech. This is the subject matter of the pachāgni vidyā found in the Chāndogya Upaniṣad , 5th Kanda, 19th valli, (some write Chāndogyopaniṣad):


    oṁ apānāya svāhā - apanaya been satisfied, speech (vac or vak) becomes satisfied; speech satisfied agni becomes satisfied; with agni satisfied the earth become satisfied; Earth being satisfied that which underlies agni become satisfied; Its satisfaction is accompanied by the offerer becoming satisfied with good progeny, cattle, food, and the like and with brightness and luster of wisdom.

    Why is this relevant to Bagalāmukhi? Her śakti is vāk stambhanakari i.e. paralysis or stupefaction over speech. She is tied to Mars via agni and vāk.

    Lets take Her name, Bagalāmukhi, apart and see where this leads us in this conversation. Some say that Bagalā is derived from valgā. I have seen this B sound mixed regularly with V, as in Bṛhaspati (Brihaspiti). It is also written Vṛhaspiti; that is this vṛh and bṛh sound are quite close as it exits the mouth.

    So what is this valgā mean? It's a bridle or rein. And we know mukhi is mukhya , belonging to the mouth or face. So Bagalāmukhi is one who puts a bridle on the mouth i.e. Her śakti is vāk stambhanakari i.e. paralysis or stupefaction over speech.

    She also is called bakamukhi - this baka is a crane ( the bird); It is suggested that this also means making the opponent duck-faced. This suggests incessant 'quacking' from the opponents mouth i.e. gibberish or less then intelligent responses.
    If you look at a picture of Bagalāmukhi it is not unusual to see her holding her opponents tongue with her left hand and in her right hand holding a mace to strike the offender. She is this stoppage and striking force (śakti) of Śrī Devī.

    While Dhūmavatī has this stoppage we discussed in the last post, Bagalāmukhi is the immobility & consciousness; Dhūmavatī was immobility and unconscious. That is Bagalāmukhi's śakti strike can halt activity after it has been begun. She restrains speech after it has begun, but ending it ( forever). She has this śakti to stop the forward motion.

    Interesting, yet how does this apply on a greater scale then stopping speech? When this halting of momentum occurs, say like a river flowing and it is stopped what occurs? Whirls and eddies, new flow directions begin to occur and more momentum is built up ( I think this is kinetic energy) and new channels are created.

    This is also a recommendation for speech. If one is in discussions of great import or of a debating ( or even jalpa) nature stop before responding. Do not go to the next set of words; Allow a few seconds to pass. This allows Bagalāmukhi to take affect. What will come out (with calm restored) are more appropriate words for communication and the situation at hand. Try it a few times and see if it works. What then is happening? o apānāya svāhā - we are settling down speech. This is from the pachāgni vidyā above.

    More can be said with this notion of halting this forward motion:
    • as it applies to prānayāma and the halting of the breath, called kumbhaka;
    • Patajalis yogadarśana (the yoga sutras of Patajali), chapter two Sādhana Pada, calls out the 8 limbs of yoga. Within these 8 limbs he outlines yama & niyama
    • There are HDF posts on this information if the reader wishes to take a look, reviewing it fully here would take us off course.
    Bagalāmukhi is associated with the color yellow. Her complextion and garments are said to yellow. The follower/worshiper of Bagalāmukhi also subscribes to yellow clothing and to beads ( rosary or mālā's ) made of or colored by turmeric. It is inferred that the worship of Bagalāmukhi is to alter ones existing behaviors to those that are more life supporting, to those that allow the ultimate destination ( the Supreme) to be realized.

    pranams

    words and references
    • stambhanakari - stambhana स्तम्भन stopping, arresting, checking, restraining + kari करि causing or accomplishment;
      Also note stamba स्तम्ब is stupidity , insensibility.
      vāk or vāc वाच् - speech , voice , talk , language
    • Bṛhaspati बृहस्पति- is also Guru graha (Jupiter) ; lord of prayer or devotion.
    • valgā वल्गा- a bridle or rein; and also means 'of a woman'
    • mukhya मुख्य- being in or coming from or belonging to the mouth or face;
    • mālā माला- string of beads , necklace , rosary; also a collection of words arrayed in a series
    • jalpa जल्प- talk , discussion; also a kind of dispute and perhaps an overbearing reply
    • Kumbhaka कुम्भक- a pot; also a part of prānayāma technique: HDF Post http://www.hindudharmaforums.com/showpost.php?p=18381&postcount=7
    • Patajalis yogadarśana yama & niyama HDF Postings : http://www.hindudharmaforums.com/showthread.php?t=2949
    • pachāgni vidyā HDF post http://www.hindudharmaforums.com/showpost.php?p=17474&postcount=9
    Is there a Mantra for Bagalamukhi that can be used for Bhakti Yoga?

  9. #19
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    Re: Mother Divine and Grahas: Bagalāmukhi

    hariḥ oṁ
    ~~~~~~

    Namasté

    Quote Originally Posted by Jade View Post
    Is there a Mantra for Bagalamukhi that can be used for Bhakti Yoga?
    Her bīja (seed) sound is hlrīm or hlrīṃ ( hlreem).
    As mentioned above,
    Lets take Her name, Bagalāmukhi, apart and see where this leads us in this conversation. Some say that Bagalā is derived from valgā. I have seen this B sound mixed regularly with V, as in Bṛhaspati (Brihaspiti). It is also written Vṛhaspiti; that is this vṛh and bṛh sound are quite close as it exits the mouth.

    So what is this valgā mean? It's a bridle or rein. And we know mukhi is mukhya , belonging to the mouth or face. So Bagalāmukhi is one who puts a bridle on the mouth i.e. Her śakti is vāk stambhanakari¹ i.e. paralysis or stupefaction over speech

    Note the notion of stambhana स्तम्भन stopping, arresting, checking, restraining. This is a very important idea for yama ( restraints) ; This can also be the restraint of the mind and miscellaneous thought ( wandering mind).

    It would seem that the use of this bīja (seed) sound hlrīm, one will quiet the mind, steady the mind. From this, expansion and peace will come. The bhakta ( devotee ) becomes aligned to Bagalamukti's śakti of stillness.

    oṁ śrī hlrīm

    praṇām

    1. stambhanakari - stambhana स्तम्भन stopping, arresting, checking, restraining + kari करि causing or accomplishment
    Last edited by yajvan; 07 March 2011 at 01:24 PM.
    यतस्त्वं शिवसमोऽसि
    yatastvaṁ śivasamo'si
    because you are identical with śiva

    _

  10. #20
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    Re: Mother Divine and Grahas

    Thanks a lot for the info on the plantes associated with the 10 Goddess Forces...

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