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Sri
Kanchi Kamatchi Amman
The Feminine Divinity has enshrined in many places
on earth with Thousands of different names. In India, She takes upon the name
of Kamatchi in Kanchipuram, Meenakshi in Madurai, Vishalatchi in Kasi, KanyaKumari
in Cape Comorin, Bagavathy in Kodungallur and so on. This doctrine of female
divinity has established Divine as firm roots among Hindus. The worship of the
Divine as Mother evokes motherly traits of tenderness, generosity and love.
Three most important and popular form of Divine
Mother
One is her powerful of all embracing grace and
opulence and properity, in the form of Sri Lakshmi. Mother Lakshmi is a mother
of prosperity, peace and illumination. Without Her grace one can’t have inner
peace or perennial joy.
Second is her profound capacity for knowledge and
self expression, in the form of Sri Saraswati. Goddess Saraswati manifests to
create the universe through pulsation (Spanda), which animates the mind as
subtle thoughts, and emerges on the physical plane as speech. All of material
creation is also embodied in the subtle vibrations of this divine speech, and
mantras, which encapsulate these energies, when properly pronounced, can
actually recreate material reality.
The third form is her splendid strength, her
warrior mood and her world-shaking force, as in Kali, Durga, Saptamatrikas,
Mahavidyas and Prathyankara Devi. She is the Hindu Warrior queen, the one which
all the Devas and even Asuras meditate upon just to get a mere glimpse of her
as a blessing before any great battle. As Sri Parvati Devi, She is the whole
left side of Lord Shiva, her consort in the form of Ardhanarishvara.
The meaning of her name; Sri Kamatchi or Kamakshi
Amman
Mother Kamatchi has very special eyes, as
portrayed in her name itself. The word 'Kama' can be refered to as Love, wanton
or attractive, magnetic pull. Thus, the name means one who has a beautifully
dazzling and captivating eyes. But the word 'Kaa' also means means Sri Lakshmi
and 'maa' means Sri Saraswati, as in Kamatchi, the Supergoddess with Sri
Parvathi, Sri Lakshmi and Sri Saraswati as her eyes. She blesses all that
dedicate themselves to her.
The legend goes that Siva and Parvati fell out in
a game of dice. Siva cursed Gowri to become ugly. With the help of Vishnu
Parvati propitiated Siva by performing penance under a single Mango tree at
Kancheepurarn on the banks of the Kampa River, and regained her beauty with
dazzling eyes, from which the name of Kamatchi has been derived for the
tutelary goddess of the temple. As Parvati regained Siva under the mango tree,
the name of Ekamranatha (Ekaone, amra - mango, and natha-Lord) was given to
Lord Siva and it later became Ekambareswara.
shakti_tapas.gif
Sri Parvathi is doing thapam in Kanchipuram
According to Devi Bhagavata, the lord of the
ganas, Citrakarma creates the image of a man out of the burnt ashes of Love;
the Love god Manmatha who tried to distract Shiva from meditation and got burnt
by the power of agni (fire) from the third eye of Shiva. Shiva names the new
image, Bhanda or Panda, teaches him a powerful mantra and gives him the boon of
being one and a half times as strong as his enemy, and empowering him as ruler
for sixty thousand years. By the power of this mantra, one could gain half the
might of one's adversary. Unfortunately, because he was generated from the
ashes of Shiva's wrath he is transformed into a fierce demon. Intoxicated with
his new found power he proceeded to rampage the kingdom of the gods.
Apprehending defeat and humiliation, there is nothing that any of the gods can
do during the sixty thousand years when Siva is protecting Bhanda, but once
this time has gone by, the gods try to find a way to destroy him and protect
all the Celestials from the atrocities of a demon.
The Devas in disguise of a parrot image together
with the holy Trinity, Shiva, Vishnu and Brahma, summon the Divine Mother Adi
Parashakti, Sri Lalita Ambika, in the form of Kamatchi. Legend has it that
Kamatchi appeared in her ethereal form in a pit or cave (Bilakasa Swarupa) to
save the Devas from Asuras agrees to stop Bhanda's efforts to overtake the city
of the gods and destroy him.
The battle starts and gods rejoice in Kamatchi's
growing success and worship her. Nonetheless, Bhanda is still alive and
empowered. Sri Kamatchi Devi agrees to bless all of those worshiping her with
progeny, fame, and virtue, among other things. As the city is being attacked by
Bhanda, Kamatchi in the form of Parvati
marries Lord Shiva, forming a strong allied army. At the same time, Kamatchi
proclaims her independence while honoring her independence. Years go by and
Kamatchi leaves her Consort to lead the army against Bhanda.
Bhanda does not regard an army of women as a
serious threat, and laughs that Kamatchi is as soft and delicate as the flower.
To Bhanda's dismay and the gods' delight, Kamatchi's army is very powerful. She
is supported by strong women who work together to create unique weapons,
particularly the noose and goad (which Lalita's icon often hold) in order to be
successful. One after another, Bhanda's generals are defeated. Kamatchi creates
new gods to fight as the battle rages on, including Lord Ganesa, and he
destroys many armies and Bhanda's brother. As a reward, Kamatchi grants him the
right to be worshipped before all other gods. The battle rages on, all of
Bhanda's family is killed, and finally he tries to save himself by creating
powerful missiles to destroy Kamatchi. She is too powerful for him and sends
Durga after him. Finally, it is a showdown between Bhanda and Kamatchi. She
kills him using the kamesvara missile, which has an incredibly bright splendor.
The deity's praise Kamatchi for her courage and success. She agrees to bring
back the god of Love, Manmatha and reunites him with his grateful wife Rathi
Devi.
This myth shows how Kamatchi is the two forms of
human nature simultaneously. She is able to be devoted to her Consort Siva, but
to maintain the independence she needs to lead her army to war. She is fierce
in her battles, but her most powerful weapons and warriors are created from her
laugh and jubilance. Kamatchi shows people the way to deal with problems in
their everyday lives. Her being is not an example for those who intend to lead
an isolated life. Kamatchi shows how to live in balance, for people with
numerous responsibilities. She demonstrates that it is possible to honor the
family and other responsibilities, without disappointing anyone.
The legend also says that Kamatchi appeared
through Bilakasa in front of Manmatha,
having been impressed by his penance. The entire temple complex of Kamatchi
temple at Kanchipuram (Kanchi) is believed to be within the perimeter of the
same Bilakasa.
In one fine day, Ugraswarupini (Kali) slipped out
of the temple at night and caused maelstrom and mayhem in the city. The people
of Kanchi were very apprehensive at the destruction. Sankara prayed to Kamatchi
and received assurance that she would not leave the temple and wander into the
town without his express permission. The curfew worked and people were happy.
This is one of the very few curfews imposed by man on goddess. The tradition
continues even to this day in that Kamatchi receives permission from Sankara
before she ventures out of the sanctum. Tirunavukkarasar, TirugnanaSambandar
and Sundarar sang devotional songs on Kamatchi. Her Sakti radiates throughout
the land from her sanctorum at Kanchi.
Another story of the temple is that while Lord
Siva was meditating, Parvati playfully covered his eyes for a moment. This
resulted in the earth being covered with darkness for years. This angered Siva
who cursed Parvati to go to earth and do severe penance. She came to earth and
created the earth linga and worshiped it under a single (eka) mango tree in
Kanchipuram. Siva sent different obstacles to test Parvati’s sincerity. When he
sent a flood, she clasped to the linga so tightly that imprints were made on
it.
In a more interesting tale, A beautiful maiden
Sati, who is also called Dakshayani; one of the daughters of Prasuti and
Daksha, an ancient creator god, loved Shiva. But her father Daksha forbade her
marriage to Shiva.
Daksha got revenge by performing Yajna without
offering the first Prasada to Siva, he did not pay any attention to Sati, when
she showed up for the Yajna. Sati
declared to the assembled galaxy of gods, goddesses and Rsis that she was
ashamed to own the body given to her by her father. She performed Tapas and the
internal heat generated by the Tapas consumed her life. Having heard the death
of Sati, Siva, in a fit of anger, pulled his matted lock and flung it on the
ground and performed the dance of destruction (tandava nritya) with Sati’s dead
body on his shoulder, in the form of Bhairava.
From the fulgurant lock emerged a being, scraping
the skies and heavens with a thousand arms, with three eyes shining like the
sun, dark complexion like a rain clouds, fierce teeth, a garland of skulls,
matted locks resembling ropes of fire, and a host of weapons at the ready. That
was Virabhadra, a part manifestation of Siva in his fierce form, together with
7 other beings called Muneeswaras. They immediately sought and received their
mission which is to annihilate Daksha and his sacrifice. Daksha met his death
at the hands of Virabhadra.
Siva picked up the body of Sati and wandered all
over the universe. Vishnu seeing Siva in such condition sent his discus, which
cut the dead body of Sati into several pieces, which fell all over Indian
subcontinent. Wherever the body parts
fell, that ground became sacred. The womb or the Bone of Sati fell in Kanchi,
Tamil Nadu, which became the sacred site of temple (Sakti Peetha) for her in
the form of Sr Kamatchi Amman.
The Hindu answer to the Triple Goddess, Lalita can
symbolize many things. She is the Maiden, the Mother and the Crone, the Light,
the Dark and the Unknown and she is the beautiful (sundari) goddess of the
three cities (tripura) which are sun, moon and fire. The noose is attachment
(moon). The goad is repulsion (sun). The sugarcane bow is the mind. The flowery
arrows are the five sense impressions. When consciousness perceives these, the
outward directed arrows stop being dry sticks. These five flowery arrows
together with the bow are personified as six Krishnas.
Lalita means She Who Plays. All creation,
manifestation and dissolution is considered to be a play of Devi or the goddess.
Mahatripurasundari is her name as transcendent beauty of the three cities, a
description of the goddess as conqueror of the three cities of the demons, or
as the triple city (Tripura), but really a metaphor for a human being.
Lalita Mahatripurasundari is the central goddess
to the Sri Vidya tradition of the Hindu religion, also, the "School of
Auspicious Wisdom." The Sri Vidya is a branch of Sakta Tantrism which
considers Lalita as the supreme form of the Mahadevi. It is prominent in the
South of India, and has many variants on its theme, but none claim to be
different than the others. Within the Sri Vidya tradition, ritual plays an
important role (in order to make comprehensible the uncompleted world in which
we live). In ritual, the listing of names is often central, as these names are
the deity's mantras (subtle forms of the deity).
The Tantrarajatantra states that Lalita assumed a
male form as Krishna, and 'by enveloping all women enchanted the whole world'.
Each of the six forms is like dawn, with six arms, holding flute, noose, goad,
sugarcane bow, flowers, sour milk.
Lalita has 15 attendants, the Nitya Devis, and
these are the days of the Waxing Moon. She resides in three naadi-s (nerve
channels), namely sushhumnaa, pingalaa, and idaa. She is the ruler of the three
Shaktis - ichchaa (will), jnana (knowledge) and kriyaa (action). She pervades
all the three worlds - heaven, earth and the nether world. She is the
controller of all the three bodies - sthula (gross), suukshhma (subtle), and
kaarana (causal). She is the self which is present through the three states of
existence - jaagrat (waking), svapna (dream), and sushhupti (deep sleep).
Though she is above all guna-s, She pervades the three modes of energy- sattva
(purity), rajas (mobility) and tamas (inertia).
This is a direct and hard-hitting portrayal of the
Goddess dominating the important male deities of the Hindu pantheon, a central
belief of the Mahavidya ideology. She is the savior of all, the Last Refuge.
She is the symbol of sweetness, beauty, and Softness. These qualities depict
her of an unsurpassed splendor.
The word 'Shodashi' literally means sixteen in
Sanskrit. She is thus visualized as sweet girl of sixteen. In human life
sixteen years represent the age of accomplished perfection after which decline
sets in. Indeed sixteen days from the completed lunar cycle from the new moon
to the full moon. The full moon is the moon of sixteen days.
Guruji. A. Sivaguru Swamy
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