तंत्र शास्त्र nepal की एक प्राचीन विद्या है। तंत्र ग्रंथ भगवान शिव के मुख से आविर्भूत हुए हैं। उनको पवित्र और प्रामाणिक माना गया है। भारतीय साहित्य में 'तंत्र' की एक विशिष्ट स्थिति है, पर कुछ साधक इस शक्ति का दुरुपयोग करने लग गए, जिसके कारण यह विद्या बदनाम हो गई।
जनसाधारण में इसका व्यापक प्रचार न होने का एक कारण यह भी था कि तंत्रों के कुछ अंश समझने में इतने कठिन हैं कि गुरु के बिना समझे नहीं जा सकते । अतः ज्ञान का अभाव ही शंकाओं का कारण बना।
तंत्र शास्त्र वेदों के समय से हमारे धर्म का अभिन्न अंग रहा है। वैसे तो सभी साधनाओं में मंत्र, तंत्र एक-दूसरे से इतने मिले हुए हैं कि उनको अलग-अलग नहीं किया जा सकता, पर जिन साधनों में तंत्र की प्रधानता होती है, उन्हें हम 'तंत्र साधना' मान लेते हैं। 'यथा पिण्डे तथा ब्रह्माण्डे' की उक्ति के अनुसार हमारे शरीर की रचना भी उसी आधार पर हुई है जिस पर पूर्ण ब्रह्माण्ड की।
तांत्रिक साधना का मूल उद्देश्य सिद्धि से साक्षात्कार करना है। इसके लिए अन्तर्मुखी होकर साधनाएँ की जाती हैं। तांत्रिक साधना को साधारणतया तीन मार्ग : वाम मार्ग, दक्षिण मार्ग व मधयम मार्ग कहा गया है।
श्मशान में साधना करने वाले का निडर होना आवश्यक है। जो निडर नहीं हैं, वे दुस्साहस न करें। तांत्रिकों का यह अटूट विश्वास है, जब रात के समय सारा संसार सोता है तब केवल योगी जागते हैं।
तांत्रिक साधना का मूल उद्देश्य सिद्धि से साक्षात्कार करना है। यह एक अत्यंत ही रहस्यमय शास्त्र है ।
चूँकि इस शास्त्र की वैधता विवादित है अतः हमारे द्वारा दी जा रही सामग्री के आधार पर किसी भी प्रकार के प्रयोग करने से पूर्व किसी योग्य तांत्रिक गुरु की सलाह अवश्य लें। अन्यथा किसी भी प्रकार के लाभ-हानि की जिम्मेदारी आपकी होगी।
what is tantra ?
A simple question without a simple answer, and any attempt at definition will necessarily be incomplete. The roots of the word are Sanskrit:
Tan - thread, web, stretch, spread or expand, and
Tra - tool or instrument.
Tantra - tool for expansion or a weaving.
Through tantric practice one can experience an expansion of consciousness and recognize the interconnectedness of the web of existence.
At the same time, "Tantra" can refer to any of a number of sacred texts in the Hindu, Jain and Tibetan Buddhist traditions. Many of these texts contain detailed guidelines for spiritual practice. From this perspective, Tantra is a vast body of spiritual and physical knowledge, encompassing an array of practices, including all forms of yoga. These practices are aimed at expanding consciousness and liberating oneself "through life and not through escape, using the body as an instrument."* In Tantra, the energies of the body are used as the fuel for spiritual development.
In the West, Tantra is often called the "Yoga of Sex." While there is a kernel of truth in this phrase, the popular press has created a misleading impression that Tantra is about having better orgasms or about becoming a better lover. Since tantric practices are designed to expand consciousness, they can expand a person's capacity to give, receive and experience pleasure, not only in the sexual realm but in all areas of life, provided that person is willing to do the work. It is important to be aware that Tantra is not an easy path; it is "the way of the hero who neither rejects nor fears any aspect of life."
Many Western Tantra teachers emphasize very powerful techniques for enhancing sexual pleasure and intimacy, while some traditional teachers discourage students from exploring sexual Tantra at all. Our primary teachers have spent years studying traditional, lineage-based Tantra in India. We try to incorporate some of the best elements of American Tantra into our teaching while honoring tradition and lineage.
Kali maa
SPIRITUAL HEROES SPONTANEOUSLY WORSHIP KALI
In the Tantric pantheon, Kali is mentioned as the first of the ten Great Cosmic Powers, because in a certain way she is the one who "spins the wheel of the universal time".
On the other hand, at the end of the manifested world, time (in Sanskrit Kala) devoured all the universes of the three plans of the creation: the physical, the astral and the causal universes.
The Great Cosmic Power Kali finally devours the time itself, which is Kala, and this is the very reason for which Kali is viewed as the primordial cause of the creation and destruction of the universe.
The famous Tantric writing Nirvanatantra associates Kali to Brahman, the Supreme, as representing both the being (the existence) and the infinite consciousness in manifestation.
This association has allowed the worship of Kali both from the metaphysical abstract perspective, as well as from a more concrete perspective, which implies certain attributes (functions, characteristics, qualities).
According to the Tantric tradition, the whole manifested world springs from the Infinite Consciousness of the beatific union between Shiva and Shakti.
The function of the creation comes to the divine energy bearing the name Brahmani Shakti. The universe thus created has to be maintained in the manifestation, function performed by Shakti Vaishnavi.
Nonetheless, both the creation and the preserving aspects imply a molecular "death" or "destruction" of each form of the universe, function performed by Rudrani Shakti.
In fact, Brahmani, Vaishnavi and Rudrani are the consorts of the three Hindu gods Brahma, Vishnu and Shiva (also named Rudra).
HER DARKNESS DISOLVES EVERYTHING
The simultaneous existence of these three processes within the creation clearly expresses the statements included in all Tantric writings, that the creation of the universe did not occur once, in the past, nor will the universe be destroyed once in the future, and that rather in every instant these aspects manifest as flashings creating the illusion of continuity and reality.
Although the human body and mind are permanently assailed by innumerable sensorial perceptions, the state of divine ecstasy (samadhi) implies the disappearance of all mental functions and of the physical awareness into the supreme consciousness of Paramashiva, the one that is beyond all duality.
The description of the Great Cosmic Power Kali describes her as being dark as the night, dancing over Shiva's inert, white body. This representation reveals the significance of the two fundamental aspects of Reality: on one hand there is the dynamic, imanent aspect of God (Kali's dance) and on the other the static, transcendent aspect of consciousness (identified with Shiva).
Shiva is white because he signifies the infinite divine light (prakasha), inert because the absence of movement and action reveals the consciousness pure, homogenous and compact.
On the other hand, Kali's dance signifies the dynamic, active aspect of the Divine, and the dark color of her skin indicates that the processes of the creation are disolved in Kali.
From a different perspective, Kali is also the creator of the universes, as they come to life from the ashes of the Divine Consciousness' purifying fire. Consequently, Kali's action is deeply evolutionary, as she impels the human beings towards evolution, sometimes in a painful manner.
Nonetheless, Kali performs her actions in the divine light and harmony, knowing that this is the best thing to do. Those who manage to pass all the tests and go through all the stages are in truth spiritual heroes, and they will be rewarded with Kali's spiritual grace.
However, until God's will does not manifest the creative impulse, the divine infinite energy (Shakti) lies potential, but unmanifested, inseparably united with Shiva, in his purely transcendent aspect.
The spiritual Tantric writings denote this state as SAT-CHIT-ANANDA (PURE EXISTENCE-PURE CONSCIOUSNESS-INFINITE BLISS).
KALI IS THE TIME BEYOND TIME
Then Kali (as supreme Shakti) assumes the responsibility of creating the names, as well as of their evolution.
Kali is also known under the name of ADIMAHAVIDYA, the first of the Great Cosmic Powers, but this should not mislead us, as it does not imply any hierarchy, but rather the idea of order in the cosmic evolution.
Kali is also named ADYASHAKTI, in her quality of energy and terrible Cosmic Power who impels humankind towards action and the universe towards manifestation.
Kali's representation reveals her nakedness. This is not a trivial manner of representing a deity, but instead this fact stands for the transcendence of all limitations.
Her action in the manifested world implies the destroying and in the same time purifying action of time (Kala). This aspect is suggested by the human head she holds in one of her hands.
However, as the yogi is more and more concerned with spiritual aspects, and firmly oriented towards obtaining spiritual freedom at all costs, he or she will be blessed with Kali's overwhelming grace.
SHE DESTROYS YOUR EGO SO THAT YOU WILL BE ABLE TO REBORN
One of the most important hypostasis in which one can worship Kali is the goddess Durga, the one who defeated the demon Mahishashura. This demon represents in the Hindu spirituality the forces of the dark.
The Vedanta philosophy presents the conception according to which there are the Divine Embodiments (avatara) who come on earth in order to perform a deep transformation of mankind.
For the worshipper of God in the aspect of the Divine Mother, Durga is the only hypostasis that destroys the evil of the world in its numerous demoniac and satanic aspects.
Thus, the Hindu mythology describes how the goddess has vanquished the demons and their king, Mahishashura, saving the gods from captivity and set up again the divine order in the universe.
The spiritual significance of this myth is that each human being has inside both good and bad, and these energies constantly fight for supremacy.
Durga, embodiment of the goddess Kali grants her support and help to those who ask for it and worship her, so that the spiritual forces develop and gain supremacy over the dark, negative influences of the psychic and mental.
Durga is thus the Divine Light who destroys and burns in terrible fire of her pure consciousness any malefic force and any leftover of ignorance.
HER FORCE AWAKENS KUNDALINI
The sadhana or spiritual practice recommended for the worship of the Great Cosmic Power Kali implies the effort of purifying and activating the centers of force, so that the fundamental energy Kundalini ascends from Muladhara chakra to Sahasrara.
The ascension of Kundalini represents one of the characteristic and most important aspects of this Great Cosmic Power's worship, and is correlated with the practice of sexual continence, according to the principles of the Tantric doctrine.
The mysterious influence of Kali is so complex and hidden that only few pure souls may see through her actions their real significance.
We meet a frequent representation of Kali as the Cosmic Mother, surrounded by a great number of different gods and goddesses. Lacking any dimensions or spatial-temporal limits, she takes on different forms and names in order to meet her worshiper's most secret desires.
In certain situations, Kali embarks into action to destroy that which is perverted, weak, or useless. Thus, we may see her representation as having four or more arms, in which she holds different objects that are helpful in restoring or preserving the divine order of the universe.
In her most elevated aspects, Kali is the Divine Bliss itself, that which is beyond ordinary human perception, and the nature and consciousness of the Divine Brahman himself.
Consequently, there are two ways of worshipping her: as the great Goddess bestowing her grace and blessings upon all those who deserve it, and as holy energy (Shakti) who grants spiritual freedom (Kaivalya).
THE PURIFYING FIRE THAT BURNS THE EGO TO ASHES
All the representations of the goddess have in common the following fundamental elements: Shiva's dead body, her glorious attitude, the black color, but they may differ in other details, which underline her specific role in the universe, characteristic to a particular representation.
One representation of Kali reveals her in an imposing attitude, meditating in a state of infinite bliss on Shiva's chest. Another representation is while shooting an arrow, with her right foot bent, on Shiva's chest.
Both figures (Kali and Shiva) are in a cremation place, suggesting that all illusory things are finally reduced to ashes, burnt in the fire of time, or that they return to their primordial essential state.
As usually, Kali's skin is black, the source of all colors. This also indicates the fact that she is associated to the depths of God's mystery.
Nevertheless, she is surrounded by a white hallo, a gentle light whose nature is amrita and that brings peace to the eye. In this representation, Shiva's body indicates the fact that the power of God's consciousness is inherent to the unanimated matter as well.
Kali's mouth is wide open and she pulls her tongue out, symbolizing the mudra of the devouring, or consuming the universe.
However, this terrible and scaring aspect is backed up by a smiling attitude of the goddess, looking upon the being of the universe with kindness and affection, sustaining their life and nourishing them with her immense breasts.
Her ironic laughter is for all those who, due to ignorance for the laws of harmony and balance imagine that they can elude spiritual evolution. The Great Goddess has three all-seeing eyes, "supervising" the universes from the past, present and future.
In her other hand she holds a skull, whose significance id double: on one hand it is the receiver of the universal mysterious teaching, and on the other hand it is a reminder of what endures after the dissolution of the universe.
THROUGH HER INFINITE GRACE, ALL UNIVERSE DISOLVES IN YOU
In another hand, Kali holds a sword (khadga), whose role is to cut all worldly connections and attachments, so that the worshipper is prepared for the ultimate spiritual freedom.
It is also interesting to mention that her hair is long and dishevelled, standing for the power of this great cosmic power's all-pervading grace.
Her benevolence and compassion are underlined by two of her hands that perform the gesture of casting away the fear and that of offering spiritual gifts and powers.
Around her neck there is a necklace made of skulls belonging to various demons and other malefic entities, symbolizing her complete victory over the evil.
Her naked body is splashed with the blood of these entities, and her earrings are in fact two decapitated human bodies. This is Kali's complex representation in her terrible form, known also as Dakshina Kali or Shyamakali.
In the Hindu iconography, Kali appears under a number of other forms, with minor differences as regards the number of the arms, face, of symbolic objects she holds.
Thus, Shamasana Kali, Siddha Kali, Maha Kali, Guhyakali represent just as many aspects of the Goddess, worshipped in different areas of India.
Among these forms, remarkable is the form of Bhadra Kali, described in Tantasara as a hungry deity, ready to devour any illusory aspect of the universe, having three eyes, four hands holding a skull, a drum, an ax and a trident.
A variant of Bhadra Kali is Chamunda Kali, who although pleasant to the eye has terrible teeth and holds a long human bone with a skull at one end, a sword, a chain and a human head. Unlike the other representations of Kali, Chamunda Kali wears a tiger's fur and sits on a body. ...........................ganesh bimali from nepal
Mahavidya
The terrible force of time, the grace of endless compassion, dazzling beauty, all-comprising vision, endless courage, capacity for self-sacrifice, fascinating brightness, sublime vacuity, expressive play, intoxicating harmony...all these are different aspects of the Supreme Feminine Energy and each of them may lead you to the experience of the Ultimate Reality.
YOU MAY GAIN THE CONTROL OVER YOUR ENERGIES
In the context of this series of articles we will try to analyze the main philosophical and practical aspects that refer to the spiritual tradition of the Ten Great Cosmic Forces (Dhasha Mahavidya).
This tradition is essentially a Tantric practice whose purpose is to gain a "magic" control over the subtle energies and forces that animate both our inner microcosm and the Macrocosm in its various aspects of manifestation.
The fundament for this spiritual Tantric practice lies in the idea that one should not avoid the tests life puts us through isolating and retreating in a desert place in order to reach spiritual fulfillment.
Instead, the Tantric tradition asserts that Mahavidya Upasana should be performed in the context of the every-day life, which offers us the possibility of mastering our problems and transcending them.
In this respect, the Tantric tradition (Tantra Shastra) offers several methods suited to any type of situation and to any human type. It is therefore not necessary to seek a different method to evolve spiritually.
It is enough to activate as many sublime aspects of our superior nature, attempting to fulfill any positive, beneficial desire we have sublimating the energies that animate it.
The purpose is on one hand to experience a refined pleasure and on the other to experience the state of divine freedom.
Consequently, the Tantric spiritual practice is not meant only for those initiates, but it also offers amazing opportunities for those who ardently aspire to reach the state of ultimate freedom.
TANTRA IS NOT SORCERY
Although the Tantric texts are filled with cryptic expressions, with metaphors and allegories that represent obstacles that are unsurpassed for those who are not initiated, Tantra is not sorcery.
The misunderstandings of these metaphors have caused even reputed researchers to make huge mistakes in the interpretation of these sacred texts.
The most frequent error is that they are ignorant of an important aspect of the Tantric system - they consider the metaphorical language ad literam, attributing thus to the Tantric texts meanings they never had.
Consequently, they associate Tantra with "abominable practices" such as sacrificial rituals, orgiastic sexual practices, etc. Actually, one may describe the teaching of the Tantric tradition as transcendence of any phenomenal tribulations; it is thus a religious and philosophical system deeply non-dualistic (advaita).
The authentic Tantric spirituality has nothing in common with witchcraft or magic of some sects, which have deviated practices, often gruesome many times mistaken for the deeply spiritual Tantric doctrine.
ALL THINGS LEAD TO HIM
The purpose of spiritual fulfillment through sadhana is the state of full union with the Supreme Reality of God, whose nature is Sat-Chit-Ananda (Pure Existence, Pure Consciousness, Pure Bliss).
In the Tantric tradition, this nature of the divine reality bears the name Cit and refers to the infinite force of God's consciousness.
On a transcendent level, Cit (or the Absolute Consciousness of God) is associated with a tough, compact monolith, infinite in its splendor.
Nonetheless, this essential character differentiates in the creation under different aspects, as particular attributes and expressions, such as the expression of Maya, the force of illusion covering the intrinsic reality of all manifested things.
In fact, the Supreme Reality, which is beyond any attribute or conceptual understanding, projects itself in the creation in a finite and determined form through the aspect of dynamics of the Divine Consciousness as Force (Cit).
From this point of view, the Great Cosmic Forces (Mahavidya) represent reflections of Cit as idea or divine expressions in creation, consequently having a universal character.
The ten Cosmic Powers are considered as feminine entities whose consciousness is quite close to the consciousness of God, and who are like "administrators" of the creation.
This is because their character is more subjective (in other words, the perception of their influence and of their manifestation is the subtle domain of consciousness) and less objective.
However, the Hindu pantheon contains plenty appearances of these feminine deities who illustrate each in a symbolic manner their main attributes and characteristics in the Macrocosm.
In the spiritual Tantric practice, the physical aspects constitute an important base in elevating one's consciousness. Besides the various iconographic representations and graphical symbols (yantra, mantra), the Tantric tradition confers a tremendous importance to the devotion of the ten Great Cosmic Powers.
The spiritual purpose of such a procedure is that starting from the physical level, the individual consciousness gradually accedes to the state of transcendence characteristic to the Great Cosmic Power adored by the Tantric practitioner.
Then, in an ultimate spiritual effort, the Tantric will accede to the state of Supreme Transcendent Void, origin and quintessence of any divine energy.
Consequently, the principle at work in this case is that of gradual elevation of the consciousness, starting from the inferior levels up to the sublime, total experience of the divine transcendence, without neglecting, nor interdicting any "mundane" aspect.
THE MYSTERY OF FULFILLMENT RESIDES INSIDE OF YOU
This approach of the practice and experience of the ten Great Cosmic Powers has a unitary, holistic character, in which the parts of the whole intermingle in harmony in order to create the image of the Whole.
This aspect is obvious mostly in the awakening and ascension of the Kundalini Shakti. For instance, this energy may be either latent, "sleeping" in Muladhara chakra, or it may become active, purifying, activating all the levels of our being.
This polarization of Kundalini has a different correspondent in the human being. Thus, when Kundalini Shakti is sleeping in Muladhara chakra the person is somewhat "awake" for the exterior world, even though this world is ephemeral considered through the point of view of the Supreme Transcendent Reality.
When this energy is awake and active, reaching as high as Sahasrara chakra, the practitioner becomes "dead" for the outer world, yet unbelievably lucid and awake from the point of view of the divine reality.
Each of the ten Great Cosmic Powers (Kali, Tara, Tripura Sundari, Bhuvaneshvari, Tripura Bhairavi, Chinnamasta, Dhumavati, Bagalamukhi, Matangi, and Kamalatmika) has a characteristic sadhana, but still each sadhana has 3 fundamental points:
1. Devotion to the image of the deity (that is the Great Cosmic Power chosen for devotion at a certain time);
2. Concentration on the yantra (geometrical representation corresponding to the field of beneficial influence of a certain great cosmic power).
3. Mental emission of a mantra corresponding to a Great Cosmic Power.
In the devotion for these ten Great Cosmic Powers we have, nonetheless, to differentiate the Great Cosmic Powers and Matruka.
The first represent the gigantic spheres of consciousness of the divine energy and they encompass the whole universe, while the later represent the cosmic forces of the most important gods of the Hindu pantheon, and in the oriental tradition they are known as the consorts of those gods. They are: Maheshvari, Vaishnavi, Brahmani, Kaumari, Indrani, Narasimhi, and Varahi.
Thus, with some guidelines clearly cut through the Tantric tradition and through the practice of the devotion of the ten Great Cosmic Powers, we will introduce brief and representative characteristics of each Great Cosmic Power in the following articles of this section. from ganesh bimali
what is sexual energy
Sexual energy
The polarity of the two types of energy (Yin and Yang) represents the key in harmonizing the flow of the
It is simple because it is based on the universal law of attracting opposites, that is the positive and negative forces attract each other and are in a permanent interaction.
It is true to the degree to which the two opposing poles of two simple magnets are attached to one another, or the protons and electrons dance and compose the atom.
Yang is the fire, and Yin is the water. Man is the "fire", the woman is the "water". When the man makes love to a woman, he prepares the woman's "water" with his "fire". The profound orgasm constitutes a delicate balance of the sexual energies.
The sexual life is dominated by the above-mentioned principle of polarities. It is, however important to understand that the two types of energy are inseparable, it is in fact one energy, manifested under complementary forms.
They cannot exist one without the other, their interaction is "fluid", and they issue from one another. Therefore, if during the erotic act performed with continence, man and woman become aware of the play of the two polarities, they have the possibility of becoming one being only.
Each of the two lovers is situated on one "side". When the exchange of energy reaches a sphere of harmony, the two lovers vibrate in the rhythm of one heart.
The feeling of having a physical body disappears, all one feels now is a huge energy, vibrating as one with his/her lover. This is the profound, total orgasm of both body and soul.
Many men have the intuition of these things, but those who are actually capable to expand and go deeply into these special states of the mind are quite few, because they usually lose their sexual energy through ejaculation.
The true, profound orgasm appears when both the man and the woman vibrate in the same rhythm. Their sexual energy forms now a complete circuit, the two "opposing" poles being reunited.
This circuit is represented by the Yin and Yang symbol, emerging from one another in a perfect eternal harmony. However, the flow of the sexual energy alone cannot lead anyone to spiritual achievements in the absence of love and an appropriate mental focus.
The physical union alone is not sufficient, and therefore sex alone cannot make anybody happy. One other important aspect is that the ordinary orgasm, implying ejaculation, on which many men depend, restrains the sphere of experience and knowledge.
The profound, transfiguring erotic experiences, performed through sexual continence, go beyond/transcend the borders of ordinary individual pleasure and perception, reaching a complex level of experience.
There are couples that radiate all around profound happiness and love without practicing any esoteric methods of lovemaking. And there are couples that radiate even more love and happiness, live for a longer time, healthy and in harmony, because they have learned how to sublimate their sexual energy.
Will they be just as radiant, enthusiastic and blissful when they reach old age? The secret techniques of the Oriental tradition will help them reach faster an advanced level of spiritual evolution. There is no limit as regards the depth and health one may get to through love.
Patala 23. Shri Devi said: Before, O Deva, when engaged in amorous play,you mentioned the 100 names of Kali. Lord, speak of this to me. Shri Bhairava said: Well asked, Mahadevi, I will tell you of that previously untold. Vararohe Sundari, you should conceal it like your own yoni. [1-2]
Mohini, you who are as dear to me as life itself, I could not live for an instant without you, Parameshvari. [3] Like sight is inherent in the sun and as ghee is inherent in milk, so I, the Natha am everywhere present in you. [4] Listen Devi, I will speak to you of the japa giving all knowledge. Sadashiva is the rishi, it is said; Cchanda is the metre, [5] the devata is Bhairavi Devi, bestowing the four aims of mankind.
The application is that it gives all knowledge. [6] Mahakali Jagadhatri (creator of the world) Jaganmata ( mother of the world) Jaganmayi (consisting of the world) Jagadamba (world mother) Jagatsara (essence of the world) Jagadanandakarini (cause of bliss in the world) [7] Jagadvighnasini (destroyer of world obstacles) Gauri (golden one) Dukhadaridyanashini (destroyer of unhappiness and poverty) Bhairavabhavini Bhavananta Sarasvataprada (bestower of eloquence). [8] Chaturvargaprada (giver of the four aims) Sadhvi (holy) Sarvamangalamangala (greatest fortune of all) Bhadrakali Vilakshi Kamadatri (giving desires) Kalatmika (self of kalas) [9]
Nilavani (blue Sarasvati) Mahagaurasarvanga (greatly golden in all limbs) Sundaripara (supremely beautiful) Sarvasampatprada (giver of all prosperity) Bhimanadini (sounding terrifying) Varavarnini [10] Vararoha Shivaruha (riding Shiva) Mahishasuradhatini Shivapujya (worshipped by Shiva) Shivaprita (loved by Shiva) Danavendraprapujita (worshipped by Danavas)[11] Sarvavidyamayi (consisting of all vidya) Sarvasarvabhisthaphalaprada (giver of the fruit of every possible desire) Komalangi (soft of limbs) Vidhatri (creatrix) Vidhatrivaradayini (giver of boons in creation) [12] Purnenduvadana (with a face like the full moon) Nilameghavarna (the colour of a blue rain-cloud) Kapalini
Kurukulla Viprachitta Kantachitta Madonmada (drunk with desire) [13] Matangi (elephant lady) Madanaprita Madaghurnitalochana (eyes full of desire) Madottirna Kharparasinaramundavilasini [14] Naramundasraja (with a necklace of men's heads) Devi Khadgahasta (holding a cleaver) Bhayanaka (giving fear) Attahasayuta (laughing loudly) Padma (lotus) Padmaragopashobhita [15] Karabhayaprada (hand removing fear) Kali Kalaratrisvarupini (true form of the night of time) Svadha Svaha Vashatkara Saradindusamaprabha (as bright as the autumn moon)[16]
Sharatjyotsna (light of the autumn moon) Samhlada Viparitaratatura (addicted to taking the superior sexual role) Muktakeshi (dishevelled of hair) Cchinnajata Jatajutavilasini [17] Sarvarajayutabhima Sarvarajoparisthata Shmashanstha (dwelling in the cremation ground) Mahanandistuta (praised by Mahanandi) Samdiptalochana [18] Shavasanarata (addicted to the corpse asana)Nanda Siddhacharanasevita (served by Siddhacharas) Balidanapriya (fond of animal sacrifice)Garbha (the womb) Bhurbhuvasvahsvarupini (true form of Bhurbhuvahsvar)[19] Gayatri Savitri Mahanilasarasvati
Lakshmirlakshanasamyukta (showing all the signs of Lakshmi) Sarvalakshanalakshita (having every single characteristic)[20] Vyaghracharmavrita (wearing tiger skin) Madhya Trivalivalayanchita Gandharvaihsamstutasa (praised by the Gandharvas) hi Inda Mahapara (greatly supreme one) [21] Pavitra Parama (supreme) Maya Mahamaya Mahodaya. Maheshvari, so to you are declared the 100 celestial names [22] Whosoever reads these at morning time for certain gains a treasure. Here in this world, he is happy and afterwards attains union with Devi. [23]
He cannot be subjugated by siddhas, aughas, all which moves and does not move, whether they move on earth, in space or in heaven. [24] The names are called 'Boon', Maheshani and one may give up the 1000 (names). [25] One should recite the 100 (names) Devi, the giver of the fruit of the four aims (of mankind). O Parameshani, without knowing these 100 names [26], there is no siddhi from Mahakali in this Kali Yuga.
One who recites with devotion gains good results, listen! [27] He gains the resilts of hundreds of millions of Kalipujas. What use of more words? He will become the desired. [28]
The Heart of Kali Final liberation is attained by the knowledge that the atma is the witness, is the truth, is omnipresent, is one, free from all deluding distractions of self and not-self, the supreme, and though abiding in the body is not in the body.
[The following stotra (hymn), published in the Kali Rahasya, a Kali puja compendium, is intended to stave off bad fortune and give success. However, it also touches on many of the hidden left-hand (vamachara) practices of Kali. It is translated here into English for the first time.]
Shri Mahakala said: Listen, dearest, to Dakshina's supreme secret, very hidden and difficult to obtain, her very marvellous hymn known as the Hridaya. Unvocalised before, I reveal it now because of your love. It should be concealed from others! This is true, true, O Mountain Born One.
Shri Devi said: Shambhu Maheshvara, ocean of compassion, in which yuga did my hymn arise, and how was it created? Tell me all of this.
Shri Mahakala said: A long time ago I decapitated Prajapati, and due to this evil act of slaying a brahmana came to be Bhairava (1). I created this hymn to destroy the sin of brahminicide, dearest. This hymn destroys the consequence of killing brahmins (2).
Application: Om. Shri Mahakala is the rishi of this heart mantra of Shri Dakshina Kalika. Ushnik is the metre. Shri Dakshina Kalika is the devata. Krim is the bija. Hrim is the shakti. Namah is the peg. Its application follows from its continual recitation.
Heart nyasa etc.
Om. Kram to the heart namah.
Om. Krim to the head svaha.
Om. Krum to the peak vasat.
Om. Kraim to the armour hum.
Om. Kraum to the three eyes vausat.
Om. Krah to the missile Phat.
Meditate on Kali Mahamaya with three eyes, of different forms, with four arms, a rolling tongue, bright as a full moon, the colour of a blue night lotus, dispeller of the assembly of enemies, holding a man's skull, a sword, a lotus, and giving boons.
Her mouth is bloody and fanged, she has a fear inspiring form, she is addicted to very loud laughter and completely naked.
The Devi sits on a corpse and is adorned with a garland of skulls. After meditating on Mahadevi like this, then read the Hridaya.
Om Kalika, primordial and terrifying form, bestower of the fruit of all desires, hymned by all gods, destroy my enemies.
Hrim, you who are the essence of Hrim, the most excellent thing in the three worlds, hard to obtain, out of love for me, deny anything whatsoever to he whom I name!
Now I speak of the meditation, O supreme self, the essence of night. Whoever knows this becomes liberated while still living.
Meditate on her having dishevelled and matted hair, decorated with strings of serpents, a half moon as her diadem, in union with Mahakala.
Boon giver, visualising her like this causes all people to become liberated in every way. This is true, true.
Now listen to the yantra of the supreme goddess, the giver of success in whatsoever is desired. Hide this greatly quintessential secret of secrets with every effort.
The Kali yantra, the giver of true siddhi, is made from five triangles, an eight petal lotus, surrounded by a bhupura, and encompassed by skulls and funeral pyres (3). The mantra, previously spoken of, should always be worn on the body dearest!
Now Devi Dakshina Kali's garland of names is revealed: Kali, Dakshina Kali, black of body, the supreme self, wearing a garland of skulls, large eyed, cause of creation and dissolution, self of maintenance, Mahamaya, the power of yoga, the essence of good fortune, the female serpent, intoxicated with wine, the sacrificial offering, with the vagina as her banner, primordial one, always ninefold, terrifying, the greatly effulgent one, formidable, with a corpse as her vehicle, Siddhi Lakshmi, Niruddha, Sarasvati.
Whoever recites this garland of names daily causes me to become their slave. Maheshvari, this is true, true.
Kali, destroyer of time, goddess of skeletal form, taking the form of a raven, blacker than black, I worship you O Dakshina Kalika!
I bow to you Kalika, Maharaudri, fond of the night, Devi liking kunda, gola and svayambhu flowers (4).
I bow to you Duti (5), the Duti causing yoga to arise from sexual intercourse, you who are the great Duti, fond of Dutis, the supreme Duti, the Lady of Yoga.
Those who recite the mantra Krim seven times over water and then sprinkle themselves with it destroy all disease. There is no question about this.
Those who seek any object who charge sandal paste with the great mantra Krim Svaha and then make a forehead mark of it become the most intelligent of people, and always able to subjugate.
Dearest, those who offer unhusked rice while reciting the mantra Krim Hram Hrim seven times, destroy great worries and obstacles, there is no doubt of it.
Those who pronounce the mantra Krim Hrim Hrum Svaha over the cremation pyre, then encircle the house of their enemies with the ashes kill their enemies.
Those who offer seven flowers and pronounce the mantra Hrum Hrim Krim uproot their foes, no doubt of it.
If, after reciting Krim Krim Krim, while offering unhusked rice, it causes the object of attraction to swiftly come from a distance of even 1,000 yojanas (6).
Those who recite the mantra Krim Krim Krim Hrum Hrum Hrim Hrim seven times, purifying water and making a forehead mark of it, delude the whole world.
Parameshani, this Hridaya is the destroyer of all evil, a million million times greater than Ashvamedha and other sacrifices. The fruit it gives is one million million times better than the offerings given to virgins (7). Its results, it is said, are greater by one million million than those obtained from offering to Dutis.
It is a million times greater than the results obtained from bathing in the Ganges and other sacred waters. Reciting it only once bestows these results. This is true, true, I swear it.
The initiated person who, after worshipping a kumari of beautiful form, and then recites this hymn, becomes liberated whilst living, O Maheshani.
If, after having seen the vagina full of menses, one should recite it with one-pointed mind, Varanane! he gains the supreme place in Deviloka, the heaven of the goddess.
In great sorrow, suffering great disease, in great conflicts, in great anxieties, in fearful terrifying places, if one should recite this ultimate stotra. (one is freed from them) in a day.
This is true, true and again true. It should be hidden like a mother's yoni.
Notes
(1) This story is related in the Skanda Purana. Brahma liked his daughter and wanted to couple with her. But that didn't meet with the approval of Shiva, who cut off his fifth head. Brahma and Shiva had a great fight, which the latter won. Shiva, however, had committed the sin of killing a Brahmin, an act requiring expiation. Forever afterwards, Shiva in his form of Bhairava, the terrible one, bears the fifth head of Brahma.
(2) So followers of Shiva have a licence to kill brahmins! This probably stems from a time when the Aryan race was entering India and faced opposition from the indigenous tribes already occupying the subcontinent.
(3) Kali has eight different cremation grounds. They are enumerated in the voluminous work called the Mahakalasamhita, Guhyakali Khanda.
(4) The three primary types of menstrual blood in the tantrik tradition.
(5) Duti means messenger. Yet the meaning is She who makes Shiva Her messenger.
(6) A Hindu measure of distance.
(7) Kumari Puja - to this day performed in Nepal, where a young girl is treated as an incarnation of the goddess.
O All-Knowing One, if I am known, what need is there for revealed scriptures and sadhana? If I am unknown, what use for puja and revealed texts? I am the essence of creation, manifested as woman, intoxicated with sexual desire, in order to know you as guru, you with whom I am one. Even given this, Mahadeva, my true nature still remains secret
Like Lalita, Kali has fifteen Nityas or eternities, but these are associated with the waning rather than the waxing Moon. These yantra images above are drawn from The Magic of Kali and based on descriptions from the Shaktisamgana Tantra.
Some of the descriptions of the Nitya yantras in this work are missing, and that explains their absence from the text below. The images and mantras should be contrasted with the Lalita Nityas. While the Kali Nityas are dark and forbidding, and the mantras have inimical natures, the Lalita Nityas are bright, and the mantras positive.
Kali : The first Nitya of the waning moon
Although she has the same name, she is separate, as an avarana or attendant, of Kalika.
Meditation: Dark hued, very terrifying, horribly screaming, formidable, with a garland of skulls, full swelling breasts, holding a cleaver in her right hand and making the threatening gesture in her left, in a cremation ground.
Mantra: Om Hrim Kali Kali Mahakali Kaumari Mahyam Dehi Svaha.
Kapalini: The second Nitya
Her name means Skull-girl. Meditation: Black, naked, beautiful face, dishevelled hair, seated on four severed heads, showing a cleaver, trident, bestowing boons and dispelling fear.
Mantra: Om Hrim Krim Kapalini Maha-kapala-priye-manase kapala-siddhim me dehi Hum Phat Svaha.
Attendants: In inner triangle desire, action and knowledge. In middle triangle Rati, Priti, Kanti. In outer triangle Mahakali, Mahalakshmi, Mahasarasvati. In the eight petals the eight bhairavas, with the eight Matrika DevÌs. In the bhupura the guardians of the directions.
Kulla: The third Nitya
Meditation: Four-armed, with three eyes, seated on ten severed heads on a corpse, showing the gesture giving boons and dispelling fear in her two left hands, in her right hands she holds a book and a rosary.
Mantra: Om Krim Kullaya Namah.
Attendants: In the first triangle Dhriti, Pushti, Medha. In second Tushti, Prajna, Jaya. In the eight petals the eight Matrikas and Bhairavas, in the four doors the Lokapalas (Guardians of the directions cardinal and intermediate).
Kurukulla: The fourth Nitya
Meditation: Large rising breasts, beautiful buttocks, black in colour, seated on a corpse, with dishevelled hair, wearing a garland of skulls, carrying a skull, scissors, a cleaver and a shield.
Mantra: Krim Om Kurukulle Krim Hrim Mama Sarva-Jana-Vasamanya Krim Kurukulle Hrim Svaha.
Attendants: In inner triangle Kali, Tara, Chinnamasta. In middle Balamba, Ragala, Rama. In outer Ugra-Garbha, Ugra-Bija, Ugra-Virya. The eight Bhairavas and the eight Matrikas are in the eight petals, and the Lokapalas are in the directions.
Virodhini: The fifth Nitya
Meditation: Full rising breasts, wearing a garland of snakes and bones, terrific, with three eyes and four arms, holding a trident, a serpent noose, a bell and a damaru. Seated on a corpse, yellow body, purple clothes.
Mantra: Om Krim Hrim Klim Hum Virodhini satrun-ucchataya virodhaya virodhaya satru- ksayakari Hum Phat.
Attendants: In inner triangle Dhumrarchirushma, Javalini, Visphulingini, in middle Sushri, Surupa, Kapila. In outer the three Shaktis called Havyavaha, Virodhini-mastake, Dashami. In the eight petals the eight Bhairavas and Matrikas, in the bhupura the Lokapalas.
Vipracitta: The sixth Nitya
Meditation: Full rising breasts, four arms, three eyes, naked, the colour of a blue lotus, dishevelled hair, rolling tongue, inspiring fear, holding a cleaver, a severed head, a skull cap and a trident. She shows her teeth, from the corner of her mouth flows blood.
Mantra: Om Shrim Klim Camunde Vipracitte Dushta-Ghatini Shatrun-Nashaya Etad-Dina-Vadhi Priye Siddhim Me Dehi Hum Phat Svaha.
Attendants: Bindu with bija, three gunas in the triangle, six limbs in the hexagram, the Matrikas and the Bhairavas in the eight petals, the guardians of the directions in the bhupura.
Ugra: the seventh Nitya
Meditation: Naked, formidable, with terrific fangs, legs in pratyalidha posture, wearing a garland of skulls, with dishevelled hair, black, four arms, holding a sword, a night lotus, a skull and a knife, dwelling in the cremation ground.
Mantra: Om Strim Hum Hrim Phat.
Attendants: In centre Hum bija, in triangle Tara, Nila and Ekajata. In the eight petals Ugra- Ghopra and the rest of the Bhairavas, on the outside Vairochana and the rest of the eight matrikas, in the bhupura the lokapalas.
Ugraprabha: The eighth Nitya
Meditation: Four arms, three eyes, colour of a blue lotus, seated on a corpse, naked, with dishevelled hair, rising swelling breasts, pleasant face, eating carrion, wearing a girdle of severed hands of corpses, holding a cleaver and a head, a skull bowl and a knife.
Mantra: Om Hum Ugra-Prabhe DevÌ Kali Mahadevi Svarupam Darshaya Hum Phat Svaha.
Attendants: in first triangle Kali, Tara and Rochani. In outer triangle Tarini-Gana, Taramekajata and Nila. In the eight petals the Matrikas, on the tips of the petals the eight Bhairavas. In the bhupura the Lokapalas.
Dipa Nitya: The ninth Nitya
Meditation: Four arms, three eyes, like a large sapphire, with a garland of skulls, naked, dishevelled hair, fearful fangs, armlets of human bone, bracelets of skulls, carries a cleaver and a head in her left hands and shows the gestures of dispelling fear and gesture of giving in her right hands.
Mantra: Om Krim Hum Diptayai Sarva-Mantra-Phaladayai Hum Phat Svaha.
Nila: The tenth Nitya
Meditation: Four arms, three eyes, like blue orpiment, wearing a necklace of skulls, seated on a corpse, eyes red and rolling, protruding tongue, ornaments of human flesh and bones, beautiful face, eyes like a gazelle.
Mantra: Hum Hum Krim Krim Hrim Hrim Hasabalamari Nilapatake Hum Phat.
Attendants: In triangle Kalaratri, Maharatri, Moharatri. In hexagon, the six limbs. In the eight petals, the eight Bhairavas. In the eight filaments of the lotus, the eight Matrikas. In the bhupura Vatuka Natha etc.
Ghana, the eleventh Nitya
Meditation: Four arms, three eyes, delighting in nakedness, formidable, terrifying teeth, swelling rising breasts, black, blood streams from the corners of her mouth, she wears a girdle of dead men's hands, and holds a sword, a shield, a trident and a club.
Mantra: Om Klim Om Ghanalaye Ghanalaye Hrim Hum Phat.
Attendants: The six limbs are in the six angles, the Bhairavas and the Matrikas are in the eight petals, and the guardians of the directions are in the bhupura.
Balaka, the twelfth Nitya
Meditation: Four arms, three eyes, intoxicated with wine, wearing a garland of skulls, naked, formidable, with rising swelling breasts, holding a sword and a head in her left hands and a skull bowl and the threatening finger in her right hands. Seated in a fortress of skulls, she is like ten million fires of dissolution or suns.
Mantra: Om Krim Hum Hrim Balaka Kali ati adbhute parakrame abhista siddhim me dehi Hum Phat Svaha.
Matra, the thirteenth Nitya
Meditation: Blue-black, smeared with blue paste, with four arms and three eyes, wearing a garland of skulls, seated on a corpse, fierce, holding a skull bowl, scissors, a sword and a severed head. This great Raudri roars terrifyingly.
Mantra: Om Krim Him Hum Aim 10 Mahamatre siddhim me dehi satvaram Hum Phat Svaha.
Mudra, the fourteenth Nitya
Meditation: Naked, the colour of a blue lotus, fierce, with three tawny eyes, four arms, roaring loudly, with a garland of heads, a girdle of hands, blood on her lips, holding a skull bowl and a knife, a sword and a shield.
Mantra: Om Krim Him Hum Prim Phrem Mudramba Mudrasiddhim me dehini bho jaganmudrasvarupini Hum Phat Svaha.
Attendants: In the triangle are Iccha, Jnana and Kriya Shaktis. Rajyada, Bhogada, Moksada, Jayada, Abhayada, Siddhida are in the hexagon. The eight Matrikas are in the eight petals, with the eight Bhairavas at their filaments. In the bhupura are Ganapa, the Yoginis, Ksetrapala and Vatuka Natha.
Mita, the fifteenth Nitya
Meditation: Red clothes, dishevelled hair, rising swelling breasts, beautiful buttocks, delighting in nakedness, terrifying, dark blue in colour, sitting on a corpse, wearing a garland of skulls, with four arms, three eyes, holding a sword and a severed head in her left hands and dispelling fear and granting boons with her right hands. She is like ten million fires of dissolution at the end of time, dwelling in the cremation ground.
Mantra: Om Krim Hum Hrim Aim Mite Paramite parakramaya Om Krim Hum Him Em So-aham Hum Phat Svaha.
Attendants: In the first triangle Kali, Karalini, Ghora. In the second, Vama, Jyestha, Raudrika. In the third, Iccha, Jnana, Kriya. In the first part Vartali, then Laghuvarahi, Svapnavarahi, in the fourth Tiraskarini. The six limbs in the hexagon, and the Matrikas in the eight petals, with the Lokapalas being in the bhupura.
from ganesh bimali
The Kali Yantra
Sadashiva is without energy (lifeless) when Mahakali is manifest. He also is like a corpse when in union with Shakti. Clearly, without Shakti, the primordial god is lifeless and cannot act -
The Dakshinakali yantra, pictured left, conforms to the general pattern of all Shakti yantras but has its own particular form. In the centre is a group of five triangles. Each point represents one of the fifteen Kali Nityas or eternities, one for each day of the waning Moon. In the eight petals are eight Bhairavas and eight Bhairavis, coupling together. Yantras which are not inscribed with bija mantras and the matrikas are unsuitable for worship, as are those which are created by an uninitiated person, those which do not have life installed (see below). Mantras, meanwhile, are useless even if one is initiated, unless purashcarana, a preparatory rite, is performed.
Bhairava means terrifying, and these couples are particularised aspects of Dakshina Kalika, conforming to the eight tantrik directions. This is also the Kaula circle where males and females congregate on one of the dark days of the Moon to perform their uncanny rites. Each subsidiary Kali Nitya has her own yantra and mantra conforming to the nature of each of the days of the dark fortnight of the Moon.
Every tantrik deity has her or his daily puja which a devotee performs and the pattern for these sadhanas are all very similar. After first clearing and purifying a space, a yantra is drawn, and the sadhaka then performs nyasa, afterwards meditating on the Devi in her or his own heart and taking her, through the vital breath, to dwell in the centre of the yantra. Before using a yantra for this purpose, life and breath have to be installed. This rite (pranapratishta - installation of prana) uses the matrikas and gives the yantra the 36 tantrik tattvas. Yantras, too, have a definite life span, depending on the material. Gold, for example, lasts for life, silver for seven years, &c.
The image of Dakshina Kalika is awesome. She has a fanged mouth, looks terrifying, has dishevelled hair, has four arms and is adorned with a necklace of human skulls. She holds a newly severed head and a swords, her other hands shows the mudras which dispell fear and grant boons. She is the colour of a thundercloud, dusky, and is completely naked (digambara, clothed in space). Blood trickles from the sides of her mouth, and her earrings are two corpses of young boys. She has rising, large swelling breasts, and is seated in intercourse on the body of a corpse. She laughs loudly. The corpse is Mahadeva Shiva in his form of Mahakala and the whole scene is within the cremation ground.
Once installed in her form - and this can be a yantra, a statue, a flower, a book and various other sacred items - Devi is treated as being actually present, and the adept offers her various good things, food, perfume, drink, incense, and a whole host of other ritual accessories. There are five, or sixteen or sixty four upachara (ritual accessories - see the abstract of the Gandharva Tantra for details). These upacharas can be either external or internal. The true flowers, according to the tradition, are flowers such as compassion, forgiveness, kindness and the like. The attendants of the Devi are then worshipped, and offerings given to them too.
At this stage, the initiate can then perform various other rites, finally winding up by again taking the Devi into her or his heart, wiping out the yantra, and closing the rite. Things do not have to take such a formal shape, however. Devi describes a continual method of worship in the Kulachudamani Tantra.
"Dear son, my secret originates in simple practice. Those lacking this do not obtain success even in one hundred koti of births. Folk following the path of Kula and the Kulashastras are broad minded, from following the path of Vishnu, patient of insult, and always doing good to others.
"One should go to the temple of a deva, or to a deserted place, free of people, an empty place, to a crossroads or to an island. There, one should recite the mantra and, having bowed, become one with divinity and free from sorrow.
"Bow to Mahakali if you see a vulture, a she-jackal, a raven, an osprey, a hawk, a crow or a black cat, saying: "O Origin of all, greatly terrifying one, with dishevelled hair, fond of flesh offering, charming one of Kulachara, I bow to you, Shankara's beloved!
"If you should see a cremation ground or a corpse, circumambulate. Bowing to them, and reciting a mantra, a mantrin becomes happy: 'O you with terrible fangs, cruel eyed one, roaring like a raging sow! Destroyer of life! O mother of sweet and terrifying sound, I bow to you, dweller in the cremation ground.'
"If you should see a red flower or red clothes - the essence of Tripura - prostrate yourself like a stick on the ground and recite the following mantra: 'Tripura, destroyer of fear, coloured red as a bandhuka blossom! Supremely beautiful one, hail to you, giver of boons.'
"If you should see a dark blue flower, a king, a prince, elephant, horse, chariot, swords, blossoms, a vira, a buffalo, a Kuladeva, or an image of Mahishamardini - bow to Jayadurga to become free of obstacles. Say: 'Jaya Devi! Support of the universe! Mother Tripura! Triple divinity!'
"If you should see a wine jar, fish, meat or a beautiful woman, bow to Bhairavi Devi, saying this mantra: 'O destructress of terrifying obstacles! Grace giver of the path of Kula! I bow to you, boon giver adorned with a garland of skulls! O red clothed one! One praised by all! All obstacle destroying Devi! I bow to you, the beloved of Hara.'
"Dear son, if a person sees this things without bowing, the Shakti mantra does not give success.
"I am the essence of this, beloved of the Kula folk. All the Dakinis are my parts. Listen Bhairava! One who has gained success in my simple yoga cannot be harmed by a Dakini. My devotees abound in wealth and cannot be conquered by Vatukas or Bhairavas.
"Whichever Kaula is seen by a young girl or woman, whether he be in village, city, festival, or at the crossroads, causes her to be filled with longing, her heart aching, her eyes darting glances, like a line of bees mad for honey falls on a lotus flower, greedy for nectar, like a female partridge for a cloud, like a cow for her recently born calf, like a female gazelle eager for young shoots of grass, like jackals for flesh, like a person tortured by thirst who sees water, like a dvamsi (?) at the sight of a lotus fibre, or like an ant greedy for honey.
"The sight of such a Kaula, enveloped by the Kulas, causes her lower garment to slip, she becomes mad with lust, and of unsteady appearance. Seeing her on a couch, her breasts and vagina exposed, one should fall to her feet, and, rising, fall again.
"One should impart the oral lore to an alluring female companion - in her feet resides the secret of the act of love. One attracts such female companions, with beautiful hips and beautiful breasts, like a moon to the Kaula, free from greed or modesty, devoted, patient of heart, sensuous, very inner of spirit.
"In such a happy Duti, curiosity may suddenly arise, she asking 'Dear son, what is to be done or not to be done? Speak!' One should perform sacrifice to the indwelling Maya and offer the remainder to the Shakti. After this, one should excite her and then perform the act of love.
"On a Tuesday, in the cremation ground, smeared with Kula vermilion, using Kula wood, one should draw a yantra. In the petals write the Camunda Mantra, 'Sphrem Sphrem Kiti Kiti' twice, and then the ninefold mantra of Mahishamardini. Outside this, write the mantras of Jayadurga and Shmashana Bhairavi. After writing them, worship Bhadrakali at night, meditating on Kamakhya, the essence of Kamakala.
"The Kulakaulika, naked, with dishevelled hair, should meditate on the formidable Kali, with her terrifying fangs and appearance, Digambari, with her garlands of human arms, seated on a corpse in Virasana, in sexual union with Mahakala, her ears adorned with bone ornaments, blood trickling from her mouth, roaring terrifyingly, wearing a garland of skulls, her large and swelling breasts smeared with blood, intoxicated with wine, trembling, holding in her left hand a sword, and in her right hand a human skull, dispelling fear and granting boons, her face terrifying, her tongue rolling wildly, her left ear adorned with a raven's feather, her jackal servants roaring loudly like the end of time, she herself laughing terribly and pitilessly, surrounded by hordes of fearsome Bhairavas, treading on human skeletons, wholly occupied with the sounds of victorious battle, the supreme one, served by numberless hosts of powerful demons.
"After meditating on Kalika, the lord of Kula should then worship her. Unless one enters the other city, Kulasiddhi cannot be achieved. Because this Devi gives all success as soon as she is remembered, she is hymned in the three worlds as Dakshina.
"O Bhairava, by reciting her mantra 108 times, one can achieve whatever object is wished for. After establishing oneself at the crossroads and meditating on the Devi in your heart, one should enter the city adorned with the most beautiful sorts of jewels. After meditating on Devi in the four directions, bow to the Kulaguru and, holding the name of the object of siddhi in your left hand, pronounce the mantra.
"Smearing the eyes with anjana, one may shatter iron locks barring doors, becoming able to enter either stable, warrior's house, Kalika temple, treasury or sacred place, and may have sexual union according to will even 100 times. After meditating on Svapnavati Devi, one should enter the pavilion of Kama."
The Kali Tantra gives more details of the puja of Kalika:-
"Now I speak of the ritual injunction which is the all-nectar-giver of the Devi. Doing this, a person becomes like Bhairava.
"Firstly, I speak of yantra, the knowing of which conquers death. At first draw a triangle. Outside, draw another. Then draw three more triangles. "Draw a circle and then a beautiful lotus. Then draw another circle and then a bhupura with four lines and four doors. This is how the cakra should be drawn.
"Worship the guru line, the six limbs, and the dikpalas (The eight, or according to some, ten guardians of the directions, ed.). Then the mantrin should place his head at the feet of the guru.
"O dearest one, after worshipping the pedestal, set down the offering. Place the mantra in the six limbs. Then, within the heart lotus, the ultimate Kala blossoms.
"Place her in the centre of the yantra by invoking her (via the breath). After meditating on the great goddess, dedicate the ritual offerings. Bow to Mahadevi and then worship the surrounding deities.
"Worship Kali, Kapalini, Kulla, Kurukulla, Virodhini, Vipracitta in the six angles. Then Ugra, Ugraprabha, Dipta in the middle. Then Nila, Ghana and Balaka in the inner angle. Then Matra, Mudra and Mita within this triangle, and then the very dusky one holding the sword, adorned with human skulls, with her left hand showing the threatening mudra and having a pure smile.
"Worship the eight mothers Brahmi, Narayani, Maheshvari, Chamunda, Kaumari, Aparajita, Varahi and Narasimhi.
"In equal shares, give these devis animal sacrifice and worship them, smearing them with scent and offering incense and flame. After doing the puja, worship using the root mantra.
"Give food and so forth to the Devi again and again. The sadhaka should offer flame ten times. So also he should offer flower with mantra according to the rules of ritual.
"After meditating on Devi, recite the mantra 1,008 times. The fruit of reciting, which is light, place in the hands of the Devi.
"Then, placing the flower on the head, do prostration. With supreme devotion, then rub out (the yantra)." from tantrick ganesh bimali ta
