lakshmi-tantra-chapter5-part4

lakshmi-tantra-chapter5-part5

lakshmi-tantra-chapter5-part6

lakshmi-tantra-chapter5-part7

paduka-sahasram-chapter-4

paduka-sahasram-chapter-5

paduka-sahasram-chapter-6

rts-part-1 (ஸ்ரீமத் ரஹஸ்ய த்ரய ஸாரம் - பகுதி - 1)

rts-part-2 (ஸ்ரீமத் ரஹஸ்ய த்ரய ஸாரம் - பகுதி - 2)

mpadi-part-11 (முமுக்ஷுப்படி - பகுதி - 1 - திருமந்த்ரம்)

Goddess Lakshmi Brass Statues

Lakshmi Devi is the gentle and generous provider of riches and so every Hindu home has its shrine to her, as do workplaces. The presence of Goddess Laxmi brings good fortune and when she leaves she takes fortune with her. So the radiant Lakshmi who is easy to please is propitiated with puja and flowers everyday.

Lord Vishnu, Goddess Lakshmi Brass Statue

Lakshmi the goddess does not appear in the Rig-Veda but the word is used to mean good fortune. We find her as the consort of Vishnu in the Vishnu Purana. Sri Lakshmi rose to the surface of the Sea of Milk during the great churning of the ocean (when Lord Vishnu take Kurma Avatar) and chose to sit beside Vishnu. After that in all the following avatars of Vishnu Lakshmi came down to earth with him. When his incarnation was the dwarf Vamana Avatar, she came as Padma. With the Boar incarnate of Varaha Avatar she was Kamala. With Parashuram she was Dharani, with Rama she was Sita and with Krishna she was Rukmini.

Among the ten it is Chandika-Kali who has acquired a rounded persona that often leads to the worship of a deity and with it Durga has gathered her own myths. The most important being her long battle against the asura brothers Shumbha and Nishumbha. As found in the Chandi Mahatmaya, it is one of the most rousing tales of a battle with dramatic scenes of conflict, strategy and triumph of Righteousness.

Goddess Durga Brass Statues

Goddess Kali Brass Sculptures

Dagbladet har også en god guide til hva du bør få med deg i denne byen. Og det siste nå er en reportasje om hvor bra det er ved Ohm Beach, sør for Goa. Det kjipeste med slike reportasjer er at jo flere som leser om slike bra steder, jo flere rike, ekle turister tar turen og dermed ødelegger stedene for sin opprinnelige sjarm. For med turiststrømmen kommer handelsmennene, og til slutt er det ikke en vakker flekk igjen på denne kloden som ikke er forpestet av handel.

Jeg skal ta for meg noe helt annet, nemlig en religiøs festival som finner sted årlig.

Den indiske lysfestivalen Diwali er den heftigste feiringen jeg noensinne har opplevd i noen av landene jeg har besøkt. Her følger en lang artikkel om historien bak Diwali.

Lysfestivalen Diwali

I et land hvor religion har stor innflytelse på folks liv, og hvor avguder, i deres utallige og varierte former, bestemmer ens skjebne og lykke, er det ikke overraskende å observere med hvilken glede og sterke følelser folket feirer disse gudene gjennom ymse festivaler.

Av alle disse festivalene er det kanskje Deepawali, eller Divali (avhengig av hvor i India du måtte befinne deg) som kommer høyest på listen, da den kombinerer en enorm mengde moro med det religiøse aspektet. En rusletur gjennom en av Indias gater iløpet av de fem dagene festivalen varer vil gi deg et opplysende syn, en kakafoni av lyd, mengder av søtsaker og en eksplosiv opplevelse. Vi snakker da ikke om eksplosiver brukt i terrorvirksomhet, men om fyrverkeri i alle farger! Diwali feires med et stort smell!
Nesten enhver indisk festival kommer med en meget omtalt, repetert, kjent og kjær historie om kampen mellom det gode og det onde. Diwali er intet unntak fra denne tommelfingerregelen.
Men først, nomenklaturet: Sanskrit ordet Deepavali kan brytes ned til «deepa» som betyr «lys», og «avali» som betyr «en rad» - og dermed oversettes til «en rad/rekke av lys».

Dette er en referanse til den rekken av lamper som hilste Lord Rama (en reinkarnasjon av Lord Vishnu) velkommen ved hans ankomst tilbake til Ayodhya etter fjorten år i eksil. En forkortelse av det originale ordet, ga oss «Diwali» som er det mest brukte. Diwali, som allerede nevnt, strekker seg over fem dager og innbefatter mange mini-festivaler og ritualer som bygger opp til hovedfeiringen. Dermed får hver dag en egen betydning og innflytelse på den samlede feiringen av denne lysets festival. Diwalis første dag faller på den trettende dagen av måneden Ashwin. Hjem og kontorer blir rikt dekorert, noen ganger med små fotavtrykk, for å markere og feire ankomsten til Lakshmi – gudinnen av velstand og fremgang. Slik blir gudinnen husket i et forsøk på å sikre finansiell suksess i det kommende året. Små lys i keramikk eller leire blir tent ved Lakshmibønnen om aftenen, og holdt i live gjennom natten for å jage bort de onde åndene som lurer i skyggene. Religiøse sanger blir sunget til ære for Lakshmi, og tradisjonelle søtsaker, Naivedya, blir tilbudt i landsbyer over hele landet. Kuer blir pyntet og tilbedt som reinkarnasjonen av Lakshmi og blir ansett for å være en kilde til velstand.
En historie om Kong Himas unge sønns flukt fra dødens favntak er forbundet med neste dag. Det ble spådd at gutten ville dø av slangebitt på den fjerde dagen av hans liv som gift mann, men hans unge kone ville ikke finne seg i det. For å forvisse seg om at hennes mann ville holde seg våken gjennom natten, la hun ut en stor haug av sine smykker ved inngangen til hans kammer og opplyste alt ved hjelp av lamper som hun tente rundt smykkene. Deretter satte hun seg ned for å synge og berette historier. Da Yama, dødsguden, ankom i formen til en slange, ble han blindet av lyset og de skinnende juvelene. Han ble fortryllet av hennes vakre stemme og sang, og ved nattens ende dro han avsted uten å ha drept prinsen. Den unge kvinnen lurte skjebnen og døden, og reddet dermed sin manns liv. Siden da har denne dagen vært kjent som «Yamadee daan», og lamper holdes tent gjennom natten i respekt for Yama, dødens gud.

Historien forteller også at demonenes konge, Narakasura, herskeren over Pragiyotishpur (en provins sør for Nepal), etter å ha beseiret Lord Indra, stjal de storslåtte øreringene til Aditi (mors gudinnen) og fengslet 16.000 døtre av guder og hellige i hans harem.
Lord Krishna kom til redning, friga alle jentene i nød og tok livet av Narakasura ved å knuse hodet hans. Og som en makaber avslutning smurte han demonens blod på sin egen panne.
Krishna returnerte tidlig på Narakachaturdashi morgen, hvorpå jentene masserte hans kropp med duftoljer og ga han et godt bad for å rense han. (ååh, deilig!) Siden har denne skikken med å ta et bad tilført sandaltre paste og duftende oljer før soloppgang denne dagen, blitt en tradisjon.
En annen legende forteller oss om Kong Bali, innbygger av hedningenes verden, hvilkens makt ahdde blitt en trussel for gudene. For å begrense hans makt besøkte Lord Vishnu hani skikkelsen til en liten gutt og ba han om å gi han like mye land som han kunne trå over ved tre steg.
Kjent for sin filantropi innfridde Kong Bali guttens ønske.
Vishnu tok sin originale form, og tok steg over hele jorden og himmelen med kun to skritt, og spurte deretter Bali hvor han kunne plassere det tredje. Bali, i sin underlegenhet, tilbudte sitt hode. Vishnu godtok ønsket og trampet Bali ned i underverdenen. Men Kong Balis generøsitet gikk ikke upåaktet hen. Lord Vishnu ga han kunnskapens lys, og tillot han å returnere til jorden en gang i året for å tenne millioner av lamper og spre kjærlighetens og visdommens lys.
I Sør India blir det guddommeliges seier over det onde markert på en uvanlig måte. Folk står opp før soloppgangen og lager «blod» ved å mikse kumkum i olje, tilføre miksturen på en bitter grønnsak eller fruktfrø for deretter å knuse den i bakken. Miksturen blir så smurt over pannen som en imitasjon av Lord Krishnas kjente handling. Frukten symboliserer demonens hode og miksturen demonens blod. Narachaturdash dag blir dedikert til lys og bønn for å signalisere en fremtid full av glede og kunnskap.
Denne dagen, da solen går inn i sin andre fase og passerer Libra, som er representert i form av en vekt, blir markert ved å avslutte forrige års regnskap. Trommer og sang fyller atmosfæren, og noen tror at gudinnen Lakshmi hører disse sangene og beærer de jordlige med hennes tilstedeværelse. Hennes nærvær sprer god lykke og visdom, og fjerner ignoransens skygger. Folk blir velsignet og fremgang er stikkordet for dagen.
Når kvelden faller på bruker man nye klær, besøker venner og elskede for å gi gaver, spise sammen og dele gleden.

Det hører også med til historien at gudinnen Parvati spilte terninger denne kvelden med hennes mann Lord Shiva, og derfor vil det være lykkebringende å prøve sine hender på kortstokken. Gambling er en vanlig skikk på denne tredje dagen av festivitetene.
Følgende dag, Amavasya, er dagen da Kong Bali kommer ut fra Pathal Loka og hersker over Bhulok. Av den grunn er dagen kjent som Baliyapadami. Denne dagen markerer også kroningen av Kong Vikramaditya. Folk i Gokul pleide å ha en festival for å ære Lord Indra og tilba han ved slutten av hver monsoon periode (regnperioden i India). Denne tradisjonen fortsatte til det året da en ung Lord Krishna stanset de fra å tilby ofringer til Lord Indra, som i anger sendte et kraftig regn for å drukne Gokul. Lord Krishna reddet Gokul ved å løfte Govardhan fjellet og holde det over folket som en paraply. På denne dagen pynter flere bønder sine hauger av kumøkk med blomster. Dagen markerer også det nye året og symboliserer kjærligheten mellom mann og kone, og blir markert ved gaveutveksling og nye klær.

Diwalis siste dag markerer kjærligheten mellom brødre og søstre. Det var på denne dagen Lord Yama gikk til sin søsters hus for å få «tikka» smurt i pannen og bli pyntet med blomstergirlander av henne. Lord Yama sa at alle som utførte dette på denne dagen ville bli beæret. Og slik ble det vanlig for brødre å gå til sin søsters hus for å feire «Bhai dooj».
Uansett om det er en årlig påminnelse om det godes seier over det onde, eller om det bare er en unnskyldning for å kjøpe nye klær, spise god mat og svi av fyrverkeri, så holder Diwali en spesiell plass i enhver inders hjerte. Og også i mitt.

Les også om Ganesh festivalen

Les mer om India i Dagbladets reportasje fra Mumbai
Les om Bollywood ferie i Dagbladet

The word 'Krishna' means black. As we can see in this section, the colour signifies that the lord is not a physical being, but has a transcendental nature instead, above all manifestations of colours. According to Sri Ramakrishna, the famous Hindu mystic of the nineteenth century, Lord Krishna is black so long as we view Him from a distance. He has a permanent place in our hearts, bearing a more intimate and direct relation than any object of visual perception has with us.

The Lord Krishna keeps on sending His enchanting and beckoning notes to us on the Flute even as we suffer, oblivious to His (God Krishna) inner presence. The rhythm and beauty of life, however, are restored once we are aware of this sustaining presence. The awareness comes with the realization that we are ourselves the flute He has chosen as His instrument for divine aesthetic expression. While playing the instruments that we human beings are, He exhales His breath into us which is the breath of life. According to Lahiri Mahashaya, another great Hindu mystic of the nineteenth century, the Lord's playing on His flute signifies the yogic technique, of breath control following which the aspirant attains divine realization, passing through six spiritual stages as indicated by the six holes in the flute.

The standing posture of the Lord Krishna itself depicts a superb rhythm showing the body bent at three places with the ecstasy of love. His crown has a peacock feather on the top, the circle in the middle of which stands for the third eye, also known as the spiritual eye. It is with this spiritual eye that He casts His glance of divine love on us. The whole mood is of a friend we must strive to relate to in all trust in expectation of His pure and loving company.

Another depiction of the deity is in the form of a little boy (the Bala Gopala or Gopal Krishna) who is longing for our affection with His outstretched right hand. The asking is spontaneous, and the giving has to be spontaneous and unconditional too. Spiritual life consists either in the cultivation of friendship with, or affection for the deity, depending on the aspirant's dominant psychological disposition. The devotee is expected to sublimate his feelings and emotions in building a relation with the deity through the veneration of the icon.

When friends raved about the glass painting classes they attended and the effect it had on them swayed me into trying a glass painting myself. I had a neighbor who did several of these paintings and was selling commercially. She offered to teach me this form of painting. I went to her house one day to choose the pre printed glass. Suddenly my mother had this idea that I should make one for my sister also. So I chose a Krishna and a Lakshmi.

This is a glass painting which is done on pre printed glass. The ones I have done have been screen printed. So once you get the glass you have to fill the colors in the reverse side in between the black outlines. Though I did enjoy making the paintings, I should confess that it was a tad tedious and less challenging. Tedious because I was pregnant with my second child, less challenging because, one is just filling up colors of ones choice and doesn't have the pleasure of drawing the Krishna. I finished the painting in about ten days, giving way to the speculation that after I finish the Krishna I would be blessed with a son. But Lakshmi rose to the occasion and blessed me with a daughter. So I will always cherish the memories of making this painting.

The stage was set with two silver idols of Goddess Lakshmi decked in beautiful garlands. The idols of the Ashta Laskhmis (the eight manifestaions of the Goddess) where also displayed in all their splendour. Bhagawan Sri Sathya Sai Baba arrived for darshan at 9.40am and took a full round in kulwant hall. Bhagawan then came on to the dais and lit the ceremonial lamp to commence the puja. Two purohits conducted the proceedings by reciting appropriate mantras and giving instructions to the ladies to conduct the puja. The puja began with the worship of Lord Ganesha and proceeded according to 'Sree Sukta Vidhana' with 'Shodasha Upachara' or 16 forms of ceremonial offerings to Goddess Varalakshmi while reciting verses from the Sree Suktam.

At the end of the puja, the purohit narrated the story of how the 'Varalakshmi Vrata' came in to practice: In kailasa, Goddess Parvati asked Lord Shiva as to whether there is any form of worship that women can perform for fulfillment of all their desires. Then Lord Shiva says that by performing the Varalakshmi Vratam on the first friday of the Hindu month of Shraavana, a women attains all her desires such as a long & happy married life, being blessed with children and grandchildren, leading a healthy & prosperous life dedicated to right living and spiritual growth.

After attaining these instructions, the ever compassionate mother appears in a dream of a pious lady by the name of Charumathi and instructs and guides her to perform the Varalakshmi Vratam. Upon waking up, she narrates the dream to her husband and her in-laws and they encourage her to perform it. So Charumathi performs the vratam along with many other married women and they are blessed with all auspiciousness and prosperity.

After the story session, the ladies tied sacred thread on the right hand wrist of each other and exchanged prasadam and other articles of worship with each other. the puja concluded with arati around 11am.

In the evening, the Kulwant hall resounded to classical music of Smt Sunita, a recipient of Nandi Award. Smt Sunita captivated the audience with both classical and light music and rounded it off with a beautiful Bhajan. Sathya Sai Baba blessed the artiste with a chain and followed it up with clothes for both the singer and the accompanists.

Reference (With Pictures)
[caption id="attachment_1687" align="aligncenter" width="71" caption="Ashta Lakshmi"][/caption] ]]> http://shalincraft.wordpress.com/?p=102 Wed, 13 Aug 2008 11:37:40 +0000 Shalini Verma http://shalincraft.wordpress.com/?p=102 'Yantra' is a geometric figuration of a god or goddess which represents his or her powers.
In worship Shastras rule that with god/goddess idol, the related yantra should also be worshiped accompanied by the recitation of prescribed mantra according to tarntra (Specified process). The belief is that yantras carry the powers of the gods or goddesses they represent. The reverence shown to and worship or display of the yantra in itself is rewarding.

Yantras

Is there scientific logic behind this ?
there is in the moment scientific age the yantra practice is integral part of corporate sector activity. The corporate house have their own yantras which they call 'Logo'. Every big business house has its carefully designed logo which plays a big part in its activities.

Laxmi Yantra

Infact, over period of time logo becomes the symbol of the quality of its products or services. Logo or emblem becomes a firm's stamp which is cherished and respected by all its employees, shareholders and the consumers. Similarly yantra is logo or emblem of a god or the goddess. It symbolises the power of the deity. The worship of the yantra is as important as worship of the related deity.

A car carrying words 'Mercedese Benz' does not convince you until it displays its Merc Yantra, The same psychology works on religious level too. That makes yantra an important figuration.

மகா முட்டாள்தனமான கதை. உதாரணமாக வில்லன் வி.கே.ராமசாமி சூழ்ச்சி செய்து சிவகுமாரை போலீஸ் இன்ஸ்பெக்டர் ஜெய்ஷங்கரின் தங்கைக்கு கல்யாணம் செய்து வைப்பார். எதற்காக? தான் கோவிலில் இருந்து திருடிய வைரங்களை தற்காலிகமாக ஜெய் வீட்டில் பத்திரமாக ஒளித்து வைக்க! லட்சுமிதான் டைட்டிலின் கன்னிப் பெண். அதனால் அவர் தான் விரும்பும் ஜெய்க்கு வாணிஸ்ரீயை கல்யாணம் செய்து வைத்து விடுவார்! அப்போதுதானே அவர் டைட்டில் போல கன்னிப் பெண்ணாக இருக்க முடியும்?

யாராவது மீண்டும் பாட்டுக்களை youtube-இல் போஸ்ட் செய்வது வரை காத்திருங்கள்! இல்லையென்றால் ஏதாவது தமிழ் சினிமா பாட்டு தளங்களுக்கு சென்று பாட்டுக்களை கேளுங்கள்.

In the realms of religious doctrines and practices, the period c. 200 BCE to 300 CE reflects several continuities with the earlier centuries, but also some striking new developments.

One of the most important of these was the beginning of new devotional practices within Buddhism and Jainism and the emergence of early Hinduism. New forms of worship were accompanied by new liturgies and mythologies. Religious teachers, saints, gods, and goddesses were worshipped or venerated in the form of images within the context of religious shrines.

The history of religions is usually constructed on the basis of frameworks provided by religious texts, which are not always accurately reflective of popular practice. Apart from their elite authorship and normative nature, some of them are difficult to date.

The beliefs and practices they mention often have earlier beginnings. Further, dominant religious traditions usually try to marginalize or ignore other traditions and therefore often give a distorted idea of their significance. An example is the case of the Ajivika sect, which, notwithstanding all the criticism of its ideas and leaders in Buddhist and Jaina texts, was clearly influential in many parts of the subcontinent across many centuries.

Further, religious texts do not always clearly reflect regional or local variations in practices, and there are some widely prevalent practices that they do not mention at all.

For all these reasons, although texts are extremely valuable sources for the history of religions, they have to be looked at along with evidence from archaeology, inscriptions, and coins.

When studying the history of different religions or sects separately, little attention is often paid to their contemporaneity and interaction. Studies of pilgrimage sites in India contain innumerable examples of places that are considered sacred for different reasons by different religious communities.

The interconnections and interactions between and among different religious traditions at the ground level also emerge clearly when we look at the archaeological evidence from specific sites, areas, and regions.

The sculptural motifs associated with ancient religious establishments reveal the existence of a shared pool of auspicious symbols. Their shrines reflect shared architectural styles that cut across sectarian differences. All this is not surprising, as these traditions and their adherents shared a common cultural space.

We will also see that there are several religious practices that were not specifically associated with a specific religious tradition but were an enduring feature of popular religion over many centuries. At the same time, the relationship between different religions or cults could also take the form of competition and conflict.

Yakshas, nagas, and goddesses
The evidence of literature and sculpture graphically illustrates the metamorphosis of the yaksha from a benevolent, powerful deity who was the focus of exclusive worship to a terrifying, demonic creature, reduced to the position of a subsidiary attendant figure associated more with fertility than with wealth. Yakshis or yakshinis were originally benign deities connected with fertility. Their worship was eventually absorbed into and marginalized by the dominant religious traditions, but the frequent references to them shows just how popular and widespread this worship once was.

The worship of serpents—nagas and nagis (or naginis)—was another important aspect of religious worship that cut across religious boundaries. The nagas and nagis were associated with water and fertility. Like the yakshas and yakshis, they too were originally the focus of exclusive worship, but were in course of time absorbed into the dominant religions. Colossal naga figures belonging to the early centuries CE have been found in many places. Their imposing nature and the technical finesse of their carving make it amply clear that they do not represent a simple folk or village cult.

Female terracotta images have been found at various from prehistoric times onwards. Whether or not these had a cultic or religious significance involves subjective judgement.

The worship of goddesses during c. 200 BCE–300 CE is evident from archaeological evidence from many sites. Female figurines are sometimes associated with terracotta artefacts that are referred to in archaeological literature as votive tanks and shrines. These occur many sites in the subcontinent, from 3rd century BCE levels right up to medieval levels, showing that such objects were part of the paraphernalia of domestic rituals for over 1,000 years.

Puranic Hinduism
The English word ‘Hinduism’ is a fairly recent one and was first used by Raja Ram Mohun Roy in 1816–17. The word ‘Hindu’ is older and is derived from the Sindhu (Indus) river. It was originally a geographical term, used in ancient Persian inscriptions to refer to the lands beyond the Sindhu river. In the course of the medieval period, the term came to acquire a religious–cultural meaning. Modern-day Hinduism differs from other major world religions in many important respects, in that it has no founder, no fixed canon which embodies its major beliefs and practices, and no organized priesthood. It is also marked by a great variety in beliefs, practices, sects, and traditions. Some scholars argue that Hinduism is not so much a religion as a set of socio-cultural practices; others argue that it is inextricably linked to the existence of caste, and still others hold that we should talk of Hindu religions in the plural rather than the singular. The relative newness of the word, the problems of definition, and the existence of much internal diversity, are not sufficient reasons to avoid the use of the term Hinduism.

During the period c. 200 BCE–300 CE, there is evidence from a variety of sources of certain devotional practices that can be associated with Hinduism. This was the formative phase in the evolution of early Hindu pantheons. Some of the deities who became the foci of worship in this period are known from Vedic literature. However, during these centuries, they emerged as powerful supreme deities, whose images were installed and worshipped in temples and homes. The most influential of the newly emerging cults were associated with the worship of the gods Shiva and Vishnu and the goddess Durga.

The beginning of the theistic trends that came to the fore in this period can be traced to the later Upanishads. However, the process is more clearly visible in the Mahabharata and Ramayana. The new religiosity of devotion is also reflected in the Bhagavad Gita and the Puranas. Apart from textual sources, archaeological sites, sculptures, coins, and inscriptions give important data, which in some cases indicates earlier beginnings than suggested by texts.

The earliest inscriptional references to and archaeological remains of Hindu temples belong to c. 200 BCE–300 CE. Reference was made earlier to the Besnagar pillar inscription of Heliodorus, which records the installation of a pillar associated with a Vishnu templeand the remains of the foundations of a temple nearby. A 2nd century Nagari inscription mentions a temple of Samkarshana and Vasudeva. The remains of a temple dedicated to the Matrikas (the Seven Mothers) at Sonkh, a Lakshmi temple at Atranjikhera, a Shaiva temple at Gudimallam, and temples dedicated to Vishnu and Shiva at Nagarjunakonda can be considered to be among the earliest vestiges of Hindu temples in the subcontinent.

Although the period c. 200 BCE–300 CE witnessed the development of sectarian cults that considered a particular god or goddess as a supreme deity, there was also a parallel process which visualized the Hindu gods as closely related and performing complementary functions. This is evident, for instance, in the idea of the triad of Brahma, Vishnu, and Shiva, present in the Mahabharata and more clearly developed in the Puranas. In this triad, Brahma is associated with the creation of the world, Vishnu with its preservation, and Shiva its destruction. The three gods are also associated with different principles, from which arises their division of labour—Brahma is associated with rajas (the creative, active principle), Vishnu with sattva (the unattached, passive principle), and Shiva with tamas (the dark, fierce principle). In some places in the Puranas, the gods operate in their respective spheres according to this division of labour, in others they are described as manifestations of the same divine being.

The acknowledgement of other gods and their being considered worthy of respect is also evident from the fact that shrines dedicated to one deity often have sculptural representations of other deities as well. Polytheism simply refers to a belief in many gods, but monolatory means the belief in a supreme god without denying the existence of other gods. It is the latter term that best describes emergent Hinduism.

Extracted with permission from A History of Ancient and Early Medieval India: from the Stone Age to the 12th century by Upinder Singh. Pearson Longman. Pages 704.

[caption id="attachment_1188" align="aligncenter" width="94" caption="Religion Symbols"][/caption] ]]> http://benvenutiinparadiso.wordpress.com/?p=225 Fri, 01 Aug 2008 14:00:02 +0000 giorgio1977 http://benvenutiinparadiso.wordpress.com/?p=225

La Grande Madre è una divinità femminile primordiale, presente in quasi tutte le mitologie, rappresentante la terra, la generatività, il femminile come mediatore tra l'umano e il divino.

Il culto della Grande Madre risale al Neolitico e forse addirittura al Paleolitico, se si leggono in questo senso le numerose figure femminili steatopigie ritrovate in tutto il mondo.

l periodo storico è antichissimo (dal 30.000 al 1000 a.C.): la fase più fiorente si situa dal 7000 al 3000 a.C. (Neolitico). La spiritualità della Grande Madre si rivolge verso l’aspetto femminile e materno di Dio.
La Madre Terra diventa il simbolo della Grande Madre, Dea della Natura e della Spiritualità. Fonte divina di ogni nascita dà e sostiene la vita; è a Lei che la vita ritorna per rinascere come nei cicli della vegetazione. La Dea è, in tutte le sue manifestazioni, il simbolo dell’unità di tutte le forme esistenti in natura. Il suo potere è nell’acqua, nelle pietre, negli animali, nelle colline, negli alberi, nei fiori. La grande creatività di quel periodo caratterizzò la cultura come cultura dell’arte. Templi, abitazioni, ceramiche, statuette, abitazioni, portano evidenti tracce di questo culto. Sono state rinvenute molte veneri che presentano i simboli della Dea. In esse sono incisi o dipinti semi, boccioli, germogli, uova, crisalidi e segni acquatici come rappresentazione della rinascita e rigenerazione, del divenire e della trasformazione.

Lungo le generazioni, con gli spostamenti di popoli e la crescita di complessità delle culture, le "competenze" della Grande Madre si moltiplicarono in diverse divinità femminili. Per cui la Grande Dea, pur continuando ad esistere e ad avere culti propri, assumerà personificazioni distinte, per esempio, per sovrintendere all'amore (Ishtar - Astarte - Afrodite - Venere), alla fertilità delle donne (Ecate triforme), alla caccia (Artemide - Diana), alla fertilità delle sementa (Demetra - Cerere e Persefone - Proserpina)  analoga alla domanda dell'uomo di rinascere come il seme rinasce dalla terra.

L’area geografica analizzata riguarda Africa, America e l’Europa. In Africa la Grande Madre viene chiamata Nana e Iside; in America la Dea dall’abito di serpente;presso i Navajos e gli Apache la Estsanatlehi era la Madre di tutti gli esseri viventi che all’alba del mondo, quando si unì al sole, partorì due gemelli che sconfissero i mostri che popolavano il suolo terreste. In Asia, in area mesopotamica (V millennio AC) e in area anatolica (II millennio AC), viene adorata come Ninhursag, Cibele, e Anahita, in Cina è chiamata Quan-Yin, in India Durga. Per l’Europa in Grecia con Gea e Athena, l’Italia con Cibele, Bona Dea, Minerva ed Uni, con l’antica Dea Mater Matuta degli etruschi, Spagna e Malta con la Dea Astarte, l’Irlanda con la Dea Brigit, la Russia con la Dea Lada ( famosa incarnazione di Lada è Matersva, la dea uccello ).

Reperti molto interessanti si trovano in Bulgaria, in Russia ed in Lombardia (Val Camuna) del 2000 a. C. dove vi sono incisioni rupestri in mezzo alla natura con evidenti simboli che appartengono al culto della Grande Madre: serpentine, labirinti reti, bande ondulate, motivi a zig-zag. Per Jung questi sono i frutti interiori che emergono dall’inconscio collettivo, il regno della spiritualità della Grande Madre. Per lui la Grande Madre è una delle potenze numinose dell'inconscio, un archetipo di grande ed ambivalente potenza, salvatrice e distruttrice degli aspetti negativi della nostra personalità, nutrice e divoratrice. delle nostre ossessioni.  Altri reperti significativi sono due statuette della Dea rinvenuti in Turchia e a Creta. In quello della Turchia, risalente al 6000 a.C., la Dea è rappresentata seduta in trono, maestosa e regale con 2 fiere accanto; le sue mani sono posizionate in modo forte e tranquillo sulla testa delle fiere.

In quello di Creta ha in mano 2 serpenti. Il serpente era il simbolo della saggezza oracolare della Dea, infatti nell’antica Delfi la sacerdotessa che dava consigli ai capi di stato era raffigurata in associazione con il serpente. Anche il serpente era un simbolo collegato alla Grande Madre; il suo movimento verticale ascendente rappresentava la forza vitale e l’energia (la Kundalini) mentre il letargo e la muta rappresentavano il divenire e la trasformazione, l’immortalità ed il risveglio ciclico della natura. Questo tipo di cultura e di spiritualità si inserisce in una società di tipo agricolo dedito alla cura della vegetazione, dell’artigianato, del commercio. Fu un periodo di stabilità e pacifico.

Le donne erano considerate e valorizzate – regine, sacerdotesse, artigiane, membre anziane del clan – la società era di carattere egualitario. Si evidenziava un particolare rispetto verso la Madre Terra come simbolo della Grande Madre. Il potere della donna era inteso non come dominio ma come capacità di illuminare e trasformare la coscienza umana. Più tardi nell’epoca medievale tutto ciò sarà simboleggiato nel vaso femminile: il calice del Sacro Graal. Un potere, quindi, non terreno ma spirituale che si estrinseca non solo nella conoscenza e nella saggezza, ma soprattutto nella verità, nell’amore, nella giustizia. Queste qualità verranno in seguito attribuite alla Vergine Maria. La dispensatrice della nascita e la Madre Terra si fusero con la Madonna. Alla fine di questo periodo la spiritualità antica della Grande Madre gradualmente si attenuò fino a scomparire come risultato delle scontro tra culture diverse e del successivo affermarsi delle religioni patriarcali.
Seguì l’alienazione dell’uomo dalla natura e da se stesso i cui effetti sono ben evidenti nella società odierna. Per nostra fortuna il culto della Grande Madre ed i suoi simboli non sono andati perduti in quanto hanno costituito lo strato primario dell’inconscio collettivo, presenti come archetipi e visibili nelle fiabe, nei miti, nei sogni. I cicli storici non si fermano mai; e la spiritualità della Grande Madre riemerge in tutte le sue forme (ecologia ed interesse verso i temi dell’unione, dell’integrazione, della pace) a donarci speranze per il futuro ricollegandoci alle nostre più antiche radici.

Iside

Iside è spesso simboleggiata da una vacca, in associazione con la Dea Hathor, ed è raffigurata con le corna bovine, tra le quali è racchiuso il sole. Nell'iconografia è rappresentata spesso come un falco o come una donna con ali di uccello e simboleggia il vento. In forma alata è anche dipinta sui sarcofagi nell’atto di prendere l’anima tra le ali per condurla a nuova vita. Solitamente viene raffigurata con una donna vestita, con in testa il simbolo del trono, che tiene in mano un loto, simbolo della fertilità. Frequenti anche le rappresentazioni della dea mentre allatta il figlio Horus. Il suo simbolo è il tiet, chiamato anche nodo isiaco.

Cibele

Cibele fu un'antica divinità anatolica, venerata come Grande Madre, dea della natura, degli animali (potnia theron) e dei luoghi selvatici. Cibele viene generalmente raffigurata seduta sul trono tra due leoni o leopardi, spesso con in mano un tamburello e con su il capo una corona turrita. Il culto di Cibele, la Magna Mater dei Romani, fu introdotto a Roma il 4 aprile 204 a.C., quando la pietra nera, simbolo della dea, vi fu trasferita da Pessinuntee collocata in un tempio sul Palatino.

Anahita

Anahita era una divinità dell'antica Persia, delle sorgenti d'acqua della fertilità e della maternità. I suoi simboli erano la colomba e il pavone, era la madre di Mitra, il nome con cui Zoroastro attribuiva a Dio. Il tempio selucide di Kangavar in Iran (c. 200 a.C.), è dedicato a "Anahita, l'Immacolata Vergine Madre del Dio Mitra". La terminologia cristiana della vergine Maria è fortemente legata a questa dea che era insieme madre e vergine immacolata.

Durga

Presso la religione induista, Durgā è una forma della Devi, la Madre Divina (che assume anche molte altre forme, tra cui Sarasvati, Parvati, Lakshmi, Kali). È raffigurata come una donna che cavalca un leone, con numerose braccia mani che impugnano diversi tipi di armi e fanno le mudra (gesti simbolici fatti con la mano). Questa forma della Dea è l'incarnazione dell'energia creativa femminile (Shakti). Secondo il racconto del Devi Mahatmyam del Markandeya purana, la forma di Durga fu creata come dea guerriera per combattere il demone Mahishasura. Grazie ad intense preghiere a Brahma, Mahishasura ebbe la grazia di non poter essere sconfitto da alcun uomo o essere celeste. In virtù di questo potere, attaccò i Deva che andarono in aiuto della Trimurti (Brahma, Viṣṇu e Śiva), ma Mahishashura sconfisse tutti gli dèi compresa la triade stessa. Scatenò un regno di terrore sulla terra, in cielo e negli inferi. Dopo diversi giorni di battaglia durante i quali l'esercito di Mahishashura venne decimato, Durga uccise finalmente Mahishashura il decimo giorno della luna piena. Questa vittoria viene ricordata nella festa del Navaratri in autunno.

Quan-In

Conosciuta In cinese Quan-In o Guan Yin, in giapponese Kannon o Kanzeon, in coreano Gwan-eum o Gwan-se-eum, in tibet come Avalokitesvara.  E' una divinità molto venerata, soprattutto come dea della misericordia: una sua statua è presente in tutti i piccoli altari che si trovano nelle case, nei negozi e nei laboratori dei Paesi in cui il buddismo è diffuso. In tutte le lingue, il primo nome sta per "Osservatrice dei suoni del Mondo".

Sempre in Cina, Guanyin indossa generalmente una lunga veste bianca, e spesso una collana delle famiglie reali indocinesi; nella mano destra regge una brocca d'acqua pura, e nella sinistra un ramo di salice.

Una leggenda Buddhista presenta Guanyin nell'atto di far voto di non riposarsi fino ad aver liberato tutti gli esseri senzienti dal Saṃsāra. Nonostante il suo strenuo impegno, realizzò che c'erano ancora molti esseri infelici che dovevano ancora essere salvati; sforzandosi di comprendere le necessità di tanti, la sua testa si divise in undici parti. Amitabha Buddha, vedendo la situazione, gli donò undici teste con cui udire le suppliche dei sofferenti; avendole ascoltate e comprese, Avalokitesvara cercò di raggiungere e soccorrerli, ma così facendo le sue braccia si divisero i mille pezzi: ancora una volta, Amitabha venne in suo aiuto e gli assegnò mille braccia per soccorrere le moltitudini.

Gea

Gea o Gaia nella mitologia greca è la divinità femminile che impersona la Terra. La Teogonia di Esiodo racconta come, dopo il Caos, sorse l’immortale Gaia degli ampi seni, progenitrice degli dei dell’Olimpo. Da sola e senza congiungersi con nessuno ella generò Urano rappresentante il cielo stellato, l'universo.

Dunque, per primo fu Caos, e poi

Gaia dall'ampio petto, sede sicura per sempre di tutti

gli immortali che tengono la vetta nevosa d'Olimpo,

Teogonia di Esiodo (Versi 116-119)

Gaia per primo generò, simile a sé,

Urano Stellato, che l'avvolgesse tutta d'intorno,

che fosse ai beati sede sicura per sempre.

(Versi 126-132)

Alcuni studiosi credono che Gea fosse la divinità che originariamente parlava per bocca dell’Oracolo di Delfi.

Athena

Nella mitologia greca, Atena era la dea della sapienza, particolarmente della saggezza, della tessitura, delle arti e, presumibilmente, degli aspetti più nobili della guerra.

Atena ha sempre con sé la sua civetta, indossa una corazza di pelle di capra chiamata Egida donatale dal padre Zeus, ed è spesso accompagnata dalla dea della vittoria Nike. Quasi sempre viene rappresentata mentre porta un elmo ed uno scudo cui è appesa la testa della Gorgone Medusa, dono votivo di Perseo.

Non ebbe mai alcun marito od amante, e per questo era conosciuta come Athena Parthenos (La vergine Atena), da cui il nome del più famoso tempio a lei dedicato, il Partenone sull'acropoli di Atene. Dato il suo ruolo di protettrice di questa città, è stata venerata in tutto il mondo greco anche come Athena Polis (Atena della città). Il suo rapporto con Atene era davvero speciale, come dimostra chiaramente la somiglianza tra il suo nome e quello della città.

Minerva

Minerva fu la divinità romana della guerra, e la protettrice degli artigiani. La figura di Minerva deriva da quella di Atena, suo corrispettivo nella mitologia greca.

Publio Ovidio Nasone la definì divinità dai mille compiti. Minerva fu adorata in tutta l'Italia, nonostante solo a Roma assumesse un aspetto da guerriera. Viene solitamente raffigurata mentre indossa una cotta di maglia ed un elmo, completa di lancia.

Astarte

Astarte fu una dea venerata nell'area semitica nord-occidentale. Astarte era la Grande Madre fenicia e cananea, sposa di Adone, legata alla fertilità, alla fecondità ed alla guerra e connessa con l'Ishtar babilonese. I maggiori centri di culto furono Sidone, Tiro e Biblo. Era venerata anche a Malta, a Tharros in Sardegna, ed Erice in Sicilia, dove venne identificata con Venere Ericina. Suoi simboli erano il leone, il cavallo, la sfinge e la colomba.

Brigid

La celtica Brigid era una triplice dea sposa di Dagda, potente signore della fertilità. Egli era il dio dell'abbondanza in quanto il suo magico calderone dava sostentamento, non solo materiale ma anche spirituale, a tutti i popoli della Terra, essendo custode del sapere infinito.

Questo portentoso oggetto fa parte della tradizione di molte culture antiche, come quella asiatica, per esempio, secondo cui esso è il "progenitore" del Graal. Si narra, infatti, che alcuni messaggeri degli dei, forse angeli, sarebbero scesi dal cielo e fermatisi nel deserto avrebbero insegnato agli uomini tutto ciò che sapevano, facendoli partecipi della loro cultura superiore. Prima di partire, avrebbero lasciato quattro oggetti magici: una pietra, un calderone, una lancia e una spada, che sono rispettivamente la pietra nera de la Ka'ba, la spada di Re Artù, il Graal e la lancia di Longino.

Aveva altre due sorelle, anche loro chiamate Brigid, considerate come una sola triplice Dea. Brigid era associata al sacro fuoco perpetuo. Il suo culto è sopravissuto come Santa Brigida. La figura della Signora del lago nel ciclo di Re Artù potrebbe essere ispirata a Brigid.

La dea Brigid aveva come oggetti sacri a lei dedicati la coppa, la ruota del filatoio e lo specchio. La coppa era il simbolo dell'abbondanza ed anche il ventre da cui ha origine tutto il creato, il filatoio simboleggiava il centro del cosmo, la ruota delle stagioni e la durata della vita degli uomini.

I suoi animali totemici erano in primis i serpenti come simbolo di della vita che si rigenera, il gallo che annunciava il nuovo giorno e la mucca immagine della fertilità per antonomasia (fonte).

La spiritualità della Grande Madre è oggi presente in 100 paesi del mondo per merito di Shri Mataji che il 5 maggio 1970 ha permesso il risveglio della Kundalini a livello collettivo, l’energia spirituale materna che tutto sostiene e tutto comprende.
Attraverso Sahaja Yoga (fondato e sviluppato da Shri Mataji) ognuno può mantenere risvegliata questa energia fonte di benessere, equilibrio ed armonia. L’archetipo della Grande Madre si è destato dal suo millenario letargo e, grazie a Shri Mataji, è completamente attivo e pronto a manifestarsi in tutta la sua bellezza e potenza.

Long long ago Lord Vishnu had three wives viz., Lakshmi, Saraswati and Ganga. One day Ganga looked at Lord Vishnu with lot of passion when the other two were present. A big quarrel erupted between them. When Saraswati attacked Ganga, Lakshmi tried to separate them. Saraswati got infuriated and cursed Lakshmi that she should be born as a plant in earth. Ganga cursed Saraswati, that she should become a river and Saraswati in turn cursed Ganga that she should become an ever flowing river. Lakshmi, who was loved a lot by Lord Vishnu, told her, “Please do not worry. You would be first born as a daughter of a very pious soul called Dharma Dwaja and later marry an Asura called Shankha Chooda, who would be one of my incarnations. Later you would come and join me in Vaikuntha after becoming the holy plant Tulasi.”

There was a great king called Rudra Savarni, in his clan was born a great king called Vrusha Dwaja. Vrusha Dwaja was a very great devotee of Lord Shiva. Because of this he banned worship of all other Gods except Lord Shiva in his kingdom. Due to non worship of Goddess Lakshmi during the Kanya (October-November) month, there was a great famine in his country. Apart from that Lord Surya, who was also not worshipped, cursed the king that he would become a wretch. This infuriated Lord Shiva. He sent his Trident against Lord Surya. Lord Surya, afraid of Shiva’s trident ran to his father Kashyapa Prajapati for help. Since he was not in a position to help, both of them approached Lord Brahma. He also expressed his helplessness to protect Lord Surya and all of them together went to meet Lord Vishnu. Lord Shiva also came there. Then Lord Vishnu pointed out that since the time of Deva’s was very much different, thousands of years have passed in the earth and Vrusha Dwaja was no more. He requested Lord Shiva to take back his trident. Then Lord Vishnu told them that in the clan of Vrusha Dwaja, two kings viz., Dharma Dwaja and, Kusa Dwaja were remaining and both of them were doing extreme penance to Goddess Lakshmi so that she would bless their kingdom. Goddess Lakshmi appeared before them and blessed them saying that she would be born as daughter to them and with this their country would become fertile and rich.

Kusa dwaja married a lady called Malavati and a daughter Vedavati was born to them. When Vedavati was doing Tapas (penance), Ravana tried to rape her. She cursed Ravana that if he touches any lady without their consent his head will beak in to thousand pieces. She then jumped in to the sacrificial fire and died. Ravana took the ashes of the fire, put them in a box and threw it in the sea. This box was swept ashore in the kingdom of Mithila and was found by Janak. Vedavati was inside the box in the form of a girl child. She was called Sita, who later became the wife of Lord Rama.

Dharma dwaja married a lady called Madhavi and Goddess Lakshmi was born to them as a girl child. Since she was an incomparable beauty, they called her Tula Si (Incomparable one). Tulasi grew up in to lady as soon as she was born and left her kingdom and started doing Tapas in Badrinath with a wish to marry Lord Vishnu. She did Tapas in the middle of fire all round her in summer and under water in winter. She did Tapas for twenty four thousand years eating only fruits. Another thirty six thousand years eating only leaves, another forty four thousand years eating only air and the last ten thousand years without eating anything. Lord Brahma, appeared before her and asked her what she wanted. She told him that she wanted to become the wife of Lord Vishnu. Lord Brahma told her, “Hey Tulasi, Lord Sudhama who was a part of Lord Krishna is now born as an Asura called Shankha Chooda. He is a part incarnation of Lord Vishnu. You would first become his wife. Later you would become the wife of Lord Narayana. While going back, a part of you would remain in this world as a holy plant called Tulasi. Any worship which does not include worship with the leaves of Tulasi, would be incomplete and would not be accepted by Gods.”

Shanka Chooda at that time had pleased Lord Brahma by his Tapas and was given a Vishnu kavacha (armour) and a boon that unless the armour is removed from his body and till his wife looses her virtue (Pativrutya), no body can kill him. Shankha Chooda requested Tulasi to marry him and both were married. They lead an extremely happy life. This time Shankha Chooda started giving trouble to the Devas. Devas accompanied by Lord Shiva approached Lord Vishnu for a solution. Lord Vishnu gave his spear to Lord Shiva so that he can break the Vishnu Kavacha, which Shankha Chooda was wearing, when Lord Shiva and Shankha Chooda were engaged in a fierce battle and Lord Vishnu assumed the form of Shankha Chooda and went to Shankha Chooda’s palace. When they entered the bed room Tulasi started suspecting Lord Vishnu. Then Lord Vishnu took his real form and told her, “Lakshmi, you have been doing great penance to marry me. By Now Shankha Chooda would have been killed by Lord Shiva and it is time for you to leave this body and come as Lakshmi to Vaikuntha and be with me. Your body which you leave here will become a great river called Gandaki and your hair would transform itself in to a holy plant Tulasi. This plant would become the holiest among plants.”

Lord Vishnu and goddess Lakshmi returned to Vaikuntha.

Retold By P. R. Ramachander, in www.celextel.org

Visit www.eTirth.com for more information on Temples, Ashrams, Gurus, Festival and Daily Panchangam (Hindu ephemeris).

Birthdate: August 1, 2007
Gender: Goddess

Lotus Blossom Style started with my wish to bring positive and peaceful images and messages to everyday comfy, fun and environmentally friendly clothing. I wanted to be a force of change in the marketplace so that more companies would think about creating positive imagery and caring for our earth, not just on and with clothing, but in magazines, billboards, commercials and film. I wanted to transform culture through clothing!

I picked the name “Lotus Blossom Style” to represent my strong belief in every human’s potential to unfold toward their potential. The lotus, a sacred flower in the Hindu and Tibetan traditions, has been a longtime symbol representing the spiritual journey. As a longtime seeker and journeyer as well as a playful soul, I decided this name would be perfect!

My first design for the clothing line was a blossomed lotus with the words underneath “live your truth.”

What came unexpectedly was my next design -- a Goddess!

Green Tara, the Tibetan Buddhist Goddess of Compassion in Action, blossomed right up and out through the center of the lotus to make her presence known. At first I was surprised since my initial visioning did not include goddesses, but then realized that Green Tara’s mission to act on the behalf of all human beings to help them move toward their beautiful potential somehow was moving through me.

A number of years earlier, when taking the Tibetan Buddhist vows, I had been given Tara’s name. The variation I received was “Supreme Tara of Clear Light.” This of course drew me toward her and made me want to learn more about her!

Over time I learned that Tara is the female form of the Buddha of Compassion. In human form, His Holiness the Dalai Lama is considered a manifestation of the Buddha of Compassion. The story goes: Once upon a time when the Buddha of Compassion heard the cries of all living beings across the land, he shed two tears. From one teardrop, it is said that Green Tara emerged, and from the other teardrop, White Tara.

Green Tara is swift, courageous and playful. She is an action goddess – helping all individuals remove obstacles that may be blocking them from their spiritual growth.

White Tara is earthy, grounded, and has motherly compassion. She cares for all people as if they are her own children and reminds us that we are all sisters and brothers and need to take care of each other. She is a mother goddess.

Both of these Taras have proven to be wonderful role models for me.
To see myself in their image has been incredibly empowering. To imagine that I too have the strength, wisdom, compassion, and love that these gals do has helped me move mountains.

People have asked me, “Do you consider these goddesses real people?”
The answer to that is that I sometimes consider them role models, sometimes sisters, sometimes archetypes, sometimes mythological characters, and sometimes true goddesses. In whatever role I consider them, they have allowed me to see myself in the image of the divine and have helped me wake up to a lot of strengths that were laying dormant.

Soon after Green Tara and White Tara emerged, Lakshmi came knocking on Lotus Blossom Style’s door. It became clear that a sisterhood of goddesses was being formed and that each one was here to deliver an important message. I named this sisterhood, “The Goddess Collection.”

Are there any goddesses that have come knocking on your door unexpectedly?

Lakshmi - Goddess Of Wealth Sri Lakshmi Devi
Lakshmi is the Hindu Goddess Who Governs All form of Wealth and Success and the Paths, Means and Results of all forms of Prosperity. Mother Lakshmi is often depicted in several colors: Pink, Gold and White. When Lakshmi's skin color is Pink, She is the Divine Mother. When Her skin is Gold, She is the Universal Shakti and when Her skin is white, She is Mother Earth.

As the the Consort of Lord Vishnu (Narayana), who is the God of Preservation, Lakshmi Devi is the Goddess of Health and Beauty. Sri Lakshmi embodies Sublime Beauty, Siddhi, Peace, Strength, Balance, Auspiciousness, Opulance and Wisdom. Because Lakshmi possesses all of these good and noble qualities, She embodies infinite wealth~ symbolizing that good and noble qualities are the only wealth we can keep.

Lakshmi Devi is always depicted sitting or standing on a lotus with golden coins flowing in an endless stream from one of her hands~ symbolic of when the lotus of wisdom blossoms, the wealth of good and noble qualities appears and Lakshmi's blessings are present.

108 Names of the Goddess Lakshmi Devi

Prakruti - Nature. Goddess Lakshmi is nature, the centre of all, the manifested and the unmanifested.

Vikruti - Multi-Faceted Nature. Attributed with a multi-faceted nature, Goddess Lakshmi assumes many forms, known by numerous names, yet is attributeless.

Vidya - Wisdom. Goddess Lakshmi is the inward movement of Consciousness toward liberation of the Ultimate.

Sarvabhootahitaprada - Granter of Universal Niceties. All sensual pleasures are dependent upon the grace of Goddess Lakshmi only. As a repositary of knowledge and wisdom, She personifies pleasantries and blesses her devotees with goodness.

Shraddha - Devoted. The Goddess, who is realised devotion, is ever found of Her devotees, By one's devotion, one can grasp the Ultimate Reality.

Vibhuti - Wealth. Goddess Lakshmi, bestowing wealth and happiness on Her true followers, is the eternal source of bliss and joy, whose divine grace and benevolence on Her devotees bring joy to them.

Surabhi - Celestial Being. The Goddess, who is the supreme forum, is also a celestial Being. She is worshipped by the Highest, the Trimurthis.

Paramatmika - Omnipresence. Goddess Lakshmi is the Supreme Goddess of the three worlds and is the sole shelter for the distressed and the destitude.

Vachi - Nectar-Like Speech. Goddess Lakshmi, the graceful and beautiful Goddess, is attributed with speech like nectar, sweeter in melody than the nectar, or even the music of the veena.

Padmalaya - Residing On The Lotus. Emerging from the ocean of Milk and Nectar, the Divine Goddess has her abode in the lotus, which is a shelter of bliss and happiness.

Padma - Lotus. Emerging from the Ocean of Milk, seated on lotus, Goddess Lakshmi is also called Padma. She adores the lotus flower, and is Herself like one, tender, supple and graceful.

Shuchi - Embodiment of Purity. Attributed with virtues of compassion, kindness, love, benevolence and mercy, among other things, the gracious Supreme Goddess is the symbolic representation of purity.

Swaha - Shape of Swahadevi(Auspicious). Goddess Lakshmi embodies all that is held auspicious. Her grace and blessings ensure all comforts and bestow fruits of labour and true devotion, for she is the source of all that is good and auspicious.

Swadha - Shape of Swadhadevi (Inauspicious). Bestowed with auspiciousness and sacred attributes, Goddess Lakshmi spells doom for those vilolating universal laws, becoming a sign of inauspiciousness for them.

Sudha - Nectar. The beneficent, most endearing and lovable Goddess Lakshmi dwells in everybody as nectar, as the source of all bliss and enjoyment. She is effulgent with kindness and as sweet and charming as honey.

Dhanya - Personification of Gratitude. The most benevolent, the most compassionate, the most endearing-with these attributes, Goddess Lakshmi dwells in everybody as the source of all bliss and enjoyment, for She is Gratitude Personified.

Hiranmayi - Golden Appearance. Like a thousand suns, Goddess Lakshmi radiates splendour. Resplendent in all Her glory, She is dazzling like lightening, and cool as the silvery moon.

Lakshmi - Goddess of Wealth. Goddess Lakshmi is the source of all powers and energies, dazzling in all Her glory.

NityaPushta - Gaining strength Day By Day. She is the greatest strength, the greatest intelligence and the greatest bliss. By concentrating on Her, one can grow stronger day by day.

Vibha - Radiant. The great Goddess of wealth, Lakshmi is a limitless ocean of beauty, whose spectacular appearance overwhelms the mind. She shines in all her glory and beauty of form.

Aditi - Radiant Like The Sun. The beautiful, graceful, eternally radiant and smiling Goddess Lakshmi is the centre of beauty, the source of beauty. Seeing her beauty, even a thousand Kamadenus feel belittled.

Deetya - Answer Of Prayers. Quickly dispelling all afflictions and fears, the beautiful Goddess protects Her beloved ones as an answer to their prayers.

Deepta - Flame-Like. The gracious Goddess, most beautiful and graceful, shines with radiance, like a thousand suns brilliance.

Vasudha - Earth. As Goddess of Earth, Goddess Lakshmi bestows Her grace and love on her worshippers. Anyone seeking shelter in Her will be blessed.

Vasudharini - Bearer of the Burden of Earth. Mother Lakshmi, who quickly dispels all afflictions, is the Supreme Goddess of Earth. She protects her loved ones and showers Her grace and blessings on them, by bearing and taking upon Herself their burden.

Kamala - Lotus. Although attributeless, Goddess Lakshmi has a lotus like face, eyes, hands and feet which carry their fragrance far and wide. Like the nectar in the lotus, She is ever sweet and endearing.

Kantha - Consort of Vishnu. As the beloved consort of Lord Vishnu, Goddess Lakshmi is the light of the universe, and its Infinite Existence.

Kamakshi - One with Attractive Eyes. The eternally beautiful Goddess Lakshmi is loved by all the gods. Her eyes, radiating love and compassion, dazzle with the knowledge and wisdom of infinite power which the gods recognise as Ultimate Reality.

Kamalasambhava - Emanating from the Lotus. Goddess Lakshmi's emergence out of the powerful and waveless Ocean of Milk and Nectar is significant, for She is without attributes, changless, yet the cause of all changes.

Anugrahaprada - Granter of Good Wishes. The ever-benevolent Goddess Lakshmi is the bestower of all kinds of comforts to her devotees, granting them her grace, her blessings, and shelter.

Buddhi - Wisdom. She is self-luminous, i.e., illuminates the senses, thereby dispelling ignorance.

Anagha - Sinless. She is untainted, pure Consciousness. By mere concentration on Her, every sin becomes a virtue.

Harivallabhi - Consort of Lord Hari. As Hari's beloved, Goddess Lakshmi is His consort, and takes various forms when He manifests in the human form. She is the power of knowledge and the abode of all gods.

Ashoka - Dispeller of Sorrows. Armed with all the tools of destruction, the Supreme Goddess dispels all sorrows and vanquishes evil. She dispels the fear of Her devotees by destroying evil and ensuring peace to prevail.

Amrutha - Nectar. The Goddess is the quintessence of nectar. The devotee feels incomparable bliss when he surrenders himself totally, transcending his ego.

Deepa - Radiant. The radiance emanating from Goddess Lakshmi overwhelms the mind of even Her beloved. Ever shining and replendent in all her jewellary, she exudes charm and magnetism.

Lakashokavinashini - Remover of Universal Agonies. Without Goddess Lakshmi's grace, it is impossible to accomplish any sacrificial rite or big mission. By surrendering unto her, one can be relieved of one's agonies and distress.

Dharmanilaya - Establisher of Eternal Law. The great, ever-forgiving Goddess Lakshmi stays with dharma, staying when one leads a pious life, devoid of any immoral activities. The devotee is blessed with the grace of Goddess Lakshmi and absolved of all sins.

Karuna - Compassionate. As Mother of the universe, Goddess Lakshmi is the ocean of compassion and love. She is the embodiment of peace, praised by the gods, and giver of every wealth that is sought.

Lokamatri - Mother of the Universe. There is no end to Her immense power. Her glory is so great as to be beyond description. As mother of the universe she commands the admiration and reverence of the gods and other beings.

Padmapriya - Lover of Lotus. Goddess Lakshmi, seated on a lotus and emerging from the ocean of milk, is extremely fond of the flower. Her garland of lotuses is significant in that her beauty transcends all.

Padmahasta - Having Lotus-Like Hands. Goddess Lakshmi is attributed with hands that are soft and gentle like the petals of the lotus. They sparkle with ornaments that are studded with precious stones.

Padmakshya - Lotus-eyed. Her lotus-like eyes are full of divine love and gentleness. As a source of bliss and limitless happiness, the supreme Goddess radiates kindness and compassion, and infinite power and wisdom.

Padmasundari - Beautiful Like the Lotus. Radiant and glowing as she is, Goddess Lakshmi is as slender and beautiful as a lotus stalk. Like the nectar in it, She is attractive, and extremely graceful like a deer.

Padmodbhava - One Who Emerged Out of the Lotus. When the ocean of Milk was churned, the great, divine Goddess emerged out of the lotus, and looked so beautiful that everyone sang her praises.

Padmamukhi - Lotus-Faced. Goddess Lakshmi, gentle and beautiful like the lotus flower, is benevolence personified. With her lotus- like face, she is the source of all speech.

Padmanabhapriya - Beloved of Padmanabha. Padmanabha, another name of Lord Vishnu, is consciousness, and his power is Lakshmi, his beloved consort. There is no distinction between them.

Ramaa - Pleaser of the Lord. As Ramaa, Goddess Lakshmi roams the three worlds, keeping a watchful eye on Her faithful devotees, and showering on them her grace and blessings.

Padmamaladhara - Wearer of Lotus Garland. Bedecked with a garland of ltuses, the graceful Goddess is the queen of the universe, moving and non- moving. Since she emanates from the lotus, she is fond of the flower.

Devi - Goddess. Goddess Lakshmi is beyond comparison. Her glory is ineffable, incomparable and endless. She is the supreme, the ultimate reality, without form, yet creating forms.

Padmini - Lotus. The beloved Daughter of the Ocean of Milk, emerging from the waters on a lotus, is the granter of divine bliss. Like the lotus, she personifies beauty and tenderness.

Padmagandhini - Having the Fragrance of the Lotus. The Great Goddess, emerging from the lotus, has the fragrance of the lotus, the appearance of the lotus and its tenderness.

Punyagandha - Having Divine Perfume. The beautiful and gracious Goddess engulfs the whole universe with her being and divine fragrance. Her lotus-like appearance exudes a heavenly perfume that pervades everywhere.

Suprasanna - Ever Cheerful and Beaming. The Supreme Goddess, ever beautiful and radiant in all her splendour, is the embodiment of loveliness, grace and charm, compassion and love, power and infinity. She is ever cheerful, a smile playing on her lips.

Prasadabhimukhi - Emerging to Grant Boons. He who worships Goddess Lakshmi with full faith in his heart gets the desired boon and attains perfection, for she is ever ready to fulfil the wishes of her devotees.

Prabha - Radiant Like the Sun. Fond of the golden hue, Goddess Lakshmi is always reflecting the radiance in her sparkle, like a thousand brilliant suns.

Chandravadana - Moon-Faced. Goddess Lakshmi is likened to the moon in appearance and in coolness. She is a virtue of goodness, raining the quintessence of nectar on her worshippers.

Chanda - Cool Like the moon. The moon-faced Goddess Lakshmi is always cool and calm like the moon and is ever endearing. She is the embodiment of all the aspirations of a peace-loving man.

Chandrasahodari - Sister of the Moon. Goddess Lakshmi is considered to be the moon's sister, for both emerged out of the Ocean of Milk when it was churned by the gods. Her appearance is radiant like the moon.

Chaturbhuja - Four-Shouldered. The Almighty Goddess Lakshmi is attributed with four shoulders, and in each of her arms She carries something which is symbolic. She is Infinite Power.

Chandrarupa - Moon-Faced. The ever-radiant, beautiful Goddess Lakshmi, with her moon-like face, reflects the cool, silvery luminiscence of the moon. She is the personification of virtues.

Indira - Radiant like the Sun. Seated on a golden throne in the Ocean of Nectar, she shines with the brilliance of a thousand rising suns.

Indusheetala - Cool like the Moon. Goddess Lakshmi, though radiating from the heart of the sun, is cool like the moon. She is the power that goads our minds, which are conditioned by various limitations, to free ourselves from sins.

Ahladajanani - Source of Happiness. The benevolent Goddess Lakshmi rules the entire universe, and its laws and its execution, bringing joy and happiness to her haithful devotees. She is the personification of divine bliss.

Pushti - Healthy. Full of the bliss of youth, the Goddess is tender but at the same time to bouncing with good health.

Shiva - Auspicious. The beautiful Goddess, radiant and dazzling like a thousand suns, portends all that is auspicious, for She embodies Primordial Energy.

Shivakari - Source of Auspicious Things. Goddess Lakshmi, embodying auspiciousness, is the Primordial Energy invoked by devotees for their well- being.

Satya - Totality of Truth. The powerfull Goddess Lakshmi, as Satya, is the ultimate reward of any endeavour that is undertaken with true faith. She is the ultimate reality, and anyone who recognises this Truth, is blessed with her grace.

Vimala - Pure. The most benevolent, the most loving, the most powerful, Goddess Lakshmi is the mine of all virtues, as pure as the best gems. Vishwajanani - Mother of the Universe. Mother Lakshmi, the ever benevolent, the compassionate, loving, forgiving Goddess, who is ever protective towards her loved ones, is the source of all happiness and virtues.

Pushti - Possessor of All Wealth. A true devotee get immense riches and happiness, and never suffers privation, for the most benevolent Goddess Lakshmi is the possessor of all wealthand is bounteous.

Daridriyanashini - Remover of Poverty. By her Glory, Goddess Lakshmi procures for her devoted ones every kind of wealth and prosperity, thus removing their poverty.

Preeta Pushkarini - One with Pleasing Eyes. In the ocean of her beauty, Goddess Lakshmi's eyes are gentle and pleasing. They are ever watchful, seeing everything, and are full of compassion and divine love.

Shanta - Peaceful or Calm. Ecstatic with a smiling face, as a sign of Her inner bliss, she shines with the seven colours of the rainbow, just as a peacock dances with pleasure at the sight of clouds, even so, she makes the minds of devotees dance with bliss, dispelling troubled thoughts.

Shuklamalambara - Wearer of White Garland and Attire. On emerging from the Ocean of Milk, seated on a lotus, she looked so radiant and beautiful that the great ocean gave her a garland of imperishable white flowers. Replendent in a white garland and attire, She personifies purity.

Bhaskari - Radiant like the Sun. Goddess Lakshmi's entire image is dazzling, for She is the mine of all virtues, shining like gems and precious stones. Her beauty is beyond comparison in the three worlds.

Bilvanilaya - Resider Under Bilva Tree. Goddess Lakshmi, Mother Nature in her pristine form, resided under the bilva tree, whose leaves are offered as worship to the gods.

Vararoha - Ready to Offer Boons. Resplendent in all her glory, she is ever compassionate and benevolent, always ready to offer boons to the virtuous.

Yashaswini - Reputed. The Supreme Goddess, splender and beautiful like a lotus, is reputed to be the embodiment of Highest knowledge and Ultimate Reality.

Vasundhara - Daughter of the Earth. Goddess Lakshmi, Daughter of the Earth, creates, preserves and destroys the universe for her own pleasure. She is changeless, yet is the cause of all changes.

Udaranga - Endowed with a Beautiful Body. Goddess Lakshmi is not only the Goddess of wealth but also of beauty. She dazzles in all her splendour, exuding charm and grace, and is the focus of all admiration.

Harini - Deer-Like. Although attributeless, Goddess Lakshmi assumes the most beautiful form, and like a deer, is ever graceful and gentle.

Hemamalini - Having Golden Garlands. The beautiful Goddess, having emerged from the Ocean of Milk on a lotus flower, is ever fond of wearing the golden flower garlands that bedeck her bosom supremely.

Dhanadhanyaki - Bestower of Wealth and Foodgrains. Goddess Lakshmi, symbolic of wealth and prosperity, is also the Goddess of foodgrains. She fulfils the desires of the ever-faithful and showers her grace on them.

Siddhi - Ever Ready to Protect. The great Supreme Goddess is always ready to protect anyone who seeks her blessings and grace. She is benevolent, compassionate, forgiving and loving.

Straina Soumya - Showering Goodness on Women. The compassionate, loving mother of the world is Goddess Lakshmi. She provides succour to her loved ones, especially women, showering her divine grace on them.

Shubhaprada - Granter of Auspicious Things. The auspicious and bebevolent Goddess Lakshmi makes everyone affluent with all kinds of riches. She is the treasury, the fountainhead from which flows the material that the universe is built of.

Nrupaveshvagathananda - Loves to Live in Palaces. Goddess Lakshmi, the embodiment of wealth, power and knowledge, loves to dwell in palaces, meaning that she resides in those who are large-hearted, for she herself is most bountiful.

Varalakshmi - Granter of Bounty. Goddess Lakshmi is the repository of all virtues. She is ever bountiful and compassionate, bestowing all kinds of riches and happiness on whoever worships her truly.

Vasuprada - Bestower of Wealth. All virtues are embedded in the virtuous Goddess Lakshmi, and by her grace, one accomplishes one's desire. She is the personification of benevolence and bestows lavishly.

Shubha - Auspicious. Goddess Lakshmi, also called Shubha, is the harbinger of good auspices, for she is full of bliss and good vitues, worshipped by all, loved by all, aven by the gods. Endowed with everthing auspicious she spells success and prosperity.

Hiranyapraka - Amidst Gold. The great Goddess, with her gracious and radiant experience, stands out amidst the glittering gold-like rays of a thousand suns.

Samudratanaya - Beloved Daughter of the Ocean of Milk. When the Ocean of Milk was churnes, there emerged fourteen gems. Emerging out of it as one of them, Goddess Lakshmi chose Lord Vishnu's companionship for ever.

Jaya - Goddess of Victory. As the triumphant victor, Goddess Lakshmi is the element of success in all actions, pervading the three worlds with her faultness brillance. She is Supreme, she is Omniscient.

Mangala - Most Auspicious. Goddess Lakshmi is the source of all that is good and auspicious. She is the harbinger of good auspisces.

Devi - The Deity. She is pure Consciousness, unformulated or undifferentiated. Unsupported, she is the support of the universe.

Vishnuvakshah - Residing in Vishnu's Chect. Residing in the chest of Lord Vishnu, Goddess Lakshmi worships and adores het consort. They are the two aspects of the Ultimate reality.

Vishnupatni - Consort of Vishnu. When Goddess Lakshmi emerged from the Ocean of Milk, Lord Vishnu chose her as his consort. She is the Darling of the three worlds, being gentle, loving, benevolent and beautiful.

Prasannakshi - Lively-Eyed. Goddess Lakshmi, whose eyes are like lotus petals, who is gold-hued, who has in her hand a lotus flower, is soft and gentle like the lotus stem, and she showers her loved ones with her blessings.

Narayana Samashrita - Sought Refuge in Narayana. Goddess Lakshmi, the beloved consort of Vishnu, sought refuge in his chest after emerging from the lotus. The great Lord Vishnu is the power that sustains the world, and Goddess Lakshmi represents the inherent energy in that power.

Daridriya Dhwamsini - Destroyer of Poverty. Being a treasure of Kindness, the great Goddess dispels all ignorance, and eliminates poverty. she is the personification of Kindness and benevolence.

Devi - Goddess. The gracious Goddess is the darling Daughter of the entire universe. Even luminaries like the sun and the moon, and the gods and mortals worship her devotedly.

Sarvapadravanivarini - Dispeller of all Distresses. The primordial power of the ultimate being the focal point of everything we experience, Goddess Lakshmi is full compassion and out of love for her devotees, she relieves them of all their distresses.

Navadurga - All Nine Forms of Durga. The Omniscient, most powerful Goddess, assumes all the nine forms of Goddess Durga, for Goddess Lakshmi is Durga, Lakshmi, i.e., the Ultimate form of reality.

Mahakali - A Form of Kali. Goddess Lakshmi, armed with many radiant weapons in all her eighteen hands, is also Mahakali, the vanquisher of the demon Mahishasura.

Brahma-Vishnu-Shivatmika - Trinity of Brahma-Vishnu-Shiva The Supreme Goddess, the cause of all changes and creation, is the Mistress of all three worlds. Even Shiva, Vshnu and Brahma revere Her, for she is the beloved of all.

Trikalagyanasampanna - Aware of the Past, Present and Future. Pure as the rain-drenced sky, charming and untouched by impurity, Goddess Lakshmi is aware of the happenings of the past, the present and the future.

Bhuvaneshwarya - Supreme Deity As ruler of the whole universe, Goddess Lakshmi holds a pitcher of nectar in one hand, and in the other, a bell constantly ringing - these proclaim her victory. She is ever victorious.

Wealth That Flows From Mother Lakshmi
Lakshmi is often represented in sculpture seated on a lotus, full-breasted and broad hipped, beneficently smiling and sometimes being anointed by a pair of elephants. Her vehicle is a white owl. She has no fierce form. Mother Lakshmi is the One who bestows the 16 types of wealth:(1) Fame; (2) Knowledge; (3) Courage and Strength; (4) Victory; (5) Good Children; (6) Valor; (7) Gold, Gems and Other Valuables; (8) Grains in abundance; (9) Happiness; (10) Bliss; (11) Intelligence; (12) Beauty; (13) Higher Aim, High Thinking and Higher Meditation; (14) Morality and Ethics; (15) Good Health; (16) Long Life.

Lakshmi's Manifestion Into Being
The story of Lakshmi’s birth begins when the Devas (minor gods) were in a race against the Asuras (demons) to obtain amrit (the nectar of immortality). The Devas consulted Vishnu was on earth as Kurma, a tortoise. They decided they would churn the oceans for the amrit. They created a churn by threading the serpent Vasuki around Mount Mandara. Kurma dived to the ocean floor and balanced Mount Mandara on his back. In the grip of Kurma’s cosmic clutch, the mountain could not sink into the ocean bed. The gods churned and received the Nectar of Immortality from Lashmi Devi and then fourteen treasures came to their hands. Lakshmi Chose Vishnu as Her Consort. Vishnu carried Lakshmi from the ocean into His heaven. Each time Vishnu descends on earth as an avatar, He is accompanied by an avatar of Lakshmi.

Meaning of Lakshmi
As a female counterpart of Lord Vishnu, Mata Lakshmi is also called 'Shri', the female energy of the Supreme Being. Goddess Lakshmi means "Good Luck" to Hindus. The word 'Lakshmi' is derived from the Sanskrit word “Laksya”, meaning 'aim' or 'goal', and she is the goddess of wealth and prosperity, both material and spiritual. Also “lakh” which means “one hundred thousand” as a monetary unit in India, is the first part of Lakshmi’s name~ symbolizing her blessings that pour forth abundantly.

Festivals of the Goddess Lakshmi
Lakshmi is the household goddess of most Hindu families and a favorite of women. Although she is worshipped daily, the festive month of October is Lakshmi's special month. Lakshmi Puja is celebrated on the full moon night of Kojagari Purnima. Fridays are considered auspicious for Lakshmi Puja. The Friday before the full moon in the Hindu month of Sraavan is considered specially sacred and Varalakshmi puja (puja for boons and longevity) is performed on that day by ladies in the temples and in the homes.

Diwaali, the festival of lights, is also an occasion for Lakshmi Puja. Three days during Navarathri are also celebrated for Lakshmi. On the full moon night following Dusshera or Durga Puja, Hindus worship Lakshmi ceremonially at home, pray for her blessings, and invite neighbors to attend the puja. It is believed that on this full moon night the goddess herself visits the homes and replenishes the inhabitants with wealth. A special worship is also offered to Lakshmi on the auspicious Diwali night. Year after year we have seen the lamps being lit for Diwali, the birth day and the wedding day of Goddess Lakshmi.

In the dark night the glowing flames herald the advent of longer nights and the early days of an Indian winter. Lakshmi is worshipped along with the beloved, pot-bellied, elephant-headed, auspicious God, Sri Ganesha. Ganesha, Lakshmi and Saraswati usually are always shown together, symbolizing that Wealth must be accompanied by Intellect and Humility.

Ashta Lakshmi: 8 Forms
Lakshmi has 8 primary forms. These 8 forms are personified as Ashta Lakshmi (Ashtalakshmi). These eight forms are as follows:

(1) Adi Lakshmi: Mother Lakshmi resides with Lord Narayana in Vaikuntha, the abode of Lord Narayana. She is known as Rama, which means bringing happiness to the mankind. She is also known as Indira (who holds lotus or purity). In this form, Laxshmi is normally seen serving Sri Narayana. Lord Narayana is omnipresent. Adi Lakshmi or Rama Lakshmi serving Sri Narayana is symbolic of her serving the whole creation. Adi Lakshmi and Narayana are not two different entities but one only. Lakshmi is Shakti. Lakshmi is the Power of Narayana.

(2) Dhanya Lakshmi: Dhanya means grains. L