The Blue of the Lotus

A visual pilgrimage into the development of a living, breathing relationship with the Divine Mother

[thehindublog]

Ten Vedic Restraints - YAMA

Yama 1 - Noninjury, Ahimsa

Practice noninjury, not harming others by thought, word or deed, even in your dreams. Live a kindly life, revering all beings as expressions of the One Divine energy. Let goof fear and insecurity, the sources of abuse. Knowing that harm caused to others unfailingly returns to oneself, live peacefully with God’s creation. Never be a source of dread, pain or injury. Follow a vegetarian diet.

Yama 2 - Truthfulness, Satya

Adhere to truthfulness, refraining from lying and betraying promises. Speak only that which is true, kind, helpful and necessary. Knowing that deception creates distance, don’t keep secrets from family or loved ones. Be fair, accurate and frank in discussions, a stranger to deceit. Admit your failings. Do not engage in slander, gossip or backbiting. Do not bear false witness against another.

Yama 3 - Nonstealing, Asteya

Uphold the virtue of nonstealing, neither thieving, coveting nor failing to repay debt.Control your desires and live within your means. Do not use borrowed resources for unintended purposes or keep them past due. Do not gamble or defraud others. Do not renege on promises. Do not use others’ names, words, resources or rights without permission and acknowledgement.

Yama 4 - Divine Conduct, Brahmacharya

Practice divine conduct, controlling lust by remaining celibate when single and faithful in marriage. Before marriage, use vital energies in study, and after marriage in creating family success. Don’t waste the sacred force by promiscuity in thought, word or deed. Be restrained with the opposite sex. Seek holy company. Dress and speak modestly. Shun pornography, sexual humor and violence.

Yama 5 - Patience, Kshama

Exercise patience, restraining intolerance with people and impatience with circumstances. Be agreeable. Let others behave according to their nature, without adjusting to you. Don’t argue, dominate conversations or interrupt others. Don’t be in a hurry. Be patient with children and the elderly. Minimize stress by keeping worries at bay. Remain poised in good times and bad.

Yama 6 - Steadfastness, Dhriti

Foster steadfastness, overcoming nonperseverance, fear, indecision and changeableness. Achieve your goals with a prayer, purpose, plan, persistence and push. Be firm in your decisions. Avoid sloth and procrastination. Develop willpower, courage and industriousness.Overcome obstacles. Never carp or complain. Do not let opposition or fear of failure result in changing strategies.

Yama 7 - Compassion, Daya

Practice compassion, conquering callous, cruel and insensitive feelings toward all beings. See God everywhere. Be kind to people, animals,plants and the Earth itself. Forgive those who apologize and show true remorse. Foster sympathy for others’ needs and suffering. Honor and assist those who are weak, impoverished, aged or in pain. Oppose family abuse and other cruelties.

Yama 8 - Honesty, Arjava

Maintain honesty, renouncing deception and wrongdoing. Act honorably even in hard times. Obey the laws of your nation and locale. Pay your taxes. Be straightforward in business. Do an honest day’s work. Do not bribe or accept bribes. Do not cheat, deceive or circumvent to achieve an end. Be frank with yourself. Face and accept your faults without blaming them on others.

Yama 9 - Moderate Appetite, Mitahara

Be moderate in appetite, neither eating too much nor consuming meat, fish, shellfish or fowl. Enjoy fresh, wholesome vegetarian foods that vitalize the body. Avoid junk food. Drink non-alcoholic beverages. Eat at regular times, only when hungry, at a moderate pace, never between meals, in a disturbed atmosphere or when upset. Follow a simple diet, avoiding rich or fancy fare.

Yama 10 - Purity, Saucha

Uphold the ethic of purity, avoiding impurity in mind, body and speech. Maintain a clean, healthy body. Keep a pure, uncluttered home and workplace. Act virtuously. Keep good company, never mixing with adulterers, thieves or other impure people. Keep away from pornography and violence. Never use harsh, angered or indecent language. Worship devoutly. Meditate daily.

[neelakamala]

Lakshmi instructs Indra on her laws in the Mahabharta

Vaisampayana told Janamejaya the story of Mahabharata.

King Dharmaja asked his grandsire Bhishma thus: “O Grandsire! when Pususha who is staying in this body, will become great and when he will have his down-fall. Kindly tell me.” asked Dharmaja.

“O Dharmaja! Now I will narrate the conversation between Sree(Lakshmi) and Chakra(Indra).

One day, Saint Narada was taking holy bath in the river Mandakini. By that time, Indra took his bath and was performing morning rituals. While Narada and Indra were talking with each other, there arrived a lady, endued with splendid beauty. Indra with folded hands, greeted her and asked her:

“Who are you? Where are you going?” asked Indra.

“O Indra! I am Lakshmi. I am also called Sree. I was born from lotus flower. Formerly, I dwelt with Asuras. However, Asuras have assumed adverse natures. Hence I left them and wish to reside with you.” said Lakshmi.

“Lakshmi! In consequence of what behaviour of Asuras, you dwelt with them so far? What did you not see there for which you have come here, having deserted Asuras.” asked Indra. O Indra! so far, Asuras were engaged in making charities, studying Vedas, respecting guests and other good deeds. Now Asuras developed pride and egoism and they have abandoned all their good qualities. Hence I deserted Asuras. I have come to you.

I would like to stay with those who respect and worship elders and their preceptors, who worship Deities and Pitaras, who always speak truth, who engage in making charities, who do not aspire for others’ wealth and wives, who worship Brahmins, who do not sleep during day times, who are compassionate towards aged, distressed and ladies, who observe cleanliness at all times, and who take food only after offering to guests. I would always like to stay with them always.

I never like to stay with those who abandon Dharma, who are addicted to Kama, Krodha, who are overpowered with pride, who neglect to worship guests, who are not generous and charitble, who are harsh in speech, and who are indulged in cruel activities.

As enunciated in Vedas, I like wisdom, morals, devotion, reverence, tolerance, peace and good behaviour. These seven qualities are dearer to me. I am the eighth of them. Having observed their cruel behaviour, I abandoned Asuras. Having known that you are endowed with the above good qualities, I have come to you.” said Lakshmi.

Along with Lakshmi, Indra left for Swarga. Therefore, Dharmaja, you have come to know the places where Lakshmi stys.” said Bhishma.

“O Grandsire Bhishma! by learning which and by observing what, people will attain Moksha.” asked Dharmaja.

[neelakamala]

The Story of Saraswati and Queen Lila

Once there was a king by the name of Padma, who was wealthy and wise. He had a beautiful wife called Lila who was devoted to her husband.Once she thought, "My Husband is dearer to me than my life. He is young and prosperous. How to make him remain forever young and deathless?" She consulted learned pandits of the court. They advised her,"All successful accomplishments are attained by religious austerity, repetition of mantras and self-control, but immortality can not be obtained on any account." Having heard thus from the learned Brahmins, she reflected, "In case I have to die before my husband, freed from all agony, I shall happily rest in the Self and in case he precedes me then his soul should not go out of this room. I shall worship the Goddess Sarasvati and ask for boons." Having resolved thus the queen, without telling her husband, performed severe austerities as laid down in the scriptures. Goddess Sarasvati was pleased by the queen's austerities. She appeared and said, "Ask for any boon and it shall be granted,"Overjoyed Lila sang hymns of praise to the Goddess, and asked for two boons," When my husband dies, the soul of my husband, should remain here. Whenever I pray to you, give me your vision." Accordingly, the Goddess granted both the boons. After several years Lila's husband passed away. The bereaved queen placed her husband's corpse in a bed of flowers as instructed by the Goddess. In great distress she asked the Goddess,"Where does my husband reside? What does he do? What is his state at present? Lead me to him. I cannot live without him." Page 225 The Goddess taught Lila about Brahman (the Supreme Spirit or Ultimate Reality) and narrated the existence of various planes penetrating one another and existing quite unperceived by the inhabitants of other planes. She also taught her the method of seeing and visiting the various worlds interpenetrating one's own. Lila abandoned her own body, and the Goddess took her to the world of her husband's in which she saw him in an assembly of kings. She was surprised to see him sitting on a throne, now looking very young. Lila asked the Goddess for an explanation. She was told about the delusion of creation. The Goddess spoke as follows: "Once there lived a virtuous Brahmin named Vasishta. His wife was Arundhati who equaled him in all respects. Once he saw the king passing by with his retinue and thought, `Kingship is indeed delightful, blessed with all good fortune. I wish that I were a king.' "Vasishtha's death was impending and knowing this, his wife took refuge in me. Like you, she prayed to me, ` May the soul of my dead husband not depart from this place.' I granted her prayer. The poor Brahmin died, his wife, Arundhati, being unable to bear the pangs of separation from her husband, burnt herself along with the body of her husband." Sarasvati told Lila that all that had happened only a week ago, and that the Brahmin pair had been born as herself (Lila) and her husband, King Padma, in the world where he had just died after having lived a long life, leaving Lila alone. Lila did not believe this story, because the couple had died recently, whereas Lila and Padma were born years before. Lila asked the Goddess whether one soul can occupy two bodies simultaneously. Saraswati explained that the two frames of reference were different and that a person's strong sankalpa [?](determination or aspiration) can manifest as humans. Page 226 The Goddess then took Lila to that world, and made her verify the story from a son of the deceased pair. Through meditation, she remembered all her previous births since her origin from the Creator. Lila lamented, "Alas! Today I have remembered hundreds of my previous births. Indeed, I have wandered much in various kinds of wombs." Both Lila and Sarasvati returned to the present world of the king, who was called Viduratha, and found him in his 70th year. His wife was also named Lila (let us call her Lila II). Lila and Saraswati manifested themselves before the king in his private apartment and mysteriously reminded him of his previous existence as Padma. He entertained a desire to be Padma again. His present wife, Lila II, propitiated Sarasvati to confer a boon upon her to be the wife of Vidurtha even in his next life. After a short time, there was a war in which King Viduratha was killed. His soul, which was present, throughout, in the room where the corpse of Padma was lying, reentered the dead body. And lo! The soul rose again as King Padma, who found standing before him his two wives, namely, Lila I and Lila II. "Let all sorrows end and let there be endless happiness." So saying the Goddess blessed them and disappeared. Finally, all three of them- Lila, the second Lila and the King- were liberated while still alive, and in due course, became one with the Absolute by the grace of the Goddess.

[neelakamala]

Beautiful Chant to Durga by Ananda Pruess.

Durgaashtakam

[hinducosmos]

Lord Ganesha　(via Indian_ash)

[neelakamala]

Lessons from Lakshmi … Embrace all that is beautiful. Surround yourself with intoxicating sweetness…flowers, soft clothing, and beautiful music…DANCE!

[neelakamala]

For the love of Lakshmi

What are the ways in which this divine power is active in my life?

1) I have always had enough money. I have always had enough to meet my basic needs. Someone has always looked after me. I have never had to go hungry or sleep without a roof over my head.

2) Wherever I have lived, I have always been in beautiful places. From the wild beauty of Nairobi, to the lush forests of India, to the wonders of Vancouver, I have always had access to see the play of beauty in nature.

3) I see Lakshmi's beauty in the face of my sister. She posses those refined features, that remind me of the immense perfection of the Goddess.

4) People are kind to me, and genuinely care for me.

5) Laughter is a form of Lakshmi as it always brings in the idea of a better here and now.

6) I have beautiful clothes and am considered to be beautiful.

[brahmaanda]

Meera / Meerabai (1498-1557) was was an aristocratic Hindu mystical singer and devotee of Lord Krishna from Rajasthan. She was one of the most significant Sants (“true” or “saints”) of the Vaishnava bhakti movement. Some 1,300 pads (poems) commonly known as bhajans (sacred songs) are attributed to her. These are popular throughout India and have been translated and published worldwide. In the bhakti tradition, they are in passionate praise of Lord Krishna. In most of her poems, she describes her unconditional love for her Lord.

"That dark dweller in Braj  Is my only refuge.  O my companion, worldly comfort is an illusion,  As soon you get it, it goes.  I have chosen the indestructible for my refuge,  Him whom the snake of death will not devour.  My beloved dwells in my heart all day,  I have actually seen that abode of joy.  Meera’s lord is Hari, the indestructible.  My lord, I have taken refuge with you, your maidservant” 

[villainous-porn]

Goddess Sita is one of the kindly benevolent Goddesses that one encounters in Hinduism. Though she appears in the Ramayana as the consort of Lord Rama, the seventh incarnation of Lord Vishnu, she is known very well in her own right, for her own virtuous qualities.

Goddess Sita is regarded as...

[jessica-zanello-deactivated2016]

Satī concentrated all her meditation on the holy lotus feet of her husband, Lord Śiva, who is the supreme spiritual master of all the world. Thus she became completely cleansed of all taints of sin and quit her body in a blazing fire by meditation on the fiery elements.

PURPORT

Satī at once thought of the lotus feet of her husband, Lord Śiva, who is one of the three great personalities of Godhead in charge of the management of the material world, and simply by meditating on his lotus feet she derived such great pleasure that she forgot everything in relationship with her body. This pleasure was certainly material because she gave up her body for another body that was also material, but by this example we can appreciate the devotee’s pleasure in concentrating his mind and attention on the lotus feet of the Supreme Lord, Viṣṇu, or Kṛṣṇa. There is such transcendental bliss in simply meditating on the lotus feet of the Lord that one can forget everything but the Lord’s transcendental form. This is the perfection of yogic samādhi, or ecstasy. In this verse it is stated that by such meditation she became free from all contamination. What was that contamination? The contamination was her concept of the body derived from Dakṣa, but she forgot that bodily relationship in trance. The purport is that when one becomes free from all bodily relationships within this material world and simply places himself in the position of an eternal servant of the Supreme Lord, it is to be understood that all the contamination of his material attachment has been burned by the blazing fires of transcendental ecstasy. It is not necessary for one to manifest a blazing fire externally, for if one forgets all his bodily relationships within this material world and becomes situated in his spiritual identity, it is said that one has been freed from all material contamination by the blazing fire of yogic samādhi, or ecstasy. That is the topmost perfection of yoga. If one keeps his bodily relationships within this material world and poses himself as a great yogī, he is not a bona fide yogī. In Śrīmad-Bhāgavatam (2.4.15) it is stated, yat-kīrtanaṁ yat-smaraṇaṁ. Simply by chanting the holy name of the Supreme Personality of Godhead, simply by remembering the lotus feet of Kṛṣṇa, simply by offering prayers to the Supreme Personality of Godhead, one is immediately freed from material contamination, the material bodily concept, by the blazing fire of ecstasy. This effect takes place immediately, without a second’s delay. According to Śrī Jīva Gosvāmī, that Satī quit her body means that she gave up within her heart her relationship with Dakṣa. Śrī Viśvanātha Cakravartī Ṭhākura also comments that since Satī is the superintendent deity of the external potency, when she quit her body she did not get a spiritual body but simply transferred from the body she had received from Dakṣa. Other commentators also say that she immediately transferred herself into the womb of Menakā, her future mother. She gave up the body she had received from Dakṣa and immediately transferred herself to another, better body, but this does not mean that she got a spiritual body.

Srimad Bhagavatam 4.4.27

[neelakamala]

Sally Kempton lectuting on the Goddess

[godzillaheart-blog]

It makes me feel so happy. #tara #greentara #mantra #buddhism (Taken with Instagram)

[hinducosmos]

The Ten Mahavidyas Artist: Rabi Behera Puri, Orissa Water Color Painting on Tussar Silk (via Exotic India)

[superalisa-blog-blog]

Radharani Feels separation form Krishna

[neelakamala]

Beautiful Wisdom on The Goddess Tara by Sally Kempton

http://www.sallykempton.com/wp-content/uploads/2011/10/Contemplation_Week1_Homework.pdf

[neelakamala]

The Seven Mothers

http://www.dsource.in/resource/iconography-in-hinduism/saptamatrikas/index.html

Saptamatrikas: Seven Mothers Matrikas are goddesses of the battlefield. Saptamatrikas are a group of seven Hindu mother goddesses, each of whom is the shakti, or female counterpart, of a god. The seven goddesses are always depicted together. Each of the goddesses have come to take their name from a particular god; they are Brahmani (shakti of Brahma), Vaishnavi (shakti of Brahma), Maheshvari (shakti of Brahma), Indrani (shakti of Brahma), Kaumari (shakti of Brahma), Varahi (shakti of Varaha avatar of Vishnu) and Chamunda or Narasimhi (shakti of Narashimha avatar of Vishnu). They arearmed with the same weapons, wear the same ornaments and ride the same vahanas and also carry the same banners like their corresponding male Gods do. Representations of the goddesses are found in shrines throughout India, frequently flanked by Virabhadra (a ferocious form of Lord Shiva) on the left and the elephant-headed Ganesha on the right. Mythology The are many accounts about the matrikas. Puranic myths state that the matrikas are the Shakti of Shiva, Indra and other gods; and they are goddesses of the battlefield. According to a legend Shiva and Vishnu joined together and tried to kill the asura named Andhaka and failed. They then created the seven mothers to kill him. Andhakasura had a boon according to which from each drop of blood that fell on the ground there rose another asura. It is believed that the seven goddesses drank up that blood and did not allow it to fall on the ground, this made it easier for lord Shiva to kill the Asura. The Vamana Purana gives another version about the birth of Sapta Matrikas. A war took place between the Devas and the Asuras. When the Asuras, Chanda and Munda, were killed, another asura named Raktabija entered the battlefield with chariots, elephants, horses and infantry. Seeing the large troop, Kauisiki and Kali (goddesses) made a loud sound and from their mouth Maheswari and Brahmani came out seated on a swan and wearing rosary and holding water pot in their hands. From the lion of Maheswari came out Kaumari, seated on a peacock and holding a lance. Vaishnavi came out from Kaumari's hand, seated on Garuda and holding a conch, discus, club, sword, bow and arrow. From her posterior came out Varahi, seated on the Seshnaga (serpent), and from her heart came out Narasimhini with fierce claws, and from her foot Chamunda came out. The Varaha-purana, however states that these mother goddesses are eight in mother and includes among them the goddess Yogeswari, the Purana further says that these matrikas represent eight mental qualities, which are morally bad, • Yogesvari represents Kama or desire; • Maheswari, Krodha or anger • Vaishnavi lobha or covetousness • Brahmani, mada or pride, • Kaumari moha or illusion • Indrani, matsanya or faultfinding • Chamunda pasunya or tale bearing The Mahabharata narrates in different chapters the birth of warrior-god Skanda (the son of Shiva and Parvati) and his association with the Matrikas – his adopted mothers. In one version, Indra (king of demi-gods) sends the goddesses called "mothers of the world" to kill him. However, upon seeing Skanda, instead they follow their maternal instincts and raise him. Another account mentions the Matrikas, a group of the wives of six of the Saptarishis (7 great sages), who were accused of being Skanda's real mothers and thus abandoned by their husbands. They request Skanda to adopt them as his mothers. Skanda agrees and grants them two boons: to be worshipped as great goddesses and permission to torment children til they are younger than 16 years and then act as their protectors. These six goddesses as well as the Saptamatrikas are identified or associated with Vedic Krittikas, the constellation Pleiades. Interesting facts about Saptamatrikas The earliest sculpted forms of Mother Goddesses date back to third century B.C The matrikas are idolized as caring and protective mothers by the sculptures as against their frightening and ferocious depiction in the scriptures. In some places the goddesses are each provided with a child each, which is placed either on the lap or is made to stand by the side. Slide show: Resources Harshananda, S. (1982). Hindu Gods and Goddesses. Chennai: Sri Ramakrishna Math. Meghali Goswami, D. I. (2005). Sapta Matrikas in Indian Art and their significance in Indian Sculptura and Ethos: A Critical Study. Anistoriton , 9.

[ivarshiva]