Mostrando entradas con la etiqueta goddess. Mostrar todas las entradas
Mostrando entradas con la etiqueta goddess. Mostrar todas las entradas

sábado, 11 de enero de 2014

Los Dioses De Los Antiguos Eslavos


De la revista “Cabala” – Julio – 1993 (Caracas, Venezuela)



Los siguientes dioses fundaron el panteon de los Eslavos: Svarog era el dios del cielo y Dazhbog, el del Sol; Stribog era el dios de los elementos del aire y Makosh el de la mujer;Pereplut era el dios de las profundidades de la Tierra y Perún el de la tormenta; los demas dioses eran menos importantes.



El padre de todos los dioses del cielo (“Svarozhiches”) era Svarog, dios del cielo y el fuego. En la India el significado del nombre Swarga era “El Cielo de Indra” y los Eslavos consideraban que este era el dios principal. Svarog vivia en el “Arbol del Mundo” (que era Yasen o Arbol de Ceniza). Gracias a este arbol, la gente comezo a trabajar el hierro.

Los Eslavos balticos respetaban a Radigast (o Redigast), que correspondia a Svarog, y le oraban en Retre-Radgost, un centro de culto. A Radigast lo pintaban con un escudo sobre el pecho y sobre el escudo dibujaban un hacha y sobre su casco habia un gallo con las alas extendidas. A veces lo dibujaban con cabeza humana y patas de toro. En otra version, tenia cabeza de leon con un ganso sentado sobre ella. Los simbolos de este dios eran un caballo blanco y un jabali saliendo del mar (el jabali era el simbolo del Sol).



Otro centro religioso Eslavo era la ciudad de Arkon, ubicada en la isla Rügen. Alli se encontraba al templo de Sviatovit (o Svantovit), que era el dios de la Guerra, el Sol y la Victoria. El templo, de Madera, constaba de dos partes. Habia simbolos del dios cerca del idolo: una silla, una brida, una espada y un estandarte. Tambien habia muchos trofeos de cazadores. A Sviatovit lo dibujaban con cuetro cabezas, dos miraban hacia adelante y dos hacia, atras. Su color era el rojo. Por esa razon, habia mucha ropa y cortinas purpura en el templo, incluso el techo era rojo. Un caballo blanco vivia en el templo. Los Eslavos creian que Sviatovit montaba a caballo cada noche y salia a luchar contra las fuerzas del mal. Para predecir el futuro, se conducia el caballo hacia tres hileras de lanzas. Si el caballo tropezaba con su pata derecha significaba Buena suerte y si lo hacia con la izquierda era un mal presagio.

Las fiestas en honor a Sviatovit se celebraban al final de la cosecha y se le ofrecia un pastel mas grande que un ser humano. Sviatovit sostenia un cuerno en su mano. Dicho cuerno se llenaba de vino una vez al año y los Eslavos predecian tambien el futuro por medio del mismo. Si a fin de año habia menos vino en el cuerno, significaba una mala cosecha en el futuro. Sviatovit correspondia a Svarog.


Dazhbog fue designado hijo de Svarog (Svarozhich) y era el dios del Sol y la naturaleza, patrono de la cosecha y el matrimonio. Segun la mitologia, fue uno de los primeros zares e introdujo el calculo y el uso del calendario solar. Seconsideraba que Dazhbog era el padre de la tribu rusa.


El dios del disco solar (pero no del resplandor) era Khors y por lo general se le colocaba cerca de Dazhbog. Khors (o Khoros) no tenia culto propio. Tambien se le conocia como “un ojo antiguo” o “el ojo del cielo”. Khors aparecia como un caballo y es por esa razon que su simbolo era cabeza de este animal (hors en ingles).

La esposa de Dazhbog era la diosa de la Luna. Su nombre era Chislobog o Nochena. Las estrellas eran hijas del Sol y la Luna.

Otra pareja era Lada y Lado. Lada era la diosa de la juventud, la belleza y la fertilidad. La fiesta en su honor se celebraba el primero de mayo.


Su esposo Lado era el dios de la belleza, la luz, la paz y amor. Para el se sacrificaba un gallo blanco. Lel y Polel eran sus hijos gemelos. El primero: dios de la alegria y la passion; y el Segundo: de la familia.

Lialia (o Lelia) era la hija de Lada y era al mismo tiempo hermana y esposa de Lel. Perun era su padre. Lialia era la diosa del amor, la alegria y la primavera.

Zhiva (Zhivana, Siva) era la diosa de la vida y podia presentarse como un cuclillo en vista de que ese era su simbolo. Las fiestas en honor a Zhiva y Lada se celebraban el primero de mayo. Zhiva era representada como una mujer desnuda con el cabello largo hasta las rodillas.

Mara (Morena, Marzhana) era la diosa del perjuicio, la hostilidad, la muerte y el frio. Un animal relleno, denominado Marzhana, era el simbolo del invierno y se quemaba uno cada primavera para asegurar una buena cosecha. En las cuentos populares la diosa de la ira y muerte Mara se convierte en la hermosa Snegurochka (“Blanco como la nieve”), que en la noche de Ivan Kupala (el 24 de junio) saltaba a traves del fuego…


Makosh (o Mokosh) era la diosa de la fertilidad, el bienestar y la abundancia; era patrona del trabajo de las mujeres (hilado y tejido) y madre de la cosecha. Era tambien la diosa de la fortuna y el exito, la madre de la felicidad. Por las noches, tejia en las casas. Esta diosa era representada como una mujer de cabeza muy grande y manos largas elevadas hacia el cielo. El miercoles era su dia.

El dios Semargl (Simargl) estaba relacionado con Makosh. Semargl era el dios de los brotes y los vegetales, y el patrono de los retoños y las plantas. Los Eslavos consideraban que Semargl se encontraba entre los dioses del cielo y la Tierra. A este dios lo representaban como un perro-ave.




El culto de Perún (el dios de la tormenta) revestia especial importancia en la formacion del Estado Ruso. Perun se transformo en patrono de los principes y sus ejercitos. Perun encabezaba el Panteon. Los Eslavos creian que Perun vivia en el cielo en un templo cerca del roble (arbol ysimbolo de dios). La imagen de Perun estaba adornada con una barba plateada y bigotes dorados. Sus brazos podian ser una hacha, un rayo, una lanzao una vara. Perun aparecia como un jinete que salia de su templo para ir a luchar contra la nube-serpiente. Usaba sus flechas de oro para combatir las fuerzas del mal. El ave de este dios era el gallo. Los Eslavos estaban seguros de que Perun implanto un embrion en el cuerpo de la mujer y promovio la fertilidad del suelo.


El Jueves era el dia de Perun y las fiestas en su honor se celebraban el 20 de Julio. La gente creia que el Arco Iris “bebia” el agua de rios y lagos para entregarsela a la lluvia. Por esa razonconsideraban peligroso bañarse en presencia del Arco Iris, ya que el mismo podia levantar a la gente y llevarla hacia el cielo.

Dodola tambien era esposa de Perun y era patrona de la primavera. A Dodola la adornaban con hierbas y flores, y cuando la paseaban por los campos, los campesinos la refrescaban con agua para pedirle lluvia.

Veles (o Volos, Vels) era enemigo de Perun y era el dios de los pastores y la riqueza, patrono de la cria de Ganado y fundador de las artes. La gente no sabia si Veles habia creado el Ganado o se lo habia robado a Perun. Veles era el dios de la agricultura y los campesinos le ofrecian los tallos de las plantas de maiz. La constelacion de las Pleyades recibio ese nombre en honor de Veles – Volosyni. Por las noches los Eslavos le pedian a Veles tener tantas ovejas como estrellas habia en el cielo. En las canciones populares, la gente se referia a Veles como “Abuelo del pan” y lo representaba como un macho cabrio o un anciano. En estos cuentos populares, Veles era la serpiente Zmiulan. El zar del fuego (Perun) y su esposa Malania (el relampago) lucharon contra Zmiulan, lo mataron y se llevaron sus rebaños.

Entre los dioses de los Eslavos, Troyan (o Triglav) era uno de los mas misteriosos. Segun la mitologia, Troyan tenia su propio pueblo y solo salia de durante la noche para ver a su amada, una joven comun y corriente. Los Eslavos creian que Troyan tenia tres cabezas con orejas de macho cabrio y alas de cera. Una de las cabezas comian hombres, otra Ganado y otra pescado. Todo esto simboliza su gran poder sobre la Tierra.

Yarilo tambien era un dio bastante misterioso. Fue muy popular, incluso en el siglo XX; pero no se le consideraba dios popular, sino demonio.

Los Eslavos tambien tenian un dios de la Guerra. Su nombre era Yarovit y sus simbolos, un escudo y un casco dorados. Era imposible dirigirse a el durante epocas de paz. Sin embargo, en tiempos de Guerra, los Eslavos sacaban el escudo y el casco del templo para ponerlos ahte las tropes. Yarovit tambien era patrono de la fertil primavera al igual que Yarilo. Durante la primavera y el verano los campesinos organizaban una fiesta llamada “Yarilki”.

 Una joven vestida con ropa de hombre interpretaba a Yarilo, que descansaba sobre un caballo blando mientras la gente cantaba y bailaba a su aldedor. Tambien se llevaba a cabo una ceremonia que representaba el funeral de Yarilo. Un animal relleno, que representaba a Yarilo. Era adornado con un gran pene. Durante el funeral, la gente cantaba y le pedia al dios que reviviera y se pusiera de pie. Todo esto significaba que Yarilo era el dios de la naturaleza y los Eslavos creian que se presentaba como un hombre joven, vestido de blanco, sentado sobre un caballo blanco. Su paso presagiaba buenas cosechas, y cuando miraba a alguien era signo de que comenzaba a amor a esa persona. Los juegos eroticos activos indicaban buenas cosechas.

Didilia (Dzidzilia) era la diosa del nacimiento de los niños. Los Eslavos le ofrecian sacrificios para tener hijos y creian que Didilia estaba presente en cada nacimiento.

Pogoda era el dios de la claridad, los dias buenos y la primavera. Su esposa era Zimtserla, diosa del amanecer y el atardecer.

Stribog era el dios del aire y el viento. Desde el principio se le dibujo como un aguila con flechas en sus garras. Los Eslavos creian que Stribog daba inicio a las tormentas de nieve.



Pereplut era el dios de las profundidades de la Tierra y patrono de las semillas y los brotes. Los Eslavos le ofrecian incluso sacrificios humanos.

En el año 980, el principe Vladimir Sviatoslavich consideró que solo seis dioses debian conformar la religion unida. Dichos dioses eran Perun, Khors, Dazhbog, Stribog, Semargl y Makosh, encabezados por Perun. Sin embargo, en el año 988 Rusia se transformo en estado cristiano concluyendo asi la historia de la religion de los primeros eslavos.


miércoles, 8 de enero de 2014

Tripurasundari - The Godness Who is Beautiful in the Three Worlds



Tripurasundari (Lalita)  is the primary goddess associated with the Shakta Tantric tradition known as Sri Vidya.The Goddess Who is "Beautiful in the Three Worlds" (Supreme Deity of Srikula systems); the "Moksha Mukuta"

'Tripura' means 'the three cities,' and 'sundarī' means 'beautiful,' specifically a beautiful female. Therefore, her name means 'Beautiful (Goddess) of the Three Cities'. Tripura is often popularly translated as 'the three worlds;' however, this is an incorrect translation of the original Sanskrit.

The 'three cities' esoterically refers to a variety of interpretive doctrines, but commonly refers to the triple form of the goddess as found in the triadic doctrine of Shaktism. According to Bhaskararaya's commentary of the Tripura Upaniṣad.

There are three forms of deity: physical (sthūla), subtle (sūkṣma) and supreme (parā). Now the first [physical anthropomorphic form of the deity] is described in its respective meditative verses (dhyānaśloka); the second [subtle form] consists of the [particular deity's] respective root-mantra (mūlamantra); the third [supreme or transcendent form] consists of contemplative worship [of the deity's yantra]. Because deities are threefold in form, contemplative worship (upāsti) is divided threefold respectively into external sacrifice (bahiryāga) [performed primarily to the physical form of the deity], silent repetition (japa) [on the subtle form root-mantra] and internal sacrifice (antaryāga) [in the form of contemplative worship (upāsti) of the yantra].
Even though the bindu cakra [the "drop" in the center of the śrīcakra, is only one point] it has a threefold nature... The three deities created [and] not different from [her supreme] peaceful (śānta) [aspect] are [the three creative powers,namely,] Icchāśakti, Jñānaśakti, and Kriyāśakti. The female deities named Vāmā, Jyeṣṭhā, and Raudrī [identified with the three śaktis are complemented] by the three [male consort] forms of Brahmā, Viṣṇu, and Rudra which are not different creations from [her all-subsuming aspect called] Ambikā.

The traditional interpretation of Tripurā's name in Tantric soteriology involves a rather technical discussion of different levels of spiritual insight and worldly accomplishment, the fate of the individual soul (ātman) in the karmic process, and the concepts of external (bahir-) and internal sacrifice (antaryāga).

Tripura also refers to the Śrīcakra, the yantra that represents the highest vibrational form of Tripurasundari, according to the commentator on the sutra of Gauḍapādā.[6] Bhaskararaya notes in his commentary on Tripura Upaniṣad that the śrīcakra, composed of nine interlocking triangles, is triple in nature.

Tripurasundari is described as being of dusky, red, or golden in color, depending on the meditational form, and in union with Shiva. The couple are traditionally portrayed on a bed, a throne, or a pedestal that is upheld by Brahma, Vishnu, Rudra, Ishana(another form of Shiva, depicted in the Tantras) and Sadashiva forming the plank. She holds five arrows of flowers, a noose, a goad and a sugarcane as a bow. The noose represents attachment, the goad represents repulsion, the sugarcane bow represents the mind and the arrows are the five sense objects.

Bala Tripurasundari is another form of Tripurasundari, depicted as an independent young pre pubescent goddess who is 9 years of age, also known as a kumari. She is said to be the daughter of Lalita Maha Tripurasundari. Bala Tripurasundari's mantra and yantra differs completely from that of Maha Tripurasundari. The only Temple of Bala Tripurasundari Bhagawati is located at Tripurakot of Dolpa district of Nepal where Adhi Shankaracharya had prayed and worshipped due to renowned exaltation of Bala Tripurasundari Bhagawati Temple. Tripurasundari is also worshipped as the Sri Yantra, which is considered by practitioners of Sri Vidya to be a more true representation of the goddess.

Tripurasundari combines in her being Kali's determination and Durga’s charm, grace, and complexion. She has a third eye on her forehead. Usually four-armed and clad in red, the richly bejeweled Tripurasundari sits on a lotus seat laid on a golden throne. An aura of royalty characterizes her overall bearing and ambiance.

Tripurasundari  Yantra


Tripurasundari Mantra

Shodashi Tripura Sundari - Mahavidya Mantra

http://en.wikipedia.org/wiki/Tripura_Sundari

Tara - The Goddess as Guide and Protector, or Who Saves


In Hinduism, the goddess Tara  meaning "star", is the second of the Dasa (ten) Mahavidyas or "Great Wisdom [goddesses]", Tantric manifestations of Mahadevi, Kali, or Parvati. As the star is seen as a beautiful but perpetually self-combusting thing, so Tara is perceived at core as the absolute, unquenchable hunger that propels all life.

The oral tradition gives an origin to the goddess Tara. The legend begins with the churning of the ocean between the Devas and Asuras. Lord Shiva drank the poison (Halahala) that was created from the churning of the ocean (in the process turning his throat blue and earning him the epithet Nilakantha), thus saving the world from destruction, but fell unconscious under its powerful effect. Tara Ma appeared and took Shiva on her lap. She suckled him, the milk from her breasts counteracting the poison, and he recovered. This story is reminiscent of the one in which Shiva stops the rampaging Kali by becoming an infant. Seeing the child, Kali's maternal instinct comes to the fore and when she was feeding him her breast milk Shiva sucked her rage out while sucking the milk. In both cases, Shiva assumes the position of an infant vis-à-vis the Goddess. Mainly Tara is a form of Durga or Parvati. As Per Shakti Mahabhagwat, She is the one who created 1st Seed from which the entire universe took birth in the form of Lord Vishnu. Since he was Non manifested divinity so next Mahavidya expanded him so that manifested divinity Lord Brahma took birth from him.

Kali and Tara are similar in appearance. They both are described as standing upon a supine Shiva in an inert or corpse-like form. However, while Kali is described as black, Tara is described as blue. Both wear minimal clothing, however Tara wears a tiger-skin skirt, while Kali wears only a girdle of severed human arms. Both wear a necklace of severed human heads and the previously mentioned girdle of arms. Both have a lolling tongue, and blood oozes from their mouths. Their appearances are so strikingly similar that it is easy to mistake one for the other. Indeed, they are often said to be manifestations of each other; for example, in their thousand-name hymns they share many epithets as well as having each other's names. Tara, for example, is called Kalika, Ugra-kali, Mahakali, and Bhadra-kali. Tara is said to be more approachable to the devotee (Bhakta) or Tantrika because of her maternal instincts; however a large population of Bengali Hindus approach Kali herself as "Ma" or "mother".

Like Kali, furthermore, Tara in her Hindu context enjoys blood. In her hymn of a hundred names from the Mundamala-tantra, she is called "She Who Likes Blood", "She Who Is Smeared with Blood" and "She Who Enjoys Blood Sacrifice". The Tara-tantra describes Tara's delight in both animal and human blood but says that the latter is more pleasing to her. The blood of devotees is to be taken from specified parts of the body, such as the forehead, hands, breasts, head, or area between the eyebrows; some of these areas may correspond to the different chakras, spiritual centers within the body.

Tara can be distinguished visually from Kali primarily via her implements. Four armed, she carries a sacrificial sword, a severed head or skull cup, a lotus and scissors. Kali never holds a lotus or a pair of scissors.

Tara Yantra



Tara Mantra

Green Tara Mantra

http://en.wikipedia.org/wiki/Tara_(Devi)

martes, 7 de enero de 2014

Chinnamasta - the Hindu Godness of transformation


Chinnamasta, also known as Chhinnamastika and Prachanda Chandika is one of the Tantric goddesses in Hinduism. In Tantric Buddhism she is known as Chinnamunda. Chinnamasta devi is a form of Shakti who is ferocious and Chinnamasta means, 'severed head'. The Hindu Divine Mother is commonly identified with her fearsome iconography.

Chinnamasta is one of the most outrageous forms of divinity in Hinduism. The self-decapitating Goddess is one of the important and worshipped Shaktipat goddess. Chinnamasta symbolises both life-giver and life-taker. One of the goddesses of Mahavidyas, Chinnamasta is considered both as a symbol of self-control on sexual desire as well as an embodiment of sexual energy, depending upon interpretation.

The mythology emphasizes her sacrifice with maternal element, her sexual dominance and her self-destructive fury. As her approach is dangerous and ferocious, she is not worshipped everywhere. Her temples are mostly found in Northern India and Nepal. So She is recognised by both Hindus and Buddhists. Chinnamasta is closely related to Chinnamunda - the severed-headed form of the Tibetan Buddhist goddess, Vajrayogini.

Chinnamasta is mostly depicted nude and with dishevelled hair in blood red or black coloured body. In the texts, She is described to be a sixteen-year-old girl with full breasts and has a blue lotus near her heart. She is standing over a naked couple. The couple is said to be Rati, Goddess of sexual desire, and her husband Kama, God of love. Chhinnamasta is depicted wearing a serpent as a sacred thread and a garland of skulls or severed heads and bones like Maa Kali. Blood streams out of her neck and Her two female attendants Dakini and Varnini (also called Jaya and Vijaya) are drinking the blood.

On the left hand, She carries her own severed head (in a platter or a skull-bowl). On the right hand, She holds a khatri (a scimitar or knife) by which she decapitated herself.

There are many stories about the birth of Chinnamasta Devi. One legends of Narada-pancharatra narrates this story- Once while having bath in Mandakini river, Goddess Parvati got sexually excited and turned black. Meanwhile Her two attendants Dakini and Varnini (also called Jaya and Vijaya) get hungry and ask the goddess to satisfy their hunger. Goddess Parvati looks around but couldn't find anything to eat. So She severes her head and the blood flows in 3 directions; one in Jaya's mouth, other in Vijaya's mouth and the third in Parvati's mouth.

Another story shows Chinnamasta who is standing over a naked couple which is said to be Rati and Kama. Standing on the body, the goddess masters the physical body, and to free her mind from this, Chinnamasta cuts her head.

Chinnamasta signifies that life, death and sex- three forms of transformation, three parts of the cycle . Chinnamasta is not that popular as an individual goddess. Tantric practitioners worship Chhinnamasta for acquiring siddhis or supernatural powers.

Yantra



Mantra

Chhinnamasta Mantra To Demolish Enemies

domingo, 17 de noviembre de 2013

Kali -the goddess of the death and enlightenment


Kali comes from the Sanskrit root word Kal which means time. There is nothing that escapes the all-consuming march of time. In Tibetan Buddhism Her counterpart is male with the name Kala. Mother Kali is the most misunderstood of the Hindu goddesses. The Encyclopedia Britannica is grossly mistaken in the following quote, "Major Hindu goddess whose iconography, cult, and mythology commonly associate her with death, sexuality, violence, and, paradoxically in some of her later historical appearances, motherly love."

It is partly correct to say Kali is a goddess of death but She brings the death of the ego as the illusory self-centered view of reality. Nowhere in the Hindu stories is She seen killing anything but demons nor is She associated specifically with the process of human dying like the Hindu god Yama (who really is the god of death). It is true that both Kali and Shiva are said to inhabit cremation grounds and devotees often go to these places to meditate. This is not to worship death but rather it is to overcome the I-am-the-body idea by reinforcing the awareness that the body is a temporary condition. Shiva and Kali are said to inhabit these places because it is our attachment to the body that gives rise to the ego. Shiva and Kali grant liberation by removing the illusion of the ego. Thus we are the eternal I AM and not the body. This is underscored by the scene of the cremation grounds.

Of all the forms of Devi, She is the most compassionate because She provides moksha or liberation to Her children. She is the counterpart of Shiva the destroyer. They are the destroyers of unreality. The ego sees Mother Kali and trembles with fear because the ego sees in Her its own eventual demise. A person who is attached to his or her ego will not be receptive to Mother Kali and she will appear in a fearsome form. A mature soul who engages in spiritual practice to remove the illusion of the ego sees Mother Kali as very sweet, affectionate, and overflowing with incomprehensible love for Her children.

Ma Kali wears a garland of skulls and a skirt of dismembered arms because the ego arises out of identification with the body. In truth we are beings of spirit and not flesh. So liberation can only proceed when our attachment to the body ends. Thus the garland and skirt are trophies worn by Her to symbolize having liberated Her children from attachment to the limited body. She holds a sword and a freshly severed head dripping blood. As the story goes, this represents a great battle in which she destroyed the demon Raktabija. Her black skin represents the womb of the quantum unmanifest from which all of creation arises and into which all of creation will eventually dissolve. She is depicted as standing on Shiva who lays beneath Her with white skin (in contrast to Her black or sometimes dark blue skin). He has a blissful detached look. Shiva represents pure formless awareness sat-chit-ananda (being-consciousness-bliss) while She represents "form" eternally supported by the substratum of pure awareness.

By not understanding the story behind Mother Kali it is easy to misinterpret Her iconography. In the same way one could say that Christianity is a religion of death, destruction and cannibalism in which the practitioners drink the blood of Jesus and eat his flesh. Of course, we know this is not the proper understanding of the communion ritual.

Attaching the idea of sexuality to Mother Kali has no basis in Her at all. There is nothing that associates Her with sexuality in the Hindu stories. In fact it is just the opposite. She is one of the few Goddesses who is celibate practicing austerity and renunciation!

The notion that She is the goddess of death, sex and violence is simply utter nonsense. When we study the life of the great saint Ramakrishna or the great poet saint Ramprasad (both famous Kali worshippers), or listen to the traditional Hindu devotional songs to Kali, there is no hint of this death-sex-violence notion.
Kali is the goddess of enlightenment or liberation.

Yantra


Mantra

Kali Maa Jaap Mantra