She’s Riding the Lightning

lightning

Photo by Andrew Lucas

This time round, her fierce is in the front. Its her invincible suit of armour.

Her spark is turning into a blaze as she fully engages her spirituality. She’s fierce without apology. This one cannot be tamed & shamed. The fire in her womb temple is lit as much as her soul-fire is bright. She’s passionate about her reverence for life, earth, justice & truth,  She’s taking a clear stand ~ she accesses it through her original wildness. She’s not afraid of the lightning, ~ she’s working in sync with the forces of nature. She’s the meeting ground of heaven & earth. She’s anchoring the new human within her.

Its becoming more & more easy for her to hold the fierce yet peaceful energy in her body. Many times, all she needs is to express it through her look. And her job is done. She’s answering the call.

Don’t mess with her Kali truth.

Sukhvinder Sircar

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11 thoughts on “She’s Riding the Lightning

  1. The myth about Maa Kali…… must read

    en.wikipedia.org/wiki/Kali

    KaliFrom Wikipedia, the free encyclopedia
    Jump to: navigation, search For other uses, see Kali (disambiguation).
    “Kalika” redirects here. For other uses, see Kalika (disambiguation).
    “The black one” redirects here. For the 2005 drone metal album, see Black One. For the male choral group, see The Black Ones.
    Kali

    Kali by Raja Ravi Varma
    Goddess of Time, Change, and Destruction
    Devanagari काळी
    Sanskrit Transliteration Kālī
    Affiliation Aspect of Avatar
    Abode Cremation grounds
    Mantra Oṃ jayantī mangala kālī bhadrakālī kapālinī . Durgā kṣamā śivā dhātrī svāhā svadhā namō’stu‍tē
    Weapon Scimitar Trident (Trishul).
    Consort Shiva
    Mount Tiger
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    Kālī (Sanskrit: काळी, IPA: [kɑːliː]), also known as Kālikā (Sanskrit: काळिका), is the Proto-Indo-European goddess associated with empowerment, shakti. The name Kali comes from kāla, which means black, time, death, lord of death, Shiva. Since Shiva is called Kāla—the eternal time—Kālī, his consort, also means “Time” or “Death” (as in time has come). Hence, Kāli is the Goddess of Time and Change. Although sometimes presented as dark and violent, her earliest incarnation as a figure of annihilator of evil forces still has some influence. Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman. She is also revered as Bhavatārini (literally “redeemer of the universe”). Comparatively recent devotional movements largely conceive Kāli as a benevolent mother goddess.[1]

    Kālī is represented as the consort of Lord Shiva, on whose body she is often seen standing. Shiva lies in the path of Kali, whose foot on Shiva subdues her anger. She is the fierce aspect of the goddess Durga (Parvati).[2]

    Contents [hide]
    1 Etymology
    2 Origins
    3 Worship and mantra
    4 Tantra
    5 Bengali tradition
    6 Legends
    6.1 Slayer of Raktabija
    6.2 Dakshina Kali
    6.3 Smashan Kali
    6.4 Maternal Kali
    6.5 Mahakali
    7 Iconography
    7.1 Popular form
    7.2 Shiva in Kali iconography
    8 Development
    9 Saint Sarah
    10 In New Age and Neopaganism
    11 Notable Kali temples
    12 Notes
    13 References
    14 Further reading
    15 External links
    Etymology[edit]Kālī is the feminine form of kālam (“black, dark coloured”).[3] Kāla primarily means “time” but also means “black” in honor of being the first creation before light itself. Kālī means “the black one” and refers to her being the entity of “time” or “beyond time.” Kāli is strongly associated with Shiva, and Shaivas derive the masculine Kāla (an epithet of Shiva) to come from her feminine name. A nineteenth-century Sanskrit dictionary, the Shabdakalpadrum, states: कालः शिवः । तस्य पत्नीति – काली । kālaḥ śivaḥ । tasya patnīti kālī – “Shiva is Kāla, thus, his consort is Kāli” referring to Devi Parvathi being a manifestation of Devi MahaKali.

    Other names include Kālarātri (“black night”), as described above, and Kālikā (“relating to time”). Coburn notes that the name Kālī can be used as a proper name, or as a description of color.[4]

    Kāli’s association with darkness stands in contrast to her consort, Shiva, who manifested after her in creation, and who symbolises the rest of creation after Time is created. In his supreme awareness of Maya, his body is covered by the white ashes of the cremation ground (Sanskrit: śmaśāna) where he meditates, and with which Kāli is also associated, as śmaśāna-kālī. It is said that aspirants who wish to offer Bhakthi should approach under the proper guidance of a Siddha or equivalent. Chanting her mantras from anywhere would cause unknown effects.

    Origins[edit]Hugh Urban notes that although the word Kālī appears as early as the Atharva Veda, the first use of it as a proper name is in the Kathaka Grhya Sutra (19.7).[5] Kali is the name of one of the seven tongues of Agni, the [Rigvedic] God of Fire, in the Mundaka Upanishad (2:4), but it is unlikely that this refers to the goddess. The first appearance of Kāli in her present form is in the Sauptika Parvan of the Mahabharata (10.8.64). She is called Kālarātri (literally, “black night”) and appears to the Pandava soldiers in dreams, until finally she appears amidst the fighting during an attack by Drona’s son Ashwatthama. She most famously appears in the sixth century Devi Mahatmyam as one of the shaktis of Mahadevi, and defeats the demon Raktabija (“Bloodseed”). The tenth-century Kalika Purana venerates Kāli as the ultimate reality.

    According to David Kinsley, Kāli is first mentioned in Hinduism as a distinct goddess around 600 CE, and these texts “usually place her on the periphery of Hindu society or on the battlefield.”[6] She is often regarded as the Shakti of Shiva, and is closely associated with him in various Puranas. The Kalika Purana depicts her as the “Adi Shakti” (Fundamental Power) and “Para Prakriti” or beyond nature.

    Worship and mantra[edit]Kali is like a general concept like Durga, mostly worshiped in the Kali kula sect of worship. The closest way of direct worship is Maha Kali or Bhadra Kali (Bhadra in Sanskrit means ‘gentle’). Kali is worshiped as one of the 10 Mahavidya forms of Adi Parashakti (Goddess Durga) or Bhagavathy according to the region. The mantra for worship is [7] called Devi Argala Stotram.[8]

    Sanskrit: सर्वमङ्गलमाङ्गल्ये शिवे सर्वार्थसाधिके । शरण्ये त्र्यम्बके गौरि नारायणि नमोऽस्तु ते ॥
    ॐ जयंती मंगळ काळी भद्रककाळी कपालिनी । दुर्गा क्षमा शिवा धात्री स्वाहा स्वधा नमोऽस्तु‍ते ॥
    (Sarvamaṅgalamāṅgalyē śivē sarvārthasādhikē . śaraṇyē tryambakē gauri nārāyaṇi namō’stu tē.

    Oṃ jayantī mangala kālī bhadrakālī kapālinī . durgā kṣamā śivā dhātrī svāhā svadhā namō’stu‍tē.)[9]
    Tantra[edit]
    Kali YantraGoddesses play an important role in the study and practice of Tantra Yoga, and are affirmed to be as central to discerning the nature of reality as are the male deities. Although Parvati is often said to be the recipient and student of Shiva’s wisdom in the form of Tantras, it is Kāli who seems to dominate much of the Tantric iconography, texts, and rituals.[10] In many sources Kāli is praised as the highest reality or greatest of all deities. The Nirvana-tantra says the gods Brahma, Vishnu, and Shiva all arise from her like bubbles in the sea, ceaselessly arising and passing away, leaving their original source unchanged. The Niruttara-tantra and the Picchila-tantra declare all of Kāli’s mantras to be the greatest and the Yogini-tantra, Kamakhya-tantra and the Niruttara-tantra all proclaim Kāli vidyas (manifestations of Mahadevi, or “divinity itself”). They declare her to be an essence of her own form (svarupa) of the Mahadevi.[11]

    In the Mahanirvana-tantra, Kāli is one of the epithets for the primordial sakti, and in one passage Shiva praises her:

    At the dissolution of things, it is Kāla [Time] Who will devour all, and by reason of this He is called Mahākāla [an epithet of Lord Shiva], and since Thou devourest Mahākāla Himself, it is Thou who art the Supreme Primordial Kālika. Because Thou devourest Kāla, Thou art Kāli, the original form of all things, and because Thou art the Origin of and devourest all things Thou art called the Adya [the Primordial One]. Re-assuming after Dissolution Thine own form, dark and formless, Thou alone remainest as One ineffable and inconceivable. Though having a form, yet art Thou formless; though Thyself without beginning, multiform by the power of Maya, Thou art the Beginning of all, Creatrix, Protectress, and Destructress that Thou art.[10]
    The figure of Kāli conveys death, destruction, and the consuming aspects of reality. As such, she is also a “forbidden thing”, or even death itself. In the Pancatattva ritual, the sadhaka boldly seeks to confront Kali, and thereby assimilates and transforms her into a vehicle of salvation.[12] This is clear in the work of the Karpuradi-stotra,[13] a short praise of Kāli describing the Pancatattva ritual unto her, performed on cremation grounds. (Samahana-sadhana)

    He, O Mahākāli who in the cremation-ground, naked, and with dishevelled hair, intently meditates upon Thee and recites Thy mantra, and with each recitation makes offering to Thee of a thousand Akanda flowers with seed, becomes without any effort a Lord of the earth. Oh Kāli, whoever on Tuesday at midnight, having uttered Thy mantra, makes offering even but once with devotion to Thee of a hair of his Shakti [his energy/female companion] in the cremation-ground, becomes a great poet, a Lord of the earth, and ever goes mounted upon an elephant.[12]
    The Karpuradi-stotra clearly indicates that Kāli is more than a terrible, vicious, slayer of demons who serves Durga or Shiva. Here, she is identified as the supreme mistress of the universe, associated with the five elements. In union with Lord Shiva, she creates and destroys worlds. Her appearance also takes a different turn, befitting her role as ruler of the world and object of meditation.[14] In contrast to her terrible aspects, she takes on hints of a more benign dimension. She is described as young and beautiful, has a gentle smile, and makes gestures with her two right hands to dispel any fear and offer boons. The more positive features exposed offer the distillation of divine wrath into a goddess of salvation, who rids the sadhaka of fear. Here, Kali appears as a symbol of triumph over death.[15]

    Bengali tradition[edit]
    Kali Puja festival in Kolkata.Kali is also a central figure in late medieval Bengali devotional literature, with such devotees as Ramprasad Sen (1718–75). With the exception of being associated with Parvati as Shiva’s consort, Kāli is rarely pictured in Hindu legends and iconography as a motherly figure until Bengali devotions beginning in the early eighteenth century. Even in Bengāli tradition her appearance and habits change little, if at all.[16]

    The Tantric approach to Kāli is to display courage by confronting her on cremation grounds in the dead of night, despite her terrible appearance. In contrast, the Bengali devotee appropriates Kāli’s teachings adopting the attitude of a child, coming to love her unreservedly. In both cases, the goal of the devotee is to become reconciled with death and to learn acceptance of the way that things are. These themes are well addressed in Rāmprasād’s work.[17] Rāmprasād comments in many of his other songs that Kāli is indifferent to his wellbeing, causes him to suffer, brings his worldly desires to nothing and his worldly goods to ruin. He also states that she does not behave like a mother should and that she ignores his pleas:

    Can mercy be found in the heart of her who was born of the stone? [a reference to Kali as the daughter of Himalaya]
    Were she not merciless, would she kick the breast of her lord?
    Men call you merciful, but there is no trace of mercy in you, Mother.
    You have cut off the heads of the children of others, and these you wear as a garland around your neck.
    It matters not how much I call you “Mother, Mother.” You hear me, but you will not listen.[18]
    To be a child of Kāli, Rāmprasād asserts, is to be denied of earthly delights and pleasures. Kāli is said to refrain from giving that which is expected. To the devotee, it is perhaps her very refusal to do so that enables her devotees to reflect on dimensions of themselves and of reality that go beyond the material world.[18][19]

    A significant portion of Bengali devotional music features Kāli as its central theme and is known as Shyama Sangeet (“Music of the Night”). Mostly sung by male vocalists, today even women have taken to this form of music. One of the finest singers of Shyāma Sāngeet is Pannalal Bhattacharya.

    In Bengal, Kāli is venerated in the festival Kali Puja – the new moon day of Ashwin month which coincides with Diwali festival.

    In a unique form of Kāli worship, Shantipur worships Kāli in the form of a hand painted image of the deity known as Poteshwari (meaning the deity drawn on a piece of cloth).

  2. Pingback: she is meeting herself in unknown ways…. | Rescuing Little L

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