She is worshipped by Lambodara (Ganesha) and Guruguha (Murugan). She possesses shining long tresses and always sports a graceful smile. She is the supreme one worshipped by Saraswati. She is the bestower of boons and the daughter of Himavan (King of Mountains), the honorable one. She is Sharada, venerated by Indra and Vishnu. She is extolled through raga jujavanti (dvijaavanti) and takes delight in music of the instruments like jhalli, maddala, and jarjhara. She is the conferrer of supreme knowledge.
So far, we have explored the meanings of sixty-three mantras. We have learned about the incarnation of the Goddess as Mother and witnessed her supreme form, ‘The Virat Roopam’ of Devi. We listened to mantras praising her physical form, from her glorious hair to her divine feet. We heard about the majesty of her abodes, including her residence in the ocean of nectar, and the splendor of her palace made of wish-fulfilling Chintamani gems. We also saw how she was seated on a cot or throne supported by the Pancha Brahmas (five Brahmas). Kalidasa describes her seat as a throne studded with precious gems. Devi is portrayed as seated on the left lap of Kameshwara. Mantras 64 to 84 have a different theme but can be understood collectively, though they each hold unique meanings.
This section focuses on the destruction of the evil Bhandasura, known as “Bhandasuravadham.” It begins with the mantra,
devarṣigaṇa-saṅghāta-stūyamānātma-vaibhavā
[She whose might is the subject of praise by multitudes of gods and sages]
(Sri Lalitha Sahasranama – 64)
bhaṇḍāsura vadhodyukta śakti senā samanvitā
[who is endowed with an army of shaktis intent on slaying Bhandasura.]
(Sri Lalitha Sahasranama – 65)
and ends with the mantra,
haranetrāgni-sandagdha-kāmasañjīva-nauṣadhiḥ
[She who became the life-giving medicine for Kamadeva (the god of love) who had been burned to ashes by the fire from shiva’s (third) eye]
(Sri Lalitha Sahasranama – 84)
The slaying of Bhandasura has been retold as a story, with a detailed description of the battle found in the book Lalithopakhyanam. Sri Lalitha Sahasranama is a stotra derived from Lalithopakhyanam, where we find a much shorter version. The original Lalithopakhyanam contains 1,800 verses that describe the fierce battle. Just as the battle between Rama and Ravana in Sri Lanka showcases Rama’s valor, and the battle of Kurukshetra is central to the Mahabharata, the battle and victory over Bhandasura hold great significance in the Lalitha Sahasranama. So far, Devi has been depicted as serene, gracious, and the Mother of the Universe, with a voice like music and words as sweet as honey. In this part of the Sahasranama, we will now witness her courage and prowess in battle.
atisaumyatiraudrāyai natāstasyai namō namaḥ
namō jagatpratiṣṭhāyai dēvyai kṛtyai namō namaḥ
[We salute her who is beyond peace and anger and offer our salutations. Salutations to her who is the basis of the entire universe, who is the power behind devas and who is action oriented.]
(Devi Mahatmyam – 11)
In the Devi Mahatmyam, Devi is glorified as both the fiercest and the most serene. Her intrinsic nature is one of calm tranquility, but she transforms into a fierce and terrifying form when confronting and destroying evil Asuras and demons. She appears as the vanquisher of Mahishasura, wearing a garland of skulls, her tongue hanging out in anger. However, this fierce aspect of her nature is fleeting—it comes and goes. Much like a doctor who squeezes out all the pus from a festering wound, leaving no trace, Devi shows no hesitation in completely destroying the Asuras when their wicked behavior becomes unbearable for her other children. Despite her actions, she remains compassionate toward all.
We are about to witness her valour and courage in slaying the demon Bhandasura. One might wonder, how can Devi, whose nature is calm and serene, transform into such a terrifying form? The Lalitha Sahasranama needs to be absorbed in different ways. Devi is serene toward her devotees and terrible toward the cruel and wicked. In the Devi Mahatmyam, she is praised as both tranquil and terrifying, highlighting these two aspects of her nature.
Our capacity to understand, much like the flight of birds, differs from person to person. Some birds can fly only short distances, while others soar across continents. Similarly, our intellectual ability to grasp the teachings of the Sri Lalitha Sahasranama varies. Some devotees focus solely on chanting the mantras, believing the sound alone is sufficient to praise their divine mother, and they are blessed accordingly. Others, more advanced in their spiritual journey, understand the tantric meanings and deeper principles behind each mantra, using them as part of their Sadhana. For most of us, simply chanting the names of the gods is a spiritual practice in itself, like sacred steps leading to the divine.
Devotees progress in stages, from beginners (manda-adhikaris) to intermediate (madhyama-adhikaris) and ultimately to advanced (uttama-adhikaris). For great souls (mahapurushas), singing bhajans or listening to scriptures like the Bhagavatham is not a means of progress but a resting place, where they find peace within themselves. Amma, for instance, sings bhajans every day, finding rest in this devotion.
sapta svarangalkkum
mukti nalkidunna
suddha vaikhari rupini
O Mother, You are the pure ‘Vaikhari’ sound which gives life to the seven musical notes.
citta ragangale bhasmamakkitunna
sakti mantratinte dhamame divya sakti mantratinte dhamame
You are the abode of the ‘Shakti mantra’ which turns all the attachments of the mind to ashes.
ahatanahata nãda svarupini
sahiti tirtta pravahini
manava hydayattil agama saundarya
dharayozhukkum suraradhite
You are of the nature of the ‘ahata’ and ‘anahata’ sounds (voiced and unvoiced sounds, the Source of all mantric sounds). You are the One who makes the stream of literature flow. You are the One, worshipped even by the Gods, who makes the stream of the revealed scriptures flow in human hearts.
sarasijayata lola sulocane
tarasa namikkunnitayenmanam
My mind bows down in reverence to You, the lotus-eyed One.
manalaya santikkayiozhukatte
nin punya mdu gana raga sudhamrtam
Let Your sacred soft music flow like a stream of ambrosia, and let my mind lose itself in that stream.
The 59th and 60th mantras of the Lalitha Sahasranama are
mahā-padmāṭavīsaṃsthā-kadamba-vanavāsinī
[She who resides in the great lotus forest and dwells in the Kadamba forest.]
(Sri Lalitha Sahasranama – 59,60)
The 61th mantra of Sri Lalitha Sahasranama is,
sudhā-sāgara-madhyasthā
[She who resides in the center of the ocean of nectar]
These three mantras describe Devi’s various abodes. Surrounding the Chintamani palace, there are prakarams (walls or enclosures) constructed from twenty-four different types of metals, each adorned with precious gems like diamonds and hessonites. Within each enclosure, beautiful gardens flourish. In one garden, a forest of Kadamba trees provides shade, while a great lake hosts a lotus forest. A sea of nectar, called Sudhasagara, is also part of her expansive gardens. Devi’s abode is located within the Chintamani palace, enclosed by these prakarams.
These mantras carry deep, subtle meanings. The primal energy, Kundalini Shakti, is the life force within every being. The seven chakras, or energy centers in our body, are Muladhara, Swadhisthana, Manipura, Anahata, Vishuddhi, Ajna, and finally, the Sahasrara Chakra at the crown of the head. According to Yoga Shastra (the science of yoga), Kundalini Shakti, represented as a coiled female serpent, resides at the base of the spine. Through deep devotion and intense spiritual practices, this Kundalini energy awakens and ascends through the chakras along the Sushumna nadi (a subtle nerve in the spine).
As Kundalini rises, it breaks through the knots (granthi) of Brahma, Vishnu, and Rudra, and enters the mandalas of Surya, Soma, and Agni, eventually reaching the Sahasrara (thousand-petaled lotus) at the crown of the head, where it unites with Shiva. This union represents Shivashakti samarasyam, the inseparable connection of Shiva and Shakti, like the radiance of the full moon. At this stage, a shower of ambrosial nectar flows through the body, flooding all 72,000 nerves. This nectar transforms the ordinary human self into a Self-realized being, leading to liberation.
The ultimate goal of life is to achieve liberation, attained through the awakening of Kundalini. After this divine union, the Kundalini returns to the Muladhara and resides there. While some may have differing interpretations, this process, known as abhyasa or sadhana (intense spiritual discipline), is the true path to liberation. Only through such dedicated spiritual practice can one achieve life’s ultimate purpose.
abhyāsātiśayajñātā
[She who is known only through the exceedingly streneous practice
of spiritual discipline]
(Sri Lalitha Sahasranama – 990)
This mantra elucidates the principles of liberation.
mahā-padmāṭavī-saṃsthā
[She who resides in the great lotus forest]
(Sri Lalitha Sahasranama – 59)
In the tantric tradition, the mahā-padmam refers to the thousand-petaled lotus of the Sahasrara Chakra, where Devi resides. Between the golden and silver walls, studded with precious gems, lies a Kadamba forest, a grove of celestial trees. Devi is also said to dwell in the center of the ocean of nectar, symbolizing her divine abode amidst boundless bliss and spiritual energy.
sudhā-sindhormadhye-suraviṭapivāṭīparivṛte
maṇidvīpe-nīpopavanavati-cintāmaṇigṛhe
śivākāre-mañce-paramaśiva-paryaṅkanilayāṃ
bhajanti-tvāṃ-dhanyāḥ-katicana-cidānandalaharīm
[The blessed ones meditate on You, full of Consciousness and Bliss and seated on the couch that appears like Śiva and Paramaśiva forming the bed in Your palace Cintāmaṇi surrounded by small sized bushes and celestial tress in the island of Maṇidvīpa situated in the middle of the nectarine ocean.]
(Saundaryalahari – 8)
In the Saundarya Lahari, Sri Shankaracharya Swami beautifully describes Devi’s abode: “In the middle of the ocean of nectar, surrounded by a grove of celestial trees, on the island of Manidweepam, within a dense garden of towering trees, stands a palace made of Chintamani gems. In this palace, on a bed whose planks are Shiva and whose four legs are Brahma, Vishnu, Maheshwara, Ishana & Sadashiva, a few meritorious souls are able to visualize thee and sing hymns in thy praise.”
This vivid portrayal of Devi’s city and gardens mirrors her divine majesty. Similarly, in the hymn Shyamala Dhandakam, Mahakavi Kalidasa offers a comparable description of Devi’s celestial abode.
jaya-janani-sudhā-samudrāntar-udyanmaṇidvīpa
saṃrūḍha-bilvāṭavīmadhya
kalpadrumākalpa-kādambakāntāra
vāsapriye, kṛttivāsapriye, sarvalokapriye !
[Victory to the Divine Mother! who is the darling of Siva and the whole world and who likes to live in the forest of kalpavriksha-like kadamba trees surrounding which is a forest of bilwa trees on the island of Manidweep in the midst of the ocean of nectar.]
(Shyamala Dhandakam)
svādhīnavallabhā
[She who keeps Her husband always under Her control]
Kameshwara and Kameshwari are inseparable and indivisible, embodying the union of Shiva and Shakti in one form. Just like Dharma and Dharmi, Shiva and Shakti cannot exist apart. This is reflected in the mantra, “She who sits on the lap of Kameshwara.” The same principle is reinforced in the opening verse of “Saundarya lahari.”
śivaḥ śaktyā yukto yadi bhavati śaktaḥ prabhavituṃ
na cedevaṃ devo na khalu kuśalaḥ spanditumapi
atastvāmārādhyāṃ hariharaviriñcādibhirapi
praṇantuṃ stotuṃ vā kathamakṛtapuṇyaḥ prabhavati
Saundarya Lahari 1
[Śiva becomes inert without Śaktī. When Śiva is not united with Śaktī, He cannot manifest the universe. Because of Her functional nature, Divine Mother becomes supremely important. Even gods and goddesses find it difficult to bow before Her and sing Her praise.]
Lord Paramashiva can pulsate only in the presence of Shakti; without her, he becomes motionless. Only those with accumulated merit from past births are able to worship Devi and praise her glory, as she is adored by Shiva, Vishnu, and Brahma. This is possible only through the grace and blessings of the Divine Mother. The first verse of Saundarya Lahari reflects this meaning, portraying Devi as one who holds her husband under her influence and control. For example, Sukanya, the devoted wife of Sage Chavana, recognized and reunited with her husband through Devi’s blessings. Sachi Devi, the wife of Indra, was able to keep Indra under her influence with Devi’s grace. Rukmini prayed at Devi’s temple to attain Lord Krishna as her husband, and her wish was granted. We have heard about Devi’s inner abode, on the lap of Kameshwara, where she influences him. Now, we hear of Devi’s outer abodes, described in the three mantras starting from the fifty-fifth verse.
sumeru-madhyaśṛṅgasthā-śrīman-nagaranāyikā
cintāmaṇi-gṛhāntasthā -pañca-brahmāsanasthitā
[She who sits on the middle peak of Mount Sumeru, who is the Mistress of the most auspicious (or prosperous), who resides in a house built of the cintamani and she who sits on a seat made of five Brahmas]
(Sri Lalitha Sahasranama – 55-58)
Two abodes of Devi are described here. One is where she sits on the middle peak of Mount Meru.
sudhā-sāgara-madhyasthā
[She who resides in the center of the ocean of nectar]
(Sri Lalitha Sahasranama -61)
She also resides at the center of the ocean of ambrosia. It is said that Mount Sumeru is made of gold, with four great mountains surrounding it, three of which form a triangle. Devi’s magnificent abode, Sripura, is located on the central peak—the tallest and most majestic of all. Her divine residence is at the very heart of Mount Sumeru. Because of this, the mantra is written in both forms to reflect her abode on the central peak of Mount Sumeru and in the ocean of ambrosia.
“sumeru-madhya-śṛṅgasthā, sumeru-śṛṅga-madhyasthā”.
[She who sits on the middle peak of Mount Sumeru]
(Sri Lalitha Sahasranama – 55)
Devi is the queen of Srinagara, the most auspicious and prosperous city. Sri Pura, shaped like a wheel or chakra, is central to this divine city. The Srichakra, often depicted in sacred texts, is a beautiful and intricate design, composed of many interconnected triangles. Another name for this sacred diagram is Navavaranam, and at its center lies Sripuram, where Devi resides. Devi, the empress of Srinagara, is seated in the Bindu (dot) at the center of a triangle. This is her home, her divine abode. Her palace is located on the central peak of Mount Sumeru, built from the wish-fulfilling Chintamani gems, and she rests in the middle of the ocean of nectar.
These are various abodes of Devi. she is the empress of the most auspicious city, Srimannagara, her palace made of Chintamani. The Chintamani gems can grant every desire of the heart. Devotees pray to Devi, depending on her divine grace for the fulfillment of their wishes. Devi’s palace is set upon the majestic, golden Mount Sumeru, in the most auspicious city in the universe. Her bed or seat is formed by Brahma, Vishnu, Maheshwara, Isana, and Sadashiva – powers representing creation, sustenance, destruction, dissolution, and grace. Paramashiva forms the base of this seat and Devi sits on the lap of Kameshwara, the supreme self, as his consort. She is also the wife of Parabrahma, the ultimate self.
In the Lalitha Sahasranama, Devi’s glory is extolled in various mantras. She is described as residing on the middle peak of Mount Sumeru, reigning as the empress of the most auspicious city, dwelling in a mansion built of Chintamani, and seated on a throne made of the five Brahmas. When united with Shakti, these deities are known as Panchabrahmas, and without Shakti, they are called Panchaprethas.
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We have provided explanations for the mantras (47 & 48) up to this point.
marālī-manda-gamanā mahā-lāvaṇya-śevadhiḥ
[She, whose graceful gait resembles the slow and gentle movement of a swan, and who embodies the very essence of beauty.]
(Sri Lalitha Sahasranama stotram)
The next three mantras, beginning with the 49th, are…
sarvāruṇā-anavadyāṅgī-sarvābharaṇabhūṣitā
[She, who is completely radiant in red, whose body is deserving of worship, and
who shines brilliantly adorned with all kinds of ornaments.]
(Sri Lalitha Sahasranama stotram)
Up until this 49th mantra, we have been listening to descriptions of Devi’s glorious physical features, each reflecting a universal principle underlying her form. The mantras emphasize that Devi’s beauty is not merely a physical trait but a manifestation of a higher reality. At one point, we heard a mantra highlighting that Devi is not just a force confined to her body, she is the one who immerses the entire universe in the red effulgence of her form, representing her omnipresent nature. This red glow is symbolic of her divine presence that permeates the entire cosmos.
The 49th mantra reaffirms this aspect of Devi. She is depicted as radiant in red, and her heart is overflowing with compassion. The primary emotion, or intrinsic quality—her rasa—is Shringara (love). It is from this profound love that her compassion and affection for all her children flow. Her red aura envelops her flawless form, and every limb of her body is spotless, venerable, and glorious.
Whether we view her from head to toe or vice versa, her beauty captivates us, unmarred by any imperfection. In the Ramayana, it is said that Sri Rama’s features were so alluring that one could not take their eyes off him or shift their gaze from one part of his body to another. Similarly, if Devi looks at us, her compassionate gaze would absorb us entirely, leaving us unable to look away. Devi’s features are perfect, free of any blemish, and her radiant, red form exudes an unmatched beauty that embodies her divine love and grace.
In the Lalitha Sahasranama, there is the mantra
catuṣṣaṣṭy-upacārāḍhyā
[She who is adored in sixty-four ceremonies]
(Sri Lalitha Sahasranama – 235)
In those sacred ceremonies, there is a ritual where all of Devi’s ornaments, from her Choodamani (the jewel in her crown) to the tinkling anklets on her feet, are gently removed from her divine body. Following this, she is ceremoniously bathed and dressed with utmost reverence. Lit lamps are used to worship her, accompanied by the offerings of camphor and incense. Dance and music performances are held in her honor, as befits the queen of the royal court. What is remarkable is that none of the ornaments adorning her delicate form enhance her beauty. Rather, it is Devi’s radiant form that bestows its brilliance upon the ornaments she wears. She graciously allows herself to be adorned with these ornaments to bring joy to her devotees and to bless them with her grace as they become captivated by her beautifully adorned appearance. Her resplendent beauty shines even brighter through the many jewels and ornaments that grace her form. Now, the meanings of these mantras have been explained in detail.
In Lalitha Trishati, there is the mantra
“oṃ sarva-bhūṣaṇa-bhūṣitāyai namaḥ”
[She who shines brilliantly adorned with all kinds of ornaments]
(Sri Lalitha Trishati -140)
The fifty second mantra of Sri Lalitha Sahasranama is
śiva-kāmeśvarāṅkasthā
[She who sits in the lap of shiva, who is the conqueror of desire]
Devi sits on the lap of Kameshwara. She has also been pictorially described as ṣiva paryanga nilay Devi is depicted as seated on the left lap of Lord Shiva, and this imagery carries profound meanings and principles. In this context, Kameshwara, Lord Shiva, represents the undivided self—the principle of existence, consciousness, and bliss ( sat-chit-ānand ). Devi is referred to as “Parabrahma Mahishi,” meaning the consort of the Supreme Soul. Kameshwara is the Supreme Soul, the absolute and indivisible one.
The 47th mantra of the Lalitha Sahasranama is:
marālī-manda-gamanā
[She whose gait is as slow and gentle as that of a swan]
and
The 48th mantra of the Lalitha Sahasranama is:
mahā-lāvaṇya-śevadhiḥ
[She who is the treasure-house of beauty]
From the 39th to the 47th mantra of the Lalitha Sahasranama, we see a vivid description of Devi’s form. Devi emerged from the Chitt Agni Kunda and walked gracefully towards the Devas. The phrase ” marālī-manda-gamanā ” highlights her slow, elegant steps, captivating the Devas. Her walk is described as more graceful than a swan’s glide and more majestic than an elephant’s stride. Devi’s beauty is unmatched, with no parallel in the world. The use of “Maha” emphasizes her supreme beauty and greatness, beyond all earthly and divine comparisons. Devi is described as a treasure, with each part of her body possessing unique attributes that awaken devotion in those who worship her. These mantras beautifully portray Devi’s form from head to toe, concluding with her auspicious feet. Poet Kalidasa emphasizes that no one can resist bowing down to her feet, signifying their divine allure. He provides an extensive list of descriptive words when praising the beauty and grace of Devi’s feet, highlighting their unmatched spiritual significance.
prahva-deveśa-lakṣmīśa-bhūteśa-lokeśa-vāṇīśa-kīnāśa-daityeśa
yakṣeśa-vāyvagni-koṭīramāṇikya-saṃghṛṣṭa-bālātapoddāma
lākṣārasāruṇya-tāruṇya-lakṣmīgṛhītāṃghripadme ! supadme ume!
[Victory to the Divine Mother! before whom bow down Indra, Vishnu, Siva, the lokapalas, Brahma, Yama, the Asura King, Kubera, Vayu, Agni and whose feet, adorned with red laksharasa and caressed by Lakshmi, shine like the light of the rising sun by the rays of manikya in the crowns of the celestials bowing down.]
(Shyamala Dandakam)
Kalidasa describes the imprints of the crowns of Devesha, Lakshmisha, Bhuthesha, Thoyesha, Saraswati, Brahma, Yakshas, Indra, Gandharvas, Vayu, and Agni on Devi’s auspicious feet. These feet are adorned with “Laksha rasam” and radiate beauty and youthfulness. Even goddesses like Lakshmi cling to Devi’s lotus feet, bowing and prostrating at all times, signifying their supreme reverence. The description concludes with Devi’s lotus feet, emphasizing their spiritual significance. In Saundarya Lahari, Adi Shankaracharya extols the superiority of meditating on Devi’s lotus feet, highlighting their transformative power.
kadā kāle mātaḥ kathaya kalitālaktakarasaṃ
pibeyaṃ vidyārthī tava caraṇanirṇejanajalam
prakṛtyā mūkānāmapi ca kavitākāraṇatayā
kadā dhatte vāṇīmukha-kamala-tāmbūla-rasatām
[“O! Divine Mother! I am a spiritual seeker. When I will be able to drink water mixed with henna that is used for washing Your sacred feet, which will make even a born dumb to become a composer of verses? When I will be able to taste the flavour of the essence of betel from Sarasvatī’s mouth?”]
(Saundaryalahari-98)
This shloka narrates a remarkable incident from the Gokarna Devi Temple. A boy, born dumb, was cruelly mistreated and mocked by others. He endured great suffering and, in his despair, devoted himself entirely to Devi, standing before her in the temple and praying continuously. Moved by his devotion, Devi decided to bless him. One day, Devi stepped out of the Sanctum Sanctorum with her auspicious feet smeared with Laksha rasa. She washed her feet in a vessel filled with water and poured this sacred water into the boy’s mouth. Afterward, Devi returned to her abode.
Soon, people noticed the boy’s mouth had turned red. Since no one else was present, they assumed Devi had given him betel leaves (thamboolam) . Miraculously, the boy began to speak and later composed beautiful poems in praise of Devi, marking the fulfillment of her divine grace. He composed the Mukha Pacha Sati, consisting of 500 shlokas. Later, he became the Head Pontiff of Sri Shankara Math. Among these, around 100 shlokas are dedicated to the description of Devi’s lotus feet, known as “Padaravindha Satakam.” The first section of the Satakam is called Mandasmita Satakam, focusing on Devi’s gentle smile. Nearly 100 verses are devoted to celebrating the beauty, grace, and divine essence of Devi’s smile, reflecting its profound spiritual significance.
Thus, the water that washes Devi’s auspicious feet holds the power to make a dumb person speak. This sacred water is considered as divine as the Thamboolam of Saraswati Devi, radiating the same luminous energy. Adi Shankaracharya reflects, “When will I have the chance to drink this holy water? When will I sit before Devi as a student and attain the knowledge of the Self?” Through these words, he exalts the transformative power of the water from Devi’s feet. We have explored Devi’s head-to-toe description so far, and we will continue with more divine descriptions in the days to come.
