Tag: #Amrita

The 54th mantra of Sri Lalitha Sahasranama is,

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.

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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.

To be continued…

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This is the 44th mantra in the Lalitha Sahasranama.

nakha-dīdhiti-saṃchanna-namajjana-tamoguṇā
[She whose toenails give out such a radiance that all the darkness of ignorance is dispelled completely from those devotees who prostrate at Her feet]

This verse signifies Devi as the one who dispels the darkness of ignorance with the radiance of her toenails. Devotees bow down at her lotus feet, which shine like the moon. Through this act of surrender, ignorance dissolves, and the light of humility and wisdom blossoms within them. When the Guru witnesses this humility, her heart softens, guiding devotees toward higher knowledge and correcting their mistakes with compassion in a similar way, all Devas revere Devi, and the brilliance from their crowns falls at her auspicious feet. Pleased by their devotion, Devi grants them joy and dispels their ignorance, illuminating their paths.

namradikpāla-sīmantinī-kuntala-snigdha
nīlaprabhāpuñja-sañjāta
dūrvāṅkurāśaṃki-sāraṃga-saṃyoga
riṃkhannakhendūjjvale.
(Shyamala Dandakam)

[ Victory to the Divine Mother!, who is resplendent and pure and whose toe nails are brilliant and who is surrounded by deer which are attracted by the dark smooth locks of the consorts of the presiding deities of the eight quarters who bow down at her feet. The deer are deluded into thinking, by the texture and colour of the hair, that it is green durva grass.]

The Shyamala Dandaka glorifies the radiance and significance of Devi’s toenails. In this verse, the Digpalini Devis stand humbly before her, bowing their heads in deep reverence. Their hair, described as a blend of blue and black, resembles the shade of a special black grass. When these Devis prostrate, it appears as if a vast expanse of this black grass has been laid before Devi. Amidst this scene, her toenails shine brilliantly, like moons illuminating the darkness. Traditionally, the moon is said to contain herds of deer. With Devi’s ten toenails glowing like individual moons, it seems as though all the deer have emerged from these moons, drawn by the sight of the black grass-like hair spread in front of Devi. This poetic imagery reflects the grandeur of Devi’s presence and the humility of those who bow before her, with even celestial beings surrendering to her divine brilliance.

Thus, the great poet Kalidasa, with his poetic brilliance, vividly illustrates the radiance of Devi’s toenails in this verse. His masterful imagery captures the divine splendor and humility evoked by her presence.

The 45th mantra is:
padadvaya-prabhājāla-parākṛta-saroruhā
[ She whose feet defeat lotus flowers in radiance ]

The 45th mantra celebrates Devi’s feet as surpassing the radiance of lotus flowers. This idea has already been elaborated – Devi’s feet outshine lotus flowers in every way. While lotuses do not grow in the cold heights of the Himalayas, their significance lies in the presence of Goddess Lakshmi, who grants prosperity. However, Devi, even without Lakshmi’s presence, bestows wealth, health (dhanyam), and well-being upon her devotees. Unlike lotus flowers, which close at night, Devi’s lotus-like feet remain radiant even in the darkest hours, guiding and nurturing her devotees.

In this metaphor, our minds are likened to bees, drawn to the divine fragrance of the honey at Devi’s lotus feet. To realize the purpose of human life, we must immerse ourselves in her grace, constantly seeking the nectar of wisdom at her feet.

The 46th mantra of Lalitha Sahasranama is:
śiñjāna-maṇimañjira-maṇḍita-śrīpadāmbujā
[She whose auspicious lotus feet are adorned with gem-studded golden anklets that tinkle sweetly.]

Shinjana refers to that which produces melodious sounds, while Mani means bell, and Manjira signifies anklets. Thus, this mantra celebrates Devi as “She whose auspicious lotus feet are adorned with radiant anklets that produce a harmonious, bell-like sound.”

When we describe Devi as sarvābharaṇabhūṣitā [She who is resplendent with all types of ornaments], it emphasizes that Devi adorns her entire being with divine ornaments, including anklets that produce melodious, bell-like sounds. As Devi walks, these anklets create sweet, enchanting music. It is believed that devotees deeply connected to her can hear these mystical sounds.

A well-known story recounts Adi Shankaracharya’s experience with Devi during his journey from Kashi to the south. Devi promised to walk behind him, with the condition that he must not turn to see her. Along the way, the rhythmic sound of her anklets accompanied him. However, at one point, Shankaracharya felt the sound had ceased.

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We continue with the description of Devi’s beauty from head to toe, as described in Lalita Sahasranama.

katyadhobhaga dharini
In this section, Devi’s knees, calves, ankles, feet, and toes are praised in order.

The forty-first mantra is:

indra gopa parikṣipta smara tunabha jaṅghikayai namah
whose calves gleam like the jewel-covered quiver of the God of Love.

This mantra describes the exquisite beauty of Devi’s calves, saying they gleam like the jewel-covered quiver of the god of love. Her legs are said to have the color of the Indeevara (blue water lily), with her calves glowing like jewels or fireflies against the backdrop of blue lilies.

In Saundarya Lahari, verse 83, Devi’s calves are described:

parājētuṃ rudraṃ dviguṇaśaragarbhau girisutē
niṣaṅgau jaṅghē tē viṣamaviśikhō bāḍhamakṛta ।
yadagrē dṛśyantē daśaśaraphalāḥ pādayugalī-
nakhāgrachChadmānaḥ suramakuṭaśāṇaikaniśitāḥ ॥
Saundarya Lahari 83

This verse narrates that Manmatha, the god of love, used Devi’s calves as his quiver when approaching Parameshwara to evoke desire. Having been revived by Devi’s grace after being burnt by Shiva’s third eye, Manmatha intended to use Devi’s beauty to arouse longing in Shiva, symbolizing that Devi’s calves possess an irresistible, unmatched beauty.

The great poet Kalidasa describes Devi’s calves similarly:

kōmalasnigdha nīlōtpalōtpādita
anaṅgatūṇīra-śaṅkākarōdāra
jaṅghālatē chārulīlāgatē
Shyamala Dandakam
whose smooth and graceful calves resemble Kama’s quiver made of blue lilies and whose gait is playful.

The forty-second mantra is:

gudha gulpha
whose ankles are hidden.

Gudha implies strength, beauty, and fullness, while gulpha refers to the area around the calf muscles. This phrase highlights the loveliness of Devi’s calf muscles and ankles.

The forty-third mantra is:

kurma prṣṭha jayiṣṇu prapadānvitā
whose feet have arches that rival the back of a tortoise in smoothness and beauty.

The metaphor here compares the high arches of Devi’s feet to the smooth, curving back of a tortoise. Kurma Prishtam means the tortoise shell, and Jayishnu implies that which surpasses all comparison. Sri Shankaracharya in Saundarya Lahari, verse 88, explains that while Devi’s high arches can be likened to a tortoise shell, the beauty of her feet goes far beyond.

padaṃ tē kīrtīnāṃ prapadamapadaṃ dēvi vipadāṃ
kathaṃ nītaṃ sadbhiḥ kaṭhinakamaṭhīkarparatulām ।
kathaṃ vā bāhubhyāmupayamanakālē purabhidā
yadādāya nyastaṃ dṛṣadi dayamānēna manasā ॥
Saundarya Lahari 88

Your feet, Devi, are known for bestowing fame and averting misfortunes. I wonder how poets compared your feet to a tortoise shell. When Siva married you, he lifted your feet tenderly and placed them on a stone, considering the effect they would have on even the hardest of hearts.

Devi’s lotus feet are said to confer fame and prosperity on those who worship them. Worshipping her divine lotus feet purifies the mind, an essential step for attaining the grace of the Divine Mother. In certain wedding ceremonies across India, there is a tradition of placing the bride’s foot on a flat grinding stone, symbolizing stability. It is said that during her wedding, Lord Kameshwara gently placed Devi’s foot on a stone, reflecting that her feet alone have the power to soften even the hardest of hearts. This act signifies that Devi’s feet are a remedy for those with hardened hearts, transforming them through the grace of her divine presence.

To be continued…
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