Tag: #Amritapuri

In Sri Lalita Sahasranama, mantras 30-38 offer a detailed and poetic depiction of Devi’s navel and surrounding area. The 39th mantra reads:

kāmeśa jñāta saubhāgya mārdavoru dvayānvitā
(the beauty and softness of whose thighs are known only to Kamesha, her husband.)

This mantra emphasizes Devi’s unwavering love and devotion to Lord Kamesha (Shiva). In Shyamala Dandakam, the poet Kalidasa compares Devi’s thighs to the trunk of Airavata, the divine elephant of Lord Indra:

vikasita-navakiṃśukātāmra-divyāṃśukachchanna-
chārūruśōbhāparābhūta-sindūra-śōṇāyamānēndramātaṅga-
hastārgalē-vaibhavānargalē-śyāmalē”
(who has lovely thighs concealed by cloth as red as palas flowers, surpassing the beauty of Airavata’s trunk adorned with saffron; who has uninterrupted grace; who is a dark beauty.)

Airavata is pure white, while Devi’s thighs are likened to the saffron-smeared trunk of this elephant. Samudrika Lakshana, the science of beauty, holds that ideal feminine legs resemble either an elephant’s trunk or a banana tree stem. Sri Shankaracharya in Saundarya Lahari also compares Devi’s thighs to these forms in verse 82:

karīndrāṇāṃ śuṇḍān kanakakadalīkāṇḍapaṭalī-
mubhābhyāmūrubhyāmubhayamapi nirjitya bhavatī ।
suvṛttābhyāṃ patyuḥ praṇatikaṭhinābhyāṃ girisutē
vidhijñyē jānubhyāṃ vibudhakarikumbhadvayamasi ॥
(O Daughter of the Mountain! The beauty of Thy thighs surpass the trunk of lordly elephants as also the stem of golden coloured banana trees, while, O Observer of all ordained duties, Thy knees, hardened and perfectly rounded by repeated prostrations to Thy Consort; rival the frontal lobes of the heavenly elephant Airavata.)

Devi is also noted for her humility. Like Sri Rama in the Ramayana, Devi greets everyone first, earning the titles purvabhibhashi (one who initiates conversation) and purvanamaskari (one who bows first). Indra and other gods often prostrate before her, and she reciprocates by bowing in return. When Lord Shiva visits, Devi greets him with deep respect. Her knees have grown firm through this continuous gesture of humility (suvṛttābhyāṃ patyuḥ praṇatikaṭhinābhyāṃ), embodying how she models respect and reverence.

The 40th mantra continues:

māṇikya mukuṭākāra jānu dvaya virājitā
(whose knees resemble crowns fashioned from the precious red manikya gem.)

While her legs are soft, her knees are described as firm, symbolizing her regular practice of bowing before others. This notion is further illustrated by a story in Saundarya Lahari, verse 29:

kirīṭaṃ vairiñchaṃ parihara puraḥ kaiṭabhabhidaḥ
kaṭhōrē kōṭīrē skhalasi jahi jambhārimukuṭam ।
praṇamrēṣvētēṣu prasabhamupayātasya bhavanaṃ
bhavasyābhyutthānē tava parijanōktirvijayatē ॥
(As Brahma, Vishnu, Indra, and other deities prostrate before you, Shiva arrives unexpectedly, and you rush to greet him, careful not to trip on the sharp crowns of the gods who have bowed before you.)

In Devi’s court, Brahma, Vishnu, Indra, and other gods gather and bow before her, each wearing crowns studded with gems, their reflections glistening on Devi’s feet. When Lord Shiva enters, Devi, though queen, rises respectfully to greet him. Her attendants, the Yoginis, caution her about the sharp edges of the crowns in her path, ensuring she doesn’t stumble.

This mantra underlines Devi’s humility and her eagerness to honor all, especially Lord Shiva. Her knees, compared to manikya (ruby) crowns, have grown firm through the habitual bowing.

To be continued…
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We are about to listen to the 34th, 35th, and 36th mantras of Sri Lalita Sahasranama:

nābhyālavāla romāli latā phala kuca dvayyi
(whose breasts are the fruits on the creeper of the fine hairline that begins at her navel and spreads upwards.)

lakṣya roma latā dhāratā sumunneya madhyamā
(who has a waist, the existence of which can only be inferred from the creeper of her hairline that springs from it.)

stana bhāra dalan madhya paṭṭa bandha vali trayā
(whose abdomen has three folds forming a belt to support her waist from the weight of her breasts.)

Much like a child freely playing with its mother, describing her with innocent admiration, Devi’s navel is venerated here. The great poet Kalidasa captures this beauty in Shyamala Dandakam with the lines:

“tārakārājinīkāśa hārāvalismēra chārustanābhōga
bhārānamanmadhya vallīvalichchēda vīchīsamudyatsamullāsa
sandarśitākāra saundaryaratnākarē vallakībhṛtkarē kiṅkaraśrīkarē”
(She, an ocean of beauty, adorned with wave-like lines formed by the slight bend caused by her heavy, beautiful breasts, gleaming with jewels resembling stars; she who plays the sacred veena, and who grants wealth to her devotees.)

Kalidasa compares Devi’s form to a seashore at dusk: the sun has set, stars sparkle above, and below, the ocean waves create rhythmic lines. Her ornaments glimmer like stars in the sky, while the three delicate lines near her navel resemble waves on the ocean. In Samudrika Lakshanam (the science of beauty), three lines on the navel area are considered a mark of the ideal feminine form, likened here to ocean waves. Devi’s skin, with a hint of red, resembles the dusk sky, with her ornaments shining as stars and the navel lines as waves. In Sri Lalita Sahasranama mantra 369, Devi is also described as tanu madhyā (who has a slender waist). Here, Devi’s navel is described with the same tender innocence as a child describing their mother.

Next, we turn to the 37th and 38th mantras:

aruṇāruṇa kausumbha vastra bhāsvat kaṭī taṭi
(whose hips are adorned with a garment as red as the rising sun, dyed with the extract of safflower blossoms.)

ratna kiṅkiṇikā ramya raśanā dāma bhūṣitā
(who is adorned with a girdle decorated with gem-studded bells.)

In many languages, words are doubled for emphasis. Here, “aruna” (red) is repeated to convey the deep red color of Devi’s silk saree. The term aruna also appears frequently in dhyana shlokas, such as:

“aruṇām karuṇā taraṅgitākṣīm…
sindūrāruṇa vigrahām…
aruṇa mālya bhūṣojvalām…”

There is also a form of Devi known as Arunā, whose very essence is red, representing benevolence and embodying love and beauty. Ratnakiṅkiṇi is a special girdle adorned with gem-studded bells. Even today in North India, garments with such bells are common, producing a gentle jingle as women walk. In many instances, Devi is described wearing both yellow and red sarees.

Kalidasa further elaborates in Shyamala Dandakam:
“chāruśiñchat-kaṭīsūtra-nirbhatsitānaṅga-
līladhanu-śśiñchin-īḍambarē divyaratnāmbarē,”
(She, whose gentle shake of the golden belt surpasses the allure of Kamadeva’s bow in arousing love; she who is adorned in silk studded with gems.)

The jingling from Devi’s ratnakiṅkiṇi as she moves is likened to the sounds from Kamadeva’s bow, the god of love. Kalidasa imagines whether these are the victorious sounds of Kamadeva, Devi’s ardent devotee, who was revived from ashes by her grace after facing Shiva’s wrath.

To Be Continued…

#Lalita #LalithaSahasranamam

The next mantra in Sri Lalitha Sahasranama is
(Sri Lalitha Sahasranama: Mantra 33)
“kāmeśvara-prema-ratna-maṇi-pratipaṇastanī”
[She who gives Her breasts to Kameshvara in return for the gem of love He bestows on Her]

This is the thirty-third name, where Devi’s breasts are described as the object of Kameshwara’s worship. When something is received, something is given in return as an act of appreciation. Devi’s breasts are the seat of Kameshwara’s love, symbolizing her pride in motherhood. As the mother of all, Devi’s chest reveals this truth.

(Saundaryalaharī: Mantra 72)
samaṃ devi skandadvipavadanapītaṃ stanayugaṃ
tavedaṃ naḥ khedaṃ haratu satataṃ prasnutamukham
yadālokyāśaṅkākulitahṛdayo hāsajanakaḥ
svakumbhau herambaḥ parimṛśati hastena jhaḍiti
[Our Goddess Devi, Let your two cool breasts, Which have faces that always, Give out milk, And are simultaneously drunk deeply. By Skanda and the elepahant faced Ganesha, Destroy all our sorrows. Seeing them and getting confused, The Ganapathi feels for his two frontal globes, To see whether they are there, Making you both laugh.]

There is a shloka in Saundarya Lahari that narrates a story, highlighting the significance of Devi’s breasts. On Mount Kailash, Lord Shiva resides with his family—Parvati, Subramanya, and Maha Ganapati. Both Ganapati and Subramanya drank milk from Parvati with pure innocence, completely devoid of any feelings of lust, and this is how they remain to this day.

A playful story is told about Ganapati’s marriage. Being a young child, Ganapati overheard someone discussing marriage and curiously approached his parents, asking, “When will I get married?” His parents, amused, replied, “Tomorrow.” The next day, Ganapati asked again, “When will my marriage be?” This innocent questioning, typical of childhood emotions, made his parents laugh. Once more, they said, “Tomorrow.” According to the story, this playful exchange between Ganapati and his parents has continued for years, even to this day. This charming tale is recounted in Saundarya Lahari.

(Saundaryalaharī: Mantra 73)
pibantau-tau-yasmād-avidita-vadhūsaṅgarasikau
kumārā-vadyāpi-dvirada-vadana-krauñcadalanau
[For The elephant faced one, And he who killed Crownchasura, Even today do not know the pleasure of women, And remain as young children.]

Both Ganapati and Subramanya are great warriors. Ganapati has slain mighty demons like Gajamukhasura, and when the Vigna Yantra emerged during the age of Bhandasura, Mahaganapati effortlessly destroyed it. Similarly, Lord Subramanya was the one who crushed mountains like Krouncha. Despite their immense strength, neither harbored any feelings of lust. This purity is attributed to the milk they drank from Devi, and it is believed that both consumed equal amounts.

(Saundaryalaharī: Mantra 72)
samaṃ-devi-skandadvipavadanapītaṃ-stanayugaṃ
tavedaṃ-naḥ-khedaṃ-haratu-satataṃ-prasnutamukham
[Our Goddess Devi, Let your two cool breasts, Which have faces that always, Give out milk, And are simultaneously drunk deeply.]

There is always milk for both Ganapati and Subramanya, a result of Devi’s boundless maternal instincts. May this divine milk wash away our sorrows and cleanse us of evil thoughts like lust and anger. Devi’s milk purifies the soul. Her chest, beyond description, represents the pure essence of motherhood and purifies the mind. Similar stories exist, such as that of Jnana Sambandhar. As a young child, he cried for his mother, and Devi herself appeared to feed him milk. After drinking Devi’s milk, he became one of the most renowned poets. Thus, Devi’s chest is the pure embodiment of divine motherhood.

The description is continued in the comments section…

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(Sri Lalitha Sahasranama: Mantra 31)
“Kanakāṅgada-keyūra-kamanīya-bhujānvitā”
[She whose arms are beautifully adorned with golden armlets]

is the thirty-first mantra in the Sri Lalitha Sahasranama, describing Devi’s arms. It means that Devi has slender, beautiful hands adorned with ornaments such as the angadam and keyuram, both studded with precious gems. Devi is depicted wearing many ornaments. In ancient times, men also wore jewelry, and women were equally interested in them. The angadam is a piece of jewelry traditionally worn by men, while items like angadam and kavacham were used as protection from weapons during war. Keyuram and other ornaments were worn for beautification. Devi wears both types of ornaments, with the angadam and keyuram adorned with precious gems. However, it is not the ornaments that give Devi her beauty; rather, Devi imparts beauty and radiance to the ornaments.

(Sri Lalitha Sahasranama: Mantra 32)
“ratnagraiveya-cintāka-lola-muktā-phalānvitā”
[She whose neck is resplendent with a gem-studded necklace with a locket made of pearl]

is the next mantra, describing the ornaments Devi wears. Graiveyam, Chintakam, and Muktaphalam are different types of jewelry. Graiveyam is a necklace worn around the neck, Chintakam is a pendant, and Muktaphalam refers to a pearl chain. These ornaments adorn Devi’s neck and chest, enhancing their radiance. Saundarya Lahari narrates this beautifully in a story.

The story speaks of the demon Gajamukhasur, who was defeated by Mahaganapati. It is believed that pearls are formed in various places, such as bamboo, shells, and even within the foreheads of elephants and snake hoods. When Mahaganapati broke Gajamukhasur’s forehead, many precious pearls emerged. Ganapati crafted a beautiful garland from these pearls and joyfully gifted it to his mother, Parvati Devi. She wore the necklace because it was a gift from her son. This is why a large pearl necklace adorns Devi’s chest.

Parameshwara, who is fair in complexion, became enraged when he went to kill Tripurasur, causing his eyes and body to turn red with fury. Similarly, Devi’s pearl necklace turns red with the Kumkum smeared from her body, symbolizing the transformation of the fair Parameshwara into a figure of rage. The pearl glows with the brilliance of Parameshwara, and Mahaganesh presented it to Devi with great love.

The previous mantra described Devi’s slender and graceful arms, and here her four arms are further glorified. Once, Brahma traveled for millions of years to see Parameshwara but could not reach his head. A Fragrant screw pine (Thazhampoo) had been falling from Parameshwara’s head for many years, and it is said they finally met. When Brahma truthfully admitted seeing Parameshwara, Parameshwara, in anger, plucked one of Brahma’s five heads. Fearful of losing his remaining heads, Brahma sought refuge in Parameshwari, who graciously provided him shelter with her four arms. In Saundarya Lahari, Shankaracharya Swami praises these four arms of Devi, comparing them to delicate vines or lotus stems.

So far, we have discussed the mantras that describe Devi’s Kesadhi Padam and her magnificent form, which transcends names and forms. In the coming days, we will delve into the Bhandasura Vadham.

To be continued….

#Lalita #LalithaSahasranamam

Kalidasa describes the beauty of her face thus.
divyahālāmadodvela-helālasaccakṣur-
āndol̤anaśrī-samākṣipta-karṇaika-nīlotpale
Victory to the Divine Mother, the beauty of whose eyes, undulating because of the inebriation caused by imbibing somarasa, surpasses the beauty of the blue lily worn on her ears, who is of dark blue complexion.
Shyamala Dandakam

Devi’s ears are described as resembling Neelolpala flowers, and her long, captivating eyes extend gracefully up to her ears. These eyes glow with a sense of intoxication—not from earthly substances, but from the divine nectar of bliss that constantly overflows within her. In the Lalitha Sahasranama, Devi is praised as “mādhvī pānālasā,” meaning she who appears languid, as if intoxicated from drinking mādhvī. However, this is no ordinary intoxication. Devi does not consume alcohol; instead, she is immersed in the ambrosial nectar of spiritual bliss, which makes her “sudhā sārābhi varṣiṇi,” forever radiant, drinking deeply from the nectar of eternal joy.

Her eyes, filled with this bliss, glow as she drinks the ambrosial nectar. Resembling long-petalled Neelolpala flowers, her eyes nearly touch her ears, and their beauty and glow are unparalleled. Devotees, standing at the heights of devotion, describe Devi’s exquisite beauty in this manner, celebrating her divine intoxication and grace. This is the deeper meaning of the mantra “calan mīnābha locanā,” which signifies that her eyes possess the luster of fish moving within the stream of beauty flowing from her radiant face. These descriptions of Devi’s beauty come from a place of pure devotion, where words strive to capture her transcendental essence.

The 30th mantra of Lalitha Sahsaranama is
“kāmeśa baddha māṅgalya sūtra śobhita kandharā” –
[whose neck is adorned with the marriage thread tied by Kamesha.]

Lord Parameshwara also assumed the name Kameshwara. He opened his third eye and reduced Manmatha, the god of love, to ashes. Rathi Devi, in her sorrow, prayed to Devi, who blessed her by reviving Manmatha. This story is captured in the mantra “hara netrāgni sandagdha kāma sañjīvanauṣadhi,” meaning “She who became the life-giving medicine for Kamadeva, who was burnt to ashes by Shiva’s third eye.” As a result, Rathi and Manmatha were reunited, but Manmatha remained invisible to all except Rathi. Together, they worshipped Lord Shiva, becoming his ideal devotees. Manmatha later developed traditions of worship, including “Kadi Vidya,” which became very famous. Thus, Kama (desire) became known as the ideal devotee of Shiva, and the master of Kama is Kameshwara.

Lord Paramashiva, having taken the form of Kameshwara, married Devi and adorned her with a symbolic ornament upon her marriage. This marriage thread is said to consist of three strands, representing her eternal bond. In her home of Chintamani, celebrations are ongoing, and her marriage thread is always visible around her neck. According to the science of Samudrika Lakshna (the knowledge of physical features), noble women should have three lines on their forehead, neck, and stomach. In Devi’s case, the three lines can always be seen on her neck.

galē rēkhāstisrō gati-gamaka-gītaika-nipuṇē
vivāhavyānaddha-praguṇaguṇasaṅkhyā-pratibhuvaḥ ।
Saundarya Lahari 69

Your neck (containing vocal cord), which has the expertise of singing melodious tunes, has three lines. They remind us about the auspicious thread (māṅgalyasūtra) tied in your neck by Śiva, which is made of three intertwined (yellow) threads. The three lines also appear like boundaries delimiting musical notes.

Devi’s marriage thread, consisting of three strands, is visible on her neck. In Saundarya Lahari, Sri Shankaracharya Swami praises these three lines, which can be seen alongside the other ornaments that adorn her neck.
In the science of Carnatic music, there are three essential elements: gathi, gamakam, and geetham. Gathi refers to the tempo or speed of a song, gamakam is the graceful turn, curve, or ornamentation that emphasizes the individuality of the song, and geetham is its melody. Indian Classical music is structured on these three foundational components. Similarly, there are numerous raagas, which all derive from three primary positions—Shadjam, Madhyamam, and Gandharam. Music itself is born from these three.

The description is continued in the comments section…

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The twenty ninth mantra is
Om anākalita sādṛśya cibuka śrī virājitāyai namaḥ
[whose chin cannot be compared to anything (because of its unparalleled beauty).]

This mantra describes the unparalleled beauty of Devi’s chin, emphasizing that it is beyond comparison. No earthly object or analogy can do justice to its beauty. The mantra speaks of “She whose chin cannot be compared to anything,” highlighting its uniqueness and the fact that its beauty transcends any possible comparison.
Sri Sankaracharya Swami expresses the same sentiment in Saundarya Lahari, where he too acknowledges that Devi’s chin, like the rest of her divine form, is beyond the limits of human expression or comparison. Its beauty stands alone, radiant and incomparable.

karāgrēṇa spṛṣṭaṃ tuhinagiriṇā vatsalatayā
girīśēnōdastaṃ muhuradharapānākulatayā ।
karagrāhyaṃ śambhōrmukhamukuravṛntaṃ girisutē
kathaṅkāraṃ brūmastava chibukamaupamyarahitam ॥
Saundarya Lahari 67

“How can I describe thy chin?” Such is the awe expressed when contemplating the beauty of Devi’s chin, which is said to be incomparable. “O! Mother, the beauty of thy chin cannot be compared to anything else.” The lotus-like face of Devi is likened to a mirror, and her chin is compared to the handle of that mirror, elegant and indispensable. Only two beings have ever touched Devi’s chin, underscoring its sacredness. In moments of affection, we might gently caress the chin of a small child, much like the tender love that flows toward Devi. A fascinating example of this is found in the temple at Thirumeyachur in Tamil Nadu, where a unique idol of Shiva and Shakti stands. Located in the second enclosure outside the sanctum-sanctorum, this idol offers a special visual experience. When viewed from the front, you see Devi’s serene, smiling face. But when viewed from the side, Devi’s expression changes to one of anger, as she looks furiously toward the sun. In this moment, Parameshwara is depicted soothing her by caressing her chin, calming her anger.

Sri Shankaracharya Swami highlights that only two beings—the divine Parameshwara and, perhaps, the childlike innocence of all creation—have the freedom to touch Devi’s chin, emphasizing the sacred intimacy and reverence for her unparalleled beauty.
Himavan, the king of mountains, performed intense penance for countless years, desiring the boon of having Devi born as his daughter. As a result, Devi took birth as the daughter of Himavan. As a father, Himavan gently touched her chin with the tenderness and affection that only a parent can offer. Lord Parameshwara, too, has the freedom to caress her chin with love and respect. There is nothing in the universe that can compare to the beauty of her chin. The phrase “anākalita sādṛśya cibuka śrī virājitā” beautifully encapsulates this, signifying that the unparalleled beauty of her chin is truly beyond comparison.

Up to this point, the mantras have described the radiant beauty of Devi’s lotus-like face. We will now see how these mantras are divided into three parts: Vagbhava Kutam, Madhya Kutam, and Shakti Kutam. The initial portion is known as śrīmad vāgbhava kūṭaika svarūpa mukha paṅkajā
[whose lotus face is the auspicious vagbhavakuta (the first five syllables of the panchadasakshari mantra).],” where the loveliness of Devi’s face, compared to a lotus, is portrayed. The description of her face concludes with the twenty-ninth mantra.

Some may question whether it is appropriate to give such a detailed description of Devi’s physical attributes, as found in Sri Lalitha Sahasranama and Saundarya Lahari. However, consider the relationship between a child and a mother. A small child, feeling complete freedom and love toward its mother, climbs onto her lap, touches her, talks freely, and expresses itself without reserve. Even in nature, a crow sees its own offspring as the most precious, loving it as though it were crafted from gold. In the eyes of a mother, no child is more beautiful than her own. We have all seen children who, despite seeming unattractive or unkempt to us, are lovingly cherished by their mothers.

In the relationship between a devotee and the divine mother, there is a similar sense of boundless love, where physical beauty becomes irrelevant. The devotee, overwhelmed by devotion, forgets the physical body, transcending worldly concerns. In such moments, the descriptions of Devi are expressions of the highest devotion and admiration.

The description is continued in the comments section…

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