Kali tantra bengali pdf

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Belur Mather Kali Puja Paddhati by Belur Math PDF.

Book Name – Kali Puja Paddhati (Kali Puja Methodology) Belur Math, Festival – Kali Puja Festival (Indian National), Category – Religious Book, Book Pages – 83, Book Format – PDF, PDF file Size – 7 MB, Major deity and fierce form of the Hindu Goddess This article is about the fierce form or avatar of goddess Durga. For demonic entity in Hinduism,
see Kali (asura). For India's first [undergoing] potential particle accelerator named after, see KALI (electron accelerator).
For other uses, see Kali (disambiguation). KaliMother Goddess; Goddess of War, Anger, Time, Change, Creation, Destruction and PowerMember of the Ten MahavidyasAngered goddess Kali standing on god Shiva, who came beneath her to purge her angerAffiliationAdi Shakti, Durga, Parvati, Mahakali, Bhadrakali, Mahavidyas, Devi,
ShaktiAbodeCremation grounds (but varies by interpretation), ManidvipaMantra Om Jayanti Mangala Kali Bhadrakali Kapalini. Durga Kshma Shiva Dhatri Swaha Swadha Namostute Om Kring Kalikaye Namo Namaha WeaponScimitar, Trishula (Trident)TextsDevi-Bhagavata Purana, Devi Mahatmya, Kalika Purana, Shakta Upanishads,
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Christianity / and Islam Criticism Glossary Outline Hinduism portalvte Part of a series onShaktism History Deities Mahadevi (Supreme) Shiva-Shakti Parvati Durga Mahavidya Kali Lalita Matrikas Lakshmi Saraswati More Scriptures and texts Vedas Tantras Yogini Shakta Upanishads Devi Sita Tripura Devi Bhagavatam Devi Mahatmyam Lalita
Sahasranama Tripura Rahasya Kalika Purana other texts Saundarya Lahari Annada Mangal Ramprasadi Abhirami Anthadhi Schools Vidya margam Vamachara Dakshinachara Kula margam Srikulam Kalikulam Trika (Kashmir Shaivism) Kubjikamata Scholars Bharatchandra Ray Bhaskararaya Krishnananda Agamavagisha Ramprasad Sen Ramakrishna
Abhirami Bhattar Practices Yoga Yoni Kundalini Panchamakara Tantra Yantra Kalaripayattu Festivals and temples Navaratri Durga Puja Lakshmi Puja Kali Puja Saraswati Puja Teej Shakti Peetha Hinduism portalvte Part of a series onShaivism DeitiesParamashiva(Supreme being) Shiva Sadasiva Bhairava Rudra Virabhadra Shakti Parvati Sati Durga
Kali (All are one) Ganesha Murugan Sastha Shiva forms Others Scriptures and texts Vedas Agama-Tantras Shivasutras Tirumurai Vachanas Svetasvatara Philosophy Three Components Pati Pashu Pasam Three bondages Anava Karma Maya other aspects 36 Tattvas Yoga Satkaryavada Abhasavada Svatantrya Aham Practices Vibhuti Rudraksha
Panchakshara Bilva Maha Shivaratri Yamas-Niyamas Guru-Linga-Jangam Schools Ati marga Pashupata Kalamukha Kapalika Mantra marga Saiddhantika Siddhantism Non - Saiddhantika Kashmir Shaivism Pratyabhijna Vama Dakshina Kaula: Trika-Yamala-Kubjika-Netra Others Nath Inchegeri Veerashaiva/Lingayatism Siddharism Sroutaism Aghori
Indonesian Scholars Lakulisha Abhinavagupta Vasugupta Utpaladeva Nayanars Manikkavacakar Meykandar Nirartha Basava Sharana Srikantha Appayya Navnath Related Nandi Tantrism Bhakti Jyotirlinga Shiva Temples Hinduism portalvte Kali (/ˈkɑːliː/; Sanskrit: , IAST: Kālī), also referred to as Mahakali, Bhadrakali, and Kalika (Sanskrit:
), is a Hindu goddess who is considered to be the goddess of ultimate power, time, destruction and change in Shaktism.[1] In this tradition, she is considered as a ferocious form of goddess Adi Shakti, the supreme of all powers, or the ultimate reality. She is the first of the ten Mahavidyas in the Hindu tantric tradition.[2] Kali's earliest
appearance is when she emerged from Durga.

She is regarded as the ultimate manifestation of Shakti, the primordial cosmic energy, and the mother of all living beings.

The goddess is stated to destroy evil in order to defend the innocent.

Over time, Kali has been worshipped by devotional movements and Tàntric sects variously as the Divine Mother, Mother of the Universe, Principal energy Adi Shakti.[3][4][5] Shakta Hindu and Tantric sects additionally worship her as the ultimate reality or Brahman.[5] She is also seen as the divine protector and the one who bestows moksha, or
liberation.[3] Animal sacrifice is offered at many Kali temples particularly in East India. Etymology Kālī is the feminine form of Kāla (an epithet of Shiva) and thus the consort of Shiva.[6] The homonym kāla (appointed time) is distinct from kāla (black), but these became associated through popular etymology. lasop.pdf She is called Kali Mata ("the
dark mother") and also kālī which can be read here either as a proper name or as a description "the dark or black one".[7] Origins 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).[8] According to David Kinsley, Kāli is first mentioned in Hindu tradition as a distinct
goddess around 600 AD, and these texts "usually place her on the periphery of Hindu society or on the battlefield."[9]: 70 She is often regarded as the Shakti of Shiva, and is closely associated with him in various Puranas. Legends Her most well-known appearance is on the battlefield in the sixth century Devi Mahatmyam. The deity of the first chapter
of Devi Mahatmyam is Mahakali, who appears from the body of sleeping Vishnu as goddess Yoga Nidra to wake him up in order to protect Brahma and the World from two asuras,[clarification needed] Madhu-Kaitabha. When Vishnu woke up he started a war against the two asuras. After a long battle with Lord Vishnu when the two demons were
undefeated Mahakali took the form of Mahamaya to enchant the two asuras. When Madhu and Kaitabha were enchanted by Mahakali, Vishnu killed them.[9]: 70 In later chapters, the story of two asuras who were destroyed by Kali can be found. Chanda and Munda attack the goddess Durga.
Durga responds with such anger it causes her face to turn dark, resulting in Kali appearing out of her forehead. Kali's appearance is dark blue, gaunt with sunken eyes, and wearing a tiger skin sari and a garland of human heads. She immediately defeats the two asuras. Later in the same battle, the asura Raktabija is undefeated because of his ability
to reproduce himself from every drop of his blood that reaches the ground.
Countless Raktabija clones appear on the battlefield. Kali eventually defeats him by sucking his blood before it can reach the ground, and eating the numerous clones. Kinsley writes that Kali represents "Durga's personified wrath, her embodied fury".[9]: 70 Other origin stories involve Parvati and Shiva. Parvati is typically portrayed as a benign and
friendly goddess. The Linga Purana describes Shiva asking Parvati to defeat the asura Daruka, who received a boon that would only allow a female to kill him. Parvati merges with Shiva's body, reappearing as Kali to defeat Daruka and his armies. Her bloodlust gets out of control, only calming when Shiva intervenes. The Vamana Purana has a
different version of Kali's relationship with Parvati. When Shiva addresses Parvati as Kali, "the dark blue one", she is greatly offended. Parvati performs austerities to lose her dark complexion and becomes Gauri, the golden one. Her dark sheath becomes Kausiki, who while enraged, creates Kali.[9]: 70 Kāli appears in the verse of the Mahabharata
(10.8.64). She is called Kālarātri (literally, "dark blue night") and appears to the Pandava soldiers in dreams, until finally, she appears amidst the fighting during an attack by Drona's son Ashwatthama. Slayer of Raktabīja A painting made in Nepal depicting the Goddess Ambika Leading the Eight Matrikas in Battle Against the Demon Raktabīja, Folio
from a Devi Mahatmya – (top row, from the left) the Matrikas – Narasimhi, Vaishnavi, Kumari, Maheshvari, Brahmi. (bottom row, from left) Varahi, Aindri, Chamunda or Kali (drinking the demon's blood), Ambika. On the right, demons arising from Raktabīja's blood. In Kāli's most famous legend, Durga and her assistants, the Matrikas, wound the
demon Raktabīja, in various ways and with a variety of weapons in an attempt to destroy him.
They soon find that they have worsened the situation for with every drop of blood that is dripped from Raktabīja, he reproduces a duplicate of himself. tor_browser_bundle_download_android.pdf The battlefield becomes increasingly filled with his duplicates. [9]: 118–119 Durga summons Kāli to combat the demons. The Devi Mahatmyam describes: Out
of the surface of her (Durga's) forehead, fierce with frown, issued suddenly Kali of terrible countenance, armed with a sword and noose. Bearing the strange khatvanga (skull-topped staff), decorated with a garland of skulls, clad in a tiger's skin, very appalling owing to her emaciated flesh, with gaping mouth, fearful with her tongue lolling out, having
deep reddish eyes, filling the regions of the sky with her roars, falling upon impetuously and slaughtering the great asuras in that army, she devoured those hordes of the foes of the devas and caught the blood of Raktabīja before it could fall to the ground, stopping him from creating more duplicates.[10] Kali consumes Raktabīja and his duplicates,
and dances on the corpses of the slain.[9]: 118–119 In Devi Mahatmya version of this story, Kali is also described as a Matrika and as a Shakti or power of Devi. She is given the epithet Cāṃuṇḍā (Chamunda), i.e. the slayer of the demons Chanda and Munda.[11]: 72 Chamunda is very often identified with Kali and is very much like her in appearance
and habit.[9]: 241 Footnotes In Tantric Kali Kula Shaktism, Kali is the supreme goddess and she is source of All Goddesses.

In Yoginī Tantra, Kālī kills Kolasura and Ghorasura. Iconography and forms The goddess has two depictions: the popular four-armed form and the ten-armed Mahakali avatar. In both, she is described as being black in colour, though she is often seen as blue in popular Indian art. Her eyes are described as red with intoxication and rage.
Her hair is disheveled, small fangs sometimes protrude out of her mouth, and her tongue is lolling. Sometimes she dons a skirt made of human arms and a garland of human heads. Other times, she is seen wearing a tiger skin.
She is also accompanied by serpents and a jackal while standing on the calm and prostrate Shiva, usually right foot forward to symbolize the more popular dakṣiṇācāra ("right-hand path"), as opposed to the more infamous and transgressive vamachara ("left-hand path").[12] These serpents and jackals are shown to drink the blood of Raktabīja head,
which is dripping while the goddess carries it in her hand, and preventing it from falling on the ground. In the ten-armed form of Mahakali, she is depicted as shining like a blue stone. She has ten faces, ten feet, and three eyes for each head. She has ornaments decked on all her limbs. There is no association with Shiva.[13] The Kalika Purana
describes Kali as possessing a soothing dark complexion, as perfectly beautiful, riding a lion, four-armed, holding a sword and blue lotus, while her right hands are in varabhaya posture, her hair unrestrained, body firm and youthful.[14]: 466 When Sri Ramakrishna once asked a devotee why one would prefer to worship Mother over him, this devotee
rhetorically replied, "Maharaj, when they are in trouble your devotees come running to you. the road to your best stuff pdf But, where do you run when you are in trouble?"[15]: 624 [16] Popular form A Tamil depiction of Kali. Classic depictions of Kali share several features, as follows: Kali's most common four armed iconographic image shows each
hand carrying variously a Khadga (crescent-shaped sword or a giant sickle), a trishul (trident), a severed head, and a bowl or skull-cup (kapāla) collecting the blood of the severed head. This is the form of Bhima Kali. Two of these hands (usually the left) are holding a sword and a severed head. The sword signifies divine knowledge and the human
head signifies human ego which must be slain by divine knowledge in order to attain moksha. The other two hands (usually the right) are in the abhaya (fearlessness) and varada (blessing) mudras, which means her initiated devotees (or anyone worshipping her with a true heart) will be saved as she will guide them here and in the hereafter.[14]: 477
This is the form of Dakshina Kali. She wears a garland of human heads, variously enumerated at 108 (an auspicious number in Hinduism and the number of countable beads on a japa mala or rosary for repetition of mantras) or 51, which represents Varnamala or the Garland of letters of the Sanskrit alphabet, Devanagari. Hindus believe Sanskrit is a
language of dynamism, and each of these letters represents a form of energy, or a form of Kali. Therefore, she is generally seen as the mother of language, and all mantras.[14]: 475 She is often depicted naked which symbolizes her being beyond the covering of Maya since she is pure (nirguna) being-consciousness-bliss and far above Prakriti. She is
shown as very dark as she is Brahman in its supreme unmanifest state. She has no permanent qualities—she will continue to exist even when the universe ends. It is therefore believed that the concepts of color, light, good, and bad do not apply to her.[14]: 463–488 Mahakali Main article: Mahakali Mahakali (Sanskrit: Mahākālī, Devanagari: ,
Bengali: ), literally translated as "Great Kali," is sometimes considered as a greater form of Kali, identified with the Ultimate reality of Brahman.
It can also be used as an honorific of the Goddess Kali,[5]: 257 signifying her greatness by the prefix "Mahā-". Mahakali, in Sanskrit, is etymologically the feminized variant of Mahakala or Great Time (which is interpreted also as Death), an epithet of the God Shiva in Hinduism. Mahakali is the presiding Goddess of the first episode of the Devi
Mahatmya. Here, she is depicted as Devi in her universal form as Shakti.
Here Devi serves as the agent who allows the cosmic order to be restored. Kali is depicted in the Mahakali form as having ten heads, ten arms, and ten legs. Each of her ten hands is carrying a various implement which varies in different accounts, but each of these represents the power of one of the Devas or Hindu Gods and are often the identifying
weapon or ritual item of a given Deva. The implication is that Mahakali subsumes and is responsible for the powers that these deities possess and this is in line with the interpretation that Mahakali is identical with Brahman. While not displaying ten heads, an "ekamukhi" or one headed image may be displayed with ten arms, signifying the same
concept: the powers of the various Gods come only through her grace. The name Mahakali, when kali is rendered to mean "black", translates to Japanese as Daikoku (大黒). Dakshinakali Dakshina Kali, with Siva devotedly at her foot. Dakshinakali is the most popular form of Kali in Bengal.[17] She is the benevolent mother, who protects her devotees
and children from mishaps and misfortunes. 64449098297.pdf There are various versions for the origin of the name Dakshinakali. Dakshina refers to the gift given to a priest before performing a ritual or to one's guru. Such gifts are traditionally given with the right hand. Dakshinakali's two right hands are usually depicted in gestures of blessing and
giving of boons. One version of the origin of her name comes from the story of Yama, lord of death, who lives in the south (dakshina).
When Yama heard Kali's name, he fled in terror, and so those who worship Kali are said to be able to overcome death itself.[18][19]: 53–55 Dakshinakali is typically shown with her right foot on Shiva's chest—while depictions showing Kali with her left foot on Shiva's chest depict the even more fearsome Vamakali. Vamakali is usually worshipped by
non-householders.[20] The pose shows the conclusion of an episode in which Kali was rampaging out of control after destroying many demons. Lord Vishnu, Kali's brother, confronted Kali in an attempt to cool her down. She was unable to see beyond the limitless power of her rage and Lord Vishnu had to move out of her way. Seeing this the devas
became more fearful, afraid that in her rampage, Kali would not stop until she destroyed the entire universe. pathfinder rule of fear campaign setting Shiva saw only one solution to prevent Kali's endless destruction.
Lord Shiva lay down on the battlefield so that Goddess Mahakali would have to step on him. When she saw her consort under her foot, Kali realized that she had gone too far. Filled with grief for the damage she had done, her blood-red tongue hung from her mouth, calming her down. In some interpretations of the story, Shiva was attempting to
receive Kali's grace by receiving her foot on his chest.[19]: 36–39 The goddess is generally worshiped as Dakshina Kali (with her right feet on Shiva) in Bengal during Kali Puja.[21] There are many different interpretations of the pose held by Dakshinakali, including those of the 18th and 19th-century bhakti poet-devotees such as Ramprasad Sen. Some
have to do with battle imagery and tantric metaphysics. The most popular is a devotional view. According to Rachel Fell McDermott, the poets portrayed Shiva as "the devotee who falls at [Kali's] feet in devotion, in the surrender of his ego, or in hopes of gaining moksha by her touch." In fact, Shiva is said to have become so enchanted by Kali that he
performed austerities to win her, and having received the treasure of her feet, held them against his heart in reverence.[22]: 54 The growing popularity of worship of a more benign form of Kali, Dakshinakali, is often attributed to Krishnananda Agamavagisha. He was a noted Bengali leader of the 17th century and author of a Tantra encyclopedia
called Tantrasara. Kali reportedly appeared to him in a dream and told him to popularize her in a particular form that would appear to him the following day. The next morning he observed a young woman making cow dung patties. While placing a patty on a wall, she stood in the alidha pose, with her right foot forward. When she saw Krishnananda
watching her, she was embarrassed and put her tongue between her teeth. Krishnananda took his previous worship of Kali out of the cremation grounds and into a more domestic setting.[19]: 53–55 [23] Krishnananda Agamavagisha was also the guru of the Kali devotee and poet Ramprasad Sen.[4]: 217 Samhara Kali Samhara Kali, also called Vama
Kali, is the embodiment of the power of destruction. The chief goddess of Tantric texts, Samhara Kali is the most dangerous and powerful form of Kali. Samhara Kali takes form when Kali steps out with her left foot holding her sword in her right hand. She is the Kali of death, destruction and is worshiped by tantrics. As Samhara Kali she gives death
and liberation. According to the Mahakala Samhita, Samhara Kali is two armed and black in complexion. She stands on a corpse and holds a freshly cut head and a plate to collect the dripping blood.
She is worshiped by warriors, tantrics – the followers of Tantra.[4] Other forms Other forms of Kali popularly worshipped in Bengal include Raksha Kali (form of Kali worshipped for protection against epidemics and drought), Bhadra Kali and Guhya Kali. Kali is said to have 8, 12, or 21 different forms according to different traditions.
The popular forms are Adya kali, Chintamani Kali, Sparshamani Kali, Santati Kali, Siddhi Kali, Dakshina Kali, Rakta Kali, Bhadra Kali, Smashana Kali, Adharvana Bhadra Kali, Kamakala Kali, Guhya Kali, Hamsa Kali,Shyama Kali, and Kalasankarshini Kali.[20] Symbolism Interpretations of the symbolic meanings of Kali's appearance vary depending on
Tantric or devotional approach, and on whether one views her image in a symbolic, allegorical or mystical fashion.[18] Physical form In Bengal and Odisha, Kali's extended tongue is widely seen as expressing embarrassment over the realization that her foot is on her husband's chest.[19]: 53–55 [24][25][5]: 237 Pictured is the idol of Kali at the
Dakshineshwar Kali Temple. There are many varied depictions of the different forms of Kali. schumacher battery charger parts se-4022 The most common form shows her with four arms and hands, showing aspects of both creation and destruction. The two right hands are often held out in blessing, one in a mudra saying "fear not" (abhayamudra), the
other conferring boons. Her left hands hold a severed head and blood-covered sword. The sword severs the bondage of ignorance and ego, represented by the severed head. One interpretation of Kali's tongue is that the red tongue symbolizes the rajasic nature being conquered by the white (symbolizing sattvic) nature of the teeth.
susagigasulonuzokoji.pdf Her blackness represents that she is nirguna, beyond all qualities of nature, and transcendent.[18][19]: 53–55 The most widespread interpretation of Kali's extended tongue involve her embarrassment over the sudden realization that she has stepped on her husband's chest. Kali's sudden "modesty and shame" over that act is
the prevalent interpretation among Odia Hindus.[19]: 53–55 The biting of the tongue conveys the emotion of lajja or modesty, an expression that is widely accepted as the emotion being expressed by Kali.[24][5]: 237 In Bengal also, Kali's protruding tongue is "widely accepted... as a sign of speechless embarrassment: a gesture very common among
Bengalis."[25][4]: xxiii The twin earrings of Kali are small embryos. This is because Kali likes devotees who have childlike qualities in them.[20] The forehead of Kali is seen to be as luminous as the full moon and eternally giving out ambrosia.[20] Kali is often shown standing with her right foot on Shiva's chest. This represents an episode where Kali
was out of control on the battlefield, such that she was about to destroy the entire universe. Shiva pacified her by laying down under her foot to pacify and calm her.
Shiva is sometimes shown with a blissful smile on his face.[19]: 53–55 She is typically shown with a garland of severed heads, often numbering fifty. This can symbolize the letters of the Sanskrit alphabet and therefore as the primordial sound of Aum from which all creation proceeds. The severed arms which make up her skirt represent her devotee's
karma that she has taken on.[18] Mother Nature The name Kali means Kala or force of time. When there were neither the creation, nor the sun, the moon, the planets, and the earth, there was only darkness and everything was created from the darkness. The Dark appearance of Kali represents the darkness from which everything was born.[4] Her
complexion is black. android @suppresslint( inflateparams ) As she is also the goddess of Preservation, Kali is worshiped as the preserver of nature.[citation needed] Kali is standing calm on Shiva, her appearance represents the preservation of mother nature.[citation needed] Her free, long and black hair represents nature's freedom from civilization.
[citation needed] Under the third eye of kali, the signs of both sun, moon, and fire are visible which represent the driving forces of nature.[citation needed] Kali is not always thought of as a Dark Goddess.[citation needed] Despite Kali's origins in battle, she evolved to a full-fledged symbol of Mother Nature in her creative, nurturing and devouring
aspects.[citation needed] She is referred to as a great and loving primordial Mother Goddess in the Hindu tantric tradition. In this aspect, as Mother Goddess, she is referred to as Kali Ma, meaning Kali Mother, and millions of Hindus revere her as such.[26] There are several interpretations of the symbolism behind the commonly represented image of
Kali standing on Shiva's supine form. A common interpretation is that Shiva symbolizes purusha, the universal unchanging aspect of reality, or pure consciousness. Kali represents Prakriti, nature or matter, sometimes seen as having a feminine quality. The merging of these two qualities represent ultimate reality.[9]: 88 A tantric interpretation sees
Shiva as consciousness and Kali as power or energy. Consciousness and energy are dependent upon each other, since Shiva depends on Shakti, or energy, in order to fulfill his role in creation, preservation, and destruction. In this view, without Shakti, Shiva is a corpse—unable to act.[22]: 53 Worship Mantras Kali could be considered a general
concept, like Durga, and is primarily worshiped in the Kali Kula sect of worship. apc back-ups 650va pdf The closest way of direct worship is Maha Kali or Bhadrakali (Bhadra in Sanskrit means 'gentle'). Kali is worshiped as one of the 10 Mahavidya forms of Adi Parashakti. One mantra for worship to Kali is:[27]
Sarvamagalamāgalyē śivē sarvārthasādhikē. Śaraṇyē tryambakē Gauri nārāyaṇi namō'stu tē. Oṃ jayantī mangala kālī bhadrakālī kapālinī . Durgā kṣamā śivā dhātrī svāhā svadhā
namō'stu​tē. In fact, chanting of Mahishasura Mardhini is a daily ritual in all Hindu Bengali homes especially during Navratri / Durga Pujo as it is called.[citation needed] The chant of the first chapter of Durga Saptashati is considered a very important hymn to Sri Mahakali as Devi Mahatmyam / Durga Saptashati dates back to the Upanishadic Era of
Indological literature. Tantra Kali Yantra Goddesses 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 Kali who seems to dominate much
of the Tantric iconography, texts, and rituals.[citation needed] 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.[9]: 122–124 In the Mahanirvana-tantra, Kāli is one of the epithets for the
primordial ṥakti, 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 of 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. pdf atkins meal plan 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.[9]: 122–124 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.[9]: 122–124 This is clear in the work of the Karpuradi-stotra,[28] short praise of Kāli describing the Pancatattva ritual unto her, performed on cremation grounds. (Samahana-sadhana); He, O Mahākāli who in the cremation-ground, who wear skull garland and skirt of bones 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.[9]: 122–124 The Karpuradi-stotra, dated to approximately 10th century ACE,[clarification needed][29] clearly indicates that Kāli is more than a terrible, vicious, slayer of demons who serves Durga or
Shiva. toro personal pace 6.5 hp self-propelled lawn mower manual Here, she is identified as the supreme mother of the universe, associated with the five elements. xceptor_training.pdf 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.[9]: 124–125 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.[9]: 125 In Bengali tradition Kali Puja festival in Kolkata. Idol of goddess Kali kept near Nimtala ghat for Visarjan or Immersion in the waters of river Hooghly Kali is a central figure in late medieval Bengal devotional literature, with such notable devotee poets as
Kamalakanta Bhattacharya (1769–1821), Ramprasad Sen (1718–1775). 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.[9]: 126 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 adopts 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 addressed in Rāmprasād's work.[9]: 125–126 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.[9]: 128 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.[9]: 128 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 women have taken to this form of music. Kāli is especially venerated in the festival of Kali Puja in eastern India – celebrated when the new moon day of Ashwin month coincides with the festival of Diwali. The practice of animal sacrifice is still practiced during Kali Puja in Bengal, Orissa, and Assam, though it is rare outside of those
areas. The Hindu temples where this takes place involves the ritual slaying of goats, chickens and sometimes male water buffalos. Throughout India, the practice is becoming less common.[30] The rituals in eastern India temples where animals are killed are generally led by Brahmin priests.[30]: 84, 101–104 A number of Tantric Puranas specify the
ritual for how the animal should be killed. A Brahmin priest will recite a mantra in the ear of the animal to be sacrificed, in order to free the animal from the cycle of life and death. Groups such as People for Animals continue to protest animal sacrifice based on court rulings forbidding the practice in some locations.[31] In Tantric Buddhism Tröma
Nagm in Tibetan Buddhism, shares some attributes of Kali. Tantric Kali cults such as the Kaula and Krama had a strong influence on Tantric Buddhism, as can be seen in fierce-looking yoginis and dakinis such as Vajrayogini and Krodikali.[32] In Tibet, Krodikali (alt. Krodhakali, Kālikā, Krodheśvarī, Krishna Krodhini) is known as Tröma Nagmo
(Classical Tibetan: , Wylie: khro ma nag mo, English: "The Black Wrathful Lady").[33][34] She features as a key deity in the practice tradition of Chöd founded by Machig Labdron and is seen as a fierce form of Vajrayogini.[35] Other similar fierce deities include the dark blue Ugra Tara and the lion-faced Simhamukha.[36] Worship in the
Western world Theorized early worship A form of Kali worship may have already transmitted to the west already in Medieval times by the wandering Romani. A few authors have drawn parallels between Kali worship and the ceremonies of the annual pilgrimage in honor of Saint Sarah, also known as Sara-la-Kali ("Sara the Black", Romani: Sara e
Kali), held at Saintes-Maries-de-la-Mer, a place of pilgrimage for Roma in the Camargue, in southern France.[37][38] Ronald Lee (2001) states: If we compare the ceremonies with those performed in France at the shrine of Sainte Sara (called Sara e Kali in Romani), we become aware that the worship of Kali/Durga/Sara has been transferred to a
Christian figure... in France, to a non-existent "sainte" called Sara, who is actually part of the Kali/Durga/Sara worship among certain groups in India.[39] In modern times An academic study of modern-day western Kali enthusiasts noted that, "as shown in the histories of all cross-cultural religious transplants, Kali devotionalism in the West must take
on its own indigenous forms if it is to adapt to its new environment."[40] Rachel Fell McDermott, Professor of Asian and Middle Eastern Cultures at Columbia University and author of several books on Kali, has noted the evolving views in the West regarding Kali and her worship. In 1998 McDermott wrote that: A variety of writers and thinkers have
found Kali an exciting figure for reflection and exploration, notably, feminists and participants in New Age spirituality who are attracted to goddess worship.
[For them], Kali is a symbol of wholeness and healing, associated especially with repressed female power and sexuality. [However, such interpretations often exhibit] confusion and misrepresentation, stemming from a lack of knowledge of Hindu history among these authors, [who only rarely] draw upon materials written by scholars of the Hindu
religious tradition ... todujowapokalodeg.pdf It is hard to import the worship of a goddess from another culture: religious associations and connotations have to be learned, imagined or intuited when the deep symbolic meanings embedded in the native culture are not available.[40] By 2003, she amended her previous view. ... eclipse phase 2nd edition
pdf
cross-cultural borrowing is appropriate and a natural by-product of religious globalization—although such borrowing ought to be done responsibly and self-consciously. If some Kali enthusiasts, therefore, careen ahead, reveling in a goddess of power and sex, many others, particularly since the early 1990s, have decided to reconsider their theological
trajectories. These [followers], whether of South Asian descent or not, are endeavoring to rein in what they perceive as excesses of feminist and New Age interpretations of the Goddess by choosing to be informed by, moved by, an Indian view of her character.[22]: 285 In Réunion In Réunion, a part of France in the Indian Ocean, veneration for Saint
Expeditus (French: Saint Expédit) is very popular. The Malbars have Tamil ancestry but are, at least nominally, Catholics. The saint is identified with Kali.[41] Comparative scholarship Scholar Marvin H. Pope in 1965 argues that the Hindu goddess Kali, who is first attested in the 7th century CE, shares some characteristics with some ancient Near
Eastern goddesses, such as wearing a necklace of heads and a belt of severed hands like Anat, and drinking blood like the Egyptian goddess Sekhmet and that therefore that her character might have been influenced by them.[42] A myth describes how Kali became ecstatic with the joy of battle and slaughter while killing demons, and refused to stop
until she was pacified by her consort, Shiva, who threw himself under her feet.[43] Marvin H. Pope in 1977 asserted that this myth exhibits parallels to the Egyptian myth in which Sekhmet was sent by Ra to destroy the humans plotting against him only to become so captured by her blood-lust that she would not stop despite Ra himself becoming
distressed and wishing an end to the killing, only to be stopped by a ruse whereby a plain was flooded with beer which had been dyed red, which Sekhmet mistook for blood and drank until she became too inebriated to continue killing, this saving humanity from destruction.[44] In popular culture The Rolling Stones' logo, based on the out stuck
tongue of Kali The tongue and lips logo of the band The Rolling Stones, created in 1971, was inspired by the stuck-out tongue of Kali.[45][46] A version of Kali is on the cover of the first issue of feminist magazine Ms., published in 1972. Here, Kali's many arms symbolize the many tasks of the contemporary American woman.[47][48] A Thuggee cult of
Kali worshippers are villains in Indiana Jones and the Temple of Doom (1984), an action-adventure film which takes place in 1935.[49] In the Beatles' 1965 film Help!, a "Kaili" worshipping quasi-Thuggee cult are again the villains. When a sacrificial ring sent by a pledge in a fan letter to Ringo becomes stuck on his finger, the Fab Four are chased by
the cult and a mad scientist throughout London, Switzerland and the Bahamas. Mahakali — Anth Hi Aarambh Hai (2017) is an Indian television series in which Parvati (Mahakali), Shiva's consort, assumes varied forms to destroy evil and protect the innocent.[50] References ^ www.wisdomlib.org (12 April 2009). saxon math intermediate 3 assessment
guide pdf "Kali, Kālī, Kāli: 46 definitions". www.wisdomlib.org. Retrieved 13 September 2022. ^ "The Significance of Dus Mahavidya".
The Times Of India. Retrieved 4 April 2019. ^ a b Hawley, John Stratton; Wulff, Donna Marie (1982). employee training dashboard excel template Sri Ramakrishna: The Spiritual Glow. 56161111285.pdf Motilal Banarsidass. ejercicios de funciones trigonometricas en la vida cotidiana p. 152. ^ a b c d e Harding, Elizabeth U. (1993). Kali: The Black
Goddess of Dakshineswar. Nicolas Hays. ISBN 978-8120814509. ^ a b c d e McDaniel, June (2004). Offering Flowers, Feeding Skulls: Popular Goddess Worship in West Bengal. Oxford University Press.
^ McDermott, Rachel Fell (2001). Singing to the Goddess: Poems to Kali and Uma from Bengal. Oxford University Press. ISBN 978-0198030706.
^ Coburn, Thomas (1984). Devī-Māhātmya – Crystallization of the Goddess Tradition. Motilal Banarsidass, Delhi.
ISBN 978-81-208-0557-6. ^ Urban, Hugh (2001). "India's Darkest Heart: Kali in the Colonial Imagination".
In McDermott, Rachel Fell (ed.). Encountering Kali: In the Margins, at the Center, in the West. Berkeley: University of California Press (published 2003). ^ a b c d e f g h i j k l m n o p q r Kinsley, David (1997). Tantric Visions of the Divine Feminine: The Ten Mahavidyas. Berkeley: University of California Press. ^ Jagadiswarananda, Swami (1953).
Devi Mahatmyam. Ramakrishna Math. ^ Wangu, Madhu Bazaz (2003). Images of Indian Goddesses. Abhinav Publications. ISBN 978-81-7017-416-5. ^ Rawson, Philip (1973).
The Art of Tantra.
Thames & Hudson.
^ Sankaranarayanan, Sri (2001). Glory of the Divine Mother: Devi Mahatmyam. Nesma Books India. p. 127. ISBN 978-8187936008. ^ a b c d White, David Gordon (2000). Tantra in Practice. Princeton Press. ^ Saradananda, Swami (1952). 'Sri Ramakrishna: The Great Master. Ramakrishna Math. ^ Hati, Kamalpada; P.K., Pramanik (1985). Sri
Ramakrishna: The Spiritual Glow. Orient Book Co. pp. 17–18. ^ Harper, Katherine Anne; Brown, Robert L. (2012). The Roots of Tantra. SUNY Press. p. 53. ISBN 978-0-7914-8890-4. ^ a b c d Kinsley, David R. (1988). Hindu Goddesses: Visions of the Divine Feminine in the Hindu Religious Tradition. University of California Press. pp. 86–90. ISBN 978-
8120803947. ^ a b c d e f g McDermott, Rachel Fell; Kripal, Jeffrey J., eds. (2005). Encountering Kali: in the margins, at the center, in the West. Delhi: Motilal Banarsidass.
ISBN 81-208-2009-6. OCLC 62474775.
^ a b c d Pravrajika Vedantaprana, Saptahik Bartaman, Volume 28, Issue 23, Bartaman Private Ltd., 6, JBS Haldane Avenue, 700 105 (ed. 10 October 2015) p.16 ^ 7 Secrets of the Goddess by Devdutt Pattanaik, Kali's Secret (Page 62) ^ a b c McDermott, Rachel Fell (2003). Encountering Kali: In the Margins, at the Center, in the West. Berkeley:
University of California Press. ISBN 978-0520232402. ^ Sircar, Dineschandra (1998). The Śākta Pīṭhas. Motilal Banarsidass Publ. pp. 74–78. ISBN 978-81-208-0879-9. ^ a b Menon, Usha; Shweder, Richard A. (1994). "Kali's Tongue: Cultural Psychology and the Power of Shame in Orissa, India". In Kitayama, Shinobu; Markus, Hazel Rose (eds.).
Emotion and Culture: Empirical Studies of Mutual Influence. Washington, D.C.: American Psychological Association. pp. 241–284. ^ a b Krishna Dutta (2011). Calcutta: A Cultural and Literary History (Cities of the Imagination). Andrews UK Ltd. p. 18. ISBN 978-1-904955-87-0. ^ Nivedita, Sister (2001). Rappaport, Helen (ed.). Encyclopedia of Women
Social Reformers. Vol. 1.
ABC-CLIO. p. 651. ^ Chawdhri, L.R. (1992). Secrets of Yantra, Mantra and Tantra. Sterling Publishers Pvt. Ltd. ^ Woodroffe, John (1922). Karpuradi Stotra, Tantrik Texts Vol IX. Calcutta Agamanusandhana Samiti. ^ Beck, Guy L. (1995). Sonic Theology: Hinduism and Sacred Sound. Motilal Banarsidass. p. 145. ISBN 978-81-208-1261-1. ^ a b J.
Fuller, C. (2004). The Camphor Flame: Popular Hinduism and Society in India [Paperback] (Revised ed.). Princeton University Press. p. 83. ISBN 978-0-691-12048-5. ASIN 069112048X. Animal sacrifice is still practiced widely and is an important ritual in popular Hinduism ^ McDermottb, Rachel Fell (2011). Revelry, rivalry, and longing for the
goddesses of Bengal: the fortunes of Hindu festivals. New York; Chichester: Columbia University Press. p. 205. ISBN 978-0-231-12918-3. Retrieved 17 December 2014. ^ English, Elizabeth (2002).
Vajrayoginī: her visualizations, rituals & forms: a study of the cult of Vajrayoginī in India (1st Wisdom ed.). Boston: Wisdom Publications. pp. 38–40. ISBN 0-86171-329-X. OCLC 50234984. ^ The Forms of Vajrayoginī Archived 21 August 2008 at the Wayback Machine Himalayan Art Resources ^ "Vajrayogini (Buddhist Deity) – Krodha Kali (Wrathful
Black Varahi)". HimalayanArt. ^ Simmer-Brown, Judith (2002). Dakini's warm breath: the feminine principle in Tibetan Buddhism (1st paperback ed.). Boulder. p. 146. ISBN 1-57062-920-X. OCLC 54964040. ^ Shaw, Miranda Eberle (2006). Buddhist goddesses of India. Princeton: Princeton University Press. pp. 340, 426. ISBN 0-691-12758-1.
OCLC 62342823. ^ McDowell, Bart. Gypsies: Wanderers of the World.
pp. 38–57. ^ Fonseca, Isabel (1995). Bury me standing: the Gypsies and their journey. Mazal Holocaust Collection, David Lindroth Inc. (1st ed.). New York. pp. 106–107. ISBN 0-679-40678-6. OCLC 32387216. ^ Lee, Ronald. The Rom-Vlach Gypsies and the Kris-Romani.
p. 210. ^ a b McDermott, Rachel Fell (1998). "The Western Kali". In Hawley, John Stratton (ed.). Devi: Goddesses of India. Motilal Banarsidass. pp. 281–305. ^ Suryanarayan, V. (12 October 2018). "Tamils In Re-Union: Losing Cultural Identity – Analysis". Eurasia Review. Retrieved 3 March 2021.
Saint Expedit, worshipped locally, is identified with Goddess Kali. ^ Pope & Röllig 1965, p. 239. ^ Pope 1977, pp. 608.
^ Pope 1977, pp. 607–608. ^ Coscarelli, Joe (7 June 2015). "Art of the Rolling Stones: Behind That Zipper and That Tongue". The New York Times. Archived from the original on 11 June 2015. Retrieved 9 June 2015. ^ Fornatale, Peter (2013). 50 Licks: Myths and Stories from Half a Century of the Rolling Stones. Bloomsbury Publishing. pp. 126.
ISBN 978-1408833834. ^ Lemak, Jennifer A.; Hopkins-Benton, Ashley (2017). Votes for Women: Celebrating New York's Suffrage Centennial. SUNY Press. p. 204. ISBN 978-1-4384-6732-0. Retrieved 2 July 2020. ^ Donald, Brooke (27 January 2012). "The feminist struggle continues, Gloria Steinem says, encouraging a Stanford audience toward 'one
new subversive thing'". Stanford University. Retrieved 2 July 2020. ^ Ganguly, Swagato (2017).
Idolatry and the Colonial Idea of India: Visions of Horror, Allegories of Enlightenment. Taylor & Francis. ISBN 978-1351584678. Retrieved 6 January 2019. ^ Nathan, Leona (23 July 2017). "Mahakali – Anth Hi Aarambh Hai: Pooja Sharma Says, Playing Mahakali Is A Lifetime Experience". India News, Breaking News, Entertainment News | India.com.
Retrieved 27 September 2020. Further reading Bowker, John (2000). Oxford Concise Dictionary of World Religions. Oxford Press. Bunce, Frederick W. (1997). A Dictionary of Buddhist and Hindu Iconography (Illustrated).
D.K. Print World. Craven, Roy C. (1997). Indian Art (revised). Thames & Hudson. Doniger, Wendy (2015). Encyclopædia Britannica Online, Kali. Encyclopædia Britannica. Harshananda, Swami (1981). Hindu Gods & Goddesses. Ramakrishna Math.
Mishra, T. N. (1997). Impact of Tantra on Religion and Art. D.K. Print World. Santideva, Sadhu (2000). Ascetic Mysticism. Cosmo Publications. Loriliai Biernacki, Renowned Goddess of Desire: Women, Sex, and Speech in Tantra Oxford Scholarship Online: September 2007, doi:10.1093/acprof:oso/9780195327823.001.0001, ISBN 978-0195327823
Pope, Marvin H.; Röllig, Wolfgang [in German] (1965). "Syrien: Die Mythologie der Ugariter und Phönizier" [Syria: The Mythology of the Ugarites and Phoenicians]. In Haussig, Hans Wilhelm [in German] (ed.). Götter und Mythen im Vorderen Orient [Gods and Myths in the Middle East] (in German). Stuttgart, Germany: Ernst Klett Verlag. pp. 217–
312. Pope, Marvin H. (1977). Song of Songs. The Anchor Bible. Vol. 7C. New York City, United States: Doubleday. ISBN 978-0-385-00569-2. Shanmukha Anantha Natha and Shri Ma Kristina Baird, Divine Initiation Shri Kali Publications (2001) ISBN 0-9582324-0-7 – Has a chapter on Mahadevi with a commentary on the Devi Mahatmyam from the
Markandeya Purana. Ajit Mookerjee, Kali: The Feminine Force ISBN 0-89281-212-5 Swami Satyananda Saraswati, Kali Puja ISBN 1-887472-64-9 Ramprasad Sen, Grace and Mercy in Her Wild Hair: Selected Poems to the Mother Goddess ISBN 0-934252-94-7 Sir John Woodroffe (a.k.a. Arthur Avalon) Hymns to the Goddess and Hymn to Kali ISBN 81-
85988-16-1 Robert E. Svoboda, Aghora, at the left hand of God ISBN 0-914732-21-8 Dimitri Kitsikis, L'Orocc, dans l'âge de Kali ISBN 2-89040-359-9 Lex Hixon, Mother of the Universe: Visions of the Goddess and Tantric Hymns of Enlightenment ISBN 0-8356-0702-X Neela Bhattacharya Saxena, In the Beginning is Desire: Tracing Kali's Footprints in
Indian Literature ISBN 81-87981-61-X The Goddess Kali of Kolkata (ISBN 81-7476-514-X) by Shoma A. Chatterji Dictionary of Hindu Lore and Legend (ISBN 0-500-51088-1) by Anna Dallapiccola In Praise of The Goddess: The Devimahatmyam and Its Meaning (ISBN 0-89254-080-X) by Devadatta Kali Seeking Mahadevi: Constructing the Identities of
the Hindu Great Goddess (ISBN 0-791-45008-2) Edited by Tracy Pintchman The Rise of the Goddess in the Hindu Tradition (ISBN 0-7914-2112-0) by Tracy Pintchman Narasimhananda, Swami, Prabuddha Bharata, January 2016, The Phalaharini Kali. External links Kali at the Encyclopædia Britannica Portals: Hinduism India Religion Kali at Wikipedia's
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