Ganapati Muni’s Science of Mantra – Part Four

In this concluding post of the series, Ganapati Muni’s commentary elucidates the forms of Skanda and Indra which bear the mantra’s sound-wave, Sabda Brahman, seeing them realised in his spiritual brother and mentor, Ramana Maharshi of Arunachala.  See also the three preceding posts, and search “Puranas” on this blog for a racy account of the Skanda mythology.

Note: the god Skanda is also known as Kumara, Murugan (or Subrahmanya) and Krtikkai.

..

the Muni on tiger skin photo xerox copy

Third Chapter:  The Vedic Mantra of Guha
by Ganapati Muni

We have commented upon the two Tantric Mantras of the master Ramana. Yet his Mantras are found even in the Veda. Amongst them, here is a clear cut Mantra of Bhagavan:

“Vrsa jajana vrsanam ranaya
tamu cinnari naryam sasuva.
Prayah senanir adha nrbhyo astinah
satva gavesanah sa dhrsruh.”

  • The seer is Vasishtha. The Deity is Indra and the metre is Trishtubh.
  • vrsa is “Rudra who is of the form of Sabda Brahman”. He is vrsa because “he pours down (varsati) the special knowledge”;
    vrsanam “the God who showers down flames ranavya for battle”.
    To wage war brings forth the meaning vrsa jajana – (Rudra)
  • Tamu –  the way God, u, is indeclinable (without inflexions) – suggests the loftiness of the Name with which it is closely associated
  • nari cit is the divine Force: cit is indeclinable, used to denote the indescribable.
    If nari is derived from nara, men, then the word nari (feminine) means the Kundalini sakti hidden in man. (*)
  • sasuva“is produced”. In what way ? Naryam“born amongst men” – are the leaders, or perfected beings.
FOOTNOTE -
* Nari is feminine (nari-kundalini)

SITA 2 of lotuses

..

THIS IS THE TRANSLATION IN ESSENCE:

“Kundalini sakti in the body of perfected man produces for ‘battle’
Indra’s form within the fire of astra from Sabda Brahman.”

God, taking birth, “becomes the commander – senanih – of the armies of the Gods”.
The third and fourth lines of the verse conclude:

  • adha nrbhvo asti“and a helper to their leaders”
  • inah (means) svami“the Master”,  
  • satva “is the possessor of sat, of Truth”
  • gavesanah “seeking out”
  • sa “the acclaimed God”
  • dhrsruh, “assailer of all foes.”
Arunachala, inner path

Arunachala, inner path

To read here that Indra is being referred to and not Subrahmanya (Skanda), presents no problem. The ‘ordinary’ name for the fire of astra is Indra, and Kumara (Skanda) is the special name.

In what way ordinary? or special?   For instance, the common name for the sun is Light, but his special or personal name is Surya.

Indra denotes broadly, all ideas of multi-faceted strength.(18)

According to a thing’s true nature, each facet of it has separate specific or ‘special’ names.   In the Veda and the Brahmana it is well-known that Indra is the god of strength. The fire of astra is a powerful and mighty concept, for which, combined with supreme Lordship,  Indra’s name (as the ‘ordinary’) is appropriate. The commanding fire of astra is described specifically as Kumara.   There exists another reason beyond all this, which we shall submit later.

FOOTNOTE:
18 Indra denotes the strong lord, as in Mahendra, Kavindra, 
Munindra, etc.
Sacred India Tarot - Indra and Garuda

Sacred India Tarot – Indra and Garuda

..

WHERE ‘ITIHASA’ IS APPROPRIATE

When the world was afflicted by powerful Asuras, the Gods begged and prayed to Brahma the Creative power for relief.   Brahma replied the young Kumara (Skanda) born of Rudra from Gauri would destroy the Asuras. Later Kama the god of lust was sent by the Gods to incline ascetic Rudra towards the idea of progeny. Kama was burnt up (by one look from Rudra’s third eye). Thereupon, the young Gauri did tapas. Attracted to the severity of her tapas (spiritual effort) Rudra married her. Uniting with her, he ejected his seed upwards. The seed took shelter successively in the fire, in the water and in the stalk of sara grass, and finally became the young one, Kumara.

Parvati(Gauri) and Siva with Ganapati and Skanda

Parvati(Gauri) and Siva with Bull Nandi and their children Ganapati and Skanda. Ganapati’s vehicle is the rat, and Skanda’s is the peacock.

In other words:   All human means were futile to conquer the Asura race (of demons) who devastated the world by the strength of their maya.   Here we should take the Asura race as a specific, or special human type; in the world of men the Kingdom of Asuras became perpetual.  (A problem cannot be solved with itself; the higher octave has to be called in.) The Gods gave astra, wisdom (*) to the seers, in order to destroy the Asuras. With the destruction of the Asuras, the Kingdom of the devotees of God became once more established on earth.

Sacred India Tarot Siva Ace of Lotuses

..

Sacred India Tarot - Siva tests Parvati with a Mask - Version 3

This story is related by Itihasa in a covert manner. When the jiva does tapas, firstly kama, desire, is burnt by the glory of tapas.   We should not forget the fact, that the state of  tapas is  poised in the effulgence of Sabda Brahman.   Though desire is burnt up in its gross form, it prevails in the seed form, and impels the Kundalini sakti, called Gauri (or Parvati), to perform tapas.   About Kundalini being called Gauri, it is said in the Upanishad: “pita bhasatyanupama.” (19)     Gauri’s form of Kundalini is fairly wellknown in the Tantra. By her tapas, the Sabda Brahman manifests.

The whole purport is that the form of the Supreme Vak (pronunciation, divine speech) becomes capable of experiencing.   When Kundalini herself, reunited with Sabda Brahman, performs tapas, the sound vibration (energy) manifests.   It impels the energised sound in the sky, and becomes the astra.

The seed of Sabda Brahman is cultured in the fire of muladhara (root) and the nectar of the head (sahasrara) – these are said to be its consecutive sojourns in Agni and in Ganga. (20)

The manifestation in the stalk of sara grass has been described in the Second Chapter.

We have to take the Asuras as belonging to all times, not as born in a particular period.   Itihasa’s aim is to propound an all time truth.

FOOTNOTES: 
* - or Awareness

19 - Gauri, lit. "of golden yellow colour." The Narayana 
Upanishad says "Yellow, like an atom, she shines."

20 - In the subtle body, the centre at the base of the spine 
is muladhara and the centre at the top of the head is 
sahasrara. Muladhara is the seat of Fire, while sahasrara 
is the seat of the moon wherefrom the nectar flows.
 
As Ganga is the celestial river, she symbolises the nectar 
in sahasrara while Agni is the element in muladhara. The seed 
of the Sabda Brahman passes from muladhara to sahasrara, and 
has its sojourn in both centres before it manifests. 

This is the meaning of the Puranic story that Skanda is 
born from Agni as well as from the Ganga.
Gauri - Parvati - being pestered by sages

Gauri – Parvati – being pestered by sages

 ..

WHO IS THE ASURA TARAKA?

Well, is it not to destroyTaraka that Skanda is born? Is Taraka a historical personage?

No. Yet, Tarakasura represents a truth. Taraka is death, one who (as the ferryman) takes across –   tarati – all men. (20A)   In both ways, Guha (in heart’s cave) conquers Death. By granting Self knowledge, he conquers death, the lack of awareness which causes samsara.   By the strength of the astra, he conquers death, the desire of his foes.   It is said in the Puranas that the Tripura Asuras are sons of this same Taraka.   The Tripura Asuras are none other than the three bonds. (21) Their father is lack of awareness.   That is, we fall from the Self into the body – into the idea (of being separate), of considering it as the self.

FOOTNOTE:
20A See also tara, goddess of time

21 The Three Bonds are the three pasas from which release is 
sought from Varuna by the Vedic Rishi. In the later Tantra, 
these take the form of the three granthi knots in the subtle 
body: Brahma, Vishnu and Shiva.
Asura Lord (Demonic)

Asura Lord (Demonic)

 ..

COMMANDER OF ARMIES

How do the words commander of armies in the Mantra signify ‘commander of armies of the gods?’   Indra, the King of Gods, becomes in this context their commander. This is made clear in another Mantra:

“Indra asem neta brha spatir      Let Indra be the leader. Let Brhaspati
dakshina yajnah pura etu somah           go in front, Dakshina, the sacrifice, and Soma
Devasenanam abhibhanjatinam     Let the Maruts march in the forefront
jayantinam maruto yatvagram.”    of the army of the Gods that demolish and conquer

Rig Veda X.103.8

This Mantra is mentioned in the chapter on astra. Also, the word ina in the Mantra became later on in the common parlance the word svami, (22) Master.

“Vavrajasim anadatir adabdha     He moved all round the seven mighty ones
divo yahvir avasana anagnah     of Heaven; undevouring, inviolate.
Sana yatra yuvatayah, sa yonir        neither were they clothed, nor were they naked;
Ekam garbham dadhire sapta vanih.”   here, young and eternal in one native land
the seven Voices held in their womb the one Child

Rig Veda III.1.6. (Sri Aurobindo’s translation)

Sapta vanih are the Seven metres* in Sanskrit poetry.   The birth of Agni as this Mantra is nothing other than the fire of astra.   This is revealed in the hymn of Agni in the sense of burning: but not with the idea of physical fire.

FOOTNOTES:
22 - Svami is one of the principle names of Skanda.

* - The seven metres represent also seven stars in the 
Pleiades constellation, the 'natural mothers' of the child 
Skanda.

Gauri Siva's bride was the daughter of the Himalaya. She is
also known as Parvati in the Puranic cycle. The river
Ganga, lit by the seven stars and the moon,"poured down"/
descended through Siva's matted dreadlocks in their love-play.
As stated earlier, neither the fire (Agni) nor the water 
(Ganga) could receive his seed. It finally came to rest
in the stalk of the mantric sara grass. From the mythology
we gain some idea of the elemental power of mantra. 
See previous post - Part Three.

Skanda as Muruganar and Krttikai (pleiades)

Skanda as Muruganar and Krttikai (pleiades

Another version of this tale is Siva's seduction of the 
wives of seven Rishis (seers) in the forest. Entering 
the heart of the fire (Agni) to which the women came to 
warm themselves,Siva impregnated them through their hair 
follicles, causing chaos in the ashram. The seed could
not be held by them, or by fire or by water, until it 
came to rest in the grass; then Gauri's breasts filled,
and the world rejoiced, unknowing as yet where the 
divine child with six heads lay.

skanda_upanishad

Ganapati Muni saw in his spiritual brother Ramana 
Maharshi, the effulgence of Skanda the warrior of light who
delivered us from Taraka. Ramana taught Self-enquiry which 
dismantles the mind and quests consciousness:  the "I ... I".
(J.A.)
 

..

Bhagavan Ramana Maharshi

Bhagavan Ramana Maharshi

..

..

COMMENTARY CONTINUED: ENQUIRY INTO THE PERSONALITY

Now we must say a word about the individualised Personality of the maya (23) form of Brahman with attributes, which is known as Subrahmanya.

We say that Indra alone is Guha’s form pertaining to the Gods. This is because Agni, the energy of sound-vibration is in the middle region; and Indra is the Lord of the middle region. This is proven in the Aranyaka when, referring to Indra, it closes with the words, Subrahmanyam, Subramanyam.

Indra’s Vedic fame as the War God, lends additional support.

What is Siva’s form among the Gods? It is Indra only. If it is said, that as father and son they are one and the same, this is correct. The only difference to note, is regarding the hidden Sabda Brahman and the manifest sound vibration. The relationship of father and son is mentioned to specify Siva and Subrahmanya (Skanda).

What is Ganapati’s form among the Gods? It is Indra only. If it is said, that as brothers Ganapati and Subrahmanya are one and the same, this is correct. The only difference to note, is that regarding the perfected mantra within, and the astra Agni impelled by it. The fraternal relationship demonstrates that first the mantra is born from Sabda Brahman; then the astra Agni.     Through the concept of Ganapati, we explain Brihaspati and Brahmanaspati. (24)

What is lightning’s form pertaining to the Gods?   It is Indra only.   Here he has a unique quality. Indra is named as the deity of Lightning.

storm in devon:daily mail

There are other great conceptual facets in the middle region, with Indra as their deity. They are not mentioned here, as we would have to go into a lot of detail.

FOOTNOTES:
23 Maya - form - the form that we measure out of the 
immeasurable

24 Ganapati, Brihaspati and Brahmanaspati - all three names 
denote the same Godhead in the Veda of the famous Rik 
"Gananam tva ganapatim lawamake ..." 

Brishaspati - Lord of the letters; Brahmanaspati - Lord of 
the Mantras. Brahma means both letter and mantra in the veda. 
Ganapati Lord of tantra, and these two names, denote the 
same Godhead.

 ..

doorstep pattern tiru j&d7

Doorstep chalk pattern at dawn in Tiruvannamalai

 

..

THE APPROPRIATENESS OF THE DIFFERENT DESCENTS

By means of whichever portion of energy the Lord Indra descends into awareness, the descent bears that specific or personal Name.  

Indra’s descent as a portion of the lightning bears his own name. His descent as a portion of Sabda Brahman is named Rudra. His descent as the force of Tantra is known by the name Ganapati, and his descent as a portion of sound vibration is called Skanda. Ganapati and Subrahmanya (Skanda) are brothers, and they are interdependent.

We have briefly interpreted the three great Mantras of the Master. We shall develop the conceptual truth of Skanda in our Devata mimamsa. (25)

FOOTNOTES
25 - Another of Vasishtha Ganapati Muni's works, where he 
unravels the significances of the Deities

Thus Ends the Third Chapter.

..

Thus ends the Commentary on the Mantras of the Master,
a work of Ganapati Vasishtha, son of Narasimha
and disciple of Sri Bhagavan Ramana Maharshi

shankara gives the vedas copy

The Closing Verse

“Munina srimukhe simhe dive suryendusangame
Suryoparagasamaye bhasyam etadudiritam.”

“In the month Sravana of the year Srimukha
on a new Moon day, at the time of Solar eclipse,
this Commentary was given out by the Muni.”

..

..

..

Muni & family copy 2

APPENDIX TO THE COMMENTARY

1).   Subrahmanya is the one who is born of the auspicious Brahman, that is, Sabda Brahman.

2).   By this we have explained the name Brahma garbha (from the womb of Brahma)

Vide Amara: “Subrahmanya brahma-garbha svami saravanodbhavah”.

3).   Kumara, eternal child. He is born, finishes the work and again vanishes. Again manifests at the time of work. Therefore, he is called the eternal child. In the Veda, in the Hymn to Indra, is mentioned arbhako na kumarakah26 . Also,sadyo jajnano nirinati saturn’.27

4).   By this we have explained the name sanat kumara – sanat always; kumara, young one.

5).   Sanatsujatah also in the same way. sanat, always; sujatah, well born.

6).   Sanandana samanah equal nandanah, son (giver of happiness) to Rudra along with Ganapati.

7).   Sanakeh, eternal.

Thus these four names denote one and the same person. Perhaps because of their different manifestations, it appears they were mentioned as four (28) .

26 The youth like a little child

27 Born at once, he demolishes the foes.

28 The four disciples of Shiva as Dakshinamurti: Sanaka, 
Sanandana, Sanatkumara and Sanatsujata. Etymologically they 
have the same meaning and denote one and the same principle.
(See also Sanatanadharma)

Muni on wall copy

Here the Commentary and Appendix by the Muni ends.

We express our grateful thanks to Sri K.Natesan of Ramanasramam for making this rare manuscript available to us, and for his help with the text.   Ganapati Muni’s Commentary on the Mantra of the Master, was recently published by Ramanasramam, along with the first translation into English of Kapali Sastri’s sanskrit Commentary on the Ramana Gita.   Material from this has been utilised for the present work.

For the benefit of English readers, the language and presentation of the Guru Mantra Bhashya text have been slightly adjusted, and translations of Vedic Mantras, that were provided as footnotes, are now incorporated in the text, for easier reference..

J.A. Ramana Maharshi Foundation UK 2002

Arunachala village children

Arunachala village children

..

..

..

**

My adventure invites fellow travellers. I am a poet, an artist and a seer. I welcome conversation among the PHILO SOFIA, the lovers of wisdom.

This blog is a vehicle to promote also my published work – The Sacred India Tarot (with Rohit Arya, Yogi Impressions Books) and The Dreamer in the Dream – a collection of short stories (0 Books). Watch this space.

aquariel link

All art and creative writing in this blog is copyright © Janeadamsart 2012-2014. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeadamsart.wordpress.com/

 

.

Ganapati Muni’s Science of Mantra: Part Three

by the fire '94 j&d11

CONTINUED FROM PART TWO – the “Guru Mantra Commentary” by Ganapati Muni (see previous post.)

Mantric language is cyclic, rhythmic, primordial. Whether we know any Sanskrit or not, the vibration grows through a commitment of the syllables to archetypal visual images. This passage develops the ASTRAGNI or weapon within the mantra.  In my understanding, only a pure intention may access the metaphysical power of the Word:  otherwise it rebounds.

In Part Two, we bowed to Guru in the heart’s cave. Here in Part Three, the repeated sounding of vacadhbu,  agni, sara, sastra encircle and warm up my path of awe.  I do not know.  Unconfined to the mind, the resonance is received afresh;  I begin again to ascend the mountain at dawn.

..

Second Chapter: The Enunciation of the Second Mantra

The Muni continues:
In this second chapter, we shall comment on another Tantric mantra of Bhagavan. Here is its verse of enunciation: (No English translation available)

“Sukham krsanuh kilalam
murdhanyascanunasikah
Nidra vari ca vikhyato
Namo mantro vadadbhuvah.”

The letter sa, Sukham happiness;   the letter ra krsanuh, fire; the letter na kilalam, water; the letter va murdhanyah anunasikah;   the letter na nidra, cerebral nasal;   the letter bha vari, sleep;   the letter va, water.(**)

1. Happiness sa
2. Fire ra
3. Water va
4. Cerebral nasal  na
5. Sleep bha
6. Water va

6 point star cube

When these six letters are read together they become sa ra va na bha wa. – “One who is born from the forest of sara”. As there are six letters in this Mantra also, like before, we understand by this the six faces of Skanda. (*)

FOOTNOTES - 
**- Sri Sankaranarayanan’s translation of this paragraph 
was ambiguous, and K.Natesan apparently overlooked my query 
about it. I have arranged it as best I can, and would welcome the 
advice of an educated Sanskrit reader. J.A.
*- The child Skanda (Kumara)- seed of Agni in the wives of Seven 
Rishis who warmed themselves by the fire - could not be carried 
by wives (goddesses of Krttika the Pleiades constellation) or 
Himalaya mountain or Ganga river, so it fell in a bed of reeds 
(grass). Six parts of the seed joined in this birthplace as one
six headed child; Siva's wife Parvati filled with milk and the 
universe rejoiced - for this child of Siva (through the inter-
mediary of Agni) was destined to defeat the demon of the 
reactive mind, Taraka. 
Skanda's older brother was Ganapati.

Note from Wendy O’Flaherty: ‘Siva the Erotic Ascetic’

ramana embryo

ramana embryo

..

THE MEANING OF THE SECOND MANTRA:    Saravanabhawa

“One who is born from the forest of sara, a kind of grass”. ASTRAGNI : (astra, missile or weapon invoked with a mantra, agni, sacred fire) – this means “fire of guided missile”. Here, a physical fire born from igniting grass, is not what is meant. If it were, it would not be vacadbhu – born out of the sound vibration (energy). 

The story that the effulgent seed of Rudra placed in the stalk of grass became Kumara, has some deep truth behind it:   Rudra is full of sound. His effulgent seed is the fire born by focussing the perfected astra mantra of a great yogi accomplished in the lore of the astras. It acquires the form of sara, grows, and slays its enemies.

“Vidma sarasya pitaram parjanyam – “We know the father of the SARA,
bhuridhayasam   – Parjanya, liberal nourisher,
Vidmo svasya mataram – we know his mother Prithvi,
prthivim bhurivarpasam. – earth with her manifold designs.

Jyake pari nona masmanam tonvan krdhi – O, Bowstring, bend thyself around us,
Virur variyo ratirapa dvesarasya krdhi.” – make my body stone.
Firm in thy strength, drive far away malignities and hateful things.”    

Aghawa Samkita II. 1. 2.

poppy and wild oat

..

visual reference, bow-arrow

Sara described in the above two Mantras is a special kind of grass, not an arrow made of bamboo or metal.   This is indicated by saying that its mother and father are the earth and the rain God.   If we say that bamboo also, being a tree, can deserve to be the son of the earth and the rain God, the fourth Mantra in that same chapter, removes any doubt :

Yatha dyam ca prthivim cantas tiethati tejanam
evarogam casravam cantas tisthatu munja it. 

Just as the sharp point stands
between earth and heaven, 

let the munja grass stand between wellbeing and illness.

For the Rose and the Fire are One

Breaking through – For the Rose and the Fire are One

Here by the word munja he deduces the aforesaid sara.   Munja is a type of grass and not bamboo. How could fragile grass be capable of killing enemies without relating to astra, the fire warming the word which an accomplished Mantra fills ? (15)

“Isikam jaratim stva
tilpinjam dandanam nadam
Tamindra idhmam
krtva yamasyagvim niradadhan

He sought the grass, Isika
tilpinja, nada and dandana.
He enriched Indra’s fuel
and the fire of Yama.

Athawa Samhita XII.2.54.

sphere of arrows ja

 ..

Isika, Tilpivja, nada are types of grass. Dandanum might be of bamboo. Amongst them isika is a synonym for the sara grass.   Here by the word Indra, the Jiva is meant. As the Veda says: “Rupam Rupam pratirupo babhuva.”16.  He, the perfected Person knows the astra. He bound the isika grass into faggots, and nourished the sages around the fire of Yama, Kala, Time.   This means he expanded and increased that which stood in the sky as the fire of Time.

Time is not different from sound. The sound resonates subtly in the sky and cultures everything.

FOOTNOTES 
15- ASTRA from the root AS - to throw; a missile, usually of grass
or any fragile material backed up by a powerful Mantra, 
though astra is loosely translated as an arrow.
Sastra(scriptures) is an arrow, while astra is a weapon backed up 
by the Mantra. 
Here the Mantra is significant, and not the material used as a 
weapon.

16- "He put his image in every form."
Frank Humphries, Ramana and the Muni

Frank Humphries, Ramana and the Muni

..

That is why we have said in our Indra Gita:

“Sadvyapakasaktim pranam kathayanti
Vyaktetarasabdam kalam ganayanti.” (17) 

“The pervading force of Existence they call Prana ;
and they reckon as Time the unmanifest Sound.”

FOOTNOTE -
17- Indra Gita is one of the compositions of Ganapati Muni
and is included in Gitamala.

 photo of the muni copy

..

There itself it has been said that Kala, Time, is known by the name of Yama and Rudra.

“Rudram vidureka netarbahulilam
Prahur yamam anye kayam tava kalam.”

“O, Leader, some know you as Rudra of many sports ;
Others call thy body Time, Yama.”

Rudra who is the Sabda Brahman and Time factor pervades the sky. His effulgence impelled by the fire of Mantra becomes the Agni, named astra in the form of sara. This Agni is the Lord, the Commander-in-Chief of the armies, the destroyer of Asuras, the accomplisher of the Divine Purpose. The word isu is formed only from the word isika. The ancients employ the word isvastra to denote astra.

“Isvastram esam devatvam paritranam satamiva
Bhayam vai manuso bhavah parivado satamiva.”       

“Their astra denoted divinity.
It bore divine protection to good people.
Fear is their human aspect to the wicked.”

SITA ace arrows Bhishma blocks the Ganga - Version 4

By esam (*) the Kshatriyas (warriors) are covered. Also the primary name for astra is only isikastra. (See Ramayana and Mahabharata). Though the word sara meant astra, later on by derivative significance, it came to denote the arrow. The word sara is a pointer to the other “faggot bundles” (weapons) of astra.   Principally, the usage is the form “from out of the forest of sara”, saravanabhava.

FOOTNOTE - 
* esam, a Sanskrit word for prowess (footnote supplied by 
K.Natesan)

Bhagavan coaxes a devotee

..

THE APPROPRIATENESS OF SKANDA AS THE GURU?

If “Skanda” had these attributes alone, he would be a War God, not the Guru Causal. Yet being the God of war does not deter him from being the Guru Causal. In fact, it helps. The one who manifests the fire of astra, destroying foes, is our inner illumination. He burns away the ties that bind, and reveals the shore beyond darkness.

An effulgence  of sound is inner knowing. By this alone, the Brahmin attains a vision of the Divine.

By the effulgence alone, the Kshatriya (warrior) masters the divine astra. The effulgence is the Brahmanhood of Brahman;  the kingship of the Warrior caste.

And thus ends the Second Chapter.

..

..

..

..

**

My adventure invites fellow travellers. I am a poet, an artist and a seer. I welcome conversation among the PHILO SOFIA, the lovers of wisdom.

This blog is a vehicle to promote also my published work – The Sacred India Tarot (with Rohit Arya, Yogi Impressions Books) and The Dreamer in the Dream – a collection of short stories (0 Books). Watch this space.

aquariel link

All art and creative writing in this blog is copyright © Janeadamsart 2012-2014. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeadamsart.wordpress.com/

Ganapati Muni’s Science of Mantra – Part Two

..

elephant story copy

My blog includes my “landmarks”, which I archive within the creative process.  As a  western sadhak searching to become more focused, and to plug in to the “dimension”, I am inspired again by Ganapati Muni’s Guru Mantra Bhashyam – it helps to ‘hold my feet on the Path.’

My elder Indian roots go very deep:  the light is in the well.

Adapting the Muni’s mantric analysis (translated from sanskrit by K Natesan) to my understanding, was a landmark about 14 years ago.  It is rather technical; here is (see previous post) the second of four parts – a few readers (including dancing yetis) may find this curious treasure a-musing to mull over.  But if you incline more to neti-neti … then enjoy the pictures!

I am no scholar; but I spent many a lifetime scribing the thoughts of scholars, which I love doing.  My heart caught fire and now dances around it. I found this second part difficult to understand, especially at the beginning, but worth persevering with, as it elucidates the living entities in Mantra, and the salutation to God.  The footnotes include a precise definition of Maya, and Sanskrit “keys” for meditation to nourish the soul.

For some of the Skanda background mythology, search “Puranas” on this blog.

..

Ramana and the Muni.  A devotee enquired if it were a fact that they used to swim in Pandava tank.  Bhagavan replied, "Yes.  That also was only in those days" (i.e.the Virupaksha Cave period).  We used to try to excel each other in swimming.  That was great fun." (From Suri Nagamma's Letters from Ramanasramam no.59)

Ramana and the Muni. A devotee enquired if it were a fact that they used to swim in Pandava tank. Bhagavan replied, “Yes. That also was only in those days” (i.e.the Virupaksha Cave period). We used to try to excel each other in swimming. That was great fun.” (From Suri Nagamma’s Letters from Ramanasramam no.59)

..

            HOW THE GODHEAD IS OF THE FORM OF BRAHMAN by Kavyakanta Ganapati Muni

The Mantra’s general meaning has been stated. (see Part One).  Now we enquire into its specific meanings.   If Skanda is a distinct Godhead, how can he be of the form of Brahman? for Brahman is That Supreme which transcends all Gods.

Ramana as Skanda Siva's son - Sacred India Tarot Knight of Staves

Ramana as Skanda Siva’s son – Sacred India Tarot Knight of Staves

..

(Scroll down a little way for footnotes )

Well then, if we say Brahman is the all, his form as ascribed to Skanda is no contradiction, and the sense of it clarifies.   But this, in worship, is wrong. In worship we should reflect on the object as representing the superior – not confer inferior status onto a superior Subject. That is why Badarayana (7) saysBrahma drstir utkarsat”.  

If you worship Guha(*) in the form of Brahman, you will limit, in the all pervading Brahman, your vision of the pervaded Guha. The misrepresentation will be removed if the following meaning is given: vacadbhuve Om namah “Salutation to Brahman in the form of Guha.” However, it will then be the mantra of Brahman, not of Guha; and this goes against what we set out to establish.

FOOTNOTES -
7- Badarayana is the author of the Brahma Sutras. This Sutra 
1V.1.5 says that symbols are to be regarded as Brahman, and not 
vice versa. An inferior object has to be looked upon as 
symbolic of the superior.
*- "Guha means literally the cave of the divine, the secret place, 
Heart cavern. However the Guha mentioned here is in the sense of 
personal God, another name of Skanda"- K.Natesan

5 butterlamp - Version 2

..

When doubt assails us on both sides, we should clarify the overall meaning as: “Salutation to Guha who in the form of Brahman is Brahmasvarupa”. (i.e. as an image of the immanent and formless Brahman).

Notions of inferior and superior belong to the realm of attributes. In Brahman without attributes or qualities, whence superior or inferior? The notion depends for its existence upon attributes, as also upon differences. If Brahman is the integral Wholeness, then relative to what is His superiority? If He is the all Self, to whom is he superior?   His superior state is experienced through His worldly manifestations, and His inferiority through the ignorant jiva’s limitation (8) .  

Just as Brahman becomes superior by upadhi (9) , so is he also inferior. In the present context, Guha is worshipped, and the worshipper is the jiva. If there is no upadhi, then both (worshipper and worshipped) are of the form of Brahman: therefore they are one. In this undifferentiated reflection, a doubt may arise in the worship as to whether we picture ourself in Guha or Guha in our Self?   It appears logical “to see Guha in our Self”.   The chapter on Worship in the Sutra Brahmadrstir utskarsat (**) relates to Saguna, the God with attributes. There is then no conflict.

FOOTNOTES -
8- Jiva - the soul or strand of ego that experiences incarnations
as "its own" memory base in vasanas (Karmic tendencies).

9- Upadhi, conditioning. "A superimposed thing or attribute that 
veils and gives a coloured view of the substance beneath it;
Or - a limiting adjunct, instrument, vehicle, body, a technical 
term used in Vedanta philosophy for any superimposition that gives 
a limited view of the Absolute and makes it appear as the 
relative.  Jiva's Upadhi is Avidya or ignorance.  Isvara's 
Upadhi is Maya or divine hypnosis."     
(Definition from Yoga Vedanta Dictionary/Swami Sivananda)

**- "Brahmadrstir - the view of Brahman. Utskarsat - on account 
of superiority, i.e. being exalted, all should be seen as the 
Supreme Self" - K.Natesan

..

wei wu wei vi

It is established then, that with and through the Mantra, Guha (as a personal god) in the form of Brahman is worshipped. As Brahman is the universal Self, the Guha image in Brahman emerges.

Here another doubt arises.   It is said that a portion of Guha’s effulgent form which is of the Gods, and is gracious to devotees, may enter well deserving individual souls who have destroyed their erratic tendencies.

Is this an image of Brahman (the formless) with attributes? Or a perfected Person of divine origin?   What distinguishes the two?

The former is the Lord whose body is the entire universe, and who, to favour the devotee, took a divine body by his maya. (10) The latter is an exceptional being who individuated amongst the crores of jivas, and attained a divine body by the excellence of his virtues.

If we say ‘let the Lord himself be Skanda’, we will be faced with the postulate of several other Gods, with nothing to mark out Skanda from among their great and glorious galaxy.   And if we say ‘let him be an exceptional being amongst the jivas’, then the problem of inferiority will crop up. Let it then be said: the Lord alone is Skanda – not an exclusive being amongst the crores of jivas. Thus, we do not postulate several Gods. For the sake of the world’s work, Brahman takes forms by maya in the world, and thus conducts the universe. If mere perfected souls have the capacity to take many forms by maya, what can we say about the all powerful God?

FOOTNOTES -
10- MAYA, from ma, to measure, the skill of measuring the
immeasurable, therefore an impossible feat, the intrinsic 
power of the Lord, the marvel.  Later in Vedanta, this word 
came to mean"illusion".  From the same root comes the Mother 
or birthgiver - and also the French word la mer - the ocean.

 ..

Click on image and again on ‘view full size’ in gallery

Amongst those forms of God taken by maya for the sake of the world’s work, Skanda’s form pertaining to the Gods is unique. We shall touch on such authoritative forms taken by God through maya.

The votaries of Vishnu claim that “Narayana alone is the form of the Lord pertaining to the Gods”: “the Supreme Shiva alone”, say the Saivites: “none but Ganapati”, proclaim the followers of Ganesh: “Savitr (the sun as creative godhead) is All”, say the worshippers of the sun. Men of Indra say “He alone”;  and “Jesus alone”, claim the Christians:  Allah is One, say the Mohammadans.  Then “he alone is Subrahmanya”, say followers of Skanda.

Furthermore, if one sees the usages in the Veda, like tam i mahe purustutam yahvam pratnabhir utibhih (11) it looks as if another name of Indra is yahva, the Judaeo-Christian Jehovah.  Perhaps ahla da (12) – Allah – is another name for the Person in the orb of the moon.

When such dispute arises among the votaries of various religions, what is the truth? On investigation, the Vedas give us no unanimous answer. Here, as we have hitherto said, we must reconcile distinctions in an overall harmony.

FOOTNOTES -
11- "We praise through new hymns, Him (JahveH) 
Who is hymned by all creatures."

12- Ahlada, delight. Moon is the source of delight.
young ramana

young ramana

..

In this context, here is the Vedic Rik:

“Indram mitram varunam agnim ahur         “They call Him Indra, Mitra, Varuna, Agni atho divyah sa suparno garutman.  and he is the divinely beautiful plumed Garutman Ekam sadvipra bahudha vadant –    One Alone existent; sages speak of it differently. Yagnim yamam matarisvanam ahuh”          They call it Agni, Yama and Matarisvan.”  

                                                                                                          Rig Veda 1.164.46  

On enquiry into the meaning of this mantra, some say these are alternative Names for the One God. Others point out that as the forms taken through maya are diverse, different Names are conceived. The latter view is better. Then only will it harmonise with that of other sages. Here even, the view of the followers of Nirukta that there are just three Godheads, is preferable.(13)

FOOTNOTE - 
13- Nirukta, the work of Yaska on Vedic etymology.  The three 
Godheads are Agni, Vayu and Aditya

..

Agni - the sacred fire

Agni – the sacred fire

           ..

WHO IS AGNI, THE PRODUCER OF SKANDA?

It is established that Guha’s form, pertaining to the Gods, is specific, amongst the forms taken through maya by Brahman with attributes.

Now in the mantra, the father of Skanda, Agni, is mentioned as vacadbhuh. Who is this? We shall enquire. There are five energies in the world – solar, lunar, electricity, physical fire, and the sound. Sound is not a quality but an energized substance, with the action of movement and the attribute of resonance.

A quality by itself is without action or attribute. The sound caught in a recording instrument is understood as a substance.   When sound is transmitted through an instrument to a great distance, it appears first as energy and then manifests as sound. This illustrates that sound is a vibration, or energized substance. Many Vedic Riks support this view. We shall cite only two mantras as example:

wood grain & cosmic egg

wood grain & cosmic egg

“Ima abhiprano numo vipamagresu dhitayah
Agney socir na didyutah.”
 

“Here we put forth loudly the words,  
in front of illuminations 
luminous like the blaze of fire.”

(Rig Veda VIII.6.7.) (14)

Here dhitayah are said to be luminous like Agni’s flame. Dhitayah are the words.

FOOTNOTE - 
14- Alternative translation by Sri K.Natesan for this Mantra: 
"We bow to the syllables, effulgent as Agni, foremost among
those who protect themselves, and others."

..

trinosofia 2 Lions

..

“Tam tva marutvati paribhuvadvani sayavari
Naksumana saha dyubhih.”
          

Sound, the divine Omnipresence
is One in Name 
with the Divine splendours”

            (Rig Veda VII.31.8)

Here vani – the word – is said to have a Name (naksamana)through dyubhih, energies.

..

Rudra Immerses

Rudra Immerses

..

This vibration of pervasive sound is also named as Sabda Brahman; the form pertaining to the physicality of the supreme Siva. Its Vedic name is Rudra. Yaska gives the etymology as one who cries, Rudra.   This same sound vibration known as Rudra is mentioned as vacat in the Mantra. When the sense of speech is spiritualised it becomes the manifestation of Sabda Brahman. Thus there is no difference between this vocalisation and Sabda Brahman.

In this manner, Kumara the young one is born from Agni. Here Agni pertains to sound and not to physical matter. The Mantra does not say agnibhuve but precisely, vacadbhuve in order to clearly indicate the truth. Though the word Agni is used in connection with physical fire, it also denotes any form of subtle energy.

Therefore, in the Name, the ordinary meaning flashes. The word vacadbhuva … flashes forth specifically the meaning of energised sound or Agni.

 

ganapati gives mantra

ganapati gives mantra – into his devotee’s hairy ear, he whispered sabda brahman – the unforgettable sound which never ends

 ..

THE MEANING OF SALUTATION Now we shall touch on the salutation itself, and what it signifies in the course of the japa.

There is a doubt here. Should we when repeating the Mantra imagine some divine form of Guha, to contemplate as our prayer?   or is the meaning of the salutation a simple notion that: “you are superior, I am inferior”?   Neither are proper. In both methods, we would with each repetition of the Mantra, resort to the idea that we are different, and imagine some form which is false and of little glory to the Godhead. The nature of our Self would be lost.

There is however, another, third meaning: the salutation is not to the gross body, but to the subtle body. The subtle body is the mind, its place the head. It bows.

trinosofia inner cave of light

trinosofia inner cave of light

..

Bhagavan the Master has said:

“Kirtyate hrdayam pinde             The Heart is said to be in the microcosm
yathande bhanumandalam         as the orb of the Sun in the macrocosm.
Mavah sahasraragatam bimbam           Like Moon’s disk is mind
candramasam Yatha”                 in the thousand petalled Centre.

                                                                                           Ramana Gita Chapter V.verse 13

When the mind bows down to seek the form of Self placed in the Heart, or to plunge itself into the effulgence of its own form placed in the Heart, this is bowing down, salutation. In both cases, we should not forget to see Skanda as the Self.

The japa of the Mantra thus performed, will seek our own realised Truth. It will not be polluted by any diversity.

Brahmana

Brahmana

 ..

Maharshi revealed the whole truth of these two forms of worship in a foot of this verse:  “Hrdi visa manasa svam
cinvata majjata va”           

“Enter into the Heart by the mind which seeks Self 
or which wants to take a plunge.”

                                                                                             Ramana Gita, Chapter II verse 2

trinosofia bird lamp

trinosofia bird lamp

 ..

Thus is revealed the meaning of the Mantra:

Om Vacadbhuve Namah

 “I enter or plunge into Bhagavan the Master,
who is the descent of Skanda,
as the true form of my Self”.

 Thus ends the First Chapter.

Sacred India Tarot - Parvati begins spiritual practice

 ..

..

..

**

  My adventure invites fellow travellers. I am a poet, an artist and a seer. I welcome conversation among the PHILO SOFIA, the lovers of wisdom. This blog is a vehicle to promote also my published work – The Sacred India Tarot (with Rohit Arya, Yogi Impressions Books) and The Dreamer in the Dream – a collection of short stories (0 Books). Watch this space.

aquariel link

All art and creative writing in this blog is copyright © Janeadamsart 2012-2014. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeadamsart.wordpress.com/  

Ganapati Muni’s Science of Mantra – Part One

Vedic goddess

Vedic goddess

Here’s a four-part post series for scholars!

I haven’t studied the layered meanings in Sanskrit.  But I learnt a few sacred Names and phrases along the way;  I hear the chanting and smell the sandal paste;  the syllables are long musical frequencies;  from in between them, emerge the tantras.  Tantra is the art of touch throughout the universe.  Needing to touch base with some of my Indian and Vedic threads, I turned to Ganapati Muni’s analysis of his mantric science.  I prepared this text in the 1990s from Sri K Natesan’s translation, for the Ramana Foundation Journal Self Enquiry.  Sri Natesan – a “grandchild” in the Muni’s sacred lineage – checked it for mistakes.

In the text the secret known to knowers of truth is mentioned:  when we truly know that we do not know – we begin.

..

“Guru Mantra Bhashyam”   by Ganapati Muni

Introduced and Translated by S.Sankaranarayanan
Adapted for English readers by J.A., with the help of Sri K.Natesan at Ramana Ashram

..

The Muni

The Muni

..

The eighteenth chapter of Sri Ramana Gita contains a series of verses which describe the characteristics of Ramana Maharshi. Amongst them, the tenth verse enunciates in the style of the Tantra, the Mantra by which the Maharshi has to be invoked.

Ganapati Vasishta Muni valued this Mantra very highly. When disciples approached Ramana Maharshi for elucidation on the Mantra, he directed them to the Muni. So Vasishta Muni decided to write a commentary on the 10th verse of the eighteenth chapter of Sri Ramana Gita for the benefit of aspirants. The Guru-mantra-Bhashyam was written in sanskrit and it was published along with the Text and Sri Kapali Shastriar’s Prakasha Bhashye (Commentary) of Sri Ramana Gita.

Considering the importance of the work and the wealth of spiritual insights it unfolds, a free translation in English of the whole commentary and Appendix to the Commentary is provided here, in four parts. Footnotes explain certain terms and concepts occurring in the commentary.

Meeting

Meeting

Ramana and Ganapati were spiritual brothers – Ramana the silent jnani or Realised One and Ganapati the tantric philosopher and poet.  Ramana was regarded as the embodiment of Skanda or Kumar:  Ganesh and Skanda are the sons born to Siva and Parvati. When the two wild young sages sat together in the caves of Siva’s hill Arunachala, Ramana taught Ganapati that the root of the mantra and of the breath are one and the same, to dissolve into Self enquiry.  Ganapati’s outpouring of verses to the Mother brought their ageless Saivite brotherhood into the 20th century.

Skanda and Ganapati

skanda and ganapati

..

Some years ago, Alan Jacobs and I wrote 55 sonnets on the Ramana Gita English version; the sonnet form was chosen, to interact imaginatively with the formal Sanskrit text, and as a spiritual practice. Here below, to provide the setting, is a sonnet based on verses 8 – 11 of Chapter Eighteen, Ramana Gita (see below). It contains our interpretation of the Mantra OM VACADHBUVE RAMANA.

butterlamp - Version 2

In Praise of Ramana:   Three

FROM grasping freed, his peace
in quantum abyss unheeding
restores our alchemy. He pilots the seas.
Ganapati child at breasts of Parvati feeding,
cried “Mother’s mine!” In her lap, Kumar his brother
replied, “Never mind, for mine is Father!
I rest in his right heart, he kisses my head!”

Give glory, elephant child, to He whose lance
in Kumar’s hand pierced hill to the heart, ‘tis said.
Boon bringer, pour poem from His holy glance
by Vedic vessel whence emerges Word
by power of Fire as mystic Sword.

Without a staff, our song you uphold –
ferryman, defend everyman from demon gold!

butterlamp boat

..

     THE VERSES FROM ‘RAMANA GITA’ CHAPTER EIGHTEEN

v.8     Free from infatuation, greed, distracting thought and envy, he is ever blissful. He is ever active, helping others to cross the sea of Becoming, regardless of reward.

v.9   When Ganapati saying ‘Mother is mine’ sat on the lap of Parvati, Kumara retorted ‘Never mind, Father is mine,” and got on to Siva’s lap and was kissed by him on the head.   Of this Kumara who pierced (with his lance) the Krauncha Hill, Ramana is a glorious manifestation.

v.10     He is the mystic import of the mantra ‘OM VACHADBHUVE NAMAH.

v.11     An ascetic without danda , yet is he Dandapani.   He is Taraka for crossing the sea of suffering, yet is he the foe of Taraka.

NOTE - Danda is a "Staff"or wand, yet Dandapani is the staff 
holder - even one who no longer uses it.  
The word Taraka means Deliverer, but "Taraka" was also the 
great demon Taraka who almost destroyed the universe. 
These are typical Sanskrit word-plays.

 ..

Sacred India Tarot - laws of Manu as the Hierophant - Ganapati the scribe near Arunachala

Sacred India Tarot – laws of Manu as the Hierophant – Ganapati the scribe near Arunachala

..

THE COMMENTARY ON THE MANTRA OF THE MASTER

“Om Vacadbhuve Namah Nahasyam”-
“Salutation to the Fire of Brahman whence emerges the word”

First Chapter: Pronouncing the Mantra
VERSE TEN, Chapter 18, RAMANA GITA

Vedådi påkadamanottara kacchapesair                 “He is the secret sense
Yuktair dharadhara susuptyamaresvaraisca           of the group of words arrived at
Suksmamrtayug amrtena saha pranatya                 by uttering the following Sampannasabda patalasya nahasyam artham*      Om Va ca dbhu, ve and Namah”

..

  • Vedadih “the beginning of the Veda”, or Pranama OMKARA (1)
    –Pakadamanat “from the destroyer of Paka Asura”, that is, Indra bija, whose letter is la
    –Uttarah the letter next to it alphabetically, that is VA ; pakadamanottara kacchapesah —the bija (2) of Rudra in His form as Lord of the tortoise Kurmesa” that is, the letter CA.
    With these letters OM   VA CA, – Dharadharah, the bija of the Mountain,
    the letter DA.
    Susuptih   the sakti power of deep sleep, whose bija is the letter BHA.
    –Amare-Isvarah “the Lord (Isvara) of the immortals” (Amara, deathless) – Rudra dwells in this Name, his seed-letter U ; therefore DBHU.   Yuktaih, “union” (at the beginning of the line) joins this with the letter DBHU.
    –Suksmamrta, whose Sakti’s bija is the letter E ;   Yuk joined to amrtena, (nectar) whose seedletter is the watery VA, form the letter VE.
    –Pranatya, (Salutation) unites with the suffix namah (3.) The Sampanna sabda patalasya group of words forms the secret of the mantra OM VACADBHUVE NAMAH NAHASYAM. This can be known only to the knowers of Truth.

 (Sabda is another word for Primordial Sound, Word, the Vedas, Omkara.)

 The secret (Nahasyam) of this Mantra is revealed only to knowers of Truth. To them alone can the artham or full meaning be outwardly expressed; as in the form of the king of ascetics, Bhagavan Ramana (4 ), when questioned by Amrtanatha. (Ch.18, Ramana Gita)

  • Thus   “OM Vacadbhuve Namah” is established as the Mantra of Bhagavan the Guru.

..

Sri Kapali Shastri - a disciple of the Muni - in the 1930s

Sri Kapali Shastri – a disciple of the Muni – in the 1930s

Kapali Sastri’s Commentary on this verse in the Ramana Gita, states in brief:

“By joining all these letters we arrive at the group of letters OM VACADBHUVE NAMAH.   This group of letters forms the Mantra. Its secret sense, known to the learned, expresses the meaning   “RAMANA WHO IS THE FORM OF THE DEITY INVOKED BY THIS MANTRA”.

Who is God, expressed in this Mantra ? Subrahmanya.   How so ? ‘Om Vachadbhuve Namah’ – Omkara is the supreme Brahman.   The word is indeclinable, and so it will make sense with all the case endings.   Vacadbhu, the field that creates, releases the Word, the Fire.   The fire became the word and entered the mouth.   So explains the scripture.   Born from the god who presides over speech is Vacadbhu, born from Fire, Kumara. Salutation to Him.

“This is not physical fire, but the effulgence of the word. In order to drive this home, in the Mantra, Agni is denoted by the word ‘vacat’.   It is the tradition of the Tantra Shastra to expound the Mantra by using words of similar sense.   Following this, the Master (Ganapati Muni) has expounded the Mantra of Subrahmanya.   The author of this work, our Master has been praising the Maharshi, as one born out of a portion of Kumara.   And so the essence of the Mantra is said to be Ramana.”

Kapali Shastri

..

FOOTNOTES - PRONOUNCING THE MANTRA:
* - Sri K Natesan states: "The literal translation is given here.
In Tantra Shastra (science) the mantras are not mentioned plainly 
and directly. There is a way of symbolic expression for which a 
working knowledge of their terminology is needed."

1 - pranava the letter OM:  the primordial sound from which the 
Veda, the word of revelation, has sprung

2 - The Tantra talkes about bijakshava, SEED LETTERS which contain
in a potential form what they would be manifesting. The SEED LETTER
is fixed for each Deity.  For example Indra's SEED LETTER is la. 
By convention, each SEED LETTER is connoted by one or more names.
The Bhija-nighantu, the Dictionary of seed-letters, 
gives the corresponding names.

3 - Pranati, bowing down, which is expressed by the word namah 

4 - This verse is one of twenty four verses in praise of the
Maharshi, at the end of which the questioner Amrtanatha addresses
him.
K Natesan & Vamadeva Shastri

K Natesan & Vamadeva Shastri (David Frawley)

 ..

..

The Detailed Commentary by Ganapati Muni now Continues :

If we are asked:   is not this mantra, the famous one of Skanda, mentioned in Tantric works like Saradatilaka? we say it is only the mantra of our guru, Bhagavan. It is known that Bhagavan Ramana, the Master, is avatara, descent of effulgence from the original guru, Skanda the Godhead, another of whose names is Sanat kumara(5)

Ramana sat in silence, then asked the Muni - "Did you write down all I spoke?"

Ramana sat in silence, then asked the Muni – “Did you write down all I spoke?”

THE BODY OF THE MANTRA

This great mantra is originally of six letters as vacadbhuve namah. It becomes a mantra of seven letters with the pranava which is usually employed by certain Tantrics at the beginning of all mantras.   Just as the five-lettered namah shivayah becomes six letters with the Omkara, so also here.   All godheads have four forms. One pertains to the spirit, the other to the physical, another to the gods and the last to the form of the mantra.

Elsewhere we find this vedic piece:

Vacam astapadim aham navasraktim rtasprsam       “Around Indra I create the body
Indrat paritanvam name                            of the Word with eight steps and nine parts
                                                                                 close in touch with the Right Law.”

(Rig Veda VIII 65.12)

By this Rik, the Rishi says that he creates the body of Indra, in the form of mantraThe Tantrics also say this:

Derike manavabhrantim                                   “To inferno he goes who mistakes
pratimasu silamatim                                        the guru for a man,
Mantresvaksarabhuddhim                          the idol in the temple for a piece of stone
ca kurvano nirayam vrajet.                                 and the mantra for a group of letters.”

 

Here the popular parlance that Gayatri is the Deity of the most famous Mantra, Tat Savitah serves as evidence. (6)   Gayatri is the Mantra itself alone,  not ‘a woman’; (this word indicates the name of a metre –  the feminine sakti as the name or vessel).   What does this establish?   that the body of God Guha in the form of mantra has six letters.   In this view that the body is formed by the Mantra, six letters become the six faces of the Lord.

Likewise, the five letters in the Panchakshara Mantra of the Supreme Shiva — NAMAH SHIVAYA — are his five faces. This is the same as the saying of the Mimamsakas:   that the Deity is formed by the Mantra.

vedic vessel

vedic vessel

..

 THE GENERAL MEANING OF THE MANTRA

  • Om to the One in the form of Brahman. As the word OM is indeclinable, it keeps the same syntax with all cases. As acclaimed in the Upanishads, the letter OM denotes Brahman.
  • Vacadbhuva – Vacatah “from one who speaks”, creates statements.   This is derived from Agni (god of sacred fire) in whose subtle form is the inner sense of ‘word’.
  • Bhu born, to Him Namah, salutation. It is well known that Skanda was born from Fire, Agni.
Agni

Agni

..

TO BE CONTINUED.

FOOTNOTES: GANAPATI'S COMMENTARY CONTINUES ...
5 - Chandogya Upanishad (7:26:2) equates Sanatkumara with Skanda,
and says that he takes ashore across the (ocean of) ignorance, 
the pure soul with constant awareness.

6 - "Tat savitur varenyam bhargo devasya dimah
Dhiyo yo nah pracodayat" -
"We meditate upon that excellent splendour
of the Lord Savitr.  May he activate our thoughts."

7 - Badarayana is the author of the Brahma sutras.  This Sutra
IV.1.5 says that symbols are to be regarded as Brahman, and 
not vice versa.  An inferior object has to be looked upon as
symbolic of the superior.

..

Ramana Maharshi

..

..

..

**

My adventure invites fellow travellers. I am a poet, an artist and a seer. I welcome conversation among the PHILO SOFIA, the lovers of wisdom.

This blog is a vehicle to promote also my published work – The Sacred India Tarot (with Rohit Arya, Yogi Impressions Books) and The Dreamer in the Dream – a collection of short stories (0 Books). Watch this space.

aquariel link

All art and creative writing in this blog is copyright © Janeadamsart 2012-2014. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeadamsart.wordpress.com/

 

 

 

 

 

 

Nilakantha and the Golden Constellation

..

Sacred India Tarot - Ramana as Skanda son of Siva

Sacred India Tarot – Ramana as Skanda son of Siva

Tensions are imagination trapped in illusory codes. The tension appears to have the power to materialise, but it has no substance after the thought.   Whenever I get through a bit of rotten concrete I turn and see how weak it is. The human lower mind is powered mostly by negative apprehensions. This is why it became embedded in our psyche and expectation, that we have no power to see above the hedges or to change direction – no power of Magic.

There is a huge gulf between general human bedtime, and the real human nature to draw together the stars and move with them consciously, joyfully.   The power and the dawn and the history of Magic is simply … this! to take up my bed and walk.

The tapestry is the stars and the Great Heaven:  quantum unity. This theme of the tapestry is mirrored back to me from persons I move with, this week: things they say. My tiny thread-loop in the tapestry stands in the lane at night and looks up at the sky.

murmuration by jchip84

Starling murmuration by jchip84

Back in history, some priests got hold of Magic and began to manipulate aspects of it with a tendency which grew and grew.   For a while they had power and the passwords to re-shape people and environment beguilingly.   It concealed from them, the Power.   They lost sight and lived inside dark glasses to write history. Tension bred and grew, which obscures and fragments the Power.   The political world is ruled by Tension, which manifests nowadays all our yesterdays.   But I see the Power and I see the monster in the waves.   The Power is hauling it up and out to be seen.   Tension appears eternal (so does hell) but in due course it breaks and self destroys. It dismantles.  It is rotten concrete whose reinforcing wires get rusted and snap.

The Tension which obscures the Power is separative.   By “separative” I do not mean the sword-tip which parts the elements to live with and enhance each other, like brush strokes of colour.   “Separative” is the dreary default dream-like notion that I am an isolated object, and therefore powerless, a frightened wage slave, reading only the headlines.

..

Robert and seek

The Power which dissolves the Tension, is “all there is”.   There is as Robert used to say – the power that knows the way.   I need only turn toward it voluntarily, and see.   This is metanoia: a word meaning ‘repent’, in the sense of ‘turn around to face the light’.   Whenever and wherever this happens in the world, those stars come out and form a constellation linking oceans: a golden net.

..

I just came across this, in Katie Spero’s blog Let Yourself Learn: – together with a golden mountain and what happens when the subtle thread to your friend strengthens over the ocean:

“When you part from your friend, you grieve not;
For that which you love most in him may be clearer
in his absence as the mountain to the climber
is clearer from the plain.”

Kahlil Gibran

..

Siva - Rudra the Wild Hunter

Siva – Rudra the Wild Hunter

A Story – adapted from Alan Jacobs’ “Myths of Siva: Siva Nilakantha”

“Once upon a time the Gods in heaven and Demons in Hell formed a parliament. To create ambrosia, they planned to churn the Milky Way as if to make butter.  They tore great Mount Mandarva from its roots, for a churning stick; Vasuki, snake of the world became the rope.  

“As they whirled and stirred the celestial ocean, to their horror there rose to the surface, a hideous black oil-slick – Kalakuntha, the world’s poison:  Time itself.  The Gods and Devils in terror like smart young ladies seeing a mouse, appealed to Lord Siva. 

“Siva dipped his hands in the sea. Drinking the poison to the last drop, he held it in his lily  throat which – as if kissed by a serpent – turned a sinister peacock blue.   Now named Nilakantha, Blue-throated One, he retired to his cave in Mount Kailas.  All the sages and rishis made their pilgrimage.

kailas and manasarovar

kailas and manasarovar

 

“Ramana on Siva’s hill Arunachala says, ‘When the selfish thought returns to the Self, Self-awareness shines, distilled and pure:  the elixir of health and wholeness, ever enduring.’

ramana sketch

..

“Mixing too much with the world, I swallowed poisons  churned up by confusing my activities, good and bad.   With a deep exhalation, I cleanse my body.   Drawing in fresh prana, I use that attention to dive within and find in my heart’s cave, Siva Nilakantha … ever illumining those who, from dreaded Kalakuntha, call upon His transmutation.”

Alan Jacobs 1993

 

“Within a cavern of  man’s trackless spirit
is thrown an image so intensely fair
that the adventurous thoughts that wander near it
worship, and as they kneel, tremble and wear
the splendour of its presence, and the light
penetrates their dreamlike frame
’till they become charged with the strength of flame.”

Percy Bysshe Shelley

Siva - Rudra Immerses

Siva – Rudra Immerses

..

..

..

**

Gene Keys Golden Path Program

My adventure invites fellow travellers. I am a poet, an artist and a seer. I welcome conversation among the PHILO SOFIA, the lovers of wisdom.

This blog is a vehicle to promote also my published work – The Sacred India Tarot (with Rohit Arya, Yogi Impressions Books) and The Dreamer in the Dream – a collection of short stories (0 Books). Watch this space.

aquariel link

All art and creative writing in this blog is copyright © Janeadamsart 2012-2014. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeadamsart.wordpress.com/

Sacred India Tarot Archive: Arrows Queen & King – Draupadi and Garuda

 ..

Shape shifter - Eagle King (2002)

Shape shifter – Eagle King (2002)

With the Queen and King of Swords (Arrows), this suit transmutes to its creative realm of power and grace – Indra’s thunder and Draupadi’s forest magic.

Sit in the forest and hear the rainfall: the swords of the sunlight, reaching earth.  Throughout the suit of Arrows which express the Laws of Heaven, we lived, accepted and illumined our Shadow.  As often said before in this series, the Arrow turns into a Wand – a staff of authority – powered by eagles’ feather.

caduceus, staff of hermes

Rohit’s Notes – 2004 “Some things about Draupadi are very clear.  She was fantastically intelligent, very beautiful and a very tough cookie.  She was also in all the descriptions rather voluptuous, and – we need to be very careful about this – her skin was black.  

“In fact, her first name was Krishnaa – the feminine of Krishna –  and it means the same thing: Black.  She had extremely long unbounded hair.  She is like the Queen of pentacles, but without the softness;  a more intense, slightly angry expression, as her temper was famous, and holding a bow and arrow as she also practiced archery.  Her dark skin is essential;  for too long, India has depicted her with peaches and cream.  She should be clad in sky blue clothing.  She had a peculiar preference to stand and dispute matters with her husbands the Pandava princes instead of sitting down.  So she should be standing upright, perhaps leaning on her bow.”

Vedic bow and arrow

..

Jane’s Notes – This Queen is liberated from prejudice and cruelty to the feminine.  She is no copy or competitor of the male.   She stands in her strength and knowledge, having loved her men, carried their children and won her battles.  She has in her the hidden force of the forest, the earth and the stars.   Her consort is the Eagles’ strength and vision, riding the skies and watching the rivers.

This woman bears fruit, wherever she is not demonised by civil wars, religious dogma and the media.  The shadow of sexual ignorance, inflation and persecution is still a core wound of our world today, in every form of waste and tribal conflict.  But the liberated core eros, the rose of life in men and women, is human evolution … and wide like an eagle to the sky, it opens wings.

Look within my mind, when it is closed.   Whose battle standard do I blindly follow?  Whom am I taught, by political Spin, to hate? – where do I vote with the herd, without knowing?   The Spin-word is interesting, implying the random placement of a gaming wheel.  I borrow my opinions from other opinions, and put my stake on them.

This woman has no stake, but truth.   Do you dare?

SITA visual reference - Draupadi

SITA visual reference – Draupadi

..

Rohit’s Notes – from his Book with the Deck: “One of the greatest and saddest women in Indian myth is Draupadi – the dark beauty – the daughter born of Divine fire to King Drupada.  She is one of the five exemplars of chaste, wifely devotion (the original meaning of Siva’s first wife Sati) and yet her Karma caused her to simultaneously have five brothers as husbands. 

Sacred India Tarot - Krishna in Mahabharatha

Sacred India Tarot – Krishna in Mahabharatha – Detail

“In an age of polygamy, rife with hatred and jealousy, Draupadi was universally acclaimed for not only living in peace with her husbands and their co-wives, but for having gained their overwhelming love and respect too.  For everyone she was the pinnacle. 

“The inspiring eloquence that characterised her speech gave her the best lines in the Mahabaratha epic.  Her best friend and only intellectual equal of the day was the god Krishna.  Draupadi was as great a warrior as her husband Arjuna, as wise as his eldest brother Yudhistara, as tempestuous and generous as the middle brother Bhima, as versed in statecraft and the arts as the youngest twins, her husbands Nakula and Sahadeva, and yet left doubting if any of them really loved her.

“She was also the most beautiful woman of her time, and her great spiritual powers had rendered her eternally youthful.  The epitomy of grace under pressure, she would not however, forgive and forget lightly.  Every injury and slight had to be avenged, preferably in blood, and crossing her was normally a death sentence.  Yet she could display a calm mercy when everybody was seething for blood; her most magnificent moment being sparing the life of her childrens’ murderer.

..

“In a reading:  Hugely talented and capable people … having tasted sorrow, they prefer to go it alone.   Independent action and thought … Extremely charming and persuasive but … very combative on behalf of those they like, of for issues they believe in … Cannot be manipulated or emotionally blackmailed.

“Shadow – neglectful in relationships, especially of children …   Intolerant and troubled.  Detached misleading flirtation which lands other persons in hot water.  Divorce, separated, widowed, multiple relationships or the energy thereof … Cold fury if crossed.  Dangerous enemy.   Are you trying to do everything by yourself?   Unlucky in love?  Do you need to manifest your strength and not depend on others?”

I drew these two Queens (and many others) when I was about eight years old.

..

SACRED INDIA TAROT – Queen Draupadi of Arrows is a wild dark huntress, like Diana in the west – a formidable encounter for any unprepared male. Note the snake around the sinuous tree. The publishers of the deck requested she wear pantaloons, respecting the conventions in contemporary Indian art; but here is the original drawing.

Sacred India Tarot - Queen Draupadi of Arrows

Sacred India Tarot – Queen Draupadi of Arrows

..

..

Through the Royals in the Suit of Arrows, a shape-shifting occurs, as the animal kingdom – the animal soul – becomes integrated and uplifted into human consciousness.   Hanuman the Knight  embodies the simian intelligence, loyalty and strength – our ancient vital thread in the gene pool.

Garuda the King has an eagle’s face and wings.

Eagle King shape shift 2

..

As a friend of mine wrote:  “the dung of the eagle flies higher than we do.  The dung of the ox falls deeper than we do.”  We ignore or disrespect our elder animal nature at our peril.  We know very little of our ancient Friend.  We try to make a pet of it.

In Pullman’s His Dark Materials, each human (rightly) was companioned by his or her animal daemon, furred or feathered:  our essential gravity..

..

Rohit’s Notes (2004)  “I am prepared to go with Garuda instead of Yudhishtara (original choice).  The two Kings of the Air could be Garuda and Indra, both atmospheric AIR signs, which is after all the suit of arrows.  The illustrations depicting Garuda and Indra could be used as a base, though Indra should probably be shown in profile.

SITA visual reference from comic book - Indra & Garuda

SITA visual reference from comic book – Indra & Garuda

Correspondence – Rohit “Gautam, we need a picture of a vajra, the thingie that is on top of our meditation bell.  I will try and bring pictures with me.  Do a search of Tibetan vajras on the net.  Garuda articles and the Garudra Indra picture from the comic we have scanned already so that is no problem.  Take a picture of your Garuda and send it to Jane.

Tibetan Vajra

Tibetan Vajra

 “Indra’s Vajra could be drawn in a somewhat Tibetan style.  Garuda could be shown conventionally, but the colours should be carefully maintained.  Golden body, white eagle face and blood red wings characterise him.  Indra can be clad in the white silver and blue to depict his role as Lord of the sky and winds and rain.

“I prefer to go with this option, because we get Indra who was after all a major player in the Vedic faith into the pack, and we also get Garuda in, and he is the ‘Michael’ archetype as seen by Indian eyes.”

Shape shifter - Eagle king 3.  These shape shifters had an Egyptian archetype in mind, but serve as well to develop the concept of Garuda.

Shape shifter – Eagle king 3. These shape shifters when I drew them, had an Egyptian archetype in mind, but serve as well to develop the concept of Garuda.

..

From Rohit Arya’s Book with the Deck:  “Garuda the senior servant of Vishnu, and Hanuman the junior servant, are the strongest of the strong powers in the universe.  However, both these great beings have dedicated their lives to service instead of using their powers to rule over the cosmos … 

“Garuda the cosmic Eagle was the child of the rishi Kashyapa.  Between his mother Vinata and her co-wife Kadru, mother of serpents, there was sufficient bad blood and malice for Vinata to become Kadru’s slave.  To ransom her, Garuda undertook the forcible removal of amrit – elixir of immortality and source of the power of the devas.  This brought him into reluctant conflict with the Indra, King of the Devas.  Indra chose discretion as the better part of valour, and made an ally of Garuda, craftily blessing him with eternal rights over snakes as his food!

“Garuda’s strength is so megatherian, that one single feather of his wings can hold up a planet.  Behind the titanic roaring of his wings can be heard the eternal hymns of the Vedas.  His unblinking eyes denote his conquest of sleep, and his infallible gaze penetrates all.  His aura blazes like the fires of cosmic destruction.  Repeating his name thrice keeps snakes away at night … 

In a reading:  Mentors and guides. Wise and knowledgeable about human nature.  Powerful analytical mind and … unexpected sense of humour.   More head than heart.  Intolerance of restrictions and conventionality … Good at romance, but it doesn’t interest him!  Values respect over likeability, knowledge over feelings, lofty ideals.  Fierce warriors if need be.

Shadow:  Easily bored and mind scatters itself … Exaggerated lone-wolf attitudes – don’t involve me.  Fine judgement becomes judging others … the fearsome mind is a weapon used to wound.

“People would like you, even love you, if you gave them a chance.  Unbend and relax a little.  Sometimes the most intelligent thing may be to listen to your heart.”

..

Durga shoots buffalo king

Durga shoots buffalo king Mahisha.

Among hunter communities of the Pandyan lands, whenever the community experienced hardships, they used to choose a young girl from among their clan, decorated her like Durga, and worshiped her as Mahishasura-mardhini, the one who killed Mahisha, the buffalo.  One of the decorative features of this girl was that an eye was painted on her forehead.  (Reference: http://frontiers-of-anthropology.blogspot.co.uk/2013/12/guest-blogger-jayasree-is-vedic.html )

I include this snippet, because the Eagle’s ascent through Garuda IS the opening of the third eye, as seen in the sketches and in the finished painting below.

..

In the end, I chose to let Indra be Garuda’s “celestial background”.  Garuda is Master of the skies and Indra is the lightning flash.

SACRED INDIA TAROT – The King of Arrows:  Garuda is half an eagle. His human face is a double eagle, as in alchemy. The eagle’s vision flies as high as the serpents travel deep.

Guided by Indra’s Lightning, Garuda is a great ruler. He balances Planet Earth lightly on a feather, raises his arrow like the Queen of Justice in the west, and contains his Yogic ojas – the male seed. Before him, the Caducean pair of serpents rest on the ground, entwined.

Sacred India Tarot - King Garuda of Arrows

Sacred India Tarot – King Garuda of Arrows

..

Correspondence:  Gautam and Rohit to Jane – 2 March 2005 “Hi Jane, herewith Rohit’s feedback.  Warm regards, Gautam.”

“Gautam, the Garuda with the Indra looking over his shoulder is fantastic.  The Draupadi is very good too – as good – though she will need a dhoti-trouser instead of the mini she is currently wearing. Otherwise she will be confused with tribal Rakshasee Hidambas, mother of Ghatkolkacha, son of Bheema.  Like with Durga, the dhoti-trouser look is best, both authentic as well as uncontroversial.  Also, people will not buy a poster of a Draupadi in a mini skirt.  But the way she has been captured – this is the real Draupadi.  

“Fantastic cards.   Rohit.”

female golden eagle returns to nest.  www.nickdunlop.com

female golden eagle returns to nest. http://www.nickdunlop.com

I like to see this great Mother come back as she always does, to nest and feed her little King.  Garuda, Indra and Draupadi – may You go forth, and may our heart and eye and mind remain wide open to Your blessing and freedom.

Vedic Hymns to Indra

In the ascending slope of the mountains,
in the confluence of the streams,
by the Goddess-understanding the sage was born.

Hence being conscious at the summit
he looks down upon the sea
from which vibrating, he stirs.

Then they see the morning light
of the primordial seed when beyond Heaven
it is enkindled.

The imperious hawk, the song bird taking the stalk,
the joyous delight from the beyond, brought the Soma.
Godlike, the bird grasped it firmly,
which he had received from the highest heaven.

The hawk took the Soma he received
through a thousand times ten thousand effusions.
Thus the Goddess of bountiful intelligence abandoned the ungiving;
in the ecstasy of Soma she in wisdom
abandoned the foolish.

“The knowledge of the Self is the hawk or eagle, the bird of the Sun, the free spirit.  It carries the highest bliss, which it effuses infinitely.  The Goddess of bountiful intelligence is the consort or mind of Indra, our own soul that is released through this knowledge of the Divine I am, the I am All …”

Translation and commentary by David Frawley (Vamadeva Shastri) “Wisdom of the Ancient Seers” Motilal Banarssidas, Delhi, 1994)

Indra

Indra

The Sacred India Tarot Archive series in this blog will conclude with the Suit of Wands (Staves) – episodes from the Ramayana epic, including the crossing to Sri Lanka to liberate Sita from the demon Ravanna.

..

..

..

**

      For other Sacred India Tarot posts, look under Recent Posts, Search, or Archive of All Posts in the title bar.

Rohit Arya

Rohit Arya is an Author, Yogi and Polymath. He has written the first book on Vaastu to be published in the West, {translated into five languages} the first book on tarot to be published in India, co-authored a book on fire sacrifice, and is the creator of The Sacred India Tarot {82 card deck and book}. He has also written A Gathering of Gods. He is  a corporate trainer, a mythologist and vibrant speaker as well as an arts critic and cultural commentator. Rohit is also a Lineage Master in the Eight Spiritual Breaths system of Yoga. 

Earlier posts about the deck, including the first 15 Major Arcana archives are in http://aryayogi.wordpress.com   The deck is copyrighted (c) 2011 to the publishers, Yogi Impressions Books pvt, and available also on Amazon and internationally.

..

Jane Adams

My adventure invites fellow travellers.  I am a poet, an artist and a seer.  I welcome conversation among the PHILO SOFIA, the lovers of wisdom.

This blog is  a vehicle to promote also my published work – The Sacred India Tarot (with Rohit Arya, Yogi Impressions Books) and The Dreamer in the Dream – a collection of short stories (0 Books). Watch this space.

All original art and creative writing in this blog is copyright © Janeadamsart 2012. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeadamsart.wordpress.com/

Nesting Tetrahedrons – the Point from In Between

..

tetrahedral cube 93

..

When a triangle’s centre point is produced into the 3rd dimension, perpendicular to the plane, it forms a Tetrahedron – whose sides are four equilateral triangles, the most stable form in platonic geometry.

nesting soul tetrahedrons

nesting soul tetrahedrons

Nested Tetrahedrons: Unity of Above/Below, Point, Centre, Sides

Existentially, the 4th dimension extends individuated consciousness, to encompass as a whole, the world, the passage of time and space, community and nature’s eco-system.

The Tetrahedron in this sketch, contains a small inverted Tetrahedron.  The four points of the inverted Tetrahedron touch from inside, the centres of the upright four surfaces.  This demonstrates connectivity through centre-point, faces and polar opposites, as a philosophical tool.

In India, as in western Alchemy, the ascending triad is male, Siva.  The descending triad is female, Shakti.  Upon their equal inter-wovenness rests the lattice of our universe – nature, conception, orgasm, childbirth.

This Sri Chakra Yantra (from my drawing, tattoo’d on someone’s wrist) shows the interwoven lattice, through nine horizontal “strings”.  The centre dot, the bindu, comes from in between the lines which form the triangle-bases: yet upon it, the whole design depends, for the point is infinite.  Around it, the womb triangle (flattened shape) holds the Siva Shakti pattern in place, and draws the consciousness inward.

Sri chakra yantra - tattoo'd on someone's wrist

Sri chakra yantra – tattoo’d on someone’s wrist

We can enhance our relationships, our work and our human tantra with these contemplative models, which touch on the 4th dimension, perceptually.   The mysterious point from in between, touches itself always.

 centre corner cube

From triad, the extended 4th point includes awareness of the breath, and unique centre of gravity – as shared with every human being, creature, flower and rock.

This factor through empathy, liberates.

Blessed are the cracked, for they let in the light!

Being the point from in between our mother and father, forces us to be honest – the capacity to receive both sides.  True to the point from in between the “mores” , we are vulnerable, unfixed and fluid – a spiritual and human growing-curve.

Philosophically, the Triad is a realization of the One through Two. The One is always dynamic, like the child through the parents.

seal solomon tetra

My contacts with friends, colleagues, society and serendipity are interrelated.  The same deep connection flows through all. The contemplation is a Oneness? …  moving towards oneness.

sex spirit integr

..

Jung’s therapeutic aim was to journey with his client, into the “don’t know” point – into the mysteries of existence and the creative potential they release.

ha App0115

In my portrait painting days, a “connection” became tangible in the space between myself and my sitter.  It was like a let-down reflex.  I knew then that the work could be handed over to its Knower in the centre field.  However hard it might be, it would turn out well … because it was already Known.

The connection feels like a third entity – where my subtle body receives and welcomes the other’s “imprint” –  and it is full of life.  Something relaxes inside.

When A (a healer) and C “connect”, they arise out of duality in the same way. They embody and share this aim:

A C triad 1

The moment where past and present converge, holds its own future.   We receive our “future” through integrating time and being in time.

What is “past” is the deep well beneath my feet:  the root of my tree.  Past and present together are a paradox through which I move forward, and empathise more with others …

– “the intra-connectivity:  an observer’s ripple through the human quantum field – the butterfly wing effect” –

Sketch for Ushas, the Vedic dawn

Sketch for Ushas, the Vedic Dawn Goddess

..

..

..

**

My adventure invites fellow travellers.  I am a poet, an artist and a seer.  I welcome conversation among the PHILO SOFIA, the lovers of wisdom. This blog is  a vehicle to promote also my published work – The Sacred India Tarot (with Rohit Arya, Yogi Impressions Books) and The Dreamer in the Dream – a collection of short stories (0 Books). Watch this space.

aquariel link

All art and creative writing in this blog is copyright © Janeadamsart 2012-2014.
May not be used for commercial purposes.
May be used and shared for non-commercial means
with credit to Jane Adams and a link to the web address https://janeadamsart.wordpress.com/

**

 

Creation of the Sacred India Tarot Archive – The Royal Lotuses (1)

Aniruddha & Usha - photo credit Wikipedia

Aniruddha & Usha – photo credit Wikipedia

Another love-story among Siva’s meditations …

Sacred India Tarot 3 of lotuses - Version 2

Rohit’s Notes:  Aniruddha the Son of Pradayumna

“This is yet another Krishna clone, except for his extreme youth.  He was only sixteen when he heard the thousand armed King Bana had a daughter who had fallen in love with him.  He set off to win her, getting into all sorts of trouble from which he had to be rescued by Krishna and Pradayumna.  The volatile impetuous nature of extreme youth and extreme emotional susceptibility is what is sought to be conveyed here.  A very young Krishna type, hurtling along a river bank in a chariot, with a beautiful girl alongside him, would capture the card.”

..

cb-skaa_large_1

Rohit’s Notes in The Sacred India Tarot book: 

“The Dwara reveals:  Aniruddha, grandson of Krishna and son of Pradhymna, is the archetypal dashing romantic hero.  He was a favourite of the royal palace at Dwaraka, and consequently he developed extreme confidence and panache.  Being abundantly talented and able, his high opinion of himself was not entirely unwarranted.  By the age of seventeeen, he was already one of the most desirable matrimonial catches of ancient India.  Usha the daughter of the neighbouring King Bana, seemed especially susceptible to his glamour, without even having seen him.

That was superfluous, as she had dreamt of him and got her friend to draw his accurate likeness! 

“The helpful friend inflamed Aniruddha with accounts of Usha’s fathomless love and certain languishing decline, if she did not soon wed him. 

“The young man sets off without even bothering to inform his family.  Usha and Aniruddha get married by the Gandharva ceremony – a marriage without the consent of parents, and solemnised by an exchange of garlands – for they are in a hurry to enjoy connubial bliss. 

desire..

Sacred India Tarot 4 of lotuses version 1 - Version 3

“When Bana comes to know his only daughter is hiding a young man in her room, he quite justifiably flares up.  The happy couple flee precipitously, but Bana, blessed with supernatural powers by Siva – a thousand arms being the least of them – overtakes them.  Aniruddha puts up a decent fight but is outclassed and taken prisoner.  Krishna and his father have to rescue him and reconcile Bana to the situation. 

“Bana has no real objections, once he cools down, but this heedless haste and dazzling disregard of the social proprieties makes his wrath excusable, as Krishna kindly points out to the young couple.” 

..

Lord Krishna

Lord Krishna

..

SITA The Chariot - detail

Sacred India Tarot Archive, The Chariot – detail

Jane’s Notes

The god Krishna, in the Vishnu lineage, enters the Sivaic Lotus Suit here, much as Vishnu and Siva interact among the snowy peaks and passes of Himalayan Garhwal – sources of the upper Ganges.  Krishna’s divine task is “to restore the Dharma” –  he descended with the forces of order through the epic chaos of civil war in the Mahabharatha.  Vishnu sustains Cosmic law.  Other offshoots of the Vishnu Archetype include Gautama Buddha and Yeshua son of Miriam.

Krishna was Aniruddha’s grandfather.  The elder generation are brought in as mediators:  the parents were too close to the emotional situation and “the done thing”, for clear sight.

Rohit’s interpretation of this card goes on to discriminate genuine new stages of emotional growth from muddled or scatter-brained romance … in other words, truth from delusion.  “Love or romance comes unasked into life.” Neither of the ardent young couple in the chariot are looking where they are going – they have eyes only for each other!  (See below)

Yet they are instruments of destiny, as they intuited before they even met.   The headlong force of destiny is captured in the river which flows down the valley from the mountains.  They awaken within the Lotus bud of the gods.

The marriage of Siva and Parvati in the Suit of Lotuses, eroticized the landscape on Earth among princes and fair maids.  A powerful mutual attraction generates much Karma and Drama, and rocks the boat – a task for the gods to sort out, indeed!

..

The Sacred India Tarot - Page of Lotuses:  Aniruddha the son of Pradayumna

The Sacred India Tarot – Page of Lotuses: Aniruddha the son of Pradayumna – the completed card.

..

What is the message here?  What Consciousness, or elixir, through the flow of events?

..

..

Sketch of Stella Kramrisch - JA 2012

Sketch of Stella Kramrisch – JA 2012

Rudra Plunges into the Waters
by Prof. Stella Kramrisch, Princeton University Press 1981

A Commentary on texts from the Mahabharat,  Rig Veda  and Linga Purana. Here are some further extracts from Chapter Six of Stella Kramrisch’s scholarly and visionary work, The Presence of Siva.  (See in this series, Creation of Sacred India Tarot Archive – Ace of Lotuses and 6 of Lotuses).  Raudra Brahman,  or RUDRA the Wild Hunter,  was the original Vedic form of the god Siva and his fiery derivatives.  “He Emerges from the Poem of Ancient Power”.  A profound and paradoxical cosmic philosophy is reflected in Kramrisch’s cyclical style.

Rudra is primaeval.  The Presence standing behind the Myths of Siva, is woven through the stories of Siva and Parvati’s courtship in Sacred India Tarot’s Suit of Lotuses.

Tao and Time - Child Rudra-Siva

On Tao and Time – Child Rudra-Siva

..

“TIME HAD been the antagonist of Rudra, who was at the very beginning the hunter and avenger.   But for this, the arrow of the hunter would have struck its target as soon as Rudra had noticed the Father’s behaviour.   The union of Father and daughter would have been prevented, and no seed would have been shed.

“In another sense, time cooperated with Agni-Rudra,  who had prepared the seed – its purpose being to be shed –  whereas time antagonized Rudra.   Time interposed itself between the intention of the hunter and his target, and made the arrow hit the target at the most vulnerable moment,  so that some of the seed was spilled and fell down to the earth.   Rudra, guardian of the Uncreate,  partakes of its timelessness,  but insofar as he played his part,  time itself meted out his actions.   Time carried his arrow at its own speed.   The guardians of the timeless Uncreate were overtaken by the delaying action of time.

“The transition from the Uncreate into creation, from timelessness into time,  is a danger zone.   The wound that Rudra inflicted causes havoc among the gods – from aeon to aeon.   But when Brahma was about to consume in a holocaust the cosmos he had created, the moment had come for Rudra to confront time and to infuse it with his being.

“Although time does not appear as a persona in the myth of the creation of death, its presence lurks in the urgency of the fire of total extinction born of Brahma’s wrath.

pebbles, somerset beach

..

“STHANU the motionless pillar, moved – although quiescent – by pity for the creatures of Brahma threatened by total extinction,  begs him to grant them renewed life and the activity arising out of and alternating with death and quiescence.   For them, time will not end with death:  they will return after a period of quiescence in a new birth.   Time will carry them through repeated births and deaths to the end of the aeon.   Rudra’s time is a form of the Great God’s compassion for all creatures.

..

[STHANU is the motionless pillar of all being.  Sthanu out of the quiescence of his stance, prevailed on Brahma the Creator of time and space.   Death and rebirth thenceforth came to be interwoven in the pattern of time, due to Sthanu’s compassion for creatures.]   

STHANU gives death its place in the renewal of life, a transpersonal life carrying the here and now in indefinite repetition to quiescence and a new beginning,  until the Great God absorbs in his dance of annihilation the uncounted rhythms he has released.  Charged by Brahma to create living beings, Rudra created immortals of deathless vitality before he turned into a motionless pillar,  self-contained in stillness.

Vastospati as Jyotish Guru;  Swan of Brahma

Vastospati as Jyotish Guru; Swan of Brahma

..

“According to another tradition however, the Great Yogi carried out Brahma’s command to create living beings by plunging into the water and then by castrating himself when asked to produce creatures.   Saying at first that he was unable to produce creatures, Rudra plunged into the water.   He practiced tapas, austere in creative fervour,  over a long time.   Rudra, deeply immersed in the water,  was absorbed in the task to which he had responded according to his yogic nature,  believing that one without fervent austerities is not able to create creatures.   Full of expectation, Creator Brahma waited all that time.   Nothing happened, and Brahma turned to another being whose name was Daksa.   Brahma made Daksa the creator of all living beings.   Seeing Rudra immersed in the waters, Daksa his substitute created living creatures.   As soon as they were born, they ran toward him.   They were hungry and wanted to devour him.   Daksa turned to Brahma to protect him and to assign food for them.   Brahma gave the living creatures herbs and plants, and gave the weaker creatures as food for the stronger.   Brahma, the Puranic version of Prajapati the Father,  in creating Daksa, recreated himself.

“At last Rudra rose from the waters and saw the living creation.   At the sight he became angry, tore out his phallus and caused it to fall into the ground,  since no purpose would be served by it.   By his ardent exertion he had diffused his splendour into the waters, created the plants and healing herbs for all creatures.   The plants would multiply like those whose food they were to be.  Without them, the living beings would have died.   Cheerless and in rage, Rudra went to the foot of Mount Mujavat to practice asceticism.

“Rudra the Wild Hunter is Agni, Fire.   He plunged into the waters where life was generated by his heat, by the fervour of his asceticism.   The waters are Agni’s resting place, his secret refuge when he – like Rudra – is charged at the sacrifice with an onerous task to perform.   His flight from the sacrifice into the flowing waters is a withdrawal from action, a merging of himself in himself.

..

Rudra Immerses

Rudra Immerses

..

“Agni hides in the waters, but at other times he is seen,  a shaft of light from on high speeding to the shiny plane and resting there,  the pillar of heaven glowing like the sun.   It is the leg of the sun.   With its one foot it steps out of the beyond.  Thus its name is Aja Ekapad, the uncreate One-Foot.   The light from on high plunges into the waters – as Rudra did – and shines forth,  vibrating from the body of Rudra in solar and lunar rays.   Agni and the uncreate One-Foot merge the images of their light with that of Rudra.   Rudra, who is the very self of yoga,  is often described in terms of effulgent light.   Light is the progenitive power.   Bathed by the water, Rudra the young ascetic kindles the water with his creative fervour (tapas)  and life stirs.  Plants grow from the contact.   The plants will be the food of living creatures moving about on earth.

“When Rudra entered the waters, he was like that great wondrous presence that strode in creative fervour on the crest of the sea.   That mighty presence was a consecrated celibate, as Rudra is, young and ardent.   Absorbed in creative fervour, he stood in the sea,  in the ocean.   He shone on the earth.   He glowed with utmost inner exertion, the heat of creation.

Primrose Path - 1987

Primrose Path – 1987

..

“These are likenesses of Rudra.   They are identical with him.   Agni and the uncreate One-Foot are cosmic figures.   The world of man however, lends the human figure to the consecrated celibate, a student who fervently exerts himself in mastering,  transmuting and transcending the psycho-physical body.  Rudra had sprung from the wrath of the Creator,  from the fury of his frustration.   … Though he was Brahma’s mind-born ascetic son, he accepted the paternal mandate and created life,  though not through procreation.   He plunged into the water, where the plants derived their nourishment from his presence.   They pass it on to man.   Rudra is “the food of the living beings everywhere.”

Stella Kramrisch,
“The Presence of Siva” – Princeton University Press 1981

 ..

• The plant soul is pure, less individualised than those in the animal kingdom.

• Brahma is the Puranic form of Prajapati the Vedic Creator Father

• The immersion of Rudra’s fiery seed in the feminine waters harbingers the yogic intercourse/stillness of Siva and Parvati together as Ardhanarisvara,  lasting a thousand years.

• The daily Vedic chanting at Ramanasramam includes as it did in Ramana’s lifetime, the NANAKAM,  the Hymn to Bhagavan Rudra.   English translation is available in booklet form from Ramanasramam.

• Mythology has no rigid defining line.   Stories change a little with each generation of the telling, and through different angles of vision,  as water flows into itself.

J.A.


* See Ace of Lotuses:  for the mythology of the Father,  the Dawn,  and Rudra’s arrow  – He comes from the Poem of Ancient Power.

Sivalinga on Arunachala inner path

..

..

..

**

For other Sacred India Tarot posts, look under Recent Posts, Search button, or Archive of All Posts in the title bar.

Rohit Arya

Rohit Arya is an Author, Yogi and Polymath. He has written the first book on Vaastu to be published in the West, {translated into five languages} the first book on tarot to be published in India, co-authored a book on fire sacrifice, and is the creator of The Sacred India Tarot {82 card deck and book}. He has also written A Gathering of Gods. He is  a corporate trainer, a mythologist and vibrant speaker as well as an arts critic and cultural commentator. Rohit is also a Lineage Master in the Eight Spiritual Breaths system of Yoga. 

Earlier posts about the deck, including the first 15 Major Arcana archives are in http://aryayogi.wordpress.com   The deck is copyrighted (c) 2011 to the publishers, Yogi Impressions Books pvt, and available also on Amazon and internationally.

Jane Adams

My adventure invites fellow travellers.  I am a poet, an artist and a seer.  I welcome conversation among the PHILO SOFIA, the lovers of wisdom.

This blog is  a vehicle to promote also my published work – The Sacred India Tarot (with Rohit Arya, Yogi Impressions Books) and The Dreamer in the Dream – a collection of short stories (0 Books). Watch this space.

All original art and creative writing in this blog is copyright © Janeadamsart 2012. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeadamsart.wordpress.com/

Sacred India Tarot Archive: Creation of 8 of Lotuses – Siva Tests Parvati

..

Mask

Mask

..

Continuing the Sacred India Tarot Archive, by Rohit Arya and Jane Adams.  This post is quite a ragbag, because into it arrived two vintage Himalayan mountaineers:  Siva  tries on their faces to further tease Parvati, perhaps.  Or … an essay on India’s charm for we romantic Brits.

This post belongs with “Solomon” (23 March) which is over in Aquariel, my other blog.

While assembling Solomon and (to conclude) a gist of his Song, I thought of Parvati in her Himalayan forest, watering the trees and being visited by the wise.

..

Rohit’s Notes (2004)Eight of Lotuses:  Siva Masks Himself

Lotuses 8 Visual reference  1

Lotuses 8 Visual reference 1

“Siva appears as a smug, self satisfied Brahmin, to test the poor girl, indulging in much abuse of his qualities, nature, life style and appearance.  Parvati responds with anger, as shown in the comic strip below.  This indicates both the Karma which kept them apart, and the fact that when such happens, the illusions which separate people no longer hold sway.  This is the only card where Siva is not shown in colossal stature, and he is not bejeweled or crowned.”

lotuses 8 reference 2

lotuses 8 reference 2

.

Parvati pestered by sages - detail

Parvati pestered by sages – detail

..

Jane’s Notes

As a Capricorn child, I am bound to identify with the Daughter of the Mountain. My love letter is to the universe, for all hearts to read.   Let it be!

Rahu Northnode ... after tasting the nectar

Rahu Northnode … after tasting the nectar.  The immortal gods severed Rahu’s head from his body, for daring to sip their elixir.  He leads the glorious Illusion through which “the Shepherd leads himself back to Himself” … “the One most fully present in His seeming absence” … “honour Him with integrity or He will swallow you whole” … “there is no where in heaven or hell where I AM not” … “I do not believe – I know” …  Rahu’s cosmic Love song is in this link.  (song of Rahu by Jeanette Kishori McKenzie)

..

Here I am, Parvati by the Star pool, listening to Rahu, fishing away for Siva, and pestered by a sage or two !  

Why not take all the time it needs?  The sages who come along are interesting, and sometimes they pretend to be Siva for a while, which is fun.   Siva’s masque fits any of them.  He puts on a different face, pretending to be Rahu’s Head Exchange …   Siva the god of Love is a holy terror among the wives of sages !  Siva shines through Rahu.   Rudra is sometimes Rahu.   They seem to pass through one another.  None of them is really Siva.   This is the Glory and Freedom of Siva.

Rahu’s appearance presages Parvati’s future child with an elephant’s head – Ganesh.

..

Parvati pestered  - Version 4

Wives of sages get left alone a lot in the forest.   Up the path through dark stems and columns of sunlight, who comes next?  What matted lean stranger, with loincloth, waterpot and glowing eyes?  Any day, the unexpected !   The call of strange birds, through Himalayan valleys:  the clambering rhododendron giant:  nocturnal mist lifts off the ground, as Surya begins His work for the day.

I think Parvati’s nectarous ecstasy was greater in her expectant Solitude, sleeping out at night and fasting on the ground, than in all the future days of her marriage with Siva on Kailas.   Of course they would  squabble, whenever they came off the peak.   That was the fractious energy field required to conceive their children, Skanda and Ganapati.

My loveliest experience in India, was not Gurus.  I didn’t really take to them, other than Ramana.  It was sitting in Ramanananda’s cottage the other side of Arunachala Hill: the tall medicinal herbs in his garden – all of them collected from sages’ samadhis –  the rocks in his fireplace, his watercolours of the Hill, his old put-put scooter and excellent idiomatic English.  Friar Tuck in horn rimmed specs and orange skirts welcomes staff-bearing kindred spirits.  He is busy raising funds to restore Annamalai Temple:  piles of paperwork perch precariously on pebbles, rudraksha beads and sacred ash.  Through his parlour, men and women sadhus potter and pass the timeless hour:  their laughing Vedic intellect, the Path to Liberation and the heat.

Ramanananda Saraswathi in 1993

Ramanananda Saraswathi in 1993

In modern India and the loosening of some of its brackets, an ancient freedom speaks as it always has. Off the beaten track, Ramananda’s caravan among wiry eucalyptus, catches what breeze it can.  He told me that in summer, if you throw an egg on the wall, it fries, and that he is not really a Swami, he is the Self.

The train stops again.  Through the wide windows, time and tall herbs pass by. In Siva’s fiery light, no caste or custom confines the eccentric delight of elder India.

Mira de Coux

Mira de Coux

It is also my friendship with Belgian Mira when she stayed with me for a short time in London; we laughed about our menfolk.   She like Parvati waited by the Ganga many many moons with cloth and waterpot, till Harilal Poonja returned along the path – her Siva whom she married:   their daughter Mukti.

FOR MIRA AND POONJA

With a ghee lamp   
butter from the cow is burned,   
leaving nor ash nor carbon.

With a ghee lamp   
the cow is burned; pure   
is Vedic light from the Sun she gives.

Fire, brave ship in water shining.   
Sun, bright fire in the sea.   
Water, deep peace of night.   

Fire is in the wood.   
Fire sleeps in the wood.   
Fire from the Sun   
is present in all beings. 

Let there be peace   
to all beings:  to rocks, plants,   
rivers, animals and people.   
Let there be peace. 

His soul is to her love released.   
In the flower childrens' fire,   
Master's body fell, was licked and torn,   
eaten, feasted. Let there be peace   
to all beings.

from Poems of Eclipse, 1999

 cow, dark & light

THE RIVER LADY

The wisdom of an elder, beautiful woman   
plays among the cows.   
The Daughter of the Mountain nomad   
knows not what'll happen next.

With her Master's zest   
she parries the prurient in the bud   
with deft shield   
and sword to tease and pierce. 

Because like Parvati, she by Ganges waited   
outside time, her spouse,   
an old, old river through her flows, a gravitas.   
A terrible compassion in her stands.   

Master's eyes are palpable   
in her round feminine face   
with wide laughter wrinkled -   
a soft river apple blooms.

Bhakti in the West is not well understood.   
The soul of bhakti is the effortless   
being taken;  Master's absence of effort.   
There is no lineage, no permission for the river.   

It overflows its banks, within my house.   
The room is filled with the river lady's 
way of hen partying   
here, with Master in our toes.

My thoughts are cradled in small sails   
the river takes to its own.   

They are brave little ships.   
They are butter, lit in paper boats.

from Poems of Eclipse 1999

butterlamp boat

The luminosity of Vedic India, the shining brown river, the Himalayan myths and legends,  the paradoxical political scene … remain bright and eternal in Parvati’s soul.   I feel the sound of the river and the old wrinkled stones and the sun’s heat even now.   I travel sitting still!   Waiting for Siva is the Himalaya in my soul:  the coming and going of this, is beauty.   Nobody need wait for Siva.   Siva is the perfume of all the whispering leaves.

oaks in treasure wood near Broomlands

I did not tread the shores of Mother Ganga in this lifetime, nor visit Badrinath.  The memory is planted from other lifetimes, who knows when or where ?   Badrinath where Ganga rises, and the mountain-girt sanctuary of Nanda Devi and the Valley of Flowers, are on the watershed, on the direct trail to Kailasa in the north, the shining peak.

himalayan forest

himalayan forest

Let Nanda Devi be my mantra !   She is the goddess of nanda, a male sanskrit word for joy.  In the 1930s, the Himalayan explorer Eric Shipton opened up the dark Rishi Ganga gorge to the secret flowering meadow and snows around Her beautiful high fang, till then inaccessible …    “Rishi” means “Sage”.  The Sages’ silence flows from there, and the mountains are devic beings.

..

Eric Shipton

Eric Shipton

..

Nanda Devi

Nanda Devi

..

If my thoughts seem to stray, it is because Parvati and Siva invoke for me this landscape and its archetypal resonance.  Translating Parvati’s visions on an empty tum, to my inner world in England, I am inspired by the early Himalayan explorers  as they mapped the sacred trail among the high Ganga sources around Badrinath, seat of Vishnu.  I have their books and their old photos.  It is an INVOCATION :  to touch upon, and to marvel.  The trail crosses the watershed.  Its great peaks are Kamet and Nanda Devi, on the way to Kailas in Tibet.

..

parvati suspicious

In the book with Sacred India Tarot deck, Rohit writes: 

“Siva, vanquished by Parvati’s great tapasya, and even greater love, still has a puckish desire to test her.  If she was not discouraged by indifference, perhaps she will be by disgust?  Appearing as a young Brahmin, he professes loud astonishment that she is wasting her life and beauty on that fellow Siva.  Is he any sort of goal for decent people?  His family and background is unknown, his ornaments are serpents, he lives in cemeteries with weird goblins, and he certainly has no money. 

“This is a peculiar form of Bhakti called Ninda-Stuthi – Abuse-Praise!  It is coded language for spiritual initiates.  Siva has no money because he is the lord of the world.  He lives in cemeteries because that is where every human ends up.  He has no family and is of uncertain background because He is the origin of the world, and so on. 

“‘He encompasses all things, though he is but one.  Whoever knows him, Siva the Auspicious, wins peace for ever.’

Svetasvarura Upanishad

Sacred India Tarot 7 of Lotuses/Cups:  Siva Tests Parvati

Sacred India Tarot 7 of Lotuses/Cups: Siva Tests Parvati

Rohit continues:  “While Parvati does understand this language, her great love for Siva made these contumelius epithets unbearable.  She began to objurgate this insolent man – scolding and rebuking sharply in a whirlwind of offended love.  “The stupid and envious always say malicious things about the Great Ones of the world.  What is beyond the limited understanding of shallow minds, is condemned.  To speak ill of great souls is a sin, to listen is to participate in that sin.’

The last bonds of impeding Karma snap at that moment, and Siva concedes defeat.  The devas are relieved.  Parvati has in her meditations, worked out their negative Karma too.”  

Finally, embedded in his interpretation, Rohit concludes, “This is an end-of-Karma card … Whatever goes at this time, let it go.  It has no more Karma with you.  Seek new horizons in life.”

..

Kailas sacred mountain

Kailas sacred mountain, starlight

Looking for a picture in Frank Smythe’s The Valley of Flowers (Hodder & Straughton 1938) about his exploration near the Nanda Devi sanctuary, I discovered this marked paragraph:

“It was the first time I had travelled alone in the Himalayas, and the experience after the last two caravanserais to Mount Everest, was more than refreshing.  For the first time in my life, I was able to think. I do not mean to think objectively or analytically, but rather to surrender thought to my surroundings.  This is a power of which we know little in the west, but which is a basic of abstract thought in the east. 

“It is allowing the mind to receive rather than to seek impressions, and it is gained by expurgating extraneous thought.  It is then that the Eternal speaks;  that the mutations of the universe are apparent:  the very atmosphere is filled with life and song:  the hills are resolved from mere masses of snow, ice and rock into something living.  When this happens, the human mind escapes from the bondage of its own feeble imaginings, and becomes as one with its Creator. 

“My pen has run away with me.  It often did when recording my impressions in the Valley of Flowers, for it is impossible to continue along conventional channels when the country on either side is so fair … …  

“The silence was complete save for the light, almost imperceptible hiss of the burning logs.  Presently even that died, and the fire shrank to a heap of glowing embers.  The cold stole up behind me;  suddenly I was chilly, and my pipe was out.  A few minutes later I was warm in my eiderdown sleeping bag.  The last thing I saw before closing my eyes, was a bright star poised on a distant ridge, looking at me through the door of the tent.”

Frank Smythe

Frank Smythe

..

..

..

..

**

My adventure invites fellow travellers.  I am a poet, an artist and a seer.  I welcome conversation among the PHILO SOFIA, the lovers of wisdom.

This blog is  a vehicle to promote also my published work – The Sacred India Tarot (with Rohit Arya, Yogi Impressions Books) and The Dreamer in the Dream – a collection of short stories (0 Books). Watch this space.

Aquariel/Solomon Link

All art and creative writing in this blog is copyright © Janeadamsart 2012. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeadamsart.wordpress.com/

Sacred India Tarot Archive: Creation of 6 of Lotuses – Parvati begins Tapasya

Protected by Copyscape Web Plagiarism Scanner

What account of Parvati waiting for Siva could do justice, without the cosmic carnival behind it?  This post is based largely on Stella Kramrisch’s writings, and a precis of some chapters of the Siva Puranas.

A few of the illustrations are details from the King and Queen of the Suit of Arrows.  In fact I worked on the Suit of Arrows and the Suit of Lotuses concurrently.  The Lotuses gave me some light relief from the sorrows of King Bheeshma in the Mahabharat !

The Kramrisch account refers to the Himalayas along the North:  suggesting a magnetic alignment to the Pole Star, in Siva’s abode where He dances.  Our planetary core is the spiritual lode star itself:  realising this, walk tall.

..

Goddess Annapurna, the fruits of earth

Goddess Annapurna, the fruits of earth

Rohit Arya’s Notes: 

“The visual reference in the comic book is self explanatory.  In trying to win favour with God in such a manner, there is something childlike which is the core flavour of the card.  It is a trust and belief that everything will come out right, that only small children and great souls possess – an irrational optimism that triumphs over petty reality.”

visual reference for Parvati's tapas

visual reference for Parvati’s tapas

Jane’s Notes

After Lord Siva’s shattering awakening of her Kundalini – he burnt the impudent Kama, god of lust, to ashes with one glance of his third eye, and then left the grove – the young Princess had to grow up faster than Nature would intend.  To do so, she left her Himalayan Father and his court, abandoned society and retreated into essential Nature – the depth of the forest, the stones, the water, the creatures and the trees.

The young girl was spiritually and erotically romantic.   As a virgin she had served and worshipped Siva, who showed her some favour … she pictured her future husband;  their marriage.   Then the fury blew it all apart.  Parvati, not to be outdone, took sannyas.  She slept on the ground, and stubbornly imagined her Lord.  She had grown up with all the  stories.   She lived alone.   Year by year, she realised the fairy tales as they unfolded in the wilderness;   she grew to maturity.

Not surprisingly, other holy vagabonds heard of her, and were curious:

Parvati being pestered by Sages

Parvati being pestered by Sages

Behind Parvati are Siva and her own father – the King of the Himalaya.  Above the Himalayan range is the Pleiades constellation, from whose seven stars the Sivaic cosmology fell as a lightning flash, splitting the mountain, to flow as Mother Ganga through Lord Siva’s matted moon-struck hair:  thus she dreamed;  here are the tales she told …

Dhaulagiri, 1950

Dhaulagiri, 1950 – photo by Marcel Ichac

The Mountain, the Stars and the River
extracts from The Presence of Siva by Stella Kramrisch

“THE FAMILY of Pãrvatï, in which the Great Goddess was incarnated as the daughter of Parvata,  consisted of Menä the Woman,  her father Parvata the Mountain ;  and her curvaceous sister Kutilã,  who in the heaven of Brahma turned into the overflowing celestial waters and became Ganga (the Ganges).   The other sister, Raginï – whose redness completed the triple colour scheme of the three gunas – became absorbed in the constellation of the Krttikas,  the Pleiades.

“Parvata the Mountain was old as the rocks and the Rig Veda.   There he was invoked together with the Waters, the Rivers, and Heaven and Earth, and with Indra, Savitri and other gods. Beyond this, the Mountain formed an essential part in the cosmogony that has Indra (god of the thunder) for its hero.  In that myth, the Mountain was a figure that stood for the intangibly high ambience that enclosed the world, closed it off from spaces of shimmering light toward which its slopes were rising.  The Mountain enclosed the world and closed off the infinite regions of light in the beyond, above its impenetrable extent – the region of the sun before it ever shone on earth.

SITA Indra & Garuda detail

“When Indra cleft the Mountain, the light of heaven flowed down to earth.  Parvata the Mountain, keeping the light of heaven imprisoned, had been its guardian.   In this respect Parvata, though inactive, was akin to the archers Rudra and Krsanu, who by their actions intended to keep in its integrity the state ante principium, before creation.   In the myth of Indra which pervades the Rg Veda, the Uncreate was a pleroma of light closed off by the Mountain ;  Indra brought it to the world.   The pleroma of the Uncreate held the elixir and essence of Life – soma, the elixir, and semen, the seed.   Vrtra, the serpent, had lain coiled around the cosmic mountain.

“Vrtra was killed by Indra and fell to the bottom into the abyss.  Indra shattered the mountain,  released the streams to flow to the sea and freed the sun to shine in this world.   But Indra’s first act of creation was not yet complete, for the sun became engulfed in darkness in the cave at rock bottom,  whence it had to be liberated,  and let out to rise in the spring of the world.

vedic vessel

“Parvata was the rock bottom in the depths, as well as the dome on high,  the firmament,  the sky,  that had kept imprisoned the light and waters of life.

“In the creation myth of Indra, the figures of the Mountain and of Vrtra the Serpent coiled around it, correspond to those of Rudra and Krsanu,  the archers.   The Mountain was cleft.  Dead Vrtra fell to its bottom, becoming the Serpent of the Deep.  The shining rivers of light and life flowed down from heaven to the earth, and their waters filled the ocean.

“The sun, having shown its face on high, had yet to be liberated from the cave deep in the mountain where it had been kept imprisoned by demons.   Now Dawn could come forth, and the sun could rise and set going the world of time.  Like Vrtra the Serpent, Rudra and Krsanu also failed to keep in its integrity the state ante principium,  before creation.   Their arrows could not arrest the flowing to earth of Soma, the elixir of life,  and the semen that Prajapati shed into creation.   They had been in the Uncreate, described as a region of ineffable light that Parvata and Vrtra had held unspent.

Annapurna, 1950

Annapurna, 1950 – photo by Marcel Ichac

“The pre-cosmic power of the Mountain had to yield the streams of flowing light of which the celestial Ganga (also called Kutilä) became the mythical image.   Her sister Ragini, the “red”, Dawn or Twilight,  had been her fellow prisoner.   Her figure, of indistinct contour in this myth, became merged with the Pleiades,  the Krttikas,  stars fixed in the firmament —  the Mountain —  becoming visible at the waning of the red evening twilight.

“Though liberated from the rock or Mountain, neither of these two daughters of Parvata was deemed adequate in her austerities to qualify as the future, potential mother of Siva’s son (the slayer of the demon Taraka)  although in the mythical universe of Siva,  Ganga as well as the Krttikas (Pleiades) cooperated in the birth of Siva’s son Skanda.

“The bond that was to be forged between Siva and Pãrvatï links the Mountain — a figure of the precosmic state as imaged in the myth of Indra – with the cosmic presence of Siva.   The third and youngest daughter of Lord Parvata was Pãrvatï  the bride-to-be of Siva.

“Within creation itself, and in later Indian myth, the Mountain was seen rising from the centre of the world into the regions where the gods are at home.   Mount Meru, the cosmic mountain, carried the hierarchy of beings.   Under the name of one of its peaks as cosmic axis, Mount Mandara functioned in the Churning of the Ocean.

Dhaulagiri 2, 1950

Dhaulagiri 2, 1950 – photo by Gaston Rebuffat

“The Mountain in the cosmos of Indian myth was the centre of that cosmos.  On its heights in heaven dwelled the great gods,  in cities, palaces and caves,  enlivened by the presence of lesser celestials who moved about at will or rested on its slopes.   Siva dwelled in Kailasa and also favoured Mount Mandara.   These mythic sites on high, envisioned from the earth,  were assigned to the north,  to the Himalayan altitudes.   Cosmically and symbolically, the north signified the region of the pole star.   Mythically, the Himalayan region was its proxy on earth.

“The King of these mountains was Parvata.   Parvata-rãja brought to his anthropomorphic representation his precosmic past.   From him issued Ganga the celestial river whose other name is Kutilä – who flooded the heaven of Brahma.   Thence she flowed on earth, vivifying and bringing into this world her significance from before creation.   When Parvata was forced open and had to let the flowing light from beyond into the world of man from the uncharted regions of transcendency – the inviolate and inexhaustible plenum – Parvata’s eldest daughter the twilight or Dawn (the Father’s Daughter) merged with the Krttikas (Pleiades, or seven celestial Sages).   It is natural that a daughter of the Mountain should merge with the Pleiades constellation, for in creation the Mountain had its cosmic figure as the night sky,  where the light from beyond was seen shining forth in the shape of stars.

Ganga & sage

Ganga & sage

“Ganga, the elder daughter of Parvata the Mountain,  from whose stony dome of ancient heaven in the world of later myth she flooded the heaven of Brahma,  was to occupy the highest position on Siva’s body.   For a long while he held her captive in his hair on her precipitous descent from heaven.   Had Siva not supported her on his mighty head, she would have crashed down to earth,  shattered it,  and flown into the netherworld.   He sheltered her in the matted skeins of his hair, and let her flow on to fulfill her mission,  flowing in heaven,  on earth, and the netherworld,  thrice herself.   She came from the apex of heaven to the moon, and flooded the creative heaven of Brahma.   She came down from heaven into the netherworld in order to redeem sixty thousand ruthless sons of King Sagara. …   …

Sacred India Tarot 14 - Mother Ganga

Sacred India Tarot 14 – Mother Ganga

“… To prevent the earth being split by the impact of her fall, Siva caught the turbulent Ganga like a garland of pearls on his forehead.   She who had thought by raging whirlpools to press Siva down into the netherworld could not find an outlet from the meshes of his hair, and floated on them like a flower.   She at last reached the earth.  Her waters flooded the ashes of the sons of Sagara,  flowed into the seas and filled the ocean.

“Impetuous Ganga, “who was as beautiful as the rays of the moon”, not having been found capable by Brahma to bear the seed of Siva,  insisted she was capable,  that she would make the head of Siva bow down by her austerities.   Brahma cursed her to become all water, and she inundated Brahma’s heaven.   Though she wanted to bear Siva’s son, she resented her initial humiliation.  She wanted to show herself superior to Siva, who had the power to support her on his head and imprison her in his hair.   She was violent in her turbulence.   She would crush Siva so that pieces of his bones, like small bits of conch shells, would be mixed with her water, and Nandin would have to search for them.   She was intensely desirous of Siva, determined to hold him within her aquaeous body, having broken him up all together.   But he caught and held her in his hair.   There, he carried her on his head like an ornament, or let her glide like a mermaid along the waves of his hair when he danced.   “As beautiful as the rays of the moon”, she found herself close to the crescent moon that graced Siva’s brow.   Its thin sickle showed it to be waning, for the gods had drunk its Soma nectar.   Ganga, released from Siva’s hair, found her way to the sons of Sagara, dead and burned to ashes.   She purified them by her water, and they ascended to heaven.   Death associations decorate Siva’s head.

“This mission the sacred river Ganges fulfills to this day.   Ganga went through all the levels of the cosmos and of inner experience.   Wanting to bear Siva’s son, she also wanted to crush Siva.   Fierce and proud, this river goddess fulfilled her mission when first she flooded with her waves the ashes of the Sagara sons.  From that time on her work never ceased.   The water of the sacred river Ganges brings release to the dying who seek it, and she brings joy to the living.

..

Sacred India Tarot dark queen

“Pãrvatï, the youngest daughter of the Mountain and of the Woman Menä – whose name is shared by Apsaras, seductive nymphs arisen from the spray of the cosmic ocean at its churning – from before her birth was destined for the surpassing task, beyond her control,  which her sisters could not fulfill by themselves :  to become the mother of Siva’s son.   For this purpose, the goddess Night,  her starry eyes closed,  had entered Menä’s womb and infused night’s darkness into the embryo.   She enveloped the embryo until birh.   The goddess Night painted in Menä’s womb the embryo with her darkness (tamas).

“In this way, the Great Goddess – Siva’s earlier consort Sati – cooperated with Brahma and entered her second incarnation, now as the daughter of the Mountain and Menä    Only a supergod born of Siva would be able to destroy the demon Taraka.   Pãrvatï was a full incarnation of the Great Goddess –  who had previously been incarnated in Sati, to win the love of Siva.   Now she fixed herself in the mind of Lord Mountain when he made love with Menä.   She had taken this form in answer to the prayer of the gods that she again become the wife of Siva.   The Great Goddess, the eternal prakrti*, remembered herself as his first wife Sati,  who had cast off her body in anger at her father Daksa’s disrespect for Siva.   Before her yoga fire engulfed her however, Sati had told Daksa that she could be found at any time,  any place,  in every being;  there was nothing in the universe in which she could not be found.


* Prakrti —  Causal matter — subtle substratum of the molecular and mental universe — sakti

“Yet Siva could not find her, or peace anywhere.   He made a garland of her bones.  Like one who was not a god, he wailed aloud; like a lover disordered by the pain of separation.   Although the Supreme Lord by his power of illusion had taken upon himself madness and pain, yet he is really unaltered, undistressed and unconquered.  Through any change in form whatever, he is untainted by maya.   What use has he for love and delusion?

effigy

“In the meantime, the demon Taraka oppressed the gods,  laid waste the celestial world, and invaded the sky-high mountain.   No one, no god, had been able to subdue Taraka (demon of the reactive mind) for he was a great ascetic, and thus had won the boon from Brahma:  Taraka would be defeated by an infant seven days old;  but his slayer was not yet born.   The slayer of Taraka was to be born as Siva’s son.

“In due course, the Great Goddess as Pãrvatï was born from Menä, and cried like any newborn child.   Although the little girl played with balls and dolls, the knowledge of her previous birth soon came to her.   She had privileges of birth similar to those of Sati, together with all the knowledge of the world of the gods (who acted like human beings)  which Sati had not acquired in her short life.   Her family lineage however was different from that of Sati’s.   Daksa was a son of Brahma the Creator, whereas Parvata’s original state lay far back,  before the rule of the gods began,  and before the Asuras,  the Titans,  had become demons.

“One feature that these two incarnations of the Great Goddess had in common was the darkness in their complexion,  which they largely owed to the goddess Night,  whose name Sati’s mother had borne,  and who in person, had entered Menä’s womb.   On her father’s side, Pãrvatï was heir to the hardness of the Mountain ;  she inherited the firmness of the rock.  This was not any rock, not even the rock of ages,  but that all-embracing rock which, in the myth of Indra, (before Siva’s Vedic aeon as Rudra, the Wild Archer) had held within it the cosmos-to-be.  This possessive Mountain had kept within itself the flowing light of the godhead.   When the Mountain was shattered by Indra, the sun’s rays and the flowing rivers were set free.

“According to Brahma’s plan, Pãrvatï would practice austerities in order to be united with Siva in marriage;  the conjoint energies would be formidable.  Even so, the destruction of the demon Taraka seemed improbable.   Their conjoint tapas had to be made even stronger.   To this purpose, the Goddess Night was to interrupt their love-making by a quarrel between them.  Siva would chide Pãrvatï’s dark colour in jest.   Pãrvatï would be annoyed and leave him to perform austerities in order to rid herself of her darkness.   Siva too would practice tapas.  After this interruption, heightening their energies and desire, the son born of their union would destroy the demon.

“Thus Brahma instructed the goddess Night to work on their increase of sexual power by two means:  tapas or interruption, and quarrel.  His concern was now not to create mortals, but the survival and creativity of the gods.   In the plan of Brahma, the asceticism of the gods was meant to be subservient to their role as the future parents of the son who would save the world.   A new god was needed, more powerful than Taraka,  more powerful than any god.   He did not yet exist, and could be born only from the union of Siva and Pãrvatï – a supergod to defeat an invincible demon.”

Extracts from The Presence of Siva by Stella Kramrisch
published by Princeton University

..

annika detail 2 copy

..

..

The Birth of Skanda:  Part One
A Story from the Rudrasamhita in the Siva Purana (Excerpts, as abridged and published in Self Enquiry December 2000)   The Puranas are of more recent vintage than the Vedas and Upanishads. They record the cosmology of the gods as it impinged on human history.

..

“ONCE UPON a time, O sage,  a monstrous demon ravaged the Universe from end to end.  His name was “Taraka or “Tarakasura”, meaning “hyper-reactive mind”,  and he was the unconquered King of the Triple World.  The gods were powerless to prevent his arrogance and ambition, for this reason:  by concentrating the power of his thought through penance and austerities, he had forced Brahma the Creator himself to promise him any boon that he should demand.

sages telling

“These austerities included the following:   (1) He stood on one foot, holding the other and both hands up towards heaven,  with his eyes fixed on the sun.   (2)  He stood on one great toe.   (3) He took only water as sustenance, and lived similarly on air.   (4) He had himself successively drowned in water,  and buried in earth and consumed by fire,  but continued his devotions.  (5)  He stood on his head.   (6) He hung on a tree by his hands.   (7)  He bore the weight of his body on one hand.  (8) He hung on a tree with his head downwards.

“Such merit was irresistible, O Sage!.   Indra and a host of demi-gods, alarmed lest their sovereignty be usurped through the potency of this penance, besieged Brahma for consolation.   Brahma told them that although unable to resist such sadhana and austerities, he would,  after rewarding it with the boon demanded,  devise a method of rendering it ultimately inoffensive to them.

“What was Taraka’s demand?  It was this:  He should be unrivalled in strength.   No hand should slay him but that of a son of Lord Siva.   Everyone knew that Siva the ascetic had not the slightest interest in procreation.   For some aeons, the worlds endured and groaned with Asuric chaos.   The Sun in dread gave no heat, and the Moon in terror remained always at full.    The Winds blew as he dictated; in short,  Taraka usurped the entire management of the Universe.

Sacred India Tarot 4 of lotuses version 1

“Every divine ingenuity was taxed, to arrange the marriage whence should arise the deliverer of the world, because Siva could not be influenced with the passion of love.  At length, Indra persuaded Kama, the deity of Lust,  to lie in ambush,  and contrived that Parvati, the Daughter of the Himalayas, should be seen by the yogic Siva while engaged in the amiable and graceful act of gathering flowers, wherewith to decorate His image.   Kama settled himself in the bushes, accompanied by his wife Ratti (Desire) and his bosom friend Vasantu (the Spring)  and, taking careful aim, launched an arrow straight into Siva’s third Eye.

..

Sacred India Tarot, 5 of Lotuses

“O Sage!   The deity, enraged at having his devotions interrupted, reduced Kama to ashes by a beam of fire from that same organ; and a wonderfully loud sound arose, covering the whole firmament.   Parvati was terrified, and returned into the Himalayas, along with her maids.  There she dwelt in deep distress, remembering the various gestures and movements of Siva, and muttering to herself ever and anon – “Siva,  Siva.   Fie upon my beauty.   Fie on my birth and activity.”

“Whereupon, Parvati returned to the grove where Lord Siva had performed penance, built an altar, cleaned the ground, and embarked on a sadhana of her own.   In the summer she kept a perpetually blazing fire all round, and remaining within, continued to mutter His name.   In the rainy season she sat on the bare rock and let herself be drenched.   During the winter, and in snowfall,  and at night,  she remained partly submerged in water,  observing fast.   She bore every extreme of Nature with equanimity; and, clad in barks of trees, wearing matted hair,  and eager in the meditation of Siva,  she impressed and surpassed even sages.

Parvati pestered - detail

“Thus passed three thousand years.   Through her penance, trees bore fruit,  flowers of variegated colour blossomed there,  lions and cows prone to amorous passions, ceased to harass one another, cats and mice became friends, and the entire forest became comparable to Siva’s abode on Mount Kailas.

“During this epoque, her father,  the Lord Himalaya visited her and tried to persuade his dear daughter not to exhaust herself.   Of what avail was Siva, by whom Kama had been reduced to ashes?   Why try to catch the moon in the sky?    Come home!    But she replied,  ‘O father, O mother, O kinsmen,  with my penance alone here itself,  I shall bring Him who burnt Kama and the mountainous forest.   He is favourably disposed to His devotees.   All of you please go to your abodes.   You need not be anxious over this.’    And her family returned to geological time, praising her.

“By now, as a result of her penance,  the Universe itself was becoming scorched.   The gods conferred with Vishnu, and although very nervous,  approached Siva themselves, to inform him of what was going on.   They found Him in His cave, effulgent and seated in the yogic posture.  Vishnu respectfully aroused Him from His trance and told Him.  ‘O Lord Siva, the demon Taraka will be killed only by your Self-begotten son,  and not otherwise.    Ponder this, and take pity on us.   Obeisance, O great Lord,  to you.   O Lord, redeem the gods from the misery brought about by Taraka.   Hence, O Lord Siva, Parvati shall be accepted by you and grasped with your right hand.  Accept her hand as offered in marriage by the Lord of the Mountains.  She is full of noble attributes.’

goddess driving tritons, 1957

goddess driving tritons, 1957

“Siva replied,  ‘If goddess Parvati, the most beautiful lady, were to be accepted by me, she will resuscitate Kama on account of the marriage.  Then all the gods, sages and ascetics will become lusty and incompetent in the great path of Yoga.  A great favour to the gods was done by me, when Kama was burnt.   Everyone’s meditation used to be spoiled by this stubborn archer.   Kama leads to hell, lust to anger,  anger to delusion, and delusion destroys penance.   Anger and lust shall be eschewed by you, the best of gods.   My words shall be heeded by you all, and not otherwise.’    Whereupon, He entered into His own features,  and He,  the Lord of great enjoyment and protection,  became engrossed in  supreme bliss.

SITA Siva ace

“The gods in dismay, petitioned Siva’s steward,  the Bull Nandin – ‘What shall we do now?  Siva has become detached and has gone on meditation.’  Nandin advised them to eulogise Him with respect and piteous request, and to appeal to His compassion.   They all cried so loudly, that He,  the great Lord,  ceased His meditation,  due to His fondness for them,  and asked them what they wanted.   The whole tale came out.    And He laughed, and replied, in brief:   ‘Marriage is not a proper thing for men.   Marriage is a great fetter.  Anyone bound with nooses of iron and timber can secure release, but one bound with nooses of women never frees himself.   Although I know and realise this, although I have the wisdom,  yet I shall accede to your request and make it fruitful;  for I am definitely subservient to my devotees.   Hence, I may do anything.   I am known all over the three worlds as one who performs ill-fitting things.   What is the use of talking?   I know the sufferings you undergo from the demon Taraka.  I shall remove them.  Although I am not interested at all in dalliance, I shall marry Parvati for begetting a son.   Off you go, all of you, to your respective abodes, and be without fear.   I shall achieve your task.   Have no anxiety.’

“When Brahma, Vishnu and the sages had all gone, Siva meditated upon His own soul stationed in Himself as Atman, free from illusion and obsessions.  Thus He became aware of Parvati’s state, and wondered at that.   It distracted Him from contemplation.   A deity subservient to His devotees cannot be otherwise.   He summoned the Seven Celestial Sages,  Vasishta and others,  and commissioned them to go to the Daughter of the Himalayas and test her resolve.

more sages

“Seven wise, sweet and holy men appeared in Parvati’s grove by the bank of the river, and enchanted her with their discourse.   They also told her that He for whose sake she was performing this elaborate sadhana was a perpetually indifferent person of no emotional disturbance, an enemy to innocent lust,  that he had an inauspicious body, and no shame, home or pedigree, was naked and ill-featured, and only associated with ghosts, goblins and corpses – in short,  a rogue and a ne’er-do-well who had led all her dedication astray …

To Be Continued

crows and flower

**

..

Sacred India Tarot 6 of Lotuses - Parvati begins her spiritual practice

Sacred India Tarot 6 of Lotuses – Parvati begins her spiritual practice

..

Correspondence October 2004:  

“Dear Jane,
“Herewith our feedback on Lotus 6.   Regards, Gautam.”

“Dear Gautam,
“this card is tremendous and of course the serpent of the Kundalini is active.  The sheer power generated from tapasya is conveyed very well.  Jane should be left in peace as she has hit a rare vein of connection with Purusha and Prakriti.

“In fact, given how she seems connected to Siva at the moment, perhaps she should take a shot at the major arcana World card again – a great dancing Nataraja in a cosmic outer-space background.  This especially so as Ardhanariswara is going to be covered in this suit, and we can bring The Fool (Rudra Siva) to completion as Nataraja. 

“There are a few representations of the tapasya of Parvati in south Indian temples, but nothing like this.    With regard, Rohit.”

Sacred India Tarot Rudra

Sacred India Tarot Rudra

Sacred India Tarot Natarajan

Sacred India Tarot Natarajan

Early Nataraja

Early Nataraja

naga serpent gods

naga serpent gods

..

..

..

**

For other Sacred India Tarot posts, look under Recent Posts,
or in the Category, or in Archive of All Posts in the title bar.

Rohit Arya

Rohit Arya is an Author, Yogi and Polymath. He has written the first book on Vaastu to be published in the West, {translated into five languages} the first book on tarot to be published in India, co-authored a book on fire sacrifice, and is the creator of The Sacred India Tarot {82 card deck and book}. He has also written A Gathering of Gods. He is  a corporate trainer, a mythologist and vibrant speaker as well as an arts critic and cultural commentator. Rohit is also a Lineage Master in the Eight Spiritual Breaths system of Yoga. 

Earlier posts about the deck, including the first 15 Major Arcana archives are in http://aryayogi.wordpress.com   The deck is copyrighted (c) 2011 to the publishers, Yogi Impressions Books pvt, and available also on Amazon and internationally.

..

Jane Adams

My adventure invites fellow travellers.  I am a poet, an artist and a seer.  I welcome conversation among the PHILO SOFIA, the lovers of wisdom.

This blog is  a vehicle to promote also my published work – The Sacred India Tarot (with Rohit Arya, Yogi Impressions Books) and The Dreamer in the Dream – a collection of short stories (0 Books). Watch this space.

All art and creative writing in this blog is copyright © Janeadamsart 2012. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeadamsart.wordpress.com/