Goddess Kostroma  

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Goddess Kostroma Image
"KOSTROMA" IS A RUSSIAN FERTILITY GODDESS AND THE PERSONIFICATION OF "SPRING", AND MUCH LIKE THE GREEK PERSEPHONE, SHE IS A DYING AND REBORN DAUGHTER WHO SYMBOLIZED THE LIFE AND DEATH OF VEGETATION. SHE DIES AT THE END OF SPRING AND RISES ONCE MORE AT THE END OF WINTER. SHE IS USUALLY DEPICTED AS A GIRL DRESSED IN WHITE WITH AN OAK BRANCH IN THE HAND.

SHE WAS ASSOCIATED WITH THE FERTILITY AND DYING GOD, "KOSTROMO." THE "'BURIAL OF KOSTROMA'," A PRIMITIVE RITE IN WHICH BONFIRES WERE KINDLED AND A MAIDEN CHOSEN WAS HONORED AND CARRIED IN A PROCESSION; AFTERWARDS, SHE REIGNED OVER THE GAMES AND DANCING. GIRLS DANCED AROUND HER FIGURE AT THE SOLSTICE RITES. THERE IS ALSO A TRADITION OF DROWNING A STRAW GIRL IN THE RIVER OR BURNING HER ON THE BONFIRE TO DISPEL THE WINTER. THIS CEREMONY IS SUPPOSED TO GUARANTEE THE SEASON'S FERTILITY.

LITTLE BY LITTLE THE POWER OF THIS GODDESS HAS BEEN FORGOTTEN, AND "KOSTROMA "TURNED INTO A DELICATE YOUNG GIRL.

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Goddess Akuaba  

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Goddess Akuaba Image
"AKUABA "IS THE PRIMAL MOTHER. SHE IS THE FERTILITY GODDESS OF THE ASHANTI PEOPLE OF GHANA. SHE SYMBOLIZES WELCOME, AND HER SYMBOL IS ALWAYS PLACED ABOVE THE DOOR, ENSURING THE VISITOR WILL BE WELL CARED FOR UPON ENTERING THE HOME. AN AKUABA IS A CARVED WOODEN FIGURE USED BY THE TRIBE AS A TALISMAN TO PROMOTE FERTILITY AND TO PROTECT PREGNANT WOMEN. A WOMAN WHO HOPES TO BECOME PREGNANT WILL KEEP THE DOLL ON HER PERSON AND DRESS AND CARE FOR IT AS IF IT WERE A REAL CHILD. YOUNG GIRLS IN MAIDENHOOD USUALLY RECEIVE HER IMAGE FROM AN ELDER MENTOR AT THEIR FIRST MENSTRUATION WITH A CEREMONY WELCOMING HER MOTHERHOOD ROLE IN THE TRIBE. AS THEY COME OF AGE, WELCOMING THEM INTO THEIR MOTHERHOOD ROLE IN THE TRIBE.

AKUABA DOLLS ARE CARRIED ON THE BACKS OF ASHANTI WOMEN WHO ARE EITHER HOPING TO CONCEIVE OR ARE PREGNANT AND HOPING FOR A BEAUTIFUL CHILD. THERE IS AN OLD LEGEND THAT TELLS OF AN UNFORTUNATE COUPLE WHO HAD NO CHILDREN. THE WIFE, AKUA, SOUGHT OUT THEIR SPIRITUAL LEADER FOR ADVICE. HE GAVE HER A BEAUTIFUL DOLL MADE FROM CLAY THAT HAD A LONG, RINGED NECK AND A LARGE, DECORATED, OVAL HEAD, AND FOLLOWING HIS INSTRUCTIONS, SHE CARRIED THE DOLL WITH HER ALWAYS. MONTHS LATER, SHE GAVE BIRTH TO A BEAUTIFUL DAUGHTER.

TRADITIONALLY, MEN GIVE THE DOLLS TO THEIR WIVES, AND THE WIVES WEAR THEM IN HOPES OF HAVING BEAUTIFUL CHILDREN. CRAFTSMEN MAKE THREE STYLES OF DOLLS:

* THOSE WHO DESIRE A WISE CHILD WILL RECEIVE A DOLL THAT HAS A ROUND HEAD, CALLED "AKUABATENE."
* PARENTS WHO WANT A BOY CHILD WILL RECEIVE A DOLL THAT HAS A RECTANGULAR HEAD, CALLED "AKUABANINI".
* THOSE WHO DESIRE A GIRL WILL RECEIVE AN "AKUABABERE" WITH AN OVAL SHAPED HEAD.

UPON THE BIRTH OF THE CHILD, THE NEW MOTHER USUALLY GIVES THE DOLL TO HER CHILD TO PLAY WITH. IN THIS WAY, CHILDREN LEARN HOW TO TAKE CARE OF BABIES BY WASHING AND DRESSING THE DOLLS. THESE DOLLS HAVE HELPED TO CONTINUE THE "ASHANTI "SOCIETY'S "MATRILINEAL "TRADITIONS.

"AKUABA'S" IMAGE IS CARRIED NOT ONLY BY WOMEN WHO WANT TO HAVE CHILDREN, BUT ALSO BY WOMEN WHO WANT TO ACCESS ANY PRIMAL POWERS RESERVED FOR WOMEN AND THE YOUNG.

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Goddess Yamanokami  

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Goddess Yamanokami Image
"YAMANOKAMI" (KAMI OF THE MOUNTAIN) IS THE JAPANESE GODDESS OF THE HUNT; SHE IS A SPIRIT OF THE THE SACRED MOUNTAINS AND RULES OVER THE FORESTS, VEGETATION, AGRICULTURE, AND THE MOUNTAINS. THE ANIMALS AND THE BIRDS AND ALL OF PLANT LIFE ARE HER SUBJECTS. WHEN SHE SO CHOOSES, SHE CAN APPEAR AS BEAUTIFUL, PASSIONATE, AND MATERNAL. BUT, SHE ALSO HAS A DARKER FORM, THAT OF A HIDEOUS AND MALICIOUS OLD HAG. IT IS SAID THAT SHE CAN CHANGE BETWEEN THE TWO IN THE FLASH OF AN EYE.

SHE THE ONE WHO BRINGS GOOD LUCK TO HUNTERS AND WOODSMEN WHO ATTEND TO HER RITES. SHE CAN BE QUITE STERN TO THOSE WHO DO NOT. IT IS ALSO SAID THAT SHE HOLDS AN INTENSE JEALOUSY TOWARDS MORTAL WOMEN, SO FIERCE THAT IT IS CONSIDERED TABOO FOR A WOMAN TO STEP FOOT ON HER MOUNTAIN. HER HATRED IS SO INTENSE THAT NEWLY MARRIED MEN HAVE BEEN KNOWN TO BE PROHIBITED FROM ATTENDING THE HUNT...FOR FEAR THEIR THOUGHTS WILL BE ON THEIR NEW BRIDE. WOMEN IN THE VILLAGES STAY INDOORS ON HER SPECIAL DAY...DECEMBER 12TH.

YAMANOKAMI IS AN EXTREMELY ANCIENT GODDESS; SHE IS PROBABLY A SURVIVOR OF THE PRE-AGRICULTURAL AGE. TODAY, HER CULT IS CONFINED BASICALLY ONLY TO THE MOUNTAIN AREAS FOR ONLY THERE CAN THE WILDERNESS STILL BE FOUND.

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Goddess Atargatis  

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Goddess Atargatis Image
"ATARGATIS "IS AN ANCIENT FERTILITY GODDESS OF SYRIA, THE GREAT MISTRESS OF THE LANDS; SHE CREATED THE WORLD. SHE WAS ALSO WORSHIPPED THROUGHOUT EGYPT, ANCIENT PALESTINE, AND GREECE. SHE IS THOUGHT TO BE LINKED WITH ISHTAR, ANAT, AND ASTARTE AND IS SOMETIMES DEPICTED AS A BEAUTIFUL WOMAN WEARING A CROWN AND CARRYING GRAINS. AT OTHER TIMES, WE FIND HER REPRESENTED AS A MERMAID WITH THE TAIL OF A FISH AND THE BODY OF A WOMAN. HER FOLLOWERS REFUSE TO EAT FISH OUT OF RESPECT FOR HER. THEY WORSHIPPED HER WITH SONG AND DANCE.

SHE IS CONSIDERED THE FOUNDER OF SOCIAL AND RELIGIOUS LIFE, AND AS A GODDESS OF FERTILITY, GIVING HER POWER AND STRENGTH OVER TO NATURE. AND, AS A MERMAID GODDESS, SHE RULES OVER VEGETATION AND MOISTURE. THEY ALSO SAY THAT IT WAS ATARGATIS WHO PROTECTED THE PEOPLE OF THE CITY.

THERE ARE SEVERAL MYTHS ABOUT HER ORIGIN. FOR EXAMPLE, THERE IS ONE LEGEND THAT TELLS US THAT SHE CAME TO THE EARTH IN AN EGG WHICH LANDED IN THE EUPHRATES RIVER. IT WAS FROM THIS EGG THAT THE MERMAID ATARGATIS HATCHED. ANOTHER TALE SUGGESTS THAT SHE WAS ACTUALLY TRANSFORMED FROM THE BODY AND SPIRIT OF A PREGNANT GIRL WHO HAD THROWN HERSELF INTO THE RIVER AND EMERGED AS HALF FISH.

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Goddess Kaltes  

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THE GODDESS,"KALTES", IS ONE OF THE MOST REVERED OF THE FEMALE GODS. SHE IS A MOON GODDESS VENERATED BY THE UGRIC PEOPLES OF SIBERIA. SHE IS A GODDESS OF FERTILITY, CHILDBIRTH, AND WOMAN'S PRODUCTIVE HEALTH. IT IS ALSO SAID THAT SHE DETERMINES IN ADVANCE HOW LONG EACH PERSON WILL LIVE.

"KALTES" APPEARS AS A BEAUTIFUL WOMAN, BUT SHE IS ALSO A HUGE SHAPE-SHIFTER WHO HAS BEEN KNOWN TO APPEAR AS A RABBIT OR A GOOSE. THE HARE IS HER SACRED TOTEM.

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Goddess Aya  

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Goddess Aya Image
IN BABYLONIAN MYTHOLOGY", AYA" IS THE VERY ANCIENT "GODDESS OF THE DAWN; "SHE WAS OFTEN CALLED THE "BRIDE OF THE SUN". SHE WAS THE DIVINE CONSORT OF "SHAMASH" AND THE MOTHER OF "MISHARU" (GOD OF LAW AND ORDER) AND "KITTU" (GOD OF JUSTICE). SHE WAS ALSO THE ASSOCIATED WITH SEXUAL LOVE AND FRUITFULNESS.

MUCH LATER, SHE WAS MERGED INTO THE MYTHOLOGY OF THE GODDESS ISHTAR, AND IT WAS SAID THAT THERE WAS A "GATE OF ISHTAR/AYA" LEADING OUT OF THE UNDERWORLD INTO THE LIGHT, NO DOUBT THE OPENING THROUGH WHICH THE "MORNING STAR "AND "LIGHT OF DAWN "APPEARED. LIKE OTHER GODDESSES OF THE DAWN, SHE WAS ASSOCIATED WITH THE EASTERN MOUNTAINS WHICH ARE SEEN AS SYMBOLICALLY GIVING BIRTH TO THE SUN EACH DAY AS IT CRESTS THE PEAKS AND RISES INTO THE SKY.

THE BABYLONIANS BELIEVED THAT "AYA'S "MYSTICAL UNION OR SACRED MARRIAGE WITH THE SUN GOD CAUSED ALL VEGETATION TO GROW AND FLOURISH. SHE WAS INVOKED AT ALL BEGINNINGS WHEN A POTENT SURGE OF ENERGY WAS NEEDED TO BRING THE RENEWING LIGHT OF THE DAWN.

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The Death Of Cleopatra  

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The Death Of Cleopatra Image
 Female heads of state are few and far between throughout history, but when a woman rises to power, she leaves her mark. Cleopatra, arguably the most famous woman of the ancient world, was Queen of Egypt and lived from 70 or 69 B.C.E. to 30 B.C.E. Her legacy extends through history and legend, and she remains firmly entrenched as an icon of brilliance, seduction, and tragedy.

It is her tragic death that has mesmerized historians and inspired artists through the ages. Supposedly by inflicting the bite of an asp or cobra, Cleopatra committed suicide after the death of her last lover Mark Antony of Rome and the defeat of their armies. The dramatic image of the beautiful queen withering beneath the fangs of a snake has long symbolized the anguish of total defeat after losing a bid for power.

The stakes had always been high for Cleopatra. She was a daughter of the long established Ptolemy Dynasty that had ruled Egypt since the death of Alexander the Great in 323 B.C.E. The Ptolemies were Macedonian Greeks, and Cleopatra would have described herself as Greek. Despite being an Egyptian Queen, she was not of Egyptian blood.

Cleopatra ruled during a time when Rome was the ultimate force of power in the Mediterranean world, but the three-thousand-year-old Egyptian civilization, although waning, remained wealthy and significant. Through diplomacy and her long affair with Julius Caesar, Cleopatra worked to maintain a measure of independence for Egypt and power for herself and her dynasty. After the death of Caesar, her romantic alliance switched to his supporter Mark Antony. Together, Cleopatra and Antony challenged Rome, now under the leadership of Octavian, for control of the eastern Mediterranean. Their disastrous defeat at the Battle of Actium sent them retreating to Egypt to await the final wrath of Octavian as he pursued his rivals.

Ironically, the victories of mighty Rome had left its treasuries spent, and Octavian had disgruntled armies on his hands. A ruler of Rome needs his armies on his side if he wishes to remain in power, and Octavian quite desperately needed to finish off Cleopatra and Antony and seize the treasure of the Egyptian monarchy. Cleopatra possessed the last great treasure outside of Roman control. The wealth of the Dynasty of the Ptolemies was described by the historian Plutarch as consisting of gold, silver, emeralds, pearls, ebony, ivory, and cinnamon. With Octavian's armies restless, Cleopatra hoped to eventually prevail if she could hold out long enough for Octavian to be undermined by his unpaid military. Trying to play time to her advantage, Cleopatra attempted to avoid Octavian with various diplomatic overtures and plots of escaping to the east, but everything failed. Octavian's determined forces eventually arrived at Alexandria and Mark Antony's forces surrendered or deserted in despair on the first of August 30 B.C.E. Antony's death soon followed, and Cleopatra barricaded herself in her mausoleum with her treasure that was surrounded by firewood and kindling. Octavian, terribly worried that she would destroy most of the badly needed treasure with fire, managed to get people in the mausoleum through an upper window. Cleopatra was taken captive and her treasure seized by Rome.

With her lover and ally Antony defeated and dead, Cleopatra was bereft of authority and Egypt's wealth was plundered. She died on August 12th of poison. Cleopatra was described as being in her royal robes upon a golden couch with a diadem on her brow. Two loyal servants shared in her death. The exact nature of how she poisoned herself is not known. The story of how she put a poisonous snake to her breast won out over other versions. Such a death allowed for a stunning and romantic conclusion to a remarkable life, and it corresponded with the Goddess Isis with whom Cleopatra associated herself. Isis is often depicted with a snake coiled around her divine arm.

The politically savvy Cleopatra outmaneuvered the full grasp of Rome as long as she could, but her struggle has charmed historians ever since. Cleopatra will always be known as an ancient queen who played upon a chessboard with mighty men. She did not win, but millions of people even thousands of years later still speak her name - an honor many Pharaohs would envy.

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Xmucane Ancient Corn Goddess  

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Xmucane Ancient Corn Goddess Image
"XMUCANE "(SHE WHO HAS BORN CHILDREN), ONE OF THE OLDEST OF THE MAYAN DEITIES, IS AN ANCIENT CORN GODDESS. THE MAYANS CALLED HER "GRANDMOTHER OF THE SUN".

ACCORDING TO THE MAYAN CREATION STORY, IT WAS "XMUCANE" AND HER HUSBAND, "XPIAYOC", WORKING TOGETHER AS THE GREAT ANCESTORS OF THE DAWN WHO REPRESENTED THE GENERATIVE AND PRODUCTIVE POWER OF NATURE. TOGETHER, THEY ARE THE DIVINE GRANDPARENTS OF THE MAYAN PEOPLE. THIS GODDESS OF TIME CREATED TIME'S CALCULATION AND AND THE CALENDAR; SHE COULD FORECAST THE DAYS AND THE SEASONS.

XMUCANE FUNCTIONS AS THE MOON BETWEEN THE PHASE WHEN IT IS FULL AND ITS DISAPPEARANCE. HER STORY DEMONSTRATES THE FEMININE DUTIES WHICH WERE SO

HIGHLY REGARDED BY MAYA...GRINDING CORN, COOKING AND OFFERING FOOD, CARING FOR OFFSPRING, HEALING, AND GIVING BIRTH. GRANDMOTHER "XMUCANE" WAS A SKILLED DIVINER.

"XMUCANE" APPEARS IN EARLIER PASSAGES AS THE PATRON DEITY OF MIDWIVES WHO HELPED TO BRING ABOUT THE BIRTH OF THE WORLD THROUGH DIVINATION

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Changing Woman Ceremony  

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Changing Woman Ceremony Image
THE REVERED FEMALE DEITY, "CHANGING WOMAN", IS CENTRAL TO NAVAJO RELIGION. A BENEVOLENT FERTILITY GODDESS, SHE IS MOST OFTEN ASSOCIATED WITH CORN, THE GRAIN THAT SO MANY CULTURES RELY UPON FOR NOURISHMENT. SHE SYMBOLIZES THE EVER-CHANGING AND EVER-FERTILE EARTH....THE CHANGING OF THE SEASONS, AND THE LIFE CYCLE, BIRTH, MATURITY, AND DEATH.

SHE RULED OVER THE PUBERTY RITES FOR GIRLS WHERE THE FIRST MENSTRUATION OF EVERY NAVAJO GIRL IS THUS SEEN, NOT AS A PROFANE OCCASION FOR SHAME AND FEAR, BUT AS A SACRED RE-ENACTMENT OF THE COMING-OF-AGE OF A GODDESS. A "KINAALDA" IS A NAVAJO GIRL'S PUBERTY RITUAL; IT IS THE CELEBRATION OF A WOMAN'S FIRST PERIOD, IS ONE OF THEIR MOST IMPORTANT CEREMONIES, AND AS WITH OTHER PUBERTY CEREMONIES, "KINAALD'a" IS A CELEBRATION OF AN IMPORTANT LIFE TRANSITION FROM CHILDHOOD TO ADULTHOOD. DURING IT, THE GIRL BECOMES "CHANGING WOMAN". THE FOUR-DAY-LONG RITUAL IS FILLED WITH JOYOUS DANCE AND SONG. PEOPLE CHANTED AND DANCED UNDER THE HOT ARIZONA SUN TO HONOR THESE YOUNG WOMEN FOR STARTING THEIR PERIODS.

THE "KINAALDA" NOT ONLY CELEBRATES A GIRL'S FIRST MENSTRUATION, IT TRANSFORMS HER INTO A WOMAN, ABLE TO BEAR CHILDREN AND TAKE HER PLACE AS AN ADULT AMONG THE NAVAJO. THE FIRST "KINAALDA" WAS PERFORMED FOR "CHANGING WOMAN," THE MOST HONORED OF ALL NAVAJO HOLY PEOPLE. FOLLOWING THIS CELEBRATION, "CHANGING WOMAN" GAVE BIRTH TO TWINS, FROM WHOM THE NAVAJO ARE DESCENDED. THE NAVAJO BELIEVE THAT THE "CHANGING WOMAN'S KINAALDA" GAVE THEM LIFE GENERATION AFTER GENERATION.

I LOVE THIS CELEBRATION. I REMEMBER WHEN I FIRST GOT MY MENSTRUAL, I WAS TOLD I HAD THE "CURSE". THE FEELING OF BEING CURSED STUCK WITH ME THROUGHOUT MY LIFE; THUS, I COULD NEVER HONOR MY PERIOD. IT WAS SOMETHING DIRTY TO BE HIDDEN. THAT IS SO SAD.

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Goddess Mohini Devi  

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Goddess Mohini Devi Image
Mohini Vidhya or in Hindi is the ancient Hindu science of attraction. The use of mantras of unique frequencies is used along with certain rituals to cast a spell of attraction over someone or even a spell of mass attraction. The science of Mohini Vidhya can be traced to the Hindu Goddess Mohini Devi who is the only female manifestation of Vishnu, the Protective force out of the Hindu trinity of the Creator, the protector and the Destroyer or Brahma, Vishnu and Mahesh. Vishnu manifested as Mohini, an unparalleled beauty, in order to attract and destroy Bhasmasur an invincible demon.

Vashikaran Mantras or are the same as Mohini Mantras,as theses mantras are also used for the purpose of attraction.Vashikaran Mantras were popularized by the Navanath's or Nine Masters and saints.These mantras were composed in the commonly spoken script of the day,for the masses,as the masses did not understand Sanskrit.These mantras are from the Shaabri Vidhya Branch. Shaabri/ was a great devotee of Shri Ram,the seventh incarnation of Vishnu.

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Mari Basque Goddess Of The Moon  

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Mari Basque Goddess Of The Moon Image
"MARI "IS THE BASQUE GODDESS OF THE MOON. SHE IS THE SUPREME GODDESS OF THE BASQUE PANTHEON. MARI IS ASSOCIATED WITH THE VARIOUS FORCES OF NATURE INCLUDING THE WIND, STORMS, AND LIGHTNING. SHE CREATES STORMS TO CHASTISE DISOBEDIENT PEOPLE. SHE OFTEN TRAVELS ACROSS THE SKY AS A FIREBALL OR AS A BLAZING CRESCENT GOING FROM ONE MOUNTAIN PEAK TO ANOTHER. SOMETIMES HER CHARIOT IS BEING PULLED BY FOUR WHITE HORSES AND OTHER TIMES, SHE IS SEEN RIDING A WHITE RAM. MARI HAS MANY HOMES ON THE HIGH MOUNTAIN SUMMITS AND DEEP WITHIN THE CAVES BELOW. IT IS SAID THAT THOUSANDS OF YEARS AGO, THE PEOPLE LIVED IN DARKNESS. THEY WERE AFRAID AND ASKED MARI FOR HELP. AND, SHE CREATED THE MOON.

MARI IS A SHAPE SHIFTER WHO CAN APPEAR AS ANY ANIMAL, BUT SOMETIMES WILL ASSUME THE SHAPE OF A WHITE CLOUD OR A RAINBOW. SHE IS OFTEN PICTURED AS A WOMAN OF FIRE OR AS A THUNDERBOLT. LEGENDS REVERE HER AS A PROPHETESS AND ORACLE; SHE IS SAID TO RULE OVER SORCERY AND DIVINATION. SHE UPHOLDS THE LAW CODE AND IS KNOWN TO PUNISH ANYONE WHO IS GUILTY OF LYING AND STEALING. SHE CONDEMNS PRIDE AND BOASTING AND ENSURES A HIGH LEVEL OF MORAL CONDUCT. HER SYMBOL IS THE SICKLE WHICH IS STILL USED TODAY TO WARD OFF EVIL. MARI PROTECTS THE TRAVELERS AND PROVIDES GOOD COUNCIL TO HUMANS. UNFORTUNATELY, WITH THE ADVENT OF CHRISTIANITY, MARI WAS DEGRADED INTO AN EVIL SPIRIT.

MARI IS THE DAUGHTER OF THE EARTH GODDESS, LUR, AND THE SISTER OF THE SUN GODDESS, EKHI. THE THUNDER SPIRIT, MAJU IS HER HUSBAND, AND THEY APPARENTLY LIVE APART FOR WHEN THEY DO GET TOGETHER, THERE ARE SEVERE STORMS OF RAIN, HAIL, THUNDER AND LIGHTING. ALTHOUGH THE INQUISTION RUTHLESSLY PERSECUTED FOLLOWERS OF THE GODDESS AS 'WITCHES', MARI SOMEHOW ESCAPED DESTRUCTION, AND SHE CONTINUES TO LIVE ON IN SOME PARTS OF NORTHERN EUROPE.

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The Mother Of The Lares  

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The Mother Of The Lares Cover
The Mother of the Lares (Mater Larum) has been identified with any of several minor Roman deities. She appears twice in the records of the Arval Brethren as Mater Larum, elsewhere as Mania and Larunda. Ovid calls her Lara, Muta (the speechless one) and Tacita (the silent one). Cult to Matres Larum is known through the fragmentary Arval rites to Dea Dia, a goddess of fruitfulness. The Arvals address Dia herself as Juno Dea Dia, which identifies her with the supreme female principle. The mother of the Lares is addressed only as Matres Larum; she is given a sacrificial meal (cena matri Larum) of puls (porridge) contained in a sacred, sun-dried earthenware pot (olla).

Prayers are recited over the pot, which is then thrown from the temple doorway, down the slope on which the temple stands; thus, remarks Lily Ross Taylor, towards the earth as a typically chthonic offering. On another occasion, the Arvals offer sacrificial recompense to various deities for a necessary pollution of Dia's sacred grove; the Mater Larum is given two sheep. The Arvals also invoke her children, in the opening lines of the Arval Hymn to Dia, which begins enos Lases iuvate ("Help us, Lares"). The Mater Larum may have been offered cult with her Lares during the festival of Larentalia as she was, according to Macrobius (fl. 395 - 423 AD), during Compitalia. Ovid poetically interprets what may be a variant of her rites at the fringes of the Feralia: an old woman squats among a circle of younger women and sews up a fish-head. She smears this with pitch then pierces and roasts it; this, she says, binds hostile tongues to silence. She thus invokes Tacita (silence). If, as Macrobius proposes, the Lemures are unsatiated and malevolent forms of Lares, then they and their mother also find their way into Lemuralia, when the vagrant and malicious Lemures and (perhaps) Larvae must be placated by midnight libations of spring-water and offerings of black beans, spat from the mouth of the paterfamilias to the floor of the domus.

Again, Taylor notes the chthonic character of offerings made to fall - or deliberately expelled - towards the earth. Varro (116 BC - 27 BC) believes that she and her children were originally Sabine and names her as Mania; the name is used by later Roman authors with the general sense of an "evil spirit". In the late 2nd century AD, according to Festus, nursemaids use the name of Mania to terrify children. Macrobius applies it to the woolen figurines (maniae) hung at crossroad shrines during Compitalia, thought to be substitutions for ancient human sacrifice once held at the same festival and suppressed by Rome's first consul, L. Junius Brutus. The only known mythography attached to Mater Larum is little, late and poetic: again, the source is Ovid (Fasti II, 571 ff), who identifies her as a once-loquacious nymph, Lara, her tongue cut out for betrayal of Jupiter's secret amours. Lara thus becomes Muta (speechless) and is exiled from the daylight world to the underworld abode of the dead (ad Manes); a place of silence (Tacita). She is led there by Mercury and impregnated by him en route. Her offspring are as silent or speechless as she. If their mother's nature connects the Lares to the earth they are, according to Taylor, spirits of the departed and their mother a dark or terrible aspect of Tellus (Terra Mater). The Lares and the Mater Larum have been suggested as ancient Etruscan divinities; the title or forename Lars, used by Rome's Etrucan kings has been interpreted as "king", "overlord" or "leader". Greek authors offered "heroes" and "daimones" as translations for Lares and Plautus employs a Lar Familiaris where Menander's Greek original has a heroon (hero-shrine).

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Goddess Aine  

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Goddess Aine Image
"AINE" IS AN IRISH GODDESS OF SOVEREIGNTY; HER NAME MEANS "BRIGHT SPARK". SHE GOVERNS THE SEASON OF SUMMER HER SPECIAL FEAST WAS AT M"IDSUMMER NIGHT", THE "SUMMER SOLSTICE", WHEN TORCHES WERE LIT IN HER HONOR. "AINE" IS A GODDESS THE MOON AND OF HUMAN LOVE. SHE IS THE RULER OF AGRICULTURE, AND THUS REIGNS OVER THE FERTILITY OF PEOPLE, CROPS, AND ANIMALS. BECAUSE SHE HAS STRONG CONNECTIONS TO THE LAND, HER BLESSING IS SAID TO ENSURE FERTILE FIELDS. " AINE" IS ALSO LINKED WITH THE FOUR ELEMENTS...EARTH, AIR, FIRE, AND WATER.

HER HOME IS LOCATED NEAR AN ENCHANTED LAKE IN THE HILLS OF "CNOC AINE, "AND IN THE COUNTY LIMERICK THERE IS A STONE CIRCLE DEDICATED TO HER CALLED "THE GRANGE." THE RED MARE, THE RABBIT AND THE SWAN ARE HER SACRED ANIMALS. IN SEVERAL TALES, SHE IS STRONGLY ASSOCIATED WITH THE YEW TREE WHICH SHOWS HER AS A GODDESS OF LIFE AND DEATH. "AINE" IS ALSO CLOSELY ASSOCIATED WITH LAKES AND WELLS WITH GREAT POWERS OF HEALING, AND HER "TOBAR-NA-AINE (WELL OF AINE") WAS CREDITED WITH LIFE-RESTORING POWER.

SHE IS ALSO KNOWN AS THE "FAIRY QUEEN OF MUNSTER," THE SORCERESS FAIRY QUEEN WHO IS SAID TO GIVE THE GRASS ITS SWEET SMELL. THERE ARE CONFLICTING TALES ABOUT "AINE'S" BEGINNING AND HERITAGE AS A GODDESS, AND IN SOME MYTHS SHE IS DEPICTED AS A MORTAL WOMAN WHO WAS TRICKED INTO BECOMING A GODDESS BY A FAIRY WHO HAD ENCHANTED HER. "AINE "LIKED MORTAL MEN AND OFTEN MATED WITH THEM, PRODUCING FAIRY CHILDREN. IN FACT, SHE WAS ONE OF THE MANY GODDESSES THAT THE CHRISTIAN MONKS SOUGHT TO DO AWAY WITH, MOSTLY BECAUSE OF HER MANY RELATIONS WITH MEN. "

Keywords: descent underworld  primordial night  goddesses every  italian goddesses  italian gods goddesses  alchemical testamentum summi  tangible secret  1618 atalanta fugiens  testamentum johannis gwynn  about hidden  17th poem edmund  

Enyalius  

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Enyalius Cover
Enyalius or Enyalio in Greek mythology is generally a byname of Ares the god of war but in Mycenaean times is differentiated as a separate deity. On the Linear B Knossos Tablet KN V 52 the name E-nu-wa-ri-jo is interpreted to refer to this same Enyalios. Enyalios is mentioned nine times in Homer's Iliad and in four of them it is in the same formula describing Meriones who is one of the leaders of warriors from Crete. Homer calls Ares 'Enyalios' in Iliad book xx, A scholiast on Homer declares that the poet Alcman sometimes identified Ares with Enyalius and sometimes differentiated him, and that Enyalius was sometimes made the son of Ares by Enyo and sometimes the son of Cronus and Rhea. Ares and Enyalius are possibly differentiated in Aristophanes' comedy Peace. Aristophanes (in Peace), envisages Ares and Enyalios as separate gods of war. In Argonautica book II, part xiv, Jason sets the chthonic earthborn warriors fighting among themselves by hurling a boulder in their midst: 'But Jason called to mind the counsels of Medea full of craft, and seized from the plain a huge round boulder, a terrible quoit of Ares Enyalius; four stalwart youths could not have raised it from the ground even a little. ' The urbane Alexandrian author gives his old tale a touch of appropriate Homeric antiquity by using such an ancient epithet. Plutarch, in Moralia (2nd century), tells of the bravery of the women of Argos, in the 5th century BC, who repulsed the attacks of kings of Sparta. The survivors erected a temple to Ares Enyalius by the road where they fell: 'After the city was saved, they buried the women who had fallen in battle by the Argive road, and as a memorial to the achievements of the women who were spared they dedicated a temple to Ares Enyalius... Up to the present day they celebrate the Festival of Impudence (Hybristika) on the anniversary [of the battle], putting the women into men's tunics and cloaks and the men in women's dresses and head-coverings. ' http://www. stoa. org/diotima/anthology/wlgr/wlgr-publiclife160. shtml According to Pausanias (3.15.7) the Lacedaemonians believed that by chaining up Enyalius they would prevent the god from deserting Sparta. Pausanias also mentions at 3.14.9 and 3.20.2 that puppies were sacrificed to Enyalius in Sparta. Polybius' history renders the Roman god Mars by Greek Ares but the Roman god Quirinus by Enyalius, and the same identifications are made by later writers such as Dionysius of Halicarnassus, perhaps only because it made sense that a Roman god who was sometimes confounded with Mars and sometimes differentiated should be represented in Greek by a name that was similarly sometimes equated with Ares (who definitely corresponded with Mars) and was sometimes differentiated. Josephus in his Antiquities 4, (3)[115 115] states after telling the story of the Tower of Babel: But as to the plan of Shinar, in the country of Babylonia, Hestiaeus mentions it, when he says thus: "Such of the priests as were saved, took the sacred vessels of Zeus Enyalius, and came to Shinar of Babylonia."

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Goddess Dodola  

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Goddess Dodola Image
"DODOLA "(TO GIVE MILK) IS A SLAVIC CLOUD AND RAIN GODDESS FROM THE OLD SLAVIC MYTHOLOGY. SHE RULED OVER THE WATERS AND THE RAIN...WHICH WAS THOUGHT TO BE A FORM OF DIVINE MILK. IT IS SAID THAT EACH SPRING SHE FLIES OVER THE FIELDS AND SPREADS GREENERY WHILE DECORATING THE TREES WITH BLOSSOMS. SHE IS THE WIFE OF THE THUNDERBOLT GOD, PERUN.

THE SLAVS BELIEVED THAT WHEN DODOLA MILKS HER HEAVENLY COWS (THE CLOUDS), IT RAINS HERE ON THE EARTH. THAT IS WHY IN TIMES OF DROUGHT, THE SLAVS ORGANIZED A FESTIVAL WHERE THEY WORSHIPPED THE GODDESS AND PRAYED TO HER FOR THE MUCH-NEEDED RAIN. IN SEVERAL EASTERN AND SOUTHEASTERN AREAS OF THE BALKANS, THIS RAIN-MAKING RITUAL IS STILL PRACTICED TODAY, WHILE IT HAS DIED OUT IN MOST OF THE OTHER AREAS. THE RITUAL, OUTLINED BELOW, WAS THOUGHT TO CONVINCE THE HEAVENLY WOMEN TO RAIN UPON THE EARTH.

AT TIMES OF DROUGHT, YOUNG LOCAL GIRLS (SOME SAY ONLY ONE GIRL) WOULD UNDRESS AND THEN CLOTHE THEMSELVES FROM HEAD TO FOOT WITH VARIOUS COMBINATIONS OF LEAVES, FLOWERS, HERBS, AND BLOSSOMS TO PERFORM THIS RAINMAKING RITUAL. THE GIRLS WERE THEN LED BY AN OLDER GIRL OR A WOMAN, WHO WAS DRESSED THE SAME WAY, IN A PROCESSION THROUGH THEIR VILLAGE. THEY USUALLY STOPPED IN FRONT OF EACH HOUSE TO DANCE AND SING SONGS. ONE OF THE SONGS THEY SING GOES LIKE THIS...

"WE GO THROUGH THE VILLAGE;"THE CLOUDS GO IN THE SKY;"WE GO FAST;"FASTER THAN THE CLOUDS;"THEY HAVE OVERTAKEN US;"AND WETTED THE CORN AND THE VINE. "

THE HOUSEWIVES WHEN THEN COME OUT AND DOUSE THE LEADER OF THE GROUP WITH WATER WHILE THE GIRL/WOMEN SPINS AROUND; SOMETIMES THE GIRLS THEMSELVES WOULD SPRINKLE WATER OVER THE COURTYARD USING SPRIGS AND LEAVES. THE GIRLS WERE THEN REWARDED WITH GIFTS OF FLOUR, FOOD, AND SOMETIMES EVEN A LITTLE MONEY.

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Goddess Indraja  

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Goddess Indraja Image
INDRAJA (pronounced in-DRAW-ya) is the Lithuanian Goddess of the planet Jupiter. She is one of the daughters of Saule, Goddess of the sun. Indraja was originally a water spirit, and she was meant to marry Perkunas, God of thunder, on a Thursday (the day ruled by Jupiter). When the other water spirits took her away from the wedding, she was instead turned into the planet Jupiter. Indraja's name means "water witch."

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Eriu  

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Eriu Cover
'Eriu (modern Irish 'Eire), daughter of Ernmas of the Tuatha D'e Danann, was the eponymous matron goddess of Ireland. Her husband was Mac Gr'eine ('Son of the Sun'). The English name for Ireland comes from the name 'Eriu and the Germanic word land. The fact that 'Eriu is represented as goddess of Ireland, she is often interpreted as a modern day personification of Ireland, although since the name "'Eriu" is the older Irish form of the word Ireland, her modern name is often modified to "'Eire" or "Erin" to suit a modern form.

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Goddess Art Of Statue Animation Making Magickal Eidolon  

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Goddess Art Of Statue Animation Making Magickal Eidolon Image
One of the most often discussed and reported magickal phenomenon found in the notorious god-making passages of the Hermetic Corpus (found in Asclepius III, sect. 23b, 24a) is the ability to animate a statue. What is meant by this is to somehow cause the spirit of a deity or daimon to reside in the statue, so that giving it offerings and devotions will give the magician an intimate target with which to engage. One could also assume that the deity or daimon would also be able to directly aid and bless the magician. What this doesn't mean is building an electronically fully animated statue ala Disney's animatronics that has no recognizable link with the Godhead, although such a device could act as the basis for being inhabited by a spirit, but actually, any statue will do quite nicely.

It would seem that one of the divergent capabilities of mastering the discipline of theurgia would be the animation of a statue with a spirit. I say divergent because the aforementioned book doesn't present this capability as either an important or a critical point in the overall exposition. I would assume that the author in antiquity, briefly referring to this magickal effect, was stating what could be possible when pursuing the really important task of spiritual ascension and union with the One. I will quote the requisite passage to reveal that although mentioned, the what, where and how is mysteriously omitted.

"I mean statues, but statues living and conscious, filled with the breath of life, and doing many mighty works.."

The Church condemned this belief as a form of idolatry and saw it as the obvious worship of demons, even though many church statues were considered icons that had the power to bestow blessings and miraculous healing. The church would perform a kind of consecration, where a newly erected statue of a saint or an apostle would be blessed with holy water and incense during a votive mass, but it was the unquestioning faith of the people who saw these statues as emblems of divine power and grace that made them truly holy relics. Renaissance magicians, however, had no problem using unsanctioned statues and other devices for their reconstitution of Hermetic magick, but few had ever really written down (as far as I am aware) directions that would show how to make such a thing.

Years ago, as a ritual magician of no small ability, I decided to see if I could figure out how to do this operation within the context of my own system of magick. Not only was I intrigued by the Hermetic legend, but I also was exposed to the "statue as god" practices from a friend who was deeply involved in Voudoun and Santeria. I was also exposed to Michael Bertiaux and some of his heterodoxical voudoun and European magick. Still, I needed to develop a methodology that would work within my own personal system.

Basically, I concluded that the requirements for crafting a statue that housed an aspect of the Godhead would have the following requirements:

1. An appropriate statue of that deity or some other analogous form made out stone or metal,

2. To place an energy field into the statue that would be perpetual, self-regenerating and whose characteristics would be analogous to the aspect of Godhead,

3. Perform a Godhead invocation through a gateway structure that would draw that Godhead and powerfully associate it with the statue,

4. Engage the statue in a mystery working where that Godhead aspect can communicate, bless and empower me and whatever else I magickally seek to impact.

So the first task would be to find an appropriate statue made out a material that would be amendable to the working. That would eliminate anything that is made out plaster, plastic or cheap metal (aluminum). It would also make the statue more expensive and perhaps even something of an object d'art. I had three statues that were made out of pressed alabaster, and therefore, were perfect for this work. They could also be made out pressed resin as well, since a lot of beautiful museum replicas are made out that substance these days.

The second requirement was, at first, something of a conundrum. How would I apply a perpetual charge to the statue. I thought this over and came to the conclusion that I could charge the statue like it was a talisman, which in sense, it was. The best charging mechanism that I had in my repertoire was the generation of a talismanic elemental, which is the combination of a planetary intelligence fused within an element charge. A talismanic elemental can also be invoked as one of the Enochian Seniors, as well as one of the Lunar Mansions. I chose to work with this specific perpetual charge as both an energy and a spirit, thus embodying the statue with a base line energy field that would hold and contain the particular godhead that I sought to invoke into it. So for each of the three statues, I would choose a specific talismanic elemental charge. I had a total of twenty-eight different constructs from which to choose. Timing would be an important factor, which meant that I wouldn't be able to perform the invocation of the talismanic elementals whenever I chose, but it would have to be done when the Moon was waxing and when it entered into the targeted Lunar Mansion.

My three goddess statues provided me with the inspiration to choose the planet Venus for a talismanic elemental for each, so I chose Venus of Fire, Venus of Water and Venus of Air. Thus I had the charge determined for these three statues. The working called for a fourth talismanic elemental to be invoked and set to charge a special consecrated crystal - for that, I chose Venus of Earth. So all four element variations of Venus had been selected to be used in this working. Now on to the next step, where I would have to figure out how to do a Godhead invocation and somehow get it to materialize in the statue.

The key to getting an aspect of the Godhead to dwell in a statue was to be found in the ancillary rite used by the order to set a talismanic charge, called the Talismanic Elemental Application rite. This rite sets up a proper and powerful field in the target object that is to be charged. I will quote a section from that rite, which will establish the base for the applying of a charge, and help us visualize and determine the next step.

"The basic structure of this ritual consists of an Inverted Pentagram of Spirit Feminine that is set in the center of the circle, representing the Holy Feminine Spirit descending and bestowing its manifest blessings. This central power object is surrounded by a potent vortex that is generated with four hexagrams erected in the four Angles. The object to be charged is placed upon the sigil of the Talismanic Elemental in the center of the circle. The magician may use a central altar to perform this operation and focus the rite."

So an inverted pentagram of spirit feminine is set in the center of the circle in the ultra-point, symbolizing the descent of grace and spiritual power into a material frame work, which is the target object. There is also a vortex consisting of four unicursal hexagrams in the four angles, embedded in a crossroads energy structure with another unicursal hexagram set to the infra-point, energizing the nexus point where the crossroads meet. The hexagrams set in the four angles are drawn to invoke the planetary intelligence of the Sun, and the one in the center of the circle is set to the Moon - thus creating a powerful vortex polarity of Light and Darkness, Solar and Lunar aspects.

As a form of preparation, the statue is sprinkled with holy or lustral water and then anointed with holy oil. These sacraments have been prepared through a votive mass. Other sacraments, such as wine and a host, may be kept in reserve after the Mass to use in this working.

Using the powerful ritual structure that is already in place, the magician then performs a ritual to summon the Godhead, in this case, one of the three Goddesses that I sought to work with. I will quote from the directions in the ritual "Enneagramic Gate of the Goddess."

"The Celebrant then draws a great [Rose] Ankh in the Ultrapoint and seals it with a colored energy, depending on the nature of the Deity. The Celebrant then intones the Invocation of the Goddess and implores her to manifest and reside (in part) within the Eidolon - which the statue has now become.

When the above steps are completed for each of the Eidolons, the Celebrant shall light an offering of incense before it and then proceeds to anoint the statue a second time, thus sealing the power [and spirit of the godhead] into it."

In addition, the magician may also give or feed the statue an offering consisting of a consecrated host particle dipped in consecrated wine. The statue is now fully activated and has a resident aspect of the Godhead fully active within it. It will, of course, require periodic feeding and rites of devotion and adoration, but that is the responsibility of the magician as priest. It is an obligatory part of his or her personal magickal religious cult, and should never be neglected. What I have done at this point in the working is set up a shrine of the three goddesses, and decorated it with power objects, other god statues (to keep them company), and periodically gave them offerings of flowers, incense and devotions, and consecrated sacrament to feed and keep them active.

The Fourth and final step is engaging the living statue in some kind of powerful mystery rite, one where that Godhead can be deeply and magnificently integrated into the spiritual process of the magician. How this is done is to incorporate a gateway of the mysteries and build a kind of mystikon (telesterion) where the Deity may intimately commune with the magician. Because I chose three goddesses who had a special primacy in my personal pantheon, I used a triple gateway consisting of nine points, or an Enneagram to establish a mystikon for all three of them. What this structure looks like is quite simple. It consists of a Western Gateway, a Southern Gateway and a Northern Gateway. You can consider that the west is the gate of darkness, the south is the gate of the summer solstice (ascension of light), and the north, is the gate of the winter solstice (death and rebirth).

An enneagram gateway structure is erected only when all three of the statues have been completely animated with the charged aspect of the Godhead, so until that task is completed, the triple gateway mystery can't be done. Thus this rite of the triple gateway is performed with all three active goddess statues. Each gateway is erected and established for each of the three goddesses, starting with the north, then the west, and completing with the south. In this manner, an anticlockwise progression is established, producing a further vortex-like energy signature. The magician has now progressed through three gateways and is at the very center of the triple mysteries associated with the triple godhead. Achieving this point is quite a momentous and powerful magickal experience, but there is still more that needs to be done.

The magician then invokes the Talismantic Elemental of Venus of Earth and uses the Application Ritual to charge a specially selected crystal placed in the center of the circle. This can be done prior to the working, or it can be done in the very center of the working. I chose to make this talisman prior to the triple gateway, so instead of building up yet another structure in the center of the circle, I just brought out the crystal and set it up with the three statues of the goddess in their shrine, as mentioned previously.

Once this is done, then the magician takes the transmutar wand and draws all nine nodes of the gate structures together through the center of the circle in the ultra-point beginning with the Western Watchtower, and then ending after transiting the Northwest, North, Southeast, South, and Southwest. Now the enneagram is fully established and all four element aspects of the talismanic elemental of Venus are deployed.

When all three gateways are established, then the magician sets an inner circle in the center of the consecrated magick circle, proceeding in a sunwise direction. This inner circle has the quality of fusing all of the three gateways into a singularity, and the sunwise direction establishes a counter movement against the negative vortex, intensifying the energy at the center. An enneagramic trigon is placed in the center of the circle to establish the confluence of the nine points of the triple gateway.

Finally, the magician performs the opening of the portal gesture before the inner circle and steps into it. Then he or she declares the combined gateway keyword formula for all three gates and summons the combined power of the triple godhead. This completes the erection of the inner mystikon, and the magician then sits in the center of the circle and meditates in silence while communing with the combined godhead. He/She may place before that Deity composite shrine offerings and also sigils of his or her personal desires. When this communion is at an end, the magician backs out of the center of the circle and bows low before it. The three gateways are then sealed with sealing spirals, locking them for future use.

The final action is where the magician erects and projects an Eastern Gateway that represents an ascension into the light, as well as an exteriorization of all that was established in the mystikon. The ritual may be completed, but it can be revisited whenever the magician has need of communing with the triple powers of the combined Deity, through the artifice of three fully animated and empowered statues of the Godhead. To revisit, the magician performs a macro rite, that consists of the basic elements of the mystikon rite without all of the elaborate structures that were required to erect it the first time.

So that's my detailed solution to fully animating a statue with a summoned and invoked Godhead aspect. I have tested it and the methodology works quite well. What this does is add a potent dimension to the devotions and priest-like obligations of the magician, and it gives him or her the ability to go directly to the Godhead and request any kind of assistance, guidance, council or just reassurance. It also makes the temple environment much more sacred, holy and imbued with the active and dynamic powers of the Godhead, which seem to be alive and fully empowered within the boundaries of the shrine. Since I went through this process and I now have living statues enshrined in my temple complex, I can't imagine any other way of establishing a living connection with the Deity.

I hope this article has given you some ideas about how you might perform this working for yourself. Those who are members of the Order not only have the rituals to perform this working, but also some newly written documentation to walk them through it.

Frater Barrabbas


Ometeotl  

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Ometeotl Cover
Ometeotl (Two God) is a name sometimes used about the pair of god Ometecuhtli/Omecihuatl in Aztec mythology. Whether such a deity existed among the Aztecs and what was its meaning is a matter of dispute among scholars of Mesoamerican religion. Miguel Leon-Portilla interprets the name "Ometeotl" as "Lord of the Duality" and argues that Ometeotl was the supreme creator deity of the Aztecs, and that the Aztecs envisioned this deity as a mystical entity with a dual nature akin to the European concept of the trinity. He argues that the Aztecs saw Ometeotl as a transcendental deity and that this accounts for the scarcity of documentary references to it, and why there is no evidence of an actual cult to Ometeotl among the Aztecs. Leon-Portilla's arguments have largely been accepted among scholars of Mesoamerican religion. Other scholars however, notably Richard Haly (1992) argue that there was no "Ometeotl", Ometeuchtli or Omecihuatl among the Aztecs but rather that the names should be interpreted, using the Nahuatl language root "omi bone" rather than "ome two", and that Omitecuhtli was another name for Tonacatecuhtli and Mictlantecuhtli both gods of the other related to the creation of humans from dead bones. He argues that of the five sources used by Leon-Portilla to argue in favour of the existence of a single creator god among the Aztecs none contain a clear reference to a god of duality.

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Stonehaven Fireball Ceremony Rock God Tribute  

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Stonehaven Fireball Ceremony Rock God Tribute Cover

And another one without the annoying music:

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Chinnamasta Goddess Of Great Wisdom  

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Chinnamasta Goddess Of Great Wisdom Image
"CHINNAMASTA" IS THE HINDU THE GODDESS OF GREAT WISDOM; SHE IS ASSOCIATED WITH THE CONCEPT OF SELF-SACRIFICE AND THE AWAKENING OF THE KUNDALINI, OUR SPIRITUAL ENERGY. SHE IS THE EMBODIMENT OF SEXUAL ENERGY. "CHINNA" MEANS CHOPPED OFF; "MASTA" MEANS HEAD. HENCE, "CHINNAMASTA" IS THE GODDESS WHO CHOPPED OF HER OWN HEAD.. SHE IS A DEITY WHO HAS ALWAYS BEE THERE FROM WHEN TIME BEGAN. SHE IS OUR INNER ILLUMINATION AND SYMBOLIZES BOTH ASPECTS OF "DEVI", THE HINDU DIVINE MOTHER...THE LIFE GIVER AND A LIFE TAKER. IT IS SHE WHO DISTRIBUTES "VITAL ESSENCE" OR "LIFE ENERGY TO ALL BEINGS.

She is concerned with life, death, and the idea of blood as a life force. She and Her devotees are usually depicted as wearing a cobra around their neck as She stands over a divine copulating couple...with the Goddess on top. This image speaks to the two faces of the goddess, sex and death, and shows how sexual energy leads to a sacrificial death, as procreation requires parents to make way for their offspring. The sacrificial death nourishes the renewed life.

"CHINNAMASTA "IS THE" SHAKTI "OR POWER OF INDRA OR LIGHTNING, THE ELECTRICAL ENERGY OF TRANSFORMATION AND SPREADS HERSELF ALONG MYRIADS OF CHANNELS ENVELOPING THE WHO OF THE COSMOS. SHE HELPS TO FREE FROM THE LIMITATIONS OF THE MIND, HELPS SUCCESSFUL MEDITATION, IMPROVES PERCEPTION, FREE FROM TROUBLES OR FIND SOLUTIONS TO PROBLEMS. SHE DIMINISHES NEGATIVE OR DARK ENERGIES AND GIVES VICTORY OVER ENEMIES.

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