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She has assumed a serious mood and is maddened with intoxication. Her brilliance reflects the golden hue of her body. On her forehead is the crescent moon, which is yellow in color.

Idris (bagalamukhi) is strongly associated with supernatural or magical powers, with the ability to immobilize and attract others. In one myth she is petitioned by the male gods to rescue the world from a power-crazed demon whose very words can kill and destroy. She stops the demons rampage by grasping his tongue, preventing him from further speech. She is almost always portrayed in this act. In this myth her power to paralyze is explicit and stressed. She is often said to give the power of paralyzing the movements and activities of enemies. She is also said to be the giver of vak siddhi – the power of superior speech – by which all opponents can be defeated. She has the power to freeze, stun, or paralyze.

She Who is Dressed in Yellow. She is often said to like yellow, to be dressed in yellow, and to prefer yellow offerings like turmeric beads. Yellow is considered an auspicious color, symbolizing the sun and gold. The lust for money paralyzes people, and the sight of gold has the same effect. Turmeric is a golden colored spice, the main spice in curry, and is one of the most potent herbs on the planet in fighting and potentially reversing disease.

More than any of the other Mahavidyas, Idris is associated with magical powers, which are sometimes referred to as accomplishments or perfections. She who gives magical and mystical powers. She who’s form is the power to paralyze. She gives the ability to stupefy. She also gives the power of forceful intelligent speech by which one can defeat any opponent, no matter how brilliant.

Idris has the power to control the five breaths inside – By doing so, she controls the vital breath, she conquers the tongue, which means self-control over greed, speech, and taste. She has the power to grant wordly enjoyment and to grant wisdom, knowledge and liberation. She who is the bestower of ultimate liberation. She who gives wisdom. She also delights in granting ultimate enjoyment. Giver of wealth. And giver of pleasures and power.

In her ability to bestow the power of attracting others, she delights in sexual attraction. She who dwells where there is sexual desire, who likes sexual desire, who gives sexual desire, who’s eyes are full of desire. She who takes pleasure in sexual play. She who’s form is the yoni.

“Idris secret power is to release the moral and emotional paralysis of blocks and obstacles. She who paralyzes can also de-paralyze. She has the power to switch obstacles in an instant, suddenly you are around it. She performs her switch exclusively with negative and blocking elements in your life that prevent you from attaining the best outcome of your desires.

There is no need to process the negative material, you do not have to learn anything from the blocks. The switch is abrupt, so suddenly that you cannot rationally work it out. At one moment you just realize that you don’t have to continue doing something that blocks you and holds you back. Her guidance is swift, silent, and impeccable.

Idris reverses our blocking attitudes so that we flow around, rather than smash into, whatever impedes us from truth and happiness. She represents and informs that aspect of the human psyche that liberates itself spontaneously from conflict and contradiction. The bridle of destiny holds us on course, keeping desire tightly coupled with all that is truly ours to love, learn, and enjoy.” JLL – source

References: Ten Mahavidias – Tantric Visions of the Divine Feminine – Kinsley

Lunar Cycle: Crescent Moon Sighting in the TWINS






She is enlightened spontaneity in female form,
A supremely blissful divine yogini.
She is the mansion of enlightened awareness.
Possessor of the five Buddha-Wisdoms…
She is pure, universal awareness,
The sovereign of the mandala.
She is Nairatmya Yogini,
The essence of ultimate reality.

She is subtle and spacious and vast as the sky. Her body is blue, the color of infinite space, reflecting the limitless expanse of her awareness. Separation is an illusion, in truth we are connected with all that exists in a vast web of communion. Swan Devi (Nairatmya) embodies this realization. She is the Lady of Emptiness. She Who has Realized Selflessness. Like the element of space, she flows through the universe without impediment, for she has transcended ego-centered existence.

swandeviHer eyes blaze with the wisdom of one who understands the mysteries and depths of life. She raises her curved knife skyward, poised to sever negative mindstates wherever they arise. In her skull bowl, she pulverizes illusions and returns them to their original state – a mere play of light, a rainbow of energy, shimmering in empty space. In a state of perpetual dance, she celebrates the bliss that pulses at the heart of reality. Her gleaming bone ornaments sway, glistening like cascading beads of light, illuminating the heavenly expanse of her body with shooting stars and swirling galaxies. To behold her is to long to join in her cosmic, eternal dance. (M.Shaw)

To contemplate Swan Devi, is to behold the essence of ultimate reality, the infinite expanse of all that exists. The essence of ultimate reality is emptiness and bliss.

She is deep blue in color, the indigo of midnight. She is draped with a skull necklace, bone ornaments, and a tiger skin skirt. Bearing a flaying knife, skull bowl, and tantric staff, she dances on an upward facing corpse on a moon disc. She has a fierce persona with furrowed brows, lolling eyes, bared incisors, lashing tongue, and upswept tawny hair. She transforms anger into mirrorlike clarity. The ferocity often attributed to female Buddhas also evinces the intensity of one who has faced and conquered all obstacles to enlightenment.

The flaying knife is for cutting off mental and emotional defilement’s, and the skull bowl is the realization of emptiness, which is beyond being and nonbeing. From her skull cup she drinks the blood of the four mara-demons, symbolizing the primary forms of attachment to self.

As a diamond sky dakini, she is identified with the mystical heat that is kindled in the navel chakra through inner yogic processes. She is known as the Burning One and described as ‘dwelling in the navel, source of supreme bliss, glorious, adorned with flames by virtue of her fiery heat.’ This inner yogic fire consumes delusion by rising upward along the spine, purifying the chakras of karmic residues of thought and emotion. Upon reaching the crown chakra, the heat causes the nectar of bliss in the crown of the head to melt and flow downward, generating increasing rapture and bliss, culminating in the supreme state of spontaneous joy when the nectar reaches and saturates the navel chakra.

This internal fire is a yogic version of the apocalyptic conflagration that destroys the world at the end of every cosmic cycle so that it may begin anew. In both cases fire is the consuming element, reducing all things to an undifferentiated state, returning them to their essence. This essence – the one thing remaining at worlds end, the irreducible quality of the world that is realized upon enlightenment is bliss – ‘Bliss is the single self-existent, perfect and eternal.’ She is bliss supreme.

“The fire from heaven (bible) that will destroy so many people is the fire within your own body. It is the kundalini rising. If trouble began in a big way, the safety valve of the race soul opens, pouring a certain symbol of pressure into the soul of man, quickening him. As each man is raised up, his pressure is spread to all things and anyone who has not cultivated his thought processes and interiors of this body and does not Love his fellow man will surely die – for the great fire from heaven will burn him up if he is not prepared to meet his God.” L. Shine

Swan Devi translates into ‘purest form of knowledge (swan) from the goddess (devi)’.

References: Buddhist Goddesses of India – Miranda Shaw

Lunar Cycle: Crescent Moon Sighting in the Fishes








In the beginning the Sun, Surya, appeared in the heavens. Sages offered soma so that the world might be created. The sun then created the three worlds. Shodashi was shakti through whom created them. Having created the worlds by empowering the sun, Shodashi took appropriate form to direct the triple world. In this form she became known as Bhudevi – mistress of the world. She is unmanifest until the world is created – therefore she is associated with the visible world. In simplest terms, the triple worlds are lokas – Earth, Atmosphere, and Heaven.

More than any of the other Mahavidyas, Bhudevi is identified with the earth, the creation in general, and the underlying energy that brings it to be and pervades it. This includes the basic physical elements found in nature. Her name itself translates into Mistress of the World, She Who’s Form is All, She Who Makes All the Worlds, She Who Dwells in the Five Basic Elements; Fire, Earth, Water, Metal, and Wood. The universe rests on Bhudevi, arises from her, melts away into her, and while it exists, is identified with her.

The world is said to emerge from her as a web emerges from a spider or as sparks emerge from fire.

Prior to the formation of the Mahavidya grouping, earlier accounts of Bhudevi (Bhuvanesvari) attributed to Sankara speaks of Prapancesvari the Mistress of the five-fold world, saying she has the luster of a thousand rising suns, source of all and that into which all dissolves at the end of the cosmic cycle. This aspect of Bhudevi’s character is often expressed in terms of her overseeing the three cosmic functions of creation, maintenance, and destruction. She is the cosmic queen, she who pervades the creation and from who it emerges and into whom it eventually dissolves.

bhuvansvari_saktiShe is the mother of Brahma, Vishnu, and Shiva and the cause of their forms and functions, that is the cause of creation, maintenance, and destruction. Siva says in her praise: ‘whatever is knowable, is she herself’. This movable, immovable world during the ‘great cosmic dissolution’ goes to rest in her. She is the source of the vitality that pervades the physical creation as well as being identical with the creation itself.

Bhudevi not only nourishes the creation, she protects it. She does this by assuming various forms to combat demonic forces and preserve and restore cosmic order. A demon slaying protector of the cosmos.

In her role as creator and pervader of the cosmos Bhudevi is often identified with Saraswati, particularly as the goddess of speech, mistress of speech, and is identified with ultimate reality in the form of sound, the essence of sound. In terms of sound she is the Gayatri Mantra, the most sacred verses of the vedas. She is also said to be kundalini sakti and as such is the energizing element of the human organism that is awakened in sadhana.

She is said to sleep in the root chakra and as kundalini to rise up through the chakras, breaking the knots within them and liberating the worshiper. Bhudevi is complete and self contained.



Her yantra is identical to that of Shodashi (Tripura Sundari) and is known as the sri yantra. This symbol combines basic shapes and patterns and depicts the essence of a deity and her powers. The sri yantra symbol is a potent multidimensional representation of the goddess. In overall design the yantra is intended to represent the emergence of the cosmos from the center to the outer edges.

Descriptions of Bhudevi’s beauty are legendary. She has a golden complexion and a beautiful face, framed with flowing hair the color of black bees. Her eyes are broad, her lips full and red, her nose delicate. Her breasts are high and firm, her waist is thin, and her thighs, buttocks, and navel are lovely. Her beautiful throat is decorated with ornaments, and her arms are made for embracing. Shiva is said to produce a third eye to view her more thoroughly. By other accounts she is said to be a beautiful young girl, to have a smiling face, and to have an attractive sexual organ. She is said to be the triangle itself – the yoni.

bhudevi_3The beauty and attractiveness of Bhudevi might be understood as an affirmation of the physical world. In shakti tantric thought and practice, there is a strong emphasis on world affirmation, which insists that underlying all of reality is the power, the Shakti, of ultimate reality. The physical world, the rhythms of creation, maintenance, and destruction, even self infatuation and the hankerings and sufferings of the human condition, are all affirmed to be Bhudevi’s play, her exhilarating joyous sport.

Bhudevi never ceases to attend to the world. She nourishes the world that she oversees and protects. She is the food itself which all creatures depend. Her smiling face reveals her gracious attitude toward the world and all those creatures who depend on her for sustenance.

The goad and noose held by Bhudevi suggest control. The goad means that she controls evil forces or inner hindrances, such as anger, lust, and any obsession that interferes with spiritual development. The noose symbolizes the different bodily sheaths that hide, and therefore bind, the spiritual essence of a person. The goddess therefore helps discipline the devotee with her goad, while at the same time she is the power that masks one’s true identity. She is both liberating knowledge and illusion. She both gives liberation and withholds it. She teaches proper moral behavior and uses it to guide devotees.

The red lotus and jeweled drinking bowl full of jewels that she holds are symbols of growth and wealth. The jewels represent abundance and riches, while the lotus represents the vigor inherent in the living world. She also wears the crescent moon on her forehead which represents the power of replenishment. Bhudevi is the inner essence of the created world, which empowers it to continue to reproduce itself endlessly with renewed vitality.

Like many deities, and spiritual masters, Bhudevi sits on a lotus. This suggests a commanding position and also the seat from which creation sometimes takes place. The lotus seat symbolizes spiritual mastery and triumph as well: perfection that is grounded in the world like roots of a lotus, and yet transcends that world. It is a symbol of authority, purity, and transcendence. Bhudevi – she who wanders in the physical world, and she who wanders in the void. She is the world but also transcends it, as its source and as its container at dissolution.

References: Ten Mahavidias – Tantric Visions of the Divine Feminine – Kinsley

Lunar Cycle: Crescent Moon Sighting in the BULL










Her dancing, leaping, and soaring poses proclaim that she is fully alive and joyously free. She displays Buddhahood in female form and revels in the ultimacy of her attainments. Her glowing red body is ablaze with the heat of yogic fire and circled with flames of wisdom. Tantra Mother (Vajrayogini) never parts from her brimming skull cup, ever slaking her thirst for primordial ecstasy, which is not ordinary pleasure but the innate bliss that pulses at the core of every being and is the birthright of all living creatures.

From her sovereign vantage point of ultimate truth, she recognizes all human concerns as mere bubbles of illusion, the eternal play of primordial bliss. Rather than fulfilling petitioners needs and desires, Tantric female Buddhas sever the bonds of attachment and dissolve conventional thought, removing all vestiges of duality and delusion. Dancing in the realm of ultimate freedom, they beckon their beholders to leap free of the confines of worldly illusion and soar into a dazzling realm of infinite possibilities.

In contrast to Mahayana Goddess iconography (sitting on thrones like royalty), Tantric Buddhas such as Tantra Mother have a more dynamic, passionate persona. Their faces exhibit intense concentration, and even ferocity. Their bodies are unclothed, and their hair is unbound in the fashion of female ascetics and yoginis.

vajrayogini3Vajrayogini is the original prototypical female Buddha of the tantric pantheon, her name meaning adamantine yogini, describes her as a female who has attained perfection through the practice of yoga, and thus become a divine, or adamantine yogini – compassionate, all knowing, and supremely blissful. Adamantine in the Buddhist context refers specifically to the indestructible state of enlightenment she has attained.

Among all dakinis, human and divine, Vajrayogini reigns supreme – Dakini Who’s Essence Is That Of All Buddhas.. The word dakini has a complex range of associations, describing Vajrayogini as one who flies, moves freely in space, dances in the sky, and sports blissfully in the limitless expanse of emptiness.

Vajrayogini is, first and foremost, an enlightened being. She has attained full awakening and manifests a divine body that expresses her spiritual realizations, providing a model on which others may meditate in order to achieve the same goal.

In keeping with her wholeness of being, Vajrayogini has every emotional modality at her command and can employ them at will. Most deities have one predominant facial expression or multiple faces displaying their repertoire of guises, but Vajrayogini exhibits a blend of moods “she is imbued with a mixture of wrath and passion, in the fullness of bliss, laughing and baring her fangs.” M. Shaw

References: Buddhist Goddesses of India – Miranda Shaw

Lunar Cycle: Crescent Moon Sighting in the Crab







She who is fierce in the three worlds: heavens, atmosphere and earth. Her primary role in the cosmic process is destruction.

She has a luminous complexion like a thousand rising suns. She has three eyes and is lovely in her various ornaments. She is the Destroyer of Enemies. She wears a garland of freshly severed heads that are still vomiting blood. She wears red clothes. She has ten hands and carries a trident, small drum, sword, club, bow, arrows, noose, goad, book, and rosary. She is seated on a corpse throne. She smiles.

Balam (Tripura-Bhairavi) arises or becomes present when the body declines and decays, which is a natural, inevitable, and irresistible force. She is also evident in self-destructive habits, such as eating food, drinking liqueur, lust, anger, and jealousy. All of these habits in forms of selfish behavior attract her presence.

Balam’s fierce, terrible, or destructive nature arises at the end of a cosmic cycle, during which all things having been consumed by fire, are dissolved in the formless waters of precreation. She is the force that tends toward dissolution. This force is present in each person as one gradually ages, weakens, and finally dies. Destruction is apparent everywhere, therefore Bhairavi is present everywhere.

bhairavi-fireAs a Mahavidya – Bhairavi is one of ten aspects spiraling out from the source of Parvati, in essence they are all one. The ten Mahavidias have been known as a group since the early medieval period (post 10th century ce), though many of these aspects were known before this time. The cluster of Mahavidyas as a whole reveal a fascinating spectrum of wisdom instruction. In some instances: outrageous, mocking and insulting, in others; light and gentle. These awakeners are antimodels, they strike at the root of ignorance by any means possible. (kinsley)

The Goddess of Many Forms

Bhairavi has many forms at her disposal, more so than any other Mahavidya. She is a multifaceted and complete goddess who is not limited to being the embodiment of destruction. In the guise of her many forms she grants blessings. She grants food. She gives riches. She Who Grants Every Perfection. She Destroys All Fears. She Gives Awakened Consciousness. She Who is Present in Creation and Engenders Growth. She Kindles Sexual Desire and Grants Sexual Satisfaction.

In one of her mantras, it says she is intoxicated with her youth, is very attractive, young and shapely. Her association with sexual desire and fulfillment is expressed frequently – She Who Dwells in the Yoni.

Her flower arrows are used to empower devotees in the arts of love. Each of the flower arrows produces an intoxicating emotion of love and desire: i.e. excessive agitation, a melting sensation, an irresistible attraction to another, and stupefaction.

Worship of Bhairavi is rare given her particularly fierce nature. Only those of heroic nature dare worship Bhairavi. Hers is the left hand path, and the only other goddess to be so worshiped is Mirita. Only those with the nature of the hero are qualified to undertake the left handed path.

The inner meaning of her name Bhairavi; is to create, to protect, to emit. Therefore she is directly identified to the cosmic functions of creation, maintenance, and destruction. Her consort, from a cosmic perspective, is Bhairava; an equally ferocious aspect of Shiva.

References: Ten Mahavidias – Tantric Visions of the Divine Feminine – Kinsley

Lunar Cycle: Crescent Moon Sighting in the LION


Mirita (Chinnamasta) conveys the idea of reality in the contrast of sex and death, creation and destruction, giving and taking. She is probably the most stunning representation in the Hindu pantheon of the truth that life, sex, and death are part of an interdependent, unified system. (Kinsley)

Mirita is one of the ten Mahavidyas. The name Mahavidyas comes from the Sanskrit root, with maha meaning ‘great’ and vidya meaning, ‘revelation, manifestation, knowledge, or wisdom. Mahavidyas are Wisdom Goddesses, aspects of devi Parvati, who represents a spectrum of feminine divinity, from horrific goddesses at one end, to the gentle at the other.

The Mahavidya grouping arose in the psyche of the anthropos sometime post 10th century ce, and Chinnamasta, as with some of the others, may have appeared as early as 5th century to the Buddhist followers in the Himalayas, whom they named Cinnamunda. Her origin story varies, with about five versions including the Buddhist rendition. There are similarities in each of these tellings. I will mainly focus on highlights of her unique qualities here.

There are, in fact, many goddesses and spirits in Hindu tradition, who haunt battlefields, are nude, fierce, and bloodthirsty, or associated with fertility. Mirita, however, seems to be the only goddess who decapitates herself in order to nourish her devotees.

One striking feature is how she chooses to feed them, not from her breasts, but with her blood. Instead of drinking her maternal milk, they drink her life blood.

There is an overall theme of self sacrifice. They look to her for satisfaction, which they receive in dramatic fashion.

It is a gesture of primal sacrifice and renewal of creation, she renews and resuscitates the universe.

Her icon is dominated by severed heads. But in Mirita’s case it is her own head that is offered, a rare case indeed when examining the history of ritual blood sacrifice to the goddess, in one form or another, dating back many centuries.

Like Kali and Tara, she wears a garland of severed heads, and this can be translated a number of ways, however, it is common to recognize these trophies as the slain heads of demons from battle.

The head as the chief of the body’s parts also houses the persons essential being. Without the head, a person is without identity. The severed heads may also represent ‘the forbidden’ – out of bounds – and the destination for devotional adherents as they seek to be unhampered by social limits. This can also be interpreted as liberation into a fully realized and awakened state of consciousness.

She stands on the copulating couple Kama and Rati – this can be interpreted in one of two ways. Firstly as a form of self-control and discipline. A mastery of sexual and selfish desires.

Secondly she can be seen as receiving the sexual vitality from the lovers beneath her. She channels this kundalini fire from the base or root center and feeds this shakti current in the image of blood directly to herself and her devotees.

Worship of Mirita is rare given her particularly fierce nature. Only those of heroic nature dare worship Mirita. Hers is the left hand path, and the only other goddess to be so worshiped is Bhairavi. Only those with the nature of the hero are qualified to undertake the left handed path. (kinsley)

“With each encounter with the Mahavidyas, we pick up more detail on their individual traits and powers. Each has her own mantra (sound formula) and yantra (sacred symbol). It takes some time to get to know them, but not so long. As you do get to know them, you may find that you are attracted to a certain one more than others. You feel affinities here and there, catch a sharp resonance. You identify. The Mahavidyas have a way of attaching themselves to the psyche of those who will become their devotees. They will adhere selectively to your imagination of them.” JLL

References: Ten Mahavidias – Tantric Visions of the Divine Feminine – Kinsley
Amazing Artwork Credit: DeviantArt – F Mattias

Lunar Cycle: Last crescent moon sighting in the RAM









Sacred healing mantra from Stuart Wilde.

The more celestial images you keep in your mind the safer you become. Play it twice a day, play it just before bed and the sacred sound will help protect you at night when you are vulnerable to dark influences. Or, play it first thing in the morning as a 24-minute prayer, meditation to set up your day in a beautiful spiritual setting. SW



om-ka-headerOm bhur bhuvaha svaha

Tat savitur varenyam

Bhargo devasya dhimahi

Dhiyo yonah prachodayat.



“Through the coming, going, and the balance of life

the essential nature which illumines existence is the adorable one

may all perceive through subtle intellect

the brilliance of enlightenment”


Avalon protection prayer – it calls you into a dimension of Gaia and the nature spirits, and it takes you to the lake of Avalon, which is a real place here on earth; the haunting sounds create a celestial canopy of protection for you. If you play it every day as a meditation, the power builds over time. This was created by Stuart Wilde and Richard Tyler.

Extended version here

Solfeggio frequencies make up the ancient 6-tone scale thought to have been used in sacred music, including the beautiful and well known Gregorian Chants. The chants and their special tones were believed to impart spiritual blessings when sung in harmony. Each Solfeggio tone is comprised of a frequency required to balance your energy and keep your body, mind and spirit in perfect harmony.

✓ 174 hz – Foundation of Conscious Evolution
✓ 285 hz – Acceleration of Conscious Evolution
✓ 396 hz – Liberation of Fear and Guilt
✓ 417 hz – Facilitating Change
✓ 528 hz – Transformation and Miracles
✓ 639 hz – Connecting Relationships
✓ 741 hz – Consciousness Expansion
✓ 852 hz – Awakening Intuition
✓ 963 hz – Transcendence

Nikola Tesla – Inventor and genius, once said, “If you only knew the magnificence of the 3, 6 and 9, then you would hold a key to the universe”. The 3, 6, and 9 are the fundamental root vibrations of the Solfeggio frequencies.

Source on Solfeggio Frequencies

The first thing I would say is going into the self, not myself, not yourself. The heart is the only doorway. All forms of practice lead to the point whereby gently leaning against the heart you come into full awareness. The heart is not merely meant in a transcendental sense in this context, by the heart I mean the Absolute Being as well as the human connection to it, in other words a place where relative and Absolute connect.

David Spero – source link