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Kularnava Tantra is perhaps the foremost Tantra of the Kaula School and is constantly cited as an authority in Tantric literature. It is worthy of close study by those who would understand the tenets and practice of the tradition of which it is a Sastra. It calls upon man to wake up to the rare privilege that has been given to him, e.g., human birth in which the being becomes conscious of himself and is offered a choice, a choice between stagnation and rapid progression towards his Godhead. He is asked to purify himself and told how to do it. In unambiguous terms he is told that a wine-drinker is different from the drinkers of ecstasy; the union of delight is between the ascending Shakti and the presiding Lord above, and not between man and woman. The Introduction by Arthur Avalon (Sir John Woodroffe) gives a concise outline of the work. Sri M.P. Pandit, who is a keen student of the Tantras and Vedas, has rendered the work in English in eleven chapters. The Readings are free transla-tions with annotations where necessary, omitting technical details but preserving the spirit and essential import of the original in his characteristically lucid style. The complete text is given in Devanagari after being duly edited by Taranatha Vidyaranya for those who wish to study the book in the original Sanskrit..
One of the most unconventional yet immensely popular deities in the Hindu pantheon, goddess Kali essentially represents the dark and contrary aspects of the cosmos. Her naked form and association with violence, blood and gore challenge the very concept of divinity. Yet, over the centuries, she has come to represent a whole gamut of conflicting images-from bloodthirsty ogress to benign goddess. So today while she is venerated as Chamunda, a deity who verges on the macabre and grotesque, she is also adored in household shrines in one of her milder forms, Dakshina-Kali. It is this evolution of Kali-from her origin as a tantric goddess to her metamorphosis into a divinity in mainstream religion-that Seema Mohanty captures brilliantly in this book. Drawing upon a variety of sources-rituals associated with the worship of Kali, tales from the Ramayana, the Mahabharata, the Puranas, the Tantras and Agamas, folklore and films-she has succeeded in portraying in engrossing detail the myriad manifestations of the enigmatic deity that is Kali.
The Hindu pantheon is rich in images of the divine feminine—deities representing a wide range of symbolic, social, and meditative meanings. David Kinsley's new book documents a highly unusual group of ten Hindu tantric goddesses, the Mahavidyas, many of whom are strongly associated with sexuality and violence. What is one to make of a goddess who cuts her own head off, or one who prefers sex with a corpse? The Mahavidyas embody habits, attributes, or identities usually considered repulsive or socially subversive and can be viewed as "antimodels" for women. Yet it is within the context of tantric worship that devotees seek to identify themselves with these forbidding goddesses. The Mahavidyas seem to function as "awakeners"—symbols which help to project one's consciousness beyond the socially acceptable or predictable. Drawing on a broad range of Sanskrit and vernacular texts as well as extensive research in India, including written and oral interpretations of contemporary Hindu practitioners, Kinsley describes the unusual qualities of each of the Mahavidyas and traces the parallels between their underlying themes. Especially valuable are the many rare and fascinating images he presents—each important to grasping the significance of the goddesses. Written in an accessible, engaging style, Kinsley's book provides a comprehensive understanding of the Mahavidyas and is also an overview of Hindu tantric practice.
The famous JyotirLinga of MahaakaaLeshwar is situated over the bank of the sacred river Shipra. Lord Omkaareshwar's temple is situated over an Island inside the river Narmadaa. On the other side of Narmada is the temple of Lord Maamaleshwar. Lord Baeidyanath's temple, situated in Deoghar. One of the old Tapovana also exists near Deoghar. This book talks in detail of all these deities, the places around them and their spiritual and scriptural significance.
Katha proudly presents Indira Goswami's hugely successful novel, The Man from Chinnamasta. Set in the times of unrest and turmoil at the turn of the twentieth century, the novel paints the hoary history of Assam's most famous temple of the Sakta cult, Kamakhya.The story flows as swiftly as the Brahmaputra; it holds the reader's attention as seductively. And as the narrative moves inexorably towards its end, we see the power of the storyteller in Indira Goswami. This evocative translation by Prashant Goswami makes the novel a must read for all lovers of good fiction.
In Hindu theology, Divine Power is conceived as a divine woman-the Goddess. Sometimes she is wholly autonomous and sometimes she is the divine spouse of the creator God, Siva or Visnu. She is also held to be the evolving material source of every created phenomenon. Religious texts like Puranas and Tantras have thoroughly investigated the mysterious nature of the Cosmic Goddess. Tantra as a religious practice endeavoured to show how through ritual and Yoga one may achieve the realization of the mystery of the Supreme Goddess. Authors in Sanskrit and modern Indian languages have poured out their ecstatic devotion to the Goddess. She is close to the heart of the passionate devotee, who adores her as mother or daughter - a mortal emotional bond with the divine so peculiar to Hindus. She is also sovereign Power a little part of which reigning royalties covet to possess in order to be good rulers. AS the divine woman she is represented in all women. Therefore women should be holding a high position amongst Hindus. But the question is, do they? In spite of the obvious contrary evidence, women do succeed in carving out a very important position in Hindu religious practices by having their alternative religious rituals highly valued by Hindu women have a very complex interrelationship. The book focuses on the great cosmic Goddess and her ritual worship, Tantric theology and praxis in a wider sense, the attitude of her devotees towards her authority and the social character of the Tantric practitioners, and the position of Bhakti. It also figures out the position of women inside the Tantric and non-Tantric Hindu religious milieu. The Goddess symbolizes the supreme divine authority that activates the creation, protection and governance and necessary dissolution of the world in accordance with the ancient Indian concept of cyclical time. But She also discharges the divine sovereign privilege of punishing evil-doers and rewarding true devotees. Finally, the relevant forms of the Cosmic Goddess in this book are Sri/Tripurasundari/ Lalita; Goddess Kali and Her various emanations; and Laksmi and Her powers in the Pancaratra canonical texts.
” Lord Shiva gets married to Sati, the daughter of Prajapati Daksh. Sati goes to Her father’s yajna uninvited, and burns Herself in the sacrificial fire as Daksha insults Lord Shiva and Her. Lord Shiva traverses the creation with Sati’s burnt body on His shoulders, dancing the Rudra Tandava. Lord Vishnu cuts the body into pieces by Sudarshana chakra, that scatter on Bharatvarsha in Bhooloka. Lord Shiva refuses to part with Sati, and establishes Himself along with each Pindi as Swayambhu Shivlinga. Demon Tarakasura attempts to steal the Devi Pindi, and consequently Lord Shiva appoints Kshetrapal Bhairav to protect each Shaktipeeth from evil, demonic forces. The Shaktipeeths are worshipped, and an unknown span of time passes. Bharatvarsha is attacked by the mlechhas. The temples are attacked, broken and plundered. The Shivlinga is broken, and the Bhairav temple is lost. The Pindi is not visible anymore, and the idea of the existence of the Swayambhu Shivlinga is forgotten. At some places, Goddess appears in the dream of devotees to look up a particular spot where She exists. So, Kalighat temple, Attahas Peeth and Kalkaji temple are rediscovered. As a thousand years pass, the memory of the Swayambhu Shivlinga is lost and forgotten. Mahadev remains bound with Sati Pindi as Swayambhu Shivlinga, and waits to be found and worshipped again at each of the Shaktipeeth temples. As the exact spots of the Swayambhu lingam wait to be rediscovered along with the Devi Pindi, the real Shaktipeeth temples await to welcome back the lost glory of ancient Vedic India and Her cultural magnificence. ”
ABOUT THE BOOK:This book serves as an introductory study of Tantric Saivism in its original scriptural sources. It traces the features and content of the canon of the Saiva Tantras, making use of many unpublished manuscripts from Kashmiri Saiva author