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The evocation magic of the Goddesses of the Charnel ground is called "Smashana Vasini Tantra". This practice has come under "Dur Mantra Sadhana" means "Black Magic practices". The goddesses which are provided in this book are also called as goddesses of "Bhoota's" (Demons or Devils)All ghosts, demons and spirits are under the control of the Lord or King of the ghosts called "Bhoothnath", which is the ferocious and ghostly form of the Lord Shiva. Lord Bhoothnath is a similar form as the Lord Bhairav. I provided two rituals of the Bhoothnath-The Evocation procedure of the Bhoothnath which makes the Bhoothnath to manifest before you and fulfills all your desires (Cremation ground)-The Invocation procedure of the Bhoothnath to get the grace of him and enjoy the peaceful life and to achieve success in all your endeavors (House)The Invocation procedure didn't gives the manifestation of him, but it gives the success in all types of invocation rituals and Abhichara KarmasThis book is categorized into three parts-Evocation of the Smashana Vasini's-Evocation and communicating with the spirits and souls-Spells, sigils and procedures to fulfill our wishesEvocation and Invocation procedures of the Lord Bhoothnath is the special attraction to the book
Apsara are sexy goddess of Attractive body, Seductive look, Hypnotic eyes and fascinating appearance. Mainly, Apsara gives sexual satisfaction to gods and saints. As per hindu scriptures, occasionally Apsaras submit themselves to Ancient Hindu kings. Where there is Apsara they will be flow of strong seductive and attractive energy. Some right hand path magic practitioners also not consider as sin to do intercourse with them. King of Gods Indra use Apsaras as a final weapon on saints and maharishis to test their controlling and mental ability. Even heaven got its pleasent nature due to presence of Apsaras. Apsaras will entertain the souls of warriors, divine knowledge people's, kind hearted people's in heaven after their death. Apsaras gives all types of materialistic pleasures when practitioner desire. Apsara means Pleasant, Attractive, Fascinating, Hypnotic and Mesmerizing power of the nature. Business mens, Employees and all types of people can keep a Apsara photo at leaving or working or business places for peace of mind and to attract customers. Customers or visitors will feel that pleasant experience at that place. Mainly at Wine shops, Bars and Restarants, Theatre's, shopping malls and all types of entertainment places are suitable to place images or statues of Apsaras. It improves customer flow and gains profit to owners. So, I can say this book is useful for all types of category in society. Use this book for your necessities and gain all materialistic desires.
As David White explains in the Introduction to Tantra in Practice, Tantra is an Asian body of beliefs and practices that seeks to channel the divine energy that grounds the universe, in creative and liberating ways. The subsequent chapters reflect the wide geographical and temporal scope of Tantra by examining thirty-six texts from China, India, Japan, Nepal, and Tibet, ranging from the seventh century to the present day, and representing the full range of Tantric experience--Buddhist, Hindu, Jain, and even Islamic. Each text has been chosen and translated, often for the first time, by an international expert in the field who also provides detailed background material. Students of Asian religions and general readers alike will find the book rich and informative. The book includes plays, transcribed interviews, poetry, parodies, inscriptions, instructional texts, scriptures, philosophical conjectures, dreams, and astronomical speculations, each text illustrating one of the diverse traditions and practices of Tantra. Thus, the nineteenth-century Indian Buddhist Garland of Gems, a series of songs, warns against the illusion of appearance by referring to bees, yogurt, and the fire of Malaya Mountain; while fourteenth-century Chinese Buddhist manuscripts detail how to prosper through the Seven Stars of the Northern Dipper by burning incense, making offerings to scriptures, and chanting incantations. In a transcribed conversation, a modern Hindu priest in Bengal candidly explains how he serves the black Goddess Kali and feeds temple skulls lentils, wine, or rice; a seventeenth-century Nepalese Hindu praise-poem hammered into the golden doors to the temple of the Goddess Taleju lists a king's faults and begs her forgiveness and grace. An introduction accompanies each text, identifying its period and genre, discussing the history and influence of the work, and identifying points of particular interest or difficulty. The first book to bring together texts from the entire range of Tantric phenomena, Tantra in Practice continues the Princeton Readings in Religions series. The breadth of work included, geographic areas spanned, and expert scholarship highlighting each piece serve to expand our understanding of what it means to practice Tantra.
Yogini tantra is capable of giving everything desired in the world and a practitioner enlightened with it. Being rare for even Gods, this great esoteric wisdom is practiced by the Lord Kubera (Lord of Treasuries, prosperity, luxury, money and luck); by virtue of which he is able to become the lord of three worlds (Heaven, Earth and Underworld)In very ancient days, eight great Female Shaktis emerged from the cosmic soul of the Principle Deities and formed Kali or Durga, the Universal Shakti Power; these were the grand Mothers (Ashta Matrikas) of all subsequent Yoginis. According to Kaula Tantra, these eight manifested each in turn, into eight Divine Shaktis, thus resulting in the 64 Tantric Yoginis.These 64 powerful Goddesses have unique personas and powers to fulfill your desires, drive away negativity and fear, prevent misfortunes, and give you knowledge, peace, all-around prosperity, good progeny, and auspiciousness of all kinds.The goal of Yogini worship, as described in both Purana and Tantras, was the acquisition of occult powers or siddhisThe Sri Matottara Tantra describes 8 major powers, as named in the Yoga Sutras of Patanjali, namely: Anima- becoming microscopically small, giving knowledge of how the world works Mahima- becoming huge, able to view the whole solar system and the universe Laghima- becoming weightless, allowing levitation and astral travel away from the body Garima- becoming very heavy and powerful Prakamya- having an irresistible willpower, able to control the minds of others Ishitva- controlling both body and mind and all living things Vashitva- controlling the natural elements, such as rain, drought, volcanoes, and earthquakes Prakamaya- gaining all one's desires and any treasure
The Mahāvidyās are the representative Tantric feminine pantheon consisting of ten goddesses. It is formed by divergent religious strands and elements: the mātṛ and yoginī worship, the cult of Kālī and Tripurasundarī, Vajrayāna Buddhism, Jain Vidyādevīs, Śaiva and Vaiṣṇava faith, Śrīvidyā, the Brahmanical strand of Puranic traditions, etc. This volume is the first attempt to explore the historical process, through which these traditions culminated in the Mahāvidyā cult and the goddesses with different origins and contradictory attributes were brought into a cluster, with special reference to socio-political changes in the lower Gaṅgā and Brahmaputra Valley between the 9th and 15th centuries CE. Based on a close analysis of Purāṇas, Tantras and inscriptional evidence, and on extensive field research on archaeological remains as well as sacred sites, Jae-Eun Shin discusses the two trajectories of the Mahāvidyās in eastern Śākta traditions. Each led to the systematization of Daśamahāvidyās in a specific way: one, as ten manifestations of Durgā upholding dharma in the cosmic dimension, and the other, as ten mandalic goddesses bearing magical powers in the actual sacred site. Their attributes and characteristics have neither been static nor monolithic, and the mode of worship prescribed for them has changed in a dialectical religious process between Brahmanical and Tantric traditions of the region. This is the definitive work for anyone seeking to understand goddess cults of South Asia in general and the history of eastern Śākta traditions in particular. To aid study, the volume includes images, diagrams and maps. Please note: Taylor & Francis does not sell or distribute the Hardback in India, Pakistan, Nepal, Bhutan, Bangladesh and Sri Lanka.
The 31 selected and revised articles in the volume Holy Ground: Where Art and Text Meet, written by Hans Bakker between 1986 and 2016, vary from theoretical subjects to historical essays on the classical culture of India. They combine two mainstreams: the Sanskrit textual tradition, including epigraphy, and the material culture as expressed in works of religious art and iconography. The study of text and art in close combination in the actual field where they meet provides a great potential for understanding. The history of holy places is therefore one of the leitmotivs that binds these studies together. One article, "The Ramtek Inscriptions II", was co-authored by Harunaga Isaacson, two articles, on "Moksadharma 187 and 239–241" and "The Quest for the Pasupata Weapon," by Peter C. Bisschop.
Naginis are Magical & Supernatural power women serpents which are useful to magician to get powers of Indrajalam, Mayajalam and Mahendrajalam.Indrajalam: Magical power of manipulation. Magician can manipulate the mind of audience and show thread as snake, fire as water, potato as frog, coconut as head of man and many more.In fact, magician didn't turn thread as snake or coconut as head but he manipulates the mind of audienceKing of gods "Indra" is the ruling power of IndrajalamMayajalam: Magical power of Maya. I think Maya didn't have perfect meaningful word in English. Magician can turns anything to anything. He can turns cat into dog, man into women and fire into waterMagician can make anything into invisible. Even he can turn stone into monkey. Everything is possible with this power. Mayajalam is powerful and difficult than IndrajalamGoddess Maya Devi and Bhuvaneswari is the ruling power of Mayajalam.Mahendrajalam: It is similar to Indrajalam. Even Indrajalam is manipulating power; Mahendrajalam can give the power to walk on water, drink fire as water and walking on airIndra is the ruling power of MayajalamSecrets about Serpent form of Divine mother, 9 Naga kings and many more
Our readers and followers are request me to publish book on 36 Yakshini's after reading my previous book "Yakshini Magic", because I provided only few types of Yakshini Evocation procedures who are not included in the 36 Yakshini present in the Uddameshwara tantra. In fact, more than 36 Yakshinis are present in the Ancient Hindu tantra tradition but only 36 Yakhinis are discussed in the Uddameshwara tantraIn this book, I also discussed about The Evocation of the 36 YakshinisSingle Invocation method of 36 YakshinisLord Kubera(God of Treasuries, Wealth and Prosperity) ritual to achieve celestial prosperity, luck and successQuestions asked by readers and practitioners regarding Yakshini practices and my answers for it
The roots between the Hindu religion and the wider culture are deep and uniquely complex. No study of either ancient or contemporary Indian culture can be undertaken without a clear understanding of Hindu visual arts and their sources in religious belief and practice. Defining what is meant by religion - no such term exists in Sanskrit - and what is understood by Hindu ideals of beauty, Heather Elgood provides the best synthesis and critical study of recent scholarship on the topic. In addition, this book offers critical background information for anyone interested in the social and anthropological roots of artistic creativity, as well as the rites, practices and beliefs of the hundreds of millions of Hindus in the world today.
Since the 1960s, yoga has become a billion-dollar industry in the West, attracting housewives and hipsters, New Agers and the old-aged. But our modern conception of yoga derives much from nineteenth-century European spirituality, and the true story of yoga’s origins in South Asia is far richer, stranger, and more entertaining than most of us realize. To uncover this history, David Gordon White focuses on yoga’s practitioners. Combing through millennia of South Asia’s vast and diverse literature, he discovers that yogis are usually portrayed as wonder-workers or sorcerers who use their dangerous supernatural abilities—which can include raising the dead, possession, and levitation—to acquire power, wealth, and sexual gratification. As White shows, even those yogis who aren’t downright villainous bear little resemblance to Western assumptions about them. At turns rollicking and sophisticated, Sinister Yogis tears down the image of yogis as detached, contemplative teachers, finally placing them in their proper context.