A Touch of The Gods

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Siddhidhatri or Siddhidatri is a form of the Hindu goddess Mahadevi, venerated as the goddess of siddhi (spiritual attainments and powers). She is the ninth and last of the Navadurga, and is worshipped on the ninth day of Navaratri.

The goddess is depicted with four hands holding a chakra (discus), shankha (conch shell), mace, and lotus. She is seated on either a fully bloomed lotus or a lion as her mount. In some pictorial depictions, she is flanked by gandharvas, yakshas, siddhas, asuras, and devas, who are portrayed as paying obeisance to the goddess.

According to a legend, during the beginning of the universe, Shiva worshipped the unmanifest form of the great goddess, Mahadevi, to perform the act of creation. The goddess is said to have emerged from the left half of Shiva as Siddhidhatri. She is also believed to have conferred the ashta siddhi (eight spiritual attainments) upon Shiva.

Owing to her origin from Shiva’s left half, this form of the goddess is often associated with the composite deity Ardhanarishvara, in which the left portion represents Parvati

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A Touch of The Gods

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Mahagauri (Sanskrit: महागौरी, romanized: Mahāgaurī, lit. 'the great fair-complexioned one') is a form of the Hindu goddess Mahadevi, venerated as the goddess of beauty and purity. She is the eighth of the Navadurga, and is worshipped on the eighth day of Navaratri.

Mahagauri is usually depicted as riding on a white bull. She is shown with four arms: in her upper right hand she holds a trident, in her upper left a damaru, her lower right hand is in the gesture of abhayamudra, and her lower left hand holds a japamala, or performs the varadamudra.

According to a legend from the Shiva Purana, The asuras Shumbha and Nishumbha had gained a boon that may only be killed by a virgin form of Parvati from Brahma

In the past Parvati's complexion was dark. Shiva repeatedly called Parvati as Kali (black) to deliberately infuriate her. Parvati was agitated by this teasing, so she performed severe penance to Brahma so as to gain a fair complexion. Brahma instead requested her to stop her penance and slay the asuras Shumbha and Nishumbha.

Parvati agreed and went to take a bath in the Ganga river in Himalaya. She saw the gods who were praying to her for the destruction of Shumbha and Nishumbha, and worriedly asked them who they were worshipping

Parvati entered in the Ganga river and as she took a bath, her dark skin washed off entirely, goddess Kaushiki emerged from her skin. Parvati became a fair woman again, wearing white garments and ornaments, lending her the epithet Mahagauri.

Koushiki went to the battle. She transformed into Chandi (Chandika) and killed asura Dhumralochana. Chanda and Munda were killed by the goddess Chamunda who appeared out from the third eye of Chandi. Chandi then killed Raktabija and his clones, while Chamunda drank their blood. Ultimately goddess Kaushiki killed Shumbha and Nishumbha, that giving her the titles of Mahasaraswati or Ambika. in the Shiva Purana and the Devi Mahatmya (part of the Markandeya Purana) respectively.

After that she transformed back into Mahagauri. Mounted upon the back of an ox, rode back home to Kailasha, where Shiva awaited for her. The two became reunited once again and lived happily with their sons, Kartikeya and Ganesha

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A Touch of The Gods

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Kalaratri is traditionally worshipped during the nine nights of Navaratri celebrations. The seventh day of Navaratri in particular is dedicated to her, and she is considered the fiercest form of the goddess, her appearance itself invoking fear. This form of the goddess is believed to be the destroyer of all demon entities, ghosts, evil spirits and negative energies, who are said to flee upon knowing of her arrival.

The Saudhikagama, an ancient Tantric text from Orissa referenced in the Silpa Prakasha, describes the goddess Kalaratri as being the goddess ruling over the night portion of every calendar day. She is also associated with the crown chakra (also known as the sahasrara chakra), said to yield the worshipper siddhis (supernatural skills) and nidhis (riches): knowledge, power and wealth in particular.

Kalaratri is also known as Shubankari (शुभंकरी), meaning auspicious in Sanskrit, due to the belief that she always provides positive results to her devotees. Hence, it is believed that she makes her devotees fearless.

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A Touch of The Gods

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Katyayani is a form of the Hindu goddess Mahadevi, venerated as the slayer of the tyrannical asura Mahisha. She is the sixth of the Navadurga, and is worshipped on the sixth day of Navaratri

In Shaktism, she is associated with the fierce forms of Shakti or Durga, a warrior goddess, which also includes Bhadrakali and Chandika

Katyayani is typically depicted with four hands, riding a lion, and holding a sword and lotus flower, with her other two hands in abhaya and varada mudras, representing protection and granting boons. She is often shown with a radiant golden complexion, fierce eyes, and adorned with divine ornaments, While fierce, her face also carries a compassionate and protective expression, highlighting her role as a mother and protector of devotees

She is traditionally associated with the colour red, as with Parvati, the primordial form of Shakti, a fact also mentioned in Patanjali's Mahabhashya on Pāṇini, written in 2nd century BCE

In Hindu traditions like Yoga and Tantra, she is ascribed to the sixth ajna chakra or the third eye chakra, and her blessings are invoked by concentrating on this point.

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A Touch of The Gods

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The name Skandamata is derived from two Sanskrit words — Skanda, another name for Lord Kartikeya, and Mata, meaning mother. She is worshipped as the mother of Lord Skanda, also known as Kartikeya, the god of war.

According to Hindu beliefs, Maa Skandamata represents the divine power of a mother who nurtures, protects and guides her children. Her form symbolises the perfect blend of maternal affection and immense spiritual strength.

Maa Skandamata is generally depicted seated on a lotus, which is why she is also known as Padmasana Devi. She is usually portrayed with four arms, holding lotus flowers in two hands, while one hand is raised in a gesture of blessing. In another arm, she carries infant Lord Skanda.

Her serene appearance reflects purity, tranquillity and unconditional love. Often depicted with a radiant complexion, she is also associated with the colour white, symbolising peace and purity.

The fifth day of Navratri is considered auspicious for worshipping Maa Skandamata. Devotees believe that praying to the goddess helps remove obstacles, calm the mind and strengthen the bond between parents and children.

Her worship is also associated with spiritual growth and inner peace. It reminds devotees that true strength lies not only in power but also in compassion, patience and selfless love.

According to Hindu tradition, Maa Skandamata blesses her devotees with wisdom, happiness and prosperity. Her grace is believed to guide individuals towards righteousness and help them overcome difficulties with courage and faith.

Maa Skandamata teaches the importance of love, sacrifice, courage and compassion. Her image with Lord Skanda in her lap reflects the sacred relationship between a mother and her child, while her divine power symbolises the strength required to protect and nurture others.

As devotees celebrate the fifth day of Navratri, the worship of Maa Skandamata serves as a reminder that a compassionate heart and a peaceful mind are essential for a meaningful life.

With prayers and devotion, devotees seek the goddess's blessings for a happy family, good health, prosperity and spiritual fulfilment.

On the fifth day of Navratri, may Maa Skandamata bless everyone with peace, wisdom, happiness and divine protection.

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A Touch of The Gods

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Kushmanda is the fourth goddess in the Navadurga tradition, in which nine forms of Durga are worshipped successively during Navaratri. Kushmanda is worshipped on its fourth day. In the devotional account presented in Nava Durga, she brings light to the primordial darkness through her smile, from which the cosmic egg and the manifested universe arise.

In the account contained in Nava Durga, before creation there was no manifested universe and darkness extended in every direction. Kushmanda produced the cosmic egg through her gentle smile, marking the beginning of creation. Her name is explained in the account through this association with the cosmic egg.

Kushmanda is consequently understood in this tradition as a manifestation of the creative power of Durga. Her act of bringing forth the cosmic egg represents the transition from an unmanifest state of darkness to light and an ordered universe. Contemporary devotional descriptions likewise associate her with the cosmic egg, primordial warmth and the energy through which the universe becomes manifest.

The same tradition locates Kushmanda within the solar sphere, where she is said to possess the power to endure its radiance. Her brilliance is compared with that of the Sun, and the radiance of other beings is described as deriving from her energy. She is therefore also known in devotional literature as Sūryamaṇḍala-antarvāsinī, “she who dwells within the solar sphere”.

This association presents Kushmanda as the power operating within and sustaining the Sun rather than as another name for the solar deity Surya

The fourth day of Navaratri is dedicated to Kushmanda. In the yogic interpretation given in Nava Durga, this stage of worship is associated with the Anahata chakra. The worshipper is instructed to meditate upon her form with concentration and purity of mind.

Devotional tradition associates her worship with freedom from affliction and with longevity, strength, health and well-being. These are religious beliefs concerning the benefits attributed to her worship.

6 days ago | [YT] | 9

A Touch of The Gods

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Chandraghanta is the third of the nine forms of the Hindu goddess Durga collectively known as the Navadurga. She is worshipped on the third day of Navaratri. The Hindi devotional booklet Nava Durga, published by Gita Press, explains her name by reference to the crescent moon on her forehead, which is shaped like a bell.,

Chandraghanta is named as the third Navadurga in the Devī Kavaca, a protective text recited in association with the Durga Saptashati recitation. Verses 3–5 give the traditional sequence of the Navadurgas as Shailaputri, Brahmacharini, Chandraghanta, Kushmanda, Skandamata, Katyayani, Kalaratri, Mahagauri and Siddhidatri.

In this passage, the text supplies the names and order of the Navadurgas but does not relate a separate narrative about Chandraghanta.

Gita Press's Nava Durga describes Chandraghanta as having a golden complexion, ten hands and a crescent moon shaped like a bell on her forehead. She carries a sword, arrows and other weapons and rides a lion. Although represented as prepared for battle, she is also described as peaceful and benevolent towards devotees.

The booklet states that the sound of her bell frightens malevolent beings. It associates her worship with the removal of afflictions and obstacles and with the attainment of courage and fearlessness. Chandraghanta is worshipped on the third day of Navaratri, which the booklet associates with the Manipura chakra.

Modern representations are not entirely uniform. Some devotional sources depict Chandraghanta riding a tiger or tigress rather than a lion.

Several modern devotional accounts relate a myth in which Chandraghanta is said to be married form of Parvati or associate her manifestation with the wedding of Parvati and Shiva. The accounts differ: some state that Parvati became known as Chandraghanta after wearing a crescent moon following her marriage, while others describe her assuming an armed form when Shiva arrived for the wedding in a fearsome appearance.

A related wedding narrative occurs in the Shiva Purana. In the Rudra Samhita, Parvati Khanda, Shiva arrives at the wedding accompanied by beings of unusual and fearsome appearance. Shiva is described as riding a bull, with five faces, three eyes, matted hair, a crescent moon, ashes smeared over his body and weapons in his hands. On seeing Shiva in this form, Parvati's mother, Mena, becomes frightened and loses consciousness.

After regaining consciousness, Mena objects to the marriage and rejects Shiva because of his fearsome appearance. Narada explains that this appearance was assumed by Shiva as part of his divine sport, but Mena continues to oppose the marriage.

In the following chapter, Narada approaches Shiva and praises him. Shiva then assumes what the English translation describes as a “wonderfully excellent and divine form”. Mena sees Shiva as radiant, smiling and beautifully ornamented. She accepts him as Parvati's bridegroom, asks him to pardon her earlier words and bows before him

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A Touch of The Gods

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Brahmacharini is a form of the Hindu goddess Mahadevi, venerated as Parvati, in the form of a female ascetic. She is the second of the Navadurga, and is worshipped on the second day of Navaratri.

She is a Hindu goddess who devoted herself to penace to marry Lord Shiva.

In her iconography, Brahmacharini is depicted wearing white clothes, holding a japamala in her right hand and a kamandalu in her left.

The word brahmacharini stems from two Sanskrit roots:


Brahma (shortened from Brahman), means "the one self-existent Spirit, the Absolute Reality, Universal Self, Personal God, the sacred knowledge".

charini is the feminine version of one who is a charya, which means "occupation with, engaging, proceeding, behaviour, conduct, to follow, moving in, going after"

The word brahmacharini in Vedic texts means a woman who pursues sacred religious knowledge.

According to various versions of the legend, the maiden Parvati once resolved to marry the deity Shiva. Although her parents attempted to dissuade her, she remained steadfast in her determination and undertook a penance that is said to have lasted 5,000 years.

At this time, the gods were troubled by the asura Tarakasura, who had received a boon from Brahma granting him invulnerability except at the hands of a son of Shiva. In order to induce Shiva to marry and father a child, the gods enlisted Kamadeva, the god of love and desire. Kamadeva shot an arrow of desire at the meditating Shiva. Enraged, Shiva opened his third eye and reduced Kamadeva to ashes.

Despite this, Parvati did not waver in her resolve. She adopted the ascetic way of life characteristic of Shiva, dwelling in the mountains, practicing austerities, yoga, and asceticism, and subsisting solely on bael leaves and river water. In this form, she came to be revered as Brahmacharini. Her perseverance eventually drew Shiva’s attention. Disguised, he approached Parvati and attempted to dissuade her by listing his own flaws and peculiarities. Parvati, however, remained undeterred.

During this time, the asura named Prakandasura attacked Parvati with his army of a million asuras. Parvati was at the last stage of her tapas, and was unable to defend herself. Seeing Parvati helpless, the goddesses Lakshmi and Saraswati intervened, but were outnumbered by the asuras. After many days of fighting, the kamandalu beside Parvati fell, and all the asuras were washed away in the resulting flood. Upon opening her eyes, Parvati emitted flames that consumed Prakandasura himself.

The severity of Parvati’s penance impressed the entire universe, though Shiva remained reserved. Eventually, Shiva approached her again in the guise of a brahmachari. He tested her through a series of riddles, all of which she answered correctly. Acknowledging her resolve, he manifested in his true form, and consented to marry her.

1 week ago | [YT] | 9

A Touch of The Gods

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Shailaputri is a form of the Hindu goddess Mahadevi, venerated as Parvati, daughter of the mountain king Himavat. She is the first of the Navadurga, and is worshipped on the first day of Navaratri.

Goddess Shailaputri is depicted with two hands and has a crescent moon on her forehead. She holds a trident in her right hand and a lotus flower in the left. She rides on the mount Nandi, the bull.

The name “Shailaputri” literally means the daughter (putri) of the mountain (shaila). She is variously known as Sati Bhavani, Parvati or Himavati, the daughter of Himavat - the king of the Himalayas.

The embodiment of the power of Brahma, Vishnu and Shiva, she rides a bull and carries a trident and a lotus in her two hands. In a previous birth, she was Sati, daughter of Daksha. Once Daksha had organized a great yagna (fire sacrifice) and did not invite Sati's husband, Shiva. Sati, infuriated, decided to attend the feast nevertheless. Thereupon, Daksha insulted Shiva. Sati could not tolerate this insult, and thus destroyed Daksha's sacrifice by stepping into the sacrificial fire, immolating herself. In her next birth, she was born as Parvati, the daughter of Himalaya, and married Shiva again.

In yoga, she is seen as the goddess of the root chakra, Muladhara, and upon one's spiritual awakening, she is said to begin her journey upwards towards Shiva, who awaits her at the top chakra at the Sahasrara. In Shaktism, the first day of Navaratri is considered an auspicious day to begin yogic practices and to receive initiations.

Happy Navratri!

1 week ago | [YT] | 12

A Touch of The Gods

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Near the end of Rama’s earthly life, his signet ring slips off his finger and falls through a crack in the ground. Rama asks Hanuman, his most devoted servant, to retrieve it. Hanuman shrinks himself to the size of a tiny insect and follows the ring down through the crevice.

Hanuman falls deep into the underworld (Patala) and arrives at a strange realm ruled by a king of the nagas (serpents). He explains that he is looking for Rama’s ring. The king leads him to a huge golden platter and says, “Take it. It’s there.”

Hanuman looks and is stunned. The platter holds thousands upon thousands of rings, all identical to Rama’s, and he has no way to tell which one is his.

The king then explains the truth. The world goes through endless cycles of creation and destruction, and in every cycle a Rama is born, lives out the Ramayana, and eventually loses his ring. Each time, a Hanuman comes down to the underworld to fetch it. The rings on the platter are the rings of all the Ramas who have come and gone. Hanuman has stood in this spot countless times before, and will again.

This is the “multiverse” element: infinite Ramas, infinite Hanumans, and infinite repetitions of the same story across time.

Hanuman picks up a ring, and it turns out to be the right one. When he returns to the surface, he learns that Rama has already left the earth. Hanuman understands that the whole episode was Rama’s way of keeping him out of the way so that Time (Kala) could speak privately with Rama about ending his earthly incarnation. With it, Hanuman is also made to understand the impermanence of all things.

This field is the recreation of Hanuman's experience with the concept of multiverse, so, with this energetic melody, you can experience it too.

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