March 13, 2015

Goddess Bagalamukhi: The Goddess of Hypnotic Power




Bagalamukhi: The Goddess of Hypnotic Power

Bagalamukhi or Bagala  is one of the ten mahavidyas (great wisdom goddesses) in Hinduism. Bagalamukhi Devi smashes the devotee's (or the devotee's enemies') misconceptions and delusions with her cudgel. She is also known as Pitambara Maa in Northern Parts of India.

Introduction

Shri Baglamukhi or Bagalamukhi devotion is known as ultimate power in modern era, She has atomic powers and indeed she is a enemy destroyer. Bagala or Baglamukhi is the eighth Mahavidya in the famous series of the 10 Mahavidyas. She is identified with the second night of courage and is the power or Shakti of cruelty. She is described as the Devi with three eyes, wearing yellow clothes and gems, moon as her diadem, wearing champaka blossoms, with left hand holding the tongue of an enemy and with the right hand spiking him, thus should you meditate on the paralyser of the three worlds. Seated on the right of Bagala is the Maharudra, with one face, who dissolves the universe. 

The name literally means “crane faced,” though this is a misnomer. The name 'Bagla' or 'Bagala' is a distortion of the original Sanskrit root 'ValgA'. She has a golden complexion and her cloth is yellow. She sits in a golden throne in the midst of an ocean of nectar full of yellow lotuses. A crescent moon adorns her head. She holds a club in her right hand with which she beats the demon, while pulling his tongue out with her left hand. This image is sometimes interpreted as an exhibition ofStambhana, the power to stun or paralyze one’s enemy into silence. This is one of the boons for which Bagalamukhi’s devotees worship her. Other Mahavidya goddesses are also said to represent similar powers useful for defeating enemies, to be invoked by their worshippers through various rituals. 

"It is not appropriate to assume Baglamukhi as a "Black Power" or "Black Magic". In fact Baglamukhi protect the universe from black power and evil forces."

Origin of The Maa Baglamukhi


The legend behind the origin of goddess Bagalamukhi is as follows:- 

Before time immemorial, a huge storm erupted over the universe. As it threatened to destroy whole of the creation, The Lord Vishnu called on the supreme power and Goddess Bagalamukhi emerged from the 'Haridra Sarovara' in the Saurashtra region (Kathiyawada), and the same time all direction brightened up with unique light of Shree Vidhya. That night was called Veer Ratri and sky was full of stars. That day was Tuesday and Chaturdashi. She had been served by Pannch Makkar’s. She made her home in deep yellow turmeric, from that mid-night and appeased by the prayer of the God, calmed down the storm. 

After that Tantric’s (Practitioner of Divine power) use to include Pannch Makkar’s in their diet. From the light of ShreeVidya, 2nd Trilok Stambhani, Brahmastra Vidya emerged. The power That Brahmastra Vidya merged into The Lord Vishnu’s Power. 

A demon named Madan undertook austerities and won the boon of vak siddhi, according to which anything he said came about. He abused this boon by harassing innocent people. Enraged by his mischief, the gods worshipped Bagalamukhi. She stopped the demon's rampage by taking hold of his tongue and stilling his speech. Before she could kill him, however, he asked to be worshipped with her, and she relented, That is why he is depicted with Goddess Bagalamukhi.

             Baglamukhi Maha Yantra

BAGALAMUKHI YANTRA - BAGALAMUKHI MANTRA

Baglamukhi Maha Yantra

Baglamukhi Maha Yantra
                                       

According to scripture, the term Yantra has been derived from the word yuj meanings to yoke, join, harness, attach, bind, join or unify. Yantra also carries other meanings like exertion, endeavor, zeal, diligence, attention, application or concentration of the thoughts, abstract contemplation, meditation, manner, method, means, device, way, application, performance, combination, connection, contact and union. Yantra is also believed to have originated form Sanskrit word “yam”, which means supporting or holding the essence of an object or concept and “trana” meaning liberation from bondage. Thus, Yantra means liberation from the cycle of birth and rebirth. The origin of Yantra dates back to at least 5000 years. Yantra has evolved massively over the six periods of yoga: Proto, Pre-Classical, Epic, Classical, Post-Classical and Modern yoga. 

Yantra is a symbolic representation of gods and deities. Yantras can be drawn, engraved or painted on a variety of substances like GOLD, silver, copper, crystal, birch, bone, hide and saligram. While constructing a Yantra, lines, dot, cryptic letter, cryptic mantra, colors, shapes, figures etc. are used. Since the act of drawing and painting of Yantras requires accuracy, exactness, discipline, concentration, neatness and patience, this keeps a person focused, sharp and energetic. Keeping inline with a target goal, a proper balance is required in the construction, seat time, ink, pen, place day and auspicious moments etc. In Hindu and Tibetan Tantric medication, Yantra is massively used as a symbolic object for attaining the profound state of concentration. While using Yantra, an appropriate mantra should also be recited. This shall center the spiritual level of an individual on par with the real spiritual truth. As a consequence of which the person with be enlightened with the self-realization and power of god. This shall further liberate the person from the cycle of birth and rebirth and help in attaining eternal immortality. 

In Hinduism it is believed that goddess Baglamukhi resides within a Yantra. Yantra is regarded to be very auspicious for religious performances. Yantra also represents the folding of hand before gods as a sign of paying respect to the gods. Yantra symbolizes every religious process, temples and other important religious indications. Prior to the use of a Yantra, it needs to be purified and energized. After constructing a Yantra it should be bathed, placed on a golden pedestal and then be showered with Kunda, Gola or Udbhava flowers or with the eight scents. Since the Yantra represents the god, it should be worshipped by chanting an appropriate mantra. This invokes the divine power of the god into the Yantra. The entire ritual should be conducted at night. Yantras energized during the nights of Maha Shivratri, Holi and Diwali are most effective and powerful. Before wearing a Yantra, foremost it should be drawn using the eight Kaula perfumes and the key mantra must be written on it. On the outer portion of the Yantra, the armour and 1000 names should be written. After the power of the goddess is invoked into the Yantra, it should be held in a metal holder and strung in GOLD or silver thread and then can be worn to reap maximum benefits. Red, orange, yellow or a combination of these should be used while drawing a Yantra on a paper. One should worship the Yantra by lightening license or lamp before it and making offerings early in the morning. 

Baglamukhi Maha Yantra is used to power & dominance over enemies. Baglamukhi yantra is very powerful and useful yantra for victory over enemies, law suits, court cases, success in quarrels and compititions. The presiding deity goddess Baglamukhi is the conroller of this powerful Yantra which encharges Yantra with occoult forces. Baglamukhi yantra is useful for victory over enemies, success in law suits, quarrels and compettitions. The worship of this yantra is performed in a particular star and moment when there is maximum power generated from the planet MARS, by wearing yellow dress, on yellow asana, with yellow flowers and yellow beads. 

This yantra basically is to be drawn by Turmeric, Dhatura flowers juice, or yellow orpoinent on a piece and be worshipped to attain success. The yantra is engraved on copper plate only. Baglamukhi yantra is very effective to ward off the evil effects of souls and Yakshani also to get success in gambling. This is a very powerful and useful yantra for victory over enemies, law suits, success in quarrels and compititions. 

Baglamukhi yantra is effective as a memo of acheiving success over enemies. This yantra also offers protection for cuts, scars, operations and accidents. Baglamukhi yantra should be written or embossed on copper, brorze or Silver or GOLD. It is worn in neck as well as kept in the puja ghar. It's pooja be performed through yellow beads, rosary and yellow dress through Beej Mantra to be recited daily. 

!!Om Hleem Baglamukhi Sarwdushtanam Wacham Mukham Padam
Stambhay Jihwa Kilay Buddhi Vinashay Hleem Om swaha!!


Any person using this yantra while in court every time gets success. This is practical use of this yantra. It is well tested by many people. After Pran Pratishta, yantra shall be placed at puja place or in house temple on wooden chowke over which yellow asana be put. The puja be performed after bath. Take the water in righthand, recite the baglamukhi beej mantra and sprinkle water on yantra, your all wishes would be fulfilled. 

Yantra Guidelines:- A Yantra is an instrument, or a talisman or a mystical diagram usually in copper. It is a technique or path, considered the simplest and shortest, through which one can attain one's desires, and fulfill one's wishes. It is said that the 'Deities' reside in the Yantras and by performing 'Puja' or worship of Yantras, one can appease them, remove the malefic effects of planets, and increase the flow of positive influences. Procedures to be followed by you to place this energized Yantra. 

1. First purify your body and start with a clear and positive mind frame 
2. Find a place on the floor facing east, where you will be undisturbed. 
3. Light the incense or diya. (It does not matter how many you light). 
4. Lay a fresh flower and a fresh fruit on the altar. 
5. Open the Yantra and place it along with the image of the deity of yantra and your isht God. 
6. Take the water with any leaf from any tree and sprinkle the water on yourself followed by sprinkling the water on the Yantra. 
7. Then purify your soul and surrender yourself completely in devotion to God and chant 21 times the following : 

"Om Hleem Bagla Mukhi Namha"


8. Close your eyes and concentrate on the deity to bless you with wishes.Now with all sincerity, ask God to grant you the desire of your life that you wanted to be fulfilled in your own language. 

Vedic Yantras are Energised (Pran pratishta) by learned purohits, by reciting the vedic mantra of the particular Devi or Deva one lack eighteen thousands time and the Homa of 108 mantra. Yantras are send along with Prashad of the Pran Pratishta (no eatables are sent). 

                               Bagalamukhi Maha Mantram


The worship of Baglamukhi who is also famous as 'Pitambara Vidya' (yellow Colour is prominently used in her worship) for protection against the enemies and to defeat them, to get victory in the legal matters or court cases, to acquire wealth, to clear away the debts and to attain power of oratory etc. 

In her worship yellow clothes, garland made of turmeric, yellow seat and yellow flowers are used. She is the presiding goddess who has a desire of annihilating the demons in her individual form and carries on the destruction of commodities according to the wishes of the almighty God. 

She has her abode amidst the ocean of ambrosia where her canopy decorated with diamonds is situated and her throne is decorated with the jewels. 

Her complexion is yellow, wears yellow apparels, ornaments and a garlands which is also of yellow colour. In her one hand is a tongue of an enemy and in the other hand she holds a mace. 

There is a tale regarding her manifestation. In the 'Satyuga' period once the whole world was threatened by a terrific cyclone. Lord Vishnu being concerned about the safety of the whole humanity went near to Haridra (reservoir) situated in Saurashtra, to please Goddess Bhagawati by his penance. 

Shri Vidya (Baglamukhi) appeared before him, manifesting from the water of Haridra wearing yellow apparels. She controlled the powerful current of the threatening flood and destructive nature. 

Goddess Bagla helps the almighty god by punishing and controlling those negative powers that try to trespass the natural flow, She controls our speech knowledge and movement. She is capable of giving powers (Siddhis) and fulfilling all the wishes of her devotee like a 'Kalpa-Taru'. 

!!Om Hleem Baglamukhi Sarwdushtanam Wacham Mukham Padam
Stambhay Jihwa Kilay Buddhi Vinashay Hleem Om swaha!!
Bagalamukhi Maha Mantram meaning is as below:- 

Oh Goddess, paralyze the speech and feet of all evil people. Pull their tongue, destroy their intellect.

Note - Don’t use Baglamukhi Mantra without proper guidance and instructions. It could harm you. It’s better to get Baglamukhi Diksha before starting this Sadhana.

Goddess Bagalamukhi: The Goddess of Hypnotic Power

Goddess Bagalamukhi: The Goddess of Hypnotic Power

Goddess Bagalamukhi: The Goddess of Hypnotic Power

Goddess Bagalamukhi: The Goddess of Hypnotic Power

Goddess Bagalamukhi: The Goddess of Hypnotic Power

Goddess Bagalamukhi: The Goddess of Hypnotic Power

Goddess Bagalamukhi: The Goddess of Hypnotic Power




Goddess Ashapura Mataji

Goddess Ashapura Mataji

Maa Ashapura Mata Na Madh Kutch Gujrat (India) Hindustan..



Madh History 


This shrine or Ashapura is steeped in antiquity as far as its origin is concerned. There are references to this goddess in the Puranas, Rudrayamal Tantra and so on which are all said to point to this shrine in Kutch.

Be that as it may, today there is no trace of any ancient records or writings which give any indications of the beginning of worship at this shrine amongst the existing records in the possession of the trust.

One fact firmly stands out that this deity was very much there in 9th century AD when the Samma clan of Rajputs from Sindh first entered western, or more correctly, north-western Kutch. They were followed in the later centuries by more families or this clan which eventually established them in the region and one of their line got control of the whole state of Kutch in the beginning of the 16th century. This was Khegarji I, the son of Jam Hamirji who was murdered by Jam Rawal earlier. Both the Jams (in Sindh a Raja or Chieftain was called ‘Jam’) were profound devotees of Ma Ashapuraji.

There are a couple of legends connected with this deity. The most well known and popular version is that about 1500 years ago Karad Vania from Marwar (a term loosely used in olden times for the present – day Rajasthan) was touring this area to sell his wares, and stopped in the spot where the present temple of the goddess stands to spend the nine days of ‘navratri’ as he was a devotee of the Goddess Amba. He did not have any issue, so he always prayed to her to give him a child. While sleeping in the night he saw the deity in his dream who asked him to build a temple on the spot where he stopped. As a token of the veracity of this dream, She is said to have added, on waking up he would find a coconut and a ‘chundri’ (a piece of red-coloured cloth with tie and dye work on it). But the Goddess had given specific injunction that after the temple was built its doors should be shut and were not to opened for six months by which time she would establish herself therein. However a couple of months before the expiry of six months Devchand (the name of the Vania) started hearing the sounds of celestial music after sunset and during the night. He could not contain himself after some time and opened the doors of the temple and so found the deity on her knees in the pose in the midst of her attempts to stand up as She appears today.

Thus it is likely that the image in/nature formation of a rock may have already been there, and was being worshipped in that state, and Devchand had a temple built over it on her wish for a child having been fulfilled. This is a seismic area having earth tremors of low and after a few decades high intensity, at times causing damage to buildings. This temple might have suffered damage at intervals of a few centuries and was rebuilt. The existing inscriptions on slabs of marble point to this possibility. Hence it can safely be inferred that this shrine is certainly very ancient.

Apart from the main temple or Goddess Ashapura at Mata-no-Madh there are temples dedicated to Hinglaj Mata, Chachra Bhawani, Khatla Bhawani (on a hill to the north-west of the main temple) and Jagora Bhawani in a cave in one the hills nearby. Then there are temples dedicated to lord Shiva and other deities too.

The ‘Mahant’ or the presiding saint of this shrine belongs to an order known as Kapadi, perhaps a distortion of the sectarian term Kapalic found in Hindu scriptures. He is called Raja. The Raja who ordains disciples is a celibate monk and thus the whole order is sworn to celibacy. The senior disciples can also have their own disciples. Because of this it is said that once upon a time there used to be a large numbers of Kapadis residing at Madh.

It appears that the institution of the rajas started some time around the 5th century AD, and first in the line was Devi Raja. Here again there is no written history available. However two brothers belonging to Chavan clan of Rajputs arrived at this shrine from Marwar. One of them was enjoined to be celibate and was given the task of performing the main religious ceremonies; the second one was appointed to do the rest of the work such as keeping the temple clean, preparing for the daily ceremonies, guarding the temple etc. The descendents of the second brother who are Chavans (Chauhans) still continue to perform these duties, and in the absence of other Kapadis (there is only one at present, the raja) they perform some ceremonies too. These Chauhans are known as Shuvas who in lieu of the duties they perform are allowed to keep all the offerings made in the temple in cash or kind pilgrims.

During the year special ceremonies are performed at the shrine of the Ashapura Mataji during the ‘Chaitri’ (April/May) and ‘ashvin’ (September/October) Navratris. Out of the two the latter has greater importance as is the case elsewhere in the country. The ‘Mahant’ or Raja fasts during the nine days and performs the ‘Havan’ ceremony at midnight of the seventh (‘Saptami’) day. On the next day (‘Ashtami’) the main puja is performed by the Maharao or any other member of the former ruling family of Kutch. Formerly he-buffaloes used to be sacrificed at the shrine along with a goat before the image of Bhairav on this morning. Perhaps in ancient times it is likely that even human sacrifice may have taken place there. During the puja and on the previous day liquor used to be poured (‘Abhishek’) on the Goddess.

The Samma clan has been referred to earlier. These chieftains and their descendents started calling themselves Jadejas after an ancestor named Jam Jada. Traditionally they were worshippers of Goddess Mahamaya (popularly called ‘Momay’). On coming into Kutch they of course brought the portable ‘puja’ of Momay with them consisting of small wooden or stone images which were placed on small wooden stools; and every Jadeja chieftain had his own such compact easy to carry deity for his own and the family’s worship. This was perhaps necessitated owing to the wandering lives they lived for centuries. After coming to Kutch they became ardent devotees of Ashapuraji whom they considered to be their guardian deity (‘Rakshak’ and ‘Shayak’ ‘Devi’). The battle cry of the Jadejas was ‘Jai Ashapura’. It can be discerned from the folklore and bardic poems that the Jadeja chieftains regularly worshipped at the shrine of Mata-na-madh and greatly respected the institution of the Kapadis and Raja.

Rao Shri Khengarji I chose Bhuj as the capital city of Kutch and after he subdued the whole area and became its all powerful ruler in the early 16th century that the yearly worship at Mata-no-madh shrine in the Ashvin Navratri must have started. The Maharao or any other male member of the royal family carry two long and large fly-whisks (‘chamars’) made from strips of the quills thinly shredded from the tail feathers of peacocks. These are taken from Bhuj to Mata-no-madh. A puja ceremony is first performed of the Momay Mata of Maharao Deshalji on the fifth day of navratri in the old palace in Bhuj from where the ‘chamars’ are carried on the right shoulder and the person who carries them walks barefooted from the shrine of Momay upto the palace gate from where he goes by car to his residence outside the town. On the afternoon of the ‘saptami’ he goes to Madh and the next morning after bathing in the ‘Chachra Kund’ a puja of Chachra Bhawani is performed and from there the ‘chamars’ are carried in a procession, every one walking barefooted again, accompanied by music played on the shennai and the local Aadivasi community members knows as Jagarias singing the praises of the Goddess Ashapura and recounting the miracles of the deity with the accompaniment of small drums, carried in their hands and walking backwards right up to the steps of the main temples. In the temple the old chamars hanging one on either side of the Goddess are taken down by the attending bhuva and the Maharao hands over the fresh ones to him which are put up.

Then begins the main ‘ashtami’ puja which has been performed by the house of Kutch traditionally for the last (at least 450 years) few centuries. At the end of this ceremony a bunch of the local vegetation called ‘patri’ is placed on the right shoulder of the deity and the person performing the puja ceremony stands in front of the Goddess with one end of his ‘angvashtra’ (called selo in Kutchi) spread out in both his hands and the bells are rung and Jagarias again playing the drums, sing the prayers of the deity. After some time a few strands, rarely the whole bunch, falls into the cloth. This is taken to be the blessings of the goddess. The buffalo sacrifice was given after this ceremony, but it has been discontinued and instead food, mainly sweet rice or wheat, is cooked and given to poor as ‘prasad’. It may be interesting for the readers to know that this author has seen with his own eyes, women of the Charan community collecting the blood of buffalo as soon as its head was severed by the stroke of a sword in ‘katoras’ and drinking it on the spot! Such women in those days must have come into an intense mental sense of devotional animation, for otherwise it is not easy to swallow blood in its raw state in a few gulps at a stretch.

Then the Maharao goes for the ‘darshan’ of lord Bhairav followed by a visit for ‘darshan’ of the Raja (chief mahant) in his apartment where he sits on a special ‘gaadi’ on a raised ‘sinhasan’ (canopied platform made of marble) and the former ruler of Kutch sits in front of him at a lower level after making his suitable offerings. The Raja blesses the Maharao who then leaves for his quarters at Mata-na-madh, and there after the Mahant makes a return visit or call on him when he rides in a decorated / bullock – cart (‘rath’) and goes in a small procession preceded by musician playing the shennai. At the Maharao’s residence the raja along with the Maharao and then returns to his residence. Thus ends the last ceremony of the ashtami day at this shrine of the Goddess Ashapura.

One special peculiarity concerning the ashtami of the navratri here is that where as in other major and minor ‘peetns’ of the Goddess the ‘Havan’ ceremony takes place on the ‘ashtami’, here in Mata-na-Madh it is performed at midnight of the ‘saptami’ or the seventh day of Navratri. Whether this practice has been followed all along or was started later is not clear for no records speak of it. But it is likely that this arrangement was a mutually agreed procedure whereby the Raja, having his own important position in the shrine, could go through the all important ‘Havan’ ceremony and the Maharao on his part, as the ruler of Kutch and an ardent devotee of the Ma Ashapura, could perform the main ‘puja’ without coming in the way of the Mahant.

Not only the house of Kutch, but persons from various communities very much revere this deity and come for her ‘darshan’ all the year round, particularly during the ‘chaitra’, and in greater numbers during the ‘ashvin’ Navratri. The numbers of pilgrims is increasing year by year, and according to our estimate 2 or 2 ½ lacs of people came to Mata-na-madh in 1994. Even some Muslim families have faith in Ashapuraji. Jains also worship at the shrine, and some sects from amongst them have the needs of young married ladies shaved at the Chachra Kund. Substantial donations also are being given to the trust (Shri. Mata Na Madh Jagir Trust) as also to Shri. Ashapura Bhandar & Atithigraha trust for further development of the temple complex. The Goddess fulfils the hopes, aspirations and wants of those who have faith in her, and hence her name. Some persons have also had experience of miracles at her shrine. There is no doubt about one fact, and that is, when stands in the temple facing the image of Ashapuraji and the sanctum sanctorum more often than not, one would feel, or be aware of, a definite pure divine aura that leaves a lasting impression on ones mind. Of course a prerequisite is the pureness of mind and the genuineness of ones faith.

The concept of female divinity is not confined to the Hindu religion alone, for glimpses of this are to be seen in the devotional practices of ancient Greece, Egypt, Rome etc. and of course in Christianity where Mother Mary has a definite special place, particularly in the form of worship practiced by the Roman Catholics. Certain tribal peoples also worship some forms of goddesses in their own way. Thus this worship of the mother or a divinity representing ‘power’ (‘shakti’) or as the giver of bounties in the form of money or wealth (Lakshmi) as also good crops and food (Annapurna) is widely preformed. 

Goddess Ashapura Mataji - mata no madh - kuchh - Gujarat
Goddess Ashapura Mataji - mata no madh - kuchh - Gujarat

Goddess Ashapura Mataji - mata no madh - kuchh - Gujarat

Goddess Ashapura Mataji - mata no madh - kuchh - Gujarat

Goddess Ashapura Mataji - mata no madh - kuchh - Gujarat

Goddess Ashapura Mataji - mata no madh - kuchh - Gujarat

Shri Ashapura Mataji India

Ashapura Mataji Mandir, Rajkot. Jai Ambe!
January 07, 2014
Today's Special Darshan is from Ashapura Mataji Mandir, Rajkot. Jai Ambe!

Madhwali Maa Ashapura History

‘દેશદેવી મા આશાપુરા’
કચ્છના દેશદેવી ગણાતા આશાપુરા માના પ્રાગટ્યની કથા. આ કથા અહીં શબ્દોમાં જોઈએ તો આજથી દોઢેક હજાર વર્ષ પહેલા દેવચંદ નામનો મારવાડનો કરાડ વૈશ્ય(વાણિયો) તેની વણઝાર સાથે કચ્છમાં વેપાર માટે ફરતો હતો. વર્તમાનકાળમાં કચ્છમાં જ્યાં આશાપુરા માતાનું મંદિર છે એ જગ્યાએ ત્યારે આ વાણિયો આવ્યો. શારદીય(અશ્વિન એટલેકે આસો મહિનાની) નવરાત્રિ હોવાથી દેવીભક્ત વાણિયો વણઝાર સાથે અહીં રોકાઈ ગયો.

દેવચંદ શાહે નવરાત્રિના આ દિવસો દરમિયાન અહીં માતાજીની અંત:કરણપૂર્વક ભક્તિ કરી. આ વૈશ્યને અન્ય કોઈ વાતની ખોટ ન હતી પરંતુ સંતાન થતુ ન હતુ. આ માટે તે સતત માતાજીની પ્રાર્થના કરતો હતો.

ભક્તોની મનોકામના પૂરી કરતી મા જગદમ્બાએ એક વખત પરોઢની વેળાએ સ્વપ્નમાં દર્શન આપીને આ વણિકને કહ્યું કે ‘જે સ્થળે નવરાત્રિ પૂજન માટે મારું આસન સ્થપ્યુ છે, એ સ્થળે તું મારું મંદિર બંધાવજે. મંદિરના દરવાજા છ મહિના માટે બંધ રાખજે. છ મહિને હું એ મંદિરમાં પ્રગટ થઈને તારી મનોકામના પૂરી કરીશ.’ આંખ ઉઘાડીને દેવચંદ શાહે જોયું તો માથા પાસે અને શય્યા પાસે એક ચૂંદડી અને નાળિયેર પડ્યાં હતાં. દેવીએ સ્વપ્નમાં આપેલા દર્શનનું આમ પ્રત્યક્ષ પ્રમાણ મળેલું લાગતા તેણે માતાજીના આ શુકનને ગદગદિત થઈને માથે અડાડ્યાં અને એ સ્થળે દેવીનું મંદિર બંધાવ્યું.

દેવચંદ શાહે છ મહિના માટે અહીં જ રોકાવાનનો નિર્ણય કર્યો. પાંચેક મહિના વીત્યે એક દિવસે સંધ્યાકાળે મંદિરમાંથી દૈવી ગાયન સાથે ઝાંઝરના ઝનકાર દેવચંદે સાંભળ્યા. કેટલીક વાર સુધી જાતજાતના તર્કવિતર્ક કર્યા પછી જગદમ્બાના દર્શન કરવાની તાલાવેલીને વશ થઈને શાહે મંદિરના દરવાજા ખોલી નાખ્યા.

દૈવી ગાયન અલોપ થઈ ગયું. ઝાંઝર સંભળાવવાના બંધ થઈ ગયા. ધડકતા ઉરયે આંખો ઉંચી કરીને જોયું તો દેવીની ભવ્ય પ્રતિમાના દર્શન થયા. દેવચંદ શેઠ ગદગદ થઈને દેવીની સ્તુતિ કરવા લાગ્યો. પછી જ તેને ભાન થયું કે દેવીએ આપેલી છ મહિનાની અવધિ પૂરી થવામાં હજુ એક મહિનાની વાર છે ને મેં આ મંદિરના દરવાજા ખોલી નાખીને ભૂલ કરી. દેવચંદ શેઠ જોગમાયાના ચરણોમાં પડ્યા અને ભૂલની માફી માંગવા લાગ્યા.

દયાળુ દેવીએ ક્ષમા આપીને દેવચંદને કહ્યું કે તારી ઉતાવળના કારણે મારા આ સ્વરૂપનાં ચરણોનું પ્રાગટ્ય અધૂરું રહી ગયું. પરંતુ તારી ભક્તિથી હું પ્રસન્ન થઈ છું. દેવીએ વરદાન માંગવા કહ્યું. દેવચંદ શેઠે બાળકનું વરદાન માંગ્યુ. દેવીએ તથાસ્તુ કહ્યું.

દેવચંદ શાહને પછી તો પુત્રની પ્રાપ્તિ થઈ. દેવચંદ શાહના વંશજો માહેશ્વરી વાણિયા તરીકે ઓળખાય છે. માહેશ્વરી વાણિયાના કેટલાક કુટુંબો આજે જૈન દર્શનને અનુસરે છે. તેમ છતા તેઓ મા આશાપુરાને કુળદેવી માને છે. માહેશ્વરી વાણિયા મારવાડમાંથી આવીને કચ્છ વસ્યા છે અને કચ્છમાંથી બહાર આવીને સદીઓ પહેલા વસનાર લોકો પૈકીના તેઓ પણ છે.
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મા આશાપુરાનું મંદિર કચ્છના પશ્ચિમ વિસ્તારમાં લખપત-અબડાસા-નખત્રાણા એ ત્રણ તાલુકાના ત્રિબેટે, ભુજથી ૯૩ કિલોમીટર ભુજ-લખપતના સ્ટેટ હાઈવે પર આવેલું છે. ચારેય તરફ નાના નાના પર્વતો-ટેકરીઓ અને જંગલો વડે ઘેરાયેલી ખીણમાં માતાજીનું પૂર્વભિમુખ મંદિર આવેલું છે. મનુષ્યના કદ કરતાંય ઉંચી મૂર્તિમાં આશાપુર માતાજીનું સ્વરૂપ છે. ઉપર કથામાં જોયું કે તેમના ચરણનું પ્રાગટ્ય થયું ન હતુ તેથી આશાપુરા માતાની કલ્પના ગોઠણ સુધી થઈ શકે છે.
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આશાપુરા માતા કચ્છના દેશદેવી કહેવાય છે. કચ્છ રાજ્ય આશાપુરા માતાજીનું છે અને કચ્છનો રાજા તો માત્ર માતાજીનું રાજ્ય ચલાવવાનું કામ કરે છે એવી માન્યતા કચ્છમાં રાજાશાહી શાસનના સમયમાં હતી.

Goddess annapurna devi







Goddess Annapurna Devi

Goddess Annapurneshwari Mantras - Sri Annapurna Ashtakam 

 Goddess Annapurna is the Hindu Goddess of food and nourishment and is considered as the sustainer of prosperity. In Sanskrit Language the word ‘Anna’ means food and grains and ‘Purna’ means full or complete. It is believed that by worshipping this goddess one will never be out of food anytime in life. Mata Sri Annapurneshwari Devi is the Goddess for the fourth day of Durga Navrathri. She is a form of the Goddess Parvati, the consort of Lord Shiva.She is depicted with a jeweled vessel containing food in one hand and a spoon in the other to distribute the food to her devotees. The Sri Annapurna Ashtakam composed by Shankaracharya is devoted to this goddess of Hindu religion.




Goddess Annapurna Devi

Goddess Annapurna Mantras


 "Om Annapurnayai Namaha"

"Om Sadapurnayai Namaha"

"Om Hrim Namo Bhagavati Maheswari Annapurne Swaha"

"Om Hreem Shreem Kleem Namo Bhagwatye Maheshwari Annapurne Swaha"

 Goddess Annapurna Devi



 Sri Annapurna Ashtakam:


What is an Ashtakam? An Ashtakam is a song comprising eight sections. You are expected to sing each section to the same music.

Sri Annapurna Ashtakam is written by Adi Shankaracharya to praise and invoke the grace of Mother Goddess Annapurneswari. Mother Goddess Annapurneswari is the presiding deity at Banaras or Varanasi. She is the Mother who graces food to everybody ; especially for poor and destitute. The Godess of Varanasi also fed King Harishchandra's children (he became poor due to Rishi Vashishta). There are many Annapoorni temples in India where food is freely served every day to every one i.e. Dharmasthala in Karnataka.

Annapurna Ashtakam is loved for its wordings and composition. You will realise all your ambitions by chanting or singing this ashtakam.

 Nithyaananda kari,Varaa abhya karee,
Soundarya rathnaakaree,
Nirddhotahakila ghora pavaanakaree,
Prathyaksha Maheswaree,
Praaleyachala vamsa pavavakaree,
Kasi puraadheeswaree,
Bhikshaam dehi, krupaa valambana karee,
Mathaa Annapurneswaree.

Naana rathna vichitra bhooshana karee,
Hemaambaradambaree,
Mukthaa haara vilamba maana vilasa,
Dwakshoja kumbaan dharee,
Kasmeera garu vasithaa ruchi karee,
Kasi puraadheeswaree,
Bhikshaam dehi, krupaa valambana karee,
Mathaa Annapurneswaree

Yogaanandakaree ripu kshyakaree,
Dharman artha nishtaakaree,
Chandrarkaanala bhasa maana laharee,
Trilokya rakshaa karee,
Sarvaiswarya samastha vaanchithakaree,
Kasi puraadheeswaree,
Bhikshaam dehi, krupaa valambana karee,
Mathaa Annapurneswaree

Kailaasaachala kandharaa laya karee,
Gowree , umaa sankaree,
Kaumaree nigamartha gochara karee,
Omkara beejaksharee,
Moksha dwaara kavata patana karee,
Kasi puraadheeswaree,
Bhikshaam dehi, krupaa valambana karee,
Mathaa Annapurneswaree

Drusyaa drusya vibhootha vahana karee,
Brhmaanda bhando dharee,
Leelaa nataka suthra kelana karee,
Vijnana deeptham guree,
Sree viswesa mana prasaadhana karee,
Kasi puraadheeswaree,
Bhikshaam dehi, krupaa valambana karee,
Mathaa Annapurneswaree

Urvee sarva janeswaree bhagawathee,
Maatha krupaa sagaree,
Venee neela samaana kunthala dharee,
Ananda dhaneswaree,
Sarvanandakaree bhayaa shubhakaree,
Kasi puraadheeswaree,
Bhikshaam dehi, krupaa valambana karee,
Mathaa Annapurneswaree

Aadhi kshaantha samastha varna nikaree,
Shabho tribhaava karee,
Kasmeeraa tripureswaree trilaharee,
Nithyaamakuree sarvaree,
Kamaa kamksha karee janodhaya karee,
Kasi puraadheeswaree,
Bhikshaam dehi, krupaa valambana karee,
Mathaa Annapurneswaree

Devee sarva vichitra rathna rachithaa,
Dakshayanee sundaree,
Vama swadu payodhara priyakaree,
Sownhagya maaheswaree,
Bhakthaabhishtakaree, sadaa shubhakaree,
Kasi puraadheeswaree,
Bhikshaam dehi, krupaa valambana karee,
Mathaa Annapurneswaree

Chandrakaanala koti koti sadrusaa,
Chandramsu bhimbaan dharee,
Chandrakaagni samaana kunthala dharee
Chandrarka varneshwaree,
Maala pustaka pasasangusa dharee,
Kasi puraadheeswaree,
Bhikshaam dehi, krupaa valambana karee,
Mathaa Annapurneswaree

Kshatrathraanakaree, mahaa bhayakaree,
Mthaa krupaa sagaree,
Sakshaan mokshakaree sadaa shiva karee,
Visweshwaree sridharee,
Daksha krundha karee niraa mayakaree,
Kasi puraadheeswaree,
Bhikshaam dehi, krupaa valambana karee,
Mathaa Annapurneswaree

Annapurne sadaa purne,
Sankara praana vallabhe,
Jnana vairagya sidhyartham,
Bikshaa dehee cha parvathy.

Mathaa cha Parvathy Devi,
Pithaas cha Maheswara
Bandhawa Shiva Bhakatamscha,
Swadesho Bhuvana Trayam.

Goddess Annapurna Devi

Goddess Annapurna Devi 

Goddess Annapurna Devi 

Goddess Annapurna Devi

Goddess Annapurna Devi 
Goddess Annapurna Devi 

 Goddess Annapurna Devi 

 Goddess Annapurna Devi 

 Goddess Annapurna Devi 

 Goddess Annapurna Devi