Nijāruṇa-prabhā-pūra-majjad-brahmāṇḍa-manḍalā निजारुण-प्रभा-पूर-मज्जद्-ब्रह्माण्ड-मन्डला (12)
Her red-rose like complexion radiates the universe with red colour. From this nāma onwards, the gross description of Lalitāmbikā begins. When physical description of a God is made, it is from foot to head and for Goddesses it is from head to foot. For Lalitāmbikā, the description begins from Her head. For Śiva the descriptions are both from His head as well as His feet as He represents both Śiva and Śaktī (ardhanārīśvara form, Śiva and Śaktī combined in a single form, half male and half female, conjoined vertically). In Pañcadaśī mantra there are three parts or kūṭa-s (divisions). Out of the three kūṭa-s, Vāgbhava kūṭa is meditated upon Her head, which is in line with the tradition of describing Her from head to foot.
Campakāśoka-punnāga-saugandhika-lasat-kacā चम्पकाशोक-पुन्नाग-सौगन्धिक-लसत्-कचा (13)
Campaka, aśoka, punnāga, saugandhika are the four types of fragrant flowers that adorn Her hair. But Her hair does not get fragrance because of these flowers, whereas these flowers get their fragrance from Her hair. Her hair is always sweet smelling.
Saundarya Laharī (verse 43), says.”Your dense, greasy and soft braid of hair, resembling a group of blue lotuses in bloom, dispel our ignorance. I think the flowers of the trees in the garden of the foe of Vala abide therein to attain their innate fragrance.” Wetness indicates Her compassion and softness indicates Her motherhood.
Durvāsa ṛṣi (Sage Durvās) in his ‘Śaktī Mahimna’ meditates on Her sweet smelling hair in his heart cakra.
The idea behind these description is when Her hair can drive away ignorance (knowledge is considered as supreme in realising the Brahman), what Her total form can do for Her devotees. These four sweet smelling flowers mean the four deceptive components of antaḥkaraṇa viz. mind, intellect, consciousness and ego.
Kuruvinda-maṇiśreṇī-kanat-koṭīra-maṇḍitā कुरुविन्द-मणिश्रेणी-कनत्-कोटीर-मण्डिता (14)
Kuruvinda is a rare type of ruby, which is red in colour. This particular type of ruby is said to enhance love, wealth and devotion for Viṣṇu (Viṣṇu is Her brother). These rubies adorn Her crown. When She is meditated upon with this red crown, spirituality and prosperity will increase. Saundarya Laharī (verse 42) says, “Why will not he, who extols your golden crown, closely stud with the twelve Suns (twelve āditya-s - dvādasa āditya-s, each āditya representing one solar month ) transformed into gems, form the idea that the digit of the (crescent) Moon, variegated by enveloping lustre of the inlaid gems, is but the bow of Indra (rainbow)?” Śrī Śaktī Mahimnaḥ (verse 42) also describes Her crown.
Aṣṭamī -candra-vibrāja-dhalika-sthala-śobhitā अष्टमी-चन्द्र-विब्राज-धलिक-स्थल-शोभिता (15)
Her forehead appears like the moon on the eighth day. Eighth day from the full moon or new moon is called asḥṭamī. The moon appears beautiful with even curves on both sides on eighth lunar day.
Mukacandra-kalaṇkābha-mṛganābhi-viśeṣakā मुकचन्द्र-कलण्काभ-मृगनाभि -विशेषका (16)
She is wearing a kastūri (kastūrikā a fragrant paste) tilaka (a mark on the forehead made with coloured earths, sandal-wood, or unguents, either as ornament or as a sectarian distinction) and this is compared to the spot that we see in the moon. In Śrī Śaktī Mahimnaḥ (verse 39), Her face is meditated upon.
Vadanasmara-māṅgalya-gṛhatoraṇa-cillikā वदनस्मर-माङ्गल्य-गृहतोरण-चिल्लिका (17)
Her face is compared to the palace of lord Manmatha (the god of love - cupid) and Her eyebrows are compared to the festoons adorning his house. Cillikā means eyebrows. It is said that Manmatha constructed an auspicious palace, copying the face of Lalitāmbikā.
Vaktra-lakṣmī-parīvāha-calan-mīnābha-locanā वक्त्र-लक्ष्मी-परीवाह-चलन्-मीनाभ-लोचना (18)
Her eyes appear like fishes moving in a pond. Her face is compared to a pond and Her eyes to fishes. Fishes move very quickly. She also moves Her eyes quickly as She has to shower Her grace on the entire universe. The fish eggs become fertile by mere glance of mother fish. In the same manner She by Her mere glance nourishes the universe. Because of the beauty of Her eyes She is also known as Mīnākṣī, Mīnalocanī, etc.
March 30, 2018 08:54 PM
Namaste. Thank you very much for imparting knowledge. There is one description of the divine mother is yet to come into my grasp. In fact, it keeps distracting me in my sadhana. In the explanation for Nama#14 you have mentioned "Vishnu is her brother". As we know there are other references too, later in the sahasranama like 'padmanabha sahodari' and 'vishnu Maya vilasini'. When we pray to her as THE MOTHER of the Universe and the ultimate Shakti, how to interpret these references (Vishnu is Her bother, etc). Kindly clarify.
March 30, 2018 08:58 PM
She is also Shiva, Vishnu and even Brahma. She is everything and manifests in different forms, Or it can also be said that She takes over the role of creation, sustenance and dissolution. It is advisable not to take these differences and concentrate on Her alone.
June 02, 2021 05:18 PM
Mukhachandra Kalankaaba Mriganaabhi Visheshaka: I thought this was explaining about the tejas from her face that is like moon and also explaining about her nose. This article mentions about her tilaka. Kindly help me understand how it relates to Tilaka.
June 02, 2021 05:19 PM
Vadanaswara Maangalya Gruha Thorana Chillika - I thought this was talking about her Mangalsutra which is in the form of "thorana" that we keep in front of the house. Kindly clarify.
July 23, 2023 01:07 AM
It was revealed to me by the Divine Mother that "mukacandra-kalaṇkābha-mṛganābhi-viśeṣakā" means that Lalitā is decorated with a bright full moon on her forehead which is half white and half red. Enhancing her beauty. The red part of the moon on the forehead means Rājarājeśvarī Kāmakalākāḻī, Kādi Vidyā, Icchaśakti and Śiva, Śakti and Sadaśiva Tattvas. The white part of the moon on the forehead means Rājarājeśvarī Ṣoḍaśī, Hādi Vidyā, Jñānaśakti and Īśvara Tattva. The joining of the red and white parts of the moon on the forehead means Rājarājeśvarī Tārā, Sādi Vidyā, Kriyāśakti, Śuddhavidyā Tattva and the extremely advanced practice called Shaḍanvaya Śāmbhava. Tvarita is the eighth lunar day and the only Nityā that does not change position with the phases of the moon. Rājarājeśvarī Tārā means the intermediary between Kāmakalākāḻī and Ṣoḍaśī. Tārā means both. If you meditate on this moon you will realize that it is the junction of all five pure Śuddha Tattvas and that they are decorating Lalitā which is Parāśiva Tattva (transcendence). If you move your attention simultaneously on this moon and Lalitā entire body, you will understand the meaning of Parābīja sauḥ: Parāśiva (Lalitā) is decorated with the Five Pure Tattvas which are her instruments for creating the Universes Continuously. So, the realization of Parabrahman does not mean realizing Parāśiva Tattva, but Parāśiva Tattva and the Five Pure Tattvas together and functioning in balance.
July 23, 2023 02:07 AM
I'm going to say something very important. Realizing Parabrahman is not about diving deep, but about diving to the center and stabilizing there. For example, the chief of all forms of Kāli is called Kāmakalākāḻī. She is at the center. The deepest form of Kāli is called Guhyakāli. Similarly there is the deep Guhyashodasi. But, as I said, sailing deep doesn't mean you'll accomplish the highest goal. You must be able to dive into the center and stay there without moving. If you dive too deep, you won't see the surface. If you're on the surface, you won't see the bottom. But if you are in the center, you can see the bottom and the surface at the same time.
July 24, 2023 01:07 PM
Namaste! Thank you for sharing such hidden knowledge with us, and if you can, please continue to give it to us. It is clear that you have the blessing of the Divine Mother.