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Serampore Avishek Sen-
Bhushan Raut #Prantik #Halley The Given Pic by Prantik is Sri Raga Vajra Mahaganapati along with Mosshak Yogini
Sucking the Pure Bliss Tattva from Ganapati He is the One To Whom Menstrual Blood is offered!! Bhushan Raut this
form is known as Raga Vajra Ucchista ganapati..he is worshiped by women periodical blood!!! it is used as rakta
chandan for him....here the significance is,by taking lord God's burden,we receive AMRITA,(as the Musik mukhi yogini
drinking his holiness's sperm,by taking ganesha's weight),and we became ever young(here periodical blood is symbol
of youth and love),and full of romantic devotion....also,everything is holy,and everything can be used to worship him!!!
i worship that god who have six arms holding Parasu,Khardga,Kalpalata,Akshamala,Vajra and Madya purna
Kapala,have three heads of elephant,mouse and monkey.have four legs(here only two legs are shown),in which by
two is sited in padmasana,and by other two he is standing on the hands of his Shakti,who is Mukhamehana tat
para(doing oral sex) of her husband's phallus,who is white in color and who is ever blissful,i worship that great Lord
Ganapati who is famous as Ragavajra!!! his six arms controls six inwardly enemies:lust,anger,greed,delusion,pride
and envy.his three heads controls three Gunas,Elephant head controls Sattwa guna,Monkey head controls Raja guna
and Mouse head controls Tama guna....his four legs gives his devotee Chaturvarga: Dharma,Artha,Kama and
Moksha!!! from his holy Penis,salvation fountain flows in to his Devotee's heart....he is god of Jivanmukti....he is God
of every desire fulfilling....he is Supreme god himself...he is Ragavajra Ganapati!!! He mainly Worshipped in
Gaanpatya Samaj and Vajrayana Buddhism!!
Lallas poems shimmer with their authors experience of being a yogini, trained in the demanding
spiritual disciplines and devotional practices of Kashmir Saivite mysticism. Since this school is itself
the confluential outcome of an engagement with several philosophical traditions, she was receptive to
the images and ideas of those other traditions. It would be most productive to view her as a figure
whose ideas straddled the domains of Kashmir Saivism, Tantra, Yoga and Yogacara Buddhism, and
who appears to have been socially acquainted with the ideas and practices of the Sufis.
Revelation comes to Lalla like a moon flowering in dark water. Her symbols and allegories can be
cryptic, and yet the candour of her poems moves us deeply, viscerally. She celebrates perseverance in
the quest, contrasting physical agony with spiritual flight and dwelling on the obdurate landscapes
that the questor must negotiate. Lallas poetry is fortified by a palpable, first-hand experience of
illumination; it conveys a freedom from the mortal freight of fear and vacillation. She cherishes
these, while attacking the parasitic forms of organised religion that have attached themselves to the
spiritual quest and choked it: arid scholarship, soulless ritualism, fetishised austerity and animal
sacrifice. Her ways of transcending these obstacles can seem subversive, even deeply transgressive
as in poem 59, where she confronts the priest with the brutal exaction demanded by his idolatry:
It covers your shame, keeps you from shivering.
Grass and water are all the food it asks.
Who taught you, priest-man,
to feed this breathing thing to your thing of stone?
Kashmir Saivism recommends the transmutation of all outward observances into visualisations and
experiments in consciousness, so that the idol is replaced by the mental image and the sacrifice of an
animal by the deliberate extinction of the lower appetites. In this spirit, in poem 61, Lalla rejects the
conventional physical elements of worship in favour of meditative depth:
Kusha grass, flowers, sesame seed, lamp, water:
its just another list for someone whos listened,
really listened, to his teacher. Every day he sinks deeper
into Shambhu, frees himself from the trap
of action and reaction. He will not suffer birth again.
At the same time, Lalla asserts the primacy of the gururegarded as an embodiment of the Divine
as a guide navigating the aspirant through the maze of worldly life towards the central and
transfiguring experience of enlightenment. In poem 108, she sings:
Who trusts his Masters word
and controls the mind-horse
with the reins of wisdom,
he shall not die, he shall not be killed.
In yet other poems, she transmits the teachings that are the fruit of her experience: these poems aim
to renew the immediacy of everyday life by placing it in the context of eternity, to redeem the self
from the cocoon of narcissism and release it towards others, the world and the Divine. In poem 105,
she imagines the Divine as a net that traps the individual from within, grace moving by stealth, to be
valued in this life rather than deferred as a reward on offer in the afterlife:
continuous with his own consciousness. In this state of enhanced consciousness induced by special
techniques of concentration, the inside and the outside, the subject and the object, the self and the
world, did not remain separate entities but fused in a single process. (1971, 27374)