The Mahamaya who is known as Durga, Kali, Candi, Bhadrakali, Mohalaksmi, etc is the embodiment of His external potency as described in the Candi and it is the thankless task of the Mahamaya to punish the asuras with Her all powerful weapons in the ten direction of the material world. She does not only create and maintain this material world but also she annihilates it according to the direction of the almighty God. In the Bhagavad-gita this Mahamaya has also been described as Daivi Maya and She is so powerful that the asuras cannot by-pass Her at any rate. The asura can get remission from the stroke of the trisula of Mohamaya when he the asura, surrenders surrenders himself to Sri Krishna the Personality of Godhead. As Superintendent of the material world the Mohamaya has been described Durga as the protectress of the great durga or fortress of the grand universes. She gives all the necessities for our existence but as soon as we become an asura like the Mohisasuras, Ravanas, Hiranyakasipus, and in later ages like the Mussolinis and such others for the exploitation of the material energy, the Durga Devi at once appears Herself with Her dreadful trident and begins to devastate the whole existence by such tribulations as war, famine, pestilence, or sometimes annihilation of a total existence. The methods of annihilation as are invented by the human brain such as the atomic bombs etc are also Her creations but the deluded asuras, who are caused to act by the modes of prakrti the material nature, do think themselves as the originator or inventor of such weapons.
(S.P.Letter to: Juggannath Babu, Calcutta 14 March, 1949)
Laksmi, Sita y mismo Durga son expansiones de la forma femenina suprema de Dios: Radharani.
the entire creation has two divisions-transcendental, or spiritual, and material. Yogamāyā manages the spiritual world, and by her partial expansion as mahāmāyā she manages the material world. As stated in the Nārada-pañcarātra, mahāmāyā is a partial expansion of yogamāyā. The Nārada-pañcarātra clearly states that the Supreme Personality has one potency, which is sometimes described as Durgā. The Brahma-saṁhitā says, chāyeva yasya bhuvanāni bibharti durgā (Bs. 5.44). Durgā is not different from yogamāyā. When one understands Durgā properly, he is immediately liberated, for Durgā is originally the spiritual potency, hlādinī-śakti, by whose mercy one can understand the Supreme Personality of Godhead very easily. Rādhā kṛṣṇa-praṇaya-vikṛtir hlādinī-śaktir asmād (CC Adi 1.5). The mahāmāyā-śakti, however, is a covering of yogamāyā, and she is therefore called the covering potency. By this covering potency, the entire material world is bewildered (yayā sammohitaṁ jagat). In conclusion, bewildering the conditioned souls and liberating the devotees are both functions belonging to yogamāyā. SB 10.1.69
It is explained that the beloved consorts of Lord Krishna are of three kinds, namely the goddesses of fortune or Lakshmis, His queens, and the milkmaids of Vraja called the gopis. All of them proceed from Radharani. The Lakshmis are partial manifestations, or plenary portions, of Srimati Radharani, while the queens in Vaikuntha and in Dvaraka are reflections of Her image. The Vraja-devis or gopis are Her expansions and assist in the increase of rasa, or the divine loving pastimes. Among them there are many groups that have various sentiments and moods, which help Lord Krishna taste the sweetness of the rasa dance and other pastimes. (Cc.Adi-lila. 4. 75-81)
http://www.srigaurangashram.in/durga.htm
The name Kali comes from kāla, which means black, time, death, lord of death, Shiva.
No concernente à razão por trás da compleição azulada de Krsna, aqui está uma belíssima explicação oferecida no Krsna Bhakti Ratna Prakasa de Raghava Gosvami, onde se declara:
"Neste ponto, alguns talvez perguntem: Por que a forma da Personalidade de Deus, manifesta por Ele apenas por Seu próprio desejo, e que é feita da doçura dos passatempos transcendentais, é famosa em toda parte por sua compleição escura?"
Parte da resposta a esta pergunta pode ser encontrada na declaração do Sruti-sastra: "Ninguém pode compreender sequer uma gota da forma transcendental do Senhor". Além disso, também se afirma: "Ele manifesta eternamente a cor syama, dentro da qual repousam todas as cores. Sua compleição não é a cor material preto."Assim, a partir do último verso, lemos a declaração "sarva-varno", que significa que a cor syama é uma cor especial, a qual é como uma composição de todas as cores. Notamos que, se combinarmos todas as cores, obtemos uma cor que é enegrecida, mas não preta."
Kali is black because she represents tama-guna or the void which has swallowed everything, including space, time, and the ingredients of material nature.
Lecture on SB 3.26.5 -- Bombay, December 17, 1974: "There is no first class, second class. Just like you like some color. Somebody likes red color, somebody likes blue color, sometimes yellow color. But after all, it is color, you like this or that. Similarly, sattva-guna is yellow color, and tamo-guna is blue color, and rajo-guna is red color. So you may like this color or that color—after all, it is material color."
All things in the Kunja of Vishaka are colored red, green, yellow and black. This grove is named Vishakhananda.
Canto 10 » Capítulo 3VERSO 20
Traducción:
Mi Señor, Tu forma es trascendental a las tres modalidades materiales, pero, para mantener los tres mundos, Tú adoptas el color blanco de Viṣṇu en la modalidad de la bondad; para la creación, que está impregnada de la cualidad de la pasión, Te manifiestas rojizo; y al final, cuando es necesaria la aniquilación, que está impregnada de ignorancia, Te manifiestas negruzco.
Significado:
Vasudeva oró al Señor: «Tú recibes el nombre de śuklam. Śuklam, «blancura», es la representación simbólica de la Verdad Absoluta, debido a que está libre de la influencia de las cualidades materiales. El Señor Brahmā recibe el calificativo de rakta, rojo, porque Brahmā representa las cualidades de la pasión para la creación. La oscuridad está encomendada al Señor Śiva, debido a que él aniquila el cosmos. Aunque la creación, la aniquilación y el sostenimiento de la manifestación cósmica son actividades de Tus potencias, Tú siempre Te mantienes libre de la influencia de esas cualidades». Como se confirma en los Vedas: harir hi nirguṇaḥ sākṣāt: La Suprema Personalidad de Dios está siempre libre de las cualidades materiales. También se explica que en la persona del Señor Supremo no existen las cualidades de la pasión y la ignorancia.
Los tres colores que se mencionan en este verso - śukla, rakta y kṛṣṇa - , no deben entenderse literalmente, en función de la experiencia de nuestros sentidos, sino como representaciones de sattva-guṇa, rajo-guṇa y tamo-guṇa. Después de todo, los patos, en quienes predomina tamo-guṇa, la modalidad de la ignorancia, muchas veces son blancos. El pato es el ejemplo característico de la lógica bakāndha-nyāya, pues es tan necio que corre tras los testículos del búfalo pensando que son un pez que cuelga y que podrá comérselo tan pronto como se suelte. Así, el pato vive siempre bajo la influencia de la oscuridad. Por otro lado, Vyāsadeva, que es el compilador de las Escrituras védicas, es de color negruzco, lo cual no significa que se halle bajo la influencia de tamo-guṇa; al contrario, se halla en el nivel de sattva-guṇa más elevado, por encima de las modalidades materiales de la naturaleza. Estos tres colores (śukla-raktas tathā pītaḥ) se emplean a veces para identificar a los brāhmaṇas, kṣatriyas, vaiśyas, y śūdras.
El Señor Kṣīrodakaśāyī Viṣṇu es famoso por Su color negruzco, el color del Señor Śiva tiende al blanco, y el Señor Brahmā es rojizo, pero según el Vaiṣṇava-toṣaṇī-tīkā de Śrīla Sanātana Gosvāmī, este verso no se refiere a esa correlación de colores.
La comprensión correcta de śukla, rakta y kṛṣṇa es la siguiente: El Señor es siempre trascendental, pero, en el momento de la creación, adopta el color rakta en la forma del Señor Brahmā. Además, el Señor a veces Se enfada. Como Él mismo dice en la Bhagavad-gītā (16.19):
tān ahaṁ dviṣataḥ krūrānsaṁsāreṣu narādhamānkṣipāmy ajasram aśubhānāsurīṣv eva yoniṣu
«A los envidiosos y malvados, lo más bajo entre los hombres, Yo los arrojo perpetuamente al océano de la existencia material, en diversas especies de vida demoníaca». Para destruir a los demonios, el Señor Se enfada, adoptando entonces la forma del Señor Śiva. En síntesis, la Suprema Personalidad de Dios siempre está más allá de las cualidades materiales, y no debemos confundirnos y pensar otra cosa simplemente debido a la percepción de los sentidos. Debemos comprender la posición del Señor a través de las autoridades, los mahājanas. Como dice el Śrīmad-Bhāgavatam (1.3.28): ete cāṁśa-kalāḥ puṁsaḥ kṛṣṇas tu bhagavān svayam.
Vishaka le gusta el rojo y negro en su Kunja. Esta ella, una eterna associada de Sri Radha en la modalidad de la ignorancia y pasion?
En el mundo espiritual hay todos los colores, incluso el negro. Pero no hay condicionamentos ahi.
En este mundo material todos los colores tienen su lado positivo y condicionante. Por ejemplo:
Black stands for Sophistication, glamour, security, emotional safety, efficiency, and substance. It also reveals Oppression, coldness, menace, heaviness.
White is symbolic of hygiene, sterility, clarity, purity, cleanness and simplicity. On the other hand, it reflects sterility and elitism.
Red symbolizes physical courage, strength, warmth, energy, basic survival, stimulation, masculinity and excitement. In its negative connotation, red can stand for defiance, and aggression.
Tamala tree with its dark colored bark represent Krisna. Gopis in their mood of separation sometimes embrace tamal trees saying: "Oh, it is Krisna! He has come!
En el plan absoluto, el negro hace recordar a Krsna.
"Somos seguidores de Caitanya Mahaprabhu. Eu também adoro uma Salagrama como Caitanya Mahaprabhu e outra Salagrama como Nityananda e tenho duas Salagramas que adoro como Syama Balarama. Tenho uma clara que adoro como Balarama.
Todas as outras são escuras porque sinto falta Dele.
Eu adorei Radha Syamasundara todos os dias por um ano e meio no Templo e quando deixei este seviço pelo serviço de Kirtana, e isto tornou-se bastante intenso para mim eu precisei de algo para preencher o espaço vazio de todo aquele "negro".
E assim precisei de pelo menos 1200 Salagramas (risadas) para satisfazer meu desespero deste "negro", o qual tem tudo a ver com Syamasundara." (Aindra Baba)
Quizas porque piensan que Salagrama solamente puede ser adorada en humor de Aisvarya y no de Madhurya.
Por supuesto que se puede. Aindra Baba explica en un poderoso Salagram Katha que en verdad el pasatiempo de Salagram Sila es Krsna Lila.
And therefore, someone strongly influenced by Tama Guna may be attract by the black color. But those who is in devotional service will remember their beloved Shyama by contemplate the black color.
