The Secret World of the Green Parrot

Have you ever wondered why green parrots were chosen for being pet birds? In mythology, there has been a strong association of the damsel in love to carry a cage with a green parrot in it which has through ages been associated with the flavor of sensual love. In mystic poetry, green parrots hold the secret of her love mate, and have often spilled those beans when someone comes along and lets them free.

Kamadeva (Wikipedia)

In the world of ancient iconography green parrots have been associated with the Lord of Love - Kama, who holds a sugarcane bow with a string of honey bees. The form of Parvati, Kanchi Kameshwari, holds a Green Parrot and a sugarcane bow with a string of honey bees in her hand as she resides on her beloved the Great Lord Shiva, at the Kamakshi Amman temple in Kanchipuram. Green parrots are associated with this potent essence of mortal love that transforms into divine love while sugarcane and honey bees describe the sweetness of such love. Somewhere along the way we lost the main meaning and just blindly followed the rule of pet birds. Maybe that’s a reason why parrots and love birds made it as pet birds in cages…a hope to keep the love energy active within grihasta.

But here is the twist to this beautiful story. While Goddess Kamakshi holds the green parrot in her hand, it is her consort Lord Shiva who slays Kama, the green parrot who hold the 5 potent arrows of love. Is there something for us to look deeper and wake up to? Kama, the cupid, Lord of sensual mortal love, holds 5 potent arrows tipped in 5 sacred flowers that can mesmerize any human to fall prey to the power of mortal sexual love and stay captive within its sweetness. And with one hit there is practically no chance of revival. It is one such deadly mistake that the great Devas made when they approached Kama to strike these arrows into the Great Yogishwara Himself. But little did Kama know of his own fate when he did that.

The great Ravana (yes I admire this asura) has furiously written this sacred verse on the potency of the love of Lord Shiva, who is way beyond the small world of love that Kama promises us.

Karaala bhaala pattikaa dhagad dhagad dhagaj jwala-

Ddhananjayaa hutee kruta prachanda pancha sayakae

Dharaa dharendra nandinee kuchagra chitrapatraka-

Prakalpanaika shilpini, trilochane ratir mama. ||7||

He on whose intense forehead the great fire of enlightenment burns Dhahaga Dhaga

He who burnt the God of Love, the one with five arrows,

He who describes the essence of pure love by drawing beautiful lines

On the tip of the breasts of the daughter of the mountain

He is of deep interest to me

Why did Lord Shiva burn Kama with the great fire of enlightenment? Now this fire of enlightenment is not any old fire, it’s the divine fire of wisdom. Let’s get past mere mythology and dive into the sacred world of Tantra Shastra. The divine fire of wisdom can destroy the mere fire of sensual love and that decided the fate of Lord Kama. That also decides our fate, if we choose to have the lesser fire of carnal desire burn in the divine flame of spiritual wisdom.

Our problem is that we didn’t ever get past the mythology of why Lord Shiva killed Kama. The deeper meaning of this great mythology is the deep wisdom that somewhere in our race to live, we have lost our purpose or never dug hard enough to find it.

What a beautiful verse the Demon Ravana writes:

The intensity of spiritual wisdom is so high in the great Yogishwara, that the arrows of mere mortal love practically had no effect on him. He writes instead of the spiritual essence of Lord Shiva's love, who is a greater spiritual lover, who describes a higher form of love that is not mere sensual excitement. Clearly the great Yogishwara is not a mere mortal, and such minor flames don’t affect him, hence it was Kama who burned in the fire of wisdom. Did he kill him - No, did Kama die - No, but symbolically Kama, the God of lesser love was taught the art of greater consciousness in spiritual love.

What effect does this story have in our world?

We are capable of greater love, in our mere mortal existence to move ahead beyond sexual boundaries. Divine love, bhakti, and a sense of greater adoration brings compassion into our minds towards lesser beings and greater bliss towards divinity. We have just one trump card - abundance of love - we need to channelize it towards greater spiritual bliss and not waste it in lesser mortal pleasures. The mythological story has a deeper secret towards earning spiritual energy and the green parrot is a constant reminder of how far away we are from it.

Picture courtesy: Wikipedia

At Home With Kamakshi Amman - Atithi Devo Bhava

I walked up to her home deep within the temple walls through the crowds of people gathering there. I was oblivious to the noise, of the chattering people, of the fuming priests who believed they owned her home more than she did. I was oblivious to the swelling savagery of uncouth human behavior as people were herded in and out of the temple. And ironically I was looking for my peace here, within this din somewhere. 

I wondered as I saw the mass of people sticking close like ants in a line, falling over each other trying to get a glimpse of her divine form. They converged at the door of the shrine like ants attack a half dead prey, trying to get their share of the divine rays of grace that emitted from the chamber within. And the Brahmin priest cracked his caustic verbal whip as he shooed the crowds away. 

I felt sad for these people, they were desperate for love, they were frustrated with their lives and that’s probably what brought them to her doorstep. But how would they seek her grace when they didn’t realize that all she asked in return was undivided love and faith from them through the passage of silence which was too much to give. Was just a glimpse of the divine mother enough before they went back to their hell holes?

I was certain I didn’t want to be part of this. I was certain I wanted to keep my mind on her form; I was excited deep down waiting for my glimpse as I had wade past the priests to get my turn. This ambiance was a cauldron of swelling emotions, of herded people asking for more, of priests who treated them with utmost disrespect. But I wondered...didn’t they really ask for it? How else were they supposed to control a seething crowd that just wouldn’t listen, just wouldn't move and wanted that extra moment with the Goddess? 

I waited my time till I was called, silent and calm for the one thing I didn’t want was a priest or a security guard yelling at me. I was here to meet her, not them, and I had to seek their permission to enter her home but when I approached the Mother with love, the whole ambiance transformed. 

She called me in, picked me from the noisy crowd and gave me a seat in front of her as the priest gestured me about. We sat face to face, our eyes met, she smiled at me and I melted in my love unable to hold my emotions for long. My heart yelled out, “Take me mother, when will you come to take me...how much longer do I wait?” The priest broke the conversation asking me to give my offerings, and I held out all that I had. I was jostling between two worlds, that of the din around me and this beautiful conversation we were having in silence.

The flames flickered wild as they lit up her dim room, wet in water as she prepared for her bath. She was bare, her pure self-unveiled for me to get a glimpse as she smiled back at me. I was treated like a guest; she was gentle and kind oozing love and beauty as I felt the energies envelop me. I let my emotions flow as my hands shook, closing my eyes for a few seconds as I felt my body energized with her presence. I said nothing, I thought nothing, I felt everything I could and I let my pent up emotions flow. It was a river of love, between her and me. I gave whatever I could, I gave my being, I gave my heart, I gave my thoughts, I gave my love... I gave everything that was humanly possible to give. And she took it all with grace. No priest came between us then, no Maya knocked back at me. I was in her silent world for a short while. 

It was time to leave, I had a desire to see them bathe her and she granted me that wish and more. What was supposed to have otherwise ended as a darshan, continued as she gave me a pomegranate tossed into my hand by the priest. She gave me a seat far away from the maddening crowd to sit and worship her. High on a platform, far from the herd, in isolation and silence... I watched her being bathed. I witnessed her many forms as the priest took the divine light around her.

Four forms remained etched in my mind, the first was her in her pure bare state being readied for her bath, the second was when she was ash clad and the whiteness pronounced her features, the third was when milk and curd rolled down her being pronouncing her curved body and the fourth was when she was dressed like a bride. Each form depicted a different facet of herself - stark consciousness, freedom from attachment, vibrant purity, divine love.

She filled my eyes with her form, she filled my heart with her love, she filled my mind with silence, she filled my consciousness with her beeja mantra and I filled her with my pent up emotions. We merged in silence, in divine embrace...maybe that is what I call grace. 

I was called back into the chamber, she asked for me again and I was only too glad to see her up close. She is life size, real and enigmatic. I presented her my gift for her to touch with her grace and I quietly wore it round my neck, her grace enveloping my heart like an armour of love. She blessed me with abundant kumkum that reddened my hands, and I realized one truth then. 

Tara Ma and Kamakshi Amman were one and the same form. They both treated me to abhishekam, she allowed me to bathe her ughra form, while I witnessed her soumya roopam getting bathed. She colored my hands in alta red when I touched her ughra form and in kumkum when I felt her soumya presence. She hugged me close in her ughra form and spoke to me in silence in her soumya form. She energized me as I shook emotionally almost breaking into tears in both forms. She gave me two hours in Tarapith, she gave me two hours in Kanchipuram. She made the priests call me in; she made them treat me with respect. She made both the priests at Tarapith and at Kanchipuram give me their visiting cards and an open invitation to come back any time, she opened the gates to unlimited access into her divine home. 

She sent me back into samsara fulfilled with love, she sent me back to the world, blessed. It was a fantastic year with the Goddess. 

I truly felt Atithi Devo Bhava. 

  

The world of Kamakshi Amman

Archarya Muka Kavi (Mukharbhaka), the 20th Acharya of Kanci Matt in the 4th cen A.D. quotes:

"I am desirous of constantly thinking of that form that which is pleasing to those living on the banks of the Kampa river, placing the very life of the Cakora bird (which survives on drinking the rays of the moon) on her head and the very seed of eternal bliss.

I bow to that all pervading deity who is the sound of the Vedas, the waves of the Nada, the energy of the circular bindu, the moon that which was born in the world of parapada, syllables of mantra, practice of tantra, the cause of one and all in their natural condition and the effect of all in their varied forms which fill the universe."

These are one among the many stanzas sung by an ancient poet towards Kamakshi, the mother of love. His expression in his poetry vividly describe the mother, her beauty and her assets, as it would appear in reality should we also possess such divine grace (divya dristi)

Even if I had to equate divya dristi to profound visual imagination within the mind (ref:Vishnudharmottara), there definitely is more to this method of thinking and worship. We as human do imagine, we have the capability to visually fantasize of recreate within our minds, a reality quite different from what we see around us. When this imagination is not an offspring of what nature offers us (like say a hybrid creature that you would see in star wars) but is self created and bears no resemblance to what we see in reality, we have then entered this profound and evolved region of imagination.

There is more to this power that the mind is capable of, meaning, the potential of the mind/brain is far more than we have exercised upon. Different poets and saints at different times have defined the beauty of Devi, and though all of them witnessed her divine presence through the mind's eye, or imagination as we know it, they in a very uncanny way saw the very same vision. She appeared the same to all of them, meaning, if we tried hard enough, we can commune with the divine through a mechanism that can be exercised through our minds.

To improve this we have mantra, tantra, yantra, puja, bhakti etc. which condition us to pave the way for the divine to access our control centers. We need to segregate time for our minds, into mundane existence which we ideally should not place so much importance on and shift the focus towards this control center. That is why in meditation they say, control your thoughts, meaning, reduce the noise in your head so that you can hear the divine speak.

This science is beyond everything, and it cannot be proven except by personal experience and if we are really that interested to make better sense of our existence, we would take it up as a serious approach to life with every breath that passes us by. So why are we wasting time getting further stuck in this maya of mundane life when we can clearly see the method to proceed towards divinity. Why is it so tough to focus the mind on something intangible because of lack of familiarity? Why is our own inadequacy proving to be our deadliest enemy? Why are we accepting defeat before we even got started to really understanding what is beyond? Why do we think “it’s difficult, I can’t do it”?

All we need is the deep urge to want to keep looking at the Mother, melt in one’s own humility towards the presence and beauty of the mother that lives in every speck of kumkum dust that adorns her feet. Kamakshi Amman is life breath, she is energy that wakes the life in every nadi within our system, she is the energy within the circular bindu, she is the essence of the Vedas that roll out silently from Dakshinamurthy Shiva, and she is divinity unimaginable.

Isn’t that the same feeling that Archarya Muka Kavi had when he penned down his devotion into sacred texts centuries ago?

Sri Chakra-from yantra to temple ground plans

The garbha griha of the Kamakshi Amman temple is the seat of love and life giving energy. What appears to the naked eye is a flower decked Goddess center stage, with lamps around her as the Arti lights up her glowing face in sandal wood on stone.

What is not visible to the eye is the energy that is resplendent around her. What makes up this beauty, this aura that shines around this idol? At the foot of the goddess, the idol of which is a representation of her supreme force, is the peetha that contains the Sri chakra. This chakra surrounded by the eight devis who reside within their small niches, are present there because they belong to this realm. Without their presence the Sri Chakra is quite incomplete.

The peetha itself brings alive the presence of Shiva, the Sri chakra being the foundation on which he resides. Within the Sri Chakra, four entrance gateways lead to the center of this chakra, all meeting at the central circle with 8 and 16 petals each is housing a goddess attendant from the Devi’s pantheon. 24 Goddesses reside here, each with a potent beeja mantra as they take their seats directionally around the center of this mandala. Having worshipped and pleased the 32 devis on the outside and given them offerings divine, the heart proceeds inside into a network of triangles. Devi Kosha, the seat of her presence, the potency of her being, the energy of her nature as the Goddess of love who married Lord Shiva, is intertwined within these triangles.

This is not a geometrical representation as much as it is a definition of intercourse, meeting of two energies, two pranas into a union. This union that is so pure, so beautiful, so intense and energizing, it is the seat of all creation. This union, that we give a moralistic garment to and restrict our own minds into a confused state of self control and a sense of disrespect, is actually beyond these equations altogether.

In the oil lamp light, in the mystic interior of this chamber dressed in vermillion, this peetha draws us back into its center, the core at which reside on the seat of all creation Lord Shiva and Shakti in the form of Somaskanda. The peetha inside which the Sri Chakra yantra is installed is a metaphorical representation of a Shiva linga peetha within the Garbha Griha of Kamakshi Amman, the loving consort of Lord Shiva. Such a divine couple, such potency to their presence, the Sri Chakra is representation of the Shiva Linga in a different way. It is not depicted in the traditional form of being divided into its various parts (Rudra bhaga, Vishnu Bhaga and Shiva Bhaga) but it represents the union of the divine parent.

Bindu, the core energy center brings alive this new world where Lord Shiva and Devi reside at its seat surrounded by devis blooming into lotus petals dancing around the divine couple, each invoked by the recitation of their respective beeja mantras. They reside there in Lalitasana, Padmasana or in Tribhanga, bringing to the mind a remote but definite similarity with the Chaunsat Yogini shrines far away at Ranipur Jharial, Hirapur and Bheraghat. These temples belong to remote villages in Orissa and Madhya Pradesh, but what stands out most is the very same ground plan as within the peetha of Kamakshi Amman shrine. These are roofless open temples (hypaethral temple) with 64 goddesses called Yoginis, who are lesser representations of the 32 goddess residing within the various petals of the Sri Chakra yantra. They transform the yogini shrines of Orissa and Madhya Pradesh into living Sri Chakra ground plans on whose blue print these tribal temples have been built.

In parallel, the beauty of these Goddesses comes alive at Ranipur, where even Kamakshi is represented as one of the leading goddesses dancing in the presence of Ajaikapada Bhairava and Swachchanda Bhairava, both representations of the fierce aspect of Shiva in amorous pleasure. This depiction is clearly brought out by the depiction of both in Urdhvalinga – erect phallic state. Kamakshi dances with a parrot at her feet, the parrot being the vahana (vehicle) of Kama, the Lord of love. This is brought out by the Kaula system of tantric tradition, where Shakti is Kula and Shiva is Akula , the union of both being Kaula – a sacred set of traditional rituals invoking Shiva and Shakti into one’s sadhana.


Related links:
Potency of Sri Chakra Yantra
Chaunsat yogini temple, Bheraghat Jabalpur
Lajja Gauri and the Tree of Life
Jagannath Puri Rath Yatra, Bhubhaneshwar
64 Yoginis dance with Bhairava