Śrī Kāmākhyā Nāma Stotram by Guruji

 

Devipuram · Guruji recalls his meeting with Kāmākhyā

I found this triangular formation of a triangular cut in the rock that resembled Kāmākhyā, the Yoni Pīṭh. "I thought this was a good place to start, begin with" and I was looking for a confirmation.

After 4th day or 5th day I was deep in meditation and I found jingling bells of a girl's anklets moving. A huge ball of light was there that condensed into an iridescent form of the Goddess' surface. And the surface was like, you know in the Śrī Sūktam there is, "hiraṇyavarṇāṃ hariṇīṃ suvarṇa rajata srajām” – like thin threads of gold and silver – suvarṇa rajata srajām. It was made out of electric shocks that were going around, it was that form. It was a fabric, and I later connected it with the fabric of the cosmos. She looked like a 16 year old girl. She was filled with the ornaments. She wore like a bridal attire. She said "Will you do pūjā to me?” I said: "What higher fortune can I have than doing pūjā to you?"

Then She did something very unexpected. She bowed down to my feet, and I was surprised. "You're going to be a Guru, and your people are going to bow down at your feet. I am in all the people." This is the significance of that. She stared into the sky and the clouds formed around us, and then there was rain. And in the rain we walked. She took my hand and walked to the place where… "This is the place where you have to set up the Meru temple for me, I am the Mother and this is going to be the child. I am the mother Kāmākhyā and this is the child. It will have Rājarājeśvarī Lalitā Mahā Tripurasundarī at its center. It will be in the form of a Meru with all the Khaḍgamālā deities installed in their places, and everything should receive pūjā every day."

Then She took me back and I completed a pūjā and She vanished back into the rocks.

Śrī Kāmākhyā Nāma Stotram in Guruji's handwriting.

Śrī Kāmākhyā Nāma Stotram

(composed by Śrī Amṛtānandanātha Saraswatī)

krīṁ

kāmākhyā kāminī kāmyā kāmakeḻitaraṅgitā |
kāmeśvaraprāṇanāḍī kuṇḍalī kāmapūjitā ||

kāmadohā kāmakalā kamanīyā kalāvatī |
kuḻāṅganā kuḻāntasthā kauḻinī kuḻayoginī ||

kuḻakuṇḍālayā kauḻamārgatatparasevitā |
kulottīrṇā kularādhyā kurukullā kuḻeśvarī ||

kuḻāmṛtaikarasikā kuḻasaṅketapālinī |
gaṇāmbā guhyakārādhyā komalāṅgī gurupriyā ||

ramā rākenduvadanā ratirūpā ratipriyā |
rahoyāgakramārādhyā rahastarpaṇatarpitā ||

raktapuṣpārcitā rājñī rāmā ramaṇalampaṭā |
viśṛṅkhalā viviktasthā virajā vīrapūjitā ||

vīragoṣṭhīpriyā vīrā viśvamātā viyatprasūḥ |
suvāsinyarcanaprītā kumārī yonighaṇṭikā ||

yonimudrā yonigamyā yoginī yonipūjitā ||

krīṁ

iti amṛtānandākhya devīpura nivāsi saṅkalita śrī kāmakhyā stotram

kāmākhyā — She Who Is Known by Desire; the Hidden Power of Desire
kāminī — She Who Desires; the Lover
kāmyā — She Who Is Desirable
kāmakeḻitaraṅgitā — She Who Is Playfully Waved by Erotic Sport
kāmeśvaraprāṇanāḍī — She Who Is the Vital Life-Channel of Kāmeśvara
kuṇḍalī — She Who Is Coiled; Kuṇḍalinī
kāmapūjitā — She Who Is Worshipped by Desire

kāmadohā — She Who Milks Desire
kāmakalā — She Who Is the Seed-Syllable of Desire
kamanīyā — She Who Is Beautiful and Attractive
kalāvatī — She Who Possesses All Arts and Powers

kuḻāṅganā — She Who Is the Woman of the Kula
kuḻāntasthā — She Who Abides Within the Kula
kauḻinī — She Who Is the Kaula Woman
kuḻayoginī — She Who Is the Yoginī of the Kula

kuḻakuṇḍālayā — She Who Dwells in the Kula Maṇḍala
kauḻamārgatatparasevitā — She Who Is Served by Those Devoted to the Kaula Path
kulottīrṇā — She Who Transcends the Kula
kularādhyā — She Who Is Worshipped in the Kula
kurukullā — She Who Is Kurukullā
kuḻeśvarī — She Who Is the Sovereign of the Kula

kuḻāmṛtaikarasikā — She Who Tastes Only the Nectar of the Kula
kuḻasaṅketapālinī — She Who Guards the Secret Signs of the Kula

gaṇāmbā — She Who Is the Mother of the Gaṇas
guhyakārādhyā — She Who Is Worshipped Through Secret Rites
komalāṅgī — She Who Has a Soft and Delicate Body
gurupriyā — She Who Is Beloved of the Guru

ramā — She Who Is Delight and Beauty
rākenduvadanā — She Whose Face Is Like the Full Moon
ratirūpā — She Who Is the Form of Erotic Love
ratipriyā — She Who Loves Rati

rahoyāgakramārādhyā — She Who Is Worshipped by Secret Ritual Sequences
rahastarpaṇatarpitā — She Who Is Satisfied by Secret Offerings

raktapuṣpārcitā — She Who Is Worshipped with Red Flowers
rajñī — She Who Is the Queen
rāmā — She Who Delights and Enchants
ramaṇalampaṭā — She Who Is Passionately Attached to Her Lover

viśṛṅkhalā — She Who Is Unbound
viviktasthā — She Who Abides in Solitude
virajā — She Who Is Stainless
vīrapūjitā — She Who Is Worshipped by Heroes

vīragoṣṭhīpriyā — She Who Loves the Assembly of Heroes
vīrā — She Who Is a Heroine
viśvamātā — She Who Is the Mother of the Universe
viyatprasūḥ — She Who Gives Birth to Space

suvāsinyarcanaprītā — She Who Delights in the Worship of Auspicious Women
kumārī — She Who Is the Virgin Goddess

yonighaṇṭikā — She Who Is the Bell of the Yoni
yonimudrā — She Who Is the Seal of the Yoni
yonigamyā — She Who Is Attainable Through the Yoni
yoginī — She Who Is a Yoginī
yonipūjitā — She Who Is Worshipped in the Yoni

The Descent of the Śrī Meru: Bālā’s Call, the Making of Sahasrākṣī, and the Consecration of Devipuram

 

This is how Bala used to appear to Guruji. And Michael Bowden painted this picture based on Guruji's description

(from "The Goddess and the Guru"):

Bālā Requesting to Build a Temple

While Śivālaya and Kāmākhyā Temples were still being constructed, Guruji’s attention had already shifted to his third and most ambitious project yet—the unprecedented Sri Chakra–shaped temple known as the Śrī Meru Nilayam or the Sahasrākṣī Meru Temple, which in 1994 would become the iconic centerpiece of Devipuram.

Goddess Bālā Tripurasundarī continued to appear to him and asking, “Daddy, when are you going to build a house for me?”

This prompted Guruji to go to his guru in Anakapalle, who after some deliberation delivered his verdict: “Well it seems you are destined to do this, Sastry. I think you will complete it.”

And with that, he poured a little water into Guruji’s hands and said, “Go ahead and start building.”

---

The Building of the Temple

It took four years—from 1984 until 1988—just to see to the accuracy of the geometry of the yantra on the ground. Guruji was helped at every stage of construction by Kāmākhyā, who acted as his consultant throughout.

And so the Meru began to materialize, with Guruji providing designs, work assignments, and technical guidance, and area villagers serving as day laborers.

The temple dimensions were (108’ × 108’ × 54’), and its structure consisted of the following:

The ground floor consists of the bhupura (i.e., the outer three lines housing the 10 siddhis, eight matrikas, and 10 mudra shaktis), the 16-petaled lotus, the eight-petaled lotus, and the devis of the 14-cornered figure.

The first floor [U.S. second floor] contains the devis of outer 10-triangle figure, and

The second floor [U.S. third floor] houses the devis of the inner 10 triangle figure.

The highest point, at the dome, houses the eight vagdevis, the trikona and the bindu.
(In addition to this array, there are several invisible devis “hidden in the three lines of the bhupura,” Guruji noted.)

---

Creation of the Khaḍgamāla Sculptures

By the end of 1988, after years of painstaking design and off-and-on construction—progress generally fluctuating on some combination of donor largesse and Guruji’s physical availability—the primary frame of the Śrī Meru temple was nearing completion. Yet an equally daunting task still lay ahead: to populate it with sculptures that embodied the myriad deities of Śrī Vidyā ritual practice, more than a hundred of them in all. Once again, the task was almost overwhelming in its scope.

At this point, a third form of the Goddess had begun communicating with Guruji about the temple. Rather than Bālā or Kāmākhyā, it was Hlādinī (a lover of Lord Kṛṣṇa) who spoke to him. Over the entire period of construction, Guruji had a total of three divine mentors: first Bālā, then Kāmākhyā, and finally Hlādinī.

In accordance with the Goddess’s instructions, Guruji began systematically meditating on each successive Khaḍgamāla goddess. Hlādinī herself would take the form of each, while Guruji carefully noted “her form, posture, and weapons,” and then described them to a professional sculptor. The innate artistic abilities he displayed in childhood came in handy during this process.

“As she revealed each goddess to me, I would translate those visions to the sculptor in words and drawings, and he would then use these descriptions to create concrete castings,” Guruji said.

Guruji found this visualization process to be immensely enjoyable, often spending hours in meditation for a single devī. Guruji would note:

“I saw how her perfect creative potential manifested itself in each of her different aspects, in each varying image of her beauty, all in three dimensions,” he said.
“Each one unique, each perfect in her own way.”

Guruji wanted their skin color, eyes, attire—their entire forms—to be as real as they could be, so as to help practitioners feel their presence.

Over the next seven years, from 1988 until 1994, the Meru gradually filled with Khaḍgamāla Devī sculptures. Ninety were Gopalachari’s near-life-size figures, crafted in cement mortar and painted in bright enamels. Seventy of these were arranged at ground level, with many housed under their own roofs, creating a series of mini-shrines within the Meru grounds. Another 20 were positioned on the first and second levels above the ground. Then came a number of smaller bronze deities as one approached the top.

---

Prāṇa Pratiṣṭhā of Sahasrākṣī Devī (1990)

At the focal point of the Meru temple, sitting in regal splendor within the dome, is a magnificent (and completely traditional) black granite sculpture of Devipuram’s main deity, Śrī Sahasrākṣī Rājarajeśvarī. An important form of Lalitā Tripurasundarī in temple worship, Sahasrākṣī symbolically contains, subsumes, and transcends all of the Meru’s other deities.

Her monumental vigraha had been created to Guruji’s precise specifications by Sri Netranandam, a well-known shilpi, or hereditary religious sculptor, from the famed temple city of Tirupati, 500 miles (800 kilometers) to the south.

Netranandam’s Sahasrākṣī carries a noose and an elephant goad in her two upper hands, flower arrows and a sugar cane bow in her lower two hands. She is seated atop (generally understood to mean “in sexual union with”) the prone figure of her consort Kāmeśvara, one of Lord Śiva’s most handsome and alluring forms. Her right leg is tucked up and her left foot hanging down, indicating her “left” or Tantric orientation.

It took Netranandam three months to complete the sculpture, which would become the first deity installed and consecrated in the Meru, via a formal prāṇa-pratiṣṭhā ceremony.

On Wednesday, May 9, 1990, a six-foot, 650-kilogram (1,433-pound) Sahasrākṣī sculpture was installed in the Meru Temple. The formal pratiṣṭhā (life-infusion) ceremony began a couple of weeks later on the new moon day of Thursday, May 24, and continued for 11 days until Monday, June 4, 1990.

Mahākumbhābhiṣekam (1994)

As 1993 drew to a close, the colossal task of building the Devipuram temples—initiated a full decade earlier, following Guruji’s first visions of the goddess Kāmākhyā—was finally nearing completion. The moment had arrived to consecrate the Śrī Meru temple, and Devipuram as a whole, as a living center of worship, by way of the ceremony known as the Mahā-kumbha-abhiṣekam, or “grand ritual bathing,” of the temple.

Kumbha-abhiṣekam is a general term for the grand celebration and series of purification rituals that are done [following] the construction or major renovation of a temple. It’s traditionally performed every 12 years, at which time any repairs are also commissioned.

“Kumbha” refers to the highest peak of the temple, which receives abhiṣekam [ritual bathing] at the culmination of the festival. A full kalaśam (or many kalaśa, as is often the case) is charged with mantras and pujas for several days. On the final day of the observance, the murti and/or actual temple itself receives the abhiṣekam of all the kalaśa used throughout the festival. The remaining water is then sprinkled throughout the property.

By Friday, February 25, the day of the Māgha full moon and the final day of the abhiṣekam, the largest crowds yet—estimates generally ranged between 10,000 and 20,000—surged into Devipuram to witness the festival’s culminating event, the ritual bathing of the temple.

Following morning pujas, everyone who had participated in the homas gathered to carry the kalaśa and deities from the Yagna Shala back up to the top of the Śrī Meru temple.

Having reached Sahasrākṣī’s home at the top of the temple, members of the procession mounted a specially constructed scaffold one by one, carrying their kalaśa even further upward to the very tip of the bindu. There Guruji stacked the nine pots into a conical tower, which he then—with the help of other officiants—hoisted onto his head.

streak of bright white light

At that very moment a streak of bright white light—some say it looked like a Śiva liṅgam—flashed across the cloudless blue sky, momentarily engulfing those at the top of the temple, and then streaked away again.

The vast crowd reacted with a collective gasp; a Times of India photographer, Mickey Menon of Bombay, happened to catch the sequence on film.

Śrī Cakra, Cosmos and You - lecture by Guruji

 

Devipuram · Śrī Cakra, Cosmos and You

 

Devī Māhātmya (Durgā Saptaśatī) - Guruji's Recitation

 

Devipuram · Chandi Recitation Class

 

Introduction to Chakras by Guruji

 

Order and Disorder in Śrī Vidyā: The Terrible and the Beautiful

 

You can say there are powerful energies which are preventing the expansion of a person's consciousness into different dimensions. Every dimension is blocked by a particular energy, you can understand it in that sense.

The story goes that Śiva did not agree to his wife going to her father’s yajna. Initially, she argues and says OK, but then finally she says – “Who are you to stop me?” She becomes angry and Śiva is afraid and he wants to escape. He tries to go East, he tries to go West, he tries to go North, he tries to go South — every direction he tries to go the fierce Kali is there in a different form. And he tries to go in between directions she’s also there. He tried to go up, go down … basically what it means is: in every dimension that you are trying to escape there are very powerful energies which are limiting you from moving in that direction. So these are descriptions of such energies.

Śrī Vidyā is concerned with orderliness, creating order and beauty, and they [i.e. five goddesses] are called a Śrī Kula, and the other five are Kālī Kula. They are concerned with the nature of disorder, lack of life. Life is a creation of order out of disorder, and death is a creation of disorder out of order. So there are two kinds of energies.

So you can say — positive energies and negative energies. But you have to face the negative energy sometimes, you cannot… because for every person who is born, death is certain. So we have to face that someday and you have to be prepared. So we are experiencing the stark fear, stark anxiety and these things. You blend the pain when you have to actually make the transition.

And the best thing that can happen is if you can experience this when you are living, if you can experience death when you are living and understand what it means, then you’ve tasted what the crossover is and your whole perspective changes in life. This is what happens in the case of a great saint like Ramana Maharishi, Aurobindu. Aurobindo’s book is about how life wins over death. The Savitri goes and tries to bring back the existence, the truth of existence back into the world from the grips of disorder.

Question:
Quite often people associate the main deity of Śrī Vidyā with the third Mahāvidyā, with Ṣoḍaśī, Tripurasundarī, Mahātripurasundarī and all the aspects of this deity. But this is obviously a benevolent deity, the grace deity. From these five Mahāvidyās you mentioned which belong to the order but not to disorder — does it mean that in Śrī Vidyā, as a system, these five Mahāvidyās are more prevalent than the disorder ones, or should the upāsaka or follower be trained, let's say, on both sides?

Everything has two sides to it of a coin. Upāsana of Sundari is also associated with the upāsana of Kālī, you cannot completely get rid of it. More of this and less of that, and more of that and less of it. But it is there.

Take a small example. Suppose you are looking at the fact of Tripurasundarī, the beauty personified, keep focusing on that. After some time, you will start seeing so many different faces in that. Different different faces — some of them are very beautiful, some of them very ugly. Some of them are hard to describe. But you'll start seeing a variety of expressions in that thing. But they are parts of the meditation of the same Goddess.

In Śrī Vidyā tradition, at the top is the unity of Śiva and Śakti. At lower levels the śaktis are somewhat separated from their śivas, and some of them are angry, some of them are terrible. You have these names — Śabdākarṣiṇī, Sparśākarṣiṇī, Rūpākarṣiṇī. You hear sounds and they are not there. You see forms and they are not there. You feel touches and they are not there.

You see, you are getting access to the tanmatras. You are interacting with entities that are not physically present there. Now, when you are saying touch, you are not defining what the touch is — it can be cutting the heart with the sword or it can be a gentle kiss. Who is there to define that?

So you see, the potentialities of the others are also there even though the emphasis is a little more on this side [i.e. auspiciousness]. So you cannot completely dissociate [i.e. good from bad] because they are the two sides of the same coin — the terrible and the beautiful, the benign and the cruel.

100 Names of Kālī from Mahānirvāṇa Tantra Recited by Guruji

Devipuram · Guruji - 100 Names Of Kali (Mahānirvāṇa Tantra)

 

100 Names of Kālī

(Starting with “K”, from the Mahānirvāṇa Tantra)

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कालकर्षिण्यै नमः
kālakarṣiṇyai namaḥ

कराल्यै नमः
karālyai namaḥ
She Who is Formidable, Dreadful

कल्याण्यै नमः
kalyāṇyai namaḥ
She Who is the Bestower of Wellbeing;

कलावत्यै नमः
kalāvatyai namaḥ
She Who Manifests All Qualities (64 Arts);

कमलायै नमः
kamalāyai namaḥ
She Who is the Lotus One;

कलिदर्पघ्नीआयै नमः
kali-darpaghnīāyai namaḥ
She Who Destroys the Pride during Kālī Yuga;

कपर्दीशकृपान्वितायै नमः
kapardīśa-kṛpānvitāyai namaḥ
She Who Gives Grace to the One of Matted Hair;

कालिकायै नमः
kālikāyai namaḥ
She Who is the Devourer of Time;

कालमातायै नमः
kālamātāyai namaḥ
She Who is the Mother of Time;

कालानलसमद्युत्यै नमः
kālānala-samadyutyai namaḥ
She Who is as Radiant as the Fires that Consume the Universe;

कपर्दिन्यै नमः
kapardinyai namaḥ
She Who Has Matted Hair;

करालास्यायै नमः
karālāsyāyai namaḥ
She Who Has Fangs and a Formidable Expression;

करुणामृतसागरायै नमः
karuṇāmṛta-sāgarāyai namaḥ
She Who is the Ocean of the Nectar of Compassion;

कृपामायै नमः
kṛpāmāyai namaḥ
She Who is the Manifestation of Grace;

कृपाधारायै नमः
kṛpādhārāyai namaḥ
She Who is the Supporter of Grace (Vessel of Mercy);

कृपापारायै नमः
kṛpāpārāyai namaḥ
She Whose Mercy is Without Limit (Beyond Grace);

कृपागमायै नमः
kṛpāgamāyai namaḥ
She Who is Attainable Only by Her Mercy (Moves in Grace);

कृषाणवे नमः
kṛṣāṇave namaḥ
She Who is Fire, The Female Diety of Fire;

कपिलायै नमः
kapilāyai namaḥ
She Who is the Giver of Nourishment (Cow), (Tawny-colored)

कृष्णायै नमः
kṛṣṇāyai namaḥ
She Who is Black

कृष्णानन्दविवर्धिन्यै नमः
kṛṣṇānanda-vivardhinyai namaḥ
She Who is the Distributor of the Bliss of the Dark One

कालरत्रये नमः
kālaratraye namaḥ
She Who is the Dark Night

कामरूपायै नमः
kāma-rūpāyai namaḥ
She Who is the Form of Desire

कामपाशविमोचिन्यै नमः
kāma-pāśa-vimocinyai namaḥ
She Who Cuts the Bondage of Desire

कादम्बिन्यै नमः
kādambinyai namaḥ
She Who is Like a Dark Cloud

कलाधारायै नमः
kalādhārāyai namaḥ
She Who is the Bearer of the Crescent Moon and All Female Energy

कलिकल्मषनाशिन्यै नमः
kali-kalmaṣa-nāśinyai namaḥ
She Who Destroys the Evils of the Dark Age of Kālī

कुमारीपूजनप्रितायै नमः
kumārī-pūjanapritāyai namaḥ
She Who Loves the Worship of the Virgins

कुमारीपूजकालयायै नमः
kumārī-pūjakālayāyai namaḥ
She Who is the Refuge of all Virgin Worshippers

कुमारीभोजनानन्दयै नमः
kumārī-bhojanānandayai namaḥ
She Who is the Bliss of Feeding the Virgins

कुमारीरूपधारिण्यै नमः
kumārī-rūpa-dhāriṇyai namaḥ
She Who Wears the Form of the a Virgin-Girl

कदंबवनसंचारायै नमः
kadamba-vana-sañcārāyai namaḥ
She Who Roams (Gopī) in the Forest of Kadamba Trees

कदंबवनवासिन्यै नमः
kadamba-vanavāsinyai namaḥ
She Who Dwells in the Forest of Kadamba Trees

कदंबपुष्पसन्तोषायै नमः
kadamba-puṣpa-santoṣāyai namaḥ
She Who is Satisfied With the (Bright Yellow) Flowers of Kadamba Trees

कदंबपुष्पमालिन्यै नमः
kadamba-puṣpa-mālinyai namaḥ
She Who Wears a Garland of Kadamba Flowers

किषोर्यै नमः
kiṣoryai namaḥ
She Who is Ever Youthful

कालकण्ठायै नमः
kāla-kaṇṭhāyai namaḥ
She Who Has a Soft and Deep-Throated Voice (That Resounds with the Transformative Mantra)

कलनादनिनादिन्यै नमः
kala-nādani-nādinyai namaḥ
She Who is the Disseminator of the Subtle Vibrations of Darkness

कादंबरीपानरतायै नमः
kādambarī-pāna-ratāyai namaḥ
She Who Drinks the Nectar of the Kadamba Fruit,

कादंबरीप्रियायै नमः
kādambarī-priyāyai namaḥ
She Who Enjoys the Nectar of the Kadamba Fruit

कपालपात्रनिरतायै नमः
kapāla-pātra-niratāyai namaḥ
She Who Holds (Drinks from) a Skull Cup

कंकालमाल्यधारिण्यै नमः
kaṅkāla-mālya-dhāriṇyai namaḥ
She Who Wears a Garland of Skulls

कमलासनसन्तुष्टायै नमः
kamalāsana-santuṣṭāyai namaḥ
She Who is Pleased to Sit on the Lotus

कमलासनवासिन्यै नमः
kamalāsana-vāsinyai namaḥ
She Who Sits on the Seat of the Lotus Flower

कमलालयमध्यस्थायै नमः
kamalālaya-madhya-sthāyai namaḥ
She Who is Established in the Middle of the Lotus

कमलामोदमोदिन्यै नमः
kamalā-moda-modinyai namaḥ
She Who is Intoxicated by the Scent of the Lotus

कलहंसगतये नमः
kala-haṁsa-gataye namaḥ
She Who Moves With the Gait of a Black Swan

क्लैब्यनाशिन्यै नमः
klaibya-nāśinyai namaḥ
She Who is the Destroyer of Fears and Iniquity

कामरूपिन्यै नमः
kāma-rūpinyai namaḥ
She Who is the Intrinsic Nature of Desire

कामरूपकृतावासायै नमः
kāma-rūpa-kṛtā-vāsāyai namaḥ
She Who is Residing at Kāmarūpa, the Very Form of Desire

कामपीठविलासिन्यै नमः
kāma-pīṭha-vilāsinyai namaḥ
She Who is Playing in the Center of Worship of Desire

कमनीययै नमः
kamanīyayai namaḥ
She Who is Desired

कल्पलतायै नमः
kalpalatāyai namaḥ
She Who is all Desires

कमनीयविभूषणायै नमः
kamanīya-vibhūṣaṇāyai namaḥ
She Who is the Manifestation of That Which is Desired

कमनीयगुणाराध्यायै नमः
kamanīya-guṇārādhyāyai namaḥ
She Who is Pleased with the Quality of Tenderness

कलांग्यै नमः
kalāṅgyai namaḥ
She Who is Tender-Bodied

कृशोदर्यै नमः
kṛśodaryai namaḥ
She Who Has a Slender Waist

कारणामृतसन्तोषायै नमः
kāraṇāmṛta-santoṣāyai namaḥ
She Who is the Cause of the Nectar of Satisfaction

कारणानन्दसिद्धिदायै नमः
kāraṇānanda-siddhidāyai namaḥ
She Who is the Cause of Giving the Perfect Attainment of Bliss

कारणानन्दजापेष्टायै नमः
kāraṇānanda-jāpeṣṭāyai namaḥ
She Who is the Cause of the Bliss of Recitation

कारणार्चनहर्षितायै नमः
kāraṇārcana-harṣitāyai namaḥ
She Who is Delighted to Be Worshiped with Wine

कारणार्णवसंमग्नायै नमः
kāraṇārṇava-sammagnāyai namaḥ
She Who is Immersed in an Ocean of Wine

कारणव्रतपालिन्यै नमः
kāraṇa-vrata-pālinyai namaḥ
She Who Protects Those Who Accomplish Vows with Wine

कस्तूरीसौरभामोदायै नमः
kastūrī-saurabhā-modāyai namaḥ
She Who Gives the Intoxicating Scent of Musk

कस्तूरीतिलकोज्ज्वलायै नमः
kastūrī-tilako-jjvalāyai namaḥ
She Who is the Shining Tilak of Musk

कस्तूरीपूजनरतायै नमः
kastūrī-pūjana-ratāyai namaḥ
She Who Rejoices in the Worship With Musk

कस्तूरीपूजकप्रियायै नमः
kastūrī-pūjaka-priyāyai namaḥ
She Who is the Beloved of the Worship With Musk

कस्तूरीदाहजनन्यै नमः
kastūrī-dāha-jananyai namaḥ
She Who is the Mother of the Radiance of Musk

कस्तूरीमृगतोषिण्यै नमः
kastūrī-mṛga-toṣiṇyai namaḥ
She Who Delights Deer With Musk

कस्तूरीभोजनप्रीतायै नमः
kastūrī-bhojana-prītāyai namaḥ
She Loves Food Cooked With Musk

कर्पूरमोदमोदितायै नमः
karpūra-moda-moditāyai namaḥ
She Who is Extremely Pleased by the Offering of Camphor

कर्पूरमालाभरणायै नमः
karpūra-mālābharaṇāyai namaḥ
She Who is Adorned with Garlands of Camphor

कर्पूरचन्दनोक्षितायै नमः
karpūra-candanokṣitāyai namaḥ
She Whose Body is Smeared with Sandalwood and Camphor

कर्पूरकारणाह्लादायै नमः
karpūra-kāraṇāhlādāyai namaḥ
She Who is Pleased with Wine with Camphor

कर्पूरामृतपायिन्यै नमः
karpūrāmṛta-pāyinyai namaḥ
She Who Drinks the Nectar with Camphor

कर्पूरसागरस्नातायै नमः
karpūra-sāgara-snātāyai namaḥ
She Who Bathes in the Ocean of Camphor

कर्पूरसागरालयायै नमः
karpūra-sāgarālayāyai namaḥ
She Who Dissolves in the Ocean of Camphor

कूर्चबीजजपप्रीतायै नमः
kūrca-bīja-japa-prītāyai namaḥ
She Who is Pleased with Recitation of the Kūrca Bīja, Hūṃ

कूर्चजपपरायणायै नमः
kūrca-japa-parāyaṇāyai namaḥ
She Who Always Recites the Kūrca Bīja, Hūṃ

कुलीनायै नमः
kulīnāyai namaḥ
She Who is of Embodiment of the Kulācāra

कौलिकाराध्यायै नमः
kaulikārādhyāyai namaḥ
She Who is Adored by Practitioners of Kulācāra

कौलिकप्रियकारिण्यै नमः
kaulika-priya-kāriṇyai namaḥ
She Who is the Cause of Love to the Practitioners of Kūlacāra

कुलाचारायै नमः
kulācārāyai namaḥ
She Who Is Observant of the Kulācāra

कन्तुकिन्यै नमः
kantukinyai namaḥ
She Who is the Joyous One

कुलमार्गप्रदर्शिन्यै नमः
kula-mārga-pradarśinyai namaḥ
She Who Is the Revealer of the Kula Path to Seekers

काशीश्वर्यै नमः
kāśīśvaryai namaḥ
She Who is the Supreme Goddess of Kāśī-Varanasi

कष्टहर्त्र्यै नमः
kaṣṭa-hartryai namaḥ
She Who Takes Away All Difficulties, Sufferings

काशीशवरदायिन्यै नमः
kāśīśa-varadāyinyai namaḥ
She Who Gives Blessings to Śiva, the Lord of Kāśī-Varanasi

काशीश्वरकृतामोदायै नमः
kāśīśvara-kṛtāmodāyai namaḥ
She Who Gives Pleasure to Śiva, the Lord of Kāśī-Varanasi

काशीश्वरमनोरमायै नमः
kāśīśvara-manoramāyai namaḥ
She Who is the Beloved of the Lord of Kāśī-Varanasi

कलमञ्जीरचरणायै नमः
kala-mañjīra-caraṇāyai namaḥ
She Who Moves Swiftly to Remove Darkness

क्वणत्काचीविभूषणायै नमः
kvaṇat-kācī-vibhūṣaṇāyai namaḥ
She Whose Gridle Bells Sweetly Tinkle

काञ्चनाद्रीकृतागारायै नमः
kāñcanādrī-kṛtāgārāyai namaḥ
She Who Dwells in the Mountains of Gold (Meru)

काञ्चनाचलकौमुद्यै नमः
kāñcanācala-kaumudyai namaḥ
She Who Displays Radiant Wealth on the top of Her Cloth

कामबीजजपानन्दायै नमः
kāma-bīja-japānandāyai namaḥ
She Who is the Bliss of Recitation of the Bīja Mantra of Desire – Klīṃ

कामबीजस्वरूपण्यै नमः
kāma-bīja-svarūpaṇyai namaḥ
She Who is the Embodiment of the Bīja Mantra of Desire Klīṃ

कुमतिघ्न्यै नमः
kumatighnyai namaḥ
She Who is the Destroyer of all Evil Inclinations

कुलीनार्तिनाशिन्यै नमः
kulīnārti-nāśinyai namaḥ
She Who is the Destroyer of the Afflictions of the Kaulika

कुलकामिन्यै नमः
kula-kāminyai namaḥ
She Who is the Entire Family of Desires, She Who is the Lady of the Kaula

कालकण्टकघातिनी नमः
kāla-kaṇṭaka-ghātinī namaḥ
She Who is the Destroyer of the Fear of Death

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oṁ krīṃ kālyai namaḥ