Who is Goddess Kali? The legend of the goddess Kali. Indian mythology

The goddesses of world mythology are not always merciful and kind. Many of them demanded a special kind of worship from their adherents.

Cali

Even if you don’t know anything about the goddess Kali, you’ve probably heard that according to the Hindu calendar we live in the era of Kali Yuga. The name comes from Kali former capital India Kolkata. The largest temple of worship of this goddess is located here today.

Kali is the most formidable goddess of world mythology. One image of her is already scary. She is traditionally depicted as blue or black (the color of endless cosmic time, pure consciousness and death), with four arms (4 cardinal directions, 4 main chakras), and a garland of skulls hanging on her neck (a series of incarnations).

Kali has a red tongue, which symbolizes kinetic energy of the universe guna rajas, the goddess stands on a prostrate body, which symbolizes the secondary nature of the physical incarnation.

Kali is scary, and for good reason. In India, sacrifices were made to her, and the most zealous adherents of this goddess were the Thagi (Thugs), a sect of professional murderers and stranglers.

According to historian William Rubinstein, the Tugh killed 1 million people between 1740 and 1840. The Guinness Book of Records attributes two million deaths to them. IN English language the word “thugs” has acquired the common noun meaning of “killer thugs”

Hecate

Hecate is the ancient Greek goddess of the moonlight, the underworld and everything mysterious. Researchers are inclined to believe that the cult of Hecate was borrowed by the Greeks from the Thracians.

Hecate's sacred number is three, since Hecate is a three-faced goddess. It is believed that Hecate ruled the cycle of human existence - birth, life and death, as well as the three elements - earth, fire and air.

Its power extended to the past, present and future. Hecate drew her strength from the Moon, which also has three phases: new, old and full.

Hecate was usually depicted either as a woman holding two torches in her hands, or as three figures tied back to back. Hecate's head was often depicted with flames or horns-rays.

The altar dedicated to Hecate was called a hetacomb. A description of the sacrifice to Hecate is found in Homer’s Iliad: “Now we will lower a black ship onto the sacred sea, // We will choose strong oarsmen, and we will place a hecatomb on the ship.”

Hecate's sacred animal was a dog; puppies were sacrificed to her. deep holes, or in caves inaccessible to sunlight. Mysteries were performed in honor of Hecate. Greek tragic poetry depicted Hecate as ruling over evil demons and the souls of the dead.

Cybele

The cult of Cybele came to the ancient Greeks from the Phrygians. Cybele was the personification of Mother Nature and was revered in most of the regions of Asia Minor.

The cult of Cybele was very cruel in its content. His servants were required to completely submit to their deity, bringing themselves to an ecstatic state, even to the point of inflicting bloody wounds on each other.

Neophytes who surrendered themselves to the power of Cybele underwent initiation through emasculation.

The famous English anthropologist James Fraser wrote about this ritual: “The man threw off his clothes, ran out of the crowd screaming, grabbed one of the daggers prepared for this purpose and immediately performed castration. Then he rushed like mad through the streets of the city, clutching the bloody part of his body in his hand, which he finally got rid of by throwing it into one of the houses.”

A convert to the cult of Cybele was given women's clothing with women's jewelry, which he was now destined to wear for the rest of his life. Similar sacrifices of male flesh were performed in honor of the goddess Cybele in Ancient Greece during a celebration known as Blood Day.

Ishtar

In Akkadian mythology, Ishtar was the goddess of fertility and carnal love, war and strife. In the Babylonian pantheon, Ishtar had the role of an astral deity and was the personification of the planet Venus.

Ishtar was considered the patroness of prostitutes, hetaeras and homosexuals, so her cult often included sacred prostitution. The holy city of Ishtar - Uruk - was also called the “city of sacred courtesans,” and the goddess herself was often referred to as the “courtesan of the gods.”

In mythology, Ishtar had many lovers, but this passion was both her curse and the curse of those who became her favorites.

Guirand’s notes say: “Woe to the one whom Ishtar honored! The fickle goddess treats her casual lovers cruelly, and the unfortunate ones usually pay dearly for the services rendered to them. Animals enslaved by love lose their natural strength: they fall into the traps of hunters or are domesticated by them. In her youth, Ishtar loved Tammuz, the god of the harvest, and - according to Gilgamesh - this love caused the death of Tammuz.

Chinnamasta

Chinnamasta is one of the goddesses of the Hindu pantheon. Her cult contains interesting iconography. Chinnamasta is traditionally depicted as follows: in her left hand she holds her own severed head with her mouth open; her hair is disheveled, and she drinks the blood that streams from her own neck. The goddess stands or sits on a couple making love. To the right and left of her are two companions who joyfully drink the blood flowing from the neck of the goddess

Researcher E.A. Benard believes that the image of Chinnamasta, as well as the other Mahavidya goddesses, should be considered as a mask, a theatrical role in which the supreme deity, at his whim, wants to appear before his adept.

One of the important details of Chinnamasta’s iconography, the fact that she tramples underfoot a couple in a love union, develops the theme of the goddess overcoming lust and love affects.

The fact that Chinnamasta herself drinks her own blood symbolizes that by doing so she achieves the destruction of illusions and receives liberation-moksha.

The practice of ritual suicide was well known in ancient and medieval India. The most famous is the self-immolation of widows - satī, sahamaraņa. Among the most ardent worshipers of deities, there was also a custom of sacrificing one’s own head. Preserved unique monuments- relief images with scenes of such a sacrifice, thanks to which we can imagine how it took place.

A similar ritual is found in the notes of Marco Polo. He mentions a custom that existed on the Malabar coast, according to which a criminal sentenced to death could choose, instead of execution, a form of sacrifice in which he kills himself “out of love for such and such idols.” This form of sacrifice was understood by the people as most pleasing to Chinnamasta and, therefore, could serve the prosperity and benefit of the entire community.

"Kali is the liberator who protects those who know her. She is the terrible Destroyer of time, the dark Shakti of Shiva. She is ether, air, fire, water and earth. Through her all physical desires of Shiva are satisfied. She knows 64 arts, she gives joy to God -To the Creator. She is pure transcendental Shakti, complete darkness"

Western mystical and satanic cults mistakenly perceive and describe Kali as a goddess equivalent to the Egyptian deity Set, a cruel bloodsucker and murderer who eats the flesh of her victims. This interpretation is fundamentally incorrect, for the essence of Kali is goodness, and not cruelty or violence.

She is depicted as a thin, four-armed, long-haired woman with blue skin. Usually naked or dressed in panther skin. In her upper left hand she holds a bloody sword, destroying doubt and duality, in her lower left hand she holds a demon's head, symbolizing the cutting off of the ego. With her upper right hand she makes a protective gesture that drives away fear, while with her lower right hand she blesses for the fulfillment of all desires. Four arms symbolize the 4 cardinal directions and 4 main chakras.
The three eyes of the goddess control three forces: creation, preservation and destruction. It also corresponds to the three times: past, present and future, and are symbols of the Sun, Moon and lightning. She's wearing a belt human hands, which denote the inexorable action of karma.

Its dark blue color is the color of endless cosmic, eternal time, as well as death. This symbolism draws attention to the superiority of Kali over the mortal realm. The Mahanirvana Tantra says: “Black contains white, yellow and all other colors. In the same way, Kali contains within herself all other beings.” The color black symbolizes the unclouded state of pure consciousness.
The garland of skulls with which it is decorated means a series of human incarnations. There are exactly 50 skulls - according to the number of letters of the Sanskrit alphabet. The head that Kali carries represents the ego, the idea 'I am the body', which she destroys. The skulls also show her ability to free the mind from identifying itself with the body. This garland symbolizes wisdom and strength. The tousled hair of the goddess Kali (elokeshi) forms a mysterious curtain of death that envelops all life. The corpse on which she stands indicates the transitory and inferior nature of the physical body.
The blood red tongue symbolizes the guna rajas, the kinetic energy of the universe, symbolized by the color red.
Kali resides in anahata. It interacts with the physical heart; in this form it is called Rakti-Kali (red Kali), the pulsation of the heart. But beauty is not only charm, it is also horror and even death. Kali - unattainable beauty, unrewarded love. Beauty is incomprehensible because it has no form.

Kali symbolizes eternal life. Immortal life has a price. Only that which is immortal can be infinite, since nothing can change its nature. The mortal and transitional process will end sooner or later. To benefit from the eternity that is Kali, we must sacrifice our mortal nature. Therefore, Kali appears frightening and destructive to the ordinary eye.
Kali is a many-faced Goddess who presides over life from the moment of conception to death. It symbolizes the Cosmic power of eternal time.
At the cosmic level, Kali is associated with the elements of air or wind, vayu, prana. This force fills the universe as the energy of transformation. It acts quickly and leaves no traces behind, causing radical changes. Kali is the perception of the lightning of truth, negating all illusions. She embodies creation, preservation and destruction, and evokes both love and horror.

Goddess Kali can say about herself; “For men I am a goddess, but for women I am a god”
Goddess Kali, by her nature, can allow a worthy person to have eternal life, and also grant him death without special suffering and torment for him, at his own request in the form of a letter or verbal prayer.

The Sanskrit word “kala” means “death” on the one hand and “time” on the other.

According to the Mahanirvana Tantra, “time, or kala, devours the whole world during cosmic dissolution - pralaya, but Kali devours even time itself, which is why she is called the word Kali.” Goddess Kali is the highest Goddess, the night of eternity, the devourer of time.

“Her appearance is terrible. With disheveled hair, with a garland of freshly severed human heads. She has four arms. In her upper left hand she holds a sword, freshly sprinkled with the blood of a severed head, which she holds in her lower left hand. Upper right hand folded in a gesture of fearlessness, and the lower right - in a gesture of bestowing favors. Her complexion is bluish and her face shines like a dark cloud.

She is completely naked, and her body glistens with blood flowing from a garland of severed heads around her neck. She has earrings made from corpses in her ears. Her fangs are monstrous, and her face expresses rage. Her breasts are lush and round, she wears a belt made from severed human hands. Blood trickles from the corners of her mouth, adding shine to her face.

She emits piercing screams and lives in places where corpses are burned, where she is surrounded by howling jackals. She stands on the chest of Shiva, who is lying in the form of a corpse. She desires sexual union with Mahakala in an inverted position. The expression on her face is satisfied. She smiles. She shines like a dark cloud and wears black clothes."

Kali is the only one among the goddesses who fully reveals the nature of the ultimate reality and symbolizes a completely enlightened consciousness. The principle of destruction, which is personified in Kali, is aimed at getting rid of ignorance and illusion.

Kali is also a symbol of female self-sufficiency and emotional independence; in Kali Tantra it is indicated that even in sex, Kali occupies the position on top, that is, the male one. Kali has enormous sexual power. In later texts, especially the Tantras, she appears as sexually aggressive and is often depicted or described in sexual union with Shiva. In her Sahasranama Stotra (a hymn listing the names of the deity), many names emphasize her sexual voraciousness or attractiveness.

Among her names:

• She whose essential form is sexual lust
• She whose form is yoni
• She who resides in the yoni
• Garland-decorated yoni
• She who loves the lingam
• Living in a lingam
• She who is worshiped with seed
• Living in the ocean of seed
• Always filled with seed

In this regard, Kali violates the concept of a controlled woman who is sexually satisfied in marriage. Kali is sexually voracious and therefore dangerous.

Kali embodies freedom, especially freedom from social norms. She lives outside the boundaries of normal society. She prefers cremation sites, places that are usually avoided normal members society. She lives in forests or jungles, among savages. Her flowing hair and nakedness suggest that she is completely out of control, completely free from social and ethical responsibilities and expectations. For the same reason, she is an outsider, outside of convention.

Two features typical of Kali's appearance—her flowing hair and protruding tongue—seem to be appropriate expressions of her “otherness,” her unconventional, boundary-pushing, role-breaking, liminal character. In iconography, she is almost always depicted with her mouth open and her tongue hanging out. In her early history, where she is depicted as a savage, bloodthirsty goddess living on the edge of civilization, or as a fierce demon-slayer drunk on the blood of her victims, her protruding tongue, like her figure, seems to speak of her lust for blood. She sticks out her tongue wildly to satisfy her wild, all-consuming appetite.

Kali's protruding tongue has two main meanings in the context of Tantra: sexual gratification and the absorption of the forbidden or polluted. In Dakshina-Kali images, Shiva is sometimes shown in an erect state, and in some dhyana mantras and iconographic images of Kali she is in sexual union with him. In both cases, her tongue is stuck out.

Kali's gaping mouth and protruding tongue, her appearance and habits are disgusting to our ordinary sensibility. Perhaps this is precisely the main thing in tantra. What we perceive as disgusting, dirty, forbidden, ugly, is rooted in the limited human, or cultural, consciousness that has ordered, structured and divided reality into categories that serve limited self-centered, selfish concepts of how the world should be. Kali, with her rawness, rearranges these categories, inviting those who would like to learn from her to be open to the whole world in all its aspects.

She encourages her admirers to dare to taste the world in its most disgusting and forbidden manifestations, in order to discover at its core the unity and holiness, that is, the Great Goddess herself.

Kali's loose hair marks the end of the world; it flutters in different sides; there is no more order; everything turned into chaos. The “braided braid” of the social and cosmic order ends in the wild, loose, flowing hair of Kali. In certain circumstances, almost always involving desecration and pollution of one kind or another, Hindu women let their hair down. In particular, they do this during menstruation. The Mahabharata refers to the well-known prohibition of wearing one's hair braided during menstruation and not braiding it until after the ritual bath that ends the period of impurity. In addition to keeping their hair unkempt during menstruation, Punjabi women also let their hair down during the period following the birth of a child, after sexual intercourse, and after the death of a husband. Thus, women let their hair down while in a state of impurity.

Kali's four arms symbolize full circle creation and destruction, which is contained within it or embraced by it. It represents the inherent creative and destructive rhythms of the universe. Her right hands, folded in the gesture of “fear not” and the bestowal of boons, symbolize the creative aspect of Kali, and her left hands, holding a bloody sword and severed head, symbolize the destructive aspect.

Her three eyes represent the sun, moon and fire, with which she can control three modes of time: past, present and future. The bloody sword and severed head also symbolize the destruction of ignorance and the descent of knowledge. This sword is the sword of knowledge, or selfless sadhana, cutting the knots of ignorance and destroying false consciousness (the severed head). With this sword, Kali opens the gates of freedom, cutting the eight bonds that bind people. Besides false consciousness, a bleeding severed head also signifies the outflow of the guna of rajas (passionate tendencies), which completely purifies the adept, who is filled with sattvic (spiritual) qualities in his awakening to truth.

Kali's protruding tongue and sharp fangs represent the victory won over the power of rajas (red tongue) by the power of sattva (white teeth). Thus, Kali consists entirely of sattva and is completely spiritual in nature, transcending all impurities contained in the other gunas.

Kali's blackness also speaks of her all-encompassing, all-consuming nature, since black is the color in which all other colors disappear; black absorbs and dissolves them. Or it is said that black symbolizes complete absence colors, which again signifies nirguna - lack of characteristics - the nature of Kali as the ultimate reality. In any case, Kali's black color symbolizes her transcendence of all forms.

Kali's nakedness has a similar meaning and indicates that she is completely beyond name and form, beyond the illusory influences of maya and false consciousness, that she is completely transcendental. It is believed that her nakedness represents a completely enlightened consciousness, unaffected by maya. Kali is the shining fire of truth, which cannot be hidden under the veil of ignorance represented by Maya. This truth simply burns them.

Kali's home - a place of cremation - has a similar meaning. At the cremation site, the five elements are dissolved. Kali resides where dissolution occurs. In the sense of reverence, ritual worship and sadhana, it means the dissolution of attachments, anger, lust and other enslaving emotions, feelings and ideas. The devotee's heart is where this burning occurs, and Kali resides in the heart. The devotee places her image in the heart and under its influence burns all limitations and ignorance in the funeral pyre. This inner funeral fire in the heart is the fire of knowledge, jnana agni, which is bestowed by Kali.

Kali standing on Shiva represents the blessing she gives to her devotees. Shiva represents the passive potential of creation. In yoga philosophy he is purusha, lit. "man", the unchanging, characterless aspect of reality, while Kali is active prakriti, nature physical world. According to this view, Kali and Shiva together symbolize the ultimate reality.

Another interpretation of Kali standing on Shiva or having sex with him in an inverted position says that this symbolizes the involution of meditation, the means by which man “recreates” the universe in order to experience the blissful union of Shiva and Shakti.

The overwhelming presence of death imagery in all descriptions of Kali can also be understood as a symbol of the transformative nature of the goddess. It makes you think about the main thing in life, removing the husks and unnecessary things.

Continuation of the series of articles about Kali Ma in Soviet culture. Start .

First of all, I want to warn you that I share the feelings of people who lost their loved ones both in the distant 40s and during the recent numerous terrorist attacks in Volgograd. For me, the memory of the dead and the cult of Kali are two mutually exclusive concepts. I hope this article can explain my position in detail.

Distinctive features of Kali Ma and the Motherland.

Only in delirium can one imagine that the memory of those killed in the battles of Stalingrad can be immortalized in a statue dedicated to the bloodthirsty ghoul. And the call to death looks completely different from the propaganda poster “Kali Ma is calling!”

The bloodthirsty goddess Kali Ma has a number of distinctive features. The previous article examined 10 features that were “blurred” across three statues in Tbilisi. In Volgograd, one of the tallest statues in the world is installed under the name “Motherland”, which also has a number of features that make it possible to definitely identify Kali Ma in it. Some signs are not as obvious as in the case of the three statues in Tbilisi, but one should not forget about the peculiar “logic” of the initiates - for them a half-hint, half-sign is enough. Perhaps I also missed some points, since I did not have a chance to personally visit Volgograd and all the material in the article is based on information from open sources.

1) Name. R alone Ma the one who stands on Mother evom TO Urgan. In the Slavic "Vedic pantheon" TO Ali Ma corresponds Poppy osh or Ma-R A.
The play of consonants is obvious M-K-R.

2) Sword. Kali Ma holds a huge sword tightly in her hand

3) Shiva. Just as in Tbilisi, Kali Ma is captured moving towards a warrior, dismembered and already half-grown into the ground. According to tradition, Kali Ma must stand on the chest of the defeated half-dead and half-dead Shiva (Shiva in the form of a corpse).

The connection between the monument to the warrior and Shiva is mentioned, in particular, here: “Soviet warrior-hero - Shiva. Machine gun - small arms, bow. Grenade - mace.” It is worth noting that Durga is another name of Kali Ma.

4) Battle. There is indeed a battle all around her. One of the bloodiest and most brutal in history. And now it is imprinted in the memorial culture and in the cemetery located right behind Kali Ma in Volgograd. Almost everywhere Kali Ma is placed either directly on the bones or another connection with mass casualties can be traced. One of the graves (Marshal Soviet Union) is located right at the foot of Kali Ma. She loves this kind of thing...
Such “monuments” on Mamayev Kurgan have a clear and unambiguous effect on the subconscious.

5) Breasts. For a monument dedicated to the memory of the dead and having a mention of the mother in its name, such artistic attention to the image of the breast seems completely strange

6) Language. Often Kali Ma is depicted not with her tongue hanging out, but with her mouth open. Indeed, the Volgograd Kali Ma has an ugly mouth. There is a historical “anecdote” intended to somehow explain such an “artistic decision”.

One of the two architects, Vuchetich told Andrei Sakharov: “My bosses ask me why her mouth is open, because it’s ugly. I answer: And she screams - for the Motherland... your mother!

7) Torch. Kali Ma has many hands. Usually 4, but sometimes 6 and 8. Each time the question of how to depict additional hands is solved in an original way. If in Tbilisi three pairs of hands were “distributed” among three statues in a position up, to the sides and down, then in Volgograd they decided to go the same way as the tongue was depicted in Tbilisi. Let me remind you that the “mother’s tongue” is depicted as a separate monument, oriented strictly to the north. In the case of the Volgograd Kali Ma, due east there is a separate pavilion in which "no man's hand" holds a torch. Through the hole in the roof you can see whose extra hand with the torch it is. This is such a multi-armed “mother”.

Sacrifices to Kali Ma

The complex on Mamayev Kurgan still requires bloody sacrifices. Kali is a formidable and bloodthirsty goddess who demands fresh blood from her followers. Unfortunately, as Pelevin artistically portrayed it, Kali Ma is still being sacrificed to this day. Of course, few people know or even think about this, but I undertake to establish some connection.

Before showing the relationship between the “terrorist attacks”, I want to make an assumption. For some reason, the objects of the blood cult and the places of sacrifice are connected along geolines (meridians, parallels), and the coordinates are very accurately verified. Perhaps the strength of the “effect” obtained during the sacrifice depends on geographical accuracy.
In other cases, the reference is not to geolines, but to artificial lines created by very tall objects, such as television and radio towers, huge monuments, statues, and spiers.

As an elective, I advise you to quickly flip through the book “Systems of cosmic communication and suppression of consciousness on new principles.” Don’t be alarmed technical details, look through pictures of architecture. There is especially detail about Astana - the city was built almost from scratch, and the system in the planning is especially visible:
http://pravdu.ru/arhiv/SISTEMY_KOSMIChESKOI_SVYaZII_PODAVLENIE_SOZNANIYa.pdf

So, let's look at 4 terrorist attacks

Author va123ma in the commentary to the article they describe the geographical relationship of the bus bombing in Volgograd on October 21, clearly characterizing the “terrorist attack” as a sacrifice. The geographic accuracy in this case is not very high - perhaps something went wrong? In addition, I did not see a direct connection to Kali Ma in this attack, unlike the other three cases.

On the 65th anniversary of the start of World War II, one of the most brutal terrorist attacks was carried out, in which children were killed and suffered primarily in Beslan.

School number 1 in Beslan is located with very great accuracy on the same meridian as Kali Ma ("Motherland"). The error is only a few tens of meters (!), although the distance Volgograd - Beslan is about 600 kilometers. Don't be lazy, check it out for yourself:

48°44"32.42"N 44°32"13.63"E- "Motherland"
43°11"6.11"N 44°32"8.51"E- School N1 in Beslan

Monstrous accuracy of coincidence in the longitude coordinate (meridian 44°32")! Children died in Beslan... And I am sure that there is a connection, because the thread winds further...

With the same sophisticated accuracy at the same longitude "Night Wolves" in August 2013, day after day on the anniversary terrible bombing Stalingrad, on the territory of the museum complex in Volgograd they erect a replica monument to children dancing around a crocodile. When children dance around a ferocious man-eating predator, disaster awaits!

So, compare the coordinates - this time the replica monument was placed very precisely on the Kali Ma meridian - School number 1. Note - the children are charred, blackened. This is the spulptor’s idea, this is the “memory” of the children who died in Beslan!

48°42"57"N 44°32"00"E- coordinates of the monument - replicas at the "Mill" in Volgograd, still the same meridian 44°32"

The second monument in Volgograd, already with snow-white grown-up children, as if by a thread, leads us to the next “terrorist attack,” since the second “crocodile” was placed right at the entrance to the station where the explosion occurred.

The second crocodile, having feasted on children in Beslan, leads us to the station.
The two explosions that occurred in Volgograd were located with great precision on the lines formed by high-rise buildings and the gigantic Kali Ma monument. Probably to enhance the effect. This is what it looks like:

Both lines begin on the giant Kali Ma
48°44"32.42"N 44°32"13.63"E

The first line passes through the station square, where the explosion occurred, and ends at another strange but very high (22 meters high) monument to the Chekist soldiers
48°42"5.74"N 44°30"21.00"E

By "coincidence" the monument to the security officer is located at the intersection of the street KALI Nina.
In the hands of the security officer warrior is a sword (referring to Kali Ma), which is a kind of antenna. IN nightmare I can imagine such a security officer warrior, armed with a sword for the second time world war. Or is he the “Motherland Father”?

An explosion in a trolley bus lies on the Kali Ma - TV tower line. The photo in the lower right corner is a visual illusion, since the 192-meter-high TV tower is more than twice as tall as the statue and is the highest point in Volgograd.

coordinates of the explosion in the trolleybus
48°44"9.94"N 44°29"52.90"E
TV tower coordinates (next to Kali Ma and cemetery)
48°44"29.16"N 44°31"50.36"E

In general, television and radio towers are almost universally built next to or right on cemeteries, or they have been stormed and bloodshed:
Moscow (that’s the name - Ostankino, on the remains, the cemetery right under the tower)
Volgograd (memorial cemetery behind "Motherland")
Kyiv (Babi Yar)
Tbilisi (Mtatsminda Pantheon)
Vilnius (people died during the assault)
...
TV towers deserve a separate article. Now I’ll just mention that one of the two authors of the project for the Kali Ma monument - Nikitin - became the chief designer of the Ostankino TV tower, and before that he designed the main building of Moscow State University. A deeply dedicated person.

I don’t know exactly how the mechanism of sacrifice works, why and who needs it. But the fact that today the cult of Kali Ma influences our lives is undeniable.

Additions:
1. On a leading question moore_na I checked - in the Volgograd terrorist attacks, 3 children died and three more were injured - a total of 6, according to the number of sculptures of children in a deadly round dance around a crocodile.

2. The article did not clearly say that there are two monuments with crocodiles, both in Volgograd, not far from each other. I'll write again. The first one, white, official, at the station, near the site of the terrorist attack. The second, black, placed by the “night wolves”, on the meridian of School number 1 of Beslan. In the second, bricks brought from the wall of the Danilovsky Monastery were used. There is a leapfrog in the media - some call it Danilovsky, some - Donskoy Monastery.

Quote:
“The uniqueness of this monument is in the special brickwork. This is an original brick from the early 19th century from the wall of the baths of the Danilovsky Monastery in Moscow, which was dismantled for a reason unknown to us. We managed to literally beg for a piece of it - we dismantled it manually,” says Yegor Kozlovsky. – Of course, we didn’t want any historical forgery, we tried to recreate a piece of history. It will be a monument-reminder, a postcard background for a photo.”

It’s strange that bikers are begging for and dismantling a piece of the wall of the Danilovsky Monastery in order to bring bricks to Volgograd.

Who really needed this and what was the peculiarity of the bricks?

3. Between the death of children in the terrorist attack in Beslan at School No. 1 and the discovery of the “black crocodile” with black figures of children oriented exactly along the meridian of the school, exactly 9 years passed, day to day, according to the Jewish calendar. Between the capture of the children and the opening of the monument, 8 years, 11 months and 22 days passed according to the civil calendar.

How greatest power time, the energy of Kali creates various Yugas or eras of the existence of the world, which humanity goes through in the process of long cycles of cosmic evolution.

Kali is the Goddess of eternity, observing all our changes and promoting those who help our spiritual growth.

More specifically, Kali is Yuga-Shakti or that energy, the force of time, which transfers humanity from one world era to another. She is busy maintaining the spiritual energy of the planet in both light and dark eras.

The Dark Goddess is not just a Hindu deity, she is a universal, world form of the Mother who is the true ruler of this world. The awakening and turning to the Goddess that is happening today on a global level is, speaking from a yoga perspective, the awakening of the energy of Kali.

The Mother Goddess as the dark, mystical and transcendental Devi (goddess - translated from Sanskrit) holds the key to the true power and present of the universe in all its manifestations. Kali re-enters the human realm and the Earth realm to work magic and evoke feelings of awe and reverence.

The Goddess causes all changes on the planet, awakening the Shakti (energy) of the planet and stimulating not only individual, but more global planetary consciousness. Modern natural and other disasters that are currently occurring all over the planet are a manifestation, an indication of the all-changing power of Kali, pushing humanity to break with divisive beliefs and end our destructive activities that are already threatening all life on the planet .

Until we make these crucial inner changes and put an end to our destructive relationships and actions, we will face the worldwide wrath of Kali on a global level, and the threat of universal catastrophe will only increase as time goes on, until then we will be faced with a choice : either radically change your life, or disappear from the face of the earth as a species. To accept the challenge of Mother Kali, we must change internally and give up our attempts to control the external world, directing our efforts first to understanding ourselves.

Currently, our civilization does not pay due respect to the Devatas, the cosmic forces of the Gods and Goddesses, personifying the sacred forces of nature on which the well-being of our existence depends. Intellectuals and scientists belittle the importance of the Deities by whose grace we are able to function, and replace their meaning with errors of philosophy, politics or anthropology, which are essentially just a reflection of ordinary human behavior, which does not carry anything sacred. Religions, hiding behind the name of God, indulge in politics and strive to establish their creed as the dominant one in the world, instead of spreading the message of love, unity, the mercy of the Mother, and the possibility of self-realization.

Meanwhile, even the bulk of those who try to practice Tantra have downgraded its status to little more than black magic and use spiritual world to achieve their own material goals and the goals of their paying clientele. It seems that exploitation for commercial purposes and self-promotion have “invested” the very essence of the yogic tradition on all fronts.

True Dharma, natural and universal principles, is present only to a small extent in those who are trying to save the planet. We see big number disgruntled "angry" activists who are looking for an opportunity to blame someone else for the world's problems, yelling and cursing others, instead of becoming truly peace-loving helpers whose goal is to unite us to achieve the greater good for all.

We continue to divide humanity in the name of religion and politics, fighting each other, while everywhere we continue to devastate the planet, plundering its resources and polluting its lands, water and air.

In order to move our planet into a new, spiritual era, into a new world era of consciousness more high level we must acquire Shakti or the ability to do this. We need strength, knowledge, sincerity and grace higher powers. We cannot rise above our human, social and psychological problems, because our behavior and state of consciousness exist only within these limits. For this to happen, we must humbly seek the mercy of the Mother, especially in her aspect as Kali, the Mother as the controller of all time and change.

We need new energy, Shakti, to accomplish the necessary global changes, a new message, an impulse of spiritual power from the Mother Goddess. In order for this to happen, we must first of all accept Shakti into ourselves, into our own minds and hearts, and learn to live in harmony with its rhythms and transformative vibrations, allowing it to purify and change our own, primarily psychological nature .

The power of the Divine Feminine is also necessary to facilitate the new birth of higher consciousness in the world, not only at the level of individuals, but also at the level of the entire planet. We must recognize the Goddess in all her forms, of which her changing manifestation as Mother Kali is perhaps the most important. Mercy feminine, gentleness and kindness are necessary for us to ease the pain and anger that burns us from within, the fire of which has been fueled for many generations by greed, vanity and ignorance.

We need to rise above the vicissitudes of human passions and needs by opening our hearts to the life-giving power of Shakti Kali. Mother Kali strives for us to fully experience and feel her energy, as this will make our lives meaningful for the progress of our souls. We can feel its mystical power again fully manifested in this unsettled, transitional era. She patiently seeks those who can carry out her merciful will.

In order for true renewal to come, everything old must go. This is the work of Kali energy or the force of time. But it's not just any external factor destruction of evil in people through good. Currently, we predominantly live in a “gray zone” where purity of heart is practically non-existent. Meanwhile, no soul is inherently evil; good essence can be resurrected in it if we do it in right time under suitable circumstances. We must get rid of the weakness, judgment, pity and limitation within ourselves.

Negative forces (Asuras, demons) currently have the advantage, but often the darkest time of the night comes just before dawn, and everything negative must manifest itself outwardly before it can be completely eliminated. There is no undivine force or power that Mother Kali could not find a counterbalance to, could not absorb and dissolve in the higher world.

In these times of chaos and strife, the highest divine power must be revered. We must, in our vision, rise above the level of our current historical situation to the level of cosmic forces. The inevitable ecological changes that are already taking place are intended to enable us to take refuge in these benevolent and all-powerful cosmic forms, to force us to recognize own dependence from supreme universe and her divine essence. The presence of Devata, the supreme divine force, will again manifest itself as a surge of merciful energies that will bring a peaceful existence to humanity and the entire Earth.

Mother Kali is the supreme manifestation of the power behind all spiritual and yogic movements. Mahadevi Kali is Yuga Shakti, the energy of this era, which proclaims a new yoga movement that awakens the power of Shakti. Her role had already been revealed earlier in this era by great prophets and teachers. People like Ramakrishna, Yogananda, Aurobindo, Anandamayi Ma and many others who performed their deeds thanks to the power of the Mother Goddess.

There is an urgent need for new avatars and forms of Kali energy, for a revival of her worship and for a new, even greater flow of her grace. Kali holds the key to our future as a species and to the destinies of our souls. Mother Kali has the power to raise humanity to new level development, but first we must discover her as the Universal Mother, resting in the fire of the spiritual heart within us.

We should accept the purifying fire of Kali so that she can raise us to a new level of enlightenment, which alone will help solve our personal and global problems. Those who can endure the test of Kali's fire and bear it can bring new knowledge to the world. They will reveal a vision of the future, which lies in harmony with eternal truth and universal harmony.

Translation from English:
Shanti Natkhini (Maria Nikolaeva)