The terrifying goddess Kali, wearing a necklace of skulls and holding a severed head in one of her hands, is worshiped here by other gods. From the left, we see Indra, Brahma (the creator), Vishnu (the preserver), and Shiva (the destroyer). Kali is associated with violence and sexuality; she stands for the forces of destruction, but she is also a life-giver. Her posture is that of a woman giving birth.
This is the city of Madras The home of the curry and the dal Where Iyers speak only to Iyengars And Iyengars speak only to God.
I’d read this years ago some place and forgot where. Thought it would be in some Religious Studies textbook back from when I was (briefly) a Religious Studies major. Nope! It was the great Paul Erdős!
“Erdős said he’d modelled it after this ditty about the privileged New England families famously known as the ‘Boston Brahmins’.”
This is good old Boston The home of the bean and the cod Where the Lowells speak to the Cabots And the Cabots speak only to God.
When I was a kid, I’d close my eyes and allow the strange shapes caused by the night lamp and blood flow in my eyelids to put on a small dance and lull me to sleep. Many a time, as I’d relax and drift away, I would suddenly feel this ‘inflation’ and loss of personal boundary and sense of geometry. In one instance, I’d be the infinitely small nucleus of a sphere whose inner surface would race away very quickly from me. In another, I’d be viewing an animal (mostly elephants because I love them) or an object that would grow and warp very quickly in size and texture. I don’t know how to even express the rest. They should’ve sent a poet, etc. While most were very pleasant, a few would be horripilating enough where I’d have to open my eyes and situate myself to snap out of whatever was happening.
Finding out that you’re not the only weirdo who experiences (and likes) certain things is probably one of the greatest joys of the Internet. Just off this one thread on /r/meditation:
I sometimes get strong changes in my sense of physical size and location. These either pass as my concentration increases or they stick for a while. My head might feel very high up or large. My feet feel as if they’re below the floor or further behind me than they could possibly be. My whole sense of physical space can get warped and skewed so that even thoughts that arise about physical space seem to be confused, e.g. flattening 3D space into 2D or flattening everything into a line. It’s enough to be a distraction sometimes. (source)
Cool, this is the first time I’ve heard someone express a situation similar to mine. During a sit one time I kept inflating to the size of a massively obese man. The effect was so real I had to stop and open my eyes to make sure nothing bizarre was actually happening. (source)
Mhm, I’ve had that too. It felt like I was turing into the marshmellow man from ghostbusters. (source)
What I felt as a child is common and normal in children, and in adults who are red-belts at meditation. It’s a level of jhana (that’s a Pali word, dhyana is its Sanskrit twin), one of the two forms of meditation in Theravada Buddhism (vipassana being the other.)
Jhana has eight levels of practice “first codified by Buddhists over 2,000 years ago.” I’m going to smush this article (“A”) and this Britannica entry (“B”) into a quick description of each.
Level One
A - When internal concentration is strong enough, J1 is entered, accompanied by strong physical pleasure—“better than sexual orgasm” ([9] p.151)—and greatly reduced vigilance with smaller startle responses[…]
B - Initially, the Theravadin meditator seeks to achieve detachment from sensual desires and impure states of mind through reflection and to enter a state of satisfaction and joy.
Level Two
A - In J2 joy “permeates every part of the body,” but with less physical pleasure. | In the second stage […], intellectual activity gives way to a complete inner serenity; the mind is in a state of “one-pointedness” (concentration), joy, and pleasantness.
B - In the second stage of this form of meditation, intellectual activity gives way to a complete inner serenity; the mind is in a state of “one-pointedness” (concentration), joy, and pleasantness.
Level Three
A - In J3, the character of joy changes to “deep contentment and serenity.”
B - In the third stage, every emotion, including joy, has disappeared, and the meditator is left indifferent to everything.
Level Four
A - J4 is described by “equanimity—a profound peace and stillness.”
B - In the fourth stage, satisfaction, any inclination to a good or bad state of mind, pain, and serenity are left behind, and the meditator enters a state of supreme purity, indifference, and pure consciousness.
Levels Five to Eight
A - The higher-numbered jhanas J5–J8 are characterized by more subtle and profound perceptions […] Each jhana is reported to be deeper and more remote from external stimuli than the last
J5 is called “infinite space,”
J6 is “infinite consciousness,”
J7 is “nothingness,” and
J8 is named “neither perception nor non-perception.”
B - The dhyanas are followed by four further spiritual exercises, the samapatti-s (“attainments”):
Consciousness of infinity of space,
Consciousness of the infinity of cognition,
Concern with the unreality of things (nihility), and
Consciousness of unreality as the object of thought.
This is one of the most seriously badass representations of Shakti I’ve seen in a while.
The goddess is shown seated on obsessed boy (Corpse or Preta). The corpse is placed on a pedestal. The deity has a skeletal body, veins can be seen clearly. Its face is ferocious and wrathful; eyes are popping out with open mouth and frown on face. This may be influenced by the concept of Yogeshvari as third eye shown prominently over the forehead. The hair stands are erected (urdhvakesha) which look like fire flames (jvalakesha) (Rao 1989). The hairs are tied firmly with a snake and skull. On the right side of headgear a small hand in abhayamudra is depicted; same feature can be seen on left but it is an eroded condition. The goddess is wearing a skull garland, mundamala consist of 44 skulls and sarpakundalas in ears. A snake encircling around the neck. The deity is shown wearing a bajubandh made by the design of snake, Same ornaments are replicated at wrist and ankle. It is an artistic excellence where snake is shown holding its own tail in mouth which has formed a beautiful circle. The deity is shown wearing ornate mekhala. The parikara of the image is ornate depicting the elephant skin in low relief. The representations of pair of owls carrying garland is shown on portion of elephant’s ear on a left side. The depiction of peacock, bell and conch shell can be observed on a right side. The depiction of devotee is seen beside the right foot of the deity. The devotee is shown sitting in vajrasana has a prominent headgear with circular karnakundalas. It is holding a sword in its right arm shown wearing an ornate bajubandha and keyur. The devotee is in namaskarmudra, head is shown slightly raised upwards watching a divine appearance of the goddess. The five jackals are shown fetching flesh from corpse which is beneath of the deity. The small female attendant (11.5 cm) of the goddess is shown on a left side of the pedestal below the left foot of the corpse. This female attendance replicates the main goddess shown in skeletal form holding dagger and kapala in right and left hand respectively.
