Sadashiva Kavacha

From Bhairava Tantra

shrI devyuvAcha
bhagavan-devadevesha sarvAmnAya prapUjita |
sarvam me kathitam deva kavacham na prakAshitam || 1 ||
prAsAdAkhyasya mantrasya kavacham me prakAshaya |
sarvarakShAkaram deva yadi sneho-sti mAm prati || 2 ||
shrI bhagavAnuvAcha
prAsAda-mantra-kavachasya vAmadeva RuShih |
panktishChandah | sadAshivo devatA | sakalAbhIShTa-siddhaye jape viniyogaha ||
shiro me sarvadA pAtu prAsAdAkhyah sadAshivah |
ShaDakSharasvarUpo me vadanam tu maheshvarah || 3 ||
panchAkSharAtmA bhagavAn-bhujou me parirakShatu |
mrityunjayas-tribIjAtmA Asyam rakShatu me sadA || 4 ||
vaTamUlam samAsIno dakShiNAmUrtir-avyayah |
sadA mAm sarvadah pAtu ShaTtrim-shArNa-svarUpadhruk || 5 ||
dvAvimshArNAtmako rudro dakShiNah parirakShatu |
trivarNAtmA nIlakanThah kanTham rakShatu sarvadA || 6 ||
chintAmaNir-bIjarUpo hyardha-nArIshvaro harah |
sadA rakShatu me guhyam sarva-sampat-pradAyakah || 7 ||
ekAkShara-svarUpAtmA kUTavyApI maheshvarah |
mArtanDa-bhairavo nityam pAdou me pari rakShatu || 8 ||
tumburAkhyo mahAbIja-svarUpah tripurAntakah |
sadA mAm raNabhUmou cha rakShatu tridashAdhipah || 9 ||
Urdhva-mUrddhAnam-IshAno mama rakShatu sarvadA |
dakShiNAsyam tatpuruShah pAyAnme girinAyakah || 10 ||
aghorAkhyo mahAdevah pUrvAsyam parirakShatu |
vAmadevah pashchimAsyam sadA me parirakShatu || 11 ||
uttarAsyam sadA pAtu sadyojAta-svarUpadhruk |
ittham rakShAkaram devi kavacham deva-durlabham || 12 ||
prAtah-kAle paThedyastu so-abhIShTam phalam-ApnuyAt |
pUjAkAle paThedyastu kavacham sAdhakottamah || 13 ||
kIrti-shrI-kAnti-medhAyuh-sahito bhavati dhruvam |
kanThe yo dhArayed-etat-kavacham mat-svarUpakam || 14 ||
yuddhe cha jayamApnoti dyUte vAde sa sAdhakah |
kavacham dhArayed-yastu sAdhako dakShiNe bhuje || 15 ||
devA manuShyA gandharvA vashyAstasya na saMshayah |
kavacham shirasA yastu dhArayed-yatamAnasah || 16 ||
karathAstasya deveshi aNimAdyaShTa-siddhayah |
bhUrjapatre tvimAm vidyAm Shukla-pakSheNa veShTitAm ||
rajatodara-samviShTAm krutvA vA dhArayet-sudhIh |
samprApya mahatIm lakShmI-mante meddeharUpabhAk || 18 ||
yasmai kasmai na dAtavyam na prakAshyam kadAchana |
shiShyAya bhaktiyuktAya sAdhakAya prakAshayet || 19 ||
anyathA siddhihAnih syAt-satyam-etan-manorame |
tava snehAn-mahAdevi kathitam kavacham shubham || 20 ||
na deyam kasya-chid-bhadre yadIcChed-Atmano hitam |
yo archayed-gandha-puShpAdyaih kavacham manmukhoditam |
tenArchitA mahAdevi sarve devA na samshayah || 21 ||

iti bhairava-tantre sadAshiva-kavacham sampUrNam ||
 

OM NAMAH SHIVAYA

Bhairava's Kapala

Kapala in Bhairava's hand is a powerful recognizable symbol frightening the modern man who understands it as terrible.
And in general, this is true with a particular point of view. Bhairava embodies the dreadful nature of Shiva, par excellence; his name is enough to testify this. Born out of his destructive anger, he is the personification of the exterminating function of Rudra in the Trimurti. About ambiguity of Bhairava's figure I wrote a little here or there, but this is never enough.  Rudra's manifestation in Bhairava form became central to the shaiva traditions related to the kApAlika branch of the old pAshupata form of the shaiva-shAsana known for understanding and accepting this symbol literally. Nevertheless, the skull as such powerful symbol for anyone, has a lot of other hidden meanings (it is the set of meanings, not one).

A Kapala ( "skull" in Sanskrit) is a cup made from a human skull used as a ritual implement (a bowl) in both Hindu Tantra and Buddhist Vajrayana.

Maharakta Ganapati

Apropos, the skull it is one of the principal practice supports of the Vajrayana yogin. Many of the deities of Vajrayana, including Mahasiddhas, Dakinis and Dharmapalas are depicted carrying a Kapala, usually in their left hand.

Vajrayogini

The buddhist skull cup Thod-pa is used in tantric ritual practices to represent the transformation of delusion into perfect wisdom. The skull also symbolises Great Bliss and is a potent symbol of impermanence.
Many ancient cultures retain special attitude to this symbol and primary, it carries the human mortality idea but in an important memento mori reminder. Because in the face of death that man's self-aware is born.
This is a very common symbol in Christianity for to pondering the earthly reality of our mortality and the eternal truth of the spiritual life. It was not unheard-of for medieval religious to keep a human skull about to aid them in their meditations.
 For the medieval alchemist, the skull symbolized purification from the false identity or poisoning ego that fights desperately for its survival but must be devoured in the flames of higher consciousness. Or for the ancient Celts, it was the seat of the soul. This theme is persistent throughout Celtic spiritual life and the symbol of the severed head may be regarded as the most typical and universal of their religious attitudes.
It can be continued but the quick-list of kapala symbolism include: Time and Time's overcoming, Temporary and Eternal, Power, Divinity, Gateway, Creation, Initiation, Concentration and so on. All these symbols, or supports, or tantric rituals can serve as tantric meditations to achieve a transcendental state of thought. Exactly, this is their direct appointment. The unfathomable figure of Bhairava holds all these meanings so far as we can understand it. But it brings us closer to an understanding of not only of impermanence, but also of spiritual awakening, the death of the false self, the Great Death. It means that one sees into one's own Nature, into the One that is neither born nor destroyed. When it brings all back to One. When the amR^ita-sravaNa nectar starts flowing from within the skull.

Om Bhairavaya Namah

The Praise of Mahakala

 
The ancien Buddhist prayer to Mahakala.

Let me eloquently praise in rhymes
Your mighty wisdom renowned to all
With four arms and unique face
With three red circular eyes
With naturally growing yellow hair
With teeth grinding an entire human
You uproot sins of passion
With a sword in your front right hand
You disperse countless doubts
With a skull in your other hand
You crush the asuras on high
With a spear in your upper left hand
Holding an open trident
In your next lower hand
With a lean young face
With an elephant-skin robe
With an open back-vestment connected to
A half-cut of cowskin
With a heroic-hearted lion as
An earring on your right ear
With a dark and speckled snake as
An earring on your left ear too
...
With prayer beads linked around your neck
With a black snake as your belt
With might that is capable of everything
With a bald donkey mount
As your amazing wheel-vehicle
Making the sun in the blue sky
Rise by your sweat
Mahakala, who adorns admirably
His legs with metal chains
If your voice is heard
Firm Mount Sumeru quakes
Mahakala, who makes quiver from the depths
The hearts of bloody enemies
Though you are of a peaceful spirit
You frighten demons and hindrances
Mahakala, who leads towards alaraa
By showing an aguulsan quality
The wise divine Mahakala
Who by working various wonders
Did subject before himself
The powerful gods and asuras
Punish, luminous Mahakala
The evil rebellious spirits
Who destroy religion and dharma
Though outwardly of the Well-Departed (Buddha).
Give rest in peace, Mahakala
To all friendly sentient beings
While protecting scholars and the devout
...
May we shatter by your strength
Bloody enemy demons
Who speak sweetly in the ear
Yet wish evil in their hearts
Attach yourself to and protect, Mahakala
The lord of dharma, king and queen
Teachers, ministers, sons and daughters
Nobles and sons-in-law, each and everyone.
By the merit of praising in these rhymes
Your holiness’ mighty wisdom
May all beings reach nirvana
And may this cycle become empty
May the monk Choiji-Odser
Who summarizing all your mighty wisdom
Melodically offers these rhymed praises
...
If they sing with their melodious song
May all illnesses and demons be pacified
And each become Buddhas at the end.

Hymn to Kāla

A hymn to Kāla or Time. From Atharva Veda (Book 19, Hymn 53).

Prolific, thousand-eyed, and undecaying, a horse with seven reins Time bears us onward.
  Sages inspired with holy knowledge mount him: his chariot
   wheels are all the worlds of creatures.
This Time hath seven rolling wheels and seven naves immorality
   is the chariot's axle.
This Time brings hitherward all worlds about us: as primal Deity is he entreated.
On Time is laid an overflowing beaker: this we behold in many a place appearing.
  He carries from us all these worlds of creatures. They call him Kāla in the loftiest heaven.
He only made the worlds of life, he only gathered the worlds
   of living things together.
Their son did he become who was their Father:
  no other higher power than he existeth.
Kāla created yonder heaven,
  and Kāla made these realms of earth.
By Kāla, stirred to motion,
  both what is and what shall be expand.
Kāla created land;
  the Sun in Kāla hath his light and heat.
In Kāla rest all things that be:
  in Kāla doth the eye discern.
In Kāla mind, in Kāla breath,
  in Kāla name are fixt and joined.
These living creatures, one and all,
  rejoice when Kāla hath approached.
Kāla embraces Holy Fire, the Highest, Brahma in himself.
  Yea, Kāla, who was father of Prajāpati, is Lord of All.
He made, he stirred this universe to motion,
  and on him it rests.
He, Kāla, having now become Brahma,
  holds Parameshthin up.
Kāla created living things and, first of all, Prajāpati.
  From Kāla self-made Kasyapa, from Kāla Holy Fire was born.
From Kāla sprang the Waters, sprang the regions, Brahma,
  Holy Fire.
The Sun ascends by Kāla,
  and in Kāla sinks again to rest.
By Kāla freshly blows the wind, mighty through Kāla is the
  Earth: on Kāla rests the mighty Sky.
In Kāla erst the text produced what is and what is yet to be.
  From Kāla sprang the Richas, and from Kāla was the Yajus born.
They formed in Kāla sacrifice, eternal portion for the Gods.
  In Kāla the Gandharvas and Apsarasas and worlds abide.
Atharvan and this Angiras in Kāla are supreme o'er heaven.
  Both this world and the world that is most lofty, the pure
   worlds and pure intermediate spaces,—
Yea, having conquered all the worlds by Brahma, Kāla as God
  Supreme is supplicated.

Representing Bhairava

jayati vyomakesho .asau yaH sargAya bibharti tAM
aindavI shirasA lekhAM jagad bIjA~NkurAkR^itim ||
Victorious is he whose hair fills the space (vyomakesha), who for the emitted worlds (sarga) bears with his head the lunar crescent which is like the embryo in the seed which is the universe.

Shiva is beyond all forms and at the same time, he reflects an infinite number of them, dreadful and benevolent. The terrifying forms are  associated with his role as a destroyer. So, Bhairava, the fierce form of Shiva, has a terrible and often contradictory iconography. As the Shiva's form of terror and transcendency, his image is an integral part of an attempt to reflect, at least partially, the highest reality. Bhairava's physical description is controversial because neither of image can personify the mystery of Shiva.

The dichotomy of goodness and terrible form of Shiva is also reflected in Bhairava. He is Kshetrapala and Vatuka at the same time. Every of these two principal forms can be similarly divided into three forms each: sattvika, rajasa and tamasika. The Lingapurana and the Skandapurana tell us how Shiva took the form of a child to suckle from Kala's breasts her anger that was frightening the gods.

In the Lingapurana, the boy then takes eight different forms to protect the holy places. In the Skandapurana, the boy creates from his mouth sixty-four more children, sixty-four kshetrapalas, to pacify the fear of the gods. In their protective function, twenty-five of them will remain in the skies, twenty-five others in the infernal regions and the remaining fourteen on the earth.These sixty-four Kырetrapфlas can be equated with the sixty-four Bhairavas who, when brought to their eight main forms, have a protective function. The names of these sixty-four Bhairavas led by eight leaders (described here).

They are Asithanga, Ruru, Chanda, Krodha, Unmatta, Kapala, Bhishana and Samhara Bhairava. Eight Bhairava ashtakam  describes in detail their iconography.

These Ashtabhairavas are very similar and we understand that they are only the eight-fold manifestation of Bhairava, and with the Ashtamatrikas, the main thing is their function as protecting guardians. In the Skandapurana, these eight Bhairavas, who protect dharma and people, live in the eight regions and have to be honoured with zeal in order to remove the great obstacles. They protect particularly the town of Kashi, their weapons brandished in all four directions.

So we see that the different images are a reflection of functions of one force. And they are purely symbolic and functional. In general, the Bhairava myth gave birth to some principal iconographic forms: Bhairava cutting the head of Brahma, Bhairava as beggar wandering from place to place in the course of his penance and Bhairav as skeleton incarnating Time and Death.

In most parts of India, Bhairava is generally represented as standing, naked, very often accompanied by a dog, his vahana, who jumps to his left when the god carries the severed head in addition to the kapàla in his lower left hand.

Bhairava often has four arms, with the trident and sword in the right hands, and damaru and kapala plus a severed head in his left hands. But he can also have six, eight or more arms, though rarely.

He is adorned with bells and snakes; he wears a garland made of skulls or with ornamental pattern; a naga is generally coiled around his thighs. Details may be varied. But every detail has a deep symbolic meaning and each can be the subject of a separate investigation. These images, however, does not depict the extremely complex nature of this divinity but it can reveal to us some of the faces of this multifaceted divine figure.
For example, Bhairava's image at the Durbar Square in Kathmandu depicts him as standing upon a corpse with flaming hair what symbolizes his fiery nature.

Or the most symbolic image, the yantra, can provide a focus on the inner vision of the deity, illustrating the esoteric point of view of the union of the opposites, of the principle of non-duality.

One could ask oneself why this particular form of Shiva has generated so many varied representations. What is it that characterizes this figure and gives it such an importance in comparison with other terrible forms of the god?
It is clear that such a number of forms tries to describe the universal nature of Bhairava. This attempt  can be extended from our personal to universal space. Bhairava can be the destroyer of our ignorance, of illusion when we have our personal "decapitation". Interpretation in the yogic sense can grow with your experience, For example, the skull with nectar can be associated with bhairavAchara ( khechari mudra) etc...

At the same time, the hair of Bhairava (in the title quote of this post) would evoke the imagery of the lines of force fields filling the Universe and remind of the approach of Pralaya. Despite the seemingly catastrophic sense, the destruction is also a divine grace. The annihilation of the world is a necessary prelude to its recreation. Bhairava as destructor is terrible, but he fulfills the divine work, and he finds his place in the cosmic sacrifice. Bhairava does the work of purification for the creatures with his fire and this sacrifice is necessary for those who are waiting the new beginning.

 OM Bhairavaya Namah

Bhairava Kavacha

Om Sastrare Mahachakre Kpurdhvle Guru |
Patu Man Butuko Devo Bhairav Sarvkarmasu ||

Purvasyamsitango Man Dishi Rakshatu Sarvada |
Agneyam Cha Ruru Patu Dakshine Chand Bhairav ||

Netratyam Krodhan Patu Unmatt Patu Pashchime |
Vatavyam Mam Kapali CHa Nityam Payatu Sureshwar ||

Bheeshano Bhairav Patu Uttrasyam Tu Sarvada |
Samhar Bhairav Payadeeshanyam Cha Maheshwar ||

Udharva Patu Vidhata Cha Patale Nandko Vibhu |
Sadyojatstu Man Payat Sarvato Devsevit ||

Ramdevo Vanante Cha Vane Ghorstathavatu |
Jale Tatpurush Patu Sthale Ishaan Avam Cha ||

Dakini Putrak Patu Putran Men Sarvat Prabhu |
Hakini Putrak Patu Darastu Lakini Suta ||

Patu Shakinika Putram Sainya Vaim Kalbhairav |
Malini Putrak Patu Pashunashvan Ganjastatha ||

Mahakalovatu Shetram Shriya Me Sarvato Gira |
Vadyam Vadyapriya Patu Bhairvo Nityasampada ||

Om Sri Bhairavaya Namah

Maha Mrityunjaya Kavacham

shrI gaNeshAya namaH |
bhairava uvAcha |

shrR^iNuShva parameshAni kavachaM manmukhoditam |
mahAmR^ityu~njayasyAsya na deyaM paramAdbhutam || 1||
yaM dhR^itvA yaM paThitvA cha shrutvA cha kavachottamam |
trailokyAdhipatirbhUtvA sukhito.asmi maheshvari || 2||
tathApi paramaM tatvaM na dAtavyaM durAtmane || 3||
asya shrImahAmR^ityu~njayakavachasya shrIbhairava R^iShiH\,
gAyatrIchhandaH\, shrImahAmR^ityu~njayo mahArudro devatA\,
OM bIjaM\, jUM shaktiH\, saH kIlakaM\, hraumiti tatvaM\,
chaturvargasAdhane mR^ityu~njayakavachapAThe viniyogaH |

OM jUM saH hrauM shiraH pAtu devo mR^ityu~njayo mama |
OM shrIM shivo lalATaM me OM hrauM bhruvau sadAshivaH || 2||

nIlakaNTho.avatAnnetre kapardI me.avatAchchhrutI |
trilochano.avatAd gaNDau nAsAM me tripurAntakaH || 3||

mukhaM pIyUShaghaTabhR^idoShThau me kR^ittikAmbaraH |
hanuM me hATakeshano mukhaM baTukabhairavaH || 4||

kandharAM kAlamathano galaM gaNapriyo.avatu |
skandhau skandapitA pAtu hastau me girisho.avatu || 5||

nakhAn me girijAnAthaH pAyAda~Ngulisa.nyutAn |
stanau tArApatiH pAtu vakShaH pashupatirmama || 6||

kukShiM kuberavaradaH pArshvau me mArashAsanaH |
sharvaH pAtu tathA nAbhiM shUlI pR^iShThaM mamAvatu || 7||

shishrnaM me sha~NkaraH pAtu guhyaM guhyakavallabhaH |
kaTiM kAlAntakaH pAyAdUrU me.andhakaghAtakaH || 8||

jAgarUko.avatAjjAnU ja~Nghe me kAlabhairavaH |
gulpho pAyAjjaTAdhArI pAdau mR^ityu~njayo.avatu || 9||

pAdAdimUrdhaparyantamaghoraH pAtu me sadA |
shirasaH pAdaparyantaM sadyojAto mamAvatu || 10||

rakShAhInaM nAmahInaM vapuH pAtvamR^iteshvaraH |
pUrve balavikaraNo dakShiNe kAlashAsanaH || 11||

pashchime pArvatInAtho hyuttare mAM manonmanaH |
aishAnyAmIshvaraH pAyAdAgneyyAmagnilochanaH || 12||

naiR^ityAM shambhuravyAnmAM vAyavyAM vAyuvAhanaH |
urdhve balapramathanaH pAtAle parameshvaraH || 13||

dashadikShu sadA pAtu mahAmR^ityu~njayashcha mAm |
raNe rAjakule dyUte viShame prANasa.nshaye || 14||

pAyAd oM jUM mahArudro devadevo dashAkSharaH |
prabhAte pAtu mAM brahmA madhyAhne bhairavo.avatu || 15||

sAyaM sarveshvaraH pAtu nishAyAM nityachetanaH |
ardharAtre mahAdevo nishAnte mAM mahomayaH || 16||

sarvadA sarvataH pAtu OM jUM saH hrauM mR^ityu~njayaH |
itIdaM kavachaM puNyaM triShu lokeShu durlabham || 17||

phalashruti
sarvamantramayaM guhyaM sarvatantreShu gopitam |
puNyaM puNyapradaM divyaM devadevAdhidaivatam || 18||

ya idaM cha paThenmantrI kavachaM vArchayet tataH |
tasya haste mahAdevi tryambakasyAShTa siddhayaH || 19||

raNe dhR^itvA charedyuddhaM hatvA shatrU~njayaM labhet |
jayaM kR^itvA gR^ihaM devi samprApsyati sukhI punaH || 20||

mahAbhaye mahAroge mahAmArIbhaye tathA |
durbhikShe shatrusa.nhAre paThet kavachamAdarAt || 21||

sarva tat prashamaM yAti mR^ityu~njayaprasAdataH |
dhanaM putrAn sukhaM lakShmImArogyaM sarvasampadaH || 22||

prApnoti sAdhakaH sadyo devi satyaM na sa.nshayaH
itIdaM kavachaM puNyaM mahAmR^ityu~njayasya tu |
gopyaM siddhipradaM guhyaM gopanIyaM svayonivat || 23||

| iti shrIrudrayAmale tantre shrIdevIrahasye mR^ityu~njayakavachaM sampUrNam |

OM NAMAH SHIVAYA

Puja to Kaala Bhairava

A very short version of shodashopachara puja (consisting of 16 services) to Kaala Bhairava.

om gam ganapataye namah|

Say the line below and think in the mind that you are offering a nice seat to Kaala Bhairava to sit on. While imagining that, just offer a few akshatas.
om kāla bhairavāya namah| āsanam samarpayāmi|

Now, say the line below imagine that you are washing his feet.
om kāla bhairavāya namah| pādayoh pādyam samarpayämi|

Say the line below, imagine that you are washing the hands of Kaala Bhairava.
om kāla bhairavāya namah| hastayoh arghyam samarpayāmi|

Say the line below, imagine that you are offering drinking water to Kaala Bhairava's mouth.
om kāla bhairavāya namah| 
mukhe suddhācamaniyam samarpayāmi|

Say the first sentence below, imagine that you are giving a bath to Kaala Bhairava. Say the second sentence below, imagine that you are giving drinking water to Kaala Bhairava's mouth after bath.
om kāla bhairavāya namah| snapayāmi|
snānānantaram ācamaniyam samarpayāmi|

Say the line below, imagine that you are offering a pair of nice clothes and offer a few akshatas.
om kāla bhairavāya namah| vastrāni dhārayāmi|

Say the line below, imagine that you are offering a yajnopaveetam (sacred thread) and offer a few akshatas.
om kāla bhairavāya namah| yajnopavitam samarpayāmi|

Say the line below, imagine that you are offering nice jewelry and offer a few akshatas.
om kāla bhairavāya namah| ābharanāni samarpayāmi|

Say the line below and offer a little bit of sandalwood paste, turmeric powder, kumkum powder and akshatas.
om kāla bhairavāya namah| gandhān dhārayāmi|
haridrä kunkumam samarpayämi| aksatān samarpayāmi|

Keep sprinkling a few flowers or flower petals or akshatas.
om kāla bhairavāya namah| puspāni samarpayāmi|

Say the following line and show the incense stick.
om kāla bhairavāya namah| dhüpam āghrāpayāmi|

Say the following line and show the lighted lamp. Then show a little water.
om kāla bhairavāya namah| dipam darsayāmi|
 ācamaniyam samarpayāmi|

Say the first sentence below, show one of the two food items you prepared (or fruits) to Bhairava and imagine that he tasted it. When saying the second line, imagine that you are offering a nice taamboolam (paan) to Kaala Bhairava and offer some akshatas.
om kāla bhairavāya namah| naivedyam samarpayāmi| tāmbülam samarpayāmi|

Place a little camphor on a camphor container or a plate, light it and make a clockwise vertical circle in the air. Say the line below while you do it.
om kāla bhairavāya namah| karpüranirājanam samarpayāmi|

Take a small flower (or some akshatas) in your right hand, say the following and offer the flower. Imagine that you are offering a flower that captures the essence of all mantras.
om kāla bhairavāya namah| mantrapuspam samarpayāmi|

Say the following and bow before Kaala Bhairava mentally.
om kāla bhairavāya namah| pradaksina namaskārān samarpayāmi|

Imagine that Sri Kaala Bhairava became pleased with your puja.
Surrender the doership of the puja to Krishna and pray for peace.

OM KAALA BHAIRAVAYA NAMAHA

Maha Kaalabhairavam Stotram

yaM yaM yaM yakSharUpaM
dashadishividitaM bhUmikampAyamAnaM
saM saM saMhAramUrtiM
shiramukuTajaTA shekharaMchandrabimbam |
daM daM daM dIrghakAyaM
vikritanakha mukhaM chordhvaromaM karAlaM
paM paM paM pApanAshaM
praNamata satataM bhairavaM kShetrapAlam || 1||
raM raM raM raktavarNaM\
kaTikaTitatanuM tIkShNadaMShTrAkarAlaM
ghaM ghaM ghaM ghoSha ghoShaM
gha gha gha gha ghaTitaM gharjharaM ghUra nAdam |
kaM kaM kaM kAlapAshaM
druk druk dR^iDhitaM jvAlitaM kAmadAhaM
taM taM taM divyadehaM\,
praNAmata satataM\,
bhairavaM kShetrapAlam || 2||
laM laM laM laM vadanAthaM
la la la la lalitaM dIrgha jihvA karAlaM
dhUM dhUM dhUM dhUmravarNaM
sphuTa vikaTamukhaM bhAskaraM bhImarUpam |
ruM ruM ruM rUNDamAlaM\,
ravitha mahigataM tAmranetraM karAlam
naM naM naM nagnabhUShaM \,
praNamata satataM\, bhairavaM kShetrapAlam || 3||
vaM vaM vAyuvehaM natajana
sadayaM brahmasAraM paramataM
khaM khaM khaDgahastaM
tribhuvanavilayaM bhAskaraM bhImarUpam |
chaM chaM chalitvA.achala
chala chalita chAlitaM bhUmichakraM
maM maM mAyi rUpaM praNamata
satataM bhairavaM kShetra pAlam || 4||
shaM shaM shaM sha~NkhahastaM\,
shashikaradhavalaM\, mukha sampUrNa tejaM
maM maM maM maM mahAntaM\,
kulamachula kulaM mantra guptaM sunityam |
yaM yaM yaM bhUtanAthaM\,
kili kili kalitaM bAlakeli pradahAnaM
AM AM AM AntarikShaM \,
praNamata satataM\, bhairavaM kShetrapAlam || 5||
khaM khaM khaM khaDgabhedaM\,
viShamamR^itamayaM kAla kAlaM karAlaM
kShaM kShaM kShaM kShepravegaM\,
daha daha dahanaM\, tapta sandIpya mAnam |
hauM hauM hauMkAranAdaM\,
prakaTita gahanaM garjitai bhUmikampaM
vaM vaM vaM vAlalIlaM\,
praNamata satataM\, bhairavaM kShetrapAlam || 6||
saM saM saM siddhiyogaM\,
sakalaguNamakhaM\, devadevaM prasannaM
paM paM paM padmanAbhaM\,
hariharamayanaM chandrasUryAgni netram |
aiM aiM aiM aishvaryanAthaM\,
satatabhayaharaM\, pUrvadevasvarUpaM
rauM rauM rauM raudrarUpaM\,
praNamata satataM\, bhairavaM kShetrapAlam || 7||
haM haM haM haMsayAnaM\,
hasitakalahakaM\, muktayogAtta hAsaM\,
dhaM dhaM dhaM netrarUpaM\,
shiramukuTa jaTAbandha bandhAgra hastam |
taM taM ta.nkAnAdaM\, tridalasatalataM\, kAmagarvApahAraM\,
bhruM bhruM bhruM bhUtanAthaM\,
praNamata satataM\, bhairavaM kShetrapAlam || 8||
iti mahAkAlabhairavAShTakaM sampUrNam |

namo bhUtanAthaM namo pretanAthaM
namaH kAlakAlaM namaH rudramAlam |
namaH kAlikApremalolaM karAlaM
namo bhairavaM kAshikAkShetrapAlam ||

Bhairava and Brahma's Fifth Head

 Bhairavashtami, the festival of Bhairava, is connected closely with the brahmanicide myth. It is very interesting mysterious story. I am the supporter of idea that deeper symbolism often there where mythological events are strange and non-logical from the human point of view. However, it concerns any mythology.
 This myth appeared in the Purana literature - Shivapurana (Shatarudra and Vidyavara samhita), Karmapurana, Brahmanapurana, Skandapurana. The outline is same: Brahma and Vishnu were disputing with each other for the status of supreme God. Just then an immense pillar of flame manifested itself in their midst, within which was recognized the towering figure of the three-eyed Shiva as the Ultimate Truth. But the fifth head of Brahma taunted him. Then, Shiva created a blazing Bhairava, addressing this Kalabhairava as "Lord of Time-Death" (Kaala): "You are called Bhairava because you are of terrifying features and are capable of supporting the universe. You are called Kaala-Bhairava, for even Time-Death is terrified of you." In a trice, Bhairava ripped off Brahma's guilty head with the nail of his left thumb. The severed head immediately stuck to Bhairava's hand, where it remained in the form of the skull, destined to serve as his insatiable begging-bowl. Shiva directed Bhairava to roam the world to atone for the sin of Brahmanicide, the worst of crimes in dharmashastras. On arriving at Kashi, Brahmahatya sank into the nether-world, and the holy ground on which the skull fell, freeing Bhairava from his Brahmanicide, came to be known as Kapalamocana. It was on the eighth day (ashtami) in the dark half of the month of Margashirsha that Lord Shiva manifested himself as Bhairava.
It is a myth in brief. Certainly, set of interpretations are possible here. But what is the problem with this fifth head? It is very interesting. Actually, this head is opposed to Brahma's "normal four". This head proposed incest to his daughter, who indignantly cursed him to always speak contrarily or bray like a donkey, whereupon the fifth head always spoke evilly and coarsely. In brief, this unfortunate head showed all possible infringements - sexual, linguistic, animal, moral, alimentary and aesthetic.

 For some reason, from time to time in religious texts Lord Brahma appears to aid the side of chaos.  It seems that the Hindu gods spend a significant amount of time helping to defeat those who have benefited by Brahma. In the Mahabharata, for example, Brahma provides a magic arrow to the enemies of Arjuna. Besides, it is Brahma who generated Daksha, whose head also has been torn off by Shiva in his rage and replaced later with that of a goat. One of explanations of all these problems can be found in the Brahman's role in Trimurti.
 Brahma's name (Brahmā) should not be confused with Brahman, who is the supreme God force present within all things. Brahma's job was creation of the world and all creatures. Brahma's role as the creator is over. It is left to Vishnu to preserve the world and Shiva to continue its path of cosmic reincarnation. Brahma is not raised to the supreme level of cosmogony.  Can be here the reason of his decapitation? His fifth head negated all that which Shiva's fifth head had symbolized, which is the symbol of Supreme Brahman. And the fifth head can belong only to One.
 So, Brahma is punished with decapitation, Shiva is forced to make Bhairava wander to Kashi for absolution, and even the gods are repentant after Shiva exposes himself as a fire-linga to them.  Even throughout the inauspiciousness, the myth preserves the dharma inherent in the universe. Through this pursuit of forgiveness, Bhairava becomes sanctified and  receives the name of Sin-Eate. His crime was conditional, symbolical and necessary. In Kashi, the pure Vishvanatha meets the "impure" Bhairava. They unite in the God, withdrawn into himself, the God of ultimate salvation. The Absolute Reality of Brahman.

OM BHAIRAVYAI NAMAH

OM NAMAH SHIVAYA

Dog

The dog, considered as "the man's best friend", is not very popular in religions. The Bible is replete with evidence of the low opinion in which the dog was held by Jews and Christians. Muslims too believed the animals frowned upon to keep are dogs as they are unclean. Such condemnation of dogs has been accompanied by the rise of the scavenging pariah-dog who ekes out its miserable life in the street. But there is a certain field of the very special boundary when we see an exception in many cultures.
In many myths, the dog has been a messenger between life and death, between the higher and infernal powers,  between the gods and man. For example, the ancient Egyptians worshiped the god Anubis, the judge and lord of the afterlife.

 The ancient Greeks revered dogs as messengers of gods or even demigods. In Greco-Roman mythology, the terrifying Cerebrus was a three-headed dog who guarded the gates of Hades. To the Egyptians and the Greeks the dog was esteemed as a companion of Hermes, who is both messenger and presiding deity of the mind and goes about accompanied by his faithful dog, Sirius, the all-seeing vigilance.
If the dog is a guide to the realm of the dead, it is also a keeper of the boundary between the two worlds. A companion in life, it continues to be such in death and so weaves the two together in a pattern of perpetual coming and going, a continual design of birth, death and rebirth.

Painting by John Emms

 In Christianity, Saint Guinefort, who was never officially recognized, was a greyhound that received local veneration as a saint after miracles at his grave. In fact, this loyal beast had slain a deadly viper that threatened the infant. In other interesting case, Saint Christopher is said to have come from the dog-headed tribe, where he was a cannibal and a barbarian, until he was redeemed, becoming an ascetic "athelete of God."

 In Muslim culture, despite the discourses about dog's purity, Ibn Al-Marzuban wrote a fascinating treatise titled, The Book of the Superiority of Dogs Over Many of Those Who Wear Clothes, which contrasts the loyalty and faithfulness of dogs to the treachery and fickleness of human beings. Or Ali ebn Abi Taleb, the seminal figure of Sufism has written: Happy is the one who leads the life of a dog! For the dog has ten characteristics which every believer should possess. First, the dog has no status among creatures; second, the dog is a pauper having no worldly goods; third, the entire earth is his resting place; fourth, the dog goes hungry most of the time; fifth, the dog will not leave his master’s door even after having received a hundred lashes; sixth, he protects his master and his friend, and when someone approaches he will attack the foe and let the friend pass; seventh, he guards his master by night, never sleeping; eight, he performs most of his duties silently; ninth, he is content with whatever his master gives him; and tenth, when he dies, he leaves no inheritance.
And in Hinduism, there are many images of dogs or shvan. The Apsara of Indra is named Sarama, and it is mentioned in the Rig Veda. Its offspring became the watch dog of Yama. Deities like Rudra, Nirriti, Virabhadra, Khandoba and Dattatreya have these companions. And certainly, Shiva, in his aspect as Bhairava, had a dog as a vahana.

One of the strongest and unexpected images of the dog in Hinduism is the episode from Mahabharata when Yudhisthir confronts Indra's divinity with his own humanity and is ready to forsake entry into heaven for the sake of a dog. I like very much this supremely beautiful moment, therefore I will remind it a little. So, Indra invites Yudhisthira. But he replied:
"The dog must come with me".
"That is not possible," said Indra, - "All cannot attain heaven. The dog is old and thin and has no value."
"In that case, I do not seek heaven,"- said Yudhisthira, - "The dog was my faithful companion and I cannot abandon it. It sought my help and gave me unconditional love. The pleasures of heaven will mean nothing to me in comparison to its grief. It has done nothing to deserve abandonment and had none of the weaknesses of my wife and brothers. If it does not deserve to go to heaven, then neither do I." And so he turned back.
"Stop!" - cried Indra, - "None have the qualities that you possess, O Yudhisthira! The dog is Dharma, from whom you have descended!" And indeed, the dog had transformed into the God of Dharma and blessed Yudhisthira for his complete lack of selfishness and dedication to righteousness in all circumstances.

Thus, the dog can represent the divine law also. But I think, the main thing is one essential quality. As guide or witness or guardian, the dog seems to exemplify supreme fidelity. The dog's faith has as its object his Master. This love seeks no recompense but has the power to uplift both lover and beloved and deeply move the hearts of other human beings. People of all ages and times have wondered to see its unsullied manifestation in a creature humbler than themselves.  Probably, it is a good example to all of us. Not just by sight or smell but by intense love for a beloved, the dog is guided home. Man also goes to a very long journey to his spiritual abode. And love and faith becomes in man the guide through the intangible realms leading to his spiritual home.
So, ask yourself a zen-question "Does a dog have Buddha nature or not?"

Hymn to Kāla

From the Atharva Veda.

AV 19.53
Prolific, thousand-eyed, and undecaying, a horse with seven reins Time bears us onward Sages inspired with holy knowledge mount him: his chariot wheels are all the worlds of creatures This Time hath seven rolling wheels and seven naves immorality is the chariot's axle. This Time brings hitherward all worlds about us: as primal Deity is he entreated. On Time is laid an overflowing beaker: this we behold in many a place appearing. He carries from us all these worlds of creatures. They call him Kāla in the loftiest heaven. He only made the worlds of life, he only gathered the worlds of living things together. Their son did he become who was their Father: no other higher power than he existed Kāla created yonder heaven, and Kāla made these realms of earth. By Kāla, stirred to motion, both what is and what shall be expand. Kāla created land; the Sun in Kāla hath his light and heat In Kāla rest all things that be: in Kāla doth the eye discern. In Kāla mind, in Kāla breath, in Kāla name are fixt and joined These living creatures, one and all, rejoice when Kāla hath approached. Kāla embraces Holy Fire, the Highest, Brahma in himself. Yea, Kāla, who was father of Prajāpati, is Lord of All. He made, he stirred this universe to motion, and on him it rests.He, Kāla, having now become Brahma, holds Parameshthin up. Kāla created living things and, first of all, Prajāpati. From Kāla self-made Kasyapa, from Kāla Holy Fire was born.

AV 19.54
From Kāla sprang the Waters, sprang the regions, Brahma Holy Fire The Sun ascends by Kāla, and in Kāla sinks again to rest. By Kāla freshly blows the wind, mighty through Kāla is the Earth: on Kāla rests the mighty Sky. In Kāla erst the text produced what is and what is yet to be From Kāla sprang the Richas, and from Kāla was the Yajus born. They formed in Kāla sacrifice, eternal portion for the Gods In Kāla the Gandharvas and Apsarasas and worlds abide Atharvan and this Angiras in Kāla are supreme o'er heaven. Both this world and the world that is most lofty, the pure worlds and pure intermediate spaces, Yea, having conquered all the worlds by Brahma, Kāla as God Supreme is supplicated.

OM NAMAH SHIVAYA

Kālī Krama

OM

Homage to You, mistress of the God of gods!

Great Kālī!

Ultimate joy

(Yet) No joy

You are both permanent and ephemeral

(But) You're still the same Majesty.

Sovereign cohorts (of Yoginis) as their cohorts

You are (yet) rich in mystical insight

You are the source of Time

Which concludes the indomitable time.

You are the source of the Maya and other (events).

Your event , the whole thing: protect me! 

You are the meaning of HA,

Its origin and its resorption, you who are able (all)

You are the great panic

(Yet) your form is sweet

You do not have color or notes (which you match)

(But) you are (their) matrix,
You who are installed at the end of the sixteen rays.

You are firm in your temperament

Which illustrates (in your) will,

You who are the centerpiece of Bhairava 

Greater awareness,
You are adorable through consciousness,

Thou art the essence of the objects of consciousness

Formless you to form action

You whose form is everything.

You're the absolute cessation

(In any difference) between

Phenomenon and no phenomenon.

(But) You're all freaks!

You live in the heart

The kingdom of joy.

(However), You're the end of (all) emotion

But (it is clear that) you are the matrix

The realm of delight,

Thou art the same expansion!

You who remains at your

The end of ecstasy, you reign over all!

You're the resonance, the large resonance

You are told that eternal.

You are such that this yourself in the seed,

Thee is said to be the seed of every pleasure.

In the body, you are energy

Present in all states

Impersonal, the person you live,

Thou art omnipresent.

Beneficent form, great healing

Beyond any cure.

You are present at the end of twelve (finger widths)

At the end of nine (syllables)
And at the end of thirty-six (elements).

You are the coiled splendor within

Corolla of the lotus of the heart.

Always present in the throat,

You soothe hunger.

But in the palace, O great Kālī,

You devour everything!

You are the points located

Between sourcils.

O Kālī form of real, You're installed

A door leading to the absolute

You are present in the endless cycle

Resorption, (but) you are (also) emanation.

You are never absent from Hara

O Lord, they say, like an earring

In the form of exhaled breath

You live (also) the flow

This perfume that crazy (elephants)

Kālī Oh, You're free of the six wheels (subtle)

You reign at the top of the wheels.

Sixteen free media concentration

You're the end of (all) support.

You're that cover all three targets

But you live in what can only be described,

That You're not a target.

You who are transcending the rays
That are reflected in the empty sky,

You are the ruler of the impersonal.

Beyond the realm of incomplete forms,

You reign at the end of (all) forms.

You're the end of the day
Before the dream and dreamless sleep,

(But) you are (also) that which prevails beyond the Fourth.

You are everything

You're the queen of all the kings who ruled over all,

You're late,

Without support,

Without disease,

Without event

Lossless

Huge,

Ultimate

Omniform,

Structured, you are without structure (own)

Thou art the structure of all.

Homage to you, Goddess!

Tribute to the beginning, middle and end.

Svarnakarshana Bhairava Stotram

om asya shree swarNaakarshaNa bhairava stotra mahaamantrasya
brahma rushih anushTupa Chandah shree swarNaakarshaNa bhairavo devataa
hreem beejam kleem shaktih sah keelakam
mama daaridrya naashaarthe paaThe viniyogah ||

rushyaadi nyaasah
brahmarshaye namah shirasi |
anushTupa Chandase namah mukhe |
swarNaakarshaNa bhairavaaya namah hrudi |
hreem beejaaya namah guhye |
kleem shaktaye namah paadayo |
sah keelakaaya namah naabhou |
viniyogaaya namah sarvaange |
hraam hreem hroom iti kara shaDanganyaasah ||

dhyaanam
paarijaatadruma kaantaare sthite maaNikya maNDape
simhaasana gatam vande bhairavam swarNadaayakam |
gaangeya paatram Damaroom trishoolam varam karah samdadhatam trinetram
devyaayutam taptaswarNavarNa swarNaakarshaNa bhairavam aashrayaami ||

mantra
om aim hreem shreem aim shreem aapad uddhaaraNaaya hraam hreem hroom

ajaamala vaddhaaya lokeshvaraaya swarNaakarshaNa bhairavaaya mama daaridrya
vidveshaNaaya mahaabhairavaaya namah shreem hreem aim |



stotra
om namaste bhairavaaya brahma vishNu shivaatmane|
namah trailokya vandyaaya varadaaya varaatmane || 1 ||
ratnasimhaasanasthaaya divyaabharaNa shobhine |
divyamaalya vibhooshaaya namaste divyamoortaye || 2 ||
namaste aneka hastaaya aneka shirase namah |
namaste aneka netraaya aneka vibhave namah || 3 ||
namaste aneka kaNThaaya anekaamsaaya te namah |
namaste aneka paarshvaaya namaste divya tejase || 4 ||
anekaayudha yuktaaya aneka sura sevine |
aneka guNa yuktaaya mahaadevaaya te namah || 5 ||
namo daaridryakaalaaya mahaasampat pradaayine |
shree bhairavee samyuktaaya trilokeshaaya te namah ||6||
digambara namastubhyam divyaangaaya namo namah |
namo astu daityakaalaaya paapakaalaaya te namah || 7 ||
sarvagyaaya namastubhyam namaste divya chakshushe |
ajitaaya namastubhyam jitamitraaya te namah || 8 ||
namaste rudraroopaaya mahaaveeraaya te namah |
namo astvananta veeryaaya mahaaghoraaya te namah ||9||
namaste ghora ghoraaya vishvaghoraaya te namah |
namah ugraaya shaantaaya bhaktaanaam shaantidaayine ||10||
gurave sarvalokaanaam namah praNava roopiNe |
namaste vaagbhavaakhyaaya deerghakaamaaya te namah ||11||
namaste kaamaraajaaya yoshita kaamaaya te namah |
deerghamaayaa svaroopaaya mahaamaayaaya te namah ||12||
srushTimaayaa svaroopaaya nisarga samayaaya te |
suraloka supoojyaaya aapaduddhaaraNaaya cha || 13 ||
namo namo bhairavaaya mahaadaaridrya naashine |
unmoolane karmaThaaya alakshmyaah sarvadaa namah ||14||
namo ajaamalavaddhaaya namo lokeshvaraaya te |
swarNaakarshaNa sheelaaya bhairavaaya namo namah ||15||
mama daaridrya vidveshaNaaya lakshyaaya te namah |
namo lokatrayeshaaya svaananda nihitaaya te || 16 ||
namah shreebeejaroopaaya sarvakaama pradaayine |
namo mahaabhairavaaya shree bhairava namo namah || 17 ||
dhanaadhyaksha namastubhyam sharaNyaaya namo namah |
namah prasanna aadidevaaya te namah || 18 ||
namaste mantraroopaaya namaste mantraroopiNe |
namaste swarNaroopaaya suvarNaaya namo namah || 19 ||
namah suvarNa varNaaya mahaapuNyaaya te namah |
namah shuddhaaya buddhaaya namah samsaara taariNe ||20||
namo devaaya guhyaaya prachalaaya namo namah |
namaste baalaroopaaya pareshaam balanaashine ||21||
namaste swarNasamsthaaya namo bhootalavaasine |
namah paataalavaasaaya anaadhaaraaya te namah ||22||
namo namaste shaantaaya anantaaya namo namah |
dvibhujaaya namastubhyam bhujatraya sushobhine ||23||
namo anamaadi siddhaaya swarNahastaaya te namah |
poorNachandra prateekaasha vadanaambhoja shobhine ||24||
namaste astu svaroopaaya swarNaalankaara shobhine |
namah swarNaakarshaNaaya swarNaabhaaya namo namah ||25||
namaste swarNakaNThaaya swarNaabha ambaradhaariNe |
swarNasimhaasanasthaaya swarNapaadaaya te namah || 26 ||
namah swarNaabhapaadaaya swarNakaanchee sushobhine |
namaste swarNajanghaaya bhaktakaamadudhaatmane || 27 ||
namaste swarNabhaktaaya kalpavruksha svaroopiNe |
chintaamaNi svaroopaaya namo brahmaadi sevine || 28 ||
kalpadrumaadyah samsthaaya bahuswarNa pradaayine |
namo hemaakarshaNaaya bhairavaaya namo namah || 29 ||
stavenaanena samtushTo bhavalokesha bhairava |
pashya maam karuNaadrushTyaa sharaNaagata vatsala || 30 ||
shree mahaabhairavasya idam stotramuktam sudurlabham |
mantraatmakam mahaapuNyam sarvaishvarya pradaayakam||31||
yah paThennityam ekaagram paatakai sa pramuchyate |
labhate mahateem lakshmeem ashTaishvaryam avaapnuyaat||32||
chintaamaNim avaapnoti dhenu kalpatarum dhruvam |
swarNaraashim avaapnoti sheeghrameva na samshayah||33||
trisandhyam yah paThetstotram dashaavrutyaa narottamah |
svapne shree bhairavah tasya saakshaat bhootvaa jagadguruh||34||
swarNaraashi dadaatyasyai tatkshaNam naatra samshayah |
ashTaavrutyaa paThet yastu sandhyaayaam vaa narottamam||
labhate sakalaan kaamaan saptaahaan naatra samshayah |
sarvadah yah paThestotram bhairavasya mahaatmanaah || 36||
lokatrayam vasheekuryaat achalaam lakshmeem avaapnuyaat |
nabhayam vidyate kvaapi vishabhootaadi sambhavam ||37||
mriyate shatravah tasya alakshmee nasham aapnuyaat |
akshayam labhate soukhyam sarvadaa maanavottamah ||38||
ashTa panchaat varNaaDhyo mantraraajah prakeertitah |
daaridrya duhkhashamanah swarNaakarshaNa kaarakah ||39||
ya ena sanchayet dheemaan stotram vaa prapaThet sadaa |
mahaabhairava saayujyam sa anantakaale labhet dhruvam||40||
|| iti rudrayaamala tantre swarNaakarshaNa bhairava stotram sampoorNam ||

Om Shreem Svarna Akarshana Bhairavaya Namaha

Saturn Symbolism

Saturn is the 6th planet from the Sun and the 6th day of the week  is named after him. In Vedic culture, Saturday also is dedicated to the god Shani, who is one of the nine Navagraha (planets).
In general, Saturn has had a lasting impact upon many cultures. Greek and Roman Kronos (Father Time), Mesopotamian Shamash/Ninurta, Babylonian Sakkuth, Sumerian Anu, Etruscan Satres (from whom the Romans borrowed Saturnus) is often described as the first planet/god who created order out of primeval chaos. According to myth, this was Saturnia Regna, (rule of Saturn) or the Golden Age. Khronos or Aion (Eternity) could be represented holding a wheel inscribed with the signs of the zodiac, or driving a four-horse chariot (vehicle of Sun).

 In Hindu mythology, planet Saturn or Lord Shani has been present since ages with its long tale back from origin.  In brief, the description of its character can be found in his mantras:

nilānjana samābhāsam suryaputram yamāgrajam|
chāyā mārtanda sambhūtam tam namāmi  śanaiścaram||
Oh son of Surya and the brother of Yama (The lord of death), born to Chaya and Surya, and who appears like the blue kohl! I salute you, oh Shanaishcara (the slow walker)!
om kākadhvajāya vidmahe| khangahastāya dhimahi| tanno mandah pracodayāt||
Oh Shani, we understand you as the one whose flag is adorned by the figure of a Crow, and who holds the Khadga, may you grant us prosperity.
This Sanskrit word khadga or khaṅga (from khaṇḍ - "to break, divide, cut, destroy") is the word for a bladed weapon, what is used in the Rigveda in reference to either an early form of the sword or to a sacrificial knife or dagger. In many cultures the image of Saturn has such tool. For example, the Pompeii wall painting shows him holding a sickle and covered with a white veil. Plutarch writes "his figure is veiled because he is the father of truth."

 In the medieval "Book of Knighthood" (1460), Saturn appears in a blue cloud holding a scythe; below, a man holds a book open on his lap, which animates a conversation of eight men in all. (In Hindu astrology, also the number 8 is personified in Shani).

In the European mythology, the image of Saturn means nothing more than Time. The myth claim that he ate his own children - Day, Month and Year - and portray him as a winged old man representing the passing of time. He holds a scythe in his hand showing that he cuts down everything.

"Saturn", painting (1802) by Ivan Akimov  

On this allegoric painting we can see that Time relentlessly destroys the infant Cupid, the god of desire and erotic love in classical mythology. On associations, an image of destruction of Kama-deva arises, isn't?
After all, the glyph of Saturn is the sickle or scythe. It can be connected with the symbolism of death. In the archetype of death, the sickle serves for the harvesting current life. And here, this theme of harvesting joins with the Saturn have the  meaning of recycling old to new.

So, it becomes apparent that many of the attributes ascribed to Kronos are similar to those associated with the Mahadeva of the Hindu pantheon.  Lord Shiva is the master of Time in one of his forms, the Kala Bhairava, who has a close relationship with Saturn. It was Kala Bhairava who elevated Saturn to the status of a planet and is considered to be Saturn's Guru. Bhairava, the fierce aspect of Lord Shiva, is the destroyer of all destroying Time (Mahā kāla), over sees the march of the mysterious time, (not only human life but also countries and planets as well), ensuring the evanescence of all phenomena.
The word Kāla has additional meaning "black" and the image of Saturn is always black. Saturn's colour accompany the soul through whose critical and blackest stage. But he does this not blindly or in a rage, but coolly with the sharp destiny sword.
The pattern of wheels or rings of Saturn is the image of  the manifest cosmos where Shiva enacts his great Tandava dance and all existing things are bound up in it. And in our personal microcosm, Saturn rings and his numerous moons can symbolise those limits and saMskAra what we form around ourselves as a result of our actions, our karma.

Yes, in the language of astrology, Lord Saturn is among the most malefic Planets. But the truth, though, is that Saturn isn't about punishment, he's about Karma. The Law of Karma basically states that as you sow, so shall you reap. And Sri Shani is known in Hindu scriptures as the greatest trouble giver as well as the greatest well wisher. The power which turns the wheels of involution also turns the wheels of evolution. Saturn is kind of harsh for the ego, but in truth not for the Soul, to the contrary. To make this turn-around is in fact to change from karma to dharma. This path is not an easy one. And while the experience is painful, it is almost always extremely liberating. 
What a great Guru, this Saturn! Look inside yourself as to the causes, don't blame another, open your heart to Shani-Saturn as your teacher, and it can be one of the most rewarding experiences of a lifetime. And the light is hidden in darkness.

Om Sham Shanishcharaya Namaha