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BHUVANESHVARI, THE CREATOR OF THE WORLD
A modern text gives the legend of origin of
Bhuvaneshvari as follows:
"Before anything existed it was the sun which appeared
in the heavens. The Rishis (sages) offered soma the
sacred plant to it so that the world may be created. At
that time Shodashi was the main power, or the Sakti
through whom the Sun created the three worlds. After the
world was created the goddess assumed a form appropriate
to the manifested world."
In this form she came to be known as Bhuvaneshvari,
literally "Mistress of the World." Bhuvaneshvari thus
remains un-manifest until the world is created. Hence
she is primarily related with the visible and material
aspect of the created world.
More than any other Maha Vidya with the exception of
Kamala (mentioned later), Bhuvaneshvari is associated
and identified with the energy underlying creation. She
embodies the characteristic dynamics and constituents
that make up the world and that lend creation its
distinctive character. She is both a part of creation
and also pervades it's aftermath
Bhuvaneshvari beauty is mentioned often. She is
described as having a radiant complexion and a beautiful
face, framed with flowing hair the color of black bees.
Her eyes are broad, her lips full and red, and her nose
delicate. Her firm breasts are smeared with sandal paste
and saffron. Her waist is thin, and her thighs,
buttocks, and navel are lovely. Her beautiful throat is
decorated with ornaments, and her arms are made for
embracing. Indeed Shiva is said to have produced a third
eye to view her more thoroughly.
This beauty and attractiveness may be understood as an
affirmation of the physical world. Tantric thought does
not denigrate the world or consider it illusory or
delusory, as do some other abstract aspects of Indian
thought. This is made amply clear in the belief that the
physical world, the rhythms of creation, maintenance and
destruction, even the hankerings and sufferings of the
human condition is nothing but Bhuvaneshvari play, her
exhilarating, joyous sport .
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