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MALUR SRI BALAMBIKA TEMPLE Address: Maruthi Extension 2nd stage, Kasaba Hobli, Malur Taluk, Kolar District, Karnataka - India Website : http://malurbalambikatemple.com Email : contactus@malurbalambikatemple.org Instagram: balambikadivyasangam
Issue 1 | Volume 16 | May 2026 Balavin Kural
Kshetra Varalaru series: "Sri Bhavani - Shakti peetam at Bangladesh", by Smt. Indumathi Salutations to the Divine Gurus. Refuge at the feet of Goddess Balambika. The next temple we are going to visit is a Shakti Peetha—the Bhavanipur Shakti Peetha. Where is it located? It is situated in Bangladesh. Thus, it is known as the Bhabanipur Shakti Peetha in Bangladesh. As for its exact location, it is situated in the Bogra district—within the Rajshahi Division of Bangladesh—approximately twenty-eight kilometers from the town of Sherpur. It is at this very spot that the temple of Mother Bhavani—the Shakti Peetha—is established. Regarding its significance, legend has it that an ornament worn on the Goddess's foot fell at this specific site. As we have previously discussed—whether it is an ornament or a physical limb of the Goddess that falls at a location—that site is designated as a Shakti Peetha. Thus, in accordance with the faith of Hindu pilgrims, this site is revered and celebrated as a Shakti Peetha. Over the centuries, numerous individuals have undertaken the renovation and restoration of this temple complex. In connection with this, a significant historical narrative is recounted. It is a very interesting story. Near this temple is said to be a small pond. In fact, the pond itself bears a specific name: the "Sanguvalai Temple" pond—or rather, the "Sanguvalaiyal Pond" (Conch Bangle Pond). In English, it is referred to as the "Pond of Conch Bangles." As you may know, Bengalis—unlike us—do not typically wear gold bangles. For married women, or whenever a wedding or any auspicious ceremony takes place, it is these conch-shell bangles that they choose to wear. So, against this backdrop, there once lived a poor man who made his living selling these bangles. One day, a small child approached him and asked, "Please give me those conch bangles." Seeing that she was just a little girl, he agreed; saying, "Very well," he handed the conch bangles over to her—a young girl, appearing much like a maiden. Now, naturally, she was expected to pay for them, wasn't she? So, he asked for payment. Being a poor merchant, he inquired, "What will you give me in exchange? Will you pay me in cash?" To this, she replied, "Oh, I do not have any money with me right now. You see Rani Bhavani—the Queen of this town?" "Go and collect it from her. I am, after all, a girl from her very own family," she said. Immediately, agreeing to this, the man—the merchant—set off. The merchant went and made his inquiry: "Your daughter came and took some goods from me; she told me to collect the payment from you." The woman was utterly stunned, for she did not have a child of that description at all. Immediately, thinking to herself, "I must see exactly what is going on here," she returned with him and asked, "At which specific spot did she make this request?" He led her to that exact location and pointed it out. When they looked at the spot, the girl was nowhere to be seen. Just as the thought crossed the merchant's mind—wondering if he was perhaps lying or imagining things—money suddenly emerged from the very pond beside which he had been conducting his trade. It surfaced directly in front of the Queen. The Queen watched it happen and was left completely awestruck. At that moment, she understood; he, too, understood. It was Goddess Bhavani who had come. It was indeed the Mother Goddess. And the queen came to understand the truth as well. It is said that this very queen was the one who commissioned the construction of this Shakti Peetha temple, ensuring it was built with exquisite beauty. This is what is recounted as the Sthala Varalaru—the local legend or history—of this sacred site. That is the story behind it. So, I felt this was an interesting tale worth sharing, especially given its connection to the place. As for its location, it is said to be situated amidst the hills of Sitakunda—specifically, the Chandranath Hill range. As you may know, that entire region of Bangladesh is characterized by its mountainous terrain; thus, the temple is said to be nestled within those very hills. Image courtesy https://www.rudrakshahub.com/blogs/daily-blogs
What's inside:
Cultural Connect: "Weaver of Spheres" by Thulasinathan Kandasamy Before the first vibration of time, there was only the Void—the Nirguna Brahman. It was a silence so absolute it was indistinguishable from non-existence. But within this stillness, a ripple of desire occurred: the 'Will to Be.' From this spark, the formless took form as Tripura Sundari, the Empress of the Three Cities. She did not merely create the universe; she projected it as a kaleidoscope of her own bliss (Ananda). In the ancient Orphic mysteries of Greece, the universe was seen as a "Cosmic Egg" wrapped in the serpent of Time. The first-born deity, Phanes, was the "Revealer" who brought light to the dark. This mirrors the Lalita Sahasranama perfectly. Tripura Sundari is the Prakasha (Light) and Vimarsha (Reflection). She is the cosmic architect who understands that reality is not solid matter, but a mathematical projection of divine desire. To the practitioner, the universe is a Sri Yantra—a complex geometry of intersecting triangles. To the Neoplatonist, the universe is a series of "Emanations" from the One. Both traditions agree: the "Hardware" of the universe is built on the sacred geometry of awareness. In Western philosophy, the Stoics and Platonists spoke of the Anima Mundi, or the Soul of the World. Like Shakti, the Anima Mundi is the feminine intelligence that mediates between the unknowable Source and the physical world. She is the "Electric Glue" that holds the atoms together. As Above, So Below The Hermetic axiom "As Above, So Below" finds its heartbeat in the concept of the Microcosm. The European alchemists sought the Materia Prima—the primordial substance that could be transformed into gold. They were, in essence, seeking the Kundalini Shakti. The story of Tripura Sundari tells us that the same beauty that governs the orbits of the planets is the same beauty that creates the symmetry of a flower or the pulse in your wrist. The macrocosm and microcosm are entangled in a single web of grace. Tripura Sundari is called "The Beautiful One of the Three Cities" (Waking, Dreaming, and Deep Sleep). She holds the flowery arrows of the five senses and the sugarcane bow of the mind. In the Orphic tradition, this is echoed by Eros (the primordial love) who draws all things toward unity.Whether through the lens of the Greek initiates or the Indian seers, the conclusion remains: The universe is not a cold machine; it is a living, breathing Mother—an intelligent field of beauty that we do not merely inhabit, but are. Image courtesy: https://hindupad.com/
Sri Lalitha Sahasranama Stotram describes the beauty and magnificence of Goddess foot nails (nails) in a hymn :“Nakhadidhiti Sanchanna Namajjana Tamoguna”. Meaning of this is , Nakha means nails. Didhiti is the radiance or brilliance or light. “Nakhadidhiti” = the shining light from Her nails. Sanchanna means covered or enveloped or pervaded, Namajjana Nama means those who bow, i.e.,devotees. Jana means people. “Namajjana” means those who surrender or bow to Lalitha. Tamoguna is nothing but the quality of darkness, ignorance, or inertia. When devotees bow down to the feet of Goddess Lalitha, with the light, the radiance that is coming out of her toe nails, will completely remove the ignorance in our heart, as well as the darkness within us will vanish. Usually, you need sunlight or moonlight to drive away darkness. But here, Goddess Lalitha is beautifully described as the supreme divinity by saying that the light of her toe nails is enough to dispel the darkness called 'ignorance' which exists in the hearts of devotees. This name itself conveys the glory of Goddess Lalitha’s feet. According to the language of Sri Vidhyaranya, the devotee is able to conquer the Arishadvargas, Tamoguna and gain knowledge just by relying on her feet. The inner meaning behind this hymn in Sri Lalitha Sahasranama is very deep. More than just an outward aesthetic description, it also represents a spiritual path of practice. 1. The elimination of Tamoguna. Humans have three qualities: Sattva, Rajo, Thamo Guna qualities, 'selfishness' means ignorance, laziness, and stubbornness. Just as light is needed to remove darkness, 'light of knowledge' is needed to remove ignorance in mind. This means that the light that comes out from the toenails of the mother (Nakhadidithi) will defeat that ignorance within us. 2. The peculiarity of the foot prayer. Usually we touch someone's feet when we salute our elders, Gurus and the divine souls. When we bow down, the ego (Ego) within us will perish when we bow our head. When a devotee places his head near the feet of Goddess Lalitha, the light of her toenails falls directly on the devotee's head (knowledge center). Thus, the ignorance within us will vanish the darkness. 3. ''Thamassu' doesn't just mean darkness. Spiritually, 'Thamassu' means magic. The greatest darkness is that we don't know who we are. Mother's nail light removes that magic veil and realizes the truth that "You are divine nature". 4. The sign of the moon arts is The ten toe nails of the Goddess are compared to “Ten Moon” (Dashachandra Nibha Prakasha). The moon is the master of the mind. Our mind is fragile, it can spread in ten directions. When a devotee is at the feet of Goddess Lalitha, the cool light of those ten moons will calm our mind and give us ultimate peace. Our elders say that remembering this name will remove the fears and confusion in the mind and give us the power to make the right decisions. Srimatre Namaha Balambika charanam. Image courtesy https://en.wikipedia.org/wiki/Tripura_Sundari
Devotee Speaks: "Lalitha", by Smt. Roopa V Rajan
Below is the integration of Agasthiar’s Pancha Bhūta with Bālā Tripurā Sundarī, how the five elements dissolve into the ever young Goddess within. Agasthiar says: “Aindhum avalē; avalē aindhum”. The five are She; She alone is the five. Bālā is not above the five elements, but Bala is the secret harmony of all five elements. We see all the five elements with Bala. PṚTHVĪ (Earth) BĀLĀ AS STABILITY OF INNOCENCE. Siddhar insights are Earth is weight, memory, karma. When an unrefined earth element brings heaviness, depression, and inertia. Bālā’ in Action. Bālā lightens Earth. She removes karmic heaviness, brings childlike trust, softens rigid self-identity. Hence it brings out our Inner recognition: “I am held by the Mother.” Result: Safety without fear JALA (Water) BĀLĀ AS SWEET FLOW. Siddha Insight: Water is emotion, attachment, and longing. Bālā’s Action: She purifies emotion without suppression. Turns grief into tenderness. Desire into devotion. Loneliness into intimacy. Inner recognition: “What I feel is allowed by Goddess”. Result: Emotional healing. AGNI (Fire) BĀLĀ AS GENTLE TRANSFORMATION. Siddha Insight: Fire wrongly used creates anger, and burning thoughts. Bālā’s Action: She cools the fire without extinguishing it. Our Ego in fire becomes inner light. Effort becomes effortless clarity. Inner recognition: “I don’t need to fight to know.” Result: Peaceful intelligence. VĀYU (Air) BĀLĀ AS RHYTHM OF PRĀṆA. Siddha Insight: Air governs thought speed and anxiety. Bālā’s Action. She slows the breath naturally. Thoughts lose urgency. The mind becomes playful, not restless. Inner recognition:“Life breathes me.” Result: Mental lightness ĀKĀŚA (Ether) BĀLĀ AS EVER-PRESENT AWARENESS Siddha Insight: Ether is space, silence, consciousness. Bālā’s Action: She reveals awareness as sweetness, not void. Silence becomes loving, Emptiness becomes fullness. Inner recognition: “I am not empty—I am being held.” Result: Non-dual bliss. AGASTHIAR’S SECRET: BĀLĀ AS THE SIXTH ELEMENT Agasthiar reveals: The five elements dissolve into a sixth state, called Sukshma Chaitanya that is BĀLĀ. Bala is Consciousness before division, joy before desire, Knowledge before thought. BĀLĀ MANTRA AS PANCHA BHŪTA KEY ॐ ऐं क्लीं सौः Agasthiar’s inner mapping: AIM comprise Ether + Air (Awareness & movement), KLĪM comprise Fire + Water (Transformation & devotion) SAUḤ comprise Earth dissolving into bliss. FINAL REALISATION (Agasthiar’s Essence): “When the elements rest in love, the Goddess appears as youth. When effort ends, Bālā remains.” Bālā is not attained. She is remembered. Balambika Charanam
Know your Mythology: "The Lioness and the Lotus", by Thulasinathan Kandasamy The Sacred Alchemy of the Divine Eye The Radiance of Beginnings: In the ancient age, when the world was young and the sun walked close to the earth, there reigned the Great Solar Lord—the source of light, life, and cosmic order. In the Egyptian sands, he was called Ra; in our sacred lands, we know this primordial radiance as Lord Shiva, the silent foundation of all existence. From his breath came the gods, and from his will flowed a perfect harmony. Father and Mother were never separate; they existed as the heat within the sun, the meaning within the word. But as the eons passed, humanity grew cold. They turned away from the Truth (Dharma) and began to live in the shadows of arrogance. The Great Lord beheld this and felt a deep stirring—not of mere anger, but a profound necessity to restore balance to a world slipping into the "Maya" of ego. The Descent of Flame From the blazing fire of his eye—that same Third Eye that consumes the universe—he brought forth a power. She was not a separate being, but his own essence manifested as fierce protection. To the Egyptians, she arose as Sekhmet, the Lioness of Flame. To us, she is the beloved Maa Prathyangira, the Ugra-Shakti who shields the righteous. Her eyes burned like the desert noon, and her roar was the voice of divine justice. She descended not out of cruelty, but as the "Fierce Compassion" that destroys illusion. Where falsehood reigned, her light cut through it like a blade. Where pride had taken root, she uprooted it with an iron will, restoring the forgotten rhythm of the universe. The Necessity of Grace Yet, the fire of the Lioness was vast—so vast that even the heavens trembled. For once the divine force of destruction is awakened, it does not easily withdraw. Seeing the world at the brink of being consumed by the very light meant to save it, the Lord understood a timeless truth: “Power must be tempered with Grace.” To soothe the Lioness, the Lord prepared a great offering—a river of red, shining like blood yet sweet as nectar. As the Goddess drank, the white-hot fire within her began to soften. The storm of her wrath gave way to a crystalline stillness. The Sharabeshwara aspect of the Lord provided the grounding peace that allowed the Mother’s fury to subside into wisdom. The Radiant Return As the sun dipped toward the horizon, her fierce aspect dissolved into a sublime serenity. She rose again—not as the blazing destroyer, but as the gentle and radiant Hathor, known to us in her youthful, wise, and nurturing form as Maa Balambika. The roar of the lioness had become the song of the world. The fierce Prathyangira had revealed her heart as the tender Mother. This story reminds us that while justice protects the world, it is Love—the eternal union of Shakti and Shiva —that sustains it. A Note on Universal Truth While the names change across sands and centuries—from Ra and Sekhmet to Lord Shiva and Maa Prathyangira—the "Source of Truth" remains one. Whether she appears as the Lioness to guard us or as Balambika to guide us, she is the same Mother. This story serves as a reminder that the Divine uses many masks to lead us back to the same Light. Image courtesy: https://en.wikipedia.org/wiki/Pratyangira
Devotee Speaks: "Lalitha", by Smt. Roopa V Rajan Sri Lalitha Sahasranama Stotram describes the beauty and magnificence of Goddess foot nails (nails) in a hymn :“Nakhadidhiti Sanchanna Namajjana Tamoguna”. Meaning of this is, Nakha means nails. Didhiti is the radiance or brilliance or light. “Nakhadidhiti” = the shining light from Her nails. Sanchanna means covered or enveloped or pervaded, Namajjana Nama means those who bow, i.e.,devotees. Jana means people. “Namajjana” means those who surrender or bow to Lalitha. Tamoguna is nothing but the quality of darkness, ignorance, or inertia. When devotees bow down to the feet of Goddess Lalitha, with the light, the radiance that is coming out of her toe nails, will completely remove the ignorance in our heart, as well as the darkness within us will vanish. Usually, you need sunlight or moonlight to drive away darkness. But here, Goddess Lalitha is beautifully described as the supreme divinity by saying that the light of her toe nails is enough to dispel the darkness called 'ignorance' which exists in the hearts of devotees. This name itself conveys the glory of Goddess Lalitha’s feet. According to the language of Sri Vidhyaranya, the devotee is able to conquer the Arishadvargas, Tamoguna and gain knowledge just by relying on her feet. The inner meaning behind this hymn in Sri Lalitha Sahasranama is very deep. More than just an outward aesthetic description, it also represents a spiritual path of practice. 1. The elimination of Tamoguna: Humans have three qualities: Sattva, Rajo, Thamo Guna qualities, 'selfishness' means ignorance, laziness, and stubbornness. Just as light is needed to remove darkness, 'light of knowledge' is needed to remove ignorance in mind. This means that the light that comes out from the toenails of the mother (Nakhadidithi) will defeat that ignorance within us. 2. The peculiarity of the foot prayer: Usually we touch someone's feet when we salute our elders, Gurus and the divine souls. When we bow down, the ego (Ego) within us will perish when we bow our head. When a devotee places his head near the feet of Goddess Lalitha, the light of her toenails falls directly on the devotee's head (knowledge center). Thus, the ignorance within us will vanish the darkness. 3. ''Thamassu' doesn't just mean darkness: Spiritually, 'Thamassu' means magic. The greatest darkness is that we don't know who we are. Mother's nail light removes that magic veil and realizes the truth that "You are divine nature". 4. The sign of the moon arts is : The ten toe nails of the Goddess are compared to “Ten Moon” (Dashachandra Nibha Prakasha). The moon is the master of the mind. Our mind is fragile, it can spread in ten directions. When a devotee is at the feet of Goddess Lalitha, the cool light of those ten moons will calm our mind and give us ultimate peace. Our elders say that remembering this name will remove the fears and confusion in the mind and give us the power to make the right decisions. Srimatre Namaha Balambika charanam. Image courtesy https://en.wikipedia.org/wiki/Tripura_Sundari
Kshetra Varalaru series: "Sri Bhavani - Shakti peetam at Bangladesh", by Smt. Indumathi Salutations to the Divine Gurus. Refuge at the feet of Goddess Balambika. The next temple we are going to visit is a Shakti Peetha—the Bhavanipur Shakti Peetha, which is situated in Bangladesh. Thus, it is known as the Bhabanipur Shakti Peetha in Bangladesh. As for its exact location, it is situated in the Bogra district—within the Rajshahi Division of Bangladesh—approximately twenty-eight kilometers from the town of Sherpur. It is at this very spot that the temple of Mother Bhavani—the Shakti Peetha—is established. Regarding its significance, legend has it that an ornament worn on the Goddess's foot fell at this specific site. As we have previously discussed—whether it is an ornament or a physical limb of the Goddess that falls at a location—that site is designated as a Shakti Peetha. Thus, in accordance with the faith of Hindu pilgrims, this site is revered and celebrated as a Shakti Peetha. In connection with this, a significant historical narrative is recounted. It is a very interesting story. Near this temple is said to be a small pond. In fact, the pond itself bears a specific name: the "Sanguvalai Temple" pond—or rather, the "Sanguvalaiyal Pond" (Conch Bangle Pond). In English, it is referred to as the "Pond of Conch Bangles." As you may know, Bengalis—unlike us—do not typically wear gold bangles. For married women, or whenever a wedding or any auspicious ceremony takes place, it is these conch-shell bangles that they choose to wear. So, against this backdrop, there once lived a poor man who made his living selling these bangles. One day, a small child approached him and asked, "Please give me those conch bangles." Seeing that she was just a little girl, he agreed; saying, "Very well," he handed the conch bangles over to her—a young girl, appearing much like a maiden. Now, naturally, she was expected to pay for them, wasn't she? So, he asked for payment. Being a poor merchant, he inquired, "What will you give me in exchange? Will you pay me in cash?" To this, she replied, "Oh, I do not have any money with me right now. You see Rani Bhavani—the Queen of this town?" "Go and collect it from her. I am, after all, a girl from her very own family," she said. Immediately, agreeing to this, the man—the merchant—set off. The merchant went and made his inquiry: "Your daughter came and took some goods from me; she told me to collect the payment from you." The woman was utterly stunned, for she did not have a child of that description at all. Immediately, thinking to herself, "I must see exactly what is going on here," she returned with him and asked, "At which specific spot did she make this request?" He led her to that exact location and pointed it out. When they looked at the spot, the girl was nowhere to be seen. Just as the thought crossed the merchant's mind—wondering if he was perhaps lying or imagining things—money suddenly emerged from the very pond beside which he had been conducting his trade. It surfaced directly in front of the Queen. The Queen watched it happen and was left completely awestruck. At that moment, she understood; he, too, understood. It was Goddess Bhavani who had come. It was indeed the Mother Goddess. And the queen came to understand the truth as well. It is said that this very queen was the one who commissioned the construction of this Shakti Peetha temple, ensuring it was built with exquisite beauty. This is what is recounted as the Sthala Varalaru—the local legend or history—of this sacred site. That is the story behind it. As for its location, it is said to be situated amidst the hills of Sitakunda—specifically, the Chandranath Hill range. As you may know, that entire region of Bangladesh is characterized by its mountainous terrain; thus, the temple is said to be nestled within those very hills Image courtesy https://www.rudrakshahub.com/blogs/daily-blogs
Cultural Connect: "Weaver of Spheres" by Thulasinathan Kandasamy Before the first vibration of time, there was only the Void—the Nirguna Brahman. It was a silence so absolute it was indistinguishable from non-existence. But within this stillness, a ripple of desire occurred: the 'Will to Be.' From this spark, the formless took form as Tripura Sundari, the Empress of the Three Cities. She did not merely create the universe; she projected it as a kaleidoscope of her own bliss (Ananda). In the ancient Orphic mysteries of Greece, the universe was seen as a "Cosmic Egg" wrapped in the serpent of Time. The first-born deity, Phanes, was the "Revealer" who brought light to the dark. This mirrors the Lalita Sahasranama perfectly. Tripura Sundari is the Prakasha (Light) and Vimarsha (Reflection). She is the cosmic architect who understands that reality is not solid matter, but a mathematical projection of divine desire. To the practitioner, the universe is a Sri Yantra—a complex geometry of intersecting triangles. To the Neoplatonist, the universe is a series of "Emanations" from the One. Both traditions agree: the "Hardware" of the universe is built on the sacred geometry of awareness. In Western philosophy, the Stoics and Platonists spoke of the Anima Mundi, or the Soul of the World. Like Shakti, the Anima Mundi is the feminine intelligence that mediates between the unknowable Source and the physical world. She is the "Electric Glue" that holds the atoms together. As Above, So Below The Hermetic axiom "As Above, So Below" finds its heartbeat in the concept of the Microcosm. The European alchemists sought the Materia Prima—the primordial substance that could be transformed into gold. They were, in essence, seeking the Kundalini Shakti. The story of Tripura Sundari tells us that the same beauty that governs the orbits of the planets is the same beauty that creates the symmetry of a flower or the pulse in your wrist. The macrocosm and microcosm are entangled in a single web of grace. Tripura Sundari is called "The Beautiful One of the Three Cities" (Waking, Dreaming, and Deep Sleep). She holds the flowery arrows of the five senses and the sugarcane bow of the mind. In the Orphic tradition, this is echoed by Eros (the primordial love) who draws all things toward unity. Whether through the lens of the Greek initiates or the Indian seers, the conclusion remains: The universe is not a cold machine; it is a living, breathing Mother—an intelligent field of beauty that we do not merely inhabit, but are. Image courtesy: https://hindupad.com/