#nakshatras | vindelllas (2024)

absolutely hun! i truly adore all of you vishakha lagna natives <3

the beauty of vishakha ⚡️: an analysis of destiny, love, femininity, and the creative path (part I)

⚡️taylor swift: scorpio vishakha lagna

i encourage anyone wishing to understand the influences of shukra, brihaspati, and vishakha to read this post, as i intertwine their respective principles throughout! additionally, as you read this post, please listen to this vishakha playlist i made for the full experience:

*MAJOR TW// i discuss a lot of potentially triggering topics, i.e. abuse and the s*x industry.

⚖️ in the beginning of the libra rashi, we learned how to accumulate merit throughout life from the punya cayani shakti (the shakti of the chitra nakshatra). bestowing the innate ability to find the equilibrium between difficulties and enemies (the virgo rashi/sixth house) and law (a characteristic of the seventh house). in doing so, chitra combines the qualities of both law and truth to produce fruitfulness. chitra is the lesson that shows us the power in righteousness, accumulating the astute intellect, and applying the dharmic principles throughout all aspects of life, while simultaneously savoring and enjoying the sweet progeny that is the fruit of our labor. it’s the joy of the most tired miner who eventually uncovers the rarest jewel of them all. in the heart of libra’s rashi is swati, who accumulates the most venusian energies out of the rashi, extracting the energies of shukra and wielding it’s airy element under the supervision of vayu (the god of wind). these natives have the unique pradhvamsa shakti, the ability to scatter like the wind. it can mold and move ether and transform the prana of the body. while having this shakti is incredibly powerful, these natives run the risk of destructing what the wished to only reconfigure. this disharmony is often a result of abiding in the shadow states of rahu and shukra. the ethereal winds may heal or harm but will always result in an end product of transformative breakthroughs or major energetic shifts. swati has this almost indescribable freedom of motion and movement and distortion. they are not held to the same responsibilities of others because they control what the concept of responsibility is in itself. their only fault is struggling with building consistent endurance and perseverance. however, this is the only way they can master their beautiful gifts and grant eternal existence to not only the things they morph/reconfigure, but grant eternal existence to their higher state. in the final portion of the libra rashi, vishakha’s fiery path leads us to the destination of scorpio, but this energy differs from chitra or swati. it is the dawn of divine combination, the swirl of potent energies. vishakha is the shelter of shukra, kuja, ketu, brihaspati, indra, and agni. what lies on this path is both energetic cultivation and the lightning that which calls upon the cosmic powers bestowed by the divine.

🌸 the entire libra rashi is linked to kamala, the tenth mahavidya goddess. the goddess kamala is traditionally said to be linked to shukra and she is considered to be the supreme form of the tantric goddess. kamala is also considered to be a form of goddess lakshmi (the goddess of material fulfilment and contentment, luxury, and fertility who is also said to be a manifestation of shukra). hence, kamala is regarded as the tantric lakshmi. in her mahavidya state, kamala also bestows matters of lakshmi and shukra when she operates in her higher state, such as prosperity, fertility, and good fortune. kamala is often portrayed as making the gestures of boon-giving and fearlessness. she sits on a lotus and holds lotus blossoms in her two upper hands, correlating to her name meaning “lotus” (symbolic of the lotus of surya). while kamala is not a divine consort to a male deity, she is representative of the independent and all-supreme divine mother. kamala does represent divine auspiciousness that is birthed from the mother but she is not completely auspicious or solely devoted to matters of prosperity. it is sometimes said she is referred to as rudra, “the howling one”; ghora or bima, “the terrifying one”; and tamasi, “the dark one”. kamala encompasses the ugra, crocodile features of shukra and the rejuvenating purity of shukra. a common misconception about venusian natives is that they all inherently favor matters of lakshmi and want the finer, more luxurious aspects of life and only seek to embody the utmost refinery of the soul. what people fail to realize is that these concepts cannot be fulfilled or implemented until you understand and worship alakshmi (the goddess of misfortune and grief) and cross the figurative muddy waters to sit on the highest plain of utgrasati.

🔪 to clairfy, ugra is not solely associated with the vimshottari venusian nakshatras (bharani, purva phalguni, and purva ashadha) but also purva bhadrapada and magha. ugra is often translated as “fierce”, occasionally “angry”, but actually it is said to truly mean “utgrasati”, the etymology of ugra. the term utgrasati means “one who sits at the highest plane”. this highest plane/realm being ugra. this is why it is common to see ugra dominant individuals, specifically women, who avidly play anti-hero hero characters or save others and use tactics of bodily discipline and weaponry in films. such as, lucy liu (possible bharani chandra) in “charlie’s angels”, uma thurman (bharani surya and magha lagna) in “kill bill”, and krysten ritter (purva bhadrapada lagna and magha chandra) in “jessica jones”. ugra has the ability to sit above on it’s higher plane but also is capable of bending down and elevating others to join them in this higher state. this is a quintessential characteristic of all ugra-influenced individuals. most people struggle with building the capability and personal foundation to save the lives of others, sometimes even ourselves. however, the ugra devatas, naturally wish to exalt their surroundings. the final venusian vimshottari nakshatra is the purva ashadha nakshatra. the shakti of this nakshatra is the varchograhana shakti. similar to the bharani, this shakti is correlated to the divine element of utmost femininity: water. as the varchograhana shakti uses the nature of water to bestow a heavenly like quality within and the ability to provide inner purification.

⛓ there is a specific cycle of death and rebirth that is referred to as samsara. in ancient texts samsarana, is said to mean "going around through a succession of states, birth, rebirth of living beings and the world", without obstruction. it is a metempsychosis of sorts that represents the transmigration of the soul. samsara is frequently contrasted with the concept of moksha: representing spiritual liberation and enlightenment. the cycle of samsara is often repeated and executed involuntary throughout the lives of most people, it’s materialistic nature satisfies those who value luxurious expression of lavish means. this phenomenon establishes a false illusion of ownership over the world and their surroundings and can leave one forgetting about the necessity that is moksha. people mistake samsara for freedom but, in reality, it is binding you from moving into the spiritual realm of ugra. beyond the mystical well of the conjunction of libra and scorpio, there is an abundance of freedom and radiating heat from the nakshatras mula, purva ashadha, and uttara ashadha. these natives of vishakha must learn to crawl out of this well of comfort and contentment. it can be tempting to remain indulgent in samsara and the waters of maya and struggle with seeing beyond our current surroundings. simply reveling in the connection of all occurrences to ourselves and refusing to break the shackles of identity.

🌑 kali yuga is the fourth and present age of the world cycle of yugas or "ages." it is also the end of the four ages that comprise a cycle and is often referred to as the dark age of spiritual degeneration. when one is submerged in the throws of kali yuga, it is said that god will come in the same nakshatra and save you. this is because each yuga has a corresponding nakshatra associated with it. the yuga avtaara will come bearing that nakshatra as their janma/chandra nakshtra and will spread light to the world.

⭕️ each yuga is said to be connected to a certain rashi: satya yuga is connected to aries; treta yuga is connected to cancer; swapara yuga is connected to libra; and kali yuga is connected to the final movable rashi of capricorn. makara (otherwise known as capricorn) is defined by being encompassed in mysterious illusions and symbolisms which cannot be easily fathomed nor defined by the exoteric cycles of nature. these mysterious revelations refer to the core meaning of the capricorn rashi: the tropic of makara. the tropic of makara is theorized to be the seat of the guardians of this globe, correlating to the direction of capricorn facing north. the north direction is ruled by kubera (the god of wealth and guardian of the world). therefore, capricorn is relative to the spiritual impulse which guides the world towards its destiny. it is the process in which one universalizes the collective energy of this physical plane. during the universalizing of the people of this earth, there will be hardship and suffering. thus, activating our spiritual mechanism of involuntarily aligning our consciousness with thought currents and vibrations from the higher realms of existence and the governing powers of the universe. due to this distancing of oneself from samsara, on the material or maya realm of living, difficulties and dissatisfaction with contemporary expressions of wealth may arise, but inwardly the manifestation of makara will bring peace with one’s spiritual purpose.

💸 kubera’s mythology and etymology is the perfect analogy for the purpose of capricorn. as mentioned previously, kubera is considered to be the god of wealth and the god-king of the semi-divine yakshas (typically benevolent spirits who dwell in nature). kubera is often depicted as a dwarf, with a complexion adorned with lotus leaves, and a big belly. he is described as having three legs, only eight teeth, one eye, and being adorned with jewels. these descriptions of deformities, such as the broken teeth, three legs, three heads and four arms appear only in the later puranic texts. he holds a mace, a pomegranate, or a money bag in his hand and is occasionally seen carrying sheaf of jewels or a mongoose with him. kubera’s seemingly “unusual”looks symbolizes the external distancing of oneself through the rashi of capricorn, in order to further oneself spiritually. the pomegranate is a symbol of prosperity and fertility, similar to kubera’s yakshas and moksha-bestowing lord ganesha (who is said to be fond of fruits with seeds). as the pomegranate is fruitful and bountiful and cleansing, as the jnhm (pomegranate), was once used to treat infections by the ancient egyptians. whereas, in tibet, the mongoose is considered a symbol of kubera's victory over the nagas—the guardians of treasures. in addition to the mongoose being the solitary, victorious yoni which resides in primarily the capricorn rashi.

💰in the vishnudharmottara purana, kubera is described as the embodiment of both artha ("wealth, prosperity, glory") and arthashatras, the science of wealth. his iconography mirrors his association with artha, as his complexion is described as that of auspicious lotus leaves. he is adorned in golden clothes and ornaments, symbolizing his wealth. his left eye, the eye of chandra, is yellow, symbolizing his internal harmony and imagination. the vishnudharmottara purana further describes his face to be inclined to the left, sporting a beard and mustache, and with two small tusks protruding from the ends of his mouth, representing his powers to punish and to bestow favors. his wife riddhi, representing the journey of life, is seated on his left lap, with her left hand on the back of him and the right holding a ratna-patra (jewel-pot). whereas, kubera holds a gada (symbol of dandaniti: the administration of justice, standards, shakti, and the quasi-divinity of royalty) in his left pair of hands. he is also depicted bearing a lion—representing artha as well. whereas, two of the treasures, padma and shankha, stand beside him in human form, with their heads emerging from a lotus and a conch respectively. the lotus/padma being symbolic of the minerals and jewels in the himalayan lake and the conch shell/shankha corresponds with higher frequency universal sounds associated with hindu belief of musical spheres.

🐚 the sound of the conch shell or shankha symbolizes the sacred om sound (the essence of ultimate reality and conscience). vishnu holding the conch represents him as the god of sound. brahma vaivarta purana declares that shankha is the residence of both lakshmi and vishnu, as maa lakshmi is the consort of vishnu. due to shankha being the abode of lakshmi, bathing by the waters led through a shankha is considered as bathing with all holy waters at once and frees one from the cycle of births. it is even said the mere sight of the shankha dispels all sins as surya dispels the fog.

🌞 the third note in indian raga (a pattern of notes having characteristic intervals, rhythms, and embellishments) is the sweet sounding gandhara note. it is the first note that sounds harmonious and is extremely auspicious when audibly consumed. it is a good omen that is considered to be deva loka and determines whether a raga will be joyous major or sad minor. this essential role of determining the character of the raga, is symbolic of surya who rules our very self and personality in vedic astrology. interestingly enough, the swapta swara gandhara originated from the sound of a goat (the emblem of capricorn). now, the conch shell has been incorporated as one of the eight auspicious symbols (ashtamangala). the right-turning white conch shell (therefore, moving in the direction of yang/surya), represents the elegant, deep, melodious, interpenetrating and pervasive sound of buddhism, which awakens disciples from the deep slumber of ignorance and urges them to elevate oneself and ensure welfare of others. in this state/sound, we have learned the power of authority, judgement, and guardianship from kubera; how to cleanse and awaken ourselves in the shankha, determine our self/spirit in the solar purity of gandhara; and we are now able help others and embody utgra sati.

🌊 one of the aquatic nature of the water-, earth-, or mine-dwelling nine treasures (or nidhis) is the makara/crocodile. in the throws of kali yuga, it feels as if you are drowning in a deep, crocodile-infested trench. here in the capricorn rashi, even brihaspati is debilitated. in order to free ourselves from this trench, we must turn to the other guru: shukra. in kali yuga, another graha must uplift and aid lord brihaspati and the guru to the asuras is able to do so. because, in order to uplift others, we have to elevate ourselves so much so that we will not fall into the ditch of the shankhas we originally cleansed ourselves with. if our spirit is not stable enough, we will be incapable of helping others, as you cannot pour from an empty shell. because the ugra devatas are confidence in their internal composition and stability, natives of shukra have the ability to uplift those drowning in makara. this reflects the nature of the nakshatra of shukra and shankha: purva ashada. because of its residence in the sagittarius rashi, purva ashadha natives have the innate ability to battle, fight, and educate their surroundings to beautify the lives of others. this is why some astrologers theorize the yuga avatar is going to come in the nakshatra of purva ashadha, bearing both the knowledge of shukra and brihaspati. dharma can then be reinstatated. this is why the agni purana states that kubera should be installed in temples as seated on a goat and with a club in his hand. the goat being symbolic of the symbolism of makara and the club showing what it means to truly fight for others and the weaponry of the mind by simply aligning the opposing sides of knowledge within ourselves, embracing the guru of duality (shukra) and the guru of wisdom (brihaspati).

💎 similar to the first mahavidya kali (representative of shani), the tantric form of kamala embraces both the light and dark undercurrents of life, for she is totality. she understands the maya of samsara; the waters of shukra, shankha, and rudra and the bharani/purva ashadha shaktis required to cleanse ourselves; the power that results from the combination of ugra and tara, and the necessary duality of lakshmi and alakshmi. you can not reap the diamond, without sifting through the coal (chitra). you cannot gain or lose in life but only morph and reconfigure your surroundings as you flow through the currents (swati). in vishakha, you cannot reap the fertile crops of kamala without the ability to achieve our goals abundantly through the force of time (kali).

⚡️grace kelly: libra vishakha lagna

⚖️ in the libra rashi, particularly the vishakha nakshatra, we see themes and elements of sexual abundance and overstimulation of shukra driving one to exploring sexual spirituality or, in more disturbing circ*mstances, towards harmful sexuality. it is a reoccurring theme for western libra celebrities to be candid about their participation in tantric acts. think of celebrities like gwyneth paltrow (libra chitra surya), sting (libra swati surya and chandra), scarlett johansson (libra vishakha surya), sean combs (libra swati surya), and heather graham (libra swati chandra) who have been frequently quoted for their appreciation of tantra. however, it is important to note that the common western popularization of tantric practices is typically inaccurate and both neglects the vast majority of nonsexual practices of tantra and sensationalizes what seems most appealing or convenient at that time. tantra should be taken seriously and not just flirtatiously used in a terminological sense. another person’s culture, religious traditions, or spirituality should be approached with respect and not used as a trendy fashion statement.

📖 the tantric books themselves act as a guide and explorative avenue for growth and harnessing our libido and intertwining that with our spirituality. one of the many characteristics of tantra is its use of mantras. while i implore you all to delve into the tantric books to familiarize yourself with this concept, i will try to sum up this concept as easily as possible. in the chapter pertaining to mantras in tantra, terrestrial water is drawn by the power of surya and rises to the solar region. it is this power of the sun that is referred to as rudra. the three gunas, sattva, rajas, and tamas, are respectfully considered to be the creatrix, preservatrix, and destructress, as these three shaktis whose forms are meditated upon in the solar orb at the three sandhyās. in the creation, preservation, and destruction, which take place in our everyday lives: the morning sandhyā is a period of creation, the noon sandhyā is a period of preservation or maintenance, and the evening sandhyā is a period of destruction. in the morning, the world is freed from sleep, the tāmasa shakti of dissolution (the dominant shakti at the time) is loosened from the grasp of darkness and awakes. during the night, the universe, although existing as before, remains covered by a film of tāmasa, “so that, notwithstanding its actual existence, it is not perceived by jīvas in a state of sleep. for this reason, the universe must then be considered “non-existing,” otherwise dissolution' has no meaning.”. in dissolution, the world of jivas exists in the womb of prakriti in a subtle form as seeds and then later the first blooms of creation appearing through the power of brahmashakti. during this daily of form of creation, brahmashakti’s shakti, meaning “to make things able”, bestows the power by which things can happen or transpire. that power belongs to brahman/god and can manifest in a variety of ways. at sanndhya, the sadhaka worships the three powers of the brahman as the creator (brahma/brahmani), the maintainer (vishnu/vaishnavi), and the destroyer of all things (shiva/maheshvari).

✨ in the evening, when the world of jivas participated in its daily activities and the weary of body seek to enjoy the blessing and balm of the sleep of dissolution, it is then that shivashakti, she who gives the unalloyed bliss of the enjoyment of the balm of dreamless sleep and is the destructress of the universe, appears (in order to provide that balm) in the solar orb in the form of maheshvari. she covers life with the veil of tamasa shakti and drops the curtain of sleep on the samsara, the maya playground of error, and dispels from the minds of jivas all the impressions which they have received from the outer world. tantra describes mahāprakriti as the aggregate of the three shaktis of creation, preservation, and destruction who is composed of the three gunas of sattva, rajas, and tamas. “it is not that when one of the guna is in play that the other gunas remain dormant. the eternal play of creation, preservation, and destruction is ever equally present in her, but we fail to recognize this with our imperfect vision. let us suppose, for instance, that we see a hungry tiger killing a deer. we think that it is the play of destruction of the mother of the world. but a keener insight into the incident will make it clear to us that even in this play of destruction there equally exists, in succession, the play of the three gunas of her whose substance is the three gunas. we see only the destruction of the deer. but although this is a case of destruction so far as the deer is concerned, it is a case of preservation if we look at it from the point of view of the tiger. for the tiger's body is preserved by the blood and flesh of that deer. again, the generation of the tiger's cub is due to the maintenance of the tiger's body. consequently, what is destruction for the deer is creation for the tiger's cub, just as our own eating involves destruction of the seed-power of the tree, preservation of ourselves, and creation of our children.”.

🌬 this is why it must be understood that in mahaprakriti, the three manifesting forms of the three gunas exist equally and always, but they appear as creation to some, preservation to others, and destruction to the rest. for example, the same water which quenches the thirst and gives life to one man may give death by drowning to another. what do you associate water with? the power of preserving life or the power of destroying it? the makara is born in that same water and lives in it and will not survive for a long period of time without it. are we to understand from this that water has the power of creating and preserving life? the same sunshine that destroys the life of the wayfarer oppressed by summer heat in some far-stretching plain gives life to the cold traveller whose limbs have been stiffened by the fall of snow. does this indicate the life-destroying power or the life-preserving power of sunshine? without sunshine, trees, shrubs, and flowers would dwindle and die. however, this very sunshine draws water from the earth and carries it to the solar orb.

☀️ the energy which draws water from the earth is rudra, meaning “terrible”. the same solar energy which previously manifested as a nourishing different form of energy then assumes a tamasic role, due to its purpose for drawing water. this is why, although it is solar energy, it is simultaneously rudra. thus, sunshine is called “rudra”. the term “sun” is used to describe a mass of compact energy, while rudra or sunshine is the name of the rays which it scatters off of its surface. tantra states, “the difference between the sunshine and the sun is the same as that between the waves of the sea and the sea. just as in the sea, water exists in a collected form, so in the solar orb energy exists in such form. just as in the sea single waves heave eternally, so do waves of energy in the solar orb. it must, therefore, be understood that wave is the same thing as water, and sunshine is the same thing as sun.”. the solar orb lies above (terrestrial water) and terrestrial water lies below (the sun).

⚡️ the issue with vishakha natives is they struggle with their perception of the three forces (creatrix, preservatrix, and destructress) and the gunas. they act as the tiger of mahaprakriti, the yoni of vishakha, and wish to stalk their prey to feed and preserve their ambitions, only to find themselves blinded by their pursuit and embodying the forceful state of rudra and drying their well of makara before they can peacefully drink from it. thus, eradicating their own personal preservation of spirit. they become blinded by power, this, in culmination with their innate spiritual abilities, can result in a multitude of dangerous behaviors (that i will elaborate later on).

⚡️vanessa paradis: libra vishakha lagna

🪷 during my hiatus from this platform, i heavily divulged into venusian manners and projections. as i was perusing the pages of “the life of the mind” by hannah arendt (purva phalguni chandra), i was further awakened to the cosmological significance of the teaching of shukra vs brihaspati.

🪬 i quote arendt’s words on understanding the thinking process of the mind from a metaphysical (the transcendence of reality) vs philosophical (the fundamental essence of reality) standpoint: “was it not precisely the discovery of a discrepancy between words, the medium in which we think, and the world of appearances, the medium in which we live, that led to philosophy and metaphysics in the first place? except that in the beginning, it was thinking, that was held to reach truth or true being, while by the end the emphasis has shifted to what is given to perception and to the implements by which we can extend and sharpen our bottle he senses. it seems only natural that the former will discriminate against appearances and the ladder against that thought”. it was often considered that both metaphysics and philosophy stem from the origin of poetry, an undoubtedly knowledgeable plane. therein lies a distinct need for intellect and knowledge in order to further cosmological understanding. similar to the kabbalah, brihaspati and shukra are intertwined via the chesed (jupiter) and (netsach) branches, which are immediately connected to each other. chesed is the love in which one feels for god and is the basis of mercy. it’s the charitable sustenance that nourishes those around someone. this is why it is able to channel netsach, as shukra is the mercy incarnate, hence it’s connotation with the “fall” or lucifer himself. whereas, jupiter gives thanks for the mercy and receives. venus is constantly discharging (hence, the popular “shukra/s*men” association) and projecting its desires onto the metaphysical. brihaspati is the nourishment within, his process is not as direct or refined, but slower and atomic. similar to how fat takes awhile to accumulate in the body, so too do brihaspati’s works take awhile to accumulate into philosophical fruition.

🫧 a primary example of this distinction is david lynch (libra vishakha lagna) in an interview with charlie rose in 1997. he describes his distinction between daytime (the summit of terrestrial waters) and night time (the peak of jīvas) dreams and the energetic properties of both. he states he prefers day dreams, as it is a meditative practice in which “the dream takes over” (aka the waters of the outer plane). furthermore, he describes this practice as an “unraveling” without intervention. the presentation of creative works is revealed to him, as the turbulent spirits of rudra (the storm) are eclipsed within the mind. this is ultimately why many vishakha natives (specifically lagna placements, as it is the sun being eclipsed by the energies of indragni) benefit from utilizing their minds during the day to create and refine their artistic endeavors. for example, many venusian/jupitarian ceos have been quoted to use the daytime as a primary form of artistic discipline, such as tim cook (libra swati surya native) who was quoted to arise at “3:45 am” and dan lee (libra vishakha surya native) was quoted to arise at “3:30 am”.

🎨 later in the interview, he states that when going to therapy, he asked the therapist “could this process i am going through affect creativity?”. when the therapist agreed that aiding in his mental distresses could create blockage in lynch’s creativity, he stopped going to prevent further artistic stifling. lynch later says he does not understand the very notion of creativity, but he does understand the “the manifestation of the idea in the material world” and the beauty of such; alluding to the importance of trusting the maddening process of artistry.

🪄 he sacrifices the stability of his mind in the future for the purpose of arousing creativity in his works. he wants to nourish the material plane with the artistic fats of the mind. this is why in works by jupitarian natives, such as twin peaks (directed by david lynch), casino (directed by scorpio vishakha surya and aquarius purva bhadrapada chandra native martin scorsese), and taxi driver (also directed by martin scorsese), there is this distinct build up or accumulation of insanity. it’s losing yourself to the creativity of the mind and for the sake of encouraging the poetic nature of philosophy. it’s the unraveling to receive and bestow mercy. it’s the masculine principle of the mind — philosophy. shukra is contrasted, in the sense that brihaspati is the benefic masculine and shukra is the malefic feminine (when untamed). it’s the dissent into the madness of repetition. it’s the “fall” personified. brihaspati remains conscious of his choice to crawl into the darkest depths to further the receptivity of the mind, but shukra does not. shukra slowly becomes cloaked in the veil of illusions (rahu) and steadily starts to lose all grip of the metaphysical. time and time again, shukra works capture heavy or disturbing mental imageries that illustrate the mind of the torturers in dante’s inferno (written by a vishakha chandra). vishakha acts as the astral guide to dante as he journeys through shukra (hell). symbolizing shukra’s corrosive mental state, think of films such as “black swan”, “to the bone”, “mad love”, and “girl, interrupted” who were largely influenced by venusian natives, all of which resemble the harsh realities one’s venusian-bound mentality imposes on their surroundings.

🦋 this distinct harshness of intellect is further exemplified by possible purva ashadha native james mangold’s interview about why his film, “logan”, had to be rated R. mangold responds that emotion (brihaspati) and bloodshed (shukra) are almost the same. it is the primordial, renaissance, biblical fate of film and fairytales. the mature connotation of rated R films gives mangold the freedom to explore his creativity without restriction of intensity. it is poetry in the sense of unconsciously (metaphysical pursuit) and consciously (philosophical pursuit) depriving the mind of sanity for the sake of art.

📕 this artistic difference is ultimately why brihaspati pasts the testaments of sanjeevini vidya through repentance and mercy and shukra fails and is cursed as a result in the following story of sanjeevini, vidya, shukra and brihaspati:

🪞“the devas and asuras were at war from time to time. however, whenever there was a war, shukra brought the slain asuras back to life with his sanjeevini vidya. this meant that the devas had to fight the same asuras repeatedly. they went to their guru brihaspati and requested that he learn this vidya. they suggested that brihaspati send his son kach to shukra in order to learn the secret sanjeevini vidya. shukra was very fond of his daughter devayani. so, the devatas suggested that kach also become friendly with her. brihaspati at first did not agree to this scheme. but later he decided that it was the best way for the devatas and sent his son kach to shukracharya. kach went to shukra and requested to be his disciple. all the asuras were unhappy about this. they warned shukra that this was a plot to learn the secrets of shukra. they were not in favour of their enemies’ guru’s son becoming shukra’s disciple. however, shukra could not say no to a request to learn from him. so he conditionally accepted kach as his disciple for a period of 1000 years only. kach was a devoted disciple. he served shukra with all his heart and soul. devayani was very impressed by his great devotion and faithfulness. she fell in love with kach. she was always watchful for him and would worry if he was late. kach, however, did not have any romantic feelings for her. he saw devayani as his guru’s daughter and nothing more.as the 1000 years of kach’s agreed upon tenure as a disciple of shukra was nearing its end, the asuras were uneasy. they plotted to kill him so to prevent the knowledge of shukra being taken back to brihaspati. the presumed that since devayani was in love with kach, he would have easy access to the sanjeevini vidya. they plotted amongst themselves to kill him. when kach went to graze cattle in the forest they killed him and abandoned his body for the wild animals to devour. devayani, however, was watching for the return of kach. when he failed to return from the forest she alerted her father. she declared that he was killed by the asuras and insisted that her father should go and look for him. though shukra did not believe her he investigated and found that it was the truth. he then used his sanjeevini vidya to bring kach back to life. the asuras failed in the first attempt on kach’s life. but they were still eager to kill him. the second time they killed kach they ground his body to a paste and put it in the sea. however, shukracharya used his knowledge and brought kach back to life again. the asuras were still not deterred. they killed kach yet again and burned his body. the asuras then took these ashes of kach and dissolved it in a wine goblet. they served this wine to shukra and he drank it. devayani was worried about the absence of kach. she again tried to persuade her father to find him. shukra was fed up with repeated requests and told her to forget about kach. but devayani was not easy to put off. she threatened that she would kill herself if kach was not found. shukra was very attached to his daughter and called out asking kach where he was.

🔥 “kach replied from the stomach of shukra that he was here. shukra asked how he entered his stomach and kach narrated the whole story. when shukra asked him to come out he refused to do so, saying that if he did, it would kill shukra. he did not want to commit the sin of killing a guru. deveyani suggested that her father teach her the sanjeevini vidya. this would enable her to bring him back to life after kach exited his body. shukra had no choice but to teach devayani the sanjeevini vidya. while he taught her, kach who was in his stomach also learned the same.shukra then ordered kach to exit his body. kach came out of his body and shukra died. devayani then brought her father back to life. shukra was furious with the asuras and cursed alcohol for making him speak what should not be spoken. as kach’s discipleship was over he wished to leave. devayani wanted to marry him as she was so in love with him.

💧”the king of the asuras was king vrishparva. he had a beautiful daughter sharmishta. shukra was the guru of the asuras. this meant that sharmishta and devayani were good friends. once they went to a lake with their friends. they left their clothes by the lake and were playing with their friends when suddenly indra happened to come that way. the group of friends rushed to the banks of the lake and hurriedly put on their clothes. in the confusion, sharmishtha inadvertently wore devayani’s clothes. this annoyed devayani. she rebuked her friend saying that it was improper for sharmsh*tha to wear her clothes.though sharmistha explained that the incident was not intentional and only happened because of their being in a hurry, devayani would not relent. she was still angry. sharmishtha lost her temper as well and taking off devayani’s clothes, threw them into a dry well and went back home. devayani was angry for a while and then started calling for help. at this time king yayati was hunting in the nearby forest. he approached the well looking for water to quench his thirst when he heard the cries of devayani. he rescued her and covered her with his own clothes. devayani thanked him profusely. she explained the incidents that led to her predicament. she requested him to marry her since he had seen her unclothed. he replied that since he was a kshatriya and she a brahman, the marriage would not be proper. she replied that it was their destiny that this had occurred. king yayanti agreed. when devayani went home and recounted the incident to shukra he was furious. he threatened to leave the asuras but the asura king vishparva begged him to stay. king vishparva asked devayani what her wish was. she said that she wished that sharmistha should go with her as a maid with her 100 maids when she married. so, when devayani married king yayati, sharmishtha went with her 100 maids to her marital home. when shukra gave his daughter in marriage to king yayati he warned him that if he took any woman other than his daughter to his bed he would bear the consequences. king yayati agreed. devayani and yayati had two sons.however, when king yayati came upon sharmistha one day he was attracted to her. she explained that she was a princess but brought to his palace as a maid by devayani. she requested him to unite with her. yayati agreed and had a son by her. she then had two more sons by him. when devayani found out about this she was very angry and complained to her father. king yayati explained the reasons for his actions but shukra would not relent.

🌫 “shukra cursed him with premature old age. since yayati knew that this would also affect the happiness of devayani he asked for forgiveness. shukra then said that if he found a person who was willing to take on the curse, he could transfer it to that person and live a happy life. all of yayati’s elder sons refused to exchange their youth for his old age. the third son that he had by sharmsh*tha named puru was willing to take on the curse. yayati enjoyed his youth with devayani for 1000 years before he realised how worthless sensuality was. he returned youth to puru and renounced the world.shukra’s representative then explained to the audience in king vikramaditya’s court the lineage of yayati. he was the son of nahush. he divided his kingdom into five and gave one share each to each of his sons. the five sons of yayati were the ancestors of the five clans. one of his descendants was king dushyant whose son was bharat. it was bharat who adopted bharadwaj, brihaspati’s son.once brihaspati desired his brother’s wife mamata. when he approached her, she refused him saying that she was already pregnant. but he persisted and the child her in her womb also objected. he got angry and cursed the child”.

video references: https://youtu.be/-OXhMc0wpes & https://youtu.be/1tCzthgGxuo

⚡️ sydney sweeney (libra vishakha lagna) as pictured sucking from the intoxicating/maya mouth of rudra/ardra native to renew herself —as discussed in the character analysis below

🌀 the aforementioned winding and webbing of shukra and brihaspati is both mythology and a metaphor for the love lives of vishakha natives. there are three evident manifestations of vishakha natives: the innocent, purity state of the creatrix; the wealthy, accumulative state of the preservatrix; and the awakened, domineering state of the destructrix. all of which are evidentiary of the shattered minds of creativity within the natives’ sensuality. a primary and popular example of all stages of the vishakha mind in the midst of the romantic waters of rudra is none other than cassie howard (played by vishakha native sydney sweeney) in “euphoria”.

💕 the object for cassie’s addiction is love (as devayani’s). cassie’s origin begins with her turbulent childhood of growing up with an alcoholic mother and an absent addict dad. being sexualised at a young age by older men and the absence of a masculine/solar figure in her adolescence primed her for a dependency on male validation. this unfortunate storm of toxicity has created a lot of backlash with avid viewers of “euphoria”. this poises the question as to why the public despise women like cassie, but secretly relate to her needs in private? this is because vishakha/jupitarian women personify what we are so afraid to understand or become.

🔮 cassie embodies so many of the things the public ridicules, the things we collectively recognize are objectively and incredibly annoying. her problems pale in seriousness compared to the others, as she is not suffering from suicidal ideologies or abusive relationships as her peers are, and so her struggles seem out of touch. cassie’s primary dilemma is that she is sleeping with her best friend’s ex-boyfriend (played the rudra/ardra native jacob elordi). she falls into a depressive spiral and treats her friends badly and drinks in excess (immersing herself in the intoxicating jīva nature of alcohol & symbolic of vishakha’s correlation to liquor and intoxicating spirits). cassie throws herself at a man who clearly does not want her. when she is exposed by a fellow character, she deflects the blame with panicked vindictiveness. cassie is completely wrapped up in herself and her struggles, to the point where she doesn’t seem cognizant of the power and privileges she still possesses (she lies in the mirage of the night). this is why it easy to dislike her, because it is relatively easy to see ourselves in her destruction. while the problems faced by other characters might be so far away from our own lives that we can safely say we would do it all better and never let ourselves get in those dangerous situations, cassie’s messy emotionality and teenage angst are uncomfortably close. it is no surprise then, that cassie has become an emblem of equally painful-to-follow “toxic” female characters. when cassie asks her sister whether she looks different, shortly after finding out she’s pregnant with her ex boyfriend’s baby, her sister becomes a stand-in for the audience, lashing out at her sister and pointing out how absurd she sounds. for the audience, the dramatic irony is even more potent: we know that while cassie is experiencing her own personal trauma, she was also totally unequipped to deal with her ex boyfriend’s (who had just experienced a violent hazing at the hands of his fraternity brothers, and was coming to the crushing realization that he would never be a professional athlete), which many viewers interpreted as an unwillingness to engage with it too.

🤍 in the beginning, cassie aligned with the creatrix path: the path of saraswati. saraswati, being the goddess of knowledge, speech, and wisdom, bestowed cassie with the ability to gain confidence in vocalizing her needs to others while simultaneously abiding in this aura of purity. during this time, she incorporated white-colored outfits (such as white cropped hoodies, butterfly tops, newspaper dresses, and cow print skirts - a subtle nod to her additional solar influences). this frequent coloring of white imitates the unblemished and untouched nature of saraswati and shukra abiding in its auspicious state. white, being the reflection of the sun, additionally attracts the solar perception onto oneself. as saraswati’s form dissolved herself to become the gayantri mantra dedicated to the sun/surya. thus, a hint to the submissive, yet solar-craving nature of the creatrix path who longs to fully harness the power that lies within themself.

🪄 cassie transcends to the preservative path of the preservatrix in later episodes. this is the path of lakshmi. lakshmi is the goddess of wealth, fortune, maya, power, and love. she is the conch (shell) that flows against the turbulent waves of rudra to the destination of the shoreline (the height of cosmic awakening). lakshmi is often associated with gold and occasionally pink/red. in this period, cassie becomes more confident in her sexuality to garner solar energy. she attends more parties and begins to become more sexually aroused. her usage of gold is evidenced by her frequent pairing of gold hoops, studs, and necklaces with her outfits. additionally, she adorns herself in frequent pink outfits (such as the pink swimsuit, crocheted top, floral and puffy dresses, and sweatpants). this is a reminder of her feminine nature and to emphasize and remind her of her once approachable/creatrix nature. the color pink, being a combination of red (kuja/mars) and white (shukra/venus) hints to her progression in angst and anger as a character—she now lies in the midst of flames. cassie faces the turning point of love: will she fall as devayani and the venusian lucifer once did or transcend yet again?

💙 while cassie has yet to enter the destructrix stage of kali in the show, we are alluded to her potential. kali is the goddess of time, change, creation and destruction. she lies in the center of the yoni as she has the innate, feminine ability to both bestow life through birth or take life through the sexual/tantric magic of intercourse. this is the stage in which a woman has learned the importance of spirituality and wants to guide herself to finding love with someone who is trustworthy and empowering. she has abandoned the tempting powers of the jīvas and now arrives at the shore of spiritualism with promise. kali is often associated with saddening and authoritarian nature of blue, as evidenced by cassie wearing a blue two piece set in the scene where she breaks up with nate (her boyfriend). she lies in wait for her destiny, this is ultimately why kali is the first mahavidya in spiritual ascension.

🖌 now, during this evolution of style and love, you may have wondered why the mahavidyas associated with their respective states are not given in chronological order. this is because all goddesses and mythological beings exist in a stage of constancy. the goal for cassie, vishakha natives, and all is to harness the powers and properties of all tantric knowledge not just the lessons that are most appealing and favorable at the moment. embody the creatrix, the preservatrix, and the destructrix. do so with feverish enjoyment because in the shoreline of destructrix, you must either lose yourself to the maddening, carnal knowledge within or perpetuate the cycle of romantic mistreatment. refute the manipulation you once felt, as have other vishakha natives (such as beyonce, taylor swift, lana del rey and katy perry) who have all been taken advantage of and embody what the divine feminine means to you.

⚡️lana del rey: libra vishakha lagna

🏺 with jupitarian women, there is often a frequent upset or rampage around the degree of masculinity or femininity they choose to present themselves as. for example, miley cyrus (scorpio vishakha chandra) has been quite candid on the public expectations for her to adhere to a “super femme” identity. ruby rose (pisces purva bhadrapada surya) remains vocal about their journey towards gender identity and its intertwinement with authority. debbie harry (pisces purva buadrapada chandra) who has frequently detailed the role of her bisexuality and “masculine drive” in her musical career, detailing how many thought she was a man. a possible reasoning for this dichotomy is their importance in the stratosphere of the feminine vs male gaze.

👁 if have you scrolled through tiktok or watched any of the numerous video essays on youtube, it is likely you have heard of the term “male gaze” or its possible antithesis: the “female gaze”. the “gaze” is a term that describes how viewers engage with visual media. once originating in film theory and criticism in the 1970s, the “gaze” refers to how we look at visual representations, such as advertisem*nts, television programs or cinema. the “masculine gaze” showcases, or rather embodies, the sexual politics of the gaze and suggests a sexualized appearance that simultaneously empowers men and objectifies women. in the masculine gaze, women are visually positioned as an “object” of heterosexual masculine desire. their feelings, thoughts and personal sexual drives are less important than her being look upon by masculine desire.

🏹 the concept of the male gaze was originally introduced by scholar and filmmaker laura mulvey (purva bhadrapada ketu native) in her 1975 essay titled “visual pleasure and narrative cinema”. mulvey argued that old hollywood films catered to a deep-seated drive known as “scopophilia”: the sexual pleasure involved in looking. she argued that most popular movies are filmed in ways that satisfy/engage masculine scopophilia. visual media that respond to the masculine gaze tend to sexualize women for the purpose of entertaining the masculine viewer. as mulvey once wrote, women are characterized by their “to-be-looked-at-ness” in cinema. they are viewed as a “spectacle” and inversely men as the bearer of the look”. this objectification of women rarely takes regard for their own voice and subjectivity.

💐 in the “postman always rings twice” (1946), we see a primary example of the masculine gaze. in one of the scenes, the audience is introduced to cora smith (played by brihaspati atmakaraka native), the film’s lead female character. utilizing close-ups, the camera forces the viewer to observe cora’s body. in doing this hyperfixation of cora’s figure, the film is inherently creating a mode of looking that is sexual, voyeuristic, and observing cora solely through the lense of the male protagonist’s point-of-view. this also establishes some important plot points: that the hero desires cora and cora is cognizant of his lust. however, it is clear the strongest message in the scene is that cora is sexy. even if a viewer isn’t attracted to cora, the scene still makes sense. a lifetime of seeing women sexualized in television, music videos and advertisem*nts has made many individuals immune to witnessing the comfortability of assuming the masculine gaze.

🃏a more contemporary and famous example of the masculine gaze is harley quinn (played by gemini punarvasu lagna conj. brihaspati and surya native margot robbie) in the film “suicide squad” and “birds of prey”. the most telling example of“birds of prey’s consideration on the feminine gaze pertains to harley’s style. in “suicide squad”, harley quinn’s primary look features a red-accented baseball tee with “daddy’s lil’ monster” inscribed on her chest. the shirt showcases harley’s body as she strips down in front of a predominantly male audience in order to put on the item of clothing. her outfit and performance was designed to cater to the fantasies of a specific kind of viewer in mind, as opposed to the character actually catering to the character wearing it. whereas, harley’s aesthetic in“birds of prey” is consistent—shorts, t-shirts, heavy makeup—but the details and the subtext of the film’s director cathy yan’s (birthday unknown) portrayal of harley opposes “suicide squad” filmmaker david ayer’s (uttara ashadha surya and magha chandra) interpretation of harley. for most of harley’s screen time in the film, she is adorned in a loose-fitting t-shirt patterned with her own name in all caps and a bold font to indicate she is her own. in “birds of prey”, the camera follows what harley is doing, not typically following how good her figure looks in the process. for example, in the trailer for “suicide squad”, there’s a moment where harley steals a purse from a busted window display. it is hard to visibly see what accessory she stole because it was out of focus. the purse might be what her character cares about in that moment, but the camera shot focuses on her figure as she bends over in her leather shorts to pick up the bag. in a way, that is what the primary focus is and what the film is saying that matters.

🪞it is not the existence of this gaze that does the damage but it is seeing it in constant repetition that does. when you’re an impressionable audience growing up caring about films or television and you see girls and women in those films treated in this fashion, it leaves a profound impression. the point of this example is not that the masculine gaze should not be allowed to fantasize or that it is inherently negative, but rather the need for more diverse representation of lives, needs, and wants of women in film. the “daddy’s lil’ monster” shirt makes an appearance in“birds of prey” as well, as harley insists on keeping it for sentimental reasons. the shirt and all it represents does not need to be destroyed and can even be kept and recalled fondly. the primary point of pointing out the masculine lense is that there needs to be room at the table for everybody else. historically, visual arts has favored one specific gaze, but these stories appeal to and owe their success to audiences spanning over multitudes of different demographics and backgrounds—not just those favoring this gaze. now that we have a basic introduction of this topic, let’s delve deeper into what this means in vedic astrology and mythology…

🤍 traditional associations with femininity vary across the multitude of regions and cultures on this earth. therefore, it is important to stress that the feminine gaze or concept of femininity is not concrete in its definition or associations, but varies from person to person. for example, the traditional western association with femininity (primarily by european-americans in the 1950s) tends to view femininity from a virginal or purity-based lense. this consists of a focus on sterility and illusionary appearances, sexual fragmentations, and voided perceptions. denying the maturity of the flesh and focusing on latent p*d*philic associations like associating physical femininity with a smaller, waify stature; soft voices; and subservience. this can be quite a restricting perception as it ignores, sexualizes and denies the feminine experience for those who do not fit this specific stereotype. therefore, resulting in traumatization, mental restriction, and worldly duality (often associated with rahu). eventually producing neuroticism and causing the masculine gaze to use escapist fantasies of the feminine life force that originate from their insecure reality or political distortions. this perceives femininity to be a dependent infantile state where masculine individuation is not a reality.

🍵 conversely, in eastern countries (such as india, nigeria, kenya, etc.), femininity is not viewed through a traditional lense but rather an ancient one. it it is not to be demonized for its fixation and roots in the physical plane, but venerated and cherished for its primary spiritual abilities, as women are the gates to the ascension from materialism to the divine path. this is why women in eastern cultures are often believed to hold the power to revealing the true state of one’s soul, the source of true sexual liberation, and the source of all gnostic knowledge. notice how these ancient beliefs are not focused on the physical appearance of women, instead their evil-destroying and life-affirming abilities. it does not dehumanize the gender of women as a whole by solely contributing their femininity to “softness” or looks, it rather glorifies the gender as a whole and recognizes the intuitive power us feminine beings can hold. as a child, i was taught this eastern perception of femininity breeds true masculinity, as it does stress molding or conformity in order to embody your higher self. instead of telling you how you should be (in the case of western-european femininity), eastern femininity brings emphasis to who you already are in your natural state and the power in such. therein lies the planetary dichotomy of these two sides of the feminine spectrum… to be the virginal creatrix or empowered destructrix feminine?

⚡️lily rose depp and eva longoria: libra vishakha lagnas

TW// discussion of tantra and it’s use of bodily fluids

📖 the beauty of vishakha is it forces you to come to terms with what you have long been running from. you cannot escape the forked destiny of vishakha, as it is unrelenting and unforgiving. so why is it brihaspati forces so many women to awake to their gendered destinies? while there are plenty of theories, a prominent correlation is the co-ruler of vishakha: agni. agni is the god of fire, creativity, and wealth. he is married both to the goddess and svaha and with the male moon god soma. in mythology, agni ingested received soma’s sem*n orally, resulting in the birth of skanda, the god of war.sem*n/shukra is actually within both men and women, except those assigned female at birth are said to possess sem*n/artava in the rasa dhatu or blood. this is actually the realm of maya and lakshmi (according to tantra) and is why men are typically said to struggle with possessing too much or too little shukra. when our shukra is unbalanced, it completely destroys our artistic completion and confidence and warps the mind. one of the primary tantric practices, maithuna, is said to be centered around male abstinence but others have said early maithuna might have consisted on generating sexual fluids in order to be ritually ingested. the shedding of shukra is compared to a water-offering. this is why possesing too much shukra is watery/kapha in nature. kapha being soma-like, watery substance of the planets venus, jupiter, and moon. it is also involved in the mixing of the five ingredients to create amrita in the temple of puri.

🌀 whereas, the siddhas teach that the sexual reproductive power (the kundalini/life force) can be transmuted into superior forms of energy (ojas and tejas). ingesting sem*n causes it to rise up to the crown center, once it reaches the brain, it can be processed into extremely subtle energies (ojas and tejas) used by the higher mind. as the physical brain requires oxygen and proteins to function properly, the higher mind (superconsciousness) needs big quantities of ojas and tejas energy. the tejas is the energy in which "produces the halo around the saint's head". the ojas is the energy in which confers an extraordinary vigor, power and virility. this is why some cultures believe gemstones to be drops of divine sem*n, specifically jade being of the dried sem*n of the celestial dragon.

🌌 ejacul*tion is thought to be like the concentrated yin and yang essence of the partner. according to ancient taoist and tantric traditions, absorbing it either orally or genitally is meant to be profoundly nourishing and balancing. the genital fluids people emit are the deepest essence of who they are. by absorbing them, you take in the very essence and core of your partner. this goes for all shukra and is customary to be initiated by the feminine life force first.

🧿 the sixth sense is considered to reside in the communion of sex and is completely intuitive. sexual energy travels in a circle from the feminine third eye, or sixth chakra, over to the masculine sixth chakra, then down to the masculine second chakra, over to the feminine second chakra, and then back up to the feminine sixth chakra. this is because sexual energy travels in this cyclical motion, which is controlled by the feminine life force. because sexual communion cannot happen until the feminine life force knows their divinity and manifests the faculties of the moon/soma as the masculine life force manifests the faculties of the sun (agni). then a couple can understand and appreciate the waning and waxing of each other. issues with sex pertain to ego. engaging in egotistic sex harms and debilitates venus and our shukra. because unfulfilled sex is debilitative in nature and in which only ego is only fulfilled.

📿 this is ultimately why many brihaspati natives participate in tantra and are vocal of their distain for s*x work. for example, meryl streep (pushya lagna—ruled by the deity brihaspati), anne hathaway (vishakha buddha, shukra, surya, and brihaspati), and lena dunham (purva bhadrapada brihaspati atmakaraka) have repeatedly spoken about the disempowering nature of p*rn. as these natives view this line of work caters to male supremacy, due to the feminine life force not initiating s*x in most films/the male gaze being the dominant perception of the industry. they view the field as economic coercion for the purpose of poverty liberalization. while i am not anti- the industry per se, their points of female commodification and opposition to intimacy are valid, as p*rn does violate the spiritualism of tantra and accumulation of fats/tissue (shukra).

🌸 shukra dhatu affects one’s ability of creativity. when your body is composed of healthy shukra dhatu, your natural creative instinct remains sustained and enhances the ability to take this creativity to its results. people with shukra deficiency may still have their creative instinct but they will face difficulty in maintaining their interest to see it through the completion. conversely, when you have an excess of this dhatu, your instincts towards creativity can get completely blocked (hence, the opposition of p*rn by brihaspati natives).

🪸 this interference of knowledge can pose to be sacrificial to vishakha’s occultic creative process, because of brihaspati being the son of sage angiras: who is known to possess the knowledge of black magic, sorcery, and witchcraft. as stated previously, both shukra and brihaspati saught to learn sanjeevini vidya (the knowledge that gives the ability to rouse the dead back to life) by means of foul play. this is ultimately why natives going through great, possibly distressing, ways to illuminate harsh realities or fantasies (e.g. cassie howard).

⚡️janet jackson and diana ross: libra vishakha lagnas

🪹 because of these natives’ value of occultic knowledge, many brihaspati natives struggle with receptivity (the heart of yoni, kali, and femininity). this is why jupitarians find issue in learning how to respond to male energy. these natives struggle with harnessing their libido to harness his or her sexual tension and subsequently have the ability to embody another’s fantasy. women are the natural embodiments of maya via their rasa dhatu. these natives must learn that maya (rahu) is not evil, but a necessary part of existence. they must learn not to to run from maya (themselves), but simply control and project their energy into matter only in accordance with our will.

🪺 every individual has a distinct sexual polarity that responds to certain imagery and scenarios, which causes their libido to begin uncoiling, and sexual arousal is the result. all form is a product of essence, and certain elemental combinations produce certain physical traits. an abundance of the earth element produces a curvy form, while more water element yields a smaller, thinner, dainty frame. if a man is a mixture of fire and earth, his energy will naturally respond to and uncoil around a mixture of air and water, as these traits are a relief to him from his own condition of heat and heaviness. the cool, ethereal, subtle and fluid nature of the water and air women causes his heated and rigid nature to begin relaxing and arousal occurs.

🪴 arousal has a parallel to hypnotism in that it is a sort of dilation of the sexual, kali center, which produces a feeling of pleasure and intoxication. loosening the libido of a man or woman from the proper stimuli is the essence of the female path, which is learning how to embody all sexual fantasies possible. on the physical plane, any given person can never really embody more than one type of fantasy in a truly successful way, which is the type correlated to their elemental constitution. however, on the astral plane a woman can obtain kama rupa siddhi, which is the ability to assume any form she or her partner desires. like parvati when she assumed the form of any of her 10 mahavidya forms, a woman with this siddhi can take on any form her partner desires, and contain their sense organs within herself, through becoming their entire reality and universe (the creatrix, the preservatrix, the destructrix). depending on their partner's willpower, he will either resist and maintain hisindividuality or succumb totally, and willingly allow himself to be absorbed into her "space" through stimulation of their every fantasy.

🌱 with kama rupa siddhi, it is difficult for many people to resist, as a person who masters this ability can offer to be whatever that person wants them to be, and most individuals (in the privacy of dream plane) will agree to sexual activity that is offered to them when it embodies their exact fantasies. this is why if these natives are in a relationship it is important to learn how to control your dreams so that you or your spouse do not commit infidelity in your sleep. a vishakha woman can open herself to the wrong force, if she is not aware of her dream life. this is why for a woman, loving must be done under will. this control over dreams is very important for men who attempt to be celibate, because more and more powerful female beings will be drawn towards the solar energy he is attempting to collect, and will assume forms he is unable to resist, and which he will agree to relieve his sexual tension with in his sleep. these being are comparable to saraswati who wanted to divulge into surya. these beings will form a link to his nervous system and project his fantasies to him, and he will continuously pour himself into them until they totally consume him. this is why directing one's sexual energy is better than celibacy, especially before one has total control over one's dreams.

🌿 vishakha natives must learn that in order to fulfill their role as a sexual priestesses, they must never hold back her sexuality or gender identity for fear of anyone losing control, as they must become able to embody the fantasies of anyone they sleep with. in order to generate energized enthusiasm and stir the libido and kundalini to direct it for spiritual and magical purposes. they must to learn how to lose control. in doing so, they fulfill their role as mother nature herselfembodied on earth, and are able to allow every being they encounter to use their sexual energy as they see fit. mother nature rewards these natives, as this constant churning of sexual energy (shukra) ensures the constant change and generation of and breaking down of life forms that causes all of reality to move to higher and higher levels of perfection. thus, eliminating all stagnation, repression, and misery that results from lack of magnetic sexual exchanges.

⚡️pam grier: scorpio vishakha lagna

💋 as always, i am open to any constructive criticism! this is roughly about 40 pages so savor it my loves. this is only part one. i always encourage people to treat my posts like fine wine, they age better with time. i tried to touch on the multitude of astrological involvements in the appearances, manifestations, and symbolism of vishakha. vishakha natives will often go through life feeling the need to find identity in unique, coveted personas that are original, yes, but not true to their inner identity. it is okay to peel back the layers you have grown so accustomed to embodying and be who you truly feel called to be. tap into your ability to be the “forked one” and pierce through your personal veil, which accumulated through trauma or outer/external expectations and demands throughout your life. free yourself from the restrictive and often unnecessary rules and patterns, expand your knowledge, and rise to your throne.

if you are looking for more information about vishakha, get to know the overrulers and supreme deities of brihaspati, indra (king of the gods) and brahma (law giver); shukra, indrani (queen of the gods) and indra; kuja, bhumi (earth goddess) and skanda (war god); and ketu, chitragupta (god of karma) and brahma (god of knowledge). also—and i cannot stress this enough—familiarize yourself with the deities of this nakshatra: indra and agni. if any of my placements or information are incorrect please feel free to let me know! also, i am fully aware of the origins of vedic astrology and if i was in anyway disrespectful to hindu culture, i will take down this post immediately. i am incredibly honored to know such lovely vedic astrology enthusiasts. you all mean so much to me xx

a lil update: i sincerely apologize for being so out of touch lately. my life seems to only become more haphazard as the days pass, me and my family recently went through some terrible events. i need time and space. i implore you all to dm me as you wish but—i will reiterate—i am not here to provide you a FULL chart reading for free. i love to help but i am not an ever-flowing, continuous fountain of knowledge who will drop my needs at one’s every whim. i am going through a difficult time right now and i ask you honor this. if people continue to curse me out in the dms or send hateful messages simply because i do not answer your questions immediately, i will turn off dms. this is not to be rude but sometimes i feel that many people lack boundaries. i am a human being too and i refuse to tolerate hatred. for those who have sent me such constructive or kind messages, words cannot genuinely express how happy i am to have gotten to know such a lovely community on here so i want you all to know i treasure y’all.

**all of these placements were found using astrotheme/.com and/or astro-charts/.com. it is important to note that some chandra (moon) placements may be off by up to 6 degrees and lagnas (risings) as well, due to the fact that many websites do not have 100% accurate birth times for the given celebrities.

**i take absolutely no credit for the invention of vedic astrology-based appearance profiles. please watch claire nakti on youtube or look into @/cn0bles and @/lovejustlied on twitter for more in-depth analysis on vedic astrology xx

“i was always an unusual girl. my mother told me i had a chameleon soul, no moral compass pointing due north, no fixed personality; just an inner indecisiveness that was as wide and as wavering as the ocean. and if i said that i didn't plan for it to turn out this way i’d be lying- because i was born to be the other woman. i belonged to no one, who belonged to everyone, who had nothing, who wanted everything with a fire for every experience and an obsession for freedom that terrified me to the point that i couldn’t even talk about and pushed me to a nomadic point of madness that both dazzled and dizzied me.” - lana del rey (vishakha lagna and ketu)

xoxo, angel <3