She is so doll

She is their doll on remote control
She is a set up for all I know
The masons call,  she bites my flesh
They tell her go, she acts so fresh.

She is a soulless princess Kali
Blowing off  lights of Diwali 
She full of hatred, she jealous G-d
She “holy” vagrant , who tear your heart a part  !

She targets your mind, she never quiet
She is so blind , destroying love.

Interesting depicting of Kali , in actuality she was to believe Arian goddess . Usually they are the descendants of the first gods the kings. Now the man under her feet are has a snake old symbol of Egypt and earlier that became the  straps wrapped around the hand and forearm of Tefillin  the other man held sword that became a symbolism of free masonry.  The goddess are fighting imposters holding the head of one of them as if it were Judith or Herodias but in this matter it was opposite

Interesting concept

According to the Puranas, during the mythical period of cooperation between the Suras (Gods) and the Asuras (Demons) at the dawn of creation, they both churned the ocean of milk (Ksheersagar) looking for ambrosia (amrita). However the churning process first resulted in a world-destroying poison named Hala Hala or Kalakuta (literally time-puzzle) that began to choke the Suras and Asuras alike. The Devas and Asuras pleaded to Mahadev for help, and he drank up into himself the entire poison emanating from the ocean of milk. He was not immune from the viciousness of the toxins and his wife Goddess Parvati intervened by stopping the poison at his throat by garlanding him with a snake. But by then, enough poison had made it to the rest of his body to render his skin blue. Shiva's throat is said to be the bluest portion of his body due to the concentration of poison there resulting in his names Nilakantha (the blue-throated one) and Mrityunjay (victor over death). Different Puranas differ slightly in the way these events are explained - besides each aspect of the story has spiritual/occult meanings beyond the superficial interpretation.


Vishnu, the Preserver in the Hindu trinity is also depicted with blue skin, but for a different reason. Vishnu means all-pervasive (Sarvavyapi) and the sky-blue skin is emblematic of his formless and infinite extent.


On the other hand, Brahma - the Creator in the Hindi trinity is not depicted with blue skin in religious imagery.

 Neither historical events nor cross-cultural currents can explain the unique parallels in the myths and imagery of ancient Egypt and India. Walafrid Strabo (c. 809–849) German scholar has said: "The lotus flower, sacred to Buddha and to Osiris, has five petals which symbolizes the four limbs and the head; the five senses; the five digits; and like the pyramid, the four parts of the compass and the zenith. Other esoteric meanings abound: for myths are seldom simple, and never irresponsible."

Indian contacts with the Western world date back to prehistoric times. Trade relations, preceded by the migration of peoples, inevitably developed into cultural relations. Evidence of Indian contact with the ancient civilizations to her west, however is certain. Knobbed pottery vases came to Sumer from India and so did cotton. In the Akkadian tongue, Indian cotton was expressed by ideographs meaning "vegetable cloth." Assurbanipal (668-626 B.C) cultivated Indian plants including the "wool-bearing trees" of India.

According to the Skandha Purana, Egypt (Africa) was known as Sancha-dvipa continent mentioned in Sir Willliams Jones' dissertation on Egypt. At Alexandria, in Egypt, Indian scholars were a common sight: they are mentioned both by Dio Chrysostom (c. 100 A.D.) and by Clement (c. 200 A.D.) Indirect contact between ancient India and Egypt through Mesopotamia is generally admitted, but evidence of a direct relationship between the two is at best fragmentary. Peter Von Bohlen (1796-1840) German Indologist, compared India with ancient Egypt. He thought there was a cultural connection between the two in ancient times. There are elements of folk art, language, and rural culture of Bengal which have an affinity with their Egyptian counterparts and which have not been explained satisfactorily in terms of Aryan, Mongolian, or Dravidian influences. There are similarities between place names in Bengal and Egypt and recently an Egyptian scholar, El Mansouri, has pointed out that in both Egypt and India the worship of cow, sun, snake, and river are common.

Recently, more definitive evidence suggesting contact between India and Egypt has become available. A terracotta mummy from Lothal vaguely resembles an Egyptian mummy and a similar terracotta mummy is found also at Mohenjodaro. In this context it is of interest to note that the Egyptian mummies are said to have been wrapped in Indian muslin. Characters similar to those on the Indus seals have also been found on tablets excavated from Easter Island.

Of all the Egyptian objects and motifs indicating some contact between India and Egypt during the Indus Valley period, "the cord pattern occurring in a copper tablet in the Indus Valley and on three Egyptian seals is the most striking link between the two countries. Gordon Childe has said, "In other words, in the third millennium B.C. India was already in a position to contribute to the building up of the cultural tradition that constitutes our spiritual heritage as she notoriously has done since the time of Alexander."