⭕️

Mars in Pisces (especially Uttara Bhadrapada) was by far the MOST common placement

Mars in 7th house

Jupiter in Pushya or Krittika (goat yonis)

Ketu conjunct Venus or Ketu in 7th house

Jupiter influencing the Moon somehow

Sidereal Virgo on the Sun, Moon, or ASC; doesnt matter the nakshatra

Jupiter influencing Mars somehow

—

A lot of these placements make sense. For example, sidereal Virgo men commonly being gay because the planet Venus represents women and Virgo is the debilitation of Venus. So a simple interpretation of this is that the debilitating energy of Venus in Virgo on men quite literally makes them averse to women, especially in a sexual or romantic capacity as Venus is also a planet representing sex and romance.

Being an Uttarabhadrapada feels like arriving just a few seconds too late to catch a train and instead of expending energy by running to catch up, you watch it pass and walk or slow down and stay still, waiting for the next. Being a cow yoni and Saturn ruled nakshatra, our movement is slower than those around us (which is usually intentional anyways) so the sense of urgency that so many people feel naturally goes against our desire to go at a self-directed pace, internally and externally. I don't know if this has been correlated before so don't credit me, but cows are called "ruminators" because their digestive system needs to be processed multiple times before they can fully absorb what they’ve eaten. I think that fits well with how UBPs process their emotions and digests subconscious material.

Uttarabhradapadas witness life from a non-linear, somewhat “depersonalized” state. Our active participation is way more passive than those around us normally which is why we’re perceived as unreachable to others (there, yet not quite). We’re aren’t very overt people either, doesn't mean we're dispassionate or indifferent, we care very much which is exactly why we have to somewhat distance ourselves energetically. I think we also just tend to get swept up in feelings—Ours, others' feelings, your's, their's, the living, the dead, feelings from the past, feelings yet to come, etc. (never-ending feelings.)

When feelings and experiences (especially ones that brought pain) go unaddressed and becomes internalized, UBPs can act out in very volatile, corrupt ways—Our internal chaos externalizes pretty evidently. One of the biggest signs an UBP has not swam to the depths is when they do things to others in an unconscious attempt to make them feel the way others made them feel because those feelings and experiences haven’t been processed or “digested” yet—the same volatility can be self directed as well. AhirBudhnya tells us that in order to clear out a foundation that’s built on chaos, you have to swim down and then work your way back up and that the only way out of a burning basement is to go up.

Do fictional characters have astrology charts?

At first, I thought that's ridiculous. But then I did the charts of Harry, Ron and Hermione, as well as Daniel, Rupert and Emma, and realised they had many similarities.

Daniel Radcliffe (Pushya sun, Uttara bhadrapada moon), Harry Potter (Pushya sun, Uttara bhadrapada moon)

The most stunning similarity is that Daniel and Harry have the exact same Sun and Moon nakshatras. Neither have their birth time available. However, Daniel's Moon nakshatra at 12pm is UPB pada 3, so it's most likely not Puva bhadrapada as many have confused. The fact that Cancer sun and Pisces moon is also very fitting. Harry's story is home + his death then resurrection bear many similarities with Christ.

Harry's journey to Hogwarts mirrors the Uttara bhadrapada/Cinderella theme of earning the freedom/benefits of years of being in service of an evil stepparent/relative- in this case, his aunt and uncle. Above is an excerpt of Stephen King's review of Harry Potter.

Rupert Grint (Magha sun, Purva ashadha moon), Ron Weasley (Shathabisha sun, Purva phalguni moon)

Next, both Rupert and Ron share a Venus nakshatra placement as well as shadow planets as their Sun. Ron is seen as the heart of the golden trio and perhaps Venus' cliché of indulgence and comfort -to some degree- manifest here.

Magha and Purva phalguni are also in Leo, though, which is represented by the lion.

Emma Watson (Hasta asc, Ashwini sun, Mula moon), Hermione Granger (Uttara phalguni sun, Magha moon)

Both Emma and Hermione's actual birthday share a luminary nakshatra in Virgo and at least one Ketu nakshatra, typically embodying the bookwarm archetype. I even feel like Uttara phalguni suits Hermione's bossy political nature more than Hasta, but both are in Virgo so the difference isn't too stark.

Interestingly, JK Rowling (Pushya sun, Uttara phalguni moon), has also said that Uttara phalguni sun-Hermione was an exaggerated version of herself at age 11, whereas she says she sees in Harry the grief she had for her mother's loss (quick reminder that Harry and Dan both have Pushya sun). It could very well be that JK Rowling unconsciously picked up on astrological energies while choosing the birthdays of the main characters.

Ginny Weasley (Ashlesha sun, Mula moon), Bonnie Wright (Dhanishta sun, Uttara bhadrapada moon)

(Art credits to 'smoustart')

Meanwhile, for a casting which many have said doesn't reflect the books very well, Ginny and Bonnie share no common placements. In fact, Ashlesha is the nakshatra directly opposite Dhanishta. Mula's Ketu energies also are quite different to Saturn's.

Tom Riddle (Hasta asc, Purva ashadha sun, Anuradha moon), Hitler (Chitra asc, Ashwini sun, Purva ashadha moon), Christian Coulson (Hasta sun, Chitra moon)

Last, another extremely interesting case is Tom Riddle/Voldemort.

Tom is the only character who's given what's close to a birth time. JKR said he's born at night, and I think internet consensus is that his birthday is close to midnight/New Years Day. Therefore, by inputting 11:59pm as his birthtime, we get... Hasta ascendant. I've already elaborated about how his actor (Christian Coulson, with Hasta sun, Chitra moon) demonstrates the trickery and manipulation which Hasta individuals may use to achieve their goals.

However, given Voldemort is often called Wizard Hitler, it's also interesting that he shares placements with the actual Hitler. Hasta and Chitra are right next to each other, while both have Purva ashadha moon. Purva ashadha's discriminatory qualities (being represented by the sieve), when highly exaggerated, perhaps may explain why parallels exist between Voldemort's discrimination against Muggleborns and Hitler's obviously abhorrent racial policies- this is, however, only a hypothesis.

Purva ashadha is also the monkey/alien yoni, which is enemy to the sheep yoni (including Pushya, which Harry has also as his sun).

...

I am fairly new to Vedic astrology. I only discovered it this week, so I am not claiming to be an expert, but after reading about Ashlesha and Uttara Bhadrapada I cannot stop seeing how much these two Nakshatras reflect the core of Blanche DuBois in A Streetcar Named Desire.

I should note , I did STUDY this play and studied the film as a part of English literature , so a lot of the richness in analysis/motifs is from there. :)

1) Uttara Bhadrapada and Blanche’s dissolving grasp on reality

Uttara Bhadrapada is associated with themes of death, transition, emotional depth and a very thin boundary between the real world and the inner world. Blanche lives in this space constantly. She is haunted by the death of Allan Grey, the loss of Belle Reve, the decay of her appearance, and the passing of youth. She often retreats into half imagined scenes and softened lighting because ordinary life feels too harsh for her to face.

Uttara Bhadrapada is linked with Ahirbudhnya, the serpent of the deep sea, which represents emotional drowning, grief and a kind of quiet internal storm. Blanche reflects this perfectly. Her sadness does not explode. Instead it sits inside her , imploding , and erodes her slowly. She survives by escaping into illusion. Her fantasies are essential to her sense of safety.

As UBP moon , I resonated so much with her retreating into fantasy when things got too much . It’s also a way just to ground myself .

2) Ashlesha and the coiled self: charm, preservation and ritual.

Ashlesha’s symbol is the coiled serpent and its yoni is the cat. Both are telling when considering Blanche. Ashlesha carries an inherent mix of enchantment, protectiveness and ritualised behaviour, all of which appear in Blanche’s habits and self-presentation.

The cat yoni and bathing

Ashlesha’s cat yoni gives its natives a feline quality. There CAN BE A very idiosyncratic relationship with cleanliness and or/ self-soothing . Blanche’s constant bathing fits this perfectly. She bathes not only for appearance but to regulate emotion, calm her nerves and wash off whatever feels heavy or unclean. It is a ritual of purification, comfort and control almost .

Magnetism

To me , Ashlesha has a natural hypnotic quality. Blanche does not simply enter a room. She sets/attempts to set an atmosphere. Her charm is calculated, a way of shaping the emotional environment around her so she has control over it , therefore feeling safer .

She shifts skins depending on the male energy in the room, and this is one of the clearest Ashlesha traits she displays.

Examples of this :

1)When she meets Mitch ( her potential suitor )

She wears a light, flowered print dress- youthful , vibrant ( everything she isn’t , she’s old and decaying mentally and physically ) It becomes a soft and inviting “skin”.

2) When she faces Stanley

She shifts into something bold or sensual, like the red satin robe, a more defensive and seductive “skin”. ( she is powerless before Stanley ,she is adaptable )

Why this is so Ashlesha IMO

Ashlesha natives are very accurate and precise at engaging with their target . Blanche alters her presentation to suit the environment. It is both instinctive and ritualistic. This is manipulation - another word ubiquitously associated with Ashlesha .

FINAL THOUGHTS

Blanche DuBois feels like a woman made of water. Uttara Bhadrapada shapes her inner world and her slipping hold on reality. Ashlesha shapes her rituals, her cat-like instincts, her charm and the way she coils herself in beauty to feel safe.

Other comments :

- I know people hate Ashlesha being sexualised , or read in a sexual way so i apologise for that

Because two wrongs don’t make a right.

I recently started dismantling my relationship to masking & discovered I’m naturally detached when I’m not appeasing others. It’s been a healthy development but not so great for my close relationships. I suffer from chronic anxiety that I now regulate without help. It was passed down (mercurial heavy family) so I find stress very triggering & borderline contagious at times. Hence, the propensity to not show my feelings easily.

If you’re crying while throwing stones at us, then who will be the one the calm down the situation? I believe Saturnians have an inherent trait to be overly responsible/respectful of not just others, but themselves. Sometimes, they will gladly self-restrict if it gives you the space to feel. Have you ever seen two dogs barking at each other? It’s an unproductive screaming match.

Thus, some people project their unregulated emotions onto Saturnians. Not realizing we care so much that we are the only person willing to do the responsible thing: Give one another space. The one time we do express our emotions, it’s almost incomprehensible & peculiar. Unlike like our opposite luminaries (Leo/Cancer), who are less reluctant about being open or generous with their well of emotions. We’re frugal with ours. That well can easily dry up when misused. Please don’t judge your saturn dominant friends or family when they open up to you.

From a description of Uttara Bhadrapada (from mikessleepingdog.com, a great resource for Nakshatra information btw!)

Before anybody accuses me of copying Clair* N*kti, I will first state here very clearly that this post is inspired by her work on women’s physical appearances. This is just to remind her and her followers that ugly women matter. As a woman who’s considered by society to be ugly, I feel the need to speak up. Call me a hater, I don’t care. Call me jealous, I don’t care. And yes, there will be more posts to come.

Today, we will examine the ugly, hard-faced hag that is the archetypal Purvaphalguni woman.

One trend that you’ll find among Purvaphalguni women is that they in general have very strong, aggressive features, and that they are obsessed with youth. They try as hard as they can to make themselves look youthful, but fail spectacularly. In fact, this is the whole premise of the Weapons movie, where Purvaphalguni Sun and Moon actress Amy Madigan plays the role of a witch who uses black magic to steals kids’ youth for herself but still looks like an expired prune often with makeup haphazardly caked onto her haggard face.

The infamous movie The Nun, along with all the other movies that feature the titular character, stars Purvaphalguni Sun Bonnie Aarons. These pictures will speak for themselves.

Purvaphalguni women are the most infamous for botched plastic surgeries, from Madonna (Purvaphalguni Moon) to Donatella VERSACE 💜 (Purvaphalguni Moon) to the notorious Jocelyn Wildenstein, more infamously known as the Catwoman (Purvaphalguni Sun).

Purvaphalguni gurlz plz stop… We can’t take this anymore 💀

Saturn in 4th, Rahu/ Ketu conjunct Sun/Moon, Saturn conjunct Sun, these placements are not bad because people are jealous, or because they are misunderstood or some other bullshit reason;

Saturn HATES sun. In Hinduism, I won't tell the entire story, but sun did not treat saturn nicely, saturn is sun's son, it's like a pretty long story, but yeah, the sun later realises his mistake but saturn kinda...rejects the apology, so saturn is not sun's enemy but sun is saturn's enemy. Saturn conjunct sun in close degree is considered to be one of the worst placements in vedic astrology. It needs to be aspected by Jupiter to mellow down the negative impact.

Similarly, when a demon entered the gods' camp to drink the nectar of immortality, the sun and the moon god discovered the demon and reported him to lord vishnu, due to which the demon's head was severed, but he had already become immortal so the head became rahu and the body became ketu, that is why, when either is in conjunction with sun or moon, it takes its revenge.

The moon god wanted to marry saturn's sister, saturn was like, nope, you had a child without marriage, you are not a good guy. Moon god then kidnapped saturn's sister, saturn got rightfully pissed, he cursed the moon. So saturn does not do well when its in 4th house, or in conjunction with moon or aspecting it.

In vedic astrology, every placement, every nakshatra, every observation is related to a mythological story, you can't romanticise it or act like it's not bad based on your perception of it. All these stories have a lesson, if saturn is conjunct sun in 4th house, then you may have a painful family life, there may be disharmony in family, but you are not allowed to do anything about it, you are not allowed to be angry, you need to keep on working towards maintaining harmony or realising why those things needed to happen, similar to how the sun god did.

It became a really long post but yeah, it really annoys me when people see vedic astrology in isolation because it's inherently connected to Hinduism, you can't UNDERSTAND vedic if you have no knowledge of the stories that have led the planets to become as they are.

Saturn is not bad, but it feels weird when people romanticise it because it's not.....that simple. Saturn was abandoned by his own father, but saturn considers lord shiva to be his guide, lord shiva relies on tough love, that was saturn's upbringing, so now it does the same to others. It's a tough planet to get through, that's all I am going to say. Saturn is not misunderstood, it just IS.

Why are people surprised when Uttara Bhadrapada people tend to excel in careers like law?

These natives really like rules and social structures. They have the vibe of that vegan/vegetarian cyclist who reports anyone who is putting themselves in the bicycle lane, littering, parking illegally, etc. They genuinely care about society, in their own way.

They also hate it when people are late and things like that.

The Persistence of Memory by salvador dalí, uttara bhadrapada moon.

salvador dalí’s the persistence of memory can be read as one of the most exact visual articulations of uttara bhadrapada because the painting is structured around the same metaphysical problem that defines the nakshatra itself: what happens to time once it has moved beyond sequence and entered suspension. this is the central distinction that places it far more precisely in uttara bhadrapada than in the broader category of “surrealism,” and even more specifically in uttara bhadrapada than in purva bhadrapada, despite both belonging to the same bhadrapada axis. the difference between the two is crucial. purva bhadrapada fractures consensus reality through intensity. uttara bhadrapada deals with what remains after that rupture has already occurred and the psyche has been left alone with its residue. purva bhadrapada pierces through the continuity of ordinary perception; uttara bhadrapada inherits what is left after continuity has already been punctured and consciousness has to exist inside the altered temporal field that follows.

this distinction matters because the persistence of memory does not depict rupture itself. the painting contains no active violence, no visible threshold being crossed, no immediate act of psychic or perceptual destabilization. the break has already happened. whatever event once held chronology in place has already passed, and what dalí paints is the after-condition: the quiet, uncanny temporal state in which time continues to exist but no longer behaves according to ordinary law. this is precisely where uttara bhadrapada begins in the nakshatra sequence. purva bhadrapada still contains the force of severance, the violent beam of perception that splits open the apparent solidity of reality. uttara bhadrapada begins after that incision, in the long psychic silence that follows revelation, when structure remains visible but no longer functions in the way it once did.

this is why the painting is so specifically uttara bhadrapada in its temporal logic. uttara bhadrapada is the second-to-last nakshatra, positioned immediately before revati, which gives it a very particular relationship to chronology and metaphysical sequence. this placement is not incidental. by the time consciousness reaches uttara bhadrapada in the zodiacal progression, it has already passed through nearly the entire arc of differentiation, identity, desire, rupture, abstraction, and dissolution. it stands near the end of the cycle, in a phase where form still exists but is no longer fully invested in its own solidity. the structures are still present, but they are no longer held with the same ontological force. this is what makes uttara bhadrapada one of the most temporally strange nakshatras: it does not erase form, it outlasts form. it occupies the stage in which reality has not vanished, but has already begun to detach from the assumptions that once made it feel fixed.

dalí’s clocks embody this exact stage of consciousness. clocks are among the clearest symbols of linear time because they convert duration into measurable sequence. they impose order onto movement, divide continuity into legible units, and render time obedient to progression. in dalí’s painting, the clocks remain visible, but their function has become unstable. they still exist as objects, but no longer perform their original task. their form persists while their governing logic has softened. this is a deeply uttara bhadrapada image because uttara bhadrapada governs the psychic stage in which structures remain intact enough to be recognized, yet no longer operate according to the principles that originally defined them. time has not disappeared here. time has survived its own mechanism. what makes this image even more precise is that the clocks are not simply broken, fragmented, or stopped. they are melting. that distinction matters because melting implies a distortion of reality at the level of structure itself. a broken clock still belongs to the same world; it has merely malfunctioned within it. a melting clock suggests that the conditions that once allowed solidity, sequence, and fixed law to exist have already been altered. this is where the painting becomes unmistakably uttara bhadrapada. purva bhadrapada pierces the wall of ordinary perception; uttara bhadrapada shows what reality looks like after that wall has already been pierced. the clocks melt because chronology has already passed through rupture and can no longer return to its former rigidity. time has become psychically relative, softened by duration, stripped of its previous mechanical authority.

the image becomes even more exact in the way dalí treats the rest of the composition. the central collapsed form, often read as a distorted self-image, lies in the middle of the painting like something suspended between sleep, death, and decomposition. it does not read as fully animate, but it has not fully disappeared into inert matter either. it occupies the same liminal condition as the clocks themselves: still present, still recognizable, but no longer structurally intact in the way ordinary reality would require. the self has entered the same altered law as time. identity has softened along with chronology. the subject is no longer standing outside distortion and observing it; consciousness itself has already been absorbed into the same post-linear field. this is deeply uttara bhadrapada in the most literal sense: selfhood rendered post-vital, suspended in the strange interval where form persists after animation has already begun to recede.

the ants intensify this further with almost brutal precision. in dalí’s symbolic language, ants are direct emblems of decay, putrefaction, and the slow inevitability of decomposition. their placement on the only hard, closed pocket watch is one of the most important details in the painting. that watch initially appears to be the last intact remnant of mechanical time, the one surviving object still preserving rigidity and form. dalí immediately undermines that possibility by covering it in ants. the only clock that remains structurally hard is already being consumed. this detail sharpens the entire logic of the image. soft time melts; hard time rots. one dissolves into psychic distortion, the other into physical decay. neither escapes entropy. this is precisely what makes the painting so exact for uttara bhadrapada, whose relationship to death is rarely sudden or catastrophic, but ambient, sedimentary, and slow. the painting does not depict annihilation. it depicts post-function. everything remains visible while already entering decomposition.

this is also where the title becomes profoundly aligned with uttara bhadrapada. the persistence of memory is not about recollection in the ordinary sense, nor about memory as an orderly archive of the past. it is about the continued existence of psychic residue after chronology has ceased to organize it coherently. this distinction is central to uttara bhadrapada’s relationship to memory. memory in uttara bhadrapada rarely behaves as linear retrieval. it tends to function as temporal atmosphere: accumulated psychic material that remains present without remaining sequential. experiences sink, condense, and persist beneath conscious ordering. they do not disappear, but they also do not remain neatly available as narrative. this is why uttara bhadrapada often carries such a peculiar relationship to recollection and duration. the past is not always experienced as past. it remains ambient, submerged, and psychically concurrent.

this is where the contrast with purva bhadrapada becomes especially important. purva bhadrapada is associated with the violent alteration of perspective, the psychic event that destabilizes ordinary continuity and forces consciousness out of consensus structure. its movement is acute, visionary, and often disruptive. it belongs to the threshold where reality is pierced. uttara bhadrapada governs what follows once the visionary rupture has already occurred and consciousness has to metabolize what remains after the fracture. purva bhadrapada breaks the temporal frame. uttara bhadrapada lives inside the altered time that remains after the frame has already broken. one ruptures chronology & the other reveals relativity.

that distinction is exactly what dalí paints. the persistence of memory does not present time as shattered in the dramatic sense. it presents time as exhausted, softened, and no longer rigid enough to maintain its former authority. this is a very different image. nothing in the painting is exploding. nothing is actively disintegrating. the atmosphere is eerily still, and that stillness is part of what makes the image so exact. uttara bhadrapada does not distort reality through spectacle. it alters reality through temporal saturation. the pressure of duration accumulates until sequence loosens, distinctions soften, and chronology becomes psychologically relative rather than mechanically fixed.

this relationship to relativity is one of the most defining features of uttara bhadrapada and one of the least discussed. because it stands so close to the end of the zodiacal cycle, it carries an altered relationship to time itself. by this stage, time is no longer primarily experienced as progression toward something. it becomes density, depth, accumulation, and psychic sediment. this is what separates uttara bhadrapada from more linear saturnian expressions. its saturn is not the saturn of schedule, law, or external sequence. it is the saturn of duration extended so far that chronology begins to collapse under its own weight. time in uttara bhadrapada becomes less mechanical than geological. it layers. it presses. it submerges. it alters the shape of what it holds.

that is why memory takes on such a different meaning here. memory in a more mercurial or lunar sense can still function through sequence, association, and recall. memory in uttara bhadrapada behaves more like sedimented consciousness. it is not remembered in order; it remains in depth. it returns atmospherically, not chronologically. it resurfaces as psychic weather, emotional undertow, recurring internal climate. dalí’s image captures this with extraordinary precision. the clocks still indicate the idea of time, but they no longer indicate sequence. they have become temporal residue rather than temporal instruments. they no longer measure duration; they embody its aftereffects.

this is also why the stillness of the painting matters as much as its distortion. the stillness is not emptiness. it is post-event suspension. uttara bhadrapada frequently carries this quality: a strange psychic quiet that emerges after the active rupture has passed and consciousness has descended into the slower work of holding what remains. the painting is full of this kind of silence. it feels less like a dream than like the afterlife of one. less like distortion in progress than the settled atmosphere left behind once distortion has already become the new condition of reality.

In this post, I shall explore the themes of uttarabhadrapada and its connection with Jung's idea of the collective unconscious.

Saturn-ruled uttarabhadrapada is the 26th nakshatra in the 27 nakshatras. Ruled by Ahir-Budhnya, the serpent of the deep sea, this nakshatra falls into the constellation of pisces. Ahirbudhnya, “the one, who carries the burden of the world”, is none other than Ananta Shesha himself, the cosmic serpent, on whom Lord Vishnu is reclining in his yogic sleep, yoganidra. He is none different from Sankarshana, vyuha of Lord Vishnu presiding over deep sleep (sushupti) state of consciousness and guna of tamas (inertia). He carries all the worlds in his countless hoods. Being present in the cosmic ocean from the times before the creation took place, Ananta Shesha is also described in the Srimad Bhagavatam as the serpent of the unknown depths, who carries the burden of all the worlds on his countless hoods, yet he has no foundation for himself.

Ananta means “unlimited one” and thus he represents infinite cosmic potential of the Lord and is considered directly one of Lord Vishnu’s expansions, as well as his first servant. He represents the unlimited nature of our own consciousness and infinite possibilities hidden within it. He is our subconscious wisdom, which has a constant access to unlimited information in the field of collective consciousness. Uttara Bhadrapada is the deep collective unconscious, the great ocean. It’s the plug in the bottom of the tub connected to a chain. This is the life line, the umbilical cord that connects heaven and earth. The duality of this nakshatra is best described through Jupiter's nature as both the fat on the body and the ether. Jupiter’s extremes: the bottom of the ocean where the great squid live and deep space where squid like aliens live.

In psychology, the term "collective unconsciousness" is a term coined by Carl Jung, referring to the belief that the unconscious mind comprises the instincts of Jungian archetypes : innate symbols understood from birth in all humans. Carl Jung described the deep sea as a primary symbol of the collective unconscious, a vast, inherited, and shared repository of human archetypes and experiences. Like the ocean, the unconscious conceals profound, unexplored depths, with dreams often surfacing like creatures from this abyssal "mother of all that lives". Funnily, one of the examples cited by Jung as a common recurring motive was one of a snake, the deity of the nakshatra itself : "The snake-motif was certainly not an individual acquisition of the dreamer, for snake-dreams are very common even among city-dwellers who have probably never seen a real snake."