Gurupasadanam

Srimahatripurasundari chandramoulishwarebhyo namah

The nine avaranas of srichakra represent the nine mental states of the aspirant.
1. Trailokyamohana chakra - jagarat sthiti
2. Sarvashaparipuraka chakra - swapna sthiti
3. Sarvasamkshobhana chakra - sushupti sthiti
4. Sarbasaubhagyadayaka chakra - ishwara vichara
5. Sarvarthasadhaka chakra - gurupasadana
6. Sarvarakshakara chakra - upadesha
7. Sarvarogahara chakra - manana
8. Sarvasiddhiprada chakra - nidhidhyasana
9. Sarvanandamaya chakra - savikalpa samadhi
A glance at the above list indicates that the each of the nine avaranas is a step of unveilment towards the final state of total equilibrium and
oneness - samadhi. Every avarana is a preparatory stage to the next avarana or the mental state. Of these nine avaranas, the central avarana is
the fifth - sarvarthasadhaka chakra, which represents the mental state of gurupasadana. Every spiritual path, especially srividya, requires the
guidance of an enlightened guru, without who, the spiritual journey is into a dark, unknown territory. A person becomes a spiritual aspirant, when
he possesses the sadhana chatushtaya:
1. Viveka - discrimination
2. Vairagya - dispassion
3. Shamadi shat sampatti (the treasure of six qualities:

Shama - control or mastery over the mind,

Dama - control of the sensory organs or indriyas,

uparati - strict observance of one's dharma,

Titiksha - endurance of heat, cold, pleasure, pain etc.,

Shraddha - faith in the words of guru and veda shastra,

Samadhana - contentedness and single-pointedness of the mind).

4. Mumukshutva - intense desire for liberation.

A person who possesses these is ready for spiritual instruction by a teacher. These virtues are naturally obtained by strict adherence to the
samanya and vishesha dharmas pertaining to one's varna and ashrama, detailed in the sruti and the smrtis. In srividya upasana, which

accelerates the natural process of evolution manifold times, the sadhana chatushtaya becomes the possession of the sadhaka by the worship of
the first four avaranas, thus preparing him for the fifth and the most crucial phase of gurupasadanam. The word gurupasadana means:
guru+upa+sadana i.e. 'Approaching or going near the guru'. The purpose behind this action is the obtainment of atma vidya or
mahatripurasundari.
A spiritual aspirant, who is baked by tapatraya (three kinds of heat), approaches a spiritual master to relieve himself of these afflictions. What are
these three tapas or torments?
1. Adhyatmika - the afflictions related to the gross and subtle bodies (sthula and sukshma shariras) like hunger and thirst (related to prana), desire,
anger, jealousy etc. (related to the mind) and dilemma, doubt, confusion etc. (related to the intellect).
2. Adhibhautika - these are afflictions that arise from sources apart from oneself and are available to one's perception. Examples are: attacks from
wild animals or pests, terrorist strikes, wars, attack from enemies etc.
3. Adhidaivika - these are caused by supernatural forces, over which one does not have any control. Examples are: thunders, earthquakes,
snowstorms, landslides, epidemics etc.
To escape from the pangs of tapatraya, the aspirant (i.e. The one who possesses the sadhana chatushtaya) approaches the guru. Now can every
one be called a guru? No! The qualifications of a true guru are detailed in mundaka upanishad:
Tadvij~nanartham sa gurumevabhigacchet. Shrotriyam brahmanishtham.
A guru is one who is a shrotriya and a brahmanishtha. Shrutivaniti shrotriyah - one who has listened and understood the scriptures (shruti, smrti,
agama, purana, itihasa, darshana, vedanta etc.). By saying 'listened', and not merely 'studied', what is indicated by the sages is that the
knowledge in the guru comes from a lineage of gurus and hence indicates sat sampradaya. Even a self-realized master will not have the
technique of _expression to convey his profound experience to the disciples, if he is not a shrotriya. A brahmanishtha is one who is firmly
established in the brahman i.e. One who has experienced the oneness of the jiva and brahman directly. As mere bookish knowledge cannot be
sufficient to teach a spiritual aspirant, an individual who is both a shrotriya and a brahma nishta alone, can function as the guru. In srividya
shastra, the most vital part of the upasana is guru because it is shaktipata which destroys the tapatrayas and prepares the sadhaka for the journey
towards sahasrara. By the worship of fifth avarana, the sadhaka reaches the guru and receives upadesha or spiritual instruction (represented by
the next avarana). Thus, the cure to the tapatrayas is the upadesha of atma vidya or mahatripurasundari by the guru.
smt. Prakashamba, the foremost disciple of brahmasri chidanandanatha of guhananda mandali was blessed with the title 'lopamudra' and a
golden srichakra by h h sri sri abhinava vidya tirtha mahasannidhanam of dakshinamnaya sri sringeri sharada peetham. Mahasannidhanam
explained in detail to her, the significance of the fifth avarana of srichakra as representing gurupasadana and the practical way to enhance the
worship of this crucial avarana. If anyone remembers the navavarana performed by mahasannidhanam, the enhanced worship of the fifth avarana
becomes evident.
The fifth avarana also represents the following five:
1. Jiveshwara bheda - the imagined distinction between the jiva and ishwara.
2. Paraspara jiva bheda - imagined distinction between various jivas - like men, women, cows, birds etc.
3. Jiva jada bheda - imagined distinction between a jiva and an inert object like rock.
4. Ishwara jada bheda - imagined distinction between the ishwara and an inert object like rock.
5. Paraspara jada bheda - imagined distinction between various inert objects like rocks, pebbles, mountain, river etc.

As these bhedas or limiting distinctions are caused by ignorance, guru destroys these by the upadesha of the knowledge of the self or
mahatripurasundari. Also, this is the core avarana for followers of samayachara, wherein sridevi appears as a brilliant flash of light in manipuraka
chakra. Please note that the correspondence of the fifth chakra is to manipuraka in the microcosm (akula sahasrara, vishu, muladhara,
swadhishthana and manipuraka). Thus, worshipping this avarana grants one the guidance of the guru by which the doctrine of
samayachara begins to unfold in all its glory before the aspirant and he realizes and experiences the five-fold unity between shiva and
shakti.
1. Adhishthanasamya - both reside in the adhara chakra or in the srichakra as bindu and trikona.
2. Anushthanasamya - both are involved in the same occupation of creation.
3. Avasthanasamya - since both are dancers (enacting lasya and tandava), their identity of state or condition is established.
4. Roopasamya - their identity in form is well established by agamas like chandogya, shaunaka etc.
5. Namasamya - identity of name is clearly seen in pairs like shiva & shivaa, samaya & samayaa etc.
The ignorance or duality is dispelled by the guru who imparts the experience of the five-fold identity prevalent in the cosmos.
1. Identity between the six chakras in the body and the six chakras of the srichakra.
2. Identity between sahasrara and the chaturashra containing the bindu.
3. Identity between shiva and devi.
4. Identity between srichakra and srividya mantra.
5. Identity between srividya - srichakra - sridevi - sriguru and jivatman.
By firm understanding of the samya panchaka and anusandhana (contemplation) on the five-fold identity, the secrets of which are revealed by the
guru, one transcends jivatva. Also, the guru imparts the five-fold knowledge of mudra - mantra - chakra - devata and saparya to the
devotee, enabling him to undertake the journey towards bindu. Speaking from the upasana point of view, it may be noted that in the
shodashavarana krama detailed in krama tantras, guru mandala puja is offered right after the fifth avarana, signifying the gurupasadana aspect of
this avarana.
Worshipping the srichakra with an understanding of the tattva and significance of each of its avaranas alone grants one siddhi (unity
with sridevi). Amba herself represents not only the guru (gurumurtih) and the entire gurumandala (gurumandalarupini), but also the great guru in
who the entire gurumandala involutes - samasta guru mandala vilina maha dakshinamurti (dakshinamurtirupini). By worshipping sri
mahatripurasundari in the form of kulottirna yogini in sarvarthasadhaka chakra, one easily obtains the anugraha of sri mahatripurasundari who
appeared as the great guru sri charyanandanatha and sri parabhattarika to impart the royal science of srividya in this cycle of creation. Absolute
surrender to the feet of sri guru and sri paramba is the sure most way to escape from the great disease of samsara. On the auspicious occasion of
guru pournami, this significance and tattva of guru and gurupasadana should be contemplated on deeply. The guru who was guiding the previous
srividya cycle according to devimana was sri krodha bhattaraka durvasa. The current mentor for all srividya upasakas is bhagavati lopamudramba,
the infinitely compassionate mother, accompanied by sri agastya. She will continue to guide all sincere upasakas till the advent of bhairava
mandala, wherein sri bhairava takes charge from lopamudramba. It is thus, our duty to remember and show our respect on the auspicious guru
parva to bhagavati lopamudramba and also the three great gurus: sri dakshinamurti, sri hayagriva and sri ananda bhairava.
Samastagurumandalarupini priyatam

Srividya upasana rahasyam

Based on the teachings of sri lakshman joo maharaj-ji]
Shakta school holds advaita as the ultimate reality in an equal perspective and of the same ideal as of the
monastic vedanta. This is evident from the sacred and mysterious monosyllable (pranava) attributed to each
thought and consisting of the corresponding seed-letters (bijaksharas). The pranava of vedic thought is aum.
Correspondingly, the shakta and shaiva schools use `hrim' and `aham' respectively. Since all the pranavas
end in the bindu, it is natural that the bindu is the material cause for all the factors. It is the unconditional
brahman or the allpervading supreme truth from which emanate all the conditional entities. Paraa-bindu is the
immeasurable entity into which this entire manifestational phenomenon finds repose. This power of creation
and absorption, quite inseparable from its holder shiva, is called shakti. The magnificence, grace and beauty
of this primordial power make up eternal bliss. In consequence, there is a latent agreement among all
mankind and this truth must be the one we seek. Accordingly, religions in general are at one with each other.
Each has a philosophy antagonistic to the special dogma of the other. The vedic rishis have already declared,
"the brahman is surely different from the known, and again, it is above the unknown such was the utterance
we heard of the ancient teachers who explained it to us" (kena 1.4).
Shiva is the transcendent self, the divine power of conservation and shakti is immanent, the divine energy of
pulsation (spanda). The appearance of both is like the two sides of the same coin. The tantra declares, "his
energies are evident in the multiform manifestation and the holder of the energies is maheshwara the lord of
the lords, paramashiva himself". The upanishad says, "his (paramashiva's) parashakti is manifold, as
described in the veda, the natural energies of knowledge, power and action" (swe upa iv 10). These conjoint
with the powers of concealing (pidhaana) and favoring (anugraha) of shiva constitute the five-fold glory of sri
parashakti.
This is further made clear by kshemaraja in one of the benedictory verses in his commentary on
stavachintamani of bhatta narayana: "we bow to shiva who, enjoining his fivefold glory, reveals the spiritual
shakti, the power of consciousness and bliss". Parashakti is therefore yoni, the original source, the supreme
mother whose five glories are chit, ananda, iccha, jnana and kriya.
Paraabhattaarikaa mahatripurasundari is the goddess of supreme beauty and wisdom who pervades the
three functional aspects of manifestation. Ever splendid in her fivefold glory, she is here praised in gross form
which she assumes according to the traditional contemplation of an earnest seeker as tripura bhairavi, while
the ultimate truth remains openly concealed in her infinite supreme self. The visualization of sridevi as kriya
shakti the predominating power of activity has close relevance to mantroddhara vidhi the way of elevation
through mantra. This approach of worship is made through anavopaya, the light means in which even
meditation is held to be a kriya physical or mental activity. It also uses kriya in a gross form e.g. Repetition
of a mantra, worship of the deity, an idol etc. The mantra, being the body of sridevi, describes the body by its
power of inward intuition called vimarsha shakti. When the divine body is brought into the effective
consciousness of the devotee, it is called srividya. Its verbal expression is the panchadashi maha mantra and
the visual expression of the same is srichakra. They are all essentially identical. Mahatripurasundari is the
wondrous delight of that consciousness which is supreme and unsurpassable, who is effulgent by its own light

and who permeates the three states of life like oil (trishu chaturtham tailavadaasechyam - shiva sutra iii-20).
She is parashakti, paramashiva, parabrahman, the supreme beatitude or ultimate reality to be realized by
constant and vigorous practice of supreme yoga with divine grace. Therefore, sages express the supreme
being in the vedas by the pronoun `that' (sa tatpadaarthah paramaatmaa sarvasaaropanishad). The tantra
says, "that devi who resides in all creatures". Supreme consciousness is actually shiva and shakti, prakasha
and vimarsha. Shiva and shakti are two only by connotation; by denotation they are one and the same reality.
Prakasha or light is the illumination or knowledge as the nature of the self. There is predominance of shiva
bhava. Vimarsha is spanda or kriya. Its potentiality is called shakti. Vimarsha literally means thinking or
ideation. There is predominance of shakti bhava. There is no material activity. All activity is mental. Vimarsha
consists in completely withdrawing oneself from all voluntary thinking. A spontaneous thinker (or doer) is, at
the same time, a natural spectator of his mind. This leads to sahaja samadhi, undisturbed equipoise. Light
and sound stand for revelation and consciousness respectively, or shiva and shakti.
The very form of tripura refers to the primal energy parashakti transcending the three divine deities kali,
lakshmi and saraswati, who represent threefold manifestation. Parashakti is the divine power of the
transcendent master paramashiva, unconditionally inseparable from her. Parashakti tripura is the supreme
consciousness that illumines the three states of waking, dream, sleep in the microcosm, and bhuh, bhuvah,
svah (paraa, paraaparaa and aparaa) in the macrocosm. She is described as the luster of the supreme spirit,
perceived at three spots in the body forehead, head and heart, depicting her powers of knowledge, activity
and volition experienced by the devotee during meditation or worship. Each of her three inherent powers
(jnana, kriya and iccha - paraasya shaktirvividhaiva shruuyate swaabhaavikii j~naanabalakriyaa cha. sweta.
Upanishad vi.8) is explained in its triple symbolism, namely:
1. Pooja sanketa
2. Chakra sanketa
3. Mantra sanketa
According to pooja sanketa regarding the first bija of bala tripurasundari maha vidya, the goddess
tripurasundari bears in the center of her forehead, splendor and power of knowledge. It refers to the
knowledge of creativity or power of multiplicity of creation and is compared for the purposes of worship to the
multihued bow of indra. According to chakra sanketa, the forehead refers to ajna chakra, the place of
concentration for the yogis. The first evident appearance of parashakti is in the knowledge aspect.
Manifestation, indeed, begins with sound. The unbeaten sound, anahata nada, expresses itself first in the
vedas. Thence all kinds of knowledge takes the form of activity. The seat of knowledge, in an individual body
also, is the forehead. Ordinarily, by the very first look on the forehead of a person, one can know about his or
her mood, intention or tendency of behavior etc. Since knowledge gives color to thought, the energy of
knowledge expresses itself in multiplicity, both in an individual and in the universe. Its symbolic expression is
illustrative of the multicolored bow of indra, meaning the rainbow.
By way of mantra sanketa, the mystic bija `aim' is revealed here. Primordial knowledge is expressed through
the universal sound called shabda brahma. This sound gets thick and becomes audible through the three
vedas. The first mantra of rig veda begins with `a' and the first mantra of yajur veda begins with `i'. `a' + `i' =
`ae'. Again, the first mantra of sama veda begins with `a'. Then `ae' + `a' gives `ai' sound. The syllable `ai'
therefore represents the three vedas. This connotes existence-knowledge-bliss aspects of brahman. To
express the nondual parabrahman is the final import of the vedic triad. Bindu is added to the letter `ai'. Thus
aim being the combination of the vowel letters from a to am, governs all multifarious sounds. Therefore, the
non-dual shakti of shiva in her knowledge aspect is represented in aim mantra. It is the saraswata bija and the
presiding deity is saraswati, the goddess of learning or speech. The first appearance of speech being
pashyanti, concentration is focused in ajna chakra in the forehead.

The place of kundalini, when active towards manifestation, is the pelvic plexus in the human body. It is named
`adhah kundalini'. The three main nerves ida, pingala and sushumna originate here. There it is termed yukta
triveni. When kundalini is awakened from the mystic slumber, it moves like lightening to reach sahasrara
where it becomes urdhwa kundalini and is termed mukta triveni. Kundalini is the yoni, the place of emanation
of all kinds of energy. It is the subtler kandarpa vayu and not prana. She resides in the triangular space at the
bottom of spine in the moolaadhaara chakra. The sanskrit notation of the vowel `ai' resembles a triangle. Thus
this bija is full of the power points of will, knowledge and activity, with a predominance of knowledge aspect.
With bindu above, it is the forceful bija mantra, constant repetition of which, followed in a traditional way,
awakens kundalini.
According to pooja sanketa regarding the second bija of bala maha vidya, goddess spreads from the head,
clean and white luster of the energy of activity on all sides like the moon. She is worshipped as the universal
mother of peace and love. According to chakra sanketa, the head refers to the seat wherefrom the power of
activity works. Knowledge has its source in thought and this knowledge along with thought becomes the
cause of activity. Jnana shakti is predominated by kriya shakti. Clear and white luster of the moon is symbolic
of the pure intellect in sahasrara, wherefrom activity is executed in the balanced and fruitful way. Therefore,
the place of luster in a person is the head. Activity takes place only when it is conceived in the brain. It
elevates knowledge, making it concrete, which is a successful means of sincere sadhana towards
emancipation. According to mantra sanketa, the seed mantra `klim' is revealed. Knowledge of the supreme
spirit manifests in the inarticulate sound called shabda brahman. It is indistinct anahata. The vowels a to am
denote this sound. When the consonants ka to la combine with the vowels, distinct or articulate sound is
produced. Therefore `kla' stands for creation coming to the state of preservation, where knowledge
assembles for activity. `i' stands for clear conception which is only a transformation of the power of perception.
Bindu connotes non-dual parashakti in the universal manifestation. It is the state where there is no
assumption. It is the junction where there is fulfillment of all desires (kamakoti). It is the state of soothing
luster. This bija is called kamaraja bija. The deity of this bija is mahalakshmi or lalita, who is evident in two
forms. As kali, she is malign and works fear and panic in the heart of the timid and the unwary. As lakshmi,
she is benign and acts as a foster mother to the knowing and the tenacious. Thus, klim stands for the kriya
shakti aspect of the supreme parashakti. It is the second stage of speech known as madhyama. Its place of
pronunciation is in the head. The vowels help the consonants to produce articulate sound when ideas begin to
take the form of words.
The place for iccha shakti or the power of will or volition is the heart. According to pooja sanketa regarding the
third bija of tripura vidya, mahatripurasundari, in her aspect as iccha shakti, is eternally established in the
heart like the glory of the sun.
In the field of chakra sanketa, the power of volition refers to anahata chakra. It is the ever-aware will that
pervades the powers of knowledge and activity. The center remains ever fresh just as day is bright with
sunlight and wards off all evil in its presence. When knowledge predominates over activity, it leads back
towards release, the final beatitude of life. Then the power of thought iccha shakti, is at work. The place of this
power is the heart, the center of involution and absorption.
The heart symbolizes complete comprehension when all trash (samskara) gets burnt as wee see that all filth
is destroyed when the sun shines bright. The power of thought predominating over the other powers of
knowledge and action thus works towards serenity, which leads to the realization of universal oneness, called
supreme state of consciousness. The presiding deity of this power is gauri, rightly called mahatripurasundari.
Her glory is described, for the common man, as that of the sun, and as worthy of attainment. The awareness
is ever alive in the heart of an earnest devotee of the divine mother.
According to mantra sanketa, the mystic letter `sauh' is revealed. The mantra sauh is explained in the light of
iccha shakti. This power is also called visarga shakti, the energy of release. Visarga connotes pouring of

ambrosia or the final beatitude. The trichotomy of the world phenomena (maata, meya and maana) is
absorbed into oneness or the sameness sattaa saamaanya avasthaa (as explained in yoga vasishta), just
as sun's blaze reduces all inflammable objects to ashes. Then all duality disappears. The glory of the blissful
sun of spirituality pervades the manifest and unmanifest universe. The seat of this bija is the heart. Analysis of
the mantra is: `sa' means `with', `ou' stands for determination and visraga for release. Thus "with
determination, this bija brings about release from all bondages" is what the mantra means. This bija is also
called paraa bija (especially by trika tradition). On its accomplishment, mahatripurasundari reveals the
supreme reality as herself and as sadhaka's own self. Also, `sa' represents jiva constituting of 31 tatvas from
prithvi upto maya. `au' stands for suddha vidya, sadashiva, and ishwara tatvas as also the iccha, jnana, kriya
shaktis of tripura bhairavi. This is represented by shoola bija, which is aptly adopted by shaiva tantra rather
than srividya. Hence i omit discussion of this trishula concept.
Visarga represents the display of powers by shakti inherent in shiva. It is the level where an advanced
aspirant feels an influx of an internal delight owing to the awakening of the kundalini. It is rightly called
kshobhaatmaka visarga, the process of flow of the five cognitive energies that swell up out of sheer delight.
There is no physical sexual contact at all though this is the orgasm of the real brahma maithuna. This is also
called jnana mudra. This bija is also referred to as bhairaveeya hridaya or bhairava's heart in paraatrimshikaa.
By chanting this mantra with concentration, volition turns into determination for release from the bonds of the
world and attainment of the final beatitude. This mantra is also called vaadava mantra since it burns all action
through knowledge to find repose in the supreme self.
In the order of manifestation or srishti krama, it is the state of vaikhari, the spoken word of spontaneous
delight. Impurity (mala) accumulates because of ignorance of one's real nature. Therefore, bondage of the
individual is due to his innate ignorance. It is primary limiting condition (apurnatva) brought about through
aanavamala (apuurnatvamaanavam) from the universal consciousness to limited individuality, anutva. Iccha
shakti of the supreme comes to limitation. Aanavamala is of two kinds:
1. Paurusha ajnana ignorance innate in the very being of the individual self.
2. Bauddha ajnana ignorance inherent in the intellect.
This impurity makes the jiva consider himself to be a separate entity, cut off from the universal stream of
consciousness. This is the subtlest impurity. There are two other impurities of subtle and gross nature. Mayiya
mala and karma mala make the jiva further limited when he comes in association with ashuddhaadhwa, the
impure path.
Mayiya mala brings about the consciousness of difference (bhinnavedyaprathaatvam maayiiyam), because of
the differing limiting adjuncts of the body etc. This comes about when jnana shakti of the supreme comes to
limitation. Then further limitation is brought about by vaasanas (shubhaashubhavaasanaamayatvam
kaarmaam), the residual traces of actions done in previous births under the influence of desire. This is karma
mala (mala means impurity). All the impurities must get washed off before identity with the supreme self is
realized. We who are all troubled by birth and death and have various kinds of attachments, should pray for
the destruction of our sins so that the supreme self is realized. In a moment of grace soon after the
ignorance gets destroyed, effulgent glory of atman is revealed in a flash (sakr^idvibhaato.ayamaatmaa chandogya upanishad 8.4.2). Soon after taking to meditation on mahatripurasundari that grace comes in a
sudden surprise and is also a spontaneous event. The substrate of the universe in all its phases comprises
the three divine mystic forms appearing when uniformity of the three basic gunas or qualities gets shuffled.
The divine mother is then manifest in everything in triple form. Literally tripura means `puraa tri', she who is
prior to the three supreme powers. She is the fourth, the incomprehensible, unperceivable, and formless, fine
and beyond what we can best think of. Therefore, it is the mystic triad. Sruti confirms it by saying, "who can
know the knower".

With the realization of the powers of knowledge, activity and volition according to chakra sanketa and by
chanting constantly the great mantra with perfect concentration at the forehead, the head and the heart
according to the mantra sanketa, mahatripurasundari, who is being and becoming or prakasha and vimarsha
both in one, reveals herself in a moment of grace mysteriously. Chanting of the formula with concentration in
the indicated places, is undertaken by an earnest aspirant in accordance with tantra tradition under the
direction of a competent preceptor as given in mantroddhara vidhi (mantroddhaaravidhirvisheshasahitaa
satsampradaayaanvitah). Sridevi grants the boon of release from the dualistic sense of the world. It is an
experience of oneness in all the trichotomic nature of manifestation. Authority, evidence and theorem all the
items of duality, get merged in that realm of parabrahman paramashiva, which is eternal existence and
supreme beauty. This happens by the grace of sridevi only.
Shiva, one's own essential self, is recognized by means of shakti (shaiviimukhamihochyate - vijnanabhairava
20). In the train of alphabet (matrika), the letters ya, ra, la, va are called antastha. These letters adopt the
sound just like the vowels and connote refinement in the fulfillment of sadhana. This further develops into
eagerness as suggested by the ushma letters sa, s^a, sa, ha. Ushma means heat or eagerness as these are
pronounced with greater force. Ha is the last letter. It connotes certainty. A stands for shiva and ha stands for
shakti. The two letters combined and with bindu connote perfect awareness of parashakti or parabrahman.
Therefore `aham brahmasmi, shivoham, aham brahmaswaroopini these great sentences from the vedas
(mahavakya) point to the same reality which is ultimate and supreme. The first sprouting seed of paraa is
pashyanti. While abiding in her own glory of sadashiva tatva, she begins to spread forth through the power of
knowledge. She is very subtle and lovingly bright like the tender stalks of sprouting trapusi fern. This is
represented by the seed-letter aim. Trapusi is a kind of fern whose first sprout is as tender, delicate and
beautiful as the super-fine rising kundalini. Unani physicians for treating certain diseases use this herb. It
grows commonly in kashmir. Kundalini here refers to urdhwa kundalini. The reference is also to prana
kundalini that works at the physical level. It expresses itself in the form of life in the body. It is only partially
awake, just for maintaining normal life in the body. When it is awakened, the body throbs with radiant life,
which is evident in the yogi's forehead. The more it is awakened, the more youthful energy the yogi exhibits in
the body. Men, who know this secret, do not fall again into the cycle of birth and death.
Kundalini jnana is available to earnest seekers whereas, kundalini vijnana is available to a chosen few. Hence
it is called a secret. Bhoga (enjoyment) is the fruit of moksha (liberation). Only jivanmuktas are seen, as
described in the scriptures, enjoying the fruit of liberation. But that state is obtained with great difficulty.
Constant and rigid sadhana followed through a number of births is not enough without the grace of sri
paraabhattaarikaa.
Sometimes her grace comes in a sudden surprise. Great teachers have experienced such occasions. Grace
may come when a balance is struck between the actions of the previous births and those of the present i.e.
When karmasaamya occurs. Grace glorifies even those who ordinarily appear least fit for it. It is a mystery. It
signifies the will of the supreme power alone. That is why it is sometimes amazingly sudden. Grace of sri
mahatripurasundari is unconditional. No human effort can bring it into play (natvatrako.api aatmiiyo
purushaakaarah nirvahita ishwara pratyabhijnaa vritti vi.7). Bindu means the dot or what is called the
anuswara, added to a letter on its top to give a nasal sound. Ordinarily, if a mantra is pronounced without the
bindu, it becomes incorrect and so loses efficacy. The bindu pronounced at the end of the seed-letters
denotes the supreme non-dual parabrahman. Mantra japa as explained in the sadhana texts, is absolutely
necessary to invoke the powers of the goddess, and when it is performed with the purport of the mantra, it
becomes a sure vehicle to the divine presence. But here is an extra-ordinary example of the grace of sri
parashakti.
Utathya, a brahmin boy was born a dunce. He had been a failure in receiving education or any kind of
knowledge. He could neither speak nor associate himself with people. He knew neither sadhana nor any
mantra of the goddess. He only led a pious life on the bank of the ganges with a vow that he would always

speak the truth. This gave him the name satyavrata. He had chosen to pass his days in the forest alone after
it was difficult for him to hear the taunts and face the affliction inflicted on him by his disappointed parents.
One day while he was sitting outside his hut and repenting over his lot, a hog, stricken with arrows of a hunter,
passed by suddenly. Fears stricken himself, in a sudden shock, he uttered ai ai. Trembling with fear, the
animal hid itself in the bushy forest behind the hermit's hut. Immediately, the hunter came there and requested
the hermit and requested the hermit to tell him which way the hog had hidden itself. It was a puzzling situation
for the young man. On one hand the hunter pleaded for his professional activity and duty towards the family
dependent on him, and on the other hand the hermit's own heart was overfilled with compassion. For some
moments he could say nothing. Soon he thought to himself: `what involves violence is not called truth. Even
untruth spoken in the excess of compassion is the real truth. What is useful and helpful for the human beings
constitutes truth and nothing else'.
Satyam na satyam khalu yatra himsaa dayaanvitam chaanr^itameva satyam |
hitam naraanaam bhavatiiha yena tadeva satyam na tathaanyathaiva || [devi bhagavata 3.11.36]
As mentioned earlier, he had no initiation of a divine mantra and he did not know the great seed-letter of
mahatripurasundari. Simply, out of some divine urge, he had pronounced the mantra ai ai without
pronouncing the bindu. Yet the grace of the divine mother descended on him undesired.
Ashtavakra gita says: `fire gives burns even if touched unknowingly' (anicchayaa.api samspr^ishto dahatyeva
cha paavakah xviii.37). And as a result, words of wisdom flowed from his mouth. He said, "o hunter! Why do
you ask me about this again and again just to suit your end? The fact is that the eyes endowed with sight
have no tongue to speak, and the tongue which could speak does not see at all" (devi bhagavata 3.11.36).
Even the dunce spoke wisdom on being graced by the divine mother. Rare indeed is that great-souled one
who is not desirous of either enjoyment or liberation.
The goddess is also called nityaa (eternal) because she is not held by the course of time- past, present and
future. The supreme consciousness, even while projecting as authority, evidence and theorem (pramaataa
pramaana prameyaruupaa sr^ishtih), is not affected in any way. In reality, consciousness is neither the object
of eternity nor of non-eternity as utpala maintains: `neither always nor then nor once, where no such notion of
time exists, that is thy realization. This cannot be termed as eternal or otherwise shivasutras'. Divine grace
descends on anyone of the thousands of men in a sudden surprise and out of the free will of parashakti. It is
unconditional and so unattainable with any human effort whatsoever (abhinavagupta ishwara pratyabhijna).
It comes as an intense moment of shaktipata, complete prostration of human strength or little ego. It
descended on satyavrata brahmana in an intense moment of fear and repentance. When we say `klim'
without counts, it means `im' without ka and la. Since action is essentially an offshoot of knowledge, this
mantra `im' includes the mantra `aim', in the filed of mantra sanketa. Aum or pranava is the established
symbol for the recognition of familiarity with the divine self. That gives pranava, the spirit of obeisance. With
the same faith, the wise pronounce this bija mantra klim bereft of ka and la. Ka and la constitute the
manifestation from kaala to prithvi. Aum is pronounced with faith and devotion at every ritualistic performance
as is also ordained by the shastras. No ritual is complete without the chanting of aum. Chanting of pranava is
done is all sacred moments. For the sadhaka, these sacred moments are the junctions of outgoing and
incoming breath, or the special times of vishuvat and abhijit kaalas, the time of shaktipata when the divine
gets revealed. Fixed mind is essentially possible when complete surrender is made to the supreme ruler of
the universe. Patanjali puts it as: "concentration may get fixed through devotion to ishwara"
(iishwarapranidhaanaadvaa - yoga sutra 1.23). Devotion is, however a subtle and dangerous path, beset with
the pitfalls of ambition and pride. Devotion to a personal god brings with it a natural inclination to service and
surrender of ego. Our minds can recognize the attributes of a god with form. Ishwara, the supreme controller
is, therefore, all that we can know of the reality until we pass beyond prakriti. When the glory of the goddess
of knowledge, combined with powers of activity and will, is revealed, the devotee experiences tranquility,
peace and perfection of eternal beatitude. When divinity gets revealed to the wise, it is expressed in the

words of wisdom, or poetry, conveying the subtleties of divine glory. The great mantra consisting of the three
seed-letters is for the practice of nirguna samadhi chiefly though. As such the conclusive form of the mantra
becomes `aim im auh', which gives perfection in spiritual sadhana, signifying that the knowledge that
predominates over activity and volition, alone can bring about the divine union (j~naanaadeva tu kaivalyam).
When speaking of yoga, what is meant is that concentration, meditation, japa and other practices followed as
routine exercises are no condition for the exalted spiritual perfection (shiva sutra 1-1).
Whosoever among mortals, following whatsoever disciplines and having whatever desire, reflects on or
repeats each of the seed-formula in parts or otherwise as:
1. With consonants aim kilm sauh
2. Without consonants ai i au
3. Combined aimklimsauh
4. Separate aim, klim or sauh
5. In order aim-klim-sauh or ai-i-au
6. Reverse order -sauh-klim-aim or au-ai - is granted the fruit thereof in no time.
Sridevi is called the joy of projection. Shakti, being shiva's inseparable energy, is the joy of projection as the
universe. Chit shakti unfolds the universe upon her own screen by the power of her own free will (swecchayaa
swabhittau vishwamunmiilayati). Like mother, therefore, she is ever full of joy and fulfills every desire of her
devotee, whoever he is and by whatever means he approaches her. Among the prescribed methods of
approaching the divine, some of the chief ones, suggested in the agamas are:
1. Following the step of the assignments of limbs (anga and kara nyasa) and the rishi.
2. Remembering the sacred sandals (sri guru paadukaa) of the spiritual preceptor.
3. By following a method that comes unsought.
These three methods broadly suggest the aanavopaaya, shaaktopaaya and shaambhavopaaya respectively.
The natural state of condition (swaroopa) of paraabhattaarikaa mahatripurasundari, as described in the
agamas, is of three kinds:
1. Sakala
2. Nishkala
3. Nishkalasakala
The divine mother is parashakti, who holds the universe completely in her self-effulgence (amba te
paaripuurnyam swaatmasphurattayaa vishwam paraamr^ishatiityambaa). She is the sovereign power of her
own free will. She is procreatrix, the mother of the entire creation. Some of her names that associate her to
the first form of bala are: sarada (the giver of essence), vagishwari (the supreme deity of speech or
knowledge), mahavidya (the knowledge supreme), brahmi (the consort and power of brahma). Saraswati
literally means `the flowing one' and represents speech, which in perfection, pre-supposes power of

knowledge and intelligence. Since knowledge is the antithesis of the darkness of duality and ignorance,
sridevi is considered the personification of all knowledge arts, sciences, crafts, skills etc. As the goddess of
learning, therefore, she is shown holding a book in her left hand. The book represents all areas of secular
sciences. The sign of fearlessness that amba sports, stands for the assurance of devotee's faith and strength
of will in the endeavor. The great fear arises from the accumulation of the three impurities or malas. Amba
also holds an akshamala. The shabda brahman represents the essence of all alphabetical sounds. The rosary
of letters from `a' to `ksha' is called akshamala. It is also called matrika chakra. The practical use of this
matrika mala for japa and sadhana is detailed in kali tantra and srikularnava.
Shaktipata is the focal point of divine grace, when complete prostration of human strength takes place or
when the little and subtle ego totally gets merged in the supreme self or paraa samvit. No human efforts can
bring it to oneself. It comes in a flash when the supreme only wills it. It comes out of her free will and therefore
is unconditional. There are nine kinds of shaktipata explained in tantraloka. Parashakti is generous and
sympathetic in granting boons to her devotees. In fact the four arms show her unimpeded power in all
directions. But the hand that is raised for giving boons is softer because that grants complete realization of
supreme consciousness (i.e. Of paramashiva).
The experience of supreme bliss consists in the union of the soul and self through supreme power called
shakti. This marks the accomplishment of the power of `sauh' bija mantra, which is fed by the mantra `klim'.
This is the fruit of successful concentration on the second form serially based on the first. This is the
fulfillment of the power of desire, which has developed from the power of action including its preceding power
of knowledge. This state is realized in their practice by those who are mantra siddhas, who have completed
their practice with the accomplishment of mantras and not by those who are busy in their routine
performances alone. It is said, `escaping from fixing the mind in abstract contemplation on the true nature of
spirit, who think of different deities are like those who go about begging even on possessing abundant wealth
and after begging, they still remain hungry" [matrikabheda tantra]. One pointed meditation is done by
abstraction of the senses (pratyahara) through regulation of breath (pranayama). Success in contemplation
even for a moment, in this way, brings automatic satisfaction and divine joy.
Sri ahstavakra rishi said to his disciple, king janaka: "seeing the desire less lion (man), those elephants of
sense-objects, quietly take to their heels, or if unable to run away, serve him like flatterers" (nirvaasanam
harim dr^ishtvaa tuushniim vishayadantinah . Palaayante na shaktaaste sevante kr^itachaatavah .. xviii).
Abhinavagupta endorses the experience with a similar statement in his commentary on the gita while
explaining the verse sixty-three of chapter xviii "therefore, seek refuge in him alone with all your heart' is the
sole and sure means of control over senses. The great master utpaladeva, in his direct expression to lord
shiva puts a self-explained question: "right from the mind, all movements of the senses are entirely fickle. But,
how they become firmly steady on realizing thy supreme self, o lord, for those who are quite warm with the
wealth of love (for you)? It is really wonderful". To those (to the earnest devotees), lovely women, whose eyes
are charming like those of fawns (attractive objects of enjoyment in the evanescent world), helpless and
bashful with the feverish attacks of the cupid (which, out of strong emotion and desire make one helpless and
weak), become capable of being subdued (come to be under control).
The shastra says that those who get established in one-pointed devotion to amba's non-dual form even for a
short time, meditate on her form, adored with bright gold earrings, bracelets and waist-band round her waist,
their organic operations (indriya vritti), get spontaneously transformed into universal consciousness, the
restless activity of the ears of their bodies becomes subtle just as the restless movement of the ears of an
elephant stops of its own on its getting intoxicated. Earrings connote the bija mantra `aim'. These stand for the
power of knowledge of the deity. Ordinarily, earrings give the knowledge of a woman present at the time.
Bracelets connote the mantra `klim'. These stand for the power of activity of the deity. Waistband connotes the
mantra `sauh'. It stands for the power of volition the fulfillment of desire.

The shastras describe an alternate from of meditation: "o goddess of light and luster! For realization of thy
supreme self, devotees, while offering heroic worship, meditate on thy form, constituting thy locks which are
bedecked with the crescent moon, a necklace of skulls round thy neck and garment red as bandhuka flower.
Thou art seated in a heroic pose (virasana) on the sleeping shiva. Thou hast four arms, three eyes, large and
projected breasts and bending waist having three deep folds of beauty". In this extraordinary description of sri
mahatripurasundari, the necklace of skulls depicts a garland of ego less alphabets. The red garment connotes
creational will. Sri mahatripurasundari, in her full blossom of transcendence is referred to as the basic power
of light and lustre, which in tantra depicts prakasha and vimarsha. Prakasha, according to the sruti, is that
brahman itself that is effulgent and shines variously (tameva bhaantamanubhaati sarvam katha upanishad
ii.ii.15). Vimarsha conveys that `through the various kinds of effulgence in the effects, it is known that the
characteristic of luminosity is intrinsic to the brahman' - tasya bhaasaa sarvamidam vibhaati.
According to the agamas, consciousness (samvit, chit or paramashiva as it is understood) is knowledge
(jnana) and activity (kriya) both in one. Therefore, jnana and kriya, shiva and shakti, prakasha and vimarsha,
are one. The whole relity is shiva and the whole of it is shakti as well. The goddess is hence addressed here
as the goddess of both light and luster. A close examination of the srividya mantra reveals that the mantra is
shiva-shaktyatmaka. There is no separate need to chant a mantra of paramashiva kameshwara since srividya
itself is of the form of shiva and shakti. Its existence is even beyond the sadashiva or the ardhanarishwara
state.
Shakti is the power of shiva. Her activity at will towards manifestation becomes evident while shiva, the
source of all power remains in volute. As such, the eternal shakti emanates as form and assumes different
phases while the eternal shiva remains in the subtle state of chaitanya. This is depicted in the shakta lore as
shiva lying as if dead and shakti stands on him in full vigor of awareness. The sleeping sadashiva forms the
berth of the palanquin in which sri mahatripurasundari is borne by the four powerful deities: brahma, vishnu,
rudra and ishwara. Her four arms represent the powers of four prominent parts (kalaa) of the creative divinity.
They are: nivritti, pratishtaa, vidya and shantaa. Her three eyes connote the three luminary powers i.e. The
sun, the moon and the fire, which correspond to knowledge (pramaana), object of knowledge (prameya) and
empirical experient (pramaata). Her breasts connote the meaning of alert awareness of light and sound or
prakasha and vimarsha. Her bending waist is the sign of inclination towards manifestation. Decoding this
symbolism, we obtain the nine enclosures of the srichakra. We shall see them one by one.
1. Valiitrayaa~nkitatanum moolaadhaara chakra bhoopura trailokyamohana chakra.
2. Madhye nimna swadhishthana chakra sodasha dala padma - sarvashaparipooraka chakra.
3. Aapiinottu~ngastaniim manipooraka chakra ashtadala padma sarvasamkshobhana chakra.
4. Trinayanaam anahata chakra - chaturdashara sarvasaubhagyadayaka chakra.
5. Chaturbhujaam visuddhi chakra bahirdasara sarvarthasadhaka chakra.
6. Pretaasanaadhyaasiniim ajna chakra antardashara sarvarakshakara chakra.
7. Bandhuukaprasavaarunaambaradharaam manasa chakra - ashtara sarvarogahara chakra.
8. Nr^imundasrajam soma chakra trikona sarvasiddhiprada chakra.
9. Shashikhandamanditajataajuutaam sahasrara - bindu sarvanandamaya chakra.

Note: this is the samhara krama accepted by dakshinamurthy sampradaaya. Hayagriva tradition and
anandabhairava traditions omit triple girdle from sri chakra.
Shaktipata is unconditional sri samvidamba is always graceful towards her earnest devotees, no matter
whether they possess worldly grandeur or not. In contrast to the above, there are little chances of receiving
grace by those, who are not devoted to the lotus of sri lalita mahatripurasundari. People engrossed in
ignorance, only suffer pains and pleasures of this transient world. They find no time to look back to the infinite
self, wherefrom all this manifestation emanates. They remain devoid of knowledge of the goddess and so
have no devotion. Undergoing penances for purification of the internal organs (antahkarana) promises a clear
understanding of the truth. A devotee, by her grace, becomes her. Much discussion of tripura, the splendid
name of sridevi has already been done. The three worlds (of which she is the supreme queen) refer in the
microcosm to bhuh, bhuvah and svah (earth, space and heaven) or to vishwa, praajna and taijasa or virat,
hiranyagarbha and ishwara in terms of vedanta. Sridevi is the supreme ruler of these and hence she is turiya,
the incomprehensible fourth. There are basically only three castes, as there are the three vedas, the three
gunas etc. The three castes represent the three qualities viz. Satva, rajas and tamas, as suggested by the pet
offerings made by devotees who are quite established in their respective modes of worship. It may also be
consistent with the teaching of the gita that the first three kinds of devotees are the distressed, the seeker of
knowledge and the seeker of wealth. By the fourth kind of devotee we mean the one, who is a jnani or a
jivanmukta who, while living in the body is steady in the knowledge of the self. His offering to sridevi is his
spiritual ecstasy, the divine inebriety of constant awareness of the supreme self in contrast with the common
wine that has its effect otherwise.
A brahmana should offer tarpana only with milk and sugar during navavarana pooja. Using other articles is
banned by the agamas. Ghee and honey are prescribed for the other two castes. These may not necessarily
mean castes, but instead may refer to different stages of spiritual advancement. Well, more information on
this may be obtained in a work called `srividya sudhodaya', a classic by deepakanatha siddha. This also finds
sanction in the shubhagama panchaka. As mentioned earlier, milk, ghee and honey represent satva, rajas
and tamas in the devotees belonging to different levels of consciousness. In offering oblations or doing any
kind of worship to the divine mother, one must not involve oneself in the desire of a return or fruit thereof. If
one does, the earnestness and one-pointed ness required for its success lose their intensity. Every seed that
is sown bears its fruit against an action. Our efforts directed towards the efficient completion of work fall short
and we cannot enjoy the fruit even when it's ripe. That makes a big loss. Still bigger loss occurs if we are
impatient for the fruit of an action being performed at the present. We shall be deprived of undertaking more
work for more prosperity. Hence the formula given by bhagavan to arjuna- nishkama karma (doing action
without thinking of fruit thereof), must be followed. That certainly gives purity of mind. That gives heroic
magnanimity and leads to ultimate freedom of soul, and the aim of true worship. The tantra says:
Puujaa naama na pushpaadyairyaa matih kriyate dr^idhaa |
nirvikalpe mahaavyomni saa puujaa hyaadaraallayah ||
`worship does not mean merely offering of flowers etc. It rather consists in setting one's heart on that highest
ether of consciousness, which is above all thoughtconstructs. It is dissolution of individuality with perfect
ardor'.
The desire in a stable mind that can defy prarabdha, cannot be an ordinary one of attaining evanescent
enjoyments. It is the desire for attaining perfection or recognizing one's true self, which may include
accomplishments to rid oneself of bondage. That desire is for the upliftment of the soul and the whole world.
And, one of pure intellect can only have it. The upanishad says:
Yam yam lokam manasaa samvibhaati vishuddhasatvah kaamayate yaamshcha kaamaan |
tam tam lokam jaayate taamshcha kaamaan ||

`the man of pure mind wins that world, which he mentally wishes for and those enjoyable things which he
desires mundaka iii-1-30'.
The entire universe consists of subjective (shabda) and objective (artha) aspects blossoms from the matrika
shakti. This is a proliferation of paraa vaak in six paths or courses known as sadhadhwa. Three of these are
under the indicated side (vaachya) and the other three are under the indicator side (vaachaka). The triad on
the vaachaka side is known as kaladhwa (temporal order) and the triad on vaachya side is known as
deshaadhwa (spatial order). The three adhwas of each group correspond to the emanation of pashyanti,
madhyama and vaikhari stages from paraa, the supreme divine energy. Corresponding to the five categories
of pure creation, there are five stages of the emanation of sound.
The first is para, which is supreme and subtle. The second is pashyanti, which is less subtle but still
undifferentiated. The third is madhyama, which is grosser and differentiated, but not yet articulate. Articulate
sound is called vaikhari, which is of two forms, subtle and gross. It is from vaikhari that all letters or varnas
and syllables or padas and sentences or vakyas are manifested. Para, which resides in the shiva tatva,
represents the first movement of shabda. This is also called nada tatva. Pashyanti stands for shakti tatva and
is also called bindu tatva. These are the compliments of the ultimate potency of creation. From these arise
what is known as the tribindu, which is the root of all mantras. The subtle and esoteric aspect of kamakala
has to be learnt from a competent desika. Thus the duality that manifests in every jiva is lost when the
supreme mother reveals herself within luminous effulgence and everything in the world and within each one of
us, becomes the mantra shakti. The breathing in and out becomes cancels out and the mind and senses turn
inward. One loses body consciousness and the feeling of duality ceases and brings about the awareness of
equality. Then one experiences complete identification with the shiva shakti one parabrahman as
mahatripurasundari.
Sadhadhwas with the corresponding names in three levels is as below:
Vachakadhwa (shabda) -> vachyadhwa (artha) -> corresponding names in the three levels
Varnadhwa (the path of letters or the divine alphabet) > kalaadhwa [consists of five boundaries of tatvas
shantyatita kalaa (shiva tatva), shanta kalaa (shakti to shuddha vidya), vidya kalaa (maya to purusha),
pratishta kalaa (prakriti to jala) and nivritti kalaa (prithvi)] -> paraa and pashyanti.
Padaadhwa (consists of words and syllables) -> tatvaadhwa (the complete system of thrity-six tatvas) ->
paraapara or madhyama.
Mantraadhwa (consists of mantras or great sentences) -> bhuvanaadhwa (the combination of 118 worlds,
according to tantra tradition) ->aparaa or the gross vaikhari.
At the level of paraa vaak, shabda and artha or word and meaning are in a state of indistinguishable unity.
These begin to differentiate when manifestation takes place. In this creative descent, there is polarity of
subject and object, developing as the highest (paraa) and the gross (vaikhari). It is to be noted that
shadadhwa is meant for the process of dissolution to the state of parashakti or paraa, for the purpose of
realizing the goddess through her grace, and not for treading, for that leads to duality samsara). Sridevi
clearly explains this while in conversation with sri bhairava as:
Na hi varnavibhedena dehabhedena vaa bhavet |
paratvam nishkalatvena sakalatvena tadbhavet ||
Many authorities against the vedic system of varnashrama quote this verse. However, this refers to something
totally different. `transcendence, the state of paraa, cannot be consistent with the division of kaladhwa or of

deshadhwa; it consists in its indivisibility. It cannot co-exist with sakala or composite parts'. This is what the
verse actually means. Therefore, by reducing the many (kaladhwa or purusha and deshadhwa or shakti) to
one transcendent (parashakti or parabrahman), one will be surely liberated from bondage.
In traipura siddhanta, primal energy is trichotomized in individual manifestation (vibhaava), universal
manifestation (prabhaava) and confession (anubhaava), each of which is again three-fold in nature. Tripura is
the primal energy or parashakti who excels the trichotomy. Some of the three triads, which are transcended
by sri tripura, are:
The three gods:
Brahma vishnu rudra or
agni vayu surya or
vasu rudra aditya
The three fires:
Ahvaniyagni - sacrificial fire
garhapatyagni - household fire and
dakshinagni - crematory fire
These three fires, important in the life of a person from birth to death, indicate the play of sridevi in one's
entire life. In yogic parlance these three refer respectively to heart, forehead and head.
The three powers:
Iccha - volition
jnana - knowledge and
kriya - activity
These are indeed brahmi, vaishnavi and raudri shaktis. These three are the important powers of sridevi to
bring about the whole manifestation of the universe. All the three powers are active in everything and every
atom of all beings.
The three vowel sounds:
Udaata anudaatta svarit of vedic chants
hrsva dirgha pluta of alphabetic vowels
akaara ukara makara of pranava omkara
The three kutas of srividya (gayathri, bala, panchadashi or shodashi):
Vagbhava
kamarja and
shakti kutas
The three lokas or fields of experience:
Bhuh earth
bhuvah space and
svah heaven

The three chakras:

Muladhara anahata ajna
Jnanis, the learned ones take these to be:
Pramaataa authority
pramaana evidence and
prameya theorem
The three peethas:
Jaalandhara kamarupa purna giri
The three holy concentration of tirtha:
Nasik push kara prayaga
The three spirits of the universe:
Aum tat sat according to the vedas
nara shiva shakti according to tantra
jiva jagat ishwara according to vedanta
ida sushumna pingala according to kundalini yoga
past present future
hridaya vyoma brahmarandhra
The three varnas:
Brahmana - kshatriya and vaishya
The three vedas:
Rig yajus and sama vedas
Amba appears to us in various forms and various manifestations. Remembering her as sri lakshmi, one
overcomes the materialistic difficulties. By meditating on her as jaya durga, one obtains victory. One should
meditate on her as kshemankari while undertaking a dangerous journey so as to protect oneself. Amba helps
us a `shabari' or vanadurga while crossing over difficult mountains covered with dreary forests. By praying to
maha bhairavi, one can overcome the fear of spirits, ghosts, goblins and spirits. By meditating on tara, one
can overcome calamities wrought by drowning in floodwaters. She actually takes the jiva across the ocean of
samsara. By turning to tripura, the last refuge, release is obtained from the cycle of birth and death.
Shaktopaya chiefly involves search for truth (anveshana). This includes reflection, the means of fixing the
mind on its object by thinking, concentration etc. Without the aid of articulate repetition of the formulae. It
consists in the practice of gathering knowledge for grasping the ultimate truth. Therefore, jnana shakti
predominates shaktopaya, which is also called jnanopaya. Knowledge of reality is established through the
medium of `origin and reflection' or bimba-pratibimba vada, the principle that - main factors that exist in the
lower sphere, have their original source in the higher plane. The pashyanti, madhyama and vaikhari that exist
in manifestation, have their existence in the higher level of para.

In the spiritual lore propounded by the agamas, the two feet of amba stand for the two divine powers pf shivashakti i.e. Jnana shakti and kriya shakti, the important means of manifestation. The foot representing jnana
shakti is stable, quiescent whereas the foot representing kriya shakti is involved in divine activity. This refers
to the highly esoteric form of ardhanarishwara or ardhanareshwari. Hence abhiyukta says: `may that one
breast of amba, emerging like a golden pot in a propitious manner of oneness with shiva, confer bliss, for
drinking of nectar (milk) for which kumara and ganesha are ever quarrelling with each other".
The higher foot of nirvana charana represents the source-energy for accomplishment of divine liberating
wisdom. In yogic parlance, this refers to the concentrating point of prana and apana where the two combine to
enter the sushumna. That becomes possible through the infusing power of the preceptor as that alone opens
the gateway to shivam, signifying the mysterious realization of universal oneness. This state of secret
transformation comes to happen in the case of very intense shaktipata, when parashakti through the guru,
makes the ego sink to it very depth, not to sprout anymore.
The three upayas anava, shakta and shaambhava for realization have been described. Then their
combination actually concludes in anuttara. That is the state of jagadananda in which the universe also id
divinized and becomes one with the self. It is experiencing the charm of bliss everywhere and every time. It is
the experience of indivisibility flashing forth all round, oth inside and outside. Consciousness alone expresses
itself as the knower, the known and the means of knowledge. It gains in intensity with the nectar of divine joy
of absolute sovereignty, when the yogi does not sit for contemplation. That is the sate of all awareness of
jagadananda. This surpasses the six states of spiritual delights of ananda as enumerated below:
1. Nijananda when the mind rests only on the subject of experience (pramaata).
2. Nirananda when the mind contemplates over the absence of all objects of experience.
3. Parananda when there is contemplation on prana and apana jointly.
4. Brahmananda when the mind rests on samana, which unifies the various objects of experience.
5. Mahananda when the mind rests in udana after dissolving all knowledge and objects of knowledge in the
self.
6. Chidananda - when the mind rests in vyana.
This fivefold glory of paraamba is as follows:
srishti act of creation.
sthiti act of protecting the manifestation.
. Samhara act of withdrawal of the manifestation.
tirodhaana or vilaya veiling of the self.
anugraha grace or self-revelation.
Each of these is also accomplished by the individual soul jiva:
1. Whatever appears through the successive functioning of -the deities or perceptual functions is aabhaasana
or srishti.

2. Relishing the experience till it is maintained b the deity of preservation is called raktee or sthiti.
3. Knowledge of withdrawal of an object at the time of vimarsha represents samhara.
4. When withdrawal of the experience of manifoldness generates various impressions or samskaras of doubt,
inwardly it becomes the germ of samsara and is bound to spring forth into existence again. This concealment
of the real nature of self is vilaya or beejaavasthaapana.
5. When all doubt and any other experience of the time are burnt to sameness with the fire of consciousness,
the yogi enters the state of grace and the true self is revealed to him. This is anugraha or vilaapana by hatha
paaka.
By the process of hatha paaka, yogi enters the state of grace. This is a persistent process of reducing
completely the world of experience to oneness with the real essence of the experiment. This device is called
alamgraasa or swaatmasaatkaranam bringing the object of experience to sameness with the self, when no
samskaras or germ of samsara as separate from consciousness is allowed to remain. Divine grace is
unconditional .it is the free and sovereign will of parashakti, to bless a sadhaka who si understood to be free
from he subtlest trait of ego. It is bindu, the point of locus between anywhere and everywhere, virtually not
obtained by any human effort. It may descend on anyone, anywhere, whenever it chooses. It is beyond the
human intellect to understand the play of amba's grace, which is spontaneous and comes unaware. Only the
brave in the in awareness of the divine, may rise to the occasion.
In kundalini yoga, the heart refers to the center called shakti kundalini. It is the place in a yogi's body, where
visuddhi chakra is in operation at the base of the throat, kantha-moola-sthana. The egressing prana is
directed up towards lambika (chatushpatha) square for sushumna to bloom in a shining spark of bliss. This is
called urdhwa rechaka in kriya yoga. With control of prana (prana shakti), under the direct instructions of an
adept teacher (guru yukti), the latent energy is awakened and by mother's grace directed through sushumna
nadi to the heart. Since this energy flashes from the base with enormous force and heat, it is called vahni
kundalini. The yogi can thus control his breath, mind and semen. On awakening of the kundalini, the prana
enters brahma nadi, which is called the middle path (madhya marga). This passage, which is extraordinarily
thin like the fiber of a lotus stalk, appears vermilion-red with the instant rise of shakti. This is the effulgent
nature of the goddess in kriya shakti aspect. She is nishkala, without any interruption. Mahatripurasundari is
of the very nature of kundalini who on being awakened, blooms in sahasrara after arousing to action the six
centers or chakras. This is called shatchakrabhedana.
When the power of will of paraabhattaarikaa predominates, it depicts her virgin hood i.e. The shakti bala. The
power of will indistinctly flows predominating over the power of knowledge that projects further to give natural
shape to the conception of world manifestation. Mahamaya is the sixth category in the order of evolution
towards manifestation. It is the stage where shrinkage of abheda and appearance of bheda takes place.
Mahamaya works her power of enchantment in the process of creation. When parashakti is pleased to grace
an aspirant, she, instead of distracting the senses, directs those towards realization of supreme unity. She
leads from difference to non-difference. Therefore, she is the great power called mahashakti, the great power
of surprise, which she displays in evolution as well as in involution. Her untainted glory shines everywhere. In
the involutionary process of recognizing the supreme reality, it is the practice of experiencing spontaneous
concentration, which is gifted by the divine sovereignty, mahamaya, not attainable with human effort. As a
means of self-realization, it is called shambhavopaya. Though the reality remains apparently concealed yet it
is inwardly revealed to the few when divinity chooses. In tantra, this method is also called iccha yoga. It is
intuitional in nature and only those of graceful intellect may be favored with this superior kind of yoga. The
preceding means of mental doing (kriyopaya) and knowledge (jnanopaya) are pushed to the background
when the shambhavopaya is revealed to an earnest aspirant though he does not seem working for and
towards it. The element of will shines in one's pure being to attain prominence in being perfect. Entering

thoroughly the all-pervading supreme consciousness with deep and steady knowledge of the self of divine
grace is shambhavopaya, which boosts for ecstasy in a higher degree of shaktipata.
The numerous powers of parameshwara bear close affinity to the yogi when amba blesses him, on revealing
her graceful divinity in his heart. He develops concentration or balanced state of abiding spiritual joy. Here the
four forms of samprajnata samadhi become relevant, through which the great yogini shaktis desire to help the
sadhaka. They are:
1. Savitarka samadhi the yoginis think of seeing the yogi constantly i.e. The yogi experiences deliberative
concentration.
2. Nirvitarka samadhi merging the whole being of the yogini in the yogi connotes super-deliberative
concentration.
3. Savichara samadhi merging the whole being of the yogi into her connotes reflective concentration.
4. Nirvichara samadhi - to be one with the yogi points to super-reflective concentration.
These four kinds of concentration are included in the balanced state called sabija samadhi or bahirvastubija
samadhi, because there is some support or impression still in the yogi's mind. After this state, the yogi
proceeds to gain in internal undisturbed calm or equipoise called the nirvikalpa samadhi.
There are twelve ways of surrender to the glory of the goddess who is the pervading power of iccha, jnana
and kriya. She manifests through these powers individually as well as collectively. She also throws open the
portals of liberation for devotees, who love her with all their being and obedience to her will. The twelve ways
discussed in the shastra are:
1. Meditating on amba as one's true self. (dhyana)
2. Attaining the grace of knowing her. (vetti)
3. Reciting her holy names and mantras. (japati)
4. Perceiving her everywhere. (alokayati)
5. Thinking of her all the time. (chintayati)
6. Obeying her. (anveti)
7. Surrender the ego to her. (pratipadayate)
8. Understand her. (kalayati)
9. Laud her. (stauti)
10. Take shelter in her. (ashrayati)
11. Worship her. (archayati)
12. Listen to her divine attributes with spontaneous attention. (gunaanaakarnayati).

It will be interesting to know that these twelve ways of meditation correspond with the twelve matras of
pranava for realization of the ultimate reality. These are what are described as a, u, m, ardhachandra, bindu,
nirodhika, nada, nadanta, shakti, vyapini, samana and unmana. The twelfth matra constitutes the seat of the
venerable para that transcends the others. Then the yogi listens to the divine attributes with spontaneous
attention and becomes blissfully free.
Kundalini is chit shakti, the life force or the power of consciousness, from which alone originate the currents of
energy. The aim of tantra is to control and regulate these currents to make them flow to sublimer channels by
the tantric kundalini yoga. The ego is the main obstruction in the flow of this energy towards the right course,
which leads to bliss, eternal beauty, peace and unsurpassable joy. Kundalini expresses itself through the path
of the yogi nerve system. Kundalini is already half-awakened in every individual maintaining normal life in the
body. The more it is awakened the more beauty, more joy and more life there is. Prana kundalini works at
physical level, nada kundalini at mental level and bodha or jnana kundalini at spiritual level.
Kundalini is also classified on the basis of its place of residence:
1. Adhah kundalini it is the power of primordial existence, lying dormant at the muladhara. It is the cosmic
life that underlies all organic and inorganic matter.
2. Urdhwa kundalini it has the entrance at the brahmarandhra. It is the place of union of ida and pingala at
the ajna chakra between the two eyebrows.
3. Paraa kundalini it is the transcendent state of paramashiva. In human it is recognized as mount kailasa in
sahasrara and beyond.
Mechakaabha tantra gives some other names to the six charkas and these are very meaningful, significant
names. Nada chakra at muladhara, maya chakra at the navel, yoga chakra at the heart, bhedana chakra at
the lambika or the palate (this chakra is frequently referred to by texts dealing with lambika yoga. Sri
vidyashankara mahaswamigal of sringeri sarada peetham is eternally absorbed in lambika yoga samadhi to
this day in the form of chaturmurtishwara shivalinga, above which a beautiful temple of shiva has been
constructed. This is called vidya shankara temple. The great guru clears doubts of earnest devotees who
meditate in this sacred place), dipti chakra at the brow center and santa chakra at brahmarandhra.
The number six is very significant. It is most commonly mistaken to be swadhishthana chakra at most places.
This however may indicate the inner course of srichakra and should be understood from an efficient guru who
is much advanced in saktha practices. The six-petalled lotus refers to the mystic physiology of sushumna. In
muladhara, there is a triangle known as shiva trikona, together with another one known as shakti trikona. The
two triangles join in such a way that their apexes are opposite each other. In yogic parlance, the place in
physical body is the ajna chakra. While shiva and shakti are separately triadic, their union is hexagonal. The
union of shiva trikona, which is the bindu and the shakti trikona, which is the yoni, is called the shatkona
mudra or the shambhavi mudra. Then there is a kanda, which is a samputa of shiva and shakti. This is known
as omkara peetham, the seat of bija mantra.
Then there is also the hrit karnikaa also called mukha mudra, which is the center of the heart lotus. The yogis
are advised to meditate on the above said kanda as if it were the heart lotus. These have been called
`lotuses' only in a figurative sense because they are endowed with the characteristics of expansion and
contraction like a lotus. This hrit kamala is called amrita bija. This practice leads yogis to jagadaananda state.
According to the great saint swami lakshman joo, advanced yogis experience kundalini in three states. The
first is the tranquil state and remains limited to moolaadhaara. This state works in all created beings. When
the kundalini gets awakened either by pranayama or in the classical way of constant practice or uninterrupted

feeling of the perfect ness of i consciousness, it is called adhah kundalini. After this state, when kundalini,
like lightening gives a sudden and straight flash and rises through the path of sushumna to brahmarandhra, it
is called urdhwa kundalini.
Practice of meditation on the two spots is called aadyantakoti nibhaalana, explained in paraatrimshikaa.
Aadikoti is called bahirdwaadashaanta and antakoti is called antardwaadashaantia, which may respectively
understood as adhah and urdhwa kundalinis. Their union is the shatkona mudra, often referred to as
shatpatra kamala. The yogi is advised to meditate on the locus of a point, which has neither beginning nor
end, and expanding the fifteen vowels, resides in the heart lotus of shiva, who is the sixteenth. The
seventeenth kalaa is the unwavering repose called bindukalaa, where the movement of both prana and apana
ceases. This is called somaamsham. This is the main significance behind tarpana of mahasaptadashi nitya,
even beyond the shodashi nitya during the course of nitya kalaarchanam. The correspondence is to
turiyaatiitaa and turiyaa. By practicing somamasham by viewing all objects of the world as nothing but the
manifestation of the paraa bija sauh (or the third koota of srividya, with or without the final shodashi kalaa,
depending on one's qualification), one attains the jagadaananda dasha the monistic state of sameness of
the supreme self, unconditional and unhindered. This is supreme bliss, shaktipata of shiva.
Very few advanced yogis find repose, by a graceful knack, in the steadiness of breath, after a long and
constant practice. Here we talk about the next alternative i.e. The pranayama. This coveted experience of a
yogi is called urdhwa kumbhaka, flow of super consciousness. Just as churning curds results in a ball of
butter, which keeps floating and simultaneously increasing in volume on the surface of the churned milk, so
does refined intellect i.e. Awareness of supreme consciousness float free from any malignancy of duality. The
two principal functions of the vital airs are exhalation and inhalation. Among human beings, some yogis offer
the act of inhalation into that of exhalation. There are still others, who offer inhalation into exhalation. [now
these esoterically refer to the 14th and 15th kriyas of the siddha tradition. Many kriyabans are familiar with
this i suppose. It is now known that lahiri mahasaya taught a total of 8 kriyas to a chosen few among his vast
number of chelas. There are 72 kriyas in all, with some knowing upto 25 kriyas in the contemporary times.
The final two of the 25 are the samhara kriya, (by which a yogi may exit consciously via the brahmarandhra)
and brahmamelana kriya also known as ananda kriya, maha kriya, samadhi kriya, kulaamrita kriya,
niraalamba kriya etc by different traditions.] These two paths refer to devayaana or uttara maarga and
pitryaana or dakshina maarga. But there is a superior path beyond these two. This is called the bhairavi
stage, which results in kriyaa shoonyata. I think this is too complicated to be discussed in this context and
hence i will leave it at this].
Yaana means vehicle or chariot in sanskrit. As a verb it means moving or riding. In yogic parlance, it refers to
entering the sushumna. One may find entrance to the royal path of sushumnaa in different ways and by
different means. Taking devayaana way with the inferior means of aanavopaaya, one has the predominance
of prana, egress and with saktopaaya, one is influenced more with knowledge of the self. Taking pitryaana
way with the inferior means of aanavopaaya, one has the predominance of apaana and in saaktopaaya one
finds it in action. But, the highest means is the shambhavopaaya, where the devotee keeps constant touch
with the divine in the bipolar process of prakasha and vimarsha i.e. The predominance of shiva and shakti
respectively. He ever moves in and as divine.
Vande gurum sha~nkaram

srividya upasana tattva:

By smt. Rajammal suryanarayanan (prakashamba)
[smt. Rajammal is a direct disciple of brahmasri chidanandanatha of guhananda mandali. She is a highly
advanced practitioner of srividya. There is not a branch of srividya or agama shastra that she has not
mastered. She is an encyclopedia of srividya. She has a large number of disciples all over the world. People
who have known her regard her as the very incarnation of sri lalita mahatripurasundari. The acharyas of
sringeri and kanchi shankara mutts hold her in high esteem. The sringeri mutt has given her the title
`lopamudra'.]
Atmabhinnashivakaram chidanandaghanam guham |
prakasham vimalam shantam brahmanyam samupasmahe ||
Vande gurupadadwandwam ava~ngmanasagocharam |
raktashuklaprabhamishramatarkyam traipuram mahah ||
|| gam ganapataye namah ||
It is indeed the divine grace of our revered guru sri chidanandanatha that continues to guide the devotees in
the kind of tasks that were very close to his heart and on which he spent his entire life. Propagating the tenets
of srividya and discussing and bringing about a unified approach to the two aspects thereof the ritualistic
and the philosophical, was a task that was the mainstay of his life. Having been initiated into srividya in the
year 1911, when he was 29 years of age, a the lotus hands of sri guhanandanatha at the holy allahabad, on
the auspicious mahodaya occasion, he began his upasana. For the firs twelve years, he practiced his
upasana in private as directed by his guru and in line with the orders of the lalita sahasranama
(rahoyagakramaradhya, rahastapanatarpita, antarmukhasaaradhya). After this period, upasana and
propagation of srividya became his sole mission in life. If we look at the benefits that have accrued to a large
number of eligible disciples through initiation into this holy science by sri chidanandanatha, we would be
wonderstruck.
A devotee visited the sringeri acharya's abode and stayed there for three days. At the end of his sojourn, the
acharya asked him how he enjoyed his stay there. Prompt came the reply that it was `brahmananda'. Then
the acharya quizzed him as to how he knew brahmananda and whether he had experienced it before and if
he had not, how he could recognize it. The message is that there is a natural state of pleasure, which is the
real nature of the atman and when that is felt, the one who experiences it recognizes it as his natural state. All
other pleasures that are acquired through the worldly experiences are artificial or kritrima. These are
temporary and ephemeral and so do not last. The end of every such experience is pain causing. In his brilliant
introduction to the brahma sutra bhashyas edited by mahamahopadhyaya anantakrishna shastrigal, the
shankaracharya of govardhana peetham of puri establishes sat, chit, ananda, moksha and ishana
(suzerainty) as the natural state of the soul in every human being.
The absolute and eternal pleasure brahmananda, is something, which is natural and is referred to as
moksha. This is generally translated as liberation. To attain kama, one needs artha or wealth. That wealth
must be acquired by dharma, another difficult but frequently and commonly used word. The connotation of
this word is `acting always in a manner consistent with the inherent nature of the experience-r and
experienced. This, dharma, artha, kama and moksha are referred to as the goals of human life. The
understanding of these four terms will give one a broad indication of the purpose of all philosophical and
material pursuits. This being so, it becomes the religious duty of every individual to practice dharma in its
proper spirit, acquire wealth and apply that for attaining the last two.

Hindu scriptures prescribe three different but intertwining paths to attain liberation and these are: karma,
bhakti and jnana. Of these, karma directs the individual to perform faithfully all the duties, actions and
procedures prescribed by the vedas and shastras as befitting a man's varna and ashrama. The bhakti path is
where the individual is given the choice of a form of the divine entity to contemplate, worship, meditate, and
perform pooja etc. The absolute that is formless, is allowed to be conceived of as having a form to enable the
human mind to hold on to something and make progress in the bhakti route. This bhakti also consists of three
distinct groups of activities:
A. Activities by the mind like japa and dhyana;
B. Activities of the organs like pooja
C. Activities of the word of mouth like chanting prayers.
Depending on one's preference or inclination, one can stick to only one of the three or more of one and less
of the others.
The practice of bhakti in all its three forms constitutes upasana. There the form to be adopted as the object of
devotion is also a matter of choice. Indeed, bhagavan krishna assures us that he confers on the sincere
devotee, unwavering devotion to the chosen form.
There are six upasana paths known as the shanmatas, properly codified and defined by the great acharya, sri
adi shankara bhagavatpada. They are: ganapatya, saura, vaishnava, shaiva, shakta and kaumara
As the name of each indicates, each one has a different form of deity as the object of worship; the other paths
of japa, dhyana and the ritual of puja are all the same. Of these, shakta is the one where the form of shakti is
worshipped as mother. Interestingly, of the six, this is the only upasana (i.e. Srividya upasana) that is always
reverentially referred to with the attribute `sri'. The principal form of worship here is that of shakti or energy.
That way, this can also be viewed as worship of the energy aspect of the remaining five forms and therefore,
this integrates al the six methods into one. While for the sake of conceptualizing, the power or energy is
viewed as a distinct entity, it is needless to say that it cannot be physically separated from that of which this is
the power. Hence the dictum, `shaktih shaktimatorabhedah'. The substratum on which this shakti inheres is
referred to as `shaktiman', which is shiva or kameshwara himself. In other words, we try to conceive of the
single entity shiva as basic or residual shiva and its shakti separately. It is only logical that if one can conceive
of such a dichotomy of a single individual being, when shakti is taken out, what remains must be something
inert (jada). That is the profound principle with which acharya's saundaryalahari starts.
Consistent with the physical science, this shakti can be of two forms again: potential and kinetic. In this
system, the potential form is referred to as prakasha (effulgence) and the kinetic as vimarsha (illuminating).
The effulgence is the inherent characteristic of the first by which the seen world is illuminated, enabling us to
see. This is the explanation of the shakta system for the universe and the power that makes it to be seen by
all of us. In a higher plane, the concept of guru also is conceived as made up of the same principles of
prakasha and vimarsha. The guru as the torch, remains the source of light and simultaneously the seen
world. Guru padukas are always referred to as prakasha and vimarsha. Another way of explaining this is by
saying prakasha is the absolute brahman and vimarsha is the individual jivatman, the guru representing the
state of advaita, where the distinction of jiva and brahman ceases to exist.
As mentioned earlier, there are three paths to liberation. However, these are not mutually exclusive but have
among themselves some amount of overlapping. Interestingly, in the path of jnana itself, adi shankara
stresses the bhakti aspect. Acharya has cleverly reconciled these two in his vedantic definition of bhakti as
the individual meditating upon or worshipping himself. Bhakti or upasana is of two kinds: gowni and para.

This first is also known as sagunopasana. The human mind which finds it impossible to visualize the absolute,
is provided with a form of deity with face, hands, legs etc., so that the mind has something to hold on to,
rather than a formless brahman. All worships generally are with respect to a form of the absolute. This form
would be of individual's choice or as indicated to him by his guru. The fundamental principle here is one of
visualizing or conceptualizing, which is called bhavana. From this point of view, it would appear that bhakti is
a process of reducing the adult mind to that of a child. For example, if a child gets a doll, then it sees that as a
real baby in flesh and blood and tries to do all acts of affection and love to that doll, adopting the role of a
mother. This means that an imaginary baby wholly replaces the concept of the doll. A serious bhakta never
perceives the idol or the picture or a chakra that he worships as anything different from the divine form of god.
This is the essential requirement for bhakti. Having started to believe that the form he worships is his beloved
deity, the other activities or rituals cover the various tasks to be performed such as seating, bathing etc. This
whole process is commonly referred to as performing a pooja. Physically, there are sixteen such acts known
as upacharas.
1. Asana offering a seat to the deity
2. Padya offering water for washing the feet
3. Arghya offering water for internal purification
4. Achamana - offering water to be taken in
5. Snana offering a bath
6. Vastra offering a dress
7. Abharana offering ornaments
8. Gandha offering sandal paste
9. Pushpa offering flowers
10. Dhoopa offering incense
11. Deepa offering light
12. Naivedya offering eatables
13. Tamboola offering betel leaves and nut
14. Stotra offering prayers
15. Pradakshina going round the deity
16. Pranama prostrating before the deity
These sixteen are the commonly offered upacharas in any from of pooja, always firmly believing in the form
that is being worshipped.
These very sixteen upacharas also have a deeper or inner significance, which could be related as the
offerings to the absolute without any form. Another method of offering these rites reckons these as a group of
five and not sixteen. These are gandha, pushpa, dhoopa, deepa and naivedya. This is called the pancha

upachara pooja. The basic objective is bringing out the divine principle that inheres in every one of us out and
visualizing it in the external picture, idol etc., and carrying the above mentioned sixteen or five upacharas as
one would do unto himself.
Performing these very rituals as part of the pooja or upasana in the srividya sampradaaya is a little more
elaborate with a number of special sets of tasks peculiar to this cult. To begin with, we have to understand the
actual form that is accepted for worship in this pooja. The generally accepted form for worship as devi is an
idol and a chakra. Srichakra represents the creation and dissolution of the universe starting from the
brahman, which itself is depicted as the bindu in the center of the chakra.
The second requisite is what is known as a mantra. Any mantra is considered as a zealously guarded secret.
A mantra is a collection of letters, which on its face may not convey any meaning. By definition, mantra means
that by repeatedly meditating upon which one is saved. It is the duty of every devotee of srividya to constantly
meditate upon his mantra and chant it repeatedly so that there result repeated vibrations in the astral centers
of the individual. These are never to be uttered aloud and therefore even the vedas hint at these mantras in a
coded language only. The prescribed mantra for srividya worship is what is known as the panchadashi.
Literally translated, it means a fifteen-lettered mantra. Different seers have explained the meaning of this
mantra in different ways. Nitya shodashikarnava gives six different interpretations. Sri bhaskararaya, in
his magnum opus varivasya rahasya, gives fifteen interpretations. A keralite scholar of this century,
perunkulam veeraraghava shastrigal has given more than 60 interpretations, which have received the
approval of sacchidananda shivabhinava nrisimha bharati mahaswamigal, the 33^rd distinguished
occupant of the dakshinamnaya sringeri sarada peetham, who was universally recognized as the
foremost scholar of his times. In essence, this mantra is considered as equal to the vedic
mahavakyas, which clearly indicate the true nature of brahman and the true nature of the individual
self.
The first qualification for a upasaka to perform pooja is obtaining diksha from a competent guru. The rite
called diksha is supposed to be destroying all the limiting factors of the individual self and facilitate his union
with shiva.
Aiyate shivasayujyam kshiyate pashabandhanam |
atha diksheti kathitam budhaih sacchastravedibhih ||
It is the guru who, after testing the disciple's competence, initiates him into the upasana by teaching him the
mantra, the devata swaroopa and the methods of performing the rituals. Though the sadhaka begins initially
with external rituals, he should rise to the level of performing antaryaga as set out in bhavanopanishad. The
first step in bahiryaga is the method of entering the room of worship. Next follows tatva achamana. This is a
cleansing process carried out by ingesting drops of water four times or seven times, praying each time for the
cleansing of the anava, mayika and karmika malas, which is accomplished by the usage of bija mantras. This
prepares the sadhaka's mental frame and sets it ready for the jnana swaroopa to shine.
The next and the most important step is performing gurupaduka vandana. This involves paying one's respect
to the lotus feet of the guru. There is a special prescribed procedure for performing this. Guru's feet are
supposed to be on the head of the upasaka. Therefore, he has to worship with his hands locked in mrigi
mudra, the sandals of the preceptor. This procedure calls for worshipping his own master (guru), the guru's
guru (parama guru) and his guru (parameshthi guru). There are three separate mantras for each of these.
The gurupaduka mantras collectively connote the same concept as that of the mahavakya tatvamasi.
Actually, these syllables are represented one each by the three paduka mantras.
The next step is ringing the bell. This is symbolic of referring to the evolution of the universe from nada. By
ringing the bell, the devas are invited to the pooja simultaneously warding off the evil thoughts and forces

present in the vicinity. The actual part of the pooja starts now with a declaration i.e. Sankalpa. This is done by
doing pranayama breathing in, holding the breath and breathing out, using the panchadashi or shodashi
mantra, as taught by the guru. Then, the time and place in which the upasaka is performing the pooja are
narrated with the prescribed necessary time and space components. Accomplished upasakas traditionally
adopt the ashtanga method of narrating the time, which is distinctive and unique to srividya upasana. Next in
the order comes the seat on which one should sit and perform the pooja. The directions pronounced by lord
krishna in gita `having firmly fixed in a clean place, his seat, neither too high nor too low, and having spread
over it the kusha grass, a deer skin and a cloth one over the other', is adopted. One addition to this is the
repetition of a certain mantra along with which water is sprinkled on the seat before being seated. Then
follows a procedure for guarding oneself against external influences by a process known as deharaksha.
Then follows a pushpanjali collectively to all the devatas in the srichakra and also obtaining from sri
dakshinamurthy, the foremost guru in dakshinachara and samayachara, permission to proceed with srichakra
navavarana pooja.
Before actually invoking sri lalita mahatripurasundari into the srichakra, a minor rite called prana pratishtha is
performed. This is actually fixing firmly the yantra or meru and energizing it before inviting the devata to come
and occupy it. The purport is an expression of the fact that the power that is present in our heart is brought
out and conceived to be installed in the chakra. Now, a series of small tasks, which are intended to bring into
the chakra the complete abode of devi with all its components by naming each one and imagining its being
made to be present in its appropriate position in the srichakra. In reality, sridevi's abode which is called as
srinagara contains a large number of oceans, islands, copses, gardens, surrounding spaces, moats and a
central splendorous palace, as set out in sage durvasa's arya dwishati. All these are, item by item, visualized
in the srichakra by referring to their individual names. Thus, in effect, we have kind of reconstructed mentally
the srinagara before us to worship the occupant thereof. We then have to light and install two lamps on either
side of the pooja mandala.
Next step is to get the individual ready to stand before this divine presence and perform the pooja. This in turn
involves five tasks:
1. Bhuta shuddhi which is a process of cleansing all the effects of the physical elements of the individual's
body by a series of pranayama steps, chanting special bija mantras simultaneously.
2. The way we fix firmly the deity being worshipped by a prana pratishtha, the individual must also fix himself
firmly by performing atma prana pratishtha.
3. The next step is to perform pranayama to ensure concentration.
4. The fourth ingredient is a ritual to ward off all evil tendencies around us by a process called vighnotsarana.
5. The last in this category is known as the shikha bandha, which tying up one's hair into a knot to take care to
prevent the hair from getting loose frequently and interfering with the rituals connected with the pooja. Today it
is indeed rare to find a male individual with uncropped hair; hence the ritual, though a real one, has become
imaginary.
The second major part of the pooja rituals is what is known as nyasa. In upasana, nyasa refers to touching
the various parts of our body, chanting a mantra and visualizing the presiding shakti of that mantra to be
present in that part of the body being touched. There is a whole lot of different nyasas with different mantras
being used in varying orders.
In the navavarana pooja, the following main nyasas are generally performed:

1. Matrika nyasa (antarmatrika and bahirmatrika nyasa). Actually there are 14 types of matrika nyasas
prescribed namely, bindumatrika, visargamatrika, binduvisargamatrika, hrillekhadimatrika, bijadimatrika,
kamadimatrika, tribijadimatrika, balasamputitamatrika, parasamputitamatrika, srividyayuktamatrika,
hamsamatrika, paramahamsamatrika, pranavakalamatrika and ashtatrimshatkala matrika nyasas. In addition
to these, if the sadhaka is also initiated into the vaishnava angas of srividya, he should perform keshava
matrika nyasa, srikantha matrika nyasa if initiated into the shaiva angas and prapanchayaga matrika nyasa if
initiated into maha ganapathi mantra. Bhutilipi nyasa gives raip siddhi of the mantra.
2. Karashuddhi nyasa
3. Atmaraksha and balashadanga nyasa
4. Chaturasana (or shadasana) nyasa
5. Antashchakra and bahishchakra nyasas
6. Mahakameshwaryadi nyasa
7. Moola vidya varna nyasa
8. Laghu shoda nyasa (which involves ganesha, graha, nakshatra, yogini, rashi and pitha nyasas)
9. Maha shodha nyasa (which involves prapancha, bhuvana, murti, mantra, daivata and matrika bhairava
nyasas)
10. Srichakra nyasa (again of three types: srishti, sthiti and samhara)
Only upasakas who have been initiated into maha shodashi mantra can perform maha shodha nyasa. Special
nyasas like kama rati nyasa, mathanyasa, shodashakshari nyasa, navasananyasa etc. Are to be performed
only by people having poorna diksha. Certain nyasas like navayoni nyasa, yogapitha nyasa etc are optional.
There are also nyasas like guhya shodha nyasa, para shodha nyasa, kamakala maha nyasa (involving
paramparya, antarbahih, para, pashyanti, madhyama, vaikhari, ayudha and bhushana nyasas), mahashakti
nyasa, navakashanyasa, shambhvadi charana nyasa, urdhwamnaya nyasas, aghorika, panchavaktra,
pancharatna, divyaughadi, shabdarshi etc, and shadanvaya mahashambhava nyasa (rashmi shatka nyasa),
mahapaduka nyasa, maha maha paduka ashtottarashata kala maha nyasa - which require various higher
initiations (even after the poorna diksha) like diksha of para shodashi, para paduka, guhya shodashi, guhya
paduka, the five padukas and maha shambhava diksha.
Before moving on to the next set of rites in this pooja procedure, one will have to study and understand the
implications of these various nyasas, which are very important. Some similar kinds of nyasas are also
performed even when one is not performing pooja but only does japa. Every mantra to be chanted will have to
be along with some elements of the japa process and these are rishi, chandas, devata, karanyasa and
anganyasa.
We now move on to the fourth part of the pooja procedure which is known as patrasadanam, which literally
means spreading out vessels between the devotee and the srichakra in a prescribed manner and a
ceremonious manner. The following vessels are recognized as obligatory in this regard:
1. Kalasha or vardhani for keeping water for various sundry purposes.
2. Shankha or conch also known as samanya arghya patra to contain water for certain special uses.

3. Vishesha arghya patra to contain a special liquid prepared for the pooja.
4. Shuddhi patra
5. Guru patra
6. Atma patra
7. Bali patra intended for offering bali to the forces present around us as a reward for not interfering with the
pooja.
For each one of these patras, there are fixed positions in the layout, a mandala of a particular design, a
method of filling the patra with the appropriate content and a sequence of performing certain rites on each of
them, chanting the relevant mantras. This part of the pooja is a very elaborate one. There is a set of apparent
and esoteric meanings for each of these, which have to be fully understood. The contents of each of these
vessels have specific application and disposal in the pooja process. Yet another aspect of this is that these
vessels and their contents symbolically represent the very same type of corresponding vessels with
connected rituals in performing a yagna or a sacrifice. It is this aspect that establishes a connection between
this particular pooja with the rituals connected with a yagna, thereby bringing about integration etween the
karma and bhakti paths. This is a very important and special feature of srividya. Hence srichakra navavarana
pooja is also referred to as yagna. At the end of the pooja, there is a prayer, which says, "jagat yagnena
tripyatu".
At the end of these rites, the kundalini shakti, which is supposed to be sridevi herself, is addressed with
certain mantras and offerings. Ultimately to a person who keeps on performing this pooja with great care and
attention, the kundalini which is normally dormant, gets kindled and starts moving upward along the
sushumna path towards the upper part of the head which houses the sahasrara. After this commences the
pooja to all the deities who reside in the srichakra. Another difference to be recognized at this stage is that
while other poojas are done with flower alone, in this pooja, offerings are made by both hands flowers in the
right and a piece of ginger held in a clasp in the left which is dipped in vishesha arghya and droplets thereof
being offered simultaneously with the flowers. The utterance is thus `pujayami and tarpayami'.
The pooja in this part begins with requesting sridevi to present herself in the srichakra to enable us to perform
the pooja. This is called avahana. The concept is to bring out the devi present in your heart and install her in
the srichakra before you. This is not only done mentally but also physically using a mantra and trikhanda
mudra. Now, we have the divine element present in us installed securely in the external srichakra. Then the
64 upacharas are offered to devi to please her and make her extremely happy. The detailed aavarana pooja
starts with worshipping the chaturayatana deities. These are ganesha, surya, vishnu and shiva. These four
occupy the four corners of the square, which contains the srichakra.
First, the fifteen nitya devis are worshipped as the powers that rule the fifteen days in a fortnight. In the bright
half of the fortnight, they are worshipped starting from kameshwari whereas the pooja begins with chitra nitya
in the dark half. There is a sixteenth nitya known as maha nitya, who is none other than sridevi herself from
whom these fifteen emerge. The purpose of this part of the pooja is to comprehend that time itself has
emanated from, and is subordinate to sridevi. Then pooja is offered to the guru parampara or the lineage of
gurus. The gurus are conceived as belonging to four separate groups: first is paraugha and the rest are divya,
siddha and manavaugha. The first offering is to the highest guru ruling over the present cycle of time known
as sri charyanandanatha. Next in priority is sri dakshinamurthy. After that, the full lineage of gurus is offered
pooja. Thirty-one gurus are mentioned by name with adi shankara bhagavatpada's as the thirty-second.
These are then followed by the devotee's parameshti, parama and swagurus.

The pooja then moves over to the worship of the deities in the nine enclosures of srichakra. Pooja is offered
next to five groups of devis who are conceived to be located over the bindu in srichakra in a five-fold peetha.
These goddesses represent the stages through which the sadhaka has to pass, in moving from savikalpa
samadhi to nirvikalpa state. After this, pooja is offered to the deities of the shanmatas and six chakras. There
are four amnayas (six for maha shodashi upasakas), each one containing a sizable number of individual
devatas. These can be offered pooja and tarpana individually or in groups. After this, depending on the
availability of time, archana is performed with sahasranama, trishati or ashtottara. Trishati archana is always
performed with kumkuma. The concluding part of the pooja includes dhoopa, deepa, naivedya, tamboola,
karpura nirajana and mantra pushpa. At this point, it becomes necessary to mention two additional features,
which are peculiar to srividya upasana. They are the arartikam and kuladipam. These are one set of nine
lamps and a single lamp made out of wheat flour, sugar and ghee and lit. After this, suvasini pooja and
tatvashodhana are performed. Yet another special feature of this pooja is that it is not only the main devotee
who performs the pooja but after he has finished, others also partake in the ritual by each one performing
what is known as samayika pooja. It is practically a very short form of the principal pooja so that everybody
present also gets the satisfaction of having himself performed the pooja. It is also a means of training the
aspirant to acquire the competence to himself perform the pooja in due course.
In the context of srividya upasana, two more aspects remain to be explained. One of them is what is
collectively known as pancha makara. These are five things representing the five physical elements, which
are denoted through madya, mamsa, matsya, mudra and maithuna. Of these, madya refers to the principle of
fire, matsya to water, mamsa to earth, mudra to vayu and maithuna to ether. The use of these five in their real
physical forms, though used by certain cults, is not prescribed for a satvika upasaka. Adi shankara has
actually condemned the use of these and has practically banned pooja performance with these things in their
normal form. These articles are to be used by those at the lowest level of evolution. The intention is to curb
and channel their natural propensity to use these, by prescribing elaborate rituals and procedures and
sanctifying them. For the evolved sadhakas, these five connote the five tanmatras, which are the five arrow of
mahatripurasundari. Madya is the ambrosia flowing from the chit chandra mandala, mamsa means the control
of tongue, the two matsyas are the ida and pingala, mudra refers to the center of sahasrara and maithuna is
the union of jivatman and paramatman. The shastras have pointed out that the use of these articles in their
literal form is like walking on the edge of a sword, embracing a tiger and wearing a snake.
As referred to earlier, every area of srichakra contains a variety of devatas. There are separately described
procedures for performing pooja for each of them. Each of these devis is ruling over one or the other aspects
of secular life like health, wealth, happiness, education, winning over rivals or competitors, achieving
particular special powers etc. While the total worship pf sri lalita mahatripurasundari through the aavarana
pooja will grant everything in this world and the other and lead one to total liberation at the end, these
particular literally lesser powers have the way of granting whatever is specifically asked for separately.
Besides, there are separate aavarana pooja procedures in regard to some of the anga devatas of devi in
srichakra such as maha ganesha, varahi, shyamala, chandi, subrahmanya, dakshinamurthy, and
swarnakarshana bhairava etc. In addition, there is one pooja addressed to a particular form known as
shadanvaya shambhavi which is in fact, a pooja addressed to devi in her form completely one with
kameshwara. This worship is considered to be ultimate because it even transcends the gender and takes one
on to a single principle. A complete description of this together with all the necessary concepts is provided in
the fourteenth shloka of saundaryalahari and in the detailed commentary thereon by several learned
commentators. The six principles referred to in these are of the five gross, physical elements, earth, water
etc., together with the mind as the sixth element. Hence this is considered to be the ultimate to be pursued by
the devotee who aspires for liberation from all the worldly attractions. Although the detailed procedures are
set out in this compendium, only the adhikari should undertake this form of worship for this. The prerequisite
is not only poorna diksha with initiation into maha shodashi but also the higher initiation of maha shaambhava
diksha and the initiation into shaambhava maha padukas and other secret mantras. The three higher
saparyas shadanvaya shambhavi, dakshinamurthy aavarana or brahmavidya mandala pooja and the guru

mandala pooja, these have to be performed only on pancha parvas by the above said adhikari. These five
occasions are the birthday of guru, diksha day of guru, chitra pournami, guru pournami and the guru kaivalya
parva. Without complete guidance from the guru, these procedures bring grave results to the sadhaka.
Saubhagya hridaya stava gives more details about these procedures.
Independent of all the above, there is in practice a procedure called chandi or durga paddhati. This is also
considered as one of the devi's forms that inhere in the srichakra. However, there is not much mentioned
about this in the popular srichakra pooja procedures. There is a smriti which says: kalau chandi vinayakau.
This means in the age of kali, the two devatas to be worshipped are chandi and ganapathi. The worship of
these two will itself give the benefit of other forms of worship. The basis for this chandi upasana is found in
devi bhagavata as well as the markandeya purana, which contains the well-known saptashati. This narrates
the three tales of sridevi fighting and destroying the evil forces in the forms of madhu, kaithabha, mahishasura
and shumbha nishumbha. These stories are narrated in thirteen chapters in the form of seven hundred
stanzas or half stanzas. Each of these is considered as an independent mantra by repeating which one
attains profound benefits. In addition, the mantra prescribed for this is what is known as navakshari, the ninelettered mantra that has its basis in the atharva shirsha upanishad, known as the devi upanishad.
The reader who has read so far would have got an idea of the fundamental concepts of srividya and the
external navavarana pooja. The oft-quoted saying Yatrasti bhogo na tatra mokshah yatrasti mokshah na tu tatra bhogah |
shrisundari sadhakapumgavanam bhogashcha mokshashcha karastha eva ||
`where there is worldly enjoyment, there is no salvation; where there is salvation, there is no worldly
enjoyment. For the great worshippers of sri sundari, both worldly enjoyment and salvation are at hand' will
come alive with a new significance.
Nowadays, most of the brahmanas do not study the vedas, but still respect them. There is a firmly entrenched
conviction, arising from centuries of samskara, that anything commended by the vedas must be for our good.
Hence, an intending shakti upasaka would like to know whether there is vedic authority for this upasana. In
today's aggressively materialistic environment, we have got conditioned to look for user testimonials and
customer lists while acquiring even mundane articles. It is understandable that this approach is applied to the
upasana marga as well.
The foremost of srividya upasakas have been vasishta, sanaka, sanandana, sanatkumara and shuka, who
wrote the manuals of samayachara known as the shubhagama panchaka. Sage durvasas, also known as
krodha bhattaraka, who lalita stavaratna or arya dwishati and shakti mahimna stotra are read with devotion by
pious people even today, formulated the chintamani pooja kalpa, which is observed at the sri kamakshi
temple at kanchipuram. Sage agastya, to whom lord maha vishnu appearing as hayagriva, taught srividya
including the sahasranamas of shyamala, varahi and sri lalita, as well as the esoteric trishati, is a well known
srividya upasaka. Lopamudra, the wife of agastya is the rishi of the hadi vidya. Kalidasa, who's chidgagana
chandrika contains the esoteric subtleties of this upasana, is known as laghu bhattaraka or sringara
bhattaraka. Sri gaudapaadaachaarya, who is famously known as the author of mandukya karika,
subhagodaya stuti and srividya ratna sutra, and as the guru of adi shankara bhagavatpada, is the foremost of
the gurus of srividya samayachara sampradaaya. Sri adi shankaracharya is widely regarded as the avatara of
lord mahadeva dakshinamurthy himself and is famous for his bhashya on the prasthana trayas, various
prakarana granthas and stotras, including the saundaryalahari, the first 41 verses of which are a treasure
house of mantra shastra. His prapanchasara is a compendium of the upasana procedures of different deities.
In all the monasteries established by acharyal, the worship of lord chandramouleshwara and sri
mahatripurasundari continues even today. Lakshmidhara, also known as lolla, is a great upasaka of
incomparable brilliance, whose commentary on saundaryalahari is the best of the various versions available

today. Sri bhaskaracharya is an outstanding upasaka and scholar of srividya who has written definitive
commentaries on lalita sahasranama, saptashati, and nityashodashikarnava etc. He has also written
extensively on srividya, the notable work being his varivasya rahasya. Sri appayya dikshita, well known as the
author of parimala, a commentary on the brahma sutras, and over 100 other works, has contributed to the
world, the ratnatraya pariksha and durga chandrakalastuti dealing with devi upasana. Even bhaskaracharya
refers to dikshita in the honorific plural. Other well known upasakas include muttuswamy dikshitar and sri
shyama shastry, two of the trinity of carnatic classical music. Their lyrics disclose an intimate and deep
knowledge of the upasana krama.
The famous and great personalities mentioned above would not have followed the srividya path if it were
contrary to the vedas. This thought itself would be of comfort, but some readers may still wish to have some
reassurance by way of references to relevant vedic texts. Some such proofs are given below:
1. The srisukta, as its very name indicates, hymns the goddess, invoking her as sri. The kamakala bija is
explicitly stated in this sukta. Other texts also describe the great bija as follows: yah praniti ya im shrunoti
yadim shrunotyakalam shrunoti etc.
2. The durga sukta hymns the goddess as sri durga.
3. The kenopanishad states that uma revealed herself to indra and dispelled his vanity and ignorance.
4. Parameshwara is worshipped as ambikapati and umapati in the rigveda namo hiranyabahave
hiranyavarnaya hiranyarupaya hiranyapataye ambikapataye umapataye pashupataye namo namah.
5. The presiding deity to whom oblations are offered in the avahanti homa is sri annapurana, a manifestation
of sri mahatripurasundari.
6. There are also the following upanishads dealing with srividya
sundari tapini pancjakam,
bhavanopanishad,
Ratrisukta,
devisukta,
devyupanishad,
Tripuropanishad,
Bahvrchopanishad,
Kaulopanishad,
Guhyopanishad,
Mahopanishad,
Saraswati rahasyopanishad,
Saubhagya lakshmi upanishad,

Srichakropanishad etc.
A modern writer sri panchanana tarkaratna bhattacharya has written a commentary on the brahma sutras
interpreting them from the standpoint of shakta philosophy. The same author appears to have interpreted the
bhagavad gita similarly.
There are three interesting thoughts while observing the india map, which appears approximately as a
triangle. Hence the country itself is of the form of kamakala. From kanyakumari at the tip of the peninsula,
where there is a shrine for bala tripurasundari, right up to the himalayas, there are many holy shrines where
devi is worshipped in different forms, providing a unifying thread. At the vaishnavi shrine in jammu, we see
only three stones representing the three bindus of kamakala. The tamil script contains a vowel of the three
bindu form. Sage agastya is a well-known srividya upasaka. Lord subrahmanya is the son of shiva and shakti,
sprung to annihilate evil or avidya and is represented by two intersecting triangles, signifying the concept of
kamakala. All these add credence to the traditional belief that lord subrahmanya gifted the tamil language to
the southerners, through sage agastya.
The shabda brahman, an aspect of chit, is the kundalini shakti. The shakti is subtle and in the form of mere
light and not audible. From moolaadhaara, her breath goes upward and becomes pashyanti (associated with
manas), madhyama (associated with buddhi) and vaikhari. Thence it is generated as the letters a to ksha.
These letters combine to form words and mantras. The sadhaka has to realize that the devata is not merely a
syllable or a word and its meaning, but as a great power of which the mantra is a notation. The letters have
specific meanings in the mantra shastra and hence a mantra can be viewed as a coded form of conveying a
long message or prayer. The sadhaka must realize that he, his guru, the mantra, the chakra and the devata
are all one.
The kundalini shakti is coiled like a serpent around a karnika in the moolaadhaara and is normally dormant,
with its head on top of the karnika. The sadhaka's aim is to awaken the kundalini, lead her through the six
chakras, and unite her with sadashiva in the sahasrara. Nectar flows from such union and drenches all the
nadis, and the sadhaka experiences great bliss. Kundalini at first does not stay very long in the sahasrara.
The length of the stay depends on the strength of the sadhaka's practice. There is a natural tendency to
return to moolaadhaara but the sadhaka will use his efforts to retain her at the sahasrara. Liberation is got
only when she takes up her permanent abode at the sahasrara. The unknown can be explained only through
the known. An example that readily comes to mind is the ananda mimamsa in the taittariya upanishad.
Arousing the kundalini can be done through either hatha yoga or through meditation and japa, done over
many years. This should not be forced or hurried. The grace of the guru is absolutely necessary. The latter
method i.e. By meditation and japa is safer. While taking kundalini through the chakras, the sadhaka should
mentally offer worship at each of the chakras.
Arousing the kundalini by mantra japa should be done only in the shukla paksha. It cannot be sufficiently
emphasized that arousing the kundalini should be attempted only by a person with total self-control, through
sincere and constant japa done with devotion over many years and with the specific approval of the guru. To
do otherwise may cause dangerous consequences and lead to several physical and mental ailments. The
advice of the paramacharya of kanchi kamakoti peetham should be carefully heeded in this respect.
As this vidya is the means of both bhoga and moksha, it is taught secretly only to eligible persons. The
practitioner is also enjoined to keep this upasana secret. The sruti says:
Antah shaktah bahih shaivah loke vaishnavah.
The shakti upasana should be known only to the mind and not broadcast. Even while wearing on the forehead
the sindura prasadam of devi, the upasaka should cover it with bhasma. As shiva and shakti are one, this can

be done. Likewise, in view of statements such as `mameva paurusham rupam gopikanayanamr^itam',

`kadachit laliteshani pumrupa kr^ishnavigraha' etc., indicating abheda between ambika and narayana,
discoursing at gatherings on bhagavan's greatness amounts to discoursing on devi's greatness.
It has been said that all dvijas are shaktas since they chant the gayathri mantra. The tripura tapini upanishad
establishes the equivalence of each koota of panchadashi mantra with the gayathri mantra. Chanting the
panchadashi mantra once is equivalent to chanting the gayathri mantra thrice. The aspirant who decides to
take up this upasana must be sincere, devoted, of good character, hailing from a good family, pure in mind,
keen on attaining the purusharthas. A good shishya is one who has studied the vedas and the upanishads,
but is unable to retain their true import in this mind, and wishes to practice this upasana as a means of
attaining brahma jnana. Such a shishya must seek a guru. The importance of guru has been stressed in all
shastras. Upadesha becomes effective only if it is learnt from a guru; merely reading from books will be
unproductive, and will even cause misery. The shishya should surrender to a guru and pray for enlightenment.
The relationship between the guru and the shishya is a sacred one. The guru will also test the shishya, put
him through a probationary period, and if he is convinced that the shishya is a fit and proper person, will
instruct him. Unfortunately, nowadays we find that imparting srividya mantra upadesha has become a matter
of commerce. Srividya is being taught as a year's crash course! This is to be deplored. In fact, the learned
commentator rameshwara suri, in the course of his commentary on the parashurama kalpasutras, quotes this
verse:
Guravo bahavah santi shishyavittapaharakah |
durlabhoyam gurudevi shishyasantapaharakah ||
One should look for guru who rids shishya of his ignorance, not wealth. Due to the grace of a proper guru, all
the obstacles and inconveniences of the shishya in acquiring brahma jnana are destroyed. By constantly
chanting the mantra taught to him, the shishya overcomes all misery and enjoys supreme bliss. The shishya's
duties include serving the guru to the best of his ability, having total faith in the guru and chanting the mantra
taught to him constantly. In srividya, the guru shishya lineage has come as an unbroken chain, starting from
the first guru, paramashiva. At the time of diksha, the guru will teach the guru paduka mantra. The shishya is
taught about his immediate guru, his guru's guru and his guru. The shishya should develop the attitude that
the guru's feet rest on his head, the paramaguru's feet on the guru's head and so on. The guru paduka
mantra contains the letters ham sah, which represents the breathing in and breathing out, happening
subconsciously all the time. This is known as the ajapa gayathri. Ha denotes paramashiva and sa denotes
parashakti. This mantra therefore teaches the identity of shiva and shakti. The paduka mantra also has the
words shivah and soham. It will be readily seen that soham is the same as hamsah, read in reverse order.
These three words occur in all the three guru paduka mantras, in different permutations and serve to confirm
the identity of shiva and shakti. Further, their relevance as regarding the mahavakyas has been already
explained. The mantras also include tritari or the vimarsha pranava, bala, and 12 bijas in two groups of four
and eight. The four are known as khechari and the eight as ananda bhairava or navanatha bijas. Their
meanings are highly esoteric and should be learnt from a guru. The two other rahasya bijas in these mantras
denote the turiya pranava, connoting the effulgence of the supreme being.
A very exacting daily routine has been prescribed for the sincere and committed srividya upasaka, covering all
activities from the time of waking up early in the morning until retiring to bed at night. Their purpose is to make
the sadhaka constantly meditate on the shiva swaroopa even while engaged in other actions. The routines
prescribed for the sadhaka include dhyana of the guru, pranayama, divyamangala dhyana, rashmi mala,
ajapa samarpanam, ablutions, sandhya vandana and different kinds of parayanams such as natha, ghatika,
tatva, tithi nitya, nama and mantra parayanas. Devi upasakas narrate the time according to the ashtanga
system. As regards to japa, it should be noted that the mantra of each devata can be chanted only at the time
prescribed for it. For example, the mantra of maha ganapathi has to be chanted early in the morning, that of
shyamala in the afternoon and that of varahi at night.

A question may arise, why are there so many devatas? These are only aspects of the parashakti and, to
adopt the contemporary management jargon, have jurisdiction over certain areas. Within these, the devatas
have been delegated authority and responsibility and have been empowered to deal with the prayers of the
devotees. When the occasion arises, parashakti can withdraw these aspects into herself. The sadhaka must
also clearly appreciate that japa corresponds to the manana and nidhidhyasana prescribed in regard to the
upanishads. While chanting srividya maha mantra, for greater efficacy, the sadhaka should try to keep in mind
the meanings of the mantra, and pronounce the letters in the manner explained by sri bhaskaracharya in
varivasya rahasya. The sadhaka may also contemplate on the shakti in each of the adharas while doing the
japa, and gradually move her upwards over a period of time.
The sadhaka will experience, as his japa and upasana progress, that he is able to get some supernatural
powers, siddhis as they are known. His mind will also be distracted by various material pleasures thrusting
themselves upon him. He must be careful, remembering parokshapriya hi devah and these are directed at
preventing him from attaining his goal of brahma jnana.
As we started with maha ganapathi, we should also end with another manifestation known as ucchishta
ganapathi. It has been suggested that the name should be utkrishta ganapathi instead. Sri chidanandanatha
taught the mantra of this form of ganapathi only to a select few of his vast number of disciples, and this
upasana is restricted to very few. In the secret sahasranama of this form of ganapathi, various important
aspects of srividya upasana are mentioned. We are grateful that we have been allowed access to this. It has
been recorded that his holiness sri sacchidananda shivabhinava nrisimha bharati mahaswamigal of sringeri
sarada peetham discoursed in private to sri chidanandanatha for more than half an hour, on the meaning of
the last two names of this sahasranama, relating them to the asparsha yoga stated in the mandukya karika.
As the phala sruti of sri lalita sahasranama says, only the person who in crores of births and deaths has sung
the names of other deities will develop sincerity and interest in singing the names of mahatripurasundari. Only
in the last janma, one becomes a srividya upasaka. Those who have earned this through their tapas in many
janmas, will enter this upasana marga.
Sri nediminti subrahmanya iyer, with his diksha name sri chidanandanatha, our guru, has always guided us in
all our endeavors. Born a chaturthi day (a day dear to lord maha ganesha), his videha kaivalya occurred on a
shashti day (a day dear to lord subrahmanya). In a way, this can be likened to starting from moolaadhaara
where lord ganesha resides and ending in the sahasrara where lord subrahmanya arises out of the union of
shiva and shakti. Being himself initiated into srividya by his guru sri guhanandanatha on the sacred mahodaya
day in 1911 at the holy allahabad, he practiced his upasana in secret for 12 years, and thereafter began to
propagate this among the eligible and the deserving. He dwelved deep into the secrets of vedanta and
srividya and synthesized them in a manner appropriate to this age. The acharyas of both kanchi and sringeri
held him in high regard. He translated into elegant, simple and chaste tamil, various important sanskrit works
bearing on srividya, like kamakalavilasa, varivasya rahasya, trishati bhashya of adi shankara, shakti mahimna
stotra etc. He also wrote various books in tamil explaining vedantic and srividya concepts. His compilation of
the navavarana pooja paddhati is followed practically all over india. His saparya vasana explaining the
metaphysical aspects of navavarana pooja is a masterpiece. His magnum opus is the subrahmanya tatvam in
tamil.
One day, kanchi paramacharya h h sri sri chandrashekharendra saraswati mahaswamigal, took a brief pause
during his daily pooja. He later explained that he had seen a great soul being welcomed at the door of
chintamani griha, the abode of sri rajarajeshwari. It was actually sri chidanandanatha that he was referring to
and this great man had just then attained videha mukti. This once unlettered girl, now 79 years of age, whom
he took under his benign and protective care, as a fond father would do, and made her what she is today,
dedicates these few words with reverence and humility to the cherished memory of sri nediminti subrahmanya
iyer, sri chidanandanatha.

Subrahmanya om

Srichakra
Srichakra is the diagrammatic representation of shiva-shakti in the cosmic and the individual aspects. In the
hindu tantras, there are three kinds of external symbols used for worship of the supreme being who is himself
formless and nameless. The most external is the image cast in the human forms but with paraphernalia
signifying supra-human divinity. The last and the subtlest are the mantras, which are divine sounds or
bijaksharas or letters indicating certain indeclinable seed sounds. A mantra is divine power clothed in sound.
Between these two come yantras, also called chakras, which are representations of the deity in geometrical
diagrams.
The srichakra is conceived as shiva-shakti in the macrocosmic as well as in the microcosmic aspects i.e. As
the cosmos and the individual. The chakra consists of a series of nine triangles superimposed around a
central point called bindu, forming forty-three konas or triangular projections. In the center is the bindu,
representing shiva-shakti in union in the causal state from which all the other parts of the diagram
representing the cosmos are evolved. The bindu is in a central triangle with apex downwards in the samhara
chakra of the kaulas, but in the srishti chakra of the samayins, it is below the base of the central triangle with
its apex upwards. Enclosing it and superimposed on one another are the four shiva triangles with apexes
upward and five shakti triangles (inclusive of the inner triangle) with apexes downward. Two circles of lotuses,
one with eight petals and the other with sixteen petals surround these. Outside these, are three circles around
and a rectangular enclosure (bhupura) of three lines for the entire chakra, with four entrances on the four
sides.
The central bindu stands for shiva-shakti in the causal state of creation. Shakti is here represented as
mahatripurasundari, the great mother or the incomparable beauty of the three puras or three bindus. The
bindu represents the initial pushing forth of massive or ghanibhuta shakti, with the potentiality of the universe
within itself. It is spoken of as three to indicate the three stresses when the unified non-dual shiva- shakti
seem to separate into two aspects prakasha (the aham or i consciousness) and vimarsha (the idam or thisconsciousness). These three stresses are technically called nada, kalaa and bindu. Naada is the inchoate
sound movement (interpreted by human ear as omkara) and kalaa is the kaama kalaa, the desire to create,
which the vedas represent as 'may i be many'. Bindu is the potential universe ready to separate into various
categories. All these three stresses of shiva-shakti together are represented by the central red bindu with an
imaginary line across it to represent the polarity in the supreme category as shiva-shakti. The great bindu, the
threefold stress of the externalizing or creative shakti is indeed the divine mother mahatripurasundari. She is
described as 'puramathituraho purushika' in the seventh verse of saundaryalahari, popularly interpreted as
the 'pride of shiva'. It however really means that shiva as prakasha (luminosity or consciousness) realizes
himself as 'i am', through her, the vimarsha shakti (the object as the reflector).
The rest of the srichakra represents the whole of the brahmanda (cosmos) as evolved from the bindu,
standing for mahatripurasundari. Surrounding the bindu is a series of overlapping triangles. These nine
triangles constitute the nine basic categories of the universe, evolving from the supreme mother
mahatripurasundari represented by the central bindu. Hence they are called mula prakritis or root substances
of the universe. The shiva and shakti triangles are superimposed to indicate that shiva and shakti are involved
in the whole process of becoming in its microcosmic and cosmic aspects. In the individual, they are present
as the nine dhatus or substances constituting the physical body. These are tvak (skin), asrk (blood), mamsa
(flesh), medhas (fat), and asthi (bone). These five categories are born of shakti element while the evolutes of
the shiva elements constitute of shukla (semen), majja (marrow), prana (vital energy) and jiva (the individual
soul). On the cosmic side, the five constitutes of shakti are the five elements (pancha mahabhutas i.e. Earth,

water, fire, air and space) and the five tanmatras (subtle elements), the five karmendriyas (organs of action),
the five gnanendriyas (organs of knowledge) and manas (mind)- these have their origin in the shakti element,
while maya, suddha vidya, maheshwara and sadashiva form the shiva element. Thus the nine basic triangles
symbolize the twenty-five elements or tatvas that constitute the cosmos and the individual bodies.
By the intersection of the lines of these nine triangles are formed forty-three konas, in which is included the
central triangle having the central bindu. In all these konas are placed the different letters of the alphabet,
which stand for the devatas, who are emanations (rashmis) of the only true entity mahatripurasundari. They
are the conscious forces governing the various powers of nature in the cosmos as well in an individual. These
devatas are not to be equated with the animistic spirits of the primitive man. For according to srividya, spirit is
supreme and all nature consists of evolutes of that spirit, of which what we call inert matter is only the latest
evolute, having consciousness only withdrawn by the inherent power of tirodhana (concealment). The spirit,
the being-power, is the one only, and what are called gods and goddesses placed in the various parts of the
srichakra are only its manifestations for governing the various forces of nature.
The portions of srichakra lying outside the forty four centers comprising the bindu also are all supposed to be
included in the latter- eight petalled lotus (ashtadala padma) in the central triangle, the sixteen petalled lotus
(sodasha dala padma) in the eight angled chakra (ashtakona), the three circles(mekhalaa traya) in the two ten
angled chakras (dashaara dvaya), and the surrounding space with the rectangular lines and four entrances
(bhupura) in the fourteen angled chakra (chaturdashaara).
The srichakra is identified with the sahasrara or the thousand petalled lotus. It is the ultimate source of
powers namely iccha (volition), jnana (knowledge) and kriya (action). It is these powers that manifest through
the various organs of knowledge and action. All these organs are regulated by a central control in the brain,
and that is identified with the baindava chakra or the bindu chakra of srichakra. It is the seat of the shiva, pure
being, and is the jyotirmandala, the sphere of light, because the eternal spiritual moon illumines it with its
blissful light. This sahasrara is also the source of the three nerve currents of physical significance. They are
the ida, pingala and sushumna respectively running on the left, right and center of the spine. Through the
sushumna runs a hollow canal called the kula path, which is closed at the end, above the level of the anus at
the base of the spinal column. Whether these yogic nerves are to be identified with what are known to the
anatomist as the afferent and efferent nerves and the central canalis is a moot question. It is better to
conceive them as psychic factors relating to subtle body and having some correspondence with their physical
counterparts.
At the bottom of the sushumna against the level of the anus is the basic plexus known as muladhara,
described as a triangle with a lotus having drooping petals. This plexus is called the cave of kundalini since
kundalini, the serpent power remains sleeping i.e. Inactive there, after having completed its evolutionary
purpose with the production of the earth element, the last of the twenty-five categories. Just as parashakti is
the consort of shiva, the supreme being, kundalini is the segment of that cosmic mother as the shakti of the
jiva, who is none other than an amsa (particle) of the supreme shiva embodied as the individual. It is this
shakti that evolves into all the twenty-five cosmic categories. The first four pure categories - sadashiva to
maya are considered pure and therefore included within the sahasrara itself and the remaining 21 categories
are included in the six plexus or chakras described as lotuses descending along the sushumna. Of these,
ajna chakra, located between the two brows is a 2 petalled lotus constitutes the mind (manas) element, which
included the five organs of knowledge and action. At the level of throat is the vishuddhi chakra of 16 petals
constituted of the element akasha (space). At the level of the heart is the anahata chakra with 12 petals
having the element air as its constituent. At he level of the navel is the manipuraka chakra with 10 petals and
representing the element water. At the level of the genitals is the swadhishtana chakra with 6 petals and fire
element. Still below is the muladhara chakra mentioned before. Just as the cosmic shakti mahatripurasundari
evolves these 25 categories which go to combine into the manifest universe, the individual aspect of the
shakti evolves into these centers representing the different categories and the body-mind, and having

completed the evolutionary process sleeps or remains contracted or coiled up in the final category of earth
represented by muladhara.
The main intention of srividya is to rouse this kundalini through the japa of the supreme vidya (of 15, 16, 18 or
28 letters) and concentration on the lotus feet of mahatripurasundari, and leading this power through the
sushumna up to the sahasrara in the head and uniting it with the shiva there. This results in perfect samadhi
and by no other means is this possible. No spiritual activity is possible without awakening the kundalini,
though the way to do it is numerous. Tantras have declared srividya and kriya yoga as the fastest as well as
the surest way to spiritual success.
In an unenlightened person, in whom the kundalini is asleep, the jnana and kriya shaktis function through the
ida and pingala nerves that flank sushumna. By the power of concentration and by the extremely powerful
torrential energies generated by japa of srividya, and also by the guru's grace, kundalini is awakened and it
forces its way up the kula path. Along with its upward course, it gathers up also all the life energies that are
functioning at the lower levels of the body, leaving those portions cold. For, all these energies are only what
are dispersed from the kundalini and therefore they are gathered up with the upward course of that power. As
the kundalini touches one plexus after another, consciousness is raised to subtler levels, described in vedas
as seven higher spheres bhuh, bhuvah etc.
The kula path and the chakras are divided into three segments - brahma granthi up to the swadhishtana
which is considered to be the region of fire and of darkness., vishnu granthi up to anahata which is the region
of sun and of alternating light and darkness and rudra granthi up to ajna which is the region of the pure light of
the moon. The sahasrara at the topmost end of the kula path is the region of eternally blissful
(sacchidananda) spiritual moon, which is different from the moonlight at ajna chakra. In case of aspirants who
get absorption in shiva shakti in the sahasrara (which is what srividya teaches and brings about eventually as
opposed to most other traditions wherein meditation and absorption should begin in lower chakras and
proceed higher up. This indeed is one of the vast number reasons that take the doctrine of srividya much
beyond the realms of any other tantra) all these chakras are also absorbed in the sahasrara, so long as the
samadhi lasts. As the six chakras are gross manifestations of the sahasrara, it is natural for them to get
absorbed in their matrix along with the rise of the kundalini and manifest again (if the aspirant knows the
vijnana) when the kundalini descends. Now, it is in this part of descending the kundalini, after having the bliss
of shiva - shakti communion and consuming the resulting kulamrita, having clarified it according to ones
sampradaya, do other chakras like lalaata, lalanaa, golataa and indra nadi come into picture. These chakras
are very subtle and tantras forbid their discussion with the uninitiated. So i omit these. However for a generic
view of these one may refer to the kulamrita chapter in the yoga section of rudrayamala.
Thus the srichakra is made into a comprehensive symbol for worship and identification with/of
mahatripurasundari who is parabrahman-chit parashakti one. This allows both who follow samayachara
through the external worship of the srichakra in the mahakasha (external sky) as well as for the true
samayacharins who do worship internally without any external symbols and rituals through meditation in the
daharakasha.
Srichakra is that great abode of power into which shiva shakti have converted themselves for blessing their
children. They are ever present there and devotees can commune with them through it. This is not a mere
statement and all those who have worshipped and meditated on srichakra, having duly taken an initiation from
sad guru will swear by this. Though this communion is possible in a physical sensory level, for an ardent and
true follower of samayachara this communion is purely internal. In the manipuraka they worship kundalini as
the great mother mahatripurasundari, who has already been awakened by the shambhava mahavedha done
by the guru. She is raised to anahata where she is adored in the daharakasha and then raised to ajna chakra
from where she quickly unites with shiva in sahasrara. How a person can return back to lower chakras and
continue to live as a jivanmukta or a siddha depends on grace of mother mahatripurasundari and also if the

aspirant knows the secretive procedure of achieving vijnana from jnana. Else after 21 days of samadhi he
gives up all earthy shackles and merges with mahatripurasundari. The process of descent again should be
learnt through one's own guru directly.
In the srichakra, in the srishti krama (order of evolution), there are five triangles termed as shaktis. A triangle
with a downward apex is called a shakti, whereas an upward one is called vahni. In srichakra, there are five
shaktis and four vahnis. When, due to the good fortune of the entire universe, parashakti of the form of
vimarsha wants to project out the entire universe, hidden in herself, an evolutionary process begins. Shiva
parabrahman remains unmoved and the great mother parashakti herself results in the evolution of the
illusionary world. Parabrahman is without any implications of cause or action. His inseparable and eternal
parashakti appears in various forms as jnana (knowledge), iccha (will power) and kriya (action or dynamism).
The so-called creation of the world is a pulsation in this great shakti. When the evolution of the world
constituting of the thirty-six tatvas (elements) begins, srichakra materializes at this point in time.
The first letter of the alphabet 'a' is without any form since the vedas and the tantras declare that 'a'
represents paramashiva or prakasha. Aitereyaaranyaka has declared 'a'kara as parabrahman. The letter 'ha'
represents shakti or vimarsha. A combination of the two results in 'aham' with the anunaasika or the 'am'
sound denoting the unqualified brahman. According to panini's pratyayaahaaranyaya, 'aham' denotes all
letters (varnas) between 'a' and 'ha' and thus the entire alphabet or matrikas. 'Ha' is also called visarga and is
responsible for creation of the universe. What is indicated here is that the entire universe is hidden in the
prakasha-vimarsha-harmony state, which is nothing but the bindu. When sun's light falls on a clear mirror, it
gets reflected on a wall as a light beam. Similarly, when light of paramashiva falls on vimarshaambaa, the
beam or point of light called mahabindu becomes evident. This indeed is the baindava chakra of the
srichakra. This itself is called kamabindu since it is the seat of kameshwara and kameshwari, bot in complete
and perfect mutual harmony. A pulsation in this leads it to appear as rakta (red) and shweta (white) bindus.
From these bindus, which result due to pulsation in kamabindu (of the form of aham), evolves the effulgent
chitkalaa. In the same way as ghee melts due to heat of fire, due to prakasha, a flow results in vimarsha
shakti. This wave like flow in vimarsha from in between the two bindus is called haardhakalaa. The
mysterious kamakala, ornamented with this haardhakalaa gives rise to baindava chakra. More about
kaamakalaa, its esoteric form, conceptualization and meditation on it, dhyana and dhaarana aspects of it
should again be learnt from ones guru directly. Information on kamakala vimarsha can be obtained from
dindima bhasya and some other lesser known commentaries on saundaryalahari and also from punyananda
yati's kaamakalaavilaasa (this however is extremely technical and without a thorough background on tantra
and a knowledge of sandhyaabhaasa etc leaves the reader gasping or with misunderstood notions. Some
very well known adepts in the pasts have written commentaries on this work, but sadly many have
misinterpreted this great siddhavaani).
Just as waves rise in an ocean, the world constituting of the 36 tatvas rise from this baindava chakra. This
baindava chakra represents madhyama, pashyanti and vaikhari vaks (forms of speech). These in turn are
evolved from para vaani, represented by the original mahabindu. It is to be noted that the moola trikona
(central triangle ) is also referred to as baindava chakra since bindu and trikona cannot exist without each
other. This has been stated clearly by bhagavan hayagriva in the lalitopaakhyaana of brahmanda purana.
Also to be noted is the fact that the entire srichakra is a mere extension of the basic kamakala.
Actually mahabindu is undivided, shiva -shakti -one in form. Visualization of this as shweta and rakta bindus
leads to division and hence duality, creating the foundation for externalization of the vast universe, which is as
illusionary as the separateness of shiva and shakti. Creation has to be of two aspects: vak (speech) and artha
(meaning) which respectively constitute of para and vaikhari and shiva to prithvi. This mahabindu though
being non-dual creates an illusion of being dual. This great kamakala is the subtlest form of
mahatripurasundari. One who realizes this secret, by means of srividya and worship of srichakra will be
liberated from all dualities and will attain shiva hood. It is only one basic triangle that transforms into shakti

chakra in evolution and vahni chakra in dissolution, in a triad, forming 3 x 3 = 9 triangles, which constitute of
the navayoni chakra. Indication here is to the fact that nothing new is actually being created, but is actually a
transformation of an already existing baindava chakra. Now, each yoni in this navayoni chakra represents
dharma, adharma, four appearances of the same atman (atma, antaratma, paramatma and jnanatma),
maata(jiva), meya ( object of comprehension by the jiva) and pramaa ( the comprehension itself). This
navayoni chakra is said to be completely filled and hence of the form chidaananda. Chit means chaitanya
kalaa and ananda means vishwaahamtaa (experience of the world as aham or oneself - vijnana bhairava). It
is mahat or great since it is full of chit and also because it is not limited by space, form and time. Hence it is
greater than the greatest (mahatopi mahaan).
Baindava chakra represents mahabindu, which is actually sadashiva tatva. Since shiva and shakti tatvas are
placed above sadashiva tatva, this chakra forms the seat of shiva and shakti viewed as kameshwara and
kameshwari or both-in-one as mahatripurasundari. This dhyana of mahatripurasundari has been given to us
clearly by acharya in the 8^th verse of saundaryalahari. This is what has been told in the name
'baindavaasanaa' in lalita sahasranama mahamantra. If we rephrase what has been said earlier, baindava
chakra is the seat of 'aham' where 'a' is called samvartaanala (destructive fire that erupts during pralaya or
the dissolution). All tatvas from shiva to prithvi and hence the entire universe which is nothing but a
congregation these tatvas merge into this 'a' kara during dissolution. Hence the name samvartaanala. 'Ha'
kara is also called chitkalaa. The mahabindu at the center of the triangle is what is 'aham' and represents
ambika shakti. The navayoni chakra with eight angles (ashtakonas) is surrounded by the sixteen vowels. The
rays of light that emanate from the bindu and navayoni transform into dashaara chakra. The letters situated in
this chakra are 'ya' to 'la'. It represents the five elements (earth, water, fire, air and ether) + the five tanmatras
(smell, taste, form, touch and sound). These tatvas represent shiva tatva and the letters signify shakti. Thus
we can conclude that dashaara chakra is shiva shakti maya. This logic will apply to all the other enclosures or
aavaranas and hence the entire srichakra.
The next chakra is the dvidashaara. It represents the 10 indriyas or sense organs and the residing letters are
kavarga and chavarga letters. These two dashaara chakras are thus twofold reflection of the great
mahatripurasundari seated on the sadashiva or mahabindu.
Next follows chaturdashara chakra, formed due to the collective light emitted from the previous 4 chakras
namely bindu, trikona, ashtakona and dashaara-1 along with the light from dashaara-2. Since chaturdashaara
is farther away from those four chakras, only their collective light will be seen here, but a clear and distinct
perception of the individual lights and hence the corresponding chakras will not be possible. However,
dvidashaara being very next to it is clearly perceivable from chaturdashaara. This chaturdashaara is due to
the pulsation in jnana and kriya shaktis. It thus represents 10 indriyas, four antahkaranas (manas, buddhi,
ahamkara, chitta). The presiding letters are 'ta' to 'bha'.
Earlier it was seen that baindava chakra was presided over by ambika shakti. Ashtaara chakra to
chaturdashaara chakras indicate a dominance of raudree shakti. Thus, chakra till now, is an extension of the
powers of raudree shakti.
The chatushkona chakra, which comes next is due to jyeshtaa shakti and mekhalaatraya is due to vaamaa
shakti. This bhoomitraya also includes the adjacent sixteen and eight petalled lotuses.
Srichakra has been until now visualized as an abode of various shaktis. An alternate visualization is its kalaa
form. The inner triangle and bindu represent chitkalaa. The kalaa associated with ashtaara, antardashaara,
bahirdashaara and chaturdashaara are respectively shantyateeta, shanty, vidya, pratishtaa and nivritti.
Ambika and other shaktis that were spoken till now are actually powers of prakasha. Now association of
srichakra with powers of vimarsha is as follows. In the nine aava anas or enclosures of the srichakra, the nine
residing vimarsha shaktis are naada, bindu, kalaa, jyeshtaa, vaamaa, raudree, vishaghnee, dootaree and

sarvaanandaa. Bindu and naada are actually of the form of santa shakti which is attributeless and hence also
the corresponding chakras - chaturdashaara and the sixteen petalled lotus. Eight petalled lotus, presided by
kalaa, is of the form of iccha shakti. Chaturdashaara chakra presided over by jyeshtaa of the form of jnana
shakti. Raudree and the rest, respectively reside in shaaras-inner and outer, ashtakona, trikona and bindu, all
of the form of kriya shakti.
Thus, the srichakra constituting of vaamaa and other shaktis of the prakasha parabrahman is an extension of
kamakala, which in turn constitutes of the three bindus. Now, in the same way as clay is the basis of
existence and the very nature of a pot made of clay, srichakra being an extension of kamakala is nothing but
kamakala itself and so also the entire universe which is nothing but the srichakra.
Akula chakra is situated in the body at the place of origin of sushumna nadi. This akula chakra is a thousand
petalled red lotus with up facing petals. Sushumna terminates with sahasrara in the head region, which is
thousand petalled white lotus whose petals face d wnwards. All lotuses extending upwards along the
sushumna except the akula sahasrara are said to be kula padmas. The divine mother sharvaani resides in
these lotuses. The distance between the anus and genetalia is said to be 5 angulas. Between this, at a height
of 1 angula is a region called kanda. Between this, there is a mahayoni described as a triangle. Sushumna
takes birth from its center. The shining akula sahasrara surrounds this place. Hence contrary to popular belief,
sushumna does not actually originate in muladhara. At the center of akula sahasrara the great mother
kuladevi resides. 1 angula above akula padma, there is another red lotus with eight petals and eight
granthis(knots) in which brahmani and the other eight matrikas reside with asitaanga and the rest eight
bhairavas. Center of the lotus is the abode of kaulikee shakti. This lotus is called vishu chakra. 1 angula
above this is the six petalled kula padma. Then comes the muladhara chakra, which has four red petals,
which face downwards. Between the lotus shines the swayambhoo lingam. Around this linga, along with
varadaa, shree, shandaa and saraswathi, bhagavati kundalini is to be meditated. This lotus represents earth
element. 2 1/2; angulas above this, there is a lotus with eight petals called taijasa padma yellow in color. The
residing shaktis are anangakusuma and others. Mahamantra hrillekha resides at its center.
Then the well-known sequence of chakras follows starting from swadhishtana. 4 angulas above throat is the
subtle lambika padma (called indra naadifor people familiar with dasha mahavidya yoga this should strike a
chord. This is the abode of bagalamukhi (some authors misplace bagala in throat which is actually the abode
of matangi and some in navel which again is the abode of mahataara). In this lotus, vasini and the eight
vagdevis reside. Then follow ajna and sahasrara.
Srichakra may be visualized with each of its nine chakras corresponding to these yogic chakras with bindu at
ajna. On a more subtle note, srichakra is visualized at bindu, ardhachandra, rodhini etc till unmanee, which
are located above ajna, one above the other. These are different pronunciations of the naada visualized
suitably while meditating o the three naadas and the fourth aggregate naada of the three kutas of the srividya
mantra. Another alternative is to meditate on the entire srichakra in mahabindu, above all chakras and even
unmanee. This is possible by highly advanced sadhakas and is the very essence of samayachara. This is the
highest and the most desirable of the three. These three visualizations are respectively called sakala, sakala nishkala and nishkala bhavanas of srichakra.
Each of the nine aavaranas of the srichakra has a speical significance.
1. Trailokyamohana chakra: here, the word loka indicates maata, meya and maana i.e the seer, the object
seen and the act of seeing itself or in other words kartru, karma and kriya. The compound of these three is
trailokya. This great chakra enchants these three i.e the trailokya and dissolves the three into a single nondual entity which is what leads to complete advaita.

2. Sarvaashaaparipooraka chakra: here, the word asha indicates the insatiable desires of the mind and the
senses which lead us more and more towards duality. This great chakra grants all desires by uniting its
sadhaka with the ever satisfied, all fulfilling, eternal parabrahman or paramashiva. This stage is indeed the
kamakoti the state of accomplishment of all desires or actually going beyond all desires by achieving the most
desirable thing, which indeed is the liberating brahma jnana.
3. Sarvasamkshobhana chakra: during dissolution, all tatvas right from prithvi upto shiva dissolve into one
another. This great chakra creates the destructive agitation (kshobha) in all the tatvas causing duality, thus
dissolving any duality in the sadhaka. It agitates and destroys duality in the sadhaka.
4. Sarvasoubhagyadayaka chakra: saubhagya is something that is desired by everyone. This great chakra
grants the most desired object to the sadhaka which is nothing but the great paramashiva or
mahatripurasundari. What greater fortune or bhagya does a sadhaka long for other than his beloved mother?
Thus this chakra is indeed chintamani - kalpataru - kamadhenu, all put in one.
5. Sarvarthasadhaka chakra: the ultimate goal of all vedic and tantric rites and ceremonies is the attainment
of paramashiva. Various scriptures elaborate numerous methods to achieve this final beatitude. In the same
way as all rivers merge into the great ocean finally, any of these legitimate means take the sadhaka to the
same destination. This great chakra results in the siddhi of all these paths or means i.e it grants the final
siddhi which is doubtlessly parabrahma prapti.
6. Sarvarakshaakara chakra: this great chakra protects the sadhaka from all forms and kinds of avidya and
duality, which are the only reasons for misery and grief. The visible world, constituted of the 36 tatvas is
impermanent and since these tatvas grant bhedadrishti or a sense of separation between the atman and the
paramatman, the world has to be rejected as falsehood. By flooding the sivaaham bhavana (the sense of iam
shivaa i.e the advaita bhavana) through the sadhaka, this chakra protects him from the treacherous samsara
composed of 36 tatvas, all leading to duality. When the sadhaka realizes himself and the entire world as not
separate from paramashiva, he is automatically protected from avidya. What this chakra does is to destroy
'idamtaa or sense of this' by the pure awareness of 'ahamtaa or i-ness'.
7. Sarvarogahara chakra: there is no worse disease than samsara which induces duality. Due to its
constituent 36 tatvas which are different from each other. This great chakra destroys the disease of this
samsara which is the root cause of all other types of diseases. When vamakeshwara tantra and also the
mudra kanda of rudrayamala speak of khechari as destroying all diseases, this is what is hinted at.
8. Sarvasiddhiprada chakra: yoginihridaya says that this chakra indicates the potentiality to create - maintain destroy the universe. As pratyabhijnaahridaya says 'chiti shakti is indeed responsible for the siddhi of the
universe'. Thus, the trikona or the triangle chakra is responsible for creation, destruction and preservation,
while the other two acts namely tirodhana and anugraha are indicated by these three only.
9. The state of complete harmony of shiva and shakti exists in sarvaanandamaya chakra. Thus this chakra is
the very personification of eternal, limitless bliss. This grants brahmananda to sadhaka.
From the above verses, it becomes clear that though the nine charkas seem different due to their differing
geometry, names, deity, mudra etc.. The oneness or the non-dual aspect of all these is proved by the fact that
all these represent the non-dual paramashiva and hence the entire srichakra is parabrahman itself. Though
there are no limits to the worldly boons obtained by worshipping srichakra, the real purport of worshipping
srichakra is parabrahmavapti.

Traipura siddhanta
The philosophy of saktism is advaita or non-dualism and the highest reality is termed as paramashiva or
mahatripurasundari. Shiva is the static consciousness and shakti is the dynamic consciousness or chit-rupini.
Shiva is pure awareness, which is the basis of all existence. Through his shakti, he effects the manifestation
of the universe. He is the sole cause of the world. The ultimate reality is non-dual and is of the nature of pure
consciousness. The universe of forms and names are all aspects of the same ultimate reality. It is the
movement of brahman, the `spanda' that brings about the distinction of sabda (word), artha (object) and
cognition (pratyaya). These three are the aspects of the brahman's primal energy.
It is the causal impetus of the divine, which makes them emerge out of itself. The world of sounds, things and
thoughts- is the manifestation of the same non-dual spirit.
The tatvas (or divine principles) describe step-by-step how supreme consciousness makes itself, appear to
itself, as limited consciousness stuck in a unconscious world and universe, and thus gets to experience the
limited, conditional joys and sorrows of earthly existence, and then describes in a reverse step-by-step
process, as to how that supreme consciousness then reveals its own true nature to itself, and thus
experiences the outrageous joys of spiritual liberation.
The 36 tatvas are divided into four groups representing the four stages of existence and creation, as well as
the 4 states of awareness. These are:
1. The physical plane or waking state: wherein we find the physical world, our physical bodies, and our
waking state. Physical objects exist, change, and move around in a rigid structure defined by measurable time
and space, according to the measured flow of energy as described in the rigid mathematically based laws of
thermodynamics, all described in the rigid non-relativistic newtonian laws of physics. This is the most
superficial level of existence - a mere rigid shadow of the subtle plane of existence.
2. The subtle plane of existence, and dream state: made up of the world of thought and dream objects
experienced in the dream state, or seen as thought images and objects in the mind during waking. It is also
an entire plane of existence beyond the physical world whose objects are not limited by rigid laws governing
change or movement in time and space. This is the realm of magic and dream where things change
according to the power of one's will, desire, and need, and the only resistance is the power of one's own
previous actions (karma), or the will, desire, need or karma of others. The physical plane of existence is a
mere rigid shadow of this level of existence.
3. The causal plane of existence, and the deep sleep state: to the average person, this plane of existence and
state of consciousness is experienced as a totally timeless, spaceless unconscious void - unconscious
nothing. The average person experiences this every night during the deep sleep stage of sleep. To the
conscious, it is experienced as completely totally void of any features or objects of consciousness, and they
know it as the basic featureless unconsciousness "ground" from which all non-conscious objects spring that
exist in the physical or subtle planes of existence. Thus this is the "non-conscious" ground from which the
physical and subtle planes of existence continuously spring.
4. The supracausal plane, experience of supreme consciousness: unlimited consciousness - unlimited by
time, space, thought, or any structures or processes. Has no features or characteristics except being just pure
consciousness. This is the true nature of consciousness - unlimited and transcendent of all other planes of
existence and the structures and processes they contain. This is the basic source of the creative energy from
which the other three planes of existence spring.

The creation of the entire universe from pure cosmic consciousness takes place within the framework of these
four planes of existence. This is described by 36 principles (tatvas) of cosmic creation, which are spread
amongst the 4 levels as they describe the creative process as it flows down from cosmic consciousness to the
physical level of creation. And it is these thirty-six tatvas that also describe the process of cosmic destruction,
and the process of individual awakening that happens in human beings (kundalini) when they come to know
of this directly. These 36 tatvas also describe the process of karma which determines the quality and nature of
human life, of all life, and of the existence of the universe in the first place as it emerges from pure
consciousness by the will and desire of god.
Supracausal plane of supreme consciousness
This is the basic level of existence - of pure cosmic consciousness - paramashiva - the totally unlimited
supreme consciousness, that exists everywhere, is eternal, and from which everything is created, and will
return to eventually. This supreme consciousness is completely devoid of objects, features, or anything else
other than pure unlimited consciousness. But from this pure consciousness the entire world is created. This
creativity is contained within two basic conscious principles: shiva and shakti. Reality, paramashiva is
transcendent, beyond the levels of matters, life and mind. It is without parts (and hence called nishkala),
without activity (nishkriya) and beyond the reach of word (asabda) and mind. The same reality as the cause of
the world-process is called ishwara. From him arise the five categories of pure, siddha creation and then are
the course of finitisation consisting in the emergence of the thirty-one categories composing impure (asuddha)
creation. The five categories (tatvas) of pure creation are:
1. Shiva tatva
2. Shakti tatva
3. Sadashiva or sadakhya tatva
4. Ishwara tatva
5. Suddha vidya tatva
Shiva tatva, which is the first process in the order of world evolution, and is chit, with its important aspect of
power as consciousness. It is pure, unlimited consciousness itself.
Shakti tatva, a co-ordinate of the first tatva, manifests as the aspect of bliss or ananda, the unlimited creative
power of supreme consciousness. Shakti has 3 basic aspects through which it does the actual creating:
Iccha shakti: the basic will or impulse to create.
Jnana shakti: the basic knowledge or awareness of creation.
Kriya shakti: the basic power to create.
Sadashiva tatva is sat, the stage where the experience of `being' begins. It is the power of will or iccha that is
predominant.
In ishwara tatva, the power of knowledge or jnana plays an important role.
In suddha vidya tatva, the power of action or kriya dominates.
These five stages of experience represent the gradual differentiation in the pure experience, which serves as
the basis of the evolution of the pluralistic universe.
At first, there is only the distinction less experience. Into this is introduced the condition of distinction by
shakti. In the sadashiva tatva, the experience of the form, i am this arises with the emphasis on "i". In
ishwara tatva, the emphasis is on this this i am". In order that the universe of minds and objects may
emerge, there should be a balance between i" and this". This is what is obtained at the stage of suddha
vidya tatva. Here, in the experience i am this", the two get equalized. It is in such an experience that there is
activity and movement of thought.

These five called suddha tatvas deal with ideal creation. With the rest of the thirty-one categories, which
commence with maya, begins the actual creation.
Causal plane of consciousness & deep sleep state
The activities of the supremely creative shakti creates a condition of extremely limited consciousness stuck in
a seemingly infinitely vaste unconscious world or universe, and this is what we actually experience of our
consciousness - where we feel like our consciousness is so fragile, and so tiny - that it is stuck inside our
heads, totally at the mercy of outside conditions, easily eradicated in a split second, as we struggle to survive
in a huge totally non-conscious world which is dwarfed into insignificance within the incomprehensively vast
non-conscious universe in which it wanders in endless circles until its inevitable fiery demise.
This sense of difference and distance and unconsciousness is actually only a creation of a veiling power of
supreme consciousness - a shakti called maya. Maya works via five aspects of its veiling power.
Maya is the first of the thirty-one categories of impure creation and is the power of obscuration or "tirodhana".
It obscures the infinite spirit, and makes possible the rise of plurality of souls and things. Again, the limitless
experience begins to be limited as regards the experiencer and the experienced, the "i" and the "this".
The next five categories are called kanchukas or constrictors. They are the ones, which bring about limitation.
Kaala is temporal limitation. It veils the experience of the single supreme infinite moment to create the sense
of the limited sequential flow of time.
Niyati is restriction in regard to space. It veils the experience of all-pervasiveness to create the sense of
limited existence in one place stuck amongst vaste areas that are different and separate from you.
Raga is attachment to particular things. It veils iccha (basic supreme will to create) to create a sense of a
fragile, limited, weak will power.
Vidya is limited knowledge. Veils jnana (unlimited knowledge of supreme creation) to create the experience of
limited knowledge and understanding.
Kalaa is limited agency. Veils kriya (unlimited power to act) to create the sense of limited power and abilities,
and helplessness.
The soul enveloped in these agencies arises as purusha and that is the seventh category. Thus is formed the
basic experience of individuality separate from everything else; limited, helpless, relatively powerless, and
limited in knowledge and understanding of so much that makes up the surrounding unconscious, mostly
inaccessible world.
Thus is created the base level illusion of tiny limited consciousness existing insignificantly within an endless
non-conscious expanse. That basic level of non-conscious expanse is called prakriti, the eighth. But at this
level, there is nothing to be conscious of - no worlds, or bodies, or even time or space. Thus, this stage is
experienced as void - non-conscious void because all there is, is the basic state of limited individual
consciousness without any instruments or organs to sense with, in a non-conscious expanse without any
objects or features or characteristics to be conscious of. Thus, prakriti is the corresponding limitation (with
regard to purusha) on the objective side.
Subtle plane & dream state

From the featureless ground of the causal plane (prakriti), springs endless objects created out of pure
consciousness by the shakti-s of will, knowledge, and creative impulse. These objects by definition are limited
and separate from each other - each and every characteristic moving and changing in time and space. These
limitations are formed by the powers of limitation of the shakti maya (kalaa, vidya, raga, kaala, and niyati).
First created, are the basic instruments of will and knowledge, which direct the implementation of the
instruments and organs of perception and action. Then from this are created the instruments and organs of
perception and action, and then finally come the subtle and physical objects.
The antahkarana (instrument of understanding, sense of identity, and other mental operations), which
operates both in dreams and waking, consists of three parts:
Buddhi: the instrument of detachable, abstract reasoning that can see and understand objects and processes
being outside and different from oneself.
Ahamkara: sees everything only in relation to oneself. It assembles, understands, and believes in the limited,
powerless identity of oneself.
Manas: the basic thought process of the mind wherein thoughts come and go before the consciousness like a
movie. All of these thoughts consist of:
(1) buddhi understanding
(2) ahamkara understanding or
(3) memories of objects
These instruments of mental functioning then employ limited powers of knowledge and perception (jnana
indriyas) which operate both in dreams and waking:
Srotra: limited power of hearing.
Tvak: limited power of feeling by touch.
Chakshu: limited power of seeing.
Jihva: limited power of tasting.
Ghrana: limited power of smelling.
The instruments of mental functioning also employ powers of limited action (karma indriya-s) which operate
both in dreams and waking:
Vak: limited power of speech.
Pani: limited power of grasping and handling.
Pada: limited power of locomotion.
Payu: limited power of excretion.
Upastha: limited power of creation (procreation to be exact).
Here are the subtle elements (tanmatras) that make up subtle dream objects, that are perceived and acted
upon by the jnana indriyas and karma indriya.
Shabda tanmatra: sound
sparsha tanmatra: touch
rupa tanmatra: color
rasa tanmatra: taste
gandha tanmatra: smell

Gross physical plane & waking state

Here are basic physical elements that make up physical objects (bhutas) that are perceived by the powers of
perception (jnana indriyas), and acted upon by the powers of actions (karma indriyas). This includes not only
outside objects like cars and rocks, but also our bodies and the organs of perception and action by which we
interact with those physical objects.
Akasha: space
vayu: air or gas
agni: fire
ap: liquids
prithivi: solids
This is the evolution of the world of things i.e. Artha prapancha. There is a similar evolution of the world of
sounds called shabda prapancha. Here too the line of evolution is from the subtle to the gross.
Corresponding to the five categories of pure creation, there are five stages of the emanation of sound. The
first is para, which is supreme and subtle. The second is pashyanti, which is less subtle but still
undifferentiated. The third is madhyama, which is grosser and differentiated, but not yet articulate. Articulate
sound is called vaikhari, which is of two forms, subtle and gross. It is from vaikhari that all letters or varnas
and syllables or padas and sentences or vakyas are manifested.
Para, which resides in the shiva tatva, represents the first movement of sabda. This is also called nada tatva.
Pashyanti stands for shakti tatva and is also called bindu tatva. These are the compliments of the ultimate
potency of creation. From these arise what is known as the tribindu, which is the root of all mantras. The
subtle and esoteric aspect of kamakala has to be learnt from a competent desika.
Thus the duality that manifests in every jiva is lost when the supreme mother reveals herself within luminous
effulgence and everything in the world and within each one of us, becomes the mantra shakti. The breathing
in and out becomes cancels out and the mind and senses turn inward. One loses body consciousness and
the feeling of duality ceases and brings about the awareness of equality. Then one experiences complete
identification with the shiva shakti one parabrahman as mahatripurasundari.
"tat tvam asi" is the spontaneous utterance of liberation, we are that as we play on the lap of the divine
mother, basking in the luminosity of her love. This is the culmination of all spiritual practices. Her presence
lightens our life and nectarine bliss fills every pore of our heart.
Nilasaraswati sameta sri ucchishta mahaganapataye namah
Shivoham

There is ample pramana on whether a dvija can follow vamachara (any of its five sub-streams). From those pramana-s, it can be safely concluded,
brahmana cannot follow vamachara period.
Brihad badabanala tantra

Brahmana kshatriya vaishya dakshamargadhikarinah

dwijavarjastrayo varna vamakauladhikarinah |
dakshamargaparibhrashto brahmano vamamargagah
ihaiva siddhimapnoti napavargam kadachana ||
vedamargaparityagi kaivalyecchavivarjitah
siddhikami vamamargi brahmano naraki bhavet ||
Daksha marga is prescribed for the sadhakas belonging to first three varnas. However, except those belonging to the first varna, rest are qualified
for vama and kaula margas. A brahmana can achieve lower siddhis but not kaivalya through vama marga. If he does practice vamachara, he
attains the hell.
Tantraraja tantra
Vedamargam parityajya tantramargaikatatparah
brahmana nirayam bhuktva bhaveyurbrahmarakshasah |
vaidikam tantrikam margam dakshinam brahmanashcharan
iha siddhishwaro bhutva dehante.amr^itamashnute ||
One who gives up the veda and adopts vama marga, such a brahmana attains the state of a brahma rakshasa after death. Only by following
daksha marga, approved by the sruti and smrti [pramana is devi bhagavata purana which is a mahapurana], one attains siddhi here and
thereafter.
Rudrayamala
Brahmananam vamamargo narakayaiva jayate
Kalika purana
Yo dakshinyam vina vipro mahamayam prapujayet
sa papah swargalokattu chyuto bhavati rogadhr^ik |
A vipra who worships mahamaya in ways other than dakshinachara, loses the heaven and attains disease.
Meru tantra
Shudradi yavanantanam siddhirvamapathe sthita |
For those belonging to the fourth varna or lower, the prescribed path is vamachara. This is indicative of prashastya of daksha marga even for the
second and third varnas.
Mahakala samhita
Vamadina yajecchudro dakshinena dwijatayah |
One belonging to the fourth varna should worship according to the leftist path whereas the rest (dwijatayah- the first three varnas) should adopt
the dakshina marga.
Siddhantasara
Brahmanyahanihetutvat kulacharam na cha.acharet |
As brahmanya is lost by following kulachara, one should not tread this path.

Kaulikagama
Brahmaviryam tatha kshetram samskara brahmasambhavah
brahmanacharanadbrahmavidyabhih brahmano bhavet |
lakshanatrayahino yastantramargena siddhyati
chaturlakshanahinanam margah syuh kaulikadayah ||
Birth, samskara, behavior and brahma vidya are the lakshanas for a brahmana. One who is devoid of these should adopt paths like kaula etc.
TanrantareVamamargastitho narah tulasim na kvachit spr^ishet
na spr^ishedvaishnavam vipram pranamenna cha vaidikam |
A vama margi should never touch tulasi, a vaishnava or respect a vaidika (in essence the veda). These rules, especially the last one, are not
acceptable to a vaidika.
It is a misconception that vamachara is not practiced among the vaishnavas. The ten chief classes of vaishanavas are: vaikhanasa,
radhavallabha, gaukulesha, vrindavani, pancharatra, viravaishnava, ramanandi, harivyasi, nimbarka and bhagavata. Among these, gaukulesha,
vrindavani etc are leftist paths. Shiavas again are classified into sapta pashupatas shikhi, mundi, jati, dwidandi, tridandi, ekadandi and
virashaiva, where some are leftist paths.
Rudrayamala
Upasana tridha prokta shreshtha tatra tu sattviki
tasyam cha manasau pujajapau mukhyatamau smr^itau |
rajaso dakshino margah pratimayam prapujanam
bahyopacharaih pushpadyaih tadadyanam vishishyate |
tamasopasanam proktam pithadau balidanatah
vamamargena tacchadyam varnam hitva prashasyate ||
There are three kinds of upasana: satviki, rajasi and tamasi. Satviki is samayachara involving pure mental worship. Rajasi is dakshinachara
involving worship in a external yantra or vigraha according to rites prescribed by sruti, smrti and agama. Tamasi is vamachara involving rites like
bali etc, which is not prescribed for the first varna.
The pramanas quoted are from tantras which treat all paths equally, or lean more towards the leftist paths. In all the above cases, whenever we
say vamachara, it should be read to include vamadi panchaka: the five leftist paths: kaula, vama, china, siddhanta and shabara. So, it becomes
clear that a dwija has to stick to dakshinachara and gradually progress towards samayachara. All the other pramanas praising vamachara are
restricted to those tantras alone and should be applied only within the context of those tantras and for those who are qualified for such practices.
Again as sri bhaskararaya quotes:
Kaulikam kurvatah karma vaidikam na.abhidhiyate |
virodhadubhayam nashtam tasmadekapatha charet ||
Follow one path either vaidika/dakshinachara or kaulika. Trying to mix both results in no good and negate each other.
Vamamargi yada daksham pravishettatsuraih sa tu
vighnyate pidyate chapi na siddhimadhigacchati |
dakshamargi yada vamam pravishettatsurastatha

lokadwayaddhapayanti tam grasanti cha vaminam |

tasmat swakulamargam tu j~natva kuryadupasanam ||
Vamachari entering the path of dakshinachara or vice versa result in siddhi hani. Hence, according to the instructions of a sadguru who is wellversed in the shastras and whose experience of the truth is in line with the scriptures (this way we know one is not hallucinating), the qualifications
of a shishya are assessed and he is led in the right path.
Shrimatastripurarisundari shive mam pahi minambike

Kadi - hadi - sadi

[query] please enlighten about differences between kadi, hadi and sadi vidyas?
In essence, there is no difference between kadi, hadi or sadi as all three refer to the same brahma vastu called sri lalita.
1. Kadi was taught by sri manmatha [sadashiva narayana hayagriva agastya - shankara bhagavatpada etc are the gurus], hadi by bhagavati
lopamudra [parameshwara parashakti lopamudra kalatapanandanatha etc. Are the gurus] and sadi by sri krodha bhattaraka durvasa
deshikendra [mahadeva rudra durvasa dharmacharya etc are the gurus].
2. Kadi invokes kameshwaramka sthita kameshwari, hadi invokes kameshwari vibhushitanko kameshwarah and sadi invokes kamakameshwarau
shivau. In fact, shadanvaya shambhavi krama described by acharya in saundaryalahari is chiefly for sadi upasakas. The subtle differences in
these three visualizations should be learnt directly from one's sadguru.
3. Kadi and hadi panchadashi-s transform to laghu shodashi and maha/para/guhya shodashi-s (in case of kadi) and shuddha/hamsa shodashis (in
case of hadi). There is no shodashi in sadi karma but the transformation is into saptadashi. Further, in the final step of karma system, all the three
paths merge into ashtadashakshari.
4. Anga devatas differ for the three vidyas.
5. The guru mandalas are different for the three. Oghatraya for kadi and hadi are well-known. Apart from its own oghatraya, paraugha,
paraparaugha, aparaugha are worshipped in sadi krama.
The best example of peaceful co-existence of hadi and kadi seems to be the household of sri agastya and bhagavati lopamudramba, who
respectively were worshippers of kadi and hadi vidyas. Sri kamakshi mahabhattarika is the confluence of the three chief vidyas as she was
worshipped by agastya, lopamudra and durvasa.
Gurumurte tvam namami kamakshi

Sabija srichakra
Query] i have asked many how to write bijaksharas in shreechakram but have not got a satisfactory answer. Please advice.
Shrimatre namah
We need to first examine the need for writing bijakshara-s in a srichakra. Some do not approve of writing bija-s in srichakra at all as the kalpasutra
does not prescribe the same. However, going by the rule anuktamanyato grahyam etc., one should grasp what is unsaid in kalpasutra, from
elsewhere. Moreover, kalpasutra is mukhya pramana only to dakshinatya-s of some sampradaya-s and is not acceptable to many lineages who
accept only 64 tantras as pramana. It is said in rudrayamala:
Bijaksharayutam chakram yatinamuttamottamam |
bijaksharavihinam tug r^ihasthanam prashasyate ||
Srichakra with bijakshara-s inscribed, is prescribed only for yati-s or sanyasin-s. For others, (the term grhastha here should be interpreted to
collectively represent the first three asrama-s), yantra without bijakshara-s is prescribed. Of course, these considerations are for those who use
srichakra for nitya puja and upasana and not for those who perceive srichakra as a `new age tool' used as a `desktop decorative' or a `healing
crystal' or an `energized vastu correction object'!
However, it is also said:
Bijam vina cha nirjivam bhavatyeva na samshayah |
Without correctly inscribing the appropriate bija-s, the srichakra is said to be lifeless.
Great upasakas like brahmasri tadepalli raghava narayana shastrigal and sri tettiyur subrahmanya shastrigal have advised their disciples not to
have a sabija yantra at home for worship as such a yantra is extremely powerful to handle. First of all, it is pure nonsense as to how people sell
`energized' yantras these days as the moment correct geometry of srichakra is achieved, the presence of devi occurs without the requirement for
any additional samskara-s [nityam sannihita devi]. The above dosha of lifelessness due to lack of inscribed bijakshara-s is overcome by
performing a pranapratishtha [in case of puja yantras] every day during puja. The ritual of avahana done every day is just a mere formality. The
inscription of bija-s is however considered necessary for pratishtha or sthira yantras. However, when instructed by sadguru or sampradaya, sabija
srichakra can be used by an uttamadhikari during mahayaga krama [ashtashtaka or saubhagya kalpadruma paddhati-s]. The instructions for
inscribing the bija-s can be obtained from 36th chapter of rudrayamala and from tantraraja:
Kamalam parilupya madhyamanyat
sarvashamidiyutam sabindunadam |
nigamadi namo.antare virajat
bhuvi devi hr^idayapratishthametat || etc.

Srividya rajagopala
Shrimatre namah
This is the dhyana of bhagavan sri krishna in the form of gopala sundari or shrividya rajagopala, where sri lalita and sri rajagopala are worshipped
as one with a mantra that is a combination of srividya and rajagopala ashtadashakshari.

There are two approaches to the worship of this mantra, one taught by hiranyagarbha to dakshinacharins and the other taught by bhagavan
anandabhairava to the vamacharins. The rishi, chandas, dhyana, avarana etc vary in these two systems.
In the case of dakshinachara again, there are two forms of this vidya, one called gopalasundari or madanagopalasundari and the other called
shrividya rajagopala or madana gopala krshna. Both these are combinations of shrividya and rajagopala mantras. Though these two terms are
used inter-changeably, they are different. This is pointed out clearly in gopalasundari kalpa of rudrayamala.
In the case of gopala sundari, the primary mantra is shrividya, and rajagopala mantra is complimentary to the former. The visualization of lord in
this form is half-male and half-female [somewhat like ardhanarishwara]:
i meditate on that splendid brahman in the form of sri krishna, who is half red [aruna varna or the color of the rising sun - this is the left half
signifying sri lalitambika] and half blue [of the color of a dark cloud - this is the right half signifying sri gopala], decorated on the forehead by a
peacock feather, who is both male and female in form [ardhanarishwara swarupa], and who sports in his hands: flute, pasha, ankusha, sugarcane
bow and arrow of flowers. Thus, an identity between sridevi and srihari is indicated.
In the case of shrividya rajagopala or madana gopala, the lord sports the ayudhas of sridevi, has a red complexion like her but is male in form.
Here is the perfect materialization of the phrase pumrupa krshnavigraha when in male form, i am sri krishna. Also, rajagopala mantra is
primary in this case.
Kodandamaikshavamakhandamishum cha paushpam
chakrabjapashasrnikanchanavamshanalam |
vibhranamashtavidhabahubhirarkavarnam
dhyayeddharim madanagopavilasavesham || [sri krishna karnamritam]
i meditate on sri madana gopala, who is of the complexion of the rising sun, and who sports in his eight hands: sugarcane bow, arrow of flowers,
sudarshana chakra, gada, lotus flower, pasha, ankusha and golden flute.
The same is described below:
Prasunabanamkitamikshuchapam
chakrabjapashankushapanchanalam |
dharam karairashtabhirarkavarnam
shrikrshnarupam pranamami ramam || [sri rama karnamritam]
Sri bhagavannama bodhendra, author of sri rama karnamrutam, thinks so: 'sri krishna, in his form as srividya rajagopala, is sporting bow [of
sugarcane] and arrow [of flowers]. Now, are not these trademarks of sri ramachandra? So, this form of lord indeed is non-different from my
beloved sri ramabhadra! Hence, i offer my namaskramas to sri raghunayaka, who appears in the form of madana gopala'.
Technically however, it should be noted that there is a separate form of the lord known as shrividya rama:
i visualize on a throne of the form of srichakra, with garuda forming the bindu, seated is sri rama, sporting jnana mudra in his right hand. He
embraces with his left hand, bhagavati sita seated on his left lap, who in turn is sporting a lotus in her lotus hands. By meditating on this form of
rama and by reciting his mantra, one can realize the unity between the self and the brahman.
From the shrividya perspective, these three mantras, along with maha vaikuntheshwara [mahagopala pradhana] and shrichakradhara [shrividya
pradhana], form the vaishnava angas of para shodashi.
Krshnam bhaje shyamalam

Oghatraya and ardhanarishwara

Shrimatre namah
[query] in guru mandala pooja, one of the maanavaugha gurus is leelaamba. But i have noticed in sringeri saampradaaya leelaanandanadha is
used. Which is the correct version? And why do shreevidyopasakas do not give prominence to ardhanareeshwara devatha?
Shrimatre namah
This difference seems to be a typical patha bheda issue. My guru gave us the patha liilanandanatha and not liilamba. But i see several upasakas,
like those belonging to guhananda mandali etc. Using the patha, liilamba. I do not have access to any of my books currently, but this is what i can
think of from the top of my head.
The patha of a passage from rudrayamala that i use says:
Liilanandam namasyami swatmanandam maheshwari |
The same, in sri kamakoti shastriji's version reads:
Liilambam pranamasyami swatmanandam sureshwari |
A selection from tantraraja tantra that i remember reads:
Madano bhuvano liilah swatmanandastathaiva cha |
The same passage when read by goda shastriji was:
Madano bhuvano liila swatmanandastathaiva cha |
However, a clear reading can be seen in para tantra, in the chapter describing oghatraya:
Vimalanandanathashcha madananandanathakah |
bhuvananandanathahshcha liilanandastatah param ||
Also the guhya sahasranama of sri ucchishta mahaganapati, which deals with various aspects of sividya, reads:
Liilanandarchito liilalabdhasarvadhika etc.
Umanandanatha [in nityotsava] and jnanarnava also use the reading liilanandanatha.
Ardhanarishwara swarupa is celebrated by one and all, but with different names. The sruti says: stripumsatmika kamakalaiva pratipadita.
Punyanandanatha, in the celebrated kamakalavilasa says, shivashaktimithunapindah kabaliikrtabhuvamandalo jayati. Shaivas call this
stripummithuna as ardhanarishwara, vaishnavas as lakshminarayana or ramardhahari, ganapatyas as mahaganapati, lakshmiganapati or sri
ucchishta mahaganapati; advaitins use terms such as shabala etc Mayadarshe nirvisheshavalokajjato bimbah pratyayo chidvishesha |
asicchaktih purushastriswarupa vidyabaddha chediyam jaivyameti ||
The tantras describe guni shaktis :

Shambhavi shuklarupa cha shrividya raktarupaga |

shyamala shyamarupa cha ta eta gunishaktayah ||
[guni shakti = guna vishishta shakti shakaparthiva karmadharaya]
These shaktis represent ardhanarishwara swarupa and are reflections in the mirror of gunatraya [gunamaya prakr^itidarpanantarvikshyamana
pratibimbabhutatvat gunishaktayah]. When the reflection is in a mirror whose prakrti is predominantly sattva, the mithuna shakti is called shrividya,
shyama or kalika in the case of rajo prakrti of the mirror and shambhavi in the case of tamo prakrti. More on this can be understood by studying
shakti mimamsa sutras and the associated bhashya. The important aspect to note in the case of ardhanarishwara, in my opinion, would be by
describing chicchakti as shivabhinnardhasharirashalini rather than simply as shivardhashariravati. Then, we can easily conclude nirupadhika
brahma to be swabhinnachitprakasham brahmeti.

Anga navaka
[query] you mention that there are only three sampradayas in sreevidya and there is no dattatreya sampradaya. None of the tantras mention the
three sampradayas. Can you please quote the source. Please clarify is kali purvanga or uttaranga of sreevidya?
Taptahatakakeshantarjwalatpavakalochana |
vajradhikanakhasparsha divyasimha namo.astute ||
pantu vo narasimhasya nakhalangalakotayah |
hiranyakashiporvakshahkshetrasr^ikkardamarunah ||
Shrimatre namah
Shridakshinamurtiruvacha
iyam trikuta shrividya tripurayah abhiishtada |
kathita sarvamantranam samrajni jagadishvari || 27 ||
Dakshinamurti: "this is the great srividya of tripurasundari consisting of three kutas or groups of letters, that grants all desires. She [srividya or
sridevi due to abheda between vidya and devata] is described as the queen of all mantras [rajarajeshwari] and as the mistress of the world
[jagadishwari or tribhuvaneshwari again these are equally applicable to vidya and devata. The world and its inhabitants are represented by the
three bhuvaneshwari bijas, described as kuta makutas, signifying the three activities of srshti - sthiti - laya [tirodhana+anugraha] and the three
states of jagr^it - swapna - sushupti. The nada emanating from these three mukutas attain laya in the nada of the turiya kuta, represented by tribhuvaneshwari]. As a side note, statements glorifying srividya should not always be treated as arthavada. Vidhi and nishedha are applicable to
tantras as well, as tantras find their origin in dharma shastras.
Anandabhairavopasya dakshinamurtisevita |
iyameva mahavidya hayagrivasamarchita || [para tantra chaturtha patala - 28]
Kalii upasana as a part of shrividya is again based on sampradaya. For most dakshinatya sampradayas, kali is not a direct anga vidya but one of
the mantras belonging to uttaramnaya. However, auttareya sampradayas user kalii as one of the chief uttarangas of shrividya, the pramana being
bhairavi tantra and tripurasundari tantra. In this anganavaka scheme, guru chatushtaya, ganapati and bala are purvangas and annapurna,
bhuvaneshwari, dakshina kalii [durvasa pranita], rajashyamala, mahavarahi and devi hr^idaya vidya are the uttarangas. Some think that this
scheme applies to sadi vidya but that does not seem to be true due to two reasons. One, due to lack of pramana in these tantras which do not
even mention sadi vidya. Two, the uddhara is of kadi vidya in these tantras.
Madyah shaktih shivo mamsam tadbhokta bhairavah swayam |
mudra cha shambhavi sakshat maithunam shivachintanam ||

Kula
Gurumurte tvam namami kamakshi
Rahasya sahasranama states clearly: kaulini kulayogini. The words kula and kaula are not restricted to mean a set of acharas, considered
avaidika by great men. That is just one interpretation, probably more popular as that fits the fancy of many who are shishnodaraparayana-s.
Bhagavan bhairava interprets the word kula and defines kulachara in the below fashion in mahanirvana tantra:
Jivah prakr^ititattvam cha dikkalakashameva cha |
kshityaptejo vayavashacha kulamityabhidhiyate ||
Jiva, prakr^iti, time, space and the five elements are referred to as kula.
Brahmabuddhya nirvikalpameteshvacharanam cha yat |
kulacharah sa evadye dharmakamarthamokshadah ||
One who realizes the brahman in these five, giving up the bheda buddhi of seeing these separately as jiva, prakr^iti etc., such a jnani attains
purushartha chatushtaya and such an achara is called kulachara. The six kamalas, starting from muladhara till ajna, which have the above as the
adhishthana tattvas are called kula kamalas in the microcosm. Sri purnananda paramahamsa refers to shri parameshwara as kulakamalavilasi.
Like the sun, with his rays, causes the lotus to bloom, paramashiva, in the form of shriguru residing in the sahasrara, through his jnanaprakasha,
kindles brahma buddhi in tattvas like jiva, vayu etc.

Kamalamba Navavarana kritis-Part two.

Continued from page one.

While discussing the Navavarana kritis, I propose to restrict myself to those portions of the kritis that have
reference to Sri Vidya and Sri Chakra. Most of such references occur in the Charanam segment of the kritis.

1.

First Avarana Bhupura

Kamalaambaa Samrakshatu Maam- Ananda Bhairavi - Misra Chapu (Triputa)

[The avarana is Bhoopuraand the Chakra is Trailokyamohana chakra enchants the three worlds. The yogini is
Prakata;Mudra is Sarva Somkshibhni;Siddhi is Anima; and the mental state of the aspirant is Jagrata.The presiding
deity is Tripura . Her Vidya is Am Am Sauh.The gem is topaz. The time is 24 minutes and the Shaktis are 28 that include
the ten starting with Anima, the eight Matruka Devis starting with Brahmya and Maheshwari; and the ten Mudra
Shaktis. 28 is the dominant number. This avarana corresponds to the feet of the mother goddess.]

Tripuraadi Chakreshvari Animaadi Siddhishvari Nitya Kaameshvari

Kshitipura Trailokyamohana Chakra Vartini Prakata Yogini
Suraripu Mahishaasuraadi Marddini Nigama Puraanaadi Samvedini
Tripureshi Guruguha Janani Tripura Bhanjana Ranjani
Madhuripu Sahodari Talodari Tripura Sundari Maheshvari

The Bhupura Chakra , the earth stretch , includes within its spacial scope the entire design even as the earth
supports the entire existence .As he enters the first Avarana, Dikshitar submits his salutations to the Mother
Goddess Kamalamba and prays for protection and guidance. He address her as the magnificent transcendental
beauty without a parallel in three worlds (Tripura Sundari); the conqueror of three levels of existence; the
presiding deity of Tripura and other chakras (Tripuraadi Chakreshvari); Kameshwari; the empress of

Trailokyamohana Chakra (Trailokyamohana Chakravartini) of Bhupura (Kshithipura). She is the presiding deity
of the chakra (Tripureshi); mother of Guruguha; and the enchanting beauty of all the tree worlds (tripura
Sundari).

He also submits his salutations to Anima and other Siddhi deities of the Avarana(Animaadi Siddhishvari); the
Nitya Devis; the Yogini of the Avarana (PrakataYogini); and Maheshwari and other Matruka Devis.

Thus, along with the prayers, he brings out the salient features of the Bhupura Chakra, the Earth principle. The
name of Raga Anandabhiravi is suggested by the phrase Kamalaja-ananda Bodhasukhi. His signature also
appears in Guruguha janani.

2, Second Avarana Shodasha dala padma

Kamalambaam Bhajare Re Maanasa Kalyani- Adi.

[The avarana is Shodasa Dala, and the Chakra is Sarva asha paripuraka chakra fulfiller all desires and expectations;
the yogini is Gupta Yogini; Mudra is Sarva Vidravini; the Siddhi is Laghima; and the mental state is Swapna, The
presiding deity is Tripureshi. Her vidya is Aim Klim Sauh. The gem is sapphire. The time is three hours. The Shaktis are
the sixteen starting with Kamakarshini.16 is the dominant number. This avarana corresponds to the Savdhistana chakra
of the mother goddess.]

Sarvaashaa Paripuraka Chakra Svaamineem Parama Shiva Kaamineem

Durvaasaarcchita Gupta Yogineem Dukha Dhvamsineem Hamsineem
Nirvaana Nija Sukha Pradaayineem Nityakalyaaneem Kaatyaayaneem
Sharvaaneem Madhupa Vijaya Venim Sad Guruguha Jananeem Niranjaneem
Garvita Bhandaasura Bhanjaneem Kaamaa Karshanyaadi Ranjaneem
Nirvishesha Chaitanya Roopineem Urvee Tatvaadi Svaroopineem

The sixteen petalled lotus(shodasha dala padma) called sarva asha paripuraka chakra , the fulfiller of all
desires , is the second enclosure. In the sixteen

petals , the sixteen vowels of Sanskrit alphabet is

inscribed.These symbolize sixteen kalas or aspects or phases.This Avarana is about the self protection of the
devotee (atma raksha); and liberation from discontent by seeking identity with Shiva the ever complete and
content.

He calls upon his mind to meditate on Kamalamba and cast aside attachments to illusory existence (kalpita
maaya).The craving Asha springs from discontent; and is quenched when discontent is eliminated. That is
possible when devotee identifies himself with Shiva, ever complete and ever content.

He

worships

the

presiding

deity

of Sarvasaparipuraka

chakra, the

fulfiller

of

all

desires

and

expectations (Dukha Dhvamsineem);the beloved of Parama Shiva; the bestower of true and everlasting
bliss (Nirvaana

Nija

Sukha

Pradaayineem). She

is

the

manifestation

of

attribute_

less

supreme

spirit (Nirvishesha Chaitanya Roopineem).She is also the representation of the world and its principles (Urvee
Tatvaadi Svaroopineem).

When he calls her she who is worshipped by Durvasa (Durvaasaarcchita), he is referring to the Kaadi matha
tradition to which he belonged. The sage Durvasa is one of the gurus of the Kaadi matha.

Dikshitar also refers to the Gupta Yogini, the yogini of this avarana; the sixteen, Shakthis starting with
Kamakarshini (Kaamaa Karshanyaadi Ranjaneem). They are also called nithyas and named Kamakarshini
(fascinating the desires), Budhyakarshini (fascinating the intellect) etc. They relate to powers in the Five
Elements, the ten senses of perception or Indriyas (being further divided into five organs of action and five
sense

organs)

and

the

Mind.

The phrase Nija Sukha Pradaayineem Nityakalyaaneem refers to the sixteen Devis of this avarana, called Nitya
Kala or Nitya Devis.

Raga mudra is in the phrase Nityakalyaneem; and his signature is inGuruguha_jananeem.

3. Third Avarana Ashta dala padma

Shree Kamalaambikayaa Kataakshitoham -: Shankarabharanam-Rupaka

[The avarana is ashta dala; The Chakra is Sarvasamkshobana chakra agitates all. The Yogini is Guptatara; Mudra is
Sarvakarshini; the Siddhi is Mahima; and the mental state is Shushupti. The Presiding deity is Tripura Sundari. Her
vidya is Hrim Klim Sauh. The gem is cat's eye. The time is day and night. The Shaktis are the eight starting with Ananga
Kusuma. 8 is the diminant number. This avarana corresponds to the navel region of mother goddess.]

Ananga Kusumaadyashta Shaktyaakaarayaa

Arunavarna Samkshobhana Chakraakaarayaa
Anantakotyandanaayaka Shankara Naayikayaa
Ashta Vargaatmaka Gupta Tarayaa Varayaa
Anangaa Dyupaasitayaa Astadalaabjasthitayaa
Dhanur Baanadhara Karayaa Dayaa Sudhaa Saagarayaa

Eight petalled lotus (astha dala padma) called Sarva-samkhobhana Chakra theagitator of all, is the third
avarana.Each petal has a consonant inscribed within it that begins with 'Ka' The petals represent eight
divinities associated with erotic urges , independent of physical body(ananga).

The Avarana is about overcoming agitations (Samshkoba) and the formless erotic urges (ananga)that arise in
mind .These refer to mental pleasures and agitations related to the modalities of mind such as rejection
(repulsion or withdrawal), acceptance (attention or attachment) and indifference (detachment).

The eight petals of the Avarana Asta dala represent eight divinities associated with such erotic principles. They
are named Ananga Kusuma, Ananga mekhala, Ananga madana and so on. Dikshitar refers to them as Ananga
Kusumaadyashta Shaktyaakaarayaa.

Dikshitar

obviously

succeeded

in

gaining

freedom

from

mental

agitations

and

urges.

Dikshitar is thrilled with divine ecstasy; I am blessed by the grace of mother Kamalamba (Shree
Kamalaambikayaa Kataakshitoham); and I have realized that Absolute Brahman (Sacchidaananda Paripurna
Brahmaasmi).

He describes the Devi as the one seated on the red colored (Aruna Varna)Samkshobhana Chakra, amidst its
eight petals (Anangaa Dyupaasitayaa Astadalaabjasthitayaa) having names starting with Ananga (Ananga
Kusumaadyashta).In the eight petals of the lotus, eight consonants such as ka, cha, ta and so on are
inscribed (Ashta Vargaatmaka).She holds in her hands the bow and arrows (Dhanur Baanadhara Karayaa). She
is the ocean of mercy (Dayaa Sudhaa Saagarayaa).

Ananga has also a reference also to the cult of Cupid or Eros (Manmatha or Kamaraja) and its deities that have
merged into the tradition of Sri Vidya. Dikshitar is referring to the school propagated by Kamaraja, the
Kamaraja vidya or Kadi matha; and continued by the sage Agasthaya. Dikshitar belonged to this school.

He mentions the yogini of the Avarana, Gupta Tarayaa (Gupta Tarayaa Varayaa).

Raga mudra is hinted in Shankara Naayikayaa, the beloved of Shankara. His signature appears in the
phrase Guruguhatatraipadayaa.

4. Fourth Avarana chaturdasha trikona

Kamalaambikaayai Kanakamshukaayai-Kambhoji -Khanda Ata

[The Avarana is chaturdasha trikona, a figure made of 14 triangles; the Chakra is Sarvasoubhagya dayaka chakra,
grants excellence. The Yogini is Sampradaya Yogini; the Mudra is Sarva Shankari; the Siddhi is Ishitva. The mental
state is Iswara Vichara. The presiding deity is Tripura Vasini. Her vidya is is Haim Hklim Hsauh. The gem is coral. The
time is day and night . The Shaktis are the fourteen starting withSamkshobhini.14 is the dominant number. This avarana
corresponds to the heart of mother goddess.]
Sakala Saubhaagya Daayakaambhoja Charanaayai
Samkshobhinyaadi Shaktiyuta Chaturthyaavaranaayai
Prakata Chaturddasha Bhuvana Bharanaayai
Prabala Guruguha Sampradaayaantah Karanaayai
Akalanka Rupa Varnaayai Aparnaayai Suparnaayai

Sukara Dhruta Chaapa Baanaayai Shobhanakara Manukonaayai

Sakunkumaadi Lepanaayai Charaacharaadi Kalpanaayai
Chikura Vijita Neelaghanaayai Chidaananda Purna Ghanaayai

Dikshitar worships the presiding deity of the fourth Avarana, playing on the words occurring in the title of the
Chakra: sarva sowbhagya dayaka, the bestower of all prosperity and addresses the Mother as Sakala
Saubhaagya Daayakaambhoja Charanaayai, the goddess with lotus like feet and benefactor of all good things
in life. He inserted the Raga mudra, in the phrase kaambhoja Charanaayai,worshipping her lotus feet.

The fourteen triangles are inscribed with fourteen consonants beginning with ka and ending with dha.The
fourteen corners represent fourteen powers of mother goddess. The fourteen triangles(chaturdasha trikona) of
the chakra represent fourteen channels of the vital forces in the body(naadis), corresponding with the fourteen
divinities Sarva Samkshobhini and thirteen others. Dikshitar refers to these fourteen forces of the fourth
avarana

as Samkshobhinyaadi

Shaktiyuta

Chaturthyaavaranaayai.

He adulates the Devi as manifest ruler (prakata bharanayai) of the fourteen worlds(chaturdasha buvana).The
fourteen worlds also represent the faculties : the Mind(Manas), the Intellect (Buddhi), Being (Chitta), the
Conscious

Ego (Ahamkara) and

the

ten Indriyas.

This avarana corresponds to the heart of the mother goddess. Dikshitar addresses Kamalamba as the
heart(antah karanaayai) of the great tradition (prabala sampradaya) to which Dikshitar(Guruguha) belongs. He
is referring to the tradition of the Kaadi matha of the Dakshinamurthy School of Sri Vidya.

He describes the mother as seated in fourteen triangle (manu konayai), smeared with vermilion (sa
kunkumayai), holding in her beautiful hands (su_kara) arrows(baana chaapa). She is the creator of moveable
and immoveable existence(Charaacharaadi Kalpanaayai). She is the embodiment of consciousness(chit) and
bliss(ananda).

The symbolism of this avarana is the one cherished by all, sarva sowbhagya dayaka; for it suggests the
identity of Shiva with his Shakthis (Chidananda purna ghanaayai).

5. Fifth Avarana Bahir dasara

Shree Kamalaambikaayaah Param Nahire- Bhairavi -Misra Jhampa

[The Avarana is Bahirdasara; the Chakra is Sarvarthasadhakachakra, the accomplisher of all. The Yogini is Kulotteerna
yogini; the Mudra is Sarvonmadini; and the Siddhi is Vashitva. The mental state is Guroopa Sadanam. The presiding
deity is Tripura Shri. Her vidya is is Haim Hklim Hsauh. The gem is pearl. The time is lunar day. The Shaktis are the ten
starting with Sarva Siddhi Prada.10 is the dominant number. This avarana corresponds to the neck of mother goddess.]

Shreekantha Vishnu Virinchaadi Janayitrayaah

Shivaatmaka Vishvakartryaah Kaarayitryaah
Shreekara Bahirdashaara Chakra Sthityaah
Sevita Bhairavi Bhaargavee Bhaaratyaah

Charanam:

Naadamaya Sukshmarupa Sarva Siddhipradaadi Dasha Shaktyaaraadhita Moorthe

Shrotraadi Dasha Karana-aatmaka Kula Kauli Kaadi Bahuvidhopaasita Keertthe
Abheda Nitya Shuddha Buddha Mukta Saccida Anandamaya Paramaadvaita Sphurtthe
Aadi Madhyaanta Rahitaaprameya Guruguha Modita Sarva Arttha Saadhaka Sphurtte
Mulaadi Navaadhaara Vyaavrtta Dashadhvani Bhedajhna Yogibrunda Samraksanyaa
Anaadi Maayaa Avidyaakaarya Kaarana Vinoda Karana Patutarakataaksa Viksanyaah.

This avarana which is in the form of a figure with ten corners is called Bahir dasara , the outer ten triangles;
and represents ten vital currents (pranas) responsible for the various functions of body and mind. They are
also the representations of ten incarnations of Vishnu meant to accomplish welfare of mankind. Hence the
chakra

is

called Sarvartha

Sadhaka, the

accomplisher

of

all

objects.

Dikshitar addresses the Devi as the auspicious one (Shreekara) seated on the Bahirdasara Chakra, served by
Bhairavi (Kaali), Bhargavee (Lakshmi) and Bharathi(Saraswathi). The term Bhairavi is also the Raga mudra,

here.

(Shreekara

Bahirdashaara

Chakra

Sthityaah

Sevita

Bhairavi

Bhaargavee

Bhaaratyaah)

The shakthis of the avarana are ten in number; and are named Sarva Siddhiprada, Sarva Sampathprada, and
Sarva Priyankari and so on. Dikshitar worships the ten manifestations of these shakthis (Sarva Siddhipradaadi
Dasha Shaktyaaraadhita Moorthe); and describes them as the subtle forms of sounds in the body(Naadamaya
Sukshmarupa).
The yoginis of the chakra are Kulotteerna yoginis and are also called Kuala yoginis.Dikshitar worships the
mother as being present in various forms(Bahuvidhopasthitha) such as the ten yoginis kula, Kaula and
others (Dasha

Karana-aatmaka

Kula

Kauli

Kaadi).

He describes the fifth avarana Sarvartha Sadhaka, the accomplisher of all objects, in highly lyrical terms. He
hails her as the ultimate good (Shiva) and the objective of the Tantra and Vedic rituals alike; and as the
supreme non-dual non-differentiated ever pure enlightened free self, consciousness and bliss. She is the
incomparable, nondual being, without an end or beginning. She is loved in devotion by Guruguha; and is
manifested in Sarvartha Sadhaka Chakra. She is the sublime inspiration. (Abheda Nitya Shuddha Buddha
Mukta Saccida Anandamaya Paramaadvaita Sphurtthe, Aadi Madhyaanta Rahitaaprameya Guruguha Modita
Sarva

Arttha

Saadhaka

Sphurtte).

She is also present as Naada, sound, in the nine vital centers such as Muladhara and other chakras. She
protects yogis; dispels delusion and ignorance. The nine chakras referred to are Muladhara, Svadhistana,
Manipura, anahata, Vishuddha and ajna; together with manasa chakra (mind centre) situated above ajna, soma
chakra (lunar centre) situated above manasa chakra; and Sahasra padma, symbolically, located above the
head. The Sahasra is the seat of consciousness (shiva).

6. Sixth Avarana Antar dasara

Kamalaambikaayaastava Bhaktoham- Punnaagavaraali -Thrisra Eka

[The Avarana is Antardasara; the Chakra is Sarvaraksakara chakra The gem is emerald. The time is Lunar Fortnight .
The Shaktis are the ten starting with Sarvagnya.10 is the dominant number. This avarana corresponds to the middle of
the eyebrows (bhrukuti) of the mother goddess.] protects all. The Yogini is Nigarbha Yogini; the Mudra is Sarva
mahankusha; and the Siddhi is Prakamya. The mental state is Upadesa. The presiding deity is Tripura Malini. Her vidya
is is Hrim Klim Blem.

Dasha-kala-atmaka Vahni Svaroopa Prakaasha-antar-dashaara

Sarva Rakshaakara Chakreshvaryaah
Tridasha-adi-nuta
Kachavarga Dvaya Maya Sarvajhnaadi
Dasha-shakti-sameta Malini Chakra-eshvaryaah
Tri-dashavim-shad-varna Garbhini Kundalinyaah
Dasha-mudraa Sama-araadhita Kaulinyaah
Dasharathaadinuta Guruguha Janaka Shiva Bodhinyaah
Dashakarana Vrutti Mareechi Nigarbha Yoginyaah Shree

The ten- sided figure (antar dasara) called Sarva raksha karaka ( one that protects all ) consisting ten triangles
is the sixth avarana. The ten triangles represent the powers of the mother goddess who presides over ten vital
fires (vanyaha).These represent

the ten

specific fires within the body; they

purgation(Rechak), digestion (Pachak), absorption (Shoshak), burning (Dahak), the

being the fire of

secretion

of

enzymes (Plavak), acidification (Ksharak), to take out or excrete (Uddharak), the fires of pessimism and
frustration (Kshobhak), the

fire

of

assimilation (Jrambhak)and

creating

luster (Mohak).

The significance of this avarana is explained as protection from all obstacles. The devotee distances himself
from all that hinders his spiritual progress; and he begins to develop the awareness he is Shiva (the
consciousness).

Dikshitar describes the antar dasara chakra as endowed with ten aspects and glowing like fire (Dasha-kalaatmaka Vahni SvaroopaPrakaasha-antar-dashaara).These ten vital firescorrespond to the ten divinities named
as Sarvajna, sarva shakthi prada, Sarvaishvarya prada and so on. These along with the presiding deity Tripura
Malini, reside in the ten-cornered-figure antar dasara (Sarvajhnaadi Dasha-shakti-sameta Malini Chakraeshvaryaah).

Tripura Malini

is the goddess of the Chakra Sarvarakshakara (Sarva Rakshaakara Chakreshvaryaah).

The ten triangles are inscribed with ten consonants beginning with letters of the Ka and Ca groups (Tridashaadi-nuta Kachavarga Dvaya Maya). They, again, represent the powers of the mother goddess who presides over
ten

vital

fires (vanyaha).

She is the goddess Kaulini, propitiated by ten Mudras .The mudras of the avarana are Mahakusha
Mudra (Dasha-mudraa SamaaraadhitaKaulinyaah).Dikshitar also mentions the yogini of the chakra : Nigarbha
yogini (Nigarbha

Yoginyaah).

Dikshitar describes the Sri Chakra as containing initself the fifty six alphabets and also being the very
representation

of

Kundalini(Tri-dashavim-shad-varna

Garbhini

Kundalinyaah).

Sri Chakra has several symbolizms. As per the Tantric idealogy the Sanskrit alphabet is regarded the vocal
epitome of the universe; and each letter is transformed into energy when introduced into the chakra. It acquires
the character of a seed_syllable , Bijakshara, representing a divine aspect or a retinue divinity. Here , the
Tantra texts explain that the consonants are basically inert and depend on vowels (just as Shiva depends on
Shakthi) to manifest in a meaningful form. It is only when the germinating power (bija) of the vowels is infused
with consonants, the latter gain meaning. That is the reasons the vowels are Bija aksharas. They transform
ordinary letters into mother like condition (matrika); that is, they impregnate ordinary letters with meaning and
power. The consonants inscribed into Sri Chakra derive power since they are now in union with Shakthi.
Further , in Tantra, the articulate sound is the basic structure overwhich all our thoughts, emotions, aspirations
and

pleasures

are

woven

as

fabrics.

As regards Kundalini , it is basically a terminology of the Yoga school. In Tantra the term has an extended
meaning.Tantra regards the creation as an expression of the universal energy (maha-kundalini); Its
representation in the individual is the kundalini. That Kundalini is the basis for all his intensions , cognitions
and actions.The awakening of Kundalini signals the spiritual progress. It is by means of its mediating
power(mantra shakthi) , the individual realizes the oneness of consciousnes-energy.
Dikshitar therefore says that the vowels and consonants inscribed into the Sri Chakra as representations of
energy

and

consciousness.

Diksitar hides the Raga mudra in a delightful flight of phrases(Ati-madhuratara-vaanyaah Sharvaanyaah

Kalyaanyah Ramaniya-punnaagavaraali Vijita Venyaah Shree)She whose braided hair excels the beauty of
lovely black bees swarming around the Punnaga tree.

The Charanam concludes with salutations to the Yogini of the chakra, the ten aspects of Nigarbha Yogini,
shining brightly like the rays of light (Dashakarana Vrutti Mareechi Nigarbha Yoginyaah Shree)

7. Seventh Avarana-Ashtara

Shree Kamalaambikaayaam Bhaktim Karomi- Sahana-Thrisra Triputa

[The avarana is asthakona; the Chakra is Sarvarogahara chakra cures all ills. the Yogini is Rahasya Yogini; The Mudra
is sarva khechari; and the Siddhi is Bhukthi. The mental state is Manana. The presiding deity is Tripura Siddha. Her
vidya is is Hrim Shrim Sauh. The gem is diamond (Vajra). The time is Lunar month. The Shaktis are the eight, starting
with Vashini. 8 is the dominant number. This avarana corresponds to the forehead (lalata) of the mother goddess.]

Raakaachandra Vadanaayaam Raajiva-nayanaayaam

Paakaarinuta Charanaayaam Aakaashaadi Kiranaayaam Hrimkaara
Vipina-harinyaam Hrimkaara-Susharirinyaam
Hrimkaara Taru Manjaryaam Hrimkaareshvaryaam Gauryaam

Sharira-traya Vilakshana Sukhatara Svaatmaanu Bhoginyaam

Virinci Harishaana Harihaya Vedita Rahasyayoginyaam
Paraadi Vaagdevataa-rupa-vashinyaadi Vibhaaginyaam
Charaatmaka Sarva-roga-hara Niraamaya Raaja-yoginyaam
Karadhruta Vinaa Vaadinyaam Kamalaanagara Vinodinyaam
Sura-nara-munijana-modinyaam
Guruguha-vara-prasaadinyaam

Eight_cornered figure(ashtara) called Sarva roga hara ( the removere of all deceases) is the seventh avarana.In
the eight triangles formed by this figure, eight divinities presiding over speech reside.They are known as deties
of self expression(Vak Devatha).These shaktis also rule overbasic urges and contradictions in life (dwandwa)
such as cold(water) and heat(fire); happiness(air) and sorrow( earth); as also the Desire(akasha-space) and

the

three

gunas

ofSattvas (consciousness), Rajas(ego)

and Tamas(mind).

The significance of this enclosure is its power to eradicate the most basic of diseases viz. involvement with
impure , fleeting existence laden with stress. The blessed state is attained when the distinctions between the
subject, the object and transactions between them are dissolved.

Hrim is the Bija_mantra (seed_syllable) of this chakra. In the context of Sri Vidya, hrim is a particularly sacred
syllable; it represents the mother goddess herself. Dikshitar worships the mother as the very embodiment of
hrim (Hrimkaara-Susharirinyaam Hrimkaara Taru Manjaryaam). She is Gauri; she is the presiding deity of hrim
(Hrimkaareshvaryaam Gauryaam).

Dikshitar refers to his tradition (Kadi matha) by invoking the name of one of its gurus Hayagreeva (Harihaya
Vedita). He also refers to the Yogini of the chakra Rahasya Yogini (Rahasyayoginyaam); and to the letters of the
Pa group inscribed in the eight triangles, representing eight Shakthis (Vasini and others) presiding over the
aspect of speech (Paraadi Vaagdevataa-rupa-vashinyaadi Vibhaaginyaam).
Dikshitar refers to the basic nature of the chakra Sarvarogahara chakra cures all ills and calls the mother the
Raja Yogini, who cures all kinds of illness (Charaatmaka Sarva-roga-hara Niraamaya Raaja-yoginyaam).

The Raga mudra is the phrase Harishaana; while the composers signature is inGuruguha-vara-prasaadinyaam.

8. Eight Avarana Trikona

Kamalaambike Avaava-Ghanta-Adi

[The Avarana is Trikona; the Chakra is Sarvasiddhiprada chakra, grants all attainments. the Yogini is Athi Rahasya
Yogini; the Mudra is Sarva Beeja; and the Siddhi is Iccha. The mental state is Nitidhyasana. The presiding deity is
Tripuraamba. Her vidya is is Hsraim Hsrklim Hsrsauh.. The gem is Gomaya .The time is a ritu- two months. The Shaktis
are the three: Kameshwari, Vajreshwari and Bhagamalini. (4+3=7) is the dominant number. This avarana corresponds
to

the

top

of

the

head

(masthka)

of

the

mother

Lokapaalini Kapaalini Shoolini Lokajanani Bhagamaalini Shakrudaa

Aalokaya Maam Sarva Siddhipradaayike Tripuraambike Baalaambike

goddess]

Charanam

Santapta Hema Sannibha Dehe Sadaa-akhandaika-rasa-pravaahe

Santa-apahara Trikona-gehe Sa-kaameshvari Shakti-samuhe
Santatam Mukti Ghantaamani Ghosaayamaana Kavaata-dvaare
Ananta Guruguha Vidite - Karaahnguli Nakhodaya Vishnu Dashaavataare Antahkaraneksu Kaarmuka - Shabdaadi Pancha Tanmaatra Vishikhaatyanta
Raagapaasha Dvesa-ankusha Dharakare Atirahasya Yoginipare

The primary triangle with its apex downward (East) and colored white(Sattva) sorrounding immediately around
the central point , Bindu , is the eigth avarana. It is called Sarva Siddhi prada chakra , the one that bestows all
accomplishment. This triangle does not intersect with other triangles; and stands independent.It is Kama Kala.
It is femine in its aspect; and represents three fundamental manifestations of the mother goddess: Kameshwari
(symbolizing moon - creation); Vajreshwari (symbolizing sun- preservation); and Bhagamalini (symbolizing fire
-dissolution).

The three angles of the triangle also represent three forms of speech : Pashyanthi,Madhyama and Vaikhari. The
triangle is therefore the speech aspect Vak Bhava.

It also represents the three powers of iccha (will) , jnana (knowledge) andkriya(activity).The three corners of the
triangle stand for three peaks(kuta) of the fifteen_lettered mantra; or as three dimensions of all existence. The
triangle

itself

is

regarded

the

abode

of

the

mother

goddess

(kama_kala).

Diksitar in divine ecstasy sings the glory of the Mother, the protector of worlds adorned with garland of skulls
and holding a trident. She is Bhagamalini, symbolizing fire representing Rudras power of dissolution. She is
also Tripurambika; the presiding deity of the avarana. She is Balamba. She is the ruler of the Sarvasiddhiprada
chakra (Lokapaalini Kapaalini Shoolini Lokajanani Bhagamaalini Shakrudaa Aalokaya Maam Sarva
Siddhipradaayike

Tripuraambike

Baalaambike).

She whose body is glowing like molten gold(Santapta Hema Sannibha Dehe); She who is the eternal
undifferentiated unique bliss(Sadaa-akhandaika-rasa-pravaahe ); She who resides in the enchanting Trikona
chakra(Santa-apahara Trikona-gehe ); and delighting in the company of Kameshwari (symbolizing moon
creation) and host of other friends ( Sa-kaameshvari Shakti-samuhe).

The eight cornered figure that surrounds the Trikona, suggests five basic elements of phenomenal existence
(tanmatras: earth, water, fire, air and space), symbolized by five arrows of flowers (pancha bana) which is also
the symbol of Kama; passion (raga) symbolized by the noose (pasha); aversion (dwesha) symbolized by the
goad (ankusha); and mind (manas) symbolized by sugarcane stalk (ikshu danda); all of which are held by the
deity,

in

the

company

of

the

yogini

of

the

avarana

,Athi

Rahasya

Yogini.

Dikshitar puts the entire thing, beautifully, in just two compact lines:

Antahkaraneksu

Kaarmuka

Shabdaadi

Pancha

Tanmaatra

Vishikhaatyanta

Raagapaasha Dvesa-ankusha Dharakare Atirahasya Yoginipare.

The Raga mudra is in Mukti Ghantaamani Ghosaayamaana; while the composers mudra is in Ananta
Guruguha

9. Ninth Avarana-Bindu

Kamalaambaa Jayati-Ahiri-Rupaka

Vidite.

[The avarana is the Bindu and the Chakra is Sarvanandamaya chakra, replete with bliss. The yogini is parathi para
Rahasya; the Mudra is sarva yoni; and the Siddhi is Prapthi. The mental state is Savikalpa Samadhi. The presiding
deity is her Transcendent Majesty Lalita Maheshvari Mahatripurasundari. Her vidya is Kamaraja vidya : ka e i la hrim ha
sa ka ha la hrim sa ka la hrim, plus a secret 16th syllable. The gem is ruby. The time is year. The Shakti is Maha Tripura
Sundari the personification of Brahman. This avarana corresponds to Brahma_randra on the top of the head of the
mother goddess.]
Pallavi

Shri Kamalaambaa Jayati Ambaa Shri Kamalaambaa Jayati Jagadaambaa

Shri Kamalaambaa Jayati Shringaara Rasa Kadambaa Madambaa
Shri Kamalaambaa Jayati Chidbimbaa Pratibimbendu Bimbaa
Shri Kamalaambaa Jayati Shreepura Bindu Madhyastha
Chintaamani Mandirastha Shivaakaara Manchasthita Shivakaameshaankasthaa

Anupallavi

Sukara-ananaadya-arccita Mahaa-tripura
Sundarim Raajaraajeshvareem
Shreekara Sarva-ananda-maya Chakra-vaasinim Suvaasinim Chintayeham
Divaakara Sheetakirana Paavakaadi Vikaasakarayaa
Bheekara Taapa-traya-adi Bhedana Dhurinatarayaa
Paakaripu Pramukhaadi Praarthita-Sukalebarayaa
Praakatya Paraaparayaa Paalitodayaakarayaa

Charanam

Shrimaatre Namaste Chinmaatre Sevita Ramaa Harisha Vidhaatre

Vaamaadi Shaktipujita Paradevataayaah Sakalam Jaatam
Kaamaadi Dvaadashabhir-upaasita Kaadi Haadi Saadi Mantra-rupinyaah
Premaaspada Shiva Guruguha Jananyaam Pritiyukta Macchittam Vilayatu
Brahmamaya Prakaashini Naamaroopa Vimarshini Kaamakalaa Pradarshini Saamarasya Nidarshini

The ninth enclosure is the the Bindu . It is called Sarvananda_maya chakra , the supremely blissfull one. It is
independent of the intersecting triangles.This, in a temple, would be the sanctum sanctorum, with all the other
circles

or

enclosures

representing

various

parts

of

the

temple

as

you

move

inwards.

It is this Bindu that is in reality the Sri Chakra; it represents the mother goddess Maha Tripura Sundari , Lalitha
or

Rajarajeshwari

hersef

and

everything

else

is

manifestation

of

her aspects.

The goddess is nothing other than the devotees own self. The self here refers to individual
conciousness(buddhi) which is beyond the body-mind complex. It is filled with all bliss(sarvananda maya). This
constant , abundant bliss is the epression of the union of Shiva( consciousness) and Shakthi (power of
deliberation

Vimarsha).

It

is

the

very

basis

of

existence.

The significance of this avarana is the complete harmony(samarasya) of principles of pure consciousness
(Shiva) and the principle of energy as deliberation(vimarsha shakthi).It signifies a state of nondualty, where all
tendencies of approach and withdrawal become nonexistent, dissolve in a state in which the devotee ultimately
rests.Bliss , in Tantra , is explained as resting in oneself(Svarupa pratishta).

Dikshitar bursts forth into a fountain of divine ecstasy and sings the glory and the celebration of the Supreme
Mother Goddess in highly lyrical and sublime poetry. The krithi is also rich in Sri Vidya lore.

He describes the Mother as the very personification of the Bindu, the pure consciousness at the centre of Sri
Chakra (Chidbimbaa Pratibimbendu Bimbaa); and as one who resides as the Bindu, in a mansion of ruby
(Chintaamani Mandirastha), at the heart of the Sri Chakra (Shreepura Bindu Madhyastha).Here the
expressionbimbendu, refers to the moon and the point. As per the Tantric ideology the mother goddess is the
moon; and the fifteen phases of the moon are her individualized aspects, kalas. She resides in the lunar orb.

The phrase Chintamani mandirasthitha carries with it an elaborate background.The Devis mansion is
visualized as situated in a great garden (mahodyana) rich with many species of trees such as Santana,
Kalpaka, Hari-chandana, Parijatha, Bilva etc. The garden is enclosed by four ramparts made of nine gems. The
central hall of her mansion (prasada) is made of coral (manikya mantapa). Inside this vast enclosure are three
tanks (vapika) of immortality (amrita), of biiss (ananda) and of deliberation (vimarsha).There is also a grove of
lotus flowers (padmatavi). Amidst all these is the magnificent mansion of the wish granting jewel

(Chintamani

mandira).

The

mother

goddess

resides

(sthitha) in

this

enchanting

mansion.

At the entrance of this mansion (Kavaata-dvaare), the bejeweled bells (Ghantaamani) constantly (Santatam)
ring

and

announce

loudly

the

message

of

salvation

(MuktiGhantaamani

Ghosaayamaana).

The line Shivaakaara Manchasthita Shivakaameshaankasthaa ordinarily means that the goddess is
sitting on the cot in embrace of shiva. But, in Sri Vidya, the imagery of the cot on which the mother
goddess rests has a symbolic significance. The Mother Goddess is imagined to be seated at the
Bindu (in her mansion) on a cot(mancha). The four corners of the Bhupura represent the four legs of
the cot. The four legs are the four principles of the phenomenal world: emanation (shristi Brahma);
preservation (sthithi Vishnu); dissolution (upasamhara Rudra); and withdrawal of the entire creation
into a very subtle form (Ishvara).The plank (phalakha), which rests on the four legs of the cot is Shiva;
he represents the principle of reception, retention of the withdrawn phenomena. Such dichotomy of
existence is preserved (anugraha) until the time for re-emanation arrives. This principle is Sadashiva
tattva (the ever auspicious but inert principle of pure consciousness ) ; corpse-like , hence also
called Sadashiva-preta . The Mother Goddess rests on this plank, the principle, of Shiva.The Mother
Lalitha is surrounded by nine guardian spirits (nava-shakthi ) : vibhuthi (splendor),unnathi
(upliftment) , Kaanthi (lustre) , hrsti (satisfaction ), kirti (celebrety) , shanthi ( courtesy ) , vyushti
( prosperity ) ,utkrshta (exellence ) and riddhi (supremecy or accomplishment ).
In Tantra, the female is the predominant aspect and the male is subordinate to her. The plank of the
cot is male; and the female rests on that. The cot is inert, and the Devi is dynamic. Yet, the male
provides the female a field to function; and the two cannot be separated. Sri Chakra demonstrates
this principle.
It is explained further, Shiva and Shakthi should not be viewed as mere male or female principles. They are
indeed neither male nor female; nor even neuter. They represent the unity of consciousness and energy the
very basis and the essence of all Universe.

[The seat of Lalitha or Maha Tripurasundari is Yoga pitha, in the form of red lotus, impressed with the
Sri Chakra design, symbolizing the very heart of the devotee. The symbolism of this appears to be
that Mother goddess worshipped in Sri Chakra is indeed the universe in all its aspects; and the
devotee has to identify this principle in his body; and again his body too is Sri Chakra and the
universe

in

miniature.]

The presiding deity of the avarana is Maha Tripura Sundari and her chakra is Sarvanandamaya chakra.
Dikshitar meditates on the chakra and the presiding deity worshipped by Varahi and other attendant deties, the
Yoginis (Sukara-ananaadya-arccita MahaatripuraSundarimRaajaraajeshvareem).

Dikshitar mentions the Sun (Divaakara), the moon (Sheetakirana) and the fire (Paavaka) as the expansion
(Vikaasa) and manifestation of the presiding deity. Here, he is referring to the view that the central point, the
Bindu, is actually composed of three dots or drops (Bindu traya) representing three fires (vanhi): Moon (soma);
Sun (surya); and Fire (Agni). The Bindu expanding into three three is an act of swelling(ucchuna); and is the
immediate unfolding of the Sri Chakra.

Dikshitar then sings the glory and the powers of the mother worshipped by Lakshmi, Shiva, Vishnu, Brahma
and other divinities.

In the line Kaamaadi Dvaadashabhir-upaasita Kaadi Haadi Saadi Mantra-rupinyaah, Dikshitar is recalling the
twelve gurus and the traditions of the Sri Vidya. The Sri Vidya tradition which centers on the worship of Sri
Chakra considers the following twelve gods and sages as its gurus: Manu, Chandra, Kubera, Lopamudra, Kama
(Manmatha), Agasthya, Nandisha, Surya, Vishnu, Skanda, Shiva and Durvasa. It is said; each of the twelve
gurus propagated a school with regard to the worship and significance of Sri Chakra. Of these, only two
schools have survived to this day; one is the school started by Manmatha (also called Kamaraja) known as
Kadi_matha. The Kadi tradition was continued by sage Agastya. The other school is Hadi_matha started by
Lopamudra wife of the Sage Agastya. There is also an obscure third school called Sadi_matha. Dikshitar
belonged

to

the

Kadi

Matha

School,

started

by

Kamaraja.

Let my loving mind (chittam) be dissolved (vilayatu) in her, whose beloved (prema) is Shiva, and who is the
mother (jananyaam) of Guruguha.

In the line Brahmamaya Prakaashini Naamaroopa Vimarshini Dikshtar touches upon the core concepts of Sri
Vidya. Shiva as consciousness is illumination (prakasha); and the Kameshwari as the energy to unfold the
creation, to evolve, is the deliberation (vimarsha).The two principles are undistinguished, united and in perfect
harmony at the time of dissolution (pralaya).They however appear distinct at the time of creation (shristi) and
preservation (sthithi).The twin aspects of illumination (prakasha) and evolution (vimarsha) are the basis of the
expanding universe. The relation between the two is analogues to that of lamp and its light. The rays of lamp
spread in all directions and is responsible for life and its evolution. Shiva is absolute consciousness

(Brahmamaya Prakaashini) and vimarsha the energy flows into the world of names and forms (Naamaroopa
Vimarshini).These two principles come together again at the time of withdrawal or dissolution.

Kaamakalaa Pradarshini is again a reference to the concepts of Sri Vidya. The triangular formation of three
dots or drops (Bindu traya) at the centre of Sri Chakra is rich in symbolism. The triangle is named Kama Kala.
One of the interpretations is that the top dot is shiva and the bottom dots are Shakthi (energy)
and nada(sound).Here, Kama is the union of Shiva (kameshvara) and Shakthi (Kameshvari): and the concrete
manifestation

of

the

two

is

Kala.This

is

also

referred

to

asNada_bindu-kala.

The other interpretation is that the top dot stands for Kama (primordial desire to evolve) and the bottom two
dots

represent

the

manifestation

and

eventual

withdrawal.

The concluding phrase Saamarasya Nidarshini suggests the complete harmony (samarasya) of the principle
of pure consciousness (Prakasha, Shiva) and the principle of energy, as evolution or expansion (Vimarsha,
Shakthi). It signifies (nidarshini) a state of non-duality, a state in which the devotee ultimately rests (Svarupa
pratishta)