Vijiianabhairava

or
Divine Consciousness
A Treasury of 112 Types of Yoga

Sanskrit Text with English Translation,

Expository Notes, Introduction and
Glossary of Technical Terms
by
JAIDEVA SINGH

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 PREFACE

Vijiiinabhairava is a very ancient book on Yoga. It closely

follows the basic principles of Saivigama. It contains 112 type.s
of yoga. There is hardly any other book on yoga which has
described so many ways of approach to Central Reality that is
present in each man as his essential Self. It is both extensive, ~nd
intensive in the treatment of the subject of yoga.
An English translation of this excellent work is being provided
for the first time. The text that has been adopted is mainly
the one that is published ill the Kashmir Series of Texts and
Studies. At a few places, however, slightly different readings
yielding better sense have been incorporated as suggested by
Svimi Lak~maQa Joo.
Each verse of the Sanskrit text has been printed in both
Devanigari and Roman script. This is followed by an English
translation and a number of expository notes which will go a
long way in elucidating the main idea of the verse.
A long Introduction explaining the basic principles of the
yogas described in the text has been provided in the beginning.
A glossary of technical terms has also been added at the end.
Since the yogas recommended in the book are based on the
tenets of the non-dualistic Saiva Philosophy, the reader will do
well to read the author's Introductory Portion of either the
Pratyabhijiiihrda~am or the Siva-sutras before taking up the
study of the present book.
I express my sincerest gratitude to Svimi Lak:?maoa Joo
who has kindly taught this book to me word by word. My
thanks are also due to Shri Dinanath Ganj who has kindly
helped me in the preparation of the index to important
Sanskrit words and the alphabetical index to the verses.

Varana!>i
I. VI. 79 JAIDEVA SINGH
 INTRODUCTION

IMPORTANCE OF VIJ~ANABHAIRAVA
There have been, in India, two main ways of approach to
Reality or the Essential Nature of Self, viz., Vivekaja marga and
Yogaja marga-the path of distinction or discrimination and
the path of union or integration. Pataojala yoga and Sankara
Vedanta have adopted the Vivekaja marga by which the Puru~a
or Atma (the Self) is isolated from Prakrti (in the case of
Pataojala Yoga) or from Maya (in the case of Vedanta). The
word Yoga does not mean union in Pataojali's system; it means
samadhi or intense abstract meditation (as Vyasa puts it in his
commentary, 'yuji samadhau'). Saivagama has adopted the
Yogaja marga in which the goal is not isolation of the Self from
Prakrti or Maya but the integration of the individual Self to the
Universal Self or Bhairava and the realization of the universe as
the expression of His Sakti or spiritual Energy. The ideal of
Saivagama is not the rejection of the universe but its assimilation
to its Source.
Vijiianabhairava is an excellent exposition of the yogaja miirga.
Hence its importance. It has been referred to as Agama:
Sivavijiianopani~d,1 and Rudrayamalasara3 by Abhinavagupta.
Yogaraja has referred to it as Saivopani~ad.' K~emaraja has
referred to it at many places in his commentary on Siva-sutras.
It is clear that it has been acknowledged by the great expon,
ents of Saivagama as a very authentic work on yoga.
THE TEXT
Vijiianabhairava has been published in the Kashmir
Series of Texts and Studies with an incomplete commentary of
K~maraja, and complete commentaries of Sivopadhyaya and
Bhana Ananda.
In the above text, the following remark appears on page 16,
'after the 23rd verse, "ita uttararil Sri Sivopadhyay~krti vivrtib"
1. I.P.V.V.I, p. 207. 2.I.P.V.V. II, p. 405. 3. I.P.V.V., p. 28~·
4. V;lIrll ParllNldrl/rQ..sdra.
 Vijiianabha;rava

i.e. "after this, the commentary is by Sivopadhyaya. "Even in

the life-time of Sivopadhyaya, the full commentary of K~emaraja
was not available. It is not known whether K~emaraja did not
live to complete his commentary, or whether his commentary after
the above verse has been lost. All that can be said is that it has
not been so far traced."
Sivopadhyaya is greatly influenced by SaQlkara Vedanta. So
his commentary is not reliable. BhaHa Ananda is even more
avowedly a follower of SaQlkara Vedanta. His commentary is,
therefore, even far more removed from the original intention of
the text. In the preparation of the present edition, these com-
mentaries have not been translated.

THE DATE OF V1J:fiIANABHAIRAV A AND THE

COMMENTARIES
Vijiiiinabhairava is a part of the ancient Tantras. It is held in
high esteem in Saivagama. Abhinavagupta calls it Siva-vijiiana-
upani~ad.
The text of Vijiianabhairava claims to be the quintessence of
Rudrayamala Tantra which means union of Rudra with His
Sakti (Spiritual Energy). The authentic text of Rudrayamala
Tantra is not available. So it is not possible to say how far the
text of Vijiianabhairava corresponds to that of Rudrayamala
Tantra.
Tantras contain descriptions ot'ritual practices, sacred formulae
(mantras). mystical diagrams (yantras), gestures (mudriis),
postures (asallas), initiations (dlkia), yoga or mystic practices.
Vijiiiinabhairava is purely a manual of mystic practices in
accordance with Saivagama.
In the present state of our knowledge, it is impossible to give
the exact datc of Vijiianabhairava. The earliest reference to it is
found in Viimananiith's Advayasampatti-varttika. It is likely that
Vamananatha may be the same as Vamana, the celebrated writer
on Poetics who flourished during the reign of King Jayapida of
Ka~h1l1ir (779---813 A.D.) If that be so, then it can be easily said
that Vijiianabhairava wa~ very well known in the 8th century
-\.D. Perhaps. it may have been compiled a century earlier.
Introduction xi

So far as the commentators are concerned, K~emaraja ftour-

ished in the 10th century A.D. In the colophon of his com-
mentary, Bhatta Ananda mentions the date of the completion
of the commentary according to which he flourished in the 17th
century A.D.
Sivopadhyaya says in the colophon of his commentary that
it was finished during the reign of Sukhajivana. This means that
he flourished in the 18th century A.D.

THE SIGNIFICANCE OF VUNANABHAIRA VA

VijiiaDabhairava consists of two words, vijiiiina and bhairava.
We have first of aU to understand the esoteric significance of
Bhairava. K~emaraja in his Udyota commentary gives a descrip-
tion of the esoteric meaning of Bhairava. The SUID and substance
of it is that Bhairava is an acrostic word consisting of the letters,
bha, ra, and va; bha indicates bhara!)a or maintenance of the
universe; ra indicates rava!)a or withdrawal of the universe;
l'a indicates vamana or projection Le., manifestation of the
universe. Thus BhairdVd indicates all the three aspects of the
Divine.
This has been clarified by Abhinavagupta in Tantraloka JII,
verses 283-285 in which he describes the three aspects of the
Divine as sra~/ii (manifester of tile universe), v;svarupatii, Bhairava
in His cosmic essence in whose consciousness the entire universe
differentiated in six ways (~adadhvii) is reflected. and Bhairava
as prasama in whose ftame of mahiiboclha (universal conscious-
ness), everything is dissolved.
While Bhairava has three altpects, He from the point of view
of the mystic, is that Ultimate Reality in which prakusa i.e.
Light of Consciousness and vimarSa or Eternal Awareness or
that Light are indistinguishably fused. In other words, Bhairava
is parama Siva in whom prakiisa and vimarSa, Sil'a and Sakti,
Bhairava and Bhairal'; are identical. Bhairava or Parama Siva
embraces in Himself transcendence Hnd immanence, Siva and
8akti. It is this Bhairava that is the goal of the seeker.
The svarupa or eltsential nature of Bhairava is vij;;una or bodha
or mahubodha, cit or cailanya the main characleristic of which
is svutanlrya or absolute freedom revealing itself in icc:hii, j;;una,
 xii Vijiidnabhairava

and kriya. It is to this Vijiianabhairava that the seeker of

spiritual life has to be integrated.
The entire manifestation consisting of subject and object is a
mere reflection in this vijRana. Just as a city in a mirror appears
as something different from the mirror, though it is nothing
different from the mirror, even so the universe though appearing
different from vijRana is nothing different from it.
In verses 2 to 6 of VijRanabhairava, the Devl mentions certain
well known statements about Bhairava and wants to know His
paravastha-highest state or essential nature. Bhairava categori-
cally rejects the various well known opinions about His highest
state and pithily but with luminous clarity states in verses 14 and
I 5 what His essential nature consists in :
"Paravastha (the highest state) of Bhairava is free of all
notions pertaining to direction (dik), time (Kiila), nor can that be
particularized, by some definite space (deJa) or designation
(uddeia). In verity that can neither be indicated nor described in
words. One can be aware of that only when one is completely
free of all thought-constructs (vika/pas). One can have an
experience of that bliss in his own inmost Self (when one is
completely rid of the ego, and is established in purl',lahanta i.e.
in the plenitude of the divine I-consciousness).
That state of Bhairava which is full of the bliss of non-difference
from the entire world (bharitakira) is alone Bha;ravl or SakI; of
Bhairava."
That state is VijRana-a state of consciousness which is
n;rvika/pa, free of all thought-constructs. This Vijiiinabhairava
is the goal of man.
Paradevi or Bhairavi is only the Sakli (Power or energy) of
Bhairava. Just as there is no difference between fire and its
power of burning, even so there is no difference between
Bhairava and Paridevi. Paridevi has been called SaM mukha
or means of approach to Siva.

DHARA~AS OR YOGA PRACTICES

The Devi now ~nqujres, "By what means can this highest state
be realized 1" In reply to this, Bhairava describes 112 dhilrQ(liis.
Introduction xiii

In Pataiijali, the word dharaIJii is used in a somewhat limited

sense viz; 'fixation of mind on a particular spot.' In Vijiianabhai-
rava it is used in the wide sense of fixation or concentration of
mind or yoga. The word yoga is used both in the sense of comm-
union (with the Divine) and the means (upiiya) for that commu-
nion. So 112 types of yoga or means of communion with
Bhairava have been described in this text. .
Unfortunately, no word has been profaned so much in modern
times as yoga. Fire-walking, acid-swallowing, stopping the heart-
beat, etc. pass for yoga when really speaking they have nothing
to do with yoga as such. Even psychic powers are not yoga.
Yoga is awareness, transformation of the human consciousness
into divine consciousness.
Vijiianabhairava mentions 112 dhiiraIJiis or types of yoga. It
is a book on yoga, not on philosophy, but its system of yoga can
be better understood if one is acquainted with its metaphysical
background. The reader would be well advised to go through
the author's Introduction either in Pratyabhijiiiihrdayam or
Siva-siltras in order to get an idea of the metaphysics on which
the present yoga system is based.
The means of communion with Bhairava have been classified
under four broad heads in Saiviigama, viz., anupiiya, siimbhava,
siikta and iiI,Iava. These have been described in detail by the
author in the Introduction to the Siva Siltras. In this book, in
the notes under each dharaIJii it has been indicated whether it is
iiIJava or siikta or siimbhava. Anupiiya literally means 'no means',
'without any means' which has, however, been interpreted by
Jayaratha as liat upiiya i.e. very little means. Just a casual hint
by the guru or the spiritual director is enough for the advanced
aspirant to enter the mystic state. Such a rare case is known as
that of anupiiya . .4IJava, siikta and siimbhava are definite techni-
ques. These are, however, not watertight compartments. The
aspirant has to pass from the iiIJava to siikta and finally from the
siikta to the siimbhava state.
Vijiianabhairava has utilized all the traditional techniques of
yoga-postures, mudriis or gestures, development of priiIJasakti,
awakening of kUIJt/aiinl, mantra japa or recital of words of power
or sacred formulae, bhakti (devotion) jiiiina (realization through
xiv Vijnanabhairava

understanding), meditation, bhiivanii (creative contemplation). It

even uses certain techniques of very non-formal nature, e.g.,
looking vacantly at the dark night, high mountains, watching
the condition of consciousness in a see-saw movement, the con-
dition of consciousness before falling asleep, intently looking at a
vase without partition, etc. It has recommended one hundred
and twelve dhiiraIJiis ad modum recipientis (according to the mode
of the recipients) keeping in view the fitness or competence of the
aspirants so that any technique that may suit a particular aspi-
rant may be adopted by him.
The ultimate goal recommended by the text is identification
with Bhairava-undifferentiated universal consciousness which is
the heart (hrdaya), nectar (amrta). Reality par excellence (tattva
or mahiisattii) essence (svariipa); Self (iitman), or void (Jiinyatii)
that is full. This involves the following processes:
(I) Perfect interiorization so that one is absorbed in the heart
of the Supreme.
(2) Passing from vikalpa or the stage of differentiating, dich-
otomizing thought-construct to nirvikalpa stage of thought-free,
non-relational awareness.
(3) Disappearance of the limited pseudo-lor ego which is
only a product of Prakrti and tire emergence of the Real
Universal I (piirIJiihantii) which is divine.
(4) Dissolution of cilia or the individual mind into cit or
universal Consciousness.
This is the essence of yoga according to Vij;;iinabhairava.

IMPORTANT BASES OF THE DHARA~AS

RECOMMENDED

The important bases of the dhiiraIJiis recommended in the text

are the following:

I. PriiIJa:

Indian thought believes that between the body and the mind
or between the material or physical energy and mental energy,
there is priiPJa which is an intermediary link between the two.
The word priiPJa has been variously translated as the vital force.
 Introduction xv

biological energy, bio-plasma, etc. It has been a moot point in

western Philosophy and Psychology as to how mind which is
psychic in nature affects the body which is physical or material
in nature. According to Indian Philosophy. between the body
and manas or mind. there is prii1)a which serves as a link
between the two. PriiIJa is not mind; it is insentient, but it
is not like gross physical energy. It is subtle biological
energy which catches the vibrations of the mind and transmits
them to the nerves and plexuses and also physical vibrations
to the mind. By controlling the mind one can control the priiIJa,
and by controlling the prii1)a. one can control the mind.
According to Saivagama, priiIJa is not something alien to safnl·it
or consciousne~s. but the. first evolute of satnvil (consciousness)
Priik satin';1 priiIJe pariIJatii. In the process of creation SOInl';1
or consciousness is at first transformed into priiIJa. So priiIJa is a
phase of consciousness itself.
The word priiIJa is used both in the general sense of priiIJanii
or priiIJa-sakli or life-principle or life-force and in the specific
sense of various biological functions. This life-force expresses
itself in breath. PriiIJa or the life-force cannot be contacted
directly. It is only through breath that priiIJa or life-force can be
influenced. So the word prii1Ja is generally used for breath also
though sometimes the word viiyu (as priiIJa-viiyu) is added to it.
In this context the word prii1Ja is used for the breath that is
exhaled. and apiina is used for the breath that is inhaled.
The word priiIJa is thus used in three senses - (I) in a general
sense of priiIJa-sakli or life-force, (2) in a <;pecific sense accord-
ing to the various biological functions, and (3) in the sense of
breath.
The breath is associated with inhalation and exhalation. "T he
very first dhiiraIJii (described in verse 24) utilize'l the two pole<;
of respiration. viz. I dViidasiinla-a di!;tance of twelve finger'l
from the nose in the outer space where prciIJa or exhalation ends
and hrt or the centre inside the body where apiina or inhalation
ends. One has to concentrate on the<;e two points. After .some
practice. he will realize the 'ltate of Bhairava
Similarly. versec; 2,3,4.5.6,7 etc. descrihe how priiIJa can be
utilized in varj.ouo; wayc; for reali7.ing the nature cf Bhairava.
xvi VijRanabhairava

• Several dhiiral')iis utilize the awakening of priil')a-sakti in the

suiUmnii for the realization of spiritual perfection. It is by the
efflorescence of priil')asakti in the sUlumnii or the medial channel
of priil')a in the interior of the spinal column that kUI')t/aiinl
awakens when one has the experience of the union of the indi-
vidual consciousness with the universal consciousness. Verses
35,38, 39 etc. refer to such dhiirQl')iis. Notes on these verses
should be carefully read.
Ucciira is the natural characteristic of priil')a. Ucciira means
expression in the form of niida or sound-subtle, inarticulate, or
unmanifest and moving upward. Tbe unmanifest, inarticulate
sound or niida is known as varl')Q. Abhinavagupta says:
~ lI' ~ \i'i'i4I<taa q)M\ ~ m: I
'4oq'ffiI'l'llfdSl'~ ~: ~ ~ II
(Tantraloka'V, 131)
"From the uccara of the general priil')Q, there vibrates an
imperceptible, inarticulate sound which is known as varl')a."
Svacchanda Tantra says:
ftIM'i'i4I<f4dl Cfif""'B1fd~r if ~ I
fC4q1...... <a ~: snfVrin,mr ~: II (VII, SO)
"There is none who sounds it voluntarily, nor can anyone
prevent its being sounded. The deity abiding in the heart of
living creatures sounds it himself.
Abhinavagupta gives the following description of ihis niida:
~ ftI4It'i",1 CJ1It: ~<t .. oIYf.. \111I1n'i{ I
ms;mrf4td~qNI4ftl~ ~: II"
(Tantraloka VI, 2(7)
"There is one varl')a in tbe form of niida (sound vibration) in
which lie all the varl')as (letters) latently in an undivided form. As
it is ceaseless, it is called aniihata i.e. unstruck, natural, sponta-
neous, uncaused. As all the vargas (letters) originate from this
niida, therefore, is it called varl')a proleptically. Vide verse 38 of
tbe text.
How are we to know about tbis inarticulate sound ? In the
'following verse, Abhinavagupta throws a hint as to how we can
form an idea of it.
Introduction xvii

\{l'>eij{1 «Illi1 ~ ~ ~ ~: II
(Tantraloka V. 132)

"The mli blja and sam/tiira blja are its main forms". In the
words of Jayaratha main forms mean pradhiinam abhivyakti-
sthanam i.e. the srlli blja and sam/tiira blja are the main spots of
its revelation. sa is the sTili blja or the mystic letter denoting
expiration and ha is the iam/tiira bija or the mystic letter
denoting inspiration.
[n verses 155 and 156 of Vijiianabhairava is given the process
by which this niida expresses itself in the breath of every living
creature. "The breath is exhaled with the sound sa and then
inhaled with the sound ha. Thus the empirical individual always
recites this mantra hafTISab (verse ISS). Throughout the day and
night he (the empirical individual recites this mantra 21,600 times.
Such a japa (recitation) of the goddess is mentioned which is
quite easy to accomplish; it is only difficult for the ignorant."
(verse 156).
This harrzsab mantra is repeated by every individual automati-
cally in every round of expiration-inspiration. Since the repeti.
tion is automatic, it is known as ajapii japa i.e. a repetition of the
mantra that goes on spontaneously without anybody's effort.
This hafTISab (I am He i.e. I am Siva or the Divine) is the iidi
prii7)a i.e. initial prii1)a which is the first evolute or transform-
ation of consciousness.
There are two ways in which this prii7)ic mantra can be utilized
for the awakening or rise of KU7)(iaiinl. One is anusandhiina or
prolonged mental awareness of this automatic process which has
been referred to above. Another way is conscious japa or redta.
tion or repetition of this mantra as so'ham or simply aum (amt).
This requires a further elucidation.
In the descending arc of the creative activity from conscious·
ness to inconscient matter or in other words from the conscious
creative pulsation of the Divine Sakli known as pariiviik or
vimarsa at the highest level down to vaikharl or gross speech at
the level of the living being, there is a movement downward
from the centre of Reality to the periphery in the successive
form of pariivii7)l, (the spiritual logos in which the creative
xviii VijiiDnabhairava

process is in the form of niida). pasyantl (viik-sakli. going forth

as seeing. ready to create in which there is no difference between
viicya (object) and viicaka (word). madhyamii (Jabda) in its subtle
form as existing in the anta[JcarQ1)Q prior to its gross.
manifestation), vaikharl (as gross, physical speech). This is
the process of snli or the outward movement or the descend-
ing arc. In ordinary lapa (muttering of mantra or sacred
formula), the process is just the reverse. In this the sound
moves from vaikharl through madhyamii towards pasyantl and
pariiviitll.
Ordinarily. lapa starts in vaikharl form (vocal muttering). It
depends entirely on the will and activity of the person who does
the japa. After constant practice of lapa for some years, an
extraordinary thing happens. A time comes when the lapa does
not depend on the will and activity of the reciter any longer. It
now goes on automatically inwardly without any effort on the part
of the reciter. It becomes an alapiijapa. When this proceeds for
a long time. the priitla and apana currents that normally move
in a curvilinear way on the ida and pinga/ii channels become
equilibrated; the kU1)(laiinl now awakens; the equilibrated current
now ftows upward in the su/umnii i.e. in the interior of the
spinal column. This upward movement is known as uccarQ1)Q.
Prii'.la and manas are so closely associated that manas also
acquires upward orientation along with it.
As the ku'.lgaiinl rises. there is the experience of aniihata niida-
automatic, unstruck sound. The kUT)gaiinl passing through the
various cakras finally joins the Brahmarandhra, and then niida
ceases; it is then converted into lyoti Oight).
2. Japa:
This has already been described in connexion with the siidhanii
or spiritual praxis of prii(la above. The praxis of japa has been
mentioned in verses 90, 145, ISS, 156, etc. PrQT)avajapa leading
to the development of the various saktis or manifestation of
spiritual stages is recommended in verse 42. This is explained
under a separate head.
3. Bhiivanii :
. In Tantrasara, Abhinavagupla gives an excellent exposition
of bhiivanii. Man's mind manifests itself in all kinds of vikalpas
Introduction xix
or thought - constructs. Vikalpa is the very nature of mind. If
that is so, the aspirant should mentally seize one Suddha or pure
vikalpa, viz. of the highest I-consciousness, of the real Self as
being Siva. He has to practise the bhiivanii of this pure vikalpa.
Bhiivanii is creative contemplation. Imagination plays a very
large part in it. One has to imagine oneself with all the faith and
fervour at his command that he is Siva. This suddha vikalpa
eliminates all other vikalpas, or thoughts and a time comes
when the suddha vikalpa also ceases. Then the empirical, psycho-
logical self is dissolved, and one is landed in one's real,
metempirical, metaphysical Self.
Abhinavagupta traces the following steps to Bhavana. A
sadguru or Self-realized spiritual director initiates the aspirant
into the mysteries of the iigama, into the irrefutable conviction
of the essential Self being Siva. The second step consists in sat-
tarka. Sat-tarka in this context does not mean logic-chopping,
but training the mind in harmonious consonance with the truth
of the essential Self being Siva. This culminates in Bhiivanii.
Bhiivanii is the power of spiritual attention, a total dedication
of the mind to one central thought, a nostalagia of the soul, a
spiritual thrust towards the source of one's being.
Bhavana is finally metamorphosed into suddha vidyii whereby
the psychological I is swallowed up into the essential meta-
physical I. Verse 49 lays down the bhiivanii of the essential Self. In
a few other verses also, the verb form of bhiivanii, e.g. bhiivayet,
bhiivyab, etc. has been used. The bhiivanii of /aya or dissolution
of the various tattvas in a regressive order, of the gross into the
subtle, of the subtle into the subtler, of the subtler into the
subtlest, etc. is recommended in verse 54.
4. Siinya (void) :
Contemplation of siinya or void is another basis of dhiira7)ii
recommended. Verses 39,40,45,58,122, etc. refer to the con-
templation of the void. Contemplation over siinya or the void
is explained in some detail under a separate heading.
5. Experience of Vastness or Extensive Space:
Experience of a vast, extensive space without any trees, etc.
has no definite, concrete object as iilambana or support for the
xx Vijiiii"abhairava

mind. In such a condition, the vikalpas or thought-constructs

of the mind come to a dead stop, and supersensuous Reality
makes its presence felt. Verse 60 of the text describes this state.
6. I"tensity 0/ Experience:
Even in the intensity of sensuous experience, one can have
the experience of the Divine, provided one is careful to track
the joy felt on sucb occasions to its source. The text gives
several examples of tbe intensity of experience.
Tbe first one is of tbe joy felt in sexual intercourse mentioned
in the verses 69-70. It should be borne in mind that this example
is given only to illustrate the intensity of experience in union.
From physical uuion, one's attention has to be directed to
spirit"al union. This does not advocate sexual indulgence. The
notes on these verses should be carefully read. The mystic
experience of Tao in Chinese esotericism is described in a
similar strain. The following lines will amply bear it out. "Thou
knowest not what is love, nor what it is to love. I will tell thee;
love is nothing other than the Rhythm of Tao.
I have said it to thee, it is from Tao that thou comest; it is to
Tao that thou shalt return. Woman reveals herself to thy eyes
and thou thinkest that she is the end towards which the Rhythm
leads thee, but even when this woman is thine and thou hast
thrilled with her touch, thou feelest still the Rhythm within thee
unappeased and thou learnst that to appease it thou must go
beyond. Call it love if thou wilt; what matters a name? I call
it Tao.
The beauty of woman is only a vague reflection of the form-
less beauty of Tao. The emotion she awakens in thee, the desire
to blot thyself out in her beauty ... believe me, it is nothing else
than the rhythm of Tao, only thou knowest it not ..... Seek not
thy happiness in a woman. She is the revelation of Tao offering
itself to thee, she is the purest form in Nature by which Tao
manifests; she is the Force which awakens in thee the Rhythm
of Tao - but by herself she is only a poor creature like thyself.
And thou art for her the same revelation as she is for thee. It
is the expression of Tao who has no limit nor form, and what
thy'soul desires in the rapture which the vision of it causes thee,
Introduction xxi

this strange and ineffable se~timent, is nought else than union

with that Beauty and with the source of that Beauty-with Tao.
Thy soul has lost its beloved Tao with whom it was formerly
onited and it desires reunion with the Beloved. An absolute
reunion with Tao-is it not boundless Love? To be so absolu-
tely one with the Beloved that thou art entirely hers ,and she
entirely thine-a union so complete and so eternal that neither
life nor death can ever separate thee, so peaceful and pure that
Desire can no longer awake in thee, because the supreme happi-
ness is attained and there is only peace, peace sacred calm and
luminous. For Tao is the Infinite of the soul, one, eternal and
all-pure. "
(Quoted in Mother India of January, 1979 from Arya. June.
1915).
Sex is an example of the joy of intensive experience deriVed
from sparia or contact.
Verse 71 which describes the intensive experience of joy at the
sight of a friend or relative is an example of the pleasure of rupa
or visual perception. Verse 72 gives an example of the joy of
rasa or taste and verse 73 gives an example of the joy of labda
or sound.
7_ Mudriis and Asanas :
Various mudriis are recommended as helpful in dhiirm.Uis.
Mudrii is a technical term meaning a particular disposition and
control of the organs of the body as a help in concentration.
Various mudriis for this purpose are described in verse 77.
Asana means posture. Several iisanas are helpful iQ dhiirQl}ii.
Such examples are given in verses 78, 79 and 82.
The following concepts have to be clearly grasped in order to
be able to understand the dhiira1)iis recommended in VijDina-
bhairava.
Klobha:
The word K,obha means mental agitation, disquiet, turmoil,
Verse 74 says that wherever there is tUI!i or mental satisfaction
or joy, there the mind should be fixed. In all suchjoYJI or inten-
sive experience. it is implied that the fixation of the mind should
be without kiobha or mental agitation. Wlien one is deeply
xxii VijRiinllbhairava

moved by some beautiful object e.g. a beautiful woman, the

attitude should be "This beautiful tabernacle houses Siva who
is my own essential Self." It is this attitude which leads to ~he
right dharQ1)a based on aesthetic experience. If one's mind is
agitated by such experience and he is carried away by sens&
pleasure, he cannot have the proper ~iirQ1)ii. He will be unable
to utilize that experience for yogic purposes. As Spandakarika
puts it : "IRT m: snftQ ~ ~ crot ~.. (I, 9)
"When the mental turmoil disappears, it is only then that the
highest state is attained."
This mental turmoil is caused because of our identification of
our Self with the mind-body complex and its claimant and
clamorous de~ires.- When one is convinced that the
mind-body complex is not the Self, but rather the Divine
presence within the mind-body complex is the Self who is Siva,
then every attractive object is considered to be only the expres-
sion of Siva Himself, then the mental turmoil ceases and the
mind is fixed. on Siva whose expression that object happens
to be.

Vikalpa:

A vikalpa is a thought-construct. Vikalpas are various mental

counters through which man carries on the business of life.
Vikalpas may refer to various things of the external world like
tree, flower, river, etc. or various images, fancies, etc. of the mind.
In vikalpa mind sets a limit to one particular thing or idea, and
differentiates it from the rest; mind constructs a 'particular' by
means of thought which it marks off from the rest of the world
or from other ideas. Each vikalpa has two aspects; the positive
aspect consists of the idea that is selected, and the negative
consists of the rest that are set aside or rejected. Vikalpas are
concerned with particulars. Secondly, vikalpas are relational
i.e. there is always a subject-object relationship in vikalpas.
Reality is non-relational, there is no object outside Reality.
Therefore vikalpas are unable to grasp Reality.
There is, however, onesuddha or pure vikalpa, viz., the 'thought
th!lt I am Siva'. By the bhavanii or creative contemplation of this
Introduction xxiii
vika/pa, all other vikalpas arc eliminated. Finally this vika/pa
also disappears and one is landed in a nirvikalpa or thought free
state which denotes the awareness of Reality.

MADHYAVIKASA (THE DEVELOPMENT OF THE

MIDDLE STATE) :
When the prii!la or exhalation arising from the centre of the
body does not return from the dviidaiiinta(adistance of 12 fingers
in the outer space) for a split second and the apiina or inhalation
arising from the dviidaiiinta does not return from the centre for
a split second, this is known as madhyadaJii. By intensive aware-
ness of this madhyadaiii, there is madhya vikiisa or the develop-
ment of the middle state.
The madhya vikiisa can occur through several means, either
by one-pointed awareness of the pauses of prii1;la and apiina
(vide verse 25) or by means of the dissolution of all vika/pas
(vide verse 26) or by retention of prii!la and apiina (vide verse 27)
or by vikalpa-lqaya, Sakti-sankoca and Jakti-vikiisa, etc. as
recommended in the 18th Sutra of PratyabhijRiih,dayam or in the
gap between two thoughts when one thought ceases and another
is about to arise as recommended in Spandakiirikii. (III, 9).
Sutra 17 of PratyabhijRiih,dayamsays: "lfS4rCC4ijtljM'U.,·q{iijj1f:"
which means "By the development of the madhya (middle or
centre) is there acquisition of the bliss of Cit ..
What is this madhya (middle or centre)? /4emariija explains
it in the following way in his commentary on the above sutra.
"Samvit or the Universal Consciousness is the centre of every
thing, for everything depends on it for its existence. In the
empirical order samvit is at first transformed into prii1;la.
Assuming the role of prii!lasakti, resting in the planes of buddhi,
body etc. it abides principally in the madhya nii91, in the
innermost central channel of prii!la in the spinal column. When
the prii1)aJakti in the central channel develops or when the
central Universal consciousness develops in any other way, one
acquires the bliss of universal consciousness and becomes liberated
while living."
So madhya-vikiisa means the development of the met-
empirical or universal consciousness. In sucb a state cilia or the
xxiv VijRanabhairava

individual empirical consciousness is transformed into citi or the

the met-empirical consciousness. •

SONYA:
The word Siinya means void. a state in which no object is
experienced. It has. however. been used in various senses in
this system.
Madhyadhiima or the central channel in the interior of the
spinal column has generally been called sunya or sometimes even
sunyatisunya (absolute void). The word sOnya occurring in the
verse No. 42 of Vijiiinabhairava has been interpreted as unmonii
by Sivopidhyiya. In verse 61 madhya has been interpreted as
sunya by Sivopidhyiya. K,emarija has interpreted sunya as
miya and sunyatisunya as mahiimaya in his commentary on VII.
57 in Svacchanda Tantra. At some places. Siva is said to be
sunya or sunyati-Jiinya.
The main philosophical sense of sunya, however, is given in
the following verse quoted by Sivopidhyiya in his commentary
on verse 127 of Vijilinabhairava :
"MMRI .. aii'..... ijcjat4<m: I
ij4;M1I1III'~: ~ ;r1Jfti 4<... wI(I:" II
" "
That which is free of all supports whether external existents
like jar or ftower or internal existents like pleasure, pain or
thought, that which is free of all tattvas or constitutive principles,
of the residual traces of all klelas, that is sunya. In the highest
sense, it is not sunya as such (i.e. as Don-existence)". Avidya.
asmita, raga. dvela, and abhinivela i.e. primal ignorance. the
feeling of I-ness. attraction. repulsion and fear of death are
considered to be kleias.
Sivopidhyiya has further given a long quotation from
Vimarsa-dlpika which means that Siva is full and free and
fundamental ground of all that is known as void, from whom
all the tattvas arise and in whom they are all dissolved. Since
~iva or the foundational consciousness cannot be described in
words or any determination of thought, therefore, is He called
'~iinya.
Introduction xxv

The most explicit explanation of sUnya is given in Svacchanda

Tantra in the following verse :
..~ "ll'tCfq€ll"Ri ~;n1(Tif ~ I
W41T<f: ~ ~,f(6C.~ lRI' ~m: ~ ~: I
~'dl ijlej ~ m;:fl' ~ f.t;qfir ~" II
(IV. 292 - 293)
"That which is said to be lilnya (void) in this system is not
really sUnya, for siinya only means absence of objects. That is
said to be abhava or absence of existents in which all objective
existents have disappeared. It is the absolute Being, that state
which abides as transcendent and absolute peace."
K~emaraja in his commentary on the above explains asunya
or non-void as cidanandaghana-parama-sivatattvam i.e.
parama Siva (absolute Divine Reality) who is a mass of con-
sciousness and bliss, mahasatta as prakiiSatmaiva hi sarve/am
bhavabhavanar,. satta i. e. the Light of Universal Consciousness,
the Reality which is the source of both existents and non-existents
and abhava as na vidyate bhava{t. sarva{t. prameyQdi prapanco
yalra i. e. that in which the manifestation of all objective
phenomena cease~. The core of the meaning of the word si2nya
is that in which there is no objective existent.
SONYA-SATKA (THE GROUP OF SIX SONYAS) :
Svacchanda Tantra recommends contemplation over six voids
(I V 288-290). The first sUnya which is known as urdhva silnya
or higher siinya is the stage of sakI;; the second is the
adha{t. or the siinya which is the region of the heart;
the third is the madhya or the middle sunya which is the
region of throat, palate, middle of the eye-brows, forehead and
brahmarandhra. The fourth sUnya is in vyapinl, the fifth in samana
and the sixth in unmanii. These have to be contemplated as void
and rejected. Finally the aspirant has to pass over to Parama
!'~iva who is the subtlest and the highest void, free of all conditions
(sarviivasthii-vivarjitam), who is sunya only in the sense that he
is transcendent to all manifestation and defies all characteriza-
tion by the mind. The other voids are siimaya i.e. meant to be
abandoned. It is only in the highest sunya i.e. paramo siva that
the mind should finally rest. The other siinyas are means for the
xxvi Vijiiiinabhairava

attainment of the highest Siinya (paraSUnya-pada-prapti-

upayabhutab).
Vyapinl, samana, etc. are explained under prQlJ.(lva and its saktis.

PRAl~A VA AND ITS SAKTIS :

The word pra1')ava is interpreted in various ways-( 1) pra1')uyate

-the Supreme Self that is lauded by all, (2) pra1')an avati-that
which protects the vital forces, (3) prakarle1')a navlkaroti-that
which renovates every thing, renews the soul as it were. There
are various kinds of pra1')ava - sakta pra1')ava, saiva prQ1')ava and
Vedic pra1')ava. It is used as mantra which means a sacred
formula which protects one by reflection (mananat trayate iIi
mantraM.
The Vedic pra1')ava is aum which is repeated as a powerful
mantra. Svacchanda Tantra describes in detail the various
saktis or energies of aum. It tells us how by the recitation of
aum, there is the upward functioning of pra1')a (the llfe force)
and ascension of KU1')rjalinl.
In SQivagama, it is maintained that universal consciousness
(samvid), in the process of manifestation, is at first transformed
into pra1')a or life force and that is how life starts. On the arc
of ascent, by the proper recitation of aum, pra1')a again becomes
pure consciousness (samvid) while the empirical consciousness
(citta) returns to its essence, the absolute consciousness (citi).
Dharaoa No. 19 described succinctly in verse 42 and touched
up~n briefly in verses 154-156 of Vijiianabhairava tells us how
the uccara or upward movement of pra1')ava, from gross utterance,
to subtle vibrati?n (spandana) and finally to mental reflection,
leads us on to Siva-consciousness. A detailed description of this
dhara1')ii is given below':
By a long practice of true and concentrated uccara of aum
the energy of breath is introverted in the form of madhya sakti
or middle energy known as hamsa or kU1')rjalinl which rises in
eleven successive movements without the least effort of the will.
These movements are given below :
l' to 3 : The first three movements consist in the recitation of
Introduction xxvii

a, u, m-'A' is to be contemplated in the navel, 'u' in the heart,

'm' in the mouth.
A, u, and m are recited in the gross form. The time taken in
the recitation of each of these is one matra or mora.
4. After this appears bindu which is nasal resonance indicat-
ed by a point in ai and which symbolises concentrated energy
of the word. The phonemes rest in it in an undivided form. It
is a point of intense light. Since there cannot be any gross
utterance of the mantra after au';', the bindu becomes from
this stage an activity which operates by itself. Henceforward,
there is no utterance but only the rise of the pra"ic energy in a
subtle form of vibration (spandana) which becomes subtler and
subtler as it proceeds onwards. The energy of the bindu appears
as a point of light in the middle of the eye-brows. The subtlety
of the pra"ic energy in bindu measured in terms of time would
be i of a matra or mora. The time occupied in uttering a short
vowel is called a matra. K~emarija in his commentary on the
fifth verse of Vijiiiinabhairava says that bindu is a point of
light which is identified in an undivided form with all objective
phenomena.
S. Now bindu is transformed into nada (subtle, inarticulate
sound), and the predominance of objectivity inherent in it
gradually disappears. It then assumes the form of ardhacandra
(half-moon) and appears in lalala or the forehead. The subtlety
of its vibration consists in 1 of a malra or mora.
6. After this, when objectivity inherent in bindu completely
disappears, the energy assumes the form of a straight line and
appears in the upper part of the forehead. The subtlety of its
vibration consists in 1/8 of a matra. It is known as nirodhika or
nirodhinl (lit., that which obstructs). It is so-called, because it
prevents the undeserving aspirants from entering the next
stage of nada and the deserving ones from slipping into dualism.
7. Nada. It is a mystical resonance and extends from the
summit of the head and expands through the sUiUmllii i.e. the
central channel. It is anahata i.e. spontaneous .sound, not
produced by percussion and is inarticulate. It never sets i:e. it
always goes on sounding in all living creatures.
The subtlety of its vibration consists in 1/16 of a matra.
xxviii ViJiianablulirara

8. Nadanta-This is an aspect of energy beyond niida. It is

extremely subtle and resides in brahmarandhra which is a little
above the top of the head. The subtlety of its vibration consists
in 1/32 of a matra.
After the experience of this station, the sense of identification
of the Self with the body disappears.
9. Sakti or Energy in itself. There is a feeling of ananda or
bliss in this stage. Its matra is 1/64. Sakti is said to reside in
the skin.
10. The next stage is that of vyapinlor vyapikii. It is all-
penetrating energy and fills the cosmos. K~emaraja says that in
this the limits of the body are dropped and the yogi enjoys the
experience of all pervasiveness like the sky. It is said it is ex-
perienced at the root of the !ikhii or tuft of hair on the head.
Its matra is 1,128.
11. Samana- When *e vyapinl stage is reached, all spatial
and temporal limitations have been overcome, and all objectivity
has disappeared. Then the stage of samana is reached which is
only bodha or the energy of illumination which is, as K~maraja
puts it, only an activity of thinking without any object of
thought. (mallanamatratmaka-kara~ar;;'pa-bodhamatravaseie
samanii com. on V. 5 of V.D.) Samanii resides in the sikhii or
tuft of hair on the head. Its matra is 1/256. It is through this
sakti that Siva carries on the five acts of manifestation, main-
tenance and withdrawal of the universe and veiling of Self and
revealing of Self through grace.
If the yogi who has reached the stage of samana directs his
attention towards the universe, he acquires the supernormal
powers of omnipresence, omniscience, etc., but if he is indifferent
towards these powers, and directs his attention to still higher
realm of existence, he reaches unmana sakti and is then united
with parama ,~;va-Absolute Reality.
The yogi who rests contented in samana saict; has only atma-
vyapti which is explained by K~emaraja as suddhavijiianakevalata
i.e. the isolation of pure consciousness. (Svacchanda Tantra
p. 246). He cannot attain Sil'avyapti which is the state of
identification with parama-Siva.
13'. Unmana. The stage above samana is unmana. It is the
ultimate energy beyond all mental process. K!Jemaraja explains
Introduction xxix

it thus-unmanam-utkriintam-utkar/am ca manab priiptam

yatra tadunmanam i.e. 'unmanii is that state in which manas or
mental process is transcended and it reaches its highest excellence ..
Unmanii is the highest silnya (void), not sunya in the popular
sense, but in the sense of the disappearance of all objectivity. It
is Sattiimatram which, as K~emaraja explains, is the Light of
Universal Consciousness which is the fount and source of
every thing.
According to some it is to be contemplated in the last part of
the tuft of hair on the head, and its matrii is 1/512. According
to Svacchanda Tantra, however, it is amatra, without any
measure, for being outside the province of manas (mentation), it
is beyond time. .
As has been said above, the yogi whose consciousness rises
only upto samanii has iitmavyiipti only i.e. he has an experience
of the pure Self completely freed of limitations of miiyii and
prakrti. But this is not the highest goal of man according to
Saivigama. According to it, the highest goal is §iva-vyiipti or
§ivatva-yojanii-identification with §iva who is all-inclusive. It is
only by rising to the stage of unmanii that one can be identified
with the sviitantrya-sakti (absolute freedom) of parama §iva.
Manas (mental process) is characterized by samkalpa-deter-
minate thought and purpose. and the knowledge obtained by
samkalpa is in a successive order being in time whereas unmanii
which is above thought-process and is identified with sviitantrya-
sakti knows all things simultaneously (manab kramato jniinam,
unmanam yugapat sthitam, vindate hyatra yugapat sarvajniidi-
gw)iin pariin. Svacc. Tantra V. 394-395).

CONCLUSION:

Vijiianabhairava gives the quintessence of all the dhiira!liis in

the following verse :
"1fTi'Rt ~ IIlf'di(lciU ~cr :qgue4'{ I
zm-m qfuftvf tm cr<;: ~ "'!: II" (838)
Citi, the dynamic universal consciousness in its descent
towards manifestation assumes four forms for appearing as a
limited individual viz; (I) Cetanii which, as Sivopadhyiya
xxx VijiUinabhairava

explains in his commentary, means buddhi in this context (2)

minasa-manas with its characteristic activity of stl1flkaipa or
thought-constructs (3) sakti which, in this context, means
prii1J.alakti which constitutes the support of the body and
empirical life, and (4) iitmii which, in this context, means
jlviitmii, the ego or the empirical self conditioned by the
above three.
This is the arc of nime,a or avaroha-descent of the dynamic
universal consciousness (citi) into individual human life. It is
only at the human stage that unme,a or adhyiiroha-ascent
towards the higher life is possible. When the above four are
dissolved (parikll1J.am) into cit (the Higher Universal Divine
Consciousness), -it is only then that one attains to bhairava-
consciousness.
K~emarija in his commentary on 21st nitra of section III of
the Siva-Jutras quoting this verse says, AvikaipakarupeIJD ...
sa",vedanena. . . samiiviset. Kldrk? magnab iiirlraprii1J.iidipra-
miitrtii", tatraiva citcamatkiirarase majjanena praliimayan.
"One has to enter the divine consciousness by thought-free,
non-relational awareness. How? By dissolving the personal self
consisting of the body, prioa, etc. in the savoury sap of the
Universal Divine Consciousness."
The chrysalis of the ego has to split before one can enter the
sanctum sanctorum of the Divine Presence. In the words of
Kathopani~ad Yogab prabhaviipyayau Yoga is both dissolu-
tion and emergence-both death and rebirth. One has to die to
live. It is a divine filiation and cannot be described in any
human language, for it is reality of a different dimension. In the
beautiful words of Dr. Anand K. Coomaraswamy. "The con-
dition of deification is an eradication of all otherness." It is for
this consummation that 112 dhiira1Jlis have been described in
VijRiinabhairava.
 VERSE 1

~~
~ ~ qqor ri UQIQ\1"",,CII'!.
fGllifi1411Qlllqol "I(I~"'(~: It,,,
iIRIlfq ~ f;mn ~ ~n: 1Rii~ I
•
Sri devy uvaca:
SrutalJl deva maya sarvalJl rudrayamalasambhavam I
Trikabhedam asel?eoa sarat saravibbagasal}. II 1
Adyapi na nivrtto me salJlsayal;1 paramesvara I
TRANSLAnON
Bhairavi,l the sakI; ofBhairava2 says (uvaca) 0 devol (divine
one) who in manifesting the universe and treating it as your play
are my very self, I have heard in toto all the scriptures whIch
hav~ come forth from the union of Rudra' and his pair saktili or
which are the outcome of Rudrayamala Tantra, including the
Trika together with its divisions.' I have heard the Trika which
is the quintessence of all the scriptures and also all its further
essential ramifications. 7
But 0 supreme Lord, even now my doubt has not been
removed.
NOTES

1. Bhairava is the word used for Supreme Reality .. Its

synonym is Parama Siva. Bhairava means the terrible one who
destroys the ego. The word Bhairava consists of three letters
bha, ra and va. The hermeneutic etymology of Bhairava
gives the following interpretation:
'Bha' indicates bhara~a-maintenance of the universe; "ra'
indicates 'ravaoa'-withdrawal of the universe; 'va' indicates
'yamaDa-projecting or letting go of the universe i.e. manifesta-
tion. Thus, Bhairava indicates all the three aspects of the
2 Vijiianabhairava

Divine, viz., snti (manifestation), sthiti (maintenance) and

saQ1hira (withdrawal).
Bhairavi is the sakti of Bhairava. The works of Agama or
Tantra are generally written in the form of a dialogue between
Bhairava and His sakti Bhairavi or between Siva and His consort
Pirvati or Sivi. In all these works, Bhairavi or Sakti puts a
question in the form of inquiry and Bhairava or Siva answers
the question raised.
This is the Indian way of saying that these scripture. are a
revelation. A relevant question arises in this connexion,
"Bhairavi or Sakti of Bhairava is non-different from Bhairava;
then what is the sense in a dialogue between the two? It
requires two to enter into a dialogue, but when Bhairava and
Bhairavi are non-different, (i.e. are not two), how can there be a
dialogue between them 1" The answer is that anugraha or grace
is one of the five aspects of Bhairava (snti, sthiti, saQ1hira,
tirodhina, anugraha). His anugraha is represented by His
sakti. In order to extend His grace to humanity, He reveals
certain fundamental spiritual truths which may be inapprehen-
sible to man in his present stage of evolution. AI~ these truths
lie in a latent form at the pariiviik level where object and word,
truth and its manifestation, idea and its expression are in an
indistinguishable unity. In order that these truths may be avail-
able to man, the anugraha (grace) aspect of the Supreme Divine
assumes the role of Devi or Bhairavi who puts questions from
the paJyanll level and receives answers at that level. Both the
questions and the answers are transmitted in vaikharl form
(human language) in order that man may be able to comprehend
them. The dialogue between Bhairava and Bhairavi is a metho-
dological device for revealing truths existing at the parivik level
in lIaikharl or human language. A dialogue containing questions
and answers is the most realistic and lively form of bringing
home to the listener or reader subtle truths which are not easy of
comprehellsion.
2. The word in Sanskrit is uviica which is past tense and
means 'said', but as the question is perennial and the answer
contains eternal truth, it is taken in the sense of present tense.
The parav4k level is beyond the category of time. So the division
of past, present, future, month. year, etc. cannot be applied to it.
VijRtinabhairava 3

At the pasyantllevel, the para level appears anterior. Therefore

the truth of para level is expressed at the pasyantl level in past
tense. Time is relative only to limited beings. To the Divine,
there is no division of time. In his case, it is eternal now.
3. The word deva is derived from the root div which has
many meanings, to manifest, to play, etc. K,emarija in
his commentary on this word says, "~iRiRf",~,,"fcijd"" ~..
"0 my very Self whose nat~re it is to display His sport in the
form of the manifestation of the universe. The devl calls deva
as 'my very Self', because the devl is not different from the deva.
4. Rudra: Bhairava or Siva is called Rudra, because ru
stands for ruk (disease), and dra stands for dravi (melter,
dissolver). As K,emarija puts it Rudra is samaslarugdravi.
Rudra is one who dissolves all the ills (of life).
S. Yamala means ·pair.' K,emaraja says "Rudratacchakti-
samarasyatmano yamalat" i.e. Yamala connotes the union of
Rudra and His Sakti i. e. prakasa and vimarsa. It is in this
aspect that the highest scripture is revealed. He quotes tho follow-
ing verse in support of his statement:
~<=6(!f.n'~I"'$I~alf,ogqIN (itCfiI (vila... I
.
6Cif;r~ f.. f'1 6 'Jji1;d wmt 1R1J~'lI{ II

"The most inaccessible scripture has come out in the form of

word from Siva who is the supreme source, who is free of all
division and agitation and whose form is invisible.
Rudrayamala is also the name of an ancient Tantrika work
which has not yet been properly edited.
6. Trikabhedam: K~emaraja explains this in the following
words: '·fii('i1illl' If'URmur.rljijl VI (Illfffi-fl/lqlcit'1+dtf4i;1lH4 ~) mor-
f-.iImm~IHia(lf«Sifd4I<=~'1 fuuit1iffiT lRf I"
Trika denotes the triple divisions of Sakli, 'viz; para (phase of
highest identity, transcendent), parapara (identity in difference;
intermediate), and apara (immanent). This expresses itself in the
triple division of Siva, Sakli and nara (jlva--living creatures).
This division is further complicated by the fact that in apara or
nara -level, only kriya (activity) is predominant, in parapara or
4 Vijiiiinabhairava

Sakti level and in para or Siva level bothjiiana and kriya (know-
ledge and activity) are predominant.
It should be borne in mind that the sphere of nara extends
from prithivl tattva to miiyii tattva; the sphere of sakti extends
from §uddha vidyii upto Sadiisiva and the sphere of Siva includes
only Siva and Sakti.
7. Siiriit-siiravibhiigaSaq.: Trika is the siira or quintessence of
all the scriptures. In support of this K~emaraja quotes the
following verse:

~'Rf: IR. wct. ~1f ~ ~fllfVTl£ I

~fAr~: ~ ifi1{"1IN<a( ~ II

"The (dualistic) Saiva system is superior to the vedas and

other scriptures, the system pertaining to the left-handed path is
superior to the (dualistic) Saiva one: the system pertaining to
the right-handed path is superior to the left-handed one; the
Kaula system is superior to the right-handed one and Trika is
superior to the Kaula system. "Since Trika is superior to every
other system or scripture, it has been designated as siira, the
quintessence of all philosophical systems and spiritual praxis.
The (dualistic) Saiva system is characterized by external rituals.
In viima or left-handed path, the emphasis is laid on Self-conscious-
ness in the midst of sensuous experience of form, sound,
touch, taste and smell. In dak#1Ja or right-handed path, empha-
sis is laid on meditation. In Kaula system, the emphasis is laid
on the realization of universal consciousness. In Trika, the ideal
is not only the realization of the essential or divine Self but also
jagadiinanda in which the world is realized as the bliss of the
Divine made visible.
What is siiriit-siiravibhiiga i. e. further essential ramification
of the above quintessence? This is what K~emaraja has to say
on his point.
emf" f~~~~ monri!li,"ll'iw)~~ ~iI!~~ The correct
reading is (fenfll' f~~Prf1flIi1fTf~~~nt m~lqaijl",ql('!. ~ I Even
here (i. e. even in Trika) there is the successive gradation of high,
higher and highest on the basis of the teaching of successive pre-
.eminence . of jiiona (gnosis). Siddhii emphasizes Kriyii (rituals and
 Vijiianabhairava s
active meditation); Niimaka emphasizes Jnana (knowledge);
Malini emphasizes both jiima and Kriyii. These constitute
further division in Trika.
THE ORDER OF PRESENTATION OF THE SUBJECT
MATTER
From the first verse beginning with 'SrutalP deva' upto the
seventh verse, ending with 'chindhi salP§ayam', the devl enume-
rates her doubts. From 'sadhu, sidhu,' a part of the seventh
verse upto the 21st verses ending with Sivab priyo, Bhairava
, briefly answers her questions. Then from the 22nd verse, begin-
ning with Deva, deva upto the 23rd verse, ending with brilhi
bhairava, the Devl requests Bhairava to expound to her the
means by which one can realize the Highest Reality.
In answer to the above inquiry from 24th upto 138th verse,
Bhairavaexpounds to her 112 dhiira1)QS or types of yoga by which
one can realize the Highest Reality. After this, the Devi raises a
few more questions, and Bhairava answers them. Finally, the
Devl expresses her satisfaction over the answers and becomes
united with Bhairava.
VERSES 2-4.

fili ..t ~ .~ 1I.'c(I~litiE'llqq1 II ~ II

r. en "'Uf¥I'"' ,,«.hCilltldl I
ftmmitf1Ri cn fiIi en IIlfitiilQIMiti'l II _ ..
.. Icf.,qq ~ fiIi ;!jiJ',if.,I()r..... r: I
...IWq.... en r.. cn ........ +'4..1 II Y II
Ki lP riipaQl tattvato deva §abdara§ikalamayalP II 2
KilP va navatmabhedena bhairave bhairavakrtau I
Tri§irobhedabhinnalP va kilP va §aktitrayatmakam II 3
NadabindumayaQl vapi kilP candrardhanirodhikab I
Cakrarii9ham anackalP va kilP va §aktisvariipakam II 4

TRANSLATION
Oh God, from the point of view of absolute reality, what
exactly is the essential nature of Bhairava ? According to
6 VijRiinabhairava

Bhairava Agama (Bhairave2), (I) does it consist of the energies of

the multitude ofIetters (sabdariisikaliimayarrz3) 1 or (2) does it
consist of nine different forms(naviitmabhedena)4 for the realization
of the essential nature of Bhairava (Bhairaviikrtau) ? (3) or does
it consist of the specific mantra that unites in an integral form
the three divisions as delineated in Trisirobhairava 5 (trWrobhe-
dabhinnam) (4) or does it consist of three Saktis6 (presiding
over the previously mentioned three tat/a vas) ? (5) or does it
consist of niida (power of mantra inseparably present as vimarsa
in all the words) ? or of vindu (power of mantra inseparably pre-
sent in all the objects of the universe as Prakiisa7 (6) or does it con-.
sist of ardhacandra, nirodhikii8 etc 1 (7) or does it consist of some
mysterious power l"esiding in the Cakras (energy centres in the
body) ? or the vowel-less sound of ha?9 (8) or does it consist of
purely Sak ti 110

NOTES

l. 'Bhairavakrtau' does not mean 'Siva of terrible form.'

'Bhairavakrtau' means Bhairal'asvarupiiya. It is a locative case in
the sense of nimitta (purpose). So 'Bhairavakrtau' means for the
realization of the svarupa or essential nature of Bllairava.
2. 'Bhairave' here means in Bhairava Agama, according to
Bhairava Agama.
3. The first question of the Devi is: The world consists of
objects. Each object is denoted by a word (Sabda). Sabda-riisi
is the multitude of words which is according to the Sanskrit
language, from 'a' ( ar ) to 'k~a' (Ift"). Kalii means the vimada or
creative energy of the Divine. These energies are anuttara,
iinanda, icchii, jRiina and kriyii. By these are created the various
letters from 'a' to 'k$a'. These letters give rise to the various
tattvas (constitutive principles) of which the universe is constitut-
ed. For detail, see the author's translation of Siva Siitras.
Note No. to under Sutra 7 of the II section.
The letter 'A' indicates Prakiisa or Siva, the letter 'Ha' indi-
·cates vimarSa or Sakti. Thus Aha", includes all the letters of
the Sanskrit alphabet. This Allam or 'I' denotes the Highest
VijRiinabhairava 7

Reality in which there is complete union of Siva and Sakt;, and

which includes the entire subjective and the objective world.
The Divine in His aSJ)C':t of non-manifestation is known as
Parama Siva or Bhairava or Parama Brahma, in ais aspect of
manifestation, the Divine is known as Sabda Brahma. In this
first question, the Devi wants to know whether VijRiina or Bodha
Bhairava is Sabda Brahma.
4. The second question of the Devi is whether the essential
nature of the Supreme is of nine forms (navatma) of mantras.
These as described in Netra Tantra are the following:
(I) Siva, (2) Sadasiva, (3) Uvara, (4) Vidya, (5) Maya,
(6) Kala, (7) Niyati, (8) Puru~a, (9) Prakrti. According to others,
these are (1) Siva, (2) Sakti (3) Sadasiva, (4)Isvara (5) Sqddha
Vidya, (6) Mahamaya (7) Maya, (8) Purulja-(9) Prakrti. These are
nine forms from the point of view of tattvas (constitutive prin-
ciples). From the point of view of mantra, the nine forms are
1. ~ 2. \ 3. Iif, 4. '{ 5. ~ 6. '{ 7. I{ 8. U{ 9. 0: (II{)
5. Trisirobhairava is the name of a Tantra work which is now
lost. It summarizes the entire manifestation under three broad
categories viz., Siva, Sakt; and Nara Utva or living being). In the
third question, the Devi wants to know whether the nature of
the Supreme consists of the integral combination of these three
categories as symbolized by the mantra saub (m:). This specific
mantra is known as Parablja, Hrdaya blja or Prasada. Sa (U)
of this mantra symbolizes the tath'as from earth to maya ( 31
tattvas of Saiva philosophy); au (q\) symbolizes Suddha v;dyii,
/svara and SadiiJiva and the two dots of the visarga (:) symbolize
Siva and Sakti. For details, see the author's Note No. 2 under
the first Sutra of the Second section of the Siva-sutras.
Now of the three categories of Nara, Sakti and Siva the 'S' (~)
of the mantra Saub. (m:) covers Nara, au (m-) covers Sakti, and
the visarga (b.) covers Siva. So the 31 tattvas of Saiva Agama are
covered by Nara,· the three tattvas viz.• Suddha vidya, /sl'ara and
SadiiSiva are covered by Sakti, and the other two tattvas are
covered by Siva.
6. In the fourth question, the Devi wants to know whether the
nature of the Supreme consists of the three Saktis-Para (trans-
cendent in which there is no distinction of Siva and Sakti). Apara
8 VijRiinabhairal'a

(immanent) and Pariiparii (Intermediate between the two) presid-

ing over the categories or principles mentioned above (in Note
5). The s~'iitantrya sokti (severeign power) of the Divine is known
as parii (transcendent), that very ,~akti wishing to create a
universe of successive order is known as paraparii (both para
and apara) and appearing as a universe of successive order is
known as aparii (immanent).
7. Nada in this context means the vimoria present in all the
words (vacaka) and vindu means the prakiisa present in all the
objects (viicya).
As K~emaraja puts it in his commentary, Yadi vii sarvamantra-
cakra-siimiinyaviryiitmaka-viSvaviicyiivibhiiga - prakiisaritpavindu
ase~aviicakiivibhiiga-vimarSa-pariimarSamayoniidiitmakam.
In the fifth question, the Devi wants to know whether the
essential nature of Bhairava is niida-vindu-vindu which symbolizes
light or prakiisa (Siva) and which is present in an undivided form
in all objective phenomena and niida which symbolizes vimarSa
sakti that is present in an undivided form in all the words (which
signify objective phenomena).
8. In the sixth question, the Del'l wants to know whether the
essential nature of Bhairava consists of ardhacandra nirodhikii
etc. which are a further proliferation of niida-vindu. Nirodhika
in the plural (nirodhikiib) is meant to express 'et cetera'. The 'et
cetera' refers to niidanta, Jakti, vyapinl, samanii, and finally
unmanii.
Villdu (a point) which is present as undivided light in all
objective phenomena ( viicya ) is transformed into nuda (interior
sound). As has been said above, Vindll is concerned with object-
ive phenomena (l'iicya). When it is transformed into niido, the
predominance of objectivity is slightly diminished, then arises
the stage of ardhacandra where sakti appears in a curved form
like demimoon. After that when the curved nature of all objecti-
vity ceases completely, then arises nirodhikii, of the form of a
straight line. Nirodhikii means obstructer. This energy is so
called because she obstructs undeserving aspirants from entering
into nuda, and prevents the deserving ones from straying away
into the state of difference. When the pervasion of niida by letter
begins to abate, then the next stage of energy is known as
 Vijnanabhairava 9

nadanta which is characterized by extremely subtle sound and

which meanS the termination of the stage of nada. When the
stage of nada ceases completely, then the· next stage is that of
Sakt; which is characterized by a sensation of spiritual' delight.
When that sensation of delight is not confined within the limit
of the body, but expands all round like the sky, then that stage
is known as Vyapinl (i. e. all-pervasive).
When the idea of all positive and negative existents ceases
completely and only manana or the faculty of mentation remains,
then the stage of samana is achieved.

Finally appears the unmana stage which transcends all

mentation, which achieves Siva-consciousness and is characterized
by the consciousness of unity of the entire cosmos. Here there
is the unison of Siva and Sakti. This is the stage of,Parama Siva
who is ni~kala or transcendent.

The first question is concerned with 'matrkii, the second and

third are concerned with mantra, the fifth and sixth are concerned
with mantra-vlrya or power of mantra. The fourth is concerned
with the three Saktis of the Divine.
9. In the seventh question, the Devi wants to know whether the
essential nature of Bhairava is some mysterious power present
in the cakras (energy-centres)in the form of letters or is it anacka
i. e. vibrating as vowel-less ha in the form of pralJaku~uJalini.
Pra~lasakti present in Su~umna ceaselessly and spontaneously goes
on vibrating as ha in a vowel-less form. This is known as
anacka kala of pralJasakti. It is known as anahala niida i. e. a
vibration without any stroke or blow. It goes on vibrating
spontaneously. No body produces it and nobody can prevent it
from vibrating. It is known as ha'1'lsa or pralJakulJf}alini.
10. In the eighth question, the De}'i wants to know whether
the essential nature of the Supreme is pure changeless Energy
(Sakti).

CakraruQha may also mean "Is it KUIJQalini situated in the maliidhiira

cakra" or "Is it the Aham or the divine I-consciousness resting on the
cOllective whole (calera) of letters beginning with 'a' and ending with 'ha" '?
10 VijRanabhairava

VERSES 5-6

q<Iq(ICU: ~ ~q<jqR'" ~ T': I

~ IfR dlN41ct IRR dr.,sqd " v. "
;d( ~-Rfu qfu ~ ,,~ I
IRR, r. .6ltIE'li"l0f, ~ Of ~ " , "
snm ~ " 0fN A:~ ftgf;u ~ I

Paraparayab. sakalam aparayasca va punabl

Paraya yadi tadvat syat paratvaIJl tad virudhyatell 5
Nahi varoavibhedena dehabhedena va bhavetf
ParatvaIJl, ni~kalatvena, sakalatve na tad bhavetll 6
PrasadaIJl kuru me natha nibse~aIJl chindhi saIJlsayaml1
TRANSLATION
(The Devi puts a further question)
Is the nature of parapara sakli (transcendent-cum-immanent
Energy) and apara sakli (immanent Energy) sakala i.e. consisting
of parts or is the nature of para sakli (transcendent Energy) also
sakala ? If the nature of para sakli (transcendent Energy) is also
sakala, then it would be incompatible with transcendence. l
Paralva or transcendence cannot be consistent with the divi-
sion of letters and colour or of bodies (na hi varIJavibhedena,
dehabhedena va bhavel paratvam) ; paratva or transcendence con-
sists only in indivisibility (niikalalvena); it (transcendence) cannot
co-exist with sakala (a composite of parts) (sakalalve na lad-
bhavet).s Oh Lord bestow your favour on me, and remove my
doubt compietely.
NOTES
1. Parii, pariiparii, aparii.
SviiJantrya sakli, the Absolute Sovereign power of Parama
Siva is para i. e. transcendent. Every thing at that level is in
the form of salflvit or consciousness. This is the level of
absolute non-dualism (abheda). This is parama Siva's para sakti.
Where there is bhediibheda i. e. both identity and difference or
identity in difference that is known as pariiparii sakli. Just as
an elephant or a city seen in a mirror is both identical and
different from the mirror, even so is the position of pariiparii
Vijiianabhairava 11

sakti, Where everything appears as difterent from each other,

that is the level of apara sakti.
2. There can be Sakalatva or aspect of division in paraparii
and apara. If sakalatva or divisibility is assumed to be an aspect
of para also, then that would be incompatible with the very
nature of para which is completely transcendent to division. In
ParitriIl1siki. etc (p. 124) does the sakala aspect which has been
described for the meditation of certain mantras concern only
apara devl and parapara devl or also para devi? If it concerns
para devl also. then it would be flagrant contradiction in terms.
for by its very definition para is niikala or transcendent to divi-
sion or parts. How can sakala go with ni$kala? This is what
the Devl wants to know.

VERSES-7-10

~~
~ "'"! lIqq'I ,1Si Et~8Id~", fri "" II
'!I!;ftqnti wi R'fTfir ~ ~ I
~~ . " ~ Sflh'''aa" II ~
c; II
Etii(8i(MI ~ ~ iliiil\1ii""" , ~

.uql+CIuV\qti ' " 1PU'I("'I(Qqq .. t ..

.
~ VPd1f~ f'lilf" .... (ClJrd'1lq
~q ~VRi;m ~.,I!"I('q.,I't II
~
I
'0 II

Bhairava uvica
Sidhu sidhu tvayi pr~tarp tantrasiram idam priyell 7
Giihaniyatamam bhadre tathipi kathayimi tel
Yatkiiicit saklam riipam bhairavasya prakirtitaml! 8
Tad asiratayi devi vijiieyam sakrajilavatl
Mayisvapnopamarp caiva gandharvanagarabhramamll 9
Dhyinirtham bhrantabuddhinirp kriyi~ambaravartinim!
Kevalam vargitam purpsim vikalpanihatitmanimll 10
TRANSLATION
Bhairava said
Good! Good! Dear one. you have put questions which pertain
to the very quintessence of Tllotra. Though. the matter is
12 VijRanabhairava

most esoteric, oh auspicious one, yet shall I explain it to you.

Whatever has been declared to be the composite form (Sakala)1
of Bhairava, that oh goddess should be considered as insub-
stantial (asarataya), as phantasmagoria (lit. as the net of Indra),
as magical illusion (maya), as dream, as the mirage of a town of
Gal'Jdharvas z in the sky. The sakala aspect of Bhairava is taught,
as a prop for meditation, to those who are of deluded intellect,
who are interested in ostentatious performance of rituals, it has
been declared for those people who are a prey to dichotomising
thought-constructs (vikalpanihatatmanam). 3

NOTES
1. All manifestation from gods down to the mineral is
known as sakala. Sakala is the sphere of maya tattva. It con-
sists of bheda-difference or division. The essential nature of
Bhairava cannot be known by means of sakala which consists
of difference and division.
2. Gandharvas are said to be celestial musicians who are
believed to have their town in the sky which is entirely imaginary
even so is the sakala form of Bhairava.
3. If the reading is taken as vikalpanihitatmanam it would
mean 'who are established in dichotomising thought-constructs'.

VERSE 11-13

~;r .,Cii('44iwt lfiiiHihi;f~: I

;r;rAft ftmm ~ ;r ;{ lfif-dl6iQitlAi: II " II
.,n(fti'ii~ Ci1N ;r 'ifiinif.i~fQ"'t: I
;r .......m...n ;r .. mtMCi..."': II , ~ II
~ar.rt r, 'tM ~~: I
'"E!'"''''~ ~fQ,q,!~ft't II , ~ II

Tattvato na navatmasau sabdarasir na bhairavabl

Na casau trisira devo na ca saktitrayatmakabll 11
Nadabindumayo vapi na candrardhnirodhikabl
Na cakrakramasambhinno na ca saktisvariipakabll12
Aprabuddhamatinarp hi eta balavibhi~ikabl
Matrmodakavatsarvarp pravrttyarthaQ1 udahrtam)ff 13
Vijnanabhairava 13

TRANSLATION

In reality, Bhairava is neither of the form of nine (navatma),

nor a multitude of letters (sabdarasl) nor of the three heads
(triSira) nor of three saktis, nor consisting of niida and bindu,
nor of ardhacandra, nirodhika, etc., nor is His essence concerned
with the piercing of the (six) cakras, nor does sakti or Energy
constitute His essence. l
(Then why have these been described by the scriptures as
Bhairava's essence at various places ?)
The above concepts are used for those whose intellect is not
yet mature enough to grasp Reality (in its highest aspect), Just
as a bogy is used to frighten away children from their obstinacy
for getting some worthless or undesirable thing. These concepts
play the same role as the bonbon of the mother. They are meant
to induce the aspirants to tread the path of righteousness and
spiritual practices in order that they may ultimately realize the
nature of Bhairava which is non-different from their essential
Self.2

NOTES

1. For the explanation of the various alternatives given above

see the notes under the verses 2-4.
2. As a bogy is used to frighten away children from their
obstinacy for getting a .vorthless and undesirable thing, even so
these concepts are used for dissuading men from sense-pleasures.
As mothers offer a bonbon to children to induce them to pursue
a right course, even so these concepts are used to induce men, to
tread the path of righteousness.

VERSES 14-17

..
~.U!l'f4itlic(lfian ~qtf: II «t't II

. ..
Ilm'\": ~,""",;qT fC(lfi~);q~,,);:m I
~ ~Nim ~ ~~: II «t~ II
14 Vijiianabhairava

ffi¥dic4€il it.i ~ mccj(Ol't I

~ -R ~ ~: 'A~: ~"" C1Qffff II ,,, II
~t ,,~ qmvn qftq1tfct I
m q'U, ~~.n SlltIlf(lffl II ,,, ..

Dikkalakalanonmukta desoddesavise~iQi/
Vyapade~tum asakyasav akathya paramarthatal}./1 14
Antal}. svanubhavananda vikalponmuktagocara/
Yavasthft bharitakara bhairavi bhairavatmanab.II 15
Tad vapus tattvato jiieyarp vimalarp visvapiiraQam/
Evarpvidhe pare tattve kal}. piijyal}. kasca trpyati/ /16
Evarpvidhft bhairavasya yavastha parigiyate/
Sa para, parariipeQa para devi prakirtita// 17
TRANSLA TION

[If the sakaTa aspect of Bhairava does not reveal His essen-
tial nature, then what is His ni$kaTa aspect by knowing which
one may have an idea of His paravasthO (the highest state).
Bhairava now describes the ni$kala (transcendent) aspect of
the Supreme in the above four verses].
Paravastha (the highest state) of Bhairava is free (unmukta) of
al\ notions pertaining to direction (dik), time(kala), nor can
that be particularized (avise$i{li) by some definite space (dda) or
designation (uddda). In verity (paramiirthatalz) that can neither
be indicated (vyapade$!um asakyii) nor described in words
(akathyii)1.14
[Then is it impossible to have any experience of her? Bhairava
anticipates this question and answers that in the fol\owing
verse].
One can be aware of that only when one is completely free of
aU thought-constructs (vikalponmukta-gocara). One can have an
experience of that bliss in his own inmost self (when one is
completely rid of the ego, and is established in piir{lahanta i.e.
in the plenitude of the divine I-consciousness).2
That state of Bhairava which is fuIl of the bliss of non-differ-
ence from the entire universe (bharitakiirii)3 is alone Bhairavl or
Sakt; of Bhairava. 15
Vijiianabhairava 15
That should, in verity, be known as His essential nature,
immaculate (vimaialTl)' and inclusive of the entire universe
(visvapura/Jam). Such being the state of the highest Reality, who
can be the object of worship, who is to be satisfied with
worship.616.
That ni/kala state of Bhairava which is celebrated in this way
is alone the highest state. That is declared as parii devl, the
highest goddess, parii or highest not only in name, but because
that is actually her highest form (pararupe/Ja).17

NOTES
I. K~emaraja in his commentary (viv!ti)says that vyapadei/um
a.sakyii (cannot be indicated) hints at the fact that she cannot be
talked about even in madhyamii (subtle) speech (madhyamiijalpii-
vi/ayii), and akathyii (indescribable in words) hints at the fact
that she can far less be described in ordinary human language
(vaikharyiipyavyiivar/Jiyii).
2. The 14th verse hints at the highest state of Bhl\irava in
a negative way. It transcends direction, time, space and desi-
gnation. It cannot be characterized or described in any human
language.
The 15th verse hints at that state in a positive way. It says
that though it is beyond description, it is not beyond experience
(anubhava). There are two indispensable conditions (both of which
are interconnected) under which one can have an experience of
it. (I) It can be within the range of experience if one can rid
oneself of all thought-constructs (vikalponmuktagocarii). The
activity of mind consists in all kinds of thought-constructs. When
one can get rid of thought-constructs, the mind is stilled. In
that hour of silence emerges the essential Reality from behind
the veil. It is the mind that acts as a veil, a barrier, a screen.
Mind is the slayer of the Real. Truly has it been said "Be still,
my heart, and know." (2) If one can get rid of the ego, the false,
artificial 'I' and take a plunge in his inmost essential Self, he will
have the experience of a delight which beggars description, a
peace that passeth all understanding (anta{l sviihubhaviinandii).
Truly has it been said "He saveth life who loseth it."
16 VijRiinabhairava

This is siimbhava yoga. Though the pariivaslhii (highest state)

of Bhairava cannot be described, it can be experienced.
3. That state of Bhairava is plenary state, a universal, all
pervasive delight of creativity (bhariliikiirjj). It is this which is
His sakli or Bhairavi which is not exclusive of the universe but
inclusive of it. It is only when we miss the whole and cling
to the part, the sakala aspect of Bhairava that we stumble.
4. K~emaraja says in his commentary that Bhairava's essential
nature has been characterized as vimala (immaculate) because
thougb it manifests the universe on its :>wn screen, it is not
veiled by it (svabhilyiibhiisita-jagadaniicchiiditam).
S. When the essential nature of Bhairava is recognized as our
own inmost self, the distinction between the worshipper and the
worshipped disappears and there dawns a sense of non-dualism.
VERSES 18-19

ifIM.. fMd~ 811R:.~: "

.
OId+d4¥iafqma q(liflffli:~: II
. ,C; II
" 'fli~r~ 11M: amn~ ~~ I
~ fil.,efllql stl(.~S1i ~ .. ,t II

Sakti-saktimator yadvad abhedab. sarvada sthitab.1

Atas taddharmadharmitvat para saktib. paratmanab.11 18
Na vahner dahika saktib. vyatirikta vibbavyatel
Kevalarp jiianasattayam prarambho'yam pravesanell19
TRANSLATION
Since there is always non-difference between Sakli l and posses-
sor of sakti (saktimiin) therefore being -endowed with His (i.e.
Saktiman's) attributes Sakli becomes the bearer of the same
attributes. 1l Therefore being non-different from para (the highest
i.e. Bhairava) she is known as para (the highest i.e. Bhairavl). 18
The burning power of fire is not accepted as separate from
fire even after full consideration (even so the pariiSakli is not
separate from Bhairava). Only it is described in a distinct way as
a preliminary step for the listener towards its knowledge (lit.•
towards entry into its knowledge)3 19
Vijiiiinabhairava 17

NOTES

1. Sakti means power, capacity to effect something.

2. Just as Bhairava has the attributes of omniscience, omni-
potence, etc., even so His SakI; Bhairavi has the same attributes.
3. The power of burning of fire is not anything separate
from fire. Only it is described separately so that one may get
acquaintance with fire after which one can find out its other
attributes. Even so pariisakli is not anything separate from para
(the supreme). Parasakti is described separately so that she may
prove as a first step towards the realization of para or
Bhairava.

VERSES 20-21

4''kQ''N'str~
fonCl,uii" """'" I
cmm ~'''''ct Weft ,!f1Ir..e.'iif4ft- II ~o II
qtq.W\~" ~ r¥(oj"MUq • I
smri\' r"f1.. ".tIlR CII'iWIftlQ'T ftR: fiN II ~, II

Saktyavasthapravi~lasya nirvibhagena bhavana I

Tadasau Sivarupi syat saivi mukham ihocyate II 20
Yathalokena dipasya kiral)air bhaskarasya ca I
Jiiayate digvibhagadi tadvac chaktya Sival.l priye 1/21
TRANSLATION
When in one who enters the state of Sakli (i.e. who is identi-
fied with Sakli), there ensues the feeling of non-distinction (bet-
ween Sakli and Siva), then he acquires the state of Siva, (for) in
the iigamas (iha), she (sakli) is declared as 'the door of entrance
(into Siva) (Lit., Sakli is like Siva'sface)l 20. Just as by means of
the light of a lamp, and the rays of the Sun, portions of space.
etc.- are known3 even so, Oh dear one, by means of Sakli is Siva
(who is one's own essential Self) cognized (i.e. re-cognized). 21
NOTES
1. Just as one recognizes a person by his face, even so one
recognizes Siva by His Sakli who is like His face.
 18 VijRiinabhairava

2. Et cetera included forms, figures.

3. There are three points suggested by this simile (1) ;ust as
the flame of the lamp is not different from its light; just as the
rays of the sun are not different from the sun, even so sakte is
not different from Siva. (2) Just as through the lamp or the sun.
objects of the world are perceived, even so through Sakti the
universe is known. (3) Just as to perceive the light of the lamp,
another lamp is not required; just as to perceive the sun, another
sun is not required; they are known by their own light. Even
so, Siva is known by His Sakti who is not different from him.
VERSES 22-23
..
'11~oqCijI"iiii
...,
~ fGllllflR= "" 'Mll'ItldfilltOI
... I
fci'~lIlifill'llll","
... .. cQq~lIlfCllCijr,,"d' II ~~ II
~ .rr(dlifil(l ~~ft' I
.
<fi,qlaaf~ ~ q~T n riCf, ,
II ":l~ II
1N[~ ~~"'~tff!~ I

Sri Devi uvaca

. Devadeva trisiilaIika kapiilakrtabhii~aQa /
Digdesakiilasiinya ca vyapadesavivarjita / / 22
Yiivastha bharitakiira bhairavasyopalabhyate /
Kair upayair mukhatp. tasya para devi katham bhavet / / 23
Yatha samyag ahaQl vedmi tatha me briihi Bhairava /
TRANSLATION
[Now that the essential nature of pariidevl (Supreme goddess
or Sakti) has been hinted at, Bhairavi wants to know how that
essential nature can be realized.]
o God of all gods, bearing the emblem of the trident, l and
having cranium as your ornament, 2 how can that Supreme
goddess (the Highest Sakti) who transcends all notions of direc-
tion, space and time and all manner of description be known ?
By what means can that complete state of Bhairava which is full
of the bliss of non-difference from the universe (hharitiikiirii) be
realized? In what way is the pariidevl (the Highest Sakti) said to
. be the door of entrance into Bhairava? Please tell me in the
Vaikharl form (in human language) that which I know fully
Vij;;anabhairava 19
well at the para level3 or please instiuct me in such a manner
that I may understand it fully.
NOTES
1. Bearing the emblem of the trident (trisii/a). Bhairava is said
to be bearing the trident, because the three spikes of the trident
represent icchii (will), j;;ana (knowledge) and kriya (activity) which
are the main characteristics of Bhairava.
2. Bhairava is generally represented as having a cranium bowl
in his hand. This kapa/a or cranium-bowl symbolizes the universe
consisting of words and objects which betoken Bhairava's sva-
tantrya (absolute freedom) and caitanya (supreme consciousness).
3. Being the para sakti (Highest Sakli) of Siva, she already
knows the truth at the para (highest) level, but she
wants Bhairava to tell it to her in the Vaikharl form (gross
speech, human language). Vedmi-I know is present tense. If
she knows, why does she request Bhairava to tell it to her? The
explanation is that she knows it at the para level, at the trans-
cendental level, now she wants its exposition at the empirical
level.
[Dharaoa 1]
VERSE 24

~~
~R ~ ~ ~ f""t.t{cfll q(a+ilj«({ I
~fllieaq+*4If\, ~1Iftm Rvffir: .. ~v ..
Ordhve praI}.o hy adho jivo visargatma paroccaret I
Utpattidvitayasthane bharaI}.ad bharita sthitil,1 II 24
TRANSLATION
Bhairava says:
Para devi or Highest Sakti who is of the nature of visarga1
goes on (ceaselessly) expressing herself upward (urdhve) (from
the centre of the body to dviidaJanta B or a distance of twelve
fingers) in the form of exhalation (pra1;la) and downward (adhafi>
(from dvadasanta to the centre of the body) in the form of
inhalation (jiva or apana)oS By steady· fixation of the mind
 20 VijRiinabhairava
(bharQIJiit)4. at the two places of their origin (viz., centre of the
body in the case of priif)a and dviidaiiinta in the case of apiina),
there is the situation of plenitude (bharitiisthitilJ, which is the
state of pariiSakti or nature of Bhairava).&

NOTES
1. Visargatma-who is ofthe nature of visarga. The word
visarga means letting go, projection or creation, i.e. who is creat-
ive. The creative function of the Divine includes two movements-
outward and inward or centrifugal and centripetal. In living
beings, the outward or centrifugal movement is represented by
expiration or exhalation; the inward or centripetal movement is
represented by inspiration or inhalation. Parii or parii devl or
Parii lakti is designated as Visargiilmii, because it is by this
rhythm of centrifugal and centripetal movement that she carries
on the play of life whether in the macrocosm or the microcosm.
This movement is known as ucciira or spandana or ceaseless
throb of Pariidevi.
In Sanskrit, visarga is represented by two points or dots one
above the other. One point in this case is dviidaiiinla where
priif)a ends and the other is the hft or centre of the body where
apiina ends. It is because of these two points also that
Parasakti is known as visargatma.
2. Dvadasanta-literally meaning 'end of twelve' indicates the
point at a distance of 12 fingers from the tip of the nose in the
outer space where expiration arising from the centre of the
human body, and passing through the throat and the nose ends.
This is known as biihya dviidasiinta or the external dviidaiiinta.
3. The apiina or inhalation is called jlva, because it is the
inhalation or return movement of the breath that is responsible
for life.
4. BharQIJiit here means by close observation or one-pointed
awareness. Awareness of what? Sivopadhyaya in his commen-
tary clears this point in the following way:
"BharaQflditi - nityonmiiadadyasphurattiitmabhairavlyaiakty-
upaiaksaf)iit. i.e. bharaf)iit here means by an intent awareness
of that who by implication is the ever-risen initial flash of the
. sakli of Bhairava.
Vijiianahhairava 21
5. The dhiiragii or the yogic practice referred to in this verse
is the following:
There are two points or poles between which respiration goes
on constantly. One of these is dvadaSiinta in the outer space
where pralJa or exhalation ends and the other hrt or the centre
inside the body where apiina or inhalation ends. At each of these
points, there is visriint; or rest for a split second. The breath
does not actually stop there totally but remains in the form of
a throb of sakt; in suspended animation and then again the
breathing process starts. One should contemplate over the sakt;
that appears in the period of rest and should remain mindful
of it even while the breathing process starts. By constant practice
of this dhiira1)ii, he will realize the state of plenitude of Bhairava
(bharitii sthitib).
As this practice is without any support of vikaipa, it is
Siimbhava upiiya.
There is another important interpretation of this dhiiralJii.
In inhalation, the sound of ha is produced; in exhalation, the
sound sab is produced; at the junction point in the centre the
sound of ", is added. So the whole formula becomes 'Harpsal.l'.
The paradevi goes on sounding this formula or mantra ceaselessly
in every living being. Hrdaya or the centre is the starting point
of the sound ha and dvadasanta is the starting point of the
sound sab. By contemplating over these two points, one
acquires the nature of Bhairava. This would be an alJava upaya.
Sab represents Siva; ha represents Sakti; ", represents nara.
So in this practice, all the three main elements of Trika
philosophy. viz, Siva, SaJa; and Nara are included.

[Dhiiragii 2]

VERSE 25

.. 'I:l.........
~s;(1'~ f..qa.q.f....ci;:rnr. I
.q.~ .h"E'Qc,", 1tUCI' aq-~ CA: .. II ~y. ..
Maruto'ntar bahir viipi viyadyugmiinivartaniit /
Bhairavyii bhairavasyettham bhairavi vyajyate vapul}. / / 25
22 Vijiianabhairava

TRANS LA TION

Of the breath (exhalation or praIJa) arising from the inner i.e.

the centre of the body (hTt) there is non-return for a split second
from the dvadasanta (a distance of twelve fingers from the nose
in the outer space), and of the breath (inhalation or apana arising
from dvadasanta i. e. the outer space, there is non-return for a
split second from the centre of the body (hTI).l If one fixes his
mind steadily at these two points of pause, one will find that
Bhairavi the essential form of Bhairava is manifested at those
two points.'

NOTES
1. The pause of priJ,la in the dvadasanta is known as bahi!)
kumbhaka or external pause. The pause of the apana in the
internal centre of the body is known as anta!) kumbhaka or
internal pause By the anusandhana or one-pointed awareness of
these two pauses, the mind becl!)mes introverted, and the activity
of both pralJa and apana ceases, and there is the upsurge of
madhya dasa i. e. the path of the madhya naq,1 or sU/umna
becomes open.
2. If one mentally observes the above two pauses, he realizes
the nature of Bhairava. This is alJava upaya inasmuch as this
process involves the dhyana or meditation on the two kumbhakas
or pauses of prib)a and apana.

[DhiraJ,lii 3]
VERSE 26

if R;;r ~ fClifilma I
f.,rClifiE'<lflq" q-si( ftq'T ,,(Cj+'4fll II ~ ~ ..

Na vrajen na viSec chaktir marudriipii vikasite I

Nirvikalpakatayi madhye tayii Bhairavariipata II 26

TRANSLATION
When the middle state develops by means of the dissolution
of all dichotomising thought-constructsl the praIJa-sakti in the
VijRanabhairava 23

form of exhalation (prafJa ) does not go out from the centre (of
the body) to dvadasanta. 2 nor does that sakli in the form of
inhalation (apana) enter into the centre from dvadaSanta. }o this
way by means of Bhairavi who expresses herself in the form of
the cessation of prafJa (exhalation) and apana (inhalation), there
supervenes the state of Bhairava.3

NOTES

1. In this dhiiraOii, prafJa (exhalation) and apana (inhalation)

cease and madhya dasa develops i.e. the prafJasakti in the sil,s"umna
develops by means of nirvikalpabhava i. e. by the cessation of
all thought-constructs; then the nature of Bhairava is revealed.
Sivopiidhyiiya in his commentary says that the nirvikalpa
bhava comeS about by Bhairavl mudra in which even when the
senses are open outwards, the attention is turned inwards to-
wards inner spanda or throb of creative consciousness which is the
basis and support of all mental and sensuous activity, then all
vika/pas or thought-constructs cease. The breath neither goes
out, nor does it come in, and the essential nature of Bhairava
is revealed.
2. Dvadasanta means a distance of 12 fingers in the outer
space measured from the tip of the nose.
3. The difference between the previous dharQIJa and this one
lies in the fact that whereas in the previous dhiiraoii, the madhya
dasa develops by one-pointed awareness of the pauses of prafJa
and apana, in the present dharafJa, the madhya daSa develops
by means of nirvikalpa-bhava.
Abhinavagupta has quoted this dhOrafJa in Tantriiloka v.22
p. 333 and there also he emphasizes nirvikalpa-bhava. He says that
one should fix one's mind with pointed awareness on the junc-
tion of prafJa, apana and udana in the centre, then prafJa and
apana will be suspended; the mind will be freed of all vikalpas.
madhya dasa will develop, and the aspirant will have the reali-
zation of his essential Self which is the nature of Bhairava.
Sivopiidhyiiya says that since this dharafJCl takes the help of
madhyadasa, it may be considered to be an afJava upaya. But
the development of madhyadasa is brought about by nirvikalpa-
24 Vijiiiinabhairava

hhiiva in this dhiira1)ii. From this point of view, it may be

considered to be siimbhava upiiya.
[DhiiraJ.la 4]
VERSE 27

iI\f~1rcIT ~ftT
~
cnfif qfun
~
q'T qqr ~, I
,,~ 1/11*'''1''4",1 ~~ WI;cf: Sf~ma- II ~" II

Kumbhita recita vapi piirita va yada bhavet I

Tadante santanamasau saktya santalJ, prakasate II 27
TRANSLATION
When the Sakti in the form of exhalation (recitii) is retained
outside ( at dviidasiinta), and in the form of inhalation (puritii)
is retained inside (at the hrt or centre), then at the end of this
practice,l the Sakti is known as Siintii2 or tranquiIlized and
through Sakti .~iinta Bhairava3 is revealed.
NOTES
1. By meanS of continuous practice of kumbhaka or reten-
tion of breath in the above way, physical and mental
tranquillity is experienced, and madhya dasii is developed. The
sense of bheda or difference between prii1)a and apiina dis-
appears. That is why this prii1)a sakt; is known as siintii.
2. On account of the disappearance of bheda or difference
between prii1)a and apiina the Sakli is known as Santa or which
in this context means 'subsided', 'ceased'.
3. Bhairava ( the divine self) is called Siinta (peaceful) be-
cause He transcends all the limits of name and form and in Him
there is no trace of difference or duality.
This dhiira1)ii is a variety of .A1)ava upiiya.
[DharaJ.la 5]
VERSE 28
an q~~,'Imi
ft
~~
C'\ ...
~~qn'U~~
" ,
I
~i f~~ ~1 "~m: II ~Ci II
Vijiianabhairava 25
Amiilat kiraJ;labhasaQl siik~matsiik~mataflitmikam/
Cintayet talJl dvi~atkante syamyantim Bhairavodayal;1// 28.
TRANSLATION
Meditate on the Saktil arising from the miUadhara cakra",
scintillating like rays (of the sun), and getting subtler and
subtler till at last she dissolves in dvadasanta. 3 Thus does
Bhairava become manifest.'

NOTES
1. Sakti here refers to prd1J,aSakti that abides as pra1J,aku1J,tja-
lint in the interior of the body. KU1J,tjalini lies folded up in
31 folds in Mitliidhara.
2. Miiliidhiira cakra is situated in the spinal region below the
genitals. A cakra is a centre of pra1J,ic energy located in the
p,a1J,amaya kosa in the interior of the body. This dhara1J,a
refers to the rise of KU1J,tjalint which goes in a flash into dvada-
santa or Brahmarandhra (the cakra at the top of the head) and
dissolves in it. This is known as cit-ku1J,tjalini or akrama kU1J.tja-
lini i.e. kU1J,rJalini that does not pass successively through the
cakras but goes directly to Brahmarandhra.
3. Dviia!kante (twice six) means dvadasanta at the end of
12 fingers. This dvadasanta refers to Brahmarandhra which is at
a distance of 12 fingers from the middle of the eye-brows (bhru-
madhya).
4. In dvadasanta or Brahmarandhra, KU1J,tjalini gets dissolved
in prakaJa or light of consciousness abiding in Brahmarandhra.
In that prakasa is revealed the nature of Bhairava.
Inasmuch as this dhiira1J,ii depends on the bhavana of pra1J,a
sakti, this is a1J,ava upaya. Netra Tantra, however, takes it a
Sambhava upaya. (VIII, p. 200).
fDbaraJ;la 6]
VERSE 29

~q~l ~fRqt sn~~ '5fWtINQQ, I

,~

3i~ ,r~ ~ ~ ~~: II ~t II

26 Vijnanabhairava

UdgacchantiQl tat;litrupam praticakraQl kramat kramam/

Ordhvam mu~titrayaQl yavat tavad ante mahodayaJ::t11 29

TRANSLATION
Meditate on that very lightning-like sakti (i.e. KUI:ulalini).
moving upwards successively from one centre of energy (cakra)
to another upto three fists i.e. dviidasiinta. 1 At the end, one can
experience the magnificent rise of Bhairava. 2
NOTES
1. This dviidafiinta also refers to Brahmarandhra.
2. This refers to the rise of kur.ulalinl piercing successively
through all the cakras or centres of energy till at last, it dissol.
ves in Brahmarandhra. This is known as priil)a-kUl;uJalinl. The
difference between this dhiiral)ii and the previous one consists
in the fact that, in this dharaoa the kUI){ialinl moves successively
through the cakros and then finally dissolves in Brahmarandhra,
whereas in the previous dhiiral)ii, the KUI){ialini shoots forth
from mii[iidhiira directly in Brahmarandhra and gets dissolved in
it without passing through the intervening cokras. Jayaratha
quotes it in his ,commeatary on Tantraloka (v.SS). This is
Siiktopiiya.
[Dharaoa 7]
VERSE 30

",qrWhi'li ~... li\(liiilri(lifitafj, I

ft ft to.
"""",4N(ft:iiit'Qi ¥min fj'kfWtiri: m: .. ~ 0 ..

KramadvadasakaQl samyag dvadasiik~arabheditaQlI

Sthiilasiik~maparasthitya muktva muktvantataJ::t SivaJ::t II 30

TRANSLATION
Twelve successively higher centres of energyl associated with
twelve successive letters2 should be properly meditated on. Each
of them should at first be meditated on in a gross phase, then
leaving that in a subtle phase and then leaving that also in the
Vijnanabhairava 27

supreme phase till finally the meditator becomes identified with

,siva. 30

NOTES

1. The twelve successively higher centres of energy (krama-

dviidasakam) are: I.janmiigra, 2. mula, 3. Kanda, S. niibhi,
S. hrdaya. 6. KaIJtha, 7. tiilu, 8. bhrilmadhya, 9. laliita. 10.
brahmarandhra, 11. sakti, 12. vyiipinl.
These are known as dviidasasthiina or twelve stations.
These are stages of the rising kUIJt}alini. They are correlatives
of twelve vowels. The first four stages or stations or centres of
energy are lower (apara) and concern bheda or difference.
i. Janmiigra is at the level of the generative organ. Since
the generative organ is concerned withjanma or birth of indivi-
duals, therefore the centre of energy at this level is known as
janma, or janmiidhiira (basis of generation) or janmasthiina (the
station which is involved in generation) or janmiigra (janmiigra
means the point or head of the generative organ.)
ii. Milia, generally known as muliidhiira or the root centre.
This is in the spinal centre of region below the genitals.
iii. Kanda, a bulbous or tuberous root, so called, because it is
a tangle of many nerves. •
iv. Niibhlor navel. The MaIJipura cakra is situated near it.
After this, the following five are concerned with subtler ener-
gies known as bhediibheda or pariipara.
v. Hrd or heart. .
vi. KaIJlha-the cavity at the base of the throat.
vii. Tiilu- palate
viii. Bhrumadhya-centre between the eye-brows.
ix. Laliita-Forehead.
In the following three stages, the energy is of the form of para
or abheda.
x. Brahmarandhra- The apex of the cranium.
xi. ,sakti-pure energy which is not a constituent of the
body.
xii. Vyiipinl-the energy which appears when KUIJt}alinr
finishes its journey.
28 Vijiiiinabhairava

2. The twelve successive letters are the following twelve

vowels;
1. a, 2. a, 3, i, 4. i, 5. u, 6. ii, 7. e, 8. ai, 9, 0, 10. au, 11. alP,
12. al;!.. These vowels have to be meditated on in the above
twelve stages of the kUQQalini.
This dharaIJa in the gross form consists of aIJava upaya, and in
the subtle and supreme form, it consists of saktopaya.

[DbaraQa 8]

VERSE 31

~~ ~ U,1Rt ~el~' I
r..rctCfu.•q 'A: ~ ~"fw;i ecl.i"{t.q: II ~, II

Tayapiiryasu miirdbantaql bhaili<:tva bhriik~epasetuna /

Nirvikalpaql manal;!. krtva sarvordhve sarvagodgamal;!./I 31

TRANSLAnON

Having filled the miirdhanta1 with the same praIJic energy

quickly and having crossed it with the help of the bridge-like
contraction of the eye-brows2, one should free one's mind of
all dichatomizing thought-constructs. His consciousness will
then rise higher than dviida§anta and then there wiIl appear the
sense of omnipresence.

NOTES

1. Miirdhiinta here means dvadasanta i.e. Brahmarandhra, a

space covered by twelve fingers from the middle of eye-brows.
2. Just as a river is crossed by means of a bridge, even so
the praQic energy has to be crossed over by an esoteric tech-
nique of bhriik,epa. Then that praQic energy will be converted
into cit-sakti, and the aspirant's consciousness wiIl rise higher
than that of the Brahmarandhra and he will have a feeling of
omnipresence. The esotp.ric technique of bhriiksepa was a
closely guarded secret among the mystics and is now practically
lost.
This is Siiktopaya.
Vijiilinabhairava 29
[DharaQa 9]
VERSE 32

Sikhipak~ais citrariipair maQ~alail;,l siinyapancakam I

Dhyayato' nuttare siinye praveso hrdaye bhavet /I 32

TRANSLATION
The yogi should meditate in his heart on the five voids! of the
five senses which are like the five voids appearing in the circles.
of motley feathers of peacocks. Thus will he be absorbed in the
Absolute void.8

NOTES
1. Five voids or simya-paiicakam. This means that the yogi
should meditate on the five ultimate sources of the five senses.
i.e. the five tanmiitras, sound as such, form as such, etc. which
have no concrete appearance and are mere voids.
There is also a double entendre in sunyapaiicakam. Just as
there are five holes in the circles of the feathers of the peacocks
-one above, one below, one in the middle, and one on each
side, even so the yogr should meditate on the five ultimate
sources of the sense i.e. the five tanmlitras as five voids.
2. Circles-m~(ialas. There is a double entendre in the word
m~(iala also. In the case of the peacock, it means the circles
in the feather; in the case of the yogi, it means the senses.
(m~(ial'fl rasasliral'fl llinti iti ma{l(iallini-those that carry the
quintessence of the five objects of sense are ma1J(ialas, i.e. the
five senses).
3. The Absolute void is Bhairava who is beyond the senses
and the mind, beyond all the categories of these instruments.
From the point of view of the human mind, He is most void.
From the point of view of Reality, He is most fuIl, for He is
the source of all manifestation.
30 VijRanabha;rava

[Dharal;ui-IO]
VERSE-33

"~~*",Q~~I
... IIiri tR qri m \=ft;n iR'SRT II H II
~ ..~

idrsena krameoaiva yatrakutrapi cintana /

Siinye kUQye pare patrc svayaQl lina varaprada / / 33

TRANSLATION

In this way, successively.I, wherever there is mindfulness

on whether void, on wall, or on some excellent persons, that
mindfulness is absorbed by itself in the supreme and offers the
highest benefaction.3

NOTES

1. Just as there is concentration in successive steps on gudii-

dhiira (mUiiidhiira), janma, kanda, niibhi, hrdaya, kafllha, tiilu,
bhrumadhya, laliila, brahmarandhra, sakti and vyiipinl in one's
own body, so concentration in successive steps may be practised
outside one's body also e.g. on some vast empty space, on
some high wall, etc.
2. Parepatre - patre here means fit, competent person, pare
piitre means on some excellent competent person, e.g. on a
pureminded competent pupil.
3. The highest spiritual experience is here said to be the
highest benefaction.
The above dharaflii begins with Aflava upaya and finally merges
in Saktopaya.

[Dharaoa 11]

VERSE 34

~\111~) ~ ftl8Q.,,1f\lm~: I
~vr ~ ~ 'I"iiRiIfi4"fjqq II ~v II
"' '" . '"
Vijiianabhairava 31

Kapahlntarmano nyasya ti!?than militalocanab /

KrameQa manaso darQhyat lak!?ayet lak!?yam uttamam //34
TRANSLATION

Fixing one's attention on the interior1 of the cranium (kapala)

and seated with eyes closed,2 with the stability of the mind,3 one
gradually discerns that which is most eminently discernible.'
The word kapa/a means 'cranium.' There is also an esoteric
meani~g of his word. Sivopadhyaya quotes the following verse
from Tantrakosa in this connexion.
"Kasabdena parasakti(i pa/aka(i Sivasa",jiiaya /
Siva-Sakti-samayoga(i kapa/a(i paripathyate" II
"The word ka signifies parasakti or the supreme divine
Energy, and the word pala meaning 'protector' signifies Siva.
The whole word kapala is therefore, used .in the sense of union
between Siva and Sakti." Siva and Sakli in other words, stand
for prakiisa and vimada i.e. Light of Consciousness and its
awareness. According to this interpretation the translation of
the above verse would stand thus:
"Having fixed one's mind inwardly on the union of Siva and
Sakti,5 and seated with eyes closed, gradually with the stability
of the mind, one discerns what is most eminently discernible."

NOTES

1. 'On the interior means 'on the Light that is ever present
inside'.
2. 'With eyes closed' means 'detached from the external
world and completely introverted.'
3. The mind is, at first, very fickle, but by constant practice,
it acquires stability and then one can concentrate with stead i-
nes...
4. This means that one becomes aware of the Highest
spiritual Reality.
By this practice, the sense of difference gradually
diminishes; and one begins to view the entire universe as an
expression of Siva.
This dharalJii comes under Saktopaya.
32 Vijiiiinabhairava

[Dharal}a 12]
VERSE 35

Q6t4.Uc1 q~ f.qal~ I
6t4I€'110f1641qql ~ t'fQT~: SAima II ~y. II

M adhyanOr/l madhyasaf1'lsthii bisasutriibharupayii I

Dhyiitiintarvyomayii devyii tayii deva~ prakiisate II 35

TRANSLAnON
The medial niir/,il is situated in the middle. It is as slender as
the stem of a lotus. If one meditates on the inner vacuity of this
nOr/I, it helps in revealing the Divine. 2

NOTES
1. Niitji here means the 'priiIJic channel'.
2. PriiIJasakti exists in Su~umnii or the medial niitji. If one
meditates on the inner vacuity existing in this medial niieli the
priiIJa and apiina currents get dissolved in the Su~umnii, the udiina
current becomes active. Thus the kUIJtjalinl rises, passes through
su~umnii, and piercing the various centres of energy (cakras),
finally merges in Sahasriira. There the yogi experiences spiritual
light with which he feels identified. This is what is meant by
saying that the Divine is revealed by the aid of the interior
priiIJic force residing ·in S~umnii. The same idea has been
expressed in the following verse of Spandakiirikii:
Tadii tasmin mahiivyomni pralinasasibhiiskare.
Sau~uptapadavanmiitjha~ prabuddha~ syiidaniivrta~.
(Verse 25)
When the moon (apiinacurrent of vital energy) and sun (priiIJa
current of vital energy) get dissolved and the yogi enters the
Su~umnii, the yogi who is after supernormal powers becomes
befuddled like one who is fast asleep, but the one who is not
under such an influence is wide awake and experiences spiritual
Light.
This begins with AlJava upiiya and ends in Siiktopiiya.
VijilOnabhairava 33
[Dharaoajl3]
VERSE 36

Kararuddhadrgastreoa bhriibhedad dvararodhanat /

Dn~ bind au kramat line tanmadhye parama sthitil;t //36

TRANSLATION
By stoPl?ing the openings (of the senses) with the weapon
(astra) in the form of the hands,l by which are blocked the eyes
(and other openings in the face) and thus by breaking open (the
knot in the centre of the eye-brows)1I the hindu is perceiveda
which (on the development of one-pointedness) gradually dis-
appears (in the ether of consciousness)'. Then (in the centre"of
the ether of consciousness), the yogi is established in the highest
(spiritual) state.

NOTES
I. 'Kararuddhadrgastra' is a kind of kartu.la used in ib)ava
upiiya. Kara1)a is thus defined Kara1)fJ11I dehasanniveJa-v;se/-·
iitmii mudriidivyiipiirab. i.e. 'disposition of the limbs of the body
in a particular way, usually known as Mudra i.e. control of
certain organs and senses that helps in concentration'. Here the
kara1)a specified is by means of the hands. The ten fingers of the
two hands are used in this mudrii. The ears are closed with the
two thumbs: the eyes are closed with the index fingers: the two
nostrils are closed with the two middle fingers; the mouth is
Closed with the ring-fingers and the little fingers. This is what is
meant by saying "By stopping (the openings of the sense) with
the weapon in the form of the hands." The openings of all the
jiiiinendriyas or organs of sense are closed.
By this device consciousness is closed to all e~terior influences.
and the vital energy is confined within.
2. The vital energy, by closing the various openings of the
senses, rises up towards the centre of the eye-brows and reach-
 34 Vijiianabhairava

ing there ruptures the knot or tangle of nerves in which a very

significant energy is locked up.
3. When the centre of the eye-brows is ruptured by the
vital energy that rises up from within, a point of brilliant light
is perceived. This is the bindu or vindu which means a dot, a
globule, a drop, a point. It is written both as bindu and vindu.
4. As soon as the bindu is perceived, the yogi has to concen-
trate on it. When the concentration develops, the bindu begins
to disappear gradually and finally vanishes in the ether of
universal consciousness (cidiikiisa). This is said to be paramii
sthitilt, the highest state of the yogi.
There are five stages in this dhiira~ii, viz. (1) dviira-rodhanQT(l
or stopping the openings of the senses with the fingers of the
two hands, (2) bhrubhedalt- by closing the openings of the senses,
the vital energy that is pent up within rises to the centre of the
eye-brows, and ruptures the tangle of nerves situated in that
centre; (3) bindudarsanam - when the centre of the eye-brows is
pierced by the vital energy, then a bindu or point of light that
is imprisoned within it is released and the yogi perceives it men-
taIly (4) Kramiit-ekiigratiiprakarliit line sQT(lvidgagane i.e. when
the bindu is concentrated upon, it gradually begins to disappear
and finally vanishes in the ether of consciousness, (5) tanmadhye
yoginab paramii sthitib-bhairaviibhivyaktib-in that ether of cons-
ciousness, the yogi realizes the highest state, that is to say, in
that is revealed the essential nature of Bhairava.
Svami Lak~malJa Joo, however, gives a different interpretation
of this dhiira~ii. He maintains that bhriibhedat is Iyab/ope
paiicaml which means 'after having ruptured the tangle of
nerves in the m.iddle of the eye-brows'. This is to be achieved by
concentration on the central spot of the eye-brows. When this
is effected, a drop of light will be visible there. After achieving
this result, the openings of the senses have to be blocked by the
above mudrii, then p'.ii~a sakli will arise in the sUlumnii which
will mount up towards Brahmarandhra. This will hasten the
dissolution of the drop of light in Brahmarandhra and in that
. state the yogi will realize his essential Self. This is an ii~ava
upiiya ending in siiktopiiya.
Vijnanabhairava 35

[Dhiirar;ui 14]
VERSE 37

~:~'I\i"€'iefqlf1.,rri(ijifil~ I
"' "' "
~f~(ri~ ~~: II _"II
Dhamantal:t-k~obhasambhutasiik~magoitilakakrtim I
Binduril sikhante hrdaye layante dhyayato layal:t II 37.

TRANSLATION

The yogi should meditate either in the heart or in dvadasanta1

on the bindu which is a subtle spark of fire resembling a tilaka2
produced by pressure on the dhama or teja (light existing in the
eyes).3 By such practice the discursive thought (vikalpa) of the
yogi disappears, and on its disappearance, the yogI is absorbed
in the light of supreme consciousness.

NOTES

1. The word sikhanta (end of the tuft of hair on the head)

here means dl'adasanta or brahmarandhra.
2. Tilaka-a small round dot of sandalwood paste applied
on the forhead by the Hindus as a mark of devotion to a deity.
3. When the eyes are pressed, certain sparks appear. The
yogi should mentally seize the bindu (point) which is one of the
sparks appearing in the eye by pressure, and should meditate
on that bindu either in the heart or dvadasanta. By this practice,
his habit of dichotomising thought (vika/pa) will disappear, and
when that disappears, he will be established in the essential
nature of Bhairava.
The word dhama in this context means the light in the eye, or
the word dhama may be interpreted as the subtle sparks of
light of a lamp that appear at the time of the extinction of its
light.
This is an Avava upaya.
36 VijMnabhairava

[Dhiraoi 1S1
VERSE 38

~ Qi• •uisii.itiii4 ~~ I
nrqrf"~: -R itPiNii'i8fit II ~c; II

Anihate pitrakaroe' bhagna§abde sariddrute /

Sabdabrahmaoi oi~oita~ param brahmidhigacchati //38
TRANSLATION
One who is deeplf"versed and deeply bathed! or steeped in
Niida which is Brahman in the form of sound (sabdabrahtnm.ri
r.iP.rQlab), which is vibrating inside without any impact (anOhale),a
which can be heard only by the ear that becomes competent by
yoga (patrakar1.le),· which goes on sounding uninterruptedly
(abhagnaSabde) and which is rushing headlong like a river (sarid-
drule) attains to Brahman (brahmiitihigacchali).
NOTES
1. There is a double entendre in nii1.lata. It means both well-
versed and well bathed (ni-snata) i.e. deeply steeped.
2. Anahala niida literally means unstruck sound. It is a sound
that goes on vibrating within spontaneously without any impact.
About ten such kinds of niida (sound) that vibrate within grow-
ing subtler and subtler are referred to in books on Yoga. Here
the reference is to the subtlest niida that vibrates in prdQasakti
present in srqumna. Prioa§aktiis, in the universe, representative
of parasakti, the sakti of Parama Siva. It is the eternal energy
of consciousness. the spiritual spanda.
When KW:'lflalinl rises, one is able to hear this. The yogI has
to concentrate on this sound which is at first like that of a hand-
bell, then subtler like that of a flute, then subtler still like that of
vl1.la, and then subtler like that of the buzz of a bee. When the
yogi concentrates on this nada, he forgets everything of the exter-
nal world, is gradually lost in the internal sound and is finally
absorbed in cidakiisa i.e. in the vast expanse of consciousness.
This is what is meant by saying that he attains to Brahman. This
kind of yoga is' known as var1.la in A1.Iava upiiya of Saiva yoga,
VijMnabhaira,a 37

as nOdanusandhiina in some of the older uptl1liiads and Niitha

tradition, and surat; labda yoga in Kabira and other mediaeval
saints.
3. PiitrakOl1Je means that this inner spontaneous sound is
not audible to every ear but only to the ear that is made com-
petent to hear it under the guidance of a guru.
This is an Atul,a upiiya.
[Dhiraoi 16]
VERSE 39

~ -ron....., ~fif .rdif It ~t It

Pra\lavidisamuccirit plutinte §iinyabhivanit!

Siinyayi parayi §aktyi §iinyatim eti bhairavi. 3911

TRANSLATION
o Bhairavi, by perfect recitation of prfJl)tlva or the sacred
syllable Auria, etc and by contemplating over the void at the end
of the protracted phasel of it and by the most eminent energy
of the void,' the yogI attains the void ••
NOTES
I. Et cetera refers to other prfJl)tlvas. There are chiefly three
pr~avas-(I) the Vedic pra\lava, Au';z. (2) the Saiva prfJl)tl,a,
BUm and (3) the Sakta pr~ava, BrIm.
2. Pluta or the protracted form is an utterance of three
matras or moras. Just as the crow of the cock is at first short,
then long and then protracted, even so there are three phases
of the recitation of Aum-short (hras,a), then long (dlrgha) and
then protracted (pluta).
The usual practice in the recitation of Auria is contemplation
of ardhacandra. bindu, etc. upto unmanii after. the protracted
phase. In the present verse, Bhairava is referring to a different
practice. He says that at the end of the protracted phase of the
recitation, do not contemplate over ardhacandra, bindu, etc., but
38 Vijiianabhairava

over JUnya or void. Sunya or void here means free of all

external or internal objective support, of all tattvas, and of all
residual traces of kleSas. Gross objects like jar, cloth etc. are
external support of the mind, pleasure, pain, etc. are the internal
support of the mind, and residual traces are the vasanas of avidya,
asmita, raga, dve/a and abhinivesa.
Siinya or voi(! means that which is free of the above conditions.
In other words, the mind has to be made nirvikalpa, free of all
vikalpas, of all thoughts.
3. The most eminent energy of the void is the energy of the
parasakti.
4. Attaining the \IOid means attaining the nature of Bhairava,
which is free of difference, duality and vikalpa.
This begins with Avava upaya and ends in Saktopaya.

[DhiraJ;li 17]
VERSE 40

~ ~ ~ 14fidIClI!~~ •
~ i11oq'lM~ "1#441411(: :p1""clE!. n Yo n
Yasya kasyapi varJ;lasya piirvintav~,anubhiivayet I
Siinyayi §iinyabhiito' sau siinyikiirab. pumiin bhavet 1/ 40
TRANSLATION
The YogI should contemplate over the previous condition of
any letter whatsoever before its utterance and its final condition
after its utterance as mere void. He will, then with the help of the
power of the void.1 become of the nature and form of the void.'

NOTES
1. Power of the void is the power of parasakti.
2. Of the nature and form of the void means that the yogI
will become completely freed from identification with the pra~a.
body, etc. as the Self.
This is Saktopaya ending in Sambhava upa,va.
Vijiiiinabhairava 39

[DharaQa 18]

VERSE 41

.. ..
~.oqlfl(cil'di!iQ" ~~ 'lfi,,~f~a: I
t4"' .... ~m: ~ q(&iI"Cf~1icltt .. "', II

Tantryadiviidyasabde~u dirghe~u kramasarpsthitel;t/

Ananyacetal;1 pratyante paravyomavapur bhavet 1/41

TRANSLATION

If one listens with undivided attention to sounds of stringed

and other musical instruments which on account of their
(uninterrupted) succession are prolonged,l he will, at the end,1I
be absorbed in the ether of consciousness (and thus attain the
nature of Bhairava).

NOTES

1. The resonance of musical notes lasts for a long time and

being melodious it attracts the attention of the listener. Even
when it stops, it still reverberates in the mind of the listener.
The listener becomes greatly engrossed in it. A musical note,
if properly produced, appears to arise out of eternity and finally
to disappear in it.
2. When the music stops, it still vibrates in the memory.
If the yogi does not allow his mind to wander to something else,
but concentrate on the echo of the music, he will be absorbed
in the source of all sound, viz; pariiviik and thus will acquire the
nature of Bhairava.

[Dharal}a 19]

VERSE 42

fqq~ ~~ ~"qiji'lfiqOf ~ I
~~pa':~q);"i1i(j,\"clf...0": II "'~·II
PiQQamantrasya sarvasya sthiilavarQakrameQa tu {
Ardhendubindunadantal;1siinyoccariid bhavec chival}.{ / 42.
40 VijRQnabhairava

TRANSLATION
By the ucciiral of ai, pi~tras· which are arranged in an
order of gross letters and which go on vibrating in subtle forms
beginning from bindu, ardhacandra, niidanta, etc. and ending in
JUnya or unmanii one verily becomes Siva or it may mean that
by pariimarsa or retlection on the piT)t/amantras which are
arranged in the order of gross letters as Siinya or void up to
samanii, one attains unmanii state i.e. Siva.
NOTES
1. Ucciira here does not mean uttering or muttering but
moving upward from gross utterance, to subtle spandana
tvibration) and finally to mental reflection.
2. Pitlt/amantra is that in which each letter is separately
arranged andin-which usually there is a connecting vowel at the
end. Aum is pitlt/amantra, Naviitma or the following mantra
consisting of nine letters is a pitlt/amantra.
H, R, K" M, L, V, Y,~, Om (~, ~, .", ~, 'I,', '{, '{, ol""(vJ.1
3. In a pitlt/amantra, there is first the muttering of the gross
letters, e.g. auth (in case of prQtlQva), and 'h' to 7.lum in case of
naviitma mantra, then reflection on the subtle spandtma in the
form of bindu, ardhacandra. etc. and finally contemplation on
JUnya or unmanii. When by this process the yogi's mind finally
attains to unmanii, he becomes identified with Siva.
Taking the mantra aum for example, Sivopadhyaya in his
commentary shows how its recitation points to the mounting
of priitlaJakti step by step from the navel upto dviidaSiinta.
'A' ('1') of Au,;, has to be contemplated onin the navel, 'U'(W)
in the heart i.e. the centre, '1Jl' (~) in the mouth (or according
to some in the palate or roof of the mouth), bindu in the centre
of the eye-brows, ardhacandra in the forehead, nirodhinl in the
upper part of the forehead, niida in the head, niidiinta in
Brahmarandhra, sakti in the skin, vyiipinl in the root of the iikhii
(tuft of hair on the top of the head), samanii in the sikhii, and
unmanii in the top of the iikhii. Beyond this, there is the vast
expanse of consciousness which is Bhairava. The yogi is now
,identified with Bhairava.
Vijifiinobhairava 41

In the navel, ~ntre and mouth, a, U, lJl, are recited in their

gross form. The time taken in the recitation of each of these is
one miitrii or mora (time occupied in uttering one short syllable).
From bindu Ilpto samanii, the time occupied is ardhamiitrii or
half a mora. Unmanii is beyond time.
This is A(lava upiiya leading to Siimbhtzva state.

[DhiraOi 20]
VERSE 43

finIt( e..r,....,i,q,,, ...

aflliEt I
r;Wrclllifi"'.... It'dfQ ~ SAftiR II y~ II

Nijadehe sarvadikkatp. yugapad bhivayed viyat I

Nirvikalpamanis tasya viyat sarvam pravartate II 43.
TRANSLATION
If in one's body, one contemplates over sunya (spatial vacuity)
in all directions simultaneously (i.e. without succession) with-
out any thought-construct, he experiences vacuity all round (and
is identified with the vast expanse of consciousness).
NOTES
Two conditions are laid down for this contemplation, viz. (1)
yugapat and (2) nirvikalpamaniift,. The contemplation on the void
in all directions has to be done simultaneously and the mind has
to be stilled completely. If the Yogi succeeds in fulfilling these
two conditions, he will attain to the si1nyiitisi1nya plane. to the
plane of absolute void in which all differences and distinctions
are totally absent.
This is Siikta upiiya.

[Dhiraoi 21]
VERSE 44
42 Vijiidnabhairava

Pn!hasiinyaQll miilasiinyaQl yugapad bhavayec ca yal). /

Sariranirapek~ioya hktya2 siinyamana bhavet //44

TRANSLATION
He who contemplates simultaneously on the void above and
the void at the base becomes, with the aid of the energy that is
independent of the body, void-minded (i.e. completely free of
all vika/pas or thought-constructs).
NOTES
1. Pmha§unya/fl here means the void above.
2. Sarlranirapek#~Yii saktyii means with the aid of prii~a­
sakti.
This dhiira~ii is Siiktopiiya.

[DharaQa 22 J
VERSE 45

~
• ft
~
C'II. f\.
;n;ar;ri
Q1 -";\,".....
fuqqfR'IIC(¥t"" ,
q;tjqf... rq"'@4tcuf... rq"'~14q'fld: " )tv. "
Pr~thasiinyam miilasiinyaQl hrcchiinyam bbavayet sthiram!
Yugapan nirvikalpatvannirvikalpodayas tatal). 1/45.
TRANSLATION
In him who firmly contemplates over +he void above, the void
at the base and the void in the heart, there arises at the same
time, because cf his being free of all vikalpas, the state of Siva
who is above all vikalpas (nirviklpodayaQ).
NOTES
In his commentary on the verse 45, Sivopadhyaya says that
pmhaSUnya/fl suggests that the yogI should contemplate over
the pramiitii or the subject as void, mUlasunya/fl suggests that
he should contemplate over the prameyas or objects as void,
and hrc-chUnya/fl suggests that he should contemplate over
pramii~a or knowledge as void.
This dhiira~ii is also Siiktopiiya.
Vijiianabhairava 43

[Dharaoa 23]
VERSE 46

Taniidese siinyataiva k~aoamatraIh vibhivayet I

NirvikalpalJl nirvikalpo nirvikalpasvariipabhak II 46
TRANSLATION
If a yogi contemplates over his body believed to be the limited
empirical subject as void even for a while with an attention
freed of all vikalpas (thought-constructs). he becomes liberated
from vikalpas and finaIly acquires the state of Bhairava who is
above all vikalpas.
NOTES
This verse points to three stages of the yogI. Firstly, he COD-
templates over his body in a vikalpa-free way, secondly, by
this practice he develops the tendency of being usually free of
vikalpas (nirvikalpa~). Lastly, if this tendency is prolonged, he
enters the state of Bhairava who is above all vikalpas, whose
very nature is nirvikalpa (nirvikalrasvarupabhak).
This is Sakta upaya leading to Siiinbhava state.
[Dharaoa 24]
VERSE 47
.... -..; .r. .....
~.. ~Q.·m 1III"4,&:iICCf ~~ I

fCII"ICllc4'dd*,f4 'I11AT WT f"fU ~ .. V" ..

SarvalJl dehagatalJl dravyalJl viyadvyaptam mrgek~aJ)e I

Vibhavayet tatas tasya bhivana sa sthi~a bhavet /I 47
TRANSLATION
o gazelle-eyed one, (if the aspirant is incapable of sunyabhava
immediately), let him contemplate over the constituents of his
body like bone, flesh, etc. as pervaded with mere vacuity. (After
this practice), his bhavaniJ (contemplation) of vacuity will be-
come steady, (and at last he will experience the light of
c:onsciousness).
NOTES
This contemplation is also §aklopaya.

tDhiraoi 25]
VERSE 48

~ NfI......i f~ filWOdaq: I
" f.hfNCid't "'" SlUQ...siq ......ciE! II "I; II

Dehintare tvagvibhigam bhittibhiitam vicintayet 1

Na kiiicid antare tasya dhyiyann adhyeyabhig bhavet 1148

TRANSLATION
The yogi should contemplate over the skin-part in his body like
(an outer, inconscient) wall. "There is nothing substantial inside
it (i.e. the skin)"l; meditating like this, he reaches a state which
transcends all things meditable. 8

NOTES
1. Every man is habitually identified with his body. When
the yog, develops the practice of detaching his consciousness
from the limits. of the body, he develops a sense of all-
pervasiveness.
2. When by the above practice, the yog' attains cosmic
consciousness, then he experiences Siva-Vyapli,' he is completely
identified with Siva. The sense of a separate limited experient
disappears. Now there is no object for him to meditate on. The
very distinction between subject and object disappears. In the
words of Bhairava Himself Evtl1flvidhe pare tallve kalz pujYaQ
kaica ITPyati (Verse 16) "When the Highest Reality is realized,
Who is the object of worship; who is to be satisfied with
worship." .
 45
This is $iktopaya leading to the state of $i,a, leading from
siinya (void) to mahiiJiinya (the vast void).

[DhiraOi 26]
VERSE 49

('1.41." f...+ft....': q,. . .¥ ..w ••: •

....;q~tu: "'" -R .a."iq... -,tmt II va II
Hrdyikase nilinak,al}. padmasamputamadhyagal}. I
Ananyacetil.l subhage paraQl saubhigyam ipnuyit II 49.

TRANSLATION
He whose mind together with the other senses is merged
in the interior space of the heart,l who has entered mentally
into the centre of the two bowls of the heartlotus,II who has.
excluded everything else from consciousness8 acquires the highest.
fortune", 0 beautiful one.

NOTES
1. The word hrt or heart does not mean the physical heart.
It means the central spot in the body above the diaphragm. It
is an etheric structure resembling lotus, just as the physical
heart resembles a lotus. In the centre of this etheric heart resides.
cit - the consciousness which is always a pramatii or subject.
never a prameya or object. It is this centre which is the essential
Self of man and macrocosmically the centre of all manifesta-
tion. The word used in the original is hrdya which means both
'pertaining to the heart', and 'pleasant'.
2. The lotus is like two hemispherical bowls blended into-
one. Sivopidhyiya says in his commentary that the upper bowl
of the heart lotus represents pramiitIQ or knowledge and the
lower bowl represents prameya or object. The madhya or centre
of this heart-lotus represents the pramiitii or knower, the Self.
It is in this- centre or the Self into which the" yogi has to
plunge mentally.
3. This means who is one-pointed.
46 Vijnanabhairava

4. Sivopadhyaya explains paral'{l saubhQgyam (highest

fortune ) as visveSvarata - svarupam paramanandam which means
the highest bliss consisting in the lordship of the universe'. K~ema­
raja has quoted this verse in his commentary on sutra 15 of
Section I of Siva-sutras. He also explains saubhagYaTfJ as
visves~·aratapattiQ. or acquisition of the lordship of the universe.
This is Saktopaya.

[Dbaraga 27]
VERSE 50

riR: fC4I1I(1<W 'I"IIII;ft ",;iI""41E'1, ,

~.~~ ~~ ma- " ~o "

Sarvatal:I svasarirasya dvadasante m~nolayat I

DrQhabuddher drQhibhutarp tattvalak~yam pravartate/ / 50

TRANSLAnON
When the body of the yogi is penetrated by consciousness
in all parts and his mind which has become firm by one-
pointedness (drQhibhiitarp) is dissolved in the dvadasanta
situated in the body, then that yogi whose intellect has
become firm experiences the characteristic of Reality.

NOTES
It is not quite clear what exactly is meant by the dvadaianta
of the body. In the body the dvadasantas (a distance of 12
fingers) are from the navel to the heart, from the heart to the
throat, from the throat to the forehead and from the
forehead to the top of the cranium. Probably, it refers to
Brahmarandhra, the dvadasanta from the forehead to the top of
the cranium.
Anandabhana says in his commentary Vijnanakaumudi that
'dviidaSiinta' may mean sunyatisunya or the cosmic void or it
may mean the madhya na{ii of the body i.e. sU$umna.
The dhiiraIJii is one of alJavopiiya leading to Siiktopaya.
Vijnanabhairava 47

\Dharru;ui 28]
VERSE 51

"'" Cf"lT q ffiif iWUIt;:d qif: f~~ ,

m~ ~:dci\iiCrioq mtl_tt " Y.1 "
Yatha tatha yatra tatra dvadasante manal}. k~ipet I
Pratik~aIJaIJl k~iIJavrtter vailak~aIJyam din air bhavet /I 51
TRANSLATION
If one fixes one's mind at dvadasanta 1 again and again
(pratik~aIJaIJl) howsoever and wheresoever, the fluctuation of his
mind will diminish and in a few days, he will acquire an
extraordinary status. 2
NOTES
1. The mind has to be fixed at any dvadaSanta from the body
whether it is the superior or urdhva dvadasanta or Brahmarandhra
or bahya dvadasanta Le. in exterior space at a distance of 12
fingers from the nose, or antara dvadasanta L e. the interior
dvadasanta in the centre of the body, etc.
2. Sivopadhyaya explains this as asamanyaparabhairava-
rupata i.e. the incomparable and ineffable state of Bhairava.
This is At;la~·opaya.
[ DharaIJa 29. ]
VERSE 52

Ifi~r.:r;n lfil\iiqiitlilftfct" m ~ ,
~ fqf... Rtiiq~R i("R'i''''6~ ~,
~
.. y. ~ ..
Kalagnina kalapadad utthitena svakam puraIJl /
Plu~tam vicintayed ante siintabhasas tada bha'vet / / 52.

TRANSLATION
(Uttering the formula aurh ra-k$a-ra-ya-uTfl tanuTfl dahayami
nama/.!), one should contemplate in the following way "My
48 VijRiinabhairava

body has been burnt by the fire of killilgni 1 rising from the toe
of my right foot ...• He will then experience his (real) nature
which is all peace.8
1. Kaligni Rudra is the universal destroyer. The aspirant
should imagine that his whole body is being burnt by the flames
of Kiligni Rudra. The idea is that all the impurities that are
due to the limitation of the body have to be destroyed by Kiligni
Rudra who destroys all impurities. sins. etc.
2. Kiilapada is a technical term for the toe of the right foot.
3. By this practice. the aspirant feels that his impurities have
been burnt away and thus he experiences his essential Self which
is all peace and joy.
This is an A(rava upilya.

[Dhiraoi 30]
VERSE 53

~ ~ ~ SIfIRT~: •
. .
....;q'de: W. a'l'11r. -ron
..q, II ~ ~ II
Evam eva jagat sarvlllJl dagdhaQ1 dhyitvi vikalpatal.ll
AnanyacetasaJ;\ pUQ1saJ;\ pumbhivab paramo bhavet 1153.
TRANSLATION _.
In this way. if the aspirant imagines that the entire world is
being burnt by the fire of Kii/ilgnil and does not allow his mind
to wander away to anything else. then in such a person. the
highest state of man appears. 2
NOTES

1. In the previous dhilra!lil. it was one's own body that had

to be imagined as being burnt by kil/ilgm; in the present dhilrQ!lil.
it is the entire world that has to be imagined as being burnt by
Killilgni.
2. The highest state of man is as Sivopidhyiya puts it in
his commentary. aparimitapramiltrbhairavatil-'the nature of
Bhairava that is the Infinite Subject. ~ It is this nature that the
aspirant will acquire by this dhiirQ!lil.
This dhilra!lil is Silktopilya.
VijRanabhairava 49
[Dhiiraga 31)

VERSE 54

Svadehe jagato vapi siik~masiik~mataraQi ca 1

Tattvani yani nilayaQl dhyatvante vyajyate para 1154

TRANSLATION

If the yogi thinks deeply that the subtle and subtler constitutive
principles of one's own body or of the world are being absorbed
in their own respective causes,l then at the end, para devi or the
supreme goddess is revealed. 2

NOTES

1. This verse refers to the technique of vyapti or fusion by

which the gross tattva (constitutive principle of manifestation)
is reabsorbed into the subtle, the subtle into the subtler, the
subtler into the subtlest, e.g. the paRca-mahabhUtas-the five
gross material principles are to be contemplated as being
absorbed into the tanmatriis (primary subtle elements of
perception), ) the tanmatras into aharnkara (the I or ego-making
principle), this into buddhi, this again into prakrti and so on till
all are finally reabsorbed into Sadasiva. Then Sakti or what has
been designated as para devi (the supreme goddess) is revealed.
This kind of vyiipti or fusion which has been described in this
verse is known as iitmavyiipti.
There is another stage of vyiipti, known as Sivavyiipti which
will be described in verse 57.
2. At the appearance of parii devi, the entire cosmos appears
as nothing but the expression of that universal Divine Energy.
Everything is surrendered unto Her and the sen~e of difference
disappears.
This verse refers to Siiktopaya.
50 Vij;;iinabluzirava

[ Dharal)a 32 ]
VERSE 55

Ift;ri .. ~ • • sqmn it".I.nill~ ,

Rf1nq r.rD
~'.... . "..
f.1mA"'" q~: f'CIIlfti1fQQI...,qld" " ~~ "

PinalJl ca durbalalJl saktilJl dhyatva dvadasagocare I

Pravisya hrdaye dhyayanmuktab svatantryam apnuyat 1/55
TRANSLAnON
If priilJasakti which is gross and thick, is made frail and subtle
(by yogic discipline; -particularly priilJiiyiima) and if a yogi
meditates on such sakt; either in dviidasiinta or in the heart ( i.e.
the centre of the body) by entering mentally into it, he is
liberated and he gains his (natural) sovereign power.

NOTES
The reading of the last line as given by Abhinavagupta in
Tantraloka (A XV, verses 480-81) is different. It is suptal;z
sl'iicchandyam iipnuyiit. K~emaraja reads the last line in
Spandanirvaya (p. 56) as svapnasviitantryam iipnuyiit which is
practically the same as Abhinavagupta's.
According to Svami Lak~mal)a Joo, the traditional interpreta-
tion of this verse is the following:
Plniim indicates that the breath has to be inhaled or exhaled
in a gross way i. e. with sound and durbaliim indicates that the
inhalation or exhalation has to be done slowly. According to
the above reading the meaning of the verse would be "If the
yogI practises breathing (both inhalation and exhalation) with
sound and slowly meditating in dviida§iinta and in the heart
(centre), goes to sleep, he will acquire the freedom to control his
dream i.e. he will have only the dream that he desires to have."
This is AlJava upiiya leading to Siimbhava state.
[Dharal)a 33]
VERSE 56
'!".....ciilfcl ...Oj r...Odc4eiiiinnsNi,,'l I
,,!"pqq(f\:+.4(Qj ~ ....~q: II ~~ II
VijRanabhairava 51

BhuvanadhvadirupeQa cintayet kramaso'khiIam /

Sthiilasiik~maparasthitya yavadante manolayal}. //56.

TRANSLATION
One should contemplate step by step on the whole universe
under the form of bhuvana and other adhvas1.(courses) as being
dissolved successively from the gross state into the subtle and
from the subtle state into the supreme state till finally one's mind
is dissolved in Cinmatra (pure consciousness).2
NOTES
I. According to Trika philosophy the whole universe consist-
ing of subjective and objective aspects is a proliferation of the
svatantrya sakti or paravak under six forms known as
iar/adhva which means six routes or courses (!iat=six) adhva
= route, course). Three of them are under the viicaka (indi-
cator) sid~ which is the subjective or grahaka aspect of
manifestation ; the other three are under the vacya, the indi-
cated or objective side.
At the level of paravak, vacaka and vacya, sabda and artha,
word and object are in a state of indistinguishable unity. In
manifestation, these begin to differentiate. The first adhva or
step of this differentiation is the polarity of var~a and kala. Var~a
at this stage, does not mean letter, or colour, or class. It means
a measure index of the function-form associated with the object,
and kala means an aspect of creativity. Var~a is the function-
form and kala is predicable. This is the first adhva of the
polarisation of paravak. This adhva is known as para
(supreme) or abheda, for at this stage, there is no difference
between var~a or kala, the creative aspect.
The next adhva or step in the creative descent is the polarity
of mantra and tatlva. This level of creativity is known as
parapara or bhedabheda (identity in difference) or sukima
(subtle). Mantra is the basic formula of tattva: tattva is
the principle or source and origin of the subtle structural
forms.
The third and final polarity is that of patia and bhuvana. This
level of manifestation is known as that of apara (inferior) or
52 Vijiiiinabhairava

bheda (total difference between the viicaka and viicya) or sthUla

(gross). Bhuvana is the universe as it appears to apprehending
centres like ourselves. Pada is the actual formulation of that
universe by mind reaction and speech.
The trika or triad on the viicaka side is known as kiiliidhvii
i.e. of temporal order, and the trika or triad on viicya side is
known as desiidhvii or of spatial order.
The ~atladhvii may be arranged in the following tabular
form :-

VACAKA OR SABDA VACYA OR ARTHA

The sUbjective order; the The objective order; the

temporal order, phonematic spatial order; cosmogonic
manifestation. manifestation.
Para or abheda level. VaI'Qa kala
Para para or bhedabheda
or siik!?ma level. Mantra tattva
Apara or bheda or sthula
level. pada bhuvana

Of these, each preceding adhvii is vyiipaka i.e., pervasive,

inhering (in the succeeding one) and each succeeding adhvii is
vyiipya i.e. capable of being pervaded by the preceding one. So
there is vyiipyavyiipaka relationship among these.
2. The dhiirafJii or the yogic practice recommended here is
that the yogi should practise the bhiivanii or imaginative con-
templation of the succeeding gross (sthUla) adhvii being dissolv-
ed in the preceding· subtle (suk~ma) adhvii. The gross (sthula)
manifestation, viz., pada and bhuvana should be earnestly imagin-
ed as being dissolved in their preceding subtle (suk~ma) origins,
viz., mantra and tattva; mantra and tattva, the subtle adhvii,
should in turn, be earnestly imagined as being dissolved in
their preceding supreme (para) origin varfJa and kalii. Finally
these should be imagined as being dissolved in pariiviika or
pariisakti, and pariiv(ik in ,~iva i.e. cinmiitra or vijiiiina (pure
consciousness) which alone is Bhairava or the ultimate Divine
principle.
Vijniinabhairava 53

Krama.rab in the verse means step by step, i.e. the first step
should consist of the practice of the bhiivanii of the stMla or
gross manifestation being dissolved into the subtle (suklma)
one. When by sufficient practice of this bhiivanii, the yogi is
fully convinced that this solid seeming world (bhuvana) and
gross speech (pada) are only an appearance of a much subtler
process of mantra and tattva, he should take the next step which
would consist of the bhiivanii of the subtle (suklma) mantra and
tattva as being dissolved into the supreme (para) aspects of
var~a, kalii, and so on.
'when the yogi has sufficiently practised the bhiivanii of the
dissolution of the entire manifestation into cit or vijniina, he
will attain to the plane of Bhairava and his manas or citta will
be automatically dissolved into cit (pure consciousness). This
is known as laya bhiivanii (creative contemplation pertaining to
dissolution). This ascent to the Divine is known as iiroha or
adhyiiroha krama, the process of ascent. The 13th sUlra of
Pratyabhijiiiihrdayam expressly says that citta finally becomes
citi. This is known as cittapralaya or the dissolution of the
empirical individual mind into the Divine.
The difference between this dhiira~ii and dhiira~ii No. 30 in
verse 54 consists in the fact that the dhiira~ described in verse
54 leads the yoge only upto the subtle sakti where parii de vi
reveals Herself, but this leads the yogi upto the utmost plane of
Siva where the individual mind completely dissolves into the
universal consciousness. In verse 54, the aim was the
realization of the Supreme Power that is the source of the gross
manifestation of the universe. In verse 56, the emphasis is on
the transformation of the individual consciousness by its
dissolution into the universal Divine Consciousness (Manolaya or
cittapralaya). So, this is Siiktopiiya leading to Siimbhava state.

[Dharaoa 34]

VERSE 57

~9~f~~~:,
...
aTSCiISiNiiiQI CR'Ii ~ ~ ~m: .. ~" II
 54 J'ijiiQnabhairava

Asya sarvasya vi~vasya paryante~u samantatai;l I

Adhvaprakriyaya tattvalJl ~aivalJl dhyatva mahodayai;l 1157

TRANSLATION
If one meditates on the Saiva tattval (which is the quintes-
sence) of this entire universe on all sides and to its last limits by
the technique of ~ac;ladhva2 he will experience great awakening.8

NOTES

1. Siva is both praJciisa and vimarsa, both the light of

Consciousness and the consciousness or awareness of that
consciousness. Saiva tattva is the svariipa or essential nature of
Siva. Meditating on Saiva tattva means meditating on the svarUpa
(own form, essential nature) of Siva who is both prakiiSa and
vimarsa.
2. The sa~adhvii has two sides- Viieaka and viieya. The
viieaka ·side- var~a, mantra and pada are an expression of
prakiiSa, the viieya side-kalii tattva, and bhuvana are an
expression of vimarsa.
In the previous dhiira~ii No. 32 in verse 56, the technique of
the sa~adhvii was .used for tracing back the entire universe of
subjects and objects to its source, th~ Central Reality. Here the
technique of sa~adhvii is to be used for realizing the svariipa or
essential nature of this Central Reality. The technique of sat/adhvii
is incomplete if it simply ends in re-integrating the universe to
its source. It has still to realize the saiva tattva, the nature of
the Central Reality which is both prakiisa and vimarsa in one
and the source of both the viicaka and viieya of the sa~adhvii.
Again in dhiira~ii No. 30 (verse 54), the technique of tracing
back the constitutive principles was used for iitmavyiipti, for the
fusion of manifestation into the essential Self which, according
to the Trika system, is a lower ideal. Atmavyiipti emphasizes
prakiisa which does not necessarily include the universe. In verse
57, the ideal of realization that is emphasized is Siva-vyiipti.
fusion into Siva who is both prakiiSa and vimarsa. It is the
Reality that is inclusive of the universe. In this realization, the
universe is not negated but seen sub specie eternitatis. under the
VijRanabhairava 55

form of the Eternal, as an expression of the vimaria aspect of

Siva.
3. This great awakening is the realization of the svarupa or
essential nature of Siva who is both prakiiSa and vimarsa.
The difference between the previous dharal',la (in verse 56) and
this one (verse 57) lies in the fact that in the previous dharal',la
the dissolution of both the oQjective and sUbjective order was to
be contemplated one by one successively (kramaia~) i.e. first the
dissolution of the gross into the subtle, and then of the subtle
into the supreme, whereas in the present dharal',la (verse 57) the
dissolution of the entire world (asya sarvasya viSvasya) has to be
contemplated simultaneously and integrally into Siva tall va. As
Sivopadhyaya puts it, Bhuvanadiadhvaparyante!u jagata~ Sivat
vina no kindt iti jagad rupam tyaktva, iivameva dhyayato mahodaya~
syat. The reality of this world is nothing apan from Siva.
Therefore this world should be viewed not as the world ( i.e. as
something different from Siva) but as the modality of Sh·a.
Therefore it is Siva alone who has to be contemplated On. Thus
there will be mahodaya i.e. great spiritual Awakening. This
dharal',la is Saktopaya.

[ DharaQa 35 ]
VERSE 58

fCCIl_f1a .... @IUcc ~ fccf"*l4a ,

"' " .
• .
.. q;ft~ aa+Ch. .E1"'~ II ~c; Il

Visvam etan mahadevi siinyabhiitaijl vicintayet I

Tatraiva ca mano linaril tatas tallayabhlijanam 1/58

TRANSLATION
o great goddess, the yogi should concentrate intensely on the
idea that this universe is totally void. In that void; his mind
would become absorbed. Then he becomes highlY qualified for
absorption i.e. his mind is absorbed in siinyatisiinya, the absolute
void i.e. Sil'a.
S6 Vijiiiinabhairava

NOTES

This dhiira~ii is the first of a number of dhiira~iis on siinya

(void) which will come later on in the book. This is Siiktopiiya
leading to Siimbhava state.

[ Dharal:lIi 36 )

VERSE 59

Qatf.. "I\iii\ ¥si f"tnM'*"I1 f.mn~ I

~ ~Ollct'INI riE'i'lql'd;:q41 ~ II v.t II
Ghatadibhajane dntim bhittis tyaktva vinik~ipet /
Tanayarp tatk~aJ;,lad gatva tallayat tanmayo bhavet 1/59

TRANSLATlON

A yogI should cast his eyes in the empty space inside a jar or
any other object leaving aside the enclosing partitions. His mind
will in an instant get absorbed in the empty space (inside the jar)
When his mind is absorbed in that empty space, he should
imagine that his mind is absorbed in a total void. He will then
realize his identification with the Supreme.

NOTES
Casting one's gaze into the empty space inside a jar is a device
for preparing the mind for getting absorbed in total void. When
the mind is absorbed in the empty space of the jar, the aspirant
should imagine that the empty space has extended into a total
void. Thus his mind will be absorbed in the absolute void i.e.
Siva.
This is Siimbhava upiiya.

[DharaJ;,la 37)
VERSE 60
fiR. '1fqftf~-~ ~ f~;d'R! I
~ ~ "'" ,fti!lftot: ~ II '0 ..
Vijiiiinabhairava 57

Nirvrk~giribhittyadidese dnlirp vinik,ipet I

Viline manase bhave Vrttik~il}al}. prajayate 1160

TRANSLATION
One should cast his gaze on a region in which there are no
trees, on mountain, on high defensive wall l His mental state
being without any support will then dissolve and the fluctua-
tions of his mind will cease. 2

NOTES

1. The idea is that when the mind dwells on a vast vacant

space, then being without the support of any definite concrete
object, the mind gets absorbed in that void.
2. When the mind is absorbed in a vast open space, its
vikalpas or thought-constructs come to a dead stop. That is the
moment when the Light within makes its presence felt and the
aspirant realizes that there is a deeper Reality than what is open
to the senses.
Abhinavagupta quotes the first line of this verse in his
Paratrirpsika (on p. 136) and confirms that, in such a moment,
there is· Bhairavabodhiinupravesa (entry into Bhairava-
consciousness).
This type of fixed gaze into vast vacant space without any
thought-construct or objective support for the mind is known
as dmibandhanabhiivanii. As there is neither meditation nor
japa (recitation of mantra), nor any meditation involved in this
dhiiraIJii, this is Siimbhava upiiya.

[Dbaral}a 38]
VERSE 61

:a"~,,fcuil.. fil ~ ~sq fjiiN4d'\ I

.
~ 11i~~ ~~ ~ '\
nroft' II~' II .

Ubhayor bhavayor jiiane dhyatva madhyaQ} samasrayet I

Yugapac ca d vayaIh tyaktva madhye tattvam prakasate 1161
58 Vijniinabhairava

TRANS LA TION

At the moment when one has perception or knowledge of two

objects or ideas, one should simultaneously banish both per-
ceptions or ideas and apprehending the gap or interval between
the two, should mentally stick to it (i.e. the gap). In that gap
will Reality flash forth suddenly.

NOTES
The reading jniitvii instead of dhyiitvii has been adopted
by Jayaratha in Tantriiloka I, p. 127. This reading gives better
sense.

The above is Siikta upiiya. Our mind is always caught up in

perceptions or ideas. Weare prisoners of our own ideas. Behind
all the activities ofthe mind lies Reality which gives life to our
mental activity. That Reality cannot be viewed as an object, for
it is the Eternal Subject and ground of all experience. If we do
not allow our mind to be carried away by the perceptions or
ideas succeeding each other incessantly but rather let our mind
dip in the gap between the two perceptions or ideas without
thinking of any thing. we will, to our surprise, be bathed in that
Reality which can never be an object of thought.
This is known as nirii/amba bhiivanii or creative contempla-
tion without any object as support for the mind. This verse has
been quoted as an example of nirii/amba bhiivanii in Netra
Tantra (pt.I.p.201). This is also Sunya bhiivanii-an example of
the mind sounding its plummet in the depth of the void.

The sudden flash of Reality by this practice has been designat-

ed unme~a or opening out in Spanda-Kiirikii. Abandonment
of the two perceptions or ideas that precede and succeed the
gap is known as anii/ocana or non-observation. The two ideas
have not to be pushed aside by effort but have to be abandon-
ed by a smooth, gentle non-observation. This is a very
important and unfailing dhiira1;lii for the grasp of Reality or
nature of Bhairava.
 Vijnanabhairava S9

[Dhara~ui 39]

VERSE 62
........ ~c... • ...
1I1'f tfnI ..... , ''111~ iR "tfll*d( PCt I
em Cfiil6Q"I~" fGllfifiNfa-1f11Al II ft~ II

Bhave' tyakte niruddha cin naiva bhavantaral}l vrajet 1

~ada tanmadhyabhavena vikasatyati bhavana 1162

TRANSLATION

When the mind of the aspirant that comes to quit one object
is firmly restrained (niruddha) and does not move towards any
other object, it comes to rest in a middle position between the
two and through it (i.e. the middle position) is unfolded
intensely the realization of pure consciousness in all its
intensity.
NOTES

The previous dhiiralJii advises the aspirant to reject two

positive objects, perceptions or thoughts (ubhayor bhiivayob)
and contemplate on the middle i.e. the gap between the two.
In the present dhiiralJii, the ilspirant is advised to contemplate
on the middle or gap between one positive bhiiva or object and
another negative bhava i.e. another bhiiva which the aspirant has
not allowed to arise in the mind. This is the main difference
between the two dhiiralJiis. The result is the same, viz.; the
emergence of the essential Self or the nat!lre of Bhairava.
Abhinavagupta refers to this in verse No. 84 in Tantraloka
pt. I
mtiicr ri: ~~:
... fl/lclltidqf<CVid: I
" ..
51' Ifi1 1111 Cj ffl4 d fiR \II Cj I\II <II f« ti 5lffi': Ii
It is atma (self) alone who is the essential nature, full of the
ambrosia of Siva. The knowledge that one derives by contem-
plation on the middle between two objects or between one
positive and another negative object abides in the light of the
self.
60 Vijiiiinabhairava

The following commentary of Jayaratha leaves no room for

doubt that the above verse of Abhinavagupta refers to t~e two
dhiir01:ziis mentioned in Verse No. 61 and 62 of Vijiiiinabhairava.

"The middle state i.e. the gap between two positive objects or
between one positive and another negative object is siinya or
void which is the ground of the determination of both. In him
who apprehends that void and abandoning simultaneously both
positive perceptions or positive and negative perceptions fixes
his atten~on on that alone arises that stability in the Highest
Self (paramiitmani) who is the highest objective and who is full
of the ambrosia of Siva. In confirmation of the above expla-
nation Jayaratha quotes the verses 61 and 62 of Vijiiiina-
bhairava.
Like the previous one, this dlzar01;zii is also Siiktopiiya.
The reading adopted by the text printed in the Kashmir
Series is bhiive nyakte, which means 'when the mind is fixed on
an object which was never seen previously like Siva with three
eyes, Vip:zu with four arms'. Bhiil'e tyakte is, however, a better
and more authentic reading as is evident from Jayaratha's
commentary quoted above.

[DhiiraQii 40]

VERSE 63

ri ~ f~ f~ ~ qf,("IClQ€! I
~f'Arq..,~.q", ~ ~: " ~~ "
Sarvaql dehaql cinmayaql hi jagad vii paribhiivayet I
Yugapan nirvikalpena manasii paramodayal,l1/63.
TRANSLATION
When an aspirant contemplates with mind unwavering and
free from all alternatives his whole body or the entire universe
Vijnanabhairava 61

simultaneously as of the nature of consciousness, he experiences.

Supreme Awakening.

NOTES

There are two important conditions in this contemplation.

Firstly, it should be done nirvika/pena manasa, with an unhesi-
tating, unwavering mind free from all doubts and alternatives.
Secondly, it should beyugapat i.e. simultaneously, in one sweep,
not in succession, not in bits.
Paramodayab or the Supreme Awakening referred to means.
that he realizes that the entire universe is enveloped in Divine
Light.
This is a Sakta upaya.

[DharaJ,la 41]

VERSE 64

Vayudvayasya sarpghaUiid antarva bahir antatal;a I

Yogi samatvavijiianasamudgamanabhijanam II 64

TRANSLATION

By the fusion (sa'flghalta) of the two breaths, viz., priir)a

(expiration) rising inwardly in the centre and apana (inspiration)
rising externally in dvadaSanta, there arises finally a condition in
which there is complete cessation of both whether in the centre
or in the dvadaianta. By meditating over that condition of void
in which there is no feeling of either pra~a or apana, the yogi
becomes so competent that there arises in him the intuitive
experience of Equality (samatva-vijnana-samudgamana)

NOlES
This is an A~ava upaya leading to Saktopaya.
62 VijRiinabhairava

[DharaQa 42]
VERSE 65

ri iit'iR'4~~ '"+'ii.... "f<d ~ I

q.... q"""i"~""
&
q(i ...."q) .mr .. ,~ ..
,

SarvaJp. jagat svadehaQl va svanandabharitaJp. smaret I

Yugapat svamrtenaiva paranandamayo bhavet II 65.
TRANSLATION
The yogi should contemplate the entire universe or his own
body simultaneouslyl in its totality as filled with his (essential,
spiritual) bliss.:I Then through his own ambrosia-like bliss,3 he
will become identified with the supreme bliss.
NOTES
I. SimultaneouslY (yugapat) means 'with totality of atten-
tion,' in one sweep of attention, not in bits.
2. 'His own bliss' means 'his own essential spiritual or divine
bliss' (cidiinallda), not the pleasure derived from sense-objects.
3. The word mrtena or ambrosia points to the fact that
there is no change in this bliss. It is eternal.
K~emaraja has quoted this verse in Siva-Sutra vimadini at
two places, in I, 18, and III, 39.
According to Svimi Lak~aoa Joo, the word 'va' occurring
in this verse should not be taken in the sense 'or' but in the
sense of 'ca' i.e. 'and' (samuccaya). So the first line of the verse
would mean 'The yogi should contemplate the entire universe
and his body simultaneouslY in totality as filled with his spiritual
bliss'.
\ This d!ziiraf)ii is also Siiktopiiya.
[Dharaga 43]
VERSE 66

~~n~~,.r~1
~ "tli....a q" m ~ .. " ..
Vijiianabhairava 63

Kuhanena prayogeoa sadya eva mrgek~aoe I

Sa1lludeti mahanando yena tattvaQ1 praklisate II 66.

TRANSLATION
o gazzelle-eyed one, by the employment of magic, supreme
delight arises (in the heart of the spectator) instantaneously. (In
this condition of the mind), Reality manifests itself.

NOTES
When a spectator beholds some wonderful magical perform-
ance, his ordinary normal consciousness is raised to a plane
where there is no distinction between subject and object, where
it is freed of all thought-constructs and is filled with reverential
awe, with mute wonder and ineffable joy. At that plane of
consciousness is revealed the essential nature of Bhairava. This
is only one example. When by contemplating on any scene-vast,
awe-inspiring, deeply moving, the mind is thrown into ecstasy
and mute wonder, it passes into nirvikalpa state, then that is
the moment when suddenly .and instantaneously Supreme
Reality reveals itself.
This is an example of Sakta upaya.
According to Svami Lak!Jmaoa Joo, this verse can have
another meaning also. The word 'kuhana' also means 'tickling
the arm-pit'. So the verse would mean, "0 gazelle-eyed one, by
tickling the arm-pit, there occurs instantaneously a great joy. If
one contemplates over the essential nature of joy, Reality
manifests itself."

[Dhiraoa 44]

VERSE 67

~R)f., ....a~ SiIOlllliftCClsciql~: I

Nci\WWlli_Wlql SI1tR trot ~ II '" II

Sarvasrotonibandhena praoasaktyordhvaya sanail;l !

PipilaspariavelayaQ1 prathate paramaQ1 sukham II 67
64 VijiUinabhairava

TRANSLATION
When by stopping the opening of all the senses the current
of all sensory activity is stopped, the pro1;lasakti moves slowly
upward (in the middle nor/lor sU$umnii from muliidhara towards
Brahmarandhra), then in the upward movement of pro1;lasakti,
there is felt a tingling sensation (at the various stations in the
middle nor/i) like the One created by the movement of an ant
(over the body). At the moment of that sensation, there ensues
supreme delight.
NOTES
The main point in this dhiiraIJo is that when priiIJasakti moves
upward, there is the awakening of KUIJr/alinl which moves up-
ward towards dviidasiinta i.e. towards Brahmarandhra. This slow
and gradual movement of prii1)asakti or of kUl;zr/alini gives a
sensation like that of the movement of an ant over the body.
This sensation at the time of the ant-like movement of priilJa-
sakti is very pleasant.
Sivopadhyaya says that the upward movement of priiIJasakti
can be achieved by kumbhaka priiIJoyiima. He quotes Pataiijali's
Yoga-sutras (II,49-50) which say that priilJa can be made dirgha-
suk$ma (prolonged and subtle) by kumbhaka pro1)iiyiima (restraint
of breath). This would be oIJava upiiya. But Pataiijali does
not refer to KUI)Qalini yoga. Sivopadhyii's quotation from
Patafijali in this context is irrelevant.
What the dhiiraIJii actually means to say is that when the
openings of all the senses are stopped and the mind is kept free
of all thought-constructs (nirl'ika/pa) the priiIJasakti, becomes
active in the su~umno, and as the kUlJr/alini rises slowly towards
Brahmarandhra, one feels like the sensation of an ant creeping
over the body. At that time, the yogi experiences the movement
of kUlJr/alini from one station to another and is overjoyed.
[Dhiira1)ii 45]
VERSE 68

~;WC(1!f~ qri § ~ ~~~ f~ I

m a"ImJUi
~'~d-'
en fiH1 .. ;4 .. ~~~
~
.. ~t:; ..
Vijniinabhairava 6S
Vahner vi~asya madhye tu cittarp sukhamayarp k~ipet I
KevalaQl vayupiirJ"lalP va smaranandena yujyate II 68

TRANSLATION
One should throw (i.e. concentrate) the delightful cilia in the
middle of vahni and vila bothways whether by itself Of permeat-
ed by viiyu (prii~ic breath), one would then be joined to the
bliss of sexual union.
NOTES

Vahni and vila are technical terms of this yoga. Vahni stands
for sankoca (contraction) by the entrance of prii~a (in me~hra­
kanda which is near the root of the rectum), Vila connotes
vikiisa or expansion. Vah"i refers to adha~ ku~~alinl, and vila
to urdhvaku~~alinl. Ordhva ku~~linl is the condition when the
prii~a and apiina enter the sUlumnii and the ku~~alinl !ises up.
Ku~~al;nl is a distinct sakt; that lies folded up in three and a half
valayas or folds in MUliidhiira. When she rises from one-three-
fourths of the folds, goes up through sUiumnii, crosses Lambika
and pierces Brahmarandhra, she is known as Ordhva ku~~alinl.
and this pervasion of hers is known as vikiisa or vila.
Adha~ ku~~alinl-Its field is from Lambika down to one-
three-fourth of the folds of kUIJ4alinllying folded in the millii-
dhiira. PraJ"la goes down in adha~ k~~/inl from Lambika
towards mu!iidhiira.
The entrance of prii~a into adha~ ku~~a1inl is sailkoca or
vahni; rising into urdhva ku~¢alinl is vikiisa or vila. Vahni is
symbolic of priil,la viiyu and vila of apiina viiyu. Entering into
the root, middle and tip of adhab ku~~alini is known as vahni
or sailkoca. Vahni is derived from the root vah-to carry. Since
prii~a is carried down up to mUliidhiira in this state, it is called
vahni.
The word vila does not mean poison here. It is derived from
the root vii 'to pervade.' Vila, therefore, refers to prasara or
vikiisa (expansion).
When the priil,la and apiina enter the SUIUmniij the citta or the
indi vidual consciousness should be stopped or suspended
66 Vij nanabhairava

between the vahni and vi1a or in othe(. words between the adhal)
kU1J(!alinl and the urdhva kucr(!alinl.
Vayupurcra or full of vayu means that the citta should be res-
trained in such a way that vayu may neither pass out through
the nostrils nor through the male organ and the anus. Citta and
vayu are inter-connected. Restraint of the one brings about the
restraint of the other.
Smarananda or bliss of sexual union : When the citta can be
restrained between the adhal) and urdhva kucrtJalinl, one has the
joy of sexual union. This is inverted union. Sexual union is
external; this union is internal.
This dharacra is Acrava upaya.
[Dharaoa 46]
VERSE 69
... . ... f.
UlMtt... 9i1lI84i4NiCi4iiCi9i ....*! I
• '1«'1""'" ~ ",*iiN'!Q4t\ .. "t .
Saktisangamas8Qlk,ubdha§aktyavdavasanikam /
Vat sukham brahmatattvasya tat sukhaQ1 svakyam
ucyate 1/ 69
TRANSLATION
At the time of sexual intercourse with a woman, an absorp-
tion into herl is brought about by excitement, and the final
delight that ensues at orgasm betokens the delight of Brahman.
This delight is (in reality) that of one's own Self.
NOTES
1. This absorption is only symbolic of the absorption in the
Divine Energy. This illustration has been given only to show
that the highest delight ensues only at the disappearance of
duality. Sivopadhyaya quotes a verse which clarifies the esoteric
meaning of this union.
~ ~~) ;r orTf!i ~ ~ I
-0 "1{( ~
f.fm l>..Tfif: a'R'
.... C\
~ Mali, II
VWiiinabhairava 67
"Just as being locked in embrace with a woman, one is totally
dissolved in the feeling of one-ness (unity) and one loses all sense
of anything external or internal, even so when the mind is dissolved
in the Divine Energy, one loses all sense of duality and
experiences the delight of unity-consciousness. The Sruti (scrip-
ture) speaks of the union with a woman only to illustrate the
union with the Divine. It is only a fool who takes this illustra-
tion as an injunction for carnal pleasure.
2. The delight is that of one's own Self. It does not come
from any external source. The woman is only an occasion for
the manifestation of that delight.
This dhiira~ii is Siiktopiiya.
[DhiiraQa 47)
VERSE 70

.
~i["." I14'1i...li: MWS+4 fC(.N'!A: I
IfI4fChUclsfq ~ 'rit1 ...... e'*'ilI: II 130 II

Lehanamanthanakotaib strisukhasya bhariit smrteb I

Saktyabhiive'pi devesi bhaved anandasamplavab " 70
TRANS LA TION
o goddess, even in the absence of a woman, there is a flood of
delight, simply by the intensity of the memory of sexual pleasure
in the form of kissing, embracing, pressing, etc.
NOTES
Since the sexual pleasure is obtained simply by memory even
in the absence of a woman, it is evident that the delight is inherent
within. It is this delight apart from any woman that one should
meditate on in order to realize the bliss of the divine consciousness.
This dhiira1)ii is Siiktopiiya. .

[DhiiraQa 48]
VERSE 71
~~ ¥4'i[M srrcA' ;15Z 1(T ;n;ri ~ I
..
'Q1 ............d ~m ctc.-E'lq+dUCotT ~.II
, 131 II
68 Vijfliinabhairava

Anande mahati prapte dr~le vii biindhave ciriit I

Anandam udgataIJl dhyiitvii tallayas tanmanii bhavet /I 71
TRANSLATION

On the occasion of a great delight being obtained, or on the

occasion of delight arising from seeing a friend or relative after a
long time, one should meditate on the delight itself and become
absorbed in it, then his mind will become identified with it.
NOTES
On the occasion of such great delight or intensive experience.
one should lay hold of the source of such experience, viz, the
spanda or the pure spiritual throb and meditate on it till his
mind is deeply steeped in it. He will then become identified with
the Spiritual Principle. Such an experience vanishes quickly.
therefore, one should seize it mentally as soon as the experience
occurs.
This dhiiraf)ii is ~iiktopiiya.
[DhiiraQii 491
VERSE 72

JagdhipiinakrtolIiisarasiinandavijrmbhaQiit !
Bhiivayed bharitiivasthiim mahanandas tato bhavet /I 72
TRANSLATION
When one experiences the expansion of joy of savour arising
from the pleasure of eating and drinking, one should meditate on
th~ perfect condition of this joy, then there will be supreme
delight.
NOTES

If the yogi meditates on the perfect condition of the joy that

arises even from the satisfaction of physical needs. he will feel
Vijnonabhairava 69
that the source of this joy is also the divine spanda, and being
absorbed in it, he will experience supreme spiritual bliss.
This dharaIJo is also Soktopoya.
[Dharal)ii 50]
VERSE 73

,"n .f"f.. qc4ifCi ,q.~qWl@ll ... n.€+i ... : ,

cil ft ....*,;q 14 eel... q;l'hA*, "€+in' " 19 ~ "

Gitadivi~ayasvadasamasaukhyaikatatmanal:t I
Yoginas tanmayatvena manoriic;thes tadatmata /I 73

'TRANSLATION
When the yogi mentally becomes one with the incomparable
joy of song and other objects, then of such a yogi, there is, be-
cause of the expansion of his mind, identity with that (i.e. with
the incomparable joy) because he becomes one with it.

NOTES
In verses 69-73, Bhairava says that one can turn even a sen·
suous joy into a means of yoga. In the above verses examples of
all sorts of sensuous joy have been given. Joy of sexual inter-
course is an example of the pleasure of spada (contact); joy at
the sight of a friend is an example of the pleasure of rupa (visual
perception); joy of delicious food is an example of rasa (taste);
joy derived from song is an example of the pleasure of sound
(sabda).
In each of these, the emphasis is on the meditation of the
source of the joy which is spiritual. Leaving aside the various
sensuous media, the aspirant should meditate on that fountain
of all joy which only trickles in small drops in all the joys of
life.
In verses 69-72, the examples given are only those of physical
delight. In verses 73, the main example is of aesthetic rapture
that one feels in listening to a mefodious song. According to
Saiva aesthetics, there can be aesthetic rapture only when the
70 Vijiianabhairava
person experiencing that rapture has samid-viSranti i.e. when his
mind is withdrawn from everything around him and reposes in
his essential Self. Aesthetic delight is, therefore, a greater source
of the experience of the spiritual Self.
This is Saktopaya leading to Sambhava state.

[DharaQa 5 I]

VERSE 74

Ya!ra yatra manas tu,lir manas tatraiva dhiirayet/

Tatra tatra paranandasvaIiipaQl sampravartate /I 74

TRANSLATION

Wherever the mind of the individual finds satisfaction! (with-

out agitation), let it be concentrated on that. In every such case
the true nature of the highest bliss will manifest itself.s

NOTES

1. TUlti, lit., satisfaction indicates deep, moving joy, not

agitation of the mind. TUiti refers to that deep delight in which
(1) one forgets every thing external, in which all thought-constructs
(vikalpas) disappear (2) and in which there is no agitation
(kiobha) in the mind.
2. One has to plunge in the source of the delight. One will
then find that it is the Divine, the Essential Self of aU.
This is Saktopaya.

[DharaQa 52]

VERSE 75

a ....ittlqi f.mtri SI'I'SZ ~.mR I

~ ~ IIRIT qu ~ SArma- II \tv. II
AnagatayaQl nidrayam praQa,te bahyagocare /
Savastha manasa gamya pari devi prakasate II 75
Vijiianabhairava 71
TRANSLATION
When sleep has not yet fully appeared I.e. when one is about
to fall asleep, and all the external objects (though present) have
faded out of sightl then the state (between sleep and waking) is
one on which one should concentrate. In that state the Supreme
Goddess will reveal Herself. 2

NOTES
1. The intermediate state between sleep and waking is the
nirvikalpa state, i. e. a state in which all thought-constructs
have disappeared. This is the turiya or transcendental state of
consciousness.
2. By concentrating on this thought-free state of conscious-
ness, one will have an experience of the essential nature of Self
which transcends all thought-constructs. Thus one will have an
experience of the divine nature. It is this Divine nature which
has been called para devi, the Supreme Goddess.
This is also Saktopaya.
[Dhiiral:lIi 53]
VERSE 76

~ \t4.nQlhICfiI41 "'Iac\'li'ti~ I
i5fisaf.,"",QIm fC4lcq~ ~ .. ,,~ ..

Tejasa siiryadipaderakase sabalikrte I

Dr~tir nivesya tatraiva svatmariipam prakasate II 76
TRANSLATION
One should fix one's gaze on a portion of the space that
appears variegated with the rays of the sun, lamp. etc. At that
very place, the nature of one's essential Self will manifest
itself.2
NOTES
1. Etcetera includes moon with whose light the sky appears
variegated at night.
72 VijRiinabhairava

2. Under such circumstances, the yogi casts off the limitation

of the objective consciousness and experiences the infinity of the
spiritual consciousness.
This is A~ava upiiya.

[Dharaoa 54]
VERSE 77

'Ii'n!...filillqT ~ ~T ~r"'~I"QT I
w.m ~~m • Q(1iiUNt: ~ II 1313 II

Karailkioya krodhanaya bhairavya 'lelihanaya I

Khecarya dr~likale ca paravaptil:.t prakasate II 77
TRANSLATION
At the moment of the (intuitive) perception (of the universe),
there is manifested the supreme attainment through the Karan-
ki1)I, Krodhanii, Bhairavi, Lelihiinii and Khecarl mudriis.

NOTES
DUII-kiile is explained by Svami Lak~maoa Joo as 'on the
occasion of the yogic practice.' Mudrii (posture) is a technical
term meaning a particular disposition and control of the organs
of the body as a help in concentration. It is called mudrii because
it gives the joy of spiritual consciousness.
Karanki~l mudrii is so-called, because by it the yogi views the
world as mere karanka or skeleton. It views the physical body
as dissolved in the highest ether. It is the mudrii of jiiiina-sid-
dhas i.e. of those who have become perfect in jRiina or spiritual
insight.
Krodhanii is a mudrii expressive of krodha or anger. It assumes
a tense, tight posture. It gathers up all the twentyfour tattvps from
the earth upto prakrti into the corpus of mantra. It is the mudrii
of mantra-siddhas i.e. of those who have become perfect in
mantra.
Bhairavi mudriiconsists in keeping the eyes fixed externally with-
'out blinking but making the gaze turned towards the inner Reality.
Vijiianabhairava 73

It withdraws everything into the inner Self, and is the mudra of

the melapasiddhas. Melapa means the 'supernatural power of the
union of the energies of the various organs'. It also means the
meeting of the siddhas and Yogin;s. Those who have become
perfect in this matter are known as MeJapa-siddhas.
Lelihana is the mudra in which the yogi tastes the entire
universe in his nature of essential I-consciousness. It is the mudra
of the Sakta-siddhas.
Khecari literally means that which moves in the sky or empty
space. Kha or 'empty-space' is a symbol of consciousness.
There are four kinds of Khecari mudra. One kind is the mudra
referred to in Ha/ha-yoga-pradipika. It consists in turning the
tongue backward towards the palate inside the cranium. The
second kind is the one described by K~emaraja in Siva-Siitra-
vimarsini under siitra 5 of the 2nd section.
"A yogi should be seated in the padmasana (lotus posture)
erect like a stick and should then fix his mind on the navel and
should lead the mind up to kha-trayas or the three saktis (Sakti,
vyapini, and samana), situated in the space in the head. Holding
the mind in that state, he should move it forward with the above
triad. Putting himself in this condition, the great yogi acquires
movement in the head."
The third kind of khecari is as described in Viveka-marta1J.t/.a.
"The tongue should be turned back inside the cranium. The gaze
should be directed towards the centre in between the eye-brows'.
The fourth or the highest kind of Khecari mudra is that state
in which the yogi remains in Siva-consciousness all the while, in
which his consciousness moves in all beings.
This is the mudra of the Sambhava-siddhas.
This dhara1J.a is Sambhava upaya.

[DharaQa 55]
VERSE 78

1!i~f~~~~1
fomtf msrm:, *' 'm ~vrf mali"et II 1St:; II
74 VijRilnabhairava
Mrdvasane sphijaikena hastapadau nirMrayam /
Nidhaya tatprasaJigena para piirI}.a matirbhavet // 78
TRANSLATION
The aspirant should seat himself on a soft (cushioned) seat,
placing only one of the buttocks on the seat and leaving the
hands and the feet without any support.l By maintaining him-
self in this position, his intelligence will become highly silttvika
and endowed with plenitude. 2

NOTES
1. He should sit in a very relaxed position.
2. His mind will acquire perfect ease in this position and
therefore rajas (agitation of the mind) and lamas (cloth) will
disappear. His mind will experience perfect equilibrium (sattva).
This is an A~al'a upilya.
[DharaI}.a 56]
VERSE 79

Upavisyasane sam~ag baM krtvardhakuficitau /

Kak~avyomni manai.t kurvan samam ayati tallayat /1 79

TRANSLATION
Sitting comfortably on his seat and placing the two arms in
the form of an arch overhead, the aspirant should fix his gaze in
the arm-pits. As the mind gets absorbed in that posture of re-
pose, it will experience great peace.

NOTES
This posture has been recommended for making the mind at
ease. In this posture, one feels great peace. This is an A~ava
upaya.
VijRiinabhairava 75
[Dbaral}a 57]
VERSE 80

"i\il¥'i+Q ~ ~ ~ f~ .. I
~ f.muR 'R: ~ ftN Q({ .. 1;0 ..

Sthiilariipasya bhiivasya1 stabdhiiQl dr~tiQl nipatya ca I

Acirel}a niradharam manal) krtva sivaQl vrajet II 80

TRANS LA nON
Having fixed his gaze without blinking on a gross object, (and
directing his attention inward), and thus making his mind
free of all prop2 of thought-constructs, the aspirant acquires the
state of Siva without delay.
NOTES
1. The word upari meaning 'on' is understood after bhiiv-
asya. So this means fixing one's gaze on a gross object.
2. Niriidhiira or without a prop means free of all thought
constructs (vikalpas). It is these vikalpas that serve as a prop for
the mind.
This is Bhairavl mudrii and the upaya is Siimbhava.
[Dharal}a 58]
VERSE 81

qsqr.Jt, ,'fI1f<ct,~ ~ f..f~ ~ I

~~ """" !jch:ruf: ~ RPm II 1;' II

Madhyajihve sphiiritasye madhye nik~ipya cetanam I

Hoccaram manasa kurvaQls tatal) sante praliyate II 81
TRANSLATION
If one maintains the mouth widely open, keepil,lg the inverted
tongue at the centrel and fixing the mind in the middle of the
open mouth, and voices vowel-less ha mentally, he will be dis-
solved in peace.
76 Vijiiiinabhairava

NOTES
1. This refers to Khecari mudrii which is described in the
following way in Vivekamartal).Qa:

CfitIl~ f~~T ~ f"lq()CI~11 I

-;;rq~m ;;:fQ4s= I '1Cffcr ~ II
'" ~ '"
When the inverted tongue is made to enter the cavity of the
<:ranium touching the palate and the gaze is fixed between the
eye-brows, it is khecari mudrii.
2. After effecting this mudrii, one should keep his mind fixed
on the middle of the open mouth.
Pral).a goes on sounding haf11sal;. inwardly automatically
without cessation. When the tongue is inverted and stuck to the
palate, the palatal sa cannot be pronounced: ha alone of the
formula 'halJlsa' remains. This ha has to be voiced in a vowel-
less manner. Since it is not possible to utter vowel-less (anacka)
ha physically, the dhiiral)ii says that it should be uttered men-
tally. As the vowel-less ha symbolizes priil)asakti, its mental
repetition develops priil)a sakti or madhya dasii and thus one
attains the state of his essential Self and experiences peace.
This is AlJava upiiya.

[Dharal).a 59]
VERSE 82

~ mA f~ro f~ f.t~ I
~~~ ~f" ~, ~ ~~ ~ 1\ c;~ 1\

Asane sayane sthitva niradharalJl vibbavayan /

Svadeham, manasi k~il).e, k~aQat k~il).asayo bhavet //82.
TRANSLAnON

Seated on a (soft) seat or bed, one should contemplate one's

body as without support. By this contemplation when all props
of one's thought vanish i.e. when one's mind becomes free of
thought-constructs, then in an instant, all his old (undesirable)
mental dispositions (lying in the unconscious) will also vanish.
Vijnanabhairava 77
NOTES
Though seated on a soft seat or bed, the aspirant should con-
template with firm belief that his body is without the support of
any seat or bed whatsoever. In this way his mind will oecome
free of thought-constructs which act like props, and when his
mind becomes thought-free, then his habitual tendencies of
thought (viisaniis) lying in the unconscious will also vanish.
This is Siiktopiiya.
[Dharal}.a 60)
VERSE 83

Calasane sthitasyatha sanair va dehacalanat I

prasante manase bhave devi divyaughamapnuyat II 83
TRANSLATION
o goddess, owing to the swinging of the body of a person
seated on a moving vehicle or owing to self-caused swinging of
his body slowlY,l his mental state becomes calmed. Then he
attains divyaugha 2 and enjoys the bliss of supernal consciousness.

NOTES

1. If one is seated in a cart or on horse-back, or an elephant

or in any other moving vehicle, then owing to the movement of
the vehicle, his body begins to swing to and fro, or he may him-
self make his body swing. In such a condition, he experiences
a peculiar kind of joy, and his mind becomes introverted.
Owing to the introversion of the mind, he experiences great
peace which may give him a taste of divine bliss.
2 The word augha literally means flood, stream. In the
context of yoga, it means 'continuous tradition of wisdom'.
Three kinds of augha are mentioned in the tantras-
Miinavaugha siddhaugha divyaugha.
78 VijRQnabhairava
The traditional jRiina (spiritual insight) obtained through
human gurus (spiritual directors) is known as miinavaugha, that
obtained through siddhas (perfect masters who have gone beyond
human condition) is known as siddhaugha, and that obtained
through devas (gods) is known as divyaugha.
This again is Siiktopiiyq.
[DharaJ}a 61]
VERSE 84

Akasarp vimalam pasyan krtva dntirp nirantaram I

Stabdbatma tatk~aJ}iid devi bhairavarp vapur apnuyat 1/ 84
TRANSLATION
If one making himself thoroughly immobile1 beholds the pure
(cloudless) sky. with fixed eyes,3 atthat very moment, 0 goddess,
he will acquire the nature of Bhairava.
NOTES
1. This means that the sense of the body should vanish and
all thoughts and emotions should be completely arrested.
2. Looking at the sky has been recommended, because on
account of the vastness of the sky, the beholder is apt to be lost
in a sense of infinity.
3. With fixed eyes means without blinking.
This is Siimbhavopiiya.
[DhiiraJ}a 62]
VERSE 85

Linam miirdhni viyat sarvam bhairavatvena bhavayet I

Tat sarvaQl bhairavakaratejastattvam samiviset II 85
Vijfiiinabhairava 79

TRANSLATION

The yogi should contemplate the entire open space (or sky)
under the form of the essence of Bhairava and as dissolved in
his head. Then the entire universe will be absorbed in the light
of Bhairava.

NOTES

If the-yogi by bhiivanii (creative contemplation) imagines the

vast sky as expression of Bhairava and as being dissolved in the
space inside his head, the space in his head will become the
symbol of the infinity of Bhairava and he will feel that the entire
universe is bathed in the Light of Bhairava.
This is Siiktopiiya.

[DbaraJ;la 63]
VERSE 86

fIfif... IriIM ~ ill(lI\'1)Iiji*flQ: ~: I

~, ~ ~ "i~"I"*,SiIijiIIlI"d " c;ft ..
_ G'

Kiiicij jiiataIJl dvaitadayi bahyalokas tamaQ punaQ !

Visvadi bhairavaIJl riiparh ji'iatvanantaprakasabhrt / / 86

TRANSLA nON

When the yogi knows the three states of consciousness, viz.

visva (waking) in which there is limited knowledge productive
of duality, (2) laijas (dream) in which there is perception of the
impressions of the exterior, (3) priijfia (deep sleep) in which it is
all darkness ~s (only) the form of Bhairava1 (bhairavaT/1 riipam).
he is then filled with the splendour of infinite consciousness. 2

NOTES

1. As (only) the form ofBhainva means as the expression

of the turiya or the fourth state of consciousness which is
Bhairava.
80 VijRiinabhairava

2. In ordinary life, there is always subject-object duality. In

the turlya or the fourth state of consciousness, the sense of
duality disappears. It is the Light of the Essential Self or Bhairava.
That is why it is said to be the splendour of infinite consciousness.
When the yogi knows all the three states as only the expression
of the fourth state which is the state of Bhairava, he is filled
with the Infinite Light of Bhairava.
This 'is A~ava upiiya leading to Siimbhava state.

[DharaJ)a 64]

VERSE 87

~ if"''''''' prrq~ ~
~ ~ ~ ~ ¥qqiSQfd II .:;\9 II
I
"'
Evam eva durnisayaQl kl1J)apak~agame ciram /
Taimiram bhavayan riipam bliairavaQl riipam e~yati 1/ 87

TRANSLATION

In the same way, at (compl~tely) dark night in the dark

fortnight, by contemplating for long over the (terrible)
circumambient darkness, the yogi will attain the nature of
Bhairava.
NOTES

Contemplation over darkness at dark night in the dark

fortnight has been recommended, because in such darkness,
distinct objects are not visible. So there is nothing to distract
the attention.
When one contemplates over darkness for long, one is filled
with a sense of awe and uncanny mystery and easily slips into
the mystic consciousness. It is at such an hour that the Light
of Bhairava makes its appearance and one acquires the nature
of Bhairava.
This is biihya timirabhiivanii or contemplation over external
darkness with open eyes. This dhiir~ii pertains to Siiktopiiya,
VijRiinabhairava 81

[Dharaoa 65]
VERSE 88

~ f,,4\@4i.a U 'lIiSOii"qVR: I
sm11i ~ " "iCllc4+d .... r.it ~ 111010 II

Evam eva nimilyadau netre knoabham agratal}. I

Prasarya bhairavaQl rOpam bhavayaQls tanmayo bhavet 1188
TRANSLATION
Similarly, (even during the absence of dark fortnight), the
aspirant should at first contemplate over terrible darkness in
front of him by closing his eyes, then later should contemplate
over the dark, terrible form of Bhairava in front with eyes wide
open. Thus will he become identified with Him.

NOTES
This verse points to the transition from nimilana to unmllana
samiidhi. If after the nimilana samiidhi, the aspirant goes into
unmilana samiidhi i.e. contemplates over the form of Bhairava
with eyes wide open, he will find his mind swallowed up in the
nature of Bhairava and will realize his identity with Him.
This is Siiktopiiya again.
[.Dharaoa 66]
VERSE 89

~ 4iffff...4WiN IqNtCfT'fi( f.rmm: I

SlfC4EWiiIQ mi ... EhlClliMi 5t1mri\' II lOt II

Yasya kasyendriyasyapi vyaghatac ca nirodhatal}.l

Pravi~tasyadvaye sOnye tatraivatma prakasate " 89

TRANSLATION
When some organ of sense is obstructed in its function by some
external cause or in the natural course or by self-imposed device,
then the aspirant becomes introverted, his mind is absorbed in
82 Vijiiiinabhairava

a void that transcends all duality and there itself his essential
Self is revealed.
NOTES
As the particular organ of sense is unable to establish contact
with the external world, there arises a feeling of vacuity in that
organ. Then the aspirant becomes introverted. He gets absorbed
in that void where the duality of subject and object does not
exist, and forthwith the essential Self of the aspirant is revealed.
This dhiira~ii pertains to Siiktopiiya.

[DharaQa 67]
VERSE 90

atf,,;:qiiifCiU,.j
o .. ~ ~ mrr.r
•• •. I
~ ~

;Rfir ~ ~ iI'~: q(qltcW " to "

Abindum avisargaQl ca akaraQl japato mahan /

Udeti devi sahasa jnanaughab paramesvarab / / 90
TRANSLATION
If one recites the letter a without hindu or visarga then, 0
goddess, ParameSvara-a magnificent torrent of wisdom appears
suddenly.
NOTES
Bindu in this context indicates the anusviira or dot on a letter
which is the symbol of nasal pronunciation. Visarga indicates
two dots placed one upon the other immediately after a letter
which symbolize the articulation of a letter with l;z sound. Thus
'if (a) with hindu would be 'if' (aQl), and $f (a) with visarga would
be ar: (a1;1).
In sounding 'a' with anusviira i. e. as flI1J there will be inhala-
tion (puraka) and in sounding 'a' with visarga i. e. as al;z there
will be exhalation (recaka). The above dhiira~ii says that the letter
lr 'a' should be recited without a hindu i. e. without an anusviira,
and also without a visarga (without the l;z sound) i. e. neither
VijRdnabhairava 83
with inhalation nor with exhalation (neither with puraka nor
with recaka). This implies that the letter 'a' (") should be recited
in a kumbhaka state i.e. in a state of the retention of the breath
as 'a' (,,).
Svami Lak,maga Joo interprets kumbhakasthasya occurring in
the commentary in a different way. According to him kumbhakas-
thasya here means cakitamudrayibrJ 'sthitasya i.e. in the posture
of cakitamudra. In this posture, the mouth is wide open and the
tongue is held back. In this posture 'a' (81') can neither be recited
with anusvara nor With visarga. The aspirant will be automati-
cally compelled to contemplate over 'a' only mentally.
In sounding 'a' with anusviira i.e. as am there will be inhala-
tion (pQraka, and in sounding 'a' with visarga i.e. as 'a\1', there
will be exhalation (recaka). The above dhara!la says that the
letter 81' (a) should be recited without a bindu i.e. without an
anusvara, and also without a visarga (without the ~ sound) i.e.
neither with inhalation nor with exhalation (neither with puraka,
nor with recaka). This implies that the letter 'a' (") should be
recited in a kumbhaka state i.e. in a state of the retention of the
breath as 'a' (81).
Why of all letters has particularly 'a' (,,) been selected for
recitation ? The reason is firstly that the lettter 'a' (") is the
initial letter of the alphabet; it is the source and origin of all
other letters; it is neither generated out of any other letter, nor
is it dissolved in any other letter. Secondly, it symbolizes anuttara
the absolute, the state which is beyond description, the state in
which Siva and Sakti are in indistinguishable unity. The recitation
of 'a' (")' therefore, betokens the longing of the soul for Siva-
sakti-samarasya (the state ofthe harmonious fusion of Siva-sakti)
a nostalgia for its ultimate source.
Thirdly 'a' (") represents aham, the perfect I-consciousness
of the Absolute. Therefore, the contemplation of a establishes
one in the absolute I-consciousness of Siva.
Lastly the recitation of 'a' (") without anusviJra or visarga in
a kumbhaka state or in cakita mudra makes the mind nirvikalpaka
i.e. freed of all dichotomizing thought-constructs and suddenly
in this state appears Paramesvara (the highest Lord). the flood
of divine wisdom.
This is A!lava upaya.
84 Vijniinabhairava

[Dhiraoa 68]
VERSE 91

~ m.iR NtI'ltod NfiI ~ I

f,'C(lQI(UC
,~ an'n:r..- :a:n;r.:nI'
1'WI'tt"' '1i1Ii(I$ tI~IM,! lit' II

Varoasya savisargasya visargantaJP. citiJP. kuru /

Niradhireoa cittena sPfSed brahma sanatanam //91
TRANSLATION
When one fixes his mind freed of all props on the end of the
visarga of a letter cQllpled with visarga, then (being completely
introverted), he "enters the eternal Brahman.
NOTES

Abhinavagupta says that visarga connotes the creative power

of the Supreme:
aa
~ ~ U11r cllt(11'i4d I
fqe tttat4 iIAt4" ~ II.f'diii'i4d II
(Tantriloka, III, 143)

"Anuttara is the highest plane of Reality. That is known as

akula. His state of manifestatiou or emanation (visarga) is the
kau/ikl power kaulikl sakli of the Supreme Lord.
Sivopidhyiya quotes another verse to show that visarga is the.
creative power of the Supreme and it is out of this visarga that
the entire cosmos emerges:
~ IfU ~ ~ II.f'diii'ijfl. I
~~~~~iiI1R(ll
"The highest Sakli of Akula (siva) is known as Kauliki. The
kaulikl sakli is the same as visarga. It is from visarga that the
entire world has emanated.
Visarga is represented in writing by two dots placed per-
pendicularly one upon the other immediately after a letter and in
speech it is represented by the sound b. The sound b
represents the creative energy.
Yijnanabhairava 85
Now when the aspirant fixes his mind on the end of the visarga
which is the symbol of manifestation, his mind is detached from
all manifestation and easily slips into the void. He is now
steeped in the silence of Brahman.
This dhar(U,)a starts in A~ava and ends in Saktopaya.
[ DharaQa 69]
VERSE 92

_""41ti ""iIlNt" SlftifCfi"(9tt,!CC't I

f~ f.imf: . : ~ Cifiq~Ct II t~ II

VyomakaraJJl svam atmanaQl dhyayed digbhir anavrtam /

NirMraya citil;1 saktil;1 svariipaIJl darSayet tada 1/ 92
TRANSLATION

When one concentrates on one's self in the form of a vast

firmament, unlimited in any direction whatsoever!, then the citi
sakti freed of all props reveals2 herself (which is the essential
Self of the aspirant).
NOTES
1. One has to concentrate on one's Self as a vast sky
unlimited by any form, adjunct or direction.
2. In such a fraine of mind, the citi sakti-the divine power
of consciousness is freed of all thought-constructs and shines
in its nirvikalpa state which is the essential nature of Self. Thus
the aspirant is established in his essential Self.
This is Saktopaya.
[Dharal)a 70]
VERSE 93

~cW fcd~,at.a cfif'Ott"lf"", mr: I

• ~i ~,~ f,,~ 'Iftr: II t~1I
'"
Kiiicid aJigaJJl vibhidyadau tIKtll)asiicyadini tatal;1/
Tatraiva cetaniJJl yuktva bhairave llirmali gatib // 93
86 VijRiinabhairava
TRANSLATION
If one pierces at first any limb (of one's body) with sharp-
pointed needle etcetera, and then concentrates on that very
spot, then (owing to the intensity of one-pointed awareness)
one has access to the pure nature of Bhairava.
NOTES
In intensity of attention whether due to pleasure or pain.
there is one-pointedness of the mind and in that state the nature
of the essential Self is revealed.
This dhiira{lii starts with A{lava upiiya and ends in Siimbhava
state.
[Dharaoa 71]
VERSE 94

f'4ll'dICl;a:"fdOlif«l .... IOd"t~ I

fCCifi@iI"I","a.. ~~ 'f1lc{ .. t't ..
Cittadyanta~krtir nasti mamantar bhivayed iti I
Vikalpanim abhavena vikalpair ujjhito bhavet II 94
TRANSLATION
One should contemplate thus : "Within me the inner psychic
apparatus consisting of cilia, etc. does not exist". In the absence
of thought-constructs. he will be (completely) rid of all thought-
constructs (vikalpas) and will abide as pure consciousness
(suddha caitanya) which is his essential Self.
NOTES

When one becomes fully convinced by bhiivanii (contempla-

tion) that he is not his psychic apparatus consisting of manas,
buddhi, ahamkiira (mind, the ascertaining intellect, and the ego)
with which he is always identified. then his mind ceases to
form vikalpas (thought-constructs) and his essential nature
which transcends all vikalpas is revealed.
This is Siiktopiiya.
Vljiianabhairava 87

[Dharaga 72]
VERSE 95

qop:n f.. ~f~ ;mr ~: ~ ~ •

'Nlf4ati ~ UIR ,~ II U. II

Maya vimohini nama kalayal;l. kalanaQl sthitam /

ItyadidharmaQJ. tattvanaQl kalayan na prthag bhavet //95

TRANSLATION

"Maya is delusive, the function of kala is limited activity

(of vldya, itis limited knowledge, etc)," considering the functions
of the various tattvas (constitutive principles) in this way, one
does not remain separate any longer.

NOTES

Abhinavagupta thus defines Mayasakti:

"Sarvathaiva svariipaQl tirodhatte avrgute vimohini sa"
I.P.VI.I1, 17.
''She veils the essential Self and thus proves delusive."
,,~~ 'l'ffisEi;:alll'1lt4i'1Tf~ I
III'i'ir
~~'
m ~ err 4illlllllfffif.tIilAtd II"
0 ~

I.P.V.I1I. 1,8
"The power of Maya shows itself in manifesting undiluted
diversity and in bringing about the identity of Self with the not-
Self such as siinya (void), buddni and the body."
The yogi fully understands that Maya subjects everyone to
her charm. She brings about a sense of difference in life which
is essentially one whole, and through her kancukas (coverings).
viz. kala, vidya, raga, kala, and niyati, effects limitation in
respect of activity, knowledge, desire, time, causality and
space.
Being fully aware of the limited functions of the tattvQS and
the delusive power of Maya, the yogi does not lose sight of the
wholeness of Reality and, therefore, does not cut himself adrift
88 Vijniinabhairova

from it. Rather by unmllana samiidhi, he views the entire mani-

festation as the expression of Siva and is thus chockful of a deep
sense of relatedness.
If the reading Kalayan nii prthag bhavet is adopted, the
meaning would be "(such a) person (nii) becomes isobted
(prthak) and is established in his essential Self."
This is Siiktopiiya.
[Dharal)a 73]
VERSE 96

rdmft~ tiilcq...,lilqMif4
... ~~ ~, I
It(I' Ir.J'
"\"'"" Ci +H'II €'I€t+d Iii q ~ " t ft "
tiil.o'~

JhagiticchiiIp. samutpannam avalokya samaIp. nayet I

Yata eva samudbhiita tatas tatraiva liyate II 96
TRANSLATION
Having observed a desire that has sprung up, the aspirant
should put an end to it immediately. It will be absorbed in that
very place from which it arose.
NOTES
When the mind of the aspirant becomes introverted, and he
considers his essential Self as completely separate from desire
which is only a play of the mind which is not-self, then desires
dissolve in the mind even as waves rising on the surface of the
sea dissolve in the sea itself.
If ~\Dother desire arises, the best means of putting an end to
the desire is to shift the attention from the desire to the under-
lying spiritual Reality, the creative moment between the two
desires, known as unme~a.
This is Siiktopiiya leading to Sambhavopaya.
[Dharal)a 74]
VERSE 97
~ ~ ;ffiq;;n wr.t on, ~~~ • I
~~
-~ ('I'~+dk'i\"+d""'"
"' ~, " tIS "
Vijniinabhaira'Va 89

Yadii mamecchii notpannii jiiiinalJl vii, kas tadiismi vai /

Tattvato'halJl tathiibhiitas taIlinas tanmanii bhavet /1 97

TRANSLATION

When desire or knowledge (or activity) has not arisen in me,

then what am I in that condition? In verity, I am (in that
condition) that Reality itself (i.e. cidiinanda or consciousness-
bliss). (Therefore the aspirant should always contemplate "I
am cidiinanda or consciousness bliss"). Thus, he will be absorb-
ed in that Reality (tallinas) and will become identified with it
(tanmanii).

NOTES

The desire, knowledge and activity of the ego are not the
desire, knowledge and activity of the essential Self. When the
aspirant realizes and practises the bhii'Vanii of the essential Self
who is always pure consciousness-bliss, he will rise above his
ego and will be dissolved in his essential Self.
This is Siiktopiiya.

[DhiiraJ)ii 75]

VERSE 98

Ichhiiyiim athavii jiiiine jiite cittalJl nivdayet /

Atmabuddhyiinanyacetiis tatas tattvirthadadanam / / 98

TRANSLATION

When a desire or knowledge (or activity) appears, the aspirant

should, with the mind withdrawn from all objects (of desire,
knowledge, etc.) fix his mind on it (desire, knowiedge, etc.) as
the very Self, then he will have the realization of the essential
Reality.
90 Vijnanabhairava

NOTES

When the mind is withdrawn from the object of desire.

knowledge, etc. and is fixed on the desire, knowledge as the
very Self, as a sakti of the divine, then the mind is rid of
vikalpas, and the aspirant has the realization of Reality.
This is Sambhava upaya.

[DharaJ}.a 76]
VERSE 99

rotf.dittd Q~ r.. <I&i( e4iiC'44"'4i t

~

~: "'Wf"';;tdaciwrcft ftR: fiN u. It

Nirnimittam bhavej jiiinaQl niradhiram bhramatmakam /
Tattvata\1 kasyacin naitad evambhivi sivab priye //99
TRANSLATION

All knowledge is without cause, without base and deceptive.

From the point of view of absolute Reality, this knowledge does
not belong to any person. When one is given wholly to this
contemplation, then, 0 dear one, one becomes Siva.
NOTES

This bhavana is the device for entering the heart i.e. the mystic
centre of reality.. Abhinavagupta designates it as Sarvatma-
sankoca in Tantriloka (V, 71) and Jayaratha in his commen-
tary, quotes this verse as an example of sarvatma-sankoca.
This consists in rejecting everything external and entering com-
pletely within oneself by means of nimllana samadhi-'ecstasy
with closed eyes.' The reality of every' object is rejected and also
its association with the subject (kasyacin naitad).
In this way, bothjiiata (knower, subject) and jiieya (known,
object) are rejected. Only jiiana or vijiiana remains which is
Bhairava. Vijiiana is the base of everything subjective or objective
and that is the sole Reality.
This is Saktopaya.
Vijiiiinabhairava 91
{Dhiiral)ii 77]
VERSE 100

~ ri~ mtl5l1 ~ ~ I
~ ~ ~ ~"ccffl\i\Jt .. : II '00 II

Ciddharmii sarvadehe~u vise~o niisti kutracit I

Atasca tanmayalJl sarvam bhiivayan bhavajij janaQ. /I 100
TRANSLATION
The same Self characterized by consciousness is present in all
the bodies; there is no difference in it anywhere. Therefore, a
person realizing that everything (in essence) is the same (con.
sciousness) triumphantly rises above transmigratory existence.
NOTES
K~emariija has quoted this verse in his commentary on the
first sutra of Siva sutras and has aptly pointed out that caitanya
or consciousness does not mean simply jiiiina or knowledge but
also kriyii or autonomous activity.
A person who realizes that the Self characterized by con-
sciousness is the same in all from Sadiisiva down to the tiniest
worm has become identified with that essential Self and
acquires the consciousness of samatii (essential oneness). He is,
therefore, liberated and is no longer subject to birth and death.
This is Siimbhavopiiya.
[Dhiiral)ii 78]
VERSE 101

~m"q1~iiiif(ttq.nq~ I
~ Af~t ~ t't'd\"CCiiCCPnill4l'\ II '\ 0' II

Kiimakrodhalobhamohamadamiitsaryagocare I
BuddhilJl nistimitiilJl krtvii tat tattvam avasi~yate 1/101
TRANS LAnON
If one succeeds in immobilizing his mind (i.e. in making it
92 Vijiianabhairava

one-pointed) when he is under the sway of desire, anger, greed,

infatuation, arrogance and envy, then the Reality underlying
these states alone subsists.
NOTES
When an aspirant is under the domination of any strong
emotion, he should dissociate his mind from the object of the
emotion and concentrate deeply on the emotion itself, without
either accepting it or rejecting it. He should withdraw his mind
from everything external and turn it within even as a tortoise
withdraws its limbs within its shell on the occasion of a great
danger. When he is thus intensely introverted, the passion be-
comes calmed like a charmed snake; all vikalpas are shed like
leaves in autumn. Such abrupt introversion puts the aspirant in
contact with the infinite spiritual energy surging within known
as spanda and then he is filled with the bliss of divine conscious-
ness (cidiinanda). This means is known as iitma-sankoca or
sakti-sankoca. Thus even a strong passion may lead a cautious
yogi to spiritual bliss.
This is Siimbhavopiiya.

[Dhiirat;ui 79]
VERSE 102

~~ ~ ami ~T f=ailiiifificnf I
~

vqT art14cI: ri qiiQtfii=a PTll"": " , 0 ~ "

IndrajiilamayaQl visvaQl vyastaQl vii citrakarmavat /

Bhramad vii dhyayatal,l sarvam pasyatasca sukhodgamal,l//
102

TRANSLATION
If one perceives the cosmos as mere jugglery conjured up by
some magician or as the configuration of a painting, or as
illusory as the movement of trees, etc. (appearing to people seated
on a moving boat), and contemplates deeply over this fact, then
he will experience great happiness.
vijiianabhairava 93

NOTES
Jayaratha, in his commentary on V. 71, in Tantraloka, quotes
this verse also as an example of sarvatmasankoca.
This is Saktopaya.
[DharaQa 80]
VERSE 103

if nm f.:n~:j if wi en qftf~ I
~~~fiti~~11 ,o~ II

N a cittaQl nik~iped dul,tkhe na sukhe va parik~ipet I

Bhairavi, jiiayatam madhye kiQl tattvam avasi~yate /I 103
TRANSLATION

Neither should one dwell on suffering nor on pleasure. 0

goddess Bhairavi, it should be known what Reality subsists in
the middle of both (the opposites).
NOTES

Both pleasure and suffering are the characteristics of an tab-

kara1)a or the inner psychic apparatus. That which is beyond
the pair of opposites like suffering and pleasure, which' abides
unaffected by both, which witnesses both without being involved
in them-that is Reality, that is the essential Self. One should
concentrate on and be identified with that Reality.
This is Saktopaya.
[DharaQa 81]
VERSE 104

• f"\JI~i!t+i4i eqatftftfd ~ I
.~ q;nn ;~1t1 orpqr~ ~ ric[ .. , o'lr "

Vihaya nijadehasthaQl sarvatrasmiti bhavayan I

Dn1hena manasa dntya nanyek~iQya sukhi bhavet 1/104
94 Vijiianabhairava
TRANSLATION
After rejecting attachment to one's body, one should, with
firm mind and with a vision which has no consideration for
any thing else, contemplate thus, "I am everywhere". He will
then enjoy (supernal) happiness.
NOTES
In this dharalJa, there are'two main ideas, one negative and
another positive. The negative one is, "I am not my body, nor
am I confined to any particular place or time". The positive
one is, "I am everywhere." By this practice, one becomes
identified with Siva-sakti and acquires cosmic consciousness.
In verse hundred, one has to practise the bhavana of cit or
consciousness in all bodies, in every form of existence. In the
present dharalJa, one has to practise the expansion of his own
consciousness in all forms of being.
Sivopadhyaya points out in his commentary a further differ-
ence between the idea contained in verse 100 and the present one.
In the present verse, the bhavana recommended is sarvam idam
aham-"All this is myself" which is the paramar.sa or con-
sciousness of sadasiva or Isvara. In verse 100, it is cit or con-
sciousness as such whose omnipresence has been emphasized.
In other words, the plane referred to in verse 100 is that of Siva,
wherea:; the plane referred to in the present verse is that of
Sadasiva or 1svara.
This is Saktopaya.
[DharaJ)a 82]
VERSE 105

~ ~~ fcliltlllN"G0lG en ~ I
*' ri1'Ri Grni 1ftq4f....tftt m: II ,oY, II
Gha!adau yac ca vijiianam icchadyaQl va, mamantare I
Naiva, sarvagataQl jatam bhavayan iti sarvaga}:l II 105
TRANSLATION
"Knowledge, desire, etc. do not appear only within me, they
Vijnanabhairava 9S
appear everywhere in jars and other objects." Contemplating
thus, one becomes all-pervasive.
NOTES

In this verse, iccha or desire has reference to action. This

verse points out the fact that jiiana and krlya are not the
monopoly only of the human being. They are universal i.e.
common to everything in the universe. This dharalJ,a suggests
that if one contemplates over the fact of knowledge and desire
being common to every existent in the universe, he will acquire
the consciousness of unity. Man usually thinks that there is
nothing common between him and a jar or a tree, but if he
comes to realize that jnana and kriya are the common
characteristics of all manifestation, that all are co-sharers of this
divine gift, he will shed his insularity and feel his kinship
with all.
This dhiiraoii is saktopaya.
As Abhinavagupta puts it in Isvarapratyabhijiiiivimadini
II
WIinT ~
';'111'ro ~: fqq«ltfl~; R"
(I.P.V.I.I.S)
"It is one and the same Self that shines as one's own self as
well as selves of others."
And in this connexion, he quotes the following verse of
Somananda from Sivadriti :
It~ flemflotl ~ "'~ 'if €lel~flotl I
OOfl/l.lI~flotl cfNr ~nT clfu fI~lcflotl "
ifTi'IT'iI'lt: fqfllcfll<1 "Ilot;:f1lfd m rnq-:" I
"The jar (is one with myself at the time of my desire to know
and therefore) knows as one with myself. I am one with the jar
in knowing. I know as Sadasiva and Sadasiva knows as myself.
It is Siva alone who abides knowing Himself through aU the
existents."
After this quotation, Abhinavagupta makes the following
concluding remarks :
"m ~fft dlfcfi4iSlql~qi1qldfHT<hncit if,m~ ri~,
::... ... .~"\. ~ • F.:r.C::Ir:::;r'J'J"::r
~ ~q- ill~fllot¥tlllq( 1"\i.I~1 €lelll(I(SlIUH!€lM'ftlqlot ffiA' iOlfliN!ijPd
~lIq «IfI IfcrCSGI ~ 'iRfrtr" I
96 VijRiinabhairava

"Thus those who have not been altogether soiId by the dust
of the chatter of logicians in the matter of this knowledge get
absorbed in /svara (the Divine) when they realize through the
above the identity of the individual Self with /svara (the Divine)
and merge everything such as jar, body, praJ,la, pleasure and
even their non-being in Him."
[The verse 106 does not contain any separate dhiira!'ii. This
only gives the special characteristic of a Yogi and re-inforces
the idea contained in the previous dhiira!'ii.]

VERSE 106

~1Ii~re-: ul1fr;:Qr u~~ci~l1f" ,

q)fir.:rt ~ fcmitsft:t:r ~ umJACn " , 0 ~ "

GrahyagrahakasaQlvittil.l samanya sarvadehinam I

YoginiiIp. tu vise~o'sti sambandhe siivadhiinatii 1/106

TRANSLATION

The consciousness of object and subject is common to all the

embodied ones. The yogis have, however, this distinction that
they are mindful of this relation.

NOTES

The object is always related to the subject. Without this

relation to the subject, there is no such thing as an object.
Ordinary peoPle get lost in the object; they forget the Self, the
knower. The real knower is the witnessing awareness from which
the subject arises and in which it rests. The yogi is, however,
always mindful of that witnessing awareness which alone is the
subject of every thing, which is always a subject and never an
object.
[DhiiraJ,lii 83]
VERSE 107
~wUtsfq m;ffit'~"lq!lct I
~~ +<CIII('\(t'4 c4'll£~ 641'ft fiA1iict " '0\9 II
VijRiinabhairava 97

Svavad anyasarire'pi salJlvittim anubhavayet 1

Apek~arilsvasarlrasya tyaktva vyapi dinair bhavet 11107

TRANS LATION

One should, leaving aside the need of his own body (in other
cases), contemplate that the (same) consciousness is present in
other bodies as in his own. Thus he will become all-pervasive
in a few days.

NOTES
A body is not necessary for thinking or for consciousness.
Everybody has an experience of consciousness apart from the
body. In dream, one has consciousness apart from the gross
body; in deep sleep, one has consciousness apart from the subtle
body (suk,ma-sarira); in the fourth state of experience (Iuriya)
one has consciousness apart from the causal body (kiiraIJa sarira).
So it is clear that a body is not a necessary medium for conscious-
ness. Knowing this from his personal experience, the aspirant
should contemplate that his consciousness is not confined to his
own body, but is all-pervasive. Thus he will realize the all-
pervasiveness of consciousness which is the nature of Bhairava.
This is Siiktopiiya.

[DharaQa 84]
VERSE 108

f~ q;r: ~ f4¥@U;ili f4¥@h'icr I

ElcIiMq(¥llc.te~ 1l~ ,,~
. .. ,0'1; ..

Niradharam manal:t krtva vikalpan na vikalpayet 1

Tadatmaparamatmatve bhairavo mrgalocane 11108
TRANSLATION

Having freed the mind of all supports,t" one should refrain

from all thought-constructs. 2 Then, 0 gazelle-eyed one. there
will be the state of Bhairava in the Self that has become the
absolute Self.
98 VijRanabhairava

NOTES

1. 'All supports' includes both external support such as

perception of objects and internal support such as imagination,
fancies, concepts, pleasure, pain, etc.
2. He should be completely rid of Vikalpas. Savikalpa
(activity of mind with thought-constructs) is the state of the
psychological individual or the empirical self; nirvikalpa (activity
of consciousness without dichotomising thought-constructs)
is the state of the spiritual Self, the witnessing Consciousness of
aU the states.
This is $iimbhavopaya.

[Dharal.lIi 85]

VERSE 109

ri1r: Am .. 1IfPRi: q~: I

W~ d'ftnd dft ~""r'i9C11: II '0 t II

Sarvajiial). sarvakarta ca vyapakal). parame§varal). I

Sa evahaQl saivadharma iti dar~hyac chivo bhavet 1/ J09
TRANSLATION

The Highest Lord is Omniscient, omnipotent, and omni-

present. "Since I have the attributes of $iva, I am the same as the
Highest Lord." With this firm conviction, one becomes $iva.

NOTES

This is the dharalJa of the first phase of pratyabhijRa or re-

cognition. Man is $iva already in essence. The essential Rea~
lily in him has put on the mask ofjlva. When thejiva IDtensely
recognizes his essentIal Reality, the mask is thrown off. The
stage of vilaya or veiling disappears; anugraha (grace) is
operative now, and thejlvabecomes $iva (that he was in reality).
This is $akta upaya.
VijRiinabhairava 99
[Dhiraoi 86]

VERSE 110

~~ "(iiNMI"i'4!Q: SI1n ~: I
~.t~ .. <04.1 f..I1.........
qq) ",,,finn: .. "0 .
Jalasyevormayo vahner jvilibhaJigya\1 prabhi ravel;11
Mamaiva bhairavasyaiti vi§vabhaJigyo vibhedital;111 110
TRANSLATION
Just as waves arise from water. flames from fire. rays froni
the sun, even so the waves (variegated aspects) of the universe
have arisen in differentiated forms from me i.e. Bhairava.

NOTES

This is the dhiirlJ(lii of the second phase of pratyabhijRii. The

first phase of pratyabhijflii (recognition) consists in recognizing
the jiva (the empirical self) as Siva. the identity of the individual
Self with the Universal Self. The dhiirQ1Jii of this phase has been
given in the previous verse (109). The second phase consists in
recognizing the fact that this glory of manifestation is mine.
This consists in recognizing the identity of the universe with the
Self. The present verse gives the dhiirQ1Jii for this recognition.
This is also $iiktopiiya.
[Dhiraoi 81]
VERSE III

~~~ar~"'~1
Q1)"lIlfdN(I:ijGj' ~ ~ ~ .. " , ..

Bhrintvi bhrintva §arireoa tvaritam bhuvi pitanit I

K~obha§aktivirameoa pari saQljiyate da§i II III

TRANSLATION

When one whirls his body round and" round and falls down
100 Vijnanabhairava

swiftly on the earth, then on the cessation of the energy of

commotion, there appears supreme spiritual condition.

[DharaJ;la 88]

VERSE 112

Adhare~v ~thav.a' saktya'jiianaccittalayena va I

18tasaktisamavesak~obhante bhairavalJl vapul}. II 112

TRANSLATION

If on account of lack of power to apprehend objects of

knowledge or on account of (sheer) ignorance, there is dissolu-
tion of mind leading to absorption in (anasrita sakti), then at
the end of the cessation of commotion brought about by that
absorption, there appears the form of Bhairava (i.e. His
essential nature) 112.

NOTES ON III & 112

Both of these verses refer to the condition of mind at the end

of some intense commotion. Verse 111 refers to a state of mind
brought about by commotion set up by physical condition.
Verse 112 refers to a state of mind brought about by commotion
set up by intellectual impasse.
When there is a deep stirring of the mind either by some
physical condition, or by some obstinate questioning or doubt,
then after the momentary commotion has ceased, the normal
mind is completely stilled; vikalpas (thought-constructs) are laid
to rest, and there is an invasion of truth from a higher plane of
consciousness. At such a moment is revealed the essential
nature of Bhairava.
The Dharana in 111 is Sambhavopaya. that in 112 is
·Saktopaya. .
Vijiianabhairava 101

[Dharaoa 89]
VERSES 113-114

~smqfq1f ~ ~
"0
~i4.qqli4@4, I
~ ~ mft ~: ",aa'''dillit: " " ~ II
~ ~): ~ ~ali~ m 'if I
~~ ~qlilc;:ii~ ~ifIMtt II ,,'Ie II

Sampradayam imam devi liIrQU samyag vadamyaham I

Kaivalyal}l jayate sadyo netrayo1;l stabdhamatrayo1;l11 "113
Sal}lkocaI}1 karQayo1;l krtva hy adhodvare tathaiva ca I
Anackam ahalaIJl dhyayan vised brahma sanatanam II 114

TRANSLATION
o goddess, listen, I am going to tell you this mystic tradition
in its entirety. If the eyes are fixed without blinking (on the
reality within), isolation (kaiva/ya) will occur immediately. 113.
Contractinp the openings of the ears and similarly the open-
ings of the anus and penis(and then), meditating on (the interior,
impactIess sound-anahala dhvani) without vowel and without
consonant, one enters the eternal Brahman. 114

NOTES
Slabdhamatrayo~ netrayo~ refers to Bhairavi or Bhairava mudra
in which the eyes are open outside without blinking, but the
attention is turned on the Reality within. In such a state one is
freed of all vikalpas (thought-constructs) and is identified with
Siva.
Klilemanija has quoted this verse in his Udyota commentary
on Svacchanda Tantra (vol. I1.p. 283), and intet-prets it in the
following way:
"f.:m~«I"&~~&: VTT"OT rCl4lf~d If~eTTur~ClCfi{'q"lI\'1:I"
.
"Rejecting the sight of the external world by Bhqiravi mudra,
the aspirant enjoys peace inasmuch as his desires are abolished
and ~he entire net-work of vikalpas is destroyed."
It should be borne in mind that the kaivalya (isolation) reco-
mmeJlded by the non-dualistic Sa iva philosophy is different
102 VijRiinabhairava

from the one advocated by Silikhya yoga. In accordance with its

dualistic standpoint, Silikhya-Yoga believes "that there is nothing
common between pwu/a and pralcrti, and, therefore, kaivalya,
according to it, means complete isolation from Prakrti, and,
hence. from the universe. In Saiva philosophy. it means the
disappearance of the externality of the world and its contraction
in $iva with whom the experient is identified in Kaivalya.
The imperceptible. inaudible, unstruck sound without a vowel
or consonant would be 'it i.e. the bindu (dot) only minus
the vowel 'a'. The bindu by itself represents $iva. The inaudible
sound without consonant or vowel would be pure visarga Sf; i.e.
the visarga without 'a'. This pure visarga represents lalcti. Since
the interior sOllnd being aniihata cannot be h~ard and being
without vowel or consonant cannot be uttered, it can only be
meditated upon. Since bindu, without vowel or consonant re-
presents Siva, this particular meditation is meant to assist the
jlva (the empirical soul) to return to Siva.
By the above practice. the yogi enters brahma saniitanam i.e.
the $abdabrahman who, as the origin of all sound and there-
fore of all manifestation, is eternal and above all difference
and manifestation. By practising the above dhiirtllJii, the yogi
acquires wonderful vitality which enables him to enter Brahman
who represents the union of $iva and $alcti and thus of iinanda
(supreme bliss) and sviitantrya (supreme autonomy). This is
wha~ Abhinavagupta says in paratriJpsiki:

parabrahmamaya-siva-salcti-stU/lghalliinandasviitantryasmiparii-
bhalliirikiirupe'nupraveSa/i (p. SO)
The dhiirtllJii in 113-114 is of Siiktopiiya.

[Dhiraoa 90]

,VERSE 115

~~ INeq'\qf( f•.,.1IriUiiE( •
8tr...4IH"~: ..
In:DIIr
-~~ ..
e..filiitl(if.: ~ II ~
,,l •

Kiipadike mahigarte sthitvopari nirik~aoat /

Avikalpamatel;,l samyak sadXas cittalayal.t sphulam //115
Vijiianabhairava 103

TRANSLATION
If one stands above a very deep well, etc., and fixes his eyes
(on the space inside the well without blinking) his understand-
ing becomes freed of vikalpas (thought-constructs) completely. and
immediately he definitely experiences dissolution of mind.

NOTES
If the yogI fixes his gaze (without the blinking of the eyes) for
a long time on the space inside a deep well or on the summit of
a mountain, he feels giddiness and has a sense of fear. In this
state, spanda or the inner dynamic Reality throws him off his
normal consciousness and if he has already developed mati or
intuitive understanding by pure living, it is freed of vikalpasand
in an instant, his normal consciousness is dissolved in a conscious-
ness of higher dimension, and he experiences surpassing peace.
This is Sambhava upiiya.

[Dharal)a 91]
VERSE 116

q q "") anftr antt1 ...Wild (sN ...

R mr (111 ...",.... aq(q4itei.N" ~ II ,,~ II

Yatra yatra mano yati bahye vabhyantare'pi va I

Tatra tatra §ivavastba vyapakatvat kva yasyati ,,116

TRANSLATION

Wherever the mind goes whether towards the exterior or

towards the interior, everywhere there is the state of Siva.
Since Siva is omnipresent, where can the mind go (to avoid
Him).
NOTES

This verse has two aspects, one metaphy'sical, the other

mystic. The metaphysical aspect maintains that everytbingin the
universe-subjective or objective is Siva. The mystic aspect says
 104 Vijiiiinabhairava

that since everything is Siva, the aspirant need not be perturbed

if he is unable to concentrate on some mysterious U~iversal
Reality. Whatever attracts the mind, whether it is something
external like a jar or some colour like blue, yellow, etc. or whe-
ther it is something internal-an emotion, a thought, let that be
taken as Siva with full conviction and be made an object of
meditation. The result will be surprizing. The particular object
or emotion or thought being meditated upon as ~iva can no
longer stand out as something different from Siva, something
isolated from the Universal stream of consciousness but is bound
to appear as that Universal Consciousness itself in that particular
aspect. It will thus drive away from the mind of the aspirant all
selfish and sensuous desire, it will free his mind of useless
vikalpas (thought-constructs) and will ensure his entry into the
divine consciousness.
This is Siiktopiiya.
The same teaching has been emphasized in Spandakarika
(II, 3, 4, 5).

[DharaJ)a 92]
VERSE 117

Q "IiIl~ ~ ~ finn': I

~ ~r+itC(tf,,",t"l'tQI\"f~T II " " II

Yatra yatrak~amargeQa caitanyalp vyajyate vibhoQ I
Tasya tanmatradharmitvac cillayad bharitatmata II 117

TRANS LATION

On every occasion that the consciousness of the Omnipresent

Reality (caitanyaflZ vibhoM is revealed through the sensory organs
since it is the characteristic only of the Universal Consciousness,
one ShOllld contemplate over the consciousness appearing through
the sensory organs as the pure Universal Consciousness. Thus
his mind will be dissolved in the Universal Consciousness. He
will then attain the essence of plenitude (which is the characteri-
. stic of Bhairava).
Vijfiiinabhairava lOS
NOTES

Normally, every sensation appearing through a sense organ is

considered to be a characteristic function of that sense-organ.
This dhiirOlJii says that every sensation whether external or internal
should be considered not merely as a psycho-physical fact
but as an expression of the Universal Consciousness. The aspirant
should contemplate over every sensation in this light. Just as
every reflection or image appearing in a mirror is nothing diffe-
rent from the mirror, even so the whole world that appears in
the Light of the U,niversal Consciousness is nothing different
from it. Apart from that Universal Consciousness, it has no
being whatsoever. When the yogi contemplates over every
manifestation in the above light, his mind is dissolved in that
Universal Consciousness which is the essential substance of this
universe, and thus he attains the nature of Bhairava.
This is Siiktopiiya.
[Dharal)a 93]

VERSE 118

~~~,,~cn~1
~~ ~ 41{Ptttll+U;fl qm II <t<t" II

K~utadyante bhaye soke gahvare va ral)ad drute I

Kutiihale k~udhiidyante brahmasattamayi dasa /I 118

TRANSLAnON .
At the commencement and end of sneeze, in terror, in sorrow,
in the condition of a deep sigh or on the occasion of flight from
the battlefield, during (keen) curiosity, at the commencement
or' end of hunger, the state is like that of brahma.

NOTE

The word gahvara means both a cavern or 'deep sigh. As

most of the conditions mentioned are psychophysical or emotio-
nal the word gahvara has been taken in the sense of deep sigh,
106 VijRanajJhairava
Whether it is an insignificant condition like sneeze or hunger
or highly significant condition like terror, keen curiosity Qr flight
from the battlefield, whenever the ordinary normal consciousness
receives a sudden jolt or shock, it is thrown back to its inmost
depth and comes in contact with spamia, the pulsation of the
deepest consciousness, the source of his being. It is a sudden
and momentary state, but if the person is wide awake, he clings
to it. From that moment, his life is completely changed. He
becomes spiritually oriented; his energies are released from the
hold of the trivialities oflife and are free to dive into the deeper
recesses of consciousness. If one seizes this momentous oppor-
tunity, one enters the sanctuary of the higher life. If one simply
lets it go by, one has lost the opportunity of his life, for this
condition does not usually return.
Spandakarikii has mentioned a similar condition in the follow-
ing verse:
m~: ~ err, fell crm,",fa err ~ I
mcr;:crr ~ .....®m:f ~: mam: II (I 22)
"When one is in extreme anger or experiences surpassing joY'.
or is in a state of impasse, not knowing what to do, or has to
flee for his life, then in that (supremely intensive) state (of mind) is
established the Spanda principle, the- creative pulsation of the
divine consciousness ..
This is Sambhava upaya.

[DhtiraJ;ui 94]

VERSE 119

Vastu~u smaryamal)e~u dn~e dese manas tyajet I

SvasariraQl niradhtiraQl krtva prasarati prabhul}. 11119

TRANS LATION

At the sight of a land, when one lets go all the thought of the
remembered objects (and concentrates only on the experience
Vijiiiinabhairava 107

which was the basis of that memory) and makes his body
supportless, then the Lord (who as the experience was the basis
of the memory) appears.
NOTES
On remembering a particular object, the aspirant should
ignore the memory of the object and fix his mind on the original
experience which is the basis of the memory. At the same time,
he should detach himself mentally from the body, i.e. the psycho-
somatic organism in which the memory and the residual impres-
sions are stored. In this state, his mind will be freed of I-con-
sciousness and the deposit of the residual impressions (vasami) and
will be restored to its pristine form of pure Experienc~, pure
Consciousness. This pure Consciousness or Experience is the
nature of Bhairava.
This is Siiktopiiya.
[DharaI,ui 95]
VERSE 120

IfIlCfiiiffif;w ~ ~·fisi
<to • c
f., ..Ji4a... I
cmn;i fii'dtff~ ti"q I!lR4I\i1~ ~ II ,~o II

Kvacid vastuni vinyasya sanair d~!itJl nivartayet I

Taj jiianaIJl cittasahitaIJl devi siinyalayo bhavet 11120
TRANSLATION
o goddess, if one, after casting one's gaze on some object,
withdraws it and slowly eliminates the knowledge of that object
along with the thought and impression of it, he abides in the
void.
NOTES
The aspirant can eliminate the knowledge of the object along
with its impression either (1) by sunyabhiivanii or (2) by bhairavi
mudrii.
1. Sunyabhiivanii is the imaginative contemplation that the
whole world is unsubstantial, mere void. When the whole world
108 - Vijiiiinabhairava

is believed to be void, naturally a particular object in the world

will also become void.
2. Bhairavimudrii is a pose in which the eyes are open exter-
nally without blinking, but the attention is turned to the inner
essential Self. Though the eyes are open, the aspirant sees
nothing of the external world.
This dhiiraIJii teaches that the aspirant should fix his attention
only on his essential Self and withdraw it from everything else
so that the external world loses its hold on him.
This is Siiktopiiya.
[DharaQii 96]

VERSE 121

,,~i;rilf~qrcmT ~ ~: I
. "
m~: m&,..m- fomi '"~ ffiI': f~: II ,~, II

Bhaktyudrekad viraktasya yadrsi jayate matiQ. I

Sa saktiQ. saIikari nityam bhavayet tam tataQ. sivaQ.//121

TRANSLATION
The sort of intuition (mati) that emerges through the intensity
of devotion in one who is perfectly detached is known as the
Jakti of sankara. One should contemplate on it perpetually.
Then he becomes Sil'a Himself.

NOTES

One who is perfectly detached i.e. is not attached to sensuous

pleasures and is devoted to God develops mati. The word
mati is used in a technical sense here. It means pure spiritual
intuition that is dynamic. This mati is full of beneficent power
(fiinkarl sakti) that can transform and consecrate life. That is
why this dhiiraIJii recommends contemplation on mati.
There are four steps in this dhiiraIJii. (1) one's value of life has
to be totally changed. He should be completely detached from
.sensuous pleasures and trinKets of life. (2) He should be devoted
to God. (3) Through the above two, the mind of the aspirant
Vijiiiinabhairava 109
will become purified, and then will emerge mati which is spm-
tual intuition full of the power to transform life. She can remove
an obstacles in the path of the aspirant. (4) The aspirant should
perpetually contemplate on this matj (nityam bhiivayet tiim).
She will completely transform his life, and then his mind will be
dissolved in Siva (tatal}. Sival,t).
It should be borne in mind that bhakti or devotion does not
mean simply offering of flowers and burning incense. It means
viewing God in all life and dedication of oneself to the Divine in
word, thought and deed.
This is Siimbhava upiiya.

[DharaQa 97]
VERSE 122

Vastvantare vedyamane sarvavastu~u siinyata I

Tam eva manasa dhyatva vidito'pi prasamyati 1/122
TRANSLATION

When one perceives a particular object. vacuity is established

regarding all other objects. If one contemplates on this vacuity
with mind freed of all thought, then even though the particular
object be still known or perceived, the aspirant has full tranqui-
llity.

NOTES
When the aspirant contemplates on vacuity with mind freed
of all thought, there is only the light of consciousness (cit-
prakiisa) present and nothing else. There is no object to attract
his attention. The result is that his differentiation-making mind
is now at stand-still. The sense of difference dis~ppears from his
mind. So even when the particular object which he, had perceiv-
ed is still present in the field of his consciousness, his differen-
tiation-making mind is dissolved and he experiences wonderful
peace.
110 VijRiinabhairava

The present dhiira1J,ii is Siiktopiiya.

Though there is some similarity between this dhiira1J,ii and the
dhiira1J,ii No. 9S described in verse 120, yet there is one particu-
lar difference between them. In DharaJ)a No. 9S when one has
known or perceived a particular object, he withdraws his atten-
tion from that particular object and contemplates over the sunyatii
or vacuity of that particular object and the impression connected
with it, whereas in the present dhiirQ1J.ii No. 97,. the aspirant, after
perceiving one particular object, contemplates over the vacuity of
all other objects.
Both the dhiira1J,iis, however, pertain to Siiktopiiya.

[DharaQa 98]
VERSE 123

M~ ~ c .m~: tn ~: "-",,cllii\ I
.
~ 41f"'(ilfif
~
.
r..
• •
~ ~... .. ,~~
... +d+t1if... "'H: ~.. ..
Kirpcijjiiair ya smrta suddhil). sa suddhil). sambhudadane I
Na sucir hyasucis tasman-nirvikalpal). sukhi bhavet II 123

TRANSLATION
That purity which is prescribed by people of little understand-
ing is considered to be only impurity in the Saiva system. It
should not be considered to be purity; rather it is impurity in
reality. Therefore one who has freed himself of vikalpas (dichot-
omizing thought-constructs) alone attains happiness.

NOTES
The purity criticized in this verse r.efers only to physical purity
like washing, bathing, etc. The Saiva system referred to is the
Trika system. This system does not lay any special store by
external physical purity. It considers only-mental purity to be
real purity. Physical purity depends only on vikalpas-differen-.
tiating thought-constructs and is centred round the body. There-
fore, the Trika system considers it only an impurity from the
higher spiritual point of view. It does not condemn physical
purity as such. It condemns it only when it is considered to be
VijiiOnabhairava 111
a passport to the spiritual life, when it is boosted at the cost of
moral and spiritual purity.
In reality, that c~nnot be considered to be purity at all which
is based on vikalpas and the body. In the real sense, he alone is
pure who has freed himself of vikalpas (nirvikalpa~), and he
alone can enjoy real happiness.
According to Svami Lak~maI)a Joo, the reading of this verse
should be "Kiiicijjiiair ya. smrta. suddhil]. sa. suddhil]. sambhu-
dariane. Na suchir nasucis tasman nirvikalpal]. sukhi bhavet."
"That which is considered to be purity by men of little under-
standing is in Trika philosophy neither purity nor impurity. One
who rises above vikalpas (alone) is really happy." The real
purity is not of the body. It consists in rising above vz"fCalpas and
getting absorbed in the supreme I-consciousness.
This dhiira~ii is Siiktopiiya.

[Dhira\la 99]
VERSE 124
m ~ 'IN: gyqi ..qllCllN '1m: I
" .. ri,.6Qrft(~iOi -ro~t4iQi lim: " ,~~ "
Sarvatra bhairav9 bhaval]. samanye~v api gocaral]. /
Na ca tadvyatireke\la paro'stity advaya gatil].// 124

TRANSLATION

"The reality of Bhairava is apparent everywhere-even among

common folk (who do not possess any particular sense of dis-
crimination). One who knows thus, "There is nothing else
than He" attains the non-dual condition.
NOTES

This dhiira1)ii does not require any particular practice of

meditation. Bhairava is an ever-present Reality to one who has
an intense deep-rooted conviction of two things~viz. (1) every
one uses the first personal pronoun 'I'. Even ignormuses are
conscious of this 'I'.
112 Vijniinabhairava

As Mahesvarananda puts it :
"1I' ;;rrt1Rf ~ mq- ~sfq- 1I' fq;;rr;fRf I
~~: tf 'fitlr ~iT;:r~~: II"
(Maharthamaiijari, verse-4)
"He whom even ignormuses know, whom even portresses
of water know well enough, to whom alone every one makes a
bow, who is Master of sakti (power)-where is the person to
whom He is not evident."
How does every person know Him ? He knows Him in the
I-consciousness which is common to all. The pseudo-I which
every body has to use willy-nilly is only a symbol of the non-
dual Eternal'!' throbbing in the heart of every creature. This
Eternal'!, is vijniina Or cidiinanda-consciousness-bIiss. This is
Bhairava. Thus He is known internally to every body.
2. He is known externally also through His Sakti-power or
Energy, His manifestation in the cosmos.
He who thus knows Bhairava both internally and externally
is fully convinced of the fact that there is nothing else than
Bhairava. He is a God-intoxicated person. To him, Bhairava
is an ever-present Reality. He is identified with Bhairava and
thus enjoys the non-dual state perpetually.
This dharaJ)a is an example of anupiiya.
[DharaJ)a 100]
VERSE 125

~: mil';;r flti ;;r ~ '11'1 1<1'1 100tt): I

~: qfutQj€CIlf<:f<'l mrcn wit ri~ .. ,~v. .
Sama!). satrau ca mitre ca samo manavamanayo\l/
BrahmaJ)a!). paripiirJ)atviit iti jiiatva sukhi bhavet 1/125

TRANSLATION
Because of the conviction that everything is full of Brahman
(who is also the essential Self of all), the aspirant has the same
attitude towards friend and foe, remains the same both in
honour and dishonour, and thus because of this conviction (viz.,
Vijnanabhairava 113

the conviction of the presence of Brahman everywhere), he is

perpetually happy.
NOTES
Because of the conviction of the presence of Brahman (the
Divine Reality) everywhere, the aspirant develops the conscious-
ness of samata (equality), and, therefore, has the same attitude
of goodness towards all, is neither elated when he receives
honour, nor is depressed when he is subjected to dishonour.
The same idea occurs in Gita-V, 18 and XIV, 25. All mental
agitation disappears in his case. Being even-minded, he enjoys
perpetual happiness.
This is Siiktopaya.
(DhliraQa 101]
VERSE 126
.. • ..~ • .. f,
,,~ tCt .. qE+iit " " ~ tCt .. qN.. iCc,; •
tftti"fCif...;*,l ~ qr SI'~Cf II , ~, II

Na dve~am bhlivayet kvapi na ragam bhiivayet kvacit I

Ragadve~avinirmuktau madhye brahma prasarpati /I 126
TRANSLATION
The aspirant should neither maintain the attitude of aversion
nor of attachment towards anyone. Since he is freed of both
aversion and attachment, there develops brahmabhava or the
nature of the divine consciousness (which is also the nature of
the essential Self) in his heart.
NOTES
The consciousness of samata (equality) is the main point in
both these verses (125 and 126). The only difference between
the two is that in dhara1J,a No. 125, the aspirant has to acquire
samata by contemplating on the positive prese~ce of Brahman
everywhere, whereas in dhiira1J,a No. 126, he has to acquire
samata by rejecting the attitude of both aversion and attach-
ment.
 114 VijRiinabhairava

Both these dharaoas are Siiktopiiya.

[Dbiraoa 102]
VERSE-127

~ IJR'TI!ri ~ QiltUCCij*i I
~'-.~... "
md ~ 1I1I1i ~ -'othtil: II ,~" ..

Yad avedyalJl yad agrahyalJl yac chiinyatp yad abbivagam I

Tat sarvam bhairavam bhavyatp tadante bodhasambhaval)
//1 27
TRANSLATION
"That which cannot be known as an abject, l that which
cannot be grasped (i.e. that which is elusive), that which is •
void,1I that which penetrates even non-existence3 all that should
be contemplated as Bhairava. At the end of that cOf,ltemplation
will occur Enlightenment.
NOTES
1. The Ultimate Reality has been called avedya or unknow-
able in the sense that it is vedaka i. e. the Eternal and Ultimate
Subject of everything and cannot be reduced to vedya or
object.
2. Void or Simya, Sivopadhyaya in his viv!ti (commentary)
quotes the following verse to show in what sense the word
sunya is taken in Trika philosophy :
"tI .. V~k1'1Q1iQ;;r tlciat<t <111'«1': I
. ..
ttCicftllllillj4: QTflf '1' Wilt q{ijjeia: II"
"That which is free of all iilambanas, of aU tattvas, of the
residual traces of all klesas, that is siinya or void. It is not void
as such in its highest sense.
The word iilambana means 'support'. It is either an
objective existent like a jar or blue colour etc. or an internal
existent like pleasure or pain or a thought etc. Bhairava or the
Highest Reality is called sunya in the sense that He cannot be
characterized or limited by any of these objective or subjective
. characteristics. .
Vijiianabhairava 115
He is free of aU tattvas or constitutive principles. AIl consti-
tutive principles derive their existence from Him. Therefore,
He cannot be characterized by these.
He is free of all klelas and their residual traces. The kle§as
are avidya or primal ignorance, asmita or ego-sense, raga or
attachment. dve~a or aversion, and abhinive§a clinging to parti-
cular forms of life, fear of death.
The Highest Reality is called siinya or void, because it is
free of aU these, not because it is not Real.
3. Both existents and non-existents owe their stance to that
Highest Reality. It is the common ground of both existence
and non-existence. Sivopadhyaya quotes in this connection
the folIowing significant verse from Maharthamaiijari :

"~: ~~J!l,,: ~'1Cff~ .'.''1tt1¥t+4 ,

~a:7'IlIn'::r'UTlln~ ~
lI~<OIl'pIlOn \'11"11: ~ .... ~~ II "
••
(Verse 32)
"What is the difference between an existent flower and a sky-
flower (which is non-existent). The universe derives its life from
the (divine) creative flash (sphura!la or sphuratta) and that flash
is the same everywhere. It is the common ground ,of both the
existent and the non-existent."
The power of the Supreme viz. svatantrya sakli known as
sphuratta or mahasatta is present everywhere and is the
common ground of everything existent or non-existent. In the
words of Utpaladeva :

m ~ ~ ~rmfl!f1lft I
~ ~ sr)UiT ~ q <ilNi'1': II
(I. P. I Verse 14)
"This power of Universal Consciousness is the inner, creative
flash which, though in itself unchanging, is the source of all
change, it is mahiisatta or absolute being inasmuch as it is free
to be anything, it is the source of alI bhava or abhava (existent
or non-existent). It is beyond the determinations .of space and
time. It being the essence of all is said to be the very heart of
the Supreme Sovereign."
Abhinavagupta's commentary on this is very enlightening.
He says,
116 Vijnanabhairava

~:q ~.ffi' ijcir"iitjl~ ~J{ 1 m :q ~tqlf~­

Cfilffq oqftiftftr ~ ~T I
The word satta or being is, in this context, used in a techni-
cal sense. It does not mean simply being. "It indicates the
essential nature of the agent in the act of being i.e. freedom in
all actions. It is called mahasatta, because it pervades even the
sky-flower (which is non-existent)."
This dhiirQ1;zii, therefore, exhorts the aspirant that he should
contemplate on Bhairava as totally free of all distinctive thought-
constructs, as foundational Consciousness whose essential nature
is mahiisattii, the absolute freedom to appear in any way. He
will then have full eqlightenment.
This dhiir01;zii is· Siinibhavopiiya.

[Dhiiral).ii 103]

VERSE 128

~ ~ ~ arAt ~iiR~ I
~-m' "'
i11@I",Ilti q;{: ~ c · fiflnClltlEt
i.,(I",Ilti C' II ,~c; II

Nitye nirasraye siinye vyiipake kalanojjhite /

Biihyiikiise mana]:l krtvii niriikiisalJl samiiviset II 128

TRANSLATION
One should fix his mind on the external space which is
eternal, without support, void, omnipresent, devoid of limitation.
(By this practice) he will be absorbed in non-space.

NOTES

Two important points have been made out in this dhiira1J.ii.

Firstly, since it is not easy to concentrate on abstract void, the
aspirant has been advised to concentrate on the' vast, illimitable
external space. Khal'fl or iikiifa. the endless external expanse
of vacuity has generally been held to be the symbol of void,
Brahman, purity, immensity. Therefore. by prolonged practice
of concentration on the boundless external space, one acquires
the capacity of concentrating on supportless, objectless, vacant
 Vijniinabhairava 117

reality. After this, one can, with facility, concentrate on the

inner, supportless, objectless Reality, the spiritual consciousness,
the met-empirical Self or iitman and thus can have the samiiveSa
or absorption into the nature of Bhairava which transcends all
spatial, temporal and empirical modalities.
Secondly, in the previous verse Bhairava has been designated
as siinya or siinya-dhiima, the very abode of void. In the
present verse, He has been designated as 'niriikiisa' transcend-
ing all void (atiSiinya) or asiinya (non-void), the base and
foundation of the void itself and therefore mahiisiimiinya,
mahiisattii.
This dhiirafjii is Siiktopiiya.

J Dhiiraoii 104]

VERSE 129

q q q;r) ~ mil" ~~ I
qF<cQ\i4I .. ecft:"4cl.H f~f(~M ~ II ,~t II

Yatra yatra mano yiiti tattat tenaiva tatk~aoam I

Parityajyiinavasthityii nistarangas tato bhavet II 129

TRANSLATION

Towards whatever object the mind goes, one should remove

it from there immediately by that very mind, and thus by not
allowing it to settle down there i.e. by making is supportless,
one will be free from agitation (of the mind).

NOTES

The agitation of the mind can be removed by vazragya and

abhyiisa. i.e. by disinterestedness and practice i.e. by withdrawing
one's interest from other things and by repeated concentration
on the object of meditation. Both the negative and the positive
method should be practised together. The negative method
consists in withdrawing the attention from the object that dis-
tracts it and the positive method consists in concentrating on the
particular object of meditation.
 118 VijRanabhairava
As Bhagavadgita puts it :
"lRIllRll F.,II... <Fd q"II... s::q{ijq~ I
...
aa~a ..,lI+l1d<=ltq ~ q;m;p:j't(
~f..
II "
(VI. 26)
"In whichever direction the fluctuating and unsteady mind
moves, it should be held back from that direction and brought
under the control of the Self."
This is Siiktopaya.
[Dharaoa lOS]
VERSE 130

~, ri ~ R1ll6QNIfI1sN+I I
tfif 4(."'1"+4 ti"da1'i'iiI<OiiMC4: II '~o II

Bhaya sarvarp. ravayati sarvado vyapako' khile/

Iti bhairavaAabdasya santatoccaraoac chival,.l 1/130
TRANSLATION
Bhairava is one who with His luminous consciousness makes
every thing resound or who being of luminous consciousness joined
with kriyiiSakti comprehends the whole universe, who gives
everything, who pervades the entire cosmos. Therefore by
reciting the word Bhairava incessantly one becomes Siva.

NOTES
The hermeneutic etymology of the word Bhairava has been
given in various ways in Trika philosophy. The important
interpretations are given below.
The word 'Bhairava' is composed of four letters-'bM' 'ai' +
+ Ira'+ 'Va' (111'+ + +
~ ~ ~). 'BM' +
'ai' (111' +
~) by the
rule of sandhi (i.e. euphonic junction of final and initial letters)
becomes bhai (1l). This bhai together with 'ra'. 'va' becomes
bhairava (~). Each of these letters connotes certain important
ideas.
Bhii (1R) is a word by itself which means' light' i.e. the light
. of consciousness in this context; ai (~). according to Trika
philosophy is symbolic of kriyiiiakti (the power of activity);
Vijiidnabhairava 119

rQva connotes ravayati which, in this context, means vimarsati

i.e. comprehends. So according to this etymoloty Bhairava
means "He whose light of consciousness-joined with his ·power
+
of activity ('bhii' ai i.e. bhai) comprehends (ravayati) the
entire universe is His Self".
In Paritrirpsiki, Abhinvavagupta gives another interpretation
of Bhairava viz.,' 'Bhairavo bhara1"litmako mahimantraravitma-
kasca" (p.63). i.e. 'Bhairava is one who supports and protects
the cosmos and (constantly) sounds the great mantra of 'I'
(aham)."
In Tantraloka, Abhinavagupta gives many interpretations of
'Bhairava' of which the main ones are the following three:
1. He supports the cosmos inasmuch as He makes it appear
on Himself as substratum and maintains it and also appears in
the form of the cosmos (bhriyate savimarsataya). This interpreta-
tion is based on the root bh, which means both dhiirQl)a and
pOia1)a i.e. support and maintenance.
2. He constantly sounds the great mantra of 'I' (ravarii-
patasca).
3. He offers intrepedity to those who Itte terrified by the
cycle of transmigratory existence (sal1Jsarabhrruhitakrt).
Each letter of Bhairava is symbolic of His three main activi-
ties; Bha is symbolic of bhara1)a or maintenance of the
universe; ra is symbolic of raVQl)a or withdrawal of the
universe; va is symbolic of vamana or projection of the
universe.
The two adjectives of 'Bhairava' viz., sarvadalJ. (bestower of
all) and vyapakalJ., (all-pervasive) are also connected by impli-
cation with two letters of Bhairava, viz., ra and va; ra is
symbolic of the root ra which means to give, to grant. to
bestow. He is called sarvadalJ., because he bestows everything
(sarval1J rati) 'va' is symbolic of va which means 'to be diffused'
Bhairava is called vyapaka because of the diffusion of His
presence everywhere. .
It should be borne in mind that the word uccara in the verse
does not mean mechanical repetition of the word Bhairava.
Uccara in this context denotes the sounding of the interior
prafUlsakti which is the representation of sal1Jvid or consciousness.
120 VijRanabhairava

This pra~asakti rises from the heart (centre) and through

supnnna reaches dvadasanta or Brahmarandhra where it is united
with prakasa or Bhairava.
This Oharaoi is Saktopaya.

[Ohiiraoi 106]

VERSE 131

q qiicPuqlfc ~smp: I
f.t(lfU( ~ qffif ri'(ql.,$i(Giiii9.n .. , ~, ..

AhalJl mamedam ityidi pratipattiprasailgatal;t/

Niridhire mano yiti taddhyinapreraoic chami 1/ 131

TRANSLATION
On the occasion of the assertion, "I am; this is mine, etc.," the
thought goes to that which does not depend on any support.
Under the impulsion of the contemplation of that (tat), one
attains (abiding) peace.

NOTES
Niradhara or supportless is pur~aham, the absolute 'I' which
is nirvikalpa (above all thought-constructs). Even when a man
considers the pseudo-I to be the Self, there is present behind
the pseudeo-I, the absolute 'I', the nirvikalpaka or the thought-
free Self which is ever-present consciousness-bliss both in the
ignorant and the wise. So when a man asserts the pseudo-I to
be the Self, his mind sub-consciously relIects the real, the
absolute, the thought-free I which is eternally vibrating in him
behind his psycho-physical I. The present dhara~a exhorts the
aspirant to lay hold of that absolute, thought-free I, and then
by the creative contemplation (bhavana) of that thought-free I,
(taddhyanaprera1)at) his savikalpaka mind will ultimately be
absorbed in nirvikalpaka state, and thus he will attain abiding
peace.
. The word dhyiina (meditation) in this context is equivalant to
bhavana (contemplation). This dhiira1)a is, therefore, Saktopaya.
VijRiinabhairava 121

By Saktopaya, a suddha vikalpa ultimately ends in nirvikalpa

which is the essential nature of Bhairava. The tat (that) in
taddhyiina refers to niriidhiira. This dhiira1;lii advises the aspirant
to lay hold of the niriidhiira and contemplate over that (tat) as
his real Self. Surely this contemplation will also be a
vikalpa (dichotomizing thought), but it will be suddha vikalpa
(pure vikalpa) which by Siikta bhiivanii will ultimately end in
n i rvikalpa.
In Tantraloka I (Verses 214-215) Abhinavagupta points
out how by Siikta upiiya, savikalpa is finally transformed in
nirvikalpa.

mcRftsvr 'lUlI~
~ ~~~ I
~~~~ST~~: II ~t" II
m~ tiCfR.:qltillqijllpijiIlOI If: I
1ffit;: « +lIli'jql41sA ~ r",rClCfl(>4Cf1: II ~ t Y. II

"The consciousness of the empirical individual is limited to

buddhi, manas, and aha""'iira. Though this functions in thought-
forms in the manner of maya whose main characteristic is the
making of differentiation, yet in reality, it is also inspired by
wiII, etc. If the limited ego of the empirical individual (aha""'rti
abhimiina) adopts a vikalpa or thought (function of manas) like
the following, "I am present everywhere, everything is in me"
then adhyavasiiyakrame1;la by constant, persevering determina-
tion (function of buddhi), his vikalpa though dominated by
maya ultimately ends in nirvikalpa (thought-free, intuitive
apprehension). "
This dhiira1;lii pertains to Siiktopiiya.

[DharaJ}a 107]
VERSE 132

..
f.mn fCl1lf.mum eQlQlf\iliilf(5jE'llfuq; I

~, smr~ ~, 'linltaS"IM+'4n:
0
II ,~~ II

Nit yo vibhur niradharo vyapakas cakhiladhipa1;t /

8abdan pratik~aJ}alJldhyayan krtartho'rthanuriipata1;t //132
122 Vijiianabhairava

TRANSLATION

"Eternal. omnipresent, without depending on any support. all-

pervasive. lord of all that is "-meditating every instant on
these words in conformity with their sense, one attains his
object (i.e. has fulfilment)

NOTES
By constantly pondering over the implication of these words.
the mind of the aspirant becomes chockful of the essential
reality of Siva. By comprehending perfectly the sense of nitya
and vibhu, the aspirant comes to realize that the essential nature
of Bhairava and so also of his essential Self transcends 'time',
and by meditating on the significance of vyapaka, he realizes
that it transcends 'space' also. By meditating on niradhara,
he realizes that the nature of Bhairava and so also of his
essential Self is nirvikalpa i.e. 'transcendent to thought'.

So by meditating on these characteristics of Siva, he has Self~

realization. Thus he becomes krtartha, his aim in life is fulfilled,
for knowledge of Self is the highest aim one can entertain.
This dhara!la pertains to Saktopaya.

[Dharar:ui 108]

VERSE 133

aMClf'q..i1iiilE'iI"l¥Ici riqerf+f4M, I
fiIi dtciN"liii IE'iM tm Illii'Qtw¥i rict .. , ~ ~ ..
Atattvam indrajiilabham idaQl sarvam avasthitam /
KiQl tattvam indrajalasya iti darc.ihyiic chamarp vrajet //133

[Dharaga 109]

VERSE 134

amq;ft f.. rC44iI~M ""' WPi ""' .. crt f'Im I

~lIOtlq~1 .
,f(!"t... am: ~ IiI'm, .. HY ..
 Vijiianabha;rava 123

Atmano nirvikarasya leva jiianaQl kva ca va kriya I

Jna.nayatta bahirbhiva atal) siinyam idaQl jagat / / 134
TRANSLATION OF VERSE 133
This whole universe is without any essential reality like a
magical spectacle. What is the reality of a magical spectacle ?
If one is fully convinced of the non-essentiality of the universe
in this way, he attains to peace.
TRANSLATION OF VERSE 134
In the unchangeable Self, how can there be knowledge or
activity ? All external objects are dependent on knowledge;
therefore this world is void.
NOTES ON VERSES 133-134
Both the above verses refer to the unreality of the world.
The first one says that the world is like a magic show; there-
fore, it has no reality. The second one teaches the unreality of
the world on the basis of non-knowledge and non-activity.
The Self is one mass of consciousness without any division or
differentiation. There can be no change in it. Both knowledge
and activity are a kind of change. Therefore, knowledge
and activity cannot be possible in Self. All external objects of
the world are dependent on knowledge (and activity). As knowl-
edge and activity are unreal, so the world that is dependent
on these is also unreal, mere void. By contemplating in the above
ways, one acquires peace.
It has to be borne in mind that the knowledge and activity
mentioned in this verse refer to the knowledge and activity of
the limited, empirical individual whose knowledge and activity
are permeated by a sense of difference, and pertain to the world
full of changes.
In the essential Self there is absolutely no change or difference.
Therefore, the knowledge and activity of the empirical individual
belong only to the psycho-physical self, not to the essential
Self. The knowledge and activity ( jiiana and kriya) which are
the characteristics of the essential Self are saktis (jiianaSakli
and kriya-sakli) by which alone there can be any knowledge
124 Vijiiiinabhairava
or activity. Secondly, they are not dependent on the allta(lkara1)a
(buddhi, manas and ahaTflkiira) andjiiiinendriyas and karmendriyas
(organs of sense and action) just as the knowledge and activity
of the empirical individual are. Thirdly, they are not prompted
by any sense of difference.
Both the above dhiira1)iis are Siiktopiiya
[Dharal,la 110]
VERSE 135

;r it iPm ;r ~ it ,,~ m~ t

..
~fdfiw.... f"ct ifP~~: It H~ It

Na me bandho na mok~o me bhitasYlita vibhi~ika}.l /

Pratibimbam idam buddher jale~v iva vivasvata}.l //135

TRANSLATION
There is neither bondage nor Hberation for me. These (bondage
and liberation) are only bogies for those who are terrified (on
account of the ignorance of their essential nature). This (the
universe) appears as a reflection in buddhi (the intel1ect) Hke the
image of the sun in water.
NOTES
The Self is pure consciousness (cinmiitram). It is not 1imited
by space and time. The question of bondage or liberation can
arise only in the case of an entity that is limited by space and
time.
Just as the image of the sun appears inverted in water, even so
it is the limited buddhi (in which the Self is reflected) that poses
as the Self and considers itself bound or liberated. Both bondage
and liberation are the imaginative constructs of buddhi. Self which
is pure consciousness transcends these imaginative constructs.
Abhinavagupta throws a flood of light on this question in
lsvarapratyabhijiiiivimarsini (IV. I,2)
/Iffi'{ tq~cs2<'i'q"(iT ~I f~\lIt'f'I(:+tOj I I
. Co
•.n
"~CflI (q (~ ., d+t ~ OJ
..:0. "

ffi{ II "
VijRanabhairava 125

"In His light of Consciousness, the Lord makes, in the

objective world created by Himself, buddhi etc. function as
subject, i.e. as the substratum of pseudo I-consciousness,
because they can function as limited subjects."
Abhinavagupta's gloss on this Karika runs as follows:
~rr ~~ ~a- tlff'lr~CI ~~ ~qqf ~­ m
mvr fClld ...lIld m<ffiI'~:
....
(Ojel'i)",q
Co"
(:~ ~:, ~ 1I~Mqf4S1101- "\0

~~€"ir'1~rMI cnt ~~lfTRf\To'~lI'

,'I;t ... cR:rtll' \I1tt'Mr ij+lfilM
" .... ~-
'l'fCj')f'l'TCl'rsr... fq WI0 oj;:rr.r'il1clrr 1fUlflif;:r 'ffiI'lIFf ~
tl ilCi <t"ll qC"\'~
eCll"
"~ mm~ ~" ~ I
"The Highest Lord, resting within His own self, in the
luminous mirror of His Self manifests within Himself by the
power of His perfect freedom, the objective aspect of the world
which is limited in its nature. In the midst of this creation, there
are the objects, such as pra!la, buddhi, body, etc. They are objects
and are to be referred to as this. But they can appropriately
function as subjects in relation to objects which are separate
from them. Therefore, as they cannot completely castoff objecti-
vity, so they shine as illumined with assumed and imperfect self-
consciousness, as 'I am Devadatta," "I am Caitra", etc.
When the aspirant is fully convinced that the question of
bondage or liberation arises only for the psychophysical self, not
for the metaphysical Self, he rises above the vikalpas of the
psycho-physical self and is immersed in the nature of Bhairava.
According to Svami Lak~mal,1a Joo, jivasya (of the empirical
subject) in place of bhitasya is a better reading, because bondage
and liberation. are bogies for all empirical subjects.
This dhara!lii pertains to Siimbhavopaya.

[DharaQa 111]
VERSE 136

t~~ ~ ~~:~m~~ I
~aif..'Qtfvr ~ ~~: ~"' cm~ II 1 ~ ~ II
Indriyadvarakarp sarvarp sukhadul).khadisangamam I
Itindriyal}i sarptyajya svasthal). svatmani vartate" 136
 126 VijRiinabhairava

TRANSLATION

All contact with pleasure and pain is through the senses,

(knowing this), one should detach oneself from the senses, and
withdrawing within should abide in his essential Self.

NOTES
All pleasure, pain, etc, derived through the sen-ses are not the
characteristics of the cidiitmii, the essential met-empirical Self,
but only of the empirical, psycho-physical complex miscalled
Self. When one is centred in his essential Self, one automatically
gets freed from the peremptory demands of the senses.
The previous dhiira1}ii teaches that it is necessary to rise above
the activity of the buddhi (the intellect) and be poised in one's
essential Self. The dhiira1}ii mentioned in the present verse teaches
that it is necessary to detach oneself from the activities of the
senses also which lead us on towards the pleasures of the exter-
nal world. This is to be effected principally through sakti-san-
koca which has been defined in the following words in
Pratyabhijiilihrdayam.
/I~: ~: (f..S:llili<UI Sjij(0t41 ~ 'liio-::qij'Jjiijul
~V~I"
~ "
"Sakti-sankoca consists in turning in towards the Self, by
the process of withdrawal, of that consciousness which is
spreading externally through the doors of the senses (towards
the objects)". Sakli sankoca is the technique of introversion or
interiorization. By this practice, one becomes svastha, i.e. poised
in oneself and the attractions of the world do not trouble him
any longer. He is freed from the opposites of pleasure and
pain and abides in his essential Self which is the nature of
Bhairava. In the words of Yoga-vlisi~tha
/I~ ~ f ... ,fq\1lijli(ll lfij"),,~f..S:lliCtq:"
(VI. Su, 78, 31) "On the luminous emergence of cit (the spiritual
consciousness, the essential Self), the wayward activities of the
. manas, buddhi and the senses come to an end."
This is Siiktopiiya.
Vijiiiinabhairava 127

[DbaraQa 112]
VERSE 137

" ... 5141liil' W'f a9...,"'Olll'ltir.aMn, Slllimlfi: I

l(4Iil4i+eiiilCCtclIE( SIT" itt fCjiilOQ~ " ,~" ..

JiianaprakiisakaIJl sarvaQl sarveQatma prakasakab I

Ekam ekasvabbavatvat jiiinaQljiieYaIIl vibhavyate" 137
TRANSLATION
All things are revealed by jiiiina i.e. the knowledge or Selfand
the Self is revealed by all things. By reason of their nature being
the same, one should contemplate on the knower and the known
as one and the same.
NOTES
"All things are manifested by knowledge (jnana)." In this,
knowledge or jiiiina stands for thejiiiilii or the knower. So the
verse means to say that all the things known (jiieya) are
revealed by the jiiiina or knower (the jiiiilii) and the knower
or iilma is revealed by the known.
As UcchulJmabhairava puts it :
"lITCI"f ;l~ ~ ~: ifi't I m
.... ~ . f.
~ "~fi'" ~ (f~ "'I~I/! ":n~d: II
"
"0 dear one, so long as there are no knowers (selves, subjects),
how can there be the known (object)? The known and the
knower are really the same principle. Therefore, there is nothing
which is inherently impure Qr insentient."
When the aspirant seriously and earnestly contemplates over
this fact, he is implanted in the nature of Bhairava.
Sivopadhyaya quotes another verse to re-enforce the
significance of the present dhiirQ1,lii :
"S1Cf1I1/Ii{loi if q''fit; sr<IimRI'
"" "
~ '" srcmft if 'rftJ: fcf~ I
iff"lIT rCjii I/~rit rd ~
~FcAmm r",aCfl.q: I"
128 Vijiiiinabhairava

"All manifestation is not separate from the light of conscious-

ness. The light of consciousness is never separate from 1-
consciousness. The I-consciousness is nothing else than Self
and Self is simply cit or pure consciousness."
Thus contemplating over the fact that the Subject, object and
cit constitute the same reality, one attains to the nature of
Bhairava.
This is Siiktopiiya.
According to Svami Lak~m!loa Joo, there is another reading
of this verse prevalent in the Saiva tradition :
"Jnanam prakiiSakalJlloke atma caiva prakiiSakal}.l
Anayor aprthagbhiivat jiiane jiiani vibhiivyate." II
"In the world, jiiiina or knowledge reveals things and the Self
is the source of all revelation. Since there is no difference bet-
ween the Self and Jiiiina (knowledge), the jiiiinl (knower or Self)
is revealed in the jiiiina (knowledge)."

CONCLUSION OF THE DHARA~AS

VERSE 138

qr-ni ~ 4if~(itql ~ 'iifSi!qi{ ,

QT m qf(lhi(!i fRt ~ Cf~: II '~I; II
Manasalll celana saktir atma ceti catu~tayam I
Yada priye parik~ioalJl tada tad bhairavalll vapul}. /I 138
TRANSLATION
o dear one, when the ideating mind (manas), the ascertaining
intellect (buddhi), the vital energy (priif)asakti) and the limited
empirical I-this set of four dissolves, then the previously
described (tat) state of Bhairava appears.
NOTES
ParikSif)am or the dissolution of manas, buddhi, etc. means
that they are transformed and appear in the words of Sivo-
padhyaya citcamatkilram iipannam as delightful aspects of the
pure, universal consciousness.
VijRanabhairava 129

This verse sums up the entire cosmic process. There is first

gradual nimeia or evolution of the universal Dynamic Cons-
ciousness (citi) into inconscient matter. This is the arc of
descent (avaroha). Citi assumes four forms for appearing as
limited individual life, viz., (I) Celana, ascertaining intellect
(buddhi), (2) manas, ideating mind, (3) praIJasakli or vital energy
which keeps the body and the mental faculties in proper form,
(4) the ego or the empirical self (designated as alma in the
present verse). A 11 these which form the inner Hfe of the
individual are usually summed up under the word cilia, the
individual consciousness. K~emariija maintains very clearly in
siitra 5 of Pratyabhijiiiihrdayam that "Citi (universal conscious-
ness) itself descending from the state of celana (uncontracted
conscious stage) becomes cilia (individual consciousness) inas-
much as it becomes contracted (sailkocini) in conformity with
the object of consciousness."

Gradual unmeia or evolution begins from the stage of the

animal. Here life is mostly bahirmukhl or extroverted. There
is only sHght development of mind. Life at the human stage is
on the arc of ascent (adhyaroha). Man alone is given the oppor-
tunity of mounting to the summit of the spiriluallife provided he
is prepared to surrender his ego.

The Trika philosophy proclaims that cilia (individual cons-

ciousness) can be transformed into citi (universal consciousness).
Pratyabhijiiiihrdayam says that cittameva anlarmukhibhavena
cetanapadadhyarohiil citib (sutra, 13)-"citta itself by inward
movement becomes citi by rising to the status of cetana." The
status of celana is the nature of Bhairava which is our own
essential Self. It is for this consummation that the various
dharaIJas have been recommended in Vijiiiinabhairava. When the
aspirant has reached a stage where he fully realizes that buddhi,
manas, praIJa and the ego are only formations of Maya for
carrying on the individual life, that they are only the instru-
ments of Self and do not constitute his essential Self, then he is
poised in his essential Self which is the nature o(Bhairava, then
these instruments reflect the life of the Spirit and can no longer
hamper its expression.
130 VijRonabhairava
VERSES 139-140

f.mnI:t(jq'ilii',i
,
iilililiiild'UIt
~. ~: I .
iR q\iilltli(f m;d'cmr.t: 1I'~tll
-~qIRft
o ~~~I ,

~ ~ ~" ilMI'!i1ttil<ifi: II ,Yo II

NistarailgopadesanaIJl satam uktaIJl samasatal:.t I
DvadaslibhyadhikaIJl devi yajjiiatvli jiianavij janal:.t " 139
Atra caikatame yukto jliyate bhairaval:.t svayam I
Vlica karoti karmaoi sapanugrahakiirakal:.t /I 140
TRANSLATION
o goddess, I have described hundred and twelve dharaIJas (yogic
practices) in which there can be no surgel in the mind. Knowing
them, one can be a perfect gnostic person-139. If one is establish-
ed even in one of these practices, he will become Bhairava in
himself. He can effect anything by word alone. He will have the
power to confer benediction or malediction 2-140.
NOTES
1. Nistaraliga - without any surge in the mind i.e. in which
the mind becomes nirvikalpaka-freed of thought-constructs.
Jayaratha in his viveka commentary explains it as svotmamotra-
,'isrontyo santarup'o (Tantraloka III. S, p. 349). i.e. resting in
one's essential Self, full of peace.
2. Since he becomes identified with Siva, the source of all
power, he can effect anything he desires.
112 dhoralJos have been described in order that the aspirant
may choose any according to his capacity. Bhairava says that
even if one dhoralJo is properly understood and practised by the
aspirant, he will be established in his essential Self and will attain
perfect peace.

VERSES 141-144

..
OI\ii(lii<cil'ifct msNliilfcl t lanf.1Rt: I
qWq;ft;rt fi:rq) ~ ecitt1\i1NifiINq: .. ,Y, II
""_;:;ff" ~,!4MM !~fq" ~ •
Vijiiiinabhairava 131

~~
~ qfc ~ Q(IQIIll'iil q'~ II ,~~ II
..
~eqq"'IQi~.m~.: ,
~ .m ~ '!.~a ~ ~tqfif " ,~~ "
I1ft\' ~ en ~"" q'lIf; ~ 'ill' r15 ~,
~~
t{'m(~ "'tIT ~~ .... ~.al" ,~~ II

Ajaramaratam eti so'oimadiguoanvital}. /

Yogininam priyo devi sarvamelapakadhipal}.// 141
Jivann api vimukto'sau kurvannapi na lipyate I
Sri Devi uvaca
Idarp yadi vapur deva parayas ca mahesvara / / 142.
Evamuktavyavasthayarp japyate ko japas ca kal}. I
Dhyayate ko mahanatha piijyate kas ca trpyati /I 143
Hiiyate kasya va homo yagal}. kasya cikirp katham /
Sri Bhairava uvaca
E~tra prakriya bahya sthiile~v eva mrgek~aoe / / 144

TRANSLATION
o goddess, the aspirant (who has become efficient in anyone
of the above dhiiraIJiis) gains freedom from old age and morta-
lity, and becomes endowed with OIJimiil and other powers. He
becomes the darling of the yoginisl and master of all meliipakas8
141.
He is liberated even while living, and carrying on all the
activities (of life), he is not affected by them.
The goddess said "Great lord, if such is the nature of the
Supreme Sakti,142 then in the admittedly established rules of
spiritual life, who would be invoked in recitation and what will
be the recitation? Who, 0 great lord, would be meditated on,
who would be worshipped, who is to be gratifi~d ? 143
To whom is oblation to be offered? For whom is sacrifice
to be performed ?' And how is it to be accomplished?
Bhairava says in reply, 0, gazelle-eyed one, this practice
(referred to by you) is exterior and pertains only to gross forms.
144.
 132 VijRanabhairava
NOTES
1. AQima and other supernormal powers are the folIo Ning:
(1) AQima-the power of becoming as small as an atom.
(2) Laghima-the power of assuming excessive lightness.
(3) Mahima-the power of increasing the size.
(4) Prapti-the power of obtaining everything.
(5) Prakamya-the power of fulfilling one's desire with-
out any resistance; irresistible will.
(6) Vatitva-the power of bringing all the elements and
material objects into subjection.
(1) Ititrtva-the power of producing and destroying the
elements and mate.rial· objects.
(8) .Yatrakamavasayitva-the power of fulfilling all
resolves.
2. Darling of the yoginls-one sense of this expression is
that he becomes the master of the Saktis (powers) like jiiana
(knowledge), kriyii (activity), iinanda (bliss). According to the
Kaula traditiQn, there is another sense of the yoginls. A male
practitioner of yoga was known as vira or siddha and a female
one was known as yoginl. From this point of view, the sense of
the above would be "He becomes the favourite of the yoginls."
3. Melipakas - The word melapaka means uniting, conjunc-
tion. In this context, Anandabhalta interprets it as sakalasya
asya vedya-vedaka-iidi-raseb khillkrlasvabhavab i. e. 'one who has
risen above all the distinctions of the knower and the known
etc., and has thus acquired the nature of Bhairava.' According
to the Kaula tradition melapaka means the gathering or union
of the siddhas and the yoginls.
4. The question of Bhairavi was "who is para devl or the
highest sakti (power) of the divine 1" The answer that Bhairava
'has given is that para devl is only the sakli or nature of Bhairava
that everything in the universe is only an expression of that
nature and that out of the 112 dharlU,lQs described, if anyone
masters even one dharlU,lii, he would attain that divine nature.
Bhairavi now puts a further question "If every thing in the
universe is only an expression of the divine and if the aspirant
. by practising to perfection anyone of the dhiirlU,las becomes
divine, then what becomes of tho distinction between the devotee
VijRanabhairava 133

and the object of devotion which is an established tenet and

fully accepted by religion ?
The answer to this question of th~ devl is found in the next
verse.

VERSE 145

~~ tit _ ~tnamf( an,

iN: m M..m ~ .... f!u: II ,,,~ II
Bbiiyo bhiiyal;1 pare bhive bhivani bhivyate hi yi I
Japal.l so'tra svayaQl nido mantritmi japya idr§al;1 /1145

TRANSLATION
That creative contemplation which is practised on the highest
Realityl over and over again is in this scripture japall (recitation
in reality). That which goes on sounding spontaneously (inside)
in the form of a mantra (mystic formula) is what the japa is
about.1

NOTES
1. Pare bhave (the highest Reality) referred to in this verse
is the absolute I-consciousness. The import of this I-conscious-
ness is beautifully expressed in the following verse by
Utpaladeva :
SiCfiIIlIt4ltqrq>Sjlf"d<~lciI ~ ~: I
~ .... h fcfl!lfTf.a': ~etlr.,(,1tl<l: I
fCII6~q"" ~.(Cf,~ {1I'!j(<lIN .... I
(Ajatjapramatrsiddhi-2 2-23)
"Resting of all objective experience within the Self is what is
meant by I-feeling. This resting (within the self) is called
autonomy of Will, primordial doership and universal sovereignty
because of the cancellation of all relational consciousness, and
of dependence on anything outside oneself."
2. Japa is not the muttering of some sacred formula. Japa,
in its real sense, is the bhavana or contemplation on one's
134 Vijiiiinabhairava

essential Self. K~emaraja in his commentary on III, 27 of the

Siva-sutras puts the idea of japa beautifully in the fol!owing
WQrds : "fill~'1aqdlfq'l!/li'1cHdlqJ'1k'll ~ ~"I "Japa consists
in the repetition of constant contemplation on the deity that is
one's own essential Self." In that connexion, he quotes the
present verse of Vijiianabhairava.
Abhinavagupta also gives expression to the same idea about
japa in Tantraloka (I, 90).
"~ ;Jflf: snm \llql\llqq~:QOId:
'"
I"
"Japa freed of all ideas of ens and non-ens is the constant
contemplation of Siva's nature."
Jayara~a commenting-on this verse says :
,~~ ~ 4<lqlCf!.fq\fTCrl{ ~\I'1':I~""'1-'::¥TT't""'t ~'rf:
II'qT1(II'IIQ'lr.i/tjlJ"l'la'll7i'; ;Jflf: I ~ rra' '1TCfT~:ara-: q.ihfi.;hql ~~«f
& ...... ' \;:) '" ..::. """

4<IQi/jQlelijH: ~: I" (I. p. 315).

"Constant mindfulness of the nature of Siva which is pariiviik
or Self is japa, the essence of which consists in the mindfulness
of the reality which shines in between both bhiiva (ens) and
abhiiva (non-ens)". Immediately after this, Jayaratha also quotes
the present verse of Vijiianabhairava.
3. Japa (recitation) consists in the repetition of mantra.
What is the mantra here. The second half of the verse clarifies
what this mantra is. It is the svaya1llniida, i.e. it is the mantra
so' ham (I am Siva) which the inward prii{lasakti ceaselessly
goes on sounding by itself in every living creature. It is this
automatic mantra which has to be contemplated on, and it is
this that is real japa.
VERSE 146

~ ~f.mrm ,f.r.,(ICfiI(1 ~ll

~ § a:n;i mror",!Qj~lf"iiji@l"1.. II ,Y,
DhyanaQl hi niscala buddhir niraUra nirasraya /
Na tu dhyanaQl sarjrak~imukhahastadikalpana /1 146
TRANSLATION
Unswerving buddhiI without any image2 or support3 consti-
tutes meditation. Concentration on an imaginative representation
Vijiianabhairava 135

of the divine with a body, eyes, mouth, hands, etc. is Dot

meditation.

NOTES

1. Buddhi is the immediate and determinative aspect of

consciousness.
2. Without any image means without an idol or yantra
(diagram), etc.
3. Nirasraya or without support means without the help of a
particular spot to meditate on such as hrdaya (centre) mUladhora
or nabhi (navel), etc.
Abhinavagupta has defined dhyana (meditation) in a similar
strain in Tantraloka (I, 89). Jayaratha in his commentary on
dhyayate parama11J dhyeyam occurring in verse 89 says,
parama11J dhyeya11J slvalak$alJam paramakaralJa11J dhyayate
svatmabhedena paramrsyate i.e. "the object of meditation is
Siva who is the supreme source of all manifestation and who
is to be meditated on as non-different from one's own essential
Self." This is what is meant by dhyana or meditation in this
system. Immediately after the above comment, Jayaratha quotes
the present verse of Vijiiiinabhairava.

VERSE 147

.....
qiifT ",111' "' q6tuaqi 1I'fif: ~ lRT
~-.
I
f.,f<cCflt-q Q\ilanl1:", '" !iifT ~l=N: II ,"It\9 II

Piijii nama na pu~piidyair yii matil;l kriyate drc;ihii I

Nirvikalpe mahiivyomni sii piijii hy iidariit layal;l II 147

TRANSLATION

Worship does not mean offering of flowers, etc.1 It rather

consists in setting one's heart on that highest ether of conscious-
ness which .is above all thought-constructs.! It really means
dissolution of self with perfect ardour (in the Supreme Cons-
ciousness known as Bhairal'a).
136 VijRiinabhairava

NOTES
1. Et cetera includes burning of incense, lighting a candle,
blowing of conch and other gross forms of worshipo
2. The highest ether of consciousness means vijRiina or the
supreme spiritual consciousness which is Bhairava.
In the same strain, Abhinavagupta gives an excellent descrip-
tion of worship in the following verse in Tantraloka :

~ ifIlf fcrf~ 1tlc01i4f~'lirq ~:

fCi6;:etfqijijij 101 ..611 ~.n4f... itl\7ijOlI II (IV. 121)

Jayaratha elucidates this beautiful verse in the following

words:
"fifNnttlllrq (!(q(~lIa1tYc01i4tl1 a"ICfllijijlilOlqF"'$",f.,.~qlra'l"i-
q(tj0fiqitl\7ijOlI 4T o~
~'lIa:
~
-;............. : m ~ I
"

(IV, p. 123)
"Worship consists in the unification of the different streams of
sense experiences like form, colour, savour, etc. with the
infinite (ananta), free (svatantra), immaculate (vima/a) conscious-
ness of Bhairava which is above the limitation of space, time, etc.
(deJakii/iidyanavacchinna), entirely unconditioned (nirupiidhi),
perfect and highest consciousness (pur~a-parasa",vid)o"
Immediately after the above comment, Jayaratha quotes the
present verse of Vijiianabhairava.

VERSE 148

OIWifitt"qfflitv4
o ~ f".,lfC.,,,, I
"f(dlifil(dl W1iI' qNl@4'ti'i0idl II ,vc; ..
Atraikatamayuktisthe yotpadyeta dinad dinam I
Bharitakiirata satra trptir atyantapiirQati II 148
TRANSLATION
By being established in even one of the yogas described here,
the plenitude of spiritual consciousnesss that goes OD developing
day after day until it reaches its highest perfectionll is known
herea as I,pli (satisfaction).
Vijiianabhairava 137

1. This means the attainment of the essential nature of Self.

2. The highest perfection is the attainment of Vijiiana (the
supreme spiritual consciousness) which is Bhairava.
3. 'Here' means 'in this yogic tradition.'
VERSE 149

1I1I'nIr",~
.. ~.'~ .......::\0 "aliitfCll6lQiR4iQ I
""v.' ft "

~ ~m ~ ~ ~1I.qMi,!","" ,Vt ..
Mahasiinyalaye vahnau bhiitakl1avi~ayadikam I
Hiiyate manasa sardham sa homas cetana-sruca 11149
TRANSLATION
When in the fire of Supreme Reality (i. e. Bhairava) in which
even the highest void is dissolved, the five elements, the senses,
the objects of the senses along with the mind (whose characteristic
is dichotomizing thought-constructs) are poured, with celana
as the ladle, then that is real oblation (homa).

NOTES
Three things are required in a sacrificial oblation (1) fire
(2) substances that are poured into the fire (3) a ladle in which
the substances to be poured are placed.
In a real spiritual homa, (1) the Supreme Reality or Bhairava
is the fire. (2) It is into this fire that the body constituted by the
five elements, the senses, the objects of the senses together with
the manas i.e. all that constitutes the Empirical personality is to
be poured and sanctified.
(3) Celana functions as the laddIe. That word celana is
untranslatable. It is intermediate between citi, the supreme
Universal consciousness and citra, the individual, empirical mind.
Celana is the intuitive consciousness which serves as anusandh-
iitrl-that which leads and unites the citra with citi.
There is another reading in place of cetanasruca, viz. cetana ca
sruk, adopted by Kl1emaraja which means cetana functions as
the laddie. There is no difference of meaning between the two
readings.
138 Vijiianabhairava

VERSES ISO-lSI

..
~ q<t4llllf.. dN:<I., .... \illetVrT I
lillifit'
IfIQUUNItilfl'lAt clll uIINlr4t4 II , ~o II
'lil1llfMiiIQlllfd((tCii ~ em ,

Yago'tra paramesani tu~tir anandalak~aoa I

K~apaoat sarvapapanaQl traoat sarvasya parvati II I SO
Rudrasaktisamavesas tat k~etraIJl bhavana para I
Anyatha tasya tattvasya ka piija kas ca trPyati /I 151
TRANSLATION
o supreme goddess, sacrifice in this system simply means
spiritual satisfaction characterized by bliss. 0 parvati. the
absorption into the sakti of Rudras is alone real kietra (place-
of pilgrimage) inasmuch as this absorption destroys all sins
(kiapa~at), and protects all (tral;lat). This constitutes the highest
contemplation. Otherwise in the case of the (non-dual)Reality,
how can there be any worship and who is it that is to be
gratified?

NOTES
All the rituals of the ordinary religious life are interpreted in
Vijiianabhairava in a higher spiritual sense. Japa (recitation of
mantras) has been interpreted as contemplation on the highest
Reality (in verse 145). Dhyiina(meditation) has been interpreted
as unswerving buddhi without the aid of any image or support
(in verse 146). Puja (worship) has been interpreted as firm
fixation of the mind on maluivyoma(highest Reality)(in verse 147).
Trpti has been interpreted as plenitude of spiritual consciousness
(in verse 148). Homa (oblation) has been interpreted as pouring.
of the senses together with their objects in the fire of Supreme
Reality (i. e. Bha;rava) (in verse 149).
Now in verses ISO-lSI yoga or sacrifice has been interpreted
as the bliss of spiritual satisfaction. Kietra or place of pilgrimage
has been interpreted in a higher sense. The word Kietra is
composed of two letters kia and tra. kia symbolizes kiapa~a
Vijniinabhairava 139
or destruction of all sins by absorption in the sakli of the
Rudras, known as aniiSrita sakli, and tra symbolizes triiIJa or
protection inasmuch as one who merges himself in this sakI;
receives her protection.

VERSE 152

+.4€iGiil .. ~.. fiil"'uCil~n~: ~, ~ wcfR: I

. aml~;t ~ ""'~: '""""'~ .. 1 ~ ~ ..
Svatantranandacinmatrasaral). svatma hi sarvatal). I
AvesanalJl tatsvariipe svatmanal). snanam iritam 11152

TRANSLATION

The essence of Self consists universally in autonomy, bliss, and

consciousness. One's absorption in that essence is said to be
(real) bath.

NOTES

Bath is considered to be an important purificatory step in

every ritual. Bhairava says that the usual physical bath does
not lead to real purification. It is the spiritual bath which con-
sists in a plunge in the essential Self characterized by autonomy,
bliss and consciousness that alone can lead to real purification.
Abhinavagupta expresses this mystic bath beautifully in the
following lines in Tantraloka :
'3~'illf~.na§d~a-~~ I
fuo~~~\iA'~~ II (IV, 116-117)
"The intuitive perception ofReaIity (jniina ) that flashes forth
by its light is like fire. Both the objective and subjective spheres
of experience are like fuel. When this fuel of the objective and
subjective spheres of experience is burnt completely by the fire
of jniina and the perception of the essential Se1f results in the
form of white ashes, then an immersion of the limited, empirical
self in that essential Self is alone said to be the real bath."
 140 VijRanabhairava

VERSE 153

Yair eva piijyate dravyais tarpyate va paraparal}. I

Yas caiva piijakal}. sarval}. sa evaikal}. kva piijanam II 153

TRANSLATION

The offeringsl with which worship is done. the objects· with

which the Highest Reality (para) together with His highest Sakti
(para) is sought to be satisfied, and the worshippers are all (really
speaking) one and the same.8 Whence then this worship ?

NOTES
1. Offerings-like flower. incense, etc.
2. Objects-like milk, honey, sweets, etc.
3. There is only one non-dual Reality. Flower, honey, and
the worshipper who worships with these are non-different from
Bhairava who is worshipped. When all are one and the same
Reality, what is the sense in this so-called worship?

VERSE 154

'I "C!R1'1' t1wWi1ill1l SI&91n Ifc!+t'tiffi: I

~~ m ~ 'RR q'(1qU .. ,,-'If II
Vrajet pral)o visej jiva icchaya kutilakrtil}. I
Dirghatma sa mahadevi parak~etram parapara 1/154

TRANSLATION

Pra1)a or the breath of exhalation goes out and the breath of

inhalation (jiva) enters in, in a curvilinear form. They do so of
their own accord (icchayQ). The great goddess (pra1)Qsakti or
. kU1,l(ialinl) stretches up (dlrghatma). Being both transcendent
and immanent, she is the most excellent place of pilgrimage.
VijHanabhairava 141

NOTES

As Kalla~a puts it prak sQ1fIvit pralJe pariIJata. In all living

creatures, the divine consciousness is, at first, converted into
priirJ.a. This is known as pralJaSakti. Its two main forms in all
living beings are known as pralJa and apiina. PralJa is the breath
of exhalation and apana that of inhalation.
In Saivagama, the letter ~ (ha) is the symbol of praIJaJakti. In
Sarada script of Kashmir, the letter 'ha' is written in a curvili-
near fashion. Both priiIJa and apiina move in all living beings in
a curvilinear way. That is why priiIJa and apiina have been
designated as ku!iliikrti/J. (of curvilinear form) in the verse. The
letter ha which is written in a curvilinear fashion, therefore, very
correctly represents priiIJaJakti.
The apana breath (inhalation) has been very significantly
denominated as jlva (life). Apiina or inhalation is the breath that
returns inside after the priiIJa or exhalation. If apiina or the
breath of inhalation does not return, the living being is bound to
die.
The word icchayii in the verse has been used to signify the
fact that priiIJa and apiina move out and move in, in a curved
way of their own accord. This kind of movement is automatic,
natural.
PriirJ.asakti lies in three and a half folds round the centre-
muliidhiira in a curved way like a sleeping snake. In this form,
it is known as kUIJ~alini. When it lies in a dormant way, the
kUIJ~alinl sakti is known as aparii, simply immanent in life, not
yet active.
So long as kUIJ~alinl is aparii, there is always a sense of
difference.
Apiina or the breath of inhalation that enters the centre inside
produces the sound ha automatically, and the breath of exha-
lation that goes out to dviidasiinta produces the sound 'sab'
automatically. At their junction in the centre an anusviira on
ha is also added automatically. Thus this mantra ha1'fJsa/J. (~~:)
goes on sounding in every round of priiIJa-apiina in every
living being. This is known as ajapiijapa (a recitation that goes
on automatically in every living being without effort on the part
of anyone). This mantra means 'I am he' i.e. 'I am Siva. When
142 Vijfziinabhairava

this automatic mantra is consciously and repeatedly contemplat~

ed on by the aspirant, it automatically becomes so'ham (that
am I). By constant contemplation of this mantra, Ku'.ujalini rises
and stretches upward i.e. is elongated. That is why she is
called dirghiitma (elongated). Traversing through the intermediate
centres, she enters Brahmarandhra, and then arises unity con-
sciousness in the aspirant. In this condition, she is known as
parii (the highest, the most excellent, the transcendent). Since
she is both transcendent and immanent, she is called paraparii.
Because she inheres in the Supreme consciousness and also
carries on the life of the world consisting of pramiita (subject),
prameya (object) and pramalJa (the cognitive relation between
the two), therefore, she is rightly called pariipara. Because she is
the sakt; of Mahadeva (Siva, the great lord), therefore, is she
known as Mahiidevi (the great goddess).
She is called parakietram, the most holy place of pilgrimage,
because she destroys all the sins of the seeker (kiapalJiit) and
because she protects all (triilJiit). It is this mystic holy place that
the seeker must resort to and not geographical places like
Kuruk~etra or Banarasa.

VERSE 155

Asyam anucaran ti~than mahanandamaye'dhvare /

Taya devya samavi!?taQ. paraI}l bhairavam apnuyat II 155

TRANSLATION

In that great goddess there is the great joy (of the conjunction
of 'sa' and 'ha' i.e. of the mantra so'ham) which is like a yajna
or sacrifice (of vimarsa or I-consciousness). Pursuing it and
resting in it (i.e. in the joy of the mantra (anucaran tii/han), one
becomes identified with the great goddess and thus (through her)
one attains to bhairava.
Vijnanabhairava 143

NOTES
This verse only completes the sense of the previous one. The
importance of the hal11sal) or so'hal11 mantra has already
been discussed in the notes on the previous verse. By cons-
tant contemplation on this mantra, one becomes identified
with the goddess kU{lt}alini and thus through her, one attains
the nature of Bhairava.
VERSES 155 (repeated)-156

~vr iCf~qm, ~ ~ ~: I
~~tlI1! "ci ~ ~mf.f~:" ,~~ "
~-mnf.t Wu mil "~tcl04ifir"l!lfd: I
Gf1ft ~: ~: ~'" vi'" ri: II , ~, II
Sakiirel,la bahir yati hakarel,la viset punal,l /
Hatpsahatpsety amum mantratp jivo japati nityasal,l / / 155
Sat satani diva ratrau sahasral,lyekavitpsatil,l /
Japo devyal,l samuddi~!al,l sulabho durlabho jagail,l / / 156

TRANSLATION

The breath is exhaled with the sound sa and then inhaled

with the sound ha. (Thus) the empirical individual always
recites this mantra hal11sal). 155
Throughout the day and night, he (the empirical individual)
recites this mantra 21,600 times. Such ajapa (recitation) of the
goddess is mentioned which is quite easy to accomplish; it is
only difficult for the ignorant. 156
NOTES
The present verse 155 is not printed in the edition of Vijiiana-
bhairava published in the Kashmir series of Texts and
Studies. But this has been quoted by K~emaraja in his
commentary on III. 27 of the Siva-sutras. This is definitely
required, for without it, the sense is incomplete. Therefore, with
out disturbing the arrangement of the number of verses as given
in the available edition of Vijiianabhairava, the verse as quoted
by K~emaraja has been given above.
144 Vijiianabhairava

In verse No. 156, the reading of the last line as adopted in

the available edition of Vljii8.nabhairava is as follows: prib:ta-
syante sudurlabha(/.. In this edition, it is the reading of K~emaraja
that has been adopted.
The mantra hQfllSa(/. is repeated by every individual
automatically in every round of expiration-inspiration as the
verse 155 clearly says. "The incoming breath produces the
sound ha and the outgoing breath produces the sound sa(/.
spontaneously. "It is recited automatically in a natural way
without anyone's conscious recitation. Hence it is called ajapa-
japa i.e. automatic recitation. It is also known as haTflSa
mantra. The ha of this mantra represents Jakti and sa(/.
represents Siva; am in hamsa(/. represents the living individual
(jiva). This is known as trika mantra also, as it includes in
itself the three realities of Siva, sakti and nara or jiva. The
aspirant has to concentrate on am, the junction point of ha
and sa(/..
One round of inspiration-expiration takes 4 seconds. So there
is automatic japa of hamsa(/. 15 times in a minute. In one
hour, there is (15 X 60) 900 repetitions of thisjapa. In a full
day and night, there are (900 X 24) 21,600 repetitions of this
japa.
K~emaraja quotes the verse No. 156 in Svacchandatantra
(VII. p. 20) and there also he adopts the reading given here. He
has quoted the verse No. 156 in connexion with the following
verse of Svacchandatantra :
"~ ~if: macfi": q«l~CjrCld~ I
~;;rtf~: ft:r~'!fmqj~5I'~: II" {Verse 56)
"The advanced aspirant always reposes in pralJahamsa i.e. the
pralJasakti insu~umna and thus realizes the highest Reality.
Because this pralJa is associated with the universal I (aham)
which is the very quintessence of all the mantras, therefore, it
is known as pralJahamsa. The japa or recitation of hamsa
mantra is indicated for him i.e. he who is absorbed in this
mantra always sounds it automatically. It gives both
supernormal powers and liberation."
If the reading pralJasyiinte sudurlabha(/. is adopted, the
meaning would be "on the occasion of the last breath i.e. on the
Vijfiiinabhairava 145

occasion of death, one's identification of himself with this

ajapajapa is difficult i.e. it is only the fortunate few who owing
to excess of meritorious acts are able to maintain their
identification with the ajapiijapa at the I~t moment."

VERSES 157-160

~~ ~ q(qliid'h,qq, I
~;l... ~m
...
SAi'NIt q ~ II '~IS II
~~ ri $~ ..
... "'~ 'HNI'~: I
filr.lfi(WqqEflili ~ ~(IOil1...tenMill'!. " ,~c;
• • • fplC:F,nr.a:wy
"
~ '!''''I~ ~ .. tCC"I't41 ,
Vf1f) mli ~ q: fl4 .. (!'1.... Ifi'!. "
.... c ::..... ...
~q(1eqr<t4\i4 wr~q(1~q~ I
,~t "
f~~~ifi{ rn ~+R ~, " ,\0 "
Ityetat kathitaQl devi paramiimrtam uttamam I
Etac ca naiva kasyiipi prakiiSyalJl tu kadiicana 1/157
Parasi~ye khale kriire abhakte gurupiidayo\:.ll
NirvikalpamatiniilJl tu viriiQiim unnatatmanam 11158
BhaktiinaQl guruvargasya diitavyaQl nirvisailkaya I
Gramo rajyaQl puraQl desa\:.l putradaraku!umbakam II 159
Sarvam etat parityajya grahyam etan mrgek~aQe I
Kim ebhir asthirair devi sthiram param idaQl dhanam 1160

TRANSLATION

o goddess, I have explained to you this teaching which leads

to the highest immortal state. This should never be revealed to
any and everyone, particularly to those pupils who belong to
another tradition, who are mischievous, cruel, and wanting in
devotion to their spiritual teachers.l On the contrary, this
teaching should be imparted without the least hesitation to those
whose minds are free from oscillating opinions,2 to vlras,3 to
magnanimous ones and to those who are devoted to the line of
spiritual teachers.
o gazelle-eyed one, renouncing all these, viz., one's village,
kingdom, city, and country, son, daughter, and family. one
146 Vijiiiinabhairava

should lay hold of this teaching. What is the good of the above
evanescent things? This is the lasting treasure.

NOTES

1. Unworthy pupils may misuse these teachings. So these

should not be imparted to them .•
2. Nirvikalpamatlniim here does not mean 'whose minds
are freed of all dichotomizing thought-constructs'. This is the
highest stage. If they have already reached that stage, they do
not require any teaching. The word vikalpa also means alterna-
tion, indecision, alternating opinion. It is in this sense that the
word has been used here. So, here it means 'those who are free
from oscillating opinions'.
3. The word vlra does not mean 'hero' here. It means
viseie~a frayati iitmiinam iti vfra(z i.e. 'one who is self-controlled.'
According to Sivopadhyaya, it means 'one who has cut asunder
all doubts.'

VERSES 161-162

sn1IIT aN ACldiQl " i1i q(4U'{CP! I

~aN
~ ~ qf<Ef'dlfRi U,IR II " , ..
4I.QI4tE'lMiI+4 +l1(4tGI6IUlfuI¥{ I
• Ii."Cloe
+1611111 ... I ~
. '"""" • II ,,~

PriOi api pradatavyi na deyaQl paramimrtam /

Sri devi uvica
Devadeva mahadeva paritrptismi §ailkara 1/161
Rudrayamalatantrasya saram adyavadharitam /
SarvdaktiprabhedaniQl hrdayaQl jiiitam adya ca //162

TRANSLATION

Even life may be renounced, but this teaching which is like

~ost excellent ambrosia should not be imparted (to undeserving
one).
VijRanabhairava 147

The goddess said

o great god, 0 god of all the gods, 0 benefactor, I am fully
satisfied. Today, I have understood with certainty the quintes-
sence of Rudrayamalatantra1, and also the heart of all the
grades of sakti2 •

NOTES
1. The tantra that teaches the union of Sakti with Siva.
This is also the name of a book which teaches about the above
union but which is now lost to us.
2. The grades of Sakti are (1) para - highest, transcendent
undifferentiated, (2) parapara, the intermediate, unity in diversity
(3) apara, immanent, bringing about a sense of difference.

VERSE 163
t~,*"i.. r",rir ~) IIiVi '1'101l ftrift:q § II ,,~ II
Ity uktvanandita devi kagthe lagna sivasya tu II 163
TRANSLATION
Having said the above, the goddess who was steeped in
delight,l embraced Siva. I
NOTES
1. She was steeped in delight, because all her doubts were
resolved.
2. She was now established in her non-dual state; she
became one with Siva.
 GLOSSARY OF TECHNICAL TERMS

A-A ('f--rr)
Akula : Siva.
Aou : Infinitesimal point, the limited, empirical individual.
Advaya : One without a second.
Adhvan (Adhvii) : journey, way, course.
Adha}:t-kuOQalini : The field of kUI}Qalini from Lambika to
one-three-fourths of its folds, in the Miiliidhiira.
Anacka : Consonant without a vowel.
Aniihata : Interior automatic sound without any impact.
Anugraha : Grace.
Anuttara : The Incomparable, the Highest; the letter 'a' ('f).
Anusviira : Nasal sound on the top of a letter; representation
of Siva.
Antarvyoma : The interior space where pra{la and apana are
dissolved.
Apara : Lower, immanent.
Apiina : The breath of inhalation going down towards the anus.
Soma and jlva are synonyms of apiina.
Amrta : Ambrosia; the spiritual state in which further involu-
tion in matter is annulled.
Artha : Object, goal, sense, perfect comprehension of reality.
ardhacandra : Lit., demi-Iunar; the second stage in the ardha-
malra (half of a mora) in the japa or recitation of Aum;
subtle energy of sound.
Ardhendu : -do-
Avasthii : State; condition.
Avikalpa : Intuitive apprehension, free of all thought-construct.
Asiinya : Non-void.
Aham : I, absolute I.
Ahantii : The state of absolute I: interiority : I-cQnsciousness.
AhaIllkiira : Ego, ego-hood; the I-making principle.
Akiisa : Space; ether; the sky; the infinite;
Agama : Revealed text, traditional knowledge.
150 VijiUinabhairava

Agavopaya : The means whereby the a~u or the empiric!ll indi-

vidual uses his own kara~as or instruments i.e. senses,
prii~a and manas for self-realization. It includes disciplines
concerning the regulation of prii~a, rituals, japa, concent-
ration, etc.
Atman : Self.
Ananda : Spiritual bliss.
AVeSa : Entry; absorption.
Asaya : Disposition of mind; antab-kara~a or the psychic
apparatus; mental deposits lying in the unconscious.

I-I (~-t)

Iccha : Will; desire; impulsion, Iccha-sakti-the power of will.

Idam : This, object.
Idanta : Thisness, objectivity.
Indrajala : Lit., the net of Indra; magic; Illusion;
Indriya : Organ of sense.

U-O (a--a;)

Uccara : Function of breath that rises up; the upward thrust

or buoyancy of breath.
Udaya : Rise; awaking.
Udana : The prii~a that rises up in the sU,fumnii at spiritual
awakening.
Udyama : Emergence of Spiritual Consciousness.
Unmana : The supramental sakti, the highest energy of pra~al·a.
Unme~a : Unfoldment; jagadunme,ra-unfoldment of the world-
process; svariipaunme,ra-unfoldment of spiritual conscious-
ness.
Unmilana samadhi : that state of the mind in which, even
when the eyes are open, the external world appears as
Universal Consciousness or Siva.
Upadhi : Limiting adjunct or condition.
Ordhva kUQ4alini : the risen-up ku~4alinl when the prii~a and
apiina enter the su,rumnii.
Glossary of Technical Terms lSI
Ka (!ti)
Kaiicuka : Covering of Maya.
Kanda : A bulbous organ, situated near tbe anus.
Kautba : The cakra at the base of the throat.
Kala: Energy; creativity; limited agency; phase of manifesta-
tion; part of letter or word.
Kala: Time; the category of time or time-principle.
Kilagni : Kalagni Rudra-The Universal Destructive Fire that
destroys all impurities, sins, etc.
Kuo4alini : The bio-psychic energy which in its inactive form
lies like a snake folded up in three and a half folds round
the muliidhiira cakra at the base of the spine.
Kula: Undifferentiated Energy;
Kutilakrti : A curved form in which priifJa flows before the
awakening of KU1)(ialini.
Kumbhaka : Retention of breath.
Kuhana : Magic or tickling of the arm-pit.
Kevala : Alone, isolated.
Kaivalya : Aloneness; isolation; aloofness from the influence
of prakrti or miiyii.
Koti : Point, initial or final.
Kramamudra : A successive occurrence of nimllana and
unmllana samiidhi; the condition in which the mind by
the force of samiiveia swings alternately between the
internal (essential Self) and the external (the world which
now appears as Siva).
Kriya : Activity; the ,ower of activity.
K~a (")
K~etra : Holy place; place of pilgrimage.
K~obha : Agitation.
Kha (v)
Khecari mudra : Vide the note on Khecar~ under the verse 77.

Ga (~)
Grahaka : Knower; subject.
Grahya : Known; object.
 l52 Vijnanabhairalla

Ca ('if)
Cakra: Centre of pralJic energy. It is through the various
cakras or centres of pralJic energy that KU09alini passes
when she rises from Miiladbara and enters Brahmaran-
dhra.
Camatkara : The bliss of pure I-consciousness.
Cit : Absolute Consciousness.
CidakMa : The ether of consciousness.
Cidghana : Mass of consciousness.
Cidananda I Consciousness-bliss.
Cidanandaghana: Mass of Consciousness-bliss.
Citkala : Energy of consciousness.
Citprakasa : Light of consciousness.
ati : The consciousness-power of the Absolute that brings
about the world-process.
Citta : Empirical mind.
Citta 'visranti : Repose of the empirical mind in the higher con-
sciousness.
Citta sambodha : Awakening of the individual mind.
Citta pralaya : Dissolution of the empirical ~ind in the higher
consciousness.
Cinta : Thought, idea.
Cetana : Consciousness; consciousness intermediate between
the highest level and the ordinary empirical consciousness.
Caitanya : Absolute Consciousness characterized by svatantrya,
absolute autonomy and jnana (knowledge) and kriya
(activity).

Jagat : The world process; the universe.

Jagadananda : The bliss of the Self or the Divine appearing as
the universe; the bliss of the Divine made visible.
Japa : Recitation.
Jagrat : The waking condition.
Jiva : The living being; the individual soul; the empirical
self.
Glossary of Technical Terms 153

Jivanmukta : One liberated while yet alive.

Jivanmukti : Liberation while one is alive.
Jiiana : Knowledge; spiritual realization, the Sakti of Siva; the
specific sakti of Isvara.
Jiianin : The gnostic; one who has obtained spiritual realization.

Tpt)
Tattva : Thatness, the very being of a thing; constitutive princi-
pie; category of Reality; Ultimate Reality.
Tantra : A scripture in general; Science of the cosmic spiritual
forces, revealed work.
Tantrika : Follower of Tantra; pertaining to Tantra.
Tirodhana sakti : Power that obscures Reality.
Turya or Turiya : The fourth state of consciousne~s beyond the
state of waking, dream and deep sleep, and stringing to-
gether all the states; integral awareness; the metaphysical
Self, distinct from the psycho-physical or empirical self;
the siikii or witnessing consciousness.
Turyatita : The state of consciousness transcending the Turiya
state; the state in which the distinctions of the three, viz.,
waking, dreaming and deep sleep states are annulled; the
pure blissful consciousness in which there is no sense of
difference, in which the entire universe appears as the Self.
Trika : The system or philosophy of the triad-(l) Siva, (2)
Sakti and (3) Nara-the bound soul, or (1) para, the
highest, non-different from Siva, (2) pariipara, the inter-
mediate state of identity in difference, (3) apara, the state
of difference; the lower.

Da('l')

Dadana : Intuitive vision; system of philosophy.

Dar4hya : Firmness of mind or concentration.
Dr4ha : Stable in concentration.
Dn!i : Comprehensive vision.
Dis : Direction.
DeSa : Space; region.
154 Vijnanabhairava

Dvadasanta : Distance or end of 12 fingers. This is Measured

in various ways : (l) A distance of 12 fing~rs from the tip
of the nose in outer space is known as biihya dviidasiinta.
(2) A distance of 12 fingers from the biihya dviidasiinta to
the centre (hrdaya) of the body is known as iintara dviida-
saitta. (3) A distance of 12 fingers from hrdaya upto
Ka1){ha. (4) There is a dviidasiinta from the palate to the
middle of the eye-brows. (5) There is a dviidasiinta from
the middle or centre of the eye-brows upto Brahmarandhra.
This is known as urdhva dviidasiinta. This distance is of
use only when the kU1){ialinl awakens.

Dha (a-)

Dhyana : meditation.
Dhyani : meditator.

Na (or)

Navatma : Of nine forms. For details, see note No.4 under

verse 2.
Na\ii : subtle channel of prii1)a.
Nada : interior spontaneous sound.
Nada-bindu : The first creative pulsation and its compact mass~
the creative sound and light; Sakti and Siva.
Nadanta : Subtle energy of pra1)ava.
Nibhalana : perception; mental practice.
Nime~a : closing of the eye: involution; dissolution of the
world.
Nimilana samadhi : the inward meditative condition in which
the individual consciousness gets absorbed in the Univer-
sal consciousness.
Niyati: limitation of cause-effect relation; Spatial limitation.
Niradhara : without support-objective or subjective.
Nirasraya : without any prop or base.
Nirodhika or nirodhini : a subtle energy of pra1)ava.
Nirvikalpa : higher consciousness free of all thought-constructs.
Nivesa or nivesana : entry into the Universal Consciousness.
Glossary 0/ Technical Terms ISS

Ni~kala : partless; undivided. §iva above manifestation or

creation.
Nistarariga : free of undulation or commotion.

Pa (11')

Pati : §iva; a liberated individual.

Para : the highest; the Supreme.
Para pramata : the highest experient, parama Siva.
Parama §iva : the Highest Reality, the absolute.
Paramiitma : the supreme Self.
Paramartha : highest reality; essential truth: the highest goal.
Paramaria : Seizing mentally, experience. comprehension. re-
membrance; referring or pointing to: a letter; conscious-
ness of a letter.
Pariipara : intermediate stage of §akti; both supreme and non-
supreme; both identical and different; unity in diversity.
Paravak : the unmanifest §akti or vibratory moment of the
Divine; Logos; cosmic ideation.
Pari-§akti : highest §akti of the Divine; citi.
Pa§u : the bound soul; the jrva; the empirical self; the indivi-
dual.
Pa§yanti : the Divine view of the universe in undifferentiated
form; viik sakti, going forth as seeing, ready to create in
which there is no differentiation between vicya (object)
and vacaka (word).
Puru~a : the Self.
Purya~taka : the city of the group of eight i.e. the subtle body
consisting of the five tanmiitras, buddhi, manas and ahal11-
. kiira.
Piinta : perfect; full of divine consciousness.
Piirgihanti : the perfect I-consciousness of §iva; non-relational
I-consciousness.
Praki§a : the light of consciousness, the principle of Self-reve-
lation.
Prakrti : the primordial source of objectivity from buddhi down
to earth.
Pratibha : The illumination of the I-consciousness of §iva; a
synonym of parol'ok;
156 Vijniinabhairava

Pratyabhijiia. : recognition.
Pramata : The knower; the subject: the experient.
Pramiitrta : knowership.
PramaQa : means of knowledge; knowledge.
Prameya : Object of knowledge.
Prasara : expansion; manifestation of Siva in the form of the
universe through His Salcli.
PraQa : In general the vital energy; specifically, the vital breath
in exhalation.
PraQasakti : Vital energy; bioplasma.
PraQana : the animating principle, the principle of all the
prii{las.
PraQayama : breath control.

Ba (iI')

Bindu : written also as vindu-a point, a metaphysical point;

concentration of luminous energy; compact mass of sakti
gathered into an undifferentiated point ready to create;
para~ pramiitii-the highest experient; the anusviira or nasal
sound indicated by a dot on a letter indicating the fact
that Siva in spite of the manifestation of the universe is
undivided; symbol of Siva; a sakti of pra{lava.
Buddhi : the intellect; the ascertaining intelligence; sometimes
the higher mind; the super personal mind; intuitive aspect
of consciousness by which the essential Self awakens to
truth.
Bodha : Enlightenment; spiritual awakening.
Brahma : the highest reality (existence-consciousness-bliss).
BrahmanaQi: s~umnii, the madhya niitll, the central subtle
channel of prii{la.
Brahmarandhra : Sahsriira cakra; the prii{lic centre at the top
of the head.

Bha ('11')
Bhakti : Devotion.
Bharifa : plenitude, fulness.
Bhava : existence-both internal and external; existent; object.
Glossary of Technical Terms 157

Bhavanii: Creative contemplation; powerful employment of

imagination.
Bhuvana : world.
Bheda : difference.
Bhairava : The Highest Reality, bha indicating bharar.ra or
maintenance of the world, ra ravar.ra or withdrawal of
the world, and va, vamana or projection of the world.
Bhairavi : Sakti of Bhairava.
Bhairava or bhairavi mudrii : The posture in which the gaze is
turned outwards without the twinkling of the eyes, and the
attention is turned inwards.
Bhriimadhya : the centre or middle of the eye-brows.
Bhoga: experience, sometimes used in the narrow sense of
enjoyment.
Bhokta : experient.

Ma (11')

Mati: understanding; intuitive intelligence.

Madhya: centre; the central consciousness; the pure I-consci-
ousness; the su~umna or central priir.ric naf/.i; internal; gap.
middle.
Madhyadhama : Su~umnii. also known as brahmanaf/.i.
Madhyama-pada : the central or middle state.
Madhyama : Sabda in its subtle form as existing in the mind or
antal)karar.ra prior to its gross manifestation.
Madhyasakti : Samvit-sakti, the central consciousness-power.
Manas : the internal sense. the empirical mind.
Mantra : a sacred or mystic formula for recitation.
Mantra-virya : the power of Mantra.
Marut : Breath (exhalation or inhalation).
Mala : dross; limitation which hampers the free expression of
the Spirit.
Mahiibodha : the great awakening, the grand illumination.
Mahiimantra : the grand mantra of the supreme I-consciousness.
Mahiivyapti : the grand fusion; the grand pervasion.
Mahiisatta : the Highest Reality which is absolute Light and
freedom and the source of all existence.
Mahiisiinya : the great void.
158 Vijiiiinabhairava

Mayii : the finitizing or limiting principle of the Divine;

Illusion.
Mayatattva : the principle of veiling the Infinite and projecting
the finite; the source of the five kaiicukas.
Mayapramatii : the empirical self, governed by Maya.
Mayasakti : the power of Divine for finitizing or limiting.
Mayiya mala : limitation due to Maya which gives to the soul
its gross and subtle bodies.
Mukti : liberation.
Mudra: Yogic posture as aid in concentration, that which gives
the bliss of spiritual consciousness.
Miiladhiira : the praQic centre below the genitals.
Meya : object.
Mok~a : liberation.
Moha : delusion.
Yugapat : simultaneously.
Yogi : one who is seeking to or has been able to unite with the
Universal consciousness.
Y ogindra : the great yogi who has attained the siimbhava state.
Yogini : the divine energy of Bhatrava.
Ra (~)

Rajas: the principle of motion, activity and disharmony, a consti-

tuent of Prakrti
Rasa: Flavour; aesthetic rapture
Riiga : Passion; intense desire for and attachment to an object;
one of the kaiicukas of maya on account of which there is
limitation by desire.
Rudrayamala : intimate union of Rudra and His Sakti.·
Riipa : Form; essence.
La (or)
Laya-nilaya : absorption.
Lina : absorbed.
Va ('f)
Vapus : (bhairavasya) fOim; the nature of Bhairava, cosmic
essence.
Glossary of Technical Terms 159

Varua : letter; sound of letter; subtle energy of speech.

Vahni : a technical word of Saiva Yoga, meaning entering com-
pletely into the root and half of the middle of adhal)
kur;ujalini.
Vacaka : word; indicator.
Vacya : object; the indicated.
Vamesvari : the divine sakli that emits i.e. projects the universe
out of the Absolute and produces the reverse conscious-
ness of difference.
Vikalpa : idea, ideation; dichotomising thought-construct.
Vikalpanam : the differentiation-making activity of the mind.
Vikalpa-k~aya : the dissolution of Vikalpas.
V~kasa : efHorescence; unfoldment; development.
Vijfiana : consciousness; supreme consciousness.
Vidya: limited knowledge; pure knowledge (cf. SUddha vidya
sakli).
Vibhiiti : splendour: supernormal power.
Vimada : experience; the Self-consciousness of the supreme, full
of jiiana and kriya which brings about the world-process.
Vimarsana : intuitive awareness.
Viyat: space; sky.
Vilaya : concealment.
Vi~a : a technical word of Saiva yoga, meaning entering into
the remaining half and wholly into the top of adhal)ku1){ia-
lini right upto the portion where urdhva-ku1){ialini ends
(from the root vii to pervade).
Visriinti : rest; peace.
Visva : the all; the cosmos; the universe.
Visvamaya : visvatmaka-immanent.
VisvottirQa : transcendent.
Visarga : Siva's power of projection of the universe; sakli; two
dots placed perpendicularly one upon the other after a
letter, giving the sound ha.
Virya : virility, vitality; manlra-virya the virility of mantra.
Vaikhari : Sakti as gross word or speech.
Vrtti : mode, fluctuation.
Vai~amya : difference, disquietude of duality.
Vyiina : the pervasive pra1)Q.
Vyiipta : completely pervaded.
160 Vijiiiinabhairava

Vyiipti : pervasion; fusion in the whole, in Siva.

Vyiipini : all-pervasive energy of pra1J.ava.
Vyutthiina: lit.; rising, coming to normal consciousness after
trance.
Vyiimohitatii : delusion.
Vyoma : sky; the infinite sky of consciousness; antar vyoma.
the space in the mystic centre.

Sa (W)

Sakti : Power, identical with Siva; Sakti as a door of entrance

into Siva (verse, 20); woman (verses 69-70)
Sakti-piita : descent of the divine Sakli, grace.
Sakti-vikiisa : unfoldment of sakti;. concentration of attention
on the inner consciousness even when the senses are open
to their respective objects.
Sakti-salikoca : withdrawal of attention from sense activity and
turning it towards the inner reality.
Sabda : word; sound.
Sabda brahma: Sound in its absolute state; ultimate Reality
in the form of vibration of which human word is a gross
representation. In ~his state, thought and word are one.
Sabda-rMi: totality of words.
Siiktopiiya : the means of approach to the Divine through Sakti.
the ever-recurring thought of oneself being essentially Siva
or the supreme I-consciousness.
Siimbhavopiiya : the ditect approach to Siva: SUdden emergence
of Siva-consciousness without any vikalpa by a mere hint
that one's essential Self is Siva.
Sikhiinta : Brahmarandhra.
Siva-Vyipti : fusion with Siva; absorption of the universe in
Siva.
Suddha vidyii : the fifth tattva counting from Siva, the stage in
. which there is identity in diversity.
Suddha adhvii : the pure course; the extra-mundane existence
- the first five tattvas;
Siinya : void. the state in which no object is experienced.
Siinyitisiinya : absolute void.
Glossary 0/ Technical Terms 161

Siinyata : vacuity.
Siinyapramata : the experiencer of the void: pralayakala.

Sa (~)

Sa~adhva: the six forms of manifestation - three on the

subjective side, var(la, manlra and pada and three on the
objective side, kala, tallva, bhuvana.
Sa~!ha-vaktra : lit. the sixth organ or me~hra kanda near the
root of the rectum.

Sa (~)

SaQlkalpa : resolve; the synthetic activity of thought.

Salikoca : contraction' of Sakli, the means to enter the heart
or mystic centre.
SaQlvid-saQlvitti : Consciousness; universal consciousness.
SaQlskiira : the residual traces of the mind lying in the uncon-
scious.
Sakala : all the jivas from gods down to the mineral who rest in
maya laltva. They have no knowledge of the real Self and
their consciousness is only that of diversity.
Satta : existence; ultimate reality
Sattamatra : pure existence, maha satta-transcendental reality.
Sadasiva : the third tall va, counting from Siva. At this stage the
I-experience is more important than the this-experience.
Iccha or will is predominant in this tattva.
Samatva-samata : equality, perfect harmony.
Samana : the energy of prQ(lQva below the highest.
Samarasa : one having the same feeling or consciousness.
identical.
SaQlhara : withdrawal, reabsorption.
SaQlsara : transmigratory existence : world-process.
SaQlsarin : transmigratory being.
Samadhi : collectedness of mind, trance.
Samana : the vital vayu that helps in assimilation of food, etc.
and brings about equilibrium between pra(la and apana.
Samavesa : total absorption.
162 Vijiiiinabhairava

Samiipatti : Sometimes synonym of samiidhi, consummation,

attainment of psychic at-one-ment.
Sarvakartrtva : omnipotence.
Sarvaga : omnipenetrant.
Sarvajiia : omniscient.
Sarvajiiatva : omniscience.
Siimaraliya : identity of consciousness-union of Siva and SakI;.
Siira : quintessence. .
Siddhi : Supernormal power.
Su~upti : the condition of dreamless sleep.
SUliumnii : the middle or central prii~;c Iliit/lor channel.
Siikl!ma : subtle.
Sr~ti : letting go, manifestation, emanation.
Stabdha : immovable.
Sthiti : maintenance (of the universe); spiritual station.
Sthiil~ : gross.
Spanda : divine activity, the dynamic aspect of Siva; primordial
creative pulsation.
Sphurattii : flashing consciousness.
Svatantra : autonomous; of absolute will.
Svltantrya : the absolute autonomy of the Supreme.
Svapna : the dream condition.
Svariipa : one's own form; I'eal nature: essence.
Svasthiti or Svasthi : staying in one's essential state.
Svitma : one's own Self.
Svecchi: S;va's or SakI;'s own Will; synonymous with sl·iilanlrya.

Ha (t)
Ha: symbol of sakti; the divine energy as imperceptible, sponta-
neous sound in the living being.
Hathapika : persistent process of assimilating experience to the
consciousness of the experient.
Haqlsa : the prii~a and apiina breath-apiina sounding inaudibly
as 'ha' and prii~a sounding inaudibly as sal) with the
anusviira (aql) at the junction point forming Iralflsal)
which sounds in every living being spontaneously every
Glossary of Technical Terms 163

moment. This is known as ajapa japa, because every living

being goes on repeating it automatically without any
conscious effort on his part. When one consciously observes
this process, it is known as hal'fJSa mantra. By conscious
repetition it gets converted into sO'ham (I am He i.e. Siva).
Ha1flsal) is also symbol ofa jiva, the empirical individual.
Hrdaya : heart, the mystic centre, the central consciousness.
 SUBJECI' INDEX

Ajapajapa 24, 143 98, 100, 103, 106,

Ajapi mantra 75, 140, 142, 143 109, 116, 125.
Anuttara 29 KU\lQaIini 24, 25, 63, 64, 140
Ardhacandra 5,12,37,39 Kumbbaka 21, 22, 24, 50, 64
Apina Giva) 19, 21, 23, 24, 140, 143 Khecari (mudra) 72, 75
Aiianda (sukha) 64, 66, 67, 68, 69, 70 Cetani 85; 128, 137
IchhA 88, 89 Japa 131, 133
Unmani 27, 29, 82 Joana 88, 89, 122, 127
Upiya-(l) Anupiya 112 DvadaSinta 19, 21, 22, 24, 28, 35, 46,
(2) .\oava 24, 25, 28, 30, 32, 50,63
34, 35, 36, 38, 41, 46, Nirvikalpa 22, 28, 41, 43, 60, 99, 103,
47,48,50,61,66,74, 134
76,83,86 Parabrabma 36, 84
(3) SaItta 28, 31, 32, 34, 38, PariSakti 16, 17,70, 131, 140
41,42,43,44,45,46, Paripari 10, 140
49, 53, 55, 56, 60, PriQaSakti 50, 63, 128
61, 62, 63, 67, 68, 69, PriQipina 24, 140, 143
70, 71, 77, 78, 79, 80, Bindu 12, 33, 35, 39
81,82, 85, 86, 87, 89, Brabmarandhra 25, 26, 35, 78
90, 93, 94, 97, 98, 99, Bbaritivasthi 19, 68, 69, 104
100, 102, 104, 105, Bbairava 5,13,78,79,80,81,97, Ill,
107, lOS, 110, Ill, 116,130
113, 114, 117, 118, MadhyadaM 22, 24, 57, 59
120, 121, 122, 124, Mudra 72, 73, 75, 76
126, 128 Vikalpa 86, 97
(4) Simbbava 21,24,38,41, Sonya 29, 30, 38, 39, 41, 42, 43, 55,
43,53,56,57,70,73, 114, 116, 122,
75, 78, 86, 90, 91, 92, Harilsa (Gayatn1133, 140, 143
 INDEX TO IMPOR.TANT SANSKRIT WORDS

II ~ 81,125
~
~
82
130 ~68
•
arfUrqr 130
~ 122 II
llfir"llct"ll 59
at£iiSi f0Jfi4 I 53 lfiq IE'IJOd 30
~ 5,101 lfi <fcfiOlj I 72
at"l",~a'{ 48 Cfim 87
at"l",~al 45, 89 lfilfl041¥1 74
aFfT'Rt 30 lfi11f 91
~36 iifiRif 13, 18
~82 ~47
at1ITiI' 11 4 lfil\illfi"l 47
8flroIT 130 tFc!\ilI"rd 140
arFs 39 ~24
dtf.a- 74
~62
atfci4lfiE"t 1 02 101
iIIfcJri 82 f.iIm 122
~110 • 91
~110 ~72
~120 Wl Olilf14 76
~ 101 'N 105
lS!aT 105
an
ancmr 78
~72
"
~67
~: 122
at It¥l,!4i4 I 89
ant¥IT 81, 128 "
~67, 139 qftr 111
~ 105
t mer 69
~96
~ 85, 89, 94, 140 V11P' 96
Index 167

~ 13,18
;;r.ti5, 12
cfrq- 71
;;r;:mt 12
~140
Rft:r 85
m 84, 86, 89, 107
~:~ 93
~50
~ 102,104
~ 147
~ 21
iWUiI"d 26
~60
~ 139 ..
iliiillllar}:;:f ( 50
i[1!I' 113
~ 85, 128, 137
~ 104 a
&1t 16
alif 16
81lI'Fd' 37
iiI1R( 122 6lfR 11
\il"I1a'68 • 22-
~ 82, 131, 133, 143
\j[tq' 133
~ 19, 140, 143
mif 16, 88, 89, 90, 101, 122, ~12
127 ~ 5, 12, 31, 133
~ 130 f.:rtlr
11 0, 128
momr 82 f.,.(ICfiI( 134
ilf 14, 127 f., (ICfillll 116
f.,(ltlT( 76, 84, 90, 97, 106,
120, 121
~ 116,134
af4liil\@OCli
... 25 f.,f.tf.. 'd 10
~ 62, 78, 91, 93, 122,138 ft:rofi 12
~46 f.:tFciCfiI ( 122
di"AT 67, 88 f"rcfCfi@t 22, 28, 41, 42, 43,
CfNI'lr 56, 69, 81 110, 135, 145
~ 67,74 ~ 134
~88 f.mIitT 117, 130
~ 138 ~ 81, 101
~ 138
m 71,78
fi:A; 1
f~flIl<t~ 5 ~ 14, 131, 142
168 Vijniinabhairava

~ 140
~ 36
q(lWid 145, 146 \lm 145
q<ll!lq( I, 82, 96 oqfu; 108
~lf 60 'q<f 105
q'U 1 4, 1 8, 44, 99 ... F(diCfii!Ii 18, 130, 131, 140,
~70 142
~70 'ilF(diCfii (di 136
q(jit~41~ 62 'ilF(di~41dr 104
tf<N<T 140 'ilF(diqf'!4r 68
q(i!lifffi 16, 63 ~91 ,
~128 \l'l'<RT 43, 133, 138
qfif 88 'iITCI' 59, 75, 133
NOC41t;;t 39 1Jq<ti6C1'T 50
~
c:ft';rr SO \T(Cf 11,12,14,18,21,22,

~\1TCf 48 28, 78, 79, 81, 85, 97,

~ 140 99, 112, 114, 118, 121
~ 140 ~(qiCfii( 78
~ 135, 138 ~T 21
W<a' 24 ~elq- 28
'"
~41 ~~ 33
'"
'SAinTCfi 1 2 7
~ 131
~ 36
1I"fttqfu 1 2 0 ~ 29
SifdfGl41 124 lffu108, 135
-mur 19, 140, 146 ~ 91
~ 57, 64, 75
~ 115
wr 30, 70, 74, 75, 76, 97,
103, 1.06, 117, 120
~ 124 ~48
~67 ~ 67

~ 131 ~, 21, 22

ilil!liCfii!/l" 116 ~ 146

~ 5, 12, 33, 39 ~ 55,140
~ 91, 124, 132 ~ 62,68,142

.na- 114 ~Tlr 135

~ 84, 1 0 I, 1 05, 11 2, 11 3 ~ 137
~66 ~ 25,53
Index 169

~91 fcr«6 108

lITOm 128 ~124
lITlIT 11, 87 m 64
~m 28 f.rn"U 19, 84
lf~ 41 m 145
~ 130 1f'd~'tuT 56
~ 91 ~ 114
lim 124 0lfI'CAi 116, 118, 1 21
~133 ozilf1I .... I< 85

lf11T 131, 138 ~ 16, 17, 22, 24, 37, 41,

lIlftr;:ft 1 3 0 85, 108, 128
~:64 ~5, 12
~ 61 m~ 16
1I1'Rl1'if1Cf 66, 67
IIlf'dlij'lfI 66
IIlf'dlfq€'q 5
~ 105 ~36
'(TlI' 113 III&<: <I flfl 5, 12
1, 145
UlIlfI{1 Wit' 74, 88
~ 138 wqf 120
~ 24 mT< 134
lTRf. 110
flflfciqQf 29
fucr 17, 26, 75, 90, 96, 108,
~ 35 118, 147
\lIf\1~I"1 72 flflCl IClf'I4l 103
~ 67 m 110
m91 ~~ 110
~ 29, 30, 37, 39, 41, 42, 43
55,87,114,116,122
lI!.~ 107
crvl
38, 84 .,.
Wi'lRCI' 10 9
~ 64, 137 ~"'Ai
I'
29
~64 53
lfCj'

~ 13, 86, 97 ~96

fct'l, 121 ~ 17
fcrI!Ui 130 met; 105
170 Vijnanabhairava

~ 71
mffi 96
~11 ~ 131
~ 143 f+I <1i1"~ 6 4
~ 112 ~ 139
ij'1IfCCiS(! 142 ~85
~138 tcrlc;'l~q 71
~101 ~ 139
~96 ~50
~ 127
~98
m 98 ~ 143
~ 96, 111 ~ 29,35
ijlcHlli1dl 96 ~45
~ 73 ~75
W9 66, 92, 125 ~)lr 131, 137
~ 110, 112 ~ 143
 AN ALPHABETICAL INDEX

To the first pAda of each Verse

at ~

V. P. V. P.
31'31 ~I~ ~Cllilfu 141 130
",.
'3~tlil'i§~1 CI fiss:ql,( 29 25
OIC1fC1f1:1"S:'31I\'1llN, 133 122 '3qrq!l41~~ ~, _ 79 74

:!~4;~~f~ 148 136 ~\l41'lyq41~Y~ 61 57

140 130
amftpr~il" 2 1 3i
0I"1l t 1Cll4 i rOjI:l41~ 75 70
~~ , 38 36 ~snvft ~~ 24 19
OI"CI':~ 15 13
'"
atSl~~~~!"1 i ~ 13 12 1{
atrq"$lirq~ti :q 90 82
~~~ 57 53 ({q ~ mOll q fl!4141 ~ 143 131
0If41~,!~~"{ ~ 155 142 ~ '31th:~<4~ , 53 48
~ lf4~r"e4IFc= 131 120 ~ Yri!lll41+t: 87 80
~ rri fi! (i'lI1 ~ 88 81
an ~~ 17 14

arr<fint ~ 4l4"1' 84 78 'Ii

amlf'1l rrirq~1 ® ' 134 122
~q I\'II Oij 401') o:lff4' 34 30
<11lf.1l{1sq<qql~ 112 100
~~fi>1IlI1 ~ 77 72
~~m 71 67
~~~~'itlffiOI 33
36
<111~\'IlrCCfl (OI1\l1~ I~ 28 24
amf.r m fF«qr , 82 76
~I~~f.lm~ 101 91
~1\'Ilfl"l"l1 ~ 52 47
, f.f;f~ fqf~
f.f;f~~
93
86
85
79
~"'$141~<qql m 98 89
f.f;f~ ~ 123 110
fct;crr '1 q I~~ ~ 3 5
~"NI\'I~4 ~ 102 29
F~~ 27 24
~ sr4liTvr
f ~
'" ~
..
66
115
62
10
~~ 33 30 ""'lIlI~!!I'fi ~ 30 226
172 VijMnabhairava

iMf"'il("Jfot ~ 120 107 cr

~'Flmt 118 105
Fc
~C:"!.;wil~;wi~;;' Iflj;UiI 14 13
q' a<4a<4fcll'1.~ I'I 22 18
~ «ef<<4'f1I'It( 48 44
.ftdlfc:fCC"llllfCtlit 73 69
·lQ..f1l1dli 'Ii 8 11 II'
1I1{BII~;wiijfccffl: 108 96
~:~~ 37 3:'
~ i110ij;'ifti11'( 10

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59
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11
134

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;or i1!f 'fI1<44€<t<4IM 126 112
~ ff'14dflll"l 83 77 ;or ~ GRit ;or lflm ir 135 124
~~ 100 91 ;or m fCC~'6\§fffi: 26 22
f"''dI'ilOij:'iifd01tr~ 94 86 ;or <4~df~;wi1 ~: 19 16
;or ~ <4 aifclfu 6 10
W i1 I<tfcl"$t1lij cffiir 12 12
i1 Iit fcc r$'i 4 cffiir 4 5
Glf1tJqIi1'iidj~~lij 72 68 ~ ij<if~";wit( 43 41
. . n·liT
GI~flIqil ...
~: 110 99 m~w;:a- 128 116
~1i1S1;will!lcri ~ 137 127 f.RlIl f<rf!Fot (laR) 132 121
f.:ro&rt ~: ii«4T 108 97
If f.tfot ffiti 'fIq~~Ii1t( 99 90
f.:r<i" mtrf<f~ 60 56
i1'lffl"'9i ij1~hll"" 96 88 fot~(~jqal/Ili1It( 139 130

Cf q

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SJTIl1T arM- $I in d Olj I 161 146
Index 173

39 37 ~

7 10 Clt«Io:a{~ 122 109

106
1RfiTirt 1t!ClQf4 159 145 84
'it'Rll aCfi Ifli:<'ffif4 12 1 108 64
'ij'lff'" wr" ~ 1 30 118 61
~ozrei~~ 62 59 55
'iCI'1I Ecll f<:¥q 01 56 50 93
\Tlit \I<i: q-{ ~ 1 4 5 133 140
~~~111 99 85
q ~

'Iwf"l~ f'filf<dlf4 81 75 !l1'RlI <if'" lSi fCj)IGflj 20 17

'IW'1Hiil 'IWijfl!lT 35 32 !II fffi!ll fffi'l~t'j4e:d 18 16
mSi'daif~Yf\t 25 21 mwij'l 'I ij 4fi!:T ' 69 66
'I~j!I!i'ljH1i.i ~ 149 137
~~
l'III~'i"'I'I"I"'~:
.. 32 29
t:rr;:ffi ~ m: 1 38 128 lJ!d' ~ +rlIT ri+{ 1 1
'I Ilil fCj iii f~;ft
iITlf 95 87
~ ff'fi;ij'ti'1 78 73
q;;'!lId I f.. ~<i I <lei' " 156 143

lI?WfI'II.Tol
lfeI' 117 104 W
lfeI' ¥t"'1l <rrftr
lfeI' 12 9 117 ~ Cfi1ITlIl: ~ 114 101
lfeI' ¥t"'1l <rrftr
lfeI' 1 16 103 ij4>S/~llIf+'i+t ~ 113 1~1
lfeI' '1'1 f<jlfise:
lfeI' 74 70 ~ ajf~Yfd 155 143
~ d'1IT lfeI' ffif 51 47 wr: ~ 'if f1«l 'if 125 112
~~~ 21 17 ri \iI'lttCI~~ CIT 65 62
~ lI~lIl~'I 127 114 ri ~ lrClJ1{ 47 43
...
~ +r+ram;:fRqm
' 97 88 m: fCj 1/1 (\ (fl!I 50 46
~~~ 24 18 m ~ 'iITCf: 124 111
lIflj' ififlIlfT.r ~ 40 38 ri~~~ 63 60
lIflj' Cfif4 f..S:lI f41 f\t 89 81 ij~fldeqr<c:'l/~lI 160 145
lfTlIT~ HfI!l1i f'1 1 50 138 ij ~ t>ilti'W.. aj ~Wr 67 63
~ 'it f<dlifil<I 23 18 m:~'if 109 98
fu"~~: 153 140 f¥{~ ¥4flj 'iITCf'flj' 80 75
fCjdi;ll'1;:(ifi1~'I It;:j 152 139
~
~ Gf4ffi't crrf1f, 54 49
UlIl'I{1dt;:jflj 162 146
fCj<i~i'lj!l1 (\{sN 107 96
U!llfffiij'lI~!lI: 151 138
\=I ~
~ ¥I'M
fCjllffi~'I 85 75 ~Cfiflj'CIT~ 144 131
~~I~~"''1ji.ila: ' 70 67 t{tIlCfil:h f"1«1'1IIf1': 49 45