Sri Yantra and Panchadashi

The Dawn of Global Spirituality - II

Sai Venkatesh Balasubramanian

An earlier article had elaborated upon the foundations of a global spirituality, which
seems to be the inevitable necessity of current globalized era. Rather than a new
religion of sorts, this is simply a revival of the once flourishing Vedic spirituality, where
the whole world spoke one language, was one culture, and had access to highest levels
of thinking, attaining the ultimate human goal of blissful liberation - which amounts to
knowing and abiding in the ultimate truth, as well as putting an end once and for all to all
miseries in life. The article is here: ​http://vixra.org/pdf/1807.0322v1.pdf​.

Known as Advaita, this spirituality is the essence of Vedas and Vedanta, which was
represented in the tradition of Sri Vidya, seeing the Self or God as Mother Amma. The
stages in the spiritual path of a person from mundane existence to liberation is seen in
the sixteen lettered Panchadashi/Shodashi Mantra of Sri Vidya, which contains
Upanishadic essence of the four Vedas.

As that global culture gave way to individual cultures with different languages, Amma
gave manifestations in these geographic regions as a means of access to the ultimate
goal. Cults of worship developed around these manifestations, which we now see as
religions. The correspondence of these 48 manifestations to the 16 stages are also
highlighted in that article.

Following this introduction, the scope of present article is yet another facet of Sri Vidya:
The Sri Yantra. This is a complex geometrical pattern of interlocking triangles, which is
a form of Amma Herself. It is the most complete map of the universe ever drawn. The
tradition of viewing the Sri Yantra is as layers or Avaranas, going from outward to
inward, each enclosure going more subtle than the outer. There are nine such
Avaranas, and traditionally worship is done in an order from outer to inner, known as
Samhara Krama, or inner to outer, known as Srishti Krama.

However, the formation of the Sri Yantra is explained as the interlocking between 9
triangles, five downward facing and four upward facing,such interlocking creating a
number of smaller triangles which constitute each enclosure. This means that the
Yantra is simultaneous in nature, rather than progressive. For example, smaller
triangles as components of the 7th and 4th Avaranas can both be traced to interlocking

Sri Yantra and Panchadashi 1

of the same big triangles. This means, 7th Avarana is in no way more or less
progressive than 4th.

The Sri Yantra is Amma Herself, and captures Her essence both in the transcendental
Sacchidananda form, as well as the world and worldly forms as Her Leela. How is this
possible? Understanding that the world is Maya, it is akin to a dream. Ramana Maharshi
explains how in a dream, the moment you enter the dream, the entire dream world is
created - there are no stages of creation. You see it and it is there - this is called Drishti
Srishti. So it is, with the physical world, which is an illusion of Maya. However, for those
not advanced enough to grasp this truth, the hierarchical order of creation is given, as a
way to satisfy their curiosity - such an order is called Krama Srishti.

In essence, Krama Srishti is an illusion, whereas the world is in reality Drishti Srishti.
Reflecting this, in Sri yantra, the simultaneous interlocking of triangles is the reality
whereas Srishti and Samhara Kramas are simply illusions. All Avaranas exist at the
same time.

How to understand the Sri Yantra? In essence the entire Yantra represents an
individual, a unit, with the various Avaranas being various components. For example,
take a human being - this is an individual unit of creation. What are its components? On
first glance, one might apportion the body into face, hands, legs, torso etc - structural
way. But, such a view is primitive and highly lacking in knowledge, and one cannot
perform any function such as medicine based on this view. For example, the inner
organs and their functioning are not sufficiently captured, and some inner systems, for
example digestive may involve more than one of those structural components listed.

Sri Yantra and Panchadashi 2

A better way to do this would be functional, based on various functions performed within
the body, and grouping those related organs. This would be circulatory, respiratory,
digestive, nervous etc. The success of such grouping is seen in today’s medicine and
healthcare - we see specialised practitioners pertaining to each of these systems. The
Avaranas of the Sri Yantra are similar - they describe the universe in functional roles
rather than structural.

At the cosmic scale, the Sri Yantra describes the universe as Brahmanda - not as stars,
galaxies and nebulae, but as various functions that are performed in nature and the
cosmos, as a result of Divine Will. What is in the Brahmanda, the macrocosm is also in
the Pindanda, the microcosm. This is nothing but the human body, which by itself is a
miniature reflection of the universe. The components of Sri Yantra explained in the
context of Pindanda, forms the contents of the Bhavanopanishad.

In the Varivasya Rahasya, Bhaskararaya has explained how the various Avaranas of
the Sri Yantra may be derived from the Panchadashi Mantra. This article explores and
elaborates on that mapping. The connection between the Avaranas and Panchadashi is
studied in context of the corresponding spiritual stages, as well as the 48 manifestations
covered therein. In conclusion, one can understand that the 48 manifestations not only
provide a complete picture of the spiritual path, but also form a complete picture of the
entire universe, both in macrocosmic and microcosmic respects.

Traditionally, the Sri Vidya Avarana Puja Vidhis for the Navavaranas invoke the various
Devatas of each Avarana, each of the invoked through their Bija Mantras or seed
Mantras. The innermost two Avaranas simply use the Sri Vidya Bija, while the
outermost uses Pranava Om. Avaranas 2, 4, 5 and 6 are seen using the 50 letters of
the Sanskrit alphabet, or Aksharas to invoke each of the Devatas. However, the eight
Devatas of Avarana 3 are invoked using Akshara vargas, and the eight Devatas of
Avarana 7 are invoked using seemingly unpronounceable Bija Mantras.

It is here that Mahaperiyava’s talk is reinforced, where He clearly emphasises that the
Vedic language is the source language for Sanskrit and Tamil, and that all languages of
humanity evolves from the Vedic language (See appendix 1). He also mentioned how
certain letters not seen in Sanskrit, but in Tamil and other languages, such as zha, f, q
and the Aytha Ezhuthu, were all present in the Vedic language.

Sri Vidya being the Vedic essence, it is only natural that when Aksharas are invoked,
they would cover all Aksharas of the Vedic language, and not just the 50 of Sanskrit. Of
course the Vedas mention how the extra Aksharas may be seen in various Sandhi and

Sri Yantra and Panchadashi 3

pronunciation rules pertaining to the 50. Thus, one might presume that the Bijas of the
3rd and 7th Avaranas also invoke these extra Aksharas. Thus, in this article, while
giving Aksharas for each of the Avarana Devatas, these extra Aksharas are given
pertaining to the two Avaranas. Also, each of the Akshara Vargas may be pronounced
as clicks, rather than voiced alphabets, and these form the substance of the 3rd
Avarana. Once in Vedic language, one can find them today mostly in KhoiSan
languages of Southern Africa. In this way one derives the total number of Aksharas to
66. Excluding some variants, one gets 64, which is an often mentioned number for the
number of Shakti Peetas.

As Periyava has mentioned, Chandas, the Vedic language was essentially a collection of
sounds which facilitated physical and spiritual well being. This is the science behind the
Aksharas identified by the Rishis globally, giving birth to the Vedic language. In other words, just
like the Sri Yantra is the ultimate cosmic map of existence, the set of Aksharas is the ultimate
periodic table, and the significance or meaning behind each Akshara is understood from the
mappings given in the below tables.

Amma Herself is the form of the Aksharas, as the Akshara Devatas from Amrita, Akarshani etc.
Fifty such Devatas are mentioned in Tantras, corresponding to the 50 letters in Sanskrit. The
other Aksharas are identified as variants or Sandhi rules involving these 50.

Aksharas are normally arranged with respect to their pronunciation mechanisms, such as
alveolar, palatal, dental, labial, plosives, voiced, nasals etc. If viewed so, then one might get a
feeling that Aksharas are not symmetrically assigned to Avarana Devatas. On deeper insight
however, one would understand the real significance of the assignments, which are given and
meticulously followed in the Sri Vidya Puja Agamas.

The most significant observation superficially would be how Avaranas or groups of related
Devatas are assigned to groups of Aksharas, but beginning with nasals belonging to the
previous group. For example the fifth Avarana is mapped to dental Tha Varga and labial Pa
Varga Aksharas, but the starting Devata is mapped to Retroflex Na Akshara, whereas the other
Ta Varga Retroflex Aksharas are mapped in the fourth Avarana.

One must understand this in the following manner. Ta Varga by and large represents the Nadis
in the 4th Avarana, namely Saraswathi, Ida, Pingala and Sushumna Nadis. Retroflex Na as the
concluding Akshara of the Varga represents the first of the fifth Avarana Pranas, which is
functionally nothing but the summary of the effects of the above four Nadis. Similar
understanding must be applied to other such cases.

Sri Yantra and Panchadashi 4

The Avaranas are generally elaborated in their order from innermost to outermost, in the
following sections. However, for the sake of convenience, the Bindu or singularity, which
is the ninth Avarana, is explained last.

Sarvasiddhiprada and Sarvarogahara Chakras

The eighth Avarana consists of the central triangle in the Sri Yantra. The three vertices
are three Avarana Devatas Kameshwari, Vajreshwari and Bhagamalini. According to
the Bhavanopanishad, these represent Avyaktha, Mahad and Ahankara, which are
three levels of existence as unmanifest, glory and individualized respectively. This also
represent the stages of desire, planning and materialization toward achieving any given
objective. The end result is successful accomplishment of objectives, and hence the
Avarana is named Sarvasiddhiprada. This Avarana is mapped to the Akshara ीं
(Shreem), also in its triple form as the Bala Mantra. So also, the three components of
Pranava, A U and M also correspond to the three Devatas.

As much as proper planning and materialization is important, it is also equally important

to weed out the negativities while attempting to achieve something. This is the scope of
the seventh Avarana, which consists of 8 triangles representing 8 Vak Devatas. These
pertain to various dichotomous notions such as Pleasure-Pain. This is known as
distinction or Bheda, and is the result of the mind perceiving things in a certain way.

This Bheda creates the notions that conditions are favorable or unfavorable, and these
preconceived notions affect the thoughts and actions. This can be an impediment to
success. For this reason, these dichotomies are termed Rogas, and removing of these
is why this Avarana is called Sarvarogahara Chakra.

These two Avaranas together consist of nine triangles, and Bhaskararaya maps them to
the three Maya Akshara Hreems, in the Panchadashi as the 5th, 11th and 15th letters.
The syllable Hreem consists of three Yoni Bijas, namely the Saparardha Kala ‘H’, the
Kamakala ‘Ee’ and Nada-Bindu-Kala ‘M’. Thus in total, the three Hrims contain 9 Yoni
Bijas, and these are the 9 triangles.

Of these, the three Devatas in the 8th avarana triangle, and first two triangles in 7th
Avarana consist of cold-heat duality represented by Surya-Chandra Nadis, and three
levels of manifestation of the Self or Atman. These 3 triangles are therefore mapped to
Nirguna Sacchidananda manifestation in the 15th letter, representing the SadGuru
Paduka.

Sri Yantra and Panchadashi 5

The next three triangles in 7th Avarana correspond to mind as desire, pleasure, pain.
These pertain to the mind, which as Ramana Maharshi says, is the equivalent to Prana,
both having the same source. Consequently, the 11th letter in Panchadashi is mapped
to these 3 triangles, where the manifestation is Hanuman, the monkey God, monkey
representing the mind, and who is son of Vayu, representing life-force Prana.

The final 3 triangles in the 7th Avarana correspond to three modes of operation, called
Tri Gunas, which are related to the threefold operation of creation, preservation and
destruction. These are mapped to the Yoga manifestation as the 5th letter, represented
by Digambara as Kala Bhairava, and Adinatha Rishabhadeva.

Each of the triangles in the seventh Avarana is mapped to certain Bija Mantras, which
are seen as unpronouncable, such as Klhreem, Hslvyoom, Nvleem etc. However, these
are simply Sanskrit approximations of certain Aksharas, which were once there in vedic
language, but was deleted in the later Sanskrit. However, other languages, also
descended from Vedic, such as Tamil preserve these Aksharas.

Devata Concept Akshara Manifestation

Vashini Sheetha (Cold) /ɭ/​ள Guru

Bloom

Kameshi Ushna (Heat) /r/​ற Guru

Kshmreem

Modini Sukha (Pleasure) /z/ Hanuman

Jmryoom

Vimala Dukha (Pain) /ɻ/​ழ Hanuman

Hslvyoom

Aruna Iccha (Desire) /e/​எ Hanuman

Jmreem

Jayini Sattva (Purity) /o/​ஒ Bhairava

Yloom

Sarveshi Rajasa (Activeness) /n/​ன Adinatha

Nvleem

Kaulini Tamasa (Passiveness) /​ɬ​/ Adinatha

Klhreem

Sri Yantra and Panchadashi 6

The Aksharas listed here are seen in Sanskrit as variant versions of some of the 50
Aksharas; the latter will be explained in their corresponding sections. Of these, the cold
is represented zha as variant of Prithvi Akshara Lamboshti denoting coolness and
stability. Heat is represented by variant of Agni Akshara Raktha. Similarly in the
pleasure pain duality, Za symbolising transcending of pleasure is a variant of Jaya,
which is an Ida companion Nadi. Transcending of Pain is seen by Zha, a variant of
Damari, which is the Pingala Nadi. These correspond to left and right, or Vama and
Dakshina side energy channels respectively. Vama of course carries the meaning of
pleasure, and Dakshina represents effort. Beyond this duality is desire, represented as
variant of Ekapada, highlighting the necessity of all three Shaktis together to transcend
desire. Rajasa Guna is seen as variant of Narya, and Tamasa as variant of Lamboshti.
These represent on broader scales, the Pranas and Agnis - fundamental energy in
creative aspect of achievement and destructive aspect of obstacle removing
respectively. Beyond both is Sattva, symbolised by Omkara variant. Om is of course the
Pranava, which is Bija or the essence of all creation, and aligning towards this is Sattva.

Sarvarakshakara Chakra

The sixth Avarana consists of the 10 Agnis. These are internal fires related to various
kinds of combustion, including what is viewed as the digestive system. But, from a
broader perspective, the combustion involves absorbing and internalizing various
objects outside one’s self, thus adding it to one’s value and system. A special case of
this is appropriate handling of obstacles, converting them into favorable entities and
internalizing them. For this reason, the Avarana is known as Sarvarakshakara, or
protection, from factors outside oneself, which are the obstacles.

A concept highlighted in such handling is the fact that obstacles cease to exist as such,
whereas the system internalizing them outlives it. This is a representation of the concept
of “eternity” or Anantham Brahma, seen in Panchadashi as the 9th letter Ha by Shakti
manifestation. The most famous form is Durga, meaning impenetrable fortress, which
again highlights the Rakshakara aspect.

In Sri Yantra, the Avarana is the enclosure seen as the inner set of ten triangles, similar
in appearance with the 5th and 4th Avaranas seen as outer 10 triangles, and 14
triangles respectively, and the Panchadashi Aksharas for the three are the 6th, 9th and
2nd namely Ha, Ha and E. Bhaskararaya says these are the Akasha or Vyoma letters.
This is because, the three enclosures represent the three major systems - digestion,
respiration and circulation, which provide the framework for operation of the body, just
like Akasha as etheric space is the framework for the other elements of nature.

Sri Yantra and Panchadashi 7

Within the Avarana, the 10 Agnis are mapped to various manifestations within Shakti.
The first, Rechaka, corresponds to exhalation, ie life breath Prana itself, which is the
very sign of eternity, as Gorgon or Adya Shakti Maha Kali. The next four denote
handling of obstacles using progressively denser methods, corresponding to Kali
progressively manifesting in worldly aspects of creation, as Atabey, Wuagyl Ngalyod,
Inanna and Earth Goddess Thorani. The last 5 Agnis represent breaking down in
densities progressing from high to low. This corresponds to Durga, who in the fully
manifest world, represents immense capabilities in utilization of such resources, so that
one moves forward from states of everything back to states of nothing, which is again
Kali, seen as the Tenth of the Agnis.

Devata Concept Akshara Manifestation

Sarvajna Rechaka (Exhalation) /m/म Gorgon

Mahamaya

Sarvashakti Pachaka (Digestion) /j/य Atabey

Yashasvini

Sarvaishwaryaprada Soshaka (Absorption) /ɾ̪/र Wuagyl

Raktha

Sarvajnanamayi Dahaka (Burning) /l/ल Inanna

Lamboshti

Sarvavyadhinivarini Plavaka (Filling) /w, ʋ/व Thorani

Varada

Sarvadharaswarupa Ksharaka (Hard Food) /ɕ, ʃ/श Durga

Shridevi

Sarvapapahara Uddharaka (Soft Food) /ʂ/ष Durga

Shhanda

Sarvanandamayi Kshobhaka (suckables) /s/स Durga

Saraswathi

Sarvarakshasvarupa Jrumbhaka (Lickables) /ɦ/ह Durga

Hamsavathi

Sarvepsitaphalaprade Mohaka (Liquids) /​kṣ/ Gorgon

Kshamavathi

Sri Yantra and Panchadashi 8

Mahamaya is the summary of the four Pa Varga Pranas in fifth Avarana, which are life
sustenance Vayus. By itself, the veiling and unveiling of Mahamaya gives Jnana, hence
Sarvajna, and this is the fundamental form of Jatharagni, called Rechaka.

Derived from Rechaka are the next 4 Agnis, corresponding to Ya Varga. Ya, Ra, La and Va are
respectively the Bijas of 4 of the Panchabhutas, respectively Vayu, Agni, Prithvi and Jala. These
represent the states of matter with non negative pressure, namely gaseous, plasma, solid and
liquid. These four Avarana Devatas symbolize the uniqueness of removing or internalizing
obstacles when each of these are used in conjunction with Agni, which by itself is synonymous
with Jnana.

Gases are often used in their unique ability to alter pressure, volume and temperature according
to universal gas laws. Thus, Yashaswini represents such capability of transformation of the
obstacle as digestion or Pachaka, just as one transforms Shakti or energy from one form to
another, thus the name Sarvashakti. Raktha, also called Rechika, is Plasma, which by itself is
indeed Agni. Removing obstacles by purely fire alone as Soshaka has uniqueness in exposing
hidden or absorbed content, just like heating sea water exposes and isolates the salt content.
This ”discovery” adds one's material wealth, hence Aishwaryaprada.

Solids, by their density are the most capable fuels. Lamboshti, meaning long lip is suggestive of
outgrowth, such as the branch of a tree, used as firewood. Burning of solids or Dahaka signifies
fully internalizing it by converting their nature to fire or energy, representing Jnanamayi. Liquids
are the most efficient in cases where holes and deficiencies are to be filled without leaving any
gaps, called Plavaka. Varada, also known as Narayani represents this, with Naara also meaning
water. Nutritionally this aspect of filling deficiencies leads to the name Vyadhinivarini.

The next five Devatas correspond to Sha Varga, and these represent removal of obstacles
using forms of energy unlike the above states of matter. Dark matter or Akasha, the fifth of the
Panchabhutas, is grouped along with energies, by virtue of its negative pressure. Also the 5
Agnis represent removal of obstacles in successively decreasing densities.

The hardest obstacles need strong determination and persistence to be broken down. This is
the domain of Iccha Shakti, or Shridevi. By virtue of their nature, Ksharaka or internalizing such
obstacles adds to one's foundational strength, thus Sarva Adharaswarupa. Uddharaka, or Soft
obstacles can be broken down only by relentless work and brute force, represented by Shhanda
or Anukriya, which represents force of action Kriya Shakti. In broader terms, performing action
or Karma is the only way to expiate one's sins and purify oneself, thus the name Papahara. The
next class of obstacles, Kshobhaka represented by suckables are too soft to use brute force.
Here smart work rather than hard work is key, calling Jnana Shakti or wisdom represented by
Saraswathi. The very nature of Jnana is bliss, hence Anandamayi.

Sri Yantra and Panchadashi 9

Progressing beyond this amounts to transcending the three Shaktis. The remaining ones,
Jrumbhaka or lickables, are removed by Vairagya or discrimination, represented by Hamsavathi,
or the swan that separates milk from water. The state beyond the 3 Shaktis is closest materially
to the primordial pristine state, thus the name Adyayini. In this state, all obstacles are dealt with
and complete protection is ensured, thus Rakshaswarupini.

Even beyond this, the only obstacle that exists are Mohaka or liquids, which technically aren't
obstacles, since they are fully fluid and thus internalized, by simply adopting an inclusive
perspective such as Sarvam Brahmamayam. Thus, successfully, one internalizes all of this
Maya world, adding feathers to the cap, or as a garland, called Mayamalini. Fully satisfied,
there's no external object or phenomenon to cause irritation, fear, anger etc. Thus one becomes
tolerant of everything, or Kshamavathi. All of one's desires are fulfilled, which is why the name
Sarvepsitaphalaprade.

Sarvarthasadhaka Chakra

The fifth Avarana consists of the Ten Pranas. These are life-forces, which includes what
is known as breath. Thus, this is the respiratory system, including not only the breath
that sustains life through the lungs, but also various other gaseous movements
responsible for digestion, decomposition etc. Ramana Maharshi has emphasized how
Prana and mind have the same source, and controlling one amounts to controlling the
other. Thus, this Avarana must be seen not just as respiration, but also regulating
various thoughts of the mind. History is proof that it is through the mind power alone,
that man has outperformed every species in this world, and has conquered land, water,
air and even space. Thus, the Prana and mind are seen in the context of
accomplishment and achievement, which is why the Avarana is named
Sarvarthasadhaka Chakra.

While accomplishment is in general a good thing, the end objective of human life must
always be kept in mind - it is to get liberated from the world, which is nothing but a
delusion. This can be done only through Jnana or wisdom, and the mind can grasp this
only if it is unblemished and pure. Purifying the mind comes through one’s deeds or
Karma, performed aligned to Dharma or righteousness, ethics and morality. In the
Panchadashi, the second letter E, being an Akasha or Vyoma letter as mentioned
above, is mapped to this Avarana. The manifestation for this letter is indeed Dharma.

This manifestation is characterised by four forms - Yahweh, Kukumatz, Tengri and Atua,
each depicting a different facet of Dharma. Yahweh denoting the Sefirot, which are
emanations of God as righteousness - He rewards “good” ie deeds that take one toward
Him, while punishing “bad” - deeds that make the mind impure, taking one away from

Sri Yantra and Panchadashi 10

Him. Atua represents the duality thus created, between a material realm ‘earth’
characterized by rebirths, and a spiritual realm ‘sky’ of liberation. The feathered serpent
Kukumatz combines these aspects and represents movement upward or downward in
these realms. Finally, Tengri is the overarching supervising God, looking down at the
man in the center of the latter’s world, which ultimately is an expansion of the mind. So
also, the ten Pranas are mapped to these based on their quality.

Devata Concept Akshara Manifestation

Sarvasiddhiprada Prana (Respiration) /ɳ/ण Tengri

Naarna

Sarvasampatprada Apana (Downward, /t̪/त Kukumatz

Excretion) Tamasya

Sarvapriyankari Vyana (Circulation, /t̪ʰ/थ Atua

Muscles) Sthanvi

Sarvamangalakarini Udana (Upward, Sleep) /d̪/द Kukumatz

Dakshayani

Sarvakamaprada Samana (Digestion, /d̪ʱ/ध Atua

Equality) Dhatya

Sarvadukhavimochini Naga (Belching) /n̪/न Yahweh

Narya

Sarvamrtyuprasamani Koorma (Blinking) /p/प Yahweh

Parvathi

Sarvavighnanivarini Krukara (Sneezing) /pʰ,ɸ/फ Yahweh

Phatkarini

Sarvaangasundari Devadatta (Yawning) /b/ब Atua

Bandhini

Sarvasaubhagyadayini Dhananjaya /bʱ,β/भ Tengri

(Decomposition) Bhadrakali

Naarna, or Anantha represents the fundamental creative aspect, corresponding to Prana or

alternatively the mind, which is the primordial aspect of Maya which then expands into creation.
Prana itself is a summary effect of the principal Nadis or energy channels, fully functional. Since
everything can be accomplished through the regulation of thoughts, it is Siddhiprada. Arising
from Prana are the other 4 primary Vayus, represented by dental Tha Varga.

Sri Yantra and Panchadashi 11

Of these Apana and Udana are downward and upward Pranas respectively. Tamasya
represents the former, symbolising passiveness, cooling effect, also helping in elimination of
wastes and retention of good, this eventually accumulates one's worth, hence Sampatprada.
Udana also symbolises spiritual elevation and all Sadhanas towards progress, represented by
Dakshayani. The result is Shivam or auspiciousness, thus Mangalakarini.

The other two primary Vayus are Vyana and Samana. A saying in Tamil translates as: even
nectar, in excess, is poison. Medically, nothing explains cancer better than this. Thus, excess
concentration of Prana in any particular area is dangerous, and the task of distributing Prana is
done by Vyana, which is why it gets the name Sthanvi or Neelakanta Saraswathi. Non
physically, distributing one's thoughts evenly removes prejudice, thus the name Sarvapriyankari.
Related to this concept is unevenness, which is also not good. Samana takes the task of
balancing and bringing evenness, and in digestion, it represents eliminating waste. This is
represented by Dhatya, also called Amala. Also, unfinished desires are completed to give
evenness, thus Sarvakamaprada.

As the summary of the primary Vayus is Naga Vayu, which ensures all the channels are clear of
blockages, symbolised as Dukha Vimochini. This state of full capability or Artha Sadhaka is
represented by Narya, or Anantha Shakti.

Derived from Naga, the other 4 secondary Vayus sustain life, and are represented by Pa Varga.
The first two represent temperature regulation and the other two represent space time
regulation.

A cold body is a dead body. Life is warmth, and life itself is power of the Divine Will ore Parvathi
called as Iccha Shakthi. Life averting death or Mrityuprasamani depends on adaptivity to
change, Koorma represented as blinking of the eyes. However, excess heat is harmful as well.
Best example is common cold, pus etc by excess body functioning, removed by Krukara
through sneezing. These internal cleansing is symbolised as Vighnanivarini, and cooling down
as Phatkarini, also called Aathapa Komala.

Bandhini, also called Chitshyamala represents the fundamental Consciousness Chit as vitality,
which Devadatta rejuvenates by proper sleep. Of the five Bhutas, sleep regulates Akasha,
hence this is a space regulation, and since it is all pervasive, it's called Sarvangasundari. Finally
Dhananjaya Vayu regulates the heart valves, preventing arrhythmia, and represents the time
aspect of life sustenance, while also responsible for decomposition upon death. This time
aspect is Bhadrakali. Regulating Dhananjaya is considered a huge asset in spiritual Sadhana,
hence Saubhagyadayini.

Sri Yantra and Panchadashi 12

Sarvasaubhagyadayaka Chakra

The fourth Avarana consists of the 14 Nadis. These are channels in the body for
circulation of energy. Thus, this includes the modern parlance of circulatory and
lymphatic systems, while also including within its fold, the energy body, seen as
Kundalini in the Yoga, traversing from the root or coccyx to the crown in the head,
through Sushumna the spine channel, as well as its companions Ida and Pingala,
commonly called Chandra and Surya Nadis. Scientifically, energy is the capacity to do
work. Thus, it is seen as stored capability, or treasure or fortune that can be called on
demand to achieve intended objectives. Thus, the Avarana gets the name
Sarvasaubhagyadayaka.

The Avarana is mapped to sixth letter Ha in the Panchadashi, corresonding to Skanda

manifestation. Variously called in Eastern medicine as Prana and Qi, is the fundamental
life force, that circulates through these Nadis. This Life-force is of the nature of Brahman
itself. Thus, it has all the characteristics of Brahman, such as Truth, Bliss, Love and
Beauty. Among the 16 stages, one sees this quality highlighted in the Skanda
manifestation, as the first-hand experience of God through Savikalpa Samadhi, driving
one towards Mumukshutva or intense Thirst for Liberation.

Among various manifestations of Skanda mapped to the Nadis, Nlari represents the
very bliss and ecstasy of the Samadhi as a neural euphoria, while Subrahmanya
represents the primary life-force of the Sushumna, flowing through the three pairs of Ida
and Pingala companion Nadis, represented by His six faces. Ahura Mazda represents
the mental clarity that one gets after Samadhi, determining one’s way forward through
correct perspective and correct decisions.

Devata Concept Akshara Manifestation

Sarvasamkshobhini Alambusha (Assimilation) /k/क Ahuramazda

Kalaratri

Sarvavidravini Kuhu (Retahskhalana) /kʰ/ख Ahuramazda

Khandita

Sarvaakarshini Vishvodara (Distribute /ɡ/ग Ahuramazda

Prana) Gayatri

Sarvaahladini Varuni (Excretion) /ɡʱ/घ Ahuramazda

Ghantakarshini

Sri Yantra and Panchadashi 13

 Sarvasammohini Hastajihva (Ida cross aid) /ŋ/ङ Subrahmanya
Ngarna

Sarvastambhini Yashasvini (Pingala cross aid) /c, t͡ʃ/च Subrahmanya

Chamunda

Sarvajrumbhini Payasvini (Cranial Nerves) /cʰ, t͡ʃʰ/छ Nlari

Chhayartha

Sarvavashankari Gandhari (Ida self Aid) /ɟ, d͡ʒ/ज Subrahmanya

Jaya

Sarvaranjini Pusha (Pingala self aid) /ɟʱ, d͡ʒʱ/झ Subrahmanya

Jhankarini

Sarvonmadini Shankhini (Vata circulation) /ɲ/ञ Ahuramazda

Jnanarupa

Sarvaarthasadhini Saraswathi (Speech) /ʈ/ट Ahuramazda

Tankahasta

Sarvasampattipurni Ida (Chandra Nadi) /ʈʰ/ठ Subrahmanya

Thankarini

Sarvamantramayi Pingala (Surya Nadi) /ɖ/ड Subrahmanya

Damari

Sarvadvandva- Sushumna (Kundalini) /ɖʱ/ढ Subrahmanya

kshayankari Dhankarini

The first four Nadis, all Ka Varga, represent physical processes. Kaalaratri called Bhutavinyasini
represents extraction of nutrition from nature, assimilating it, causing concentration. Since it's
natural tendency to disintegrate and increase entropy, this Alambusha represents going against
status quo or Samkshobhini. The assimilated Prana is distributed as function of Vishvodhara.
This ensures nutrition or Bhogada, or Gayatri, as well as control over various organs or
Sarvakarshini.

Equally important is appropriate dealing of unwanted elements. Impurities are liquefied or

broken down by Kuhu, hence the name Vidravini. Khandita means breaking down. Downward
energy Varuni enables expelling the waste, which removes misery and gives happiness, hence
Ahladini. Ghantakarshini represents the heaviness aspect of this energy.

While these 4 represent physical activities, their corresponding intellectual equivalent is

Payasvini, representing intellectual activity of the cranial nerves. Traditionally physical and
intellectual are mapped to Surya and Chandra representing active and passive tendencies.

Sri Yantra and Panchadashi 14

Here the passive or decrease in activity is named Jrumbhini, whereas Chamunda symbolises
destruction aspect.

The summary effect of these are the 2 Nadis, Hastajihva and Yashasvini. The former
summarizes the 4 Ka Varga Nadis as Ngarna. This is a companion to left side Ida, however
originating from right side, absorbing the physical properties of Pingala. It makes the
excessively dark and passive Ida adorable by infusing activity into it, hence the name
Sammohini. Yashasvini is derived from Payasvini as Chhayartha or Nirjara and does the
converse, infusing coolness properties of the Ida into the fiery Pingala, and called Stambhini.

Building upon these two are the next two Nadis, Gandhari and Pusha. These are Ida and
Pingala companions but running in the same side throughout, building upon the properties of
Hastajihva and Yashaswini respectively. They give rise to a capable Ida or Vashankari giving
rise to victory or Jaya, and a palatable Pingala or Ranjini giving rise to purity or Jhankarini, also
called Nirjara Nadi.

As the summary of all these Nadis is Shankhini. It ensures proper Vata circulation throughout,
and since Prana is mind, this leads to Jnana, hence Jnanarupa. Jnana leads to Ananda or
ecstasy, hence called Sarvonmadini.

The Ta Varga Nadis represent Prana in various levels. The most physical level is visible as
external communication or speech, represented by Saraswathi Nadi. It's all achieving nature
earns the name Sarvarthasadhini, represented by Tankahasta also called Dharini.

Thankarini and Damari denote the all important pair of Nadis, Ida and Pingala. The cool and
fiery nature respectively leads to material accumulation or Sampattipurani, and spiritual
elevation or Mantramayi. Eventually, both are summarized by Dhankarini, representing the most
important and central Nadi, Sushumna. The Kundalini traverses this path achieving Abheda and
Advaita, hence the name Dvandva Kshayankari.

Sarvasamkshobhana Chakra

The third Avarana consists of eight petals, representing eight actions. These are various
actions performed by the physique and psyche. In medical parlance, these involve
various systems, such as muscular, skeletal, as well as psychological thought
processes. The common factor to all of these is that actions cause change in status
quo. It is a disturbance from inertia, and thus an excitation. Thus, the Avarana is named
Sarvasamkshobhana Chakra.

On the one hand, when actions are performed, it must be performed aligned to making
oneself pure, technically called Sattvic or Sattvapatti. At the same time, one must

Sri Yantra and Panchadashi 15

understand the scope of actions, as completely within the overarching dominance of
Divine Will. Ultimately, the notion of freewill is a delusion, as much as the notion of the
physical world as a reality, both being the effect of Maya. Among the 16 stages of the
Panchadashi, the one highlighting Divine Will and Sattvapatti, is the 12th letter Sa,
which is the manifestation of Vishnu.

There are three manifestations of Vishnu - Dashavataras represented by Krishna,

Apollo and the Amun’s Ankh, which highlight various facets of Divine Will. Krishna, the
divine enchanter is the attraction of mind as an addiction toward Nirvikalpa Samadhi,
which is slowly channelised towards understanding the nature of Divine play. Apollo
represents the dominance of Divine Will in the physical world, while Ankh represents an
assurance, a promise of liberation once one surrenders to the Divine Will. Accordingly,
the actions in the Avarana are mapped to these three.

This Avarana and the 2nd, are both similar in appearance, with 8 and 16 petals
respectively. In the Panchadashi, Bhaskararaya maps these to the 2 Shakti Aksharas or
Sa, seen as the 7th and 12th letters. This is because, these Avaranas describe an
individual in the physical realm, using the various circulatory, respiratory systems etc to
perform tasks operating on the physical level.

For 8 petals of this Avarana, Puja Agamas mention the 8 Vargas of Aksharas - A, Ka,
Cha, Ta, Tha, Pa, Ya, Sha. These are in reality, the 8 click and unvoiced sounds that
were originally in Vedic language, but non-existent in classical Sanskrit. But, since as
per Maha Periyava, Vedic language is the mother language of all languages in the
world, one can see the clicks in the KhoiSan family of languages in Southern Africa. It is
noteworthy that the distinction between plosives, aspirates, voicings and nasals does
not exist clicks. Thus dental plosive त, aspirate थ, or voiced द when converted to clicks,
all result in the same /|/ dental click. This is why these are mentioned as clicks, each for
the 8 Vargas, rather than for individual Aksharas.

Devata Concept Akshara Manifestation

Anangakusuma Vak (speaking) /f/ Apollo

A-VArga

Anangamekhala Pani (grasping) /x/ஃ Apollo

Ka-VArga

Anangamadana Pada (Moving) /ǂ/ Apollo

Cha-Varga

Sri Yantra and Panchadashi 16

 Anandamadanatura Upastha (procreation) /ǃ/ Apollo
Ta-Varga

Anangarekha Payu (excretion) /ǀ/ Apollo

Tha-Varga

Anangavegini Thyaga (giving up) /ʘ/ Ankh

Pa-Varga

Anangankusha Grahana (adopting) /ǁ/ Ankh

Ya-Varga

Anangamalini Upeksha (anticipating) /t͡ʃ/ౘ Krishna

Sha-Varga

The clicks are representations of the 8 Vargas of Aksharas and have corresponding
significances. The vowels as will be explained later pertain to identity. Excitation of one's identity
reflects directly in one's communication or speech. Such blossoming is Kusuma.

Ka Varga represent physical energy, disseminating them is Mekhala, done through actions of
the hand or Pani. Cha Varga represent intellectual aspect, excitation of which is love Madana,
bringing closeness, the distance symbolised by Agamana.

An extension of this pair is Ta Varga representing primary Nadis. Excitations of these bring
fourth Jnana where the unreal is eliminated or Visarga, resulting in ecstasy or Madanatura.
Extension of this is Tha Varga, the primary Pranas, which symbolise the mind as bliss and
procreative aspect, represented as Rekha.

Complementary to this are the secondary Pranas represented by Pa Varga, symbolising life,
which as individuality must be given up or Hana for liberation. The vitality is represented by
Vegini.

Extending this, Ankusha represents Jnana as Ya Varga, which symbolise internalizing

objectives through the fire of Jnana. Such internalization and bringing into one's fold is Grahana
or Upadana.

Finally, extending this even further, one reaches the secondary Agnis, which bring one to the
state of pristine primordial existence. The Mayamalini of this Sha Varga is represented as
Anangamalini, and the pure perception here is seen as Upeksha.

Sri Yantra and Panchadashi 17

Sarvashaparipooraka Chakra

The second Avarana consists of 16 petals. Bhavanopanishad says that these represent
the five sense organs (eye, ear, nose, tongue, skin), the five action organs (speech,
grasp, locomotion, excretion, procreation), the five elements of nature (earth, water, fire,
air, space), and mind. Thus, one can see that, in contrast to systems such as circulatory
or respiratory spread throughout the body, this Avarana is the collection of specialized
organs, each with its own purpose and task. Appropriate use of these facilitates
achieving desired objectives. For this reason, the Avarana is named
Sarvaashaparipooraka Chakra.

The essence of this Avarana is how an individual, built up of many systems, manifests
the life-force in specialized organs, for special purposes. In Divine parlance, this can be
seen as God’s play, where God, of the nature of Truth, beauty, love, bliss and
compassion, involves in certain circumstances, enacting various deeds of play called
Leela. Among the Panchadashi, the letter that represents this Leela aspect is the 7th,
Sa which is the manifestation of Surya, and that is mapped to this Avarana.

The manifestations of Surya are seen in various levels. Suryanarayana represents the
Leela aspect transcending space and time. Inti represents Sun as fire of truth and love
in the heart, a non-physical level. Ukko, Mari and Saub represent Leela in the aspects
of Ishwara, Jagat and Jiva respectively.

Devata Concept Akshara Manifestation

Kamakarshini Prithvi /ə/अ Inti

Amrutha

Buddhyakarshini Jala /aː/आ Inti

Akarshini

Ahankarakarshini Agni /i/इ Inti

Indrani

Shabdakarshini Vayu /iː/ई Ukko

Eeshini

Sparshakarshini Akasha /u/उ Ukko

Uma

Rupakarshini Srothra /uː/ऊ Ukko

Oordhvakesi

Sri Yantra and Panchadashi 18

 Rasakarshini Thvak /ɹ̩,ɽ̍/ऋ Ukko
Rittidhayi

Gandhakarshini Chakshu /ɹ̩ː,ɽ̍ː/ॠ Ukko

Rookara

Chittakarshini Jihva /l̩/ऌ Inti

Lukara

Dhairyakarshini Ghrana /l̩ː/ॡ Mari

Lookara

Smrityakarshini Vak /eː/ए Mari

Ekapada

Namakarshini Pani /əi/ऐ Mari

Aishwaryatmika

Bijakarshini Pada /oː/ओ Surya

Omkara

Atmakarshini Payu /əu/औ Surya

Aushada

Amritakarshini Upastha /əŋ/अं Surya

Ambika

Shareerakarshini Manas /əh/अः Saub

Akshara

It is important to note the distinction between various manifestations while mapping the
Aksharas. The fundamental Brahman, transcendent of space and time, is in reality the Atma.
However because of Maya, a limited identity is assumed, the Dehatma Buddhi.

The mind, its identity as the individual are common to both a Jnani and Ajnani. Thus, psyche,
mapped to Inti, is seen as the element of truth, even though within the realm of Maya.

However, the thought I am the body alone and no more, is a characteristic of Ajnani and not
Jnani. This identification restricted to name and form is the physical body, is the essence of
Jiva. Jagat therefore is seeing the surrounding world also with restricted perspective,
determining one's interactions with others.

The psyche or Antahkarana has 4 components - Mana, Buddhi, Ahankara and Chitta.
Controlling the mind symbolised as desire is Kamakarshini, accordingly the creative aspect is
Amrutha. Doing this makes one productive, fertile without distractions, represented as Prithvi.

Sri Yantra and Panchadashi 19

Controlling Intellect or the Buddhi is Buddhyakarshini, and this gives Jnana symbolised by
Akarshini called Atharvani. This makes one pure of impurities like clear water or Jala.

A summary effect of these is Ahankarakarshini or controlling ego, represented as sense of

power by Indrani. Doing this merges the self in Brahman just as Teja or fire consumes all
distinction. Ahankara is the thought that answers what I am, and it's complementary is what I am
not, which represents the external world, which is interfaced through the senses.

The most primordial sense as any vibration, as Nadabrahmam itself, is sound, and this
represented by Eeshini. Controlling sound, ie oscillations or thoughts through Japa or Dhyana,
takes us to the realm of pure Prana or Vayu.

The next pair of senses are energy based. Mechanical waves lead to Sparsha or touch, and non
mechanical such as light lead to sight or Rupa. Sparsha as marker of love is denoted by Uma,
while sight by Oordhvakeshi. Controlling touch means bringing everything in contact within
control, resulting in infinitely expanding as Akasha. Controlling sight amounts to getting over
physical distinctions which are the play of Maya. This results in perceiving Brahman in
homogeneity, or “hearing” Brahman as all pervading Om.

The last pair of senses are matter based. Rasa or taste and Gandha or smell arise from
chemical compositions of substances. These are denoted by Rittidayi or Rutudhama and
Rookara or Renuka, alluding respectively to the variety and earthly aspects. Controlling Rasa
also means controlling emotions, result being that one can relish divine play in everything one
experiences. This is the actual feeling or touching God. Controlling smell mens controlling the
nose as Prana or equivalently the mind. This leads to see God directly, as in Pranayama or
Nidhidhyasana leading to Samadhi.

Next is the fourth aspect of psyche, Chitta represented by Lukara or Luthumbara. Chitta is the
aspect of Chit or Chaitanya representing Divine Will and Consciousness, and thus
Chittakarshini leads to tasting the blissful divinity.

Complementary to the internal nature of Chitta is its external nature, Dhairya. This has three
different connotations. Dhairya is courage arising from physical valour. It is also wisdom in
cases of adversity. Dhairya is also patience, which comes from endurance, an effect of will
power. Thus, Dhairya represents the Chitta’s expansion as threefold Iccha, Jnana, Kriya, which
forms how an individual interacts with the world. Physically, this leads to performance of various
actions or Karma, by which one becomes purified and”smells” God, ie activates Kundalini, the
fundamental Prana.

The result of worldly interactions is one's vast treasure of experiences, making up memory or
Smriti. This treasure is represented by Ekapada or Revathi. This reflects the purity one has
gained gradually, and this wisdom is reflected in one's speech or Vak. Conversely, great
communication and oratory skills are efficient in capturing audience minds as memories.

Sri Yantra and Panchadashi 20

What gets collected gradually as memory forms one's perspective of oneself and other
individuals. This identity is Nama, and is a distilled form of Smriti as Aishwaryatmika also called
Sushka Revathi. Clearly the biggest factor in this identity is what an individual does and
performs, thus the reference to Pani.

The next pair is transcendental. Bija is one's seed or core essence as Brahman, represented by
Omkara. Pada, apart from feet also represents surrender to this Brahman. Atma is the Self as
Brahman indeed, and can be attained only by eliminating identity with the non self. This
elimination or Visarga is denoted by Payu, and results in a state of fearlessness, denoted by
Aushada or Aghora.

The result of these two is the deathless state of liberation, Amruthakarshini. This is denoted as
Amma Herself as Ambika, ang Upastha alludes to Ananda, as the very nature of Mukti.

The complementary state of liberation is the bound state of Samsara, and this is primarily
caused by body or Shareera, through the mind. Overcoming this is conquering death, as
denoted by Akshara. The body and mind are the very tools through which this can be achieved,
and this control is Shareerakarshini, as the essence of Sadhana.

Trailokyamohana Chakra

This Avarana, the first, consists of three concentric square shaped enclosures, called
the Bhupura. The threefold nature of this Avarana represents the emotions, afflictions
and elements of nature respectively. Together this represent the individual’s position in
the visible physical world, interactions with other individuals, as well as inanimate things
like various components of nature. The objective of all these is that one brings
circumstances under control, conducive to achieving one’s objectives through
interactions with animate and inanimate entities. For these reasons, the Avarana is
named Trailokyamohana Chakra. The Akshara mapped to this Avarana is ॐ ​ (​Om), the
Pranava Mantra, though the Avarana represents gross concepts as manifestations of
the Aksharas. Bhaskararaya maps the three layers of this Avarana to the three La
letters in Panchadashi - the 4th, 10th and 14th letters. These three are Prithvi Aksharas,
as in they represent down-to-earth involvement in materialistic level, unlike other
Aksharas such as the Akasha ones.

The outermost layer consists of the 10 Siddhis - Anima, Laghima, Mahima, Ishitva,
Vashitva, Prakamya, Bhukti, Iccha, Prapti and Sarvakama, which as per
Bhavanopanishad denote the nine emotions or Navarasas, plus Niyati. On the one
hand, Siddhis are supernatural powers that are used to make circumstances favorable,
while on the other hand, emotions denote states of mind at given moments of time, that
Sri Yantra and Panchadashi 21
affect the entire physical and psychological setup and associated actions. It is a well
known fact that Ganesha is the Lord of the Siddhis, and so this manifestation, the 4th
letter La in Panchadashi is mapped to this layer. There are three manifestations of
Ganesha - as Vinayaka, Dzil Diyini Diigosini corresponding to aspect of the 4 Vedas
and Bu Luotuo as Prajapathi Brahma. These are mapped to the first 4, next 4 and last 2
Siddhis respectively in the above mentioned list.

Conquering norms or Niyati is the gateway for supernatural capabilities, represented by Anima.
Shringara is fascination and hence bondage; getting rid of it gives lightness or Laghima. Hasya
is worldly mirth whose conquering gives greatness Mahima. Karuna or compassion leads to
perfection Eeshitva.

Conquering anger leads to attraction Vashitva. Courage and determination leads to fulfillment
Prakamya. Getting rid of fear means eradicating all impediments to Bhukti or enjoyment. Disgust
if eradicated leads to Iccha.

Getting above surprise and impulse reactions lead to attainment Prapti. Conquering all emotions
as Shantha leads to complete fulfillment of desires Sarvakama.

The middle layer consists of the 8 Matrikas - Brahmi, Maheshwari, Kaumari, Vaishnavi,
Varahi, Mahendri, Chamunda and Mahalakshmi. These denote the removal of the eight
afflictions respectively as lust, wrath, greed, delusion, pride, envy, and notions of merit
and demerit. These are the qualities that characterise the various deities, whose
energies are represented by the 8 Matrikas.

On the one hand, these afflictions lead a person to unrighteous actions and sin, or
Adharma, while controlling these would lead one to have firm mastery over the
circumstances, whereupon right decisions can be taken and success achieved. Both
these aspects are seen in the manifestation of Dharma Sastha, which is the Nirguna
Guru as Ek Omkar. Thus, this layer is mapped to the 10th letter La in Panchadashi.

The innermost layer contains the ten Mudras - Samkshobhini, Vidravini, Akarshini,
Vashankari, Unmadini, Mahankusha, Khechari, Bija, Yoni and Trikhanda, which the
Bhavanopanishad states, represent the wheels of energy or Chakras - Muladhara,
Svadishtana, Manipura, Anahata, Visuddhi, Ajna, Akula Sahasrara, Kula Sahasrara,
Indrayoni, and their Samashti. Mudras are various worship and healing gestures
performed with the hands. The fingers are said to represent the five elements of nature -
earth, water, fire, air and space. Consequently, the Mudras are seen as regulations of
the five elements within oneself and the immediate surroundings. This is another aspect
of making conditions conducive to achieving objectives. Shiva, in His five-faced form, is

Sri Yantra and Panchadashi 22

seen as Bhooteshwara or Lord of the five elements. Accordingly, Lord Shiva, the
manifestation of 14th Letter La in Panchadashi, is mapped to this layer.

Sarvanandamaya Chakra
The ninth Avarana, which is the innermost singularity, called the Bindu, is the very
residence of Amma as Lalitha Maha Tripurasundari. Her very nature is bliss, hence the
name Sarvanandamaya. This Avarana is beyond the scope of Aksharas, and is simply
Mauna, silence as the eternal Divine eloquence.

Particularly, this Avarana represents the bliss of Lalitha Ambika in Her pure, Nirguna
form as Sacchidananda, as well as in Her Leela aspect of playing with the world. This
can be experienced fully only in the Jeevanmuktha stage of a person. Though beyond
all Aksharas and all stages of spirituality, for purposes of Leela alone, Amma manifests
certain aspects in the world. In this connection, Bhaskararaya maps this Avarana with
four letters in Panchadashi - the three Ka as 1st, 8th, and 13th letters, and Ee as 3rd
letter.

The explanation is that the three Ka letters are taken from the three Kutas or
components of Panchadashi and stand for Jnana Iccha and Kriya respectively.

Of these the 1st letter Ka denotes Jnana Shakti aspect, in the manifestation as Allah.
Primarily, this amounts to knowing about the nature of Brahman, which forms the basis
of spiritual progress. Allah as the Samashti manifestation of Jnana, can also be seen as
seven individual manifestations, known as the seven Saraswathis - Neela, Ghata,
Jnana, Kini, Antariksha, Chintamani and Maha Saraswathi. These correspond
respectively to Dela Malx, Silla Inukshuk, Gitchi Manitou, Afekan, Pulga, Ogun and the
Baha.

The second Ka, ie the 8th letter denotes Iccha. This is God’s Will as the sole driving
force behind all Leela and creation, whereas the same Iccha as compassion, is the
driving force by which the Divine descends to reveal the truth, taking a person out of
Maya and into liberation. This is seen as three manifestations of the 8th letter. Buddha
Dharmakaya is the very form of truth and enlightenment in Karana Sharira. Kunzang
Gyalwa Dupa Avalokiteshwara is the Karunya or compassion in Sookshma Sharira,
leading towards enlightenment. The actual physical process of enlightenment is the
result of fulfilment of a Divine Promise, and this is Mitra or Maitreya Buddha in the
Sthula Shareera.

Sri Yantra and Panchadashi 23

The third Ka, ie 13th letter denotes Kriya. Understanding that God’s Will alone prevails,
will result in understanding that every action from the beginning of time was done by
God alone. So too, the entire spiritual progress is made by God alone through Divine
Will. This is what Jesus Christ, the manifestation of the 13th letter symbolises.
Surrendering to Divine Will, one sees that Ahankara or ego is killed, which is that the
crucifixion actually signifies, as explained by Ramana Maharshi.

The 3rd letter Ee as the Kamakala Bija denotes Lalitha Ambika as the union of Purusha
Prakriti principles as Kameshwara and Kameshwari. This is the manifestation of Tao Yin
Yang. However, the manifestation of this 3rd letter have 4 more forms, each signifying
one aspect of Lalitha Ambika.

The Brigid Danu Triskele represents Amma in triple manifestation as maiden, lady and
crone ie Bala, Sundari, Bhairavi. So also, the triality in Mitsu Tomoe represents Amma’s
Lila in three realms - Jiva, Jagat and Ishwara.

The Tupa manifestation as word soul, represents Amma as the Aksharas or

fundamental modes of energy. This in essence is the concept of Mantra, representing
Mantrini or Raja Shyamala Mathangi, who is the Counsellor in Amma’s court.

The Babakoto manifestation represents Pitrus or ancestors, as the carriers and

disseminators of wisdom. Also, the most primordial of these, the king of Pitru world is
Yama, the God of Death who is also the maintainer of Dharma. He is the punisher or
Dandana for the unrighteous. In these respects Babakoto represents the parental
father-mother figure in Sri Vidya as Varahi-Kurukulla, seen together as Dandanatha
Maha Varahi, who is Commander in chief of Lalitha Ambika’s court.

Mantrini and Dandanatha have deeper significances too. They represent the sugarcane
bow and flowery arrows respectively seen in Amma’s hands, which in turn represent
controlling the mind, and the five senses.

APPENDIX 1​: Mahaperiyava on Sanskrit, Tamil and Vedic languages

Narrative 1:
Experiences with Maha Periyava: The Oldest Language in the World
When I went to the Kanchi Mutt to have the darshan of Sri Maha Periyava, there were four
foreigners there, an Israeli, an Italian, a German and a British. They had come to do their PhD in
Philology on the topic of 'the most ancient languages in the Occidental and the Oriental world'. They

Sri Yantra and Panchadashi 24

were studying Latin, Hebrew and Greek languages in the Occidental part and Sanskrit and Tamil in
the Oriental part.
Maha Periyava was in his private quarters, performing His Nithya Karma Anushtanas and elaborate
poojas; they had waited and desired to take a photo of Him but His kaingaryams refused permission.
They were heartbroken that they could not take a picture. All the four of them were standing near a
tree since morning waiting for Periyava to finish his poojas and give darshan. They asked His
sevakas when He would be done with the poojas but got an unconvincing reply.
I told the foreigners that we Indians are used to the way of life at the Mutt, but how had they all been
standing for the past 6 hours? One of them looked at his watch and exclaimed, “Oh my God, has it
been 6 hours? He is a Man of Certainty and is Beyond Time!”
Maha Periyava came in after 10 minutes and we all went and prostrated before Him. Looking at the
man (who had the camera hanging around his neck) who had wanted to take the photos, He
gestured with His hands that he could take the pictures now. He posed for three photos and stopped
him before taking the fourth.
''Why have you all come here and what is the purpose of your visit? ", asked Periyava.
''We have visited many places regarding our research on the most ancient language''.
Periyava asked, "So, did you arrive at a conclusion as to which is the most ancient language?"
The Israeli replied, "Hebrew is the most ancient in the Occident; but in the Oriental, people say that
both Sanskrit and Tamil are the oldest, but we are confused and that is why we are here for Your
opinion".
Periyava said, "There is another language which is more ancient than all these, it is the Vedic
Language. It is the source of even Sanskrit and Hebrew."
"There is a verse about rebirth in Hebrew, can you recite it completely?" asked Periyava to the Israeli
by giving the man the first two words.
The Israeli recited it for 3 to 4 minutes. Periyava looked around and asked some boys, “You have all
learnt Rig Veda, can you recite this particular verse? He suggested some mantras to the boys."
Those boys recited the Veda Mantras for 5 minutes.
Periyava then addressed the Israeli ''Did you understand what these boys recited now?"
The four men remain quiet.
Maha Periyava smiled and turned to the boys and said "You all will definitely not understand what
this man had recited in Hebrew!"
He then turned to the Israeli and said, "What you have chanted before is the same as what these
boys have chanted!"
The 4 foreigners were stunned and did not know how to respond. Maha Periyava told them that he
could prove it and asked for a paper and a pen.
"In Vedas it is mentioned that the world has been classified into 32 portions/regions. And in each of
the 32 geographic regions, Vedas say how the Veda Aksharas have changed/got pronounced in
those places!"

Sri Yantra and Panchadashi 25

He asked each of them which region they came from and then explained to them how a particular
Veda Aksharam got changed in their individual places! He asked the boys to recite a verse from Rig
Veda again and told the men how each Aksharam in Rig Veda in that verse would sound in their
Regions!
The Sarveshwaran then said, "I will now recite this verse with some difficulty as it has been a long
time since I had Abhyasam and the Mahan started to chant the mantra slowly, slightly differing from
the basic shloka aksharam so that it matched how it would sound in Hebrew. After he recited the
aksharams he asked the Israeli if he understood the recital of the mantra and aksharam and
observed any familiarity.
To the boys who recited the Vedas, He said, "I will now recite it in a slightly different form based on
how each Aksharam will sound in Hebrew. Please do not think it is wrong; there is this injunction in
the Vedas that it can be recited this way also."
To everybody's astonishment and surprise, the Israeli started to recite in Hebrew what Maha
Periyava exactly chanted- the aksharas in a modified form, as it resembled the Hebrew language.
The Israeli therefore chanted it together with Him!!!
We were all stunned!!!
After this demonstration Maha Periyava addressed everyone assembled there, "I told you earlier, the
same verse in Rig Veda is present ditto in Hebrew, but the Aksharas have changed slightly. (As we
say Yamuna but in the North it is Jamuna, Va in the south is Ba in West Bengal, Paa in Tamil is Haa
in Kannada etc). Therefore, the most ancient language in the world is the Vedic language!"
Maha Periyava then asked for paper and pen to be supplied to the four men in order to prepare a
table and fill it with how the Rig Veda Aksharams sounded in their language. This was completed in
15 minutes.
The Israeli was shocked and exclaimed, "This is something unimaginable!"
Periyava asked him, "What do you think now, do you now agree that everything has sprung from
Vedas?"
The look on the Israeli’s face was not convincing.
Periyava quipped, "What, Are you thinking why could Vedas not have originated from Hebrew?"
The man said, "Yes, it could have been the reverse also, the Vedas could have come from Hebrew".
Periyava replied smilingly, "You only have the lock, whereas we have both the key and the lock! It is
even mentioned in the Vedas as to which Maharishi from here in India went to your region and
spread/taught Vedas in Israel!"
The man was fully convinced in the end that the Vedic language is indeed the oldest and the most
time honoured.
(Translated from Thiruvannamalai Shri Gowrishankar's Tamil video interview)

Sri Yantra and Panchadashi 26

Narrative 2: ​All Sounds are in Sanskrit

Sanskrit has got all phonemes (sounds). In fact there is no sound vocalised by humans that is
not present in that language. It has the f sound. ‘Zha’ is not, as is usually imagined, unique to
Tamil. It exists in the Vedic language which is the source of Sanskrit. The ‘da’ in the Yajur Veda
has to be pronounced as zha in the corresponding page in the Sama Veda. The three dot symbol
‘Aytam’ is present in Sanskrit also. There is a Panini sutra ‘h kap pauc’. According to it if a
visarga comes before a word beginning with ka (Ramah + Karunakarah) , it will not have the h ,
as mentioned before, but of h as in aytam. Here it is the visarga that is the aytam that becomes
the f before pa-kara.

What Tamils call ‘kutriyalukaram’, is present in Sanskrit also. In Sanskrit the vocalic ‘r’ and ‘l’
are not included among the consonants, but regarded as vowels.

There is no short ‘e’ or ‘o’ in Sanskrit. I felt this to be a minus point. On going through Patanjali’s
commentary on the sutras of Panini, I discovered that Sanskrit too had these short vowels and it
was a comforting discovery. Patanjali says that, in chanting the ‘satyamugri ranayaniya sakhas’
of the Sama Veda, the short e and o are used. Thus Sanskrit embraces all the sounds it has also a
script in which the sound of every letter is determined with utmost accuracy.

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As the language of the gods it brings divine grace. The sounds of Sanskrit create beneficial
vibrations of the ‘nadis’ and strengthen the nervous system, thereby contributing to our health.

Narrative 3:

A Language that has all Phonemes (HinduDharma: Siksa):

From the foregoing it is clear that Sanskrit has the "f" sound. In fact there is no sound
vocalised by humans that is not present in that language. "​Zha​" is not, as is usually
imagined, unique to Tamil. It exists in the Vedic language which is the source of
Sanskrit. The "da" in the Yajurveda has to be pronounced as "zha" in the corresponding
passages in the Samaveda. In the Rgveda also in some places the "da" has to be
similarly pronounced. The very first word in the first sukta of the Rigveda, "Agnimile",
has to be pronounced almost as "Agnimizhe" - not a full "zhe" for "le", but almost.

There is a sound very close to "zha" in French. But neither in that language nor in
Sanskrit is there a separate letter to represent that sound. "Ja" and "ga" serve the
purpose of"zha" in French. In Sanskrit "la" serves the same purpose

Sri Yantra and Panchadashi 27

(I am told there is "zha" in Chinese. )

The three-dot symbol in Tamil, called "​aytam​", is present in Sanskrit also. There is a
Panini sutra, "h kap pauc". According to it, if a visarga comes before a word beginning
with "ka"(Ramah + Karunakarah), it will not have the sound of "h", as mentioned before,
but of "h" in the "aytam". Here it is the visarga that is the aytam that becomes the "f"
before "pa-kara".

Ramah + panditah =Rama f panditah. This "f" sound is called "​upatmaniya​". "Tma"
suggests the sound created by blowing the pipe to build the kitchen fire. When you blow
thus you get the "f" sound. The initial letter of the English word "flute" is "f", is it not?

One more point about "fa". We generally pronounce "fa" as "pa". But it would be wrong
to think that we[ in the South] pronounce coffee as "kapi" in the same way. In Sanskrit
"kapisa" means dark brown - that is the colour of coffee powder. Our kapisa is the white
man's coffee.

What Tamils call kurriyalukaram is present in Sanskrit also -r and l. People write both
"Rigveda" and "Rugveda" - the first letter of the word is neither "Ri" nor "Ru". It
represents in fact the Kurriyalukara sound. It is between "u" and "i". We write "Krishna"
in Roman. In the North some people write the same as "Krushna". It is amusing to listen
to Andhras pronouncing "hrdayam" as "hrudayam". Both the "ra-kara" and "la-kara" of
Sanskrit have vocalic forms. But in "la-kara" the vocalic form comes only in conjunction
with another consonant. In the ra-kara vocalic form we have examples like "Rg", "rsi"; in
the "la-kara" vocalic form we have "klpta".

In Sanskrit the vocalic "r" and "l" are not included among the consonants but regarded
as vowels: a, a, u, u, i, i, r, l, e, ai, o, au, am, ah.

There is no short "e" or "o" in Sanskrit. I felt this to be a minus point for that language.
Parasakti, the Supreme Goddess, is the personification of all sounds. So should there
not be all sounds in a language (like Sanskrit)? Why should it lack these two sounds
(short "e" and short "o")? On going through Patanjali's commentary on the sutras of
Panini, I discovered that Sanskrit too had these short vowels and it was a comforting
discovery. Patanjali says that, in chanting the Satyamugri and Ranayaniya Sakhas of
the Samaveda the ​short "e" and "o" are used​.

Thus Sanskrit embraces all sounds. It has also a script in which the sound of every
letter is determined with the utmost accuracy.

Sri Yantra and Panchadashi 28

APPENDIX 2​: The Hajj
THE MISSION:
Sri: Ultimate Goal of Man, Ultimate Truth is advised, recorded in highest thinking: Rig, Yajur, Sama,
Atharva, condensed in Vedanta, condensed as Sri Vidya, in 16 stages of Shodashi Mantra:
Satsanga, Dharma, Viveka, Vairagya, Yoga , Mumukshutva, Subheccha, Satya Vicharana, Anantha
Vicharana, Jnana Vicharana, Tanumanasi, Sattvapatti, Asamsakthi, Padarthabhava, Thuryaga,
Jeevanmukthi. Atma is Amma.
Sai: Vedic Global Spirituality degraded to divisive cultural stage. Amma's manifestation for each, as
all-stage access for cultures. Thus, each manifestation is complete Guru within that stage. Present
Globalization brings together the 48 manifestations.
Venkatesha: Amma's uniqueness in 48 manifestations. 48 are variations of Venkatesha, Amma's
manifestation in Kali Yuga. Putting together, these are 48 aspects of the 16 stages. This is complete
big picture encompassing language, religion, culture, geography, science, spirituality, Vedas, Sri
Yantra and Shodashi.
Mission details available in ​http://vixra.org/pdf/1807.0322v1.pdf

STHOOLA (PHYSICAL) LEVEL:

Local: Vedas preserved in India, may or may not be coincidence. Sai and Venkatesha in Shirdi,
Tirupati of South India. So, temples in South India consisting of the 48 derived directly from Vedic
principles, but perceived through various Hindu Agamas.

Global: Manifestations in various cultures grew into religions. Sacred sites, natural or constructed
throughout the world.

Both are equivalent. However, local makes more sense as a Yatra, a Hajj for the Mission.

SOOKSHMA LEVEL:

48 manifestations of 16 stages represented in song. Invocation followed by 16 sections. Each with

24 syllables (Gayathri Chhandas) representing hours. All Aksharas of Veic language covered.
Vibhaktis go from 1 to 8 back to 1. Starting syllables of each line spell Shodashi Mantra. Three Kutas
of 5, 6 and 4 stages, and 16th is Samashti. Three Kutas represent Rig, Yajur, Sama Vedas. Maya
Bijas as 5th, 11th, 15th stages represent Atharva Veda. Song rendered in Grantha alphabet with
extra characters added from Tamil script, and IPA for click sounds. Available in:
https://imgur.com/K5ck8Fg

TWO STAGES:

Transmission of the mission.

Past: Ishwara to Jiva (my spiritual progress through the years)

Future: Jiva to Jagat (as channel for disseminating the mission)

The Sri Sai Venkatesh Hajj is a transition point.

Mapping between manifestations and shrines visited given. Essential Concept of the manifestation is
given as link between the two.

01. Caucasus Dela Elyr Nykha Swasti Jeevadhaatha Navava Vruksha , Nav Sai Temple, Pallikonda.

Sri Yantra and Panchadashi 29

02. Sibero-Eskimo Silla Inukshuk. Sarva Vyaapi. Soma Vigraha, Indalur.

03. Siou-Algic Gitchi Manitou. Sahasrashirsha Sahasraksha. Vishwabrahman, Chennai Kalikambal

Koil.

04. Micro-Melanesia Afekan. Sahasrapaath Gavipuram Bhuja Pralaya Veerabhadra

05. Andaman Pulga. Swapna nibha Shaasana. Jillelaguda Matsya Linga Harihara.

06. Niger-Congo Gye Nyame Ogun to see how to do Turiya Nemili Veerabhadra

07. Abyssinia-Arabia Waaq Allah. Ekaakini. Thiruvattaru Thiru Allah Adi Keshava.

08. Agnidesha Bahaullah Anantha Keerthi Bengaluru Bahai Bhawan.

09. Turkic-Mongol Tengri Kiremet. Kalpitha Maya Karma Sakshi. Search results for "Kalpavriksha".

10. Levant Jehovah Sefirot. Dharma Vardhana Saguna. Bengaluru Chabad Lubavitcher.

11. MesoAmerica Kukumatz Quetzalcoatl. Oordhva Adhara Charam. Thiruparkadal Garuda.

12. Zealandia-Polynesia Godhead. Samsara Moksha Dvandvam. Thiruvarur Katchi Koduthar.

13. Chinese Tao Yin Yang. Purusha Prakriti. Villivakkam De Yuan Tao temple.

14. Nivkh-Japonic Mitsu Tomoe Dharma Dharmin Villivakkam De Yuan Tao Temple

15. Celtic-Germanic Danu Triskele. Sattva Rajasa Tamasa Traya Tridevi, Chennai Kalikambal koil

16. Amazonian Tupa Akshara Roopa Nada Brahmam Yeshwanthapur Tripada Gayathri

17. Malay-Bantu Malagasy Babakoto. Vidya Pradha Pitru Roopa. Thirukodikkaval Yama Dharma.

18. Yenisei-Dene Dzil Diyini Diigosini. Chatur Veda Parvatha Rishi. Meru Shikhara, Pallikonda
Navasai Mandir.

19. Tai-Kadai Bu Luotuo Prajapathi Brahma Thiruvarur Vishwakarmeshwara Brahma

20. Nihali-Bharatha Ganesha. Traya Gunaatheetha Pranava. Indalur Vishwaksena.

21. Prithvidesha Adinatha Rishabhadeva Nivritti Marga Chikpete Digambar Temple

22. Vahnimandala Kala Bhairava Shad Sampatti Ashtanga Yoga Thiruvarur Adi Bhairava

23. KhoiSan Tora Nlari. Savikalpa Samadhi Ananda. Mambalam Kodanda Rama.

24. Persia Ahura Mazda Agni Roopa Medha Mylapore Sai Dhuni

25. Vedda-Bharatha Subrahmanya. Guruguha Mumukshutva. Valasarawakkam Venkata

Subramania.

26. Burusho-Bharatha Surya Narayana. Desha Kaala Atheetha Leela. Domaluru Suryanarayana.

27. Amerind-Andean Inti. Hrudaya Prema Jwalarupa Surya. Thiruvarur Yajnavalkya Shiva Surya.

Sri Yantra and Panchadashi 30

28. Uralic-Slavic Ukko Perun. Ishwara Lila Brahmanda Aditya. Navagraha, Pallikonda Navasai
Mandir.

29. Basque-Iberia Mari. Jagat Lila Renuka Nagamba Saadapet Sudarshan Naga Samedha Venkata
Narasimha

30. Hmong-Mien Saub. Jiva Lila Pindanda Devata Dhanvantari, Yeshwanthapur Gayathri
Devasthana.

31. Tibet-Burma Kunzang Gyalwa Dupa. Avyaaja Karuna Moorthi Hong Ci Guanyin Avalokiteshwara

32. Kurdo-Armenian Partners Literacy Tales. Jnanodaya Pratijna. Hong Ci Maitreya Budai.

33. Akashadesha Buddha Dharmakaya Brahma Satya Vicharan Bengaluru Mahabodhi Vihara

34. Caribbean Atabey. Vishvagarbha Srishti Adi Shakti Nemili Bhadrakali Mahamaya

35. Australia Wuagyl Ngalyod. Kundalini Roopa Anantha Sesha Naga. Oppiliappankoil Ooragam
Vigraha.

36. Sumero-Mesopotamia Inanna Ishtar. Prakriti Ashtavarga Savikaara. Domaluru Vaishnavi

Narayani.

37. AustroAsia Dao Mau Thorani. Annapoorna Bhumidevi. Oppiliappankoil Bhumidevi.

38. Dravida-Bharatha Durga Sarva Keerthi Anantha Shakthi. Chempazhanthy Bala Durga.

39. Mediterranean-Atlantis Gorgon. Smashaana Mahakali. Click here for more info.

40. Jaladesha Ek Omkar Niraakaara Adi Guru Sarvatma. Kallidaikurichi Kulathur Sri Yantra Sastha.

41. Suryamandala Anjaneya. Nidhidhyasana Samadhi Mukhya Prana Secunderabad Panchamukha

Hanuman

42. Kusunda-Bharatha Vishnu. Prakruti Sankalpa Sattvapatti.Bengaluru Kote Venkataramana

Dashavatara Roopa.

43. Anatolia-Balkan Apollo Kouros. Leela Manamohana Kendra. Secunderabad Vittaleswara

Venkatadri.

44. Nilo-Saharan Amun Ankh Learn more about PrashantiOppiliappankoil Oppiliappan.

45. Vayudesha Yeshu Krishta. Ahankarahara AsamsakthiNeendakara Chapel of Peace.

46. Irula-Bharatha Shiva. Sarvam Brahmam Padarthabhava.About Thiruparkadal Doosheshwara

Prasanna Venkatesha.

47. Soma Mandala SatChitAnandam. Only your Master.Selu Venkusa Babasaheb.

48. Sri Vidya Lalitha Ambika. Jeevanmukthi Leela Rasika.Search results for:

49. Samashti Guru Roopa: Secunderabad Sai Baba

50. Samashti Thiru Roopa: Nemili Bala Tripurasundari.

Itinerary (June 3 - June 13, 2018):

Sri Yantra and Panchadashi 31

S: Start from Swamimalai (home). Bus to Kumbakonam to Thirukodikaval. Walk to Thiruvalangadu.
Bus to Mayiladuthurai to Indhalur. Bus to Kumbakonam to Oppiliappankoil. Train from Kumbakonam
to Trichy to Chengalpattu.

M: Bus to Kanchipuram to Kaveripakkam. Auto to Thiruparkadal. Bus to Nemili. Walk to Bala

Tripurasundari and Veerabhadra temple. Share Auto to Arakkonam. Train to Katpadi. Bus to Vellore
to Nava Sai Mandir. Train to Bangalore.

T: Metro to Yeshwanthpur. Metro to Indiranagar. Bus/Auto to Domlur. Metro to KR Market Kote

Venkataramana. Metro to Majestic. Walk to Freedom Park Mahabodhi Vihara. Metro to Cubbon
Park. Bus to Coles Road Bahai. Bus to Vidhan Soudha. Metro to Majestic. Train to Tirunelveli.

W: Bus to New Bus Stand to Kallidaikurichi. walk to Kambangudi Kulathur. Bus to Tirunelveli. Train
to Marthandam. Bus to Thiruvattaru. Bus to Trivandrum.

T: Bus to Chempazhanthy Aniyoor. Train to Kollam. Car to Neendakara.Train to Bangalore.

F: Bus to Gavipuram. Metro to Majestic. Walk to Chikpet. Metro to Trinity. Walk to Hong Ci. Bus to
Richmond Circle Chabad Lubavitch. Walk to MG Road. Metro to Majestic. Train to Secunderabad

S: Train to Malakpet. Auto to Jillelaguda Train to Secunderabad Walk to Vittaleshwara, Panchmukhi

Hanuman. Train to Aurangabad

S: Train to Selu. Walk to Babasaheb Venkusa. Train to Nanded. Train to Secunderabad.

M: Metro to Paradise. Walk to Ramgopalpet Sai Baba. Back to Secunderabad. Train to Chennai.

T: Bus to Valasarawakkam. Bus to T.Nagar. Walk to Mambalam. Train to Saidapet to Beach

Kalikambal to Mylapore to Park to Villivakkam to Park to Egmore. Train to Thiruvarur.

W: Walk to Thyagaraja Temple. Bus to Kumbakonam to Swamimalai.

|Om Sri Sai Venkateshaya Namah|

Sri Yantra and Panchadashi 32