Guru Vandana

1.Tantra rāja tantra’s Guru Maṇdala pūjā

The second chapter of Tantra rāja tantra deals with the nine Lords (navanātha). They are
called the vidyāvatāra guru- which literally means that they are personification of Divine
energy that will facilitate the descent of Vidyā. Here vidyā here will mean conscious
awareness of the self as unbound bliss. Also a similar idea is seen in second line of often
chanted five verses of Preceptor (which are also found as last lines of first chapter)-
vidyāvatāra samsiddhyāi svīkṛtāneka vigraha. O! Guru you assume various forms to the
accomplished descent of vidyā. Thus we find an identity in all lineages as being one with
ādi nātha. The nine guru enumerated are Prakāśa, Vimarśa, ānanda, Śrījñāna, Śrīsatya,
Śrīpūrṇa, Svabhāva, Pratibha, Subhaga. The first three are divyā- the exalted ones who
remain in the realm of gods, next three are siddhā who move between the worlds and
last three are mānava who are ever present in this world.
Their mantra is decoded as having nine letters (navākṣarā) or sixteen letters
(ṣodhaśākṣarā), which is got by affixing māyā and Śrī bījās (hrīm Śrīm) and suffixing the
word ‘ānandanātha’ to above names to get first type of nine letters and further add
seven letter (saptākṣarā) ‘pādukām pūjayāmi’ to get second type of sixteen letters.
A maṇdala (mystical diagram) is to be drawn for these preceptors and worshipped on
special days. There are six conjunctions namely puṣpiṇi, mohinī, jayinī, kumārī, vimalā
and Śrīkarī in aṣtānga calendar. The birthday of preceptor and six special conjunctions of
aṣtaṅga calendar are recommended for this worship. If the preceptor is in Śrīpura them
his remembrance day is to be substituted. There are two types of maṇdala in
accordance with mantras seen above. The first maṇdala is a nine by nine square and the
second is a twelve by twelve square. From the central square inscribe the letters in the
nine by nine square towards the above and then in the counter clock wise direction.
Similarly in the above square and then in the counter clock wise direction all the names
are to be inscribed. The whole procedure is to be done with sandal paste mixed with
saffron and musk. The respective preceptors are invoked and the fivefold worship
(pañca upacāra) or the sixteen fold worship (ṣodhaśa upacāra) is to be done. After
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completion and withdrawal of invoked deities this sandal paste is to be worn on the
forehead, arms and on breast. This will confer the fullest grace of Divine on aspirants
through Guru maṇdala. The first type of Maṇdala is given below:
आ श्रीं थ वि श्रीं थ सु श्रीं थ

न ह्रीं ना म ह्रीं ना भ ह्रीं ना

न्दा न न्द र्ाा न न्द गा न न्द

श्र श्रीं थ प्र श्रीं थ प्र श्रीं थ

स ह्रीं ना का ह्रीं ना ति ह्रीं ना

त्या न न्द र्ा न न्द भा न न्द

श्र श्रीं थ श्र श्रीं थ स्ि श्रीं थ

ज्ञा ह्रीं ना पू ह्रीं ना भा ह्रीं ना

ना न न्द र्ाा न न्द िा न न्द

The second type of Maṇdala is given below:

पू काीं दु पा पू काीं दु पा पू काीं दु पा

ज आ श्रीं थ ज वि श्रीं थ ज सु श्रीं थ

या न ह्रीं ना या म ह्रीं ना या भ ह्रीं ना

मम न्दा न न्द मम र्ाा न न्द मम गा न न्द

पू काीं दु पा पू काीं दु पा पू काीं दु पा

ज श्र श्रीं थ ज प्र श्रीं थ ज प्र श्रीं थ

या स ह्रीं ना या का ह्रीं ना या ति ह्रीं ना

मम त्या न न्द मम र्ा न न्द मम भा न न्द

पू काीं दु पा पू काीं दु पा पू काीं दु पा

ज श्र श्रीं थ ज श्र श्रीं थ ज स्ि श्रीं थ

या ज्ञा ह्रीं ना या पू ह्रीं ना या भा ह्रीं ना

मम ना न न्द मम र्ाा न न्द मम िा न न्द

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2.ānandabhairava bhairavī bīja- A Thought

The main central mantra chanted by a Śrī Vidyopasaka is the guru pādukā. Guru is the all
causing force–‘Sri Guruḥ sarvakāraṇabhūtā śaktiḥ’. His pāduka or sandals are impressed
on the head of śiṣya during initiation (śāmbhavī dīkṣa). The word pādukā means that
which sustains (pālana), removes ill effects (durita kṣālaṇa) of disciples. Thus this mantra
is the first one to be chanted on waking up and last one to be chanted before retiring to
bed.

The Mantra has a unique bīja called ānandabhairava-bhairavī bīja. The uddhāra
according to parāśurāma kalpa sūtra for ānanda bhairava runs as : śiva śakti samvarta
pupañcama purandhara varayūṁ. Decoding this śiva is ‘ha’; śakti is ‘sa’; samvarta – Final
fire deluge, denotes last of alphabets ‘kṣa’; ‘pu-pañcama’ – fifth syllable of ‘pa’ series,
which is ‘ma’; Purandhara is indra – his bīja ‘la’; va ra yūṁ as such. Thus we find this bīja
as hskṣmlvryūṁ, it is also called navātmeśvara bīja.
ānanda bhairavī uddhāra: śakti śivādi varayīṁ, decoding same bījas as said above, but
ending with yīṁ, thus bīja is now shkṣmlvryīṁ, also called navātmeśvarī bīja.
Since utterance of all consonants without vowels will be difficult, sages have approved

adding ‘a’ in all consonants. Thus we utter these bījas as हसक्षमलिरयूीं

hasakṣamalavarayūṁ and सहक्षमलिरयरीं sahakṣamalavarayīṁ.

Traditional meaning:
‘ha’ denotes śiva and ‘sa’ denotes śakti. ‘kṣa’ is the meru ( the akṣamāla japa will have
kṣa as the meru- ‘ka’ is śakti tatava the cit śakti(movement) and ‘ṣa’ ṣaṇda is jada
śakti(inertia), thus we find meru as a mixture of cit and jada śakti), denoting the
vastness, huge centre point, which is also called māya – the differential knowledge. ‘ma’
is the jīva. ‘la’, ‘va’, ‘ra’, ‘ya’ are denoting the elements earth (Pṛthvi), water(jala),
fire(agni) and air(vāyu) respectively. The first element –space is inferred. ‘ūṁ’ is the left
ear in the mātṛkā nyāsa, signifying the śakti pradhāna knowledge as heard from the
preceptor.

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On the whole reading above interpretations in a single line; jīva denoted by ‘ma’ in the
universe denoted by the elements ‘la va ra and ya’, aspires to realize the unity of śiva
śakti ‘ha sa’ in the same universe seen by him, by crossing over the māya denoted by
‘kṣa’ with the help of scriptures heard by him from the preceptor, denoted by ‘ūṁ’.
Another aspect: the nine sounds (nava nādas) abobe āgynā from bindu to unmani are
also represented by the single syllables of this bīja. They are:
Haṁ unmanyākāśānandanātha
Saṁ samākāśānandanātha
Kṣaṁ vyāpakākāśānandanātha
Maṁ śaktyākāśānandanātha
Laṁ dhvanyākāśānandanātha
Vaṁ dhvani-mātrākāśānandanātha
Raṁ anāhatākāśānandanātha
Yaṁ indvākāśānandanātha
Ūṁ bindvākāśānandanātha

These are meditated above the ājñā cakra to braṁharandhra and while meditating
aspirant will feel different sounds at each stage, these sounds are Guru in that they re-
enforce śraddhā of aspirant to move further, that’s why they are found in
anuttarāmnāya, which is experience of sādhana path.

In the ānandabhairavī bīja: ‘sa’, ‘ha’, ‘kṣa’ and ‘ma’ are taken to mean as above. ‘la’,‘va’
‘ra’ and ‘ya’ are the pañca tattvā or pañca makarās by which the elements are used by
the aspirant with the meditation on the kāmakalā bīja ‘īm’. It is also the left eye in
mātṛkā nyāsa, left denoting the śakti pradhāna and eye denoting the practical usage.
Now putting it in a single line we find the aspirant denoted by ‘ma’ using the pañca
tattva ‘la va ra and ya’ in the manner said by the kāmakalā ritual manual (īm) to cross
over the māya (meru represented by kṣa) to realize the unity of śiva śakti in this universe
represented by ‘sa-ha’. Here the śakti is said first since this upāsana though is śiva śakti

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sāmarasya develops an individual through rituals and meditations which are śakti
aspect.
Reading through the kaṭapayādi code, we find both of them decipher to one, since it is a
consonant syllable at the end is ‘ya’. Thus advaita, oneness of aspirant, guru and deity
being established by chanting of both of these bīja mantras are denoted.
Thus we find an identity of ānandabhairava bīja with Guru; hence we find the same as
the ṛṣi of this mantra and ānandabhairavī with the self full of bliss (sadānanda pūrṇa
svātmaiva parādevatā Lalitā), hence we find same as upāsya devatā Lalitā.

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3.Sampradāya pravartaka (datta samhita)

Datta samhita is a text on the tenets of Śrī Vidyā upāsanā. The detailed exposition of the
raśmi mālā mantras with the attendant worship (āvaraṇa pūja) and sādhana with
prayoga in each chapter is a joy to read. The twenty fourth mantra of the raśmi mālā is
the guru pādukā. In this chapter a wealth of information necessary for Upāsakā is seen.

Lord Datta revealed that due to his blessings Bhārgava rāma, will be pravartaka- cause
of spread of Sundari Vidyā. In second yuga, while Śrī Rāma, son of daśaratha visits
mātaṅga āśrāma, he will be blessed with Vidyā of mātaṅgi and will become propagator
of syāmālā upāsana, Later in third yuga, Śrī Parāśurāma will bless intricacies of Vārāhi
worship to Balabhadra, elder brother of Bhagavān Vāsudeva Kṛṣṇa, and make him
propagator in that worship. During worship in daily ritual (saprya) these three
sampradāya pravartakā have to be given due respect and worshipped, otherwise that
pūja will be a waste.

Let us examine these ideas said above:

In the khadgamālā mantra we find reference to ‘ŚrīRāmānandamayi’. Since khadgamālā
is for Śrīkrāma we can explicitly infer this as a reference to Lord Parāśurāma from above,
and also elicit a hidden hint on the other two ‘rāmā’s.
(Incidentally, gurus mentioned in khadgamālā- caryānāthamayi will refer to Śrī
Mahākāmeśvara, mitreśamayi to Śrī Svacchanda bhairava, ṣaṣthīśamayi to Lord
ṣanmukha and Uddīśamayi to Sage Durvāsa krodhabhattāraka.)
We find a name in triśati- haladṛt pūjitā and in saubhāgya aṣṭottara śata - hala hastārcita
padā, which explicitly points to Balarāma when we break up the name as hala hasta
arcita, who is meditated as having a plough and pestle in his hands. If we break up the
name to end in a longer vowel as hala hastā arcita, it points to Vārāhi, who is also
holding these as weapons in her hands. These weapons take a form of deity with shape
of these weapons on their head as a crown in her enclosure. The body is considered as a
kṣetra- field, where the seeds of the past karma are sown after ploughing. Thus the

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plough denotes experience of past deeds in this body. The pestle is remover of husk of
seeds, thus preventing its regeneration. The pestle represents actions in surrender to
Divine and submitting all our work to Divine, thus removing the husk call –‘I’ or ego
centric deeds. Vārāhi Devi denotes the male principle as Father (Vārāhi pitṛ rūpā) and
Hence points to this body, which is got from Father, thus having these weapons in her
hands, sends messages of surrender to aspirant. So also does Balabhadra, who
described as having a perfect body, well maintained, a body combat warrior.
Bala bhadra is also meditated as intoxicated with wine; Vārāhi has wine sea (Surā
samudrā) in her enclosure. These denote that, not the ordinary consciousness level is
seen in them, they have an altered higher consciousness, and to denote this state we
find the reference to drunkenness. Thus it is indeed proper that Bala bhadra is identified
with the sampradāya pravartaka of Vārāhi.

ऐीं ग्लौं ह्सखफ्रें ह्सक्षमलिरयूीं सह्क्षमलिरयरीं हस ौः सह : िािाालर सींप्रदाय प्रििाक बलभद्र

रामानन्दनाथ श्र पादक

ु ाीं पूजयामम नमौः

aiṁ glauṁ hskhphreṁ hasakṣamalavarayūṁ sahakṣamalavarayīṁ hsauṁ shauḥ vārtālī

sampradāya pravartaka balabhadra rāmānandanātha śrī pādukāṁ pūjayāmi nāmaḥ

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We find a name in triśati- lakṣmaṇa-agraja pūjitā, which explicitly points to Śrī Raghu
rāma– son of daśaratha and elder brother of Lakṣmaṇa, who is meditated as having a
bow and arrow in his hands. Śrī śyamālā is also holding these as weapons in her hands
during the battle with Bhandasura. Her Bow is called brahma śiras, presented by deity of
dhanurveda- Science of weapons/archery. Both Śrī Rāma and Śrī Śyamālā Devi are dark
skinned. Śrī Rāma avatarā has maintained the ‘humane quality’ – ‘ātmānam mānuṣam
manye rāmam dasaratātmajam’- I consider myself as a human, son of king daśaratha. Śrī
Śyamālā Devi is the life in the body, which is denoted by Śrī Vārāhi Devi. The sound–
saṅgīta in the body is the heart beat, which is the sure sign of the lively existence. Śrī
Śyamālā Devi is the prime minister, the buddhi – intellect, truthful to the king- the
consciousness. This truthfulness if found throughout the life of Śrī Rāma.
Thus it is fitting that sampradāya pravartaka of śyamālā is Śrī Rāma

ॐ ऐीं कलरीं स ौः ह्सखफ्रें ह्सक्षमलिरयूीं सह्क्षमलिरयरीं हस ौः सह : श्यामला सींप्रदाय प्रििाक

दार्रथ रामानन्दनाथ श्र पादक
ु ाीं पूजयामम नमौः
aiṁ klīṁ sauḥ hskhphreṁ hasakṣamalavarayūṁ sahakṣamalavarayīṁ hsauṁ shauḥ
śyāmalā sampradāya pravartaka dāśaratha rāmānandanātha śrī pādukāṁ pūjayāmi
nāmaḥ

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We find a name in saubhāgya aṣṭottara śata revealed in tripurā rahasya – rāmārcitā. This
name without any prefix can be explained as pertaining to the first of the three
‘rāmāvatāra’, and who is also called ‘ādyarāma’; since the other have ‘raghu’ and ‘bala’
as prefixes. Parāśurāma is the son of jamadagni and reṇukā and is meditated holding an
axe and also a bow with arrow in his hands. One of the main incidents in the life of
Bhārgava rāma is the slaying of his mother reṇukā. Thus he is called ‘mātṛhā’. ‘mātā’
means measure, as in mātṛ māna and meya, limitations imposed by the māyā on the jiva
siva. Her head was severed with the axe. In parlance we find trees are cut with an axe-
Lalitā sahasranāma- ‘bhavāraṇya kuthārikā’ and ‘mṛtyu dāru kuthārikā’. Here forest is
compared to whole samsāra and an individual tree is compared to death. The branch of
this tree is used for making handle of an axe, which finally cuts off whole forest. This is
whole idea behind usage of five ‘M’ in tantric sādhana. We can interpret this as usage of
a part of knowledge to remove total bonded knowledge. Thus we find that knowledge is
personified as axe here. Now in this light, killing of his mother with an axe will be in
reality removal of measurable to realize immeasurable with help of knowledge. After
this act, He prays to his father, who is also his preceptor, for the resurrection of his
mother and is called ‘mātṛ jīvaka’. Now this action will means, after realization of
infinite, same universal māyā is now acknowledged in sahaja sthiti. This is termed as the
resurrection.

Another incident is stealing of kāmadhenu by kārtavīrya, its retrieval after destruction of

kārtavīrya. These actions are seen in names ‘go-traṇa-kṛt’ and ‘go-pradātā’ – savior of
cattle and protector (giver) of cattle. Here ‘go’ means the senses. Now this will mean to
control of senses, by not letting them wander or being stolen by worldly pleasures, with
a focus on path of sādhana as said in kaulopaniṣat- ‘sarvendriyāṇām nayanam
pradhānam’. The bow and arrow will point to pure mind and senses with its restraint.
These weapons are there in hands of Lalitā Devi too, pointing to the same idea.

These are the play field of the Lalitā Devi. Thus it is indeed apt that Śrī Bharagava rāma is
sampradāya pravartaka of Sundari.
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ॐ ऐीं ह्रीं श्रीं ह्सखफ्रें ह्सक्षमलिरयूीं सह्क्षमलिरयरीं हस ौः सह : सुन्दरर सींप्रदाय
प्रििाक जामदग्न्य रामानन्दनाथ श्र पादक
ु ाीं पूजयामम नमौः
aiṁ hrīṁ śrīṁ hskhphreṁ hasakṣamalavarayūṁ sahakṣamalavarayīṁ hsauṁ s hauḥ
sundarī sampradāya pravartaka jāmadagnya rāmānandanātha śrī pādukāṁ pūjayāmi
nāmaḥ

4.Parāsurāma’s tenets

In the last chapter of Parāśurāma kalpa sūtra we find the tenets to be adhered to by a
sādhaka of this upāsanā. Out of the many said the following tenet is discussed.

‘strī-vṛndâdima-kalaśa-siddha-liṅgi-krīḍā-''kula-kumārī-kula-sahakārâśokaika-taru-
pretâvani-matta-veśyā-śyāmā-rakta-vasanā-mattebhānāṃ darśane vandanam’

darśane vandanam- On sight of the following an aspirant in this path is to be respectful

and prostrate with his mind. Since otherwise this action would be against another tenet
– ‘gopyam’- break of secrecy in following this path.
Darśana will also point to the revealing of divinity. Vandana will be reverence, thus this
will also point to recognizing or venerating the divinity in the following.

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strī-vṛnda – A group of ladies. Lalitā sahsranāma says ‘vimānasthā’- ‘vi’- (visheshena)
especially, māna – measured, sthā – placed in, thus this will point to the śakti tattva
which has caused the primordial movement to manifest this visible universe which can
be measured from the pre-creative state which is immeasurable. The traditional
iconography of śakti is female, thus this will mean as - inherent in the female. Devi
Mahātmyam also says – tava Devi bhedhā striyaḥ samasatāḥ’- verily all the female are
your form. Thus it is proper to venerate the movement of energy personified as śakti.
Strī by katapayādi will point to the number two; vrnda to a group, thus the whole
universe which is an expression of the initial spanda personified as the divine couple is
to be venerated is the ‘darśana’ here.
âdima-kalaśa- the first ‘ma’ in the pañca makāra – the alcohol. Kalasa is a ceremonial
pot. Thus we find veneration instructed on sight of a ceremonial pot full of the dravya.
The instruction is explicit ‘ceremonial’ – viz. during the ritual when the kārana kalasa is
established. The Primordial couple is invoked in the liquid as ānanda bhairava and
ānanda bhairavi. Thus we find veneration to that divine couple is said here.
The first ‘ma’kāra is the cause of manifestation of Brahman as per the initial chapter –
‘ānando brahmaṇam rūpam tacca dehe vyavasthitam tairabhivyanjakāh pañca
makārāh’. Hence this veneration is required.
Looking further the liquid (alcohol), is a transformed one, from the sugar. Thus it will
now imply transformation, particularly of the mind awareness, kalasa as seen
traditionally is the body itself, Thus to recognize that transformation of mind awareness
from body level to the universal level, which is full if bliss is the divine to be attained is
the ‘darśana’ needed here, and to be venerated.
siddha-liṅgi- siddha is an accomplished sādhaka, literally also means ‘cooked’. Linga
means identification. Thus if we find such an accomplished soul in our midst we are to
recognize and salute him. The qualities of an accomplished soul are that in his presence
the mind becomes quite without much effort, we find all doubts are erased without
questions and a great joy fills up instantaneously (A classic example is Bhagavan
RaMaṇa) These being our goal, all accomplished sādhakas, who have the everlasting

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awareness of the divine couple, are to be venerated for their blessings and guidance in
the path.
krīḍā-''kula-kumārī- Playful group of young maidens. Lalitā triśati has a name: hallesa
lāsya santushtā’ and ‘lāsya priyā’, Sahasranāma says ‘ lāsyā’ - Devi is happy in a group
with playful mood. ‘hallīa’ is the ‘kummi’ in the southern Tamil vernacular or ‘Dandya’ in
the northern Gujarati. This is played by a circular woven motion of dance and clicking
two colorfully decorated sticks held in the hands. This will now point to an expression of
joy and great flow of energy, which is identical to the primordial surge during creation,
which is the ‘darśana’ here and hence is suitably venerated.
‘krīda’ and ‘kula’ as per katapayādi is thirty one, which denotes the mayā tattva. Kula
also will point to the six astral centers in the body and kumāri to the inherent power in
the body called kundalini. Thus recognition and veneration of the play of maya and the
bliss of the kundalini experience is the ‘darśana’ said here
kula-sahakārâśokaika-taru- the trees of venerative in nature, blossomed mango tree,
ashoka tree and a single tree in within the vision range. Traditionally certain trees are
associated with divinity- the banyan, peepul, and gooseberry (amla) etc, they will bring a
sense of clam and joy to the devotees. Mango tree blossoms in the spring, wherein all
the creatures are in joyful state of mind. ‘a-śoka ‘ by name it self will point to a joyful
state, ‘eka taru’ – a single tree within eye sight- indicative of divinity associated with
that place, On a whole recognizing the ever lasting joyful state and divinity, which is the
recognition of the divine couple as permeated in the entire universe is the ‘darśana’
here.
pretâvani- The literal translation is cremation ground. “Preta” means a lifeless being or
corpse. (“Pra (Karshana) Itah (Gatah) Yasmath Jivah – sah). Avani means earth or place.
Thus places where in the corpse are buried or burnt- the cremation ground is to be
venerated. The creation of this body is from the five elements in a universe after
pancikarana of the ‘tattva’ and after the soul leaves this body it will return to the
elements, either by burial or by burning. The main idea said here is the realization that
the sthula deha – gross body is made up of the five elements as a movement by the

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divine couple. Recognizing the initial spanda of creation and further gross creation by
pancikarana of the elements if the ‘darśana’ here.

matta-veśyā- The literal meaning is intoxicated or aroused prostitute. ‘vesya’ by

katapayādi code will show fourteen, the vidyās of the vedic lore- the four Vedas, four
upa Vedas and six angās. Elsewhere also Parāśurāma says ‘vesyā isva prakatā vedādi
vidyā’. This is the secret in that statement, such an example also points to that the Vedic
knowledge is open to common public platform and can be taught in a group or class,
while kula sahana is a one-to-one basis. Tantra sadhana also is based on the Vedas, thus
to venerate Vedic teachers is the meaning shown here. ‘matta’ is in the sense of the
universal self. (Śrī Kṛṣṇa in Gita says: ‘matta parātaram’- Nothing is different from me’,
Here ‘matta’ means the identity with the universal self). On a whole the veneration of
the reverend Vedic scholars who have real experience of the universal consciousness,
which is again the goal of the Tantra sadhana, is the ‘darśana’ here. Referring the article
on ‘Vārāhi’ we find a similar Vedic allurement there, and hence this will now point to the
initial upāsanā of Vārāhi also.

śyāmā- The dark hued women. Here the secret message can be unfolded by katapayādi
code, ‘sya’ is one and ‘ma’ is five, reversing we get fifty one. They are the alphabets of
the Sanskrit language- mātrukākṣarās. Thus to recognize the universal sound and its
thought constructions, the compounded intellectual knowledge through time is
personified as the divine. In practice this can also means the teachers, the musical
performer esp. singers, an allusion is there to worship Syāmalā Devi as the second in line
to the upāsanā of Lalitāmbika.

rakta-vasanā- Women in red colored attire / clothes. So, if we find women in red
garments we have to recognize the divinity of that situation and be respectful. Red color
as per Bhāvanopanishat is – the recognition of the identity of the attribute-less Brahman
called MahāKāmeśvara, the joy filled Lalitā and the sādhaka with the sensory organs as
being not different from the ātmā. This is verily the upāsanā of Lalitā.
13
mattebhānāṃ - The ruttish or furious elephant. Elephant is a symbol of huge energy
potential, when tamed can perform Herculean tasks at the command of the trainer. It is
controlled by a small goad. ‘Ruttish’ is a state of uncontrolled energy exhibition. Thus to
recognize that divine is an uncontrolled energy and grace of the divine has no logical
flow is the ‘darśana’ in this way. This is the upāsanā of ‘parā’.

Thus these tenets have been deeply analyzed by the Grace of Śrī Guru and Lalitā
Kāmeśvara, The word ‘sūtra’ itself is a pointer in this direction. ‘Sūcanāt sūtra’- Sūtra are
indicative in nature. Thus we have done a deep meditation on the real purpose of these
sūtras.

Our veneration to The Divine Couple’s LOVE

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 Raśmi mālā mantra meditations
1. Gandharva rāja mantra
One of the main rituals of a Śrī vidyopāsaka is the chanting of the raśmimāla mantras
encoded in the Parāśurāma kalpasūtra, which are 37 in number, beginning with gāyatri
mantra and ending with Mahā pāduka. The seventh mantra in this sequence is
gandharva rāja viśvāvasu mantra. The effect of this mantra is said by Bhagavān
Parāśurāma as uttama kanyā vivāha pradāyini- One which bestows the best maiden as
the life partner.
The mantra according to nityotsava is:

ॐ गन्धिाराज विश्िािसो ममामभलवििाीं कन्याम ् प्रयच्छ स्िाहा

‘Om gandharva rāja viśvāvaso mamābhilaṣitāṁ kanyāṁ prayaccha svāhā.’

A free translation of the above would be- O King of Gandharvas- a group of beings well
versed in fine arts especially music.- Visvāvasu- his name- please bestow me a maiden
(virgin) of my likes and character.
The dhyāna sloka according to Nityotsava / Datta samhitā is

रकिाङ्गारुर्भि
ू र्ाढ्यीं िरर्ाधर्ीं िरटरकयोल्लसन्िीं
गन्धिाकन्या जनगरयमानीं विश्िािसींु सद्बह
ृ तिीं नमामम
“raktāṅgāruṇabhūṣaṇāḍhyāṁ vīṇādharaṁ vīṭīkayollasantaṁ
Gandharva-kanyā-janagīyamānaṁ viśvāvasuṁ sadbṛhatiṁ namāmi”

A translation of the above will be: Adorned with red ornaments, holding a vīṇa (stringed
instrument) called bṛhatī, enjoying a mouthful of betel, surrounded by gandharva
maidens singing his praises, I bow to Lord of gandharvas- Visvāvasu.
The following is an attempt to find an identity of mantra and the dhyāna sloka.

15
sadbṛhatiṁ: Holding the vīṇa called bṛhatī. “Bṛhat” means very big and vīṇa is the best
of all instruments with sapta svarās, leading to the ‘Om’ kāra in the mantra. Vīṇa is also
an allegory to the spinal chord wherein kuṇḍalini rises to bestow the BIG experience.
viśvāvasuṁ vīṭīkayollasantaṁ: Oh! Visvāvasu, you are enjoying the chewing of betel
leaf, which is a sign of royalty. Hence the mantra says’ gandharva rāja viśvāvaso’.
raktāṅgāruṇa bhūṣaṇāḍhyāṁ Gandharva-kanyā-janagīyamānaṁ : Praised by
gandharva maidens, wearing red ornaments. Ornaments are sign of aiśvarya – richness
in one sense, Lord Ship in another sense. Red is a color of Love and passion. We find this
is reflected in the mantra as ‘mamābhilaṣitāṁ kanyāṁ prayaccha’
namāmi: I bow is the literal meaning. ‘na’ is negation and ‘ma’ means individual
existence. This negation is found in ‘svāhā.’
On the physical- surface level, we find this mantra helps to wed a good maiden (virgin).
In argala stotra of Devī Māhātmyā, we find a similar prayer- ‘patnīṁ manoramāṁ dehi
manovṛttānusāriṇīṁ’- please bestow a life partner who is to my likes and creates joy in
my mind. This situation of an understanding wife will be a gift in sādhana, wherein joy in
mind – santoṣa- is a prerequisite for sādhana. The phrase ‘mamābhilaṣita’ occurs in
another mantra – the annapūrṇa mantra- where it says ‘mamābhilaṣitamannaṁ’- food
of my taste. Thus we find the annapūrṇa mantra is the santoṣa- joy / satisfaction in the
physical level, the gandharva rāja is in the mental level.
In subtle level this mantra has a wider meaning. Visva means this universe, vasu is
wealth, rāja is King and gandharvas are beings not seen by mortals. Aligning all above
ideas, we find that this refers to unseen king of universal wealth. The same idea is in the
meaning of īśvara- who is not seen by the mortal eyes, who is the Lord of the whole
universe and its material wealth. On a whole this is the parāmātman.
bṛhatī Vīṇa will means spinal chord and in turn kuṇḍalini sādhana in six cakras situated
in it, kanyā is the code word for kuṇḍalini śakti. This subtle energy in physical body is
personified as a maiden in all tantric literature. Wedding is a symbol of union. Thus
above mantra will now transform as a prayer to Divine Lord for eternal- unending
experience of Kundalinī śakti’s union.
‘’ O Lord Datta!!! These are flowers on your feet’’
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2. Pathiṣad rudra mantra

The eighth mantra is pathiṣad rudra mantra, to be meditated at the forehead center.
The fruit of recitation of this mantra is mārga samkata hāri- removal of dangers /
discomforts in way- i.e. journey. The root word is ‘path’ – the way or route taken for
travel. The suffix ‘ṣad’ will mean protection. The deity indicated is ‘rudra’- a fierce,
terrible form, hence the alertness is stressed. The forehead is a symbol of fate and thus
the journey of life is also hinted.
The mantra as per nityotsava / parāśurāma kalpa sūtra is

ॐ नमो रुद्राय पथथिदे स्िस्स्ि माीं सम्पारय

‘om namo rudrāya pathiṣade svasti mām sampāraya’

The dhyāna sloka is

आत्ि-सज्ज-धनुबाार्-टङ्क-एर्ीं िि
ृ भस्स्थिीं-
अन्नपूर्ाा समास्श्लष्टीं पथथिद्रद्र
ु माश्ये
‘ātta sajja dhanurbāṇa TankaiṇaM vṛṣabhasthitam
annapūrṇā samāsliśtam pathiṣadrudramāaśraye’

The free translation of the meditative verse is –‘Having strung arrow in a bow, holding a
chisel and deer, seated on the bull and closely embraced by Devi Annapūrṇā, I seek
refuge in pathiṣadrudra’.
The translation of the mantra would be- ‘I bow to Lord pathiṣadrudra, let him protect
me on the way and lead me to my destination successfully and peacefully’.
The idea of travel was difficult in earlier days; dangers in travel were innumerable like-
thick forest without any defined way, wild animals (lion, tiger elephant etc), dacoits, and
foreign people; again travel by waters, to cross oceans, only mode was a ship which had
more factors of danger in it, such as storms, sinking, directionless movement and finally
unknown diseases in foreign land. However, people had to travel and hence traveled by
foot, vehicle or in ship. So naturally, they also prayed for a happy and successful travel
17
to the Lord. Even now this situation has not changed much, with terrorist attacks and
risk in sky travel, chanting of this mantra still holds good.
The bow and arrows are said to represent senses and the mind, thus the image of a
strung bow and arrow reminds us of alertness to any situation. The chisel represents
finer shaping of ideas like creating a beautifully shaped idol and holding deer to restrain
of ever restless mind. The bull is said to be the personification dharma devata, hence to
adhere to one’s dharma is indicated. The Devi who hugs the Lord is Annapūrṇeśvari. She
represents the annāmaya kośa, the gross body. Thus the deity to protect on the way is
held closely by the gross body.
Summarizing, we find the alter mind, with plan on fine details, restraining the flickering
mind and the safety of the gross body is granted by the Lord Pathiṣadrudra for a safe
travel to reach the destination successfully.
‘ātta sajja dhanurbāṇa Tankaiṇam’ = Having a strung bow and arrow, with a chisel and
deer. These are allegories of an alert mind with no wandering and finer planning. These
will lead to a peaceful journey and reach the destination safely. The same idea is ‘svasti’
– peaceful mind and ‘sampāraya’ – reaching the destination safely in the mantra
‘vṛṣabha sthitam’= the Bull is the Lord of dharma and hence the Praṇava mantra is
elucidated ‘Om’
‘Annapūrṇā samāśliṣtam’= Hugged by Devi Annapūrṇā, - will signify the annāmaya koṣa
, explicitly will point to ‘mām’
‘pathiṣdrudram’= Lord Pathiṣadrudra, the mantra says’ rudrāya pathiṣade’
‘āśraye’= I take refuge in him. The mantra will say’ namo’ – I bow the supreme Lord.
Thinking on a higher plane of consciousness, in the journey of an aspirant to the final
destination of realization of the Divine, the protection of the body – ‘sarīram ādyam
khalu dharma sādanam’- verily the gross body is the base of all sadhana is foremost. The
alertness of mind in all situations- Bhāskararāya says- avivecana abhāvameva gyāna
sarvasvam- to be aware at all times is knowledge in action. Fine points in life to be
enjoyed like chiseling of an idol and restraining the mind not wander in unknown areas
are the pointers revealed. This will ensure a safe and successful journey to reach the

18
divine. Thus this mantra is to be chanted daily for the śrī vidyopāsaka to attain a state of
ever immersed in Śiva hood- ‘satatam śivatā samāveśa’.
Looking further arrows are symbols of pañca tanmātras. They are represent five ‘M’ in
saparyā. The alertness in using the five ‘M’ in sādhanā, thus not misleading us by their
undisciplined use and real comfort in this sadhana of rāja yoga is also revealed in this
mantra.
Interestingly some sources have identified a modification in this mantra for a particular
travel.

For Travel by air ॐ नमो रुद्राय ददवििदे स्िस्स्ि माीं सम्पारय

For Travel in Ships (over waters) ॐ नमो रुद्राय अप्सुिदे स्िस्स्ि माीं सम्पारय
For travel in forests ॐ नमो रुद्राय िनिदे स्िस्स्ि माीं सम्पारय
For mountaineering ॐ नमो रुद्राय थगररिदे स्िस्स्ि माीं सम्पारय
For travel via cemetery ॐ नमो रुद्राय वपिि
ृ दे स्िस्स्ि माीं सम्पारय
3.Tārā mantra
The ninth mantra is the Tārā, to be meditated at the brahmarandhra. The effect of this
mantra is said as jalāpacchamanī-One who protects from the dangers in water travels.
While travelling Śrī Nagara to cintāmaṇī gṛha, she along with her consort helps the
aspirant in crossing the first moat called amṛta vāpikā in a boat, rowing him in a boat.
The second moat ānanda vāpikā is crossed over similarly with help of Śrī Vāruṇī Devi and
her consort, the third vimarśa vāpikā is crossed over similarly by the assistance of
Kurukullā Devi and her consort.

The mantra deciphered from Parāśurāma kalpa sūtra and according to nityotsava is:

तारे तुत्तारे तुरे स्वाहा

‘Om tāre tuttāre ture svāhā.’
A free translation of the above would be- O Tārā Devi, row with skill and speed (in a
boat, carry us over the ocean)
The dhyāna sloka according to Nityotsava / Datta samhitā is

न का मसींहासनारूढाीं र्ाकिदर्ानदे ििाीं

जलापच्छमनरीं िन्दे िाराीं िाररथधमेचाकाीं

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 “naukā simhāsanā rūdhāṁ sākta darśana devatāṁ
Jalāpacchamaīṁ vande tārāṁ vāridhi mecakāṁ”

naukā simhāsanā rūdhāṁ: Riding the boat, like a throne. Here boat is visualized as the
throne for Devi, along with her husband. In puraṇas, during water deluge ādi dampati –
pārvati parāmeśvara transformed praṇava mantra into a boat and rode it on those
waters. Recalling this simile, we can equate this with ‘Om’ in mantra.
tārāṁ, mecakāṁ vāridhi, Jala āpat śamaīṁ: Devi Tārā, who subsides the blue oceanic
dangers. Blue allures to poison, as in nīlakaṇṭha due poison in his throat. Ocean is
compared to innumerable cycles of birth and death, samsāra sāgara, thus on a whole
vicious (rather poisonous) cycle of birth and death is said here. ‘Tārā’ means one who
helps us to cross over this ocean filled with dangers. This is seen in mantra as an
invocative term ‘tāre’.
sāktha darśana devatāṁ: The deity of the revelation(darśana), which emphasize kinetic
aspect. Sākta will also mean power in skill and speed. The swiftness and skill in a
sādhanā is hinted here. This is seen in the mantra as ‘tuttare’- rowing a boat with skill,
rest assured it is not an easy task to row a boat in troubled waters, we need skill and
‘ture’ = speed.
Vande: I bow to thee, this is seen in the mantra as ‘svāhā’
‘tārā’ will mean to cross over per dictionary and as per kaṭapayādi code will reveal
number twenty five, puruṣa tattva. Combining both ideas, we can infer that cross over
from ‘sarīra kañcuko jīvah (puruṣa)’ to ‘niṣkañcuka Śiva’ is through her grace.

20
On an analysis of syllables in part of this mantra (tāre tuttāre ture) we find eight
consonants - five ‘ta’ and three ‘ra’ and seven vowels – two each of ‘ā’ and ‘u’ with
three ‘e’. Total count is fifteen, which can be seen as both, syllables of Śrī Vidyā mantra,
also a fortnight in a lunar calendar, represented as tithi nitya devtas. ‘ta’ is śrotra tattva,
the cognition of sound, an aspect of Space, and five will point to this aspect inherent in
all five elements while pañcīkarana- creative mixture of the subtle elements- is done, to
get this visible universal. ‘ra’ is sparśa tattva, an aspect of air , the next most subtle
element, also ‘ra’ as the agni bīja indicates subtle element fire. In total we find three
elements above water in the order of creation, thus symbolically saying that they are
above waters, justifying the name ‘jalāpat-śamanī’.
The Syllables in Śrī vidyā pañcadaśi mantra also have five sabda gunas, three sparśa
gunas, a parā Śiva tattva (visualized by ‘e’- once in the pañcadaśi mantra and thrice in
this mantra – hence we can see that more emphasis is given here) and ānanada Śakti (
visualized by ‘ā’ here and by ‘ī’ in Śrī vidyā mantra). Thus we can surely conclude that
this mantra is identical in spirit to Śrī Vidyā pañcadaśi mantra.
On deeper meditation:- ‘ta’ as śrotra tattva related to ‘u’ meaning upadeśa, hence then
mantra dīkṣa. ‘ra’ sparśa tattva related to sparśa dīkṣa. ‘e’ the parā Śiva tattva to the
final state reached and ‘ā’ to ānanda Śakti in the sahaja sthiti. Thus we can relate the
revelation of the parāŚiva tattva in the Samadhi state and ānanda (bliss) in the sahaja
sthiti attained through sādhanā after mantra upadeśa and sparśa dīkṣa is integral in this
mantra, which are said as the fruit of chanting this mantra – the jalāpacchamanī- saving
from the dangers of waters – the samsāra.
’ O Lord Datta!!! These are flowers on your feet’’
4. Brahma and Sarasvati mantra
(śruti dharani vidyā and mātṛkākṣarA )meditation
The fourteenth and fifteenth mantras are Brahma and Saravsati mantras, to be
meditated at Brahmarandhra and dvadashāntā respectively. The bramha mantra is
Vedic; effect of this mantra is said by Bhagavān Parāśurāma as śruti dhāriṇi-One who
helps in retaining (remembrance of) heard knowledge. The sarsavati mantra is the fifty
one mātṛkākṣarā.
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In the Śrī Nagara, both Brahma and his consort sarasvati are found in the vidruma ratna
prākāra (red coral fort enclosure).
The Bramha mantra deciphered from Parāśurāma kalpa sūtra and according to
nityotsava is:

ॐ नमो ब्रह्मणे धारणं मेsत्वननराकरणं धारनिता भूिासं कणणिो: श्रुतं मा च्िोढवं ममामुष्ि ॐ

‘Om namo brahmaṇe dhāraṇaṁ meastvanirākaraṇaṁ dhārayitā bhūyāsaṁ

karṇayorśrutaṁ mācyodhvaṁ mamāmuṣya Om.’

The sarasvati mantra is ‘अीं+क्षीं ‘am…. Kṣam (51 alphabets)’

This Vedic mantra is found in the mahā nārāyaṇopaniṣat as its ninth chapter.
brahmaṇe - Oh Brahman nāmah- prostrations; me- to me ; dhāraṇaṁ – concentration
of thought (or) powerful memory; astu – be; anirākaraṇaṁ – without distraction;
dhārayitā – one who practices concentration of thoughts; bhūyāsaṁ- may I be;
karṇayor śrutaṁ – whatever I have heard with my ears; amuṣya- of such and such;
mama – mine; mā – not be; cyodhvaṁ- fail.
A free rendering of the above translation would be- My prayers to Brahma for perfect
hearing, intact memory, absorb the heard sound to a high degree, not to loose what
ever is heard, let me be so.
The dhyāna śloka of Brahma according to Nityotsava / Datta samhita is

“चिुरानानाीं अम्भोजतनिण्र्ीं भारिर सखीं

अक्षमालािराभरति कमण्डलुधरीं नुमौः
caturānanaṁ ambhoja niṣaṇṇaṁ bhāratī sakhaṁ
Akṣamālāvarābhīti Kāmaṇdaludharaṁ numah”

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caturānanaṁ ambhoja niṣaṇṇaṁ: Having four faces and seated in a lotus. The unique
form of Lord Brahma, the creator has four faces and was born in lotus. Thus this will
point to ‘brahmane’ in the mantra.
bhāratī sakhaṁ: with his consort Bhāratī . ‘Bhā’ means light or splendor – here the
inner light. The main aspect of hearing a sound is to recognize and keep it in memory.
This is possible by inner intuitive intelligence only, which is figuratively said as inner
light. ‘dhāraṇaṁ me astu’ in the mantra explicitly says this idea.
Akṣamālā: The count beads (fifty one in number).The main aspect of keeping in memory
required a structured way of sounds, which are alphabets, here they are the fifty one in
the language spoken – Sanskrit. This idea is visualized in the ‘anirākaraṇaṁ’
varābhīti: Showing gestures of removing fear and granting boons. Here the best boon is
the analysis of beauty in above structured response and fear is lapse in holding this
capacity, removal of this is said here. These ideas are in ‘dhārayitā bhūyāsaṁ’
Kāmaṇdaludharaṁ: Holding the ceremonial water pot. The ritual sacrificial pot points to
the action, karma, where in the continuous usage of the structured response is kept
alive; the ear is an organ of cognition – karmendriya- thus ‘karṇayor śrutaṁ mā
cyodhvaṁ’, explains this perfectly.
Numah: I bow. This is found in the mantra as ‘namo’ in the sense of salutation and
‘mamāmuṣya’ in the sense of the doer.
The most peculiar identity of this mantra is that it starts with praṇava ‘Om’ and ends in
praṇava ‘Om’. The initial throb when manifested produced a sound is praṇava; hence
this is befitting that all the alphabets which are an expansion of the primordial sound
starts and ends in the same sound form, thus making this mantra very powerful in
utility.
The dhyāna śloka of Sarasvati Devi is

पञ्चार्ि मािक
ृ ार्णौः आरब्धाखखल दे हया
समस्िविद्यारूवपर्रीं ध्यायेऽहीं मािक
ृ ास्म्बकाीं
“pañcā śata mātṛkārṇaiḥ ārabdhākhila dehayā
Samastavidyārūpiṇīṁ dhyāye.a.haṁ mātṛkāmbikāṁ”

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pañcāśata mātṛkārṇaiḥ ārabdhākhila dehayā: The body of the devi is made of fifty one
letters – this explicitly points to all the mātṛkākṣarā ‘am to kṣam.’ The placement of
them please see detailed explanation in the below (another) dhyāna śloka.

Samasta vidyā rūpiṇīṁ dhyāyehaṁ mātṛkāmbikāṁ: She is in the form of all knowledge,
I meditate on mātṛkādevi. This is the expression of the above alphabets which forms all
fields of vidyā (knowledge).
In Śrīvidyā saparyā, during nyāsa, first is this mātṛkā nyāsa. There we find another
dhyāna śloka:

पञ्चाशद्वणणभेदैः ववहहतवदनदोैःपादिक्
ु कुक्षिविोदे शां
भास्वत्कपदाणकलित शलशकिां इन्दक
ु ु न्दावतदातां
अिस्रक्कुम्भचचन्तालिखितवरकरां त्रीिणामब्जसंस््ां
अच्छाकल्पामतुच्छस्तनजघनभरां भारतीं तां नमालम

“pañcā śat varṇa bhedaiḥ vihita vadana doḥ pādayuk kukṣi vakṣo deśāṁ
Bhāsvat kapardākalita śaśi kalāṁ indu kundāvadātāṁ
Akṣasrk kumbha cintā likhita vara karāṁ trīkṣanāṁ Abja samsthāṁ
acchākalpāṁ atuccha stana jaghana bharāṁ bhāratīṁ tāṁ namāmi”

pañcā śat varṇa bhedaiḥ: The variations of the fifty one alphabets ‘aṁ to kṣaṁ’
vihita: Divided into vowels, ka ca ṭa ta pa ya vargas (series )
vadana: Placed on face, vowels - a – top of head, ā- circum fence of face; i and ī - right
and left eye; u and ū- right and left ear; ṛ and ṝ- right and left nostril; lṛ and lṝ- right and
left chin; e and ai- upper and lower lips; o and au- upper and lower teeth; aṁ- tongue tip
and aḥ- top of head (this is as per parāmānanda tantra)
doḥ: hands, ‘ka’ and ‘ca’ series– shoulder joint, mid arm, wrist, start and tip of fingers in
both right and left hands
padayuk :both legs-‘ṭa’ and ‘ta’ series–hip, knee, heel and start and tip of fingers(feet).
kukṣi: The stomach- ‘pa’ series - both sides, back and front sides and navel

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vakṣo deśāṁ: The area of chest – the ‘ya’ series–heart, right armpit, neck nape, left
armpit, from heart to extremes of arms, legs, bottom and top of trunk.
Bhāsvat kapardākalita śaśi kalāṁ: Lighting up with the crescent on her braided,
knotted and matted hair. The anusvra is written like a crescent, which points to the
involution of the mind to a point. The ‘kaparda’ shows the structured and systematic
way of analysis of all the sounds to go deep into meditations and hence the source. This
is akin to Bhagavan Śrī RaMaṇa’s introspection of ‘who am I?’
indu kundāvadātāṁ: of the hue of moon and jasmine- white in color. White denotes
shuddha satva guna, which is a pre requisite for the above sadhana.
Akṣasrk –The beads –fifty one. They represent fifty one alphabets from ‘am to kṣam’.
The phonetic variations of expressed structured speech, which is used for
communications
kumbha – The pot filled with nectar- amṛta. Since first element’s (space) aspect is
sound, it is eternal. Parāśurāma says- ‘varṇāḥ nityāḥ’- alphabets are eternal. This is
envisaged as nectar pot.
cintā likhita : The written down palm leaves. The above phonetic speech was written
down for the transmission of acquired knowledge. Thus cumulative knowledge is said
here.
vara karāṁ: The highest boon is the awareness of the eternal self, this being the
ultimate goal is experienced as the grace of this devi
trīkṣanāṁ: Having three eyes. Normal usual vision of humans is with two eyes. The
three eye sight will be different, this will show the trikāla gynāna, the past present and
future knowledge of this Śakti, hence her eternal nature is indicated
Abja samsthāṁ: Seated on a lotus. Lotus opens to light and is also a personification of
the heart, un-conditioned love. The names of lotus are ‘padma’ when seen through
katapayādi code is fifty one, the mātṛkāsharas- the varṇadhva , ‘abja’ will translate as
eighty the padādhva and ‘Kāmala’ will be one, five and three, sum is nine which is a
mystical number in mantra Śāstra- pointing mantrādhv adhvā. Samsthām will mean
placed on, thus seeing from the above will mean seated on this sukṣma adhvā, which
are varṇa, pada and mantra. (sthūla adhvā are tattva, kalā and bhuvana)
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acchākalpāṁ: Bright attire- clothes and ornaments, The brightness will show the
awareness that is got. This awareness is of both the light and darkness, which is termed
as knowledge.
atuccha stana jaghana bharāṁ: Very prominent breast and hip. Breasts are two in
number, showing the vowels and consonants and also the nutritive nature of Divine
Mother. Jaghana is the base on which the body rests. Thus we find the whole vidyā is in
this form, nurtured and resting on the mātṛkākṣrās.
bhāratīṁ: The inner light , illuminating all. All the above description will suffice to name
this deity as Illuminant.
tāṁ namāmi: I bow to her.
The deities are found in the red coral fortress, which represents the rudhira dhātu
(blood constituent). Per Śaiva Śātras, mantra adhvā is personified as blood inside the
body of invoked deity. It is so apt that deities of mātṛkākṣrās and memory are residing
(reflecting) in mantra adhvā.
’ O Lord Datta!!! These are flowers on your feet’’
5. Śrī annapūrṇā mantra

Śrī annapūrṇambā is the upāṅga deity of Śrī Lalitāmbikā found as the twenty second
mantra. She is also worshipped in pañca pañcikā devtās in Kāmadhugā pañcaka, as the
last Kāmadhugā ambā. In anuttarāmnāya, she is called annapūrṇā sundarī equating her
to Supreme Empress Śrī Lalithāparā bhattārikāmbā. She is the reigning deity of kāśi, with
Lord Visvanātha as her consort. Her worship on Diwali amāvaysā there in a laddu
(sweet) chariot is very famous. She is not mentioned in Lalitopākhyāna, during war with
Bhaṇdāsura.
The mantra of annapūrṇāmbā is a rare one, which has praṇava. The mantra runs thus:

ह्रीं श्रीं कलरीं ॐ नमो भगिति अन्नपूर्े ममाभमलवििमन्नीं दे दह स्िाहा

“hrīṁ Śrīṁ klīṁ Oṁ namo bhagavati annapūrṇe mamābhilaṣitamannaṁ dehi svāhā”.

Her dhyanā sloka is:
आदाय दक्षक्षर्करे र् स्र्र्उि दिीं दग्ु धान्नममिरे र् च रत्न पात्रीं

अन्नप्रदानतनरिाीं निहे म िर्ाां अम्बाीं भजे कनकभूिर्माल्यर्ोभाीं

26
 ‘ādāya dakṣiṇa kareṇa suvarṇadarvīṁ dugdhānnapūrṇamitarena ca ratna pātraṁ
annapradānaniratāṁ navahemavarṇāṁ ambāṁ bhaje kanaka bhūṣaṇamālyaśobhāṁ.

āmbāṁ: We find this in a sense of address, O! Mother, Creatrix of the worlds. The
symbol of creation which is initial movement (primordial spanda) is the bīja ‘hrīṁ’
ādāya dakṣiṇa kareṇa suvarṇadarvīṁ: This means with your right hand holding a golden
ladle, gold here is indicative of richness and hence the bīja ‘Śrīṁ’
itarena ca ratna pātraṁ: In your other hand is a jeweled pot . This points to all the
worldly pleasures and hence the bīja ‘klīṁ’
dugdhānnapūrṇaṁ: full of milk porridge- pāyasa- fullness indicates the omniscience and
omnipotence, and milk is a product of Cow, which is one of the most venerated animals
and is usually seen as a representation of Vedas. It is white in color – indicating the
amalgamation of all colors, so this will rightly show us the praṇava –‘Oṁ’
Thus we find the mother holding a ladle and a jeweled pot which had nectar, these will
point to the order of the bījas chanted – ‘hrīṁ Śrīṁ klīṁ Oṁ’. This points to us clearly
the final goal that this amba is showing us – the most subtle essence of Vedas in form of
praṇava ‘Oṁ’ by ladle ‘Śrīṁ’ and in the pot ‘klīṁ’. The last two bījas point to being in
this world and using things found in this world, to get that experiential knowledge
annapradāna niratāṁ: always engaged in enthusiastically giving the above nectar from
the pot is found in the mantra as ‘mamābhiliṣitamannaṁ dehi’, the address to this deity
is also seen in mantra as ‘annapūrṇe’
navahemavarṇāṁ ,kanaka bhūṣaṇamālyaśobhāṁ: Of the colour of new molten gold,
wearing necklaces and ornaments of gold. This is ‘richness’ or ‘Lordship’. As seen in

27
many mantras, this is the nature of ‘īśvara’ which is called ‘aiśvaryaṁ’ .Another word for
this is ‘bhaga’ and one who has this ‘richness’ is called ‘bhagavati’
bhaje : I adore or worship. Worship is to leave this body consciousness of being
individual to the all pervading which are indicated by namo, which can be split as ‘na’-
not ; ‘maḥ’- individual and ‘svāhā’ losing all ego of individual existence into fire of all
pervading consciousness.
Meditation guide:
The above meditation stanza does not include the environment of the Devi as seen at
Kāsi. She is flanked by Śrīdevi (lakṣmi) and bhūdevi and her consort Lord Visvesvara
(śivā) dances in front of her. She is in the posture of distributing alms from her pot of
nectar to him through a ladle.
‘hrīṁ’ indicated Devi Uma who is Goddesses annapūrṇā herself, ‘Śrīṁ’ is lakṣmi devi on
her side and klīṁ is the bhūdevi on another side. ‘Oṁ is her consort Lord Visvesvara
dancing in front of her.
Annam or Food is the basic building block of this body, which is built by food and
nourished by it. Bhārgava rāma says ānanda or bliss is the form of Brahman and resides
in this body in his kalpasūtra-‘ānando brahMaṇaṁ rūpaṁ tacca dehe vyavasthitaṁ’.
Hence meaning for ‘mamābhiliṣitaṁ’ – that which is desired by me to be attained- will
mean “bliss” (of course bliss is desired by all) and “annaṁ” will point to the receptacle of
this bliss. Thus desired bliss experience in the body is said in this part of the mantra.
On finer pondering of the above bījas, we find the clue to the sādhana in our daily
routine (which is with / in the family). ‘hriṁ’ is the core center – the attainment of bliss ,
‘Śrīṁ’ will point to the material / physical aspect, and ‘klīṁ’ to the mental aspect. We
are praying for the experience of this essence to the Vedas represented as – the
praṇava’ ‘pra’ ‘nava’:- praharṣena- with enthusiasm, ‘nava’- ever new. – This is verily
bliss and prayer to sustain this bliss in this receptacle by Divine motherly form is said
here. Anuttarāmnāya or the highest way, zenith of the way is ‘the experience’ of bliss. It
is apt that the main deity of this way is ‘annapūrṇā’

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6. Śrī aśvarūdhā mantra

Śrī aśvārūdhāmbā is the pratyaṅga deity of Śrī Lalitāmbikā, created from her noose. She
is the twenty third raśmimālā mantra. She is seated on a horse called aparājitā-
undefeated. In Lalitopākhyānā, during the war with Bhaṇdāsura, she killed kuruṇDa on
the first day and ulūkajit on the third day.
The mantra of aśvārūdhāmbā is one of those which have the praṇava in them. The
mantra runs thus:

ॐ आं ह्रं क्रों एहह परमेश्वरर स्वाहा

“Om āṁ hrīṁ kroṁ Ehi parāmeśvarī svāhā”.
Her dhyanā śloka is:

बद्ध्िा पार्ेनाींकुर्ेन कृष्यमार्ा स्िसाध्यकीं-

घ्नन्िरीं िेत्रेर् िल्कासक
ृ ् पाखर्ीं अश्िासनाीं भजे
‘badhvā pāśenāṅkuśena kṛṣyamāṇā svasādhyakaṁ
ghnantīṁ vetreṇa valkāsṛk pāṇiṁ aśvāsanām bhaje’

‘badhvā pāśena: tied up with rope (noose), we find that the bīja, in all tantra
dictionaries, for the noose – pāśa is ‘āṁ’
aṅkuśena: goad, in the tantric dictionaries goad bīja is ‘kroṁ’
kṛṣyamāṇā: pulled by (the goad) – both of the above acts tying and pulling will point to
the movement in the mantra is ‘Ehi’
svasādhyakaṁ: whatever is to be subdued, won or desired by the self, or in other
context it will refer to an intended person, who is an enemy. These will point to the ari

29
ṣat (six internal enemies) who have to be won over by continuous sadhana. The hṛllekhā
bīja aptly describe this ‘hrīṁ’
ghnantīṁ vetreṇa valkāsṛk pāṇiṁ: killed by the bark whip ( or a skin whip) smeared
with blood in her hands. The swish of a whip, relates to the sound produced, the blood
is mantra adhvā, thus we find primordial sound as said ādi (first) mantra – ‘Oṁ’

Devata aṅga Adhva

śiras (Head) Padādhvā
Keśa, roma (Hair) Bhuvāādhvā
Tvak (Skin) VarNādhvā
śukla, majjā, asthi tattvādhvā
sarvānga kalādhvā
rudhira/ ābharana (Blood/Ornaments) mantrādhvā
aśvāsanāṁ: seated on horse. This is an allegory to the lord of mind (Horse represents
mind) knowledge. Thus pointing to ‘parāmeśvarī ’
Bhaje: I praise. ‘svāhā’ can be split as su+āhā, meaning well done -a praise.
The horse is a symbol of breath, which in turn is ‘gross mind’. Thus riding horse is riding
mental modifications and thoughts. ‘śva’ also means tomorrow, ‘a’ is a negation. Thus
‘aśva’ will mean no-tomorrow, which means ‘the present’. Thus keeping awareness in
Present is symbol evolved here. ‘Parā’ also means highest ‘a’ is again negation, thus
point to mundane. ‘jita’ means conquered, So we find a conquering of mundane by
being keeping our awareness in the present .
‘KuruṇDa’ will point to the very common green leaf vegetable to , thus showing us the
mundane, conquest by simple breath exercises- prāṇāyāma will signify defeat on the
first day, or in parlance the initial sadhana krama. Later in the sadhana, depicted as the
fourth day, slaying of the ulūkajit- who is the vanquisher of Indra ( Indriya nātha- the
lord of the five senses , thus pointing the mastery of sensual governance) will now point
to the sādhana of bhūta śuddhi wherein the prāṇāyāma is combined with bhāvana for
the removal of the āṇava mala.
‘O Lord Datta here is a flower at your feet’
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 Ajapā Japa

Ajapā can mean either ‘not repeated’ or ‘no count kept on the repetitions’. Thus we find
a reference to involuntary action in this aspect. There are two major movements in the
body which are felt by us, yet are involuntary. The breath and heart beat are thus and
are complimentary and interdependent to each other like two sides of a coin. They are
the cause of the body existence. The breath is indicative of the mind-state; if one is
excited mentally or does more work physically he will be drawing more number of
breaths or will be out of breath. This will increase the heart beat rate, thus the major
contribution of the mental state will be by our breathing style. We also find that a
constant watch over point where breath ‘stops’ in between the inhalation and
exhalation cycle is one type of bhāvanā recommended by vijñanabhairava tantra. Hence
we can conclude that bhāvanā of Ajapā is very much essential to recognize the state of
our real nature.
A cycle of inhalation and exhalation will constitute one ‘Ajapā’. The intake breath is
personified as śiva as his seed letter ‘ham’ and the exhalation is personified as śakti as
her seed letter ‘sah’. Thus, we find the personification of Ajapā is ‘hamsah’- the divine
swan.
According to the scriptures we breathe 21,600 times daily. In a day of 24 hours this will
work out to 4 second per breath, extending this we find 15 breaths per minute/ 900
breaths per hour.
Considering the breath in days we get 21600 days, which will be equal to 60 years (as
per lunar calendar). Thus the ritual of ṣaṣti abdha pūrthi is a celebration of a days-breath
equivalent days. The next day starts and hence the shanti or purificatory rituals are
done.
The number 216 can be reduced into primary numbers and 23 X 33. The first number two
will signify the breath ‘Ham Sah’, the divine couple Śiva and śakti. The power three will
point to the three bodies; gross, subtle and causal. The number three next will refer to
the three stains (malas) – āṇava māyika and kārmika, the power three will point o the
three states of waking, sleep and deep sleep. Reading the above as a whole, the
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Consciousness which is inherent as the divine couple Śiva and śakti in the three bodies,
in the three states with the three stains (mala) will be the total count of the breath in a
day. The Bhāvanā of Ajapā will result in the experience of the everlasting bliss of being
immersed in the above described śiva-śakti consciousness throughout the day which is
the final destination of Śrī vidyā upāsanā.
Looking through the kaTapayādi secret code we find ‘A ja pa’ will translate as 0, 8 and 1,
this is then read as per the code (aṅgato vamagati- read from the left) will be 180. This
multiplied by the śiva and śakti tatvas( ham and sah) i.e., two will total to 360, which are
the total raśmi’s or rays emerging from the feet of the Divine couple seated at the
aspirant’s crown and filling all the six ādhāra cakras in the sushumnā nādi.
Śrī vidyā texts declare that these involuntary count of the Mahā mantra ‘hamsah’ to be
submitted to the divine powers residing in the seven centres of our body. Ganesa
residing in the mulādhāra is offered 600, trinity in the next three centres 6000 each,
Jīvātmā and parmātmā in the next two 1000 each and in the crown, the guru is offered
1000 Ajapā counts.
Our Ancient Indian scriptures count the day from dawn to dawn i.e. approximately from
6:00 a.m. to 6.00 a.m. The following chart is prepared from the above equivalence of
breath and time on the assumption that the sun rises at 6:00 a.m.
Sthāna Count Deity Time
Mūlādhāra 600 Ganesa 06:00:00 to 06:40:00
SvādhiṣTānā 6000 Brahma 06:41:00 to 13:20:00
Maṇi pūraka 6000 Viṣṇu 13:21:00 to 20:00:00
anāhata 6000 rudra 20:01:00 to 02:40:00
viśuddhi 1000 Jīvātmā 02:41:00 to 03:46:40
ājñā 1000 Paramātmā 03:46:41 to 04:53:20
Brahmarandhrā 1000 Śrī Guru 04:53:21 to 06:00:00
Total 21,600
It is worthy of note that the time of the Brahma muhūrtha from 4 am to dawn which is
suited for the utmost highest level of experience the Paramātmā coincides with the time

32
of the preceptor in this path, the Śrī Guru. Interestingly, we find that this is the time
specified for Parā pūja as per Paraśurāma kalpasūtra.
Raśmi krama with Ajapā bhāvanā
The above six centres have a distribution of the 360 rays emerging from the feet of Śrī
Lalitā Mahā tripurasundari seated with her Lord Kāmeśvara at the crown (sahasrāra) of
the aspirant. This is described in saundarya lahari as ‘kṣitau ṣaT pancāśaT…..’ Applying
the same idea of time equivalent breath to this ray count the following chart is
prepared. One ray will equal 60 breaths or 4 minutes
Sthāna Rays Equivalent Equivalent Time
Breaths Time

Mūlādhāra 56 3360 3 Hrs 44 min 06:00 to 09:44

SvādhiṣTānā 52 3120 3 Hrs 28 min 09:45 to 13:12
Maṇi pūraka 62 3720 4 Hrs 08 min 13:13 to 17:20
anāhata 54 3240 3 Hrs 36 min 17:21 to 20:56
viśuddhi 72 4320 4 Hrs 48 min 20:57 to 01:44
ājñā 64 3840 4 Hrs 16 min 01:45 to 06:00
------------------------------------------------------------------------------------------------------------
Total 360 21,600 24:00 hrs
------------------------------------------------------------------------------------------------------------

Śrī Maheśanātha in his nātha navaratna mālikā has identified the breath with Śrī Guru.
Śrī Bhāskararāya in his commentary decodes the number of breath from the last line of
each stanza in the stotra, which is ‘sanmārgam matta mayūramiide’. This when read
with the katapayādi code will reveal the number thus: - ‘mattamayūra’ will translate into
numbers as 5, 6, 5, 1 and 2. This when reversed will point to the number 21565. Again
‘san-mārga’ means with ‘mārga’, when decoded will point to numbers 5 and 3, reverse
of this is 35. Adding both these numbers will give the total breath in a day 21, 600.

33
He also points out to an aggregate of Tatvas, which will total 21,600.
The Dina nitya vidyā (576 X 36) - in a parivṛtti 20,736
The pūrṇa maṇdala akṣara (16 X 36) 576
Nava nātha 9
Tattvas (24 + 7 + 5) 36
Nityā (15 + 1) 16
Ghatikā 60
Rāśi 12
Nava graha 9
Bhūta (Elements) 5
Mātṛkākṣara (La and la are identical) 50
*Navāvaraṇa devatās 91
-----------------------
Total 21,600
-----------------------
(*Navāvaraṇa devatās are counted without the mudra śaktis as per Kādimata- Tantra
rāja tantra and also excluding Mahā tripurasundari and eight cakreśvari. So the count
will be 18+ 16+ 8+ 14+ 10+ 10+ 8+ 4+ 3 = 91)
Considering the whole day’s breath as Navanāthas or Nava grahas, as per the first said
time –breathe equivalence we can see each nātha /graha will have 2400 breaths or 2hr
40min equivalent time in a day which starts from 06:00, we can find from the following
chart the different time slots for the nāthas/ grahas. Since the days are cyclic, we can
dwell upon the day’s nātha as the initial in the below chart and accordingly visualize.
Nātha Graha Time
Prakaśānandanātha Sūrya 06:00 to 08:40
Vimarśānandanātha Candra 08:41 to 11:20
Ānandānandanātha Saumya 11:21 to 02:00
ŚrīJñānānandanātha Bhūda 02:01 to 04:40
ŚrīSatyānandanātha Guru 04:41 to 07:20
ŚrīPūrṇānandanātha śukra 07:20 to 10:00
34
Svabhāvānandanātha śani 10:01 to 00:40
Pratibhānandanātha rāhu 00:41 to 03:20
Subhagānandanātha ketu 03:21 to 06:00
Similarly, if see with respect to the rāsi (zodiac signs) we will get the following chart
1 rāśi = 2400 breaths = 2 Hours. These being the months in a year and are cyclic we can
visualize the current month as the first in the below chart and modify as suitable.
Tatva Time
meṣa 06:00 to 08:00
ṛṣabha 08:01 to 10:00
mithuna 10:01 to 12:00
kaTaka 12:01 to 14:00
simha 14:01 to 16:00
kanyā 16:01 to 18:00
tulā 18:01 to 20:00
vrśchika 20:01 to 22:00
dhanuh 22:01 to 00:00
makara 00:01 to 02:00
kumbha 02:01 to 04:00
mīna 04:01 to 06:00
Similarly, if see with respect to the tattvas we will get the following chart, these also
being the days in a devi māna calendar, we can visualize the chart according to the
current days tattva and others in a cyclic manner.
1 Tattva = 600 breaths = 40 min.
Tattva Time
Śiva 06:00 to 06:40
Śakti 06:41 to 07:20
sadāśiva 07:21 to 08:00
īśvara 08:00 to 08:40
śuddhavidyā 08:41 to 09:20
māyā 09:21 to 10:00
35
kalā 10:01 to 10:40
avidyā 10:41 to 11:20
rāga 11:21 to 12:00
kāla 12:01 to 12:40
niyati 12:41 to 13:20
puruṣa 13:21 to 14:00
prakṛti 14:01 to 14:40
ahmakāra 14:41to 15:20
Buddhi 15:21 to 16:00
Maṇas 16:00 to 16:40
śrotra 16:40 to 17:20
Tvak 17:21 to 18:00
Cakṣus 18:01 to 18:40
jihvā 18:41 to 19:20
ghrāṇa 19:21 to 20:00
vāk 20:01 to 20:40
pāṇi 20:41 to 21:20
pāda 21:21 to 22:00
pāyu 22:01 to 22:40
upastha 22:41 to 23:20
śabda 23:20 to 00:00
sparśa 00:01 to 00:40
rūpa 00:41 to 01:20
rasa 01:21 to 02:00
gandha 02:01 to 02:40
ākāśa 02:40 to 03:20
Vāyu 03:21 to 04:00
Vahni 04:01 to 04:40
Jala 04:40 to 05:20
Pṛthvī 05:21 to 06:00
36
Similarly, if see with respect to the elements (bhūtās) we will get the following chart
1 element (bhūtā) = 4320 breaths = 4 hours 48 min.
Element (bhūtā) Time
Space -ākāśa 06:00 to 10:48
Air -Vāyu 10:49 to 15:36
Fire -Vahni 15:37 to 20:24
Water -Jala 20:25 to 01:12
Earth -Pṛthvī 01:10 to 06:00

Similarly, if see with respect to the nityā devi, who are 16, including mahā nityā-
Mahātripurasundari we will get the following chart
1 nityā = 1350 breaths = 1 hour 30 min.
Nityā Time
Kāmeśvari 06:00 to 07:30
Bhagamālini 07:31 to 09:00
Nityaklinnā 09:01 to 10:30
Bheruṇdā 10:31 to 12:00
Vahni vāsini 12:01 to 13:30
Mahā vajreśvari 13:31 to 15:00
Śivadūti 15:01 to 16:30
Tvaritā 16:31 to 18:00
Kulasundari 18;01 to 19:30
Nityā 19:31 to 21:00
Nīlapatākā 21:01 to 22:30
Vijayā 22:31 to 00:00
Sarvamaṅgalā 00:01to 01:30
Jvālāmālini 01:31 to 03:00
Citrā 03:01 to 04:30
Mahānityā 04:31 to 06:00

37
(We find Bhāskararāya in his bhavanopaniṣad has accounted 15 nityas only as the breath
count, with a view that Lalitādevi is an aggregate unified form of all nityas. So by his
view the chart will be now as below, a corollary from this chart is that we can also
visualize the current nitya (today’s nitya) occupying the first slot in the below chart and
the rest accordingly.
1 nityā = 1440 breaths = 1 hour 36 min.

Nityā Time
kāmeśvari 06:00 to 07:36
Bhagamālini 07:37 to 09:12
Nityaklinnā 09:13 to 10:48
Bheruṇdā 10:49 to 12:24
Vahni vāsini 12:25 to 14:00
Mahā vajreśvari 14:01 to 15:36
Śivadūti 15:37 to 17:12
Tvaritā 17:13 to 18:48
Kulasundari 18;01 to 20:24
Nityā 20:25 to 22:00
Nīlapatākā 22:01 to 23:36
Vijayā 23:37 to 01:12
Sarvamaṅgalā 01:13to 02:48
Jvālāmālini 02:49 to 04:24
Citrā 04:25 to 06:00

The following chart is for ghatikodaya, as seen in the all devi māna calendar, the udya
ghatika and the rest can be visulaised in a cyclic manner, each udaya ghatika and the
cycle are given separately below.
1 ghatika = 360 breaths = 24 min
38
 Ghatikodaya
A E Ca ta ya From To
A E Ca ta ya 6:00 6:24
Ā Ai Cha tha ra 6:25 6:48
I O Ja da la 6:49 7:12
Ī au Jha dha va 7:13 7:36
U Am ~nja na Sa 7:37 8:00
Ū Ka Ta pa sha 8:01 8:24
R Kha Tha pha sa 8:25 8:48
Rr Ga Da ba ha 8:49 9:12
Lr Gha Dha bha la 9:11 9:36
Llr ~nga ṇa ma kṣa 9:37 10:00
E Ca ta ya a 10:01 10:24
Ai Cha Tha Ra ā 10:25 10:48
O Ja Da La i 10:49 11:12
au Jha Dha va ii 11:12 11:36
Am ~nja Na Sa u 11:37 12:00
Ka Ta Pa sha uu 12:01 12:24
Kha Tha Pha Sa r 12:25 12:48
Ga Da Ba ha rr 12:49 13:12
Gha Dha Bha La lr 13:13 13:36
~nga ṇa Ma kṣa llr 13:37 14:00
Ca ta Ya A e 14:01 14:24
Cha Tha Ra Ā ai 14:25 14:48
Ja Da La I o 14:49 15:12
Jha Dha Va Ī au 15:13 15:36
~nja Na Sa U am 15:37 16:00
Ta Pa ṣa ka 16:01 16:24
Tha Pha Sa R kha 16:25 16:48
Da Ba Ha Rr ga 16:49 17:12
Dha Bha La Lr gha 17:13 17:36
ṇa Ma kṣa Llr ~nga 17:37 18:00
ta Ya A E ca 18:01 18:24
Tha Ra āa Ai cha 18:25 18:48
Da La ī O ja 18:49 19:12
Dha Va īi au jha 19:13 19:36
Na Sa ū am ~nja 19:37 20:00
Pa ṣa ūu ka Ta 20:01 20:24
Pha Sa R kha Tha 20:25 20:48
Ba Ha Rr ga Da 20:49 21:12
Bha La Lr gha Dha 21:13 21:36
Ma kṣa Llr ~nga Na 21:37 22:00
Ya A E Ca ta 22:01 22:24
Ra Āa Ai cha tha 22:25 22:48

39
 La Ī O Ja da 22:49 23:12
Va Īi au jha dha 23:13 23:36
Sa Ū Am ~nja na 23:37 0:00
Sha Ūu Ka Ta pa 0:01 0:24
Sa R Kha Tha pha 0:25 0:48
Ha Rr Ga Da ba 0:49 1:12
La Lr Gha Dha bha 1:13 1:36
kṣa Llr ~nga ṇa ma 1:37 2:00
A E Ca ta ya 2:01 2:24
Ā Ai Cha tha ra 2:25 2:48
I O Ja da la 2:49 3:12
Ī au Jha dha va 3:13 3:36
U Am ~nja na Sa 3:37 4:00
Ū Ka Ta pa sha 4:01 4:24
R Kha Tha pha sa 4:25 4:48
Rr Ga Da ba ha 4:49 5:12
Lr Gha Dha bha la 5:13 5:36
Llr ~nga Na ma kṣa 5:37 6:00

For Matrukākṣrās:
Each matrukāsharā = 432 breaths = 28 min 48 sec.

Matrukākṣara From To
A 6:00 6:28:48
Ā 6:28:49 6:57:36
I 6:57:37 7:26:24
Ī 7:26:25 7:55:12
U 7:55:13 8:24:00
Ū 8:24:01 8:52:48
R 8:52:49 9:21:36
Rr 9:21:37 9:50:24
Lr 9:50:25 10:19:12
Llr 10:19:13 10:48:00
E 10:48:01 11:16:48
Ai 11:16:49 11:45:36
O 11:45:37 12:14:24
au 12:14:25 12:43:12
Am 12:43:13 13:12:00
Ah 13:12:01 13:40:48
Ka 13:40:49 14:09:36
Kha 14:09:37 14:38:24
Ga 14:38:25 15:07:12
Gha 15:07:13 15:36:00
40
 ~nga 15:36:01 16:04:48
Ca 16:04:49 16:33:36
Cha 16:33:37 17:02:24
Ja 17:02:25 17:31:12
Jha 17:31:13 18:00:00
~nja 18:00:01 18:28:48
Ta 18:28:49 18:57:36
Tha 18:57:37 19:26:24
Da 19:26:25 19:55:12
Dha 19:55:13 20:24:00
ṇa 20:24:01 20:52:48
ta 20:52:49 21:21:36
Tha 21:21:37 21:50:24
Da 21:50:25 22:19:12
Dha 22:19:13 22:48:00
Na 22:48:01 23:16:48
Pa 23:16:49 23:45:36
Pha 23:45:37 0:14:24
Ba 0:14:25 0:43:12
Bha 0:43:13 1:12:00
Ma 1:12:01 1:40:48
Ya 1:40:49 2:09:36
Ra 2:09:37 2:38:24
La 2:38:25 3:07:12
Va 3:07:13 3:36:00
Sa 3:36:01 4:04:48
ṣa 4:04:49 4:33:36
Sa 4:33:37 5:02:24
Ha 5:02:25 5:31:12
Kṣa 5:31:13 6:00:00

For the āvaraṇa devatas:

Maheśanātha had counted the āvaraṇa devatas as ninety one only (See page 4),
however this number cannot divide the total breath count of 21,600. So he suggested
adding the four āyudha devtas for kāmeśvara and the central Śrī Mahā tripurasundari,
making the total to ninety six āvaraṇa devatas.

41
Each devata = 225 breaths = 15 min

āvaraṇa devata From To

Animasiddhi 06:00 6:15
Laghimasiddhi 6:16 6:30
mahima siddhi 6:31 6:45
ishitva siddhi 6:46 7:00
vashitva siddhi 7:01 7:15
Prakāmyasiddhi 7:16 7:30
bhūkti siddhi 7:31 7:45
icchā siddhi 7:46 8:00
prāpti sidddhi 8:01 8:15
Sarvakāmasiddhi 8:16 8:30
Brāhmi 8:31 8:45
Māheśvari 8:46 9:00
Kaumari 9:01 9:15
Vaishnavi 9:16 9:30
Vārāhi 9:31 9:45
Māhendri 9:46 10:00
Cāmunda 10:01 10:15
Mahālakṣmi 10:16 10:30
kāmākarṣini 10:31 10:45
Bhūdhyākarshini 10:46 11:00
Ahamkārākarṣini 11:01 11:15
Sabdākarṣini 11:16 11:30
Sparshākarṣini 11:31 11:45
rūpākarṣini 11:46 12:00
Rasākarṣini 12:01 12:15
Gandhākarṣini 12:16 12:30
Cittākarṣini 12:31 12:45
Dharyākarṣini 12:46 13:00
Smṛtayākarṣini 13:01 13:15
Nāmākarṣini 13:16 13:30
Bījākarṣini 13:31 13:45
ātmākarṣini 13:46 14:00
Amṛtākarṣini 14:01 14:15
Sarirākarṣini 14:16 14:30
Anaṅgakusuma 14:31 14:45
Anaṅgamekhala 14:46 15:00
Anaṅgamadana 15:01 15:15
Anaṅgamadanatura 15:16 15:30
Anaṅgarekha 15:31 15:45
Anagavegini 15:46 16:00

42
Anaṅgamkusha 16:01 16:15
Anaṅgamalini 16:16 16:30
Saravsamkṣobini 16:31 16:45
Sarvavidravini 16:46 17:00
Sarvākarṣini 17:01 17:15
Sarvāhlādini 17:16 17:30
sarva sammohini 17:31 17:45
sarva stambhini 17:46 18:00
sarva jrmbhini 18:01 18:15
sarva vasamkari 18:16 18:30
sarva ranjini 18:31 18:45
Sarvonmadini 18:46 19:00
Sarvārthasadhini 19:01 19:15
sarva sampattipūrani 19:16 19:30
sarva mantra mayee 19:31 19:45
sarva dvandvakṣayamkari 19:46 20:00
Sarvasiddipradā 20:01 20:15
sarav sampat pradā 20:16 20:30
sarva priyamkari 20:31 20:45
sarva maṅgalakarini 20:46 21:00
sarva kāma pradā 21:01 21:15
sarva dukhavimocini 21:16 21:30
sarva mrthyu prasamani 21:31 21:45
sarva vighna nivarini 21:46 22:00
Sarvāngasundari 22:01 22:15
sarvasaubhaya dayini 22:16 22:30
Sarvajñā 22:31 22:45
Sarvaśakti 22:46 23:00
sarvaisvarya pradā 23:01 23:15
Sarvajñāmamayi 23:16 23:30
sarva vyādhivinasini 23:31 23:45
Sarvādhāraśvariūpā 23:46 0:00
sarva pāpaharā 0:01 0:15
Sarvānandamayi 0:16 0:30
Sarvarakṣāsvarūpini 0:31 0:45
Sarvepsitaphalapradā 0:46 1:00
Vasini 1:01 1:15
Kāmeśvari 1:16 1:30
Modini 1:31 1:45
vimalā 1:46 2:00
Arunā 2:01 2:15
jayini 2:16 2:30
Sarveśvari 2:31 2:45
43
Kaulini 2:46 3:00
kāmeśvari bāna 3:01 3:15
kāmeśvara bāna 3:16 3:30
kāmeśvari cāpa 3:31 3:45
kāmeśvara cāpa 3:46 4:00
kāmeśvari pāsha 4:01 4:15
kāmeśvara pāsha 4:16 4:30
kāmeśvari ankusha 4:31 4:45
kāmeśvara amkusha 4:46 5:00
Mahākāmeśvari 5:01 5:15
Mahāvajreśvari 5:16 5:30
Mahābhagamalini 5:31 5:45
mahā tripurasundari 5:46 6:00

44
 Aṣtaṅga

Śrī vidyā sādhaka use a calendar called aṣtāṅga based on Śrī vidyā tattvas. At the very
beginning, when from dimensionless Bindu this Universe evolved, due to a movement
(spanda) in that bindu. Time and space got evolved almost together. Hence, Time and
Space are interrelated and one cannot exist without the other (avinābhāva sambanda).
The subtle element time always co-exists with physical space. The subtle element space
has its aspect as ‘sound’, from which all alphabets evolved (Mātṛkā akṣarā). The tattvas
for this visible universe are thirty six according to traipura siddhānta and are
represented by these Mātṛkā akṣarā. Space is defined as existence between two
intervals of time, thus this aṣtāṅga focuses on time only.

The initial day is taken as kali yuga’s first day and eight limbs- aṣtāṅga- are calculated
The basic formulations decided are:
One week has nine days (Vāsara) – they are named after nava nātha:-prakāśa, vimarśa,
ānanda, Śrīgyāna, Śrīsatya, Śrīpūrṇa, svabhāva, pratibha and subhaga.
–eg. Vimarśānandanātha vāsara
There are four weeks in a month (māsa), so from the above logic, there are thirty six
days (dina) in a month. These days are named after thirty six tattvas, with Mātṛkā
akṣarās which are vowel ‘a’ with thirty five consonants. am śiva tattva, kam śakti, kham
sadāśiva, gam īśvara, gham śuddha vidyā, Ṅgam māya, cam kalā, cham avidyā, jam rāga,
jham kāla, njam niyati, Tam puruṣa, Tham prakṛti, Dam ahamkāra, Dham bhuddhi, ṇam
maṇa, tam śrotra, tham tvak, dam cakṣus, dham jihvā, nam ghrāṇa, pam vāk, pham pāṇi,
bam pāda, bham pāyu, mam upastha, yam śabda, ram sparśa, lam rūpa, vam rasa, śam
gandha, ṣam ākāśa, sam vāyu, ham vahni, Lam jala and kṣam pṛthvi.
-eg. Kham sadāśiva tattva dina
There are sixteen months (called māsa) in a year named after the nityās or soma
maṇdala kalā or sadāśiva kalā. Hence we can find five hundred and seventy six days in a
year

45
.-eg. Om sarvamaṅgalā nityā / prīti kalā / gyānāmṛtā kalā māsa
There are thirty six years (called varṣa) named after the thirty six tattvas, already said
above -eg jam rāga tattva varṣa
A cycle of thirty six years is called a parivṛtti, which are also named after the thirty six
tattvas which will have 576 months and 20736 days. (Roughly 57 and odd years)
-eg pam vāk tattva parivṛtti
A cycle of thirty six parivṛtti is called a yuga, also named as above
-eg. Kham sadāśiva tattva yuga.
Another factor is called ghatikā. Twenty four minutes is called a ghatikā. Thus there are
sixty ghatikās in a day. Each ghatikā is assigned with Mātṛkā akṣara. The visarga (ah) is
left out in the vowels. Thus fifteen vowels and thirty five consonants are taken in order
for naming ghatikā. Only fifty ghatikās will be named thus, the rest ten are repeated
from the first ghatikā. Thus on day one, we start with ‘a’ as udaya ghatikā akṣara then as
per the above guidelines we will end up in the ‘LRR’ ghatikā, next day udaya ghatikā will
be ‘e’. Similar calculations will result in third day udaya ghatikā as ‘c’, fourth day as ‘t’
and fifth day as ‘y’, sixth day will be again ‘a’ and the cycle will repeat .
Another parameter called dina nityā is also there, They are the fifteen nityās in the same
order for śukla pakṣa and the same in reverse for the kṛṣṇa pakṣa, similar to the tithi
nityās. The only difference is that it is not dependent on the lunar calendar, one per day
in the said order. Thus we find thirty in a cycle, eg:- em śukla nīlapatākā dina nityā, or im
kṛṣṇa nityaklinnā dina nityā.
Thus we find eight limbs – aṣta aṅga – viz., yuga, parivṛtti, varṣa, māsa, dina, vāsara,
ghatikodaya, dina nityā.
With the help of this aṣtāṅga there are four pārāyaṇās to be done. They are nātha
pārāyaṇa, ghatikā pārāyaṇa, tattva pārāyaṇā and nityā pārāyaṇa. There is a unique
mantra called the dina nityā vidyā to be chanted along with each pārāyaṇā
Per Paramānanda tantra, it is a four syllable akṣara. The construction will be
vāsaranāthākṣara +ghaTikodāyākṣara +bindu is first, dinākṣara+ dina nityākṣara + bindu
will be second, varṣākṣara+māsākṣra+bindu will be third and yugākṣara+parvritti akṣarā
will be fourth. For example: Consider kham sadāśiva tattva yuga, dam cakṣustattva
46
parivṛtti, kam śakti tattva varṣa, em māsa, am prakāśānandanātha vāsara, dam
cakṣustattva dina, yakāra ghaTikodaya, ūṁ Kriṣna Mahāvajresvari dina nityā.
The astaṅga- dina nityā vidyā will be as follows:

‘a yam da ūṁ ka em kha dam-अिं दऊं कएं िदं ’.

It is interesting to note that just by knowing this aṣtāṅga we can chant all the pārāyaṇās
in that said order from nātha to nityā.
There is repentance (prayascitta) said in the Paramānanda tantra for non-observance of
pārāyaṇa, due to unforeseen circumstances, as nine time mūla mantra japa for nātha,
sixty for ghaTikā, thirty six for tattva and thirty for nityāpārāyaṇa.
Another form of dina nityā vidyā is seen in tantrarāja tantra. It is varṣākṣarā +māsākṣarā,
dinākṣarā+ā+ī+hamsah.
In the above example we can now derive dina nityā vidyā as k+e+d+ā+ī+hamsah, which

will be ‘ke dā ī hamsa - के दा ई हींसौः’. We have fixed three parameters the rest will fall

in line, since this is a totally mathematical equation.

The saṅkalpa mantra is also said for this aṣtāṅga:
For daily pūja:
आददगुरोौः परमर्िस्य आज्ञया प्रििामान दे िर मानेन िट् त्त्रींर्ि ् ित्त्िात्म सकल प्रपञ्च सस्ृ ष्ट
स्स्थति सींहार तिरोधान अनुग्रह काररण्याौः परर्कत्या: ऊध्िाभ्रूविभ्रमे __ ित्त्ि युगे __ ित्त्ि
पररित्ृ ि __ ित्त्ि ििे __ तनत्या /कला मासे __ ित्त्ि ददने __ नाथ िासरे __ घदटकोदये ___
ददन तनत्यायाीं __ तिथथ तनत्यायाीं श्र महात्त्रपरु सन्
ु दरर प्ररत्यथे यथा र्स्कि सींभद्द्रवययौः यथा
र्स्कि सपयाा क्रमीं तनिािता यष्ये

For daily pārāyaṇa:

आददगुरोौः परमर्िस्य आज्ञया प्रििामान दे िर मानेन िट् त्त्रींर्ि ् ित्त्िात्म सकल प्रपञ्च सस्ृ ष्ट
स्स्थति सींहार तिरोधान अनुग्रह काररण्याौः परर्कत्या: ऊध्िाभ्रूविभ्रमे __ नाथ िासरे
__ घदटकोदये __ ित्त्ि ददने__ ददन तनत्यायाीं __ ित्त्ि ििे __ तनत्या /कला मासे
__ ित्त्ि युगे __ ित्त्ि पररित्ृ ि पारायर्महीं कररष्ये
There are six conjunctions namely puṣpiṇi, mohini, jayini, kumāri, vimalā and ŚrīkarI in
the aṣtāṅga calendar. The conjunction of varṣākṣara with masākṣara will be first, with
dinākṣara will be second, and with udayaghatikā will be third. Conjunction of māsākṣara

47
with dinākṣarā will be fourth; with udayaghatikā will be fifth. Similarly dinākṣarā and
udyaghatikākṣarā will last conjunction.

The first- puṣpiṇi- is possible once in a parivṛtti, while it is starting, in ‘am’ śiva tattva
year, this is possible for that whole month, which will be ‘am’ kāmeśvari nityā māsa, for
36 days. (once in roughly 57 odd years)

The second-mohini- will be there once a month, with sixteen in a year. Since year and
dina akṣaras are same this is sure to happen once in a month. For eg, in kham sadaśiva
tattva varṣa, the third day of any month, kham sadaśiva tattva dina will be this parva, in
all sixteen months.

The third-jayini- is possible in am śivatattva, cam kalātattva, tam śrotra tattva, yam
śabda tattva years in a parivṛtti, with the akāra, cakāra, takāra and yakāra ghatikodaya
respectively.

The fourth-kumāri- is the first day of every year, where we find am kāmeśvari māsa and
am śiva tattva dina, hence this will be in prakāśānandanātha vāsara.

The fifth-vimalā- will be in the first (am) and eleventh (Em) month every year, with the
akāra and ekāra ghatikodayas respectively. .

The sixth-Śrīkari- will be there in once in a month, in the ‘a’, ‘ca’, ‘ta’, ‘ya’ dinas in four
successive months respectively on akara, cakara, takara and yakara ghatikodaya and
then will skip a month.

48
 Dīpa Devi

In the Śrī vidyā ritual manual we are directed to place two lamps on either side of the
pūja pīTham. The Lamp on right side of pīTham should be filled with ghee and have a
white wick; the one on left side should be filled with sesame oil and have a red wick.
This is a small open thought on placement and choice of material.

The pūja pīTham is facing sādhaka. The deity is invoked on the pīTham and is meditated
as facing sādhaka. Thus we find right side of sādhaka is the left of the deity and vice
versa. The deity invoked is Śrī Lalitā-Kāmeśvara Couple. Śrī Lalitā Devi is meditated as
being seated on left lap of Śrī Kāmeśvara. Thus we find Lamp on right side of pīTham,
filled with ghee and having a white wick will be on Śrī Kāmeśvara’s side and on left side
filled with sesame oil and with a red wick will be on Śrī Lalitāmbikā’s side.

We are immediately reminded of the Guru’s Foot stool as said in verse ‘rakta śukla’,
where śukla’refers to Śrī Kāmeśavra is ādiguru – pointing to source of knowledge and
‘rakta’ to Śrī Lalitāmbika, who is his vimarśa śakti, experience of this knowledge.
Examining ‘Dīpa’ with secret code kaTapayādi will show number eighteen, total number
of Vidyās and Upa-Vidyās as per purāṇas, thus pointing to Knowledge (light) and its
experience, which is also seen above.

The Cow’s ghee ‘गो घि

ृ ीं ’ is used to fill right side lamp, ‘ गो’ means cow, the most

venerated, in whose body all divine forces of this universe reside–sarva devatā svarūpa,
in short containing in it the divine energy of this entire universe-‘ग’ by KaTapayādi code

is ‘three’ which point to the three worlds- visible universe (bhUḥ, bhuvaḥ and suvaḥ);
This word also means ‘senses’- likened to a cow, which goes out to graze and then
retires under a shade to masticate, similarly all the senses go out to gather knowledge
from universe and then later remembers that experience (this is called vāsanā), number
three will allure to three sates of awakening, sleep and deep sleep. ‘ घि
ृ ीं’ will mean ghee.

The process of producing ghee is a long one, one has to get milk, boil it, cool, make it
49
sour and turn into curds, churn the curds to get butter and finally heat (melt) butter to
get ghee.
These processes described also give and idea on the acquisition of knowledge, which
again is a long process. One has to wander like a cow and graze (read / hear), internalize
fodder (heard/read information) to get milk, which is the essence (learning), One has to
externally discuss or debate with likeminded people, which is likened to souring and get
curds, then churn curds, which is internal debate and process to make these learning
inside us, which is likened to the butter, heat again is to implement these learning in our
daily routine (anuṣTāna) to get ghee (bliss). As per KaTapayādi code ‘ घि
ृ ीं’ will translate to

sixty four, total number of all branches of knowledge- catuṣṣaṣTi-kalā. Further, we find
same in our guru maṇdala veneratory verse as ‘sixty four siddhās’. Looking holistically,
we find total knowledge in this entire universe is represented by lighting this lamp.

The left side lamp is with a red wick and filed with ‘तिल ियल’- sesame oil. According to

the scriptures Lord Viṣṇu is pleased with worship of sesame seeds, which we also use in
our forefather’s worship. Lord Viṣṇu is the ever pervasive consciousness in both animate
and inanimate objects. Forefather’s represent the cumulative knowledge of experience
by which we further find our way to the land of experiential knowledge. ‘ तिल and ियल’ by

KaTapayādi code will mean number thirty six. This is the number of tattvas in the
experiential universe. The color red is explained in bhāvanopaniṣat as ‘lauhityam etasya
sarvasya vimarśaḥ’ – red color is experience of identity of sadhaka, Śrī Lalitā and Śrī
Kāmeśvara. Śrī Bhāskararāya puts is lucidly as: Ātmān without any attributes is Śrī
Kāmeśvara and with an attribute called ‘bliss’ is called Lalitāmbikā and with attributes of
four preceptor internal organs- Maṇas, buddhi, ahamkāra and citta is called sādhaka.
This identity is described in this verse. Looking above ideas on a whole, we find the
experiential knowledge linked to thirty six tattva- universe is the message in lighting this
lamp.

50
Adding both numbers seen will result in centum, (64+36). The total number of rays
(raśmi’s) inside six ādhāra cakra counted both ways, up and down. (4+6+10+12+16+2
=50*2=100). The up and down movement of kuṇdalini is described beautifully in two
verses of saundaryalahari- ‘mahīm mūlādhāre..’ and ‘sudhādhārā sāraiḥ..’. Thus a total
blissful experience of kuṇdalini movement is explicitly seen in establishing these lamps.

We usually light the dīpa with the hṛllekha bījam – ‘hrīm’. This is the verbal form of the
initial creative movement of Lord śiva. The ‘h’ is Lord śiva and ‘I’ is the primordial energy
which instigates creation and ‘r’ is the life energy – heat energy which resulted in
created universe. Taking numbers for individual alphabets – ‘H’ is eight; ‘r’ is two; ‘I’ the
vowel is four and ‘m’ (anusvara) is one. Thus we find a total of fifteen in parts and
considering the whole bīja as one we get a total count of sixteen,‘ṣoḍaśa kalā’ which is
ever present and ever illuminating all aspirant’s intellect for experience of this world.

In this manner, we find a very deep inner guidance in understanding and experiencing
of śiva-śakti in all aspects for a simple ritual like establishing and lighting of lamps during
saparyā.

More ‘light’ from Lalitā sahasranāma and triśati

There are two names in both of these stotrā with the word – ‘dīpa’. They are
‘agnānadhvānta dīpikā’and trikoṇāntara dīpikā’ in sahasranāma; ‘hrīmkārāṅgaṇa dīpikā’
and hrīmkāra maṇidīparciḥ’ in triśati.
1. ‘agnāna’ – the ignorance of the true nature of self is compared to ‘dhvānta’ –
darkness of night, which is lit up by lamp-light ‘dīpikā’. When we bring a light into
a dark room, we need not ask / request the darkness to move away. Darkness
itself is absence of light, so when light is lit, it spreads its glow and reveals all.
‘gnāna’ as defined in kaula upaniṣad by Bhāskararāya is ‘avivecana abhāva’ – not
being unaware (note the double negative). As seen from above KaTapayādi code,

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 agnāna is zero signifying absence of knowledge – Ignorance, dīpa is numeral
eighteen, this refers to the light and experience as said in the eighteen vidyā.
2. trikoṇa is a triangle, symbol of kula, the inseparable aspect of triads. Hence Devi
is the light that shines and illumines the triads (gnāna gnātṛ and gneya); also we
can see another name kulāntasthā, inside the kula, pointing to the same aspect.
In Śrī cakra, inside the central triangle is the bindu, hence this name also points
to Devi as shining from the centre of Śrī cakra.
3. In triśati the bīja ‘hrīm’ is compared to court yard in front of the house, while
devi is described as the light illuminating the path way to house. Considering
from above, if dīpa can be thought of as the eighteen vidyā and its experiential
knowledge, then we are amazed to see that to reach (know) the bīja ‘hrīm’, devi
is the personification of all knowledge in the form of Śrī Guru to reach
(experience) that mantra.
4. Again bīja ‘hrīm’ is likened to a crystal and devi is the rays of light gushing from
the jewel. ‘ma’ and ‘ṇi’ as per code is five and five, representing organs of
cognition and motor, light from inside (devi-ātmā) illumines them, leading to
experience of universe, which is again Devi. ‘maṇi’ also is a secret code of
sādhana of five ‘M’. Thus Devi is bliss (sadānanda) experienced as sādhana
progresses under guidance of Śrī Guru.

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 The Three spheres of existence
- The Maṇdala traya -
O ! Lord of my soul! Loveable Gurudeva, let your glance of compassion be on us!

In the Śrī Vidyā ritual (saparyā) we are directed to establish liquid filled in two vessels
before the deity for worship. These are called sāmānya arghya and viṣeśārghya. In the
procedure of establishing these vessels, we find the three maṇdalas being invoked and
placed. They are the agni maṇdala- the base, the sūrya maṇdala- the vessel and candra
maṇdala- the liquid filled in the vessel. Philosophically looking into this, we find the
universe, which is alluded as agnīṣomātmaka – the fire, sun and moon is seen here. The
earth is represented as fire- since the middle of earth is molten lava we can infer this,
the rest are the two big objects seen by us – the sun in the day and moon in the night.
So this universe as seen by us comprises of the nearest seen earth, the sun in the day
and moon in the night. It is said that whatever is there in the big universe is also inside
us- in the small universe. So we can find a correspondence of these maṇdalas in our
body.
a. The mulādhāra is the agni maṇdala where in the kundalini cause of our individual
existence reside, the life fore is felt as the heat in the body.
b. The body is the sūrya maṇdala (sūrya is pitru kāraka in astrology; we get this
body from our father)
c. The mind the candra maṇdala. ( candra māmaṇaso jātah says puruṣa sūkta)
These are kept one top of another, or in other words a straight line. Considering the big
universe, the aligning of the earth sun and moon will occur in eclipse only. Thus we are
surprised to note an eclipse like condition prevailing in the pūjā mandira. We are also
instructed not to move the vessel, from this we can infer as not to break away from the
eclipse like condition. Only due to the slant of the moon and earth, the eclipse occurs
once in a way, but the aligning of the three is found on all full moon and new moon
days, Hence these two are selected as special days for pūjā (parva- naimittika). In the

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small universe called body, this one pointed ness of the soul (ātmā), body and mind,
which is to be achieved for a pūjā is clearly seen from the above argument.

Agni Maṇdala: Agni maṇdala is the base on which the vessel is kept, which can be made
from gold, silver, copper or wood having three, four, six or eight padas (legs) in a round,
triangle or square shape.. Agni is ever pure; it can neither pollute nor be polluted- that is
why it is called ‘śuci’ - purity. Ātmā, which resides in the mulādhāra has the same
property- it can neither pollute nor be polluted. This is the main dharma which has be
recognised and attained by the sadhana of this Vidyā. Hence we invoke the agni
maṇdala saying ‘dharma prada daśakalātmane’ – that which causes this dharma to
manifest.
The vedic mantra invoked here is the first mantra of the rg veda. The seer is medhAtithi
the metre is gayatri and the deity is agni.

The ten aspects (kalas) of agni are invoked in the base. We are amazed to see the sapta
jihvas (seven tongues of flame) along with the vāhana (vehicle) and his wives svāhā and
svadhā in them; simultaneously we can see dasa Mahā vidyās too. The kalas are:
1. dhūmrārciṣ: dhūṁra means smoke, archiṣ means path. So on a whole this refers
to path of smoke, we are reminded of the proverb ‘yatra dhūmro tatra vahnih:
i.e. where there is smoke there is fire’. This the first step in start-up sequence of
fire’s growth. The akṣa tatva(space) is indicated here
The flame called Kṛṣṇā can be envisaged in this kalā, Kṛṣṇa which means black is
similar to dhūṁra which means blackish-grey. This flame is situated at the north
– west corner in the altar.
We can see the dasa Mahāvidyā “dhūmāvati” as it can be inferred straight away
from this name.
2. ūṣmā: The heat, when fire starts we find heat slowly developing, the second
stage is elucidated here, we can feel heat by the touch (saprśa) so next Bhūta
vāyu is felt here.

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 The flame called hiraṇyā can be envisaged here, since this is the pure form got
when gold is molten which is due to heat which can be felt. This is situated at
north east corner.
The Mahā vidyā Tārā, who is in the form of tapas- concentrated thoughts,
indicative in her form as ekajatā can be recognised here
3. jvalini: The glow is indicated, which is the third stage where we can see the form
(rūpa) of the fire, the MahāBhūta of agni is seen here.
The flame raktā can be straight away seen as this glow will be red in colour.,
which is situated at south east corner.
The Mahāvidyā Bagalamukhi who is a stambhana vidyā can be inferred as
limiting the flames which are to come up and only showing the glow
4. jvālini: The flame is indicated, which is the fourth stage where we can see the fire
rising. Flames are referred as the tongue of fire, rasa tatva and the MahāBhūta
jala can be tasted here.
The flame atiraktā is seen in this, envisaged from above as being the expansion
of the earlier kala and is suitably placed at the south west in the altar.
The Mahāvidyā Bhuvanesvari can be seen as the forceful upward push and flame
gushing forth in all directions, which blossomed into the 14 worlds (bhuvanas).
5. visphulingini: Issue of sparks from the fire is indicated here, the fifth stage
wherein we find the fire in the full glory will start emitting sparks. The solid fire –
sparks can be seen as the earth (Pṛthvi) tatva.
The sparks emitted will form a glow around the fire which is seen as the flame
suprabhā., which is in the west.
The Mahāvidyā Tripura bhairavi who is the basic of all vidyās in her form as Bala
tripura can be envisaged in the sparks of this aspect of fire.
6. suŚrī: can be translated as ‘good auspicious’, Śrī also means poison whose
criteria is to spread, the good – bliss spreading can be interpreted here.
Śrī means auspicious things too, and one of them is ornaments Śrī sūkta also says
‘svarṇa rajata srjām’, naturally the flame ‘kanakā’- which means ornamental gold
is placed here at the east of the altar.
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 The name by ‘Śrī’ itself reveals the last of the dasa Mahāvidyās – ‘Kamalātmikā’
7. surūpā: can be translated as ‘good form’. The various forms we can see in the
fire are beautiful and can be visualized.
The various forms of the flame can be visualised in ‘bahurūpā’ in which the main
deity is invoked during a havan. This is situated in the centre of the homa kunda.
The most beautiful of all the ten Mahāvidyās is “SundarI’, who is also a unified
form of all gods, can be translated from the name of the tongue as seen above.
8. kapilā: of red in colour. The red colour stands for identity of the ātmān with
paramātmān – see lauhityam etasya vimarshah in bhāvanopanishat.
This is the vehicle of Agni deva the ‘ram’ which is red in colour, and as a vehicle
will assist in his movement, which is philosophically the spreading of the Bhava
as seen above.
The Mahāvidyā Chinnāmasta who dhyāna refers to the red colour and the blood
which gushes out o her severed neck on to her mouth can be visualised.
9. havyavāhā: carrier of cooked food offerings to the gods. The vedic agni is
regarded as a messenger to god, delivering the offerings given from this world to
their world. Personification of this is his wife svāhā.
The Mahāvidyā Mātangi who is the vaikari vāk can be found here, the Vedas also
being in the vaikari vāk is said as the havya, the ceremonial offerings to the gods.
10. kavyavāhā: carrier of the food offerings to the manes (pitr). Like above he is also
the messenger delivering cooked food offerings given from this world to the
manes (pitr). This is personified as his wife svadhā.
Kayva being the food offered to the manes is indicative of death / cemetery,
which will point out to the “ādhyā dakṣiNa kālikā”
The placing of these kalas on the base- agni maṇdala while doing the pūjā can be like the
bhUpurastha devta – The first ĀvaraNa of Śrīcakra. It is displayed below:

6.Sham 10kṣam. 3.lam 7.sam

2.ram 4.vam
5.sham 1.yam 9.Lam 8.ham
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Another method is by the seven flame position in the agnikunda, with the eighth in the
position on the vehicle in the front and the last two as the wives on the either side

2.ram 6Sham 3lam

9. Lam 7 sam 10.kṣam
1. yam 5.sham 4.vam
8.ham

Sūrya Maṇdala: Sūrya maṇdala is the vessel kept on the above base, which can be
made from gold, silver, copper or wood having a (usually) round, or triangle or square in
shape. Sūrya is light and warmth, the source of life, the name also means impeller,
acquirer or begetter. Astrologically sūrya is pitru kāraka, represents the father. The
body which is got from the father is the sūrya maṇdala, the greatest asset of the
aspirant (jivātmā), by which the universe is seen, felt and interacted. Hence we invoke
the Sūrya maṇdala saying ‘artha prada dvādasakalĀtmāne’ – that which confers the
highest asset. Since body grows in time, sūrya is also visualised as the time. The twelve
kalas are the twelve months or zodiac signs (rāsi).

1. tapini: tapana means heat. The main experience in the rising of the sun is its heat
which is felt by all living creatures. This heat is also the cause of photosynthesis
in plants and thus is linked to the food chain, which nourishes the physical body.
The heat inside the body which is the cause of the existence of the body is also
denoted here. We can see the initial of the zodiac sign – the mesha here- this is a
warm blooded animal, correspondingly the caitra masa and the start of summer.
We find a subtle reference to the yellow colour in this name and also looking at
the next name, inferring that this as a restraint, we can meditate on Mahāvidyā
Bhagala Devi in this kala.

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2. tāpini: The long vowel in the start will signify the greater intensity of the heat.
The higher heat inside the body is caused when an attack of disease is there. This
is to give a warning note to the individual that an attack has happened and that
the resistance is taking place. The higher intensified sun will cause more heat in
the peak summer; this is the next sign, rshabha – the energetic animal because
of un-tired work being performed, along with the month vaishak. This intensity
can be seen as tapas which is the Mahāvidyā tara in this kala.
3. dhūṁrā: this means smoke or grey colour, The higher heat in the last name will
cause a tiredness and a look in the body as if it was black, due to the over heat.
The earlier two names pointed to the intense heat and this will point to the
clouds which are formed by this heat. The sign mithuna is envisaged here as the
rubbing between two to bring forth fire will start with a smoke only and the third
month jestha, wherein we find winds blowing and cloud forming will mean this
kala, the name itself will lead us to the Mahāvidyā Dhūṁavati.
4. marīci: This means ray of light. The name also means illusion, due to the above
tiredness the body may have illusory visions is referred here. Marīcika means the
illusion of water; here the rays when seen through clouds produce the rainbow,
thus this can be extended to get a meaning of rainbow. The fourth sign kataka,
the lord being Candra also will point to the mental modifications causing these
illusions and the month āshāda is seen here, here the spell of rains is envisaged.
The sign being that of Candra will point to the Mahā vidyā Śrī, since she is also
described as Candra sahodari.
5. jvalini: The fire element of the above maṇdala, in the skies is meditated here.
This truly the thunderbolt. The literal fire of the skies is the thunderbolt.
Internally we can find the repulsion of the diseases due to bulding up of
resistance is clearly felt here. The fifth month sravana where in we can find lots
of thunder is seen here and the sign simha, the sign is ruled by sūrya himself is a
fire ball can be seen in this and an be visualised here. The Mahāvidyā is naturally
Chinnāmastā, the indra śakti.

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6. ruci: This also means ray of light. This is the literal rain which falls from the skies
due the activity of the Sun. The bhadrapada masa is apt and the sign is kanya.
The same Mahāvidyā from the oceans, Śrī is again meditated here.
7. suṣumnā: Su-sumnā means with a nice feeling – ‘good’ ‘happiness’. The spring
time with a happy feeling, with the warmth of the sun after rains can be dwelt
upon here. This is the most comfortable month aśvina and the sign tulā. The
Mahā vidyā Bhairavi, though outward looks terrible is full of comfort can be
meditated here.
8. bhogadā: bhoga is enjoyment of worldly pleasures and ‘da’ means giver. Thus
this kala will mean the giver of worldly pleasures. This is verily the strong healthy
body which is capable of enjoyment. The enjoyable month ‘kartika’ and the sign
vrshcika is pointed out here. This will direct our thoughts to Mahāvidyā Sundari –
since sundari pungavānām bhogasca mokṣasca karasta eva. (Sundari confers
upon the aspirants the worldly pleasures, also the final liberation).
9. viśvā: This means the entire world(s) or in other words this universe. The sun is
the biggest star near us; we can see numerous stars in the sky, which are also
like our sun. Thus this name tells us to visualise all the stars seen as the sun itself
or in other words this entire universe, this is the idea conveyed by this kala. The
physical bodies of all living things are envisaged in this kala. The month mārga -
śiras and sign dhanus are seen here (mārga– path way and shiras will point to the
most highest, awareness of the universe as not different from the ātmān is the
highest way pointed by the name of this month, this is the same idea expressed
by this kalā and the sign dhanu – the ruler being guru is apt that this all
pervasiveness is taught by the Supreme preceptor). Traditionally the universe is
made up of different bhuvanas (14 in number or 224 in number), thus the Mahā
vidyā Bhuvaneśvari is meditated here.
10. bhodini: The complete all pervading awareness which is realised from the above
vastness with an identity to the self is meant here, Thus getting knowledge and
experience in this body is said here ( kaulopanishat – pindāt jananam tatriva
mokṣa)The blossoming of the above knowledge is seen in this kala. The sign
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 makara and the moth pushya are seen here. The assimilation of the knowledge
will point to the Mahā vidyā Mātaṅgi
11. dhārini: Initially the above awareness may come in spells, with the universe
asserting the dual experience, the continual concentration and fixation of the
above knowledge is the message in this kala. . Thus this kala will send the
message of sadhana as said in kalpasūtra – ‘sadā vidyā anusamhatihi’, thus the
śakti kuta’s message of everlasting awareness is seen here and the Mahvidyā
sundari is again recognised.The month of māgha and the sign kumba is seen here
12. kṣamā: This means skill. The above one pointed focus wil result in the most
skillfull execution of all daily activities, thisis the sign of siddha puruṣa. This skill is
also call dakṣa in other words, leading us to identify the Mahāvidyā Adyā dakṣina
kalikā. The month phalguna nd the sign mīna will be seen here.
On a whole these kalas will render an idea on the body, protection from diseases
(bhāskarāt icchet ārogyam) and final experience of the knowledge of self.

Positioning of the kalas:

We can see the twelve zodiac signs and hence meditate of the square form for this
archana of the sūrya amadala in the vessel kept.

7 8 9 10
6 11
5 12
4 3 2 1
Another method: Visualising the akṣaras said in the maṇdala from the heart to
svadhistana in combination as said, kam bham , kham bam…etc. This will create a
damaru (drum like) like structure.
Another method: Taking the lords of the rashi said above and placing them on a nava
graha like placement on a pedestal will result in the formation as below:
2/7

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 1/8 5 9/12

3/6 10/11 4

It is amazingly looking like a conch shell; the usual samnyarayghya vessel.

Soma Maṇdala: Soma maṇdala is the liquid filed up in the above vessel kept on the
base. The liquid is called arghyam, It is also called as ‘prathama dravya’ or ‘kārana
dravya’, indicating alcohol. There are substitutes said in the tantras such as – Tender
coconut water, rice gruel, butter milk mixed with jaggery, extract of the dates mixed
with honey and sugar, cow’s milk in copper vessel. This will represent the mind, the
subtle body- which has virtues and vices. The capacity of the mind is to desire and take
measures to achieve the desired result. ‘Soma’ can be split as ’sa’+’uma’- with uma.
Uma represents the primordial urge for creation- termed as desire – Veda says ‘so
akāmayat’-He desired. Hence we invoke the Soma maṇdala saying ‘Kāma prada
ṣodasakalātmāne’ – that which causes the desire to manifest; all desires are the cause of
the initial primordial desire. The sixteen kalas are the phases of moon; in Vedas we find
there is an intrinsic connection between the moon and the mind.
1. Amṛtā: This means that which does not die - eternal. In the above we saw that
this desire is from time immemorial Or rather to say from the start of creation,
thus this name of kala is apt. The oldest deity of the dasa Mahāvidyās is naturally
Dhūṁavati and her presence is felt here
2. Mānadā: Māna means to measure, the State of Para śiva , before creation is
immeasurable, The creative aspect called śakti limits the parasiva by her five
kancukas. This is allegorically called measurement. Thus the maya devi who
measures is seen in this kala. Maya bījā is for bhuvaneśvari and her presence can
be visualised here.
3. pūṣā: The literal meaning is fertility. Thus we see a further creative aspect in this
kala. The field for creativity needs and fertile soil, this basic feature combined
with the other aspects will ensure the creation. In the mind this will point to the

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 creations of new thoughts, which will sprout. This in subtle terms is named as
the tripura bhairavi and can be thus envisaged in this kala
4. tuṣti: Contentment is the verbal meaning of this kala. The state of paraśiva is
eternal contenment, nitya trpta, the creative urge will disturb this state and
make it into raga, desire for certain things and aversion for certain things. The
recognition of the self will result in this sate of contentment. The last
kamalatmika vidyā also called Śrī is definitely seen in this kala
5. puṣti: The well formed nature is meant by this kala. In the above fertile soil, with
equal creativity will result in a well planned and well formed thought. This is the
same as the third of the Mahā vidyās – Sundari- one who has the beautiful form.
6. rati: The bliss in conjunction is the literal meaning of this kala. Here this will
mean the conjunction of mind with senses and the bliss experienced. Though the
senses are only transmitters, they will seem to be the cause of the bliss, this can
be visualised as the reverse in the conjunction over which stands the Mahāvidyā
Chinnāmastā.
7. dhṛti: This will mean real courage due to awareness. The reality that this
universe is manifested of the siva tattva, the awareness of this truth will bring in
a high level of courage, where there is no fear. Dviteeyāt vai bhayam bhavati- the
notion of the other is the cause of fear. Thus a restraint in our responses to
others deeds will come automatically. This can be now visualised as the
Mahāvidyā Bagala mukhi.
8. śaśini: The rabbit like figure in the full moon. Rabbit will point to the leaps in the
movement and also to intuition. Thus a mind with intuitive search relying on the
divine Grace is visualised in this kala. The most beautiful and bliss full Mahāvidyā
Sundari can be again meditated upon here
9. candrikā: The moon beams from a full moon are meant in this kala. The beam of
moon light is a reflected one; it is having a soothing effect on the mind and body.
If we consider Sunlight as pure knowledge this is reflective knowledge, which will
lead to the experience. Traditionally the herbs are said to thrive in the moon
light. So a curative effect akin to herbs is also seen. This condition of a shining full
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 moon is not possible in all seasons, only in the spring time full moon is shining
with its full glory. The earlier kala has a reference to full moon that is ever seen
in all seasons, this is specific to the spring time, inspiring the fine arts. Thus we
find the Mahāvidyā Mātaṅgi here.
10. kānti: The literal meaning is lustre. The brightness radiating from the reflection
of the moon light beam is seen here. This radiance is truly the auspicious ‘Śrī’
11. jyotsnā: The varying aspects of the moonlight are seen in the previous kalas. .
This also refers to the moonlight beam. This is an extension of the above kala
wherein the brightness will illumine the surroundings and make them bright too.
Thus an all encompassing view of the universe is seen here. This is also the
auspicious ‘Śrī’.
12. Śrī: The most auspicious. This also means ‘poison’, in its property to spread.
Spreading of the consciousness is said here. Considering the meaning we can
visulaise ‘dakṣiṇa kalikā and by direct reference explicitly ‘Śrī’.
13. prīti: The joy or bliss which is experienced in the very subtle level. The actions
and speech of a wholesome person will be soothing and acceptable to all. This
kala is such, thus we can see Mahāvidyā ‘tārā’, the corresponding dasa avatar
being ‘rāma’ – one who caused joy.
14. aṅgadā: ‘aṅga’ means limbs, ‘da’ is the giver. Thus we find the work done by the
mind through the limbs is meant here. The control of mind over matter is the
subtle idea inside this kala, this will lead to an out of body experience which is
called the self realisation. The Mahāvidyā ‘dakṣiṇa kalika’ the power of mind is
also envisaged here
15. pūrṇā: The literal meaning is full. With continuous sadhana and contemplation
the fullness of the consciousness in the universe is realised, this is called
samādhi- both savikalpa and nirvikalpa. This is verily the Mahāvidyā” Sundari”
16. pūrṇāmṛtā: the eternal fullness is meant here. Thus a later state of the nirvikalpa
Samadhi called the sahaja sthiti is seen and naturally the Mahāvidyā ‘sundari’.

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This arghyam with the above aspects will be established in two vessels called the
samanya and vishesha. Bhavanopanishat says, jñanam arghyam, i.e. the two words are
synonyms. Thus substituting these in the above we find samanya jñana and vishesha
jñana. Also interesting is the drop of vishesha jñana in the samanya jñana while
establishing the samanya arghya. This will shows us the initiatory requisite for the
vishesha jñana to manifest. What is this vishesha jñana? It is the unbroken awareness of
the bliss and the identity of the aspirant and the deity. (The experience of the upanishat
– sadānanda pūrna svātmāiva paradevata lalitā’)
After the filling up of the vessel with the said arghyam, we are directed to draw a
triangle inscribing the alphabets, the three parts of pañcadaśi mantra outside and the
fourth vowel (turīya svarā- īm) in the centre flanked by ‘ham’ and ‘sah’. Then draw a
circle on the outside and a six pointed star outside the circumference of the said circle.
The Six aṅga devatas (ṣadaṅga devatā) are worshipped in the six triangles.
This is the representation of the guru pāduka in the sahasrāra. As in the body, the
sahasrara is in top, in the viśeṣārghya it is written on the liquid (top). Thus a connection
to the entire lineage of gurus is established. Next is writing the pañcadaśi outsrde in
three parts, identifying the mantraksara and guru nātha with cit śakti. The circle around
inscribes will point to the entire universe, since the bindu expanded is the circle, bindu
being a representation of the space. The six triangles will now be the five elements and
mind, in which the six limbs for protection and realisation are worshipped.
Similarly in the viśeṣārghya sthāpana of Ganapati, Mātaṅgi or Vārāhi their respective
mantras are to be written on the outside of this circle, with the corresponding ṣadaṅga
mantras worshipped in the six triangles. The same is the idea as said above.
Then, there is a prayer to the sudha Devi.
‘tām cinmayīm ānanda lakṣanām amṛta kalaśa
piśita hasta dvayām prasannām devīm pūjāyāmi nāmah svāhā.’
Here: ‘tām’- that, the first principle of existence – the Para Brahman which is the eternal
is also called ‘sat’
‘Cinmayīm’= in the form of cit śakti- the creative urge, which induces the creation, this is
called ‘cit’
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‘ānanda lakṣanām’ = whose identity is revealed by the blissful experience, noted as
ānanda.
(Thus one a whole we find the characteristics of the divine as saccidananda revealed in
these verses)
Amṛta kalaśa piśita hasta dvayām= Holding in her two hands a ceremonial pot filled with
nectar and flesh. Hand denoted the physical ritual, hence this we can take as a direction
to the ritual, wherein we find the five ‘m’, which shall manifest the bliss. Bharga rāma in
his kalpasūtra says ‘ānando brahmaṇam rūpam tatcca dehe vyavasthitam,
thairabhivyanjakā pañca makārā’
Prasnnām: Ever happy / joyful, Contented, Indicative of the experience of the earlier
said saccidananda from the ritual mentioned above.
Devīm= the word Devi comes from the root div – brightness or div- play. Combining
these ideas, this address will be both the saparya ritual as indicated by play and the
internal dhyana as indicated by brightness.
Pūjāyāmi: we offer our salutations, since the practical pūjā requires dvaita prapañca,
this salutation to the divinity is really the salutations to the divinity residing in one and
all. Recognising is the code word here
Namah: again this is also a salutation, breaking this word into ‘Na’ and ‘mah’; we note
the negation of the individual consciousness, continuation of the earlier idea.
Svāhā: the oblation into the sacrificial fire pit, here the mulādhāra is the fire pit and the
tongue represents the flame.
This prayer invokes the special knowledge (Viśeṣārghyam) into mind of sadhaka, which
is continuous alertness and observation of thought (introspection) while adhering to the
ritual (sādhana krama).
Further six actions are performed
1. Vaṣat – iti uddhṛtya= take small quantity of this arghya and raise it to the top of
the head of the aspirant. Vashat is the aṅga mantra for the tuff (shika), since
Veda sikha is upanishat, this action is clearly taking a part of the specially
energised mind into higher level with the help of Upaniṣad and its teachings. .

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2. svāhā– iti tatriva nikṣipya- pour back the lifted arghya back into the viśeṣārghya
vessel. svāhā is the mantra of the head, indicative of all store house as memory.
The earlier action denoted study, a small portion of the mind grasps the highest
experience of bliss; hence this action will point to the spreading of the
experience of the studied scriptures in the whole mind.
3. hum –isi avakuNdya:- This is the kavaca mantra – armour, protecting the vessel
and its contents, from the outside influence. Thus while assimilating all the
knowledge and experience, we are not be disturbed.
4. vauṣat- iti dhenu mudrayā amṛteekrtya:- This is the netra mantra, visual sight is
meant here, kama dhenu is the divine cow- or rather the Primordial Energy we
have to ‘see’. – That is knowledge of the written word and the spoken word from
the Master.
5. phat- iti astrena samrakhya- Phat is the astra mantra, while the above armour if
prevention of attack , this will mean the opposite, annihilate the attackers.
6. nāmah- iti pushpam datvā- nāmah is the hrdaya mantra, offer flowers. The
verbal meaning will be negation of the individual and merger to the eternal
divine, offering flowers- which represent space (akasha tattva) is the totality in
the whole creation of this idea.
7. mulena galinyā nireekṣya: look at the viśeṣārghya through the galini (filter)
mudra, reciting the mula mantra. The filter is a device which removes the
unwanted from the essence which has been extracted. The mula mantra is the
prayer to the divine for continuous awareness, thus removal of dual thoughts
with the help of the mantra is said here.
8. aim iti yonimudraya natva: worship by showing yoni mudra and reciting the
mantra ‘aim’. Yoni mudra is a gesture worshipping the divine source of all
creation and the mantra ‘aim’ will point to the Vedas (see bala tattvartha). Thus
after removal of the dual thoughts the remaining mind – awareness- is the
divine.

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9. mulena sapata vāram abhimantraya: touch the viśeṣārghya vessel and recite the
mula mantra seven times. Thus after identifying with the divine energy, the same
is repeated for stressing and strongly implanting this in all the actions.
Thus the Sudha Devi who is invoked in the mind is worshipped in the sequence as
described above and then with the five elemental services (pañca pūjā). Then this
viśeṣārghya is sprinkled on the self and objects used for worship with the bhavana
‘sarvam vidyā mayam bhāvayet’- This is now point to the special energised mind –
awareness being spread on all the known things and identify them with the divine.
This Bhavana is the most important in the establishing of the vessels.
Next is the energising of this vsiheshargyya with the caturnavati kalas.- ninety four
kalas. The split-up is agnikala- 10, sūrya kala- 12, candra kala – 16, brahma, Vishnu
and rudra kalas each 10, Iśvara kala – 4 and sadaśiva kala -16, then is the five veda
mantras and finally the mula mantra. Thus the ninety four kalas are invoked in the
viśeṣārghya.
Further there is a prayer to sudha devi in three anushtub meter, amṛteśvari mantra
and the deepini mantra. Thus on a whole ninety nine kalas are invoked into the
viśeṣārghya.

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 Shāpa vimocana

In the process of establishing vessels with liquids for pūjā, before filling up main source –
kāraṇa kalaśa- there are rituals said in different tantras for the purification of the liquid
that is to be filled. As such paddhatis now in vogue, which have mainly adapted from
nityotsava following parasurāma kalpa sūtra, have no reference to removal of these
aspects. In earlier tantras like paramānanda tantra and early paddhatis like saubhāgya
ratnākara and stotrās like tripurā stavarāja, we find these rituals explicitly.
This is a small enquiry on the basis of this process. The process starts with a prayer to
guiding deities, removal of eleven faults (doṣa) in kāraṇa dravya with khecari bīja –
Tripurā stavarāja “pātu mām khecari bījam doṣaikādaśa nāśakṛt”. Then, curse removal
(śāpa vimocana) on the kāraṇa dravya of vṛtra, Rudra, Brahma, śukra, soma and Kṛṣṇa is
done.
The pathik devatas are invoked first and eleven doṣas (grāma, krodha, dṛṣti, sparśa, sṛṣti,
ghata, tapana, vedana, nirdīpana, sarva jana dṛṣti saprśa doṣa and paśupāśa) are
removed.
The pathik devatas are guides in travel of creation of Kāraṇa dravya which aids in the
fullest self realization, in other words they are guru maṇdala devtas. We can confirm
this by the said bīja mantra khecari, which is found first in guru pādukā mantra.
Ohilopshically seeing though whole created universe is śiva, there are attributed stains
(doṣas), due to not recognizing this fact.
(1) grāma: grāma means a village, where we find all kind of people living in a society
doing their duties. Thus initial mixtures of things needed to prepare this kāraṇa
dravya are indicated. The removal of notion that there are different materials
required, that they are all unified in their diversity with relation to śiva avastha is
the cleaning act. As per reverse of kaṭapayādi code, this will point to number
thirty five, in creative descent this will refer the jala tattva- kāraṇa dravya is
liquid and in ascend it will point to the śakti tattva- the realization of the initial
throb by the use of this kāraṇa dravya.

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(2) Krodha: The anger is meant here, agitation is a result of this anger, which is the
subtle point sensitized here. The above mixture has to be crushed and made into
a uniform consistency for further process. This is verily the action of above
notion said and thus practical application of removal of this stain
(3) Dṛṣti: Vision is indicated here. The stain on viewing (sight) crushed material on its
degree of consistency is removed here. Even though a great agitation / churning
is done there is bound to be some unmingled particles, this has to be seen and
removed by further crushing. Vision here refers to śāstras. Through the view and
guidance of śāstras any small / minor inconsistencies shall be removed of the
dual notion
(4) Sparśa: the touch. Per kularṇava, we have to continuously agitate the mixed
composition clockwise and anti-clockwise for certain period of time for assisting
production of kāraṇa dravya. The stains caused by such movement are said here.
The subtle idea is to practice the said śāstras in ways as directed by Guru is said
here
(5) Sṛṣti: Creation. This results in formation of fermentation. The rise of beverages in
the constituted mixture is meant here. This is transformation of sugar in the
original mixture to alcohol. Thus same sugar when taken instantly will not cause
a change of consciousness, while transformed sugar (alcohol) will result in a
change in consciousness. The stain during transformation of the material (sugar)
is removed here. The subtle point is that sugar which is a source of energy is
transformed to an energy that will cause a transformation in consciousness.
(6) Ghata: Pot. This will now indicate ‘hibernation’- long sleep like in a dark place- of
the said mixture. The physical activity here is transfer into a pot and keeping it in
underground for a fixed period of time. The Pot is really the body of the aspirant
wherein the mixture is kept hidden, Paraśurāma says: ānandam brahmano
rūpam tat ca dehe vyavasthitam. The hidden is ‘prakatyannirayah’. Thus a
continual sadhana in secret is idea signified, and the stain is things which oppose
these ideas of secrecy.

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(7) Tapana: heat. After the time of hibernation, we have to heat this fermented
mixture. This is tapas or intense in sadhana. The allegory is to firing the raw clay
pot in a kiln to make it useable. The stain in these actions as to the ownership
part of the sadhana is said here and hence its elimination is the stain removal.
(8) Vedha: hole. The vaporization of the alcohol due to the above heat on the
fermented matter, through a condenser with an opening is envisaged here. The
condensation of these vapors is meant here. This is akin to the rise of
consciousness in the spinal chord. suṣumna with experiences of the ‘sahasra
sūrya sankaśa – bright like thousands of sun and candra koti suśeetala- cool like
cores of moonlight.
(9) Nirdīpana: not getting lighted. The initial distilled liquid will not have much
percentage of alcohol and will not get lighted if exposed to fire source. Only
when the distilled liquid instantly catches fire the exact process of alcohol
distillation will start. This will now point out to the initial experiences of the
sadhaka, though inconsistent and flash like, will be a sure lead on the morale to
witness newer heights.
(10) Sarava jana dṛṣti sparśa doṣa: the stain of all people’s vision and touch.
This is the product thus distilled with now be seen and handled by lots of people.
The stain from this is meant here. Subtly, the exposal of the initial experiences will
attract a crowd and this cause a hindrance in the sadhana, the secrecy maintenance
is the removal of this stain here.
(11) Paśupāśa: Causing bondage. Thus we end up with kāraṇa dravya, which is
consumed by people. This act if done with utmost śraddha in śāstras and rituals
purification by śāpa vimocana will cause release from bondage- else will cause
addiction, which is the paśupāśa said here. Thus restriction of use of kāraṇa
dravya in accordance to śāstras is the removal of stain here.
These removals are done with the khecari bīja. ‘kha; means Brahman, carati means
in movement, thus the recognizing of the fact that all these are Brahman and the
knowledge in action is emphasized here. Thus the whole process is guided and
realized by the guru maṇdala and the total representative of this maṇdala is one’s
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own guru. Thus later in the process of establishing the kāraṇa kalaśa , we find
invoking of the ānandabhairava and ānandabhairavi – the primordial guru dampati –
who are identical with our own guru, in this dravya, which reaffirms this idea.

Now the śāpās are discussed. śāpā will mean curse or defect, thus to bring back to
the original Siva hood is the vimocana said here. One who curses has to remove it,
thus these devatas are approached to removal of the curse. Looking it in another
way, the main clue is in reversing the word; we get pāśā, the bondage. Thus these
śāpās are in reality making us aware of the different types of bondages that this
kāraṇa dravya can cause and approach dravya with utmost sincerity and devotion, so
as to cause rise and shine of eternal consciousness.
There are puranic narratives on the causes of these śāpās.
Brahma on ingestion of this dravya, had lust, and resulted in running after his own
creation – daughter, Devi Sarasvati. This caused the curse. The due investigation of
the source of lust and internalizing the same with the initial throb is the removal of
this curse. ‘Brah’ means to expand, thus expansion of knowledge and an intellectual
approach will hinder the final realization, and this is the curse here. The balanced
approach on intellectual and practical realms to spirituality will removal of same, this
is verily the śāpa mocana.
The śukra śāpā is due to indulgence of Śrī śukrācārya on his daughter, bowing to her
whims, resurrecting kaca, finally revealing the secret mṛtasanjivani vidyā to him.
Hence Śrī śukra cursed surā – kāraṇa dravya- in misleading his intellect. śukra (śukla)
is the main essence of the body, which has all the other six dhātu inherent in it and
can create another body. The longing for creative indulgence and further lavishness
on the progeny is meant. Thus the pāśā of filial bondage is to be observed and
removed with due enquiry on the real state of the self. This dravya shall promote the
said enquiry and lead to the realization by removal of this śāpā (pāśā).
Rudra śāpā is due to anger. Initially Brahma had five faces identical to Lord Rudra,
and taunted by the fifth head of Brahma, the same was severed by Lord Rudra is
narrated in the puranas. This bondage on the fit of anger due to pride and self-image
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 in manner is the pāśā said here and the above said enquiry is to lead to the removal
of this śāpā (pāśā).
Kṛṣṇa śāpa is due to destruction of his clan (vamśa nāśa). The end of yādava clan at
prabhāsa sea shore by pride and internal rift caused by this dravya, resulted in this
curse. Kṛṣṇa is a pūrna avatāra, the complete Perfect Divine in human form. The
earlier said destruction was due to pride of the said clan on their unlimited power
and having Kṛṣṇa on their side. This point to the affection of ones own people, thus
removal of the notion of belonging to a particular clan is verily this shāpa vimocana.
The essence of Gita said by Kṛṣṇa is śaranāgati – surrender. This idea of humility and
recognizing all living and non living as expansion of the Śiva consciousness is removal
of this śāpa. The same is seen in the kalpasūtra as:
Disgust, doubt, fear, shyness, aversion, clan identity, class identity and habit are the
eight pāśās
ghṛṇā-śaṅkā-bhaya-lajjā-jugupsā-kula-jāti-śīlānāṃ krameṇâvasādanam
Vṛtra’s story is on friendship. Tvashta created vṛtra to annihilate Indra, who had
killed Tvashta’s son. Afraid of the powers of Vṛtra, Indra pretended to be his friend on
certain conditions laid by Vṛtra. Later when all these conditions were fulfilled, Indra slew
Vṛtra after consumption of this dravya. Thus Vṛtra cursed the surā. A subtle doubt in
mind of Vrtra caused conditions to me put forth for a friendship. This is the stain–curse.
Some of the above listed traits (doubt, fear) are inherent in this episode. The recognition
that all are one is the removal of the root cause of these traits and this is the śāpa
vimocana.
Thus purified kāraṇa dravya is filled in the kāraṇa kalaśa before pūjā.

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 Ṣaṣtāvaraṇa cakreśvari mantra – Thoughts
The śri cakra navāvaraṇa pūja has nine enclosures to be worshipped. Each enclosure or
Cakra has a main deity called the cakreśvari, who is worshipped with her group in the
end and specific mudra is shown to her to get her blessings for pass over to next
āvaraṇa. There are mantras for each cakreśvari. These mantras are also used from nyāsa
to āvāhana– (from kara śuddhi, ātma rakṣā and caturāsana first six cakreśvari mantras,
seventh cakreśvari mantra is used for mūrti kalpana and eighth for āvahana), Nyāsa is a
tantric ritual which involves the placement of the divine energy on the physical /mental
body of the aspirant to remove mayīka mala and cleanse him through vidyā tattva.

The sixth enclosure is called sarvarakṣākara and the cakreśvari is called tripura mālini,
corresponding asana is sādhyasiddhāsana. Her mantra as seen in printed modern text is
hrīm klīm blem. This is a discussion on elucidation of this devi’s bīja from various texts.
The following texts have a direct reference to the mantra:-

(1) Paraśurāma kalpa suta: The text directly defines the mantra as: ‘mayā mādana
blemātmaka’ thus the mantra is found as hrīm klīm blem.
(2) The mantra mahodadhi text also defines this mantra straight away as the same
above.
(3) The gyānārṇava tantra also says the mantra as above in the straight text as
‘blemātmaka’.
(4) However Śrī datta samhita says the mantra in a straight text as ‘vlemātmaka’.

There following texts reveal this mantra in a coded manner:-

(5) Nityā ṣodaśikārṇava with setu bandha vyākhyāna: The tantras say, take first two
bījas of tripurasundari, the third cakreśvari (already revealed as hrīm klīm sauḥ)
and add third bīja made of ‘toya śakra śakti’ to become mantra of sixth
cakreśvari. Śrī Bhāskararāya in his commentary has identified toya–water bīja as
‘va’, śakra is indra, his bīja is ‘la’ and śakti as ‘e’–eleventh vowel as said in

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 sarvasiddhikara stotra: ‘ganeśa graha nakṣatra…. Yad ekādaśam ādhāram bījam
koṇa trayotdbhavam’. The combination will result in the bīja ‘vlem’. He also
cautions that first syllable is not third of the ‘p’ series, thus negating idea found
in above straight bīja uddhāra of third syllable.
(6) Paramānanda tantra with saubhāgyasandoha vyākhyna of Śrī
Maheśvarānandanātha also points to third bīja as said in text ‘ kakupt, rūpa,
jyotsnā’ – kakup means a hunch of ox, this letter ‘v’ is written like that in the
older script. Rūpa will point to letter ‘L’ as said in tattva listing, and jyotsnā kala
of soma maṇdala is represented by the vowel ‘e’. Thus third bīja of this mantra
will be elucidated as ‘vlem’.
(7) Tantra rāja tantra with commentary manoramā by subhagānandanātha
elucidates third bīja from text ‘ambu rasa and cara svarūpam’ as Ambu means
water – bīja ‘va’ is identified, rasa is bīja ‘la’ and cara will point to eleventh vowel
‘e’. Putting them together will form bīja ‘vlem’
On a wholesome study in the above we can see that first type of directly revealing a bīja
will be subject to doubt, since there is a thin difference in phonetically representing

syllable ‘va’ and ‘ba’( a small cut across the centre will change ि‘va’ to ब‘ba’). Thus this is

totally in hands of scribe; any distortion will have changed that original syllable. Also an
argument that ‘va’ and ‘ba’ are interchangeable as seen in linguistics, nevertheless this
being mantra śastra the exact syllable is required. Can we chant ‘vahnimīde purohitam’
as first ṛk of ṛgveda instead of ‘agnimīde’?
Thus looking based on above arguments, we can infer, without any doubt, that second
method of bīja being culled out of a code is acceptable and also supported in direct
revelation by Datta samhita. The mantra being:

4-ह्रीं कलरीं वलें साध्यदमसद्धासनाय नमौः‘hrīm klīm vlem sādhya siddhāsanāya nāma’

4-ह्रीं कलरीं वलें सिारक्षाकरचक्राय नमौः‘hrīm klīm vlem sarvarakṣākaracakrāya nāmah’

ह्रीं कलरीं वलें त्त्रपुरमामलनर चक्रेश्िरर श्रपादक

ु ाीं पूजयामम नमौः

‘hrīm klīm vlem tripurāmalinī cakreśvarī śrī pādukām pūjayāmi nāmah’

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 Saptamāvarana devata bījā – a reflection

In the Śrīcakra there are nine āvaranas or enclosures. The seventh enclosure of the
Śrīcakra raja is an eight triangle figure called sarva rogahara cakra. There are eight vag
devatas in these triangles and they are called ‘rahasya yogini’. Man is a unique creation
of the Divine who can express sounds as means of structured communication. Man is
also the unique creation who is capable of sadhana and attains mokṣa. Ponder over the
name of this āvarana ‘roga’ and ‘hara’. We find the equivalent numbers as ‘32’ and ‘28’.
The first number ‘32’ will point to the suddha vidyā tattvam and the number ‘28’ to the
most secret Mahāshodaśi mantra which is combination of all devatas as said in the
parasurāma kalpasūtra. The nyasa of this mantra is in the route of the sushumna
channel. Thus we can infer the movement of kundalini, the nyasa being done from the
top will explicitly point to the descent of Divine grace. The mudra is ‘khecari’ – moving in
the sky (Brahman). This also points to the everlasting awareness of the Brahman. The
gesture of this mudra is entwining the hands which will explicitly point to the śiva śakti
samarasya bhavam attained in the end of the arcahnam of this āvaranam.

I- Vasini is the first of the eight vag devatas, is of the hue of the red ashoka flower,
wearing red ruby / coral ornaments, having a crescent on her crown, holding a veena,
book (pustaka), bow and arrow in her hands. Her name literally means one who
attracts. Her bījā mantra is ‘rblūṁ’.

In tantric literature we find the vasya bījā (attractive seed sound) is ‘blūṁ’. The bījā ‘b’
represents the locomotive organ – pāda, ‘l’ represents the forms – rūpa tattva and ‘ūṁ’
is the sixth vowel placed (in the matruka nyāsā) on the left ear- representing the active
kinetic principle- the śakti pradhana. Thus we can read on a whole as the attraction
(movement as indicated by the locomotion to form) by the śakti tattva – kinetic
principle on all forms is said in this bījāa.

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Here an extra ‘r’ bījā is there in front, which points to the touch –ram sparsha tattva.
Thus we find an extra emphasis of attractive principle of the eternal śakti tattva on both
touch and forms. Since more than one aspect is said the rest are understood- the sabda,
rasa and gandha. There fore we find this śakti / vāgdevata as the Divine, which attracts
all the sensory organs and experience of these organs also as divine. This is said by
Bhargava Rāma as ‘āndo brahMaṇa rūpam tacca dehe vyavastitam tai abhivyanjakāh
pañca makārāh tair archanam guptyā’. The secrecy of the use of the sensory organ’s
experience to find the divine bliss behind them is represented by this śakti. Hence we
are amazed to note that common name for this group of devis is ‘rahasya yogini’.

Another deeper meaning is that, here touch will indicate the sparsha during the
initiative ceremony – dīkṣa by the pāda, in shāmbhavī dīkṣa and form to the physical
form of Śrī Guru during this ceremony. Śrī Bhāskararāya also in his bahya varivasya vidhi
has instructed on the physical form meditation as to visualize the form of guru as it was
during the dīkṣa ceremony. Thus we are even more amazed to find this vāg devata as
the first in sadhana timeline, as indicated by Bhargava rāma as ‘sarvatra matimān
dīkṣeta’.
Positioning of this devi is at the top of the head which is indeed the ‘guru sthana’ where
in the shambhavi dīkṣa is given.

II-Kamesvari- The second of the vagdevatas, is also as described above. Her name means
lord of all desires. In veda we find ‘so.a.kāmayata’ – The pre-creative aspect , called
Brahman, developed a desire, - as desire as to what, ‘ekaivāham bhasyām prayayeti’, I
am one, let me become in multitudes- not a clone like but in all aspects multiplicity /
diversity. Her bījā is ‘klhrīm’

‘hrīm’ is the bhuvanesvari bījā which indicates the initial creative throb. ‘I’ is the right
eye (in matruka nyāsa) which indicates ‘iKṣaNa’ – to look. The single principle called
Brahman cannot ‘look’ at itself, it can be ‘aware’ only. The result of this ‘aware’ creative

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pulse is this entire universe as indicated by ‘k’ the second tattva – śakti and ‘l’ the last
tattva Pṛthvi / earth.

On deeper thought as the dīkṣa is said above, in continuation this will point to the
sadhana including the rituals japa and dhyana. ‘hrīm’ will explicitly point to the sadhana
in the form of japa, with ‘k’ – the śakti tattva point to the adored deity, with acquiring
her form by meditation (buta sudhhi) resulting in the removal of the anavamala and ‘l’ –
the Pṛthvi bījā indicative of the five subtle elements represented by the five ‘M’ will
point to the ritual resulting in the removal of mayika mala. Thus the sthula and sukṣma
bodies are cleansed.
The positioning of this bījā is in the fore head, this will now direct the thought to the
fate, which is altered by the cleansing of the sthula and sukṣma bodies.

III-modini- The third vagdevata is also as above, her name means blissful. As seen above
the Brahman is blissful in nature, this is pervading this entire universe. Thus the sole
thread of this multiple universe is bliss. Her bījā is ‘nvLIm’

The basic bījā in the above is ‘Im’ – the kamakala bījā. This is the causal seed of this
expanded universe as the bliss of the creator – Brahman. The prefixes of this bījā are ‘n’,
‘v’, and ‘L’. ’n’ indicate the Ghrāṇa tattva- the nostrils which is the cognitive organ
(gynanendriya). ‘v’ is the amrita bījā and also indicates rasa tattva. ‘L’ is the Pṛthvi bījā
and also indicates rūpa tattva. WE see the three basic elements represented thus are
immersed the bliss of the kamakala bījā.

This is in further to the above mediation of the pūjā as said in the kamakala dhyna. The
‘n’ will represent the face – since the nostril is there, ‘v’ the breast- since it is the source
of nutrition to a child in the form of milk and ‘L’ the yoni – since this akṣara ia placed in
the svadhistana cakra in the internal matruka nyasa. The ‘Im’ bījā in the end is the
unified form of this dhyana resulting the removal of the most subtle stain the karmika
mala, cleansing the karana body and thus the Cleansing (revelation) of the siva tattva.
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The positioning of this bījā is in the mid eyebrow, this will now mean the visualization in
te mind of the verbal instructions in the above dhyana by the guru – who is both outside
as well as inside the sadhaka, thus cleansing the karmika mala.

IV-vimala – The fourth vagdevata is also in the above form. Her name means ‘vi’ -
without ‘mala’ -stain. Once the aspirant is immersed in the bliss he will be without any
stain (mala). Ylūṁ is her bījā

‘ūṁ’ the sixth vowel is placed in the left ear in the matruka nyasam. ‘Ear’ is a cognitive
organ (gynaendriya) and ‘left’ denotes the predominance of śakti tattva. We can
summaries this as the knowledge of the kinetic principle. ‘Y’ is the sabda tattva
indicative of the space element. ‘L’ as seen earlier will denote the Pṛthvi and the rūpa
tatttva. The whole universe is represented by these two bījās. On a whole light we find
that the experience of the knowledge that the kinetic principle pervades this entire
universe on HER (its) own will; will result in the satin free state, which is represented
here. This is the savikalpa Samadhi of the aspirant on culmination of the sadhna.
The positioning of this bījā is in the throat, this will now signify the cessation of the
individuality at this level.

V Aruna- The fifth vagdevata is also in the above form. Her name means red as the rising
sun, an orange-red. Bhavanopanishat says ‘lauhityam etasya sarvasya vimarshah’ –The
red color is indicative of the experience of the undivided knowledge. Her bījā is jmrIm.

‘j’ represents the raga tattva, which is the limitation of the Brahman by the maya tattva
in possessing everything to wanting certain object / experience and repulsion to another
object / experience. In the lalitha sahasranāma we find ‘rāga svarūpa pashādhyā’ the
rope (made of red coral) is the attraction. This is represented as red in color. ‘m’ is the
uapstha tattva which indicated the ānanda. This also point to the individual who thinks
he enjoys the ānanda. ‘r’ is the sparsha tattva and also the agni bījā, this too is red in
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color. ‘Im’ the kamakala bījā which is the creative uprising is fully realized in this aspect
is indicated here. This is the nirvikapla samādhi.
The positioning of this bījā is in the heart, this will tell us that the mind is now at rest
fully.

VI- jayini – The sixth vagdevata is also as seen above. Her name means one who is
victorious. Her bījā is hslvyūṁ.

There are five consonants in this bījā ‘h’‘s’ ‘l’ ‘v’ and ‘y’. ‘ūṁ’ the sixth vowel as seen
above will denote the active kinetic principle – śakti tattva. ‘h’ and ‘s’ are the siva śakti
tattvas. ‘l’ ‘v’ and ‘y’ are the three elements Pṛthvi, jala and vāyu. The rest two are to be
inferred. Thus reading on a whole this bījā will denote the sahaja sthiti of the sadhka,
who has victoriously accomplished the sadhna by the grace of Śrī Guru and divya
dampati, in spreading his consciousness in this world made of the pañca Bhūtas (five
elements) and being aware of the creative kinetic aspect.
The positioning of this bījā is in the navel, the manipuraka cakra, wherein all the nādis
are born, so realization of the above is said here

VII – sarvesvari – The seventh vagdevata is as describe above. Her name means lord of
all things. Her bījā is jhmryoūṁ.

‘jh’ ‘m’ ‘r’ are the consanats and ‘ūṁ’ the vowel. ‘jh’ as seen from the tattvas represent
the time – kāla tattva. ‘m’ is the individual soul and ‘r’ being the fire will denote the fire
of knowledge. The secret of being the LORD OR in other words identifying with the
LORD is by transcending the time with the fire of knowledge – which is through
experience- the individual now becomes one with the active kinetic aspect, thus being
once with the Isvara- the LORD.
The positioning of this bījā is in the genitals, the savdhitana cakra, the joy of the
unbound in the above experience is said here.

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VIII – kaulini – The last /eighth vagdevata is as seen above. Her name means a view in
totality. Her bījā is kṣmrIm.
‘kṣ’ ‘m’ ‘r’ are the consonants and ‘Im’ the vowel. ‘kṣ’ is a mixed consonant, of ‘ka’ and
‘sha’. The ‘ka’ again is brahma vacakam or śakti tattvam – the inherent kinetic aspect,
while ‘sha’ is the akasha tattva – from which all the universe sparng forth - which again
point to the inherent gross passive aspect. Thus a combination of both is the māya
tattva , which is both the identity and separate existence from the Brahman. ‘m’ the
individual soul as said above who has become victorious by the ‘r’ fire of knowledge,
immersed in the totality of this whole creation represented by ‘Im’. Thus we find an
undisputable identity with the LORD is well established by this bījām
The positioning of this bījā is in the mulādhāra cakra, the base state of the unique
identity is expressed in this nyasa
In a summing up of the above eight bījās we are amazed to note the evolution of the
supreme identity with the LORD through stages which are called the sadhana

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 The Meditative experience in ṇavāvaraṇa pūja
A. bhūta shuddhi

Śrī vidyā upāsanā is a practical integration of all rituals being performed physically and
mentally. Initial practice advised to aspirant, which is of physical in nature is pūjā and
that of mental in nature is Japā. The highest practice among rituals is bhāvanā, which is
a merger of both pūjā and japā at the most mature level.
This philosophy recognizes ‘Jivā’ is Śiva, who is clothed with five sheaths (Kañcuka),
resulting in ‘Mala’ or impurities, of three types. They are āṇava, māyika and kārmika
mala. The individual ego centric impurity is āṇava- aṇu tara- atomic form. The
differential knowledge of the self and Divine is māyika. The stain (impurities)
accumulated on action in all births, which carries over births, is kārmika.
Cleaning (śodhana) of these impurities is the first integral part in this sādhana. This is
seen even from the start of any activity, like sipping of ceremonial water (ācaMaṇa),
involving cleaning of three stains -‘mala śodhana’. They are: ātma tattvena āṇava malam
śodhayami svāhā, vidyā tattvena māyika malam Śodhayāmi svāhā, śiva tattvena kārmika
malam śodhayāmi svāhā. Further in last part of saparyā, a more elaborate cleansing
(tattva śodhana) is performed with a detailed analysis of these stains and their removal,
as ātma tattvena āṇava mala śodhanārtham sthūla deham pariśodhayāmi svāhā, vidyā
tattvena māyika mala śodhanārtham sūkṣma deham pariśodhayāmi svāhā, śiva tattvena
kārmika mala śodhanārtham kāraṇa deham pariśodhayāmi svāhā. Looking into these, do
we actually clean the gross body (sthūla deha) or subtle (sūkṣma deha) or most subtle
(Kāraṇa deha) in any process of this ritual? We just (partake) do havan of the
viśeṣārghya into cidagni (Internal fire). So clearly this points to a richer and deeper
philosophy, to be seen mentally.
The ritual bhūta śuddhi is familiar to all upāsakas. Imagining that the aspirant is in a self-
death like state, drying and burning of the saṅkoca śarīra (gross body), then imagining
raining of amṛta on ashes for emerging into new śāmbhava śarīra. This imagery is done
with breath control (pranayama). Re-establishing self in this new body concludes this
ritual. Here all activities center on ‘gross’ body, which is represented by twenty four
ātma tattva. Thus first said mantra in tattva śodhana now makes a lot of impact on
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performing this ritual. Realizing this, we can leave yesterday’s unwanted ‘clutter’ of
memories from our mind; emerge ‘afresh’ every day, as a sage said ‘be here and now’-
‘in the Present’. This is the first step in acquiring ‘bhāvanā’. It is suggested to perform
this ritual on a daily basis during sandhyā.
B. nyāsa

The next essential ritual to acquire bhāvana is nyāsā, which literally means ‘to place’. ‘To
Place’ the divine energy in the form of mātṛka or mantra akṣarā on the physical body is
action done in this part of ritual. These akṣarā are placed on certain specific parts, of
physical body. Although it looks like that these are parts of the aspirant’s physical body,
they indeed represent subtle body which is being tuned by placement of these mantra
akṣarā. Hence we can infer that the subtle (sūkṣma) body will become mantra maya or
attain a devata maya. Earlier the gross body in bhūta śuddhi was meditated as being
made divine; now subtle body is also made so and identified with deity through mantra
akṣarā. We can see the removal of māyika mala, the notion of duality by the vidyā
tattvas, by which our own subtle body becomes the mantra maya svarūpa of the adored
deity

Bhagavān paraśurāma in his kalpasūtra says ‘nyāsam vajra kavacam’ – That this ritual
shall confer the benefit of wearing a diamond armor. Diamond being the hardest
substance, an armor made out of it, shall endure all hardships and protect the wearer.
Śrī Bhāskarāya has pointed out in his bāhya saparyā that these nyāsās can be done apart
from nitya saparyā (daily ritual) also if time constraint is there, then during night; hence
note his stress on doing these procedures daily. They are
(1) Mātṛkā – bahir and antar (2) samhāra (3) sṛṣti (4) sthiti (5) daśavidha mātṛkā nyāsā
(6) Śrī KaṄTādi (7) keśavādi (8) prapañca yaga (9) Tripurā -51 (10) Kāmarati
(11) mūlamantra ṛṣyādi
(12) Karaśuddhi (13) ātma Rakṣa (14) ātma Rakṣa (ṣadaṅga rūpa)
(15) Caturāsana (16) ṣadāsana (17) navāsana
(18) Bālā yoga Sadaṅga(19) ṣadaṅga yuvati

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(20) Vākdevata
(21) Bahir ṇavayoni (22) āntar navayoni (23) śṛṅkhala
(24) CatuṣpīTa (25) ṇava Yogini (26) Kāmeśvaryādi (27) Tattvādhidevata (28) Tattva
(29). Pañcadaśi kalā nyāsa
(30) Mūlavidyā (samhāra/ sṛṣti/sthiti for Pañcadaśi) – (also daśa vidha nyāsā per datta
samhitā)
(31) āyuda (32) Kāmakalā (33) ṇityā devi
Laghu ṣoda nyāsa – gaṇesa (34) graha (35) nakṣatra (36) yogini (37) rāśi (38) pīta
(39) (Pūjā) Yoga pīta.
Śrī cakra nyāsā (40) samhāra (41) sṛṣti (42) sthiti.
Śrī ṣodaśākṣarī Upāsakās Pūrṇābhiṣikta sādhakās have to perform further nyāsas.
(1)Mālini nyāsā (2) ṣodaśī kalā nyāsā
(3) Saubhāgya (4) sammohana (5) samhāra (6) sṛṣti (7) sthiti (8) aparā saubhāgya (9)
mukha kara (10) mukha pada (11) vaktra (12) mahā saubhāgya (13) Śrī ṣodaśākṣari
pUraṇa nyāsā.
(14) śāmbhavi kalā (15) śiva kalā (16) śakti kalā,
Mahā ṣoda nyāsa – (17) Prapañca, (18)bhuvana, (19)mūrti, (20)mantra, (21)devata and
(22) mātṛkā
(23)aṣtāṣtaka nyāsā (24)Mahā śakti nyāsā
The nyāsās said above S.No 1 to 24 have to be done after S. No38 above i.e before (pūjā)
/Yoga pīta nyāsā.

Thus we will always end up in the sthiti Śrīcakra nyāsā, then we are directed to do japā
of the upadeśa mantra (pañcadaśi or ṣodaśākṣarī) with purvāṅga and uttarāṅga mantras
before proceeding to the patrāsadhana, we can proceed further to antar yāga and then
to āvaraṇa pūja .

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 C. Kāmakala dhyāna (Yajana)

The final and highest philosophical ritual to clean kārmika mala is kāmakalā dhyāna. The
long vāsanās in cycles of birth and death are the most ‘sticky stain’. This can be
effectively removed once we fully realize the eternal and all-pervading nature of Divine
as not different from an individual.
In ritual sequence, after offering flowers (puṣpāñjali) we are directed to practice
kāmakala dhyāna. Paraśurāma kalpasūtra says ‘bindunā mukham bindudvayena sthanau
sapardhena yoni iti kāmakalā svarūpam vicintya - saubhāgya hrdayam āmrśan’- Deeply
meditate on the face of Devi as bindu, her breast as two bindus and her genital region as
a triangle and remember the most glorious heart - which is the central theme of pūjā-
the identity of self and upāsya devatā Lalitā. ṇityotsava also says the same and meditate
on the bīja ‘sauh’ as Devi’s heart. We also recite two stanzas from Śrī Devi Bhujaṅga in
this regard. Let us see the slokās and their meaning:
Mahāmantra rājānta bījam parākhyam svato nyasta bindum svayam nyasta hārdham
Bhavat vaktra vakṣoja guhyābhidānam sva svarūpam sakṛtbhāvayet sa tvameva (1)
tathānye vikalpeṣu nirviṇṇa cittāh tatekam samādāya bindutrayam te
parānandasandhāna sindau nimagnāh punar garbharandhram na pascyanti dhīrāh (2)

Mahāmantra rājānta bījam parākhyam: The seed letter which is at the end of Mahā
mantra rāja is called ‘parā’. The Mahā mantra rāja is Pañcadaśi mahā mantra. The third
kūta is ‘sa ka la hrīM’, end letter is ‘hrīm’, and seed syllable at the end is ‘īm’. This is
called ‘parā’ - The highest consciousness.
svato nyasta bindum svayam nyasta hārdham: Place a circle (bindu) and two more
circles (hārdha is split up as ‘ha’+‘ardha’, means half of ‘ha’, which sounds like visarga {:}
written as two circles- one above and one below) on your body. The above seed letter
has to be meditated in the form of a bindu and triangle and placed in (our) body
Bhavat vaktra vakṣoja guhyābhidhānam: (let the above be meditated as) your-Devi
Lalitā mahā tripurasundari’s- face, breast and genital. Since there are three parts in the

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body to be mediated, we can meditate face as a bindu, the two bindus as breast and
triangle said above as genital organ
svarūpam sakṛtbhāvayet:(Devi Lalitā mahā tripurasundari’s) real form , mediated and
thus conceived at least once. In previous part ‘abidhānam’- means ‘so called’. So there
is a real meaning behind these body parts.
The Face: This represents individual since the face is the main source of individual
identity.
The breasts: This represents this universe. We can see the breast of women, but not
fully, they are ever present but not seen by an individual to the full extent. The visible
universe is also like that, we can see it but not fully, it disappears while we close our
eyes re-appears when we open the eyes. We can’t even see beyond rūṁ, so what to say
of countries?
The genitals: This represents the Supreme Lord īsvara. This part of the body is totally
covered and cannot even be visualized from outside; such is the nature of īsvara, for he
is hidden from the common plain sight.
tathānye vikalpeshu nirviṇṇa cittāh: The sādhaka free from thought constructions of
the bodily parts of the devi mediated above.
tatekām samādāya bindu trayam te: Identifying these three bindus said above as a
one. The verse now directs us to see the connection that these are parts of ‘a body‘,
likewise unity of these three separate ideas of individual, universe and Creator is to be
recognized with practical knowledge .
parānandasandhāna sindau nimagnāh: Fully realizing this identity in totality, sādhaka is
wholly immersed in the sea of bliss.
punar garbharandhram na pascyanti dhīrāh: (He) shall never see the birth channel
again. Thus he is ‘free’ and ‘liberated’ while living. The removal of dual notion is wholly
emphasized and has to be experienced in this level of pūjā. Hence the removal of
Kārmika mala is seen here.
Practical Guide for the above meditation:
After chanting the above verse we can do kāmakalā nyāsa with dhyāna here in our daily
routine (nitya pūjā). This includes the repeating of Pañcadaśi mahāmantra with each
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syllable being merged in the final kāmakalā akṣara. Initially place the seers as below on
crown (head):
6
5 1 7
3 2
4
1. 4- suprabodhaikanātha Śrī pādukām pūjayāmi nāmah
2. 4- raktāmbā pāda Śrī pādukām pūjayāmi nāmah
3. 4- śuklāmbā pāda Śrī pādukām pūjayāmi nāmah
4. 4- niṣkalānandanātha Śrī pādukām pūjayāmi nāmah
5. 4- sakalānandanātha Śrī pādukām pūjayāmi nāmah
6. 4- navātmānandanātha Śrī pādukām pūjayāmi nāmah
7. 4- akrūrānandanātha Śrī pādukām pūjayāmi nāmah
In the navel: 3 1 2
1. 4- sadānanda paramasamivide nāmah
2. 4- cidānanda paramasamivide nāmah
3. 4- ānandānanda paramasamivide nāmah
āgain in the navel - 4- īm nāmah
Heart - 4- īm nāmah
Mid eyebrow- 4- īm nāmah
Mouth 4- īm sakalasacchidānandanātha Śrī pādukām pūjayāmi nāmah
Heart 4- īm niṣakalānandanātha Śrī pādukām pūjayāmi nāmah
Genitals 4- īm sarvānandanātha Śrī pādukām pūjayāmi nāmah
The Kāmakalā nyāsā:
Do pranayama with the mantra ‘ī’ 36 times.
Then do ṛṣyādi nyāsa as follows: asya Śrī kāmakalāyā: Paramānandabhairava ṛṣi amṛta
virāT gāyatrī chanda; śakti bhairavi Mahātripurasundarī devata. Do kara ṣadaṅga nyāsā
with long vowels : ām, īm, ūṁ, aim, aum, ah
dhyāna: prakāsa Madhya sthita citsvarūpām varābhaye sandadhatīm trinetrām
sindūravarṇām ati komalāṅgīm māyāmayīm tattvamayīM namāmi
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(prakāsa Madhya sthita citsvarūpām- Devi is meditated as in the form cit śakti in the
middle of great effulgence- She is the experience in the midst of intellect ; varābhaye
sandadhatīm trinetrām- Showing gestures of dispelling fear and granting boons and
having three eyes- The greatest boon is the experience of universal identity. Removal of
duality is the dispelling of fear and three eyes signify knowledge of past, present and
future ; sindūravarṇām ati komalāṅgīm- Of Red hue with beautiful features- red hue
represents ‘LOVE’, which breaks all barriers and unify whole universe and that is the
beautiful body of Devi; māyāmayīm tattvamayīM namāmi- Of the form of Māya and the
tattvas, I salute her- Māya is the cause of experience and tattvas are the created
universe-the experienced., salutation denotes removal in sense of duality).
Show pañca upacāra mudras.
Repeat Pañcadaśi mahāmantra with each letter getting merged in the final kāmakalā
akṣara, place trikhandā mudra on head while repeating this sequence.
Ka E ī la hrīm ha sa ka ha la hrīm sa ka la hrīM
E ī la hrīm ha sa ka ha la hrīm sa ka la hrīM
ī la hrīm ha sa ka ha la hrīm sa ka la hrīM
la hrīm ha sa ka ha la hrīm sa ka la hrīM
hrīm ha sa ka ha la hrīm sa ka la hrīM
ha sa ka ha la hrīm sa ka la hrīM
sa ka ha la hrīm sa ka la hrīM
ka ha la hrīm sa ka la hrīM
ha la hrīm sa ka la hrīM
la hrīm sa ka la hrīM
hrīm sa ka la hrīM
sa ka la hrīM
ka la hrīM
la hrīM
hrīM
rīm
īm
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Mouth: 4-Ka E ī La hrīM saccidānanda paramasamivd ī kārasya saparārdha
kalānātha ūrdhva bindvātmane Śrī mahātripurasundaryā: kesādi avayava sahita vaktrāya
nāmah
Heart: 4-Ha Sa Ka Ha La hrīM saccidānanda paramasamivd ī kārasya saparārdha
kalānātha adho bindu yuagalātmāne Śrī mahātripurasundaryāḥ bāhu catuṣTayādi
avayava sahita sthanadvayāya nāmah
Genital:4-Sa Ka La hrīM saccidānanda paramasamivd ī kārasya hārdha kalātmane Śrī
mahātripurasundaryāḥ pādādi avayava sahita yonaye nāmah
Whole body:4-Ka 15 saccidānanda paramasamivd ī kāra samasta kāmakalātmane Śrī
mahātripurasundaryāḥ sarva avayavebhyo nāmah
Meditate the self as Śrī Mahātripurasundai seated on the lap of Śivakāmeśvara and
show the āyudha mudras.
The Arrow (Bāna) mudra: 4- drām drīm klīm blūṁ saḥ sarva jambana bānāh
The Bow (dhanur) mudra 4 – dham sarva sammohana dhanuh
The noose (pāsa) mudra 4- hrīm sarva vasīkarana pasa
The goad (ankusa) mudra 4-krom sarva sthambhana ankusa.

On the brahmarandhre (crown-head) again remember the guru:

4- am hsaum prakāśānandanatha śukla Śrī pādukām pūjayāmi nāmah
4- ham shauḥ vimarśāmbā rakta Śrī pādukām pūjayāmi nāmah
4- am ham hsaum shauḥ prakāśa-vimarśātmaka rakta-śukalasvarūpa
parāśakti(amukā)mbā sahita paramaśiva(amukā)nandanātha hamsah śivah soham
nirvāṇa pādukām pūjayāmi nāmah
(Please place the name of your guru with his śakti in above nirvāṇa pādukā only if they
are not in their physical form)
In short removal of individual ego centric stain – āṇava mala- by the breath technique
combined with a visualization of śāmbhava body in the gross , requiring a complete
awareness of twenty four ātma tattva; removal of notion of duality by sound patterns
(mantra) placed on the subtle body, requiring cognizance of seven vidyā tattvas to
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understand that they are shirt like to the real self; and finally the removal of the notion
of all actions are independent choice or done by previous mind impressions (vāsanā) by
connecting to Divine couple, on realizing that all are one (advaita) by pondering deeply
on the śiva tattvas.
Thus to conclude, we have seen in the above discussions that bāhya saparyā points to
deep inner meditative state experience by removal of three stains in śākta upāya (‘ways’
or ‘means’ in the action field).
Dear Lord! Most Gracious Guru natha! Here are flowers at your feet!

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 Vārāhi- Thoughts

Parasurāma kalpa sūtra is one of the major guides in the practical saparyā – worship of
Śrī Vidyā, others being various tantras like Tantrarāja, Nityā shodaśikārnava,
Paramānanda, Gynānāranava etc. Bhārgava Rāma having got initiation from Śrī
Dattatreya on the tenets of Śrī Vidyā, proposed them in the form of small aphorisms,
called sūtras. This must have been his condensation of the voluminous Datta samhita.
Initially Bhārgava rāma spells out dīkṣā khānda. The first quality he recognizes in an
aspirant is ‘mati’- ‘sarvatra matimān dīkṣeta’. The person whose intellect is awake, or
rather one who has an intuitive intellect, has to obtain this dīkṣā. This is possible by the
recitation of the vedic gāyatri, which prays ‘dhiyah pracodayāt’ – let the intellect wake
up and shine. Thus he places the same gāyatri mantra as the first to be chanted in the
rasmimala, the early morning bed side ritual. Then he points to the mantra to be
initiated as ‘bala’– Tatra bālām upanishet- pascāt ishta mantram dadyāt’. He identifies
the root mantra as Bala and says the pañcadaśi or sodaśi in a coded way only.
The next chapter is on worship of Lord Ganesa, the obstacle remover in the path of
sadhana. The sankalpa will be ‘Śrīvidyā upastau nirvighnatayā siddhyartham’. For this a
strong background on finance and health is required. Mainly the mind tends to reach
out of uncomfortable positions, be it wants of money or ill health or mind torturing
circumstances. It will not go searching on the philosophy and its aspects. Thus we find
the phala sruti of the caturāvartti tarpanam as –
āyur ārogyam aiśvaryaṃ balaṃpuṣṭirMahād-yaśaḥ.
kavitvaṃ bhukti -muktī ca catur-āvṛtti-tarpaṇāt

– Long life, health, riches, strength, robust, great fame, poetry, all worldly pleasures and
liberation. Thus the wants for life and a health are got by the worship of Lord Ganesa.

Next is the upasana of Vārāhi and shyamala. Bhargava rāma says- ‘pradhāna-dvārā rāja-
prasādanaṃ hi nyāyyam’- the justification is same to seeing the royalty. Vārāhi mantra
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has 112 syllable, the Devi has emerged from the five flowery arrows of Śrī Lalitāmbika.
The five arrows represent the pañca tanmātrā- the sound, feel, form, taste and smell,
which are the aspects of the five basic elements- space, air, fire, water and earth. These
are intermingled – the process is called pancikarana- and the visible universe is created.
Bhavanopanishat says –‘vārāhi pitru rūpā’- Vārāhi is verily the Father, masculine form.
As per astrology the body is from the father. The body is also made up of the five
elements. The universe is also made up of these elements. Thus came the saying
whatever is there in the body is there in the universe and whatever is there in the
universe is there in this body. The Visible universe is a product of the primordial creative
urge called śakti. Thus this upsana is to understand that the whole seen world is the
deity who is the consciousness.
The ritual manual defines a two syllable bījā for this Vārāhi Devi upasana. They are the
vak and the bhoo bījā- aim and glaum. ‘Aim’ as seen earlier will point to the origin of the
sound form- sabda srsti and in turn the Vedas. ‘glaum’ – ‘g’ is Iśvara tattva indicative of
Lordship , ‘L’ is Pṛthvi tattva indicative of all five elements and the universe. Thus the
creation visible universe and its Lordship are established in these bījās, this as seen in
the above enquiries too.
Vārāha is the tusked boar, which lifts the world in the deluge or saving from the demon,
who hid it under waters. Thus the clear image of the realization of the highest by the
aspirant in this body itself (kaulopanoshat says- where there is creation – the body-
there itself is liberation: Pindāt jananam tatraiva mokṣah).
Also we find reference as yagna Vārāha in puranas, which is an indicative of the Vedas
and the rituals connected with it, the sacrifices. The tusk is a direct reference to the
teeth which are required for exact pronunciation. The elevation of the earth by the tusk
will now point to the level of higher experience by the deity with the help of Vedic
rituals and sacrifices. The Śrīvidyā saparya is termed and a yagna, makha, the entrance is
called yaga mandira pravesha. Thus this sadhana karma is Vedic and helps us to attain
the highest level of consciousness.
The injunction of Bharagava rāma is ‘na diva smaret vartālim’- don’t remember her in
the daytime. Considering another injunction of Bharagva rāma- ‘prakatyam na kuryāt’-
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don’t reveal to the non initiates, the first direction becomes clear. Since this devi is out
of the five flowery arrows, the pance Bhūtas, they are the five ‘m’, which manifest the
ananda in this body, being a secretive upsana method is referred as ‘not in daylight’.
Unique is the āvarana of this devi, wherein we find the seven dhatu devatas in the six
cornered hexagon. We are amazed to note that the seventh dhatu nathā, yākini is in the
central point, where Śrī Vārāhi is there. Also we find the two major weapons ascribed to
this Devi, the plough and pestle present as deities in the enclosure wearing the form of
these weapons as a crown. We find their functions as attraction-ākasrshana and
paralyzing-stambhana respectively. This will point to the sowing of the past deeds
(karma) and removal of husk reaping (the husk being the doer sense is removed and all
actions are envisaged as performed by the deity), thus leading the final realization of the
self. These attributes are also expressed in the mula mantra – ‘Stambhanam kuru kuru
sheeghram vashyam’. Also we find two whisks fanners on either side in the ritual
manual, which is unique. They are the two lungs in the physical body; the fanning is like
the inhaling and exhaling action.
In the nest enclosure we find a multitude of devatas. Indra with his court dancers,
apsaras. Here Indra will represent the indrya dasaka adhipati, the ruler of the ten
sensory organs, the individual ego. The apsarasas will represent the subtle art
manifestations in each person. Agni, is the subtle heat inside our body. This manifests
for digestion, study and procreation- jataragni, bhaudhagni and kamagni. Sadhyas and
siddhas, the creative intellect and accomplishing feat in the body. The vishve devata and
pitrus- They are the representative of the cause of this body. Next we find rudras and
rudra paricarakas- servants. Also we find dhanvantari and ashvini devatas. The rudras
have destructive aspects and their servants perform action of destruction. Unless old
cells die, new ones can’t be created. Dhanvantari is the god of physicians and Ashvini are
physician deities in the enclosure. They will represent the white blood cells which are
‘natural physicians of the body’ and the lymph system which is ‘the natural protector of
the body’. Thus the deities in the enclosures- āvaranas will indicate the gross physical
body.

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In the Kalpasūtras Vārāhi karma we find the complete procedure for the Bhūta suddhi.
Though all of the Śrīvidyā upasakas are regularly doing this as a part of the saparya, this
is found in this krama alone. The Bhūta shuddhi clearly talks about the sankoca sariram
– gross physical body, its metamorphosis into the shambhava sariram – the Eternal
youthful auspicious form, which is now eligible to perform the saparya ritual. Here again
we find a direct reference on the gross body and its transformation.
The yantra of this devi is described as ‘trayara, pañcara, ṣadara, dalāshtaka, shatapatra,
sahasrapadmāsanāya namh.’ The triangle, five pointed star, hexagon, eight petals,
hundred petals, thousand petals are the mystical diagram for this Devi. Again we find an
inherent intrinsic reference to the gross body. The triangle will represent the initial
creative urge, the five pointed star to the five elements, hexagon to the six adharas of
the physical body ( the deities worshipped in this enclosure are the dhatu devatas), The
eight petals to the puryashtaka, the hundred petals to the total number of petals in all
adharas, the thousand petal to the crown – sahasrara. Thus a full, fit body of the
sadhaka is described in this yantra- kiri chakra.
Also we find many modes of transport for this Devi. The kiri chakra is the main vehicle.
Then in the enclosures we find the buffalo, the lion and the antelope. The kiri chakra is
the skeleton in the body, the basic for the body to stand up; else all muscle will be just a
loose pack. The buffalo, traditionally, represents kama or desire, which is accomplished
through the body by actions. Only a person whose worldly wants are fulfilled will be a fit
receptacle for this sadhana. The Lion being the king of all animals will point to the path,
the royal path of raja yoga. Finally, the antelope will point to the control of mind which
is a result of continuous sadhana.
The mantra of the devi also has five salutations to her different actions, they are also
found in the enclosures- āvaranas as deities:-
1. andhe andhini nāmah: one who blinds the blinding nature
2. runde rundhini nāmah- One who obstructs the obstructing nature
3. jambhe jambhini nāmah- One who crushes the crushing nature
4. mohe mohini nāmah- one who deludes the delusive nature
5. stambhe stambhini nāmah- one who paralyses the paralyzing nature.
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On a whole we find a massive power house of energy intermingled with the Grace in the
Devi, this will now point to another sūtra of Bharagava rāma as – nigrahanugraha
kṣamah- very skill full in destruction and grace. Destruction of the inner enemies and
grace is development of the inner virtues helping in this path. So, we find two ashtakas
to this Devi – the nigraha ashtaka and anugraha ashtaka.

On a retrospection of the balidana in this krama, very rare and intrinsic thoughts arose,
which are shared here. We are directed to mix: - blood mixed rice, yellow colored rice,
buffalo flesh, rice powder- fried, honey, karana (alcohol), three pulses powder, urd dhal
powder, triphala – powder of three medicinal plants, jaggery, curd, milk, and ghee in
(pure) cooked rice. Make ten egg sized balls and a wood apple sized (a bigger size) ball.
The ten are kept in a square formation with the big one in the centre long with the first
three ‘m’akāras. They are to be offered to the ten bhairavas from hetuaka and the
middle one to candocchanada. As said earlier the gross form of the sadhaka is governed
by this Devi and we also find the seven dhatus in her āvarana, we are astonished to
notice that the ingredients in the bali correspond to the seven dhatus with the gross
body. The main cooked food will represent the annāmaya kosha-the gross body. All the
other ingredients will represent the seven dhatus. Thus the milk will now point to the
tvak- skin, blood mixed rice and ghee - blood, jaggery and urd dhal powder- flesh (urd
dhal being rich in proteins will be an pointer in this identity), honey and curds-fats,
pulses powder–bones, yellow rice–marrow.{Refer Lalitā sahasranāma of the sat cakra
deties–vishuddhi cara–pāyasanna (milk pudding)= tvak samsthā (skin); anahata–
snighaudhana (ghee rice)=rushira samsthita (blood); manipura –gudāna ( jaggery
rice)=mamsa(flesh);svadhistana-madhu priya/dadhyanna ( honey and curd rice)-
medhas (fats); mulādhāra-mudganna(pulses mixed rice)=asthi (bones); agyna- haridrana
(yellow colored rice)- majja (marrow)}. Triphala powder–the three doshas–vata, pitta
and kapha, fried rice powder–the semen. Rudiranna (blood mixed rice) is said again to
impress on the fact that our body is made-up of blood and urd dhal powder is again
representing flesh the main part of the body. Buffalo flesh will represent the kama-
desire. Karana dravya (alcohol) will point to the inherent bliss which is manifested. The
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ten small balls are the five karmendryas and five jñanendryas, the big one is the mind.
‘Bali’ also means to give strength, thus a appropriating these devatas and bringing down
the grace of Vārāhi Devi in the gross body by this act of balidana.
Hence, going through the above thoughts, we find that the solid consciousness (the
body) which is experienced as the universe is Vārāhi.

Laghu Vatahi Svapna Vārāhi Tirasakrini

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 Dakṣiṇa Kālikā svarūpa vimarśana

Devi Dakṣiṇa Kālika is the first among daśa mahāvidyās. She is also called ādyā, vidyā
ragynī and śyāma sundari; since, she is before time in creative descent, figuratively
called as first or above time , without a beginning, hence called kālikā.
Her dhyāna sloka is:
र्िारूढाीं महाभरमाीं घोरदीं ष््ाीं हसन्मख
ु रीं

चिभ
ु ुाजाीं खड्गमुण्ड िराभयकराीं मर्िाीं

मुण्डमालाधराीं दे िरीं ललस्ज्जह्िाीं ददगम्बराीं

सदासस्ञ्चन्िये काळरीं श्मर्ानालय िामसनरीं

śavārūdām mahābhīmām ghoradamṣtrām hasan mukhīm

caturbujām khadga muṇda varābhaya karām śivām
Muṇdamālādharām devīm lalajjihvām digambarām
sadā sañcitaye kālīm śmaśānālaya vāsinīm
The aspirant is to mediate on Śrī Kālikā Devi as mounting (riding) a corpse, in a huge
form with frightful scary teeth, filled with laughter, holding in her four hands sickle-
sword, severed head, gestures of removing fear and granting boons, auspicious, wearing
a garland of severed heads, dark, illumined with energy, playful with a rolling tongue,
clad with the directions (naked) and ever residing in cemetery. Additional descriptions
from other sources will include pair earrings of young corpses (bāla śava yugma
karṇāvatamsau), wearing a waist band of thousands of severed hands (sahasra śava kara
kānci).
Her mūla mantra has twenty two syllables: -
क्ररीं क्ररीं क्ररीं हूीं हूीं ह्रीं ह्रींदक्षक्षर्े कामलके क्ररीं क्ररीं क्ररीं हूीं हूीं ह्रीं ह्रीं स्िाहा

‘krīm krīm krīm hūṁ hūṁ hrīm hrīm dakṣiṇe kālike krīm krīm krīm hūṁ hūṁ hrīm hrīm svāhā’.
śavārūdām, śivām, śmaśānālaya vāsinīm, digambarām: (1)The description of riding a
corpse- who is Śrī Mahā kāla, identified as a life less body, for without Devi’s movement
he is inert; (2)the most auspicious one- another name for Mahākāla; (3)since corpses are
seen in a cemetery, described as living in a burial ground- Lord Mahākāla is also such;

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(4)clad with the directions – naked, an explicit reference to the Lord Mahākāla, who is
devoid of any veil on his true nature and is also meditated thus. These descriptions point
to the four ‘hūṁ’ in the mūla mantra, which are pertaining to the association with Lord
Mahākāla.
Mahābhīmām, ghoradamṣtrām, Muṇdamālādharām: She is meditated as (1) a huge
form, (2) having terrible teeth (usually protruding canine teeth which is curved), (3)
wearing a garland of severed heads (in addition her waist band had thousands of
severed arms- sahasra śava kara kānci). These three aspects will explicitly point to the
Devi kālikā and thus her three bījās ‘krīm’. The second occurrence of these three bījās is
for emphasis.
The garland of severed heads are fifty-one in number thus pointing to the

alphabets (mātrukākṣarās), will show us the name vidyā rāgynī.

caturbujām khadga muṇda varābhaya karām kālīm: kālikā Devi is meditated as holding
(1) curved sword, (2) severed head and (3) gestures of removing fear and (4) granting
boons in her four hands. These show her actions, which are removal of duality and
conferring a universal experience. The word ‘catura’ will point to skill with an awareness
of the totality of an action, ‘dakṣa’ will also mean skill; thus one who is skilful may be
addressed thus. ‘dakṣiṇe’ in the mantra will show her skill in above said action when
seen with this idea will now point to ‘dakṣiṇe kālike’ in the mantra.
hasan mukhīm, lalajjihvām: These will show aspects of hearty laughter and rolling
tongue, which will show the expression of bliss. The bīja of bliss, which is a result of the
union of the divine couple, is ‘hrīm’. Thus the above two aspects will point to this bīja
occurring twice, the second occurrence is for emphasis.
The beauty of laughter combined with the dark one (kālī), is seen as śyama sundari.
devīm sadā sañcitaye : This will indicate that the aspirant will always meditate on such
a form of kālikā devi. The result of such meditation is the realisation of the unity of the
upasya devata, and the aspirant which is likened to the offering into a fire which will
consume the offered materials- this is ‘svāhā’ in the mantra.

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The additional descriptions also will fall in line: earrings of young corpses- the āgma and
nigama are child like in her presence and without her grace will be lifeless, these are the
portrayal of the idea- child corpses. This is reflected in ‘hūṁ’ – Since Mahākāla reveals
āgama to Devi and (receiver) listens to nigamā from Devi.
A crescent on her head (candrottunga makutām) will point to the nāda anusandhāna
which is seen as ‘hrīm’
She is meditated as surrounded by terrible featured jackals (śivābhi ghorarūpābhih
parivrtām). Jackals move in packs and are ferocious in nature. This will point to adhering
to the sampradāya and high level of commitment in the sādhana. This will also point to
removal of fear on progress in this way. We can equate this only to her main bījā ‘krīm’
The thousands of severed hands as waist band will show karma yoga, with submission of
all actions to the divine pointing to again ‘dakṣiṇe kālike’ in the mantra.
Similar to Sundari Vidyā, this krama also has a full saparyā paddhati, several nyāsās,
installing sāmānya and viśeṣārghya, worshipping sixteen nityās, the navanāthas, Guru
Maṇdala – divyaugha, siddhaugha and mānavaugha and āvaraṇa devatās, bali krama.
The ritual has kakāra aṣttotara śata, triśati from mūla mantra and kakāra sahasranāma
for arcana. Exclusive worship using hṛdaya, sūkta, upaniṣat, kavaca is also seen.

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 a. Sundarī and Kālī

Glory to the pādukās of Guru guiding us in the forest of ignorance

The first of the daśa mahā vidyā is Kālī, also known as ādyā, dakṣiṇakālikā or vidyārāgynī.
The third is Sundarī who is known as tripurasundarī, ṣodaśī, or śrīvidyā. The seer or ṛṣi of
the former is mahākālā bhairavā and the latter is ānandabhairavā / dakṣiṇāmūrti. The
meter of chanting is uṣṇik and gāyatrī respectively. The traditions declare two types of
routes for the aspirant, the Kālī kula and the sundari kula.
The tantras declare that the Primordial power when seen on left side is sundarī and on
right side is Kālī- “vāme sundarī dakṣiṇe kālikā”. Vāma can mean left and also beauty,
creative urge (as referred by vaMaṇa- vomiting- world from the dissolute state (laya)–
creative urge). dakṣiṇa can mean right and also skill / strength and fee (as in havana
dakṣiṇa-completion of any ritual is after offering fee- dakṣiṇa- last activity of ritual –
hence will signify an end.). Hence sundari seems to represent creative urge with all the
essence of beauty and Kālī to the end (annihilative force) with a fierce aspect. Since
matter is neither created nor destroyed, it changes from one form to another, cessation
of a particular form is called ‘annihilation’ and emergence of another form is called
‘creation’. Thus we find both have a common point to which one travels, while the other
emerges from it.

This is an attempt to find common grounds of these above deities.

The form: The meditative verses of these two deities are examined.
kālī: ‘Śavārūdām mahābhīmām ghora damṣtrām hsanmukhīm
caturbhujām khaDgamuṇDavarābhayakarām śivām
muṇDamālādharām devīm lalajjihvām digambarām
sadā sancintaye Kālīm śmaśānālaya vasinīM’
kālī is meditated in the midst of a cemetery having a huge naked form with a dark hue,
terrific fangs, standing on a corpse, having a sword, severed head, gestures of dispelling
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fear and granting desires in her hands, with her face filled with laughter, wearing
garland of severed heads.

Sundarī: dhyaye kāmeśvarāṅkasthām kuruvindamaṇiprabhām

soṇambarasrgalepām sarvaṅgīnavibhūṣitām
saundaryasevadhim seṣupāśāṅkuśojvalām
svabhābhiraṇimādhyābhisevyām sarvaniyāmikām
saccidānandavapuṣam sadayāpāṅgavibhramām
sarvalokaika jananīM smerāsyām lalitāmbikām

Sundarī the personification of beauty and bliss, the only mother of the three worlds, has
a red hue, clothed with red garments, decorated with golden ornaments , seated on the
lap of Śiva kāmeśvara, holding a noose, goad, sugarcane bow and five flowery arrows,
glancing with piety and a smile on her lips on the throne surrounded by aṇimādi devatas,

Though the differences between the above looks very prominent, there is a subtle identity.
Dark hue is absence of any color. The spectrum VIBGYOR represents the whole visible
range. . Ultra violet or infra red will seem to us as black only. Violet, Indigo, Blue and
green are hues of Rājamātangi Devi; yellow is Mahāvārāhi Devi’s hue. Orange and Red
are seen as sundari Devi’s hue. In Śrividyopāsana krama Mātangi and Vārāhi are
inherent in Lalitā, since they had emerged from Sugarcane bow and flowery arrows
respectively. Hence from above equivalence seen Sundarī’s hue may be taken as to
represent whole visible range. Thus continuance of kālī is Sundarī as seen from
ultraviolet to violet during creation and from Sundarī to Kālī as seen from red to infra
red during annihilation. .

Both are full of joy – “hasan mukhīm” in Kālī and “smerāsyām lalitāmbikām” for sundari,
the expression is only different. Kālī’s laughter is like a thunder clap- attahāsa, while
sundari has “ānandollasa vilāsa hāsa” – peals of joyful laughter. The same thunderous
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laughter of kālī that annihilates everything becomes a gentle smile with change of form
to Lalitā on commencement of creation.

Both have four arms. Sundarī holds noose and goad denoting attractive- attraction to
undivided knowledge and repulsive- repulsion to dual knowledge, which are states of
mind, The sugarcane bow denotes pure mind and five flowery arrows denote world-
these are held separate not connected, hence detachment from state of doer can be
envisaged. kālī displays gestures of removal of fear and granting boon denoting removal
of the notion of other and thus bestowing bliss of undivided state of mind. The sword
denotes scriptures which help in removal of ego which is shown as severed head. Thus
we can conclude noose and goad are identical in function with gestures of dispelling fear
and granting boons and sugarcane bow with arrow to sword and severed head.

Both have a crown and a crescent of moon on their crown – diadem, Crown is indicative
of the royalty, as a consort of Brahman – both have names linked to it- viz., Mahāragyni
and vidyāragyni. The crescent of moon is indicative of consciousness at highest level.

The ear rings of Sundarī is ‘tātaṅka yugalībhūta tapaṇodupamaṇdalā’ (sun/moon) and

that of kālīka is ‘bāla śava yugma karnāvtamasau’ (young boy’s dead bodies). The first
identity is that both of these ear ornaments are inert. Sun /Moon signify the vastness of
the creation. Imagine that if they were the ear rings how big the body would be. The
agama and nigama are also vast in content, likened to young boys and their death is
symbolic of end of all knowledge during dissolution.

The Lord of kālī and Sundarī are Mahā kāla and Śiva Kāmeśvara respectively. Both are in
eternal union with their consorts. ’Mahākāla ratāture’ and ‘śiva kāmeśvarāṅgasthā’
describe this state. Both are identical to their consorts, are auspicious and blissful in
nature.

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There is another meditative verse which unifies both deities:
samvartānala koTi nīradarucam pāśāṅkuśumāśugān
khaDgam muṇdamabhamaikṣvarī varam hastāmbujairaṣtabhih
kāmeśānaśivoparisthitām tryakṣām sadāvahantīm parām
śrīcintāmaṇi bīja rāja vapuṣīm dhyāye mahāṣodaśīm.

The mantra: dakṣiṇa kālī mantra has 22 syllables made up of seven vowels (a+ ā+ i+ ii+
u+ e+M) and nine consonants (k+ṇ+d+r+L+v+s+H+kṣ) totaling to sixteen (matrukā
ṣodaśi); Śri vidyā is of 15 syllables made up of four vowels (a+ii+E+M) and five
consonants (k+ L+ r+ h+ s) totaling to nine (navākṣarī). In the Śrividyā kādi pañcadaśi
mantra , the three ‘ka’ and two ‘ha’ letters pertaining to the Śiva and the three ‘hrīm’
are pertaining to both Lalitāmba and Kāmeśvara, the rest are pertaining to Lalitāmba.
Similarly in the dakṣina Kālīka mantra the four ‘hūṁ’ are pertaining to the mahākālā,
four ‘hrīm’ to both Mahākākā and Dakṣiṇa, and rest are pertaining to Daksiṇa Kālī. Thus
we find the ‘hrīm’ kārās representing the śiva śakti union is there in both mantras, with
rest distributed among the respective śiva and śakti.

The breakup of the mantra in to vowels and consonants will result in 37 parts in the
śrividyā mantra, while Dakṣiṇa Kālīka mantra will result in 84 parts. These will signify the
36 tattvas and the tattvātīta paraśiva in sundari and the myriad of 84 lakh entities
including tattvātiita paraśiva in Dakṣiṇa Kālīka. Since dakṣiṇa is dissolution all the myriad
entities are counted while Sundarī is creation, hence tatvās (or basic building blocks) are
enumerated.

On seeing vowel distribution in both mantras, it is unique to note that both mantras
have
tattvātiita paraśiva indicated by ‘E’ kāra (yad Ekādasamādhāram bījam koṇa
trayotbhavam- eleventh vowel is base–substratum of creation). dakṣiṇa has one ‘a’kāra
indicative of Śiva tattva (Ekaivāham- Vedas) while Sundarī has ten ‘a’kāras, which signify
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the creation of various entities (bahusyām prajāyeti). The next vowel ‘ā’ signifying
ānandā is there in Dakṣiṇa, as shown in her meditative verse ‘hasan mukhīm’, also she is
described as ‘aTTahāsām’. Further there is also next vowel ‘i’ signifying the ichha śakti
(will) in DakṢiṇa denoting that dissolution is by the divine will. The vowel ‘ī’ is seen both
in Sundarī and dakṣiṇa, denotes the ‘īkṣaṇa’ – the totality of view- which is required for
both dissolution and creation. . The Four ‘ī’kārās in sundari will denote four saprśa
tattvas by which whole world is first ‘felt’ by creation, since space is more subtle, first
solid creation which is felt is air. There are ten ‘ī’kārās in dakṣiṇa which shows her intent
for dissolution in all directions.

The Yantra:
The yantra of sundari is the well-known śricakra. The yantra has a bindu, triangle
(trikoṇa), astakoṇa, two daśa koṇa, fourteen koṇa, eight and sixteen petals, and a
bhūpura- square with three lines; the central figure consisting of triangles is formed by
the intersection of four upward triangles and five downward triangles.
kālīka has a yantra with bindu, five triangles- pointing downward, eight petals and a
bhūpura -square
On a real time view yantra of Kālīka can be mapped onto śri yantra. Thus Kālīka is
inherent in Sundarī. There is a pūja paddati wherein śri yantra has kālīka attendant
deities mapped onto it, Thus Sundarī is inherent in kālīkā.
The āttending deities:
The initial main worship in a pūja is to layāṅga devatās, they are a part of central deity.
Sundarī and kālī have layāṅga devatās in same format. The ṣadaṅga devatās, tithi nitya
devatās and gurumaṇdala are there for both. The vidyāvatāra guru maṇdala of nine
gurus is there separate for each Devi. Thus the identity found here is the format of the
pūja which have the same notation though there are varying deities.
The Stotras:
There are a set of 108, 1000 and 300 names – aṣttotara śata, sahasranāma and triśati for
both devis. There is a kavaca (armor) made of various variations of the mantras of the
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deity in both the system of worship, respectively called jaganmaṅgala kavaca and
trailokyamohana kavaca. Both have got the list of attendant deities called a khadagmālā.
(khadga by katapayādi code is thirty two – suddha vidyā tattva which is the unity of the
world, creator and the self.)
The ‘ka’kāra Kālī sahasranāma (DKSN) called ‘sāmrājya medhā’ has six names with first
(prathma) kūta of sundari from 498 to 503 name. There are names on creative aspect
like ‘kāraṇāhvayā’ (Cause of creation), Kaha hetuh (Cause of mantra arise), Kāmā
(primordial Creative urge). This shows clearly identity of kālīkā and Sundarī.
The Lalitāsaharanāma (LSN) called rahasya nāma sahasra has a name ‘klīMkāri’- ‘ra’ and
‘la’ being interchangeable, this can also be read as ‘krīm kāri’; The name ‘rasagynā’ is a
direct reference to the “krīm’-kārā , since this bījā akṣara is denoted as ‘rasa’ by many
Kālī tantras. There are also direct names on annihilative aspect like ‘mahā Kālī’, ‘mahā
grāsā- the great (big) swallower’, ‘mahā aśanā- the great (big) devourer’,
‘layakarī’(Cause of dissolution). These show identity of Sundarī and kālīkā.
The Triśati of both devatas are unique in that, they are made up of the names starting
with the respective mūla mantras; dakṣiṇa kālī Triśati (DKT) is called sarva maṅgala vidyā
has fourteen names of the twenty two syllables totaling to three hundred and eight;
Lalitā triśati (LT) is called Sarva pūrtikara stava has twenty names for each of the fifteen
syllables totaling to three hundred.
The following name is exactly common in both sahasranāmās and Triśatis:
1. Kāntā (DKSN – 617) (LSN – 329) (DKT-149)(LT- 154)
The following names are common to both sahasranāmā and Lalitā Triśati
1. Kalyāṇī (DKSN – 3) (LSN – 324) (LT-2)
2. Kalāvatī (DKSN – 6) (LSN – 327) (LT-6)
The following name is common in both triśatis and Lalitā Sahasranāma
1. Hrīm matih ( DKT- 268) (LT-88) (LSN-302)
The following names are common in both sahasranāmās:
2. Kalātmikā (DKSN – 9) (LSN – 611)
3. Kapardinī (DKSN – 377) (LSN – 793)
4. Kalā mālā (DKSN- 390) (LSN – 794)
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 5. Kalā nidhih (DKSN – 421) (LSN – 797)
6. Kāṣtā (DKSN – 477) (LSN – 859)
7. Kātyāyinī (DKSN -679) (LSN- 556)
8. Kāmarūpiṇi (DKSN -769) (LSN – 796)
9. Kuleśvarī (DKSN – 837) (LSN-439)
10. Kurukullā (DKSN – 846) (LSN- 438)
11. Kūtasthā (DKSN882) (LSN 896)
12. Kuśalā (DKSN 869-886) (LSN-436)
13. Kaulinī (DKSN – 984) (LSN( 94)
The following names are common to Lalitā Sahasranāma and dakṣiṇa kālīka Triśati
1. Svādhīna vallbhā (LSN -54 ) (DKT- 282)
2. Svāhā (LSN- 535) (DKT- 283)
3. Kāmākṣī (LSN- 62) (DKT- 147)
The following names are common in dakṣiṇa kālīka sahsaranāmā and Lalitā triśati
1. Kāmeśī (DKSN- 600) (LT-143)
2. Kamalākṣī (DKSN -50) (LT -7)
3. Karabhoru (DKSN -381) –(LT- 148)
4. Kamanīyā (DKSN 486) (LT- 5)
The following name is common in both Triśatis:
1. Hrīm (DKT-270) (LT-99)
The following names have some slight variations, found in the four said stotras:
1. Kadamba vana madhyagā (DKSN – 211)/ Kadamba vanāntasthā (DKSN-218)=
Kadamba vana vāsinī (LSN – 60) = kadamba kānanāvāsā (LT -10)
2. Kamalākṣa pra pūjitā (DKSN- 52)= Kamalākṣa niṣevitā (LSN-558)
3. Kadamba kusumāmodā (DKSN- 212) = Kadamba kusuma priyā ( LSN -323 / LT 11)
4. Kalana (DKSN- 421) = Vigyāna kalanā (LSN-902)
5. Kāmakalā (DKSN- 609) = Kāmakalā rūpā (LSN-322)
6. Kāmeśī (DKSN-600) = Mahākāmeśa mahiṣī (LSN- 233)
7. Kāma rūpā (DKSN- 647) = Kāma rūpiṇī (LSN-796)
8. Kāmadā (DKSN- 706) = Kāma dāyinī (LSN – 63)
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 9. Kakārā (DKSN- 21) = Kakāra rūpā (LT-1)
10. Kañja netra (DKSN- 99) = Kañja locanā (LT-16)
11. Kālī ( DKT-141)-Kālikā (DKT-148) Mahākalī (LSN-751)
12. Kastūri tilakānanda (DKSN254) Kastūri tilaka priyā (DKSN-255) = Kastūri
tilakāncitā (LT160)
13. Kākinī (DKSN – 477) = Kākinī rūpa dhāriṇī (LSN -513)
14. Karuṇā (DKSN – 23) = Karunā rasa sāgarā (LSN- 326)
15. Dayā (DKT-101) Dayāmūrthih (LSN – 581)
16. Dakṣa yagynaghnī (DKT- 100) Dakṣayagyna vināśinī (LSN-593)
17. Dakṣinābhimukhī (DT- 105) Dakṣināmūrti rūpiṇī (LSN- 725)
18. Kevalānanda rūpiṇī (DKT-170) Kevalā (LSN-623)
19. kṣipraprasāditā (DKT- 115) kṣipra prasādinī (LSN- 869)
20. Hāhāhūhvādi gandharvagānalālasā(DKT-306) Hā hā hū hū mukha stutyā (LT-177)
21. Hānivrtyādikaranā (DKT-298) Hāni vrddhi vivarjitā (LT-178)
22. Kāla bhaira pūjitā (DKT- 145) Mahā bhairapūjitā (LSN- 231) Kāla pūjyā (DKSN-619)
23. Kāvyāmrta rasānandā (DKT-153) Kāvyālapa vinodinī (LSN-613) Kavya lolā (LT-242)
24. Svadhistāna padmasthā (DKT-285) Svadhiṣtānāmbujagatā (LSN-504)
25. Kāmakoti vilāsinī (DKT- 154) Kāmakoti nilayā (LT-259) Kāmakotigā (LSN- 589)
The following names are different, but mean the same in the said four stotras:
1. Kārma trotana karī (DKSN-723) = Paramantra vibhedhinī (LSN-812) (Destruction
of effects of evil mantra prayogās on the devotees)
2. Dakṣā (DKT- 106) = Kuśalā (LSN- 436) (DKSN 869-886) (Skillful)

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107
Secret Code in Tantra

Spirituality is a wonder by itself; there are many paths to realize this reality. All these
paths have been revealed at some place and some time to the sages / prophets by the
Divine. Indian spirituality is very ancient and complete in itself. The most public
spirituality in India is the Vedic one. The Vedas intent is mostly to the ritual practices by
the individual in a group / community, which are of daily in nature aiming mostly at
cleansing the clouded intellect of the common man (It is called chitta shuddi). These are
to be learned from a Preceptor, who is venerated as the Divine clothed in human
apparel. A clear man now focuses on the more subtle aspects of creation. Herein the
Vedas declare that these are specific to the individual and these have to be obtained
from a Master, who has a deep understanding and experience. Some passages of the
Vedas also hint in a coded manner of these higher spiritual practices. Tantra is often a
misconceived territory in a mysterious world. People attribute drinking liquor and
having sex as tantric in nature.
Mantra, Tantra and Yantra is a triad. Here Tantra will denote the doctrine or system
which will have practice mystic words (mantra) with usage of the mystic diagrams
(yantra). These practices are the basis of the sadhaka in his sadhana. Simple basic yoga
sadhana like pranāyama, placing of the seed sound (bījāakṣara) on the body called
nyāsā, placing vessel for outer worship called ‘pātrāsadhana’ , worship of the main deity
and the attendant deities called pradhana pūjā and āvarana pūjā are some of the
aspects we seen in most of the tantras. Some tantras also deal with the metaphysical
and philosophical basis of these rituals.
The Meaning of Tantra has a lot of aspects. Some are:
(1) The Sanskrit word tantra means the warp of a lūṁ or the strands of a braid. The root
of the word tantra comes from tanoti and trayāti. ‘tanoti’ will mean stretch, expand or
to continue without a break and trāyati will mean protection. Highest protection is
recognition that verily all this the self and no different from it. This is liberation. Thus
this will mean a set of principles or system (likened to a web), which will lead to
liberation.
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(2) Tantra is often translated as “continuum” or “unbroken stream” and indicates a flow
of consciousness from ignorance to enlightenment. Thus we can see that Tantra
represents the interconnecting energies between all things in this and other planes of
existence, leading to the liberation.
(3) Tantra – the word will mean ‘tanu vistāryate iti tantra’. That which expands the body
is Tantra. Now how will it look if we have a long nose after tantric sadhana, does it mean
that? Or big ears? Or short becoming taller or vice versa. Since none of these are
happening, then it must be something that is connected to this body that is said in the
above statement. It is body consciousness or the aware ness that ‘I’ exist. This is clear,
when at midnight is darkness and no other sound is heard, we are aware of our own
existence; nobody is there or is needed to identify that ‘I’ exist. Expansion of this is
hinted by the above meaning to encompass the entire creation and re establish the
identity with the Divine.

Other words used to describe tantra are: leading principle, essential part, model,
system, framework, doctrine, rule, theory, scientific work, order, chief part, rule,
authority, science, mystic works, magical arts etc.

We all have a strong faith that the Vedas are ever existent from the initial time of
creation and were revealed to the sages, they ‘saw’ the mantras – the sound structures-
and hence are called rishi –rishyao mantra drastharah. Tantras also exist eternally. They
are said as revealed by Lord to Devi called ‘Agama’ or vice versa called ‘Nigama’. Many
secrets in this line are revealed in them. These being secret in nature have not been
revealed directly. Various codes have been deployed to protect them from reaching the
common man who still has a clouded intellect. How ever Masters had access to the ‘key’
of such codes and passed them down the lineage to deserving disciples. A small effort is
done here to understand the rationale behind such a code called ‘katapayādi’.
‘katapayādi’
In this code the letters are assigned certain numbers. The vowels are assigned the
number ‘zero’. From ‘ka’ to ‘jha’ they are numbered from one to nine and ‘jna’ is zero.
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Similarly from ‘Ta’ nine numbers and ‘na’ is zeoo. Again from ‘pa’ is five up to ‘ma’. Once
again from ‘ya’ to ‘La’ nine and ‘kṣa’ is zero. If we find a samyuktākṣara (combination of
two or more consonants with a vowel), the last consonant is to be taken. After assigning
the numbers in the order of the word decoded, we have to read it in reverse.

A detailed list as per the above guidance is shown below:-

अ आ इ ई उ ऊ ऋ ल ृ ए ऐ ओ औ अीं अौः - zero

क ख ग घ ङ् च छ ज झ ञ
1 2 3 4 5 6 7 8 9 0
ट ठ ड ढ र् ि थ द ध न
1 2 3 4 5 6 7 8 9 0
पफबभम
1 2 3 4 5
य र ल ि र् ि स ह ळ क्ष
1 2 3 4 5 6 7 8 9 0

These codes are used to specify the numbers of syllables in mantra which are revealed
in a hidden – coded manner referring to certain words which will mean a certain
syllable, or the number to times the mantra is to be repeated, or the number of deities
in an enclosure (āvarana).

Let us now enjoy on decoding some of them using the above guidelines:
The most famous example is from Mahābharata, say vyasa says ‘tato jayamudeerayet’,- I
will tell you about jaya. Decoding this with the above key ja is eight and ya is one,
reversing, we get the number 18, which are the number of chapters or parvas in the said
epic.

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The word ‘vidyā’ means knowledge. The rishis have classified the knowledge into
fourteen aspects: Four Vedas- rg , yajur, sama & atharva, Six aṅgas- Sikṣa, Vyakarana,
Chandas, Nirukti, Jyotisham, & Kalpam and Four upaṅgas- Purana, Nyaya, Mimamsa &
Dharmasastras. Using the above code deciphering the word vidyā, ‘v’ is four and ‘y’(
since dya is a samyukakṣara the last consonant ‘y’ is taken) is one, reading per the
instructions of the code will result in the number fourteen, which are the numbers of
the aspects.
The word ‘khadga’ means sword. The sword is identified with knowledge of the unity of
the self the world and the creator, removing the notion of duality. As per the code this
will point to number thirty two, - ‘kh’ is two and ‘g’ ( Dhga is a amyutkākṣara hence
consider the last consonant ‘g’) is three, reversing will result in thirty two, which is
suddhavidyā tattva, which clearly is the unifying of the self, universe and the usvara.

In trailokya Mohana kavacm we find a vidyā which has ‘nakha नख varNa’- There are

two aspects to decode, both resulting in the same number. First will mean the ‘nail’-
there are twenty nails in the body, ten on the hand and ten on the feet. The said vidyā

had twenty syllables. Now using the above code ‘na’ न is zero and ‘kha’ख is two, reading

them on the reverse will result in the number twenty. Thus the number of syllables in
the vidyā is revealed.

There is a secret vidyā in the pūjā paddati of the yore called ‘nābhi’ नामभ vidyā
Decoding the word nabhi by the above process, ‘na’ न is zero and ‘bha’भ is four,

reading them in the reverse will be forty; the said vidyā had forty combinations to be
chanted. The combinations were again said as a code in the dhayna sloka as’ pika ruru

bala’, वपक रुरु बल using the code we find a combination as ’11 22 and 33. The ‘1’ here

will refer to the vagbhavakuta , 2 to the kamarjakuta and 3 to the śakti kuta. Another

combination said was ‘kambukhātrimbakā’ कम्बुखा त्त्रम्बकाhere ‘tri’त्त्र is a

combination word (samyuktakṣara), applying the rule we have to take only ‘r’ which will

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mean two. Rest all is decodable. Thus we find a combination ‘132231’, which shall point
to the kutas as said above.

In Paramānanda Tantra there is a pārāyaṇa called cakra pārāyaṇa. It relates to the

āvaraṇa deities and repetition with different bījās. In the dhyana sloka we find a
reference to the number of repetitions as ‘gyānāgyāna nayānga bheda rucirām’,
decoding with the above ideas in mind – ‘gy’ and ‘n’ will denote zero, ‘y’ to one.
Substituting we find five zeros and one, reversing this will give – one lakh – the number
of counts this parayana will end up which after practice.

Using this code, looking at the word ajapa, will result in number one hundred and
eighty, which when multiplied by the inhalation and exhalation – once cycle breath-will
result in three hundred and sixty, pointing to the total aggregate of rasmi’s in the sat
cakra.

In the Śrīvidyā ratna sūtras of gaudapāda, the cakra of Śrīvidyā is described as ‘kagaja
dasāra dvaya’, the first three words when decoded will give the numbers as 1, 3 and 8
respectively, which will mean the bindu, trikona and astakona.

Śrī Bhāskararāya has used these codes in his commentary on Lalitā sahasranāma, while
explaining the name ‘anādhinidhanā’. He splits the name into ‘an+ādi+ nidhanā’.
Nidhana means death. He chose to decode the word ‘ādhi’ which is prefixed with the
code. ‘ā’ is zero since it is a lone vowel, ‘da’ is eight, reading them will result in eighty.
He then explains that there are eighty types of deaths elaborating with the help of siva /
linga purana and ‘an’ is the negation of these, since Śrī Devi is eternal there is death and
hence no birth. The same is referred in another name’s commentary- mRtyu dāru
kuThārikā’. Here he takes the word dāru and decodes it to get ‘da’ is eight and ‘ra’ is
two, on reading them as per practice will give twenty eight. These twenty eight types of
mrthyu are explained and also he refers to the other above said name which includes
these twenty eight also. The rest fifty two are in siva / linga purana.
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Another name in Lalitā sahasranāma – shuddha vidyānkurākāra dvija pankti dvayojvalā’
can be seen through this code. The thirty two teeth of Śrī Devi are described here.
Suddha vidyā is the thirty second in the line of tattvas. Hence that number is inferred.
This number is split into two liked to the two cotyledons of a sprout. So, we can infer
two sets of sixteen each. They are likened to the dvijā. Here the word dvija can be
decoded with this, ‘j’ is eight and twice of eight as said by ‘dvi’ are sixteen.

A variation of this code is used by Śrī Bhāskararāya while explaining about the
‘chalākṣara sūtras’. He says the vowel will point to the number of syllables in the
particular name and the consonant to the number of names with this number of
syllable. For example if we find ‘khi chah ghu’ in the sūtra, using the said method, this
will mean kh’ two names with ‘I’ three syllables, next will be ‘cha’ – two names ‘with ah’
the sixteen syllables (half of the anushtub meter) ,next will be ‘gh’ four names with ‘u’
six syllables.

Śrī Maheśanātha in his natha navaratna mālikā has identified the breath with Śrī Guru.
Śrī Bhāskararāya in his commentary decodes the number of breath from the last line of
the stotra ‘sanmārgam matta mayūramīde’. This when read with the katapayādi code
will reveal the number thus: - ‘mattamayūra’ will translate into numbers as 5, 6, 5, 1 and
2. This when reversed will point to the number 21565. Again ‘mārga’ when decoded will
point to numbers 5 and 3, reverse of this is 35. Adding both these numbers will give the
total breath in a day 21, 600.
Another Code:
Here there are certain groups which have universal number of members in them. Pakṣa
/ stana / sRUnga will mean two- there are two fortnights one waxing and one waning,
stana means breasts of a woman, they are two in number. SRUnga means horns and
there are two horns in all animals. Netra will point to both two and three, since we have
two physical eyes and one is the eye of wisdom. agni will point to the number three
.Agni is tretrāgni. Veda will point to number four, since there are four Vedas. Shara –
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arrows – will point to number five – Śrī Lalitāmba / manmatha (cupid) has five flowery
arrows. RUthu/ Rasa will point to number six – since there are six RUthus in a year,
tastes (rasa) are six in number. Rishi will point to the number seven; traditionally there
are sapta rishis – seven sages. Gaja, Naga and Vasu will point to the number eight- we
find elephants or snakes in such numbers and there are astavasu in the puranas. Rudra
will point to the number eleven since they are so, ādityā will refer to twelve since their
number is such. Manu will point to fourteen, since they are such in number. Raja
/NRpaty will point to sixteen since traditionally there are sixteen kings in the bharata
varsham

Using the above data lets us enjoy from some more codes said in stotras and tantras.

In the Parasurāma kalpa sūtra the numbers of the guru maṇdala devatas are numbered
as ‘muni veda nāga sankhyā’. Thus decoding with the above guide we find the divaugha
will have seven, the siddhaugaha will have four and Maṇavaugha will have eight gurus.

The third and fourth āvaranas of Śrīcakra are numbered as ‘nāgadala’ and ‘manvasram’-
as per the above it will mean eight petals and fourteen triangles. Further the seventh
and eighth are numbered as ‘vasvanala kona’ is also said which is translated to eight
triangle and triangle.

Śrī Bhāskararāya uses this type of code break in the commentary of the name sRUngāra
rasa sampūrnā- Here sRUNga is two and rasa is six, hence twice six, which is twelve. Ara
means petals. Thus twelve petals are seen in the anāhata cakra, Hence the anāhata
dvani is the real meaning said in this name.

In the trailokhya Mohana kavacam we find a vidyā which has ‘netra vedaātmākair
varnaih yutā’. Using the code we find numbers two and four, reversing them will derive
the number forty two, the number of syllables in that mantra.

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In the dhyana sloka of nābhi vidyā said above further we find a reference to ‘rāja vidyā
sthanā’ when decoded with the above guide will point to the highest mantra Śrī
Sodashakṣari vidyā and two will point to the two variations viz., Mahāshodaśi and para
shodaśi.

This is a small beginning from which lager perspectives can be unfolded. I happily affirm
My Love and Pranams to the entire Gurumaṇdala, for having graced this little child in
sharing this information. The journey starts now for our experience

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 Sixty four Upacāra – meditation

In the Śrī Krama of Sri Vidyā pūja we offer sixty four services (upacārā) to Śrī Lalitāmbikā.
These services are most important, since they form the core, central pūja to the main
deity invoked and as such they have to be performed with utmost care and involvement
(Śraddhā).
Sixty four is two power six, i.e. two multiplied six times. Here, two will point to Śiva Śakti
couple (mithuna) and six to five elements and mind. This number six will also point to six
pathways (ṣadadhvā), thus identifying them with this universe and Śiva Śakti can also be
envisaged from this number. Also, sixty four is eight times eight. Eight is number
denoting stability, number of electrons in outermost orbit of an atom. Each atom tends
to loose or gain electrons to reach this number. Further if an atom has this number of
electrons in its outer orbit, it will be chemically so stable that it will be inactive in any
reaction. Thus eight times eight will point to a most stable position, that’s envisaged by
the ṛṣis for as aspirant who does these services in both bhāya and āntara pūjā.
We find in our daily ritual manual three types of services are enlisted. First is a basic
pañca upacārā – five services, more elaborate ṣodaśa upacarā – sixteen services, as seen
in all vrata kalpa pūja and in saparya most elaborate catuṣṣaṣti upacārās- sixty four
services.
‘Upa’ means near and ‘cara’ means move, thus keeping one’s awareness near invoked
deity is meant. Further these services are to be done as if to a human form is in front.
Since invoked deity is none other than ātma svarūpā, these services carry a subtle
meaning for deity and aspirant.
On constant practice of these upacarās, some thoughts on the inner meaning and
hidden messages of these services were revealed and are shared.
Some basic ideas to be remembered in this discussion: The Form of the deity is identical
to the pañcadaśi mantra. The Face is identical with vāgbhava kūta, middle portion with
kāmarāja kūta and lower portion with śakti kūta of pañcadaśi. Devi is in the form of
bliss- saccidānanda rūpa.

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The First Upacāra – service is ‘pādyam’ – washing of the feet of the invoked Devi’s feet
with water.
The feet are indicative of a path and Devi’s feet are indicative of the specific path –Śrī
vidyā, which are a pair (two), indicative of outer and inner service paths, internal and
external ritual methodology. Literally to wash, indicates some stain or dirt. Here dirt is
the supposed inconsistency of two paths said earlier, while we generally find internal
methodologist believing themselves as superior to external ritualist. In an equal
parlance, they are only contemporary of each other; one cannot be without the other.
Thus removing the notion of greatness in any path is this service
The feet form a part of the lower body which is identical to the third Śakti kūta of
pañcadaśi mantra. This part will point to the sustained awareness of the knowledge that
this prapañca is Śiva-Śaktyātmaka in experiential terms. The dirt here again will be the
doubts on the sustenance of this awareness. Thus removal of this doubt is this service
The body of the deity – Lalitā is in the form of bliss. Again dirt is nāma rūpa prapañca
vāsana which is adhering to this universal, all pervasive Śiva tattva, which is blissful. Thus
removal of the notion of nāma rūpa in prapañca and viewing with an saccidānanda
outlook is this service
The second is ‘ābharaṇa avaropaṇam’ – removal of all ornaments from body of Devi.
The meditated form before invocation, in mind, will be with all ornaments and will be
invoked thus in pūja idol- bimba. Removal of all these ornaments is the service here.
Ornaments are said to be padādhva, one of the six paths (adhvās). Since Devi’s body is
the pañcadaśi mantra, ornaments adoring this body which will point to multitudes of
various padas or other mantras which are initiated as a pre-requisite in this sādhanā.
Now, sādhanā has culminated to that level, wherein focusing on mūla mantra is the only
condition, paraśurāma says ‘sadā vidyā anusamhatih’. Thus removal of ornaments will
point to constant remembrance of only Sri Vidyā mantra.
The next is ‘sugandhi tailābhyaṅgam’ – anointing the body of the Devi with scented
oil.
Anointing of oil on the body will have two effects, one is to remove the dirt which is
organic in nature, and is not easily removed by gross physical washing and also a cool
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refreshing effect on the body. Thus now we can infer removal of finer doubts and hence
a fresh surge of vigor in sādhanā is meant in this service
‘taila’ mean oil, as per secret code katapayādi will reveal the number thirty six., which is
indicative of the thirty six tattvās which make this visible universe.
The syllables in mantra are separated into consonants and vowels to get thirty seven
syllables. In Paramānanda Tantra correspondence of these syllables with pañcadaśi is
explained. The Para Śiva state is represented by ‘E’. Pṛthvi, gandha, ghrāṇa - three ‘L’
;āpa, rasa, jihvā –three ‘k’ ;Tejah, rūpa, cakṣu –three ‘r’ ; Vāyu, sparśa, tvak-three ‘m’;
ākāśa, sabda, śrotra- three ‘nada’; Vāk pāṇi pāda pāyu upastha –five ‘h’; Māyā, kalā,
avidyā, rāga, kāla, niyati, prakṛti, ahamkāra, bhuddhi, maṇah –ten ‘a’; Sadāśiva, īsvarā,
śuddhavidyā, puruṣa –four ‘ī’; Śiva and Śakti –two‘s’
Realization of the above is the ‘real’ anointing of oil on Devi’s body.
Again body of Devi is sacchidānanda- bliss and pervasiveness, recognition that bliss is
inherent in all thirty six tattvās is this service, envisaged here.
The next is ‘majjanasālā praveśanam’ – entering the bath room.
The Devi after being anointed will come down from Cakra rāja and reach wash rūṁ
located in south east corner. The purpose of wash rūṁ is to remove all subtle dirt in the
body and give a clean feeling. As said above, dirt is doubt in mind and change in
practices seen by an aspirant in various lineages. This can be eliminated only by a
thorough study of this siddhānta and a deep understanding. To realize this we need the
company of learned men. Thus a study with likeminded people is the wash rūṁ meant
here.
Considering further upacarās down, there are three maṇdapās- rūṁs where Devi enters
for different services. These can be equated to three kūtās of pañcadaśi. The above first
room point to first kūtā of pañcadaśi, denoting a prayer for removal of dvaita bhāva,
which in a way is washing off malās.
The next is ‘majjanasālā maṇi pītopaveśanam’ – alighting a jeweled seat in the
washroom.
Seat is a personification of mind of aspirant. Thus establishing mūla mantra with tattvās
vicāra in mind is realization of this upacarā. Here ‘maṇi’ – jewel, is a code of sādhanā of
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five ‘M’. Thus to establish tattvā vicāra with mūla mantra in mind, with a constant
practice as per the Guru’s ritual manual – pūja paddhati - is hinted in a veiled manner.
The next is ‘divya snānīvodvartanam’ – application of high quality lathering material
to the Devi’s body.
To wash off dirt, lather is used, this idea is trailing from above upacarā, which points to
sādhanā and immersion of tattva vicāra, this is the effect of same tattva vicāra, the
removal of doubts and confusion in sādhanā line
The next is ‘ushṇodaka snānam’ – bathing with warm water.
Water is the residence of all devatās- ‘apo vā idam sarvam..sarvā devatā āpa’. Fire is
called suci- clean; it cleans all and never will be polluted. Combining these two elements
(aspects) will result in warm water. Thus an unpolluted- pure divinity is envisaged here.
The bath will remove the dirt and bring freshness and vigor to the body. Thus washing
off., utmost removal of all doubts and confusion, and bringing in peacefulness in
sādhanā is realization of this service. Here usage of first ‘M’ – Madhya to tranquil our
mind and absorb tattva vicarā is finer aspect of this upacarā.
The next is ‘kanaka kalaśa cyuta sakala tīrthābhiṣekam’ – bathing with waters of
sacred rivers/ places poured from golden pot.
Water of sacred places / rivers always hold a spiritual power, because of connection
with holy sages and divine beings, is traditionally believed to cleanse a person of even
unknown sins. Here subtle stains called māyika and kārmika malā are envisaged. Gold
always represents Divine and its splendor, and pot will point to a form, most divine form
envisaged by a sādhaka is Śrī Guru. Thus blessings of Śrī Guru through the ageless
paramparā in form of mantra and energizing it by dīksa for a successful sādhanā are
imagery meant by this service. In short Śaktipāta through mantra caitanya is visualized
here.
The next is ‘dhauta vastra parimārjjanam’- usage of a dry towel to remove moisture
sticking on to the body- (to dry.)
Drying will mean removal of water drops adhering to the body. As seen in above, use of
first ‘M’, denoted washing with water, now a higher stage is envisaged, that without the
five ’M’, the awareness has to sustain. This is pointed in this service. Vastra as per
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katapayādi will point to the number twenty four. This is the ātma tattvā which will
cleanse the sthūla sarirā – gross body, and the aṇavamalā. Thus a śodhana – cleansing of
aṇava malā is envisaged in this service
The next is ‘aruṇa dukūla paridhānam’-offering red soft garments
Clothes are used to hide nakedness in humans. A person clothed is also a symbol of
culture. Soft clothes represent high quality, richness and superior texture. Red is a
symbol of indiscriminating Love. Thus offering of red clothes to adored deity will
represent civilized thoughts with utmost Love for all humanity.
Referring to pañcadaśi mantra, Lower garments will now point to pondering on message
of awareness and richness of the idea said in third kūta of pañcadaśi- complete
awareness at all times.
The idea of red as said in Bhāvanopaniṣat, denotes the unity of a. nirūpādika samvideva
kāmaeśVārāh – the attribute less Brahman, b. sadānandapūrṇa svātmaiva paradevatā
Lalitā – Blissful nature and c. antakaraṇa catushtaya sādhaka- sādhaka with mind
(maṇas), intellect (bhuddi), ego (ahamkara) and chitta. . Thus clothing saccidānanda
form will now point to realizing of this in practical day to day life
The next is ‘aruṇa kucottarīyam’-offering red upper garment (blouse)
. The breasts of woman - Devi are likened to the universe, like the universe they are not
fully seen by all in totality except the husband, We can only see limitedly, we know
there are places in this world, take example of South America, but we can’t see it,
similarly breasts of a woman are known and only seen partially. Hence this is an
allegory. Taking the same idea for red and garment from the above, pondering on the
nature of universe with unlimited Love and scrutiny will be this service.
The next is ‘ālepa maṇdapa praveśanam’- entering into the dressing room for perfume
application
The earlier washrūṁ was identified as congregation of likeminded people, which was to
remove doubts. This is the same idea of congregation with likeminded people to study
texts and get good appreciation of vāsanās and their nature.
This second maṇdapā will now point to second kūtā of pañcadaśi, rise of undivided śiva
Śakti mithuna knowledge, is akin to the study and assimilation of knowledge.
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 The next is ‘ālepa maṇdapa maṇi pītopaveśanam’- alighting a jeweled seat in the
above room.
As said earlier, fixing on mind in such a situation is service indicated here, same idea of
‘maṇi’ the sādhanā with five ‘M’ is hinted here. This will now be more subtle.
The next is ‘candanāgaru kuṅkumaśaṅku mṛgamada karpūra kastūri gorocanādi divya
gandha sarvāṅgīna vilepanam’- anointing of fine perfumed sandal paste with wood
resin, saffron, edible camphor, musk, cow’s bile and other fragrance
The various perfumes mentioned are multitudes of texts available with us, this is an
allegory. Sandal tree takes years to grow and this will indicate older texts- like the tantra
rāja, kalpasūtra vāmakeśvara, wood resin will point to the commentaries of the texts by
various guru’s and sādhakas, saffron and edible camphor will hint at the kaula texts like
kulārṇava, kastūri to agamas like mṛgendra , gorocana will be digest of all agamas like Śrī
vidyārṇava as well as pūja paddhatis, the suffix ādi- like wise will encompass all other
agama texts , their commentaries and philosophical / mantra digest available to
sādhaka. Thus study of mūla mantra with respect to these texts is the service meant
here.
The next is ‘keśabhārasya kalāgaru dhūpam’- drying the hair with incense smoke of
black eagle wood resin.
The invoked deity’s form has ṣadhavā in it, hair is bhuvanādhvā. There are three,
fourteen and two hundred and twenty four bhuvanā as said in Vedic to āgama texts. A
thorough understanding of this is needed for an aspirant, since both cakra and body is
replica of this universe, this study in necessary, as seen from above service, resin
denotes commentary. Thus a thorough study of the bhuvānadhvā using commentaries is
message in this service.
The next is ‘mallikā mālati jāti campakāsoka satapatra pūga kudmali punnāga
kalhāra mukhya sarav ṛtu kususma mālā’- adorning a garland made of jasmine,
campa, asoka, betel nut buds, punnāga, blue lotus and flowers of all seasons
Flowers are symbol of space, since they form and expand from a bud; here expansion is
likened to space. The different seasons point to the time, thus a time space-continuum

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is envisaged in this service. The whole visible experiential universe is said to be body of
paradevatā and also is identified with Śrī cakra as below:
Loka Part of body Śrī cakra
Satya Brahmarandhra Bindu
Tapah mastaka-head Trikoṇa
Janah lalāta- forehead aṣtakoṇa
Mahā bhrūṁadhya- mid eyebrow antardaśāra
Svah kaṇtha- neck bahirdaśāra
Bhuva Hṛdaya – heart caturdaśāra
Bhūh kukṣi- stomach first circle
Atala nābhi- navel aṣta dala
Vitala kati- hip second circle
Sutala svādhiṣtāna – genital area ṣodśa dala
Rasātala mūladhāra vṛtta traya
Talātala janu – knee third bhūpura
Mahātala jangha – calf muscle second bhūpura
Pātala pāda – feet first bhūpura
The next is ‘bhūṣaṇa maṇdapa praveśanam’- entering into the dressing room for
wearing ornaments
The dressing room is identified as congregation of likeminded people, which is to
remove doubts with study. This is same idea of congregation with likeminded people to
study texts and get good appreciation of vāsanās and their nature.
The third maṇdapa will now surely mean third kūta of pañcadaśi, continual experiential
knowledge. They are similar the ornaments worn, have dazzling luster and are precious.

The next is ‘bhūṣaṇa maṇdapa maṇi pītopaveśanam’- alighting a jeweled seat in the
above room.
As said earlier, fixing on mind in such a situation is the service indicated here, same idea
of ‘maṇi’ the sādhanā with the five ‘M’ is hinted here. This will now be more subtle with
textual study and introspection
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From here we find a list of ornaments being adorned to the Devi one by one and each is
treated as an upacārā. There are twenty five ornaments, four weapons and a pair of
sandal offered to the Devi at the end. Thus thirty services from now will focus on
decorating Devi. The word ‘dhāraṇa’ will also mean to realize the import of the said text
in totality. Thus realization of the text in totality with the pañcadaśi will be these
services. All these services have a third kūta –‘sakalahrīm’ idea in it is the continual
experiences of the bliss and the divine manifestation of the universe. Simultaneously we
can also see from the Lalitā sahasranāma (LSN) on these ornamental details. As seen in
second upacārā ornaments were different mantras as a pre-requisite for Śrī Vidyā
upāsana, now we are seeing the same, as mantras adoring Devi.
1. Navamaṇi makutam: Nava means new, maṇi means jewels or gems, makūtam is the
crown. Crown is worn over the head, which is the place of sahasrāra- the thousand petal
lotus. Gems have luster, an inner luminance. Thus the experience of the bliss in the
sahasrāra, which is the inner bliss, allegorically said as inner luminance, ever new in each
second is the service here. LSN-‘kuruvinda maṇiśreni kanat kotīra maṇditā’- kuruvinda
maṇi is red in color and kotrīra is the tiara like crown. The mantra envisages is the Guru
pādukā- Nava will point to the vidyāvatāra nava nātha guru
2. Candra śakalam: The crescent of moon of the crown. Candra is mind – ‘śakala’ is the
hidden form of third kūta- sakalahrīm, which denotes continual experience without any
gap, thus we are amazed to see that this service is immersion in bliss always. The LSN
dhyana sloka says-‘maṇikya mauli sphurat tārā nāyaka śekharām’- the crescent on the
ruby crown. This will point to most secret śodaskṣari bījā – lakṣmi bījā, veiled reference
from Candra as Candra sahodari.
3. Sīmante sindūram: Sīmanta is the partition of hair in the fore head, Sindūra is red –
crimson colored powder worn there by ladies whose husband is alive. ‘sīma’ means
border and ‘anta’ is end, denotes last alphabet ‘h’, which is seen universe- outward
visarga. Sindūra is red in color which is the identity of the attribute-less Brahman, with
an attribute called bliss and with the four organs if the individual cognition. Thus a
continual experience of the divine and its bliss is said here. The mantra is surely the
pañcadaśi mantra, the redness by sindūra points in that direction.
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4. Tilaka ratnam: The mark on the fore head with gem. ‘tilaka’ seen by katapayādi code
is 136, the total raśmis of third khaṇda–viśuddhi and āgynā, which is third kūta of
pañcadaśi. Thereby enforcement of the identity with bliss and the universe and the
individual is the luminance pointed by the ratna- jewel. LSN- mukha candra kalaṅkābha
mṛganābhi visheṣakā’- The blemish in moon is equated to mark on fore head of Devi.
Here moon also hints at soma khaṇda - third kūta –‘sakalahrīm’. The ratna – jewel will
point to the third eye and thus the pañcākṣarā of Lord Śiva- the tryambaka.
5. Kālañjanam: Application of collrium on the eyes, this application to humans will clear
any dirt and help to have a clear vision. Kāla according to katapayādi will point to
number thirty one, māyā tattvā. Thus understanding māyā tattva will clear vision,
outlook and finally lead to experiential knowledge- import of ‘sakalahrīm’ Surely
‘blackness’ will lead us to ‘kālika’
6. pāli yugalam: The adoring ornaments on the ear upper part. Flower shaped
ornaments or kadamba tree flowers on the top of the ears. Pāli also according to
katapayādi will mean thirty one, māyātattva said above, earlier it was vision; here it is
the hearing, and understanding of the tattva leading to the experience LSN-‘kadamba
mañjarīklṛpta karṇa pūra manoharā’ The ears are said here, hence the śrutidhāriṇi
vidyā.
7. Maṇikuṇdala yugalam: Ear rings. LSN-Tataṅka yugalībhūta tapaṇodupa maṇdalā.
The universe seen by us consists of mainly sun in day time and moon during night. They
are the ear rings. One is the prakāśa aspect and the other is the vimarśa aspect. They are
on the ears which are –ākāśa tattva – in turn the sabda tattva in other words, the
learning aspect. Thus knowledge of identifying the seen universe with mūla mantra and
its experience is the idea behind this service. The sun and moon are seen here thus all
navagraha mantras are seen
8. Nāsābharaṇam: Nose ring. Nose represents gandha tattva- which in turn denotes
Pṛthvi tattva – gross or in other words the created and visible universe. LSN-‘tarākānti
tiraskāri nāsābharaṇa bhāsurā’. The evening star is equated to nose ring. This is one
more celestial object which has a reflected glow, other than moon. This reflected light is
vimarśa and thus third kūta’s experience of bliss forever in seen universe is envisaged.
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The earth element said by nose- gandha will point to the vārāha, dhārani mantras;
evening star- śukra- also meaning progeny, will point to the Santāna gopāla.- in short all
vaiṣṇava mantras
9. adhara yāvakam: lip gloss. LSN- ‘Nava vidruma bimba Śrī nyakkāri radanachadā.-
The splendor and redness of fresh coral or the bimba fruits fails in comparison with the
lips. The lips help in the production of sound which communicates ideas through hearing
/ listening. Thus they can be equated to the Vedas – called śruti – heard sound. The
redness as seen above is the one ness of attribute-less Brahman, with an attribute
ānandā and individual aspirant. Thus Vedic identity of awareness of this unique identity
said above is this service. The lips are indicative speech and logic arguments and hence
directly vāgvādini and nakuli mantras are envisaged.
(A small outcome of the above services are that they focus on the gyāna indriyas, skin
(tvak) in sindūra and tilaka, ear (śrotra) in pāli and maṇikundala yugala, eye (cakṣus) in
the kālāñjana , nose (ghrāṇa) in nāsābharaṇa, lips – suggestive of tongue ( jihvā) in
adhara yāvaka. Thus the gyāna – knowledge of the undifferentiated universe self and
Devi – the kaulikārtha is emphasized)
10. prathama bhūṣaṇam: The main auspicious ornament, maṅgalya- tāli. This signifies
that the wearer of this symbol is married. This symbolizes Primordial pair - Śiva Śakti
mithuna bhāva. Identifying prathama (initial) spanda (movement) –ekaivāham,
bhahusyām prajāyayeti - with mūla mantra (Bhāskara rāya identifies this movement as
ten ‘a’ kāras in mūla mantra, ‘a’ is Śiva vācaka – the auspicious) The vimarśa aspect –
experiential knowledge and its synthesis is the service done.
LSN - ‘Kāmeśa bhaddha maṅgalya sūtra shobita kandharā’.
The saubhāgya devatā – Svayamvarā kalyāṇi mantra is directly seen.
11. Kanaka cintākam: The golden necklace – a tight fitting ornament. Gold, the noble
metal will point to the guru and the guru maṇdala. Cintāka is the necklace, a guru
paramparā . Like the necklace which is close to body, that too near the neck, will
symbolize vaikhari vāk, expressed sound as mantras and mantra upadeśa, they are close
to mūla mantra svarūpa Paradevatā in the bindu of Śrī cakra . Thus an identity of these
gurus with Mūla mantra and amba and the self – the kaulikārtha is envisaged here. LSN -
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Ratna graiveya cintāka lola muktā phalanvitā. The three types of necklaces are said here,
graiveya, cintāka, lola. They can be taken as divya, siddha and Maṇava gurunāthas,
graiveyaka close to neck, the divyas are always in Śrī nagara, cintāka – a loose-fitting one
which will dwell on the body and sometimes may not dwell, like siddhas who dwell both
in Śrī nagara and in this world, and finally most loose – dangling from neck, ‘lola’ they
are on this earth field and are held by amba, the mānavaughā. The golden necklace will
show the Goddess of wealth – Śrī Mahālakṣmi and her mantra.
12. padakam: The Pendant. Padaka according to katapayādi sankhya will mean 181, the
number of deities in the khadgamālā. Thus the identity of cakra with all attendant
deities with mūla mantra – pañcadaśi is envisaged in this upacārā. – aṇimādyābhir
mayūkhaih .. bhavānīm. The khadgamālā is a mantra itself.
13. Mahā padakam: A bigger pendant. The ‘Mahā’ in the front will point to ‘ma’ as
ānanda in the upastha tattva and ‘ha’ is agni rūpa Śiva tattva, Hence taking the above
padaka number-181, will now point to the Śiva Śakti mithuna mālā, identity of these
devatās with paradevatā and mūla mantra pañcadaśi is meant in this service. The
Mithuna khadgamālā is a mantra too.
14. Muktāvali: Strands of pearls. This is trailing from the above upacārās. The strand of
the above will mean all the fifteen types of khadgamālā chanted as per Lalitā pariśiṣta
tantra. Here these pearls will point to Candra and thus waxing and waning of moon is
envisaged. Chanting above khadgalmālā along with tithi- lunar phases, and identifying
them with pañcadaśi is this upacārā.
15. Ekāvali: A strand of twenty seven big pearls. Here pearls point to Candra and mind,
thus offering this necklace will mean that mind is continually engaged in reflecting mūla
mantra- paraśurāma kalpa sūtra says- ‘sadā vidyā anusamhatih’. Trailing from above,
this will point to suvarna kusuma puṣpāñjali, wherein kadi vidyā guru paramparā along
with svaguru paramparā will be worshipped. Reversing ‘eka’, will be ‘ka’, ‘e’ and āvali
means series, so mūla mantra pañcadaśi is envisaged here.
(A corollary from the above two upacārā - Pearls are white in color, indicative of satva
guṇa, and pañcadaśi is saccidānandā svarūpa, hence ānandā in sātvic state is essence of
above two upacārās).
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16. channavīram: Sari pin. Channa will mean hidden, vīra will point to a position, hence
the hidden positioning of the garments are meant by this service. The Sari pins are used
for this effect. In the above service garment’s red color was indicative of unity of
attribute less Brahman, with bliss (an attribute) and individual. Keeping them in position
by hidden will mean kaula sādhanā, these garments are covering body– mūla mantra
pañcadaśi, hence kaula sādhanā to re-affirm the idea said and to bring an experiential
knowledge is meant in this service. The hidden mantras in anuttaramnāya – ṣodaśa mūla
vidyā are referred here
17. keyurayugala catushtayam: Four pairs of Ornament of the upper arm shaped, like
serpent- the armlet. A pair of upper armlet made of gold. Gold is precious and rare
metal, thus pointing to Śrī Guru, A pair will be guru dampati. Arm explicitly points to the
organ of work- karmendrya. Four will now show mahā vakyas initiated by guru dampati.
‘pragynānam brahma, aham brahmāsmi, tattvamasi, ayamātmā brahmā’.
Thus as awareness of Mahā vāykyā’s meaning as said by Guru in action (Karma) with
remembrance of mūla mantra is this service.
LSN- kanakāngada keyura kamanīya bhujānvitā
18. valayāvali: Bangles. ‘va la ya’ as per katapayādi is 134, total is eight. The puryaṣtaka
jīva is seen, and also experiential universe is visualized. There are two hundred and
twenty four such experiential universes as per Kashmir śaivam, thus word āvali – in a
line, which means a collection of those bhuvanas. Recognizing that they are a part of
mūla mantra is this service. The Bhuvaneśvarī mantra, Gāyatrī mantra with the three
vyāhṛdi is seen here.
19. ūrmikāvali: Rings on fingers. The fingers are real executors of any work. Thus this
will point to karma. ‘ū’ is left ear in mātṛkā nyāsa, we can now envisage upadeśa by
reference of ear– Śakti prādhānya by left side. ‘āvali’ means a lineage, here lineage of
Guru, who has done this mantropadeśa. In short mantra dīkṣā, golden rings are thus
envisaged as grace of gurunātha. So, remembrance of mantra during all acts (sadā vidyā
anusamhatih) is meant in this service done here.
‘ūrmi’ will also mean waves of existence and ‘āvali’ to six waves said in texts – they are
śoka sorrow, Moha temptation, Jarā old age, Mṛtyu death, kṣudhā hunger, Pipāsā thrist;
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another set of ṣadūrmi is Bhayā fear, Dveṣa hatred, Viṣāda regret, śoka grief, asuyā
jealousy, avamāna shame. These ‘waves’ will plunge us into the ‘ocean’ of existence. It is
very appropriate that ten avatāra of Mahā Viṣṇu came out of the fingers of Devi, as seen
above these waves are for sustenance of existence to be in a cycle of birth and re-birth,
which is his portfolio. The rings bring golden can be meditated as the grace of Guru who
tides us over these waves and finally removes us from this cyclic existence.
LSN- Karāṅguli nakhotpanna nārāyaṇa daśākṛtih’- the ten avatar mantras of Śrī Mahā
Viṣṇu are seen here
20. kāñci dāma: A broad golden ornament as waist band- Odyanam- ‘kāñci’ is split as
‘ka’ and ‘āñci’, respectively meaning fire sacrifice done by Creator Brahma to get back
his creative power. The mid portion of the woman holds womb and ovaries - which have
creative power and nourishes new born in its initial stages of growth. ‘dāma’ means a
garland, a respectful sign, thus respecting mother hood in all living beings is meant in
this service. The waist is midpoint of body, where second kūta ends ‘kati paryanta’, and
third kūta starts ‘katyadhobhāga’. The hṛllekha bījā is seen in mantra at this juncture,
thus sound representation of creative force is visualized here.
LSN -ratna kiṅkiṇikāramya racanā dāma bhūṣitā. There are tiny bells in the beautifully
adorned waist band. Here sound being first element’s –space- aspect is in tune with
above idea.
21. kati sūtra: A rope like ornament on the waist. Sūtra means ‘sūcana’ – giving ideas in
a gist, rather a pointer. Hip ‘Kati’ is starting of Śakti kūta which is a constant reminder of
blissful state, hence the onus is on pointer and this service reminds us that the goal is
everlasting blissful state. The concise pointers like paraśurāma kalpa sūtra are seen
here.
22. saubhāgya ābharaṇa: Special auspicious ornament worn at waist. This decoration is
meant for covering the genitals. Thus most auspicious act in third kūta said by ‘below
waist’ – katyadhobhaga- is continual remembrance of bliss in all actions. The triangular
shaped alphabet (like female genital) denotes Para Śiva state, as seen in oil anointing
service; thus, this ornament will point to manifestation of universe. This service is
reminding us that same. The mantra here is ‘Bhagamālini’- The second nityā Devi.
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23. pāda kataka: Anklets – thick ones filled with pearls / gems. Anklets make sound
when the person moves. Hence the primordial sound element and its first expansion as
the Vedas are inferred. The Vedas have strict procedures and pronunciations; this is
signified d by the hardness of this anklet. Identifying that all Vedas and Vedic procedures
are in turn with the third kūta of pañcasdaśi- the continual experience of the bliss is this
service
24. ratna nūpura: Anklets of gems. This is a loose fitting one made of red gems. The
redness and slack will point to the tantra – esp. redness to the Śrī vidyā, wherein mental
modifications are stressed (Bhāvanās); the slack to more freedom in procedures. Thus
identifying that all the tantric procedures are in tune with third kūta of pañcadaśi
wherein the continual experience is stressed.
LSN - siñjānāmaṇi mañjīra maṇdita Śrī padāmbujā
25. padāṅguliyaka: rings on the toes. The feet points to the way and the golden rings
already was envisaged as the grace of guru, thus the grace of the guru in leading in both
the ways are this service. The pūja paddati mantras are seen here. It is apt that after the
two above services which are depicted as Veda and tantra, here the personalized Guru
Kripa and the pūja paddhati is seen.
LSN - ‘nakha dīdhiti sajjanna nāmajjana tamogunā’.
1. Eka kare pāśam: A coral noose (rope) on one hand, LSN – rāga svarūpa
pāśādhyā. The attraction or desire personified is the noose. Since the first
creation itself is desired, all living beings have this desire inherently. Hence the re
color and a stone material – coral, is the form of hardness and the deepness this
idea has in all Recognizing that all desires are due to the divine’s will and
command is this service. The Pratyaṅga devatā aśvarūdhā riding a horse
aparājitā, had emerged from this weapon. LSN - Aśvārūdādhiṣtitāśva koti koti
bhirāvrt ‘pāśa’ according to katapayādi will mean 51, mātṛkā alphabets. Since all
creation is from sound this primordial aspect of desire is also shown thus.
2. anya kare aṅkuśam: A silver goad in the other, LSN – krodhākārāṅkuśojvalā. The
repulsive force or hatred, opposite of above idea said is seen here, since all
creation is paired, this pair also exists. This will cause the expansion of this
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 universe due to diversity that this aspect will cause. Silver is śukra the progeny or
expansion into multifold. The devi – Sampatkari riding the elephant raṇakolāhala
has emerged from this weapon. LSN – ‘Sampatkari samārūdha sindhura vraja
sevitā’
(The above two weapons have a control effect, the noose will tie a person a goad will
control a big elephant. Thus kaulopaniṣat says- ‘sarvendryānām nayanam
pradhānam’- to controlled lead of the senses is the foremost approach. )
3. itara kare puṇdrekṣu cāpam: The red variety of sugar cane in the next hand.
Sugar cane has lot of fiber and juice, it is a type of bigger grass hence will bend
and adjust to the wind not break down in stormy weather. Each digit length of
the sugarcane when planted will bring forth more sugarcane. These ideas are
identical to mind, It has lot of essence as well as garbage, will adjust to the
situations and will not breakdown, will have lots of inherent potential for new
ideas and visions. Thus offering mind to the pañcadaśi svarūpa paradevatā is this
service. LSN - .mano rūpekṣu kodaṇdā. ‘Capa’ per katapayādi will point to
sixteen, ṣodaśi and its blissful experience. Thus recognizing the bliss of mind in
the highest level of identity is this service. Śrī RājaMātaṅgi Devi riding the geya
cakra emerged from this weapon LSN – ‘geya cakra rathārūda mantriṇi
parisevitā’.
4. apara kare puṣpa bāṇam: Flowery arrow- mango, red lotus, white lotus , red lily
and white lily in the other hand. Flowers are signifying the expansion of the
universe, lotus and lily will show the day and night, white i.e. the time, the colors
white will comprise of all colors, red is the love, mango flower to the spring
season. Thus the whole time-space continuum experienced as the universe is
visualized. This is no way different from mūla mantra is the service is envisaged
here LSN - pañca tanmātra sāyakā. ‘b’ and ‘ṇ’ are three and five respectively as
per katapayādi code, the three will point to the three worlds- bhūr, bhuvah and
svah and five to the five elements. Śrī Mahā vārāhi Devi riding the kiri cakra
emerged from this weapon. LSN – ‘kiri cakra ratharūda daṇdanāthā puraskṛtā’.

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(Tantra says – icchaśakti mayam pāśam aṅkuśam gyāna rūpiṇam, kriyaśakti mayī bāṇa
dhanuṣī’- noose represent divine will, goad to divine knowledge and bow with arrows to
divine deeds.)
Srīman maṇikya pādukā: Ruby studded sandals. ‘Pādukā’‘s etymology is ‘pālanāt- that
which sustains, ‘durita kṣalanāt’- cleaning discomfort or sadness. The redness as said
above will show the identity of the attribute-less parabrahma, with bliss as an attribute
and the aspirant with his four organs for cognition. Thus the discomfort is removed and
‘Śrī’ -highest bliss is experienced. The katpayādi of ‘Pāduakā’ will be 181. This will now
show the 180 mithunas in the six ādhāra cakras and the final pair at the sahasrāra-
‘teṣām api upari tava pādāmbuja yugam’- above all these is your divine feet. Realization
of this is the service here.

Sva samāna veṣābhih āvaraṇa devatābhih saha Mahā cakrādhirohaṇam:: Alighting Śrī
cakra rāja chariot along with attendant deities, who are also attired like her. Using the
above sandals walking up nine tiered chariot called Śrī cakra. The sandals indicate guru
and his directions, understanding identity of mūla mantra and the Śrī cakra as said by
guru is service envisaged here.
In the Śrī vidyā mantra, the three ‘ka’ and ‘ī’ are identified with bindu, the trikoṇa and
aṣtakoṇa are identified with three ‘hrīm’ ; the two daśa koṇa and the caturdaśāra are
identified with two ‘ha’ and ‘E’; the aṣta and ṣodaśa dala are identified with two ‘sa’ and
the bhūpura with two ‘la’.
Another way of looking at this is, without repetition, fifteen syllables in Śrī vidyā mantra
are reduced to nine syllables which are identified with nine enclosures of Śrī cakra.
Śrī cakra mantra
Bindu Bindu
Trikoṇa Nada
Aṣtakoṇa ka
Antar daśāra ra
Bahir daśāra E
Catur daśāra ī
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Aṣtadala ha
ṣodaśa dala sa
Bhūpura la
Kāmeśvarāṅga paryaṅkopaveśanam: Being seated on the lap of Kāmeśvara.
Kāmeśavra is the attribute-less, unqualified Brahman, Devi is the same Brahman with an
attribute called ānanda. Recognizing that like inseparableness of the dye and cloth, the
unqualified Brahman is identical to the blissful state is this service.
Amṛtāsava caṣakam: Offering a drink –ambrosia – filled cup. Cup here is indicative of
the body and amṛta is deathless state, on realization of the above identity the same
identity is extended to the aspirant, that realization is this service.
ācamanīyam: Water taken ritually for purification. Is there a necessary for purification
of Devi? This ritual is seen for aspirants. ācaMaṇa will also serve as a reminder, thus the
reminder of the above state of unity is this ācaMaṇa to Devi.
Karpūra vītikām: offering a betel pan for chewing. The royalty sign is chewing the betel
pan, the word ‘rāja’ denotes this state, ‘Rāja’ per katapayādi is sixteen, the ṣodaśi, and
the continual experience of the above blissfulness is this service.
Ānandaollasa vilasa hāsam: Hearty laughter. The expression of the blissful state is by a
hearty laughter. ‘hāsa’ has in it the ‘hamsa’, which is breath personified. Thus identifying
breath with mūla mantra on a continual blissful state is meant in this service.
Maṅgalārārtikam: Waving of lighted lamps in front. Maṅgala is auspicious. Ārati is array
of lamps of light that are waved. This service is to be done in a kneeling position. Now,
we can be delighted to see that this awareness has encompassed this world- suggested
by kneeling down for feeling world, lights for visible universe. This is further expansion
of above idea to a universal level is meant in this service.
The lamps can be five, seven or nine in number. The five lamps are five elements, seven
lamps are seven ādhāra cakra and nine lamps are nine steps beyond āgynā to reach
sahasrāra.
Chatram: offering big royal white umbrella. Umbrella is held over head, white in color
signifies the satva guna, Thus we are amazed to see Śrī Guru who is pure satva and

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above the envisaged personification of mantra, protecting it for aspirants sādhanā. The
Sva guru Pādukā is mantra meant here
Cāmaram: fanning with a pair of fly whiskers made of deer hair. The word cāmara can
be split as ‘ca’ and ‘amara’ - translated as with eternal beings. From above service,
eternal beings with Guru is his paramparā, thus the whole lineage of guru is envisaged
as making comfort to mantra for its sādhanā by aspirant. The parama guru and
parameṣti guru Pādukā mantra is envisaged here.
darpaṇam: offering a mirror. The tantra advocates a theory called bimba- pratibimba
vada, the refection principle. This is said very elaborately by the Kashmir Śaivam. Thus
realization that bimba of Śiva, which is Śakti is identical to mūla mantra is meant by this
service done here
tāla vrṇtam: fanning with palm leaf hand fans. ‘tāla’ per katapayādi will point to number
thirty six. Thus mūla mantra is fanned – literally cooled; which means is made
comfortable, with the thirty six tattvas by identifying their unity.
(The below five are main services to be done without any substitute, till now any short
fall in these services can be reconciled by offering sāmānya arghyā or puṣpākṣatās.
These are so important that even during japa sādhanā, they have to be mentally offered
to visualized devatās. They do represent five natural elements)

gandham: offering sandal paste or perfumes. The smell is the attribute of the element
earth, which is gross in nature. Hence the grossest of all, which can be easily envisaged,
is offered and the identity with mūla mantra and para devatā is envisaged. Here we can
visualize a yellow colored devatā offering the best of all perfumes to amba and merging
in her nostrils.

puṣpam: offering flowers The flowers as already seen will point to the subtlest of all
elements , the space. Now we go to the other end of the elements in the universe,
which is neither felt nor seen. Only could be envisaged. We can visualize a white crystal
colored devatā (white is a combination of all visible range) offering the best flowers to

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paradevatā and merging in her ears. The attribute of the subtle space is sound, which is
heard; hence the ākāsha devatā merges into it.
dhūpa: offering incense smoke .The element air is the next subtlest one, where we can
have a ‘feel’ of it. The visibility of the air in dense fumes is clear. Thus the incense smoke
will mean the offering or identification of this element with mūla mantra or paradevatā.
We can visualize a grey colored devatā offering incense smoke at navel and merging into
it. Navel is the source of all nadis, subtle channels of the body, through which the vāyus
(air) travels. Pre-birth the fetus ‘breathes’ through the navel. Hence this service is done
at the navel. After the service the holder (stand) of incense burner is to be kept on the
right side of the deity’s altar. The right side of the deity is male- Śiva aspect. Thus it is
apt that the experiential most subtle element’s attribute be kept on his side.
dīpam: offering lights. The element which has a form is the fire. The attribute of fire is
also warmth and glow. Therefore another word for fire is ‘divya’. We can visualize a red
color devatā offering the lamps at the eye level of the deity and merging into it. Eye has
the cognition of form and thus this service is done there. After this service the holder
(stand) of the lamp is to be kept on the left side of the deity’s altar. The light also points
to the vimarśa aspect, deliberation of knowledge. Thus the placement on the left side of
the deity- the Śakti- is most appropriate.
naivedya: offering food. The food has all the essence, this aspect is called rasa. The
water- liquid is the element envisaged here. We can visualize a white devatā offering
food and merging into the tongue of the deity. The food offerings are to be kept in front
of the deity, if space doesn’t permit, then the cooked food on the left side and uncooked
on the right side of Devi. Tongue will represent idea of taste, another aspect of rasa and
hence this service is done so.
This completes the sixty four upacārā pūja.
The below said are for completeness of the above ritual.
Nava mudrā pradarśaya: Show the nine gestures (mudras). Mudam rāti dadhāti – the
one aspect which will experience / give bliss is called mudrā. The nine enclosures of the
Śrī Cakra are opened by these gestures for the aspirant to reach higher level of bliss. Śrī

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Devi being totality of all attendant deities in cakra – aṇimādyābhih mayūkaih..’ nava
means new also, thus the constant experience of bliss as ever new is this service

Devīm tris santarpya: offering tarpaṇa to Devi Thrice. Here tarpaṇa is only envisaged, so
‘mūlam’- Śrī Lalitām tarpayāmi nāmah – is mantra. Bhāvanopaniṣat says ‘bhavanā
viṣhayānām abheda bhāvanam tarpaṇam’ – undifferentiated knowledge of all action is
the act of tarpaṇa. Thus this tarpaṇa in the end will mean that the whole catuṣṣaṣti
upacāra pūja is a contemplation of the identity of the nirguṇa, saccidānanda Brahman
and antakaraṇa catushtaya sādhaka.

a. The Suagndhi tailabhyaṅgam

As revealed in the internalization process of the 64 upacāra pūjā, the service of sugandhi
tailābhyaṅgam – the anointing with perfumed oil of Devi Lalitā is the real research of the
identity of the thirty six tattva and the mūla mantra (pañcadaśi). This idea was further
confirmed by the tantras like nityā ṣodaśikārnava and Paramānanda tantra. The
following is the identity got from Paramānanda tantra:
L(3) K(3) r(3) m(3) nada(3)

Pṛthvi(36) āpa(35) agni(34) vāyu (33) ākāśa (32)

Gandha (31) rasa (30) rūpa (29) sparśa(28) śabda (27)

Ghrāṇa (21) jihvā (20) cakṣu (19) tvak (18) śrotra (17)

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 H (5) ī (4) a (10) s (2) E (1)

Vāk (22) Sadāśiva (3) māyā (6) śiva (1) Paraśiva

Pāni (23) īśvara (4) kalā (7) śakti (2)

Pāda (24) Śuddhavidyā(5) vidyā(8)

Pāyu (25) Puruṣa (12) rāga (9)

Upasthā (26) kāla (10)

Niyati(11)

Prakṛti (13)

Ahamkāra (14)

Bhuddhi (15)

Maṇas (16)
**Note: The number in the parentheses of the tattvas is in the order from pṛthvi to śiva
tattva, The alphabets in the heading are the breakup of pañcadaśi mantra and number
in those parentheses correspond to the number of occurrences in the mantra
A fill up of the tattvas from the higher order (śiva tattva) to the lowest (pṛthvi tattva),
since grace is from above to below, corresponding to the order as said in the mantra
was tried resulting in:
K+a jihvā + māyā
E Paraśiva
ī Sadāśiva
L+a Ghrāṇa + kalā
H + r + ī + m + nada vāk + cakṣu + īśvara + tvak + śrotra
H+a pāni + vidyā
S+a śiva + rāga
K+a rasa + kāla
H+a pāda + niyati
L+a gandha + prakṛti
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H + r + ī + m + nada pāyu + rūpa + śuddhavidyā + sparśa + śabda
S+a śakti + ahamkāra
K+a āpa+ bhuddhi
L+a pṛthvi + Maṇas
H + r + ī + m + nada upastha + agni + puruṣa + vāyu + ākāśa
The first Kūta called as vāgbhava is mainly regarded as removal of the duality in this
seen universe, this is in tune with the tattva distribution. The first tattvas seen are the
jihvā and māyā – the jñanendriya of expression of inherent / recorded thoughts and the
duality cause being at the start is wonderful. The grace of the Lord as Paraśiva thru the
Sadāśiva (in Lalitā sahasranāma we find the order as sadāsivā anugrahadā) in the next
two bījas is most appropriate. The next Ghrāṇa and kalā- the vasanās and the various
states of existence are graced by the ‘sadāśiva’, resulting in the last bīja seen as - vāk +
cakṣu + īśvara + tvak + śrotra. This can be seen as the dīkṣā karma wherein the grace is
manifested as vāk (śrotra) dīkṣā, cakṣu dīkṣā, Sparśa (tvak) dīkṣā, by the īśvara who is the
GURU himself.
The second Kūta called kamaraja is the emergence of the practical knowledge by the
sadhana. This is also in tune as seen above. The pāni and vidyā can be seen as the action
with knowledge, Śiva and rāga will now denote love for śiva tattva and its continual
experience, rasa and kāla will show the experience of all levels of ānanda in course of
time (sādhana time line), pāda and niyati will show tenets of restrictions of this path,
gandha and parkruti will show the grossness of the manifested universe – implying the
pañca makāra sadhana and the last bīja pāyu + rūpa + śuddhavidyā + sparśa + śabda-
pāyu to the rejection of the other thoughts (again a karmendriya – action based),
śuddha vidyā to the ‘real’ unified knowledge in all this seen universe with form (rūpa) ,
felt (sparśa) and heard (śabda).
The last śakti kūta is the continual experience of above blossomed knowledge, first bīja
itself shows identity with śakti and ahamakara – universal sense of existence, second is
āpa and bhuddhi which show the fluidity of knowledge to accommodate all experience
as bliss through grace, pṛthvi and Maṇas to stability of mind in this experience and last
bīja upastha + agni + puruṣa + vāyu + ākāśa. The upastha to bliss, puruṣa to sādhaka and
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three main elements ākāśa, vāyu and agni to this manifested universe wherein sādhaka
is continually experiencing this bliss while alive- jīvan mukti

The mind of absolute trust

The great way isn't difficult for those who are unattached to their preferences.
Let go of longing and aversion, and everything will be perfectly clear.
When you cling to a hairbreadth of distinction, heaven and earth are set apart.
If you want to realize the truth, don't be for or against.
The struggle between good and evil is the primal disease of the mind.
Not grasping the deeper meaning, you just trouble your minds serenity.
As vast as infinite space, it is perfect and lacks nothing.
But because you select and reject, you can't perceive its true nature.
Don't get entangled in the world; don't lose yourself in emptiness.
Be at peace in the oneness of things, and all errors will disappear by themselves.
If you don't live the Tao, you fall into assertion or denial.
Asserting that the world is real, you are blind to its deeper reality;

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 denying that the world is real, you are blind to the selflessness of all things.
The more you think about these matters, the farther you are from the truth.
Step aside from all thinking, and there is nowhere you can't go.
Returning to the root, you find the meaning;
chasing appearances, you lose there source.
At the moment of profound insight, you transcend both appearance and emptiness.
Don't keep searching for the truth; just let go of your opinions.
For the mind in harmony with the Tao, all selfishness disappears.
With not even a trace of self-doubt, you can trust the universe completely.
All at once you are free, with nothing left to hold on to.
All is empty, brilliant, perfect in its own being.
In the world of things as they are, there is no self, no non self.
If you want to describe its essence, the best you can say is "Not-two."
In this "Not-two" nothing is separate, and nothing in the world is excluded.
The enlightened of all times and places have entered into this truth.
In it there is no gain or loss; one instant is ten thousand years.
There is no here, no there; infinity is right before your eyes.
The tiny is as large as the vast when objective boundaries have vanished;
the vast is as small as the tiny when you don't have external limits.
Being is an aspect of non-being; non-being is no different from being.
Until you understand this truth, you won't see anything clearly.
One is all; all are one. When you realize this, what reason for holiness or wisdom?
The mind of absolute trust is beyond all thought, all striving,
is perfectly at peace, for in it there is no yesterday, no today, no tomorrow.

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