SrIvidya Article

SrIvidyA articles
ucchiShta gaNapati upAsana /pUjA procedure

From :- krishnarao {SriparasuKanandanAtha) Subject :- Ucchista
Ganapati Upasana / Puja Proecedure priya mahASayAh, in ambal group >:
"subrabalaji"subrabalaji@yahoo.com subrabalaji >Fri Nov 16, 2007 8:15
pm (PST) writes-------- >Dear Members - where can I find the Puja and
Upasana procedures for >Ucchista Ganapati. I heard from some Sri
Vidya Upasakas that the >worship of Ucchista Ganapati is an important
aspect. Also I have heard >from some that it is the only way to
Moksha. Also I heard that one >gets rare Siddhis with such Upasana
and also one has to strictly >adhere to procedures. >Regards >Balaji
========================================== In SrIvidyArNava tantra by
Sri vidyAraNya,
It is clearly mentioned
that the ucciSta gaNapati upAsana will be effectiv e only by the
vAmAcAra methods. When any one approaches his guru for the first
time, his intention would be in pursuit of the supreme god and
mOkSha. The guru who is "swrUpa nirUpaNa hEtuh" is initiating with a
mantra of some dEvata or dEva. This is becaus e one should not/can not
say any thing about god in an establishing voice. "kaula pratiShTam
na kuryAt" Even in the books like "soundarya lahari", the way to
emancipation was nerrated with slOkas like "muKam bindum kritwa",
"naram varSIyamsam". They appear like mAdana prayOgAs to attract
women. Is it the advice of SankarAcarya who himself is a staunch
sanyAsi, for a Sishya who approaches him to show him the way for
liberation? Instead of trying to understand the inner esteric
objective of the guru, he is opting to master the texts, and bring
out the materialistic benefits like a mad man gathering all the
useless stuff seen on the roadside, thinking it all so precious. My
guru was telling "what ever is written in the scripture, even by any
great sage, it would be only vAmAcara mehod. It is you to search for
the meaning which reminds you about your own 'swarUpa'. All the
mantras are the reminders of your own swrUpa. If you take
materialistic meaning, even the nArAyaNa mantra or the siva mantra
will never save you from the present state of misery, but throws you
in to the ditch of samsAra, "SRîNyEva sitayA viswa carShaNih pASEna
pratibadhnAtyabhIkAn | iShuBhih pancaBhir dhanShEna|
viddhatyAdiSaktir aruNAca viswajanyA ||" I dont understand how can
any other god can give any one the 'mOkSha', when there is Siva and
nArayaNa who are considered to be the sole distributors of mOkSha?
"sahasram vartantE jagati vibudhAh kSudra phaladah na manyE swpnE vA
tadanusaraNam tatkRîta Palam ||"
Please don't believe any of these gods. They will always be saying
nonsensical promises. Trash every thing. -- L.Krishnarao
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yogic secrets of Radha and krishna
Tue Sep 18, 2007 3:19 am (PST) From: -
Krishnaraokrishnarao.lanka@gmail.com Subject_ Yogic secrets of Radha
and Krishna Date :- 18th september 2007 mAnya mahASayAh, On one
BhAdrapada suklapakSha aShtami day, it was said that Sri rAdhA dEvi
has manifested herself in a village like 'barsAnA' of the vraja
BhUmi. Of course this was mentioned in some purANAs. But vyAsa
BhagavAn who rendered the SrImahA BhAgavatam did not mention this
name any where in it. Some people say that rAdhA is the concealed
heroine of the BhAgavatam. In fact there was no individual person
with the name of rAdha, but it
is the total personification of not only the women kind of
brîndAvan, but the whole of the living and non living beings in the
world. In dEvI BhAgavatam, the Bhagavan has highlighted rAdhA as the
fifth prakRîti of SrIkRîshNa in making the creation of the
universe, where the other prakRîtis were named as "durgA dEvi,
BhArgavi, brahmANi and sAvitri. ": and that, as a result of the
conjunction of SrIkrîShNa with rAdhA, myriads of caturBhuja
nArayaNAs were created. It was also said in another place that both
SrIkRîShNa and rAdha have emerged from the same kAmAKya Adya bindu
which has split into two and those two have become the sole cause for
the creation. So, we have to understand that rAdhAdEvI is the
creative prakRî ti of SrIkRîShNa. In the SrIrAma avatAra, rAma was
very handsome personality, that no body were willing to drop their
eye lids, for fear of missing that visual perception even for that
fraction of a moment. Before concluding his avatAra and entering into
the river 'sarayu', he called all the people to give boons, any thing
whatever they wish for. Some persons asked for total liberation; some
persons wanted to live with SrIrAma in vaykunTa paradise. At that
time, all the gods (dEvatAs) and RîShis have attended th at
gathering. While looking at SrIrAma, they all were caught with lust
(mOha) for him, forgetting every thing of their identity that they
are not females. They all expressed their strong desire to have close
hugging and conjugation with SrIrAma. SrIrAma told them that he is
such an EkapatnIvrati that not only he ever looked amorously at any
woman other than sItA, his own wife, but never gave chance for other
women too to have any romantic view for him. He advised all of them
to be born as gopikAs in his next avatAra as SrIkRîShNa. As we all
know that SrIkRîShNa avatArA was a paripUrNa pUrNa avatAra, has
exhibited innumerable super human miracles. Firstly, he did not born
from the womb of dEvakIdEvI, even though she carried him all the nine
months in her uterus. She did not have the labor pains at all. The
paramAtma has simply appeared before her without the plecenta, that
too with four hands holding all the weapons and decorations of
SrImahAviShNu. As he himself revealed it with aSwattHAma in
mahABhArata, that he could secure sudarSana cakra, pAncajanya SanKa,
kaumodaki gadA, nandaka Khadga and SAr.nga dhanuSh, and also the
chariot with five horses of SrImahAviShNu, only after performing very
severe penance for many thousands of years. He has performed such a
penance, only while he was remaining in his mother`s womb, like
vAmadEva could learn every thing while he was in his mother`s womb.
He knows the secret of many yugas of time existing in a split of a
second. It was proved in the story of sage nArada, experiencing sixty
years of married life bearing twenty seven children just with in the
fraction of a time of dipping his head and rising out of the river
waters. Almost all the vedantic texts say the same thing, that whole
of this universe and the incidents o ccurring are nothing but a myth,
and only they are all impressions of the mind created by the mAyA
Sakti. There is only one self and nothing else is there other than
that self. "Siva swarOdaya", a yogic method says that such events and
incidents are occurring according to the condition of the five
elements of the body. They will be revolving one after another in a
cyclic manner, along with their bAlya, yauvana, kaumAra, prauDa,
vRîdda avasthAs. It is in the hands of the yOgi, who practices this
yOga, to predestine the events to come in his favor. He will be able
not only to predict the future, but also he can mould the event in
the way what ever he wishes to be. In the same way, one can also
create such impressions in the other man's mind also, just like an
aindrajAla magician creates false impressions in our minds.
SrIkRîShNa is known to be "yOgESwarESwara". There is no yOgic
method, which he does not know about. With such a similar yOga,
SrIkRîShNa might have created impressions in all the gOpikAs and
also in the minds of his sixty thousand and eight wives, all
according to their wishes, because he was an "asKalita brahmacAri"
all through his life. He never involved in any sexual
pleasures with any one of them. Sage nArada has tested this yogic
power in SrIkRîSNa. He searched in all the houses of SrIkRîSNa`s
16,008 wives and found that SrIkRîSNA was living with every one of
them all the time at the same time. There is one SlOka saying
"a~nganAm a~nganamantare mAdhavam , madhavam madhavam antare a~ngana"
(I don't remember the slOka in total) All the gOpikAs are dancing in
a circular rotary. In it, between every two gOpikAs, there is one
kRîSNa and between every two kRîShNAs, there is one gOpika. In the
midst of the circle, one kRîShNa is lying on the l ap of his mother
YaSOda. The fact that kRîShNa lying on the lap of his mother is only
the truth. Dancing between the gOpikAs and every thing is all a myth.
All the gOpikAs are desirous of having kRîShNa on their both sides;
and they are experiencing the same impression according to their
wishes "purastat pArSwayOh pRîShTE namas kuryAd uparyadhah" The
gOpikAs were imagining in their minds, if kRîShNa comes to them and
do some naughty deeds, instantly, they all experience such
impressions like kRîShNa as if eating away their butter and curds,
breaking their pots of milk by thrusting stones etc. They were
thinking what if kRîShNa comes to them, stealing their cloths; ask
them all to stand naked before him with raised hands. They were all
enjoying with their imaginations and experiencing the physical
kRîShNa`s presence also because they were endowed with such a boon
in rAma avatAra. In fact kRîShNa has no connection with all those
incidents at all. In my opinion, there was no person with the name of
"rAdha" at all, and that is why, vyAsa BhagavAn did not mention that
name in the mahA BhAgavatam. The name rAdhA is in fact is the
personification of
the entire women kind in the vraja BhUmi. Not only that, but the
whole of the living and nonliving beings not o nly of the vraja BhUmi
but the total world populace too. We should not try to find any
partition between kRîShNa and rAdha, They are not two separate
individuals. They look like two different personalities, but they are
in fact a single unit. Two bindus ( visarga) have emerged from the
single "kAmAKya" bindu "m~"(Brahman) for the purpose of making a new
creation of universe. That visarga was heard like "ah". This division
into two is "kalA". Those two bindus did not come out side of the
bindu, but are remaining embedded inside the nAdA "m~" itself.
Counting upon all the three bindus we hear it as "aham~", and its
name is the "kAmakaLA". All the three bindus, 'kAma'bindu and the
dual bindu 'kalA' are all existing in the very 'aham' only. This dual
bindu, which is an inseparable unit, is in fact the symbol of puruSha
and prakRîti of which one bindu was named as kRîShNa and the other
as rAdhA. Here is a yOgic secret in the birth of rAdhA and kRîShNA,
which can be useful as an instructor and guide for us while doing
japa of any mantra. Four types of meditation were mentioned in the
tantra granthas. They are all secretly arranged in our routine life
connecting with some "parva dinAs" (holy days) and purAnic tales and
also by installing idols of deities with diff erent and different
names. They are – 1. "pUrNima" the full moon day. It contains all the
fifteen kalAs in it. So it is signified with widely opened eyes. This
is also depicted with the picture of "gangA avataraNam". The posture
of Siva with raised head and widely opened eyes. This is said to be
the "sRîShti kramam"of any mantra. This posture is formed by the
nAda "aaa" of the compound symbal "Om". Our forefathers have
installed the idol of 'madhura meenAkSi' to serve this purpose. It is
said that all the sahasra nAmAs should be recited with this nAdA and
posture only, because they are all written in the sRîShti order. 2.
"amAvAsya" the new moon day is a tithi which is empty of all kalAs,
was
named as "anadhyayanam". On that day, no one should recite vEda
mantras because it is considered as "SUnya tithi". If we fully close
our eyes, it will become 'amAvAsya', but closing eyes slightly
remaining to close is considered as kRîShNa caturdaSi and it can be
acceptable for us to adopt it for the samhara kramam of any mantra,
so we have prefered kRîShNa caturdaSi as the parva dinam. This
posture was depicted by the picture of Siva immersed in deep tapas
after the demise of sati dEvi. This was formed by the nAda of "m~" of
"Om". SrISaila BhramarAmba was installed o nly to remind us this
message. All the 'triSati nAmAs' which were told in samhAra kramam
should be recited in this nAdA and posture. .3. In between these two
(pUrNima and amAvAsys) there is 'aShtami tithi, One in the Sukla
pakSha and the other is in kRîShNa pakSha. Both are depicted as half
closed eyes, but in Sukla pakSha, it is half closed while raising the
lids and in kRîShNa pakSha it is while drooping the eye lids. This
is "sthiti kramam" and indicated by the middle alphabet of Om, the
"U".kAra nAdA. kAmAkshi of kanci is a reminder for this posture. All
the ashtottara Sata nAmAs should be recited in this nAdA only. This
sthiti karma declares that the god is inside of us as pratyagAtma and
also outside in front of us on the idol we are worshipping with
flowers and naivEdya offerings. If kRîShNa has born on the aShtami
night of the dark fortnight of the SrAvaNa month in samhAra krama,
our mother rAdhA has manifested herself on the aStami day of the
BhAdrapada month in sRÎShti karma. If kRîShNa can be compared with
Siva, who only remains after the total dissolution, and she is
comparable with brahma, who is the only remaining one to start
creation. Both are one ande the same. (Here we have to notice one
thing that aShtami is considered as "kaSta tithi", and both the
SrAvaNa and BhAdrapada months are the hardest months in whole of the
year. This rainy season is an indication for sorrow and ignorance.
Both SrIkRîShNa and rAdha have manifested themselves only to repel
such
hardships of the human kind. The conjunction of these samhAra and
sRîShti kramas reminds us the Siva Sakti sAmarasya. This is creating
a new dimension of "sthiti kramam", while SrIkRîShNa is coming down
from the candra mandala with white silvery rays, the mother is
uprising with golden hue. When both of these two apparently met
together in the mid way, there itself formulated an artificial sUrya
manDalam.and that otherwise called as the delusory world of
plurality. This beautiful scenery was described in the SrIsUktam as
"suvarNa rajata srajAm", which means that it appears like the matted
chains of gold and silver. We should not try to find out any
partition between kRîShNa and rAdhA. They are not two separate
individuals. They look like two, but they are in fact a single unit.
Two bindus (visarga) have emerged from the single lone "kAmAKya bindu
(Brahman) for the purpose of creating the new universe. That pair of
bindus were heard as "ah". Its name is visarga, which means the
creation. But these two bindus did not come outside of the
'Adyabindu', but remaining embedded inside the nAdA "m~" itself.
Counting upon all the three bindus we hear it as "aham" and its name
is "kAmakalA". All the three bindus (kAma bindu and the dual "kalA
bindu" are all existing in the "aham" only. This dual bind u which is
an inseparable unit is in fact the symbol of puruSha and prakriti,
among which, one bindu was named as kRîShNa and the other rAdha. We
can not distinguish which bindu is kRîShNa and which is rAdhA. They
will be intermingling with each other like an electron in an atom.
This unit is called the "sandhyA", for which we were asked to pay
oblations every day. This is the persona of the "nRîsimhAvatAra"
which killed the demonical hiraNyakaSipu and protected prahlAda. This
is the coordinated combination of SrIkRîShNa as guru and arjuna as
disciple which has inaugurated the wisdom of BhagavadgIta. This is
the philosophy of both dwaita and advita which is the essence of all
vEdAs and vEdA~ngAs. This is the theory of prANAyAma to mix both the
ida and pin~gala to generate the suShumna and many more of the yOgic
methods too.
Please excuse me if I have exceeded any limits. BhavadIya Krishnarao
(SrIparasuKAnandanAtha) -- Krishnarao Lanka Tags --- dEvI BhAgavatam,
SrIrAmA,anuBhUti,yOga,aShtami,bindu traya,sandhya,guru and SiShya
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Who is neela devi ?
From:- lanka.krishnarao@gmail.com (SrIparasuKAnandanAtha) Subject :-
Who is nILAdEvi. Who is nILA dEvi ? Priya mahASayAh, I wish to share
my own understandings and views about the esoteric meaning of
nILAdEvi with you all in this group. I may be pardoned if I am
exceeding any limits or wrongly interpreting any thing from the text.
SrInIlAdEvi is said be one among the three wives of Sri vEnkatESwara,
the other two are SrIdEvi and BhUdEvi. The vEda addressed her as
"Bhuvanasya patni". It also praised her as the one who is supporting
the heavens and holding the earth, from falling them downwards.
"viShtamBhO diva dharuNah". In the tAntric SrIvidya she is called as
"niila saraswati", a different form of `mahAkAli'. If the word `SrI'
is indicative of the heavens (the world of all gods with all its
wealth and pleasures), is significant of the first part of the above
word "niila", and the second part `BhU' indicates the abode of all
our ancestors (pitRû dEvatas) from whom we all have acquired all the
knowledge whatever we now possess. That knowledge indicates
"saraswati". Because it is acting like a conjunctive force between
the heaven and the earth, connecting both `niila'and `saraswati', the
fellow-mate of these two was named as "niila saraswati". This force
is a kind of vacuity formed in the empty vacant space (AkASE
avakASam), which facilitated the paramAtma to palpate his first throb
as "ah" (Adyaspandam), from which all the five elements were
manifested in a group and that in its turn, became the universe. By
the jerk of movement created by the throb of paramAtma, this vacant
space itself transformed as the air named "m AtariSwa". This principal
air along with its subordinates "prANa", "apAna", "vyAna", "udAna"
and "samAna" vAyus and also their subordinates called "nAga",
"kUrma", "kRîkara", "dEvadatta" and "dhananjaya" are maintaining all
the living beings with their six activities, "asti" remaining in the
biija BhAva, "jAyati" prakAsa BhAva, "vardhati"AmarSana BhAva,
"vipariNamati", pariNAma BhAva, "apakSIyati" kShaya BhAva, and
"naSyati" samhAra BhAva. By all this, we can come to the conclusion
that the sole cause for all the activities of the universe is this
vacant space. By saying "dR^k diSam", she has no directions of the
compass like east, south, west, north etc., because she has occupied
all the
edges of all directions. She has no divisions of time also, because
there is no device or machinate like 'the sun' outside of her. She
herself is the sovereign regulator of time even for this sun and
solar system. She is the `kAla". She is the "kAla sarpa" upon which
SrimahAviSNu is reclining. SrImahAviShNu is lying upon this `kAla
sarpa' which is called as "Adi sESha", the remainder at the beginning
itself. We generally calculate any remainder after subtracting any
sum. It reminds the story of three daughters -in-law of a lady. One
was asked to arrange tables and plates for the guests` dinner, the
second one to serve the preparations and the third one was given the
charge of removing the plates and cleaning the table. They all have
accomplished their duties accordingly. But how? The first one
arranged the table and plates. Immediately the second one served all
the food items in the plates and the third one instantly removed all
the plates and cleaned the tables even before any one come to take
meals. In the same way one god is creating the universe and another
god is dissolving it at one and the same time. In between these
creations and dissolutions there is one force saying loudly "I am
here, I am here" and "I am maintaining, I am maintaining" .That force
itself is called "Adi SESha". kAla sarpa. This is the kAla swarUpiNi
which is swallowing all the living beings, including brahma, viSNu
and the so called mRîtyunjaya mahESwara and wearing the long garland
of skulls of mahESwara. This mahA Sakti`s name is "MahA kALi" and
also "niila saraswati". The subordinates of this mahAdEv ata, the
"mAtariSwa vAyus" and their subordinate vAyus are actually acting
like the creators by creating new generations, and acting like
maintainers by providing nutrition to the living beings ("viSwasya cA
iShayantii"), and also acting like the destructing agents also making
all beings prey for mortification ("asyESAnA jagatO"). If "SrI" can
be called as "bindu" for all its objective visualizations, the earth
(saraswati) becomes `nAda" and our "niila saraswati" is occupying the
place of "kaLa". She is the sole cause to show the small single atom
into so many kinds of forms in different shapes and varieties. That
is why she is called "kaLa".
She is that third foot of `trivikrama' after he has occupied the
whole heven and earth (Sri and BhUh), which made the emperor `bali'
to surrender before `vAmana'. The other two feet are `SrI' and `Bhuh'
She is the `turiiya iimkAra swarUpa mahA mAyA' of SrImahA viShNu. She
is also called as "aditi" the mother of all deities in whose bosom
the whole universe exists. ."suBh Utih SivA nO astwaditir upasthE" the
vEdA says. Dear members, I hope I could convey my understanding
clearly to you all. I humbly solicit any suggestions and additions
upon these views. Yours in the service of the mother, Krishnarao
(SrIparasuKhAnandanAtha)
Tags --- Bhuvanasya patni,viShtamBhO diva dharuNah,niila
saraswati,kAla sarpa,bindu nAda kalA,foot of trivikrama
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The marriage of Siva and Sakti From :- krishnarao
(SrIparasuKAnandanAtha) Subject :- The marriage of Siva and Sakti.
The marriage of Siva and Sakti priya mahASayAh,
Siva, at that time, when he was resting in his own self, he was
absolutely `nirguna' (devoid of guNas). He is said to be alone
(kEvalah), and none else were there other than him. But the `Sakti',
also should have been there along with him, because she is the sole
cause for his desire and wish to create the universe. "sO~kAmayata,
bahusyAm prajA yEyuh". She is his wife and ever inseparable from him,
She is with him in his soul and self. But in contrary to him, she is
the embodiment of all the three guNAs `sattwa', `rajas' and `tamas'.
Then how did she become his wife? The vEda mAta herself is projecting
its doubts. "When did their marriage occur?", " Who were there to
witness that marriage?", and "Where from she actually came?" "yan
manyur jAyAm Ava ith sankalpasya gRîhAd adhi ka Asan janyAh kE varAh
ka u jyEShTavarO~Bhavat ||" (atharvaNa vEda 11 kAnda 10 sUkta 1 Rîk)
Meaning of this mantra reads as – `yat' = when `manyuh' = manyatE iti
manyuh = the omniscient, all knowing, who is without any obscurations
(enclosers) ie., parama Siva `jAyAm Avahat' = jAyatE asyAm sarvam =
sarvam jagat iti jAyA = the whole of the universe takes birth in her.
So jAyA means the mAyA Sakti (paramESwari) who is in the form of the
inclination to create the universe, `tAm' = her, àBhimuKyam
prApayat' = it means that he has accepted her to be his consort. Now,
some one has to fetch the bride from his father -in- law's house. So
it says "sankalpasya gRîhAt".= from the house of volition (wish) The
god's first volition is "sO~kAmayata bahusyAm prajAyEya" "tasya
gR^hAt = from his house (the first volition of god); (adhi = from)
(He fetched her from that house. That is why all this critical
circumstance of procreation has encountered).
It is common that the relatives of both the bride and bridegroom
together will jointly perform the marriage. But at that time there
was none else other than the paramaSiva existing. Then how could that
marriage effectuated? The vEda is questioning "ka Asan janyAh"
`janyAh' = "jani = sambandhinah = Who are the relatives of the bride?
"kE varAh" = Who are the approvers (selectors) of the bride? "tasmin
kAlE = at that time "jyEShTa varah kO nAma" = What is the name of the
chief priest? …………………………………………………………………………… This spiritual quiz is so
puzzling, that except a very few, nobody could solve this problem.
Therefore, the vEdamAtA is kind enough to reveal the answer in the
very next Rîk, for those who have lesser understanding,.
"tapascaivAstAm karmacAntar mahArNavE ta u vAsan janyAstE varAh
brahma jyEShTavarO~Bhavat" This Rîk reads as, 1. "tapah" = penance.
"yas sarvaj~nah sarvavit yasya j~nAnamayam tapah" = The all knowing
and all-understanding almighty's penance is consistent of knowledge
and spiritual. The visualization of his thought process about the
prospective creation of the universe itself is his `tapas'. 2. "karma
ca" = The fructified effects of the sacred and evil deeds of the
living beings of his past creation. "Eva" = these two only "antar
mahati arNavE = The god paramaSiva who is all pervading, spread all
over like a vast, agitated, endlessly extensive ocean. The above two
are situated in him only. "ta Asan janyAh = Those two, `tapas' and
`karmas' stood like his elder relatives. They are the selectors/
approvers of the bride. The brahma who was the sole cause for the
creation has become the chief purohit to bring the bride `mAyA' and
to be the supreme elder. The marriage of Siva with Sakti (mAyA) was
performed in this way.
The above two Rîks are suggesting us that persistent meditation upon
the mantra initiated by the guru and also the `janmAntara sukRîta'
(the benefic results of ones own `samskArAs) both should be there to
achieve "siddhi". Krishnarao (SrIparasuKAnandanAtha)
Tags --- nirguNa and kEvala Siva,relatives,priest,meditation and
sukrita
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The secret of all secrets
From :-- krishnarao {SrIparasuKAnandanAtha} Subject :- The secret of
all secrets The secret of all secrets I *ke y-out the essence of my
own self, the secret of all the secrets, He who knoweth this, knoweth
the secret of Brahman, The stand point from where all the *negation
commenced, From where originated the *cause, effect and the actor, I
knoweth this all by myself after an *adept grueling, Passing through
series of numerous *divinity, Journeying to the interior *door of all
the worlds, Where only the prime of all truths exist, as *oneness and
all-ness, Where all the *trilateral trinity set forth, Reflecting out
from same prism of "I" in *tricolor, Where birth, life and death
intermixed all in one, Where the *principle nature is still in the
embrace of *pratyagatma, Where the sun, moon and fire all formed from
same *incessant effulgence,
Where all the `*guNAs' emerge out from the source of all guNAs ever
known, Where I formed formless of myself, the supreme necessity of
all, Where I am the `*this', an iota of atom, with pseudo -infinite
*radiation, With ever shifting *scene spread around, I traced out the
essence of my own self. Brief === Key-out = discover Negation =
niShEdha kriya, nEti nEti Cause, effect and actor = kAraNa, kriya and
karta Adept grueling = intensive sAdhana Divinity = taking births as
33 crores of dEvatas Door of all the worlds = "lOkasya dwAram =
brahma-randha bindu cakra Oneness and all-ness = samaShti, mahat
Trilateral trinity = triputi, triplicity of the world Tricolor =
ajAmEkAm lOhita Sukla kRîshNAm Birth, life and death = sRîShti,
sthiti and laya Principle nature = mUla prakRîti Pratyagatma = the
paramatma turned in opposite direction Incessant effulgence = endless
and uninterrupted light guNAs = sattwa, rajas and tamas this = idam
aham radiation = vyapti scene = jada prakRîti krishnarao
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A spectacular SlOka
From: -- krishnarao (SrIparasuKAnandanAtha)
lanka.krishnarao@gmail.com
Subject: --- A Spectacular SlOka A Spectacular SlOka "nALIkAsanam
ISwarasya SiKariNAm, tat kandharOtthAyinah, gandhrvAh punar Etad
adhwa caritE, cakrE tad uddhArakah, patrI tat prabhu vairiNAm
parivRûDO, jIvA ca yasya aBhavat, jIvAnte vasatam, ripu kShaya
vidhau, dEvAya tasmai namah ||" Please observe how twistingly this
SlOka is narrated --- ripuh = the enemies of jIvasya antEvasatAm =
the disciples of bRîhaspati, the guru of all the dEvatAs kShaya
vidhau = in the task of wiping out the rAkShasAs like tripurAsura
etc., yasya = for whom SiKariNAm ISwarah = the lord of all mountains,
the mEru paravatam nALIkAsanam = has become the bow, (the weapon for
shooting arrows) (this is in referring with the paramESwara)
nAlIkAsanam = the lotus seated brahma tat, kandharOtthAyinah = from
whose lingua all the vEdAs set forth yasya = for whom gandharvAh
aBhavan = assumed as horses (Now the same word "nALikAsana" is meant
in relation with `brahma', the creator) Punah = again E tat adhwa
caritE = E tat = gandharvAs i.e., dEvatAs Adhwa = of their (dEvatAs)
passage i.e., yonder skies caritE = journeyers of those yonder skies
(i.e., The sun and the moon) yasya = for whom cakrE = become the two
wheels of his chariot ( Here the word "gandharva" is used in dual
meanings, one as horses
and another as `gandharvAs a particular sect of dEvatAs) tad
uddhArakah = who is holding the cakra i.e., sudarSana cakra (viShNu)
yasya = for whom patrI = became the arrow ( again the duel meanings
of the word "patri", one as the àrrow' and the other as the `wheel'
of the chariot. Another meaning of this word indicates the "bird").
Here the word "chakra" denotes as the sudarSana cakra and also the
wheel of the chariot. tat praBhu vairiNAm parivRîDhah = tat=tEShAm,
patriNAm=for those birds, tat praBhOh = the lord of all birds i.e.,
`garutmAn' vairiNAm parivRîDhah = GarutmAn`s enemies are the snakes.
Their lord is "vAsuki". yasya = for whom aBhavat = has he become jIvA
= string of the bow (Here the word "jIvA" indicates both the meanings
as "bRîhaspati" and also as the "string" of the bow.) tasmai dEvAya
namah = obeisance to that supreme being, the god krishnarao
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about SrIcakrAs
From :- Lanka Krishnarao (lanka.krishnarao@gmail.com} Subject :-
About SrI yantrAs SrIguruh sarvakAraNBhUtA Saktih |
SrI mahA gaNAdhipatayE namah || priya mahASayAh, The foll owing verse
is the 15th one in the "sowndarya lahari" composed by SrI Adi
SankarAcArya. "Sarat jyOtsnASuddAm SaSiyuta jatAjUta makuTam Vara
trAsa trANa sPatika GatikA pustaka karAm | SakRînnatwA kathamiva
satAm sannidadhatE madhu kSIra drAkShA madhurima d hurINAh PhNitayah
||" Unless one has ever prostrated before you, who is lustrously
glowing like the autumnal moonlight, having lunar crescent upon the
crown over the dressed hair, and wearing a crystal rosary, varada
mudra, aBhaya mudra and the book in all the four hands, how anyone
could dole out poetry elegant like honey, milk and the sap of grapes?
! This is the commonly understood meaning of the above verse. But for
a person with an intense desire to achieve the eternal emancipation,
can this be an advice given by the jagadguru? Has he to go to the
court of a king or any others to please them and earn money and fame?
In my opinion, there should be some esoteric meaning also behind this
superficially understood meaning. Let us search for it. The above
Sloka appears to be indicative of "Saraswati", who is the goddess of
speech {vak devata). But the book "sowndarya lahari" was intended in
praise of "LalitA mahA tripurasundari". Is Sarasawati and Lalita are
one and same? Yes, it must be so. "rUpairanEkair bah uhudhAtma mUrtim,
kritwAmbikE tat prakarOti kAnyA" Just as all the thee crores of
devatAs are only the extensions of LalitAdevi who is "sarvAnatItya
lalati", this saraswati also is just an extension from her. In the
Lalita sahasranAma, the devi was praised with the names as "brAhmI",
"vAgadhIswarI", "vAgvAdinI", "mAtRîkA varNarUpiNI",
"SAntyatItakalAtmikA" and also as "saraswatI". So it is evident that
both are one and the same. This paradEvata, lalitA
mahAtripurasundari, has got thee varieties of configuration,
"sthUla", "sUkShma" and "kAraNa" forms. The `SthUla dEha' is
described as "caturBhujE candrakalAvatamsE kucOnnatE kunkuma rAga
SONE-----"etc., The second one `sUkShma dEha' is "pancadaSi mantra
akSharAs" and the third
one `kAraNadEha' is "tEjOrUpam" or `jnAna rUpam' (sOham or sAham
jnAnam) "stree rUpam vA smarEd dEvIm, pum rUpam vA smarEd athavA
niShkalam dhyAyEt" In fact, the god, whatever name he/she has, will
not have any body or form. But every god has got innumerable forms.
Every one is having its own effigy. Lord Siva is symbolized in a
Linga form. viShnu in sAligramam, In the same way this lalitA mahA
Tripura sundari or rAjarAjESwarI parA BhattArikA also is having an
effigy in the name of a "SrIcakra". For any yOgi who is capable of
subsiding all the external earthly visualizations and introspectively
ponder over the ten chakras in his own body may not be in need of any
SrIcakra, but it would be a proclaimed obligation for him to protect
the sacred SrIcahkra entrusted to him by his gurunAtha, ju st like a
housewife keeps the `mangal sUtra' fastened by her husband at the
time of marriage. Just as any image (of any god) could be seen in
three forms as a painting upon a paper, a half protruded front side
image with flat back side and a full-fledged statue, fully carved
both front and back sides. The first one is called `BhUprastAra, the
second one is "kUrma prastAra" and the third one is "mEru prastAra"
Just as any other god is having innumerable forms and also
innumerable effigies in the form of different yantras, our lalitA
mahA Tripura sundari also is having innumerable forms of effigies in
the names of different SrIyantras. A yantra is a kind of language to
understand the details of any particular thing. Language of
recognizing other`s expression will be in four ways. One is
alphabetical (writing in letters), another is numerical (writing a
digit instead of writing many letters), another one is gestural
(showing signs with hands like come, go etc.,)and the other one is
symbolic (marking lines, curved and strait, to show the direction of
a route, or any instruction as, that there is a railway line ahead or
there is a school or a playground nearby). These yantras also will
come under the fourth category i e., symbolic of directing the way to
reach that particular deity or god. It all describes how one has come
out from his own abode dragged in to the `jiiva' state by the
influence of `mAya'. The SrIcakras are innumerable in number, but
mostly considered are, in ten types. They are categorized so,
according to their lines and cones. They are
1.Bhadra cakram 2. vRîddhi cakram 3. mahA cakram 4. SrIkaram cakram
5. SuBha cakram 6. kAmikam cakram 7. mOhakam cakram 8. Vyjayantam
cakram 9. Jayantam cakram and. 10.nandanam cakram. Among these ten
cakras, Bhadra cakram is the safest one and can be worshiped by every
one. This cakra is otherwise called "BhUprastAra", which consists of
only lines drawn upon a flat surface. `kUrma prastAra' means the
cakra having a tortoise like appearance with a flat base upto the
three avaraNAs and the rest upon a dome like elevation upon the base.
If that surface is drawn by curved lines it is called "vRîddhi
cakra" and the same thing, if the surface is carved with cones
instead of the lines, it is called "mahA cakra". Both of these cakras
are two types of `kUrmaprastha cakrAs'. This `kUrmaprasth cakra' is
also called as "kailAsaprastha cakra" This cakra should be kept in
the houses of "gRîhasthIs, worshipped regularly only according to
the scriptures. The chakra, carved in cones with all the AvaraNAs one
step upon another, from `BhUpura' to `bindu cakra', is called "mEru
prastAra". It is highly essential that it should be worshipped only
by the `pUrNa dIkShita' sAdhakAs only, in accordance with the mantrAs
mentioned by the Agama SAstra. That pUrNadiikShita upAsaka only is
eligible to worship this `mEruprastAra cakra'with all the regular
services of obeisance according to samayAcAra only. It is mentioned
in the SrIvidyArNava tantra that mEruprastAra is nityA tAdAtmaka and
the kailAsa/kUrma prastAra is mAtRîkA tAdAtmya, and the BhUprastAra
is vaSinyAtmaka. Also, it says "mEru cakrEtu samhAra krama pUjA na
vidyatE, sRîShtikramENa dEvESi pUjanIyam prayatnatah ||" For this,
SrI lolla lakShmIdhara clarifies that samhArakrama pUja means
vAmAcAra method and the sRîShtikrama is samayAcAra tradition. It was
also said, "samhAra pUjA kailAsa prastArE2tra vidhIyatE BhUprastArE
mahESAni sthiti pUjA sadOttamA || sthitikramO gRîhastasya samhAro
vaninO yatEh brahmacAriNa utpattih striyah sUdrasya cEShtatah||"
Almost all the SAstrAs are loudly saying that if any one performs
vAmAcAra pUjA with mEru cakra, it destroys all gratifications both in
this and in other worlds too. The descriptions of all the other
SricakrAs are available in so many tantra texts.
To arrive at this criterion of attaining untainted mind and heart is
most important for worshipping SrIcakra, this verse of soundarya
lahari ordains as "Sarat jyOtsnA suddhAm". In saying "SaSiyuta
jaTAjUTa makuTAm" it indicates the `candra manDala vikAsam' The
central point (nucleus) in the `bindu cakra' is the `guru swarUpa
sOma manDalam'. Determination to implement the instructions of ones
own gurunAtha itself is the "jatAkalpam" ` in saying "vara trAsa
trANa sphatika ghatikA pustaka karAm" it indi cates as, "varam" means
the boon in the form of mantra pramAta, acquired by the parampara.
"trAsa trANa" means – devoid of all the fears, I e., `mRîtunjayam'.
Or "aham sphuraNAtmaka SivO2ham BhAvam" "sphatika GatikA" indicates
an unsoiled bowl, I.e., "Siva Sakthi sAmarasyAnandAmRîta sEvanam"
achieved after relentless `japa sAdhana' "pustaka karAm" indicates
persuasion in accordance with the teachings of `vEda mArga'. Having
all these four affluences, (one should have) "sakRînnatwA"
prostrated flat before her even once. Or else, "madhu kSiira drAkShA
madhurima dhurINAh phaNitayah" In saying this, it indicates that,
`madhu' means honey, the thing obtained from some creatures (bees),
after gathering it from so many places and preserved at a safe place.
This indicates the SrIcakra arcana performed by the ùttamAdhikAri
pUrNa dikShita upAsakAs, who have attained the mantra, tantra and
yantra siddhi as endowed by the pAramparika AgamAs "Sirah sthita
gurOr daharasthA nAda vidyAyA parAvasAyi citkalArUpa
dEvyAtmanaScAdwaita BhAna sama kAlam sakalEndriyair viShayAn
BhunjAnas tajjanyAnanda dhArAmAtra viShayaka nirvikalpaka j~nAnaika
sAratayEtara niKila viShaya pramOShENa kancitkAlamavsthAnam"
Including this type of introvert `parA pUjA', along with the
extrovert àparA pUjA' simultaneously performing in the exterior
SrIcakra implanting flowers etc., on its top, together with certain
and certain mantras in each of the "AvaraNA dEvatAs". It is possible
for none other than the "pUIrNAhamBhAva BhAvitAs" only. The `kShiira"
is the milk extracted from the cow, potable to drink. This is also
obtained with some effort. This is to be performed upon a `kUrma
cakra' by `madhyamAdhikAri upAsakAs in
accordance with the guidelines of Sriguru, doing àntaryajana' and
`bAhya yajana' simultaneously, doing `Shat cakra anusandhAna rUpa
navAvaraNa ShODaSOpacAra pUja' with a difference of `nitya and
naimittika anuShTAna', as said "parAparasya bAhyasya cidvyOmni
vilayah smRîtah" "drAkSha" is simply taken from the plant and easily
eatable. ShODaSOpacAra pUja performed upon the BhUprastAra SrIcakra
by any one with `kavaca, stOtra, nAma' etc., "PaNitayah" means,
Unless one is performing Sricakraarcana in this way, in different
ways "kathamiva satAm sannidadhatE" how anything is not possible for
those "madhurima dhuriiNAh" who attain the efficiency of making
àmRîta utpAdanam' krishnarao
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kirItam vyrincam parihara
KirItam vyrincam parihara …… From :-lanka.krishnarao@gmail.com
SrIguruh sarvakAraNaBhUtA Saktih | SrImahAgaNAdhipatayEnamah ||
"kiriitam vyrincam parihara purah kaitaBhaBhidah kaThOrE kOTIrE
sKalasi jahi jamBhAri makutam | praNamrEtEShvEShu prasaBha mupayA
tasya Bhavanam BhavasyABhyutthAnE tava parijanOktir vijayatE ||" This
is the 29th SlOkA in the soundaryalahari of SrI AdiSankarAcArya.
Commonly understood meaning of it is, "O mother, when your husband
`Bhava' is approaching thy abode all the attendants of yours are
perturbed in order to alert you, while you rise in haste to receive
him, they utter --- "Skip over the crown of brahma, who is lying
prostrated before you. Skirt the hard coronet of the flat lying
`viShNu' also, without stumbling. You have to safely pass over the
diadem of the crouching ìndra' too, which may hurt your foot in your
swiftness. For this, I found another meaning also, which I wish to
share with all our members too. "BhavasyABhyutthAnE" means creation
of the universe. That is the fulfillment of the core wish of
parabrahma `Siva'. While the aspirations of the `jIva' is, to achieve
`kaivalya' of the `kailAsa', the completion of paramESwara`s wish
would be to build up the universe, extending himself to the ends of
the "pRîthvI tattwa". When the Siva tattwa shrinks, the creation of
the universe will come into existence and when the same expands, it
returns to become dissolved and merged in the same `Siva tattwa'. It
is the nature`s law to make both of these simultaneous actions one
after another alternatively. The condition of expansion in the `Siva
tattwa' which is `samhAra rUpa' (dissolution), is termed as "Urdhwa
kunDalini"; and the condition of contraction in the `Siva tattwa'
which is `sRîShti rUpa' is termed as "adhah kunDalini". While doing
`japa', it is customary that we should raise our kuNDalini towards
the `brahmarandhra', leaving out all the 36 tattwAs behind, one after
another. After reaching the destination, it will sneak down, in the
form of nectarous flow, into all of the seventy two thousand
pulsations (nADI manDala) of the body. The `prANa Sakti' which flows
through ìdA' and `pingala' nADIs in the form of "utChwAsa" and
"praSSwAsa"'. and enters in to the three subtle
layers, confined in the `suShumnA nADi as an àntarvAhini' (obscured
stream). The names of these three layers are – 1. "vajriNi" which is
stretched as the outer layer, 2. "citriNi" which is positioned as the
middle layer and the 3.the inner most is "brahmanADI", also it is
called as "mUrdhanya nADi". The goal of the sAdhaka would be to
extend the `prANa' up to this `mUrdhanya nADI' only. In the
`rudrayAmala tantra' there is an elaborate description about these
nADIs. pRîShTadESE mahAdanDE mErumUlE mahApraBhE, mUlAdi
brahmarandhrAdhah sadAsthirUpa dhArakah, kanakAcala nAmnA ca
pratiBhAti jagattrayE|| tanmadhyE muni swarUpA ca manas caitanya
kAriNI, tanmadhyE BhAti vajrAKyA Gora pAtakanASinI, siddhidA BhAva
vij~nAnam mOkShadA kularUpiNAm || TanmadhyE citrine dEvI dEvatA
prItivardhinI, hitaiShiNI mahA mAyA kAla jAla vinASinI || sA pAti
sakalAn cakrAn padmarUpadharAn parAn, trailOkya manDalagatAn
sAkShAdamRîta vigrahAn || swayam dadhAra sA dEvI citrAKyA
cArutEjasI, citrine madhyadESE ca brahmanADI mahA praBhA||
sarvasiddhipradA nityA sA dEvI sakalA kalA, vyOmarUpA BhagavatI sarva
caitanya rUpinI || Eka rUpam parambrahma brahmAtItam jagattrayam ||
This was said in the order of expansion (vikAsakramam or
samhArakramam), whereas the soundaryalahari SlOkA is describing the
same in the order of contraction (sankOcakramam or sRîShtikramam).
While doing our mantra japa, we will have to adopt the samhAra kramam
only, in order to raise the kuiNDalini up to the bindu cakra. The
`nyAsakramam' for these three nADIs also was mentioned there itself
as, "talE pRîShTE UrdhwadESe SIrShE vakShasi nABhiShu, kanThakUpE
cakramadhyE brahmAnDam pAti sarvadA, SarIrAtmakam ISArtham trailOkyam
sa carAcaram ||
See the dhyAna SlOka mentioned for the "mAtRîka nyAsam" "AdhArE
linga nABhau hRîdaya sarasijE tAlumUlE lalAtE dwE padmE ShODaSadaLE
dwAdaSArthE catuSkE vAsAntE bAlamadhyE DaPakaTa sahitE AdiyuktE
swarANAm hamkSham tattwArthayuktam sakala daLagatam varNarUpam namAmi
||" The central idea of this SlOkA is that, the kuNDalinIrUpa
mAtRîkA saraswati is streaming through all the tattwAs namely the
Atmatattwa, vidyAtattwa and Sivatattwa, in this way in "gudasthAna,
linga, nABhi, hRîdayam, kanTham, lalATam, aShtAra and trikONa and
the sahasrArapadma which is called "the ShOdaSAnta". All these are in
the ascending order in the gross body (sthUladEha). Included with
Àj~nAcakra' and `viSuddhicakra' the catuShka which means, anAhata,
maNipura, swAdhiShTAna and mUlAdhAra cakrAs in descending order in
the subtle body (sUkShmadEha) And in the causal body (kAraNadEha), in
the mounting shift, again in the mUlAdhAra, swAdhiShTAna, maNipUra,
anAhata, viSuddha and Aj~nA cakrAs" "purascakrE dwipadah purascakrE
catuShpadah Purasca pakShI BhUtwA purah puruSha AviSEt ||" Human form
in the gross body, dharma form in the subtle body and in the causal
body in `garuDa form' which carries us to the brahmarandhra. Th e very
next, we will attain the "viShNupadam", our eternal abode.
"sakRîduccAritamAtrENa UrdhwamunnayatiityOmkArah" So defined praNava
too— it was said in the ùttara giita' that, "OmkAra dhwani nAdEna
vAyOssamharaNAntikam | nirAlambam samuddiSya yatra nAdO layamgatah
tad viShNOh paramam padam—" Ahead of the brahmanADi, `viShNupadam' is
attained and that is the emancipation (mOkSha). While doing
mantrajapa, the prANaSakti enters into the `suShumnA nADi' which
looks like the tiny passage of a lotus string, and rises upwards
towards the sahasrArapadma like a furious serpent. After
entering into it, it returns back from there along with the nectarous
flow of that place, to satiate all the 72 thousand nADIs of the body.
While descending from the sahasrAra it en ters first in the
brahmanADi. This brahmanADi was described as so soft and smooth like
the film of iceberg and that it belongs to the `candramanDalam'. It
gives the impression that this is the stage of `niShkalAtmaka
parabrahma' transforming towards the "sakalAtmaka form". Having its
`raSmipunja' downwards, this brahmanADi is so subtle that it is not
possible to recognize whether it is there or not. "SaktirUpA hi sA
dEvI sAkShAdamRîta vigrahA". This is the `samaShti swarUpa' of the
five Siva tattwAs, viz., Siva, Sakti, sadASiva, ISwara and
Suddhavidya. When Siva, in the beginning, aspired for "another one",
his own "iccha" (wish), which is his own `Sakti', manifested as
"aham". That itself when being introvert, became "sadASiva" and when
it became extrovert, it was called "ISwara". The samaShti j~nAna of
these two stages is called "Suddha vidyA". Although they all appear
as different, all are not different from the "cidEkarasa Suddha
samvinmAtra Siva tattwa" only. These five `Suddha tattwAs" related to
the causal body, are actually the `bindu' and `trikONa'. While the
Siva and the Sakti are one single entity in the bindu cakra, the
sadASiva, ISwara and Suddhavidya are manifesting as the `trikONa'.
"trikONE baindavam SliShtam". So all the five are "bindu" only.
Looking at this descending Siva swarUpa, it comes to our mind that
this is the divine "anugraha swarUpa". "kaEIlahrIm". While returning
from the sahasrArapadma after doing pradakShiNa around in the
`trikONa' for the `bindu cakra, this `sAraswata kUTa' first enters
into the `brahmanADi' with a humble request to remove the hurdles for
brahma (vEdamAtA) in delivering the dharma for the universe. This is
the essence of `gAyatrI mantra'. This is `smaraNarUpA' and
àdhyayanarUpA' and also `brahmavidyA rUpA' too. "kanyantE
prakASyantE SabdajAlAni" Exhibiting the universal creation by
expounding the magical flow of words. It is considered worthy to be
meditated by the `brAhmins' After satisfying the brahmanADi, the
kuNDalinI prANaSakti enters into the middle layer called `citriNi'.
This prANaSakti itself is the `candra manDalAmRîtam', but slightly
solidified and indurate by the
influence of the winds from the àgni manDalam'. "jyOtir vAyau
pratiShThitam". This citriNi nAdi is really a peculiar one. This
being the abstract form of the `mahA maya', exercising its power and
authority over all the `ShatcakrAs' (universe). This is the
collective form of the seven tattwas from "mAyA tattwa" to "puruSha
tattwa". Engulfed by the `mAyA', the `puruSha', capriciously came to
the conclusion that he was duty bound to accept the fetters of all
the five tattwas viz., "kalA", "vidyA", "rAga", "kAla" and "niyati".
He thought himself that he was enclosed by them as five jackets
(panca kancukAs). In fact all these five tattwAs and the `mAyA tattwa
are just imaginary and not any existent things, the purusha tattwa
with all these six tattwAs is the only single tattwa. "puruShassuKa
duhKAnAm BhOktRîtvE hEturuccyatE". The one who is in dilemma of
"ahamBhAvam idamBhAvam" is really the replica of and not at all
different from the `paramAtma' who has been deluded by the `mAyA',
aspiring for the experience of his wish "sO~kAmayata". This is the
form of "kAmarAja kUtA" (hasakahalahrIm). The two purushArthAs
àrtha' and `kamA' are amenable to the effort (kriya), hence it
becomes worthy to be worshipped by kShatriyAs. "hasakam" means, 1.
`tApa trayam' 2. riches of wealth and food 3. improvises the desire
for all kinds of corporeal pleasures. And also — "hasa" = enlighten
upon; "halAm" = understanding; "kam"= brahma (dharma) and, "hrIm"=
yearning for knowledge. So, we have to understand that this is
capable of affording pleasures of both the present and also for next
of the worlds. This `citriNi' is acting in both the ways in the form
of "citi" swarUpam, which substantiates the differential notion
(BhEda BhAvana), the nature of the àgni manDalam' and also in the
form of j`nAnarUpa "cEtanA swarUpam", that endows the non -
differential recognition (aBhEda BhAvana), because of the nature of
"candra mandalam" With upward rays of àgnimanDalam' and the downward
rays of `candra manDalam' mixed together in the form of the
"sudarSana cakra", inwards and outwards, it is acquiring the
administrative talents of SrImahAviShNu. It is viscous, as if to say
that it would be useful as an adhesive in strengthening the concept
of "agnIShOmAtmakam jagat'. It seems that only to indicate, that this
`citriNI nADi' should be
melted to flow down, the word "sKalasi" was inscribed in the SlOka.
We can well say that this `citriNi' is the `mAya', which exists
between `jiivatma' and `paramAtma'. This is the real form of the four
antahkaraNAs, by which the puruSha was immersed in the delusion of
samsAra. With all its upward rays, being extrovert, wrapping up as a
covering around the `citriNi is the "vajriNI nADi". This is the form
of "sahasrArciSha"(the fire), which emphasizes the concept of
perception of the universe. This is the collective form of the twenty
four tattwAs from "prakRîti" to "pRîthivi. `rajas tamascABhibhUya
sattwam Bhavati BhArata, rajas sattwam tamas caiva tamah sattwam
rajas tathA ||" What was said as "prakRîti" in the matching stage of
`guNA's, the same is called as "antahkaraNAs" in the clashing stage
of the guNAs. These àntahkaraNAs' are not at all different f rom the
`prakRîti' of the `puruSha' who is after all the collective form of
`bAhyakaraNAs' only. Since there is no difference between the
`prakRîti' and `puruSha', we can substantiate that the `samaShti' of
all these tattwAs is the `puruSha' only. The `p rakRîti of `puruSha'
which wore the "antahkaraNa sahita panca kancukAs" itself has created
the `panca BhUtAtmaka dEha' which is the aggregate of `panca
tanmAtrAs', `panca j~nAnEndriyAs' and the `panca karmEndriyAs'; and
providing him the experience of viewing the existence of the
universe. The outer most cover like layer is named as "vajriNi". The
"sakalahrIm" of the "SaktikUta" indicates that this `vajriNi'
contains many "kaLAs" and proposing heterogeneity of the world. It
specifies that it consists of all the process of the four
àntahkaraNas', sixty four varieties of `kaLAs', and also the twenty
four kinds of tattwAs. By saying "tasmAd AdhAram ASrayEt", it
signifies that this "vajriNi" is the fundamental basis for all the
four "puruShArthAs" "jamBhO~mSE". `jamBham' means `diversity". Even
though it says, that this `nADi' is the sole proposer of all
diversification, when esteemed as `paradEvata', it hinders all the
activities of the "citta" and strips off all variegation and it
upholds the way for "Kaivalya" too.
"sEyam kriyAtmikA Saktih Sivasya paSuvartinI, bandhayitrI
swamArgasthA j`nAta siddhyupapAdikA ||" Soon after one acknowledges
the `kriyA Sakti' as `parA Sakti' and identifies himself with it, the
personage of "j`nAna Sakti", which is the form of the three kinds of
"antahkaraNa" and the form of "kriyA Sakti" which is called as "bAhya
karaNas" with the Sum total of the mind and the ten ìndriyAs' making
eleven, becoming the fourteen types of the jIva`s `kaLA rUpam'
itself, is the all pervading "dESa kAlAparicCinna
vyBhavAdhiShTHAtri", he will be able to realize that "viSwarUpa
prakRîti itself is the "SivakaLa". "parAparayOh SaktyOraBhEdah". In
fact, all the thirty six tattwAs from `pRithivi' to `Siva' are only
one tattwa and none of them is separate from any one. The indivisible
`Sakti' of `Siva' who is "cidAnandaGana" and "paramAkShara vigraha",
by its own will (iccha), hersef being the "jagannATaka sUtrdhAri",
manifests in the forms of "citi", "mAya" and "prakRîti" and creating
many forms of diverseness and exhibiting "swAtantrya mahima" of
`paramaSiva' "vartamAnAvaBhAsAnAm BhAvAnAmavaBhAsanam, antah
sthitavatAmEva GaTatE bahirAtmanA ||" What is there in the kailAsa of
brahmarandhra, that itself is situated and found in the "pRîthivi"
of `mUlAdhAra also "yasyAmantarviSwam Etad viBhAti bAhyaBhAvam
BhAsamAnam visRÎStau, kShObhE kShINE~nuttarAyAm sthitau tAm
vandEdEvIm swAtma samvittim EkAm ||" "sRîShti" which means that,
whose inside and out side, all this universe is delusively imaginable
in the "kShObha daSa", and when it contracts, who settles again in
the "anuttarAtmaka sthiti", I adore to that the ONE "aKanDa swAtma
samvitti (Atma j`nAna) rUpa paradEvata". So praises "aBhinavaguptA"
for this `jaganmAtA' only. Please excuse me if I have exceeded a ny
limits of sampradAya. krishnarao (SrIparasuKAnandanAtha)
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simhasanESwari
simhAsanESwari From :-lanka.krishnarao@gmail.com Subject :-

simhAsanESwri ernakulam venugopalan to me Om Nama Sivaya >Dear Mr.
Krishna Rao, >> I have a question or rather a doubt and you probably
can shed some light intelligently, hence this mail. >>In Srividya,
mother Lalita or Tripurasundari is supreme , parabhattarika. One of
the several epithets is Bindumandalavasini. Also She is
Sivaasivashakti aikyarupini meaning She and Siva are one. In many of
Adi Shankara's compositions on Madurai Meenakshi She is equated to
Lalitambika >>" srividyam sivavamabhaganilayam hreemkaramantrojwlam
shrichakrangitabindumadhyavasatim............
Meenakshim pranatosmisantatamaham karunyavaarmnidhim. >>According to
my understanding Meenakshi is Matangi,Shyamala or Mantrini and such
how can She be equated to the Simhasaneshwar i. May be Shankara was
seeing Godhood in an advaita aspect as everybody and everything has
that divine amsa. >>Please clear this doubt for me. Maybe it is
silly, but since L.S clearly says Geyachakrarathaarooda Mantrini
parisevita also Mantrini nyastha rajyadu. So I am wondering! >>Hope
evrything is fine with you. Many blessings. >Venugopal
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/ mAnya SrI vENugOpAl, Your confusion is nothing but that you are
looking at all these dEvatAs as different from you. Before entering
into SrIvidya, you have to remember your guru mantra which says that
your guru is "swarUpa nirUpaNa hEtuh". Who ever he introduces
(initiates) to you as dEvata, you have to understand, that dEvata is
none else but your own self. You would have taken births of so many
forms like so many dEvatAs, manuShyAs, rAkShasAs, piSAcAs, birds,
snakes, creatures, stone, hills, mountains, trees etc., and so many
of course. But we select only a few of them, to have the recollection
of memory of that life and know how great we are! "nAma smaraNam"
means, to recollect what we have forgotten (vismaraNam = to forget).
We recollect only the better side of our history and our greatness in
that birth because, we are aspiring to become divine. "mR îtyOr mA
amRîtam gamaya". Not like 'Kamsa' who recollected his rAkShasa janma
of his previous birth and acquired all the rAkShasa qualities. Coming
to your point, we always do 'pancAyatana puja, while doing pUjA for
any particular dEvata. It means that y ou should not perform pUjA for
any particular dEvata in a lone form, because that deity is not any
single individual, but the collective form of so many dEvatAs
(samaShti) only. Just like you can not find any particular thing as
"forest", but only the collection of so many trees.
When you perform pUja for 'Siva', the amba, viShnu, sUrya, gaNapati
etc., will become "anga dEvatAs". When you do it for 'amba', Siva and
others become 'anga devatAs. In the same way, when you meditate upon
mInAkShi, the lalita rAjarAjESwari and others will become 'anga
dEvatAs'. Then the "mInAkShi" will become "simhAsanESwari". Any way,
you could have understood by this time, that you, who is the
"SAMASHTI' of all the dEvatAs, is the real "simhAsanESwari". Not any
Lalita, rAjarAjESwari, Siva,viShNu or any one else. Of course all of
them are yourself. You are the "sarva dEvatA samaShti" and you
yourself is the real "simhAsanESwari" "rUpai ranEkaIr bahudhAtma
mUrtim kRîtwAmbikE tat prakarOti kAnyA" This is all the view of SrI
SankarAcArya. Yours always in the sevice of the mother, krishnarao.
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aShtAra cakra
From:- krishnarao (lanka.krishnarao@gmail.com) Subject :- AShtAra
cakra Sriguruh sarvakAraNaBhUtA Saktih | SrImahAgaNAdhipatayEnamah ||
"savitrIBhirvAcAm SaSimaNi SilABhanga ruciBhih vaSinyABhistwam saha
janani sancintayati yah |
sa kartA kAvyAnAm Bhavati mahatAm Bhangi ruciBhih vacOBhirvAgdEvI
vadana kamalAmOda madhuraih ||" This is the 17th Sloka in the
soundaryalahari of Sri AdiSankarAcArya. Generally understood literal
meaning of this is narrated by elders as --- O mother, he who
meditates upon the vAgdEvatAs along with you as having the luster of
precious moonstone pieces, will become the author of great poetry
similar to the sweet fragrance of the mother vagdEvi`s/saraswati`s
lotus mouth. For this, some doubts are arising in my mind. But after
some analysis and observation, I think I could find an answer for all
my doubts which I feel like sharing it with other members of our
group too. The àShtAra cakra' is also regarded as "navayOni cakra.
It will not be correct to say that in the formation of `SrIcakra',
firstly `bindu', then `trikONa' and afterwards the àShtAra cakra'
manifests. In the same way, it is not correct to arbitrate that all
the other remaining cakrAs too were created one after another. In
fact all the cakrAs have revealed themselves at the same time,
instantaneously according to our `sphOta vAda'. While drawing the
àShtAra cakra' itself, the `trikONa' and the `bindu' both
simultaneously manifested inside of this "navayOni cakra".
"saptavimSatAvayavEShu triBhistriBhir avayavai rEkaikA yOni stAsAm
kONatrayEShu punah punar bIja trayam nyasEt ||" So says tantrarAja
commentary. "baindavam cakram Etasya tri rUpatwam punar BhavEt |
dharmadharmau tadha~~tmAnO mAtRÎ mEyau tadhA pramA ||
navayOnyAtmakamidam cidAnanda Ganam mahat | cakram navAtmakam idam
navadhA Bhinna mantrakam || baindavAsana samrUDha samvartAnala
citkalam | ambikArUpamevEdm aShtAram swarAvRîtam ||"
The `bindu' itself by extending angularly, have transformed as
`trikONa'. Again after further extension, it created two more
triangles, to indicate one upwards as creation and another one
downwards as dissolution. So we have to say that `bindu' and
`trikOna' are interlinked and not at all different from the àShtAra
cakra'. puNyam, pApam, Atma, antarAtma, paramAtma, j`nAnAtma, mAtA
and mEym, all these eight items in the eight angle points and in the
middle `pramA' which means the knowledge obtained from the
experience, all of these put together itself is the "navayOnicakra".
All the other cakras will have the interconnected unification with
this `navayOni cakra' and this cakra will have the authority over all
the other cakrAs. "niruddha vAyu sanGatta sPurita grandhimUlatah |
hRîdayAntara samvitti SUnya puryaShTakAtmanA || bIjarUpa swara kalA
spRîShta vargAnusAratah | rahasya yOginIrdEvi samsAra daLanOjjwalE |
sarva rOgaharE cakram samsthita vIravanditE || vaSinyA raktavarNA
varadABhaya mudritAh | pustakam japamAlAm ca Bhukti siddhim mahESwari
| ISwarIm tripurAsiddhim pUjayEd bindu tarpaNaih || So says `nityA
ShODaSikArNva'. Nonexistant like so subtle form of the `samvit kalA'
which exists in the interior of `hR*tpadma' in the name of "rahas ya
yOgini" itself is called as "puryaShtakam'. So subtle it is. that it
is not accessible to any of the external senses, except for the
intellect. In fact, our own subtle body itself is this
`puryaShtakam'. This `navayOni cakra' having the predominance of
"SuddhavidyA tattwam" which was described as "ahantEdantayOr aikya
buddhih" The pair of bindu itself divided into nine cakrAs in the
name of "AdhAra navakam", in the nine forms as nine cakrESwaris.
"icchA sakti tritayam paSOh satwAdi sanj~ikam | mahA tryas ram
cintayAmi guru vaktrAdanuttarAt || aShtAra vyapadESO~yam
cinnirvANaiShaNAdikam | sUkSmam puryaShtakam dEvyA matir EShAhi
gouravI || antar daSAra vasudhA j~nAna karmEndriyANi ca |
mahA Tripura sundaryA iti sancintayAmyaham || bAhyO daSAra BhAgO~yam
buddhi karmAkSha gOcarah | caturdaSAra vasudhA karaNAAni caturdaSa ||
vasucchadana padmAnka dESO yascakragO viBhuh | avyaktAdyA prakRîtayO
BhUtAntA niScinomyaham || ShODaSacCada padmAnka dESO BhUtAkSha
mAnasam | vikArAtmakamApannam dEvyAh samBhAvayAmyaham || In the
`suBhagOdaya vAsana' it is described that this bindu is in the form
of the ìndriyAs' which all subsist in all the nine cakrAs. This is
an in-between state of subtle and causal body conditions. It means
that, it is a state of shifting to and from à BhEda swapna' and
àBEda suShupti'. From this site only, we always portray the obvious
illustration of the gross form of the `paradEvata', saying "hrIm,
SrIm, sauh". This is the centre for all imaginations. If meditated
upon this centre and imagine the `swarUpa' of SrImaha Tripura
sundari, what is the wonder, if any one becoming an author of sweet
and elegant literature? A murderer and dacoit `bOya' can become the
author of `rAmAyaNa mahA kAvyam and a foolish denizen also can become
like a kALidas. In yOginI hRîdayam, it says, "Madhya prapUjanAd dEvi
vAkpatir jAyatE narah tadhaivApara kandarpO bAhyamadhyAnta pUjanAt
||" "madhyaprapUjanam" means, pUja in the seventh, eighth and ninth
AvaraNAs. The meditation in the seventh AvaraNa means, meditation in
one`s own innermost mind (swAntarangam) which is in the form of
`puryaShtakam'. It is a kind of `dream state' pertaining to the
`jAgradAvastha'. "swapnAntE uccAvaca mIyamAnO rUpANi dEvah kurutE
bahUni". He is attaining the ability to imagine many number of forms.
"apara kandarpah" means retaining the brahmAham BhAvana while
performing the àparA pUja' (external services of worship).
"japAcchrAnrah punar dhyAyEt dhyAnAcchrAntah punarjapEt". Meditate
for some time upon the form and for some time immerse in your own
self. The tantra says that The eight `vagdEvatas (presiding deities
of speech), `vaSini', `kamESwari', `mOdini', `vimalA',
àruNA', `jayinI', `sarvESwarI' and `kauLini', who officiate in this
aShtAra cakra, are all blood colored ("vaSinyA rakta varNA"). But in
the above SlokA the acArya is asking us to meditate upon them as
white moonstone pieces. How could it be possible? -- For this,
bRîhadAraNyakopanishad has given the hint as follows. There are some
nADIs in the name of "hitA", which are very tiny tha t they are almost
one thousandth part of a human hairsbreadth, spread all over the
body. The food substances entered into these nADIs acquire several
varieties of colors, because of the relative gradation of the `vAta',
`pitta' and `SlEShma' dOShAs in accordance with the differences of
diet; and by the inclusion of `rasa upAdhis like `Sukla' etc. The
`linga SarIra' which consists of the five elements, five
j~nanEndriyAs, five karmEndriyAs, prANa and antahkaraNa as its
seventeen limbs , is absolutely pure and crystal like in nature. But
when it takes refuse with the `hitA nADIs' in the dream state,
instigated by one`s own right and wrong deeds, it shines in many
forms like women, elephants, chariots, horses etc., and experiences
like enjoying with ladies and looking some dreadful scenes. When
one`s mind is pure, calm and serene, Its experiences would be
pleasant and secure. That is why, when we look at the blood colored
`vaSini' and other deities of the seventh AvaraNa, in comprehension
with the bindu-trikONa rUpa paramAtma, the faculty of our àntaraga'
gets purified and those deities all will appear as having the luster
of precious moonstone pieces. In this way, having purified
àntaranga', by meditating upon the "paraSiva midhunam" which is
accompanied by the `vaSini' and other deities in the form of
moonstone crystals. mahatA Bhangi = pertaining to the uprising of the
mahat tattwa suBhagaih = with all the riches xAgdEvI = relating to
the vAgdEvatAs vadana kamala = aShtAra padmam AmOda madhuraih = with
the nectarous flow which will satiate the aShtAra cakra, sah = such
sAdhaka kAvyAnAm kartA = The creation of brahma itself is "kAvyam".
The idea behind is, that he will be able to become such "
"sRîStikarta" (He will become "sAkShAt parabrahma swarUpa" himself.)
Yours always in the service of the mother, krishnarao
(SrIparasuKAnandanAtha)
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taruNa taraNi
From :- krishnarao (lanka.krishnarao@gmail.com) Subject :- taruNa
taraNi "SrIguruh sarvakAraNaBhUtA Saktih | SrImahAgaNAdhipatayE namah
|| "taruNA taraNi" "tanucchAyABhistE taruNataraNi SrI dharaNiBhih
sarvAm urvIm aruNima nimagnAm smarati yah | Bhavantyasya trasyad
vanahariNa SAlIna nayanAh sahOrvaSyA vaSyAh katikati na gIrvANa
gaNikAh ||" This is the 18th SlOka in "soundarya lahari" of SrI
AdiSankarAcArya. Commonly understood meaning of this verse runs as
follows. "O Mother! When one meditates upon the grandeur of your
brilliant physical structure, which is bright red, like the rising
sun, in which the earth, heaven and whole of the universe is
immersed, all the celestial damsels like "UrvaSi" etc., are becoming
restless with passion and fervor having the eyes of a frightened
deer. Then what to say about ordinary womenfolk? Almost all of th e
commentators said that this is a mAdana prayOga and useful for
attracting the desired women. But is it proper to say that the AcArya
would ever have advised any of the persons to go after women folk in
the name of `kAma puruShArtha ?! Impossible. There m ust be some other
esoteric meaning behind it. In my view …. " yE sindUra parAga punja
pihitAm twat tEjasA dyAmimA murvIncApi vilIna yAvakarasa prastAra
magnAmiva | paSyanti kShaNamapyananya manasastEShAm ananga
- jwaraklAnta srasta kuranga SAvaka dRîSo vaSyA Bhavanti dhRîvam
||" mahAkavi kALidAs also says the same in the `laghu stavam', but
with a little clarification additionally as "ananya manasah". It
means that the red effulgence of paradEvata engulfing the whole
universe including the sky and earth is not different from our own
"swaswarUpam" "dEvI SrIlalitA j~nEyA jana vaSyE ca pATalA" Here we
have to take the sense that our body itself is a town (puram). and
all the ìndriyas' (sense organs) are its inhabitants. Then the
meaning of the above would be as, "to control our indriyAs we have to
meditate SrIlalitAdEvi as red coloured." There are two different
versions of this SlOka, one for the word "taruNa taraNi" making it as
"ataruNa taraNi" by the insertion of an àkArapraSlESha'. `taruNa
taraNi' means the midday sun and àtaruNa taraNi' means the morning
sun. For both the words it gives the same indication of "the suShumnA
nADi" of the `sUrya manDalam' (solarplexes). By saying "taruNataraNi
SrIdharaNiBhih", it gives the meaning of the `pITha BhUmi' (base) of
the the `kuNDalini'. If we take the other version as "SrIsaraNiBhih",
it indicates the "row of `ShatkamalAs' (`mUlAdhAra' etc., six divine
lotuses)". by saying "tE tanucChAyABhih", on the whole it is
illustrating the crowded mass of the brilliant effulgence of the
`kuNDalini'. That is amazingly "duShpradharSham and dushprEkShyam".
This red colour was described with a similitude by one poet as,
"taruNa taraNi kAnti vrAta samsarga rangat kamaladaLa nikAya
prAyakAma praBhOrmih | aBhinava ravi raSmi dyOtita prAcya BhUbhRît
Chikara lasadaSOka smEra puShpOpamAnah ||" When we perform `sammOhana
nyAsA" saying , "mUlavidyAm smRîtwA tatpraBhayA jagadaruNam
viBhAvya" and then while saying "mama SatrUnnigRîhNAmi" it was also
said that "sAdhyamapyaruNam viBhAvayEt". Yes! even the reprehensible
enemy should be looked at in red colour. The tempestuous emotional
disturbances in our internal senses, which are the real cause for all
the excitation of the "idantA rUpa" visualizations are actually our
enemies. That is why, "ahami praLayam kurvannidamah pratiyOginah |
parAkramaparO BhunktE swaBhAvam aSivApaham ||"
For those `viira puruShAs', who do aim at "pUrNAhambhAva", the
adaptation of "rajOguNam" for the devastation of the enemies who
create the differential distinct iveness of the external world is also
essential. The magnificent and attractive external impression in the
form of "idanta" in the dhyAnaSlOka of "bAlA Tripura sundari" as
"aruNa kiraNa jAlai ranjitASAvakASA" is really the deliberation of
wrath (AmarSAtmaka vimarSarUpam) against the internal enemies. The
degree of such deliberations are expressed in sixteen `dhAturUpAs' as
"SONAni Bhauma tIkShNAmSu tAmra kumkuma takShakAh gunjEndragOpa
KadyOta vidyut kunjara bindavah | dRîg bimbAdhara jihvAsRÎj`mAmsa
sindUra dhAtavah ||" This àruNa varNam' (red colour) is nothing else
but the "mAyASakti" that which engrosses the whole universe while
being in unison un-different with `paramaSiva'. "samasta BhuvanABhOga
kavalIkRîta jIvitA mahA swamahimAkrAnti swasthAhankRîti BhUmikA |
kramENatu tatO~nanga paryantam prOllasantyapi SarIrAnanga paryantam
Ekaivam uBhayAtmikA ||" In this connection, while doing japa, there
is a suggestion to meditate upon this àruNa varNam' as, "swa
vibhutwa sarvasyAkrAntyA sarvasyApi swa - -SarIratvEna sarvatrAhantA
buddhE rudayEna swa SarIrasyEva sarva SarIrANAm swa vaSam vadatA
avaSyam BhAvah ||" It is essential to imagine as if his own authority
has spread all over and keeping his own "ahanta" in every thing as he
feels in his own body. Also, one should aspire that all things should
be under his control, as he is having upon his own body. This kind of
imagination is called "swIya mahatwa vyApti". "Om aim hrIm SrIm
vyApinyai namO namah SrIm" Having that kind of "vyApti",
"swasthAhamkRîti BhUmikA" means remaining in the fundamental basis
of the unswerving `parAhanta'. She is making all the universes into a
morsel of food spreading her `samaShti rUpa' `swIya mahatwa vyApti'
and adopting the "samhAra krama japam". While doing such type of
`japam', concentrating upon the brilliantly glowing, red cobweb -
thread like form and deeply immersed into it, (àruNima nimagnam' or
àruNa maNi magnAm' both gives the same meaning.) When entered and
deeply immersed into that thread like mantrAkShara rUpa kuNDal ini, it
appears in the above said sixteen
dhAtu rUpa illuminations one after another. Going deeper and deeper,
that luminous flux appears as "ataruNa taraNi" (the rising sun) and
then "taruNa taraNi" (youthful Sun), and that is called "kOti Surya
praBhA bhAsuram". "tatO~nangaparyantam prOllasntyapi kramENatu
SarIrAnanga paryantam" means, the above said kundalini is rising
upwards from the `swAdhiShTAna and all other cakras in an order, up
to "ananga paryantam" that is up to the `kAmESwara Siva' who has no
limbs or body form at all, but only the invisible `bindu rUpa' form.
Again from `brahmarandhra' down to the "SarIrAnanga paryantam"
signifying the "anAhata Siva". This kind of repeatedly going upward
and coming downward again and again was described as "tra syad
vanahariNa SAlIna nayanAh". "cancala swarUpinyai namO namah"
"EkaivamuBhayAtmikA" indicates that this kuNDalini is the `Siva' and
it is the `Sakti' also. "Siva Sakti dwandwa rUpiNyai namO namah", She
is `the' desired woman for us all. One of the auxil iaries of the
`ShODaSAkShari mahA mantra', the trio "Om hrIm SrIm" is always
assigned in the thigh region(Uru pradESam). That is why this trio was
named as "UrvaSi". In the purANAs it was said that "UrvaSi" was born
in the thighs of "nArAyaNa muni". From t he `pUrNabindu' which is
really the `praNava' (Om), two bindus have expounded out. They are
the other "hrIm and SrIm". It is the `visarga' which has separated
from the `bindu' in the beginning. This is the form of
"agnIShOmatmakam", which has separated from the "sUrya manDalam".
This `hrImkAra' and `SrImkAra' are the individual forms of "prakASa"
and "vimarSa" "hrIsca lakSmIsca tE patnyau" So elaborates the
`puruSha sUktam'. `hrImkAram' is "mAyA bIjam" and the "SrimkAram"
indicates the "kAla bIjam" which symbolizes death. The first
`bIjAkSharAs' of these two `bIjas' are "ha" and "Sa" denotes as "ha"
indicates `jIvatwa' (life) and "Sa" indicates the "mRîtyu" (death).
Both of these will always be inter-traversing into each other. It is
not possible to distinguish which is `hrIm' and which is `SrIm'. Only
because of this traversal gestures, ever-changing fluctuations are
being experienced in this world. These gestures are indicative of
vacillation, and hence equated with the word "trasyad vanahariNa
SAlIna nayanAh" Whoever understands the secret of this yOga of these
two bIjAs, understands the mystery of "mAya" and he becomes eternal
"mRîtyunjaya". For the "Bhairava" who has meditated upon the
`samaShti' of these three bindus, called as "kAmakala", the "mAyA
swarUpiNi" "kAli" too has become his `pAda dAsi'. Then what to say
about the ordinary damsels ? Yours in the service of the mother,
krishnarao
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"muKam bindum kRîtwA..."
From :- krishnarao (lanka.krishnarao@gmail.com Subject :- "muKam
bindum kRîtwa ….". SrIguruh sarvakAraNaBhUtA Saktih | SrI
mahAgaNAdhipatayE namah || "muKam bundum kRîtwa ….." "muKam bindum
kRîtwa kucayugam adhastasya tadadhO harArtham dhyAyEd yO haramahiShi
tE manmadhakalAm | sa sadyah sankShObham nayati vanitA ityatilaGu
trilOkImapyASu Bhramayati ravIndu stanayugAm ||" This is the 19th
SlOka in the soundaryalahari of Srimad BhagavatpAdA SrI Adi
SankarAcArya, and its literal meaning runs as follows. "hariNi ! He
who meditates upon your face in the bindu -sthAna and having the Sun
and moon as the pair of breasts beneath of it, and its underneath the
cupid`s segment (the yOni), instantaneously he is creating distress
and delusion in the women of the three worlds".
But in my opinion, the esoteric meaning of it is otherwise different.
I submit hereunder my view point, for the perusal of our members.
"nityA kUta trayam dEvi turIya swara SEKaram | tat turIyam swarUpan
ca bindutrayam udIritam || tadAtmakan ca dEvyAstE sAdh akasya ca
yadBhavEt | tad BhAvanAm SRîNu prAj~nyE mahOdayakarIm SuBhAm ||
Urdhwa bindwAtmakam vaktram adhO bindu dwayAtmakam | kuca dwayam tu
tatChEShA gatimEtAm viBhAvayEt ||" The kAditantra has described the
`kAmakalA' as above. At the end of the three `kUtAs'of any mantra, as
heard in the ends of nAda and nAdAnta, that "ImkAra nAdA' itself is
the "turIya swarUpam" (the fourth avastha).The ÌmkAra" is meant for
the "mahA mAya". That is to say that it is the witnessing spirit for
both the concepts of existence and nonexistence. (BhAvABhAva sAkShi
caitanyam). "kUta trayE mahAdEvi kuNDalI tritayEpi ca | cakrANAm
pUrva pUrvEShAm nAdarUpENa yOjanam ||" This is an instruction of
guide lines for the three types of "adhikAri BhEdAs" for doing japa
and dhyAna of "kAma kaLA". The first one for the beginners is, to
conjoin the three kUtAs of the mantra In the `kuNDalini", which is in
three forms as gross, subtle and `para' and doing japa associating
the nada in each of the cakras. The second one for the
`madhyamAdhikAris' is, to meditate upon the nine `nAda sthanAs' from
the centre of the forehead up to the brahmarandhra viz. `bindu',
àrthacandra', `rOdhini', `nAda', `nAdAnta', `Sakti', `vyApika',
`samana' and ùnmani' each at a distance of one ànguLi' linking up
with the `mantra akSharAs', with a feeling of the nectarous flow
showering in the `dwAdaSAnta'. The third one for the ùnnatAdhikArIs'
(advanced devotees) is, visualizing the face of fully ornamented
divine mother in the 'bindu', (`nAdasthAna' in the centre of the
forehead), brace of breasts appearing as "visarga" in the "nAda,
(nAda Sthana" in the hairline); and the vagina in the `trikONa' of
`brahmarandhra', adopting the three kUtAs/KanDAs of the mantra with
the feeling of absorbing oneself in that `citkaLa ', which is the real
source of the birth of us all. This kind of dhyAna is called as
"kAmakaLA dhyanam".
Every alphabet of the mantra being merged into the preceding one and
forming into one single "EkAkShari mUrti swarUpam" "dEvA dEvEShu
Srayadhwam| prathamA dwitIyEShu Srayadhwam| dwitIyAstR*itIyEShu
Srayadhwam| tRîtIyAscatuturdhEShu Srayadhwam| etc., etc.,|
dEvA~~strIrEkAdaSA streestrayastigmSA| uttarE Bhavata| uttara
vartmAna uttara sattwAnah| yat kAma idam juhOmi| tanmE samRîdhyatAm|
vayagg syAma patayO rayINAm||" Here "nAdarUpENa yOjanam" means,
merging all the bindurUpa alphabets in the ultimate nAda. Generally
many of the sAdhakAs recite the `mantrAkSharAs' and at conclusion,
prolong it with the nAda. It is just like proceeding yourself in
fore-front and asking the `kuNDalinI rUpa paradEvata' to follow you
behind. The above verse is asking us to keep behind of the
`paradEvata' until her destination to the `bindu'. Or, recite all the
`mantrAkSharA's as lightly as the uninterrupted nAdA only. . "trikONE
baindava sthAnE adhOvaktram vicintayEt | bindorupariBhAgE tu vaktram
paricintya sAdhakah || taduparyEva vakShOja dwitayam samsmarEd budhah
| taduparyEva yOnin ca kramaSO BhuvanESwarIm | SrIvidyAm kAmarAjan ca
vinyaSyASu vimOhayEt ||" `SanatkumAra samhita' also describes the
same in another slightly changed method. "bindutraya samAyOgAn
mahAtripurasundarI nAdarUpENa sA dEvI hakArArtha swarUpiNI ||"
`J~nAnArNava tantra' also is describing it as "nAda rUpa" only.
"Antaram nAdAnusandhAna lakShaNam japah" and also, "nAsti nAdAt parO
mantrO na dEvah swAtmanah parah" That is why, by accomplishing the
'turIya swara japa' in the form of `nAda', is achieving instantaneous
"siddhi". This very `turIya swaram' is also called as "gupta mahA
sAraswata bIjam". "avyakta nAmnI paramESa Saktih anAdyavidyA
triguNAtmikA parA | kAryAnumEyA sudhiyaiva mAyA yayA jagat sarvamidam
prasUyatE ||" AdiSankarAcArya has described this "mahAmAyA swarUpiNi"
as "sannAp yasannAp yuBhayAtmikAnO Bhinnap yaBhinnap yuBhayAtmikAnO|
sAngAp yasAnga hyuBhayAtmikAnO mahAdBhutA~nirvacanIyarUpA ||" Which
is neither the form of "SUnya" nor the form of "sat",
being and not being both the forms, is "mAya". The `rudrayAmalam'
says that the influence of this `mAya' is extent all over the three
worlds. "naBho mahA bindumuKI candra sUrya stanadwayA | sumEru
hAravalayA SOBhamAna mahIpadA || pAtALatala vinyAsA trilOkIyam
tavAmbikE | kAmarAja kalArUpA jAgarti sacarAcarA ||" All the three
worlds of BhU, Bhuvah and swah were stretched in the three àvasthAs'
of `jAgrat', `swapna' and `suShupti' just by this `mAyA Sakti' only.
This `mAyA' is neither a male nor a female, nor it belongs to both
genders. The form of it is visualized as a fully ornamented woman.
Because this is the highest of all the dEvatAs, the japa samarpaNam
is intended in the name of masculine gender and the dhyAna slOka is
indefinitely saying, "dhyAyEd BhAskara SItAmSu vahnInAm manDalOpari
sthitE vahnipurE nAgadaLa padma samASritam | anguShTa mAtra mamalam
viShgnu mOnkAra rUpiNam sarva dEvamayam dEva manantam sarvatO muKam |
swamAyayA samAkrAntam sUkShma jyOti swrUpakam sa brahma sa Sivah sa
hari ssEndrah sO~kSharah parama swarAt || Here ' viShnum' indicates
the extensiveness and `sUkShma jyOti swarUpakam' indicates the last
visible state of an object. "swarAT" indicates the sovereignty. As
many of us think, there are no three bindus, nor there any `trikONa'
at all. There is only one `bindu' in which all these are embedded, in
the same bindu, there are two bindus, just like a seed of any plant
having two cotyledon cups. With the extensions on both sides of this,
it appears like a triangle. If this `bindu' is considered as "Siva",
the two cotyledons can be taken as "Siva and Sakti". However they are
not two different individuals. On the whole, because of the duel
appearance, just as the seed is appearing with two extensions on both
sides like a triangle, the bindu also appears as a triangle when it
is all set for creation of the universe. Prior to the separation of
ìcCha, j~nAna and kriya", all of these three were remaining in the
same ìcCha' of `paramaSiva' only. The j~nAna and kriya of the
ensuing creation both were embedded in that ìcCha'. It means, both
of the two bindus, (j~nAna and kriya) were set in the main "kAraNa
bindu" only. Because there was no pollution of external "viShayAs"
(worldly interactions) they were glowing in perfect and pure
brilliance. Those three
luminaries were named as the moon, Sun and fire. The consequence of
the "aham sphuraNa" (the quiver of Ì' consciousness) in `parama
Siva' itself has appeared as à' and `ha'. If à' is the
`prakASarUpA' of Siva, `hakAra' is his `vimarSarUpa'. àkAra' is
called bindu and SUnyam ("binduh SUnyam akArah"). From this
`SUnyarUpa bindu' only all the fifty alphabets emerged out. `ha'kAra'
also is the outcome of this `SUnyarUpa anuswAra' (à'kAra), and this
is called as `visarga'. In this `hakAra' both hakAra and akAra are
existing, just like the "agnIShOmAtmaka rUpam' coming out as an
accessory of the `sUrya maNDalam'. It is the deceptive form giving us
the impression that the Sakti' is different from `Siva'. This
`visarga', the twin bindus is the persona of the `vimarSarUpa cit
Sakti' which is actuating in the act of creating the universe.
…………….. From this `visarga', the whole of the universe came out
through six àdhwAs' in three stages, viz., firstly `varNa'
(alphabets) from one bindu and `kalA' (division) from the other;
again these alphabets developed as `padam'(words) and the `kala'
became `tattwam' (constituent element); and then the `padam '
transformed as `mantram' (sentence) from which all the `vEdAs, AgamAs
and the whole literature; and the `tattwam' transformed as `Bhuwanam'
in which all the fourteen worlds existed. By this we can understand
that the whole of the universe and whole of th e knowledge, every
thing is the product of this twin bindus ie., visarga. All of these
issues were dispensed out through the triangle which is the reflected
manifestation of the `bindu' and `visarga'. For any one who aspires
to explore about his own primary origin (swaswarUpa j~nAnam), he has
to go and search for it in the basic source of his entering into
these worlds. That source is nothing else but this unit of `bindu', `
visarga' and the `trikONa'. This unit is called "kAmakaLa", because
all the intelligent intellectuals always yearn for it. They all know
that this is the "viShNupadam" they eternally aspire for. "tad
viShNOh paramam padam sadA paSyaNTI SUrayah. divIva cakShur Atatam"
"puNDarIkAkSha!, puNDarIkAkSha!!—" All of these sages are
relentlessly staring at this unit only, making their eyes as wide as
the skies. "nEtrAdi jAlakOpAntE hRît padmAsana lIlayA vAram vAram
twayA dEvi rUpAdi madhu sEvyatE ||" For every thing of the worldly
experiences, the external and internal
senses are the sole generators. This mahAmAya is observing every
thing with the help of these senses like a spectator and also
controlling every thing like a dictator. Nothing is there which is
not deluded by this `mAya'. Undisputedly every one is in her grasp.
She is "sarvavimOhi". and when graciously kind, she becomes
"mOhanASani". In the above SlOkA the word "trilOkIm" indicates the
"sthUla, sUkShma and kAraNa dEhAs". The word "ravIndu stana yugam"
indicates "brilliantly glowing visions" and the word "vanita" is
indicative of the worldly attractions. It means if the mahAmAya is
kind and benevolent, she will disrupt all the clutches of the worldly
attractions. "ravIndu stana yugam" again indicates the"agnI
shOmAtmaka jagat" Every thing is Siva_ Sakti mayam!! "EkAm prakRîti
rUpENa sarva Saktim vicintayEt | kAmayEt kAminIm sarvAm dEvIm AvarNa
rUpiNIm || cintayEt sundarIm dEvIm sarva vyApaka rUpiNIm | ikAraBhUta
mantrasyAvayavam ca catuShtayam || bindu trayasya dEvEsi pratham
dEvEshkaka viduh | bindu dwayam stana dwandwam hRîdi sthAnE
niyOjayEt|| hakArArtham kalAm sUkShmAm yOni madhyE vicintayEt |
udyadAditya samkASam sindUrABham stanadwayam || bindum sankalpya
vaktram tu sphurad dIpa SiKa praBham | kAmO bindu raham dEvi
tatrasthA paramESwarI | Siva Saktimayam dEva tadadhastat kucadwayam
|| tadadhah saparArtham tu cidrUpA paramA kalAm || sancintya
sAdhakaSrEShTastrailOkyam vaSamAnayEt | Etat tE kathitam dEvi
kAmakalA sunirNayam || gOptavyantu prayatnEna yadIcChEdatmanO hitam
||" krishnarao (SrIparaSuKAnandanAtha)
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What is common in adwaita and SAktaadwaita ?
From:- Krishnarao (lanka.krishnarao1@gmail.com) Subject :- what is
common in adwaita and SAktaadwaita? priya mahASayAh, One scholarly
pITAdhipati has defined adwaita as "maru marIcikA nyAyam" and
SAktAdwaita as "mRîdGaTa nyAyam". I don't know how far this
illustration is appropriate. But he did not answer my above query I
still have the doubt how SrI SankarAcArya and his followers have
chosen to follow both the sampradAyAs simultaneously, because adwaita
says there will be no water at all in the mirage whereas in
SAktaadwaita there is the mud and also the pot. I request all our
members to clarify my doubt giving proper examples to understand
easily. Thanking you all in advance, Yours always in the service of
the mother krishnarao (SrIparasuKAnandanAtha)
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Examples for the upAsaka
From :- kRîShNArAv (lanka.krishnarao1@gmail.com) subject :- examples
for the upAsaka SrIgurussarvakAraNaBhUtA Saktih |
SrImahAgaNAdhipatayEnamah || Examples for the upAsaka 1)
SrImannArAyaNa one day appeared before Bhakta prahlAda to spend some
time with him. prahlAda`s pleasure was unbounded. He prostrated
before nArAyaNa and accomplished all the ShOdSOpacAra pUjAs with
utmost and great adoration. They both spent some time conversing
about so many aspects in detail. At last nArayaNa got up and said
"prahlAda, I must go now. There are so many other devotees waiting
for me, I will have to attend and satisfy them too". prahlAda became
shockingly sad and weeping. "But how can I live without you O` god?
Please don't go leaving me here. I can`t allow you to go". nArAyaNa
persuasively told him "You should not be obstinate prahlAda, I got so
many works to attend. If you leave me now, I will give you anything
you want. I will endow you with any amount of riches and pleasures
you want, but you must allow me to go." prahlAda adamantly said : "I
got everything with me my lord, I don't want anything except you. You
should not leave me." nArAyaNa again said : "I will endow you what
you are lacking , I will make you the lord of swargalOKA, but you
must leave me my boy." But prahlAda was unyielding. He said, "I don`t
consider swargalOka is greater than my own motherland at all. I don't
want it at all. I want you only." nArAyaNa again tried to convince
him. " prahlAda, lakshmidEvi is waiting for me. I must attend her.
You must understand and leave me now. I will give you
whatever you want, including lakshmidevi to live at your residence,
make you the lord of my vaikunThalOka, and everything of my own for
you, but you must leave me now ." prahlAda broke into a laughter and
said, " If you are the person who can endow me all these things, why
should I aspire any of them and leave you my lord?"
……………………………………………………………………………………………………………………………………………………………………………… 2)
There was one jangama dEvara who used to live upon some meager
amounts, earned by selling mattresses made of some collected old
cloth pieces, stitch together like a thick pad to use as a bed cloth
(in telugu it is called "bontha.") He was once initiated pancAkShari
Òm namaSSivAya' by his guru with which he is always reciting day and
night while doing his routine duties for more than fifty years. Lord
Siva and pArvati while passing through in the skies in their routine
modus operandi, to observe the happenings of the universe, they were
looking at this jangam also. One day pArvati asked Siva "nAtha, are
you not looking at this poor man who is so sincerely doing
pancAkShari japa since so many years? Why did you not bless him with
some riches, so that he can do japa more easily?" Siva replied "you
don`t know about this man pArvati, we can`t do anything here. Please
keep quiet.". But parvati did not agree with Siva. She reiterated
saying "You are a man after all. Your heart is stony hard. You will
not have enough kindness. But mine is the mother`s heart. I can`t
keep quiet seeing my son suffering with hardships. At any cost y ou
must give him all the needed boons right now. Siva again tried to
convince her, but however accepted to follow her to appear before the
jangam. But the jangam was deeply immersed in his sewing work and not
at all looking at these two. Then pArvati calle d him and told "Hei
jangam, we pArvti and paramEswara came to you, look at us." Jangam
bade a hai and again immersed in his work. pArvati again said "Hei
jangam, we the lords of the whole universe came up to you. Because
you are sincerely doing the pancAkShari japa, we are here to endow
any boon you like. You can ask us thing, you want in this world." The
jangam quietly said "O gods! Leave me alone. I must complete this
`bontha' before the sun sets. If I did not complete this, the man who
purchases this, will go away and I will not receive the money to
purchase rice ground for my night gruel. I will have to starve all
the night and tomorrow also until the evening. I request you both,
for god`s sake leave me alone." But pArvati was too persistent and
asked him to tell about what all his needs are! At last the jangam
asked her the boon. "If you are so powerful gods, see that this
thread should be following the needle each time I sew this bontha."
………………………………………………………………………………………………………………………………
……………………………………………… 3) paNDarinAth SrIkRîShNa vitTal was very much
pleased for the devotion of Bhakta pANDuranga. Instantly he came away
to meet his devotee. At that time pANDuranga was kneading upon the
feet of his father and mother to induce them to sleep. At that time
when SrIkRîShNa came there, It is heavily raining then. He called
loudly "pAnDuranga! I am SrIkRîShNa for whom you are all these days
longing for. I came here to meet you and give you all the boons you
want." pANDuranga putting his index finger upon his nose to indicate
"keep silence" and said: "Please don`t make noise and disturb. – my
father and mother are just now getting sleep." SrIkRîshNa again
said: "But it is raining now and the whole ground is muddy and filthy
here. My feet are becoming cold. I a m unable to find a place to
stand." That house was very small to provide any space for another
person. pAnDuranga was helpless. He looked around for any solution.
His glances stopped at one brick lying nearer to him. He immediately
grasped it and threw it towards SrIkRîshNa and said "My divine lord,
at present I am unable to move from here leaving my parents until
they both go into deep sleep. Until then please adjust yourself
somehow, standing upon this brick."
……………………………………………………………………………………………………………………………………………………………………….. My
dear upAsakAs, I hope these three stories should become eye openers
and guide lines to streamline the concept of our upAsana. Yours
always in the service of the mother kRîShNArAv
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The meaning of sandhya
From :-Lanka krishnarao1@gmail.com Sub :- The meaning of sandhya
"ugram veeram mahaviShNum jwalantam sarvatOmuKham nRîsimham
BheeShaNam Bhadram mRîtyu mR6ityum namAmy aham " The upaniShad has
given a commentary for this mantra in a nRîsimhAnushtup as, "ugram
anugram veeram aveeram mahat amahat viShNum aviSnum jwalantam
ajwalantam Sarvatomukham asarvatOmukham nRîsimham anRîsimham
BheeShaNam aBheeShaNam Bhadram aBhadram mRîtyumRîtyum
amRîtyumRîtyum namAmy anamAmi aham anaham " Also included that it
is "OmkArAgravidyOtah ". True it is ! Let us analyze ---- It is the
ferocious form that frightened brahma etc., all the dEvatAs,
including SrImahAlakShmi. It is so nonviolent anugraha form which did
not frighten even a least for the
young prahlAda It is the valorous heroic form that it always wins
over all the rAkShasAs every time hence vEEra. It is also aveera
because there is no space remaining for him to extend any further. It
is all pervading, Ie., sarvatra vyApanaSeela mahAviShNu form. It is
the form of ever extending mahAviShNu; and also it is not
transmutable and ever static `sthANu', hence amahAviShNu It is the
blazing form of fire, so jwalantam; and also it is the coolest form
of water too, hence ajwalantam It can see in all the directions at
the same time, so sarvatOmuKham: It will not see anything outside,
being introvert, hence asarvatOmuKham also. Having both the forms of
a man and a lion it is the form of nRîsimha; and also it is neither
a man nor a lion it is anRîsimha. Because it is terrifying every one
it is the form of BheeShaNam; and because it is tenderly lovesome it
is aBheeShaNam. Because it is gracious and protective it is called
Bhadram; and also because it is the form of `kAla', it is aBhadram.
Because it is the form of mRîtyunjaya, it is called mRîtyumR^tyuh,
and because it is the mRîtyu for those who think themselves
immortal, it is amRîtyumRîtyuh In the Bhinnatwa BhUmika I say
namAmi; and in the Ekatwa, whom to say namAmi? So anamAmi Being non
extrovert it is aham ; and being sarva kAraNakAraNa it is anaham
nRîsimha killed HiraNyakaSipu. Not in the form of a man nor as an
animal; it is the concoction of both. He did not kill during daytime
nor at night; it is twilight. Not inside of a house, nor outside, it
is on the sill of the door. Not in the sky nor on the earth, but on
his own lap. Not with any weapon , but with his own nails of hands.
This kind of unified state of duality is called `Hiranyagarbha
avastha' (the samaShti of thyjasa or swapnAvastha ). This is the
mixture of the visible and invisible form. The literal meaning of
hiraNyagarBha is-- "wisdom installed in ones belly". This form is
also called "sandhya". It is the gAyatri that pleases
with the prayers of the devotees. It is the sAvitri which enlightens
and instigates the devotees. It is the saraswati which is the form of
anugraha Sakti and the stream of karuNa rasa. It is the form of
sandhyA dEvata which endows both the day and night at a time. It
keeps day light in the darkness of night. All the RîShis praised it
as "brahma Sareera". It is the last and lastly fading visible form
and also the first and firstly appearing dimly invisible form.
(vyaktavyakta swarUpiNyai namah). It is the form of a sadhanA
swarUpa, to obtain the àmRîta', by annihilating all the puNya,
pApa, kRîtya, akRîtya, samkalpa, vikalpa, dharma, adharma and also
sarva dharma nikRîntana also. This is the form of the primarily
remaining ÀdiSEsha swarUpa' after the elimination of "nEti nEtIti
SEShitam yat parampadam, nirAkartum aSakyatwAt sO2smi sO2smeeti
BhAvaya ||" " sarva dharmAn parityajya mAmEkam SaraNam vraja " It is
the collective form of all the dEvatAs, ( sarva dEvatA samUhamUrti ).
It is the `kAmAKhya' from which all the forms have come out and have
to finally merge in it only. (sarva kAraNa kAraNa) "triShu
vikramaNESh wadhikSayanti BhuvanAni viSwAh ". With these three
sandhyAs it can subside the `mAyA', which exhibits itself in the form
of the "universe'. "mRîgO na Bheemah" – It is an animal (simhah),
but not in the least it is violent (himsah). (It is SAntah ie.,
samastEndriya samyamana SeelaH) "Ku charah" – in the passage of
kulamArga ie., the kuNdalinI swarUpa, treading in the passage of
suShumna "giriShThah' – It is in the form of buddhi (intellect),
which is settled in the uppermost crest of trikONa "brahma randhrE
gurum smarEth". The amRîta swarUpa guru paramAtma, who is the sole
embodiment of the `buddhi'. This is the replica of the mahAkAla who
has kicked the mRîtyu dEvata for a lon g long distance. He is the one
who in the form of paramAtama rupa simha, reforms a paSuprAya human
being who is gnyAnaheena and mRîta jeevana into a gnyAnapUrNa and
mRîtyunjaya swarUpa and bestows him the boon of "amRîtatwa". (paSu
pASa vimOchanyai namO namah) This mantra is the one which belongs to
the maNipUraka aShTadaLa padma. "aShTArE aShTadaLAmbujam". He is the
gnyAna BhAskara, who sanctifys the avidya which appears like real
vidya into Suddhavidya. HiraNyakaSipu was the one who has exposed out
the wisdom (gnyAnam) and wore it as a garment outside around of his
body. As an example of this, in consideration of his SiShya, who is
also an extrovert paSu, he has vivisected the maraNa Seela panchama
SeerSha with the edge of his nail "Sira stad vaidhAtram na Khalu
suvRîttam paSupatE
Katham vA niryatnam karanaKha muKhE naiva lulitam ||" And pierced
through his nirakShara kukShi and made him an akSharAtmaka
gnyAnapUrNa puruSha. He is the expert genius who can convert a
hiraNyakaSipu into a hiraNyagarBha brahma. "vEdyah kim na Bhavatyaho
Ghanataram keedRîg BhavEn mattamah ||" So says AchArya. Really! It
is so such a pitch darkness. It is described that, that darkness is
so thick and dense, that even a needle cannot be pierced through it.
It entrenched over all the three avasthAs and took them all into its
fold. But this òmkArAgra vidyOtah' is there for us, that brilliant
illumination over that pitch darkness. " Adya avidyA hRîdgatA
nirgatA Aseet,vidyA hRîdyA hRîdgatA twat prasAdAt ||" It is the
real "sandhya". It is the amalgamation of both darkness and the
brilliance of light at the same time. "avasthA traya BhAva aBhAva
chaitanyam " This sandhya is nothing other than the tureeya vidya.
"eem parO rajasE sA-vadOm" "DhyAyEd BhAskara SItAmSu vahnInAm
manDalOpari sthitE vahnipurE nAgadaLa padma samASritam anguShThamAtra
mamalam viShNum OnkAra rUpiNam sarva dEvamayam dEva manantam
sarvatOmuKham swamAyayA samAkrAntam sUkShma jyOtih swarUpakam sa
brahmA sa Sivah sa harih sEndrah sO2kSharah parama swarAT ||" In th e
service of the mother, krishnarao
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From :- krishnarao Subject :- concentration mAnanIya BhUpEnderji,
Please dont bother for the concentration. In fact this is not
possible even for the so called RîShis and also for viSwAmitra like
brahmarSis too. The very name of the mind itself is 'cancala'. This
is just like the story of a guru who initiated a SiShya, with a great
mantra which can give a good fortune, but with one condition tha t he
should not remember the thought of any monkey. The SiShya could not
begin to chant the mantra at all because every time he sits to begine
to meditate upon chanting the mantra, an image of a monkey was
appearing in his mind. The way you are practicing upon the day-
dreaming is in one way a good sAdhana, if you streamline it in a
proper method. You have to gradually replace good thoughts in place
of bad thoughts. This is a kind of swapnAvastha while being in the
wakeful state. This will lead to the turIya avastha, which is the
experience of all the three states during the wakeful state itself.
Just try to remember the events of your pleasent experiences of your
pilgrimages, try to recall the memories of the precepts of elderly
spiritual teachers you have heard in the past. Leave the mind freely
for some time to think of its own thoughts, but immediately include
the above type of thoughts for a few minutes of time. In this way
increase the time of good thoughts in your mind to be filled
gradually. I hope you will acheive what you are aspiring for in a
very short
time. Yours always in the service of the mother, krishnarao --
L.Krishnarao
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Bhakti vikArAs pUjya SrI gaNapathyji, crying, laughing, rolling on
the ground etc., vikArAs need not be accepted as the symptoms of
Bhakti. Any real sAdhaka`s mind should always be very calm and
tranquil without any agitation and without loosing ones self
possession. That Bakti BhAva may be common in the devotees of
chaitanya cult, but not for SrIvidya upAsaakAs. " samudrAd arNavAd
adhi samvatharO~jAyata" samudra means having stillness without any
disturbence by any waves of wind. This is Siva avastha "arNava" means
the agitated ocean with full of heavy waves..This has occured when
the first throb of "ah" in the Siva avastha (aham), Then the whole of
the false universe manifested along with the time in the form of day
and night differentiation, sun, moon, dhAtA etc., etc., This is all
Sakti avastha. Sakti is after all "Siva gnAna pradAyini". Our
ultimate goal is to acheive that Siva avastha. Tanmaya avastha is to
remain ourselves of the deity (not one with deity). The vikArAs of
laughing, weeping etc., will appear only when one looks at the deity
as different from him. One will not have any feelings when he looks
his own image in a mirror. But vikArAs arise only when he looks the
image of another person only.
We dont want that type of different image and any such vikArAs. We
remain as we are. We dont find any abnormality even when the fire
flames downwards or moon becoming hot or the sun becoming cold. We
dont want the deity to put us in surprises and BhrAntis showing us
her or his mahat (greatness), but be inside of us and do any thing
what will be good for us. The mahat of god is only for those who
believe god is greater than us. But we cant bear if god is a liittle
bit greater than us, as we could not reach that part of him; and also
if he is a little bit smaller to us because that extra part without
him in us will become unbearable. We strongly believe that after all
the mantra, the dEvata, and even the guru are only the extensions of
myself and not different at all. Any of these should not be greater
or lesser to me. My gurunatha used to reject any further initiation
for those who exibit any such vikArAs like 'tanmayam' or weeping,
laughing etc.while taking any mantra initiation. He was saying that
they are all symptoms of Hysteria and mental and nervous weaknes s.
Srividya is not for every tom and dick. It is different and such weak
minded persons do not deserve SrIvidya
initiation.at all. prEma or 'rAga' is the outcome of mAya and avidya.
No where in our old sriptures we find any mention of this ' prEma
tattwa' which always purge vikArAs out. Please excuse me if I have
exeeded any limits -- krishnarao
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/////////////////////////////////////////////////// From :- Lanka
Krishnarao (lanka.krishnarao1@gmail.com} Subject :- About SrIyantrAs
SrIguruh sarvakAraNBhUtA Saktih | SrI mahA gaNAdhipatayE namah ||
priya mahASayAh, The following verse is the 15th one in the
“sowndarya lahari” composed by SrI Adi SankarAcArya. “Sarat
jyOtsnASuddAm SaSiyuta jatAjUta makuTam Vara trAsa trANa sPatika
GatikA pustaka karAm | SakRînnatwA kathamiva satAm sannidadhatE
madhu kSIra drAkShA madhurima dhurINAh PhNitayah ||” Unless one has
ever prostrated before you, who is lustrously glowing like the
autumnal moonlight, having lunar crescent upon the crown over the
dressed hair, and wearing a crystal rosary, varada mudra, aBhaya
mudra and the book in all the four hands, how anyone could dole out
poetry elegant like honey, milk and the sap of grapes? ! This is the
commonly understood meaning of the above verse. But for a person with
an intense desire to achieve the eternal emancipation, can this be an
advice given by the jagadguru? Has he to go to the court of a king or
any others to please them and earn money and fame? In my op inion,
there should be some esoteric meaning also behind this superficially
understood meaning. Let us search for it. The above Sloka appears to
be indicative of “Saraswati”, who is the goddess of speech {vak
devata). But the book “sowndarya lahari” was intended in praise of
“LalitA mahA tripurasundari”. Is Sarasawati and Lalita are one and
same? Yes, it must be so. “rUpairanEkair bahuhudhAtma mUrtim,
kritwAmbikE tat prakarOti kAnyA”Just as all the thee crores of
devatAs are only the extensions of LalitAdevi who is “sarvAnatItya
lalati”, this saraswati also is just an extension from her. In the
Lalita sahasranAma, the devi was praised with the
names as “brAhmI”, ”vAgadhIswarI”, “vAgvAdinI”, “mAtRîkA
varNarUpiNI”, “SAntyatItakalAtmikA” and also as “saraswatI”. So it is
evident that both are one and the same. This paradEvata, lalitA
mahAtripurasundari, has got thee varieties of configuration,
“sthUla”, “sUkShma” and “kAraNa” forms. The ‘SthUla dEha’ is
described as “caturBhujE candrakalAvatamsE kucOnnatE kunkuma rAga
SONE-----“etc., The second one ‘sUkShma dEha’ is “pancadaSi mantra
akSharAs” and the third one ‘kAraNadEha’ is “tEjOrUpam” or ‘jnAna
rUpam’ (sOham or sAham jnAnam) “stree rUpam vA smarEd dEvIm, pum
rUpam vA smarEd athavA niShkalam dhyAyEt” In fact, the god, whatever
name he/she has, will not have any body or form. But every god has
got innumerable forms. Every one is having its own effigy. Lord Siva
is symbolized in a Linga form. viShnu in sAligramam, In the same way
this lalitA mahA Tripura sundari or rAjarAjESwarI parA BhattArikA
also is having an effigy in the name of a “SrIcakra”. For any yOgi
who is capable of subsiding all the external earthly visualizations
and introspectively ponder over the ten chakras in his own body may
not be in need of any SrIcakra, but it would be a proclaimed
obligation for him to protect the sacred SrIcahkra entrusted to him
by his gurunAtha, just like a housewife keeps the ‘mangal sUtra’
fastened by her husband at the time of marriage. Just as any image
(of any god) could be seen in three forms as a painting upon a paper,
a half protruded front side image with flat back side and a full -
fledged statue, fully carved both front and back sides. The first one
is called ‘BhUprastAra, the second one is “kUrma prastAra” and th e
third one is “mEru prastAra” Just as any other god is having
innumerable forms and also innumerable effigies in the form of
different yantras, our lalitA mahA Tripura sundari also is having
innumerable forms of effigies in the names of different SrIyantras. A
yantra is a kind of language to understand the details of any
particular thing. Language of recognizing other`s expression will be
in four ways. One is alphabetical (writing in letters), another is
numerical (writing a digit instead of writing many letters), another
one is gestural (showing signs with hands like come, go etc.,)and the
other one is symbolic (marking lines, curved and strait, to show the
direction of a route, or any instruction as, that there is a railway
line ahead or there is a school or a playground nearby). These
yantras also will come under the fourth category i e., symbolic of
directing the way to reach that particular deity or god. It all
describes how one has come out from his own abode dragged in to the
‘jiiva’ state by the influence of ‘mAya’.
The SrIcakras are innumerable in number, but mostly considered are,
in ten types. They are categorized so, according to their lines and
cones. They are 1.Bhadra cakram 2. vRîddhi cakram 3. mahA cakram 4.
SrIkaram cakram 5. SuBha cakram 6. kAmikam cakram 7. mOhakam cakram
8. Vyjayantam cakram 9. Jayantam cakram and. 10.nandanam cakram.
Among these ten cakras, Bhadra cakram is the safest one and can be
worshiped by every one. This cakra is otherwise called “BhUprastAra”,
which consists of only lines drawn upon a flat surface. ‘kUrma
prastAra’ means the cakra having a tortoise like appearance with a
flat base upto the three avaraNAs and the rest upon a dome like
elevation upon the base. If that surface is drawn by curved lines it
is called “vRîddhi cakra” and the same thing, if the surface is
carved with cones instead of the lines, it is called “mahA cakra”.
Both of these cakras are two types of ‘kUrmaprastha cakrAs’. This
‘kUrmaprasth cakra’ is also called as “kailAsaprastha cakra” This
cakra should be kept in the houses of “gRîhasthIs, worshipped
regularly only according to the scriptures. The chakra, carved in
cones with all the AvaraNAs one step upon another, from ‘BhUpura’ to
‘bindu cakra’, is called “mEru prastAra”. It is highly essentia l that
it should be worshipped only by the ‘pUrNa dIkShita’ sAdhakAs only,
in accordance with the mantrAs mentioned by the Agama SAstra. That
pUrNadiikShita upAsaka only is eligible to worship this ‘mEruprastAra
cakra’with all the regular services of obeisance according to
samayAcAra only. It is mentioned in the SrIvidyArNava tantra that
mEruprastAra is nityA tAdAtmaka and the kailAsa/kUrma prastAra is
mAtRîkA tAdAtmya, and the BhUprastAra is vaSinyAtmaka. Also, it says
“mEru cakrEtu samhAra krama pUjA na vidyatE, sRîShtikramENa dEvESi
pUjanIyam prayatnatah ||” For this, SrI lolla lakShmIdhara clarifies
that samhArakrama pUja means vAmAcAra method and the sRîShtikrama is
samayAcAra tradition. It was also said, “samhAra pUjA kailAsa
prastArE2tra vidhIyatE BhUprastArE mahESAni sthiti pUjA sadOttamA ||
sthitikramO gRîhastasya samhAro vaninO yatEh brahmacAriNa utpattih
striyah sUdrasya cEShtatah||” Almost all the SAstrAs are loudly
saying that if any one performs vAmAcAra pUjA with mEru cakra, it
destroys all gratifications both in this and in other worlds too. The
descriptions of all the other SricakrAs are available in so many
tantra texts.
To arrive at this criterion of attaining untainted mind and heart is
most important for worshipping SrIcakra, this vers e of soundarya
lahari ordains as “Sarat jyOtsnA suddhAm”. In saying “SaSiyuta
jaTAjUTa makuTAm” it indicates the ‘candra manDala vikAsam’ The
central point (nucleus) in the ‘bindu cakra’ is the ‘guru swarUpa
sOma manDalam’. Determination to implement the i nstructions of ones
own gurunAtha itself is the “jatAkalpam” ` in saying “vara trAsa
trANa sphatika ghatikA pustaka karAm” it indicates as, “varam” means
the boon in the form of mantra pramAta, acquired by the parampara.
“trAsa trANa” means – devoid of all the fears, I e., ‘mRîtunjayam’.
Or ”aham sphuraNAtmaka SivO2ham BhAvam” “sphatika GatikA” indicates
an unsoiled bowl, I.e., “Siva Sakthi sAmarasyAnandAmRîta sEvanam”
achieved after relentless ‘japa sAdhana’ “pustaka karAm” indicates
persuasion in accordance with the teachings of ‘vEda mArga’. Having
all these four affluences, (one should have) “sakRînnatwA”
prostrated flat before her even once. Or else, “madhu kSiira drAkShA
madhurima dhurINAh phaNitayah” In saying this, it indicates that,
‘madhu’ means honey, the thing obtained from some creatures (bees),
after gathering it from so many places and preserved at a safe place.
This indicates the SrIcakra arcana performed by the ‘uttamAdhikAri
pUrNa dikShita upAsakAs, who have attained the mantra, tantra an d
yantra siddhi as endowed by the pAramparika AgamAs “Sirah sthita
gurOr daharasthA nAda vidyAyA parAvasAyi citkalArUpa
dEvyAtmanaScAdwaita BhAna sama kAlam sakalEndriyair viShayAn
BhunjAnas tajjanyAnanda dhArAmAtra viShayaka nirvikalpaka j~nAnaika
sAratayEtara niKila viShaya pramOShENa kancitkAlamavsthAnam”
Including this type of introvert ‘parA pUjA’, along with the
extrovert ‘aparA pUjA’ simultaneously performing in the exterior
SrIcakra implanting flowers etc., on its top, together with certain
and certain mantras in each of the “AvaraNA dEvatAs”. It is possible
for none other than the “pUIrNAhamBhAva BhAvitAs” only.The ‘kShiira”
is the milk extracted from the cow, potable to drink. This is also
obtained with some effort. This is to be performed upon a ‘kUrma
cakra’ by ‘madhyamAdhikAri upAsakAs in accordance with the guidelines
of Sriguru, doing ‘antaryajana’ and ‘bAhya yajana’ simultaneously,
doing ‘Shat cakra anusandhAna rUpa navAvaraNa ShODaSOpacAra pUja’
with a difference of ‘nitya and naimittika anuS hTAna’, as said
“parAparasya bAhyasya cidvyOmni vilayah smRîtah”
“drAkSha” is simply taken from the plant and easily eatable.
ShODaSOpacAra pUja performed upon the BhUprastAra SrIcakra by any one
with ‘kavaca, stOtra, nAma’ etc., “PaNitayah” means, Unless one is
performing Sricakraarcana in this way, in different ways “kathamiva
satAm sannidadhatE” how anything is not possible for those “madhurima
dhuriiNAh” who attain the efficiency of making ‘amRîta utpAdanam’
krishnarao
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Siva/Ajna From:Krishnarao Lanka priya mahASayA, When Siva has no name
or form,how can any one see or experience any way or any where? A~jna
cakra is no where situated in the gross body frame.It is after all
one of the hurdles in the journey to god realization, which we will
have to overcome this AvarNa also. Any thing seen, heard or sensed,
all are myth. We should not become prey for any illusions or
delusions with biased notions. krishnarao
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From :-- SrIparasuKAnandanatha (krishnarao) Subject :-- ShODaSOpacAra

pUjA Priya mahASayAh, In my opinion, we must have some understanding,
why we should do any upacArAs in the name of any god or deity..
Otherwise it would be meaningless and, waste of time and energy too.
Neither any deity needs any upacArA nor this drop of water reaches
that far off distance. It can’t be different from the children`s play
with his toys. Actions and speeches without any meaning will become
some mad man`s guestures. I wish to present you the way of my
understanding while performing each of the upacAra. I don’t say, all
these are authentic and bear only this meaning. These are some
guidelines for the devotees, by which they will be able to formulate
their own interpretation. For any god or deity, we perform sixteen
types of services (ShODaSOpacAras), viz., 1.dhyAm, 2.asanam,
3.pAdyam, 4.arGyam, 5.AcamanIyam, 6.snAnam, 7.vastram,
8.yag~nopavItam 9.gandham 10. puShpam 11.dhUpam 12.dIpam 13.naivEdyam
14.tambUlam 15.nIrajanam and 16.mantrapuShpam. The meaning, how I
interpret for myself is narrated hereunder. 1. dhyAnam and AvAhanam
:-- We meditate upon the deity which in reality has no form nor any
name for it.. But we wish it should have some form as we imagine it
to be, and we also apply a name for it also. It is a kind of monistic
dualism. We know it is none else but our own self. But we want to see
it in a form and in a name according to our needs and fancies, while
being in grîhastha Asramam. You are meditating upon your own self
which is glowing like a flame
of light, bring it out through your left nostril into some flower in
your hand, put it on the idol you worship every day. The idol after
acquiring your own life force (which is the most dearest for you) is
becoming your most beloved and divine, worthy of receiving any
services from you. You are simultaneously visualizing your own
prANaSakti both in your heart region (hr~idayam) and also out side of
you. In this way you are practicing to see your own self in whole of
the universe. “antar bahisca tat sarvam vyApya nArayaNah sthitah” 2.
Asanam :-- You are collecting all your senses and blending them into
one concentration with a feeling of “aham brahmAsmi” to install your
dearest deity in it. 3. pAdyam :-- This is to wash the dirt on the
feet of the deity. The dirt is nothing but the feeling of difference
with god. If we wash this kind of difference, the deity and your self
will become one and the same. “dEvO BhUtwA dEvam yajEt”, You should
not worship any god without yourself becoming that god. 4. arGhyam : -
- Water used for washing hands. It is washing out the past karmas
(deeds), and reaching the state of pUrNa Ananda (absolute bliss)
having no wishes or desires, desist of every thing in mind. 5.
Acamanam :-- This is an act of purification of body and soul. It is
bestowing the divine experience into your mortal soul by acquiring
the knowledge of “SivOham”. you are experiencing your own soul as the
self existent and uninterrupted illumination. 6. snAnam : -- This is
to create nectarine stream from your brahma randhra, and make it flow
into all of your 72 thousand nAdis, You should not forget that you
are meditating upon your own self which itself is the “ananta kAla
swarUpa paramAtma. 7. vastram :-- Enveloped with absolute bliss after
the experience of the flash of the cid rUpa paramAnanda Sakti. 8.
yag~nOpavItam :-- Visualizing the 24 tattwas having three knots
(grandhis) within yourself. (suShumnA vikAsam)
9. Gandham :-- Perception of aroma of the “sat”. The presiding seat
of the olfactory senses is ‘buddhi’ (the intellect). By offering this
gandham (sanda paste) you are mitigating the ‘viShaya jaData’
(obtuseness in recognizing paramAtma). 10. puSpam :-- It is just
wrapping up and concealing the image of the idol only to realize that
that form is not your target of devotion. The flower is belonging to
“AkASa tattwam”, “Sabda tanmAtra prakrîtikam”, The intellect is the
presiding place for auditory senses. The god actually requires the
flowers bloomed in the sky, not in the plants. (try to understan it
please) 11. dhUpam :-- This is used as a drying agent. We have to
scorch up the muddy moisture of our intellect, otherwise called
‘avidya’. dhUpam is sparSa tanmAtra prakrîtikam (touch sense), The
presiding place of this also is intellect. 12. dIpam :--
“cakSuradhyAtmam draShtavyam adhiBhUtam Adityas tatrAdhi daivatam”.
God does not need any artificial light. It is only for us to see god
who resides inside of us and not out side. The viewer is yourself,
object is god and the insight (antar drîSti) is Aditya the divinity
is the target. You have to see inside of you to see god. Then onl y
you can become divine. 13. naivEdyam : -- There are six places in the
tongue to recognize the six kinds of tastes. All of these six tastes
take shelter in the intellect only. Our life style also is
multitudinous. But every thing of it has to be merged only in one
object. We have to submit every thing of us for the god`s enjoyment.
(ShadrasOpEtam BhOjanam). 14. tAmbUlam :-- The leaf, nut and the lime
chewed together creates a new red colour. “avasthA traya BhAva aBhAva
sAkShi caitanyam.”. Meditating upon “turIya avastha”. That is
jIvanmukta avastha. 15. NIrAjanam :-- The camphor when lit, it is
consumed till the last entirety without leaving any residue. This is
“nirbija avastha”. Within the fifteen moon phases, there is also
another phase which is concealed inside all of them.
its name is “AmA”. It doesn’t have any sequences of growth or decay.
This is the candra kala which has received the award of honours by
the lord paramEswara, by implanting it on the top of his own head.
The luminescence of it is indescribable. We have to p rostrate and
surrender before that ‘durAdharsha’. 16. mantrapuShpam :-- Your
hrîdayam itself is the ‘punDarIka puShpam”. “punDarIkam akShNOtIti
puNDarIkAkShah”. Reflect deeply on that puNDarIkAkSha with that
‘puNDarIka puShpam’.Then you are performing pradakShiNa namaskAram
with an intention of visualizing yourself as the consistence of your
own body as well as the whole universe of fourteen worlds as the
virAt purusha yourself. With this exhilarating bliss of felicity you
are offering the “rAjOpacArAs” and “devOpacAras”, after submitting
your whole of praNa Sakti and saying, “I am you and you are I”
“AnandO brahma”, “aKaNDaika rasOsmyaham” SrIparasuKAnandanAdha
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/////////////////////////////////////////////////////////////// From
:--Krishnarao Lanka Subject :-- yajjAgrato
mAnya SrI dhananjay, sa prEma namaskAr. I am glad that you have
rested so much of confidence upon me in explaining the meaning of the
SlOka, But in fact, I am not apundit in Sanskrit nor a scholar in
English, either to understand or express out what actually I
understand. However, I will try my best to satisfy your belief upon
my knowledge, which every thing is only my guru`s grace
The SlOka, you have quoted has got so many different 'pAThAntara
BhEdA's and in my opinion, almost a scrambled version. In our area it
is being read as, "yaj jAgratO dUramudEti daivam, tadu suptasya
tathaiva Eti, dUrangamam jyOtiShAm jyOtir Ekam, tan mE manah Siva
sankalpam astu ||" Any way, I wonder how you have chosen to select
this mantra? Unless one has got the meticulous knowledge upon so many
subjects, such a doubt will not so easily arise about the ambiguity
of this mantra at all. Any way, I will present my opinion only as a
gesture of friendship and exchange of my view point. The meaning as I
understand is: –- The very purport of the mantra is "*tan mE manah
Siva sankalpam astu"* *"samyak kalpyatE anEnEti sankalpah" —"sankalpah
karma mAnasam" "kluptau" *by this we can clearly substantiate
"*kalpanam*" "*kalpatE praBhavati jagannASAyEti kalpah" "kRÎ pU
sAmardhyE" = *capable of dissolving/ destructing the worldly concern
sankalpam at large is to dissolve /or destroy the perceptible worldly
concern. *"siva sankalpam" *means---
" *SinOti tanU karOti iti Sivam" – ("SI~ng niSAnE" = "SI~ng swapnE")*
*"Sivah SAmyati paramAnanda rUpatwAt nirAkArO BhavatIti Sivah* Here
'Ananda'means dissolution (sat- cit- Ananda = to create, sustain and
dissolve (sRîShti, sthiti, samhAra) 'paramAnanda' means mahA
samhAram (total dissolution) Withdrawing all the extensions that
appear like the infinitely endless universe with all the living and
nonliving objects and 33 crores of deities including 'brahmA, viShNu
and mahESwara', into the original state of the last visible state and
also to the first invisible state which is called as "Siva".
*"prapancOpaSamam SAntam Sivam adwayam"* This is also called "turIya
avastha". . "avasthA traya BhAvaaBhAa sAkShi chaitanyam". The
witnessing chaitanyam of the existence and non-existence of the three
avasthAs Viz., jAgrat swapna and suShupti at the same time, is called
that turIya avastha. Is it possible to witness all the avasthAs at a
time? Existence and nonexistence!! For this, srIvidyA gives the
solution with the help of a mantra sAdhana. How is it? Every mantra
will have three "KhaNDA"s and the nadA of the mantra will also extend
forth in the naqme of "turIya KhaNDa".(A+U+M +nAdA).
It also contains six a.ngAs. (ShaDa.ngAs). The first Khanda is being
observed in the jAgrat avasthA. the second one in the swapna avastha
and with the third Khanda he is drifting into the suShupti and from
there he is attaing the so called turIya avastha with the help of the
nAdA. All this process of meditation is narrated picturesquely in
this mantra as— "yajjAgrato dUram udEti daivam" = While reciting the
first Khanda of the mantra, the swapna avasthA with its imaginary
image of the deity is rising (like the sun) for the second Khanda.
"tadu suptasya tathaivEti dUrangamam" —From the Swapna avasthA the
mantra/the kundalini while burrowing through the *"indra yOni"*
(which is lying behind the uvala) with the help of the first half of
the third KhanDA of the mantra to submerge in the suShupti avasthA,
and very soon when it enters into the suShupti avasthA, th e
individual will not have his control over the mantra, but it will be
involuntarily carried upwards through the mUrthanya nADi, towards the
bindu and mahAbindu which is appearing at a far off distence glowing
like a "jyOtiShAm jyOtirEkam" In this way the same jyOti, if one
sincerely efforts to see, it appears with gross form, and also it
will take him to the real form of Siva paramAtmA. "Siva j~nAna
pradAyini"
With regards to your second question, I agree with you that the self
and the mind are one and the same. The physical body of an individual
is in reality the embodiment of the mind only. The mind itself taking
the form of the physical body, extrovertly looks at the world and
fabricates many numerous desires and experiences the pains and
pleasures in return. But when it turns inwards and becomes introvert,
the whole of the universe will get vanished and it becomes one with
the AtmA. Only the Siva sankalpam remains. Then the mind in the name
of AtmA remains alone. "EkamEvA advitIyam brahma". In this way " manO
brahmEtyupAsIta" Yours in the service of the devine mother,
krishnarao
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From: - SriparasuKAnandanAtha, Subject pancAkSharI mantram:- Priya
mahAsayah, “OmkAravadanA dEvI vayakAra BhujadwayI | SikAra dEha
madhyA ca namahkAra pada dwayI | pancAkSharI parA vidyA sa tArA
lingarUpiNI | Siva mantrABhidA SaivI mamAngE supratiShTitA ||” This
is one SlOkam addressed in the name of dEvI (who is not at all
different from Siva), whose name is “pancAkSharI parA vidyA”. The
term ‘vdya’ is generally used for the mantras of feminine deities and
the term ‘manu’ is applied for masculine deities. So, her name is
“pancAkSharI parA vidyA”. ParA because, it is an outwardly inverted
order of Siva. pancAkShari because it is a vidya consistent of five
divisions, akAra, ukAra, makAra, nAda and kalA, all are one and the
same through out in structure or composition All the above five
alphabets are pronounced unitedly together as a single letter “Om”.
In total, her face is ‘praNavam’(OmkAra vadanA). She is “tArA”, which
means ‘praNavam’=OmkAra. It is just like a perfect boat with which we
can cross the ocean of births and deaths.A flash in the memor y of
paramaSiva causing a noise as “ah”, reverberated in a space in
himself as “aham” (I consciousness), and formulated into a logo. It
contains both sabda and artha in itself. All the fourteen worlds of
the “artha” factor, and all the vEdas, all the purAN As, all the
itihAsas, and every kind of literature of the “sabda” factor are
residing in it in a nonduel unity. This is the personification of the
abstract Siva himself.
She is “lingarUpiNi”. The word ‘linga’ denotes to the body without
the five sense organs. This indicates ‘swapnAvastha’, which
figuratively indicates the object which actually not present before
us. Our BhavanAs are the creators of such objects. We all think that
all our wishes are so good and that they are all our benefactors. For
every such unit of good thoughts we attribute a form and name of
certain god or dEvata and we will visualize that form in our mind and
also in our dreamy state. We consider such good thoughts as divine
because we believe that dEvatAs are good ones and that they always do
good for us. So this BhAvana avastha (swapna avastha) is divine,
which we believe do good for us. That goodness will not be other than
taking us to our own abode, ie., mOkSha. Or, the place for which we
all have to reach to find out the Siva swarUp am. “mananAt trAyatE iti
mantrah” This protects and guides us to reach ‘Siva’ the ultimate
goal. So this praNavam has been rewarded with the name of “Siva
mantrABhida”. This is “SaivI”, the wife of Siva, ie., ‘umA’, which is
an another form of “aum”. This is his spouse or better half. She is
his Sakti. She is his manifestation in a visible state. She is the
expanded form from him like a pseudopodia. S he is “namahkAra pada
dwayI”. This indicates that we should have the footing of the basic
realization that I am (“na+mah”, mah=mortal being and na=not) not a
mortal being; but “SikAra dEha madhyA”; ‘deha madhyA’ is our own self
and SikAra is Siva according to EkAkSharI niGantu. So all this says,
that before starting any efforts for obtaining the liberation, we
must realize ourselves that we must put aside the body consciousness
(dEhAtma BhAvana) and be cognizant of our real self is the almighty.
The devotee is praying her to be implanted in his body structure as
‘vakAra’in his right hand in the form of nectar; having ‘varada
mudra’ and ‘yakAra’ in his left hand in the form of the mighty
strength of vAyudEva, showing ‘aBhaya mudra’. By these two mudras he
is attaining the divine form, and he himself becoming the dEvatA. I
think this kind of decisive determination should always be preceded
with every single chanting of the mantra. I may be pardoned if I am
exceeding any limits in the analysis of the SlOka.
krishnarao
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1. ucchiShta gaNapati upAsana /pUjA procedure
2. yogic secrets of Radha and krishna
3. Who is neela devi
4. The marriage of Siva and Sakti
5. The secret of all secrets+++
6. A spectacular SlOka
7. about SrIcakrAs
8. kirItam vyrincam parihara
9. simhasanESwari
10.aShtAra cakra
11. taruNa taraNi
12. "muKam bindum kRîtwA..."
13.What is common in adwaita and SAktaadwaita
14.examples for the upAsaka
15.The meaning of sandhya
16. concentration
17. Siva/Ajna
18. Bhakti vikArAs
19.ShODaSOpacara pUjA
20.yajjAgrato
21.pancAkSharI mantram

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ucchiShta gaNapati upAsana /pUjA procedure

simhAsanESwari From :-lanka.krishnarao@gmail.com Subject :-

From :-- SrIparasuKAnandanatha (krishnarao) Subject :-- ShODaSOpacAra

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