MAY 2010
SRIVIDYAA—SRI LALITAA AND BAALAA TRIPURAA
(DISCOURSE BY N.R. SRINIVASAN)
Every Hindu Deity has three modes of expression or manifestation. These are: the Moorti, the Yantra and the Mantra. Moorti is the three dimensional form which is sculptured as icon. Yantra is a two dimensional geometric pattern which can be drawn. Mantra is the sound form or the thought form which can be chanted in contemplation. The deity is usually invoked with a Dhyaanasloka, in which the form of the deity which is dealt with greater details in the icon is called upon in the verse chanted in the beginning of meditation.
Indian iconography constituted Prathimaa, Yantra and Mantra. The Yantra was painted in bright colors. Sakta cults as well as Vajrayaana aspect of Buddhism made extensive use of colorful Mandalas (circles). In due course they became line drawings (kolam or Rangoli pattern) and as a rule they were inscribed in a metallic sheet or drawn on paper. The inner spaces of these diagrams were filled with appropriate seed syllable Mantras (Beeja Mantra) and consecrated for Taantric form of worship. The worship rituals would involve articulation of the relevant Mantras. In Vidyaa both Yantra and Mantra are employed for worship. Occasionally the stone or metallic icons are installed on such Yantras with the supposition that the icon would acquire greater power.
The Yantra and mantra form the Taantric form of worship. The sacred mantra when administered by a competent Guru and repeated with intense faith and devotion is capable of revealing the form of the deity by appropriate vibrations in the divine atmosphere that pervades everything including the body and mind of the devotee chanting the Mantra. Yantra is the geometric abode of the deity. When properly drawn and consecrated, it gets charged as it were binding the contemplated deity to the geometric figure. There are individual Yantras specific for each deity amongst which Srichakra of Sri Lalitaa is the most popular and in vogue. Srichakra is used for permanent worship either in the form of two dimensional engraved figure or in the form of three dimensional embossed figure of Meru.
The present discourse deals with the Tantric worship of Sri Lalitaa and Sri Baalaa Tripuri by Mantras and their significance. The Mantra is so called because the words contained in it help manana (chanting with devotion) which in turn protects (traanana) the individual who employs it for meditation. Srividyaa is Mantra form of Upaasana or meditation.
Vidyaa is an aspect Mother-goddess (Sridevi). The Tantric form of worship mentions ten Mother-goddesses who are identified with different sacred sound patterns and their symbolisms. They are Kaali, Taaraa, Shodasahi, Bhuvanesvari, Bhairavi, Chinna Mastaa, Dhoomavati, Maatangi, Kamalaa and Bagalamukhee. The first two of these are Mahaavidyaas. The next five are Vidyaas, the last three are Siddha Vidyaas. The first group of Vidyaas is meant for spiritually advanced devotees; the second group for most of the devotees; and the third is for devotees intent on acquiring power and influence.
The Third dealing with Shodashi is known as Srividya and is directed towards Mother-goddess Sri Lalitaa. This is called Shodasi because of the 16 syllables Mantra that is employed in worshipping her. Normally it is called Panchadasi (15 syllables) Mantra but with the addition of 'Sree' it becomes Shodasi or 16 Syllables.
This Vidyaa is a peculiar arrangement of syllables or letters consisting of vowels and consonants in three tiers which signifies thirty-six (in Panchadasi) or thirty-seven principles in Shodasi pattern. This is the verbal formation of the visual Srichakra. Mother-goddess signifies three powers that confirm the presence—the power of Cognition (Jnaana Sakti); the power of Action (Kriyaa Sakti); and the power of Intention (Icchaa Sakti). She symbolizes three fields, three types and three parts. Hence she is called Tripuraa. The geometric figure of triangle is symbolic of these.
Tripuraa trividhaa devee brahma-vishnav-eesaaroopinee | Jnaanasaktih kriyaasaktih icchaasaktyaatmikaa priye ||
There are several Mantras connected with Sri- Vidyaa. The two that are used in present day worship are:
- Kaadavidyaa—the Mantra commencing with Ka: ka ae ee la | hreem
ha sa ka ha la | hreem
sa ka la | hreem\
This tradition has been promulgated by Eros (Kaama)—its teachers are Paramasiva, Durvaasa, Hayagrieva and Agastya.
- Haadividya—the Mantra commencing with Ha: ha sa ka la | hreemha sa ka ha la | hreemsa ka la | hreem
The second tradition
goes to Lopaamudra, wife of Agastya and was prevalent in Kerala. Tradition 1) is earliest and considered more important.
goes to Lopaamudra, wife of Agastya and was prevalent in Kerala. Tradition 1) is earliest and considered more important.
[ The significance of various syllables in 1) above are as follows: Kaamah (Eros=ka; Yonih (source)=ae; Kamalaa (Goddess)=ee; Vajrapaani(Indra)=la; Guha (Skanda)=hreem; ha sa=saha; Maatarisvaa (air)=ka; Abhram (sky)=ha; Indra=la; again Guha=hreem; sakala=sa ka la; Maaya=hreem. Lalitaa Trisati is the main text of the Kaadi tradition, and is said to have been derived from Devayatharvaseersha of Atharva Veda]
The Mantras above are in three groups known as peaks or sections (Kootas or Khandas). The syllables in the Mantras are the same except the order is changed a little. The Kaadi version has seven letters ka, ae, ee, la, hreem, ha, sa, not counting the syllables that are repeated. The Haadi version has only five letters—ha, sa, ka, la, hreem. Ka, ae, ee, la | hreem underlines the benevolent (Saatvic) aspect of the Mother-goddess. Sa, ka, la, hreem | represents the dynamic action (raajasic) aspect of Mother-goddess. Ha, sa, ka, ha, la | hreem emphasizes ignorance oriented or malevolent (Taamasic) aspect of Mother goddess. Kadaa mantra which begins with ka and saatvic in nature is therefore given more importance.
The letter KA represents kaama, the cosmic urge to find satisfaction or denotes Brahma, the Creator. AE stands for the feminine aspect of Ka that is Kameswari or Lakshmi. The symbol AE in Sanskrit almost resembles a triangle and therefore stands for Mother-Goddess. The central point (bindu enclosed in a triangle in Srichakra) which signifies KA followed AE in Sanskrit symbolizes the union of Siva and Sakti, which is responsible for the creation, preservation and dissolution of the phenomenol world. The letter EE stands for Earth (Kshiti). The letter LA comes three times, signifying three worlds. The seed syllable (Beejaakshara) HREEM is sacred syllable like Om and represents Mother-Goddess herself.
The same seed syllable is repeated three times at the end of the first, second and third units. The employment of Hreem at the joints transforms them as the tie-word or knot (granthi). That is why they are called Brahmagranthi, Vishnugranthi and Rudraganthi (like the knots of the sacred thread with three knots worn during Upanayana ceremony). The three knots are representative of three cosmic powers: Agni (Fire); Soorya (Sun); and Chandra (Moon): "Trikhandam maatrikaachakram soma-soorya-analaatmakaam". Therefore these are sometimes called Somakhaanda, Sooryakhaanda and Agnikhaanda. They also symbolize the three Gods, Brahma the Creator, Vishnu the Preserver and Rudra the Destroyer; the three human values Dharma (life according to the Universal Divine Law), Artha-Kaama (wealth and pleasure) and Moksha (the final freedom from phenomenal involvement); the three Vedas—Rigveda, Yajurveda and Samaveda; the three important Chandas (meters)—Gaayatri, Trishtup and Jagati.
Each of these units has its own characteristic and collective syllable--Aim for the first; Kleem for the second; and Sauh for the third, the three together constitute the second-body of the Mother-Goddess. Hence Gayatri Mantra for Tripura-Sundari runs as follows:
"Aim Tripraa-devyai vidmahe | Kleem kaameswaryai cha dheemahi |
Sauh tannah klinna prachoedayaat ||
[Aim=the head of the Mother-Goddess; Kleem=her body from neck to waist; Sauh=her body below the waist].
There are many derivative deities from Srividyaa. Three deities are regarded as necessary adjuncts to Srichakra (tripuraa trividhaa devee). They help the devotee in his endeavor, while worshipping Yantra. These deities have their own Yantras. They also receive individual worship as independent divinities, although they are retinue spirits. The most important of them is called Baala Tripuraa Sundaree.
Baalaa Tripuraa Sundaree is presumed to be young maiden, Jagatritaaya-Mohini or as a girl of sixteen, Dhodasi, the mother Goddess in her juvenile condition. It is easier to approach Mother-Goddess through her young retinue Baalaa than to approach Srichakra directly. We are accustomed to pamper by Bhakti-worship dieities Baala Murugan (Kandan), Baala Ganesha, Baala Krishna, Vatapatrasaayee and others. Baalaa's Mantra of three syllables (Trayaaksharee), namely Aim, Kleem, and Sauh is widely employed in the worship of Mother-Goddess and the fifteen syllables Panchadasi is considered as an evolution of the three syllables. These three syllables work as units or Kootas. Combining them together with Panchadasi the full Mantra for Panchadasi runs as follows:
"Aim | ka ae ee la hreem | kleem, \ ha sa ka ha la hreem | Sauh | sa ka la hreem ||
The Gayatri Mantra of Sri Lalita of Srividyaa is:
"Aim Tripuraadevee vidmahe | Kleem Kaameswaree cha dheemahi | Sauh tannah klinnaa prachoedayaat"
Aim, the first syllable is the Vaagbhaava, the seed (Beeja) of the formula. It represents Desire (Icchaa); Kleem, the second syllable represents Knowledge (Jnaana); and Sauh represents Action (Kriyaa). Dakshinamoorti, (the cognition oriented form of Siva) is the sage (Rishi) who is the author of this Mantra. The meter (Chandas) used in this Mantra is Pankti. The deity of the Mantra Aim, Kleem, Sauh is Sri Baalaa. Every sacred Mantra has a Rishi, a meter and a Devataa(deity). The purpose of the Mantra is to attain literary skill and Jnaana (Knowledge), conquer the evil forces, avoid premature death and to obtain prosperity.
Baalaa is described as a form of Vishnu who took the form of the daughter of Lalitaambika according to Aaditya Puraana. She has the form exactly like her mother in all details and is evergreen being nine years old always. She is the source of all learning and wisdom.
The central triangle is the seat of Baalaa. This is feminine and inscribed with the Beejamantra (seed syllable Mantra) Aim. The bottom triangle is also feminine with the next syllable Kleem and to its right is masculine with the third syllable Suah. The Mantra of Baalaa is repeated in the same manner on the other triangles. The Yantra of Baalaa is a shortened form of Srichakra, consisting of nine triangles formed by comingling of three triangles (two of Sakti and One of Siva). It is a youth version of Sri-vidyaa. The nine corners (nava Yonis) representing nine triangles are enclosed within eight lotus petals. Of the nine triangles three are masculine and six are feminine. The three male triangles will have the male Mantra Suah. The six other triangles will have the other two feminine Mantras. The eight petals represent the eight Sakti Pithas: these are Kaamaroopa, Malaya, Kollagiri, Chauhaara, Kulaantaka, Jaalandhara, Oddiyaana and Koddha. These petals carry the Gayatri version of Mantra of Baalaa: "Kleem tripuraadevi vidmahe | Kaameswari Dheemahi | tannah klinnaa prachoedayaat ||"
The whole pattern is enclosed within a square on which another square is re-imposed so as to form an eight cornered geometric figure. These corners are guarded by eight divinities; Vetaala, Agni Jihvaa, Kalaantaka, Kaapaalin, Ekapaada, Bheemaroopa, Malaya and Haatakesvara. The Guardians of the eight directions, namely Ashta Dikpaalakas (Indra, Yama, Eesaana etc.), are also located on the cardinal points.
Baalaa idols are seen with three eyes, adorned with Crescent Moon, youthful, vivacious, brilliant like the morning Sun (Aruna), wearing red clothes, seated upon a pink lotus and holding in her hands rosary and staff. She is also seen with hands carrying goad, noose, book and rosary as described in another Dhyaana Sloka.
Baalaas's Dhyana Sloka (hymn for meditation) incorporating the above descriptions runs as follows:
"Raktaambaraam chandrakalaavatamsaam samudyad-aadityanibhaam trinaetraam | Vidyaa-kshaamaa-laabha-yadaama-hastaam dhyaayaami baalaam arunaambuja-sthaanam ||
"Paasaankusau pustakamakshasootram karairdadhaanaa sakalaa maraarchya Raktaa trinetraa sasisekharaeyam dhyeyaakhilairyaa tripuraatra baalaa ||
Baalaa Mantra has several variants. These are:
- Hreem kleem h-sauh (3syllbles)
- Aim kleem sauh kleem aim
- Sreem kleem hreem aim kleem sauh hreem kleem sreem (9)
- Aim kleem sauh baalaa tripurae swaahaa (10)
- Aim kleem h-sauh baalaa tripure siddhim dehi namah (14)
- Hreem hreem hreem prodhatripure aarogyam-aisvaryam dehi swaahaa
- Hreem sreem kleem tripuraa madane sarvam subham saadhaya swaahaa
- Hreem sreem kleem paraapare tripure sarvepsitam saadhaya swaahaa
The second attendant deity is Mantrini (councilor to the Mother-Goddess), wisdom personified. She is also called Shyaamalaa (dark in complexion), as well as Maatangi in her capacity to function like the gateway to Mother–Goddess. Her mantra is: "Aim kleem sauh aum hreem sreem am || or "Hreem, sreem kleem aim" She holds Veenaa in one hand and a bowl of liquor (symbolic of liberating bliss born out of wisdom) in the other. She is also known as Sampatpradaa-Bhairavi, one who brings all prosperity.
The third divinity is Danda-Naathaa, Commander-in-chief of the Mother-Goddess. She represents the mighty power of the Mother-Goddess. She is also called Varaahee, as she is hog-faced like Koormaavataara of Vishnu. She destroys the evil forces that come in the way of devotees who are seeking shelter of Sri Vidyaa. Her Mantra is: "Aim glaum aim om namoe bhagavati vaartaali vaaraahi varaahamukhi" or "S-haim sa ka la hreem s-hrauh". She is depicted as eight armed and three eyed woman with a hog-face, seated under a Palmyra tree and a trusted lieutenant of Mother-Goddess (Devee-chitta-anusaarinee). She is recognized as devotee's strength in this form and so called Chaitanya-Bhairavi.
The Taantric form of worship is of three kinds. The best is what is followed by fire rituals and oblations with sanctified materials. The first kind of Lalitaa worship is very ritualistic and elaborate in the Taantric tradition. The second type is devoid of fire rituals done according to the place and time. The third, least meritorious is what is done only with flowers.
Dhyaana or meditation is also of two kinds: Contemplation on some form of Divinity (saroopa) or the contemplation on the Divinity without form (aroopa). The first one is easier for most of the people than the second one. Contemplation devoid of form is to focus attention on Divinity beyond speech and mind, all pervading and un-manifest and altogether indeterminate. This is accomplished only by the adepts of high order who go into a trance during meditation. This has the ability to achieve immediately the desired results and accomplish the goal. One can however start with the former and progress towards the formless form of meditation. Worship in both cases involves thoughts, feelings, concepts and imagery known as Maanasa Pooja (mental worship) and does not need materials or bodily actions. In this the Guru must be contemplated upon as if he is sitting before you and guiding you before the deity. When the Japa (meditation) is done, it is almost like a Yoga accomplishment. The important part is to contemplate on the identity of the Deity (Devataa) of the Mantra on the verbal form of the Mantra itself. (For an elaborate description of Japayoga please refer to my earlier discourse. on the subject).
Chanting of the Mantras with correct intonations is a great spiritual discipline. These Mantras are from ancient stages and are of divine origin for these sages were in constant touch with Brahman. Namaavalis (multiple description of the deity) and Slokas which we also employ with reverence during pooja (worship) help additionally. "Yastu vijnaanavaan bhavati samanaskah sadaa suchih | sa tu tatpadamaapnoeti yasmaat bhooyoe na jaayate" says Kathoepanishad—He who is endowed with discriminating intellect and has his mind purified by various disciplines and who remains always pure attains the highest goal from where he will not be reborn. He will be blessed with eternal peace and happiness.
We must offer our prayers through these sacred Mantras to Mother-Goddess, primordial energy. Through steady practice the habit would be formed. The holy vibrations of Mantras chanting during the Homas have immense purifying effect as you recently experienced during the annual day celebrations of the temple. Such participations will help us to tune with cosmic vibrations. It is also the means to feel the contact between our finite consciousness and the infinite consciousness. We must therefore strive hard to achieve this divine touch called Brahma-sparsam.
We often here these Mantras are sacred and secret. They are sacred because they originated from divine sages. These sages were the only Brahmanas during the Vedic period headed by Brahma for they were in constant touch with Brahman. These were kept away from humans and needed revelation with sincere approach and understanding. Therefore they remained secret to humans. These were revealed orally to those who approached these sages with reverence and faith. Thus it got transmitted to us. Now-a-days these are available in printed form and are wide spread through computer gurus. Often they lack proper explanation of these Mantras and they miss the Vedic vibration just as my discourse. Of course there are few which are very authentic and wellk explained. We have to choose the right one. But it is proper to get initiated to your choice Mantra from a learned Guru with proper tuning, full understanding of their meaning and significance for a proper divine approach. Otherwise they end up as literary pieces or alphabets or parrot chanting. Probably for migrants like us only alternative open is to actively and devotedly participate in the Homas and Yajnas conducted employing these mantras as well as special worships periodically conducted in Hindu Temples by learned and experienced priests and derive their benefits by regular meditational practice at homes with devotion and dedication. This could be followed by chanting Lalitaa sahasranaamam or Lalitaa Trisati and also chanting Lalitaa Namaavali in archana form of worship. The sacred mantra of the deity of personal choice could be meditated upon regularly everyday 28, 108, 300 or 1008 times as per convenience and as time permits.
This discourse for the Vedanta Class at Sri Ganesha Temple, Nashville, TN, has been prepared by suitably extracting, abridging and editing texts from the following publications which are gratefully acknowledged:
- Prof. S.K. Ramachandra Rao, Vidyaa-Kosa, Sri Satguru Publications, Delhi, India.
- Swami Devcarupananda, Sri Ramakrishna Math, Mumbai, India.
- Swami Harshananda, Sri ramkrishna Math, Mylapore, Chennai, India.
- S.K.Ramachandra Rao, Indian Temple Traditions, Kalpataru Research Academy, Sharada Peetham, Bangalore, India
APPENDICES
(Description of Srichakra as
given by Wikipedia)
The Sri Yantra ("sacred instrument") or Sri Chakra ("sacred wheel") or
Mahameru is a yantra formed
by nine interlocking triangles that surround and radiate out from the central (bindu) point, the junction point between the
physical universe and its un-manifest source. It represents the goddess in her
form of Shri Lalita or Tripura
Sundari, "the beauty of the three worlds (Heaven, Earth, Netherworlds)".
The worship of the Sri Chakra is central to the Shri
Vidya system of Hindu worship. Four isosceles triangles with the
apices upwards, representing Shiva or the
Masculine. Five isosceles triangles with the apices downward, symbolizing
female embodiment Shakti. Thus
the Sri Yantra also represents the union of Masculine and Feminine Divine. Because
it is composed of nine triangles, it is known as the Navayoni Chakra. These
nine triangles are of various sizes and intersect with one another. In the
middle is the power point (bindu), visualizing the highest, the invisible,
elusive center from which the entire figure and the cosmos expand. The
triangles are enclosed by two rows of (8 and 16) petals, representing the lotus
of creation and reproductive vital force. The broken lines of the outer frame
denote the figure to be a sanctuary with four openings to the regions of the
universe"
Together
the nine triangles are interlaced in such a way as to form 43 smaller triangles
in a web symbolic of the entire cosmos or a womb symbolic of creation. Together
they express Advaita or non-duality. This is
surrounded by a lotus of eight petals, a lotus of sixteen petals, and an earth
square resembling a temple with four doors. The
various deities residing in the nine layers of the Sri Yantra are described in
the Devi Khadgamala Mantra.
The Shri
Chakra is also known as the nav
chakra because it can also be
seen as having nine levels. Each level corresponds to a mudra, a yogini, and a
specific form of the deity Tripura
Sundari along
with her mantra. These
levels starting from the outside or bottom layer are:
1.
Trailokya Mohan or Bhupar,
a square of three lines with four portals
2.
Sarva Aasa Paripurak, a
sixteen-petal lotus
3.
Sarva Sankshobahan, an eight-petal
lotus
4.
Sarva Saubhagyadayak,
composed of fourteen small triangles
5.
Sara Arthasadhak,
composed of ten small triangles
6.
Sarva Rakshakar,
composed of ten small triangles
7.
Sarva Rogahar,
composed of eight small triangles
8.
Sarva Siddhiprada,
composed of 1 small triangle
Sarva
Anandamay, composed of a point or bindu
The Sri
Chakra (called the Shri Yantra) is the symbol of Hindu
tantra, which is based on the Hindu philosophy of Kashmir
Shaivism. The Sri Yantra is the object of devotion in Sri Vidya.
Sri
Chakra, popularly mistaken to be a symbol of Lakshmi, is actually a
representation of Lalita Mahatripurasundari, an aspect of Parvati Devi. Shri does not mean Wealth in this context.
The term 'Shri' is used to denote the reverence to be given to this holy
Yantra. The prefix 'Shri' denotes that the Yantra is auspicious, beneficent,
salutary, benign and conducive to prosperity. The Shri Chakra is often referred
as the Chakra Raja which means King of all Chakra which makes it a supreme instrument in
the path of spiritual advancement.
BRAHMACHAKRA
IN SVETASVATAARA UPANISHAD
Tameka
nemim trivvritam shodasaanaam sataardhaaram vimsatipratyaarabhih |
Ashatakaih
shadbhih viswaroopaikapaasam trimaarga bhedam dwinimittaikamoham ||
They
realized Him to be of a form of the wheel, having one rim, having three
constituents. Having sixteen ends,
having fifty spokes, having twenty middle spokes, having six groups of eight
each, having one bond of
the cosmic form, having the difference of three paths, and having an illusion
that is the cause of two.
This is
called Brahma chakra. This is the earliest representation of Paramaatman
described as a wheel. This should have inspired later Tantric followers to
represent Sri Lalita (parvati) in Srichkra form in Kashmiri Kaula sampradaya.
Some people mistake Srichakra as representing Lakshmi because of the word Sri.
Sri here means auspicious. In a recent issue of Brahmavidya, the journal of the
Adyar Library, Subhash Kak argues that the description of Sri Yantra is
identical to the yantra described in the Śvetāśvatara Upanishad.
The one rim
of the wheel is Prakriti, the three constituents are three Gunas, Sattva, Rajas
and Tamas. The sixteen modifications of matter are the sixteen ends. The fifty
spokes are the fifty alphabets of Sanskrit and there are 12 months, five seasons,
the two Ayanas (Dakhinaayana and Uttaraayana) and one Samvatsara making them 20 mid spokes. The six groups of eight are:
I. Eight kinds of wealth—Animaa, Garimaa, Mahimaa, Laghimaa, Praapti,
Praakaamyam, Eaastvam and Vasitvam (Hanuman possessed such qualities). II. The eight directions such as East, West
etc. III. The Eight Dikpalakas (Lords of Directions) such as Indra, Varuna and
others. IV. The Eight forms of Prakriti (Nature) such as Prithavee, Aaapah,
Analah, Vaayuh, Aaakaasah, Mind, Intellect and Ego. V. The Eight kinds of gods
such as Brahma, Prajaapati, Devah, Gandharvah, Yakshaah, Raakshasaah, Pitarah
and Pisaachaah. VI. Eight kinds of Gunas—Apahatapaapmaa, vijarah, vimrityuh,
visokah, vijighatsu, Apipaasah, Satyasankalpah, Satyakaamah. Or, it
may mean one’s eight characteristics—Compaasion, Non- jealousy , Auspiciousness
etc.
For this
Brahmachakra, Virartpurusha is a fastening bond for keeping this steady. This
Viratpurusha is the prime tether. The three paths are Devayaana, Pitruyaana and
Kshudrajantubhavana (the illusion of the Aatman in the body).
--Ananta Rangacharya, Svetavatara
Upanishad, with the interpretation of Ranga Ramnuja.
Navaavaran Puja on Purnima Days
We often hear about important Hindu
worship and ritual on Purnima Days Like Pradosham, Ekadasi and
Sivaratri. North American Hindu Panchangam prescribes Navaavarana Poojaa on all Purnima days of
Hindu calendar like Satyanarayana Vrata. This worship is popular with Saiva and
Sakta traditions. Every Purnima, or Full Moon, a special Navaavarana Puja or Homam is performed in all except
Sri Vaishnava Temples. Everyone who attends is offered the sacred “visesharghyam” a mix of auspicious items
that is charged and energized with the divine energy of Sri Lalitambika
Devi. But
Chaitra Sukla Purnima is very important to Tamils who celebrate Panguni Uttiram
on this day of Divine Weddings. This is usually celebrated in Hindu temples of
America as a sectarian Vaishnava Festival directed to the Saint
Andal (Azhwar) whom they consider as an incarnation of Bhudevi, a consort
of Lord Vishnu who is at the background, prominence being given to Sridevi
(Lakshmi), Goddess of Wealth and worshiped on many days!
Most people can appreciate the
special beauty of the full moon. According to Sri Vidya, there is a uniquely auspicious energy
available to us on the full moon day, and so this day is especially good for
worshiping Sri Lalita Maha Tripurasundari Devi. In particular, it is highly
auspicious to perform Sri Chakra Puja.
In Temples, either
Navaavarana Sri Chakra Puja or Navaavarana Homam is performed on the full moon
day. “Navaavarana” comes from the Sanskrit “Nava” plus “aavarana.” This is
referring to nine enclosures, veils, or layers that are contained within the
sacred Sri Chakra design.
Each aavarana contains a
certain number of triangles, petals or lines that correspond to specific
aspects of Divine Mother’s powers of love, wisdom and pure consciousness. As we
proceed through each aavarana, we come closer to the central bindu, the source
of bliss and divine consciousness. Please refer to my detailed discourses on
the subject--Navaakshari and Tripura Sundari Homas and Sreechakra of Sri Lalita
and Brahmachakra of Parabrahman.
In the puja, we worship a
physical Sri Chakra, the Meru Chakra that has been installed in the main
sanctum. For Navaavarana Homam, the nine levels of Divinity with their
respective goddesses are invoked into the sacred homa fire, and appropriate
offerings are made.
When Navaavarana Puja or Homam
is performed on Purnima, the powerful energy of the full moon magnifies the
energy of the mantras and yantras, generating the divine vibrations of Sri
Lalita Devi. This is a uniquely nectar-like blessing from Divine Mother that
can only be experienced, not described.
Significance
of Worshipping a Sri Chakra
The Sri Chakra, or Sri Yantra,
is a specific pattern of triangles, circles and petals that is described
as the King of All Yantras. Sri Chakra worship is considered the highest
worship of Devi, and because it contains all deities and all divine potencies
within it, it brings every kind of blessing for physical and emotional health,
wealth, harmony in one’s relationships, and true spiritual progress.
Though some may feel that
physical puja is not helpful in advancing spirituality, it is expressly said by
experts that “The exquisitely beautiful form of the Sri Devi in the form of
Lalita can be experienced as appearing in the daharaakasa of the Sadhakasa
during this [Sri Chakra] puja.”
It has also been explained
that “The significance of Navaavarana Puja is the removal of the nine aavaranas
(veils) and attainment of the ecstatic experience of the inner consciousness”.
This highest consciousness, which can be experienced within, is signified by
the central dot, or bindu, within the Sri Chakra, where Divine Mother and Lord
Siva exist in an eternally undifferentiated state of absolute oneness and pure
bliss.
In truth, the worship of the
Sri Chakra is both an art and a science designed by divinely inspired sages;
its regular performance clears all obstacles, bestows all blessings, and
carries us inexorably towards the highest goal of oneness with the supreme
Goddess Sri Rajarajeswari Devi. Whether one performs the puja, witnesses it, or
just takes the sacred visesharghyam, one is sure to receive the most loving and
compassionate blessings of Sri Rajarajeswari Devi.
Soundarya
Lahari
va caraṇa
paṅkeruha-bhavaṃ
viriñciḥ sañcinvan viracayati lokā-navikalam |
vahatyenaṃ śauriḥ kathamapi sahasreṇa śirasāṃ
haraḥ saṅkṣud-yainaṃ bhajati bhasitoddhūḷa navidhim|| 2 ||
viriñciḥ sañcinvan viracayati lokā-navikalam |
vahatyenaṃ śauriḥ kathamapi sahasreṇa śirasāṃ
haraḥ saṅkṣud-yainaṃ bhajati bhasitoddhūḷa navidhim|| 2 ||
avidyānā-manta-stimira-mihira
dvīpanagarī
jaḍānāṃ caitanya-stabaka makaranda śrutijharī |
daridrāṇāṃ cintāmaṇi guṇanikā janmajaladhau
nimagnānāṃ daṃṣṭrā muraripu varāhasya bhavati|| 3 ||
jaḍānāṃ caitanya-stabaka makaranda śrutijharī |
daridrāṇāṃ cintāmaṇi guṇanikā janmajaladhau
nimagnānāṃ daṃṣṭrā muraripu varāhasya bhavati|| 3 ||
tvadanyaḥ
pāṇibhayā-mabhayavarado
daivatagaṇaḥ
tvamekā naivāsi prakaṭita-varabhītyabhinayā |
bhayāt trātuṃ dātuṃ phalamapi ca vāṃchāsamadhikaṃ
śaraṇye lokānāṃ tava hi caraṇāveva nipuṇau || 4 ||
tvamekā naivāsi prakaṭita-varabhītyabhinayā |
bhayāt trātuṃ dātuṃ phalamapi ca vāṃchāsamadhikaṃ
śaraṇye lokānāṃ tava hi caraṇāveva nipuṇau || 4 ||
haristvāmāradhya
praṇata-jana-saubhāgya-jananīṃ
purā nārī bhūtvā puraripumapi kṣobha manayat |
smaroஉpi tvāṃ natvā ratinayana-lehyena vapuṣā
munīnāmapyantaḥ prabhavati hi mohāya mahatām || 5 ||
purā nārī bhūtvā puraripumapi kṣobha manayat |
smaroஉpi tvāṃ natvā ratinayana-lehyena vapuṣā
munīnāmapyantaḥ prabhavati hi mohāya mahatām || 5 ||
dhanuḥ
pauṣpaṃ maurvī
madhukaramayī pañca
viśikhāḥ
vasantaḥ sāmanto malayamaru-dāyodhana-rathaḥ |
tathāpyekaḥ sarvaṃ himagirisute kāmapi kṛpāṃ
apāṅgātte labdhvā jagadida-manaṅgo vijayate || 6 ||
vasantaḥ sāmanto malayamaru-dāyodhana-rathaḥ |
tathāpyekaḥ sarvaṃ himagirisute kāmapi kṛpāṃ
apāṅgātte labdhvā jagadida-manaṅgo vijayate || 6 ||
kvaṇatkāñcī-dāmā
kari kalabha kumbha-stananatā
parikṣīṇā madhye pariṇata śaraccandra-vadanā |
dhanurbāṇān pāśaṃ sṛṇimapi dadhānā karatalaiḥ
purastā dāstāṃ naḥ puramathitu rāho-puruṣikā || 7 ||
parikṣīṇā madhye pariṇata śaraccandra-vadanā |
dhanurbāṇān pāśaṃ sṛṇimapi dadhānā karatalaiḥ
purastā dāstāṃ naḥ puramathitu rāho-puruṣikā || 7 ||
sudhāsindhormadhye
suraviṭa-pivāṭī-parivṛte
maṇidvīpe nīpo-pavanavati cintāmaṇi gṛhe |
śivakāre mañce paramaśiva-paryaṅka nilayām
bhajanti tvāṃ dhanyāḥ katicana cidānanda-laharīm || 8 ||
maṇidvīpe nīpo-pavanavati cintāmaṇi gṛhe |
śivakāre mañce paramaśiva-paryaṅka nilayām
bhajanti tvāṃ dhanyāḥ katicana cidānanda-laharīm || 8 ||
mahīṃ
mūlādhāre
kamapi maṇipūre hutavahaṃ
sthitaṃ svadhiṣṭāne hṛdi maruta-mākāśa-mupari |
manoஉpi bhrūmadhye sakalamapi bhitvā kulapathaṃ
sahasrāre padme sa harahasi patyā viharase || 9 ||
sthitaṃ svadhiṣṭāne hṛdi maruta-mākāśa-mupari |
manoஉpi bhrūmadhye sakalamapi bhitvā kulapathaṃ
sahasrāre padme sa harahasi patyā viharase || 9 ||
sudhādhārāsārai-ścaraṇayugalānta-rvigalitaiḥ
prapañcaṃ sinñntī punarapi rasāmnāya-mahasaḥ|
avāpya svāṃ bhūmiṃ bhujaganibha-madhyuṣṭa-valayaṃ
svamātmānaṃ kṛtvā svapiṣi kulakuṇḍe kuhariṇi || 10 ||
prapañcaṃ sinñntī punarapi rasāmnāya-mahasaḥ|
avāpya svāṃ bhūmiṃ bhujaganibha-madhyuṣṭa-valayaṃ
svamātmānaṃ kṛtvā svapiṣi kulakuṇḍe kuhariṇi || 10 ||
caturbhiḥ
śrīkaṇṭhaiḥ
śivayuvatibhiḥ
pañcabhipi
prabhinnābhiḥ śambhornavabhirapi mūlaprakṛtibhiḥ |
catuścatvāriṃśad-vasudala-kalāśc-trivalaya-
trirekhabhiḥ sārdhaṃ tava śaraṇakoṇāḥ pariṇatāḥ || 11 ||
prabhinnābhiḥ śambhornavabhirapi mūlaprakṛtibhiḥ |
catuścatvāriṃśad-vasudala-kalāśc-trivalaya-
trirekhabhiḥ sārdhaṃ tava śaraṇakoṇāḥ pariṇatāḥ || 11 ||
tvadīyaṃ
saundaryaṃ tuhinagirikanye tulayituṃ
kavīndrāḥ kalpante kathamapi viriñci-prabhṛtayaḥ |
yadālokautsukyā-damaralalanā yānti manasā
tapobhirduṣprāpāmapi giriśa-sāyujya-padavīm || 12 ||
kavīndrāḥ kalpante kathamapi viriñci-prabhṛtayaḥ |
yadālokautsukyā-damaralalanā yānti manasā
tapobhirduṣprāpāmapi giriśa-sāyujya-padavīm || 12 ||
naraṃ
varṣīyāṃsaṃ
nayanavirasaṃ narmasu jaḍaṃ
tavāpāṅgāloke patita-manudhāvanti śataśaḥ |
galadveṇībandhāḥ kucakalaśa-vistrista-sicayā
haṭāt truṭyatkāñyo vigalita-dukūlā yuvatayaḥ || 13 ||
tavāpāṅgāloke patita-manudhāvanti śataśaḥ |
galadveṇībandhāḥ kucakalaśa-vistrista-sicayā
haṭāt truṭyatkāñyo vigalita-dukūlā yuvatayaḥ || 13 ||
kṣitau
ṣaṭpañcāśad-dvisamadhika-pañcāśa-dudake
hutaśe dvāṣaṣṭi-ścaturadhika-pañcāśa-danile |
divi dviḥ ṣaṭ triṃśan manasi ca catuḥṣaṣṭiriti ye
mayūkhā-steṣā-mapyupari tava pādāmbuja-yugam || 14 ||
hutaśe dvāṣaṣṭi-ścaturadhika-pañcāśa-danile |
divi dviḥ ṣaṭ triṃśan manasi ca catuḥṣaṣṭiriti ye
mayūkhā-steṣā-mapyupari tava pādāmbuja-yugam || 14 ||
śarajjyotsnā
śuddhāṃ śaśiyuta-jaṭājūṭa-makuṭāṃ
vara-trāsa-trāṇa-sphaṭikaghuṭikā-pustaka-karām |
sakṛnna tvā natvā kathamiva satāṃ sannidadhate
madhu-kṣīra-drākṣā-madhurima-dhurīṇāḥ phaṇitayaḥ || 15 ||
vara-trāsa-trāṇa-sphaṭikaghuṭikā-pustaka-karām |
sakṛnna tvā natvā kathamiva satāṃ sannidadhate
madhu-kṣīra-drākṣā-madhurima-dhurīṇāḥ phaṇitayaḥ || 15 ||
kavīndrāṇāṃ cetaḥ kamalavana-bālātapa-ruciṃ
bhajante ye santaḥ katicidaruṇāmeva bhavatīm |
viriñci-preyasyā-staruṇatara-śrṛṅgara laharī-
gabhīrābhi-rvāgbhiḥ rvidadhati satāṃ rañjanamamī || 16 ||
bhajante ye santaḥ katicidaruṇāmeva bhavatīm |
viriñci-preyasyā-staruṇatara-śrṛṅgara laharī-
gabhīrābhi-rvāgbhiḥ rvidadhati satāṃ rañjanamamī || 16 ||
savitrībhi-rvācāṃ
caśi-maṇi śilā-bhaṅga
rucibhi-
rvaśinyadyābhi-stvāṃ saha janani sañcintayati yaḥ |
sa kartā kāvyānāṃ bhavati mahatāṃ bhaṅgirucibhi-
rvacobhi-rvāgdevī-vadana-kamalāmoda madhuraiḥ || 17 ||
rvaśinyadyābhi-stvāṃ saha janani sañcintayati yaḥ |
sa kartā kāvyānāṃ bhavati mahatāṃ bhaṅgirucibhi-
rvacobhi-rvāgdevī-vadana-kamalāmoda madhuraiḥ || 17 ||
tanucchāyābhiste
taruṇa-taraṇi-śrīsaraṇibhi-
rdivaṃ sarvā-murvī-maruṇimani magnāṃ smarati yaḥ |
bhavantyasya trasya-dvanahariṇa-śālīna-nayanāḥ
sahorvaśyā vaśyāḥ kati kati na gīrvāṇa-gaṇikāḥ || 18 ||
rdivaṃ sarvā-murvī-maruṇimani magnāṃ smarati yaḥ |
bhavantyasya trasya-dvanahariṇa-śālīna-nayanāḥ
sahorvaśyā vaśyāḥ kati kati na gīrvāṇa-gaṇikāḥ || 18 ||
mukhaṃ
binduṃ kṛtvā
kucayugamadha-stasya tadadho
harārdhaṃ dhyāyedyo haramahiṣi te manmathakalām |
sa sadyaḥ saṅkṣobhaṃ nayati vanitā ityatilaghu
trilokīmapyāśu bhramayati ravīndu-stanayugām || 19 ||
harārdhaṃ dhyāyedyo haramahiṣi te manmathakalām |
sa sadyaḥ saṅkṣobhaṃ nayati vanitā ityatilaghu
trilokīmapyāśu bhramayati ravīndu-stanayugām || 19 ||
kirantī-maṅgebhyaḥ
kiraṇa-nikurumbamṛtarasaṃ
hṛdi tvā mādhatte himakaraśilā-mūrtimiva yaḥ |
sa sarpāṇāṃ darpaṃ śamayati śakuntadhipa iva
jvarapluṣṭān dṛṣṭyā sukhayati sudhādhārasirayā || 20 ||
hṛdi tvā mādhatte himakaraśilā-mūrtimiva yaḥ |
sa sarpāṇāṃ darpaṃ śamayati śakuntadhipa iva
jvarapluṣṭān dṛṣṭyā sukhayati sudhādhārasirayā || 20 ||
taṭillekhā-tanvīṃ
tapana śaśi vaiśvānara
mayīṃ
niṣṇṇāṃ ṣaṇṇāmapyupari kamalānāṃ tava kalām |
mahāpadmātavyāṃ mṛdita-malamāyena manasā
mahāntaḥ paśyanto dadhati paramāhlāda-laharīm || 21 ||
niṣṇṇāṃ ṣaṇṇāmapyupari kamalānāṃ tava kalām |
mahāpadmātavyāṃ mṛdita-malamāyena manasā
mahāntaḥ paśyanto dadhati paramāhlāda-laharīm || 21 ||
bhavāni
tvaṃ dāse mayi vitara dṛṣṭiṃ sakaruṇāṃ
iti stotuṃ vāñchan kathayati bhavāni tvamiti yaḥ |
tadaiva tvaṃ tasmai diśasi nijasāyujya-padavīṃ
mukunda-bramhendra sphuṭa makuṭa nīrājitapadām || 22 ||
iti stotuṃ vāñchan kathayati bhavāni tvamiti yaḥ |
tadaiva tvaṃ tasmai diśasi nijasāyujya-padavīṃ
mukunda-bramhendra sphuṭa makuṭa nīrājitapadām || 22 ||
tvayā
hṛtvā vāmaṃ
vapu-raparitṛptena manasā
śarīrārdhaṃ śambho-raparamapi śaṅke hṛtamabhūt |
yadetat tvadrūpaṃ sakalamaruṇābhaṃ trinayanaṃ
kucābhyāmānamraṃ kuṭila-śaśicūḍāla-makuṭam || 23 ||
śarīrārdhaṃ śambho-raparamapi śaṅke hṛtamabhūt |
yadetat tvadrūpaṃ sakalamaruṇābhaṃ trinayanaṃ
kucābhyāmānamraṃ kuṭila-śaśicūḍāla-makuṭam || 23 ||
jagatsūte
dhātā hariravati rudraḥ
kṣapayate
tiraskurva-nnetat svamapi vapu-rīśa-stirayati |
sadā pūrvaḥ sarvaṃ tadida manugṛhṇāti ca śiva-
stavāṅñā malambya kṣaṇacalitayo rbhrūlatikayoḥ || 24 ||
tiraskurva-nnetat svamapi vapu-rīśa-stirayati |
sadā pūrvaḥ sarvaṃ tadida manugṛhṇāti ca śiva-
stavāṅñā malambya kṣaṇacalitayo rbhrūlatikayoḥ || 24 ||
trayāṇāṃ devānāṃ
triguṇa-janitānāṃ
tava śive
bhavet pūjā pūjā tava caraṇayo-ryā viracitā |
tathā hi tvatpādodvahana-maṇipīṭhasya nikaṭe
sthitā hyete-śaśvanmukulita karottaṃsa-makuṭāḥ || 25 ||
bhavet pūjā pūjā tava caraṇayo-ryā viracitā |
tathā hi tvatpādodvahana-maṇipīṭhasya nikaṭe
sthitā hyete-śaśvanmukulita karottaṃsa-makuṭāḥ || 25 ||
viriñciḥ
pañcatvaṃ vrajati harirāpnoti
viratiṃ
vināśaṃ kīnāśo bhajati dhanado yāti nidhanam |
vitandrī māhendrī-vitatirapi saṃmīlita-dṛśā
mahāsaṃhāreஉsmin viharati sati tvatpati rasau || 26 ||
vināśaṃ kīnāśo bhajati dhanado yāti nidhanam |
vitandrī māhendrī-vitatirapi saṃmīlita-dṛśā
mahāsaṃhāreஉsmin viharati sati tvatpati rasau || 26 ||
japo jalpaḥ
śilpaṃ sakalamapi mudrāviracanā
gatiḥ prādakṣiṇya-kramaṇa-maśanādyā huti-vidhiḥ |
praṇāmaḥ saṃveśaḥ sukhamakhila-mātmārpaṇa-dṛśā
saparyā paryāya-stava bhavatu yanme vilasitam || 27 ||
gatiḥ prādakṣiṇya-kramaṇa-maśanādyā huti-vidhiḥ |
praṇāmaḥ saṃveśaḥ sukhamakhila-mātmārpaṇa-dṛśā
saparyā paryāya-stava bhavatu yanme vilasitam || 27 ||
sudhāmapyāsvādya
prati-bhaya-jaramṛtyu-hariṇīṃ
vipadyante viśve vidhi-śatamakhādyā diviṣadaḥ |
karālaṃ yat kṣvelaṃ kabalitavataḥ kālakalanā
na śambhostanmūlaṃ tava janani tāṭaṅka mahimā || 28 ||
vipadyante viśve vidhi-śatamakhādyā diviṣadaḥ |
karālaṃ yat kṣvelaṃ kabalitavataḥ kālakalanā
na śambhostanmūlaṃ tava janani tāṭaṅka mahimā || 28 ||
kirīṭaṃ
vairiñcaṃ parihara puraḥ
kaiṭabhabhidaḥ
kaṭhore koṭhīre skalasi jahi jambhāri-makuṭam |
praṇamreṣveteṣu prasabha-mupayātasya bhavanaṃ
bhavasyabhyutthāne tava parijanokti-rvijayate || 29 ||
kaṭhore koṭhīre skalasi jahi jambhāri-makuṭam |
praṇamreṣveteṣu prasabha-mupayātasya bhavanaṃ
bhavasyabhyutthāne tava parijanokti-rvijayate || 29 ||
svadehodbhūtābhi-rghṛṇibhi-raṇimādyābhi-rabhito
niṣevye nitye tvā mahamiti sadā bhāvayati yaḥ |
kimāścaryaṃ tasya trinayana-samṛddhiṃ tṛṇayato
mahāsaṃvartāgni-rviracayati nīrājanavidhim || 30 ||
niṣevye nitye tvā mahamiti sadā bhāvayati yaḥ |
kimāścaryaṃ tasya trinayana-samṛddhiṃ tṛṇayato
mahāsaṃvartāgni-rviracayati nīrājanavidhim || 30 ||
catuḥ-ṣaṣṭayā
tantraiḥ sakala matisandhāya
bhuvanaṃ
sthitastattta-siddhi prasava paratantraiḥ paśupatiḥ |
punastva-nnirbandhā dakhila-puruṣārthaika ghaṭanā-
svatantraṃ te tantraṃ kṣititala mavātītara-didam || 31 ||
sthitastattta-siddhi prasava paratantraiḥ paśupatiḥ |
punastva-nnirbandhā dakhila-puruṣārthaika ghaṭanā-
svatantraṃ te tantraṃ kṣititala mavātītara-didam || 31 ||
śivaḥ
śaktiḥ kāmaḥ
kṣiti-ratha raviḥ śītakiraṇaḥ
smaro haṃsaḥ śakra-stadanu ca parā-māra-harayaḥ |
amī hṛllekhābhi-stisṛbhi-ravasāneṣu ghaṭitā
bhajante varṇāste tava janani nāmāvayavatām || 32 ||
smaro haṃsaḥ śakra-stadanu ca parā-māra-harayaḥ |
amī hṛllekhābhi-stisṛbhi-ravasāneṣu ghaṭitā
bhajante varṇāste tava janani nāmāvayavatām || 32 ||
smaraṃ
yoniṃ lakṣmīṃ
tritaya-mida-mādau tava mano
rnidhāyaike nitye niravadhi-mahābhoga-rasikāḥ |
bhajanti tvāṃ cintāmaṇi-guṇanibaddhākṣa-valayāḥ
śivāgnau juhvantaḥ surabhighṛta-dhārāhuti-śatai || 33 ||
rnidhāyaike nitye niravadhi-mahābhoga-rasikāḥ |
bhajanti tvāṃ cintāmaṇi-guṇanibaddhākṣa-valayāḥ
śivāgnau juhvantaḥ surabhighṛta-dhārāhuti-śatai || 33 ||
śarīraṃ
tvaṃ śambhoḥ
śaśi-mihira-vakṣoruha-yugaṃ
tavātmānaṃ manye bhagavati navātmāna-managham |
ataḥ śeṣaḥ śeṣītyaya-mubhaya-sādhāraṇatayā
sthitaḥ sambandho vāṃ samarasa-parānanda-parayoḥ || 34 ||
tavātmānaṃ manye bhagavati navātmāna-managham |
ataḥ śeṣaḥ śeṣītyaya-mubhaya-sādhāraṇatayā
sthitaḥ sambandho vāṃ samarasa-parānanda-parayoḥ || 34 ||
manastvaṃ
vyoma tvaṃ marudasi marutsārathi-rasi
tvamāpa-stvaṃ bhūmi-stvayi pariṇatāyāṃ na hi param |
tvameva svātmānaṃ pariṇmayituṃ viśva vapuṣā
cidānandākāraṃ śivayuvati bhāvena bibhṛṣe || 35 ||
tvamāpa-stvaṃ bhūmi-stvayi pariṇatāyāṃ na hi param |
tvameva svātmānaṃ pariṇmayituṃ viśva vapuṣā
cidānandākāraṃ śivayuvati bhāvena bibhṛṣe || 35 ||
tavāṅñacakrasthaṃ tapana-śaśi
koṭi-dyutidharaṃ
paraṃ śambhu vande parimilita-pārśvaṃ paracitā |
yamārādhyan bhaktyā ravi śaśi śucīnā-maviṣaye
nirāloke உloke nivasati hi bhāloka-bhuvane || 36 ||
paraṃ śambhu vande parimilita-pārśvaṃ paracitā |
yamārādhyan bhaktyā ravi śaśi śucīnā-maviṣaye
nirāloke உloke nivasati hi bhāloka-bhuvane || 36 ||
viśuddhau
te śuddhasphatika viśadaṃ
vyoma-janakaṃ
śivaṃ seve devīmapi śivasamāna-vyavasitām |
yayoḥ kāntyā yāntyāḥ śaśikiraṇ-sārūpyasaraṇe
vidhūtānta-rdhvāntā vilasati cakorīva jagatī || 37 ||
śivaṃ seve devīmapi śivasamāna-vyavasitām |
yayoḥ kāntyā yāntyāḥ śaśikiraṇ-sārūpyasaraṇe
vidhūtānta-rdhvāntā vilasati cakorīva jagatī || 37 ||
samunmīlat
saṃvitkamala-makarandaika-rasikaṃ
bhaje haṃsadvandvaṃ kimapi mahatāṃ mānasacaram |
yadālāpā-daṣṭādaśa-guṇita-vidyāpariṇatiḥ
yadādatte doṣād guṇa-makhila-madbhyaḥ paya iva || 38 ||
bhaje haṃsadvandvaṃ kimapi mahatāṃ mānasacaram |
yadālāpā-daṣṭādaśa-guṇita-vidyāpariṇatiḥ
yadādatte doṣād guṇa-makhila-madbhyaḥ paya iva || 38 ||
tava svādhiṣṭhāne
hutavaha-madhiṣṭhāya
nirataṃ
tamīḍe saṃvartaṃ janani mahatīṃ tāṃ ca samayām |
yadāloke lokān dahati mahasi krodha-kalite
dayārdrā yā dṛṣṭiḥ śiśira-mupacāraṃ racayati || 39 ||
tamīḍe saṃvartaṃ janani mahatīṃ tāṃ ca samayām |
yadāloke lokān dahati mahasi krodha-kalite
dayārdrā yā dṛṣṭiḥ śiśira-mupacāraṃ racayati || 39 ||
taṭitvantaṃ
śaktyā
timira-paripanthi-sphuraṇayā
sphura-nnā naratnābharaṇa-pariṇaddhendra-dhanuṣam |
tava śyāmaṃ meghaṃ kamapi maṇipūraika-śaraṇaṃ
niṣeve varṣantaṃ-haramihira-taptaṃ tribhuvanam || 40 ||
sphura-nnā naratnābharaṇa-pariṇaddhendra-dhanuṣam |
tava śyāmaṃ meghaṃ kamapi maṇipūraika-śaraṇaṃ
niṣeve varṣantaṃ-haramihira-taptaṃ tribhuvanam || 40 ||
tavādhāre
mūle saha samayayā
lāsyaparayā
navātmāna manye navarasa-mahātāṇḍava-naṭam |
ubhābhyā metābhyā-mudaya-vidhi muddiśya dayayā
sanāthābhyāṃ jaṅñe janaka jananīmat jagadidam || 41 ||
navātmāna manye navarasa-mahātāṇḍava-naṭam |
ubhābhyā metābhyā-mudaya-vidhi muddiśya dayayā
sanāthābhyāṃ jaṅñe janaka jananīmat jagadidam || 41 ||
dvitīya
bhāgaḥ –
saundarya laharī
gatai-rmāṇikyatvaṃ
gaganamaṇibhiḥ sāndraghaṭitaṃ
kirīṭaṃ te haimaṃ himagirisute kītayati yaḥ ||
sa nīḍeyacchāyā-cchuraṇa-śakalaṃ candra-śakalaṃ
dhanuḥ śaunāsīraṃ kimiti na nibadhnāti dhiṣaṇām || 42 ||
kirīṭaṃ te haimaṃ himagirisute kītayati yaḥ ||
sa nīḍeyacchāyā-cchuraṇa-śakalaṃ candra-śakalaṃ
dhanuḥ śaunāsīraṃ kimiti na nibadhnāti dhiṣaṇām || 42 ||
dhunotu dhvāntaṃ
na-stulita-dalitendīvara-vanaṃ
ghanasnigdha-ślakṣṇaṃ cikura nikurumbaṃ tava śive |
yadīyaṃ saurabhyaṃ sahaja-mupalabdhuṃ sumanaso
vasantyasmin manye balamathana vāṭī-viṭapinām || 43 ||
ghanasnigdha-ślakṣṇaṃ cikura nikurumbaṃ tava śive |
yadīyaṃ saurabhyaṃ sahaja-mupalabdhuṃ sumanaso
vasantyasmin manye balamathana vāṭī-viṭapinām || 43 ||
tanotu kṣemaṃ
na-stava vadanasaundaryalaharī
parīvāhasrotaḥ-saraṇiriva sīmantasaraṇiḥ|
vahantī- sindūraṃ prabalakabarī-bhāra-timira
dviṣāṃ bṛndai-rvandīkṛtameva navīnārka keraṇam || 44 ||
parīvāhasrotaḥ-saraṇiriva sīmantasaraṇiḥ|
vahantī- sindūraṃ prabalakabarī-bhāra-timira
dviṣāṃ bṛndai-rvandīkṛtameva navīnārka keraṇam || 44 ||
arālai
svābhāvyā-dalikalabha-saśrībhi
ralakaiḥ
parītaṃ te vaktraṃ parihasati paṅkeruharucim |
darasmere yasmin daśanaruci kiñjalka-rucire
sugandhau mādyanti smaradahana cakṣu-rmadhulihaḥ || 45 ||
parītaṃ te vaktraṃ parihasati paṅkeruharucim |
darasmere yasmin daśanaruci kiñjalka-rucire
sugandhau mādyanti smaradahana cakṣu-rmadhulihaḥ || 45 ||
lalāṭaṃ
lāvaṇya dyuti vimala-mābhāti
tava yat
dvitīyaṃ tanmanye makuṭaghaṭitaṃ candraśakalam |
viparyāsa-nyāsā dubhayamapi sambhūya ca mithaḥ
sudhālepasyūtiḥ pariṇamati rākā-himakaraḥ || 46 ||
dvitīyaṃ tanmanye makuṭaghaṭitaṃ candraśakalam |
viparyāsa-nyāsā dubhayamapi sambhūya ca mithaḥ
sudhālepasyūtiḥ pariṇamati rākā-himakaraḥ || 46 ||
bhruvau bhugne
kiñcidbhuvana-bhaya-bhaṅgavyasanini
tvadīye netrābhyāṃ madhukara-rucibhyāṃ dhṛtaguṇam |
dhanu rmanye savyetarakara gṛhītaṃ ratipateḥ
prakoṣṭe muṣṭau ca sthagayate nigūḍhāntara-mume || 47 ||
tvadīye netrābhyāṃ madhukara-rucibhyāṃ dhṛtaguṇam |
dhanu rmanye savyetarakara gṛhītaṃ ratipateḥ
prakoṣṭe muṣṭau ca sthagayate nigūḍhāntara-mume || 47 ||
ahaḥ
sūte savya tava nayana-markātmakatayā
triyāmāṃ vāmaṃ te sṛjati rajanīnāyakatayā |
tṛtīyā te dṛṣṭi-rdaradalita-hemāmbuja-ruciḥ
samādhatte sandhyāṃ divasar-niśayo-rantaracarīm || 48 ||
triyāmāṃ vāmaṃ te sṛjati rajanīnāyakatayā |
tṛtīyā te dṛṣṭi-rdaradalita-hemāmbuja-ruciḥ
samādhatte sandhyāṃ divasar-niśayo-rantaracarīm || 48 ||
viśālā
kalyāṇī sphutaruci-rayodhyā
kuvalayaiḥ
kṛpādhārādhārā kimapi madhurāஉஉbhogavatikā |
avantī dṛṣṭiste bahunagara-vistāra-vijayā
dhruvaṃ tattannāma-vyavaharaṇa-yogyāvijayate || 49 ||
kṛpādhārādhārā kimapi madhurāஉஉbhogavatikā |
avantī dṛṣṭiste bahunagara-vistāra-vijayā
dhruvaṃ tattannāma-vyavaharaṇa-yogyāvijayate || 49 ||
kavīnāṃ
sandarbha-stabaka-makarandaika-rasikaṃ
kaṭākṣa-vyākṣepa-bhramarakalabhau karṇayugalam |
amuñcntau dṛṣṭvā tava navarasāsvāda-taralau
asūyā-saṃsargā-dalikanayanaṃ kiñcidaruṇam || 50 ||
kaṭākṣa-vyākṣepa-bhramarakalabhau karṇayugalam |
amuñcntau dṛṣṭvā tava navarasāsvāda-taralau
asūyā-saṃsargā-dalikanayanaṃ kiñcidaruṇam || 50 ||
śive
śaṅgārārdrā
taditarajane kutsanaparā
saroṣā gaṅgāyāṃ giriśacarite vismayavatī |
harāhibhyo bhītā sarasiruha saubhāgya-jananī
sakhīṣu smerā te mayi janani dṛṣṭiḥ sakaruṇā || 51 ||
saroṣā gaṅgāyāṃ giriśacarite vismayavatī |
harāhibhyo bhītā sarasiruha saubhāgya-jananī
sakhīṣu smerā te mayi janani dṛṣṭiḥ sakaruṇā || 51 ||
gate karṇābhyarṇaṃ
garuta iva pakṣmāṇi
dadhatī
purāṃ bhettu-ścittapraśama-rasa-vidrāvaṇa phale |
ime netre gotrādharapati-kulottaṃsa-kalike
tavākarṇākṛṣṭa smaraśara-vilāsaṃ kalayataḥ|| 52 ||
purāṃ bhettu-ścittapraśama-rasa-vidrāvaṇa phale |
ime netre gotrādharapati-kulottaṃsa-kalike
tavākarṇākṛṣṭa smaraśara-vilāsaṃ kalayataḥ|| 52 ||
vibhakta-traivarṇyaṃ
vyatikarita-līlāñjanatayā
vibhāti tvannetra tritaya mida-mīśānadayite |
punaḥ sraṣṭuṃ devān druhiṇa hari-rudrānuparatān
rajaḥ satvaṃ vebhrat tama iti guṇānāṃ trayamiva || 53 ||
vibhāti tvannetra tritaya mida-mīśānadayite |
punaḥ sraṣṭuṃ devān druhiṇa hari-rudrānuparatān
rajaḥ satvaṃ vebhrat tama iti guṇānāṃ trayamiva || 53 ||
pavitrīkartuṃ
naḥ paśupati-parādhīna-hṛdaye
dayāmitrai rnetrai-raruṇa-dhavala-śyāma rucibhiḥ |
nadaḥ śoṇo gaṅgā tapanatanayeti dhruvamum
trayāṇāṃ tīrthānā-mupanayasi sambheda-managham || 54 ||
dayāmitrai rnetrai-raruṇa-dhavala-śyāma rucibhiḥ |
nadaḥ śoṇo gaṅgā tapanatanayeti dhruvamum
trayāṇāṃ tīrthānā-mupanayasi sambheda-managham || 54 ||
nimeṣonmeṣābhyāṃ
pralayamudayaṃ yāti
jagati
tavetyāhuḥ santo dharaṇidhara-rājanyatanaye |
tvadunmeṣājjātaṃ jagadida-maśeṣaṃ pralayataḥ
paretrātuṃ śaṃṅke parihṛta-nimeṣā-stava dṛśaḥ || 55 ||
tavetyāhuḥ santo dharaṇidhara-rājanyatanaye |
tvadunmeṣājjātaṃ jagadida-maśeṣaṃ pralayataḥ
paretrātuṃ śaṃṅke parihṛta-nimeṣā-stava dṛśaḥ || 55 ||
tavāparṇe
karṇe japanayana paiśunya
cakitā
nilīyante toye niyata manimeṣāḥ śapharikāḥ |
iyaṃ ca śrī-rbaddhacchadapuṭakavāṭaṃ kuvalayaṃ
jahāti pratyūṣe niśi ca vighatayya praviśati|| 56 ||
nilīyante toye niyata manimeṣāḥ śapharikāḥ |
iyaṃ ca śrī-rbaddhacchadapuṭakavāṭaṃ kuvalayaṃ
jahāti pratyūṣe niśi ca vighatayya praviśati|| 56 ||
dṛśā drāghīyasyā
daradalita nīlotpala rucā
davīyāṃsaṃ dīnaṃ snapā kṛpayā māmapi śive |
anenāyaṃ dhanyo bhavati na ca te hāniriyatā
vane vā harmye vā samakara nipāto himakaraḥ || 57 ||
davīyāṃsaṃ dīnaṃ snapā kṛpayā māmapi śive |
anenāyaṃ dhanyo bhavati na ca te hāniriyatā
vane vā harmye vā samakara nipāto himakaraḥ || 57 ||
arālaṃ
te pālīyugala-magarājanyatanaye
na keṣā-mādhatte kusumaśara kodaṇḍa-kutukam |
tiraścīno yatra śravaṇapatha-mullṅyya vilasan
apāṅga vyāsaṅgo diśati śarasandhāna dhiṣaṇām || 58 ||
na keṣā-mādhatte kusumaśara kodaṇḍa-kutukam |
tiraścīno yatra śravaṇapatha-mullṅyya vilasan
apāṅga vyāsaṅgo diśati śarasandhāna dhiṣaṇām || 58 ||
sphuradgaṇḍābhoga-pratiphalita tāṭṅka yugalaṃ
catuścakraṃ manye tava mukhamidaṃ manmatharatham |
yamāruhya druhya tyavaniratha markenducaraṇaṃ
mahāvīro māraḥ pramathapataye sajjitavate || 59 ||
catuścakraṃ manye tava mukhamidaṃ manmatharatham |
yamāruhya druhya tyavaniratha markenducaraṇaṃ
mahāvīro māraḥ pramathapataye sajjitavate || 59 ||
sarasvatyāḥ
sūktī-ramṛtalaharī
kauśalaharīḥ
pibnatyāḥ śarvāṇi śravaṇa-culukābhyā-maviralam |
camatkāraḥ-ślāghācalita-śirasaḥ kuṇḍalagaṇo
jhaṇatkaraistāraiḥ prativacana-mācaṣṭa iva te || 60 ||
pibnatyāḥ śarvāṇi śravaṇa-culukābhyā-maviralam |
camatkāraḥ-ślāghācalita-śirasaḥ kuṇḍalagaṇo
jhaṇatkaraistāraiḥ prativacana-mācaṣṭa iva te || 60 ||
asau nāsāvaṃśa-stuhinagirivaṇśa-dhvajapaṭi
tvadīyo nedīyaḥ phalatu phala-masmākamucitam |
vahatyantarmuktāḥ śiśirakara-niśvāsa-galitaṃ
samṛddhyā yattāsāṃ bahirapi ca muktāmaṇidharaḥ || 61 ||
tvadīyo nedīyaḥ phalatu phala-masmākamucitam |
vahatyantarmuktāḥ śiśirakara-niśvāsa-galitaṃ
samṛddhyā yattāsāṃ bahirapi ca muktāmaṇidharaḥ || 61 ||
prakṛtyāஉஉraktāyā-stava
sudati dandacchadaruceḥ
pravakṣye sadṛśyaṃ janayatu phalaṃ vidrumalatā |
na bimbaṃ tadbimba-pratiphalana-rāgā-daruṇitaṃ
tulāmadhrāroḍhuṃ kathamiva vilajjeta kalayā || 62 ||
pravakṣye sadṛśyaṃ janayatu phalaṃ vidrumalatā |
na bimbaṃ tadbimba-pratiphalana-rāgā-daruṇitaṃ
tulāmadhrāroḍhuṃ kathamiva vilajjeta kalayā || 62 ||
smitajyotsnājālaṃ
tava vadanacandrasya pibatāṃ
cakorāṇā-māsī-datirasatayā cañcu-jaḍimā |
ataste śītāṃśo-ramṛtalaharī māmlarucayaḥ
pibantī svacchandaṃ niśi niśi bhṛśaṃ kāñji kadhiyā || 63 ||
cakorāṇā-māsī-datirasatayā cañcu-jaḍimā |
ataste śītāṃśo-ramṛtalaharī māmlarucayaḥ
pibantī svacchandaṃ niśi niśi bhṛśaṃ kāñji kadhiyā || 63 ||
aviśrāntaṃ
patyurguṇagaṇa kathāmreḍanajapā
japāpuṣpacchāyā tava janani jihvā jayati sā |
yadagrāsīnāyāḥ sphaṭikadṛṣa-dacchacchavimayi
sarasvatyā mūrtiḥ pariṇamati māṇikyavapuṣā || 64 ||
japāpuṣpacchāyā tava janani jihvā jayati sā |
yadagrāsīnāyāḥ sphaṭikadṛṣa-dacchacchavimayi
sarasvatyā mūrtiḥ pariṇamati māṇikyavapuṣā || 64 ||
raṇe
jitvā daityā napahṛta-śirastraiḥ
kavacibhiḥ
nivṛttai-ścaṇḍāṃśa-tripurahara-nirmālya-vimukhaiḥ |
viśākhendropendraiḥ śaśiviśada-karpūraśakalā
vilīyante mātastava vadanatāmbūla-kabalāḥ || 65 ||
nivṛttai-ścaṇḍāṃśa-tripurahara-nirmālya-vimukhaiḥ |
viśākhendropendraiḥ śaśiviśada-karpūraśakalā
vilīyante mātastava vadanatāmbūla-kabalāḥ || 65 ||
vipañcyā
gāyantī vividha-mapadānaṃ
paśupate-
stvayārabdhe vaktuṃ calitaśirasā sādhuvacane |
tadīyai-rmādhuryai-rapalapita-tantrīkalaravāṃ
nijāṃ vīṇāṃ vāṇīṃ niculayati colena nibhṛtam || 66 ||
stvayārabdhe vaktuṃ calitaśirasā sādhuvacane |
tadīyai-rmādhuryai-rapalapita-tantrīkalaravāṃ
nijāṃ vīṇāṃ vāṇīṃ niculayati colena nibhṛtam || 66 ||
karagreṇa
spṛṣṭaṃ tuhinagiriṇā
vatsalatayā
giriśeno-dastaṃ muhuradharapānākulatayā |
karagrāhyaṃ śambhormukhamukuravṛntaṃ girisute
kathaṅkaraṃ brūma-stava cubukamopamyarahitam || 67 ||
giriśeno-dastaṃ muhuradharapānākulatayā |
karagrāhyaṃ śambhormukhamukuravṛntaṃ girisute
kathaṅkaraṃ brūma-stava cubukamopamyarahitam || 67 ||
bhujāśleṣānnityaṃ
puradamayituḥ kanṭakavatī
tava grīvā dhatte mukhakamalanāla-śriyamiyam |
svataḥ śvetā kālā garu bahula-jambālamalinā
mṛṇālīlālityaṃ vahati yadadho hāralatikā || 68 ||
tava grīvā dhatte mukhakamalanāla-śriyamiyam |
svataḥ śvetā kālā garu bahula-jambālamalinā
mṛṇālīlālityaṃ vahati yadadho hāralatikā || 68 ||
gale rekhāstisro
gati gamaka gītaika nipuṇe
vivāha-vyānaddha-praguṇaguṇa-saṅkhyā pratibhuvaḥ |
virājante nānāvidha-madhura-rāgākara-bhuvāṃ
trayāṇāṃ grāmāṇāṃ sthiti-niyama-sīmāna iva te || 69 ||
vivāha-vyānaddha-praguṇaguṇa-saṅkhyā pratibhuvaḥ |
virājante nānāvidha-madhura-rāgākara-bhuvāṃ
trayāṇāṃ grāmāṇāṃ sthiti-niyama-sīmāna iva te || 69 ||
mṛṇālī-mṛdvīnāṃ
tava bhujalatānāṃ
catasṛṇāṃ
caturbhiḥ saundrayaṃ sarasijabhavaḥ stauti vadanaiḥ |
nakhebhyaḥ santrasyan prathama-mathanā dantakaripoḥ
caturṇāṃ śīrṣāṇāṃ sama-mabhayahastārpaṇa-dhiyā || 70 ||
caturbhiḥ saundrayaṃ sarasijabhavaḥ stauti vadanaiḥ |
nakhebhyaḥ santrasyan prathama-mathanā dantakaripoḥ
caturṇāṃ śīrṣāṇāṃ sama-mabhayahastārpaṇa-dhiyā || 70 ||
nakhānā-mudyotai-rnavanalinarāgaṃ
vihasatāṃ
karāṇāṃ te kāntiṃ kathaya kathayāmaḥ kathamume |
kayācidvā sāmyaṃ bhajatu kalayā hanta kamalaṃ
yadi krīḍallakṣmī-caraṇatala-lākṣārasa-caṇam || 71 ||
karāṇāṃ te kāntiṃ kathaya kathayāmaḥ kathamume |
kayācidvā sāmyaṃ bhajatu kalayā hanta kamalaṃ
yadi krīḍallakṣmī-caraṇatala-lākṣārasa-caṇam || 71 ||
samaṃ
devi skanda dvipivadana pītaṃ
stanayugaṃ
tavedaṃ naḥ khedaṃ haratu satataṃ prasnuta-mukham |
yadālokyāśaṅkākulita hṛdayo hāsajanakaḥ
svakumbhau herambaḥ parimṛśati hastena jhaḍiti || 72 ||
tavedaṃ naḥ khedaṃ haratu satataṃ prasnuta-mukham |
yadālokyāśaṅkākulita hṛdayo hāsajanakaḥ
svakumbhau herambaḥ parimṛśati hastena jhaḍiti || 72 ||
amū
te vakṣojā-vamṛtarasa-māṇikya
kutupau
na sandehaspando nagapati patāke manasi naḥ |
pibantau tau yasmā davidita vadhūsaṅga rasikau
kumārāvadyāpi dviradavadana-krauñcdalanau || 73 ||
na sandehaspando nagapati patāke manasi naḥ |
pibantau tau yasmā davidita vadhūsaṅga rasikau
kumārāvadyāpi dviradavadana-krauñcdalanau || 73 ||
vahatyamba
stmberama-danuja-kumbhaprakṛtibhiḥ
samārabdhāṃ muktāmaṇibhiramalāṃ hāralatikām |
kucābhogo bimbādhara-rucibhi-rantaḥ śabalitāṃ
pratāpa-vyāmiśrāṃ puradamayituḥ kīrtimiva te || 74 ||
samārabdhāṃ muktāmaṇibhiramalāṃ hāralatikām |
kucābhogo bimbādhara-rucibhi-rantaḥ śabalitāṃ
pratāpa-vyāmiśrāṃ puradamayituḥ kīrtimiva te || 74 ||
tava stanyaṃ
manye dharaṇidharakanye hṛdayataḥ
payaḥ pārāvāraḥ parivahati sārasvatamiva |
dayāvatyā dattaṃ draviḍaśiśu-rāsvādya tava yat
kavīnāṃ prauḍhānā majani kamanīyaḥ kavayitā || 75 ||
payaḥ pārāvāraḥ parivahati sārasvatamiva |
dayāvatyā dattaṃ draviḍaśiśu-rāsvādya tava yat
kavīnāṃ prauḍhānā majani kamanīyaḥ kavayitā || 75 ||
harakrodha-jvālāvalibhi-ravalīḍhena
vapuṣā
gabhīre te nābhīsarasi kṛtasaṅo manasijaḥ |
samuttasthau tasmā-dacalatanaye dhūmalatikā
janastāṃ jānīte tava janani romāvaliriti || 76 ||
gabhīre te nābhīsarasi kṛtasaṅo manasijaḥ |
samuttasthau tasmā-dacalatanaye dhūmalatikā
janastāṃ jānīte tava janani romāvaliriti || 76 ||
yadetatkālindī-tanutara-taraṅgākṛti
śive
kṛśe madhye kiñcijjanani tava yadbhāti sudhiyām |
vimardā-danyonyaṃ kucakalaśayo-rantaragataṃ
tanūbhūtaṃ vyoma praviśadiva nābhiṃ kuhariṇīm || 77 ||
kṛśe madhye kiñcijjanani tava yadbhāti sudhiyām |
vimardā-danyonyaṃ kucakalaśayo-rantaragataṃ
tanūbhūtaṃ vyoma praviśadiva nābhiṃ kuhariṇīm || 77 ||
sthiro gaṅgā
vartaḥ stanamukula-romāvali-latā
kalāvālaṃ kuṇḍaṃ kusumaśara tejo-hutabhujaḥ |
rate-rlīlāgāraṃ kimapi tava nābhirgirisute
beladvāraṃ siddhe-rgiriśanayanānāṃ vijayate || 78 ||
kalāvālaṃ kuṇḍaṃ kusumaśara tejo-hutabhujaḥ |
rate-rlīlāgāraṃ kimapi tava nābhirgirisute
beladvāraṃ siddhe-rgiriśanayanānāṃ vijayate || 78 ||
nisarga-kṣīṇasya stanataṭa-bhareṇa
klamajuṣo
namanmūrte rnārītilaka śanakai-struṭyata iva |
ciraṃ te madhyasya truṭita taṭinī-tīra-taruṇā
samāvasthā-sthemno bhavatu kuśalaṃ śailatanaye || 79 ||
namanmūrte rnārītilaka śanakai-struṭyata iva |
ciraṃ te madhyasya truṭita taṭinī-tīra-taruṇā
samāvasthā-sthemno bhavatu kuśalaṃ śailatanaye || 79 ||
kucau sadyaḥ
svidya-ttaṭaghaṭita-kūrpāsabhidurau
kaṣantau-daurmūle kanakakalaśābhau kalayatā |
tava trātuṃ bhaṅgādalamiti valagnaṃ tanubhuvā
tridhā naddhm devī trivali lavalīvallibhiriva || 80 ||
kaṣantau-daurmūle kanakakalaśābhau kalayatā |
tava trātuṃ bhaṅgādalamiti valagnaṃ tanubhuvā
tridhā naddhm devī trivali lavalīvallibhiriva || 80 ||
gurutvaṃ
vistāraṃ kṣitidharapatiḥ
pārvati nijāt
nitambā-dācchidya tvayi haraṇa rūpeṇa nidadhe |
ataste vistīrṇo gururayamaśeṣāṃ vasumatīṃ
nitamba-prāgbhāraḥ sthagayati saghutvaṃ nayati ca || 81 ||
nitambā-dācchidya tvayi haraṇa rūpeṇa nidadhe |
ataste vistīrṇo gururayamaśeṣāṃ vasumatīṃ
nitamba-prāgbhāraḥ sthagayati saghutvaṃ nayati ca || 81 ||
karīndrāṇāṃ śuṇḍān-kanakakadalī-kāṇḍapaṭalīṃ
ubhābhyāmūrubhyā-mubhayamapi nirjitya bhavati |
suvṛttābhyāṃ patyuḥ praṇatikaṭhinābhyāṃ girisute
vidhiṅñe jānubhyāṃ vibudha karikumbha dvayamasi || 82 ||
ubhābhyāmūrubhyā-mubhayamapi nirjitya bhavati |
suvṛttābhyāṃ patyuḥ praṇatikaṭhinābhyāṃ girisute
vidhiṅñe jānubhyāṃ vibudha karikumbha dvayamasi || 82 ||
parājetuṃ
rudraṃ dviguṇaśaragarbhau
girisute
niṣaṅgau jaṅghe te viṣamaviśikho bāḍha-makṛta |
yadagre dṛsyante daśaśaraphalāḥ pādayugalī
nakhāgracchanmānaḥ sura mukuṭa-śāṇaika-niśitāḥ || 83 ||
niṣaṅgau jaṅghe te viṣamaviśikho bāḍha-makṛta |
yadagre dṛsyante daśaśaraphalāḥ pādayugalī
nakhāgracchanmānaḥ sura mukuṭa-śāṇaika-niśitāḥ || 83 ||
śrutīnāṃ
mūrdhāno dadhati tava yau śekharatayā
mamāpyetau mātaḥ śerasi dayayā dehi caraṇau |
yaya–oḥ pādyaṃ pāthaḥ paśupati jaṭājūṭa taṭinī
yayo-rlākṣā-lakṣmī-raruṇa haricūḍāmaṇi ruciḥ || 84 ||
mamāpyetau mātaḥ śerasi dayayā dehi caraṇau |
yaya–oḥ pādyaṃ pāthaḥ paśupati jaṭājūṭa taṭinī
yayo-rlākṣā-lakṣmī-raruṇa haricūḍāmaṇi ruciḥ || 84 ||
namo vākaṃ
brūmo nayana-ramaṇīyāya
padayoḥ
tavāsmai dvandvāya sphuṭa-ruci rasālaktakavate |
asūyatyatyantaṃ yadabhihananāya spṛhayate
paśūnā-mīśānaḥ pramadavana-kaṅkelitarave || 85 ||
tavāsmai dvandvāya sphuṭa-ruci rasālaktakavate |
asūyatyatyantaṃ yadabhihananāya spṛhayate
paśūnā-mīśānaḥ pramadavana-kaṅkelitarave || 85 ||
mṛṣā kṛtvā
gotraskhalana-matha vailakṣyanamitaṃ
lalāṭe bhartāraṃ caraṇakamale tāḍayati te |
cirādantaḥ śalyaṃ dahanakṛta munmūlitavatā
tulākoṭikvāṇaiḥ kilikilita mīśāna ripuṇā || 86 ||
lalāṭe bhartāraṃ caraṇakamale tāḍayati te |
cirādantaḥ śalyaṃ dahanakṛta munmūlitavatā
tulākoṭikvāṇaiḥ kilikilita mīśāna ripuṇā || 86 ||
himānī
hantavyaṃ himagirinivāsaika-caturau
niśāyāṃ nidrāṇaṃ niśi-caramabhāge ca viśadau |
varaṃ lakṣmīpātraṃ śriya-matisṛhanto samayināṃ
sarojaṃ tvatpādau janani jayata-ścitramiha kim || 87 ||
niśāyāṃ nidrāṇaṃ niśi-caramabhāge ca viśadau |
varaṃ lakṣmīpātraṃ śriya-matisṛhanto samayināṃ
sarojaṃ tvatpādau janani jayata-ścitramiha kim || 87 ||
padaṃ
te kīrtīnāṃ
prapadamapadaṃ devi vipadāṃ
kathaṃ nītaṃ sadbhiḥ kaṭhina-kamaṭhī-karpara-tulām |
kathaṃ vā bāhubhyā-mupayamanakāle purabhidā
yadādāya nyastaṃ dṛṣadi dayamānena manasā || 88 ||
kathaṃ nītaṃ sadbhiḥ kaṭhina-kamaṭhī-karpara-tulām |
kathaṃ vā bāhubhyā-mupayamanakāle purabhidā
yadādāya nyastaṃ dṛṣadi dayamānena manasā || 88 ||
nakhai-rnākastrīṇāṃ karakamala-saṅkoca-śaśibhiḥ
tarūṇāṃ divyānāṃ hasata iva te caṇḍi caraṇau |
phalāni svaḥsthebhyaḥ kisalaya-karāgreṇa dadatāṃ
daridrebhyo bhadrāṃ śriyamaniśa-mahnāya dadatau || 89 ||
tarūṇāṃ divyānāṃ hasata iva te caṇḍi caraṇau |
phalāni svaḥsthebhyaḥ kisalaya-karāgreṇa dadatāṃ
daridrebhyo bhadrāṃ śriyamaniśa-mahnāya dadatau || 89 ||
dadāne
dīnebhyaḥ śriyamaniśa-māśānusadṛśīṃ
amandaṃ saundaryaṃ prakara-makarandaṃ vikirati |
tavāsmin mandāra-stabaka-subhage yātu caraṇe
nimajjan majjīvaḥ karaṇacaraṇaḥ ṣṭcaraṇatām || 90 ||
amandaṃ saundaryaṃ prakara-makarandaṃ vikirati |
tavāsmin mandāra-stabaka-subhage yātu caraṇe
nimajjan majjīvaḥ karaṇacaraṇaḥ ṣṭcaraṇatām || 90 ||
padanyāsa-krīḍā paricaya-mivārabdhu-manasaḥ
skhalantaste khelaṃ bhavanakalahaṃsā na jahati |
atasteṣāṃ śikṣāṃ subhagamaṇi-mañjīra-raṇita-
cchalādācakṣāṇaṃ caraṇakamalaṃ cārucarite || 91 ||
skhalantaste khelaṃ bhavanakalahaṃsā na jahati |
atasteṣāṃ śikṣāṃ subhagamaṇi-mañjīra-raṇita-
cchalādācakṣāṇaṃ caraṇakamalaṃ cārucarite || 91 ||
gatāste
mañcatvaṃ druhiṇa
hari rudreśvara bhṛtaḥ
śivaḥ svaccha-cchāyā-ghaṭita-kapaṭa-pracchadapaṭaḥ |
tvadīyānāṃ bhāsāṃ pratiphalana rāgāruṇatayā
śarīrī śṛṅgāro rasa iva dṛśāṃ dogdhi kutukam || 92 ||
śivaḥ svaccha-cchāyā-ghaṭita-kapaṭa-pracchadapaṭaḥ |
tvadīyānāṃ bhāsāṃ pratiphalana rāgāruṇatayā
śarīrī śṛṅgāro rasa iva dṛśāṃ dogdhi kutukam || 92 ||
arālā
keśeṣu prakṛti
saralā mandahasite
śirīṣābhā citte dṛṣadupalaśobhā kucataṭe |
bhṛśaṃ tanvī madhye pṛthu-rurasijāroha viṣaye
jagattratuṃ śambho-rjayati karuṇā kācidaruṇā || 93 ||
śirīṣābhā citte dṛṣadupalaśobhā kucataṭe |
bhṛśaṃ tanvī madhye pṛthu-rurasijāroha viṣaye
jagattratuṃ śambho-rjayati karuṇā kācidaruṇā || 93 ||
kalaṅkaḥ
kastūrī rajanikara bimbaṃ
jalamayaṃ
kalābhiḥ karpūrai-rmarakatakaraṇḍaṃ nibiḍitam |
atastvadbhogena pratidinamidaṃ riktakuharaṃ
vidhi-rbhūyo bhūyo nibiḍayati nūnaṃ tava kṛte || 94 ||
kalābhiḥ karpūrai-rmarakatakaraṇḍaṃ nibiḍitam |
atastvadbhogena pratidinamidaṃ riktakuharaṃ
vidhi-rbhūyo bhūyo nibiḍayati nūnaṃ tava kṛte || 94 ||
purārante-rantaḥ
puramasi tata-stvacaraṇayoḥ
saparyā-maryādā taralakaraṇānā-masulabhā |
tathā hyete nītāḥ śatamakhamukhāḥ siddhimatulāṃ
tava dvāropāntaḥ sthitibhi-raṇimādyābhi-ramarāḥ || 95 ||
saparyā-maryādā taralakaraṇānā-masulabhā |
tathā hyete nītāḥ śatamakhamukhāḥ siddhimatulāṃ
tava dvāropāntaḥ sthitibhi-raṇimādyābhi-ramarāḥ || 95 ||
kalatraṃ
vaidhātraṃ katikati bhajante na
kavayaḥ
śriyo devyāḥ ko vā na bhavati patiḥ kairapi dhanaiḥ |
mahādevaṃ hitvā tava sati satīnā-macarame
kucabhyā-māsaṅgaḥ kuravaka-taro-rapyasulabhaḥ || 96 ||
śriyo devyāḥ ko vā na bhavati patiḥ kairapi dhanaiḥ |
mahādevaṃ hitvā tava sati satīnā-macarame
kucabhyā-māsaṅgaḥ kuravaka-taro-rapyasulabhaḥ || 96 ||
girāmāhu-rdevīṃ
druhiṇagṛhiṇī-māgamavido
hareḥ patnīṃ padmāṃ harasahacarī-madritanayām |
turīyā kāpi tvaṃ duradhigama-nissīma-mahimā
mahāmāyā viśvaṃ bhramayasi parabrahmamahiṣi || 97 ||
hareḥ patnīṃ padmāṃ harasahacarī-madritanayām |
turīyā kāpi tvaṃ duradhigama-nissīma-mahimā
mahāmāyā viśvaṃ bhramayasi parabrahmamahiṣi || 97 ||
kadā
kāle mātaḥ
kathaya kalitālaktakarasaṃ
pibeyaṃ vidyārthī tava caraṇa-nirṇejanajalam |
prakṛtyā mūkānāmapi ca kavitā0kāraṇatayā
kadā dhatte vāṇīmukhakamala-tāmbūla-rasatām || 98 ||
pibeyaṃ vidyārthī tava caraṇa-nirṇejanajalam |
prakṛtyā mūkānāmapi ca kavitā0kāraṇatayā
kadā dhatte vāṇīmukhakamala-tāmbūla-rasatām || 98 ||
sarasvatyā
lakṣmyā vidhi hari sapatno
viharate
rateḥ pativratyaṃ śithilapati ramyeṇa vapuṣā |
ciraṃ jīvanneva kṣapita-paśupāśa-vyatikaraḥ
parānandābhikhyaṃ rasayati rasaṃ tvadbhajanavān || 99 ||
rateḥ pativratyaṃ śithilapati ramyeṇa vapuṣā |
ciraṃ jīvanneva kṣapita-paśupāśa-vyatikaraḥ
parānandābhikhyaṃ rasayati rasaṃ tvadbhajanavān || 99 ||
pradīpa
jvālābhi-rdivasakara-nīrājanavidhiḥ
sudhāsūte-ścandropala-jalalavai-raghyaracanā |
svakīyairambhobhiḥ salila-nidhi-sauhityakaraṇaṃ
tvadīyābhi-rvāgbhi-stava janani vācāṃ stutiriyam || 100 ||
sudhāsūte-ścandropala-jalalavai-raghyaracanā |
svakīyairambhobhiḥ salila-nidhi-sauhityakaraṇaṃ
tvadīyābhi-rvāgbhi-stava janani vācāṃ stutiriyam || 100 ||
saundayalahari
mukhyastotraṃ saṃvārtadāyakam
|
bhagavadpāda sankluptaṃ paṭhen muktau bhavennaraḥ ||
saundaryalahari stotraṃ sampūrṇaṃ
bhagavadpāda sankluptaṃ paṭhen muktau bhavennaraḥ ||
saundaryalahari stotraṃ sampūrṇaṃ
SRICHAKRA WORSHIP
This site is devoted to presenting the
ancient Self-Realization path of the Tradition of the Himalayan masters in
simple, understandable and beneficial ways, while not compromising quality or
depth. The goal of our sadhana or practices is the highest Joy that comes from
the Realization in direct experience of the center of consciousness, the Self,
the Atman or Purusha, which is one and the same with the Absolute Reality. This
Self-Realization comes through Yoga meditation of the Yoga Sutras, the
contemplative insight of Advaita Vedanta, and the intense devotion of Samaya
Sri Vidya Tantra, the three of which complement one another like fingers on a
hand. We employ the classical approaches of Raja, Jnana, Karma, and Bhakti
Yoga, as well as Hatha, Kriya, Kundalini, Laya, Mantra, Nada, Siddha, and
Tantra Yoga. Meditation, contemplation, mantra and prayer finally converge into
a unified force directed towards the final stage, piercing the pearl of wisdom
called bindu, leading to the Absolute.
The worship of Devi in Srichakra is regarded as the highest
form of the Devi worship. Originally Lord Shiva gave 64 Chakras and their
Mantras to the world, to attain various spiritual and material benefits. For
his consort Devi he gave the Shreechakra and the highly coveted and the most
powerful Shodashakshari mantra, which is the equivalent of all the other 64 put
together.
Shiva along with Shakti is engaged in the eternal dissolution and recreation of the universe. The Bindu in the center of the Shreechakra is the symbolic representation of the cosmic spiritual union of Shiva and Shakti. Apart from that the Shreechakra also embodies countless number of deities and represents the whole of creation. Hence by worshipping the Devi in Shreechakra one is actually worshipping the highest ultimate force in the Tantrik form.
The Meru is the three dimensions of the Sri Chakra. If we returned to the two dimension Sri Chakra, and imagine that the bindu in its center is the peak of a mountain. The imagine that the mountain is built up in tiers, each tier being one of the circles of triangles or lotus petals, with the outermost square representing ground level. Now, imagine a vertical spine down the center of the mountain, then at each point that the spine and a tier intersect, there is a chakra. The peak represents Mount Meru, abode of the Gods.
The Basics of Sri Yantra:
Before starting the worship it is advisable to know about the way the Sri Yantra is constructed, what all it represents, about the 9 Avaranas, the deities, their gunas and significance, so that your worship is more meaningful. The following are the authentic details as given in various Tantra & Mantra scriptures.
Five downward pointing triangles representing Devi intersect with four upward pointing triangles representing Siva, forming 43 triangles including the central triangle..
From the five Shakti triangles comes creation and from the four Shiva triangles comes the dissolution. The union of five Shaktis and four Fires causes the chakra of creation to evolve.
Varahi’s four fires are the 12 (4 x 3) sun Kalas, the 12 Zodiac constellations. Kurukulla’s five triangles are the 15 (5 x 3) Kalas of the moon, 15 lunar Tithis. These nine triangles also represent the nine stages of growth of the human child in the womb.
Surrounding the 43 triangles formed by the intersection of the nine triangles is the 16 petals circle. Surrounding the 16 petal circle is an 8 petal circle. After that the 3 lines and at the outermost part of the Sriyantra there are 3 lines called the Bhupura. The 43 triangles constitute the six inner sections called Avaranas, the two circles of petals are two more avaranas and the Bhupura of 3 lines is the last Avarana.
These 9 Avaranas of the Sri Yantra have various presiding Devis. They are the Devi’s Parivar (retinue) of total 108. In the Srichakra pooja they are systematically worshipped one by one with their names and mantras. The presiding Deity of Srichakra, Devi, is Known as Lalita Tripura Sundari. The form of Devi Kamakshi of Kancheepuram is the closest resemblance of the Devi as described in the scriptures.
—-
The Meru Chakra or Sri Chakra is a three-dimensional Shri Yantra, the embodiment of Sri Lakshmi (abundance) and Tripura Sundari (beauty). It is the yantra of Sri Vidya, sacred knowledge of the Goddess. It can also be seen as the unification of Masculine Divine and Feminine Divine: Shiva and Shakti, Lakshmi and Narayana, Purusha and Prakriti. It can be effectively used for correcting defects of the north (direction of health, fortune, career, and money) and northeast (energetically the most sacred and important area of any building). When placed in the northeast, it improves the spatial energies of the whole house. Defects in the northeast and north are the most serious, so the Meru Chakra is a valuable corrective tool of Vedic yantra technology. Even if your home or office has been built according to Vastu, the Gold Meru Chakra is a great energetic blessing that enhances the flow of vibrant energy of health and abundance.
——
Shiva along with Shakti is engaged in the eternal dissolution and recreation of the universe. The Bindu in the center of the Shreechakra is the symbolic representation of the cosmic spiritual union of Shiva and Shakti. Apart from that the Shreechakra also embodies countless number of deities and represents the whole of creation. Hence by worshipping the Devi in Shreechakra one is actually worshipping the highest ultimate force in the Tantrik form.
The Meru is the three dimensions of the Sri Chakra. If we returned to the two dimension Sri Chakra, and imagine that the bindu in its center is the peak of a mountain. The imagine that the mountain is built up in tiers, each tier being one of the circles of triangles or lotus petals, with the outermost square representing ground level. Now, imagine a vertical spine down the center of the mountain, then at each point that the spine and a tier intersect, there is a chakra. The peak represents Mount Meru, abode of the Gods.
The Basics of Sri Yantra:
Before starting the worship it is advisable to know about the way the Sri Yantra is constructed, what all it represents, about the 9 Avaranas, the deities, their gunas and significance, so that your worship is more meaningful. The following are the authentic details as given in various Tantra & Mantra scriptures.
Five downward pointing triangles representing Devi intersect with four upward pointing triangles representing Siva, forming 43 triangles including the central triangle..
From the five Shakti triangles comes creation and from the four Shiva triangles comes the dissolution. The union of five Shaktis and four Fires causes the chakra of creation to evolve.
Varahi’s four fires are the 12 (4 x 3) sun Kalas, the 12 Zodiac constellations. Kurukulla’s five triangles are the 15 (5 x 3) Kalas of the moon, 15 lunar Tithis. These nine triangles also represent the nine stages of growth of the human child in the womb.
Surrounding the 43 triangles formed by the intersection of the nine triangles is the 16 petals circle. Surrounding the 16 petal circle is an 8 petal circle. After that the 3 lines and at the outermost part of the Sriyantra there are 3 lines called the Bhupura. The 43 triangles constitute the six inner sections called Avaranas, the two circles of petals are two more avaranas and the Bhupura of 3 lines is the last Avarana.
These 9 Avaranas of the Sri Yantra have various presiding Devis. They are the Devi’s Parivar (retinue) of total 108. In the Srichakra pooja they are systematically worshipped one by one with their names and mantras. The presiding Deity of Srichakra, Devi, is Known as Lalita Tripura Sundari. The form of Devi Kamakshi of Kancheepuram is the closest resemblance of the Devi as described in the scriptures.
—-
The Meru Chakra or Sri Chakra is a three-dimensional Shri Yantra, the embodiment of Sri Lakshmi (abundance) and Tripura Sundari (beauty). It is the yantra of Sri Vidya, sacred knowledge of the Goddess. It can also be seen as the unification of Masculine Divine and Feminine Divine: Shiva and Shakti, Lakshmi and Narayana, Purusha and Prakriti. It can be effectively used for correcting defects of the north (direction of health, fortune, career, and money) and northeast (energetically the most sacred and important area of any building). When placed in the northeast, it improves the spatial energies of the whole house. Defects in the northeast and north are the most serious, so the Meru Chakra is a valuable corrective tool of Vedic yantra technology. Even if your home or office has been built according to Vastu, the Gold Meru Chakra is a great energetic blessing that enhances the flow of vibrant energy of health and abundance.
——
Srichakra:
Role Of Srichakra In Devi Worship
By SWAMI TAPASYANANDA
(Excerpted from ‘Saundarya Lahiri of Sri Sankaracharya’ )
In Hindu devotional practice, three kinds of external symbols are used for worship of the Supreme Being, who is actually formless and nameless. The most external is that of divine images cast in human form, with paraphernalia symbolising supra-human divinity.
The most subtle is that of the mantras or divine names with certain sounds. A mantra is divine power clothed in sound. Between these two come the yantras or chakras , representing the deity in geometrical diagrams. Worshippers of Shakti consider the Srichakra the holiest and most significant of divine symbols.
The Srichakra is conceived as Shiva-Shakti in the macrocosmic as well as microcosmic aspects, as the cosmos and as the individual. The diagram consists of a series of nine triangles superimposed around a small central circle, Bindu, forming 43 konas or triangular projections. In the centre is the Bindu , representing Shiva-Shakti in union in the causal state from which all other parts of the diagram representing the cosmos are evolved.
The Bindu is in a central triangle with apex downwards – alternatively, it is below the base of the central triangle with its apex upwards, depending on whether it is a samhara-chakra or srishti-chakra. Enclosing it and super- imposed on one another are the four Shiva triangles with apex upwards and five Shakti triangles inclusive of the central one, with apex downwards. These are surrounded by two circles of lotuses, one with eight petals and the other, with 16. Outside these, there are three circles around and a rectangular enclosure of three lines for the whole figure, with four entrances on the four sides.
In the Bindu, Shakti i s represented as Maha-Tripura-Sundari, the great mother. The Bindu contains the potentiality of the universe within itself. It is spoken of as three to indicate the three stresses when the unified non-dual Shiva- Shakti becomes separated into the two aspects: prakasa, the aham or I-consciousness, and vimarsa, the idam or this-consciousness.
These three stresses are technically called Nada, Kala and Bindu. Bindu is the potential universe ready to separate into various categories. All these three stresses, mudras of Shiva-Shakti together, is represented by the central red line with an imaginary line across it to represent the polarity in that supreme category as Shiva-Shakti.
The Bindu , the creative Shakti , is the Mahatripurasundari , the ‘pride of Shiva’ or Shiva as prakasa – luminosity or consciousness – who realises Himself through Her, the vimarsa shakti.
The rest of the Srichakra represents the whole of the cosmos, Brahmananda , as evolved from the Bindu, standing for Tripurasundari or creative cosmic power… Just as Tripurasundari the Divine Mother is Shakti , depicted as the consort of Shiva, the Supreme Being, the Kundalini is the segment of that cosmic power as the Shakti of the Jiva, which is an amsa or particle of the Supreme Shiva embodied as the individual (microcosm). It is this Shakti that evolves in the individual the counterparts of all the 25 cosmic categories…
As the Supreme Will, Shakti is described as Consciousness-Bliss. The Saundarya Lahiri describes the universe in its subtle and gross forms as the trans- formation of Shakti. Though undergoing actual trans- formation into all these elements in their gross macro-cosmic aspect as the universe and in their subtle micro-cosmic aspect as the six chakras in the body, Shakti is not lost in the effects – she retains her identity as the Supreme Will or Consciousness-Bliss.
——
Meru and Sri Chakra
There are nine chakras in the Sri Chakra. These nine Chakras have each a distinct form and a distinct name. Proceeding from the outermost to the inner, let us describe the Chakras.
The outermost is a square Chaturasra of three lines, the lines one inside the other, opening out in the middle of each side as four portals. This is known as the Bhupura, the earth-stretch. This is the ground-plane if Sri Chakra is considered as graded elevations, Meru.
Through the portals in the Bhupura one enters the precincts. Immediately inside the square are three concentric circles which serve as three girdles trivalaya.
The space between the sides of the square and the circumference of the outermost circle, between Bhupura and Trivalya, is known as Trailokya Mohana Chakra, the Enchanter of the Triple World.
Inside the 3 girdles are:
1. Sarvasa Paripuraka Chakra – 16 Petals – Fulfiller of all Desires;
2. Sarva Sanksobhana Chakra – 8 Petals – Agitator of all;
3. Sarva Saubhagyadayaka Chakra – 14 Triangles [Chaturdasa Kona] – Giver of all Auspiciousness;
4. Sarvartha Sadhaka Chakra – 10 Triangles [Outer Dasara] – Accomplisher of all Purposes;
5. Sarva Raksakara Chakra – 10 Triangles [Inner Dasara] – Giver of all Protection;
6. Sarva Rogahara Chakra – 8 Triangles [Ashta Kona] – Remover of all Diseases;
7. Sarva Siddhiprada Chakra – Inverted Primary Triangle – Giver of all accomplishments and
8. Sarvanandamaya Chakra – Bindu – Full of all Bliss.
——–
Sri Chakra Mahameru 5.5 ft height at Om Sri Skandasramam, Chennai
http://www.skandasramam.org/deities.php?god=SriChakraMahameru
In Hindu mythology Goddess Shakti is personified as the Sri Chakra Poorna Maha Meru.
At Chennai Om Sri Skandasramam, the four deities face the 4 cardinal directions and
in front of them, at the centre, is installed the Sri Chakra Poorna Maha Meru in
Panchaloka and is 5 ½ feet in height. It is believed that all the devathas have emerged
from the Meru and that Goddess Shakti herself resides in the form of Shrividya at
the Bindu (top of the Meru). This gopuram represents the Tamilnadu type of architecture.
All the gopurams are installed according to the Veda Sastra.
—
2D Srichakra Yantra
1st Avarana the outer square with three lines and 4 gates is brown. The outer line is white (though the colour of the 10 deities here is like molten gold), the middle line is orange red like the rising sun and the inner line is yellow like the colour of butter.
2nd Avarana the 16 petal lotus is pink like lotus flower.
3rd Avarana the 8 petal lotus is red – the colour of Bandhuka flowers.
4th Avarana the 14 cornered triangle is colour green like the colour of glow worms.
5th Avarana the outer 10 corners triangle is red like Japakusuma flowers.
6th Avarana the inner 10 corners triangle is colour blue (though the deities here have the lusture of 1000 rising suns).
7th Avarana the 8 corners triangle is colour red like Dadini flowers.
8.The innermosst triangle is white.
9.The Bindu the central point is red like Sindoor.
–
Tripurasundari Maha Mantra: “Om Aim Klim Sauh”
SriChakra can be kept in a house as a holy article, without any worship in the same way one would keep a picture of a Deity or Mother Mary. (Mother worship is in vogue amongst the Christians as well. The whole Christian world looks upon Virgin Mary as the Mother of God-Lord Christ. As such some denominations of Christians worship Kanya Kumari, since they believe Kanya-Kumari to be the Virgin Mary )
It could be worshiped once a year, periodically, or on special occasions like Navaratri or daily or when ever one likes.
Sunday in conjunction with Pusya Star, one’s own Guru’s birthday, the day of one’s own birthday, Astami (the 8th day of the bright half or\f the moon), or the 14th day of the bright half of the lunar month. Friday in conjunction with full moon day is very special.
Sri Chakra can be drawn on paper with pen and ink, or on the floor or plank, bark, or coloured flour to turmeric, kumkum, ashes of yajna and consigned to the river or sea, after the puja is done.
SriChakra can be drawn on gold, silver, copper leaf or plate. One drawn on a plate made of five metals are considered very powerful. The metals are gold, silver, copper, brass, and tin.
SriChakra can be used to meditate on its own or with other deities.
SriChakra drawn on a plate, foil or disc or gold, silver, copper or any other material can be worn on a person as talisman.
Sri Chakra is to be always kept flat to the ground and not upright or slanting, except when used as a talisman or as an ear-ring or a ring. It should never be used as a wall hanging. There a lots of commercial houses selling the SriChakra as wall hangings, do not buy them.
SriChakra is the most calm, harmless, genteel and non aggressive of all the yantras. In fact a SriChakra is helpful where there are fierce elements disturbing the peace or creating bad effects, in order to reduce the effect.
One should approach the Divine Mother without any reservations. One need not express one’s want, difficulties, complaints, problems to her for she knows your needs better and will give you what you need and at the same time she will also protect you.
By SWAMI TAPASYANANDA
(Excerpted from ‘Saundarya Lahiri of Sri Sankaracharya’ )
In Hindu devotional practice, three kinds of external symbols are used for worship of the Supreme Being, who is actually formless and nameless. The most external is that of divine images cast in human form, with paraphernalia symbolising supra-human divinity.
The most subtle is that of the mantras or divine names with certain sounds. A mantra is divine power clothed in sound. Between these two come the yantras or chakras , representing the deity in geometrical diagrams. Worshippers of Shakti consider the Srichakra the holiest and most significant of divine symbols.
The Srichakra is conceived as Shiva-Shakti in the macrocosmic as well as microcosmic aspects, as the cosmos and as the individual. The diagram consists of a series of nine triangles superimposed around a small central circle, Bindu, forming 43 konas or triangular projections. In the centre is the Bindu , representing Shiva-Shakti in union in the causal state from which all other parts of the diagram representing the cosmos are evolved.
The Bindu is in a central triangle with apex downwards – alternatively, it is below the base of the central triangle with its apex upwards, depending on whether it is a samhara-chakra or srishti-chakra. Enclosing it and super- imposed on one another are the four Shiva triangles with apex upwards and five Shakti triangles inclusive of the central one, with apex downwards. These are surrounded by two circles of lotuses, one with eight petals and the other, with 16. Outside these, there are three circles around and a rectangular enclosure of three lines for the whole figure, with four entrances on the four sides.
In the Bindu, Shakti i s represented as Maha-Tripura-Sundari, the great mother. The Bindu contains the potentiality of the universe within itself. It is spoken of as three to indicate the three stresses when the unified non-dual Shiva- Shakti becomes separated into the two aspects: prakasa, the aham or I-consciousness, and vimarsa, the idam or this-consciousness.
These three stresses are technically called Nada, Kala and Bindu. Bindu is the potential universe ready to separate into various categories. All these three stresses, mudras of Shiva-Shakti together, is represented by the central red line with an imaginary line across it to represent the polarity in that supreme category as Shiva-Shakti.
The Bindu , the creative Shakti , is the Mahatripurasundari , the ‘pride of Shiva’ or Shiva as prakasa – luminosity or consciousness – who realises Himself through Her, the vimarsa shakti.
The rest of the Srichakra represents the whole of the cosmos, Brahmananda , as evolved from the Bindu, standing for Tripurasundari or creative cosmic power… Just as Tripurasundari the Divine Mother is Shakti , depicted as the consort of Shiva, the Supreme Being, the Kundalini is the segment of that cosmic power as the Shakti of the Jiva, which is an amsa or particle of the Supreme Shiva embodied as the individual (microcosm). It is this Shakti that evolves in the individual the counterparts of all the 25 cosmic categories…
As the Supreme Will, Shakti is described as Consciousness-Bliss. The Saundarya Lahiri describes the universe in its subtle and gross forms as the trans- formation of Shakti. Though undergoing actual trans- formation into all these elements in their gross macro-cosmic aspect as the universe and in their subtle micro-cosmic aspect as the six chakras in the body, Shakti is not lost in the effects – she retains her identity as the Supreme Will or Consciousness-Bliss.
——
Meru and Sri Chakra
There are nine chakras in the Sri Chakra. These nine Chakras have each a distinct form and a distinct name. Proceeding from the outermost to the inner, let us describe the Chakras.
The outermost is a square Chaturasra of three lines, the lines one inside the other, opening out in the middle of each side as four portals. This is known as the Bhupura, the earth-stretch. This is the ground-plane if Sri Chakra is considered as graded elevations, Meru.
Through the portals in the Bhupura one enters the precincts. Immediately inside the square are three concentric circles which serve as three girdles trivalaya.
The space between the sides of the square and the circumference of the outermost circle, between Bhupura and Trivalya, is known as Trailokya Mohana Chakra, the Enchanter of the Triple World.
Inside the 3 girdles are:
1. Sarvasa Paripuraka Chakra – 16 Petals – Fulfiller of all Desires;
2. Sarva Sanksobhana Chakra – 8 Petals – Agitator of all;
3. Sarva Saubhagyadayaka Chakra – 14 Triangles [Chaturdasa Kona] – Giver of all Auspiciousness;
4. Sarvartha Sadhaka Chakra – 10 Triangles [Outer Dasara] – Accomplisher of all Purposes;
5. Sarva Raksakara Chakra – 10 Triangles [Inner Dasara] – Giver of all Protection;
6. Sarva Rogahara Chakra – 8 Triangles [Ashta Kona] – Remover of all Diseases;
7. Sarva Siddhiprada Chakra – Inverted Primary Triangle – Giver of all accomplishments and
8. Sarvanandamaya Chakra – Bindu – Full of all Bliss.
——–
Sri Chakra Mahameru 5.5 ft height at Om Sri Skandasramam, Chennai
http://www.skandasramam.org/deities.php?god=SriChakraMahameru
In Hindu mythology Goddess Shakti is personified as the Sri Chakra Poorna Maha Meru.
At Chennai Om Sri Skandasramam, the four deities face the 4 cardinal directions and
in front of them, at the centre, is installed the Sri Chakra Poorna Maha Meru in
Panchaloka and is 5 ½ feet in height. It is believed that all the devathas have emerged
from the Meru and that Goddess Shakti herself resides in the form of Shrividya at
the Bindu (top of the Meru). This gopuram represents the Tamilnadu type of architecture.
All the gopurams are installed according to the Veda Sastra.
—
2D Srichakra Yantra
1st Avarana the outer square with three lines and 4 gates is brown. The outer line is white (though the colour of the 10 deities here is like molten gold), the middle line is orange red like the rising sun and the inner line is yellow like the colour of butter.
2nd Avarana the 16 petal lotus is pink like lotus flower.
3rd Avarana the 8 petal lotus is red – the colour of Bandhuka flowers.
4th Avarana the 14 cornered triangle is colour green like the colour of glow worms.
5th Avarana the outer 10 corners triangle is red like Japakusuma flowers.
6th Avarana the inner 10 corners triangle is colour blue (though the deities here have the lusture of 1000 rising suns).
7th Avarana the 8 corners triangle is colour red like Dadini flowers.
8.The innermosst triangle is white.
9.The Bindu the central point is red like Sindoor.
–
Tripurasundari Maha Mantra: “Om Aim Klim Sauh”
SriChakra can be kept in a house as a holy article, without any worship in the same way one would keep a picture of a Deity or Mother Mary. (Mother worship is in vogue amongst the Christians as well. The whole Christian world looks upon Virgin Mary as the Mother of God-Lord Christ. As such some denominations of Christians worship Kanya Kumari, since they believe Kanya-Kumari to be the Virgin Mary )
It could be worshiped once a year, periodically, or on special occasions like Navaratri or daily or when ever one likes.
Sunday in conjunction with Pusya Star, one’s own Guru’s birthday, the day of one’s own birthday, Astami (the 8th day of the bright half or\f the moon), or the 14th day of the bright half of the lunar month. Friday in conjunction with full moon day is very special.
Sri Chakra can be drawn on paper with pen and ink, or on the floor or plank, bark, or coloured flour to turmeric, kumkum, ashes of yajna and consigned to the river or sea, after the puja is done.
SriChakra can be drawn on gold, silver, copper leaf or plate. One drawn on a plate made of five metals are considered very powerful. The metals are gold, silver, copper, brass, and tin.
SriChakra can be used to meditate on its own or with other deities.
SriChakra drawn on a plate, foil or disc or gold, silver, copper or any other material can be worn on a person as talisman.
Sri Chakra is to be always kept flat to the ground and not upright or slanting, except when used as a talisman or as an ear-ring or a ring. It should never be used as a wall hanging. There a lots of commercial houses selling the SriChakra as wall hangings, do not buy them.
SriChakra is the most calm, harmless, genteel and non aggressive of all the yantras. In fact a SriChakra is helpful where there are fierce elements disturbing the peace or creating bad effects, in order to reduce the effect.
One should approach the Divine Mother without any reservations. One need not express one’s want, difficulties, complaints, problems to her for she knows your needs better and will give you what you need and at the same time she will also protect you.
Om ! Gods ! With ears let us hear what
is good;
Adorable ones ! With eyes let us see what is good.
With steady limbs, with bodies, praising,
Let us enjoy the life allotted by the gods.
May Indra, of wide renown, grant us well-being;
May Pusan, and all-gods, grant us well-being.
May Tarksya, of unhampered movement, grant us well-being.
May Brihaspati grant us well-being.
Om ! Peace ! Peace ! Peace !
1. The holy Teacher is the Power (Para-Sakti) that is the cause of all.
2. Of that Power the body with its nine orifices is the form.
3. It is the holy Wheel in the guise of the nine wheels.
4. The Power of the Boar is paternal: Kurukulla, the deity of sacrifice, is maternal.
5. The (four) human Ends are the oceans (purusharthas - dharma, artha, kama and moksha).
6- 7. The body with the seven constituents (Chile, blood, flesh, fat, bone, marrow and semen) like the skin and the hair is the island of the nine gems.
8. Resolutions are the wish-granting trees; energy (of the mind) is the garden of the trees of plenty.
9. The six seasons are the tastes, namely sweet, sour, bitter, pungent, astringent and saltish, which are apprehended by the tongue.
10. Knowledge is the material for worship; the object of knowledge is the oblation; the knower is the sacrificer. The meditation on the identity of the three, knowledge, its object, and the knower, is the worship rendered to the holy Wheel.
11. Destiny and sentiments like love are (the miraculous attainments like) atomicity, etc. Lust, anger, greed, delusion, elation, envy, merit, demerit – these constitute the eight powers of Brahma, etc. (Brahma, Maheshvari, Kaumari, Vaishnavi, Varahi, Raudri, Charmamunda and Kalasamkarsini).
12. The nine abodes (muladhara etc.,) are the powers of the mystic gestures.
13. The earth, water, fire, air, ether, ear, skin, eye, tongue, nose, speech, feet, hands, the organs of evacuation and generation and the modification of mind are the sixteen powers such as the pull of lust, etc.
14. Speech, grasp, motion, evacuation, generation, and the attitudes of rejection, acceptance and apathy are the eight (entities) such as the flower of love, etc.
15. Alambusa, kuhu, visvodara, varana, hastijihva, yasovati, payasvini, gandhari, pusa, sankhini, sarasvati, ida, pingala and susumna – these fourteen arteries are the fourteen powers such as the all-exciting, etc.
16. The five vital breaths and the five minor breaths are the ten divinities of the outer spokes, (styled) Sarvasiddhiprada, etc.
17. The digestive fire becomes fivefold through distinctions based on its association with this pre-eminent breath. (They are) what ejects, what cooks, what dries, what burns and what inundates.
18. Owing to the prominence of the minor breath, these (fires) in the human body come to be styled as the corroder, the ejector, the agitator, the yawner and the deluder. They promote the digestion of the fivefold food: eaten, chewed, sucked, licked and imbibed.
19. The ten aspects of Fire are the ten divinities of the inner spokes, Sarvajna, etc.
20. The qualities of cold, heat, pleasure, pain, desire, sattva, rajas and tamas are the eight powers, vasini, etc.
21. The five, rudimentary sound, etc., are the flowery shafts.
22. Mind is the bow made of sugarcane.
23. Attachment is the cord (that binds).
24. Aversion is the hook.
25. The unmanifest, the Great, and the principle of Egoism are the divinities of the inner triangle: Kameshvari, Vajreshvari and Bhagamalini.
26. Absolute awareness, verily, is Kameshvara.
27. The supreme divinity, Lalita, is one’s own blissful Self.
28. Of all this the distinctive apprehension is the red glow.
29. Perfection (ensues from) exclusive concentration of the mind.
30. In the performance of meditation consist (various acts of) respectful service.
31. The act of oblation is the merger in the Self of distinctions like I, Thou, Existence, non-Existence, the sense of duty and its negation, and the obligation worship.
32. Assuagement is the thought of identity of (all) objects of imagination.
33. The view of time’s transformation into the fifteen days (of the half lunar month) points to the fifteen eternal (divinities).
34. Thus meditating for three instants, or two, or even for a single instant, one becomes liberated while living; one is styled the Siva-Yogin.
35. Meditations on the inner wheel have been discussed (here) following the tenets of Saktaism.
36. Whoso knows thus is a student of the Atharvasiras.
Om ! Gods ! With ears let us hear what is good;
Adorable ones ! With eyes let us see what is good.
With steady limbs, with bodies, praising,
Let us enjoy the life allotted by the gods.
May Indra, of wide renown, grant us well-being;
May Pusan, and all-gods, grant us well-being.
May Tarksya, of unhampered movement, grant us well-being.
May Brihaspati grant us well-being.
Om ! Peace ! Peace ! Peace !
Here ends the Bhavanopanishad, included in the Atharva-Veda.
Adorable ones ! With eyes let us see what is good.
With steady limbs, with bodies, praising,
Let us enjoy the life allotted by the gods.
May Indra, of wide renown, grant us well-being;
May Pusan, and all-gods, grant us well-being.
May Tarksya, of unhampered movement, grant us well-being.
May Brihaspati grant us well-being.
Om ! Peace ! Peace ! Peace !
1. The holy Teacher is the Power (Para-Sakti) that is the cause of all.
2. Of that Power the body with its nine orifices is the form.
3. It is the holy Wheel in the guise of the nine wheels.
4. The Power of the Boar is paternal: Kurukulla, the deity of sacrifice, is maternal.
5. The (four) human Ends are the oceans (purusharthas - dharma, artha, kama and moksha).
6- 7. The body with the seven constituents (Chile, blood, flesh, fat, bone, marrow and semen) like the skin and the hair is the island of the nine gems.
8. Resolutions are the wish-granting trees; energy (of the mind) is the garden of the trees of plenty.
9. The six seasons are the tastes, namely sweet, sour, bitter, pungent, astringent and saltish, which are apprehended by the tongue.
10. Knowledge is the material for worship; the object of knowledge is the oblation; the knower is the sacrificer. The meditation on the identity of the three, knowledge, its object, and the knower, is the worship rendered to the holy Wheel.
11. Destiny and sentiments like love are (the miraculous attainments like) atomicity, etc. Lust, anger, greed, delusion, elation, envy, merit, demerit – these constitute the eight powers of Brahma, etc. (Brahma, Maheshvari, Kaumari, Vaishnavi, Varahi, Raudri, Charmamunda and Kalasamkarsini).
12. The nine abodes (muladhara etc.,) are the powers of the mystic gestures.
13. The earth, water, fire, air, ether, ear, skin, eye, tongue, nose, speech, feet, hands, the organs of evacuation and generation and the modification of mind are the sixteen powers such as the pull of lust, etc.
14. Speech, grasp, motion, evacuation, generation, and the attitudes of rejection, acceptance and apathy are the eight (entities) such as the flower of love, etc.
15. Alambusa, kuhu, visvodara, varana, hastijihva, yasovati, payasvini, gandhari, pusa, sankhini, sarasvati, ida, pingala and susumna – these fourteen arteries are the fourteen powers such as the all-exciting, etc.
16. The five vital breaths and the five minor breaths are the ten divinities of the outer spokes, (styled) Sarvasiddhiprada, etc.
17. The digestive fire becomes fivefold through distinctions based on its association with this pre-eminent breath. (They are) what ejects, what cooks, what dries, what burns and what inundates.
18. Owing to the prominence of the minor breath, these (fires) in the human body come to be styled as the corroder, the ejector, the agitator, the yawner and the deluder. They promote the digestion of the fivefold food: eaten, chewed, sucked, licked and imbibed.
19. The ten aspects of Fire are the ten divinities of the inner spokes, Sarvajna, etc.
20. The qualities of cold, heat, pleasure, pain, desire, sattva, rajas and tamas are the eight powers, vasini, etc.
21. The five, rudimentary sound, etc., are the flowery shafts.
22. Mind is the bow made of sugarcane.
23. Attachment is the cord (that binds).
24. Aversion is the hook.
25. The unmanifest, the Great, and the principle of Egoism are the divinities of the inner triangle: Kameshvari, Vajreshvari and Bhagamalini.
26. Absolute awareness, verily, is Kameshvara.
27. The supreme divinity, Lalita, is one’s own blissful Self.
28. Of all this the distinctive apprehension is the red glow.
29. Perfection (ensues from) exclusive concentration of the mind.
30. In the performance of meditation consist (various acts of) respectful service.
31. The act of oblation is the merger in the Self of distinctions like I, Thou, Existence, non-Existence, the sense of duty and its negation, and the obligation worship.
32. Assuagement is the thought of identity of (all) objects of imagination.
33. The view of time’s transformation into the fifteen days (of the half lunar month) points to the fifteen eternal (divinities).
34. Thus meditating for three instants, or two, or even for a single instant, one becomes liberated while living; one is styled the Siva-Yogin.
35. Meditations on the inner wheel have been discussed (here) following the tenets of Saktaism.
36. Whoso knows thus is a student of the Atharvasiras.
Om ! Gods ! With ears let us hear what is good;
Adorable ones ! With eyes let us see what is good.
With steady limbs, with bodies, praising,
Let us enjoy the life allotted by the gods.
May Indra, of wide renown, grant us well-being;
May Pusan, and all-gods, grant us well-being.
May Tarksya, of unhampered movement, grant us well-being.
May Brihaspati grant us well-being.
Om ! Peace ! Peace ! Peace !
Here ends the Bhavanopanishad, included in the Atharva-Veda.
APPENDIX
The Great Goddess
Lalita And The Sri Chakra
Subhash Kak, Swarajya.
The deity of the Sri Chakra is known
to us from the Brahmaṇḍa Puraṇa as Lalita Tripurasundari, the playful transcendent
beauty of the three cities.
The Sri Chakra is an iconic representation of
the deepest intuitions of the Vedas. It represents both the recursive structure
of reality and also expresses the fact that Nature and Consciousness are
inter-penetrating .
The great Goddess Lalita, also known as
Tripurasundari, Maharajni and Rajarajesvari amongst other names, is the
presiding deity of the most esoteric yogic practices associated with the Sri
Chakra (also called Sri Yantra) that are collectively called Sri Vidya.
According to the Vedic view, reality, which is
unitary at the transcendental level, is projected into experience that is
characterized by duality and paradox. We thus have duality associated with body
and consciousness, being and becoming, greed and altruism, fate and freedom.
The gods bridge such duality in the field of imagination and also collectively
in society (Kak, 2002): Vishnu is the deity of Moral Law (DHARMA), whereas
Shiva is Universal Consciousness. Conversely, the projection into processes of
time and change is through the agency of the Goddess. Consciousness (Purusha)
and nature (Prakrti) are opposite sides of the same coin.
The mystery of reality may be seen through the
perspectives of language (because at its deepest level it embodies structures
of consciousness) and logic (Nyaya), physical categories (Vaiseshika),
creation at the personal or the psychological level (Sankhya), synthesis
of experience ( Yoga), analysis of tradition (Mimamsa), and
cosmology (Vedanta). These are the six darshanas of Indian philosophy.
More particularly, sages have argued that the yogic journey into the deepest
point of our being, a practice that is popularly called ‘Tantra’, is the
quickest way to understanding.
As our ordinary conception of who we are is
determined by name and form (Namarupa), this journey requires
challenging our most basic beliefs related to our personal and social selves.
One needs to travel to the deepest layers of our being wherein spring our
desires, some of which are primal and others that are shaped by culture and
experience. Since name and form belong to the realm of time and change, this
path is that of the Goddess. The path of the Goddess is quick, but it is filled
with danger since it involves deconstructing one’s self and then arriving at a
new synthesis. This path has been popular with warriors, intellectuals and
aesthetes and its practitioners include India’s greatest philosophers.
We explore first the question of the antiquity
of the Sri Chakra by showing that it figures in a very early text, the
Svetashvatara Upanishad (SU). The deity of the Sri Chakra is known to us from
the Brahmaṇḍa Puraṇa as Lalita Tripurasundari, the playful transcendent beauty
of the three cities. The meaning of the Chakra and its nine circuits will be
explained.
Svetashvatara’s Yantra
The sage Svetashvatara, who belonged to the
late Vedic period, asks in his Upanishad whether time (Kala) or nature (Svabhava),
or necessity (Niyati) or chance (Yadṛccha), or Puruṣha is the
primary cause of this reality. He answers in a riddle that goes:
tamekanemi trivṛtaṃ ṣoḍaSantaṃ Satardharaṃ
viṃSatipratyarabhiḥ aṣṭakaiḥ ṣaḍbhirviSvarupaikapaSaṃ trimargabhedaṃ
dvinimittaikamoham .1.4
Who (like a wheel) has one felly with three
tires, sixteen ends, fifty spokes, twenty counter-spokes, six sets of eight,
one universal rope, with three paths and illusion arising from two views. SU
1.4
This looks like the description of a Yantra,
but we don’t have enough information on how to proceed to draw it. An
interpretation of these numbers as different categories of Sankhya was provided
by Sankara (788-820) although he did not specifically address its graphical
design.
We argue that this describes the Sri Chakra.
This might appear surprising at first because the Svetashvatara Upanishad
extols Rudra-Shiva and the Sri Chakra is associated with the Goddess. But since
Shiva does reside at the innermost point (Bindu) of the Chakra along
with the Goddess, it is not inconsistent with the focus of the Svetashvatara
Upanishad. Furthermore, SU 4.9 proclaims: mayaṃ tu prakṛti
vidyanmayinaṃ tu maheSvaram, consider Nature to be magical (Maya)
and the Great Lord (Mahesvara) to be the one who has cast the spell (Mayin).
The Goddess is another name by which Nature is known, therefore the mystery of
the Lord in the launching of the Universe can only be known through the
Goddess. The identification of the Sri Chakra in SU goes against the scholarly
view that the Sri Chakra is a post-major-Upanishadic innovation, and, if accepted,
this calls for a revision of the history of the development of Tantra.
The Bindu or dot in the innermost
triangle of the Sri Chakra represents the potential of the non-dual
Shiva-Shakti. When this potential separates into PrakaSa (the Aham
or I-consciousness, Shiva) and Vimarsa (the idam or
this-consciousness, Shakti) it is embodied into Nada, Kala and Bindu.
Nada is the primal, unexpressed sound (interpreted by human ear as Oṃkara)
and Kala is the “Kama Kala,” the desire to create, which the Vedas tell
us is the desire “May I be many” (Chandogya Upanishad. 6.2.1.3). Bindu,
as the potential universe ready to separate into various categories is
Mahatripurasundari. Shiva as Prakasa (luminosity or consciousness) has
realized himself as “I am”, through her, the Vimarsa Shakti (nature
as the reflector).
It must be stated that within the Yogic
tradition, it has always been believed that Tantra is a part of the Vedas
itself. In the Devi Sukta (Rigveda 10.125), the Goddess describes herself as
supreme. In the Sri Sukta of the Ṛigvedic hymns (appendices), the goddess Sri
is associated with prosperity, wealth, and fortune, and she is spoken of as
deriving joy from trumpeting elephants. The Sri Sukta, addressed to Jatavedas
of Fire, was invoked at the fire ritual. In Kauṭilya’s Arthashastra (14.117.1)
there is reference to the goddess being invoked for the protection of a fort.
In the Bṛhadaraṇyaka Upanishad 7.4 there is a reference to the goddess Vac.
The Vedic triads, together with the dyadic
male and female components, enlarge through expansion (Prapancha) so the
universe is a projection (Vimarsa) of the Absolute’s self-illumination (Prakasa).
The supreme deity in the form of Shakti (Parashakti),
Sri as the great goddess (Mahadevi) is one of the aspects of Lalita
Tripurasundari. Lalita Tripurasundari
has three manifestations: Sthula, or descriptive as image; Sukṣma,
or subtle as mantra; and para, or transcendent as Yantra or Chakra.
Lalita Tripurasundari is also called Rajarajeshwari or just Sridevi. Those who
see the three representations as interrelated are called the followers of the Kaula
tradition, as has been the case with the Kashmiris.
In the South, the Tirumantiram (Srimantra
in Sanskrit) of the seventh century siddha Tirumular knows Srividya. In
the Lalitasahasranama, Lalita is described in terms similar to those of
Durga. Lalita is worshiped as the Srividya mantra and as the Sri Yantra.
The Srividya mantra is known in three forms: kadi
(starting with ka), hadi (starting with ha), and sadi associated
with Sri Manmatha, Lopamudra, and Durvasa respectively. The mantra is divided
into three parts, which represent three sections (kuṭa or khaṇḍa)
of the image of the Goddess: Vagbhavakuṭa, Kamarajakuṭa, and Shaktikuṭa.
The kadividya of Sri Manmatha: ka e i
la hrim (vagbhavakuṭa) ha sa ka ha la hrim (kamarajakuṭa) sa ka
la hrim (Shaktikuṭa).
The hadividya of Lopamudra: ha sa ka
la hrim (vagbhavakuṭa) ha sa ja ha la hrim (kamarajakuṭa) sa ka
la hrim (Shaktikuṭa)
The sadividya of Durvasa: sa e i la
hrim (vagbhavakuṭa) sa ha ka ha la hrim (kamarajakuṭa) sa ka la
hrim (Shaktikuṭa)
The 18th century scholar Bhaskaraya maintained
that the Srividya mantra is meant in Rigveda 5.47.4 where it is said: chatvara
iṃ bibharti kṣhemayantaḥ, “that with four iṃs confers benefit”.
The kadi mantra (panchadaSakṣari) has four long i vowels.
According to some, the 16-syllable mantra (ṣoḍaSakṣari) is obtained by
adding the seed-syllable (bijakṣara) Sriṃ to the 15-syllable
mantra.
The Sri Vidya mantra is viewed as 37
syllables, representing the 36 tattvas of reality of Saivism and the
37th transcendent Parashiva state. These are divided into 11 for the Vagbhavakuṭa,
15 for the Kamarajakuṭa, and 11 for the Shaktikuṭa.
The Sri Chakra and Lalita Tripurasundari
The three cities in the name of Lalita
Tripurasundari are that of the body, the mind, and the spirit, or that of will
(Iccha), knowledge (Jnana) and action (Kriya). They may
also be seen as the knower, the means of knowledge, and the object of
knowledge; the three gunas of Sattva, Rajas and Tamas; Agni
(fire), Surya (sun) and Chandra (moon); Sṛṣṭi (creation), Sthiti
(preservation) and Laya (dissolution); intellect, feelings, and
sensation; subject (mata), instrument (mana), and object (meya)
of all things; waking (jagrat), dreaming (svapna) and dreamless
sleep (suṣupti) states; as Atma (individual self), Antaratma (inner
being) and Paramatma (supreme self) and also as past, present and
future.
Her five triangles represent the Pancha
bhutas (five elements). She holds five flowery arrows, noose, goad and bow.
The noose is attachment, the goad is revulsion, the bow is the mind and the
flowery arrows are the five sense objects. Their union is harmony or samarasa.
Sankara (788-820) spoke of the Sri Chakra in
the Saundaryalahari (SL) (Subramaniam, 1977). In SL11, the Sri Chakra is
described in terms of its four Srikaṇṭha (upward pointing) and five Shivayuvati
(downward pointing) triangles, which create its 43 triangles. If we look Sri
Chakra’s structure as consisting of three basic triangles, then within each
triangle are lower hierarchical levels of two other triangles, of alternating
polarity. The 42 outer triangles are arranged in four circles around the middle
triangle, with counts of 8, 10, 10, and 14 in the four arrays. The Sri Chakra
is also associated with the Chakras of the yogi’s body. According to SL 14:
Fifty-six for earth (Muladhara); for water
fifty-two (maṇi-puraka), sixty-two for fire (Svadhiṣṭhana); for air fifty-four
(Anahata), seventy -two for ether (Visuddhi); for mind sixty-four (Ajna Chakra)
are the rays; even beyond these are your twin feet.
The six Chakras are classified in granthis
(knots) of two. The lowest two chakras correspond to 108 rays, the middle two
to 116, and highest two to 136 rays. I have argued elsewhere that this provides
an explanation for the layout of the great Shiva temple at Prambanan in
Indonesia (Kak, 2010)
The Sri Chakra embodies the tripartite
division of the cosmos into earth, atmosphere, and the sun, which is mirrored
in the individual by the body, the breath, and the inner lamp of consciousness;
it also represents the three parts of the body: neck to head, neck to navel,
and navel to the bottom of the trunk. It is within the wheel of time (kalaChakra),
and it is both the human body (microcosm) and the universe (macrocosm). Its
middle 43 triangles are surrounded by a circle of eight petals that, in turn,
is surrounded by a 16-petalled circle. At the outermost are three lines, which
are called the bhupura. They are also categorised into nine circuits or Avaraṇas,
where the bhupura is the outermost avaraṇa. These nine avaraṇas
have 108 presiding Devis. In the Sri Chakra puja they are systematically
worshipped one by one with their names and mantras. The nine circuits
symbolically indicate the successive phases in the process of becoming.
The nine chakras are compared in the Tripura
Upanishad to the nine yogas, namely the eight familiar ones of Patanjali and
the additional one of sahaja.
The Sri Chakra
Lalita Tripurasundari’s three Shaktis, which
are shown in the three corners of the inner triangle, are Bhagamalini, Vajresi,
and Kamesvari, who are associated with Brahma, Viṣṇu, and Rudra. The central bindu
is where the Goddess is united with Shiva, the Universal Consciousness.
Chakra puja or Yantra puja is the worship of
the deity. Devi, the cosmic female force, is the first step of creation. The
counterpoint male principle has three emanations: Rudra from the left, Brahma
from the middle, and Viṣṇu from the right. At the centre of the Sri Yantra is Kamakala,
which has three bindus. One is red, one is white and one is mixed. The
red bindu is Kurukulla, the female form; the white bindu is Varahi the
male form; and the mixed bindu is the union of Shiva and Shakti
Looking at the Sri Chakra from outside in
within the circular part of the Yantra, we thus have one felly with three
tires, 16 ends of the petals in the outer circle, and a total of 50 (eight
petals and 42 triangles outside of the central one) “spokes”, with 20 triangles
in the middle two circuits that may be termed “counter-spokes”, a total of six
circuits of petals and triangles have either eight or more than eight members,
the universal rope is the Bhupura, the three paths are the paths ruled
by Tamas, Rajas, and Sattva embodied by the three goddesses in
the innermost triangle.
The Sri Chakra maps the inner sky as one goes
from outside to inside; it is also located in the body in terms of the six
Chakras. The count of 50 of the Sri Chakra is mapped to 50 petals of the Chakras
as one goes from the base (muladhara) to the ajna Chakra. The
specific number of lotuses is 4, 6, 10, 12, 16, and 2. The Sahasrara Chakra’s
1,000 petals parallel the infinity associated with the innermost triangle of
the Sri Chakra.
Inside the square are three concentric
circles, girdles (mekhala . The space between the square and three
girdles is the Trailokyamohana Chakra, or the Chakra that enchants the
three worlds; at this stage the adept sees himself as his social self
completely immersed in the magic of life.
Next are two concentric rings of 16 and eight
lotus petals respectively. The first of these is Sarva Saparipuraka Chakra,
which is the Chakra that fulfils all desires; the second is the Sarvasankṣobhaṇa
Chakra, indicating dissolution of apartness and duality.
The fourth Chakra, consisting of the fourteen
triangles forming the outer rim of the complex interlocking of triangles,
is the Sarvasaubhagyadayaka, giver of good fortune, which leads one to
spiritual insight and success.
The next two Chakras are each constructed of
ten triangles. Called Sarvarthasadhaka, making all means effective, and Sarvarakṣakara,
protecting the unifying thread in all experience, they indicate stages when
inner realisation begins to strengthen. The seventh Chakra, consisting of eight
triangles, is the Sarvarogahara, removing all attachment to duality, at
which the sadhaka is near deep transformation.
An inverted triangle is the eighth Chakra of Sarvasiddhaprada
, that provides all powers and validation. The last Chakra, the bindu,
is Sarvaanandamaya, full of bliss. It is the heart of one’s self in
which one witnesses the union of one’s own nature and spirit, Shakti and Shiva.
The Sri Yantra and its worship encompass the
deepest secrets of Vedic knowledge. Not only does it represent the inner
cosmos, which has the framework of infinity and recursion across scale and time
and a mirroring of the outer and the inner, the ritual associated with it is
the heart of yajna.
The Chakra is a representation of Devi in many
forms: Lalita, Katyayani, Kameshwari, Kamakṣi, Durga, Caṇḍi, Kali, Amba, and so
on, that is reality (Sat), mind (Chit) and bliss (Ananda).
As Mahavidyas, Devi has the forms Kali, Tara, Tripurasundari, Bhuvaneshwari,
Chinnamasta, Bhairavi, Dhumavati, Bagalamukhi, Matangi, and Kamala (Lakshmi).
The Sri Yantra ritual infuses the yantra with
mantra that represents the union of space and sound. Its closed, concentric
circuits (maṇḍalas) correspond to the nine planes of consciousness of
the sadhaka. Each plane is a stage on the ascent of one’s being toward the
inner self.
The vowels and consonants of Sanskrit are
inscribed in the vertices of the Sri Yantra (Abhinavagupta, 2005). In each of
the nine circuits (Avaraṇas) specific deities are invoked. The deities are like
veils concealing the deeper essence. After the sadhaka has invoked all
the devatas in the prescribed manner, he obtains an insight in which all
the deities of the plane are fused to become the presiding deity of the
circuit.
The Nine Avaranas
The Bhupura
is the first (outermost) avaraṇa of the Sri Chakra. These lines have 10,
8, and 10 devis respectively. They include the eight Matrika Shaktis, which are
the psychological forces that spring out of ego. The second Avaraṇa has 16
petals in which reside 16 devis that rule over different aspects of physical
well being. The third Avaraṇa is the eight petal circle with eight devis who
represent various actions as well as non-action. The first three Avaranas
represent sṛṣṭi, or extension of creation
The fourth avaraṇa is the outer set of
14 blue triangles, which represent the 14 worlds and the 14 main nadis in the
human body; the fifth avaraṇa consists of 10 red triangles; the sixth
has the inner 10 red triangles; these three avaraṇas represent sthiti,
or preservation. The seventh is the inner eight green triangles; the eighth is
the inner triangle. The three corners of this triangle are: Kameshwari, the
Rudra Shakti or Parvati; Vajresi is the Vishnu Shakti, Laksmi; and Bhagamalini
is the Brahma Shakti, or Sarasvati . The ninth avarana is the bindu,
which is the cosmic union of Shiva and Shakti. The deity, Maha Tripurasundari,
is the personification of Para Brahman. These three avaraṇas represent samhara,
or absorption.
Do the nine sheaths stand up to scientific
scrutiny? Modern neuroscience has not yet reached a level where the sheaths
covering the innermost sense of self can be examined in the laboratory (Kak,
2004). But it does speak of centers that mediate different aspects of selfhood.
The nine sheaths, in the Sri Chakra, are a consequence of the interplay between
the realities of various kinds of triads that were mentioned before. To that
extent, the nine sheaths are a reasonable way of representing the inner space
of our being which is validated by the experience of the sages.
The Devi Mahatmya presents an account of what
Mahakali, Mahalakshmi and Mahasaraswati do to bring about the transformation of
Prakṛti from Tamas to Rajas, from Rajas to
Sattva and from Sattva to Supreme Vijaya, which is mastery in
the absolute. The Navaratri is a form of Sri Chakra puja where the nine nights
represent the nine avaraṇas. The first three days are a worship of
Mahakali, Mahalakshmi and Mahasaraswati; on the subsequent days, their exploits
are celebrated. The completion of the sadhana is the marriage of Shiva
and Parvati. The process is like overcoming the demonic materiality of one’s
own self that is represented elsewhere by Ravana. This victory is celebrated on
the tenth day (Vijayadashami) as that of Durga over Mahishasura.
In Kashmir, the
goddess Sarika Devi subsumes in herself all the nine avaranas, which is why
she is shown with nine sets of arms.
We have seen much overlap between the numbers
described in the Svetashvatara Upanishad and those of the Sri Yantra. In our
opinion the case for the two yantras being the same is compelling. The
conception of the Goddess as the Supreme power out of which all the Gods
emerged, encountered in the Durga Saptasati, existed at the time of the
Svetashvatara Upanishad for it is also proclaimed in the Devi Sukta of the
Rigveda (10.125). Furthermore, we have evidence of yantric structures in India
that go back to about 2000 BC (Kak, 2005) as well as representations of the
Goddess killing the buffalo demon from the Harappan period, so we are speaking
here of a very ancient tradition.
The Sri Chakra is an iconic representation of
the deepest intuitions of the Vedas. It represents both the recursive structure
of reality and also expresses the fact that Nature and Consciousness are
interpenetrating (Kak, 2007). It is relatively easy for the conditioned mind to
question names and forms (Namarupa) as compared to turn the gaze of
one’s inner mind on one’s consciousness. The Sri Chakra looks at reality
through the lens of beauty and felt experience. By helping one penetrate the
various coverings of one’s mind, it takes the seeker to Shiva, the fixed point
of one’s self.
References
Abhinavagupta,
2005. ParatriSika Vivaraṇa. Motilal Banarsidass, Delhi. S. Kak,
2002. The Gods Within. Munshiram Manoharlal, New Delhi.
S. Kak, 2004. The
Architecture of Knowledge. CRC/Motilal Banarsidass, Delhi.
S. Kak, 2005.
Early Indian architecture and art. Migration and Diffusion – An
International Journal, vol. 6, Number 23, pp. 6-27.
S. Kak, 2007. The
Prajna Sutras: Aphorisms of Intuition. DK Publishers, New Delhi. S.
Kak, 2010. Space and order in Prambanan. OSU.
V.K. Subramaniam,
1977. Saundaryalahari. Motilal Banarsidass, Delhi.According to the Vedic
view, reality, which is unitary at the transcendental level, is projected into
experience that is characterized by duality and paradox.
He
who is Brahman, He is Shakti and also the Divine Mother. Without acknowledging
Shakti, no one can understand what Brahman is. Brahman can become manifest only
through Shakti.
What
is fire? It is something that has the power to burn. Fire would become useless
if it could not burn. As fire and its power to burn are no different, so
Brahman and Shakti are the same.
When
we describe them, they seem to be two different things, but in reality they are
one. The One has become many; that is the manifestation of His power.
How
is it possible to realize Brahman without taking refuge in Shakti? The words
that are used to call on Him, the sound that is used to worship Him — those are
all functions of Shakti. You have originated from Shakti, and you move and walk
by means of Her power.
--Sri Ramakrishna Paramahamsa
Wow
ReplyDeleteIt was mind blowing and eye opening. I stumbled upon this mantra 10 years ago. No clue about the meaning.It attracted me like a wild vortex of quick sand. First I ignored it, then the desire came back strong. My deep desire to find it back took me three days and indescribable pain in my eyes. I got it back again. This time I wrote it down.
Meaning you provided just shook my soul. I was wondering about Valai worship!
Finally you made it so easy.
Thank you very much.