Friday, November 11, 2011

SRIVIDYAA—SRI LALITAA AND BAALAA TRIPURAA


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:
  1. 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.

 
  1. Haadividya—the Mantra commencing with Ha: ha sa ka la | hreem
    ha sa ka ha la | hreem
    sa 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.

 
[ 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:
  1. Hreem kleem h-sauh (3syllbles)
  2. Aim kleem sauh kleem aim
  3. Sreem kleem hreem aim kleem sauh hreem kleem sreem (9)
  4. Aim kleem sauh baalaa tripurae swaahaa (10)
  5. Aim kleem h-sauh baalaa tripure siddhim dehi namah (14)
  6. Hreem hreem hreem prodhatripure aarogyam-aisvaryam dehi swaahaa
  7. Hreem sreem kleem tripuraa madane sarvam subham saadhaya swaahaa
  8. 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:

 
  1. Prof. S.K. Ramachandra Rao, Vidyaa-Kosa, Sri Satguru Publications, Delhi, India.
  2. Swami Devcarupananda, Sri Ramakrishna Math, Mumbai, India.
  3. Swami Harshananda, Sri ramkrishna Math, Mylapore, Chennai, India.
  4. S.K.Ramachandra Rao, Indian Temple Traditions, Kalpataru Research Academy, Sharada Peetham, Bangalore, India


APPENDIX
(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 
Posted by The Editor | Jan 06, 2014 | 
va caraa pakeruha-bhava
viri
ñci sañcinvan viracayati lokā-navikalam |
vahatyena
śauri kathamapi sahasrea śirasāṃ
hara
sakud-yaina bhajati bhasitoddhūḷa navidhim|| 2 ||
avidyānā-manta-stimira-mihira dvīpanagarī
ja
ḍānāṃ caitanya-stabaka makaranda śrutijharī |
daridr
āṇāṃ cintāmai guanikā janmajaladhau
nimagn
ānāṃ daṃṣṭrā muraripu varāhasya bhavati|| 3 ||
tvadanya pāṇibhayā-mabhayavarado daivatagaa
tvamek
ā naivāsi prakaita-varabhītyabhinayā |
bhay
āt trātu dātu phalamapi ca vāṃchāsamadhika
śaraye lokānāṃ tava hi caraṇāveva nipuau || 4 ||
haristvāmāradhya praata-jana-saubhāgya-jananīṃ
pur
ā nārī bhūtvā puraripumapi kobha manayat |
smaro
pi tvāṃ natvā ratinayana-lehyena vapuṣā
mun
īnāmapyanta prabhavati hi mohāya mahatām || 5 ||
dhanu paupa maurvī madhukaramayī pañca viśikhāḥ
vasanta
sāmanto malayamaru-dāyodhana-ratha |
tath
āpyeka sarva himagirisute kāmapi kpāṃ
ap
āṅgātte labdhvā jagadida-manago vijayate || 6 ||
kvaatkāñcī-dāmā kari kalabha kumbha-stananatā
parik
ṣīṇā madhye pariata śaraccandra-vadanā |
dhanurb
āṇān pāśa sṛṇimapi dadhānā karatalai
purast
ā dāstāṃ na puramathitu rāho-puruikā || 7 ||
sudhāsindhormadhye suravia-pivāṭī-parivte
ma
idvīpe nīpo-pavanavati cintāmai ghe |
śivakāre mañce paramaśiva-paryaka nilayām
bhajanti tv
āṃ dhanyāḥ katicana cidānanda-laharīm || 8 ||
mahīṃ mūlādhāre kamapi maipūre hutavaha
sthita
svadhiṣṭāne hdi maruta-mākāśa-mupari |
mano
pi bhrūmadhye sakalamapi bhitvā kulapatha
sahasr
āre padme sa harahasi patyā viharase || 9 ||
sudhādhārāsārai-ścaraayugalānta-rvigalitai
prapa
ñca sinñntī punarapi rasāmnāya-mahasa|
av
āpya svāṃ bhūmi bhujaganibha-madhyuṣṭa-valaya
svam
ātmāna ktvā svapii kulakuṇḍe kuharii || 10 ||
caturbhi śrīkaṇṭhai śivayuvatibhi pañcabhipi
prabhinn
ābhi śambhornavabhirapi mūlapraktibhi |
catu
ścatvāriṃśad-vasudala-kalāśc-trivalaya-
trirekhabhi
sārdha tava śaraakoṇāḥ pariatāḥ || 11 ||
tvadīya saundarya tuhinagirikanye tulayitu
kav
īndrāḥ kalpante kathamapi viriñci-prabhtaya |
yad
ālokautsukyā-damaralalanā yānti manasā
tapobhirdu
prāpāmapi giriśa-sāyujya-padavīm || 12 ||
nara varṣīyāṃsa nayanavirasa narmasu jaa
tav
āpāṅgāloke patita-manudhāvanti śataśa |
galadve
ṇībandhāḥ kucakalaśa-vistrista-sicayā
ha
ṭāt truyatkāñyo vigalita-dukūlā yuvataya || 13 ||
kitau apañcāśad-dvisamadhika-pañcāśa-dudake
huta
śe dvāṣaṣṭi-ścaturadhika-pañcāśa-danile |
divi dvi
a triṃśan manasi ca catuḥṣaṣṭiriti ye
may
ūkhā-steṣā-mapyupari tava pādāmbuja-yugam || 14 ||
śarajjyotsnā śuddhāṃ śaśiyuta-jaṭājūṭa-makuṭāṃ
vara-tr
āsa-trāṇa-sphaikaghuikā-pustaka-karām |
sak
nna tvā natvā kathamiva satāṃ sannidadhate
madhu-k
ṣīra-drākṣā-madhurima-dhurīṇāḥ phaitaya || 15 ||
kavīndrāṇāṃ ceta kamalavana-bālātapa-ruci
bhajante ye santa
katicidaruṇāmeva bhavatīm |
viri
ñci-preyasyā-staruatara-śrṛṅgara laharī-
gabh
īrābhi-rvāgbhi rvidadhati satāṃ rañjanamamī || 16 ||
savitrībhi-rvācāṃ caśi-mai śilā-bhaga rucibhi-
rva
śinyadyābhi-stvāṃ saha janani sañcintayati ya |
sa kart
ā kāvyānāṃ bhavati mahatāṃ bhagirucibhi-
rvacobhi-rv
āgdevī-vadana-kamalāmoda madhurai || 17 ||
tanucchāyābhiste tarua-tarai-śrīsaraibhi-
rdiva
sarvā-murvī-maruimani magnāṃ smarati ya |
bhavantyasya trasya-dvanahari
a-śālīna-nayanāḥ
sahorva
śyā vaśyāḥ kati kati na gīrvāṇa-gaikāḥ || 18 ||
mukha bindu ktvā kucayugamadha-stasya tadadho
har
ārdha dhyāyedyo haramahii te manmathakalām |
sa sadya
sakobha nayati vanitā ityatilaghu
trilok
īmapyāśu bhramayati ravīndu-stanayugām || 19 ||
kirantī-magebhya kiraa-nikurumbamtarasa
h
di tvā mādhatte himakaraśilā-mūrtimiva ya |
sa sarp
āṇāṃ darpa śamayati śakuntadhipa iva
jvaraplu
ṣṭān dṛṣṭyā sukhayati sudhādhārasirayā || 20 ||
taillekhā-tanvīṃ tapana śaśi vaiśvānara mayīṃ
ni
ṣṇṇāṃ aṇṇāmapyupari kamalānāṃ tava kalām |
mah
āpadmātavyāṃ mdita-malamāyena manasā
mah
ānta paśyanto dadhati paramāhlāda-laharīm || 21 ||
bhavāni tva dāse mayi vitara dṛṣṭi sakaruṇāṃ
iti stotu
vāñchan kathayati bhavāni tvamiti ya |
tadaiva tva
tasmai diśasi nijasāyujya-padavīṃ
mukunda-bramhendra sphu
a makua nīrājitapadām || 22 ||
tvayā htvā vāma vapu-raparitptena manasā
śarīrārdha śambho-raparamapi śake htamabhūt |
yadetat tvadr
ūpa sakalamaruṇābha trinayana
kuc
ābhyāmānamra kuila-śaśicūḍāla-makuam || 23 ||
jagatsūte dhātā hariravati rudra kapayate
tiraskurva-nnetat svamapi vapu-r
īśa-stirayati |
sad
ā pūrva sarva tadida manughṇāti ca śiva-
stav
āṅñā malambya kaacalitayo rbhrūlatikayo || 24 ||
trayāṇāṃ devānāṃ trigua-janitānāṃ tava śive
bhavet p
ūjā pūjā tava caraayo-ryā viracitā |
tath
ā hi tvatpādodvahana-maipīṭhasya nikae
sthit
ā hyete-śaśvanmukulita karottasa-makuṭāḥ || 25 ||
viriñci pañcatva vrajati harirāpnoti virati
vin
āśa kīnāśo bhajati dhanado yāti nidhanam |
vitandr
ī māhendrī-vitatirapi samīlita-dṛśā
mah
āsahāresmin viharati sati tvatpati rasau || 26 ||
japo jalpa śilpa sakalamapi mudrāviracanā
gati
prādakiya-kramaa-maśanādyā huti-vidhi |
pra
ṇāma saveśa sukhamakhila-mātmārpaa-dṛśā
sapary
ā paryāya-stava bhavatu yanme vilasitam || 27 ||
sudhāmapyāsvādya prati-bhaya-jaramtyu-hariṇīṃ
vipadyante vi
śve vidhi-śatamakhādyā diviada |
kar
āla yat kvela kabalitavata kālakalanā
na
śambhostanmūla tava janani tāṭaka mahimā || 28 ||
kirīṭa vairiñca parihara pura kaiabhabhida
ka
hore kohīre skalasi jahi jambhāri-makuam |
pra
amreveteu prasabha-mupayātasya bhavana
bhavasyabhyutth
āne tava parijanokti-rvijayate || 29 ||
svadehodbhūtābhi-rghṛṇibhi-raimādyābhi-rabhito
ni
evye nitye tvā mahamiti sadā bhāvayati ya |
kim
āścarya tasya trinayana-samddhi tṛṇayato
mah
āsavartāgni-rviracayati nīrājanavidhim || 30 ||
catu-aṣṭayā tantrai sakala matisandhāya bhuvana
sthitastattta-siddhi prasava paratantrai
paśupati |
punastva-nnirbandh
ā dakhila-puruṣārthaika ghaanā-
svatantra
te tantra kititala mavātītara-didam || 31 ||
śiva śakti kāma kiti-ratha ravi śītakiraa
smaro ha
sa śakra-stadanu ca parā-māra-haraya |
am
ī hllekhābhi-stisbhi-ravasāneu ghaitā
bhajante var
ṇāste tava janani nāmāvayavatām || 32 ||
smara yoni lakmīṃ tritaya-mida-mādau tava mano
rnidh
āyaike nitye niravadhi-mahābhoga-rasikāḥ |
bhajanti tv
āṃ cintāmai-guanibaddhāka-valayāḥ
śivāgnau juhvanta surabhighta-dhārāhuti-śatai || 33 ||
śarīra tva śambho śaśi-mihira-vakoruha-yuga
tav
ātmāna manye bhagavati navātmāna-managham |
ata
śea śeṣītyaya-mubhaya-sādhāraatayā
sthita
sambandho vāṃ samarasa-parānanda-parayo || 34 ||
manastva vyoma tva marudasi marutsārathi-rasi
tvam
āpa-stva bhūmi-stvayi pariatāyāṃ na hi param |
tvameva sv
ātmāna parimayitu viśva vapuṣā
cid
ānandākāra śivayuvati bhāvena bibhṛṣe || 35 ||
tavāṅñacakrastha tapana-śaśi koi-dyutidhara
para
śambhu vande parimilita-pārśva paracitā |
yam
ārādhyan bhaktyā ravi śaśi śucīnā-maviaye
nir
āloke loke nivasati hi bhāloka-bhuvane || 36 ||
viśuddhau te śuddhasphatika viśada vyoma-janaka
śiva seve devīmapi śivasamāna-vyavasitām |
yayo
kāntyā yāntyāḥ śaśikira-sārūpyasarae
vidh
ūtānta-rdhvāntā vilasati cakorīva jagatī || 37 ||
samunmīlat savitkamala-makarandaika-rasika
bhaje ha
sadvandva kimapi mahatāṃ mānasacaram |
yad
ālāpā-daṣṭādaśa-guita-vidyāpariati
yad
ādatte doṣād gua-makhila-madbhya paya iva || 38 ||
tava svādhiṣṭhāne hutavaha-madhiṣṭhāya nirata
tam
īḍe savarta janani mahatīṃ tāṃ ca samayām |
yad
āloke lokān dahati mahasi krodha-kalite
day
ārdrā yā dṛṣṭi śiśira-mupacāra racayati || 39 ||
taitvanta śaktyā timira-paripanthi-sphuraayā
sphura-nn
ā naratnābharaa-pariaddhendra-dhanuam |
tava
śyāma megha kamapi maipūraika-śaraa
ni
eve varanta-haramihira-tapta tribhuvanam || 40 ||
tavādhāre mūle saha samayayā lāsyaparayā
nav
ātmāna manye navarasa-mahātāṇḍava-naam |
ubh
ābhyā metābhyā-mudaya-vidhi muddiśya dayayā
san
āthābhyāṃ jañe janaka jananīmat jagadidam || 41 ||
dvitīya bhāga saundarya laharī
gatai-rmāṇikyatva gaganamaibhi sāndraghaita
kir
īṭa te haima himagirisute kītayati ya ||
sa n
īḍeyacchāyā-cchuraa-śakala candra-śakala
dhanu
śaunāsīra kimiti na nibadhnāti dhiaṇām || 42 ||
dhunotu dhvānta na-stulita-dalitendīvara-vana
ghanasnigdha-
ślakṣṇa cikura nikurumba tava śive |
yad
īya saurabhya sahaja-mupalabdhu sumanaso
vasantyasmin manye balamathana v
āṭī-viapinām || 43 ||
tanotu kema na-stava vadanasaundaryalaharī
par
īvāhasrota-sarairiva sīmantasarai|
vahant
ī- sindūra prabalakabarī-bhāra-timira
dvi
ṣāṃ bndai-rvandīktameva navīnārka keraam || 44 ||
arālai svābhāvyā-dalikalabha-saśrībhi ralakai
par
īta te vaktra parihasati pakeruharucim |
darasmere yasmin da
śanaruci kiñjalka-rucire
sugandhau m
ādyanti smaradahana caku-rmadhuliha || 45 ||
lalāṭa lāvaya dyuti vimala-mābhāti tava yat
dvit
īya tanmanye makuaghaita candraśakalam |
vipary
āsa-nyāsā dubhayamapi sambhūya ca mitha
sudh
ālepasyūti pariamati rākā-himakara || 46 ||
bhruvau bhugne kiñcidbhuvana-bhaya-bhagavyasanini
tvad
īye netrābhyāṃ madhukara-rucibhyāṃ dhtaguam |
dhanu rmanye savyetarakara g
hīta ratipate
prako
ṣṭe muṣṭau ca sthagayate nigūḍhāntara-mume || 47 ||
aha sūte savya tava nayana-markātmakatayā
triy
āmāṃ vāma te sjati rajanīnāyakatayā |
t
tīyā te dṛṣṭi-rdaradalita-hemāmbuja-ruci
sam
ādhatte sandhyāṃ divasar-niśayo-rantaracarīm || 48 ||
viśālā kalyāṇī sphutaruci-rayodhyā kuvalayai
k
pādhārādhārā kimapi madhurā‌bhogavatikā |
avant
ī dṛṣṭiste bahunagara-vistāra-vijayā
dhruva
tattannāma-vyavaharaa-yogyāvijayate || 49 ||
kavīnāṃ sandarbha-stabaka-makarandaika-rasika
ka
ṭāka-vyākepa-bhramarakalabhau karayugalam |
amu
ñcntau dṛṣṭvā tava navarasāsvāda-taralau
as
ūyā-sasargā-dalikanayana kiñcidaruam || 50 ||
śive śagārārdrā taditarajane kutsanaparā
saro
ṣā gagāyāṃ giriśacarite vismayavatī |
har
āhibhyo bhītā sarasiruha saubhāgya-jananī
sakh
īṣu smerā te mayi janani dṛṣṭi sakaruṇā || 51 ||
gate karṇābhyara garuta iva pakmāṇi dadhatī
pur
āṃ bhettu-ścittapraśama-rasa-vidrāvaa phale |
ime netre gotr
ādharapati-kulottasa-kalike
tav
ākarṇākṛṣṭa smaraśara-vilāsa kalayata|| 52 ||
vibhakta-traivarya vyatikarita-līlāñjanatayā
vibh
āti tvannetra tritaya mida-mīśānadayite |
puna
sraṣṭu devān druhia hari-rudrānuparatān
raja
satva vebhrat tama iti guṇānāṃ trayamiva || 53 ||
pavitrīkartu na paśupati-parādhīna-hdaye
day
āmitrai rnetrai-rarua-dhavala-śyāma rucibhi |
nada
śoo gagā tapanatanayeti dhruvamum
tray
āṇāṃ tīrthānā-mupanayasi sambheda-managham || 54 ||
nimeonmeṣābhyāṃ pralayamudaya yāti jagati
tavety
āhu santo dharaidhara-rājanyatanaye |
tvadunme
ṣājjāta jagadida-maśea pralayata
paretr
ātu śaṃṅke parihta-nimeṣā-stava dṛśa || 55 ||
tavāpare kare japanayana paiśunya cakitā
nil
īyante toye niyata manimeṣāḥ śapharikāḥ |
iya
ca śrī-rbaddhacchadapuakavāṭa kuvalaya
jah
āti pratyūṣe niśi ca vighatayya praviśati|| 56 ||
dṛśā drāghīyasyā daradalita nīlotpala rucā
dav
īyāṃsa dīna snapā kpayā māmapi śive |
anen
āya dhanyo bhavati na ca te hāniriyatā
vane v
ā harmye vā samakara nipāto himakara || 57 ||
arāla te pālīyugala-magarājanyatanaye
na ke
ṣā-mādhatte kusumaśara kodaṇḍa-kutukam |
tira
ścīno yatra śravaapatha-mullyya vilasan
ap
āṅga vyāsago diśati śarasandhāna dhiaṇām || 58 ||
sphuradgaṇḍābhoga-pratiphalita tāṭṅka yugala
catu
ścakra manye tava mukhamida manmatharatham |
yam
āruhya druhya tyavaniratha markenducaraa
mah
āvīro māra pramathapataye sajjitavate || 59 ||
sarasvatyāḥ sūktī-ramtalaharī kauśalaharīḥ
pibnaty
āḥ śarvāṇi śravaa-culukābhyā-maviralam |
camatk
āra-ślāghācalita-śirasa kuṇḍalagao
jha
atkaraistārai prativacana-mācaṣṭa iva te || 60 ||
asau nāsāvaṃśa-stuhinagirivaṇśa-dhvajapai
tvad
īyo nedīya phalatu phala-masmākamucitam |
vahatyantarmukt
āḥ śiśirakara-niśvāsa-galita
sam
ddhyā yattāsāṃ bahirapi ca muktāmaidhara || 61 ||
praktyā‌raktāyā-stava sudati dandacchadaruce
pravak
ye sadṛśya janayatu phala vidrumalatā |
na bimba
tadbimba-pratiphalana-rāgā-daruita
tul
āmadhrārohu kathamiva vilajjeta kalayā || 62 ||
smitajyotsnājāla tava vadanacandrasya pibatāṃ
cakor
āṇā-māsī-datirasatayā cañcu-jaimā |
ataste
śītāṃśo-ramtalaharī māmlarucaya
pibant
ī svacchanda niśi niśi bhṛśa kāñji kadhiyā || 63 ||
aviśrānta patyurguagaa kathāmreanajapā
jap
āpupacchāyā tava janani jihvā jayati sā |
yadagr
āsīnāyāḥ sphaikadṛṣa-dacchacchavimayi
sarasvaty
ā mūrti pariamati māṇikyavapuṣā || 64 ||
rae jitvā daityā napahta-śirastrai kavacibhi
niv
ttai-ścaṇḍāṃśa-tripurahara-nirmālya-vimukhai |
vi
śākhendropendrai śaśiviśada-karpūraśakalā
vil
īyante mātastava vadanatāmbūla-kabalāḥ || 65 ||
vipañcyā gāyantī vividha-mapadāna paśupate-
stvay
ārabdhe vaktu calitaśirasā sādhuvacane |
tad
īyai-rmādhuryai-rapalapita-tantrīkalaravāṃ
nij
āṃ vīṇāṃ vāṇīṃ niculayati colena nibhtam || 66 ||
karagrea spṛṣṭa tuhinagiriṇā vatsalatayā
giri
śeno-dasta muhuradharapānākulatayā |
karagr
āhya śambhormukhamukuravnta girisute
katha
kara brūma-stava cubukamopamyarahitam || 67 ||
bhujāśleṣānnitya puradamayitu kanakavatī
tava gr
īvā dhatte mukhakamalanāla-śriyamiyam |
svata
śvetā kālā garu bahula-jambālamalinā
m
ṛṇālīlālitya vahati yadadho hāralatikā || 68 ||
gale rekhāstisro gati gamaka gītaika nipue
viv
āha-vyānaddha-praguagua-sakhyā pratibhuva |
vir
ājante nānāvidha-madhura-rāgākara-bhuvāṃ
tray
āṇāṃ grāmāṇāṃ sthiti-niyama-sīmāna iva te || 69 ||
mṛṇālī-mdvīnāṃ tava bhujalatānāṃ catasṛṇāṃ
caturbhi
saundraya sarasijabhava stauti vadanai |
nakhebhya
santrasyan prathama-mathanā dantakaripo
catur
ṇāṃ śīrṣāṇāṃ sama-mabhayahastārpaa-dhiyā || 70 ||
nakhānā-mudyotai-rnavanalinarāga vihasatāṃ
kar
āṇāṃ te kānti kathaya kathayāma kathamume |
kay
ācidvā sāmya bhajatu kalayā hanta kamala
yadi kr
īḍallakmī-caraatala-lākṣārasa-caam || 71 ||
sama devi skanda dvipivadana pīta stanayuga
taveda
na kheda haratu satata prasnuta-mukham |
yad
ālokyāśakākulita hdayo hāsajanaka
svakumbhau heramba
parimṛśati hastena jhaiti || 72 ||
amū te vakojā-vamtarasa-māṇikya kutupau
na sandehaspando nagapati pat
āke manasi na |
pibantau tau yasm
ā davidita vadhūsaga rasikau
kum
ārāvadyāpi dviradavadana-krauñcdalanau || 73 ||
vahatyamba stmberama-danuja-kumbhapraktibhi
sam
ārabdhāṃ muktāmaibhiramalāṃ hāralatikām |
kuc
ābhogo bimbādhara-rucibhi-ranta śabalitāṃ
prat
āpa-vyāmiśrāṃ puradamayitu kīrtimiva te || 74 ||
tava stanya manye dharaidharakanye hdayata
paya
pārāvāra parivahati sārasvatamiva |
day
āvatyā datta draviaśiśu-rāsvādya tava yat
kav
īnāṃ prauhānā majani kamanīya kavayitā || 75 ||
harakrodha-jvālāvalibhi-ravalīḍhena vapuṣā
gabh
īre te nābhīsarasi ktasao manasija |
samuttasthau tasm
ā-dacalatanaye dhūmalatikā
janast
āṃ jānīte tava janani romāvaliriti || 76 ||
yadetatkālindī-tanutara-taragākti śive
k
ṛśe madhye kiñcijjanani tava yadbhāti sudhiyām |
vimard
ā-danyonya kucakalaśayo-rantaragata
tan
ūbhūta vyoma praviśadiva nābhi kuhariṇīm || 77 ||
sthiro gagā varta stanamukula-romāvali-latā
kal
āvāla kuṇḍa kusumaśara tejo-hutabhuja |
rate-rl
īlāgāra kimapi tava nābhirgirisute
beladv
āra siddhe-rgiriśanayanānāṃ vijayate || 78 ||
nisarga-kṣīṇasya stanataa-bharea klamajuo
namanm
ūrte rnārītilaka śanakai-struyata iva |
cira
te madhyasya truita tainī-tīra-taruṇā
sam
āvasthā-sthemno bhavatu kuśala śailatanaye || 79 ||
kucau sadya svidya-ttaaghaita-kūrpāsabhidurau
ka
antau-daurmūle kanakakalaśābhau kalayatā |
tava tr
ātu bhagādalamiti valagna tanubhuvā
tridh
ā naddhm devī trivali lavalīvallibhiriva || 80 ||
gurutva vistāra kitidharapati pārvati nijāt
nitamb
ā-dācchidya tvayi haraa rūpea nidadhe |
ataste vist
īro gururayamaśeṣāṃ vasumatīṃ
nitamba-pr
āgbhāra sthagayati saghutva nayati ca || 81 ||
karīndrāṇāṃ śuṇḍān-kanakakadalī-kāṇḍapaalīṃ
ubh
ābhyāmūrubhyā-mubhayamapi nirjitya bhavati |
suv
ttābhyāṃ patyu praatikahinābhyāṃ girisute
vidhi
ñe jānubhyāṃ vibudha karikumbha dvayamasi || 82 ||
parājetu rudra dviguaśaragarbhau girisute
ni
agau jaghe te viamaviśikho bāḍha-makta |
yadagre d
syante daśaśaraphalāḥ pādayugalī
nakh
āgracchanmāna sura mukua-śāṇaika-niśitāḥ || 83 ||
śrutīnāṃ mūrdhāno dadhati tava yau śekharatayā
mam
āpyetau māta śerasi dayayā dehi caraau |
yaya
o pādya pātha paśupati jaṭājūṭa tainī
yayo-rl
ākṣā-lakmī-rarua haricūḍāmai ruci || 84 ||
namo vāka brūmo nayana-ramaṇīyāya padayo
tav
āsmai dvandvāya sphua-ruci rasālaktakavate |
as
ūyatyatyanta yadabhihananāya sphayate
pa
śūnā-mīśāna pramadavana-kakelitarave || 85 ||
mṛṣā ktvā gotraskhalana-matha vailakyanamita
lal
āṭe bhartāra caraakamale tāḍayati te |
cir
ādanta śalya dahanakta munmūlitavatā
tul
ākoikvāṇai kilikilita mīśāna ripuṇā || 86 ||
himānī hantavya himagirinivāsaika-caturau
ni
śāyāṃ nidrāṇa niśi-caramabhāge ca viśadau |
vara
lakmīpātra śriya-matishanto samayināṃ
saroja
tvatpādau janani jayata-ścitramiha kim || 87 ||
pada te kīrtīnāṃ prapadamapada devi vipadāṃ
katha
nīta sadbhi kahina-kamahī-karpara-tulām |
katha
vā bāhubhyā-mupayamanakāle purabhidā
yad
ādāya nyasta dṛṣadi dayamānena manasā || 88 ||
nakhai-rnākastrīṇāṃ karakamala-sakoca-śaśibhi
tar
ūṇāṃ divyānāṃ hasata iva te caṇḍi caraau |
phal
āni svasthebhya kisalaya-karāgrea dadatāṃ
daridrebhyo bhadr
āṃ śriyamaniśa-mahnāya dadatau || 89 ||
dadāne dīnebhya śriyamaniśa-māśānusadṛśīṃ
amanda
saundarya prakara-makaranda vikirati |
tav
āsmin mandāra-stabaka-subhage yātu carae
nimajjan majj
īva karaacaraa ṣṭcaraatām || 90 ||
padanyāsa-krīḍā paricaya-mivārabdhu-manasa
skhalantaste khela
bhavanakalahasā na jahati |
ataste
ṣāṃ śikṣāṃ subhagamai-mañjīra-raita-
cchal
ādācakṣāṇa caraakamala cārucarite || 91 ||
gatāste mañcatva druhia hari rudreśvara bhta
śiva svaccha-cchāyā-ghaita-kapaa-pracchadapaa |
tvad
īyānāṃ bhāsāṃ pratiphalana rāgāruatayā
śarīrī śṛṅgāro rasa iva dṛśāṃ dogdhi kutukam || 92 ||
arālā keśeu prakti saralā mandahasite
śirīṣābhā citte dṛṣadupalaśobhā kucatae |
bh
ṛśa tanvī madhye pthu-rurasijāroha viaye
jagattratu
śambho-rjayati karuṇā kācidaruṇā || 93 ||
kalaka kastūrī rajanikara bimba jalamaya
kal
ābhi karpūrai-rmarakatakaraṇḍa nibiitam |
atastvadbhogena pratidinamida
riktakuhara
vidhi-rbh
ūyo bhūyo nibiayati nūna tava kte || 94 ||
purārante-ranta puramasi tata-stvacaraayo
sapary
ā-maryādā taralakaraṇānā-masulabhā |
tath
ā hyete nītāḥ śatamakhamukhāḥ siddhimatulāṃ
tava dv
āropānta sthitibhi-raimādyābhi-ramarāḥ || 95 ||
kalatra vaidhātra katikati bhajante na kavaya
śriyo devyāḥ ko vā na bhavati pati kairapi dhanai |
mah
ādeva hitvā tava sati satīnā-macarame
kucabhy
ā-māsaga kuravaka-taro-rapyasulabha || 96 ||
girāmāhu-rdevīṃ druhiaghiṇī-māgamavido
hare
patnīṃ padmāṃ harasahacarī-madritanayām |
tur
īyā kāpi tva duradhigama-nissīma-mahimā
mah
āmāyā viśva bhramayasi parabrahmamahii || 97 ||
kadā kāle māta kathaya kalitālaktakarasa
pibeya
vidyārthī tava caraa-nirejanajalam |
prak
tyā mūkānāmapi ca kavitā0kāraatayā
kad
ā dhatte vāṇīmukhakamala-tāmbūla-rasatām || 98 ||
sarasvatyā lakmyā vidhi hari sapatno viharate
rate
pativratya śithilapati ramyea vapuṣā |
cira
jīvanneva kapita-paśupāśa-vyatikara
par
ānandābhikhya rasayati rasa tvadbhajanavān || 99 ||
pradīpa jvālābhi-rdivasakara-nīrājanavidhi
sudh
āsūte-ścandropala-jalalavai-raghyaracanā |
svak
īyairambhobhi salila-nidhi-sauhityakaraa
tvad
īyābhi-rvāgbhi-stava janani vācāṃ stutiriyam || 100 ||
saundayalahari mukhyastotra savārtadāyakam |
bhagavadp
āda sanklupta pahen muktau bhavennara ||
saundaryalahari stotra
sampūra