(1)_
From: -- krishnarao (SrIparasuKAnandanAtha)
lanka.krishnarao@gmail.com
Subject: --- A Spectacular SlOka
A Spectacular SlOka
"nALIkAsanam ISwarasya SiKariNAm, tat kandharOtthAyinah,
gandhrvAh punar Etad adhwa caritE, cakrE tad uddhArakah,
patrI tat prabhu vairiNAm parivR^uDO, jIvA ca yasya aBhavat,
jIvAnte vasatam, ripu kShaya vidhau, dEvAya tasmai namah ||"
Please observe how twistingly this SlOka is narrated ---
ripuh = the enemies of
jIvasya antEvasatAm = the disciples of bR^ihaspati, the guru of all
the dEvatAs
kShaya vidhau = in the task of wiping out the rAkShasAs like
tripurAsura etc.,
yasya = for whom
SiKariNAm ISwarah = the lord of all mountains, the mEru paravatam
nALIkAsanam = has become the bow, (the weapon for shooting arrows)
(this is in referring with the paramESwara)
nAlIkAsanam = the lotus seated brahma
tat, kandharOtthAyinah = from whose lingua all the vEdAs set forth
yasya = for whom
gandharvAh aBhavan = assumed as horses
(Now the same word "nALikAsana" is meant in relation with `brahma',
the creator)
Punah = again
E tat adhwa caritE = E tat = gandharvAs i.e., dEvatAs
Adhwa = of their (dEvatAs) passage i.e., yonder skies
caritE = journeyers of those yonder skies (i.e., The sun and the
moon)
yasya = for whom
cakrE = become the two wheels of his chariot
( Here the word "gandharva" is used in dual meanings, one as horses
and another as `gandharvAs a particular sect of dEvatAs)
tad uddhArakah = who is holding the cakra i.e., sudarSana cakra
(viShNu)
yasya = for whom
patrI = became the arrow
( again the duel meanings of the word "patri", one as the `arrow' and
the other as the `wheel' of the chariot. Another meaning of this
word indicates the "bird").
Here the word "chakra" denotes as the sudarSana cakra and also the
wheel of the chariot.
tat praBhu vairiNAm parivR^iDhah = tat=tEShAm, patriNAm=for those
birds,
tat praBhOh = the lord of all birds i.e., `garutmAn'
vairiNAm parivR^iDhah = GarutmAn`s enemies are the snakes. Their
lord is "vAsuki".
yasya = for whom
aBhavat = has he become
jIvA = string of the bow
(Here the word "jIvA" indicates both the meanings as "bR^ihaspati"
and also as the "string" of the bow.)
tasmai dEvAya namah = obeisance to that supreme being, the god
krishnarao
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(2)
simhAsanESwari
From :- lanka.krishnarao@gmail.com
Subject :- simhAsanESwri
ernakulam venugopalan to me
Om Nama Sivaya
>Dear Mr. Krishna Rao,
>> I have a question or rather a doubt and you probably can shed some light intelligently, hence this mail.
>>In Srividya, mother Lalita or Tripurasundari is supreme, parabhattarika. One of the several epithets is Bindumandalavasini. Also She is Sivaasivashakti aikyarupini meaning She and Siva are one. In many of Adi Shankara's compositions on Madurai Meenakshi She is equated to Lalitambika
>>" srividyam sivavamabhaganilayam hreemkaramantrojwlam shrichakrangitabindumadhyavasatim............
Meenakshim pranatosmisantatamaham karunyavaarmnidhim.
>>According to my understanding Meenakshi is Matangi,Shyamala or Mantrini and such how can She be equated to the Simhasaneshwari. May be Shankara was seeing Godhood in an advaita aspect as everybody and everything has that divine amsa.
>>Please clear this doubt for me. Maybe it is silly, but since L.S clearly says Geyachakrarathaarooda Mantrini parisevita also Mantrini nyastha rajyadu.
So I am wondering!
>>Hope evrything is fine with you. Many blessings.
>Venugopal
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mAnya SrI vENugOpAl,
Your confusion is nothing but that you are looking at all these dEvatAs as different from you. Before entering into SrIvidya, you have to remember your guru mantra which says that your guru is "swarUpa nirUpaNa hEtuh".
Who ever he introduces (initiates) to you as dEvata, you have to understand that dEvata is none else but your own self.
You would have taken births of so many forms like so many dEvatAs, manuShyAs, rAkShasAs, piSAcAs, birds, snakes, creatures, stone, hills, mountains, trees etc., and so many of course.
But we select only a few of them, to have the recollection of memory of that life and know how great we are! "nAma smaraNam" means, to recollect what we have forgotten (vismaraNam = to forget). We recollect only the better side of our history and our greatness in that birth because, we are aspiring to become divine. "mR^ityOr mA amR^itam gamaya". Not like 'Kamsa' who recollected his rAkShasa janma of his previous birth and acquired all the rAkShasa qualities.
Coming to your point, we always do 'pancAyatana puja, while doing pUjA for any particular dEvata. It means that you should not perform pUjA for any particular dEvata in a lone form, because that deity is not any single individual, but the collective form of so many dEvatAs (samaShti) only. When you perform pUja for 'Siva' the amba, viShnu, sUrya, gaNapati etc., will become "anga dEvatAs". When you do it for 'amba', Siva and others become 'anga devatAs.
In the same way, when you meditate upon mInAkShi, lalita rAjarAjESwari and others will become 'anga dEvatAs'. Then the "mInAkShi" will become "simhAsanESwari".
Any way, you could have understood by this time, that you, who is the "SAMASHTI' of all the dEvatAs, is the real "simhAsanESwari". Not any Lalita, rAjarAjESwari, Siva,viShNu or any one else. Of course all of them are yourself. You are the "sarva dEvatA samaShti" and you yourself is the real "simhAsanESwari"
"rUpai ranEkaIr bahudhAtma mUrtim kR^itwAmbikE tat prakarOti kAnyA"
This is all the view of SrI SankarAcArya.
Yours always in the sevice of the mother,
krishnarao.
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mAnya mahASayAh,
In my opinion, vIrya sKalanam will not be the problem here, by meditating in the mUlAdhAra, and swAdhiShTAna cakrAs. These two cakrAs are considered to be the materialistic places. So these two are not considered as mostly important acheivements in sAdhana of a samayAcAri. However we are living in samsAra with children and families too. There will be so many needs and necessities for any one to carry through all those necessities. So the samayAcArIs should achieve them along with the substitution of the paramAtma.
So we have to simultaneously meditate those two in combination with the upper cakrAs also. It is clearely said in the 'triSati' as,
"BhUpuram BhuvanASrake, aShtArE aShta dalAmbujam"
That is why we always ring the Ganta while we lit the dhUpa and diipa. These two are containing fire and the fire represents to these two lower agni cakrAs. By ringing the Ganta, our concentration will be remaining in the upper cakrAs only while hearing that resonance..
There will be no fault in entering into the worldly affairs while we are having paramAtma in our interior mind.
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From :-- krishnarao {SrIparasuKAnandanAtha} (3)
Subject :- The secret of all secrets
The secret of all secrets
I *key-out the essence of my own self, the secret of all the secrets,
He who knoweth this, knoweth the secret of Brahman,
The stand point from where all the *negation commenced,
From where originated the *cause, effect and the actor,
I knoweth this all by myself after an *adept grueling,
Passing through series of numerous *divinity,
Journeying to the interior *door of all the worlds,
Where only the prime of all truths exist, as *oneness and all-ness,
Where all the *trilateral trinity set forth,
Reflecting out from same prism of “I” in *tricolor,
Where birth, life and death intermixed all in one,
Where the *principle nature is still in the embrace of *pratyagatma,
Where the sun, moon and fire all formed from same *incessant effulgence,
Where all the ‘*guNAs’ emerge out from the source of all guNAs ever known,
Where I formed formless of myself, the supreme necessity of all,
Where I am the ‘*this’, an iota of atom, with pseudo-infinite *radiation,
With ever shifting *scene spread around,
I traced out the essence of my own self.
Brief ===
Key-out = discover
Negation = niShEdha kriya, nEti nEti
Cause, effect and actor = kAraNa, kriya and karta
Adept grueling = intensive sAdhana
Divinity = taking births as 33 crores of dEvatas
Door of all the worlds = “lOkasya dwAram = brahma-randha bindu cakra
Oneness and all-ness = samaShti, mahat
Trilateral trinity = triputi, triplicity of the world
Tricolor = ajAmEkAm lOhita Sukla kR^ishNAm
Birth, life and death = sR^iShti, sthiti and laya
Principle nature = mUla prakR^iti
Pratyagatma = the paramatma turned in opposite direction
Incessant effulgence = endless and uninterrupted light
guNAs = sattwa, rajas and tamas
this = idam aham
radiation = vyapti
scene = jada prakR^iti
krishnarao
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Revered Sir, Very very correct statement, rather we can say 'universal truth revealed'. The need is to medidate on 'lokasya dwaram'.
When the mind becomes, steady, one can proceed and reveal this truth. Kindly illustrate the ways and means/methods to keep mind steady or make it steady at least for some moments. This mind is very powerful and swift we can say 'pramAthee, balavat and dR^dham'. How to tame it?
Heartful regards. Keshav
From :-- krishnarao {SrIparasuKAnandanA tha}
Subject :- The secret of all secrets
The secret of all secrets
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mAnya SrI kESavji, (4 mind concentration)
In my opeinion, it is not possible to control or keep the mind steady even for a single moment even for the so called brahmaRShis. Because the very nature of it is chanchala. Unless you forget that you have a mind of your own,and that you are trying to control it,I am afride, you can`t do any thing at all.
It is just like the story that some Guru initiated a mantra to somebody and put a restriction not to think of the monkey while reciting it.
Any way it is not the matter to be discussed by you and me.
I sincerely advise you to approach a proper guru and submit the whole of your mind and intellect in the altar of his divine feet first, and
do any thing as a duty entrusted to you by the guru. You have to forget that "YOU" are doing any thing. It is a kind of "ahamkAr".
Please excuse me if I am in any way differ with your openions.
Yours always in the service the divine mother,
Krishnarao
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(4-2)
From :- krishnarao
Subject :- concentration
mAnanIya BhUpEnderji,
Please dont bother for the concentration. In fact this is not possible even for the so called R^iShis and also for viSwAmitra like brahmarSis too. The very name of the mind itself is 'cancala'.
This is just like the story of a guru who initiated a SiShya, with a great mantra which can give a good fortune, but with one condition that he should not remember the thought of any monkey. The SiShya could not begin to chant the mantra at all because every time he sits to begine to meditate upon chanting the mantra, an image of a monkey was appearing in his mind.
The way you are practicing upon the day-dreaming is in one way a good sAdhana, if you streamline it in a proper method. You have to gradually replace good thoughts in place of bad thoughts. This is a kind of swapnAvastha while being in the wakeful state. This will lead to the turIya avastha, which is the experience of all the three states during the wakeful state itself.
Just try to remember the events of your pleasent experiences of your pilgrimages, try to recall the memories of the precepts of elderly spiritual teachers you have heard in the past. Leave the mind freely for some time to think of its own thoughts, but immediately include the above type of thoughts for a few minutes of time. In this way increase the time of good thoughts in your mind to be filled gradually.
I hope you will acheive what you are aspiring for in a very short time.
Yours always in the service of the mother,
krishnarao
--
L.Krishnarao
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(5)
From:- Krishnarao (lanka.krishnarao@gmail.com)
Subject :- about SrIyantrAs
Priya SrIrAm,
I too shrinked my eye brows at that time when my guruji was commenting upon SrIvidyAraNyA, who is my favorite author and almost equal to my own guru and also a jagadguru.
But after some time, I could understand my guru`s intention. SrIvidyAraNyA was the author of SrIvidyArNava tantram, which is not his original rendering, but almost some excerpts from many other tantra texts like ‘tantrarAja tantra’, mEru tantram, SAradAtilaka, j~nArNava tantram etc.,. Even though he was a hundred percent samayAcAri, he has dealt with so many prayOgAs related to vAmAcArA. He dealt with so many mantras belonging to so many tAmasika mantras, mantras like ucciSta gaNapati, which could be useful only by vAma mArga. He himself mentioned it as “ucchiShta gaNanAthasya mantrEShvEshu—vAma mArgArAdhanam tu vinAnEna na siddhyati, jAti BVhramSO nirdhanatwam vamSacCEdO 2nyadhA BhavEt ”
He has also dealt with so many BhAiravI mantras, dootI mantras, yakShiNI mantras, cEtaka mantras and mantrAs like bEtALa sAdhana, Sava sAdhana, karNapiSAci,and also mAraNa prayOgAs. I am not pointing any faults of him. Just as we see the meanings of obscene words, he has to write every stuff in a tantra grandha. Ofcourse, my guruji used to explain me the positive meanings for many of those mantras. But all those mantrAs were not accepted by many samayAcAra upAsakAs.
We can`t decide about the traditions with the help of any books, including the vEdAs. pAramparya vij~nAnam also should be contributed with every scripture. This is what my guruji used to say every time.
krishnarao
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http.//www.tagged/com/krishnaraol --
Krishnarao Lanka
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From:- lanka.krishnarao@gmail.com
(SrIparasuKAnandanAtha)
(7)
Subject :- Who is nILAdEvi.
Who is nILA dEvi ?
Priya mahASayAh,
I wish to share my own understandings and views about the esoteric meaning of nILAdEvi with you all in this group. I may
be pardoned if I am exceeding any limits or wrongly interpreting any thing from the text.
SrInIlAdEvi is said be one among the three wives of Sri vEnkatESwara, the other two are SrIdEvi and BhUdEvi. The vEda
addressed her as “Bhuvanasya patni”. It also praised her as the one who is supporting the heavens and holding the earth, from falling
them downwards. “viShtamBhO diva dharuNah”.
In the tAntric SrIvidya she is called as “niila saraswati”, a different form of ‘mahAkAli’.
If the word ‘SrI’ is indicative of the heavens (the world of all gods with all its wealth and pleasures), is significant of the first part of the above word “niila”, and the second part ‘BhU’ indicates the abode of all our ancestors (pitR^u dEvatas) from whom we all have acquired all the knowledge whatever we now possess. That knowledge indicates “saraswati”.
Because it is acting like a conjunctive force between the heaven and the earth, connecting both ‘niila’and ‘saraswati’, the fellow-mate of these two was named as “niila saraswati”. This force is a kind of vacuity formed in
the empty vacant space (AkASE avakASam), which facilitated the paramAtma to palpate his first throb as “ah” (Adyaspandam), from which all the five elements were manifested in a group and that in its turn, became the universe.
By the jerk of movement created by the throb of paramAtma, this vacant space itself transformed as the air named “mAtariSwa”. This principal air along with its subordinates “prANa”, “apAna”, “vyAna”, “udAna” and “samAna”
vAyus and also their subordinates called “nAga”, “kUrma”, “kR^ikara”, “dEvadatta” and “dhananjaya” are maintaining all the living beings with their six activities, “asti” remaining in the biija BhAva, “jAyati” prakAsa BhAva, “vardhati”AmarSana BhAva, “vipariNamati”, pariNAma BhAva, “apakSIyati” kShaya BhAva, and “naSyati” samhAra BhAva.
By all this, we can come to the conclusion that the sole cause for all the activities of the universe is this vacant space.
By saying “dR^k diSam”, she has no directions of the compass like east, south, west, north etc., because she has occupied all the edges of all directions. She has no divisions of time also, because there is no device or machinate like 'the sun' outside of her. She herself is the sovereign regulator of time even for this sun and solar system. She is the ‘kAla”.
She is the “kAla sarpa” upon which SrimahAviSNu is reclining.
SrImahAviShNu is lying upon this ‘kAla sarpa’ which is called as “Adi sESha”, the remainder at the beginning itself.
We generally calculate any remainder after subtracting any sum. It reminds the story of three daughters-in-law of a lady.
One was asked to arrange tables and plates for the guests` dinner, the second one to serve the preparations and the third one was given the charge of removing the plates and cleaning the table. They all have accomplished their duties accordingly.
But how? The first one arranged the table and plates. Immediately the second one served all the food items in the plates and the third one instantly removed all the plates and cleaned the tables even before any one come to take meals.
In the same way one god is creating the universe and another god is dissolving it at one and the same time. In between these creations and dissolutions there is one force saying loudly “I am here, I am here” and “I am maintaining, I am maintaining”
.That force itself is called “Adi SESha”. kAla sarpa. This is the kAla swarUpiNi which is swallowing all the living beings, including brahma, viSNu and the so called mR^ityunjaya mahESwara and wearing the long garland of skulls of mahESwara.
This mahA Sakti`s name is “MahA kALi” and also “niila saraswati”. The subordinates of this mahAdEvata, the “mAtariSwa vAyus” and their subordinate vAyus are actually acting like the creators by creating new generations, and acting like maintainers by providing nutrition to the living beings
(“viSwasya cA iShayantii”), and also acting like the destructing agents also making all beings prey for mortification (“asyESAnA jagatO”).
If “SrI” can be called as “bindu” for all its objective visualizations, the earth (saraswati) becomes ‘nAda” and our “niila saraswati” is occupying the place of “kaLa”. She is the sole cause to show the small single atom into so many kinds of forms in different shapes and varieties. That is why she is called “kaLa”.
She is that third foot of ‘trivikrama’ after he has occupied the whole heven and earth (Sri and BhUh), which made the emperor ‘bali’ to surrender before ‘vAmana’. The other two feet are ‘SrI’ and ‘Bhuh’
She is the ‘turiiya iimkAra swarUpa mahA mAyA’ of SrImahA viShNu. She is also called as “aditi” the mother of all deities in whose bosom the whole universe exists. .”suBhUtih SivA nO astwaditir upasthE” the vEdA says.
Dear members, I hope I could convey my understanding clearly to you all. I humbly solicit any suggestions and additions upon these views.
Yours in the service of the mother,
Krishnarao (SrIparasuKhAnandanAtha)
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Posted by: "eshwar NK" triyambakeshwar@yahoo.co.in triyambakeshwar
Mon Nov 5, 2007 7:26 pm (PST)
Dear Sir,
I read your posting on Neela Devi with interest. Perhaps you will be aware that the consort of Uchista Ganapati , A powerful combination of Siva Sakti, very ideal fer worship in kaliyug, is also called Neela Saraswati.I do not contradict or question what u said but furnishing this as only additional information.
With Warmest regards
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Reply from krishnarao (8)
mAnya SrI Eshwar,
Thank you very much for the information about uchista Ganapati and his consort neelasaraswati. This is generally observed by the vAmAcAra tradition. I know some upAsakas
pouring morsels of ‘jutha’ rice (half eaten)on their chests and some spitting in a view, that ‘jutha ganapathi’ always likes his upasakas while being ‘jutha’. They don’t at all accept the esoteric meaning of ‘uchishta’. In fact we have to understand it as the one who remains after rejecting every thing saying “nEti nEti”.
There will be some similarities in the names of dEvatas one with another. There is one paricArika of radhA dEvi with the name of “lalita”, whom we define as “sarvAn atiitya lalati iti lalita”.
If you don’t think otherwise, we cannot understand the secrets of these dEvatas, unless we rise a bit above of the purANic characters and their relations. If we accept that all the types of ganNapatis mentioned, are one and the same. He is a brahmacari. He has two wives by names as, siddhi (R^iddi) and buddhi. They are lakshmi and saraswati. You might have seen this in
so many pictures. The name “lakSmi gaNapati” is well known.
The name “niila saraswati” itself is a combination of two names as ‘niila’ and ‘saraswati’.
‘niila’ means ‘kALi’. In fact the kALi (rudra sakti) who would be the only person remaining after the total dissolution, (Bhrasyad dEvagaNam trasan munigaNam naSyat prapancam layam paSyan nirBhara Eka Eva viharatyAnanda sAndrO bhavAn) is the brahma Sakti ‘saraswati’
to start creation of the universe. So both characters are one and the same. Then the kALi who is considered as the consort of Siva, now becomes the wife of gaNapathi.
In puruSha sUkta also it is said that “hR*Isca lakShmIsca tE patnyau” It is said that both pArvati and lakSmi are the wives of the puruSha. saraswati is a river. She is the wife of ‘sagara’.
“bANatwam vR^iShaBhatwam ardha vapuShA BhAryAtwam AryApate
GONitwam saKitA mR^idanga vahatA cEtyAdi rUpam dadhaU,
twatpAdE nayanArpaNam ca kR^itavAn twad dEha BhAgO harih
pUjyAt pUjya tarah sa Eva hi na cEt kOvA tad anyO~dhikah ||”
AdisankarAcArya says that the better half of ardha nArISwara is viShNu.(hari);
BhAryA – Siva`s wife is viShNu.
Unless we strictly adopt the ‘caturvidha’ or ‘Shadvidha ‘aikya niShPAlanam’ in our upAsana, it cannot be the correct method. We have to think ourselves as the dEvatA,
what ever be its name. whether it is gaNapati, or viShNu or Siva, lakShmi, saraswati or any others.
Yours always in the service of the mother.
krishnarao
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From :- krishnarao {SriparasuKanandanAtha)
Subject :-
Ucchista Ganapati Upasana / Puja Proecedure (8-2)
priya mahASayah,
in ambal group
>: "subrabalaji" subrabalaji@yahoo.com subrabalaji
>Fri Nov 16, 2007 8:15 pm (PST) writes--------
>Dear Members - where can I find the Puja and Upasana procedures for
>Ucchista Ganapati. I heard from some Sri Vidya Upasakas that the
>worship of Ucchista Ganapati is an important aspect. Also I have heard
>from some that it is the only way to Moksha. Also I heard that one
>gets rare Siddhis with such Upasana and also one has to strictly
>adhere to procedures.
>Regards
>Balaji
==========================================
In SrIvidyArNava tantra by Sri vidyAraNya, It is clearly mentioned
that the ucciSta gaNapati upAsana will be effective only by the vAmAcAra methods.
When any one approaches his guru for the first time, his intention would be in pursuit of the supreme god and mOkSha.
The guru who is "swrUpa nirUpaNa hEtuh" is initiating with a mantra of some dEvata or dEva. This is because one should not/can not say any thing about god in an establishing voice.
"kaula pratiShTam na kuryAt"
Even in the books like "soundarya lahari", the way to emancipation was nerrated with slOkas like "muKam bindum kritwa", "naram varSIyamsam". They appear like mAdana prayOgAs to attract women. Is it the advice of SankarAcarya
who himself is a staunch sanyAsi, for a Sishya who approaches him to show him the way for liberation?
Instead of trying to understand the inner esteric objective of the guru,
he is opting to master the texts, and bring out the materialistic benefits like a mad man gathering all the useless stuff seen on the roadside, thinking it all so precious.
My guru was telling "what ever is written in the scripture, even by any great sage, it would be only vAmAcara mehod.
It is you to search for the meaning which reminds you about your own 'swarUpa'. All the mantras are the reminders of your own swrUpa. If you take materialistic meaning, even the nArAyaNa mantra or the siva mantra will never save you from the present state of misery, but throws you in to the ditch of samsAra,
"SR^iNyEva sitayA viswa carShaNih
pASEna pratibadhnAtyabhIkAn | iShuBhih pancaBhir dhanShEna|
viddhatyAdiSaktir aruNAca viswajanyA ||"
I dont understand how can any other god can give any one the 'mOkSha', when there is Siva and nArayaNa who are considered to be the sole distributors of mOkSha?
"sahasram vartantE jagati vibudhAh kSudra phaladah
na manyE swpnE vA tadanusaraNam tatkR^ita Palam ||"
Please don't believe any of these gods. They will always be saying nonsensical promises. Trash every thing.
--
L.Krishnarao
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From :- krishnarao {SriparasuKanandanAtha) (8-3)
Subject :-
Ucchista Ganapati Upasana / Puja Proecedure
priya mahASayah,
in ambal group
>: "subrabalaji" subrabalaji@yahoo.com subrabalaji
>Fri Nov 16, 2007 8:15 pm (PST) writes--------
>Dear Members - where can I find the Puja and Upasana procedures for
>Ucchista Ganapati. I heard from some Sri Vidya Upasakas that the
>worship of Ucchista Ganapati is an important aspect. Also I have heard
>from some that it is the only way to Moksha. Also I heard that one
>gets rare Siddhis with such Upasana and also one has to strictly
>adhere to procedures.
>Regards
>Balaji
==========================================
In SrIvidyArNava tantra by Sri vidyAraNya, It is clearly mentioned
that the ucciSta gaNapati upAsana will be effective only by the vAmAcAra methods.
When any one approaches his guru for the first time, his intention would be in pursuit of the supreme god and mOkSha.
The guru who is "swrUpa nirUpaNa hEtuh" is initiating with a mantra of some dEvata or dEva. This is because one should not/can not say any thing about god in an establishing voice.
"kaula pratiShTam na kuryAt"
Even in the books like "soundarya lahari", the way to emancipation was nerrated with slOkas like "muKam bindum kritwa", "naram varSIyamsam". They appear like mAdana prayOgAs to attract women. Is it the advice of SankarAcarya
who himself is a staunch sanyAsi, for a Sishya who approaches him to show him the way for liberation?
Instead of trying to understand the inner esteric objective of the guru,
he is opting to master the texts, and bring out the materialistic benefits like a mad man gathering all the useless stuff seen on the roadside, thinking it all so precious.
My guru was telling "what ever is written in the scripture, even by any great sage, it would be only vAmAcara mehod.
It is you to search for the meaning which reminds you about your own 'swarUpa'. All the mantras are the reminders of your own swrUpa. If you take materialistic meaning, even the nArAyaNa mantra or the siva mantra will never save you from the present state of misery, but throws you in to the ditch of samsAra,
"SR^iNyEva sitayA viswa carShaNih
pASEna pratibadhnAtyabhIkAn | iShuBhih pancaBhir dhanShEna|
viddhatyAdiSaktir aruNAca viswajanyA ||"
I dont understand how can any other god can give any one the 'mOkSha', when there is Siva and nArayaNa who are considered to be the sole distributors of mOkSha?
"sahasram vartantE jagati vibudhAh kSudra phaladah
na manyE swpnE vA tadanusaraNam tatkR^ita Palam ||"
Please don't believe any of these gods. They will always be saying nonsensical promises. Trash every thing.
--
L.Krishnarao
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Namaste. Your interpretation is wonderful. But i have a doubt. Is there any sastra pramana for this.
Sri Nila devi is worshipped by Sri Vaishnavas as an aspect of Sri Mahalakshmi. According to Pancharatra Samhita, Bhu Devi and NilA Devi are regarded as two aspects of Vishnu sakthi , which according to Paancharathra is the VERY GODDESS LAKSHMI . Thus , they are aspects of Lakshmi . Both are personifications of tolerance . Both are worshipped along with Lakshmi without affecting the unitary character of Lakshmi as the inseparable consort of Vishnu.
And Nila Saraswathi is another aspect of Saraswati with a hue of bluish tinge. Another aspect of Tara ( if i am sure). This aspect of goddess is worshipped for the power of composing poetry. Mostly worshipped by Kashmiris and Buddhists.
Can you please throw some more light on this.
With regards,
sriram
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sai darsan (9)
krishnarao wrote:
Respected Sri ganapathiji,
Thank you for your mails inviting for the poornima
pUja and another one showing url.
showing the liila of baba in the moon.( guru datta - Shirdi baba)
I regret very much for my inability to attend the
pUja, due to my health not permitting
to travel any where now a days. Please excuse me.
On that purNima day, so many people could witness
the scene of baba`s image
in the moon. Ofcourse I did not see any thing abnormal there. I
couldn`t understand what benefit
any one could gain by seeing this scene.
For SrIvidya upAsakas, there is one Sloka mentioned
in yOga vAsiSTa
which says nothing is a wonder for us. I quote it here under.
"api Siita rucA varkE sutaptE~pIndu manDalE
apyadhah prasaratyagnau vismayO~sya na jAyatE ||
"cidAtmana imA ittham praspHurantiiha Saktayah
ityAScarya jAlEShu na aBhyudEti kutUhalam ||"
Please excuse me
Yours affectionately in the service of mother,
Krishnarao (SrIparasuKAnandanAtha)/////////////////
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From :- krishnarao (SrIparasuKAnandanAtha) (10)
Subject :- The marriage of Siva and Sakti.
The marriage of Siva and Sakti
priya mahASayAh,
Siva, at that time, when he was resting in his own self, he was absolutely ‘nirguna’ (devoid of guNas). He is said to be alone (kEvalah), and none else were there other than him. But the ‘Sakti’,
also should have been there along with him, because she is the sole cause for his desire and wish to create the universe. “sO~kAmayata, bahusyAm prajA yEyuh”. She is his wife and ever inseparable from him,
She is with him in his soul and self. But in contrary to him, she is the embodiment of all the three guNAs ‘sattwa’, ‘rajas’ and ‘tamas’. Then how did she become his wife? The vEda mAta herself is projecting its doubts. “When did their marriage occur?”, ” Who were there to witness that marriage?”, and “Where from she actually came?”
“yan manyur jAyAm Ava ith sankalpasya gR^ihAd adhi ka Asan
janyAh kE varAh ka u jyEShTavarO~Bhavat ||” (atharvaNa vEda 11 kAnda 10 sUkta 1 R^ik)
Meaning of this mantra reads as –
‘yat’ = when
‘manyuh’ = manyatE iti manyuh = the omniscient, all knowing, who is without any obscurations (enclosers) ie., parama Siva
‘jAyAm Avahat’ = jAyatE asyAm sarvam = sarvam jagat iti jAyA = the whole of the universe takes birth in her. So jAyA means the mAyA Sakti (paramESwari) who is in the form of the inclination to create the universe,
‘tAm’ = her,
‘aBhimuKyam prApayat’ = it means that he has accepted her to be his consort.
Now, some one has to fetch the bride from his father-in-law’s house. So it says “sankalpasya gR^ihAt”.= from the house of volition (wish)
The god’s first volition is “sO~kAmayata bahusyAm prajAyEya”
“tasya gR^hAt = from his house (the first volition of god); (adhi = from)
(He fetched her from that house. That is why all this critical circumstance of procreation has encountered).
It is common that the relatives of both the bride and bridegroom together will jointly perform the marriage. But at that time there was none else other than the paramaSiva existing.
Then how could that marriage effectuated? The vEda is questioning “ka Asan janyAh”
‘janyAh’ = “jani = sambandhinah = Who are the relatives of the bride?
“kE varAh” = Who are the approvers (selectors) of the bride?
“tasmin kAlE = at that time
“jyEShTa varah kO nAma” = What is the name of the chief priest?
……………………………………………………………………………
This spiritual quiz is so puzzling, that except a very few, nobody could solve this problem. Therefore, the vEdamAtA is kind enough to reveal the answer in the very next R^ik, for those who have lesser understanding,.
“tapascaivAstAm karmacAntar mahArNavE ta u vAsan
janyAstE varAh brahma jyEShTavarO~Bhavat”
This R^ik reads as,
1. “tapah” = penance. “yas sarvaj~nah sarvavit yasya j~nAnamayam tapah” = The all knowing and all-understanding almighty’s penance is consistent of knowledge and spiritual. The visualization of his thought process about the prospective creation of the universe itself is his ‘tapas’.
2. “karma ca” = The fructified effects of the sacred and evil deeds of the living beings of his past creation.
“Eva” = these two only
“antar mahati arNavE = The god paramaSiva who is all pervading, spread all over like a vast, agitated, endlessly extensive ocean. The above two are situated in him only.
“ta Asan janyAh = Those two, ‘tapas’ and ‘karmas’ stood like his elder relatives. They are the selectors/ approvers of the bride.
The brahma who was the sole cause for the creation has become the chief purohit to bring the bride ‘mAyA’ and to be the supreme elder.
The marriage of Siva with Sakti (mAyA) was performed in this way.
The above two R^iks are suggesting us that persistent meditation upon the mantra initiated by the guru and also the ‘janmAntara sukR^ita’ (the benefic results of ones own ‘samskArAs) both should be there to achieve “siddhi”.
Krishnarao (SrIparasuKAnandanAtha)
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From: - SriparasuKAnandanAtha, krishnarao.lanka@gmail.com
Date:- August 27, 2007
Subject :- pancAkSharI mantram (11)
Priya mahAsayah,
“OmkAravadanA dEvI vayakAra BhujadwayI |
SikAra dEha madhyA ca namahkAra pada dwayI |
pancAkSharI parA vidyA sa tArA lingarUpiNI |
Siva mantrABhidA SaivI mamAngE supratiShTitA ||”
This is one SlOkam addressed in the name of dEvI (who is not at all different from Siva), whose name is “pancAkSharI parA vidyA”. The term ‘vdya’ is generally used for the mantras of feminine deities and the term ‘manu’ is applied for masculine deities. So, her name is “pancAkSharI parA vidyA”. ParA because, it is an outwardly inverted order of Siva. pancAkShari because it is a vidya consistent of five divisions, akAra, ukAra, makAra, nAda and kalA, all are one and the same through out in structure or composition All the above five alphabets are pronounced unitedly together as a single letter “Om”. In total, her face is ‘praNavam’(OmkAra vadanA).
She is “tArA”, which means ‘praNavam’=OmkAra. It is just like a perfect boat with which we can cross the ocean of births and deaths.
A flash in the memory of paramaSiva causing a noise as “ah”, reverberated in a space in himself as “aham” (I consciousness), and formulated into a logo. It contains both sabda and artha in itself. All the fourteen worlds of the “artha” factor, and all the vEdas, all the purANAs, all the itihAsas, and every kind of literature of the “sabda” factor are residing in it in a nonduel unity.
This is the personification of the abstract Siva himself.
She is “lingarUpiNi”. The word ‘linga’ denotes to the body without the five sense organs. This indicates ‘swapnAvastha’, which figuratively indicates the object which actually not present before us. Our BhavanAs are the creators of such objects. We all think that all our wishes are so good and that they are all our benefactors. For every such unit of good thoughts we attribute a form and name of certain god or dEvata and we will visualize that form in our mind and also in our dreamy state.
We consider such good thoughts as divine because we believe that dEvatAs are good ones and that they always do good for us. So this BhAvana avastha (swapna avastha) is divine, which we believe do good for us. That goodness will not be other than taking us to our own abode, ie., mOkSha. Or, the place for which we all have to reach to find out the Siva swarUpam.
“mananAt trAyatE iti mantrah” This protects and guides us to reach ‘Siva’ the ultimate goal. So this praNavam has been rewarded with the name of “Siva mantrABhida”.
This is “SaivI”, the wife of Siva, ie., ‘umA’, which is an another form of “aum”. This is his spouse or better half. She is his Sakti. She is his manifestation in a visible state. She is the expanded form from him like a pseudopodia.
S he is “namahkAra pada dwayI”. This indicates that we should have the footing of the basic realization that I am (“na+mah”, mah=mortal being and na=not) not a mortal being; but “SikAra dEha madhyA”; ‘deha madhyA’ is our own self and SikAra is Siva according to EkAkSharI niGantu. So all this says, that before starting any efforts for obtaining the liberation, we must realize ourselves that we must put aside the body consciousness (dEhAtma BhAvana) and be cognizant of our real self is the almighty.
The devotee is praying her to be implanted in his body structure as ‘vakAra’in his right hand in the form of nectar; having ‘varada mudra’ and ‘yakAra’ in his left hand in the form of the mighty strength of vAyudEva, showing ‘aBhaya mudra’. By these two mudras he is attaining the divine form, and he himself becoming the dEvatA.
I think this kind of decisive determination should always be preceded with every single chanting of the mantra. I may be pardoned if I am exceeding any limits in the analysis of the SlOka.
krishnarao
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From :- krishnarao (lanka.krishnarao@gmail.com) (12)
Subject :- taruNa taraNi
“SrIguruh sarvakAraNaBhUtA Saktih |
SrImahAgaNAdhipatayE namah ||
“taruNA taraNi”
“tanucchAyABhistE taruNataraNi SrI dharaNiBhih
sarvAm urvIm aruNima nimagnAm smarati yah |
Bhavantyasya trasyad vanahariNa SAlIna nayanAh
sahOrvaSyA vaSyAh katikati na gIrvANa gaNikAh ||”
This is the 18th SlOka in “soundarya lahari” of SrI AdiSankarAcArya. Commonly understood meaning of this verse runs as follows.
“O Mother! When one meditates upon the grandeur of your brilliant physical structure, which is bright red, like the rising sun, in which the earth, heaven and whole of the universe is immersed, all the celestial damsels like “UrvaSi” etc., are becoming restless with passion and fervor having the eyes of a frightened deer. Then what to say about ordinary womenfolk?
Almost all of the commentators said that this is a mAdana prayOga and useful for attracting the desired women. But is it proper to say that the AcArya would ever have advised any of the persons to go after women folk in the name of ‘kAma puruShArtha ?! Impossible. There must be some other esoteric meaning behind it. In my view ….
“ yE sindUra parAga punja pihitAm twat tEjasA dyAmimA
murvIncApi vilIna yAvakarasa prastAra magnAmiva |
paSyanti kShaNamapyananya manasastEShAm ananga
-jwaraklAnta
srasta kuranga SAvaka dR^iSo vaSyA Bhavanti dhR^ivam ||”
mahAkavi kALidAs also says the same in the ‘laghu stavam’, but with a little clarification additionally as “ananya manasah”. It means that the red effulgence of paradEvata engulfing the whole universe including the sky and earth is not different from our own “swaswarUpam”
“dEvI SrIlalitA j~nEyA jana vaSyE ca pATalA”
Here we have to take the sense that our body itself is a town (puram). and all the ‘indriyas’ (sense organs) are its inhabitants. Then the meaning of the above would be as, “to control our indriyAs we have to meditate SrIlalitAdEvi as red coloured.”
There are two different versions of this SlOka, one for the word “taruNa taraNi” making it as “ataruNa taraNi” by the insertion of an ‘akArapraSlESha’. ‘taruNa taraNi’ means the midday sun and ‘ataruNa taraNi’ means the morning sun. For both the words it gives the same indication of “the suShumnA nADi” of the ‘sUrya manDalam’ (solarplexes). By saying “taruNataraNi SrIdharaNiBhih”, it gives the meaning of the ‘pITha BhUmi’ (base) of the the ‘kuNDalini’. If we take the other version as “SrIsaraNiBhih”, it indicates the “row of ‘ShatkamalAs’ (‘mUlAdhAra’ etc., six divine lotuses)”. by saying “tE tanucChAyABhih”, on the whole it is illustrating the crowded mass of the brilliant effulgence of the ‘kuNDalini’. That is amazingly “duShpradharSham and dushprEkShyam”. This red colour was described with a similitude by one poet as,
“taruNa taraNi kAnti vrAta samsarga rangat
kamaladaLa nikAya prAyakAma praBhOrmih |
aBhinava ravi raSmi dyOtita prAcya BhUbhR^it
Chikara lasadaSOka smEra puShpOpamAnah ||”
When we perform ‘sammOhana nyAsA” saying ,
“mUlavidyAm smR^itwA tatpraBhayA jagadaruNam viBhAvya” and then while saying
“mama SatrUnnigR^ihNAmi” it was also said that
“sAdhyamapyaruNam viBhAvayEt”. Yes! even the reprehensible enemy should be looked at in red colour. The tempestuous emotional disturbances in our internal senses, which are the real cause for all the excitation of the “idantA rUpa” visualizations are actually our enemies. That is why,
“ahami praLayam kurvannidamah pratiyOginah |
parAkramaparO BhunktE swaBhAvam aSivApaham ||”
For those ‘viira puruShAs’, who do aim at “pUrNAhambhAva”, the adaptation of “rajOguNam” for the devastation of the enemies who create the differential distinctiveness of the external world is also essential.
The magnificent and attractive external impression in the form of “idanta” in the dhyAnaSlOka of “bAlA Tripura sundari” as “aruNa kiraNa jAlai ranjitASAvakASA” is really the deliberation of wrath (AmarSAtmaka vimarSarUpam) against the internal enemies. The degree of such deliberations are expressed in sixteen ‘dhAturUpAs’ as
“SONAni Bhauma tIkShNAmSu tAmra kumkuma takShakAh
gunjEndragOpa KadyOta vidyut kunjara bindavah |
dR^ig bimbAdhara jihvAsR^Ij`mAmsa sindUra dhAtavah ||”
This ‘aruNa varNam’ (red colour) is nothing else but the “mAyASakti” that which engrosses the whole universe while being in unison un-different with ‘paramaSiva’.
“samasta BhuvanABhOga kavalIkR^ita jIvitA
mahA swamahimAkrAnti swasthAhankR^iti BhUmikA |
kramENatu tatO~nanga paryantam prOllasantyapi
SarIrAnanga paryantam Ekaivam uBhayAtmikA ||”
In this connection, while doing japa, there is a suggestion to meditate upon this ‘aruNa varNam’ as,
“swa vibhutwa sarvasyAkrAntyA sarvasyApi swa -
-SarIratvEna
sarvatrAhantA buddhE rudayEna swa SarIrasyEva
sarva SarIrANAm swa vaSam vadatA avaSyam BhAvah ||”
It is essential to imagine as if his own authority has spread all over and keeping his own “ahanta” in every thing as he feels in his own body. Also, one should aspire that all things should be under his control, as he is having upon his own body. This kind of imagination is called “swIya mahatwa vyApti”. “Om aim hrIm SrIm vyApinyai namO namah SrIm”
Having that kind of “vyApti”, “swasthAhamkR^iti BhUmikA” means remaining in the fundamental basis of the unswerving ‘parAhanta’. She is making all the universes into a morsel of food spreading her ‘samaShti rUpa’ ‘swIya mahatwa vyApti’ and adopting the “samhAra krama japam”.
While doing such type of ‘japam’, concentrating upon the brilliantly glowing, red cobweb-thread like form and deeply immersed into it, (‘aruNima nimagnam’ or ‘aruNa maNi magnAm’ both gives the same meaning.) When entered and deeply immersed into that thread like mantrAkShara rUpa kuNDalini, it appears in the above said sixteen dhAtu rUpa illuminations one after another. Going deeper and deeper, that luminous flux appears as “ataruNa taraNi” (the rising sun) and then “taruNa taraNi” (youthful Sun), and that is called “kOti Surya praBhA bhAsuram”.
“tatO~nangaparyantam prOllasntyapi kramENatu SarIrAnanga paryantam” means, the above said kundalini is rising upwards from the ‘swAdhiShTAna and all other cakras in an order, up to “ananga paryantam” that is up to the ‘kAmESwara Siva’ who has no limbs or body form at all, but only the invisible ‘bindu rUpa’ form. Again from ‘brahmarandhra’ down to the “SarIrAnanga paryantam” signifying the “anAhata Siva”. This kind of repeatedly going upward and coming downward again and again was described as “trasyad vanahariNa SAlIna nayanAh”. “cancala swarUpinyai namO namah”
“EkaivamuBhayAtmikA” indicates that this kuNDalini is the ‘Siva’ and it is the ‘Sakti’ also. “Siva Sakti dwandwa rUpiNyai namO namah”, She is ‘the’ desired woman for us all.
One of the auxiliaries of the ‘ShODaSAkShari mahA mantra’, the trio “Om hrIm SrIm” is always assigned in the thigh region(Uru pradESam). That is why this trio was named as “UrvaSi”. In the purANAs it was said that “UrvaSi” was born in the thighs of “nArAyaNa muni”.
From the ‘pUrNabindu’ which is really the ‘praNava’ (Om), two bindus have expounded out. They are the other “hrIm and SrIm”. It is the ‘visarga’ which has separated from the ‘bindu’ in the beginning. This is the form of “agnIShOmatmakam”, which has separated from the “sUrya manDalam”. This ‘hrImkAra’ and ‘SrImkAra’ are the individual forms of “prakASa” and “vimarSa”
“hrIsca lakSmIsca tE patnyau” So elaborates the ‘puruSha sUktam’. ‘hrImkAram’ is “mAyA bIjam” and the “SrimkAram” indicates the “kAla bIjam” which symbolizes death. The first ‘bIjAkSharAs’ of these two ‘bIjas’ are “ha” and “Sa” denotes as “ha” indicates ‘jIvatwa’ (life) and “Sa” indicates the “mR^ityu” (death). Both of these will always be inter-traversing into each other. It is not possible to distinguish which is ‘hrIm’ and which is ‘SrIm’. Only because of this traversal gestures, ever-changing fluctuations are being experienced in this world. These gestures are indicative of vacillation, and hence equated with the word “trasyad vanahariNa SAlIna nayanAh”
Whoever understands the secret of this yOga of these two bIjAs, understands the mystery of “mAya” and he becomes eternal “mR^ityunjaya”. For the “Bhairava” who has meditated upon the ‘samaShti’ of these three bindus, called as “kAmakala”, the “mAyA swarUpiNi” “kAli” too has become his ‘pAda dAsi’. Then what to say about the ordinary damsels ?
Yours in the service of the mother,
krishnarao
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From:- krishnarao (lanka.krishnarao@gmail.com) (13)
Subject :- aShtAra cakra
Sriguruh sarvakAraNaBhUtA Saktih
SrImahAgaNAdhipatayEnamah ||
“savitrIBhirvAcAm SaSimaNi SilABhanga ruciBhih
vaSinyABhistwam saha janani sancintayati yah |
sa kartA kAvyAnAm Bhavati mahatAm Bhangi ruciBhih
vacOBhirvAgdEvI vadana kamalAmOda madhuraih ||”
This is the 17th Sloka in the soundaryalahari of Sri AdiSankarAcArya. Generally understood literal meaning of this is narrated by elders as ---
O mother, he who meditates upon the vAgdEvatAs along with you as having the luster of precious moonstone pieces, will become the author of great poetry similar to the sweet fragrance of the mother vagdEvi`s/saraswati`s lotus mouth.
For this, some doubts are arising in my mind. But after some analysis and observation, I think I could find an answer for all my doubts which I feel like sharing it with other members of our group too.
The ‘aShtAra cakra’ is also regarded as “navayOni cakra. It will not be correct to say that in the formation of ‘SrIcakra’, firstly ‘bindu’, then ‘trikONa’ and afterwards the ‘aShtAra cakra’ manifests.
In the same way, it is not correct to arbitrate that all the other remaining cakrAs too were created one after another. In fact all the cakrAs have revealed themselves at the same time, instantaneously according to our ‘sphOta vAda’.
While drawing the ‘aShtAra cakra’ itself, the ‘trikONa’ and the ‘bindu’ both simultaneously manifested inside of this “navayOni cakra”.
“saptavimSatAvayavEShu triBhistriBhir avayavai rEkaikA
yOni stAsAm kONatrayEShu punah punar bIja trayam nyasEt ||”
So says tantrarAja commentary.
“baindavam cakram Etasya tri rUpatwam punar BhavEt |
dharmadharmau tadha~~tmAnO mAtR^I mEyau tadhA pramA ||
navayOnyAtmakamidam cidAnanda Ganam mahat |
cakram navAtmakam idam navadhA Bhinna mantrakam ||
baindavAsana samrUDha samvartAnala citkalam |
ambikArUpamevEdm aShtAram swarAvR^itam ||”
The ‘bindu’ itself by extending angularly, have transformed as ‘trikONa’. Again after further extension, it created two more triangles, to indicate one upwards as creation and another one downwards as dissolution. So we have to say that ‘bindu’ and ‘trikOna’ are interlinked and not at all different from the ‘aShtAra cakra’.
puNyam, pApam, Atma, antarAtma, paramAtma, j`nAnAtma, mAtA and mEym, all these eight items in the eight
angle points and in the middle ‘pramA’ which means the knowledge obtained from the experience, all of these put together itself is the “navayOnicakra”. All the other cakras will have the interconnected unification with this ‘navayOni cakra’ and this cakra will have the authority over all the other cakrAs.
“niruddha vAyu sanGatta sPurita grandhimUlatah |
hR^idayAntara samvitti SUnya puryaShTakAtmanA ||
bIjarUpa swara kalA spR^iShta vargAnusAratah |
rahasya yOginIrdEvi samsAra daLanOjjwalE |
sarva rOgaharE cakram samsthita vIravanditE ||
vaSinyA raktavarNA varadABhaya mudritAh |
pustakam japamAlAm ca Bhukti siddhim mahESwari |
ISwarIm tripurAsiddhim pUjayEd bindu tarpaNaih ||
So says ‘nityA ShODaSikArNva’. Nonexistant like so subtle form of the ‘samvit kalA’ which exists in the interior of ‘hR*tpadma’ in the name of “rahasya yOgini” itself is called as “puryaShtakam’. So subtle it is. that it is not accessible to any of the external senses, except for the intellect. In fact, our own subtle body itself is this ‘puryaShtakam’.
This ‘navayOni cakra’ having the predominance of “SuddhavidyA tattwam” which was described as “ahantEdantayOr aikya buddhih”
The pair of bindu itself divided into nine cakrAs in the name of “AdhAra navakam”, in the nine forms as nine cakrESwaris.
“icchA sakti tritayam paSOh satwAdi sanj~ikam |
mahA tryasram cintayAmi guru vaktrAdanuttarAt ||
aShtAra vyapadESO~yam cinnirvANaiShaNAdikam |
sUkSmam puryaShtakam dEvyA matir EShAhi gouravI ||
antar daSAra vasudhA j~nAna karmEndriyANi ca |
mahA Tripura sundaryA iti sancintayAmyaham ||
bAhyO daSAra BhAgO~yam buddhi karmAkSha gOcarah |
caturdaSAra vasudhA karaNAAni caturdaSa ||
vasucchadana padmAnka dESO yascakragO viBhuh |
avyaktAdyA prakR^itayO BhUtAntA niScinomyaham ||
ShODaSacCada padmAnka dESO BhUtAkSha mAnasam |
vikArAtmakamApannam dEvyAh samBhAvayAmyaham ||
In the ‘suBhagOdaya vAsana’ it is described that this bindu is in the form of the ‘indriyAs’ which all subsist in all the nine cakrAs.
This is an in-between state of subtle and causal body conditions. It means that, it is a state of shifting to and from ‘aBhEda swapna’ and ‘aBEda suShupti’. From this site only, we always portray the obvious illustration of the gross form of the ‘paradEvata’, saying “hrIm, SrIm, sauh”. This is the centre for all imaginations. If meditated upon this centre and imagine the ‘swarUpa’ of SrImaha Tripura sundari, what is the wonder, if any one becoming an author of sweet and elegant literature? A murderer and dacoit ‘bOya’ can become the author of ‘rAmAyaNa mahA kAvyam and a foolish denizen also can become like a kALidas. In yOginI hR^idayam, it says,
“Madhya prapUjanAd dEvi vAkpatir jAyatE narah
tadhaivApara kandarpO bAhyamadhyAnta pUjanAt ||”
“madhyaprapUjanam” means, pUja in the seventh, eighth and ninth AvaraNAs. The meditation in the seventh AvaraNa means, meditation in one`s own innermost mind (swAntarangam) which is in the form of ‘puryaShtakam’. It is a kind of ‘dream state’ pertaining to the ‘jAgradAvastha’. “swapnAntE uccAvaca mIyamAnO rUpANi dEvah kurutE bahUni”. He is attaining the ability to imagine many number of forms. “apara kandarpah” means retaining the brahmAham BhAvana while performing the ‘aparA pUja’ (external services of worship).
“japAcchrAnrah punar dhyAyEt dhyAnAcchrAntah punarjapEt”.
Meditate for some time upon the form and for some time immerse in your own self.
The tantra says that The eight ‘vagdEvatas (presiding deities of speech), ‘vaSini’, ‘kamESwari’, ‘mOdini’, ‘vimalA’, ‘aruNA’, ‘jayinI’, ‘sarvESwarI’ and ‘kauLini’, who officiate in this aShtAra cakra, are all blood colored (“vaSinyA rakta varNA”). But in the above SlokA the acArya is asking us to meditate upon them as white moonstone pieces. How could it be possible? -- For this, bR^ihadAraNyakopanishad has given the hint as follows.
There are some nADIs in the name of “hitA”, which are very tiny that they are almost one thousandth part of a human hairsbreadth, spread all over the body. The food substances entered into these nADIs acquire several varieties of colors, because of the relative gradation of the ‘vAta’, ‘pitta’ and ‘SlEShma’ dOShAs in accordance with the differences of diet; and by the inclusion of ‘rasa upAdhis like ‘Sukla’ etc. The ‘linga SarIra’ which consists of
the five elements, five j~nanEndriyAs, five karmEndriyAs, prANa and antahkaraNa as its seventeen limbs , is absolutely pure and crystal like in nature. But when it takes refuse with the ‘hitA nADIs’ in the dream state, instigated by one`s own right and wrong deeds, it shines in many forms like women, elephants, chariots, horses etc., and experiences like enjoying with ladies and looking some dreadful scenes. When one`s mind is pure, calm and serene, Its experiences would be pleasant and secure. That is why, when we look at the blood colored ‘vaSini’ and other deities of the seventh AvaraNa, in comprehension with the bindu-trikONa rUpa paramAtma, the faculty of our ‘antaraga’ gets purified and those deities all will appear as having the luster of precious moonstone pieces.
In this way, having purified ‘antaranga’, by meditating upon the “paraSiva midhunam” which is accompanied by the ‘vaSini’ and other deities in the form of moonstone crystals.
mahatAm Bhangi = pertaining to the uprising of the mahat tattwa
suBhagaih = with all the riches
vAgdEvI = relating to the vAgdEvatAs
vadana kamala = aShtAra padmam
AmOda madhuraih = with the nectarous flow which will satiate the aShtAra cakra,
sah = such sAdhaka
kAvyAnAm kartA = The creation of brahma itself is “kAvyam”. The idea behind is, that he will be able to become such “ “sR^iStikarta” (He will become “sAkShAt parabrahma swarUpa” himself.)
Yours always in the service of the mother,
krishnarao (SrIparasuKAnandanAtha)
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(14)
KirItam vyrincam parihara ……
From :- lanka.krishnarao@gmail.com
SrIguruh sarvakAraNaBhUtA Saktih |
SrImahAgaNAdhipatayEnamah ||
“kiriitam vyrincam parihara purah kaitaBhaBhidah
kaThOrE kOTIrE sKalasi jahi jamBhAri makutam |
praNamrEtEShvEShu prasaBha mupayA tasya Bhavanam
BhavasyABhyutthAnE tava parijanOktir vijayatE ||”
This is the 29th SlOkA in the soundaryalahari of SrI AdiSankarAcArya.
Commonly understood meaning of it is,
“O mother, when your husband ‘Bhava’ is approaching thy abode
all the attendants of yours are perturbed in order to alert you, while you rise in haste to receive him, they utter ---
“Skip over the crown of brahma, who is lying prostrated before you. Skirt the hard coronet of the flat lying ‘viShNu’ also, without stumbling. You have to safely pass over the diadem of the crouching ‘indra’ too, which may hurt your foot in your swiftness.
For this, I found another meaning also, which I wish to share with all our members too.
“BhavasyABhyutthAnE” means creation of the universe. That is the fulfillment of the core wish of parabrahma ‘Siva’. While the aspirations of the ‘jIva’ is, to achieve ‘kaivalya’ of the ‘kailAsa’, the completion of paramESwara`s wish would be to build up the universe, extending himself to the ends of the “pR^ithvI tattwa”. When the Siva tattwa shrinks, the creation of the universe will come into existence and when the same expands, it returns to become dissolved and merged in the same ‘Siva tattwa’. It is the nature`s law to make both of these simultaneous actions one after another alternatively. The condition of expansion in the ‘Siva tattwa’ which is ‘samhAra rUpa’ (dissolution), is termed as “Urdhwa kunDalini”; and the condition of contraction in the ‘Siva tattwa’ which is ‘sR^iShti rUpa’ is termed as “adhah kunDalini”.
While doing ‘japa’, it is customary that we should raise our kuNDalini towards the ‘brahmarandhra’, leaving out all the 36 tattwAs behind, one after another. After reaching the destination, it will sneak down, in the form of nectarous flow, into all of the seventy two thousand pulsations (nADI manDala) of the body. The ‘prANa Sakti’ which flows through ‘idA’ and ‘pingala’ nADIs in the form of “utChwAsa” and “praSSwAsa”’. and enters in to the three subtle layers, confined in the ‘suShumnA nADi as an ‘antarvAhini’ (obscured stream).
The names of these three layers are –
1. “vajriNi” which is stretched as the outer layer,
2. “citriNi” which is positioned as the middle layer and the
3.the inner most is “brahmanADI”, also it is called as “mUrdhanya nADi”.
The goal of the sAdhaka would be to extend the ‘prANa’ up to this ‘mUrdhanya nADI’ only.
In the ‘rudrayAmala tantra’ there is an elaborate description about these nADIs.
pR^iShTadESE mahAdanDE mErumUlE mahApraBhE,
mUlAdi brahmarandhrAdhah sadAsthirUpa dhArakah,
kanakAcala nAmnA ca pratiBhAti jagattrayE||
tanmadhyE muni swarUpA ca manas caitanya kAriNI,
tanmadhyE BhAti vajrAKyA Gora pAtakanASinI,
siddhidA BhAva vij~nAnam mOkShadA kularUpiNAm ||
TanmadhyE citrine dEvI dEvatA prItivardhinI,
hitaiShiNI mahA mAyA kAla jAla vinASinI ||
sA pAti sakalAn cakrAn padmarUpadharAn parAn,
trailOkya manDalagatAn sAkShAdamR^ita vigrahAn ||
swayam dadhAra sA dEvI citrAKyA cArutEjasI,
citrine madhyadESE ca brahmanADI mahA praBhA||
sarvasiddhipradA nityA sA dEvI sakalA kalA,
vyOmarUpA BhagavatI sarva caitanya rUpinI ||
Eka rUpam parambrahma brahmAtItam jagattrayam ||
This was said in the order of expansion (vikAsakramam or samhArakramam), whereas the soundaryalahari SlOkA is describing the same in the order of contraction (sankOcakramam or sR^iShtikramam). While doing our mantra japa, we will have to adopt the samhAra kramam only, in order to raise the kuiNDalini up to the bindu cakra.
The ‘nyAsakramam’ for these three nADIs also was mentioned there itself as,
“talE pR^iShTE UrdhwadESe SIrShE vakShasi nABhiShu,
kanThakUpE cakramadhyE brahmAnDam pAti sarvadA,
SarIrAtmakam ISArtham trailOkyam sa carAcaram ||
See the dhyAna SlOka mentioned for the “mAtR^ika nyAsam”
“AdhArE linga nABhau hR^idaya sarasijE tAlumUlE lalAtE
dwE padmE ShODaSadaLE dwAdaSArthE catuSkE
vAsAntE bAlamadhyE DaPakaTa sahitE AdiyuktE swarANAm
hamkSham tattwArthayuktam sakala daLagatam varNarUpam namAmi ||”
The central idea of this SlOkA is that, the kuNDalinIrUpa mAtR^ikA saraswati is streaming through all the tattwAs namely the Atmatattwa, vidyAtattwa and Sivatattwa, in this way in
“gudasthAna, linga, nABhi, hR^idayam, kanTham, lalATam, aShtAra and trikONa and the sahasrArapadma which is called “the ShOdaSAnta”. All these are in the ascending order in the gross body (sthUladEha).
Included with ‘Aj~nAcakra’ and ‘viSuddhicakra’ the catuShka which means, anAhata, maNipura, swAdhiShTAna and mUlAdhAra cakrAs in descending order in the subtle body (sUkShmadEha)
And in the causal body (kAraNadEha), in the mounting shift, again in the mUlAdhAra, swAdhiShTAna, maNipUra, anAhata, viSuddha and Aj~nA cakrAs”
“purascakrE dwipadah purascakrE catuShpadah
Purasca pakShI BhUtwA purah puruSha AviSEt ||”
Human form in the gross body, dharma form in the subtle body and in the causal body in ‘garuDa form’ which carries us to the brahmarandhra. The very next, we will attain the “viShNupadam”, our eternal abode.
“sakR^iduccAritamAtrENa UrdhwamunnayatiityOmkArah”
So defined praNava too— it was said in the ‘uttara giita’ that,
“OmkAra dhwani nAdEna vAyOssamharaNAntikam |
nirAlambam samuddiSya yatra nAdO layamgatah
tad viShNOh paramam padam—“
Ahead of the brahmanADi, ‘viShNupadam’ is attained and that is the emancipation (mOkSha).
While doing mantrajapa, the prANaSakti enters into the ‘suShumnA nADi’ which looks like the tiny passage of a lotus string, and rises upwards towards the sahasrArapadma like a furious serpent. After entering into it, it returns back from there along with the nectarous flow of that place, to satiate all the 72 thousand nADIs of the body. While descending from the sahasrAra it enters first in the brahmanADi. This brahmanADi was described as so soft and smooth like the film of iceberg and that it belongs to the ‘candramanDalam’. It gives the impression that this is the stage of ‘niShkalAtmaka parabrahma’ transforming towards the “sakalAtmaka form”. Having its ‘raSmipunja’ downwards, this brahmanADi is so subtle that it is not possible to recognize whether it is there or not.
“SaktirUpA hi sA dEvI sAkShAdamR^ita vigrahA”.
This is the ‘samaShti swarUpa’ of the five Siva tattwAs, viz., Siva, Sakti, sadASiva, ISwara and Suddhavidya.
When Siva, in the beginning, aspired for “another one”, his own “iccha” (wish), which is his own ‘Sakti’, manifested as “aham”. That itself when being introvert, became “sadASiva” and when it became extrovert, it was called “ISwara”. The samaShti j~nAna of these two stages is called “Suddha vidyA”. Although they all appear as different, all are not different from the “cidEkarasa Suddha samvinmAtra Siva tattwa” only. These five ‘Suddha tattwAs” related to the causal body, are actually the ‘bindu’ and ‘trikONa’. While the Siva and the Sakti are one single entity in the bindu cakra, the sadASiva, ISwara and Suddhavidya are manifesting as the ‘trikONa’. “trikONE baindavam SliShtam”.
So all the five are “bindu” only. Looking at this descending Siva swarUpa, it comes to our mind that this is the divine “anugraha swarUpa”.
“kaEIlahrIm”. While returning from the sahasrArapadma after doing pradakShiNa around in the ‘trikONa’ for the ‘bindu cakra, this ‘sAraswata kUTa’ first enters into the ‘brahmanADi’ with a humble request to remove the hurdles for brahma (vEdamAtA) in delivering the dharma for the universe. This is the essence of ‘gAyatrI mantra’. This is ‘smaraNarUpA’ and ‘adhyayanarUpA’ and also ‘brahmavidyA rUpA’ too. “kanyantE prakASyantE SabdajAlAni” Exhibiting the universal creation by expounding the magical flow of words. It is considered worthy to be meditated by the ‘brAhmins’
After satisfying the brahmanADi, the kuNDalinI prANaSakti enters into the middle layer called ‘citriNi’. This prANaSakti itself is the ‘candra manDalAmR^itam’, but slightly solidified and indurate by the influence of the winds from the ‘agni manDalam’. “jyOtir vAyau pratiShThitam”. This citriNi nAdi is really a peculiar one. This being the abstract form of the ‘mahA maya’, exercising its power and authority over all the ‘ShatcakrAs’ (universe). This is the collective form of the seven tattwas from “mAyA tattwa” to “puruSha tattwa”.
Engulfed by the ‘mAyA’, the ‘puruSha’, capriciously came to the conclusion that he was duty bound to accept the fetters of all the five tattwas viz., “kalA”, “vidyA”, “rAga”, “kAla” and “niyati”. He thought himself that he was enclosed by them as five jackets (panca kancukAs). In fact all these five tattwAs and the ‘mAyA tattwa are just imaginary and not any existent things, the purusha tattwa with all these six tattwAs is the only single tattwa.
“puruShassuKa duhKAnAm BhOktR^itvE hEturuccyatE”. The one who is in dilemma of “ahamBhAvam idamBhAvam” is really the replica of and not at all different from the ‘paramAtma’ who has been deluded by the ‘mAyA’, aspiring for the experience of his wish “sO~kAmayata”.
This is the form of “kAmarAja kUtA” (hasakahalahrIm). The two purushArthAs ‘artha’ and ‘kamA’ are amenable to the effort (kriya), hence it becomes worthy to be worshipped by kShatriyAs. “hasakam” means, 1. ‘tApa trayam’ 2. riches of wealth and food 3. improvises the desire for all kinds of corporeal pleasures. And also—
“hasa” = enlighten upon; “halAm” = understanding; “kam”= brahma (dharma) and, “hrIm”= yearning for knowledge. So, we have to understand that this is capable of affording pleasures of both the present and also for next of the worlds. This ‘citriNi’ is acting in both the ways in the form of “citi” swarUpam, which substantiates the differential notion (BhEda BhAvana), the nature of the ‘agni manDalam’ and also in the form of j`nAnarUpa “cEtanA swarUpam”, that endows the non-differential recognition (aBhEda BhAvana), because of the nature of “candra mandalam”
With upward rays of ‘agnimanDalam’ and the downward rays of ‘candra manDalam’ mixed together in the form of the “sudarSana cakra”, inwards and outwards, it is acquiring the administrative talents of SrImahAviShNu. It is viscous; as if to say that it would be useful as an adhesive in strengthening the concept of “agnIShOmAtmakam jagat’. It seems that only to indicate, that this ‘citriNI nADi’ should be melted to flow down, the word “sKalasi” was inscribed in the SlOka. We can well say that this ‘citriNi’ is the ‘mAya’, which exists between ‘jiivatma’ and ‘paramAtma’. This is the real form of the four antahkaraNAs, by which the puruSha was immersed in the delusion of samsAra.
With all its upward rays, being extrovert, wrapping up as a covering around the ‘citriNi is the “vajriNI nADi”. This is the form of “sahasrArciSha”(the fire), which emphasizes the concept of perception of the universe. This is the collective form of the twenty four tattwAs from “prakR^iti” to “pR^ithivi.
‘rajas tamascABhibhUya sattwam Bhavati BhArata,
rajas sattwam tamas caiva tamah sattwam rajas tathA ||”
What was said as “prakR^iti” in the matching stage of ‘guNA’s, the same is called as “antahkaraNAs” in the clashing stage of the guNAs. These ‘antahkaraNAs’ are not at all different from the ‘prakR^iti’ of the ‘puruSha’ who is after all the collective form of ‘bAhyakaraNAs’ only. Since there is no difference between the ‘prakR^iti’ and ‘puruSha’, we can substantiate that the ‘samaShti’ of all these tattwAs is the ‘puruSha’ only. The ‘prakR^iti of ‘puruSha’ which wore the “antahkaraNa sahita panca kancukAs” itself has created the ‘panca BhUtAtmaka dEha’ which is the aggregate of ‘panca tanmAtrAs’, ‘panca j~nAnEndriyAs’ and the ‘panca karmEndriyAs’; and providing him the experience of viewing the existence of the universe.
The outer most cover like layer is named as “vajriNi”. The “sakalahrIm” of the “SaktikUta” indicates that this ‘vajriNi’ contains many “kaLAs” and proposing heterogeneity of the world. It specifies that it consists of all the process of the four ‘antahkaraNas’, sixty four varieties of ‘kaLAs’, and also the twenty four kinds of tattwAs. By saying “tasmAd AdhAram ASrayEt”, it signifies that this “vajriNi” is the fundamental basis for all the four “puruShArthAs”
“jamBhO~mSE”. ‘jamBham’ means ‘diversity”. Even though it says, that this ‘nADi’ is the sole proposer of all diversification, when esteemed as ‘paradEvata’, it hinders all the activities of the “citta” and strips off all variegation and it upholds the way for “Kaivalya” too.
“sEyam kriyAtmikA Saktih Sivasya paSuvartinI,
bandhayitrI swamArgasthA j`nAta siddhyupapAdikA ||”
Soon after one acknowledges the ‘kriyA Sakti’ as ‘parA Sakti’ and identifies himself with it, the personage of “j`nAna Sakti”, which is the form of the three kinds of “antahkaraNa” and the form of “kriyA Sakti” which is called as “bAhya karaNas” with the Sum total of the mind and the ten ‘indriyAs’ making eleven, becoming the fourteen types of the jIva`s ‘kaLA rUpam’ itself, is the all pervading “dESa kAlAparicCinna vyBhavAdhiShTHAtri”, he will be able to realize that “viSwarUpa prakR^iti itself is the “SivakaLa”. “parAparayOh SaktyOraBhEdah”.
In fact, all the thirty six tattwAs from ‘pRithivi’ to ‘Siva’ are only one tattwa and none of them is separate from any one. The indivisible ‘Sakti’ of ‘Siva’ who is “cidAnandaGana” and “paramAkShara vigraha”, by its own will (iccha), hersef being the “jagannATaka sUtrdhAri”, manifests in the forms of “citi”, “mAya” and “prakR^iti” and creating many forms of diverseness and exhibiting “swAtantrya mahima” of ‘paramaSiva’
“vartamAnAvaBhAsAnAm BhAvAnAmavaBhAsanam,
antah sthitavatAmEva GaTatE bahirAtmanA ||”
What is there in the kailAsa of brahmarandhra, that itself is situated and found in the “pR^ithivi” of ‘mUlAdhAra also
“yasyAmantarviSwam Etad viBhAti bAhyaBhAvam BhAsamAnam visR^IStau,
kShObhE kShINE~nuttarAyAm sthitau tAm vandEdEvIm swAtma samvittim EkAm ||”
“sR^iShti” which means that, whose inside and out side, all this universe is delusively imaginable in the “kShObha daSa”, and when it contracts, who settles again in the “anuttarAtmaka sthiti”, I adore to that the ONE “aKanDa swAtma samvitti (Atma j`nAna) rUpa paradEvata”.
So praises “aBhinavaguptA” for this ‘jaganmAtA’ only.
Please excuse me if I have exceeded any limits of sampradAya.
krishnarao (SrIparasuKAnandanAtha)
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From :- krishnarao (lanka.krishnarao@gmail.com
Subject :- “muKam bundum kR^itwA ….”.
SrIguruh sarvakAraNaBhUtA Saktih |
SrI mahAgaNAdhipatayE namah ||
(15) “muKam bundum kR^itwA …..”
“muKam bindum kR^itwA kucayugam adhastasya tadadhO
harArtham dhyAyEd yO haramahiShi tE manmadhakalAm |
sa sadyah sankShObham nayati vanitA ityatilaGu
trilOkImapyASu Bhramayati ravIndu stanayugAm ||”
This is the 19th SlOka in the soundaryalahari of Srimad BhagavatpAdA SrI Adi SankarAcArya, and its li literal meaning runs as follows.
“hariNi ! He who meditates upon your face in the bindu-sthAna and having the Sun and moon as the pair of breasts beneath of it, and its underneath the cupid`s segment (the yOni), instantaneously he is creating distress and delusion in the women of the three worlds”.
But in my opinion, the esoteric meaning of it is otherwise different. I submit hereunder my view point, for the perusal of our members.
“nityA kUta trayam dEvi turIya swara SEKaram |
tat turIyam swarUpan ca bindutrayam udIritam ||
tadAtmakan ca dEvyAstE sAdhakasya ca yadBhavEt |
tad BhAvanAm SR^iNu prAj~nyE mahOdayakarIm SuBhAm ||
Urdhwa bindwAtmakam vaktram adhO bindu dwayAtmakam |
kuca dwayam tu tatChEShA gatimEtAm viBhAvayEt ||”
The kAditantra has described the ‘kAmakalA’ as above. At the end of the three ‘kUtAs’of any mantra, as heard in the ends of nAda and nAdAnta, that “ImkAra nAdA’ itself is the “turIya swarUpam” (the fourth avastha).The ‘ImkAra” is meant for the “mahA mAya”. That is to say that it is the witnessing spirit for both the concepts of existence and nonexistence. (BhAvABhAva sAkShi caitanyam).
“kUta trayE mahAdEvi kuNDalI tritayEpi ca |
cakrANAm pUrva pUrvEShAm nAdarUpENa yOjanam ||”
This is an instruction of guide lines for the three types of “adhikAri BhEdAs” for doing japa and dhyAna of “kAma kaLA”.
The first one for the beginners is, to conjoin the three kUtAs of the mantra In the ‘kuNDalini”, which is in three forms as gross, subtle and ‘para’ and doing japa associating the nada in each of the cakras.
The second one for the ‘madhyamAdhikAris’ is, to meditate upon the nine ‘nAda sthanAs’ from the centre of the forehead up to the brahmarandhra viz. ‘bindu’, ‘arthacandra’, ‘rOdhini’, ‘nAda’, ‘nAdAnta’, ‘Sakti’, ‘vyApika’, ‘samana’ and ‘unmani’ each at a distance of one ‘anguLi’ linking up with the ‘mantra akSharAs’,
with a feeling of the nectarous flow showering in the ‘dwAdaSAnta’.
The third one for the ‘unnatAdhikArIs’ (advanced devotees) is, visualizing the face of fully ornamented divine mother in the ’bindu’, (‘nAdasthAna’ in the centre of the forehead), brace of breasts appearing as “visarga” in the “nAda, (nAda Sthana” in the hairline); and the vagina in the ‘trikONa’ of ‘brahmarandhra’, adopting the three kUtAs/KanDAs of the mantra with the feeling of absorbing oneself in that ‘citkaLa’, which is the real source of the birth of us all. This kind of dhyAna is called as “kAmakaLA dhyanam”. Every alphabet of the mantra being merged into the preceding one and forming into one single “EkAkShari mUrti swarUpam”
“dEvA dEvEShu Srayadhwam| prathamA dwitIyEShu Srayadhwam| dwitIyAstR*itIyEShu Srayadhwam| tR^itIyAscatuturdhEShu Srayadhwam| etc., etc.,| dEvA~~strIrEkAdaSA streestrayastigmSA| uttarE Bhavata| uttara vartmAna uttara sattwAnah| yat kAma idam juhOmi| tanmE samR^idhyatAm| vayagg syAma patayO rayINAm||”
Here “nAdarUpENa yOjanam” means, merging all the bindurUpa alphabets in the ultimate nAda. Generally many of the sAdhakAs recite the ‘mantrAkSharAs’ and at conclusion, prolong it with the nAda. It is just like proceeding yourself in fore-front and asking the ‘kuNDalinI rUpa paradEvata’ to follow you behind. The above verse is asking us to keep behind of the ‘paradEvata’ until her destination to the ‘bindu’. Or, recite all the ‘mantrAkSharA’s as lightly as the uninterrupted nAdA only. .
“trikONE baindava sthAnE adhOvaktram vicintayEt |
bindorupariBhAgE tu vaktram paricintya sAdhakah ||
taduparyEva vakShOja dwitayam samsmarEd budhah |
taduparyEva yOnin ca kramaSO BhuvanESwarIm |
SrIvidyAm kAmarAjan ca vinyaSyASu vimOhayEt ||”
‘SanatkumAra samhita’ also describes the same in another slightly changed method.
“bindutraya samAyOgAn mahAtripurasundarI
nAdarUpENa sA dEvI hakArArtha swarUpiNI ||”
‘J~nAnArNava tantra’ also is describing it as “nAda rUpa” only.
“Antaram nAdAnusandhAna lakShaNam japah” and also,
“nAsti nAdAt parO mantrO na dEvah swAtmanah parah”
That is why, by accomplishing the ’turIya swara japa’ in the form of ‘nAda’, is achieving instantaneous “siddhi”. This very ‘turIya swaram’ is also called as “gupta mahA sAraswata bIjam”.
“avyakta nAmnI paramESa Saktih
anAdyavidyA triguNAtmikA parA |
kAryAnumEyA sudhiyaiva mAyA
yayA jagat sarvamidam prasUyatE ||”
AdiSankarAcArya has described this “mahAmAyA swarUpiNi” as
“sannAp yasannAp yuBhayAtmikAnO
Bhinnap yaBhinnap yuBhayAtmikAnO|
sAngAp yasAnga hyuBhayAtmikAnO
mahAdBhutA~nirvacanIyarUpA ||”
Which is neither the form of “SUnya” nor the form of “sat”, being and not being both the forms, is “mAya”. The ‘rudrayAmalam’ says that the influence of this ‘mAya’ is extent all over the three worlds.
“naBho mahA bindumuKI candra sUrya stanadwayA |
sumEru hAravalayA SOBhamAna mahIpadA ||
pAtALatala vinyAsA trilOkIyam tavAmbikE |
kAmarAja kalArUpA jAgarti sacarAcarA ||”
All the three worlds of BhU, Bhuvah and swah were stretched in the three ‘avasthAs’ of ‘jAgrat’, ‘swapna’ and ‘suShupti’ just by this ‘mAyA Sakti’ only.
This ‘mAyA’ is neither a male nor a female, nor it belongs to both genders. The form of it is visualized as a fully ornamented woman. Because this is the highest of all the dEvatAs, the japa samarpaNam is intended in the name of masculine gender and the dhyAna slOka is indefinitely saying,
“dhyAyEd BhAskara SItAmSu vahnInAm manDalOpari
sthitE vahnipurE nAgadaLa padma samASritam |
anguShTa mAtra mamalam viShgnu mOnkAra rUpiNam
sarva dEvamayam dEva manantam sarvatO muKam |
swamAyayA samAkrAntam sUkShma jyOti swrUpakam
sa brahma sa Sivah sa hari ssEndrah sO~kSharah parama swarAt ||
Here ’ viShnum’ indicates the extensiveness and ‘sUkShma jyOti swarUpakam’ indicates the last visible state of an object. “swarAT” indicates the sovereignty.
As many of us think, there are no three bindus, nor there any ‘trikONa’ at all. There is only one ‘bindu’ in which all these are embedded, in the same bindu, there are two bindus, just like a seed of any plant having two cotyledon cups. With the extensions on both sides of this, it appears like a triangle. If this ‘bindu’ is considered as “Siva”, the two cotyledons can be taken as “Siva and Sakti”. However they are not two different individuals. On the whole, because of the duel appearance, just as the seed is appearing with two extensions on both sides like a triangle, the bindu also appears as a triangle when it is all set for creation of the universe.
Prior to the separation of ‘icCha, j~nAna and kriya”, all of these three were remaining in the same ‘icCha’ of ‘paramaSiva’ only. The j~nAna and kriya of the ensuing creation both were embedded in that ‘icCha’. It means, both of the two bindus, (j~nAna and kriya) were set in the main “kAraNa bindu” only. Because there was no pollution of external “viShayAs” (worldly interactions) they were glowing in perfect and pure brilliance. Those three luminaries were named as the moon, Sun and fire.
The consequence of the “aham sphuraNa” (the quiver of ‘I’ consciousness) in ‘parama Siva’ itself has appeared as ‘a’ and ‘ha’. If ‘a’ is the ‘prakASarUpA’ of Siva, ‘hakAra’ is his ‘vimarSarUpa’. ‘akAra’ is called bindu and SUnyam (“binduh SUnyam akArah”). From this ‘SUnyarUpa bindu’ only all the fifty alphabets emerged out. ‘ha’kAra’ also is the outcome of this ‘SUnyarUpa anuswAra’ (‘a’kAra), and this is called as ‘visarga’. In this ‘hakAra’ both hakAra and akAra are existing, just like the “agnIShOmAtmaka rUpam’ coming out as an accessory of the ‘sUrya maNDalam’. It is the deceptive form giving us the impression that the Sakti’ is different from ‘Siva’. This ‘visarga’, the twin bindus is the persona of the ‘vimarSarUpa cit Sakti’ which is actuating in the act of creating the universe.
…………….. From this ‘visarga’, the whole of the universe came out through six ‘adhwAs’ in three stages, viz., firstly ‘varNa’ (alphabets) from one bindu and ‘kalA’ (division) from the other; again these alphabets developed as ‘padam’(words) and the ‘kala’ became ‘tattwam’ (constituent element); and then the ‘padam’ transformed as ‘mantram’ (sentence) from which all the ‘vEdAs, AgamAs and the whole literature; and the ‘tattwam’ transformed as ‘Bhuwanam’ in which all the fourteen worlds existed. By this we can understand that the whole of the universe and whole of the knowledge, every thing is the product of this twin bindus ie., visarga. All of these issues were dispensed out through the triangle which is the reflected manifestation of the ‘bindu’ and ‘visarga’.
For any one who aspires to explore about his own primary origin (swaswarUpa j~nAnam), he has to go and search for it in the basic source of his entering into these worlds. That source is nothing else but this unit of ‘bindu’, ‘ visarga’ and the ‘trikONa’. This unit is called ”kAmakaLa”, because all the intelligent intellectuals always yearn for it. They all know that this is the “viShNupadam” they eternally aspire for.
“tad viShNOh paramam padam sadA paSyaNTI SUrayah. divIva cakShur Atatam”
“puNDarIkAkSha!, puNDarIkAkSha!!—“
All of these sages are relentlessly staring at this unit only, making their eyes as wide as the skies.
“nEtrAdi jAlakOpAntE hR^it padmAsana lIlayA
vAram vAram twayA dEvi rUpAdi madhu sEvyatE ||”
For every thing of the worldly experiences, the external and internal senses are the sole generators. This mahAmAya is observing every thing with the help of these senses like a spectator and also controlling every thing like a dictator. Nothing is there which is not deluded by this ‘mAya’. Undisputedly every one is in her grasp. She is “sarvavimOhi”. and when graciously kind, she becomes “mOhanASani”.
In the above SlOkA the word “trilOkIm” indicates the “sthUla, sUkShma and kAraNa dEhAs”. The word “ravIndu stana yugam” indicates “brilliantly glowing visions” and the word “vanita” is indicative of the worldly attractions. It means if the mahAmAya is kind and benevolent, she will disrupt all the clutches of the worldly attractions. “ravIndu stana yugam” again indicates the”agnI shOmAtmaka jagat”
Every thing is Siva_ Sakti mayam!!
“EkAm prakR^iti rUpENa sarva Saktim vicintayEt |
kAmayEt kAminIm sarvAm dEvIm AvarNa rUpiNIm ||
cintayEt sundarIm dEvIm sarva vyApaka rUpiNIm |
ikAraBhUta mantrasyAvayavam ca catuShtayam ||
bindu trayasya dEvEsi pratham dEvEshkaka viduh |
bindu dwayam stana dwandwam hR^idi sthAnE niyOjayEt ||
hakArArtham kalAm sUkShmAm yOni madhyE vicintayEt |
udyadAditya samkASam sindUrABham stanadwayam ||
bindum sankalpya vaktram tu sphurad dIpa SiKa praBham |
kAmO bindu raham dEvi tatrasthA paramESwarI |
Siva Saktimayam dEva tadadhastat kucadwayam ||
tadadhah saparArtham tu cidrUpA paramA kalAm ||
sancintya sAdhakaSrEShTastrailOkyam vaSamAnayEt |
Etat tE kathitam dEvi kAmakalA sunirNayam ||
gOptavyantu prayatnEna yadIcChEdatmanO hitam ||”
krishnarao (SrIparaSuKAnandanAtha)
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