Sie sind auf Seite 1von 80

Nivasatu Hridi Bala Nitya Kalyana Seela

(Bala Meditation guide)

Srividya uapasana is found everywhere throughout the world. People want everlasting
happiness in life. They try many ways and finally land on the spiritual methods. Initially
they find the Vedas and daily practices, further they read and try to understand through
Vedanta’s- the Upanishads. These methods are intellectual with no sight of the real
experience. So they search for a Guru and surrender to him. He instructs them on the
time-tested, sure to bear fruit method, called the Srividya. The experience of the nature of
the entire universe as a play of the Siva and sakthi and that every thing is in the form of
Siva and sakthi is the goal of Srividya. This leads to an unlimited experience of bliss.
In this path of Srividya there are many steps like Japa, Pooja, homa, dhayna, Samadhi. Of
these Japa is the foremost and the first step instructed to an aspirant. The mantras of
Ganapathy and Bala along with guru paduka are the first set of mantras initiated to the
aspirant by the Guru.
Many Tantras are unified in declaring that the mantra of Bala is of three letters. (Aim
kliim sauh). The eighteen siddas of the yore also practised the Bala mantra in their own
way by chanting ‘ayum kiliyum chauum’ and attained the eight siddhis. Their practical
verbatim in Tamil language runs ‘there is no more nourishing food other that milk; there
is no more deity above Bala’. The sages of the yore on finding that this mantra being
utmost beneficial and easily approached by all for the siddhi cast a curse on it and locked
away the powers of this mantra. They have also revealed procedures for lifting this curse
and unlocking the powers hidden in this mantra, which are revealed in the Tantras.
By tradition the Bala mantra is initiated as a six letters. This is derived by adding the
reverse order of the above three letters in the end of the aforesaid mantra (Aim kliim sauh
sauh kliim aim). This mantra is devoid of any curse of lock on the powers. Later when the
uapasana progresses the Srividya Pancadasi mantra is imparted to the aspirant. Then this
Bala mantra takes the form of the Yoga Bala mantra – the Anga mantra (primary
attendant) of the pancadasi mantra. There the mantra has a nine letter form which is
derived by adding the three letters of the first said Bala, which is in the normal order,
after the above six letter mantra.( (Aim kliim sauh sauh kliim aim Aim kliim sauh )This
mantra is not chanted as such by most of Upasakas, the number to be chanted is one-tenth
of the Srividya pancadasi mantra’s count.
Bala and Katapayadi number secret code:
The katapayadi secret code is as follows: ka denotes the number one, kha two, ga three,
gha four, Gna five, ca six, cha seven, ja eight, jha nine and ghna zero, the same number
order for the letters from ta, pa and ya. In this order we find that ‘ba’ is three and ‘la’ is
also three.
The first inference from this that is the code identifies the number of bijaskharas in the
Bala mantra namely three. Since there are two three’s for ‘ba’ and ‘la’ , adding these we
find number of bijaskhra’s in the Bala mantra(six) imparted by tradition. Multiplying
them we find the number of bijaskhara’s (nine) in the anga Bala (Yoga Bala) of
Pancadasi.
Subtracting them we find zero, which in Sanskrit is denoted as ‘pujya’, which can also be
translated as ‘worthy of worship’. Hence inferred that ‘Bala’ is worthy of worship.
Dividing them we get one, which denotes ‘ekam sat viprah bahuta vadanti’ -the Brahman
which pervades this entire universe.
Bala is in the form of ganesa/graha/nakshatra /yogini/ pita/ rasi
Placing both the three’s side by side we get thirty three, the number of divine beings in
the devaloka, The eleven rudras, twelve adityas, eight vasu and asvini duo make up the
divine pantheon ( 11+12+8+2=33). Each of these groups is also denoted as gana. We thus
find the ‘Bala’ is ganesa rupini.
As seen in the first paragraph multiplying both three’s we find nine, the number of
planets in the skies as per tradition, Hence ‘Bala’ is graha rupini
In the above calculation multiplying three thrice we find twenty seven the number of stars
(nakshatras), so ‘Bala’ is nakshatra rupini
Adding the two threes’ we find six the number of yogini’s (hakini etc.) in the six body
cakras, therefore ‘Bala’ is yogini rupini
When we multiply the first two three’s and add the third three ({3X3} +3 =12) we find
twelve the number of rasi’s (zodiac signs), so ‘Bala’ is rasi rupini.
The number three denotes the main three pitas (seats of divine powers) kamagiri,
purnagiri and jalandhara. Hence ‘Bala’ is pita rupini.
The essence of the above is that Bala is all pervasive and our constant japa with full
belief on our guru imparted mantra is the sure road to the goal of self realisation.
Bala is matruka :
In the daily ritual of nyasa, the barest minimum requirement is matruka nyasa- both outer
(bahir) and inner (antar). In the antar matruka nyasa for svadhitana we find the ‘Ba’ in
the starting letter, and ‘la’ is the final letter. Hence it is clear that the word ‘Bala’ is
formed from the first and last letters of this charka. Thus we infer that Bala is the
presiding deity of this charka. Sva + adhistana- one’s own + abode (original seat) is the
translation of the name of the charka. We can now admire that Sri Bala also takes the
form of the yogini of this charka –kakini. This is the first place of entry of the cit sakthi -
kundalini from her basal abode muladhara. The Upastha (genitals) –organ for enjoyment
is associated with is charka. Summing up we find that Bala is the foremost, Blissful,
Primordial energy, Sri Lalitha in her child hood form.
In the fifteen nitya devis we find the mantra of vijaya, the twelfth nitya, as ‘bh m r y
oom’. It is amazing to see that the consonants in this mantra are between ‘ba’ and ‘la’ and
‘oom’ is placed in the left ear, which is indicative of sakthi pradhanya(left) and
tradition(ear-karnaat karnopadesena sampraptam avaneetalam’). Parasurama also gives
this as the first mantra during deeksha, ‘vijaya’ means ‘vi’-special and ‘jaya’- victory, the
special victory is the atma labha(jaya). So this mantra can be meditated as an expansion
of ‘bala’.
In the bahir (outer) matruka nyasa ‘Ba’ is placed in the stomach and ‘la’ in the back of
neck. Stomach is the organ for digesting the food received, thus absorbing the nutrients
needed for the body and rejecting the unwanted. This indicates that we have to imbibe the
main idea that the whole world is in the form of the divine couple, rejecting the idea of
dualism. The back of neck is the medical part called ‘Medulla oblongata’, the controller
of our involuntary movements like breathing, heart beat, etc. This is the main area of the
control in the living system. Linking the above we find the perception that the whole
world is the play of the divine couple should be our daily breath.
In the tatva parayana each tatva is associated with a matrukakshra. ‘a’ for siva, ‘ka’ for
sakthi, ‘kha’ for sadasiva etc up to ‘ksha’ for prthvi. The vowels ‘aa’ to ‘ah’ are explaining
the splendour of siva tatva. ‘aa’ is Ananda sakthi ‘i’ is ichha sakthi, ‘I’ is Ikshana etc. ( see
paratrisikha for further details) In this order we find ‘ba’ is pada tatva, ‘la’ is rupa tatva
and the vowel in both ‘aa’ is Ananda. ‘Pada’ is the organ for locomotion and hence is
figurative of a path. Summing up we find the path to the Ananda rupa of Atma is ‘Bala’.
As seen above both ‘ba’ and ‘la’ are the third of the tatvas, correspondingly the third of
dasamahavidya is sodasi or Srividya so she is the root of this maha mantra. The third
mahabhuta also is agni. Since Tripurabhairavi of the Dasamahavidyas is fiery and denotes
tapas, we can admire that the bala mantra forms the basis of the Tripurabhairavi and her
expansion as tripura sundari (sodai) of the Dasamahavidyas.

The meaning of Bala mantra:


The meaning of Bala mantra has been explained in many ways by our revered teachers.
The first Vagbhava Bija is a vowel ‘Aim’- which can be split up as ‘a’ + ‘i’ + ‘a’ + ‘m’.
The first ‘a’ represents the Rig-Veda starting with ‘agni miide..’ and its essence in the
mahavvakya ‘pragynanam Brahma’ ; ‘i’ the yajur veda starting with ‘ishetvorje..’ and its
essence in the mahavakya ‘aham brahmaasmi’;
‘a’ the sama veda starting with ‘ agna aayaahi..’ and its essence the mahavakya ‘
tatvamasi’ and ‘m’ the atharva veda starting with ‘sanno devi..’(Sam + Na :) and its
essence the mahavakya ‘ayamaatmaa Brahma’. Thus this indicates first stage of the
aspirant, in search of the unlimited bliss, which is the surrender to a guru, imparting the
mahavakyas and showing a path for sadhana.
The second Kamaraja Bija is ‘kliim’ can be split as ‘k’+ ‘l’ + ‘iim’. ‘k’ indicates sakthi
tatva, ‘la’ the prthvi (earth) tatva . Since siva tava is inherent in sakthi tatva we find that
this represents the complete 36 tatvas. ‘iim’ is the kamakala tatva the cause of the whole
creation by heavy penance. This is the further development of sadhana as indicated by a
Pooja paddhati instructed by the Sri Guru. 36 tatvas indicate the tatva sodhana , the
kamakala indicate the kamakala dhayna in the Pooja paddhati.
The final Bija is ‘sauh’ which can be split as‘s’+ ‘au’ + ‘h’. ‘s’ represents the thirty one
tatvas from prthvi to maya; ‘au’ the suddha Vidya, isvara and sadasiva ; ‘h’ the visarga the
sakthi and siva tatvas. Thus this is a miniature universe of all the 36 tatvas. ‘s’ is the letter
for sakthi, the universal creatrix, ‘h’ the visarga the created universe and ‘au’ the
equalising factor which shows their singular identity ( between the Creatrix and the
universe). This final bija can be inferred as the zenith of sadhana wherein on constant
practice as instructed by the Sri Guru the aspirant enjoys unlimited bliss on understanding
the this universe is the play of siva sakthi.
Bala in LalithOpakhyana:
LalithOpakhyana is the final part of the last of the eighteen purana – the Brahmanda
purana. Therein we find a descriptive narrative of the tale of Sri Lalitha devi-
Bhandasura’s origin, his conquest, devas yaga, the emergence of Sri Lalitha from the
citagni kunda, creation of her army, destruction of the forces and of Bhandasura, creation
of Srinagra etc. In the middle we find that Bhandasura deputes his 30 sons to fight the
sakthi army. Here we find Sri Bala suddenly, out of the blue, her emergence is hidden.
She requests permission to fight the son’s of Bhandasura, rides her chariot drawn by
swans (karni ratha) and slays them by the Narayanastra. This is praised by the vasini
vagdevatas in the Lalitha sahasranama as ‘Bhanda putra vadothyuktha Bala vikrama
nanadita’. The thirty sons of Bhandasura represent the stain caused by the activities of the
five organs for knowledge and the five organs for action (total ten) in the three states
(waking, sleep and deep sleep). The stain is the limited knowledge that the individual is
separate. Bala represents the action packed knowledge of the unlimited Bliss removing
the notion of individual consciousness.
Bala meditation guide:
The usual mediation verse ‘Aruna kirana jalaih..’ is imparted to the most aspirants. Sri
Bala is described as of red effulgence engulfing the universe, holding a book, rosary
(made of sapthika) , the gestures of dispelling fear and granting boons, seated on the red
lotus with a prayer to occupy the aspirant’s heart.
While doing japa aspirant is instructed to meditate on the form while chanting the bijas. A
method is suggested herewith, by the grace of the Sri Guru, on this procedure.
Initially while chanting ‘Aim’ meditate on the upper hand holding the rosary and book of
white hue. ‘Kliim’ can be meditated as the lower arms showing the gestures of dispelling
fear and granting boons of red hue. ‘Sauh’ can be meditated on the total form of the devi
especially the feet of golden hue. This is the procedure for the upasaskas of the three bija
Bala mantra.
The six bija Bala mantra upasakas can further meditate thus. While repeating ‘Sauh’
meditate on the feet and that the individual merges in it by the grace of the Sri Guru.
While repeating ‘Kliim’ (in the meaning of the mantra above ‘kliim’ is the universe)
meditate as pervading the universe, which is the body of the devi. Finally while repeating
‘Aim’ (‘Aim’ is written as a triangular letter in Sanskrit- triangle represents the yoni - the
source of creation – the para siva tatva) meditate as being absorbed in the source of
creation which is the parasiva tatva. Thus a dhayna Samadhi can be experienced by the
aspirants chanting the six bija Bala mantra.
Further dhayna can be done by the nine bija Bala upasakas as thus: While repeating
‘Aim’ meditate on the creation of the universe from above the parasiva tatva , ‘kliim’ can
be mediated as the creation of this subtle and palpable universe and finally ‘sauh’ can be
meditated as play of the siva sakthi in the above expanded universe.
This is dedicated to the lotus feet of the Sri Guru who is the unseen guiding spirit in the
road of Sadhana

Bālāmantra Japa बबालबामन्ततर जप


(This is the simple way of doing Bālāmantra Japa)
Seating: While doing this mantra japa, one has to either face East or North. If one does
not have a guru, contemplate on Lord Dks iṣ n āṣ mūrti and mentally accept Him as Guru.
1. Curse removal mantra:

बबालबामन्ततरजपत्ववेन शबापववममोचनमन्ततरर कवरष्यवे।


bālāmantrajapatvena śāpavimocanamantraṁ karis ṣye।
हसस हसकररर हसस hasaiṁ hasakarīṁ hasaiṁ

(to be recited 100 times before the commencement of daily japa. The recitation of this
mantra can be dispensed with after reciting 100 times for the first few days.)
2. Rṣs ṣyādi nyāsahऋष्यबावद
ṣ न्यबासस
अस्य शतरर बबालबावततरपपरसपन्दरर महबा मन्ततरस्य। वदद्क्षिणबाममवतर ऋवषस। पवङङतछन्दस। बबालबावततरपपरसपन्दरर दवेवतबा॥
asya śrī bālātripurasundarī mahā mantrasya dks ṣin ṣāmūrti r ṣs iṣ h ṣ|(open the right palm and
touch the top of the forehead)| paṅktichandah ṣ (right palm on the mouth)|
bālātripurasundarī devatā(right palm on the heart chakra)॥
ऐर बरजर। ससस शवङतस। ङलरर करलकमत॥
शतरर बबालबावततरपपरसपन्दरर दशरन भबाषण वसदध्यरर जपवे वववनयमोगस॥
aiṁ bījaṁ (right shoulder)| sauh ṣ śaktih ṣ (left shoulder)| klīṁ kīlakam (on the navel)||
śrī bālātripurasundarī darśana bhās ṣan ṣa siddhyarthe jape viniyogah ṣ (open both the palms
and run them over all parts of the body; from head to feet)||
3. Karanyāsah ṣ करन्यबासस
ऐर - अङगपष्ठबाभ्यबामत नमस। aiṁ - aṅgus ṣt ṣhābhyām namah ṣ| (use both the index fingers and run
them on both the thumbs)
ङलरर - तजरनरभ्यबार नमस। klīṁ - tarjanībhyāṁ namah ṣ| (use both the thumbs and run them on
both the index fingers)
ससस- मध्यमबाभ्यबार नमस। sauh ṣ- madhyamābhyāṁ namah ṣ| (both the thumbs on the middle
fingers)
ऐर - अनबावमकबाभ्यबार नमस। aiṁ - anāmikābhyāṁ namah ṣ| (both the thumbs on the ring fingers)
ङलरर - कवनष्ठरकबाभ्यबार नमस। klīṁ - kanis ṣt ṣhīkābhyāṁ namah ṣ| (both the thumbs on the little
fingers)
ससस - करतलकरपपष्ठबाभ्यबार नमस। sauh ṣ - karatalakarapr ṣs ṣt ṣhābhyāṁ namah ṣ| (open both the
palms; run the opened palms of the right hand on the front and back sides of the left palm
and repeat the same for the other palm)
4. Hrdayādi nyāsah ṣ ह्र्दयबावद न्यबासस
ऐर- ह्र्दयबाय नमस। aiṁ - hrdayāya namah ṣ| (open index, middle and ring fingers of the right
hand and place them on the heart chakra)
ङलरर - वशरसवे स्वबाहबा। klīṁ - śirase svāhā| (open middle and ring fingers of the right hand and
touch the top of the forehead)
ससस - वशखबायय वषटत । sauh ṣ - śikhāyai vas ṣat ṣ| (open the right thumb and touch the back of the
head. This is the point where tuft is kept)
ऐर - कवचबाय हप।
र aiṁ - kavacāya huṁ| (cross both the hands and run the fully opened palms
from shoulders to finger tips)
ङलरर - नवेतरत ततरयबाय वसषटत । klīṁ - netratrayāya vaus ṣat ṣ| (open the index, middle and ring
fingers of the right hand; touch both the eyes using index and ring fingers and touch the
point between the two eyebrows (ājñā cakra) with the middle finger.
ससस - अस्ततरबाय फटत ॥ sauh ṣ - astrāya phat ṣ||
भमभरवप स्सपवरमोवमवत वदग्बन्धस॥ bhūrbhuvassuvaromiti digbandhah ṣ||

5. Dhyānam ध्यबानमत
रङतकलबाम्बरबार चन्दतरकलबावतर सबार समपद्यदबावदत्यवनभबार वततरनवेतरत बार।
ववद्यबाद्क्षिमबालबाभयदबामहस्तबार ध्यबायबावम बबालबामरुणबाम्बपजस्रबामत॥
raktakalāmbarāṁ candrakalāvataṁ sāṁ samudyadādityanibhāṁ trinetrāṁ|
vidyāks ṣamālābhayadāmahastāṁ dhyāyāmi bālāmarun ṣāmbujasthām||
(Meaning of dhyāna verse for easy contemplation of Her form: I meditate upon the Bālā
Devi, clad in red garments whose forehead is decorated with a crescent moon, who has
three eyes, whose brilliance is like that of the rising sun, who is seated on a red lotus and
who holds in her four bands a sacred book, rosary, abhaya and varada mudras.)
6. Pañcapūjā पञ्चपमजबा (follow as per Karanyāsa)
लर - पपवरव्यबावत्मकबायय गन्धर समपरयबावम।
हर - आकबाशबावत्मकबायय पपष्पयस पमजयबावम।
यर - वबाय्वबावत्मकबायय धमपमबाघतरबापयबावम।
रर - अग्न्यबावत्मकबायय धरपर दशरयबावम।

वर अमपतबावत्मकबायय अमपतर महबानयववेद्यर वनववेदयबावम।


सर - सवबारवत्मकबायय सवमोरपचबार पमजबामत समपरयबावम॥
laṁ - pr ṣthivyātmikāyai gandhaṁ samarpayāmi|
haṁ - ākāśātmikāyai pus pṣ aih ṣ pūjayāmi|
yaṁ - vāyvātmikāyai dhūpamāghrāpayāmi|
raṁ - agnyātmikāyai dhīpaṁ darśayāmi
vaṁ amr ṣtātmikāyai amr ṣtaṁ mahānaivedyaṁ nivedayāmi |
saṁ - sarvātmikāyai sarvopacāra pūjām samarpayāmi||
7. Bālā mantrah ṣ बबालबा मन्ततरस
There are three types of Bālā mantra-s and they are known by different names. One has to
choose any one of the following. Out of the three, Bālā navāks ṣarī mantra is very
powerful and is the best mantra for recitation. It is capable of giving material comforts.
The three syllable mantra is related to herbs. Those who make sacred herbal medicines
should recite this mantra. The second six syllable mantra is capable of providing
liberation from transmigration.
1. Bālā mantra consists of three bījāks ṣara-s – ॐ - ऐर - ङलरर – ससस (om - aiṁ - klīṁ - sauh ṣ)
2. Bālātripurasundarī mantra consists of six bījāks ṣara-s - ॐ - ऐर - ङलरर - ससस -- ससस - ङलरर – ऐर
(om - aiṁ - klīṁ - sauh ṣ -- sauh ṣ - klīṁ - aiṁ)
3. Bālā navāks ṣarī mantra - ॐ - ऐर - ङलरर - ससस -- ससस - ङलरर - ऐर -- ऐर - ङलरर – ससस (om - aiṁ - klīṁ
- sauh ṣ -- sauh ṣ - klīṁ - aiṁ -- aiṁ - klīṁ - sauh ṣ)
8. Hrdayādi nyāsah ṣ ह्र्दयबावद न्यबासस
ऐर- ह्र्दयबाय नमस। aiṁ - hrdayāya namah ṣ|
ङलरर - वशरसवे स्वबाहबा। klīṁ - śirase svāhā|
ससस - वशखबायय वषटत । sauh ṣ - śikhāyai vas ṣat ṣ|
ऐर - कवचबाय हप।
र aiṁ - kavacāya huṁ|
ङलरर - नवेतरत ततरयबाय वसषटत । klīṁ - netratrayāya vaus ṣat ṣ|
ससस - अस्ततरबाय फटत ॥ sauh ṣ - astrāya phat ṣ||
भमभरवप स्सपवरमोवमवत वदवग्वममोकस॥ bhūrbhuvassuvaromiti digvimokah ṣ||
9. Dhyānam ध्यबानमत
रङतकलबाम्बरबार चन्दतरकलबावतर सबार समपद्यदबावदत्यवनभबार वततरनवेतरत बार।
ववद्यबाद्क्षिमबालबाभयदबामहस्तबार ध्यबायबावम बबालबामरुणबाम्बपजस्रबामत॥
raktakalāmbarāṁ candrakalāvataṁ sāṁ samudyadādityanibhāṁ trinetrāṁ|
vidyāks ṣamālābhayadāmahastāṁ dhyāyāmi bālāmarun ṣāmbujasthām||
10. Pañcapūjā पञ्चपमजबा
लर - पपवरव्यबावत्मकबायय गन्धर समपरयबावम।
हर - आकबाशबावत्मकबायय पपष्पयस पमजयबावम।
यर - वबाय्वबावत्मकबायय धमपमबाघतरबापयबावम।
रर - अग्न्यबावत्मकबायय धरपर दशरयबावम।

वर अमपतबावत्मकबायय अमपतर महबानयववेद्यर वनववेदयबावम।


सर - सवबारवत्मकबायय सवमोरपचबार पमजबामत समपरयबावम॥
laṁ - pr ṣthivyātmikāyai gandhaṁ samarpayāmi|
haṁ - ākāśātmikāyai pus pṣ aih ṣ pūjayāmi|
yaṁ - vāyvātmikāyai dhūpamāghrāpayāmi|
raṁ - agnyātmikāyai dhīpaṁ darśayāmi

vaṁ amr ṣtātmikāyai amr ṣtaṁ mahānaivedyaṁ nivedayāmi |


saṁ - sarvātmikāyai sarvopacāra pūjām samarpayāmi||
11. Samarpan ṣam समपरनमत
गपहबावतगपहगमोप्ततरर त्वर गपहबाणबास्मबात्कपतर जपमत।
वसवद्धिभरवतप मवे दवेवव त्वत्पतरसबादबान्मवय वस्तरबा॥
Guhyātiguhyagoptrī tvaṁ gr ṣhān ṣāsmātkr ṣtaṁ japam|
Siddhirbhavatu me devi tvatprasādānmayi sthirā||
(Meaning: You sustain the secret of all secrets. Please accept this japa performed by me
and bestow Your perpetual Grace on me.)
Śrī saubhāgyavidyā pañcadaśākṣarī mantra
japaḥ शतरर ससौभबाग्यवविदबा पञ्चदशबाक्षरर मन्ततर जपप
1. Curse removal mantra:
Śrī saubhāgyavidyā pañcadaśāks ṣarī mantra japatvena śāpavimocanamantram karis ṣye |
शतरर ससभबाग्यववद्यबा पञ्चदशबाद्क्षिरर महबामन्ततर जपत्ववेन शबापववममोचनमन्ततरमत कवरष्यवे।
First Part – should be recited seven times:
ई ए क ल हतररर ī e ka la hrīṁ
ह स क ह ल हतररर ha sa ka ha la hrīṁ
स क ल हतररर sa ka la hrīṁ
Second Part – should be recited three times:
ह स क ह स क ह ल हतररर ha sa ka ha sa ka ha la hrīṁ
स क ल हतररर sa ka la hrīṁ
ई ए क ल हतररर ī e ka la hrīṁ
Third Part – should be recited one time.
ह ल भ भ भ भ भ अ ha la bha bha bha bha bha a
2. Rṣs ṣyādi nyāsahऋष्यबावद
ṣ न्यबासस
Asyaśrī Śrī saubhāgyavidyā pañcadaśāks ṣarī Mahāmantrasya । Śrī Daks ṣin ṣāmūrti r sṣ ṣih ṣ |
Gāyatrī chandah ṣ । Śrī Lalitāmahātripurasundari Parābhat tṣ āṣ rikā Devatā |
aiṁ - ka e ī la hrīṁ bījaṁ | klīṁ - ha sa ka ha la hrīṁ śaktih ṣ | sauh ṣ - sa ka la hrīṁ
kīlakam ||
Śrī Lalitāmahātripurasundari Parābhat ṣt ṣārikā darśana bhās ṣan ṣa siddhyarthe Śrī
Saubhāgyavidyā Pañcadaśāks ṣarī Mahāmantra jape viniyogah ṣ ||
अस्यशतरर शतरर ससभबाग्यववद्यबा पञ्चदशबाद्क्षिरर महबामन्ततरस्य । शतरर दवद्क्षिणबाममवतर ऋवषस । गबायततररच्छत न्दस। शतरर
लवलतबामहबावततरपपरसपन्दवर परबाभट्टबावरकबा दवेवतबा ।
ऐर - क ए ई ल हतररर बरजर। ङलरर - ह स क ह ल हतररर शवङतस। ससस - स क ल हतररर करलकमत॥
शतरर लवलतबामहबावततरपपरसपन्दवर परबाभट्टबावरकबा दशरन भबाषण वसदध्यरर शतरर ससभबाग्यववद्यबा पञ्चदशबाद्क्षिरर महबामन्ततर
जपवे वववनयमोगस॥
3. Karanyāsah ṣ करन्यबासस
aiṁ - ka e ī la hrīṁ aṅgus ṣt ṣhābhyām namahऐरṣ - क ए ई ल हतररर अङगपष्ठबाभ्यबामत नमस (use both the
index fingers and run them on both the thumbs)
klīṁ - ha sa ka ha la hrīṁ tarjanībhyāṁ namah ṣ ङलरर - ह स क ह ल हतररर तजरनरभ्यबार नमस (use both
the thumbs and run them on both the index fingers)
sauh ṣ - sa ka la hrīṁ madhyamābhyāṁ namah ṣ ससस - स क ल हतररर मध्यमबाभ्यबार नमस (both the
thumbs on the middle fingers)
aiṁ - ka e ī la hrīṁ anāmikābhyāṁ namah ṣ ऐर - क ए ई ल हतररर अनबावमकबाभ्यबार नमस (both the
thumbs on the ring fingers)
klīṁ - ha sa ka ha la hrīṁ kanis ṣt ṣhīkābhyāṁ namahङलरर
ṣ - ह स क ह ल हतररर कवनष्ठरकबाभ्यबार नमस
(both the thumbs on the little fingers)
ससस
sauh ṣ - sa ka la hrīṁ karatalakarapr ṣs ṣt ṣhābhyāṁ namah ṣ - स क ल हतररर करतलकरपपष्ठबाभ्यबार नमस
(open both the palms; run the opened palms of the right hand on the front and back sides
of the left palm and repeat the same for the other palm)
4. Hrdayādi nyāsah ṣ ह्र्दयबावद न्यबासस
aiṁ - ka e ī la hrīṁ hrdayāya namah ṣ| ऐर - क ए ई ल हतररर ह्र्दयबाय नमस (open index, middle and
ring fingers of the right hand and place them on the heart chakra – center of the chest)
klīṁ - ha sa ka ha la hrīṁ śirase svāhā ङलरर - ह स क ह ल हतररर वशरसवे स्वबाहबा (open middle and
ring fingers of the right hand and touch the top of the forehead)
sauh ṣ - sa ka la hrīṁ śikhāyai vas ṣatससस
ṣ - स क ल हतररर वशखबायय वषटत (open the right thumb and
touch the back of the head. This is the point where tuft is kept)
aiṁ - ka e ī la hrīṁ kavacāya huṁ ऐर - क ए ई ल हतररर कवचबाय हपर (cross both the hands and run
the fully opened palms from shoulders to finger tips)
klīṁ - ha sa ka ha la hrīṁ netratrayāya vaus ṣat ङलरर
ṣ - ह स क ह ल हतररर नवेतरत ततरयबाय वसषटत (open
the index, middle and ring fingers of the right hand; touch both the eyes using index and
ring fingers and touch the point between the two eyebrows (ājñā cakra) with the middle
finger.)
sauh ṣ - sa ka la hrīṁ astrāya phat ससस
ṣ - स क ल हतररर अस्ततरबाय फटत (open up the left palm and
strike it three times with index and middle fingers of the right hand)
भमभरवप स्सपवरमोवमवत वदग्बन्धस॥ bhūrbhuvassuvaromiti digbandhah ṣ|| (by using right hand thumb
and middle fingers make rattle clockwise around the head)
5. Dhyānam ध्यबानमत
sakumṣkuma-vilepanāmṣ alika-cumbi-kastūrikāmṣ
samanda-hasiteks ṣan ṣām saśara-cāpa-pāśāṅkuśa।
aśes ṣa-jana-mohinīmṣ arun ṣa-mālya-bhūs āṣ mṣbarāmṣ
japā-kusuma-bhāsurāmṣ japavidhau smaredamṣbikām ॥
सकपर कप म-ववलवेपनबार अवलक-चपवम्ब-कस्तमवरकबार
समन्द-हवसतवेद्क्षिणबामत सशर-चबाप-पबाशबारकपशबामत ।
अशवेष-जन-ममोवहनरर अरुण-मबाल्य-भमषबारबरबार
जपबा-कप सपम-भबासपरबार जपववधस स्मरवेदवर बकबामत ॥
The meaning of this verse is: She is anointed with kumkum and vermilion, which gives a
pleasant fragrance, towards which bees are attracted. She looks at Her devotees with a
benignant smile. She holds in Her hands bow and arrow, two weaponries. She attracts
everybody; which means everybody is attracted to Her irrespective of being Her devotee
or not. She is wearing a red garland made out of special sandal wood. Excellent
ornaments adore Her and She has the complexion like a hibiscus flower. One has to
meditate on this form of Lalitāmbikā during japa time.
{sakumṣkuma – with kumkum; vilepanāmṣ – anointing; alika + cumbi – attracted by bees;
kastūrikāmṣ –vermilion; samanda + hasita + eks ṣan ṣām (samanda-hasiteks ṣan ṣām)–
benignant+ smile + looks; saśara – with arrow; cāpa – bow; pāśa – a weapon; aṅkuśa – a
weapon (these two weapons are already discussed in second śloka); + aśes ṣa + jana +
mohinīm – attracts people without exception; arun ṣa – red; mālya – a type of sandal
wood from Malaysian mountains; bhūs ṣa - ornaments; aṁbarām – without the use of
magical feats or incantations (attractions by sheer presence); japā-kusuma – red hibiscus
flower; bhāsurām – decorated; japa + vidhau – as per the rules of japa or mantra chanting;
smared + ambikām – think about Her.}
6. Pañcapūjā पञ्चपमजबा (follow as per Karanyāsa)
laṁ - pr ṣthivyātmikāyai gandhaṁ samarpayāmi|
haṁ - ākāśātmikāyai pus pṣ aih ṣ pūjayāmi|
yaṁ - vāyvātmikāyai dhūpamāghrāpayāmi|
raṁ - agnyātmikāyai dhīpaṁ darśayāmi |
vaṁ - amr ṣtātmikāyai amr ṣtaṁ mahānaivedyaṁ nivedayāmi |
saṁ - sarvātmikāyai sarvopacāra pūjām samarpayāmi||
लर - पपवरव्यबावत्मकबायय गन्धर समपरयबावम।
हर - आकबाशबावत्मकबायय पपष्पयस पमजयबावम।
यर - वबाय्वबावत्मकबायय धमपमबाघतरबापयबावम।
रर - अग्न्यबावत्मकबायय धरपर दशरयबावम।
वर - अमपतबावत्मकबायय अमपतर महबानयववेद्यर वनववेदयबावम।
सर - सवबारवत्मकबायय सवमोरपचबार पमजबामत समपरयबावम॥
7. Śrī saubhāgyavidyā pañcadaśāks ṣarī Mahā Mantrah ṣ शतरर ससभबाग्यववद्यबा पञ्चदशबाद्क्षिरर महबा मन्ततरस
ॐ ऐर हतररर शतररर
ऐर - क ए ई ल हतररर
ङलरर - ह स क ह ल हतररर
ससस - स क ल हतररर
om aiṁ hrīṁ śrīṁ
aiṁ - ka e ī la hrīṁ
klīṁ - ha sa ka ha la hrīṁ
sauh ṣ - sa ka la hrīṁ
(First line -- om is pran ṣava; aiṁ hrīṁ śrīṁ - this is known as tritārī.
Second, third and fourth lines consist of three bīja-s of Bālā mantra followed by three
kūt ṣā-s of Pañcadaśī mantra. For example, in second line aiṁ is the first bīja of Bālā
mantra which is followed by first kūt ṣā of Pañcadaśī mantra.)
8. Hrdayādi nyāsah ṣ ह्र्दयबावद न्यबासस (same as per 4 above)
aiṁ - ka e ī la hrīṁ hrdayāya namah ṣ| ऐर - क ए ई ल हतररर ह्र्दयबाय नमस (open index, middle and
ring fingers of the right hand and place them on the heart chakra – center of the chest)
klīṁ - ha sa ka ha la hrīṁ śirase svāhā ङलरर - ह स क ह ल हतररर वशरसवे स्वबाहबा (open middle and
ring fingers of the right hand and touch the top of the forehead)
sauh ṣ - sa ka la hrīṁ śikhāyai vas ṣatससस
ṣ - स क ल हतररर वशखबायय वषटत (open the right thumb and
touch the back of the head. This is the point where tuft is kept)
aiṁ - ka e ī la hrīṁ kavacāya huṁ ऐर - क ए ई ल हतररर कवचबाय हपर (cross both the hands and run
the fully opened palms from shoulders to finger tips)
klīṁ - ha sa ka ha la hrīṁ netratrayāya vaus ṣat ङलरर
ṣ - ह स क ह ल हतररर नवेतरत ततरयबाय वसषटत (open
the index, middle and ring fingers of the right hand; touch both the eyes using index and
ring fingers and touch the point between the two eyebrows (ājñā cakra) with the middle
finger.)
sauh ṣ - sa ka la hrīṁ astrāya phat ससस
ṣ - स क ल हतररर अस्ततरबाय फटत (open up the left palm and
strike it three times with index and middle fingers of the right hand)
भमभरवप स्सपवरमोवमवत वदवग्वममोकस॥ bhūrbhuvassuvaromiti digvimokah ṣ|| (by using right hand
thumb and middle fingers make rattle anticlockwise around the head)
9. Dhyānam ध्यबानमत (same as 5 above)
sakumṣkuma-vilepanāmṣ alika-cumbi-kastūrikāmṣ
samanda-hasiteks ṣan ṣām saśara-cāpa-pāśāṅkuśa।
aśes ṣa-jana-mohinīmṣ arun ṣa-mālya-bhūs āṣ mṣbarāmṣ
japā-kusuma-bhāsurāmṣ japavidhau smaredamṣbikām ॥
सकपर कप म-ववलवेपनबार अवलक-चपवम्ब-कस्तमवरकबार
समन्द-हवसतवेद्क्षिणबामत सशर-चबाप-पबाशबारकपशबामत ।
अशवेष-जन-ममोवहनरर अरुण-मबाल्य-भमषबारबरबार
जपबा-कप सपम-भबासपरबार जपववधस स्मरवेदवर बकबामत ॥
10. Pañcapūjā पञ्चपमजबा (same as 6 above)
laṁ - pr ṣthivyātmikāyai gandhaṁ samarpayāmi|
haṁ - ākāśātmikāyai pus pṣ aih ṣ pūjayāmi|
yaṁ - vāyvātmikāyai dhūpamāghrāpayāmi|
raṁ - agnyātmikāyai dhīpaṁ darśayāmi |
vaṁ - amr ṣtātmikāyai amr ṣtaṁ mahānaivedyaṁ nivedayāmi |
saṁ - sarvātmikāyai sarvopacāra pūjām samarpayāmi||
लर - पपवरव्यबावत्मकबायय गन्धर समपरयबावम।
हर - आकबाशबावत्मकबायय पपष्पयस पमजयबावम।
यर - वबाय्वबावत्मकबायय धमपमबाघतरबापयबावम।
रर - अग्न्यबावत्मकबायय धरपर दशरयबावम।
वर - अमपतबावत्मकबायय अमपतर महबानयववेद्यर वनववेदयबावम।
सर - सवबारवत्मकबायय सवमोरपचबार पमजबामत समपरयबावम॥
11. Samarpan ṣam समपरनमत
guhyāti guhya goptrī tvaṁ gr ṣhān ṣāsmat-kr ṣtaṁ japam|
siddhirbhavatu me devi tvatprasādānmayi stirā||
गपहबावत हपह गमोप्ततरर त्वर गपहबाणबास्मतत-कपतर जपमत।
वसवद्धिभरवतप मवे दवेवव त्वत्पतरसबादबान्मवय वस्तरबा॥
(Meaning: You sustain the secret of all secrets. Please accept this japa performed by me
and bestow Your perpetual Grace on me.)

Mahās oṣ d ṣaśī mantra is formulated like this.


First line: om - śrīṁ - hrīṁ - klīṁ - aiṁ - sauh ṣ (ॐ शतररर हतररर ङलरर ऐर ससस)
Place śrī bīja, then place māyā bīja, then kāma bīja, then vāgbhava bīja and finally parā
bīja. Thus the first line of this mantra is formed.
There is a common doubt whether to include ॐ in the beginning or not. Any mantra
should start with ॐ. Kulārn ṣava Tantra (XV.57) says that not beginning a mantra without
ॐ causes impurity of birth. Further, Chāndogya Upanis ṣad begins by saying “om iti etat
aks ṣaram udgītham upāsīta ॐ इवत एततत अद्क्षिरमत उदगररमत उपबासरत”. This means “this ॐ is
closest to Brahman and recite this syllable as part of your worship”. And above all, the
three Vedas begin with ॐ. Going by the interpretation of Chāndogya Upanis ṣad, ॐ at the
beginning refers to Brahman. Mān ṣd ūṣ kya Upanis aṣ d (1) also says thatॐ is both the cause
and the effect. Therefore, ॐ should be prefixed to mahās ṣod ṣaśī mantra, without which the
mantra becomes ineffective. Further reasoning is given while discussing sauh ṣ*.
Next to ॐ is śrīṁ (शतररर), which is known as śrī bīja or Laks ṣmī bīja. This is the most
important bīja of mahās ṣod ṣaśī mantra, as by adding this bīja, the fifteen lettered
Pañcadaśī becomes sixteen lettered S ṣod ṣaśī mantra. Bīja śrīṁ is capable of providing
auspiciousness. It promotes positive attitude and positive growth in the mind of the
aspirant. This bīja is the root cause for faith, devotion, love and ultimate surrender unto
Her. First, one has to have to faith in divinity. This faith later transforms into devotion.
When the devotion is strong, it turns into Love for Her. This love alone makes the
aspirant to surrender unto Her. As śrī bīja is the cause for surrender unto Her, it leads the
aspirant to liberation. Śrīṁ comprises of three letters śa + ra + ī + nāda + bindu (dot) (श +
र + ई and वबन्दप), where śa refers to Mahālaks ṣmī (Goddess of wealth), ra refers to wealth;
ra bīja is also known as agni bīja and is capable of offering supernatural powers. Nāda is
Consciousness about to manifest as the universe. It also means subtle sound. This can be
best explained by ṁ. There is no other way to explain this. It is like humming nasal
sound. The sound made after closing both the lips is nāda. Without nāda, bindu cannot be
effective as bindu cannot be pronounced separately. Nādabindu refers to the union of Śiva
and Śakti, where Nāda means Śakti and bindu means Śiva. The dot (bindu) above this
bīja removes sorrows and negative energies in the mind of the aspirant. Based on this
fact, it is said that S ṣod ṣaśī mantra is capable of offering liberation or moks ṣa. It is also
said, “S ṣod ṣaśī mantra kevalaṁ moks ṣa sādhanam”, which means that S ṣod ṣaśī mantra
offers only liberation, which is the ultimate goal of everyone. Since liberation is not
attainable that easily, S ṣod ṣaśī mantra is said to be highly secretive in nature.
Next to शतररर is hrīṁ हतररर, which is also known as māyā bīja. This is the combination of
three letters ha + ra + ī and nāda and bindu (ह + र + ई + nāda + bindu. Ha refers to Divine
Light of Śiva which also encompasses prān ṣa and ākāśā, two important principles without
which we cannot exist. The second component of hrīṁ is ra ( र) which is also known as
agni bīja. To the properties of ha, now the properties of ra are added. Properties of ra are
fire (the fire that is needed for our sustenance), dharma (Agni is known for dharma) and
of course agni, itself. It is said that when sun sets, it hands over its fire to Agni and takes
it back when the sun rises again next day. Thus Agni also becomes a sustainer, like the
sun. Śiva is also known as Prakāśa, the original divine Light. Third of part of hrī ṁ is ī
which focuses the aspirants energy and motivate him to pursue the path of dharma. Nāda
refers to Universal Mother (the one who reflects the Light of Śiva to the world and She is
also known as Vimarśa, meaning reflection, intelligence, etc) and the bindu (dot) is the
dispeller of sorrow, which actually means dispelling innate ignorance, the reason for our
sorrows.
Hrīṁ हतररर is also known as Bhuvaneśvarī bīja. Bhuvana means the earth and Īśvarī means
the ruler. She is known as Bhuvaneśvarī because, She rules the earth. Ha means Śiva and
ra means Prakr ṣti (which can be explained as Nature or original substance. Lalitā
Sahasranāma 397 is Mūlaprakr ṣtih ṣ, which is explained here). Ī means Mahāmāya, the
Divine Power of illusion. Nāda means Śrī Mātā, the Universal Mother. The dot, known
as bindu is the dispeller of sorrows. Therefore, hrīṁ can also be explained thus: Śiva (ha)
and Śakti (ra) unite to cause creation (nāda) making a person afflicted with illusion. This
illusion can be removed by both of them, if an aspirant contemplates them and this
removal ignorance is done through bindu or dot.
Next to hrīṁ हतररर is klīṁ ङलरर, which is known as kāma bīja. This bīja draws divine energy
towards the aspirant. It acts like a magnet. This bīja is known as power of attraction.
Kāma here does not mean lust, but means the desire to get into the state of Bliss (one
among the four purus ṣārtha-s. Four purus ṣārtha-s are dharma, artha, kāma and moks ṣa). It
completes the process of desire to attain Her. Attaining Her and entering into the state of
Bliss go together. It increases the level of devotion. This bīja has got three parts – ka + la
+ am. Ka refers to desire to achieve Her Grace, la refers to contentment in one’s life,
which reduces our desires and attachments and am gives happiness and joy. There are
interpretations that ka also refers to Lord Kr sṣ ṣn ṣa. It is the bīja through which Śiva shows
His Love for Her.
In the above three bīja-s, kāmakalā īṁ (ई)र is hidden. Kāmakalā can be explained through
the innermost triangle of Śrī Cakra around the bindu (the innermost dot in Śrī Cakra).
This dot represents Mahākāmeśvara-Mahākāmeśvari who are identical in all respects.
They are seated in this dot, known as bindu. From the bindu, because of their union,
creation takes place, resulting in the innermost triangle. The three sides represent Prakāśa
(Light of Śiva), Vimarśa (diffusion of the Light of Śiva done by Śakti) and third side of
the triangle represents “I am” and “this” (aham and idam). Thus, because of kāmakalā,
these bīja-s become capable of creation.
Next to ङलरर is aiṁ ऐर, which is known as vāgbhava bīja. It is the bīja of Sarasvati, Goddess
of Knowledge. It has two parts ai + ṁ. ṁ also acts as the dispeller of sorrow. This bīja
also represents one’s Guru, who is the dispeller of ignorance and as a result of this bīja,
one attains the highest spiritual knowledge. It also adds motivation, will power and
dedication to the aspirant. This bīja is the cause for spiritual intellect (buddhi). Mainly
intellect refers to the highest level of spiritual knowledge. It directly takes an aspirant to
the concerned deity by increasing his level of awareness (consciousness).
Next to ऐर is sauh ṣ ससस, known as parā bīja. This is also known as hr ṣdayabīja or amr ṣtabīja.
Śiva explains to Śakti about this in Parā-trīśikā-vivāran ṣa (verses 9 and 10), a Trika
Scripture. He says to Her, “O! Gracious one! It is the third Brahman (sat or sa स) united
with the fourteenth vowel औ (au – out of the sixteen vowels), well joined with that which
comes at the end of the lord of vowels (visarga or : - two dots one above the other, used
in the sixteenth vowel अस - ah ṣ). Therefore sauh ṣ is formed out of the combination of saस +
au औ+ h ṣ = sauh ṣससस. In Parā-trīśikā-vivāran ṣa (verse 26), it is again said, “He, who knows
this mantra in its essence, becomes competent for initiation, leading to liberation without
any sacrificial rites.” This is known as nirvān ṣa dīks ṣā or initiation for final liberation,
where nirvān ṣa means emancipation. The Scripture proceeds to say that the one who
elucidates the proper meaning of this bīja is known as Śiva Himself. This bīja is the
Cosmic pulsation of the Lord.

The third Brahman referred here (sat) is explained in Bhagavad Gītā (XVII.23 - 26) “ॐ,
tat and sat are the threefold representation of Brahman and from That alone Vedas, Vedic
scholars and sacrificial rites have originated. Hence, during the acts of sacrifices, gifts,
austerities approved by Scriptures and during Vedic recitations, ॐ is uttered in the
beginning*. tat is recited by those who aim for liberation while performing sacrificial
rites, austerities and charities without intent on the fruits of these actions. Sat is recited by
those who perform the above acts with faith and on behalf of the Brahman.”
Thus sa स (sat) referred in this bīja is Śiva Himself, which represents His creative aspect,
the pure Consciousness. Next comes His three energies Icchāśakti, Jñānaśakti and
Kriyāśakti. During Creation, Cit Śakti of Śiva, after manifesting as Ānanda Śakti (Bliss)
becomes the above referred three Śakti-s, before entering into the sphere of Māyā.
Ānanda Śakti is known as Śakti, normally referred as Śiva’s Consort or His Svātantraya
Śakti, His exclusive and unique Power of Autonomy. These three powers can be
explained as subject I; object That; and subject-object or I and That. These powers of
Śiva are also known as Sadāśiva, Iśvara and Suddha Vidyā. Now the fusion between S
and AU takes place and सस (sau) is formed. As a result of this fusion, creation happens,
which is represented by visarga (two dots one above the other like the punctuation mark
colon :) This is the Spanda or throb or pulsation of the Divine towards creation, causing
the emission of His three energies contained in AU. With the addition of visarga (h ṣ :) at
the end of सस (sau) becomes ससस (sauh ṣ). This parābīja is not meant for recitation or
repetition but for the contemplation of Śiva, who alone is capable of offering liberation
by removing all differentiations caused by māyā. The one who fully understands the
significance of ससस (sauh ṣ) becomes instantly liberated.
Thus these five bīja-s form the first line of Mahās oṣ d ṣaśī mantra.
Second line of Mahās ṣod ṣaśī mantra is formed thus; after these five bīja-s (in the first
line), place pran ṣava, māyā bīja and śrī bīja and the second line appears like this:
om - hrīṁ - śrīṁ: ॐ – हतररर – शतररर.
ॐ used at the beginning of the mantra refers to the Supreme Self, known as Brahman.
The second ॐ placed here represents the individual soul. Thus, this ॐ is to be replaced
with ātmabīja, which is given by one’s guru either at the time of initiation or earlier.
Everyone will have ātmabīja, which is derived based on several factors. Ātmabīja is
discussed here. In case one’s guru has not given any ātmabīja to an aspirant, he can
continue to use ॐ as his ātmabīja. The three bīja-s used here refers to three stages. ॐ is
apara stage or the individual soul. Hrīṁ represents the union of Śiva and Śakti and is
known as parāpara (the stage of cause and effect). The last bīja śrīṁ is the stage of para,
the Supreme energy, the state of Supreme Paramaśiva, where Śakti stands merged with
Śiva and in this stage, She cannot be identified as a separate entity. For attaining
liberation, one has to merge into Paramaśiva. In other words, individual soul (ॐ),
transcend māyā, which is represented by hrīṁ, where both Śiva and Śakti are present as
separate energies. The aspirant through sādhana (practice) goes past māyā, represented by
bīja hrīṁ to merge with the Supreme Self, represented by the third bīja śrīṁ. Only in the
second line of mahās ṣod ṣaśī mantra, liberation is explicitly declared.
Third, fourth and fifth lines are Pañcadaśī mantra (15 bīja-s) and Pañcadaśī mantra is
explained here.
In sixth and last line the bīja-s of the first line are placed in a reverse order. This is known
as mantra samput ṣīkaran ṣa. This means that three bīja-s of the second line and Pañcadaśī
mantra are encased by the first line and the last line, so that effects of Pañcadaśī mantra
and the bīja-s of the second line do not go out of the aspirant and is sealed within the
aspirant.
Mahās oṣ d ṣaśī mantra thus formed is like this.
1. Om - śrīṁ - hrīṁ - klīṁ - aiṁ - sauh ṣ: ॐ शतररर हतररर ङलरर ऐर ससस (5 bīja-s, ॐ omitted)
2. om - hrīṁ - śrīṁ ॐ हतररर शतररर (3 bīja-s)
3. ka – e - ī – la- hrīṁ क ए ई ल हतररर (5 bīja-s)
4. ha - sa – ka – ha - la - hrīṁ ह स क ह ल हतररर (6 bīja-s)
5. sa – ka - la - hrīṁ स क ल हतररर (4 bīja-s)
6. sauh ṣ - aiṁ - klīṁ - hrīṁ - śrīṁ ससस ऐर ङलरर हतररर शतररर (5 bīja-s)
Thus Mahās oṣ d ṣaśī has twenty eight bīja-s, excluding the first pran ṣava.

Śrī Mahāṣoḍaśī Mahāmantra Japaḥ शतरर महबाषषोडशर


महबामन्ततर जपप

(This is the simple way of doing Śrī Mahās ṣod ṣaśī Mahāmantra Japa)

Before reading this article, please read the explanatory notes for this mantra HERE(below
in yellow highlighted)
All mantra-s are considered secretive in nature and S ṣodaśī is not an exception.
Recitation of S oṣ daśī leads to liberation. This mantra does not give any materialistic
gains. It leads straight to the Brahman. Normally, one is not initiated into this mantra
straight away. Guru decides the timing of initiation into this mantra. Generally one is
first initiated into Bālā. Depending upon one’s progress, Pañcadaśī is initiated. If Guru
considers that his disciple is fit for final liberation, he initiates him into S ṣodaśī. One
should recite 900,000 times of this mantra followed by puraścaran ṣa rituals to attain
siddhi. Puraścaran ṣa is only for 100,000 recitations. Then only liberation is possible. It is
also said that initiation into S oṣ daśī depends upon one’s karmic account.
S ṣodaśī vidyā is considered as Brahma vidyā, knowledge of the Brahman. Brahman is
revealed in the form of mantra-s in S ṣodaśī vidyā. Since S ṣodaśī reveals the Brahman in
the form of mantra-s, it is treated as highly secretive in nature. But the important aspect
of its secrecy is the replacement of second Om in this mantra with the aspirant’s ātma
bīja. The third aspect of the secrecy is the worship of ninth āvaran ṣa of Śrī Cakrā that
deals with parā, parāpara and apara states (these states have been dealt with while
discussing nāma-s). If one is able to reach the fourth stage of turya or turīya, he gets
prepared to attain liberation in the next stage of turyātīta. Turya is reached without any
difficulty when S ṣodaśī mantra is mentally recited regularly.
(Turya and turyātīta: Turya is the fourth state of consciousness, the other three being
active, dream and deep sleep. Turya stage transcends all the above three stages by
bundling them out. The level of consciousness at turya stage is very close to the stage of
blissfulness, derived from experiment and observation rather than theory. Turyātīta is the
stage where one’s consciousness transcends turya stage. In this stage of blissful
consciousness, the Brahman is realised where one feels that “I am That” or aham
brahmāsmi. The final stage of merging into the Brahman is kaivalya, when a soul ceases
to transmigrate.}
In Pañcadaśī one can transcend the fourth state of consciousness, the turiya state. In
S ṣodaśī one can merge with the Brahman, by reaching the fifth state of consciousness,
turyātīta. There is nothing beyond this. What happens if one transcends turya state? The
self is replaced by SELF. This transformative realization happens in a fraction of a
second where near death-like situation is experienced. One is not the same person after
that ‘second’.
S ṣod ṣaśī mantra is superior to Pañcadaśī. S ṣod ṣaśan means sixteen and s oṣ d ṣaśah ṣ means
sixteenth. S ṣod ṣaśī mantra is derived by adding one more bīja to Pañcadaśī mantra. In
fact, S ṣod ṣaśī mantra consists of twenty eight bīja-s and formed like this. The first Om is
excluded for computation, as all the mantras begin with ॐ.
1. Om ॐ
2. śrīṁ - hrīṁ - klīṁ - aiṁ - sauh ṣ: शतररर हतररर ङलरर ऐर ससस (5 bīja-s)
3. om - hrīṁ - śrīṁ ॐ हतररर शतररर (3 bīja-s)
4. ka – e - ī – la- hrīṁ क ए ई ल हतररर (5 bīja-s)
5. ha - sa – ka – ha - la - hrīṁ ह स क ह ल हतररर (6 bīja-s)
6. sa – ka - la - hrīṁ स क ल हतररर (4 bīja-s)
7. sauh ṣ - aiṁ - klīṁ - hrīṁ - śrīṁ ससस ऐर ङलरर हतररर शतररर (5 bīja-s)
If this mantra is observed, one can find lines 4, 5 and 6 are the Pañcadaśī mantra and each
line representing one kūt ṣa of Pañcadaśī. If lines 2 and 7 are observed, the bīja-s
contained in the 2nd line are placed in the 7th line in reversed order. For example, the
last bīja in line two is sauh ṣ: and this is placed as the first bīja of the 7th line. This is
called samṣput ṣikaran ṣa or encasing of a mantra so that the power of mantra remains within
the practitioner.
This mantra is known as S ṣod ṣaśī because of sixteen bīja-s, each kalā (kalā means a part)
representing a kalā of moon. This is arrived at by adding Laks ṣmī bīja śrīṁ (शतररर) at the
end of Pañcadaśī mantra. These sixteen bīja-s are arrived at by considering each kūt ṣa of
Pañcadaśī mantra as one bīja. This way, lines 4, 5 and 6 are considered as one bīja each,
thus forming three bīja-s. The sixteen bīja-s are arrived by adding 5+3+1+1+1+5 (from
line 2 to 7). There are two ॐ in this mantra. The first ॐ is not considered for
calculation. The second ॐ in line 3 is replaced by ātma bīja of the practitioner and this is
decided by one’s guru. Such a decision can be made by a guru if he is conversant with
mantra-s and bīja-s. A wrong bīja can destroy the practitioner.
S ṣod ṣaśī mantra is meant exclusively for liberation and those who seek liberation alone
should be initiated in this mantra. S ṣod ṣaśī mantra is the ultimate of all mantra-s and there
is no other mantra superior to this. Those who are initiated into this mantra are not
supposed to prostrate before anyone except his guru. Śaktī is worshipped in ten different
forms and this is known as daśa mahā vidyā and s ṣod ṣaśī is one among them. S ṣod ṣaśī
vidyā has too many prescribed rituals.
Like every mantra S ṣod ṣaśī mantra also has curse removal mantra, also known as
śāpavimocana mantra. All along this mantra is not revealed to all the aspirants. If curses
on mantras are not removed, mantras will not fructify. Śāpavimocana mantra for S ṣod ṣaśī
mantra is given below for the benefit of sincere aspirants. However, one should obtain
prior approval from one’s guru. Śāpavimocana mantra, which consists of three parts
should be recited before the commencement of mantra japa. First part should be recited
seven times, second part three times and the third part one time.
First Part – should be recited seven times:
ई ए क ल हतररर ī e ka la hrīṁ
ह स क ह ल हतररर ha sa ka ha la hrīṁ
स क ल हतररर sa ka la hrīṁ
Second Part – should be recited three times:
ह स क ह स क ह ल हतररर ha sa ka ha sa ka ha la hrīṁ
स क ल हतररर sa ka la hrīṁ
ई ए क ल हतररर ī e ka la hrīṁ
Third Part – should be recited one time.
ह ल भ भ भ भ भ अ ha la bha bha bha bha bha a

Śrī Mahāṣoḍaśī Mahāmantra Japaḥ शतरर महबाषषोडशर


महबामन्ततर जपप
(This is the simple way of doing Śrī Mahās ṣod ṣaśī Mahāmantra Japa)
Seating: While doing this mantra japa, one has to either face East or North. If one does
not have a guru, contemplate on Lord Dks ṣin ṣāmūrti and mentally accept Him as Guru.
1. Curse removal mantra:
Śrī Mahās ṣod ṣaśī Mahāmantra japatvena śāpavimocanamantram karis ṣye |
शतरर महबाषमोडशर महबामन्ततर जपत्ववेन शबापववममोचनमन्ततरमत कवरष्यवे।
First Part – should be recited seven times:
ई ए क ल हतररर ī e ka la hrīṁ
ह स क ह ल हतररर ha sa ka ha la hrīṁ
स क ल हतररर sa ka la hrīṁ
Second Part – should be recited three times:
ह स क ह स क ह ल हतररर ha sa ka ha sa ka ha la hrīṁ
स क ल हतररर sa ka la hrīṁ
ई ए क ल हतररर ī e ka la hrīṁ
Third Part – should be recited one time.
ह ल भ भ भ भ भ अ ha la bha bha bha bha bha a
2. Rṣs ṣyādi nyāsahऋष्यबावद
ṣ न्यबासस
asyaśrī Mahās oṣ daśī Mahāmantrasya - Śrī Daks iṣ n ṣāmūrti r ṣs iṣ h ṣ - Gāyatrī chandah ṣ - Śrī
Lalitāmahātripurasundari Parābhat ṣt ṣārikā Devatā |
अस्यशतरर महबाषमोदशर महबामन्ततरस्य - शतरर दवद्क्षिणबाममवतर ऋवषस - गबायततरर छन्दस - शतरर लवलतबामहबावततरपपरसपन्दवर
परबाभट्टबावरकबा दवेवतबा ।
aiṁ bījaṁ | sauh ṣ śaktih ṣ | klīṁ kīlakam ||ऐर बरजर। ससस शवङतस। ङलरर करलकमत॥
Śrī Lalitāmahātripurasundari Parābhat ṣt ṣārikā darśana bhās ṣan ṣa siddhyarthe Śrī
Mahās oṣ d ṣaśī Mahāmantra jape viniyogah ṣ ||
शतरर लवलतबामहबावततरपपरसपन्दवर परबाभट्टबावरकबा दशरन भबाषण वसदध्यरर शतरर महबाषमोडशर महबामन्ततर जपवे वववनयमोगस॥
3. Karanyāsah ṣ करन्यबासस
Om - śrīṁ - hrīṁ - klīṁ - aiṁ - sauh ṣ: aṅgus ṣt ṣhābhyām namahॐ
ṣ शतररर हतररर ङलरर ऐर ससस
अङगपष्ठबाभ्यबामत नमस (use both the index fingers and run them on both the thumbs)
om - hrīṁ - śrīṁ tarjanībhyāṁ namah ṣ ॐ हतररर शतररर तजरनरभ्यबार नमस (use both the thumbs and
run them on both the index fingers)
ka – e - ī – la- hrīṁ madhyamābhyāṁ namah ṣ क ए ई ल हतररर मध्यमबाभ्यबार नमस (both the thumbs
on the middle fingers)
ha - sa – ka – ha - la - hrīṁ anāmikābhyāṁ namah ṣ ह स क ह ल हतररर अनबावमकबाभ्यबार नमस (both the
thumbs on the ring fingers)
sa – ka - la - hrīṁ kanis ṣt ṣhīkābhyāṁ namahसṣ क ल हतररर कवनष्ठरकबाभ्यबार नमस (both the thumbs
on the little fingers)
sauh ṣ - aiṁ - klīṁ - hrīṁ - śrīṁ karatalakarapr ṣs ṣt ṣhābhyāṁ namahससस
ṣ ऐर ङलरर हतररर शतररर
करतलकरपपष्ठबाभ्यबार नमस (open both the palms; run the opened palms of the right hand on the
front and back sides of the left palm and repeat the same for the other palm)
4. Hrdayādi nyāsah ṣ ह्र्दयबावद न्यबासस
Om - śrīṁ - hrīṁ - klīṁ - aiṁ - sauh ṣ: hrdayāya namah ṣ| ॐ शतररर हतररर ङलरर ऐर ससस ह्र्दयबाय नमस
(open index, middle and ring fingers of the right hand and place them on the heart
chakra)
om - hrīṁ - śrīṁ śirase svāhā ॐ हतररर शतररर वशरसवे स्वबाहबा (open middle and ring fingers of the
right hand and touch the top of the forehead)
ka – e - ī – la- hrīṁ śikhāyai vas ṣat सṣ क ल हतररर वशखबायय वषटत (open the right thumb and touch
the back of the head. This is the point where tuft is kept)
ha - sa – ka – ha - la - hrīṁ kavacāya huṁ ह स क ह ल हतररर कवचबाय हपर (cross both the hands
and run the fully opened palms from shoulders to finger tips)
ṣ क ल हतररर नवेतरत ततरयबाय वसषटत (open the index, middle
sa – ka - la - hrīṁ netratrayāya vaus ṣat स
and ring fingers of the right hand; touch both the eyes using index and ring fingers and
touch the point between the two eyebrows (ājñā cakra) with the middle finger.)
sauh ṣ - aiṁ - klīṁ - hrīṁ - śrīṁ astrāya phat ससस
ṣ ऐर ङलरर हतररर शतररर अस्ततरबाय फटत (open up the
left palm and strike it three times with index and middle fingers of the right hand)
भमभरवप स्सपवरमोवमवत वदग्बन्धस॥ bhūrbhuvassuvaromiti digbandhah ṣ|| (by using right hand thumb
and middle fingers make rattle clockwise around the head)
5. Dhyānam ध्यबानमत
cāpaṁ ceks uṣ mayaṁ prasūnaviśikhān pāśāṅkuśaṁ pustakaṁ
mān ṣikyās ṣasr ṣjavaraṁ man ṣīmayīṁ vīn ṣāṁ sarojadvayaṁ |
pān ṣibhyāṁ varadā abhayaṁ ca dadhatīṁ brahmādisevyāṁ parāṁ
sindūrārun ṣa vigrahāṁ bhagavatīṁ tāṁ s oṣ d ṣaśīmāśraye ||
चबापर चवेद्क्षिपमयर पतरसमनवववशखबानत पबाशबाङकप शर पपस्तकर
मबावणङयबाषसपजवरर मणरमयरर वरणबार सरमोजद्वयर।
पबावणभ्यबार वरदबा अभयर च दधतरर बतरहबावदसवेव्यबार परबार
वसन्दमरबारुण ववगतरहबार भगवतरर तबार षमोडशरमबाशतरयवे॥
Meaning: She has twelve hands, holds (1) a bow made of sugarcane, (2) arrows made of
kadamba flowers, (3) a noose, (4) a hook, (5) a book, (6) a rosary made of rubies,
displays (7) abhaya (removal of fear) and (8) varadha (giving boons) mudras. She closely
holds a veena (a musical instrument) with two hands (9 and 10) and lotus flowers in two
hands (11 and 12) one on each side. She is worshipped by Brahmā and other gods and
goddesses. She is red in complexion. I surrender unto this Supreme Goddess.

(There are other dhyāna verses also)


6. Pañcapūjā पञ्चपमजबा (follow as per Karanyāsa)
laṁ - pr ṣthivyātmikāyai gandhaṁ samarpayāmi|
haṁ - ākāśātmikāyai pus pṣ aih ṣ pūjayāmi|
yaṁ - vāyvātmikāyai dhūpamāghrāpayāmi|
raṁ - agnyātmikāyai dhīpaṁ darśayāmi |
vaṁ amr ṣtātmikāyai amr ṣtaṁ mahānaivedyaṁ nivedayāmi |
saṁ - sarvātmikāyai sarvopacāra pūjām samarpayāmi||
लर - पपवरव्यबावत्मकबायय गन्धर समपरयबावम।
हर - आकबाशबावत्मकबायय पपष्पयस पमजयबावम।
यर - वबाय्वबावत्मकबायय धमपमबाघतरबापयबावम।
रर - अग्न्यबावत्मकबायय धरपर दशरयबावम।
वर अमपतबावत्मकबायय अमपतर महबानयववेद्यर वनववेदयबावम।
सर - सवबारवत्मकबायय सवमोरपचबार पमजबामत समपरयबावम॥
7. Śrī Mahās ṣod ṣaśī Mahā Mantrahशतṣ रर महबाषमोडशर महबा मन्ततरस
om śrīṁ hrīṁ klīṁ aiṁ sauh ṣ -- ॐ शतररर हतररर ङलरर ऐर ससस
om hrīṁ śrīṁ -- ॐ हतररर शतररर
ka e ī la hrīṁ -- क ए ई ल हतररर
ha sa ka ha la hrīṁ -- ह स क ह ल हतररर
sa ka la hrīṁ -- स क ल हतररर
sauh ṣ aiṁ klīṁ hrīṁ śrīṁ -- ससस ऐर ङलरर हतररर शतररर
Note: 1.There are two ॐ in this mantra and the second ॐ will be replaced by ātmabīja by
one’s Guru at the time of initiating this mantra.

2. Please also note that the arrangement of bījā-s in the first line (om śrīṁ hrīṁ klīṁ aiṁ
sauh ṣ ) are reversed in the last line (sauh ṣ aiṁ klīṁ hrīṁ śrīṁ). This is known as
samput ṣīkaran ṣa or the sealing of the mantra.

8. Hrdayādi nyāsah ṣ ह्र्दयबावद न्यबासस


Om - śrīṁ - hrīṁ - klīṁ - aiṁ - sauh ṣ: hrdayāya namah ṣ| ॐ शतररर हतररर ङलरर ऐर ससस ह्र्दयबाय नमस
(open index, middle and ring fingers of the right hand and place them on the heart
chakra)
om - hrīṁ - śrīṁ śirase svāhā ॐ हतररर शतररर वशरसवे स्वबाहबा (open middle and ring fingers of the
right hand and touch the top of the forehead)
ka – e - ī – la- hrīṁ śikhāyai vas ṣat सṣ क ल हतररर वशखबायय वषटत (open the right thumb and touch
the back of the head. This is the point where tuft is kept)
ha - sa – ka – ha - la - hrīṁ kavacāya huṁ ह स क ह ल हतररर कवचबाय हपर (cross both the hands
and run the fully opened palms from shoulders to finger tips)
ṣ क ल हतररर नवेतरत ततरयबाय वसषटत (open the index, middle
sa – ka - la - hrīṁ netratrayāya vaus ṣat स
and ring fingers of the right hand; touch both the eyes using index and ring fingers and
touch the point between the two eyebrows (ājñā cakra) with the middle finger.)
sauh ṣ - aiṁ - klīṁ - hrīṁ - śrīṁ astrāya phat ससस
ṣ ऐर ङलरर हतररर शतररर अस्ततरबाय फटत (open up the
left palm and strike it three times with index and middle fingers of the right hand)
भमभरवप स्सपवरमोवमवत वदवग्वममोकस॥ bhūrbhuvassuvaromiti digvimokah ṣ|| (by using right hand
thumb and middle fingers make rattle anticlockwise around the head)
9. Dhyānam ध्यबानमत
cāpaṁ ceks ṣumayaṁ prasūnaviśikhān pāśāṅkuśaṁ pustakaṁ
mān ṣikyās ṣasr ṣjavaraṁ man ṣīmayīṁ vīn ṣāṁ surojadvayaṁ |
pān ṣibhyāṁ varadā abhayaṁ ca dadhatīṁ brahmādisevyāṁ parāṁ
sindūrārun ṣa vigrahāṁ bhagavatīṁ tāṁ s oṣ d ṣaśīmāśraye ||

चबापर चवेद्क्षिपमयर पतरसमनवववशखबानत पबाशबाङकप शर पपस्तकर


मबावणङयबाषसपजवरर मणरमयरर वरणबार सपरमोजद्वयर।
पबावणभ्यबार वरदबा अभयर च दधतरर बतरहबावदसवेव्यबार परबार
वसन्दमरबारुण ववगतरहबार भगवतरर तबार षमोडशरमबाशतरयवे॥
10. Pañcapūjā पञ्चपमजबा
laṁ - pr ṣthivyātmikāyai gandhaṁ samarpayāmi|
haṁ - ākāśātmikāyai pus pṣ aih ṣ pūjayāmi|
yaṁ - vāyvātmikāyai dhūpamāghrāpayāmi|
raṁ - agnyātmikāyai dhīpaṁ darśayāmi |
vaṁ - amr ṣtātmikāyai amr ṣtaṁ mahānaivedyaṁ nivedayāmi |
saṁ - sarvātmikāyai sarvopacāra pūjām samarpayāmi||
लर - पपवरव्यबावत्मकबायय गन्धर समपरयबावम।
हर - आकबाशबावत्मकबायय पपष्पयस पमजयबावम।
यर - वबाय्वबावत्मकबायय धमपमबाघतरबापयबावम।
रर - अग्न्यबावत्मकबायय धरपर दशरयबावम।
वर अमपतबावत्मकबायय अमपतर महबानयववेद्यर वनववेदयबावम।
सर - सवबारवत्मकबायय सवमोरपचबार पमजबामत समपरयबावम॥
11. Samarpan ṣam समपरनमत
guhyāti guhya goptrī tvaṁ gr ṣhān ṣāsmat-kr ṣtaṁ japam|
siddhirbhavatu me devi tvatprasādānmayi stirā||
गपहबावत गपह गमोप्ततरर त्वर गपहबाणबास्मतत-कपतर जपमत।
वसवद्धिभरवतप मवे दवेवव त्वत्पतरसबादबान्मवय वस्तरबा॥
(Meaning: You sustain the secret of all secrets. Please accept this japa performed by me
and bestow Your perpetual Grace on me.)
Note: This mantra has a number of nyāsa-s (placing) to be done all over the body.

ADDITIONAL INFORMATION: Variations of SHODASHI MANTRA is given in this


posting.
10 comments:

SREEJune 17, 2013 at 6:28 PM


Raviji, our dhyana mantra is different and nowhere is shodashi name mentioned in the
dhyana mantra. When I asked my guruji, he said that in Bala and Panchadasi dhyana
mantras also the deity's name is not mentioned. Bala is 9 year old girl form, panchadasi is
the woman form between sixteen to forty years and shodashi is the above forty year old
form of the same Goddess.

Reply
Replies

MANBLUNDERJune 17, 2013 at 6:48 PM


There is no relevance between dhyana verse and name of the concerned deity. In
Panchadashi, name is not mentioned. But in one of the dhyana verses of Bālā mantra,
name Bālā is mentioned. When we say s ṣod ṣaśī, it wrongly understood as Her age. In fact
it refers to 16 kalā-s of the moon and each kalā is represented by one bījāks ṣara. Secondly,
when we contemplate Her during our meditation, how do we contemplate Her? She is a
woman of excellent beauty, Consort of Shiva, Mother of the Universe who is
compassionate and undertakes all the five activities of Brahman on His behalf - creation,
sustenance, destruction (individual death, concealment and re-creation. Brahman is
beyond modification and you certainly cannot contemplate Her as an elderly woman. If
you recite dhyana verse with rapturous attention, She will come and sit before you and
tears will start rolling down your cheeks. This is the infant stage of Bliss.
SREEJune 18, 2013 at 5:42 PM
Thanks so much raviji for the guidance. Can you also please explain the number of
nyāsa-s (placing) to be done all over the body because we have nyasa like that in
Navavarna Pooja for us that is shodashi initiated people seperately. Are you referring to
the same? Thanks and Regards, S. Sreemahalakshmi

MANBLUNDERJune 18, 2013 at 6:11 PM


Apart from 19 nyāsa-s, there are 10 other nyāsa-s relating Śri Cakra. First Śri Cakra
followed by individual āvaran ṣa nyāsa-s. Thus 9 + 1 becomes 10 nyāsa-s.

Clarification sought: would like to know the difference between the Panchadasi and
Shodashakshari mantras, of course apart from the fact that the later contains one more
akshara. Why is the Shodashakshari kept so secret?
Clarification: Panchadasi and Shodasi mantras
have been already explained during the
course of our discussions on Lalitha
Sahasranamam. Shodasi has been explained
under nama 587. All mantras are considered
as secretive in nature and Shodasi in not an
exception. Recitation of Shoadsi leads to
liberation. This mantra does not give any
materialistic gains. It leads straight to the
Brahman. Normally, one is not initiated into
this mantra straight away. Guru decides the
timing of initiation into this mantra.
Generally one is first initiated into Bala.
Depending upon one’s progress, Panchadasi
is initiated. If Guru considers that his
disciple is fit for final liberation, he initiates
him into Shodasi. One should recite 900,000
times of this mantra followed by
‘purascharana’ rituals to attain siddhi. Then
only liberation is possible.

Shodasi Vidya is considered as Brahma Vidya, the knowledge of the Brahman. Brahman
is depicted in the form of mantras in shodasi vidya. Since Shodasi depicts the Brahman in
the form of mantras, it is treated as secret. But the important aspect of its secrecy is the
replacement of second ‘om’ in this mantra with atma bija. The third aspect of the secrecy
is the worship of ‘ninth avarana’ that deals with ‘para, para-para and apara’ states. If one
is able to reach the fourth stage of ‘turiya’, he gets prepared to attain liberation in the next
stage of ‘turiyatita’. Turiya is reached without any difficulty when Shodasi mantra is
chanted regularly.

In Panchadasi mantra you transcend the fourth state of consciousness, the turiya state. In
Shodasi you merge with the Brahman, by reaching the fifth state of consciousness,
turiyatita. There is nothing beyond this. What happens if one transcends turiya state? The
self is replaced by SELF. This transformative realization happens in a fraction of a second
where near death like situation is experienced. One is not the same person after that
‘second’.
Śrī Subhagodaya Stuti – Some Important Concepts of Śrī Vidyā

(No IAST fonts are used in this article)

Sri Subhagodaya Stuti was written by Sri Gaudapadacharya, Sriguru of Sri Adi
Shakaracharya. Subhaga means Sri Maha Tripurasundari. Praise of Sri Maha
Tripuradundari is known as Subhagodaya Stuti. This text is totally based on Samayachara
method of Srividyopasana. In this work, the author has differentiated Samayachara and
Kaulachara. There are total fifty two verses in this work. Some of the important points of
this Stuti are translated and given in this present article.

1. Meaning of paravsata: As per vaidikachara, there are 26 tattwa-s. Sadasiva is 25th


tattwa and 26th is the para tattwa which is with Sadasiva and is known as “Saadakhya
kala”. In sahasrara Sri Devi stays with Siva and that state is called as “paravasta”.

2. As per Subhagodaya, Rudra grandhi is above Swadhishtana chakra, Vishnu grandhi is


above Anahata Chakra and Brahma grandhi is above Ajna Chakra.

Note: This order is not in agreement with Sri Lalitha Sahasranama. As per Sri Lalita
Sahasranama, Order is Brahma grandhi is above Muladhara, Vishnu grandhi is above
Manipur and Rudra grandhi is above Ajna.

3. States of Kundalini: As per Taittireeyaranya (Aruna patha), kundalini has three states.
They are 1) Kaumara 2) Yoshid and 3) Pativrata. Sahasra dala padma is in centre of
Sricharka. This sahasra dala padma is known as “Hiranmayakosa”. This is Bindu sthana.
A ray of light (jyoti) is present around this bindu. A sadhaka has to move the kundalini to
this Bindu sthana. While kundalini starts its journey to this point it will cross all above
given states ie. Kaumara, Yoshida and Pativrata. Kaumara state is the state where
kundalani is in sleeping mode at Muladhara. Yoshida state is the state when it crosses
Vishnu grandhi at Anahata. Pativrata state is the state when kundalini reaches Sahasra and
stay with her console Siva. This place is also known as Chandra mandala. From here she
bless the sadhaka with Amrita dhara. (Flow of amrita). At this stage, Sridevi and Siva
unite and show no difference between them i.e. only one state that is Sadakhya kala.
Hence, kundalini is known as “Mahakala Bhujagi”.

4. Place of Bindu in Srichakra: Bindu sthana is known as “Kula Griha” (Kula house).
Also known as Sudha sindhu. This is the living place of Srimatha. For Samayacharis,
sudha sindhu is sahasrara and for Kaulacharis sudha sindhu is Muladhara. Hence, for
Kaulachari, bindu will be in innermost triangle of Srichakra but for Samayacharis bindu
is out of the innermost triangle and is in sqaure which is above the innermost triangle. It
is said that, worshipping bindu in trikona is Avaidika i.e. agaisnt Vedachara.

5. Some samayacharis say that, there is avyakta (=not visible) triangle in square which is
resemblence of Rakti, in that there is bindu.

6. Rays of Agni, Surya and Chandra: There are 108 rays of Agni, 116 rays of Surya and
136 rays of Chandra. All these put together 360 rays which form as Hayana(=year).
Placement of these rays in shat chakras is as follows:

Muladhara
56
Rudra grandhi, Agni
Swadhistana
52
Manipura
62
Vishnu grandhi, Surya
Anahata
54
Vishudhi
72
Brahma grandhi, Soma
Ajna
64

These rays emanate from Srimata and form as avarana devatas. Hence, technically
speaking there is no difference between Srimata and all other avana devatas.

Note: This could be the one of the reason for worshipping Srimahatripurasundari in each
avarana puja of Srichakra puja.

7. Nada has four states. They are para, pasyanti, madhyama and vaikhari. These four
states can be contemplated with Srichakra. Innermost triangle (=Sarva Sidhiprada charka)
is Para, Pasyanti is Astakona (Sarva Rogahara chakra), Dasara dwaya (Sarva Rakshakara
chakra and Sarvardhasadhaka chakra) are Madhyama and Chaturdasara (Sarva
Saubhagyadayaka) is Vaikhari. That’s why Srichakra is also known as Nada.

8. Trimekhala (= Three circles in Srichakra): There are three cicles in Srichakra.


Generally, they are between Bhupura and Sarvasaparipuraka chakra. But as per
Subhgodayastuti, They are like follows:

Two circles at outside and inside of Sarvasankshobhana chakra i.e. 3rd avarana, and
One at outside of 2nd avarana i.e.Sarvasaparipurka chakra.

Above is as per Samayachara. As per Kaulachara, three circles are between Bhupura and
Sarvasaparipuraka chakra.
9. Srividyopasana can be practiced by anyone without any restrictions of caste, creed and
sex. Persons who worship Indra, tattwas etc without knowing and worshipping Srividya,
they will be bound with yama pasa and enter into Andha-tamisra lokas.

10. There are Seventy seven (77=64+8+5) tantras which promulgate Srividya. Out of
these seventy seven, 64 are based on Vama and Kaulachara. These tantras will give
materialistic advantages but not give moksha. These are against Veda achara. Hence these
are not to be practiced espectially by Dwijas.

Chandrakala vidyas are eight tantras. They are 1) Chandrakala 2) Jyotsnavati 3)


Kalanidhi 4) Kularnavamu 5) Kuleswari 6) Bhuvaneswari 7) Barhasptyamu 8)
Durvasamatamu. All four varnas i.e.Brahmana, Kshatriya, Vaisya and Sudra have
authority to practice these tantras. But, first three varnas have to practice in Dakshina
marga and others have to practice in Vama marga. Since these tantras have both Dakshina
and Vama marga, they are known as Misrma tantras and should be avoided.

Last five tantras are known as Subhagama panchakaas. They are as per Vaidika marga.
Vasista, Sanaka, Suka, Sanandana and Sanatkumara have promulgated these Vaidika
marga tantras. Samayachara follows these agamas. These agamas are as per Vedas and
hence Samayachara Srividya.

11. Rishi and Chandas: Initially, Srividya was practiced by twelve sadhakas. One of such
sadhaka is Manmadha. This Manmadha has opened pancha dasakshari varnas to lokas.
Hence he is mantra drashta and is Rishi of this Srividya. Taittereeya brahmana and
aaranyakaas have pronounched that Rishi of Srividya is Manmadha. This pancha
dasakshari is to be practiced in Gayatri chandas.

12. When and how this vidya is to be practiced?: Srividya is to be practiced during night
time only. This is because, as per taittireeya samhita, kundalini will be activated during
night time only. During that time madhu (sudha) will flood from Chandra mandala.
Hence, Srividya is to be practiced during night time only.
Fifteen Chandra kala-s are there in Ajna Chakra. Sodasi kala is at Bindu sthana which is
at Sahasrara. Hence Sahasrara is known as chandra mandala where Chandra bimba is
present. This sahasrara is filled with moon light. During amavasya (=No moon day) this
Sodasi kala is without Chandra bimba and is unable to cause flow of Sudha. For
Samayacharis, square above the innermost triangle is Chandra Mandala/Sahasrara where
bindu is present. Hence, on amavasya day one should not practice Srividya.

As per samayachara, bahya puja should not be practiced. One should not enter
Srimannagaram (Srichakra) by reciting Rishi and Chandas. In internal worship, there is
no Rishi and Chandas. This internal worship will lead the Sadhaka to become Srimata
himself. Bahya puja is prohibitted for Trivarna-s i.e.Brahmana, Kshatriya and Vaishya.

Note: Here it is important to remember SriLalitaRahasya Nama “Antarmukhasamardhya,


bahirmukha sudurlubha”

13. If a Samayachari would like to practice Srividya with Rishi and Chandas, he can do
so aloof. He should not accept any help from others and he should practice it alone and
very secretively.

14. There is no bound on Samayacharis to worship shatchakras. They have to worship


Sahasra kamala only. This Sahasrara kamala is Chandra mandala which is square above
the innermost triangle where Bindu is present. They have to worship this bindu as
SivaShakti rupini and as Sadakhya kala. This type of worship is called as Sahasra kamala
worship. Hence, for Samayacharis there is no bahya and sodasopachara puja.

15. Kaulachara: Kula means Adhara chakra. Worshippers of this muladhara is known as
Kaulacharis. At muladhara kundalini will be in sleeping state and also there will be Surya
rays. Hence, this chakra is andhatamisra loka. Swadhistana chakra is present above this
muladhara chakra. This chakra is also andhatamisra loka. Hence, kaulacharis have to
worship these two chakras daily. There are two types of kaulacharis, purva kaulachari and
uttara kaulachari. Purva kaulachari will worship Srichakra with bindu at innermost
triangle. Uttara kaulachari will worship a live yoni i.e. a woman’s yoni. Kundalini here is
known as Kaulini. These type of worships are to be avoided as they are against Vedas. As
per Vedas, yoni means bindu. This bindu is located at chatuskona i.e.square which is
above the innermost triangle.

16. Worshippers of manipura will get Sarshti rupa mukti, i.e. they will be able to create a
place near to Srimannagaram and stay there.

Worshippers of anahata will get Saalokya mukti i.e. they will stay in Srimannagaram.

Worshippers of visudhi will get Saameepya mukti i.e they will be blessed to worship
Srimata directly.

Worshipper of ajna will get Saarupya mukti i.e they will become embodiment of Srimata.

Worshipper of Sahasrara will get Saayujya mukti i.e. they will become Srimata themself.
That means there will be no difference between Srimata and Sadhaka.

Srividyopasana will result in both bhoga and moksha. Both samayacharis and kaulacharis
will get these two results. But, Saayujya mukti will be get by Samayacharis only.

A sadhaka who worship Srimata in Samayachara will become a yogi and he will flourish
like Surya during day time, like Chandra during night time and like Agni during Sandhya
time.

(This article is written by Mr. AUM Raviji and he can be contacted at


raviaumr@gmail.com)
1. Yogic breathing:
Before we proceed to actual breathing practice, it is important to understand and practice
diaphragm breathing, also known as yogic breathing. In many of us, when we inhale, our
abdomen contracts and when we exhale our abdomen expands. If this is the trend of
breathing, it should be modified in such a way that when we inhale, our abdomen should
expand and when we exhale, our abdomen should be contracted to the extent possible
2. Nād ṣi Śodhana Prān ṣāyāma:
(Based on Hat ṣhayoga Pradīpaka and Yoga Cūd ṣāman ṣiUpanis ṣad)
Hat ṣhayoga Pradīpaka has allotted an entire chapter (chapter 2 consisting of 78 verses) for
prān ṣāyāma. This chapter begins by saying, “After mastering āsana-s, attaining self-
control and diet control, one should practice prān ṣāyāma. When the breath is not steady,
mind is also not steady. When nād ṣi-s are impure, prān ṣa does not enter sus uṣ mna. Nād ṣi-s’
impurities can be removed by inhaling through left nostril and after holding as long as
possible, exhale through the right nostril. Again inhale slowly through the right nostril
(through which exhalation was made) and again holding for a specified time, should
exhale through the left nostril. This should be practiced for three months and all the nād ṣi-
s will be purified.” Yoga Cūd ṣāman ṣi Upanis ṣad also conveys the same meaning, except
that it says that complete purity of nād ṣi-s can be attained in two months of practice.
There are twelve stages in nād ṣi śodhana prān ṣāyāma. Stages depend upon the duration of
inhalation (pūraka), holding of breath within (kumbhaka) and exhalation (rechaka). For
practicing the first three stages, no particular sitting postures have been suggested.
However, it would be ideal to sit in padmāsana (lotus posture) or (ardhapadmāsana) half
lotus posture. These postures will be discussed in later parts of this series.
To begin with, one can take any comfortable posture to sit. While sitting, there should be
no tension in any parts of the body. Little finger and the ring fingers should be used to
close the left nostril. Middle and index fingers should either be folded or extended
outwards. These two fingers should not be placed at ājñācakra, as this could cause
varying degrees of pressure on both the nostrils. Thumb should be used to close the right
nostril. While closing the nostrils, very moderate pressure is to be applied on the nostrils.
Similarly, instead of closing the tip of the nostrils, an inch above the tip of nose can be
used to block the breath. However, one should not hold the breath beyond their holding
capacity. Holding capacity will increase over a period of time. Always inhalation should
be faster and exhalation should be longer.
There are twelve stages in nād ṣi śodhana prān ṣāyāma. All the twelve stages can be
mastered in a matter of two months. It is easier to practice the first six stages and it is
going to be difficult to practice the next six stages, as the holding period and exhalation
period is more here. Holding period mentioned here are only indicatory and one should
not hold breath beyond one’s capacity. Holding breath beyond one’s enduring capacity
will even cause death.
In two months, we have 60 days and the chart below will explain how all the twelve
stages can be practiced in 60 days. This chart is only indicatory in nature. Numerals in
inhalation, retention and exhalation are only in counts and not in seconds. Approximately
1 to16 can be counted in 8 seconds. Let us take the example of retention period in XII
below. This means that breath should be held here for 32 seconds or less. But this will be
too strenuous. Therefore, it is advisable to stop at VII below and further practice should
be based on one’s holding capacity.

Stage inhalation retention exhalation ratio duration


I slow nil slow NA 3 days
II slow nil slow 1:0:1 3 days
III 5 2 5 1:0.5:1 3 days
IV 5 5 5 1:1:1 3 days
V 2 8 4 1:4: 2 3 days
VI 4 16 8 1:4:2 3 days
VII 6 24 12 1:4:2 4 days
VIII 8 32 16 1:4:2 5 days
IX 10 40 20 1:4:2 6 days
X 12 48 24 1:4:2 8 days
XI 14 56 28 1:4:2 9 days
XII 16 64 32 1:4:2 10 days
TOTAL 60 days

This schedule is for a period of sixty days. One can make minor adjustments in the
number of days. In particular, Stages VII to XII should be practiced very carefully. One
should not hold breath beyond one’s capacity. Once stage XII is reached, one should
continue to practice this forever. Further, unless perfection is attained in a particular
stage, next stage should not be practiced. It is also not mandatory that one should follow
this 60 day schedule and can comfortably be extended to suit one’s convenience. From
stage VII, one can allow sufficient gap between two rounds. Numbers in inhalation,
retention and exhalation are counts. One can count mentally. The basic principle is that
inhalation, retention and exhalation should be in the ratio of 1:4:2. Under any
circumstances, retention should not exceed 4 times of inhalation, As far as exhalation is
concerned, counts be increased if possible. As a principle, inhalation should be faster and
exhalation should be slower.
It is important that prān ṣāyāma, bandha-s and mudra-s should be practiced only in empty
stomach and should not be practiced when hot weather prevails. It is advisable that these
practices should be done only during early morning or late night, when stomach is empty.
In general, there should at least be three hours gap between food and practice. Any
deviation from the prescribed norms will cause general health impairment.
at 8:50 AM No comments:
Tuesday, December 24, 2013
GURUJI SPEAKS ON SAMĀDHI - PART 14
Disciple: You said that you will explain further stages of samādhi.
Guru: Yes, I have to discuss about savicāra samādhi and nirvicāra samādhi. These two
types are almost similar to what we have discussed earlier. Vicāra means enquiry,
pondering, deliberation, consideration, reflection, examination, investigation, etc. As you
know, all these are related to our mind.
Disciple: How?
Guru: As I have been repeatedly saying, the Self can be realized only through your mind
and in your mind. Whatever and however you try, you have to ultimately go to your mind
for Bliss and subsequent liberation. Savicāra samādhi is the state of samādhi, when your
mind continues to inquire about duality (Dvaita), while pursuing your spiritual path. This
is the stage, when you interact with your spiritual teacher (Guru) quite often. You will
have several doubts and queries only when you pursue the path of liberation earnestly. If
you do not get doubts, then your mind is not set for Bliss and Liberation. While
interacting with your Guru, you read authentic and valuable Scriptures. Reading
Scriptures does not mean that you should read too many books. There are select
Upanis ṣad-s such as Bhagavad Gītā, Kat ṣha Upanis ṣad, Taittirīya Upanis ṣad, Śvetāśvatara
Upanis ṣad, Chāndogya Upanis ṣad and Br ṣhadāran ṣyaka Upanis ṣad. You have to read a few
of them and understand their interpretations. Don’t worry about the verses and go with
the meaning and interpretations. You will certainly have doubts and you have to discuss
these doubts with your Guru and get them clarified. Thus you gain knowledge.
Knowledge and meditation are the two powerful engines which take you forward in your
spiritual journey.
Disciple: Yes, I have completed reading a few of these Upanis ṣad-s and Bhagavad Gītā as
well. I have approached you several times with my doubts based upon my understanding
of Upanis ṣad-s.
Guru: Yes, you did. Since you are evincing so much of interest in liberation, I am
spending most of my time with you. I will be too happy if I am able to take forward one
or two like you towards the path of liberation. Not many pursue liberation earnestly and
out of those who pursue the path of liberation, only a select few reach the final
destination. Since you long for liberation, I am taking so much of personal care in you.
Disciple: But does this not amount to favouritism?
Guru: How this can be favouritism? There is no question of favouritism here, as only a
few choose the path of liberation and I share with them whatever spiritual knowledge and
experience I have. My spiritual knowledge is not the ultimate, but I never refuse to share
whatever knowledge I have, but this ultimate knowledge is not sought for frequently. One
has to transform and evolve both spiritually and emotionally, to commence the path of his
or her journey to the ultimate destination.
Now, let us not deviate from our discussion about the two types of samādhi-s, savicāra
samādhi and nirvicāra samādhi. In savicāra samādhi, you only make inquiries about the
Self. In this state, you don’t meditate on the formless Brahman and in fact you can’t. You
are still associated with a particular form of God. You make inquiries about the
procedural aspects of doing this or that. You may want to know whether this mantra is
more powerful or that mantra is more powerful. You ask about using a mālā for your
mantra recitation. You count the number repetitions with the mālā. Your consciousness is
not even fixed on that particular form of God associated with the mantra. Your still mind
wanders; but for the first time, you wonder whether what you are practicing now leads to
the path of liberation. You think this way because your study of Upanis ṣad-s prompts you
to think so seriously. Repeated usage of Brahman in the Upanis ṣad-s makes you to think
this way. You become confused and go to your Guru to find a solution for your perplexed
state of mind.
Disciple: Yes, I have exactly experienced what you have said now.
Guru: This should be only a passing phase and you have to evolve with the help of your
Guru. Guru is the one, who leads you to liberation. That is what ancient sages and saints
taught, and many Upanis ṣad-s have references to such conversations, between a Sage and
his disciples. When you still have doubts about formless Brahman, your meditation is
known savicāra samādhi and when your doubts are completely removed and if you are
able to concentrate on the Self within, it is nirvicāra samādhi.
Disciple: When the mind is not perfectly attuned to formless Brahman, how this mental
state can be called as samādhi?
Guru: Good thought. Patañjali explains this (I.45). When the mind is ready to connect to
the Self, it faces many hurdles, as our sensory organs are very powerful. But your mind
begins to fight and this fight lasts long. This fight is explained in various Scriptures; for
example, Śrī Rāma’s battle against Rāvan ṣa. It does not merely refer to the war between
them; it is fight between good and bad; fight between antah ṣkaran ṣa (mind, intellect,
consciousness and ego) and bāhyakaran ṣa (organs of action and organs of perception,
known as indriya-s). Ultimately, good and subtle have to win and prevail and if they
don’t, you are not into your spiritual path. You have to have patience, perseverance and
dedication to get liberated. More than these three, you have to have the freewill to get
liberated. Freewill is your will uninfluenced by any type of external agencies. The
thought of liberation should be inherent in your mind. Where there is will, there is always
a way. In fact, the entire creation happened only after Śiva willed to create.
Disciple: Thank you. I think you need to explain one more samādhi, sabīja samādhi.
Guru: Yes, I remember that. This needs more time to explain and we will discuss about
this shortly.
at 2:07 PM No comments:
Saturday, December 21, 2013
WHAT IS ŚAKTI-PĀTA
What is Śakti-pāta? This is a term often used in Trika Philosophy and is explained as the
Descent of Śiva’s Grace on an individual. Apart from our spiritual practices, in order to
attain Śakti-pāta, we have to have Divine Grace and Divine Grace is directly related to
the level of our spiritual evolution. The highest state of spiritual evolution is
manifestation of Love for the Divine, a state beyond mantra japa, meditation, etc.
Manifestation of Love means that our mind is completely pervaded by Divine thoughts
and feelings. In that state of mind, there is no place for any impressions in the mind.
What happens when Śakti-pāta is showered on us? To put this simply, our innate
ignorance is removed at the time of descent of Śakti-pāta. Who removes our innate
ignorance? As we know, Śiva never acts directly and always acts through His Svātantrya
Śakti (Independent and Absolute Power of Śiva), which is worshiped by us as Parāśakti.
She has three types of forms – gross, subtler and subtlest. Gross forms are Her different
forms which we worship. Her subtle form is Kāmākalā form (only from this form,
universe is created), as explained in Lalitā Sahasranāma 322. Her subtlest form is
Kun ṣd ṣalinī. These three forms can be explained differently. Gross forms are Her S ṣod ṣaśī,
Kālī, and other forms as described in Daśamahāvidyā. By worshiping these forms
through various rituals, we lay strong foundation for our spiritual evolution. Then we
move to Her Kāmākalā form and this form is worshiped through Her various mantras like
Pañcadaśī, S oṣ d aṣ śī, etc. Her Kāmākalā form refers to visarga, which means sending forth,
creating, producing, etc which also includes different letters and alphabets from which
Her various mantras are derived. Though there are millions of mantras, basically mantras
are meant to cleanse various impressions from our mind. Mind can be broadly classified
into two – conscious mind and subconscious mind. Conscious mind is where desires and
attachments are stored as deep impressions and in the subconscious mind, our karmic
imprints are stored. When karma is ripe for manifestation, impressions of subconscious
mind percolate into conscious mind and make us to perform certain acts. When we
surrender to the Divine, we can be sure that whatever acts we do now, will not cause
karmic impressions and whatever pains and miseries we undergo are nothing but
experiencing of our past karmas embedded in our subconscious mind. Now we can
understand that we undergo several transformations in our lives before we become fit for
Śakti-pāta.
There are different levels of Śakti-pāta. These levels can be explained through the
following example. In every dam, flow of water is arrested by the giant iron shutters in
the dam. Water is released from the dam according to the needs. When need is more,
shutters are opened fully and water from the reservoir gushes out roaring and when the
need is less, shutters are opened slightly, so that the water just flows across the river.
Reservoir is Śiva, dam is Śakti, shutters are Śakti-pāta and requirement of water is the
level of our devotion. If the shutters are fully opened, when there is no need there will be
floods and when there is huge requirement of water and if the shutters are not released,
crops will be damaged and life becomes difficult. Similarly, if Śakti-pāta is showered
without Love for the Divine, it could go waste and if Śakti-pāta is not given even for the
one who has intent Love for the Divine, one could become frustrated. In order to
overcome this difficulty, Śakti-pāta is divided into several categories, which are discussed
below. We move from the highest intensity of Śakti-pāta to lowest intensity. Intensity
does not refer to the power of Śakti-pāta, but is based on our spiritual level. Śakti-pāta
always refers to the Grace of Śiva (referred as reservoir above), showered through the
medium of Śakti (referred as dam above).
1. Tīvrātitīvra (तरवतरबावततरवतर) śakti-pāta: Tīvrātitīvra means excessively severe, which is
normally used with relation to the intensity of penance. This is known as Sever Supreme
Grace. This is like fully opening the shutters of the dam, where there is no control over
the force of water. If Śiva decides to shower tīvrātitīvra śakti-pāta, any type of human
body cannot resist His Power and on whom tīvrātitīvra śakti-pāta is showered, he dies
instantaneously. In other words, his physical body is annihilated by Śiva and his soul is
liberated instantaneously. This type of Grace is extremely rare and may not be possible,
for who always live in this material world. To have this śakti-pāta, one has to live with
Śiva perpetually. There is no use of mantra japa or meditation here. It is sheer Love that
alone matters. Many times these people are identified as (spiritually) insane.
2. Tīvramadhya (तरवतरमध्य) śakti-pāta: This is His moderately severe Grace. At the time of
this śakti-pāta, the aspirant becomes completely illuminated. He is Self-realized
instantaneously. But, he continues to live and becomes a Guru due to Śiva’s Grace. He
begins to serve the humanity and works as Śiva’s representative and transforms lives of
many by taking them in the right spiritual path and make them liberated at the end of this
birth.
3. Tīvramanda (तरवतरमन्द) śakti-pāta: This is His inferior severe Grace (inferior Grace is
not about His Grace, but about the person on whom Grace is showered). When
tīviramanda śakti-pāta is showered on someone, he or she is blessed with the Guru as
explained in 2 above, who takes this person to higher spiritual levels which ultimately
leads to liberation in this birth itself. It is always said that one should be blessed to have
the right Guru. These types of Gurus never teach anything wrong and never work for
material gains. These kinds of Gurus merely glance at their disciples or impart
mahāvākya-s (You are That; You are Brahman; You are Śiva) and they are lead to higher
levels bypassing mantra japa-s and other spiritual practices (not rituals, which are nothing
to do with the highest levels of spiritual states). The disciple explores analyses and
understands mahāvākya and becomes a Self-realised person. Entire path of liberation is
through conversation between Guru and his disciple (Gurjui speaks).
4. Madhya-atitīvra (मध्यबावततरवतर) śakti-pāta: This is His mediocre Grace (word mediocre is
not used here with reference to His Grace, but about the person who receives His Grace).
These kinds of people go to Guru as mentioned 2 above, but they are taken through
mantra initiations, yoga-s, etc. They have to go through sādhana or spiritual practices. A
Guru as explained in 2 above will be able to differentiate his disciples between 3 and 4
discussed here. Even if Guru explained in 2 above wants to make his disciples to
emancipate, they will not be enlightened that easily and they have to have to perform
sādhana to move to higher spiritual level. Only at the end of his or her sādhana, they are
enlightened with the help of Guru explained in 2 above.
5. Madhyamadhya (मध्यमध्य) śakti-pāta: This is His moderately mediocre Grace, lower
than 4 above. This is a person, who wants to enjoy his material life and at the same time,
has aspirations to attain Śiva. He is also initiated by a Guru explained in 2 above, but he
stops at the level of Bliss. He has two ambitions all the time – A. To remain in the
material world and enjoy all the material pleasures; and B. To attain Śiva in order to avert
transmigration. If we place A and B in a balance, both will be equal. He knows the pains
of being born again and again. At the time of his death, he is not reborn and his soul is
rested in the higher planes for a long time and finally his soul merges with Śiva. This
person is not reborn.
6. Madhyamanda (मध्यमन्द) śakti-pāta: This is His lower mediocre Grace. This is very
similar to 5 above, but if we place both A and B in a balance, the balance will tilt towards
A (material world). He also experiences Bliss, but he is reborn again and only in the next
birth he gets liberated and becomes one with Śiva.
It is said that those who are in the levels of 4, 5 and 6 think about Śiva every half-an-hour
once during day time and twice during the entire night. However, the intensity of thought
about Śiva decreases from 4 to 6.
7. There are three other lower intensities of śakti-pāta. More or less their spiritual statuses
are almost similar, except the intensity of thought about Śiva. Typically speaking, though
they want to go to higher spiritual levels, they are bound by their karma yoga and to
sustain their family. They will develop intensified feelings of renunciation, but they
cannot, due to their material commitments. They are reborn again and again and after
several transmigrations, Śiva absorbs them with Him.

Tirumūlar, one of the well know Tamil saints, in his famous spiritual classic known as
“Tirumantiram” explains about three types of śakti-pāta – slow pace, rapid pace and more
rapid pace. In this classic, he also endorses the sayings of Trika Philosophy. He says, “In
the dark corner of the chamber of primal stuff, the God of Grace courted the old man
(Śiva). When this courtship unfolds, sweet ambrosia is secreted and once this ambrosia is
tasted, Bliss is unfolded in his mind and he reaches the shores of Eternal Truth (Śiva). For
such a person, She annihilates his karmic account and lifts Her veil of māyā and reveals
Śiva in His Prakāśa form.”
at 6:32 PM 5 comments:

Bala puja
First take diksha of Bala Sundari Mantra and
do the one lakh Jaap (Chant) of this mantra.
After this Panchadasi Mantra Diksha is
required.
This is the first English translation of the five limbs, or panchanga, of the aspect of
Goddess known as Bala Tripura. Bala means "girl", this aspect of the Red Goddess is the
most highly erotic of Her three aspects, as the 1,000 names show. Bala is an adolescent
woman, Tripurasundari a mother, and Tripurabhairavi a woman in whom menstruation
has ceased.

Bala's root mantra is aim klim sauh and variations of this mantra are used in her daily
ritual. Many tantrik devatas have manuals structured along similar lines. The devata is
first visualised as residing in the heart, then later drawn out through the breath and
"placed" in the yantra. On installation or invocation, various ritual accessories are
offered, and the 1,000 adjectives (names) of the particular deity recited. The Devi is then
drawn 'back' into one's heart, and the ritual concludes with various elements "cleaning
up" the area of worship.
The five limbs of a ritual panchanga are Patala, Paddhati, Kavacha (Armour), 1,000
Names, and Stotra. The first gives the unfolding of the mantra, usually in coded form. It
also describes the meditation image and the yantra of the devata, as well as various
optional rites. The second limb describes the ritual worship, including worship of the
avarana or attendants of the devata, which are really aspects of the god or goddess. The
kavacha is an "armour" used to ward off evil and which may either be recited or written
and then worn on the body. The fourth limb consists of the 1,000 names, of which there
are very many sets in the tantrik literature. The fifth, the Stotra, is the hymn of praise of
the ishtadevata, the tutelary devata of a tantrik sadhaka.

This particular manual comes from the Devirahasya, a large work which contains many
other panchangas relating to different aspects of Shiva and Shakti.

Bala Patala

Seated on Kailasa Summit is Bhagavan, spouse of Uma, the God with a crescent Moon as
His diadem, whose eyes are Sun, Moon and Fire, wearing an elephant skin, mighty,
worshipped by the Gods, bowed to by hosts of Gandharvas, mighty Yakshas, and by gods
and demons.

Having recited mantra, and having read sacred texts, rising up and bowing, Bhairavi
questions the Lord.

Shri Bhairavi - Lord God, Ocean of Compassion, who reveals all Agamas, by Your grace
I have heard of all the Vidyas, O Sureshvara. Now I would like to hear of Bala
Tripurasundari. If this can be spoken of, declare the Vidya, O God Maheshvara.

Shri Bhairava -- Listen Devi, I speak of the five Limbed Manual (Panchanga) desired by
sadhakas, (which consists of) Patala, Paddhati, Armour, 1,000 Names and King of
Hymns. O Mahadevi, listen one-pointedly. Parameshani, Shri Bala is the Goddess
bestowing both enjoyment and Liberation.
O Mahadevi, one may give away power, dominion, house and wealth. All these may be
given away, but one should never give away this thing which is the best of all. In the Kali
Yuga there is no other Vidya resembling this Vidya. It is said that Shri Bala Tripura gives
siddhi quickly.

It should be passed on to peaceful disciples, and to those devoted to their Guru. One
should not give this Vidya to the undevoted, O Parameshvari.

I will speak of the unfolding of the mantra, yantra, prastara, meditation, and the rites of
the Devi, O Maheshvari. First, Deveshi, listen to the unfolding of the Mantra which
bestows all fruit. It should be carefully concealed, whoever knows it becomes successful
(Siddha).

One should place "Shakti" (Sauh) at the end of 'Vagbhava" (Aim) and "Kamaraja"
(Klim), ending this with Namah. O Devi, this is the eight lettered Mantra of Bala. (There
are) no obstacles, or impurity or restrictions attached to it, it causes one to become a
Siddha, O Mahadevi, and is the King of Mantras in the Kali Yuga.

Dakshinamurti is the Seer, Pankti is the Metre for pronunciation, the Goddess if Tripura-
Bala, "Aim" is the Seed, "Sauh" the Shakti. "Klim" is the linchpin. Its application is
towards Dharma, Artha, Kama and Moksha.

One should do (six fold) Nyasa on the head, on the mouth, in the heart, on the feet, on the
navel lotus and in all the limbs, O Devi.

One should do Nyasa according to the rules doing Seer, Hand and Limb nyasa, using the
bijas of the mantra, O Maheshvari.

Now I speak of Her meditation, advantageous for all sadhakas:


I meditate on Bala, clothed in red, with a digit of the Moon as Her ornament, effulgent as
the rising sun, with three eyes, holding a book and a rosary, showing the gestures of
removing fear and giving, seated on a red lotus.

Having meditated in this way one should repeat the mantra which gives success. A pure
sadhaka should prepare (the mantra by reciting it) 300,000 times.

Now I speak of the unfolding of the Yantra of Mahadevi, the Giver of both Enjoyment
and Liberation, which is very hard to get to know of for any sadhaka.

Bindu, triangle, eight triangles, eight petals, adorned with three circles and enclosed in an
earthsquare. This circle of Bala (and Her attendants) is the Destroyer of Pain, O
Mountain-Born One!

One should worship the Shaktis of the pedestal when inscribing the Yantra. The pedestal
Shaktis are Will (Iccha), Knowledge (Jnana), Action (Kriya), Lotus-Girl (Kamini), Giver
of Sexuality (Kamadayini), Sexual Pleasure (Rati), Loving the Bliss of Sexual Pleasure
(Ratipriyananda), and Mind-Born (Manonmani) lastly. One should place these Shaktis
round the pedestal using the mantra "Vyoma Parvata Tartiya Sadashiva Mahapadam Pitha
Padmasanaya Namah". This is the pedestal Mantra. Having put, in order, these 16
syllables around the image (Yantra) one should recite the root mantra.

One should invoke Devi and worship Her with the ritual accessories according to the
rules. Having invoked the desired Devi in the centre of the yoni, one should worship in
the triangle, in a similar way Sexual Love (Rati) on the left, Pleasure (Priti) on the right,
and Mind-Born (Manobhava) at the apex. One should worship the six Limbs inside the
yoni (i.e. central triangle) starting from the South East.

Outside the central yoni one should worship, from the East, in a clockwise direction, the
Arrow-Devis. In the eight yoni-triangles one should worship the eight Shaktis called
Beautiful Bhaga (Bhaga=female sexual organ), Bhaga, Nectar of Bhaga, Bhaga adorned
with Flowers, Primordial Sexual Pleasure, The Flower of Sex, the Girdle of Sex, the Bliss
of Sexual Love - these are the eight Shaktis.

In the filaments of the lotus one should worship Brahmi and so forth, and in the petals
themselves the (eight) Bhairavas. One should also worship, in the petal tips, from the
East in a clockwise direction, the Sacred Sites called Kamarupa, Malaya, Kaulagiri,
Cauhara, Kulantaka, Jalandhara and Oddyana -- the eighth being Devikuta.

In the bhupura one should worship in the cardinal directions Heruka, Tripurantaka,
Vetala, Agnijihva, Kalantaka, Kapalini, Ekapada, Bhimarupa, Mala and Hatakeshvara.
(Also) in the directions one should worship Indra and the others with the (various)
weapons.

Outside of this, in the directions, one should worship Vatuka, the Yoginis, Kshetrapala
and Ganesha. In the intermediate points one should worship the (eight) Vasus, the Sun,
and Shiva. One should worship all the elements and then the weapons.

First of all one should meditate on Bala in the embrace of Kameshvara in the centre; A
Kaula should worship using the five makaras according to the rules of Kaulachara.

The sadhaka skilled in the mantra should worship Mahadevi in the bindu (of the yantra)
with scent, unhusked rice, flowers, incense, flame and liquid oblation. This is called
Layanga.

Listen to the rituals, O Parvati. Whosoever skilled in mantra who does this gains a share
of success swiftly, it is certain. The (eight rites) are Paralysing, Deluding, Killing,
Attracting, Subjugating, Driving Away, Peace Making and Healing.

This sadhana is the Quintessence, invisible, Dear One. One should not give this to those
undevoted to Devi, and should keep it concealed and secret from pashus.
(1) On the first day of the Waxing Moon, Devi, having bathed and done the daily rite, one
should go to a deserted place at midday. There one should do sacrifice by a 10th part
using ghee, curd and so forth. One should do oblation to the Goddess, then immediately
one is free to paralyse, this is certain.

(2) At dusk, in the cremation ground, one should recite (the mantra) on a seat made of
owl feathers. One should do much sacrifice and by a tenth part of this give ghee, wine,
grain, shoots and lotus seeds. Then one may delude the world.

(3) Having gone in the morning or at night to the place of Ghosts and Elementals
(Cremation Ground), the mighty Hero should recite the Vidya of 16 letters in front of a
cremation pyre. The mantrin should do much sacrifice of ghee, fragrant gums and hairs of
chandalas in the burning funeral pyre. (In this way) one kills an enemy.

(4) On an eighth day of the Bright Fortnight the sadhaka should recite (the mantra) in
secret. Having recited a myriad times using the root Vidya, and having meditated, O
Charming One, one should do sacrifice of a 10th part giving ghee, lac, flowers, menstrual
blood, wheat and bamboo shoots. (Then) one may attract women.

(5) Dearest, on a ninth day the ritualist, having bathed and done the daily rite, should
offer much ghee, fish, eggs, lotus, pearls, and hair of deer. Doing sacrifice in this way, O
Lady of Heroes, one is able to make people slaves.

(6) On the fourth Lunar Day of a Dark Fortnight one should recite the mantra at the
arising of the Moon, Dearest. On a riverbank, seated in Shirsha Asana, the Hero should
recite the mantra many times. One should sacrifice a 10th part of this, giving ghee, blue
lotus, cloves, black pepper and tamarind. Then one may cause an enemy to flee.

(7) On a fifth night, O Deveshi, one should recite the mantra a myriad times. One should
sacrifice a 10th of that and should offer ghee, fish, sugar cane and camphor - thus one
may calm down great disputes, wars and adversities.
(8) On a great eighth day (of the dark Lunar fortnight) a person1 having bathed, should
do sadhana on the best of pedestals. The hero should recite (the mantra) 10,000 times and
should sacrifice a 10th part of that, giving ghee, camphor, grapes, many betel leaves, goat
flesh and blood. Then one causes healing to occur.

This thing which is secret is the form of all, my very Self, O Deveshi, Secret. One should
conceal it in the Kali Yuga. On Sundays etc. one should recite the mantra 10,000 times.
Then one becomes Siddha, there should be no doubt about this! This celestial chapter is
revealed because of Your love. Hide it! It should be concealed, hide it as You would
conceal Your own yoni.

Shri Bala Paddhati

Now I will declare the Paddhati in its spoken form - the essence of Shri Bala
Tripureshvari, the Giver of Happiness. Having done morning acts those who are devoted
should worship Devi. This puja is fruitless for those impure at the Three (Twilights).

Extending from the base of the spine to the top of the head, like a lotus stem, a brilliant,
white, slender thread, one should meditate on Devi, Giver of Subjugation, Great Good
Fortune and Eloquence; as surrounded by a swarm of black bees; with braided hair
garlanded with flowers; with a face marked with a jewel as her forehead mark; her mouth
sweetly smiling, wearing a beautiful diadem; her head adorned with pearls and diamonds;
with a slender crescent Moon as crest gem; her three bright eyes effulgent as a swarm of
sapphire bees; with jewelled coiled earrings, the chief of which is as bright as the Sun:
ornamented with shining pearls and gems of dazzling appearance; around her throat a
necklace like a line of bees, beautiful and bedazzling, surpassing nectar in its beauty;
adorned with beautiful and resplendent garments like the white water of the Ganga in
flood; beautiful, sinuous graceful limbs, scented and sweet like creeping vines; covered in
gold and by other precious metals, and by glistening jewels, glittering and bright; her
beautiful feet and toes like red lotuses with their petals; as bright as the circle of the starry
realm (Nakshatras); adorned with pearl-like blossoms; with her lower left hand holding a
book and her upper right hand dispelling the fears of sadhakas; in her two right hands
holding a rosary and bestowing boons; She herself being of the dazzling whiteness of
snow, milk or the Moon; gracious and charming.

Armour of Shri Bala Tripurasundari

Shri Bhairavi said - Devadeva, Mahadeva, expander of devotees who please You, the
Armour of Devi is hidden. Speak of this to Me!

Shri Bhairava -- Listen Devi, I speak of the Armour difficult to get even for gods. One
should never reveal this high secret, which gives the wished for siddhi to a sadhaka. The
Seer of the Armour is Dakshinamurti. Pankti is the Metre. The Devi is Tripurasundari. Its
application in puja is the four aims of Mankind. She wears a pearl diadem, coiled
earrings, armlets, a necklace of gems; pearl finger rings; effulgent bracelets and other
jewels; a golden hip girdle, glittering anklets; her navel is adorned with a ruby, and she
has a bracelet of shells, with a Kala of the Moon on her forehead. She holds a noose, a
goad, a book and a rosary in her upper hands and the other hands.

May the Vagbhava Aim protect my head, and the Kamaraja Klim my heart! May the
Shakti Bija Sauh protect me in my navel, genitals and feet!

May Aim Klim Sauh protect my face, and Bala shield me in my siddhi! May Ha Sa Ka
La Hrim Sauh Bhairavi shield my throat, and may Sa Ka La Sundari shield me in the
region of the navel!

May Mahatripurasundari shield my brow, and the point between my eyes! Subhaga
protect my forehead! Bhaga shield my throat! Bhagodevi protect my heart! Bhagasarpini,
shield my belly!
Bhagamala, shield my navel! Manobhava, protect my penis! May the auspicious Lady,
the Queen of Queens, the Mahadevi, shield my anus!

Mother of the Cosmos (Jagad Ambika), form of Consciousness, protect my feet!


Narayani, protect me at night! Shubhankari shield me in all my actions!

May Brahmani protect me in the East, and Vaishnavi in the South! May Varahi protect me
in the West, and Maheshvari in the North! May Kaumari protect me in the South East,
and Mahalakshmi in the South West! May Chamunda protect me in the North West, and
Indrani in the North East!

Mahamaya, protect me in Water! Sarvamangala, shield me in Earth! Varada, protect me in


Aether! Bhuvaneshvari, protect me everywhere!

This Armour is called "Names of the Goddess" and is hard to obtain! The pure person
with concentrated mind should arise and recite it at dawn.

Whoever does it knows no fear or disease. Nor is he afraid of death or anxious about sin.
He is never poor, nor is he vanquished by death. He dwells in the realm of Shiva, O Devi.
I say to You that this is most certainly true.

O Auspicious One, whosoever should recite this Armour having not been initiated into
Shri Vidya gains no fruit, but is struck by lightning.

The 1,000 Names of Bala

Shri Devi - Shri Natha Shankara, Bliss-Maker, speak! O Lord God, how may one obtain
the yoga-power of full devotion, O Ocean of Wine 1 If You have compassion for Me
Shambhu, reveal that which is well-hidden!
Shri Bhairava -- By devotion to Shakti one comes to know the entire vermilion ocean of
Bliss, the hidden essence of Bala. Dear One, I will speak to You of Her 1,000 Names.
One should well hide it, O One with Thighs like Plantain Stems, it is revealed out of deep
and amorous affection for You. Whoever meditates on how Devi is hymned immediately
gains the whole mass of happiness, and is the cause of Knowledge.

(Of this 1,000 Name-Hymn of Shri Bala Sundari, Bhargava is the Seer, Anushtubh is the
Metre, Shri Bala Tripura is the Devata. Aim is the Seed, Sauh is the Shakti, Klim the
linchpin. The application by reading it are the four aims of Mankind.

Rishi Nyasa :Hail to Bhargava the Seer on the head; Hail to Anushtubh the Metre on the
mouth; Hail to Shri Bala the Devata in the heart; Hail to the Seed Aim in the genitals;
Hail to the Shakti Sauh on the feet; Hail to the Linchpin Klim on the navel; Hail to the
Application on all the limbs.

Aim hail to the thumbs; Klim obeisance to the index fingers; Sauh hail to the middle
fingers; Aim hail to the ring fingers; Klim hail to the little fingers; Sauh to the front and
backs of the hands hail Thus the heart and other Nyasa are related. Meditation-)

Wearing red clothes, with a Kala of the Moon as Her ornament, effulgent as the rising
Sun, holding Book and Rosary, bestowing boons and banishing fears, I meditate on Bala
on the Red Lotus.

Pleasing and Supremely Blissful Vermilion One. Ultimate Treasure of the Path of
Devotion. Deep Left Thing. Manifestation of the Elements. Shankari. Shiva.

Boon Giver of Erotic Form. Essence. Auspicious Sphere of Action. Ocean of Ultimate
Bliss. Passionate. Actress. Graceful One.

Kala of Sexual Play the Colour of Blossom. Dalliance. Absolute. Kala.


Suitable Essence. Creeper Granting All Wishes. Eager-Goddess. Playing with Love's
Arrow. Truly Affectionate. Lovely Sweet Form.

Effulgent as 10,000,000 Suns. Cool as 10,000,000 Moons. Arrow Limbed One Shedding
Nectar. Means by which Heaven is Attained.

Gazelle Eyed. Charming. Walking Beautifully. Happy and Peaceful One. Empress.
Queen. Worshipped by Mahendra.

Lady Moving in the Cosmos. Ultimate Mover in the Cosmos. With Dishevelled Clothing.
Irresistible Shakti. With Tinkling Golden Anklets.

With Breasts like the Paradise Tree on Mount Meru. Bearing Goad and Noose as
Weapons and Giving Boons. Holding Arrows and Sugar Cane Bow in Her Two Beautiful
Hands,

Face like the Disc of the Moon. With a Beautiful Crest Gem like a Little Moon. Having a
Vermilion Forehead Mark. Her Lovely Braided Hair adorned with Flowers.

Rejoicing in a Garland of Coral Tree Blossoms. Adorned with a Garland of Gems. Fond
of Gold Ornaments. Having a Beautiful Pearl Necklace.

Her Mouth is Full of Tambula. Her Mind is Filled with Sexual Bliss. Pleasing and Happy.
Essence of Passion. Supremely Compassionate. Lady of Treasure.

An Effulgent Gem sits between Her Breasts. Intoxicated with Wine-Essence. Having a
Mantra which is the Self of Bindu and Nada. Form of the Fourth.

The Lovely Giver of Happiness. Shankari. Fond of Blossoms. The Universe. Complete.
Dweller in the Purna Pitha.
Rajyalakshmi. Shri Lakshmi. Mahalakshmi. Beautiful Queen. Santoshima. Excellence.
Gold Vessel. Light.

All-complete. Supporter of the Cosmos. Creatrix. Increasor of Strength. Magnificence of


all Earthly Kings. Mother Ruling All.

Lotus-Eyed One. One Gazing Long. Clear Eyed One. Flow of Love. Taste. [100] Chief
One. Essence Body.

Vermilion Essence. Moving Gracefully. Colour of Pollen. Mad with Bliss in Sexual
Intercourse. Inmost Quality. Self of Shakti.

Eyes Full of Love. Charming. Goddess of Love. Lovely Bhaga (Female Genitals).
Beautiful Bhaga. Taking Pleasure. To be Enjoyed. Giver of Fortune. Lovely. Bhaga.

Kala of the Bliss of Yoni and Linga. Dwelling in the centre of the Bhaga. Form of Bhaga.
Consisting of Bhaga. Bhaga Yantra. Highest Bhaga.

Yoni Mudra. Kamakala. Essence of Kula Nectar. Fire of the Kula Kunda. Subtle. Jivatma.
Form of the Linga. Root Cause. Root Form. True Form of Root Action. Longing For It.
Lotus-Bliss. Self Dissolved in Consciousness Meditation. Beneficent.

White and Red. Form of Bindu. Yoni which is the Sound of Knowledge. Sound of
10,000,000 Bells. Humming One. The Marvellous Risen Disc of the Sun. Dissolved in
Sound. Completely Full. Place of Fullness. Many-Bodied.

Golden Music. Hereditary Music. Sound of the Drum. Garland of Letters. Siddhi-Kala.
Dwelling in the Six Chakras. Sexually Playing in the Muladhara. Svadisthana. Dwelling
in the fourth.

Situated in the Manipura. Loved. Essence of the Tortoise Chakra. Like a Flame
in the Anahata. Made of Gems.

Vishuddha. Pure Sound. Residing in the Awakened Being. Song. Situated in the Ajna
Lotus. Emanatrix. Skilful. Triple Circle.

Little Moon. Splendid as 10,000,000 Moons. Shining like 10,000,000 Suns. Shadow of
the Ruby Red Lotus. Consisting of Eternity and Joy. Shining.

Auspicious Liquor. Very Beloved. Still and Joyful Nectar. Charming Limbed One
Rejoicing in Intercourse. Having Sweet Nectar.

Seated on a Great Pedestal. Satisfied. Wild. Beautiful in Bearing. Drenched in a Shower


of Nectar. Expanding Ocean of Redness.

Very Red. Fond of Moistness. Wearing Innumerable Earrings and Removing Fear. [200]
Excellent Oral Lore. Encircled by Countless Flowers and Fruit.

Dear. Auspicious. Beloved of Shiva. Shankari. Shambhavi. Powerful. Self Created.


Beloved of the Self. Partner. One's Own. Mother Matrika.

Vowel-Being. Refuge. Chaste. Highest Being and Origin of Wine. Fortunate Gladdener.
Respected. Devoted to All Good Fortune.

Lucky. Slender Thread. Maiden. Bright as a Fragment of a Half Moon. Beautiful Slender
Creeper. Dear One. Wicked Deed. Evil Spell.

Gazelle Eyed. Excited Eyed. Sharp. Intoxicated with Wine Nectar. Delighted by
Intoxicating Liquor. Beauteous as Madira Wine.
Pleased by Kadamba Wine. Handsome. Delighted. Rejoicing in Sideways Glances. One
with Slowly Turned Down Eyes Gazing Long and Sweetly. Destroyer of the Family of
Demons. Radiant Nectar of Sexual Desire. Suvasini. One with Rounded Body. One With
Breasts Heavy with Milk.

Truly Beautiful. With Teeth Like Little Pearls. With a Halo. Radiant Mouth. Her Lips
Like Tender Shoots. Her Nose Like the Tip of a Til Blossom. Her Forehead Shining Like
Gold. With a Face like the Full Moon. With a Young Moon as Her Shining Diadem.

Her Lively Eyes Smeared with Orpiment. Her Ears Like Blossoming Flowers. Each Ear
like Half a Leaf and resembling a New Moon. With the Sun as a Gem in Her Diadem.

Her Gold Earrings Studded with Gems. With Coiled and Begemmed Earrings. Very
Beautiful Cheeks. With a Shell-Like Neck. Wearing Alluring Gems.

Wearing a Pearl Necklace which is Like the Ganges in Flood and Her Voice Like a Bird.
Her Limbs Extending Like Many Lotus Roots. Carrying Noose, Goad and Bow. With
Bracelets Entwined Round Her Clothes. Adorned with Various Beautiful Jewels. Her
Lotus Hands the Colour of Copper and Her Lovely Nails Shining like Gems.

Her Fingers Adorned with Jewels with Beautiful Lines between Her Fingers. Her Two
Beautiful Breasts Like the Mandara Tree. The Hair of Her Pubic Region like a Line of
Serpents. Her Womanly Deep Navel Encircled by Three Lines. Very Slender of Waist.

Wearing a Breast Plate for Battle. Wearing a Beautiful Waist Cloth. Her Buttocks Like the
Brows of an Elephant. Her Two Thighs Close Together Like the Cheeks of an Elephant.
Her Beautiful Knees and Legs like Unworldly and Bright Paradise Trees.

With Hidden Ankles. Her Anklets Adorned with Gems and Making a Charming Ringing
Sound. Her Two Feet Meditated on by Yogis. Ocean of Wine Nectar.
Vermilion Ocean. With a Vermilion Forehead Mark. Adorned with Dishevelled Hair.
Perfect Nectar. Truly Wise. Intelligent. Most Beautiful of Divinities.

Like a Row of Scarlet Rays From a Dawn Sun. Beloved Cow of Heaven. Padmini of the
Essence of Nectar. Stream of Rasa.

The Beautiful and Ever-present Boon Giving One. Autumnal. Giving True Fortune. Dear
to Nataraja. Cosmic Dancer. Male and Female Dancer.

Brightly Coloured Yantra. Web of Consciousness. Knowledge Vine. Chief Thing.


Dwelling in the Forehead. five-Sectioned One. Panchami.

four-Sectioned One. Tripartite Primordial One. Six-Sectioned One. Worshipped in the


Vedas. Having 16 Sections. The Fourth. Supreme Kala. Shodashi. Goddess of Mantra and
Yantra. Meru Circle.

Sixteen Lettered One. Three Lettered One. True Form of Bindu Nada.

Above the Letters. Mother of the Letters. Great Happiness Who is the Absolute as Sound.
Consciousness Vine. Being with Sections. Kameshi. To Be Seen in Dream.

Goddess of Dream. Goddess of Awakened Intelligence. Refuge of the Watchful in the


Waking State. Abode of Dream. Deep Sleep. Free from Idleness. Spring Creeper of
Fragrant White Flowers (Madhavi).

Lopamudra. Queen of Kama. Daughter of Man. Worshipped by Lords of Wealth.


Shakambhari. Nandi Vidya. Garland of Light Emanating Blossoms.

Mahendri. Served in Heaven. Oral Lore. Refuge of the Best Sadhakas. Chaste. Truly
Good. Siddhi Cave.
Lady of the Three Cities. Worshipped by Conquerors of Cities. City Devata. Satisfied
Destructrix of Obstacles. Without Qualities. Worshipped by the Celestial Cow.

Golden Mother. Lady of Hosts. Secret Mother. With Beautiful Buttocks. Giving Birth to
All. Liberation. Initiation. Initiated Matrika.

Mother of Sadhakas. Mother of Siddhas. Most Powerful Wizardess. Deluding the Mind.
Youthful and Intoxicated. Exalted. Her Beautiful Buttocks Swaying Slowly.

Dwelling in the Red and Blue Lotus. Smeared with Red and Adorned with Red Gems.
Wearing a Pure Red Rosary. With a Very Beautiful Peacock Feather Crest aim. Satisfied
by Kings. Waving Peacock Plumes. Perfume Diffusing in the Cosmos. Earth. Fragrance.
Giver of Sexual Love. Beloved. Giving Success in Love to Those Seeking Love.

Nandini. Lakshanavati. Devata Resorted to by (Rishi) Vasishta. Devi of Goloka. (400]


Protectress of Shri Goloka and all the Worlds. Giver of the Fruits of Sacrifice. Mother of
the Gods. Giving Boons to Gods.

Partner of Rudra. Auspicious Mother. Wide Expanse of the Ocean of Nectar.

Dakshina. Form of Sacrifice. True Maiden. Rejoicing in Resolution. Dwelling in the


Ocean Full of Milk. Pure Yoni. Beautiful Eyed. Dwelling in Beauty. Truly Served.
Dissolved in Beautiful Scents. True in Actions. Beautiful Tripura. With Beautiful Breasts.
With the Breasts of a Young Maiden.

Menstruating Girl. Showing Her Menses. Colourful One. With a Bright Garland. Liking
Red. Very Red. True Form of Love Making. Mother of Menses and Semen. Intent on Sex
Play. Coming in Love Making.

Cry of Orgasm. Self of all Love Play. Life of the Gods. Bliss of Svayambhu Menses.
Fond of Svayambhu Menses. Pleased and Satisfied by Svayambhu Menses. Cause of
Creation of the Beautiful Svayambhu Menses. Place of Svayambhu Menses. Shakti Hole.
All Love Dalliance is Her True and Sacred Pedestal.

Very Inner Whore. Duti. Artful. Pleased by Worship. Kullika. Dwelling in a Yantra.
Dwelling in a Yoga Pedestal. With Beautiful Body. Form of the Quintessence. Having All
Characteristics.

Wearing Various Beautiful Jewels. Worshipped With Five Arrows. Residing in the Upper
Trikona. Bala. Kameshvari.

Worshipped by Hosts. Worshipped by Kulas. Lakshmi. Sarasvati. Pleased by Spring.


Beloved. Having Gems on Her Breasts.

Bearing a Kala on Her Head. Her Feet Causing Growth. Residing in Kalas. Fond of
Flowers. Wearing Flowers. Deludress of Love.

Intoxicated with Sexual Desire. Mohini. Kalas of the Moon. Shoshini. Vashini. Rajini.
Subhaga. Bhaga. Pusha. Vasha. Sumana. Rati. Priti. Dhriti. Riddhi. Benefic. With a
Garland of Rays. With Parts.

Moon. True Shadow. Rising Full Moon. Satisfied. Full Amrita. Dwelling in the Female
Sex Organ Yantra.

Residing in the Linga Yantra. [500] Body of Shambhu. Yogini of Sexual Intercourse.
Wine Goddess. Body of Bija. Steady. Dear to Sadhakas.

Self of the King of Bija. Giver of Dominion and Happiness. Giver of Desires. Shakti of
Menses and Semen. Knower of Shiva' s Semen. All Nectar. Consisting of Nectar.
Consisting of Shiva and Shakti. Lady.
Dwelling in the Bliss of Love Making. The Matrika Fond of Love Making. Bliss of the
Flowers of Sexual Intercourse. Lovemaking. Expander of Yoga. State of Happiness in
Sexual Intercourse. Served by Unified Consciousness-Bliss.

True Form of the Substances Used in Offering and Giver of Success in Worship.
Samarasya. Supreme One Female Form Fond of Love-Making.

Messenger of Knowledge. Accessible to Knowledge. Origin of Knowledge. Abode of


Shiva. Consciousness- Kala. Knowledge With All its Parts. True Kula. Beautiful Self of
Kula.

Four Kalas. Very Subtle Lotus Girl (Padmini). Supreme Being. Dwelling in the Play of
Hamsa. Shadowy One. Emanatrix of the Two Parts of Hamsa.

Free from Passion. Liberation Kala. Supreme Being Indwelling in Kalas. Very Self
Situated in Vidya Kala. Dweller in the Four Kalas. The Vidya Making All Content.
Pleased One. The Light of the Supreme Absolute. The Supreme Paramatma. Dissolved in
Things. The Fourfold Shakti.

The Diffusion of Shanta and Bodha Kalas. The Kala and Inner Essence of the Highest
Knowledge. Pashyanti. Supreme Quintessence. The Inner Atma without Parts Known as
Akula.

Madhyama. Vaikhari. The Bliss of Atma Kala. Dweller in Kalas. Tarini. Swift One
(Tarani). Tara. Knower of the Inner Core Dissolved in the Shiva Linga.

Mover in the Ultimate Good. Delighting in the Bliss of the Absolute. Intoxicated with
Rasa. Highest Rasa. Successful. Fond of Success. Uma.

Fond of All Castes. Increasor of the Bliss of Yogis and Yoginis. Bestower of the Heroic
Frame of Mind. Celestial One. Giver of True Heroism to Heroes.
Great Giver of the Heroic Mood to Pashus. One Whose Head is Bathed. Queen Shri. The
Ultimate Matrika of Warriors.

Skilled in Sword and Missile. Grace. Essence Place. Enlivening in Battle. Victorious.
Yogini. Pilgrimage. Crusher of Great Armies. Full. [600] Goddess of Wealth. Wealth.
Provided with Great Hoards of Treasure.

Dwelling in Heaps of Gems. Jewel. Abiding in Necklaces of Gems. Mahishi. Worshipped


by Kings. With Hosts. Bearing Hosts. Creatrix. Prostitute. Attainable by Yoga. Mallasena.
Female Foot Soldier. Battle Array. Brave in Love. Banner. Dwelling in the Banner.

Beautiful Parasol. Little Mother. Mother (Amba). Fragrant. Moving in sadhana. Acting
like Kings Act. Consisting of Brahmins and Kshatriyas. Dwelling in Moon and Sun. Fond
of Her Priests. Chaste One. Brahmin Girl. Multitude of Sacrifices.

Supreme Wine of the Moon. Origin of All. Burning One. Patient One. Opposing Evil.
Bearer of All. Creatrix of All. Origin. Moving in Eternity. Gayatri. Attainable by
Knowledge. Initiated. Giving the Wished For Goal.

Dwelling in the Cosmos Like Jewelled Rays. Life of the Universe. Giver of Success in
the Field. Augmentor of All. Little Usurer.

Support of Kula. One who Extends Herself Beautifully. Mind's Delusion. Refuge. Pure.
Dwelling in the Twice Born. Doer of Actions. Worshipped in Festivals.

Going Under Various Guises. Bala. Wanton. Consisting of Kalas. With Beautiful Ears.
Highest of All. Freer from Difficulties.

Durga. Staying in the Vindhya Forest. Beloved of the God of Love. Pacifier. Black One.
Protectress. Intoxicated with Rasa.
Appeaser of Those Fallen From the Three Rules of Conduct. Bestower of Complete
Happiness. Little Moon of the Cosmic Pleasure Garden. Giver of Happiness to the
Multitude of Siddhas. Worshipped by Hosts of Yoginis.

Body of the Sixteen Nityas. Kameshi. Bhagamalini. Nityaklinna. Bherunda. Vahni-


Mandala-Vasini. Mahavidyeshvari Nitya. Shiva Duti.

Tvarita. Kula Sundari. Nitya. Nilapataka. Vijaya. Sarvamangala. Jvalamala. [700]


Vichitra. Mahatripurasundari.

Host of Gurus. Supreme Guru. Lady Prakashananda. Form of Shivanandanath. True Form
of Shaktyanandanath. Consisting of Devi-Anandanath. Lady Kaulesha Anandanath. Form
of the Divyaugha. Lady Samaya Anandanath. Lady Shukla Devi Ananda Nath. Kulesha
Ananda Nathini.

Body of Klinnanga Ananda (Nath). Samaya Ananda Nathini. Consisting of Veda Ananda
Nath. Sahaja Ananda Nathini.

Body of the Siddha Augha. Body of the Highest Guru. Gagana Ananda (Nathini). Vishva
Ananda Nathini. Vimala Ananda Nathini. Madana Ananda Nathini. Primordial Lady of
the Worlds. Primordial Playful One. Nandana Ananda Nathini. Body of Sva Atma
Ananda. Priya Ananda Nathini.

Self of the Manava Augha Gurus. Lady of the Gurus of the Gurus. Ultimate Secret. Guru
Shakti. Fond of Those Who Sing the Praises of Their Own Guru. Known as Bewilderer of
the Three Worlds. All Encompassing and Complete One.

All-Bewildering One. Residing in the Eastern Amnaya. Shiva-Shakti. Auspicious (Shiva)


Shakti. Dwelling in Three Shiva Chakras. Known as the Giver of All Great Good
Fortune. Giver of All Desires to Sadhakas. Called the All Protecting One. Devata of the
Southern Amnaya.

Dwelling in the Centre of the Disc of the Sun. Devata of the Western Amnaya. Creating
and Indwelling the Nine Chakras. Devata of the Northern Amnaya. Worshipped by
Kubera. Origin of Kula. Residing in the Exalted Kula Amnaya.

Making and Dwelling in the Bindu Chakra. Lady of the Central Lion Throne.

Shri Vidya. Mahalakshmi. Lakshmi. Self of the Three Shaktis. Lakshmi Giving All
Dominion. Pancha Lakshmi. Shrividya. Supreme Light Source. Supreme Shambhavi
Without Parts. Matrika. Panchakoshi. Shrividya Tvarita.

Parijateshvari. Trikuta. Panchabaneshi. Panchakalpalata. Pancha Vidya. Source of Amrita.


Wine. Lovely Lady. Annapurna. Cow of Plenty. Shri Vidya. Siddha Lakshmi. Matangi.
Bhuvaneshvari. Varahi. Pancharatneshvari. One Who Dwells in the Letters of Matrika.
Supreme Effulgence. In the Form of All Words. Aindri. Desire.

Own Lady. Vision of Shakti. Seed of the Sun. Having the Body of Brahma. Having the
Body of Shiva. Having the Body of Vishnu. Residing in the Wheel of Creation. Having
the Body of the Sun. Dissolved in the Chakra of Places. Having the Body of Mercury.
Mahatripurasundari.

True Form of Tattva and Mudra. Pleasant One. [800] Knowledge Mudra. Satisfied by All
Ritual Accessories. Dwelling in the Heart. Divinity of the Head. Divinity of the Top of
the Head. The Absolute. With Amorous Three Eyes.

Dwelling in the Missile. Four Square One. Dwelling at the Doors. Dwelling in Each
Door. Anima in the West. Laghima in the North. Mahima in the East. Ishitva Divinity of
the Southern Door. Vashitva in the North West. Prakamya in the North East. Bhukti in the
South East. Iccha in the South West.
Brahmi. Maheshvari. Kaumari. Vaishnavi. Varahi. Aindri. Chamunda. Mahalakshmi.
Dwelling in the Ten Parts.

Kshobhini. Dravini Mudra. Akarshana. Unmadana. Mahankusha. Khechari. Bija. Yoni


Mudra.

Dwelling in the Sarvashapura Chakra. Cause of Successful Siddhi. Kamakarshini Shakti.


Buddhi Akarshana. Ahankara Karshini. Shabda Akarshana. Sparsha Akarshana. Rupa
Akarshana. Rasa Akarshana. Gandha Akarshana. Chitta Akarshana. Dhairya Akarshana.
Smritya Akarshana. Bija Akarshana. Amrita Akarshini. Nama Akarshini. Sharira
Akarshinidevi. Atma Akarshana. Form of the Sixteen Vowels. Temple of the Flow of
Nectar. Tripureshi. Form of Siddha. Dwelling in the Sixteen Petals.

Queen of the All Agitating Chakra. Lady of the Guptatara Shaktis. Ananga Kusuma
Shakti. Ananga Kati Mekhala. Ananga Madana. Ananga Madanatura. Ananga Rekha.
Ananga Vega. Anangankusha. Ananga Malini. Shakti of the Eight Divisions of the
Alphabet.

Making and Dwelling in the Eight Petals. Shrimat Tripurasundari. Giver of all Happiness
& Dominion. Lady giving Great Good Fortune. Lady of the Sampradaya. Cause of All
Agitation. Causing All to Flee. Attractor of All. Shakti Gladdening All. Shakti causing
Crushing. Shakti causing all Paralysis. Shakti causing All Delusion. Shakti causing All
Subjugation. Shakti who gives Colour to All and Everything. Shakti causing Sexual
Awakening. Shakti giving the Fruit of All Desires. Shakti giving All Wealth. Shakti
consisting of Mantra. Shakti causing the Dualities to Disappear. [900]

Siddhi-Tripura-Vasini. Lady giving All Desires to a Sadhaka. Lady giving the Fruit of All
Actions. Lady of the 14 Angle Chakra. Devi giving All Siddhi. Giver of All Prosperity.
Shakti Beloved of All. Cause of All Good Fortune.
Full of All Sexual Desire. Liberator from All Sorrow. Alleviator of All Death.
Destructress of All Obstacles. Devi Beautiful in All Limbs. Giver of All Great Good
Fortune.

Tripureshi. Giver of All Siddhi. Dwelling in the 10 Triangles. Lady Bestowing All
Protection. Nigarbha Yogini. Knowing All. Shaktii of All. Giver of All Dominion. Devi
Consisting of All Knowledge. Destroyer of All Ailments. True Form of All Adharas.
Destroyer of All Evil. Devi made of All Bliss. True Form of All Protection. Mahima
Shakti Devi.

Devi Giving All. Lady Residing in the Inner 10 Angles. Devi Tripura Malini. Lady
Destroying All Disease. Rahasya Yogini. Vagdevi. Vashini. Devi Kameshvari. Modini.
Vimala. Aruna. Jayini. Sarveshvari. Kaulini. Giver of Siddhi in the eight Angles.

Lady who gives All Love. Parapararahasya. Dweller in the Square & Trikona. Self of All
Dominion Who consists of the Weapons. Kameshvari Arrow Form. Kameshi Bow Form.
Kameshi Noose Form. Kameshi Goad Form.

Kameshvari the Indra Shakti. Residing in the Sphere of Fire. Presiding Devi of Kamagiri.
Going in the Lowermost Angle of the Triangle.

Lady Dwelling in the Rightmost Angle. Vishnu Shakti at Jalandhara. Residing in the
Sphere of the Sun. Rudra Shakti in the Leftmost Angle. Brahma Shakti in the Sphere of
the Moon. Anuragini Dwelling at Purnagiri. Auspicious Lady of the Sphere of the
Triangle. Tripura-Atma-Maheshvari.

Lady Residing in the Sphere of All Bliss. Secret One Dwelling in the Bindu. Supreme
True Form of the Absolute. Mahatripurasundari. Dwelling Within All Chakras. Chief of
the Whole of the Chakras. Lady of All Chakras. Lady of All Mantras. Lady of All Vidyas.
Lady of All Speech. All Yogeshvari. Undivided Lady holding Dominion over All Pithas.
Sarva-Kameshvari. Lady of All Tattvas and Dominions. Shakti. Shakti with Eyes
Intoxicated with Bliss. Without Duality. Womb of the Dualities.

Unextended in the Cosmos. Mahamaya. Extended in the Cosmos. Dweller in Herself.


Supporter of All Manifestation in the Cosmos. Ultimate Bliss Sundari. [1,000]

Thus the celestial cause of Supreme Bliss has been declared, the Salt Vermilion Waves of
Bala giving all satisfaction. O Parvati, of all sets of 1,000 names in the tantras, this is the
quintessence.

Dearest, this hymn may be recited at all times, at night, and during puja in the morning.
When Bala, the Giver of All Dominion and Happiness, is pleased, She bestows jewels of
various kinds, wealth, and (answers all) requests. O Parameshvari, She bestows whatever
desires a person has, and sons and daughters are born if one wishes it.

Enemies are destroyed, ailments are alleviated. If in a difficult situation, things are eased,
medicines are bestowed on one. This bestows beautiful palaces, pictures, and all
dominion. For a person, agriculture bestows rich harvests, and the heavenly cow seems to
dwell for him on earth. His country prospers, and his state is not afflicted with calamities.
Great elephants shower him with streams of nectar.

He dwells happily in palaces, surrounded by gems and horses. His offspring become
rulers, free from strife, ministers of the king. Those known to him please him, he
becomes noble and very beautiful, wealthy, always in a good position, alluring. Spoken
speech and verse musically flow from him, like the Ganges in flood. He becomes able to
expound the various meanings of various verses, becoming skilled in the entire essence of
all, successful, his speech like gracious blossoms.

Shastras unknown to him are constantly revealed. Those with faults who would attack
him become fearful, they sing adoringly of him, like slaves before a king. Swords and
missiles hurt not his limbs. Women of all classes become completely subjugated by him.
Poison becomes like wine-nectar for him. The host of opponents are paralysed, and his
enemy crushed, if the knower of Yoga should continually practise for a period of nine
nights.

If he should recite day and night, without idleness, he becomes peaceful of mind, and all
created things in all the worlds become subject to him, there is no doubt of it.

If one should perform the yoga continually for six months, one becomes the (very
essence of) Yogamaya, without question. Whosoever reads this ultimate hymn whilst
meditating on Kamakala has women in a state of subjugation seeking him, intoxicated
with sexual desire, beautiful, mad with lust, with beautiful enraptured eyes. He knows
satiety of love through feminine desire, in this act of subjugation.

On a fortunate day, having written the yantra of Devi on birch-bark, colouring it with
rochana, kumkum, lac, red dye, or sunflowers, making the womb of the yantra (=triangle)
of gold or silver hue, very alluring, one should awaken Bala, having worshipped and
established Her. If one should then carry this on one 's head, throat, shoulder, or near to
one's heart or navel, one becomes wealthy, victorious, and gains love.

There is nothing greater than this in the three Worlds for protection, most certainly.
Planets, diseases, and so forth, anxieties, are all banished, one gains happiness and health,
it is the cause of strength and virility, and destroys cruel elements and enemies.

It gives sons, daughters, increases a host of qualities, gives wealth and grain. In
whichever city this best of sadhaka dwells, whilst bearing Her, wealth is gained. In
whichever dwelling this stotra is placed and written out, O Varanana, there I - Shiva, Hari
and Kamala always dwell, and it is as if all the sacred waters spring from this place.

If the best of sadhakas should recite and read this devotedly he knows Knowledge, Bliss
and Unity. O Deveshi, by reading this hymn, one gains the fruit of worship. One should
recite it very carefully having established oneself in the six fold Nyasa. In the best of all
tantras is the puja of Bala. There the 16 letters are the greatest thing. This, the best of all
hymns, is found there.

O Sundari, one should never give this to those who are not pupils, the impure, fraudulent,
indolent, who make no efforts, the undevoted, those deficient of Vishnu bhakti, the
unstable or the stupid. It should be given to those who are devoted, as it is the cause of
liberation, and augments devotion. O Varanana, whilst engaging in sexual intercourse
(Latayoga), one may read the hymn. One becomes like the Aeon Creeper (Kalpalata), and
the fruit of one's desires are achieved.

If a sadhaka should steadily recite this whilst in Latayoga, offering blossoms to the
gazelle-eyed (partner), he is blessed with the results of 100 sacrifices (Yajna). O Deveshi,
Brahma and the other (devatas) worship his feet, he himself becomes like Shiva -- that
discriminating person who is attached to devotion to Bala. He becomes one with the Bliss
of the Absolute, Jyotsna, in the state of Sadashiva.

Shri Bala Stotra

Shri Bhairava said - Parvati, now I speak of the Hymn of Devi Bala. Having heard the
secret Panchanga, one should always conceal it.

(Dakshinamurti is the Rishi of this stotra-mantra of Shri Bala Tripurasundari; Pankti is


the Metre; Shri Bala Tripurasundari is the Devata; Aim is the Bija; Sauh is the Shakti;
Klim is the Kilaka; its application when reciting it is pleasing Shri Bala.

Hail to Dakshinamurti on the head


Hail to the Metre Pankti on the mouth
Hail to the Devata Shri Bala in the heart
Hail to the Bija Aim on the navel
Hail to the Shakti Sauh on the genitals
Hail to the Linchpin Klim on the feet
Hail to the Application when Reciting on all limbs

Aim to the heart obeisance


Klim to the head
Sauh to the peak
Aim to the armour
Klim to the eyes
Sauh to the missile

Aim to the thumbs hail


Klim to the index fingers
Sauh to the middle fingers
Aim to the ring fingers
Klim to the little fingers
Sauh to the front & back of the hands

(Meditation:)

Like the coloured red rays of the Sun shining brightly through red dust, the colour of the
Japa rose, holding book, dispelling fear, and in Her other hands giving boons and holding
a fully blossomed white water lotus. Thus one should establish in one's heart the eternally
beautiful form Bala.

One should recite Aim, O Tripura Bhavani. One becomes greater than God or Guru, and
has dominion and so forth of the partner of the Lord of the Mountains.
Within the course of one day, one should recite the King of Your Mantras known as the
triple syllable Kamaraja, that of Kameshvari. The person initiated in Kula should worship
the earthly and most beautiful and alluring courtesan.

One should recite Sauh, O Tripura, Mother of the three Worlds! You Who Manifest, Play,
and bring all to Completion, the core of the Absolute (Brahmapada), Self-Existent! One
should worship in the rectangle, the circles, the eight petalled lotus, within the city of the
lotus of six petals, worshipping Bala in the Bindu Pitha, in order to become greater than
Shiva.

Whosoever should recite this hymn of Tripura, which consists of mantra, at night or at
dawn, becomes garlanded (praised) on earth, and in three days becomes equal to Shukra,
Saura and Lakshmi.

Thus this stotra of Devi Bala, consisting of ultimate Mantra, is revealed. One should not
give it to the undevoted, and should conceal it as if it were Your own yoni.

VARAHI TARPANA

Use ginger if available. Use Ganga water for Marjana in Mantra Sadhana if available.
When both are not available use durva grass and pure water. Marjanam is the purification
of the body and mind in Sandhya Vandanam. Marjanam and Punarmarjanam are done by
Sprinkling water on the head during Sandhya Vandanam. Purascharana Vidhi generally
prescribes ginger which is tied on the water vessel during Marjana. Varahi Krama
prescribes water with ghee. Varahi Krama: '..... Do puja to compassionate Kola Mukhi
with all avarana devatas. Do 1 lakh (100,000) purashcharana japa, 10,000 homa, 1,000
tarpana (offering water to devi), 100 maarjanam (offering water mixed with ghee on own
head) & 10 brahmana bhojanam – To gain the power of Varahi Mantra do homa with
flowers of tapincha (betel).'http://www.devipuram.com/index.php?optio... 1)
Purascharana: Purascharana means pura charati iti, that means, that which is performed
before or prior. Before the deity or prior to the mantra siddhi. We will come to the q what
is mantra siddhi later. Now, what should be done before or prior to complete a
purascharana. Purascharana means repeating a mantra for a particular number of times
and for a period of time. This is the first and important part of the purascharana. There are
five parts / limbs to a purascharana, 1. Mantra japa (repetition of mantra) 2. Homa (fire
obulation using the mantra) 3. Tarapana (water obulation using mantra) 4. Marjana
(ritualistic sprinkling of water) and 5. Bhojana (feeding of Brahmins / Sadhus). Japa –
repeating the mantra for a specified number of times. This is normally n Lakh times,
where n stands for the number of characters / alphabets in the mantra. If the mantra is a
very big one, than, it is also accepted as 1 lakh repetition. And, at the beginning of the
japa everyday, the puja should be performed to the mantra deity or the yantra for the
particular mantra. Homa – after performing the reqired number of japa. The Homa should
be performed using the same mantra adding a “swaha” to it. And the number of times the
homa should be performed is 1 / 10th of the Japa. Likewise, the later stages in the
purascharana is 1 / 10th of the former stage. The obulation material or the material for the
offering in the fire is generally Ghee (clarified butter), but sometimes, may vary
according to the purpose of the pursacharana. Tarpana – water mixed with milk or jiggery
etc. is used to perform tarpana. In this, the water is taken in a spoon and it will be poured
through the palm, leaving the thumb. This too should be done using the mantra and a
“tarpayami” added to it. Marjana – the water is taken in a bowl and a small piece of
ginger it tied to the tip of it, through which the water is sprinkled on oneself or the yantra.
The sprinkling should be done using the mantra suffixed with a “marjayami” to it.
Bhojana – number equal to 1 / 10th of the number of marjana should be fed, as the last
part of the purascharana. 2) Importance of Purascharana: Bhaskararaya says: मनततरससधनन
हह दसवव पसयय यसवजजजवव हनयतत जपप पव रशचरणरपशच | ऐहहकन कसमयपतरयतगन तव पव रशचरणव हवनस
नसहधकसरप | आमव हषमकमसततरसरर पव रशचरणव हवनसऽहप हनतयजपमसततरनण हनवसरह इहत हसरहतप || There
are two approaches to mantra-sadhana, one is nitya-japa till one is alive, the other is
purashcharana. For aihika (worldly) prayogas of kamya nature, one is not qualified
without first completing successful purashcharana ( like without first earning money, how
can one spend it?) However, if the purpose is Amushmika (other-worldly such as
moksha) alone, one need not perform formal purashcharana and stick to nitya-japa
throughout one’s life. Of course, even in the second case, Bhaskararaya clearly implies
that the best or superior course is to first perform purashcharana and then continue with
nitya-japa. Not doing purashcharana but only doing nitya japa can thus be inferred as
adhama but acceptable paksha for the second case discussed above.

The following list gives 112 homa herbs. The Tamil name and the approximate cost (in
Rupees) are given. (108, 48, 28 numbers packings are available in shops near big temples
in all cities.) 1) Homa Draiviyams: *1* aala vithai 1 kg 20, *2* aalam pattai 1 kg 25, *3*
aavara vithai 1 kg 25, *4* aavaram poo 1 kg 15, *5* akil 1 kg 20, *6* alli kilangu 1 kg
20, * *7* amukkala 1 kg 80, *8* annaci poo ¼ kg 30, *9* arakajaa 1 no. 10, *10* arasa
vithai 1 kg 20, *11* arathai 1 kg 120, *12* athimadhuram 1 kg 60, *13* avarai elai 1 kg
15, *14* avuri elai 1 kg 20, *15* devadaram 1 kg 40, *16* etti vithai 1 kg 25, *17*
idampuri kai 1 kg 40, *18* jathika paruppu ¼ kg 60, *19* javvadhu 1 no. 10, *20* kaattu
malli 100 gram 18, *21* kaattu seeragam 1 kg 80, *22* kaattu yelakkai ¼ kg 63, *23*
kadal nurai 1 kg 25, *24* kadukkai poo 1 kg 30, *25* kadukkai 1 kg 15, *26*
kariveppilai 1 kg 30, *27* karpoga arisi 1 kg 20, *28* karungali 1 kg 20, *29*
karungeerakam 1 kg 70, *30* karuppu gunguliam 1 kg 80, *31* karuva pattai 1 kg 120,
*32* kasturi 1 doz 10, *33* kasturi manjal 1 kg 55, *34* keela nelli 1 kg 30, *35*
kilachikkai ¼ kg 10, *36* kilangu manjal 1 kg 85, *37* kirambu ¼ kg 55, *38* kirambu
elai 1 kg 50, *39* kollang kovai 1 kg 30, *40* korai kilangu 1 kg 12, *41* korosanai 1
doz 10, *42* kunguma poo 1 gram 30, *43* machakkai ¼ kg 25, *44* mahali 1 kg 60,
*45* makilam poo 1 kg 45, *46* marati mokku 1 kg 30, *47* marikolunthu 1 kg 25,
*48* maruvu 1 kg 15, *49* mathulan thodu 1 kg 20, *50* moongil arisi 1 kg 100, *51*
mukil 1 kg 20, *52* murungai poo 1 kg 40, *53* nathai soori vithai 1 kg 25, *54*
nayuruvi 1 kg 40, *55* nellikkai 1 kg 30, *56* nilapannai ilangu 1 kg 45, *57* omam 1
kg 55, *58* orithal thamarai 1 kg 60, *59* pachilai 1 kg 20, *60* pappali elai 1 kg 30,
*61* parangi pattai 1 kg 85, 62* parpadapul 1 kg 20,*63* patchai karpooram 100 gram
22,*64* pinju kadukkai 1 kg 80,*65* poolang kilangu ½ kg 48,*66* poonai kaali vithai 1
kg 65,*67* pulukka pattai 1 kg 55,*68* punga vithai 1 kg 10, *69* punugu 1 no. 10,
*70* rampathiri 100 gram 25, *71* roja poo 1 kg 50, *72* sadamanji 100 gram 26, *73*
sakkai matti 1 kg 80, *74* saliyal 1 kg 40, *75* sarana vaer 1 kg 30, *76* school vithai 1
kg 45, *77* seenthil kodi 1 kg 40, *78* sevva pattai 1 kg 25, *79* shenbaga poo ¼ kg
33, *80* siriya nangai 1 kg 28, *81* subja vithai 1 kg 80, *82* sukku 1 kg 60, *83*
thaatu pootu 1 kg 30, *84* thalai suruli vaer 1 kg 30, *85* thalisa pathiri 1 kg 70, *86*
thamarai kilangu 1 kg 20, *87* thamarai poo 1 kg 60, *88* thanikkai 1 kg 10, *89*
thanneer vittaan 1 kg 60, *90* thathiri poo 1 kg 25, *91* thetha vithai 1 kg 40, *92*
thinai 1 kg 12, *93* thippili 1 kg 120, *94* thiraviya pattai 1 kg 23, *95* thulasi elai 1
kg 25, *96* vaal milagu 100 gram 29, *97* vaivilangam 1 kg 100, *98* valampuri kai 1
kg 40, *99* valuluvai 1 kg 70, *100* varaghu 1 kg 12, *101* vasambu 1 kg 48, *102*
vellai gunguliam 1 kg 90, *103* vellai kilangu 1 kg 40, *104* vellai milagu 100 gram
18, *105* venkadugu 1 kg 40, *106* veppalai arisi 1 kg 90, *107* vetti vaer 1 kg 40,
*108* vilamichi vaer 1 kg 45, *109* virali manjal 1 kg 48, *110* vishnugranti 1 kg 20,
*111* yavai nell 1 kg 30, *112* yelakkai 100 gram, This list is
from, http://www.cmpherbs.com/homasaman.html 108 homam items Rs. 266 108 homam
items (small packing) Rs.170 52 homam items Rs.70 32 homam items Rs. 45 Tamil-
English- Botanical names at,http://www.cmpherbs.com/Tamil_English_Bo... Above web
sites belong to C.M.P & SONS INDIAN HERBS MERCHANTS, 268,East Masi Street,
Madurai - 625001 Telephone : (+91) (0452) 4512332 Mobile : (+91) 8144754379 2)
Edited: This questioner had opted for voting for the last 14 questions. The first question
alone is the exception.
1 answer · Religion & Spirituality · 2 years ago

These tantric methods are to be received through Guru. The answer is given as academic
point of view. Procedure and mantras variations are there. 1) Nyasa: Nyasa is a very
important and powerful Tantrik rite. The word comes from the root, "to place," and
means the placing of the tips of the fingers and palm of the right hand on various parts of
the body, accompanied by Mantra. Nyasa is of many kinds such as Jiva-nyasa, Matrika or
Lipi-nyasa, Rishi-nyasa, Shadamganyasa on the body (Hridayadi-shadamga-nyasa) and
with the hands (Amgushthadi-shadamga-nyasa), Pitha-nyasa and so on. The Kularnava
Tantra (IV. 20) mentions six kinds. Matrika: Matrika are the fifty letters of the Sanskrit
alphabet. (i) Vowels: The vowels are 15 in number. They are अ (a), आ (ā), इ (i), ई (ī), उ
(u), ऊ (ū), ऋ (r ṣ), ॠ (ṝ), ऌ (l )ṣ , ए (e), ऐ (ai), ओ (o), औ (au), अव (aṁ), अप(ah ṣ) (ii)
Consonants: The Consonants are 34. क (ka), ख (kha), ग (ga), घ (gha), ङ (ṅa), च (ca), छ
(cha), ज (ja), झ (jha), ञ(ña), ट (t ṣa), ठ (t ṣha), ड (d ṣa), ढ (d ṣha), ण (n ṣa), त (ta), र (tha), द
(da), ध (dha), न (na), प (pa), फ (pha), ब (ba), भ (bha), म (ma), य (ya), र (ra), ल (la), व
(va), श (śa) ,ष (s aṣ ), स (sa), ह (ha), ळ (La) (iii) Combined: क (Ksha) In the Vedic
conception the aksharas (letters) are bijas, or seeds of existence. The audible sound is
categorized into 50 alphabets of Sanskrit starting from "a" and ending with "ksha". Hence
the alphabet is called "akshara", which literally means "infallible" or "supreme". 2)
Bahirmatrika Nyasa: The Sadhaka first sets the letters, externally by physical action
(Bahirmatrika Nyasa). in their several places. The letters of the alphabet form the
different parts of the body of the Devata which is thus built up in the Sadhaka himself. He
places his hand on different parts of his body, uttering distinctly at the same time the
appropriate Matrika for that part. The external disposition is as follows: The vowels are
placed अमत (am) to forehead, आमत (ām) to mouth, इमत (im) to right eye, ईमत (īm) to left
eye, उमत (um) to right ear, ऊमत (ūm) to left ear, ऋमत (r ṣm) to right nostril, ॠमत (ṝm) to left
nostril, ऌमत (l ṣm) to right cheek,एमत (em) to left cheek, ऐमत (aim) to upper lip, ओमत (om) to
lower lip, औमत (aum) to upper teeth, अव (aṁ) to lower teeth, अप(ah ṣ) to tip of the tongue.
(If ॡ, l ṣum is included and then the Vowels becomes 16. अमत (am) to forehead, आमत (ām)
to mouth, इमत (im) to right eye, ईमत (īm) to left eye, उमत (um) to right ear, ऊमत (ūm) to left
ear, ऋमत (r ṣm) to right nostril, ॠमत (ṝm) to left nostril, ऌमत (l ṣm) to right cheek, ॡमत (l ṣum)
to left cheek, एमत (em) to upper lip, ऐमत (aim) to lower lip, ओमत (om) to upper teeth, औमत
(aum) to lower teeth, अव (aṁ) to tip of the tongue and अप(ah ṣ) to the front neck.) The
consonants are placed as shown. कमत (kam), खमत (kham), गमत (gam), घमत (gham), ङमत
(ṅam) to right shoulder, right elbow, right wrist, right arm fingers bases, right arm fingers
tips respectively. चमत (cam), छमत (cham), जमत (jam), झमत (jham), ञमत(ñam) to left
shoulder, left elbow, left wrist, left arm fingers bases, left arm fingers tips respectively.
टमत (t ṣam), ठमत (t ṣham), डमत (d ṣam), ढमत (d ṣham), णमत (n ṣam) to right pelvis, right knee, right
ankle, right toes bases, right toes tips respectively. तमत (tam), रमत (tham), द (dam), धमत
(dham), नमत (nam) to left pelvis, left knee left ankle, left toes bases, left toes tips
respectively. पमत (pam), फमत (pham), बमत (bam), भमत (bham), म (mam) to right side trunk,
left side trunk, back navel, front navel, stomach respectively. यमत (yam), रमत (ram), लमत
(lam), वमत (vam) to heart, space between right shoulders, neck back, space between left
shoulders respectively. शमत (śam) is heart to right hand fingers tips ,षमत (s aṣ m) is heart to
right hand fingers tips, समत (sam) is heart to right leg, हमत (ham) is heart to left leg , ळमत
(Lam) is legs to tips of toes कमत (Ksham) is navel to top of head. 3) Antarmatrika Nyasa:
The Sadhaka sets the letters mentally (Antarmatrika Nyasa) in their several places in the
six inner centers (Cakra). Vishuddha Chakra - 16 petals - 16 Vowels (including ॡ, l uṣ m)
Anahata Chakra - 12 petals - कमत (kam) to ठमत (t ṣham) Manipura Chakra - 10 petals - डमत
(d ṣam) to फमत (pham) Swadhisthana - 6 petals - बमत (bam) to लमत (lam) Muladhara - 4
petals - वमत (vam) to समत (sam) Ajna chakra - 2 petals - हमत (ham) & कमत (Ksham)
Sahasrara Chakra - 1000 petals - All the above 50 Aksharas 4) References, Books: (i)
Chapter 26, Shakti and Shakta by Arthur Avalon (Sir John Woodroffe) (ii) Srividya in
Tamil and Sanskrit (Navavarana Pooja, Homa and Parayanam), Anna (Sri Subramania
Iyer), Sri Ramakrishna Mutt, Chennai publication.
idlyvadai@gmail.com idlyvadai2007@gmail.com C.Sri Vidya Rajagopalan

Any auspicious offerings can be made, like lighting a lamp, offering incense,
flowers, fruits, etc. Kumkum and turmeric are excellent, as is pure cow's milk.
Abhishekam is always wonderful, as well as archana with fresh flowers. One can
also use cardamom pods, cloves, or unbroken white rice. I like to use silver
flowers that have been gold-plated.

• Preferred flowers for worship of the Navayoni Sri Chakra-Yantra™ by C. Krishniah


Chetty & Sons™ are: Champak (Sampangi); Lotus (Kamalam); Red Rose (Gulabi);
Jasmine (Malle puvvu); Bael Leaves (Bilva Patram). In short you may use fresh, fragrant,
aromatic flowers to worship the Navayoni Sri Chakra-Yantra™ by C. Krishniah Chetty &
Sons™.