SrIvidyA articles


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

 
simhAsanESwari From :-lanka.krishnarao@gmail.com Subject :- simhAsanESwri ernakulam venugopalan to me Om Nama Sivaya >Dear Mr. Krishna Rao, >> I have a question or rather a doubt and you probably can shed some light intelligently, hence this mail. >>In Srividya, mother Lalita or Tripurasundari is supreme, parabhattarika. One of the several epithets is Bindumandalavasini. Also She is Sivaasivashakti aikyarupini meaning She and Siva are one. In many of Adi Shankara's compositions on Madurai Meenakshi She is equated to Lalitambika >>" srividyam sivavamabhaganilayam hreemkaramantrojwlam shrichakrangitabindumadhyavasatim............
Meenakshim pranatosmisantatamaham karunyavaarmnidhim. >>According to my understanding Meenakshi is Matangi,Shyamala or Mantrini and such how can She be equated to the Simhasaneshwari. May be Shankara was seeing Godhood in an advaita aspect as everybody and everything has that divine amsa. >>Please clear this doubt for me. Maybe it is silly, but since L.S clearly says Geyachakrarathaarooda Mantrini parisevita also Mantrini nyastha rajyadu. So I am wondering! >>Hope evrything is fine with you. Many blessings. >Venugopal ////////////////////////////////////////////////////////////////////// mAnya SrI vENugOpAl, Your confusion is nothing but that you are looking at all these dEvatAs as different from you. Before entering into SrIvidya, you have to remember your guru mantra which says that your guru is "swarUpa nirUpaNa hEtuh". Who ever he introduces (initiates) to you as dEvata, you have to understand, that dEvata is none else but your own self. You would have taken births of so many forms like so many dEvatAs, manuShyAs, rAkShasAs, piSAcAs, birds, snakes, creatures, stone, hills, mountains, trees etc., and so many of course. But we select only a few of them, to have the recollection of memory of that life and know how great we are! "nAma smaraNam" means, to recollect what we have forgotten (vismaraNam = to forget). We recollect only the better side of our history and our greatness in that birth because, we are aspiring to become divine. "mR^ityOr mA amR^itam gamaya". Not like 'Kamsa' who recollected his rAkShasa janma of his previous birth and acquired all the rAkShasa qualities. Coming to your point, we always do 'pancAyatana puja, while doing pUjA for any particular dEvata. It means that you should not perform pUjA for any particular dEvata in a lone form, because that deity is not any single individual, but the collective form of so many dEvatAs (samaShti) only. Just like you can not find any particular thing as "forest", but only the collection of so many trees.
When you perform pUja for 'Siva', the amba, viShnu, sUrya, gaNapati etc., will become "anga dEvatAs". When you do it for 'amba', Siva and others become 'anga devatAs. In the same way, when you meditate upon mInAkShi, the lalita rAjarAjESwari and others will become 'anga dEvatAs'. Then the "mInAkShi" will become "simhAsanESwari". Any way, you could have understood by this time, that you, who is the "SAMASHTI' of all the dEvatAs, is the real "simhAsanESwari". Not any Lalita, rAjarAjESwari, Siva,viShNu or any one else. Of course all of them are yourself. You are the "sarva dEvatA samaShti" and you yourself is the real "simhAsanESwari" "rUpai ranEkaIr bahudhAtma mUrtim kR^itwAmbikE tat prakarOti kAnyA" This is all the view of SrI SankarAcArya. Yours always in the sevice of the mother, krishnarao. //////////////////////////////////////////////////////////////////////////
aShtAra cakra
From:- krishnarao (lanka.krishnarao@gmail.com) Subject :- AShtAra cakra Sriguruh sarvakAraNaBhUtA Saktih | SrImahAgaNAdhipatayEnamah || "savitrIBhirvAcAm SaSimaNi SilABhanga ruciBhih vaSinyABhistwam saha janani sancintayati yah |
sa kartA kAvyAnAm Bhavati mahatAm Bhangi ruciBhih vacOBhirvAgdEvI vadana kamalAmOda madhuraih ||" This is the 17th Sloka in the soundaryalahari of Sri AdiSankarAcArya. Generally understood literal meaning of this is narrated by elders as --- O mother, he who meditates upon the vAgdEvatAs along with you as having the luster of precious moonstone pieces, will become the author of great poetry similar to the sweet fragrance of the mother vagdEvi`s/saraswati`s lotus mouth. For this, some doubts are arising in my mind. But after some analysis and observation, I think I could find an answer for all my doubts which I feel like sharing it with other members of our group too. The `aShtAra cakra' is also regarded as "navayOni cakra. It will not be correct to say that in the formation of `SrIcakra', firstly `bindu', then `trikONa' and afterwards the `aShtAra cakra' manifests. In the same way, it is not correct to arbitrate that all the other remaining cakrAs too were created one after another. In fact all the cakrAs have revealed themselves at the same time, instantaneously according to our `sphOta vAda'. While drawing the `aShtAra cakra' itself, the `trikONa' and the `bindu' both simultaneously manifested inside of this "navayOni cakra". "saptavimSatAvayavEShu triBhistriBhir avayavai rEkaikA yOni stAsAm kONatrayEShu punah punar bIja trayam nyasEt ||" So says tantrarAja commentary. "baindavam cakram Etasya tri rUpatwam punar BhavEt | dharmadharmau tadha~~tmAnO mAtR^I mEyau tadhA pramA || navayOnyAtmakamidam cidAnanda Ganam mahat | cakram navAtmakam idam navadhA Bhinna mantrakam || baindavAsana samrUDha samvartAnala citkalam | ambikArUpamevEdm aShtAram swarAvR^itam ||"
The `bindu' itself by extending angularly, have transformed as `trikONa'. Again after further extension, it created two more triangles, to indicate one upwards as creation and another one downwards as dissolution. So we have to say that `bindu' and `trikOna' are interlinked and not at all different from the `aShtAra cakra'. puNyam, pApam, Atma, antarAtma, paramAtma, j`nAnAtma, mAtA and mEym, all these eight items in the eight angle points and in the middle `pramA' which means the knowledge obtained from the experience, all of these put together itself is the "navayOnicakra". All the other cakras will have the interconnected unification with this `navayOni cakra' and this cakra will have the authority over all the other cakrAs. "niruddha vAyu sanGatta sPurita grandhimUlatah | hR^idayAntara samvitti SUnya puryaShTakAtmanA || bIjarUpa swara kalA spR^iShta vargAnusAratah | rahasya yOginIrdEvi samsAra daLanOjjwalE | sarva rOgaharE cakram samsthita vIravanditE || vaSinyA raktavarNA varadABhaya mudritAh | pustakam japamAlAm ca Bhukti siddhim mahESwari | ISwarIm tripurAsiddhim pUjayEd bindu tarpaNaih || So says `nityA ShODaSikArNva'. Nonexistant like so subtle form of the `samvit kalA' which exists in the interior of `hR*tpadma' in the name of "rahasya yOgini" itself is called as "puryaShtakam'. So subtle it is. that it is not accessible to any of the external senses, except for the intellect. In fact, our own subtle body itself is this `puryaShtakam'. This `navayOni cakra' having the predominance of "SuddhavidyA tattwam" which was described as "ahantEdantayOr aikya buddhih" The pair of bindu itself divided into nine cakrAs in the name of "AdhAra navakam", in the nine forms as nine cakrESwaris. "icchA sakti tritayam paSOh satwAdi sanj~ikam | mahA tryasram cintayAmi guru vaktrAdanuttarAt || aShtAra vyapadESO~yam cinnirvANaiShaNAdikam | sUkSmam puryaShtakam dEvyA matir EShAhi gouravI || antar daSAra vasudhA j~nAna karmEndriyANi ca |
mahA Tripura sundaryA iti sancintayAmyaham || bAhyO daSAra BhAgO~yam buddhi karmAkSha gOcarah | caturdaSAra vasudhA karaNAAni caturdaSa || vasucchadana padmAnka dESO yascakragO viBhuh | avyaktAdyA prakR^itayO BhUtAntA niScinomyaham || ShODaSacCada padmAnka dESO BhUtAkSha mAnasam | vikArAtmakamApannam dEvyAh samBhAvayAmyaham || In the `suBhagOdaya vAsana' it is described that this bindu is in the form of the `indriyAs' which all subsist in all the nine cakrAs. This is an in-between state of subtle and causal body conditions. It means that, it is a state of shifting to and from `aBhEda swapna' and `aBEda suShupti'. From this site only, we always portray the obvious illustration of the gross form of the `paradEvata', saying "hrIm, SrIm, sauh". This is the centre for all imaginations. If meditated upon this centre and imagine the `swarUpa' of SrImaha Tripura sundari, what is the wonder, if any one becoming an author of sweet and elegant literature? A murderer and dacoit `bOya' can become the author of `rAmAyaNa mahA kAvyam and a foolish denizen also can become like a kALidas. In yOginI hR^idayam, it says, "Madhya prapUjanAd dEvi vAkpatir jAyatE narah tadhaivApara kandarpO bAhyamadhyAnta pUjanAt ||" "madhyaprapUjanam" means, pUja in the seventh, eighth and ninth AvaraNAs. The meditation in the seventh AvaraNa means, meditation in one`s own innermost mind (swAntarangam) which is in the form of `puryaShtakam'. It is a kind of `dream state' pertaining to the `jAgradAvastha'. "swapnAntE uccAvaca mIyamAnO rUpANi dEvah kurutE bahUni". He is attaining the ability to imagine many number of forms. "apara kandarpah" means retaining the brahmAham BhAvana while performing the `aparA pUja' (external services of worship). "japAcchrAnrah punar dhyAyEt dhyAnAcchrAntah punarjapEt". Meditate for some time upon the form and for some time immerse in your own self. The tantra says that The eight `vagdEvatas (presiding deities of speech), `vaSini', `kamESwari', `mOdini', `vimalA',
`aruNA', `jayinI', `sarvESwarI' and `kauLini', who officiate in this aShtAra cakra, are all blood colored ("vaSinyA rakta varNA"). But in the above SlokA the acArya is asking us to meditate upon them as white moonstone pieces. How could it be possible? -- For this, bR^ihadAraNyakopanishad has given the hint as follows. There are some nADIs in the name of "hitA", which are very tiny that they are almost one thousandth part of a human hairsbreadth, spread all over the body. The food substances entered into these nADIs acquire several varieties of colors, because of the relative gradation of the `vAta', `pitta' and `SlEShma' dOShAs in accordance with the differences of diet; and by the inclusion of `rasa upAdhis like `Sukla' etc. The `linga SarIra' which consists of the five elements, five j~nanEndriyAs, five karmEndriyAs, prANa and antahkaraNa as its seventeen limbs , is absolutely pure and crystal like in nature. But when it takes refuse with the `hitA nADIs' in the dream state, instigated by one`s own right and wrong deeds, it shines in many forms like women, elephants, chariots, horses etc., and experiences like enjoying with ladies and looking some dreadful scenes. When one`s mind is pure, calm and serene, Its experiences would be pleasant and secure. That is why, when we look at the blood colored `vaSini' and other deities of the seventh AvaraNa, in comprehension with the bindu-trikONa rUpa paramAtma, the faculty of our `antaraga' gets purified and those deities all will appear as having the luster of precious moonstone pieces. In this way, having purified `antaranga', by meditating upon the "paraSiva midhunam" which is accompanied by the `vaSini' and other deities in the form of moonstone crystals. mahatA Bhangi = pertaining to the uprising of the mahat tattwa suBhagaih = with all the riches xAgdEvI = relating to the vAgdEvatAs vadana kamala = aShtAra padmam AmOda madhuraih = with the nectarous flow which will satiate the aShtAra cakra, sah = such sAdhaka kAvyAnAm kartA = The creation of brahma itself is "kAvyam". The idea behind is, that he will be able to become such " "sR^iStikarta" (He will become "sAkShAt parabrahma swarUpa" himself.)
Yours always in the service of the mother, krishnarao (SrIparasuKAnandanAtha) ///////////////////////////////////////////////////////////////////////////
taruNa taraNi
From :- krishnarao (lanka.krishnarao@gmail.com) Subject :- taruNa taraNi "SrIguruh sarvakAraNaBhUtA Saktih | SrImahAgaNAdhipatayE namah || "taruNA taraNi" "tanucchAyABhistE taruNataraNi SrI dharaNiBhih
sarvAm urvIm aruNima nimagnAm smarati yah | Bhavantyasya trasyad vanahariNa SAlIna nayanAh sahOrvaSyA vaSyAh katikati na gIrvANa gaNikAh ||" This is the 18th SlOka in "soundarya lahari" of SrI AdiSankarAcArya. Commonly understood meaning of this verse runs as follows. "O Mother! When one meditates upon the grandeur of your brilliant physical structure, which is bright red, like the rising sun, in which the earth, heaven and whole of the universe is immersed, all the celestial damsels like "UrvaSi" etc., are becoming restless with passion and fervor having the eyes of a frightened deer. Then what to say about ordinary womenfolk? Almost all of the commentators said that this is a mAdana prayOga and useful for attracting the desired women. But is it proper to say that the AcArya would ever have advised any of the persons to go after women folk in the name of `kAma puruShArtha ?! Impossible. There must be some other esoteric meaning behind it. In my view …. " yE sindUra parAga punja pihitAm twat tEjasA dyAmimA murvIncApi vilIna yAvakarasa prastAra magnAmiva | paSyanti kShaNamapyananya manasastEShAm ananga
- jwaraklAnta srasta kuranga SAvaka dR^iSo vaSyA Bhavanti dhR^ivam ||" mahAkavi kALidAs also says the same in the `laghu stavam', but with a little clarification additionally as "ananya manasah". It means that the red effulgence of paradEvata engulfing the whole universe including the sky and earth is not different from our own "swaswarUpam" "dEvI SrIlalitA j~nEyA jana vaSyE ca pATalA" Here we have to take the sense that our body itself is a town (puram). and all the `indriyas' (sense organs) are its inhabitants. Then the meaning of the above would be as, "to control our indriyAs we have to meditate SrIlalitAdEvi as red coloured." There are two different versions of this SlOka, one for the word "taruNa taraNi" making it as "ataruNa taraNi" by the insertion of an `akArapraSlESha'. `taruNa taraNi' means the midday sun and `ataruNa taraNi' means the morning sun. For both the words it gives the same indication of "the suShumnA nADi" of the `sUrya manDalam' (solarplexes). By saying "taruNataraNi SrIdharaNiBhih", it gives the meaning of the `pITha BhUmi' (base) of the the `kuNDalini'. If we take the other version as "SrIsaraNiBhih", it indicates the "row of `ShatkamalAs' (`mUlAdhAra' etc., six divine lotuses)". by saying "tE tanucChAyABhih", on the whole it is illustrating the crowded mass of the brilliant effulgence of the `kuNDalini'. That is amazingly "duShpradharSham and dushprEkShyam". This red colour was described with a similitude by one poet as, "taruNa taraNi kAnti vrAta samsarga rangat kamaladaLa nikAya prAyakAma praBhOrmih | aBhinava ravi raSmi dyOtita prAcya BhUbhR^it Chikara lasadaSOka smEra puShpOpamAnah ||" When we perform `sammOhana nyAsA" saying , "mUlavidyAm smR^itwA tatpraBhayA jagadaruNam viBhAvya" and then while saying "mama SatrUnnigR^ihNAmi" it was also said that "sAdhyamapyaruNam viBhAvayEt". Yes! even the reprehensible enemy should be looked at in red colour. The tempestuous emotional disturbances in our internal senses, which are the real cause for all the excitation of the "idantA rUpa" visualizations are actually our enemies. That is why, "ahami praLayam kurvannidamah pratiyOginah | parAkramaparO BhunktE swaBhAvam aSivApaham ||"
For those `viira puruShAs', who do aim at "pUrNAhambhAva", the adaptation of "rajOguNam" for the devastation of the enemies who create the differential distinctiveness of the external world is also essential. The magnificent and attractive external impression in the form of "idanta" in the dhyAnaSlOka of "bAlA Tripura sundari" as "aruNa kiraNa jAlai ranjitASAvakASA" is really the deliberation of wrath (AmarSAtmaka vimarSarUpam) against the internal enemies. The degree of such deliberations are expressed in sixteen `dhAturUpAs' as "SONAni Bhauma tIkShNAmSu tAmra kumkuma takShakAh gunjEndragOpa KadyOta vidyut kunjara bindavah | dR^ig bimbAdhara jihvAsR^Ij`mAmsa sindUra dhAtavah ||" This `aruNa varNam' (red colour) is nothing else but the "mAyASakti" that which engrosses the whole universe while being in unison un-different with `paramaSiva'. "samasta BhuvanABhOga kavalIkR^ita jIvitA mahA swamahimAkrAnti swasthAhankR^iti BhUmikA | kramENatu tatO~nanga paryantam prOllasantyapi SarIrAnanga paryantam Ekaivam uBhayAtmikA ||" In this connection, while doing japa, there is a suggestion to meditate upon this `aruNa varNam' as, "swa vibhutwa sarvasyAkrAntyA sarvasyApi swa - -SarIratvEna sarvatrAhantA buddhE rudayEna swa SarIrasyEva sarva SarIrANAm swa vaSam vadatA avaSyam BhAvah ||" It is essential to imagine as if his own authority has spread all over and keeping his own "ahanta" in every thing as he feels in his own body. Also, one should aspire that all things should be under his control, as he is having upon his own body. This kind of imagination is called "swIya mahatwa vyApti". "Om aim hrIm SrIm vyApinyai namO namah SrIm" Having that kind of "vyApti", "swasthAhamkR^iti BhUmikA" means remaining in the fundamental basis of the unswerving `parAhanta'. She is making all the universes into a morsel of food spreading her `samaShti rUpa' `swIya mahatwa vyApti' and adopting the "samhAra krama japam". While doing such type of `japam', concentrating upon the brilliantly glowing, red cobweb-thread like form and deeply immersed into it, (`aruNima nimagnam' or `aruNa maNi magnAm' both gives the same meaning.) When entered and deeply immersed into that thread like mantrAkShara rUpa kuNDalini, it appears in the above said sixteen
dhAtu rUpa illuminations one after another. Going deeper and deeper, that luminous flux appears as "ataruNa taraNi" (the rising sun) and then "taruNa taraNi" (youthful Sun), and that is called "kOti Surya praBhA bhAsuram". "tatO~nangaparyantam prOllasntyapi kramENatu SarIrAnanga paryantam" means, the above said kundalini is rising upwards from the `swAdhiShTAna and all other cakras in an order, up to "ananga paryantam" that is up to the `kAmESwara Siva' who has no limbs or body form at all, but only the invisible `bindu rUpa' form. Again from `brahmarandhra' down to the "SarIrAnanga paryantam" signifying the "anAhata Siva". This kind of repeatedly going upward and coming downward again and again was described as "trasyad vanahariNa SAlIna nayanAh". "cancala swarUpinyai namO namah" "EkaivamuBhayAtmikA" indicates that this kuNDalini is the `Siva' and it is the `Sakti' also. "Siva Sakti dwandwa rUpiNyai namO namah", She is `the' desired woman for us all. One of the auxiliaries of the `ShODaSAkShari mahA mantra', the trio "Om hrIm SrIm" is always assigned in the thigh region(Uru pradESam). That is why this trio was named as "UrvaSi". In the purANAs it was said that "UrvaSi" was born in the thighs of "nArAyaNa muni". From the `pUrNabindu' which is really the `praNava' (Om), two bindus have expounded out. They are the other "hrIm and SrIm". It is the `visarga' which has separated from the `bindu' in the beginning. This is the form of "agnIShOmatmakam", which has separated from the "sUrya manDalam". This `hrImkAra' and `SrImkAra' are the individual forms of "prakASa" and "vimarSa" "hrIsca lakSmIsca tE patnyau" So elaborates the `puruSha sUktam'. `hrImkAram' is "mAyA bIjam" and the "SrimkAram" indicates the "kAla bIjam" which symbolizes death. The first `bIjAkSharAs' of these two `bIjas' are "ha" and "Sa" denotes as "ha" indicates `jIvatwa' (life) and "Sa" indicates the "mR^ityu" (death). Both of these will always be inter-traversing into each other. It is not possible to distinguish which is `hrIm' and which is `SrIm'. Only because of this traversal gestures, ever-changing fluctuations are being experienced in this world. These gestures are indicative of vacillation, and hence equated with the word "trasyad vanahariNa SAlIna nayanAh" Whoever understands the secret of this yOga of these two bIjAs, understands the mystery of "mAya" and he becomes eternal "mR^ityunjaya". For the "Bhairava" who has meditated upon the
`samaShti' of these three bindus, called as "kAmakala", the "mAyA swarUpiNi" "kAli" too has become his `pAda dAsi'. Then what to say about the ordinary damsels ? Yours in the service of the mother, krishnarao //////////////////////////////////////////////////////////////////////////////
"muKam bindum kR^itwA..."
From :- krishnarao (lanka.krishnarao@gmail.com Subject :- "muKam bindum kR^itwa ….". SrIguruh sarvakAraNaBhUtA Saktih | SrI mahAgaNAdhipatayE namah || "muKam bundum kR^itwa ….." "muKam bindum kR^itwa kucayugam adhastasya tadadhO harArtham dhyAyEd yO haramahiShi tE manmadhakalAm | sa sadyah sankShObham nayati vanitA ityatilaGu trilOkImapyASu Bhramayati ravIndu stanayugAm ||" This is the 19th SlOka in the soundaryalahari of Srimad BhagavatpAdA SrI Adi SankarAcArya, and its literal meaning runs as follows. "hariNi ! He who meditates upon your face in the bindu-sthAna and having the Sun and moon as the pair of breasts beneath of it, and its underneath the cupid`s segment (the yOni), instantaneously he is creating distress and delusion in the women of the three worlds".
But in my opinion, the esoteric meaning of it is otherwise different. I submit hereunder my view point, for the perusal of our members. "nityA kUta trayam dEvi turIya swara SEKaram | tat turIyam swarUpan ca bindutrayam udIritam || tadAtmakan ca dEvyAstE sAdhakasya ca yadBhavEt | tad BhAvanAm SR^iNu prAj~nyE mahOdayakarIm SuBhAm || Urdhwa bindwAtmakam vaktram adhO bindu dwayAtmakam | kuca dwayam tu tatChEShA gatimEtAm viBhAvayEt ||" The kAditantra has described the `kAmakalA' as above. At the end of the three `kUtAs'of any mantra, as heard in the ends of nAda and nAdAnta, that "ImkAra nAdA' itself is the "turIya swarUpam" (the fourth avastha).The `ImkAra" is meant for the "mahA mAya". That is to say that it is the witnessing spirit for both the concepts of existence and nonexistence. (BhAvABhAva sAkShi caitanyam). "kUta trayE mahAdEvi kuNDalI tritayEpi ca | cakrANAm pUrva pUrvEShAm nAdarUpENa yOjanam ||" This is an instruction of guide lines for the three types of "adhikAri BhEdAs" for doing japa and dhyAna of "kAma kaLA". The first one for the beginners is, to conjoin the three kUtAs of the mantra In the `kuNDalini", which is in three forms as gross, subtle and `para' and doing japa associating the nada in each of the cakras. The second one for the `madhyamAdhikAris' is, to meditate upon the nine `nAda sthanAs' from the centre of the forehead up to the brahmarandhra viz. `bindu', `arthacandra', `rOdhini', `nAda', `nAdAnta', `Sakti', `vyApika', `samana' and `unmani' each at a distance of one `anguLi' linking up with the `mantra akSharAs', with a feeling of the nectarous flow showering in the `dwAdaSAnta'. The third one for the `unnatAdhikArIs' (advanced devotees) is, visualizing the face of fully ornamented divine mother in the 'bindu', (`nAdasthAna' in the centre of the forehead), brace of breasts appearing as "visarga" in the "nAda, (nAda Sthana" in the hairline); and the vagina in the `trikONa' of `brahmarandhra', adopting the three kUtAs/KanDAs of the mantra with the feeling of absorbing oneself in that `citkaLa', which is the real source of the birth of us all. This kind of dhyAna is called as "kAmakaLA dhyanam".
Every alphabet of the mantra being merged into the preceding one and forming into one single "EkAkShari mUrti swarUpam" "dEvA dEvEShu Srayadhwam| prathamA dwitIyEShu Srayadhwam| dwitIyAstR*itIyEShu Srayadhwam| tR^itIyAscatuturdhEShu Srayadhwam| etc., etc.,| dEvA~~strIrEkAdaSA streestrayastigmSA| uttarE Bhavata| uttara vartmAna uttara sattwAnah| yat kAma idam juhOmi| tanmE samR^idhyatAm| vayagg syAma patayO rayINAm||" Here "nAdarUpENa yOjanam" means, merging all the bindurUpa alphabets in the ultimate nAda. Generally many of the sAdhakAs recite the `mantrAkSharAs' and at conclusion, prolong it with the nAda. It is just like proceeding yourself in fore-front and asking the `kuNDalinI rUpa paradEvata' to follow you behind. The above verse is asking us to keep behind of the `paradEvata' until her destination to the `bindu'. Or, recite all the `mantrAkSharA's as lightly as the uninterrupted nAdA only. . "trikONE baindava sthAnE adhOvaktram vicintayEt | bindorupariBhAgE tu vaktram paricintya sAdhakah || taduparyEva vakShOja dwitayam samsmarEd budhah | taduparyEva yOnin ca kramaSO BhuvanESwarIm | SrIvidyAm kAmarAjan ca vinyaSyASu vimOhayEt ||" `SanatkumAra samhita' also describes the same in another slightly changed method. "bindutraya samAyOgAn mahAtripurasundarI nAdarUpENa sA dEvI hakArArtha swarUpiNI ||" `J~nAnArNava tantra' also is describing it as "nAda rUpa" only. "Antaram nAdAnusandhAna lakShaNam japah" and also, "nAsti nAdAt parO mantrO na dEvah swAtmanah parah" That is why, by accomplishing the 'turIya swara japa' in the form of `nAda', is achieving instantaneous "siddhi". This very `turIya swaram' is also called as "gupta mahA sAraswata bIjam". "avyakta nAmnI paramESa Saktih anAdyavidyA triguNAtmikA parA | kAryAnumEyA sudhiyaiva mAyA yayA jagat sarvamidam prasUyatE ||" AdiSankarAcArya has described this "mahAmAyA swarUpiNi" as "sannAp yasannAp yuBhayAtmikAnO Bhinnap yaBhinnap yuBhayAtmikAnO| sAngAp yasAnga hyuBhayAtmikAnO mahAdBhutA~nirvacanIyarUpA ||" Which is neither the form of "SUnya" nor the form of "sat",
being and not being both the forms, is "mAya". The `rudrayAmalam' says that the influence of this `mAya' is extent all over the three worlds. "naBho mahA bindumuKI candra sUrya stanadwayA | sumEru hAravalayA SOBhamAna mahIpadA || pAtALatala vinyAsA trilOkIyam tavAmbikE | kAmarAja kalArUpA jAgarti sacarAcarA ||" All the three worlds of BhU, Bhuvah and swah were stretched in the three `avasthAs' of `jAgrat', `swapna' and `suShupti' just by this `mAyA Sakti' only. This `mAyA' is neither a male nor a female, nor it belongs to both genders. The form of it is visualized as a fully ornamented woman. Because this is the highest of all the dEvatAs, the japa samarpaNam is intended in the name of masculine gender and the dhyAna slOka is indefinitely saying, "dhyAyEd BhAskara SItAmSu vahnInAm manDalOpari sthitE vahnipurE nAgadaLa padma samASritam | anguShTa mAtra mamalam viShgnu mOnkAra rUpiNam sarva dEvamayam dEva manantam sarvatO muKam | swamAyayA samAkrAntam sUkShma jyOti swrUpakam sa brahma sa Sivah sa hari ssEndrah sO~kSharah parama swarAt || Here ' viShnum' indicates the extensiveness and `sUkShma jyOti swarUpakam' indicates the last visible state of an object. "swarAT" indicates the sovereignty. As many of us think, there are no three bindus, nor there any `trikONa' at all. There is only one `bindu' in which all these are embedded, in the same bindu, there are two bindus, just like a seed of any plant having two cotyledon cups. With the extensions on both sides of this, it appears like a triangle. If this `bindu' is considered as "Siva", the two cotyledons can be taken as "Siva and Sakti". However they are not two different individuals. On the whole, because of the duel appearance, just as the seed is appearing with two extensions on both sides like a triangle, the bindu also appears as a triangle when it is all set for creation of the universe. Prior to the separation of `icCha, j~nAna and kriya", all of these three were remaining in the same `icCha' of `paramaSiva' only. The j~nAna and kriya of the ensuing creation both were embedded in that `icCha'. It means, both of the two bindus, (j~nAna and kriya) were set in the main "kAraNa bindu" only. Because there was no pollution of external "viShayAs" (worldly interactions) they were glowing in perfect and pure brilliance. Those three
luminaries were named as the moon, Sun and fire. The consequence of the "aham sphuraNa" (the quiver of `I' consciousness) in `parama Siva' itself has appeared as `a' and `ha'. If `a' is the `prakASarUpA' of Siva, `hakAra' is his `vimarSarUpa'. `akAra' is called bindu and SUnyam ("binduh SUnyam akArah"). From this `SUnyarUpa bindu' only all the fifty alphabets emerged out. `ha'kAra' also is the outcome of this `SUnyarUpa anuswAra' (`a'kAra), and this is called as `visarga'. In this `hakAra' both hakAra and akAra are existing, just like the "agnIShOmAtmaka rUpam' coming out as an accessory of the `sUrya maNDalam'. It is the deceptive form giving us the impression that the Sakti' is different from `Siva'. This `visarga', the twin bindus is the persona of the `vimarSarUpa cit Sakti' which is actuating in the act of creating the universe. …………….. From this `visarga', the whole of the universe came out through six `adhwAs' in three stages, viz., firstly `varNa' (alphabets) from one bindu and `kalA' (division) from the other; again these alphabets developed as `padam'(words) and the `kala' became `tattwam' (constituent element); and then the `padam' transformed as `mantram' (sentence) from which all the `vEdAs, AgamAs and the whole literature; and the `tattwam' transformed as `Bhuwanam' in which all the fourteen worlds existed. By this we can understand that the whole of the universe and whole of the knowledge, every thing is the product of this twin bindus ie., visarga. All of these issues were dispensed out through the triangle which is the reflected manifestation of the `bindu' and `visarga'. For any one who aspires to explore about his own primary origin (swaswarUpa j~nAnam), he has to go and search for it in the basic source of his entering into these worlds. That source is nothing else but this unit of `bindu', ` visarga' and the `trikONa'. This unit is called "kAmakaLa", because all the intelligent intellectuals always yearn for it. They all know that this is the "viShNupadam" they eternally aspire for. "tad viShNOh paramam padam sadA paSyaNTI SUrayah. divIva cakShur Atatam" "puNDarIkAkSha!, puNDarIkAkSha!!—" All of these sages are relentlessly staring at this unit only, making their eyes as wide as the skies. "nEtrAdi jAlakOpAntE hR^it padmAsana lIlayA vAram vAram twayA dEvi rUpAdi madhu sEvyatE ||" For every thing of the worldly experiences, the external and internal
senses are the sole generators. This mahAmAya is observing every thing with the help of these senses like a spectator and also controlling every thing like a dictator. Nothing is there which is not deluded by this `mAya'. Undisputedly every one is in her grasp. She is "sarvavimOhi". and when graciously kind, she becomes "mOhanASani". In the above SlOkA the word "trilOkIm" indicates the "sthUla, sUkShma and kAraNa dEhAs". The word "ravIndu stana yugam" indicates "brilliantly glowing visions" and the word "vanita" is indicative of the worldly attractions. It means if the mahAmAya is kind and benevolent, she will disrupt all the clutches of the worldly attractions. "ravIndu stana yugam" again indicates the"agnI shOmAtmaka jagat" Every thing is Siva_ Sakti mayam!! "EkAm prakR^iti rUpENa sarva Saktim vicintayEt | kAmayEt kAminIm sarvAm dEvIm AvarNa rUpiNIm || cintayEt sundarIm dEvIm sarva vyApaka rUpiNIm | ikAraBhUta mantrasyAvayavam ca catuShtayam || bindu trayasya dEvEsi pratham dEvEshkaka viduh | bindu dwayam stana dwandwam hR^idi sthAnE niyOjayEt|| hakArArtham kalAm sUkShmAm yOni madhyE vicintayEt | udyadAditya samkASam sindUrABham stanadwayam || bindum sankalpya vaktram tu sphurad dIpa SiKa praBham | kAmO bindu raham dEvi tatrasthA paramESwarI | Siva Saktimayam dEva tadadhastat kucadwayam || tadadhah saparArtham tu cidrUpA paramA kalAm || sancintya sAdhakaSrEShTastrailOkyam vaSamAnayEt | Etat tE kathitam dEvi kAmakalA sunirNayam || gOptavyantu prayatnEna yadIcChEdatmanO hitam ||" krishnarao (SrIparaSuKAnandanAtha) ////////////////////////////////////////////////////////////////////////////////////
What is common in adwaita and SAktaadwaita ?
From:- Krishnarao (lanka.krishnarao1@gmail.com) Subject :- what is common in adwaita and SAktaadwaita? priya mahASayAh, One scholarly pITAdhipati has defined adwaita as "maru marIcikA nyAyam" and SAktAdwaita as "mR^idGaTa nyAyam". I don't know how far this illustration is appropriate. But he did not answer my above query I still have the doubt how SrI SankarAcArya and his followers have chosen to follow both the sampradAyAs simultaneously, because adwaita says there will be no water at all in the mirage whereas in SAktaadwaita there is the mud and also the pot. I request all our members to clarify my doubt giving proper examples to understand easily. Thanking you all in advance, Yours always in the service of the mother krishnarao (SrIparasuKAnandanAtha) ////////////////////////////////////////////////////////////
Examples for the upAsaka
From :- kR^iShNArAv (lanka.krishnarao1@gmail.com) subject :- examples for the upAsaka SrIgurussarvakAraNaBhUtA Saktih | SrImahAgaNAdhipatayEnamah || Examples for the upAsaka 1) SrImannArAyaNa one day appeared before Bhakta prahlAda to spend some time with him. prahlAda`s pleasure was unbounded. He prostrated before nArAyaNa and accomplished all the ShOdSOpacAra pUjAs with utmost and great adoration. They both spent some time conversing about so many aspects in detail. At last nArayaNa got up and said "prahlAda, I must go now. There are so many other devotees waiting for me, I will have to attend and satisfy them too". prahlAda became shockingly sad and weeping. "But how can I live without you O` god? Please don't go leaving me here. I can`t allow you to go". nArAyaNa persuasively told him "You should not be obstinate prahlAda, I got so many works to attend. If you leave me now, I will give you anything you want. I will endow you with any amount of riches and pleasures you want, but you must allow me to go." prahlAda adamantly said : "I got everything with me my lord, I don't want anything except you. You should not leave me." nArAyaNa again said : "I will endow you what you are lacking , I will make you the lord of swargalOKA, but you must leave me my boy." But prahlAda was unyielding. He said, "I don`t consider swargalOka is greater than my own motherland at all. I don't want it at all. I want you only." nArAyaNa again tried to convince him. " prahlAda, lakshmidEvi is waiting for me. I must attend her. You must understand and leave me now. I will give you
whatever you want, including lakshmidevi to live at your residence, make you the lord of my vaikunThalOka, and everything of my own for you, but you must leave me now ." prahlAda broke into a laughter and said, " If you are the person who can endow me all these things, why should I aspire any of them and leave you my lord?" ……………………………………………………………………………………………………………………………………………………………………………… 2) There was one jangama dEvara who used to live upon some meager amounts, earned by selling mattresses made of some collected old cloth pieces, stitch together like a thick pad to use as a bed cloth (in telugu it is called "bontha.") He was once initiated pancAkShari `Om namaSSivAya' by his guru with which he is always reciting day and night while doing his routine duties for more than fifty years. Lord Siva and pArvati while passing through in the skies in their routine modus operandi, to observe the happenings of the universe, they were looking at this jangam also. One day pArvati asked Siva "nAtha, are you not looking at this poor man who is so sincerely doing pancAkShari japa since so many years? Why did you not bless him with some riches, so that he can do japa more easily?" Siva replied "you don`t know about this man pArvati, we can`t do anything here. Please keep quiet.". But parvati did not agree with Siva. She reiterated saying "You are a man after all. Your heart is stony hard. You will not have enough kindness. But mine is the mother`s heart. I can`t keep quiet seeing my son suffering with hardships. At any cost you must give him all the needed boons right now. Siva again tried to convince her, but however accepted to follow her to appear before the jangam. But the jangam was deeply immersed in his sewing work and not at all looking at these two. Then pArvati called him and told "Hei jangam, we pArvti and paramEswara came to you, look at us." Jangam bade a hai and again immersed in his work. pArvati again said "Hei jangam, we the lords of the whole universe came up to you. Because you are sincerely doing the pancAkShari japa, we are here to endow any boon you like. You can ask us thing, you want in this world." The jangam quietly said "O gods! Leave me alone. I must complete this `bontha' before the sun sets. If I did not complete this, the man who purchases this, will go away and I will not receive the money to purchase rice ground for my night gruel. I will have to starve all the night and tomorrow also until the evening. I request you both, for god`s sake leave me alone." But pArvati was too persistent and asked him to tell about what all his needs are! At last the jangam asked her the boon. "If you are so powerful gods, see that this thread should be following the needle each time I sew this bontha." ………………………………………………………………………………………………………………………………
……………………………………………… 3) paNDarinAth SrIkR^iShNa vitTal was very much pleased for the devotion of Bhakta pANDuranga. Instantly he came away to meet his devotee. At that time pANDuranga was kneading upon the feet of his father and mother to induce them to sleep. At that time when SrIkR^iShNa came there, It is heavily raining then. He called loudly "pAnDuranga! I am SrIkR^iShNa for whom you are all these days longing for. I came here to meet you and give you all the boons you want." pANDuranga putting his index finger upon his nose to indicate "keep silence" and said: "Please don`t make noise and disturb. – my father and mother are just now getting sleep." SrIkR^ishNa again said: "But it is raining now and the whole ground is muddy and filthy here. My feet are becoming cold. I am unable to find a place to stand." That house was very small to provide any space for another person. pAnDuranga was helpless. He looked around for any solution. His glances stopped at one brick lying nearer to him. He immediately grasped it and threw it towards SrIkR^ishNa and said "My divine lord, at present I am unable to move from here leaving my parents until they both go into deep sleep. Until then please adjust yourself somehow, standing upon this brick." ……………………………………………………………………………………………………………………………………………………………………….. My dear upAsakAs, I hope these three stories should become eye openers and guide lines to streamline the concept of our upAsana. Yours always in the service of the mother kR^iShNArAv ///////////////////////////////////////////////////////////////////////////
The meaning of sandhya
From :-Lanka krishnarao1@gmail.com Sub :- The meaning of sandhya "ugram veeram mahaviShNum jwalantam sarvatOmuKham nR^isimham BheeShaNam Bhadram mR^ityu mR6ityum namAmy aham " The upaniShad has given a commentary for this mantra in a nR^isimhAnushtup as, "ugram anugram veeram aveeram mahat amahat viShNum aviSnum jwalantam ajwalantam Sarvatomukham asarvatOmukham nR^isimham anR^isimham BheeShaNam aBheeShaNam Bhadram aBhadram mR^ityumR^ityum amR^ityumR^ityum namAmy anamAmi aham anaham " Also included that it is "OmkArAgravidyOtah ". True it is ! Let us analyze ---- It is the ferocious form that frightened brahma etc., all the dEvatAs, including SrImahAlakShmi. It is so nonviolent anugraha form which did not frighten even a least for the
young prahlAda It is the valorous heroic form that it always wins over all the rAkShasAs every time hence vEEra. It is also aveera because there is no space remaining for him to extend any further. It is all pervading, Ie., sarvatra vyApanaSeela mahAviShNu form. It is the form of ever extending mahAviShNu; and also it is not transmutable and ever static `sthANu', hence amahAviShNu It is the blazing form of fire, so jwalantam; and also it is the coolest form of water too, hence ajwalantam It can see in all the directions at the same time, so sarvatOmuKham: It will not see anything outside, being introvert, hence asarvatOmuKham also. Having both the forms of a man and a lion it is the form of nR^isimha; and also it is neither a man nor a lion it is anR^isimha. Because it is terrifying every one it is the form of BheeShaNam; and because it is tenderly lovesome it is aBheeShaNam. Because it is gracious and protective it is called Bhadram; and also because it is the form of `kAla', it is aBhadram. Because it is the form of mR^ityunjaya, it is called mR^ityumR^tyuh, and because it is the mR^ityu for those who think themselves immortal, it is amR^ityumR^ityuh In the Bhinnatwa BhUmika I say namAmi; and in the Ekatwa, whom to say namAmi? So anamAmi Being non extrovert it is aham ; and being sarva kAraNakAraNa it is anaham nR^isimha killed HiraNyakaSipu. Not in the form of a man nor as an animal; it is the concoction of both. He did not kill during daytime nor at night; it is twilight. Not inside of a house, nor outside, it is on the sill of the door. Not in the sky nor on the earth, but on his own lap. Not with any weapon , but with his own nails of hands. This kind of unified state of duality is called `Hiranyagarbha avastha' (the samaShti of thyjasa or swapnAvastha ). This is the mixture of the visible and invisible form. The literal meaning of hiraNyagarBha is-- "wisdom installed in ones belly". This form is also called "sandhya". It is the gAyatri that pleases
with the prayers of the devotees. It is the sAvitri which enlightens and instigates the devotees. It is the saraswati which is the form of anugraha Sakti and the stream of karuNa rasa. It is the form of sandhyA dEvata which endows both the day and night at a time. It keeps day light in the darkness of night. All the R^iShis praised it as "brahma Sareera". It is the last and lastly fading visible form and also the first and firstly appearing dimly invisible form. (vyaktavyakta swarUpiNyai namah). It is the form of a sadhanA swarUpa, to obtain the `amR^ita', by annihilating all the puNya, pApa, kR^itya, akR^itya, samkalpa, vikalpa, dharma, adharma and also sarva dharma nikR^intana also. This is the form of the primarily remaining `AdiSEsha swarUpa' after the elimination of "nEti nEtIti SEShitam yat parampadam, nirAkartum aSakyatwAt sO2smi sO2smeeti BhAvaya ||" " sarva dharmAn parityajya mAmEkam SaraNam vraja " It is the collective form of all the dEvatAs, ( sarva dEvatA samUhamUrti ). It is the `kAmAKhya' from which all the forms have come out and have to finally merge in it only. (sarva kAraNa kAraNa) "triShu vikramaNESh wadhikSayanti BhuvanAni viSwAh ". With these three sandhyAs it can subside the `mAyA', which exhibits itself in the form of the "universe'. "mR^igO na Bheemah" – It is an animal (simhah), but not in the least it is violent (himsah). (It is SAntah ie., samastEndriya samyamana SeelaH) "Ku charah" – in the passage of kulamArga ie., the kuNdalinI swarUpa, treading in the passage of suShumna "giriShThah' – It is in the form of buddhi (intellect), which is settled in the uppermost crest of trikONa "brahma randhrE gurum smarEth". The amR^ita swarUpa guru paramAtma, who is the sole embodiment of the `buddhi'. This is the replica of the mahAkAla who has kicked the mR^ityu dEvata for a long long distance. He is the one who in the form of paramAtama rupa simha, reforms a paSuprAya human being who is gnyAnaheena and mR^ita jeevana into a gnyAnapUrNa and mR^ityunjaya swarUpa and bestows him the boon of "amR^itatwa". (paSu pASa vimOchanyai namO namah) This mantra is the one which belongs to the maNipUraka aShTadaLa padma. "aShTArE aShTadaLAmbujam". He is the gnyAna BhAskara, who sanctifys the avidya which appears like real vidya into Suddhavidya. HiraNyakaSipu was the one who has exposed out the wisdom (gnyAnam) and wore it as a garment outside around of his body. As an example of this, in consideration of his SiShya, who is also an extrovert paSu, he has vivisected the maraNa Seela panchama SeerSha with the edge of his nail "Sira stad vaidhAtram na Khalu suvR^ittam paSupatE
Katham vA niryatnam karanaKha muKhE naiva lulitam ||" And pierced through his nirakShara kukShi and made him an akSharAtmaka gnyAnapUrNa puruSha. He is the expert genius who can convert a hiraNyakaSipu into a hiraNyagarBha brahma. "vEdyah kim na Bhavatyaho Ghanataram keedR^ig BhavEn mattamah ||" So says AchArya. Really! It is so such a pitch darkness. It is described that, that darkness is so thick and dense, that even a needle cannot be pierced through it. It entrenched over all the three avasthAs and took them all into its fold. But this `omkArAgra vidyOtah' is there for us, that brilliant illumination over that pitch darkness. " Adya avidyA hR^idgatA nirgatA Aseet,vidyA hR^idyA hR^idgatA twat prasAdAt ||" It is the real "sandhya". It is the amalgamation of both darkness and the brilliance of light at the same time. "avasthA traya BhAva aBhAva chaitanyam " This sandhya is nothing other than the tureeya vidya. "eem parO rajasE sA-vadOm" "DhyAyEd BhAskara SItAmSu vahnInAm manDalOpari sthitE vahnipurE nAgadaLa padma samASritam anguShThamAtra mamalam viShNum OnkAra rUpiNam sarva dEvamayam dEva manantam sarvatOmuKham swamAyayA samAkrAntam sUkShma jyOtih swarUpakam sa brahmA sa Sivah sa harih sEndrah sO2kSharah parama swarAT ||" In the service of the mother, krishnarao
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From :- krishnarao Subject :- concentration mAnanIya BhUpEnderji, Please dont bother for the concentration. In fact this is not possible even for the so called R^iShis and also for viSwAmitra like brahmarSis too. The very name of the mind itself is 'cancala'. This is just like the story of a guru who initiated a SiShya, with a great mantra which can give a good fortune, but with one condition that he should not remember the thought of any monkey. The SiShya could not begin to chant the mantra at all because every time he sits to begine to meditate upon chanting the mantra, an image of a monkey was appearing in his mind. The way you are practicing upon the day-dreaming is in one way a good sAdhana, if you streamline it in a proper method. You have to gradually replace good thoughts in place of bad thoughts. This is a kind of swapnAvastha while being in the wakeful state. This will lead to the turIya avastha, which is the experience of all the three states during the wakeful state itself. Just try to remember the events of your pleasent experiences of your pilgrimages, try to recall the memories of the precepts of elderly spiritual teachers you have heard in the past. Leave the mind freely for some time to think of its own thoughts, but immediately include the above type of thoughts for a few minutes of time. In this way increase the time of good thoughts in your mind to be filled gradually. I hope you will acheive what you are aspiring for in a very short
time. Yours always in the service of the mother, krishnarao -- L.Krishnarao
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Bhakti vikArAs pUjya SrI gaNapathyji, crying, laughing, rolling on the ground etc., vikArAs need not be accepted as the symptoms of Bhakti. Any real sAdhaka`s mind should always be very calm and tranquil without any agitation and without loosing ones self possession. That Bakti BhAva may be common in the devotees of chaitanya cult, but not for SrIvidya upAsaakAs. " samudrAd arNavAd adhi samvatharO~jAyata" samudra means having stillness without any disturbence by any waves of wind. This is Siva avastha "arNava" means the agitated ocean with full of heavy waves..This has occured when the first throb of "ah" in the Siva avastha (aham), Then the whole of the false universe manifested along with the time in the form of day and night differentiation, sun, moon, dhAtA etc., etc., This is all Sakti avastha. Sakti is after all "Siva gnAna pradAyini". Our ultimate goal is to acheive that Siva avastha. Tanmaya avastha is to remain ourselves of the deity (not one with deity). The vikArAs of laughing, weeping etc., will appear only when one looks at the deity as different from him. One will not have any feelings when he looks his own image in a mirror. But vikArAs arise only when he looks the image of another person only.
We dont want that type of different image and any such vikArAs. We remain as we are. We dont find any abnormality even when the fire flames downwards or moon becoming hot or the sun becoming cold. We dont want the deity to put us in surprises and BhrAntis showing us her or his mahat (greatness), but be inside of us and do any thing what will be good for us. The mahat of god is only for those who believe god is greater than us. But we cant bear if god is a liittle bit greater than us, as we could not reach that part of him; and also if he is a little bit smaller to us because that extra part without him in us will become unbearable. We strongly believe that after all the mantra, the dEvata, and even the guru are only the extensions of myself and not different at all. Any of these should not be greater or lesser to me. My gurunatha used to reject any further initiation for those who exibit any such vikArAs like 'tanmayam' or weeping, laughing etc.while taking any mantra initiation. He was saying that they are all symptoms of Hysteria and mental and nervous weakness. Srividya is not for every tom and dick. It is different and such weak minded persons do not deserve SrIvidya
initiation.at all. prEma or 'rAga' is the outcome of mAya and avidya. No where in our old sriptures we find any mention of this ' prEma tattwa' which always purge vikArAs out. Please excuse me if I have exeeded any limits -- krishnarao
//////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// From :- Lanka Krishnarao (lanka.krishnarao1@gmail.com} Subject :- About SrIyantrAs
SrIguruh sarvakAraNBhUtA Saktih | SrI mahA gaNAdhipatayE namah || priya mahASayAh, The following verse is the 15th one in the “sowndarya lahari” composed by SrI Adi SankarAcArya. “Sarat jyOtsnASuddAm SaSiyuta jatAjUta makuTam Vara trAsa trANa sPatika GatikA pustaka karAm | SakR^innatwA kathamiva satAm sannidadhatE madhu kSIra drAkShA madhurima dhurINAh PhNitayah ||” Unless one has ever prostrated before you, who is lustrously glowing like the autumnal moonlight, having lunar crescent upon the crown over the dressed hair, and wearing a crystal rosary, varada mudra, aBhaya mudra and the book in all the four hands, how anyone could dole out poetry elegant like honey, milk and the sap of grapes? ! This is the commonly understood meaning of the above verse. But for a person with an intense desire to achieve the eternal emancipation, can this be an advice given by the jagadguru? Has he to go to the court of a king or any others to please them and earn money and fame? In my opinion, there should be some esoteric meaning also behind this superficially understood meaning. Let us search for it. The above Sloka appears to be indicative of “Saraswati”, who is the goddess of speech {vak devata). But the book “sowndarya lahari” was intended in praise of “LalitA mahA tripurasundari”. Is Sarasawati and Lalita are one and same? Yes, it must be so. “rUpairanEkair bahuhudhAtma mUrtim, kritwAmbikE tat prakarOti kAnyA”Just as all the thee crores of devatAs are only the extensions of LalitAdevi who is “sarvAnatItya lalati”, this saraswati also is just an extension from her. In the Lalita sahasranAma, the devi was praised with the
names as “brAhmI”, ”vAgadhIswarI”, “vAgvAdinI”, “mAtR^ikA varNarUpiNI”, “SAntyatItakalAtmikA” and also as “saraswatI”. So it is evident that both are one and the same. This paradEvata, lalitA mahAtripurasundari, has got thee varieties of configuration, “sthUla”, “sUkShma” and “kAraNa” forms. The ‘SthUla dEha’ is described as “caturBhujE candrakalAvatamsE kucOnnatE kunkuma rAga SONE-----“etc., The second one ‘sUkShma dEha’ is “pancadaSi mantra akSharAs” and the third one ‘kAraNadEha’ is “tEjOrUpam” or ‘jnAna rUpam’ (sOham or sAham jnAnam) “stree rUpam vA smarEd dEvIm, pum rUpam vA smarEd athavA niShkalam dhyAyEt” In fact, the god, whatever name he/she has, will not have any body or form. But every god has got innumerable forms. Every one is having its own effigy. Lord Siva is symbolized in a Linga form. viShnu in sAligramam, In the same way this lalitA mahA Tripura sundari or rAjarAjESwarI parA BhattArikA also is having an effigy in the name of a “SrIcakra”. For any yOgi who is capable of subsiding all the external earthly visualizations and introspectively ponder over the ten chakras in his own body may not be in need of any SrIcakra, but it would be a proclaimed obligation for him to protect the sacred SrIcahkra entrusted to him by his gurunAtha, just like a housewife keeps the ‘mangal sUtra’ fastened by her husband at the time of marriage. Just as any image (of any god) could be seen in three forms as a painting upon a paper, a half protruded front side image with flat back side and a full-fledged statue, fully carved both front and back sides. The first one is called ‘BhUprastAra, the second one is “kUrma prastAra” and the third one is “mEru prastAra” Just as any other god is having innumerable forms and also innumerable effigies in the form of different yantras, our lalitA mahA Tripura sundari also is having innumerable forms of effigies in the names of different SrIyantras. A yantra is a kind of language to understand the details of any particular thing. Language of recognizing other`s expression will be in four ways. One is alphabetical (writing in letters), another is numerical (writing a digit instead of writing many letters), another one is gestural (showing signs with hands like come, go etc.,)and the other one is symbolic (marking lines, curved and strait, to show the direction of a route, or any instruction as, that there is a railway line ahead or there is a school or a playground nearby). These yantras also will come under the fourth category i e., symbolic of directing the way to reach that particular deity or god. It all describes how one has come out from his own abode dragged in to the ‘jiiva’ state by the influence of ‘mAya’.
The SrIcakras are innumerable in number, but mostly considered are, in ten types. They are categorized so, according to their lines and cones. They are 1.Bhadra cakram 2. vR^iddhi cakram 3. mahA cakram 4. SrIkaram cakram 5. SuBha cakram 6. kAmikam cakram 7. mOhakam cakram 8. Vyjayantam cakram 9. Jayantam cakram and. 10.nandanam cakram. Among these ten cakras, Bhadra cakram is the safest one and can be worshiped by every one. This cakra is otherwise called “BhUprastAra”, which consists of only lines drawn upon a flat surface. ‘kUrma prastAra’ means the cakra having a tortoise like appearance with a flat base upto the three avaraNAs and the rest upon a dome like elevation upon the base. If that surface is drawn by curved lines it is called “vR^iddhi cakra” and the same thing, if the surface is carved with cones instead of the lines, it is called “mahA cakra”. Both of these cakras are two types of ‘kUrmaprastha cakrAs’. This ‘kUrmaprasth cakra’ is also called as “kailAsaprastha cakra” This cakra should be kept in the houses of “gR^ihasthIs, worshipped regularly only according to the scriptures. The chakra, carved in cones with all the AvaraNAs one step upon another, from ‘BhUpura’ to ‘bindu cakra’, is called “mEru prastAra”. It is highly essential that it should be worshipped only by the ‘pUrNa dIkShita’ sAdhakAs only, in accordance with the mantrAs mentioned by the Agama SAstra. That pUrNadiikShita upAsaka only is eligible to worship this ‘mEruprastAra cakra’with all the regular services of obeisance according to samayAcAra only. It is mentioned in the SrIvidyArNava tantra that mEruprastAra is nityA tAdAtmaka and the kailAsa/kUrma prastAra is mAtR^ikA tAdAtmya, and the BhUprastAra is vaSinyAtmaka. Also, it says “mEru cakrEtu samhAra krama pUjA na vidyatE, sR^iShtikramENa dEvESi pUjanIyam prayatnatah ||” For this, SrI lolla lakShmIdhara clarifies that samhArakrama pUja means vAmAcAra method and the sR^iShtikrama is samayAcAra tradition. It was also said, “samhAra pUjA kailAsa prastArE2tra vidhIyatE BhUprastArE mahESAni sthiti pUjA sadOttamA || sthitikramO gR^ihastasya samhAro vaninO yatEh brahmacAriNa utpattih striyah sUdrasya cEShtatah||” Almost all the SAstrAs are loudly saying that if any one performs vAmAcAra pUjA with mEru cakra, it destroys all gratifications both in this and in other worlds too. The descriptions of all the other SricakrAs are available in so many tantra texts.
To arrive at this criterion of attaining untainted mind and heart is most important for worshipping SrIcakra, this verse of soundarya lahari ordains as “Sarat jyOtsnA suddhAm”. In saying “SaSiyuta jaTAjUTa makuTAm” it indicates the ‘candra manDala vikAsam’ The central point (nucleus) in the ‘bindu cakra’ is the ‘guru swarUpa sOma manDalam’. Determination to implement the instructions of ones own gurunAtha itself is the “jatAkalpam” ` in saying “vara trAsa trANa sphatika ghatikA pustaka karAm” it indicates as, “varam” means the boon in the form of mantra pramAta, acquired by the parampara. “trAsa trANa” means – devoid of all the fears, I e., ‘mR^itunjayam’. Or ”aham sphuraNAtmaka SivO2ham BhAvam” “sphatika GatikA” indicates an unsoiled bowl, I.e., “Siva Sakthi sAmarasyAnandAmR^ita sEvanam” achieved after relentless ‘japa sAdhana’ “pustaka karAm” indicates persuasion in accordance with the teachings of ‘vEda mArga’. Having all these four affluences, (one should have) “sakR^innatwA” prostrated flat before her even once. Or else, “madhu kSiira drAkShA madhurima dhurINAh phaNitayah” In saying this, it indicates that, ‘madhu’ means honey, the thing obtained from some creatures (bees), after gathering it from so many places and preserved at a safe place. This indicates the SrIcakra arcana performed by the ‘uttamAdhikAri pUrNa dikShita upAsakAs, who have attained the mantra, tantra and yantra siddhi as endowed by the pAramparika AgamAs “Sirah sthita gurOr daharasthA nAda vidyAyA parAvasAyi citkalArUpa dEvyAtmanaScAdwaita BhAna sama kAlam sakalEndriyair viShayAn BhunjAnas tajjanyAnanda dhArAmAtra viShayaka nirvikalpaka j~nAnaika sAratayEtara niKila viShaya pramOShENa kancitkAlamavsthAnam” Including this type of introvert ‘parA pUjA’, along with the extrovert ‘aparA pUjA’ simultaneously performing in the exterior SrIcakra implanting flowers etc., on its top, together with certain and certain mantras in each of the “AvaraNA dEvatAs”. It is possible for none other than the “pUIrNAhamBhAva BhAvitAs” only.The ‘kShiira” is the milk extracted from the cow, potable to drink. This is also obtained with some effort. This is to be performed upon a ‘kUrma cakra’ by ‘madhyamAdhikAri upAsakAs in accordance with the guidelines of Sriguru, doing ‘antaryajana’ and ‘bAhya yajana’ simultaneously, doing ‘Shat cakra anusandhAna rUpa navAvaraNa ShODaSOpacAra pUja’ with a difference of ‘nitya and naimittika anuShTAna’, as said “parAparasya bAhyasya cidvyOmni vilayah smR^itah”
“drAkSha” is simply taken from the plant and easily eatable. ShODaSOpacAra pUja performed upon the BhUprastAra SrIcakra by any one with ‘kavaca, stOtra, nAma’ etc., “PaNitayah” means, Unless one is performing Sricakraarcana in this way, in different ways “kathamiva satAm sannidadhatE” how anything is not possible for those “madhurima dhuriiNAh” who attain the efficiency of making ‘amR^ita utpAdanam’ krishnarao
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Siva/Ajna From:Krishnarao Lanka priya mahASayA, When Siva has no name or form,how can any one see or experience any way or any where? A~jna cakra is no where situated in the gross body frame.It is after all one of the hurdles in the journey to god realization, which we will have to overcome this AvarNa also. Any thing seen, heard or sensed, all are myth. We should not become prey for any illusions or delusions with biased notions. krishnarao
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From :-- SrIparasuKAnandanatha (krishnarao) Subject :-- ShODaSOpacAra pUjA Priya mahASayAh, In my opinion, we must have some understanding, why we should do any upacArAs in the name of any god or deity.. Otherwise it would be meaningless and, waste of time and energy too. Neither any deity needs any upacArA nor this drop of water reaches that far off distance. It can’t be different from the children`s play with his toys. Actions and speeches without any meaning will become some mad man`s guestures. I wish to present you the way of my understanding while performing each of the upacAra. I don’t say, all these are authentic and bear only this meaning. These are some guidelines for the devotees, by which they will be able to formulate their own interpretation. For any god or deity, we perform sixteen types of services (ShODaSOpacAras), viz., 1.dhyAm, 2.asanam, 3.pAdyam, 4.arGyam, 5.AcamanIyam, 6.snAnam, 7.vastram, 8.yag~nopavItam 9.gandham 10. puShpam 11.dhUpam 12.dIpam 13.naivEdyam 14.tambUlam 15.nIrajanam and 16.mantrapuShpam. The meaning, how I interpret for myself is narrated hereunder. 1. dhyAnam and AvAhanam :-- We meditate upon the deity which in reality has no form nor any name for it.. But we wish it should have some form as we imagine it to be, and we also apply a name for it also. It is a kind of monistic dualism. We know it is none else but our own self. But we want to see it in a form and in a name according to our needs and fancies, while being in gr^ihastha Asramam. You are meditating upon your own self which is glowing like a flame
of light, bring it out through your left nostril into some flower in your hand, put it on the idol you worship every day. The idol after acquiring your own life force (which is the most dearest for you) is becoming your most beloved and divine, worthy of receiving any services from you. You are simultaneously visualizing your own prANaSakti both in your heart region (hr~idayam) and also out side of you. In this way you are practicing to see your own self in whole of the universe. “antar bahisca tat sarvam vyApya nArayaNah sthitah” 2. Asanam :-- You are collecting all your senses and blending them into one concentration with a feeling of “aham brahmAsmi” to install your dearest deity in it. 3. pAdyam :-- This is to wash the dirt on the feet of the deity. The dirt is nothing but the feeling of difference with god. If we wash this kind of difference, the deity and your self will become one and the same. “dEvO BhUtwA dEvam yajEt”, You should not worship any god without yourself becoming that god. 4. arGhyam :-- Water used for washing hands. It is washing out the past karmas (deeds), and reaching the state of pUrNa Ananda (absolute bliss) having no wishes or desires, desist of every thing in mind. 5. Acamanam :-- This is an act of purification of body and soul. It is bestowing the divine experience into your mortal soul by acquiring the knowledge of “SivOham”. you are experiencing your own soul as the self existent and uninterrupted illumination. 6. snAnam :-- This is to create nectarine stream from your brahma randhra, and make it flow into all of your 72 thousand nAdis, You should not forget that you are meditating upon your own self which itself is the “ananta kAla swarUpa paramAtma. 7. vastram :-- Enveloped with absolute bliss after the experience of the flash of the cid rUpa paramAnanda Sakti. 8. yag~nOpavItam :-- Visualizing the 24 tattwas having three knots (grandhis) within yourself. (suShumnA vikAsam)
9. Gandham :-- Perception of aroma of the “sat”. The presiding seat of the olfactory senses is ‘buddhi’ (the intellect). By offering this gandham (sanda paste) you are mitigating the ‘viShaya jaData’ (obtuseness in recognizing paramAtma). 10. puSpam :-- It is just wrapping up and concealing the image of the idol only to realize that that form is not your target of devotion. The flower is belonging to “AkASa tattwam”, “Sabda tanmAtra prakr^itikam”, The intellect is the presiding place for auditory senses. The god actually requires the flowers bloomed in the sky, not in the plants. (try to understan it please) 11. dhUpam :-- This is used as a drying agent. We have to scorch up the muddy moisture of our intellect, otherwise called ‘avidya’. dhUpam is sparSa tanmAtra prakr^itikam (touch sense), The presiding place of this also is intellect. 12. dIpam :-- “cakSuradhyAtmam draShtavyam adhiBhUtam Adityas tatrAdhi daivatam”. God does not need any artificial light. It is only for us to see god who resides inside of us and not out side. The viewer is yourself, object is god and the insight (antar dr^iSti) is Aditya the divinity is the target. You have to see inside of you to see god. Then only you can become divine. 13. naivEdyam :-- There are six places in the tongue to recognize the six kinds of tastes. All of these six tastes take shelter in the intellect only. Our life style also is multitudinous. But every thing of it has to be merged only in one object. We have to submit every thing of us for the god`s enjoyment. (ShadrasOpEtam BhOjanam). 14. tAmbUlam :-- The leaf, nut and the lime chewed together creates a new red colour. “avasthA traya BhAva aBhAva sAkShi caitanyam.”. Meditating upon “turIya avastha”. That is jIvanmukta avastha. 15. NIrAjanam :-- The camphor when lit, it is consumed till the last entirety without leaving any residue. This is “nirbija avastha”. Within the fifteen moon phases, there is also another phase which is concealed inside all of them.
its name is “AmA”. It doesn’t have any sequences of growth or decay. This is the candra kala which has received the award of honours by the lord paramEswara, by implanting it on the top of his own head. The luminescence of it is indescribable. We have to prostrate and surrender before that ‘durAdharsha’. 16. mantrapuShpam :-- Your hr^idayam itself is the ‘punDarIka puShpam”. “punDarIkam akShNOtIti puNDarIkAkShah”. Reflect deeply on that puNDarIkAkSha with that ‘puNDarIka puShpam’.Then you are performing pradakShiNa namaskAram with an intention of visualizing yourself as the consistence of your own body as well as the whole universe of fourteen worlds as the virAt purusha yourself. With this exhilarating bliss of felicity you are offering the “rAjOpacArAs” and “devOpacAras”, after submitting your whole of praNa Sakti and saying, “I am you and you are I” “AnandO brahma”, “aKaNDaika rasOsmyaham” SrIparasuKAnandanAdha
//////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// From :--Krishnarao Lanka Subject :-- yajjAgrato
mAnya SrI dhananjay, sa prEma namaskAr. I am glad that you have rested so much of confidence upon me in explaining the meaning of the SlOka, But in fact, I am not apundit in Sanskrit nor a scholar in English, either to understand or express out what actually I understand. However, I will try my best to satisfy your belief upon my knowledge, which every thing is only my guru`s grace
The SlOka, you have quoted has got so many different 'pAThAntara BhEdA's and in my opinion, almost a scrambled version. In our area it is being read as, "yaj jAgratO dUramudEti daivam, tadu suptasya tathaiva Eti, dUrangamam jyOtiShAm jyOtir Ekam, tan mE manah Siva sankalpam astu ||" Any way, I wonder how you have chosen to select this mantra? Unless one has got the meticulous knowledge upon so many subjects, such a doubt will not so easily arise about the ambiguity of this mantra at all. Any way, I will present my opinion only as a gesture of friendship and exchange of my view point. The meaning as I understand is: –- The very purport of the mantra is "*tan mE manah Siva sankalpam astu"* *"samyak kalpyatE anEnEti sankalpah"—"sankalpah karma mAnasam" "kluptau" *by this we can clearly substantiate "*kalpanam*" "*kalpatE praBhavati jagannASAyEti kalpah" "kR^I pU sAmardhyE" = *capable of dissolving/ destructing the worldly concern sankalpam at large is to dissolve /or destroy the perceptible worldly concern. *"siva sankalpam" *means---
" *SinOti tanU karOti iti Sivam" – ("SI~ng niSAnE" = "SI~ng swapnE")* *"Sivah SAmyati paramAnanda rUpatwAt nirAkArO BhavatIti Sivah* Here 'Ananda'means dissolution (sat- cit- Ananda = to create, sustain and dissolve (sR^iShti, sthiti, samhAra) 'paramAnanda' means mahA samhAram (total dissolution) Withdrawing all the extensions that appear like the infinitely endless universe with all the living and nonliving objects and 33 crores of deities including 'brahmA, viShNu and mahESwara', into the original state of the last visible state and also to the first invisible state which is called as "Siva". *"prapancOpaSamam SAntam Sivam adwayam"* This is also called "turIya avastha". . "avasthA traya BhAvaaBhAa sAkShi chaitanyam". The witnessing chaitanyam of the existence and non-existence of the three avasthAs Viz., jAgrat swapna and suShupti at the same time, is called that turIya avastha. Is it possible to witness all the avasthAs at a time? Existence and nonexistence!! For this, srIvidyA gives the solution with the help of a mantra sAdhana. How is it? Every mantra will have three "KhaNDA"s and the nadA of the mantra will also extend forth in the naqme of "turIya KhaNDa".(A+U+M +nAdA).
It also contains six a.ngAs. (ShaDa.ngAs). The first Khanda is being observed in the jAgrat avasthA. the second one in the swapna avastha and with the third Khanda he is drifting into the suShupti and from there he is attaing the so called turIya avastha with the help of the nAdA. All this process of meditation is narrated picturesquely in this mantra as— "yajjAgrato dUram udEti daivam" = While reciting the first Khanda of the mantra, the swapna avasthA with its imaginary image of the deity is rising (like the sun) for the second Khanda. "tadu suptasya tathaivEti dUrangamam"—From the Swapna avasthA the mantra/the kundalini while burrowing through the *"indra yOni"* (which is lying behind the uvala) with the help of the first half of the third KhanDA of the mantra to submerge in the suShupti avasthA, and very soon when it enters into the suShupti avasthA, the individual will not have his control over the mantra, but it will be involuntarily carried upwards through the mUrthanya nADi, towards the bindu and mahAbindu which is appearing at a far off distence glowing like a "jyOtiShAm jyOtirEkam" In this way the same jyOti, if one sincerely efforts to see, it appears with gross form, and also it will take him to the real form of Siva paramAtmA. "Siva j~nAna pradAyini"
With regards to your second question, I agree with you that the self and the mind are one and the same. The physical body of an individual is in reality the embodiment of the mind only. The mind itself taking the form of the physical body, extrovertly looks at the world and fabricates many numerous desires and experiences the pains and pleasures in return. But when it turns inwards and becomes introvert, the whole of the universe will get vanished and it becomes one with the AtmA. Only the Siva sankalpam remains. Then the mind in the name of AtmA remains alone. "EkamEvA advitIyam brahma". In this way "manO brahmEtyupAsIta" Yours in the service of the devine mother, krishnarao //////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////
From: - SriparasuKAnandanAtha, Subject pancAkSharI mantram:- Priya mahAsayah, “OmkAravadanA dEvI vayakAra BhujadwayI | SikAra dEha madhyA ca namahkAra pada dwayI | pancAkSharI parA vidyA sa tArA lingarUpiNI | Siva mantrABhidA SaivI mamAngE supratiShTitA ||” This is one SlOkam addressed in the name of dEvI (who is not at all different from Siva), whose name is “pancAkSharI parA vidyA”. The term ‘vdya’ is generally used for the mantras of feminine deities and the term ‘manu’ is applied for masculine deities. So, her name is “pancAkSharI parA vidyA”. ParA because, it is an outwardly inverted order of Siva. pancAkShari because it is a vidya consistent of five divisions, akAra, ukAra, makAra, nAda and kalA, all are one and the same through out in structure or composition All the above five alphabets are pronounced unitedly together as a single letter “Om”. In total, her face is ‘praNavam’(OmkAra vadanA). She is “tArA”, which means ‘praNavam’=OmkAra. It is just like a perfect boat with which we can cross the ocean of births and deaths.A flash in the memory of paramaSiva causing a noise as “ah”, reverberated in a space in himself as “aham” (I consciousness), and formulated into a logo. It contains both sabda and artha in itself. All the fourteen worlds of the “artha” factor, and all the vEdas, all the purANAs, all the itihAsas, and every kind of literature of the “sabda” factor are residing in it in a nonduel unity. This is the personification of the abstract Siva himself.
She is “lingarUpiNi”. The word ‘linga’ denotes to the body without the five sense organs. This indicates ‘swapnAvastha’, which figuratively indicates the object which actually not present before us. Our BhavanAs are the creators of such objects. We all think that all our wishes are so good and that they are all our benefactors. For every such unit of good thoughts we attribute a form and name of certain god or dEvata and we will visualize that form in our mind and also in our dreamy state. We consider such good thoughts as divine because we believe that dEvatAs are good ones and that they always do good for us. So this BhAvana avastha (swapna avastha) is divine, which we believe do good for us. That goodness will not be other than taking us to our own abode, ie., mOkSha. Or, the place for which we all have to reach to find out the Siva swarUpam. “mananAt trAyatE iti mantrah” This protects and guides us to reach ‘Siva’ the ultimate goal. So this praNavam has been rewarded with the name of “Siva mantrABhida”. This is “SaivI”, the wife of Siva, ie., ‘umA’, which is an another form of “aum”. This is his spouse or better half. She is his Sakti. She is his manifestation in a visible state. She is the expanded form from him like a pseudopodia. S he is “namahkAra pada dwayI”. This indicates that we should have the footing of the basic realization that I am (“na+mah”, mah=mortal being and na=not) not a mortal being; but “SikAra dEha madhyA”; ‘deha madhyA’ is our own self and SikAra is Siva according to EkAkSharI niGantu. So all this says, that before starting any efforts for obtaining the liberation, we must realize ourselves that we must put aside the body consciousness (dEhAtma BhAvana) and be cognizant of our real self is the almighty. The devotee is praying her to be implanted in his body structure as ‘vakAra’in his right hand in the form of nectar; having ‘varada mudra’ and ‘yakAra’ in his left hand in the form of the mighty strength of vAyudEva, showing ‘aBhaya mudra’. By these two mudras he is attaining the divine form, and he himself becoming the dEvatA. I think this kind of decisive determination should always be preceded with every single chanting of the mantra. I may be pardoned if I am exceeding any limits in the analysis of the SlOka.
krishnarao
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1. ucchiShta gaNapati upAsana /pUjA procedure
2. yogic secrets of Radha and krishna
3. Who is neela devi
4. The marriage of Siva and Sakti
5. The secret of all secrets+++
6. A spectacular SlOka
7. about SrIcakrAs
8. kirItam vyrincam parihara
9. simhasanESwari
10.aShtAra cakra
11. taruNa taraNi
12. "muKam bindum kR^itwA..."
13.What is common in adwaita and SAktaadwaita
14.examples for the upAsaka
15.The meaning of sandhya
16. concentration
17. Siva/Ajna
18. Bhakti vikArAs
19.ShODaSOpacara pUjA
20.yajjAgrato
21.pancAkSharI mantram
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