Dhasa Maha Vidya 2

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com Dhasha maha vidya
Manifestation of dasha maha vidya

Once, lord Shiva requested Vishwakarma to construct a grand palace and a magnificent throne for him. When everything was ready, Shiva invited all the deities for the crowning ceremony of lord Vishnu. Lord Vishnu was requested to be seated on the throne and was worshipped by all the deities including Shiva himself. He assured lord Vishnu that all of his (Vishnu's) incarnations would be shown respected by his (Shiva's) devotees (Ram) am the incarnation of Vishnu." Sati was now completely satisfied. She was also ashamed of herself that she had doubted Shivas words. She went to lord Shiva. Lord Shiva stopped looking at Sati, as her consort, because she had personified herself as mother Sita. This fact was even corroborated by a heavenly voice. Now Sati's heart was filled up with sorrows. She followed disenchanted Shiva to the Kailash Mountain, where he commenced his meditation and went into Samadhi. She sat down without saying a word. When lord Shiva came out from his Samadhi, he saw her stire sitting their. He felt pity on her and drove away her guilt and sorrows, by giving discourses. Dakshas Animosity towards Shiva Once, the sages organised a yagya at Prayaga, which was attended by all the deities. Lord Shiva too had come, accompanies by Sati. He was eulogized and worshipped by
By Dr Anand babu Adyatmika scientific research center
www.Shakthiyoga.com Dhasha maha vidya

all the deities and the sages. Daksha arrived there and after making salutations to lord Brahma sat down without showing any kind of respect to Shiva. After that, all the deities and the sages came and made salutations to Daksha, but Shiva sat where he was sitting. The ignorant Daksha cursed Shiva that from now onwards his (Shiva's) share would not be kept in the yagya. At this Nandi- the vehicle of Shiva became very angry and cursed Daksha that from today onwards the brahmins would fail to understand the essence of Vedas. Lord Shiva then pacified Nandi's anger and both of them went back to their abode. Daksha too went back to his place and started having hatred towards Shiva. Daksha organised a yagya at 'Kanakhal' in which everybody except Shiva and Sati were invited. Sage Dadhichi arrived and not finding the seat for Shiva went back, saying that it was impossible to accomplish a yagya without Shiva. Then Daksha commenced the yagya with the assistance of other sages who were present there. When Sati saw all the deities going happily, she became curious to know where they were going. She requested her companion to ask the moon as to where he was going in such a cheerful mood. The moon told her companion that they were going to attend the yagya ceremony, being organised by Daksha. Sati was very surprised at this information. She went to lord Shiva and sought his permission to go there. Lord Shiva then told Sati that her father did not invite them because of the animosity he was having towards him (Shiva).
Sati became very furious and decided to go there to know about the reason why Daksha was performing the yagya without inviting her husband-Shiva. Forbidden by Siva to attend the sacrifice, Satl becomes enraged and accuses him of neglecting her. In her anger her eyes become red and bright and her limbs tremble. Seeing her fury, Siva closes his eyes. When he opens them, a fearsome female stands before him. As he looks at her, she becomes very old, her graceful appearance disappearing. She develops four arms, her complexion becomes fiery and her hair disheveled, her lips are smeared with sweat, and her tongue lolls out and begins to wave from side to side. She is naked except for a garland of severed heads; she wears the half moon as a crown. Standing before Siva, she blazes like a million rising suns and fills the world with earth-shattering laughter. Siva is afraid and tries to flee. He runs around in all directions, but then the terrible goddess gives a dreadful laugh, and Siva is too petrified to move. To make sure that he does not flee from her terrjble form, Satl fills the directions around him with ten different forms (the Mahavidyas).Wherever Siva goes or looks she sees a dreadful figure, and his fear increases. Unable to flee, he stands still and closes his eyes. When he opens them, he sees before him a smiling woman whose face is as pleasing as a lotus blossom. She is black, her breasts are large, and she is naked. Her hair is disheveled, and she glows with the brilliance of a million suns. Siva asks: "Where is my beloved Sati?" She replies: "Do you not see Satl standing before you?"Siva then asks who the other goddesses are who surround him and is told their names: Kali, Tara, Kamala, Bhuvanesvari, Chinnamasta, Sodasi, Sundari, Bagalamukhi, Dhumavatl, and Matarigi. In relation to Siva, who is
facing south, Kali is in front of him (to the south), Tara above him, Chinnamasta to his right (west), Bhuvanesvari to his left (east), Bagala behind him (north), Dhumavatl to the southeast, Tripura-sundari to the southwest, Matarigi to the northwest, and Sodasi to the north east. At one point,Satl, in her terrible, black form, which is sometimes said to be Kali, tells Siva
that these ten goddesses are her different forms." A l l these figures are my excellent forms, and I abide in manifold forms.After the Mahavidyas have surrounded Siva and he has been told who they are, he acquiesces to Sari's wish and says that she may attend her father's Sacrifice Tara merges with Kali at this point, and the other forms disappear Satl leaves the Mahavidyas behind with Siva, instructing them to look after him in her absence. She explains that she has created these forms to attend Siva when she is away. Then Satl, taking on a form that wears a tiger skin and has disheveled hair, a fearsome face, and fiery red eyes, heads off to Daksa's sacrifice, flying through the sky. Shiva sent Nandi and other rudraganas as her escorts. When Sati reached, where Daksha was performing his yagya, she met her mother and sisters. They met her with all the respect and honour. But Daksha did not even caste a glance at her. Imitating him many other people did the same. But Sati not bothering about the disrespect shown to her made salutations to both her parents. When she reached near the yagya-mandap she saw that shares of all the deities was there except that of Shiva.

She became furious and asked her father as to why be Shiva not invited to the yagya. Daksha then made fun of Shiva and cursed him. This made her angrier and she declared that she would give up her life in everybody's presence. After the declaration her mind was engrossed by the thoughts of Shiva. Sati then sat in padmasan and closed her yes. By her yogic powers she united with Shiva and her lifeless body fell into the yagya-kunda. This incident shocked everybody and the rudraganas furiously picked up their weapons. Right then a heavenly voice was heard. "O means Daksha! Share on you! You are a sinner and a fool. Now you are certain to face the wrath of Shiva. Because of your act, the deities too will have to suffer." Daksha became scarred. He immediately eulogising lord Vishnu. When Nandi informed Shiva about Sati's death, he became very furious. He angrily pulled out locks of hair and dashed it against the mountain, which got divided into two parts. From one part manifested the valiant Veerbharda and from the other part Mahakali. Veerbhadra and Mahakali were instructed by Shiva to destroy the yagya of Daksha and to kill all the people who were present during the time of Sati's death, including the deities and the sages.After getting the instructions from lord Shiva, Veerbhardra marched with a huge army which included the mighty Shivaganas like Dakini, Bhairav and Kapalish etc. Goddess Kali to joined him with her army which consisted of all her nine incarnations like Katyayani etc. As the army marched on numerous auspicious signs were visible.A terrible battle was fought between the armies of Veerbhadra and the deities. The deities got defeated and fled away. They went to lord Vishnu and sought his help. Lord Vishnu decided to fight on the side of the deities. The battle recommenced for the second time. Lord Vishnu having a dual fight with Veerbhadra and the deities were fighting against his army. Suddenly everybody heard a heavenly voice which said that Veerbhadra was invincible. Hearing this, Lord Vishnu and Brahmaji went to their respective abodes. Daksha ran for his life and hid himself behind the attar where the yagya was being performed. But Veerbhadra pulled him out from there and severed his head. He then threw his head in the agni-kunda. After this he returned back to Kailash accompanies by his army
Story of chinnmasta One day lord Shiva accompanied by his ganas like Bhringi, Nandi, etc, arrived at
Himalaya, with the purpose of doing penance. When Parvati father Himalaya came to know about his arrival, he went to receive him. After he had made his salutations to Shiva, he was instructed by Shiva to see that he is not disturbed while doing his penance. Himalaya made all the necessary arrangements so that Lord Shiva could perform his penance without being disturbed. One day Himalaya arrived at the place where lord Shiva was doing his penance. Parvati too came along with him. Himalaya requested him to keep Parvati, so that she could be at his service. Lord Shiva declined to keep her with him, fearing her presence might cause hindrance in the path of his penance. Now, Himalaya became very concerned about his daughter's future and wandered whether Parvati would remain unmarried when Parvati saw her father becoming worried by Shiva's response she decided to intervene. She said to lord Shiva- "I am 'Prakriti' (Nature) and you are the 'Purusha' (almighty). You exist in the 'Sagun' form (with form) because of me. In my absence, you will find it impossible even to exist." Lord Shiva was impressed by her knowledge. He allowed her to be present near her. Himalaya and Parvati became very pleased. Parvati used to come daily at the place where lord Shiva was doing his penance. Her companions too used to come along. She used to engage herself in the worship of lord Shiva with great devotion. Though lord Shiva was very much impressed by her devotion, but he decided that he won't marry her until she has proved her mettle by her tremendous penance. The deities were tormented by a demon named. Tarakasur. They went to Lord Brahma to seek his help. Lord Brahma sends 'Kamadeva' to disturb the Samadhi of Shiva,
rati kamadeva was frist sent to parvathi

Shiva was in yoganidra for yugas parvati was nothing to do their she left to vihara yatra with her companions Dakini and Varnini she came down to a beautiful place and enjoying the view of divine aspect of mandakani plain she went for bath in mandakani river,after the bath they went roming around the places, Kamadeva saw parvathi was in plesent mood Kamadeva struck his magical arrow, but his actions were no avail Kamadeva made repeated attempts to arouse passion towards shiva in the heart of parvati but in vain. Then kamdeva and rati thought of an idea, if parvati sees live rati krida (sexual foreplay) and they started their rati krida in the same garden where parvati and her companions where roming. Parvati and her two companions where tired roming they needed water, they went in search of water in the mean time they saw kamakrida the thirist became more intencfied they couldnt tolerate

the kamagni it was intencfing more and more, parvati saw her companions where at the dieying state she became very fearous in rage and she was also at the same condition understanding she cut of her head to quence the thirst of herself and her companions three streems of blood from her body flow out one to her cut of head and two streems to her companions they begain to drink the warm blood more they drink more the thirst intencfied seeing this grave condition rathi told parvati to mount on her back so that the kundilina (Chinnamasta is in a state of Amanaska devoid of all human foibles, distractions, and senses but not dead; the proof is she is sitting or standing; the nourishing Susumna Nadi in the form of blood is keeping the head alive. This is called Kapaala moksa--liberation by the skull. The confluence of Bindu and Nada (Light and Sound / Lightning and thunder, Siva and Sakti, Seed and ovum / Sveta Bindu and Sona Bindu) creates a cascade of Tattvas which result in matter and life; what Chinnamasta does on the cosmic scale, the recumbent couple do it on a smaller microcosmic scale. The amorous couple are on the physical plane, while Chinnamasta is on the spiritual plane; Prana has risen from the genital triangle to Ajna Chakra and beyond through Susumna Nadi to Sahasrara Chakra where the union of Siva and Sakti produces nectar which suffuses throughout the body. In the amorous couple, the flesh is rising and the spirit is sinking. The trodden lovers living in Muladhara and Svadhisthana planes can control their senses to reach Brahmarandhra with the grace of Chinnamasta who lives in Ajna Chakra). energy quence their thirist parvati mounted on ratis back with head less body as she mounted the thirist of three was quenced she put back her head and became normal, parvati gave boon that who ever dous the sadana of this form called chinmasta they will be fulfilled with bestowed with super natural powersand went to the adobe of shiva thus chinmasta was born Lord Brahma told Narada that the deities decided to send Kamadeva to influence lord Shiva so that the marriage between him and Parvati is felicitated. Indra called Kamadeva and told him that the demon king Tarakasur could be killed only by such a person who was the son of Shiva and Parvati. Indra instructed Kamadeva to arouse passion in lord Shiva, so that he agrees to marry Parvati after reaching the place where lord Shiva was engrossed in his meditation, Kamadeva made repeated attempts to arouse passion in the heart of lord Shiva, but his actions were no avail. Right then, Kamadeva saw Parvati arriving accompanied by her companions. From vihara yatra she was looking divine in her beauty. Just at that moment lord Shiva too had come out of his meditational trance. Kamadeva thought that it was the most appropriate moment to have a go. Kamadeva struck lord Shiva with his 'Kamabana' which did have a deep impact on him. Lord Shiva was struck by the awesome beauty of Parvati and his heart became full of passion for her. But at the same time he was surprised at the sudden change in his behaviour. He realized that it was an act of Kamadeva.Lord Shiva looked all around him. He saw kamadeva standing towards his left side, with a bow and arrows in his hands. Now he was fully convinceed that it was indeed an act of Kamadeva. Kamadeva becameterrified, he started remembering god, but before the deities could come at his rescue the third eye of lord Shiva got opened and Kamadeva was reduced to ashes. Sage Narada then gave the five lettered mantra - NAMAH SHIVAYA' to her and he also instructed her to do penance. Parvati heart was filled up with new enthusiasm. Parvati's power created such heat in the atmosphere that the whole world started to burn. All the deities & sages went to lord Brahma and told him about the effects, Parvati's penance was having on all the three worlds Lord Brahma accompanied by all of them went to Vishnuji. They visited the place where Parvati was doing her penance. They realized that lord Shiva was the only remedy and hence all of them went to lord Shiva and made salutations to him.Lord Shiva enquired about the purpose of their arrival. Lord Vishnu then revealed to him that how distressed and tormented were the deities by the activities of the demon - Tarakasur. He also told Shiva that he could be killed by such a person, who is born out of the parentage of Shiva and Parvati. Lord Vishnu then told Shiva about Parvati's penance. Initially lord Shiva refused to comply with their request but when the deities continued with their insistence, he ultimately gave his conscent. The deities became very pleased.shiva and parvathi thus got married Murtha for upasana
Chitra shukala truthya, jesta ashada truthya, shravana badrapada shukala truthya, ashwani navaratri yuktha astami navami chaturdasi, phalguna shukala masha thidhi
Representations of godesses kali tara Tripura sundari buvanaeswari Bharive chinmasta dumavathi bhagulamuki Matangi kamalathimika time speech glow Innerconcious power dristhi space control jnana happyness
Moolastana
In shakthi sampradaya yoginis perform this days as the jayanti of devis in the given following table kali tara chinmasta bagulamuki matangi dumavathi buvanaeswari Tripura sundari kamala bhairavi Ashvauja krishna astami Chitra shukala navami vyashaka sukala chaturdasi vyashaka sukala astami vyashaka sukala trutiya Jesta sukala astami Badrapada sukala astami Margashira pournami Margashira amavasya Maga pournami
In some part of north india Kali, tara, chinmasta, grouped as left hand path devis. kamala, bagulamuki , tripurasundari, buvaneswari, as right hand path. biravi, matanji, dumavati, as equal paths. But every one can worship (practice) all this devis in right hand path

The order in which the Mahavidyas are given varies somewhat, As do the goddesses included in the group. In contemporary Sources, however, the following goddesses in the following order are most Common: (1) Kali, Kali is Night of dissolution (2) Tara, Tara is the compassionate Goddess and Savior (3) Tripura-sundarl matha Shodashi is the beautiful Goddess who is sixteen years of age all the time. She is Tripura-sundarl matha childhood tripur sundari can be worshiped as child hood devi and also as full grown up devi also, the mantra are different. (4) Bhuvanesvari, Bhuvaneshvari is the Creator of the World. (5) Chinnamasta, Chinnamasta is the Goddess who severs her own Head. (6) Bhairavl, Bhairavi is the Goddess of catabolism, aging, death and decay. (7) Dhumavati, Dhumawati is the Goddess who is ugly, eats Siva and becomes a widow. (8) Bagalamukhi, Bagalamukhi is the Goddess who pulls the tongue of evil prophesier. (9) Matarigl, Matangi is the Goddess who loves slovenly worship (and a glutton for leftover food). (10) Kamala. The ten are described in most sources as follows Kamala is the Goddess of wealth, fertility, power and prosperity. 1. Kali is black, which in fact is what her name means. She has a fierce countenance, stands on the supine body of the god Siva, and has four arms. Her upper left hand holds a bloodied cleaver and her lower left hand a severed head. Her right upper hand makes the sign "fear not," and her lower right hand makes the gesture of bestowing boons. She is naked, apart from a garland of severed heads and a girdle of severed arms; her hair is unbound and disheveled; and she is often standing in a cremation ground or on a battlefield. She is almost always mentioned as the first of the Mahavidyas and occupies a preeminent place in the group. In some texts and in some settings, the other Mahavidyas are understood to arise from her and to be her different forms. 2. Tara is usually given as the second Mahavidya, and in appearance she is similar to Kali. She is dark; her left foot is placed on a corpse or on Siva; she wears a tiger skin; her hair is tied in a long braid; she is potbellied and has four arms. In her left hands she holds a knife and a severed head, and her right hands make the signs of giving favors and granting fearlessness. She often stands in the midst of a cremation fire. 3. Sodas! (Also known as Tripura-sundari, Lalita, and Rajarajesvari) is a beautiful young girl of sixteen with a red complexion. She is sometimes shown astride Siva in sexual intercourse. They are on a pedestal or couch supported by the gods Brahma, Visnu, Rudra, and Indra. Some descriptions say that the four gods who support her pedestal are Brahma, Visnu, Rudra, and Yama. Sometimes she is said to sit on a lotus that emerges from the navel of Siva, who is reclining below her. Her four arms hold a Noose, goad, bow, and arrows. 4. Bhuvanesvari, who is said to nourish the three worlds, holds a piece of fruit in one of her four hands, makes the sign of assurance with another, and holds a goad and a noose in the other two. Her breasts are large and ooze milk. She has a bright, light complexion and smiles pleasantly. 5. Chinnamasta has cut off her own head with a sword. Her left hand supports her head on a platter, and her right hand holds the sword with which she cut it off. Three jets of blood gush from her neck: one stream enters the mouth of her severed head; the other two jets enter the mouths of two female companions. Chinnamasta stands on the copulating bodies of the goddess Rati and her husband Kama, the god of sexual lust. They in turn are lying on a lotus or sometimes a cremation pyre. Sometimes Chinnamasta (with her head chopped off) is

shown astride Siva, copulating with him as he lies beneath her. Her hair is loose, and she is naked. 6. Bhairavi has a fierce appearance; her primary role in the cosmic process is destruction. Her complexion is said to be as bright as thousands of rising suns. She wears a garland of skulls and clothes made from the skins of demons she has killed; her feet and breasts are covered with blood. Her four hands hold a rosary and a book and make the signs of fearlessness and granting wishes. The Kdlikd-purdna says that her eyes roll from intoxication and that she stands on a corpse.1 7. Dhumavati is tall, with a pale complexion and a stern, unsmiling face. She is dressed as a widow, in white clothes with no adornments. Her clothes are dirty and her hair disheveled. She is toothless, her breasts long and pendulous, and her nose large and crooked. She is hungry and thirsty, has a quarrelsome nature, and rides a crow or is seated on a chariot. She holds a winnowing basket and sometimes a trident. 8. Bagalamukhi, "she who has the head of a crane," usually sits on a throne of jewels, which is sometimes in the midst of a body of water. She is dressed in a yellow sari. In one hand she holds a club, with which she is about to beat a dark-complexioned enemy. With another hand she is Pulling his tongue. Sometimes she sits on a corpse and in some cases she Has a crane's head, or a crane is her vehicle, or vahana. 9. MatarigT has several different forms. Usually she is a beautiful young woman with a dark or black complexion. The moon adorns her long hair, and she sits on a jeweled throne. She wears a beautiful robe and a garland of flowers. Her four hands hold a goad, noose, sword, and club. Her eyes are described as intoxicated from passion. 10. Kamala is a beautiful young woman with a golden complexion. Two elephants flank her and pour pitchers of water on her while she sits on a lotus and holds lotuses in her hands. She is clearly a form of the goddess Laksmi, one of whose common epithets is Kamala, "lotus." This list of the Mahavidyas is not unvarying. Lists or depictions of the Mahavidyas almost always include Kali, Tara, Chinnamasta, Bagalamukhl, Tripura-sundari (Sodasi), and Dhumavati, but the others are sometimes excluded. At times, well-known goddesses such as Durga, Annapurna (she who is full of food), and Kamakhya (she whose eyes express desire) may be included in the list, which is the case in the Cdmunddtantra. 2 At other times obscure goddesses such as Vasali, Bala, and Pratyarigiras will be included.3 In addition, the order in which the Mahavidyas are given varies, although Kali is almost always named as the first of the group and Tara as the second.4 The number of Mahavidyas also varies. The Niruttara-tantra lists eighteen Mahavidyas, 5 while the Ndradapancardtra says that there are seven million Mahavidyas. Sadana krama
1. Every moola mantra of dhasa devatha is to be recited according to the number given, and
10% of mantra recited should be done homa Find out the required direction to sit in for specific Sadhana. Each Sadhana has a specific direction. Then arrange to sit such that you face that particular direction. 2. 1. Place a small wooden board in front of you. Spread a piece of cloth on it. Each Sadhana will have a specific color. Put the photographs of deity, Yantras, rosary and other Sadhana articles on steel plate(s). Unpack the Sadhana articles, if you have received them in plastic packet, and then place them on steel plate(s). Place these steel plate(s) on the cloth-cover on the wooden board. You should not place the Sadhana articles on bare ground. If you

do, then all the benefic energy that you gained by performing the Sadhana will get "earthed" and disappear into the ground. If you do not have steel plate, then you may install the various Sadhana articles on the cloth-cover on the wooden board. 3. 1. Always take a bath before starting to perform the Sadhana and then wear the specific color robes. Each Sadhana has a specific color of robes to be worn. In some Sadhanas, your are not allowed to wear any stitched clothes. Men should wear the specific colored Dhoti in the traditional Indian style. Wear the underwear on your body, and then wear the Dhoti. Women should wear specific colored clothes. Wearing Saree (sari) is preferable. Wrap this shawl on your upper body below the neck like you would wrap a blanket. Don't use perfumes, deodorent or powder etc. Only some Sadhanas (eg. Apsara (Divine nymph) Sadhanas) require you to wear specific flower perfume on body. Do NOT wear shoes/slippers etc. You should perform Sadhana bare footed. 4. Find out the details of Prayer Mat/asana (color, texture,type etc.). Asana or Prayer Mat is basically a seat, a piece of cloth.with 9 inch high and one layer of darba and one layer of mare lives to be spread on the board Most of the Sadhanas are performed by sitting on the ground. However, your body should not touch the bare ground. If it does, then all the benefic energy that you gained by performing the Sadhana will get "earthed" and disappear into the ground. Find out the color and type of asana (cotton/woollen etc.). Spread the asana on ground to sit on it. 5. Each Sadhana has a specific Yogic-asana (sitting pose/posture/stance) like Padamasan, Sukhasan, Siddhasana etc. Do not confuse this Yogic-Asana with the Asana in above point. A Yogic-asana is a method or Pose/stance of sitting in a specific way. However, as a newcomer in this field, you might not be able to sit in the specific Yogic-asanas or do not know about them. You may sit crosslegged on the asana (on ground) for most of the asanas. You should sit upright with straight back. Some Sadhanas might require to be performed standing up. 6. Day and Time of starting the Sadhana is very important. You should start the Sadhana at the most auspicious time on the specific day. You may check the auspicious times on our web site here. Start the Sadhana on the Best time, and then perform it at the same time everyday. You need to check Time only for the first/starting day of the Sadhana. You should be very punctual about the time. 7. Now, whilest starting the Sadhana, you should light a deepak (lamp) and incense sticks. Place them on the wooden board between the Sadhana articles and yourself. You will need to light either a ghee (clarified Indian butter) lamp or oil lamp depending on the Sadhana. You should always place the Incense in front (in your left side). You should always place the butter oil (Ghee) lamp in front (in your right side). If you are supposed to light lamp with other oils (eg. mustard oil etc.), you should always place such oil lamp in front (in your left side). You should use a cotton wick to light the lamp. 8. Again, each Sadhana has specific flowers to use. However you may use Rose flowers for most of the Sadhanas. 9. You will need a small paste of Chandan (sandalwood powder) for the Sadhana. You should add some water to a very small portion of sandalwood paste in a small plate and keep this paste ready. 10.You should also keep some unbroken rice grains ready for Sadhana near you. The rice grains should not be broken and it is preferable to mix them with some vermilion powder. 11.You should also keep some fruits ready. Fruits should be in odd number, either one fruit, or three fruit or five fruits. 12.You should also keep ready a small saucer (preferable a copper tumbler) containing water. Also have a small spoon (preferably copper spoon) ready. 13.At this point you should light up the lamp and incense. Please ensure to put enough oil/ghee in the lamp so that it keeps burning for the entire Sadhana procedure.
www.Shakthiyoga.com Dhasha maha vidya 14. Then, you should start the Sadhana. Sankalpa First, you should take some water in your
right palm, and say thus - "Myself (name) son of (father's name) am performing (Sadhana name) on (date) at (time) at (name of place) to (purpose eg. to get riddance from diseases). May I be successful by the divine grace of revered Gurudev. Then, let the water flow onto the ground. This is a basic agreement between you and Divine done in the presence of natural element (water) to attain success in Sadhana. You should do this on the first day of Sadhana. There is no need to repeat it after that. This is called Sankalp. There is a detailed article on our web site about Sankalp here. 15.Now, chant the holy word "OM" three times. You should close your eyes and try to extend the chant for as long time as possible whilest breathing slowly. This is done to activate your inner body. 16. Then, you should mentally meditate on the Divine form of Revered Gurudev or lord dattatraya in your mind for a few minutes. You should mentally concentrate that you are calling revered Gurudev or lord dattatraya to come and guide you to accomplish the Sadhana successfully. 17. At this point, you need to perform some specific rites like welcoming Gurudev (or the deity) and offering them various articles. Detailed Mantras and procedure for this have been given in our web site 18. You should offer some water towards the base of revered Gurudev's photo to wash His feet whilest chanting appropriate Mantra. Guru mantra 19. Then, you should take some sandalwood paste in the ring finger of right hand, and mark some sandalwood paste on the feet of revered Gurudev or dattatrya photo whilest chanting appropriate Mantra.. This is done to remove sins, faults, bad luck and tensions from life. 20.Then, you should offer some unbroken rice (mixed with vermilion) to revered Gurudev on the base of the photograph whilest chanting appropriate Mantra. This is done to get a perfect body, wealth and prosperity. 21.Then you should mentally meditate that you are offering sweet scented incense made of medicinal herbs to revered Gurudev so that your faults and shortcomings can be destroyed. You should chant appropriate Mantra. 22.Then, you should mentally meditate whilest chanting appropriate Mantra that you are offering lamp light to revered Gurudev to banish the dark ignorance of knowledge from your heart. 23.Then, you should offer the fruits to revered Gurudev whilest chanting appropriate Mantra. 24.Then, you should chant one complete rosary round of the Guru Mantra. The Guru Mantra is || Om Param Tatvaay Naaraayannaay Gurubhyo Namah || 25. You should chant the Guru Mantra using the Sfatik rosary rudrakash or red mani . This is a white crystal rosary. Details on holding the rosary and chanting Mantra are given elsewhere in web site You should keep your eyes open and stare with a fix gaze either at the form of revered Gurudev, or the lamp flame. If you perform Sadhana by closing eyes, then there is a possibility of your falling asleep. 26., you should sit down and meditate mentally asking revered Gurudev forgiveness for any mistakes (known and unknown) made during the Sadhana process and seeking His blessings for the success. 27.Then you should bow down in the Divine feet of revered Gurudev. 28.You should start the Sadhana at the same time daily for multiple days Sadhana. You should always endeavor to complete the Sadhana for the specified number of days. You will start feeling the beneficial effects of the Sadhana after few days of doing the Sadhana. Please ensure to eat only pure, vegetarian food during the Sadhana days and remain celibate (abstain from sex) during this period. Also try to sleep on floor (not on bed) and speak as less as possible (only when required) during this period. Follow other Sadhana related rules religiously.

After the end of the specified days period, some Sadhanas require you to drop the Sadhana articles in water. This is done to give back to nature what nature gave us i.e. to get the required effects from the Sadhana articles, and then to return them back to natural elements. You should drop the articles in the running water (river, stream etc.). While dropping, meditate on the Divine form of revered Gurudev and concentrate that I am returning the Sadhana articles back to nature. May I achieve full success in my endeavor?" After dropping the Sadhana articles in the water, you may continue to do Mantra chanting daily without using the rosary. You cannot reuse the Sadhana articles after dropping them in water. However, if you feel that you have made some mistakes in performing Sadhanas, and/or have not gotten the complete effects of performing Sadhana, then you may repeat the Sadhana with the same Sadhana articles. In this case, you don't need to drop the Sadhana articles after performing Sadhana first time. You may repeat the Sadhana on any other auspicious day.
1.Mahakali:
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The Kali Mantra as given in the Mantra Mahodadhi is: "Kreem Kreem Kreem Hum Hum Hreem Hreem Dakshine Kaalika Kreem Kreem Kreem Hum Hum Hreem Hreem Swaha" This mantra should recited 1500 times in the morning at bhrmamurtha for 45 days It bestows the eight supernatural powers (astha shiddih) The Sadhana of Mahakali can be started on any moonless night. Sit facing South on a black mat. Place a steel plate filled with black sesamum seeds before yourself. On it place Mahakali Yantra. Pray to the Yantra Offer vermilion and rice grains on the Yantra. Next chant 11 rounds of the following Mantra with Mahakali Mala - This is a fourteen day Sadhana. After the Sadhana throw the articles in a river on any full moon night. Red, purple flowers can be used Mahakali has forever been worshipped as the saviour of good in its perpetual struggle against evil. When even Gods were on the verge of being overcome by the demons, She manifested kal (time) in this "Rudra" (angry) form and that was the end of seemingly unconquerable demons like Raktbeej. Her form - long, lolling tongue dripping blood, a garland of freshly severed human heads around her neck and snakes coiled around her arms and ankles in lieu of armlets and anklets - is enough to strike terror in the most evil of humans. Her Sadhana means not just attaining courage and valour but also the divine grace of Shiva, her consort. Rudra Mahakali is the annihilator of all pains, afflictions, problems and enemies in ones life. On her Sadhak she bestows perfect health and youth. Death cannot come uncalled to such a person. Her divine presence means birth of supreme conscience and intelligence. A hypnotic charm keeps radiating from the physique of a Siddh of Mahakali. Friends he has many and foes dare not harm him. Like a mother, Kali fulfils all needs of a Sadhak and blesses him with wealth, fame, respect and a happy family life. And where she assures material prosperity, she also ensures spiritual upliftment. Goddess Mahakali is the most superior of the ten aspects of Mahavidya. She blesses the Sadhak with everything he needs to lead a pleasant life in this world. Swami Ramakrishna Paramahamsa worshipped Mahakali and attained all types of Ashta Siddhis. Goddess Mahakali removes the effects of Shani dosha. She is the supreme deity of Kalikula systems. As the chosen Deity worshipped by Paramahansa Ramakrishna, one of the most well known modern teachers within the Hindu tradition, Kali is one of the most commonly known of Hindu Goddesses, but still not well understood. Yet much of what we admire in Ramakrishna his love, bliss, and universal spirit is Kalis gift to us through him. Through him Kali has already delivered us her message for the modern age. To this Supreme Time-force, Shakti of Kala, the Tantrics give the name kali. To the Tantrics this creation is no illusion; it is as real as the Creator, and in the process of winning the Godhead they do not lose the world. Theirs is not a mok,a, liberation somewhere beyond. Following the Vedic and the Vedantic seers, their aspiration aims at a liberation here and now, in the life itself. But the existence is devoured by Time and death is the end of life. In the journey of life, at each step, at every moment man is dogged by the shadow of death and all his high aims and noble aspirations are vitiated by this tragic culmination. It is the fear of death That makes man mortal. No attempt on the path of progress will have meaning, no Sadhana successful unless and until this fear is overcome. Death has to be faced; the significance of the Time-concept has to be understood. So the Tantra lays down the adoration of Kali, the Timeforce, as the first and foremost of all disciplines of knowledge. So the Tantric sees the world as a great cemetry, maha dmadana. In this maha drnaiana, the Divine Mother Kali dances. Her dance indicates the intense activity, the myriad moments of the Time-sequence following in quick succession. She is Death the devourer, the ruthless kilter. Mounted on a
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dead body, terrible is she with ferocious fangs; and a derisive laughter marks her face. Stark naked, the Dark One with her lolling tongue has for her garland a string of skulls. She has four Hands; in two of them she has the sword and the severed head, and the other two, the auspicious Mother keeps for giving boons and allaying fear. Thus the Tantric contemplates on the dark Mother.' To him two of her personalities stand out in contemplation. They are dakFitja kali and bhadra kali. Both dakfipa and bhadra are Vedic words. A divine discernment, a right action born out of an intuitional discrimination, adroitness in executionthese are denoted by the term Dakshina. It is true that Kali is the might of the Supreme, the stupendous strength of all the Gods and she carries in her wake death and devastation. She sweeps the whole existence with her terrible tide of destruction, no doubt. But she does this with a divine discernment. Her act of destruction is a right action as it is done with a purpose. It is not a clumsy execution but a skilful performance, preparing the ground. So she is acclaimed as Dakshina Kali. But what is the purpose of this destruction? What ground does the dark death prepare? It is the right creation, all auspiciousness and felicity belonging to the state of truth denoted by the Word Bhadram that is brought about by the death and destruction. So she is Bhadra Kali the auspicious Kali She represents the evolutionary principle and her cosmic actions work out the gradual unfoldment of the divine possibilities. In terrestial existence, natural calamities like earthquakes, volcanic eruptions, cyclones, flood, pestilence etc., are her actions designed for a quick upheaval. So also are wars, revolutions, riots etc., designed by her to hasten human progress. In the being of the Individual she is the power of transformation; the dormant dynamism, the potential energy of evolution. She is the black serpent lying coiled and asleep in the inner body, Kundalini Shakti. Under proper conditions this force uncoils itself, stands up straight like a serpent, spreading its hood and lifts itself more and more till it meets the divine consciousness above. When this takes place, the closed planes and parts of being in man open, there is a gradual unfoldment or a speedy transformation towards the Yogic consciousness. Whether one consciously makes an effort to raise the Kundalini or not, in all paths of Yoga, at one time or other, the effects of Kundalini's play are experienced in the inner body. Thus the grace of Kali is indispensable for any kind of transformation or progress Which is the avowed object of any yoga? The Mantra of Kali is the seed-sound bijkyara krim. She is Kundalini in the body expressing herself as activity through the Pranic force. The body and the spirit are brought together by the life-force, the vital, the outward symbol of which is the flowing breath, in and out of the body, all the time. The vital or the Pranic force in the individual is a replica of the Pranic force in the cosmos, the Time-movement, which is Kali. Through the vital, the Pranic force, the being is transformed and the earthly life made spiritual. As the vital is the seat of emotions, all swift, straight and frank impulses, all intense feelings are the movements of Kali. A spiritual Sadhana is prescribed to win the grace of Kali. Time is life. Life is our movement in time. Through our own life-force or Prana we experience time. Kali as time is Prana or the life-force. Kali or the Divine Mother is our life. She is the secret power behind the working of our bodily systems and vital energy. Only through her do we live, and it is her intelligence that gives such a marvellous order to the body. Kali is the love that exists at the heart of life, which is the immortal life that endures through both life and death. Maintaining the awareness of the eternal nature of life through the cycles of birth and death is another one of her meditational approaches. The truth is that our soul, our aspiration towards the Divine, which is our eternal love, never has died and never will die. To be conscious of that enduring aspiration is to die to the things of the mind and the senses, and come to know the cosmic life and Divine grace.
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Kali grants us this eternal life. Yet the eternal life has a price. Only that which is immortal can be immortal, as nothing can change its own nature. The mortal and the transient must pass away. To gain the eternity that is Kali, our mortal nature must be sacrificed. Hence Kali appears frightening and destructive to the ordinary vision. Kali as the power of death and negation is Nirvana, the state of the dissolution of desire. She functions to extinguish all of our wants and cravings and merge us into the Nirvanic field, the realm of the unborn, uncreate, and unmanifest. Kali develops forms only to take us beyond form. When her force awakens within us she works to break down all limitations and attachments, so that we might transcend the entire field of the known. Kali is the power of action or transformation (Kriya-shakti). Through time and breath all things are accomplished. Yet what she accomplishes is not a mere outer action. She accomplishes the spiritual labour of our rebirth into pure consciousness. For this she creates the energy and does the work if we surrender to her force. Kali means beauty. The root kal, from which the name comes, means to count, to measure, or to set in motion, hence time. It also refers to what is well-formed or measured out, hence beauty. Time itself has a movement, a rhythm, a dance which is the basis of all beauty. This is also the rhythm of the life force which allows for movement. Kali is dark blue in colour and wears a garland of skulls. She has her long tongue sticking out and is laughing. Sometimes instead of a tongue she has two fangs. Kali has four arms and four hands and holds a head chopper with one hand and a severed head dripping blood with the other. With her other two hands she makes the mudras of bestowing boons and dispelling fear. She wears a skirt made of human arms. Kali is portrayed as dancing in a cremation ground and striding on a corpse (who is the form of Lord Shiva himself).
2.Tara or Neela Saraswati: Her mantra is given in Mantra Mahodadhi as: Om Hreem Streem Hum Phat This mantra is to recited 2,00000 times Wednesday take a bath and wear pink robes. Cover a wooden seat with pink cloth and on it place Tara Yantra. Make 4 mounds of rice grains around the Yantra. On each mound place a clove. Light a ghee lamp. Take water in right palm & chant.
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In Hinduism, the goddess Tara (Sanskrit: Tr, meaning "star" is the second of the Dasa (ten) Mahavidyas or "Great Wisdom [goddesses]", Tantric manifestations of Mahadevi, Kali, or Parvati. As the star is seen as a beautiful but perpetually self-combusting thing, so Tara is perceived at core as the absolute, unquenchable hunger that propels all life. Tara is said to be more approachable to the devotee (Bhakta) or Tantrika because of her maternal instincts; however a large population of Bengali Hindus approach Kali herself as "Ma" or "mother". In Tantras, the god Shiva forbids every Sadhaka to see any difference in Kali and Tara,[ and warns that those who think them separate shall go to hell as punishment If Om is removed it becomes the Ekajata Mantra. If Om & Phat both are removed it becomes Nila Saraswati Mantra Goddess Tara or Goddess Neela Saraswati gives the devotee the power of speech, the power of destruction of enemies, and salvation. She removes the malefic effects of Brihaspati dosha or Guru Graha dosham. Businessmen worship Goddess Tara for best results in their businesses. Tara is not only an important Hindu Goddess, she is also the most important of the Buddhist Goddesses. The Bodhisattva Tara is the consort of the great Buddha Avalokiteshvara; the Lord who looks down with compassion on all living beings.The second of the Maha Vidyas is Tara. From a comparative study of Tantric books on Tara and the Buddhistic and Jaina literature, some scholars have advanced the theory that Goddess Tara is a late and subsequent addition to the Tantric pantheon and her worship has become prevalent in this land only after the advent of Buddhism and Jainism. In the Buddhistic lore, Tara figures as the counterpart or Shakti of avalokitedwara, the Lord who has directed his glance downwards, Lin compassion. In the Mahayana school, she is represented as the mother of the Buddhas as well as Bodhisattvas. At times she is depicted as a Bodhisattva, not inferior to any other, rather superior who could be approached directly without the intervention of any other power The Tantric books speak of Tara as Ugra Tara ; the 'Fierce Tara, having Akshobhya posited on her head. The seer of the Mantra of Tara also is Rishi Akshobhya. The Tantras call her prajfid paramita, one who has attained the shore of consciousness. They prescribe mallet cinlicdra as the method for propitiating her Tara' one understands that Tara was invoked to allay all kinds of fears arising from lions, elephants, fire, serpents, robbers, submerging waters, ocean and ghosts.2 She was the one who quickly granted the desired ends and was called to guard at the cross-roads. 3 One of the images of Tara excavated at Nalanda had on the back Engraved the Mantra, om tare tuttiire lure swand: tura or twara, has, always been the quality of Tara and she has been quick in granting favours. Also Tara has been mentioned in connection with the crossing of waters and navigation. The famous laghustava indicates that one should remember Tara in the upsurge of waters, taram catoyaplave. Shiva who did not lose his presence of mind. He was the one that was unagitated, ak1vobhya, and at the instance of his Shakti, he swallowed the poison to save the world. His Shakti is Tara, the Saviour, the one who carried them all to the path of safety. The Sanskrit word Tara comes from the root tr, to traverse. It is used to denote one who crosses, tarati, and makes others cross as well, tarayati. Tara or Taraka is the word in Sanskrit to denote a star as it traverses in space and acts as guiding light. It is also an appellation for the guiding light in the human eye, the pupil, because of which the eye is justly called nayana or netra, that which leads. A boat is called tari, as it makes one cross the waters. The image of the ocean and the crossing of waters is largely employed in the ancient litanies of the Vedic seers. The Veda speaks of two oceans, superconscient, and inconscient, one high above and the other down below. We can quote many Riks to show that the art of shipbuilding or navigation was not unknown to them. For instance, in the famous Rik, jatavedashi addressed to Agni and later ascribed to the Goddess Durga in the Tantra, the Vedic Seer affirms that Agni carries him across all tribulations like a ship across the ocean naveva sindhum. And the Divine Mother, Aditi, is
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accosted as the Divine Ship and the Seer prays : " May we ascend Aditi for Beatitude, the Divine ship endowed with quick propellers, faultless, intact without slits, a capable protector, spacious as earth like heaven to which no hurt can come, a happy shelter and skilful carrier."' Om is the sovereign source, seed, womb of thing and idea, form and nameit is itself, integrally, the Supreme Intangible, the original Unity, the timeless Mystery self-existent above all manifestation in supernal being." Undoubtedly, it is this pranava, Om that is known by the famous appellation, tara or taraka. The force whose sound-symbol is Om is the great goddess Tara. That which the Vedic seers call as Akshara, the Upanishadic sages as Pranava and the Puranic bards as the immaculate white Gouri, that force is the Tara of the Tantrics.2 Thus, the Maha Vidya Tara is the primordial nada, the paiyanti yak, the seeing Word perceiving the coining creation, the sound-substance of all sounds, thehighly praised Pranava, the anujfiakFara, the word of sanction, the affirmative to the creative Godhead, the source of all speech and the repository of all knowledge. The Tantra mentions three of her great Personalities : Ugra Tara, Nila Saraswati and Ekajata. Ugra Tara, as her name indicates, is fierce and like Kali is mounted on a corpse. Hers is the vehement vibration that disturbs the primordial immobility, hers is the sound-force shattering the stubborn stillness, The Tantra says that she gathers all the ignorance of the triple worlds in her bowl made of the human cranium and then destroys it in a sweep'. Nilasaraswati is the power of the word piercing the tenebrous space, the light of knowledge that pierces through the darkness of ignorance. Ekajata is the goddess with a single matted hair signifying that all the scattered vibrations of sound are being channelised in the act of creation. She is not muktakedi, her hair falling loose, her energies scattered, but Ekajata her forces moblised in the purposive act of creation. Tara is also classified as neela and citra. scukla, white, is her immaculate form, pure and unsullied, the"original Word in its pristine glory. neela, blue or dark, is her form when she descends into the dark womb of creation from the height of her white radiance. doe, the multicoloured, is the manifestation of Tara as the many forms in the work-a-day world. Apart from this, Ugra Tara is worshipped by the Mantra, om hrim strim, hum phat, Ekajata by the Mantra, hrim strim hum phat and Nilasaraswati by the three seed-sounds hrim strim hum. The tradition is that the Mantra is propagated by female Gurus. When a child is born, even before three days are passed, the mother of the child or some other woman writes with a small shoot of vaca dipped in honey or ghee on the tongue of the newborn child the three letters of the Mantra of Neela Saraswati. 1 Thus purified from the very birth by the Mantra, the tongue becomes a sure vehicle of superb Speech When the Tantric lays stress on bath, Cleanliness etc., the votaries of the Achara ask the question: What is this bath, and for whom is this bath? Kim snanam kasya VA snanam. From this it has been hastily concluded in some quarters that this Achara is the practice of the dirty infidels who have no belief in the customs and Manners of the Hindu worshipper. On the other hand, this is a highly philosophical system. The aim of worship is to become the deity and worship the deity, givo bhutva, s (Nam yajet). In that case, where is the question of purity or bath etc.? Again, certain periods of the day or night like the Sandhyas are prescribed as auspicious for worship. But in this world created by God, everything is auspicious. There is nothing like an inauspicious moment. 1 Auspicious is the moment when the thought of God arises. And the thought of God should always be there. Tara is nitya yak, the eternal Word, reverberating without any intermission as the underlying sound-substance Om in all beings, the never-ending nada in the hearts of all, the ajapa, that which goes on endlessly repeating itself without any effort of articulation. So in the worship of such a deity, there is no regulation regarding time and place, no restriction regarding posture etc. There is no prescribed period for japa, prayer or consecration. Eternal is Tara and constant should be her worship. In the Sadhana of this Mahavidya, the aspirant should be an absolute servitor of Truth. Especially in speech he should never allow falsehood, in whatever form to enter. Falsehood drives away the Goddess. For this purpose, certain spiritual disciplines prescribe absolute silence. But this is avoiding the problem. Moderation
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in speech is much more difficult than keeping silent and this should be practised. Recital of the Vedas, sticking at all costs to Truth in speech, talking only what is helpful and necessary these practices speedily make the aspirant a vehicle for stuklii's manifestation. To realize clod, the aspirant should treat praise and blame equally, enjoy the underlying sound-sense equally in rhythmic Poetry and in pandemonious noise. He should appreciate the harmony as well as the discordant note and perceive the rasa in the songs and cries of people. He should not be attached to sound, neither should he be indifferent to it. Such a one gets the favour of clod, the multicoloured personality of the goddess Tara in the myriad manifestations of the universe. There is no goddess like Tara in granting favours, nahi tardsamd kacit devata siddhidayini proclaims the Tantra. She is the Saviour who assures thus: I guide man to the path of the Divine and guard him from the red Wolf and the Snake. The term Tara means the deliverer or savior, from the Sanskrit root tri, meaning to take across, as to take across a river, the ocean, a mountain, or any difficult situation. The Goddess Tara is called upon in emergencies or at crossroads where we require guidance as to which way to turn. Tara is the saving knowledge. She is the Saviouress. The idea of the Goddess as saving wisdom is as old as the Vedas, and is a common idea in many spiritual traditions. Tara is the feminine form of Om or Om personified as a Goddess. Tara is the unmanifest sound that exists in the ether of consciousness, through which we can go beyond the entire manifestation. Tara is Om that has the appearance of the ether and which pervades the ether as its underlying vibratory support, but also transcends it. Om is the unmanifest field behind creation, which is the destroyer as well as the creator of the universe. Tara is the purifying force of the vital breaths. Sound that manifests in the ether is the same as the Prana (life-force) that manifests in the ether. Breath is the primal sound of life, and the sound of the breath is the original, spontaneous and unuttered mantra (So ham). Both mind and Prana, as word and vibration, have their root in sound. Hence the use of sound or mantra both purifies and energizes the mind. Tara is the radiance of knowledge that arises from the differentiation of meanings through sound. Different sounds serve as vehicles whereby different ideas or meanings flash forth. Om is the underlying light that illumines these different sounds and allows meaning to flow through them. All meanings exist to reintegrate us into the ocean of meaning that is pure consciousness itself. Tara, like Kali, is deep blue in color. She has matted hair, wears a garland of human heads, and has eight serpents for her ornaments. She is dancing on a corpse, has four arms and carries in her four hands a sword or head chopper, a scissors, a severed head and a lotus.
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3. Chinnamasta: Mantra Om Shrim Hreem Hreem Aim Vajra Vairochaniye Shrim Hreem Hreem Phat Svaha This mantra should be recited 1000 times daily Goddess Chinnamasta gives the devotee the power of determination, the strength of straightforwardness, and the courage to fight against anyone. Chhinnamasta, whose image is a severed head, is the Goddess who causes us to cut off our own heads or to dissolve our minds into pure awareness. She brings transcendence of the mind and represents the nonmind (unmana) state. Freed from the limitations of the mind, consciousness realizes its true nature beyond death and sorrow. Chhinnamasta which literally means a severed head is perhaps the most frightening or disturbing form of the Goddess. She has cut off her own head and, holding it in her left hand, with it drinks the blood flowing from her own severed neck. Yet her face is not frightening but happy, even blissful. What she presents is the joy of transcending the body, not the pain of losing it. She is also the most energetic form of the Goddess and shows the power of transformation in action. Chhinnamasta (Sanskrit: , Chhinnamastika and Prachanda Chandika, is one of the Mahavidyas, ten Tantric goddesses and a ferocious aspect of Devi, the Hindu Divine Mother. Chhinnamasta can be easily identified by her fearsome iconography. The self-decapitated goddess holds her own severed head in one hand, a scimitar in another. Three jets of blood spurt out of her bleeding neck and are drunk by her severed head and two attendants. Chhinnamasta is usually depicted standing on a copulating couple. Chhinnamasta is associated with the concept of self-sacrifice as well as the awakening of the kundalini spiritual energy. She is considered both as a symbol of self-control on sexual desire as well as an embodiment of sexual energy, depending upon interpretation. She symbolizes both aspects of Devi: a life-giver and a life-taker. Her legends emphasize her sacrifice sometimes with a maternal element, her sexual dominance and her selfdestructive fury. Though she enjoys patronage as part of the Mahavidyas, her individual temples mostly found in Northern India and Nepal and individual public worship is rare, due to her ferocious nature and her reputation of being dangerous to approach and worship.
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Her individual worship is restricted to heroic, Tantric worship by Tantrikas, yogis and world renouncers. Chhinnamasta is recognized by both Hindus and Buddhists. She is closely related to Chinnamunda the severed-headed form of the Tibetan Buddhist goddess Vajrayogini. Chhinnamasta is popular in Tantric and Tibetan Buddhism, where she is called Chinnamunda ("she with a severed-head") the severed-head form of goddess Vajrayogini or Vajravarahi a ferocious form of the latter, who is depicted similar to Chhinnamasta. Chhinnamasta is described as being as red as the hibiscus flower or as bright as a million suns. She is depicted mostly nude and with dishevelled hair. She is described to be a sixteen-year-old girl with full breasts, having a blue lotus near her heart. Chhinnamasta is depicted wearing a serpent as a sacred thread and a garland of skulls/severed heads and bones, along with other ornaments around her neck. She carries her own severed head sometimes in a platter or a skull-bowl in her left hand and holding a khatri, a scimitar or knife or scissor-like object, in her right hand, by which she decapitated herself. A crown on the severed head and bangles, waist-belt ornaments may be also depicted. Three streams of blood string from her neck, one enters her own mouth, while the others are drunk by her female yogini companions, who flank her. Both the attendants Dakini to her left and Varnini to her right are depicted nude, with matted or dishevelled hair, three-eyed, full-breasted, wearing the serpentine sacred thread and carrying the skull-bowl in the left hand and the knife in the right. While Dakini is fair and represents the tamas guna, Varnini is red-complexioned and conveys the rajas guna. With her right leg stretched and left leg bent a little, Chhinnamasta stands in a fighting posture on the love-deity couple of Kamadeva (Kama) a symbol of sexual lust and his wife Rati, who are engrossed in copulation with the latter usually on the top (viparita-rati sex position). Below the couple is a lotus and in the background is a cremation ground. This popular iconographic form is described in the Tantrasara and the Trishakti Tantra. Sometimes, the attendants also hold severed heads (not their own). Sometimes, KamadevaRati is replaced by the divine couple of Krishna and Radha. The lotus beneath the couple is sometimes replaced by a cremation pyre. The coupling couple is sometimes omitted completely. Sometimes, Shiva the goddess's consort is depicted lying beneath Chhinnamasta, who is seated squatting on him and copulating with him. Chhinnamasta's popular iconography is similar to the yellow coloured severed-head form of the Buddhist goddess Vajrayogini, except the copulating couple which is exclusive to the former's iconography and Chhinnamasta's red skin tone. Chhinnamasta Tantra describes the goddess sitting on Kamadeva, rather than standing on him. Additionally, she is described as three-eyed, with a jewel on her forehead, which is tied to a snake and her breasts adorned with lotuses. Another form of the goddess in the Tantrasara describes her seated in her own navel, formless and invisible. This form is said to be only realised via a trance. Sometimes, Chhinnamasta is depicted as four-armed, and without the copulating couple. She is depicted on a grass patch, holding the sword with dripping blood in her upper right hand, a breaded head identified with Brahma in the lower one. Her upper left hand carries her own severed head, spilling blood in a skull-cup in her lower hand. Her two attendants depicted as skeletons drinking the dripping blood, while two jackals drinking the blood dripping from the head of the goddess and Brahma. The scholar van Kooij notes that the iconography of Chhinnamasta have the elements of heroism (vira rasa) and terror (bhayanaka rasa) as well as eroticism (sringara rasa) in terms of the copulating couple, with the main motifs being the offering of her own severed head, the spilling and drinking of blood and the trampling of the couple.
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Chhinnamasta signifies that life, death and sex are interdependent. Chhinnamasta's image conveys the eternal truth that "life feeds on death, is nourished by death, necessitates death, and that the ultimate destiny of sex is to perpetuate more life, which in turn will decay and die in order to feed more life"While the lotus and the lovemaking couple symbolize life and the urge to create life, in a way gives life-force to the beheaded goddess, the blood flowing from goddess conveys death and loss of the life-force, which flows into the mouths of her devotee yoginis, nourishing them. The scholar P. Pal equates Chhinnamasta with the concept of sacrifice and renewal of creation. Chhinnamasta self-sacrifices herself and her blood drunk by her attendants nourishes the universe. An invocation to her calls her the sacrifice, the sacrificer and the recipient of the sacrifice, with the severed head treated as an offering. The Chhinnamasta icon is also understood as a representation of the awakening of the kundalini spiritual energy. The copulating couple represents the awakening in the Muladhara chakra, which corresponds to the last bone in the spinal cord. The kundalini flows through the central passage in the body the Sushumna nadi and hitting the topmost chakra, the Sahasrara at the top of head with such force that it blows her head out. The blood spilling from the throat applies the upward-flowing kundalini, breaking all knots (granthis) which make a person sad, ignorant and weak of the chakras. The severed head is "transcendent consciousness". The three blood streams is the flow of nectar when the kundalini unites with Shiva, who resides in the Sahasrara. Another interpretation associates Daknini, Varnini and Chhinnamasta with the three main subtle channels (nadis): Ida, Pingala and Sushumna flowing free. Sushumna connects the Muladhara and Sahasrara and is cognate with the spinal cord. Ida courses from the right testicle to the left nostril and is linked to the cooling lunar energy and the right hand side of the brain. Pingala courses from the left testicle to the right nostril and is associated with the hot solar energy and the left hand side of the brain. The self-decapitation also represents removal of false notions, ignorance and egoism. The ability to remain alive despite the beheading is associated to supernatural powers and awakening of the kundalini.The triad of the goddess and the two yoginis is also philosophically cognate to the triad of patterns, "which creative energy is felt to adopt". While she is easily identified by most Hindus and often worshipped and depicted as part of the Mahavidya group in goddess temples, Chhinnamasta is not as popular as an individual goddess. Her individual temples as well as her public worship are rare. Her individual worship is restricted to heroic, Tantric worship by Tantrikas (a type of Tantric practitioners), yogis and world renouncers. The lack of her worship is attributed by Kinsley to her ferocious nature and her reputation of being dangerous to approach and worship. Her hundred-name hymn and thousand-name hymn describe her fierce nature and wrath. The names describe her as served by ghosts and as gulping blood. She is pleased by human blood, human flesh and meat, and worshipped by body hair, flesh and fierce mantras. Buddhist texts tell of the birth of the Buddhist Chinnamunda. A tale tells of Krishnacharya's disciples, two Mahasiddha sisters, Mekhala and Kankhala, who cut their heads, offered them to their guru and then danced. The goddess Vajrayogini also appeared in this form and danced with them. Another story recalls princess Lakshminkara, who was a previous incarnation of a devotee of Padmasambhava, cut off her head as a punishment from the king and roamed with it in the city, where citizens extolled her as Chinnamunda-Vajravarahi. As the power of India, Chhinnamasta is vidyut or lightening, the electrical energy of transformation (Vidyut Shakti) working in the cosmos on all levels. The electricity in the material world is only one form of this. In the mind it functions as the power of instantaneous enlightenment. While Kali rules over this force generally, Chhinnamasta
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represents the same force directed as the weapon of the Supreme for immediate transformation. She is the lightening bolt of insight which destroys the powers of the ignorance and lifts us beyond the skies. As lightening, Chhinnamasta represents direct perception, pure seeing which cuts through everything and reveals the infinite beyond all forms. She is the power of self-vision which sacrifices all objects, including our own bodies, to the reality of pure awareness. She represents the Atmayajna or Self-sacrifice, wherein we offer ourselves to the Divine through the sacrifice of the mind. Chhinnamasta represents the pralaya or end of the world wherein the Absolute reabsorbs or swallows up all creation. She is the head that swallows up the entire body. Hence she is the power of destruction which is the negation of the manifest sphere into the unborn and uncreates beyond. According to yogic science there are knots (granthis) which prevent the movement of energy from flowing up the Sushumna of the subtle body. These are the Brahma-granthi in the Root Chakra which represents our bondage to speech, the Vishnu-granthi in the Heart Chakra showing our bondage to emotion, and the Rudra-granthi in the third eye showing our bondage to thought. Chhinnamasta represents the piercing of the Rudra-granthi or the knot in the head, allowing us to transcend thought, the mind and body consciousness altogether. Chhinnamasta thus represents the free flow of energy through the Sushumna. She is the Kundalini Shakti flowing upward from the base of the spine to burst open the Crown Chakra and stream out into the infinite. She shows the energy of Kundalini awake and moving upwards toward transformation. She is Kundalini in her active and assertive role. As such, she represents the Vedic Path of the Gods (Devayana), which is the movement of the Prana up the Sushumna to the formless realms of pure consciousness, symbolized by the sun. CHHINMASTA DIKSHA If one looks at the form of Goddess Mother Chhinamasta one feels frightened on beholding her severed head. But in fact she is a very kind and powerful Goddess. If one is facing problems from the enemies, if one feels that some evil ritual has been tried against one then this Diksha is the best remedy. Not just this through this Diksha one's business starts to flourish, financial problems end and one becomes healthy and robust. All physical problems are banished and one feels a surge of divine energy within. Through this Diksha one can open the doors to success in several other Sadhanas. One remains healthy throughout the year and the seasonal changes have no adverse effect. 2. The Cosmic Sacrifice Chinnamasta is, ofcourse, the Cosmic sacrifice, as the Rishi Dadhychk, who gave his body and bones up in order to salvage the universe, His bones, made into the Vajra or thunderbolt of Indra, killed the great demons such as Vritra, that threatened the existence of the Devas, lead by Indra himself. Yet, she also relates to Vishvarupa (Cosmic form), the Triple-headed son of Tvashtar the creator-god, the son of, and sometimes identified with, Ushanas Kavya of the Brighus.
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Vishvarupa is the be-headed form of Brihaspati, Guru of the Gods. In later times, he is cognate to Ganesh (Ganapati), the Cosmic Lord, son of Maya (Parvati) and of who is the beheaded form of Brihaspati-Ganapati. Ganesh, like Vishvarupa, is well-known as representing the Cosmos.
Like Dadhyach, Indra was afraid of Vishvarupa and his teachings to the Devas, in the absence of Brihaspati, their preceptor. Hence, he be-headed the three heads of Vishvarupa (Cosmic form). Now the three heads here, represent the three worlds (bhur, bhuvah svah), and as the Cosmos, Vishvarupa is Maya. Maya of course is the great-goddess. Here, Vishvarupa represents Chinnamasta as the goddess Maya headless (as Chinnamasta) his three heads representing her three streams of blood. Each head also symbolizes a granthi (knot) removed as Chinnamasta is said to remove these three granthis or knots in Sushumna (representing the three gods, Brahma, Vishnu and Rudra and the three worlds). She is hence the cosmic sacrifice. We must remove all of our desires and attachments destroy the Universe (Maya or illusion), before we can drink her blood (drink the Soma-juice in the sahasrarapadma chakra and know the self). Soma can be expressed, simply, as soulfood. There is also another form that connects them. In Chandogya Upanishad, Vishavrupa appears as Virochana (greatly effulgent). He reveres the physical body as the Self, whereas Indra sees the inner-self as real. It hence explains why Ganesh-Dadhyach-Vishvarupa, has to be slain (beheaded), before he can realize the truth that the Self is all-pervading and within, not the outer world of Maya as he represents. Interestingly we get back to the Danava idea here. Ushanas or Asuramaya is also Virochana and is again another false Guru of the Gods and the basis of the Deva-Asura split again.
3. Chinnamasta and Ganesha
Chinnamasta and Ganesh are very similar, as has been previously noted, but in many ways. Ganeshas head was sliced off by Shiva and replaced with the head of Airavata, the elephantmount of Indra. Chinnamasta is the force of the lightening-bolt of Indra and destroys all granthis (knots) in the body, as Ganesha is the great remover of obstacles. Both can remove obstacles in modern-day life. They both harness the great power of the thunderbolt, and also of divine wisdom. Ganeshas elephant head and the fact he was beheaded shows that he is also Lord of Higher Wisdom of the Self, like Chinnamasta, as the esoteric form of Brahma-Brihaspati. Ganesha is also associated with the planet Ketu, the tail of the dragon. Chinnamasta is also related to this planet through the fact that she represents the force of Kundalini the great Serpent of Enlightenment in Yoga, and also the headless trunk, of which is Ketu. In this respect, Ganesha can be worshipped as the Guru form of Indra as the esoteric form of Brihaspati, along with Chinnamasta and as the force of removing spiritual obstacles.
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Vedic Indra is also the slayer of Vritra (obstruction). Vritras also represent the Granthis and again brings us back to the association of Ganesha and Indra as remover of obstacles
4.Lalita Tripura Sundari (Shodashi):
Tripura moola mantra should recited 2,00000 time and 20,000 mantras should be done homa with red flowers Goddess Lalita Tripura Sundari or Goddess Shodashi posses all the sixteen supernatural powers. She removes the malefic effects of Budha graham (Planet Mercury). She is the supreme deity of Srikula systems. Goddess Lalita Tripura Sundari is considered as Tantrik Parvati. Tripurasundari is not the ordinary beauty of form (which is more properly an aspect of Kamala). The highest beauty does not lie in any object, though it is not apart from objects. The highest beauty is of perception to hold Infinity in the palm of your hand, and Eternity in an hour, as the poet Blake so eloquently wrote.
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Beauty derives from the light of consciousness that is irradiated through objects. It is never really contained in any object. Hence beauty can never pass away but merely has manifold forms for its revelation. The light of beauty we see in things is thus the light of our own awareness. Discovering this we contact the well springs of infinite delight within us. This is part of the revelation of Tripurasundari. The beauty of perception occurs only when the mind is cleansed from the known, when consciousness is cleared of its conditioning and rests in pure awareness without any residue of memory. Then whatever we see is irradiated with the light of eternity and is effulgent with the glory of our own Self as the Universal Being. Otherwise the residue of our thoughts and emotions, like a dark film, obstructs the subtle and transparent beauty and presence in things, though we may be able to perceive clearly their physical characteristics. Tripurasundari represents the ultimate beauty of pure perception which arises when we see all the universe in ourselves, when we see all nature as a reflection of the reality of consciousness. Tripurasundari is thus the beauty of nature but as seen through the spiritual eye of unity the vision that all the universe is Brahman that there is nothing but God above, below, within, without, to the north, south, east or west, past, present or future. Tripurasundari thus is the Goddess of Vedantic knowledge, which is the knowledge of the Supreme Self or Divine. She teaches us that all is the self and that the world is Brahman or the Absolute. From her perspective Samsara is Nirvana; the world of illusion is merged into the Absolute. Hence she is the form of the Goddess most beloved among Vedantic Swamis and teachers. She represents the knowledge of the Supreme Self. Tripurasundariis called Lalita or She who plays. The entire universe exists for the delight of awareness, which is the play of the Divine Mother. Creation arises in joy, and returns to joy. We are but transient figures in her eternal play, who have yet to understand the source of the energy that moves us. Our sorrow and suffering is a delusion, a misconception born of ignorance and the ego. Because we attempt to control or possess joy from the standpoint of the separate self, we divide ourselves from true joy which is universal. The Goddess, as the image of joy, shows us the way out of our error, which is not to deny ourselves happiness but to discover the true happiness that we seek, which is in being one with all. Lalita awakens the receptive soul to the bliss that underlies all things. Lalita is the deity of the Shri Chakra, the great yantra or energy pattern which underlines the entire universe, which arises from the mantra Om. She is the most blissful and beautiful of all the Goddesses, as she represents the ultimate bliss at the source of all delights. She is the deity who dwells at the summit of Mount Meru, the cosmic mountain or the mountain of the spine, and gives the orders whereby the entire universe moves. She is the Divine love which is the central motivating force behind the universe, and which is the original impulse within our own hearts. Tripurasundari is also called Rajarajeshwari or the supreme ruler of the universe. From her arise all the commands which govern the universe, including he command which allows us to unfold spiritually or to give spiritual teachings in the world. We must seek her command in order to do anything significant in life. Yet her command is not based on authority but love. To gain her approval we merely need be open to her love. What she allows us to do is to love her and to love everything. To discover her commands, however, we must be willing to surrender our own egoistic desires and attempt to control things.
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Tripurasundari is often represented as a young girl of sixteen years age. As such she is called sixteen (shodasi) or the young girl (bala). At this stage of a womans life the delight aspect of her existence is most pronounced. Her nature is to play, to seek new experiences, and to charm others to her. Her innocence attracts to her all that is true and good. Tripurasundari is the power of consciousness, Cit-shakti. She is the awareness of the Supreme Self, Paramatman, as one with the supreme Reality or Absolute, Parabrahman. As true knowledge she is called Samvit, which is the power to comprehend all things as consciousness itself. Tripurasundari is thus the power of spiritual knowledge (jnana-shakti), which is more a matter of feeling and perception than of thought and analysis. Hence she is the form of the Goddess most to be worshipped by those following the yoga of Knowledge. She is the form of the Goddess who represents pure consciousness and the bliss that flows from it. She combines the being of Kali, with the knowledge of Tara and adds the bliss dimension of spiritual realization. The Basics of Sri Yantra: Before starting the worship it is advisable to know about the way the Sri Yantra is constructed, what all it represents, about the 9 Avaranas, the deities, their gunas and significance, so that your worship is more meaningful. The following are the authentic details as given in various Tantra & Mantra scriptures. Five downward pointing triangles representing Devi intersect with four upward pointing triangles representing Siva, forming 43 triangles including the central triangle.. From the five Shakti triangles comes creation and from the four Shiva triangles comes the dissolution. The union of five Shaktis and four Fires causes the chakra of creation to evolve. At the centre of the bindu of the Shri Yantra is Kamakala, which has three bindus. One is red, one is white and one is mixed. The red bindu is Kurukulla the Female form, the white bindu is Varahi the Male form, and the mixed bindu is the union of Shiva & Shakti - the individual as the potential Shri Cakra. Varahi, the father-form, gives four dhatus to the child and Kurukulla, the mother-form, gives five dhatus to the child. Theses represent the nine dhatus of the human body. Varahi's four fires are the 12 (4 x 3) sun Kalas, the 12 Zodiac constellations. Kurukulla's five triangles are the 15 (5 x 3) Kalas of the moon, 15 lunar Tithis. These nine triangles also represent the nine stages of growth of the human child in the womb. Surrounding the 43 triangles formed by the intersection of the nine triangles is the 16 petals circle. Surrounding the 16 petal circle is an 8 petal circle. After that the 3 lines and at the outermost part of the Sriyantra there are 3 lines called the Bhupura. The 43 triangles constitute the six inner sections called Avaranas, the two circles of petals are two more avaranas and the Bhupura of 3 lines is the last Avarana. These 9 Avaranas of the Sri Yantra have various presiding Devis. They are the Devi's Parivar (retinue) of total 108. In the Srichakra pooja they are systematically worshipped one by one with their names and mantras. The presiding Deity of Srichakra, Devi, is Known as Lalita Tripura Sundari. The form of Devi Kamakshi of Kancheepuram is the closest resemblance of the Devi as described in the scriptures. Lalita means The One Who Plays. All creation, manifestation and dissolution is considered to be a play of Devi. Tri-Pura means the three worlds and Sundari means beauty. She is the transcendent beauty of the three worlds. Tripura also signifies:- She is the ruler of the the three gunas of Satva, Rajas and Tamas; and sun, moon and fire - the zodiac and the planets, and therefore Time itself; She is also "tripura" as Will (Iccha), Knowledge (Jnana) and Action (Kriya). She is also "tripura" as intellect, feelings & physical sensation; and She is triple as the three states of the soul - awakening, dreaming and -sleeping states. Her five triangles also represent the Pancha Tatwas and the Pancha Bhootas. (This is what the verse in Lalita Sahasranama means by -"Panchami pancha bhuteshi pancha sankhyopacharini ". It is difficult to say what She is not.
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Lalita holds five flowery arrows, noose, goad and bow. The noose represents attachment, the goad represents repulsion, the sugarcane bow represents the mind and the flowery arrows are the five sense objects. The Nava Avaranas (Nine Corridors) of the Sri Yantra Sri Chakra worship is one of the most guarded secrets of tantra and the Sri Yantra is the most guarder Yantra. Nairutaicha Ganeshanaam Sooryam Vayuvya eevacha Eeshane Vishnu Agneye Shivamchaiva prapoojayet The top left hand side corner of the Shreechakra is gaurded by Lord Ganesha. The top right hand side corner is guarded by Lord Surya. The bottom right side corner is guarded by Lord Vishnu and at the bottom left corner of the Shreechakra is guarded by Lord Shiva. After that the eight primordial directions are guarded by the eight Lokapalas. Indra guards the East, Agni guards the South East, Yama guards the South, Nirriti guards the South West, Varuna guards the West, Vayu guards the North East, Soma guards the North and Ishana guards the North East. As if this is not enough, each of the first eight Avaranas are guarded by eight Bhairavas and eight Bhairavis! What is more these 64 pairs of Bhairavas & Bhairavis are assisted by 10 million yoginis each - total 640 million (64 crores). This is what the verse in Lalita Sahasranama says --"Maha chatu-shshashtikoti yogini ganasevita .." Yes. Reaching Her is a bit difficult! The nine avaranas as per Mantra Mahodadhi The First Avarana - 3 lines The 3 lines of the 1st Avarana & the position of the various deities The outermost 3 lines known as Bhupura form the first Avarana of the Sri Yantra. This is known as the Trilokya Mohana Chakra and the worshiper knowing its inner secrets can mesmerise the 3 worlds. It is ruled by a Yogini Devi called Prakata Yogini. The Deity of this is Tripura. The beeja of this Avarana is Am Aam Sauh. The gem is topaz. The time is 24 minutes (360 breaths).The mudra to be shown is Kshobha Mudra. The 1st line: The Outer line (of the 3 lines) has 10 Devis known as Siddhi Devis. Their luster is like that of molten gold, they hold the goad in their right hands and the noose in their left hands. They are very auspicious and bestow heaps of gems and jewels to the worshiper. They are placed as shown in the above picture. They are: O1-Anima Sidhyamba O2-Laghima Sidhyamba O3-Mahima Sidhyamba O4-Ishvita Sidhyamba O5-Vasitva Sidhyamba O6-Prakamya Sidhyamba O7-Bhukti Sidhyamba O8-Ichha Sidhyamba O9Prapti Sidhyamba 10-Sarvakama Sidhyamba The 2nd line: The 2nd or Middle line has eight Matruka Devis. They are bedecked in all ornaments. They hold in their hands Vidya (book), Trident, Shakti, Chakra (Discus), Club, Thunderbolt, Baton & Lotus. They bestow to the worshiper everything desired. M1-Shree Brahmi Matruka M2-Shree Maheswari Matruka M3-Shree Koumari Matruka M4-Shree Vishnavi Matruka M5-Shree Varahi Matruka M6-Shree Mahendri Matruka M7-Shree Chamunda Matruka M8-Shree Mahalakshmi Matruka
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The 3rd line: The innermost third line has 10 Mudra Shaktis. They are of red hue and rule the various mudras and bestow spiritual boons to the worshiper. 1-Sarvasankshobhini Devi 2-Sarvavidravini Devi 3-Sarvakarshini Devi 4-Sarvavashankari Devi 5-Sarvonmadini Devi 6-Sarvamahankusha Devi 7-Sarvakhechari Devi 8-Sarvabeeja Devi 9-Sarvayoni Devi 10-Sarvatrikhanda Devi The 2nd Avarana: is the 16 petals circle known as Sarvaash Paripooraka Chakra meaning the fulfiller of all desires. The presiding form of Lalita in this Avarana is Tripureshi. She is ornamented with all gems, carries a book and a rosary. The Yogini residing here is called Gupta Yogini. The 16 Devis of this Avarana are called the Nitya Kalas, also Nitya Devis, also Akarshana Devis and also Gupta Yoginis. They are of red hue and each holds a noose, a goad, pot of nectar and make the sign of giving boons. They rule the 16 Sanskrit vowels from a to ah. By worshiping them one gets power over mind, ego, sound, touch, sight, taste, smell, intellect, steadiness, memory, name, growth, etheric body, rejuvenation, and physical body. The 16 Yoginis represent the 16 vowels of Sanskrit language, and are worshipped with the 16 vowels as their beeja mantras. The gem of this Avarana is sapphire. The dhatu is chyle (the first product of the disintegration of food by the biological fires). The time is three hours (2700 breaths). The beeja mantra is Aim Klim Sauh. The Mudra of this Avarana is the Dravini Mudra. The 16 Devis in sequence are: # Devi's name 1. Kamakarshini shakti 2. Budhyakarshini shakti 3. Ahankarakarshini shakti 4. Shabdakarshini shakti 5. Sparshakarshini shakti 6. Rupakarshini shakti 7. Rasakarshini shakti 8. Gandhakarshini shakti 9. Chittakarshini shakti 10. Dhyryakarshini shakti 11. Smrutyakarshini shakti 12. Namakarshini shakti 13. Beejakarshini shakti 14. Atmakarshini shakti 15. Amrutakarshini shakti 16. Sharirakarshini shakti The 3rd Avarana: is the 8 petal circle known as Sarva Sankshobhana Chakra. The preciding form of Lalita in this Avarana is Tripura Sundari. The Yogini is Guptatara Yogini. She is swaying in a love intoxicated state, with her eyes full of bliss. She smiles with passion and shows the mudras dispelling fears and granting boons. The eight Devis in each of the eight petals have the colour of Bandhuka flowers. They are holding noose, goad, blue lotus and are dispelling fear. They represent Speech, Holding, Walking, Excreting, Pleasure, Abandoning, Concentration and Detachment. They have the eight Ka class letters as their
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beejas. The beeja mantra of this Avarana is Hrim Klim Sauh. The gem is cat's eye. The dhatu is Flesh. The time is day and night (21600 breaths). The mudra of this Avarana is Aakarshana Mudra. The 8 Devis in sequence are: # Devi's name 1. Ananga Kusuma shakti 2. Ananga Mekhala shakti 3. Ananga Madana shakti 4. Ananga Madanatura shakti 5. Ananga Rekha shakti 6. Ananga Vegini shakti 7. Anangankusha shakti 8. Ananga Malini shakti The 4th Avarana: This Avarana of 14 triangles (Outer blue triangles in picture) represents the 14 worlds and the 14 main Nadis in the human body. It is called Sarva Soubhagya Dayak Chakra. The presiding form of the devi is Tripura Vasini. She is red and very beautiful. Fourteen Devis of the triangles are described as being proud, wanton, young, colour of cochineal, ornamented with gems, holding noose, goad, mirror, wine cup full of nectar. They are called Sampradaya Yoginis. The beeja mantra of this Avarana is Haim Hklim Hsauh. The gem is coral. The dhatu is blood. The time is weekday. The mudra of this Avarana is Vasya Mudra. The 14 Devis are # Devi's Name 1.Sarvasmkshobhini devi 2.Sarvavidravini devi 3.Sarvakarshini devi 4.Sarvaahladini devi 5.Sarvasammohini devi 6.Sarvasthambhini devi 7.Sarvajrumbhini devi 8.Sarvavashankari devi 9.Sarvaranjani devi 10.Sarvonmadini devi 11.Sarvarthasadhika devi 12.Sarvasampattipurani devi 13.Sarvamantramayi devi 14.Sarvadwandwakshayankari devi Picture showing the position of the Devis of 4th to 8th avarana The 5th Avarana: This Avarana of 10 triangles ( red triangles in the picture) is called Sarvarth Sadhaka Chakra. It is own as Bahirdasaram. The presiding aspect of Lalita is Tripurasri. She holds noose goad, a skull and dispels fear. She is of vermilion brightness. The Yoginis are called Kulotteerna Yoginis and also Kula Yoginis. They have the lusture of Japakusuma flowers and are adorned with shining gems and jwels. They are holding noose and goads and showing the gestures of knowledge, and giving boons. They represent the dasavataras and the 10 Vital Fires. The beeja of this Avarana is Hsshoum, Hleesskhloum, Hssouh. The gem is pearl. The dhatu is Ova/Semen. The time is Lunar Day (tithi). The Mudra of this Avarana is Unmada Mudra. The 10 Devis are: # Devi's Name
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1.Sarva Siddhiprada devi 2.Sarvasampatprada devi 3.Sarvapriyankari devi 4.Sarvamangalakarini devi 5.Sarvakamaprada devi 6.Sarvadukhavimochini devi 7.Sarvamrityuprasamani devi 8.Sarvavighnanivarini devi 9.Sarvangasundari devi 10.Sarvasoubhagyadayini devi The 6th Avarana: This inner 10 triangle chakra (shown in red in the picture) is called Sarva Rakshakara Chakra and also as Antardasardam. The presiding aspect of Lalita is Tripura Malini. She holds noose and goad, dispels fear, and holds a skull. She is of vermilion brightness. The Yoginis are called Nigarbha Yoginis. They are the colour of 1000 rising suns, adorned with pearls and gems, holding noose, chisel, and showing the gestures of knowledge, and giving boons. They are the saktis of the 10 Vital Fires. The beeja of this Avarana is Hrim Klim Blem. The gem is emerald. The dhatu is Marrow. The time is Lunar Fortnight. The Mudra of the Avarana is Mahankusha Mudra. The 10 Devis are: # Devi's Name 1.Sarvagya devi 2.Sarvashakti devi 3.Sarvaswaryapradayini devi 4.Sarvagyanamayi devi 5.Sarvavyadhinivarini devi 6.Sarvadharaswarupa devi 7.Sarvapapahara devi 8.Sarvanandamayi devi 9.Sarvarakshaswarupini devi 10.Sarvepsitaphalaprada devi The 7th Avarana: This inner 8 triangle chakra (shown in Green in the picture) is called Sarva Rogahara Chakra. The preciding Devi is Tripura Siddhamba. She is described as the Destroyer of Poison. The Yogini is called Ati Rahasya Yogini. The Yoginis are the colour of pomegranate flowers, wearing red clothes, smeared with red scent, each carrying five arrows and a bow. These Devis are the rulers of Cold, Heat, Happiness, Sorrow, Desire, and the three gunas Sattvas, Rajas, Tamas. They are also called the eight Vasinis and rule the eight Sanskrit letter groups. They also represent the Astha Vasus. The beeja is Hreem, Shreem, Souh. The gem is diamond. The time is month. The Mudra is Khecari Mudra. The 8 Devis are: # Devi's Name 1.Vasini Vagdevi 2.Kameswari Vagdevi 3.Modini Vagdevi 4.Kamala Vagdevi 5.Aruna Vagdevi 6.Jayini Vagdevi 7.Sarveswari Vagdevi 8.Koushini Vagdevi The 8th Avarana: This inner 8 triangle chakra (shown in green in the picture) is
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called Sarva Siddhiprada Chakra. The presiding Devi is Tripuramba. The Yogini here is AtiRahasya Yogini. Her Beejamantra is Hsraim Hsrklim Hsrsauh. She is also known as Sampatprada Bhairavi. She has coppery effulgent, like a 1000 suns, with three eyes, a face like the moon, adorned with white gems, with a beautiful figure, rising swelling breasts, intoxicated, wanton, young, proud, holding book, dispelling fear, holding a rosary and granting boons. The 3 Devis here are: 1.Kameshvari 2.Vajreshi 3.Bhagamalini. Kameshvari is the Rudra Shakti - Parvati. She is white in colour, besmeared with camphor, adorned with pearls and crystal, and various other gems, holding book, rosary, bestowing boons and dispelling fear. Vajreshi is the Vishnu Shakti - Lakshmi. She is bright as red kumkuma, adorned with flowers and gems, like the dawn sun. Her eyelids are smeared with sapphire dust, she holds sugarcane how, flowery arrows, bestows boons, dispels fear. Bhagamalini is the Brahma Shakti - Saraswati. She is effulgent as molten gold, adorned with priceless gems, holds noose, goad, and shows the gestures of knowledge and bestowing boons. The beeja is Hsraim Hsrklim Hsrsauh. The gem of the mandala is Gomaya. The dhatu is Fat. The time is season (two months). The Mudra is the Bija Mudra. The 9th Avarana: This Avarana is the Bindu - the Cosmic Union of Shiva & Shakti as Kameswari & Kameswara. It is called Sarvanandamaya Chakra. The Yogini is the Queen of Queens, Rajarajeshvari, Her Transcendent Majesty Lalita Maheshvari Mahatripurasundari. The beeja is ka e i la hrim. The gem is ruby. The dhatu is hair. The time is year. The mudra of this Avarana is Yoni Mudra. Shreechakra Navavarana Pooja as per the Khadgamala vidhi The basic Rules: Devi worship must be done only after taking bath and wearing clean clothes. As per the rituals to be observed - various pooja books and websites prescribe long preparations and rituals for poojas. It is not possible for every one to perform a pooja like an ordained Vedic priest. Hence our scriptures allow one to do a pooja "Yatha shakti" or as per ones capability and convenience. Doing it with faith is what really matters. The minimum is: light a lamp and an incense stick and offer some prasad - if you don't have anything at home then simple milk or sugar will do. People worship the Shreechakra made of various materials and in shades. The simplest and the best one is a clear diagrammatic picture. In the olden days people used to draw the Chakra on various materials. Now you do not have to go through all the trouble. You can use a simple printed one, which is equally effective. We have enclosed one for your benefit at the top. Take a print out of it to worship. Preferably laminate it so that it is not soiled or damaged. While doing the pooja of the various deities in the Nine Avaranas, you can worship the Chakra with Akshintas (Turmeric rice) or flowers or with Panchamrut. A still better way is to worship the particular Devi in the places indicated in the pictures given in the previous pages. The Devi is worshipped in many forms and names - Lalita, Katyayani, Kameswari, Kamakshi, Durga, Chandi, Kali, and Amba etc. The closest matching form of the Shodashakshari Devi as described in the scriptures is that off Goddess Kamakshi of Kanchi. You will find it here. The Anganyasas and Karanyasa beejas are the purification ritual before the pooja. The basic Anganyasa & Karanyasa are given for the benefit of those who are conversant with this ritual. If you do not know you can omit it. If you are conversant with the other pooja rituals like Aachamanam, Bhuta Suddhi, Dehasuddhi, Shankha pooja, Kalasha pooja etc., you can perform them before the actual pooja. If you do not know simply offer a prayer to Lord Ganesha and do the pooja. At the end of the pooja offer the following prayer. "Avahanam najanami, najanami visarjanam,
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poojamchaiva najanamani kshamaswa Maheswari. Yatkrutam yatkarishyami tathsarvam twamarpanam, poojam poorna phalam kuru". Roughly translated it means - "I am not conversant with the Aavahana, visarjana etc.. pooja rituals and hence forgive me. Whatever I have done and I am doing, I am offering to you. Give me full results". This pooja, along with the four other poojas that must be performed before that, will take about 45 minutes time but it is more effective than any other pooja both materially and spiritually. On the top left hand side corner of the Shreechakra resides Lord Ganesha. On the top right hand side corner resides Lord Surya. On the bottom right side corner resides Lord Vishnu and at the bottom left corner of the Shreechakra resides Lord Shiva. They guard the Sri Chakra. Hence, before performing the Shreechakra pooja you must perform a brief pooja of the above four deities. These poojas are given in the Pancha Pooja section in this site. The Sri Chakra Pooja Karanyasa Aim Angushtabhyam namah Hreem Tarjaneebhyam namah Shreem Madhyamabhyam namah Aim Anamikabhyam namah Kleem Kanishtikabhyam namah Souh Karatalakara prushtabhyam namah Anganyasam Aim Hrudayaya namah Hreem Siraseswaha Shreem Shikhayaivashat Aim Kavachayahum Kleem Netratrayayaoushat Souh Astrayaphat Three Salutations to Devi Om aim hreem shreem aim kleem souh Kriyashakti pithayai Shripadukam poojayami namah Om aim hreem shreem aim kleem souh Gyanashakti kundalinyai Shripadukam poojayami namah Om aim hreem shreem aim kleem souh Ichhashakti shri mahatripurasundaryai Shripadukam poojayami namah Nityayajanam (pooja of nitya devies) Om aim hreem shreem aim kleem souh - these bijas must be added before each of the names from now onwards. After the name add the beejas Shripadukam poojayami namah Kameswari nityamba - Shripadukampoojayaminamah Bhagamalini nityamba Nityaklinna nityamba Bherunda nytyamba Vahnivasini nityamba Mahavajreswari nityamba Shivaduti nityamba Twarita nityamba Kulasundari nityamba Nitya nityamba Neelapataka nityamba Sarvamangala nityamba
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Jwalamalini nityamba Chitra nityamba Mahanitya nityamba Parameswara parameswari devi Mitreshamayi devi Shastisamayi devi Uddisamayi devi Charyanathamayi devi Lopamudramayi devi Agastyamayi devi Kalatapanamayi devi Dharmacharyamayi devi Muktakeliswaramayi devi Deepakalanathamayi devi Vishnudevamayi devi Prabhakaradevamayi devi Tejodevamayi devi Kalyanadevamayi devi Vasudevamayi devi Ratnadevamayi devi Shriramanandamayi devi Prathama Avarana pooja (The 3 outer lines) The position of the Devis on the 3 lines is indicated by numbers The First line O1-Anima Sidhyamba O2-Laghima Sidhyamba O3-Mahima Sidhyamba O4-Ishvita Sidhyamba O5-Vasitva Sidhyamba O6-Prakamya Sidhyamba O7-Bhukti Sidhyamba O8-Ichha Sidhyamba O9Prapti Sidhyamba 10-Sarvakama Sidhyamba The second line M1-Shree Brahmi Matruka M2-Shree Maheswari Matruka M3-Shree Koumari Matruka M4-Shree Vishnavi Matruka M5-Shree Varahi Matruka M6-Shree Mahendri Matruka M7-Shree Chamunda Matruka M8-Shree Mahalakshmi Matruka The third line 1-Sarvasankshobhini Devi 2-Sarvavidravini Devi 3-Sarvakarshini Devi 4-Sarvavashankari Devi 5-Sarvonmadini Devi 6-Sarvamahankusha Devi 7-Sarvakhechari Devi 8-Sarvabeeja Devi
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9-Sarvayoni Devi 10-Sarvatrikhanda Devi Trilokyamohanachakraswamini Devi Prakatayogini Devi Dwiteeyaavarana pooja 1. Kamakarshini shakti 2. Budhyakarshini shakti 3. Ahankarakarshini shakti 4. Shabdakarshini shakti 5. Sparshakarshini shakti 6. Rupakarshini shakti 7. Rasakarshini shakti 8. Gandhakarshini shakti 9. Chittakarshini shakti 10. Dhyryakarshini shakti 11. Smrutyakarshini shakti 12. Namakarshini shakti 13. Beejakarshini shakti 14. Atmakarshini shakti 15. Amrutakarshini shakti 16. Sharirakarshini shakti Sarvasha paripuraka chakraswamini Guptayogini Truteeyaavarana Pooja 1. Ananga Kusuma shakti 2. Ananga Mekhala shakti 3. Ananga Madana shakti 4. Ananga Madanatura shakti 5. Ananga Rekha shakti 6. Ananga Vegini shakti 7. Anangankusha shakti 8. Ananga Malini shakti Sarvasamkshobhini chakraswamini Guptatarayogini Chaturthaavarana Pooja 1.Sarvasmkshobhini devi 2.Sarvavidravini devi 3.Sarvakarshini devi 4.Sarvaahladini devi 5.Sarvasammohini devi 6.Sarvasthambhini devi 7.Sarvajrumbhini devi 8.Sarvavashankari devi 9.Sarvaranjani devi 10.Sarvonmadini devi 11.Sarvarthasadhika devi 12.Sarvasampattipurani devi 13.Sarvamantramayi devi 14.Sarvadwandwakshayankari devi Sarsoubhagyadayaka chakraswamini Sampradayayogini The Panchama Avarana 1.Sarva Siddhiprada devi
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2.Sarvasampatprada devi 3.Sarvapriyankari devi 4.Sarvamangalakarini devi 5.Sarvakamaprada devi 6.Sarvadukhavimochini devi 7.Sarvamrityuprasamani devi 8.Sarvavighnanivarini devi 9.Sarvangasundari devi 10.Sarvasoubhagyadayini devi Sarvartha Sadhaka Chakraswamini Kulotteerna Yogini The Shastha Avarana 1.Sarvagya devi 2.Sarvashakti devi 3.Sarvaswaryapradayini devi 4.Sarvagyanamayi devi 5.Sarvavyadhinivarini devi 6.Sarvadharaswarupa devi 7.Sarvapapahara devi 8.Sarvanandamayi devi 9.Sarvarakshaswarupini devi 10.Sarvepsitaphalaprada devi Sarvarakshakara chakraswamini Nigarbhayogini Saptmavarana Pooja 1.Vasini Vagdevi 2.Kameswari Vagdevi 3.Modini Vagdevi 4.Kamala Vagdevi 5.Aruna Vagdevi 6.Jayini Vagdevi 7.Sarveswari Vagdevi 8.Koushini Vagdevi Sarvarogahara chakraswamini Rahasya yogini Banini Chapini Pashini Ankushini Ashtamavarana Pooja Mahakameswari devi Mahavajreswari devi Mahabhagamalini devi Sarvasidhiprada chakraswamini Atirahasyayogini Navamavarana Pooja Shri Shri Mahabhattarika Sarvanandamaya Chakraswamini Paraapararahasyayogini Concluding Pooja Tripura devi namah ............. Dhyayami Tripureshi devi namah ............ Avahayami Tripurasundari devi namah ........ Asanam samarpayami
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Tripurasidha devi namah ........ Snanam samarpayami Tripuramba devi namah ......... Vastram samarpayami Mahatripurasundari devi namah .... Abharanam samarpayami Mahamaheswari devi namah .... Gandham dharayami Mahamaharagyi devi namah .... Pushpani pujayami Shrimatsimhasanaiswaryai namah .. Padou poojayami Lalitayai namah .. Gulphou poojayami Maharagyi namah .. Janghou poojayami Paramkushayai namah .. Januni poojayami Chapinyai namah .. Urum poojayami Tripurayai namah .. Katim poojayami Maha Tripura Sundaryai namah .. Nabhim poojayami Sundaryai namah .. Vasitrayam poojayami Chakranathaya namah .. Udaram poojayami Samragyai namah .. Hrudayam poojayami Chakrinyai namah .. Kantham poojayami Chakreswaryai namah .. Oshtam poojayami Mahadevyai namah .. Kapolam poojayami Kameswaryai namah .. Dantapanktim poojayami Parameswaryai namah .. Chubukam poojayami Kamarajapriyayai namah .. Nasikadwayam poojayami Kamakotikayai namah .. Bhroomadhyam poojayami Chakravartinyai namah .. Netradwayam poojayami Mahavidyayai namah .. Shrotradwayam poojayami Shivanganavallabhayai namah .. Phalam poojayami Sarvapatalayai namah .. Mukham poojayami Kulanathayai namah .. Parswam poojayami Amnayanathayai namah .. Shiram poojayami Sarvamnayanivasinyai namah .. Padukam poojayami Mahashrungaranayikayai namah .. Sarvangani poojayami Mamahashakti devi namah .. Dhoopam aghrapayami Mahamahagupta devi namah .. Deepam Darshayami Mahagyapta devi namah .. Nivedyam samarpayami Mahamahananda devi namah .. Tambulam samarpayami Mahamahaskanda devi namah .. Neerajanam samarpayami Mahamahashaya devi namah .. Mantrapushpam samarpayami Mahamaha shreechakra nagara samragyidevi namah .. Pradikshana namaskaram samarpayam note :- Those who write moola mantra in a book and send this book to Dr anand babu v they will recive shakthiyoga book, sree yantra, and other articles free at door deliverd
5.Bhuvaneshwari:
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Mantra Om Hreem Bhubaneswaraye Hreem Namah The moola mantra should be recitedfor 100000 times and ten thouand times for mantra siddiAfter 10 p.m. take a bath and wear a white dhoti/saree. Sit on a white worship mat facing East. Cover a wooden seat with a red cloth. On it place the picture of the Guru. Pray to the Guru. Before the picture place the Bhuvaneshwari Yantra. Offer vermilion, rice grains, incense, ghee lamp and flowers on the Yantra The name of the Mahavidya itself means the ruler of the world and a Sadhak of Bhuvaneshwari is always victorious on all fronts in life and becomes all-powerful. Even Ram had to propitiate the Goddess before defeating Ravan who had conquered even heaven. A Sadhak of Bhuvaneshwari gains a mesmerising personality that draws all people to him and makes them readily obey his command. Diseases, enemies and problems are forever banished from his life and he has unexpected and huge monetary gains. Such a person conquers all problems in life - even the danger of untimely death. He leads a joyous family life and gains fame and respect nation and world wide. Whatever he wishes for is fulfilled, for he is bestowed with 64 divine virtues which help him succeed in every venture that he undertakes. He becomes a virtual Man of his Age. This Sadhana can be started on first day of any month. After 10 p.m. take a bath and wear a white dhoti/saree. Sit on a white worship mat facing East. Cover a wooden seat with a red cloth. On it place the picture of the Guru. Pray to the Guru. Before the picture place the Bhuvaneshwari Yantra. Offer vermilion, rice grains, incense, ghee lamp and flowers on the Yantra. Take water in your right palm and chant. Let the water flow onto the ground Take a coral bead in your right hand and speak out the wish which you would want to see fulfilled. Chanting thus offer it on the Yantra. Offer vermilion on the Bhuvaneshwari Mala. Pick it up and chant 101 rounds of the following Mantra Do this for 9 continuous days Her complexion is that of a rising sun. She wears a crescent on her forehead and crown over head. Her breasts are full. She is three eyed and Her face is ever lit up with a smile. In her two hands, she holds the noose and the goad and in the other two, the pose of granting boons and assurance to her devotees to alley their fears. This is known as Varada and Abhaya mudras. She adorns herself with valuable ornaments. She seats on a lotus throne. She is the goddess having the moon diadem, large breasts and three eyes. She is also described in two forms as Saubhagya Bhubaneswari and Maya Bhubaneswari, in red and blue colour respectively. One can come across excellent icons in Srimandira, Puri. She is the protectress of the world. Her three eyes
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Bhubaneswari represent icha, kriya and jnana sakti.Goddess Bhuvaneshwari is the ruler of the
world. She blesses the devotee with success in all fields of life. Lord Sri Rama worshipped Goddess Bhuvaneshwari before going to war against Ravana. She removes the malefic effects of Chandra Graha (Chandra Dosha). Bhuvaneshvari is the Queen or ruler (feminine, Ishvari) of the universe or realm of beings (Bhuvana). She is the Divine Mother as the Queen of all the worlds. The entire universe is her body and all beings are ornaments on her infinite being. She carries all worlds as a flowering of her own Self-nature. She is thus related to Sundari and to Rajarajeshvari, the supreme Lady of the Universe. The Goddess represents space. Space is the Mother or Matrix in which all creatures come into being. She is the field in which all things grow. She is the receptive spirit who gives space to allow all things their place and function. She is the cosmic womb that gives birth to all worlds. As space, Bhuvaneshvari is complementary to Kali who is time; they are the two main faces of the Goddess as both the infinite and the eternal. Bhuvaneshvari creates the stage on which Kali performs her dance of life and death. At the stage Bhuvaneshvari is also the witness, the observer and the enjoyer of the dance. As Kali creates events in time, so Bhuvaneshvari creates objects in space. All events are merely episodes in the Devine Mother Kali who is time. All places are merely phases of the dance of the Divine Mother Bhuvaneshvari who is space. The Goddess is the place, the field, the matrix in which we act to manifest the Gods. Knowing her as the ground on which we stand and the reality which pervades us, we gain the capacity (Shakti) to accomplish the highest actions, which are the practice of Yoga. Returning to her passive presence, we ourselves become the field in which the Gods, the cosmic powers, can be born and assume their roles in the cosmic creative unfoldment. Bhuvaneshvari is the cosmos (Bhuvana) personified as Goddess. Worshipping her promotes a cosmic vision and absolves us from the narrowness of opinion and belief. She helps us go beyond all identifications with creed, class, race, sex, nation and religion, to a universal understanding. She gives us world vision, a global understanding, and a sense of the infinite. As the power that measures out the universe, Bhuvaneshvari is called Maya, which also means illusion. When things are measured we are in their limited forms and forget the underlying unitary space in which they appear. This is how illusion arises. All manifest forms are merely waves in the infinite space of the Divine Mother. We must learn to see the space of the Mother, which is the embrace of consciousness, in all apparent objects of world, and no longer take their diverse forms as reality. As Kali is the power of Action (kriya-shakti) and Sundari is the power of Knowledge (jnanashakti), Bhuvaneshvari is the power of Love (iccha-shakti). Love creates space and provides freedom. It does not limit or try to posses, which is the action of selfish desire. Yet the space of love is not an empty or unfriendly space, it is a space that nurtures and gives room to grow and flower. If love does not give space, it is not a Divine Love. Bhuvaneshvari has a form like Sundari, whom she resembles in many ways, which reveals her beneficent nature. She has the colour of the rising sun, with the crescent moon on her head, with four hands and three eyes. She holds in two hands the noose and the goad. With her other two hands she gives the gestures that grant boons and dispel fears. The mantra for Bhuvaneshwari is the single syllable Hirim. Hirim is one of the most important of all mantras. It is called the Devi Pranava, or the equivalent of Om for the Goddess. Hirem refers to the heart (Hridaya). It also relates to Hri, which is modesty.
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Bhuvaneshvari as the Mother can be worshipped through the mantra Ma, which is the natural sound for mother. This mantra, like Hirim, can be used for the Divine Mother in all her forms. The Divine Mother is called Shri Ma (respected, beautiful or resplendent Mother), which can also be used as a mantra for her.
6.Tripura Bhairavi
Mantra Om Bhairavi Saham Sadana as seen in kali sadana

Bhairavi is the sixth Mahavidya and the icon of death, whose power is irresistible and unavoidable, and which is a continuous process in the phenomenal world. Bhairavi is in charge of Nitya Laya (Pralaya or dissolution), which means decay and death of individual entities on a daily basis.
Kala Bhairavi: Goddess Tripura Bhairavi or Goddess Kala Bhairavi gives the devotee the power to attain everything in life and triumph over the sensual desires. Tripurabhairavi Bhairavi is a fierce and terrifying aspect of the Goddess virtually indistinguishable from Kali, except for her particular identification as the consort of the Bhairava She is also called Shubhamkari, Good Mother to Good People and Terrible to bad ones.She is seen holding book,rosary,blessings and abhaya mudra.She is also known as Baala or Tripurabhairavi. Its believed that when Bhairavi entered the battle field, her horrible appearance made the demons become weak and very feeble, and it's believed that most of the demons started panicking as soon as they saw her. Bhairavi is seen mainly as the Chandi in the Durga Saptashati version of slaying Shumbha and Nishumbha. However, she kills and drinks the blood of Chanda and Munda the Chieftains of asuras, so the Goddess Parvathi gives her a boon that she would be called Chamundeshwari. In other forms she is also identified with Parvathi or Durga. When furious she is found sitting on a faithful donkey, with her mouth full of demons' blood, her body covered with a tiger skin and skeleton. She also presents the
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abhaya mudra and vara mudhra, and she is shown holding weapons such as a trident, axe, and thunderbolt. Mahakali has forever been worshipped as the saviour of good in its perpetual struggle against evil. When even Gods were on the verge of being overcome by the demons, she manifested in this "Rudra" (angry) form and that was the end of seemingly unconquerable demons like Raktbeej. Her form - long, lolling tongue dripping blood, a garland of freshly severed human heads around her neck and snakes coiled around her arms and ankles in lieu of armlets and anklets - is enough to strike terror in the most evil of humans. Her Sadhana means not just attaining courage and valour but also the divine grace of Shiva, her consort. Rudra Mahakali is the annihilator of all pains, afflictions, problems and enemies in ones life. On her Sadhak she bestows perfect health and youth. Death cannot come uncalled to such a person. Her divine presence means birth of supreme conscience and intelligence. A hypnotic charm keeps radiating from the physique of a Siddh of Mahakali. Friends he has many and foes dare not harm him. Like a mother, Kali fulfils all needs of a Sadhak and blesses him with wealth, fame, respect and a happy family life. And where she assures material prosperity, she also ensures spiritual upliftment. Represents Divine anger and wrath. Yet her wrath is directed towards impurities within us, as well as to negative forces that may try to interfere with our spiritual growth. Though a difficult force to bear, her activity is necessary both to guide and to protect us. Tripurabhairavi is proverbial wrath of a woman and more specifically the wrath of a mother towards whatever may threaten her children. Tripurabhairavi represents the supreme power of speech, which has the nature of fire (Tejas). She is the Word in its unarticulated and primal form as raw energy, the flaming word which appears like a pillar or a sword to remove all resistance. She is the supreme light and heat power, the flame of consciousness itself (Cidagni)- the ultimate knowledge of truth. Tripurabhairavi as Tejas (radiance) rules over the Tanmatras, the subtle sensory potentials behind the five elements and five sense organs which allow for their inter-connection. Through the Tanmatras Tripurabhairavi gives power over the senses and the elements. She is the basic will-power of life, mastering control of all of its manifestations. Tripurabhairavi is known as Durga, the Goddess who saves us from all evils and odds. Durga rides a lion, a symbol of fire or solar energy, from which she wields her weapons of light to destroy all demons or negative forces. She helps take us away off disease, sorrow, darkness and death. The fierce form of Divine energy exists within us as the power of transforming heat (Tapas). Tapas is sometimes translated as asceticism. More properly it is a heightened aspiration that consumes all secondary interests and attachments. When we really focus on one object, we naturally lose our attraction to other things. Tapas is this real focus and profound absorption in the spiritual life that causes us to no longer desire anything else. Tapas is the heat of spiritual inquiry and aspiration which causes us to discard all that is non-essential in life. Tripurabhairavi as Tapas is especially worshipped by those seeking knowledge or by those seeking control of their sexual energy (Brahmacharya). She gives control of the senses, the emotions and wandering thoughts. She helps us during fasting, vows of silence, meditation retreats, Pilgrimages, during the practice of celibacy, or any other concentrated spiritual discipline (Tapas) that we may be attempting. Whatever obstructions arise to our practice of Tapas we can call on Tripurabhairavi to help eliminate it.
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Tripurabhairavi is the fierce form of the Goddess and related to Chandi, the fiercest form of the Goddess, who is the main deity of the famous Devi Mahatmya, a great poem of seven hundred verses (also called Durga Saptasati or Chandi) which celebrates the destruction of the demons by her. Tripurabhairavi is the mightiest warrior, who with her power of Divine speech and spiritual fire eliminates all obstacles to the unfoldment of true awareness. As Chandi or the destroyer of evils and odds, she can be invoked for removing obstacles and to allow us to attain any of the four goals of life enjoyment, wealth, recognition or liberation (kama, artha, dharma and moksha). Another important form of Durga is the ten-armed Mahishasura Mardini, the destroyer of Mahishasura, the demon who represents the vital passions (particularly sexual desires), which tie us to the outer world. She is also a form of Thripurabhairavi. Tripurabhairavi possesses the effulgence of a thousand rising suns. She has three eyes and wears a jeweled crown with the crest of the moon. Her lotus face is always full of smiles. She wears a red garment (generally made of silk), her breasts are smeared with blood, and she is adorned with a garland of severed human heads. She has four hands and carries a rosary and a book. She makes the gestures of knowledge and that for giving boons with other two hands.
7. Dhumavathi:
The Dhumavati Mantra as per Mantra Mahaodadhi: "Dhum Dhum Dhumavati Swaha" The Sadhana of this Mahavidya can be done on any moonless night. After 10 p.m. take a bath, wear black robes and sit alone in a room facing South on a black worship mat. Before yourself place a wooden seat covered with a black cloth. In a steel plate place Dhoomavati Yantra. On one side place the picture of the Goddess. Next to it in another plate place a Vajra Dand and Dhoomavati Mala. Take some mustard seeds and throwing them in all directions chant thus Offer vermilion, rice grains, flowers, incense, ghee lamp and some sweet on the picture of the Guru. Bathe the Yantra with fresh water and wipe it dry. Make a mark with Kaajal on it. Light an oil lamp and incense. Offer sweets and fruit on the Yantra. Chant 4 rounds of Guru Mantra and then 21 rounds of the following Mantra with Dhoomavati Mala. After the Sadhana dont sleep that night. Sit in meditation. Next morning chant one round of the Mantra and then go and throw the Yantra in a river. Thereafter chant one round of the Mantra daily for 45 days. After 3 months throw the rosary and Vajra Dand too in a river
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Dhumavati is smoke-colored. Dhuuma = smoke; Vati = cover. The story goes that Parvati, the consort of Siva, was very hungry and asked for food from Siva to which Siva did not pay any attention. Repeated requests for nourishment went unheeded and therefore, Parvati swallowed Siva satisfying her hunger, exhaling smoke and at the same time widowing herself. Siva persuaded Dhumavati to regurgitate him from her stomach which she did. Since she exhaled smoke, Siva called her Dhumavati. Siva contains the world in him; Parvati swallows him; in effect She is on the top of the food chain; she is the Mother Goddess of the universe. (Note: Different sources use Parvati, Sati, Dhumavati interchangeably
Dhumavati (Sanskrit: , Dhmvat, literally "the smoky one") is one of the Mahavidyas, a group of ten Tantric goddesses. Dhumavati represents the fearsome aspect of Devi, the Hindu Divine Mother. She is often portrayed as an old, ugly widow, and is associated with things considered inauspicious and unattractive in Hinduism, such as the crow and the Chaturmas period. The goddess is often depicted on a horseless chariot or riding a crow, usually in a cremation ground. Dhumavati is said to manifest herself at the time of cosmic dissolution and is "the Void" that exists before creation and after dissolution. While Dhumavati is generally associated with only inauspicious qualities, her thousand-name hymn relates her positive aspects as well as her negative ones. She is often called tender-hearted and a bestower of boons. Dhumavati is described as a great teacher, one who reveals ultimate knowledge of the universe, which is beyond the illusory divisions, like auspicious and inauspicious. Her ugly form teaches the devotee to look beyond the superficial, to look inwards and seek the inner truths of life. Dhumavati is described as a giver of siddhis (supernatural powers), a rescuer from all troubles, and a granter of all desires and rewards, including ultimate knowledge and moksha (salvation). Her worship is also prescribed for those who wish to defeat their foes. Dhumavati's worship is considered ideal for unpaired members of society, such as bachelors, widows, and world renouncers as well as Tantrikas. In her Varanasi temple, however, she transcends her inauspiciousness and acquires the status of a local protective deity. There, even married couples worship her. Although she has very few dedicated temples, her worship by Tantric ritual continues in private in secluded places like cremation grounds and forests Usually she is depicted as an eternal widow or Shakti without Shiva. She is also called as Alakshmi. Goddess Dhumavathi gives her devotee to protect himself with black magic from anyone. She removes the malefic effects of Rahu Graha (Rahu graha dosham). Dhumavati is the eldest among the Goddesses, the Grandmother Spirit. She stands behind the other Goddesses as their ancestral guide. As the Grandmother Spirit she is the great teacher who bestows the ultimate lessons of birth and death. She is the knowledge that comes through hard experience, in which our immature and youthful desires and fantasies are put to rest. Dhuma means smoke. Dhumavati is one who is composed of smoke. Her nature is not illumination but obscuration. However, to obscure one thing is to reveal another. By obscuring or covering all that is known, Dhumavati reveals the depth of the unknown and the unmanifest. Dhumavati obscures what is evident in order to reveal the hidden and the profound. Dhumavati is portrayed as a widow. She is the feminine principle devoid of the masculine principle. She is Shakti without Shiva as a pure potential energy without any will to motivate it. Thus she contains within herself all potentials and shows the latent energies that dwell within us. To develop these latent energies we must first recognize them. This requires honoring Dhumavati.
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Dhumavati shows the feminine principle of negation in all of its aspects. On an outer level she represents poverty, destitution, and suffering, the great misfortunes that we all fear in life. Hence she is said to be crooked, troublesome, and quarrelsome a witch or a hag. Yet on an inner level this same negativity causes us to seek a greater fulfillment than can be achieved in the limited realms of the manifest creation. After all, only frustration in our outer life causes us to seek the inner reality. Dhumavati is whatever obstructs us in life, but what obstructs us in one area can release a new potential to grow in a different direction. Thus she is the good fortune that comes to us in the form of misfortune. Dhumavati represents the darkness on the face of the deep, the original chaos and obscurity which underlies creation. She is the darkness of primordial ignorance, Mulavidya, from which this world of illusion has arisen, and which it is seeking to transcend. Dhumavati represents the power of ignorance or that aspect of the creative force which causes the obscuration of the underlying light of consciousness. While Maya is the magic or illusion power of the Lord that makes the one reality appear as many, ignorance is a form of darkness which prevents us from seeing the underlying reality. Dhumavati is the void, wherein all forms have been dissolved and nothing can any longer be differentiated. Yet this void is not mere darkness. It is a self-illumining reality free of the ordinary duality of subject and object. Dhumavati represents the negative powers of life: disappointment, frustration, humiliation, defeat, loss, sorrow and loneliness. Such experiences overpower the ordinary mind, but to the yogi they are special doors of opportunity to contact the reality which transcends desire. Dhumavati is the elder form of Kali, Kali as an old woman. She represents time or the lifeforce dissociated from the process of manifestation. She is the timeless which never really enters into the process of time. Dhumavati is portrayed as a tall and thin old woman with disheveled and matted hair. She is fearful, unattractive and dark in complexion, with a wrinkled face, and her limbs are red. She has a harsh look in her eyes and she is missing a number of her teeth, which are otherwise large in size. Sometimes she is portrayed with fangs and her nose is long and snout-like. She is dressed in old or dirty clothes and her breasts hang down. She rides a chariot whose insignia is a crow. In her left hand she carries a winnowing basket and with her right makes the gesture of knowledge (Cinmudra). In other accounts she carries a skull-cup and sword in her two hands. She wears a garland of severed heads and is ever hungry and thirsty, always provoking quarrels and misunderstandings.
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8.Bagalamukhi or Pitambari: "Om Hleem Sarva Dusthaanaam Vaacham Mukham Paadam stambhaya jihvyamkilaya buddhim vinaashaya Hleem Om Swaha"
How did she gain her yellow complexion? During Krta Yuga, there was a devastating storm and the universe was at the brink of total destruction. Many living creatures died from the storm and turbulent waves jostled against Vishnu lying on the bed of Snake (Sesa). He went up to Haridra (Turmeric pond) and performed austerities to alleviate the problem. Yellow color of the turmeric is a favorite color of Lord Vishnu. Tripura Sundari, to whom he addressed his prayers, appeared in front of him in a blinding effulgence of a million suns. Suddenly an yellow-colored goddess (Pitambara Devi, Bagalamukhi) emerged from Tripura Sundari, took a dip in the pond and calmed down the storm. She of yellow complexion made an appearance to Vishnu by the Turmeric lake, she goes by the name of Pitambara Devi.
Expounding the great power of the Goddess Baglamukhi the text Mantra Maharnnav states -"The Mantra of the Goddess has the power of the divine weapon Brahmastra instilled in it and the Goddess simply strikes terror in and paralyses the enemies of her Sadhaks. Repetition of her Mantra is enough to stop even a tempest." "Bagalamukhi" is derived from "Bagala" (distortion of the original Sanskrit root "valg") and "mukha", meaning "bridle" and "face", respectively. Thus, the name means one whose face has the power to capture or control. She thus represents the hypnotic power of the Goddess. Another interpretation translates her name as crane faced. Bagalamukhi has a golden complexion and her dress is yellow. She sits in a golden throne in the midst of an ocean of nectar full of yellow lotuses. A crescent moon adorns her head. Two descriptions of the goddess are found in various texts- The Dwi-Bhuja (two handed), and the Chaturbhuja (Four handed). The Dwi-Bhuja depiction is the more common, and is described as the Soumya or milder form. She holds a club in her right hand with which she beats a demon, while pulling his tongue out with her left hand. This image is sometimes interpreted as an exhibition of stambhana, the power to stun or paralyse an enemy into silence. This is one of the boons for which Bagalamukhis devotees worship her. Other Mahavidya goddesses are also said to represent similar powers useful for defeating enemies, to be invoked by their worshippers through various rituals. Once upon a time, a huge storm erupted over the Earth. As it threatened to
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destroy whole of the creation, all the gods assembled in the Saurashtra region. Goddess Bagalamukhi emerged from the 'Haridra Sarovara', and appeased by the prayers of the gods, calmed down the storm Bagalamukhi is also called Pitambaradevi or Brahmastra Roopini and she turns each thing into its opposite. She turns speech into silence, knowledge into ignorance, power into impotence, defeat into victory. She represents the knowledge whereby each thing must in time become its opposite. As the still point between dualities she allows us to master them. To see the failure hidden in success, the death hidden in life, or the joy hidden in sorrow are ways of contacting her reality. Bagalamukhi is the secret presence of the opposite wherein each thing is dissolved back into the Unborn and the Uncreated.
What more can be said about this invincible Mahavidya who along with her 16 Shaktis (divine weapons) can subdue the most formidable of foes. Her greatness has been proven time and again over the ages. And not just great Siddhs like Matsyendranath, even rulers like Vikramaditya, Chandragupt and Aurangzeb regularly propitiated the Goddess for victory in life. The great western Tantra scholar Summerfield has gone so far as to state that the combined forces of the whole world cannot face the fury of the Goddess, who removes poverty, enemies, tensions with a single swipe of her sword. And I have myself seen several Sadhaks and disciples of Gurudev regain their lost positions and emerge victorious in seemingly lost battles of life through the power of Baglamukhi Mantra. Its better to get Baglamukhi Diksha before starting this Sadhana. Complete celibacy should be observed during Sadhana days. One should wear yellow clothes and use yellow articles yellow flowers in the Sadhana. Offerings should include some sweet made from gram flour. any Tuesday. It must be done early in the morning. After taking a bath get into a yellow Dhoti/Saree. Spread a yellow cloth on a wooden seat. Fill a copper tumbler with water. On its mouth place a coconut. Place picture of the Guru on the seat and pray to the Guru. In a steel plate establish the Baglamukhi Yantra along with Peetaambraa Mala and Peetaambraa Gutika. Light a ghee lamp, take water in your right palm & chant. Offer the yellow flowers & the Gutika on the Yantra. Next chant 21 rounds of the following Mantra Goddess Bagalamukhi or Goddess Peetambari frightens the enemies of her devotees. Those who are suffering from court cases of legal cases can worship her for victory. She removes the malefic effects of Planet Mars or Kuja graha dosham. Bagalamukhi is a Goddess of speech, and as such is related to Tara and regarded as a form of her. When sound becomes manifest as light, Tara becomes Bagalamukhi. When the brilliant light of speech comes forth, then Tara gains the effulgence of Bagalamukhi and cause all things to become still. Bagalamukhi is thus the stunning radiance that comes forth from Divine Word and puts human or egoistic word to rest. Bagalamukhi gives a power of speech that leaves others silent and grasping for words. She gives the decisive statement, the irrefutable conclusions, the pronouncement of ultimate truth. Hence she is propitiated for success in discussions and debates. No one can defeat her because she posseses the truth, the Self-nature. The weapon that puts an end to all conflict and confusion is the weapon of spiritual knowledge, the weapon of Brahman (Brahmastra). The highest form of the Brahmastra is the question Who am I? Or What is the Self?
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Bagalamukhi turns each thing into its opposite. She turns speech into silence, knowledge into ignorance, power into impotence, defeat into victory. She represents the knowledge whereby each thing must in time becomes its opposite. As the still point between dualities she allows us to master them. We contact her grace when we see the opposite hidden in each situation and are no longer deceived by appearances. To see the failure hidden in success, the death hidden in life, or the joy hidden in sorrow are ways of contacting her reality. Bagalamukhi is the secret presence of the opposite wherein each thing is dissolved back into the Unborn and the Uncreate. Bagalamukhi is another of the frightening forms of the Goddess. Her color is yellow. She is clad in yellow clothing and is adorned with yellow ornaments and yellow flowers (particularly the champak flower). With her left hand she catches hold of her opponents tongue and with her right hand she strikes him on the head with her mace. She sits upon a golden throne surrounded by red lotuses. By some accounts she wears the crescent moon as a jewel on her head. 9.Matangi:
"Om Hreem Aim Shreem Namo Bhagavati Ucchisthachandali Sri Matangeswari Sarvagyanavashamkari Swaha"
Matangi (Maatamgi) is one of the ten Mahavidyas who are various manifestations of goddess Parvati or Kali. Matangaka was the name of the chief of Chandalas. Chandalas are one of the lowest among the castes, according to lore. In a game of impersonation, "fool me, fool me not," Siva impersonated a traveling jewelry salesman, sold some ornaments to His Consort Parvati while she was visiting with her father, and suggested that she could pay him by sexual favors. Parvati without missing a beat said, "Yes, but not now." She had the intuitive divine vision that the traveling salesman was her husband in disguise. Siva went on his way and sat down on the banks of Manas Lake for meditation and worship. Parvati assumed the appearance of a nubile outcaste (Chandala) girl with a shapely body accentuated by a red dress, and beautiful and beguiling eyes, and danced in front of Lord Siva jiggling her moon-like breasts. Siva's ravenous eyes imbibed Parvati's beauty in motion and He gently asked her who she was. Parvati in the sweetness of youthful voice replied with the utmost bashfulness, "Swami, I am a Chandala girl. I came to do penance." Siva is the Yogi of Yogins. Who else is more fit to teach penance? Siva gently took her lotus hand and pressed it tenderly against his lotus petal-soft lips. Then he proceeded to make love to the captive but willing Parvati, whose identity was unknown to Siva. While they were in the conjugate embrace in Siva's mind and conjugal embrace in Parvati's mind, Parvati morphed Siva into a Chandala (in embrace with a Chandalini). Siva in a flash realized that Matangi (Chandala girl) was no other than his dear wife. Parvati reaped her sweet vengeance, laid open utter lowness of her action and sexual submission, and begged Siva to accept her in his heart as "Ucchista Chandalini." Ucchista = rejected (once used commodity), remnants of food in the mouth after eating,
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that are spit out of the mouth; food sticking in the mouth and hands after eating, therefore impure; remainder of sacrificial food; left over crumbs. This is the Divine Grace of Parvati; Siva does all the proscribed acts and the victim begs for forgiveness or acceptance. Explanation follows later. Siva accepted to honor her supplication. She is thus called Matangi (a woman from a degraded mountain tribe or hunter-gatherers, who became Sudras from neglecting all prescribed rites; mlecchas.) Parvati and Siva in their role as Chandala and Chadalini (low mixed castes worse than dogs according to definition)
In Hinduism, Matangi is the aspect of Devi (in other words, the Mahavidya) who is the patron of inner thought and speech. She guides her devotee to the uncaused primordial sound. Matangi has three eyes and either a dark emerald or dark blue complexion. The Goddess Meenakshi at Madurai is worshipped as Matangi. Matangi is considered the daughter of Rishi Matanga. She emerges as an aspect of Sati, spouse of Siva and the daughter of Daksa, in the mythic cylcle known as the Daksayajna. Siva attempts to prevent Sati from attending a sacrifice (yajna) Her father is conducting and to which neither He or She was invited. Daksa was forced to accept Her marriage to Siva but later rejected Siva and the marriage. Enraged by Siva's interference, She first shows Herself as Kali and then manifests nine other forms. Traditionally appearing in the cycle after Bhagalamukhi, Matangi is associated with the full moon, the 'night of intoxication'. She is depicted as dark (blue-black or dark emerald), very beautiful, sensuous with very large breasts, slender waist and long, flowing hair. She holds a goad, a noose, a sword and a sarod. These items may vary somewhat in different traditions. She grants control over all forms of speech, especially poetry, and music. Therefore, She is associated with the throat chakra. As the daughter of the Rishi Matanga (lit. 'elephant') She is associated with vast and expansive knowledge. She is further closely associated with Sarasvati. Matangi is said to be born as a chandala or 'outcaste' (lit. outside the Hindu caste system). Her father was a chandala who was raised as a Brahman. This likely suggests Her origin as a tribal or non-Vedic deity.. Her mantra includes seed syllables for the manifestation of the Great Goddess in the world, attainment of all desires, protection by the sacred fire (destroys negativity and provides grace), sound that disrupts threatening forces and liberation from the world. Though depicted as one of the ten Mahavidyas, like all of the ten She is a complete Goddess in and of herself. Her worship may include the other nine manifestations or not, depending upon the inclinations of the adherent. Goddess Matangi Mata is also known as Tantrik Saraswati who fulfills every desire of her devotees and blesses them with prosperity. Those who are suffering from stuttering and from domestic affairs or family problems can worship her for peaceful life. Lord Shiva is also known as Matang. Mata literally means a thought or an opinion. Rajamatangi is thus the Goddess power which has entered into thought or the mind. She is the word as the embodiment of thought. She also relates to the ear and our ability to listen, which is the origin of true understanding that forms powerful thoughts. Rajamatangi bestows knowledge, talent and expertise. She is the Goddess of the spoken word and of any outward articulation of inner knowledge, including all forms of art, music and dance. Rajamatangi relates to Sarasvati, the Goddess of wisdom and the consort of Lord Brahma, the creator of the universe. Rajamatangi, like Sarasvati, plays a Veena and rules over music or audible sound in general, not just the spoken word. She is the manifest form of song. Like Sarasvati she is symbolized by the rain cloud and by the thunder, as well as by the rivers
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pouring into the sea. She is the vibratory sound, Nada, that flows in the subtle channels, Nadis, down through our entire body and mind. However, Rajamatangi and Sarasvati are a little different. Rajamatangi is the form of Sarasvati directed towards inner knowledge. She is her dark, mystic, ecstatic or wild form. Sarasvati is often a Goddess of only ordinary learning, art and culture. Rajamatangi rules over the extraordinary, which takes us beyond the bounds of the conventional. Rajamatangi is an outcast or artist who goes against the norms of society, while Sarasvati represents the knowledge and virtue of the Brahmin or learned class which never departs from propriety. Rajamatangi is that portion of Sarasvati which is allied with the transforming energy of Kali. The guru (spiritual teacher) instructs us through the spoken word. Hence his vehicle among the Goddess is Rajamatangi. Rajamatangi represents the teachings of the guru and the tradition. She represents the continuity of spiritual instruction in the world. By honoring her we also honor the guru. Those seeking to teach others, particularly to communicate to the masses of people, should seek the grace of Rajamatangi. According to the Upanishads the essence of the human being is speech. What we express through speech is the final product of all that we take into ourselves in life. This ultimate residue and representation of who we are through speech is Rajamatangi. This, however, is not ordinary or casual speech, but the deepest expression of our hearts. The Divine Word has power, feeling, and passion, which is not mere human emotion but Divine bliss. The Divine Word is not merely a theoretical or practical statement but an effusion of energy and delight. This joy is another aspect of Rajamatangi. Rajamatangi is thus a wild, playful and ecstatic Goddess. Rajamatangi represents the ministerial power of the Goddess. She is the counselor to Rajarajeshvari or Tripura Sundari, the Supreme Queen of the universe. As such she is called Mantrini and has power over all mantras, particularly in their vocalization and articulation. She gives us the ability to communicate with all the other Gods and Goddesses through the power of the mantra. In fact she rules over all forms of knowledge, counseling and teaching. Those seeking proficiency in these areas should honor Rajamatangi. Rajamatangi is dark emerald green in color, the color of deep knowledge and profound lifeenergy, which is also the color of the planet Mercury that governs intelligence. She plays the Veena, a stringed instrument like a sitar, which shows her musical and vibratory power. She is beautiful and carries various weapons with which to fascinate and subdue us. In this regard she has the same ornaments and weapons as Sundari. She is often said to have a parrot in her hands, which represents the powers of speech as inherent in nature. She sits on a throne made of gems.
10.Kamala:
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1."Hasauh Jagatprayutai Swaha" 2. sreem 1,25000 mantras and homa of 20,000 mantras Dharma (proper action), Arth (wealth), Kaam(pleasures) and Moksha (fulfilment) are considered the four basic pivots of a total and complete life. Among these four wealth comes foremost, for without it life becomes barren like a desert. And the deity of wealth is the Mahavidya Kamala, who frees her Sadhak of debts, poverty, tensions, problems, sins, diseases and danger of untimely death. And not just this she bestows upon him sharp intellect, charming personality, wealth, health, a beautiful spouse, children, property, vehicles, fame and respect. Every person whether old or young wishes to be rich; and the best and easiest way to prosperity is the Sadhana of Kamala. This Sadhana is unfailing, so much so that even a poor, unfortunate, disease-ridden wretch can get rid of all his misfortunes and climb to the highest echelons of material success through this wonderful ritual. Its not just believed, it is the experience of so many Sadhaks that if accomplished with full devotion this Sadhana cannot fail to produce its effects. get up early in the morning, take a bath and get into red clothes. Cover a wooden seat with red cloth. Inscribe on a steel plate with vermilion. On it place Kamala Yantra. On its right hand side place the Siddh Gutika. Light incense and ghee lamp. Offer vermilion, rice grains, sweets and flowers on the Yantra. - Offer rice grains and vermilion five times on the Yantra each time chantingShreem Kleem Shreem Namah. Goddess Kamala is also known Tantrik Lakshmi. She blesses her devotees with all types of wealth and removes the malefic effects of Planet Venus (Shukra Graha dosham). Kamalatmika is one whose nature is of the lotus. She is sometimes just called Kamala, which is one of the many Sanskrit names for lotus. The lotus Goddess is Lakshmi, the consort of Lord Vishnu, the preserver of the universe. Lakshmi arises out of a lotus from the cosmic ocean. Kamala is Lakshmi among the Ten Wisdom Goddesses. Lakshmi is the Goddess of wealth, beauty, fertility, love, and devotion, like Roman Venus and Greek Aphrodite, who, like Lakshmi, is born from the ocean, but on a sea shell rather than a lotus. Lakshmi is the great Mother in her role of fulfilling all desires. She represents the water of fulfillment, the flowering of Divine grace and love.
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Kamala is similar to Sundari in that both rule over love, beauty and bliss. Sundari, however, rules over the subtle form of bliss born of perception of the Self. Kamala governs the outer form of beauty, not merely as pleasure but as the unfolding of the Divine nature into the realms of action and creation. Kamala causes us to create forms in the outer world, while Sundari allows us to withdraw the outer world into our own consciousness. Kamala thus relates to the Earth, which contains the maximum manifestation of the Divine in the material word. The Earth Goddess, Bhu Devi, is considered to be the second consort of Lord Vishnu. Kamala nourishes and supports whatever we truly aspire to do. She aids in all projects and ever seeks to promote their fulfillment, allowing layer upon layer of Divine grace to come forth in various degrees of wonder. She can be propitiated both for ordinary worldly goals and for spiritual realization. But the ordinary goals we seek through her wealth, progeny, or success should be part of seeking Divine fulfillment in life, an unfoldment of our souls desires through an organic process of evolution, not a mere satisfying of neurotic wants. Kamala is the form of the Goddess most worshipped by people in this world, as we are mainly cognizant of outer beauty and abundance. Most of us are engaged in the pursuit of pleasure, fortune, talent, fame and so on, which are nothing but superficial or limited aspects of the power of Lakshmi. Since we naturally pursue Lakshmi, we might as well pursue her highest form. The most beautiful thing in life is devotion to the Divine. Lakshmi also gives this. When we have that spirit of devotion for the Divine presence everywhere we find incomparable beauty and wealth in everything. Kamala is a little different from Lakshmi. Kamala is the aspect of Lakshmi that is part of the Wisdom Goddesses. She is the form of Lakshmi which relates specifically to the practice of Yoga. Hence she is also a form of Kali. Kali or the beauty of the void is also the basis of Kamala or the beauty of life. The spiritual lotus, which is the basis of the universal energy, blooms in the void. It comes forth in the space of pure consciousness. Hence to allow it to come forth we must first make ourselves empty and clear. Only the non-attachment of Kali enables us to enjoy life and find our fulfillment through Kamala. Kamala as the tenth and last of the Wisdom Goddesses shows the full unfoldment of the power of the Goddess into the material sphere. Kamala is the beginning and the end of our worship of the Goddess. We first approach the Divine seeking help in achieving ordinary human wishes, like health, prosperity, and a happy family. We complete our understanding of the Divine by seeing its presence even in the ordinary things of human life, in the forms of nature and the Earth, discerning a Divine urge toward union hidden even in worldly desires.
Let mother give you her blessing and fulfill your desire shubamastu Tripura vidya Listen, Virachamunda, to the characteristics of jiva. It is supreme, whole, eternal, consisting of nothing, stainless. It is the ultimate atomic particle, the Natha, it is supreme Shiva, all pervading, it is above all, it is Hamsa, the soul of Shakti. It is the mind, the breath, the buddhi and the chitta, residing in the inspiration and expiration of the breath of all living beings. Kaulajnananirnaya, VI, 4-6. This is the first English translation of the five limbs, or panchanga, of the aspect of Goddess known as Bala Tripura. Bala means "girl", this aspect of the Red Goddess is the most highly
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erotic of Her three aspects, as the 1,000 names show. Bala is an adolescent woman, Tripurasundari a mother, and Tripurabhairavi a woman in whom menstruation has ceased. Bala's root mantra is aim klim sauh and variations of this mantra are used in her daily ritual. Many tantrik devatas have manuals structured along similar lines. The devata is first visualised as residing in the heart, then later drawn out through the breath and "placed" in the yantra. On installation or invocation, various ritual accessories are offered, and the 1,000 adjectives (names) of the particular deity recited. The Devi is then drawn 'back' into one's heart, and the ritual concludes with various elements "cleaning up" the area of worship. The five limbs of a ritual panchanga are Patala, Paddhati, Kavacha (Armour), 1,000 Names, and Stotra. The first gives the unfolding of the mantra, usually in coded form. It also describes the meditation image and the yantra of the devata, as well as various optional rites. The second limb describes the ritual worship, including worship of the avarana or attendants of the devata, which are really aspects of the god or goddess. The kavacha is an "armour" used to ward off evil and which may either be recited or written and then worn on the body. The fourth limb consists of the 1,000 names, of which there are very many sets in the tantrik literature. The fifth, the Stotra, is the hymn of praise of the ishtadevata, the tutelary devata of a tantrik sadhaka. This particular manual comes from the Devirahasya, a large work which contains many other panchangas relating to different aspects of Shiva and Shakti.
Bala Patala
Seated on Kailasa Summit is Bhagavan, spouse of Uma, the God with a crescent Moon as His diadem, whose eyes are Sun, Moon and Fire, wearing an elephant skin, mighty, worshipped by the Gods, bowed to by hosts of Gandharvas, mighty Yakshas, and by gods and demons. Having recited mantra, and having read sacred texts, rising up and bowing, Bhairavi questions the Lord. Shri Bhairavi - Lord God, Ocean of Compassion, who reveals all Agamas, by Your grace I have heard of all the Vidyas, O Sureshvara. Now I would like to hear of Bala Tripurasundari. If this can be spoken of, declare the Vidya, O God Maheshvara. Shri Bhairava -- Listen Devi, I speak of the five Limbed Manual (Panchanga) desired by sadhakas, (which consists of) Patala, Paddhati, Armour, 1,000 Names and King of Hymns. O Mahadevi, listen one-pointedly. Parameshani, Shri Bala is the Goddess bestowing both enjoyment and Liberation. O Mahadevi, one may give away power, dominion, house and wealth. All these may be given away, but one should never give away this thing which is the best of all. In the Kali Yuga there is no other Vidya resembling this Vidya. It is said that Shri Bala Tripura gives siddhi quickly. It should be passed on to peaceful disciples, and to those devoted to their Guru. One should not give this Vidya to the undevoted, O Parameshvari.
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I will speak of the unfolding of the mantra, yantra, prastara, meditation, and the rites of the Devi, O Maheshvari. First, Deveshi, listen to the unfolding of the Mantra which bestows all fruit. It should be carefully concealed, whoever knows it becomes successful (Siddha). One should place "Shakti" (Sauh) at the end of 'Vagbhava" (Aim) and "Kamaraja" (Klim), ending this with Namah. O Devi, this is the eight lettered Mantra of Bala. (There are) no obstacles, or impurity or restrictions attached to it, it causes one to become a Siddha, O Mahadevi, and is the King of Mantras in the Kali Yuga. Dakshinamurti is the Seer, Pankti is the Metre for pronunciation, the Goddess if Tripura-Bala, "Aim" is the Seed, "Sauh" the Shakti. "Klim" is the linchpin. Its application is towards Dharma, Artha, Kama and Moksha. One should do (six fold) Nyasa on the head, on the mouth, in the heart, on the feet, on the navel lotus and in all the limbs, O Devi. One should do Nyasa according to the rules doing Seer, Hand and Limb nyasa, using the bijas of the mantra, O Maheshvari. Now I speak of Her meditation, advantageous for all sadhakas: I meditate on Bala, clothed in red, with a digit of the Moon as Her ornament, effulgent as the rising sun, with three eyes, holding a book and a rosary, showing the gestures of removing fear and giving, seated on a red lotus. Having meditated in this way one should repeat the mantra which gives success. A pure sadhaka should prepare (the mantra by reciting it) 300,000 times. Now I speak of the unfolding of the Yantra of Mahadevi, the Giver of both Enjoyment and Liberation, which is very hard to get to know of for any sadhaka. Bindu, triangle, eight triangles, eight petals, adorned with three circles and enclosed in an earthsquare. This circle of Bala (and Her attendants) is the Destroyer of Pain, O MountainBorn One! One should worship the Shaktis of the pedestal when inscribing the Yantra. The pedestal Shaktis are Will (Iccha), Knowledge (Jnana), Action (Kriya), Lotus-Girl (Kamini), Giver of Sexuality (Kamadayini), Sexual Pleasure (Rati), Loving the Bliss of Sexual Pleasure (Ratipriyananda), and Mind-Born (Manonmani) lastly. One should place these Shaktis round the pedestal using the mantra "Vyoma Parvata Tartiya Sadashiva Mahapadam Pitha Padmasanaya Namah". This is the pedestal Mantra. Having put, in order, these 16 syllables around the image (Yantra) one should recite the root mantra. One should invoke Devi and worship Her with the ritual accessories according to the rules. Having invoked the desired Devi in the centre of the yoni, one should worship in the triangle, in a similar way Sexual Love (Rati) on the left, Pleasure (Priti) on the right, and Mind-Born (Manobhava) at the apex. One should worship the six Limbs inside the yoni (i.e. central triangle) starting from the South East. Outside the central yoni one should worship, from the East, in a clockwise direction, the Arrow-Devis. In the eight yoni-triangles one should worship the eight Shaktis called Beautiful
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Bhaga (Bhaga=female sexual organ), Bhaga, Nectar of Bhaga, Bhaga adorned with Flowers, Primordial Sexual Pleasure, The Flower of Sex, the Girdle of Sex, the Bliss of Sexual Love these are the eight Shaktis. In the filaments of the lotus one should worship Brahmi and so forth, and in the petals themselves the (eight) Bhairavas. One should also worship, in the petal tips, from the East in a clockwise direction, the Sacred Sites called Kamarupa, Malaya, Kaulagiri, Cauhara, Kulantaka, Jalandhara and Oddyana -- the eighth being Devikuta. In the bhupura one should worship in the cardinal directions Heruka, Tripurantaka, Vetala, Agnijihva, Kalantaka, Kapalini, Ekapada, Bhimarupa, Mala and Hatakeshvara. (Also) in the directions one should worship Indra and the others with the (various) weapons. Outside of this, in the directions, one should worship Vatuka, the Yoginis, Kshetrapala and Ganesha. In the intermediate points one should worship the (eight) Vasus, the Sun, and Shiva. One should worship all the elements and then the weapons. First of all one should meditate on Bala in the embrace of Kameshvara in the centre; A Kaula should worship using the five makaras according to the rules of Kaulachara. The sadhaka skilled in the mantra should worship Mahadevi in the bindu (of the yantra) with scent, unhusked rice, flowers, incense, flame and liquid oblation. This is called Layanga. Listen to the rituals, O Parvati. Whosoever skilled in mantra who does this gains a share of success swiftly, it is certain. The (eight rites) are Paralysing, Deluding, Killing, Attracting, Subjugating, Driving Away, Peace Making and Healing. This sadhana is the Quintessence, invisible, Dear One. One should not give this to those undevoted to Devi, and should keep it concealed and secret from pashus. (1) On the first day of the Waxing Moon, Devi, having bathed and done the daily rite, one should go to a deserted place at midday. There one should do sacrifice by a 10th part using ghee, curd and so forth. One should do oblation to the Goddess, then immediately one is free to paralyse, this is certain. (2) At dusk, in the cremation ground, one should recite (the mantra) on a seat made of owl feathers. One should do much sacrifice and by a tenth part of this give ghee, wine, grain, shoots and lotus seeds. Then one may delude the world. (3) Having gone in the morning or at night to the place of Ghosts and Elementals (Cremation Ground), the mighty Hero should recite the Vidya of 16 letters in front of a cremation pyre. The mantrin should do much sacrifice of ghee, fragrant gums and hairs of chandalas in the burning funeral pyre. (In this way) one kills an enemy. (4) On an eighth day of the Bright Fortnight the sadhaka should recite (the mantra) in secret. Having recited a myriad times using the root Vidya, and having meditated, O Charming One, one should do sacrifice of a 10th part giving ghee, lac, flowers, menstrual blood, wheat and bamboo shoots. (Then) one may attract women.
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(5) Dearest, on a ninth day the ritualist, having bathed and done the daily rite, should offer much ghee, fish, eggs, lotus, pearls, and hair of deer. Doing sacrifice in this way, O Lady of Heroes, one is able to make people slaves. (6) On the fourth Lunar Day of a Dark Fortnight one should recite the mantra at the arising of the Moon, Dearest. On a riverbank, seated in Shirsha Asana, the Hero should recite the mantra many times. One should sacrifice a 10th part of this, giving ghee, blue lotus, cloves, black pepper and tamarind. Then one may cause an enemy to flee. (7) On a fifth night, O Deveshi, one should recite the mantra a myriad times. One should sacrifice a 10th of that and should offer ghee, fish, sugar cane and camphor - thus one may calm down great disputes, wars and adversities. (8) On a great eighth day (of the dark Lunar fortnight) a person1 having bathed, should do sadhana on the best of pedestals. The hero should recite (the mantra) 10,000 times and should sacrifice a 10th part of that, giving ghee, camphor, grapes, many betel leaves, goat flesh and blood. Then one causes healing to occur. This thing which is secret is the form of all, my very Self, O Deveshi, Secret. One should conceal it in the Kali Yuga. On Sundays etc. one should recite the mantra 10,000 times. Then one becomes Siddha, there should be no doubt about this! This celestial chapter is revealed because of Your love. Hide it! It should be concealed, hide it as You would conceal Your own yoni.
Shri Bala Paddhati

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

Shri Bhairavi said - Devadeva, Mahadeva, expander of devotees who please You, the Armour of Devi is hidden. Speak of this to Me!
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Shri Bhairava -- Listen Devi, I speak of the Armour difficult to get even for gods. One should never reveal this high secret, which gives the wished for siddhi to a sadhaka. The Seer of the Armour is Dakshinamurti. Pankti is the Metre. The Devi is Tripurasundari. Its application in puja is the four aims of Mankind. She wears a pearl diadem, coiled earrings, armlets, a necklace of gems; pearl finger rings; effulgent bracelets and other jewels; a golden hip girdle, glittering anklets; her navel is adorned with a ruby, and she has a bracelet of shells, with a Kala of the Moon on her forehead. She holds a noose, a goad, a book and a rosary in her upper hands and the other hands. May the Vagbhava Aim protect my head, and the Kamaraja Klim my heart! May the Shakti Bija Sauh protect me in my navel, genitals and feet! May Aim Klim Sauh protect my face, and Bala shield me in my siddhi! May Ha Sa Ka La Hrim Sauh Bhairavi shield my throat, and may Sa Ka La Sundari shield me in the region of the navel! May Mahatripurasundari shield my brow, and the point between my eyes! Subhaga protect my forehead! Bhaga shield my throat! Bhagodevi protect my heart! Bhagasarpini, shield my belly! Bhagamala, shield my navel! Manobhava, protect my penis! May the auspicious Lady, the Queen of Queens, the Mahadevi, shield my anus! Mother of the Cosmos (Jagad Ambika), form of Consciousness, protect my feet! Narayani, protect me at night! Shubhankari shield me in all my actions! May Brahmani protect me in the East, and Vaishnavi in the South! May Varahi protect me in the West, and Maheshvari in the North! May Kaumari protect me in the South East, and Mahalakshmi in the South West! May Chamunda protect me in the North West, and Indrani in the North East! Mahamaya, protect me in Water! Sarvamangala, shield me in Earth! Varada, protect me in Aether! Bhuvaneshvari, protect me everywhere! This Armour is called "Names of the Goddess" and is hard to obtain! The pure person with concentrated mind should arise and recite it at dawn. Whoever does it knows no fear or disease. Nor is he afraid of death or anxious about sin. He is never poor, nor is he vanquished by death. He dwells in the realm of Shiva, O Devi. I say to You that this is most certainly true. O Auspicious One, whosoever should recite this Armour having not been initiated into Shri Vidya gains no fruit, but is struck by lightning.
The 1,000 Names of Bala

Shri Devi - Shri Natha Shankara, Bliss-Maker, speak! O Lord God, how may one obtain the yoga-power of full devotion, O Ocean of Wine 1 If You have compassion for Me Shambhu, reveal that which is well-hidden! Shri Bhairava -- By devotion to Shakti one comes to know the entire vermilion ocean of Bliss, the hidden essence of Bala. Dear One, I will speak to You of Her 1,000 Names. One should
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well hide it, O One with Thighs like Plantain Stems, it is revealed out of deep and amorous affection for You. Whoever meditates on how Devi is hymned immediately gains the whole mass of happiness, and is the cause of Knowledge. (Of this 1,000 Name-Hymn of Shri Bala Sundari, Bhargava is the Seer, Anushtubh is the Metre, Shri Bala Tripura is the Devata. Aim is the Seed, Sauh is the Shakti, Klim the linchpin. The application by reading it are the four aims of Mankind. Rishi Nyasa :Hail to Bhargava the Seer on the head; Hail to Anushtubh the Metre on the mouth; Hail to Shri Bala the Devata in the heart; Hail to the Seed Aim in the genitals; Hail to the Shakti Sauh on the feet; Hail to the Linchpin Klim on the navel; Hail to the Application on all the limbs. Aim hail to the thumbs; Klim obeisance to the index fingers; Sauh hail to the middle fingers; Aim hail to the ring fingers; Klim hail to the little fingers; Sauh to the front and backs of the hands hail Thus the heart and other Nyasa are related. Meditation-) Wearing red clothes, with a Kala of the Moon as Her ornament, effulgent as the rising Sun, holding Book and Rosary, bestowing boons and banishing fears, I meditate on Bala on the Red Lotus. Pleasing and Supremely Blissful Vermilion One. Ultimate Treasure of the Path of Devotion. Deep Left Thing. Manifestation of the Elements. Shankari. Shiva. Boon Giver of Erotic Form. Essence. Auspicious Sphere of Action. Ocean of Ultimate Bliss. Passionate. Actress. Graceful One. Kala of Sexual Play the Colour of Blossom. Dalliance. Absolute. Kala. Suitable Essence. Creeper Granting All Wishes. Eager-Goddess. Playing with Love's Arrow. Truly Affectionate. Lovely Sweet Form. Effulgent as 10,000,000 Suns. Cool as 10,000,000 Moons. Arrow Limbed One Shedding Nectar. Means by which Heaven is Attained. Gazelle Eyed. Charming. Walking Beautifully. Happy and Peaceful One. Empress. Queen. Worshipped by Mahendra. Lady Moving in the Cosmos. Ultimate Mover in the Cosmos. With Dishevelled Clothing. Irresistible Shakti. With Tinkling Golden Anklets. With Breasts like the Paradise Tree on Mount Meru. Bearing Goad and Noose as Weapons and Giving Boons. Holding Arrows and Sugar Cane Bow in Her Two Beautiful Hands, Face like the Disc of the Moon. With a Beautiful Crest Gem like a Little Moon. Having a Vermilion Forehead Mark. Her Lovely Braided Hair adorned with Flowers. Rejoicing in a Garland of Coral Tree Blossoms. Adorned with a Garland of Gems. Fond of Gold Ornaments. Having a Beautiful Pearl Necklace.
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Her Mouth is Full of Tambula. Her Mind is Filled with Sexual Bliss. Pleasing and Happy. Essence of Passion. Supremely Compassionate. Lady of Treasure. An Effulgent Gem sits between Her Breasts. Intoxicated with Wine-Essence. Having a Mantra which is the Self of Bindu and Nada. Form of the Fourth. The Lovely Giver of Happiness. Shankari. Fond of Blossoms. The Universe. Complete. Dweller in the Purna Pitha. Rajyalakshmi. Shri Lakshmi. Mahalakshmi. Beautiful Queen. Santoshima. Excellence. Gold Vessel. Light. All-complete. Supporter of the Cosmos. Creatrix. Increasor of Strength. Magnificence of all Earthly Kings. Mother Ruling All. Lotus-Eyed One. One Gazing Long. Clear Eyed One. Flow of Love. Taste. [100] Chief One. Essence Body. Vermilion Essence. Moving Gracefully. Colour of Pollen. Mad with Bliss in Sexual Intercourse. Inmost Quality. Self of Shakti. Eyes Full of Love. Charming. Goddess of Love. Lovely Bhaga (Female Genitals). Beautiful Bhaga. Taking Pleasure. To be Enjoyed. Giver of Fortune. Lovely. Bhaga. Kala of the Bliss of Yoni and Linga. Dwelling in the centre of the Bhaga. Form of Bhaga. Consisting of Bhaga. Bhaga Yantra. Highest Bhaga. Yoni Mudra. Kamakala. Essence of Kula Nectar. Fire of the Kula Kunda. Subtle. Jivatma. Form of the Linga. Root Cause. Root Form. True Form of Root Action. Longing For It. Lotus-Bliss. Self Dissolved in Consciousness Meditation. Beneficent. White and Red. Form of Bindu. Yoni which is the Sound of Knowledge. Sound of 10,000,000 Bells. Humming One. The Marvellous Risen Disc of the Sun. Dissolved in Sound. Completely Full. Place of Fullness. Many-Bodied. Golden Music. Hereditary Music. Sound of the Drum. Garland of Letters. Siddhi-Kala. Dwelling in the Six Chakras. Sexually Playing in the Muladhara. Svadisthana. Dwelling in the fourth. Situated in the Manipura. Loved. Essence of the Tortoise Chakra. Like a Flame in the Anahata. Made of Gems. Vishuddha. Pure Sound. Residing in the Awakened Being. Song. Situated in the Ajna Lotus. Emanatrix. Skilful. Triple Circle. Little Moon. Splendid as 10,000,000 Moons. Shining like 10,000,000 Suns. Shadow of the Ruby Red Lotus. Consisting of Eternity and Joy. Shining. Auspicious Liquor. Very Beloved. Still and Joyful Nectar. Charming Limbed One Rejoicing in Intercourse. Having Sweet Nectar.
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Seated on a Great Pedestal. Satisfied. Wild. Beautiful in Bearing. Drenched in a Shower of Nectar. Expanding Ocean of Redness. Very Red. Fond of Moistness. Wearing Innumerable Earrings and Removing Fear. [200] Excellent Oral Lore. Encircled by Countless Flowers and Fruit. Dear. Auspicious. Beloved of Shiva. Shankari. Shambhavi. Powerful. Self Created. Beloved of the Self. Partner. One's Own. Mother Matrika. Vowel-Being. Refuge. Chaste. Highest Being and Origin of Wine. Fortunate Gladdener. Respected. Devoted to All Good Fortune. Lucky. Slender Thread. Maiden. Bright as a Fragment of a Half Moon. Beautiful Slender Creeper. Dear One. Wicked Deed. Evil Spell. Gazelle Eyed. Excited Eyed. Sharp. Intoxicated with Wine Nectar. Delighted by Intoxicating Liquor. Beauteous as Madira Wine. Pleased by Kadamba Wine. Handsome. Delighted. Rejoicing in Sideways Glances. One with Slowly Turned Down Eyes Gazing Long and Sweetly. Destroyer of the Family of Demons. Radiant Nectar of Sexual Desire. Suvasini. One with Rounded Body. One With Breasts Heavy with Milk. Truly Beautiful. With Teeth Like Little Pearls. With a Halo. Radiant Mouth. Her Lips Like Tender Shoots. Her Nose Like the Tip of a Til Blossom. Her Forehead Shining Like Gold. With a Face like the Full Moon. With a Young Moon as Her Shining Diadem. Her Lively Eyes Smeared with Orpiment. Her Ears Like Blossoming Flowers. Each Ear like Half a Leaf and resembling a New Moon. With the Sun as a Gem in Her Diadem. Her Gold Earrings Studded with Gems. With Coiled and Begemmed Earrings. Very Beautiful Cheeks. With a Shell-Like Neck. Wearing Alluring Gems. Wearing a Pearl Necklace which is Like the Ganges in Flood and Her Voice Like a Bird. Her Limbs Extending Like Many Lotus Roots. Carrying Noose, Goad and Bow. With Bracelets Entwined Round Her Clothes. Adorned with Various Beautiful Jewels. Her Lotus Hands the Colour of Copper and Her Lovely Nails Shining like Gems. Her Fingers Adorned with Jewels with Beautiful Lines between Her Fingers. Her Two Beautiful Breasts Like the Mandara Tree. The Hair of Her Pubic Region like a Line of Serpents. Her Womanly Deep Navel Encircled by Three Lines. Very Slender of Waist. Wearing a Breast Plate for Battle. Wearing a Beautiful Waist Cloth. Her Buttocks Like the Brows of an Elephant. Her Two Thighs Close Together Like the Cheeks of an Elephant. Her Beautiful Knees and Legs like Unworldly and Bright Paradise Trees. With Hidden Ankles. Her Anklets Adorned with Gems and Making a Charming Ringing Sound. Her Two Feet Meditated on by Yogis. Ocean of Wine Nectar. Vermilion Ocean. With a Vermilion Forehead Mark. Adorned with Dishevelled Hair. Perfect Nectar. Truly Wise. Intelligent. Most Beautiful of Divinities.
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Like a Row of Scarlet Rays From a Dawn Sun. Beloved Cow of Heaven. Padmini of the Essence of Nectar. Stream of Rasa. The Beautiful and Ever-present Boon Giving One. Autumnal. Giving True Fortune. Dear to Nataraja. Cosmic Dancer. Male and Female Dancer. Brightly Coloured Yantra. Web of Consciousness. Knowledge Vine. Chief Thing. Dwelling in the Forehead. five-Sectioned One. Panchami. four-Sectioned One. Tripartite Primordial One. Six-Sectioned One. Worshipped in the Vedas. Having 16 Sections. The Fourth. Supreme Kala. Shodashi. Goddess of Mantra and Yantra. Meru Circle. Sixteen Lettered One. Three Lettered One. True Form of Bindu Nada. Above the Letters. Mother of the Letters. Great Happiness Who is the Absolute as Sound. Consciousness Vine. Being with Sections. Kameshi. To Be Seen in Dream. Goddess of Dream. Goddess of Awakened Intelligence. Refuge of the Watchful in the Waking State. Abode of Dream. Deep Sleep. Free from Idleness. Spring Creeper of Fragrant White Flowers (Madhavi). Lopamudra. Queen of Kama. Daughter of Man. Worshipped by Lords of Wealth. Shakambhari. Nandi Vidya. Garland of Light Emanating Blossoms. Mahendri. Served in Heaven. Oral Lore. Refuge of the Best Sadhakas. Chaste. Truly Good. Siddhi Cave. Lady of the Three Cities. Worshipped by Conquerors of Cities. City Devata. Satisfied Destructrix of Obstacles. Without Qualities. Worshipped by the Celestial Cow. Golden Mother. Lady of Hosts. Secret Mother. With Beautiful Buttocks. Giving Birth to All. Liberation. Initiation. Initiated Matrika. Mother of Sadhakas. Mother of Siddhas. Most Powerful Wizardess. Deluding the Mind. Youthful and Intoxicated. Exalted. Her Beautiful Buttocks Swaying Slowly. Dwelling in the Red and Blue Lotus. Smeared with Red and Adorned with Red Gems. Wearing a Pure Red Rosary. With a Very Beautiful Peacock Feather Crest aim. Satisfied by Kings. Waving Peacock Plumes. Perfume Diffusing in the Cosmos. Earth. Fragrance. Giver of Sexual Love. Beloved. Giving Success in Love to Those Seeking Love. Nandini. Lakshanavati. Devata Resorted to by (Rishi) Vasishta. Devi of Goloka. (400] Protectress of Shri Goloka and all the Worlds. Giver of the Fruits of Sacrifice. Mother of the Gods. Giving Boons to Gods. Partner of Rudra. Auspicious Mother. Wide Expanse of the Ocean of Nectar. Dakshina. Form of Sacrifice. True Maiden. Rejoicing in Resolution. Dwelling in the Ocean Full of Milk. Pure Yoni. Beautiful Eyed. Dwelling in Beauty. Truly Served. Dissolved in Beautiful
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Scents. True in Actions. Beautiful Tripura. With Beautiful Breasts. With the Breasts of a Young Maiden. Menstruating Girl. Showing Her Menses. Colourful One. With a Bright Garland. Liking Red. Very Red. True Form of Love Making. Mother of Menses and Semen. Intent on Sex Play. Coming in Love Making. Cry of Orgasm. Self of all Love Play. Life of the Gods. Bliss of Svayambhu Menses. Fond of Svayambhu Menses. Pleased and Satisfied by Svayambhu Menses. Cause of Creation of the Beautiful Svayambhu Menses. Place of Svayambhu Menses. Shakti Hole. All Love Dalliance is Her True and Sacred Pedestal. Very Inner Whore. Duti. Artful. Pleased by Worship. Kullika. Dwelling in a Yantra. Dwelling in a Yoga Pedestal. With Beautiful Body. Form of the Quintessence. Having All Characteristics. Wearing Various Beautiful Jewels. Worshipped With Five Arrows. Residing in the Upper Trikona. Bala. Kameshvari. Worshipped by Hosts. Worshipped by Kulas. Lakshmi. Sarasvati. Pleased by Spring. Beloved. Having Gems on Her Breasts. Bearing a Kala on Her Head. Her Feet Causing Growth. Residing in Kalas. Fond of Flowers. Wearing Flowers. Deludress of Love. Intoxicated with Sexual Desire. Mohini. Kalas of the Moon. Shoshini. Vashini. Rajini. Subhaga. Bhaga. Pusha. Vasha. Sumana. Rati. Priti. Dhriti. Riddhi. Benefic. With a Garland of Rays. With Parts. Moon. True Shadow. Rising Full Moon. Satisfied. Full Amrita. Dwelling in the Female Sex Organ Yantra. Residing in the Linga Yantra. [500] Body of Shambhu. Yogini of Sexual Intercourse. Wine Goddess. Body of Bija. Steady. Dear to Sadhakas. Self of the King of Bija. Giver of Dominion and Happiness. Giver of Desires. Shakti of Menses and Semen. Knower of Shiva' s Semen. All Nectar. Consisting of Nectar. Consisting of Shiva and Shakti. Lady. Dwelling in the Bliss of Love Making. The Matrika Fond of Love Making. Bliss of the Flowers of Sexual Intercourse. Lovemaking. Expander of Yoga. State of Happiness in Sexual Intercourse. Served by Unified Consciousness-Bliss. True Form of the Substances Used in Offering and Giver of Success in Worship. Samarasya. Supreme One Female Form Fond of Love-Making. Messenger of Knowledge. Accessible to Knowledge. Origin of Knowledge. Abode of Shiva. Consciousness- Kala. Knowledge With All its Parts. True Kula. Beautiful Self of Kula. Four Kalas. Very Subtle Lotus Girl (Padmini). Supreme Being. Dwelling in the Play of Hamsa. Shadowy One. Emanatrix of the Two Parts of Hamsa.
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Free from Passion. Liberation Kala. Supreme Being Indwelling in Kalas. Very Self Situated in Vidya Kala. Dweller in the Four Kalas. The Vidya Making All Content. Pleased One. The Light of the Supreme Absolute. The Supreme Paramatma. Dissolved in Things. The Fourfold Shakti. The Diffusion of Shanta and Bodha Kalas. The Kala and Inner Essence of the Highest Knowledge. Pashyanti. Supreme Quintessence. The Inner Atma without Parts Known as Akula. Madhyama. Vaikhari. The Bliss of Atma Kala. Dweller in Kalas. Tarini. Swift One (Tarani). Tara. Knower of the Inner Core Dissolved in the Shiva Linga. Mover in the Ultimate Good. Delighting in the Bliss of the Absolute. Intoxicated with Rasa. Highest Rasa. Successful. Fond of Success. Uma. Fond of All Castes. Increasor of the Bliss of Yogis and Yoginis. Bestower of the Heroic Frame of Mind. Celestial One. Giver of True Heroism to Heroes. Great Giver of the Heroic Mood to Pashus. One Whose Head is Bathed. Queen Shri. The Ultimate Matrika of Warriors. Skilled in Sword and Missile. Grace. Essence Place. Enlivening in Battle. Victorious. Yogini. Pilgrimage. Crusher of Great Armies. Full. [600] Goddess of Wealth. Wealth. Provided with Great Hoards of Treasure. Dwelling in Heaps of Gems. Jewel. Abiding in Necklaces of Gems. Mahishi. Worshipped by Kings. With Hosts. Bearing Hosts. Creatrix. Prostitute. Attainable by Yoga. Mallasena. Female Foot Soldier. Battle Array. Brave in Love. Banner. Dwelling in the Banner. Beautiful Parasol. Little Mother. Mother (Amba). Fragrant. Moving in sadhana. Acting like Kings Act. Consisting of Brahmins and Kshatriyas. Dwelling in Moon and Sun. Fond of Her Priests. Chaste One. Brahmin Girl. Multitude of Sacrifices. Supreme Wine of the Moon. Origin of All. Burning One. Patient One. Opposing Evil. Bearer of All. Creatrix of All. Origin. Moving in Eternity. Gayatri. Attainable by Knowledge. Initiated. Giving the Wished For Goal. Dwelling in the Cosmos Like Jewelled Rays. Life of the Universe. Giver of Success in the Field. Augmentor of All. Little Usurer. Support of Kula. One who Extends Herself Beautifully. Mind's Delusion. Refuge. Pure. Dwelling in the Twice Born. Doer of Actions. Worshipped in Festivals. Going Under Various Guises. Bala. Wanton. Consisting of Kalas. With Beautiful Ears. Highest of All. Freer from Difficulties. Durga. Staying in the Vindhya Forest. Beloved of the God of Love. Pacifier. Black One. Protectress. Intoxicated with Rasa. Appeaser of Those Fallen From the Three Rules of Conduct. Bestower of Complete Happiness. Little Moon of the Cosmic Pleasure Garden. Giver of Happiness to the Multitude of Siddhas. Worshipped by Hosts of Yoginis.
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Body of the Sixteen Nityas. Kameshi. Bhagamalini. Nityaklinna. Bherunda. Vahni-MandalaVasini. Mahavidyeshvari Nitya. Shiva Duti. Tvarita. Kula Sundari. Nitya. Nilapataka. Vijaya. Sarvamangala. Jvalamala. [700] Vichitra. Mahatripurasundari. Host of Gurus. Supreme Guru. Lady Prakashananda. Form of Shivanandanath. True Form of Shaktyanandanath. Consisting of Devi-Anandanath. Lady Kaulesha Anandanath. Form of the Divyaugha. Lady Samaya Anandanath. Lady Shukla Devi Ananda Nath. Kulesha Ananda Nathini. Body of Klinnanga Ananda (Nath). Samaya Ananda Nathini. Consisting of Veda Ananda Nath. Sahaja Ananda Nathini. Body of the Siddha Augha. Body of the Highest Guru. Gagana Ananda (Nathini). Vishva Ananda Nathini. Vimala Ananda Nathini. Madana Ananda Nathini. Primordial Lady of the Worlds. Primordial Playful One. Nandana Ananda Nathini. Body of Sva Atma Ananda. Priya Ananda Nathini. Self of the Manava Augha Gurus. Lady of the Gurus of the Gurus. Ultimate Secret. Guru Shakti. Fond of Those Who Sing the Praises of Their Own Guru. Known as Bewilderer of the Three Worlds. All Encompassing and Complete One. All-Bewildering One. Residing in the Eastern Amnaya. Shiva-Shakti. Auspicious (Shiva) Shakti. Dwelling in Three Shiva Chakras. Known as the Giver of All Great Good Fortune. Giver of All Desires to Sadhakas. Called the All Protecting One. Devata of the Southern Amnaya. Dwelling in the Centre of the Disc of the Sun. Devata of the Western Amnaya. Creating and Indwelling the Nine Chakras. Devata of the Northern Amnaya. Worshipped by Kubera. Origin of Kula. Residing in the Exalted Kula Amnaya. Making and Dwelling in the Bindu Chakra. Lady of the Central Lion Throne. Shri Vidya. Mahalakshmi. Lakshmi. Self of the Three Shaktis. Lakshmi Giving All Dominion. Pancha Lakshmi. Shrividya. Supreme Light Source. Supreme Shambhavi Without Parts. Matrika. Panchakoshi. Shrividya Tvarita. Parijateshvari. Trikuta. Panchabaneshi. Panchakalpalata. Pancha Vidya. Source of Amrita. Wine. Lovely Lady. Annapurna. Cow of Plenty. Shri Vidya. Siddha Lakshmi. Matangi. Bhuvaneshvari. Varahi. Pancharatneshvari. One Who Dwells in the Letters of Matrika. Supreme Effulgence. In the Form of All Words. Aindri. Desire. Own Lady. Vision of Shakti. Seed of the Sun. Having the Body of Brahma. Having the Body of Shiva. Having the Body of Vishnu. Residing in the Wheel of Creation. Having the Body of the Sun. Dissolved in the Chakra of Places. Having the Body of Mercury. Mahatripurasundari. True Form of Tattva and Mudra. Pleasant One. [800] Knowledge Mudra. Satisfied by All Ritual Accessories. Dwelling in the Heart. Divinity of the Head. Divinity of the Top of the Head. The Absolute. With Amorous Three Eyes.
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Dwelling in the Missile. Four Square One. Dwelling at the Doors. Dwelling in Each Door. Anima in the West. Laghima in the North. Mahima in the East. Ishitva Divinity of the Southern Door. Vashitva in the North West. Prakamya in the North East. Bhukti in the South East. Iccha in the South West. Brahmi. Maheshvari. Kaumari. Vaishnavi. Varahi. Aindri. Chamunda. Mahalakshmi. Dwelling in the Ten Parts. Kshobhini. Dravini Mudra. Akarshana. Unmadana. Mahankusha. Khechari. Bija. Yoni Mudra. Dwelling in the Sarvashapura Chakra. Cause of Successful Siddhi. Kamakarshini Shakti. Buddhi Akarshana. Ahankara Karshini. Shabda Akarshana. Sparsha Akarshana. Rupa Akarshana. Rasa Akarshana. Gandha Akarshana. Chitta Akarshana. Dhairya Akarshana. Smritya Akarshana. Bija Akarshana. Amrita Akarshini. Nama Akarshini. Sharira Akarshinidevi. Atma Akarshana. Form of the Sixteen Vowels. Temple of the Flow of Nectar. Tripureshi. Form of Siddha. Dwelling in the Sixteen Petals. Queen of the All Agitating Chakra. Lady of the Guptatara Shaktis. Ananga Kusuma Shakti. Ananga Kati Mekhala. Ananga Madana. Ananga Madanatura. Ananga Rekha. Ananga Vega. Anangankusha. Ananga Malini. Shakti of the Eight Divisions of the Alphabet. Making and Dwelling in the Eight Petals. Shrimat Tripurasundari. Giver of all Happiness & Dominion. Lady giving Great Good Fortune. Lady of the Sampradaya. Cause of All Agitation. Causing All to Flee. Attractor of All. Shakti Gladdening All. Shakti causing Crushing. Shakti causing all Paralysis. Shakti causing All Delusion. Shakti causing All Subjugation. Shakti who gives Colour to All and Everything. Shakti causing Sexual Awakening. Shakti giving the Fruit of All Desires. Shakti giving All Wealth. Shakti consisting of Mantra. Shakti causing the Dualities to Disappear. [900] Siddhi-Tripura-Vasini. Lady giving All Desires to a Sadhaka. Lady giving the Fruit of All Actions. Lady of the 14 Angle Chakra. Devi giving All Siddhi. Giver of All Prosperity. Shakti Beloved of All. Cause of All Good Fortune. Full of All Sexual Desire. Liberator from All Sorrow. Alleviator of All Death. Destructress of All Obstacles. Devi Beautiful in All Limbs. Giver of All Great Good Fortune. Tripureshi. Giver of All Siddhi. Dwelling in the 10 Triangles. Lady Bestowing All Protection. Nigarbha Yogini. Knowing All. Shaktii of All. Giver of All Dominion. Devi Consisting of All Knowledge. Destroyer of All Ailments. True Form of All Adharas. Destroyer of All Evil. Devi made of All Bliss. True Form of All Protection. Mahima Shakti Devi. Devi Giving All. Lady Residing in the Inner 10 Angles. Devi Tripura Malini. Lady Destroying All Disease. Rahasya Yogini. Vagdevi. Vashini. Devi Kameshvari. Modini. Vimala. Aruna. Jayini. Sarveshvari. Kaulini. Giver of Siddhi in the eight Angles. Lady who gives All Love. Parapararahasya. Dweller in the Square & Trikona. Self of All Dominion Who consists of the Weapons. Kameshvari Arrow Form. Kameshi Bow Form. Kameshi Noose Form. Kameshi Goad Form. Kameshvari the Indra Shakti. Residing in the Sphere of Fire. Presiding Devi of Kamagiri. Going in the Lowermost Angle of the Triangle.
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Lady Dwelling in the Rightmost Angle. Vishnu Shakti at Jalandhara. Residing in the Sphere of the Sun. Rudra Shakti in the Leftmost Angle. Brahma Shakti in the Sphere of the Moon. Anuragini Dwelling at Purnagiri. Auspicious Lady of the Sphere of the Triangle. Tripura-AtmaMaheshvari. Lady Residing in the Sphere of All Bliss. Secret One Dwelling in the Bindu. Supreme True Form of the Absolute. Mahatripurasundari. Dwelling Within All Chakras. Chief of the Whole of the Chakras. Lady of All Chakras. Lady of All Mantras. Lady of All Vidyas. Lady of All Speech. All Yogeshvari. Undivided Lady holding Dominion over All Pithas. Sarva-Kameshvari. Lady of All Tattvas and Dominions. Shakti. Shakti with Eyes Intoxicated with Bliss. Without Duality. Womb of the Dualities. Unextended in the Cosmos. Mahamaya. Extended in the Cosmos. Dweller in Herself. Supporter of All Manifestation in the Cosmos. Ultimate Bliss Sundari. [1,000] Thus the celestial cause of Supreme Bliss has been declared, the Salt Vermilion Waves of Bala giving all satisfaction. O Parvati, of all sets of 1,000 names in the tantras, this is the quintessence. Dearest, this hymn may be recited at all times, at night, and during puja in the morning. When Bala, the Giver of All Dominion and Happiness, is pleased, She bestows jewels of various kinds, wealth, and (answers all) requests. O Parameshvari, She bestows whatever desires a person has, and sons and daughters are born if one wishes it. Enemies are destroyed, ailments are alleviated. If in a difficult situation, things are eased, medicines are bestowed on one. This bestows beautiful palaces, pictures, and all dominion. For a person, agriculture bestows rich harvests, and the heavenly cow seems to dwell for him on earth. His country prospers, and his state is not afflicted with calamities. Great elephants shower him with streams of nectar. He dwells happily in palaces, surrounded by gems and horses. His offspring become rulers, free from strife, ministers of the king. Those known to him please him, he becomes noble and very beautiful, wealthy, always in a good position, alluring. Spoken speech and verse musically flow from him, like the Ganges in flood. He becomes able to expound the various meanings of various verses, becoming skilled in the entire essence of all, successful, his speech like gracious blossoms. Shastras unknown to him are constantly revealed. Those with faults who would attack him become fearful, they sing adoringly of him, like slaves before a king. Swords and missiles hurt not his limbs. Women of all classes become completely subjugated by him. Poison becomes like wine-nectar for him. The host of opponents are paralysed, and his enemy crushed, if the knower of Yoga should continually practise for a period of nine nights. If he should recite day and night, without idleness, he becomes peaceful of mind, and all created things in all the worlds become subject to him, there is no doubt of it. If one should perform the yoga continually for six months, one becomes the (very essence of) Yogamaya, without question. Whosoever reads this ultimate hymn whilst meditating on Kamakala has women in a state of subjugation seeking him, intoxicated with sexual desire, beautiful, mad with lust, with beautiful enraptured eyes. He knows satiety of love through feminine desire, in this act of subjugation.
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On a fortunate day, having written the yantra of Devi on birch-bark, colouring it with rochana, kumkum, lac, red dye, or sunflowers, making the womb of the yantra (=triangle) of gold or silver hue, very alluring, one should awaken Bala, having worshipped and established Her. If one should then carry this on one 's head, throat, shoulder, or near to one's heart or navel, one becomes wealthy, victorious, and gains love. There is nothing greater than this in the three Worlds for protection, most certainly. Planets, diseases, and so forth, anxieties, are all banished, one gains happiness and health, it is the cause of strength and virility, and destroys cruel elements and enemies. It gives sons, daughters, increases a host of qualities, gives wealth and grain. In whichever city this best of sadhaka dwells, whilst bearing Her, wealth is gained. In whichever dwelling this stotra is placed and written out, O Varanana, there I - Shiva, Hari and Kamala always dwell, and it is as if all the sacred waters spring from this place. If the best of sadhakas should recite and read this devotedly he knows Knowledge, Bliss and Unity. O Deveshi, by reading this hymn, one gains the fruit of worship. One should recite it very carefully having established oneself in the six fold Nyasa. In the best of all tantras is the puja of Bala. There the 16 letters are the greatest thing. This, the best of all hymns, is found there. O Sundari, one should never give this to those who are not pupils, the impure, fraudulent, indolent, who make no efforts, the undevoted, those deficient of Vishnu bhakti, the unstable or the stupid. It should be given to those who are devoted, as it is the cause of liberation, and augments devotion. O Varanana, whilst engaging in sexual intercourse (Latayoga), one may read the hymn. One becomes like the Aeon Creeper (Kalpalata), and the fruit of one's desires are achieved. If a sadhaka should steadily recite this whilst in Latayoga, offering blossoms to the gazelleeyed (partner), he is blessed with the results of 100 sacrifices (Yajna). O Deveshi, Brahma and the other (devatas) worship his feet, he himself becomes like Shiva -- that discriminating person who is attached to devotion to Bala. He becomes one with the Bliss of the Absolute, Jyotsna, in the state of Sadashiva.
Shri Bala Stotra

Shri Bhairava said - Parvati, now I speak of the Hymn of Devi Bala. Having heard the secret Panchanga, one should always conceal it. (Dakshinamurti is the Rishi of this stotra-mantra of Shri Bala Tripurasundari; Pankti is the Metre; Shri Bala Tripurasundari is the Devata; Aim is the Bija; Sauh is the Shakti; Klim is the Kilaka; its application when reciting it is pleasing Shri Bala.
Hail Hail Hail Hail Hail Hail Hail
to to to to to to to
Dakshinamurti on the head the Metre Pankti on the mouth the Devata Shri Bala in the heart the Bija Aim on the navel the Shakti Sauh on the genitals the Linchpin Klim on the feet the Application when Reciting on all limbs
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Aim to the heart obeisance Klim to the head Sauh to the peak Aim to the armour Klim to the eyes Sauh to the missile
Aim to the thumbs hail Klim to the index fingers Sauh to the middle fingers Aim to the ring fingers Klim to the little fingers Sauh to the front & back of the hands (Meditation:) Like the coloured red rays of the Sun shining brightly through red dust, the colour of the Japa rose, holding book, dispelling fear, and in Her other hands giving boons and holding a fully blossomed white water lotus. Thus one should establish in one's heart the eternally beautiful form Bala. One should recite Aim, O Tripura Bhavani. One becomes greater than God or Guru, and has dominion and so forth of the partner of the Lord of the Mountains. Within the course of one day, one should recite the King of Your Mantras known as the triple syllable Kamaraja, that of Kameshvari. The person initiated in Kula should worship the earthly and most beautiful and alluring courtesan. One should recite Sauh, O Tripura, Mother of the three Worlds! You Who Manifest, Play, and bring all to Completion, the core of the Absolute (Brahmapada), Self-Existent! One should worship in the rectangle, the circles, the eight petalled lotus, within the city of the lotus of six petals, worshipping Bala in the Bindu Pitha, in order to become greater than Shiva. Whosoever should recite this hymn of Tripura, which consists of mantra, at night or at dawn, becomes garlanded (praised) on earth, and in three days becomes equal to Shukra, Saura and Lakshmi. Thus this stotra of Devi Bala, consisting of ultimate Mantra, is revealed. One should not give it to the undevoted, and should conceal it as if it were Your own yoni
Lalita Tripurasundari, the Red Goddess

Dear One, Tripura is the ultimate, primordial Shakti, the light of manifestation. She, the pile of letters of the alphabet, gave birth to the three worlds. At dissolution, She is the abode of all tattvas, still remaining Herself - Vamakeshvaratantra What is Shri Vidya and what relationship does it have to the goddess Lalita and to her yantra, the Shri Yantra? Vidya means knowledge, specifically female knowledge, or the goddess, and
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in this context relates to her aspect called Shri, Lalita or Tripurasundari whose magical diagram is called the Shri Yantra. She is a red flower, so her diagram is a flower too. The tantrik tradition views its symbols as having a gross aspect, a subtle aspect, and a supreme aspect. In terms of Lalita, the gross form is the image of the goddess with her four arms and so forth, the subtle form is as yantra, and the supreme form is her mantra, all three being the goddess in different aspects. Behind the sometimes colourful symbolism is deep wisdom coupled with practical methods for realising oneself.
Lalita loves puja. This term is usually translated as worship. However, this is misleading, as it introduces a duality into a process intended to bring the practitioner (sadhaka or sadhvika) to a non-dual position. There can be various pujas including daily rites, those performed at the four twilights, rites done for specific objects, optional rites done on festival days, or on otherwise auspicious days such as lunar eclipses or the entrance of the sun into a sidereal constellation, rites in assemblies or groups, and rites accomplished with a partner. Subhagodaya, on this site, is a translation which gives the full puja of Tripurasundari or Lalita. Lalita means She Who Plays. All creation, manifestation and dissolution is considered to be a play of Devi or the goddess. Mahatripurasundari is her name as transcendent beauty of the three cities, a description of the goddess as conqueror of the three cities of the demons, or as the triple city (Tripura), but really a metaphor for a human being.
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What then is a yantra? The word is usually translated as a machine, but in the special sense of the tantrik tradition refers to the Devi in her linear or geometrical form. Yantras, by the way, are always used flat. They may be two-dimensional or three-dimensional. Every aspect of Devi has her own mantra and yantra. The yantra of Devi Lalita is Shri Yantra. The divinity of the yantra always occupies the centre or apex. The different parts or petals and lines of the yantra are usually arranged in concentric circles (mandalas) and contain rays or sub-limbs of devi. The Shri Yantra has nine of these mandals, each filled with various aspects of the Devi. In Shri Yantra there are 111 aspects. The Shri Yantra is said to be a geometric form of the human body, which implies that goddess as Macrocosm is one with human being as Microcosm.
Formation of the Shri Yantra

The creation of the Shri Yantra is described in the Yogini Hridaya (Heart of the Yogini Tantra), which still does not exist in an English translation, as far as we are aware. This is said to be the second part of the Vamakeshvara Tantra. "From the fivefold Shakti comes creation and from the fourfold Fire dissolution. The sexual union of five Shaktis and four Fires causes the chakra to evolve. O Sinless One! I speak to you of the origin of the chakra. "When she, the ultimate Shakti, of her own will (svecchaya) assumed the form of the universe, then the creation of the chakra revealed itself as a pulsating essence. From the void-like vowels with the visarga (:) emerged the bindu, quivering and fully conscious. From this pulsating stream of supreme light emanated the ocean of the cosmos, the very self of the three mothers. "The baindava of the chakra has a triple form, dharma, adharma and atma, and matri, meya and prama. The chakra of nine yonis is the great mass of consciousness bliss and is the ninefold chakra and the nine divisions of the mantra. "The baindava is placed on a dense flowery mass and is the Chitkala. Similarly, the ambika form of eight lines is the circle of the vowels. The nine triangles quiver forth the effulgent form of 10 lines. The Shakti, together with her surrounding nine blossomed forth the 10 trikonas. The second quivering form of 10 lines has Krodhisha as first of the 10. These four chakras, of the nature of light, create the 14-fold form, the essence of perception." -- Yogini Hridaya, I 6-16. At the very heart of the bindu or centre of the Shri Yantra is that which caused it to emanate. This is Kamakala, consisting of the three bindus or potentials. One is red, one is white, and one is mixed. The red bindu is ova, the white bindu semen, and the mixed bindu the union of Shiva-Shakti, the individual as potential Shri Cakra. Father and Mother are represented in Shri Vidya by two limbs or aspects of Lalita known as Varahi and Kurukulla. The semen of Varahi, the father-form, gives four alchemical dhatus to the child. The ova of Kurukulla, the mother-form, gives five dhatns to the child. Consciousness enters via orgasm. The three bindus, collectively known as Kamakala (digit of sexual desire), are the root potential of sun, moon and fire. It is like sun and moon coming together in an eclipse, or the seed from which the plant human being grows.
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Varahi's four alchemical dhatus are known as the four fires. Kurukulla's alchemical dhatus are known as the five saktis. The combination of these five saktis (downward pointing triangles) and four fires (upward pointing triangles), forms the complex figure in the centre of Shri Cakra. Varahi's four fires are the 12 (3 x 4) sun Kalas, 12 sidereal constellations. Kurukulla's five triangles are the 15 (5 x 3) Kalas of the moon, 15 lunar days. The complete individual grows within nine months to be born as a Shri Yantra or plant. The flowering of this plant is shown by the 24 petals of the yantra. The above all gives rise to the familiar shape of the Shri Yantra. The yantra is usually arranged in one of two forms. In the Bhuprastara, it is two dimensional and laid flat, usually facing the east, but sometimes the north, depending on the practice. The Meruprastara has the yantra in a pyramidal form. Unless the yantra be decorated with the appropriate bija and other mantras, it is worthless. It is also dead unless it is installed with life and the individual doing the puja is initiated into one of the lines (parampara).
The Nine Mandalas of the Shri Yantra The Earth Square or Bhupura
This mandala represents the enclosing walls or fence of the zonule of a practitioner. The three lines of the bhupura of Shri Yantra each has a set of subsidiary aspects or sub-limbs of the goddess. On the outer line are the eight world protectors (lokapalas), the guardian spirits of the directions and intermediate directions. On the middle line are eight Siddhi Saktis identified with the senses. On the inner line are eight Shaktis ruling Desire, Anger, Envy, Delusion, Greed, Jealousy, Virtue and Vice. They are the eight Matrikas. These saktis are collectively known as the Obvious Ones (Prakata Yoginis). A form of the triple Devi known as Tripura rules all these shaktis in this individual mandala of the yantra known as 'The Chakra Ruling the Three Worlds'. She has four arms, is the colour of crystal, is adorned with pearls and holds a book, a pot, and a beautiful lotus. her Vidya is Am Am Sauh. Outer line: Indra (E) wears yellow, rides an elephant; Agni (SE) wears red, rides a ram; Yam (S) wears black, carries a staff; Nirriti (SW) wears dark green; Varuna (W) wears blue, and his vehicle is a makar; Vayu (NE) wears pale clothes; Soma (N) wears pure white; Ishana (NE) is a form of Mahadeva Shiva. Middle Line: The Siddhi Shaktis are smeared with vermilion, wear red garlands, carry noose and goad, and are as bright and beautiful as red lotuses. Inner Line: Brahmi wears yellow, has four arms, is beautiful. One hand dispels fear, one grants boons, the others hold a jewelled jar and makes the gesture of purification. Mahesvari wears white, has three eyes, holds trident, skull, axe, and vessel containing sour curds. Kaumari wears yellow, holds shakti-dart, Javelin, and makes the gestures of dispelling fear and granting boons. Varahi is dark in colour, holds conch, discus, dispels fear, grants boons. She wears many ornaments and gems. She has the head of a pig, holding plough, mace, sword and shield. Indrani is black, carrying a bright blue lotus. Camunda is black, holds trident and damaru (hourglass drum), holds axe, and milk in a bowl. Mahalaksmi wears yellow, holds serpent, shield, bell and milk in a skull shaped cup. The nature of this outermost mandala is fire of fire. The gem is topaz. The time is 24 minutes (360 breaths). The Mudra is the All Agitating.
Sixteen Petals By Dr Anand babu Adyatmika scientific research center 67

The saktis in this circle are known as the Hidden Ones. The whole mandala of 16 petals is called 'Fulfiller of Desire'. The presiding form of the Lalita is Tripureshi. Her vidya is Aim Klim Sauh. She is described as ornamented with all gems, carrying a book and a rosary. The 16 yoginis in this mandala are associated with the attainment of desires by the cultivation or strengthening of power over mind, ego, sound, touch, sight, taste, smell, intellect, steadiness, memory, name, growth, etheric body, revivification, and physical body. They are described as the Nitya Kalas. Each holds a noose, a goad, pot full of nectar, and makes the sign of giving. They are very red. The gem of the mandala is sapphire. The dhatu of physical alchemy is chyle, the first product of the disintegration of food by the biological fires. The time is three hours (2700 breaths). The Mudra is the Wettening Mudra. The nature of the mandala is sun of fire.
Eight Petals
The saktis in this mandala are called the Very Secret Yoginis. The whole circle of eight petals is called the 'All Exciting Cakra'. Presiding here is Tripura Sundari. Her vidya is Hrim Klim Sauh. She is described as swaying because of her love intoxicated state, with her eyes full of bliss. She smiles with passion. She shows the mudras dispelling fears and granting boons. The eight saktis in each of the eight petals of the mandala are described as saktis of Speech, Holding, Walking, Excreting, Pleasure, Abandoning, Concentration and Detachment. They are described as sapphire blue, holding noose, goad, dispelling fear, and holding blue lotus. Their names (Ananga Madana etc) all convey terms of loving sexuality. The gem is cat's eye. The dhatu is Flesh. The time is day and night (21600 breaths). The mandala's nature is moon of fire.
Fourteen Triangles
This mandala is called 'The Cakra Bestowing All Good Fortune'. The Yoginis are called 'Concealed by Tradition'. The presiding form of the devi is Tripura Vasini. Her vidya is Haim Hklim Hsauh. She is very red and very beautiful. Fourteen shaktis of the triangles are associated with the chief nadis or currents of bioenergy. They are described as being proud, wanton, young, colour of cochineal, ornamented with gems, holding noose, goad, mirror, winecup full of nectar. They are the Akarshanis or Attractors. The gem is coral. The dhatu is blood. The time is weekday. The Mudra is called All Subjugating. The nature of the mandala is fire of sun.
Outer 10 Triangles
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This mandala is called 'The Cakra Bestowing All Objects to the Sadhaka'. The saktis are called the Kula Kaulas. The presiding aspect of Red Devi is Tripura Shri. Here, the goddess is as effulgent as 1000 rising Suns, adorned with celestial ornaments, with large rising breasts, holding book and rosary, dispelling fears and granting boons. The 10 shaktis in the triangles are described as having thrilled faces, holding noose and goad and adorned with various crystal and heavenly gems. These are the Yoginis of the 10 vital breaths. The gem is pearl. The dhatu is Ova/Semen. The time is Lunar Day (tithi). The Mudra is called the All Intoxicating with Love. The nature is sun of sun.
Inner 10 Triangles
The mandala is called 'The Cakra Protecting All'. The Yoginis are called Without Origin. The presiding aspect of Lalita is Tripura Malini. Her vidya is Hrim Klim Blem. She holds noose and goad, dispels fear, and holds a skull. She is of vermilion brightness. Her shaktis are the colour of 1000 rising suns, adorned with pearls and gems, holding noose, chisel, and showing the gestures of knowledge, and giving boons. They are the saktis of the 10 Vital Fires. The gem is emerald. The dhatu is Marrow. The time is Lunar Fortnight. The Mudra is the Great Goad. The nature is moon of sun.
Eight Triangles
This mandala is called 'The Cakra Destroying all Disease'. The yoginis are known as the Secret or Rahasya yoginis. The presiding aspect of the Red Goddess is Tripura Siddha. Her vidya mantra is Hrim Shrim Sauh. She is described as the Destroyer of Poison. Her yoginis are the colour of pomegranate flowers, wearing red clothes, smeared with red scent, each carrying five arrows and a bow. These saktis are the rulers of Cold, Heat, Happiness, Sorrow, Desire, and the three gunas Sattvas, Rajas, Tamas. They are also called the eight Vasinis and rule the eight Sanskrit letter groups. The gem in this mandala is diamond (Vajra). The time is month. The Mudra is Khecari Mudra. The nature of the mandala is said to be fire of moon.
The Four Weapons

In between the mandalas of eight triangles and the central triangles are the four weapons of the Red Goddess -- flowery bow, flowery arrows, noose and goad.
Central Triangle
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This mandala is called 'The Cakra Giving All Success'. The Yoginis are called Very Secret. Lalita dwells here as Tripura Amba, her Vidya being Hsraim Hsrklim Hsrsauh. She is also known as Sampatprada Bhairavi, coppery effulgent, like 1000 suns, with three eyes, a face like the moon, adorned with white gems, with a beautiful figure, rising swelling breasts, intoxicated, wanton, young, proud, holding book, dispelling fear, holding a rosary
and granting boons.
Her three saktis are called Lady of Lust (Kameshvari), Adamantine Lady (Vajreshi), and Flowery Vagina (Bhagamalini). Kameshvari is called the Rudra Shakti. She is white in colour, besmeared with camphor, adorned with pearls and crystal, and various other gems, holding book, rosary, bestowing boons and dispelling fear. Vajreshi is the Vishnu Shakti. She is bright as red powder (kumkuma), adorned with flowers and gems, like the dawn sun. Her eyelids are smeared with sapphire dust, she holds sugarcane how, flowery arrows, bestows boons, dispels fear. Bhagamalini is the Brahma Shakti. She is effulgent as molten gold, adorned with priceless gems, holds noose, goad, and shows the gestures of knowledge and bestowing boons. The gem of the mandala is Gomaya. The dhatu is Fat. The time is season (two months). The Mudra is the Bija Mudra. The nature of the mandala is sun of moon.
Bindu
This mandala is called 'Purely Blissful'. The Yogini in this mandala is the Queen of Queens, Rajarajeshvari, the Very Red One, her Transcendent Majesty Lalita Maheshvari Mahatripurasundari. Her vidya (Kamaraja vidya) is ka e i la hrim ha sa ka ha la hrim sa ka la hrim, plus a secret 16th syllable. Her description is that given in Vamakeshvara Tantra. Surrounding her are the Fifteen Nityas. The gem is ruby. The dhatu is hair. The time is year. The mudra is Yoni Mudra. The nature of this central mandala is moon of moon.
Yantra Mantra Tantra of Lalita

Lalita, as primordial devi, rays out her attendants and shaktis as modifications of moon, sun and fire. In this Shiva has no place, no qualities, is without the ability to act. Only when united with devi may 'he' act. This is based on the subtle and practical idea of Shiva as pure consciousness, witness of the triple manifestation of his Shakti. This Shakti, the very essence of the three gunas of Sattvas, Rajas, and Tamas, is the cause of all manifestation in the universe and as a human being. The three shaktis, by blending and reblending, create all things.
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Shakti is triple as sun, moon and fire -- that is to say of all the sidereal constellations and planets, and therefore of Time itself. She is triple as Will (Iccha), Knowledge (Jnana) and Action (Kriya). She is threefold as intellect, feelings, physical sensation. Shakti is triple as wake-dream-deep sleep. What is called the Fourth is the witness, Shiva, who is said to pervade the whole cosmos just as heat pervades a red hot iron. The physical body, according to the precepts of Ayurveda, is triple as the 'humours' Vata, Pitta and Sleshma. The varying combinations of these three shaktis make up the physical body. Shakti is also fivefold as aether, air, fire, water and earth. The combination of the five elements and three gunas produce Lalita's Eternities (Nityas) -- 15 in number, each identified with a lunar day of the bright fortnight. The moon, symbolising Shakti, is the mirror or reflection holding together all creation. A close examination of the details relating to the nine mandalas of Shri Yantra reveals that the shaktis of the whole circle represent the human being, who, in potential, is Shakti-Shiva united. The aim is for a person to realise that all powers, energies and manifestation are shaktis of consciousness, pure awareness. The yantra may be examined in two ways, either as manifestation or dissolution. Maintenance is an intermediate state between the two polarities. When she is worshipped as creatrix the order is from centre to perimeter. As dissolver, the puja is from perimeter to centre. In Sivananda Yogi's Subhagodaya is given the daily ritual or puja of Lalita's Shri Yantra -based on the Vamakeshvara Tantra. This rite is based on non-dualism, in a spiritual sense the realisation of the intrinsic oneness of macrocosm and microcosm. As the puja is intended to banish all thoughts of difference, the devi is first felt or visualised in the heart, and then drawn out via the breath and installed in the yantra. She is then worshipped as actually residing there. But a clear link has been made between subject and object. The true home of devi is as cosmo-creatrix in the heart of the body which is the devi in human form.
The Various Mandalas of Shri Yantra

The Triple Goddess, from her own will to manifest, extends herself in a ninefold way, as modifications of moon, sun and fire. The attributions of the various mandalas shows the type of energy represented. The meditation in Bhavana Upanshad is a figurative way of describing this celestial city or mountain which is a human being. The island of jewels is the gross human body with its 9 alchemical bases or dhatus. Each is figuratively described as a gem -- diamond, emerald, sapphire, ruby &c. The sea of nectar (semen/ova) is the base for the arising of the human body. The diagram suns up the meditation. We can see that this island of gems is a very pleasant place to he, full of gardens, with a beautiful, begemmed palace, wafted with a gentle breeze upon which is carried great fragrance, cool, alluring.
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This indicates the Kaula view that one gains liberation by a very pleasant way, enjoying as one goes. This paradise island is very, very close. Each of the elements in the island meditation has a subtle meaning associated with the esoteric physiology of Shri Vidya. She, Lalita, united with Shiva, is subtlety of subtlety, hidden behind the curtain hanging from the canopy. Her forms may appear to become progressively less subtle, but she still remains herself.
Bala-Sundari-Bhairavi
Although Tripurasundari, as mother of the universe (jagadamba) is the aspect most often met with in works of Shri Vidya, she is also worshipped as Bala (a young girl), and as Bhairavi (a crone). As Bala, she is 16 years old, a virgin, very playful and dear. Bala has her own yantra and mantra. her vidya is Aim Klim Sauh. Bhairavi is also an aspect of Lalita, but represents Shakti in whom menstruation has ceased, and has some affiliations with Kali.
Applications of Shri Vidya

There are many prayogas (ritual uses) related to Shri Yantra. Some rites depend on auspicious times, such as Full moon days or nights in specific solar months Devi also manifests as the five elements of aether, fire, air, water and earth. The saktis are purple (air), white (water), red (fire), yellow (earth), blue (aether). Chapter II of Vamakeshvara gives a large number of rites, which one is not entitled to perform unless the daily rite is also accomplished. These rites are called the shatkarma, six acts: protection, peace, victory, wealth, punishment, destruction. The categories vary occasionally. When punishing an enemy it is necessary to both protect yourself and to know the right time for performance, according to the rules, and also the vulnerable points, which vary with the phase of the moon and with astrological aspects. It is important to remember that Shri Vidya was primarily oral, and vital information was often left out of the written versions, so it is necessary to know a host of things before a rite can be started.
Initiation
Devi Lalita may be installed in a disciple, a yantra, or an image. All the methods essentially follow a similar form, but the right time must be selected. A disciple must have the necessary qualifications and potential. After initiation, she or he is to perform an operation to endue the vidya with energy or life. This involves the recitation of the root vidya a specified large number of times, although other valid methods exist for preparation.
The Vidya (Mantra) By Dr Anand babu Adyatmika scientific research center 72

There are said to be 15 lines of mantra, each perceived by a different Rishi (Seer). The most widespread seems to be that called Kadi (beginning with 'Ka'), which itself has three sections. The other main division is Hadi, although it is said that the Kularnava Tantra incorporates both in a division called Kahadi. Devotees of the Kadi line worship the Shri Yantra from the perimeter to the centre, while Hadi devotees worship it from the centre to the perimeter. Some of the lines of the vidya are said to be broken, and do not run in a continuous stream.
The 64 Kaula Tantras

These tantras are enumerated in Vamakeshvara and Kulachudamani Tantras, and in other places. At some time in history a school of Shri Vidya was formed on an orthodox Vedik basis. A proponent of this school, Lakshmidhara, wrote a commentary on the famous Shri Vidya hymn called Saudaryalahari. Unfortunately, most of the 64 tantras are lost. But their contents may be gauged from Lakshmidhara's commentary. We have to remember that the descriptions are based on an orthodox Vedic interpretation. 1) Mahamaya Sambhara. Deluding of intellect and senses. 2) Yogini Jala Sambhara. Involving the agency of Yoginis. 3) Tattva Sambhara. Causing elements to appear and transform. 4-11) Eight Bhairava Tantras. The commentator says that these are objectionable as they belong to the Kapalikas or skull wearers such as Naths, Aghoris, and so forth. 12-19) The Bahurupa Astaka. Importance attached to the eight shaktis or Matrikas. 20-27) The Eight Yamalas. Of these, only Rudra Yamala seems to have survived, although it is doubtful that the text which exists is the same as the original. Other of the yamalas do exist in part as quotations in later tantras. The commentator says these relate to Siddhi. 28) Candra Jnana. Expounds the 16 Nityas, but condemned as 'it smacks of Kapalika tenets'. 29) Malini Vidya. Enabling one to cross great oceans. This could be the Malini Vijaya Tantra, a work of the Kashmir Saivites which includes magical operations based on the 36 tattvas. 30) Maha Sammohana. Hypnosis. 31-33) Vamajusta, Mahadeva and Vatula. These are condemned as they deal with Vamachara. 34-35) Vatula Uttara and Kamika. The latter is still extant, and belongs to the Kashmir group of Agamas. The chief guru of this school is the famous Abhinavagupta. 36) Hridbheda Tantra. Condemned through Vamachara. 37-38) Tantrabheda and Guhyatantra. Condemned because of retaliatory magic. 39) Kalavada. Digits of the moon, induction of chandrakalas, which are the 108 parts of the moon found in a horoscope. 40) Kalasara. The rules of colour. There is no reason given for its exclusion. 41) Kundika Mata. Attainment of siddhi through elixirs and drugs. 42) Mata Uttara. Deals with 'quicksilver'. See the Matrikabheda Tantra. 43) Vinakhya. Power over Yakshinis. 44) Trotala. Magical practices of medicine and clairvoyance. 45) Trotala Uttara. Bringing the 64 crores of yoginis face to face. 46) Pancamrita. Nectar from the body. The five nectars are mentioned in the Kaula Jnana Nirnaya. 47) Rupabheda. 48) Bhuta Uddamara. 49) Kulasara. 50) Kullaoddisha. 51) Kulacudamani. 48,50 and 51 are still available. The commentator says these tantras are not sanctioned by Veda.
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52-56) Sarvajna Tantra, Mahakali Mata, Arunesi, Modinisa, Vikunthesvara. They are all declared reprehensible as they belong to the digambaras (naked sadhus). 57-64) East, West, South, North, Uttara Kaulas, Vimala, Vimalotta, Devi Mata. One of these lines still exists.
The Nine Nathas

Each of the nine Nathas or lords is identified with an aperture of the human body, and with one of the nine mandalas of the whole Shri Yantra. One's own guide is Shiva as pervading these nine chakras, and is identified with the current of bioenergy called Susunna. They are all meditated on as white, with two eyes and two arms, showing the gestures banishing fear and giving boons. They may be visualised as being in sexual intercourse with the presiding aspects of the Devi in the nine mandalas.
The Four Oceans

The four duties of a human being are described as oceans because of their limitless extent. The sadhaka in the zone is at the junction point or field of action of these four oceans, on the island of gems.
The Nine Bodily Dhatus

Each of the nine matters (dhatu) in the body is presided over by an aspect of Lalita. The Universe, in Shri Vidya, is said to be time, space, and a combination of the two. The first is Shakti, the second Shiva, and the third Shiva and Shakti in union. These are also the three eyes on Lalita's face, and sun, moon, fire.
The Island of Nine Gems

On this island, which is all and everything, seed and sprout, the six seasons all manifest simultaneously. The Aeon Trees (Kalpadruma) are identified with resolution as any act undertaken with resolution is fruitful. The six seasons are identified with the six tastes of a human being. Horses are the five senses as they lead one forward into action, figuratively taken as war. It is Lalita who slayed the demon Bhanda with all his fearful hordes. All her saktis assisted her in this. Then the celestial city, the Nagar was built. Elephants are the objects of senses, or the impressions. Shri Vidya implies unity between knower, means of knowledge and knowledge itself. These are the three cities. This means that the knower, by means of the five instruments of knowledge, offers to knowledge itself, Devi in the yantra. (See Bhavanopanishad).
The Fifteen Nitya Shaktis

These are modifications of Lalita as red goddess with her three gunas and her five elements of aether, air, fire, water and earth. They are identified with the 15 days of the lunar fortnight. As the moon remains itself, though appearing differently according to phase, so too Lalita. Each Nitya has her own vidya, yantra and group of energies (saktis). Lalita or Tripurasundari is the 16th day or Full moon, with her 15 digits. Each of the 15 Nityas has a certain number of arms, the totality of arms (= rays) of the whole circle being 108. Because
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any unit of time is taken as a microcosm or parallel of any other valid unit, each of the 15 Nityas has 1440 breaths. One lunar fortnight is 21600 breaths -- which is the number of a whole cycle or process. The breaths of a human being during one day and night are 21600 -10800 of which are solar, the other 10800 being lunar. By this device, the unity of the 15 Nityas, time, space and a human being is shown. As time is breath in Shri Vidya, we find that the periods of the four famous yugas are also based on breath. Each breath is influenced during the day by the planets in their waxing and waning of power. These cause poisons to accumulate in the physical body. Nectar is released when the sun mandal 'melts' the moon mandal, and one attains to Hamsa. This is the nectar of compassion.
Lalita as the Whole Universe

Tantrik rites often include 'nyasas', the placing of some principles in a certain sequence on one's own body. The idea is that this process purifies and divinises. Lalita's Sodha (sixfold) Nyasa is a highly complex rite in which a practitioner places on the body the 51 letters of the alphabet, the planets, the 27 naksatras or lunar mansions, the 12 sidereal constellations, and the 51 sacred sites (pithas) of all India. Placing these different things on the body the practitioner comes to realise oneness with the whole cosmos. This ritual also illustrates some important concepts. The Tantraraja states that there is no difference between the circle of the letters of the alphabet and the sidereal Zodiac. Lalita as devi is Shakti as all language, mantra, sound, music and vibration. She is also Shakti of Time as all planets and constellations. She is the very essence of sun and moon. Each of these realms requires inner comment.
51 Ganesas and 51 Letters

The image of Ganesa illustrates the three realms. elephant, his body human, and his vehicle a mouse. These are three realms in one being. He is lord of obstacles in three ways. As elephant, his great strength can break harriers. As human, he can use his intelligence. As mouse, he can penetrate the smallest places. Every aspect of Shri Vidya may be understood in three ways -- gross, subtle, and supreme -- and so the meaning of things often remains uncertain unless you already know someone who has the key, or belong to the in group. As letters of the alphabet, Lalita is Matrika Shakti, who deludes by her Maya through words, speech, mantra.
Planets
The tantriks knew the seven traditional planets of western astrology, and also had a greater number of shadowy planets, of which Rahu and Ketu -- the nodes of the moon -- are the best known. The planets are important to an understanding of Shri Vidya, but the details are so extensive that they must be reserved for a later time.
27 Nakshatras By Dr Anand babu Adyatmika scientific research center 75

These constellations were thought of as beyond the 12 sidereal constellations, so remote they were almost beyond time itself. These 27 are employed in Shri Vidya to determine suitability of partners, constructing Vajra Yantras, and so forth. Each of the 27 has its own animal. A yoni or lingam is classified as being harmonious or the reverse according to the position of the natal moon in these constellations. They are also associated with sacred herbs and trees, and much used in specific or optional rites.
Yoginis
The Yoginis of the bodily centres (dhatus) reveal very much of interest as they are associated with the well known but much misunderstood cakras. These Yoginis are really images of the ayurvedic or alchemic bases in the body. They can only be understood in relation to such an alchemy. Kundalini is the body shakti, the great deluder, the trickster, the cause of sleep. To raise her means to become conscious of her manifestation. Shakti in the body has her various forms as Prana (Breath) Shakti, fire Shakti and so forth. When Prana Shakti becomes agitated, she zigzags up the body. At this time one starts to experience dissolution. Various things my be seen and felt. Dakini, Rakini &c. preside over the alchemical physical bases of skin, blood, flesh, fat, bone, marrow. The last of these yoginis presides over the highest dhatu, highest as it forms the physical basis for new life -- ova/semen. In this form she is truly limitless, as she manifests as the Aeon Tree (Kalpadruma). The Dakinis and Rakinis &c. are pictured as terrifying as they consuners of the food one ingests.
Twelve Rashis (Constellations)

These are viewed as 12 great suns or sun Kalas, mighty Adityas presiding over great affairs, feeding on human beings and their essence.
51 Pithas
These are places in India particularly sacred to devi, as they mark the spots where the parts of her body fell after it was sliced into pieces by the discus of Visnu. The yoni fell at Kamarupa, hence the special spiritual regard in which this place is held by Kaulas.
The Nadis
Nadi means river, and is extended to include other currents and courses, such as those of the bioenergy and the pulse. Ayurvaidyas have written works distinguishing various types of pulse indicating dysfunction of the three powers. Nadi is also 150th part of the ascendant in a birth chart based on the sidereal zodiac. Such a birth chart is called Rashi Kundali. It is impossible to cast accurate charts without knowing which nadi rules a person or time. Each nadi has an aspect of the devi ruling it, and a solar and lunar part -- hence there are 3600 in the zodiac. There are said to be 72000 nadis in the human organism. This number indicates a large but not infinite number of channels of bioenergy. They are the pathways of Prana Shakti.
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The chief pathways are Susumna, extending from a point between the anus and genitals to the top of the head; ida and pingala, which are the solar and lunar pathways coiled around the central channel. This Susumna is Shiva and Shakti in sexual union. The human body is conceived of as a tree -- the root is at the top of the head, and it ramifies downwards. These channels are the pathways or body vehicles for Vata, one of the three dosas or humours in Ayurveda of the human body, and constitute the central nervous system with three main concentrations.
Marmas
Marmas are 108 in number, well documented points of the human organisn which, if pierced, usually cause death. Many are recognised by western medicine. On the Shri Yantra, marmas are represented by the confluence of three or more lines.
Sandhis
These are joints in the human frame, knee joint, elbow joint &c. The body is the temple of the devi. On the Shri Yantra sandhis are represented by the junction of two lines.
Meaning of Kula
A 'kula' is a Shakti. The foregoing shows that each Shakti in the yantra is some energy of the human organism in its gross, subtle, or causal aspects. 'Akula' (lit. 'not Kula') is Shiva. "Having abandoned her family of young Kula women, she becomes Shiva, with no qualities, no characteristics, devoid of the form of time." -- Vamakesvara Tantra "All things the body. The body is the sacrificial ladle. Knowledge is the food." -- Shiva Sutras II, 9-10.
The Weapons of Lalita

Lalita holds five flowery arrows, noose, goad and bow. The noose is attachment (moon). The goad is repulsion (sun). The sugarcane bow is the mind. The flowery arrows are the five sense impressions. When oonsciousness perceives these, the outward directed arrows stop being dry sticks. These five flowery arrows together with the bow are personified as six Krishnas or Kamadevas. V84 of ch xxiv of Tantrarajatantra states that Lalita assumed a male form as Krishna, and 'by enveloping all women enchanted the whole world'. Each of the six forms is like dawn, with six arms, holding flute, noose, goad, sugarcane bow, flowers, sour milk.
Eroticism in Shri Vidya

The physiology of Shri Vidya postulates macrocosm and microcom as one. From this follows the realisation that the sexual union of man and wanan mirrors the cosmic creation. It is natural that loving sexuality should be seen to have a cosmic status. Kaulas have been criticised as their works emphasise love and death, but they were always realists. Many tantras establish that the terrifying Kali and the benign Lalita are two sides of
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the same coin. This coin or currency is called life. Lalita, with her waxing moon, represents creation, and Kalika with her waning moon dissolution. Each is a complete symbol, of high sublimity and loaded with spiritual significance.
The 15 Syllable Mantra

A chart, in Sanskrit, in the Adyar Library edition of Varivasya Rahasya, which deals with the 15 lettered Vidya of Lalita is so useful to an understanding of Shri Vidya and the yantra that we have summarised its contents below. The Kadi Vidya runs ka e i la hrim: ha sa ka ha la hrim: sa ka la hrim. There is also a secret 16th syllable said to be the quintessence of Lalita. There vidya, yantra, guru, disciple, goddess are all conceived of as being one. The Shri Yantra is within the wheel of time (Kalacakra), and represents the human body (microcosm), and the universe (macrocosm). These 15 letters are conceived to exist within the meru or spine of a human being, from the base to the top of the head. The seven (or nine) 'cakras' are strung along this thread of light, as are the different mandals or circles of Shri Yantra. Note that the Lalita Vidya is itself divided into three parts, each represents fire, sun and moon. Different letters of the alphabet all exist in a subtle form within the spinal cord. Each chakra is presided over by a Yogini whose function is connected with the transmutation of food, which is alchemy of the food factory. There are 50 petals associated with these six cakras as there are 50 letters of the Sanskrit alphabet. 21600/50 = 432. The cakra of the absolute or semen/ova itself has 1000 letters or petals. Semen is conceived of as residing here because of its alchemical nature as an elixir produced by the synthesis of the forms of food. These three which are oneness are knower, means of knowledge, object of knowledge. Their union is called samarasa. The three corners of the central triangle of the Shri Chakra are presided over by three symbolic Nathas. The Fourth Natha, Shiva Himself, is united with Shakti in the centre of the Bindu. This Bindu, united Shiva Shakti, creates the cosmos. If we observe nature we see that the Shri Cakra (child) comes from the sexual union or samarasa (perfect assimilation) of man (Shiva) and woman (Shakti). Their samarasa is known as the Fourth, because it appears when all three are present, and also produces or has the three as its powers or saktis. This Fourth is awareness, the witness, the enjoyer, the measurer, the measuring stick, and the measured, Adinatha, the merulingam, beyond time and space, and therefore outside the Shri Yantra or the cosmos as modification or play of sun, moon and fire. These last three form the body of Lalita.
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The three saktis of the Fourth are known as Kamesvari, Vajresi and Bhagamalini, in the symbolism of Shri Vidya. They are also the saktis Iccha, Jnana and Kriya (Knowledge, Will, Action), and in their aspects as Creator, Maintainer and Destroyer are known as Vama, who vomits forth the universe, Jyesta who maintains, and Raudri who dissolves. The body of a human being is made up of these three in combination and blending. They are active, passive and reconciling. The three are also symbolised as three holy mountains known as Kamagiri, Purnagiri, and Jalandhari. The apex of these foothills is the very secret Oddiyana, at the centre of Shri Yantra. The three also represent three symbolic lingas within the human frame. Conceived of as the human body, and as the Meru or subtle spine, these three places are points of convergence or pilgrimage of the channels of bioenergy connected with the sun and moon. There is a correspondence between these channels in the body, and the luminaries in the heaven. As the Shri Yantra is Time and Space, all constellations, planets, lunar mansions, are conceived of as being the body of Lalita, Maha Tripura Sundari. It was these three cities that were destroyed by Lord Shiva, and described in the Shiva Mahimna Stotra. At the confluence of the three rivers of bioenergy are three lingams of Supreme Shiva, resorted to by the wise. One united with the Fourth is liberated. Others are deluded by the Maya or play of the goddess, who, with her three aspects in all is known as Mahamaya Adya, the womb of all. She deludes by her every process, and has the form of Matrika devi, or goddess of speech and words. The 15 syllables of the vidya are usually disguised in symbolic design or code. The three Hrims are called the three maya granthis or knots of delusion. This Hrim breaks down into Ha for Shiva, Ha for Shakti, and Im for samarasa. The Fourth (Turiya) also pervades consciousness in its states of waking, dreaming and deep sleep. This is also expressed in the Shiva Sutra.
Meaning of Shri Vidya

The Yogini Hridaya, the second part of the Vamakeshvara Tantra, states that the mantra has several meanings. Some are literal, others traditional, inner, Kaulika, occult and real.
Literal Meaning
The syllables represent Shiva and Shakti. The first part, Ka E I La Hrim, is called Vagbhava, and is Vama Shakti, Brahma, Jnana Shakti, and Eastern Face. The second part, Ha Sa Ka Ha La hrim, is Kamaraja, Jyesta Shakti, Visnu, Iceha Shakti, and Southern Face. The third part, Sa Ka La hrim, is called Shakti, is Raudri Shakti, Rudra, Kriya Shakti and Western Face. The fourth part, the hidden or secret syllable, is mother goddess, Shambhu Natha, the totality of the three shaktis of Knowledge, Will and Action, and the Northern Face or amnaya.
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www.Shakthiyoga.com Dhasha maha vidya Traditional Meaning

Ka = air, Ha = fire, Sa = water, La = earth, Ha = aether. The vowels are above aether. The 15 syllables are 1 of aether, 2 of air, three of fire, four of water, and five of earth. The three forms of La represent the three Worlds. The five forms of the letter Ha represent sound.
Inner Meaning
The vidya shows oneness of Shiva, Guru, devi and disciple; as it is Shiva in sound form (Shakti) which preserves the line.
Kaula Meaning
The Mother goddess is known as Ganeshi (Lady of Hosts), because of her great nunber of rays. These are the Ganesas of the sixfold Nyasa. Devi has three eyes which are sun, moon, fire. She has three saktis which are Will, Knowledge, Action. She has three gunas which are active, passive, reconciling. These are the nine planets. The 27 naksatras are 10 Knowledge and Action modes, 10 objects of senses, Devi, Deva, three gunas as one, and the four inner causes. The six yoginis have their names beginning Da, Ra, La, Ka, Sa, Ha -- and end in 'akini'. They preside over the physical bases (dhatus) of the body. The 12 sidereal constellations are the 10 vital breaths, the embodied being (jiva), and the Supreme Creator. The 51 pithas correspond to the letters of the alphabet, and are points of confluence one should visit within the body. Each of the three sections of the vidyas represents speech -- in potential, in formation, in manifestation. The Devi is Matrika Shakti.
Breath is Time
This is a fundamental postulate of Shri Vidya and much of the symbolism is based on it. The letters of Sanskrit said to represent the embodiment of Laiita as mantra are 52 in number: 16 vowels and 36 consonants. These, multiplied together, total 576. This number, divided by nine yields 64. The Shri Yantra is said to have 64,000,000 yoginis in the nine sub-mandalas. Each mandala has a unit of Time associated with it. The basic unit is a breath. One nadika is equal to 24 minutes or 1440 seconds, and each breath is one 360th of this, or four seconds. A human being breathes 21600 times each 24 hours. A Kali Yuga is 432,000 years of 360 days. A Dvapara Yuga is 864,000 years. A Treta Yuga is 1,296,000 years. A Satya Yuga is 1,728,000 years. The circle of the sidereal zodiac has 12 constellations, each of which has nine parts (navamshas). These 108 (12 x 9) are called Candrakalas. Each Candrakaia is, itself, a micro-constellation. The number of degrees in the sidereal cakra is 360. The number of minutes is 21600. A conjunction is 21600', a square 5400', an opposition 10800'. Each eternity (Nitya) of the root mantra has 1440 breaths. (See the prayoga of Bhavana Upanishad). This implies that Lalita is 21600, as she is the collectivity of the 15 Nityas. Lalita's cakra is the grand synthesis of Time, Space, and humankind. Her 36 tattvas are the whole cosmos.
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www.Shakthiyoga.com Dhasha maha vidya Ritual Accessories (Upachara)

These can be multiplied indefinitely. The chief are scent (earth), incense (air), flame (fire), water, and flowers (aether). They should all be red, or tinged with red. They represent, in their basic form, the five impressions. See Gandharva Tantra.
Devatas of the Leftovers

At the end of the rite Vatuka Natha is in the NE, and takes flame leftovers; Yoginis in the SE take mantra leftovers; Kshetrapala in the SW takes scent and incense leftovers; Ganesa, in the NW, takes mudra leftovers. The aspect of Lalita called Sosika consumes everything that is left. She is worshipped in the NE in a circular pit.
Gayatri
This is the name of a specific kind of mantra used at the four twilights of dawn, midday, dusk and midnight. There are Vedik and Tantrik gayatris. Lalita has her own which is tripurasundaryai vidmahe kameshvaryai dhimahi tanno klinne prachodayat.
Esoteric Meaning of the Vidya

This leads the sadhaka to identify the vidya with moon, sun and fire, as sections of the central or Susunna Nadi, relating to Intellect, Emotions, and Physical Sensations. These have to he brought together for the Fourth to appear. There are 10 fire kalas, 12 sun kalas, and 15 moon kalas. The 16th includes them all.
Sound
The letters of the vidya are Nada, or sound, and the absolute, and end as uttered sound. When charged with the consciousness of the Fourth these mere letters become mantra. Otherwise, words continually delude. The 16th syllable of the vidya also represents the Fourth. This Fourth is Kamakala. Beyond it is the Ultimate Absolute (Atiturya - beyond the Fourth), and beyond any sort of description
Mahashodha Nyasa
Thou art the body of Shambhu with two breasts which are the Sun and Moon. Oh, Bhagavati, thou art the all pervading stainless one; therefore the connection between each, of thee as part and whole is the nature common to both, the same lordship and supreme bliss - Wave of Bliss (Woodroffe's translation) The Sodha Nyasa (sixfold nyasa), which is part of the daily worship of Tripurasundari, is here for the first time translated into English, from the work called Nityotsava, itself a commentary on the famous Kalpasutras of Parashuram.
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Parashurama was a brahmana initiated by Lord Dattatreya into the worship of Shri Shri Mahatripurasundari Lalita Devi. The Kalpasutras provides a compendium for the worship of that Devi. Various forms of nyasa, which means 'placing', enter into this and all other forms of tantrika puja. The dialogue between Parashuram and Dattatreya is contained in the Tripura Rahasya, a wonderful work which is available in an English translation published by the Sri Ramana Ashram in Tiruvannamalai. The Sodha Nyasa in which Devi outspreads as Ganeshas, planets, 27 nakshatras (asterisms), yoginis of the seven dhatus or bodily elements of ayurveda, sidereal zodiac, and sacred sites (pithas) is described in very many agamas such as Vamakeshvara Tantra, Gandharva Tantra, Jnanarnava, The 1,000 Names of Lalita, etc.. It is described in detail in the Yogini Hridaya, itself said to form the latter part of the Vamakeshvara Tantra. The ritual centres the worshipper as one with She whose true nature is Chit or Consciousness Shakti. She is triple in Her manifestation as the three gunas -- represented by Her three Saktis of Iccha (will), Jnana (knowledge), and Kriya (action) -- and rays out as the 15 Nityas or Eternities who express the phases of the Moon or Candrakalas, and form the body of time. According to the tradition, Shiva, without characteristics is awareness. And Shiva is one with Shakti. Her parts as represented by the Shodha Nyasa amount to 156, and comprise all visible manifestation. She is Maya Shakti, the Matrika or letters of the alphabet Devi, the heap of words and letters which delude men and women, and also those letters transformed by awareness into mantra. Her yantra is the Shri Chakra, which contains all letters within its heap of petals, lotuses and lines. This yantra, which is a diagrammatic representation of the human body, is within the wheel of time. Worship via this ritual is intended to assist a sadhvini or sadhaka to realise her or his oneness with the Shakti, with the yantra, and with time itself in all its manifestations.
Mahashodha Nyasa
In this wonderful abbreviated six way nyasa, obeisance to Dakshinamurti, the Rishi, on the head; to the metre Gayatri in the mouth; to the Devi Mahatripurasundari, to Ganeshas, Planets, (27) Sidereal Constellations, Yoginis, 12 Rashis, the Sacred Sites (pithas) in the heart; obeisance to the application of this Shri Vidya limb nyasa, in the palm of the hand. Aim Hrim Shrim Am Kam Kham Gam Gham Nam Am Aim obeisance to the thumbs Aim Hrim Shrim Im Cam Cham Jam Jham Nam Im Klim, index fingers Aim Hrim Shrim Um Tam Tham Dam Dham Nam Um Sauh, middle fingers Aim Hrim Shrim Em Tam Tham Dam Dham Nam Aim Aim, ring fingers Aim Hrim Shrim Aum Pam Pham Bam Bham Mam Aum Klim, little fingers Aim Hrim Shrim Am Yam Ram Lam Vain Sam Sam Sam Ham Lam Ksham Am Sauh, front & back of hand (similarly for heart &c. nyasa) Meditation Radiant as 1000 rising suns, with full, magnificent breasts, wearing red garlands and clothes, smeared with red unguent, with red gems and red ornaments, holding goad, noose, bow and arrows in Her radiant four hands, with three beautiful eyes, with a gold ornament on Her head -- thus we meditate on the Supreme Sundari, consisting of Ganeshas, Planets, (27)
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Nakshatras, (6) Yoginis, (12) Rashis, Pithas, and the letters of the alphabet. Thus is declared the collective form of the Shri Devi, together with Her weapons and instruments of action. Now meditate on Ganeshas, the first of the individual forms:
Ganesha Nyasa
Meditation: resembling the newly risen Sun, with an elephant's face, soft eyes, holding goad, noose, and granting boons, with Shakti, of vermilion lustre, decorated with all manner of gems. One of (her) hands holds a lotus, the other touches (Ganesha's) lingam. His trunk is coiled to the left. When meditating, the noose comes first. The Shakti holds a lotus in Her left hand, and Her right hand embraces (Ganesha's lingam). Having meditated thus, nyasa should be done in the places where the letters of the alphabet reside, prefixing each with three syllables thus: Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Am obeisance to the Lord of Obstacles with Shri. On head. Am to the King of Obstacles with Hri. On forehead. Im to the Guide with Tushti. On right eye. Im to the Most Auspicious with Shanti. On left eye. Um to the Heart of Obstacles with Pushti. On right ear. Um to the Maker of Obstacles with Sarasvati. On left ear. Rm to the Chief of Obstacles with Rati. Right nostril. Rm to the Chief of Hosts with Medha. On left nostril. Lm to the One Tusked with Kanti. On right cheek. Lm to the Two Tusked with Kamini. On left cheek. Em to the Elephant Faced with Mohini. On upper lip. Aim to the Guileless with Jata. On lower lip. Om to the One with Hair Twisted like a Cowrie with Tivra. On upper teeth. Aum to the Long Faced with Jvalini. On lower teeth. Am to the One with Pointed Ears with Nanda. On tongue. Ah to the One with Bull as Banner with Surasa. On throat. Kam to the Lord of Numbers with Kamarupini. On right shoulder. Kham to Indra's Elephant with Subhra. On right elbow. Gam to the One with Ears Like Winnowing Baskets with Jayini. R. wrist Gham to the three Eyed One with Satya. Base of right fingers. Nam to the Pot Bellied One with Vignneshi. On right finger tips. Cam to the Great Noisy One with Surupa. Left shoulder. Cham to the four Armed Form with Kamada. Left elbow. Jam to Sadashiva with Madavihvala. Left wrist. Jham to the Gladdening One with Vikata. Left root of fingers. Nam to the Ugly Faced with Puma. Left finger tips. Tam to the Beautiful Faced One with Bhutida. Right thigh. Tham to the Delightful One with Bhumi. Right knee. Dam to the One Footed with Shakti. Right ankle. Dham to the Dual Tongued with Rama. Right foot. Nam to the Hero with Manushi. Right toes. Tam to the Warrior with Makaradhvaja. Left thigh. Tham to the Peaceful Faced One with Virini. Left knee. Dam to the Boon Giver with Bhrukuti. Left ankle. Dham to the Left Hand God with Lajja. Left foot. Nam to the One with Crooked Trunk with Dirghagona. Left toes. Pam to the One with two Tusks with Dhanurdhara. Right side.
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Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Pham to the Leader of the Army with Yamini. Left side. Bam to the Village Lord with Ratri. Back. Bham to the Intoxicated One with Chandrika. Navel. Mam to the Clear Headed with Sashiprabha. Belly. Yam to Intoxication's Vehicle with Lola. In heart. Ram to the Ascetic with Chapala. Right collar bone. Lam to the One with Shorn Hair with Riddhi. Shoulder hump. Vam to the One with a Tusk with Durbhaga. Left collar bone. Sham to the Pre-eminent One with Subhaga. Heart to right palm. Sham to the Bull Bannered with Shiva. Heart to left palm. Sam to the Greedy One with Durga. Heart to right foot. Ham to Ganesha with Kali. Heart to left foot. Lam to the One like Thunder with Kalakubjika. Heart to genitals. Ksham to the Lord of Obstacles with Destroyer of Obstacles. On heart.
Planet Nyasa
Meditation: the Sun &c., in the colours red, white, red, dusky, yellow, pale yellow, black, purple, smoky. Of the form of Kamadeva, the Lord of Love, ornamented with celestial gems. His left hand rests on his left thigh, and his right hand shows the sign of giving. Meditate also on the Shaktis, with their hands dispelling fear and granting boons. Each one is highly appealing, and decked with every kind of jewel. Having meditated in this way: Aim Hrim Shrim Am Am Im Im Um Um Rm Rm Lm Lm Em Aim Aum Om Am Ah obeisance to the Sun with Ranuka. In heart. Aim Hrim Shrim Yam Ram Lam Vam to the Moon with Amrita. Centre of brow. Aim Hrim Shrim Kam Kham Gam Gham Nam to Mars, with Dharma. In eyes. Aim Hrim Shrim Cam Cham Jam Jham Nam to Mercury, with Yashasvini. Ears. Aim Hrim Shrim Tam Tham Dam Dham Nam to Jupiter, with Shankari. Throat. Aim Hrim Shrim Tam Tham Dam Dham Nam to Venus, with Jnanarupa. In heart. Aim Hrim Shrim Pam Pham Bam Bham Main to Saturn, with Shakti. In navel. Aim Hrim Shrim Sham Sham Sam Ham to Rahu, with Krishna. Mouth. Aim Hrim Shrim Lam Ksham to Ketu, with Dhumra. Genitals.
Nakshatra Nyasa
Meditation: as flame, like the fire of All Destroying Time, their hands dispelling fear and granting boons, all ornamented with jewels. Bow to Ashvini first. Having meditated thus: Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Am Am obeisance to Ashvini. Forehead. Im to Bharani. Right eye. Im Im Urn to Krittika. Left eye. Rm Rm Lm Lm to Rohini. Right ear. Em to Mrigasiras. Left ear. Aim to Ardra. Right nostril. Om Aum to Punarvasu. Left nostril. Kam to Pushya. Throat. Kham Gam to Ashlesha. Right shoulder. Gham Nam to Magha. Left shoulder. Cam to Purvaphalguni. Back. Cham Jam to Uttarphalguni. Right elbow. Jham Nam to Hasta. Left elbow. Tam Tham to Chitra. Right wrist. Dam to Svati. Left wrist.
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Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Dham Nam to Vishakha. Right hand. Tam Tham Dam to Anuradha. Left hand. Dham to Jyeshta. Navel. Nam Pam Pham to Mula. Pelvis. Bam to Purvashadha. Right thigh. Bham to Uttarashadha. Left thigh. Mam to Shravana. Right knee. Yam Ram to Dhanishta. Left knee. Lam to Shatataraka. Right ankle. Vam Sham to Purvabhadrapada. Left ankle. Sham Sam Ham to Uttara Bhadrapada. Right foot. Lam Ksham Am Ah to Revati. Left foot.
Yogini Nyasa
Meditation: In the Vishuddha chakra in the cavity of the throat, in the 16 petal lotus, is Dakini, rosy, three-eyed, armed with club, sword, trident and shield, with 1 face, striking the ignorant with terror, always fond of milk food, presiding over the skin, whose form is surrounded by very beautiful Amrita &c., worshipped by auspicious holy heroes. Having meditated thus: Aim Hrim Shrim Dam Dim Da Ma La Va Ra Yum obeisance to Dakini. Aim Hrim Shrim Am Am Im Im Um Um Em Em Lam Lim Em Aim Aum Om Am Ah, Being of Skin, protect! protect me! Obeisance to you. The nyasa of Dakini should thus be performed in the 16 petals of the Vishuddha in the throat, with 16 golden letters. On the eastern petal first, meditate in clockwise order on the attendant Shaktis thus: Aim Hrim Shrim Am obeisance to Amrita; Am to Akarshini; Im to Indrani; Im to Ishani; Um to Uma; Um to Urdhvakeshi; Em to Riddhida; Em to Rikara; Lm to Likara; Lm to Likara; Em to Ekapada; Aim to Aishvaryatmika; Om to Omkara; Aum to Aushadhi; Am to Ambika; Ah obeisance to Akshara. Meditation: in the heart, in the 12 petal Sun lotus, meditate on Rakini with Kalaratri &c. as attendants, as having two faces, fanged, black in colour, holding rosary, trident, skull cup and damaru, three eyed, who presides over Blood, who likes greasy food, worshipped by auspicious holy heroes, who gives freedom from fear. Thus having meditated: Aim Hrim Shrim Ram Rim Ra Ma La Va Ra Yum obeisance to Rakini. Aim Hrim Shrim Kam Kham Gam Gham Nam Cham Ccham Jam Jham Nam Tam Tham, 0 Being of Blood, protect! protect me! Obeisance to you. In the Anahata, the 12 petal lotus, the golden lotus blossom of the day, one should do Rakini nyasa in the petals starting from the east, and going clockwise thus: Aim Hrim Shrim Kam obeisance to Kalaratri; Kham to Khandita; Gam to Gayatri; Gham to Ghantakarshini; Nam to Narna; Cham to Chanda; Ccham to Chaya; Jam to Jaya; Jham to Jhahkarini; Nam to Jnanarupa; Tam to Tankahasta; Tham to Thankarini obeisance. Meditation: meditate on Lakini in the 10 petal navel lotus, as having three faces, fanged, of red colour, holding dart, thunderbolt, club and the (mudra) banishing fear, very terrific, inspiring terror, the Flesh devata, liking sweetmeats, bestowing all happiness, attended by
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Damari and others. Thus having meditated: Aim Hrim Shrim Lam Lim La Ma La Va Ra Yum obeisance to Lakini. Aim Hrim Shrim Dam Dham Nam Tam Tham Dam Dham Nam Pam Pham, 0 Being of Flesh, protect! protect me! Thus one should do Lakini nyasa in the golden-red coloured Manipura lotus of 10 petals, and then one should place Her surrounding attendants in the various petals from the east direction: Aim Hrim Shrim Dam obeisance to Damari; Dham to Dhamkarini; Nam to Narna; Tam to Tamasi; Tham to Sthani; Dam to Dakshaya; Dham to Dhatri; Nam to Nari; Pam to Parvati; Pham to Phatkarini. Meditation: meditate in the six petal Svadishtana lotus on Kakini, with four faces, three eyes, holding trident, noose, skull, and the mudra banishing fear, ever proud, presiding over Fat, fond of mead, yellow, fond of food mixed with curd, giving desired objects, with Bandhini &c. as attendants. Thus having meditated: Aim Hrim Shrim Kam Kim Ka Ma La Va Ra Yum obeisance to Kakini. Aim Hrim Shrim Bam Bham Mam Yam Ram Lam, 0 Being of Fat, protect! protect me! Obeisance to yon. In the petals of the Svadishtana lotus, of six petals, golden in colour, in the genitals, the abode of Kakini, one should place Her retinue of Shaktis, in the east petal first: Aim Hrim Shrim Barn obeisance to Bandhini; Bham to Bhadrakali; Mam to Mahamya; Yam to Yashasvini; Ram to Rakta; Lam to Lamboshti obeisance. Meditation: meditate on Sakini, in the four petal Muladhara lotus, as having five faces, three eyes, of smoky colour, presiding over Bone, holding elephant hook, lotus, book, knowledge mudra, liking mudga beans, intoxicated with liquor, attended by the soft Varada &c. Thus having meditated: Aim Hrim Shrim Sham Shim Sa Ma La Va Ra Yum obeisance to Sakini. Vam Sham Sham Sam, 0 Being of Bone, protect! protect me! Obeisance to you. In the abode of Sakini, the golden petal Muladhara lotus, one should place Her attendants in the petals, from the East first: Aim Hrim Shrim Vam obeisance to Varada; Sham to Shri; Sham to Shanda; Sam obeisance to Sarasvati. Meditation: meditate on Hakini, between the eyebrows, in the two petal bindu lotus, as of white colour, showing the Knowledge mudra, holding damaru, lotus, rudraksha rosary, skull; abiding in the Marrow, with six faces and three eyes, with Hamsavati &c. as attendants, liking saffron flavoured food, doing good to all. Thus having meditated: Aim Hrim Shrim Ham Him Ha Ma La Va Ra Yum obeisance to Hakini. Aim Hrim Shrim Ham Ksham, 0 Being of Marrow, protect! protect me! Obeisance to you. In Hakini's place, the two petal Ajna lotus in the middle of the forehead, in the right and left petals: Aim Hrim Shrim obeisance to Hamsavati; Ksham obeisance to Kshamavati. One should place these two Shaktis and then:
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Meditation: Meditate on the auspicious Devi Yakini, residing in the Moon in the pericarp of the 1000 petal lotus in the Brahma Randhra, the presiding devata of Semen, armed with every kind of weapon, with faces on every side, with a host of Shaktis from A to Ksha as attendants, 1000 in number, Amrita first, Kshamavati last, the first of these in the eastern direction, liking every kind of food, devoted to Para Shiva. Having meditated thus: Aim Hrim Shrim Yam Yim Ya Ma La Va Ra Yum obeisance to Yakini. Aim Hrim Shrim A to Ksha (51), 0 Being of Semen, protect! protect me! Obeisance to you. In the 1000 petals one should place Her attendants 1000 in number, Amrita first and Kshamavati last.
Rashi Nyasa
Red, white, yellowish white, variegated, black, orange, brown, russet, purple, black and smoky is the order they should be remembered in. Having meditated thus: Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Am Am Im Im obeisance to Aries. Right foot. Um Um to Taurus. Right of penis. Rm Rm Lm Lm to Gemini. Right of belly. Em Aim to Cancer. Right of heart. Om Aum to Leo. Right shoulder joint. Am Ah Shhm Sham Sam Ham Lam to Virgo. Right of head. Kam Kham Gam Gham Nam to Libra. Left of head. Cham Ccham Jam Jham Nam to Scorpio. Left shoulder joint. Tam Tham Dam Dham Nam to Sagittarius. Left of heart. Tam Tham Dam Dham Nam to Capricornus. Left of belly. Pam Pham Bam Bham Mam to Aquarius. Left of penis. Yam Ram Lam Vam Ksham to Pisces. Left foot.
Pitha Nyasa
White, black, red, dusky, green, yellow are, in sequence, the colours of the 50 sacred sites (Pithas). Having meditated thus, the devotee should place these Pithas using the letters of the alphabet: Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Am obeisance to Kamarupa. Head. Am Varanasi. Circle of face. Im Nepala. Right eye. Im Paundrardhana. Left eye. Um Purasthira Kashmira. Right ear. Um Kanyakubja. Left ear. Rm Purnashaila. Right nostril. Rm Arbudachala. Left nostril. Rm Amritakeshvara. Right cheek. Lm Ekamraya. Left cheek. Em Trisrotasi. Upper lip. Aim Kamakoti. Lower lip. Om Kailasa. Upper teeth. Aum Bhrigunagara. Lower teeth. Am Kedara. Tongue tip. Ah Chandra Puskarini. Throat. Kam Shripura. Right shoulder joint. Kham Omkara. Right elbow. Gam Jalandhara. Right wrist.
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Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Gham Malaya. Right hand finger root. Nam Kulantaka. Right hand finger tips. Cham Devikota. Left shoulder joint. Ccham Gokarna. Left elbow. Jam Maruteshvara. Left wrist. Jham Attahasa. Left hand finger root. Nam Viraja. Left hand finger tips. Tam Rajageha. Right leg joint. Tham Mahapatha. Right knee. Dam Kolapura. Right ankle. Dham Elapura. Right sole of foot. Nam Koleshvara. Right foot toes. Tam Jayantika. Left leg joint. Tham Ujjayini. Left knee. Dam Chitra. Left ankle. Dham Kshirika. Left sole of foot. Nam Hastinapura. Left foot toes. Pam Uddisha. Right side. Pham Prayag. Left side. Bam Shashtisha. Back. Bham Mayapuri. Navel. Mam Jalesha. Belly. Yam Malaya. Heart. Ram Shri Shaila. Right shoulder. Lam Meru. Back of neck. Vam Girivara. Left shoulder. Sham Mahendra. Heart to right hand palm. Sham Vamana. Heart to left hand palm. Sam Hiranyapura. Heart to right foot sole. Ham Mahalakshmi Pura. Heart to left foot sole. Lam Oddiyana. Heart to genitals. Ksham obeisance to Chayachatra. Heart to top of head.
Thus the shodha nyasa is completed
Shri Chakra Nyasa

When one meditates that the virtuous one is in her heart, as bright as vermilion, it is said that she causes delusion, desire, subjugation and attraction - Vamakeshvarimatam IV, 42 The following lengthy and complex nyasa is translated from Nityotsava, a work based on the Kalpasutras, and written by Umanandanatha, a disciple of Bhaskararaya (Bhasurandandanatha), an 18th century devotee of Shri Vidya who wrote an extensive commentary on the Lalitasahasranama (Thousand Names of Lalita). This last work is in English translation in an Adyar Library tradition. Bhaskararaya also wrote a work called Varivarahasya, also in English translation. (See bibliography). The Shri Chakra Nyasa identifies the different elements of the Shri Yantra with different parts of the human organism. As the devotee touches the particular part of the body, she or he
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visualises the particular aspect and at the same time pronounces a mantra, linked to the particular matrikas or letters of the Sanskrit alphabet. For a full understanding of this complex nyasa, look at the other sections on Shri Vidya on this web site, in particular, Lalita and the different mandalas of the yantra. The translation of the Bhavanopanishad, along with the prayoga or practical application, is also worth having at hand.
Shri Chakra Nyasa

After having done the daily declared practice of Shri Devi, and having given ritual offering (upachara), mantra, and holding a flower between folded hands, the devotee should meditate firstly on the form of the Shri Chakra on the head. Aim Hrim Shrim hail to the collective deities of the Chakra, the Prakata, Gupta, Guptatara, Sampradaya, Kulakaula, Nigarbha, Rahasya, Atirahasya, Pararahasya Yoginis. These should be diffused over all the limbs. Aim Hrim Shrim Gam hail to Ganapati. Right thigh. Aim Hrim Shrim Ksham. Kshetrapala. Right shoulder. Aim Hrim Shrim Yam Yoginis. Left shoulder. Aim Hrim Shrim Vam Vatuka. Left thigh. Aim Hrim Shrim Lam to Indra. Big toes. Aim Hrim Shrim Ram to Agni. Right knee. Aim Hrim Shrim Tam Yama. Right side. Aim Hrim Shrim Ksham, Nirriti. Right shoulder. Aim Hrim Shrim Vam Varuna. Head. Aim Hrim Shrim Yam Vayu. Left shoulder. Aim Hrim Shrim Sam Soma. Left side. Aim Hrim Shrim Ham Ishana. Left knee. Aim Hrim Shrim Ham Sah Brahma. Head. Aim Hrim Shrim Am hail to Ananta. Muladhara.
Nyasa of the Chakra Bewildering the Three Worlds

Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim hail to the Chakra Bewildering the Three Worlds. Diffusion hail to the First Line Anima Siddhi. Back of shoulder on right. Laghima Siddhi. Tips of right fingers. Mahima Siddhi. Right thigh joint. Ishitva Siddhi. Tips of right toes. Vashitva Siddhi. Tips of left toes. Prakata Siddhi. Left thigh joint. Bhukti Siddhi. Left hand finger tips. Iccha Siddhi. Back of right shoulder on left. Prapti Siddhi. Root of tuft of head. hail to Sarvakama Siddhi. Back of head. hail to the Middle Line of the Bhupura. Diffusion. hail to Brahmi. Big toes. Maheshvari. Right side. Kaumari. Head. Vaishnavi. Left side. Varahi. Left knee. Indrani. Right knee.
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Aim Hrim Shrim Chamunda. Right shoulder. Aim Hrim Shrim Mahalakshmi. Left shoulder. Aim Hrim Shrim hail to the Inner Line of the Bhupura. Diffusion. Aim Hrim Shrim hail to Sarva Sankshobhini. Big toes. Aim Hrim Shrim Sarvavidravini. Right side. Aim Hrim Shrim Sarvakarshini. Head. Aim Hrim Shrim Sarvavashankari. Left side. Aim Hrim Shrim Sarvonmadini. Left knee. Aim Hrim Shrim Sarvananknsha. Right knee. Aim Hrim Shrim Sarvakhechari. Right shoulder. Aim Hrim Shrim Sarvabija. Left shoulder. Aim Hrim Shrim Sarvayoni. Top of head. Aim Hrim Shrim Sarvatrikhanda. Big toes. Aim Hrim Shrim hail to Tripura, the Lady of the Chakra Bewildering the Three Worlds. Am Am Sauh. These Prakata Yoginis in the Chakra Bewildering the Three Worlds, with their mudras, with their Siddhis, with their weapons, with their Shaktis, with their vehicles, with their attendants, are all placed in the heart.
Nyasa of the Chakra Fulfilling All Desires

Aim Klim Sauh hail to the Chakra Fulfilling All Desires (diffusion) Aim Hrim Shrim hail to Kamakarshini Nityakala (back right ear) Aim Hrim Shrim Buddhyakarshini (right shoulder) Aim Hrim Shrim Ahamkarakarshini (right elbow) Aim Hrim Shrim Shabdakarshini (back right hand) Aim Hrim Shrim Sparshakarshini (right thigh) Aim Hrim Shrim Rupakarshini (right knee) Aim Hrim Shrim Rasakarshini (right ankle) Aim Hrim Shrim Gandhakarshini (sole right foot) Aim Hrim Shrim Chittakarshini (sole left foot) Aim Hrim Shrim Dharyakarshini (left ankle) Aim Hrim Shrim Smrityakarshini (left knee) Aim Hrim Shrim Namakarshini (left thigh) Aim Hrim Shrim Bijakarshini (back left hand) Aim Hrim Shrim Atmakarshini (left elbow) Aim Hrim Shrim Amritakarshini (left shoulder) Aim Hrim Shrim Sharirakarshini (back left ear) Aim Hrim Shrim Aim Klim Sauh hail to the Lady of the Chakra Fulfilling All Desires (in heart ) These Gupta Yoginis in the Chakra Fulfilling All Desires with their Mudras &c. (are declared)
Nyasa of the All Agitating Chakra

Aim Hrim Shrim Hrim Klim Sauh hail to the Chakra (diffusion) Agitating All Aim Hrim Shrim hail to Ananga Kusuma (right temple) Aim Hrim Shrim Ananga Mekhala (right shoulder joint) Aim Hrim Shrim Ananga Madana (right thigh) Aim Hrim Shrim Ananga Madanatura (right ankle) Aim Hrim Shrim Ananga Vegini (left thigh) Aim Hrim Shrim Ananga Ankusha (left shoulder joint) Aim Hrim Shrim Ananga Malini (left temple) Aim Hrim Shrim Hrim Klim Sauh hail to the Lady of the All Agitating Chakra (heart) These Guptatara Yoginis in the Chakra with their Mudras &c. (are declared).
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Nyasa of the Chakra Bestowing All Good Fortune

Aim Hrim Shrim Haim Hklim Hsauh hail to the Chakra Bestowing All Good Fortune (diffusion) Aim Hrim Shrim hail to Sarva Sankshobhini (middle of f'head) Aim Hrim Shrim Sarva Vidravini (right of f'head) Aim Hrim Shrim Sarvakarshini (right cheek) Aim Hrim Shrim Sarvahladini (right shoulder) Aim Hrim Shrim Sarvasammohini (right side) Aim Hrim Shrim Sarvastambhini (right thigh) Aim Hrim Shrim Sarvajrimbhini (right leg) Aim Hrim Shrim Sarvavashankari (left leg) Aim Hrim Shrim Sarvaranjini (left thigh) Aim Hrim Shrim Sarvonmadini (left side) Aim Hrim Shrim Sarvarthasadhini (left shoulder) Aim Hrim Shrim Sarvasampattipurani (left cheek) Aim Hrim Shrim Sarvamantramayi (left f'head) Aim Hrim Shrim Sarva Dvandva Kshayankari (back of head) Aim Hrim Shrim Haim Hklim Hsauh hail to Tripura Vasini, Lady of the Chakra Bestowing All Good Fortune (heart) These Sampradaya Yoginis in the Chakra Bestowing All Good Fortune, with their Mudras &c. are declared.
Nyasa of the Chakra of all Objects of the Sadhaka

Aim Hrim Shrim Hsaim Hsklim Hssauh hail to the Chakra of All Objects of the Sadhaka (diffusion) Aim Hrim Shrim hail to Sarvasiddhiprada (right nostril) Aim Hrim Shrim Sarvasampatprada (right corner of mouth) Aim Hrim Shrim Sarvapriyankari (right breast) Aim Hrim Shrim Sarvamangalakarini (right testicle) Aim Hrim Shrim Sarvakamaprada (right of penis) Aim Hrim Shrim Sarvadukhavimochini (left of penis) Aim Hrim Shrim Sarvamrityuprashanani (left breast) Aim Hrim Shrim Sarvavighnavasini (left testicle) Aim Hrim Shrim Sarvangasundari (left of mouth) Aim Hrim Shrim Sarvasauhhagyadayini ( left nostril ) Aim Hrim Shrim Hsaim Hsklim Hssauh hail to Tripura Shri, the Lady of the Chakra Giving All Objects to the Sadhaka (heart) These Kulottirna Yoginis, in the Sarvarthasadhaka Chakra, with their Mudras &c. thus are declared.
Nyasa of the Chakra of All Protection

Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Aim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Hrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Shrim Hrim Klim Blem hail to the Chakra Giving All Protection (diffusion) hail to Sarvajna (right eye) Sarvashakti (nose root) Sarvaishvarya Pradayini (left eye) Sarvajnanama (left shoulder root) Sarva Vyadhi Vinashini (left thigh root) Sarvadhara Svarupa (left knee) Sarvapapahara (right knee) Sarvanandamaya (genitals) Sarva Raksha Svarupini (right thigh root) Sarva Ipsita Phalaprada (right shoulder root)
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Aim Hrim Shrim Hrim Klim Blem hail to Tripura Malini, the Lady of the Chakra of All Protection (heart) These Nigarbha Yoginis, in the Chakra of All Protection thus (are declared)
Nyasa of the Chakra Destroying All Disease

Aim Hrim Shrim Hrim Shrim Sauh hail to the Chakra Destroying All Disease (diffusion) Aim Hrim Shrim Am Am Im Im Um Um Rm Rm Lm Lm Em Aim Om Aum Am Ah Blum hail to Vashini, Devata of Speech (right of chin) Aim Hrim Shrim Kam Kham Gam Gham Nam Klhrim Kameshvari (right of throat) Aim Hrim Shrim Cam Cham Jam Jham Nam Nvlim Modini (right of heart) Aim Hrim Shrim Tam Tham Dam Dham Nam Ylum Vimala (right of navel) Aim Hrim Shrim Tam Tham Dam Dham Nam Jmrim Aruna (left of navel) Aim Hrim Shrim Pam Pham Bam Bham Mam Hslvyum Jayini (left of heart) Aim Hrim Shrim Yam Ram Lam Vam Jhmryum Sarveshvari (left of throat ) Aim Hrim Shrim Sham Sham Sam Ham Ksham Kshmrim Kaulini (left of chin) Aim Hrim Shrim Hrim Shrim Sauh hail to Tripura Siddha, Lady of the Chakra which Removes All Disease (heart) These Rahasya Yoginis in the Chakra Removing All Disease, with their Mudras &c. thus are declared.
Weapon Nyasa
The four weapons, in order, beginning from the East, should be placed in the heart triangle. Aim Hrim Shrim Dram Drim Klim Blum Sah hail to the All Crushing Arrows(behind the triangle) Aim Hrim Shrim Dham the All Bewildering Bow (right side of triangle) Aim Hrim Shrim Hrim the All Subjugating Noose (front of triangle) Aim Hrim Shrim Krom hail to the All Paralysing Goad (left side of triangle)
Nyasa of the Chakra Giving All Siddhi

Aim Hrim Shrim Hsraim Hsrklim Hsrsauh hail to the Chakra Giving all Siddhi (diffusion) Aim Hrim Shrim hail to the first section, which is the Kamarupa Pitha and which is Kameshvari (front part of triangle) Aim Hrim Shrim to the second section, which is the Purnagiri Pitha and which is Mahavajreshvari (right part) Aim Hrim Shrim to the third section, which is the Jalandhara Pitha and which is Mahabhagamalini (left part) Aim Hrim Shrim hail to the Root Mantra, the Oddyana Pitha, and Mahatripurasundari ( in centre of triangle ) Then one should place, in order, the 16 vowels and the 16 Nityas: (Kameshvari Mantra) hail to Kameshvari Nitya. Similarly one should place the remaining 14 Nityas, placing the Root Mantra and Shodashi in the centre. These Atirahasya Yogihis, in the Chakra Giving All Siddhi, with their Mudras &c. thus (are declared).
Nyasa of the Chakra Consisting of Bliss

Aim Hrim Shrim ka e i la hrim ha sa ka ha la hrim sa ka la hrim hail to the Chakra Consisting of Bliss (diffusion) Aim Hrim Shrim ka e i la hrim ha sa ka ha la hrim sa ka la hrim hail to Shri Lalita (centre of heart) These Parapara Hahasya Yuginis, with their Mudras, Weapons, Siddhis, Shaktis, Vehicles and Attendants, should be placed in the Chakra Consisting of Bliss.
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Aim Hrim Shrim ka e i la hrim ha sa ka ha la hrim sa ka la hrim hail to Shri Lalita, Lady of the Chakra Consisting of Bliss. Then, in the heart, the Yoni Mudra should be displayed, and having recited the Root Mantra once more, one should do hand and limb nyasa
Shri Vidya Ratna Sutras

Thou who has stolen the left half of the body of Shambhu art yet methinks dissatisfied therewith. It would seem that the other half has been stolen also, so that Thou art now red and three-eyed, weighted with two breasts, and with the whole of the crescent moon Thou art crowned - Wave of Bliss V23, Woodroffe translation This brief work, available in an iTrans Sanskrit version elsewhere on this site, gives in a concise form details of Devi Lalita, the Triple Goddess, Mahatripurasundari, along with her attendant and subsidiary forms with their yantras and mantras. It is apparent from the work below that Lalita is outside or above the cardinal points, in the palace of gems on the paradise island. The throne she occupies is surrounded by four gates, each presided over by a vidya (Devi as sound). The whole work, in the original Sanskrit, uses a number code for the yantras and vidyas (mantras) of the different retinues, with consonants representing numbers, vowels zero. The vidya (translated here as female excellence), the form of the Devi, and her yantra are all one. Below, and before our translation, is the English introduction to the Sanskrit text, published in 1924 as Volume II of the Princess of Wales Sarasvati Bhavana series, written by Narayana Shastri Khiste, and out of copyright. The Sanskrit text as published in that text has jumbled the numbers. We apologise in advance for any defects in our translation, and welcome corrections.
Introduction
The Vidyaratna Sutra is an interesting work on Tripura Agama attributed to Gaudapada. Though the identity of this author is not yet established, it seems probable that he was the same as the Parama Guru of the great Shankaracharya. That Shankaracharya was also a Tantric teacher of the Tripura Line is now beyond doubt; and it is well known that Gaudapada was the author of a stotra called Subhagodaya, which sings the glories of the Supreme Goddess in the form of Tripura. Bhaskara Raya in his Saubhagyabhaskara refers to and quotes from Shri Vidyaratna sutra as a work of Gaudapada. The author of the Commentary on the sutras, also published with the text (as far as available), was one Shankararanya who calls himself a pupil of Vidyaranya muni. He must be distinguished from Shankarananda, another pupil of Vidyaranya, whose style of composition as evident from his numerous commentaries on the Upanisads is widely different from that of the present author.
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Though Shankararanya associates himself with the name of the great Vidyaranya, his fame will not thereby be ensured. The whole commentary bears traces of grammatical aberrations, faulty Sanskrit and lack of mastery of the subject. Assuming that the author did not wilfully beguile his relations, he may be assigned to the 14th or 15th Century AD. The sutras of Gaudapada are 101 in number, of which the first 21 only have been commented upon. The commentary did not extend further, the author observing that as the remaining sutras are plain in meaning they do not call for notes. The subject matter of the sutras may be touched upon in a few words: Brahma is described by the author as the Principle of Light, which is its Essence and Power. It is self-luminous in character, and the relation between Brahma and Shakti is one of nondifference. This Power is called anAmA, better known as Shrividya, which though one becomes manifold by means of the three tattvas. The Tattva is the same as Brahma or Shakti. It is threefold, viz. Atma, Vidya and Shiva. In the guru too we have a triple Ogha (viz. Divya, Siddha and Manava), Krama otherwise known as Adhisthana, Sadhana, Tattva, charana, or as Shakti, Kamaraja and Vagbhava Kutas, or as Para, Pashyanti and Madhyama. The Shakti as thus triplicated, becomes Vidya, Shyama and Shambhavi, which are associated respectively with Brahma, Vishnu and Shambhu. The lords (Purushas) of these three powers, are Parama Shiva (of Para Vidya), Sadashiva (of Shyamala) and Rudra (of Shambhavi). The Vidya is by reason of perfection of Saundarya called Tripurasundari. She is also called Kameshvari after the name of her Purusha Parama Shiva who is called Kameshvara. She is referred to as Rajarajeshvari, Shodashi, &c. also. From the above sketch it will appear that Shyama and Shambhavi are respectively the Purva and Uttara Vidyas of Shrividya, from which many Vidyas appeared and came to be regarded as belonging to the family of Maha Vidya. Thus the Vidyas issuing from Shyama of the Purvamnaya preside over the Rgveda at the Eastern Gate. The Shambhavi Vidyas are of the Uttaramnaya and preside over the Samaveda at the Northern Gate. The Supreme Vidya Tripurasundari, as Anuttara, is mistress of the Baindava Chakra within the Chintamani grha. The above will suffice, I believe, to give an idea of the general contents of the book now published.
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The present edition of the sutras and their commentary is based upon the following data: (1) Ms, marked as ka obtained from my friend Pandita Gopinatha Shastri Dravida BA Rajaguru of Jaipur State (for which I thank him very much) and now deposited in the Govt. Sanskrit Library, Sarasvati Bhavana, Benares. Fols 1-18. Size, 9-2" x 4-5". Lines, 13 in a page, and letters, 40 in a line. Script, Nagari. Material, country made paper. Date, Samvat 1838 (= 1781 AD). (2) Ms. marked as kha. It is a transcript prepared from a Ms of the Govt. Oriental Mss Library Madras and collated with another Ms of the same Library. Fols 1-11 (sutras); 1-59 (commentary). Size, 8.2" x 6.3". Lines, 11 in a page, and letters, 14 (Text) - 24 (commentary) in a line. Script, Nagari. Material, English paper. The Ms is useless except for purposes of collation. Govt. Sanskrit Library, Sarasvati Bhavana, Benares, March 31, 1924
Translation
Now the investigation into the Shakti mantra agama. This indivisible creatrix is the self. Chit-Shakti is the very essence of consciousness (chaitanya). She, known as Anama, is called Shri Vidya. Through the three tattvas, she becomes many. The multitude of triangles and petals is her chakra. She is the sum total of Shambhavi, Vidya and Shyama, who are the three tattvas and the three types. She is the sum total of the various vidyas from east [clockwise] to north. These vidyas are, therefore, her retinue. Shyama is in the east. Saubhagya, herself a composite-aggregate, is in the south. Another composite-aggregate is in the west. Shambhavi, with her retinue, is in the north. There is another composite-aggregate above. Mahavidya Tripurasundari, the Anuttara, is in the palace made from the wish-fulfilling gem (Chintamani). She, in order to kill (the anti-god) Bhandasura, became many. From her arose the many mantras, yantras and tantras. With their various kinds of devotion and their various principles of worship (upasana). From these arise various results (fruits). The dwelling place of Shri is said to consist of bindu, triangle, eight triangles, two series of 10 triangles, 14 triangles, eight petals, 16 petals, three lines, and a rectangle. This consists of nine enveloping gems. Out of herself the mother created Saubhagya's yantra. Having produced this, she created the western place. These three have various attendants. The yantra of Shuddhi Vidya, her dwelling place, has two, three, six and sixteen petals. The abode of Kumari has two, eight and 16 petals. Each of these has a yantra with one, three, six, eight, five, eight, eight, 12 and six petals. The yantra and dwelling place of Shyama has bindu, four, five and eight triangles, and 16 and
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eight petals. This is the supreme abode of all the collectivity (?). The yantra of Hari is bindu, eight, eight, six, 14 petals, and two sets of eight triangles. The yantra of Shri Guru consists of bindu, eight, three, eight petals, three circles and a bhupura. Or the abode of Shri Guru consists of the letters A-Ka-Tha within a triangle. All of the vidyas of the Anuttara consist of Shuddha Vidya. Vartali has five avaranas or subsidiary circles. Vatuka has six. Tirodhana has the same number. Bhuvaneshi has seven. Sannihita has six. Kameshi has three kalas. Turiya has five. Maharddha has six. Shambhavi has five. Mrigeshi has six. The abode of the female excellence Bodhaka has four avaranas. The female excellence Saubhagya has 15 letters. Similar to her is the western Vidya. Shyama has 100 letters. The female excellence (vidya) Pushpini has 22 syllables. The female excellence Shuka Vidya has 42 letters. The female excellence Hasanti Devata has 35 syllables. The excellence known as Shuddhavidya has three letters. This is the yantra of Pushpini. Shri has, therefore, all these different kinds of flowery circles. Sharika is the parrot-coloured one. She has hosts of attendants. Of all these, She (Shyama) is the world-gladdener. Her own yantra is bindu, three, six, and eight triangles, eight petals and an eight fold Earth square. This number is (the number of) her hosts of attendants. The yantra of Samaya Vidyeshvari originates from Shuddhi Vidya. Saubhagya's yantra has three, six and six triangles and two sets of eight petals with an earthsquare. She has give attendants. Vartali's yantra has bindu, three petals, three triangles, 16 petals and an earthsquare. Vatuka's yantra has a bindu, three and eight triangles, eight petals and 16 petals. Tirodhana's yantra has 16 and eight petals and an earthsquare. Bhuvaneshi's yantra consists of bindu, three and six angles, eight triangles, eight petals, and an earthsquare. Annapurna's abode is bindu, six and eight triangles, 16 petals, eight petals and an earthsquare. Bhuvaneshi has a secret yantra of bindu, triangle, four angles, a beautiful circle of 16 petals and an earthsquare. Maharddha has a bindu, eight angles, two petals, 16 petals, eight petals and an earthsquare. Svanayaki has a yantra of six angles. Mishra Vidya's yantra is 16-fold. Vagvadini's consists of eight lines. Shambhavi's yantra is four fold. Kumari is the female excellence (vidya) of three letters. Dvadasharddha has 10 letters.
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Saubhagya Sannihita has 36 letters. The mantra of Maha Heramba is of 28 letters. The mantra of Vatuka is of 28 letters. The Boar-Faced One (Varahi) has both a mantra of 108 syllables and nine syllables. The female excellence (vidya) Yavantika has 56 letters. The female excellence Bhuvaneshi is of one syllable. Or else the female excellence of 27 letters. The Kadi is the 15-lettered (vidya) starting with the letter Ka as first of the 15 letters. Kamakala, the union of two things, the female excellence (vidya) of the fourth letter. Mukhya's vidya is one syllable. The vidya Turya is of 13 letters. Maharddha is the female excellence (vidya) of 109 letters. Ashvarudha is the 12 syllabled female excellence. The Mishra Vidya is the vidya of one syllable. The Vagvadini is the vidya of 13 letters. Para is the female excellence (vidya) of one syllable. The Paraprasada form has two letters. Parashambhu has both a six-fold and an 11-fold vidya of long and short vowels. Para Shambhavi has a vidya which is fivefold and of both long and short vowels. The chief vidya, the Annutara aggregate, has a vidya of 17 letters. There is an infinite number of her divisions and sub-divisions. These sutras were declared by Gaudapada.
Shri Puja
One should take one's rosary, which may be made of pearl, beautiful emeralds, lotus seeds, rudrakshas, crystal, coral, ruby, red sandalwood and so forth. Having made oneself like Tripura, smearing oneself with kumkum, aguru, camphor and musk, one should recite the mantra 100,000 times. This liberates one from great sins - Vamakeshvarimatam V, 8-10 This daily puja of Shri Mahatripurasundari is drawn from a variety of sources including Subhagodaya, the Vamakeshvara Tantra, the Gandharva Tantra and the Dakshinamurti Samhita. Om, I bow to the elephant headed god 1. Rise early, sit in the lotus position, perform pranayama and worship Guru through his Shakti: Aim Klim Shrim Ha Sa Kha Phrem Ha Sa Ksha Ma La Va Ra Yum Ha Sa Kha Phrem Ha Sa Ksha Ma La Va Ra Yim Hsauh Shauh [Guru's name] Anandanatha Padukam Pujayami Meditation - Seated in the white 1000 petal lotus, dressed in white, with two eyes, two hands, granting boons and dispelling fear. His Shakti sits on his left thigh, She has two hands, one holds a white lotus, the other holds Her partner in tight embrace. Then offer the objects of the senses through the Shakti - smell as perfume, sound as flower, touch as incense, sight as light, taste as food. Then bathe with the Gayatri of the Devi: Tripurasundari Vidmahe Kameshvari Dhimahi Tannah Klinne Prachodayat (1)
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Use this Gayatri 108 times whilst meditating on Her in the heart. Then make an offering to Martanda Bhairava (2), offering a handful of water mixed with red flowers and sandal, whilst kneeling and uttering: Hrim Hamsah Martanda Bhairavaya Prakasha Shakti Sahitaya Idam Arghyam Namo Namah (3) 2. Bow to the lords of the Directions (4), to the Yoginis (5), to the Lord of Soil (6), to Ganesha (7), to the boy Vatuka (8), and then make an offering to the Elements: Om Hrim Sarvavighnakrit Sarvabhutebhyo Hum Svaha (9) Then remove all obstacles with: Aim Klim Sauh Astraya Phat (10) Place the water pot yantra on the left, and place the pot with water on it. The base represents Fire, the pot Sun, and the nectar Moon (11). Say: Aim Klim Sauh Mahatripurasundarya Arghyapatrasanam Sadhayami (12) Invoke the presence of amrita into the pot from the Sun. Then cover with the hands. Meditate on the letters of the alphabet forming a triangle in the centre of the pot (13). Worship Ananda Bhairava and Suradevi in the pot: Ha Sa Ksha Ma La Va Ra Yum Ananda Bhairavaya Vaushat. Sa Ha Ksha Ma La Va Ra Yim Suradevyai Vaushat (14) Then mutter: Aim Klim Sauh Amrite Amritodbhave Amriteshvari Amritavarshini Amritam Sravaya Sravaya Svaha! (15) Then purify with the mantra: Aim Vada Vada Vagadini Aim Klim Klenne Kledini Kledaya Mama Kshobham Kuru Kuru KIim Sauh Moksham Kuru Kuru Svaha (16)
3. Visualise earth dissolving into water, water into fire, fire into air, air into aether, aether into 'I am', that into Buddhi, Buddhi into Prakriti, Prakriti into the Absolute. Visualise the angry black man in the left side of the abdomen. Think of the purple bija Yam on the left nostril and inhale 16 times to dry up, then red Ram in abdomen with 64 retentions (to burn), then white Vam in forehead with 32 exhalations (to wash), then yellow Lam in the adhara. Deeply concentrate on the regions of Fire, Sun and Moon, and on the Devi as the Fourth in the Bindu. Then protect with the mantra: Om Hrim Hamsah So Aham Svaha. Aim Klim Sauh Tripurasundari Mam Raksha Raksha (17)
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4. Wash the hands with the mantra: Am Am Sauh Hrim Klim Sauh Shri Mahatripurasundari Devyatmasanaya Namah (18) Haim Hklim Hsauh Shri Mahatripurasundari Chakrasanaya Namah (19) Hsaum Hsklim Hssauh Shri Mahatripurasundari Sarvamantrasanaya Namah (20) Hrim Klim Blem Shri Maha Tripura Sundari Sadhyasiddhasanaya Namah (21) Then perform the nyasa using thumb and middle fingers: Aim Aim Aim Aim Aim Aim Klim Sauh Shri Mahatripurasundari Hridayaya Namah (22) Hrim Shrim Shri Mahatripurasundari Shirase Svaha (23) Hrim Shrim Shri Mahatripurasundari Shikayai Vashat (24) Hrim Shrim Shri Mahatripurasundari Kavachaya Hum (25) Hrim Shrim Shri Mahatripurasundari Netratrayaya Vaushat (26) Hrim Shrim Shri Mahatripurasundari Astraya Phat (27)
At this stage other nyasas may be performed. 5.Then meditate in the heart, saying: I meditate on Shri Shri Mahatripurasundari as having four arms, three eyes, and holding noose, good, flowers and bow. Then take Devi via the left nostril onto a flower with the bija Yam, and place the flower on the yantra, image, or disciple. Say: Hsaim Hsklim Hssrauh Make the gesture of bringing the Devi into the yantra. Offer three handfuls of flowers saying: Aim Klim Sauh Maha Tripura Sundari Shri Padukam Pujayami (28) Offer three libations of consecrated liquid with: Aim Klim Sauh Maha Tripurasundari Shri Padukam Tarpayami (29) Then say the following: O Devi, may You be kind to me, and accept this worship, as I, though poor physically as well as in material resources, offer it in a devotional spirit. Then present the nine mudras, afterwards offering flowers, incense, light, food, wine, and praise. Then perform circumambulation, either triangular, hexagonal, half moon, circular, staff like, eight limbed, or terrific. (30) 6.Then worship the Yoginis in the different chakras of Shri Yantra starting with the outermost line of the Bhupura: Aim Hrim Shrim Anima Siddhi Shri Padukam Pujayami Tarpayami Namah. Do the same with Laghima. (31) Then worship the Shaktis in the middle line with:
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Aim Hrim Shrim Brahmi Matri Devi Shri Padukam Pujayami Tarpayami Namah. Do the same with Maheshvari &c. (32) Then worship the Mudra Shaktis of the inner line with: Aim Hrim Shrim Sarva Sankshobhini Mudra Shakti Shri Padukam Pujayami Tarpayami Namah . Do the same with Sarvavidravini &c. (33) Having worshipped these Prakata Yoginis in the Trailokya Mohana Chakra, with their Mudras, Siddhis, Weapons, Shaktis on Vehicles, with their attendants, with all their worships and libations, take a flower in the Anjali Mudra, and say: Aim Hrim Shrim Am Am Sauh Tripura Chakreshvari Shri Padukam Pujayami Tarpayami Namah. Then the Sarvasankshobhini Mudra should be displayed with the mantra Dram. Then say: O Devi, bestow on me the desired siddhi, I seek refuge in the compassionate one. Through devotion, I bestow on You the first avarana worship.
7. Worship the 16 Kala Shaktis (34) then, going anti-clockwise with: Aim Hrim Shrim Kamakarshini Nitya Kala Shri Padukam Pujayami Tarpayami Namah. Do the same for Buddhyakarshini etc. Thus having worshipped the Gupta Yoginis in the 16 petal Chakra with their mudras &c, one should say: Aim Klim Sauh Tripureshi Chakreshvari Shri Padukam Pujayami Tarpayami Namah Then the Sarvavidravini Mudra should be displayed, with its mantra Drim. Say: O Devi bestow on me the desired siddhi &c. Through devotion I bestow on You the second avarana worship. 8. Then worship the Shaktis of the eight petal lotus (35) with: Aim Hrim Shrim Ananga Kusuma Devi Shri Padukam Pujayami Tarpayami Namah. Do the same for Anangamekhala &c. Thus having worshipped the Guptatara Yoginis in the eight petal lotus with their mudras &c. one should say: Aim Hrim Shrim Hrim Klim Sauh Tripurasundari Chakreshvari Shri Padukam Pujayami Tarpayami Namah Then one should display the Sarvakarshini Mudra with its mantra Klim. Say: O Devi bestow &c. 9. Then worship the Shaktis of the 14 angle Chakra (36) with: Aim Hrim Shrim Sarvasankshobhini Shri Padukam Pujayami Tarpayami Namah. Do the same for Sarvavidravini &c. Thus having worshipped the Sampradaya Yoginis in the 14 angle (chakra with their mudras &c. one should say:
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Aim Hrim Shrim Haim Hklim Hsauh Tripura Vasini Chakreshvari Shri Padukam Pujayami Tarpayami Namah Then display the Sarva Vashankari Mudra with its bija Blum. Say: O Devi bestow &c. 10. Then worship the Shaktis of the outer 10 angles (37) with: Aim Hrim Shrim Sarva Siddhi Prada Shri Padukam Pujayami Tarpayami Namah Do the same for Sarva Sampatprada &c. Thus, having worshipped the Kulakula Yoginis in the outer 10 angle chakra with their mudras &c., one should say: Aim Hrim Shrim Hsaim Hsklim Hssauh Tripura Shri Chakreshvari Shri Padukam Pujayami Tarpayami Namah Then one should display the Unmadini Mudra with its bija Sah. Say: O Devi &c. 11. Then worship the Shaktis of the inner 10 angles (38) with: Aim Hrim Shrim Sarvajna Shri Padukam Pujayami Tarpayami Namah Do the same for Sarvashakti &c. Then, having worshipped these Nigarbha Yoginis in the inner 10 angle chakra, one should say: Aim Hrim Shrim Hrim Klim Blem Tripura Malini Chakreshvari Shri Padukam Pujayami Tarpayami Namah One should display the Great Ankusha Mudra with its bija. Say: O Devi &c. 12. Then worship the eight Vak Devatas of the eight angled chakra (39) with: Aim Hrim Shrim Hrim Shrim Am Am Im Im Um Um Rm Rm Lm Lm Em Aim Om Aum Am Ah Blum Vashini Vagdevata Shri Padukam Pujayami Tarpayami Namah; Kam Kham Gam Gham Nam Klhrim Kameshvari; Cam Ccham Jam Jham Nam Nvlim Modini; Tam Tham Dam Dham Nam Ylum Vimala; Tam Tham Dam Dham Nam Jmrim Aruna; Pam Pham Bam Bham Mam Hslvyum Jayini; Yam Ram Lam Vam Jhmryum Sarveshvari; Sham Sham Sam Ham Lam Ksham Kshmrim Kaulini Vagdevata Shri Padukam Pujayami Tarpayami Namah Thus having worshipped the Rahasya Yoginis in the eight angle chakra with their mudras &c. one should say: Aim Hrim Shrim Hrim Shrim Sauh Tripura Siddha Chakreshvari Shri Padukam Pujayami Tarpayami Namah Then show the Khechari Mudra with the bija Hssvphrem. Say:
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O Devi &c. 13. Then, in the space between the eight angles and the trikona, one should worship the weapons of Shri Shri Devi with: Aim Hrim Shrim Dram Drim Klim Blum San Sarvajambhanebhyo Banebhyo Nama Bana Shakti Shri Padukam Pujayami Tarpayami Namah (40) Aim Hrim Shrim Dham Sarvasammohanaya Dhanushe Namah Dhanush Shakti Shri Padukam Pujayami Tarpayami Namah (41) Aim Hrim Shrim Hrim Sarvavashikaranaya Pashaya Namah Pasha Shakti Shri Padukam Pujayami Tarpayami Namah (42) Aim Hrim Shrim Krom Sarvastambhanaya Ankushaya Namah Ankusha Shakti Shri Padukam Pujayami Tarpayami Namah(43) Thus the worship of the weapons. Then worship the three guna Shaktis in the trikona with: Aim Hrim Shrim Vagbbavamuccharya Agnichakre Kamagiri Pithe Mitrisha Nathatmaja Kameshvari Devi Rudratma Shakti Shri Padukam Pujayami Tarpayami Namah (44) Aim Hrim Shrim Kamarajamuccharya Suryachakre Jalandhara Pithe Shashtisha Nathatmake Vajreshvari Devi Vishnvatma Shakti Shri Padukam Pujayami Tarpayami Namah. (45) Aim Hrim Shrim Shaktibijamuccharya Somachakre Purnagiri Pithe Oddyana Nathatmake Bhagamalini Devi Brahmatma Shakti Shri Padukam Pujayami Tarpayami Namah (46) Thus having worshipped the Atirahasya Yoginis in the central trikona, one should say: Aim Hrim Shrim Hsraim Hsrklim Hsrsauh Tripuramba Chakreshvari Shri Padukam Pujayami Tarpayami Namah One should then say Aim Hrim Shrim Hsauh and show the Bija Mudra. Say: O Devi &c 14. Then Shri Shri Devi should be worshipped in the Bindu with: Aim Hrim Shrim Shri Mulamuccharya Brahmachakre Oddyana Pithe Charya Nathatmake Shri Maha Tripurasundari Devi Parabrahmatma Shakti Shri Padukam Pujayami Tarpayami Namah (47) Having worshipped Shri Shri Lalita Devi in this manner, one should do so again saying: Aim Hrim Shrim Ka E I La Hrim Ha Sa Ka Ha La Hrim Sa Ka La Hrim (bija) Shri Lalita Maha Chakreshvari Shri Padukam Pujayami Tarpayami Namah Having worshipped thus, the Yonimudra should be displayed with its bija Aim. Say: O Devi bestow on me the desired siddhi &c. Through devotion I bestow on You the ninth
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avarana worship. 15. Then perform japa of Panchadashi a minimum of 108 times. Sprinkle the rosary with consecrated nectar saying: Aim Mam Male Mahamale Sarvashakti Svarupini Chaturvargastvayi Nyastastasmat Me Siddhida Bhava (48) Hold it in the right hand with: Glaum Avighnam Kuru Male Tvam (49) Rotate it in japa without using the index finger. 16. Then the Yoginis should be worshipped in the South East with: Yam Yoginibhyah Sarvavarna Yoginibhyo Hum Phat Svaha (50) The mudra is left thumb, mid finger, and ring finger all touching. Then Kshetrapala should be worshipped in the South West with: Ksham Kshim Kshaim Kshaum Kshah Kshetrapala Dhupadipadisahitam Balim Grihna Grihna Svaha (51) The mudra is left hand fisted and index finger outstretched. Then Ganesha should be worshipped in the North West with: Gam Gim Gum Ganapatye Varavarad Sarvajanam Me Vashamanaya Balim Grihna Grihna Svaha The mudra is left hand fisted, mid finger raised. Then Vatuka should be worshipped in the North East with: Blom Vatukaya Nama Ehi Ehi Deviputra Vatuka Natha Kapilajatabharabhasvara Trinetra Jvalamukha Sarvavighnan Nashaya Nashaya Sarvopacharasahitam Balim Grihna Grihna Svaha The mudra is left thumb joined with the ring finger.
17. Then make offerings to gods, men, ancestors, Yakshas (54), yakshas (55), pishachas (56) and the elements, finally offering the self with: Itah purvam prana buddhi deha dharma adhikara jagrat svapna sushuptishu manasa vacha karmana hastabhyam padbhya mudarena shishna cha yatsmritam yakuktam yatkritam mam madiyam sakalam tvayi brahmanyarpitamastu Svaha (57) Then merge the Devi 's attendants in the Devi, then the Devi into the flower, and with the Aether bija take Her through the right nostril back into the heart.
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18. Then worship Shoshika with: Aim Hrim Shrim Namo Bhagavati Matangeshvari Sarvajanavashankari Svaha (58) Offer curds, white mustard, and rice into Her rectangular Homa fireplace. Offer the remainder to Shoshika, drink some of the water, rubb one's head with what remains after that. Then offer to Martanda Bhairava with: Hrim Hamsah Martanda Bhairavaya Prakasha Shakti Sahitaya Idam Arghyam Namo Namah The knees are to touch the ground (59). 19. Wash the altar with water, then throw remainder near the root of a plant. Offer food to Guru and Gurushakti, or to the Kumaris (60) present, the remainder being eaten by the sadhaka.
Notes
1. Let us meditate upon Tripurasundari. Let us contemplate Kameshvari. May that Wetness direct. 2. The Sun. Meditation: Red as coral, four faces with three eyes in each, holding cleaver, lotus, chakra, dart, noose, goad, rosary and skull. The left half of his body is that of his Shakti. On his head is a jewelled crown, and he wears a bright garland. 3. Hrim Hamsah to Martanda Bhairava with his Shakti Illumination, I give this offering, hail. 4. The Lokapalas, 10 in number. 5-8. The Yoginis, representing the seven dhatus, are in the SE, Kshetrapala who rules the place is in the NW, Ganesha is in the NW, the boy Vatuka is in the NE. 9. Om Hrim to all the Elements who make all obstacles Hum Svaha. 10. Aim Klim Sauh to the Astra Missile Phat! 11. These are the three centres in the body, the Fourth pervades them all. 12. Aim Klim Sauh I make the place of Maha Tripura Sundari's vessel of offering. 13. Vowels on the top line, Ka to Ta on left line, Tha to Sa on right line, Ha to Ksha in centre. 14. Ha Sa Ksha Ma La Va Ra Yum to the Bliss Bhairava Vaushat. Sa Ha Ksha Ma La Va Ra Yim to the Wine Devi Vaushat. 15. Aim Klim Sauh in Nectar, born from Nectar, the Nectar Devi, the Showerer of Nectar, Flood! Flood! with Nectar Svaha. 16. Aim Speak! Speak! Utterer of Speech! Aim Klim Sauh with Moisture, Moisture Devi Moisten! Make, make great agitation! Klim Sauh. Make, make Liberation! Sauh. 17. Om Hrim Hamsah That I Am Svaha. Aim Klim Sauh, 0 Tripurasundari, Protect! Protect me! 18. Hrim Klim Sauh to the seat of Devi Maha Tripura Sundari's Being Namah. 19. Haim Hklim Hsauh to the Chakra Seat of Shri Mahatripurasundari Namah. 20. Hsaum Hsklim Hssauh to the Seat full of All Mantra of Shri Mahatripurasundari Namah. 21. Hrim Klim Blem to the seat of the Sadhyas and Siddhas of Shri Mahatripurasundari Namah. 22. Aim Klim Sauh to Shri Mahatripurasundari in the heart hail. 23. Aim Hrim Shrim to Shri Mahatripurasundari in the head Svaha. 24. Aim Hrim Shrim to Shri Mahatripurasundari in the hair knot Vashat. 25. Aim Hrim Shrim to Shri Mahatripurasundari in the Armour Hum. 26. Aim Hrim Shrim to Shri Mahatripurasundari in the three Eyes Vaushat.
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27. Aim Hrim Shrim to Shri Mahatripurasundari in the Astra Missile Phat. 28. Aim Klim Sauh I worship the padukas of Mahatripurasundari. 29. Aim Klim Sauh I offer libation to the padukas of Mahatripurasundari. 30. Half Moon: West to NE, turn round, return to West. Circular:Right hand extended, head bent. Staff: Rise, go back sane steps, fully prostrate. Eight Limbed: Touch ground with chin, mouth, nose, jaw, eye, ear cavity. Terrific:Touch ground with skull cavity. 31. These Yoginis are of a bright red colour, very beautiful, making the gestures dispelling anxiety and granting boons, with two other hands holding noose and good. 32. See elsewhere for meditation details. 33. They are red, restless with sexual desire. 34. The Kala Shaktis wear red, are red in colour, and carry noose and good. 35. They are of lovely symmetrical form with long hair. 36. Very beautiful, wearing red, full of desire, with dishevelled hair, carrying bow and five arrows. 37. They are white, dressed and adorned in white. 38. White and clear like the autumnal moon. 39. They are ruby, with four arms, holding book/rosary, curds, dispelling fear and granting boons. 40. Aim Hrim Shrim Dram Drim Klim Blum Sah to the All Devouring Arrows, to the Arrows Namah. I worship and libate the padukas of the Arrow Shakti, hail. 41. Aim Hrim Shrim Dham to the All Deluding Bow hail. I worship and libate the padukas of the Noose Shakti. Hail. 42. Aim Hrim Shrim Hrim to the All Subduing Noose hail. I worship and libate the padukas of the Noose Shakti. Hail. 43. Aim Hrim Shrim Krom to the All Paralysing Goad hail. I worship and libate the padukas of the Goad Shakti. Hail. 44. Aim Hrim Shrim the Vagbhava Section in the Fire Chakra at the Kamagiri Pitha, the Self of Mitrisha Nath, the Kameshvari Devi, the Self of Rudra, I worship and libate Her padukas, hail. 45. Aim Hrim Shrim the Kamaraja Section in the Sun Chakra at the Jalandhara Pitha, the Self of Shashtisha Nath, the Vajreshvari Devi, the Self of Vishnu, I worship and libate that Shakti 'S padukas, hail. 46. Aim Hrim Shrim the Shakti Section in the Moon Chakra at the Purnagiri Pitha, the Self of Oddyana Nath, the Bhagamalini Devi, the Self of Brahma, I worship and libate that Shakti's padukas, hail. 47. Aim Hrim Shrim The Shri Root Section in the Brahma Circle at Oddyana Pitha, the Self of Charya Nath, the Shri Mahatripurasundari Devi, the Shakti with the Self of the Supreme Absolute, I worship and libate Her padukas, hail. 48. Aim, in my rosary, in my great rosary, the form of all Shakti in which dwell the four aims (of mankind), bestow siddhi on me. 49. Glaum may You make no obstacles in the rosary! 50. Yam to the Yoginis, all letters of the Yoginis Hum Phat Svaha. 51. Ksham &e. Lord of the Soil, take! Take the incense and light offering Svaha. 52. Gam &c. to Ganapati, Boon Giver, Subdue All Living Things! Take, take the offering Svaha. 53. Blom hail to Vatuka. Come here! Son of Devi, Vatuka Natha, wearing a garland of skulls, three eyed, fiery-faced, destroy! Destroy all enemies! Take! Take all the ritual accessory offerings together! Svaha. 54. Spirits in the service of Kubera. 55. Species of malignant demon. 56. Flesh eating demon.
Meditation on Lalita
By Dr Anand babu Adyatmika scientific research center 105

I bow to the goddess made of mantra, who consists of the 51 Ganeshas, the nine planets, the 27 constellations, the six Yoginis, the 12 signs of the Zodiac and the 51 letters of the alphabet and sacred sites. Vamakeshvara Tantra "Then one should meditate on Devi, resembling a lotus, like the early morning rays of the Sun, like a hibiscus or a pomegranate flower, red as a ruby, or like kumkuma dissolved in water, adorned with a bedazzling jewel in Her diadem, and by a dense mass of small bells, Her mouth, like a line of black bees, amidst beautifully curved red lips, the circle of Her face like the dawn or a day lotus, a curved half moon of nectar on Her forehead, Her eyes like bows, and a beautiful brow, 0 Parameshvari. "Her eyes are moving playfully to and fro, filled with joy and bliss, the roundness of Her cheeks surpassing the curve of the lunar crescent. The slender line which is Her nose is like a beautiful wanton shoot. Her upper nectar like lip is of the red effulgence of copper or coral. Her smile is sweeter than honey, the quintessence of love. Her very beautiful chin is endowed with all beauty. "Her neck is shell-like, She has large, open eyes, arms as graceful as lotus stalks. Her hands equal in appearance very beautiful red lotuses, and Her nails are brighter than brightness itself. Her rising breasts uplift a slender pearl necklace, which resenbles a shower of nectar on them. Her truly beautiful belly is adorned with three lines. "Her charming begemned navel is like a stream. The roundness of Her hips is like a precious jewel, She wears a girdle of pearls, and has beautiful buttocks. The circle of Her buttocks is cleft by a line, Her hair like royal elephant goads. Isvari, Her very beautiful thighs are like two beautiful plantain stems. Her two lovely legs are like two charming plant stems. Her unblemished lotus feet are like the crest gem of Brahma. "Her redness surpasses the redness of the China Rose, vermilion, or the pomegranate flower. She is clothed in red garments, holding an effulgent noose and a goad. She sits on a red lotus, and is adorned with red gems. She has four arms and three eyes, and She holds five arrows and a bow. Her mouth is filled with various pieces of betel mixed with camphor. "Her beautiful gazelle like body, smeared with red powder, is the vanquisher of the God of Love. She wears the most beautiful kind of clothes, and is adorned with every kind of precious gem. She is the Mother Who gladdens creation, the cause of happiness in the world, causing all love in the world, creating the world, the Devi made of Mantra, great good fortune Sundari, consisting of all wealth, eternal, supremely blissful, joyful." - dhyana from Vamakeshvara Tantra. See also: Tripurasundari Lalita and
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