SRI CHAKRA NAVAVARANA PUJA

1. Entry into the place of pj.

One should take bath before performing navvaraa pj.
Before entry into the place of pj, first ones r !idy "uru should be mentally
#orshiped. $here are t#o #ays of #orshiping "uru. %imple #ay is to mentally
contemplate %vaguru &ones o#n "uru', (aramaguru and (aramehiguru and
after reciting )r gurubhyo nama

*epending upon the available time, one can recite the entire "uru (duka
mantra #hich is as follo#s. +hile reciting "uru mantras, one should use mg
mudra, #hich is sho#n here. ,g means doe &female deer'.
i!. Para"ehi#$r$%

lll77 07 77 aaaa 7l7 7l 7 7l |
ii!. Para"a#$r$

=U7 7l 0 7 bbbb 7l7 7l 7 7l |
iii!. &r'#$r$
7
7" 0 cccc 7l7 7l 7 7l 07 l |

$here are variations in the order. -irst, rguru, then (aramaguru and finally
(aramehiguru is #orshiped.
(. Entry into pj "aapa.
$his is also kno#n as mantraprave)a &mantra entry'.
"enerally, a pj maapa #ill have four sides, as per the image give here.
%oon after entry into the maapa, follo#ing #orship is to be made. .ntry point
is marked as /, left side of the sdhaka &the one #ho is going to perform
navvaraa pj' is marked as 0, his opposite side is marked as 1 and his right
side is marked as 2. 3is left side, opposite side and right side are to be
#orshiped #ith the follo#ing mantras. One has take flo#ers in both the hands
and offer these flo#ers at the end of each mantra at the respective places.
4n most of the mantras in navvaraa pj, om ai hr )r is prefi5ed to the
mantra. 6s #e kno# is praava and ai hr )r & ' is kno#n as tritr.
(lease note that first right side, then left side and finally opposite side are to be
#orshiped. $hey are kno#n as dvradevat.
1. 7 7l &on the right side'
/. -l &on the left side'
0. 47l &on the opposite side'
Optional7 6t the end of this pj, diprdhana and naivedya can be performed.
).
camana is a procedure where water is taken in the right palm, which
is sipped after reciting mantras. This is also known as
llU 7 l 0 l.
This means ! swallowing this water with mantras, it cures all t!pes of
illness, oth ph!sical and mental. "hile taking water in the palm, little
#nger and thum should not e folded and other #ngers should e
slightl! folded inwards. There are other $ariations also on this. %ut
what is practiced in &r' (id!) is di*erent. +nstead of three, there are
four mantras in &r' (id!). These mantras talk aout cleaning of
indi$idual soul, annihilating ego, actions for the ene#t of the self and
#nall! all other mala,s or impurities. %panda 8rik &4.9' e5plains natural
impurity or mala thus, :$he afflicted mental state of an empirical individual is
disabled by his o#n impurity causing attachment to actions. +hen this
disappears, then the highest state of the %elf appears.
%panda 8rik &4.9' e5plains natural impurity or mala thus, :$he afflicted mental
state of an empirical individual is disabled by his o#n impurity causing
attachment to actions. +hen this disappears, then the highest state of the %elf
appears.
$he first three mantras are for removing three inherent impurities in a person and
they are nava mala, myya mala, and krma mala. $he last mantra is recited
for removing all other types of impurities not mentioned here. 3ence there are
fount mantras for tatvcamanam. $hese are the four mantras. Before recitation of
these mantras, a spoonful of #ater should be taken from pa;captra &an
e5clusive vessel to perform only camana. $his vessel, #ater and spoon should
not be used for any other purpose. 6fter finishing camana, right palm should be
#ashed #ith a fe# drops of #ater from pa;captra. %dhaka should al#ays have
a clean #hite to#el by his <her to dry his hands.
/. 70 Ul ll
0. 0l0 Ul ll
1. 0 Ul ll
2. 0 Ul ll
&)odhaymi means purification= pushing aside impurities '
Once this is done, right palm should be #ashed and dried, as e5plained above.
$here are variations in tatvcamanam. .ach of the three k>s of r saubhgya
pa;cada) is used for / to 1 and the entire r saubhgya pa;cada) is used for
2.
* %
l4U " " 0 - 7 +
7 77 l0 7 l0|
&,eaning7 .ternally present, #earing #hite garments, shining like the moon,
having four hands, #hose face is full of Bliss, 4 #orship you to remove all the
obstacles &#hile performing this pj.'
+hile reciting this mantra, one should close all the fingers in both the palms
&knuckles' and cuff the sides of the forehead. $his increases the blood flo# to
the brain. $here are certain ni>s on both sides of the forehead and #hile
slightly cuffing these places #ith fists.
+.
-old inde5 and middle fingers of the right palm. ?se the little finger and the ring
finger to close the left nostrils and the thumb to close the right nostril. 4nhale
through the left nostril, hold for a fe# seconds and e5hale through the right
nostril. $his is one round of pryma. $hus one should perform three rounds
of the follo#ing Brahmagyatr mantra.
- + - + + + 7+ 07+ |
00 0 - 7 U +
U 7 7l0 |
7l7>70>8 0 >4 - - |
&,eaning7 6ll the seven #orlds are . +e meditate on Brahman in the form of
@ight, #ho makes us to perform different actions. is #ater, light and essence.
.ssence of food that is given by the .arth,pra, #hich is important for our
e5istence, the vastness of the sky and three vyhti>s bh, bhuva and suva
#hich represent mind, intellect and ego are also .'
,.
- 0 704 " (0>7lU 60l77 00 77l00 7 7 7l7
74 (7 AA0ll 7, 0ll 77 , 7 0 l l7 0ll , 0ll
7, 0ll 70,0ll l, 0ll 7, 0ll 0, 0ll l 0ll , 0ll
0 0ll , - -7" 77" 7ll 7l 0ll -0 7l 0 7 0(l
767 7l7 7 7 l 6 74 j 0 # 7l| 0
7 07l 0l l0 7 7 7l-]l7l 7 -l j0 7 l" 7 7l 7|
AA $his #ill change according to nation. -or year, etc, uniformly lalitnma is used
so that there #ill not any confusion.
-. .P$rification of /eat!
Bonvenience of sitting is important in navvaraa pj, as one has to remain in
the same sitting posture for a minimum period of three hours. %age (ata;jali
says, :sthira sukha sanamC #hich means that ones seating should be firm,
#ithout freDuently altering position of seating #hile performing pj and at the
same time, seating should be the most convenient to the person #ho performs
the pj.
-irst take some #ater in right palm and sprinkle on the seat by reciing

$hough #e kno# this bja as parbja, here it also refers to the unison of iva
and akti &smarasya'. $he seat is purified #ith sau #ith an intention that one
should realiEe the meaning of mahvkya &aha Brahsmi or 4 am $hat'. $he
ultimate aim of any pj is to realiEe the %elf. 6t this point, the #orshiper should
not sit on this seat until the follo#ing procedure is completed.
,antra for consecrating the sana or seat
7 7l0 + 7 l 7 7 77+ 0 U7+ 7 70l+ 7 |
&nysa>s for ii, chanda>s, and viniyoga as per japa'
$he follo#ing prayer should be addressed to the seat
7 U 0l 7l 7 " l U 0l+
Ul l 7 70 l 7 |
$aking some flo#ers, arcan is to be performed for the seat on the four corners
and in the middle as e5plained in the picture belo#.
/. ll +
0. ll +
1. lll +
2. ll +
F. 7Ul0 7ll
,eaning and purpose7
/. $his mantra #orships the purest form of the mind that is reDuired to unite
individual consciousness &individual soul' #ith %upreme Bonsciousness
&Brahman'
0. $his mantra pleads for destruction of ego.
1. $his mantra #orships the mind that is purged of all dyads and triads.
2. $his mantra #orships the mind that is merged #ith 3er.
F. $his mantra #orships 3er subtlest form 8ualin and the si5 psychic chakras.
Ge5t to , there are three bja>s and they are kno#n as vimar)a praava>s. is
prak)a praava #hich refers to iva andvimar)a praava>s refer to ivas
svtantrya )akti in the form of icach, j;na and kriya )akti>s. $here is
another follo#ed by hr, #hich is kno#n as my bja. $his again refers
to iva and hr refers to pa;cabhta>s, the sun, the moon and mind. $his
mantra is recited to relieve the mind from material afflictions and stay tuned #ith
3er during navvaraa pj.
$he purpose of these mantras are to free the sdhakas mind from afflictions and
to focus his or her mind only on 3er so that the triad, the #orshiper, the
#orshiped &(ar)akti' and the method of #orship &navvaraa pj' become
one #ith (ar)akti. Bontemplating this is important.
Go#, the follo#ing mantra is to be recited #ith flo#ers in hand and at the end of
the mantra, the flo#ers are to be offered to ,other .arth.
0 (l7 0 0l (7ll |
,eaning and purpose7
Body of the #orshiper is an island and the ruler of the island &body' is the %elf.
*vda)a )akti refers to the t#elve kal>s of the sun &Games of these t#elve kal>
s #ill be available during consecrating vi)erghya'.
$ypically this can be e5plained through another verse #hich also conveys the
same meaning. 3o#ever, this mantra is not part of navvaraa pj. $here is
nothing #rong in reciting this verse before commencing navvaraa pj.
7 7l 7 0 7 7 l0
$his means that the body is the temple and the self #ithin is eternal Brahman
&4ndividual soul covered by my is kno#n as jvan and #hen spiritual kno#ledge
is attained, the veil of my is removed and Brahman is revealed'.
0.
+orshiping the bell, that is used during pj. Balling this as bell seems to be
inappropriate, but this is the only .nglish #ord for ghaa. -ollo#ing is the
mantra.
7 0 l0 ll|
7l 0 7ll l 0 l +
l 7l7 70ll 7l" |
6fter reciting this verse, offer some flo#ers to the bell and then ring the bell.
Hinging the bell is important.
,eaning and purpose7
4n ancient times, bells #ere rung to invite gods and annihilate demons. *emons
refer to modifications of the mind &distraction to#ards the material #orld. By
annihilating demons mean destruction of desires, attachments, ego, pomp and
vanity, etc. "ods refer different types of devotional and spiritual attainments. $he
ultimate attainment is (ar)akti and #hen %he pervades our hearts &referring to
universal love and compassion', the sound of %elf is heard #ithin and this is
kno#n as anhata dvani gha. 6ccording to ?paniad>s, there is no difference
bet#een and Brahman.
1.
i' By reciting this mantra, run both the palms from head to toe of the body. -irst,
do this from head to toe and after this, cross forearms and run the palms from
shoulders to finger tips &just like japa nysa > kavacya h'. $his is to be done
three times by reciting the mantra three times. -ollo#ing is the mantra.
l0 7 7 7l |
,eaning and purpose7
(ar)akti presidess over three types of human bodies I gross &physical', subtle
&mind' and causal &pra'. +ithin the causal body is the %elf. $he above mantra
is kno#n as protective mantra and by reciting this mantra our bodies remain
protected by 3er throughout navvaraa pj and even thereafter. +hen our
consciousness goes past these types of bodies, #e realiEe 3er #ithin. By reciting
this mantra, all dualities are destroyed and #e become one #ith 3er. $his prayer
seeks 3er "race to protect our bodies. Haka means protection.
ii' -ollo#ing mantras are to be recited by touching the body parts indicated
against the mantras.
+ > right forearm &using left hand'
"70 + > left forearm &using right hand'
7 7 l + > right thigh
7l + > left thigh
l + > feet
&it is advisable to mentally touch the feet. 4f feet are touched by hands, then
hands should be #ashed and dried'.
0 7ll + > navel
7 7l + > heart
&the place #here biological heart is situated. 4n some other conte5ts, heart also
means heart chakra, hence this e5planation.'
$he above mantras are also for protective covering.
6ll of them are posited in rnagara. "uru is in "urumaala. "aapati is the
chief of gaa>s #ho are posited in fort number nineteen. "aapati literally means
ruler of gaa>s and gaa>s are attendants on iva. 3e is also the remover all
obstacles and is described as the son of iva and (rvat. !auka>s are young
spiritual seekers #ho al#ays meditate on 3er in the place bet#een fort ten and
eleven of rnagara. *urg &referred in *evmhtmya as Bai' is considered
as one of the terrible forms of(ar)akti. Jogin>s are the attendants on *urg
&like gaa>s for iva'. Jogin>s also refer to the presiding deities of nine varaa>
s of ri Bakra. $he presiding deities of psychic centres are also kno#n as yogin>
s. $his is e5plained in @alit %ahasranma 2KF to F12. But the yogin>s #ho are
mentioned here are ones #ho rule over the nine varaa>s of ri Bakra. .ach of
these yogin>s play important role in aligning the performer of the pj #ith
Bicchakti &pure consciousness and pure kno#ledge > @alit %ahasranma
2/L'. 8etrapla are protective deities, also kno#n as tutelary deities. $here are
different ketrapla>s, #ho protect different places. 4t is believed that each city,
to#n or village is protected by ketrapla>s. +hat is referred here is the
ketrapla #ho protects the place #here navvaraa pj is held. .very human
body is also called ketra. (la means guard. -inally, (aramtma is #orshiped
and 3is protection is also sought. (aramtma means Brahman and conte5tually,
it refers to iva.
iii' 07"
$iraskari means veil of my. $his prayer is made to 3er to remove my, so
that (rak)a form of iva can be realiEed. 4n order to realiEe iva, #ho alone is
capable of offering liberation, #e need 3er "race first. +hen %he sho#ers 3er
"race on a true aspirant, %he removes the veil of my, kno#n as tiraskari,
cast by 3er. %he alone casts the spell of my and %he alone can remove this
veil. 3ence, %he is also kno#n as ,ahmy. $his prayer is to be mentally made
to 3er. $his is the mantra.
-0 07" ll l7 77 7 0 07" 7 7
ll|
iv' $he follo#ing mantra is to be recited
0 0ll7 l0# 7l7 -Ul77l l 7 7 5 5 5 ll|
$his mantra is recited to eliminate any obstacles, misfortunes, calamities, etc
either during performing pj or during recitation of mantras, etc. ,antras should
not be pronounced #rongly.
v' *igbandha 74U
-0 7lll 77 - 0 l7l7 7l0 7 70 7 7
7 7 7 7 l ll|
- - 50 74U|
$his mantra is used to arrest possible obstacles from cardinals. +hile reciting
this mantra #e have to visualiEe that agni &fire' is around us, protecting from all
sides.
12.
i' 6nuj; means permission. Before proceeding #ith navvaraa pj, #e have
to take permissions from nine Jogin>s, #ho preside over the nine varaa>s of
ri Bakra. +ithout their permissions, varaa>s cannot be entered. By taking
flo#ers in both the palms and after reciting the follo#ing mantra, flo#ers are to be
placed on ri Bakra #ith great reverence. +hen flo#ers are placed on ri Bakra,
e5treme care should be taken. +e have to visualiEe @alitmbik in the middle of
ri Bakra. +hen #e offer flo#ers #e have to ensure that offering flo#ers should
not hurt 3er body. -lo#ers should never be thro#n from a distance. %imilarly,
both the palms should be used &e5cept other#ise specified' to offer flo#ers and
flo#ers should be offered through the fingers. -lo#ers that have no fragrance
should not be used.
0 7 7 0 00 7 7l 7 0" - l0 7l7l0
70l |
6t the end of this mantra, place the flo#ers on ri Bakra, as e5plained above.
Jogin>s represent Bit)akti #ith updhi. iva has five types of energies and they
are Bit )akti &the energy of consciousness', nanda )akti &the energy of Bliss',
icch )akti &the energy of #ill', j;na )akti &energy of kno#ledge' and kriy )akti
&energy of action'. ?pdhi means discrimination, substitution. +hen pure Bit
)akti is realiEed, it is %elf>realiEation. But, #hen pure Bit )akti is veiled by updhi>
s, it leads to discrimination and illusion, #hich is also kno#n as my. 4n order to
remove these discriminations, #e pray to these nine Jogin>s #ith a reDuest that
they should help us in removing updhi>s, as #e progress to#ards the central
triangle and the bindu &akti and iva'. $his mantra is addressed to these nine
Jogin>s for this purpose.
ii' (urification of body
By reciting this mantra, touch thumbs to little fingers then both the palms,
forearms, elbo#s, knees and the entire body.
7 70 l |
$he bja ai & ' is kno#n vcbja and represents four !edas. $he bja ai
comprises of a M e M a &7 7 7' and anusvra &a dot on the top causing nasal
sound'. $hus a, e, a and the dot represents the four !edas. %ince !edas speak
about Brahman, the bja ai refers to Brahman. $here is another bja ne5t to
ai, #hich is hra &'. 4n order to attain Brahman, all dualities need to be
destroyed. .5amples of dualities are happiness and sorro#= rich and poor, etc.
$his is also kno#n as astra bja &astra means missile or #eapon'. $his astra bja
destroys impediments to realiEation such as dyads, etc. By reciting this mantra,
all impurities in both mind and body are destroyed and at this point, mind is
purified and ready to commence navvaraa pj.
iii' (ermission from *akimrt
$o obtain permission from *akimrt, follo#ing mantra is to be recited. $here
are t#o different verses, one for *akimrt and another for Bhairava &this
Bhairava is different from Bhairava, #hich refers to iva.'
a' 7 7"l 0 -0l 7l7+
7 Hl 7 - 7 7l |
b' 707 l7l 77l077+
-l 0 7 Hl 7l0 |
,eaning and purpose7
a' ON *akimrt paramaguru, ON Bompassionate to all the devoteesN (lease
give me permission to perform this ri Bakra yaj;a. &4t is important to note that it
is not referred as ri Bakra navvaraa pj, but referred as ri Bakra yaj;a.
$his means that Bakra navvaraa pj is compared to greatyaj;a>s like
a)vamedha, etc.'
b' 6ppearing like fire during annihilation, having fearsome appearance,
obeisance to Jou. (lease give me permission to perform ri Bakra yaj;a.
4n *akimrt, dakia refers to creation, sustenance and annihilation carried
out by %agua Brahman &Brahman #ith attributes' and amrti refers to Girgua
Brahman &Brahman #ithout attributes'. $his e5plains *akimrt.
11.1.
ri Bakra is to be consecrated before performing navvaraa pj. $here are
t#o types ofconsecration, one is laghu &easy, Duick' prapratih and another
is regular prapratih. 4f regular prapratih has been performed, this part
can be left out #hile performing navvaraa pj. Both these types
of prapratih>s are discussed here. 3o#ever, the detailed version can still be
e5panded.
a! 3ype/ of &ri Ca4ra%
$here are t#o types of ri Bakra. One is bhprastra &- 7 0l' and another is
meruprastra & 7 0l'. Bhprastra refers to normal flat ri Bakra, #hose
surface is flat. +hether it is ri Bakra or ,eru, it should al#ays be in sDuare
shape. ,eruprastra, #hich is vertical in nature, is divided into three types. $he
first three varaa>s > si karma &creation'= $he ne5t three varaa>s are sthiti
krama &sustenance' and the last three varaa>s are sahra &dissolution'
krama>s. $he height of the first three varaa>s &bhpur and eight petal lotus
and /L petal lotus' is more than the other t#o is one type. $he height of fourth,
fifth and si5th varaa>s is more than first three and last three varaa>s is the
second type. 6ll varaa>s having the eDual height is the third type.
-irst type and the last type are sho#n in this image.
5! 6a#h$ prapratih%
(lace ri Bakra or ,eru in the place #here the entire pj is going to be
performed. 6fterprapratih, the position of ri Bakra or ,eru should not be
changed. $here are three verses and by touching ri Bakra or ,eru #ith right
hand the follo#ing mantras are to be repeated.
i' 7 7 7 7 7 l"l 5 7 l"l|
ii' 7 7 7 7 5 0+ 7 l" l7 0 7l l"l
5l 7 7 7 070 ll|
iii' 7 0 7 l 7 7 l" U - + 77 = 0 0 7l
0|
,eaning and purpose7
(rapratih means infusing vital energy &pra' into the yantra. 6s #e kno#,
Brahman is formless and for the purpose of #orshiping, #e visualiEe a form and
invoke the concerned form in a yantra. $he infusion of energy is done using the
pra of the #orshipper. %ince %he is invoked #ith the pra of the #orshiper,
the duality bet#een 3er and the #orshiper is lost and %he alone prevails during
the entire #orship. $his is the infant stage of realiEation of mahvkya :aha
brahmsmiC or :4 am $hatC. %he is invoked in ri Bakra using both bhyakaraa
&e5ternal sense organs I organs of perception and action totalling to ten' and
antakaraa &mind, intellect and ego= sometimes consciousness is also
added'. Bhadrayaka ?paniad &4!.iv./O' says Brahman is :prsya praC,
#hich means that Brahman is pra of pra &or chief of pra', #hich clearly
proves that pra is nothing but Brahman and hence %he is being invoked #ith
our pra.
$his is #ith further reference to the first verse. +e already kno# about om and
ai hr )r. 6fter the second om &first om is for trittri and the second om is
for the mantra of this verse. $rittri should al#ays be prefi5ed #ith om. $he
second om refers to Brahman= &7' refers to the deity invoked, #ho
represents Bit)akti &energy of Bonsciousness, #hich refers to iva'. &7 ' is
the po#er of Brahman. 4n terms of $rika philosophy, po#er of Brahman is kno#n
as akti. $his is the bja of this mantra. hr is my bja and forms the )akti of
this mantra. kro, #hich is also kno#n as krodha bja is klaka of this mantra. om
hasa soha soha hasa )iva refers to auspicious form ofiva in the
form of praava &'. ya, ra, la, va and ha refer to five principle
elements &pa;cabhta' from #hich organs of action and organs of perception
develop. $he three other bja>s )a, a and sa represent mind, intellect and
ego. (a;cabhta and antakaraa make eight and they are together kno#
as puryaaka.
6s soon as these mantra are recited, the performer of #orship, the object of
#orship &@alitmbik' and the process of #orship &navvaraa pj' become
one. $his contemplation is absolutely essential #hile going for#ard. -irst, by
touching the ri Bakra or the ,eru as the case may be, the mantra should be
recited. 6fter reciting of these three verses, the practitioner should visualiEe the
union mentioned above by silently contemplating for a fe# minutes. 4f
contemplation is not perfect, it #ould be ideal to #ait for this to happen and then
go for#ard.
11.(. 7etaile8 9er/ion of prapratih.
Once ri Bakra or ,eru is consecrated #ith this version, lagu version is not
necessary and after completing anuj; &serial number /P in the previous
version', one can proceed to rnagarapj &#hich #ill be serial number /0 in the
ne5t part'.
$his procedure is done after fi5ing an auspicious time and date. *ays nakatra,
candra and tra bala are taken into account #hile consecrating any yantra. Ones
"uru #ho performs this consecration decides and fi5es the most auspicious time
and date. %ome are of the opinion that all rituals prescribed for idol consecrations
should be follo#ed for consecrating ri Bakra or ,eru like jaldhivsa,
dhnyadhivsa, )ayadhivsa and a host of other fire oblations, nysa>s,
pj>s, etc. Ones "uru is the deciding authority on these matters. But, in
general, the consecration procedure spreads over three days. But this procedure
is very elaborate and may not be necessary if ri Bakra or ,eru is moved from
place to place. $hese detailed procedures are applicable only #hen ri Bakra or
,eru is permanently fi5ed in a particular place #ithout making any change in
position.
+hat is prescribed here is detailed procedure #here ri Bakra or ,eru are
moved from their places for various reasons such as abhieka, etc.
a! Sa4alapa%
6 simple sakalapa like this #ill do.
7 07 0(ll 767 7 7 07l7 7|
5! E/ta5li/hin# "aala for a5hie4a
*ra# a diagram like this and in the middle of the maala &diagram', place the
vessel filled #ith pa;cagavya. (a;cagavya is the combination of co## milk,
curd, butter or ghee, urine and dung. +hen the last t#o are not available they
can be replaced #ith turmeric po#der and sacred ashes &vibhti'. $he vessel
should be filled up #ith pa;cagavya and should be placed on the inner dot of the
maala. 4t #ould be ideal to use either copper or silver vessel for this purpose.
By touching this vessel #ith right hand &this is kno#n as abhimantraa', recite
:hauC & ' /PO times. Go#, take ri Bakra or ,eru #ith right hand &if ,eru is
heavy, both the hands can be used' and immerse into the vessel containing
consecrated pa;cagavya by reciting & can be recited as long as dipping is
done'. *ipping can be done t#o or three times and one has to ensure that every
part of the yantra is fully immersed into pa;cagavya. 6fter immersing, take the
yantra and keep it on another vessel. Gormally, this vessel #ill be abhieka ptra
&bathing vesselN', #here the yantra is placed.
6fter placing the yantra on abhieka ptra, abhieka &religious bathing' is done
#ith pa;cmta. $here are different versions #ith regard to the contents of
pa;cmta. -ruits #ith honey and sugar can be used. But the laid do#n
combination for making pa;cmta is the combination of the follo#ing five I
co#s milk, curd, butter, honey and sugar. Often, curd and butter are replaced
#ith any available fruits such as dates, etc. 6s soon as pa;cmta abhieka is
over, incense should be offered. 6fter this, abhieka #ith other offerings should
be done. 6t the end of every abhieka, either incense or lamp should be offered.
$he contents of abhieka>s made should be collected collectively and #ith this
one more abhieka should be done. +hile performing all these abhieka>s, only
mla mantra should be recited &either -oa) or (a;cada)'.
c! E/ta5li/hin# 4ala:a an8 in9o4in# Var$a
$ake #ater in a separate vessel &#ith narro# neck'. *ra# a triangle and around
this a sDuare= place the kala)a on the top of this #ith ripped coconut on the top. 4f
mango leaves are available, they can be placed belo# the coconut. 6dd
condiments to the #ater and make the #ater fragrant. Bundle t#elve ku)a grass
together and place the thick end of the grass inside the #ater and outer ends
should be tied together. Go# take some flo#ers and invoke !arua in the kala)a
#ith the follo#ing mantra.
5 " 7 U l 7+ l l 7 |
0l l 4 "l 7l07ll0 7l - +
77l " 4 7 l 7 7 7|
7 7 - " 7ll|
"l | 7 7 l+ 7l0 7 l+ 7 7 l+ 7 7l+ l 7 l+
ll0 7 7 l+ 0 7 l+ ll7 7 70 7 7l 7 l|
varuya nama QQ sana samarpaymi &offering seat to !arua' Q pdya
samarpaymi &#ashing his feet' Q arghyam samarpaymi & #ashing his hands'Q
camanyam samrspaymi offering him #ater to drink'Q snnam samarpaymi
&offering him mantra bath'Q snnnantara camanya samarpaymi Q
vastra samarpaymi &offering him ne# clothes' Q nnvida parimala patra
pupn samarpaymi &offering him all types of fragrant flo#ers and herbs' QQ
,eaning7 4 invoke you to make this day happy and implore you for your helpful
blessings.
,entally contemplate !arua in the kala)a and after reciting the above mantra,
offer flo#ers to the kala)a as a mark of respect to !arua.
Offer jaggery as naivedhya to !arua. Offer dhpa and dpa.
8! In9o4in# &i9a an8 &a4ti in the 4ala:a
Go# #e have to invoke @alitmbik in the kala)a.
7 7 77l77 4 l7 l7 l7l76 0l l0 7 7 7l-]7l
l7l l7l6 0 7ll|
7 7 l+ 7l0 7 l+ 7 7 l+ 7 7l+ l 7 l+ ll0
7 7 l+ 0 7 l+ ll7 7 70 7 7l 7 l|
sana samarpaymi &offering seat to ,ahkme)vara and 8me)var' Q
pdya samarpaymi &#ashing their feet' Q arghyam samarpaymi & #ashing
their hands'Q camanyam samrspaymi offering them #ater to drink'Q snnam
samarpaymi &offering them mantra bath'Q snnnantara camanya
samarpaymi Q vastra samarpaymi &offering them ne# clothes' Q nnvida
parimala patra pupn samarpaymi &offering him all types of fragrant flo#ers
and herbs' QQ
&4t #ould be ideal to invoke iva and akti together= but in general 8me)var
alone is invoked. But #e have to remember that ,ahkme)vara e5ists in the
central bindu of ri Bakra.'
Go# recite mlamantra /PO times by touching the kala)a #ith a bunch of ku)a
grass. $hicker end of ku)a grass should be held in right hand and thinner end
should be touching the kala)a. 6fter this offer dhpa and dpa to the kala)a,
#here ,ahkme)vara and 8me)var manifest.
Go# invoke aadikblaka>s around the yantra. $ake some flo#ers and offer
them to the eight cardinal gods. %tart from .ast in clock#ise manner and finish at
Gortheast.
57 l + 7 + l + 0 + "l + l + l + 5l |
Go# remove coconut and mango leaves from the top of the kala)a and
perform abhieka to the yantra #ith kala)a #ater, by reciting only the
mlamantra. Go# remove the yantra and #ipe clean #ith a clean cloth and place
on a pha &an elevated #ooden seat or a stone seat'. 4t is important to keep the
innermost triangle of the yantra, facing the sdhaka.
$ake the same ku)a grass and hold in the same manner as e5plained above and
touch the yantra #ith the tip of the ku)a grass bundle and recite /PO times,
yantra gyatr mantra.
0 l7l 7 l0 l U+ 07 0 7 7l0 |
e! Perfor"in# ny/a;/
Go#, do bhta)uddhi and mtruknysa.
&$hese t#o #ill be available after rnagarapj dpapja in the ne5t part'.
f! <ain part of prapratih &to be done like a japa mantra'
prapratih mantra7 *uring this process, touch the yantra #ith right hand,
unless other#ise specified.
i!
7 7 l"7 07l l0 + 4 " 6 77+ 77 lll " U7l+
77 70 l7l" 7 l"0 7l 70l|
7 47 + 0+ 7 77 |
ii!
7 7 7ll
&use both the inde5 fingers and run them on both the thumbs'
07 l +
&use both the thumbs and run them on both the inde5 fingers'
7 ll +
&both the thumbs on the middle fingers'
7 7l7ll +
&both the thumbs on the ring fingers'
777ll +
&both the thumbs on the little fingers'
7 7077 7ll |
&open both the palms= run the opened palms of the right hand on the front and
back sides of the left palm and repeat the same for the other palm'
iii!

7 7l +
&open inde5, middle and ring fingers of the right hand and place them on the
heart chakra'
> ll+
open middle and ring fingers of the right hand and touch the top of the forehead'
7 > 7l 7 +
&open the right thumb and touch the back of the head. $his is the point #here tuft
is kept'
7 > 7l +
&cross both the hands and run the fully opened palms from shoulders to finger
tips'
> 0 0 l 7 +
&open the inde5, middle and ring fingers of the right hand= touch both the eyes
using inde5 and ring fingers and touch the point bet#een the t#o eyebro#s &j;
cakra' #ith the middle finger.
7 > 70 l |
- - 0 74U
i9!

&,eaning7 %he is in a corner of a red lake, sitting on a boat and having a red
lotus as her seat. %he has noose, hook, sugarcane bo#, flo#er arro#s, skull. %he
has three eyes. %he shines like the rising sun. @et this (ra)akti kno#n
as (ar)akti give us happiness.'
9! &follo# as per 8aranysa'
> 7 l7l U 7 l+
> 77ll7l 7 7 7 7l+
> ll7l U 7l l7l+
>

> l 7l 7l 7 7l 7 l|
9i! <ain "antra
7 7 7 7 7 l"l 5 7 l"l+
7 7 7 7 7 5 0+
7 7 7 7 7 l"+
7 7 7 7 l 0 7l l" l7 7l"
7l7 7l 7ll 7 l"l 7ll07llll 7 070 ll|
&,eaning7 @et the jva &e5istence' of ri Bakra be the e5istence of the #orld'
om ai hr )r om hr kro ya ra la va )a a sa hau
ha sa )rcakrasya sarveindray Q
&,eaning7 @et indriya>s of ri Bakra pervade the #orld'
om ai hr )r om hr kro ya ra la va )a a sa hau
ha sa )rcakrasya v. manascaku )rotra jihvghra vk pi pda
pyupasthkhyni pr pnavytodnasamn)cgasya mukha ciram
tihantu svh QQ
&,eaning7 @et speech, mind, five organs of perception, five organs of action and
five pra>s e5ist eternally in the #orld svh &hail''
7 0 7 l 7 7 l" U - +
77 7 0 0 7l 0|
asunte punarasmsu cakupuna pramiha no dhehi bhogam Q
jyok pa)yema srya mucaranta manumate m/ay na svasti QQ
777 7ll 777l 7 "77 7 l|
pa;cada)a saskrrtha pa;cada)avra praavajapa ktv QQ
Go# repeat fifteen times. $his is for /F saskra>s &saskra means
purification of a person at different time periods. -or e5ample, garbhdhna,
pusavana, smantonnayana, jtakarman, nmakarman, nikramaa,
annapr)ana, etc. 4nstead of doing these elaborate rituals, fifteen praava>s are
recited.
70l -+ l70l -+ 70l -+ 7l -+ 7l7 50l -+ 7 0l -+ 7l -+ 7l
-+ 7l -+ 7 7 7 7 + 7 777 7 0-l 7 7 8 7U 7 |
&$here are vhandi mudr>s that can be used #hile doing the above
invocation.'
&,eaning7 (lease give us Jour dar)an, take Jour seat permanently in this ri
Bakra. %ho#er Jour "race on us. Be felicitous and auspicious, graciously smile
and fulfil our desires. Be compassionate to us, O the ruler of the universe. +ith
compassion, please be seated in this ri Bakra. I $his mental contemplation is
very important after finishing the above mantras. $ake some time in
contemplating 3er in ri Bakra.
6fter this, using ku)a bundle, touch the ri Bakra, as described earlier and recite
again /PO times of mlamantra. 4f homa is possible offer /PO oblations #ith
mlamantra. 6t the end of every oblation, a drop of ghee should be placed on the
consecrated ri Bakra. $his should be done after reciting svh. 6lternatively,
such drops can be collected in a separate vessel and abhieka can be made to
ri Bakra after concluding homa.
+hen all these rituals are completed move the yantra a little to#ards north and
this is kno#n as yathsthna &proper or right place #here daily pj #ould be
held'.
6t the end of this procedure, if ones "uru is nearby, he has to go in person and
pay his respects to his "uru. (rapratih procedure can be done either
individually #ith "urus permission or in the presence of "uru under his direct
supervision. 4t is advisable that this procedure should be done by the person #ho
is going to do the #orship.
1(.
rnagara is situated outside ri Bakra. rnagara has t#enty five high raised
huge forts. 4n bet#een any t#o forts, there are many gods, sages and saints
protecting ri Bakra and simultaneously #orshiping @alitmbik. Only after
crossing rnagara, one can enter ri Bakra. .ntry into ri Bakra is restricted
only to those #ho are in the process of realiEing the %elf, for #hich sdhana
alone helps. $here are forty four arcana>s &arcana means praising= this is done
by offering flo#ers at the end of saying nama'. and trittri &ai hr )r'
are to be prefi5ed and nama at the end. -or e5ample, the first nma should be
recited like this om ai hr )r amtmbhonidhaye nama.
/. 7 0l-U &Bit)akti I the energy of Bonsciousness'
0. 7(7l &manifestation'
1. ll 0ll
&li.ga)arra I individual soul, #here karmic imprints are embedded'.
2. 77 l7l &sa0kalpa I notion formed in the mind, desire, etc'
F. 0l l7l &thought processes'
L. 7 l7l &ego'
K. 7l l7l intellect'
O. 7l7l0 l7l &citta I mind of the empirical individual'
9. 774 l7l &mind'
&A2 I 9 represent antakaraa I mind, intellect, consciousness and ego=
and thought processes. 6part from these, they also form modifications of
pa;cabhta such as tanmatra>s such as sound, touch etc and five organs
of perception or j;nendriya>s.'
/P. 7 7l 77 l7ll &flesh'
//. 77l 77 l7ll &ojas I energy, vitality'
/0. U7 77 l7ll &virility'
/1. 7 77 l7ll &bone'
/2. 7 77 l7ll &skin'
/F. 57 77 l7ll &hair'
/L. 0l 77 l7ll &procreative fluids'
/K. 70 77 l7ll &bone marro#'
/O. 7 77 l7ll &blood'
/9. l" 77l &heart'
0P. 0- 77l &sahasrra'
0/. 7 0 l77l &dvda)nta > t#elve inches above sahasrra'
00. 77 l77l &central point in lala or forehead= different form j;cakra'
01. l77l &j;cakra'
02. 4ll07jll &opening of an eye referring to the sun'
0F. 7 7jll &opening of another eye referring to the moon'
&02 and 0F refer to joy and happiness arising out of material #orld'
0L. l #l7l
&the orifice in the upper palate= this is the point #here organs of action,
organs of perception and antakaraa meet. -urther, this is also the point
#here the three major ni>s, ia, pi.gala and suumna= this is related to
khecarimudra'
0K. l77l &heart and <or sahasrra'
0O. 0l" l7l
&purified antakaraa= only purified antakaraa can lead to liberation=
purification of antakaraa is more important than purification e5ternal
organs'.
09. 7 l 7l 7 (ll &Hig !eda'
1P. 7"l7l 7"(ll &Jajur !eda'
1/. 7l7l 7(ll &%ma !eda'
10. 3l7l 3(ll &6tharva !eda'
11. 77 77l &e5pansion of kno#ledge'
12. " l ll &benefits of mantras'
1F. 4 777l7l &creation I mldhra chakra'
1L. " 777l7l &sustenance > svdhihna'
1K. 7 777l7l &dissolution > maipraka'
1O. 56777l7l &tirodhna or disappearance or concealment > anhata'
19. 7l777l &anugraha I recreation I vi)uddhi'
2P. 0 7l 07l
&mahpralaya I total annihilation at the end of a yuga I deep sleep state
I j;cakra'
2/. 0 7l 7Ull &avidya or spiritual ignorance'
20. 7 -l0"l &sum total of ego of all the beings'
21. l0l7l &avyakta, the state of prakti in its un>manifested form'
22. lll7l &mahmy'
$he above forty four refer to various aspects of both subtle and gross bodies and
#ith this forty four, an entire body is formed. .ach of these forty four nma>s
together create, sustain, dissolve, annihilate and recreate the universe. $his is
applicable to both macrocosm and microcosm. +hen #e go pastrnagara, it
means that our mind is purified, ego is annihilated, sensory organs are not used
beyond the basic needs, the highest level of spiritual kno#ledge is attained and
thus, our body, mind and soul are unified and become ready for liberation.'
.nglish meaning for certain %anskrit #ords7 nidhi I storehouse= vi > enclosed
ground= dvpa I island= prkra I enclosure= maapa I a sort of decorated hall
or temple= dvra I entrance= valaya I round enclosure= vpika I natural pond=
1).
base for lamps
4t is preferable to light four lamps, t#o before 3er consecrated idol form &one on
each side' and t#o before consecrated ri Bakra &one on either side of the
maala'. $hese lamps should not be placed on the ground. $here should be
bases for these lamps. 4n the bases, an inverted triangle should be dra#n and
the tips of the triangles should be facing the #orshiper &as sho#n in the image'.
$o idols right, ghee should be used and to idols left, sesame oil should be used
for the lamps.. $he same principle should be follo#ed for ri Bakra. @amps are to
be placed in such a #ay, that they are not disturbed during pj. 6fter reciting the
follo#ing verse, flo#ers are to be offered at the bottom of the lamps. -lo#ers
should not be kept on the top of the lamps.
777 l7 - -0 7l+
l7 7l l0 l0l0 7 7 l|
,eaning7 ON *evi in the form of kno#ledge and intellectN (lease bless me #ith
auspicious mindset of non>dualism. $ill 4 complete this yaj; &navvaraa pj',
please protect me that 4 am not engulfed #ith aviday &spiritual ignorance or
duality'.C
/2. - 0
Bhta refers to our body and )uddhi refers to purification. By doing the follo#ing
procedure, #e first remove avidya &nescience' and conseDuently my. +hen
these t#o are removed, ego is annihilated and :4C becomes :$hatC. 4n order to
purify our body &gross, subtle and causal' this procedure is done. 6n e5ample is
Duoted to e5plain this further. 4n a paddy grain, rice is covered by husk. +hen
rice is covered by husk it is called paddy and #hen the husk is removed, it is rice.
$hus there is no change in the nature of the rice. (addy is compared to individual
soul and rice is compared to the %elf. 3usk is my. ?nless the husk called
my is removed, the %elf &rice' cannot be seen. $his is possible only if all the
three bodies I gross, subtle and causal > are destroyed. +hen these bodies are
destroyed &not in literal sense', #hat #e see is the %elf. 4t is also said that that
the individual self &covered by my' is situated at mldhra and on attaining
kno#ledge goes up through suumna to merge #ith iva at brahmarandhra &an
orifice at sahasrra'. 3o#ever, this theory is some#hat in contravention to the
concept of kualin, #hich is #orshiped as (ar)akti 3erself. @alit
%ahasranma //P says that 3er subtlest form is 8ualin.
(urpose of bhta)uddhi and mantras7
i' -irst, by inhaling through the left nostril, one should visualiEe that he is dra#ing
jva)iva &life energy' from mldhra and take it to sahasrra through suumna.
Go#, one has to contemplate that jva)iva merges #ith (arama)iva &the %elf or
Brahman' at sahasrra and e5hale through the right nostril. Go#, #e have to
inhale through the right nostril &the nostril through #hich last e5halation #as done
as in i above'. +hile inhaling &ya' is to be mentally recited si5teen
times. &ya' is vyu bja. 4t is to be contemplated that by air, the mortal body
#ith unfulfilled desires be dried up #ith air using vyu bja. 3aving dried, this
purified body is to be burnt #ith agni bja &ra'. 6fter having burnt the body,
using amta &nectar' bja &va', spirituous liDuor &refer @alit %ahasranma
/PL' kno#n as sudh &ambrosia' is dra#n from sahasrra and the burnt body
&destruction of afflictions of the mind or destruction of three types of bodies as
discussed above' be #ashed a#ay #ith ambrosia and by using pthv
&earth' bja &la', divine body is created. -inally, this purified divine body is
taken back to mldhra. $he body that is being taken back to the base chakra is
a purified body #ithout any mental afflictions. $his is done by reciting bja>s
hasa soha. $he breathing patterns along #ith the respective recitations are
given here.
i!
&4nhale through left nostril and #hile doing so visualiEe that jvtman in
mldhra is being taken to brahmarandhra at sahasrra to merge #ith
(aramtman through suumna. $hen e5hale through the right nostril.
ii' A 7 7 7 ll|
Abja ya & ' is to be repeated /L times.
)oaya I drying= sakoca I #ithering.
&4nhale through the right nostril and e5hale through the left nostril. *uring this,
mantra in ii is to be recited mentally.
iii' A 7 7 7 7 7 ll|
daha I to burn= paca I baked &referring to ashes'.
Abja &' ra is to be recited /L times.
&4nhale through left nostril and e5hale through right nostril'
iv' A 7l 0 7 7 ll|
&vara I sho#ering'
A bja &' va is to be recited /L times.
&4nhale through right nostril and e5hale through left nostril'
v' A l- 37l7 37l7 ll|
&utpda I coming forth, birth'
A bja & ' la is to be recited /L times.
vi' 70 70 7l7l0 7 7 7l 7 7 l7 3 7 7
7 7 7 7 ll|
&inhale through left nostril and e5hale through right nostril'
&hasa though refers to s#an, it has subtler meaning relating to energy of
breath. hasa consists of t#o parts :haC M :saC, #here ha means e5halation
and sa means inhalation. hasa therefore means vitality #hich is the most
essential component of e5istence. 4t is also said that hasa is said to beiva,
#hose seat is said to be the sky &infinity'. $he %elf is also called hasa. :haC M
:saC can also be e5plained as emanation and re>absorption activities
of iva. hasa is the spontaneous sound that penetrates into suumna ni
causing Bliss and ultimate liberation.'
1+.
6vidya or spiritual ignorance is impurity causing duality. %uch impurities have
already been removed through bhta)uddhi. 4n such a purified body and soul,
Brahman and 3is (o#er are being established. $his is the concept of tma
prapratih.
(rocedure7
8eep the right palm on the heart and recite the follo#ing mantra three times.
7 |
6fter this, one has to do pryama three, ten or si5teen times #ith the initiated
mlamantra, either(a;cada) or -oa). &ideal ratio of pryama inhalation I
holding I e5halation is /7270'. (ryama is done here to concentrate on 3er
during the entire period of navvaraa pj. (ryama al#ays helps in
purification of the mind.
1,.
$his is a prayer to remove all obstacles. $he obstacles are afflictions of the
material #orld such as desires, attachments, illusions, etc. 6ll these obstacles
are being removed #ith ivas command. $he follo#ing mantra is to be recited.
777 0 0 - 0l - 0l - 0l+
- 0l U70l 0 =U0 lHl|
1-.
$his is discussed under t#o parts. $he first part deals #ith principle and purpose
of nysa>s and the second part deals #ith practical nysa>s. .5planatory notes
and applications are restricted to only select nysa>s. 6ll types of nysa>s are
give here only for the purpose of kno#ing the types of nysa>s.
1-.1! Principle 5ehin8 ny/a;/%
Gysa is e5plained as mental appropriation or assignment of various parts of the
body to protective deities&tutelary deities' and e5ceptionally for the principal deity.
$here are also meanings such as placing, fi5ing, putting a#ay, taking off, etc.
4rrespective of these meanings, nysa is an act of the mind e5pressed physically
by touching various parts of the body. $his is mainly done to make the #orshiper
feel that his body is not different from 3er. 6t the end of nysa procedures,
sdhakas duality is completely dissolved and he becomes one #ith 3er. 6t this
stage the ego of the sdhaka is completely annihilated paving to realiEe 3er
#ithin. +hen ego is dissolved, the sdhaka realiEes that he is not the performer
of navvaraa pj. $his is the stage #here the navvaraa pj, the one #ho
performs navvaraa pj and @alitmbik become one. @alitmbik is Bit)akti,
the po#er of Bonsciousness &of iva', that brings about the #orld process
&creation, sustenance, etc'. +hat is the po#er of Bit)akti in the mindR +hen the
mind affirms that #e are Bit)akti, it is important that the mind is fully a#are of
three forms of (ar)akti viE. gross, subtle and subtlest. %he has many gross
forms and kno#n by different names such as 8l, -oa) and other forms, more
fully e5plained in *a)amahvidy and other %criptures. 4n fact, all that e5ists in
the universe is 3er form. %ubtle forms refers to 3er mantra form such as -oa)
mantra, (a;cada) mantra and all other mantras. 4n fact, all the mantras originate
from 3er. @alit %ahasranma 0P2 says, :%arvamantra svarpiC. ,antras are
made up of different alphabets of %anskrit and all these alphabets originate from
3er, says @alit %ahasranma FKK, mtk>vara>rpin. ,ost importantly, 3er
subtler form is said to be kmakal, #hich is e5plained in @alit %ahasranma
100, kmakal>rp. 3er subtlest form is 8ualin.
By performing nysa>s in the body, our body is considered as 3er mantra form.
$his is the purpose of nysa. $herefore, it is very important that mental
concentration is important #hile performing nysa>s, other#ise, the very purpose
of nysa>s #ould be defeated.
-ollo#ing t#enty nine nysa>s are prescribed in r !idy.
21.
2(.
,tk literally means mother. ,tk also means the po#er of letters.
Bombination of various letters gives rise to a #ord and formation of #ords is
kno#n as ,lin, the deity of alphabets &rtantrloka'. 4n other #ords, ,tk
is the mother alphabets and ,lin is the mother of #ords. ,lin &@alit
%ahasranma 2FF' is e5plained as the po#er of letters #hich holds the entire
universe #ithin itself. iva says to (rvat, :6ll the sins are destroyed by
performing mtknysa>sC &,antrayoga %ahit'. By performing mtknysa>
s one identifies his body #ith the subtle form of(ar)akti. $his contemplation is
more important in performing all the nysa>s.
Bahirmtknysa means or bhyamtknysa means touching various
e5ternal parts of the body #ith finger tips by reciting an alphabet. $hus all the fifty
alphabets are placed at different parts of the body. 6ntarmtknysa means
contemplating the same fifty alphabets in the si5 psychic chakras, from
mldhra to j; and at sahasrra. .very alphabet is preceded by praava,
tritri and Bl and this is formed like this7
> >
6fter this an alphabet is recited #ith bindu &a dot on the top of the alphabet' and
suffi5ed #ith nama hasa & ' at the end. @et us take the e5ample of
alphabet a &7' and nysa is done like this.
> > I 7 I
(ractical nysa #ill be dealt #ith subseDuently.
2).
8ara)uddhi literally means cleansing of hands. But, conte5tually
kara)uddhinysa is one of these several nysa>s.
$his nysa is done by prefi5ing om > ai hr )r to a or or sau &7 7
' and suffi5ing #ith nama &'. -or e5ample om > ai hr )r a nama.
$he three bja>s a, , sau &7 7 ' are derived from the first varaa,
trilokyamohanacakra. .ach cakre)avar &the one #ho presides over that
varaa' has got different bja>s and these bja>s are used as prefi5es to various
nysa>s.
$he purpose of kara)uddhinysa is to eliminate the influences of antakaraa,
organs of perception and organs of action on the mind, so that the mind is
purified and becomes one #ith iva tattva. 3ands and fingers are cleansed
symbolically to purify the mind as e5plained above. 6gain the contemplation is
more important here, as is al#ays the case #ith all types of nysa>s.
$here are t#elve kara)uddhinysa>s.
2*.
$his nysa is done in the heart chakra, kno#n as anhata chakra. 4n this nysa,
the three bja>s of second varaa ai, kl, sau & ' are prefi5ed to )r
mahtripurasundari tmna raka raka. $his nysa is done for t#o purposes.
One, to pray to 3er to remove my, #hich acts as an impediment to the
realiEation of the %elf. $#o, in order to remove my, 3er "race is sought. +hen
3er "race descends, karmic imprints are removed. $herefore, this nysa seeks
protection for the individual soul, #hich is the very cause of our e5istence. +ithin
this individual soul remains the %elf, but veiled by my.
2+.
Batursana means four types of subtle seating. $hey are tmsana, cakrsana,
sarvamantrsana and sdhyasiddhsana
&7l, 7 l, 0 l and ll'. Out of the nine varaa>s, the bja>s
of the first t#o varaa>s are used in kara)uddhinysa &1 above'
and tmaraknysa &2 above'. 4n catursananysa the bja>s of third, fourth,
fifth and si5th varaa>s are used. $hese four nysa>s refer to unification of
pramt &subject', prameya &object' and prama &means, anumna, inference'.
$hese three are symbolically represented by tmsana, cakrsana and
sarvamantrsana. +hen the subject, object and the means are perfectly in
unison, it leads to the ultimate stage of union of iva and akti. $his is kno#n as
(rak)a>!imar)a smarasya, #here (rak)a is iva, !imar)a is akti and
smarasya means union of iva and akti. @alit %ahasranma K90 is
smarasya>parya e5plains this. $his concept is also e5plained
in Bhvanopaniad O, #hich says, :j;t j;na j;eyn abhedabhvana
)rcakrapjanam.C $his means that realising that there is no difference bet#een
the kno#er, the kno#n and the process of kno#ing &kno#ledge' is true #orship of
ri Bakra.
2,.
3ere, nysa is done #ith Bl mantra ai kl sau & '. "enerally, in r
!idy cult, in the beginning one is initiated #ith Bl mantra and a sdhaka #ith
consistent and dedicated practice moves up in stages to (a;cada) and -oa)
to become one #ith 3er. $his nysa is performed to comprehend that there is no
differentiation in 3er various forms. %he alone manifests in different forms.
2-.
$his is also kno#n as vgdevat nysa &l70l l', the composers of @alit
%ahasranma. 4dentifying ourselves #ith these vgdevei>s is the purpose of
this nysa. 6ll the fifty alphabets are used in this nysa and nysa is done on the
psychic centres.
20.
,lavidyvaranysa is different from mlavidynysa, #hich is discussed
under additional nysa>s. $he main difference bet#een the t#o is this >
mlavidyvaranysa uses fifteen alphabets used in(a;cada) as bjkara>s.
!ara means sound, vo#el, syllable. -or e5ample the first alphabet of(a;cada)
mantra is ka &7'. 4n mlavidyvaranysa, a bindu is added by making ka &7' as
ka &7 '. 4n mlavidynysa, pa;cada) mantra is used for nysa.
,lavidynysa nysa is done like karanysa and hrdaydi nysa using each
k of (a;cada) mantra.Both these nysa>s are done to reaffirm that there is
no difference bet#een 3er, 3er mantra and the sdhaka. $his is subtly conveyed
in !arivasy Hahasya &verse //2' #hich says, :Body of (ar)akti is composed of
!g, 8ma and akti ka>s of (a;cada) mantra #hich are placed from 3er
cro#n to neck, neck to hip and hip to feet. $he same concept is also e5plained
in @alit %ahasranma OF, OL and OK &rmadvgbhava>kaika>svarpa>mukha>
pa.kaj, kahdha kaiparyantha>madhyaka>svarpi and akti>
kaikatpanna>kayadhobhga>dhrin'.
21.
$his nysa is done #ith -oa) mantra #ith certain mudras like
saubhgyadain, ripujihvgrah, trikha and yoni. $he purpose of
this nysa is to control #orldly life endued #ith desires, attachment, etc and to
attain liberation by becoming one #ith 3er.
12.
Bontemplating the entire universe as red is the purpose of this nysa.
Bhvanopaniad /9 says, :lauhityametasya sarvasya vimar)aC. $his means that
pure Bonsciousness is 8me)vara. 4ndividual self, #hich is in the state of eternal
Bliss is @alitmbik. $he redness is contemplating the union of iva, akti and
jvan &individual soul'. +hen the universe is contemplated as red,
the sdhaka attains 3er Dualities of compassions. %he is described as red in
dhyna verses of @alit %ahasranma.
11.
1(.
1).
%ahranysa, sinysa and sthinysa refers to dissolution, creation and
sustenance. sahranysa is done to annihilate avidy &nescience or spiritual
ignorance'. %inysa is done to contemplate that sdhaka is born afresh
#ith vidy or spiritual kno#ledge, #here all dyads and triads are not in
e5istence. %thinysa is done to establish the union of sdhaka #ith 3er. $his is
the state of jvanmukta. $his is the essence of mahvkya>s such as :4 am
BrahmanC, :4 am $hatC or :aha brahmsmiC.
1*.
@aghu means easy, Duick, etc. @aghuohnysa consists of si5 types of nysa>
s and they are follo#s.
i'. "l
ii'. l
iii'.0 l
iv'.l
v'. ll
vi'. 75l
$hese si5 types of nysa>s are done to reaffirm that there is no differentiation
bet#een 3er and thesdhaka. $his means that "ae)a &also kno#n as
"aapati', the god of kno#ledge #ho removes all obstacles and is the son of
iva and (rvat. 3e is #orshiped to remove all obstacles at the commencement
of navvaraa pj. By doing this nysa, it is established that @alitmbik is not
different from "ae)a. %imilarly, navagraha>s &nine planets' and t#enty seven
stars are one #ith 3er. Gine planets, t#enty seven stars and nine r)i>s &Eodiac=
also called bhva or houses' constitute a birth chart. +hen %he is #orshiped #ith
true devotion and love, even if the planets are placed adversely in ones birth
chart, they #ill not cause any impediments in sdhakas life.
Joginnysa is about si5ty four yogini>s, #ho preside over various parts of the
body. Jogin here means the deities #ho preside over various aspects of
e5istence. $here are several references to si5ty four yogini>s. 3o#ever, for the
purpose of this nysa, seven yogini>s presiding over seven psychic centres and
their deputies amounting to forty nine are taken into account. .ach psychic
centre has certain number of lotus petals and each petal is embedded #ith a
%anskrit alphabet. $hus #e have fifty alphabets placed in the fifty petals of si5
psychic centres and at sahasrra each alphabet is placed in t#enty petals giving
rise to one thousand petals. $his is e5plained in detail in @alit %ahasranma 2KF
to F12. (lease refer to the interpretation of these nma>s for details. $hus, not
only the psychic centres are identified #ith @alitmbik, but also the entire
alphabets of %anskrit. $hese alphabets form #ords and their meaning, #hich
establishes 3er presence in every aspect of the universe. $his is the purpose
of yoginnysa.
(hanysa refers to fifty one aktipiha>s. +hen iva #as not invited by *aka
to participate in a yaj; organised by demon *aka, father of %at, an incarnation
of akt, immolated 3erself. iva carrying 3er corpse #as milling around. !iu
cut the corpse into fifty one pieces that fell in fifty one different places. $hese
places are kno#n as fifty one aktipiha>s. .ach of these aktipiha>s is
represented by an alphabet and thus #e have fifty one alphabets. $he number of
alphabets is different from fifty alphabets referred in yoginnysa as
alphabet 7 &/a' is addition here.
1+.
4n )rcakranysa, "aapati, 8etrapla, Jogini>s &#ho preside over
eight varaa>s', aadikblaka>s &cardinal guards', bauka &young guards',
Brahm and 6nanta are placed in various parts of the body. $his nysa also
confirms that every aspect of the universe is pervaded by 3er.
i'. 0 7 l
ii'. l77 77 l
iii'. -"7 l
iv'. -l7l77 l
v'. l lU77 l
vi'. l77 l
vii'. 7 l
viii a'.7 Ul
viii b'. 7 77 l
i5'. l 77 l
$hese nine nysa>s represent nine varaa>s of ri Bakra. .ach )akti of every
varaa is placed on different parts of the body. Gysa for ninth varaa is done
only #ith mlamantra.
6dditional nysa>s.
/. mlavidynysa7 this is discussed along #ith mlavidyvaranysa &PO'.
0. kme)varytinysa is done contemplating the four piha>s &75' viE.
kmagiripiha, pragiripha, jlandharapha and oyapha, #hich are
connected to four mnya>s &pantheons'. .ach pantheon has one )akti and all
the pantheons put together, #e have four )akti>s. Smnya>s are #orshiped at the
end of navvaraa pj.
$hese are the broad interpretations of nysa>s and their significance. +hich of
these nysa>s are to be follo#ed is decided by ones "uru and his lineage. 4t is
important to contemplate 3er #hile performing nysa>s, as other#ise the very
purpose of nysa>s #ould be lost.
1-.(! <antra/ only for the follo=in# ny/a;/ =ill 5e 8i/c$//e8 in the ne>t
part.
P/. 4l 0 7ll
P0. 70l 0 7ll
P1. 7 l
P2. 7ll
PF. 4ll77l
PL. 0 ll
PK. l7l
PO. 0l" l
,antra>s for rest of the nysa>s #ill be discussed at the end of this series.
10. Ny/a "antra/ an8 proce8$re/%
10.1! <t4ny/a
$his is done like a japa. -ollo#ing is the general procedure and this is to be done
first.
i!
7 l0 7lll0
4 l 77+ l0 U7+ l0 7l 0 70l+
47 + 0 + 47 77 +
0l8# l
asya )rmtknysamahmantrasya
brahm i Q gyatr chanda Q )rmtk sarasvat devat Q
&i > open the right palm and touch the top of the forehead= chanda > right
palm on the mouth= but lips should not be touched= devat > right palm on the
heart chakra'
3albhyo bjebhyo nama
/
Q svarebhya )aktibhyo nama
0
Q bindubhyo
klakebhyo nama
1
Q
&/.bja > touch right shoulder #ith right hand= 0. )akti > touch left shoulder #ith
right hand= 1. klakam I on the navelA. Only tip of the fingers to be used.'
$his subtly conveys the origin or alphabets, #ords and their meanings.
A4t is said that any part belo# the navel is touched, hands should be #ashed #ith
#ater from pa;captra &a vessel #ith #ater kept for the purpose of purification'.
But for the purpose of nysa>s, hands can be #ashed after completing all the
nysa>s. $his is based on precepts of )stra>s, #hich consider that all body parts
belo# the navel are impure.
mama )r vidyT.gatvena nyse viniyoga
&open both the palms and run them over all parts of the body= from head to feet=
alternatively viniyoga mudra can be used.
ii!
Gote7 $hroughout nysa procedures, if number K is used, it means om ai hr
)r ai kl sau & '. Gumeric K consists of praava &',
tritri &ai, hr, )r' and Bl &ai, kl, sau'. 4f numeric is used, it means
only praava and tritri &om ai hr )r'.
ii./' K 7 7 7 7 7#7ll +
K a ka kha ga gha .a a.guhbhym namaQ
&use both the inde5 fingers and run them on both the thumbs'
ii.0' K 5 U 7 5 7 5 07 l +
K i ca cha ja jha ;a tarjanbhy nama Q
&use both the thumbs and run them on both the inde5 fingers'
ii.1' K 3 5 7 " 3 ll +
K u a ha a ha a madhyambhy namaQ
&both the thumbs on the middle fingers'
ii.2' K 0 7 U 7l7ll +
K ai ta tha da dha na ai anmikbhy namaQ
&both the thumbs on the ring fingers'
ii.F' K 7 7 4 - 7 777ll +
K au pa pha ba bha ma au kanihkbhy namaQ
&both the thumbs on the little fingers'
ii.L' K 7 4 7 7 7 7077 7ll +
K a ya ra la ba )a a sa ha /a ka a
karatalakaraphbhy namaQ
&open both the palms= run the opened palms of the right hand on the front and
back sides of the left palm and repeat the same for the other palm'
iii!

iii./' K 7 7 7 7 7l
K a ka kha ga gha .a hrdayya namaQ
&open inde5, middle and ring fingers of the right hand and place them on the
heart chakra'
iii.0' K 5 U 7 5 7 5 ll+
K i ca cha ja jha ;a )irase svhQ
iii.1' K 3 5 7 " 3 7l 7 +
K u a ha a ha a )ikhyai vaaQ
&open the right thumb and touch the back of the head. $his is the point #here tuft
is kept'
iii.2' K 0 7 U 7l +
K ai ta tha da dha na ai kavacya huQ
&cross both the hands and run the fully opened palms from shoulders to finger
tips'
iii.F' K 7 7 4 - 7 0 0 l 7 +
K au pa pha ba bha ma au netratrayya vauaQ
&open the inde5, middle and ring fingers of the right hand= touch both the eyes
using inde5 and ring fingers and touch the point bet#een the t#o eyebro#s &j;
cakra' #ith the middle finger.'
iii.L' K 7 4 7 7 7 70 l |
K a ya ra la ba )a a sa ha /a ka a astrya phaQQ
&by using right hand thumb and middle fingers make rattle clock#ise around the
head'
- - 0 74U| bhrbhuvassuvaromiti digbandhaQQ
i9!

,eaning7 $he verse describes Bhrat *evi &kno#n as %arasvat, the goddess
presiding over speech.@alitmbik is addressed as mtk>vara>rpi in @alit
%ahasranma FKK'. -ifty alphabets &%anskrit' are 3er face, arms, legs, abdomen
and bosoms. %he has moon #ith kal>s on 3er head. %he is #hite comple5ioned
like jasmine flo#er. %he holds in her hands, an akaml &rosary of F/
beads= 7 &/a' is added to fifty alphabets= @alit %ahasranma 2O9 is akamldi>
dhar', a pitcher containing nectar &amta kala)a= amta also refers to
immortality', a book and varada mudra &conferring boons'. %he has three eyes.
3er entire form is fla#less &nirmala'. %he is seated on a lotus. 4 bo# to this *evi.
&4t is said that iva in the form dhyna &meditation' and akti is in the form of
japa. Only this union &union of meditation and mantra japa' leads to realiEation.
$here is no other #ay to attain realiEation. $he entire form of @alitmbik is r
!idy mantra>s. +hen nysa is done, it means that our body transforms as 3er
temple. 6biding in this thought perpetually leads to 3er realiEation.'
9!. &follo# as per karanysa'
> 7 l7l U 7 l+
> 77ll7l 7 7 7 7l+
> ll7l U 7l l7l+
> 7l7l U7 7 l+
> 7 0l7l 7 0 l 0 7l+
>
10.(! ?ahir"t4ny/a .ny/a on the e>ternal 5o8y part/!
K is to be prefi5ed to each akara and nama hasa & '
.5ample7 om ai hr )r ai kl sau a nama hasa +
7 +
+hile touching the body parts, join right hand thumb and ring finger and the body
parts should be touched #ith these fingers joined as e5plained in this image.
1 7 a Head
2 7 Mouth
3 5 i Right eye
4 5 Left eye
5 3 u Right ear
6 3 Left ear
ru Right !ostril
" r Left !ostril
# lu Right $hee%s
1& l Left $hee%s
11 7 e 'pper lips
12 ai Lo(er lips
13 7 o 'pper teeth
14 7 au Lo(er teeth
15 7 a )ip of the to!gue
16 7 a !e$%
1 7 %a Right shoulder
1" 7 %ha Right elbo(
1# ga Right (rist
2& gha bottom of right fi!gers
21 .a )ip of right fi!gers
22 $a Left shoulder
23 U $ha Left elbo(
24 7 *a Left (rist
25 5 *ha bottom of left fi!gers
26 7 +a )ip of right fi!gers
2 a Right thigh *oi!t
2" 5 ha Right %!ee
2# 7 a Right a!%le
3& ha ,ottom of right toes
31 " a )ip of toes
32 0 ta Left thigh *oi!t
33 tha Left %!ee
34 7 da Left a!%le
35 U dha ,ottom of left toes
36 !a )ip of left toes
3 7 pa Right thora-
3" pha Left thora-
3# 4 ba Lo(er ba$%
4& - bha !a.el
41 ma abdome!
42 ya heart
43 ra Right armpit
44 la /ape of the !e$%
45 .a Left armpit
46 0a Ru! left ha!d fi!gers from
heart to right fi!ger tips
4 7 a Ru! right ha!d fi!gers from
heart to left fi!ger tips
4" sa Ru! left ha!d fi!gers from
heart to right toe
4# ha Ru! right ha!d fi!gers from
heart to left toe
5& 7 /a Ru! both ha!d fi!gers from
hip to toes
51 %a Ru! both ha!d fi!gers from
hip top of the head
Gotes7
/ to /L are vo#els and from /K to F/ are consonants. .ach alphabet is #ith
nda>bindu &nda>bindu can be e5plained as the supreme energy that is divided
into three I nda, bindu and bja'.
6s already discussed, any portion belo# the navel is touched, hands should be
#ashed as detailed above= other#ise these nysa>s can be mentally
contemplated.
10.)! Antar"t4ny/a .ny/a on the p/ychic centre/!
%ame procedure as per /O.0 above is to be adopted.
.5ample7
K is to be prefi5ed to each akara and nama hasa & '
.5ample7 om ai hr )r ai kl sau a nama hasa +
7 +
1 7 a
2 7
3 5 i
4 5
5 3 u
6 3
ru
" r
# lu
)hroat area
1i0uddhi $ha%ra
16 petals
1& l
11 7 e
12 ai
13 7 o
14 7 au
15 7 a
16 7 a
1 7 %a
Heart
2!hata $ha%ra
12 petals
1" 7 %ha
1# ga
2& gha
21 .a
22 $a
23 U $ha
24 7 *a
25 5 *ha
26 7 +a
2 a
2" 5 ha
2# 7 a
/a.el
Maipra%a $ha%ra
1& petals
3& ha
31 " a
32 0 ta
33 tha
34 7 da
35 U dha
36 !a
3 7 pa
3" pha
3# 4 ba
3o$$y-
4.dhih!a $ha%ra
6 petals
4& - bha
41 ma
42 ya
43 ra
44 la
45 .a 5eri!eum
Mldhra $ha%ra
4 petals
46 0a
4 7 a
4" sa
4# ha 3e!tre of eye bro(s
6*+ $ha%ra
2 petals
5& %a
-or nysa in sahasrra all the fifty akara>s mentioned above are to be done and
#ith prefi5 and suffi5. .ach akara should have prefi5 and suffi5. %imilar is the
case for every chakra.
Gotes7
/. Gysa>s on these chakras follo# the pattern of @alit %ahasranma, #here
vi)uddhi chakra &2KF', anhata &2OF', maipraka &29F', svdhihna &FP2',
mldhra &F/2', j; &F0/' and sahasrra &F0O'.
10.*! 4ara:$88hiny/a .ny/a;/ on pal" an8 fin#er/!
$his nysa is of t#o types. -irst one is done on the palms and the second one is
done on the fingers. %ome te5ts say that prefi5 for palms is 2 &om ai hr )r'
and for the fingers it is K &om ai hr )r ai kl sau'= other te5ts say
prefi5 is only 2. +e are adopting only 2. $here is no suffi5 e5cept nama for this
nysa. -or nysa on the fingers, procedure for karanysa is to be adopted. -or
nysa>s on the right palm, left hand is to be used. $here are only three bjkara>
s are used a sau &7 7 '.
4. (alms
i' 2 &om ai hr )r 'a nama > 2 7 I right palm
ii' 2 nama > 2 7 I back of the right palm
iii' 2 sau nama > 2 I both sides of the right palm
iv' 2 a nama > 2 7 I left palm
v' 2 nama > 2 7 I back of the left palm
vi' 2 sau nama > 2 I both sides of the left palm
44. -ingers
i' 2 a nama > 2 7 I middle fingers of both hands
ii' 2 nama > 2 7 I ring fingers
iii' 2 sau nama > 2 I little fingers
iv' 2 a nama > 2 7 I thumbs
v' 2 nama > 2 7 I inde5 fingers
vi' 2 sau nama > 2 I both sides of palms
10.+!. @t"ara4ny/a
Uoin both palms in front of the heart chakra and meditate on 3er by reciting this
mantra. +hile doing so, inner side of palms should be in contact #ith middle of
the chest.
K )r mahtripurasundari tmna raka raka QQ
K l0 7 7 7l |
10.,! ?laaany/a
Gysa is done #ith Bl mantra #hich is as follo#s.
i' 2 > 7l + 2 ai > hrdayya namaQ &open inde5, middle and ring fingers of
the right hand and place them on the heart chakra'
ii' 2 > ll+ 2 kl > )irase svhQ &open middle and ring fingers of the
right hand and touch the top of the forehead'
iii' 2 > 7l 7 + 2 sau > )ikhyai vaaQ &open the right thumb and touch the
back of the head. $his is the point #here tuft is kept'
iv' 2 > 7l + 2 ai > kavacya huQ &cross both the hands and run the fully
opened palms from shoulders to finger tips'
v' 2 > 0 0 l 7 +2 kl > netratrayya vauaQ &open the inde5, middle and
ring fingers of the right hand= touch both the eyes using inde5 and ring fingers
and touch the point bet#een the t#o eyebro#s &j; cakra' #ith the middle
finger.
vi' 2 > 70 l | 2 sau > astrya phaQQ
10.-! Cat$r/anany/a
i' 2 7lll + 2 hr kl sau devytmsanya nama Q
&touching feet #ith both hands #ith nysa mudra'
ii' 2 7 ll + 2 hai hkl hsau )rcakrsanya nama Q
&knees'
iii' 2 0 ll +2 hsai hsklr hssau sarvamantrsanya
nama
&upper thighs'
iv' 2 lll + 2 hr kl ble sdhyasiddhsanya nama Q
&on the perineum < mldhra I this nysa can be mentally contemplated'
10.0!. Va:iny8iny/a
$his nysa follo#s the pattern of seventh varaa
(lease refer nysa /O.0 above, #here there are fifty one akara>s. $hese F/
akara>s are used in this nysa as detailed belo#. -or e5ample / I /L means
akara>s 7 to 7 &a to a'. $hese are eight !gdevi>s #ho composed @alit
%ahasranma.
i' 2 &om ai hr )r ' / I /L l70l +2 /> /L bl va)ini
vgdevatyai nama Q
&head I sahasrra'
ii' 2 /K I 0/ 7 7l6 l70l + 2 /K I 0/
klhr kme)var vgdevatyai nama Q
&forehead I manas chakra, #hich is just above j;cakra'
iii' 2 00 I 0L 7 l70l + 2 00 I 0L nvl modin vgdevatyai nama Q
&centre of eye bro#s I j;cakra'
iv' 2 0K I 1/ l l70l + 2 0K I 1/yl vimal vgdevatyai nama Q
&neck > vi)uddhi chakra'
v' 2 10 I 1L 7 7"l l70l + 2 10 I 1L jmr aru vgdevatyai nama
Q
&heart I anhata chakra'
vi' 2 1K I 2/ 7 l70l + 2 1K I 2/ hslvy jayin vgdevatyai
nama
&navel > maipraka'
vii' 2 20 >2F 5 6 l70l + 2 20 >2F jhmry sarve)var vgdevatyai
nama Q
&genital > se5 chakra<svdhihna chakra'
viii' 2 2L I F/ 7 l70l + 2 2L I F/ kmr kaulin vgdevatyai
nama Q
&perineum I mldhra chakra'
10.1! <la9i8y9arany/a
$his nysa is based on pa;cada) mantra. ,lamantra of @alitmbik is
al#ays pa;cada) mantra &@alit %ahasranma OO is mlamantrtmik', the
reason for #hich is e5plained in @alit %ahasranma 100,
kmakalrp. 6lphabets of pa;cada) mantra do not have bindu, #hereas in
this nysa each letter is used #ith bindu. Bertain versions place each akara
Bl mantra after 2 and before the akara>s. -or e5ample om ai hr )r
ai ka nama.
om ai hr )r &2' is to be prefi5ed to all the akara>s and nama
at the end. .5ample7 om ai hr )r ha nama
i' -irst ka7
ka 7 I head= e 7 I mldhra &can be mentally contemplated' = 5 I heart
&biological heart'= la > right eye= hr > left eye.
ii' %econd ka7
ha > centre of eyebro#s= sa > right ear= 7 ka > left ear= ha >
mouth= la > right shoulder= hr > left shoulder.
iii' $hird ka7
sa > derriere &can be contemplated mentally'= 7 ka > right knee= la I left
knee= hr > navel.
6fter completing nysa>s, mlamantra japa should be done. 4f one is initiated
into -oa), only -oa) should be recited mentally.
$his completes the first section of nysa>s. 6fter completing, both the hands
should be #ashed #ith the #ater kept in a vessel &pa;captra' meant for this
purpose, as during nysa>s parts belo# the navel are touched. Hest of the
nysa>s #ill be discussed at the end of this series. 6fter completing nysa>s, it
#ould be ideal not to change the sitting posture or get up from the seat. 4f one
has to get up for compelling reasons, t#enty four counts of mlamantra japa
should be done. -urther, #hile performing navvaraa pj, it is better to have
t#o persons for help. Gavvaraa pj is eDuivalent to performing a yaj; and
therefore, one has to follo# the laid do#n procedures to the ma5imum possible
e5tent.
19.1)
Requirements.
(tra means vessels and sdana means arranging. $hough there are several
vessels used fornavvaraa pj, three vessels viE. vardhan kala)a, smanya
arghya and vi)ea arghya are considered as important. Out of the three,
vi)erghya ptra is e5tremely important.
-or performing navvaraa pj the follo#ing materials are reDuired.
/. +ooden plank or mat for seating. $his is called sana.
0. Scamana ptra #ith uttarai &spoon like'. $his vessel should be filled #ith
#ater from F belo#.Scamana procedure is e5plained in part / of this series under
0, tatvcamanam.
0. 6 fe# containers<bo#ls for keeping flo#ers. 4t #ould be ideal to procure
different kinds of flo#ers, at least nine types. %imilarly, containers for keeping
different kinds of fruits, reDuired for naivedya to be offered at the end of each
varaa. 4f possible, it #ould be ideal to use nine kinds of fragrant flo#ers and
nine types of fruits meant for each varaa. +henever possible, different cooked
items can also be prepared for naivedya.
1. Gavvaraa pj cannot be done individually, as it reDuires lot of preparations
before and during the pj. Once the performer is seated, he or she should not
get up from the sana. %omeone has to help the performer by arranging
naivedya at the end of each varaa. 4f naivedya can be prepared in the form of
cooked items, more persons are reDuired to prepare these dishes. $hese dishes
are to be prepared #ith pure mind and body. ?nnecessary talks must be avoided
and instead, @alit %ahasranma, %aundaryalahar, rdev ,htmya and other
hymns and verses should be recited in 3er praise. $hese recitations #ill bring
immense positive energy in the place. 6ll preparations for naivedya should be
done #ith pure and devoted mind.
2. 6t the end of each varaa, dhpa, dpa, naivedya and nrjana should be
offered. Gecessary materials for performing dhpa, dpa and nrjana are to be
kept ready. Gaivedya has been discussed in 1 above. *pa and nrjana can be
done #ith #icks dipped in ghee. $here should be t#o dhpa>s= one should be
continuously burning and another one should be used for offering dhpa at end
of each varaa. %imilarly, lamps on t#o sides of the maala should be burning
continuously and both ghee and sesame oil should be filled in the lamp
freDuently, so that the lamps burn continuously.
F. 6 bigger vessel containing pure potable #ater is to be kept. Only from this,
#ater for vardhan kala)a, smanya arghya and vi)ea arghya is to be taken.
4ron and plastic containers are to be totally avoided. 4t #ould be ideal to purify
this #ater by reciting "tatr mantra t#enty four times.
L. 6 medium siEed vessel to prepare vi)ea arghya. $his vessel is kno#n as
kraa kala)a.
K. !essels for vardhan kala)a, smanya arghya and vi)ea arghya. -or vardhan
kala)a, a uttarai &this is like a small spoon, but #ith more depth to hold #ater
and is al#ays placed inside pa;captra'. -or smanya arghya, a conch #ith a
base &ideally in the form of a tortoise' is reDuired. -or vi)ea arghya another
pa;captra, preferably in silver or copper is reDuired. 6 t#eeEer is also reDuired
and this t#eeEer should be either made of silver or copper. $his is meant to
perform tarpaa. 4nstead of a t#eeEer, a thin silver rod is used #ith spikes on one
side and a very small uttarai like structure #hich can hold one or t#o drops of
vi)ea arghya can also be used.
pa+$aptra
O. $hree or more very small silver or copper cups for "uru ptra, tma ptra,
and fe# e5tra cups to distribute to other upsaka>s. 4t is also advised that a
separate ptra can be kept for the spouse of the #orshipper and this generally
kno#n as patni ptra, provided, spouse is also initiated into either (a;cada) or
-oa). &%pouse means either husband or #ife I pati or patn1
9. %andal paste and kumkum for decorating these vessels, lamps, etc. +hole
rice grains mi5ed #ith turmeric po#der and a little #ater and this is kno#n as
akata or yello# rice #hich symboliEes auspiciousness. 6kata is also reDuired
during pj.
/P. (o#dered condiments like cardamom, cloves, saffron, edible camphor, etc.
$hough they can be mi5ed #ith #ater straight a#ay, it is better to get them
po#dered so that they can mi5 #ell #ith #ater.
//. 6 fe# pieces of peeled ginger.
/0. 4ngredients to prepare vi)ea arghya. $here are different opinions on
preparation of vi)ea arghya and almost every lineage has their o#n methods of
preparing vi)ea arghya. +e go #ith the simplest method, for #hich follo#ing
ingredients are reDuired. ,ilk &not boiled', small Duantity of tender coconut #ater,
honey, saffron, edible camphor, very small Duantity of po#dered sugar, finely
po#dered cardamom, clove, maEe and jtpattr &arillus of the nut or maca'. 6ll
the condiments are to be nicely po#dered and mi5ed #ith milk, tender coconut
#ater and honey. Bonsistency of this mi5ture should be thicker than milk.
/1. 6 copper plate to for bali. $his is also kno#n bali ptra.
/2. 6n rati plate #ith #ater by adding kumkum till the #ater turns red.
4t is also advisable to keep pure #ater in a separate container to #ash hands as
and #hen needed. *ry to#els may be reDuired to dry hands. 4f mantras are not
memorised, provision should be made to keep the printed copies in a
comfortable position.
11.(! Arran#e"ent/%
.ntry into pj maapa is e5plained in part 4 under serial number 0. 4nside this
pj maapa, the follo#ing arrangements are made.
.verything is to be arranged as indicted in the diagram belo#.
/. @alitmbiks idol.
0. ri Bakra< ,eru
1. $#o lamps on either side. @amps to the left of sdhaka should be lit #ith ghee
&clarified butter' and lamps to the right of sdhaka should be lit #ith sesame oil.
$otally there #ill be four lamps. 6ll the four lamps should be placed on bases as
sho#n in part 4 of this series. One small additional lamp can be kept separately to
light dhpa, dpa and nrjana. $here is no need of a base for this lamp.
2. $his is the sana. %itting posture is very important. One should take the most
comfortable sitting posture. 6s far as possible, sdhaka should not change his
sitting posture too freDuently. 6rdhapadmsana is the best sitting posture for
performing navvaraa pj.
F. !i)ea arghya ptra should be consecrated here on the prescribed base.
L. %manya arghya &conch' should be established here on the prescribed base.
K. !ardhan kala)a should be established here.
O. Scamana ptra can be kept here &this vessel can be moved from this place'.
9. -lo#er bo#l can be kept here.
/P. Other pj accessories such as bell, dhpa, dpa, nrjana etc can be kept
here.
//. Gaivedya #hen needed can be kept here.
4f idols of "ane)a, %un, !iu and iva are available, they can be kept in the
places marked 6, B, B and * in the diagram. $his #ill be useful #hile performing
caturyatana pj later.
6ll other materials can be kept in places that are most convenient to sdhaka.
%omeone #ho is conversant #ith mantras can read out the mantras and sdhaka
can perform the pj. ri Bakra should be placed in front of the idol. Gavvaraa
pj can be done even #ithout an idol. But ri Bakra or ,eru is must. !i)ea
arghya ptra and %manya arghya should not be moved after consecrating them.
$his is one of the very important aspects of navvaraa pj.
11.)! <eanin# an8 p$rpo/e .5roa8er per/pecti9e!%
Bonsecration of ptra>s, vi)ea arghya ptra, smanya arghya, vardhan kala)a,
"uru ptra and tma ptra is importnat. (atn ptra need not be consecrated and
should not be mi5ed #ith tma ptra, if #ife<husband is not initiated into
(a;cada) or -oa). ,antras and procedures #ill be discussed in the ne5t part
of this series.
+ater is given so much importance not only in navvaraa pj, but in every
ritual including great yaj;a>s. 4t is said that #hen bad thoughts percolate into
mind, one should continue to touch #ater and recite mlamantra. 4n general
#ater is compared to kno#ledge in various %criptures. $his can be observed
from the relevant mantras discussed later. !ardhanya means to be made
prosperous or happy. ,antras for consecrating kala)a refer to Brahm, !iu
and Hudra. +hen trimrti>s are referred #hile consecrating #ater in kala)a, it
underlines the importance of #ater. $hus, #ater not only signifies purity, but also
purifies other objects kept for navvaraa yaj;a. $his #ater is said to contain
seven continents, four !edas, sacred rivers, etc.
$he three arghya vessels convey deeper insight into Bonsciousness beginning
from ordinary kno#ledge to supreme kno#ledge. !ardhan kala)a refers to
inferior kno#ledge kno#n as aparaj;na, #here mind goes #ith shapes, forms
and names associated #ith empirical #orld. %manya arghya is higher state of
kno#ledge than empirical kno#ledge, #here dualities are dissolved, but the
thought of :4 am ivaC &aha M )iva V )ivoham or 4 am iva' has not yet
emerged. 4n this state, sdhaka associated #ith !imar)a or dynamic aspect of
iva. !i)ea arghya refers to %upreme kno#ledge, the stage of realising the %elf,
the state of saccidnanda &sat>cit>nanda'. 4n this stage the veil of my that #as
present in smanya arghya is removed and (rak)a form of iva is realiEed.
@iterally speaking smanya means ordinary and vi)ea means special. Both
ordinary and special refer to the type of kno#ledge the sdhaka acDuires #hile
performing navvaraa pj. Gavvaraa pj is not just a ritual, but it is the
foundation for spiritual path. !i)ea arghya is the material depiction of union of
iva and akti &(arame)vara, #here akti is inherent'. 4f this discussion can be
taken for#ard, it also means that the central bindu of ri Bakra means iva and
the innermost triangle of ri Bakra refers to akti. ?nion bet#een of iva and
akti takes place only in the innermost triangle of ri Bakra, #hich leads to
creation, sustenance, dissolution, concealment and re>creation, the five principal
acts of Brahman. 3ence, navvaraa pj is not only considered as secret, but
also sacred.
.ach of these ptra>s are placed on a base, also kno#n as maala &a circular
base' or dhra&substratum'. .very ptra #ill have three components I the base,
the vessel and the #ater in the vessel and they represent agni &fire', sun and
moon on the grosser side and suumna, pi.gala and ia on the subtler side
respectively. (a;cada) mantra, kmakal &@alit %ahasranma 100' and ri
Bakra are also compared to moon, sun and fire. Bhvanopaniad elaborately
discusses on these subtleties and these subtleties are dealt #ith in the series :ri
Bakra and human body'. 4n kta #orship, every aspect of creation can be
divided into three, kno#n as triads. +hen a sdhaka pursues spiritual path, he
pursues pururtha, #hich means human pursuit. %he is the giver of pururtha>
s says @alit %ahasranma 09/, (ururtha>prad. (ururtha is the fourfold
values of human life. $hey are dharma &righteousness or virtues', artha &#ish or
purpose', kma &desires and pleasures' and moka &the liberation'. 4t is clear
that the ancient scriptures do not prohibit these great human values. +hat they
say is not to get attached to them. On many occasions this concept is
misDuoted. $he first entry into pj maapa &part /.0' is kno#n as path to
liberation and one is liberated at the end of navvaraa pj, provided sdhaka
performs this pj #ith absolute devotion. +hen he enters into the path of
liberation, he undergoes various modifications and these changes are
symbolically e5plained and e5pressed through these smanya arghya and vi)ea
arghya.
$he same concept can be e5plained subtly through psychic chakras. %dhakas
physical body represents the bases of arghya ptra>s and is to be contemplated
at mldhra chakra, #hich also represents first of the four pururtha>s viE.
dharma. Because of his accumulated dharma account over his past births, he
has attained human form. 3e continues to e5ist in this form because of the fire
of kualin burning at his mldhra chakra. +hile mldhra chakra is the
base of the human body, his mind is the vessels and the #ater or amta #ithin in
the ptra>s is his #orldly e5perience. $hus it indicates that one needs to have
pure body, pure mind and pure thought processes #hile performing navvaraa
pj. +hen a sdhaka purifies his mind, the other components of antakaraa
&intellect, consciousness and ego' are also purified by the moon and this
purifications process begins at vi)uddhi chakra and is completed at j; chakra.
+hen antakaraa is purified, his devotion for 3er turns into love and during this
stage his consciousness begins to enter into cosmic consciousness by piercing
sahasrra and during this stage, nectar &amta' is secreted from sahasrra and
drips into the throat chakra. $his is e5plained in @alit %ahasranma
/PL %udhsrabhi>vari. $his is considered as the most secretive part
of vi)ea arghya in navvaraa pj.
$he five vessels or ptra>s > smanya arghya, vi)ea arghya, guru ptra, tma
ptra and bali ptra represent five ,>s or pa;camakra>s and these five are
madya &into5icating drink', msa &meat', matsya &fish', mudr &finger gestures'
and maithuna &copulation'. .ach of these tattva>s is represented by pa;cabhta>
s or five principal elements viE. fire, #ater, earth, air and k)a.
$his is the broader perspective of ptra>s and specifics #ill be discussed at the
time discussing relevant mantras.
11.*! Proce8$re for e/ta5li/hin# 9ar8han' 4ala:a%
&6ll procedures and mantras are abridged. 4f this procedure is adopted, it #ould
appro5imately take about three hours to complete navvaraa pj. $here are
several e5panded versions #ith procedures and mantras in detail and for
performing such pj>s, it could take about eight to t#elve hours. +hich version
one has to adopt is decided by ones "uru.'
$o the left of sdhaka &marked as L in the previous part' is vardhan kala)a.
(osition of these vessels can be marginally adjusted to suit the convenience of
sdhaka= ho#ever their places should not be interchanged.
6 yantra is to be dra#n as sho#n in the image belo#. 4t consists of a bindu, three
triangles and a sDuare. 4deally this yantra should be dra#n #ith diluted paste
comprising of sandal, kumkum and turmeric paste. $his is the base
or maala on #hich vardhan kala)a #ill be placed. $hose #ho freDuently
perform navvaraa pj get them engraved on metallic plates or #ooden plates.
-lo#ers< akata should be offered to each of the triangles by reciting this mantra
si5 times.
2 7 7 7l | 2 a agni maalya nama QQ
(lace sandal paste and kumkum on the four upper sides of the vardhan kala)a
and fill it #ith #ater taken from /9./.F &part K' mi5ed #ith condiments on
the maala above, by reciting the follo#ing mantra t=el9e ti"e/.
+hen vardhan kala)a is placed on the maala, it should be filled #ith #ater
and should have uttarai #ithin.
or
2 3 7l | 2 u sryamaalya nama QQ
6fter placing the vessel on the maala offer flo#ers to the vessel &not to be
placed inside the vessel'. Go# by closing the kala)a #ith right palm recite the
follo#ing mantra /i>teen ti"e/.
2 7l | ma somamaalya nama QQ &$his is kno#n
as abhimantraa orconsecrating'.
+ithout taking the right palm, recite the follo#ing mantra.
7 7 " 75 7 l 0+
00 0 4 l l0 "l 0l|
7 0 ll 0(7l Ul+
7 78 7 7 l 78 "|
7# 0l 7l4 l 0l+
70 7>7 7l 7 0>7l7l|
# 7l 0+
7 U 7l 7 7U 7 |
&,eaning7 ,outh of this vessel is !iu, its neck is Hudra and its base is
Brahm. 4n the centre all the akara>s reside. 6ll the oceans are #ithin,
along #ith the seven continents. -our !edas together #ith all their
branches d#ell #ithin this #ater. 3oly rivers "a.ga, Jamun, "odvar,
%arasvat, Garmad, %indhu and 8veri are present in these #aters.'
Bontinue to hold the kala)a #ith right palm and recite mlamantra &initiated
mantra either PaAca8a:' or -oa)' eight times. Go# sho# dhenu mudra over
the kala)a. $ake some #ater #ith uttarai and sprinkle &prokaa' all over the
pj items and over the self. $his is kno#n as )uddhisaskra & 7l' or
purification rites.
&*henu mudra7 Uoin the fingers of both palms, connect little fingers #ith ring
fingers and connect inde5 fingers #ith middle fingers. Uoin the thumbs and make
these intert#ined fingers to face do#n. (lease refer image belo#.'
11.+! Proce8$re for e/ta5li/hin# /"nya ar#hya%
%imilar maala is to be established again for smnya arghya. .stablishing
smnya arghya reDuires a conch and a base as sho#n in the picture belo#,
apart from the maala. On the maala, base for the conch is placed &#hich is
usually turtle shaped' and on this base, the conch is to be placed. $his is
called smnya arghya and this is marked as K in the previous part.
.stablishing maala for smnya arghya is different from establishing vardhan
kala)a, though the dra#ing remains the same. @et us assume that the sdhaka is
sitting facing east. $hen the maala is to be #orshiped as per this chart. $here
are three types of mantras. One is performed on the sDuare marked in blue
numeric, another is performed in the inner triangle &marked in red numeric / to L'
and the third one is #orshiped in the inner triangle #hich is marked in roman
numeric. $he entire pj is done #ith Bl mantra, as described
in Blaa.anysa, #ith some additional mantras.
11.+.a! Bor/hipin# o$ter /C$are &marked / to F on the outer sides and L in the
bindu'7
/. 2 57l + 570 7l7 7l 7 7l |
2 ai hdayya nama Q hdaya)akti )rpduk pjaymi nama QQ
0. 2 ll+ 0 7l7 7l 7 7l |
2 kl )irase svh Q )ira)akti )rpduk pjaymi nama QQ
1. 2 7l 7 + 7l0 7l7 7l 7 7l |
2 sau )ikyai vaa Q )ik)akti )rpduk pjaymi nama QQ
2. 2 7l + 70 7l7 7l 7 7l |
2 ai kavacya h Q kavaca)akti )rpduk pjaymi nama QQ
F. 2 0 0 l 7 + 0 0 7l7 7l 7 7l |
2 kl netratrayya vaua Q netra)akti )rpduk pjaymi nama QQ
L. 2 70 l + 70 0 7l7 7l 7 7l |
2 sau astrya pha Q astra)akti )rpduk pjaymi nama QQ
$here are three A marks #hich represent south, #est and north sides. 4n these
three places, #ithout reciting any mantra place akata at these cardinal points. &I
am not able to get explanation as to why these three cardinal points are
worshiped in silence. I believe that this subtly represents the innermost triangle
of ri Cakra, hence worshiped without any mantra. If someone knows about this,
please write about this in comment section.'
11.+.5! Bor/hipin# /i> inner trian#le/% &marked as / to L in red'
4n /9.F.a, Bl mantra #as used. 4n this section, %aubhgya (a;cada) is used.
/. 2 7 7 5 57l + 570 7l7 7l 7 7l |
2 ai ka e la hr hdayya nama Q hdaya)akti )rpduk pjaymi
nama QQ
0. 2 7 ll+ 0 7l7 7l 7 7l |
2 kl ha sa ka ha la hr )irase svh Q )ira)akti )rpduk pjaymi
nama QQ
1. 2 7 7l 7 + 7l0 7l7 7l 7 7l |
2 sau sa ka la hr )ikyai vaa Q )ik)akti )rpduk pjaymi nama QQ
2. 2 7 7 5 7l + 70 7l7 7l 7 7l |
2 ai ka e la hr kavacya h Q kavaca)akti )rpduk pjaymi nama QQ
F. 2 7 0 0 l 7 + 0 0 7l7 7l 7 7l |
2 kl ha sa ka ha la hr netratrayya vaua Q netra)akti )rpduk
pjaymi nama QQ
L. 2 7 70 l + 70 0 7l7 7l 7 7l |
2 sau sa ka la hr astrya pha Q astra)akti )rpduk pjaymi nama QQ
11.+.c! Bor/hipin# inner "o/t trian#le an8 the 5in8$ =ithin% &marked as 4 to
4! in red'7
4. 2 7 7 5 + 2 ai ka e la hr nama Q
44. 2 7 +2 kl ha sa ka ha la hr nama Q
444. 2 7 + 2 sau sa ka la hr nama Q
4!. 2 7 7 5 + 7 + 7 ++
2 ai ka e la hr + kl ha sa ka ha la hr + sau sa ka la hr ++
&4! is to be repeated eight times #ith arcana on the bindu.'
11.+.8! Place"ent of conch an8 itD/ 5a/e8 on the "aala.
Go# take the tortoise shaped base and sprinkle it #ith #ater taken from vardhan
kala)a by reciting the follo#ing mantra.
2 astrya pha Q 2 70 l Q
Go# the base is in the right hand of the sdhaka. 6fter reciting the follo#ing
mantra, place this base on the maala meant for smnya arghya.
2 7 77l U7 7 7l l0 7 7l ll 7 7l0 l0lUll +
+orshiping smnya arghya consists of three parts.
-irst, the base consisting of a sDuare, three triangles and a bindu=
second, the conch #ith its turtle shaped base= and
three the #ater #ithin the conch.
$hese three are considered as agni, srya and candra maala>s. $his has been
already dealt #ith in part K of this series. $he base has already been #orshiped
through /9.F.a, b and c above.
Go# the turtle shaped base for the conch and the conch itself are to be
#orshiped. .ach of thesemaala>s have different kal>s and each of these
kal>s are individually #orshiped. *etails of individual kal>s are given #hile
establishing vi)ea arghya. -urther, in order to shorten the duration, mantras for
#orshiping individual kal>s are not given here. 6 sdhaka can include
#orshiping of kal>s here as, if he or she has enough time.
6fter placing tortoise shaped base on the maala, the base along #ith maala
is to be #orshiped as belo#.
2 7 7 0 " 0l 6 7 + 7H 7 0 + l | 77l |
Go# place flo#ers on both the maala, and the tortoise shaped base of the
conch.
Go# sprinkle &prokaa' on the conch by taking #ater from the vardhan kala)a
by reciting the follo#ing mantra.
2 astrya pha Q 2 70 l Q
Go#, take the conch and place it on the tortoise shaped base by reciting the
follo#ing mantra.
2 3 7l 7 7 7 (l77l l0 7 7l ll 7 7l0 l |
2 u srya maalya arthaprad dvda)akaltmane )r mahtripursundary
smnya arghya ptrya nama QQ
6fter placing the conch on the tortoise shaped base, apply sandal paste and
kumkum on the conch.
6fter decorating the conch as above, recite the follo#ing mantra and place
flo#ers on the conch &flo#ers should be placed outside the conch'.
2 7 7l 0 l 0 0l l7 l0 - l 7 | l +
7l |
2 satyena rajas vartamno nive)ayannmta martya ca hirayayena svait
rathendevo yti bhuvan vipa)yan QQ h h h hai hau ha Q
hamalavaray sryamaalya nama QQ
Go#, by using uttarai take #ater from vardhan kala)a and by reciting the
follo#ing mantra fill the conch #ith #ater. ?ttarai should be held #ith the right
hand thumb and ring finger.
2 7l 7l7 U 77 7l l0 7 7l ll 7 0l +
2 ma soma maalya kmapradha oa)a kaltmane )r
mahtripursundary smnargya amtya nama Q
Go# using thumb and ring fingers add a fe# drops of milk>honey mi5 into the
conch and recite the follo#ing mantra and offer flo#ers to the conch at the end of
recitation.
2 7l 7 0 60 " + -ll7 0| l 7l |
$ake a fe# drops of #ater from the conch &conch can be lifted by the left hand to
pour #ater into the right palm'. By using the same mantras of /9.F.b &/ to L'
sprinkle this #ater on )na, agni, nirti, vyu, centre and eastern cardinals.
By using avakuhana mudra &77 5 7 ' over the conch, recite the follo#ing
digbandhana mantra. 4n avakuhana mudra, by closing all the fingers of the
right hand e5cept the inde5 finger and #ith this e5tended inde5 finger rotate
clock#ise over the conch and similarly using the left inde5 finger rotate
anticlock#ise over the conch. By doing so #ith both inde5 fingers is avakuhana
mudra, #hich is sho#n here.
a.a%uha!a
mudra
- - 0 bhrbhuvassuvaromiti digbandhaQQ
Go# by using a;jali, dhenu and yoni mudras #orship the conch.
By touching the conch #ith right fingers, recite mlamantra seven times. Go#
take more #ater from the conch into the right palm and sprinkle all over the pj
articles. 6dd a fe# drops of #ater from the conch into vardhan kala)a. (lace the
conch in its position. -rom this point on#ards, smanya arghya &conch' should
not be moved till the end of navvaraa pj.
(2. Con/ecratin# 9i:ea ar#hya%
$his is the most significant part of navvaraa pj.
$here are three components in vi)ea arghya= maala, the vessel or ptra and
arghya. $hese three represent agni, srya and soma maala>s. 0P./ means,
#orshiping vi)ea arghya maala, 0P.0 means #orshiping vi)ea arghya ptra
and 0P.1 means #orshiping vi)ea arghya. $here are number of mantras and
procedures in this part of navvaraa pj.
-irst #e need to prepare vi)ea arghya in kraa kala)a, as referred in part 0 of
this series under /9./.L. -or this purpose, #e should have medium silver vessel
or copper vessel, marginally bigger than the siEe of pa;captra. 4ngredients
reDuired to prepare vi)ea arghya is given /9.0./0 in part K of this series. $he
ingredients are milk &not boiled', small Duantity of tender coconut #ater, honey,
saffron, edible camphor, very small Duantity of po#dered sugar, finely po#dered
cardamom, clove, maEe and jtpattr &arillus of the nut or maca'. 6ll the
condiments are to be nicely po#dered and mi5ed #ith milk, tender coconut #ater
and honey. Bonsistency of this mi5ture should be thicker than milk. (eel ginger
and keep some pieces ready. 6 fe# pieces are reDuired to place inside the vi)ea
arghya. 6 slightly bigger piece is reDuired to hold it in t#eeEers for doing tarpaa.
6 silver rod or a #ooden plank #ith a sharp edge of about 2C height can also be
used instead of t#eeEers. $#eeEers or rod should either be in silver, copper or
#ood only &anything in gold is al#ays permissible'. +hatever the instrument
used, it should be in a position to hold ginger piece tightly. 4t #ould be ideal to
have t#eeEers or rod in the siEe of uttarai of pa;captra.
,i5 all the ingredients in kraa kala)a and stir #ithout any sediment. @ater this
is to be transferred to vi)ea arghya ptra. +hile preparing vi)ea arghya #ater
should be taken only from the vessel discussed in /9.F. $his applies not only to
vi)ea arghya, but also for vardhan kala)a and smanya arghya.
Go# dra# maala as discussed in vardhan kala)a, #hich #ill be like this.
$he diagram in the left is the one that is to be prepared as maala to
keep vi)ea arghya ptra and its base. $he diagram on the right #ill e5plain ho#
this maala is to be #orshiped. 6fter dra#ing this maala apply sandal and
kumkum on the maala. Go#, arcana is to be done #ith flo#ers and akata as
detailed belo#.
0P./.a' Bor/hipin# o$ter /C$are &marked / to F on the outer sides and L in the
bindu'7
/. 2 7 7 5 57l + 570 7l7 7l 7 7l |
2 ai ka e la hr hdayya nama Q hdaya)akti )rpduk pjaymi
nama QQ
0. 2 7 ll+ 0 7l7 7l 7 7l |
2 kl ha sa ka ha la hr )irase svh Q )ira)akti )rpduk pjaymi
nama QQ
1. 2 7 7l 7 + 7l0 7l7 7l 7 7l |
2 sau sa ka la hr )ikyai vaa Q )ik)akti )rpduk pjaymi nama QQ
2. 2 7 7 5 7l + 70 7l7 7l 7 7l |
2 ai ka e la hr kavacya h Q kavaca)akti )rpduk pjaymi nama QQ
F. 2 7 0 0 l 7 + 0 0 7l7 7l 7 7l |
2 kl ha sa ka ha la hr netratrayya vaua Q netra)akti )rpduk
pjaymi nama QQ
L. 2 7 70 l + 70 0 7l7 7l 7 7l |
2 sau sa ka la hr astrya pha Q astra)akti )rpduk pjaymi nama QQ
0P./.b' Bor/hipin# /i> inner trian#le/% &marked as / to L in red' &,antras are
similar to 0P./.a above'
/. 2 7 7 5 57l + 570 7l7 7l 7 7l |
2 ai ka e la hr hdayya nama Q hdaya)akti )rpduk pjaymi
nama QQ
0. 2 7 ll+ 0 7l7 7l 7 7l |
2 kl ha sa ka ha la hr )irase svh Q )ira)akti )rpduk pjaymi
nama QQ
1. 2 7 7l 7 + 7l0 7l7 7l 7 7l |
2 sau sa ka la hr )ikyai vaa Q )ik)akti )rpduk pjaymi nama QQ
2. 2 7 7 5 7l + 70 7l7 7l 7 7l |
2 ai ka e la hr kavacya h Q kavaca)akti )rpduk pjaymi nama QQ
F. 2 7 0 0 l 7 + 0 0 7l7 7l 7 7l |
2 kl ha sa ka ha la hr netratrayya vaua Q netra)akti )rpduk
pjaymi nama QQ
L. 2 7 70 l + 70 0 7l7 7l 7 7l |
2 sau sa ka la hr astrya pha Q astra)akti )rpduk pjaymi nama QQ
0P./.c' Bor/hipin# inner "o/t trian#le an8 the 5in8$ =ithin% &marked as 4 to
4! in red'7
4. 2 7 7 5 + 2 ai ka e la hr nama Q
44. 2 7 +2 kl ha sa ka ha la hr nama Q
444. 2 7 + 2 sau sa ka la hr nama Q
4!. 2 7 7 5 + 7 + 7 ++
2 ai ka e la hr + kl ha sa ka ha la hr + sau sa ka la hr ++
&4! is to be repeated eight times #ith arcana on the bindu.'
$ake #ater from smnya arghya and sprinkle on the maala. 6s the conch
cannot be moved from its base, it should not be lifted. +ater can be taken from
the conch using small uttarai. 6lternatively some #ater from smnya arghya
can be poured into the after digbandha as referred at the end of the previous
part. $his is the better option, as generally it is not possible to take #ater from the
conch #ith uttarai, as the mouth of the conch #ill be very narro#.
2 70 l +
2 ai hra astrya pha Q
Go# sho# avakuhana mudra on the maala. $his completes the
consecration of maala.
0P.0' Go# take the empty vi)ea arghya ptras base or dhra #ith right hand
and place it on the maala, by reciting this mantra.
2 7 7 5 7 77l U7 7 7l l0 7 7l 7 7l0 l0lUll +
2 ai ka e la hr a agnimaalya dharmapratha da)a kaltmane )r
mahtripursundary vi)ea arghya ptrtdhrya nama Q
Offer flo#ers and akata to the dhra by reciting the follo#ing mantra.
2 7 7 0 " 0l 67 7 + 7H 7 0 + l | 77l |
2 agni dta vmahe hotra vi)vafedasa Q asyayaj;asya sukratum Q
r r r rai rau ra QQ ramalavaray agnimaalya nama QQ
$his base or dhra is to be mentally divided into ten parts and each part is to be
#orshiped #ith flo#ers and akata. $hese ten parts refer to ten kal>s of agni.
i' 2 U l7 2 ya dhmrrcie nama
ii' 2 3l 2 ra umyai nama
iii' 2 7 2 la jvalinyai nama
iv' 2 7l 2 va jvlinyai nama
v' 2 # 2 )a visphuli.ginyai nama
vi' 2 7 2 a su)riyai nama
vii' 2 7l 2 sa surpyai nama
viii' 2 77l 2 ha kapilyai nama
i5' 2 7 ll /a havyavhyai nama
5' 2 7ll ka kavyavhyai nama
6t this point both maala and dhra are consecrated. Go#, #e have to place
the vi)ea arghya ptra on dhra. (lace vi)ea arghya ptra in front and
sprinkle it #ith smnya arghya #ater &remember that smnya arghya should
not be moved from its place'. Go#, recite the follo#ing mantra and
sho# avakuhana mudra on the ptra.
2 70 l +
2 ai hra astrya pha Q
0P.1' *ecorate vi)ea arghya ptra #ith sandal paste and kumkum and place
vi)ea arghya ptra on the dhra by reciting the follo#ing mantra.
2 7 3 7l 77 7 (l77l l0 7 7l 7 7 7l0 l |
2 u kl ha sa ka ha la hr srya maalya arthaprada
dvda)akaltmane )r mahtripursundary vi)ea arghya ptrya nama QQ
6t this point, vi)ea arghya ptra #ithout amta is on dhra and dhra is
on maala. Go# vi)ea arghya ptra is to be filled #ith amta. Before this,
vi)ea arghya ptra is to be consecrated #ith the follo#ing
mantras. Sdhra vi)ea arghya ptra is agni maala, vi)ea arghya ptra is
srya maala and amta that is going to be filled up is candra maala.
Go#, after reciting the follo#ing mantra, place flo#ers outside the ptra is a
scattered manner or spread out manner.
2 l6 7l 3 7 l l -" 7l7l -l 7=U 7=U
7l0 7 0 0 ll|
2 hr ai mahlakm)vari paramasvmini rdhva)nyapravhini
somasrygni bhakii paramk)a bhsure gaccha gaccha vi)a vi)a
ptra pratigha h phat svh QQ
Go# srya maala is to be contemplated inside the vi)ea arghya ptra. 6s a
first step, srya maala is #orshiped. !i)ea arghya ptra is srya maala.
-ollo#ing mantra is to be recited
2 7 7l 0 l 0 0l l7 l0 - l 7 | l +
7l |
2 satyena rajas vartamno nive)ayannmta martya ca hirayayena svait
rathendevo yti bhuvan vipa)yan QQ h h h hai hau ha Q
hamalavaray sryamaalya nama QQ
%rya maala has t#elve kal>s. $hese t#elve kal>s are to be #orshiped no#.
+hile doing this arcana, only akata is to be used as arcana is done #ithin the
vi)ea arghya ptra.
i' 2 7 - 07 2 ka bha tapinyai nama
ii' 2 7 4 0l7 2 kha ba tpinyai nama
iii' 2 U l 2 ga pha dhmryai nama
iv' 2 7 = 2 gha pa marcyai nama
v' 2 7l 2 .a na jvlinyai nama
vi' 2 U = 2 ca dha rucyai nama
vii' 2 U 7 7 7 2 cha da suumnakyai nama
viii' 2 7 -7l 2 ja tha bhogadyai nama
i5' 2 5 0 l 2 jha ta vi)avyai nama
5' 2 7 " 4U 2 ;a a bodhinyai nama
5i' 2 Ul 2 a ha dhrinyai nama
5ii' 2 5 7 l 2 ha a kamyai nama
Hepeat mlamantra three times no#.
0P.F' Hecite the follo#ing mantra before pouring nectar into vi)ea arghya ptra.
2 7 7l 7l7 U 77 7l l0 7 7l 7 7 7 0l +
Go# take a piece of peeled ginger and hold in the left hand #ith tattva
mudra &joining thumb and ring finger of the left hand is tattva mudra'.
Go# take kraa kala)a in the right hand and pour amta &vi)ea arghya'
slo#ly through into the vi)ea arghya ptra.
+hile doing so, #e have to recite mentally all the alphabets of %anskrit
first in the regular manner and ne5t in reverse manner.
$hat is first #e have to begin #ith 7 and finish at and then begin
at and finish at 7 &akrati kakrntam'.
Go# the vi)ea arghya is filled in the vi)ea arghya ptra.
Go# the amta in the vi)ea arghya ptra is to be consecrated.
6mta in the vi)ea arghya ptra is soma maala.
-ollo#ing mantra is to be recited and offer akata into the ptra at the end of the
mantra. Hest of the mantras in this part is for Ul 7, #ho presides over amta.
2 7l 7 0 60 " + -ll7 0| l 7l |
Go# take pure honey in a small cup and have a small and pointed #ooden spoon
or silver spoon. $here are special instrument specially made for performing
navvaraa pj like the one sho#n here. 6 drop of honey is to be transferred to
vi)ea arghya ptra by reciting the follo#ing mantras. $his #orship is to amta
inside the vi)ea arghya ptra.
A ?
,antras here are the names of si5teen kal>s &oa)a kal' candra maala.
6mta inside the vi)ea arghya ptra is to be mentally divided into si5teen parts.
4n each of these mantras after 2 &om ai hr )r', all the si5teen vo#els of
%anskrit are prefi5ed. $hese arcana>s are to be done #ith honey, using side 6,
#hich can hold only a drop of honey. $he other side B is meant for performing
tarpaa. 6 ginger piece can be inserted here. $he above piece can be used
instead of t#eeEers. It i/ i"portant that arcana;/ to 5e 8one in anticloc4=i/e
"anner.
i' 2 7 7 0l 2 a amtyai nama
ii' 2 7 7l 2 manadyai nama
iii' 2 5 7 7l 2 i pyai nama
iv' 2 5 0 2 tuyai nama
v' 2 3 7 2 u puyai nama
vi' 2 3 2 ratyai nama
vii' 2 7 U 2 dhtyai nama
viii' 2 2 2 )a)inyai nama
i5' 2 7 7l 2 lu candrikyai nama
5' 2 7l 2 3 kntyai nama
5i' 2 7 7l 2 e jyotsnyai nama
5ii' 2 2 ai )riyai nama
5iii' 2 7 7 2 o prtyai nama
5iv' 2 7 7#7l 2 au a.gadyai nama
5v' 2 7 7 "l 2 a pryai nama
5vi' 2 7 7 "l 0l 2 a prmtyai nama
6fter adding honey thus to the amta inside vi)ea arghya ptra, the
follo#ing mtyu0jaya mantra is to be repeated eight times.
7 ll | om jusa svh QQ
Go#, repeat mlamantra eight times.
Go# contemplate an inverted triangle #ith a bindu #ithin, on the amta inside
the vi)ea arghya ptra as sho#n belo#.
Go# #e have to #rite F/ alphabets #ith bindu &like a ' on the three corners
of the triangle as detailed belo#. 6lphabets can be #ritten using dharvi as
described in the previous part.
/ I 07 7 7 5 5 3 3 7 7 7 7 7 7 &/L'
0 I 17 7 7 U 7 5 7 5 7 " 0 &/L'
1 >/7 7 U 7 4 - 7 &/L'
2 I ha= F I 7 /a= L I ka &F/ alphabets end here'=
K I 5 &kmakal'=
O I ha=
9 I sa. &K, O, 9 are not counted for arriving F/ alphabets'.
%imilarly #e have to #rite pa;cada) mantra as described belo#7
6t bindu marked as K
2 7 7 5 + 7 + 7 ++
Bet#een / and 0
2 2 7 7 5 + 2 ka e la hr nama +
Bet#een 0 and 1
2 7 + 2 ha sa ka ha la hr nama +
Bet#een 1 and /
7 + sa ka la hr nama+
Go# dra# a circle around this triangle and then dra# he5agon &akoa' as
sho#n belo#.
$he inner triangle has already been #orshiped. %tarting from the lo#er outer
triangle, in anticlock#ise manner, #e have to #orship #ith (a;cada) mantra. 4f
one finds #riting difficult, he<she can contemplate #riting.
/. 2 7 7 5 57l + 570 7l7 7l 7 7l |
0. 2 7 ll+ 0 7l7 7l 7 7l |
1. 2 7 7l 7 + 7l0 7l7 7l 7 7l |
2. 2 7 7 5 7l + 70 7l7 7l 7 7l |
2 F. 2 7 0 0 l 7 + 0 0 7l7 7l 7 7l |
L. 2 7 70 l + 70 0 7l7 7l 7 7l |
Go# #e have to invoke %udh *evi in our seven psychic centres I from
mldhra to just belo# sahasrra. mla refers to the initiated mantra such as
pa;cada), saubhgya>pa;cada) or -oa).
i' 2 7 0 7ll &contemplation on mldhra chakra'
ii' 2 77 0 7ll &contemplation on svdhihna chakra'
iii' 2 07 0 7ll &contemplation on maipraka chakra'
iv' 2 l 0 7ll &contemplation on anhata chakra'
v' 2 77l 0 7ll &contemplation on vi)uddhi chakra'
vi' 2 0 7ll &contemplation on j; chakra'
vii' 2 3 0 7ll &contemplation on manas &mind' chakra. $his is
just abovej; chakra.'
?nmana means the (o#er of (arama)iva #hich is ready to manifest. @iterally it
means transcending mind. j; chakra refers to mind and unmana refers to
transcending mind.
$he follo#ing is to be recited in praise of %udh *evi
2 0l 77"l 7 07>70 0(l 7 7l 7 7 7l ll|
6fter reciting the above verse, take amta from vi)ea arghya ptra in an
uttarai.
Go# raise the uttarai above the head by saying the follo#ing mantra.
.ach of the follo#ing mantras has a purpose and these mantras are
classified under different gender.
2 7 2 vaa &male= used for invocation, peace and prosperity'
By reciting the follo#ing mantra, pour back the amta into vi)ea arghya ptra.
2 ll 2 svh &female= destruction of sins and produces auspicious results'
Go#, sho# avakuhana mudra vi)ea arghya ptra by saying the follo#ing
mantra.
2 2 hu &female= infatuation'
Go#, sho# dhenu mudra vi)ea arghya ptra by saying the follo#ing mantra.
2 7 2 vaua &gender not kno#n= invitation'
Go#, sho# astra mudra vi)ea arghya ptra by saying the follo#ing mantra.
2 2 pha &male= destroying evil forces'
&astra mudra is clapping the left palm #ith inde5 and middle fingers of the right
palm. +hile doing so, there should be enough sound.'
Go# offer flo#ers to vi)ea arghya ptra by reciting the follo#ing.
2 2 nama &eunuch= attraction'
Go#, by reciting mlamantra look at the vi)ea arghya ptra, through glin
mudra &open up the left palm and hold the right palm #ith palm facing do#n. Go#
connect the left ring finger #ith the right middle finger and left middle finger #ith
right ring finger. Bonnect left thumb #ith right little finger and vice versa. $his is
glin mudra.'
By reciting 2 #orship %udh *evi in vi)ea arghya ptra #ith yoni mudra.
Go# recite mlamantra seven times.
6t this point, #e have t#o options.
4n the first option, %udh *evi can be consecrated in detailed manner and
the mantra for this consecration is as per consecration of ri Bakra earlier.
4n the second option, by skipping the consecration procedure only
invocation procedure can be done, #hich is as follo#s. 4t #ould be ideal to
use yello# coloured flo#ers here.
2 Ul7 7ll 2 sudhdev vhaymi nama
2 Ul7 7 77l + 2 sudhdevyai nama sanam kalpaymi nama Q
2 Ul7 4l0 77l + 2 sudhdevyai nama bdya kalpaymi nama Q
2 Ul7 7 77l + 2 sudhdevyai nama arghya kalpaymi nama Q
2 Ul7 l 77l + 2 sudhdevyai nama snna kalpaymi nama Q
2 Ul7 7 77l +2 sudhdevyai nama camanya kalpaymi
nama Q
2 Ul7 0 77l +2 sudhdevyai nama vastra kalpaymi nama Q
2 Ul7 U 7, 77, 0, 7 7 l+
2 sudhdevyai nama dhpa, dpa, naivedya and nrajanam samarpaymi Q
&6ll the above are to be done separately'.
Go# #orship %udh *evi #ith yoni mudra.
Go# take a fe# drops of amta from vi)ea arghya ptra and sprinkle on
all the pj articles.
+ash and dry the hands.
Hecite /L times mlamantra.
Brief note abaout %udh *evi7
$he nectar in the vi)ea arghya ptra is kno#n as %udh *evi. %he presides
over amta in vi)ea arghya or she is in the form of amta. %he is revealed
through pa;cada) mantra. 3er physical form is described #ith t#o hands. 4n one
hand she holds a pot of nectar &amtakala)a' and in another hand she holds a
fish. 6mta or nectar refers to moka &liberation' and fish refers to the material
#orld. Both lead to happiness, but physical and material pleasures are short
lived. Only moka gives perpetual Bliss. *ifference is in the usage of Bliss and
pleasure. Bliss is due to *ivine "race and material happiness due to afflicted
mind. .very tarpaa made #ith vi)ea arghya in various varaa>s leads us
gradually to#ards @alitmbik #ho is majestically seated in the innermost
triangle. %he is prak)a>vimar)a>smarasytmaka parabrhma svarpii &this
verse comes up in ninth varaa'. 4n inner triangle and bindu the eDuipoise stage
of iva and akti prevails, #here, the union of the individual self #ith the
%upreme %elf takes place. +hile advancing from the first varaa to#ards the
ninth, our mind has to undergo complete transformation from egoism to total
surrender. By doing tarpaa , #e sacrifice our individuality by controlling our
senses and antakaraa to finally become one #ith 3er #ho takes us to iva for
liberation. 3ence in navvaraa pj, there is al#ays a correlation bet#een the
material #orld and the inner self. $here #ill be no benefit if navvaraa pj is
done #ithout staying focussed on 3er. (omp and vanity have no place in
navvaraa pj. 4n general navvaraa pj should al#ays be done privately
as far as possible to gain ma5imum benefits.
0P.2' %uddhi saskra 7l
6t this point maala, dhra and vi)ea arghya ptra are consecrated. Go# this
ptra is to be filled vi)ea arghya, #hich is already prepared in kraa kala)a.
$his is an e5tensive procedure.
7l &this is not follo#ed in some traditions'
*ra# a maala as sho#n here.
By reciting the follo#ing mantra, place on the maala a small plate.
2 l
8eep on this plate
the darvi &a small #ooden ladle or #ooden t#eeEers or the one sho#n
belo#',
a ginger piece &only through #hich amta #ill be filled in vi)ea arghya
ptra from kraa kala)a'
$hey are placed here for the purpose of purification. Go# by touching this place
#ith right hand, recite the follo#ing mantra eight times.
2 7
Go# recite the follo#ing mantras #hich form pa;c.ga nysa of mahnysa.
(lace akata and flo#ers to the place on #hich ginger piece and #ooden ladle
&or t#eeEers' are kept.
i' 2 07l0 7 70l 07l0l +
- - l0 - - l -l |
ii' 2 l7l 77l 7l 7 l 7ll 77"l 47"l
4l 47 l - 07l l |
iii' 2 78 0+ 0 70 7 7 |
iv' 2 07 7l 7 l7l U 07 7 7 7l0 |
v' 2 5l 0ll>6 - 0ll 4 lU704 "8U704 l 70 7l |
We must remember that viea arghya ptra should not be moved. !o, whatever
we do, should be done without moving viea arghya ptra from its place. "he
same rule applies to smnya arghya as well.
Go#, vi)ea arghya #ill be further purified<sanctified &abhimantraa' #ith the
follo#ing kal>s. @iterally abhimant refers to our e5istence #ith ego. .ven after
all these rituals and procedures, ego still prevails. $he purpose of performing
tarpaa #ith vi)ea arghya is to surrender our individuality &organs of perception,
organs of action and antakaraa' and become one #ith 3er. 6bhimantraa #ith
these kal>s are done to completely purify our mind, intellect, consciousness and
ego &antakaraa'. 6t the end of this procedure the veil of my should have
been removed, leading to realiEation of the %elf. $herefore, #hile performing
navvaraa pj, concentration of mind is the foremost factor and procedures
take only a back seat.
"uru ptra and tma ptra are established at this point according to krama>s.
6s #e are no# further sanctifying vi)ea arghya, it #ould be appropriate to
establish them later after completing #orship of %udh *evi. %ince she is already
invoked and present in vi)ea arghya, %he should not be made to #ait.
-ollo#ing are the 92 kal>s.
6gni maala I /P= %rya maala I /0= %oma maala I /L= Brahm
maala I /P=
!iu maala I /P= Hudra maala I /P= 4)vara maala I 2= %ad)iva
maala I /L=
$hus there #ill be 92 kal>s #ith #hich abhimantraa is done. 4nstead of 92 kal>
s, 99 kal>s are also mentioned. -ive additional kal>s are devi kal, )iva>)akti>
)iva)akti kal, amta kal and icch>j;na>kriy )akti kal. But for the purpose of
this discussion, these kal>s are taken as separate verses and not as kal>s
and these #ill be dealt #ith in the ne5t part. %imilarly, pa;ca brahma mantra>s
are given at the end of the respective maala>s. Bertain versions club pa;ca
brahma mantra>s at the end of all kal>s. Brahm, !iu, Hudra, W)var and
%ad)iva are pa;ca brahma>s. @alit %ahasranma 0FP says that %he is :pa;ca>
brahma>svarpiC. $his also goes to prove that there is no difference bet#een
the essence of @alit %ahasranma and navvaraa pj.
8al>s< maala>s have subtle conveyances. 6gni, sraya and soma maala>s
refer to suumna, ia and ni>s. %imilarly Brahm &actually it is kno#n as
brahma 8al= there is difference bet#een Brahma and Brahm= Brahman refers
to Brahman and Brahm refers to god incharge of creation= in order to
differentiate this, Brahm is used. 3ere it refers to god of creation', !iu,
Hudra, W)vara and %ad)iva also refer five psychic chakras mldhra,
svdhihna, maipraka, anhata and vi)uddhi, 4n j; chakra, ones "uru is
present #ho helps the sdhaka to get liberated at sahasrra. $his part of
navvaraa pj establishes unified the sdhaka, his "uru and @alitmbik.
.ach part of a maala is kno#n as kal and several kal>s form one maala.
.ach of these kal>s has their o#n significance and play a vital part in the actions
connected to that particular maala. Brahm, !iu, Hudra, W)var and
%ad)iva represent, pa;caktya>s &@alit %ahasranma 0K2 > pa;caktya
parya', creation, sustenance, destruction, concealment and re>creation
&Hefer @alit %ahasranma 0L2 to 0K2'.
-or the purpose of abhimantraa use right hand indeed, middle and ring fingers
to touch the vi)ea arghya ptra. +hile doing so, it is important to remember that
the vi)ea arghya ptra should not be moved. $he best option #ould be to hold
the #ooden<silver darvi<t#eeEers using right hand thumb, middle and ring fingers,
the other end of the darvi is immersed into the amta. 6t any point of time during
this procedure, there should be a contact bet#een darvi, vi)ea arghya ptra,
amta #ithin vi)ea arghya ptra and our hand.
1. A#ni "aala E 12
i' 2 U l7 2 ya dhmrrcie nama
ii' 2 3l 2 ra umyai nama
iii' 2 7 2 la jvalinyai nama
iv' 2 7l 2 va jvlinyai nama
v' 2 # 2 )a visphuli.ginyai nama
vi' 2 7 2 a su)riyai nama
vii' 2 7l 2 sa surpyai nama
viii' 2 77l 2 ha kapilyai nama
i5' 2 7 ll /a havyavhyai nama
5' 2 7ll ka kavyavhyai nama
Hecite mlamantra three times.
(. Srya "aala E 1(
i' 2 7 - 07 2 ka bha tapinyai nama
ii' 2 7 4 0l7 2 kha ba tpinyai nama
iii' 2 U l 2 ga pha dhmryai nama
iv' 2 7 = 2 gha pa marcyai nama
v' 2 7l 2 .a na jvlinyai nama
vi' 2 U = 2 ca dha rucyai nama
vii' 2 U 7 7 7 2 cha da suumnakyai nama
viii' 2 7 -7l 2 ja tha bhogadyai nama
i5' 2 5 0 l 2 jha ta vi)avyai nama
5' 2 7 " 4U 2 ;a a bodhinyai nama
5i' 2 Ul 2 a ha dhrinyai nama
5ii' 2 5 7 l 2 ha a kamyai nama
Hecite mlamantra three times
). So"a "aala E 1,
i' 2 7 7 0l 2 a amtyai nama
ii' 2 7 7l 2 manadyai nama
iii' 2 5 7 7l 2 i pyai nama
iv' 2 5 0 2 tuyai nama
v' 2 3 7 2 u puyai nama
vi' 2 3 2 ratyai nama
vii' 2 7 U 2 dhtyai nama
viii' 2 2 2 )a)inyai nama
i5' 2 7 7l 2 lu candrikyai nama
5' 2 7l 2 3 kntyai nama
5i' 2 7 7l 2 e jyotsnyai nama
5ii' 2 2 ai )riyai nama
5iii' 2 7 7 2 o prtyai nama
5iv' 2 7 7#7l 2 au a.gadyai nama
5v' 2 7 7 "l 2 a pryai nama
5vi' 2 7 7 "l 0l 2 a prmtyai nama
Hecite mlamantra three times.
*. ?rah" "aala E 12
i' 2 7 2 ka syai nama
ii' 2 7 7j 2 kha ddhyai nama
iii' 2 2 ga smtyai nama
iv' 2 Ul 2 gha medhyai nama
v' 2 7l 2 .a kntyai nama
vi' 2 2 ca lakmyai nama
vii' 2 U 0 2 cha dyutyai nama
viii' 2 7 l 2 ja sthiryai nama
i5' 2 5 2 jha sthityai nama
5' 2 7 j 2 ;a siddhyai nama
2 7( 70 0l 777 707 "0 + 7( 7 j 7 77l7l 707l 77 7l
70 4 0 | +
2 hagumsa suciadvasu antarika saddhot vediad atithirduroasat Q
nadvara sadsadvyoma sad abjgoj taj adrij ta bhat QQ nama Q
Hecite mlamantra three times.
+. Vi$ "aala E 12
i' 2 7l 2 a jaryai nama
ii' 2 5 7l 2 ha plinyai nama
iii' 2 7 l 2 a )ntyai nama
iv' 2 56 2 ha )varyai nama
v' 2 " 2 a ratyai nama
vi' 2 0 7l7l 2 ta kmikyai nama
vii' 2 7l 2 tha varadyai nama
viii' 2 7 l7 2 da hldinyai nama
i5' 2 U 7 2 dha prtyai nama
5' 2 7l 2 na drghyai nama
2 7 07 " 00 l - 7 7l+ 7 0 7 7 "7 7U0 - l 6l|
|
2 pratad viustavate vryya mgo na bhma kucaro girih Q yasyoruu
triu vikrameu adhikiyanti bhuvanni vi)v QQ nama QQ
Hecite mlamantra three times.
,. R$8ra "aala E 12
i' 2 7 0"l 2 pa tkyai nama
ii' 2 7 l 2 pha raudryai nama
iii' 2 4 -l 2 ba bhyayai nama
iv' 2 - 7 l 2 bha nidryai nama
v' 2 07 l 2 ma tandryai nama
vi' 2 Ul 2 ya kudhyai nama
vii' 2 7 U 2 ra krodhinyai nama
viii' 2 7 l 2 la kriyyai nama
i5' 2 3jl 2 va udgryai nama
5' 2 2 )a mtyave nama
2 0 47 7l U 7 7U + 3l 7 4Ul 0 l 0l0 | |
2 trayambaka yajmahe sugandhi puivardhanam Q urvrukamiva
bandhann mdyormukya mmtt QQ nama QQ
Hecite mlamantra three times.
-. I:9ara "aala E *
2 7 70l 2 a ptyai nama
2 60l 2 sa )vetyai nama
2 7"l 2 ha aruyai nama
2 70l 2 ka asityai nama
2 0("7 77 Ul 70 + 7 l00 + 0(7 l 7 7l l U0+ "7
77 | |
2 tadvio parama pada sadh pa)anti sraya Q divva cakurtatam Q
tadviprso vipanyavo jgvsagum samindhate Q vioryatparama padam QQ
nama QQ
Hecite mlamantra three times.
0. Sa8:i9a "aala E 1,
i' 2 7 2 a nivtyai nama
ii' 2 7 7 07l 2 pratihyai nama
iii' 2 5 0l 2 i vidyyai nama
iv'2 5 l 2 )ntyai nama
v' 2 3 5U7l 2 u indhikyai nama
vi' 2 3 777l 2 dpikyai nama
vii' 2 7 7l 2 recikyai nama
viii' 2 7l 2 2 mocikyai nama
i5' 2 7l 2 4 paryai nama
5' 2 l 2 3 skmyai nama
5i' 2 7 l 0l 2 e skmmtyai nama
5ii' 2 Hll 2 ai j;nyai nama
5iii' 2 7 Hl 0l 2 o j;anmtyai nama
5iv' 2 7 7l 2 au pyyinyai nama
5v' 2 7 l7 2 a vypinyai nama
5vi' 2 7 7l 2 a vyomarupyai nama
2 " 770 7l 7l" 0 + 770 7 7l70Ul 0 - 7Ul0 0| - U l - U
0+ - 0 76 7llUl 7 7 7l| |
Hecite mlamantra three times.
Go# recite the follo#ing mantras, #hile continuing to touch the vi)ea arghya
ptra &abhimantraa' #ith right hand inde5, middle and ring fingers. $hese
mantras form part of abhimantraa.
Go# recite mlamantra three times by suffi5ing nama.
i' 2 777 7 l77 7Ul+ =U7 7 "l0 U 7 l7 | |
2 akhaaka rasnandakare parasidhtmani Q svacchanda spuramatra
nidhehi kulanyike QQ nama QQ
ii' 2 77 l 0l7l Hl7 7+ 7 0 U 0 77"| |
2 akulasthmtkre )uddhaj;nakare pare Q amtatva nidhehyasmin vastuni
klinnarpii QQ nama QQ
iii' 2 07 77 7 l 07"+ - l 7l 0l7ll 7 | |
tadrpiyaikarasyatva ktv hyetatsvarpii Q bhtv parmtkr mayi
citsphuranana kuru QQ nama QQ
iv' 2 5 7 7 0 7 0 7 06 7 7" 7 0 l l ll| |
2 ai bl jhrau ju sa amte amtodbhave amte)vari amavarii
amta srvaya srvaya svh QQ nama QQ
v' 2 7 7 ll7 + 7 7 7 l 7 7 + 7 7 + +
|
2 ai vada vada vgvdini ai Q kl klinne kledini kledaya mahkoma kuru
kuru kl Q sau moka kuru kuru Q hsau Q s>hou QQ
&$his mantra consists of five parts= three of these are represented by Bl
mantra, fourth one by prasdapar mantra and the fifth one by parprasda
mantra'.
&,eaning7 ON Xueen of kula>sN Besto#er unlimited and unconstrained BlissN
4ncommensurable form of nectar &amtavarini'N 4n this amta &in vi)ea arghya
ptra', please endo# cit)akti &purest form of consciousness and kno#ledge'. Jou
are shining forth in akulasahasrra &beyond sahasrra= @alit %ahasranma 9L I
akul' in the form of nectar. (lease besto# this amta #ith supreme &vi)ea' and
pure kno#ledge.'
+ith this consecration of vi)ea arghya is concluded.
Once this procedure is done, sdhaka has to bring in t#o or three small cups.
+hen it is t#o cups, they refer to "uru ptra and tma ptra.
+hen three ptra>s are placed, third one is kno#n as patn ptra, meant for the
#ife of the sdhaka, provided she is also initiated either into (a;cada) or
-oa) by the same "uru.
$hese ptra>s should be preferably in silver.
$hese ptra>s should be kept to the right side of vi)e a arghya ptra.
Ge5t to vi)ea arghya ptra is "uru ptra, ne5t to this is tma ptra.
4f there is going to be patn ptra, this should be kept ne5t to tma ptra.
$hese three ptra>s should be purified by sprinkling #ater from vardhan kala)a.
Go# using an uttarai, transfer one uttarai of vi)ea arghya to "uru ptra after
reciting each of the follo#ing mantas. $
hus there #ill be three transfers from vi)ea arghya ptra to "uru ptra.
i!. Para"ehi#$r$%

lll77 07 77 aaaa 7l7 7l 7 7l |
$ransfer one uttarai of vi)ea arghya to "uru ptra.
ii!. Para"a#$r$

=U7 7l 0 7 bbbb 7l7 7l 7 7l |
$ransfer another uttarai of vi)ea arghya to "uru ptra.
iii!. &r'#$r$
7
7" 0 cccc 7l7 7l 7 7l 07 l |
$ransfer another uttarai of vi)ea arghya to "uru ptra.
aaaa should be replaced #ith ones (aramehigurus nma.
bbbb should be replaced #ith ones (aramagurus nma.
ccc should be replaced #ith ones rgurus nma.

$here are variations in the order.
-irst, rguru, then (aramaguru and finally (aramehiguru is #orshiped.
At the en8 of F$r$ <aala
7ll-l 7lll+
77ll70 7 77l|
&Beginning from @ord %ad)iva, through akarcrya and up to my "uru, 4 pay
my obeisance to all the "urus'
4f rguru is present in person, offer the "uru ptra to him #ith vi)ea arghya.
3e #ill consume the vi)ea arghya and #ill leave a small portion in the "uru
ptra itself.
$his is kno#n as "uru prasda &"uru ucchia I left over by "uru, #hich is
considered as "uru prasda'.
6fter taking back "uru ptra from "uru, sdhaka should transfer "uru prasda
to his tma ptra and patn ptra &if present'.
4f rguru is not present personally, his pduk should be meditated upon at
sahasrra, by keeping the "uru ptra at sahasrra. 6fter reciting "uru pduk
mantra, transfer this vi)ea arghya to tma ptra and patn ptra &if present'. 4f
"uru is not present personally during this yaj;a, only small Duantity of vi)ea
arghya should be transferred to "uru ptra, other#ise, there #ill be no place to
add vi)ea arghya to tma ptra. Go# #ash "uru ptra and keep this in its place
&ne5t to vi)ea arghya' or this can be #ashed kept safely by moving this from the
pj maala.
Go# add more vi)ea arghya to tma ptra. $ake this tma ptra in right hand
and hold the bottom of the ptra &a small cup' using thumb, middle and ring
fingers.
%imilarly add more vi)ea arghya to patn ptra &#herever applicable'.
Both sdhaka and his or her spouse should recite the follo#ing mantras by
holding the respective ptra>s as e5plained above.
Go# contemplate that the vi)ea arghya held in tma ptra is the oblation that is
being offered to the fire of kualin burning at mldhra chakra. A$his
procedure is typically to surrender every aspect of our individuality such as mind,
intellect, consciousness, ego, good acts, evil acts, good thoughts, evil thoughts,
righteous &dharma' acts and acts of demerits &adharma'. +e also offer as
oblations our pra, all the five types of bodies &gross, subtle and causal
comprising five types of ko)a>s', three normal stages of consciousness, active
state, dream state and deep sleep state, all the actions done in the past and
present, all bad thought processes contemplated in the past and present are
offered in the form vi)ea arghya in tma ptra to fire of kualin. &$his also
means that having offered as oblations all the past and present evil thoughts and
actions, one should not accrue any further thoughts and actions from no# on.
$his oblation means cleansing of physical body as #ell as antakaraa.'
Go# #e have to recite the follo#ing mantras.
i' Hecite mlamantra three times.
ii' Hecite the follo#ing mantras.
2 7 7 ll+ 2 puya juhomi svh Q
2 7l7 7 ll+ 2 ppa juhomi svh Q
2 7 7 ll+ 2 ktya juhomi svh Q
2 77 7 ll+ 2 aktya juhomi svh Q
2 77 7 ll+ 2 sakalpa juhomi svh Q
2 77 7 ll+ 2 vikalpa juhomi svh Q
2 U 7 ll+ 2 dharma juhomi svh Q
2 7U 7 ll+ 2 adharma juhomi svh Q
Hecite mlamantra three times.
2 7U 7 7 +2 adharma juhomi vauaQ
iii' Hecite the follo#ing mantra. +hile reciting this mantra, contemplate on #hat
has been e5plained previously, indicated by A.
2 50 7 7 l">4 >7>Ul U7l0 7l 0 >> 7 |l ll 7" 0ll 7jl
37 " l 0 7 0 7 0 0 4 l7" -0 ll|
&Go# it is assumed that all those referred by A have been offered into the
perpetual fire of 8ualin. $his is considered as prhut &7 "l 0' mantra, #hich
signifies end of all oblations.'
iv' Hecite mlamantra three times.
v' Go#, recite the follo#ing mantra.
2 77 70 70 707 0 4 l+ 8 4 l+ 7 4 l+
7l l 7 ll|
&$his is verse is from ,ahnryaa ?paniad &LK'. $hat %upreme @ight #hich
projected 4tself as the universe like a soaked seed #ith sprouts &or that %upreme
@ight #hich shines as the substratum of liDuid element' I 4 am $hat &%upreme
@ight'. 4 am $hat %upreme @ight of Brahman #hich shines as the inmost essence
of all that e5ists. 4n reality 4 am the same infinite Brahman even #hen 4 am
e5periencing myself as finite self &individual soul' o#ing to ignorance &my'.
Go# by the onset of kno#ledge, 4 am really that Brahman, #hich is my eternal
nature. $herefore, 4 realiEe his identity by making myself the :-inite %elfC as an
oblation into the fire of the infinite Brahman #hich 4 am al#ays. ,ay this oblation
be #ell made.'
!i)ea arghya in tma ptra refers to individual soul &self'. $he fire of kualin,
#hich burns perpetually at mldhra, into #hich vi)ea arghya &consuming
vi)ea arghya is kno#n as oblations' is offered is the %upreme %elf &Brahman'.
$his mantra re>associates the individual self #ith the %upreme %elf &Brahman or
the %elf'. $he veil of my is removed by acDuiring kno#ledge. 8no#ledge is
acDuired #hile performing navvaraa pj. $herefore, it is e5tremely important
to perform navvaraa pj #ith a clean and focused mind and #ith great
reverence for 3er. 6nger and ego should not have any place #hile performing
navvaraa pj. One cannot perform navvaraa pjayaj; #ithout 3er "race.
?nless the sdhaka literally becomes 3er, the complete benefit of navvaraa
pjayaj; can never be attained.
Go#, consume vi)ea arghya, #ash the cup and keep this in its original place.
(atn ptra need not be kept again in the same place. $his can be #ashed and
taken a#ay. $his is reDuired again to#ards the end of navvaraa pj.
Go# add a fe# drops of vi)ea arghya into kraa kala)a &in #hihch vi)ea
arghya #as prepared and the balance kept in this kala)a'.
%imilarly, add a fe# drops of vi)ea arghya to smnya arghya &conch'.
4t is to be remembered that vi)ea arghya and smnya arghya should not be
shaken or moved from their respective places.
4t is to be remembered that one should not get from his<her seat once nysa>s
are done.
?nder e5ceptional circumstances, the sdhaka can leave his<her seat no#, as
later there is no provision at all to leave the seat.
One can leave the seat after seeking approval from his<her "uru.
4f "uru is not personally present and if one has to leave his<her seat, then
mlamantra #ith all nysa>s should be performed /PO times.
6fter performing mlamantra japa, recite pduk and then continue navvaraa
pj.
6fter taking seat again, one has to again do tatvcamanam &described in part /'.
$his completes consecration procedure of vi)e a arghya.
(1.
6ntara means internal and yga means oblations, offerings or sacrifice. 4n other
#ords, this part deals #ith internal #orship. -rom the point of vie# of 6dvaita
philosophy, Girgua Brahman resides #ithin as the %elf. +hile performing
e5ternal pj, the %elf #ithin is to be brought out using vhan mudra>s and
consecrated in ri Bakra and once the entire pj is over, the installed %elf in ri
Bakra is to be brought back #ithin. $his is symbolically done by taking a flo#er
from ri Bakra and placing it on anhata chakra &placing on j; chakra is still
better'. $he difference bet#een bhya pj and antara pj is that in the case of
e5ternal #orship, it is time bound and in the case of internal #orship, it is
perpetual. +ithout proper internal #orship, %he cannot be consecrated in ri
Bakra. $his is the basic principle in any e5ternal #orship. Bhvanopaniad
establishes the connection bet#een ri Bakra and human body and this has
already been discussed in the series :ri Bakra and human bodyC. $his concept
is also e5plained in %aundaryalahar verse 9 :mah mldhreC #hich says,
:Jou remain in solitude #ith Jour consort iva in the thousand petal lotus kno#n
as sahasrra &cro#n chakra', by piercing the earth element at mldhra chakra,
#ater element at maipra chakra, the element of fire in svdhihna chakra,
the element of air in the anhata chakra and the element of k)a in vi)uddhi
chakra, #hich is placed above these four chakras= the tattva of mind in j;cakra
thus transcending the entire path of kula.C 4n general, akula refers to iva and
kula refers to akti. iva resides in sahasrra and akti under normal
circumstances resides in mldhra. +hen %he ascends in the form of 8ualin
&3er subtlest form' through suumna, %he illuminates suumna and this
illumination is infinite times po#erful than the sun. $hough %he illumines like the
sun, %he is as cool as the moon.
K$la an8 A4$la%
8ula is the state of iva>akti union &@alit %ahasranma 999', #here akti is
inherent in iva. $his can also be e5plained as the state of (arama)iva &the
highest state, the 6bsolute'. 6kula is the pure state of iva. +hen akula refers to
iva, obviously it refers to 3is place at sahasrra. But there is another
interpretation for akula, #hich is the e5pression of akti through 1L taatva>s
#hich means manifestation. Uaideva %ingh in his iva %tras says, :$here is
double entendre &ambiguity #ith one interpretation that is indelicate' in the #ord
akula. 4t is impossible to bring this out in translation.C 6bhinavagupta in his
$antrloka &444.LK' says, :%he is (ar)akti &the highest po#er of divine' e5pands
the kula of 6kula as 8aulik, #ith #hom (arame)vara rests al#ays.C %he is
8aulik )akti #hose course consists of identity, distinction and identity>distinction.
4n spite of all 3er activities, %he is kno#n as aml &not akula', #hich means that
3er origin eternally remains unkno#n. ?ltimately #hen %he ascends from akula
sahasrra &belo# mldhra chakra' in the form of effulgent 8ualin and
unites #ith iva at sahasrra, manifestation of the universe begins. $his can be
realiEed only if one attains absolute perfection in kualin meditation. 6kula also
means beyond sahasrra, the cro#n chakra. $his #ay, it can be e5plained that
akti as kula resides in mldhra in the form of 8ualin and iva is beyond
sahasrra or akula sahasrra. $his is also confirmed by
:akulenduglitmadhrrpiC #hich means that they are in the form of nectar
that flo#s like a stream from akula sahasrra. 3o#ever, in antaryga, akula
sahasrra refers to the place belo# mldhra. $his means that %he has to be
contemplated from the base of the human body till the top of the head.
Go# #e have to meditate on @alitmbik along #ith bja>s of each varaa,
name of each varaa, the name of )akti &devi' in the first petal &it is like using
etc', number of petals in each varaa, name of the yogini presiding over the
respective varaa, presiding cakre)var of each varaa. 6fter mentally
#orshiping all of them #e have to mentally offer dhpa, diprdhana, naivedya
and nrjana. Gumber of petals of an varaa and number of petals of a chakra
have no relevance.
1. A4$la/aha/rra% &belo# mldhra and this is called akula>sahasrra
because this too has one thousand petals like sahasrra'
2 7 7 + 0 0 l7 0 7 lU7l 7"l070 0 0 7 77l
0 7 l7 |
2 a sau Q catura)ratraytmaka trailokyamohan cakrdhihtryai
aimdyaavi)ati )akti sahita prakaayoginrpyai tripurdevyai nama QQ
Gotes7 a sau are the bja>s of first varaa devi= catura)ratraytmaka I
three sDuares of the first varaa= trailokyamohan cakra is the name of the first
varaa= aimdyaavi)ati I t#enty eight )akti>s of first varaa, the first
among them is 6im. (rakaayogin is the name of the yogin, #ho presides
over the first varaa. $ipurdevi is the cakre)var &presiding devi' of the first
varaa.
(. Vi$9a cha4ra &this is bet#een akulasahasrra and mldhra'7
2 + 77777l7 l l77 7 7 lU7l 7ll7 l7 7700
07l 0 7 7 |
2 ai kl sau Q oa)adalapadmtmaka sarv)paripraka cakrdhihtryai
kmkar)iydi oa)a)aktisahita guptayoginrpyai tripure)devyai nama QQ
Gotes7 ai kl sau are the bja>s of second varaa devi= oa)adalapadma
I si5teen petal lotus= sarv)paripraka is the name of the
second varaa= kmkar)iydi oa)a)aktisahita I si5teen)akti>s of second
varaa beginning from 8mkar)ii= "uptayogin is the name of the yogin, #ho
presides over the second varaa. $ripure)devi is the cakre)var &presiding
devi' of the second varaa.
). <l8hra cha4ra%
2 + 77777l7 -" 7 lU7l 7#7 l070 0 00 7l
0 7 7 7 |
2 hr kl sau Q aadalapadmtmaka sarvasakobhaa cakrdhihtryai
ana.gakusumdyaa)akti sahita guptatarayogin rpyai tripurasundar devyai
nama QQ
Gotes7 hr kl sau are the bja>s of third varaa devi= aadalapadma I
eight petal lotus= %arvasakobhaa is the name of the third varaa.
ana.gakusumdyaa)akti sahita > eight )akti>s of third varaa beginning
from 6na.gakusum= "uptatarayogin is the name of the yogin, #ho presides
over the third varaa. $ripurasundar is the cakre)var &presiding devi' of the
third varaa.
*. S98hihna cha4ra%
2 + 0 7ll7 -l7l7 7 lU7l -l7 7 700
7 7l7 0 7 l7 |
2 hai hkl hsau Q caturda)rtmaka sarvasaubhgyadyaka
cakrdhihtryai sarvasakobhiydi cadurda))aktisahita
sapradyayoginrpayai tripuravsinidevyai nama QQ
Gotes7 hai hkl hsau are the bja>s of fourth varaa devi=
caturda)rtmaka I fourteen petal lotus= %arvasaubhgyadyaka is the name of
the fourth varaa= sarvasakobhiydi cadurda))aktisahita> fourteen )akti>s
of fourth varaa beginning from %arvasakobhii= %apradyayogin is the
name of the yogin, #ho presides over the fourth varaa. $ripuravsini is the
cakre)var &presiding devi' of the fourth varaa.
+. <aipra4a cha4ra%
2 + 47ll7 l lU7 7 lU7l 7 7l7 700 7 7l
7l 0 7 l 7 |
2 hsai hskl hssau Q bahirda)rtmaka sarvrthasdhaka cakrdhihtryai
sarvasiddhipraddi da)a)aktisahita sapradyayogin rpyai tripur)rdevyai
nama QQ
Gotes7 hsai hskl hssau are the bja>s of fifth varaa devi7
bahirda)rtmaka I outer ten triagnles &there are t#o ten faced triangles, hence
it is mentioned here as outer ten triagles'= %arvrthasdhaka is the name of is
the name of the fifth varaa= sarvasiddhipraddi da)a)aktisahita I ten )akti>s of
fifth varaa beginning from %arvasiddhiprad= %apradyayogin is the name
of the yogin, #ho presides over the fifth varaa. $ripur)rdevi is the cakre)var
&presiding devi' of the fifth varaa.
,. Anhata cha4ra%
2 + 707ll7 l7 7 lU7l Hl7700 - 7l
0 7 l7 |
2 hr kl ble Q antarda)rtmaka sarvarakkara cakrdhihtryai
sarvaj;dida)a)aktisahita nigarbhayoginrpyai tripuramlindevyai nama QQ
Gotes7 hr kl ble are the bja>s of si5th varaa devi= antarda)rtmaka I
inner ten triangles= %arvarakkara is the name of is the name of si5th varaa.
sarvaj;di da)a )akti sahita > ten )akti>s of si5th varaa beginning from
%arvaj;= Gigarbhayogin is the name of the yogin, #ho presides over the si5th
varaa. $ripuramlindevi is the cakre)var &presiding devi' of si5th varaa.
-. Vi:$88hi cha4ra%
2 + 77ll7 7 lU7l l0700 7 0 7 ll7
|
2 hr )r sau Q artmaka sarvarogahara cakrdhihtryai
va)inydyaa)aktisahita rahasyayoginrpayai tripursiddhdevyai nama QQ
Gotes7 hr )r sau are the bja>s of seventh varaa devi= artmaka I
eight triangles= %arvarogahara is the name of seventh varaa= va)inydyaa
)akti sahita I !a)in vgdevat and seven other vgdevi>s of seventh varaa
&composers of @alit %ahasranma'= Hahasyayogin is the name of the yogin,
#ho presides over the seventh varaa= $ripursiddhdevi is the cakre)var
&presiding devi' of seventh varaa.
0. 6a"5i4 cha4ra% &lambin means the hanging soft palate in throat'
2 + 0 7"l7 7 7 7 lU7l 7 U00 7l6l 7 0 00
70 7l 0 7 l4l7 |
2 hsrai hsklr hsrau Q trikotmaka sarvasiddhiprada cakrdhihtryai
yudha)aktisameta kme)varydi tri)aktisahita atirahasyayogin rupyai
tripurmbdevyai nama QQ
Gotes7 hsrai hsklr hsrau are the bja>s of eighth varaa devi.
trikotmaka I inner triangle= sarvasiddhiprada is the name of eighth varaa=
yudha)akti sameta kme)varydi tri)aktisahita I 4n eighth varaa, #e #orship
the #eaponries of 8me)vara and 8me)var. 6fter #orshiping their #eaponries,
8me)var, !ajre)var and Bagamlin are #orshiped in the three corners of the
innermost triangle= 6tirahasyayogin is the name of the yogin, #ho presides over
the eighth varaa. $ripurmbdevi is the cakre)var &presiding devi' of eighth
varaa.
1. @jAca4ra%
2 7 7 + 7 + 7 | 4(l7 l 7 7 lU7l 77#0 0
7l7l0 l0 7 7 7 |
2 ka e la hr Q ha sa ka ha la hr Q sa ka la hr QQ bindvtmaka
sarvnandamaya cakrdhihtryai aa.ga)akti sahita
parpartirahasyayogin mahtripurasundar devyai nama QQ
Gotes7 4t is important to note that (a;cada) mantra is used as bja>s for the
ninth varaa. $hree sides of the inner most triangle are formed by each k
of (a;cada)= bindvtmaka I refers to the bindu &dot' #ithin the triangle=
%arvnandamaya is the name of ninth varaa= this is stage of 6bsolute Bliss,
#here 3er "race &)aktipta' is sho#ered on the contemplator= aa.ga )akti
sahita> #ith si5 )akti>s= aa.ga )akti can be e5plained in t#o #ays. 4f #e go
#ith Blaa.ga nysa, then these si5 )akti>s can be interpreted as hdaya,
)ira, )ikh, kavaca, netra and astra )akti>s. +e can also contemplate these )akti>
s as 3er si5 po#ers such as omniscience, completeness, supreme levels of
consciousness, freedom, everlasting po#er and infinity. $hese are the si5
Dualities of iva, #ho is (rak)a &%elf>illuminating'. $his is e5plained in @alit
%ahasranma 1OL. (arpartirahasyayogin is the name of yogin of the
ninth varaa. ,ahtripurasundar devis the presiding *eity of the ninthvaraa.
$his varaa is presided because iva is also there in the name of bindu &@alit
%ahasranma 9PF is Baindavsan'.
-rom j;cakra to brahmarandra &an orifice at the top of the head in sahasrra'
there are ten minor chakras. $hese chakras refer to ndabindu &#hich means the
sound of , #here bindu is the dot causing the joining of lips to make
sound= it is the combination of Yma &' and bindu or makra bindu samyuktam.
Go# contemplation is to be made by visualiEing a straight line from j;cakra
to brahmarandra, dividing the entire portion into ten eDuidistant points. $he first
point starts at bindu, just above j;cakra. 4n fact these ten dots have different
shapes.
i' 2 7 7 2 a sau nama at bindu.
ii' 2 2 ai kl sau nama at ardhacandra.
iii' 2 2 hr kl sau nama at rodhini.
iv' 2 2 hai hkl hsau nama at nda.
v' 2 2 hsai hskl hssau nama at ndnta..
vi' 2 hr kl ble nama at )akti.
vii' 2 2 hr )r sau nama at vypik.
viii' 2 2 hsrai hsklr hsrau nama samani.
i5' 2 7 7 + 7 + 7 2 ka e la hr Q ha sa ka ha la hr Q sa
ka la hrnama QQ at unmani.
5' 2 77 2 -oa) nama at brahmarandra.
5 is to be left out, if one is not initiated into -oa).
G$rther rea8in# on cha4ra/%
"enerally si5 chakras are kno#n to us, as sahasrra is not considered as a
chakra. 4n addition to the above L M /, three more chakras are also commonly
kno#n above j;cakra they are lalan &tongue', manas &mind' and soma
&moon' chakras. $hese chakras are also called dhra. -ollo#ing is the list of
t#enty chakras that are mentioned in 6dvaitamrtada, a modern %anskrit #ork
by late Brahmnanda %vm.
/.Sdhra= 0. 8uladpa= 1. Jaj;= 2. svdhihna= F. Haudra= L. 8arla= K.
"ahvara= O. !iyprada= 9. $rimukha= /P. $ripada= //. 8la>daaka= /0. ?kr=
/1. 8ladvra= /2. 8aramgaka= /F. *paka= /L. Snanda>lalit= /K. ,aipraka=
/O. Gkula= /9. 8la>bhedana and 0P. ,ahotsha.
6t the end of antaryga, #e have mentally consecrated (ar)akti #ithin and no#,
#e have to enthrone 3er in ri Bakra #hich is already purified and consecrated
in the maala opposite to us. +ithout fully visualising and establishing 3er
#ithin, %he cannot be invoked in ri Bakra. %he has to be invoked in the inner
triangle and bindu of ri Bakra from #ithin. $he sole purpose of antaryga is only
to visualiEe 3er #ithin.
4n the ne5t part, #e have to invoke 3er ri Bakra and offer 3er
catuayupacra pj &@alit %ahasranma 01F'.
((. 1! In9o4in# Her in &ri Ca4ra%
$echnically, navvaraa pj begins from here. 4n the previous part, antaryga,
%he #as contemplated in different psychic chakras and taken to the top
of sahasrra. +hen #e speak about sahasrra, it is obvious that #e are referring
to iva>akti union. 3o# they are to be invokedR $hey are to be contemplated as
8me)vara and 8me)var. 4n this form, %he is seated majestically and proudly
on 3is left thigh. 8me)vara is (rak)a and 8me)var is !imar)a. 8me)vara
is in the bindu and 8me)var is the innermost triangle. $his innermost triangle
and the bindu have manifested as ivali.ga, #hich is the cause of the universe.
Go#, #e have to take flo#ers using trikha mudra, move the kualin from
mldhra to sahasrra using our breath and consciousness. -irst inhale and by
holding breath #ithin, move kualin to sahasrra. Go# e5hale and at the time
of e5halation, hold fingers of trikha mudra #ith flo#ers belo# the nostrils and
visualiEe 8me)vara and 8me)var in the form of subtle pra in the flo#ers
and place the flo#ers in the middle of ri Bakra. 4f three different colour flo#ers
are available, they can be kept in three joints of trikha mudra. $his means
that #e are transferring the visualiEed image of the *ivine Bouple through our
pra &e5halation' to be consecrated in the middle of ri Bakra. +ithout proper
contemplation #ithin, as discussed in antaryga &previous part', consecration
inri Bakra #ill be futile. $he flo#ers are to be placed in ri Bakra very carefully
and very gently using the follo#ing mantra. ?nder no circumstances, flo#ers
should be thro#n on ri Bakra. $hey are to placed #ith great reverence.
2 0ll 7 00 0 77l |
2 hr )r sau )rlality amtacaitanya mrti kalpaymi nama QQ
Zamtacaitanya means imperishable kno#ledge or supreme kno#ledge. $his
means that $hey are being invoked in the form of %upreme kno#ledge.[
((.(! 7hyna 9er/e%
57777 7 7 7ll 0 - 7l +
7 74l -l 7 |
7 7l 7l7 7 " +
0 l l l7l |
0 7 0l l +
l 0l 7 7" |
l0 l l 7 0l +
l 7l 7 l 0 0l |
l 7 Hll 7 7l +
7 l0 7l 4l =7l7 7" |
ikukodaapupeu ps.ku)a caturbhujm Q
sarvadevamay ab sarva saubhgya sundarm QQ
sarvadrthamay divy sarvakmapraprim Q
sarvamantramay nity sarvgama vi)radm QQ
sarvaketramay dev sarvavidymay )ivm Q
sarvaygamay vidy sarvadeva svarpim QQ
sarva)stramay nity sarvgama namasktm Q
sarvmnyamay dev sarvyatana sevitm QQ
sarvnandamay j;nagahvar savida parm Q
eva dhyyet parmab saccidnanda rpim QQ
,eaning7
%he is to be contemplated #ith a sugarcane bo#, flo#er arro#s, noose and goad
in 3er four hands. %he encompasses all gods and goddesses. %he is an
embodiment of all auspiciousness, sacred rivers, fulfilling all desires, all types of
mantras, sacred and traditional doctrines, holy places &ketra technically means
geometrical dimensions #ith astronomical and astrological implications and holy
places= ketra also means body', grammatical treatises in the form of mantras
that are communicated through initiations orally, all holy places and temples,
blissfulness and kno#ledge.
-urther reading on dhyna verse7
$he above verse says that %he is the universe itself or %he manifests as the
universe. (ar)akti is the %upreme (o#er of iva, kno#n as %vtantrya akti or
independent and absolute po#er of iva, #hich 3e alone possesses. iva is in
the form of illumination, hence 3e is kno#n as (rak)a. @ight #ithout objects
around is of no use. 4f #e light a candle in a desert, there is no use for this
candle, as there are no objects around to reflect the light of the candle. 4f iva
alone is present, the manifestation of the universe #ill not be visible.
3ence (ar)akti manifests as the universe and is in total control of the universe
and none of the activities of the universe can happen #ithout 3er #ill, grace and
kno#ledge. 3ence, @alit %ahasranma &LFO' adores 3er as 4cch)akti>
j;na)akti>kriy)akti>svarpi &5=Ul0>Hl0>7 l0>7"', #hich is
interpreted as follo#s7 :%he is in the form of three energies I the energy of #ill,
the energy of #isdom and the energy of action. $hese energies form a part of
tr)ik. $r)ik &tri M i)ik' means analysis of three. $ri means three and i)ik
means W)var, the po#er, abiding in divine consciousness. %he is the controller of
all triads in the process of creation. -or e5ample, the three acts of the Brahman,
creation, sustenance and dissolution. $hough %he is said to be W)var of
creation, etc, %he is not different from iva. $he supreme divine consciousness
on the point of e5pansion according to 3er inherent nature is 4cch )akthi. $he
actual process of e5pansion is j;na )akti and the process of diversity leading to
creation of the universe is kriy )akti. $he One #ho is the possessor of all three
)akti>s or energies is kno#n as par>)akti or the %upreme energy. r
$antrloka &444.///' says :+hen the po#er of action reflects upon soma &the
essence of ecstasy', srya &the sun' and agni &the fire' and #e attain the
indivisible @ight that is our absolute bindu.C +hen kriy akt is accomplished in
the phases represented by icch )akt and j;na )akt, in the inner manifestation,
the %upreme Heality of iva is realiEed.C
!imar)a is also non>dualistic in nature like (rak)a. 4n other #ords, %he is also
non>dualistic like iva. But there are t#o perspectives of !imar)a, both being
non>dualistic. Both are at the metaphysical levels= first one &metaphysical to
physical' is about %elf>illuminating iva uniting #ith !imar)a to make the #orld
process unfold. $his is about the dynamics of po#er of iva uniting #ith the
recognition of po#er of light, akti. $herefore, #ithout iva>akti union, universe
cannot manifest and #orldly process cannot be initiated. $he second one is the
reverse process, kno#n as spiritual path or path to liberation &from physical to
metaphysical'. @iberation can only be offered by iva, but %he has to put 3er
stamp of approval for liberation. $his is e5plained in @alit %ahasranma
&K0K' iva>j;na>pradyin, #hich is e5plained thus7 :%he imparts the kno#ledge
of iva, the ?ltimate. iva j;na &kno#ledge' means the kno#ledge of the
Brahman, #hich is also kno#n as the %upreme kno#ledge. $o kno# iva, one
should first kno# 3is akt, #ho alone is capable of leading a person to the
Brahman or iva. Hmyaa says Y#ind can be realiEed through movements,
fire can be realised through heat and iva can be realiEed only through akt. 4t
can also be said that iva is the source of kno#ledge for 3er. 4t is said
)akara caitanyam #hich means that iva is both j;na and kriy. 3e is the
sovereign, pure free #ill, in kno#ledge and action. Based upon this principle,
iva %tra>s opens by saying caitanyamtm. Baitanyam means consciousness
of the highest purity and kno#ledge. $here is no difference bet#een Brahman
and the highest form of consciousness. But ho# akt alone is capable of
unravelling ivaR $his is ans#ered by iva %tra &4.L' again #hich says that by
meditating on akt, the universe disappears as a separate entity thereby
unveiling %elf illuminating iva. $he process of such happening is described in
%panda 8rik &4.O' &another treatise of 8ashmiri %aivism' #hich says Ythe
empirical individual cannot #ard off the urge of desires. But entering the
energetic circle of the %elf &iva', he becomes eDual to that %elf. $he seeker of
iva becomes iva himself. $his is kno#n as iva j;na and %he imparts this
kind of %upreme kno#ledge. 4t is also said that iva cannot be attained #ithout
first realising akt. %he alone can lead one to iva. iva is inaccessible directly.
?nless %he chooses to impart the reDuired %upreme kno#ledge, none can
realise iva. 3ence, %he is called iva>j;na>pradyin.C
+hat is the transformation that happens #ithin after %he imparts kno#ledge
about ivaR 7Ge# e5perience unfolds #hen devotion transforms into love. $his is
full of love, full of bliss, intensity of love rises here in kualin, #hich is the
embodiment of love. Only in kualin true love e5ists. 4t is 3er touch #ithin,
#hich leads to tears of joy, #ill make us stammer, #hich makes our voice break
and ultimately blossoms out #ith laughter.C $his stage is kno#n as inner
absorption, kno#n as anta samve)a &samve)a means absorption'. +hen
inner absorption is complete, #hich means ascension of kualin is complete,
universe is transcended and the meditator becomes one #ith the highest form
of iva, (arama)iva, #here %he is inherent. 8ulrava $antra says, :6 billion
pj>s eDual a stotra &hymns in praise'= a billion stotra>s eDual a japa= a billion
japa>s eDual a dhyna and a billion dhyna eDual a laya &absorption'.C
Only this understanding and contemplation leads to realiEation. Healisation
happens only #hen one surrenders to 3er through mind, intellect, consciousness
and ego &antakaraa'. *uring navvaraa pj, #hat is important is ones
ability to contemplate 3er #ithin and bring 3er out from #ithin and make 3er
majestically seated on ivas left lap in the middle of ri Bakra. 6ny e5traneous
thoughts during contemplation, are serious distractions for anta samve)a. +e
should establish a strong connection bet#een the *ivine Bouple and our
consciousness. 3ere, our consciousness means the dissolution of mind, intellect
and ego into consciousness #here pure consciousness alone prevails. 4t is like
offering as oblations our mind, intellect and ego into the fire of consciousness.
((.)! @9hana "antra;/%
Svhana means invitation or invocation. By using certain mantras and mudras,
the *ivine Bouple are invited from #ithin to be seated in the midst of ri Bakra
along #ith 3er retinue. -ollo#ing is the mantra.
2 + l77l70 7l"l7 + - 00 l0 7 76|
0ll0 7 7 7l-]l7l l7l 0 7ll|
2 hsrai hsklrm hsrau Q mahpadmavanndaste krananda vigrahe Q
sarvabhtahite mta ehyehi parame)vari QQ )rlalitmahtripursundar
parbharik mahkme)ara sameta vhymi QQ
Go# place the flo#ers no# being held in trikha in the centre of ri Bakra.
Go# the *ivine Bouple are seated in ri Bakra. 4f they are contemplated #ell
#ithin and properly invited to be seated in the midst of ri Bakra, at the time of
taking $heir seat, subtle resonances can be felt in the maala #here ri Bakra
is kept.
4n order to pay our respects first, #e are no# sho#ing some mudras to them and
these mudras are kno#n as vhana mudras. $hese mudras are used to
stabilise our invocation. -or each of the follo#ing mantras, there are mudras. 2 is
to be added before each of these mantras.
2 7l0l -+ 2 l70l -+ 2 7Ul70l -+ 2 7l -+ 2 7 -+ 2 77 50l
-+ 2 7 0l -|
2 vhit bhava Q 2 sasthpit bhava Q 2 sannirudhpit bhava Q 2 sanniruddh
bhava Q 2 sammukh bhava Q 2 avakuhit bhava Q 2 suprt bhava QQ
3aving thus established $hem, no# #e have to do L2 types of upacra>s to
$hem. ?pacra can be e5plained as attendance #ith reverence. %i5ty four types
of upacra>s is kno#n as chatu>ayupacra. $his is referred in @alit
%ahasranma &01F' as :chatu>ayupacrhyC. %i5ty four upacra>s is a
long and time consuming procedure. 4f time is a constraint, then these si5ty four
upacra>s are curtailed to either five or si5teen. -ive types of upacra>s are
kno#n as pa;ca> upacra>s and si5teen types of upacra>s are kno#n as
oa)a> upacra>s.
((.*! Chat$;ay$pacra
-ollo#ing is chatu>ayupacra &L2 upacra>s'. om ai hr )r & '
&2' are to be prefi5ed to each upacra. $hese upacra>s are meant only
for @alitmbik. iva #ill continue to remain seated in the bindu of ri Bakra. 4t is
to be remembered that iva is devoid of any attributes and 3e is kno#n as
Girgua Brahman and @alitmbik is %agua Brahman, #ho is the kinetic force
of the universe. iva is %upreme and 3e alone shines by 3imself= hence 3e is
kno#n as (rak)a. 3e is beyond all these rituals and hence 3e is kno#n as
ni)kriy, #hich means inactive.
.5ample7 $he portion marked as >>>>>> each of the upacra>s mentioned belo# is
to be filled.
om ai hr )r )r lalityai >>>>>>>> kalpaymi nama Q
0l >>>>>>>> 77l +
&kalpaymi > an e5pressive style that uses events to describe some action= an
e5tended metaphor. 8alpita means inferred or assumed. Basically, these L2
upacra>s are to be contemplated. 8alpita also means arranged. 8alpaymi is
different from samarpaymi= samarpaymi means offering in person, #hereas
kalpaymi is conceptualisation or visualiEation. 4t is stated that in the absence of
any of the L2 offerings not available, a drop from smnya arghya can be offered
in 3er left hand #ith flo#ers. 4t #ould be better to contemplate those offerings
that are not easily available. $he very purpose of using kalpaymi indicates that
most of these offerings can be offered to 3er mentally.'
(lease note7 +hile reading this article, every upacra is to be contemplated.
(lease spend some time during each upacra.
-or e5ample / is be recited like this.
/. 0l 7l0 77 +
om ai hr )r )r lalityai pdya kalpayami nama Q
&offering #ater for #ashing hands and feet= in L2 upacra>s camana is also
included here'
0. 7-"l7" bharavaropaa &removing 3er je#els'
1. U0 7# sugandhitaila abhya.ga &applying aroma oil on 3er'
2. ll7 ma;jana)lprave)ana &entering into the place #here %he is
going to be bathed'
F. l "757 ma;jana)la maiphopave)ana &taking 3er seat on
gem studded pedestal and gets ready for bath'
L. 7ll(0 divysannyodvayartana &applying fragrant po#ders'
K. 3"77l uodakasnna &bathing #ith hot #ater'
&,antramtkpupamlstava &verse 2'7 6fter visualiEing 3er place, 3er
throne and after having #asher 3er feet and offered 3er #ater, the aspirant no#
gives 3er a bath.'
O. 777= 0 7 00l -77 kanakakala)acyuta sakala trtbhiaka &bathing
3er #ith #ater brought from various sacred rivers in gold pots'
9. U00 7l7 dhautavastraparimrjana &predry #ith to#els'
/P. 7"7 7 7Ul aruaduklaparidhna &adoring 3er #ith crimson garment'
&,antramtkpupamlstava &verse F' 4 have gathered bright precious
stones from the golden ,ount ,eru and fi5ed them on the red upper garment
#hich is in the colour of saffron.'
//. aruaduklaparidhna &adoring 3er #ith crimson upper
garment'
/0. lepamaapaprave)ana &entering into a room for
application of perfumes'
&,antramtkpupamlstava &verse K' :4 have prepared sandal paste mi5ed
#ith camphor and saffron to apply on Jour body. 4 have musk tialka to be placed
on Jour forehead. 4 have gorocan for Jour mirror like cheeks. 4 have eyeliner for
Jour eyes and 4 have thick paste of pure musk for your lotus like neck. 4 offer all
this for Jour delight.C'
/1. 7 77 "757 lepamaapa maiphopave)ana &making 3er to sit
on a gem studded pedestal'
/2. 7l 7 0 77 70 l7 7Ul #"7
candangaru ku.kuma mgamata karpra kastr gorocandi
divyagandhasarv.giavilepana &application of paste made of sandal, saffron
and other five fragrant ingredients= these ingredients are freshly grinded and
made in the form of paste'
&@alit %ahasranma 212 Bandana>drava>digdh.g > 3er body is smeared #ith
sandal paste.'
/F. 7 -l 7llU 7 ke)abhrasya klgarudhpa &offering aromatic smoke to
3er hair'
&,antramtkpupamlstava &verse 9' Jour hair appearing like a chain of
bees, be#itch the mind of iva. $hough Jour body is the playground for
fragrances, 4 mentally offer to Jour body and hair, the fumes of ten different types
of incenses.'
/L. 7l l0 7l0 77 77 070 7 7 7 7l 7l 0 7 ll
mallik mlat jt campaka a)oka )atapatra pga guha/ punnga kahlra
mukhya sarvartukusuma ml
$en different flo#ers are mentioned here. "arlands are made out of these flo#ers
and adorned on 3er. $hese flo#ers also adorn 3er hair.
&,antramtkpupamlstava &verse O'7 :$here are several flo#ers mentioned
here and many of them cannot be properly translated into .nglish. $he flo#ers
are #hite #ater lily, blossomed blue lotus, jasmine, fragrant herbs, another
flo#er of jasmine family, yello# colored campaka flo#er, another flo#er of
jasmine family that blossoms in the evening, flo#ers of coral tree, fragrant
oleander, leaves of another herb, golden lotus and other fragrant flo#ers.C'
&@alit %ahasranma &/1' Bampak)oka>punnga>saugandhika>lasat>kac.
:Campaka, aoka, punnga, saugandhika are the four types of fragrant flo#ers
that adorn 3er hair. But 3er hair does not get fragrance because of these
flo#ers, #hereas these flo#ers get their fragrance from 3er hair. 3er hair is
al#ays s#eet smelling.C'
/K. - 7"7 7 bhaamaapa prave)ana &%he no# enters into a hall
#here %he is going to be adorned #ith various types of ornaments.'
/O. - 7"7 "757 bhaamaapa maiphopave)ana &%he is made to
sit on a gem studded pedestal #here is %he is adorned #ith all types of
ornaments. $hese ornaments are adorned on 3er one after another as described
in subseDuent upacra>s.'
&,antramtkpupamlstava &verse L'7 (lease accept necklaces, bracelets,
bracelets #ith tiny bells, anklets, ear studs, cro#n, head ornament, nose stud,
finger rings, bangles and #aist band.'
/9. "7 navamaimakua &cro#n made of nine precious gems'
&@alit %ahasranma &/2' 8uruvinda>mai)re>kanat>kora>
mait7 #uruvinda is a rare type of ruby, #hich is red in colour. $his particular
type of ruby is said to enhance love, #ealth and devotion for $iu &$iu is 3er
brother'. $hese rubies adorn 3er cro#n. +hen %he is meditated upon #ith this
red cro#n, spirituality and prosperity #ill increase. !aundarya %ahar& &verse 20'
says, :+hy #ill not he, #ho e5tols your golden cro#n, closely stud #ith the
t#elve %uns &t#elve ditya's ' dvdasa ditya's, each ditya representing one
solar month ' transformed into gems, form the idea that the digit of the &crescent'
,oon, variegated by enveloping lustre of the inlaid gems, is but the bo# of 4ndra
&rainbo#'RC r& akt& (ahimna &verse 20' also describes 3er cro#n.'
0P. 7 7 candra)kala &an ornament appearing like crescent moon'
0/. 07 smantasindra &vermilion kept at the parting of hair at forehead'.
00. 077 tilakaratna &mark on the forehead just above the meeting points of
eyebro#s.
&@alit %ahasranma &/L' ,ukacandra>kalakbha>mganbhi>vi)eak > %he is
#earing a kastri &kastrik a fragrant paste' tilaka &a mark on the forehead
made #ith musk, sandal>#ood, etc' and@alit %ahasranma &L10' %indra>
tilak;cit > %he is adorned #ith vermillion mark on 3er forehead.'
01. 7ll kl;jana &black collyrium applied to the eyelashes or the inner coat
of the eyelids'
02. l vlyugala &adorning ear studs'
&@alit %ahasranma &OL2' 8anat>kanaka>ta.k > %he is #earing glittering ear
studs made of shining gold. %aundarya @ahar &verse 0O' says that it is due to
the po#er of 3er ta.k &ear studs', iva becomes deathless, even after
s#allo#ing the terrible poison. 4t is also said that sun and moon are 3er ear
studs.'
0F. "7 7 maikualayugala &a pair of hanging ear studs made of
precious stones fi5ed to the pair of vlyugala'
0L. ll-" nsbharaa &nose studs'
&@alit %ahasranma &0P' trknthi>tiraskri>nsabharaa>bhsur > %he is
#earing a nose stud that outshines the stars. 3er nose stud is made up of rubies
and pearls. $r means stars $r also means t#o goddesses ,a.gal and
ukl. ukl has later come to be kno#n as ukr. (ossibly these ,a.gal and
ukr could mean the t#o planets ,ars and !enus. .ach planet governs certain
precious stones. (lanet ,ars rules ruby that is red in colour and !enus rules
diamond &,ani ,l 44.K9'. 4t can also be said that these t#o planets adorn 3er
nose.'
0K. 7Ul7 adharayvaka &lipstick'
0O. 7 7- 7" pradamabhaa &m.galya>stra'
&@alit %ahasranma &1P' 8me)a>baddha>m.galya>stra>)obhita>kandhar >
3er neck is adorned #ith the m.galya stra &married #omen #ear this' tied by
8me)vara.'
09. 770l7 kanakacintka &gold necklace that is #orn close to the neck= not
of hanging type'
1P. 777 padaka &comparatively small pendant'
1/. l777 mahpadaka &bigger pendant'
10. 0lmuktval &pearl necklace'
11. 77l ekvali &a necklace made of 0K pearls= probably referring to 0K stars'
12. U7 channavra &crisscrossing of gold braids'
1F. 7 0 7 keyurayugala catuaya &bangle like ornaments #orn on 3er
four upper arms'
&@alit %ahasranma &1/' 8anak.gada>keyra>kamanya>bhujanvit > kanaka I
golden= a.gada I bangles or bracelets= keyra is a type of ornament #orn in the
upper arms. %he is #earing these ornaments. (ossibly, this could mean the
follo#ing. Both these ornaments are made out of gold and #orn in the arms.'
1L. l valayvali &concatenation of bangles'
1K. 37l rmikvali &rings in every finger'
1O. 7l77l k;cdma &#aist band'
&@alit %ahasranma &1L' stanabhra>dalanmadhya>paabandha>valitray > $he
golden belt that %he #ears supports 3er #aist as it bends under the heaviness of
3er bosoms, resulting in three folds in 3er stomach area.'
19. 7 0 kaistra &gold girdle'
&@alit %ahasranma &1O' Hatna>ki.kiik>ramya>ra)an>dma>bhit > %he is
adorned #ith girdle studded #ith mini bells and gems. *evis (a;cada) mantra
consists of three parts or ka>s. !gbhava ka #as discussed from nma /1
to 09. ,adhya ka #as discussed from 1P to 1O and akt ka #ill be
discussed from 19 to 2K. *evis face is vgbhava ka, from face to hip is
madhya ka &also kno#n as kmarja ka' and akt ka is hip do#n#ards.'
2P. -ll-" saubhgybharaa &various gold shapes are fi5ed to gold girdle=
#hat is referred here is a gold leaf resembling peepul tree, #hich signifies
auspiciousness.'
2/. 7l777 pdakaaka &anklets'
&@alit %ahasranma &2L' si;jna>mai>ma;jra>maita>srpadmbuj > %he is
#earing anklets made out of precious gems that shine.'
20. 7 7 ratnanpura &ornaments for the toes, ankles and feet interconnecting
them'
21. 7l7l#7 pd.gulayaka &toe rings= generally they are #orn on the second
toe= but they are also #orn on all the toes #ebbed by a gold chains'.
22. 7l p)a &noose or chord'
&@alit %ahasranma &O' Hgasvarpa>p)hy > Hga means desire or a
#ish. ()a is a type of rope used to pull an object. %he pulls all the desires of
3er devotees using this rope. $here are three )akti>s &)akti in this conte5t means
po#er' I icc, j;na and kriya. $his nma talks about icc )akti or the desire.
%he never allo#s 3er devotees to sink #ith desires. $his arm is 3er left upper
arm and is represented and is represented by 6)vrd *evi.'
2F. 7 a.ku)a &an elephant hook'
&@alit %ahasranma &9' 8rodhkra.ku)ojval > %he holds an elephant hook in
her right upper arm. 8rodha means hatred and akra means kno#ledge. $his
nma talks about subtle body. 8no#ledge is al#ays subtle. %he uses this
elephant hook to destroy the hatred if developed in 3er devotees and gives them
kno#ledge.'
2L. 7 7 l7l purekucp &pura I a type of red coloured sugar cane= iku
I also means sugar cane' adorning 3er left arm #ith sugar cane bo#.
&@alit %ahasranma &/P' ,anorpeku>koda > ,ind involves both sa0kalpa
and vikalpa. %a0kalpa means resolve, process of thought. !ikalpa means
difference of perception. Both are opposite to each other. ,ind is also subtle
like kno#ledge. ,ind is reflected through the five sensory organs. 4t has both
sa0kalpa and vikalpa Duality as it acts through the impressions received from
sense organs that get fine tuned in the form of thought and finally e5plodes in the
form of actions. 4ku means sugar cane and kodaa means a bo#. %he is
holding in 3er left upper arm a bo# of sugar cane.'
2K. 7 74l"l pupabn &adorning 3er #ith five flo#ers as arro#s in 3er right
lo#er arm.'
&@alit %ahasranma &//' (a;catanmtra>syak > $he five flo#er arro#s
represent five subtle elements. $hese five flo#ers or arro#s are described
differently in various tantra )stra>s. $hese five flo#ers are lotus flo#er,
raktakairava flo#er, kalhara flo#er, indivara flo#er and flo#ers of mango tree.
$hese five flo#ers represent e5citement, madness, confusion, stimulation and
destruction.'
2O. l"7l7 7 )rmanmikyapduke &a pair of sandals made of ruby'
%he is getting ready to return to ri Bakra, #here 8me)vara is #aiting for 3er.
29. l 7- 7" 70l- 7 lU
svasamna veabhi varaa devatbhi saha )r cakrdhirohana
&%he is ascending ri Bakra #ith 3er attendants &varaa devi>s', #ho are
eDually #ell dressed and ornamented. 6t this point all varaa devi>s take their
respective positions= but %he stands beside 8me)vara.'
FP. 7l6l7 37 kme)var.kaparya.ka upave)ana &%he is sitting on the
left lap of8me)vara'
&@alit %ahasranma &F0' iva>kme)var.kasth > %he sits on the left thigh of
iva. $his is the form of %agua Brahman. iva is (rak)a form and self
illuminating and akt is 3is !imar)a form. 4t is good to meditate upon this
posture of $hem. +hy %he is sitting on his left thighR 3eart is on the left side
and %he is said to be ivas heart &could also mean love'.
F/. 7 0l77 amtsavacaaka &offering $hem cup of honey'
F0 and F1 are to be offered t#ice, one for 8me)vara and 8me)var.
F0. 7 camanya &offering #ater to #ash $heir mouths'.
F1. 77 7l karpravik &8arpravtik is a combination of fragrant
ingredients, used to che# along #ith the betel leaves. $he ingredients used are
I saffron, cardamom, clove, camphor, kastri, nutmeg and mace or myristica
fragrans or jtipattr &arillus of the nut also kno#n as myristica officinalis'. $he
ingredients are finely po#dered and mi5ed #ith po#dered sugar candy. $his
8arpravtik po#der #hen used #ith betel leaves for che#ing gives immense
fragrance and delicious taste'. +hen %he che#s this, it provides fragrance to the
entire universe.'
&@alit %ahasranma &FF9' $mbhla>prita>mukh > %he is fond of che#ing betel
leaves #ith karpra vik &nma 0L'. $he betel leaves turn 3er lips into red
colour. $his nma says that 3er face shines #ith betel leaves in 3er mouth. $he
fragrance of betel leaves #ith karpra vik emanates pleasing fragrance.'
F2. 77lll nandollsavilsahsa &%he smiles at us if #e have done
all the above #ith devotion and love. +hen %he smiles, #e also smile at 3er #ith
tears rolling do#n. $he tears #e shed no# signals 3er acceptance of our
upacra>s offered to 3er.'
FF. #l0 7 ma.galartrikam &%ho#ing nine lamps to $hem. $his is a sign of
auspiciousness. $here is a separate procedure for this, #hich #ill be dealt #ith in
the ne5t part. Only after performing this, further upacra>s should be continued.'
FL. U0 chatra &offering them gold umbrella #ith gems and diamonds
emebdeed. $his is done as a mark of paying our respects to Hjarjesvar and
Hjarjesvar &8me)vara and 8me)var'.
FK. l cmara &this is a kind of fan made out of plumes of #hite horse= $hey
are being fanned #ith cmara, a mark of respect.'
FO. 77 " darpaa &sho#ing mirror to them in order to make them look at the
mirror and enjoy the company of each other. 4t is also a sign of auspiciousness.'
F9. 0l 0 tlavnta &fanning them hand fans made out of palm leaves.'
LP. U gandha &offering them sandal paste'
L/. 7 7 pupa &offering 3er flo#ers I flo#ers can be placed at $heir lotus feet'.
-ollo#ing three should be done at the end of navvaraa pj.
L0. U 7 dhpa &offering incense= incense should be sho#n to them from a
distance, so that it does not affect their inhalation &they are to be contemplated
#ith life'.
L1. 77 dpa &#aving of lamps before $hem. $his is done out of reverence.
$here are several types of dpa>s, including ekahrat dpa, ala.kra dpa,
pa;cahrati dpa, "yatr dpa, nandi dpa, prakumbha dpa and
finally nrjana.
L2. 0 naivedya &offering of food and other delicacies along #ith fruits. -irst,
cooked food is to be offered, follo#ed by camanya &to #ash their hands,
mouth and feet' follo#ed by offering of drinking #ater, follo#ed by fruits and
finally betel leaves #ith karpravtik.'
Go# #e have #ait for $heir ascent to proceed further.
((.*.++!
&$his has already been referred in the previous part. Go#, relevant mantras and
procedures are being discussed.'
6 copper or silver plate and rice or #heat flour, milk, nine #icks, ghee and
camphor are reDuired. ,i5 flour #ith milk and sugar and make dough. ?sing the
dough prepare nine triangle shaped lamps. $hey should be designed in such a
#ay that there is some space available to pour fe# drops of ghee in the middle.
$hese lamps should be arranged like eight petal lotus and the ninth lamp should
be placed in the centre. 4ndividual lamps should be made like a damuru. $here
are other variations in this arrangement. Go#, the #icks are to be dipped in ghee
and smeared #ith camphor at the tip of the #icks. 4n the space available in each
of these lamps for ghee, a fe# drops of ghee are to be poured and #icks are lit. 4t
is to be ensured that all the nine lamps burn simultaneously and #ith the same
kind of flame. +hen the lamps are lit, : hrC is to be recited. $his should be
recited #hile lighting all the nine lamps.
Go#, by touching &abhimantraa' the plate, recite the follo#ing mantra #hich is
kno#n as navkar ratne)var mantra &l 76'.
2 )r hr gl sl ml pl nl hr )r
2
6fter completing the recitation, sho# chakra mudra to the lamps.
Go# recite mlamantra by touching the plate &abhimantraa means abhi>
mantraa>mantra= making anything sacred by a special formula or consecrating'.
Go# take the plate and rotate clock#ise nine times in front of
&like diprdhana' 8me)var and 8me)var &if idols are available' and ri
Bakra by reciting t#o mantras. -irst mantra is the first verse of *urg %kta.
i' 7l7 7 l l00 7l0 7+ 77 70 6l l U 0 0l|
jdevedase sunavma somamartyato nidahti veda Q sa na paradati vi)v
nveva sindhu turittyagni QQ
ii' 0 7 7 0 7 l7 +
7l0 77 7 l" |
samasta cakra cakre)yute devi navtmike Q
rtrikamida dubhya gha mama siddhaye QQ
6fter having done this, #e have to place the lamp to our right.
()! Cat$ryatana Pj
Syatana means resting place or abode. .very place and every being is yatana
of iva. 6s #e kno# that there are five types of )akti>s I cit)akti, nanda)akti,
icch)akti, j;na)akti and kriy)akti. $he first three )akti>s along #ith the last t#o
)akti>s are responsible for creation. $hese five )akti>s are kno#n as iva, akti,
%ad)iva, W)vara and uddhavidy respectively. $echnically, #orshiping these
five )akti>s is kno#n as pa;cyatana pj. $herefore, pa;cyatana pj means
#orshipping the five primary principles of creation, as mentioned above. iva
alone is 6bsolute and the rest have originated from 3im. 3e alone pervades the
entire universe. 3e is Bit &6bsolute Bonsciousness' and akti is full of Bliss
&Snanda)akti'. Both of them are kno#n as %accidnanda, #ho pervade the
universe. 4n order to let us kno# that the #hole #orld is permeated by
%accidnanda and no object or being is different from %accidnanda,
pa;cyatana pj is performed. $here are three types of pa;cyatana pj I
iva, akti and !iu pa;cyatana pj>s. 4n any pa;cyatana pj, five "ods
are #orshiped and they are iva, akti, !iu, "ae)a and %rya. $he presiding
deity is placed in the middle and other deities are #orshiped clock#ise beginning
from Gorth .ast &)na', %outh .ast, %outh +est and Gorth +est.
4n navvaraa pj, #hich is performed to attain 3er "race and Bompassion,
instead of pa;cyatana pj, caturyatana pj is performed, as 8me)var is
majestically seated in the middle of ri Bakra along #ith ,ah>8me)vara.
$heoretically, caturyatana pj is akti pa;cyatana pj. 8me)var is
#orshiped in the middle, "ae)a in nirti &%outh +est', %rya in vyu &Gorth
+est', !iu in )na &Gorth .ast' and iva in agni &%outh .ast'. "ae)a is the
chief of gaa>s, #ho protects the universe &/2 #orlds'. 3e is an embodiment of
kno#ledge. 3e is not only the obstacle remover, but also causes obstacles.
3ence, he is #orshiped first in order to remove any possible obstacles.
&3o#ever, for a true devotee no obstacles #ill be there in his spiritual path=
ho#ever, he has to undergo the pains and sufferings of life due to his or her
individual karma and the group karma > group means society as #ell as
relationships'. %rya &the sun' has the ability to create and he rules the #orld
along #ith his consort %avit. %ince he is the creator &creator conte5tually does
not refer to Brahman', %rya is #orshiped. !iu is the sustainer of the universe
and hence !iu is #orshiped. iva is #orshiped as Hudra, #ho alone is capable
of annihilating the universe, hence 3e is #orshiped. iva has multiple
manifestations, from a subordinate staff to the chief e5ecutive. $hough 3e is
kno#n through different names such as %ad)iva, W)vara, ,ahdeva, W)na,
8me)vara, Bhairava, etc, all these forms are different manifestations of iva
only. 3ence iva is #orshiped. (ar)akti is #orshiped in the centre, in the
innermost triangle of ri Bakra. %he is the embodiment of everything that prevails
in the universe. %he gets 3er energy from iva and %he acts on behalf of iva.
%he gives spiritual kno#ledge and bliss. +ithout 3er "race, liberation cannot be
attained. %he is (rak)a !imar)a ,ahmy %varpini. $he very purpose of
navvaraa pj is only to contemplate 3er perpetually, setting aside
attachments to material #orld &normal living is not material attachment= if #e do
not live normal materialistic life, 8a #ill be angry #ith us as #e #ould be
violating 3is teaching on karma yogaN'
Pjay"i an8 3arpay"i%
$his is the most significant aspect of navvaraa pj. 3ereafter, at the end of
every mantra pjana and tarpaa are to be done. -lo#ers are to be taken in
the left hand. 4n the right hand, t#eeEers is to be taken #ith a piece of ginger held
bet#een the t#eeEers. 6t the time of saying pjaymi flo#ers from the left hand
are to be placed. 6t the time of saying tarpaymi, the ginger piece is to be dipped
into vi)ea arghya using the t#eeEers and a drop of vi)ea arghya is to be
offered in the same place #here flo#ers are placed. $his is further e5plained in
"ae)a pj.
().1! Fae:a pj.
i' "ae)a vahana7
2 0 l"70 ll+ 7ll |
7 +7l0 + 7+7l+7 +0 +Ul Ull+ 7 7 7 7l|
2 siddhalakm sameta )r mahgaapati dhyymi Q vhaymi |
sana Q pdya Q arghya Q snapaymi Q camanya Q gandhn dhraymi Q
pupai pjaymi QQ
ii' "ae)a mlamantra7
&to be recited three times'
2 "70 7 7 l ll + 0 l"70 7l7 7l
7 7l 07 l |
2 om )r hr kl glau ga gaapataye varavarada sarvajaname
va)amnaya svh +siddhalakm sameta )r mahgaapati )r pduk
pjaymi tarpaymi nama QQ
Go# take flo#ers in the left palm and place the flo#ers, #here "ae)a idol is
kept &nirti > %outh +est' and simultaneously take amta using a t#eeEers made
of either silver or copper. $his is meant to perform tarpaa. 4nstead of a
t#eeEers, a thin silver rod #ith spikes on one side and a very smalluttarai like
structure #hich can hold one or t#o drops of vi)ea arghya can also be used. 6t
the end of the t#eeEers peeled ginger should be placed firmly. $he tip of
t#eeEers is dipped into vi)ea arghya, a drop of amta is taken and immediately
placed in the place #here flo#ers are placed. $his procedure is kno#n as
pjaymi and tarpaymi. 4n fact, both pjana and tarpaa should be done
simultaneously.
Gote7 )r pduk pjaymi tarpaymi nama #ill hence forth be referred
as spptn.
iii' 6rcana7 &only flo#ers to be offered'
7l + 7770l + 7l + 77" 7l + 47l + 7l +
l7l + l7l + U 7 0 + "ll + l7 l 7ll +
7 0 7l + 7 7"l + 4l + 777 7l |
om sumukhya nama Q ekadantya nama Q kaplilya nama Q gajakarakya
nama Q lambodarya nama Q vikaya nama Q vignarjya nama Q
vinyakya nama dhmaketave nama Q gadhyakya nama Q
phlacandrya nama Q gajnanya nama Q vakratuya nama Q
)rpakarya nama Q herambya nama Q skandaprvajya nama QQ
&6ny verses and hymns in praise of "aapati such as r "aetharvaram
can be chanted at this point. %imilarly verses, hymns and !eda mantras can be
recited #hile doing pj>s to %rya, !iu and Hudra'.
iv' ?pacra>s7
dhpa , diprdhana, naivedya and nrjana.
v' "ae)a gyatr7
07 7l 7 7 0 7l U+
07 70 7 7l0 |
tatpuruya vidmahe vakratuya dhmahi Q
tanno danti pracodayt QQ
\-rom this point on#ards, naivedya should be kept ready for every upacra.
$here #ill be a need of /2 sets comprising of 2 &caturyatana pj' M 9 &for
nine varaa Is' M / &after completing pj for all the nine varaa Is= this is the
main one' dhpa , diprdhana, naivedya and nrjana= necessary materials
should have been kept ready'.
().(! Srya pj.
i' %rya vahana7
2 7 7l 0 0 l0 7- ll+ 7ll |
7 +7l0 + 7+7l+7 +0 +Ul Ull+ 7 7 7 7l|
2 prak)a )akti sahita mrtaabhairava dhyymi Q vhaymi |
sana Q pdya Q arghya Q snapaymi Q camanya Q gandhn dhraymi Q
pupai pjaymi QQ
&,rtaa is derived from mrta, #hich means bird sprung from a lifeless
egg. ,rtaa, #hich is used here refers to sun god. ,rtaa also signifies
numeric t#elve and therefore could possibly refer t#elve Sditya>s'
ii' %rya mlamantra7
&follo#ing spptn to be done /0 times= there are te5ts #hich say only 1 times=
ultimately "urus #ords alone count'
2 " 77 | 7 7l 0 0 l07- 7l7 7l 7 7l 07 l &spptn' |
2 om ghi srya dityom QQ prak)a )akti sahita mrtaabhairava )r
pduk pjaymi tarpaymi nama &spptn' QQ
&spptn > )r pduk pjaymi tarpaymi nama= spptn > 7l7 7l 7 7l 07 l
'
iii' 6rcana7 &only flo#ers to be offered'
&om is to be prefi5ed and nama to be suffi5ed to each nma'
0 l + + l + -l + 7l+ 7 "+ -l + + 77l+ 0 +
77l + -l7 l |
om mitrya nama Q ravaye Q sryya Q bhnave Q khagya Q pe Q
hirayagarbhya Q nlarucaye Q dityya Q savitre Q arkya Q om bhskrya nama
QQ
iv' iv' ?pacra>s7
dhpa , diprdhana, naivedya and nrjana.
v' %rya gyatr7
-l7l 7 l0 07l U+ 07 77 7 7l0 |
om bhskarya vidmahe mahdyutikarya dhmahi Q tanno ditya pracodayt QQ
().)! Vi$ pj.
i' !iu vahana7
l"l+ l 0 l" 7ll+
7 +7l0 + 7+7l+7 +0 +Ul Ull+ 7 7 7 7l|
om namo nrayaya Q mahlakm sameta )r mahviu vhaymi Q
sana Q pdya Q arghya Q snapaymi Q camanya Q gandhn dhraymi Q
pupai pjaymi QQ
ii' !iu mlamantra7
l"l+ om namo nrayaya Q
&follo#ing spptn to be done three times'
l 0 l" spptn |
r mahlakm sameta )r mahviu spptn |
iii' 6rcana7 &only flo#ers to be offered'
(uruasktam can be recited here.
l0l7l - 7 77l-
6l7l 7 " -l# +
7l0 7 -l
7 " -- 7 7l |
)ntkra bhujaga)ayana padmanbha sure)a
vi)vkra gaganasad)a meghavara )ubh.gam Q
lakmknta kamalanayana yogibhidhyrnagamya
vande viu bhavabhayahara sarvalokaikantham QQ
7 l + ll"+ lUl+ 7l+ " + U 7l+ 0 7 l+ ll+ Ul+
577 l+ 77l-l+ 7l7l |
om ke)avya nama Q nryaaya Q mdhavya Q govindya Q viave Q
madhusdanya Q trivikramya Q vmanya Q )rdharya Q hike)ya Q
padmanbhya Q om dmodarya nama QQ
iv' ?pacra>s7
dhpa , diprdhana, naivedya and nrjana.
v' !iu gyatr7
ll"l 7 l 7l U+ 07 " 7 7l0 |
om nryaya vidmahe vsudevya dhmahi Q tanno viu pracodayt QQ
().*! &i9a pj%
i' iva vahana7
0 70 - 66l l7l 47l 0 7 l07l 0 7l 7ll 7ll7 l 5l
7l 6l 7ll l7l |
3l 0 6 7ll|
7 +7l0 + 7+7l+7 +0 +Ul Ull+ 7 7 7 7l|
namaste astu bhagavan vi)ve)varya mahdevya tryabakya tripurntakya
trikgni klya klgnirudrya nlagahya mtyujayya sarve)varya
sad)ivya )rmanmahdevya nama QQ
um sameta )r mahe)vara vhaymi QQ
sana Q pdya Q arghya Q snapaymi Q camanya Q gandhn dhraymi Q
pupai pjaymi QQ
ii' iva mlamantra7
l+
l#l l Ul 07ll l #l- 70l 3l6|
om nama)ivya spptn Q
s.gya syudhya sa)aktiparivrya sarvla.grabhitya
ummahe)vara spptn QQ
iii' 6rcana7 &only flo#ers to be offered'
r Hudra can be recited here.
-l 7l + l + 5ll+ 7 70+ 7 l+ 3 l+ -l+ 0 7l |
om bhavya devya nama Q )arvya Q )nya Q pa)upataye Q rudrya Q ugrya Q
bhmya Q om mahate devya nama QQ
iv' ?pacra>s7
dhpa , diprdhana, naivedya and nrjana.
v' iva gyatr7
07 7l 7 l7l U+ 07 7 7 7l0 |
om tatpuruya vidmahe mahdevya dhmahi Q tanno rudra pracodayt QQ
(*! lay#a pj
%ome do not perform this pj. lay.ga comprises of laya and a.ga= laya means
absorption and a.ga means body, mind, etc. $herefore lay.ga means
absorption into Brahman. $he very purpose of performing navvaraa pj is to
get absorbed into Brahman, setting aside the body and mind. Only to accentuate
this point, lay.ga pj is prescribed. $his principle can be interpreted from the
point of vie# of $rika philosophy &triads'. 6ll the triads originate from the
innermost triangle and bindu of ri Bakra. Bindu is both (rak)a and !imar)a
&iva and akti', the source of kmakal & 5 '. $he universe originates from
Bindu and dissolves into Bindu. 8eeping this philosophy in mind, lay.ga pj is
done. Bindu is #orshiped three times at this point. $he first pjana and
tarpaa is for the union of 8me)var and 8me)var= the second one is for
kmakal, the source of creation= the third one is identifying ourselves #ith the
universe. %elf>realiEation does not end #ith the realiEation of the %elf #ithin. %elf>
realiEation also means of identifying universe #ith the %elf. $he %elf, the
individual self &the %elf #ithin, veiled by my= this is kno#n as individual soul'
and the universe. ?ltimately, individual soul and the universe get absorbed &laya'
into the %elf. $his is the purpose of lay.ga pj.
$his is to be done three times on the Bindu.
2 > mla &mlamantra' I 77l77 4 l7l7 l7l76 0ll0 7 7
7l-]7l l7l 7 l7l lll 7 7l7 7l 7 7l 07 l |
2 I &mlamantra' > akhilakoi brahmanyaki )r rjarje)var
lalitmahtripurasundar parbhaarik mahdevy prk)a vimar)a
mahmy svarpini )r pduk pjaymi tarpaymi nama QQ
(+! aa#rcana"%
Basically, this pj is also based on pa;cyatana, caturyatana
and lay.ga pj>s. -aa.ga means si5 parts. $he follo#ing t#o nma>s
of @alit %ahasranma speaks about aa.ga devata>s.
aa.aga>devdyukt >7l7l 0l &1OL'7 a &si5' M aaga &parts' means si5
parts. -or everymantra there are si5 parts and each such part is under the
control of a god<goddess called aagadevat's of the presiding deity. $hese si5
parts are heart, head, tuft of hair, arms, eyes and #eapons. Before and after the
recitation of a mantra, the deities of these parts are #orshipped in our bodies by
touching the respective body parts #ith fingers. $his is #ith regard to the
e5ternal #orship. iva has si5 types of kno#n Dualities and they are
omniscience, completeness, supreme level of consciousness, freedom,
everlasting po#er and infinity. $hese si5 are the Dualities of the Brahman #ithout
attributes or praka form of the Brahman. $his nma says that %he is
surrounded by these si5 aaga devat's. 4t is important to remember that %he is
described both as Brahman #ithout attributes or the praka form and as
Brahman #ith attributes or the vimara form.
guya>pariprit 7l > &1OK' %he is endo#ed #ith si5 Dualities that
are considered auspicious. $hey are prosperity, righteousness, fame, material
#ealth, #isdom and dispassion. *ispassion because, %he #ill not sho# any
special favours to a select fe#, transcending the la# of karma. %he does not
encourage favouritism.
$his is to be done at the bindu.
Gote7 $hose #ho are initiated into -oa) should use -oa) mantra, #hich is to
be divided into si5 pda>s. $hose #ho are not initiated into -oa) should go
#ith saubhgya>pa;cada). +hat is given here is saubhgya>pa;cada).
i' 2 7 7 57l + 570 7l7 7l 07 l |
2 ai ka e la hr hdayya nama Q hdaya)akti )r pduk tarpaymi
nama QQ
ii' 2 7 ll+ 0 7l7 7l 7 7l 07 l |
2 kl ha sa ka ha la hr )irase svh Q )ira)akti )rpduk pjaymi
tarpaymi nama QQ
iii' 2 7 7l 7 + 7l0 7l7 7l 7 7l 07 l |
2 sau sa ka la hr )ikhyai vaa Q )ikh)akti )rpduk pjaymi
tarpaymi nama QQ
iv' 2 7 7 7l + 70 7l7 7l 7 7l 07 l |
2 ai ka e la hr kavacya hu Q kavaca)akti )rpduk pjaymi tarpaymi
nama QQ
v' 2 7 0 0 l 7 + 0 0 7l7 7l 7 7l 07 l |
2 kl ha sa ka ha la hr netratrayya vaua Q netra)akti )rpduk
pjaymi tarpaymi nama QQ
vi' 2 7 70 l + 70 0 7l7 7l 7 7l 07 l |
2 sau sa ka la hr astrya pha Q astra)akti )rpduk pjaymi tarpaymi
nama QQ
(,. nity8e9' yajana"%
Jajana means #orship and this part deals #ith #orshiping of fifteen nitydev>s.
0L./' (reliminary study of fifteen nitydev>s &$his part of the article is already
discussed in Uourney to ri Bakra I (art /K and is reproduced here for the
purpose of convenience'7
$ithi nity dev>s represent fifteen digits of the moon and each digit is kno#n as
tithi or lunar day. $here are fifteen tithi>s or lunar days and each tithi is
represented by a nity dev and hence they are kno#n as tithi nity dev>s.
$echnically speaking, there are only fourteen tithi>s and the fifteenth tithi is either
full moon &prim' or ne# moon &amvsy'. -ifteenth lunar day, either full
moon &prim' or ne# moon &amvsy' is represented by ,ahkme)var
3erself. (a;cada) has fifteen letters and each of these letters represent one
kal &digit' of the moon. But, kal also means si5teenth part &/</L'. But #e have
only fifteen letters in (a;cada) mantra. $he si5teenth kal is -oa) bja
)r& ', #hich is hidden and al#ays remains subtle. 6s there are only
fifteen tithi nity dev>s, ho# do #e #orship the si5teenth -oa) kalR 6ns#er to
this Duestion is considered as secret, as the ans#er reveals ,ahkme)var.
%i5teenth kal is #orshiped in the bindu, the place of iva. But in the bindu, iva
is not #orshiped #hile #orshipping tithi nity dev>s, but ,ahkme)var is
#orshiped. $his also subtly conveys the union of iva and akti. $hough there is
no separate procedure for -oa) upsaka>s &those #ho are initiated
into -oa)', #hen ,ahkme)var is #orshipped in the central bindu, the above
aspect is to be contemplated. 4t #ould be ideal to #orship ,ahnity
&,ahkme)var' in the bindu #ith -oa) mantra for the si5teenth kal, though
it is not e5plicitly mentioned= but it is implied. $e5ts say that #hile
#orshipping ,ahnity, (a;cada) mantra should be encased &sampukaraa'
bet#een t#o a &7'. .ach nity dev represents fifteen vo#els from a to
a &7 to 7'. But, those #ho are initiated into -oa) should use -oa) mantra,
instead of (a;cada) mantra. 4t is also said that during )uklapaka &#a5ing
moon', tithi nity dev>s should be #orshiped from / to /L &anticlock#ise' as
sho#n in the image. But during kapaka &#aning moon', they should be
#orshiped in clock #ise manner, i.e. from /L to /. 3o#ever, one has to follo#
#hat his or her "uru says. 4n r !idy #orship, one has to meticulously follo#
#hat his or "uru says and there should be no deviation from his instructions, as
he follo#s the traditions of his "uru and (aramaguru. But, it should al#ays be
remembered that he should be a "uru, #ho has attained mastery over the
various types of #orshiping ri Bakra and should remain #ith (ar)akti all the
time. .ach tithi nity dev have their o#n yantra>s and mantra>s. $hey have their
o#n mlamantra>s, varaa pj>s, etc. $he innermost triangle is formed by the
first three tithi nity dev>s, viE. 8me)var, !ajre)vari and Bhagamlin, each
representing one corner of the triangle. $hough as tithi nity dev>s, they do not
hold the innermost triangle, they hold this triangle as three devi>s representing
three gua>s. $his #ill be discussed in the ne5t varaa, viE. eighth varaa. 4n
fact, the innermost triangle is held by them. 3o#ever, there are other vie#s on
this, #hich says that @alitmbik, 8me)var nity and Bhagamlin nity hold
the innermost triangle. But this argument cannot be accepted. +hen @alitmbik
is seated on the lap of iva, obviously, %he cannot be holding this triangle.
-urther, %he cannot be compared to other nity dev>s, #ho function under 3er.
(,.(! G$rther /t$8y of fifteen nity8e9';/%
r !idy is primarily based on lunar digits. &(hases of the moon can be kno#n
from this sitehttp7<<###.moonconnection.com<'. %everal %criptures concatenate
about lunar digits and si5teen vo#els. 6s discussed earlier, #hen sun and moon
unite, this union subtly conveys Bosmic ?nion of iva and akti and this
happens on amvsy or ne# moon day. +e have also discussed
that@alitmbik is in the form of -oa) mantra &having si5teen letters'
on amvsy. +hen one meditates on 3er #ith -oa) mantra at the time of
/PP] conjunction of sun and moon, #hich is kno#n as sakrama &generally it
refers to the movement of sun through t#elve Eodiac signs= but conte5tually it is
used here to mean Yunion or coming together of sun and moon', one is blessed
#ith aktipta. -or a fe# minutes sun and moon remain in the same degree and
these precious minutes should be used to contemplate 3er, #hich Duickly leads
to the descent of 3er "race &aktipta' and subseDuent liberation. *escent of
3er "race is kno#n as aktipta, #ithout #hich realiEation is not possible. +hen
our contemplation is intent and complete during sakrama, aktipta is
possible. 3o#ever, this purely depends upon ones depth of devotion and
spiritual evolution, #hich al#ays progresses concurrently.
+hen moon comes out of its union #ith the sun, moon begins to add one kal or
digit to itself every day and on the full moon day &prim', the moon becomes
bright #ith all its fifteen digits shining. $he si5teenth kal or digit #hich is nothing
but @alitmbik, is present in every digit= #ithout this si5teenth digit being present
subtly in all the fifteen digits or kal>s, these digits cannot individually function. 4t
is the principle based on the %elf and the self. +ithout the %elf &Brahman' being
present in the self &individual soul', latter cannot function at all. %imilar is the
case #ith nitydev>s. +ithout @alitmbik being present in these
fifteen nitydev>s, they cannot function and #ithout their function, day, #eek,
month, year, decade, century and other time factors cannot happen leading to
chaos and confusion. +e have to remember that time is the crucial factor for 3er
five acts I creation, sustenance, destruction, concealment and grace or
compassion. $his is e5plained in detail in @alit %ahasranma 0L2 to 0K2.
Out of the fifteen tithi nitydev>s, three of them form the inner most triangle of ri
Bakra and they are #orshiped again in eighth varaa. ,ah 8me)var, ,ah
!ajre)var &%he is also kno#n as ,ahvidy' and ,ah Bagamlin are the
three tithi nitydev>s #ho guard the three sides of the innermost triangle of ri
Bakra. $hese three )akti>s are thus #orshiped t#ice, one as tithi nitydev>s and
another as eighth varaa devi>s.
$here is direct relationship bet#een 3er subtlest form 8ualin and the phases
of the moon. $his ho#ever vastly differs from the foregoing discussion. 6s #e
have already seen that during full moon, %he conjoins #ith iva and hence, %he
is in sahasrra, the microcosmic plane of $heir union. $heir macrocosmic union
takes place in the cosmos. +hatever happens in the macrocosm is reflected in
microcosm and #e are unable to understand this reality, as #e never seriously
looked into these aspects. %anatkumra %ahita gives an entirely different
interpretation. 6s 8ualin, %he rests at mldhra during ne# moon and goes
up to sahasrra during full moon. 4n fact, in mldhra, iva and akti remain
united at kula> sahasrra. 8ula al#ays refers to akti and akula refers to iva.
*uring ne# moon day, their union takes place at kula>sahasrra, a dark place
belo# mldhra. 8ula>sahasrra is aktis place and akula>sahasrra is ivas
place. 4n both the above versions, it is obvious that both of them enter
into sakrama either on the ne# moon day or the full moon day. But, this version
is not generally accepted and follo#ed, as the secretive principle is not
understood.
$his secretive principle can be e5plained like this. @alitmbik as the si5teenth
digit is present in all the digits of the moon, #hich are #orshiped
as tithi nitydev>s. +e have already discussed on several occasions that akti
cannot function #ithout iva nor iva can shine #ithout akti. $hus they are
interdependent in absolute terms. +hether akti is in mldhra or sahasrra or
in any other place, they cannot remain as t#o individual entities. 4f the %elf is not
present as the individual soul #ithin, veiled by my &akti', #e cannot function
and the same rationale is applicable to both macrocosmic and microcosmic
principles. r !idy #orship does not serve any purpose #ithout understanding
this basic principle. $he interconnection bet#een macrocosm and microcosm is
subtly and authentically conveyed through r !idy. ,ost of the follo#ers of r
!idy are not able to attain the desired goal because of their failure to
understand subtle and secretive conveyances. 4nstead of learning and
understanding the secretive and authentic conveyances, #e tend to get attached
more to#ards practical applications rather than spiritual implications.
.ach of these tithi nitydev>s represent one vo#el of %anskrit, #hich has si5teen
vo#els. Out of the si5teen vo#els, fifteen of them #ith bindu>s represent
fifteen tithi nitydev>s and the last one 7 does not have a bindu and instead has
visarga &t#o dots one above the other by the side of an alphabet is visarga, like a
semicolon %'. $his visarga represents manifesting aspect of akti, #hereas the
bindu &a dot on the top of an alphabet' represents the creative aspect of iva.
Based on this principle, in the arrangements of vo#els 7 &a' comes
before 7 &a'. $his signifies that from iva, akti originates and secondly it also
means that akti manifests as the universe. $his concept is #ell e5plained in the
#orship of tithi nitydev>s. -ifteen tithi nitydev>s are #orshiped outside the
innermost triangle of ri Bakra and they represent the first fifteen vo#els #ith
bindu. But, @alitmbik is #orshiped on the bindu, #hich is the central point of ri
Bakra #ith the last vo#el 7 &a'. $his means that the creation begins from
visarga. 4t is also important to note that both iva and akti have si5teen kal>s.
4n the first fifteen kal>s iva is present and the last kal 7 &a' is entirely left
to akti for the purpose of manifestation. But for the first fifteen vo#els, si5teenth
vo#el 7 &a' is not possible and similarly, but for the si5teenth vo#el, the
presence of first fifteen vo#els are of no use in the process of manifestation.
,anifestation is possible only #ith visarga and creation is possible only #ith
bindu #hich symbolically represents akti and iva respectively. $his also
e5plains the principle of kaula. iva is kno#n as akula and akti is kno#n as kula
and their union is kno#n as kaula, #hich forms the basis of $antra stra>s. $his
creative principle is grossly undermined, misunderstood and misrepresented
no#>a>days. ?nion of iva>akti is emblematically represented in macrocosm by
the union of sun and moon and in the microcosm it is actually represented by
8ualin #ho unites #ith iva at sahasrra. $his is e5plained in detail in @alit
%ahasranma 9O %amaycra>tatpar. $his phenomenon can be better
understood only through contemplation. $hat is #hy, #orship of ri Bakra is
divided into t#o categories. One is :viyat>cakraC &viyat means atmosphere' or
#orship in space, #hich includes understanding both macrocosmic and
microcosmic union of iva>akti and the other category is :bahirvtti> cakraC
&bahirvtti means occupation #ith e5ternal objects' #hich is nothing
but navvaraa pj. !iyat>cakra contemplation is considered much superior to
contemplation e5plained in Bhvanopaniad, because in viyat>cakra
contemplation, everything happens in cosmos #hereas in Bhvanopaniad,
contemplation is related to human bodies. $his is kno#n as Bhakra rahasya
&secret of ri Bakra'. $here are other rahasya>s like mantra rahasya and pja
rahasya &rahasya means secret'. Other t#o rahasya>s #ill be discussed later in
the series. 6nother significant point that needs to be understood is about
kmakal, #hich has a lot to do #ith tithi nitydev>s. $he first fifteen vo#els
representing fifteen lunar digits &fifteen lunar days' merge into a triangle and this
triangle is represented by kmakal and this is e5plained in @alit %ahasranma
100 kmakal rp.
6s far as 8aula>s are concerned, they #orship the particular tithi nitydev ruling
on that particular day. But, as far as samaya>s are concerned, they #orship all
the fifteen nitydev>s daily as they kno# that all these nitydev>s originate from
,ahnitydev, also kno#n as @alitmbik. 4n other #ords, samaya>s are a#are
that the fifteen kal>s originate from the oa)a kal or si5teenth kal, #hich is in
the form of &)r' bja. .volution of (a;cada) mantra to -oa) mantra is
based on this principle.
(,.)! Bor/hip of tithi nity8e9';/%
-ifteen nitydev>s are #orshiped outside the innermost triangle. ,ahnitydev
and the nitydev presiding over the particular day are #orshiped in the bindu.
.ach of these nitydev>s have mantras, yantras, varaa devi>s, arcana, etc.
$o begin #ith, ,ahnitydev is to be #orshiped in the bindu and pjana and
tarpaa should be made three times.
2 > + 7 0lll 7l7 7l 7 7l 07 l |
2 > mla Q a )r lalitmahnity )r pduk pjaymi tarpaymi nama QQ
$his should be follo#ed by pjana and tarpaa for three times for the
nitydev presiding over the particular day in #hich navvaraa pj is
performed. @et us take an e5ample of fifth lunar day of )uklapaka &#a5ing
moon', #hich is kno#n as pa;cam tithi and )uklapaka pa;cam tithi is presided
over by !ahnivsin nitydev. %he is posited in the above image in the pace
marked as F. $he same nitydev viE. !ahnivsin nitydev is #orshiped in the
same place during kapaka &#aning moon'pa;cam tithi= the only difference
is that she is #orshiped as the fifth nitydev during )uklapaka pa;cam and as
the eleventh nitydev during kapaka pa;cam. 6ll the nitydev>s continue
to e5ist in the same place #ith the same bjkara>s. $his also signifies the
e5pansion of kal>s during)uklapaka and contraction of kal>s during
kapaka.
Bjkara>s and the names of thiti nitydev>s are given here. +hile performing
pjana and tarpaa, 2 is to be prefi5ed and nity and )r pduk pjaymi
tarpmi nama is to be suffi5ed. -ollo#ing is the e5ample.
l l 7l7 7l 7 7l 07l |
om ai hr )r vahnivsin nity )r pduk pjaymi tarpmi nama QQ
/. a > 8me)varinity 7> 7l6l
0. > Bhagamlini 7 > -l
1. i > Gityaklinn 5 > 7l
2. > Bherun 5 > -7l
F. u > !ahnivsini 3 > l
L. > ,ahvajre)var 3 > l7 6
K. > ivadt 7 > 7 0
O. 2 > $varit > 0l
9. lu > 8ulasundar > 7 7
/P. 3 > Gity > l
//. e > Glapatk 7 > 70l7l
/0. ai > !ijay > 7l
/1. o > %arvama.gal 7 > #l
/2. au > Uvlmlin 7 > 7lll
/F. a 7 3itr 7 7 0 l
$here are also other versions about ho# nitydev>s are to be #orshiped.
(-. F$r$"aalrcana" HH
(-.1! F$r$;:iya relation/hip%
4n r !idy, role of a "uru is e5tremely important. (ursuing r !idy in its
proper perspective leads to liberation step by step. r !idy literally means
e5alted science. But, there are various paddhati>s &70' &paddhati means path or
divisions' #hich discuss about various aspects of #orshipping @alitmbik. 4n r
!idy cult, ones "uru is called r "uru and prefi5 r not only delineates the
auspiciousness of the "uru, but also used as honorific prefi5. "uru>)iya
relationship is not only e5tremely important in r !idy, but also sacred and
auspicious. $he inherent factor in this relationship is mutual trust. 6t the time of
choosing the "uru one should make proper enDuiries about the prospective "uru
and once "uru>)iya relationship is established, the disciple should not move
a#ay from the "uru #ithout any valid reasons. %imilarly, a true "uru from r
!idy lineage #ill also evaluate a person before accepting him or her as a
disciple. But ho# many "uru>s in r !idy really kno# the subject and ho#
many of them are capable of taking the disciple to pursue spiritual path for
attaining 3er "race and final liberation, is a big Duestion. $hough many of them
are thorough #ith practices, they are not a#are as to ho# to lead his or disciple
to#ards liberation. +ithout the goal of realiEation, mere ritualistic practices are of
no use. 4n a spiritual journey one begins #ith dvaita &dualism' philosophy, moves
to 6dvaita and finally realiEes Brahman. 4n r !idy also this is the fundamental
intent. r !idy is in no #ay a substitute to 6dvaita (hilosophy and on the
contrary it e5plicitly advocates non>dualism in stages. $he culmination of r
!idy is at the Bindu in ri Bakra, #here iva and akti unite. ?nderstanding the
union of iva and akti is of great importance in r !idy. $heir union is kno#n
as kmakal and only from kmakal :mah parprsda mantraC mantra
originates&mah parprsda mantra is hsau shau= from this originates
:hasaC mantra'. $his is based on the revelation made in %aundaryalahar
&verse /', :iva )akty yukto yadi bhavati )akta prabhavituC #hich means
that iva becomes inert if 3e is not united #ith akti. $he greatest advantage of
r !idy is that a practitioner is made to realiEe @alitmbik first, #ho personally
takes the aspirant to iva for liberation. 4t is important to understand that only
iva is capable of granting liberation and akti evaluates a person for liberation.
3ence %he is adored as iva>j;na>pradyin &@alit %ahasranma K0K'. $hus,
for the purpose of liberation, one has to realiEe akti first. r !idy strongly
paves the #ay to realiEe 3er through mantras and yantras and hence attains
great importance. r !idy is a Duicker #ay to realiEe 3er due to the intensity of
upsana. ?psana consists of four aspects one leading to the other and they are
updna or preparation of offering, ijy or oblation, svdhyya or recitation, and
yoga or devotion. $his means that there are four stages in upsana and these
can be briefly e5plained like this. $he first stage is preparatory stage, #here a
mantra is initiated to a disciple. $he disciple, apart from reciting that initiated
mantra, begins to understand the mantra and #ith the help of the mantra, begins
to #orship the concerned deity. 3is #orship then evolves into offering oblations to
the concerned deity. 6fter having satisfied himself #ith all the procedural aspects
of #orship, he moves to mantra recitation. $his stage is the most crucial aspect
of any upsana, #here ine5plicable connection is established bet#een him and
the concerned deity #hich blossoms into devotion for that deity. +ith more
intensified pursuit, his devotion transforms into love and he becomes one #ith
the deity, the logical conclusion of any upsana. $ransition from one level to ne5t
higher level is aided by ones "uru. $ransition happens both in the physical plane
as #ell as in the mental plane. (hysical transition leads to perfection in ritualistic
procedures and transition in mental plane leads to realiEation of the %elf through
3er. 6n aspirant under normal circumstances may not be able to realiEe mental
transformation and only "uru can guide him in this aspect. 6n aspirant #ill have
several confusions #hen hypervelocity mental transformation happens. 6ll these
doubts can be clarified only by a "uru. +hen hypervelocity mental
transformation begins to unfold, one is bound to move a#ay from the first t#o
aspects of upsana, updna and ijy, #hich #ill stop automatically. +hen one
enters into trance, even the mantra stops on its o#n, as in samdhi everything is
stilled including the mantra. *uring this stage, one naturally gets a doubt #hether
it is right to stop this mantra like this. 6 "uru #ill surely advise his disciple, that
this is the perfect stage in his spiritual path. $his stage alone leads to perfection
in yoga &yoga means union, union of individual consciousness and %upreme
Bonsciousness'.
$here are many %criptures that describe about "uru>s. 8makalvilsa &verse
19' says that both iva>akti are in the form of "urumaala>s. 4t describes
them as "urumaala>svarpa. $hough they are apparently different from
"urumaala>s, yet is not so. $his is e5plained by using the phrase avi)ea>
bheda bhinna &77>-7 -7'. %imilarly, 8ulrava $antra speaks about "urus
e5tensively. $#o chapters have been e5clusively devoted to "uru>disciple
relationship. 4t speaks about t#o types of initiations, one is e5ternal initiation
&bhya dk' and another is internal initiation &vedha dk'. Bhya dk is also
kno#n as kriy dk, #hen a mantra is imparted to a disciple after performing
specific rituals. But, in vedha>dk, "uru transfers his energy to the disciple,
#hich #ill have almost instantaneous impact on the disciple. iva tells 3is
Bonsort in 8ulrava $antra &/2.LL', :ON ,y belovedN *ifficult to get is such a
"uru #ho can initiate thus through subtle impact of vedha &not to be confused
#ith !eda= vedha conte5tually can be e5plained as penetration, piercing,
breaking through, breach'= difficult also is the disciple fit for it.C $his means that
this type of initiation is possible only by %elf>realiEed "uru>s and a disciple #ill
attain such a "uru only if he or she has 3er "race. %he manifests in the form of
such a "uru and liberates a #ell deserved disciple. +hen one is fortunate to get
initiation from such a "uru, iva says, &8$.4!.9F', :-or the one #ho is initiated
thus, there is nothing to be achieved by tapas &meditating for a longer duration',
regulations &scriptural dictums', observances &fasting, etc', pilgrimages &visit to
holy places' and regulative controls of the body &religious symbols like #earing of
sacred ashes, celibacy, restrictions on food, bodily comforts, etc'.C
6nother important aspect of a realiEed "uru is that he #ill stick on #ith one
mantra and #ill prepare his disciple #ith that mantra alone to attain liberation.
4nitiating too many mantras #ill severely hamper spiritual progression and such a
disciple #ill not be able to proceed to the final aspect of upsana, transforming
into a yogi. 4f there are too many mantras, it is difficult or rather impossible to
establish a connection bet#een individual consciousness and %upreme
Bonsciousness. $here should be one "uru, one mantra and one *evata for
upsana, #hich alone is kno#n as sdhana. %dhana is not possible #ith
multiple mantras and multiple forms of devata>s. 6 true "uru #ill impart the
kno#ledge of Brahman to his disciple #ho has attained perfection in sdhana. 6t
this point of time, "uru #ill say to his disciple :$at tva asiC &you are $hat' and
the disciple #ill e5plore this ultimate teaching and after satisfying himself #ill
affirm to his "uru :aha BrahmsmiC &4 am Brahman or 4 am $hat'. "uru #ill
kno# #hether such an affirmation comes from the disciple after realiEation or it is
simply a verbal statement or deceptive realiEation. ?ltimately, Brahman is devoid
of any forms and all forms lead only to the formless Brahman. $hough r !idy
is about %agua Brahman &Brahman #ith attributes', ultimately #hile performing
pj at the Bindu, %agua Brahman is dissolved and Girgua Brahman is
revealed. +ithout understanding this concept, any number of japa>s and pj>s
#ill not yield the desired result.
6 true "uru #ill not give importance to his attire. 3e #ill be one amongst us. 3e
#ill be averse to cro#d. 3e #ill select his disciples and teach them the ultimate
kno#ledge or Brahmavidy &r !idy is also kno#n as Brahmavidy'.
Brahmavidy should be taught on one to one basis, as all the disciples #ill not
attain the same level. 4t is not a classroom teaching. 4t is al#ays one to one
teaching. %uch a "uru #ill not make his disciple to pay him for initiation.
%pirituality should never be traded like a commodity. %piritual kno#ledge is to be
so#n as a seed #ithin the disciple by his "uru and he #ill be taught ho# to
germinate the seed and gro# it into a huge tree. Once the tree is fully gro#n, that
disciple is made to become a "uru. $his is ho# a "uru maala gro#s. "etting
initiation from a guru #ho is not comfortable #ith various aspects of *ivinity and
getting initiation by paying money #ill accrue mountain of sins both to the initiator
and the initiated.
(-.(! Un8er/tan8in# F$r$ "aala.
(rimarily there are three types of "uru @ineages. $hey are for kdividhy
upsaka>s, oa) upsaka>s and hdividhy upsaka>s. ?psaka>s mean
#orshippers. +hat is described here is the one that belongs to oa) upsaka>
s. $here are three types of "uru>s in each of these lineages. $hey are *ivyaguru>
s, %iddhaguru>s and ,navaguru>s. @et us no# understand them. .ach mnya
has one principle "uru. 3e is the one #ho had laid do#n the methods of #orship
in that particular mnya.Smnya means sacred tradition. Gumber of "uru>s
under each group differs from tradition to tradition and similarly, the names of
"uru>s also differ. Ones "uru is #orshiped in the lo#er most dotted line. "urus
"uru, kno#n as (aramaguru is #orshiped in the middle line &marked in red' and
(aramagurus "uru is kno#n as (aramehi "uru and he is #orshipped in the
top line &marked in black'. (aramehi means supreme. 4n other #ords, "uru
#ould have been initiated by his "uru &#ho is (aramaguru for us' and
(aramaguru #ould have been initiated by (aramagurus "uru &#ho is
(aramehi "uru for us'.
6t the time of initiation, "uru apart from initiating a mantra, also gives
"urupduk mantra. "urupduk mantra is given for the "uru #ho initiates,
"urus "uru &(aramaguru for the one #ho is being initiated and (aramagurus
"uru &(aramehi "uru for the one #ho is being initiated'. *uring this process,
dk names of all the three "urus are revealed to the disciple. $here are
different mantras for "uru, (aramaguru and (aramehi "uru. 6 disciple has to
pay his respect to his "uru by using mgmudra &mg means female deer, a
doe'.
(-.)! F$r$ "aala "antra/.
(-.).1! <ahp8$44 "antra%
,ahkme)vara &(arama)iva' is #orshipped in the bindu #ith this mantra7
0l7ll7 l 7l
l7l7 l 7 7l 07 l |
om ai hr )r ai kl sau ai glau hskhphre hasakamalavaray
hsau sahakamalavaray shau )rvidynandanthtmaka carynandantha
)r mahpdukk pjaymi tarpaymi nama QQ
(-.).(! F$r$/ 8irectly initiate8 5y Para"a:i9a%
$he "urus #ho are initiated directly by (arama)iva are #orshiped on the three
sides of the innermost triangle. 4t is ,ahkme)vara &(arama)iva', #ho
initiated ,ahkme)var during 8ita yuga &consisting or /,K0O,PPP years'. $his
is the first of four yuga>s. 4n r !idy cult, ,ahkme)vara #ho
initiated ,ahkme)var is kno#n as Barynandantha &carya means to be
practiced or to be performed, signifying the importance of sdhana'.
Barynandantha is also kno#n by other names such as !idynandantha and
(arama)ivnandantha. 6fter having initiated ,ahkme)var in 8ita yuga,
,ahkme)vara initiated ?)nandantha in $ret yuga &/,09L,PPP human
years', ah)nandanta in *vpara yuga &OL2.PPP human years' and
,itre)nandantha in the present Juga &8ali yuga comprising of 210,PPP human
years= 0P/1>/2 is F//F
th
year of 8ali yuga'. $hus, ,ahkme)vara is #orshiped
in the bindu and the three "urus #ho #ere initiated directly by(arama)iva along
#ith three other "urus are #orshipped in the three sides of the innermost
triangle.
On the left side of the triangle marked in black &left side of the practitioner',
follo#ing "urus are #orshiped.
/. 2 > ?anandantha )rpduk pjaymi tarpaymi nama QQ 7l7 7l
7 7l 07 l |
&Gote7 pjaymi tarpaymi nama QQ 7l7 7l 7 7l 07 l |is marked asspptn
QQ'
0. 2 > (rak)nandantha spptn QQ 2 > 7 7ll7l spptn QQ
1. 2 > !imar)nandantha spptn QQ 2 > l 7l spptn QQ
2. 2 > Snandanandantha spptn QQ 2 > 777l spptn QQ
On the top line of the triangle marked in green, follo#ing "urus are #orshipped.
/. 2 > -a)nandantha spptn QQ 2 > 77l7l spptn QQ
0. 2 > U;nnandantha spptn QQ 2 > Hll7l spptn QQ
1. 2 > %atynandantha spptn QQ 2 > l7l spptn QQ
2. 2 > (rnandantha spptn QQ 2 > 7 "l 7l spptn QQ
On the right side of the triangle marked in red &right side of the practitioner'
follo#ing "urus are #orshiped.
/. 2 > ,itre)nandantha spptn QQ 2 > 0 l7l spptn QQ
0. 2 > %vabhvnandantha spptn QQ 2 > -ll7l spptn QQ
1. 2 > (ratbhnandantha spptn QQ 2 > 7 0-l7l spptn QQ
2. 2 > %ubhagnandantha spptn QQ 2 > -l7l spptn QQ
(-.).)! I$r F$r$"aalrcana"%
4f #e look at the image above, #e can find three lines marked 6, B and B.
4n 6 our (aramehi "uru is #orshiped along #ith five other divyaguru>s.
(-.).).1! Gi9e 7i9ya#$r$;/ are .fro" 1 to +!%
/. 2 > !yomttmb spptn QQ l00l4l spptn QQ
0. 2 > !yome)yamb spptn QQ 4l spptn QQ
1. 2 > !yomagmb spptn QQ l4l spptn QQ
2. 2 > !yomacriyamb spptn QQ l4l spptn QQ
F. 2 > !yomasthmb spptn QQ l4l spptn QQ
(-.).).(! In ? o$r Para"a#$r$ i/ =or/hipe8 alon# =ith nine Si88ha#$r$;/
an8 they are .fro" 1 to 1!
&Games given here are in t#o separate #ords for the purpose of convenience
and understanding. $hey can be clubbed together. 4n that the last Ya in the dk
name #ill be removed and there #ill be one Y for both dk name and
nandantha. @et us take the e5ample of ?nmank)a nandantha. 4f both the
parts are combined, then it should be pronounced as ?nmank)nandantha or
3l7ll7l'
/. 2 > ?nmank)a nandantha 2 > 3l7l 77l spptn QQ
0. 2 > %amank)a nandantha spptn QQ 2 > l7l 77l spptn QQ
1. 2 > !ypak)a nandantha spptn QQ 2> l77l 77l spptn QQ
2. 2 > aktyk)a nandantha spptn QQ 2 > l7l 77l spptn QQ
F. 2 > *hvanyk)a nandantha spptn QQ 2 > l7l 77l spptn QQ
L. 2 > *hvanimtr nandantha spptn QQ 2 > l0 l 77l spptn QQ
K. 2 > 6nhatk)a nandantha spptn QQ 2 > 7l0l7l 77l spptn QQ
O. 2 > Bindvk)a nandantha spptn QQ 2 > 4(l7l 77l spptn QQ
9. 2 > 4ndrk)a nandantha spptn QQ 2 > 57 l7l 77l spptn QQ
(-.).).)! In C o$r F$r$ .the one =ho ha/ initiate8 into &r' Vi8y c$ltJ i/
=or/hipe8 alon# =ith nine "na9a#$r$;/ an8 they are .fro" 1 to 1!
/. 2 > (aramtma nandntha spptn QQ 2 > 7l 77ll spptn QQ
0. 2 > mbhava nandantha spptn QQ 2 > l- 77ll spptn QQ
1. 2 > Binmudra nandantha spptn QQ 2 > 7 77ll spptn QQ
2. 2 > !gbhava nandantha spptn QQ 2 > l- 77ll spptn QQ
F. 2 > @l nandantha spptn QQ 2 > l 77ll spptn QQ
L. 2 >%ambhrma nandantha spptn QQ 2 > - l 77ll spptn QQ
K. 2 > Bida nandantha spptn QQ 2 > 7 77ll spptn QQ
O. 2 > (rasanna nandantha spptn QQ 2 > 7 7 77ll spptn QQ
9. 2 > !i)vnandantha nandantha spptn QQ 2 > 6l7l 77ll spptn QQ
(-.).).*! Bor/hipin# Para"ehi#$r$J Para"a#$r$ an8 &r'#$r$%
Para"ehi#$r$% .to 5e 8one at the top line!

lll77 07 77 aaaa 7l7 7l 7 7l 07 l |
om ai hr )r ai kl sau hasa )iva soha hasa hkhphre
hasakamalavaray hsau sahakamalavaray )au hasa )iva soha
hasa svtmrmapa;cara vilnatejase )rparamehi gurave nama aaaa
)rpduk pjaymi tarpaymi nama QQ
aaaa is to be replaced #ith oneTs (aramehiguru
Para"a#$r$% .to 5e 8one on the "i88le line!

=U7 7l 0 7 bbbb 7l7 7l 7 7l 07 l |
om ai hr )r ai kl sau soha hasa )iva hkhphre
hasakamalavaray hsau sahakamalavaray )au soha hasa )iva
svacchaprak)a vimar)ahetave )r paramagurave nama bbbb )rpduk
pjaymi tarpaymi nama QQ
bbbb is to be replaced #ith oneTs (aramaguru
&r'#$r$% .to 5e 8one at the 5otto" line!

7 7" 0 cccc 7l7 7l 7 7l 07 l 07 l |
om ai hr )r ai kl sau hasa )iva soha hkhphre
hasakamalavaray hsau sahakamalavaray )au hasa )iva
soha svarpa nirpaa hetave )rgurave nama cccc )rpduk pjaymi
tarpaymi nama QQ
cccc is to be replaced #ith oneTs "uru.
At the en8 of F$r$ <aala
7ll-l 7lll+
77ll70 7 77l|
sad)ivasamrambh )akarcryamadhyam Q
asmadcryaparyanta vande guru parapar QQ
&Beginning from @ord %ad)iva, through akarcrya and up to my "uru, 4 pay
my obeisance to all the "urus'
See4in# Her per"i//ion to perfor" 9araa pj;/%
+ith this preliminaries of navvaraa pj are completed. Go# #e have to move
to varaa pj>s. +e have to obtain necessary permission from @alitmbik to
perform navvaraa pj.
-ollo#ing is the mantra for this permission.
7 7 7l 07 +
7 Hl 0 7 7 7lll |
savimaye pare devi parmtarucipriye Q
anuj; tripure dehi parivrrcanya me QQ
$ypical varaa pj>s commence no#. !arious aspects of ri Bakra have been
dealt #ith in earlier series, Uourney to ri Bakra
1
and ri Bakra and human body
(
.
?nderstanding ri Bakra and contemplating 3er are the important factors in
navvaraa pj. !arious $antra %criptures deal e5haustively #ith ri Bakra and
its #orship. %amaya scriptures highlight three important aspects #hile performing
navvaraa pj and they are called as rahasya>s &secret, private or secret
doctrine'. ?sage of the #ord rahasya emphasiEes that navvaraa pj should
not be done as a public ritual. $he follo#ing three rahasya>s are mentioned.
1. Cha4ra raha/ya%
$his is about our ability to align ri Bakra #ith cosmos and our body.
Bhvanopaniad deals #ith contemplating our body as ri Bakra and this has
been dealt #ith in the series, ri Bakra and human body. Bosmic contemplation
depends upon our ability to align triangles #ith gross, subtle and causal bodies,
#hich are also kno#n as $ripura. %he prevails in all the three planes in the form
of Bonsciousness &cidk)a= cittka)a refers to mind space, #hich remains
#ithin cidk)a= typically the former refers to the %elf and latter refers to an
individual self'.
(. <antra rahay/a%
3er fifteen lettered %upreme mantra (a;cada) #hich evolves into si5teen
lettered mantra -oa), corresponding to the si5teen digits of moon. $he
si5teenth digit of the moon is subtle and is considered as rahasya. $hose #ho
understand the significance of the si5teenth digit of moon are kno#n as the
kno#ers of this secret. $he other secret is about (a;cada) mantra #hich is
formed as an inverted triangle #ith bindu #ithin. $his can be e5plained through
kmakal. $he ninth varaa subtly conveys this secret. +ithout understanding
the secrecies of (a;cada) and -oa) mantras, desired results can never be
attained. 3ere, ones "uru plays a significant role.
). Pj raha/ya%
(j>s should not be performed #ithout contemplation. .5ternal rituals should be
aligned #ith contemplation. $his is possible only if one understands the
significance of ritualistic practices. -or e5ample let us take the case of &hr'.
*uring pj, #e recite several hr>s. +hy #e repeatedly use hrR hr
consists of three letter ha M ra M and ma conjoins the first three letters. ha M ra M
represent three bodies I gross &ha', subtle &ra' and causal &ra' bodies and the
Yma conjoins all the three bodies together to form the self or individual self. hr
#ill be complete only if a bindu &dot' is placed on the top of hr and the dot
represents the %elf. +ithout this dot on the top of &hr' the bja hr is not
complete. Bindu represents iva &the central Bindu of ri Bakra' and the three
lettersha M ra M represent $ripura &three sides of the innermost triangle of ri
Bakra'. %imilarly, every letterconveys different aspects of *ivinity. +rong
pronunciation of mantras could cause malefic results.
3ype/ of $nion%
$here are three types of union corresponding to the above three rahasya>s.
$hese unions are gross, subtle and the subtlest. "ross union is normal human
conjugation. %ubtle union is kmakal
)
&' and the subtest union happens
at sahasrra
*
. $hese three different types union are also called rahasya>s. $here
are t#o more unions transcending these three secretive unions. -irst one is the
union of individual soul #ith @alitmbik, #ho sho#ers 3er "race on the
individual soul to unite #ith iva and liberates that individual soul from
transmigration. (racticing the three rahasya>s in a proper #ay leads to liberation,
#hich is the very purpose of all our religious and spiritual activates. 6ll spiritual
practices culminate at :)ivohamC or 4 am iva &4 am $hat or aha brahmsmi'.
(erfection of religious practices leads to perfection of contemplation and at the
height of contemplation Bliss da#ns and at the peak of Bliss, %he reveals
3erself. Gavvaraa pj helps in perfecting both religious practices and in
contemplation. ,antra japa acts as a catalyst to hasten ones spiritual progress.
+hen one enters into the state of stillness, it means Bliss #here all his religious
and spiritual practices cease and there e5ists only @alitmbik in his o#n #orld.
&ri Ca4ra%
$he concept of ri Bakra is only successive and firm up#ard movements
to#ards iva. +orshipping of ri Bakra is done by evolved devotees. ?nholy
practices are follo#ed by some, under the guise of $ntric #orship, #ithout
properly understanding the concept of $antra )stra>s. ,ediocre devotes resort
to idol #orship. Out of the three types of #orship, understanding and #orshipping
ri Bakra is considered supreme. +hen contemplations as prescribed in
Bhvanopaniad and navvaraa pj are concurrently done, it is considered as
the highest form of #orship. $he nine orifices of human body are related to the
nine varaa>s of ri Bakra.
$here are three types of ri Bakra #orship or r !idy upsan. -irst one is
kno#n as pure #orship or )uddha #orship &)uddha means pure', #hich is done
by sthitapraj;a>s. $he entire #orship is only contemplated and visualiEed. $his is
done only in the mind, due to #hich %he begins to pervade his mind and thus he
or she becomes a sthitapraj;a &the one #ith a firm mind that %he is #ithin'.
Gavvaraa pj>s done #ithout ego and #ith unstinted devotion also falls under
this category. 4t is not necessary that one should renounce #orldly life to attain
3er "race. +hat is essential is pure mind, destruction of ego, pure thought
processes and absolute love for 3er. $he ne5t type of #orship is mi)ra #orship
&mi)ra means mi5ed'. $his type of #orship is normally done no#adays. 4t is the
combination of mediocre devotion and mediocre pride. $hese t#o types of
#orships are acceptable. 3o#ever, %he can be attained only in silence and
seclusion. $he third one is kno#n as galita #orship &galita means defective' and
is not acceptable at all. 3ere, rituals are done in a very casual manner, to
impress others, to make money, etc.
+ith these basic inputs, #e no# proceed to navvaraa pj in the ne5t part of
this series.
(0.1! Pratha"9araa" ; Gir/t 9araa
i. Game of the varaa7 3rilo4ya"ohanaca4ra
ii. Bjkara>s of prathamvaraam7 7 7 a sau
iii. Bakre)var7 $ripur
iv. %iddhi )akti7 6nim
v. ,udra )akti7 %arvasakobhi
vi. Jogin7 (rakaayogin
&$here are nine yogin>s in navvaraa pj. .ach yogin represents one type
avasth &state of condition' #hich gets associated #ith Bit)akti &6bsolute
Bonsciousness of iva' #ith a particular updhi. ?pdhi means condition or
substitution. +hen updhi is associated #ith Bit)akti, the unlimited Bit)akti
appears as limited. 6s #e proceed from the first varaa to the ninth varaa,
the po#er ofupdhi gradually decreases and in the ninth varaa, the #orshipper
enters into nirvikalpa samdhi and then e5periences 3er in the form of
Bliss. Jogin>s have vsan>s. !san means perception or residual traces of our
actions retained in the mind unconsciously, also kno#n as habit formation. $hese
nine yogin>s have one common vsan in the form of a mantra 70 l
ai hra astrya pha. $ypically, this mantra is meant for purification of body.
Jogin>s #ho remain in the form of above mantra or #ho act through the above
mantra purifies different vsan>s embedded in our mind. &ai' signifies the four
!edas= technically this bja refers to Brahman &conte5tually it is iva'. is
kno#n as astra bja &astra means missile or #eapon'. 3ere kno#ledge of 6dvaita
is referred as astra, #hich acts in destruction dualistic kno#ledge. $herefore,
#orshiping yogin>s at the end of eachvaraa leads to successive stages of
liberation. 6part from the above, yogin>s make masculine and feminine energies
unite to cause creation.'
vii. Gumber of )akti>s in the varaa7 $#enty eight.
viii. (j procedure7
2 7 7 | 0 7 l |2 a sau QQ trailokyamohanacakrya nama
QQ
$here are three #alls in this varaa and totally there are 0O )akti>s in
this varaa. $hese 0O )akti>s are marked as / to 0O in the above image and are
correspondingly numbered belo#. $he #orship is neither clock#ise nor
anticlock#ise. $herefore, sufficient care should be taken to #orship these )akti>s
in their respective places marked in the image. $he number in the image and the
number mentioned belo# refer to the abode and name of each )akti. Both
pjana and tarpana should be done for each )akti.
-irst #all or outermost covering7
&2 represents om ai hr )r & '= a sau &7 7 ' are
the bjkara>s ofBakre)var $ripur. 6part from these seven bjkara>s, one
bjkara is prefi5ed before the name of each )akti. $hus there #ill
eight bjkara>s prefi5ed to each )akti. .5ample om &/' > ai &0' > hr &1' >
)r &2' > a &F' > &L' sau &K' a &O' > aimsiddhi )r pduk pjaymi
tarpaymi nama. $hough the first seven bjkara>s #ill remain the same, the
eight one #ill modify according to the respective )akti>s.
/. 2 a sau a aimsiddhi )r pduk pjaymi tarpaymi nama
QQ 2 7 7 7 7"l 7l7 7l 7 7l 07 l |
0. 2 a sau la laghimsiddhi spptn QQ 2 7 7 l spptn QQ
1. 2 a sau ma mahimsiddhi spptn QQ 2 7 7 l spptn QQ
2. 2 a sau )itavasiddhi spptn QQ 2 7 7 5 50 spptn QQ
F. 2 a sau va va)itasiddhi spptn QQ 2 7 7 0 spptn QQ
L. 2 a sau pa prkmyasiddhi spptn QQ 2 7 7 7 7 l7l spptn QQ
K. 2 a sau bhu bhuktisiddhi spptn QQ 2 7 7 - - 0 spptn QQ
O. 2 a sau i icchsiddhi spptn QQ 2 7 7 5 5=Ul spptn QQ
9. 2 a sau pa prptisiddhi spptn QQ 2 7 7 7 7 l0 spptn QQ
/P. 2 a sau sa sarvakmasiddhi spptn QQ 2 7 7 7l spptn QQ
%econd #all or middle covering7
//. 2 a sau brhmmt spptn QQ 2 7 7 7 4 ll0 spptn QQ
/0. 2 a sau mhe)varimt spptn QQ 2 7 7 5 l6l0 spptn QQ
/1. 2 a sau kaumrmt spptn QQ 2 7 7 3 7ll0 spptn QQ
/2. 2 a sau 2 vaiavmt spptn QQ 2 7 7 "l0 spptn QQ
/F. 2 a sau 3 vrhmt spptn QQ 2 7 7 lll0 spptn QQ
/L. 2 a sau ai mhendrmt 2 spptn QQ 2 7 7 l7 l0 spptn QQ
/K. 2 a sau au cmumt spptn QQ 2 7 7 7 l 7ll0 spptn QQ
/O. 2 a sau a mahlakmmt spptn QQ 2 7 7 7 ll0 spptn QQ
$hird #all or the innermost covering7
/9. 2 a sau dr sarvasa.kobhi mudra)akti spptn QQ 2 7 7
7 l -" 7 0 spptn QQ
0P. 2 a sau dr sarvavidrvi mudra)akti spptn QQ 2 7 7
7 7 l" 7 0 spptn QQ
0/. 2 a sau kl sarvkari mudra)akti spptn QQ 2 7 7
l 77 " 7 0 spptn QQ
00. 2 a sau bl sarvava)a.kar mudra)akti spptn QQ 2 7 7
7 0 spptn QQ
01. 2 a sau sa sarvonmdin mudra)akti spptn QQ 2 7 7
l7 7 0 spptn QQ
02. 2 a sau kro sarvamh.ku) mudra)akti spptn QQ 2 7 7
7 lll 7 0 spptn QQ
0F. 2 a sau hskhphre sarvakhecar mudra)akti spptn QQ 2 7 7
7 7 0spptn QQ
0L. 2 a sau hsau sarvabja mudra)akti spptn QQ 2 7 7
47 7 0 spptn QQ
0K. 2 a sau ai sarvayooni mudra)akti spptn QQ 2 7 7
7 0 spptn QQ
0O. 2 a sau hsrai hsklr hsrau sarvatrikha mudra)akti spptn
QQ 2 7 7 0 77l 7 0 spptn QQ
\6fter completing the #orship of varaa )akti>s &devi>s', Bakre)var, %iddhi devi,
,udr)akti &the concerned mudra to be sho#n here' and @alitmbik are
#orshiped jointly, kno#n as samai pj and severally. 6t the end of this
#orship, dhpa, dpa, naivedya and nrjana are offered. 6fter offering
nrjana, #orship of first varaa is submitted to @alitmbik. @alitmbik along
#ith the Jogin is #orshiped at the end of each varaa. -inally, @alitmbik is
#orshiped #ith yoni mudra by submitting the first varaa pj to 3er #ith
reverence. $he same seDuence of these eight pj>s<rituals is applicable to all
the nine varaa>s.^
$he follo#ing is kno#n as samai pj. 6fter reciting this mantra, offer flo#ers
on ri Bakra. $here is no tarpaa here.
/. 70l 7 7 0 7 > 7 l > l Ul >0 >ll >7ll
7l 7 70l 07 0l 0 7l 0 |
et prakaayoginya trailokyamohane cakre sa>mudr s>siddhaya syudh
sa>)aktaya sa>vhan sa>parivr sarvopacrai sapjit santarpit
santu santu nama QQ
0. 2 7 7 0 7 l7 6 spptn QQ 2 a sau tripurcakre)var spptn QQ
1. 2 7 7"l spptn QQ 2 a aimsiddhi spptn QQ
2. 2 7 l -" l0 spptn QQ 2 dr sarvasakobhi mur)akti spptn QQ
Go# recite dr and sho# sarvasakobhi mudra.
&pjana and tarpaa for F belo# is to be done three times by repeating the
mantra three times'
F. 2 I &(a;cada) or -oa)' > 0l l0 7 7 7l-]l7l spptn QQ
2 > mla &(a;cada) or -oa)' rlalit ,ahtripurasundar (arbharik
spptn QQ
L. dhpa, dpa, naivedya and nrjana to be done no#.
K. 2 7-7 7 "l0+
-l 7 0 7 l"l |
2 bhasiddhi me dehi )aragatavatsale Q
bhakty samarpaye tubhya prathamvararcanam QQ
&Go# take a drop of smnya arghya in uttarai &it is important that smnya
arghya should not be moved from its place' and offer to 3er left hand'
O. $here is no pjana and tarpaa here. %he is to be #orshiped #ith yoni
mudra.
2 7 7 7l 7 l" 70l0l 0l l0 7 7 7l-]7l QQ
2 prakaayogin maykhyai prathamvaraa devatsahityai )rlalit
mahtripursundar
parbhaarikyai nama QQ
&Go# #e have to #orship 3er #ith yoni mudra'
$his concludes the #orship of the first varaa.
A (reparation of karpravik7 saffron, cardamom, clove, camphor, kastri,
nutmeg and mace or myristica fragrans or jtipattr &arillus of the nut also kno#n
as myristica officinalis'. $he ingredients are finely po#dered and mi5ed #ith
po#dered sugar candy. Hefer @alit %ahasranma 0L >8arpravikmodha>
samkari>digantar.
(1. 79itiy9araa" E Secon8 9araa
i. Game of the varaa7 Sar9:paripra4aca4ra" &l l77 77 '
ii. Bjkara>s of dvitiyvaraam7 hr kl sau
iii. Bakre)var7 $ripure)
iv. %iddhi )akti7 @aghim
v. ,udra )akti7 %arvidrvimudr)akti
vi. Jogin7 "uptayogin
vii. Gumber of )akti>s in the varaa7 %i5teen.
viii. (j procedure7

(jana and tarpaa are to be done anticlock#ise in the si5teen petal lotus,
#here numerals are marked in red. +e have to go #ith the ascending order of
the numerals.
2 l l77 7 7 l | 2 ai kl sau sarv)paripraka cakrya
nama QQ
/. 2 ai kl sau a 8mkari nityakaldev spptn QQ 2 7 7ll77 "
7l7 spptn QQ
0. 2 ai kl sau Buddhyakari nityakaldev spptn QQ 2
7 4 j77 " 7l7spptn QQ
1. 2 ai kl sau i 6hakrkari nityakaldev spptn QQ 2
5 7 7ll77 " 7l7spptn QQ
2. 2 ai kl sau abdkari nityakaldev spptn QQ 2
5 7l77 " 7l7 spptn QQ
F. 2 ai kl sau u %par)kari nityakaldev spptn QQ 2
3 7l 77" 7l7spptn QQ
L. 2 ai kl sau Hpkari nityakaldev spptn QQ 2
3 7l77" 7l7 spptn QQ
K. 2 hr kl sau Haskari nityakaldev spptn QQ 2
7 l77" 7l7 spptn QQ
O. 2 ai kl sau 2 "andhkari nityakaldev spptn QQ 2
Ul77 " 7l7spptn QQ
9. 2 ai kl sau 4 Bittkari nityakaldev spptn QQ 2
l77" 7l7 spptn QQ
/P. 2 ai kl sau 3 *hairykari nityakaldev spptn QQ 2
Ul 77 " 7l7spptn QQ
//. 2 ai kl sau e %mtykari nityakaldev spptn QQ 2
7 l77" 7l7spptn QQ
/0. 2 ai kl sau ai Gmkari nityakaldev spptn QQ 2
ll77 " 7l7spptn QQ
/1. 2 ai kl sau o Bjkari nityakaldev spptn QQ 2
7 47l77 " 7l7 spptn QQ
/2. 2 ai kl sau au Stmkari nityakaldev spptn QQ 2
7 7l77 " 7l7spptn QQ
/F. 2 ai kl sau a 6mtkari nityakaldev spptn QQ 2
7 7 0l77 " 7l7spptn QQ
/L. 2 ai kl sau a arrkari nityakaldev spptn QQ 2
7 l77 " 7l7spptn QQ
$he follo#ing is kno#n as samai pj. 6fter reciting this mantra, offer flo#ers
on ri Bakra. $here is no tarpaa here.
/. 2 70l 0 l l77 7 7 > 7 l > l Ul >0 >ll >7ll
7l 7 70l 07 0l 0 7l 0 |
2 et guptayoginya sarv)pariprake cakre sa>mudr s>siddhaya
syudh sa>)aktaya sa>vhan sa>parivr sarvopacrai sapjit
santarpit santu santu nama QQ
-or the mantras belo#, both pjana and tarpaa should be done.
+herever spptn is mentioned, it means that both pjana and tarpaa should
be done.
0. 2 0 7 7 6 spptn QQ 2 ai kl sau tripure)cakre)var spptn QQ
1. 2 l spptn QQ 2 la lagimsiddhi spptn QQ
2. 2 7 7 l" 7 0 spptn QQ 2 dr sarvavidrvimudra)akti spptn QQ
Go# recite dr and sho# sarvavidrvi mudra.
F. 2 I &(a;cada) or -oa)' > 0l l0 7 7 7l-]l7l spptn QQ
2 > mla &(a;cada) or -oa)' rlalit ,ahtripurasundar (arbharik
spptn QQ
&F above should be done three times'
L. dhpa, dpa, naivedya, tmbla and nrjana to be offered no#.
K. 2 7-7 7 "l0+
-l 7 0 (0l"l |
2 bhasiddhi me dehi )aragatavatsale Q
bhakty samarpaye tubhya dvityvararcanam QQ
&Go# take a drop of smnya arghya in uttarai &it is important that smnya
arghya should not be moved from its place' and offer to 3er left hand'
O. $here is no pjana and tarpaa here. %he is to be #orshiped #ith yoni
mudra.
2 0 7l (l" 70l0l 0l l0 7 7 7l-]7l QQ
2 guptayogin maykhyai dvittiyvaraa devatsahityai )rlalit
mahtripursundar
parbhaarikyai nama QQ
&Go# #e have to #orship 3er #ith yoni mudra'
$his concludes the #orship of the second varaa.
A77I3IINA6 INGIR<A3IINS%
/. -or each varaa, there is a Barnatic music composition by ,uthus#ami
*ikshitar and these compositions are kno#n as navvaraa krtana>s. +henever
time permits, these songs are sung at the end of each varaa. 6 video for the
second varaa is available in the link belo#.
http7<<youtu.be<_8#`FuyEnX.
0. @earning mudra>s is available in the follo#ing link.
http7<<youtu.be</.rOLJg(/(o
1. -urther reading7
Uourney to ri Bakra I (art /P
)2. 3t'y9araa" E 3hir8 9araa
i. Game of the varaa7 Sar9a/a4o5haaca4ra" & -"7 '
ii. Bjkara>s of ttyvaraam7 hr kl sau
iii. Bakre)var7 $ripurasundar
iv. %iddhi )akti7 ,ahim
v. ,udra )akti7 %arvkari
vi. Jogin7 "uptatarayogin
vii. Gumber of )akti>s in the varaa7 .ight.
viii. (j procedure7
(jana and tarpaa are to be done in the inner eight petal lotus, #here
numerals are marked in blue in ri Bakra. +e have to go #ith the ascending
order of the numerals, as e5plained belo#.
/. 2 hr kl sau ka kha ga gha .a ana.ga kusum dev spptn QQ
2 7 7 7#7 l7spptn QQ
0. 2 hr kl sau ca cha ja jha ;a ana.ga mekhal dev spptn QQ
2 U 7 5 7 7#7l7 spptn QQ
1. 2 hr kl sau a ha a ha a ana.ga madan dev spptn QQ
2 5 7 " 7#7l7 spptn QQ
2. 2 hr kl sau ta tha da dha na ana.ga madantur dev spptn
QQ
2 0 7 U 7#7l0 l7 spptn QQ
F. 2 hr kl sau pa pha ba bha ma ana.ga rekh dev spptn QQ
2 7 4 - 7#7l7spptn QQ
L. 2 hr kl sau ya ra la va ana.ga vegin dev spptn QQ
2 7# 7 spptn QQ
K. 2 hr kl sau )a a sa ha ana.ga a.gu) dev spptn QQ
2 7 7#7#l7 spptn QQ
O. 2 hr kl sau /a ka ana.ga mlin dev spptn QQ
2 7 7#l7 spptn QQ
$he follo#ing is kno#n as samai pj. 6fter reciting this mantra, offer flo#ers
on ri Bakra. $here is no tarpaa here.
/. 2 70l 00 -" 7 > 7 l > l Ul >0 >ll >7ll
7l 7 70l 07 0l 0 7l 0 |
2 et guptatarayoginya sarvasakobhae cakre sa>mudr s>siddhaya
syudh sa>)aktaya sa>vhan sa>parivr sarvopacrai sapjit
santarpit santu santu nama QQ
-or the mantras belo#, both pjana and tarpaa should be done.
+herever spptn is mentioned, it means that both pjana and tarpaa should
be done.
0. 2 0 7 77 6 spptn QQ 2 2 hr kl
sau tripurasundarcakre)var spptn QQ
1. 2 l spptn QQ 2 ma mahimsiddhi spptn QQ
2. 2 l 77 " 7 0 spptn QQ 2 kl sarvkarimudra)akti spptn QQ
Go# recite kl and sho# sarvkari mudra.
F. 2 I &(a;cada) or -oa)' > 0l l0 7 7 7l-]l7l spptn QQ
2 > mla &(a;cada) or -oa)' rlalit ,ahtripurasundar (arbharik
spptn QQ
&F above should be done three times'
L. dhpa, dpa, naivedya, tmbla and nrjana to be offered no#.
K. 2 7-7 7 "l0+
-l 7 0 0 0l"l |
2 bhasiddhi me dehi )aragatavatsale Q
bhakty samarpaye tubhya ttyvararcanam QQ
&Go# take a drop of smnya arghya in uttarai &it is important that smnya
arghya should not be moved from its place' and offer to 3er left hand'
O. $here is no pjana and tarpaa here. %he is to be #orshiped #ith yoni
mudra.
2 0 7l 0 0l" 70l0l 0l l0 7 7 7l-]7l QQ
2 guptayogin maykhyai ttyvaraa devatsahityai )rlalit
mahtripursundar
parbhaarikyai nama QQ
&Go# #e have to #orship 3er #ith yoni mudra'
$his concludes the #orship of the third varaa.
)1. 3$riy9araa" E Go$rth 9araa
i. Game of the varaa7 /ar9a/a$5h#ya8ya4aca4ra" & -l7l77 '
ii. Bjkara>s of $uriyvaraam7 hai hkl hsau
iii. Bakre)var7 $ripuravsin
iv. %iddhi )akti7 W)itva
v. ,udra )akti7 %arvava)a.kar
vi. Jogin7 %apradya
vii. Gumber of )akti>s in the varaa7 -ourteen
viii. (j procedure7
(jana and tarpaa are to be done in anticlock#ise manner in the outer
triangle, #here numerals are marked in black in ri Bakra.
Offer flo#ers in ri Bakra by reciting the follo#ing mantra. $here is no tarpaa
here.
2 -l7l77 l | 2 hai hkl hsau
sarvasaubhgyadyakacakrya nama QQ
/. 2 hai hkl hsau ka sarvasakobhi )akti spptn QQ
2 7 -" 0 spptn QQ
0. 2 hai hkl hsau kha sarvavidrvi )akti spptn QQ
2 7 7 l" 0 spptn QQ
1. 2 hai hkl hsau ga sarvkari )akti spptn QQ
2 l 77 " 0 spptn QQ
2. 2 hai hkl hsau gha sarvhldin )akti spptn QQ
2 l l7 0 spptn QQ
F. 2 hai hkl hsau .a sarvasamohin )akti spptn QQ
2 0 spptn QQ
L. 2 hai hkl hsau ca sarvastabhin )akti spptn QQ
2 0- 0 spptn QQ
K. 2 hai hkl hsau cha sarvajbhi )akti spptn QQ
2 U 7 -" 0 spptn QQ
O. 2 hai hkl hsau ja sarvava)a.kar )akti spptn QQ
2 7 0 spptn QQ
9. 2 hai hkl hsau jha sarvara;jin )akti spptn QQ
2 5 0 spptn QQ
/P. 2 hai hkl hsau ;a sarvonmdin )akti spptn QQ
2 7 l7 0 spptn QQ
//. 2 hai hkl hsau a sarvrthasdhin )akti spptn QQ
2 l lU 0 spptn QQ
/0. 2 hai hkl hsau ha sarvasapattipra )akti spptn QQ
2 5 77 " 0 spptn QQ
/1. 2 hai hkl hsau a sarvamantramay )akti spptn QQ
2 7 0 0 spptn QQ
/2. 2 hai hkl hsau ha sarvadvandvakaya.kar )akti spptn QQ
2 (( 0 spptn QQ
$he follo#ing is kno#n as samai pj. 6fter reciting this mantra, offer flo#ers
on ri Bakra. $here is no tarpaa here.
/. 2 70l 7 7l -l7l7 7 > 7 l > l Ul >0 >ll >7ll
7l 7 70l 07 0l 0 7l 0 |
2 et sapradyayoginya sarvasaubhgyadyakecakre sa>mudr s>
siddhaya syudh sa>)aktaya sa>vhan sa>parivr sarvopacrai
sapjit santarpit santu santu nama QQ
-or the mantras belo#, both pjana and tarpaa should be done.
+herever spptn is mentioned, it means that both pjana and tarpaa should
be done.
0. 2 0 7 l7 6 spptn QQ 2 hai hkl hsau
tripuravsinicakre)var spptn QQ
1. 2 5 5 spptn QQ 2 )itvasiddhi spptn QQ
2. 2 7 l0 spptn QQ 2 bl sarvava)a.kar mudr)akti spptn QQ
Go# recite bl and sho# sarvava)a.kar mudra.
F. 2 I &(a;cada) or -oa)' > 0l l0 7 7 7l-]l7l spptn QQ
2 > mla &(a;cada) or -oa)' rlalit ,ahtripurasundar (arbharik
spptn QQ
&F above should be done three times on the bindu'
L. dhpa, dpa, naivedya, tmbla and nrjana to be offered no#.
K. 2 7-7 7 "l0+
-l 7 0 0 l"l |
2 bhasiddhi me dehi )aragatavatsale Q
bhakty samarpaye tubhya turyvararcanam QQ
&Go# take a drop of smnya arghya in uttarai &it is important that smnya
arghya should not be moved from its place' and offer to 3er left hand'
O. $here is no pjana and tarpaa here. %he is to be #orshiped #ith yoni
mudra.
2 7 7l 7l 0 l" 70l0l 0l l0 7 7 7l-]7l QQ
2 sampradyayogin maykhyai turiyvaraa devatsahityai )rlalit
mahtripursundar
parbhaarikyai nama QQ
&Go# #e have to #orship 3er #ith yoni mudra'
$his concludes the #orship of the fourth varaa.
)(. PaAca"9araa" .! PaAca"9araa"
i. Game of the varaa7 Sar9rtha/8ha4aca4ra" &l lU77 '
ii. Bjkara>s of (a;camvaraam7 hsai hskl hssau
iii. Bakre)var7 $ripur)rcakre)var
iv. %iddhi )akti7 !a)itva
v. ,udra )akti7 %arvonmdin
vi. Jogin7 8ulottra
vii. Gumber of )akti>s in the varaa7 $en
viii. (j procedure7
(jana and tarpaa are to be done in anticlock#ise manner in the inner
triangle, #here numerals are marked in red in ri Bakra.
Offer flo#ers in ri Bakra by reciting the follo#ing mantra. $here is no tarpaa
here.
2 l lU77 l |
2 hsai hskl hssau sarvrthasdhakacakrya nama QQ
/. 2 hsai hskl hssau a sarvasiddhiprad dev spptn QQ
2 " 7 7l 7 spptn QQ
0. 2 hsai hskl hssau ta sarvasapatprad dev spptn QQ
2 0 77 7l 7 spptn QQ
1. 2 hsai hskl hssau tha sarvapriya.kar dev spptn QQ
2 7 7 spptn QQ
2. 2 hsai hskl hssau da sarvama.galakri dev spptn QQ
2 7 #7l" 7 spptn QQ
F. 2 hsai hskl hssau dha sarvakmaprad dev spptn QQ
2 U 7l7 7l 7 spptn QQ
L. 2 hsai hskl hssau na sarvadukhavimocin dev spptn QQ
2 7 7 7 spptn QQ
K. 2 hsai hskl hssau pa sarvamtyupra)aman dev spptn QQ
2 7 7 7 spptn QQ
O. 2 hsai hskl hssau pha sarvighnanivri dev spptn QQ
2 Ul" 7 spptn QQ
9. 2 hsai hskl hssau ba sarv.gasundar dev spptn QQ
2 4 l # 7 7 spptn QQ
/P. 2 hsai hskl hssau bha sarvasaubhgyadyin dev spptn QQ
2 - -l7l 7 spptn QQ
$he follo#ing is kno#n as samai pj. 6fter reciting this mantra, offer flo#ers
on ri Bakra. $here is no tarpaa here.
/. 2 70l 7 " l lU7 7 > 7 l > l Ul >0 >ll >7ll
7l 7 70l 07 0l 0 7l 0 |
2 et kulottrayoginya sarvrthasdhakecakre sa>mudr s>siddhaya
syudh sa>)aktaya sa>vhan sa>parivr sarvopacrai sapjit
santarpit santu santu nama QQ
-or the mantras belo#, both pjana and tarpaa should be done.
+herever spptn is mentioned, it means that both pjana and tarpaa should
be done.
0. 2 0 7 l 7 6 spptn QQ 2 hai hkl hsau tripur)rcakre)var
spptn QQ
1. 2 spptn QQ 2 va va)itvasiddhi spptn QQ
2. 2 l7 7 l0 spptn QQ 2 sa sarvonmdini mudr)akti spptn QQ
Go# recite bl and sho# sarvava)a.kar mudra.
F. 2 I &(a;cada) or -oa)' > 0l l0 7 7 7l-]l7l spptn QQ
2 > mla &(a;cada) or -oa)' rlalit ,ahtripurasundar (arbharik
spptn QQ
&F above should be done three times on the bindu'
L. dhpa, dpa, naivedya, tmbla and nrjana to be offered no#.
K. 2 7-7 7 "l0+
-l 7 0 77l"l |
2 bhasiddhi me dehi )aragatavatsale Q
bhakty samarpaye tubhya pa;camvararcanam QQ
&Go# take a drop of smnya arghya in uttarai &it is important that smnya
arghya should not be moved from its place' and offer to 3er left hand'
O. $here is no pjana and tarpaa here. %he is to be #orshiped #ith yoni
mudra.
2 7 " 7l 77l" 70l0l 0l l0 7 7 7l-]7l QQ
2 kulottrayogin maykhyai pa;camvaraa devatsahityai )rlalit
mahtripursundar
parbhaarikyai nama QQ
&Go# #e have to #orship 3er #ith yoni mudra'
$his concludes the #orship of the fourth varaa.
)(. ah9araa" E Si>th 9araa
i. Game of the varaa7 %arvarakkaracakram l77
ii. Bjkara>s of -ahvaraam7 hr kl ble
iii. Bakre)var7 $ripuramlincakre)var 0 7 l7 6
iv. %iddhi )akti7 7 l7l (rkmyasiddhi
v. ,udra )akti7 ll %arvamah.ku)
vi. Jogin7 - Gigarbhayogin
vii. Gumber of )akti>s in the varaa7 $en
viii. (j procedure7
(jana and tarpaa are to be done in anticlock#ise manner, #here numerals
are marked in blue inri Bakra.
Offer flo#ers in ri Bakra by reciting the follo#ing mantra. $here is no tarpaa
hereA.
A2 l77 l |
A2 hr kl ble sarvarakkaracakrya nama QQ
(jana and tarpaa are to be done anticlock#ise manner for the follo#ing
/P.
/. 2 hr kl ble ma sarvaj;dev spptn QQ
2 Hl7 spptn QQ
0. 2 hr kl ble ya sarva)aktidev spptn QQ
2 07 spptn QQ
1. 2 hr kl ble ra sarvai)varyapraddev spptn QQ
2 67 7l7 spptn QQ
2. 2 hr kl ble la sarvaj;namaydev spptn QQ
2 Hl7 spptn QQ
F. 2 hr kl ble va sarvavydhivin)indev spptn QQ
2 lUl7 spptn QQ
L. 2 hr kl ble )a sarvthrasvarpdevspptn QQ
2 l l7l7 spptn QQ
K. 2 hr kl ble a sarvappahardev spptn QQ
2 7 7l7l7 spptn QQ
O. 2 hr kl ble sa sarvnandamaydevi spptn QQ
2 l 77 spptn QQ
9. 2 hr kl ble ha sarvaraksvarpidev spptn QQ
2 l7"7 spptn QQ
/P. 2 hr kl ble ka sarvepsitaphalapraddev spptn QQ
2 07 7l7 spptn QQ
$he follo#ing is kno#n as samai pj. 6fter reciting this mantra, offer flo#ers
on ri Bakra. $here is no tarpaa here &only for / belo#'.
/. 2 70l - l77 > 7 l > l Ul >0 >ll >7ll 7l
7 70l 07 0l 0 7l 0 |
2 et nigarbhayoginya sarvarakkarecakre sa>mudr s>siddhaya
syudh sa>)aktaya sa>vhan sa>parivr sarvopacrai sapjit
santarpit santu santu nama QQ
Both pjana and tarpaa are to be performed for the follo#ing mantras
&#herever spptn is used, it means that both pjana and tarpaa are to be
performed'.
0. 2 0 7 l7 6 spptn QQ 2 hr kl ble tripuramlincakre)var
spptn QQ
1. 2 7 7 l7l spptn QQ 2 pa prkmyasiddhi spptn QQ
2. 2 7 ll 7 l0 spptn QQ 2 kro sarvamah.ku) mudr)akti spptn QQ
Go# recite kro and sho# sarvamah.ku) mudra.
F. 2 I &(a;cada) or -oa)' > 0l l0 7 7 7l-]l7l spptn QQ
2 > mla &(a;cada) or -oa)' rlalit ,ahtripurasundar (arbharik
spptn QQ
&F above should be done three times on the bindu'
L. dhpa, dpa, naivedya, tmbla and nrjana to be offered no#.
K. 2 7-7 7 "l0+
-l 7 0 77ll"l |
2 bhasiddhi me dehi )aragatavatsale Q
bhakty samarpaye tubhya ahkhyvararcanam QQ
&Go# take a drop of smnya arghya in uttarai &it is important that smnya
arghya should not be moved from its place' and offer to 3er left hand'
O. $here is no pjana and tarpaa here. %he is to be #orshiped #ith yoni
mudra.
2 - 7l 77l" 70l0l 0l l0 7 7 7l-]7l QQ
2 nigarbhayogin maykhyai -ahvaraa devatsahityai )rlalit
mahtripursundar
parbhaarikyai nama QQ
&Go# #e have to #orship 3er #ith yoni mudra'
$his concludes the #orship of the si5th varaa.
)). Sapta"9araa" E Se9enth 9araa
i. Game of the varaa7 %arvarogaharacakram 7
ii. Bjkara>s of %aptamvaraam7 hr )r sau
iii. Bakre)var7 $ripursiddhcakre)var 0 7 ll7 6
iv. %iddhi )akti7 - 0 Bhuktisiddhi
v. ,udra )akti7 7 %arvake)ar
vi. Jogin7 Hahasyayogin
vii. Gumber of )akti>s in the varaa7 .ight
viii. (j procedure7
(jana and tarpaa are to be done in anticlock#ise manner, #here numerals
are marked in red inri Bakra.
AOffer flo#ers in ri Bakra by reciting the follo#ing mantra. $here is no tarpaa
here.
A2 07 l | A2 hr )r sau sarvatogaharacakrya nama QQ
(jana and tarpaa are to be done anticlock#ise manner for the follo#ing O.
$hey are the composers and authors of @alit %ahasranma.
/. 2 hr )r sau a i u 2 4 3 e ai o au a
a bl va)in vgdevat spptn QQ
2 7 7 5 5 3 3 7 7 7 7 7 7 l70l spptn QQ
0. 2 hr )r sau ka kha ga gha .a klhr kme)var
vgdevat spptn QQ
2 7 7 7 7l6 l70l spptn QQ
1. 2 hr )r sau ca cha ja jha ;a nvl modin vgdevat spptn QQ
2 U 7 5 7 7 l70l spptn QQ
2. 2 hr )r sau a ha a ha a yl vimal vgdevat spptn QQ
2 5 7 " l l70lspptn QQ
F. 2 hr )r sau ta tha da dha na jmr aru vgdevat spptn QQ
2 0 7 U 7 7"l l70l spptn QQ
L. 2 hr )r sau pa pha ba bha ma hslvy jaini vgdevat spptn
QQ
2 7 4 - 7 l70l spptn QQ
K. 2 hr )r sau ya ra la va jhmry sarve)var vgdevat spptn QQ
2 5 6 l70l spptn QQ
O. 2 hr )r sau )a a sa ha /a ka kmr kaulin
vgdevat spptn QQ
2 7 7 7 l70l spptn QQ
$he follo#ing is kno#n as samai pj. 6fter reciting this mantra, offer flo#ers
on ri Bakra. $here is no tarpaa hereA &only for / belo#'.
/. A2 70l 7 > 7 l > l Ul >0 >ll >7ll
7l 7 70l 07 0l 0 7l 0 |
A2 et rahasyayoginya sarvarogaharecakre sa>mudr s>siddhaya
syudh sa>)aktaya sa>vhan sa>parivr sarvopacrai sapjit
santarpit santu santu nama QQ
Both pjana and tarpaa are to be performed for the follo#ing mantras
&#herever spptn is used, it means that both pjana and tarpaa are to be
performed'.
0. 2 0 7 l7 6 spptn QQ 2 hr )r sau tripurasiddhcakre)var
spptn QQ
1. 2 4 - 0 spptn QQ 2 bu bhuktisiddhi spptn QQ
2. 2 7 7 l0 spptn QQ 2 hskhphre sarvakecar mudr)akti spptn QQ
Go# recite hskhphre and sho# sarvakecar mudra.
F. 2 I &(a;cada) or -oa)' > 0l l0 7 7 7l-]l7l spptn QQ
2 > mla &(a;cada) or -oa)' rlalit ,ahtripurasundar (arbharik
spptn QQ
&F above should be done three times on the bindu'
L. dhpa, dpa, naivedya, tmbla and nrjana to be offered no#.
K. 2 7-7 7 "l0+
-l 7 0 0l"l |
2 bhasiddhi me dehi )aragatavatsale Q
bhakty samarpaye tubhya %aptamvararcanam QQ
&Go# take a drop of smnya arghya in uttarai &it is important that smnya
arghya should not be moved from its place' and offer to 3er left hand'
O. $here is no pjana and tarpaa here. %he is to be #orshiped #ith yoni
mudra.
2 7l 0l" 70l0l 0l l0 7 7 7l-]7l QQ
2 rahasyayogin maykhyai saptamvaraa devatsahityai )rlalit
mahtripursundar
parbhaarikyai nama QQ
&Go# #e have to #orship 3er #ith yoni mudra'
$his concludes the #orship of the seventh varaa.
)*. Aa"9araa .ei#hth 9araa!
i. Game of the varaa7 %arvasiddhipradacakra 7 77
ii. Bjkara>s of aamvaraa7 hsrai hsklr hsrau
iii. Bakre)var7 $ripurbcakre)var 0 7 l4l7 6
iv. %iddhi )akti7 5=Ul 4cchsiddhi
v. ,udra )akti7 47 %arvabja
vi. Jogin7 70 6tirahasyayogin
vii. Gumber of )akti>s in the varaa7 -our #eaponries and three )akti>s. -ourth
pjana and tarpaa is done on the Bindu.
.ighth varaa is different from other varaa>s. Before #orshipping varaa
)akti>s, #e have to #orship four common #eaponries of ,ahkme)vara and
,ahkme)var. 6fter #orshiping their #eaponries, three )akti>s are #orshiped.
-or the purpose of easier understanding, this varaa is divided into t#o parts.
(art a is about #orshipping #eaponries and part b is about #orshipping three
)akti>s.
viii. (j procedure7
9iii.a! @y$8hrcana" .=or/hip of =eaponrie/!%
+eaponries are to be #orshiped in the places marked 6,B, B and *, in the same
order. &$here are versions #here no tarpaa is done in yudhrcanam and
instead pjana is done t#ice'. 3o#ever,varaa bjkara>s are not prefi5ed
before yudhrcana mantras.
6. 2 l l l 4l l 7 l 7 7- 7l6 7l6 4l" + 4l"0 spptn QQ
2 y r l b s dr dr kl bl sa sarvajambhanebhyo
kme)var kme)vara bebhyo nama Q ba)akti spptn QQ
B. 2 U ll 7l6 7l6 U l + U 0 spptn QQ
2 tha dha sarvasammohanbhy kme)var kme)vara dhanurbhy
nama Q dhan )akti spptn QQ
B. 2 7 7"ll 7l6 7l6 7lll + 7l0 spptn QQ
2 hr sarvava)karabhy kme)var kme)vara p)bhy
nama Q p)a)akti spptn QQ
*. 2 7 7 0-ll 7l6 7l6 7ll + 70 spptn QQ
kro kro sarvastambhanbhy kme)var kme)vara a.ku)bhy
nama Q a.ku)a)akti spptn QQ
9iii.5! Ei#hth 9araa pj%
Offer flo#ers in ri Bakra by reciting the follo#ing mantra. $here is no tarpaa
hereA.
A2 7 77 l |
A2 hsrai hsklr hsrau sarvasiddhipradacakrya nama QQ
-ollo#ing three )akti>s are to be #orshiped in the places marked /, 0 and 1 in
anticlock#ise manner as e5plained in the figure above. $hree ka>s
of saubhagyapa;cada) mantra are used as prefi5 to these three mantras. 4n 2,
entire saubhagyapa;cada) mantra is used as prefi5.
/. 2 > 7 7 5 > 77 7l75 0 l 7 l7 70 77
7l lU7l7 5=Ul0 l-l7 l67 4 l0 l7l6 spptn QQ
2 ai > ka e la hr > agnicakre kmagiriphe mitre)antha
navayonicakrtmaka tmatattva siktya jgradda)dhihayaka icch)akti
vgbhavtmaka vg)varsvarupa brahmtma)akti mahkme)var spptn QQ
0. 2 > 7 > 7 7 " 75 77l 7l 0 7l7 l7 0l0
07 7lU7l7 Hl0 7ll7l7 7l7l7 l0 l7 6 spptn QQ
2 kl > ha sa ka ha la hr > sryacakre pragiriphe ah)antha
da)ratvaya caturda)racakrtmaka vidytatva sthitiktya svana
da)dhihyaka j;na)akti kmarjtmaka kmakalsvarpa vivtma)akti
mahvajre)var spptn QQ
1. 2 > 7 > 7 7lU75 37l 777 777 0 7 l7 0
l7 7 0 7lU7l7 7 l0 047l7 7l70 7 7 l0
l-l spptn QQ
2 sau > sa ka la hr > somacakre jlandharaphe u)antha aadala
oa)adala catura)ra cakrtmaka )ivatattva sahraktya suupti
da)dhihyaka kriy)akti )aktibjtmaka parpara)akti svarpa rudrtma)akti
mahbhagamlin spptn QQ
2. $his is to be performed at the Bindu.
2 > 7 7 5 > > 7 > > 7 > 74 7 l"75 l 70l
07 l7 7l 70 7 0 l7 0 7lU7l7 5=Ul Hl 7 l l0l0
l- 7ll7 0 47l7 70 7 74 0 0l l0 7 7 spptn QQ
2 ai > ka e la hr > kl > ha sa ka la hr > sau > sa ka la hr >
parabrahmacakre mahoyaphe carynandattha samastacakrtmaka
saparivra paramatatva si sthiti sahraktya turya da)dhihyaka icch
j;na kriy )nt)akti vgbhava kmarja )akti bjtmaka parama)akti svarpa
parabrahma)akti )r lalit mahtripurasundar spptn QQ
$he follo#ing is kno#n as samai pj. 6fter reciting this mantra, offer flo#ers
on ri Bakra. $here is no tarpaa here &only for / belo#'.
/. 2 70l 70 7 7 7 > 7 l > l Ul >0 >ll >7ll
7l 7 70l 07 0l 0 7l 0 |
2 et atirahasyayoginya sarvasiddhiprade cakre sa>mudr s>siddhaya
syudh sa>)aktaya sa>vhan sa>parivr sarvopacrai sapjit
santarpit santu santu nama QQ
Both pjana and tarpaa are to be performed for the follo#ing mantras
&#herever spptn is used, it means that both pjana and tarpaa are to be
performed'.
0. 2 0 7 l4l7 6 spptn QQ
2 hsrai hsklr hsrau tripurmbcakre)var spptn QQ
1. 2 5 5=Ul spptn QQ 2 i icchsiddhi spptn QQ
2. 2 47 7 l0 spptn QQ 2 hsau sarvabja mudr)akti spptn QQ
Go# recite hsau and sho# sarvabja mudra.
F. 2 I &(a;cada) or -oa)' > 0l l0 7 7 7l-]l7l spptn QQ
2 > mla &(a;cada) or -oa)' rlalit ,ahtripurasundar (arbharik
spptn QQ
&F above should be done three times on the Bindu'
L. dhpa, dpa, naivedya, tmbla and nrjana to be offered no#.
K. 2 7-7 7 "l0+
-l 7 0 77l"l |
2 bhasiddhi me dehi )aragatavatsale Q
bhakty samarpaye tubhya aamvararcam QQ
&Go# take a drop of smnya arghya in uttarai &it is important that smnya
arghya should not be moved from its place' and offer to 3er left hand'
O. $here is no pjana and tarpaa here. %he is to be #orshiped #ith yoni
mudra.
2 70 7l 77l" 70l0l 0l l0 7 7 7l-]7l QQ
2 atirahasyayogin maykhyai aamvaraa devatsahityai )rlalit
mahtripursundar parbhaarikyai nama QQ
&Go# #e have to #orship 3er #ith yoni mudra'
$his concludes the #orship of the eighth varaa.
A77I3IINA6 INGIR<A3IINS%
/. -or each varaa, there is a Barnatic music composition by ,uthus#ami
*ikshitar and these compositions are kno#n as navvaraa krtana>s. +henever
time permits, these songs are sung at the end of each varaa. 6 video for the
eighth varaa is available in the link belo#.
http7<<youtu.be<0/,yO@>ggKo
0. @earning mudra>s is available in the follo#ing link.
http7<<youtu.be</.rOLJg(/(o
1. -urther reading7
Uourney to ri Bakra I (art /O
ri Bakra and human body I (art 9
)+. Na9a"9araa" .! Ninth 9araa%
i. Game of the varaa7 sarvnandamayacakra l 77
ii. Bjkara>s of navamvaraam7 .ntire pa;cada) mantra itself forms
the bjkara>s of this varaa.
7 7 5 + 7 + 7 |
ka e la hr Q ha sa ka ha la hr Q sa ka la hr QQ
iii. Bakre)var7 r ,ahtripurasundarcakre)var l0 7 77 6
iv. %iddhi )akti7 7 l0 (rptisiddhi
v. ,udra )akti7 %arvayoni
vi. Jogin7 7l7l0 (arpartirahasyayogin
vii. Gumber of )akti>s in the varaa7 One
Ginth varaa is the last varaa in ri Bakra and only @alitmbik is #orshiped
here.
viii. (j procedure7
&4mage is the same as given in eighth varaa.'
Offer flo#ers in ri Bakra by reciting the follo#ing mantra. $here is no tarpaa
hereA.
A2 7 7 5 + 7 + 7 | l 77 l |
A2 ka e la hr Q ha sa ka ha la hr Q sa ka la hr QQ sarvnandamayacakrya
nama QQ
-or the follo#ing mantra pjana and tarpaa are to performed three times in
the Bindu
2 &(a;cada), %aubhgyapa;cada)i or -oa)' > 0l l0 7 7
7l-]l7l spptn QQ
2 mla &(a;cada), %aubhgyapa;cada)i or -oa)' > )r lalit
mahtripurasundar
parbharik spptn QQ
$here is no samai pj in this varaa. Both pjana and tarpaa are
offered only to @alitmbik.
-or the follo#ing mantra only pjana is to be done. $here is no tarpaa here.
/. 77l 7l7l0 l 77 > 7 l > l Ul >0 >ll >7ll
7l 7 70l 07 0l 0 7l80 |
e parpartirahasyayogin sarvnandamayecakre sa>mudr s>siddhaya
syudh sa>)aktaya sa>vhan sa>parivr sarvopacrai sapjit
santarpit santuTstu nama QQ
-or the follo#ing mantras, both pjana and tarpaa are to be done in the
Bindu.
0. 7 7 5 + 7 + 7 | l0 7 77 6 spptn QQ
ka e la hr Q ha sa ka ha la hr Q sa ka la hr QQ )r
mahtripurasundarcakre)var spptn QQ
1. 2 7 7 l0 spptn QQ
2 pa prptisiddhi spptn QQ
2. 2 7 l0 spptn QQ
2 ai sarvayoni mudr)akti spptn QQ
Go# recite ai and sho# yonimudra.
AA $hose #ho are initiated into -oa) mantra, continue #ith F, after completing
additional mantras given belo# #here AA are marked and sho#n in italics.
F. 2 I &(a;cada) or %aubhgyapa;cada)i or -oa)' > 0l l0 7 7
7l-]l7l spptn QQ
2 > mla &(a;cada) or %aubhgyapa;cada)i or -oa)' rlalit
,ahtripurasundar (arbharik spptn QQ
L. dhpa, dpa, naivedya, tmbla and nrjana to be offered no#.
K. 2 7-7 7 "l0+
-l 7 0 l"l |
2 bhasiddhi me dehi )aragatavatsale Q
bhakty samarpaye tubhya navamvararcanam QQ
&Go# take a drop of smnya arghya in uttarai &it is important that smnya
arghya should not be moved from its place' and offer to 3er left hand'
O. $here is no pjana and tarpaa here. %he is to be #orshiped #ith yoni
mudra.
2 7l7l0 7l l" 70l0l 0l l0 7 7 7l-]7l QQ
2 parpartirahasyayogin maykhyai navamvaraa devatsahityai
)rlalit
mahtripursundar parbhaarikyai nama QQ
&Go# #e have to #orship 3er #ith yoni mudra'
$his concludes the #orship of ninth varaa, subject to the follo#ing.
))"he following is meant for those who are initiated into oa&. "his is to be
done in addition to what is mentioned above in the ninth varaa.
*oth p+,ana and tarpaa are to be done three times for the following mantra.
a- . 7'7'7 0 l4l 7l7 7l 7 7l 07 l |
. hasakala'hasakahala'sakalahr& tur&ymb r& pduk p+,aymi
tarpaymi nama //
0o tarpaa for the following mantra1 2only for b bleow-
2"his is one of the most powerful mantras of %alitmbik-
b- 1 . l 7 7 l"75 l 7ll7 0 l00 7lU7l7 l007l7 7 7l
ll7 74 7" 7l 00 0 6 75 6 6 l6 6
6 777 7 l0 7l 7 l 70l ll l Ul 0 ll 7ll 7 7l 7l
77l 7l7l 7l l7 7 70l 07 0l 0 7l80 |
. sarvnandamaye cakre mahoyap&he carynandanthtmaka turiyt&ta
dadhihyaka ntyat&takaltmaka praka vimara smarasytmaka
parabrahmasvar+pi& parmtaakti sarvamantrevar& sarvap&hevar&
sarvayogevar& sarvavg&var& sarvasiddhevar& sarvav&revar&
sakala,agadutpatti mtk sacakr sadevat ssan syudh saakti savhan
sparivr sacakreik paray aparay parparay saparyay sarvocprarai
samp+,it santarpit santu3stu namo nama //
c- . 7l spptn //
. sa sarvakmasiddhi spptn //
d- . 0 77l 7 0 spptn //
. hsrai hsklr& hsrau sarvatrikhamudraakti spptn //
0ow recite hsrai hsklr& hsrau and show sarvatrikhamudra.
0ow, please go back to 4 above and continue.
.na99araa /erie/ i/ not yet concl$8e8!
35.
8pa+$apa+$i! mea!s fi.efold9
)his part of !a..araa p* $o!tai!s some importa!t ma!tras of Her assista!ts:
)his $a! be e-plai!ed as fi.efold p*: ;i.e thro!es are to be $o!templated o!e abo.e the
other o.er ,i!du: )he first o!e *ust abo.e the ,i!du is to be $o!templated: )hese fi.e
thro!es or pha7s represe!t fi.e stages of samdhi: <a$h pha is presided o.er by o!e
primary =a%ti i! the form Lalitmbi% a!d four other 0a%ti7s i! the four
$ardi!al .yu%oa 8/orth >est9? 0!a 8/orth <ast9? 2g!i 84outh <ast9 a!d !airti 84outh
>est9: <a$h of these pha7s are %!o(! by these !ames begi!!i!g from the lo(est o!e?
pa+$ala%mya 8779 pa+$a%o0mb 8777l4l9? pa+$a%alpalat 877770l9?
pa+$a%madugh 8777l7 l9 a!d pa+$arat!mb 8777l4l9 respe$ti.ely: )here
are fi.e 0a%ti7s i! ea$h pha a!d there are fi.e pha7s a!d thus (e ha.e to (orship
t(e!ty fi.e 0a%ti7s pa+$apa+$i%p*:
)hese fi.e pha7s are to be .isuali@ed (ith bigger thro!e at the bottom a!d the smallest
thro!e at the top: )his is based o! the fa$t that the lo(est pha is the grossest a!d the top
most pha is the subtlest: A! fa$t? this $a! be said as the subtlest be$ause? i! this pha?
the aspira!t be$omes o!e (ith Her: )hese pha7s represe!t fi.e stages of samdhi
beyo!d sa.i%alpa stage: 4a.i%alpa is the stage of samdhi (here duality still persists:
4oo! after performi!g !a..araa p*? o!e is supposed to $o!template Her to ultimately
be$ome o!e (ith Her: 3o!templatio! attai!s perfe$tio! i! su$$essi.e stages? (hi$h are
represe!ted by these fi.e pha7s: A! the fifth pha? the o!e (ho performed!a..araa
p* (ith perfe$tio! a!d de.otio! be$omes o!e (ith Her: )he fi.e stages of samdhi are
smya 8state of eBuilibrium9? laya 8absorptio!9? .i!0a 8destru$tio! or remo.al9?
atya!tbh.a 8absolute !o!7e-iste!$e9 a!d ai%ya 8o!e!ess (ith Her9:
)here are t(o differe!t .ersio!s i! doi!g pa+$apa+$i%p*: C!e is to merely
$o!template o! this aspe$t of be$omi!g o!e (ith Her: 2!other is doi!g both p*a!a
a!d tarpaa: ,oth are a$$eptable? as Lalitmbi% alo!e pre.ails i! the form of fi.e
De.i7s i! the middle of ea$h pha: )his is e.ide!t from the fa$t that mlama!tra is
prefi-ed to the ma!tra for the p* do!e i! the ,i!du: 4e$o!dly? !o p* or tarpaa $a! be
do!e i! the ,i!du? e-$ept for Lalitmbi%: Ho(e.er? as this is related to the differe!t
stages of samdhi? it (ould be ideal to $o!template Her:
A! the follo(i!g ma!tras? !umeri$al i!di$ate the follo(i!g:
1 E Middle 8al(ays prefi-ed (ith mlama!tra a!d =r 1idy a!d represe!ts Lalitmbi%9F
2 7 .yu%oa 8/orth >est9F 3 7 0!a 8/orth <ast9F 4 7 ag!i 84outh <ast9F 5 7 !airti
84outh >est9: )hese !umeri$al are i!di$ated i! the diagram belo(:
)hose (ho perform both p* a!d tarpaa should use sppt! a!d those (ho (ish to
$o!template Her should use !ama 89: 3ertai! ma!tras are gi.e! i! abbre.iated forms
(ithout losi!g the esse!$e of the ma!tras:
i) Pacalakmya 8bottom most? mar%ed i! gree!9
1: 4 7 mla 7 0l4l sppt! G + 0r.idyla%myamb sppt! G !ama H
2: 4 7 4l sppt! G | 0r la%mila%myamb sppt! G |
3: 4 7 7 7l 7 7 7 7 l +
l4l sppt! G |
4 7 om 0r hr 0r %amale %amallaye prasda prasda 0r hr 0r om 0r
mahla%myai !ama H mahla%myamb sppt! G |
4: 4 7 0 04l sppt! G | 4 7 0r hr %l
tri0a%tila%myamb sppt! G |
5: 4 7 7 l l74l sppt! G |
4 7 0r saha%alahr 0r sar.asmr*yala%myamb sppt! G |
ii) Pacakomb : 84e$o!d from the base mar%ed i! red9
1: 4 E 7 0l7l4l sppt! G |
4 7 mla 7 0r.idy%o0mb sppt! G |
2: 4 7 ll+ 7707l4l sppt! G |
4 7 om hr hasasoha s.h H para*yoti%o0mb sppt! G |
3: 4 7 77l7l4l sppt! G | 4 7 om hasa
para!i%al%o0mb sppt! G |
4: 4 7 777l77l4l sppt! G | 4 7 hasa a*ap%omb sppt! G |
5: 4 7 7 to 8all the 51 letters9 l0 7l7l4l sppt! G |
4 7 a to %a 88all the 51 letters9 mt%%o0mb sppt! G |
iii) Pacakalpalat 8third from the base mar%ed i! blue $olour9
1: 4 7 0l77l0l4l sppt! G |
4 7 mla 7 0r.idy%alpaltmb sppt! G |
2: 4 7 0 777l6 0l770l4l sppt! G |
4 7 hr %l ai bl str pa+$a%me0.ar t.arit%alpalatmb sppt! G |
3: 4 7 l 7 7l7l06770l4l sppt! G |
4 7 om hr hr hasa%alahr om saras.atyai !ama hasrai
pri*te0.ar%alpalatmb sppt! G |
4: 4 7 7 l 0 7 l770l4l sppt! G |
4 7 0r hr %l ai %l sau %umr tripu%alpalatmb sppt! G |
5: 4 7 7 l 7 7 774l"6770l4l sppt! G |
4 7 dr dr %al bl sa pa+$abe0.ar%alpalatmb sppt! G |
iv) Pacakmau!" 8fourth from the base mar%ed i! yello(9:
1: 4 E E 0l7l7 l4l sppt! G |
4 7 mla 7 0r .idy%madughmb sppt! G |
2: 4 7 7 7 7 l" 7 7 ll| 7 075 6 7l7 l4l sppt! G |
4 7 om hr hasa *u sa+*.a!i *.a pragra!thistha %uru %uru s.h HH
amtaphe0.ar %madughmb sppt! G |
3: 4 7 7 7 ll7 7 7 7 7 l- 7 7 7 7
Ul 7l7 l4l sppt! G |
4 7 ai .ada .ada .g.di!i hsrai %l %li!!e %ledi!i %ledaya %ledaya
mah%obha %uru %uru hs%lr sau mo%a %uru %uru hsrau
sudhsu%madughmb sppt! G |
4: 4 7 5 7 7 0 7 0 7 06 7 07 " 7 0 l l
ll+ 7 067l7 l4l sppt! G |
4 7 ai bl *hrau *u sa amte amtodbha.e amte0.ari amta.arii amta
sr.aya sr.aya s.h H amte0.ar%madughmb sppt! G |
5: 4 7 -0 l6 777 " l-707 7 ll+
777 "l 7l7 l4l sppt! G |
4 7 om hr 0r %l om !amo bhaga.ati mhe0.ari a!!apre
mambhilaitama!!a dehi s.h H a!!apr%madughmb sppt! G |
v) Pacaratnmb 8top most mar%ed i! .iolet9
1: 4 7 0l7l4l sppt! G | 4 7 mla 0r.idyrat!mb sppt! G |
2: 4 7 75 l7 07 77 " 7ll 7l4l sppt! G |
4 7 **hr mah$a!e te*a sa.a%arii %lama!th!e ha
siddhala%mrat!mb sppt! G |
3: 4 7 -0 l7l06 7 7
l7 0 7 7 7 7 7 0 l ll
l7l0#7l4l sppt! G |
4 7 ai hr 0r ai %l sau om !amo bhaga.ati 0rr*amta.%0.ar
sar.a*a!ama!ohari sar.amu%hara+*a!i %l hr 0r sar.ar*a.a0a.%ari
sar.astrpurua.a0a.%ari sar.aduamga.a0a.%ari sar.asat.a.a0a.%ari
sar.alo%a.a0a.%ari trailo%ya me .a0am!aya s.h sau %l ai 0r hr ai
0rr*amta.g0arrat!mb sppt! G |
4: 4 7 - 67l4l sppt! G |
4 7 0r hr 0r bhu.a!e0.arrat!mb sppt! G |
5: 4 7 -0 l0l l0l ll ll l 7 l 7 7U 7U U U
74 7- 0- 0- 7 77 7 7ll 7l l 707l-
7 7 5 5 5 5 ll+ ll7l4l sppt! G |
4 7 ai glau ai !amo bhaga.ati .rtli .rtli .rhi .rhi .arhamu%hi
.arhamu%hi a!dhe a!dhi!i !ama ru!dhe ru!dhi!i !ama *ambe *ambhi!i !ama
mohe mohi!i !ama stambhe stambhi!i !ama sar.aduapradu! sar.e
sar.a.%$itta $a%urmu%hagati*ih.stmbha!a %uru %uru 0ghra .a0ya ai glau
ai ha ha ha ha hu pha s.h H .rhrat!mb sppt! G |
),.
$here are si5 types of dar)ana>s. *ar)ana refers to philosophical doctrines,
understanding and perceiving Brahman through various methods. *ar)ana
literally means Yvision and nature of reality. $hough Brahman is One, paths to
realiEe 3im are different. Bonte5tually, Brahman here refers to(ar)akti. 6
particular path is chosen through lineages and sudden spiritual impetus. 4t is like
approaching a particular destination through different routes. %i5
religious<spiritual paths discussed belo# lead to the realiEation of Bit)akti
&%upreme Bonsciousness of iva' I Baudha &Buddhism', !aidika &!edas', %aura
&#orshipping the sun', !aiava &#orshipping !iu', aiva &#orshipping iva'
and kta &#orship of akti'. 4t is important to note that ri Bakra navvaraa
pj encompasses all these si5 dar)ana>s and this is conveyed through
adar)navidy, #hich is performed here to make #orshipers understand that all
types of #orship lead to Brahman and that they should not undermine or
discriminate one path or the other.
$his part contains si5 mantras and both pj and tarpaa are to be done at the
Bindu.
/. 2 > 0l 0 l 0 ll+ 0ll70lU70 47 spptn QQ
0. 2 > l0 + 77 l7 A+ 4 70lU70 777 spptn QQ

\A if parorajase svadom is added to "yatr mantra at the end, it becomes $urya
"yatr mantra. One recitation of (a;cada) mantra is eDuivalent to three
recitations of $urya "yatr mantra. "enerally it is said that no mantra should be
recited beyond the number of counts of "yatr mantra. Based on the above
principle, this rule does not apply to (a;cada) and -oa) mantras.^
1. 2 > l+ 7 70lU70 7 spptn QQ

2. 2 > " 77 + 70lU70 7 spptn QQ
F. 2 > ll"l+ " 70lU70 "7 spptn QQ
L. 2 > - 670lU70 l07 spptn QQ
)-. %
-adhra means si5 psychic chakras of human body beginning from mldhra
to j; chakras. .ach of these chakras are presided over by si5 yogin>s. $hese
si5 yogin>s are compared as follo#s.
1 mldhra Iae0a 4%i!i
2 s.dhih!a ,rahm 8Iod of $reatio!9 J%i!i
3 maipra%a 1iu 8Iod of suste!a!$e9 L%i!i
4 a!hata Rudra 8Iod of destru$tio!9 or
4ad0i.a 8for absorptio!9
R%i!i
5 .i0uddhi K.tma! 8i!di.idual soul9 5%i!i
6 *+ 5aramtma! 8,rahma!9 H%i!i
$his is to make us understand that all these forms of *ivinity represent
only (ar)akti. 4n other #ords, %he only manifests in the forms of different gods.
%he alone is my and #hen the time is ripe, %he removes the veil of my and
reveals the %elf. $his pj stresses that Brahman &conte5tually it is (ar)akti'
alone prevails in various forms of gods. 8no#ledge of non>dualism &6dvaita' is
being imparted to the aspirants #ho are blessed to offer pj and tarpaa at the
Bindu &@alit %ahasranma 9PF, baindavsan and @alit %ahasranma 9K2,
bindutarpaasantu. .ntire 6alit Saha/ran"a 5oo4 can be read here.
$his part also contains si5 mantras and both pj and tarpaa are to be done at
the Bindu.
/. 2 > l lUll7l70l l70 "l7 + "l74l spptn QQ
0. 2 > 7l U7lU7l70l 7l70 4 7 + 4 74l spptn QQ
1. 2 > l "7 7lU7l70l l70" 7 + " 74l spptn QQ
2. 2 > l 6 7l0lU7l70l l7"0 7l7 +
7l74l spptn QQ
F. 2 > 7l jlU7l70l 7707 6 7 +
7 674l spptn QQ
L. 2 > l 6 7HlU7l70l l70 7l7 +
7l74lspptn QQ

)0. %
%acred traditions or doctrines are kno#n as mnya>s and they are the paths to
liberation. $he significant aspect of mnya>s is that they are communicated only
through #ords. $his means that mnya>s should be kno#n only through a "uru.
Bommonly kno#n mnya>s are five, corresponding to the five faces of iva, four
faces facing the four cardinals &.ast, %outh, +est and Gorth' and one face facing
up#ards. 3is face facing east represents (rvmnya= south represents
*akimnya= #est represents (a)cimmnya and north represents
?ttarmnya. $hese are 3is four faces facing four cardinal directions. 3is fifth
face is facing up#ards &k)a' and this is kno#n as ardhvmnya. $here is one
more mnya by name W)mnya, #hich is not commonly kno#n. $his face
of iva looks do#n. %ome te5ts call si5th mnya as 6nuttarmnya. 6nuttara
means the 3ighest, referring to (arama)iva, #ho is beyond normal human
comprehension. +ith reference to r !idy, those #ho are initiated into
(a;cda) mantra use only four mnya>s and those #ho are initiated into -oa)
use si5 mnya>s, the additional t#o being ?ttarmnya and 6nuttarmnya.
(rvmnya represents creation. 4t also reveals the path of mantra by #hich 3e
can be attained. *akimnya represents sustenance and represents the path
of devotion, by #hich 3e can be attained. (a)cimmnya represents destruction
&destruction should be taken to mean destruction of dualities, #hich alone can
lead to realiEation' and represents @a# of 8arma, by #hich 3e can be attained.
?ttarmnya represents 3is "race &anugraha' and represents the path of pure
kno#ledge, by #hich 3e can be attained. ardhvmnya symboliEes 3is face
facing up#ards, #hich represents iva 3imself in 3is 6bsolute form. $his is the
direct form of iva. $his mnya is considered to be highly secretive in nature, as
it reveals the true form of iva. 4n each of these four faces, 3e reveals a group of
goddesses. iva can be realiEed by #orshipping them and reciting their mantras.
$hese goddesses, #hen #orshipped properly reveal iva and akti.
$here is another interpretation for mnya>s. -our mnya>s representing four
cardinals are described as four !edas. ardhvmnya represents ?paniad>s
and 6nuttarmnya represents the essence of ?paniad>s &aha brahmsmi < 4
am Brahman'. 4t is also said that these si5 mnya>s encompass all the mantras
&KP,PPP,PPP mantras < seven crores in number'. +hatever mantras one
practices, it ultimately leads to (ar)akti alone.
(urport of mnyasamaipj is to convey that %he alone prevails every#here,
in the form of !edas,?paniad>s, Brahma tattva, mantras, etc. ?ltimately, this
#orship emphasises 3er Omnipresence.
,antras for all the si5 mnya>s are given here. $hose #ho are initiated
into pa;cada) or saubhgyapa;cada) should use only the first four mantras.
-or those #ho are initiated into any type of oa) should use all the si5 mantras.
$here are t#o verses under each mnya>s. $he first verse is regarding the
mnya devata and the second verse is about other devata>s belonging to that
mnya.
1. Pr9"nya%
i' 2 > > 7 l 7l 06 7 74l spptn QQ
ii' 2 I > 0 "70750 0l 0l7 06 70 0 0 70l
70l 7l750l 7 l 7l77 l0 7 7 spptn
QQ
& < mla means initiated mantras such as (a;cada) or -oa)'
(. 7a4i"nya%
i' 2 > 7 777 7 7"l7l 06 - 74l spptn QQ
ii' 2 I > -l77 70 77 0l -lUl7 06 70 0 70l
70l 7 " 75l0l 7"l7l 77 l0 7 7 + l0 7 7 spptn
QQ
). Pa:ci""nya%
i' 2 > -4 7 7 U U 7" 7" =
7l7l 06 7 77l74l spptn QQ
ii' 2 > > 77 0 70 7 0 77l 0l 7l 7 lU 06
70 ( 70l 70l 7lU750l 7l7l 77 l0 7 7 +
l0 7 7 spptn QQ
*. Uttar"nya%
i' 2 > l76 7l7 + 3l7l 06 7l7l74l spptn QQ
ii' 2 I > 7 l 77l 0l 0 l 4l7 06 70 ( 70l 70l
7l75 0l 3l7l 7 7 l0 7 7 + l0 7 7 spptn QQ

3he follo=in# t=o "nya;/ are "eant only for oa:' $p/a4a;/%
+. Kr8h9"nya%
i' 2 > 77 7# 3l 7l 064l spptn QQ
ii' 2 > > l0 l7 7 0l 7l4l7 06 70l0 70l
70l l-750l 3l 7l 77 l0 7 7 + l0 7 7
7l-]7l spptn QQ
,. An$ttar"nya%
i' 2 > -0 = ll l0# 7 ll7 + 7 l4l spptn QQ
ii' 2 > 77 "l 7ll7 l 0l 0 7 0l7 7 00l0l0 70l70l
7 l7l 77 l0 7 7 + l0 7 7 7l-]l7l spptn QQ
)rmahtripurasundar parbharik spptn QQ
)1. %
$here are three mini versions of arcana given here. 6rcana means praise.
6rcana comprises of different names and at the end of each name
&nma' flo#ers are offered. $here is no tarpaa here. $hese three arcana>s are
performed for *aanth &!rhi', ,antri &ymal' and @alitmbik
respectively.
1. 7aanth n"rcana%
$here are t#elve nma>s for *aanth available in @alit ,htmy section of
Brahma (ura. 3ayagrva says to 6gastya, :@isten to these t#elve names
of *aanth on hearing #hich, she #ill become pleased. 4f a person recites
these t#elve names #ith devotion, he #ill never have any miseries in his life.C
-ollo#ing are the t#elve names. .ach of these t#elve nma>s are to be prefi5ed
#ith om > ai > glau & I > ' and at the end nama &' is to be added.
/. I I 77 +
0. 77ll + 1. 0l + 2. 6 +
F. 0l+ L. ll+ K. 70 +
O. l+ 9. l0l + /P. ll+
//. 7Hl7 6+ /0. 7|
(. <antri' n"rcana%
$here are si5teen nma>s for ,antri available in @alit ,htmy section of
Brahma (ura. 3ayagrva says to 6gastya, :"ods and goddesses
praised ,antri by means of these si5teen names. 4f a person #orships ,antri
*evi #ith these si5teen names, he #ill conDuer the three #orlds.C
-ollo#ing are the si5teen nma>s, #hich are to prefi5ed #ith praava and Bl >
om > ai > kl > sau & > > ' and at the end nama &' is to be
added.
/. > > > #0 +
0. ll+ 1. ll+ 2. 0 l7l+
F. 0 + L. l+ K. 7 Ul+
O. 77 l+ 9. "l+ /P. "+
//. 7 + /0. 7 77 l+ /1. 77 l+
/2. 774+ /F. 774l+
/L. 7l7l+
1. 6alit"5i4 n"rcana%
$here are t#enty five nma>s for @alitmbik available in @alit ,htmy
section of Brahma (ura. 3ayagrva says to 6gastya that these t#enty
five nma>s #ere used by gods and goddesses in praising 3er during
#ar. 3ayagrva says that these nma>s are like t#enty five precious gems and
are capable of subduing all the sins of a person.
-ollo#ing are the t#enty five nma>s, #hich are to be prefi5ed #ith praava and
tritri &ai > hr > )r > ' and at the end nama &' is to be added.
/. > > l + 0. 0l+ 1. ll+ 2. ll+ F. l7+ L.
0 7 l+ K. l0 7 7+O. 7 Q 9. 7 ll+ /P. l+//. 7 +/0.
7 6+ /1. l7+/2. 7l+/F. 76+ /L. 7ll77 l+/K. 7l77l+ /O.
7 0 +/9. l0l+ 0P. l#-l+0/. 7ll+ 00. 7 ll+01.
77lll+ 02. l 7ll+ 0F. #ll7l+
$hose #ho have time can do @alit %ahasranma and @alit $ri)at arcana here.
4f flo#ers are not available, arcana can be done #ith kumkum. 4nstead of arcana,
pryaa can also be done. 4t is important that after @alit $ri)at no further
arcane or pryaa should be done. 6fter @alit $ri)at #e should proceed #ith
dhpa, dpa, etc.
*2. 8hpa%
&*hpa is subtly e5plained. 4n the fire, #hen aromatic po#der is added, fragrant
fumes come up. -ire is e5plained as Brahman, aromatic po#der is e5plained as
oblations of our karmendriya>s and j;nendriya>s= #hen attachment to the
material #orld is annihilated, then the fragrance of the %elf is revealed.'
6roma of dhpa should not be strong and should not be sho#n at 3er face.
+hile offering dhpa, dhpaptra should be kept a#ay from ,eru < ri Bakra and
3er idol as they are live due to proper and devoted performance of navvaraa
pj.
<antra%
2 > U U U 0 U 0 8l U 0 0 U U l 7ll 0 77 0 7 70 0
700 Ul 7 ll0 l 7l 7 7 l -l l l l 7 |
2 > 77l77 4 l7l7 l7l76 0l l0 7 7 7l -]l7l l7 +
U 7l l7l|
U 7l0 7 7 l|
&take small Duantity of uttarai #ater from vardhankala)a and offer in
the camanya vessel'.
*1. %
$hree types of dpa>s are discussed here > pa;cahrat dpa &77l0 77',
ekahrat dpa &77l0 77' and prakubha dpa &7 " 7 - 77'. .ach of these
dpa>s have their o#n significance #hich are e5plained along #ith the respective
mantras. $here is one more dpa called kuladpa &7 77', #hich comes
after naivedya. 6fter kuladpa, nrjana is performed.
6gni is elaborately #orshiped in !edas. $here are more number of verses for
6gni, than any other gods in !edas, as the effects of oblations offered in yaj;a>s
are carried by 6gni to the respective gods. Hig !eda &!4.0.2' praises 6gni thus.
:ON 6gniN ,ay the mortal #ho propitiates the benefactor and the bountiful @ord
#ith intelligent actions, #ith the assistance of divine resplendent po#ers come
safe through the straits of enmity and sin.C &this is a prayer to 6gni and forms the
basis for diprdhana>s'.
i! paAcahrat' 8'pa%
$his is based on $aittirya ?paniad &4.vii'. $he ?paniad says that different five
folds, both e5ternal and internal are e5pressions of Brahman. +hat matters is
oneness of these multiple five folds. +hen a person realiEes this, he is the @ord
of universe, he becomes one #ith Brahman. 6s far pa;cahrat dpa is
concerned, it refers to the e5istence of five folds such as loka p.kta , devat
p.kta, bhta p.kta, pra p.kta, indriya p.kta, dhtu p.kta &p.kta
means fivefold', etc. $hough they e5ist as fivefold, they ultimately become one
#ith Brahman and this is conveyed through ekahrat dpa, #hich follo#s
pa;cahrat dpa.
,antra7
2 > 77 0 l7+ 0 l 70 77 0 0 + 770l0 7"+ 77 l 5 7l|
2 > 77l77 4 l7l7 l7l76 0l l0 7 7 7l -]l7l l7
+ 77l0 77 7 l+ 770 7 7 l+ 7 7 7 7l|
&A offer only flo#ers'
ii! e4ahrat' 8'pa%
2 > 3 7l0 787U770 + 7 l 7 7 7+ l 77l0 7 l6 7 7
70 + 74- 7 7 l l 77l0|
2 > 77l77 4 l7l7 l7l76 0l l0 7 7 7l -]l7l l7 +
77l0 77 7 l| 770 7 7 l+ 7 7 7 7l|
iii! pra4$5ha 8'pa%
$he concept of prakubha dpa is to convey that all #orldly desires are burnt
by the fuel of non>attachment and #ith the #ick of devotion. +hen the light is lit
#ith the fuel of non> attachment and #ith the #ick of devotion, the light of
kno#ledge da#ns.
2 > l 0 7 " -00 0+
7 4U7 " 7l0 0 H0 77 70 |
b 7 " 7 7 " 7 7 "l 0 7 " 7=0+
7 " 7 " l7l 7 " l0|
2 > 77l77 4 l7l7 l7l76 0l l0 7 7 7l -]l7l l7 +
77l0 77 7 l| 770 7 7 l+ 7 " 7 477 7 l+ 770 7 7 l+
7 7 7 7l|
b $his couplet is from Bhadrayaka ?paniad &!.i'. 4t says, :$hat &the
Brahman' is infinite and this &universe' is infinite. $he infinite proceeds from
infinite. $hen, taking the infinitude of the infinite &universe', it remains as the
4nfinite &the Brahman' alone.C
42: l 0
)his is %!o(! as mah!ai.edya be$ause this is do!e after (orshipi!g all the .araa
de.i7s a!d this is offered o!ly to Lalitmbi% a!d =i.a i! their u!ified form as e-plai!ed
i! Lalit 4ahasra!ma 8###9 0i.a70a%ati7ai%ya7rpi: Mah!ai.edya i! !a..araa p*
is a! elaborate pro$edure: Ha.i!g satisfied (ith the e-treme de.otio! (ith (hi$h
!a..araa p* (as performed? both =i.a a!d =a%ti Lappear i! perso!M 8.isuali@atio!
happe!s i! the mi!d of the sdha%a9 a!d ta%e the offeri!gs: 2s !ai.edya is offered to
)hem? there are pro$edures to sa!$tify a!d $o!se$rate the offered materials (ith ma!tras
a!d mudras: 2part from $oo%ed food? $urd? $o$o!ut? fruits a!d most importa!tly .i0ea
arghya i! a separate .essel (ith fe( gi!ger pie$es 8from the .i0ea arghya ptra9 are to
be offered as !ai.edya:
1: 5ro$edureN
<.e! at this poi!t of time? both sm!ya arghya a!d .i0ea arghya .essels should !ot be
disturbed: )herefore? (hile pla$i!g the offeri!gs for !ai.edya? adeBuate $are should be
ta%e!:
2 sBuare is to be dra(! to the left of the sdha%a 8right side of De.i9? (ith (ater from
sm!ya arghya usi!g a! uttarai: 2bo.e this sBuare? pla$e a pla!% a!d spri!%le (ater
from .ardha! %ala0a o! the pla!% a!d the! pla$e the offeri!gs o! the pla!%: 2fter ha.i!g
pla$ed all the offeri!gs o! the pla!%? pro%aa 8spri!%li!g9 is to be do!e usi!g all the
three arghya7s? .ardha! %ala0a? sm!ya arghya a!d .i0ea arghya:
2fter pro%aa? there is a four step pro$ess for purifyi!g a!d $o!se$rati!g the offeri!gs:
)hey are !ir%aa 8purifi$atio! by loo%s9? pro%aa 8purifi$atio! through spri!%li!g9?
mudra7 pradar0a!a 8purifi$atio! through fi!ger gestures9 a!d doa!irasa!a 8elimi!ati!g
impurities arisi!g out of tou$hi!g a!d smelli!g the offeri!gs (hile prepari!g them9:
2: Ma!trasN
i9 ,y re$iti!g mla ma!tra? loo% at !ai.edya a!d tou$h all the .essels (herei!
offeri!gs are %ept:
ii9 )a%e arghya from sm!ya arghya ptra i! the right palm a!d do pro%aa o!
the offeri!gs by sayi!g L4 7 4 ai hraM:
iii9 2gai! ta%e arghya from sm!ya arghya ptra i! right palm a!d re$ite mla
ma!tra se.e! times by $o!ti!ui!g to hold sm!ya arghya i! the right palm:
2fter $ompleti!g the se.e!th repetitio!? do pro%aa o! the offeri!gs by
re$iti!g L4 7 7 E 4 om *u sa .aua 8this ma!tra is part of
mtyu+*aya ma!tra9: 2fter spri!%li!g arghya thus? sho( $ha%ra mudra: Duri!g
this pro$ess? abhima!trita arghya tur!s i!to !e$tar for lo!ge.ity:
i.9 /o( three b*a7s of pa+$abhta are goi!g to be used for further purifi$atio! of
!ai.edya:
a: Jeep the left palm fa$i!g do(! a!d rotate $lo$%(ise se.e! times o.er !ai.edya by
re$iti!g .y*u b*a O4 E 4 .aP: )his is do!e (ith the i!te!t of remo.i!g doa7s? if a!y:
4u$h doa7s are dried up by .y*u b*a:
b: Repeat the abo.e pro$ess (ith right ha!d by re$iti!g ag!i b*a O4 E 4 raP: Af a!y
doa7s still persist? they are remo.ed by ag!i b*a:
$: Re$ite amta b*a O4 E 4 .aP a!d sho( dhe!u mudra: Duri!g this pro$ess (e ha.e
to $o!template that amta 8!e$tar of immortality9 is bei!g sho(ered o! !ai.edya:
.9 >e ha.e %ept .i0ea arghya i! a separate .essel for offeri!g as !ai.edya: /o(
this is to be $o!se$rated: )a%e .i0ea arghya from the .i0ea arghya ptra i!
right palm: Do pro%aa three times o! .i0ea arghya %ept for !ai.edya:
.i9 /o( by tou$hi!g the .essel $o!tai!i!g .i0ea arghya %ept for !ai.edya? re$ite
mla ma!tra se.e! times:
.ii9 /o( tou$h all the .essels $o!tai!i!g !ai.edya a!d re$ite the follo(i!g
ma!tra:
4 7l7 7 7 = 7 7 7 |
8.i$$e refers to mi!d a!d perpetual blissF 0r refers to material a!d spiritual (ealthF
para 0r refers to liberatio! or mo%a9
2fter this? sho( dhe!u mudra: 2fter this pro$edure? all the offeri!gs be$ome !e$tar a!d
ready for offeri!g to )hem:
.iii9 /o( me!tally re$ite mla ma!tra three times: 5la$e the .i0ea arghya %ept for
!ai.edya i! the plate (here bro%e! $o$o!ut 8to be bro%e! i!to t(o pie$es 7 !li%era
%aad.ayam9? fruits? betel lea.es (ith %arpra.i% are %ept: ,y tou$hi!g this plate
(ith left ha!d? !ai.edya is to be offered to )hem !o(? by re$iti!g the follo(i!g ma!tra:
4 7 7 ll l Ul ll 7ll l 7l l0 7 77l-ll7l +
0 77l |
/o( offer flo(ers o! the ,i!du:
i-9 Re$ite the follo(i!g ma!traN
4 7 7l0 0 7 7l 7 0 +
77Ul 77 70 l" 7|
7 l7ll7 7 77 0 +
0 0 50l 7l ||
-9 /ormal !ai.edya pro$edureN
Re$ite this ma!tra 8first ma!tra is turiya gyatr ma!tra9
- - + 00 - 7 U+ U 7 7l0 + 77 l7 |
70 7 + 0 777l+ 7 070"|
8amtopastaraamasi refers to offeri!g (ater before offeri!g !ai.edya9
-i9 ,y re$iti!g the follo(i!g ma!tra? !ai.edya is !o( offered to )hem:
4 7 l"l ll+ 4 77ll ll+ 4 ll ll+ 4 37ll ll+ 4
ll ll+ 4 4 " ll|
/o( all !ai.edya ha.e bee! offered to )hem:
-ii9 ;ollo(i!g ma!tras e!sure )heir satisfa$tio! of !ai.edya offered:
a: 4 7 7 7 5 E 70l7 77l77 4 l7l7 l7l7 0l
l0 7 7 7l -l7l l7l 0 70 +
b: 4 7 7 E 0l0l7 77l77 4 l7l7 l7l7 0l
l0 7 7 7l -l7l l7l 0 70 +
$: 4 7 7 E 0l7 77l77 4 l7l7 l7l7 0l
l0 7 7 7l -l7l l7l 0 70 +
d: 4 7 7 E 0l7 77l77 4 l7l7 l7l7 0l
l0 7 7 7l -l7l l7l 0 70 |

)a%e a fe( drops of amta from sm!ya arghya ptra a!d offer i! Her left palm:
-iii9 Re$ite the follo(i!g ma!traN
a: 4 7 7l0 U7 -" +
7l 0 7 l l 7 7l" 00 |
b: 4 7 U l0l 70l0+ U 0 U+ l 7U|
U 0 07+ U 7l 7+ U 00 70l|
U l 70+ U l 70 + ll -0 |
U U U |
4 l7" 4 4 l 4 "l 0 + 4 0 0 4 7lUl|
l 0 7l|
$: 2fter ha.i!g offered )hem !ai.edya? (e are !o( offeri!g )hem (ater to dri!%:
4 7 77l77 4 l7l7 l7l7 0l l0 7 7 7l -l7l l7l
7 07l 7l|
/o(? (e ha.e to $lose our eyes a!d .isuali@e that )hey OtasteP the !ai.edya offered: Mla
ma!tra $a! be re$ited as ma!y times as possible duri!g this $o!templatio!:
d: /o( (ater for dri!%i!g is offered to )hem: 2fter ha.i!g offered )hem (ater to dri!%?
(e ha.e to offer )hem (ater to (ash )heir ha!ds? to (ash )heir feet a!d to gurgle:
;ollo(i!g is the ma!tra:
4 7 77l77 4 l7l7 l7l7 0l l0 7 7 7l -l7l l7l
07 l 77 7l77 l 7 77l |
-i.9 5reparatio! for baliN
Dra( a sBuare usi!g sa!dal paste mi-ed (ith (ater by the side of !ai.edya: >ithi! this
sBuare dra( a $ir$le a!d (ithi! the $ir$le dra( a do(!(ard fa$i!g tria!gle: 5la$e a pla!%
o! this a!d do pro%aa (ith sm!ya arghya by sayi!g
5 70 l
C! this? pla$e a $opper plate: /o( tra!sfer small Bua!tities of !ai.edya? .i0ea arghya
a!d sm!ya arghya i!to the $opper plate: 2fter ha.i!g $ompleted this pro$ess? all
!ai.edya items should be ta%e! a(ay from the p* area: ,alid!a (ill be do!e to(ards
the e!d:
-.9 Cfferi!g tmblaN
/o( betel lea.es alo!g (ith %arpra.% are offered to )hem: ;or this? pla$e betel
lea.es o! a pla$e a!d o! the betel lea.es pla$e %arpra.% a!d spri!%le them (ith
sm!ya arghya: /o( (e ha.e to offer this to )hem by re$iti!g this ma!tra:
4 7 7 l 0 l7 0 + 77 " 0 0l4 7 0 0l |
0l7 77 7 -l 0 + 7l70 0 0l4 7 0 0l |
4 7 77l77 4 l7l7 l7l7 0l l0 7 7 7l -l7l l7l
77 0l4 7l|
Q)here are refere!$es i! both Lalit 4ahasra!ma 826 a!d 55#9 a!d Lalit )ri0at 8149
about %arpra.%: )he i!gredie!ts used for prepari!g %arpra.% are E saffro!?
$ardamom? $lo.e? edible $amphor? %astri? !utmeg a!d ma$e or myristi$a fragra!s or
*tipattr 8arillus of the !ut also %!o(! as myristi$a offi$i!alis9: )he i!gredie!ts are
fi!ely po(dered a!d mi-ed (ith po(dered sugar $a!dy:R
*). 4$la8'pa%
,a.galartrikam #as discussed in 00.2 &part /2' and forms a part of chatu>
ayupacra discussed in part /1 of this series. Gine lamps #ere used there
and the balance one lamp is to be used here. (lace that lamp in a copper or
silver plate and offer diprdhana three times #ith this lamp by reciting this
mantra.
2 I > 7007 407 777 l07 - +
0 Ul 77 7- l 7 77 7 |
&$he inner light and e5ternal light are the same and that light alone shines bright
and 4 offer you this light as diprdhana three times. $his diprdhana signifies
3er omnipresence and at the end of navvaraa pj, the sdhaka realises the
$ruth.'
**. 4arpran'rajana"%
"enerally this nrjana is done #ith camphor. But in many places camphor is
prohibited. 4nstead of camphor, #ick #ith ghee can be used. $here are si5
mantras for karpranrajanam.
<antra;/%
a' 2 > l 70 l7l70+ l7l l7 l 70+ 7 l0l 7 -0+ 70l0
0ll l+ 0 7l l 7 =0+ 0 7 7 0 l7l+ 7 l7l -0|
&%oma &conte5tually to be understood as Brahman' besto#s kingship to those
#ho make sacrifices or oblations. $hese sacrifices are to Jour various energies
&different )akti>s and conte5tually they are navvaraa devi>s', #ho offer kingship
to those #ho perform sacrifices #ithout any desires.'
&b' 2 > l l7 -7 ll7 l7 7l77 l7 ll7lU7 |
&@et us enjoy big empires #ith sub>kingdoms and sub rulers. @et my o#n empire
flourish. @et my empire continue as per my dictates. @et a glorious government
enjoy full po#er.'
c' 2 > 00 -l0 7 0l7 l 0 0 -l0 7 78+ 0 -l0 -l0 0 -ll
7 -l0|
&4n the presence of Brahman, the sun does not shine, nor do the moon and stars,
nor does lightning, let alone this fire. +hen Brahman shines, everything follo#s.
By 4ts @ight, all these are lighted > 8aha ?paniad &44.ii./F'.
d' 2 > 7ll7 0 l+ 7 l 77 0l |
&(lease bless me #ith positive and compassionate thoughts, overflo#ing
happiness, truth in my speech, bountiful co#s, bountiful food and fame.'
e' 2 > l7lUl7l 7 l "l 7 + 7ll 7l7ll + l7 6 "
77l0 + 7 4l "l ll7l |
&+e #orship and praise 8ubera, #ho is the lord of lords and #ho is the giver of
all victories. 3e, #ho is the fulfiller of all desires and the lord of #ealth, let him
bless me #ith enough #ealth to fulfil all my desires. (raises to you 8ubera, the
lord of #ealth and king of kings.'
f' 2
> 77l77 4 l7l7 l7l76 0l l0 7 7 7l -]l7l l7l 77 77
l |
6fter sho#ing karpranrajanam, place it do#n and sho# yoni mudra to 3er. 6fter
yoni mudra, recite navkar ratne)var mantra &l 76'.
g' 2 |
6fter completing the recitation, sho# chakra mudra and again sho#
karpranrajanam to 3er. 6fter sho#ing, place the karpranrajana plate< ptra
do#n and offer camana thus. $ake #ater fromvardhan kala)ain the uttarai and
recite the follo#ing mantra.
h' 2 > l7l0 7= 77l|
$ake flo#ers and place on ri Bakra by reciting the follo#ing mantra.
i' 2>77l77 4 l7l7 l7l76 0l l0 7 7 7l -]l7l l7
+ 7 7 7 7l|

*+.
$ake flo#ers in both hands and recite the follo#ing mantra. -lo#ers can be given
to everyone, #ho is present. Go# recite the follo#ing mantras.
a' 7l 7 7 7+ 7 7l 7 7ll 7 l -0+ 7 l l 77l 7 7 + 7 7l 7 7ll 7 l -0+
7 7+ 7ll0 7+ 70l -0|
b' 7l 77ll0 + 70l -0+ l0 7+ 70l -0+ 77l 7l0 +
70l -0+ 7 7+ 7ll0 7+ 70l -0|
c' l l 77ll0 + 70l -0+ ll0 7+ 70l -0+ 77 ll0 +
70l -0+ 7 7+ 7ll0 7+ 70l -0|
d' 7 0777ll0 + 70l -0+ 8 070 70 7+ 70l -0+ 77l
7 070 70 + 70l -0+ 7 7+ 7ll0 7+ 70l -0|
e' 7 l l 77ll0 + 70l -0+ 7 70 7+ 70l -0+ 77 7
70 + 70l -0+ 7 7+ 7ll0 7+ 70l -0|
f' 0 l"l 77ll0 + 70l -0+ 0 l"ll0 7+ 70l -0+ 77
0 l"ll0 + 70l -0 + 7 7+ 7ll0 7+ 70l -0|
g' 77 l 77ll0 + 70l -0+ 77 l0 7+ 70l -0+ 77
77 l0 + 70l -0+ 7 7+ 7ll0 7+ 70l -0|
h' l 77ll0 + 70l -0+ l0 7+ 70l -0+ 77
l0 + 70l -0+ 7 7+ 8 l 7 070l 7+ 7 070|
i' l7lUl7l 7 l "l 7 + 7ll 7l7ll + 7l6 " 77l0 +
7 4l "l ll7l |
j' 07 4 + 07 l + 07ll+ 00 + 00 + 00 7 + 770 - 77
ll 6 0 + H 7l 57 (8 7 " 4 7 7l70+ 07l7
77 70 8 0 4 - - |
<eanin# .a to j!
$hat one #ho kno#s the flo#ers of #ater, he becomes the possessor of flo#ers,
cattle and progeny. ,oon is the flo#er of the #ater. 3e #ho kno#s it to be so, he
becomes the possessor of cattle and progeny. $hat one #ho kno#s the source of
the #ater, he becomes established in his %elf. -ire is the source of #ater. 3e #ho
kno#s the source of fire, he becomes established in his %elf. #ater is the source
of fire. 3e #ho kno#s it to be so, he becomes established in his %elf. $hat one
#ho kno#s the source of the #ater, he becomes established in his %elf. 6ir is the
source of #ater. 3e #ho kno#s the source of air, he becomes established in his
%elf. +ater is the source of air. 3e #ho kno#s it to be so, he becomes
established in his %elf. $hat one #ho kno#s the source of the #ater, he becomes
established in his %elf. $he scorching sun is the source of #ater. 3e #ho kno#s
the source of the scorching sun, he becomes established in his %elf. +ater is the
source of the scorching sun. 3e #ho kno#s it to be so, he becomes established
in his %elf. $hat one #ho kno#s the source of the #ater, he becomes established
in his %elf. ,oon is the source of #ater. 3e #ho kno#s the source of moon, he
becomes established in his %elf. +ater is the source of moon. 3e #ho kno#s it to
be so, he becomes established in his %elf. $hat one #ho kno#s the source of the
+ater, he becomes established in his %elf. $he %tars is the source of #ater. 3e
#ho kno#s the source of the stars, he becomes established in his %elf. +ater is
the source of the stars. 3e #ho kno#s it to be so, he becomes established in his
%elf. $hat one #ho kno#s the source of the #ater, he becomes established in his
%elf. Bloud is the source of #ater. 3e #ho kno#s the source of the clouds, he
becomes established in his %elf. +ater is the source of the Blouds. 3e #ho
kno#s it to be so, he becomes established in his %elf. $hat one #ho kno#s the
source of the #ater, he becomes established in his %elf. Hainy season is the
source of #ater. 3e #ho kno#s the source of rainy season, he becomes
established in his %elf. +ater is the source of rainy season. 3e #ho kno#s it to
be so, he becomes established in his %elf. 3e #ho kno#s the raft that is
established in the #ater, he becomes established in that itself.
+e #orship and praise 8ubera, #ho is the lord of lords and #ho is the giver of all
victories. 3e, #ho is the fulfiller of all desires and the lord of #ealth, let him bless
me #ith enough #ealth to fulfil all my desires. (raises to you, 8ubera, the lord of
#ealth and king of kingsNN
alone is that (arabrahman. alone is that vyu &air' and alone is
Stman. alone is the $ruth. is verily everything= only is the e5istence of such
a person kno#n by the #ord $at and to this 4 salute.
i' 0l 0 0# U7l" 70 l 07+
7 7 7 0 " 77 77# 7l0 70 77 7 7l|
Go# place the flo#ers on ri Bakra. -lo#ers should not be throne from a
distance. $hose #ho are offering flo#ers should go near ri Bakra and offer #ith
both hands.
&ON $he auspicious one, the embodiment of navvaraa devi>s= Jour sandal
fragrance originates from the drops of nectar of iva and you too continue to
sho#er fresh nectars. Jou are realiEed through "uru @ineage. Jou are the
embodiment of three gua>s &@alit %ahasranma 19K, mlaprak ti ' and Jou
are surrounded by si5 a.ga devat>s &aa.ga )akti sahita> #ith si5 )akti>s=
aa.ga )akti can be e5plained in t#o #ays. 4f #e go #ith Blaa.ga nysa,
then these si5 )akti>s can be interpreted as hdaya, )ira, )ikh, kavaca, netra and
astra )akti>s. +e can also contemplate these )akti>s as 3er si5 po#ers such as
omniscience, completeness, supreme levels of consciousness, freedom,
everlasting po#er and infinity'. (lease accept my flo#er offerings.'
*,. $pacr%
$his is different from chatu>ayupacra discussed under 00.2. $he upacra
under discussion here adores 3er by recitations from four the !edas, hymns
&stotra' in 3er praise, rendering songs in 3er praise. 6part from the above,
generally cmara is used for fanning 3er during the above recitations. !eda
recitations should not be done, unless one is very conversant #ith !eda
recitations.
$he follo#ing recital can be made duly filling the blanks as detailed belo#.
77 70 - 77l77 4 l7l7 >>>>>> 7 AAAAAA Ul|
>>>>>>> is to be filled #hat is to be recited
AAAAAA is again to be filled #ith #hat is mentioned in >>>>>>>
%uppose Hig !eda is to be recited, then
>>>>>> is to be filled #ith Hig !eda and
AAAAAA is also to be filled #ith Hig !eda. .5ample is given here.
.5ample7
77 70 - 77l77 4 l7l7 7 7 7 7 7 Ul|
"enerally Hig !eda, Jajur !eda, %ma !eda, 6tharva !eda, stora and sa.gita.
6 famous song, &ri Ca4rarja Sih/ane:9ar' is in this link.
*-. %
$his is kno#n as kmakal meditation. $here are t#o types of kmakal
meditation. One is subtle and another is gross. $his is to be done #ith intent
concentration. %ome #orshipers do this separately in solitude after completing
navvaraa pj.
i! Fro// 4"a4al "e8itation%
4t is about the union of t#o supreme po#ers of the universe iva and akti, the
one #ithout the other is inefficacious to create and sustain the universe. iva
alone has (o#er, but 3e does not use 3is (o#er directly. iva by means of a
(o#er of 6ttorney, transforms a miniscule of 3is %vtantrya akti &uniDue and
absolute po#er of iva' to akti. iva is in the form of @ight &(rak)a' and it is
akti #ho diffuses this @ight and the universe is created. iva is contemplated
#ith the first letter of %anskrit 7&a' and akti is contemplated #ith the last letter of
%anskrit &ha'. +hen these t#o letters unite, this union gives rise to 7 &aha',
#hich means :4C. $his is not merely the union of t#o letters, but the union of
(rak)a and !imar)a, also kno#n as union of iva and akti and %marasya>
parya &@alit %ahasranma K90'. iva is %elf>illuminating Brahman and akt
is 3is svabhva. %vabhva means nature, innate or inherent disposition. $he
nature of iva is reflected through akt. iva can realise 3is %elf only in akt,
#ho acts as a mirror to 3im. akt is the po#er of doership of iva. 4t is said that
the ultimate reality #ere to be merely iva, 3e #ould become inert. Brahman
cannot become inert. $hough iva continues to be inert, akt, the po#er holder
of iva acts as the energetic force in creation, sustenance and dissolution of the
universe. $herefore iva #ithout akt or akt #ithout iva becomes torpid.
$hey are kno#n as the parent of the universe. Bontemplating the union of iva
and akti leads to the realisation of 7 . +hat is realiEed as 7 &7 means Y4C'R
$he %elf &Brahman' is realiEed as 7 . $his contemplation is kno#n as gross
kmakal meditation. $his is e5plained in all the ?paniad>s as Bit>
nand. %aundaryalahar &verse /9' also e5plains about kmakal. :$he one
#ho meditates on Jour 8makal form #ith Jour face as bindu= belo# Jour face,
Jour t#o bosoms and still belo# that, the triangle, the creative aspect of iva
causes immediate agitation in the minds of #omen of three #orlds, #ho have sun
and moon as their bosoms to#ards the aspirant.C
ii! S$5tle 4"a4al "e8itation%
4n gross the meditation #as on 7 &union of iva and akti'. 4n subtle meditation,
contemplation is to be done on the akara 5 &'. $his kmakal is e5plained in
detail in @alit %ahasranma &100' 8makal rp #hich can be read in this link.
$his is about contemplating 3er bosoms and yoni and visualiEing our merger #ith
3er for the purpose of cessation from the pains of transmigration and ultimate
unto iva.
iii! <antra/ for conte"plation.
&.ssence of above discussion is given in these t#o verses.'
a' l0 l7l0 47 7l 0 0 47 0 l7 + -(0 7 l-Ul 7
7 l0 |
b' 0l 777 " 0l077 lUl 47 0 0+ 7l7 7lUl U l
7 -U 70 Ul|
*0. 5ali8na"%
Bali is meant for e5traterrestrial beings &referring to all disruptive forces such as
certain demigods, semi>divine beings, household divinities, spirits, etc in our
spiritual journey'. 4n order to satiate their hunger and in order to please them, bali
is offered. $his also refers to bhta>yaj;a out of five mah>yaj;as &@alit
%ahasranma 92L > pa;cayaj;a>priy'. *ifference bet#een naivedya and bali is
that naivedya should be consumed by the #orshipper and bali should not be
consumed. Bhagavad "t &444./1' says, :$hose #ho eat the remnants of fire
oblations &yaj;a' are freed from all sin &referring to naivedya'. But the sinners
#ho eat food merely to nourish their bodies consume only sin.C
$here is another interpretation for bali. Gaivedya is meant for the *ivine in #hose
favour pj is done. 6fter naivedya is performed, it can be distributed to
everyone. Bali is meant for all other *ivinities, e5cept the one in #hose favour
pj is done= but mostly, this version is neither accepted nor follo#ed.
Bali ptr #as already established during mahnaivedya &part 0L under 20./2'.
Go# #orship the base &maala, on #hich a plank #as placed' #ith flo#ers and
akata #ith the follo#ing mantra.
2 > l777l +
(rocedure7
$ake #ater from vardhan kala)a in uttarai using right hand. -orm tattva mudra
&connecting left ring finger and the thumb' and pour the #ater from the uttarai
through tattva mudra &sho#n here' on the contents of bali ptr. 6fter doing this
place the uttarai back in the vardhan kala)a. Go# clap using both the hands
three times. Go# look up and sho# ba mundra &ba means arro#'. $here are
t#o types of ba mudra. One is to use both the hands as if #e are releasing an
arro# from a bo#. 6lternatively, avakuha mudra using right hand can be
sho#n.
2> U7 j - 0 ll+
Hemove the bali ptr along #ith the contents.
6fter doing balidna, do camana &part / >1' andbhta)uddhi &part 2 I /2'. 4f the
#orshipper himself removes the bali ptr, then he should #ash his<her feet and
after resuming his seat, camana andbhta)uddhi should be done.
*1.
Go# do japa #ith initiated mantras.
5&: 7
)his is offeri!g our respe$ts to our Iuru? (ho has i!itiated ma!tras: C!ly fe( li!eages do
this (orship here: 4ome traditio!s treat this se$tio! by re$iti!g .erses i! Her praise apart
from i!$ludi!g .erses i! praise of Iuru: /ot o!ly the Iuru? but also 5aramaguru a!d
5aramehiguru 8Iurytraya9 are (orshiped i! this se$tio!:
;ollo(i!g .erses are re$ited:
i9 7Hl0lU Hll77 l7l+
0 0 |
ii9 4 l7 7 77 7 Hl 0
(l(l00 7 0l7 +
7 U l- 0
-ll00 0 "0 j 0 0 l|
iii9 0 l -l l 7"+
0l0l j 7 0l7 |
Mea!i!gN
i9 A pay my obeisa!$e to my Iuru? (ho has ope!ed my eyes through %!o(ledge? (hi$h
remai!ed bli!ded due to my spiritual ig!ora!$e:
ii9 A prostrate my Iuru? (ho i! the form eter!al ,liss? eter!al prosperity? %!o(ledge?
beyo!d all dyads? i!fi!ite li%e the s%y? %!o(er of ,rahma!? i!$omparable? eter!al? pure?
u!impaired? beyo!d per$eptio! a!d the o!e (ho has tra!s$e!ded the three gua7s:
iii9 CS 5rote$tor a!d adorableS Tou attai! differe!t forms i! order to help me attai!
perfe$tio! i! =r 1idy a!d A prostrate before you? a! i!$ar!atio! of =i.a:
/o( obeisa!$e is offered to Iuru7traya:
i.9 7 7l7ll 1 +
7 7l7ll 2 7l +
7 7l7ll 3 75|
/oteN
Repla$e 1 (ith o!ePs s.aguru d% !maF
Repla$e 2 (ith o!ePs paramguruPs d% !maF
Repla$e 3 (ith o!ePs paramehiguruPs d% !ma:
Mea!i!gN
A pay my obeisa!$e to my Iuru? 5aramguru 8IuruPs Iuru9 a!d 5aramehiguru 8IuruPs
IuruPs Iuru9: )hey are %!o(! as Iurutraya:
.9 4l -ll l" 7 0 +
l0 l0 7 l 7 U0l |
Mea!i!gN
A des$ribed the attributes of my Iuru to Tou 8Lalitmbi%9 li%e a $hild des$ribi!g to its
mother: CS Di.i!e MotherS 5lease appro.e my des$riptio! of my Iuru (ith motherly
lo.e:
8)his u!derli!es the importa!$e of Iurus a!d ma!tra i!itiatio! should be ta%e! o!ly from
4elf7reali@ed Iuru7s:9
Af Iuru is a.ailable i! the pla$e (here p* is do!e? (orship him (ith mg mudra a!d
yo!i mudra:
51: l 7 7l
4u.si! mea!s a married (oma! li.i!g (ith her husba!d: ;or the purpose of su.si!
p* i! !a..araa p*? su.si!7s are $lassified i!to t(o types E i!itiated i!to =r 1idy
a!d !ot i!itiated i!to =r 1idy: 4u.si!7s are i!.ited to the pla$e (here !a..araa p*
is performed a!d they are (orshiped as Lalitmbi%: 1i0ea arghya is offered to the
i!.ited su.si!7s goes to pro.e that the i!.ited su.si! or su.si!7s are $o!sidered as
embodime!t of Lalitmbi% a!d all respe$ts paid to Lalitmbi% are paid to them: )his
pro$edure is ge!erally do!e o!ly by those (ho follo( da%i$ra a!d the (orship is
do!e o!ly to their feet:
Lalit 4ahasra!ma #& says that Lalitmbi% Herself is a 4u.si! a!d the !e-t !ma
says that 4he is fo!d of (orshipi!g su.si!7s 84u.si!yar$a!a7prt9: Uualities of
su.si!7s are des$ribed i! 1lm%i Rmyaa: Lalitmbi% is also %!o(! Mahsu.si!:
2!asya says i! 1lm%i Rmyaa 8ayodh%a? 3a!to 11? .erses 22 to 249: LCS
5roud 4tS >orlds that are atte!ded (ith great prosperity a(ait those (ome! to (hom
their husba!d is dear? !o matter (hether he li.es i! a $ity or a forest? (hether he is
propitious or ad.erse: A! the eyes of (ome! (ho are blessed (ith a !oble dispositio!? the
husba!d is the highest deity? !o matter (hether he is ill7ma!!ered or li$e!tious or e!tirely
de.oid of ri$hes: )hough deeply po!deri!g? A do !ot see for a (oma!? a frie!d greater
tha! her husba!d a!d more $apable of yieldi!g o!ePs desired ob*e$t at all pla$es li%e the
imperishable fruit of o!ePs austerities:M
2gai! i! 3a!to 3# .erse 22 says 8RmaPs mother Jausaly spea%s to 4t thus9 L/either
!oble birth !or good tur!? !or lear!i!g? !or gift !or e.e! marriage ties $apture the heart
of su$h (ome!? (ho are i! fa$t de.oted to good $o!du$t? truthful!ess a!d the per$ept of
their elders a!d %eep (ithi! the bou!ds of de$orum laid do(! for their family? their
husba!d is the most sa$red ob*e$t a!d he alo!e e-$els all:M
Tet agai! 4t says 84u!dara%a E $a!to 24 E .erse #9? LA am de.oted to my husba!d?
=r Rma? the foremost of the A%.%us? i! the same (ay as the highly blessed =a$ (aits
upo! A!dra? as does 2ru!dhat upo! sage 1asiha a!d Rohi 8the foremost of the
t(e!ty se.e! spouses of the moo! god? presidi!g o.er the same !umber $o!stellatio!s
appeari!g i! the s%y9 o! the moo! god? as does? Lopmudr upo! sage 2gastya a!d
4u%a!y did upo! sage 3ya.a!a? as 4.itr did upo! 4atya.! a!d =rmat upo! Lord
Japila? as Madaya!t did upo! Ji!g 4audsa a!d Je0i! upo! Ji!g 4agara? a!d as
Damaya!t? daughter of ,hma? (as de.oted to her husba!d? /ala:M
,ased o! the abo.e refere!$es i! Rmyaa? su.si!i !ot merely mea!s the o!e (ho is
(ell dressed? but also e!do(ed (ith the abo.e Bualities: 4ome are of the .ie( that
su.si! p* is do!e o!ly for Lalitmbi% as Mahsu.si!: Ho(e.er? o!e should follo(
(hat his or her Iuru says: ,ut? i! ge!eral it is better to perform su.si! p* at the e!d
of !a..araa p* a!d also duri!g !a.artr? pura0$araa at the e!d of homa 8Ha.a!a9?
a!d all other auspi$ious o$$asio!s: 4u.si! p*? if possible should be do!e by the
sdha%a a!d his or her spouse:
5ro$edureN
19 A!.ite su.si! a!d offer her a seat: 4he should (ash her feet thoroughly before ta%i!g
the seat offered: Af su.si! is !ot i!itiated i!to =r 1idy? ,hu.a!e0.ar ma!tra a!d ,l
ma!tra should be i!itiated to her through a simple i!itiatio! pro$edure:
Re$ite ,hu.a!e0.ar ma!tra follo(ed by ,l ma!tra 8 follo(ed by 9
a!d as% her to repeat: )he purpose of this i!itiatio! is that .ie0a arghya is ge!erally !ot
gi.e! to those (ho are !ot i!itiated i!to =r 1idy 8at this poi!t of time9: 4e$o!dly?
(orshipi!g a su.si! mea!s (orshipi!g Lalitmbi% a!d it is e-pe$ted that su$h a
su.si! is a de.otee of Lalitmbi%: Af ,hu.a!e0.ar a!d ,l ma!tras are i!itiated? it
mea!s that the su.si! is i!itiated i!to =r 1idy $ult:
29 >ash the feet 8pdapra%la!a9 of su.si!? first (ith (ater follo(ed by mil% a!d
agai! by (ater a!d dry her feet (ith a to(el: ;or this purpose? a plate is used to %eep her
feet: 2t the e!d of pdapra%la!a? this plate is remo.ed a!d repla$ed (ith a pla!% to
e!able her to %eep her feet o! the pla!%: /o( apply turmeri$ paste to her feet 8this is
%!o(! as !ala.gu9? pla$e %um%um o! both the feet follo(ed by offeri!g a%ata a!d
flo(ers:
39 )he! a !e( saree (ith blouse 8top9 is gi.e!: 8Ie!erally? su.si!7s are de$ided mu$h
earlier a!d blouse pie$es a!d sarees are gi.e! to them i! ad.a!$e? so that they $a! (ear
the $lothes offered to them a!d atte!d the fu!$tio!:9
49 /o( re$ite the follo(i!g ma!tra a!d offer .ie0a arghya to her i! a small $up $alled
aliptra 8li%e tmaptra9: >hile re$ei.i!g aliptra? she should re$ei.e the $up i! her left
ha!d usi!g o!ly the thumb? i!de- a!d ri!g fi!gers 8this appears li%e a tripod9: )his
ma!tra is to be addressed to her:
77l0 57 0 70 70l0 +
7 - 7 7 7 7|
8CS )he auspi$ious o!eS )his $up $o!tai!i!g !e$tar 8.ie0a arghya9 is gi.e! to you:
5lease dri!% this !e$tar a!d bless us to o.er$ome our desire? a!ger a!d other affli$tio!s
a!d lead us to a happy a!d reputed life:9
/o( (orship her (ith yo!i mudra:
59 4u.si! after re$ei.i!g aliptra i! her left ha!d as des$ribed abo.e? should *oi! the
thumb? i!de- a!d ri!g fi!gers 8e-a$tly i! the same (ay as e-plai!ed abo.e? but (ith the
right ha!d here9 a!d ta%e a fe( drops of .ie0a arghya from aliptra a!d should pla$e the
drops o! her head t(i$e: )hese drops are mea!t for her Iuru 8if she is !ot i!itiated i!to
=r 1idy? the! these drops are mea!t for =i.a9: Af she is i!itiated i!to =r 1idy? she
should re$ite her Iuru pdu% ma!tra: 2fter doi!g this? she has to dri!% a portio! of
.ie0a arghya a!d retur!s aliptra (ith .ie0a arghya ba$% to the sdha%a (ith the
follo(i!g ma!tra: Af she does !ot %!o( the ma!tra? someo!e (ho %!o(s the ma!tra $a!
re$ite the ma!tra o! her behalf:
0 l 7 707 7 l 0 +
=U0 l 0l- 77l |
84u.si!? (ho is the embodime!t of Lalitmbi% gra!ts the (ishes of the sdha%a a!d
gi.es ba$% the bala!$e of .ie0a arghya as prasda to himGher9:
2fter ha.i!g gi.e! the aliptra (ith remai!i!g .ie0a arghya 8this is %!o(! as u$$hia?
mea!i!g remai!s of the food9? she sho(s yo!i mudra to the sdha%a:
69 /o( the sdha%a has to do oa0a upa$ra to the su.si! thus:
i9 Cffer flo(ers at su.si!iPs feet by re$iti!g this ma!tra:
4 7 77l77 4 l7l7 l7l7 0l l0 7 7 7l -l7l l7l
l 7 7l |
ii9 2gai! offer flo(ers at su.si!iPs feet by re$iti!g this ma!tra:
4 7 l + 7 7l|
iii9 Cffer .ie0a arghya i! her ha!ds:
4 7 l + 7 7l|
i.9 Cffer sm!ya arghya i! her ha!ds:
4 7 l + 7 7l|
.9 /o( do pro%aa o! her usi!g (ater from .ardha! %ala0a: Duri!g this pro$ess?
0rs%tam a!d durgs%tam $a! be re$ited? if time permits:
4 7 l + 0 l 7l|
.i9 Cffer her saree? et$: 8as they are already offered to her? !o( it $a! be do!e through
bh.a! 8$o!templatio!9:
4 7 l + 0 7l|
.ii9 /o( offer her or!ame!ts 8ge!erally ba!gles? mirror? et$ are gi.e!9:
4 7 l + 7-"l 7l|
i-9 /o( offer her sa!dal paste i! a $up:
4 7 l + U 7 U 7l|
-9 /o( offer haridr%um%um:
4 7 l + U 7 l7 7 7l|
-i9 /o( offer her dhpa:
4 7 l + U 7 7 l7l|
-ii9 /o( offer her dpa:
4 7 l + 77 7 l|
-iii9 /o( offer her food: >hat is offered as !ai.edya $a! be gi.e! to her as a to%e!: ,ut?
ge!erally? duri!g this time? she is offered (ith lu!$h: Cthers should (ait till she
$ompletes her lu!$h: Lu!$h should be ser.ed to her i! a se$luded pla$e 8!ot to $ause a!y
embarrassme!t to her9:
4 7 l + l 0 7l|
-i.9 Cffer her (ater duri!g lu!$h: Ie!erally a !e( tumbler 8dri!%i!g glass9 is pur$hased
for this purpose a!d is gi.e! to her:
4 7 l + 7 0 7l 7l|
-.9 /o( offer (ater to (ash her ha!ds:
4 7 l + 7 7l|
-.i9 /o( offer her betel lea.es (ith %arpra.ti%:
4 7 l + 77 0l4 7l|
/o(? prostrate before the su.si!i a!d ta%e her blessi!gs: 4u.si!i is to be se!t7off (ith
great respe$t: ;e( perform dhampati p* i!stead of su.si!i: A! dhampati p*? both
husba!d a!d (ife are to be (orshiped: )hey are (orshiped as 5r.at a!d 5arame0.ara:
A! su.si!i p* it is preferable to see% the blessi!gs of a! elderly (oma!: 4imilarly i!
the $ase of dhampati p*? it is preferable to i!.ite elderly $oupleGs: 2fter su.si!i p*
a!d or dhampati p*? %umr p* is to be do!e:
52: 7 l 7 7 N
)his is about (orshippi!g girls (ho ha.e !ot attai!ed puberty a!d their age should be
bet(ee! t(o years a!d te! years: )here is a lot of sig!ifi$a!$e atta$hed to %umr p*a!a:
)his is e-plai!ed i! detail i! De.bhga.atapura 8boo% 3N $hapter 259: Duri!g !a.artri
days? if %umr p*a!a is do!e? apart from attai!i!g Her Ira$e? some material be!efits
also a$$rue: Depe!di!g upo! their age? they are (orshiped as differe!t forms of
5ar0a%ti: Ho(e.er? there are .ariatio!s i! the !ames from (hat is gi.e!
De.bhga.atapura a!d Lalit 4ahasra!ma a!d the .ariatio!s are gi.e! i! the
bra$%ets:
2ge /ames as gi.e! i! De.bhga.ata 1ariatio!s? if a!y
2 7 l 0
3 0 0
4 7l"
5 " -l
6 7l7l 3l
77l l
" l-
# 7 l 4ll G "
1& -7 l
<ffe$ts of (orship based o! the age of the girl as per De.bhga.ata:
2ge <ffe$t of (orship
2 Relief from miseries a!d po.erty? lo!g life a!d more po(er:
3 Dharma? artha a!d %maF proge!y a!d (ealth:
4 J!o(ledge? homeF she fulfills almost all desires:
5 3uri!g ailme!ts:
6 Destru$tio! of both i!ter!al 8affli$tio!s of the mi!d9 a!d e-ter!al e!emies:
5rosperity a!d ri$h!ess
" ;or e!$ha!tme!t? o.erpo(eri!g !egati.e for$es? remo.i!g miseries a!d po.erty:
# Destru$tio! of dreadful e!emies? happi!ess i! the !e-t (orld 8after death9:
1& ;ulfillme!t of all types of desires:
5ro$edureN
2s i! the $ase of su.si! p*? girls (ho are i!.ited for this p* are i!formed i! ad.a!$e
a!d dress material is gi.e! to them so as to e!able them to ma%e them ready for (eari!g
o! the day of the p*: C! the day of p*? (he! the i!.ited girl arri.es 8ge!erally (ith
her mother? (ho $a! be treated as su.si!9? after (el$omi!g her? she should be reBuested
to (ash her feet: 2 (oode! pla!% is offered for her to sit: /o( the p* begi!s:
1: )a%e flo(ers a!d a%ata a!d re$ite the follo(i!g ma!tra for the purpose of .ha!a:
777 7 l l +
7 7 l7l |
0 l 7 l0 "l 7Ul" +
7 l 7l ll0 7llll |
2:)his is i!.o%i!g her i! !i!e Di.i!e forms: /o( pla$e flo(ers a!d a%ata before her:
4 7 7 7 l7l + 7l0 7l|
3: Cfferi!g (ater to dri!%:
4 7 7 7 l7l + 7 7l|
4: Cfferi!g (ater to (ash her ha!ds:
4 7 7 7 l7l + 7 7l|
5: Cffer her !e( $lothes: Af dress material is already gi.e!? this $a! be $o!templated:
4 7 7 7 l7l + 0 7l|
6: Cffer flo(ers to her to (ear o! her head:
4 7 7 7 l7l + 7 7 7l|
: Cfferi!g her sa!dal paste:
4 7 7 7 l7l + U 7l|
": Cfferi!g her or!ame!ts:
4 7 7 7 l7l + 7-"l 7l|
#: Cfferi!g .ie0a arghya: 5our .ie0a arghya i! a small $up a!d offer this to her to dri!%:
4 7 7 7 l7l + 7 7 7l|
1&: /o( do the follo(i!g ar$a!a (ith flo(ers a!d a%ata:
4 7 7 7 l7l + 7 7l|
A! this ar$a!a? all the !i!e !ames me!tio!ed i! the first table are used:
i9 4 7 7l +
ii9 4 7 0 7 l +
iii9 4 7 7l +
i.9 4 7 +
.9 4 7 7l7l +
.i9 4 7 77l +
.ii9 4 7 l7 +
.iii9 4 7 7 l +
i-9 4 7 -7 l +
4 7 7 7 l7l + llU 7 7 7l 70l 7l+
5la$e some flo(ers a!d a%ata before her:
11: Cffer her dhpa
4 7 7 7 l7l + U 7 7 l7l|
12: Cffer her dpa:
4 7 7 7 l7l + 77 7 l|
13: /o( offer her food: >hat is offered as !ai.edya $a! be gi.e! to her as a to%e!: ,ut?
ge!erally? duri!g this time? she is offered (ith lu!$h: Cthers should (ait till she
$ompletes her lu!$h: Af her mother is i!.ited as su.si!i? the! both mother a!d $hild $a!
be offered food i! a se$luded pla$e? !ot to $ause a!y embarrassme!t to them9:
4 7 7 7 l7l + l 0 7l|
14: Cffer her (ater duri!g lu!$h: Ie!erally a !e( tumbler 8dri!%i!g glass9 is pur$hased
for this purpose a!d is gi.e! to her:
4 7 7 7 l7l + 7 0 7l 7l|
15: /o( offer (ater to (ash her ha!ds:
4 7 7 7 l7l + 7 7l|
16: /o( offer her betel lea.es (ith are$a !ut a!d dry fruits:
4 7 7 7 l7l + 77 0l4 7l|
4 7 7 7 l7l + 77 l7 7 l|
1": Cffer her ma!tra pupa:
4 7 7 7 l7l + 0 7 7 7l|
/o( (e ha.e to pray to her: )he follo(i!g .erse $a! be used for prayer:
70l 7 7 -l7l+
7 7 7 7 7 (7 7|
/o(? prostrate before the %umr a!d ta%e her blessi!gs: Jumr is to be se!t7off (ith
great respe$t:
;urther readi!g 7 %umr p* duri!g !a.artrN
2s far as %umr p* is $o!$er!ed? they are (orshiped duri!g !a.artr: )here are three
types of %umr p*: A! the first method? o!e %umr is (orshiped o! the first day of
!a.artr? t(o i! the se$o!d day? three i! the third day a!d so o! a!d o! the !i!th day
8mah!a.ami9 !i!e %umr7s are (orshiped: A! the se$o!d method? o!e %umr is
(orshiped e.eryday duri!g the e!tire period of !a.artr: A! the third method? o!e %umr
is (orshiped duri!g the e!tire !a.artr period: 4u$h (orship is do!e o! either o! aam
or o! mah!a.ami day:
+). /"ayi4 pj%
%mayika means same minded or like minded, referring to other upsaka>s
present during thisnavvaraa pj. 6ll those #ho are initiated into r !idy
#ould have brought their tmaptra>s. 6ll r !idy upsaka>s are e5pected to
carry their tmaptra>s #henever they attend navvaraa pj outside their
home. $here are certain controversies here. 6 sdhaka initiated by a "uru does
not take vie)a arghya of a sdhaka initiated by another "uru. $his thought is
against the basic principle of r !idy and no such discriminations should be
there. %econdly, in e5ceptional cases, if a sdhaka forgets to bring his or her
tmaptra, he or she should not be denied vie)a arghya. Gormally, a sdhaka
#ho freDuently performs navvaraa pj keeps e5tra cups for this purpose and
these cups are given to those #ho have not brought their tmaptra>s.
4f "uru of the sdhaka is present in the place, he should be offered #ith sandal
paste, flo#ers, etc and he should be offered vie)a arghya in "uru ptra, #hich
is kept in pj maala. +hile offering vie)a arghya to "uru, vie)a arghya
should be #orshiped #ith "uru pduk mantras given by him. "uru #ill return
the ptra after consuming the vie)a arghya. 4n case "uru is not present
personally during navvaraa pj, sdhaka should take vie)a arghya from
kraa kala)a and pour into his tmaptra and keep it on his head and recite
"uru pduk mantras and consume vie)a arghya after reciting mantras given in
the follo#ing section.
6fter doing this, smayika>s present should be offered sandal paste, flo#ers, etc
and fill theirtmaptra>s #ith vie)a arghya along #ith a piece of ginger and offer
their respective ptra>s to them. On receiving their respective tmaptra>s, they
#ill perform mental #orship #ith the follo#ing mantras or as instructed by their
"urus. $his #orship is kno#n as tattva)odhanam, #hich is described in the ne5t
section.
+*. tatt9a:o8hana"%
$hese mantras are based on virjhomamantra>s of ,ahnryaa ?paniad.
$hough mantras are not e5actly the same, the conveyance is the same. !irj
refers to the %upreme 4ntellect located in a supposed aggregate of gross bodies,
kno#n as !ai)vnara.
$hose #ho have received their tmaptra>s filled #ith vie)a arghya do the
follo#ing. %dhaka should also follo# this procedure before consuming vie)a
arghya from his tmaptra.
i' $he follo#ing mantra purifies the gross body of the sdhaka and smayika>s.
$his mantra also removes the remnants of ego. $he mantra says that by doing
this yaj; &navvaraa pj is al#ays considered as yaj;', let my soul become
pure= let me become the *ivine @ight, #ithout afflictions and sins. +ith this in
mind, the follo#ing mantra is to be recited. -irst ka of (a;cada) is used t#ice
in this mantra, one at the beginning and another after the recitation of /L vo#els
#ith bindu, beginning from 7 to 7. $his oblation is through tmatattva. (lease
recall tatvcamanam done in part 4.1. 6ll the four camana>s done there are
reflected in the first four mantras here.
2 > 7 7 5 > 7 7 l4 0 7 7 l l" l7l"7l7 7l 7 7 7 7
Ul7l l - ll 7 > 7 7 7 5 70 7" Ul 7 7Ul
7 ll+
7l j0l 70 7l 7ll - l ll|
ii' $he follo#ing mantra purifies the subtle body of the sdhaka and smayika>s.
$his mantra also removes my. $he mantra says that by doing this yaj;, let my
subtle body become pure= let me become the *ivine @ight, #ithout afflictions and
sins. %econd ka of (a;cada) is used t#ice in this mantra, one at the
beginning and another after the recitation of 0F consonants #ith bindu, beginning
from 7 > . $his oblation is through vidytatva.
2 > 7 > ll 7l 70l l 7l 0 7 7ll 7 > 7 0l0
l7Ul 7 7Ul 7 ll+
70ll j0l 70 7l 7ll - ll|
iii' $he follo#ing mantra purifies the causal body of the sdhaka and smayika>s.
$his mantra also removes ones karmas. ?nless karmas are totally removed,
liberation is not possible. $his is the state of jvanmukta. $he mantra says that by
doing this yaj;, let my causal body become pure= let me become the *ivine
@ight, #ithout afflictions and sins. $hird ka of (a;cada) is used t#ice in this
mantra, one at the beginning and another after the recitation of 9 consonants
#ith bindu, beginning from . $his oblation is through )ivatatva.
2 > 7 0 7l 56 0ll 7 > 7 0 7l7
Ul 7l"7 7Ul 7 ll+
7ll j0l 70 7l 7ll - ll|
iv.a' $he follo#ing mantra purifies all the three bodies comprising of prakti tattva
to )uddhavidyatattva and through this process, the individual souls of the
sdhaka and smayika>s are purified. $he mantra says that by doing this yaj;,
let my jvtman become pure= let me become the *ivine @ight, #ithout afflictions
and sins. ,la mantra &the highest initiated mantra' is to be recited at the
beginning and another recitation of mla mantra after the recitation of all the
alphabets #ith bindu, beginning from 7 . $his oblation is through sarvatatva.
2 > > 7 7 l4 0 7 7 l l" l7l"7l7 7l 7 7 7 7 Ul7l
l - ll 7l 70l l 7l 0 7 7 0 7l 56 0ll 7 > >
> 0 7 7l-l 7ll 7Ul 7 ll+
Hlll j0l 70 7l 7ll - ll|
iv.b' -or those initiated into -oa). $his mantra says :$hat &the Brahman' is
infinite and this &universe' is infinite. $he infinite proceeds from infinite. $hen,
taking the infinitude of the infinite &universe', it remains as the infinite &the
Brahman' alone.C
2 > > 7 " 7 7 7 7 "l 7 " 7=0+ 7 " 7 " l7l 7 " l0|
v' $his mantra is taken from ,ahnryaa ?paniad. $hat %upreme @ight
#hich projected 4tself as the universe like a soaked seed #hich sprouts as 4 am
that %upreme @ight. 4 am that supreme light of Brahman, #hich shines as the
innermost essence of all that e5ists. 4n reality, 4 am the same infinite Brahman,
even #hen 4 am e5periencing myself as a finite self, o#ing to ignorance. Go#, by
the onset of kno#ledge, 4 am really $hat Brahman #hich is my eternal nature.
$herefore, 4 realiEe this identity by making myself, the finite self, an oblation into
the fire of the 4nfinite Brahman, #hich 4 am al#ays. ,ay this oblation be #ell
made.
6fter reciting this mantra, both sdhaka and smayika>s #ho are holding the
vie)a arghya ptra #ith vie)a arghya in their right palm using thumb, middle
and ring fingers, should no# consume the vie)a arghya.
2 > 77 70 70+ 707 0 4 l+ 8 4 l+ 7 4 l+
7l l 7 ll|
Go# #ash the tmaptra and keep it back in the maala. %mayika>s also
should #ash their tmaptra>s and take them back.
55.
)his is the $ombi!atio! of t(o (ords de.at a!d ud.sa!am? (here de.at refers to =i.a?
=a%ti a!d all the gods a!d goddesses (ho (ere (orshiped i! =ri 3a%ra a!d ud.sa!a
mea!s the a$t of ta%i!g a(ay: At is to be re$alled that (e ha.e e!thro!ed all of them usi!g
our subtle pra: Duri!g e-ter!al (orship? the 4elf (ithi! is brought out a!d (orshiped
e-ter!ally a!d o!$e the e-ter!al (orship is do!e? the 4elf i! the idols should be brought
ba$% (ithi!? agai! usi!g our pra a!d this is $alled ud.sa!am: ;or this purpose? the
pro$ess do!e i! 22:1 is to be re.ersed: A! additio! to this? o!e has to use %e$ar mudra to
bri!g )hem ba$% to dahar%0a:
Lalit 4ahasra!ma 86&#9 is Dahar%0a7rpi? (hi$h is e-plai!ed thus:
A! the hearts of all bei!gs is Her subtle form: Jaha 'pa!iad 88A:iii:19 me!tio!s
dahar%0a as LA! this superior spa$e of the heart? prese!t i! the $a.e of the i!telle$tM: At
further says 8AA:i:129? LCf the si@e of a thumb? the ,rahma! resides i! the $e!tre of the
bodyM: 3h!dogya 'pa!iad says L)his body is the $ity of the ,rahma!: >ithi! it is a!
abode i! the shape of a lotus 8mea!i!g heart9 a!d (ithi! that there is a small spa$e
85lease !ote the (ord: At is Ospa$eP a!d !ot Opla$eP: 4pa$e is i!fi!ite a!d pla$e is
defi!ite9: C!e must sear$h (ithi! this spa$e a!d ear!estly desire to %!o( (hat is there
84elf7reali@atio!9VM ,rahma 4tra 8A:iii:149 says? Ldahara uttarebhya 7 3M?
referri!g to the small spa$e i! the heart: At pro$eeds to say? L)hat is (hi$h is i!side? that
is sought for? that is surely to be i!Buired i!toM? i!di$ati!g the pro$ess of 4elf7realisatio!:
W;or the sa%e of $o!.e!ie!$e? the follo(i!g li!es are reprodu$ed from 22:1 of this series:
L/o(? (e ha.e to ta%e flo(ers usi!g tri%ha mudra? mo.e the %uali! from
mldhra to sahasrra usi!g our breath a!d $o!s$ious!ess: ;irst i!hale a!d by holdi!g
breath (ithi!? mo.e %uali! to sahasrra: /o( e-hale a!d at the time of e-halatio!?
hold fi!gers of tri%ha mudra (ith flo(ers belo( the !ostrils a!d .isuali@e Jme0.ara
a!d Jme0.ar i! the form of subtle pra i! the flo(ers a!d pla$e the flo(ers i! the
middle of =ri 3a%ra: Af three differe!t $olour flo(ers are a.ailable? they $a! be %ept i!
three *oi!ts of tri%ha mudra: )his mea!s that (e are tra!sferri!g the .isuali@ed image
of the Di.i!e 3ouple through our pra 8e-halatio!9 to be $o!se$rated i! the middle of
=ri 3a%ra: >ithout proper $o!templatio! (ithi!? as dis$ussed i! a!taryga 8pre.ious
part9? $o!se$ratio! i! =ri 3a%ra (ill be futile: )he flo(ers are to be pla$ed i! =ri 3a%ra
.ery $arefully a!d .ery ge!tly usi!g the follo(i!g ma!tra: '!der !o $ir$umsta!$es?
flo(ers should be thro(! o! =ri 3a%ra: )hey are to be pla$ed (ith great re.ere!$e:MX
)here are fi.e ma!tras i! this se$tio! that impart subtle $o!.eya!$es: ;ollo(i!g are the
ma!tras? (hi$h are to be re$ited after u!dersta!di!g their $o!.eya!$es:
19 CS De.iS A (orship Tou? (ho shi!es i! the form of Iae0a? !a.agraha 8!i!e pla!ets9?
t(e!ty se.e! stars? yogi!7s 8yogi!7s $a! be i!terpreted to mea! !i!e .araa yogi!7s or
si- yogi!7s of psy$hi$ $ha%ras9? t(el.e r0i7s 8astrologi$al houses9? sapta%oi ma!tras
8& millio!9? mt% a%ara7s 84a!s%rit alphabets9 a!d fi.e pha Es 8%magiri? pragiri?
*la!dhara? oya a!d 0mbha.a pha7s asso$iated (ith fi.e of the si- m!ya7s9:
" 0 l 7" +
7 0 l0 7l75 7" |
29 LLet my spee$h be your *apa? my mo.eme!t of ha!ds be your mudras? my lo$omotio!
be $ir$umambulatio! for you? my eati!g a!d dri!%i!g be fire oblatio!s for you? my lyi!g
do(! be prostratio!s for you? all my e!*oyme!ts be my surre!der to Tou a!d let these
a$tio!s of mi!e be$ome the mai! part of Tour (orship:M 84au!daryalahar E .erse 29
77 77 7 77 7 ll
0 7 l77 "l0l 00U+
7 l" 77ll7"7 l
7l77l70 -0 0 |
39 ,y re$iti!g the follo(i!g ma!tra? pour a drop of (ater o! Her left palm: Remo.e
sm!ya arghya 8$o!$h9 (ith right ha!d? lift the $o!$h a!d ma%e three $ir$les arou!d =ri
3a%raGMeru: <mpty the (ater i! the $o!$h i!to the right palm a!d spri!%le o! the self
a!d o! all others prese!t there: >ash a!d dry the $o!$h a!d pla$e it safely:
LCS 5ar0a%tiS >hate.er a$tio!s A did i! your praise? (hether rightly or (ro!gly? please
a$$ept all my a$tio!s (ith 3ompassio!:M 8sdhu. asdhu . i! the follo(i!g .erse is
ta%e! from =rmad ,hga.atam ":#:129
lU l8lU l 7 07l0 l+
0 7 7l 7 l"llU |
49 LCS =a%ari 83o!sort of =a%ara is =a%ariF 4he is 5ar0a%ti? Lalitmbi%?
Mahde.i a!d 4he is e.erythi!g that e-ists i! the u!i.erse9? Mahde.iS 5lease $ome ba$%
to the peri$arp of my heart 8(here is 4elf is seated9 (ith =i.a alo!g (ith all Tour
or!ame!ts:M 2fter re$iti!g this ma!tra? $o!template that Jme0.ara a!d Jme0.ar ha.e
$ome ba$% to your body as the 4elf: Meditate )hem (ithi! for a fe( mi!utes a!d after
e!suri!g that )hey are ba$% i! the body? me!tally perform pa+$a p*? gi.e! after the
ma!tra:
4 7 57j7"7l 7+
7 l7 l" |
5a+$ap* to be do!e me!tallyN
7 7 l7l U 7l+
7 77ll7l 7 7 7 7l+
7 ll7l U 7l l7l+
7 7l7l U7 7 l+
7 7 0l7l 7 0 l 0 7l+
7 l 7l 7l 7 7l 7l|
56: l00
)his is the pe!ultimate part of !a..araa p*: )his part $o!sists of three ma!tras: =!ti
$o!te-tually refers to eter!al pea$e? (hi$h $a! be e-perie!$ed o!ly by *+!i!7s: ;or a
*+!i!? !othi!g !eeds to be attai!ed? as he is de.oid of desires a!d as a result of (hi$h? he
al(ays remai!s u!ited (ith the 4elf: Ja says i! ,haga.ad It 81AA:15 7 19?
L2r*u!aS ;our types of .irtuous me! (orship Me? the see%ers of material prosperity? the
affli$ted? the see%ers of %!o(ledge a!d me! of (isdom: Cut of the four? a ma! of
(isdom 8*+!i!9 (ho is al(ays established i! Me a!d possessi!g si!gle poi!ted de.otio!
to Me is superior: A am .ery dear to him a!d he is .ery dear to Me:M )his goes to pro.e
that at the e!d of !a..araa p*? a sdha%a tra!sforms i!to a *+!i!? as des$ribed by
Lord Ja:
)his part $o!sists of three prayers to Her? !ot o!ly for the sdha%a? but also for e.eryo!e
arou!d him: )his $o!firms his tra!sformatio! as a *+!i!:
19 Let pea$e pre.ail due to the Ira$e of ,rahma! for those (ho do p*? (ho ha.e
$o!Buered their orga!s of a$tio! a!d per$eptio! a!d those (ho rule all the bei!gs:
4 7 7 77ll 77l7ll 07 l"l 07Ull +
7 l 7 lHl 70 l0 -l 7 |
29 Let all sdha%a7s a!d all siddha7s 8e!do(ed (ith super!atural fa$ultiesF also mea!s
beatified9 remai! i! the state of blissful!ess: Let the $urses of yogi!7s befall o! those
(ho mo$% at samay$ra (orship: Let the i!e-pli$able state of 0mbha. 8Lalit
4ahasra!ma 1229 pre.ail i! me due to the gra$e of my Iuru? as A $o!ti!ue to behold his
lotus feet:
4 7 70 lU77 l 7"l7l l7l 700 (7 l +
l l- 0 7l7 ll l "7 77 |
39 2ll the tatt.a7s 836 tatt.a7s9 begi!!i!g from 5arama0i.a till the earthF all the li.i!g
bei!gs begi!!i!g from ,rahm till ti!y i!se$ts a!d from %lg!i 8the fire of =i.a that
a!!ihilates the u!i.erse9 to =i.a 8the 3reator9 be$ome satisfied (ith this ya*+a
8!a..araa p*9:
l0 70 4 l704 0 +
7lll7 l0 70H 0 0 |
5: 7 7 3(l N
/o( .i0ea arghya is to be remo.ed as !a..araa p* has $ome to a! e!d: ,y re$iti!g
mla ma!tra? ta%e .i0ea arghya ptr abo.e the head a!d the! tra!sfer the amta (ithi!
to a!other .essel by re$iti!g the follo(i!g ma!tra: >hile re$iti!g this ma!tra? it is to be
$o!templated that oblatio!s are made (ith .i0ea arghya i!to the eter!al fire of
%uali!:
4 7 77 70 70+ 707 0 4 l+ 8 4 l+ 7
4 l+ 7l l 7 ll|
2fter tra!sferri!g .i0ea arghya to a!other .essel? .i0ea arghya ptr is to be (ashed
a!d %ept safely:
/o( distribute .i0ea arghya to all those prese!t a!d offer them prasda:
3C/3L'4AC/N
)his $o!$ludes our series o! !a..araa p*: )he e!tire $o!te!ts of this series (ill be
edited a!d uploaded for do(!load i! due $ourse alo!g (ith Kour!ey to =ri 3a%ra a!d =ri
3a%ra a!d huma! body: A tha!% 4hri: 2um Ra.i for his .aluable suggestio!s i! $ompili!g
this series: Af possible? De.i Jhagaml (ill be dis$ussed later:
>ith this? A pla$e this series before the lotus feet of =i.a a!d =a%ti (ith a sole prayer to
sho(er )heir Ira$e o! all of us: