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T a g : 64 Yo g i n i s
YAN TRA H ARN E S S I N G TH E PO WE R O F MYS TI CAL

GE O ME TRY
Oc to b er 6, 2016 Y o gi n i A sh r am H o m e Of K r i ya Tan tr a Y o ga 1 C o m m en t
Yantra
By Swami Ayyappa Giri
Purohit-Acharya, Yogini Ashram, California USA
Article Published During Sacred Navaratri, 2016
Then Shiva Mahadev spoke to Parvati, O Devi, Because it restrains suffering due to
desires, anger and karma, it is called Yantra. The Goddess who is worshipped within
it, offers Grace to the Tantric Kularnava Tantra
The academic or south-Asian scholar might believe that a yantra is an art

form and a psychological symbol which addresses the worshippers
perceptions of the Divine. This is a misleading and inadequate description,
for yantras are understood more fully by those who actually use them.
Yantras are literally a method and means of holding and maintaining the
actual conscious presence of the Deity-essence, and the majestic power
that accompanies the Diety, whether Siddha or Avatar, who is called into
the sacred geometry.
It has been said that mathematics is the language of the Gods. God
consciousness manifests expression through mathematics and geometry.
Dr. Michio Kaku, the well known theoretical physicist, has stated that we
might imagine God as we know him, to be a mathematician. On a
universal scale, there is a direct relationship between mathematics, sound,
and form. In tantra, the geometrical form representing sound (mantra) is a
yantra. Imagine that every pitch and vibration creates a geometric pattern
of expression for that frequency. So also, each geometrical variant has a
unique associated note, pitch and frequency. The sacred geometrical form
(yantra) and the divinized sound (mantra) are inseparable and constitute
tantra. Thus, it is often said that yantra plus mantra equals tantra.
A yantra is not limited as a divine manifestation. A Yantra literally holds the

energy of a particular deity. A yantra is verily a geometric pattern which
contains both an energy and a deity-spirit, and which is also a represention
of a sound vibration (mantra). In worshiping the presiding deity of a yantra
we are acknowledging their presence microcosmically, as the soul within
ourselves (Jiva), and macrocosmically, as universal nature (Prakriti). Tantra
teaches that from Purusha, the primal cause of the creation impulse,
emerged Prakriti, or mother nature. The yantra is understood to be a mirror
of the inner universal soul (Jiva). Its internal reflection of the cosmic
principles are inferred by the Tantric. In this way, the yantra, acting as a
carrier of its representative energy, is massively empowering.
The tantric tradition states that one must become qualified in order to
utilize yantras fully, as the knowledge of sacred geometry is a transitional
process of revelations that lead to inner union (antar yoga). The aspirant is
initiated into a specific yantra and mantra by a qualified teacher
(adikariguru) and develops the core energy through yogic practices
(sadhana) and the resultant purification.
The Method
The tantric practitioner first seals off the ceremonial space with mantra
and then, again using mantra, sanctifies his or her own hands, body, and
environment. The yantra worshipper (purohit or pujari) is incrementally
transformed with these practices, which leads to sanctification of the
being, inside and out. Thus it is said that only God can worship God, and it
is through these various forms of purification, that the pujari connects with
their inner divine nature and is made fit to have that direct encounter with
the Deity and make offerings that are free from ego. Thus, the capacity to
connect in this way is tied to ones total life and even previous lives. The
tantric awakens the Devata within by yogic and tantric techniques, and
using sacred breathing patterns, (For example, kundalini pranayam),
mantras and transformational hand postures (mudras), as well as practices
to awaken the heart space, the divine presence is aroused and witnessed
in the yantra but also the practitioner and assembled devotees. Specific
mantras, mudras and dhyana meditations result in the manifestation of
divinity which assumes residence within the yantra.
Thus, the application of mystical geometry utilizes structural patterns

which contain the power of mantra and yogic practices (sadhana shakti).
Without these sacred sounds there is no active transformative power in

yantras, and their value is limited to being symbols. Symbols have a power
in themselves, of course, but when mantra is held by sacred geometry in
the prescribed manner, mystical power becomes tangibly present for those
who are attuned to the subtle reams. Massive changes, even in the physical
plane, can result, according to the intent (sankalpa).
Yantras in Ancient Times
Some of the earliest examples of sacred geometry originate in the Indus

valley civilization, including the swastika symbol shown here.
Swastika of the ancient Indus valley civilization, a culture contemporary

with Sumeria.
Scholars, such as Bhattacharaya, have helped establish that the Indus
culture was based on tantra. Yantras, an intregral part of that scientific art,
were found at the excavations of the Indus cities of Mohenjadaro and
Harrappa, dated from 3300 BC. More recent excavations suggest that this
culture developed even earlier, at roughly the same time period of Sumerian
cultures.
A cross symbol yantra from Indus period.
Ancient Dravidian texts refer to three yogic based sangam civilizations.

Some part of those early civilizations were said to have been inundated by
the sea thousands of years ago. Even during our time, we have seen
tsunamis, originating from Indonesia, inundate the eastern seaboard of
south India, killing many, and resulting in massive flooding. Work at
archeological sites from the Temple of the Sun in Orissa to Mahabalipuram
in Tamil Nadu have established that many ancient sacred temples have
been buried by sea and sand in past centuries. It is difficult to know how
much of the yogic culture, even yantras and urdu text, might have been lost
due to such incursions from the sea.
There are linguistic and genetic links between the Dravidians of south India
and this Indus civilization, but whatever the origins of the Indus valley
civilization, there is no doubt that sacred geometry was in use at that time.
In subsequent centuries, yantras have been placed in the foundations and
roofs of temple sanctums and sacred spaces, as well as laid within temple
walls. The geometry of temples themselves are considered yantras.
This group of Yogini-sadhvikas accompanied the author on pilgrimage in 1991. Here, they stand
before the entrance to the sacred birthplace temple of Kriya Babaji in Parangaipettai.
In the early 1970s, as part of the initial dedication of the Babaji temple, I
had the great opportunity to be with my Guru when yantras were placed in
a hidden portion of the Babaji temple at Parangipettai, India, marking for
the ages the sacred spot where the great Kriya Mahavatar Babaji was born,
in the year 203 A.D.. (for more, see Mahavatar Babaji and the Golden Body of
Light).
Babajis temple is quaint, artistic, and having been constructed of solid

granite, will likely last more than 1000 years. The front of the temple,
shown in the image above, has been expanded and beautified over the last
two decades and no doubt those responsible have accrued great merit
(punya) for their work.
They call it yantra because it restrains prolonged suffering arising from defects (in
the form) of desire, anger and other limitations. Commentary on Sardatilaka By Raghvabhatta
My Early Experiences of Sacred Geometry
My adi Guru, Yogiar S.A.A. Ramaiah, (shown above) Kriya Master, direct
disciple of Babaji, and Pranayam Siddha, had a great deal of experience of
the Siddhas and their Siddha yantras, and the Siddhas certainly supported
his work in a powerful way. Without his pioneering work, little would be
known worldwide about the 18 Yogic Siddhas. My brother-disciple
(gurubai), M. Govindan, now known as Satchidananda, has also served
dynamically in this respect, as have many others, both in Yogiars Sangam,
as well as those whom Babaji has called in a different direction. All of the
Lahiri lineages too, should be acknowledged. No doubt, in the coming
decades, there will be many more souls who are blessed with Babajis
darshan. Let us appreciate the sacrifices and efforts of all who serve
Babaji. If there are some minor differences, such as the exact birthdate of
the immortal Master, I am sure that Babaji will clarify any confusion as
needed.
During the 1970s and 80s, we were trained in sacred geometry and yantra
carving methods by my Guru, S.A.A. Yogi Ramaiah. During that period he
gave specific assignments to me to carve many yantras. In doing so,
he shared very specific drawings of many yantras. This included the
yantras of the great Kriya Masters and Siddhas, or yogic supermen, as well
as primary dieties in the tradition. I still cherish and maintain the sacred
notes which he recorded in his own hand as he drew the yantras out to
serve as models which he instructed us to carve. Yogiar was a direct
disciple of Kriya Babaji and also a temple builder. Yantras were placed, at
Yogiars instruction, at several sites in India, Mt. Shasta, as well as centers
and temples in southern California, New Orleans, Chicago, Yuma, and
upstate New York. On one occasion, a yantra which Yogiar had us bury in a
power spot on Mt. Shasta, was discovered by a hiker and ended up on the
desk of a forest ranger. Someone in our group noticed an article in the
local newspaper about the mysterious yantra, and, at Yogiars direction, it
was soon retrieved from the rangers desk on the next journey to the
sacred mountain. What a pilgrimage that yantra took !
Above- Swami Rudranath Giri Maharaj of Tara Peeth,
with myself in the background. Swami Rudranath
introduced me to the 64 Yoginis and their mystical
geometry.
Numerical Yantras
Later, my Kaula Marg Tantric Guru, Swami Rudranath Giri Maharaj, also a
disciple of Sathguru Babaji, introduced me to the sacred geometry of Maha
Kali and the 64 Yoginis, as well as numerical yantras. Numerology is an
ancient scientific art. Numerical yantras have been a part of Indian spiritual
practice since vedic times. One example is the 3X3 yantra, one of the gifts
given to me by Swami Rudranath decades ago. It is associated with
Ganesha, and numbers are placed in a way that by adding those of any
column, whether horizontal, vertical or diagonal, the resultant number is
always 15. The planetary Dieties each have a version of a numerical yantra
associated with them. Modern mathematicians refer to these yantras as
magic squares. Ironically, the real magic manifests in fullness only
when yantra and mantra are united in combination.
The use of numerical yantras has

continued through the centuries. I
have had the fortune to view a 10th
century 4X4 numerical yantra,
which is installed in the
Parshvanath Jain temple at
Khajuraho. (see adjacent image)
The Sanskrit word Chautisa means
34, and because the sum of all its
columns is 34, it is known as the
Chautisa Yantra.
The Chautisa numerical Yantra at

Other precious souls who made
Khajuraho.
contributions to my yantra
knowledge include Sri Melsanthy,
the late chief priest of the Sabari Malai Ayyappa Swami temple, in Kerala,
who, in 1971, blessed my Ayyappa Swami Yantra. Also, P. Sundar of
Thanjavur and A.S. Vasan of Pondicherry, have each imparted to me
sadhana shakti and knowledge regarding the esoteric use of sacred
geometry. Others prefer to be anonymous. Except for the immortal master,
they have all passed from the physical plane and if Babaji wills it, not a drop
of the blessings they have given will be lost to the world.
The Sanskrit word, Yantra, suggests a machine or instrument; perhaps a

tool. The suffix tra implies protection and defense. Indeed, a yantra is a tool
that provides protection to its users. It is much more, of course. The
Cologne Digital Sanskrit Lexicon describes its meaning as an instrument
for holding or restraining as the derivative prefix, yam also suggests the
function of containing or holding. Whatever the linguistic origins of the word
itself, yantras are understood by those who use them as geometrical
structures which are energetically charged by sacred sound. In common
parlance, they are power generators that assist the tantric in channeling
and containing the grace of sadhana shakti energy. If one thinks of a
microchip in a computer as the storehouse of massive content, it is not an
exaggeration to understand that a yantra is a macrochip that accesses and
contains for the user a knowledge and power on a multidimensional scale,
transcending time and space.
The Yogini Tantra states that Devi is to be worshipped either as an image

(pratima) or sacred geometry (yantra). Each angle and point of a yantra
(avarana) is associated with a specific mantra, deity, and energy. Whether
one approaches a yantra from the outside and works inwardly or goes from
the center and works outward depends on the mode of worship and the
instructions of the teacher. One should follow ones preceptor to ensure
success.
There are two modes of yantra worship using mantras. The siddha yogi
advances in internal energy through internal worship (antar yoga) by
worshipping the yantra from the outside in. Conversely, when there is a
particular need to externalize the energy worship (bahya yoga) the tantric
begins in the yantra center and works progressively to the outer square.
Yantras and Sound Wav es
Swiss physician Hans Jenny is considered the father of cymatics. Cymatics

is the study of wave phenomena and visible sound vibration. He published
his lifes work in 1972, the year he died. Jenny made use of crystal
oscillators and an invention of his own, the tonoscope, to create the
vibration of quartz sand crystals on membranes generated from sound.
He showed that sound vibrations on fluids, powders, and liquid pastes did
not create an unregulated chaos but rather a dynamic, albeit ordered,
pattern.
In vibrating the membranes, he discovered, without intending to, that when

Om was chanted in a very specific tone, the sand medium that he was
using, vibrated into the very clearly identified shape of the Sri Yantra.
In optimal circumstances, celestial energy pervades both Yantra and

mantra. The Yantra has been likened to the physical body of a spiritual
energy (thus manifesting that energy in the denser planes). The mantra,
particularly the expressed bija, IS THE ENERGY ITSELF which can
transform consciousness, and originates from the most subtle vibratory
levels as sound vibration which, for the yogi and tantric, can be back-traced
to un-manifested reality.
Bes t Day s for preparing and performing puja to a

Yantra
The best times to prepare a yantra or to perform sadhana with a yantra are
during full moon (poornavasya) new moon (amavasya), the bimonthly 13th
day of the lunar cycle (pradosha) which begins at both the full and new
moon. Other important dates include the annual Shivaratri, the biannual
Navaratri, and othere holy days identified in Jotish astrology. Contrary to
common thinking, an eclipse offers excellent opportunities for
certain yantra sadhana as well.
The Significance of Common Geometrical Shapes
Most yantras are surrounded by a square with four T shaped projections

on each of its four sides. These projections, referred to as the gates of
on each of its four sides. These projections, referred to as the gates of
Bhuper, a reference to the earth (bhu) have themselves a mystic
significance. This square forms the foundation of the yantra. The square
contains the earth energy and when activated, the projections are
understood as gates which control energetic access in the lower planes to
the resident divine energy. Specific mantras will lock and unlock these
gates.
A comprehensive analysis of geometrical parts of the yantra is beyond the

intent and scope of this article, nor would it be particularly beneficial. In the
end, mantras and yantras must be learned from a teacher, not from a book.
An important part of the learning is in the form of a transmission and
cannot be conveyed through the intellect or the mind. A few points could
be noted. Circles used within a yantra generally suggests the water
element. Vertical lines are understood as containing the fire element,
diagonal lines, the air element and horizontal, the either. Though not always
present, these five elements are present in many yantras. Triangles, when
pointed up, contain the divine masculine, as well as the fire nature. When
triangles are pointed downward, they contain water element and the divine
feminine.
The typical yantra with its central point (bindu) and concentric circles of
petals and other geometries are conceived of as a sacred dwelling in which
the presiding deity and their retinue take up residence.
The bindu represents the location of the highest manifestation of the deity
as well as the focal point through which the deity transcends the relative
plane, with its form and structure to merge into the formless
consciousness. This is the very same formless consciousness in which the
worshiper merges with the highest truth. The yantra then, is reflecting the
nature and potentiality of the pujari or worshipper and their relationship
with the divine.
Materials for Yantras
Yantras are formed of copper, gold, spatika (natural crystal), bhoj patra, or,
during certain portions of a puja, drawn with sanctified water or sandal
paste. The most traditional method is through carving or engraving.
Commercial yantras embossed by machines on thin copper are available,
have value in their symbology, but do not hold energy well.
Bhoj Patra
Bhoj Patra
Bhoj Patra is natures paper, an organic paper, removed in sheets directly as

the bark of the bhojpatra tree, the himalayan birch, and is acceptable for
most yantras. The best ink is compounded from a mixture of camphor and
sandalwood. The red powder used to mark bindu in the third eye, kumkum,
is also ideal. The Sri Kali Tantram states that the Kali Yantra should not be
made from leaves, wood, or stone.
Copper & Gold
The electromagnetic qualities of copper and gold make them the most
desirable choice for materials for most yantras. The yantra should be
engraved by human hands in the prescribed manner and not mass
produced by machines with no soul.
Crystal
The word crystal is derived from the greek word krystallos meaning
frozen light. Called spatika in yoga and tantra, crystal has been used as a
medium for yantras for many centuries. In recent centuries, crystal has
become uniquely traditional as a carving material for the Sri Yantra. The
become uniquely traditional as a carving material for the Sri Yantra. The
buyer should be cautious. Unscrupulous merchants have been known to
sell glass as spatika. When in doubt, make sure you have a reputable
dealer.
There are specific methods of construction for each yantra. Yantras seen
internally in meditation by one with a purified mind are the greatest yantras
and serve in advanced tantric and yogic practice. This is how great yantras
come into being. As stated, associated with every yantra is a sound
vibration. Condensed, this sound vibration is referred to as a bija.
Symbolically, the bija resides in the center of the yantra, often represented
by a central point, or bindu. Bindu, in term represents the core of
consciousness. The bija also very often forms a part of the mantra for each
petal and level (avarana).
Japa cant occur without Puja; and Puja cant occur without Yantra
& Mantra
Sri Mahakala Samhita 5th Chpt, Guhyakali Khanda
The clear implication of the above line is that the best success in Japa and
Mantra is when it is performed in concert with puja, or ceremonial worship
using mantra. The puja formulae includes the offering of flowers to the
Divine who, attracted to the space by the power of mantra and devotion, is
then worshipped with deep humility, profound faith, and an open heart. The
prefix poo or puu means flower, and the ultimate puja is to offer the
refined flowers of the subtle body, the chakras, to the Divine. The flower
represents the most beautiful end product of the plant. Offering the finest
and most beautiful part of the plant is an expression of an open heart
offering, increasing the desired effect.
Preparation of Puja with the knowledge (v idy a ) of

Yantras
There are well more than 100 yantras received in training training from
Babaji through the Gurus. Babajis Kriya Tantra Yoga is vast and includes
thousands of other yantras as well. For this article, I have chosen to briefly
discuss some of the most important yantras in Yoga and Tantra. They are
yantras to which we regularly perform puja at Yogini Ashram. The active
participants are led by the pujari (aka purohita) through the preliminary
procedures (samanya vidhi) which include sealing the energy of the puja
space from interference or negativity (digbhana), sanctification of water to
be used in the puja (jalasuddhi), purification with mantra of the hands and
fingers of all who make offerings (kara nysha), purification of the body
through mantra (anga nysha), purification of the body through sipping of
water (achaman), dispersing negative energies and agents of disharmony
(bhutapasarana), cleansing of the inner elements (bhutasuddhi), and
statement of commitment and visualization of intention (sankalpa). This,
and other processes, prepare the participants for the puja. Abbreviated
pujas offered to Guru, Ganesha, the assembled Devatas, and Shiva are
usually performed. After these preliminaries, the yantra of the primary deity
is propitiated. Those who lack the emotional scope for devotion and
humility will not unravel the mystical threads of yantra sadhana in a
hundred lifetimes.
and then Shiv a s poke, O Dev i, Mis tres s of the Kula,

becaus e it can protect alway s from abs olutely all
dangers , s uch as dy ing (yama) and dis embodied s pirits
(bhuta), therefore it is called y antra.
Ku la rn a va Ta n tra
Sri Lalita Yantra
The Sri Yantra is undoubtedly one of the worlds most recognized yantras,
but few souls understand her real power and the method of approaching
her with mantra, tantra, and mudra. Historically, female sacred geometries
have been identified as vidyas rather than yantras, but, in our current time,
the terms are synonymous.
The antiquity of the very specific geometry of the Sri (Lalita) Yantra is
unquestioned. A contemporary Indian-American scholar, Subhash Kak, has
identified that a description of the Sri Yantra can be found in the
Svetasvatara Upanishad, dated from between the 4th to the 6th century
BCE.
Adi Shankaracharya is known to have performed Sri Puja and

recommended it to his very closest disciples.
In many personal pilgrimages over the last four decades, I have seen Sri
Yantras carved out of granite into the ceilings or floors of ancient temples.
A number of these three dimensional carvings are locally attributed to Adi
Shakara, who is historically linked to this yantra, and is known to have
traveled throughout India and reorganized the Sanyasin (Swami) tradition
during the early 8th century. The initial usage of the Sri Yantra may be lost
in time, but it is known that Adi Shakrara manifested four crystal Sri
Yantras through his siddhi, and gave one to each of his four main
successors. For over 1200 years now, their worship is the personal duty
and practice of the four Shankaracharyas who are the chief
representatives of Advaita Vedanta.
The Sri Yantra, or Sri Chakra, attracts Lalita Devi, also known as Tripura
Sundari. As an embodied divine being, she is viewed as a perpetual youth of
sixteen, and the ultimate Goddess who contains all things within her being.
Progressing through her yantra, with its nine levels, feels like a veritable
pilgrimage. The epicenter of focus moves from the outer gates
progressively toward the central point (bindu). Her yantra is a profound
expression of non-duality and is understood as a microcosm of the entire
cosmos. The sacred mantra of Lalita is a fifteen syllable bija mantra which
is chanted aloud as part of the puja. The mantra is preceeded by OM which
serves as her 16th syllable. A precious sixteenth bija syllable is given to
initiates, and is sometimes chanted in silence during public pujas. Her
yantra represents the union of the masculine and feminine divine. Because
her yantra is composed of nine triangles, it is known as the wheel of the the
nine yonis (navayoni chakra). These nine triangles are overlapped in such
a way that they form 44 triangles.
The puja begins with the chanting of mantras associated with the outer
square, with its four gates (bhuper), representing the root energy vortex
(muladhara chakra) of the great Goddess. The mantras that are used relate
to the Goddesses of the ten supernatural powers (siddhis), the eight great
directional shaktis (digbhandas), and the ten great mudra shaktis. The
ancients have said that the worshiper who knows its inner secrets can
mesmerize the three worlds. Prakata Devi is the ruler of the gate level.
The Sri Yantra at Yogini Ashram. She sits atop a marble abheshek
platform which is hand carved just for her. She can be illuminated
from below to bring out her natural beauty during the bathing ritual.
Moving progressively inward, the tantric soon reaches a sixteen-petal lotus,

representing the sex center, or svadisthana chakra, herein ruled by the
Goddess Tripur-rishi, the fulfiller of all desire. She is the veritable wish
fulfilling tree, granting the wishes of even the subconscious desires. The 16
petals of her chakra represent the 16 qualities, elements or energies
through which the inmost soul (jivatma) interacts with the external
manifestation. The Siddhas proclaim that mastery of physical creation itself
is attained with an understanding of these energies.
The next level is an eight-petal lotus, representing the naval center, the
Manipura chakra. This center of Sri is the agitator of all things. The
Goddesses of this level creates destructive agitation (kshobha) in all the
thirty-six tatvas, from the basic elements (bhutas) to Shiva consciousness.
This generates duality in the external manifestation. Recognizing the
duality through progressive development of the process of letting go of the
mental and emotional modifications (varaigya) cultivating a lifestyle, as well
as performing actions and speech that lead in a positive direction
(abhyasa) one achieves increasing capacity to discriminate between that
which changes and that which does not change (viveka), the sadhak
dissolves false perceptions of duality and ultimately merges into God
consciousness. Mantras at this third geometrical level agitate and destroy
duality within the sadhak. The agitator of the Gunas, the quality-mix of
inertia, dynamic aspiration, and divine consciousness, are all ruled by
Gupta-tara Yogini, the Divine queen of the eight petal lotus. She and her
retinue of Goddesses teach us about the devinization of communication,
manipulation, locomotion, elimination, sexual balance or energy
recirculation, and transformation of the mind, intellect, and ego as it
ascends into light-filled realms.
The next level of fourteen small triangles is representing the heart center,
the Anahata Chakra, and in the Sri embodiment, is the giver of good fortune,
the cosmic queen of the 14 nadis, the beautiful red Tripura Vasini who
reigns over the Sampradaya Yoginis. Transformation of the 14 energy
channels, of which she rules, is a prerequisite to enlightenment.
Illuminated Sri Yantra, having received bath and flowers, being
prepared for arti (worship of light)
As we move inward we encounter the level with ten large triangles,

representing the Vishuddha Chakra, which leads to accomplishment of all
things. This level is ruled by Tripura-Sri, with her 10 attendant Shaktis, her
kula yoginis, who together rule the vital fires. Knowledge of these vital fires
is critical in ayurvedic and siddha-vaidya medicine, as also the control of
energy through the nadis, mentioned earlier.
Then the level of the ten small triangles is reached, representing the Ajna
Chakra, and known as the chakra that gives all protection. Here, the
alluring red Tripura Malini reigns supreme. Her domain protects all who
recite her mantras. Her ten shaktis, the Nigarbha Yoginis, are omnipresent,
considered as having no beginning or no end, and are represented as the
color of 1000 rising suns.
Ritual Milk bath (Abeshek) of a spatik 3D Shri Yantra generates great power
and elicits an open heart for the Cosmic Mother.
The next level is of eight small triangles, representing the Manas or Manasa
Chakra. The manas chakra is located just above the forehead center, and
produces the nectar of immortality, which drips down toward the throat for
as long as the experience of pure jnana awareness persists. In her yantra,
this level is the ultimate remover of disease, and is ruled by Siddhamba
Devi, the red Queen. When kundalini reaches manas, bliss ensues. This is
the great healing level, mantra recitation to which, will destroy all disease,
as well as prevent disease from occurring. Siddhamba Devi destroys even
the effects of poison.
As we approach, in the progression of the puja, the central triangular

temple of Sri, representing the forehead center (soma chakra), we
encounter the 15 nitya shaktis standing guard around its outer walls. The
celebrated Goddesses rules these 15 phases of the waxing moon.
The central triangle is known as the Chakra which gives all success and
cosmic knowledge. As we enter the central triangle, we encounter Tripura
Amba. In each of the three corners reside her three great forms: (1) Maha
Kameshvari, the Goddess of desire fulfillment, who rules over the energy of
desire (Iccha Shakti) and the dynamic quality of nature (rajas guna) (2)
Maha Vajresvari, the unchangeable Goddess, who rules over the wisdom
power (jnana shakti) and the divine quality nature (satva guna) and (3)
Bhagamalini Devi, the Goddess with flowery yoni, who rules over the energy
of action (kriya shakti) and the quality of inertia (tamas guna) Their mantras
are life changing and most powerful. The siddhas have said that puja of this
level bestows incessantly good life and leads directly to supernatural
powers (siddhis). This is stated in the seminal work on yantra and tantra,
the Mantra Mahodadhi.
Finally, the central point, or bindu, which is bliss itself is reached. It

represents the crown center, or brahmarandra, which is the doorway to
undifferentiated awareness, referred to as the 1000 petal lotus (sahasrara
chakra). Having reached this center, the sadhak experiences the Supreme
Goddess of the Sri Chakra, Tripura Amba, known as Sampat-prada Bhairavi
in formless absolute. It is imposable to describe this ascent of
consciousness. The energy and awareness reverberates for days after the
mantra and yantra puja. Embodied, She is an enigma, young and alluring,
appearing intoxicated and sexual, and yet conversely holding a book of
knowledge, while she dispels fear, and holds a sacred rosary (mala) as she
grants boons of every type. It is as though her every answer to every
request is yes. One can never renounce what one has not experienced.
Thus, she seeks to fulfill every desire so that we may know her in truth, the
formless one without a second. The mystical knowledge of the three gunas
becomes increasingly understood through the ongoing worship of this
chakra. Liberation and great power ensues.
Maha Kali Yantra
This rare raised (3D) Kali Yantra, energized with Shakti Peeth cumcum and nine gems
(navaratna), is one of a handful in the entire world. Great power ensues when we honor her
and observe her guidance.
and observe her guidance.
In the sacred text, Mahanirvana Tantra, Lalita (Sri Sundari) is equated with
the great mother goddess, Kali, who is manifested as her Rakta form. The
equally inspired work, Sri Kali Tantram, reinforces this point as indicated
below.
Kalika dvividha prrokta krsnaraktaprabhedatahKrsna tu

dakshina jneya rakta tu Sundari mata
Sri Kali is described in two ways; one black and the other, red.
When black, she is Sri Kali; when red, know her to be Sri Tripura
Sundari (Sri Lalita). Sri Kali Tantram, Chapt1
As stated earlier, each petal, point, and angle of a yantra (avarana)

represents and holds the energy of a particular deity, a particular divine
vibration, and a unique consciousness that is a portion of the fullness of the
principle yantra Deity. Thus propitiated through devotion, kirtan, pranayam,
dhynam, and particularly, mantra, the diety manifests. The degree of
manifestation is related to the soul capacity of the practitioner or
practitioners.
The Sri Kali Tantram describes the inscriptions and geometry required for
the Kali Yantra and states that He who knows this great yantra attains
liberation. This is because the yantra, with its 24 avaranas, represents the
24 tatvas of Kriya Tantra Yoga, and holds the energy of the Goddesses that
these tatvas are associated with. Having an intuitive and direct
understanding of these 24 tatvas, or elements, of the individual soul (Jiva)
is, in fact, the essence of liberation from the veils of Mahamaya, the great
illusion.
Just as the mantras of the waxing moon (bright moon) are chanted during
the puja of the Sri Yantra, the mantra recitation of the 15 Nitya shaktis of
the waning moon (dark moon) become manifest in the Kali energy, with
their focal point of residence being the 15 locations within the 3 angles of
each of the five triangles in Kalis yantra. In addition to the mantras of those
15 Shakti avaranas, the avarana mantras of the 8 Mother Shaktis and
Prakriti Devi, who is the totality of cosmic nature, is honored at bindu. With
the honoring of Prakriti Devi all of the 24 Shaktis and the 24 tatvas of the
individual soul are acknowledged. One can see that the worship of the Kali
Yantra is simultaneously a worship of the pujari and assembled devotees
themselves for each jiva or individual soul, is constructed of these 24
tatvas. During the climax of the puja, the worshipped and worshiper
become, an honoring to the exalted state of nirvakalpa samadhi, for it is
said that only the divine can properly worship the divine.
The great Kriya Guru, Sri Yukteshwar, was directly requested by Mahavatar
Babaji to write about the tatvas. Doing so, he explained the Pancha Tatvas
as five forms of electricity. He identified them as the cause of all other
creation. He explained them as the five root-causes.
Referring to them collectively, he wrote, They are the causal body of

Purusha, the Son of God. These forms of electricity, being evolved from the
polarized Chitta, are also in a polarized state and are endowed with three
attributes (Gunas), namely Satva (positive), Tamas (negative) and Rajas
(neutral).
The positive attributes of these five forms of electricity are Jnana Indriyas,
the five sense organsbeing attracted under the influence of the mind
(Manas).
The neutralizing attributes/principles are the five organs of action

(Karmaindriyas) and the energetic principles behind them. They are (1)
elimination and release (represented by the anus), (2) generation/creation
(represented by the genitals), (3) communication, (represented by the
mouth)) (4) movement, (represented by the foot) and (5) manipulation of the
environment, (represented by the hand).
Matter itself is part of the wider illusion. The Tanmatras are five attributes,
or objects perceived by the senses of smell, taste, sight, touch, and sound.
These need not be seen as the physical organs, as one can see without the
eyes, such as in a dream or mystic vision. When these objects of the senses
intermingle with the negative attributes of the five electricity elements,
they combine together to produce the concepts of gross matter. This
appears to us, being under the influence of Maya, to be solids (kshiti), fluids
(ap) fiery (marut), gaseous (vyoma) and etheral (akasa). We know from
current science that objects which appear solid, liquid, fiery, and gaseous
are not what they seem to be and that electricity and magnetism play an
important role in holding together a substance on the atomic level. For
example, it is now understood by contemporary physical science that an
electrical charge is the only thing that prevents two objects of substance
from occupying the same space. One object repels the other due to electro-
magnetic energy.
The outer covering of the Purusha, the gross material body (sthula sharira)
is constructed of these illusionary components. These five element
electrical energies, together with mind (manas), Intelligence (buddhi), heart
consciousness, and ego (aham), interacting with the tanmatras and
karmaindriyas discussed earlier, cast a veil of illusion over the embodied
soul which maintains a sense of separateness between the external
illusionary Self and the macrocosmic oneness as the original son of God.
Purusha is the universal cosmic male principle. Prakriti is the cosmic

female principle, the nature of consciousness by which the universe exists
and functions. Prakriti literally means, that which gives shapes. Vedanta,
Saiva Siddhanta, and Shakti philosophy all agree that there are 24
elements that allow for the creation of form. These 24 tatvas make up the
Atman, or indwelling Self. The Kali Yantra is sacred as a geometrical shape
which holds an honorable space for each of these 24 elemental goddess
energy. Thus these petals and points of the Kali yantra hold the energy of
the 24 goddess related elements of Prakriti, the cosmic female principle.
Since they are all understood to be emanations of Kali, the geometry does,
in fact, represent the containment of her entirety.
Knowledge of this Prakriti Shakti leads to salvation. Shiva speaks to Devi

thus, Sakti-Jnanam vina Devi niruanam naiva jayate-O Devi without the
knowledge of Shakti, the great bliss (mukti) cannot be attained
The individual soul (jiva) under the influence of many layers of illusion
(maya), imagines that it is the doer and the enjoyer and identifies itself with
the body. Nothing that exists in the physical plane can lead to truth, for it is
all part of the inexhaustible illusion of maya. Thus the siddhas taught us
that the physical body is not the doer. The energy sheath around the body
is not the doer. The mind, connected with the senses is not the doer. Nor is
the intellect. The ego, the part of the being that imagines itself to be the
doer, is also not the source. Only when one makes the heroic effort of
lifetimes, can the deeper well spring be reached. By worshipping the
Goddess who stands for these twenty-four principles, salvation is to be
achieved. In the meantime, Shakti gives every pleasure, even to those who
dont seek it. As we dive deeper, the Guru calls from within to release our
illusionary control and identity with her essence. Every soul passes through
a stage where it is important to learn to just be a good human being rather
than present ones self as somebody. At a later stage, it is important to
stop pretending to be human and be willing to assume the divine mantle.
All challenges are overcome through the worship of the 24 principles of the
Self (atman) through the sacred geometry of Maha Kali. Jai Ma Kali !
Gayatri Yantra
Ga ya tri Ma ta , th e sa g e s h a ve p ro c la ime d , b rin g s g re a t a d va n c e in
e ve ry a re a o f life . S h e in sp ire s a ll wh o a p p ro a c h h e r with wisd o m
a n d Gra c e . S h e a ssu me s th e fo rm of e x q u isite b e a u ty a n d
p o te n tia lity, a s sh e ma n ife sts with te n a rms, e a c h c o n tro llin g o n e
o f th e d o o rwa ys o f th e 1 0 o p e n in g s. T h e b ija ma n tra s fo r th e se
g a te s a re p o we rfu l to o ls fo r c o n tro llin g e n e rg y d u rin g th e g re a t
a wa k e n in g . He r ya n tra g lo rifie s th e 6 Yo g a s.
T h e S id d h a s h a ve sa id th a t sh e b e a rs c o mp le te re sp o n sib ility
fo r th e p ro te c tio n o f a ll th a t is g o o d in th e a ffa irs o f th o se wo me n
a n d me n wh o c h o o se to a lig n with h e r c o smic lig h t e n e rg y. S h e
o ffe rs ma ssive stre n g th a n d g re a t p ro te c tio n , symb o lize d b y th e
we a p o n s th a t sh e c a rrie s. In h e r 1 0 a rme d fo rm, sh e h o ld s
S h iva s trish u l, Ka lis sk u ll c u p , a n d L a k sh mis lo tu s. S h e wie ld
th e p a ra sh u , th e c lo se - in b a ttle a x e wh ic h L o rd S h iva h a s g ive n to
Ma h a Vish n u fo r th e p ro te c tio n o f th e Dh a rma . S h e c a rrie s
Vish n u s d isc u s, c o n c h , a n d ma c e . S h e h o ld s th e e rd u - b o o k o f
L o rd Bra h ma , wh ic h c o n ta in s th e mo st c o smic o f k n o wle d g e .
Mo st imp o rta n tly, sh e h o ld s th e two g re a t mu d ra s o f g ra c e ;
a b h a ya , th e fe a r - n o t mu d ra , a n d va ra , wh ic h c o n fe rs b le ssin g s o f
a b u n d a n c e a n d h a p p in e ss in b o th e a rth ly a n d sp iritu a l life .
He r g re a t ma n tra , re p re se n tin g th e su p re me d ivin ity, le a d s to th e

re a liza tio n o f S e lf a n d Go d a s o n e .
T h e g re a t k n o wle d g e o f th e 7 Vid ya T a tva s re sid e s with in h e r

sa c re d g e o me try.
Ga ya tri is th e p e rso n ific a tio n o f th e a ll- p e rva d in g P a ra Bra h ma n ,

th e u ltima te u n c h a n g in g re a lity th a t lie s b e h in d a ll p h e n o me n a .
S h e is th e o n e wh o sta n d s e re c t b e fo re th e fu ll lig h t o f th e tru th .
S h e g ive s u s th e d ivin e visio n b u t a lso u n c o ve rs th e 6 c lo a k s
(k a n c h u k a s) o f limita tio n s su rro u n d in g th e so u ls of me n a n d
wo me n ; o f P u ru sh a , th e in d ivid u a l se lf, in o rd e r th a t we re c o g n ize
th e e ve r p re se n t su b tle illu sio n a n d th e e mb e d d e d tru th s th a t lie
with in . T h e se 7 Vid ya T a ttva s a re K la (time ), Niya ti (o rd e r),
R g a (lo ve ), Vid y (k n o wle d g e ), Ka l (a rt), a n d K rya Ma ya a n d
P u ru sh a . T h e 7 le ve ls o f h e r ya n tra in sid e th e g a te s o f Bh u p e r a re
in fa c t, h o ld in g th e e sse n c e of each o f th e 7 Vid ya T a tva s.
L e a rn in g th e ma n tra s to a wa k e n th e se p o te n tia litie s will b e se e n
a s a g re a t b le ssin g to a n y sp iritu a l a sp ira n t.
10 Great Mothers of Wisdom
(Das Mahavidyas)
The Das Mahavidyas have revered by tantrics and shaktas for centuries.
They exude strong energy and their yantras should be approached under
the guidance of a knowledgeable teacher.
Their worship through yantra is prescribed as an astrological remedy for
malefic placement of poorly planetary influence. Kali is propitiated for
Saturn, Tara for Jupiter, Shodasi for Mercury, Bhuvaneshvari for the Moon,
Chinnamasta for Rahu, Dhumavati for Ketu, Baglamukhi for the Mars,
Matangi for the Sun, Kamala for Venus, and Bhairavi for Lagna. The Lagna is
ones ascendant, the degree of the sign (ri) which is rising on the eastern
horizon at the time of ones birth.
As recorded in Todala Tantra, Shiva was asked by Parvati to reveal the relationship between the ten
avatars of Vishnu and the Das Mahavidyas. From a fascinating 1824 publication, the first six avatars
of Vishnu are shown above, depicted by Giulio Ferrario, in Il costume antico e moderno, Florence,
1824
The full grouping of 10 Avatars are shown below from Rev. James Gardner
in Faiths of the World, Edinburgh, 1880.
Relationship between the Mahavidyas and the Das Avatars

Tara Devi is associated with the fish Avatar. It is Tara who pilots the
ferryboat that transports all souls across the turbulent and vast waters of
Mahamaya. Thus, she is the Goddess of instantaneous change.
Bagala is associated with the tortoise incarnation, She is the one who
strikes with paralyzing intensity, lighting the darkness, awakening the
primordial energy, and purifying the subconscious. She is the Goddess of
black magic and poison, for she rules over the subtle perceptions creating
pain, death and misery. She puts a halt to backbiting and gossip. She is a
destroyer of the negative forces and the great teacher of detachment.
Dhumavati is associated with the boar Avatar. She is the unmovable One,
the frank one, who holds the keys to eternity, who is mighty, even to the
great ones. She is the ancient smoky goddess, old and ugly; borne out of
misery, loneliness, and pain. She preexisted all creation and will be present
after the dissolution of the cosmos, for she is the void itself, personified by
Divine mind for the human benefit. At first blush she appears at once
deceitful and terrifying, an appearance horrible in every way, constantly
demanding from hunger and anger. Look closer. For those who
compassionately find the Divine within her, as our very own cosmic
Grandmother, will find God in themselves.
Chinnamasta is associated with the lion Avatar, Narisimha. She is the one
who exudes the miracle knowledge. She is the tranquil one who eliminates
the thinking mind, who teaches all to conserve and recirculate the living life
force through mastery of prana. She is the retainer and distributor of life
energy. She dissolves attachment to all things and teaches us to contain
the sexual energy through Urdvamnaya Bhairavi Kriya.
Bhuvaneshvari is associated with the dwarf (Vamana) Avatar. She is the

earth, space and all things between. She is the very underpinning of space,
present throughout the universe. Her bindu is none but the center of the
universe itself, expanding ever outward, She is the beginning, the middle,
and the end of all creation. She is pure knowledge and thus gives cosmic
knowledge to all who seek it.
Matangi is associated with the Rama Avatar. She is the destroyer of

obstacles, with a passion for swift and direct strokes. She is a killer of
demons, within and without. She operates the control room over domination
and ignorance. She rejects racism, caste distinctions, sexual inequality,
and all who support them. She destroy social inequities and supports every
underdog.
Shodashi is associated with the Jamadagni Avatar (Parashurama) and is

the essence of freedom; unbounded and unattached to physical, vital and
mental entities, forms and structures. Though engaged in the realms of
both men and angels, She is knower of the transcendent Self and guides
her own to the shores of oneness.
Bhairavi is is the Avatar Balabhadra (Balarama), She is the oneness which

pervades every universe. She is the light in every eye, a sage to the wise,
the opener of the cosmic vastness, the beloved of the Kaula. She is the un-
traversable ocean of mercy, the root of all worlds, the most subtle of all
subtleties, manifesting in the formless and yet all forms. She lives in divine
love, the Hridaya, the spiritual heart of man.
Kamala is the Buddha Avatar. Her core nature is all embracing love, her
essence is light energy within every creative seed. Thus, she is verily the
nectar of immortality. She is the source of dynamic shakti and change. She
reconstructs unity in the great lila, the eternal play of Creation.
Kali is the Krishna Avatar. She manifests with infinite forms and at one with
all elements, permeating fire, water, earth and sky alike. She resides within
all space and yet transcends both space and time. She holds the ultimate
siddhi over time. Her body is nature itself, and yet she cares not for natures
laws. To her, death is yet another change. She throws illusion and dissolves
illusion. She is present in every joy and sorrow, resident in all light and
darkness, for she is the mother of the universe.
Above: The sacred geometry of
the Ten Mahavidyas
As with a ll th e ya n tra s d isc u sse d in th is a rtic le , e a c h a n g le a n d

p e ta l o f e a c h o f th e se 1 0 ya n tra s h a s a c o rre sp o n d in g ma n tra a n d
Ava ra n a Go d d e ss. T h e y a re e a c h d yn a mic in th e ir o wn wa y a n d
a p p ro a c h in g th e m with fa ith in th e u n d e rlyin g g o o d n e ss of
Mo th e rs c re a tio n with a n o p e n h e a rt, c a lm p a tie n t p e rsiste n c e o f
ma n tra p ra c tic e is re q u ire d to a tta in ma ste ry o f th e e n e rg y o f
e a c h . Ma ssive re wa rd s will re tu rn to th e sa d h a k . No t a n o u n c e o f
e n e rg y is e ve r wa ste d o n th e sp iritu a l p a th . T h e g ra c e o f sp iritu a l
me rit (p u n ya ) will a lwa ys re tu rn in th e fu lln e ss o f time .
Yantra of the 64 Yoginis
The Mantotara Tantra, authored more than a millennium ago, describes the
yantra seen above; a hexagram star, indicating the ultimate union energy
between Shiva and Shakti, surrounded by an eight petal lotus, representing
the ashta matrikas. Surrounding the lotus is a square, representing earth,
or the aspiration for their descent into the earth sphere, and finally, 64 aras
or rays, displaying their presence. In other versions of this can be found the
five triangles of Kali in the center of the lotus, as the Yoginis are
manifestations of her own being. The yantra also reflects and glorifies the
64 Tantric Kriyas of trance and transformation. Like all puja yantras, the
mantras and activation process is to be learned from a qualified teacher.
Seen here is a rare three dimensional Maha Kali Yogini Yantra. Here,
the great mother Goddess, with her traditional geometry, rests upon
her earth square which in turn is supported by the rays (aras) of the 64
Yoginis.
Three Dimensional Yantra of the 64 Yoginis

The grandeur and power of the sixty four yoginis has been discussed in an
earlier blog (Enigma of the Tantric Goddess: Darshan of the 64 Yoginis). A
prerequisite to this sadhana is always performance of the yantra of the
Shahir Yoginis, the Mahavidyas and the Ashta Matrikas. The Ashta
Matrikas, or eight original mothers. There qualities are briefly discussed in
Goddess: Darshan of the 64 Yoginis. While these practices are too involved
for this discussion, a significant level of mastery should be attained before
approaching the matrikas or the 64 Yoginis. It is well known that while
these shaktis can lift illusion, they may also cast illusion, often as a test.
For those who aspire to gain the grace of these magnificent shaktis, their
aspiration is well placed. There are several yantras, both historic and
contemporary, that have the capacity to hold the energy of these great
Goddesses.
The 64 MahaKali-Yogini Yantras are honored with the waving of the
Chamora. Yogini Ashram is blessed with the largest collection of
pure copper traditionally engraved yantras in the western
hemisphere, which also include the 18 Siddhas, and the major deities.
Jai Ma !
Shiva Yantras
There are several important Shiva Yantras, each having its own distinct
energy. Shiva Yantras that we propitiate frequently at Yogini Ashram are (1)
The Great Seat of Rudra (Rudra Pitha Maha Yantra), (2) Mrityunjaya 5
Element Yantra (Mrityunjaya Pancha Bhuta Yantra) and (3) Rudra Bhairava
Mahadev Yantra. Other Shiva Yantras which we use are beyond the scope
of this article. Two of these yantras are discussed below in brief.
Mrityunjaya is he who has conquered death, an epithet frequently given to
Lord Shiva, for not only does his consciousness transcend death, but he
follows his chosen beyond death and guides them into the higher reaches.
When necessary, he assists them in being reborn in a favorable way to
enable further soul development.
Mrityunjaya Pancha Bhuta Shiva Yantra
This yantra, properly awakened, carries the energy of the celebrated 12
Jotir Lingams of fire and has as its core a star with five points, associated
with the five faces of Shiva, as well as an acknowledgement of
Shivas mastery of the five elements (bhutas). Surrounding the star are three
concentric rings, each containing eight petals. It Is perhaps the most well
known of the Shiva Yantras. The earth element, or root chakra, is
represented by the bhuper square, in which the pujari pays homage to the 8
Blue Shiva Nagas. The outer ring of petals represents the water element, or
svastisthana chakra. The central ring of petals represents the fire element.
The inner ring of petals represents the air element. The either element is
reflected in the central star. Reaching the central star, the mantras and
mudras for the five elements are shown for the pleasure of Shiva, as well as
the recitation of the mantras of the five bodies. (pancha koshas).
Mrityunjaya Rudra Mahadev Yantra
This yantra (above) has as its core a central triangle, which holds the
energy of three great forms of Rudra: (2) Kameshvara, (2) Swachanda
Bhairava, and (3) Mahakala. Their attributes are remembered (dhyana) and
their mantras chanted. Reaching the central bindu is the point at which the
embodied soul transcends the three gunas, represented by the triangle
avaranas. Outside the triangle is a six pointed star, representing the five
forms of Rudra, plus Vishvanatha the light power of self manifested
lingam. Six siddhis are here associated with the full unbridled blossoming of
the six primary chakras, and are particular challenges or obstacles to
samadhi. (1) super-smell (varta siddhi) at the mooladhara. (2) super-taste
(asvadana siddhi) at the svatisthana, (3) clairvoyance (adarsha siddhi) aka
divya siddhi) at the manipura (4) super-feeling (vedana siddhi) at the
anahata,(5) clairaudience (shravana siddhi) at the vishudhi, and (6)
divination (pratibha siddhi) at the ajna. Thus, we see the direct relationship
between the Jnanendriyas, or subtle senses, and the chakras.
When the 6 pointed star appears in a Shiva yantra, it is associated with the
six magical powers (siddhis). (Siddhi in the Satkarmas are intended for
highly evolved souls as the powers obtained could be used maliciously).
The 6 siddhis are; (1) Shantikarma, (power to create peace) (2) Vashikarana
(power to attract), (3) Stambhana (power to restrain), (4) Vidvesana (power
to separate), (5) Uccatan (power to uproot) (6) Marana (power to kill). Shiva
has said that One should worship Kalagnirudra, Netresha, Vishvanatha,
Maheshvara, Sadyojata and Vamadeva in the six yonis. Thus, each of
these forms of Rudra, are remembered in the Yantra puja, and the mantras
of each are recited to make their essence felt and known.
These forms of Shiva also represent the capacity of the puja in overcoming
the 6 points of attachment (shadripu) that perpetuate rebirth and prevent
complete absorption in the Divine. They are, in order, Kama (excessive
lust), Lobha (greed) Krodha (anger), Mada (arrogance), Moha (Attachment),
Matsarya (jealousy). Ethical behavior springs naturally from an open heart,
and the siddhas assure us that the high reaches can never be attained
without a solid foundation of morality, compassion, and ethics. Hara
Hara Mahadev !
Babaji Yantra
The sacred geometry of Babaji, the bindu surrounded by a triangle, in turn

surrounded by a square with a more exterior circle, is loaded with esoteric
meaning relating to the great Kriya master himself, and his mysterious
state of perpetual youth. The yantra puja is performed with mantras,
moving from the outside in. In the earth square, the snake guardians are
propitiated, remembering that Babaji is indeed Nagaraj. His achievement of
soruba samadhi reflects the eternal state of physical immortality
represented in the circle which has no beginning, middle, end, or any other
demarcated points. The transformation of the four subtle bodies into light
by the Divine energy is represented in the square, and the three primal
manifestations of Shakti represented by the triangle. The central cosmic
source is the bindu, the originator of all things and the eternal residence of
the immortal Himalayan Avatar.
The circle (Vartula) symbolizes the entire cosmo-creation. In Babajis

yantra, it represents the omnipotent omnipresent power of god-hood. As
Babajis body has fully manifested the golden eternal light on a cellular level
(Soruba Samadhi). Here, one experiences the power of his presence, and
the presence of the golden body, which has no shadow, no footprint, does
not age, and indeed, is light itself. The golden body is described by the
siddhas as the descent of the omnipotent light of God into every plane of
existence, including the physical. Like the great master has done, let us
continue to call the divine descent into every part of our own being and into
the cells of the body.
Entering the square, the pujari reflects upon the elevated state by feeling
into his or her own subtle bodies. In this state, mantras call on the master
to make each a golden light-body of God-power. Each, a sheath of light
more subtle than the last. Each filled with truth-consciousness-bliss. The
first subtle body is the energy sheath. The pujari intuitively feels into this
pranic body of Babaji to observe the awesome power. This divinized vital
plane gains its power, not from food, but from the descent of shakti through
the mouth of God above. The vital plane of Babaji is so strong that it seems
to contain all of the energy of all the temples on earth. With calm
persistence, the aspirant feels into the mental sheath, the body of the mind
and related senses. The connection of the mind to the senses, both
physical and subtle, allows for experiences in the external world. The mind
moves like an excited monkey stung by a scorpion and swarmed by bees. A
siddhas mind is as still as a desert night. There is a detachment from the
lower planes. The mind is not an incessant thought factory because the
subconscious is purified and the past karma has been incinerated. The
mind-space is clear. Without desire clouding the mind, discrimination is
precise and unfailing. Only high vibration thoughts can find a home. As
yogis, we may know that we are not the mind. After transcending the
senses, the siddhas may allow us to bring the divine light-sound vibrations
into the mind, transforming it forever.
Through mantras, the pujari attunes the being to the intellectual body of
the siddha, operating without distraction from extraneous thoughts. In the
intellect of such a being, the thoughts emerge from the creative cosmic
being deep within. The intellect, or buddhi, when divinized, enables the
Buddha consciousness, with exquisite silence and depth of consciousness
and an undisturbed field by movements or distractions in the physical, vital,
and mental. The pujari is once again reminded that he or she is not the
intellect, but the intellect can be used by the divine in advancement of the
dharma. The siddhas merge in God consciousness, and assume their
dharma in bringing the experience of Cosmic Mind into the human intellect.
Progressing in the yantra puja, we would now approach the bliss body,
Here, we may observe, due to the sadhana shakti generated, that we can
only taste it momentarily and still follow any external mantras being
chanted. Take the plunge, then, and merge into the inner bliss. For those
who still hear the mantras, the method of witness consciousness is
employed, rejecting all thoughts, energies, and sense impression as unreal
and not the true Self.
As we approach the inner yoni triangle, we find the Shaktis of the Gunas.
Approaching the inner triangle, mantras continue. The siddhas have said
that without Shakti, Shiva is inert, and cannot act, and without Shiva, there
is no space for action. Activated by the power of Shiva-Shakti union they
emerge from the bindu and through them, all creation is manifested. May
the mantras bring honor to these three primordial Shaktis and manifest
their energy in our lives. We honor the Iccha Shakti of Babaji, the principle
of creative desire, from which all creation begins. We honor Jnana Shakti of
Babaji, the wisdom principle, which allows for proper guidance of the
creative impulse. We honor Kriya Shakti of Babaji, the action principle,
without which change cannot occur.
Arriving at the central bindu, the pujari encounters the inevitable union of
the fundamental polarities of the universe. Here, unfettered by duality,
Babaji resides in a state of absolute mergence with his beloved Mataji. This
is the point where all diversity and difference merges into one-ness. May all
beings experience that One-ness of Brahma within.
Mataji Yantra
The Mataji Yantra is shown above. Little is known of the mysterious Mataji
that can be revealed, except that Babaji has clearly stated to Yogi Ramaiah
and others that she is his cousin-sister. In India, It is quite common to refer
to a beloved female as ones sister. She is, in fact, his second cousin. Babaji
has referred to her in much more intimate terms. They are partners in their
shared galactic mission. There is a developed cave shrine on the banks of
the Ganges in Varanasi where she did intensive sadhana. She is an Avatar
on Babajis level who has manifested in recent times as Bhairavi Brahmani,
the tantric guru of Sri Ramakrishna Paramahamsa. There is a cave near
Gangotri where Babaji and Mataji did sadhana together many centuries ago.
Her yantra, given to the author by Yogi Ramaiah, is displayed here. Older
sadhaks will remember another yantra as well. This one is my favorite and
has 18 avaranas, each associated with one of the 18 siddhas. Babaji
himself represents the bindu. The implication is that Mataji is the power
behind the siddhas and even our great Sathguru.
In the previous pages, we have touched on the vast subject of yantra vidya.
We have provided an outline explanation for several important yantras.
Some of these images, descriptions, and background information is being
released to the public for the first time. It is hoped that it might inspire
sincere souls to learn more about this powerful means of personal growth
and transformation. When applied with the traditional integration of yantra
and mantra, the power of tantra will never fail to manifest, regardless of
ones limitations, and is guaranteed to transform the energy of any temple
or home alter, and ultimately, ones self. The core secrets of yantra and
mantra can never be obtained from a book, even an inspired book. We have
found that the high energy-wisdom is attained by following the path (marg)
of the favorite Diety (ishta deva) and teacher-disciple lineage (guru-sisha
parampara) with faith and devotion, and the heart of the Goddess becomes
known. When the heart of the Goddess is known, the mind becomes still
and the bliss reality of Self emerges from the very soul essence. Of what
need is there then for practices or discipline?
Getting the Initiation and Training in Yantra and Puja
Reading about yantras will not advance the soul one iota. One must learn and practice the
knowledge to benefit. There are a number of expressions of tantric practice. For those sincere souls
who are drawn to Swami Ayyappa Giri, at Yogini Ashram in California for this great transmission and
training, a courses are held at regular intervals. I encourage you to take that step forward for your
own personal growth. Send me an email at ayyappa108@aol.com and express your interest. If you
take one step toward Babaji, he will take ten toward you.
Jai Babaji! Jai Mataji! Om Tat Sat.
Sincerely
Swami Ay y appa Giri, Achary a
Yogini As hram, Norwalk California
(562) 556 0390
On Facebook:
Swami Ay y appa Giri
Yogini As hram
1990, 2009, 2016 Ed Ay y appa
H O W TH E AN CI E N T MO TH E R GO D D E S S E S E LE VATE
AN D TRAN S FO RM CO N S CI O US N E S S
Feb r u ar y 13, 2015 Y o gi n i A sh r am H o m e Of K r i ya Tan tr a Y o ga 0 C o m m en t
8 Mothers
8 Mothers
By Swami Ayyappa Giri, Tantracharya,
Yogini Ashram, Norwalk Ca.
Published on 12 February, 2015
The classic battle, from which the ancient Mothers famously emerged victorious, represents the war
between the inmost Divine Self and the ego. Victory over ego and destruction of illusion alone is the
great battle of every sincere soul in their journey to enlightenment. On a macrocosmic level, it heralds
the ultimate victory of the collective divinity in achieving full awareness of the one limitless
undifferentiated consciousness.
Ancient Mothers (Sapta Matrikas), Tanjavore, Tamil Nadu

From the Mists of Antiquity
A small group of ancient Mother-Goddesses have emerged from hoary antiquity, possibly as early as
2000-3000 BCE or earlier. Tantric literature from the 6th century which has survived to our present
time, tell us that worship of these Goddesses became a standard feature in temples throughout
India by the 9th century. It is said that each of these eight Goddesses manifested as eight themselves,
resulting the the celebrated 64 Yoginis, so central to Tantra. Each of these Goddesses represents the
core energy and potency of the primary male deities. Each is associated with a certain level of
perfection in the awakened woman and man. This ultimately leads to the attainment of miraculous
powers (siddhis) which are manifested in the yantras, mantras, kriyas and pujas associated with
these Goddess energies. Seven in number, the Goddesses are Brahmani, Maheshvari, Kaumari,
Vaisnavi, Varahi, Indrani, and Chamunda. These Goddesses are found in power shrines throughout
the Indian subcontinent. The individual mothers can be identified in various ancient temples by their
weapons, ornaments, animal mounts (vahanas), and banner emblems, which are in some cases the
same as that of their corresponding male deities. Artifacts from the ancient Indus Valley civilization
suggest that this or a similar shakti cluster connected to the constellation Pleiades, emerged many
thousand years ago.
The image at right, more than 4000 years old, is sometimes referred
to as the Seven Mothers of Harappa. It is considered by adherents of
to as the Seven Mothers of Harappa. It is considered by adherents of
Goddess worship, (Unmani Shaktism) to be the first representation
of the the ancient mothers, so treasured by Tantra. These
seven Mothers are thought to be connected to Pleiades and in turn, by Muruga, the dravidian God of
war and beauty, whose origins are identified with a constellation in Ursa Major and described in
Ancient Tamil texts. During medieval times, an eighth mother, Sri Lakshmi, was added to the Shakti
Cluster resulting in the Ashta Matrikas (the eight mothers of wisdom).
Although the specific origins of the ancient mothers are shrouded in the mists of antiquity, the
Matrika tradition was popular and well established by the 6th century, and reached a further peak in
terms of followers prior to the 11th century The tradition continues today in tantric and
shakti traditions, in whom the divine female is worshipped.
Advent of the Goddesses Kali and Durga
Two overarching Goddesses emerge from ancient times. Kali and Durga. Kali is Durga and Durga is
Kali. Although they are differentiated, they are also seen as one. The texts record that even the
residents of the celestials in the Divine realm (Deva Loka) could not defeat the buffalo-demon
Mahisha, who was running amok creating problems for all those in the light. Mahisha, in fact, is the
personification of ego and darkness of consciousness. Turning to Shiva, the celestials were advised
to release their inner spiritual power, for the benefit of all. In doing so, Kali Durga was born. Yoga
and Tantra have always taught that the impetus and capacity for action comes from the inner divine
female and that the capacity for discrimination emerges from the inner divine male. Thus, the inner
power, the shakti energy of the Gods emerged in female form Maheshvari from Shiva, Vaishnavi
from Vishnu, Brahmani from Brahma, Indrani from Indra, and Kaumari from Kumar (Muruga). The
Matsya Purana states that Chamunda, both primal and fierce against illusion and ego, was created
by Shiva. Although each of the Goddesses maintained their form, they merged their inner power
together into a grand light form from which arose a magnificent Goddess with many arms. She
would come be known as the invincible Goddess, Ma Durga.
Each of the ancient mothers in turn further aided Durga by arming her with their magical weapons
Maheshwari gave her his trisul (trident) to awaken the fullness of her inner power, Varahi gave her a
rope with which to bind illusion; Indrani, master of electrical energy, offered her thunderbolt;
Brahmani gave the shield of knowledge for protection, Vaishnavi his powerful mysterious discus
weapon; Kumari a magical lance, the embodiment action energy (kriya shakti). Surya, the sun-god,
contributed his magical bow and arrow, which could reach its target at distance with astounding
force and accuracy. Chandra, the Goddess of the moon, gave her convulsive axe, and Yama, the god
of death, gave his deadly mace; Vayu, the wind-god, gave his conch-horn, which Durga ultimately
blew to herald her victory in battle.
Thus armed, Durga, with cosmic wisdom, laid a clever trap for the evil Mahesha. She rode to the top
of a mountain on her lion, where she remained silent and still, in majesty and power. As anticipated,
Mahisha, seeing her and attracted by her beauty, came to the mountain. Dumbfounded by her latent
sexuality and the raw power of her aura, he lost his thinking mind. Unconscious of her intent and her
vast potential to destroy him, he proposed marriage. Durga then broke her silence, I will marry only
he who can defeat me in battle, she said.
Immediately taken up by his lower vital, and lost in illusion, Mahisha attacked the Goddess Durga
with glee. Legions of demon warriors faced off with Durgas attendants, the ancient Mothers, and the
fight was on.
The illustration above demonstrates the chaotic collision of battle, led by Maha Kali (with dark skin)
and Durga (on her lion).
As the battles between the demon army and the Matrikas raged on, Durgas epic fight continued with
the great demon general, Mahisha. She hurled many magic weapons at him to no avail, for each time
he arose unscathed. Due to powers gained earlier from Brahma, Mahisha was immune even to the
weapons of the Gods. Inspired by higher power, Durga kicked him and he immediately succumbed
to the powerful touch of her foot. Durga then impaled him with her most powerful weapon of all,
Shivas trisul, and blew her conch in victory over the demon king.
Durga fought with great power against the Demonic Mahisha but due to a boon received earlier from
Brahma, he was immune to her powerful weapons.
The Devi Mahatmya records the story

of Raktabija, who was a demon that
was thought to be immune from death.
That is because whenever a drop of his
blood fell to the earth, a duplicate
Raktabija demon would rise up. Durga
herself could not vanquish Raktabija
so the great Goddess Kali stepped
forward to battle Raktabija. As she
fought the demon, MahaKali caught
MahaKali destroyed Raktabija by capturing his life force from each drop of blood with her own
each drop of blood,.
tongue. Thus, Raktabija was
annihilated. With the help of the eight
Mother Goddesses, the entire demon army was vanquished. After the battle, the Matrikas danced
and became drunk from the blood of their victims. The mystical interpretation of this particular
battle is that Kali, Durga and the Divine Mothers have complete mastery over life force, symbolized
by blood, and the capacity to conserve and recirculate that life force.
As the war against the demons concluded, all the Gods descended from the celestial realm and
saluted this great warrior-Goddesses and celebrated their triumph. Thus, Durga became known as
Mahisha-mardini, the killer (mardini) of the great demon (mahisha).
This classic battle, from which the ancient Mothers famously emerged victorious, represents the war
between the inmost Divine Self and the ego. Victory over ego and destruction of illusion alone is the
great battle of every sincere soul in their journey to enlightenment. On a macrocosmic level it
heralds the ultimate victory of the collective divinity in achieving full awareness of the one limitless
undifferentiated consciousness.
Durgas story appears many sacred texts, including the Skanda Purana, The Brahmanda Purana,
Devi Mahatmya, Kulachunamani Tantra and the celebrated epic, the Mahabharata. The Markendeya
Purana links the eight Mothers to the eight cardinal directions which places them at the core of many
yantra pujas. The Matrikas are also described in the Matsya, Vamana, Varaha, and Kurma Puranas, as
well as the Supra-bhed-agama.
The Devi Bhagavata Purana states that the Supreme Mother, Kali Durga, promised that the Matrikas
would fight and conquer demons whenever needed. These eight mothers represent and are extoled
as the protectors of the directions and, like the ten Mahaviyas, can be used in puja to seal the energy
of the puja.
Shakti
Sadhana
Above Ancient stone reliefs of the mothers are scattered through the Indian subcontinent.
Hearing
about these
primal Goddess will elevate consciousness, but learning the practical yogic techniques, as well as the
ritual and meditative practices associated with them provides a powerful source of protection and
transformation that can be drawn on whenever needed. The practices lead to freedom, power, inner
light, and massive energy. There are two forms of Shakti sadhana, (1) Samani, or active and (2)
Unmani, or inactive. These sadhanas require practical kriyas which are linked to specific initiations
and must be learned from an authorized teacher (adihardi guru), as there are energy transmissions
that occur with each, through the Grace of the Sathguru and lineage of teachers. All of these aspects
related to the Great Goddesses cannot be overemphasized and cannot be obtained from a book. A
fundamental principle of yoga and tantra is that the Sathguru imparts shakti into the mantra as it is
passes on from teacher to student. In this way, there are many aspects of Shakti Sadhana that
require a teacher, and books cannot be that teacher. Nevertheless, in order to introduce these great
Mothers to the reader, their own self descriptive words are recored below. The following are
excerpts from an as yet unpublished text, Kali Yogini Tantra, channeled recently, with commentary by
the author. It is a work that has required decades of preparation.
Thus Chamunda Devi Spoke
I am the great goddess who is loved by the strong, worshipped by the noble, and experienced as the
one of transcendent light by the enlightened. I am by nature the wind itself and of the character of
perpetual motion. I swirl about chaotically creating confusion and consequences for those
who gossip and tell tales. I am the original witch of whispers. I will clear the air and heal the wounds
of gossip pain inflicted by this confusion. I bring forth great clarity, focus and intensity. I have been
with you from the beginning as a seed, and I am that which is attained at the end of desire. I am
Yamas own,
Chamunda Devi
Commentary
Chamunda is known as parianganatha, the ruler of sacred erection, for she is the primal source of
creative energy. She sits upon a razors edge of pleasure and pain. She is dynamic to the extreme,
securing for her devotees anything to advance their spiritual aspiration. Chamunda is the first of the
eight ancient mothers. She has the nature of the wind (marut/vayu). Chamunda obtains her name
from two great demons that she destroyed during the great battle between the celestial Mothers and
the demon army. The demons, Chanda and Munda, were slain by her and thus her name became
Chamunda. Chamunda shares much with the Goddess Bagala Mukhi especially in her fight against
gossip. The demon of gossip, Paisunya Asura, is said to be deathly afraid of Chamunda. She is
propitiated to free ones life from gossip mongering and tale bearers. She is otherwise rarely
propitiated by worldly devotees who find her austerity bordering on fearful. The seriousness of her
approach should be noted and regular sadhana to her is to be avoided by the ego clingers, mystic
power dabblers, and psychic window shoppers, for she is the real thing! She is the fast track from
emancipation from the triple demons, karma, ego and maya, but she will exact a price, to be paid in
service to the dharma. Against the recommendation of saints, advanced yogis and tantriks, she is
sometimes propitiated by those who seek supremacy over an enemy but beware of unintended
consequences. In spite of her intensity, she is quite willing to bestow blessings all around. For the
yogi or tantric she offers great assistance in any activity or inner growth that requires discipline for
she is the embodiment of self discipline. Linked to the God of death, Yama, she is an ultimate
enforcer of the inevitable pendulum of karma. Ironically, for the courageous few who seek her
confidence, she will tenderly guide the soul to its spiritual destiny as well.
Chamunda herself is intense beyond any recognized standard. In her stance for truth, she embodies
self sacrifice. She is connected anatomically to the inner thighs. Mantra sadhaks who are focussed
on the inner goal should understand that She presides over Bij Kshara, the root-letter or the seed-
letter in which resides the latent power of all mantra.
Yantra: Her yantra has two small inverted equilateral triangles, one within the other. This, in turn, is
surrounded by two intersecting triangles forming a six pointed star. Surrounding that are two
interlocked squares, one rotated 45 degrees from the other. These squares thus form an octagon
design. This is encompassed by a circle of ten petals, then one of twelve petals, then one of fourteen
and finally a sixteen petaled pericarp surrounded by a circle.
Her Appearance and Sadhana: Chamunda appears in both a black as well as red form. She rides
upon an owl and displays a necklace of human heads. In her two armed form, she carries a trident
(trisul) and sword (khadga). In her four armed form, she carries a sword, shield, battle axe and spear,
all symbolic of the powers of protection which she gives those who approach her. She sometimes
appears as the emaciated and terrifying dark Mother with sunken eyes, sagging breasts and skeletal
body. She has a third-eye with veins defined over the course of her entire body. She appears
toothless, with heavily hanging earlobes and snake-entwined arms. Her hair is aflame and pulled
upwards, wrapped and held in place by a band created from a snake. She is adorned with all manner
of scorpions, serpents and other poisonous creatures. The center of her hair bears a terrifying skull.
She is witch-like among Goddesses and the Great Powerful Mother among witches. She is meditated
upon seated on and engaged in sex with a corpse (maithuna preta). She has full mastery of all
mystical powers (siddhis) and can bestow them to those whom she chooses. Her matted hair, like
Shiva himself, is adorned with a crescent moon. With an ancient link to both liquor and maithuna,
puja to her can include both of these elements and any chakra puja should honor her in some way.
She is best worshipped at night with a black or red cloth. Approach her with humility and sincerity
and you will be rewarded.
Pilgrimage: Chamunda can be seen at the Hiripur 64 Yogini Temple. She is also present at the
Bheraghat 64 Yogini Temple.
Thus Varahi Devi Spoke
I am Satya Ekakini, the Oneness of Truth. I am the expeller of impurities, the multiplier of power. I
am the essence of strength, power, and energy. I have dominion over the intellect (Buddhi). As the
inner power the boar God Varaha, I enabled his rescue on the physical plane when the demon
Hiranya Kashipu, tossed the earth into the cosmic ocean. I plunged into the cosmic waters and
destroyed the demon. The spirit of earth, manifesting as a beautiful woman, was carried safely to its
place in the universe. I am telling you these things so that you may understand my phenomenal
power to rescue any soul caught in unfavorable circumstances. Stand strong within yourself, and
look not to others for your power for you have ample strength in your own core, if you care to see it.
Doing this, you will find me residing ever within. I am the destroyer of envy, for I free souls from
its demonic interference. I am the mystical perfect balance of masculine and feminine energy,
divided, yet harmonious. I am the ultimate protection of the pure maiden of 16 summers, guarding
all youth and especially females.
Commentary
Varahi brings about destruction of ego and self pride and is the second of
the eight ancient mothers. She is the cosmic vessel for the God of great
tusks, the Boar Avatar. She is the very mother of the peerless
Tripurasundari, the youthful Goddess of 16 summers, and is identified as
such in the Tantra-raja-tantra. The text Varaha Purana states that Varahi
represents the potential to overcome the demon of envy (asuya asurya).
Varahi is a granter or boons who rules over the northern direction. Her
yantra then is utilized in the north during chakra pujas and other secret
tantric practices. Varahi is the goddess with boar form, fighting demons
with her tusks while seated upon a corpse (preta). In other times, she
powers through Mahamaya on a buffalo. She is the activating force of
Lord Yama. She is connected anatomically to the skull, a symbol which reflects her role in the realm
of transformation of the intellect. Ruling over manas tatva, she presides over the mind and senses. It
is said that her pingala is the mantra Ham and her Ida is the mantra Sah, thus she integrates with
perfection alchemical polarities of kundalini balance.
Yantra: Varahis yantra is a bindu around which is an inverted triangle. This in turn, is surrounded by
a circle, beyond which is a hexagon followed by two concentric circles.
Her Appearance and Sadhana. Her highest form rests on an island of nine gems, reflecting her reign
over the planets. The island of gems rests within an ocean of sweetness, an allegory for the divine
elixer (soma) extracted from the depths of the subconscious during Sambhavi mudra, a mystical
practice. She is the color of molten gold, with fiery continence, golden clothes, and voluminous hair.
She carrying a plough in one hand and a spear in the other. In yet another of her forms, she is
the two-armed boar form she wields a magical discus (chakra), and fights with a sword (khadga). In
her eight armed forms holds a discus, conch, hook, lotus, noose, and club and displays the mudras
of dispelling fear and granting boons. In all her forms, she is worshiped through dhyana yoga,
especially at night, with the Ham-Sah mantra and kundalini pranayam as well as any of the 64 tantric
kriyas. Sambhavi mudra is particularly appropriate for her puja.
Pilgrimage: She can be seen at the Hiripur 64 Yogini Temple. Varahi is worshipped at Panchasaagar
Varahi Shakti Peeth located near Varanasi in Uttar Pradesh, India. Here, Devi Satis lower teeth fell to
earth. She is also present at the Bheraghat 64 Yogini Temple.
Kaumari Devi Spoke
I am the one with overarching will, who experiences the awakened fire, and who awakens the fire in
others. I am the very energy of the Muruga Avatar. I am the warrior among warriors, the single
minded and horrendous destroyer of separateness and illusion. I am master of the rising up energy,
the primordial power in the great staff of life. I clear the fog of confusion and fear and enable those
who approach me with humility to overcome the limitations of fear, illusion and fallacy. I free the
devotee from the interference of falseness. The ultimate aspect of falsity is the cosmic illusion of
Maya that I control with mere will. I lift the veils of the dream-like state and awaken the sadhak to
spiritual reality. I have dominion over vacuity, Divine space (akasha), and the realm where the
ancient records of all souls are stored, for I am the record keeper of the book of life. Thus, I am
propitiated to those who seek long lost or hidden knowledge.
Kaumari
Commentary
Koumari is the embodiment of Kriya Shakti, the energy of dedicated action. She is the third of the
eight ancient mothers. She attacks illusion (moha asura), promotes unity and oneness, engenders
acceptance and inclusion, and rules over both sexual bliss and progeny in intimate relationships.
Her namesake, Kumar, is the second son of Yogi Shiva and deeply connected to the three great
powers that are needed before any accomplishment can be realized. (1) Iccha Shakti, (2) Jnana
Shakti and (3) Kriya Shakti. Iccha Shakti is the energy of desire. Without desire, no advancement can
be made in any arena of life, as there is no motivation. Jnana Shakti is the energy directed in a
knowledgeable way. One must have the knowledge to direct the motivation, without which there is
no further advance. Kriya Shakti is the energy of action, essential for progress and completion of any
goal. Iccha Shakti and Jnana Shakti are concentrated in the avatar Kumar through his two consorts
(Valli and Devanai). Kriya Shakti, which he obtained from his magical spear or Vel, was given to him
by his mother, Parvati, which she pulled out of her own body, as he approached a great battle with
the demon, Soorapadman, who was enslaving even the Gods. Ultimately, the enslavement is lack of
knowledge of Self. The result is that Goddess Kaumari has inherited massive Shakti grace, and
particularly the end stage Kriya Shakti to accomplish any task for her devotees. Anatomically, she is
connected to Scarpas triangle in the upper inner thigh. She presides over Urdhvamnaya Bhava, the
ultimate absorption and recirculation of the sexual energy.
Her Appearance and Sadhana: Kaumari appears on her vahana, the peacock. She is clad in red and
holds the trisul of Shiva in her upper right hand. In her upper left she holds the battle spear (vel) of
Muruga. In her two lower arms she displays abhaya mudra and vara mudra. All of the Urdhvamnaya
practices, including Bhairavi Kriya are desirable when performing sadhana specifically to her.
Meditation upon space (akash) is ideal.
Yantra: Careful observation of her yantra reveals that it has twelve stars, each with six points. In the
center is an inverted triangle and within that, a circle. On the outside of the pericarp is sixteen petals.
Pilgrimage: She can be worshipped at the Hirapur 64 Yogini Temple. She can also be worshipped at
the Bheraghat 64 Yogini Temple where her image is found.
Thus Indrani Devi spoke
I preside over adi the beginning; the first. I am the Divine warrior, born at the birth of bindu itself,
repelled by the brutality of the unenlightened, who emerges with world shaking force, fully
dedicated to the destruction of every jealousy in the three worlds. I attack jealousy even in the realm
of the Devas. I uproot such limitations and release them to the vastness above for I am the Goddess
of the sky. I will remove compulsive attachment to brute lust and expunge jealousy that destroys
heart and brings unnecessary suffering to friends and lovers. I release the devotee from the bonds
of fault finding and misplaced criticism.
Commentary: Indrani is mukti niyantri, the guide to bliss. She is the guide to bliss because she shows
the way of escape from the clutches of jealousy and fault finding (matsanya asura), which pollutes
every relationship it touches, and destroys self respect. It is one of the greatest barriers to both
human and cosmic bliss. Indrani Devi stands firmly against fault finding whether to ones self or
others. Indrani is the fourth of the eight Matrikas. She is highly auspicious to all male-female
relationships. She is connected anatomically to the outer thighs. She presides over those crucial
points of change within nature which create change (Bindu Kshara Bhava).
Her Appearance and Sadhana: She appears with golden skin displaying massive allure and great
sensuality. She rides upon an elephant, has four arms, with which she blesses with two, (vara and
abhaya mudras), while carrying a bolt of lightening in one and a spear in another.
Yantra: The central bindu of her yantra is surrounded by an inverted triangle. Beyond that are two
interlaced triangles, one inverted. This forms a six pointed star on a pericarp which supports eight
petals. Around those eight petals are two concentric rings.
Pilgrimage: She is present at the Hiripur 64 Yogini Temple. There is a temple in Sri Lanka dedicated
to Indrakshi, while pneumatically different is nevertheless identical with Indrani. Known as Nellore
Shakti Peeth it is believed to be the spot where Satis Anklet fell. She is also present at the Bheraghat
64 Yogini Temple.
Brahmani Devi Spoke
I am Ananda Moorthi, the form of bliss. I am the quintessential earth goddess. I am at the center of
all creation energy. I have the power to move all souls to the realm of timelessness and unlimited
wisdom. I reside within as the force that opens Manipura to mystic light. I am the lover of all men,
expansive as the universe, and with the qualities of irresistible passion. I have dominion over all that
is solid (Prvhti) and am the very essence of stability. I create stability and security in the lives of those
who entreat me. In my hands, the devotee will overcome the limitations of pride and ego. I free the
sadhak from all arrogance for I am the great goddess who liberates all who approach me from false
pride.
Commentary
Brahmani rescues the sincere sadhak from the demon of pride

(mada asura). Spiritual pride, left unchecked, leads to
ignorance, confusion and darkness. Brahmani presides over the
Kalaa Vidya Tatva. Kalaa is the quality that reduces the reality of
timelessness to time that is limited in the relative plane of
human experience. As consciousness expands, the experience
of time is slowed. Vidya is the quality that reduces wisdom to
that limited to human knowledge. In full realization eternity
Brahmani Devi Matrika
Brahmani Devi Matrika
shines as the present moment. Brahmani is the fifth of the eight
ancient Matrikas. She can be relied on to assist whenever the
need arises to obtain proficiency in any language. Brahmani is Kshiti, the goddess of the earth. She is
connected anatomically to the mound of Venus in the supra-pelvic area. She also works in harmony
with Lakini Devi to transmute gross energies within the solar plexus vortex and all of the lower
chakras into high vibratory light energy (tejas). She is the first of the three divine forms (trimurtis) in
the Tantric sadhana of Hong Sau. This focused practice leads to the transformation of the umbilical,
heart, and the third eye chakras.
Yantra: Her yantra is an inverted triangle around which is a pericarp surrounded by two rings both
identically divided into eight segments, around which are eight petals.
Her Appearance and Sadhana: With four heads, Brahmani sits atop her carrier, a white swan,
wearing all white. In her two upper arms she holds a water pot and a mala. With her two lower arms
gives blessings and carries a book of wisdom (erdu). She is associated with Hong Sau Kriya and
meditation on the manipura chakra. Her yantra is adorned with white cloth.
Pilgrimage: She can be worshipped at the Hiripur 64 Yogini Temple. She is also present at the
Thus Vaishnavi Devi Spoke
I am the sacred sovereign of the preservation principle. Take refuge in me and be protected from
every threat or challenge. Wealth and comfort of every type are at my feet. Seek my blessing, or seek
me, for I am Satya Rupini, the form of truth. I am the calm one, the shakti of inexhaustible
compassion, the goddess in the heart of every woman. I help the devotee overcome the limitations
of fear, anxiety, envy and especially covetousness. I destroy the darkness within which yearns for the
possessions of others. I am fluid in nature for I am the Goddess who presides over all things fluid.
Thus I always take the form that the devotee holds dear for the benefit of their soul.
Commentary
Devotees often see Vaishnavi, the inherent shakti

energy of Vishnu, as the giver of wealth and
abundance. Vaishnavi is the antidote when
souls covet the possessions or abilities of others,
for she destroys the covetousness illusion (lobha
asura) In doing so, she liberates souls caught up
in materialism, ironically permitting room for true
abundance. Vaishnavi is the Goddess who rules
Vaishnavi Devi Matrika the liquidity element (Ap). Although that would
suggest a connection to svatisthana, she actually
resides within the Hridaya, the spiritual heart.
Thus, she works with Kakini Devi to help the sadhak transmute fear and gross vital thought-forms
into pure love. She is the sixth of the ancient Matrikas and the essence of Vishnu Bhava. She is a
combination of cosmic love (prema) and giver of permanence in all things. Purity springs from her
unconditionally and transforms motives which are limited in scope and based in fear. She is part of
the critical triad for mystic tantra, Brahmani, Vaishnavi and Maheshwari. The nature of Vaishnavi is
preservation of those who approach her. Bhava is her very special domain and thus she is the ruler
of ecstasy and self surrender. She is the great doorway to higher consciousness. She is associated
anatomically with the perineum, the pelvic floor.
Yantra: Her yantra is a six pointed star atop a circle. That circle sits atop a pericarp with eight petals.
Beyond that are three circles with eight petals. Beyond the petals are four concentric circles
surrounded by an inverted triangle.
Her Appearance and Sadhana: Vaishnavi, residing within Hridaya, the spiritual heart, rides a sacred
half human, half bird (Garuda). She has four arms. In her upper right she holds a conch and in her
upper left she holds a discus. In her lower right she holds a scepter and in her lower left, an open
lotus blossom.
Pilgrimage: Vaishnavi is present at the ancient Hiripur 64 Yogini Temple. She is also present at the
Thus Mahesvari Devi Spoke
I am absolute reality. I am ever new joy. I am the apex of yogic and mystic power. When in the
relative plane, my energy and consciousness is centered within the third eye. Beyond that, I am
consciousness itself. I was born out of flames from the mouth of my beloved Shiva. I am his eternal
power. I am the goddess of fire and light (agni/tejas). I am constantly regenerating the grand
energies of the Divine mind. I preside over deconstruction and reconstruction for I am the primal
cause of positive change. I am the essence of discrimination and the ultimate weapon against
illusion. Sweeping down from Deva Loka on Shivas massive bull, I come to the aid of yogis, tantrics
and mystics in their path to overcome any lingering remnant of anger and rage. I am Para Shakti; the
Goddess of Transcendental energy. Anger and ignorance flee from my presence, for I am the
ultimate embodiment of emotional balance.
Commentary
In the human sphere, Mahesvari

resides within the Ajna chakra
and works with Hakini Devi in
helping the soul plunge into thee
sphere of non duality. This links
her directly to mastery to the
third eye practices (kuthasta)
particularly eka neeli kriya,
known to initiates of Kriya
Tantra Yoga. Mahesvari presides
9th Century Chola Mahesvara over the absolute final tatva of
the complete array of 36 which
elevate the embodied soul to
mystic truth. She presides over Parama Shiva Tatva. By understanding these tattvas, we
progressively come to realize that the individual self (atman) is identical with the Supreme Lord. Due
to the influence of Maya, the cosmic illusion, the individual self has forgotten its divine nature, and
thinks itself to be different from the very oneness that it imagines itself to be separate from.
Mahesvari is the ultimate balm to the grand illusion. She is the embodiment of discrimination. She is
the seventh of the ancient Matrikas. She controls the demon of anger (Krodha Asura) and is
propitiated to bestow steadiness in the emotional field. She is connected anatomically to the
inguinal ligament.
Yantra; Her yantra is the five pointed star of Shiva surrounded by an inverted triangle of Shakti.
Her Appearance and Sadhana: Mahesvari rides upon a bull, holding a trisula in her upper right hand
and cobra in her upper left. In her lower right she displays the mudra of blessing (vara) and in her
lower left she holds the bowl of a mendicant (wandering sadhu). Eka Neeli Pranayam kriya is a highly
auspicious practice for Mahesvari sadhana. Due to her connection to agni and tejas, is very
auspicious to include arti and yagna in her sadhana. Tradak kriya is also appropriate.
Pilgrimage: She is present at the Hiripur 64 Yogini Temple. She is also present at the Bheraghat 64
Yogini Temple.
Thus Lakshmi Devi Spoke
I am the essence of Divine sweetness, the epitome of celestial beauty and the ultimate in captivating
grace. I am the supreme goddess of abundance, prosperity and spiritual unfolding. Even when I am
sought for limited means, I give the soul the deeper blessing as well, as the Divine Mother will always
do for her child. Whenever good fortune appears, I am present. When I am present, security and
abundance prevail. I am the original goddess of love and mercy who emerged from the churning of
the ocean of milk when the devas and asuras sought the nectar of immortality. I rose up, resplendent
upon a lotus, reclined upon the chest of my beloved Hari, and gazed upon the enraptured Devas. I
am the goddess of fulfillment for both health and wealth. I am the supreme Brahman, the all-
pervading Atman and the Mother of the universe. I am always one with the supreme consciousness. I
am the giver of success. I am without beginning and without end. I am ever pure, both gross and
subtle, and giver of both worldly enjoyment and liberation. I am the remover of pain, the giver of
boons, and the very essence of the great Mahamantra.
Commentary
Sri Lakshmi is
Monoramayoni, the
one with a beautiful
yoni. She is the
Lakshmi Devi Matrika primary source of
strength, even to
Maha Vishnu. She is
the last of the eight ancient Matrikas. Mahalaksmi joined the Matrika Shakti cluster during early
medieval times and is found at the great shakti temples of Aihole and Ellora. She is viewed as a
dignified Goddess of great prestige and honor. She is the supreme Goddess, the Divine Mother
Herself. As an Aphrodite figure, she emerged from the ocean of milk, when the devas and asuras
churned the ocean. The ocean, of course, represents the subconscious and she herself is the divine
inner light of truth, beauty and knowledge. She is connected anatomically to the face and her face is
always a thing of beauty. She presides over the last moments before the Brahman consciousness is
entered and the first experience of Brahman. Although she is popularly know to be a powerful of
abundance by the masses, her role mystically is far more important. Her very own body is the source
of the six great qualities. (1) Jnana, all wisdom (2) Shakti, transcendental energy or power to create
change (3) Aisvarya, or omnipotency and lordship over creation (4) Bala, power to perform creation,
preservation and destruction at all times (5) Virya (vigor and valor to do all things (6) Tejas, the
source of all light.
Yantra: Lakshmi Devi has a number of yantras, including one for physical health and another
for abundance. Specifics should be learned from an authorized teacher.
Her Appearance and Sadhana: Lakshmi holds a night lotus in each of her upper right and upper left
hands, symbolic of the spiritual potential which she reveals in all devotees. The night lotus awakens
with the emergence of the light. With her lower right hand she blesses with the abaya mudra of
fearlessness and with her left she offer vara mudra of incessant grace and abundance.
Pilgrimage: Because Lakshmi is the most beloved Shakti in India, her temples are nearly everywhere.
She has a powerful presence at the ancient Hirapur 64 Yogini Temple, an excellent place to
meditate. Another ancient and powerful vortex of her incredible energy, is the very spot where Satis
neck fell to earth, her temple near Sri Sailam in the village of Joinpur village, in Andhra Pradesh.
The Shri Mahalakshmi Temple of Kolhapur, Maharashtra is a shakti peeth whose energy is grand
and of great antiquity. There she is worshipped as AmbaBai.
Summary
Review of the preceding text would have revealed to the careful reader that for each of these Great
Mother Goddesses, there are several appropriate practical yogic and tantric techniques by which
they are specifically propitiated. These techniques assist the sadhak in overcoming human
limitations to experience knowledge of Self. Integration of the energy and personality of the
Goddesses lead to miraculous yogic powers (siddhis). When the sadhak has connected to the subtle
essence of the Goddess energy, and it has permeated the suble bodies (koshas) and subconscious, it
will reach the soul level (atma). This is achieved through an integrated path of mantra, dhyana,
yantra and puja. Many things are not approriate to this forum such as the link between the Ashta
Matrikas and the eight forms of oral congress (aparistaka linga kriyas), an important aspect of the 64
tantric kriyas. The author has observed over the many years that reflection on and allignment with
these Great Mothers literally transforms consciousness. Sincere aspirants who seek a close
relationship with the Mother Goddesses should learn the mantras, method of yantra construction,
and kriyas directly from an authorized teacher (adikadi guru). Any soul who truly seeks to reach
divine realms would benefit from a more direct connection to these great Mothers. They are each
just as real as the incarnated souls who seek clarity and truth. Everything in nature is part of Shakti,
including the grand illusion. The siddhas maintained that we should use the form to transcend the
form. My Adi Guru, Yogiar S.A.A. Ramaiah, strongly reccomended that we do so. In the process, as
the Great Ramakrishna discovered, one finds truth in every part of nature. Jai Ma !!!
Om Tath Sath
Om Kriya Babaji Nama Aum!

Your Swami
Swami Ayyappa Giri
Web Site: yoginiashram.com
Swami can be reached at 562 556 0390
This post may be reproduced wholly or in part with the provision that the source is cited as
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E N I GMA O F TH E TAN TRI C GO D D E S S : D ARS H AN O F TH E

6 4 YO GI N I S
D ec em b er 22, 2014 Y o gi n i A sh r am H o m e Of K r i ya Tan tr a Y o ga 0 C o m m en t
64 Yoginis
By Swami Ayyappa Giri, Tantracharya, Yogini Ashram
Published on the Sacred New Moon & Winter Solstice 2014

A Sacred Puja in the Sanctum of the 64 Yogini Temple at Hirapur.
Sixty and four are the instruments of enjoyments that tempt the individual soul (jiva). Sixty and four
are the divisions (kalas) within jiva; Sixty and four are the chambers of jivas chakras; Sixty and four;
where Shiva-Shakti reside.
Thirumandiram V. 1418
The Sacred 64
An examination of the ancient Tantric tradition reveals a particular sanctity assigned to the number
eight. The eight mother faculties (tatvas) of the manifested universe, the eight directions with four
cardinal and four intermediate points (digbandahs), the eight miraculous yogic powers (ashta
siddhis), eight limbs of Yoga (ashtanga), eight forms of the Divine Mother (ashta matrikas) are just
a few examples. Following the Aryan migration into the Dravidian Indus region, the number eight,
sacred to the Dravidians, was merged with the numbers 100 and 1000, sacred to the Aryans. Thus,
they formed the sacred numbers 108 and 1008, which have come down to us from those ancient
times.
The Peerless Avatar Kriya Babaji is at the headwaters of all Kriya
Tantra and Yoga traditions the world over.
The square of eight, or sixty-four, occupies an even more profound position in the field of Tantra
which, from the point of view of the Kaula Marg practitioner, identifies both the sixty-four Yoginis
and the sixty-four tantric kriyas. Although the Yogini tradition of early medieval times also produced
temples featuring forty-two and eighty-one Yoginis, the bulk of tantric temples have venerated sixty-
four yoginis. A representation of the sixty-four Yoginis is found on the ancient Khechari Yantra. Each
of its sixty-four petals represent one of these ancient feminine deities of Tantra, the Yoginis. Within
this yantra is also obscured the sacred geometry of Kriya Babaji, the reviver of Kriya Tantra Yoga for
this age. Babajis yantra is a bindu, centered in a triangle, and encompassed by a square,
surrounded by a circle. This sacred geometry has often been associated with the root chakra. Within
the Khechari Yantra, Babajis triangle is shrouded within, and as a portion of, the hexagram star.
There can be no doubt that the Khechari Yantra is rich with mystic symbolism. Its very name,
transcribed from the mystical mudra of tongues tip, suggests its esoteric importance as unbounded
space itself. (Kha=space)
The millennia old Khechari Yantra, described in the Mantotara Tantra,
with its 64 petals, is associated with both the 64 Yoginis and the 64
Tantric Kriyas.
The sixty-four practical techniques (kriyas) of trance and transformation correspond with the Yogini
energies within nature, all of which interact together to produce spiritual growth when the
appropriate catalyst is available. Their purpose is to pull souls out of illusion. This is precisely the
significance of both the sixty-four hexagrams seen in the Taoist tradition as well as the sixty-four
yoginis of the Shakti Tantric tradition. The Tantric literature itself is said to be composed of sixty-
four spiritual books, also referred to as Tantras. In this sense, the word tantra conveys the meaning
of canonical manuscripts. The sixty-four sacred texts of Kaula Tantra are enumerated in classical
texts such as the Vamakeshvara-tantra.
Similar references in classical literature includes the sixty-four yogic induced paranormal powers
(siddhis), the sixty-four divisions of the arts (kalas), and, within the ancient Saiva Siddhanta
tradition, the sixty-four saints (nayanars). There are also sixty-four forms of Bhairava, sixty-four
tantric mudras, as well as sixty-four siddhas, beyond even the 18 Maha Siddhas, which are more
commonly celebrated, and so on.
This sacred number is intimately associated with power and life itself. In the Indian classic,
Mahabharata, Lord Krishna fired sixty-four arrows and in a separate skirmish, Bhishmas armor was
pierced sixty-four times. The Aitereya Brahmana speaks of the sixty-fourth and final step into the
heavenly world.
Most importantly, the sixty-four Yoginis are understood within Babajis Kaula Marg tradition of Kriya
Tantra Yoga as fundamental emanations of Maha Kali. Each of them rules over different aspects of
creation, has a very distinct personality, and offers a doorway into undifferentiated awareness.
Thus, it is eventually understood that the number sixty-four has a profound association with the
classical path of Kriya Tantra Yoga, the tantric literature of India, and the mystical experiences of
sunyata and other forms of samadhi.
Babaji and the 64 Tantric Yoginis
The Pranayam Siddha, Yogiar Ramaiah, often referred to, but did not
teach, the 64 tantric kriyas. He extolled the greatness of Sri Ramakrishna in
his ability to master all the 64 tantric kriyas without a fall.
As seen, there is a strong correlation between the tantric Yoginis and the sixty-four tantric kriyas.
The word Kriya often suggests a very specific set of techniques, and the actual practice will vary
slightly, according to the lineage. Nonetheless, Babaji stands at the headwaters of all of these sacred
paths. In its broadest sense, kriya suggests far more, and includes any practical technique that
expands consciousness. Of the thousands of practical techniques (kriyas) used for the purpose of
revelation of the inmost Self, sixty-four have been referred to in the classical training as the core or
hub of the Kaula Tantra Yoga tradition. Although he taugh 144 Siddha Yoga techniques, close
disciples of my diksha guru, Yogi Ramaiah, under whose direct training I spent more than two
decades, would recall that he referenced the sixty-four tantric kriyas, but did not teach them, save
for one technique, in his advanced training. His intimacy with Kali, the great Goddess of Tantra,
however, was profound, evidenced by his massive aura and by the fact that she directed him to
construct a Kali Temple in upstate New York. He often referred to her as the favorite diety of the
tantrics.
One particular Maha Kali bija mantra, coming directly from Sathguru Babaji, has always been
considered the most powerful bija mantra by Yogiar. Close initiates of Yogiar will recall that he
expressed that its energy was driving the dharma of the Kriya Yoga teachings. Yogiar had explained
the story of this great Kali Chew Mantra both in his lectures, and in an early issue of Kriya magazine.
Babaji, in the late 1800s, had manifested before a Tamil textile trader who was traveling through a
Malaysian jungle village. The great Sathguru, emerging magnificently from the forest, dripping wet
from a bath and wearing a simple dhoti, asked the trader to stick out his tongue. Babaji then
proceeded to write the sacred mantra on the mans tongue.Through a mystic process, the trader
heard the mantra from within. That textile trader was Yogiars maternal grandfather. In due course,
Yogiars grandfather passed it to his daughter (Yogiars mother) who, after many years of sadhana,
passed it to Yogiar. The circle of dormitory Kriya Yoga sadhaks will remember that Yogiar extoled the
power of that mantra above all others. It appeared to me that he considered it his connection with
Kali. These two great forces of Maha Kali and Babaji served as the energetic driving force of Babajis
dharma expressed through Yogiar during his incarnation. He had stated on more than one occasion
that if the mantra was inappropriately utilized, it would cause damage to the individual or even
others, but if chanted silently with a pure heart, great blessings would accrue for all. In that way, he
reminded us, many of the siddha techniques are double edged swords. Yogiar used this reference to
explain why the Siddhas were so cautions about releasing the most powerful Kriyas. In the end, the
teacher shares in the karma of any damage done by the student. Used properly, they will benefit
humanity but if misused, ego and illusion may prevail and become harmful to the user or others. As
we learn to control and contain the descending Shakti incrementally and use the grace of
discrimination (viveka) to protect us from illusion, more blessing ensue. Kriya Yoga Sadhaks who
lived in the Sangam dormitory and ashram will remember that Yogiar passed down this great Kali
Chew Mantra to only one soul in his lifetime. That soul was Shivagami, my life partner, who
transitioned to the subtle planes seven years ago. She used the mantra with great intensity. She was
a sadhana wolf, attacking her practices with great focus. I attribute her Kali sadhana to the
successful development of Kali Loka, our forest retreat in the San Bernardino mountains, where
many souls benefited from the training and initiations provided. Through the grace of Babaji, after
more than a decade of sadhana with it herself, she initiated me into the mantra. I must say, It has
been the greatest blessing of my life. It has become apparent that the mantra works differently in
each soul.
This Kali mantra has been pushing me toward the sixty-four Yoginis since I received it two decades
ago, first in establishing the mountain retreat (Kali Loka), where great work with the Yoginis was
performed, and then developing Yogini Ashram and its activities. The Kali temple at Yogini Ashram
has a collection of sixty-four engraved yantra plates containing the sacred geometry of each of these
Yoginis, as Babaji has given. Behind the sadhana, Kali and her sixty-four Goddess entities were ever
present. These manifestations of Kali are not witches as some misguided but well meaning
academics have proposed, but literal doorways to the highest consciousness, the oneness of
Brahma, knowledge of self, the goal of the great Chakra Pujas as described in the Mahanirvana
Tantra and performed with Kali and her magnificent Goddess clusters.
Swami Tantraraj Rudranath Giri, a Tamil Saint living in Tara Peeth,
initiated Ayyappa into Babajis Kriya Tantra Yoga, Bhairavi Breath of
Ecstasy,, and the 64 Tantric Kriyas,
Later, my esteemed Tantric guru, who was also a direct disciple of Sathguru Kriya Babaji, Swami
Rudranath Giri Maharaj of Tara Peeth, provided the training into the sixty-four tantric kriyas that I
had sought, as well as a powerful doorway of experience to the Yoginis. While instructing me on the
path of Babajis Kriya Kaula Marg Tantra, I could see that he lived the great message of the Yoni
Tantra. Therein, Shiva spoke to Parvati as follows, O My Beloved in other systems a Yogi cannot
be a person of sensual enjoyment (bhogi) nor can such a person of sensual enjoyment be a Yogi, but
in the Kaula Tradition, both Yoga and Bhoga have a joyful union. Similar or identical quotes are
found in other texts within tantric literature.
A fundamental principle of spiritual life is that we do no harm. Beyond that, Tantra aspires to break
through the barriers in human consciousness that separate human illusion from divine vision. In
this way, the tantric reaches a state of seeing the oneness in every aspect of nature. The original
source alone exists, in and through all that exists. The Yogi and Tantric have a shared goal. To turn
the search light of consciousness back to its very source. Oneness pervades the source of the light
from which all creation has come. Like one universal hologram, that same oneness is present in the
light beams that project to form all creation as well as the background upon which the beams
terminate. Thus all aspects of the manifested universe are to be seen as one with the yet fully un-
manifested source.
Through the grace of Kali, the knowledge obtained has not been theoretical or based from a book.
Books cannot be ones guru. My guru once advised that for those who are too attached to the
intellect and books, would be better off simply throwing the texts in the ocean. Books are a means to
an end. Direct mystical experience is more important even than holy books. No one, Yogiar stated,
has ever attained samadhi by reading a book.
With the inspiration of Babaji, I have plunged into extensive use of sacred geometry (yantras), and
particularly of the sixty-four yoginis. The classical methods of sadhana have been employed
dedicated to all these amazing forms of Devi. In this avenue of spiritual growth, the practice of the
pancha-makaras was used for decades. During the 1990s, a group of dedicated southern California
residents joined these exclusive chakra pujas at Kali Loka, the mountain retreat of Yogini Ashram,
near Big Bear. Since then, this work has continued at Yogini Ashram with the practice and teaching of
the sixty-four Tantric Kriyas. Coexisting harmoniously with Kriya Kundalini Pranayam and the
advanced Kriyas, a few select souls have been initiated into Babajis Kaula Marg. The seminal
practice is Bhairavi Kriya (Babajis Breath of Ecstasy Technique). All this has been the manifested
work of Maha Kali and her sixty-four emanations.
There are five Yogini Temples in sacred India that have, to varying degrees, survived the centuries.
All have received deliberate and significant damage but the original energy generated by the
powerful techniques of tantra remains in each of them. Each Yogini temple in India has a unique
shakti cluster. None are the same. The identification of these sixty-four varies, both in the temples
and the literature. A stated goal of Kriya Tantra Yoga has always been to bring souls into direct
communication with the great Mahasiddha, Kriya Babaji. To receive his training and discipline
directly is an opportunity of lifetimes.
The immortal maha yogi once instructed, These sixty-four practices include the techniques taught
to Ramakrishna by Yogini Bharavi Brahmani, who was an incarnation of your beloved Mataji. Other
forms are also valid. Some of these you have learned and others will be given(long pause)This
should be the basis of the work which you have been attempting on my behalf. Know that my
consciousness is beyond all practices. Through a process directly experienced yet not fully
understood by the author, a long phrase can be received in a fraction of a second and the words,
when recorded, are burned into the consciousness. Nonetheless, the blissful ring-of-truth echoes
even now as I reflect on his message. They have left me saturated with profound peace and joy but
also a determination to continue to work in this direction until the death of these mortal coils.
Reflecting on Babajis words, one could not help from musing on similar experiences described by
previous disciples of Babaji.
A muni, it is said, is one who has attained perfection in Mananam. Mananam is the process of
thought, investigation, testing, and reflection which marks the independent thinking mind as
opposed to mere acceptance on blind faith by the lower intelligence toward what is heard. In the
Mahabharthya it is stated, The vedas differ, and so do the smrtis. No one is a muni who has no
independent opinion of his own.
The Maha Siddha Macchindranath, also known as Macchamuni,
codified tantra.
One such Muni is Machendranath, also known as Macchamuni, who codified tantra from disparate
sources in the ninth century. He must be identified specifically, as he has been a great source of
inspiration for this sacred work. Yogiar placed him as one of the elite siddhas that the earth has
spawned and experience has shown me that his grace can propel the sincere soul to great heights in
this razor path. Swami Rudranath Giri too extolled his many contributions to tantra. Machendranath
attained perfected knowledge in both Saiva Siddhantha and Kaula Marg tantra. His incarnation is
legendary. He integrated both with seamless consummation. May he bless this work as well.
It is with humility and appreciation of the great ones that this unique presentation of Kriya Tantra
Yoga and the sixty-four Yoginis is being enumerated, some of it publicly for the first time in modern
history. Such is the mystery of the Divine, whose role seems to be to both obscure and reveal eternal
truth. The sixty-four Yoginis are powerful assets in providing growth and development of the gross,
subtle, and causal planes within each of us. This is the very foundation needed for soul awakening
on the highest level. As far as the sixty-four kriyas are concerned, many of these techniques may be
practiced by the sincere sadhak, even with limited training. Others require specific instruction and in
some cases, a psychic transmission and direct cosmic assistance from the Sathguru. This high
esoteric tantra can never be learned from a book and involves an awareness of the divine source
behind the transmission. There are things that cannot be stated, things that must be experienced
directly. Those who have touched the higher reaches find it difficult to express, as such expression is
most often misunderstood or misconstrued by the darkness of human ego. Spiritual initiation
(diksa) is understood to the degree with which one has found connection to their own inner power
through yogic practice (sadhana) and internal surrender (saranam).
Ramakrishna and the 64 Tantric Kriyas
The great sage Ramakrishna was initiated and trained in the
64 tantric kriyas by Mataji Bhairavi over a four year period.
Ramakrishna Paramahamsa, broadly acknowledged as one of Indias foremost holy men, was
initiated into Tantra in 1859 and was comprehensively trained in the sixty-four tantric kriyas.
Following four years of secret nighttime meetings with his tantric guru under a peepal tree in a
secluded area of the temple garden, he mastered the sixty-four sadhana practices. His tantric guru,
Bhairavi Brahmani, recognized
Ramakrishna as an Avatar. Progressing through the practices, she introduced Ramakrishna to the
sacred panchamakaras, the five forms of worship performed during a chakra puja. The practice
culminates in ritual intercourse (maithuna) but according to Ramakrishnas biographers, the mere
suggestion of ritual maithuna was enough to send Ramakrishna into a spiritual ecstasy. Although
Ramakrishna steered his young brahmachari students toward celibacy, the great Avatar nonetheless
affirmed that Tantra and the sixty-four Tantric Kriyas were a valid path and method which leads to
the highest Samadhi.
Any visit to Dakshineshwar Kali temple by Kaula Marg Tantrics should include a meditation under
that sacred peepal tree, which was still alive at my last visit in 2009. Few souls know that Brahmani is
actually an avatar of Kriya Mataji, who mastered the Sahajiya-Kaula branch of Gaudiya Vaishnava
Tantra, and had successfully trained two other disciples prior to meeting the great Ramakrishna.
Shridi Sai Baba and the 64 Yoginis
The Avatar, Sai Baba of Shridi, had a close relationship with the 64
Yoginis as recorded in the Shri Guru Charitra.
Like Babaji and Ramakrishna, Sai Baba is a Sathguru and Avatar as well. The peerless sage was born
in 1838, and lived on the physical plane until the age of 80. In our current time, his fame has literally
spread throughout the world. The sage of Shridi has a powerful connection with the sixty-four
yoginis. In this respect, he is a great source of inspiration to all tantrics. The inspired text Shri Guru
Charitra describes his connection to the sixty-four Yoginis.
The great Sathguru Shridi Sai Baba lived under a tree by a river near a rural village for many years.
He was treated pretty much as an outcaste by the village. As he was never seen in the village seeking
or eating food, local Brahmins were puzzled about how he survived. In fact Baba, like Babaji, did not
require food to live.
One morning, several Brahmins began secretly to observe Baba. In a most mysterious way, at mid-
day, the energy changed dramatically. Inexplicably, the Brahmins were seized with fear. Alarmed,
they promptly abandoned the idea of watching him and returned to the village. Word spread and the
mystery continued. After some time, a great lover of God, and mystic in his own right, was tending his
field by the river side. He was a struggling but devout humble farmer named Ganganuj. Grace
descends to the humble. At mid-day he observed that sixty-four divinely radiant females, each
bearing multiple arms, emerging from the depths of the river. He watched in wonderment as they
each bowed to Baba in turn, and then escorted him directly into the river as they danced with joy.
Through Babas siddhi, a passage was created by movement of the river water, into which they all
entered. After some time, Ganganuj observed that Baba emerged from the same passage and
returned to his tree. The next day, promptly at noon, Ganganuj, observed the same divine event. He
summoned his courage, and discretely followed Baba and the Yoginis through the passage. There,
to his amazement, he saw a magical temple filled with precious stones, and a beautifully decorated
elevated throne. Upon the throne, Baba was seated lovingly by the Yoginis. Ganganujh observed that
Baba was being ceremoniously worshipped by the these sixty-four Yoginis with an Arati Fire.
Abruptly, Baba directed his gaze at Ganganuj and asked him. How did you get here?
Ganganuj replied, I came here to see thy holy Self. and he too bowed at the feet of Baba. Baba then
said to him, Your miseries are wiped away. Henceforth, your desires will all be fulfilled. However,
you must not disclose to anyone what you have seen here, else you will lose all that you have
gained. Then, in bliss, they both returned to the sacred tree under which Baba lived.
Within days, while Ganganuj was working in his field, he discovered a treasure buried under the soil.
He was an evolved soul in his own right, and understood that this was literally a soul gift from Baba,
and that the greatest treasure of all was the true wisdom of Brahma consciousness (Jnana Siddhi)
which Baba had also given him. Thereafter, Baba became his guru, to whom he and his family served
with great devotion.
Later in his life, Ganganuj aspired to visit the sacred river at Kashi and Prayag for a holy bath. He
asked Baba if such a pilgrimage would be possible, since a bath in the sacred waters holds great
spiritual merit (punya). A true Sage sees the divine equally in everything. Referring to the local rivers,
Baba replied Panch Ganga Sangam is as holy as the Prayag, and the river Jugul is as sacred as Kashi.
However, If you wish to see Kashi and Prayag, I shall show them to you.
Shridi Sai was sitting on a tiger skin. He asked Ganganuj to shut his eyes and to hold the rear portion
of the skin firmly. Miraculously, they instantly reached Prayag. The whole incident certainly reminds
one of a flying carpet. After having a morning bath they went to Kashi at midday. They had darshan
of Kashi and returned to Babas sacred tree that very same evening. Siddhas like Shridi Sai,
Ramalinga Swami and Babaji have the yogic power to transport themselves and others
instantaneously to anyplace in the physical world.
Later, when Baba decided to leave his sacred tree, the sixty-four Yoginis were distraught and
appealed to him, Why are you leaving us? they said. All our miseries are wiped away when we see
you. Shridi Sai smiled and said, I will always be at this sacred tree. Therefore, be joyful in your life
here. Tantrics can benefit greatly by meditating at the holy site. Here, the energy and consciousness
of Baba and the Yoginis is massively tangible.
Baba and the Yoginis have stated that all the desires of the devotee will be fulfilled, and they will gain
in spiritual duty (dharma), prosperity (artha), pleasure (kama), and liberation from illusion
(mosksa). Baba has promised that One who worships the sacred tree and Babas sandals (padukas)
for seven days will achieve every desire. If one recites a mantra at this sacred spot with a pure mind,
great virtue (punya) is attained. One hundred thousand rounds of mantra under this tree will wipe
off all disease and ones body would become bright as gold. Such is the power of this site.
The words of Sathguru Kriya Babaji and Sathguru Shridi Sai Baba and their amazing relationship
with the 64 Yoginis remind us that spiritual power and truth is not merely in the ancient past but is
alive and vibrant in the present. One can still visit that sacred tree and in meditation, feel the vibrant
pulse of the living Sai Baba and the sixty-four Yoginis.
History and Archeological Evidence
The ancient Yogini temples were typically round and open to the sky.
Worship of the divine female has always been linked to Tantra and emerged prehistorically. One
unique characteristic of tantra was the use of round temples. The Raja and Rani of Kashmir, King
Jalauka and Queen Isanadevi, built circular Tantric temples dedicated to the mothers (matrikas) as
early as the third century BCE. Worship of the tantric mothers (matrikas) is identified to have existed
as a continuation in the first century and continued until our present time. There is abundant
scriptural evidence that each of the eight mothers manifested eight extensions of herself, thus
arriving at the sixty-four Yoginis that remain a core feature of Kaula Marg Tantra. Archeological and
textual evidence leaves no question that the full development of the sixty-four Yogini Tantric
tradition was well established by the eighth or ninth century. Typically, the yoginis were placed
around the circumference of the open air temples, each looking in toward the center. Often, and
perhaps always, a Bhairava Shiva form was placed in the center. The author noted during a
pilgrimage to the Ranipur-Jhural temple that the Bhairava Shiva form is ithyphallic, showing an erect
phallus. This might explain why the Bhairava is missing from the other temples, particularly Hiripur.
It was likely offensive to conservative fundamentalists, both Hindu and Muslims. Muslim extremists
have been notorious for destroying these temples over the centuries, and would most easily explain
the destruction of most of the sixty-four Yogini temples. It is likely in fact that the central Shiva forms
were all ithyphallic and would explain their nearly complete disappearance.
In these temples chakra pujas, including ritual intercourse (maithuna) were performed. No
comprehensive training and experience of Kaula Marg Tantra could be complete without
participation in the chakra puja. Among other things, it has been an historical forum for initiation
into the tradition. This is the most classical form of group sadhana in tantra. Chakra means wheel.
Chakras often refers to the vortexes of energy in our subtle bodies. In Tantra, the chakra puja is also
used as a tool for inner realization and empowerment. Chakra puja also refers to a circle formed by
Tantric couples who utilize the vortex of energy created by the closed circumference to enhance the
power of their practice. The circle represents the zodiac, the all-seeing eye, time, and energy itself. It
is the ultimate symbol of the inmost self.
The author (in red) conducted many chakra pujas offering the panchamakaras during the late 1980s and
1990s.
This process incorporates many aspects of yogic practice including mantras and yantras and will
include sexual intercourse with a partner as a sacrament. One type of energy can be converted into
another type of energy. The practitioners are referred to as hero (vira) sadkaks, as a great deal of
courage is required to circumvent the established social protocol. Many fears must be faced and
ones social programing rebooted. The chakra puja uses the tremendous sexual energy generated
with the partner to achieve a transcendental experience of the divine in the partner and ones self,
embracing the physical plane to transcend the physical plane, converting lust into an ocean of love
for the partner and then riding on that sea of love to embrace all humanity leading to the great
mystic universal vision of love which is referred to as vinjnana samadhi in yogic literature. God alone
exists. The Tantric embraces the divine in all things and thus attains to the Brahman consciousness.
Utilization of this powerful group energy technique requires spiritual maturity from all participants.
Yoga has always maintained that every act of human existence can be made sacred. Tantra refuses to
shy away from that reality. The process is admittedly a challenging prospect for so many who have
been socialized to artificially separate these two vital areas of life; sexuality and spirituality. In doing
so our societies has created a neurotic fragmented consciousness.
Orthodox Hindus are sometimes upset by the Tantrics insistence on the worship of the Divine
Mother through the use of the panchamakaras, or five sacred Ms; grains (mudra), fish (matsya),
meat (mamsa), wine (madya) and sexual intercourse (maithuna). The only one of these items which
is culturally acceptable within the Brahman traditions is the use of grain. The Tantras authorize that
some of these items could be substituted. Kulanarva suggests that garlic or ginger can replace meat
but nothing can replace maithuna.
While the vast bulk of Tantric literature relating to the chakra puja has been written over the most
recent millennium, references to chakra pujas can be found in much earlier texts. Sage Kalhana is
said to have made numerous references to yogini chakras nearly 2000 years ago in his Rajatarangini
Manuscript.
Chakra pujas, such as this one, are performed by family clans (Kulas). They are family not
by blood but by their mutual connection to Mother Kali and Her 64 eminations.
Because of the sensitivity of the subject, few souls have bona fide experiences with which to share
with the world. Although many people have written books on the chakra puja, few participants have
related actual experiences. Some apologists have even suggested that they are theoretical or
symbolic, particularly in our current era. The author is obligated to inform the reader that they are
not! Over the last three decades, dozens of traditional chakra pujas have been conducted by the
author with increasing success at building and containing group spiritual energy, both for the
individual and collective benefit of participants and those whom their life touches. The challenge is
overcoming the negative conceptions of sexuality and simultaneously accessing high consciousness
with mantras and kundalini practices. Our experience has focused around a puja which honors
structure as a means to an end. Without having realized Self one should not give up ritual altogether.
If a teacher is not available, following the method outlined in the Mahanirvana Tantra is an excellent
methodology. When the fruit representing Love of God appears, the blossoms of ritual drop off
entirely by themselves. They need not be pulled off prematurely. In fact, ritual serves as an important
tool. One buys a tool at a hardware store to construct something. Later, one might give the tool to
another who needs it. The tool served as a means to an end. Chakra puja is such a tool. One should
continue with ritual until tears of joy are shed at the very thought of God, the divine mother.
Like Stonehenge, Gobekli Tepe, and other ancient temples, all of the sixty-four Yogini temples are
open to the sky. Like these other early temples, most of the Yogini temples are round in
construction. As it should be, there is no single sixty-four Yogini temple having identical deities to
any other. Each Yogini temple is wonderfully unique in that respect. In these temples, each Yogini
has their own individual recess or seat and all Yoginis face the center of the temple.
Yogini sadhana by tantrics of Kriya Kaula Marg involves many aspects but a key principle is that, for
the Shakta, each of the sixty-four Yoginis is worshipped in turn over time as verily ones sexual
partner. Shiva becomes the central form of devotion for the Shakti. When combined with the sixty-
four tantric kriyas and performed with high consciousness, the practice leads to a massive increase
in auric energy and experiences of inward bliss. The techniques must be learned from a qualified
teacher (adihari guru). It is widely understood that these practices including the chakra puja were
conducted by spiritual clans (kulas) at these great temples. Below is a brief outline of the temples
which have survived the ages.
Khajuraho 64 Yogini Temple.
The 64 Yogini Temple at Khajuraho is an ideal location to do sadhana.
Known as the Chausath Yogini Temple, this tantric temple lies adjacent to the main temple complex
of Khajuraho in Madya Pradesh. This Yogini temple is a most wonderful location to perform early
morning sadhana in, as it receives very few visitors compared to the other temple of the region.
There are no images that have survived the onslaught of intolerant centuries, but the energy
remains nonetheless after more that a millennia. All that is required to tap into their majesty is to
plunge into the inner stillness of meditation. The author has performed tantric sadhana here and
initiated several aspirants into advanced practices.
The Yogini temple is the oldest temple in the Khajuraho complex and stands well apart from the
others. This Yogini temple was constructed with local course granite blocks and thought to have
been completed in 885 AD. Other later temples in Khajuraho are constructed in sandstone. The
temple is built on an elevated platform that rises fifteen feet (4.6 meters). At this temple, each of the
sixty-four Yoginis had their own small temple, placed around the circumference of the elevation in a
rectangular shape. A regional legend explains why no images of the Yoginis have survived. It is said
that due to inadequate pujas by the Chandella Priests, the moorthis left the site centuries ago and
established themselves in the Bheraghat Yogini temple 250 kilometers to the south.
The rectangular shape of the temple makes Khajuraho an exception, as most other yogini temples
are round. This Chausath Yogini Temple is the oldest temple in Khajuraho and the only local temple
which is not oriented due north and south, but rather northeast to southwest. The temple is in
partial ruins but carefully protected at present by the Indian Archeological survey. Comfortable
hotels and even an airport nearby make access particularly painless. The celebrated tantric guru,
Osho, brought a number of his students to this temple, where they performed a tantric practice.
Centuries after the construction of the 64 Yogini Temple at Beraghat, this Shiva
temple was added. On the positive side, it might have served to save the temple.
This temple, located in Jabalpur district of Madhya Pradesh, overlooks the beautiful Narmada river.
In the early 1960s, Osho did sadhana here, attaining samadhi, as MahaShakti prepared him for the
fulfillment of his dharma to bring tantra to the modern world. The author too, had a profound bliss
experience in the ashram by the temple road, which was related to the readers of this blog in an
earlier posting. (see Samadhi Secrets of the Himalayan Mahavatar Babaji)
The temple, which has 81 Yoginis, was unknown to all but locals for many centuries. It is the largest
of the Yogini temples, with an inner diameter of 125 feet. It was discovered to scientific archeology in
1874. This temple is one of the four major extant temples containing carvings of the yoginis. Only a
very few of the images have escaped damage. Built between the years 945 and 1000 ad, the temple
mount commands a marvelous view of the river flowing through the marble rocks far below. Artisans
abound in the area and sacred Shiva lingams, birthed by the Narmada river, can be obtained.
Some of the yoginis can be seen in Beraghat. Each of them has a dedicated space
between pillars.
Tantrics of the early middle ages had many enemies. Over centuries, their temple moorthies were
destroyed and the tantrics were not infrequently killed by ignorant zealots. Therefore, the
construction of secret emergency escape tunnels was not uncommon. Bheraghat Swami Maharaj,
who enjoys a small ashram next to the temple grounds, exuberantly showed me the exit to such a
tunnel, situated about a half kilometer up river from the Yogini temple itself. Given its dilapidated
condition, I chose not to enter the tunnel. The vibrations of the entire region are profoundly affected
by the temple and the great souls that have done sadhana there for so many centuries. The usual
central Shiva platform is not present here. Instead, an out of proportion and oddly positioned Shiva
temple was constructed over the destroyed Shiva platform hundreds of years after the original
construction. It was placed so that it would be difficult or impossible for faithful devotees of Shakti
to walk around the temple and communicate with each of the Yoginis.
Mitauli 64 Yogini Temple,
The Mitauli 64 Yogini Temple rests peacefully atop a hill overlooking paddy fields.
The Mitauli Yogini Temple is a beautifully round stone structure situated on a hilltop overlooking the
village of Mitauli, in the state of Madhya Pradesh. From the hilltop on a clear day, one can view the
green countryside for kilometers. The temple has a radius of 170 feet (52 meters). Thus it is a mid
sized Yogini temple, larger than Hiripur and smaller than Ranipur-Jharial. This temple, built in the
tenth or eleventh century, and was a model for the design of the Indian Parliament House, designed
by Sir Edwin Lutyens and Sir Herbert Baker, before it was known to be a Yogini temple.
The author enjoyed the peaceful setting at Mitauli 64 Yogini Tantra Temple.
As with other yogini temples, the goddesses were positioned inside the temple looking toward the
center, where Bhairava Shiva resided. There are sixty-four pedestals on the inside circumference. An
additional pedestal may have held Maha Kali Durga. In Tantric cosmology, this represents the
original Shakti energy which gave birth to first sixty-four emanations, and then an infinite number of
manifestations. Each pedestal contains a Shiva lingam where its missing shakti once stood.
Unfortunately none of the sixty-four Yogini images, or that of Durga, remain. The engraved names of
only four Yoginis have survived. Ironically, their absence has a positive benefit for tantrics, as few
people visit the temple. For meditation and accessing the Yoginis in the subtle planes, the energy
remains quite high and their presence tangible.
Hiripur 64 Yogini Temple
In 1989, the authors late Shakti enjoyed the beauty of Hirapur 64 Yogini Temple.
Generally attributed to the ninth century, this temple is located at the very small village of Hirapur,
Odisha. It is quaint and beautiful, the smallest of all the Yogini temples. I have had the good karma to
visit this temple many times over the last four decades. Years ago, it was difficult to find, as it was not
adjacent to a paved road, the route was unmarked, signage did not exist, and its existence was nearly
unknown by cab drivers. Now thanks to its close proximity to Bhubaneshwar, increasing fame, and
due to its designation as a national historic site, it is visited frequently, not so much by mystics or
devotees, but by curious vacationers and international travelers. Approaching the temple now, the
road is good and the route well marked. Further, most cab drivers in Bhubaneshwar are aware of it.
The deities are carved out of black chlorite stone in standing posture. The author led a secret
sadhana here four decades ago with a group of eight tantrics, but that is no longer possible, as the
old tantric priest who lived in an adjacent mud hut is long gone, the site is far more developed, and
many visit this temple each day. Surrounding the outside of the temple are images of nine protective
dieties. No other Yogini temple has external dieties. There is only one entrance, which some have
noted, gives the temple an appearance of a yoni when viewed from above. The top of the entrance is
so low that nearly everyone is required to bow ones head in passing through. The central platform
has survived, but not the Bhairava Shiva that it supported. The Yogini images are massively inspiring,
though many have been broken. The open roof above this quaint and cozy temple is a delight !
Ranipur-Jharial 64 Yogini Temple
The Ranipur-Jharial 64 Yogini Temple, overlooking a serene ancient lake, has both power
and beauty.
Located in the Balangir district of Odisha, next to the twin hamlets of Ranipur and Jharial, this
Chausath temple is adjacent to many other ancient temples. The beauty of the Yogini temple is
magnificent. It is constructed with stone and sits upon a massive round rock that overlooks a serene
lake and a landscape dotted with many early brick temples. One approaches the temple advancing
on a gentle inclined plane of the rounded rock upon which it is built. The entrance is simple but
elegant with four steps up and no overhead arch. Between the gates one sees the stylish elevated
platform upon which Bhairava rests.
The central Bhairava form at Ranipur-Jharial, with
three heads, representing Brahma, Vishnu, and Shiva,
is ithyphallic
The author did sadhana at the Ranipur-Jharial 64 Yogini
Temple. The site is a complex of many ancient temples.
The Bhairava form, with three heads, represents Brahma, Vishnu, and Shiva. The dynamic form is
ithyphallic, showing an erect lingam and a snake, which winds around his waist. The snake crawls
between his body and his phallus, which it touches. This eroticism might explain why the Bhairava is
missing from other Yogini temples, particularly nearby Hiripur, which has a similar elevated space in
the center of the temple. Around the Bhairava form, the sixty-four Yoginis dance in ecstasy. The
thighs of all 64 Yoginis are abducted suggestively. I have enjoyed deep and reflective meditations at
this site and later enjoyed a puja in the Shiva mandir by the lake just below the Yogini temple. The
priest was highly conscious.
The nearest railway station from the temple is Titlagarh, where a few hotels are available. From there
one can get a taxi to Ranipur Jharial which is about thirty km from Titlagarh. One way travel time is
about 1 hour so one should plan for a four hour excursion at minimum, as there are many other
ancient temples in the area worth exploring.
Bodah Yogini Temple
The kindness of the Kalhar station master near the ancient temple complex at Bodah knew
no bounds. He was a delightful intelligent and generous man.
The authors pilgrimage to the Ashta Matrikas and Yogini Temple of Bodah was an adventure. In
planning the travel, I had understood from internet reports that the ancient Shakti site was a few
kilometers from Kulhar train station, Madya Pradesh. Surely, I thought, there would be public
transportation, like nearly any other small village in India. Arriving at the station, I was greeted by a
sign indicating the site was eighteen kilometers away. Given a few kilometers to navigate the massive
site, I understood that I was looking at a round trip of about forty kilometers. Stepping out of the
station, I surveyed the area. No hotels and no vehicles were available. I returned to the station and
introduced myself to the station master. He explained that there were no rickshaws, no bus stops,
and no public transportation of any type within kilometers. The kindness of that station master
knew no bounds, however. He invited me to leave my bags in his office and I went out to begin a long
foot pilgrimage to the sacred site. Om Babaji ! Just as I began the foot pilgrimage, a motorcycle
pulled up next to me and a warm hearted soul, discovering my destination and intent, asked me if I
wanted a ride to the site. Apparently someone had passed the word that I needed transportation.
When I returned to the station hours later, the station master had requested that his wife prepare an
extra lunch and the station master and myself sat together and enjoyed it. Jai Ma!
A carved relief of the sapta matrikas at this site is one of the oldest in India.
The first stop at this ancient complex of temples was a tree covered hill which led to a shakti cave-
temple, perhaps the oldest at the site. As I followed the rugged trail up the hill toward the temple by
foot, a tree covered cave was seen adjacent to a rock carving which displayed eight images seated
together in line. Archeologists have identified this as one of the earliest representations of the seven
mothers (sapta matrikas) with Veera Bhadra on the far left. The Sapta Matrikas are primordial
emanations of Kali Durga, assisting her in her role as a ego-demon killer and grantor of siddhis.
These Matrikas, or divine mothers, represent the inner power (also referred to as shakti) of the
primary male deities responsible for creation, preservation and destruction. In later centuries,
Lakshmi was incorporated with the Matrikas to round out the mothers as eight (ashta matrikas). The
hill breeze and wonderful shade makes this an excellent area for meditation. During the dhynam,
Mataji, consort of Mahavatar Babaji, made her presence known. On a hot summer day, one might
well remain here for hours without encountering another soul. The entire complex at Badoh is rarely
visited, making it ideal for tantric practice.
Although some travel reports refer to a round yogini temple, the author was not able to locate a
round Matrika Yogini Temple. The locals I met were not familiar with it either. A Jain temple which is
said to have been built from the ruins of another ancient shakti temple is a likely candidate. Its
reincarnation from an earlier temple is clear even to a layman, as the cut stones used to build the
retaining walls and other structures has script and images inconsistent with a Jain temple. Perhaps
this makes it an excellent place to reflect on the reasons for reincarnation, protected by the echoes
of the Divine Mothers ancient past.
The pillars frame the ancient Garimal temple. This whole area was an ancient shakti
region.
The main claim to fame for the Badoh complex is the Gardamal temple, which has largely survived
the onslaught of the ages. Beautiful carvings of of apsaras and siddhas are displayed on its walls. I
suggest, for those who wish to visit the Badoh complex, they obtain a hotel room in Lalitpur and
negotiate a round trip by taxi.
Conclusion
Kaula Marg Tantra and the ancient lineage that gave birth to the 64 Yogini temples is a living
tradition. I have endeavored to give a general accounting of these amazing structures which are
literally shrines to eternal tantra. Every true and sincere tantric would be massively graced to visit
these great temples. They are all monuments to the infinite forms of the Goddess, the Tantric Siddha
Macchendranath and Mahavatar Babaji. They are a grand tribute to the tens of thousands of hero-
tantrics that had the courage to perform the ancient secret rituals like Chakra Puja in order to
achieve transcendental bliss. They were not just risking their reputation in a judgmental world. At
times they were risking their very life, as thousands were massacred for their beliefs. May Maha Kali
saturate their souls with peace. May all souls rise to glorious heights with high tantra!
Namavali of the 64 Yoginis
Chatuhsasthi Kali Yogini Mantra
First published in 1990, with minor error corrections in 2009, including at the yoginiashram.com site,
these mantras come directly from Sathguru Babaji. Devotees of the Mother and her 64 forms will be
pleased to know that they have been posted extensively in multiple sites throughout the internet. All
are welcome to use these sacred sounds which will elevate humanity.
For the absolving of sins, clarity of consciousness, a peaceful heart, massive protection, dynamic
aura, robust health, and the magnificent grace of abundance of every type, one should chant the
sacred names of the sixty-four Yoginis. We should never minimize their potential. They are not minor
deities. They are none other than emanations of the one cosmic Prakriti residing over every aspect
of the relative plane. They can pull a soul from the lowest depths of illusion into the most elevated
heights of grace- light.
To perform this puja, simply prepare a copper yantra with sixty-four petals and chant the following
mantras with an open heart. If copper is not available, draw the yantra with India ink using Bhoj
Patra. The daily repetition of these mantras with purify all darkness, jealousy and resentment within.
Seek out direct spiritual guidance from a soul animated by the Divine. As the Siddha Rama Devar
said, Surrender to the young Shakti, and she will not forget you for the rest of your life.
1. Om Kali Nitya Siddhamata Swaha
Mother of the Siddhas
2. Om Kapalini Nagalakshmi Swaha
Lakshmi of Naga
3. Om Kula Devi Svarnadeha Swaha
Of golden body
4. Om Kurukulla Rasanatha Swaha
Ruler of physical pleasure
5. Om Virodhini Vilasini Swaha
Residing within Self
6. Om Vipracitta Rakta Priya Swaha
Who loves passion
7. Om Ugra Rakta Bhoga Rupa Swaha
Enjoyer of passion in the form
8. Om Ugraprabha Sukranatha Swaha
Ruler of the seminal essence
9. Om Dipa Muktih Rakta Deha Swaha

Liberation through the body of passion
10. Om Nila Bhukti Rakta Sparsha Swaha
Who receives pleasure from the touch of passion
11. Om Ghana MahaJagadamba Swaha
Great Mother of the world
12. Om Balaka Kama Sevita Swaha
Attended by the God of Love
13. Om Matra Devi Atma Vidya Swaha
The Goddess with knowledge of Self
14. Om Mudra Poorna Rajatkripa Swaha
Who completely radiates compassion
15. Om Mita Tantra Kaula Diksha Swaha
Initiatress of the Tantric Kaula Path
16. Om Maha Kali Siddhesvari Swaha
Queen of the Siddhas
17. Om Kameshvari Sarvashakti Swaha
Shakti of All
18. Om Bhagamalini Tarini Swaha
Who delivers from calamity
19. Om Nityaklinna Tantraprita Swaha
Fond of Tantra
20. Om Bherunda Tatva Uttama Swaha
Essence of Sexual Fluid
21. Om Vahnivasini Sasini Swaha
Radiance of the moon
22. Om Mahavajreshvari Rakta Devi Swaha
Sensuous Goddess
23. Om Shivaduti Adi Shakti Swaha
Original Feminine Energy
24. Om Tvarita Urdvaretada Swaha
Giver of the Upward Ecstasy
25. Om Kulasundari Kamini Swaha
Desire Itself
26. Om Nitya Jnana Svarupini Swaha
The Great form of Wisdom
27. Om Nilapataka Siddhida Swaha
Giver of perfection
28. Om Vijaya Devi Vasuda Swaha
Goddess who is Giver of wealth
29. Om Sarvamangala Tantrada Swaha
Who Bestows Tantra
30. Om Jvalamalini Nagini Swaha
Snake Goddess
31. Om Chitra Devi Rakta Puja Swaha
Goddess who is worshipped with passion
32. Om Lalita Kanya Sukrada Swaha
Pure Maiden
33. Om Dakini Madasalini Swaha
Shining with rapture
34. Om Rakini Papa Rasini Swaha
Destroyer of sin
35. Om Lakini Sarvatantresi Swaha
Ruler of all tantras
36. Om Kakini Naganartaki Swaha
Who dances with Nagaraj
37. Om Sakini Mitrarupini Swaha
Friend
38. Om Hakini Manoharini Swaha
Mind Stealer
39. Om Tara Yoga Rakta Poorna Swaha
Who in union bestows complete passion
40. Om Shodashi Latika Devi Swaha
Creeper Goddess
41. Om Bhuvaneshwari Mantrini Swaha
Energy of all mantras
42. Om Chinamasta Yoni Vega Swaha
With dripping yoni
43. Om Bhairavi Satya Sukrini Swaha
Supreme Purity
44. Om Dhumavati Kundalini Swaha
Primordial energy of self
45. Om Bagla Muki Guru Moorthi Swaha
Form of the guru
46. Om Matangi Kanta Yuvati Swaha
Youthful beauty enhanced by Love
47. Om Kamala Sukla Samsthita Swaha
Residing in the Semen
48. Om Prakriti Brahmandri Devi Swaha
Goddess residing in the crown
49. Om Gayatri Nitya Chitrini Swaha
Eternal core of the energy of Self
50. Om Mohini Matta Yogini Swaha
Intoxicated
51. Om Saraswathi Svarga Devi Swaha
Goddess of Heaven
52. Om Annapoorni Shiva Samgi Swaha
With Shiva
53. Om Narasimhi Vamadevi Swaha
Beloved Goddess
54. Om Ganga Yoni Svarupini Swaha
Energy of the Yoni
55. Om Aprajita Samaptida Swaha
Who Bestows Orgasm
56. Om Camunda Parianganatha Swaha
Ruler of sacred erection
57. Om Varahi Satya Ekakini Swaha
Oneness of Truth
58. Om Kaumari Kriya Shaktini Swaha
Energy of dedicated action
59. Om Indrani Mukti Niyantri Swaha
Guide to bliss
60. Om Brahmani Ananda Moorthi Swaha
Image of bliss
61. Om Vaishnavi Satya Rupini Swaha
Form of truth
62. Om Mahesvari Para Shakti Swaha
Transcendental energy
63. Om Lakshmi Monoramayoni Swaha
With beautiful yoni
64. Om Durga Satchitananda Swaha
Truth consciousness and bliss
You can reach Swami Ayyappa Giri at yoginiashram.com or
562 556 0390
S AMAD H I S E CRE TS O F TH E H I MALAYAN MAH AVATAR
BABAJ I
Ju l y 12, 2014 Y o gi n i A sh r am H o m e Of K r i ya Tan tr a Y o ga 0 C o m m en t
Samadhi
The Bliss of the Peerless Masters of Kriya Tantra Yoga
by Swami Ayyappa Giri, Tantracharya, Yogini Ashram, Norwalk Ca U.S.A.
Article First Posted (2nd Edition) on Full Moon, 12 July 2014
The Immortal Master & Mahavatar, Sathguru Kriya Babaji
My temple is the deepest cave of the spiritual heart;
My altar lies beneath the sacrifices of all souls who aspire for truth;
My most sacred relic is the oneness of all things;
Am I a Hindu ? A Muslim ? A Christian ? A Buddhist ?
You decide.
What makes greatness? There are so many men and women of high achievement that one has to
wonder, what is a saint, a sage, a siddha, and how do they differ? What is the relationship between
these attainments and their inner bliss experience; their samadhi. What is this celebrated samadhi
with all its variant names? These are questions that had puzzled the author for years. As I sat before
my master, I was exhilarated to hear him describe samadhi, not from theory, or academic book
knowledge, but by his own direct experience.
My diksha guru, Yogi S.A.A. Ramaiah would, on rare occasions, speak to his students about the
consciousness of chakras as the kundalini rose to higher states. He had complete mastery of the
nadis and could enter into the breathless state of Nirvakalpa Samadhi at will. Once he delivered a
lecture to a group of several hundred persons in Colombo, Sri Lanka, while three physicians
monitored his pulse and heart beat. They were amazed to report in real time to the crowd their
observations: the quickening of his pulse on one side of the body simultaneous to the slowing of the
pulse on the opposite side. 2 minutes later, while Yogiar delivered a spiritual discourse to the
assembly, he had reversed the phenomenon switching sides. By current medical understanding this
is not possible, and yet he did it as he was examined by three well known allopathic physicians and
witnessed by 250 members of the audience. The entire event was published the next day in the Nov
30th, 1958 edition of Times of Ceylon. I have a copy of that document at Yogini Ashram.
Several years later, Yogiar agreed to enter into the breathless state of samadhi while a team of
Australian physicians monitored his heart rate. When his heart stopped, as he had told them it
would, the medical professionals became terrified and injected a substance in his body to restart his
heartbeat. He survived but later said that the physicians had almost killed him in their terror. He
never again demonstrated samadhi to the public.
Yogiar emerging from samadhi 1958
45 years ago, I was a young newly initiated practitioner of Kriya Yoga. I was thrilled beyond
description to have been accepted for training in the grand and powerful practices of Maha Siddha
Babaji. The goals of a Kriya Yogi, Yogiar had explained, may be as varied as the individuals who trod
the path. Yogiar S.A.A. Ramaiah frequently reminded his innermost circle of disciples at the time that
the greatest goal in Babajis grand lineage was complete unconditional surrender to the Sathguru.
Surrender to divine will, it seems, plays an important role in achieving the highest meditative states.
In 1971, I lived in Sri Lanka at the behest of Yogiar. One of my very beloved friends and yoga sadhaks,
Sri Rajendram, gave me a photograph of Yogiar in samadhi. It was one of a kind and I have kept it
with me only to publish it on this page about three years ago. I was pleased to see that it had made
its way as a popular photo in google images. I have posted it again here for the benefit of yoga
sadhaks.
Living and serving Babaji for decades, I have been in the presence of Yogiar when he emerged from
the divine bliss of samadhi. A glimpse of his ecstasy as his eyes descended downward from God
consciousness is a powerful sight. Remembering such an event causes the body to tingle with
electricity. How wonderful that the divine gives us these examples of extraordinary souls.
Sarvikalpa and Nirvikalpa Samadhi
There is an old and beautiful swami, a true Maharaja, who lives next to the 64 Yogini tantric temple at
Bheraghat, near Japalpur. His humble ashram is graced with a magnificent banyan tree under which
he sits every evening and is visited by his chelas and devotees. The grandeur of an ashram cannot be
assessed by counting the number of occupants, but rather by its energy. There is a local oral
tradition which maintains that sadhus and holy men have lived and shared satsang under that
sacred tree in Bheraghat for a thousand years. Spiritual activity of this type changes the vibration of
the area. The atmosphere is charged with divine energy and if a spiritual aspirant is properly
prepared, the consciousness can be taken up to celestial realms with relative ease.
Swami Bheraghat Baba Giri
Our recognition of the divine in each other was profound and immediate. Sadhus and those who
have realization recognize each other by looking at the face, the eyes and the energy around the
head and shoulders. Members of a vast spiritual family, they are brothers and sisters appearing to
live in the world yet navigating through it without attachment.
Each night, I was doing sadhana with Bheraghat Baba under the banyan tree. Through the grace of
the master, I was pulled into a state of bliss without thought, unaware of the physical plane. As the
bliss gave way to the relative plane and all thought, Babaji spoke, The difference between
sarvikalpa samadhi and nirvakalpa samadhi is not always apparent during the experience but is
clarified at the moment the initial breath occurs following the experience. It is at that time that the
mind again functions and the differentiation between the experience and the one who enjoyed the
experience can be understood. I am reporting to you the message of Babaji, his message was not
verbal, and occurred as a revelation. Soon after, a breath was taken by the body and I returned to the
physical plane. In the background, I could hear the sound of the Maharajah speaking softly to his
Chela about sarvikalpa and nirvikalpa samadhi. Amazingly, the Maharajah was completely
synchronized with my experience. The Maharaja then got up from his mat, went into his ashram, and
returned with a small box of cumcum. He placed the sacred red powder on my third eye,
acknowledged my experience of samadhi and then enthusiastically embraced me, a rare event for
swamis. He pointed to his heart with the fingers of both hands. Maharajah, he said. He then moved
his fingers to my heart as he said with joy and exuberance Maharajah as he laughed deeply from
the heart.
Any description of samadhi that claims full authority is misleading. That is because the world of
name and form and words are not present in the state. When efforts are made to explain samadhi,
they are poor reflections at best. When the mind and breath are truly stilled, one enters into the state
of samadhi. The actual experience seems to be infinitely varied, but transcends all mental activity,
piercing through time and words to a direct experience of the oneness. The soul that tastes the
oneness-bliss experiences sarvikalpa samadhi. When there is a complete mergence of the oneness
bliss, nirvikalpa samadhi is experienced.
Chitta is the mind-stuff which lingers around the innermost self and percolates through the koshas,
or sheaths surrounding the self into the external consciousness. Patanjali has stated in Raja Yoga
Sutras that yoga consists of cleansing the chitta. He is referring to the release of the unconscious
memories, thought forms, sense of separateness from the inner oneness, and the erroneous
conception that the being is actually the external ego, elemental qualities, and associated
consciousness. These limited memories, and inaccurate aspects of the mind-stuff have often been
stored for lifetimes in the subtle space of self. Here the reference to memories is made even though
the mind-stuff is not remembered by the external self. It is the mind-stuff that interferes with the
divine will manifesting from soul (atman) in an individual and drives the actions of the external being
into areas that are not consistent with divine will.
Ramakrishna Paramahamsa experienced Nirvikalpa
Samadhi. He was initiated into the 64 sexual tantra
practices by the Avatar of Mataji, Bhairavi Brahmani.
As an individual begins to be liberated from the influence of the mind-stuff, the divine attributes of
the atman or self manifest in the very subtle sheath of bliss (anandamaya kosham) that surrounds
the atman. When the transformation of that very subtle part of the being has been given fully to the
divine, the individual becomes literally a beacon of bliss-light. Simply being in the presence of such a
being is uplifting. Such an elevated individual is appropriatly acknowledged as a saint. When one
looks into the eyes of such a being, one will feel the depth of bliss and peace and be blessed and
gradually transformed. The divine can initiate a sincere aspirant through such means. The
transformation of the bliss sheath, however, does not occur in a vacuum. Anyone whose spiritual
practices have thus resulted in the awareness of the divine working through them has already begun
the transformational process and surrendering of the sheath of the intellect (vinjnanamaya
kosham).
When the analytical or intellectual component of the being is fully informed and integrated by the
divine light-attributes, we may be in a position to recognize such a being as the sage that they are.
Such an individual is truly a muni or one who has had their accumulated experiences and
knowledge enlightened by the higher, deeper, lighter aspects of self. When the transformation of the
intellect is complete the speech and communication skills are highly evolved and express a
consciousness, which is focused, penetrating, broad and vast. It is a misconception to think that
such persons are clones of each other. The divine essence manifests with variety in the intellect of
every soul, not only because the external experiences vary, but also because of the unique qualities
that are inherent in the deepest part of the being, the atman. It is said that no one is a muni who has
no independent opinion of their own. Such a sage has digested and integrated the informed divine
light into the analytical aspects of the being. A siddha is essentially a perfected being in some aspect,
usually through transformation of the mental, vital or physical sheaths. The word siddha is
derived from the word chitta. As the intellect undergoes this transformation, the mental sheath
(manomaya kosham), associated with the senses, is similarly transformed. This is, of course, an
individual who is fully aware of the divine as the prime mover. Since the ego has been given to the
divine, every action related to the senses is observed and understood to be none other than the
indwelling god or goddess doing the experiencing and enjoying. Such a Buddha-sage can enjoy all
the senses without fear of confusion or being lost spiritually in them. For the great tantrics who have
attained to this state, conventional rules which guide and provide stability, safety and structure to
society are no longer important for their further advancement. As the divine light descends into the
sheath of energy (pranamaya kosham) the entity becomes a siddha in the most transformed sense
of the word.
As defined in the upanishads, A siddha is one who has progressed from the exalted state of freed
while living (jivanmukta) to supremely free with full power over death (para mukta).
Jeeva Samadhi
The great Swami Paramahamsa Yogananda
entered samadhi at will. His body did not
decompose at death.
Jeeva Samadhi is sometimes mistaken for death. In Jeeva samadhi, the pranic energy remains in
and around the body. It comes flooding into the body from the Ajna and Crown chakras, as well as
the spiritual heart (Hridaya) and animates the body as if it were still alive. There is no decay of the
body, sometimes for many, many days. This is a state wherein the Yogi enters into the samadhi state
at their own will following completion of their dharma on earth. Depending on their achievement,
and their intellect, mind, and energy field become completely dissolved into the divine. When
Paramahamsa Yogananda left his physical body, his mortal coils did not decompose for many days.
The same thing happened to the great sage Aurobindo as well as my guru, Yogiar, and it is known to
have happened to many others.
Samadhi is not the highest goal. A strong desire to escape the world is a great hiding place for the
subtle spiritual ego. Many souls seek absorption in the divine but the greatest sages have reminded
us that an even higher life can be service. Personal salvation is a limited aspiration. Yogi Ramaiah
has always reminded his inner circle that complete surrender to Sathguru Babaji is a goal even
greater that Soruba Samadhi. Once Sri Ramakrishna asked Narendra (Swami Vivekananda) what his
ideal in life was. To remain absorbed in Samadhi, replied Narendra. Can you be so small-minded
as that? the Master said, Go beyond Samadhi. Samadhi is a trifling thing for you! It is ok to aspire
for samadhi, but remember that it is a means to an end. Great souls go beyond samadhi.
Soruba Samadhi
There is yet another samadhi described in Siddhantha literature as soruba mukti or soruba
samadhi. It cannot be explained by Vedanta. It was eloquently described by Sri Aurobindo as the
supramental evolution. It was achieved by the siddha, Ramalinga Swami. This para mukta will rarely
retain the transformed physical frame and when so, remains as an avatar. The physical body
(anamaya kosham) of the siddha glows with the fire of immortality. Such a siddha, like Babaji, can be
identified by having no shadow or footprint. The transformation of the physical plane is rare indeed,
even among the celestial siddhas. An accurate rendering on the life of such a siddha is precisely as
difficult as reducing the cosmic to a rule. The divine is to be experienced, not expressed, and the
mystic greatness of a saint, sage, or siddha lies not on the surface for men to see. It is clear that
certain siddhas have attained the light body, and and work together with other saints and avatars to
guide the advance of mans consciousness on our planet and elsewhere. Humanity truly owes a deep
debt of gratitude to these God-Men, of which 18 are acknowledged as the greatest. The climax of the
siddha tradition is the immortal Himalayan Kriya master, Babaji Nagaraj.
My temple is the deepest cave of the spiritual heart;
My altar lies beneath the sacrifices of all souls who aspire for truth;
My most sacred relic is the oneness of all things;
Am I a Hindu ? A Muslim ? A Christian ? A Buddhist ?
You decide.
Swami Ayyappa Giri Maharaj experienced samadhi in an Himalayan cave.
May you experience bliss of Self and freedom from attachments.
Your Swami
Swami Ayyappa Giri
Leave us a message below or contact Yogini Ashram
This
post
may
You can see more on our website at
yoginiashram.com Swamis telephone # is 562
be
556 0390
reproduced wholly or in part with the provision that the source is cited as Kalipath.com.
E. Ayyappa 1999, 2008, 2014
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YOGINI ASHRAM EVENTS ABOUT BABAJI KRIYA 64 YOGINIS

BHAIRAVI BREATH OF ECSTASY TANTRA STORE SWAMIS BLOG

Home Of Kriya Tantra Yoga

YAN TRA H ARN E S S I N G TH E PO WE R O F MYS TI CAL

Purohit-Acharya, Yogini Ashram, California USA

Article Published During Sacred Navaratri, 2016

The academic or south-Asian scholar might believe that a yantra is an art

A yantra is not limited as a divine manifestation. A Yantra literally holds the

Thus, the application of mystical geometry utilizes structural patterns

Without these sacred sounds there is no active transformative power in

Yantras in Ancient Times

Some of the earliest examples of sacred geometry originate in the Indus

Swastika of the ancient Indus valley civilization, a culture contemporary

A cross symbol yantra from Indus period.

Ancient Dravidian texts refer to three yogic based sangam civilizations.

Babajis temple is quaint, artistic, and having been constructed of solid

My Early Experiences of Sacred Geometry

The use of numerical yantras has

The Chautisa numerical Yantra at

The Sanskrit word, Yantra, suggests a machine or instrument; perhaps a

The Yogini Tantra states that Devi is to be worshipped either as an image

Yantras and Sound Wav es

Swiss physician Hans Jenny is considered the father of cymatics. Cymatics

In vibrating the membranes, he discovered, without intending to, that when

In optimal circumstances, celestial energy pervades both Yantra and

Bes t Day s for preparing and performing puja to a

The Significance of Common Geometrical Shapes

Most yantras are surrounded by a square with four T shaped projections

A comprehensive analysis of geometrical parts of the yantra is beyond the

Materials for Yantras

Bhoj Patra is natures paper, an organic paper, removed in sheets directly as

Copper & Gold

Sri Mahakala Samhita 5th Chpt, Guhyakali Khanda

Preparation of Puja with the knowledge (v idy a ) of

and then Shiv a s poke, O Dev i, Mis tres s of the Kula,

Sri Lalita Yantra

Adi Shankaracharya is known to have performed Sri Puja and

Moving progressively inward, the tantric soon reaches a sixteen-petal lotus,

As we move inward we encounter the level with ten large triangles,

As we approach, in the progression of the puja, the central triangular

Finally, the central point, or bindu, which is bliss itself is reached. It

Maha Kali Yantra

Kalika dvividha prrokta krsnaraktaprabhedatahKrsna tu

As stated earlier, each petal, point, and angle of a yantra (avarana)

Referring to them collectively, he wrote, They are the causal body of

The neutralizing attributes/principles are the five organs of action

Purusha is the universal cosmic male principle. Prakriti is the cosmic

Knowledge of this Prakriti Shakti leads to salvation. Shiva speaks to Devi

He r g re a t ma n tra , re p re se n tin g th e su p re me d ivin ity, le a d s to th e

T h e g re a t k n o wle d g e o f th e 7 Vid ya T a tva s re sid e s with in h e r

Ga ya tri is th e p e rso n ific a tio n o f th e a ll- p e rva d in g P a ra Bra h ma n ,

10 Great Mothers of Wisdom

Relationship between the Mahavidyas and the Das Avatars

Bhuvaneshvari is associated with the dwarf (Vamana) Avatar. She is the

Matangi is associated with the Rama Avatar. She is the destroyer of

Shodashi is associated with the Jamadagni Avatar (Parashurama) and is

Bhairavi is is the Avatar Balabhadra (Balarama), She is the oneness which

As with a ll th e ya n tra s d isc u sse d in th is a rtic le , e a c h a n g le a n d

Yantra of the 64 Yoginis

Three Dimensional Yantra of the 64 Yoginis

Mrityunjaya Pancha Bhuta Shiva Yantra

Mrityunjaya Rudra Mahadev Yantra

The sacred geometry of Babaji, the bindu surrounded by a triangle, in turn