By admin on Nov 13, 2013 | In Srividya, Society

Padmvat is one of the most popular Jain goddesses propitiated with great efficacy by Jaina
mantravdins. She is contemplated upon as bearing in her hands pa, phala, vara and akua, seated
on padmsana and of a ruddycomplexion, resplendent with three eyes. Alternately, she is also
described as seated on a serpent. She is frequently eulogized as the sanadev of the trthakara
Prvantha and as the consort of Dhara endra. sana devats, according to Jain tradition,
are appointed by Indra to protect and attend to trthakaras. Though some identify Dhara endra and
Padmvat as the yak a and yak of Prvantha, others point out that Prva, seated on a tortoise, is
the real yak a associated with Prvantha and not Dhara endra. Padmvat and her consort are
serpent queen and king who are known to have protected Prvantha from a specific calamity. She is
hence sometimes identified with the Hindu goddess Manasa devi.
Bhairava-Padmavati Kalpa describes the following names of the goddess:
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Total, Tvarit, Nity, Tripur, Kmasdhin and Tripurabhairav.
The goddess is worshiped through pacopacras as below:
vhanam:
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OM hr namo.astu bhagavati padmvti ehyehi savau a |
Sthpanam:
|
OM hr namo.astu bhagavati padmvati ti ha
ti ha
nama |
Sannidhkara am:
|
OM hr namo.astu bhagavati padmvati mama sannihit bhava vau a |
Pjanam:
|
OM hr namo.astu bhagavati padmvati gandhdn gh
a gh
a nama |
Visarjanam:
|
OM hr namo.astu bhagavati padmvati svasthna gacha gaccha ja ja ja
Her different mantras are listed below:
1. |
OM hr hrai hakl padme padmakaini
nama |
2. |
OM hr hrai hakl r padme nama |
3. |
OM ai kl hau nama |
4. |
OM hr nama |

5. |
OM kro hr ai kl hrau padmvatyai nama |
The mantra of her consort Dhara endra is described thus:
|
OM hr dhara endra prvanthya nama nidhidarana kuru kuru svh |
Various prayogas of the mantras may be undertaken once puracaraa of the mlamantra is kAdi -

hAdi
By admin on May 23, 2009 | In Srividya

hayagrIvaH: tatra kAdiryathA parA

kAdiH kAlI mahAshaktiH hAdistripurasundarI |
kAdi-hAdi prabhedena dvidhAmnAyArthasaMhatiH ||
kAditvAdbrahmarUpatvaM hAditvAcChivarUpatA |
kAdikAlI kAdikAlI kalau kAlI tu kevalA ||
hAditvAcChivarUpatvaM shivarUpatva-bhAvanA |
kAyakleshAdikaM snAnaM nyAsapUjAdikaM bahu ||
evaM cha kramabAhulyAt kalau siddhyati vA na vA |
tasmAtsarvayuge devi kAlI sarvaphalapradA ||
kAdistu kAmarAjo hi hAdirlopA pareritA |
idaM vaTeshasammatyA pAribhAShikamIritam ||
kAdayo manavaH santi bahavaH parameshvari |
na tatra kAditA kvApi hAdAvapi mahottame ||
hAdayo manavo devi ShaTtriMshatpadmasaMkhyakAH |
na tatra hAditA kvApi ShoDashyAmeva hAditA ||
kAditvaM kAlikAyAM cha tena proktaH ka-hAtmakaH |
kAlyAmapi hAdi-kAdibhedAH santyeva bhUrishaH ||
na tatra kAdi-hAditvaM lopAyAM na tu hAditA |
lopAyAM sundarIbhedaH kAmarAjAdayo yathA |
ityevaM kAdi-hAditvaM hAdiH shrIShoDashI parA ||
completed. |
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gticakrarathasthityai |
guruguhanutaymalyai namaste namaste ||
gtmtnandityai
grv avandityai |

hatavi agasamhyai ktalokopakryai

||

natabhairavdisenyai |
navanavavidhab akaryai ||
Tags: kannada, matangi, sanjay subrahmanyan

The Twelve Mahavidyas and

their Bhairavas
By admin on May 1, 2013 | In Srividya

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mahkl-klabhairava
u crvagi subhage klikyca bhairavam |

mahkla dak i y dak abhge prapjayet |

mahklena vai srdha dak i ramate sad || 1 ||
tr-akobhyabhairava

try dak i e bhge ak obhya paripjayet |

samudramathane devi klaka
samutthitam ||
sarve dev sadrca mahk obhamavpnuyu |
k obhdirahita yasmtpta hlhala vi am ||
ata eva maheni ak obhya parikrtita |
tena srdha mahmy tri ramate sad ||
mahtripurasundar-pacavaktrabhairava
mahtripurasundary dak i e pjayecchivam |
pacavaktra trinetra ca prativaktre surevari ||
tena srdha mahdev sad kmakuthal |
ata eva mahen pacamti prakrtit ||
bhuvanevar-tryambakabhairava
rmad bhuvanasundary dak i e tryambaka yajet |
svarge martye ca ptle y cdy bhuvanevar ||
etstu ramate yena tryambakastena kathyate |
saaktica samkhyta sarvatantraprapjita ||
tripurabhairav-daki
mrtibhairava
bhairavy dak i e bhge dak i mrtisajakam |
pjayet parayatnena pacavaktra tameva hi ||
chinnamast-kabandhabhairava
chinnamast dak i e kabandha pjayecchivam |
kabandhapjanddevi sarvasiddhvaro bhavet ||
dhmvat
dhmvat mahvidy vidhavrpadhri ||
bagalmukh-ekavaktrabhairava
bagaly dak abhge ekavaktra prapjayet |
mahrudreti vikhyta jagatsahrakrakam ||
mtag-matagabhairava
mtag dak i e ca mataga pjayecchivam |
tameva dak i mrti jagadnandarpakam ||
kamaltmik-sadivabhairava
kamaly dak i e vi urpa
sadivam |

pjayet parameni sa siddho ntra saaya ||

annapr -daavaktrabhairava
pjayedannapr y dak i e brahmarpakam |
mahmok aprada deva daavaktra mahevaram ||

durg-nradabhairava
durgy dak i e dee nrada paripjayet |
nkra s ikart
ca dakra plaka sad |

repha sahrarpatvnnrada parikrtita ||
There was a question about Kabandha Bhairava, who is less popular amongst the others.
By examining the 43 lettered mantra of this Bhairava, it is easy to recognize him as a form of
Tumburu Rudra. In fact, in the Srikrama of ChinnamastA, jayA, vijayA, jayantI and aparAjitA are
replaced by DAkinI, varNinI, yoginI and khecharI (who here are attendants of ChinnamuNDA).

Tags: akshobhya, annapurna, aparajita, bagalamukhi, bhuvaneshvari,chinnamasta, dakini, dakshinam

urti, dashavaktra, dhumavati, durga,ekavaktra, jaya, jayanti, kabandha, kalabhairava, kamalatmika, k
hechari,mahakali, mahatripurasundari, matanga, matangi, narada
bhairava,panchavaktra, sadashiva, srikrama, tara, tripurabhairavi, tryambaka,tumburu
rudra, varnini, vijaya, yogini

Mahasadashiva Stuti
By admin on Dec 16, 2013 | In Srividya, Bhakti

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[o
avara

a ivacakre mahprsdaambhu samabhyarcya paramamagalarpama

styt]
nandikevara uvca
indukha alalitmalamaue
kundakntisadottamadeha
|

indirrama alocanapjya manmanogahanapakajavsa ||

[sthlapackaramuccrya
ligamudryuto pra amet]

sukea uvca
pacakoagagantiga ambho vyomakea gu asrasahasa |
kikpuranivsa mahea phi akara sukeamahea ||
[skmapack
aramuccrya
ardhayonimudryuto pra amet]

ca ikevara
uvca

ca a
kha

aparao
aikha ac

a
brahm amauliga
dhardharakrmukea |

vidhyuttamu avaramlaka
ku ala

cocca at
ava

mahevara lada a ||
[prthivapackaramuccrya
trilamudryuto pra amet]

b a uvca
b ea ambho harib ap e
tva phi gagdhara candrac a |
vivea bharga madanntaka klakla
mmadya akara vibho ga anthapjya ||
[vru apackaramuccrya
akamlmudryuto
pra amet]

bh ga uvca
rakarmaya harevara vivamrte
vivdhikea karasagikuragabla |
mandrakundanavacampakabilvamldivyottamgadabhujaga surea phi ||
[taijasapackaramuccrya
mgmudryuto
pra amet]

riiruvca

vivea viva madanntaka vivamrte

gaurvarmarabhujagapha bhirma |
gagdharntakaripo pramathdhintha
pha mmakadhiydya lalmasoma ||
[samrapackaramuccrya
khavgamudryuto
pra amet]

klgnirudra uvca
tryambaka sadiva tripuramra klntaka
trilavarapasayutakardrib sana |
prasdajanitnana prakaaca
adhmgama

sudhukaikha aka
surasantha m playa ||
[vyomapackaramuccrya
kaplamudryuto pra amet]

vrabhadra uvca
k ayadvra dak dhvaradhvasakvasena cvihneti tu a
|
tvamevsi bhadra tvamevsya bhadra
satcsatmu m mok aydya ||
[mnasapackaramuccrya
amarumudryuto
pra amet]

tatpuru a uvca
svacchacchatrbhirma chavijitarajata chandasgtatu a

svacchandy niricchodadhinijamahigocchannamacchcchadeham |
chadmebhrichadcchachadamajamajara pichatpichagucchacchysacchyavmgamamadadhi a e sadvi acchedaneccham ||
vi gada sadaiva mahea kvsktnandavana
prasda |

sasravritare purre
knana bhayamu vinaydya ||
[s ipack
aramuccrya
cpamudryuto pra amet]

aghora uvca
sajjannirjararjarjamakunrjanabhrji

adrjva jagadrtibhajanaratajetramjau purm |

smrjyamihaiva jvitanaye syujyamevejyay
dtra bhaja dhrjai
me jahnukanybhujagam ||

svahdaya
anikaagamakapa
agirmahika
aka
naanala
paa

khapaam
|
aghapaalap
anapa
u
a vande ||

hakagodhridhri

[sasthitipackaramuccrya
b

amudryuto pra amet]

sadyojta uvca
pradrumak
aketanaja
ko
rabhgera
a

tsphtoccaistainsyadrbha
ata
ajj
k
thiccha
a |

ghok
ta
bhtebhacarmmbara

trimagoka
apa

k o ru ika
maccittatayma
a ||

akh

aviapin

vatasitasudhkara varagu augharatnkara

sphuranniilalocanajvalanadagdhamnadhvajam
|

kulcalakumrikkucatapa
rkita

bhajmi bhajat sadbhayadamvara akaram ||

[sahrapackaramuccrya
paraumudryuto pra amet]

vmadeva uvca
ti hante
stutiphane
tava vibho ni hytani

hvava
cchhya
ni hurat
vidhya manas brahmaikani h

kati |
vaiku hrcita
ratnap
hanilaya
rka

ha
ka

hollasa

nnla jye ha
re hntarti
kani ha
ku hahanana

ha
me ||
surakuvalayasoma vmadevkhyasmastutamakhilagu n smadhmnamam |
jagadavanavina mbhavodyatsukma
nijanayanakak
airdagdhakma bhaje.aham ||
[vivalnapackaramuccrya
kmamudryuto pra amet]

na uvca
rathantararavariya ratharathgap ara
manorathapathtiga surathanthasatkaka am |
bhagrathapathnugvihitajahnukanyjaa

bhajmi suragorathapriyamaprapppaham ||
ca ake nijavjihe itaicara e vyusubhojiijitai
kaismni
subhrib hitairmukhara
daivatamvirastu citte |

avktasvk
tavedaringk
tgk
taambarri

astrktastrk
tadnavrirdevassad
me hdaye
cakstu ||

[sarvnugrahapackaramuccrya
jaganmohanamudryuto pra amet]

vIrashaiva siddhAnta 7
By admin on May 21, 2009 | In Darshana

The pupil is then led through a solemn process of initiation known as mahA shaivI dIkShA which
results in snapping asunder the bonds of ignorance, effecting the union of anga with linga and
removing the three-fold impurity.
dIyate li~NgasaMbandhaH kShIyate cha malatrayam |
dIyate kShIyate yasmAt sA dIkSheti nigadyate ||
While this is an interpretation by the vIra-shaivas, the same appears thus in the shiva purANa:
dIyate yena vij~nAnaM kShIyate pAshabandhanam |
tasmAt samskAra evA.ayaM dIkShetyapi cha kathyate ||
dIkShA is threefold:
1. vedhAtmikA
2. mantrAtmikA
3. kriyAtmikA
The word vedha stands here as a symbol for the touch of the teachers hand on the disciples head. The
mere gazing of the teacher is considered enough to rouse into action the spiritual energy of the
disciple as stated in siddhAntashikhAmaNi:
gurorAlokamAtreNa hastamastakayogataH |
yaH shivatvasamAvesho vedhA dIkSheti sA matA ||
It is further explained thus: gurordR^iShTigarbhe sthitvA karakamale samupannasya AtmanaH
chinmayasvarUpopadesho vedhA dIkShA |
In the shivAdvaitadarpaNa, it is further observed that the result of this dIkShA is the contact
(saMyoga) of the yogA~Nga with the bhAva-linga.
Mantra refers to what the teacher whispers into the ears of the disciple. This form of dIkShA consists
in the instruction of the great five-syllabled mantra and is represented by the contact of the
bhogA~Nga of the jIva with the prANa li~Na.
kriyA dIkShA is the ceremonial part of the initiation, in which the disciple is seated within the svastika
circle drawn and made to repeat by way of penances the name of shiva and to meditate on Him. Then
follows the three-fold anointment of the disciple with waters from the five jars. In other words, kriyA
refers to what is offered by the guru to the disciple in his hand, i.e. the shiva-linga. The rule is that an
auspicious linga, one made of crystal, moon or sun stones, or one prepared from the rock of shrIshaila

or obtained from the bed of narmadA, has to be secured, sanctified, anointed and worshiped.
Thereupon the teacher has to draw forth by means of a~Nkusha mudrA from the sahasrAra of the
disciple the shaivI kalA and infuse it into the linga. This classic process resembles that of lighting one
fire from another already burning (pradIpAt dIpAntaramiva). He has to then draw out in a similar
manner the jIva kalA or prANa of the disciple and settle it on the linga. The two kalAs are thus
balanced with each other, and the linga is then placed in the hand of the disciple with instructions to
hold it on his body.
It is said that the novice is instructed, immediately after his initiation, to meditate upon the kalA. This
leads on successively to the realizations of bhAva, of manas, of dR^iShTi and finally of the sthala
itself. The kalA serves to awaken (bodhanI) and bring into play the latent energies stored in the
mantra. Having drawn it forth by force, the initiate is to lay it in the linga which is All-Light. As soon
as this Supreme Linga is seen, all the karmas of the jIva are burnt off, his struggles and vacillations
indeed the whole machinery of his discursive understanding come to an end, and he becomes a new
man altogether, convinced and pacified. As to the manner in which this is done, it is said that the
teacher brings the three lingas down in touch with the three angas of the disciple by a three-fold
process along the same line, but in an inverted course (i.e. through dR^iShTi, manas and bhAva down
to kalA). That is, by means of the vedhA dIkShA, the bhAva linga is united with the yogA~Nga; the
prANa linga is united with bhogA~Nga through mantra dIkShA; and through kriyA dIkShA the
unification of iShTa linga with tyAgA~Nga is brought about. The union of the linga and the anga is
likened to the union of the flame (shikhA) and the camphor (karpUra), linga being the flame and anga
the camphor.
contd ...
Tags: anga, diksha, kriya, linga, mantra, shaivi, shiva purana, shivadvaita
darpana, siddhanta, siddhanta shikhamani, veda, virashaiva

vIrashaiva siddhAnta 2
By admin on May 5, 2009 | In Darshana

It may be of interest to note that in the vAyavIya saMhitA of the shivapurANa (section I, chapter 28,
verses 15-16), upamanyu is mentioned with three others, viz. ruru, dadhIchi and agastya as the
original propounders of shaiva doctrines and authors of four distinct saMhitA-s. shrIpati also in his
commentary on the vedAnta sUtra, shAstrayonitvAt, mentions the names of upamanyu, dadhIchi,
gautama, durvAsas, reNuka, dAruka, shaMkhakarNa, gokarNa etc. as those of great teachers who
were omniscient (sarvajna) a term which is explained as meaning sarvaveda-vedAntpktasakalapadArthabhij~na. With that background information we can dive directly into the siddhAnta of
the vIrashaivas.
The Primal Reality, called here by the name of sthala, is the abiding background of all phenomena
(creative, preservative and destructive) and as such is identical with paramashiva. Absolute Freedom,
Eternal Self-revelation and Supreme Selfhood (pUrNAhantA) constitute its very essence. When this
Primal Reality wants to play with Itself as Worshipper and worshipped, there arises on its calm bosom
what we might describe as a slight tremor or vibration, very much like the agitation which appears on
the clam surface of an ocean before heavy breakers begin to rise into view. This tremor results in
dividing the sthala into two aspects by depriving it, as it were, of its equilibrium, so that the portion

where self-consciousness is predominant is called by one name, shiva and the remaining portion by
another, jIva.
sarveShAM sthAnabhUtatvAt layabhUtatvAt tatastathA |
tattvAnAM mahadAdInAM sthalaM sthalamityabhidhIyate ||
adhiShThAnasamastasya sthAvarasya charasya cha |
jagato yadbhavet tattvaM taddhi vai sthalamuchyate ||
AdhAraH sarvashaktInAM jyotiShAmakhilAtmanAm |
yattattvaM bhavati prAj~naiH sthalaM tatparigIyate ||
AlayaH sarvabhUtAnAM lokAnAM lokasaMpadAm |
yadbhavet paramaM brahma sthalaM tat prAhurakSharam ||
The Primal Reality would thus appear to be a state in which the substanceand its power are in
unaffected equilibrium. The substance is known in the Agamas as paramashiva and the power as
parAshakti or chidambarA. The anubhava sUtra (2.20) says:
shaktirapratimA sAkShAt shivena sahadharmiNI |
sAkShiNI satyasaMpUrNA nirvikalpA maheshvarI ||
The lingAyat philosophers are advocates of vishiShTAdvaita like shrIkaNTha and the shrIvaiShNavas,
and they have consequently to assume that shakti as qualifying the Supreme Reality is its eternal
adjunct and never separable from it. The shruti also declares that the parAshakti of the Lord is natural
and that it is manifold in character:
parAsya shaktirvividhaiva shrUyate svAbhAvikI j~nAnabalakriyA cha |
shivAditya observes:
dharmarUpA parAshaktiH dharmirUpaH paraH shivaH |
tasyA.anAvR^itarUpatvAt parAshaktiH parAtmanaH ||
sarvadA tatsvarUpeNa bhAti bhAnoriva prabhA |
tAdAtmyamanayornityaM dharmadharmi-svabhAvataH ||
shakti is two-fold, according as it abides in Brahman directly as Light or chit-shakti or indirectly as
the Reflection of the light or achit-shakti. The two names represent the two opposite aspects of the
same fundamentalPower, so that the system does not recognize any inherent contradiction between
Matter and Spirit. The following is a relevant selection from shivAdvaitadarpaNa of shivAnubhava
shivayogIndra:
asmanmate brahma-dharmarUpAyAH shakteH chicChaktirUpatvaM tatpratibimbarUpAyA
achicChaktirUpatvaM itya~NgIkAreNa chicChakti-tatpratibimbAchicChaktyoH
brahmadharmavirodhAbhAvena shaktidvayaM samucchittyaikasyaiva sUkShma chidachidrUpa
shaktivishiShTatvasya lakShaNIkaraNe tAtparyAt ||
contd ...

vIrashaiva siddhAnta 3
By admin on May 7, 2009 | In Darshana

The sArasvata sUtra states that the shakti, which always resides in the Supreme Self, is called
vimarsha when it reposes exclusively in the Self (svasthA):
san hR^idayaprakAsho bhavanasya kriyAyA bhavati kartA |
sarvakriyA vimarshaH svasthA kShubhitA cha vishvavistArA ||
The Self which as awareness is the background of the entire creation must be described as existing, for
without its presence all would be darkness and void, and therefore it must be held to be the subject of
existence or being. It is the Agent (kartA) or shiva, and Existence is the Action (kriyA) or shakti. When
the Primal Reality loses its equilibrium, the shakti becomes partially agitated (kShubhitA) and
transforms itself into the manifested universe consisting of thirty-six tattvas and of an infinite variety
of products. The agitation of the shakti is partial, because there are some aspects of the shakti e.g. chit
and Ananda, which being devoid of succession (krama) by nature are never subject to agitation. It is
icChA and the others alone which are sometimes agitated and sometimes in a state of balance. The
shakti, both spiritual and material, in its unmanifest condition is called subtle (sUkShma) and its
manifested state is known as gross (sthUla). In dissolution, which represents the causal
undifferentiated state of Brahman, both spirit and matter are involved while their evolution or
differentiation marks the beginning of the creative or productive stage.
Through the agitation of its own Power (svashakti-kShobhamAtreNa), the sthala becomes divided into
two: li~Nga and a~Nga. But this division is only an apparent cleft in the Indivisible, the duality being
due to the limiting conditions (upAdhi) of accidental existence. Accepting the current coinage of
vedAnta terminology, it may be said by way of illustration that li~Nga corresponds to the mahat of
mahAkAsha and a~Nga to the ghaTa of ghaTAkAsha. Beyond a verbal distinction introduced by
association with two distinct concepts (e.g. mahat and ghaTa), there is no difference in AkAsha at all,
so far as it is considered in its pure essence. It is as ever one and undivided. So too with li~Ngasthala
and a~Ngasthala. Li~Nga is the upAsya, the object of worship and a~Nga the upAsaka or worshiper,
but in reality, both the worshiper and the worshiped are one:
nA.ashivasya shivopAstiH ghaTate janmakoTibhiH |
shivasyaiva shivopAstiH iti nAnA shrutismR^itiH ||
Thus, one of the great dicta of mystic experience is asserted and and vindicated. He is the worshiper
and He is the worshiped, in fact, He is worshiping Himself. The universe, with all its activities, is an
expression of His Self-delight, manifested in myriads of ways. In vaiShNavism, more particularly in
the gauDIya and the vallabhIya schools, He is declared to be comprising within Himself the Lover and
the Beloved both (rAdhikopaniShad). The advaita shaiva and vaiShNava schools are really on par in
their outlook on the Supreme Being, except for the attitude with which each approaches Him in
relationship. The true shaiva is a devotee and a worshiper, but a vaiShNava is nothing if not a lover.
Aishvarya or the sense of Divine Majesty prevails in the former. mAdhurya or Divine Fellowship in
the latter. To the shaiva sAdhaka, He reveals Himself as the Father, the Lord and the Teacher. To the
vaiShNava, He is the Friend and Beloved, and sometimes also the Child.
Sthala = pure chit
|
|-> li~Nga -> shiva

|-> a~Nga -> jIva

contd ...
Tags: anga, jiva, linga, lingayat, shiva, siddhanta, sthala, virashaiva