The LALITAARCHANA- . CHANDRIKA Hymn to Lalita, form of Tripurasundari, Hindu deity for worship PVM ert ETC Prof. S. K .Ramachandra Rao Ne a A a ee eeeINTRODUCTION Bhaskara-raya-makhin (between 1690 and 1785), who is the well known commentator on the celebrated text of the worship of the mother-goddess, Lalitasahasra-nama (Saubhagya-bhaskara by name), has also written a gloss on Tantrik Upanishad called Bhavanopanishad. This Upanishad is an important manual for the upasakas of Srividya. It ex- plains the esoteric significance of well-known Sri-Chakra, and also the spiritual mode of worship of Samaya (Kadi) school. Bhaskara-raaya makhin has also written a prayogavidhi to accompany his gloss on Bhavanopanishad. The Introduc- tion provides details of what is known as "inner sacrifice" (antaryaga), which is the characteristic approach of the Samaya school. This important but little known gloss (prayoga-vidhi along with the Bhavanopanishad) has been brought out here with elaborate introduction, comments and notes in English. Be- cause this widom in hailed as chandra-jina (knowledge of the lunar phases and full moon, represented by the Pafichadasi and Shodasi mantras), this research work dealing with it is called chandrika (moonlight). The deity adored by the Sri- vidya upasakas in Lalita (otherwise called Raja-rajesvari). Hence the book is described as Lalitarchana Chandrika.PREFACE id There are many upanishads devoted to the - i worship of the menage ems ns aaa ishat is important, as It ins th > od the ideas associated with Sri-vidya, oa y ati Sri-chakra in its ninefold powers te ob an This is popular among the practitioners of bo 7 ba . and 'kadi' divisions of Srividya. aafzererarbs sree wfranfea The expression 'bhavana' here is taken to mean nnn hii ana of Sakti, visualizing oe ans hr with ones own being (svatma-Sakti), and ao os ‘hi only through mental constructs and ae : val ; SE eeacicns. This method of bhavana Is reg as ae effective technique of attaining liberation evi one is living in the body. area storage Tafa | i i is Kameévari, who is iding deity of Sri-chakra is K i, who sled al an self, complete with unceasing bliss. apragadh were TTT areeTeTeaT | i Sarada (see for details the author's Bhdvanopanishat, Prakasana, Bangalore (1983). ‘This upanishat has become famous because of the great commentary i Bhaskara- on it by the renowned Tantrik guru, 1 raya-makhin (whose diksha name was Bhasurananda-natha). (3) He is supposed to have flourished between 1690 and 1785. He was the son of another Tantrik adept, Gambhira-raya. He studied the Tantrik texts under a great Vedic scholar Nrsimhadhvari, who was also a Tantrik adept (Nrsimhananda-natha). He was initiated into occult prac- tices by Sivadatta-sukla (who is mentioned as his diksha- guru). He was a prolific writer, with more than forty books in Sanskrit on Veda, Vedanta, Mimamsa, Smrti, Mantra-Sastra and Tantra. Important among his works are Setu-bandha (commentary on N ityashodasikarnava of VamakeSavara-tantra), Saubhagya-bhaskara (commentary on Lalitasahasranama, of Lalitopakhyana of Brahmanda- purana), Nityotsava (commentary on Parasu-rama-kalpa sutra), Guptavati (commentary on Durgasaptasati of Markandeya-puréna) and Varivasyd-rahasya (an indepen- dent work explaining Pafichadasi-vidya). Of great interest to the practitioners of Srividya are his Shorter works which are creative commentaries on some upanishads like Bhavanopanishat, — Tripuropan.shat, lopanishat, Devyatharvarsirsha and _—_Lalita- __ tripurasundaryupanishat. These are full of practical instruc- fons and technical information concerning upasana and dhana ___ The best-known work of his is on Lalita-sahasranama. lis popular text has been constructed on the basis of itopakhyana, which Constitutes the last four chapters, 41 944 of Brahmdanda-purana. This text recounting the thou- d signficant names of Lalita (also called Lalitamba, arabhattarika. Lalitd-tripura-sundar? and Rajarajesvari) is t chapters, altogether consisting of 320 verses. The chapter (51 verses) introduces the Vagdevatas headed aSini who are in the encourage of the Mothergoddess, - It is these devatas that composed and recited the thou-(4) sand names of Lalita, as commanded by Lalita hereself. The second chapter (182 1/2 verses) contains the main text of 1000 names of Lalita. The third chapter (86 1/2 verses) is in the nature of an epilogue, phalastuti, and so on. The main nyasa of the text is as follows : are ott afer AAA SAAT AAT afrenty area 94: | eT Ss: | At feta Ragad faa at HeraRete ats AeA mete waits: 1 memageta tera At ciferan Aet fared var fatsara fata wears ia fafa: Besides Bhaskara-raya's magnificent commentary on this text (Saubhagya-bhaskara) there are other glosses on it, like that of Vidyaranyamuni (student of Anandaranya- pijyapada, 1500 verses in nine chapters). Vimarsananda- natha (disciple of Vimalananda-natha, 2000 verse in nine chapters), Srinivasa-sundara (disciple of Vidyananda-natha, Saubhagyaratnakara in 36 tarahgas) and Bhatta-narayana (disciple of Sivananda-natha, 2500 verses). Next in importance for the practitioners is the commen- tary on Bhavanopanishat. It contains the salient ideas of his commenary on Lalitasahasra-nama, and crystallizes the spiri- tual methodology. Along with this commentary, Bhaskara- raya also prepared a manual of practical instructions in ac- cordance with Bhavanopanishat. This is called Sri Lalita- mahd-tripurasundari-Mahayaga-krama ox for short Prayoga- vidhi. It is this short text that has been printed here. It is pref- aced by an elaborate introduction explaining the ideas that (5) are tersely indicated in the text of Prayoga-vidhi. A regular translation of the text was thought unnecessary, because it is a work with a practical orientation, and the mystic formulae have to be recited as such. Sri-Chakra(6) INTRODUCTION THE SAMAYA IDEOLOGY The theory and practice of the worship of Lalita, is collectively known as Sri-Vidya. Tripurd-tdpaniyopanishad (1,2) mentions that there are as many as twelve vidyas which are important; they are named after the first promulgators : (1) Lopamudra, (2) Durvasa, (3) Manu, (4) Chandra, (5) Madana (Kamaraja), (6) Kubera, (7) Nandi, (8) Prabhakara, (9) Shanmukha, (10) Agastya, (11) Parama-siva, and (12) Vishnu. Pardananda-tantra (11 , 5-6) gives the names of the twelve vidyas differently. Was: aera CR a AAA: | omfenta: qa oa: ex: fraeta | WUETH SOM Se SAT: It ___ Bavrchopanishad, however, speaks only three as sig- ‘ificant, among the vidyas leading to the transcendental ss (para-Sakti); known generally as Sarnbhavi-vidya, could be Kadi-vidya, Hadi-vidya or Sadi-vidyé. The xt does not describe the three approaches, nor does it inguish between them. Tripuropanishad mentions only two vidyas which may, the descriptions, be identified with Hadi and Kadi. After the familiar Sri-vidya formula 'Kamo-yonih kama-kala ih’ etc. , the text calls it the first vidya (visva-matadi- Vidya devi(8) vidya) (verse 8). Another vidya is described as an atternative (yadva); 'stana birhbam ekam mukham chadhas trini gyhasadanani'. (verse 11) Distinction is also drawn between Bhaga, which is Sakti, and Bhagavan, which is Siva, although the two are held equally important and real (samapradhanau sama-sattvau samojau') (verse 14). There is a suggestion that one of the vidyas is Vedic, and the other different (‘iyam anya cha vidya’) (verse 16). Bhavanopanishad also speaks of the two varieties of contemplation and visualization: Kadi and Hadi ('kadi- hadi-matoktena bhavana pratipadita'). But texts like Atharvanva-dvittyopanishad and Sri-vidya- tarakopanishad upheld the supremacy of the Kadi division of Sri-vidya. Trisati explicitly says : sifada ¢ aan da srfeden aT Pardnanda-tantra (11, 9), also said arrniafaed faterer gaat vag! This was because Kadi accepts Vedic authority and for- mulates its position in accordance with the Vedic tradtion. It stood quite distinctly from Hadi (which included the Vama approach which was contrary to the Vedic position, 'vamo viparito vedartho va acharah'). The word Samaya also means Vedic convention as orthodox and valid and hence the Kadi division also came to be known as Samaya. The idea of 'Samaya' as the distinguishing feature of Devyagama has ben accepted universally; and it is also recognised that internal worship (antaryaga) is the essential aspect of Samaya approach. Benoytosh Bhattacharya in his introduction to Sakti-sangama-tantra has this to say; "Samayas are those who believe in the sameness of Siva and Sakti, and in the rousing of the kundalini power through successive stages of upasana, tapas. (9) This form of worship in respect of Samayachara is en- tirely and purely internal". Sakti-sarigama-tantra distinguishes between the Hadi- division (ascribed to Lopamudra) and the Kadi-division (hav- ing as formulators, Indra, Chandra, Manu and Kubera) in terms of the discipline and restrictions. The Hadi is full of tules and regulations, and the devotee has to abide by them meticulously, whereas the other division is free from such wet y fram: sho area: | are 9 Fret safes eo efaratq i And this text identifies the Kadi-division with Samaya; according to Kamakala-vilasa, this is known as para-vidya. Samaya here means only worship (archana) conducted in the space within the heart (hrdayakasamadhye'). This is also claimed to be earlier than the other division, easier to follow and acceptable to all yogis, Rudra-ydamala (in ten TS) eulogizes this approach, which is intimately as- ited with the five auspicious scriptures given by the Sages Vasishtha, Suka, Saunaka, Sanandana and Sanat- ‘a (Subhagama-paiichaka). One of the above-mentioned scritptures, Sanatkumara- thitd, mentions that the Samaya worship, which is in per- ‘accord with the Vedic tradition and also with Vedanta, is ‘ I to bring about liberation while one is alive. This gives internal worship (antararadhana) as the distinguish- ; Feature of the Samaya approach. External worship is said © Tesorted to by common people whose eyes are set on mundane and material benefits. And among those to external worship are included the Kaulas, the hakas, the Kapalikas, the Vama-margis, the naked and the tantriks. :Gaudapada's Subhagodaya sp hare 18 s as variant approaches of the sitie eclogy vee ere Foes Frere Ferm feeeear sera a Te See ay “STH STEN 3 fe rsa far (il) aris Shari rate waeqsrtatis- wa wanireart qaqa MAAS | oat aren yon vata wre soit Pftreranisa Frrafare freratiay Fear fagiata a ad tae TATE A STRAT TTT | oat Fereneigrara rarer Feared afefa seen frgerad i Tene fasriereravand welt WER yak Frans im wafirar a wpfraes ad ge 3 This is an important distinction made between the Kula- and the Samaya-system, although the background ide- is the same. The ideology relates to the psychic centres ‘chakras’ in the human constitution. Situated along tual backbone (meru-danda), the basal chakra is(12) ‘mUladhara' (the root-support or foundational centre), situ- ated in the perineum or the seat of all pleasurable experi- ence. It is dominated by desires, which are psychophysical. Th next chakra is 'svadhishthana', seated in the region of penis. The Kaulas attach importance to these two chakras, and their concept of Sakti relates essentially to the physi- ological needs and psychological urges. That is why their modes cf worship is external (bahyapija), and their outlook is transactional (drdha-prakrta). The Samayins, on the other hand, reject the value of these two (lower) chakras, and prescribe that worship of the Devi must be conducted only at higher levels, viz., from manipira to Sahasrara. Worship at each level has its appro- priate benefits : at manipira effective orientation to the Devi by living in a realm close to the Devi's (sarshti); at anahata residence in the same realm as the Devi (salokya); at visuddha proximity to the Devi (samipya); and at ajfid obtainment of form similar to the Devi's (sardpya). Worship at the ajiia- chakra brings about intent contemplation of the form of Devi, and assumption of the same form on the basis of 'bhramara- kitanyaya'. But the highest centre that the Samayins value is Sahasrara (which is about four finger-breadths above the crown of the head), which is described as the ‘citadel with- out support’ (niralarnba-puri), viz. outside the psycho-physi- cal constituion. It is here that the primal power (Adya-Sakti) dwells; and worship at this centre secures the highest bliss (parananda). The Samayins regard the two chakras at the bottom (maladhara and svadhishithana) as ‘dark worlds’ (‘tamisrakhyam'), because the role of knowledge (jfiana) is minimal here or altogether excluded. It is knwoledge that becomes increasingly comprehensive and clear as one moves from manipira to Sahasrara. When psychic energy and spiri- (13) tual knowledge become identical (samaya), Samaya is experi- enced as the union of Siva and Sakti; Siva becomes ‘Kamesvara, and Kamesvari becomes Siva. The similarity of both form and name (riipa-samya and nama-sdmya) is an important consideration, because this similarity it is that makes Siva samaya and Sakti Samaya; and the two as equally im- portant (sama-pradhana), te Concept of Samaya involves identity in five distinct (1adhishthana-simya; the identity of Siva and Sakti as the foundation of phenomenal manifestation, at the cosmic level as well as at the individual level; (2)anushthana-samya; the identity of Siva and Sakti as in the creative Process, in the unfoldment of the lena as well as of the spiritual potentiality in the wT ___ G)avastha-samya: the identity of Siva and Sakti in the cond tion that they assume in order to create (srshti), pre- (Sthiti) and widhdraw (sarhhara) the phenomenal uni. and in order to concel the reality from the individual a ‘onic and aniconic es iva and Sakti for Cosmic processes and a ndage and emancipation and also the identity of S 1N Worship (as for instance linga for both); and,(14) Sarhbhu and Sarhbhavi, Rudra and Rudrani, Sundara and Sundari are illustrations. Hence Kadi-vidya (which is another term for Samayachara) is known as Siva-vidya. Dakshina-mirti is given as the seer (fshi) of this vidya. The expression ‘dakshina' actually means a woman, the feminine principle which is competent to create, unfold and manifest; and when ‘dakshina' assumes a.form Dakshina-mirti as a variety of Siva's lila-mirtis results: Dakshindmirti as ardha-nari. Kamesvara and KameSvari are together regarded as the dieties (devata) for the Kadi-vidya. The Kaulas and the Vamacharins do not recognize this enduring and essential identity between Siva and Sakti, al- though they do recognize the possibility of their ultimate identity. They do not subscribe to the five-fold aspects of identity, mentioned above. Sri-chakra, the crystallization of the Samaya ideology, emphasizes the inseparability of Siva and Sakti at any level of phenomenal or psychic manifesta- tion. The persistent feature in this respresentation is the com- mingling of the Siva-chakras and Sakti-chakras (see for de- tails the author's Sri-chakra, Sri Satguru Publications, Delhi, 1989). It must be noted that Sri-vidya is closely associated with the lunar lore (chandra-jiidna) explained in the Subhagama- pajichaka (viz. the five sarhhitas). According to Lakshmidhara the commentator on Saundarya-lahari, Sri-chakra is identi- cal with the moon's orb (chandra-mandala). But there is a difference in the Samaya and Kaula understandings thereof. The Samayins locate the moon's orb in the head of the devo- tee, and identify it with the thousand-petalled lotus (sahasrara). The waxing and waning of the moon provide fifteen digits for the moon (chandra-kala) and become responsible for the (15) fiteen days of the lunar month (tithi). When in each i beginning from the first day (pratipat), the moon core of the sun', ending with the fiteenth day, when all the digits ‘come out' it is the bright fortnight. When all the digits return to the moon, it is the dark fortnight. The separation of the fifteen digits of the moon from the sun is ‘full-moon' (paurnamasi), and the identification of all the moon's digits : e of Ree are (amavasya). The fifteen letters of -vidya mantra-(paficha-dasi cre (paficha-dasi) correspond to these fif- The pracititioners of Sti-vidya worship these digit deities on each of the days of the fetentba. he digit deities are called : (1) Tripura-sundari, (2) Kamesvari, (3) Bhaga- malini, (4) Nitya-klinna, (5) Bherunda, (6) Vahnivasini, (7) yresvari or Mahavidya, (8) Raudri, (9) Tvarita, (10) uundari, (11) Nila-pataka, (12) Vijaya, (13) Sarva- ingala, (14) Jvala, (15) Malini. These digit-deities (called Enityas) are identified with the several aspects of Sri- __ In Gaudapada's Subhagodaya, the fifteen deities are eribed as so the phases of the moon : (1) Darga, (2) () Darsata, (4) Visva-rupa, (5) Sudarsna, (6-7) ya-mana, (8) Apyaya, (9) Sunrta, (10) Ira, (1) Apatrya- (12-13) Apurya-mana pirayanti, (14) Purna (15) sl (cf. Lakshmidhara's comm. on Saundarya-lahari Samayin outlook emphasizes the relization of the of these nitya-deities with Sri-chakra, as prescribed a-kala-jfiana of 'Bhairava-yamala’ (‘chakra- aikyam )s and also the identity of these deities with digits Cnitya-pratipadadi kalayor aikyam'). Moon as contained in the ajfia-centre is said to have git (Kalas), but in all of them the sixteenth digit(16) which is in sahasrara is reflected. But moon as Sri-chakra is one kala only, and this is the supreme kala. AMAHTTTA TAMPA: NSA: HAT: viene a1 sharerasiard uba aT, OWA Set! (Lakshmi-dhara on Saundarya-lahari, 32) The Kaulas worship the digit-deity that is specific to a particular lunar day (tithi) of the fortnight. But the samayins wotship all the fifteen digit-deities every lunar day, as all digits are comprehenced in the moon which is the sixteenth digit (shodasi-kala or Sri). It is to this great constant (maha- nitya) the other digit-deities owe their existence and function. wierd TRIS Weahani wets fafarrarn: Isr fated, wraaa y Sreencrd: va WURARAT ANY FIACTY TASHA ARI f s ; eee f 5 fafery (Sri-chakra-vilasana, p.225) The lunar digits that are observable in a fortnight as the moon waxes or wanes are of course fifteen; the sixteenth digit is not similarly observable. But the sixteenth digit (shodasi- kala) is imagined by the Samayins as the source of all the fifteen digits (sarva-kala-bija-ripa), and hence consists of all the digits. But it is extremely subtle (sikshma) and unmanifest (avyakta). From an external standpoint, there are only fifteen digits, but for an inner vision there is the sixteenth digit, which is more important than all the fifteen; there is no waxing or waning for this, for it is transcendental. (17) Vira-raghava's Sri-vidyd-mantra-bhashya provides this explanation : we rer Wermcmaa temancafafe ae qefifa ae ate: 1 qeft wer pen: deta Tents wires farrem: veceenen Ua YaCRETETH: gavin ad: wages, 44 test een ge8 44 Geet wea Af wert, Sega: Herm: sera Sara See ATT | TET aI rei eon wares sagterien ade were WI he GaN Tacwlaherr aaa LT It (Trikanda-sdrartha-bodhani, Madras, 1960, pp. 41-42) This text (p. 41) also explains that the two versions of ‘Sti-vidya, pafichadasi (fifteen-lettered mantra) and shodagi ing Stim as the sixteenth letter) are essentially the same. Ss apparent as fifteen-lettered is in actuality sixteen- |. The last division of the mantra; 'Sa-kala' refers to the presence of all the digits of the moon. | ae Fas:, TERE aR FT eM: TSM | a Ua eM: GremeRifa Rees Fen: A GHe | aa St fen a temant Prac ui ; Lakshmidhara's commentary on Saundarya-lahari also ys that the three divisions of the fifteen-lettered mantra ply a fourth division (turiya-khanda), where Kamakala as «anscendental reality reigns, unmanifest but essential. “Wireter sere, gers fra Sortteet fren veces ‘The Samayins regard the number of letters in the Sri-(18) vidya-mantra beginning with 'ka' (hence kadi) as sixteen, for the letter ‘Sa’ in the third and last division symbolizes moon ('sa-varnasya soma-vachitvat shodasakala-mayah'); the letter 'sa' is given in the tantrik lexicons as the seed of moon (‘sa's chandra-bijah'). Moon is located in the centre of the thousand-petalled lotus (or the sahasrara) on the head of the human being. It is therefore that the Samaya worship of the Maha-nitya (the sixteen digit, which covers all the fifteen) is conducted at the Sahasrara centre. Sanatkumara-samhita, included in the 'Subhagama- pafichaka' of the Samayins explains this detail, with refer- ence to Kundalini. There are two paths, deva-yana (the path of the gods) and pitr-yana (the path of the ancestral spirits), and they are presided over by sun and moon respectively. The paths are microcosmically represented by the two vital channels pingala and ida (right and left). The sun courses through pingala during day time, and the moon courses through ida during night. The moon as he courses through the left channel,-sprinkles life-giving nectar (amrta) over the seventy, two thousand arteries (nadis); but when the sun moves along the right channel, he dries up the nectar. When the sun and the moon met in the 'basa pit' (@dhara-kunda, viz, miladhara), it is new-moon (amavasy4). All the lunar digits of the dark fortnight emerge from this source. The Kundlini is said to sleep in the 'basal pit' during the dark half of the month. (19) Visuddha Chakra Ajfia Chakra(20) In the Samaya tradition, the yogic practices help to arrest the sun and the moon in their coursing along the two vital channels, preventing them from sprinkling the nectar and drying them up. When this happens, the fire in the svadhishthana centre is set able by the prana-wind, and dries up the nectar that is stored in the "basal-pit' (viz. miladhara). Thus starved, the Kundalini wakes up and rises through the central channel (sushmna); piercing through the three 'knots', it enters into the thousand pet- alled lotus on the crown of the head (viz., Sahasrara) and bites the moon that is located in the centre of this lotus. The nectar that oozes out of the bitten moon floods the lunar orb that is situated on top of the ajiia centre (be- tween the eye-brows). The entire constitutions is then flooded by the flow of nectar. The lunar orb that is situated on top of the ajiid centre consists of the fifteen digits of the moon (pafichadasa- kalah or nityah). This is the moon that normally func- tions. But the moon located in the sahasrara centre is an aspect of pure, undifferentiated consciousness(chit-kala); it is also supreme bliss (ananda-ripa), the very self. This is the moon that the Samaya worship vaisualizes, the moon that supports, comprehends but transcends the moon of fifteen digits. In the Samaya reckoning the ‘basal pit' (miladhara) is the realm of dense darkness (andha-tamisra). Svadhisht hana is the realm of darkness (tamisra); manipira is a realm of mixed light and darkness. The bright realm be- gins at 'anahata' (the heart-region), which is described as the world of light (jyotir-loka); it is said to grow out of the moon. The 'visuddha' centre is the realm of the moon (chandra-loka). But in anahata and viguddha centres, the (21) sun also shines, and hence moonlight is not perceived. The Ajiia centre, as said above, is the seat of the lunar orb (chandra-mandala), consisting of fifteen digits. The moon- light here waxes and wanes; it is changing and unsteady. The sahasrara, however, is the world of bright moon- light (jyotsndloka), and the moon here is full of all the digits, which are unchanging, without waxing or waning. It is this that is really Sri-chakra. The samayins therefore worship Devi only at the Sahasrara centre. Further, the Samaya-vidya or Kadi as the seat of Tripura, is at the Sahasrara, transcending the six chakras and com- prehending the deities of those centres. Dhenu-tantra says. res faqueen: war: data _ Miladhara (earth) has Ganesa as its presiding deity; fadhishthana (fire) has Brahma; Manipira (water) has ; Anahata (air) has Rudra; Visuddha (akaga) has jiva; Ajiia (manas) has Ivara. The enumeration of five dei- ies excludes jiva (the individual soul). Siva-yoga-dipika ex- is the nature and significance of these five deities. THe Tse afaedisies fata: |(22) tare freoptertsn afta crafter: | farpetifedt wen yeciaret orate: 1 wa veers: fram: veda: | frafia afta a faren enfreata 1 urcadttrnetctn: fear: seme fay I The reality in the sahasrara centre is the Brahman, the supreme consciousness (chit), Siva; and from Siva sprang forth Sakti, identified with the transcendental aspect, Santyatika-kala. It is this unfathomable Sakti who is of the same nature as Brahman (‘brahma-ripini', cf. Sata-samhitd, ‘tvam para-brahma-mahishi'), that divides itself five-fold. Sarada-tilaka-tantra calls the primals reality Paramesvara (or Sakala, Sacchidananda-vibhava), the supreme and transcen- dental powers. Manifestation of this power, characteriszed by the power to will, is the emergence of Sakti, as oil from the oil-seeds. Vayaviya-samhita says : freee ca fea: Rreceearai Tar Wa: VERA Bt dei frenfea 1 Itis a spontaneous unfoldment. From Sakti flashes forth the creative impusle, technically known as 'nada' (sound), which is supreme (para) and productive (maha-nada). It is this maha-nada (or Sabda-brahma) that occurs as Kulakundalini in the living beings. This nada (supreme creative urge manifests itself in a three-fold division: bindu, nada and bija (the primary triangle). Bindu is Siva, bija is Sakti and nada is their union. ferg: frarerrera ats wfrrtcerhtia: 1 We also read in Prayoga-sara : Ea ee a a ee a ee a (23) fr: frame a Va BT Tara aareetH arene: 1 From bindu emerged Raudri, from bija Vama and from nada Jyeshtha, representing the power of will(iccha-Sakti), the power of knowledge (jiianasakti) and the power of action (kriy4-Sakti). And these powers in turn gave rise to Rudra, _ Vishnu and Brahma. The one Sakti is known as Brahma while creating, Vishnu while preserving, and Rudra while _ withdrawing. According to Siva-yoga-dipika. Goraksha-samhitda also speaks of this triad : oem fra cen art ht wet ¢ ert Fae ofan: Reever a ere eee In the Samaya system, all this is accepted, but the primal , Brahman, is called Sadasiva; it is the bindu. The next gent reality is nada, which is Para-Sakti (‘nada-pada- a-Saktihi'): triangle in Sri-vidya is in actuality a figure with points or bindus represents Sirya (sun), Soma (moon) Agni (fire). Devi transformed herself at the beginning of GT AGI (Paramananda-tantra, 11, 35)(24) fargat oft fratorerai TAI (Tripura-rahasya) One bindu, represented by the first letter of alphabet 'a' (anusvara) brought into being a mixed bindu, the powers of knoweldge (jin) and action (kriya) Constituting the divine will (icchha) coming together. This is Surya. The last letter of the alphabet ‘ha’ (visarga) took the form of two bindus, each of which was mixed like the first bindu. This paid Tepresents fire and moon (agni-shoma-rapam); knowledge here is the experiencing soul and action the experienced world. Agni represents prakaga, Siva, samhara and jiina, while Some represents vimarsa, Sakti and Kriya. The former bindu is red in colour, and the latter white, The process of creation put the bindu Tepresenting the divine will (viz. Strya); on top; and below it the other two bindus (Agni and Soma) were arranged horizontally (tiryak). This is the descent of the brahman into the phenomenal con- text; it is poetically seen as the self-expression of the Devi, because the two letters 'a' and 'ham' coming together signi- fies 'I' (‘aham iti svartpa-sphuranam'). Developing out of these three bindus, is the triangle with its apex below, Suggesting inclination to create (‘bindu- trayocchhiina-bhavena parinatam trikonam, —srsht yunmukhatvena adho-mukham). The arrangement of the three bindus on top of the in- verted triangle is visualized as the Concrete iconic represen- tation of Devi; the three bindus suggest three limbs (avayava- trayatmaka). The bindu on top is the face (mukha), and the two bindus below it are the breast(kucha-yugmam). The breasts are creative devices 7 (25) Wet Satan | faghanrs: at: agri wafesd 1 (Pardnanda-tanra, 11, 37) aay And the bindu on top is called Kama, while the pair of dus below it is kala;. The group is Kamakala : the divine ell expressing itself in creation, preservation and destruc- on. And this is said to be ever present in the core of the creation. (ibid, 11, 37) he triangle below this group is technically known as ardha’ : Sakti the half of Siva, who is symbolized by ter ha’ which comes after the letter 'sa' (sasya parah h, sivah, tasyardham Saktih'). The inverted triangle Sgests the female generative organ (yoni). g Bere oi 9 aes EAE Parad ¢ ferrcge(26) There is another explanation that the bindu on top is Sun, and the pair of bindu below it Tepresents moon (right) and fire (left). The top dot is the undifferentited, unmanifest and transcendental brahman, as the creator, while the dots below stands for Vishnu the preserver and Rudra the destroyer. The inverted triangle below these two dots is the bija (source), and is likened to Devi's generative organ (bhaga, yoni), with Siva as the male sperm (bindu) Pratrefiot afte: frgeq: fra: sya: (Chandra-jiana-vidya) This triangle in its inverted form is in actuality the Sanskrit letter U, the nucleus of the Vagbhava-bija, repre- senting the gross form of Devi. There is also the conception of two aspects of Devi: the gross and the subtle, the former represented as e-kara and the letter the bindu. werent Vf arndeaa SetWeen th i ituti f erious aspects Of the psycho. (6) shodasa-patra (luts with eight petals) Patial arrange. (7) tri-valaya (three concentric circles) oo a . the yantra, ess, and be- (8) bhipura-traya (enclosing square with three ramparts), tradition, Ditties ; th ee ideology is traced to the Vedic The nine dvaras (doors) mentioned here are : sitar? 'S Devi-mahimnah-stayy (28): (1) bhipura (enclosing square) waa Ta, (2) shodasa-dala-padma (sixteen-petalled lotus) Sart ag tomer wea: | (3) ashta-dala-padma (eight-petalled lotus) Reerraertingy AEC (4) chatur-dasara (fourteen-sided figure) Tey *eahtetcatas 7 ween frei (5) bahirdasara (outer ten-sided figure) (6) antar-dasara (inner ten-sided figure) Su; Passage Which ic p; i esi . structure of Sti-chakra. e Sa (7) ashta-kona (eight-angled figure) supreme Teality Cranes are engaged in, Concerning ihe _ ®& trikona (triangle) Perity is obtained, 8 With devotion to Which all pros. __ @)bindu (central point) a Trea ___ Itmay be seen that the enumeration of the eight chakras . a Fra fay ear ns with the central area and moves On outward to the ery; and the innermost triangle includes the bindu, is Devi's sanctum. The counting of nine dvaras ally ‘doors’ but in effect ‘enclosures') starts from the and moves inward; and the bindu is differentiated trikona (triangle). is identified with Siva and trikona with Sakti; the Of the two is referred to as ‘adi-dvandya' (the Pair). The chakra scheme takes into account the Of this 'adi-dvandva' (Siva-Sakti) as the phenom- uce, Or evolution (srshti). Actually, however, this is m the original state the Siva-Sakti to the mun- lence it is called ‘avarohana-krama’. The dvara- the other hand, stresses the withdrawal of the lal universe in to the ‘adi-dvandva' (samhara). This(32) means the ascent of the devoteee to the highest spiritual real- ization, hence called 'arohana-karme'. Descent is successive empirical involvment on the part of Godhead, while ascent is gradual transcendance on the part of the soul. The Bindu called Sarvananda-maya (or all bliss) represent the transcendental power (para-sakti) and absolute harmony between Siva and Sakti (samarsya). This is what the Vedantins designate as Brahman. Owing to the play of the power of will (icchha), there comes about a formal and apparent differentiation of Sakti from Siva, expressed in the form of a triangle. Reminding ourselves of the nada ideology, already, referred to, if the Bindu represents the ‘para-nada', the triangle represents the unfoldment of the Bindu (bindu- vikasana) in the second stage known as ‘pasyanti'. The enclosure next to this, viz. eight-sided figure (ashta-kona- chakra), is the 'madhyama’ or third stage of development. The rest of Sri-chakra illustrates the final and phenomenal stae of 'Vaikhari', or completely manifest and articulated sound in terms of the fifty letters of the alphabet. The letters of the alphabet are called matrkas' or ultimate sources of all transaction and all existence. The sixteen vowels (from #) constitute the lunar sphere (chandra-mandala), the twenty- four consonants (from % to 4) the solar sphere (saura- mandala), and the remaining ten consonants (from 4 to @) the sphere of fire (agni-mandala). Thus we have tripartite divisions known as tri-kiita, tri-khanda and tri-mandala. The Bindu, the central point, is, regarded as a sphere (mandala) in its own right; but owing to the absolute identity of Siva and Sakti here there is non-involvement with the phenomena. The triangle which is an unfoldment of this point becomes the practical and primary object of spiritual endeavour called Sarvar-siddhi-prada (the spere of fulfilment (33) of all aspirations), it is described as Prakrti (moth: composed of three gunas (the io a va ence): Sattva, rajas and tamas. This also signifies the primor- dial pair (adi-dvandva), as said eariler, because there can be no creation unless Sakti is differentiated from Si Gaudapada's Subhagodaya-stava says : “ ‘ wiste ufeefea: wre: a 7 fre z rh: Say TAM wae Ba Tare 1 The transcendental bcomes transacti , ictional the involvement of energy. —_—e The triangle represents three pai i r angle 1 pairs, reflecting the pri- mordial pair (adidvandva) which the Bindu is. The . is Jalandhara-pitha, presided over by the Siva-Sakti pair Kai nesi and Urdhva-natha, and tesponsible for the divine it Uma (Sakti) and Mahesvara (Siva); (2) the point on Sourthern corner is Pirnagiri-pitha, presided over by Svari (Sakti) and Shashtiga-natha (Siva), and respon- le for Lakshmi (Sakti) and Narayana (Siva); and (3) the on the other corner (svagra-konastha) is Kama-giri- s ee over by Bhagamalini (Sakti) and Mitresa- os responsible for Sarasvati (Sakti) and three corners also symbolize the sattva-guna (as xta or unmanifest), the rajo-guna (as mahatattva or al consciousness), and the tamo-guna (as aharhkara- i egosense). In the Samaya ideology the sattva- explained as the energy that covers and concelas a ti), while the other two gunas are the energies Project the world of multiplicty (vikshepa-Sakti). The(34) following extract from Pairigalopanishat will make this point clear : Tprareasfraten Feria | (QQ) tafafattad aacnferasraria ar gate wa SSSA | Teta tard aire! «=a: tare: waa: Oiekaticrart siftrat sreaqeen vata | aaah aad arefanteata wiitrercraey Tel Agra :, witedeacpieinaata aferafadt fad aatfarreagd tt (Q) Safaftaceronfnd wife Fecren feared | Terfafatiad ang foam aarraraig a Ferenhart ere ray iata | (3) feconraifaftata faatraferrertifcms senorita weraheatad | cafetattad aafgre aa a aera ereaeadegerarerat fare: WaAEaS FAT I From primordial nature(mila-prakrti), which is perfect equilibrium of all the three gunas and altogether inscrutable, springs forth avyakta (unmanifest nature), owing to the pre- ponderant influence of sattva-guna, and this is the power to conceal (avarana-Sakti). Reflected in it was the reflected pure consciousness styled as Ifvara (lord), the seed of the pen fest universe; he it was that first brought about the process o! creation, preservation and dissolution, taking possession of the primordial and obscure capacity to unfold variety (maya). Concealed within him is the entire universe; it becomes = fest by the actions of the beings, even as a cloth is spread out, (35) and it gets dissolved in it when actions of beings cease, even as the cloth is folded up. From the power to conceal, presided over by Igvara, emanates invidivual consciousness (mahat, incipient aware- ness, which is undifferentiated although individuated), by the excessive play of rajas, and this is the power to project and spread out (vishepa-Sakti). Reflected in it was the cre- ative consciousness, known as Hiranya-garbha, whose form consisted of things that were manifest and things that were not. - - From the power to project, presided over by Hiranya- garbha, proceeds the awareness of self-identity (aham-kara, “Ness, ego), owing to the prevalence of tamas. This gross Power, the consciouness that shines forth in the form all things. Reflected in its was Vishnu, who preserves all gross things in the universe. The passage explains that the three gods, Brahma (cre- ator), Vishnu (preserver) and Rudra (destroyer) are actually expressions of the three gunas (tamas rajas and sattva Tespec- tively), which are in turn the aspect of Sakti Tepresented as a triangle (trikona-chakra). Durvasa's Sakti-mahimnahstava highlights the Samaya visualization of trikona as the major Seat of the goddess. aivararerctaatinna fart mente sfrnfreifes verre | igen diameter ioraT FE Devi is described here (verse 3) as seated in the centre Of the triangle (baindava-sthana), on a yellow lotus which is the top of the central vital chennal of our constitution (sushumna). The lotus symbolizes the entire universe. The(36) Devi seated on it is of the nature of pure consciousness (chinmayi). Around the triangle is the six-sided figure in which Brahma and all the gods are located. The seat has a parasol of fine pearls, which are the fifty letters of the alpha- bet, the stuff of which the universe is made ae ea dors rerrenfecsant fava rrorrrrtaaaaats Sls PEEA seafafaterarerenferargearna et A art weettantetag’: ant fearhtra: 1 This verse (numberd 8) describes the form of the god- dess as composed principally of the powers of will (icchha), gnosis (jana) and action (kriya). Her power of gnosis illu- mines the universe; her power of will brings about as a transformation of her own body the universe, preserves it and dissolves it again; and her power of action is bestowed upon Brahma, Vishnu and Rudra for the purposes of creat- ing, preserving and dissolving. arias faratrctes fafeimeata- PHarenfaasiegaaoraeeatatt: | Tarttenfecearercica rrrarcreanraeaa- ead fata aH aerteea w eRH ge: 1 Here (verse 21 ) the significance of the triangle is explained. The name of the goddess is Tripura, and the number three is important in approaching her. She is origi- nally of the nature of sun, moon and fire; she is mascu- line, feminine and neuter; her form is red, white and mixture of the two. Her mantra has three letters (brim, , klim, sauh), and from the mantra have emerged the three segments of time (past, present, future), the three realms (37) (earth, mid-region and the heavens), the three Vedas (Rg, Yajus and Sama), the three states of existence (waking, dreaming and sleep), and the three divinities (Brahma the creator, Vishnu the preserver and Rudra the destroyer).THE BASIS OF BHAVANA Bhavanopanishat is an important text for the practice of antaryaga, which is dealt with as Prayoga or practice by Bhaskara-raya. Antaryaga (internal worship) is the central feature of the Samaya approach. It is distinguished from bahiryaga (or external worship), consisting of the sixteen or more Services(upacharas) conducted with the employment of material objects (like vessels, implements and articles for offering) and assumption of gestures(mudras) in fron of an icon. Bahir-yaga is the normal mode of worship in Tantra, prescribed for the unevolved devotees. It has as its objective mundane benefits, and its spiritual value is but minimal. The texts say that external worship is only a stepping stone, a preliminary procedure, and that one must go beyond it in due course. Sanatkumarasamhita prohib- its the performance of external worship by those who have Progressed into the inner circles of Tantra, and have given up the pursuit of material Prosperity: eT 4 acter aon arersnfatiy: | WH ewe Io eT I The same text takes another stand and proclaims that external worship would be useless unless it is preceded by internal worship, suggesting that external worship is also indicated. (39) seri are ari 7 aig ated Antaryaga in this view is not a question of eligibility but one of efficaciousness. There is a view that external worship is to be resorted to only until one gets wise and that it is but a means to that end. There is another view that external rites (irrespective of what they are) are an integral Part of Vedic tradition and that they must under no circumstance be given up. Worship of god is Tegarded as a nitya-karma; not per- forming it would entail a sin known as ‘pratyavaya'. The Sarhiti quoted above seems to attempt at a reconciliation of the two views, however, highlighting the superior value of internal worship. But a distinction is made with regard to the external Tites which are Vedic in character, and those which are not. Th Rudra-Yamala, for instance, we read : afer aa: anf afkal asfintiad | fetenged te vente at ___ The Kaulika rites are mentioned here as antagonistic to the Vedic rites, and the devotee is exhorted to pursue Path, choosing between the Kaula and the Vedic. This ecomes necessary because both of them, according to Meru-tantra, are characterized by desires and their i Meru-tantra makes a three-fold distinction with regard 0 religious devotions (upasana) : ‘ (1) Suddha (pure) : done by one who is a Tenunciant, who is devoid of €go, who has knowledge, and whose ‘Mind is composed; the actions are performed at the men- level, and the rites are productive of complete benefits mpurna-phaladam). When the rites however are exter- and performed meticulously by a householder in se-(40) clusion and with devotion, they answer to the guddha- rajasa type. Following Vama-marga but understanding the Kaula outlook, whatever is done is classed as Suddhatamasa, involving no ill-will against any other approach. ats 5 jenn | eratadt afr Fd TES I Tees Ta wart Paar aI Tae ad Tee TS WHS ALI amrart enfin aici ef frat a SS ASSO FI US TTL (2) Misra (mixed): done by a similar householder - devo- tee but under stress like poverty, illness, travel or imprison- ment; the person who is eligible for external worship in this case has devotion but cannot perform all the rites meticu- lously. If however, he is intent on performing the rites but lacks faith or devotion, and performs the rites by begging help from others, out of fear of what people would say if he did not perform the religious devotions or out of fear of gods, then the upasana is migra-rajasa. Whatever is done out of desires, following tradition as well as the Vama-marga is misra-tamasa. Tiga Aq Teer totonsa at FAH en ofesenta argent ar ufedt asta afasi arerqunfirerea: 1 yond arenfacer srareret faert at aenicn tavicn aaarsrafafray i (41) wd Acar: at Sieg Tren | errant afin Pataca WALI (3) Galita (defective) : done ina cursory and casual manner, with little effort, out of considerations like weather and at the instance of women and others. Whatever reli- gious devotion is done for satisfying ones own desires, _ Appetities and tastes, or for inflicting injury on others is misratamasa. . - wiatgicrefarederrerraeria: | wale hte afer yet arte ATI frat? aq ari oF aq art wr rere aor fee Te ATH (quoted in Purascharydnava, ed. by Muralidhar Jha, Chowkhamba Sanskrit Pratishthana, Delhi, revised edition 85, pp. 32-33). The Same text (op. cit., pp. 36-37) makes three other Ssifications of religious observances which are significant. ki: I _ (a) Utama : Worship which is elaborately conducted, h all the necessary article and implements ( "yogopakaranaih naih kriyamanottama mata’); (b) madhyama. : Worship conducted with whatever ar- les etc., are available (‘yatha-labdhair vinishy dravyaih tu madhyama); _ _, (©) adhama; worship performed with only flowres, leaves ca, (‘patra-pushparhbu-nishpadya puja chadhama-(42) I (a) sattviki : worship done by the sages in perfect ac- cord with the Vedic prescriptions, for the sake of salvation (vimukti-da); (b) rajasi : worship done by kings who are saintly and by learned folk, for obaining happiness (sukha-prada); (c) tamasi : worship done by people who are devoid of eligibility and who are foolish. Il (a) sattviki : worship which is conducted purely in the mind (tasyam cha manasau pija-japau); and this is the best (‘Sreshtha tatra tu'; (b) rajasi : worship done according to the Dakshina- marga, with external services ( "bahyopacharaih pushpadyaih) in front of an icon (‘pratimayam prapijanam'); (c) tamasi : worship done for seat, altar etc, offering animals as sacrifices (‘pithadau bali-danatah') The import is that worship must be done when possible in the prescribed manner, with all the necessary details, but the more important aspect of worship consist of mental pro- cesses (attiudes, devotion, understanding of the symbolism etc.) And if material objects are not to be had, the objects could be visualized; the entire sequence of worship may be enacted in the mind. aaoraft aeqarren® sata fe Prete ta yorq fear: 1 What is of paramount importance is steadiness of mind while worshipping, and this is facilitated by visualizations, (43) Projections and symbolic thoughts. The expression 'sattva' has mind as one of its meanings, and naturally sattvika-wor- ship is done only in mind, altogether independent of the external aids. This is undoubtedly the best form of worship but it presupposes competence to exercise the mind in this direction. ‘ Brhad-uttara-tantra Prescribed that worship in the mind _ OF antar-yaga must follow the Prescriptions laid down for but the services are conducted not by the Physical articles but in thoughts and imagi- mentally performed. wera foterey arrdiarafeterr | een a Tyee teraé: | 8 faftaq vary BRR Another text (Syama-rahasya) Suggests that making ones Mind the Sacrificial ladle, all the sense-functions must t be offered into the fire of Consciousness at the basal re, the fire being made bright by knowledge. Ree ere are wa SEIT Fremerqitgeterer 1 Mi tantra explains that one must visualize Kundalini as blazing forth in the Square fire-pit at the maladhara ffire (Atmagni) into which the sense-organs ushumna passage by thi I-Ie dl (sruk). Sacrificed thus are merit, RE Nicer Maulons, virtue, vice and all things by the other sacrifi- adie (sruva) known as ‘uplifted mind’ (un-mani) held in(44) (45) the hands called light and void After Performing Pranayama SCR one contemplates on himself as Pure consciousness, indepedent Herrercaeategfy afaent of all props and Conditioings. RR SgesETE fate fal ge ager wait quected Sra aa Worship. One is the physical resentation (in lines or in srtetefacie sree TET or iconic form) involving the testicles of ‘stepping up’ (pada- yamaha emerge, vikshepa) of deities in the enclosures, and of ‘gradual rise’ . is are ect sheategs:| (kramodaya) in nine Steps, nine Sheathes, nine Planes and ra . . nine stations, This entails external worship (pija) according SRF eae Gr oe gate a to the prescriptions j ; 1a) = 4 ai i i : dira- Se hi iii (0) pies, 4) mandi Ben 9 Barer GF: veri wg THRTERTRRM Tae | rnieriorerete oad gee 1 Nown as "viyacchakra' (or the # emerging within the heart-space). The sadakhya- (the twenty-sixth Category), which expresses the of Siva and Sakti is the object of Worship here, The " which is in the centre of the thousand-petalled (sahasrara) Manifests itself in the heart-lotus during Vital-current (Prana). And into this fire is offered as libatiog © th ; ig itch re in ia all the thirty-six categories of existence from earth to Siva: s * ‘ - z The Vedic ritual of Sacrifice is here internalized. The fire is the constant Consciousness that is within, and it is self-(46) also seat of mind in Indian thought (cf. 'hrda manisha manasabhiklpto' etc.) The worship dispenses with the se- quences mentioned above, and consists wholly of visual- izations and contemplations, carried out in seclusion (ekante) and by one who is perfectly restrained (jitendriyena). Even in the external worship of Sri-chakra, visualiza- tions and contemplations are not entirely dispensed with. Before the commencement of external worship, certain preliminaries would have to be gone through, and these involve visualization. It is an important detail that one cannot worship a devata, unless he himself becomes the devata ('nadevo devam archayet'). The devotee (sadhaka) must transform his physical body into mantra-body, and his soul into devata-svaripa. The preliminaries help this transformation, which is entirely metnal. It is laid down that that the sadhaka must finish his morning ablutions, and undertake three-fold visualization (chintana): (1) guru-paduka-chintana, calling to his mind the image of his master, (2) chakra-chintana, conceptual- izing the Sri-chakra, and (3) devata-chintana, imagining the presiding deities or the amnaya-nayikas. Next, he vi- sualizes the Mila-vidya in terms of Vagbhava-kita and Vagadhisvari in the miladhara centre (navel), Kamaraja- kta and Kamesi in the anahata centre (heart), and Sakti- kata, and Adi-Sakti in the ajfia centre (middle of eyebrows). Then the contemplates upon mila-vidya Maha- tripurasundari on top of his head (brahma-randhra) andthe six 4mnaya-nayikas in the six chakras of the body. The final step in this preparatory sequence is known as matrka- nyasa (laghu-shodha-nyasa and maha-shodha-nyasa), which actually transforms the body into a divine instrument. (47) However, antaryaga is distinguished by four-fold conceptualization of identity (aikya-chintana): (1) The identity of the Supreme goddess with the de- sign called Sri-chakra. The supreme goddess is unmanifest (avyakta), but the chakra is manifest (vyakta). But the goddess will become manifest in the chakra, provided the symbolisms of worship, (pija-sanketa), of the structure of the chakra, (chakra-sanketa) and of the mantra that is employed (mantra-sanketa) are Tealized. divisions, and the areas of the universe have their correspon- dences with the details of Sri-chakra, So that it is really a Cosmogram. This is visualized here. (3) The identity of the universe (brahmanda) with the individual (pindanda). Correspondences between the aspects of the universe and the factors of human constitution are in detail Conceptualized, through the structure of Sti-chakra. (moladhara, svadhishthana, manipira, anahata, viguddha "and ajfia) and the tattvas of Saivagama. (4) The identity of the letters of the alphabet (matrka) Muth the deities distributed in the nine enclosures of Sri- h (devata). There are, however, six distinct factors that are invovied and accordingly sometimes six kinds of identity (shad- aikya) are formulated - (1) the universe (brahmanda), the human body (pindanda), (3) the structure of Sri h . (4) the Primary letters of the alphabet (matrka), (5) 8oddess (devi) and (6) the mantra specific to her. Gaudapada's Subhagodaya-stava speaks of the six kinds(48) of identity contemplations in Samaya worship in a slightly different manner : war frees dey a wairic fara warieted daq a Sorerafa wat: 1 wafer Froaafy waeri aera Ted Teas waft fe aval aah The identity contemplation are (1) of nada with bindu, (2) of bindu with Kala, (3) of nada with kala (these three are described in the verse as a triad or "tritaya'), (4) of kala with bindu, (5) of kala with nada, and (6) of these five identities with Sri-vidya. Bindu, Nada and Kala are the three factors that are invovled here. The three-terms need some explana- tion, for they are used in a special sense in the Samaya Philosophy. The Samayins not only accept the well-known group of six chakras (from miladhara in the region between the genitals and anus to Ajiia in the area between the eye- brows) but add nine other chakras, which are described as subtle (sikshma-chakras) above ajfid and below the sahasrara (the thousand petalled lotus above the crown of the head). The chakras from miladhara to ajfia are called ‘sakala' (aspected), while these subtle chakras are sakala- nishkala' (aspected as well as unaspected). The sahasrara is nishkala (entirely unaspected). The subtle chakras, which are nine in number, correspond with the nine enclosures of Srichakra. It is of interest to note that the patterning and ar- rangement of the six classical chakras reveals a gradation of subtlety and expression of the bindu in the sahasrara (thousand-petalled lotus) which is above the six chakras. Bindu is the especial power of Siva to create, preserve, (49) and destroy the phenomenal universe. It manifests itself as the conglomeration of the six chakras from miladhara to ajia (shatchaktra-sarhputa) and it diversifies itself for the sake of projecting the universe ('tadenaiko bindur bhavati Jagadutpatti-krd-ayam'). It is located as one and transcen- dental in the sahasrara, but breaks up ten-fold as it trans- forms itself into the chakras, ere frend fargtes va was: squiserent tras frag | STRSTR FTCA It The principle of Siva in Sahasrara gets united with Sakti (the power to transform and Project) and becomes Nada which is in four grades : para (transcendental) in Sahasrara, pasyanti in the ajiia centre, madhyama in the viguddha centre and vaikhari in the other centre. In Sri-chakra, the central point is para-bindu, the triangle which is an unfoldment of _ this point is pasyanti, the eight-angled figure madhyama, and else Vaikhari. Vaikhari is the gross material and physical rm of sound, articulation and communication. It consist of fifty letters of the alphabet ‘a’ and ‘ha’. The grossest manifestation of the bindu is the nuladhara-chakra described as a four-petalled lotus (the ‘Our petals signifying the four aspects of the internal or- ban or antahkarana: manas, buddhi, chitta and aharikara). bindu has broken itself up here as four-fold aturdhadhara-kamale'). The chakra higher than that, dhishthana, located at a littled distance above the re- On of the genitals) is six-petalled lotus (‘svadhishthana- Paiikaje') (the six petals Tepresenting the six passions : Kama, krodha, lobha, moha, mada and matsarya). The © chakras together make ten units (four in maladhara ch(50) and six in svadhishthana), and this aggregate is techni- cally known as 'sarnhrti-bindu' (‘dasadha bhidyate binduh'). Svadhishthana includes maladhara (four petals) and has two petals of its own. The ten units (aggregates of maladhara and svadhisht hana) constitute the ten petals of the manipira centre, situ- ated in the navel region. The next centre, higher (viz. sub- tler) than manipara and located in the Tegion of the heart, is anahata, which has twelve petals, the ten units of maniptra are included here together with the two units of Svadhisht hana. Thus anahata comprehends manipira, and svadhisht hana centres; and svadhishthana in turn comprehends the anahata centre. The visuddha centre, located in the throat region, is regard as subtler than anahata, and is described as a lotus with sixteen petals, of which twelve petals are from the anahata centre and four from the miladhara centre. It may de noted that the twelve units of anahata comprehend the ten units of manipira immediately below it and only two of svadhisht hana, immediately below manipira, excluding the four of miladhara, which is below svadhishthana. These four units are included in the visuddha. There is a gradual decrease in the number of petals as we move from visuddha downwards : viguddha 16, anahata 12, manipira 10, svadhishthana 6, and miladhara 4. This suggests the contraction of the vidya-Sakti (sankocha) of the bindu as it proceeds in the direction of material manifesta- tion. And the centres below visuddha (anahata, manipira, svadhisthana and miuladhara) constitute the world of dark- ness (tamisra, viz., materiality of objects, physical nature of desires, crudity of passions, and externality of inclinations). Miladhara is dense, blind darkness (andhatamisra) and EEE “Se (S51) svadhishthana is darkness but it is not so dense or blind as miladhara is. The gradual diminution of denseness and dark- ness as we move higher is indicated by the primary elements which these centres Tepresent. Miladhara stands for the earth element (grossest among the elements), svadhishthana for the water element, manipira for the fire element and anahata for the air element (subtle of the four elements). The Visuddha centre respresents akasa, which is form- less, all-pervading, all-supporting and bright (luminous, from the root "kas'). It is Sattva, and therefore this centre Ss Tiality. By yogic devices, it is awakened and enerzized and it then gradually unwinds itself til] the visuddha cen. tre Is reached. This centre at the throat is the seat of the _ individual soul (jiva). hy The visuddha centre enters into ajiia centre retaining ly two of the sixteen petals, Signifying muladhara and (the one on the right side) is denoted by the sameaoe © ‘anugraha' (self-expression, symbolized by the letter 'a') and 'tirodhana' (self-limitation, symbolized by 'ksha'). The former is also known as ‘prakasa' (or Siva) and the latter ‘vimarsa' (Sakti). : The point gets clarified when we consider the re- wards mentioned in the text for dharana or sustained at- tention on the nada and the kala, by restraining the life- current on each of the centres: on miiladhara, intelligence (mati); on svadhishthana memory (smrti), and manipira clarity of mind and fixity of purpose (buddhi); on anahata omniscience (prajiia); on visuddha, intuitive faculty (medha), and on ajiia, the vision on the sages(pratibha, arsha-dargana). The conception of three 'knots' (granthi) characterizing the centres from miladhara to jiia is also relevant in the context. A 'knot' is defined as truth (viz. chit-kala, pure consiousness) and untruth (viz. maya, prakrti, the projected categories) being fastened together, inseparably and each beocming the other for the time being. TOAST AeA TA: | The knots are actually obsturctions along the Sushumna Passage, preventing knowledge and action from exercising their legitimate functions. They are constituted by the three gunas (sattva, rajas and tamas), and so bind the individual soul to the phenomenal world. The yogins are able to break them up or pierce through them by methods like pranayama. We read in Yogini-tantra : irri wa Tei wefan | Fereregararasars aq viata | Sra a PETAL (53) and in the commentary on Péranda-tantra (p. 254) oP Tener | art: Saas af aisaeri Freaar aitrai wate 1 strated by the condition of wakefulness (jagrat), Be ind visuddha centres (or above the mManipUraka, according to Yogini-tantra) is the second knot known as Vishnu-granthi, as a result of which the individual's le body (sdkshma-Sarira, Consisting of the prana, manas Just above the ajita cenre is the third knot called Rudra- thi, characterized by the play of Primordial nature -prakrti) and by bliss of oblivion (prajiia). here, the logy of the state of deep sleep (sushupti) is given; it is ition which on its cessation is retrospected as plea- le experience. If the brahma-granthi illustrates anna- -kosha, and the Vishnu-granthi the prana, mano, and -maya -koshas, the Rudragranthi illustrates ananda- -kosha. The six classical chakras thus comprehend the entire of aspect (kala) characterized by thirty-six categories tence (tattva), matrka) and fifteen constants (nitya). World consists of three realms (mandalas) named after(54) Sirya, Chandra and Agni and three universal sound-forms, pasyanti, madhyama and vaikhari. But the spiritual aspirants are rquired to go beyond the scope of these six centres, which when compared with the centres above the highest of them (viz. ajiia) are described as gross (sthiila-chakras). Texts (like Pardnanda-tantra, ed. by Raghunath Misra, Sampirnanda Sanskrit University, Varanasi, 1985) enumer- ate as many as twenty chakras (‘sthanani virhsatih') located along the sushumna channel (also called brahma-marga). At the bottom of Sushumna is a thousand-petalled lotus, red in colour, called Kula-padma, located in the central hole (kula- kunda) : Spe THs Tea | qeret afiiardergergvetead fe at (Tripurarnava) On top of Suhumna is another thousand-petalled lotus, white in colour, called akula-padma, where Guru is situated: anid qari | singe [Rear wea AT I (ibid) In between the two are eighteen chakras, and they are all situated in an ascending series along Sushumna begin- ning with kula-padma. Pardnandatantra (4, 46-47) names the twenty chakras as follows : I (1) Kula-padma (2) Vishnu Il (3) — Adhara (malladhara) (4) Svadhishthana (55) Piraka (manipira) Anahata Visuddhi Lambika (larhbikagra) Ajiia Bindu Ardha-chandra (matrardha) Rodhini (bodhint) Nada Nadanta (maha-nada) Sakti Vyapika (sahasrara) Samani (ajfit) Unmana (Unmani) Mahabindu Akula-padma (sahasrara)(56) (57) Here, from Adhara (3) to Ajfia (9) the chakras are physical in Situation, located as they are above the anus (gudopari), in the genital region (linge), at the navel (nabhau), in the heart (hrdi), in the throat(kanthe), below the nostrils (nasikadha) and between the eyebrows (bhra- STAR Bee he: Ta: wR | SR ea fer a ae erry ‘ The practical implications of the sikshma-chakras is that the Practitioner must get beyond the Scope of the phenom- : Overcome are the five Primary elements (bhiita), the five Sense-functions Giianendriya), the five action tendencies _ (Karmendriya) and five Sense objects (vishaya. While twelve ails, the aja centre Pertains to individual Cons ‘iousness(buddhi) and egoity (aharikara). The Chakras(58) Ta TT 9 Ae HEN Aa fara Sart at arrest waaay Aiea he practitioners who have reached this state do not re- turn to this phenomenal world of transmigration. The location of these centres are not clear, nor are they uniformly given in the text, Most of them however are lo- cated in the region of the forehead (Jalata-dese), according to Sarhmohana-tantra; which text includes ardhachandra(11) in Bindu or Chandra-mandala (10), and Sakti (15) and Vyapika (16) in maha-nada (14). Another text locates unmani centre at the aperture on top of the crown of the head (brahma- randhre) and identifies it with maha-bindu (19), which is below the sahasrara centre (akula-padma). THE CHAKRAS (The following is extracted from Svachchhanda-tantra. It gives an account of the gross as well as the subtle chakras) () THE SIX STHULA-CHAKRAS sradhel Gyeren: Teac | seatthqertents sttiertaataa ig " waite gyrate | Ragen Sha vargerrafeRRL acter Ht carefree Wer 9 rehfertrecet ot 3 FE aren TET AA Hea | Se el Bean shots era aA ie i sitiarent ef quate a afer Bersted ETE wes aT IECT AAT Terreqitrrenteanfany | Were qe a sera: 1(60) Taree vee Era | MARIE Te ATE THAT No 1 aga a 4 quect waa wee Fare aeefehir ga ic Ted after afer ager pits a are aft after fara 18,1 wre aayeges wafirerl Tema atest Parrett afemntetirergar igo i Teg FP a aes GRIT eet neat cea Spratfefirerge ig e A Ugs cere gemma mertergenged faye Heer eI Rerm sift eat srqerentefietaar HATA feraTES we ATTA IR: I weal aan ad wie gq ert farsieraa faci cremergedt fra ex (2) THE SUKSHMA-CHAKRAS Wafer aac | WA bret ae tard fergeras A gh I (61) oeameagel 9 Gfirt wer shaft, SRY Mares sreerqetefierr: ge u TETAS Ter Pee ei a 1 aie 3 gee APIA H RATT 1g 1 We Gaeni age! eas Rem) Ue wife Teta: ec 1 wr i 8 es ere a ros Fieger FA SHS a 3 TT re (3) The NINE SUKSHMA-CHAKRAS 1. Bindu(53) fee Feri eri ERR ee RTO arg Fray eaTRTEH: SURES; Hrs 3 PGE ste wea(64) Ferre fate amart ger eferoreht frye ara wend fare sera | wea Teta: I The concept of antaryaga is mainly concerned with vi- sualizations of identity (aikya-bhavana). Besides the four (or six) types of identity already mentioned, there is another group of factors for which identity has to be visualized. fresesditet ferrgarerinti | TnerEraited arrrarert: (1) identity between the human body (pinda) and the cosmos (brahmanda); (2) identity between linga or the Vital constitution of man (lingatma, linga-Sarira, consist- ing of sixteen factors, viz. the ten indriyas, five of conginition and five 'of action; mind; and the five tanmatras or pure elements) the siitratma (the vital current defined by cos- mos, the spirit that leads the linga-Sarira through the archiradi path after the death of man); (3) between svapa or deep sleep (suhupti or prajiia) and avyakrta (the undif- ferentiated and unevolved Brahman under the influence of avidya); and kshetrajiia (the individual soul) and paramatma (the supreme soul or Brahman). The most popular text employed for visulaization of all these aspects of identity by the Samayins is Bhavanopanishat, which is held in high regard as the principal Devyupanishat. It has an excellent commentary by Bhaskara-raya-makhin, a prolific writer on Sri-vidya. This upanishad which is formally affiliated to Atharva- veda deals with the details of anataryaga, also called samhara- yaga as it prescribes gradual dissolution of mind in intense contemplation. It is said that heart-felt eulogy of the Divine(stotra) is better than external worship (piija, that reci- tation of the sacred formula (apa) is better than worship, that i (65) meditation (dhyana) is better than Tecitation, and that best of all is dissolution of mind (laya). Foie earl ei a raeaat ay: | Srmferd ear erate oa: 1 It seeks to establish perfect identity between the human constitution as Sri-chakra in all details, and to Prescribe the method by which all the Sequences of external worship may be adapted in antaryaga by visualizations and contempla- tions. The text works out the identity on the basis of the tantrik outlook but in conformity with the Vedic tradition. The text finally promises that by such visualizations and Contemplations even for three moments on the esoteric sig- the tantrik outlook, that whatever one thinks of will easily be accomplished, without his exertion. We aga reer gat waft ge coarteafats: | fatrreratfr seria faqeata a ua ferrin send 1 serra This is what in tantra is known as the 'short path', the longer path being filled with rituals and being depen- dent upon the avialability of material articles and imple- ments. However, it is not suitable for all people, it is indi- Pensable in this path. That is why the upanishad begins with the statement that the guru is the supreme casual Power :(66) W AtTS: Tor EONTST BA: For the practitioner must visualize here not only the common object and familiar services, but also abstract enti- ties and esoteric rites. An illustration would be the sequence of ‘upacharas' in manasa-pija (internal worship) where the five primary elements that constitute the entire universe are themselves offered as so many services. a yfrontorer’ arentrqeped wi aera | S STRRMI TOt Ber | Fara yd aera Cas sree oti aera a argaeaa Fae] Herr The five elements are visualized by their seed-syllables and represented on the fingers of the right hand. Earth is symbolically offered as sandalpaste, water as food-offerings, fire as light, air as incence, and akaga as flower. And while offering these services, the devotee only thinks of them; the offerings are all made mentally. Vamakesvara-tantra (Kama-kalpa-taru-stava, 50) sug- gests that the entire Sri-chakra in all its details may be worshipped only by eulogies and thoughts, and affirms that this procedure is as effective as the worship by exter- nal rites. But this is only for the fortunate ones who are eligible for it : apa est aacndtacrrat- Ufa fatter wafteragaeta | ahsnferen aereraPtiereary foram: apf: offerte (67) This suggestion has been taken up by many poetic works which are in he nature of stotras, where the goddess and her residence (Sti-chakra) are visualized in the great detail. Merely Teciting them would, it is believed, merit the rewards that ensue elaborate external worship (which is expensive and which requires preparation, effort and arrangement). Tripura- sundarimanasa-piija-stotra (123), for instance, recommends the ‘panchopacharapija' mentioned above (the offering of the five primary elements), for those who are unable to un- dertake external worship, for lack of knowledge and conve- nience. ares fereh sarrerchs = Q rsa wetivigca ritst a Tatrararar anti 11 The Sequences of external worship are visualized here and described, so that one May recite these verses wh never he can, and attract the grace of the goddess (127) : Preardafig fart sreqari wer afi frag fated: veheppeg at Indeed, this device is intended to help those who are devoid of the strength of devotion, of the facility of renuncia- tion, and of the inclination for contemplation. Recitation of these verses would serve as offerings of flowers. WaT Sse: Wea a afte - 49 frvatieineaaat 3 afi: | fat aafe wae farraarerené rere afer i(68 ) Another work of similar nature, Devi-chatus-shasht yupachara-pijastotra, enumerates and describes as many as sixty-four services during worship, but declares that reading of this work alone would be as good as going through these services in actuality (71): iftai wtici gat adatier: | reemarita ase a farafa It may be recalled: that antaryaga is also prescribed in the Vedic tradition in terms of ‘atma-yajfia' and 'purusha- medha' in the Narayana-prasna section of Taittiriya-brahmana, we have an elaborate account of sacrifice drawing out Correspondances between the factors and faculties of the hu- man constitution with the details of the sacrificial rite. wea fags ater aTAF:, FS Io, wens, st ate:, chs ae, ‘aq :firer, waa: a sea, Wy: Wa: Tist:, TAaga afarn, OL SM, BIT Sei, waa: TA wen, se In this yajfia, ones own self is the performer of the sacrifice (yajamana), faith is his wife, who also must take part in the rite; the body itself is the fuel that lits the fire (idhma); the chest of the individual is the altar (vedi), the bodily hair are the darbha-grass (barhi); the tuft of hair on the head is the hymnology recited (veda); the heart is the sacrificial post (yipa); desires are the clarified butter that is poured into the fire as oblation (ajya); anger and ill-will are the beasts that are tied to the post and killed as offering (pasu); penance is the fire (agni); control of mind and restraint of sensefunctions are the fees that are of- fered to the priests (dakshina); speech is one of the four (69) priests, hotr; vital current is another of the priest, udgatr; vision is the third Priest, adhvaryu; mind is the fourth priest, brahma; and ears are the attendant-priest, agnidhra. The agamas have continued this symbolism and have prescribed in addition to the detailed and formal worship of the icon, worship which is purely internal, haveing ones own self as the god: TORI TE ARATE: | We sUritearraise aga ie aT Sraate aera SERIA AH iY TATA I " Far raerag get os wera ‘tora a chore F3ei = qureahie ie 1 srrenari set aga a TTI Wathfraeratin arses arereM ine 1 ei arias career safe | STATE RRR eT Uy sareresi agers ae | Srarertactt a cerqed waltfar ig fee wel qathteatrer STATE THI Ta: THI Pe raeatfsstagsy: wea No 1 Godhead must be Provided with a seat in ones ownheart-louts. The nectar that oozes out of the thousand- petalled lotus on th crown of ones head must be offered as water for the feest of the God; mind itself must serve as water for washing the hands of the Deity; nectar from the thousandpetalled lotus again must be offered as water for ceremoninal sipping and for Purificatory bath, The ele- element serves as the light for the deity, and nectar from the thousand-petalled lotus as the food-offering, of the fan in front of the deity. The Sense-functions and the nental processes serve as dance Postures presented for the ntertainment of the deity, Ten kinds of flowers are offered to the deity: non-deceit, elflessness, desirelessness, non-arrogance, non-confusion, bsence of haughtiness, absence of hate, absence of jealousy nd lack of greed. These are the ten flowers. Further, non-violence, self-restraint, compassion, for- veness and wisdom are five more flowers that are Placed at e feet of the deity, SRE S. “a a 2. . &, eS 4. ‘&. (71)a. ga. 9, Re. Re. . Vitengag-deoreatrentafireante ereaet RR. RR 22. . Ru. Re. Iw, Re, R . Serre: feritrene: 11 (72) aeiqureagta atarrareutteftatieravitact aqeerrea: aedeithiroante ager yer: aT wrarawnatfhtguate afedman: 0 Wrarquriatatinten tac: wrecagyirat ‘Tem: waa sft Woes Use wants aH SNH: eterenl Berea Ahem: sft arroasat uate: & aaron gem: Teas deretamrarsaasd ueata Um evrafgncrerdaten sraderen gaa: tt Weather: VATETaTT: | WA aes: WT: UT: Ut ButseayT: 1 fa ne rem nniers ZU Preufierdaea arta: 1 Ferra: wate usa afta i vile aces feast: 11 spre fora a fare: 11 RR. RR. . Taeufaterstur arctan uftoraracterT . el aera aedtgne ata ar aterm stare (73) Frere ferecart saat frame aa: 1 u wafer! a wa frei aera 1 . Tafenertgrret: ufraea: 1 . WU ag aiserdionteta(74) warfare: 1 (The numbers refer to the siitras) 9) Se area frre gaa a are: afer: | RTT Tea TTA wef TR WTS enters sa feaqretertrairerggery st 7: 1 (xf meres BEET) (festa: ) : é (8) (Serer recto Fa: fa Freatrat sar) (s) Ha goRMRRgtr aH: z tae steeds aH:(76) 8. BRnfeeaat aaa za: 2. ean weawas A: 2. anfeeamd aga at 7H: . efeaaa trash as AH: 4. Uprfacaaa ceria a4: 8. "onfigand yeaa AA: \. sreenfigaat aearabad aH: ¢. Helfacaard meas at 7H: 8. Shihan aa at aa: (¢) ARCUH: HTT TA: | OS AAA BETH AA: I (3) meee Tea FA: | TTA Tera AA: 1 formar atta AA: | HAI RETA FA: Il BOAT BATS AA: | warrant fafereda A: 11 Peasant Aa: sree rath 7: 1 meonferara aaateara 7a: 1 Sts: Taner afreeveay TA: 1 Frarrecafautats era fast - Waee Fre Ta ae wel Fea AST. Pratet 3. Brad x. agement 4, ; &. Pracatert vo. Prguftar ¢. Argan ama:(78) age refeera fires aera TT hers Perera Fea FA: Il agurarariteretinn aaeeeravarancnt areata watt Prem FA: Il agraevefies aageerara Tasers eS Prem FA: ll agrraranierefia aqeeerarereny eeifateess fren Frem TAs Tgrracafigefis waeravarancs wareeiifates Aperraret fread FA: Agrtaraierefies ageerenaraIer grexifaterss fase rca WAI Tgracneetie aqdymvaaen waeifitees eaten fread 7a: | agueaeniterefires aqeeerarerens aqeeifateeay sateen Fred Fa: 1 agrracnitretia ageereravaracn telat fatines faa Frat FAz I (Rerranrtt aweet éfacet oi firemen waft wa at arti) (88) Rae Tr ht BeOS ATT II TAT SRI afornhaes TA: TETRA cfeenaey TA: TafeRTET BOO Afear fares wa: APTIRHICIST SRT aferea fet aH, amferyrat carat weer fared aH:(80) qaeRt eae weet Aaa TA: arieergen adele Ae A: BRUIT aA Asa YE Ta: TRTTSSTaHTT TaaVST BETA AA: acierierat sage 7: fa crear ST It Taratearentads fares ser: aafttsad saa weeatiriteracny sforentaet a7: 1 sftfesrrarcarcnt wd athena aa: fa wards ot fara (83) terearaa 4 sf aextoataas =e TaAATT ST Brora crafter AA: TaeTe qearafiontcaraens 7A: Tae TTSTIS STE steeTHfoh cara AH: TaRTTSOTaaT wrest Frans FA: caCORE Braco Fear wa: Teese warafiot fread 74: TeeRETeTen TarHfiot Feared 7A: TaMgdeET aa TrHheet Pears aa: arrredcreatistarcnt frareftent Fearn 7A: areata satenfiot ferred 7: SPRITSTarTIG Beart Feared 7A: arieeraarcry aarefiot Femara 7A:(82) TenecarTEraeer Vsfactaoh wat AA: | TaTSRTa aU aration wat A: 1 carrSTaeCa alee wat A: carmen eater adechtet wat 7: 1 eS Ta way AA: I Terenas wags aA: 1 aSeRST Iara aalagiadt wae TA: I arteeryen waeiadt wad a7: 1 amderifaner aatanteat gact a7: 1 SATRSTERACTC walefeneet wat Ta: 1 arriswtaren adaahrgot wast A: 1 een Tac wea Ta AA: | TAP SOMATA Taste Wa TA: II wuadthiraarabat frgafad 77: 1 aarerrifrierarcanen Sfrafaed a: 11 san Rarer added Aare 7A: I (88) Cafecercasera 7H set carga =721 1) Tenferer aoa wafafeweeSd A: 12 agearise 7: |) (RR) (4) (Pretorerara aa efit sara! ye 1)(87) Pteeeteateeaaaa: seen: oi qetatenea, areal STAT RTARTA ETT 3 a Terrnernad friar faurerrn frefeari xaraty Fete (a) WHET a Termiatracarnfarare aity rrr Br Re Frey fet terran ardent 1 (38) fram EST DeTas Seas a achat one fei aa q ameTagTerd setae freerenti | ang sigue: shee oftet agacai fafané 1(88 ) Torfet Sti aa aa ar: zane the aa aa is aetaraprari ia thea ae va 1 TU AT Ware SANT OT MERCI aTATA | Areata re Hane a ypENte 1 afer ara a Sot - ae | wh: erode wat Se I OH ferasea ar arrafin aaah | wa 4 gS ef tHe ada ata ait: (89) sites watts arepiePeatrata Terran ageroryecie: a Tsar eres area IC Tar TrraarS: were safe TALE Tere wa safe : ar fergie war as Fer Bey Cara Ie I Sfeiter: SaHrn: |]: wet saeeear REQ IE TERRY GERT: 113 Hh Trats Naeet eree eTgefy: | BRET: ETT: LIT FETA: RT: 16 meeaftreasio arene vfaengg: 7 yalingesi crema aefiad fiery 1 eT Fae wag are! Bei ae: Fear ser wore ore fea Ug airs firga: set cen frafieiga: 1 Sela: gore’ aera are: TET: 1 ‘Whreniete sear: G21 Steet dena dar: |: mare A iz u Weaagqe drm: ahfreareneg rea: | ore eerste: adfaenteenm: a)(90) ‘wee Ceres: AAEM BA: | vitor ag ST TUM: WT: RAT 1120 U1 afrarereyrea: SI: AT: TOA: | reat ete egey: Ure wT Eee: 122 BU: Cag: Shp: we aaPhHy | TOTHTR RTT: MATA: It aR aaietory: Gfacrian: At: | eat am she cafe ferafareT 122 I cited aise: ergufeatefa area | fafgecerrafard yar Sara 112 3 Ul STAM TAT | waned fener Bat: earch ATTA gy I zat aareada cara Shee | TRAY TF Som STATI 84 I SA WAH TMAH A: SAAT: area faafecrcart areata: 26 FIRE] Saar ATS VHC TTL TRAST ATE SETA Me eth faafeercani career Aa: | aorta are To ATS A (91) MeRATTIeg sar geH | safer fren eer wate HEFL ‘Sorel gated saeer gift SRarniiermred aga See 20 u(92) stafraraqereqrandye: at eet’ Ufa afer waa | AGT SATAT FART ATTA 112 1 pricey Tel TR ATL Tents apa were a AST Sree sary cree arse | sofas Ger i Bete 113 11 Sones afer Sarre afer: | afittrents varrat ractarergies irs 1 daeeniised aremeliat aa qantrreorrdant wea iy 1 Wa: Wars aed WATT | safaga a sats trent aerTa ig 1 Freres Ysa AIT arian a areas af: te 1 yervernfara fiat dactiiod | rafbrerrege af cen eerTaifa ic 1 Weer Wap TA TAL fergie a dirarerge cans ig 1 (93) we 4 free =e einer fea aretiqrarcra vac 8 fata igo 1 Areas aa a | Megas fa aay 122 11 ENO ATS | AAI MAAHACMS PINT 22 I Baa Terra PAL TTAT | Ferrara eaters 123 | seams Feat Bega a Pah AP TEATS IL I stata ara: Teaser | rel STARR FATT TATA " aaferaneet 3 Tan Ws eparrary | praia Sere: TT aT AA 2 I arhanta a caiftreernge wreatiees | artergfacattiars aera FET 2 Tarannticas Hye | wa Sears rasa Re 1 sree Alsat cat Bet st | SA aa GTS HE 1128 I(94) STEER PIeTSTEA Io 1 ufoareratten pater cai FAC Fa! Tyas wa a ato Re Wea Satis Asha | Aeratracenge: wreak frat yarereuttd Farmiga | Terr yfeamtcated Aaerrragy 122 11 after ageey rand: | weeareran are eaferan afeTAG 1123 1 sitqorers whe qerat yaad | ages a cifernfiaarra: nee arnfeiefareeg aera T aa | wee TST: a ATO ART 112 TRE aigeanrInsis rasta RA | aterataferentiersa’ aera welteg IRE WW sitacateter atu efa tt agereqranqarize: 2 pt: This is a composition of the late Ashtana-vidvan Brahma- Sti K.P. Narayana-Sastri, Professor of. Advaita, Chamarajendra Sanskrit College, Bangalore. It summarizes the mental wor- ship of Lalita. (95) SRI-CHAKRA(96) TRIPUROPANISHAD - with BHASHYA of Bhaskara-raya ara faqiafee: yar ure: (areraaa:) SANTI-PATHA ait area rife vfiftea—ril a af ufttsa retrensfrrearans wad A are ade Fale yfaftoa | 7H fahren aaq ward wa ate vioftsismafeastemerta weed ara faa omiargyed fe area freer arerctaraentag wa: | Weer afeefacdnd Fan - den ara: Wears faafird 4 aeragearda - amet: wena fer fa Ara: anferdt' uf arr yer wee @ WHER a ae afar 8 yerctracas: 1 deer a areiter:| qd Aor welet 2 aaa crafreaminertareraa-aeey arose and wantin: & state, veel ara gi werd a vere: mH frente: seariitatar ate aed deena aed feet arrearage fraronteametay datsrent | seh wat were’ wRewa fe varied) afd a weal aire ae afeeafa-facdarefacd = arfaeit aryfecae: 11 sada eel afar aeqaed ferart ara afevaritcre: 1 wanlag agertnag adgandganlendgaer'! arearesearerrarcracia: 1 sf enfararel: afte(98) CUELMBIEL CE (arerafean) Teas FS AATTSAGA BAe | ead archairigeraa: F771 srerracrgatatara: patter a ada- ani were wa aaa: Sif are Rares er zea: Tafroateenfrtera trad Srsent at aa I Re Gy Aah aq: yaheamvetes fee 1 (99) Semetcterrsety aft sai acta afaeeratier erafoiar rehire cheer area argreta gente aera 9 = Saat sacar anata cenfe Berea 1 cel ahorracrafaenarcheaits (xi), artteraracy— weafart (ae) daershe (4&4) u creat wets st St-seseratet anf: nen cen mira a Prergere wie tara afeari TTT SRE TST a ferssnferreiaratta: 1 Prfitatirsrmearaay SaeTE TTT MTP ARH I werifroata epeqrgfed rep Gita aa AOTRy aries pT Ste eT ararcrenateticatear Sate Tei ae sea anfafaeara mrrem: qitsty fara: RAAT crea gee STAG AEA AT—-qeamere fa ecto fy wed: dae RaNT Hater ater rate Serer | wenndathramanegaray-caatqon | aaresrictaatec- Sree aT ha MET saa sits Pega II gw Premed ye wer ware |) F SETS ERT TUR at A oo: (28) q SSE B59 TEaZaEEHE (e6) SS" 73S 99H araT TET (e) _ Tepresent the word of objects, Ferratea: waitin: | ef | ERY crear SueTAeT wa a aay: | 3 aT 21ers aerate Sfser Sa wen cee feet | Brae esifon ar at a8 i en 9(102 ) foe eras eae: Weert: | a giieee face: 1 senferega TaSRETeE: I TS Tales fargamereaTyaees Tefirent sured veaarrefirerate ei aera! eget frgrafircra arf afer Gam afeanfartie: wemgeasaperartaes ey BIA SATEEROTETE TATA HAM TSCA: I aa se Fone yerternaer sates arch I iC i weap afer we mT Ratepe | ae Raa at afer aga a1 tao meerentia fer ugar aren fete eft ara 1 Fargirarate ceqentiagerrateg 4 feraferearerantearat fererat See: seehary “aig: yaad Sat aera ai" wafer 1 TTT fore erg | Ten a fast feet afaqeéfa: aeafatiad” sf area caaratreatea wean sat eft gy eaehel: afeqrenfines wera I maedata: irs Gee a Reha referees Pgs Prat sree ieeng harper TTY ahaa JERR setae: 1 dena eretareton sata | ASR TANI Saat eae Tea few: FT: (103 ) Sart et era: af eco ae ont Prato afer were a ree fg m 4: BR MgmTTah fargfefi ALI her wai Texte | ate yonsararare erga Fea) SSE eG FG: AR Ree: ef aPa eae aa 5 Serererrafion age we me: | yen eae Serra(104 ) ferqanfearal aenis itaferadta oat | waren va staat Fewest | Basic figure from which Sri-chakra is derived : wWroftivedk ygufefargn seat saute: arerafiraaaiter fares aaa a aft ated qa frrostene—aa Tari adtarafirnen sift arsit qeette hat sf aint efor ab ardent | qeakqym ered: | saa: Satfirwanhy aera eft ga fee: | Tae TA fage: “emtenit cere gaa cen wa" fet que ard —saeT STN TATRA SAAT Ta 3a wae Tae ced: sreraqecrenfsaconnaiahra Bree aa Tarren are Pa | STEUER METI Fal ST Wen as Taare ef Afar aTeATTRTRAT Wife I ae faghaegsonaEaE dees ws ad airs qr free g fitted: | sracafeerdfirergsrranty Targets! wea atric serra Tagan 7 fren Rrer 1 aa Beare feats Ttarpaae— Wat at arte wera ar tari siete aaa | wreantigrea ferereantinen sercifter arated 13Setvacrasaer afer Sfasiamareaasis HL arrest tte wetfattNt: Ursa sera IY 1 SRA wa ecoteeees ada aetef herd arerguerta | aif sari wfivatirerats a are wa “tere agit armed yf” wa ufc Termnicaratiragarersc wrareraraing sare aoa 1 Tvirrigh wieesd unbeitierr fads ee aaachta(108 ) frafaoradctamtt ya aanecitqes aa stra aca: fraanrtar:, Ae fast a ward Taparcnornearresterete Perera Sere: weet on eft Sel or arraah Sq sya seaaa: | Beha wh, sated, eae | Ary fataerg aries a are Wray wy deers, aft walter seen Wages wT I Tre fectent HIP HATE AAT AT Hat AT | crmarafered teat tet at year erate cafete TTI NG UN wefrch fa | verge satdtetafororrere: afer Soa wart caferaneciiente 1 aemral ren aT Fras aa aah aerreiternet ferrag 1 caareat yftetien areas | Grectteat aan rari sraraty wat aa aarseantir nefarctonte aqears, arrreai farmreneiicartarqacrent | aa fefaesthed v4 creamy Saeed: 1 crevasse eT wiargert faufea: wifes fart gcaett TER wae! Aaa Vee TaAeeTeaT: | uferic fafsficnerdrae: 1 ea afttarn Sacra safe faeng aerityaare ga faa 1 sai fara qaan Haba after aera: tator | TURES OSS Heat arahea Ut ere Age afer ws 1 wai waini wai fara, fatto are Terctianegngait qehea-eige, waiié-eentatie sae, wa taal wai gen ueadpiger com, (109 ) wes aiograt: goat, @wefa-fareeratayeial atafrafittiacraghrmnh vata a red rer TS aha, Fae we aH ones Saas SET AERIOMTIA Tefen areata fara ieereacranita Teg “Hea SaaS I" Sa waamret a nerregscare: fafafingemetrcitecter: Fagan: ve org yee eae, Aa ha seat, ahaha arate area: nua wei wife welfa fafred | aon Freon fe feast aatah: | mation Papen ¢ frat: 1 enteherertern center a frre | wafer anfSsarratattien Pafinge af Saharraaty sree sifraritedt corn

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