Srividya Upasana Rahasyam

[Based on the teachings of Sri Lakshman Joo Maharaj-ji]

Shakta school holds Advaita as the ultimate reality in an equal perspective and of the same
ideal as of the monastic Vedanta. This is evident from the sacred and mysterious
monosyllable (Pranava) attributed to each thought and consisting of the corresponding
seed-letters (Bijaksharas). The Pranava of Vedic thought is AUM. Correspondingly, the
Shakta and Shaiva schools use `Hrim' and `Aham' respectively. Since all the Pranavas end
in the Bindu, it is natural that the Bindu is the material cause for all the factors. It is the
unconditional Brahman or the allpervading Supreme Truth from which emanate all the
conditional entities. Paraa-Bindu is the immeasurable entity into which this entire
manifestational phenomenon finds repose. This power of creation and absorption, quite
inseparable from its holder Shiva, is called Shakti. The magnificence, grace and beauty of
this primordial Power make up eternal bliss. In consequence, there is a latent agreement
among all mankind and this truth must be the one we seek. Accordingly, religions in general
are at one with each other. Each has a philosophy antagonistic to the special dogma of the
other. The Vedic Rishis have already declared, "The Brahman is surely different from the
known, and again, it is above the unknown such was the utterance we heard of the
ancient teachers who explained it to us" (Kena 1.4).
Shiva is the transcendent self, the divine power of conservation and Shakti is immanent,
the divine energy of pulsation (Spanda). The appearance of both is like the two sides of the
same coin. The Tantra declares, "His energies are evident in the multiform manifestation
and the holder of the energies is Maheshwara the Lord of the Lords, Paramashiva
himself". The Upanishad says, "His (Paramashiva's) Parashakti is manifold, as described in
the Veda, the natural energies of knowledge, power and action" (Swe Upa IV 10). These
conjoint with the powers of concealing (Pidhaana) and favoring (Anugraha) of Shiva
constitute the five-fold glory of Sri Parashakti.
This is further made clear by Kshemaraja in one of the benedictory verses in his
commentary on Stavachintamani of Bhatta Narayana: "We bow to Shiva who, enjoining his
fivefold glory, reveals the spiritual Shakti, the power of consciousness and bliss".
Parashakti is therefore Yoni, the original source, the Supreme Mother whose five glories
are Chit, Ananda, Iccha, Jnana and Kriya.
Paraabhattaarikaa Mahatripurasundari is the goddess of Supreme Beauty and Wisdom
who pervades the three functional aspects of manifestation. Ever splendid in Her fivefold
glory, She is here praised in gross form which she assumes according to the traditional
contemplation of an earnest seeker as Tripura Bhairavi, while the ultimate truth remains
openly concealed in Her Infinite Supreme Self. The visualization of Sridevi as Kriya Shakti
the predominating power of activity has close relevance to Mantroddhara Vidhi the way
of elevation through mantra. This approach of worship is made through Anavopaya, the
light means in which even meditation is held to be a Kriya physical or mental activity. It
also uses Kriya in a gross form e.g. repetition of a mantra, worship of the deity, an idol etc.
The mantra, being the body of Sridevi, describes the body by its power of inward intuition
called Vimarsha Shakti. When the divine body is brought into the effective consciousness
of the devotee, it is called Srividya. Its verbal expression is the Panchadashi Maha mantra
and the visual expression of the same is Srichakra. They are all essentially identical.
Mahatripurasundari is the wondrous delight of that consciousness which is supreme and

unsurpassable, who is effulgent by its own light and who permeates the three states of life
like oil (triShu chaturthaM tailavadaasechyam - Shiva Sutra III-20). She is Parashakti,
Paramashiva, Parabrahman, the supreme beatitude or ultimate reality to be realized by
constant and vigorous practice of supreme yoga with Divine Grace. Therefore, sages
express the Supreme Being in the Vedas by the pronoun `That' (sa tatpadaarthaH
paramaatmaa Sarvasaaropanishad). The Tantra says, "That Devi who resides in all
creatures". Supreme consciousness is actually Shiva and Shakti, Prakasha and Vimarsha.
Shiva and Shakti are two only by connotation; by denotation they are one and the same
Reality. Prakasha or light is the illumination or knowledge as the nature of the Self. There is
predominance of Shiva Bhava. Vimarsha is Spanda or Kriya. Its potentiality is called
Shakti. Vimarsha literally means thinking or ideation. There is predominance of Shakti
Bhava. There is no material activity. All activity is mental. Vimarsha consists in completely
withdrawing oneself from all voluntary thinking. A spontaneous thinker (or doer) is, at the
same time, a natural spectator of his mind. This leads to Sahaja Samadhi, undisturbed
equipoise. Light and sound stand for revelation and consciousness respectively, or Shiva
and Shakti.
The very form of Tripura refers to the primal energy Parashakti transcending the three
divine deities Kali, Lakshmi and Saraswati, who represent threefold manifestation.
Parashakti is the divine power of the transcendent master Paramashiva, unconditionally
inseparable from Her. Parashakti Tripura is the supreme consciousness that illumines the
three states of waking, dream, sleep in the microcosm, and BhuH, BhuvaH, SvaH (Paraa,
Paraaparaa and Aparaa) in the macrocosm. She is described as the luster of the supreme
spirit, perceived at three spots in the body forehead, head and heart, depicting Her
powers of knowledge, activity and volition experienced by the devotee during meditation or
worship. Each of her three inherent powers (Jnana, Kriya and Iccha - paraasya
shaktirvividhaiva shruuyate swaabhaavikii j~naanabalakriyaa cha. Sweta. Upanishad
VI.8) is explained in its triple symbolism, namely:
1. Pooja Sanketa
2. Chakra Sanketa
3. Mantra Sanketa
According to Pooja Sanketa regarding the first Bija of Bala Tripurasundari Maha Vidya, the
goddess Tripurasundari bears in the center of her forehead, splendor and power of
knowledge. It refers to the knowledge of creativity or power of multiplicity of creation and is
compared for the purposes of worship to the multihued bow of Indra. According to Chakra
Sanketa, the forehead refers to Ajna Chakra, the place of concentration for the yogis. The
first evident appearance of Parashakti is in the knowledge aspect. Manifestation, indeed,
begins with sound. The unbeaten sound, Anahata nada, expresses itself first in the Vedas.
Thence all kinds of knowledge takes the form of activity. The seat of knowledge, in an
individual body also, is the forehead. Ordinarily, by the very first look on the forehead of a
person, one can know about his or her mood, intention or tendency of behavior etc. since
knowledge gives color to thought, the energy of knowledge expresses itself in multiplicity,
both in an individual and in the universe. Its symbolic expression is illustrative of the
multicolored bow of Indra, meaning the rainbow.
By way of Mantra Sanketa, the mystic Bija `Aim' is revealed here. Primordial knowledge is
expressed through the universal sound called Shabda Brahma. This sound gets thick and

becomes audible through the three Vedas. The first mantra of Rig Veda begins with `a' and
the first mantra of Yajur Veda begins with `i'. `a' + `i' = `ae'. Again, the first mantra of Sama
Veda begins with `a'. Then `ae' + `a' gives `ai' sound. The syllable `ai' therefore represents
the three Vedas. This connotes Existence-Knowledge-Bliss aspects of Brahman. To
express the nondual Parabrahman is the final import of the Vedic triad. Bindu is added to
the letter `ai'. Thus Aim being the combination of the vowel letters from a to am, governs all
multifarious sounds. Therefore, the non-dual Shakti of Shiva in Her knowledge aspect is
represented in Aim mantra. It is the Saraswata Bija and the presiding deity is Saraswati, the
goddess of learning or speech. The first appearance of speech being Pashyanti,
concentration is focused in Ajna Chakra in the forehead.
The place of Kundalini, when active towards manifestation, is the pelvic plexus in the
human body. It is named `AdhaH Kundalini'. The three main nerves Ida, Pingala and
Sushumna originate here. There it is termed Yukta Triveni. When Kundalini is awakened
from the mystic slumber, it moves like lightening to reach Sahasrara where it becomes
Urdhwa Kundalini and is termed Mukta Triveni. Kundalini is the yoni, the place of
emanation of all kinds of energy. It is the subtler Kandarpa Vayu and not prana. She
resides in the triangular space at the bottom of spine in the Moolaadhaara Chakra. The
Sanskrit notation of the vowel `Ai' resembles a triangle. Thus this Bija is full of the power
points of will, knowledge and activity, with a predominance of knowledge aspect. With
bindu above, it is the forceful Bija mantra, constant repetition of which, followed in a
traditional way, awakens Kundalini.
According to Pooja Sanketa regarding the second Bija of Bala Maha Vidya, Goddess
spreads from the head, clean and white luster of the energy of activity on all sides like the
moon. She is worshipped as the universal mother of peace and love. According to Chakra
Sanketa, the head refers to the seat wherefrom the power of activity works. Knowledge has
its source in thought and this knowledge along with thought becomes the cause of activity.
Jnana Shakti is predominated by Kriya Shakti. Clear and white luster of the moon is
symbolic of the pure intellect in Sahasrara, wherefrom activity is executed in the balanced
and fruitful way. Therefore, the place of luster in a person is the head. Activity takes place
only when it is conceived in the brain. It elevates knowledge, making it concrete, which is a
successful means of sincere Sadhana towards emancipation. According to Mantra
Sanketa, the seed mantra `Klim' is revealed. Knowledge of the supreme spirit manifests in
the inarticulate sound called Shabda Brahman. It is indistinct Anahata. The vowels a to am
denote this sound. When the consonants ka to la combine with the vowels, distinct or
articulate sound is produced. Therefore `kla' stands for creation coming to the state of
preservation, where knowledge assembles for activity. `i' stands for clear conception which
is only a transformation of the power of perception. Bindu connotes non-dual Parashakti in
the universal manifestation. It is the state where there is no assumption. It is the junction
where there is fulfillment of all desires (Kamakoti). It is the state of soothing luster. This Bija
is called Kamaraja Bija. The deity of this Bija is Mahalakshmi or Lalita, who is evident in
two forms. As Kali, she is malign and works fear and panic in the heart of the timid and the
unwary. As Lakshmi, she is benign and acts as a foster mother to the knowing and the
tenacious. Thus, Klim stands for the Kriya Shakti aspect of the supreme Parashakti. It is
the second stage of speech known as Madhyama. Its place of pronunciation is in the head.
The vowels help the consonants to produce articulate sound when ideas begin to take the
form of words.
The place for Iccha Shakti or the power of will or volition is the heart. According to Pooja

Sanketa regarding the third Bija of Tripura Vidya, Mahatripurasundari, in her aspect as
Iccha Shakti, is eternally established in the heart like the glory of the sun.
In the field of Chakra Sanketa, the power of volition refers to Anahata Chakra. It is the everaware will that pervades the powers of knowledge and activity. The center remains ever
fresh just as day is bright with sunlight and wards off all evil in its presence. When
knowledge predominates over activity, it leads back towards release, the final beatitude of
life. Then the power of thought Iccha Shakti, is at work. The place of this power is the heart,
the center of involution and absorption.
The heart symbolizes complete comprehension when all trash (Samskara) gets burnt as
wee see that all filth is destroyed when the sun shines bright. The power of thought
predominating over the other powers of knowledge and action thus works towards serenity,
which leads to the realization of universal oneness, called Supreme state of
Consciousness. The presiding deity of this power is Gauri, rightly called
Mahatripurasundari. Her glory is described, for the common man, as that of the sun, and as
worthy of attainment. The awareness is ever alive in the heart of an earnest devotee of the
divine mother.
According to Mantra Sanketa, the mystic letter `Sauh' is revealed. The mantra Sauh is
explained in the light of Iccha Shakti. This power is also called Visarga Shakti, the energy
of release. Visarga connotes pouring of ambrosia or the final beatitude. The trichotomy of
the world phenomena (maata, meya and maana) is absorbed into oneness or the
sameness Sattaa Saamaanya Avasthaa (as explained in Yoga Vasishta), just as sun's
blaze reduces all inflammable objects to ashes. Then all duality disappears. The glory of
the blissful sun of spirituality pervades the manifest and unmanifest universe. The seat of
this Bija is the heart. Analysis of the mantra is: `sa' means `with', `ou' stands for
determination and Visraga for release. Thus "With determination, this Bija brings about
release from all bondages" is what the mantra means. This Bija is also called Paraa Bija
(especially by Trika tradition). On its accomplishment, Mahatripurasundari reveals the
supreme reality as herself and as Sadhaka's own self. Also, `Sa' represents Jiva
constituting of 31 Tatvas from Prithvi upto Maya. `Au' stands for Suddha Vidya, Sadashiva,
and Ishwara Tatvas as also the Iccha, Jnana, Kriya Shaktis of Tripura Bhairavi. This is
represented by Shoola Bija, which is aptly adopted by Shaiva Tantra rather than Srividya.
Hence I omit discussion of this Trishula concept.
Visarga represents the display of powers by Shakti inherent in Shiva. It is the level where
an advanced aspirant feels an influx of an internal delight owing to the awakening of the
Kundalini. It is rightly called Kshobhaatmaka Visarga, the process of flow of the five
cognitive energies that swell up out of sheer delight. There is no physical sexual contact at
all though this is the orgasm of the real Brahma Maithuna. This is also called Jnana Mudra.
This Bija is also referred to as Bhairaveeya hridaya or Bhairava's heart in Paraatrimshikaa.
By chanting this mantra with concentration, volition turns into determination for release
from the bonds of the world and attainment of the final beatitude. This mantra is also called
Vaadava mantra since it burns all action through knowledge to find repose in the supreme
self.
In the order of manifestation or srishti Krama, it is the state of Vaikhari, the spoken word of
spontaneous delight. Impurity (Mala) accumulates because of ignorance of one's real
nature. Therefore, bondage of the individual is due to his innate ignorance. It is primary
limiting condition (Apurnatva) brought about through Aanavamala (apuurNatvamaaNavam)

from the universal consciousness to limited individuality, Anutva. Iccha Shakti of the
Supreme comes to limitation. Aanavamala is of two kinds:
1. Paurusha Ajnana ignorance innate in the very being of the individual self.
2. Bauddha Ajnana ignorance inherent in the intellect.
This impurity makes the Jiva consider himself to be a separate entity, cut off from the
universal stream of consciousness. This is the subtlest impurity. There are two other
impurities of subtle and gross nature. Mayiya Mala and Karma Mala make the Jiva further
limited when he comes in association with Ashuddhaadhwa, the impure path.
Mayiya Mala brings about the consciousness of difference (bhinnavedyaprathaatvaM
maayiiyam), because of the differing limiting adjuncts of the body etc. This comes about
when Jnana Shakti of the Supreme comes to limitation. Then further limitation is brought
about by Vaasanas (shubhaashubhavaasanaamayatvaM kaarmaam), the residual traces of
actions done in previous births under the influence of desire. This is Karma Mala (mala
means impurity). All the impurities must get washed off before identity with the Supreme
Self is realized. We who are all troubled by birth and death and have various kinds of
attachments, should pray for the destruction of our sins so that the supreme Self is
realized. In a moment of grace Soon after the ignorance gets destroyed, effulgent glory of
atman is revealed in a flash (sakR^idvibhaato.ayamaatmaa - Chandogya Upanishad 8.4.2).
Soon after taking to meditation on Mahatripurasundari that grace comes in a sudden
surprise and is also a spontaneous event. The substrate of the universe in all its phases
comprises the three divine mystic forms appearing when uniformity of the three basic
Gunas or qualities gets shuffled. The Divine Mother is then manifest in everything in triple
form. Literally Tripura means `Puraa tri', she who is prior to the three Supreme powers. She
is the fourth, the incomprehensible, unperceivable, and formless, fine and beyond what we
can best think of. Therefore, it is the mystic triad. Sruti confirms it by saying, "who can know
the knower".
With the realization of the powers of knowledge, activity and volition according to Chakra
Sanketa and by chanting constantly the great Mantra with perfect concentration at the
forehead, the head and the heart according to the Mantra Sanketa, Mahatripurasundari,
who is Being and Becoming or Prakasha and Vimarsha both in one, reveals Herself in a
moment of grace mysteriously. Chanting of the formula with concentration in the indicated
places, is undertaken by an earnest aspirant in accordance with Tantra tradition under the
direction of a competent preceptor as given in Mantroddhara Vidhi
(mantroddhaaravidhirvisheShasahitaa satsampradaayaanvitaH). Sridevi grants the boon of
release from the dualistic sense of the world. it is an experience of oneness in all the
trichotomic nature of manifestation. Authority, evidence and theorem all the items of
duality, get merged in that realm of Parabrahman Paramashiva, which is eternal existence
and Supreme beauty. This happens by the grace of Sridevi only.
Shiva, one's own essential Self, is recognized by means of Shakti
(shaiviimukhamihochyate - Vijnanabhairava 20). In the train of alphabet (Matrika), the
letters ya, ra, la, va are called Antastha. These letters adopt the sound just like the vowels
and connote refinement in the fulfillment of Sadhana. This further develops into eagerness
as suggested by the Ushma letters Sa, s^a, sa, ha. Ushma means heat or eagerness as
these are pronounced with greater force. Ha is the last letter. It connotes certainty. A stands
for Shiva and ha stands for Shakti. The two letters combined and with Bindu connote

perfect awareness of Parashakti or Parabrahman. Therefore `Aham Brahmasmi,

Shivoham, Aham Brahmaswaroopini these great sentences from the Vedas (Mahavakya)
point to the same reality which is ultimate and supreme. The first sprouting seed of Paraa is
Pashyanti. While abiding in Her own glory of Sadashiva Tatva, She begins to spread forth
through the power of knowledge. She is very subtle and lovingly bright like the tender stalks
of sprouting Trapusi fern. This is represented by the seed-letter Aim. Trapusi is a kind of
fern whose first sprout is as tender, delicate and beautiful as the super-fine rising Kundalini.
Unani physicians for treating certain diseases use this herb. It grows commonly in Kashmir.
Kundalini here refers to Urdhwa Kundalini. The reference is also to prana Kundalini that
works at the physical level. It expresses itself in the form of life in the body. It is only
partially awake, just for maintaining normal life in the body. When it is awakened, the body
throbs with radiant life, which is evident in the Yogi's forehead. The more it is awakened,
the more youthful energy the yogi exhibits in the body. Men, who know this secret, do not
fall again into the cycle of birth and death.
Kundalini Jnana is available to earnest seekers whereas, Kundalini Vijnana is available to a
chosen few. Hence it is called a secret. Bhoga (enjoyment) is the fruit of Moksha
(liberation). Only Jivanmuktas are seen, as described in the scriptures, enjoying the fruit of
liberation. But that state is obtained with great difficulty. Constant and rigid Sadhana
followed through a number of births is not enough without the grace of Sri
Paraabhattaarikaa.
Sometimes Her grace comes in a sudden surprise. Great teachers have experienced such
occasions. Grace may come when a balance is struck between the actions of the previous
births and those of the present i.e. when Karmasaamya occurs. Grace glorifies even those
who ordinarily appear least fit for it. It is a mystery. It signifies the will of the Supreme power
alone. That is why it is sometimes amazingly sudden. Grace of Sri Mahatripurasundari is
unconditional. No human effort can bring it into play (natvatrako.api aatmiiyo
puruShaakaaraH nirvahita Ishwara Pratyabhijnaa Vritti VI.7). Bindu means the dot or
what is called the Anuswara, added to a letter on its top to give a nasal sound. Ordinarily, if
a mantra is pronounced without the Bindu, it becomes incorrect and so loses efficacy. The
Bindu pronounced at the end of the seed-letters denotes the Supreme non-dual
Parabrahman. Mantra Japa as explained in the Sadhana texts, is absolutely necessary to
invoke the powers of the Goddess, and when it is performed with the purport of the mantra,
it becomes a sure vehicle to the Divine Presence. But here is an extra-ordinary example of
the grace of Sri Parashakti.
Utathya, a Brahmin boy was born a dunce. He had been a failure in receiving education or
any kind of knowledge. He could neither speak nor associate himself with people. He knew
neither Sadhana nor any mantra of the Goddess. He only led a pious life on the bank of the
Ganges with a vow that he would always speak the truth. This gave him the name
Satyavrata. He had chosen to pass his days in the forest alone after it was difficult for him
to hear the taunts and face the affliction inflicted on him by his disappointed parents. One
day while he was sitting outside his hut and repenting over his lot, a hog, stricken with
arrows of a hunter, passed by suddenly. Fears stricken himself, in a sudden shock, he
uttered ai ai. Trembling with fear, the animal hid itself in the bushy forest behind the
hermit's hut. Immediately, the hunter came there and requested the hermit and requested
the hermit to tell him which way the hog had hidden itself. It was a puzzling situation for the
young man. On one hand the hunter pleaded for his professional activity and duty towards
the family dependent on him, and on the other hand the hermit's own heart was overfilled

with compassion. For some moments he could say nothing. Soon he thought to himself:
`what involves violence is not called truth. Even untruth spoken in the excess of
compassion is the real truth. What is useful and helpful for the human beings constitutes
truth and nothing else'.
satyaM na satyaM khalu yatra hiMsaa dayaanvitaM chaanR^itameva satyam |
hitaM naraaNaaM bhavatiiha yena tadeva satyaM na tathaanyathaiva || [Devi Bhagavata
3.11.36]
As mentioned earlier, he had no initiation of a divine mantra and he did not know the great
seed-letter of Mahatripurasundari. Simply, out of some divine urge, he had pronounced the
mantra ai ai without pronouncing the Bindu. Yet the grace of the Divine Mother descended
on him undesired.
Ashtavakra Gita says: `Fire gives burns even if touched unknowingly' (anicChayaa.api
saMspR^iShTo dahatyeva cha paavakaH XVIII.37). And as a result, words of wisdom
flowed from his mouth. He said, "O hunter! Why do you ask me about this again and again
just to suit your end? The fact is that the eyes endowed with sight have no tongue to speak,
and the tongue which could speak does not see at all" (Devi Bhagavata 3.11.36). Even the
dunce spoke wisdom on being graced by the Divine Mother. Rare indeed is that greatsouled one who is not desirous of either enjoyment or liberation.
The goddess is also called Nityaa (eternal) because she is not held by the course of timepast, present and future. The Supreme Consciousness, even while projecting as authority,
evidence and theorem (pramaataa pramaaNa prameyaruupaa sR^iShTiH), is not affected
in any way. In reality, consciousness is neither the object of eternity nor of non-eternity as
Utpala maintains: `neither always nor then nor once, where no such notion of time exists,
that is Thy realization. This cannot be termed as eternal or otherwise Shivasutras'. Divine
grace descends on anyone of the thousands of men in a sudden surprise and out of the
free will of Parashakti. It is unconditional and so unattainable with any human effort
whatsoever (Abhinavagupta Ishwara Pratyabhijna). It comes as an intense moment of
Shaktipata, complete prostration of human strength or little ego. It descended on
Satyavrata Brahmana in an intense moment of fear and repentance. When we say `klim'
without counts, it means `im' without ka and la. Since action is essentially an offshoot of
knowledge, this mantra `im' includes the mantra `Aim', in the filed of Mantra Sanketa. Aum
or Pranava is the established symbol for the recognition of familiarity with the Divine Self.
That gives Pranava, the spirit of obeisance. With the same faith, the wise pronounce this
Bija mantra Klim bereft of ka and la. Ka and la constitute the manifestation from Kaala to
Prithvi. Aum is pronounced with faith and devotion at every ritualistic performance as is
also ordained by the Shastras. No ritual is complete without the chanting of Aum. Chanting
of Pranava is done is all sacred moments. For the Sadhaka, these sacred moments are the
junctions of outgoing and incoming breath, or the special times of Vishuvat and Abhijit
Kaalas, the time of Shaktipata when the Divine gets revealed. Fixed mind is essentially
possible when complete surrender is made to the supreme ruler of the universe. Patanjali
puts it as: "Concentration may get fixed through devotion to Ishwara"
(iishwarapraNidhaanaadvaa - Yoga Sutra 1.23). Devotion is, however a subtle and
dangerous path, beset with the pitfalls of ambition and pride. Devotion to a personal God
brings with it a natural inclination to service and surrender of ego. Our minds can recognize
the attributes of a God with form. Ishwara, the supreme controller is, therefore, all that we
can know of the Reality until we pass beyond Prakriti. When the glory of the Goddess of
knowledge, combined with powers of activity and will, is revealed, the devotee experiences

tranquility, peace and perfection of eternal beatitude. When divinity gets revealed to the
wise, it is expressed in the words of wisdom, or poetry, conveying the subtleties of divine
glory. The great mantra consisting of the three seed-letters is for the practice of Nirguna
Samadhi chiefly though. As such the conclusive form of the mantra becomes `Aim Im AuH',
which gives perfection in spiritual Sadhana, signifying that the knowledge that
predominates over activity and volition, alone can bring about the divine union
(j~naanaadeva tu kaivalyam). When speaking of Yoga, what is meant is that concentration,
meditation, Japa and other practices followed as routine exercises are no condition for the
exalted spiritual perfection (Shiva sutra 1-1).
Whosoever among mortals, following whatsoever disciplines and having whatever desire,
reflects on or repeats each of The seed-formula in parts or otherwise as:
1. With consonants aim kilm sauh
2. Without consonants ai I au
3. Combined aimklimsauh
4. Separate aim, klim or sauh
5. In order Aim-klim-sauh or ai-I-au
6. Reverse order -sauh-klim-aim or au-ai - is granted the fruit thereof in no time.
Sridevi is called the joy of projection. Shakti, being Shiva's inseparable energy, is the joy of
projection as the universe. Chit Shakti unfolds the universe upon her own screen by the
power of her own free will (swecChayaa swabhittau vishwamunmiilayati). Like mother,
therefore, she is ever full of joy and fulfills every desire of her devotee, whoever he is and
by whatever means he approaches her. Among the prescribed methods of approaching the
Divine, some of the chief ones, suggested in the Agamas are:
1. Following the step of the assignments of limbs (Anga and Kara Nyasa) and the Rishi.
2. Remembering the sacred sandals (Sri Guru Paadukaa) of the spiritual preceptor.
3. By following a method that comes unsought.
These three methods broadly suggest the Aanavopaaya, Shaaktopaaya and
Shaambhavopaaya respectively.
The natural state of condition (Swaroopa) of Paraabhattaarikaa Mahatripurasundari, as
described in the Agamas, is of three kinds:
1. Sakala
2. Nishkala
3. Nishkalasakala
The divine mother is Parashakti, who holds the universe completely in Her self-effulgence
(amba te paaripuurNyaM swaatmasphurattayaa vishwaM paraamR^ishatiityambaa). She is
the sovereign power of her own free will. She is procreatrix, the mother of the entire
creation. Some of her names that associate her to the first form of Bala are: Sarada (the
giver of essence), Vagishwari (the supreme deity of speech or knowledge), Mahavidya (the

knowledge supreme), Brahmi (the consort and power of Brahma). Saraswati literally means
`the flowing one' and represents speech, which in perfection, pre-supposes power of
knowledge and intelligence. Since knowledge is the antithesis of the darkness of duality
and ignorance, Sridevi is considered the personification of all knowledge arts, sciences,
crafts, skills etc. As the goddess of learning, therefore, she is shown holding a book in her
left hand. The book represents all areas of secular sciences. The sign of fearlessness that
Amba sports, stands for the assurance of devotee's faith and strength of will in the
endeavor. The great fear arises from the accumulation of the three impurities or Malas.
Amba also holds an Akshamala. The Shabda Brahman represents the essence of all
alphabetical sounds. The rosary of letters from `a' to `ksha' is called Akshamala. It is also
called Matrika Chakra. The practical use of this Matrika Mala for Japa and Sadhana is
detailed in Kali Tantra and Srikularnava.
Shaktipata is the focal point of Divine Grace, when complete prostration of human strength
takes place or when the little and subtle ego totally gets merged in the Supreme Self or
Paraa Samvit. No human efforts can bring it to oneself. It comes in a flash when the
Supreme only wills it. It comes out of her free will and therefore is unconditional. There are
nine kinds of Shaktipata explained in Tantraloka. Parashakti is generous and sympathetic
in granting boons to her devotees. In fact the four arms show her unimpeded power in all
directions. But the hand that is raised for giving boons is softer because that grants
complete realization of Supreme consciousness (i.e. of Paramashiva).
The experience of Supreme Bliss consists in the union of the soul and self through
Supreme Power called Shakti. This marks the accomplishment of the power of `SauH' Bija
mantra, which is fed by the mantra `Klim'. This is the fruit of successful concentration on
the second form serially based on the first. This is the fulfillment of the power of desire,
which has developed from the power of action including its preceding power of knowledge.
This state is realized in their practice by those who are Mantra Siddhas, who have
completed their practice with the accomplishment of mantras and not by those who are
busy in their routine performances alone. It is said, `Escaping from fixing the mind in
abstract contemplation on the true nature of spirit, who think of different deities are like
those who go about begging even on possessing abundant wealth and after begging, they
still remain hungry" [Matrikabheda Tantra]. One pointed meditation is done by abstraction of
the senses (Pratyahara) through regulation of breath (Pranayama). Success in
contemplation even for a moment, in this way, brings automatic satisfaction and divine joy.
Sri Ahstavakra Rishi said to his disciple, king Janaka: "Seeing the desire less lion (man),
those elephants of sense-objects, quietly take to their heels, or if unable to run away, serve
him like flatterers" (nirvaasanaM hariM dR^iShTvaa tuuShNiiM viShayadantinaH .
palaayante na shaktaaste sevante kR^itachaaTavaH .. XVIII). Abhinavagupta endorses
the experience with a similar statement in his commentary on the Gita while explaining the
verse sixty-three of chapter XVIII "Therefore, seek refuge in Him alone with all your heart'
is the sole and sure means of control over senses. The great master Utpaladeva, in his
direct expression to Lord Shiva puts a self-explained question: "Right from the mind, all
movements of the senses are entirely fickle. But, how they become firmly steady on
realizing Thy supreme Self, O Lord, for those who are quite warm with the wealth of love
(for you)? It is really wonderful". To those (to the earnest devotees), lovely women, whose
eyes are charming like those of fawns (attractive objects of enjoyment in the evanescent
world), helpless and bashful with the feverish attacks of the cupid (which, out of strong
emotion and desire make one helpless and weak), become capable of being subdued

(come to be under control).

The Shastra says that those who get established in one-pointed devotion to Amba's nondual form even for a short time, meditate on her form, adored with bright gold earrings,
bracelets and waist-band round her waist, their organic operations (Indriya Vritti), get
spontaneously transformed into universal consciousness, the restless activity of the ears of
their bodies becomes subtle just as the restless movement of the ears of an elephant stops
of its own on its getting intoxicated. Earrings connote the Bija mantra `Aim'. These stand for
the power of knowledge of the deity. Ordinarily, earrings give the knowledge of a woman
present at the time. Bracelets connote the mantra `Klim'. These stand for the power of
activity of the deity. Waistband connotes the mantra `Sauh'. It stands for the power of
volition the fulfillment of desire.
The Shastras describe an alternate from of meditation: "O Goddess of light and luster! For
realization of Thy Supreme Self, devotees, while offering heroic worship, meditate on Thy
form, constituting Thy locks which are bedecked with the crescent moon, a necklace of
skulls round thy neck and garment red as Bandhuka flower. Thou art seated in a heroic
pose (Virasana) on the sleeping Shiva. Thou hast four arms, three eyes, large and
projected breasts and bending waist having three deep folds of beauty". In this
extraordinary description of Sri Mahatripurasundari, the necklace of skulls depicts a garland
of ego less alphabets. The red garment connotes creational will. Sri Mahatripurasundari, in
Her full blossom of transcendence is referred to as the basic power of Light and Lustre,
which in Tantra depicts Prakasha and Vimarsha. Prakasha, according to the Sruti, is that
Brahman itself that is effulgent and shines variously (tameva bhaantamanubhaati sarvam
Katha Upanishad II.ii.15). Vimarsha conveys that `through the various kinds of effulgence
in the effects, it is known that the characteristic of luminosity is intrinsic to the Brahman' tasya bhaasaa sarvamidaM vibhaati.
According to the Agamas, consciousness (Samvit, chit or Paramashiva as it is understood)
is knowledge (Jnana) and activity (Kriya) both in one. Therefore, Jnana and Kriya, Shiva
and Shakti, Prakasha and Vimarsha, are one. The whole relity is Shiva and the whole of it
is Shakti as well. The goddess is hence addressed here as the goddess of both light and
luster. A close examination of the Srividya mantra reveals that the mantra is ShivaShaktyatmaka. There is no separate need to chant a mantra of Paramashiva Kameshwara
since Srividya itself is of the form of Shiva and Shakti. Its existence is even beyond the
Sadashiva or the Ardhanarishwara state.
Shakti is the power of Shiva. Her activity at will towards manifestation becomes evident
while Shiva, the source of all power remains in volute. As such, the Eternal Shakti
emanates as form and assumes different phases while the Eternal Shiva remains in the
subtle state of Chaitanya. This is depicted in the Shakta lore as Shiva lying as if dead and
Shakti stands on him in full vigor of awareness. The sleeping Sadashiva forms the berth of
the palanquin in which Sri Mahatripurasundari is borne by the four powerful deities:
Brahma, Vishnu, Rudra and Ishwara. Her four arms represent the powers of four prominent
parts (Kalaa) of the creative divinity. They are: Nivritti, Pratishtaa, Vidya and Shantaa. Her
three eyes connote the three luminary powers i.e. the sun, the moon and the fire, which
correspond to knowledge (Pramaana), object of knowledge (Prameya) and empirical
experient (Pramaata). Her breasts connote the meaning of alert awareness of light and
sound or Prakasha and Vimarsha. Her bending waist is the sign of inclination towards
manifestation. Decoding this symbolism, we obtain the nine enclosures of the Srichakra.

We shall see them one by one.

1. valiitrayaa~Nkitatanum Moolaadhaara Chakra Bhoopura Trailokyamohana Chakra.
2. madhye nimna Swadhishthana Chakra Sodasha dala Padma - Sarvashaparipooraka
Chakra.
3. aapiinottu~Ngastaniim Manipooraka Chakra Ashtadala Padma Sarvasamkshobhana
Chakra.
4. trinayanaam Anahata Chakra - Chaturdashara Sarvasaubhagyadayaka Chakra.
5. chaturbhujaam Visuddhi Chakra Bahirdasara Sarvarthasadhaka Chakra.
6. pretaasanaadhyaasiniim Ajna Chakra Antardashara Sarvarakshakara Chakra.
7. bandhuukaprasavaaruNaambaradharaam Manasa Chakra - Ashtara Sarvarogahara
Chakra.
8. nR^imuNDasrajam Soma Chakra Trikona sarvasiddhiprada Chakra.
9. shashikhaNDamaNDitajaTaajuuTaam Sahasrara - Bindu Sarvanandamaya Chakra.
Note: This is the Samhara Krama accepted by Dakshinamurthy sampradaaya. Hayagriva
tradition and Anandabhairava traditions omit triple girdle from Sri Chakra.
Shaktipata is unconditional Sri Samvidamba is always graceful towards her earnest
devotees, no matter whether they possess worldly grandeur or not. In contrast to the
above, there are little chances of receiving grace by those, who are not devoted to the lotus
of Sri Lalita Mahatripurasundari. People engrossed in ignorance, only suffer pains and
pleasures of this transient world. They find no time to look back to the infinite self,
wherefrom all this manifestation emanates. They remain devoid of knowledge of the
goddess and so have no devotion. Undergoing penances for purification of the internal
organs (AntaHkaraNa) promises a clear understanding of the truth. A devotee, by her
grace, becomes HER. Much discussion of Tripura, the splendid name of Sridevi has
already been done. The three worlds (of which she is the supreme queen) refer in the
microcosm to BhuH, BhuvaH and SvaH (earth, space and heaven) or to Vishwa, Praajna
and Taijasa or Virat, Hiranyagarbha and Ishwara in terms of Vedanta. Sridevi is the
supreme ruler of these and hence she is Turiya, the incomprehensible fourth. There are
basically only three castes, as there are the three Vedas, the three Gunas etc. The three
castes represent the three qualities viz. Satva, rajas and Tamas, as suggested by the pet
offerings made by devotees who are quite established in their respective modes of worship.
It may also be consistent with the teaching of the Gita that the first three kinds of devotees
are the distressed, the seeker of knowledge and the seeker of wealth. By the fourth kind of
devotee we mean the one, who is a Jnani or a Jivanmukta who, while living in the body is
steady in the knowledge of the Self. His offering to Sridevi is his spiritual ecstasy, the divine
inebriety of constant awareness of the supreme Self in contrast with the common wine that
has its effect otherwise.
A Brahmana should offer Tarpana only with milk and sugar during Navavarana Pooja.
Using other articles is banned by the Agamas. Ghee and honey are prescribed for the other
two castes. These may not necessarily mean castes, but instead may refer to different
stages of spiritual advancement. Well, more information on this may be obtained in a work
called `Srividya Sudhodaya', a classic by Deepakanatha Siddha. This also finds sanction in

the Shubhagama Panchaka. As mentioned earlier, milk, ghee and honey represent Satva,
rajas and Tamas in the devotees belonging to different levels of consciousness. In offering
oblations or doing any kind of worship to the Divine Mother, one must not involve oneself in
the desire of a return or fruit thereof. If one does, the earnestness and one-pointed ness
required for its success lose their intensity. Every seed that is sown bears its fruit against
an action. Our efforts directed towards the efficient completion of work fall short and we
cannot enjoy the fruit even when it's ripe. That makes a big loss. Still bigger loss occurs if
we are impatient for the fruit of an action being performed at the present. We shall be
deprived of undertaking more work for more prosperity. Hence the formula given by
Bhagavan to Arjuna- Nishkama Karma (doing action without thinking of fruit thereof), must
be followed. That certainly gives purity of mind. That gives heroic magnanimity and leads to
ultimate freedom of soul, and the aim of true worship. The Tantra says:
puujaa naama na puShpaadyairyaa matiH kriyate dR^iDhaa |
nirvikalpe mahaavyomni saa puujaa hyaadaraallayaH ||
`Worship does not mean merely offering of flowers etc. It rather consists in setting one's
heart on that highest ether of consciousness, which is above all thoughtconstructs. It is
dissolution of individuality with perfect ardor'.
The desire in a stable mind that can defy Prarabdha, cannot be an ordinary one of
attaining evanescent enjoyments. It is the desire for attaining perfection or recognizing
one's true self, which may include accomplishments to rid oneself of bondage. That desire
is for the upliftment of the soul and the whole world. And, one of pure intellect can only
have it. The Upanishad says:
yaM yaM lokaM manasaa saMvibhaati vishuddhasatvaH kaamayate yaaMshcha kaamaan
|
taM taM lokaM jaayate taaMshcha kaamaan ||
`The man of pure mind wins that world, which he mentally wishes for and those enjoyable
things which he desires Mundaka III-1-30'.
The entire universe consists of subjective (Shabda) and objective (Artha) aspects blossoms
from the Matrika Shakti. This is a proliferation of Paraa Vaak in six paths or courses known
as Sadhadhwa. Three of these are under the indicated side (Vaachya) and the other three
are under the indicator side (Vaachaka). The triad on the Vaachaka side is known as
Kaladhwa (temporal order) and the triad on Vaachya side is known as Deshaadhwa (spatial
order). The three Adhwas of each group correspond to the emanation of Pashyanti,
Madhyama and Vaikhari stages from Paraa, the Supreme Divine energy. Corresponding to
the five categories of pure creation, there are five stages of the emanation of sound.
The first is Para, which is supreme and subtle. The second is Pashyanti, which is less
subtle but still undifferentiated. The third is Madhyama, which is grosser and differentiated,
but not yet articulate. Articulate sound is called Vaikhari, which is of two forms, subtle and
gross. It is from Vaikhari that all letters or Varnas and syllables or Padas and Sentences or
Vakyas are manifested. Para, which resides in the Shiva Tatva, represents the first
movement of Shabda. This is also called Nada Tatva. Pashyanti stands for Shakti Tatva
and is also called Bindu Tatva. These are the compliments of the ultimate potency of
creation. From these arise what is known as the Tribindu, which is the root of all mantras.
The subtle and esoteric aspect of Kamakala has to be learnt from a competent Desika.
Thus the duality that manifests in every Jiva is lost when the Supreme Mother reveals

herself within luminous effulgence and everything in the world and within each one of us,
becomes the mantra Shakti. The breathing in and out becomes cancels out and the mind
and senses turn inward. One loses body consciousness and the feeling of duality ceases
and brings about the awareness of equality. Then one experiences complete identification
with the Shiva Shakti one Parabrahman as Mahatripurasundari.
Sadhadhwas with the corresponding names in three levels is as below:
VACHAKADHWA (SHABDA) -> VACHYADHWA (ARTHA) -> CORRESPONDING NAMES
IN THE THREE LEVELS
Varnadhwa (the path of letters or the divine alphabet) > Kalaadhwa [consists of five
boundaries of Tatvas Shantyatita Kalaa (Shiva Tatva), Shanta Kalaa (Shakti to Shuddha
Vidya), Vidya Kalaa (Maya to Purusha), Pratishta Kalaa (Prakriti to Jala) and Nivritti Kalaa
(Prithvi)] -> Paraa and Pashyanti.
Padaadhwa (consists of words and syllables) -> Tatvaadhwa (the complete system of thritysix Tatvas) -> Paraapara or Madhyama.
Mantraadhwa (consists of mantras or great sentences) -> Bhuvanaadhwa (the combination
of 118 worlds, according to Tantra tradition) ->Aparaa or the gross Vaikhari.
At the level of Paraa Vaak, Shabda and Artha or word and meaning are in a state of
indistinguishable unity. These begin to differentiate when manifestation takes place. In this
creative descent, there is polarity of subject and object, developing as the highest (Paraa)
and the gross (Vaikhari). It is to be noted that Shadadhwa is meant for the process of
dissolution to the state of Parashakti or Paraa, for the purpose of realizing the goddess
through Her grace, and not for treading, for that leads to duality Samsara). Sridevi clearly
explains this while in conversation with Sri Bhairava as:
na hi varNavibhedena dehabhedena vaa bhavet |
paratvaM niShkalatvena sakalatvena tadbhavet ||
Many authorities against the Vedic system of Varnashrama quote this verse. However, this
refers to something totally different. `Transcendence, the state of Paraa, cannot be
consistent with the division of Kaladhwa or of Deshadhwa; it consists in its indivisibility. It
cannot co-exist with Sakala or composite parts'. This is what the verse actually means.
Therefore, by reducing the many (Kaladhwa or Purusha and Deshadhwa or Shakti) to one
transcendent (Parashakti or Parabrahman), one will be surely liberated from bondage.
In Traipura Siddhanta, Primal Energy is trichotomized in individual manifestation
(Vibhaava), universal manifestation (Prabhaava) and confession (Anubhaava), each of
which is again three-fold in nature. Tripura is the primal energy or Parashakti who excels
the trichotomy. Some of the three triads, which are transcended by Sri Tripura, are:
The three Gods:
Brahma Vishnu Rudra or
Agni Vayu Surya or
Vasu Rudra Aditya
The three fires:
Ahvaniyagni - sacrificial fire

Garhapatyagni - household fire and

Dakshinagni - crematory fire
These three fires, important in the life of a person from birth to death, indicate the play of
Sridevi in one's entire life. In Yogic parlance these three refer respectively to heart,
forehead and Head.
The three powers:
Iccha - volition
Jnana - Knowledge and
Kriya - activity
These are indeed Brahmi, Vaishnavi and Raudri Shaktis. These three are the important
powers of Sridevi to bring about the whole manifestation of the universe. All the three
powers are active in everything and every atom of all beings.
The three vowel sounds:
Udaata Anudaatta Svarit of Vedic chants
Hrsva Dirgha Pluta of alphabetic vowels
Akaara Ukara Makara of Pranava Omkara
The three kutas of Srividya (Gayathri, Bala, Panchadashi or Shodashi):
Vagbhava
Kamarja and
Shakti Kutas
The three lokas or fields of experience:
BhuH Earth
BhuvaH Space and
SvaH Heaven
The three Chakras:
Muladhara Anahata Ajna
Jnanis, the learned ones take these to be:
Pramaataa Authority
Pramaana Evidence and
Prameya Theorem
The three Peethas:
Jaalandhara Kamarupa Purna Giri
The three holy concentration of Tirtha:
Nasik Push Kara Prayaga
The three spirits of the universe:
Aum Tat Sat according to the Vedas
Nara Shiva Shakti according to Tantra

Jiva Jagat Ishwara according to Vedanta

Ida Sushumna Pingala according to Kundalini Yoga
Past Present Future
Hridaya Vyoma Brahmarandhra
The three Varnas:
Brahmana - Kshatriya and Vaishya
The three Vedas:
Rig Yajus and Sama Vedas
Amba appears to us in various forms and various manifestations. Remembering her as Sri
Lakshmi, one overcomes the materialistic difficulties. By meditating on her as Jaya Durga,
one obtains victory. One should meditate on her as Kshemankari while undertaking a
dangerous journey so as to protect oneself. Amba helps us a `Shabari' or Vanadurga while
crossing over difficult mountains covered with dreary forests. By praying to Maha Bhairavi,
one can overcome the fear of spirits, ghosts, goblins and spirits. By meditating on Tara, one
can overcome calamities wrought by drowning in floodwaters. She actually takes the Jiva
across the ocean of Samsara. By turning to Tripura, the last refuge, release is obtained
from the cycle of birth and death.
Shaktopaya chiefly involves search for truth (Anveshana). This includes reflection, the
means of fixing the mind on its object by thinking, concentration etc. without the aid of
articulate repetition of the formulae. It consists in the practice of gathering knowledge for
grasping the ultimate Truth. Therefore, Jnana Shakti predominates Shaktopaya, which is
also called Jnanopaya. Knowledge of reality is established through the medium of `origin
and reflection' or Bimba-Pratibimba Vada, the principle that - main factors that exist in the
lower sphere, have their original source in the higher plane. The Pashyanti, Madhyama and
Vaikhari that exist in manifestation, have their existence in the higher level of Para.
In the spiritual lore propounded by the Agamas, the two feet of Amba stand for the two
divine powers pf Shiva- Shakti i.e. Jnana Shakti and Kriya Shakti, the important means of
manifestation. The foot representing Jnana Shakti is stable, quiescent whereas the foot
representing Kriya Shakti is involved in divine activity. This refers to the highly esoteric form
of Ardhanarishwara or Ardhanareshwari. Hence Abhiyukta says: `May that one breast of
Amba, emerging like a golden pot in a propitious manner of oneness with Shiva, confer
bliss, for drinking of nectar (milk) for which Kumara and Ganesha are ever quarrelling with
each other".
The higher foot of Nirvana Charana represents the source-energy for accomplishment of
divine liberating wisdom. In yogic parlance, this refers to the concentrating point of prana
and apana where the two combine to enter the Sushumna. That becomes possible through
the infusing power of the preceptor as that alone opens the gateway to Shivam, signifying
the mysterious realization of universal oneness. This state of secret transformation comes
to happen in the case of very intense Shaktipata, when Parashakti through the Guru,
makes the ego sink to it very depth, not to sprout anymore.
The three Upayas Anava, Shakta and Shaambhava for realization have been
described. Then their combination actually concludes in Anuttara. That is the state of
Jagadananda in which the universe also id divinized and becomes one with the Self. It is
experiencing the charm of bliss everywhere and every time. It is the experience of

indivisibility flashing forth all round, oth inside and outside. Consciousness alone expresses
itself as the knower, the known and the means of knowledge. It gains in intensity with the
nectar of divine joy of absolute sovereignty, when the yogi does not sit for contemplation.
That is the sate of all awareness of Jagadananda. This surpasses the six states of spiritual
delights of Ananda as enumerated below:
1. Nijananda When the mind rests only on the subject of experience (Pramaata).
2. Nirananda When the mind contemplates over the absence of all objects of experience.
3. Parananda When there is contemplation on prana and apana jointly.
4. Brahmananda When the mind rests on Samana, which unifies the various objects of
experience.
5. Mahananda When the mind rests in Udana after dissolving all knowledge and objects
of knowledge in the Self.
6. Chidananda - When the mind rests in Vyana.
This fivefold glory of Paraamba is as follows:
Srishti Act of creation.
Sthiti Act of protecting the manifestation.
. Samhara Act of withdrawal of the manifestation.
Tirodhaana or Vilaya Veiling of the self.
Anugraha Grace or self-revelation.
Each of these is also accomplished by the individual soul Jiva:
1. Whatever appears through the successive functioning of -the deities or perceptual
functions is Aabhaasana or Srishti.
2. Relishing the experience till it is maintained b the deity of preservation is called Raktee
or Sthiti.
3. Knowledge of withdrawal of an object at the time of Vimarsha represents Samhara.
4. When withdrawal of the experience of manifoldness generates various impressions or
Samskaras of doubt, inwardly it becomes the germ of Samsara and is bound to spring forth
into existence again. This concealment of the real nature of self is Vilaya or
Beejaavasthaapana.
5. When all doubt and any other experience of the time are burnt to sameness with the fire
of consciousness, the Yogi enters the state of Grace and the true self is revealed to him.
This is Anugraha or Vilaapana by Hatha Paaka.
By the process of Hatha Paaka, Yogi enters the state of Grace. This is a persistent process
of reducing completely the world of experience to oneness with the real essence of the
experiment. This device is called Alamgraasa or Swaatmasaatkaranam bringing the
object of experience to sameness with the self, when no Samskaras or germ of Samsara
as separate from consciousness is allowed to remain. Divine Grace is unconditional .it is

the free and sovereign will of Parashakti, to bless a Sadhaka who si understood to be free
from he subtlest trait of ego. It is bindu, the point of locus between anywhere and
everywhere, virtually not obtained by any human effort. It may descend on anyone,
anywhere, whenever it chooses. It is beyond the human intellect to understand the play of
Amba's Grace, which is spontaneous and comes unaware. Only the brave in the in
awareness of the Divine, may rise to the occasion.
In Kundalini yoga, the heart refers to the center called Shakti Kundalini. It is the place in a
Yogi's body, where Visuddhi Chakra is in operation at the base of the throat, Kantha-MoolaSthana. The egressing prana is directed up towards Lambika (Chatushpatha) square for
Sushumna to bloom in a shining spark of bliss. This is called Urdhwa Rechaka in Kriya
yoga. With control of prana (prana Shakti), under the direct instructions of an adept teacher
(Guru yukti), the latent energy is awakened and by Mother's grace directed through
Sushumna nadi to the heart. Since this energy flashes from the base with enormous force
and heat, it is called Vahni Kundalini. The yogi can thus control his breath, mind and
semen. On awakening of the Kundalini, the prana enters Brahma nadi, which is called the
middle path (Madhya Marga). This passage, which is extraordinarily thin like the fiber of a
lotus stalk, appears vermilion-red with the instant rise of Shakti. This is the effulgent nature
of the goddess in Kriya Shakti aspect. She is Nishkala, without any interruption.
Mahatripurasundari is of the very nature of Kundalini who on being awakened, blooms in
Sahasrara after arousing to action the six centers or Chakras. This is called
Shatchakrabhedana.
When the power of will of Paraabhattaarikaa predominates, it depicts her Virgin hood i.e.
the Shakti Bala. The power of will indistinctly flows predominating over the power of
knowledge that projects further to give natural shape to the conception of world
manifestation. Mahamaya is the sixth category in the order of evolution towards
manifestation. it is the stage where shrinkage of Abheda and appearance of Bheda takes
place. Mahamaya works her power of enchantment in the process of creation. When
Parashakti is pleased to grace an aspirant, she, instead of distracting the senses, directs
those towards realization of supreme unity. She leads from difference to non-difference.
Therefore, she is the great power called Mahashakti, the great power of surprise, which
she displays in evolution as well as in involution. Her untainted glory shines everywhere. In
the involutionary process of recognizing the Supreme Reality, it is the practice of
experiencing spontaneous concentration, which is gifted by the Divine Sovereignty,
Mahamaya, not attainable with human effort. As a means of self-realization, it is called
Shambhavopaya. Though the reality remains apparently concealed yet it is inwardly
revealed to the few when divinity chooses. In Tantra, this method is also called Iccha yoga.
It is intuitional in nature and only those of graceful intellect may be favored with this
superior kind of yoga. The preceding means of mental doing (Kriyopaya) and knowledge
(Jnanopaya) are pushed to the background when the Shambhavopaya is revealed to an
earnest aspirant though he does not seem working for and towards it. The element of will
shines in one's pure being to attain prominence in being perfect. Entering thoroughly the
all-pervading Supreme consciousness with deep and steady knowledge of the Self of
Divine Grace is Shambhavopaya, which boosts for ecstasy in a higher degree of
Shaktipata.
The numerous powers of Parameshwara bear close affinity to the Yogi when Amba blesses
him, on revealing her graceful divinity in his heart. He develops concentration or balanced
state of abiding spiritual joy. Here the four forms of Samprajnata Samadhi become relevant,

through which the great Yogini Shaktis desire to help the Sadhaka. They are:
1. Savitarka Samadhi the Yoginis think of seeing the yogi constantly i.e. the yogi
experiences deliberative concentration.
2. Nirvitarka Samadhi Merging the whole being of the Yogini in the Yogi connotes superdeliberative concentration.
3. Savichara Samadhi Merging the whole being of the Yogi into Her connotes reflective
concentration.
4. Nirvichara Samadhi - To be one with the yogi points to super-reflective concentration.
These four kinds of concentration are included in the balanced state called Sabija Samadhi
or Bahirvastubija Samadhi, because there is some support or impression still in the yogi's
mind. After this state, the yogi proceeds to gain in internal undisturbed calm or equipoise
called the Nirvikalpa Samadhi.
There are twelve ways of surrender to the glory of the goddess who is the pervading power
of Iccha, Jnana and Kriya. She manifests through these powers individually as well as
collectively. She also throws open the portals of liberation for devotees, who love her with
all their being and obedience to her will. The twelve ways discussed in the Shastra are:
1. Meditating on Amba as one's true Self. (Dhyana)
2. Attaining the grace of knowing Her. (Vetti)
3. Reciting her holy names and mantras. (Japati)
4. Perceiving her everywhere. (Alokayati)
5. Thinking of her all the time. (Chintayati)
6. Obeying her. (Anveti)
7. Surrender the ego to her. (Pratipadayate)
8. Understand her. (Kalayati)
9. Laud her. (stauti)
10. Take shelter in her. (Ashrayati)
11. Worship her. (Archayati)
12. Listen to her divine attributes with spontaneous attention. (gunaanaakarnayati).
It will be interesting to know that these twelve ways of meditation correspond with the
twelve matras of Pranava for realization of the ultimate reality. These are what are
described as A, U, M, Ardhachandra, Bindu, Nirodhika, Nada, Nadanta, Shakti, Vyapini,
Samana and Unmana. The twelfth matra constitutes the seat of the venerable Para that
transcends the others. Then the yogi listens to the divine attributes with spontaneous
attention and becomes blissfully free.
Kundalini is Chit Shakti, the life force or the power of consciousness, from which alone
originate the currents of energy. The aim of Tantra is to control and regulate these currents
to make them flow to sublimer channels by the Tantric Kundalini Yoga. The ego is the main

obstruction in the flow of this Energy towards the right course, which leads to bliss, eternal
beauty, peace and unsurpassable joy. Kundalini expresses itself through the path of the
Yogi nerve system. Kundalini is already half-awakened in every individual maintaining
normal life in the body. The more it is awakened the more beauty, more joy and more life
there is. Prana Kundalini works at physical level, Nada Kundalini at mental level and Bodha
or Jnana Kundalini at spiritual level.
Kundalini is also classified on the basis of its place of residence:
1. Adhah Kundalini it is the power of primordial existence, lying dormant at the
Muladhara. It is the cosmic life that underlies all organic and inorganic matter.
2. Urdhwa Kundalini it has the entrance at the Brahmarandhra. It is the place of union of
Ida and Pingala at the Ajna Chakra between the two eyebrows.
3. Paraa Kundalini it is the transcendent state of Paramashiva. In human it is recognized
as Mount Kailasa in Sahasrara and beyond.
Mechakaabha Tantra gives some other names to the six charkas and these are very
meaningful, significant names. Nada Chakra at Muladhara, Maya Chakra at the navel,
Yoga Chakra at the heart, Bhedana chakra at the Lambika or the palate (this chakra is
frequently referred to by texts dealing with Lambika Yoga. Sri Vidyashankara
Mahaswamigal of Sringeri Sarada Peetham is eternally absorbed in Lambika Yoga
Samadhi to this day in the form of Chaturmurtishwara Shivalinga, above which a beautiful
temple of Shiva has been constructed. This is called Vidya Shankara temple. The great
Guru clears doubts of earnest devotees who meditate in this sacred place), Dipti Chakra at
the Brow center and Santa Chakra at Brahmarandhra.
The number six is very significant. It is most commonly mistaken to be Swadhishthana
Chakra at most places. This however may indicate the inner course of Srichakra and
should be understood from an efficient Guru who is much advanced in Saktha practices.
The Six-petalled lotus refers to the mystic physiology of Sushumna. In Muladhara, there is
a triangle known as Shiva Trikona, together with another one known as Shakti Trikona. The
two triangles join in such a way that their apexes are opposite each other. In Yogic
parlance, the place in physical body is the Ajna Chakra. While Shiva and Shakti are
separately triadic, their union is hexagonal. The union of Shiva Trikona, which is the Bindu
and the Shakti Trikona, which is the Yoni, is called the Shatkona Mudra or the Shambhavi
Mudra. Then there is a Kanda, which is a samputa of Shiva and Shakti. This is known as
Omkara Peetham, the seat of Bija Mantra.
Then there is also the Hrit Karnikaa also called Mukha Mudra, which is the center of the
heart lotus. The yogis are advised to meditate on the above said Kanda as if it were the
heart lotus. These have been called `lotuses' only in a figurative sense because they are
endowed with the characteristics of expansion and contraction like a lotus. This Hrit
Kamala is called Amrita Bija. This practice leads Yogis to Jagadaananda state.
According to the great saint Swami Lakshman Joo, advanced Yogis experience Kundalini in
three states. The first is the tranquil state and remains limited to Moolaadhaara. This state
works in all created beings. When the Kundalini gets awakened either by Pranayama or in
the classical way of constant practice or uninterrupted feeling of the perfect ness of I
consciousness, it is called Adhah Kundalini. After this state, when Kundalini, like lightening
gives a sudden and straight flash and rises through the path of Sushumna to

Brahmarandhra, it is called Urdhwa Kundalini.

Practice of meditation on the two spots is called Aadyantakoti Nibhaalana, explained in
Paraatrimshikaa. Aadikoti is called Bahirdwaadashaanta and Antakoti is called
Antardwaadashaantia, which may respectively understood as Adhah and Urdhwa
Kundalinis. Their union is the Shatkona Mudra, often referred to as Shatpatra Kamala. The
yogi is advised to meditate on the locus of a point, which has neither beginning nor end,
and expanding the fifteen vowels, resides in the heart lotus of Shiva, who is the sixteenth.
The seventeenth Kalaa is the unwavering repose called Bindukalaa, where the movement
of both Prana and Apana ceases. This is called Somaamsham. This is the main
significance behind Tarpana of Mahasaptadashi Nitya, even beyond the Shodashi Nitya
during the course of Nitya Kalaarchanam. The correspondence is to Turiyaatiitaa and
Turiyaa. By practicing SomamaSham by viewing all objects of the world as nothing but the
manifestation of the Paraa Bija Sauh (or the third Koota of Srividya, with or without the final
Shodashi Kalaa, depending on one's qualification), one attains the Jagadaananda Dasha
the monistic state of sameness of the Supreme self, unconditional and unhindered. This is
Supreme Bliss, Shaktipata of Shiva.
Very few advanced Yogis find repose, by a graceful knack, in the steadiness of breath, after
a long and constant practice. Here we talk about the next alternative i.e. the Pranayama.
This coveted experience of a Yogi is called Urdhwa Kumbhaka, flow of super
consciousness. Just as churning curds results in a ball of butter, which keeps floating and
simultaneously increasing in volume on the surface of the churned milk, so does refined
intellect i.e. awareness of supreme consciousness float free from any malignancy of duality.
The two principal functions of the vital airs are exhalation and inhalation. Among human
beings, some Yogis offer the act of inhalation into that of exhalation. There are still others,
who offer inhalation into exhalation. [Now these esoterically refer to the 14th and 15th
Kriyas of the Siddha tradition. Many Kriyabans are familiar with this I suppose. It is now
known that Lahiri Mahasaya taught a total of 8 Kriyas to a chosen few among his vast
number of Chelas. There are 72 Kriyas in all, with some knowing upto 25 Kriyas in the
contemporary times. The final two of the 25 are the Samhara Kriya, (by which a Yogi may
exit consciously via the Brahmarandhra) and Brahmamelana Kriya also known as Ananda
Kriya, Maha Kriya, Samadhi Kriya, Kulaamrita Kriya, Niraalamba Kriya etc by different
traditions.] These two paths refer to Devayaana or uttara maarga and Pitryaana or
Dakshina maarga. But there is a superior path beyond these two. This is called the Bhairavi
stage, which results in Kriyaa Shoonyata. I think this is too complicated to be discussed in
this context and hence I will leave it at this].
Yaana means vehicle or chariot in Sanskrit. As a verb it means moving or riding. In Yogic
parlance, it refers to entering the Sushumna. One may find entrance to the Royal path of
Sushumnaa in different ways and by different means. Taking Devayaana way with the
inferior means of Aanavopaaya, one has the predominance of Prana, egress and with
Saktopaaya, one is influenced more with knowledge of the self. Taking Pitryaana way with
the Inferior means of Aanavopaaya, one has the predominance of Apaana and in
Saaktopaaya one finds it in action. But, the highest means is the Shambhavopaaya, where
the devotee keeps constant touch with the Divine in the bipolar process of Prakasha and
Vimarsha i.e. the predominance of Shiva and Shakti respectively. He ever moves in and as
Divine.
vande guruM sha~Nkaram

There was a query from a learned friend whether pUrvA~Nga of mUla vidyA is
ShaDakSharI bAlA or tryakSharI?
One can see the following statement in the kalpasUtra:
dakShiNakarNe bAlAmupadishya pashchAdiShTamanuM vadet |
1. Some here (like gopAla sUrin or subhagAnandanAtha) insist on the use of navAkSharI
bAlA due to the sUtrAnuktatva of either ShaDakSharI or tryakSharI. rAmeshvara refutes this
claim and insists on the use of tryakSharI bAlA as navArNa vidyA of bAlA is termed as
yogabAlA which is explicitly declared in sarvasAdhAraNa krama as "shriyo.a~NgaM" by
bhArgavarAma. The former vidyA of three letters is known as bAlA, shuddhabAlA or
kumArI.
2. During the prakAsha of the mantras for the fifteen nityA-s, the sUtra says: kumArI
kulasundarI. The commentary on this sUtra refers to tryakSharI bAlA and not navAkSharI
as evident from tantrAntara and sampradAya. Thus, though there is no explicit uddhAra of
tryakSharI in the kalpasUtra, the intent of the sUtrakAra seems clear: refer to other relevant
tantras. The following clause will thus not come into effect (sUtrAnuktatvAt):
svashAstre vartamAno yaH parashAstreNa vartate |
bhrUNahatyAsamaM tasya svashAstramavamanyataH ||
3. There is a reference to bAlA in shrIkrama: bAlAdvirAvR^ittyA klR^iptaShaDa~NgaH. It is
quite obvious that the reference here is to tryakSharI again.
Based on these interpretations, some are of the opinion that the pUrvA~Nga vidyA of
pa~nchadashI should be tryakSharI bAlA. Support for this assumption also comes from
paramAnanda tantra, used almost universally to compliment the content of the kalpasUtra:
sA tu tridhA sthitA devi tatrAdyA tryakSharI smR^itA |
dvitIyA pa~nchadashyuktA tR^itIyA ShoDashI bhavet ||
tantrarAja, incorrectly identified by some as a part of shaktisa~Ngama tantra, again does
the uddhAra of tryakSharI and not ShaDakSharI:
shuchiH svena yutastvAdyo rasAvahnisamanvitaH |
prANo dvitIyaH svayuto vanahR^icChaktibhiH paraH |
itIritA tryakSharI syAdityAdi ||
A manuscript dealing with the details of pUrNAbhiSheka, supposedly a part of kahAdi mata
(of the kAdi, hAdi, kahAdi group; some like maheshAnandanAtha replace kahAdi by sAdi
and explicitly state: sAdimate uktatvAt etc.) speaks of the upadesha of gaNapati, bAlA and
laghu pAdukA before mUlavidyopadesha. Lord reminds bhagavatI of an earlier chapter
dealing with kulasundarI where bAlA tryakSharI vidyA was already revealed (probably
referring to the tR^itIya paTala of kAdi mata or tantrarAja as it is available today).
j~nAnArNava, accepted as the svanatra tantra (indicated by AchArya bhagavatpAda in
saundaryalaharI) by some authorities, again does the uddhAra of tryakSharI alone:
tripurA trividhA devi bAlAM tu prathamaM shR^iNu |

yasyA vij~nAnamAtreNa sAkShAtsuragururbhavet ||

sUryasvaraM samucchArya bindunAdakalAnvitam |
svarAntaM pR^ithivIyuktaM tUryasvaravibhUShitam ||
bindunAdakalAkrAntaM saragavAn bhR^iguravyayaH |
shakrasvarasamopeto vidyeyaM tryakSharI matA ||
nAgabhaTTa who represents a prevalent and flourishing sampradAya at some point in time,
speaks of tryakSharI again in his tripurAsArasamucchaya:
atha trilokArchitashAsanAyAH
vakShyAmi bIjatrayamambikAyAH |
goptavyametatkuladharmavidbhiH
amuShya hetornijasiddhaye cha ||
dakShiNAmUrti saMhitA again does the uddhAra of tryakSharI as the mukhya vidyA of
bAlA:
vAgbhavaM prathamaM proktaM dvitIyaM kAmarAjakam |
tR^itIyaM shaktibIjaM cha mantroddhAraH prakIrtitaH ||
The ShaDakSharI is discussed only as one of the thirteen prastAra bhedas of the mukhya
vidyA:
anulomavilomAbhyAM bAlAmantraH ShadakSharaH ||
rudrayAmaLa, while describing pa~ncharatneshvarI vidhi for mahAShoDashI, again talks of
tryakSharI followed by sambuddhi.
shR^iNu devi pravakShyAmi pa~ncharatneshvarI manum |
yaM japtvA sAdhakaH kShipraM vicharedbhairavo yathA ||
trikUTA ShoDashI chaiva bAlikA sumukhI tathA |
tAriNI pa~nchamI devi pa~ncharatneshvarI smR^itA |
vAgbhavaM shaktibIjaM cha kAmarAjaM tR^itIyakam || etc.
bhAskararAya identifies the name tryakSharI as referring to bAlA in saubhagyabhAskara.
gauDapAdIya sUtra states the same thus: kumarI varNatrayavishiShTA. Most tantras thus
seem to give greater importance to tryakSharI. Even the uddhAra of ShaDakSharI is seen
only in a few tantras.
But it is incorrect to assume that there is no pramANa (one is listed below) for the use of
ShaDakSharI bAlA. The question though is whether its use is more appropriate in the case
of mukhyopAsyatva of bAlA rather than as pUrvA~Nga of lalitAmbikA.
A chief tantra of shrIkula is the parA tantra which deals with bAlA, panchadashI and
ShoDashI. The following is a statement from this tantra:
kulaj~naH kashchidyo yajati kulapuShpaiH kulavidhau
kulAgAre dhyAyan kulajanani te manmathakalAm |
ShaDarNaM pUrvoktaM japati kulamantraM tava shive
sa jIvanmuktaH syAdakulakulapa~Nkeruhagate ||
The reference here is clearly to ShaDakSharI bAlA and not tryakSharI. The same tantra
also prescribes initiation into the kramotkrama vidyA of bAlA before panchadashI. Thus,
though it seems that there is much more pramANa for the use of tryakSharI as pUrvA~Nga
of brahmavidyA, the following needs to be considered:

1. There are also pramANas (like from parA tantra) which prescribe the use of ShaDakSharI
vidyA.
2. Most living sampradAyas today that I have interacted with seem to use ShaDakSharI
bAlA along with mahAgaNapati as pUrvA~Nga vidyA of lalitA.
3. Like the case of ShoDashI which includes pa~nchadashI in itself, some opine that the
use of ShaDakSharI is warranted on account of it including the tryakSharI. This argument
need not be technically correct as pointed out by rAmeshvara in the case of navAkSharI
yogabAlA. Moreover, a hierarchical relation is non-existent between ShaDakSharI and
tryakSharI like in the case of panchadashI and ShodashI.

Bala Chakra

Q] Can a bAlA upAsaka worship shrIchakra?

Anyone can do anything. The question really is what is right according to shAstra dR^iShti.
Though shrIchakra represents a sarva-samaShti shakti chakra, bAlA is one of the a~Nga
shaktis of lalitA in spite of the abheda that exists between bAlA, bhairavI and sundarI. It is
said, bAlalIlA vishiShTatvAdbAleti, lalitA on account of her bAlAlIlA visheSha, is called bAlA.
But apart from mantra and svarUpa, difference can also be seen between lalitA and bAlA in
terms of adhiShThAna, which is very important in terms of shAkta saguNopAsanA. The
adhiShThAna of bAla is in svAdhishThAna chakra, which is the seat of letters from baM to
laM, evident in her very name.
Moreover, a specific yantra for bAlA is described in various tantras and this needs to be
worshipped by upAsakas of bAlA parameshvarI.
Acharya gauDapAda describes the yantra thus:
tadeva patravasudvayayuktamanusvaraM kumArIsadanam |
sha~NkarAraNya describes the resulting bAlA chakra thus: bindu trikoNa ShaTkoNa
vR^ittAntaraShTadalapadma vR^ittabahiraShTadalapadma chaturashrAtmakaM bAlA

chakraM bhavati |
An alternate saptAvaraNa yantra is described in traipura siddhAnta:
tato yantraM likheddhImAn bindumAdau likehnnaraH |
trikoNaM vilikhet pashchAt ShaTkoNaM vilikhettataH ||
dalAShTakaM liketpashchAt tadbahirvR^ittamAlikhet |
chaturashraM likhet pashchAt chaturdvArasamanvitam ||
maNDalaM vilikeht pashchAdyantrametadudIritam |
saptamAvaraNopetAM shrIbAlAM praNamAmyaham ||
As the upAsanA of bAlA through this yantra is taught as a preparatory practice to the
worship of lalitA in shrIchakra by various upAsana shastras, the yuktatva of worship of bAlA
in her own yantra becomes evident. This is the case when the mukhya devatA worshipped
is bAlA and not as a parivAra devatA of shrI lalitA. As there is an explicit pramANa in this
regard, I do not see the need to resort to mImAmsA to support this statement. To
summarize, there can be two cases:
a. The person is an upAsaka of bAlA alone: In this case it is quite evident that he needs to
worship bAlA yantra. The same shAstras which describe shrIyantra in relation to lalitA,
speak of a separate bAlA yantra. If the upAsaka of bAlA could worship shrIyantra, bAlA
yantra would more or less be redundant. trikUTA rahasya states pa~nchadashI as the least
requirement for pravesha into the navAvaraNa yantra of sundarI. bAlA (tryakSharI or
shadakSharI) is a pUrvA~Nga of lalitA like mahAgaNapati, worshipped prior to undertaking
the upAsanA of lalitA.
b. The person is an upAsaka of sundarI: If this is the case, in both nitya and naimittika
pakShas, he would need to worship sundarI and not bAlA. This is based on the assumption
that he received initiation into the Supreme vidyA of sundarI after the prescribed upAsanA
of bAlA, generally a pre-requisite in many sampradayas. The lack of need for worshipping
pUrvAnga devatas after initiation into the mukhya vidyA is discussed at length twice by
rAmeshvara sUrin. In the case of kAmya pakSha, if one desires to worship bAlA for a
specific purpose, he can then make use of the sarva-shakti-samaShTitva clause of the
shrIchakra and worship bAlA within the shrIchakra, based on the pramANa from tantrarAja
or kAdimata.

,
,
,
,
,

() ,
,
,

...

!

!

(
), ( )
,
.

,

, .
, ,
. .



,


.


.
,
!

Sri Matre Namaha

Bhandaputra-vadhodhyuktha-bala-vikrama-nandhita The Seventy
Fourth name in Lalitha Sahasranamam.

Bhandaputravadhodhyuktabalavikramanandita
bhandasurasya putranam vadhe udyuktayah balayah vikramena nandita
She is delighted in the Valor of Bala (who was) ready to slay the sons of Bhanda
There were thirty sons of Bhandasura, viz., chaturbahu to Upamaya. Bala, nine year old
daughter of the Goddess, slayed all the sons of Bhandasura
Bala is the daughter of Lalitha and nine years old. Bhandasura had 30 sons. In spite of Lalitha
advising her daughter not to go to the battle field, Bala prevailed upon her mother and waged
a war against all the 30 sons of Bhandasura and destroyed them. In Sri Vidya cult, the first
initiation is always the mantra of Bala. If one attains siddhi in Bala mantra, he can attain
super natural powers by using certain rare herbs. Certain herbs have divine qualities and will
confer certain powers to a person provided one has attained siddhi in Bala mantra. Bala is the
anga devata of Lalithambigai. Lalitha, Mantrini and Varahi have anga devis, upanga devi
sand pratyanga devis. Annapurna devi is the upanga devi and Ashvaruda devi is the pratynaga
devi of Lalithambigai. The sons of Bhadasura represent the 30 tatwas. Unless we cross these

tatwas, realization cannot take place. A small effort (referring to Bala) from us will destroy the
evil effects of the tatwas. Bala also refers strength.
She rejoices in the valour of Bala who slays the sons of Bhanda.
Here the reference is to Bala, a goddess of nine years old who slayed the thirty sons of
Bhandasura.
The thirty sons of Bhandasura are the impurities (mala) whom the devi Bala helps slay.
It becomes imperative here to talk about Balambika whom I rever and who is by herself the
soul energy of this universe.Jyoti (Balambika) is a member of the Shiva family. She is a part of
the eternal godhead. When Shiva (static consciousness) united with Shakti (kinetic energy)
Ganesha (sound) and Skanda (light) were born. Jyoti (spark of light) was also born out of
this union. She represents the female principle of light since she is active in creation, while
Skanda represents the male principle of light. She is predominantly made of light like Skanda
and may be considered as Skandas sister.
The human body is a temple. The breath through the right and left nostrils constitutes Shiva
and Shakti. Lord Ganesha resides at the base of the spine from which Jyoti, or the Kundalini
force, rises through the five chakras (Muladhara, Manipuraka, Swadhistana, Anahata,
Visudhi, and Ajna chakra), or the six battle houses of Lord Skanda. When the Kundalini
Shakti travels up the spine and reaches the Ajna chakra in the forehead, the merger with
Shakti residing there represents the confluence of the power of the Mother, being given to and
becoming part of the son. The battle between the higher self and the lower self rages in the six
cakras, or the battle houses of Lord Skanda. After winning the battles, Jyoti reaches her
mother in the sixth battle house of Skanda, known as Ajna Chakra.
Skanda Purana tells us that Skanda was born after intense tapas of six sparks from Shivas
forehead. That is why Skanda is considered by many to be not only the quintessence, but an
improved version of Shiva. On the other hand Jyoti was born of one spark from the mothers
forehead. When the divine child Skanda was entrusted with the mission to quell Surapadman,
who embodied the demonic forces of the day, Mother fashioned out of herself a Vel and
presented it to Skanda as an invisible weapon. The revelation now is that it is not an
instrument but a deity in its own right.
Until recently, the antecedents of Jyoti had not been very clear. In August 1978, the knowledge
that it is none other than the Vel in the hands of Lord Skanda was imparted to the author by
His Holiness Sri La Sri Pandrimalai Swamigal. Jyoti in her arupa or formless state is
worshipped in all temples where Skanda is worshipped. Jyoti from now on also desires to be
worshipped in the rupa form.
The Velis Jyoti, the younger sister of Lord Skanda. She is Shakti Vel not only because Shakti
gave it to Skanda but also because it is an energised weapon. The Vel has all the energy and the
dynamism of Shakti. It has also been praised as Ratna Vel since she sparks like the precious
stone ratna. She is called Jana Vel as she removes darkness and ignorance and provides the
Jana, or true Wisdom. She has blazoned the trail ofjana travelled by sages, siddhas and
those who are spiritually advanced. Since janaalways wins, she is called vetri or victorious
Vel. Jyoti assists Lord Skanda in helping devotees to win their internal battles and to achieve
spiritual progress leading to the liberation and merger in the godhead. The Vel is arupa or the

formless. Since it is made of fire it cannot be broken down or defeated.

Jyoti has always been inseparable from Lord Skanda. There is no temple for Skanda without
the worship of Jyoti in the form of Vel. Jyoti is also known as Saravanabavayai to indicate that
she is always intertwined with Saravana or Skanda, and acts for him. In her formless arupa
form of the Vel, she has a spearhead which is intelligence and consciousness and a slender rod
or stem enabling her to move with speed. Jyoti takes after her mother in the form of Durga to
punish the evil forces as well as to build and protect a just world order where love and
brotherhood are developed.
Jyoti presides herself over one of the six houses Lord Skanda namely Palamutircolai which
corresponds to the Ajna Cakra. This house is situated near Madurai. Here Jyoti is also
worshipped as Rakkayi particularly on the full moon days. Rakkayis form in rural areas is
mainly a head with a face of fire, again reconfirming the form of a Vel with a head and slender
form.
The close association of Vel with her mother is the subject of Shodasam, a major devotional
composition by the sage Agastya. For each day of the waxing and waning of moon he discovers
and describes the role of the mother Manonmani (seen along with Shiva in the form of
Chokkanathar in one of the principal sanctums in Madurai Meenakshi temple), consort of
Shiva in the form of Sadasiva, and daughter Jyoti who are together in the Ajna cakra in our
foreheads. The sage also recounts that how Jyoti was born of the Pranava pillar of Om. He
calls her the young damsel who lives in the centre of the eyebrows. All life is Jyoti. She
pervades in all the galaxies and is a growing flame. She is totality and Parabrahman and is in
her fullness on Pournami, full moon days.
A great Jyoti centre is Tiruvannamalai, a town that exemplifies the fire element of Shiva. At
this great Shiva centre Jyoti is worshipped as she is made of fire, and there is a Jyoti festival
every year during the month of Karttikai of the Tamil calendar. Jyoti is called hereArul Perum
Jyoti, or the graceful and great Jyoti. Shiva as Nataraja, in his cosmic dance carries Jyoti in
his left hand as fire. Jyoti lives with Nataraja in the golden stage, or what is called
Ponnambalam. All creation is from Jyoti or fire. Jyoti becomes active from then on.
Jyoti is also a representation or embodiment of divine light and love accessible to us on the
Earth plane. Jyoti governs our words. Jyoti is the burning light in the lamps in all temples. We
invite these lamps to come into our heats. Jyoti is said to be enveloped by seven screens. It is
only after all the screens are removed she appears in all her radiance. A great exponent of Jyoti
who merged with her in recent times was Ramalinga Swamigal.
In addition Jyoti in her association with her mother in the form of Kanyakumari has been the
protector, custodian and teacher of the great sages and siddhas. She has been worshipped as
Jwalai Kumari and in the North India as Jwalamukhi for centuries. She is also called
Janambal or Balambika meaning goddess of knowledge or child goddess. Siddha literature is
abound with poems lauding the vibrant Jyoti. Jyoti iSs the female principle of Shanmukha and
is known as Shanmukhi. She is also addressed as Kaartikeyi and Kumari.
Jyoti Mantras
Om Jaya Jaya Maha Veera Bhagavan Sri Skanda Namo Namaha

Om Jaya Jaya Maha Jyoti Shakti Saravanabhavayai Namo Namaha

In his instructions, Skanda explained that these mantras, when said in devotion, harmonise the
Shiva Shakti, or Ying-Yang energy within each person.
The Vel, Skanda says is symbolic of the spine, at the top of which is the head, inside of which
flows Jyoti-Light, or the arisen Kundalini. Those who wants God realisation should begin at
the bottom of the spine, coccyx. I am the Strength and Force who guides the kundalini from
the bottom to the top of the spine. When the kundalini rose and finally burst forth, the
Goddess Jyoti appeared.
First see the Jyoti as the face in the Vel, then the whole Goddess explodes as the power rises,
and She will stand in Her glory. Bliss is felt, the blessing then overflows to the Earth, helping to
raise the consciousness of the humanity. All this happens within, but is symbolised without as
the Vel of Skanda.
I am the Leader, the General, who guides these forces up the spine. You who earn for
liberation, look to me, follow my words, and victory will be yours. Turn away from the orders
of the general during battle, and defeat is the result. When there is war, the army must listen to
general.
Jyoti has been dormant for aeons and the time has come for her revival. In the New Shakti Age
She will be destroying the evil in the Kaliyuga. Two more mantras describing Her bring out
this fact.
Om Shreem Adi Brahmeswariyai Namaha
Om Shreem Hreem Kreem Kleem Jyotiswariyayai Namaha
The first mantra calls Her the creator and the next one finds in her radiance and luminosity
the attributes of bountifulness of Mahalakshmi, Goddess of material and spiritual wealth,
Bhuvaneswari, representing all the revolving planets and worlds: Durga, the ruler and the
eternal mother. Jyoti is described by Agastya as graceful Jyoti, Ananda (blissful or supremely
happy) Jyoti, and Arupa (formless ) Jyoti.
Worship of Jyoti
Worship of Jyoti can be done internally through the practice of Kundalini Yoga. As the great
Tirumoolar has said
North, South men wander about seeking him East and West celestials go about looking for him
but fix divine mantra ( AUM ) to Muladhara and rouse (kundalini) fire upward to stream. There
shall you as radiant light be.
Jyoti is to be worshipped on the day of the full moon, especially in the evening and at night
time. Jyoti in her form as Saravanabhavayai or Vel is to be worshipped with her brother on all
days honouring Him. Thus Karttikai days are special. The most important day for worship of
Jyoti or Saravanabhavayai is the day of her birth when the Universal Mother fashioned the
spark born in her forehead in to Veland gave it to her young son on the eve of the battle with
Surapadman. This is the day of Visaka Nakshatra in the month of May.
Sage Kapila opened his third eye on the 60,000 sons of King Sagara who tormented the sage.

By the outpouring of the flames they were destroyed to ashes. The local inhabitants prayed the
fire and it got submerged in to the Pacific Ocean.
So Devi has a special place for balambika and entrusts her with the job of slaying the
bandasuras sons and such is her strength that balambika is the vital force of mankind.

Shilpa Lakshana of Shri Tirumala Balaji Idol

Every aspect of life is sacred. That is why each significant stage, from conception to
cremation, celebrated as a reminder that life is a gift from God, should be duly respected
and lived according to the wishes of the Creator.
Vedas have harnessed their capabilities and Agamas have adopted them in all rituals of
worship, customs and etiquette bestowed with the positive energy and get removed the
negative thoughts instantly and impurities associated with the material body eradicated.
The Lord of Tirumala is not a mere sectarian God, though the outward form is undoubtedly
that of Lord Vishnu, but in reality it is the Idol of Shri Bala Tripura Sundari Devi. She is
worshipped as Vishnu, Siva, Rudra, Brahma, Maheshwari, Mahakali, Mahalakshmi,
Mahasaraswati, and Skanda. All the upacharas or the services rendered to this idol are in
effect rendered to the eternal Goddess Shri Bala Tripura Sundari Devi! All the 32 bodily
signs or Lakshana as detailed in Shilpa Shastra in Agamas is visible in this Divine Idol.
I am an Anthropologist too. This is the study of humans. Its main subdivisions are cultural
anthropology, which describes the workings of societies around the world, and biological
anthropology, which concerns long-term development of the human organism. A related
discipline, archaeology, studies past human cultures through investigation of physical
evidence.
Lakshana in Sanskrit means Mark, sign, or symbol, symptom' auspicious mark', 'attribute'
or 'quality; the 32 bodily signs as detailed in Shilpa Shastra in Agamas.
The universe governed by many different universal laws. These include Laws of Attraction
Vibration Energy Cause and Effect Relativity Polarity Perpetual Transmutation Action
Rhythm Magnetic Affinities Divine Order Divine Oneness Forgiveness Abundance
Unconditional Love Compensation Gratitude Sacrifice Principle of Gender Correspondence
Fellowship and many more Laws.
Agama is as an impassable "a traditional doctrine, or system which commands faith. It is
an integrate word with many different universal laws related to Sthala, Jala, Sila, Shilpa,
Loha and Sankalpa focusing on Law of Attraction, Law of Vibration, Law of Energy, Law of
Cause and Effect, Law of Relativity, Law of Polarity, Law of Magnetic Affinities, Law of

Rhythm, Law of Action etc.

Agamas are embodiment of all these universal laws and particularly emphasizing on Energy
Principles of Nature, Cardinal directions and the circular energy forces of water, Shape and
Slopes of Place, Pavilion, Sculptural art and Structural science related to the construction
and on the Temple Architecture. Agamas also deal with the philosophy and spiritual
knowledge behind the worship of the Deity, Yoga and Mental discipline required for this
worship, and the specifics of worship offered to the deity.
The Shilpa Shastra prescribes among other things, the proportions of a sculptured
figure, composition, principles, meaning, as well as rules of architecture.
The height of an image is determined by comparing it widi (i) the breadth (Tara) of the
main temple (harmya), (ii) the height of the sanctuary or central hall (garbha-griha), (iii)
the length of the door (dvara mana), (iv) the measurement of the basement (adhishthana),
(v) cubit, (vi) Tala (a span), (vii) angula (finger's breadth), (viii) the height of the
worshipper, and (ix) the height of the riding animal (Vahana) of the principal idol.
The very temple structure and Idols are energy vibrating at frequencies that raise ones own
frequency. The proportions of the head-trunk-arms-legs of images; and also their finer
specifications like nose, nail, ears and their shapes are specified in the texts. Generally: it is
dasa tala (ten talas) for the height of image of male deity, navatala (nine talas) for his
consort and astatala (eight talas) for bhakta. These are not absolute measurements; but are
meant as guidelines to maintain proper proportions.
The Shila selected for the Sculpting the Devata Moorthi S shall be flawless, without cracks,
even hairline cracks, or some discoloration etc. The Stone shall be completely solid, and a
homogeneous...The shilpi or Stapati knows the type of Stone and its defects by examination
with his eyes and by striking the stone with his chisel mildly and hearing the sound that it
made. For the pillars and other things like steps, roof slabs, etc the Neutral stones are used.
There are three types of Stones .1.Male Stones (Purusha Shilaah), 2.Female Stones (Stri
Shilaah) and 3, Neutral Stones (Napumsaka Shilaah).
Nevertheless the fourth, the rarest is Stri Purusha Shilaah. This manifested on the earth in
Satya Yuga 8.64 billion years ago at Tirumala as Bala Ji from Shaligram and is evident from
Silathoranam, resembles the hood of Sarpa a serpent. This rock arch or rock garland
hanging decorations ofShankh, a conch, Gada, a mace; Chakra, a discus (chakra)
and Padma arranged in a particular order. These symbols of worship considered to be the
source of the Idol of Balaji

The Natural Arch at Tirumala hills a distinctive geological wonder and is located 1 km
(0.6 mi) north of the Tirumala hills temple, near the Chakra Teertham. The arch measures
8 m (26.2 ft) in width and 3 m (9.8 ft) in height, and the beam is simply supported at both
ends. This is strung over a threshold, connecting two vertical columns or an arch. This
beam is simply supported at both ends and has no bending moment and shear reaction
loads. It develops internal forces in response to the external force so that equilibrium is
maintained. It is a beautiful place with an innate rock configuration that is a geological
marvel.
This comprises seven peaks, representing the seven heads of Adisesha, thus earning the
name Seshachalam. The seven peaks are called Seshadri, Neeladri, Garudadri, Anjanadri,
Vrushabhadri, Narayanadri and Venkatadri. The temple is on Venkatadri or Venkatachala
or Venkata Hill, the seventh peak, and is also known as the "Temple of Seven Hills" also
called Saptagir represent the Saptarishi (seven sages). The Garuda Hill in Tirumala, the
abode of Lord Venkateswara, features a natural rock formation that is in the form of
Garuda (the eagle). Incidentally, Garuda is also the vehicle of Lord Venkateswara.
Scriptures say that the hill existed prior to the time of Kruta Yuga.

In the Friday Abhishekam, Firstly, the idol of Balaji is applied with Punugu Tailam (Civet)
and then wiped with a pure cotton towel. At this stage one can see the idol without any
ornaments, vasthrams (except the hands holding Chakra and Sankham) which is really
once in a lifetime experience/
Like the romantic myth of ambergris, the use of animal musk in perfume is surrounded by
a mystique that draws people to musk and blurs the truth about where these products
actually come from
The dark secret of perfumery is painful to hear, but learning the facts is a first step to
making informed decisions about the products we use on our bodies.
Most Punugu Cats, Small Indian Civet have perineal scent glands), which secrete a musky
fluid used for marking territories. In this species, perineal glands are rubbed after raising
the tail on diverse species of trees, shrubs, grass, dry logs, poles, and rocky surfaces. This
scent is recognized and is used in olfactory communication. This is very hard to get.
How this oil is collected from the civet cats. This Punugu Oil is got from rarely living civet
cat. The civet cat is kept in a room above which an iron mesh is arranged. A hole is made in
the iron mesh through which a sandal stick is arranged in the room. When the cat becomes
two years old, once in every ten days, the cat rubs its body against the sandal stick. Perineal
gland secretions (i.e. civet) are collected from captive individuals, and later refined into a
compound, Punugu oil, used as a fixative in the perfume industry. The substance secreted
at that time is called Civet oil. The oil is purified and mixed with various other fragrant
substances and is used in the Abhisheka. Civet oil is believed to have soothing effect.
Punugu oil is used in worshiping gods and for Pujas. It is a ritual to use Civet oil of Punugu
Cat oil used in the worship of Shri Balaji in Tirumala. The ritual is being conducted from
time immemorial for Shri Balaji Abhisheka on Friday.
The fact that special Pujas are performed on Fridays by bathing the deity in Turmeric
worship as Bala Tripura Sundari Devi and Abhisheka is done on Fridays, a 21-cubit

Sari vastra with turmeric water, and Brahmotsava during Navaratri are conducted.
The Abhisheka is done by pouring out water in a measure of 51 porringers. The number 51
refers to the count of Shakti Pithas..Sivkishen, Author, Kingdom of Shiva.
The Lord of Tirumala is not a mere sectarian God, though the outward form is undoubtedly
that of Lord Vishnu. He is Vishnu, Siva, Rudra, Brahma, Maheswari, Mahakali,
Mahalakshmi, Mahasaraswati, Skanda or any other form to any devotee who conceives of
the Lord in that aspect. All the upacharas or the services rendered to this idol are in effect
rendered to the eternal Lord.
This is the real secret of the Lord of seven hills, well detailed in my article at
at http://sivkishen.wikia.com/wiki/File:Shri_Bala_Ji.JPGKishen Ji
Read Kingdom of Shiva and refresh your knowledge on Agama Shastra, Silpa
Shastra and Vastu Shastra...as well Understand the significance of worshipping the Kanya
or Virgin, who is the form of Shri Bala Tripurasundari Devi .Sivkishen, Author,
Kingdom of Shiva
Shri Tirumala Balaji
This word Tirumala is composite word consisting of Tiru + mala. Tiru means 'Holy' or
'Sacred' and mala means hills. Therefore, it translates as Holy Mountains. The Tirumala Hill is 853m
above sea level and is about 10.33 square miles (27 km2) in area. The Architecture of Tirumala Bala
Ji Temple is commonly known as Sthapatya.
The Tirumala ranges show the face of Lord Balaji. This comprises seven peaks, representing
the seven heads of Adisesha, thus earning the name Seshachalam. The seven peaks are called
Seshadri, Neeladri, Garudadri, Anjanadri, Vrushabhadri, Narayanadri and Venkatadri. The temple
is on Venkatadri or Venkatachala or Venkata Hill, the seventh peak, and is also known as the
"Temple of Seven Hills" also called Saptagir representing the Saptarishi (seven sages). The Garuda
Hill in Tirumala, the abode of Lord Venkateswara, features a natural rock formation that is in the
form of Garuda (the eagle). Incidentally, Garuda is also the vehicle of Lord
Venkateswara. Scriptures say that the hill existed prior to the time of Kruta Yuga.
The presiding deity of the temple is Lord Venkateswara, an incarnation of lord Vishnu.
In Sanskrit, Ven-kata-eswara means this: 'vem' = all the links with one's own sins, 'kata' = will be
cut off in total to the one who surrenders to him, 'Eswara' = Supreme God
Venkateswara is known by other names: Balaji, Govinda, and Srinivasa. The temple lies on the
southern banks of Sri Swami Pushkarini, a holy water tank.

Tirumala Temple Layout

This idol, called the Mulaberam, is believed to be self-manifested. As there does no known sculptor
possess the capability to sculpt idols of god so proportionately. Further, no human being is known to
have installed it in the shrine.
This is the rarest Stri Purusha Shilaah. This manifested on the earth in Satya Yuga 8.64 billion
years ago at Tirumala as Bala Ji from Shaligram and is evident from Silathoranam, resembles the
hood of Sarpa a serpent. This rock arch or rock garland hanging decorations of Shankh, a conch,
Gada, a mace; Chakra, a discus (chakra) and Padma arranged in a particular order. These symbols of
worship considered to be the source of the Idol of Bala Ji.
This is a Natural Arch at Tirumala hills a distinctive geological wonder and is located 1 km
(0.6 mi) north of the Tirumala hills temple, near the Chakra Teertham. The arch measures 8 m

(26.2 ft) in width and 3 m (9.8 ft) in height, and the beam is simply supported at both ends. This is
strung over a threshold, connecting two vertical columns or an arch. This beam is simply supported
at both ends and has no bending moment and shear reaction loads. It develops internal forces in
response to the external force so that equilibrium is maintained. It is a beautiful place with an innate
rock configuration that is a geological marvel.
The main stone deity of Lord Venkateswara is called Dhruva Beram (beram means "deity",
and Dhruva means "pole star" or "fixed"). The deity is about 8 feet (2.4 m) from the toes to the top
of the crown and is considered the main source of energy for the temple.
The Idol itself is not exactly standing in the tribhanga pose, the body near and below the waist
has taken a slight tilt to the left and the knee themselves are bent and open slightly outwards giving
the idol peculiar grace and charm.
The Idol of Balaji is adorned with Pachai Karpooram, from Cinnamomum
camphora, which is a highly volatile substance, daily. This is a mild acid which may cause
itching. If applied to a stone, it will form Cracks. But this is not so in Lord Balajis case.
There is no mark of the Chisel in the Idol.
The facial expression with long and dark eyes in 'Sama dristi' and with an eternal
smile is extraordinarily tranquil and beautiful, reflecting a sense of complete love and
serenity that envelopes all living creatures in its benevolence..
The face looks charming like that of a young girl and the waist is slightly tilted onto a
side which is typical of the female deities. The Vaishnava Naama covers the entire face and
even during nija roopa darshan never removed
The nose is delicately carved and is neither prominent nor flat. The mouth of Lord is
also exquisitely shaped.
The chin and the ears are carved proportionately.
The ears have beautiful ear ornaments.
The chest or the Lord is magnificent in cut and size and should if measured be
between 36 to 40 inches in width. While the waist would be between 24 to 27 inches.
The neck is conch like and the body in the posture of a lion and exquisitely shaped.
The belly is also beautifully modeled.
The Idol has 4 arms; the upper 2 being carved to hold the chakra and the conch, the
chakra and the conch are not integral parts of the main idol.
The upper right arm holds the Sudarsana Chakra, the upper left arm holds the
Panchajanya, the conch of Lord Vishnu which is blown by him in times of war.
The lower right hand of the Idol in the Varada Hasta pose, while the lower left hand
is in the Katyavalambita pose.
Actually the fingers of the left hand rest on the left thigh, with the thumb of the hand
almost parallel to the waistline. While this idol itself is not exactly standing in the tribhanga
pose the body near and below the waist has taken a slight tilt to the left and the knee
themselves are bent and open slightly outwards giving the idol peculiar grace and charm
The Yagnopaveetham and a set of 4 necklaces or ornaments of the neck can also be clearly
made out on the idol. Texts such as Harita Dharmasutras, Asvalayana Grhya Sutra and Yama
smriti suggest women could begin Vedic studies after the Upanayana rite of passage. Girls
who decided to become a student underwent the Upanayana rite of passage, at the age of
8, and thereafter called Brahmavadini. They wore a thread or upper garment over their left
shoulder. Those girls who chose not to go to a Gurukul were called Sadyovadhu (literally,

one who marries straight). However, the Sadyovadhu too underwent a step during the
wedding rituals, where she would complete Upanayana, and thereafter wear her upper
garment (Saree) over her left shoulder. This interim symbolic Upanayana rite of passage for
a girl, prior to her wedding, is described in multiple texts such as the Gobhila Gryha Sutra
verse 2.1.19 and various Dharmasutras. So only we see the sacred tread on this idol.
The arms have armlets. The figure is depicted as wearing a dhoti from the waist
downwards, while the upper portion is not covered by any dress or vastra.
There is however a Katibandham or waistband and this waistband is about 2 inches thick.
The legs and feet of the Lord are beautifully shaped, strong and lissome. Both the knees are
bent and open slightly outwards, giving the stately figure, charm and grace. The feet are models of
perfection and have ornaments near the anklets.
The hair of the Idol never tangles and is silky smooth always.
The lamps lighting in front of lord don't go off. These were lighted some crores of
years ago. Nobody knows from how long they are on.
Every day a new and sacred Dhoti (bottom) and Saree (top) are used to decorate
the Idol.
The inner garments (Ul-Pavadai) of Lord Balajis are made of cotton at a place called
Kathwaal. The weavers of this garment belong to the Chenchu Tribes and they prepare it with
utmost devotion. Since this innergarment touches the body of the Goddess, the weavers take bath
thrice daily during the preparation of this dress. They also do not touch liquor or any non-vegetarian
foods during this period.
The Idol is always at 110 Degree F, despite being bathed in Water, Milk at the early
hours, 4.30am.After bathing the Deity Sweat forms every day and it is wiped off. No matter
how many times, the back of the Idol is dried, it remains wet always.
One can carefully keep ear and listen against Idols back, sound of an ocean is
heard. All the flowers used in the garbha gudi are in no condition brought out. There is a water
fall in the earth back of the lord. All flowers are thrown in this water fall without seeing
back.
All these flowers can be seen coming out at a place called Verpedu, 20 km from
Tirupati on way to Kalahaasti.
Lord Balaji is worshiped as Goddess Bala Tripurasundari, the divine form of Shakti
Uma on four days, as Vishnu for two days and Shiva on Friday in a week with Bilva leaves
for Archana. Similarly the same Bilva leaves are used during archanas from 15th Dec. to 15
Jan.
In the Friday Abhisheka, Firstly, the idol of Balaji is applied with Punugu Tailam
(Civet) and then wiped with a pure cotton towel. At this stage one can see the idol without
any ornaments, vasthrams (except the hands holding Chakra and Sankham) which is really
once in a lifetime experience
The fact that special Pujas are performed on Fridays by bathing the deity in
Turmeric worship asBala Tripura Sundari Devi and Abhisheka is done on Fridays, a 21cubit Sari vastra with turmeric water, and Brahmotsava during Navaratri are conducted.
The Abhisheka is done by pouring out water in a measure of 51 porringers. The number 51
refers to the count of Shakti Pithas.
This Sacred Bath includes saffron is from Spain, Kasturi (wastage from the body of musk
deers) from Nepal, Punugu (wastage from the body of civic cats) from China, and certain fragrance

materials do include Aghil (a scented wood) resembling sandalwood, Sandalwood, Amber,

Thakkolam, Lavangam, Kumkumam, Thamalam, Niryasam etc. These items are used to be mixed
with sandal paste prepared on a golden plate. 51 small kalasams of milk are offered in the
Abhisheka. Then they apply Kasturi and Punugu to the idol.
On all Fridays in the early morning, a special worship is performed before the
commencement of Abhisheka. During this special worship the Idol is without any dress or flower
decorations. Camphor is lighted and shown to the Lord as Arathi. Then the worship in the Thenkalai
Sampradhayam is performed. Then Neivedhyam is offered to the Lord. Once again a Karpooram
Arathi is performed. The idol of Lord Balaji at that time would be shining beautifully and is a treat
to the eyes.
The temple authorities buy a mud pot daily in which curd rice is offered to the Lord. Except
curd rice, no other cooked or prepared food items would ever cross the Kulasekaran Steps (the name
of the steps at the entrance of the sanctum sanctorum of Lord Balaji).
Many devotees have their head tonsured as "Mokku", an offering to God. The daily amount of
hair collected is over a ton.
One of the most important offering in this temple is the 'Thulabharam.' In the Thulabharam
ritual, a devotee sits on a pan of a weighing balance and the other pan is filled with materials greater
than the weight of the devotee. Devotees usually offer sugar, jiggery, Tulasi leaves, banana, gold,
coins. This is mostly performed with newborn babies or children.
Devotees offer gold as a token of their love for God in Hundi
Pilgrims can view and participate (in a limited fashion) in the various sevas performed
to Dhruva bera (main idol), Bhoga Srinivasa, Sri Malayappa swami and other idols in the
temple. When pilgrims purchase arjitha seva tickets, they get the opportunity to see a seva
performed to the Lord, obtain Prasada in the form ofvastra (clothes), akshantalu (sacred
and blessed rice) and food articles (laddus, vadas, dosas, pongal, rice items) and a
darshan of the utsava murti
The devout poet, Thalappakkam Annamayya had sung kritis in praise of Lord Balaji,
portraying the Lord as Parabrahma, Ishwara, or an amsa of Lord Siva and also as Shakti
Swarup (the consort of Lord Siva) which are still available engraved on copper plates.
Tamil poet laureate Arunagirinathar (known for his devotional songs on Lord Skantha,
the Thirupugazh) had visited Tirupati.
Muthuswami Dikshidhar, (One of the trinities of Carnatic Music) was a well known
Srividhya Upasakar and was well versed in mantra Shastras. He had sung songs in praise
of hundreds of Hindu deities/gods. In particular he had sung a song in the Carnatic raga
Varali in praise of Lord Balaji beginning with the words Seshaahala Namam.
Lions engraved on stones wherever there is worship of Shakti, either on the Gopura or
at the entrance of the sanctum sanctorum or both. Even in Tirumala, you find so many lions
carved on the Gopura and somewhere near the entrance also, which is very rare in temples
of Vishnu.
As per Shilpa Shastra this height of 8 feet is the standard measure of a female form of deity.
This a female form of deity.
Coming back to the issue of acoustics in the stones, the Shilpis displayed a remarkable skill
and ingenuity in crafting musical pillars, which when struck at right points produce sonorous
octaves. Since every unit of time vibration produces a corresponding unit of space measure, Vastu
science derives that time is equal to space. This rhythm of time and space vibrations is quantified as
eight and multiples of eight, the fundamental and universal unit of measure in the Vastu shilpa
tradition. This theory carries over to the fundamental adi talam (eight beats) of classical
Indian music and dance. Applying this in the creation of a human form, it is found that a human

form is also composed of rhythmic spatial units. According to the Vastu Shastras, at the subtle level
the human form is a structure of eight spatial units devoid of the minor parts like the hair, neck,
kneecap and feet, each of which measures one-quarter of the basic measure of the body and, when
added on to the body's eight units, increases the height of the total form to nine units. Traditionally
these nine units are applied in making sculptures of Gods. Male deities are made from male stones
and their bases are from female type stones. For Female deities all parts are made from female type
stones. The Stone shall be completely SOLID, and homogeneous. Images should confirm to the
prescribed types when they are to be contemplated in the spirit of worship.
A perfectly' built figure, faultless in its details, is one of the rarest things in the world ;
and in spite of general resemblances of features and form, between man and man, it is
impossible to take any particular figure as a standard or ideal for all. Features, like hands,
feet, e3'es or ears, are given to all men in pairs, and, roughly speaking, these are
structurally the same in one man as in another. But, our intimate acquaintance with the
human race, and our habit of pa3'ing close attention to the details of a man's features,
make us so actual}' conscious of minute differences of physiognomy that the choice of the
test helically' ideal figure becomes a matter of serious difficulty for the artist.
The whole figure of a Male Deity is divided into 9 equal parts, which are called Talas and
Female deity is of 8 Talas.
The heights or vertical lengths of the various parts of a figure made according to this
Tala arcmiddle of forehead to chin 1 Tala, collar-bone to chest 1 Tala, chest to navel 1
Tala, navel to hips 1 Tala, hips to knees 2 talas, knees to insteps 2 talas, forehead to crown
of the head 1 amsa, neck 1 amsa, knee-caps 1 amsa, feet 1 amsa. The widths or
horizontal measures are as follows, Head 1 Tala, neck 2^/'2 amsas shoulder to shoulder
3 talas, chest 6 amsas, waist 5 amsas, hips 2 talas, knees 2 amsas, ankles 1 amsa, feet 5
amsas. The hands and their parts are as follows. Lengths : shoulders to elbows 2 talas,
elbows to wrists 6 amsas, palms 1 Tala ; widths near armpits 2 amsas, elbows IV2 amsas,
wrists 1 amsa.
The face of the figure is divided into three equal portions, middle of forehead to
middle of pupils, pupils to tip of the Nose, tip of the nose to chin.
From the crown of the head to the lower fringe of hair 3 angula is in width; Forehead 4
angulas, Nose - from tip of nose to chin 4 angulas, and neck 4 Reticules in height; eyebrows 4 angulas long and half an angula in width, eyes 3 angulas in length and two in
width; pupils one- third the size of the eyes; Bars 4^ angulas in height and 3 in width. Thus,
the height of the ears is made equal to the length of the Eye brows. Palms 7 angulas long,
the middle finger 6 angulas, and the thumb 3^ angulas, extending to the first phalauA: of
the index finger. The thumb has two joints or sections only-, while the other fingers have
three equal. The ring finger is smaller than the middle finger by half a section and the little
finger smaller than the ring finger by one section, while the index finger is one section short
of the middle. The feet should be 14 angulas long, the big toe 2 angulas, the first toe 2^^ or
2 angulas, the middle toe 1^2 angula the third toe l^ angula and the little toe l^/^ angula.
The Forehead is described as having the form of a bow. The space between the eyebrows and the fringe of hair in front shows the arched crescent form of a slightly drawn bow.
The Eyebrows are described as being "like the leaves of a Neem tree or like a bow." Both
these forms have found favor with our artists, the first being used chiefly for figures of men
and the latter for female figures.

The various emotions, of pleasure or fear or anger, Sick, are to be shown by raising,
lowering, contracting or otherwise rounding the eye-brow like a leaf disturbed I)}- the wind
or a bow under different degrees of tension.
The eyes of women are by their very nature restless. The forms and expressions of
eyes have peculiar to different types The Eyes have been described as "fish-shaped." The
eyes have been compared among other things to the common wagtail, a small bird with a
lively dancing gait; the eyes of the deer; the water-lily ; the lotus leaf and the little safari/
fish. Of these the first two are used chiefly in painted figures of women, while the other
three are to be seen in the stone or metal images of gods as well as goddesses choosing
three such restless animals as the deer, the khanjana and the safari for their similes.
The Ears arc directed to be made "like the letter ?". Some resemblance can no doubt
be traced between the ear and the letter ? to indicate the structure of the ears. The sole
reason for this seems to be that the ears are so much obscured by ornaments and
decorations in the images of goddesses and elaborate head-gear by roughly indicating the
general character of the eyes.
The nose has the shape of the sesame flower and the nostrils are like the seed of the
long bean. Noses shaped like the sesame flowers to be seen chiefly in the images of
goddesses and in paintings of women. In this form, the nose extends in one simple line
from between the eyebrows downwards, while the nostrils are slightly inflated and convexes
like a flower petal. Parrot-noses are found chiefly in the images of gods and in male figures.
In this type the nose, starting from between the eyebrows rapidly gains in height and
extends in one sweeping curve towards the tip, which is pointed, while the nostrils are
drawn up towards the corners of the eyes. Parrot-noses are invariably associated with
heroes and great men, while, amongst female figures, they are to be seen only in the
images of Shakti.
Lips being smooth and moist, and red in color, lips have been appropriately compared
to the Bimba fruit. The Bandhuh flower is admirably adapted to express the formation of the
lower and upper lips.
The Chin has the form of the mango-stone. It is readily' seen that in comparison with
the eyebrows, the nostrils, the eyes or the lips, the chin is more or less inert being scarcest
affected the various changes of emotion which are so vividly reflected in the other features.
It has therefore been purposely compared to the inert stone of a fruit, while the others have
had living objects like flowers, leaves, fish, etc., for similes. The ear is also a comparatively
inert portion of our face, and there is therefore a certain fitness in comparing it to the
letter?
The Neck is supposed to exhibit the form of a conch, the spiral turns at the top of a
conch being often well simulated by the folds of the neck. Besides, as the throat is the seat
of the voice the analogy of the conch is well suited to express the function, as well as the
form of the neck.
The Trunk, from just below the neck to the abdomen, is directed to be formed like the
head of the cow. This is certainly an excellent way of suggesting the strength of the chest
and tail comparative slimness of the waist as well as the loose and folded character of the
skin folding near the abdomen. The middle of the body has also been compared to the

damaru and the lion's body; while the rigid Strength of a heroic chest has been well
described b}^ comparison with a fastened door, but none of these can approach the first of
these similes, in the beautiful completeness with which it conveys an idea of the form as
well as the character of the trunk.
The resemblance of our shoulders to the head of the elephant is undeniable. The
human shoulder and arms on the lines of the head and trunk of an elephant have the
functional resemblance between the two is also pretty evident. Comparisons with snakes or
creepers, given by our poets, serve merely to express the pliant, clinging or clasping
character of the hands as well as that constant seeking of a support which characterizes
the creeper and the snake. But the elephant's trunk suggests all these as well as the form
and the various characteristic movements of the hands.
The Forearms from the elbows to the base of the palms, arc to be modeled like the
trunk of a young plantain tree. This emphasizes the supple symmetry as well as the
firmness of the arms. The comparisons of the fingers with beans or pea-pods give more
useful indication of the formation of the fingers than the champak flower-buds.
The human thigh, in male as well as in female figures, has long been fashioned after
the trunk of the plantain tree by our artists. The trunk of the young elephant is also,
occasionally, a favorite model especially for images of goddesses. The upper portion of
the body above the hips or the limbs below are thrown to right or left, back- wards or
forwards, like a tree caught in a storm. This type is usually seen in such representations as
Siva's dance of destruction and fighting gods and demons.
As every proportion, measurement of height, length, width, and other iconographic
element was so strictly fixed; one might conclude that the Indian artist was so confined by
these rules that there was no scope left for individual interpretation and imagination. In
other words: did the artist still have any artistic freedom? Even from just the works
illustrated in this book it can be seen that the sculptors allowed themselves considerable
freedom, within the restraints of the rulesrather as with the basic notion of raga in
classical Indian music. A raga has a well-defined structure: a tonal scale wherein the choice
of given ascending and descending notes, the rhythm and the tempo are laid down and
determine the ragas individual character. But within those parameters the musician is free
to improvise, so that each performance of the same raga is always a different interpretation.
The Idol of Tirumala is not a mere sectarian God, though the outward form is
undoubtedly that of Lord Vishnu, but it is of Shri Bala Tripurasundari Devi!
All the upacharas or the services rendered to this idol are in effect rendered to the
eternal Goddess. This is the real secret of the Lord of seven hills. She is worshipped
as Vishnu, Siva, Rudra, Brahma, Maheswari, Mahakali, Mahalakshmi, Mahasaraswati,
Skanda or any other form to any devotee who conceives of the Lord in that aspect
Read Kingdom of Shiva and refresh your knowledge on Agama Shastra, Silpa Shastra and
Vastu Shastra...as well on the need of worship Kanya or Virgin, who is the form of Shri Bala
Tripurasundari Devi .Sivkishen, Author, Kingdom of Shiva
BALA TRIPURASUNDARI SUPRABHATAM

rAtrirdEvIti na vibhAga udEti kAlE

AstE sadApi bhavatI khalu jAgarUkA
dEvi prabhAtamapi nO kva cha suprabhAtam
tvatsuprabhAtavashatO mama suprabhAtam

Ekam tatadvayamiti shruti rAha bhUyO

nAnAvidhatvamavabhAsayati sma mAyA
gItA nishA bhagavatA tadidam vidhUya
pashyAmi tatvamabhavE mama suprabhAtam

vEdhA dvidhA striya mahO puruSham vyadhatta

lingadvayam na yadi sA prakriti stritIyA
mAyIva kO(a)pyaTati tatra mahEshI mAyA
tvam mIlayAmi nayanE mama suprabhAtam

traiguNyasAmyavashatah parishuddhamAyA
syucchAvachai rguNgaNai rmalinIlabhavanti
bhrAntyA vivartayasi vastu tadEka maddhA
tvamchEt prasIdasi shivE mama suprabhAtam

brahmAhamityavadadIshwara Eva pUrvam

viShNu stathA(a)ja itarE(a)maramounivargAh
kriShNAdayO(a)pi katha manvaya ityudAsam
sO(a)nvEti chAdya lalitE mama suprabhAtam

rUpANi kalpayasi bhUmni guNAnuShangE

nAmAni dhArayasi tai rbahu thaikathAcha
kAvyamkarOmyubhayatO(a)bhayatO yathEShTam

EtadvibOdhanamahO mama suprabhAtam

ardhAnganArthapuruSham pratipadya vESham

mrityunjayAkhila mahEshwararUpadhArI
udyOgavAnakhilasamharaNE pinAkI
kailAsagO dishatu tanmama suprabhAtam

bhUtvA hari hridi ramA mupavEshya dIvya

tsauvarNakaustubhamaNI gaNabhUShitAngah
yah pAlayatyakhila vishamitAvatArah
sO(a)yam prabhushcha kurutAnmama suprabhAtam

tannAbhipadmavivarE samabhU dvidhAtA

svasyAmtarALadhrita satyasaraswatIkah
vEdAnuvAdarasikO(a)khila sriShTikarthA
tatsamprasattivashatO mama suprabhAtam

lOkatrayANi paripAlayatE shachIshah

pApApahO dashshatAkshi vimruShTakAryah
vritrasya hanturamarEshiturAprasAdAt
dhanyO(a) mastu tadidam mama suprabhAtam

sAvatparOrajasi tatsaviturvarENyam
dEvasya dhImahi mahO matichOdakasya
gAyatramarthamiti bhAvayatO durantA
sAntA nishA praviralA mama suprabhAtam

shIrShANi pancha shashibhUShabhUShitAni

bAhUn dashAyudhadharAn pratikalpya shAktAh

ambEtyupsata iti dyaya mAkalayya

chittEna vittamiha yanmama suprabhAtam

janmAnyatItAnikiyanti mE(a)ho
ucchAvachatvam yada bhUtsukhadukhahEtOh
tvaddAsadAsatamatAmabhi padyapuNyAt
bAlE tavAnugrahavashAnmama suprabhAtam

//iti shri tadepalli raghavanarayana sastry virachita bala suprabhatam

sampurnam//

primeira< anteriorprxima >

Sri Bala Parameswari (Bala Meditation guide) - 10 respostas.
Shyam Moorkoth Kambil - 10 de julho de 2008 - denunciar abuso
Sri Bala Parameswari (Bala Meditation guide)
Nivasatu Hridi Bala Nitya Kalyana Seela
(Bala Meditation guide)
Srividya uapasana is found everywhere throughout the world. People want everlasting
happiness in life. They try many ways and finally land on the spiritual methods. Initially they
find the Vedas and daily practices, further they read and try to understand through
Vedantas- the Upanishads. These methods are intellectual with no sight of the real
experience. So they search for a Guru and surrender to him. He instructs them on the timetested, sure to bear fruit method, called the Srividya. The experience of the nature of the
entire universe as a play of the Siva and sakthi and that every thing is in the form of Siva
and sakthi is the goal of Srividya. This leads to an unlimited experience of bliss.
In this path of Srividya there are many steps like Japa, Pooja, homa, dhayna, Samadhi. Of
these Japa is the foremost and the first step instructed to an aspirant. The mantras of
Ganapathy and Bala along with guru paduka are the first set of mantras initiated to the
aspirant by the Guru
Shyam Moorkoth Kambil - 10 de julho de 2008 - denunciar abuso
Many Tantras are unified in declaring that the mantra of Bala is of three letters. (Aim kliim
sauh). The eighteen siddas of the yore also practised the Bala mantra in their own way by
chanting ayum kiliyum chauum and attained the eight siddhis. Their practical verbatim in
Tamil language runs there is no more nourishing food other that milk; there is no more
deity above Bala. The sages of the yore on finding that this mantra being utmost beneficial
and easily approached by all for the siddhi cast a curse on it and locked away the powers
of this mantra. They have also revealed procedures for lifting this curse and unlocking the
powers hidden in this mantra, which are revealed in the Tantras.
By tradition the Bala mantra is initiated as a six letters. This is derived by adding the
reverse order of the above three letters in the end of the aforesaid mantra (Aim kliim sauh
sauh kliim aim). This mantra is devoid of any curse of lock on the powers. Later when the

uapasana progresses the Srividya Pancadasi mantra is imparted to the aspirant. Then this
Bala mantra takes the form of the Yoga Bala mantra the Anga mantra (primary attendant)
of the pancadasi mantra. There the mantra has a nine letter form which is derived by
adding the three letters of the first said Bala, which is in the normal order, after the above
six letter mantra.( (Aim kliim sauh sauh kliim aim Aim kliim sauh )This mantra is not
chanted as such by most of Upasakas, the number to be chanted is one-tenth of the
Srividya pancadasi mantras count.
Shyam Moorkoth Kambil - 10 de julho de 2008 - denunciar abuso
Bala and Katapayadi number secret code:
The katapayadi secret code is as follows: ka denotes the number one, kha two, ga three,
gha four, Gna five, ca six, cha seven, ja eight, jha nine and ghna zero, the same number
order for the letters from ta, pa and ya. In this order we find that ba is three and la is also
three.
The first inference from this that is the code identifies the number of bijaskharas in the Bala
mantra namely three. Since there are two threes for ba and la , adding these we find
number of bijaskhras in the Bala mantra(six) imparted by tradition. Multiplying them we find
the number of bijaskharas (nine) in the anga Bala (Yoga Bala) of Pancadasi.
Subtracting them we find zero, which in Sanskrit is denoted as pujya, which can also be
translated as worthy of worship. Hence inferred that Bala is worthy of worship. Dividing
them we get one, which denotes ekam sat viprah bahuta vadanti -the Brahman which
pervades this entire universe.
Bala is in the form of ganesa/graha/nakshatra /yogini/ pita/ rasi
Placing both the threes side by side we get thirty three, the number of divine beings in the
devaloka, The eleven rudras, twelve adityas, eight vasu and asvini duo make up the divine
pantheon ( 11+12+8+2=33). Each of these groups is also denoted as gana. We thus find
the Bala is ganesa rupini.
As seen in the first paragraph multiplying both threes we find nine, the number of planets
in the skies as per tradition, Hence Bala is graha rupini
In the above calculation multiplying three thrice we find twenty seven the number of stars
(nakshatras), so Bala is nakshatra rupini
Shyam Moorkoth Kambil - 10 de julho de 2008 - denunciar abuso
Adding the two threes we find six the number of yoginis (hakini etc.) in the six body
cakras, therefore Bala is yogini rupini
When we multiply the first two threes and add the third three ({3X3} +3 =12) we find twelve
the number of rasis (zodiac signs), so Bala is rasi rupini.
The number three denotes the main three pitas (seats of divine powers) kamagiri, purnagiri
and jalandhara. Hence Bala is pita rupini.
The essence of the above is that Bala is all pervasive and our constant japa with full belief
on our guru imparted mantra is the sure road to the goal of self realisation.
Bala is matruka :
In the daily ritual of nyasa, the barest minimum requirement is matruka nyasa- both outer
(bahir) and inner (antar). In the antar matruka nyasa for svadhitana we find the Ba in the
starting letter, and la is the final letter. Hence it is clear that the word Bala is formed from
the first and last letters of this charka. Thus we infer that Bala is the presiding deity of this
charka. Sva + adhistana- ones own + abode (original seat) is the translation of the name of
the charka. We can now admire that Sri Bala also takes the form of the yogini of this charka
kakini. This is the first place of entry of the cit sakthi - kundalini from her basal abode
muladhara. The Upastha (genitals) organ for enjoyment is associated with is charka.
Summing up we find that Bala is the foremost, Blissful, Primordial energy, Sri Lalitha in her
child hood form
Shyam Moorkoth Kambil - 10 de julho de 2008 - denunciar abuso
In the fifteen nitya devis we find the mantra of vijaya, the twelfth nitya, as bh m r y oom. It
is amazing to see that the consonants in this mantra are between ba and la and oom is

placed in the left ear, which is indicative of sakthi pradhanya(left) and tradition(ear-karnaat
karnopadesena sampraptam avaneetalam). Parasurama also gives this as the first mantra
during deeksha, vijaya means vi-special and jaya- victory, the special victory is the atma
labha(jaya). So this mantra can be meditated as an expansion of bala.
In the bahir (outer) matruka nyasa Ba is placed in the stomach and la in the back of neck.
Stomach is the organ for digesting the food received, thus absorbing the nutrients needed
for the body and rejecting the unwanted. This indicates that we have to imbibe the main
idea that the whole world is in the form of the divine couple, rejecting the idea of dualism.
The back of neck is the medical part called Medulla oblongata, the controller of our
involuntary movements like breathing, heart beat, etc. This is the main area of the control in
the living system. Linking the above we find the perception that the whole world is the play
of the divine couple should be our daily breath.
In the tatva parayana each tatva is associated with a matrukakshra. a for siva, ka for
sakthi, kha for sadasiva etc up to ksha for prthvi. The vowels aa to ah are explaining the
splendour of siva tatva. aa is Ananda sakthi i is ichha sakthi, I is Ikshana etc. ( see
paratrisikha for further details) In this order we find ba is pada tatva, la is rupa tatva and
the vowel in both aa is Ananda. Pada is the organ for locomotion and hence is figurative
of a path. Summing up we find the path to the Ananda rupa of Atma is Bala
Shyam Moorkoth Kambil - 10 de julho de 2008 - denunciar abuso
As seen above both ba and la are the third of the tatvas, correspondingly the third of
dasamahavidya is sodasi or Srividya so she is the root of this maha mantra. The third
mahabhuta also is agni. Since Tripurabhairavi of the Dasamahavidyas is fiery and denotes
tapas, we can admire that the bala mantra forms the basis of the Tripurabhairavi and her
expansion as tripura sundari (sodai) of the Dasamahavidyas.
The meaning of Bala mantra:
The meaning of Bala mantra has been explained in many ways by our revered teachers.
The first Vagbhava Bija is a vowel Aim- which can be split up as a + i + a + m. The first
a represents the Rig-Veda starting with agni miide.. and its essence in the mahavvakya
pragynanam Brahma ; i the yajur veda starting with ishetvorje.. and its essence in the
mahavakya aham brahmaasmi;
a the sama veda starting with agna aayaahi.. and its essence the mahavakya
tatvamasi and m the atharva veda starting with sanno devi..(Sam + Na :) and its essence
the mahavakya ayamaatmaa Brahma. Thus this indicates first stage of the aspirant, in
search of the unlimited bliss, which is the surrender to a guru, imparting the mahavakyas
and showing a path for sadhana
Shyam Moorkoth Kambil - 10 de julho de 2008 - denunciar abuso
The second Kamaraja Bija is kliim can be split as k+ l + iim. k indicates sakthi tatva,
la the prthvi (earth) tatva . Since siva tava is inherent in sakthi tatva we find that this
represents the complete 36 tatvas. iim is the kamakala tatva the cause of the whole
creation by heavy penance. This is the further development of sadhana as indicated by a
Pooja paddhati instructed by the Sri Guru. 36 tatvas indicate the tatva sodhana , the
kamakala indicate the kamakala dhayna in the Pooja paddhati.
The final Bija is sauh which can be split ass+ au + h. s represents the thirty one tatvas
from prthvi to maya; au the suddha Vidya, isvara and sadasiva ; h the visarga the sakthi
and siva tatvas. Thus this is a miniature universe of all the 36 tatvas. s is the letter for
sakthi, the universal creatrix, h the visarga the created universe and au the equalising
factor which shows their singular identity ( between the Creatrix and the universe). This
final bija can be inferred as the zenith of sadhana wherein on constant practice as
instructed by the Sri Guru the aspirant enjoys unlimited bliss on understanding the this
universe is the play of siva sakthi
Shyam Moorkoth Kambil - 10 de julho de 2008 - denunciar abuso
Bala in LalithOpakhyana:

LalithOpakhyana is the final part of the last of the eighteen purana the Brahmanda
purana. Therein we find a descriptive narrative of the tale of Sri Lalitha devi- Bhandasuras
origin, his conquest, devas yaga, the emergence of Sri Lalitha from the citagni kunda,
creation of her army, destruction of the forces and of Bhandasura, creation of Srinagra etc.
In the middle we find that Bhandasura deputes his 30 sons to fight the sakthi army. Here
we find Sri Bala suddenly, out of the blue, her emergence is hidden. She requests
permission to fight the sons of Bhandasura, rides her chariot drawn by swans (karni ratha)
and slays them by the Narayanastra. This is praised by the vasini vagdevatas in the Lalitha
sahasranama as Bhanda putra vadothyuktha Bala vikrama nanadita. The thirty sons of
Bhandasura represent the stain caused by the activities of the five organs for knowledge
and the five organs for action (total ten) in the three states (waking, sleep and deep sleep).
The stain is the limited knowledge that the individual is separate. Bala represents the action
packed knowledge of the unlimited Bliss removing the notion of individual consciousnes
Shyam Moorkoth Kambil - 10 de julho de 2008 - denunciar abuso
Bala meditation guide:
The usual mediation verse Aruna kirana jalaih.. is imparted to the most aspirants. Sri Bala
is described as of red effulgence engulfing the universe, holding a book, rosary (made of
sapthika) , the gestures of dispelling fear and granting boons, seated on the red lotus with a
prayer to occupy the aspirants heart.
While doing japa aspirant is instructed to meditate on the form while chanting the bijas. A
method is suggested herewith, by the grace of the Sri Guru, on this procedure.
Initially while chanting Aim meditate on the upper hand holding the rosary and book of
white hue. Kliim can be meditated as the lower arms showing the gestures of dispelling
fear and granting boons of red hue. Sauh can be meditated on the total form of the devi
especially the feet of golden hue. This is the procedure for the upasaskas of the three bija
Bala mantra.
The six bija Bala mantra upasakas can further meditate thus. While repeating Sauh
meditate on the feet and that the individual merges in it by the grace of the Sri Guru. While
repeating Kliim (in the meaning of the mantra above kliim is the universe) meditate as
pervading the universe, which is the body of the devi. Finally while repeating Aim (Aim is
written as a triangular letter in Sanskrit- triangle represents the yoni - the source of creation
the para siva tatva) meditate as being absorbed in the source of creation which is the
parasiva tatva. Thus a dhayna Samadhi can be experienced by the aspirants chanting the
six bija Bala mantra.
Further dhayna can be done by the nine bija Bala upasakas as thus: While repeating Aim
meditate on the creation of the universe from above the parasiva tatva , kliim can be
mediated as the creation of this subtle and palpable universe and finally sauh can be
meditated as play of the siva sakthi in the above expanded universe.
This is dedicated to the lotus feet of the Sri Guru who is the unseen guiding spirit in the
road of Sadhana
Shyam Moorkoth Kambil - 10 de julho de 2008 - denunciar abuso
This above mentioned posts are copied from this link
http://www.devipuram.com/downloads/archive_articles/NivastuHridiBala.doc
aum sri gurave.........