mahavidyas

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TEN MAHAVIDYAS-THE TANTRIC WISDOM GODDESSES

BRIEF INTRODUCTION AND SUMMARY THIS BOOK IS MAINLY FOR ACADEMIC INTEREST
 The tantrik worship of these most powerful Vidyas must be practiced only under the guidance of a siddha Guru.These wisdom goddesses are divine ways to liberation and not for dark arts . Please practice with right intention and under guidance of a genuine competent Siddha guru Hinduism is probably the only religion in the world which talks about Shakti (the Sacred Feminine) concept as being equal in power to the Parabrahma or the Supreme Divine. According to Hinduism, the elements of Shakti (the female or the Prakruti) and Shiva (the male or the Purusha) are two parts of a whole. While they are incomplete by themselves, they form a balanced, harmonious whole together. Shakti, as the name itself suggests, means "Strength". Lord Shiva has stated time and again that He is nothing without His companion, Goddess Shakti. This clearly depicts the important role play by the Mother Goddess in the Hindu pantheon. In this article, we bring you the story about the Ten Mahavidyas of Hindu mythology. In Tantra, worship of Devi-Shakti is referred to as a Vidya. Of the hundreds of tantrik practices, the worship of the ten major Devis is called the Dasa Mahavidya. These major forms of the goddess are described in the Todala Tantra. They are Kali, Tara, Maha Tripura Sundari (or Shodasi-Sri Vidya), Bhuvaneshvari, Chinnamasta, Bhairavi, Dhumavati, Bagalamukhi, Matangi, and Kamala. These ten aspects of Shakti are the epitome of the entire creation. Chapter 10 also outlines their consorts, although Dhumavati, the widow form, is not allocated a consort. There are several "levels" at which these Devis can be worshiped with the prescribed Mantra and Yantra. Like a simple worship of the yantra with the mantra recitation, as a remedial astrological measure, elaborate worship with all tantrak rituals for attaining various siddhis associated with these tantras and for spiritual salvation. Successful sadhana of these Vidyas gives several boons to the practitioner. The Tantrik- Yogi who has control over his senses and positively inclined uses the boons to guide people and for the benefit of mankind. The ones whose head starts spinning with success use them for the gratification of the senses, gather a bunch of disciples around them and become fake gurus. The last chapter of todala Tantra equates Vishnu's ten incarnations with the ten Mahavidyas as follows:

"Shri Devi said: Lord of Gods, Guru of the universe, tell me of the ten avatars. Now I want to hear of this, tell me of their true nature. Paramesvara, reveal to me which avatar goes with which Devi. "Shri Shiva said: Tara Devi is the blue form, Bagala is the tortoise incarnation, Dhumavati is the boar, Chinnamasta is Nrisimha, Bhuvaneshvari is Vamana, Matangi is the Rama form, Tripura is Jamadagni, Bhairavi is Balabhadra, Mahalakshmi is Buddha, and Durga is the Kalki form. BhagavatÌ Kali is the Krishna murti." (Todalatantra, chapter 10) The worship of these is also prescribed as an astrological remedy - for the 9 planets and the Lagna as follows: Kali for Saturn, Tara for Jupiter, Maha Tripura Sundari (or Shodasi-Sri Vidya) for Mercury, Bhuvaneshvari for Moon, Chinnamasta for Rahu, Bhairavi for Lagna, Dhumavati for Ketu, Bagalamukhi for Mars, Matangi for Sun, and Kamala for Venus.

The Dus Mahavidyas The name, "Mahavidyas", comes from the Sanskrit roots of Maha, which means great and Vidya, meaning, Wisdom, Knowledge, Manifestation or Revelation. The Dus Mahavidyas or the Ten Goddesses are actually ten aspects of the Devi or the Divine Mother in Hinduism. These are Goddesses of Wisdom and represent an entire spectrum of divinity, right from horrific goddesses, to the most beautiful and peaceful deities. The Mahvidyas, as a group, represents a vital turning point in the history of Shaktism, as it marks the rise of Bhakti in Shaktism. This movement reached its peak in 1700 C.E. Commencing during the post-Puranic era, in about the 6th century C.E., this new theistic movement envisioned the supreme being as a female. Important Hindu texts such as the Devi-Bhagavata Purana, especially in the seventh skandha, which are known as the Devi Gita, talk about the Devi's powers. This soon became the central texts of Shaktism. The Ten Goddesses

In Shaktism, the Divine Mother is jointly worshipped as a combination of ten different cosmic personalities. She is seen as the One Truth in ten different facets the Dus Mahavidyas. What sets the Mahavidyas from other Devi forms is that are considered Tantric nature. They take the following names and manifestations: 1. Kali: This "Devourer of Time" is worshipped as the very essence of the Brahman or the Supreme Self. Kali is regarded as the Supreme Deity of Kalikula systems .


2. Tara: The Goddess who Saves, Guides and Protects. She offers the ultimate knowledge necessary for salvation. This Mahavidya is also known as Neel Saraswati .


3. Lalita Tripura-Sundari: The Goddess, also known as Shodashi, is the One Who is the Most Beautiful in the Three Worlds. She is the Supreme Deity of the Srikula systems. She is also the "Tantric Parvati" or the "Moksha Mukuta". 
 4. Bhuvaneshwari: This Goddess is the Mother or Janani of the whole world Her entire Body is the Cosmos 5. Bhairavi: The Fierce Warrior Goddess 
 6. Chhinnamasta: The Self-Decapitated Goddess, who holds her own neck in her hands 
 7. Dhumavati: The Widow Goddess or the Goddess of death. 
 8. Bagalamukhi: The Goddess Who Paralyzes Enemies .


9. Matangi: The "Tantric Saraswati", also the Prime Minister of Lalita .


10. Kamala: The "Tantric Lakshmi", also the Goddess on the Lotus.
 Interestingly, according to the Mahabhagavata Purana and Brhaddharma Purana, Shodashi and Tripura Sundari are regarded as one deity with two different names.The Guhyatiguyha-tantra relates the Mahavidyas with Vishnu's ten avatars or manifestations. It also states that the Mahavidyas are the source from which the avatars of Vishnu manifested. All of the above ten forms of the Goddess are worshiped as aspects of the universal Mother. On a metaphysical level creation is not a sudden precipitation; it is a graded self-revelation. The transcendent and ultimate Mother of the Universe puts out several Powers and Personalities of herself, each missioned to work out a particular truth- of her Being. Of these, some are the major, Cardinal Powers, mentioned variously as Four, Six, Ten, Twelve etc., according to the standpoint of the Seers of old. The Tantra celebrates the Ten as the Maha vidyas Great Sciences, that hold the creation in their celestial grasp. What are these Mahavidyas? Why are they distinguished from one another though they all proceed from and lead to the same one Reality ? Each is a particular Cosmic function and each leads to a special realisation of the One Reality. The might of Kali, the sound-force of Tara, the beauty and bliss of Sundari, the vast vision of Bhuvaneshwari, the effulgent charm of Bhairavi, the striking force of Chinnamasta, the silent inertness of Dhumavati, the paralysing power of Bagalamukhi, the expressive play of Matangi and the concord and harmony of Kamalatmika are the various characteristics, the distinct manifestations of the Supreme Consciousness that has made this creation possible.The Tantra says that the Supreme can he realised at these various points. The highest spiritual truth is that reality is One. That reality, when personified as the Divine Mother, expresses itself in countless ways. The ten Mahavidyas, or Wisdom Goddesses, represent distinct aspects of divinity intent on guiding the spiritual seeker toward liberation. For the devotionally minded seeker these forms can be approached in a spirit of reverence, love, and increasing intimacy. For a knowledge-oriented seeker, these same forms can represent various states of inner awakening along the path to enlightenment. Kali
 In the series of the ten Mahavidyas or wisdom aspects of the Divine Mother, Kali comes first, for she represents the power of consciousness in its highest form. She is at once supreme power and ultimate reality, underscoring the fundamental Tantric

teaching that the power of consciousness and consciousness itself are one and the same. Kali appears to us in countless ways, but some aspects are more commonly encountered than others. In the esoteric Krama system of Kashmir, she is said to have a succession of twelve forms, beginning with Guhyakali, the supreme mystery, the Absolute. The other eleven forms represent every subsequent level of awareness, all the way down to our ordinary, unenlightened state. From pure formlessness and throughout the countless forms she assumes, Kali is the sole reality. Mother is all, and all is Mother. The earliest descriptions of Kali belong to the Puranas, and they place her on the battlefield. The Devimahatmya vividly depicts a scene with Kali and her associated goddesses ready to take on an army of demons. Here, Kali has emerged as the personified wrath of the Divine Mother Durga. She appears emaciated, with her dark flesh hanging loosely from her bones. Her sunken eyes glow red in their sockets. She is clad in a tigerʼs skin and carries a skull- topped staff. A garland of human heads adorns her neck. Her gaping mouth shows her to be a fearsome, blood-thirsty deity. The battle culminates with the slaying of two demon generals, Canda and Munda, and this act earns her the name Camunda. In the next episode Camunda takes on the demon Raktabija. His name means, “he whose seed is blood.” Whenever a drop of his blood falls upon the ground, another demon of equal size and strength springs up. In the battle, he sheds blood profusely until the world is teeming with Raktabijas. Just when the battle looks hopeless and the onlooking gods despair, Camunda roams the battlefield, avidly lapping up the blood and crushing the nascent demons between her gnashing teeth. Finally, drained of his last drop of blood, Raktabija topples lifeless to the ground. On the surface this appears to be a grisly tale, but it symbolizes profound insight. Raktabijaʼs amazing replicative ability symbolizes the human mindʼs ordinary state of awareness. The mind is constantly in motion, and one thought begets another in an endless succession. The mind rarely rests and is never fully concentrated. In the light of Patanjaliʼs Yogasutra, we can understand Camunda as the power to restrain the mindʼs endless modulations, to stop them altogether. When all mental activity (cittavritti) ceases, that state is called yoga: consciousness resting in its own infinite peace and bliss. In that state of ultimate absorption, represented by Camundaʼs imbibing of every drop of blood, the soul regains knowledge of its own original divinity. Camunda Kaliʼs battle scene represents the resorption of fragmented human awareness into transcendental wholeness.

Away from the battlefield Kali assumes more benign forms. As Dakshinakali, she is portrayed as young and beautiful, standing on the supine, ash-besmeared body of Siva, who looks up at her adoringly. Siva is absolute consciousness, ever blissful in its own glory. Kali is consciousness in motion—the overflowing joy that projects, sustains, and withdraws the universe. Consciousness and its power are one and the same reality. With her lower right hand the four-armed Dakshinakali displays the varadamudra, the gesture of boon-giving. Her upper right hand makes the abhayamudra, reassuring us to have no fear. The upper left hand wields the bloodied sword of knowledge. This is the capacity we can call upon to cut through all appearances and perceive the underlying reality. It is the power of mental discrimination (viveka) essential to spiritual practice and growth. From Kaliʼs lower left hand dangles the freshly severed head of a demon. This represents the human ego—the small, false sense of individual selfhood that binds us to this world. It is our crippling limitation. Once it is out of the way, awareness expands to infinity. We become one with the Divine and are liberated. Kaliʼs nakedness signifies her boundlessness. Nothing can contain her who is infinite. Her loose, flowing hair also represents freedom, in this case the freedom from social convention, from all the conditioning that has been imposed on us and that we impose on our own minds. Our true nature is unconditioned consciousness —Nirguna Chaitanya. Another symbol of freedom can be found in the girdle of severed human arms that circles her waist. This represents the divine power to cut through the bonds of karma. It is the power inherent in our own consciousness—a freedom of choice in the moment that can also be taken as a sign of divine grace. Around her neck Kali wears a necklace of skulls. All appearances to the contrary, this is a symbol of creative power. It is the varnamala, the garland of letters. Each skull represents a sound of the Sanskrit alphabet, a particular manifestation of energy. Physics tells us the same thing—that the universe is nothing but energy, vibrating at different frequencies and levels of intensity, and the result is this palpable world of name and form. The imagery of the skulls also reminds us that all created things pass away. Vibration is movement, and everything in the universe is constantly changing. Change is not possible except for time, and Kali is also time, the relentless devourer that in the end swallows up all things. Kaliʼs iconography in its various forms invites deep contemplation, and that leads to ever-deepening insight. In general, we can say that all the dualities of life, the light and the dark, the beautiful and the fearsome, are united and reconciled in Kali.

She represents supreme nonduality, for she is none other than Brahman. At the same time, the duality of this world is nothing other than her own self-expression. Two incidents in the life of Sri Ramakrishna bear this out. As a young priest at Dakshineshwar, Ramakrishna developed an unbearable longing for the vision of Kali. One day, feeling he could stand it no longer, he seized the Motherʼs sword from the wall in the shrine room, intending to end his life. Just then Kali revealed herself. In that moment the temple and all surroundings vanished, and Ramakrishna beheld only an endless, radiant ocean of consciousness. Feeling he was to be engulfed by the onrushing waves, he lost awareness of the outer world but continued to experience a steady flow of undiluted bliss. Kali had revealed herself as the Absolute. But she is also the relative. On another occasion in the same shrine room, Ramakrishna beheld the image, the altar, the worship vessels, the doorsill, the marble floor, and everything else as nothing but vibrating consciousness—even a cat, to whom he fed the Motherʼs food offering! In that experience Kali revealed to him that it is she who has become everything. From the Absolute to the relative and from the relative to the Absolute, Kali represents the power of transformation. For us, who wrongly think ourselves to be mere mortals, she holds out the promise of transformation from the human to the Divine. Tara
 In the succession of Mahavidyas, Tara comes second, immediately after Kali, whom she closely resembles. Just as Kali herself has many different aspects, so does Tara. Tara is prominent both in Tibetan Buddhism and in Tantric Hinduism, and her many aspects include forms that are either gentle (saumya) or fierce (ugra). The Hindu Sakta Tantra seems to prefer the fierce forms. So close are the representations of Tara and Kali that often their identities blur. Of course, divinity is a single reality, and that has been proclaimed from the time of the Rigveda onward: “Truth is one; the wise call it by various names.” The recitations of Kaliʼs and Taraʼs thousand names (sahasranama hymns) have many names in common. Not only that, Ramprasad, in his great devotional songs, used the names Kali and Tara interchangeably. Images of Tara often show her seated on a white lotus in the midst of the primordial waters that envelop the entire universe. From this we understand that she is the Mother of the three worlds—of the heavens, the atmosphere, and the earth.

Like the common representations of Kali in the form of Dakshinakali, Tara is fourarmed and holds a sword in her upper left hand and a severed head in the lower one. The sword symbolizes the power of consciousness to cut away whatever is misleading, divisive, fragmentary. It is called jnanakhadga, the sword of knowledge. Our ordinary awareness is engaged in a constant swirl of perceiving physical objects and formulating subtle objects—the thoughts, ideas, opinions, and concepts that we derive from our perceptual experience. Our unenlightened awareness centers on the idea of individual selfhood conditioned as ego or personality. That ego is represented by the severed head. Through the power of consciousness to reveal the true Self, to let us know who and what we truly are, the Divine Mother uses her sword to cut away the limiting ego. She who causes all our mistaken ideas of who we are, along with false notions of our imperfections, inadequacies, and limitations, is also she who frees us from the bondage of that conditioning. Once freed, we experience our own true being—identity with the unconditioned Infinite. In her upper right hand Tara wields a pair of scissors, which symbolize the same cutting action as the sword; in particular they represent the ability to cut off attachments. Her lower right hand is often shown holding a blue lotus, said to represent her open heart. Tara is bejeweled, signifying her beauty and infinite wealth. There is nothing lacking, for she is absolute perfection. Her complexion is dark blue like the night sky. That also signifies her boundlessness. Not only is she infinite; she is all-knowing. Her three eyes signify the knowledge of past, present, and future. Unlike Kali, whose hair flows loose and wild, Tara wears hers in a carefully coiffed topknot (jata). Whereas Kaliʼs hair represents absolute freedom from constraint, Taraʼs is a symbol of yogic asceticism—that is to say, of the yogic ability to manage and direct the movement of the mind, to achieve Self- knowledge through self-mastery. Her tongue is in constant motion, framed by fearsome teeth and a mouth that appears terrible. Like Kali, she is all-devouring, unrelenting time. She wears a tiger-skin around her waist. This is a symbol of her liminal character— she stands as the edge of civilized order. She can be wild and uncontrolled. She is uncircumscribed—nothing, including the laws of human society, can contain her. Still, this minimal clothing, some say, shows that she represents either the last stage before liberation or the first stage of cosmic emanation. She is not completely

naked like Kali, whose utter lack of clothing symbolizes infinitude and total freedom. A nimbus or halo of light surrounds her head, signifying her glory. Rising above it is the ten-headed serpent Akshobhya, who represents Siva-consciousness— a state utterly free of agitation—consciousness in a state of rest (visranti), the state of absolute being-awareness-bliss (saccidananda). This is the ultimate reality as well as the Motherʼs own true nature (svasvarupa) and ours. Patanjali says the same thing in the Yogasutra (1.2), where he defines yoga as the cessation of all activity within the individualized field of awareness (yogas cittavrittinirodhah). When consciousness ceases its activity, it ceases to be modified and conditioned as thought-waves (vritti). These thought-waves are the projections and the contents of consciousness. In the stillness only pure awareness remains, the experience of undivided, nondual wholeness. Tara sits on the body of Lord Siva, who lies motionless beneath her. This can be interpreted in more than one way. It can mean that Mother is supreme, but it can also indicate the mutual necessity of her relationship with Siva. He is the foundation which supports her, and she is the dynamism that makes possible the play of the universe. Siva and Sakti are not only mutually dependent—they are a single reality. Consciousness and its power are not just inseparable; they are identical. Without Siva Sakti would have no being, and without Sakti Siva would have no expression. The serpent Akshobhya reinforces this point. Mother, in her supreme glory, is identical to Siva—consciousness-in-itself, motionless and unperturbed, the eternal, self-luminous reality. The meaning of this symbol affirms Taraʼs closeness to Kali, who heads the list of the Mahavidyas. Kali represents the highest form of wisdom or liberating knowledge, and Tara, in her own way, represents a close second. It is possible to read the serpent Akshobhya as a symbol of the humanʼs innate capacity for enlightenment, and Tara herself as the penultimate stage in the process of enlightenment, which is in fact the dissolution of the human ego. Both Kali and Tara are strongly associated with death and dissolution. Whereas Kali is often said to be the power of time (kala) that inexorably causes all created things to perish, Tara is more often associated with fire, and particularly the fires of the cremation ground. One of her names is Smasanabhairavi, “the terrible one of the cremation ground.” It is important to remember that fire represents not only destruction but also purification and transformation. Much of Taraʼs symbolism can be related to death—but in its broadest perspective. The death it refers to is the death of the ego, the false idea of selfhood that keeps

the individual in bondage, ever reactive and in thralldom to all of lifeʼs ups and downs. Like Kali, Tara is sometimes shown wearing a girdle of severed human arms, a symbol of her ability to relieve us of the burdens of karma. The scissors and sword, rather than being understood as agents of death, should be thought of as tools to dismantle and remove the ego, the sense of mistaken identity that defines, limits, and binds. Taraʼs name is derived from tri, which means “to cross.” One of her epithets is Samsaratarini, “she who takes across the ocean of worldly existence.”Tara is thus the all-gracious liberator. Added to all this, the figure of Tara also embodies maternal tenderness. Her motherʼs love is unconditional, and her liberating mantra is given freely to all. Tripurasundari
 Tripurasundari is sometimes spoken of as an Adi mahavidya, or primordial wisdom goddess, which puts her in the company of Kali and Tara as representing one of the highest experiences of reality. She is not the ultimate, absolute, or nirguna state devoid of all qualities; still, she represents the experience of consciousness in a high state of divine universality. Her other names include Sodasi, Lalita, Kamesvari, Srividya, and Rajarajesvari. Each of these emphasizes a particular quality or function. According to the description in her dhyanamantra, Tripurasundariʼs complexion shines with the light of the rising sun. This rosy color represents joy, compassion, and illumination. Tripurasundari has four arms, and in her four hands she holds a noose, a goad, a bow, and five arrows. The noose indicates the captivating power of beauty. The goad represents the ability to dissociate from ego-based attachment. The bow represents the mind (manas), and in this case it is no ordinary bow but one made of sugarcane. The five arrows, representing the five sensory faculties (jnanendriyas), are made of flowers. In other words, what we perceive and cognize is by nature good, sweet, juicy, and delightful. The world is a place of beauty, to be savored and enjoyed. To reinforce that idea, a profusion of jeweled ornaments adorns Tripurasundariʼs body, symbolizing not only her splendor but also her inexhaustible abundance. Tripurasundari is often shown sitting on the recumbent body of Siva, who rests on a throne. Siva is the absolute consciousness-in-itself, the sole reality and support of everything that has name and form. On that sole support sits Tripurasundari, who is

Sakti. This is a graphic illustration of the great Tantric teaching that without Siva Sakti would have no being, and without Sakti Siva would have no expression. Consciousness and its power are one. The four legs of Tripurasundariʼs throne are the gods Brahma, Visnu, Rudra, and Mahesvara. Brahma is the power of creation or cosmic emanation (srishti); Visnu, of cosmic maintenance (sthiti); Rudra, of destruction, dissolution, or withdrawal (samhara). In a distinctively Tantric addition to this threefold activity, Mahesvara symbolizes the divine power of concealment (nigraha). When the nondual reality makes manifest the finite many, the infinite One becomes hidden from our awareness. Conversely, Siva, in the form of Sadasiva, is the power of selfrevelation (anugraha), also known as divine grace. When we go beyond the appearances and division of name and form, we again experience the ineffable divine unity that is our true being. These five deities— Brahma, Visnu, Rudra, Mahesvara, and Sadasiva—represent Tripurasundariʼs five divine activities (pancakritya). In the Sakta Tantra, it is Mother who is supreme, and the gods are her instruments of expression. Through them she presides over the creation, maintenance, and dissolution of the universe, as well as over the self- concealment and self-revelation that lie behind those three activities. Self- concealment is the precondition as well as the result of cosmic manifestation, and self-revelation causes the manifest universe to dissolve, disclosing the essential unity. With this in mind, the eighteenth-century commentator Bhaskararaya proposed that the name Tripurasundari should be understood as “she whose beauty precedes the three worlds,” meaning that she is divinity in its transcendental glory. However, the name is usually taken in an immanent sense to mean “she who is beautiful in the three worlds.” Present here is the idea of a triad, a grouping of three that plays out in many different aspects of the phenomenal world. The triangle is the dominant motif of Tripurasundariʼs yantra, the Sricakra. The innermost triangle represents the first stirrings of cosmic evolution. This takes place within divine consciousness. Pure, nondual consciousness is aware of nothing other than itself, for there is no other. It is pure subjectivity—the ultimate “I” (aham). As we learn from the Upanishads, the One, seeing itself alone, declares, “Let me be many; let me propagate myself.” Within the pure awareness of “I” (aham) arises the idea of ”this” (idam). Now we have subjectivity and objectivity within the same singular reality of consciousness. And where there are two, there is always a third —the relationship between the two. Hence, the triangle of the knowing subject, the known object, and the act of knowing that relates them.

Tripurasundari represents the state of awareness that is also called the sadasivatattva. It is characterized as “I am this” (aham idam). Cosmic evolution is the outward flow of consciousness (pravritti). Spiritual practice reverses that flow, so for the yogin this stage is a very high level of attainment, close to final realization. It is an experience of the universe within the unity of consciousness. A beautiful expression of this occurs in the Bhagavadgita (6.29): “One who is joined in yoga sees the Self in all beings and all beings in the Self; his is the vision of sameness everywhere” (sarvabhutastham atmanam sarvabhutani catmani / ikshate yogayuktatma sarvatra samadarsanah). In this state a person experiences the same sense of selfhood felt within his or her own heart as pervading everything. This experience of the Self in all beings, called sarvatmabhava, takes one beyond the confines of the individual ego to the realization that “I am all this.” This is the level of awareness known in the Tantra as sadasivatattva. This direct experience of the Divine simultaneously in oneself and throughout the whole of creation results in a feeling of universal love (visvaprema). One who lives in this exalted state of oneness feels no separation from others and therefore becomes a fount of compassion. Even in our ordinary state of consciousness, Tripurasundari is the beauty that we see in the world around us. Whatever we perceive externally as beautiful resonates deep within. That is the meaning of the flower arrows and the sugarcane bow. Deep within dwells the source of all beauty, that ultimate truth of which the outer world is only a reflection, of which our experience is a recognition. True beauty lies not in the object perceived but in the light of awareness that shines on it and makes it knowable. One who lives mindful of Tripurasundari abides in a purity of consciousness and experiences a joy that can be tangibly savored. Yet if the creation is wonderful, how much more wonderful must be she who created it. For the unenlightened the world appears imperfect. Perfection is wholeness and unity, but the world appears to be a vast assemblage of diverse parts. The unity of the divine cause is veiled by the multiplicity of its effects. We perceive beauty but feel also the pain of its fleetingness, forgetting that the source of beauty lies indestructible in the heart of our awareness as the Divine Mother, Tripurasundari. Her sadhana is therefore the purification of our awareness—cleansing the mind of unworthy thoughts and the patterns of thinking that underlie them, recognizing beauty everywhere, seeing the miraculous in the commonplace, and rising to the conviction that nothing is alien to ourselves. As the Upanishads teach, “All this universe is truly Brahman” (sarvam khalv idam brahma); so too is this Self (ayam atma brahma).

Bhuvanesvari
 The fourth Mahavidya is Bhuvanesvari, whose form closely resembles that of Tripurasundari. Even more than the goddess who is beautiful in the three worlds or transcends them, Bhuvanesvari is identified with the manifest world and our experience of it. Her name consists of two elements: bhuvana, which means this living world—a place of dynamic activity—and isvari, which means the female ruler or sovereign. The name Bhuvanesvari is most often translated as “Mistress of the World,” but bhuvana is more than the earth we stand upon. It is the entire cosmos, the bhuvanatraya, consisting of the heavens, the atmosphere, and the earth. Because this is a living, dynamic phenomenon, Bhuvanesvari embodies all its characteristics and their interactions. Some of her other names make this same point. She is called Mahamaya (“she whose magical power is great”). Maya here is the power to create a magical appearance for the delight of the spectator; that is what a magician does. She is called Sarvarupa (“she whose form is all”) and Visvarupa (“she whose form is the universe” or “she who appears as the universe”). All that we experience in this life is in fact the Divine Mother. As Bhuvanesvari she is consistently associated with the here and now. Her images closely resemble those of Tripurasundari in several respects. Bhuvanesvariʼs complexion resembles the color of the rising sun; she wears the crescent moon on her brow, and she is heavily bejeweled. This last feature affirms the value of the physical world. Sometimes she is shown holding a jeweled drinking cup filled to the brim with gemstones, reminding us that she is the source of all abundance. The lotus on which she sits tells us that she is the source of the creation. Her full breasts symbolize her nurturing, maternal nature. As Mother she sustains all that she has given birth to, and her attitude toward all her children is most gracious. This world, with its profusion of diversity, is her joyful play, to which she remains ever attentive. That is indicated by her three eyes, which represent her knowledge of past, present, and future. Nothing escapes her all-pervading awareness. Bhuvanesvari is often shown holding a noose and a goad. Sri Ramakrishna used to say that it is Mother who binds and Mother who sets free, and these two implements illustrate her captivating and liberating powers. With her noose she fulfills the functions of avidyamaya, casting us into the confusion by which we mistake appearances for reality. According to another interpretation the noose

represents the pancakosa, the five sheathes that surround and conceal the atman. They are the physical body (annamayakosa), its life-breath (pranamayakosa), the perceiving mind (manomayakosa), the determinative faculty (vijnanamayakosa), and the causal sheath or sense of individuality (anandamayakosa). With her goad she pushes us to overcome any hindrances —any passions or negativities or wrong ideas that conceal our true, divine nature. She urges us to reach beyond the limitations of human life drawn by body, mind and personality, and to aspire to true Self-knowledge. The lotus is one of the most pervasive symbols in Indian iconography and its meaning can vary according to context. Here the lotuses in Bhuvanesvariʼs upper hands represent growth and the vigorous energy pervading the cosmos. They also symbolize purity and perfection. Although the lotus plant has its roots in the mud, its blossom is untainted in its beauty. The lotus thus represents the state of spiritual perfection to be attained through sincere and ardent practice. Our ordinary lives may appear mired in worldliness, but we are in essence untouchably pure. Because Bhuvanesvari is so closely associated with the manifest universe, it follows that the emphasis is on her creative power. As the physical universe begins to emerge out of the void, the first of the five elements (mahabhutas) to manifest is space (akasa). It only makes sense that there would have to be space before the remaining four elements would have a place in which to exist. Space is also the medium of sound, and this sound is none other than the creative word. The two ideas are very closely related. In the RIgveda, which is the most ancient of all Indian sacred texts, space is personified as Aditi, the great mother goddess of early Vedic times. Aditi, whose name means “undivided,” had as her physical symbol the vast, shining expanse of the sky. This space, which appears to stretch on without limit, is a visible symbol of infinity. Aditi, the great mother who gave birth to the gods, and who is all that has been, is, and will be, was also identified with Vak, the goddess of the creative word, who in turn is identified with Sarasvati and later with Durga. Western philosophy recognizes this same concept of creative power as logos. In line with this thinking, another name of Bhuvanesvari is Vagisvari, “the sovereign of the creative word,” who rules over the process of cosmic manifestation. Along with the idea of space comes the idea of pervasion, and so Bhuvanesvari is celebrated as the all-pervading divine presence. And all-pervading means just that. We think of exterior space as beginning where our physical body ends and then stretching out into the unimaginable reaches of the universe. That is one form of space. But there is also an inner space—the space within our own awareness—and that too is infinite.

The inner space is the space of the heart. The word heart does not refer to the physical organ or even to its location in the chest. Heart means the center of awareness, the very essence of consciousness. For each of us the heart is the abode of the infinite Divine Mother. This means that wherever we go in this world, we are never away from her presence. We may often forget, and most often we do, owing to the myriad distractions which claim our attention and involve our thoughts, feelings, and actions. Still, the light of awareness is ever present, illuminating and making possible all experience. Without the Motherʼs presence, there would be nothing. In a treatise entitled Self-Knowledge (Atmabodha), attributed to Sankaracarya, the penultimate sloka (verse 67) takes up this same theme: “Risen in the space of the heart, the Self, the sun of knowledge, dispels the darkness; all- pervading and allsupporting it shines and causes everything to shine” (hridakasodito hy atma bodhabhanus tamopahrit / sarvavyapi sarvadhari bhati bhasayate ‘khilam). Practically speaking, Bhuvanesvari, by her all-pervasiveness and identification with the universe, invites us to cultivate an attitude of universality. Any religion that lays claim to possessing the exclusive truth is indulging in a dangerous fantasy. All religions link humankind to a single reality that lies beyond this world of our petty differences yet abides in every heart and mind. Some choose to call this reality God or Heavenly Father or Divine Mother, but in truth he, she, or it is that which cannot be named, for to name is to limit, and who are we to limit the Illimitable? And why? For our own personal comfort or satisfaction, either individually or collectively? Does it serve us better to cling to our own parochial ideas of the Divine and ever to squabble among ourselves? Or to open ourselves to the Infinite, which we can never describe, but which in truth we are. Chinnamasta
 Chinnamasta (“she who is decapitated”) is a form of the Divine Mother shown as having cut off her own head. The blood that spurts from her neck flows in three streams—one into her own mouth and the others into the mouths of her two female attendants, Dakini and Varnini. At the same time, Chinnamasta she stands on the body of another female figure who is copulating with a male who lies beneath her. This image may be shocking at first, but in fact it symbolizes sublime spiritual truths, and each feature of the iconography has an important point to make. Several interpretations are given to the significance of the severed head. First, the head contains the mouth, which is the organ of language or sound. Speech (vak) or sound (sabda) is creative energy (sakti). The Rigveda notes that in the beginning, speech (vak) was coextensive with Brahman (10.114.8). The Sathapathabrahmana calls vak

the unborn one from whom the maker of the universe produces creatures. In nondualistic Tantric teaching, consciousness and the power of consciousness are one and the same reality. The creative power of consciousness by which the universe becomes manifest is represented by the garlands of skulls that Chinnamasta and her two female attendants wear. Such a garland is called varnamala, a garland of letters, for each skull represents a sound of the Sanskrit alphabet. Far from being a symbol of death, the garland of skulls is in truth a symbol of divine creativity. The head is also the part of the body associated with identity. There are stories in Indian tradition of transposed heads, in which the identity of the person goes with the head and not with the rest of the body. The severed head, iconographically, symbolizes liberation. Each personʼs individual identity is a state of conditioning or limitation, dependent on qualities. By severing the head, the Mother reveals herself in her true being, which is unconditioned, infinite, and boundlessly free. This idea of freedom is reinforced by her nudity, which symbolizes that she cannot be covered or contained by any garment. Because she is infinite, she is also autonomous. Chinnamasta wears an unusual sacred thread in the form of a serpent. In stead of being a symbol of Brahmanical orthodoxy, this peculiar sacred thread indicates the opposite: she stands outside of the normal rules of society and pious obligation. Also, because the serpent sloughs off its skin (its outer appearance) without dying, it symbolizes immortality and imperishability. Chinnamasta stands on the copulating couple, Kama and Rati. The name Kama here refers specifically to sexual desire; Rati means sexual union. The female, Rati, lies on top, in the same way that Kali is shown as the dominant partner with Siva. At the highest level, the feminine principle (Sakti) is consciousness in its active mode—projecting, sustaining, and dissolving the creation; the masculine principle (Siva) is the inactive ground of all existence, the eternally changeless light of awareness. To repeat the Tantric formula, without Siva Sakti would have no being, and without Sakti Siva would have no expression. Kama and Rati symbolize that same principle. They are usually shown lying on a lotus, although sometimes on a cremation pyre. There are two interpretations of Chinnamastaʼs relationship with Kama and Rati. One holds that she because she stands on top of them, she has overcome sexual desire. This is the more common interpretation, and one that places a practical ideal before the spiritual aspirant. Here Chinnamasta represents self- control and the turning of the mind away from the flesh and back toward the spirit.

The other interpretation, which complements the first, has a cosmic dimension. It takes the copulative act to represent the divine creative capacity. In the Taittiriyopanishad we read that Brahman, seeing itself alone, desired (akamayata) to be many, to propagate (bahu syam prajayeyeti) (2.6.1). In commentaries on the Svetasvataropanishad (1.4) desire (kama) is also identified as the single cause of the cosmic manifestation. Thus, the Divine Mother wields absolute power. She has the freedom to manifest, or not to, as she so chooses. She controls her own desire and her own creative power. From this cosmic point of view, Chinnamasta has power over the creative urge; if she wishes to express it in the form of the universe, she is free to do so; if she wishes to suppress the manifestation, she may do that also.

very much alive. The message here is that the Self is indestructible (akshara) and eternal (nitya) by its very nature (svabhav). In practical terms, if the act of decapitation is viewed as an act of self-sacrifice, then the message for us is that selfless acts will not hurt us. To the contrary, any selfless act will indeed diminish the ego, but what is the ego? Only the wall of separation, limitation, and ignorance that keeps us imprisoned by our own false sense of who we are. Chinnamasta, then, in the act of self-decapitation by the sacrificial knife urges us to relinquish a smaller, powerless identity for one that is infinitely greater and all-powerful. To be rid of the ego is to cast off the veil of maya.

Each of these activities is a phase in the overall scheme of issuing forth (pravritti) and reabsorbing (nivritti); the two are the complementary halves of a single process, which is called spanda, the eternal pulsation of consciousness.

In summary, the imagery of Chinnamasta is about the nature of the Self and the regaining of Self-knowledge, otherwise known as liberation.

The two goddesses who attend Chinnamasta play a role in the life of the cosmos. Dakini, on the left, is black; Varnini, on the right, is red. Chinnamasta, in the middle, is white. Black, red, and white represent the three gunas, or basic universal energies. Sattva, symbolized by Chinnamastaʼs whiteness, is the highest of the gunas, of course, but all three belong to prakriti, the principle of materiality on which all nature rests. Nothing exists apart from the Mother, whose power of diversification takes form as the grand display of the universe.

The highest spiritual truth is that reality is One. That reality, when personified as the Divine Mother, expresses itself in countless ways. The ten Mahavidyas, or Wisdom Goddesses, represent distinct aspects of divinity intent on guiding the spiritual seeker toward liberation. For the devotionally minded seeker these forms can be approached in a spirit of reverence, love, and increasing intimacy. For a knowledge-oriented seeker, these same forms can represent various states of inner awakening along the path to enlightenment.

The blood spurting from Chinnamastaʼs neck represents the life force (prana) or cosmic energy that animates the universe and sustains all life. The first stream flows into Chinnamastaʼs own mouth. She is self-existent and dependent on no other. The streams that flow into the mouths of her attendants represent the life-force in all living creatures. All life is nourished by the Mother. In another interpretation, the three streams represent the flow of consciousness through the ida, the pingala, and the susumna, associated in turn with the Dakini on the left, Varnini on the right, and Chinnamasta in the middle. Gaining mastery over the flow of oneʼs own awareness through yogic practice leads to the experience of the supreme Self.

Bhairavi
 The name Bhairavi means “frightful,” “terrible,” “horrible,” or “formidable.” The basic idea here is fear. Ordinarily we associate fear with darkness. It is not uncommon to be afraid of the dark, or rather of the dangers that lurk there unseen, but that is not the sort of fear that Bhairavi provokes, for she is said to shine with the effulgence of ten thousand rising suns.

In line with this interpretation, Kama and Rati represent the kundalini that has been aroused. As it travels upward along the susumna, it cuts through the various knots of ignorance. When it reaches the sahasrara, the force has grown so strong that the head can no longer contain it. The head “blows off,” and as it is shown resting in Chinnamastaʼs left hand, it represents the state of transcendental consciousness. Chinnamastaʼs symbolism relates overwhelmingly to ridding ourselves of wrong ideas and the limitations imposed on us by ignorance of our true nature. Despite the violence of the imagery, it is important to note that Chinnamasta does not die; she is

Bhairavi may be terrifying, but she is anything but dark. If this is puzzling at first, we need to find another example where brilliant light and terror meet face to face. That example is found in the eleventh chapter of the Bhagavadgita. Arjuna had been urging Sri Krishna to reveal himself in his supreme, universal form, but when Krishna complied and Arjuna beheld it, the experience was too much for him. The Gita describes the divine glory as the splendor of a thousand suns rising at once in the sky. In that blazing radiance Arjuna beheld the boundless form of the Divine with arms, eyes, mouths, and bellies without end. Arjuna saw gods and celestial beings and whole worlds looking on with dread and wonder, some praising, some trembling in fear. On every side he saw worlds disappearing into fiery mouths, like moths hurtling into the flames of their destruction. In this overwhelming experience of the Divine, Arjuna came face to face with the birthless, deathless, infinite reality

in which universes are born, subsist, and die. He was so struck with terror that he begged to see his beloved Krishna once again his familiar, gentle human form. This experience of Lord Visnuʼs universal form, his visvarupa, closely parallels the experience of the Divine Mother as Bhairavi. Just as Visnuʼs forms range from the cosmic to the personal, so do Bhairaviʼs. Reality is One, but it appears to us as many. We can think of Bhairavi in cosmic terms or in an individualistic sense. As a cosmic goddess Bhairavi is closely identified with Durga in her fierce form, known as Candika. Because Durga presides over the birth, sustenance, and death of the universe, she projects three primary facets, called Mahakali, Mahalakshmi, and Mahasarasvati. These extremely subtle and immeasurably powerful aspects of consciousness manifest on the material level as the three gunas, the basic building blocks and driving energies of the universe. In her individualized aspect, Bhairavi is the power of consciousness dwelling in every human being. Then she is known as Kundalini. Basic to both the cosmic and individual aspects is identification of Bhairavi with tremendous power. In other words, in either aspect she can appear as overwhelming. The innate capacity to know—to experience—the Divine lies latent within every human being, and spiritual life unfolds through various stages of discovery. When we set out on the spiritual path, we start our seeking by making a conscious effort of some sort, but then what we find isnʼt necessarily what we expected. If we have not sufficiently prepared ourselves to receive it, the light of spiritual knowledge may blaze so strongly that we may have all of our familiar and comfortable assumptions about the world and ourselves suddenly shattered. We may have our world stood on its head, and for a while we may lose our bearings. But the extraordinary nature of spiritual discovery is that it causes us to see the world in a new light and to have a different relationship with it.

Another word frequently encountered in connection with fire is tapas. This is often translated as “austerity,” “mortification,” or “penance,” but all those words carry negative connotations. A more accurate translation would be ardor. Ardor is also the Latin word for flame, and along with the idea of heat and light it conveys the idea of enthusiasm, passion, and joy. In order to practice tapas, that self-purifying discipline that leads us Godward, we need that encouragement. According to one account, Bhairavi incites every form of passion, and she also grants the power to control it. That power is called yoga. In the Mahabharata (12.250.4) Vyasa defines the highest tapas precisely as “fixing the mind and perceptive faculties one-pointedly on a single object, the indwelling Self. Vyasaʼs definition of tapas is not all that different from Patanjaliʼs definition of yoga as “the restraint of activity within oneʼs own awareness” (cittavrittinirodha). It is easy to understand how tapas can be conceived of as “self-restraint,” “concentration,” or “meditation.” As we practice tapas, this metaphorical fire burns away all the impurities, limitations, and illusions of our small, ego-based self and prepares us for enlightenment. Even so, most of us harbor the fear of losing our cherished individuality; we cling to our small and imperfect selfhood out of fear. But little by little we progress. Because Bhairavi is so powerful, we must proceed with due caution. She dwells in each of as Kundalini, but we must not force her to rise, lest we harm ourselves. The best tapas is not any esoteric practice but simply the repeated attempts to rein in the mind and direct it toward the Divine. The rest will take care of itself.

Though Bhairavi can be disconcerting or even downright frightening, she is in the end beneficent. Again, we are reminded that she is the color of fire, and what does fire do? At the physical level it burns. Its blaze of heat and light consumes whatever has form, and in this awesome manifestation of destructive power it is both magnificent and terrifying. Yet when controlled, fire can be beneficial, warming us when we are cold, cooking our food, and so on.

Each of the Mahavidyas has more than one form. Most have a variety of representations and a proliferation of names, but none can claim as many as Bhairavi. Accordingly her images are widely divergent, and there is no single iconography to define her. Sometimes she is in the cremation ground, seated on a headless corpse. Like Kali, she has four arms. With two of her hands she holds the sword of knowledge and the demonʼs head that represents the destruction of the ego. Her other two hands may display the abhayamudra, urging us to have no fear, and the varadamudra, the gesture of granting boons. More often they hold a mala, signifying devotion, and a book, signifying knowledge. The trident represents the pervasively threefold nature of her manifestation and can be interpreted in a variety of ways.

Fire as the light of consciousness likewise can be frightening or reassuring. This light of consciousness is sometimes called tejas, which means “resplendence.” It is through the light of awareness that we have knowledge of the world, that we experience our own existence, for better or for worse.

It is often said that Bhairavi represents divine wrath, but it is only an impulse of her fierce, maternal protectiveness, aimed at the destruction of ignorance and everything negative that keeps us in bondage. In that aspect she is called Sakalasiddhibhairavi, the granter of every perfection.

It is the Motherʼs light that shines on every facet of our existence, making it knowable. That light sustains the created order, even though we find shadows here and there in this realm of duality. When the light grows stronger it roots out darkness from every corner. It eventually grows so bright that the created forms dissolve into pure radiance, and what remains is the state of spiritual illumination in which we have no more individuality, no more limitation—only our identification with the Infinite. Dhumavati
 If Bhairavi represents overwhelming brilliance, Dhumavati personifies the dark side of life. We know from our own experience that life can be exhilarating, joyful, and pleasant—something we want to embrace and live to the fullest. But at other times we find that this same life can be depressing, sorrowful, painful, and frustrating. At such moments we respond with pessimism, sadness, anxiety, or anger. It is then that we no longer want to embrace life but rather to avoid its misery. This is where Dhumavati comes in. Her name means “she who is made of smoke.” Smoke is one of the effects of fire. It is dark and polluting and concealing; it is emblematic of the worst facets of human existence. The concepts embodied in Dhumavati are very ancient, and they have to do with keeping lifeʼs inevitable suffering at bay. Before there was the Mahavidya named Dhumavati, there were three earlier goddesses who were her prototypes. They are closely related to each other and have many characteristics in common. They share many of these same characteristics with Dhumavati as well, but with her there is also an important difference. Dhumavatiʼs oldest prototype is the goddess Nirriti in the RIgveda. The early seers envisioned a principle of cosmic order and universal moral law that they called rita. The moral dimension of rita later came to be called dharma. The name Nirriti is a negation of rita. Whereas rita denotes order, growth, abundance, prosperity, harmony, well-being, and the goodness of life, Nirriti is the opposite. She personifies disorder, decay, poverty, misfortune, dissension, sickness, and the whole range of lifeʼs ills, culminating in death. Nirriti was not worshiped in the same sense as other Vedic deities; rather she was ritually appeased so as to be warded off. In the Rigvedic hymn that mentions her (10.59) the refrain is, “Let Nirriti depart to distant places.” The idea was to keep her far away. Closely related to Nirriti is Jyeshtha, whose name means “the elder.” She represents the state of decline that comes with old age, and naturally she is depicted as an old woman. She is instinctively drawn to households in which there is strife—where family members quarrel or where the adults feed themselves and disregard the

hunger of their children. It is probable that she, like Nirriti, was propitiated to keep her at a safe distance. One of Jyeshthaʼs epithets is Alakshmi, This name indicates that she is everything that Lakshmi is not. She is Lakshmiʼs dark mirror image. The Candi informs us that it is Alakshmi who visits misfortune upon the homes of the unrighteousness. She stands for poverty and bad luck and all the miserable things that can happen to people. All three of these names refer to an inauspicious goddess who is portrayed as darkskinned, signifying her tamasic nature. It is clear that she is the prototype of the Mahavidya Dhumavati, because of the striking similarities not only of character but also of iconography. A common feature is the association with a crow. The crow sometimes appears emblazoned on Dhumavatiʼs banner; sometimes it sits atop the banner. Occasionally the bird is shown as huge, serving as her mount (vahana). In some illustrations a flock of crows accompanies her. In any case the crow, as an eater of carrion, symbolizes death. It is a fitting companion for a goddess of misfortune, decay, destruction, and loss. Dhumavati, like her prototypes, is associated with poverty, need, hunger, thirst, quarrelsomeness, anger, and negativity. She is consistently shown as old and ugly, with sagging breasts and crooked or missing teeth. She is dressed in filthy rags. We can draw two inferences here. One is that the unpleasant experiences of life will eventually engender a sense of disgust that will turn us toward the Divine. The other is that the Divine is present everywhere, even in what we ordinarily consider foul or ugly. How can there be a place where the infinite Mother is not? Unlike her predecessors, Dhumavati is characterized as a widow, and this gives a clue to her unique nature as a Mahavidya and distinguishes her from the earlier goddesses, who are to be avoided. The difference is that Dhumavati has some positive aspects. The state of widowhood in Indian society carries a range of complexities. Conventionally widowhood is an unenviable state. Without her husband, a widow has lost her former social standing and may come to be viewed as a financial burden on the extended family. This is symbolized by the cart in which Dhumavati sits; it has nothing to pull it. Occasionally an illustration shows two birds yoked to the cart, but far from expressing empowerment, they appear to be struggling against something too big and to heavy to pull.

In the context of traditional Indian society, the fact that widows can be socially marginalized can also indicate that for them the worldly concerns of life are past. Widows are free to follow a spiritual path, to go on pilgrimages, and to engage in sadhana that would have been impossible during the years of family obligations. No longer constrained by the demands of the married state, they are in a position to apply themselves wholeheartedly to spiritual practice. There is an implied parallel here between the enforced position of widowhood and the voluntary state of renunciation known as samnyasa. Apart from the specific conditions and observances of traditional Hindu society, is there any broader lesson we can extract that is relevant to our experience? Since the Mahavidyas are all taken to be wisdom goddesses, intent on helping us toward enlightenment, there should be some practical insight that Dhumavati can impart. A primary lesson is that misfortune may look different in retrospect. It is universally acknowledged that something that seemed painful or unfortunate at the time might have been for the best after all, in short a blessing in disguise. Most of us need look no further than our own lives or the lives of people we know for examples of disappointments, misfortunes, frustrations, defeats, or losses that led to positive transformation. Similarly, adversity can build character and turn an ordinary soul into an extraordinary one. Another lesson is that with the ticking of the clock we inevitably face losses of one sort or another, and we must come to terms with them. Dhumavati represents the erosive power of time that robs us of loved ones, of our own youthful strength and vitality, of our health, and of whatever else contributes to our fragile happiness. Everything that we so desperately cling to for security is by nature transient. In the end we all face our own mortality. That is the fundamental problem of human existence. The image of Dhumavati, old and ugly and alone and miserable in her cart of disempowerment, tells us what to do. The lesson is to cultivate a sense of detachment. Note that Dhumavati holds a bowl of fire in one hand and a winnowing basket in the other. The fire symbolizes inevitable cosmic destruction: all things shall pass away. The winnowing basket, used to separate grain from chaff, represents viveka, mental discrimination between the permanent and the fleeting. Even though her stalled cart represents an external life going nowhere, Dhumavati empowers us inwardly to reach for the highest, and there is nothing to stop us once we are resolved. In the end, she points the way to liberation. Bagalamukhi
 Of all the Mahavidyas, Bagalamukhi is the one whose meaning is the most elusive.

Her symbology varies widely, and its interpretation shows little consistency. The opinions of one informant often bear little relation to those of another, and even while making spiritually valid points they can seem rather arbitrary and disconnected. There is no satisfactory explanation even for Bagalamukhiʼs name. The word bagala is not found in the Sanskrit lexicon, and attempts to link it to baka (“crane”) are less than convincing. One of her common epithets is Pitambaradevi, “the goddess dressed in yellow.” Her dhyanamantras also emphasize the yellow color of her complexion, clothing, ornaments, and garland. Her devotees are instructed to wear yellow while worshiping her and to employ a mala made of turmeric beads. Even her few temples are painted yellow. Although her verbal descriptions consistently emphasize the color yellow, her pictorial representations are strangely sparing in their use of the color. More often Bagalamukhi is shown wearing red or orange. There is no consensus on what the color yellow is supposed to mean either. The most plausible explanation out of several is that yellow, being the color of the sun, represents the light of consciousness. The rest of Bagalamukhiʼs symbols evoke similarly vague and widely divergent interpretations and produce no clear picture of what this Mahavidya is all about. This situation calls for fresh thinking. The explanation that follows is in large part unique but is based on a trail of clues found in her mantra. Bagalamukhi is consistently associated with siddhis, which are yogic powers with magical properties. For a genuine spiritual aspirant such powers are obstacles to be avoided. That said, one such power is stambhana, the power to immobilize, to paralyze, to restrain an enemy. Proper understanding of what stambhana means spiritually is essential to knowing who Bagalamukhi is. The first thing to keep in mind is that according to all schools of Indian philosophy the world of our experience consists of three levels—the gross or physical, the subtle or mental, and the causal or potential. Illustrating the principle of stambhana at the gross level, there is an incident from the life of Holy Mother, Sri Sarada Devi, that took place around 1889 in the village of Kamarpukur. There a devotee named Harish returned home after a series of frequent visits to Sri Ramakrishna at Dakshinesvar and, after his mahasamadhi, to the monks at the Baranagore monastery. Harish, who sometimes behaved erratically, had neglected his wife and family during that time. To remedy the situation, his wife administered drugs and spells, and Harish became visibly deranged. One day he caught sight of Holy Mother on the road and began to chase her. When she reached the family compound, she found that no one was at home.

She began to circle the granary, all the while with Harish in pursuit. After going around it seven times, she could run no farther. Then, as she told it, she stood firm and assumed her own form. Putting her knee on his chest, she grabbed hold of his tongue and slapped his face so hard that he gasped for breath, so hard that her fingers reddened. At that moment the usually gentle Sarada Devi revealed herself in the form of Bagalamukhi and enacted the physical stance of stambhana.

formulative phase. As the ideas become more and more definite, they assume a form expressed in language. This is vaikhari vak, the level of articulate speech. Vaikhari vak is both subtle and gross. The subtle form is the thoughts in our mind, now shaped into words, phrases, and sentences but not yet uttered. The gross form is what comes out of the mouth —the expression of our consciousness embodied in physical sound.

This concrete symbolism represents a principle that penetrates through every level of our existence and beyond, all the way back to the essence of our being. In this incident we witness the actual presence of Bagalamukhi as a living counterpart of the painted images and verbal descriptions that show her stopping an adversary by grasping his tongue and striking him.

As long as we identify with the body and the mind, our experience of self is that of an individual amid the duality of “I and other.” We often feel the need to control the other, and sometimes that is legitimate, but not always. At a higher level we realize that control of self is a nobler and better, but much harder, discipline. Bagalamukhi symbolizes our innate power to go within and take control of our own awareness. That taking control is yoga, which Patanjali defines as the cessation of constant modulation (cittavritti) within our own field of awareness. Only by taking hold of the activity within our awareness and stopping it can we be freed from worldly bondage and rest in the peace and joy and glory of our own true nature.

The tongue represents speech, or vak, which is elsewhere personified as a goddess. Vak is more than the spoken word; it is the divine creative power that encompasses the entire range of consciousness. Shown holding on to her adversaryʼs tongue, Bagalamukhi has the ability to render motionless the creative and destructive power of consciousness in any of its manifestations. These encompass motion, thought, and intention, the manifest forms of speech at the gross, subtle, and causal levels. Beyond them the supreme level of speech is consciousness-in-itself, the ultimate, unconditioned reality. Emanating from it, intention, thought, and motion are the three stages of creativity that account for this world that we experience. The Chandogya and Taittiriya Upanishads contain passages explaining how Brahman, seeing itself as One, intended to express itself as the many, then thought out a plan, and then set it in motion. Tantric teaching defines these three stages as icchasakti (the power of will), jnanasakti (the power of knowledge), and kriyasakti (the power of action). This is how consciousness works at the cosmic or universal level. At the individual level that same consciousness works within each of us, infusing everything we feel, think, or do. This internal awareness is also vak, the power of speech, but again the spoken word is only the end-product and grossest manifestation. There are four levels of speech. The highest is para vak, the supreme, infinite consciousness without qualities or conditioning. It is our divine nature, our true Self —ever present, unchanging, and illuminating all of our experience. Next, pasyanti vak, isthe visionary stage, the urge for self-expression. Everything in our lifeʼs experience begins here in a flash. Every feeling, every idea we formulate, everything we act upon, begins in an instantaneous flash of awareness. When we begin to think about whatever has flashed, ideas begin to take shape in logical sequence. This level of awareness is called madhyama vak, the intermediate,

Stambhana in the highest sense is yoga. After duly observing the ethical practices of yama and the ennobling disciples of niyama, we are ready for asana. Sitting quietly stops the motion of the body, which in turn calms the metabolic functions and prepares us to quiet the mind. The remaining states of pratyahara, dharana, dhyana, and samadhi are a continuum of ever decreasing activity, culminating in the experience of the Self as pure, unconditioned consciousness. Pulling us by the tongue, Bagalamukhi is drawing us there. Matangi
 At first glance Matangi looks very much like Sarasvati. The main point of similarity is the vina that she plays. Like Sarasvati, she may be shown holding a book and a japamala as well. Together these symbolize the interrelated aspects of sound, knowledge, and power. The sound of the vina represents creativity, which is the power of consciousness to express itself. The mala also represents the power of sound, but in the form of the mantra. The book stands for the wisdom and knowledge transmitted through the word. The parrot that accompanies Matangi also has associations with speech. It is a well-known truism that knowledge is power. Our own experience verifies that the more we know about something, the greater will be our ability. The more we understand how something works, the better we will be able to make it work to our advantage. This fact underlies every acquired skill relating to any field of learning and any form of technology. It follows that the more we know about the internal

instrument that is the mind (antahkarana), the more mastery we will gain over it also. Like Bagalamukhi, Matangi is often associated with yogic or magical powers that can be invoked to exert influence over our environment or over other people. Again, knowledge is power, but this sort of power is something that the genuine spiritual aspirant should have no interest in cultivating. Rather than to seek mastery over others, it is higher and nobler by far to seek control over the impulses of oneʼs own lower Self. Still, others try to exert power over us, and this points us to the difference between Sarasvati and Matangi. From the earliest days of the RIgveda, Sarasvati has been one of the most venerated forms of feminine divinity. As such, she is the Vedic goddess par excellence. In contrast, Matangi is in many ways the quintessential Tantric goddess. Throughout Indian religious history the Vedic thread represents orthodoxy and the establishment, centered on a priesthood charged with performing the Brahmanical rituals. The Tantric thread, in contrast, lies outside the boundaries of Vedic orthodoxy. It is not the strict religion of the male-dominated establishment but one that has always been open to men and women alike and to members of any caste. It excludes no one and embraces those at the margins of society. Tantra is remarkably egalitarian, perhaps in response to an orthodoxy rigorously governed by ideas of ritual purity. Many of Matangiʼs myths involve questions of purity. These narratives often associate her with tribal peoples, hunting, and forests, which stand at the periphery of civilized society. Matangi is definitely an outsider, and the questions of purity revolve especially around matters of caste and food. Her keeping company with candalas, or untouchables, calls to mind an incident in the life of Sankaracarya, who was born an orthodox brahmana. Once he was walking with his disciples along a lane in Varanasi when they spotted a candala approaching. Fearing the outcasteʼs polluting touch, Sankara ordered the poor creature out of the way. Surprisingly that lowly fellow responded with a discourse on the unity of atman and the intrinsic worth of all human beings. Sankara was so humbled that he was moved to compose a poem declaring that the divine Self shines forth equally from the high-born and the untouchable. The question of ritual purity is a vital one when it comes to food. The food that is to be offered to a deity is prepared with great care and according to strict rules of physical and mental cleanliness. It is then offered to the deity, who consumes a

portion. The rest, rendered blessed, is distributed to devotees as prasada, or divine grace. One willingly and gratefully partakes of it. Apart from prasada, any other leftover food is called ucchista and is regarded as highly polluting. A person who comes in contact with it is rendered ritually impure. Interestingly, it is this very ucchista that Matangi demands as an offering. This is a dramatic reversal of normal procedure. Additionally a devotee offering ucchista to Matangi should also be in a ritually impure state, defiled by the leftovers of others and unwashed. What is going on here? In a society so attentive to the rules of ritual purity, there is a danger that this idea of purity can become an end in itself, and slavish observance can become a form of spiritual bondage. When Matangi demands the transgression of rules, she is not encouraging irreverence at all but a response to the constraints of indoctrination. From our earliest days we are conditioned to hold certain ideas about what is proper and what is not. Our sense of right and wrong may become devoid of compassion. People who run around being conventionally pious all the time are usually unaware of their own failings and can easily become deluded by the pride of their own perceived moral excellence. Tantric teaching speaks of eight fetters, and the one that is particularly relevant here is sila, undue concern over proper conduct. Like every other fetter, sila is a mental attitude that imposes its influence on us and impinges on the essential freedom of the Self. Sometimes it takes a jolt to break free from these ingrained attitudes. Our ordinary awareness is heavily conditioned—saguna. The consciousness that is our divine nature is entirely unconditioned—nirguna. Sadhana is basically a process of deconditioning. The distinction of purity and impurity imposes a dualism on the way we view the world. Only when we see through our lower notions can we appreciate the Tantric teaching that the true nature of impurity is not the ritual pollution we have been trained to fear but our own existential limitation. We have been so involved with trifling concerns that the crux of the matter has eluded us entirely. In Tantric teaching the word for impurity is mala. Mala arises through the atmanʼs association with maya, the Divineʼs own power of limitation. The imperfect finite soul is only a contracted form of the perfect, infinite Self. Mala is the impurity of our finitude, and it takes three forms. The impurity called anavamala is the consciousness of limited individuality: “I am small (anu) in my own sense of separateness, lack, and inferiority.” Anavamala is the imperfection of a diminished sense of self. It is also the root impurity that gives rise to the other two malas.

As the sense of individuality evolves into a sense of separation, it produces the sense of “I and other.” This further condition of impurity is known as mayiyamala: “I am apart from what I experience around me.” Mayiyamala plunges us into the world of duality, and our mental activity gets caught up in a process of contrast, comparison, and exclusion. Focusing on the diversity around us, we are distracted from the unity within that is our original, divine nature. The third impurity involves the interaction of the limited interior I and the multiple exterior other. This is karmamala, the bound and binding state of human action: “I act out of necessity, driven by my own sense of want.” Our actions are never free and spontaneous; they always bow to the conditioning that binds us, and their effects in turn prolong the bondage. As long as the malas color our awareness, they hold us captive. As long as we chase after the conventional notions of purity and piety and shun their opposites, we are caught up in a reactive chain. Matangiʼs example teaches us to face our false notions head on and be free. Kamala
 The series of ten Mahavidyas begins with Kali and ends with Kamala. Both are aspects of the Divine Mother who are widely worshiped in their own right apart from the context of the Mahavidyas. In this way they differ from aspects such as Dhumavati, Bagalamukhi, and Matangi, who lack similar independence and a widespread popular following. One way of analyzing the Mahavidyas places Kali first because she represents the transcendental experience. This same scheme places Kamala last as the aspect most closely connected to the here and now. The error here is to regard Kali and Kamala as separate. In truth, the Divine is one, and the enlightened soul perceives unity, not difference. Another approach categorizes Kali as fierce (ugra) and Kamala as gentle (saumya), but that is an oversimplification. Kali is not without tenderness and beneficence, and Kamala, although overwhelmingly auspicious, is not exclusively so. Again, Mother is One, and she is all. Kamala is portrayed as making the gestures of boon-giving and fearlessness. She sits on a lotus and holds lotus blossoms in her two upper hands. Even her name means “lotus.” She is flanked by two elephants. Obviously Kamala is Lakshmi, who is portrayed in the identical manner, but in the context of the Mahavidyas there are also significant differences.

Lakshmi is a very ancient form of the Divine Mother. In Vedic times she was known as Sri. As she appears in the Vedic hymns, Sri represents light, radiance, luster, glory, and prosperity. She is the divine resplendence and power inherent in every deity. In late Vedic times, in a hymn known as the Srisukta, Sri is identified with Lakshmi, who may originally have been a non-Vedic agricultural goddess. The Srisukta already associates her with the lotus and the elephant. The lotus represents cosmic order, life, and fertility. The universe unfolds like the blossoming of a lotus, and the creation is accordingly vibrant, beautiful, and good. The lotus also represents purity. The plant is rooted deep in the mud, but the exquisitely beautiful flower it produces is untainted. Similarly, water beads up on the lotus leaves and immediately runs off, so the lotus represents serene detachment as well as incorruptibility. Besides purity, the lotus is a symbol of spiritual authority, and the lotus on which Lakshmi-Kamala is seated is in fact a throne. The elephant stands for similar qualities. The water showered from its trunk represents rain, and rain is tied to fertility, growth, increase, well-being, and wealth. The elephant, being the mount of kings, is also a symbol of authority. Purity and authority. These are two qualities that we find negated by the preceding Mahavidya, Matangi. Are these two aspects of the Divine Mother antithetical? Or is there a way to make them fit together? In many of the worldʼs religions, doctrinal differences smaller than this have led to hostility, schism, physical violence, and war. But the system of the Mahavidyas embraces even radical differences and manages to fit them together harmoniously. To understand this better, we need to keep in mind that there are at least three different views of Lakshmi, depending on the sectarian standpoint of the viewer. Sri is the original Vedic goddess, who by late Vedic times had absorbed and assimilated to herself the probably non-Vedic Lakshmi. So today Lakshmi is a Vedic, or orthodox, aspect of the Divine Mother. In all likelihood, the probably non-Vedic Lakshmi also retained her original standing among her worshipers, and in that form we know her as the Tantric goddess Kamala. In the aspect in which she is best known and most widely worshiped today, Lakshmi is the consort of Visnu. This third context is that of Vaisnavism. This adds a new layer of complexity. Vedic Sri represents the divine resplendence, power, and glory inherent in any deity. As such, Sri had connections with every male god—with Indra in regard to sovereignty and fertility, with Kubera in regard to wealth and prosperity, with the Vedic Visnu in regard to the dharma, or moral excellence. However, in the later orthodox Vaisnava religion, Lakshmi becomes

subordinate to Visnu. She is now his obedient wife, portrayed iconographically as smaller and therefore less powerful than he. However, in the Pancaratra system, an early form of Vaisnava Tantra, Visnu is the inactive male principle and Lakshmi is the active female power. It is she who runs the show.

represents that love. To be saturated with the presence of Kamala is to become an embodiment of divine love. Then we come to understand her great secret: love is unique and unlike anything else, for the more of it you give, the more of it you have. And with this great secret Kamala offers us a direct path to the Divine.

Even more so, as the Mahavidya Kamala she is all-powerful. Kamala is not a divine consort but the independent and all-supreme Divine Mother. She is not the spouse of any male deity. Interestingly, she is rarely identified with the other female forms found in orthodox Vaisnavism, such as Sita, Radha, or Rukmini. If any consort names are ever applied to her as epithets, they are Saiva names such as Siva (“the auspicious one”) and Gauri (“she who is gently radiant”). However, Kamala is not completely auspicious or one-sided. Sometimes she is called Rudra (“the howling one”), Ghora or Bhima (“the terrifying one”), or Tamasi (“the dark one”). Like Kali, the Tantric Kamala embraces the light and the darkness, for she is the totality.

The 10 Mahavidya are the terrifying aspects of the Devi, the Prakruti, the manifested creation. Their names are Mahakali (Kali), Tara, Tripursundari (Shodashi), Bhuvaneshvari, Bhairavi, Chhinnamasta, Dhoomavati, Bagalamukhi (Valagamukhi), Matangi, and Kamala.

This helps to explain how Kamala, although overwhelmingly associated with lotuses, which represent purity and authority, can be reconciled with Matangi, who asks us to violate the outward purity laws and to question the authority that imposes them. In the end, spiritual life is about regaining our lost autonomy. Once we have realized our identity with the Divine, through whatever form of practice, we experience our own perfection. Questions of purity and impurity evaporate. To know the reality of divine consciousness in its unconditioned oneness is to become purity itself—the ultimate purity beyond the limitation of thought. Questions of authority likewise evaporate in the experience of absolute oneness, where there is no second. This is the experience of liberation or enlightenment, wherein any imposed authority vanishes in the radiance of divine autonomy (svatantrya). Lakshmi, or Kamala, is the Divine Motherʼs most popular aspect, for she relates to the world of the here and now. Devotees pray to her for good fortune, prosperity, abundance, and well-being—for all the good that life has to offer. There is no harm in this, as long as we wisely ask only for enough and no more. Lakshmi, our Mother, urges us also to pray and strive for the well-being of all our brothers and sisters. Then beyond that she calls us to strive for a higher wealth, the riches of dharma. This dharma includes devotion, kindness, compassion, truthfulness, and all other forms of moral excellence. Virtue is our higher treasure, more precious than gold. It will lead us to seek the still higher knowledge of Self-realization that is the ultimate goal of human life. In conclusion, all the Mahavidyas are states of spiritual awakening that we will experience within our own minds and hearts along the course of our journey back to the Divine. How often weʼve heard it said that God is love. Lakshmi or Kamala

Some people consider the Mahavidya-s into two divisions, as the less strict Tara, Tripurasundari, Kamala, Bhuvaneshvari, and Matangi. And the more terrifying Kali, Dhoomavati, Bhairavi, Chhinamasta, and Bagalamukhi. In my opinion all are equally terrifying and you should not do anything with them unless you are 100% sure of what you are doing. They are very deeply linked into your energy. If you mess up here, it will take you several lives to recover. They are not just idols or representations, they are all aware and very fierce, Ugra. ● Dasha दश – 10, time period, fate, condition, perception, edge, position, pin- point, etc 
 ● Maha महा – great, huge, vast, light, joy, seed, intelligence, extreme, etc 
 ● Vidya – ि◌वद्या knowledge, skill, magic, mantra, gain, that which ignites, 
 existence, to unbind or make free, pierce, the present instant, the 
 combined act of starting, existing and the conclusion all together, etc.
 This is how the 10 Mahavidyas were created. The story/allegory as per the Devi Puran. Devi Shakti/ Sati married Shiv against the wishes of her family and went to live with him at Kailas. Satiʼs father Prajapati Daksh later planned a massive Yadnya at Kankhal, Hardwar but he did not invite Sati-Shiv to the ceremony. He didnʼt like Shiv and after her marriage, didnʼt want to see Sati either. But Sati wanted to go. Shiv was like, ‘you havenʼt been invited so you shouldnʼt goʼ. But Sati got cross, her logic being that Daksh was her own father, so why does she need an invite to go to her fatherʼs house! Sati, in her rage, then created the 10 Mahavidya-s and they all surrounded Shiv and argued on her behalf. Ultimately Shiv gave in and told her to do whatever she wanted to, but there would be problems. And there were terrible consequences later. (There is a deep esoteric meaning to all this.) 
 These दश महा ि◌वद्या are generally taken to represent the 10 disha ि◌दशा. They are

considered to be 10 physical directions, east, west, north, south, NE, NW, SE, SW, up and down. This word ि◌दशा means direction, region, scene, assignment, exhibition and most importantly, dimension. There are 10 dimensions of this manifested creation represented by the 10 Mahavidya energies. Each dimension is intelligent, aware, conscious and full of energy. The conscious energies of the 10 manifested dimensions are the 10 Mahavidya. The Bindu is the conscious origin of everything and beyond the concept of ‘dimensionʼ. Now modern quantum physics and the string theory has also calculated that there are 10 dimensions. Physics has become metaphysics and will ultimately become dimensions. Physics has become metaphysics and will ultimately become Sanatan Dharma as the scientists get more deeply into the nature of intelligence and consciousness. The 10 dimensions ie the Dasha Mahavidya are a play of space and time plus awareness, intelligence and consciousness. Each one of them is roaring with power. It is a heady and exciting feeling to be face to face with their Vigraha where you can feel their energy pulsing. The 10 Mahavidyas are not just the dimensions, they are the actual pran/ vital energy flowing in your body. The five main pran, are Pran, Apan, Vyan, Saman, and Udan. Their five sub-pran/ upa-pran are Kurma, Naag, Devdatt, Krkara and Dhananjai. I have written about the five main pran in my post here. The Dasha Mahavidya-s are present in your body as these 10 pran types and connect your mind/ body to the 10 dimensions of the manifested creation. ● Mahakali and Tara are located in the lower part of the body below the navel and reproductive systems as Apana and Kurma respectively. 
 ● Shodashi and Bhuvaneshwai are Prana and Naag respectively and located in the upper regions of the body above the navel. 
 ● Bhairavi and Chinnamasta are respectively Udan and Devdatta and these move upwards, they are more prominent in the throat and upper parts of the body. 
 ● Dhoomavati and Bagalamukhi reside in the navel region and expand outward from it as Saman and Krkara respectively. 
 ● Matangi and Kamala reside in the upper parts of the body including the head regions as Vyan and Dhananjai respectively. 
 The vital energies are derived from the source called the mukhya-pran ie OM.

(Your soul is connected to the Bindu/Om, but to reach there the dimensions have to be navigated and their energies made use of first.) 
 We exist in each of these dimensions and also in the central Bindu which is beyond these dimensions. The 10 Mahavidyas and the Om are all within you. Their derived pran are also flowing within you. When you stand in front of the Vigraha of the Dasha Mahavidya-s or recite their mantras or do their Sadhana, you are working on your own energies in a very complicated way. You are entraining your vital energies to the dimensions. You are entraining your pran to the highest energies possible. eg If you are doing Bagalamukhi sadhana you will be focusing on the Saman and Krkara vayu-s and intensely linking them to the highest possible levels. 
 Mahavidya Sadhana or tantra is a part of the Shri-vidya. If you succeed you get a massive one-up. Tantra is an aspect of spiritual sadhana which is very rare now. There are rare Guru-s who know how to perform these rituals correctly and with the precise intention. And there are the rare aspirants who actually need to do these type of sadhanas. Generally 99.99% of us do not need to do Mahavidya related practices. The regular shaant/ benign forms of the Devi, ie Sarasvati, Laxmi and Parvati are more than sufficient for regular householders like us. 
 If you are interested in doing any Sadhana related to the Mahavidyas, first entrain your energies to the Navavarna mantra. A initial 9 lakh repetition of the Navavarna is essential, else you might not be able to handle the further energies you evoke. eg Mahakali is the foremost Mahavidya. She is depicted in a very fierce manner. Her dangerous form is Smashan-Kali and her somewhat milder but still terrifying form is Dakshin-Kali. She is always depicted unclothed ‘dig-ambarʼ ि◌दगम्बर. She literally ‘wears the dimensionsʼ, ‘clothed in the energy of space-time and moreʼ, ‘secret of the dimensionsʼ, ‘defined limits of manifested creationʼ. She is also the ‘inner core around which the manifested creation is createdʼ. (I know an incident where the aspirant did an extremely complicated ritual to call Her. She came and asked him what he wanted. But the aspirant was so scared just seeing Her, that he ran away.) These rituals are a potent but often fraught with dangers. A specific life-style has to be adopted, there are strict energy rituals, specific and very typical ingredients, typical locations, then the appropriate time for doing this, etc are needed. Even the yantra or moorti/ vigraha that you will use as a focus point has to be made in a specific way. If you can use the mantra, tantra and yantra the way it is supposed to be, any of these Mahavidya-s can grant you everything including the ultimate Moksh.

Legend of the Dus Mahavidyas According to the Mahabhagvata Purana, the Mahavidyas manifested as a result of an argument between Shiva and Sati, the earlier incarnation of Devi Parvati. Sati's father, King Daksha, disapproved of his daughter's love for Shiva. He was further incensed when Sati went on to marry Him. Daksha organized a great yagna (sacrificial ritual) to which he invited everyone except his daughter and son-in-law. Furious, Sati insisted on attending the sacrifice, in spite of Shiva forbidding her from doing so. Her anger transformed Sati into a terrible presence, which multiplied into the ten Mahavidyas. These Goddesses jointly subdued Shiva's resistance and thereby, Sati proceeded ahead to attend the sacrificial ritual. Yet another legend of the Mahavidyas There is yet another legend about the birth of the Mahavidyas. Shiva and Parvati are believed to have played numerous love games with each other. On one such occasion, things went a bit too far with a mock fight, with Shiva threatening to walk out on Parvati. The Devi tried to cajole her Lord into not leaving her. But Shiva refused to listen to her and tried to move away from her. Parvati then decided to take ten different forms of herself, each facing one of the ten directions. Thus Shiva was unable to escape from her, as he would find one aspect of her standing in each of the directions he turned, guarding it, preventing him from escaping. This made Shiva realize the true degree of their eternal love and also, that Shakti's power was much superior to his own. The Devi demonstrated her own endless powers to Shiva, also making him realize many essential truths in the process. This is why these ten aspects of the Devi are called Mahavidyas - the great Goddesses of Wisdom. These truths apply to mortals as well. The Mahavidyas are the Goddesses who collectively guide us, inspiring us to search for and find the spiritual beings lying dormant within us.

Let us now go ahead and learn more about each of these powerful Dus Mahavidyas in greatest detail . We had a brief glance in previous pages

D Daśa Mahāvidyā Introduction: This is one of the beautiful verses of Divine Mother which goes like this: “O! Bhavānī, sages and saints describe Your gross forms. Vedas speak about Your subtle forms (mantra forms); some adore you as the origin of speech (Śabdrabrahman); some address you as the root of worlds; but we think of You as Universal ocean of mercy and compassion and nothing else”. This is how Śakti worship begins. Śiva is always Self-effulgent and hence He is addressed as Prakāśa (Light) and Śakti is His Power to distribute His Light so that the universe is made visible. She is Vimarśa or cognizance. Light without cognizance and cognizance without light is of no use and based on this principle, Śiva and Śakti are always interdependent and also inherent (prakāśa vimarśa sāmarasyātmaka parabrahmasvarūpiṇi). In a human being, Śiva exists as the Soul and Śakti exists as Māyā. Again as the Soul and Māyā, they are inseparable. However, the separation happens at the time of realization of the Self. Śakti moves away revealing the True Nature of Śiva, who can be revealed only by Her. Towards the final stages of Self-realization, She becomes the Guru (Gurumūrtiḥ) to the aspirant and imparts the knowledge of Śiva (She is Śiva-jñāna- pradāyinī). Apart from the material gains, She is also worshiped for the purpose of realizing the Self (Śiva). Hence worshipping Śakti has attained greater significance and is often called Śākta cult or Śākta tradition. Śakti has two aspects; one is spiritual in nature and this is known as Cit-śakti (the Power of Consciousness) and the other is Māyā-śakti (the power of delusion) relating to the materialistic aspects of life. Then what is the difference between Śiva and Śakti? In reality, there is no difference and they are so interdependent and the one without the other becomes inert. Śiva is static energy and His own power Śakti (Svātantrya Śakti) is kinetic energy. They are also known as Nirguṇa Brahman and Saguṇa Brahman and only after realising Saguṇa Brahman, one can merge into Nirguṇa Brahman, the purest form of Consciousness, Śiva. But for realising Śiva or merging unto Him, we need Her stamp of approval. Main purpose of worshipping Her is to get Her Grace to merge unto Śiva (She is kaivalyapadadāyinī). Most of Tantra Scriptures dwell on Consciousness and in fact they elucidate more practical and realistic approach to God realization. Arthur Avlon said, “The Tantra

has no notion of some separate far-seeing God. It preaches no such doctrine in it as that God; the Creator rules the Universe from heaven. In the eye of the Tantra, the body of sādhaka is the Universe”. He further says that ātmaśakti within the body is what is sought for and it is the deity of the sādhaka, often called as Iṣṭa Devata. Unfolding of ātmaśakti is to be brought about by self-realization or ātmadarśana, which is to be achieved through persistent practice, which is known as sādhana. Ultimately understanding and realizing that the ātmaśakti and the Supreme Power or Śiva are one and the same and this ultimate knowledge completes one’s spiritual journey and at the end of which one is Liberated. Daśa Mahāvidyā-s are ten types of disciplines to reach the ultimate goal of one’s spiritual life. All the ten Mahāvidyā-s are also known as Brahma Vidyā. It is often misunderstood that pursuing any of these Mahāvidyā-s lead to Liberation. It is a wrong notion. Every sādhana takes forward the sādhaka towards the highest spiritual attainment viz. the liberation in successive stages. It is not that one gets liberated immediately on receipt of a mantra from a guru. Sādhana means leading straight to a goal (Liberation) and in the process bringing about, carrying out, accomplishing, fulfilling, completing, perfecting spiritual practices. Sādhana is not merely ritualistic worship; it begins with ritualistic worship and over a period of time realizing the fact, that the body is the temple and the Self within is the Sanctum Sanctorum. It is said that body is the temple and the jīvātman within the body is the Self. What is the difference between Parmātman and jīvātman? Parmātman is nirmala or without impurities, no guṇa- s or attributes and in fact nothing except Purity. Jīvātman is that state of Parmātman, who is encased, veiled and covered by His own Power known as Māyā, which is full of spiritual ignorance. Unless the veil of māyā is removed, Parmātman within cannot be realized. The process of removing the veil of māyā is known as sādhana. What will happen when the veil of māyā is removed? There will be Ātmadarśana or realization of Śiva will happen which will lead to ultimate Liberation. Tantra śāstra-s attach more importance to Consciousness, which can be attained through puruṣārtha-s, the fourfold values of human life. They are dharma (righteousness or virtues), artha (wish or purpose), kāma (desires and pleasures) and mokṣa (the liberation). It is clear that the ancient scriptures do not prohibit these great human values. What they say is not to get attached to them. On many occasions this concept is misquoted and misunderstood. The first three of puruṣārtha-s are known as trivarga. Dharma is not bundle of Scriptural dictums, most of which are post Vedic origin. Dharma typically means the Law of Nature. We have to go with Nature or Prakṛti. In fact, the trivarga is controlled only by Nature. If any overdoing or overindulgence is done, Nature

interferes and stops further indulgence and this is known as Law of Nature, which is controlled by Śakti. As long as the triads are within the Law of Nature, nothing will go wrong. This is what exactly Tantra śāstra-s advocate. According to Tantra śāstra- s, kāma means sensuality, the basis of which is Kāmasūtra of Vātsyāyana (4th century). In Kāmasūtra 64 types of postures are described and each of these postures has relation to each of these 64 Tantra śāstra-s revealed by Śiva to Śakti. According to Tantra śāstra-s conjugation is also related to Consciousness. Tantra-s argue, when everything is Śiva, why set aside sex alone? Spiritual path cannot exist independently of the hedonic path; but there should be harmonious integration between the two; only then pinnacle of spirituality can be attained along with material comforts through rightful means. Absolute and perfect integration should be there between material and spiritual life. Without body, how can we work on our breath and mind to realize Śiva within? It is all about spontaneity in the life of a tantric student. What is spontaneity? It is the quality of being spontaneous and coming from natural feelings without constraint. This is exactly what Tantra advocates. It is said, “To be spontaneous is to be Divine that goes beyond all notions of ego of separation. An action dictated by the ego can never have the grace of true spontaneity.” But this sacred freedom should not be confused with impulsiveness. Tantric aspirant does not have single unsatisfied or hidden desires as he experiences everything through his tough sādhana. Repressions will never take us forward in spiritual path as the mind wanders around the repressions only and with this state of mind, divine spontaneity can never be achieved. But there are strict methods through which such repressions are satisfied. Tantra accepts desire as the sole motivating force of the universe and does not advocate renunciation of desires. This is the significant difference between Vedanta and Tantra. Most practices in Daśa Mahāvidyā-s fall under Tantric system. But the intensity of the system varies according to Guru Lineages. Some follow left hand path, some right hand path and some use five M-s (pañcamakārat-s), etc. Daśa Mahāvidyā talks about ten forms of the same Goddess Parāśakti (aparā, parā and parāparā), but with different qualities such as power, delight, beauty, wealth, etc. They are all Her various manifestations. True seekers are threatened with dire consequences if something is done in a wrong way inadvertently; some gurus talk about secrecy which are nothing but their egocentrism. Nothing is secret in spirituality. How can there be secrets when She is omnipresent? While pursuing Daśa Mahāvidyā-s, the first criterion is to shed their ego, which is the worst enemy to spiritual pursuit. Parāśakti is both Citśakti and Māyāśakti. First

She is to be understood thoroughly and only then one’s spiritual journey come to a logical conclusion. There are different views about the origin of Daśa Mahāvidyā-s, all relating to purāṇa-s. One of the stories goes like this. Śiva was very angry with His Consort Satī, as She decided to attend a Yajña conducted by Her father Dakṣa. After this, Śiva was not courting Satī and She got upset and became terribly wrathful and this anger was reflected in Her eyes. As Śiva could not see Her wrathful and red eyes, He closed His eyes and when He opened His eyes again, He saw a woman with blistering lustre. Śiva was so scared of Her form and started running away from Her. To make sure that Śiva does not move away, She manifested in ten different forms (or She created ten forms). When Śiva asked that woman who are they, She said that they are known as Kālī, Tārā, Ṣoḍaśī, Bhuvaneśvarī, Chinnamastā, Tripurabhairavī, Dhūmavatī, Bagalāmukhī, Mātaṅgī and Kamalā. Śiva Purāṇa gives different version. What is important here is to note that all these worships lead only to Parāśakti, the source of all gods and goddesses and their allocated powers and from Her proceeds everything else. She is the Independent and Absolute Power of Paramaśiva and only through Her Grace, merging unto Paramaśiva is possible to get liberated. With this brief introduction, this series will discuss about these Ten Mahāvidyā-s Daśa Mahāvidyā दश मिहावद्या

1. KĀLĪ Kāla means Śiva. It also means various factors of time including the time of departure (death). It also means black. If we take this to mean Śiva, then Kālī refers to His Consort Kālan-Kālī (like Bhairava and Bhairavi). If we take this to mean time, then Kālī is the Goddess to control the time factor of the universe, as opposed to infinity of Śiva. The vastness of Śiva is bound by Kālī, the Māyāśakti. She is Māyāśakti because of Her intrinsic darkness. Her incarnation is described in Devi Bhāgavata Purāṇa (V chapter). The story goes like this. All gods and goddesses prayed to Supreme Divine Mother Parāśakti to complain about two demons Śumbha and Niśumbha, as they were persistently troubling gods and goddesses. Parāśakti created a śakti from Her body and named her as Kauśika. Kauśika means the one having paws. According to Devi Bhāgavata, She is also known as Bhadrakālī (sometimes identified with Durga) and Kālarātrī (the night of all- destroying time, night of destruction at the end of the world. Kālarātrī also refers to a particular night in the life of a man on the seventh day of the seventh month of the seventy-seventh year, after which period, a man is exempt from attending to ordinances prescribed by dharma śāstra-s.) She is described in different forms. Her unique futures are Her black complexion and a garland of skulls. She has four arms and in these four arms She holds a sickle

in Her top left hand, a chopped head in Her lower left hand, Regarding her right hands, description varies. In some of the descriptions, She is said to carry a cup containing blood and in the other hand She shows varada mudra (granting of boons). She is often described in Her standing posture on a corpse. Mahānirvāṇatantra describes Her with two hands, one with abhaya (removal of fear and contextually refers to fear from death) and another with varada (granting of boons) mudra. She is seated on a crimson coloured lotus. She has a protruding tongue, which signifies that She consumes all evil things and gives only the purest to Her devotees. Her complexion describes both death and infinity; death for the sinners and eternity is Her Nature. She is beyond kāla (time), hence She is eternal. Garland made of skulls explains the entire beings of the universe. The entire creation is symbolically explained as skulls. Why skull? Skull represents the reality of existence culminating into death, which is inevitable. The garland of skull is said to have 50 skulls, each representing 50 Sanskrit alphabets. She is wearing a skirt made of chopped hands, which represents destruction of karmas of those who have surrendered unto Her. In a short of span of human existence, one’s ego plays an important role. Unless one’s ego is destroyed, realization is not possible. When She is prayed in the right way, She removes one’s ego. This is symbolically expressed through the chopped head. The sickle represents Her Grace and the chopped head represents one’s ego. When She showers Her Grace, the first thing She does is to remove one’s ego. Why She chooses to annihilate our ego and what is the need? Tattvabodha explains ego as, “ahaṁkartā ahaṁkāraḥ अहकं तार् अहकं ◌ारः” This means that the thought of doership is ego. Unless ego is destroyed, spiritual journey cannot be pursued logically. She stands on a corpse and more often this corpse is depicted as Śiva, which subtly conveys without Śakti, Śiva is a corpse. Saundaryalaharī explains this concept thus. “Śiva becomes inert without Śaktī. When Śiva is not united with Śaktī, He cannot manifest as the universe. Because of Her functional nature, Divine Mother becomes supremely important.” One important relationship other than being Mahākālā and Mahākālī is their abode; they live in crematorium and burial grounds. This is mainly to convey that our ultimate destination is only the crematorium, irrespective of one’s status. That is why She is addressed as śmaśāna vāsinī (the one who dwells in crematoriums). Kālī Aṣṭotraṁ describes Her like this. She is the destroyer of time, terrible in form but beneficent. She is the pride of Kali yuga, ocean of compassion without any limitation (because She is Kālī), the One who liberates, destroyer of sins in Kali

yuga. She is fond of virgins. She has soft and subtle voice, destroys fear and loves those who worship Her with musk. Her body is fully adored with camphor and sandal paste. She is an embodiment of kulācāra (also known as kaulācāra), She is the queen of Benares, a holy city in India and destroys fears of those who worship Her. She is adorned with a garland of bījākṣara klīṁ (kāmabīja). She is made up of three bījākṣara-s krīṁ hrīṁ śrīṁ** and She destroys death for those who recite these bījākṣara-s.
 HER MANTRAS:
 There are several mantras for Her.
 1. Navakālī mantras mahākālasaṁhitā
 2. Kāmakalākālī Trilokya Mohana Kavacham 
 3. Her popularly known mantra is Dakṣiṇakālī mantra: ॐक्रींक्रींक्रींहूंहूह्र ं ींह्रींिदक्षणेिकालके क्रींक्रींक्रींहूंहूह्र ं ींह्रीं स्वाहा॥ om krīṁ krīṁ krīṁ hūṁ hūṁ hrīṁ hrīṁ dakṣiṇekālike krīṁ krīṁ krīṁ hūṁ hūṁ hrīṁ hrīṁ svāhā ||
 There are abbreviated versions of this mantra apart from other variations
 ** क्रीं कल्याणी, ह्रीं काली, श्रीं कराली  krīṁ kalyāṇī (auspiciousness), hrīṁ kālī, śrīṁ karālī (karālī means dreadful)

2.TARA Tāra means saviour or protector; it also means shining, a mystical monosyllable like om. Often, Tārā is worshiped in both Buddhism and Jainism. There is a story associated with Her origin. When the kṣīrasāgara (mythological ocean of milk) was churned, both nectar and poison were obtained. Though all other gods and goddesses were afraid on seeing the deadly poison, only Śiva remained unperturbed. Hence He is also known as Akṣobha (meaning unperturbed). Śiva consumed halāhala, the deadly poison. While He was consuming this poison, Pārvatī, His Consort, held His throat to prevent poison percolating into His body. As a result of this, halāhala was struck at His throat and it became blue in colour and hence Śiva is also known as Nīlakaṇṭha (blue necked). The power of Śiva to remain as akṣobha comes from Tārā and the power of Śiva to consume halāhala comes from Pārvatī. This is how Tārā Devi is known to us. She has few other forms like Ugra Tārā, Nīlā Sarasvati and Ekajaṭa. She is the primordial sound (śabdabrahman) from which the speech originates. She controls one’s emotions.

She is Nāda and Śiva is Bindu.
 नाद ि◌वन्दु* कलाती नमो नम। वेद मन्त्र स्वरूपा नमो नम॥ nāda vindu* kalātī namo nama | veda mantra svarūpā namo nama ||
 *bindu and vindu are the same. She appears more or less like Kālī, except the protruding tongue and the chopped head. She also holds a sickle and a scissor in Her left hand and a lotus flower and varada mudra in Her right hands. She is also wearing a garland made of skulls. She is standing on a corpse. It is said that attaining Her is much easier than other Goddesses of Daśa Mahāvidyā. There are no restrictions (niyama) to worship Her. She also represents om. According to some Scriptures, She belongs to uttarāmnāya. Number of benefits is enumerated if She is worshipped. Important of them are allaying fears, fear from wild animals, water and phantasms, attaining both material and spiritual knowledge. It is said that Tārā Kurukullā drives away evil spirits. She can never be approached with a specific way of worship. Visualising Her all the time is the best way to attain Her Grace. However, it is important that the one who practices Her mantra should never utter lies under any circumstances.
 HER DHYĀNA VERSES: The commonly known dhyāna verse describes Her as follows: 1. “I meditate upon Tārā Devi with three eyes, adorned with white garments, whose lustre is like that of the moon, with crescent moon on Her head and who holds lotuses, a sickle and a skull in Her hands.” This mantra gives all kinds of prosperity and attainments.
 There are other dhyāna verses which describes Her like this.
 2. She is seated on a swan with four faces and eight hands. She is clad in white dress. She holds a kamaṇḍalu (a vessel for holding water), a lotus, noose, another weapon called śakti, a rosary, a garland, varada and abhaya mudras. Meditating on this form is known as sṛṣṭi (creation) dhyāna. 3. She is in Śvetadvīpa, known as White Island (a mythological island where liberated souls live (they are frequently sent back to earth on various assignments; very close or similar to incarnations). She is with red garments and seated on a red throne. She has one face and four hands. She holds a rosary, a cup filled with inebriant and varada and abhaya mudras. Meditating on this form is known as sthiti (maintenance) dhyāna. 4. She is seated in a boat, in the middle of the ocean of blood, with black garments, wearing ornaments made of bones. She has nine faces and 18 hands. She holds different powerful weapons in Her 16 hands and varada and abhaya mudras in to hands.

Meditating on this form is known as saṁhāra (destruction) dhyāna.
 HER MANTRAS:
 This mantra gives all kinds of prosperity and attainments. 1. ॐ ह्रीं त्रीं हुं फट्॥ om hrīṁ trīṁ huṁ phaṭ || Sage Vasiṣṭha meditated the above mantra for a long time and She did not appear and hence he cursed this mantra and after his curse the above mantra lost its potency. Soon after his anger subsided, he removed his curse on the mantra by modifying trīṁ as strīṁ and thereafter the mantra started yielding fruits. This mantra is thus modified and this modified mantra alone gives results. 2. ॐ स्त्रीं ह्रीं हुं फट्॥ om strīṁ hrīṁ huṁ phaṭ ||
 3. ॐ त्रीं ह्रां हुं नमस्ताराय महातारायै सकल दुस्तरांस्तारय ताराय तर तर स्वाहा॥ om trīṁ hrāṁ huṁ namastārāya mahātārāyai sakala dustarāṁstāraya tārāya tara tara svāhā ||
 Apart from the above mantras, there are eight mantras by which Brahmā and Viṣṇu worshiped Her. 1. ॐ त्रीं ह्रीं हुं फट्॥ om trīṁ hrīṁ huṁ phaṭ || 2. ॐ ऐंह्रीं श्रीं क्लीं सौः हुं उग्रतारे हुं फट्॥
 om aiṁ hrīṁ śrīṁ klīṁ sauḥ huṁ ugratāre huṁ phaṭ || 3. ॐ हुं ह्रीं क्लीं ह्सौः हुं फट्॥ om huṁ hrīṁ klīṁ hsauḥ huṁ phaṭ || 4. ॐ ऐं ह्रीं श्रीं क्लीं ह्सौः हुं उग्रतरे हुम् फट्॥ om aiṁ hrīṁ śrīṁ klīṁ hsauḥ huṁ ugratare hum phaṭ || 5. ॐ हुं ह्रीं क्लीं ह्सौः हुं फट्॥ om huṁ hrīṁ klīṁ hsauḥ huṁ phaṭ || 6. ॐ ह्रीं हुं ह्रीं हुं फट्॥ om hrīṁ huṁ hrīṁ huṁ phaṭ || 7. ॐ त्रीं हुं ह्रीं हुं फट्॥ om trīṁ huṁ hrīṁ huṁ phaṭ || 8. ॐ त्रीं हुं फट् क्लीं ऐ॥◌ं om trīṁ huṁ phaṭ klīṁ aiṁ || Ekajaṭā Mantra: 1. ॐ ह्रीं स्त्रीं हुं फट्॥ om hrīṁ strīṁ huṁ phaṭ || 2. ॐ ह्रीं नमो भगवत्येकजटे मम वज्रपुष्पं प्रतीच्छ स्वाहा॥ om hrīṁ namo bhagavatyekajaṭe mama vajrapuṣpaṁ pratīccha svāhā ||
 Nīla Sarasvati Mantra:
 Form: She holds in Her left hands the bell and skull and in Her right hands, a trident and a sword. She has crescent moon and She stands on a corpse. This mantra gives victories in arguments in court cases. 1. ॐ श्रीं ह्रीं ह्सौः हुं फट् नील सरस्वत्यै स्वाहा॥
 om śrīṁ hrīṁ hsauḥ huṁ phaṭ nīla sarasvatyai svāhā || 2. ॐ ह्रीं स्त्रीं हु॥◌ं om hrīṁ strīṁ huṁ ||

Vidyārājñī Mantra:
 (This mantra bestows both material benefits and liberation).
 ॐ ऐंह्रीं श्रीं क्लीं सौं क्लीं ह्रीं ऐंब्लूं स्त्रीं नीलतारे सरिस्वत द्रां द्रीं क्लीं ब्लूं सः ऐंह्रीं श्रीं क्लीं सौः सौः ह्रीं स्वाहा॥ om aiṁ hrīṁ śrīṁ klīṁ sauṁ klīṁ hrīṁ aiṁ blūṁ strīṁ nīlatāre sarasvati drāṁ drīṁ klīṁ blūṁ saḥ aiṁ hrīṁ śrīṁ klīṁ sauḥ sauḥ hrīṁ svāhā ||

3.TRIPURA SUNDARI This is the third of Mahāvidyā-s and is popularly known as Śrī Vidyā and the Goddess worshiped is known as Ṣoḍaśī. Śrī Vidyā is an ocean with different Guru Lineages. She is called as Tripurasundarī because She rules all the three worlds. In Sanskrit, pura means a city or town. Tripura means three cities or towns. Original reference about Tripura is in Śrī Rudraṁ, as an addition at the end first anuvāka. Śrī Rudraṁ says that Śiva is “tripurāntakāya” which means three cities ruled by demons and antaka means causing death. This refers to a story where Śiva destroyed three cities ruled by three demons. His Consort is Tripurasundarī. Sundarī means beautiful. Lalitā Sahasranāma 626 is Tripurā, which is explained as below:
 “There is an ancient scripture titled Tripura rahasya in the form of dialogue between sage Bhārgava and sage Dattatreya. The original text consists of three parts – The glory of Devi, Her rituals and knowledge about Her. This nāma could also mean that She is in the form of all triads. For example, She is in the form of Brahma, Viṣṇu and Rudra; Icchā, jñāna and kriyā śakti-s; the three kūṭa-s of Pañcadaśī; creation, sustenance and destruction; the three nādi-s, iḍā, piṅgala and suṣumna; three worlds, bhūr, bhuva, suvaḥ; three guṇa-s sattvic, rajasic and tamsic. She is in the form of all such triads and once these triads are transcended, the Brahman is attained. Brahman is pure consciousness and can be visualized in three ways. The first one is paramātṛ-caitanya (consciousness limited by intellect). The second one is pramāṇa- caitanya (consciousness limited by knowledge). The third one is jīva-caitanya (consciousness limited by individual soul). These three types of consciousness are also known as triad.” There are many hymns in Her praise such as Lalitā Sahasranāma, Saundaryalaharī, etc. She is worshiped in Śri Cakra, which is considered as one the most auspicious yantra-s (mystical diagram supposed to possess occult powers, if properly consecrated). She is worshiped in Śri Cakra through navāvaraṇa pūjā. Complete explanation of Śri Cakra and navāvaraṇa pūjā is available in this link Understanding and worshiping Śri Cakra. Tripurasundarī

manifests in different shapes and forms such as Bālā Tripurasundarī, Lalitāmbikā, etc. Out of the ten Mahāvidyā-s, Śrī Vidyā is considered as the most auspicious and powerful. Śiva is often compared to the sun and Tripurasundarī to moon. During full moon days, She is exactly opposite to Śiva and when She prevails in the full moon, Her mantra form is Pañcadaśī. During new moon days, She conjoins with Śiva and hands over Her sincere devotees to Him for Liberation. During new moon days, Her mantra form is Ṣoḍaśī. It is always better to repeat Her mantras during full moon days and new moon days. She is worshiped in Śri Cakra and all the gods and goddesses have a place either in Śri Cakra or in Śri Nagara, which is full of forts and forests. Journey through Śri Nagara towards Śri Cakra is explained in Journey to Śri Cakra. One is entitled to worship Śri Cakra only after proper initiation. Great importance is attached Guru in Śrī Vidyā. The ultimate aim of Śrī Vidyā is to consider that there is no difference between Guru, the mantra initiated and Her. When this triad dissolves in the mind of sādhaka, She reveals Herself to the sādhaka. From this point onwards, She takes over the sādhaka as his Guru. But when She reveals Herself? This is explained in Lalitā Sahasranāma 870 and 871, which are reproduced below. Antarmukha-samārādhyā अन्तमुख-र् समाराध्या (870) She is worshipped by those who look within. She has to be realized by internal search and exploration. This is based on the theory that Ātman resides within. {Further reading: Kṛṣṇa explains the concept of looking within exhaustively in Bhagavad Gīta Chapter VI consisting of 47 verses and a gist of which is reproduced here as explained by Swami Chinmayananda. Karma yoga practiced without regard to the fruits of actions, form an external aid to better meditation. The process by which lower is brought under the direct management and discipline of the higher are all together called spiritual techniques. No Guru can take the responsibility; no scripture can promise this redemption; no altar can, with its divine blessing make the lower the higher. The lower mist necessarily be trained slowly and steadily to accept and under the influence of the discipline of the higher. When a seeker has come in his life to the state explained as yogārūdāḥ, and when in that state of equipoise, the mind is held steadfast in the contemplation of the Supreme, the self-controlled one, in all serenity is capable of maintaining his consistency on meditation in all circumstances, favourable and adverse, at all levels of his personality. In the right understanding of his own self and the resulting realisation of his own Self, he becomes Self everywhere. To him, who has realised himself to be Self which is all-pervading, the entire universe becomes his own Self, and therefore, his relationship with every other part of the universe is equal and the same. For this the

seeker should try to withdraw himself from his mental and physical preoccupations.} Bahirmukha-sudurlabhā िबहमुख-र् सुदल ु भार् (871) Previous nāma conjoins with this nāma to declare the process of Self-realisation. She is very difficult to attain for those who are not able to look within. Mind is the prime factor to look within. Unless senses are controlled, it is difficult to control the mind. This nāma says that She cannot be attained only by external means. Saundarya Laharī (verse 95) says “It is difficult for those who have not controlled their senses to attain you.”Kaṭha Upaniṣad (II.i.2) also explains this. “Immature people run after external objects and they invariably get caught in the widespread net of death. Wise people, however, know where true immortality is. That is why they reject everything in this world, knowing that these things are short lived.”This nāma says that She cannot be attained by those who continue to be addicted to sensory pleasures. Addiction is different from necessity. Nāma 188 is durlabhā. Durlabhā means difficult and su-durlabha means very difficult. Brahman is Saccidānanda, which means existence (sat), consciousness (cit) and bliss (ānanda). Only the pure and un-afflicted knowledge is capable of producing spiritual consciousness. In other words, Sat refers to infinity, Cit refers to Śiva and Ānanda refers to Her, who is in the form of Bliss. When She thinks that someone is eligible for Liberation as discussed earlier, She moves away, initiating the process of Liberation and Liberation happens with Sat-cit- ekaṁ-brahma, which means there is no Ānanda here; only Cit, also known as Consciousness, where one realises and merges with Brahman, not to be reborn. Śrī Vidyā means auspicious knowledge. Everything concerned with Lalitāmbikā is auspicious. Knowledge about Her is passed on from a Guru to his disciple by way of initiation. Guru initiates his disciple into a mantra japa called Pañcadaśī mantra or any other mantra of his choice. Normally the first initiation is Her younger form called Bālā. Based upon the disciple’s progress, Pañcadaśī mantra and Ṣoḍaśī mantras are initiated. The supreme mantra japa of Lalitāmbikā is known as Mahā-Ṣodaśī mantra, which leads the practitioner to emancipation. It is wrong to say that Mahā-Ṣodaśī mantra will lead only to Liberation. This mahā-mantra will also give material benefits. The mantra has three Lakṣmī bījā-s and these bījā-s will shower auspiciousness, prosperity and wealth. Because of the presence of Parābījā sauḥ, it is said that this mantra gives only liberation. Śrī Cakra is Her abode. Śrī Cakra is made up of four triangles known as Śiva cakra-s facing up and five triangles known as Śaktī cakra-s facing down. The total triangles formed out of the intersection of the nine triangles are forty four including the central dot or bindu. Instead of nine triangles, if we take only eight triangles, the resultant triangle becomes static, instead of its present

dynamic form. Static is the quality of Śiva and dynamism is the quality of Śaktī. Hence, this cakra has been made dynamic as this is the abode of Lalitāmbikā. Śrī Cakra is also known as the cosmic cakra. A comparison can be drawn between Śrī Cakra and the nine cakra-s of kuṇḍalinī (six cakra-s + sahasrāra + kula sahasrāra + akula sahasrāra thus making it to nine). Śrī Cakra is also compared to a human body, upper cakra-s representing the portion above the navel and lower cakra-s representing the portion below the navel. Alternatively, this can be explained thus. Śaktī koṇa-s (triangles) represent skin, blood, brain, muscles and bones. Śiva koṇa-s represent soul, prāṇa, tejas and sperms or ova. Śaktī koṇa-s represent gross matters and Śiva koṇa-s represent subtle matters. A life comes into existence only if both gross and subtle matters conjoin. The five Śaktī angles also represent the five elements ākāś, air, fire, water and earth and its modifications like karmendriya-s (hands, feet, etc), jñānendriya-s (eyes, etc), tanmātra-s (taste, etc), whereas the four Śiva angles represent antaḥkaraṇa comprising of mind, intellect, individual consciousness and ego. Bindu also known as dot is placed inside the centre triangle that faces downwards. This bindu is said to be the cause of creation of the universe. This can be compared to a tiny seed causing the growth of a huge tree. The place around this bindu is the cause for bliss and this is the reason for calling this cakra as sarva-ānanda-mayī (sarvānandamayī). The cause of the bliss is because Śiva and Śaktī stand united here (nāma 999). This place is meditated at sahasrāra in the form of a bindu. Not only Śiva-Śaktī form is meditated here, but also one’s iśṭa devatā and Guru are also meditated at sahasrāra. Worshiping Śrī Cakra is known as navāvaraṇa pūja. Nava means nine and āvaraṇa means roundabouts. Following is the number of goddesses worshipped in Śrī Cakra before reaching the central bindu. In the first āvaraṇa twenty eight goddesses, in the second āvaraṇa sixteen goddesses, in the third āvaraṇa eight goddesses, in the fourth āvaraṇa fourteen goddesses, in the fifth āvaraṇa ten goddesses, in the sixth āvaraṇa ten goddesses, in the seventh āvaraṇa eight goddesses and in the eighth āvaraṇa three goddesses and four of Her weaponries (nāma-s 8 – 11). In the central triangle fifteen tithi nitya devi-s are worshipped, five on each side of the triangle. Lalitāmbikā is worshipped at the bindu. Apart from these goddesses, one’s guru lineage is also worshipped just above the central triangle. Śrī Cakra and Mahā Meru are the same. Mahā means great and meru means mountain. She lives at the top of Mahā Meru, (the vertical form of Śrī Cakra is known as Mahā Meru). Śrī Cakra is flat in formation and the bindu or the central dot is in the centre and in the case Mahā Meru, which is vertical in formation where the bindu is at the top. She is worshipped in bindu sthāna. The main mantra of Lalitāmbikā is Pañcadaśī which consists of fifteen bīja-s. A bīja-s need not be a single Sanskrit alphabet. It could be a combination of

alphabets. For example, sa is a bīja and it is a single alphabet, whereas hṛīṃ is also a bīja but a combination of many alphabets. Each alphabet in Sanskrit has a meaning. If we take the first letter a (अ) in Sanskrit alphabet, it conveys many things. It is the origin of ॐ (OM); it also means unification, non- destruction, etc. The interpretation of meaning for such bīja-s mostly depends on the context in which it is used. Pañcadaśa means fifteen. Since this mantra has fifteen bīja-s, it is called as Pañcadaśī. Pañcadaśī mantra consists of three groups consisting of bīja-s and each line is called kūṭa or group. The three kūṭa-s are known as vāgbhava kūṭa, kāmarāja kūtā or madhya kūṭa and śakti kūtā. Vāgbhava kūṭa represents Lalitāmbikā’s face, kāmarāja kūṭa represents the portion between Her neck and hip and the last one śakti kūṭa represents the portion below Her hip. The whole form of Lalitāmbikā is made up of these three kūṭa-s. This is one of the reasons why Pañcadaśī is considered as very powerful. These three kūṭa-s are joined in such a way that an inverted triangle is formed which represents Her yoni, the source of the universe. This is why this mantra is considered as highly secretive. Vāgbhava kūṭa is the right side of this triangle, kāmarāja kūṭa the upper side and śakti kūṭa forms the left side of the triangle. Vāgbhava kūṭa consists of five bīja-s viz. ka-e-ī-la- hrīṁ (क-ए-ई-लह्रीं). Madhya kūṭa consists of six bīja-s viz. ha-sa-ka-ha-la-hrīṁ (ह-स-क-ह-ल-ह्रीं). śakti kūṭa consists of four bīja-s viz. saka-la-hrīṁ (स-क-ल-ह्रीं). Thus, we have fifteen bīja-s of Pañcadaśī. This mantra is not revealed by these bījas, but by the following verse in Sanskrit.
 kāmo yoni: kamalā vajrapāṇirguhāhasā matariśvābhrāmindraḥ| punarguhāsakala māyayā ca purucyeṣā viśvamātādividyā|| कामो ियोन: कमला वज्रिपाणगुहार्हसा मितरश्वािभ्रामन्द्रः। पुनगुहार्सकल मायया च पुरुच्येषा ि◌वश्वमाितािदवद्या॥ This is the verse where in the fifteen bīja-s of Pañcadaśī are hidden. This is a clear indication of the highly secretive nature of this mantra. From this verse, the fifteen bīja-s of Pañcadaśī are arrived thus. kāman (ka) yoni: (e) kamalā (ī)vajrapāniṛ (la)guhā (hrīṃ) ha (ha) sā (sa) mathariśvā (ka) abram (ha) indraḥ (la)| punar (punar means again) guhā (hrīṃ) sakala (sa,ka,la) māyayā ca (hrīṃ) purucyeṣā viśvamātādividyā.
 The first kūṭa has five bīja-s ka-e-ī -la- hrīṃ. The entire three kūṭa-s end with hrīṃ and this hrīṃ is called hṛllekha. A lot of importance is attached to this hṛllekha which is also called as māyā bīja. Vākbhava kūṭa is also known as agni khaṇḍa and indicates jñāna śakti of Lalitāmbikā. Ka means Brahma, the creator. e means Sarasvatī the goddess of jñāna. ī means Lakṣmī, la means Indra and hrīṃ means the

merger of Śiva and Śaktī. The bīja ka is the root of kāma bīja klīṁ (क्लीं). ka also bestows peace and prosperity to the sādaka. The next bīja e prevents misfortunes to the sādaka. ī bestows wealth and all good things to sādaka. The bīja la gives victory to the sādaka. Thus, the first four bīja-s give peace, prosperity, prevention of misfortunes, auspiciousness and a status like Indra. This means victory to sādaka in every step he puts forward. (Indra is the chief of all gods and goddesses and is victorious in all the battles against demons).
 hrīṁ is made up of twelve letters. H + r + ī + m and a bindu. Bindu is a dot on the letter m (ṁ). But this is not just a dot. This dot comprises of ardacandra, rodhinī, nāda, nādānta, śakti, vyāpikā, samanā and uṇmanī. Beginning from bindu and including these eight, is nāda (total nine). This nāda comprises of two V-s one above the other (each V has two lines and two V-s together have four lines) and four dots each at the open ends of V and one dot on the top these four dots. This is the combination of bīja hrīṁ. More than these V-s and dots, the pronunciation is important. There are specifications of length of timing for pronunciations of each bīja. The entire kūṭa should be pronounced in eleven mātrā-s (a mātrā is the time taken for a winking, possibly lesser than a second). There are guidelines for pronouncing the bīja-s. The pronunciation of Vākbhava kūṭa should commence from mūlādhāra cakra and end at anāhata cakra, contemplating the entire kūṭa as the fire. The second kūṭa is kāmarāja kūṭa or madhya kūṭa is to be meditated upon Lalitāmbikā’s neck to hip. This kūṭa has the highest number of bīja-s, six. They are ha-sa-ka-ha-la- hrīṁ. Out of these, ka, la and hrīṁ have been discussed in the first kūṭa, leaving two new bīja-s in this kūṭa. Out of the new bīja-s, ha has been repeated twice. The first ha means Śiva; the second ha means ākāś element (Saundarya Laharī (verse 32) refers this second ha as the sun) and sa in this place means Viṣṇu. With reference to the five basic elements, sa means air element. The bīja ha is also known as eunuch bīja. Probably this is the reason why the bīja hrīṁ refers to the union of Śiva and Śaktī. In the first kūṭa, Brahma was mentioned, as the first kūṭa refers to creation. In this kūṭa of sustenance, Viṣṇu is mentioned as He is the lord of sustenance. This kūṭa should be pronounced in a time frame of 11.50 mātrā. This kūṭa is to be contemplated from anāhata cakra to ājñā cakra in the form brightness that is equivalent to millions of suns. This kūṭa is also called sūrya khaṇḍa and forms the second act of Brahman viz. the sustenance. Since it is associated with sustenance, desire is attached to this kūṭa. The third and the last kūṭa which is called śaktī kūṭa, has only four bīja-s. This kūṭa is to be meditated upon the portion between hip and the feet of Lalitāmbikā. The four bīja-s are sa-ka-la- hrīṃ. The first kūṭa has five bīja-s, second kūṭa six bīja-s

and the third has only four bīja-s. Possibly this could mean that sustenance is the most difficult act and dissolution is the easiest act. Vākbhava kūṭa refers to subtle intellect, kāmarāja kūṭa refers to preponderance of valour, wealth, fame, etc and the third kūṭa, the śakti kūṭa expands the conveyance of the previous two kūṭa-s. It can be noticed that two ha bīja-s in the madhya kūṭa is removed in this śaktī kūṭa. This kūṭa is to be pronounced in a time frame of eight and a half mātrā-s. The entire Pañcadaśī mantra should be pronounced in thirty one mātrā-s. In the case of continuous recitation of this mantra, without leaving time gap between the kūṭa only twenty nine mātrā-s are prescribed. But the time factor does not apply when the mantra is recited mentally. This kūṭa is to be contemplated from anāhata cakra to the middle of the forehead in the forms of brightness comparable to the millions of moons. There are nine stages from anāhata to the middle of the forehead. These nine stages are nothing but the nine components of nāda which was discussed under hrīṃ. This kūṭa is called chandra khaṇḍa and forms the third act of Brahman, the dissolution. The dissolution is represented by the bījā ‘la’ which means the destructive weaponries viz. vajra (thunder bolt), cakra (the wheel. Possibly meaning the Sudarśana cakra of Viṣṇu), triśūla or trident of Śiva and the gada of Viṣṇu. There are three hrīṃ-s in Pañcadaśī each representing creation, sustenance and dissolution. Śaṃkarācārya also talks about the bīja-s of Pañcadaśī in a secretive manner in Saundaryalaharī (verse 32). In the second kūṭa out of the two ha bīja- s, Śaṃkarācārya means sun instead of ākāś
 element. The interpretations of the bīja-s differ from scholar to scholar. It is also pertinent to note that chanting of one round of Pañcadaśī mantra is equivalent to three rounds of recitation of pūrṇa Gāyatrī mantra. Pūrṇa Gāyatrī means an addition of paro rajase sāvadom as the last line in addition to the existing three lines. Ṣoḍaśī has been explained under nāma 587. All mantra-s are considered as secretive in nature and Ṣoḍaśī is not an exception. Recitation of Ṣoḍaśī leads to liberation. This mantra does not give any materialistic gains. It leads straight to the Brahman. Normally, one is not initiated into this mantra straight away. Guru decides the timing of initiation into this mantra. Generally one is first initiated into Bālā. Depending upon one’s progress, Pañcadaśī is initiated. If Guru considers that his disciple is fit for final liberation, he initiates him into Ṣoḍaśī. One should recite 900,000 times of this mantra followed by puraścaraṇa rituals to attain siddhi. Then only liberation is possible. It is also said that initiation into Ṣoḍaśī depends upon one’s karmic account. Ṣoḍaśī vidyā is considered as Brahma vidyā, the knowledge of the Brahman. Brahman is depicted in the form of mantra-s in Ṣoḍaśī vidyā. Since Ṣoḍaśī depicts

the Brahman in the form of mantra-s, it is treated as secret. But the important aspect of its secrecy is the replacement of second ॐ in this mantra with ātma bīja. The third aspect of the secrecy is the worship of ninth āvaraṇa that deals with parā, parāpara and apara states (these states have been dealt with while discussing nāmas). If one is able to reach the fourth stage of turya or turīya, he gets prepared to attain liberation in the next stage of turyātīta. Turya is reached without any difficulty when Ṣoḍaśī mantra is chanted regularly. (Turya and turyātīta: Turya is the fourth state of consciousness, the other three being awake, dream and deep sleep. Turya stage transcends all the above three stages by bundling them out. The level of consciousness at turya stage is very close to the stage of blissfulness, derived from experiment and observation rather than theory. Turyātīta is the stage where one’s consciousness transcends turya stage. In this stage of blissful consciousness, the Brahman is realised where one feels that “I am That” or aham brahmāsmi. The final stage of merging into the Brahman is kaivalya, when a soul ceases to transmigrate.} In Pañcadaśī one can transcend the fourth state of consciousness, the turiya state. In Ṣoḍaśī one can merge with the Brahman, by reaching the fifth state of consciousness, turyātīta. There is nothing beyond this. What happens if one transcends turya state? The self is replaced by SELF. This transformative realization happens in a fraction of a second where near death-like situation is experienced. One is not the same person after that ‘second’. Part 2
 ṢODAŚĪ MANTRA
 Ṣodaśī has been explained under nāma 587. All mantra-s are considered as secretive in nature and Ṣodaśī is not an exception. Recitation of Ṣodaśī leads to liberation, because of the presence of parābījā sauḥ (सौः). This mantra not only gives Liberation, but also gives materialistic gains due to the presence of three Lakṣmī bīja-s. This mantra leads straight to Brahman through the Grace of Parāśakti. Generally, one is not initiated into this mantra straight away. Guru decides the timing of initiation into this mantra. Often one is first initiated into Bālā. Depending upon one’s progress, Pañcadaśī is initiated. If Guru considers that his disciple is fit for final liberation, he initiates him into Ṣodaśī. However, material gains will accrue if the mantra is properly practiced. It is also said that initiation and fructification of Ṣodaśī mantra depends upon one’s karmic account. Ṣodaśī vidyā is considered as Brahma vidyā, the knowledge of the Brahman. Brahman is depicted in the form of mantra-s in Ṣodaśī vidyā. Since Ṣodaśī depicts

Brahman in the form of mantra-s, it is treated as secret. But the important aspect of its secrecy is the replacement of second ॐ in this mantra with ātma bīja. The third aspect of the secrecy is the worship of ninth āvaraṇa that deals with parā, parāpara and apara states (these states have been dealt with while discussing nāma-s). If one is able to reach the fourth stage of turya or turīya, he gets prepared to attain liberation in the next stage of turyātīta. Turya is reached without any difficulty when Ṣodaśī mantra is chanted regularly. (Turya and turyātīta: Turya is the fourth state of consciousness, the other three being awake, dream and deep sleep. Turya stage transcends all the above three stages by bundling them out. The level of consciousness at turya stage is very close to the stage of blissfulness, derived from experiment and observation rather than theory. Turyātīta is the stage where one’s consciousness transcends turya stage. In this stage of blissful consciousness, the Brahman is realised where one feels that “I am That” or aham brahmāsmi. The final stage of merging into the Brahman is kaivalya, (sālokya, sarūpa, samībha and sāyujya; beyond this is kaivalya, which is Liberation.) When a soul ceases to transmigrate.}
 In Pañcadaśī one can transcend the fourth state of consciousness, the turiya state. In Ṣodaśī one can merge with the Brahman, by reaching the fifth state of consciousness, turyātīta. There is nothing beyond this. What happens if one transcends turya state? The self is replaced by SELF. This transformative realization happens in a fraction of a second where near death-like situation is experienced. One is not the same person after that ‘second’.
 This Is A Regular Mahāṣoḍaśī Mantra:
 om śrīṁ hrīṁ klīṁ aiṁ sauḥ -- ॐ श्रीं ह्रीं क्लीं ऐंसौः om hrīṁ śrīṁ -- ॐ ह्रीं श्रीं ka e ī la hrīṁ -- क ए ई ल ह्रीं ha sa ka ha la hrīṁ -- ह स क ह ल ह्रीं sa ka la hrīṁ -- स क ल ह्रीं sauḥ aiṁ klīṁ hrīṁ śrīṁ -- सौः ऐंक्लीं ह्रीं श्रीं Om in red is replaced by one’s ātma bīja.
 There are 28 letters in Mahāṣoḍaśī Mantra, the first om is not included in counting. Only in aṣṭākṣarī (ॐ नमो नारयणाय॥ om namo nārayaṇāya ||), om is also counted. There is another way of calculating 16 letters (ṣoḍaśa – meaning consisting of 16 and contextually, it is 16 letters here). Sixteen letters are calculated thus – In the first line there are 5 letters, in the second line, there are 3 letters and in the last line there are five letters. Third, fourth and fifth are Pañcadaśī mantra

comprising of three lines, also known as kūṭā-s. Each of these kūṭā-s is considered as one letter. As there are three kūṭā-s, we have to calculate this as three letters. Thus we have 5 + 3 + 3 + 5 = 16. Hence the mantra is called Ṣodaśī. Why This Mantra Is Called The Ultimate Mantra? The most important factor is that the Pañcadaśī mantra is encased (sampuṭīkaraṇa) by five most powerful bījākṣara-s. If we observe the first line and last line, we can notice, how the bījākṣara-s in the first line are placed in the reverse order in the last line Between these two lines, the entire Pañcadaśī mantra along with ātma bīja, ह्रीं (hrīṁ) and श्रीं (śrīṁ) are placed. The importance of these bījākṣara-s is extremely significant. 1. श्रीं (śrīṁ): This is known as Lakṣmī bīja and mostly placed along with ह्रीं (hrīṁ). Apart from causing auspiciousness, this bīja produces enough solar energy within the body and makes the mind calm and tranquil. If this bīja is added to Pañcadaśī mantra at the end, we get Laghu Ṣodaśī mantra. This bīja works along with sauḥ (सौः) in offering Liberation. Again श्रीं (śrīṁ) consists of three letters śa, ra and ī and nāda and bindu. Śa refers to Goddess of wealth Lakṣmī and ra is wealth itself, Ī refers to satisfaction, nāda is apara (having nothing beyond or after, having no rival or superior) and bindu dispels sorrow. This clearly explains that Mahāṣoḍaśī Mantra not only gives Liberation, but also gives material prosperity, peace of mind and satisfaction in life. 2. ह्रीं (hrīṁ): This is known as māyā bīja. ह्रीं (hrīṁ) and श्रीं (śrīṁ) are often placed together. Ha means Śiva, ra means Prakṛti, Ī means mahāmāya (She is Prakāśa- vimarśa- mahāmāyasvarūpinī). Nāda is Divine Mother (mother of universe) and bindu is the dispeller of sorrow. (Interpretations always vary according to bīja-s. For example, it is said in śrīṁ that ra is wealth, whereas here it is explained that ra is Prakṛti. It all depends upon context and conjunction.) It is also said that hrīṁ produces solar energy within the body. This bīja causes Bliss (There are six ह्रीं (hrīṁ) in Mahāṣoḍaśī Mantra). Śiva speaks a lot about usage of ह्रीं (hrīṁ) in Mahānirvāṇa Tantra, particularly in kali yuga. 3. क्लीं (klīṁ): This is known as kāma bīja. It is the bīja for attraction. This bīja in fact promotes the potency of other bīja-s and the mantra as a whole. It works on heart chakra and kindles love for fellow beings. This helps us to achieve our material desires, when placed with other bīja-s. Ka refers to

Manmatha, also known as Kāmadeva. There are references that ka also refers to Lord Kṛṣṇa; la refers to Indra, the chief gods and goddesses, Ī refers to contentment and satisfaction and the bindu here gives both happiness and sorrow. This is the effect of materialistic desires, which consists of both happiness and sorrow. This bīja acts in a strange way. It induces desires and at the same time if one is not satisfied with what is given, it also causes miseries.
 (This concept of over doing in anything is very dangerous. Even in meditation, it is dangerous to cross 30 minutes till all the lower chakras are completely burnt. Deactivation of lower chakras takes about three to six months, depending upon one’s sādhāna.) 4. ऐ ◌ं (aiṁ): This is known as Sarasvatī bīja. ai (ऐ) refers to Sarasvatī and bindu as usual is the dispeller of sorrow and miseries. It is sometimes called Guru bīja, which implies that this bīja endows knowledge. This bīja establishes a strong connection between the deity and mantra, as this bīja works on buddhi (intellect).
 5. ॐ ऐ ◌ं ह्रीं श्रीं (om aiṁ hrīṁ śrīṁ): Om is Prakāśa form of Brahman also known as Śiva praṇava and the other three bīja-s, aiṁ, hrīṁ and śrīṁ are Vimarśa praṇava-s. Śākta praṇava is kāmakalā, ईं īṁ.
 6. सौः (sauḥ): Bīja sauḥ (सौः) is known as parābīja, hṛdayabīja or amṛtabīja. Śiva explains to Śakti about this in Parā-trīśikā-vivāraṇa (verses 9 and 10), a Trika Scripture. He says to Her, “O! Gracious one! It is the third Brahman (sat or sa स) united with the fourteenth vowel औ (au – out of the sixteen vowels), well joined with that which comes at the end of the lord of vowels (visarga or : - two dots one above the other, used in the sixteenth vowel अः aḥ). Therefore sauḥ is formed out of the combination of sa स + au औ+ ḥ = sauḥ सौः. In Parā-trīśikāvivāraṇa (verse 26), it is again said, “He who knows this mantra in its essence, becomes competent for initiation leading to liberation without any sacrificial rites.” This is known as nirvāṇa dīkṣā or initiation for final liberation, where nirvāṇa means emancipation. The Scripture proceeds to say that the one who elucidates the proper meaning of this bīja is known as Śiva Himself. This bīja is the cosmic pulsation of the Lord. The third Brahman referred here (SAT) is explained in Bhagavad Gītā (XVII.23 26) “OM, TAT and SAT are the threefold representation of the Brahman and from That alone Vedas, Vedic scholars and sacrificial rites have originated. Hence, during the acts of sacrifices, gifts, austerities approved by Scriptures and during Vedic

recitations, OM is uttered in the beginning. TAT is recited by those who aim for liberation while performing sacrificial rites, austerities and charities without intent on the fruits of these actions. SAT is recited by those who perform the above acts with faith and on behalf of the Brahman.” Thus sa स (sat) referred in this bīja is Śiva Himself, which represents His creative aspect, the pure Consciousness. Next comes His three energies Icchāśakti, Jñānaśakti and Kriyāśakti. During Creation, Cit Śakti of Śiva, after manifesting as Ānanda Śakti (Bliss) becomes the above referred three Śakti-s, before entering into the sphere of Māyā. Ānanda Śakti is known as Śakti, normally referred as Śiva’s Consort or His Svātantraya Śakti, His exclusive and unique Power of Autonomy. These three powers can be explained as subject I; object That; and subject-object or I and That. These powers of Śiva are also known as Sadāśiva, Iśvara and Suddha Vidyā. Now the fusion between S and AU takes place and सौ (SAU) is formed. As a result of this fusion, creation happens, which is represented by visarga (two dots one above the other like the punctuation mark colon :) This is the Spanda or throb or pulsation of the Divine towards creation, causing the emission of His three energies contained in AU. With the addition of visarga (ḥ:) at the end of सौ (SAU) becomes सौः(sauḥ). This parābīja is not meant for recitation or repetition but for the contemplation of Śiva, who alone is capable of offering liberation by removing all differentiations caused by māyā. The one who fully understands the significance of सौः (sauḥ) becomes instantly liberated. Proper initiation into this mantra by a Guru is exempted for this mantra. One can self initiate.
 Thus all the bījākṣara-s of Mahāṣoḍaśī Mantra are extremely powerful and therefore, the mantra is considered as the most powerful of all the mantras. The most important aspect of this mantra is sampuṭīkaraṇa or encasing of Pañcadaśī mantra along with one’s ātma bīja, ह्रीं and श्रीं. Thus the effect of the mantra remains within the subtle body of the sādhaka and works on his/her māyā, which is nothing but Parāśakti Herself. When She is satisfied with the intensity of the sādhana of a sādhaka, She imparts knowledge about Śiva. She is Śiva-jñāna-pradāyinī. She imparts the knowledge of Śiva, the Ultimate. Śiva jñāna (knowledge) means the knowledge of the Brahman, which is also known as the Supreme knowledge. To know Śiva, one should first know His Śaktī, who alone is capable of leading a person to the Brahman or Śiva. Rāmāyaṇa says ‘wind can be realized through movements, fire can be realised through heat and Śiva can be realized only through Śaktī.’ It can also be said that Śiva is the source of knowledge for Her.


It is said śaṁkaraṁ caitanyam which means that Śiva is both jñāna and kriyā. He is the sovereign, pure free will in knowledge and action. Based upon this principle, Śiva Sūtra-s opens by saying caitanyamātmā. Caitanyam means consciousness of the highest purity and knowledge. There is no difference between Brahman and the highest form of consciousness. But how Śaktī alone is capable of unravelling Śiva? This is answered by Śiva Sūtra (I.6) again which says that by meditating on Śaktī, the universe disappears as a separate entity thereby unveiling Self illuminating Śiva. The process of such happening is described in Spanda Kārikā (I.8) (another treatise of Kashmiri Saivism) which says ‘the empirical individual cannot ward off the urge of desires. But entering the energetic circle of the Self (Śiva), he becomes equal to that Self.’ The seeker of Śiva becomes Śiva himself. This is known as Śiva jñāna and She imparts this kind of Supreme knowledge.
 It is also said that Śiva cannot be attained without first realising Śaktī. She alone can lead one to Śiva. Śiva is inaccessible directly. Unless She chooses to impart the required Supreme knowledge, none can realise Śiva. Hence, She is called Śiva-jñāna- pradāyinī. How Liberation is offered by Her in the ninth āvaraṇa is explained here. Practically speaking there is no ninth āvaraṇa, which is the Bindu (bindusthāna), as this is within the innermost triangle. Ninth āvaraṇa (navamāvaraṇa) has myriad significances. It is also known as sarvānandamayacakra. Sarvānandamaya means Absolute Bliss, which cannot be explained at all. It is very important to note that Śrī Mahātripurasundarī is the Cakreśvarī of this āvaraṇa. This is because She presides over Bindu, where Śiva is seated. This subtly conveys how meticulously She takes care of Her Consort. Sarvayoni is the Mudrāśakti and Parāparāti-rahasyayoginī is the Yoginī (Parāparāti-rahasya means extremely secretive). Nobody has access to this Bindu except Parāśakti. All the acts of Divine originate from this Bindu, as only here the Divine procreative union of Śiva and Śakti takes place. The principle acts of Divine are creation or sṛṣṭi (LS 264), sustenance or sthiti (LS 266) and destruction known as saṁhāra (LS 268). There are other two acts, which are also equally important and they are annihilation (LS 270; this is also known as tirodhāna which means concealment or disappearance) and recreation (LS 273; anugraha or recreation out of compassion). This is explained in Lalitā Sahasranāma LS 905, as Baindavāsanā (baindava means bindu and āsana means seat.) All these five acts originate from this Bindu, go towards the outer triangle and from there various energies are diversified and creation is completed at the entry point of Śrī Nagara. From this entrance point, manifestation of the universe is completed. This procedure is with regard to creative aspect or sṛṣṭikrama. The reverse process is known as saṁhārakrama. At this point, let us understand that sṛṣṭikrama refers to our birth

and saṁhārakrama refers to our liberation. Different krama-s will be dealt with later in this series, as we are going to be liberated shortly. In the ninth āvaraṇa, union of Śiva and Śakti happens. Their union varies according to the krama. If it is sṛṣṭikrama (creation), their union is different and if it is saṁhārakrama, their union is on different plane. Saṁhāra here refers to liberation and now, we are only discussing about liberation. During sṛṣṭikrama, during their union, only both of them alone remain. But during saṁhārakrama, we are also present along with Her. It is like a mother holding the hands of her child and handing over the child to the child’s father. During sṛṣṭikrama, She attains the form of Kāmakalā (Lalitha Sahasranama 322 Kāmakalā rūpā) and their union is symbolized in the form of a Liṅga, where the bottom portion represents Śakti and the upper portion represents Śiva. At the end of eighth āvaraṇa, we continued to remain in Her lap and we refused even liberation, the ultimate goal of anyone’s life. But She takes pains in explaining to us the importance of liberation. She told us about the pains of birth and death, how we have worked hard in our sādhana (spiritual practice) to reach this level, etc. She also told us that Her Consort will be more compassionate and more lovable to us. Reluctantly we agreed to Her sermons. In any moment from now, we are going to be liberated. She is now raising up from Her throne (LS 3) and by holding our hands, She enters into the Bindu. Bindu is full of Splendorous Light and in the midst of blinding light we could not see anything around. The place is full of Divine Fragrance. We could not move any further as the Light was so blinding. We have read in Upaniṣad-s, how this Light would be. But we have an opportunity to personally experience this Light now. When She moves towards the Light, the blinding white Light gradually turning red and Śiva is revealed to us, who is fully radiant, in crystal complexion, extraordinary brilliance throughout His body. He cannot be explained at all. The energy from Him is so powerful and we feel as if we are being pushed towards Him. This is what is known as the energy of liberation, which is explained as Mahā- grāsā (LS 752). Kaṭha Upaniṣad (I.ii.25) says “the best among all people are like food to the Self. Death overcomes everyone, yet even death is a mere condiment for the Self.” Parāśakti is now seated by Śiva’s side. The crystal complexion of Śiva now looks like the colour of the rising moon on a full moon day. We now understand that this is the Bindusthāna, the place from which the universe originates and dissolves. As we have almost lost our consciousness, nothing goes into our minds. We have lost our mind, intellect, consciousness and ego. All the four components of antaḥkaraṇa are already annihilated when we entered the eighth āvaraṇa. At this point where we are now, our body, mind and soul are completely purified. We have read that merger into Brahman cannot take place unless these are purified. What we have read once,

we are experiencing now. For any experience, knowledge is very important and without knowledge, spiritual experiences cannot be explained or defined. She now asks all of us to come near Her and She makes us to sit on Her lap again. By sitting on Her lap, we are able to have close darśan of Śiva. He smiles at us and then He looks at Parāśakti. Now She begins to move slowly towards Śiva and ultimately She merges with Him. Now we understand what is really meant by Śivaśakty-aikya-rūpiṇī (LS 999). We are now inside Śiva and we are liberated, not to be born again! She is best mentioned in Lalitā Sahasranāma, as this is the hymn composed by Her attendants and rendered in Her presence and this rendition was approved by Her. In case of any controversy and dispute, always Lalitā Sahasranāma is the final authority. Lalitā Sahasranāma was rendered by eight Vāgdevī-s who are worshipped in the seventh āvaraṇa during navāvaraṇa pūjā. There are two nāma- s, 249 and 250 that convey Her Absolute Glory and they are reproduced here for the sake of convenience. Pañca-Pretāsanāsīnā पञ्च-प्रेतासनासीना (249) She is sitting on a throne held by five corpses. These five corpses are Brahma, Viṣṇu, Rudra, Mahādeva and Sadāśiva. Brahma looks after creation, Viṣṇu looks after sustenance, Rudra causes death, Mahādeva conceals the dissolved universe (tirodhāna) and Sadāśiva again re-creates the universe (anugraha). It is said that these five Lords cannot function without their Śaktī-s or consorts. Commentators refer to the consorts of these five Gods and without them it is said that these Gods cannot perform their duties. When they are in inert condition, they are referred as corpses. Śaktī-s here should mean the various manifestations of Lalitāmbikā. Vāc Devi-s surely would not have meant to refer other gods and goddesses in this Sahasranāma. Saundarya Laharī (verse 1) speaks about this. “Śiva becomes capable of creating the universe, only when united with Śaktī, but otherwise, He is incapable of even a stir. How then could one, who has not acquired merit (puṇya) worship you at least praise you, who is adored even by Viṣṇu, Śiva, Brahma, and others.”
 The nāma means that acts of these Gods cannot be carried out without Her authority. Please also read the note at the end of the next nāma. Pañca-BrahmaSvarūpiṇī पञ्च-ब्रह्म-स्विरूपणी (250) This nāma is an extension of the previous one. The previous nāma underlined the importance of Lalitāmbikā in all acts of the Brahman and this nāma asserts that She is the Brahman. If the earlier nāma is not read along with this nāma, its significance would be lost. These two nāma-s explain the cosmic creation. The Brahman has five functions to perform. They are creation, sustenance, destruction, annihilation and salvation.

Each of these activities is governed by different Gods. Brahma for creation, etc has been explained in the previous nāma. These different Gods are only manifestations of the Brahman. Though one talks about various forms of gods, all these refer only to the Brahman, who does not have any form and is omnipresent. This concept is further explained in this book under different nāma-s. In fact these Gods, Goddesses, ministers, yogini-s mean different natural activities that take place in the universe. That is why Nature is called as Mother Nature and worshipped as a Goddess as acts of the Brahman are unfolded only through Nature and in the arena of Nature. The five acts of the Brahman is a cyclic process. Creation here means the creation of the universe in the broader perspective. It does not mean the birth of an individual. Sustenance also means the sustenance of the universe as a whole. The birth and death of human beings as well as billions of other species is just a trivial part of the activities that happen in the universe. The first amongst the creations are the five basic elements viz. ākāś, air, fire, water and earth. Then the modifications of these elements take place gradually, which is called evolution. Such evolution happens both in physical and subtle planes. The highest known gross form of evolution is man and the highest form of subtle evolution is his mind. The universe thus created is being administered by the Brahman Himself. In order to maintain a proper balance, creatures are allowed to shed their physical bodies. Souls make the physical bodies to function and hence soul is called kinetic energy. The souls originated from the hiraṇyagarbha or the golden egg. This is so called, as it is born from a golden egg, formed out of the seed deposited in the waters when they were produced as the first creation of the Self- existent This seed became a golden egg, resplendent as the sun, in which the Self-existent Brahma was born as Brahmā the Creator, who is therefore regarded as a manifestation of the Selfexistent. This is held as the fourth act of the Brahman, tirodhāna, or the great dissolution or the act of concealment. The difference between destruction and annihilation is significant. Destruction is the death of a single organism and dissolution is the Supreme process of the Brahman, wherein He makes the entire universe to dissolve and merge unto Himself. At this stage the universe becomes non-existent. There will be no continents, no mountains, no oceans; none of the basic elements (Pañca bhūta-s) exist. Such an act of the Brahman is called mahā-pralayā. This happens when Śiva begins His mahāpralaya tāṇḍava or the cosmic dance. When Śiva performs this dance of annihilation, He becomes terribly ferocious. While He continues His dance, the universe gradually gets dissolved unto Him. The reverse modifications take place and penultimately there exists only the five basic elements. Finally these five elements too, dissolve into Śiva. Except Śiva and Śaktī none exists at this stage. Śaktī is the lone witness to Śiva’s cosmic dance (nāma-s 232 and 571).

Śaktī, is very compassionate. After all She is the divine Mother. She has the intent to re-create the universe. Since Śiva continued to be terribly aggressive, She could not even look at Him. Now Śiva and Śaktī are not united. The great dissolution takes place only if Śiva and Śaktī are separate. When they are together, Śaktī never allows Śiva to carry out the act of annihilation. When the great dissolution has commenced, Śaktī could only witness such an act and this was discussed in nāma 232. There is another nāma 571 mahā-prayala-sākṣiṇī to confirm this. Somehow She wanted Her children to exist. Towards the end of Śiva’s tāṇḍava, She started dancing (nāṭya) along with Śiva. But there was no ferocity in Her dance. On seeing Her dancing, the aggressive Śiva started returning to His auspicious form. Śiva was holding the hiraṇyagarbha or the golden egg where the dissolved universe was concealed. At the request of Śaktī, the golden egg was given back to Her by Śiva and this is called anugraha or salvation. Salvation is a stage before the commencement of the next cycle of creation. Now Śaktī takes over from Śiva and administers the universe with His power of autonomy or svātantrya śaktī. Now, it is apparent that act of the Brahman cannot happen without śaktī. Hence, it is said that without Her involvement no body including Brahma, Viṣṇu, Rrudra, Mahādeva and Sadāśiva can function. They are called ‘Pañca-Brahman-s’ meaning the five acts of the Brahman. Since She becomes the cause of these five acts She is called Pañca-brahma-svarūpiṇī. {Further reading on hiraṇyagarbha: Brahman has four distinctive states. They are avyakṭā, Iśvarā, hiraṇyagarbha also known as sūtrātma and virāṭ. The first state is avyakṭā, the unmanifest stage (nāma 398). This is also known as turya stage, beyond the three normal stages of consciousness. The next state is Iśvarā (nāma 271). This state is the cause of the universe and is associated with māyā. The third state is hiraṇyagarbha, which binds the universe together. The final state is virāṭ, transfiguration of the divine happens that is visible to our eyes. The virāṭ is also known as vaiśvānarā, meaning relating or belonging to all men, omnipresent, known or worshipped, everywhere, universal, general, common, etc.} HER MANTRAS:
 All Her mantras are known as Śrī Vidyā, Bālā, Pañcadaśī and Ṣoḍaśī. As far as Bālā mantra is concerned, there are three variations.
 1. ॐ ऐं क्लीं सौः । सौः क्लीं ऐं । ऐं क्लीं सौः॥ om aiṁ klīṁ sauḥ | sauḥ klīṁ aiṁ | aiṁ klīṁ sauḥ ||
 2. ॐ ऐं क्लीं सौः । सौः क्लीं ऐं  om aiṁ klīṁ sauḥ | sauḥ klīṁ aiṁ ||
 3. ॐ ऐं क्लीं सौः  om aiṁ klīṁ sauḥ || What is initiated depends upon one’s Guru. Out of the three, first one is more powerful because inverted Bālā mantra is encased (sampuṭīkaraṇa) between two

Bālā mantras. The second is used for aligning with the breath. For example om aiṁ klīṁ sauḥ is recited during inhalation and sauḥ aiṁ klīṁ is recited during exhalation. Her Pañcadaśī and Ṣoḍaśī mantras are already discussed in the previous parts. However, here are the variations of Ṣoḍaśī mantra.
 1. Bījavalī ṣoḍaśīmantra (Rudrayāmala) ॐ श्रीं ह्रीं ऐं क्लीं सौः श्रीं ह्रीं क्लीं ऐं ह्रीं श्रीं सौः क्लीं ऐं ह्रीं श्रीं om śrīṁ hrīṁ aiṁ klīṁ sauḥ śrīṁ hrīṁ klīṁ aiṁ hrīṁ śrīṁ sauḥ klīṁ aiṁ hrīṁ śrīṁ
 2. Bījavalī ṣoḍaśīmantra (Brahmayāmala) ॐ श्रीं ह्रीं ऐं क्लीं सौः श्रीं ह्रीं क्लीं ऐं सौः क्लीं ऐं श्रीं ह्रीं ह्रीं श्रीं 3. Guhya ṣoḍaśīmantra ॐ ह्रीं ॐ श्रीं ह्रीं सौः क्लीं ऐं ह स क ल ह्रीं ह स क ह ल ह्रीं स क ल ह्रीं ॐ ह्रीं ॐ श्रीं ह्रीं om hrīṁ om śrīṁ hrīṁ sauḥ klīṁ aiṁ ha sa ka la hrīṁ ha sa ka ha la hrīṁ sa ka la hrīṁ om hrīṁ om śrīṁ hrīṁ
 om śrīṁ hrīṁ aiṁ klīṁ sauḥ śrīṁ hrīṁ klīṁ aiṁ sauḥ klīṁ aiṁ śrīṁ hrīṁ hrīṁ śrīṁ 4. Mahāṣoḍaśī mantra ॐ श्रीं ह्रीं क्लीं ऐं सौः ॐ ह्रीं श्रीं क ए ई ल ह्रीं ह स क ह ल ह्रीं स क ल ह्रीं सौः ऐं क्लीं ह्रीं श्रीं om śrīṁ hrīṁ klīṁ aiṁ sauḥ om hrīṁ śrīṁ ka e ī la hrīṁ ha sa ka ha la hrīṁ sa ka la hrīṁ sauḥ aiṁ klīṁ hrīṁ śrīṁ
 5. Mahāṣoḍaśī mantra – variation as per Siddhayāmala (This could be the parāṣoḍaśī mantra* as this mantra is accepted by all types of āmnāya-s. Āmnāya means sacred tradition handed over by repetition.) * Discussed at 8 below. ॐ क्लीं ह्रीं श्रीं ऐं क्लीं सौः क ए ई ल ह्रीं ह स क ह ल ह्रीं स क ल ह्रीं स्त्रीं ऐं क्रों क्रीं ईं हूं om klīṁ hrīṁ śrīṁ aiṁ klīṁ sauḥ ka e ī la hrīṁ ha sa ka ha la hrīṁ sa ka la hrīṁ strīṁ aiṁ kroṁ krīṁ īṁ hūṁ
 6. Mahāṣoḍaśī mantra – variation as per Mantramahārṇavaḥ ह्रीं क ए ई ल ह्रीं ह स क ह ल ह्रीं स क ल ह्रीं hrīṁ ka e ī la hrīṁ ha sa ka ha la hrīṁ sa ka la hrīṁ 7. Guhya ṣoḍaśī
 Guhya means secret and Guhya Ṣoḍaśī is one of the most secretive mantras and is not widely practiced. The following mantra appears in Mantramahodadhiḥ (taraṃga 12). There is no reference to this mantra in Mantramahārṇavaḥ. The Pañcadaśī mantra of Lopāmudra is used while formulating Guhya Ṣoḍaśī. ॐ ह्रीं ॐ श्रीं ह्रीं / सौः क्लीं ऐं / ह स क ल ह्रीं /ह स क ह ल ह्रीं / स क ल ह्रीं / ॐ ह्रीं ॐ श्रीं ह्रीं om hrīṁ om śrīṁ hrīṁ / sauḥ klīṁ aiṁ / ha sa ka la hrīṁ /ha sa ka ha la hrīṁ / sa ka la hrīṁ / om hrīṁ om śrīṁ hrīṁ


8. Parāṣoḍaśī Mantra* (* variation from 5 above)
 श्रीं सौः क्लीं ऐं ह्रीं श्रीं ह्रीं ॐ स क ल ह्रीं स ह क ह ल ह्रीं क ए ई ल ह्रीं श्रीं ऐं क्लीं सौः śrīṁ sauḥ klīṁ aiṁ hrīṁ śrīṁ hrīṁ om sa ka la hrīṁ sa ha ka ha la hrīṁ ka e ī la hrīṁ śrīṁ aiṁ klīṁ sauḥ.


Mahāṣoḍaśī-mantra

Śrī-vidya is the devotional worship of the Supreme Mother, Ambāl. According to the Vedic scripture Śrī Tripurārahasya, the Śrī-vidya or ṣoḍaśīvidya was first taught in Satya-Yuga by Lord Hayagrīva to Agastya and his wife Lopamudra. Again in Treta-yuga it was given to Lord Paraśurāma by Dattātreya, the combined incarnation of Brahmā, Viṣṇu and Maheśvara, considered the greatest incarnation. Lord Paraśurāma gave it to his

characters. For example, the
 bīja sa is a single character,
 while the bīja hṛīṃ is a combination of several characters. Each Sanskrit character has a meaning. For example a, the first letter in Sanskrit alphabet, conveys many things. It is the origin of auṁ; it also means unification, non-destruction, etc. Similarly, the meaning of the bījas depends mostly on the context in which they are used. Ma (म) is also known as Nāda, which refers to Parāśakti. By ending the bījas with मँ (maṁ) they are energized, and the effect is made permanent. Regular recitation of bījas modifies the energy level of the chakras. This practice is known as mantra-sādhana, which forms the most important part of
 Śakti worship. For optimal effect on the energy level of the chakras, bījas are arranged in a particular order; each mantra is formed from a series of bījas. Thus a mantra becomes potent and effective only if all its bījas are understood and recited properly.

auṁ śrīṁ hrīṁ klīṁ aiṁ sauḥ (auṁ) hrīṁ śrīṁ
 ka e ī la hrīṁ
 ha sa ka ha la hrīṁ Mahāṣoḍaśī-mantra Explanation disciples; thus it has been passed down to the present day. Many scriptures proclaim that worship of Mahāṣoḍaśī-mantra is the only one which grants the sādhaka both material and spiritual benefits. Bījas Mahāṣoḍaśī-mantra is
 composed of bījas. Bīja
 means seed-sound. A bīja
 can be a single Sanskrit
 character, but more often it
 is a combination of


sa ka la hrīṁ
 sauḥ aiṁ klīṁ hrīṁ śrīṁ Mahāṣoḍaśī-mantra Explanation First Line ॐ श्रीं ह्रीं क्लीं ऐ ◌ं सौः auṁ śrīṁ hrīṁ klīṁ aiṁ sauḥ

Sanskr Bīja it ॐ श्रीं

āūṁ śrīṁ

ह्रीं

hrīṁ

क्लीं

klīṁ

ऐं

aiṁ

सौः

sauḥ

ईं

īṁ

Name oṁkāra, prāṇava śrī-bīja, lakṣmī-bīja

Meaning Brahman, the prime cause

śrīṁ After ॐ is śrīṁ (श्रीं), which is known as śrī-bīja or Lakṣmī-bīja. This is the

Lakṣmī

Divine Light of Śiva, union of Śiva and Śaktī, heartimprinting Desire for transcendental kāma-bīja Bliss vāgbhava-bīja, Sarasvatī, Goddess of vak-bīja Knowledge parā-bīja, The cosmic pulsation of hṛdaya- bīja or the Lord, liberation amṛta-bīja kāmakalā Union of Śiva and Śakti māyā-bīja, hṛllekha

Prāṇava ॐ Every authentic Vedic mantra begins and ends with ॐ. Kulārṇava-Tantra 15.57 says that beginning a mantra without ॐ causes impurity of birth. Further, Chāndogya Upaniṣad begins by saying auṁ iti etat akṣaram udgītham upāsīta: “ॐ is closest to Brahman, so recite this syllable as part of your worship.” And above all, the three Vedas begin with ॐ.
 According to Chāndogya Upaniṣad, ॐ at the beginning refers to Brahman. Māṇḍūkya Upaniṣad also says that ॐ is both the cause and the effect. Mahāṣoḍaśī-mantra Explanation

Therefore, ॐ should be prefixed to mahāṣoḍaśī-mantra, without which the mantra becomes ineffective.

most important bīja of mahāṣoḍaśī-mantra because by adding this bīja, the fifteen-lettered Pañcadaśī becomes sixteen-lettered Ṣoḍaśī-mantra. śrī-bīja provides auspiciousness. It promotes positive attitude and positive growth in the mind of the aspirant. This bīja is the root cause for faith, devotion, love and ultimate surrender unto Her. First, one has to have to faith in the Goddess. Faith is attained by hearing from the scriptures, guru and realized beings. This faith later transforms into devotion. When the devotion is mature it becomes prema, Transcendental Love for Her. This love alone, and the immense satisfaction it brings, makes the aspirant surrender unto Her. As śrī-bīja is the cause for surrender unto Her, it leads the aspirant to liberation. Śrīṁ combines these characters: śa + ra + ī + nāda + bindu (dot) (श + र + ई + ि◌बन्दु). śa refers to Mahālakṣmī (Goddess of wealth), ra refers to wealth. Rabīja is also known as agni-bīja and can confer supernatural powers. Nāda is Consciousness about to manifest as the universe. It also means subtle sound. This can be best expressed by ṁ. There is no other way to explain this. The sound made after closing both the lips is nāda. It is a humming nasal sound like the sound of a tānpura. Without nāda, bindu cannot be effective, as bindu cannot be pronounced by itself. Nāda-bindu refers to the union of Śiva and Śakti, where Nāda means Śakti and bindu means Śiva. The dot (bindu) above this bīja removes sorrows and negative energies in the mind of the aspirant. Based on this fact, it is said that Ṣoḍaśīmantra is capable of offering mokṣa, liberation. It is also said, Ṣoḍaśī-mantra kevalaṁ mokṣa sādhanam, which means that Ṣoḍaśī-mantra offers only liberation, which is the ultimate goal of everyone. Since liberation is not attainable that easily, Ṣoḍaśī-mantra is said to be highly secretive in nature.

hrīṁ After śrīṁ श्रीं is hrīṁ ह्रीं, which is also known as māyā-bīja. This is the combination of the characters ha + ra + ī + nāda + bindu (ह + र + ई + nāda + bindu. Ha refers to the Divine Light of Śiva which also encompasses prāṇa and ākāśā, two important principles without which we cannot exist. The second component of hrīṁ is ra (र) which is also known as agni-bīja. Now the properties of ra are added to the properties of ha. Properties of ra are fire (the fire that is needed for our sustenance), dharma (Agni is known for dharma) and of course agni, fire itself. It is said that when sun sets he hands over his fire to Agni, and takes it back when he rises again next day. Thus Agni also becomes a sustainer, like the sun. Śiva is also known as Prakāśa, the original divine Light. Third part of hrīṁ is ī which focuses the aspirant’s energy and motivates him to pursue the path of Dharma. Nāda refers to Universal Mother, who reflects the Light of Śiva to the world. She is also known as Vimarśa, meaning reflection, intelligence, etc. And the bindu (dot) is the dispeller of sorrow, which actually means dispelling innate ignorance, the cause of our sorrows. Hrīṁ ह्रीं is also known as Bhuvaneśvarī-bīja. Bhuvana means the earth and Īśvarī means the ruler. She is known as Bhuvaneśvarī because She rules the earth. Ha means Śiva and ra means prakṛti (which can be explained as Nature or original substance. Lalitā-Sahasranāma 397 is Mūlaprakṛtiḥ, which is explained here). Ī means Mahāmāya, the Divine Power of illusion. Nāda means Śrī Mātā, the Universal Mother. The dot, known as bindu is the dispeller of sorrows. Therefore, hrīṁ can also be explained thus: Śiva (ha) and Śakti (ra) unite to cause creation (nāda), making a person afflicted with illusion. They can remove this illusion if an aspirant contemplates Them, and this removal of ignorance is done through bindu or dot. klīṁ

After hrīṁ ह्रीं is klīṁ क्लीं, which is known as kāma-bīja. This bīja draws divine energy towards the aspirant like a magnet. This bīja is the power of attraction. Kāma here does not mean lust, but the desire for transcendental Bliss (one of the four puruṣārthas: dharma, artha, kāma and mokṣa). Attaining Her and entering into the state of Bliss are one. Kāma-bīja completes the process of desire to attain Her. It increases the level of devotion. This bīja has three parts: ka + la + am. Ka refers to desire to achieve Her Grace, la refers to contentment in one’s life, which reduces our desires and attachments, and am gives happiness and joy. There are interpretations that ka also refers to Lord Kṛṣṇa. It is the bīja through which Śiva shows His Love for Her.

aiṁ After klīṁ क्लीं is aiṁ ऐ,◌ं which is known as vāgbhava-bīja. It is the bīja of Sarasvatī, Goddess of Knowledge. It has two parts ai + ṁ. Here ṁ also acts as the dispeller of sorrow. This bīja also represents one’s Guru, who is the dispeller of ignorance and as a result of this bīja, one attains the highest spiritual knowledge. It also adds motivation, will power and dedication to the aspirant. This bīja is the cause for spiritual intellect (buddhi), the highest level of spiritual knowledge. It directly takes an aspirant to the chosen Deity by increasing his level of consciousness. īṁ In the above bījas, kāmakalā īṁ ईं is hidden. Kāmakalā can be explained through the innermost
 triangle of Śrī Cakra around the bindu (the
 innermost dot in Śrī Cakra). This dot represents MahākāmeśvaraMahākāmeśvari, who are
 identical in all respects. They are seated in this dot
 known as bindu. Creation takes place from the


bindu because of Their union, resulting in the innermost triangle. The three sides represent Prakāśa (Light of Śiva), Vimarśa (diffusion of the Light of Śiva done by Śakti) and third side of the triangle represents “I am” and “this” (aham and idam). Thus, because of kāmakalā, these bījas become capable of creation. sauḥ After aiṁ ऐंis sauḥ सौः, known as parā-bīja. This is also known as hṛdaya-bīja or amṛta-bīja. Śiva explains to Śakti about this in Parā-trīśikā-vivāraṇa 9-10:

Mahāṣoḍaśī-mantra Explanation “O! Gracious one! It is the third Brahman (sat or sa स) united with the fourteenth vowel औ (au – out of the sixteen vowels), well-joined with that which comes at the end of the lord of vowels (visarga or ḥ, used in the sixteenth vowel अः - aḥ).” Therefore sauḥ is formed out of the combination of sa स + au औ+ ḥ
 = sauḥ सौः. Again it is said in Parā-trīśikā-vivāraṇa 26, “He who knows this mantra in its essence becomes competent for initiation, leading to liberation without any sacrificial rites.” This is known as nirvāṇa-dīkṣā or initiation for final liberation, where nirvāṇa means emancipation. The Scripture proceeds to say that the one who elucidates the proper meaning of this bīja is known as Śiva Himself. This bīja is the Cosmic pulsation of the Lord.” The third Brahman referred here (sat) is explained in Bhagavad-Gītā 17.23– 26: “ॐ, tat and sat are the threefold representation of Brahman, and from

That alone Vedas, Vedic scholars and sacrificial rites have originated. Hence, during the acts of sacrifices, gifts, austerities approved by Scriptures and during Vedic recitations, ॐ is uttered in the beginning. Tat is recited by those who aim for liberation while performing sacrificial rites, austerities and charities without intent on the fruits of these actions. Sat is recited by those who perform the above acts with faith and on behalf of Brahman.” Thus sa स (sat) referred in this bīja is Śiva Himself, which represents His creative aspect, pure Consciousness. Next comes His three energies Icchāśakti, Jñāna-śakti and Kriyā-śakti. During Creation, Cit-Śakti of Śiva, after manifesting as Ānanda-Śakti (Bliss) becomes the above referred three Śaktis, before entering into the sphere of Māyā. Ānanda-Śakti is known as Śakti, normally referred as Śiva’s Consort or His Svātantraya-Śakti, His exclusive and unique Power of Autonomy. These three powers can be explained as the subject (I); the object (That); and subject-object (I and That). These powers of Śiva are also known as Sadāśiva, Iśvara and SuddhaVidyā. The fusion between sa and au forms सौ (sau). As a result of this fusion, creation happens, which is represented by visarga (ḥ) This is the spanda, throb or pulsation of the Divine towards creation, causing the emission of His three energies contained in au. With the addition of visarga (ḥ) at the end of सौ (sau) becomes सौः (sauḥ). This parā-bīja is not meant for recitation or repetition but for the contemplation of Śiva, who alone is capable of offering liberation by removing all differentiations caused by māyā. The one who fully understands the significance of सौः (sauḥ) becomes instantly liberated.
 Thus these five bījas form the first line of Mahāṣoḍaśī mantra. Second line ॐ ह्रीं श्रीं auṁ hrīṁ śrīṁ ॐ used at the beginning of the first line of the mantra refers to the Supreme Self, known as Brahman. The ॐ here in the second line represents the

individual being. Thus, this ॐ is to be replaced with ātma-bīja, which is given by one’s guru at the time of initiation. Everyone will have ātma-bīja, which is derived based on several factors. Ātmabīja is discussed here. In case one’s guru has not given any ātma-bīja to an aspirant, he can continue to use ॐ as his ātma-bīja. The three bījas used here refers to three stages. ॐ is apara stage or the individual soul. Hrīṁ represents the union of Śiva and Śakti and is known as parāpara (the stage of cause and effect). The last bīja, śrīṁ is the stage of para, the Supreme energy, the state of Supreme Paramaśiva, where Śakti stands merged with Śiva. In this stage, She cannot be identified as a separate entity. For attaining liberation, one has to merge into Paramaśiva. In other words, the individual soul (ॐ) transcends māyā, which is represented by hrīṁ, where both Śiva and Śakti are present as separate energies. The aspirant goes past māyā through practicing sādhana, represented by bīja hrīṁ, to merge with the Supreme Self, represented by the third bīja, śrīṁ. Thus in the second line of mahāṣoḍaśī-mantra, liberation is explicitly declared. The third, fourth and fifth lines are Pañcadaśī-mantra (15 bījas) as explained below. In sixth and last line the bījas of the first line are placed in a reverse order. This is known as mantra-sampuṭīkaraṇa. This means that the three bījas of the second line, and the Pañcadaśī-mantra are enclosed by the first line (forward) and the last line (reversed), so that effects of Pañcadaśī-mantra and the bījas of the second line do not go out of the aspirant and are sealed within him.

Pañcadaśī-mantra The heart, the main mantra of Lalitāmbikā is Pañcadaśī-mantra consisting of fifteen bījas, including these not covered above:

Sanskr Bīja it क ka

Name

Meaning

ka-bīja

Brahmā

ए

e

e-bīja

Sarasvatī

ई

ī

ī-bīja

Lakṣmī

ल

la

la-bīja

Indra

स

sa

sa-bīja

Viṣṇu

ह

ha

ha-bīja

Śiva, ākāśa or the sun

Pañcadaśa means fifteen. Since this mantra has fifteen bījas, it is called Pañcadaśī. Pañcadaśī-mantra is divided into three groups of bījas; each line is called a kūṭa or group. The three kūṭas are vāgbhava-kūṭa, kāmarāja-kūṭa (or madhya-kūṭa) and śakti-kūṭa. These three kūṭas represent Lalitāmbikā’s whole form. Vāgbhava-kūṭa represents Lalitāmbikā’s face, kāmarāja-kūṭa represents Her torso from neck

kāman (ka) yoni: (e) kamalā (ī)vajrapāniṛ (la)-guhā (hrīṃ) ha (ha) sā (sa) mathariśvā (ka) abram (ha) indraḥ (la)| punar (means again) guhā (hrīṃ) sakala (sa, ka, la) māyayā ca (hrīṃ) purucyeṣā viśvamātādividyā Meaning of the bījas

to hips, and finally śakti-kūṭa represents Her legs and feet. This is one of the reasons why Pañcadaśī-mantra is so powerful. The kūṭas are joined in such a way that an inverted triangle is formed which represents Her yoni, the source of the universe. This is why this Pañcadaśī-mantra is highly confidential. Vāgbhava-kūṭa is the right side of this triangle; kāmarāja-kūṭa the upper side, and śakti-kūṭa forms the left side of the triangle. • Vāgbhava-kūṭa consists of five bījas: क ए ई ल ह्रीं ka e ī la hrīṁ • Madhya-kūṭa consists of six bījas: ह स क ह ल ह्रीं ha sa ka ha la hrīṁ • Śakti-kūṭa consists of four bījas: स क ल ह्रीं sa ka la hrīṁ Thus, we have fifteen bījas in Pañcadaśī. This mantra is not revealed by these bījas, but by the following Sanskrit verse:

The first kūṭa has five bījas: ka e ī la hrīṃ. All three kūṭas end with hrīṃ, and this hrīṃ is called hṛllekha. A lot of importance is attached to this hṛllekha which is also called as māyā-bīja. Vāgbhava-kūṭa is also known as agnikhaṇḍa, indicating Lalitāmbikā’s jñāna-śakti. Ka means Brahmā, the creator; e means Sarasvatī the goddess of jñāna; ī means Lakṣmī, la means Indra and hrīṃ means the merger of Śiva and Śaktī. The bīja ka is the root of kāma-bīja klīṁ (क्लीं). Ka also bestows peace and prosperity to the sādhaka. The next bīja, e prevents misfortunes to the sādhaka. ī bestows wealth and all good things to sādhaka. The bīja la gives victory to the sādhaka. Thus, the first four bījas give peace, prosperity, prevention of misfortunes, auspiciousness and a status like Indra. Indra is the chief of all gods and goddesses and is victorious in all the battles against demons. This means victory to sādhaka at every step. Hṛllekha means heartimprinting. So the significance of this line is to imprint Her qualities in the heart of the sādhaka. hrīṁ is made up of twelve letters. H + r + ī + m and a bindu. Bindu is a dot on the letter m (ṁ). But this is not just a dot, but a combination: Mahāṣoḍaśī-mantra Explanation

kāmo yoniḥ kamalā vajrapāṇirguhāhasā matariśvābhrāmindraḥ| punarguhāsakala māyayā ca purucyeṣā viśvamātādividyā|| “Kāma, Yoni, Kamala, Vajrapani (Indra), Guha, Hamsa, Matarishva, Abhra, Indra, Punarguha, Sakala and Māyā are also mantras of the Mother of Universe, who is undoubtedly Brahman.” The fifteen bījas of Pañcadaśī are hidden in this verse. This is a clear indication of the highly secretive nature of this mantra. From this verse, the fifteen bījas of Pañcadaśī are derived thus:

• ardacandra — crescent moon shape
 • rodhinī — one who overpowers
 • nāda — the nasal sound represented by a crescent shape used as an abbreviation in the bījas •

nādānta — the end of the pronunciation 


•

śakti — the Goddess form of the Supreme 


•

vyāpikā — who is visible everywhere 


•

samanā — in one point, together 


•

uṇmanī — to be one with god 
 Pronunciation is important. There are specifications of length of timing for pronunciations of each bīja. The pronunciation of Vāgbhavakūṭa should commence from mūlādhāra-chakra and end at anāhatachakra, contemplating the entire kūṭa as the fire. 
 The second kūṭa is kāmarāja-kūṭa or madhya-kūṭa is to be meditated upon Lalitāmbikā’s neck to hip. This kūṭa has the highest number of bījas, six: ha sa ka ha la hrīṁ. Out of these, ka, la and hrīṁ have been discussed in the first kūṭa, leaving two new bījas in this kūṭa. Out of the new bījas, ha has been repeated twice. The first ha means Śiva; the second ha means ākāśa element (Saundarya-Laharī, Verse 32 refers this second ha as the sun) and sa in this place means Viṣṇu. With reference to the five basic elements, sa means air element. The bīja ha is also known as “eunuch bīja.” Probably this is the reason why the bīja hrīṁ refers to the union of Śiva and Śaktī. In the first kūṭa, Brahma was mentioned, as the first kūṭa refers to creation. In this kūṭa of sustenance, Viṣṇu is mentioned as He is the lord of sustenance. This kūṭa should be pronounced in a time frame of 11.5 mātrā. This kūṭa is to be contemplated from anāhata-chakra to ājñā-chakra in the form of an effulgence of millions of suns. This kūṭa is also called sūrya-khaṇḍa and 


Mahāṣoḍaśī-mantra Explanation

forms the second act of Brahman: sustenance. Since it is associated with sustenance, desire is attached to this kūṭa. The third and the last kūṭa called śakti-kūṭa has only four bījas. This kūṭa is to be meditated upon the portion between hip and the feet of Lalitāmbikā. The four bījas are sa ka la hrīṃ. The first kūṭa has five bījas, second kūṭa six bījas and the third has only four bījas. Possibly this could mean that sustenance is the most difficult act and dissolution is the easiest act. Vāgbhava-kūṭa refers to subtle intellect, kāmarāja-kūṭa refers to preponderance of valor, wealth, fame, etc and the third kūṭa, the śakti-kūṭa expands the conveyance of the previous two kūṭas. Notice that the two ha bījas in the madhya-kūṭa are removed in śakti-kūṭa. This kūṭa is to be contemplated from anāhata-chakra to the middle of the forehead in the forms of brightness comparable to millions of moons. There are nine stages from anāhata to the middle of the forehead. These nine stages are the same nine components of nāda discussed under hrīṃ: ardacandra, rodhinī, nāda, nādānta, śakti, vyāpikā, samanā and uṇmanī. This kūṭa is called candra-khaṇḍa and forms the third act of Brahman, the dissolution. The dissolution is represented by the bījā la which means the destructive weapons: vajra (thunderbolt), cakra (wheel of time, the Sudarśana-chakra of Viṣṇu), triśūla or trident of Śiva and Viṣṇu‘s gada (club). There are three hrīṃs in Pañcadaśī, representing creation, sustenance and dissolution. Śaṅkarācārya also talks about the bījas of Pañcadaśī in a secretive manner in Saundarya-Laharī verse 32. Śaṅkarācārya says the second kūṭa, out of the Mahāṣoḍaśī-mantra Explanation two ha bījas, means sun instead of ākāś element. The interpretations of the bījas differ from scholar to scholar. It is also pertinent to note that chanting one Pañcadaśī mantra is equivalent to three recitations of pūrṇa Gāyatrī mantra. Pūrṇa or Turīya Gāyatrī means an addition of paro rajase sāvadom as the last line in addition to the existing three lines. This line is customarily given at sannyāsa initiation.

It is said that one repetition of Panchadasi mantra is equivalent to three repetitions of Turīya Gāyatri mantra: 1) ॐ भूभुवर्ः स्वः॥ āūṁ bhūr bhuvaḥ svaḥ ||
 2) ॐ तित्सवतुवरर्ण्ये ◌ं । āūṁ tat savitur vareṇyaṁ |
 3) भगोर् देवस्य धीमही। bhargo devasya dhīmahī |
 4) ि◌धयो यो नः प्रचोदयात्॥ dhiyo yo naḥ pracodayāt || 5) परोरजसे सावदोम्॥ parorajase

also represent the letter ल la and is in the form of a prayer addressed to Śiva to inspire our mind to move towards That which is beyond contemplation. Parorajase sāvadom represent ह्रीं hrīm. Parorajase sāvadom mean beyond the word, the Supreme Light, Prakāśa, Śiva. This is beyond the three gunas, the Absolute Consciousness whose abode is in the heart (the Self within). The five letters in this kūṭa represent the five primary elements of creation.

sāvadom ||

Second pada or Kāmarāja-kūṭa:

Out of the five lines above, first line is the vyāhṛtis. Second, third and fourth lines together form the regular Gāyatri mantra. These lines are called first, second and third pada (pada means step). In Turīya Gāyatri, a fourth pada is added at the end of third pada which is the fifth line above.

That is the Self or Brahman. Savitṛ vareṇyaṁ here represents two letters ह ha and स sa. ha refers to sun and sa refers to moon. These two letters represent

परोरजसे सावदोम्॥ parorajase sāvadom ||

Bhargo devasya represent the letter क ka and denotes Śiva. dhī represents ह ha and referring to Śiva, which is considered as the seed letter for the next

Parorajas means beyond the world and this can be explained as the turīya state wherein all the three normal states of consciousness exist. The turīya state is also called witnessing consciousness. This is also explained in Bṛhadāraṇyaka Upaniṣad. Mahāṣoḍaśī-mantra Explanation

the Divine Essence of Śiva and Śakti. These two letters also mean the Supreme Self and the individual self.

word mahi, which means the earth. Mahi refers to ल la.
 Parorajase sāvadom represent ह्रीं hrīṁ. Parorajase sāvadom mean beyond the word, the Supreme Light, Prakāśa, Śiva. This is the Absolute Consciousness whose abode in the heart—the Self within beyond the three guṇas.

First pada or vāgbhava-kūṭa:
 Tat refers to Brahman (That) and this is represented by the letter ka क.

Third pada or Śakti-kūṭa:

Savitur varenya is split into two: savitṛ and varenya represented by the next letter ए e. Savitṛ refers to the creative aspect of Brahman and varenya means

indicating the individual soul.

the best and adorable.
 Bhargo devasya dhīmahī is represented by the letter ई ī. This pada is split into bharga + devasya + dhī + mahī. Bharga means the innermost Self of everything. Devasya means belonging to Brahman. Dhī means to meditate. The last part of this pada is taken to the next letter ल la. Mahī of the previous letter and the third pada, dhiyo yo na pracodayāt represent the letter ल la. Mahi means mahat or great. Dhiyo yo na pracodayāt

Tat Savitṛ vareṇyaṁ is represented by the first letter of this kūṭa स sa,

Bhargo devasya dhī is represented by the letter क ka and denotes Śiva. Mahi refers to ल la, the seed letter for earth, mahi. Parorajase sāvadom represent ह्रीं hrīṁ. Parorajase sāvadom mean beyond the word, the Supreme Light, Prakāśa, Śiva. This is beyond three guṇas, the Absolute Consciousness whose abode in the heart (the Self within). Thus, one repetition of Pañcadaśī mantra is equivalent to three repetitions of Turiya Gāyatri. It is generally said that no mantra should be repeated more than the number of repetitions of Gāyatri mantra.

Mahāṣoḍaśī-mantra Explanation

āūṁ śrīṁ hrīṁ klīṁ aiṁ sauḥ aṅguṣṭhābhyām namaḥ

Śrī Mahāṣoḍaśī Mahāmantra Japa Procedure

Use both the index fingers and run them on both the thumbs.

While doing Mahāṣoḍaśī Mahāmantra japa, one has to either face East or North. If one does not have a guru, contemplate Lord Dakṣiṇāmūrti and mentally accept Him as guru.

āūṁ hrīṁ śrīṁ tarjanībhyāṁ namaḥ Use both the thumbs and run them on both the index fingers. ka e ī la hrīṁ madhyamābhyāṁ namaḥ

1. Curse Removal Mantra: Both the thumbs on the middle fingers. śrī mahāṣoḍaśī mahāmantra japatvena śāpavimocanamantram kariṣye

ha sa ka ha la hrīṁ anāmikābhyāṁ namaḥ

First Part – Should Be Recited Seven Times: Both the thumbs on the ring fingers. ई ए क ल ह्रीं ī e ka la hrīṁ
 ह स क ह ल ह्रीं ha sa ka ha la hrīṁ स क ल ह्रीं sa ka la hrīṁ Second Part – Should Be Recited Three Times:

sa ka la hrīṁ kaniṣṭhīkābhyāṁ namaḥ Both the thumbs on the little fingers. sauḥ aiṁ klīṁ hrīṁ śrīṁ karatalakarapṛṣṭhābhyāṁ namaḥ

ह स क ह स क ह ल ह्रीं ha sa ka ha sa ka ha la hrīṁ स क ल ह्रीं sa ka la hrīṁ
 ई ए क ल ह्रीं ī e ka la hrīṁ Third Part – Should Be Recited One Time: ह ल भ भ भ भ भ अ ha la bha bha bha bha bha a 2. Ṛṣyādi Nyāsaḥ ऋिष्याद न्यासः

Open both the palms; run the opened palms of the right hand on the front and back sides of the left palm and repeat the same for the other palm. 4. Hrdayādi Nyāsaḥ ह्र्दियाद न्यासः āūṁ śrīṁ hrīṁ klīṁ aiṁ sauḥ hrdayāya namaḥ Open index, middle and ring fingers of the right hand and place them on the heart chakra.

asyaśrī mahāṣodaśī mahāmantrasya
 śrī dakṣiṇāmūrti ṛṣiḥ
 gāyatrī chandaḥ
 śrī lalitāmahātripurasundari parābhaṭṭārikā devatā |

Mahāṣoḍaśī-mantra Procedure

aiṁ bījaṁ | sauḥ śaktiḥ | klīṁ kīlakam 
 śrī lalitāmahātripurasundari parābhaṭṭārikā darśana bhāṣaṇa siddhyarthe

Open middle and ring fingers of the right hand and touch the top of the forehead.

śrī mahāṣoḍaśī mahāmantra jape viniyogaḥ 

ka e ī la hrīṁ śikhāyai vaṣaṭ
 Open the right thumb and touch the śikhā at the back of the head.

3. Karanyāsaḥ करन्यासः

āūṁ hrīṁ śrīṁ śirase svāhā

ha sa ka ha la hrīṁ kavacāya huṁ

6. Pañcapūjā पञ्चपूजा laṁ—pṛthivyātmikāyai gandhaṁ samarpayāmi

Cross both hands and run the fully opened palms from shoulders to fingertips

Use both the index fingers and run them on both the thumbs. haṁ—ākāśātmikāyai puṣpaiḥ pūjayāmi

sa ka la hrīṁ netratrayāya vauṣaṭ Use both the thumbs and run them on both the index fingers. Open the index, middle and ring fingers of the right hand; touch both the eyes using index and ring fingers and touch the ājñā cakra with the middle finger.

yaṁ—vāyvātmikāyai dhūpamāghrāpayāmi

sauḥ aiṁ klīṁ hrīṁ śrīṁ astrāya phaṭ

raṁ—agnyātmikāyai dhīpaṁ darśayāmi

Open up the left palm and strike it three times with index and middle fingers of the right hand

Both the thumbs on the ring fingers.

bhūrbhuvassuvaromiti digbandhaḥ Use right hand thumb and middle fingers make rattle clockwise around the head

Both the thumbs on the middle fingers.

vaṁ—amṛtātmikāyai amṛtaṁ mahānaivedyaṁ nivedayāmi Both the thumbs on the little fingers. Mahāṣoḍaśī-mantra Procedure

5. Dhyānam ध्यानम्


saṁ—sarvātmikāyai sarvopacāra pūjām samarpayāmi

cāpaṁ cekṣumayaṁ prasūnaviśikhān pāśāṅkuśaṁ pustakaṁ

Open both the palms; run the opened palms of the right hand on the front and back sides of the left palm and repeat the same for the other palm.

māṇikyāṣasṛjavaraṁ maṇīmayīṁ vīṇāṁ sarojadvayaṁ | Mahāṣoḍaśī-mantra Procedure pāṇibhyāṁ varadā abhayaṁ ca dadhatīṁ brahmādisevyāṁ parāṁ sindūrāruṇa vigrahāṁ bhagavatīṁ tāṁ ṣoḍaśīmāśraye  “She has twelve hands, holding (1) a bow made of sugarcane, (2) arrows made of kadamba flowers, (3) a noose, (4) a hook, (5) a book, (6) a rosary made of rubies, displays (7) abhaya-mudra (removal of fear) and (8) varadhamudra (giving boons) She closely holds a vina (a musical instrument) with two hands (9 and 10) and lotus flowers in two hands (11 and 12) one on each side. She is worshipped by Brahmā and other gods and goddesses. She is red in complexion. I surrender unto this Supreme Goddess.”

7. Śrī Mahāṣoḍaśī Mahā Mantraḥ श्री महाषोडशी महा मन्त्रः Here is where one chants the mantra. The upavitam (sacred thread) should be wrapped clockwise around the thumb 2-1/2 times. If desired, japa-mālā can also be used to count the mantras. Or one can simply chant as long as desired. 8. Hrdayādi Nyāsaḥ ह्र्दियाद न्यासः (Same as before) āūṁ śrīṁ hrīṁ klīṁ aiṁ sauḥ hrdayāya namaḥ Open index, middle and ring fingers of the right hand and place them on the heart chakra.

āūṁ hrīṁ śrīṁ śirase svāhā

laṁ—pṛthivyātmikāyai gandhaṁ samarpayāmi

Open middle and ring fingers of the right hand and touch the top of the forehead.

Use both the index fingers and run them on both the thumbs. Mahāṣoḍaśī-mantra Procedure

ka e ī la hrīṁ śikhāyai vaṣaṭ
 Open the right thumb and touch the śikhā at the back of the head. ha sa ka ha la hrīṁ kavacāya huṁ Cross both hands and run the fully opened palms from shoulders to fingertips

haṁ—ākāśātmikāyai puṣpaiḥ pūjayāmi Use both the thumbs and run them on both the index fingers. yaṁ—vāyvātmikāyai dhūpamāghrāpayāmi Both the thumbs on the middle fingers.

sa ka la hrīṁ netratrayāya vauṣaṭ

raṁ—agnyātmikāyai dhīpaṁ darśayāmi

Open the index, middle and ring fingers of the right hand; touch both the eyes using index and ring fingers and touch the ājñā cakra with the middle finger.

Both the thumbs on the ring fingers.

sauḥ aiṁ klīṁ hrīṁ śrīṁ astrāya phaṭ

Both the thumbs on the little fingers.

Open up the left palm and strike it three times with index and middle fingers of the right hand

saṁ—sarvātmikāyai sarvopacāra pūjām samarpayāmi

bhūrbhuvassuvaromiti digbandhaḥ Use right hand thumb and middle fingers make rattle anticlockwise around the head. 9. Dhyānam ध्यानम् cāpaṁ cekṣumayaṁ prasūnaviśikhān pāśāṅkuśaṁ pustakaṁ māṇikyāṣasṛjavaraṁ maṇīmayīṁ vīṇāṁ surojadvayaṁ | pāṇibhyāṁ varadā abhayaṁ ca dadhatīṁ brahmādisevyāṁ parāṁ sindūrāruṇa vigrahāṁ bhagavatīṁ tāṁ ṣoḍaśīmāśraye || (Same as before) 10. Pañcapūjā पञ्चपूजा (Same as before)

vaṁ—amṛtātmikāyai amṛtaṁ mahānaivedyaṁ nivedayāmi

Open both the palms; run the opened palms of the right hand on the front and back sides of the left palm and repeat the same for the other palm. 11. Samarpaṇam समपनर्म
् guhyāti guhya goptrī tvaṁ gṛhāṇāsmat-kṛtaṁ japam| siddhirbhavatu me devī tvatprasādānmayi stirā||
 “You sustain the secret of all secrets. Please accept this japa performed by me and bestow Your perpetual Grace on me.”

4. BHUVANESHWARI Bhuvaneśvari is the fourth of ten Mahāvidyā-s. Bhuvaneśvara means Lord of the universe (Śiva) and His Consort is Bhuvaneśvari; it is like Bhairava and Bhairavi. She represents ākaśa or space tattva. According to Taittirīya Upaniṣad (II.1) ākaśa is the first amongst creation. It says. “From this Self comes space; from space, air; from air fire; from fire water, from water earth; from earth plants and herbs; from plants and herbs food and from food, human beings.” Since She represents space or ākaśa, it is obvious, that She is the cause of creation. She is also known as Vimarśa (consideration and reasoning), which also goes to prove that She is the creator. Creation is made out of Śiva’s power, which is also known as Vimarśa. In this form, She is not with Śiva’s lap as Her right leg is down and Her left leg is folded when compared to Lalitāmbikā, where She is seated with Her left leg down. Lalitā Sahasranāma 294 is Bhuvaneśvarī is explained like this: Bhuvana means the universe. She is the ruler (Īśvari) of this universe. Seven worlds below the planet earth including earth and seven worlds above the earth are together called universe. These fourteen represent the products of the five tattva-s and antaḥkaraṇa. “hrīṃ” (ह्रीं) is known as Bhuvaneśvari bīja, also known as māyā bīja. This bīja has the potency of creation and is considered as one of the powerful bīja-s, as it is the combination of Śiva bīja (ह), Agni (र)◌ं bīja and kāmakalā (ईं). When She is enjoying all the luxuries, She ought to be a great ruler and this is what is stressed here. Bhuvaneśvara is Śiva and His wife is Bhuvaneśvarī. It is said that She is Aditi referred by Vedas. Aditi is boundlessness, immensity, inexhaustible abundance, unimpaired condition, perfection, creative power. She is said to be of one of the most ancient of the Indian goddesses mentioned in Rig Veda. She is also mentioned as the daughter of Dakṣa and wife of Kaśyapa, mother of the Ādityas and of the gods. By all the gods it is implied that She is Universal Mother. Since She is considered as the cause of creation, She also represents māyā, the illusion. Māyā is explained in Lalitā Sahasranāma 716 and is explained thus: She is māyā. Māyā is illusion. The root of māyā is ma. Ma means ‘to measure’. It also means ‘leading to the idea of illusion’. Brahman is immeasurable but due to the influence of māyā, Brahman appears to be measurable. In other words, Brahman is beyond time and space but

due to the influence of māyā Brahman appears as if bound by time and space. For easier understanding, Brahman is said to have two aspects – saguṇa (with attributes) and nirguṇa (without attributes). Nirguṇa Brahman in conjunction with māyā becomes saguṇa Brahman. The appearance of the universe is due to the projection by māyā. From the point of view of Vedānta consciousness is the subtlest of all existents. Pure consciousness is the basis of varied existence of the universe. All these variations are due to the superimposition of names and forms by māyā which is the principle of appearance that is neither real nor unreal. The Self-illuminating Brahman which is pure and limitless consciousness manifests as manifold souls in living organisms. The manifestation of the Brahman is noticeable only in the living beings, whereas it stands hidden in non-livings. In the case of human beings, the pure and limitless consciousness manifest as self with independent mind. Māyā is a mystery of omnipresent power that works like a supreme faculty of self- transformation.
 It appears in the form of deceptive masks producing only illusionary effects. Māyā covers the Brahman that exists in all beings in this universe. This covering is like a sheath or a veil. Unless this veil is removed, the Brahman cannot be realized. For removing this veil, knowledge is required. As long as the veil continues to remain, one continues to remain ignorant (avidyā). Macro-cosmic reflection of the Brahman is māyā. Śiva is the Brahman and Śaktī is māyā. Unless, Śaktī clears the path, Śiva cannot be realized and it is only Śaktī, who is capable of revealing Śiva. She reveals Śiva only if impurities of physical bodies, subtle bodies and casual bodies are totally removed. Hence, Śaktī worship is considered as important. Kṛṣṇa says in Bhagavad Gīta (VII.14) “For this most wonderful māyā of Mine, consisting of three guṇa-s (sattva, rajas and tamas), is extremely difficult to break through. Those who constantly adore me are able to cross it.” She is represented by bīja hrīṁ (ह्रीं). This is explained in Lalitā Sahasranāma 301. She is in the form of māyā bīja hrīṁ. Hrīṁ is also called śākta praṇava or śaktī praṇava, which means that the worshippers of śaktī, call hrīṁ as praṇava bīja of Śaktī. This is also known as Bhuvaneśvarī bījā (Nāma 294 is Bhuvaneśvarī). Praṇava is the supreme ॐ. The power of hrīṁ bīja is as powerful as ॐ. That is why in Pañcadaśī mantra every kūṭa or group ends with the bīja hrīṁ. Hrīṁ is the combination of ha (ह) + ra (र) + ī (ई) + ma (म) + bindu ('). Ha refers to manifestation, ra indicates involution (action of enfolding, the action of māyā), ī indicates perfection and the bindu, a dot on top of the bīja controls all the three. Therefore hrīṁ means manifestation, involution and

perfection. The appearance of the bodily form enfolded by perfection is the literal meaning of the bīja hrīṁ. This means that māyā or illusion is causing a veil around the Brahman and this veil can be removed only if one realizes the Supreme Consciousness of Śaktī. Unless the kinetic energy (Śaktī) is fully realized, it is not possible to feel the pulsation of Śiva, the static energy. In fact this bīja can also be called as Śiva-Śaktī bīja as ha stands for Śiva bījā and kāmakalā - īṁ (ईं) stands for Śaktī bīja. The bīja ra (र) conjoins these two bīja-s to form a single Śiva-Śaktī bīja. The role of ra in any bīja is significant. The sound of ra is the chief of all the sounds. Whenever hrīṁ is chanted, it endues peace and auspiciousness. In any bīja the bindu is important and most of the bīja-s have bindu. For example take the letter ha (ह). When a dot is placed at the top of this ha it becomes haṁ (ह)◌ं . Without bindu an alphabet remains as an alphabet and becomes a bījā only if a ‘dot’ is placed above the alphabet. The bindu though tiny, is yet very
 powerful. There are three major sub divisions in a bindu leading to the union of Śiva and Śaktī, from where the three exclusive actions of the Brahman viz. creation, sustenance and destruction originate. The three major sub divisions are bindu representing Śiva, bīja representing Śaktī and nāda representing their union. A bindu above ha, one of the alphabets of hrīṁ spells like haṁ. This bīja haṁ, a component of hrīṁ represents creation (h), sustenance (a) and destruction (ṁ) the three functions of the Brahman. The bindu undergoes subtle changes from its origin to delivery. It originates as Parā Śaktī and gets modified as paśyantī, madhyamā and delivered at vaikari, (Please refer nāma 299 for additional details.) At the time of delivery it undergoes modifications through eight stages) by deriving power from five basic elements and gets blessed by Brahma, Viṣṇu and Rudra. It begins its journey from the heart cakra with the letter ‘a’ (अ), moves to the throat cakra and conjoins with ‘u’(उ) and further goes up to palate where it conjoins with ‘ṁ’ (मं), the three components of OM (a + u + ṁ). From the palate it moves to forehead where it derives its cosmic energy received through the crown cakra, enters the world of śūnya ( cosmic vacuum) where no energy operates, moves further up towards the top of the skull establishing a link through brahmarandhra with mahā śūnya (the great cosmic vacuum), where the Creation takes place. When it moves further, the creation becomes transcendental energy and the life begins to exist out of the Self illuminating cosmic brilliance. That is why bindu is said to be in the form of a luminous dot like the sun, born out of the union

of Śiva and Śaktī. There is no differentiation between the bīja hrīṁ and Śiva-Śaktī combine, the point of origin and the point of annihilation of this universe. Bhuvaneśvari is described with four arms and various anagoges describe different weaponries. In general, She holds goad and noose, as in the case of Lalitāmbikā. She also holds abhaya mudra, a symbol of offering security and offering peace, safety and security. In another hand She holds a chisel. Chisel is the symbolic representation of annihilation of sinners. In some of the descriptions, chisel is not described and instead varada mudra, which symbolizes granting of boons is described. HER MANTRAS:
 1. Single letter mantra, known as ekākṣara mantra, which is ह्रीं hrīṁ 2. Three letter mantra known as trakṣara mantra, which is ऐ ◌ं ह्रीं श्रीं aiṁ hrīṁ śrīṁ. Here Bhuvaneśvari bīja is encased (sampuṭīkaraṇa) between Sarasvatī and Lakṣmī bīja-s in the beginning and at the end respectively. Om Hreem Bhubaneswaraye Hreem Namah

5. CHINNAMASTA Chinnamasta is the fifth of ten Mahāvidyā-s. Chinna means cutoff or chopped off. In this form, Devi is holding her chopped head in her left hand. This form is slightly disturbing to look at, from the point of view of appearance and description. She is depicted in nude and drinking blood gushing out from her body, after chopping off her head. Though she is nude, nobody is able to see her like this, as her body is several times radiating than sun, as she is described to be seated in the disc of the sun (disc of the sun is described as Aten, often referred as Egyptian deity). Out of her chopped head, blood flows from her trunk through iḍa, piṅgala and suṣumna. The flow of blood from suṣumna is drunk by her and blood flow from iḍa and piṅgala are drunk by her two attendants, Ḍākinī and Varṇinī appearing in her posture. She is known as Chinnamuṇḍa in Buddhism. She is often described in standing posture with one foot forward on the intertwined bodies of Manmatha and his wife Rati. Understanding Her depends upon how one can interpret Her form. She is known as Vajrayoginī in Buddhism.

There are mythological stories about Her form. According to the first story, Pārvatī, Shiva’s Consort went to take bath in a river along with her two attendants and got engrossed in concupiscent thoughts about Shiva for a very long time. Her attendants (also known as Jayā and Vijayā) asked her food, as they were hungry. In spite of their repeated attempts, she did not come out of her thoughts. When they could no longer withstand their hunger, they finally told her that she has to give them food as it is her responsibility to take care of them. Suddenly Pārvatī realized her mistake and using her finger nails, she chopped off her head. The chopped head fell on her left palm and thereafter three blood streams began to gush out from her throat (from where her head was chopped off) and one stream fell into the mouth of Jayā (also known as Ḍākinī) and the other on the mouth of Vijayā (also known as Varṇinī). These two streams are referred as iḍa and piṅgala nāḍi-s. Central stream fell into her own mouth and this stream is referred as suṣumna nāḍi. There are few things that can be interpreted from this story. Merely praying to her is not enough. Only surrendering to her alone makes her to shower her grace. The two attendants asked her for food repeatedly and she did not even listen to them. When they thought that they have no other way except to surrender to her, she did listen to their cries and gave her own blood to them. The concept of surrender is implied here. Lalitā Sahasranāma (546) worships her as Bandha-mocanī (She liberates from bondage. Bondage is caused by ignorance or avidyā. Bondage means a soul remaining afflicted by desires and attachments. She removes such bondage for those who surrender to Her, beginning of the process of liberation.) Saundaryalaharī, verse 27 explains how to surrender “Let my speech be your japa, my movement of hands be your mudras, my locomotion be circumambulation for you, my eating and drinking be fire oblations for you, my lying down be prostrations for you, all my enjoyments be my surrender to You and let these actions of mine become the main part of Your worship.” Secondly, it also implies that at the time of kuṇḍalinī ascension, all the three nāḍi-s have to be active though in different proportions. Kuṇḍalinī surges through suṣumna nāḍi, though prāṇa supports the ascension of kuṇḍalinī through suṣumna, by remaining active in both iḍa and piṅgala nāḍi-s. Thirdly, by describing her as the one immersed in amatory thoughts, it is said that conjugal relationship is part of worshipping her. It sets aside illogical teaching that conjugal relationship should not be entertained while worshipping her. Worshipping her does not mean that one should follow celibacy. In fact, it has been explained in many Scriptures that kuṇḍalinī can be awakened during conjugation. It must always be remembered that spiritual world does not exist outside the material world. It is like mind existing within the body. At the same time, Scriptures also prescribe certain restrictions and prohibitions on overdoing any act. In the case of Manmatha and his wife Rati, by

standing on their uncovered bodies, she teaches them a lesson by crushing them under her feet. (Bhagavadgītā IV. 7 to 9 says” Whenever virtues (dharma) decline and immorality (adharma) looms, I embody as an avatar. To sustain the pious, to eliminate the sinners and to protect dharma I incarnate in every yug. Arjuna! My avatar and actions are divine. The one who understands this principle is not born again and reaches me when he dies.” There is another mythological story which goes like this, but does not differ from the first one much. Here it is said that during conjugation of Śiva and Śakti (here her form is described as Caṇḍikā), her two attendants, Jayā (also known as Ḍākinī) and Vijayā (also known as Varṇinī) were born out of procreative fluid of Shiva. The story further talks about the origin of Krodha Bhairava, etc. The one important difference between the previous story and this one is that in the first one, Shiva is said to be very powerful and in the second one, Caṇḍikā is said to be powerful in terms of their positioning of their respective bodies. This goes to prove, that both Śiva and Śakti are equally powerful and sometime, Śiva is powerful and sometimes Śakti is powerful depending upon the prevailing circumstances. There are contradictory opinions whether she is eligible to find a place in ten Mahāvidyā-s. Even today there are different opinions about her and some even call her as durdevata (evil deity) or lower class of deity due to her headless form, amorous thoughts and nudity. Some are of the opinion that she should be worshiped only through vāmācāra or left hand practice. But for a realized person, these shapes and forms do not matter. What matters to a practitioner is only his consciousness. He needs to purify his consciousness using his breath and mind and once consciousness is purified, it goes out of the body which leads to his universal realization. Her form also describes this subtle conveyance. Mind and individual consciousness is restricted only to the body. When mind is cleansed and consciousness goes out of the body through brahmarandhra at sahasrāra, all his or her dualistic mind set is destroyed and finally realizes the omnipresent Śiva. Drinking of blood by her also signifies absorption unto her. Some also describe her as goddess of annihilation or mahāpralaya. Lalitā Sahasranāma 571 says Mahā-pralaya-sakṣiṇī. Saundarya Laharī (verse 26) describes this event. “Brahma, Viṣṇu, Yama, Kubera, Indra all get annihilated. But your consort Śiva plays around with you.” The ultimate aim of this iconic representation of this goddess reveals that nothing is right and nothing is wrong, as Brahman encompasses both good and bad. Obviously we cannot say good Brahman and bad Brahman. Brahman is eternal and omnipresent, irrespective of the shapes and forms we worship. Her uncovered form clearly says that one has to transcend the attraction of physical bodies and has to go beyond one’s body to realize the omnipresence of Shiva.

{Further reading: What is out of body consciousness? According to Dr. Frederic Aardema, “There is certain coherency to the idea that the further your consciousness move away from physical existence, the less involved your brain will be, ultimately resembling death. At the same time, most strikingly, your sense of being never appears to come to an end. You may lose many mental and perpetual faculties we so often associate with consciousness, yet you continue to exist.}
 HER MANTRAS:
 (In these three mantras prefixed bījākṣara-s are placed in different positions) 1. ॐ श्रीं ह्रीं ह्रीं वज्र वैरोचनीये ह्रीं ह्रीं फट् स्वाहा॥
 om śrīṁ hrīṁ hrīṁ vajra vairocanīye hrīṁ hrīṁ phaṭ svāhā ||
 2. ॐ श्रीं ह्रीं ह्रीं ऐं वज्र वैरोचनीये ह्रीं ह्रीं फट् स्वाहा॥ om śrīṁ hrīṁ hrīṁ aiṁ vajra vairocanīye hrīṁ hrīṁ phaṭ svāhā || 3. ॐ श्रीं ह्रीं ह्रीं क्लीं ऐं वज्र वैरोचनीये ह्रीं ह्रीं फट् स्वाहा॥
 om śrīṁ hrīṁ hrīṁ klīṁ aiṁ vajra vairocanīye hrīṁ hrīṁ phaṭ svāhā ||
 The following four mantras are known as प्रचण्डिचण्डका pracaṇḍacaṇḍikā mantras:
 (In these four mantras prefixed bījākṣara-s are placed in different positions)
 1. ॐ श्रीं क्लीं ह्रीं ऐं वज्र वैरोचनीये ह्रीं ह्रीं फट् स्वाहा॥ om śrīṁ klīṁ hrīṁ aiṁ vajra vairocanīye hrīṁ hrīṁ phaṭ svāhā || 2. ॐ क्लीं श्रीं ह्रीं ऐं वज्र वैरोचनीये ह्रीं ह्रीं फट् स्वाहा॥
 om klīṁ śrīṁ hrīṁ aiṁ vajra vairocanīye hrīṁ hrīṁ phaṭ svāhā ||
 3. ॐ ह्रीं श्रीं क्लीं ह्रीं ऐं वज्र वैरोचनीये ह्रीं ह्रीं फट् स्वाहा॥ om hrīṁ śrīṁ klīṁ hrīṁ aiṁ vajra vairocanīye hrīṁ hrīṁ phaṭ svāhā || 4. ॐ ऐं श्रीं क्लीं ह्रीं ऐं वज्र वैरोचनीये ह्रीं ह्रीं फट् स्वाहा॥ om aiṁ śrīṁ klīṁ hrīṁ aiṁ vajra vairocanīye hrīṁ hrīṁ phaṭ svāhā ||
 It can be found from the above mantras only the following bījākṣara-s are repeatedly transposed.
 1. श्रीं śrīṁ -- This is known as Lakṣmī bīja and mostly placed along with ह्रीं (hrīṁ). Apart from causing auspiciousness, this bīja produces enough solar energy within the body and makes the mind calm and tranquil. If this bīja is added to Pañcadaśī mantra at the end, we get Laghu Ṣodaśī mantra. This bīja works along with sauḥ (सौः) in offering Liberation. Again श्रीं

(śrīṁ) consists of three letters śa, ra and ī and nāda and bindu. Śa refers to Goddess of wealth Lakṣmī and ra is wealth itself, Ī refers to satisfaction, nāda is apara (having nothing beyond or after, having no rival or superior) and bindu dispels sorrow. This clearly explains that Mahāṣoḍaśī Mantra not only gives Liberation, but also gives material prosperity, peace of mind and satisfaction in life. 2. ह्रीं hrīṁ -- This is known as māyā bīja. ह्रीं (hrīṁ) and श्रीं (śrīṁ) are often placed together. Ha meansŚiva, ra means Prakṛti, Ī means mahāmāya (She is Prakāśa- vimarśa- mahāmāyasvarūpinī). Nāda is Divine Mother (mother of universe) and bindu is the dispeller of sorrow. (Interpretations always vary according to bīja-s. For example, it is said in śrīṁ that ra is wealth, whereas here it is explained that ra isPrakṛti. It all depends upon context and conjunction.) It is also said that hrīṁ produces solar energy within the body. This bīja causes Bliss (There are six ह्रीं (hrīṁ) in Mahāṣoḍaśī Mantra). Śiva speaks a lot about usage of ह्रीं (hrīṁ) in Mahānirvāṇa Tantra, particularly in kali yuga. 3. ऐ ◌ं aiṁ -- This is known as Sarasvatī bīja. ai (ऐ) refers to Sarasvatī and bindu as usual is the dispeller of sorrow and miseries. It is sometimes called Guru bīja, which implies that this bīja endows knowledge. This bīja establishes a strong connection between the deity and mantra, as this bīja works on buddhi (intellect).
 4. क्लीं klīṁ -- This is known as kāma bīja. It is the bīja for attraction. This bīja in fact promotes the potency of other bīja-s and the mantra as a whole. It works on heart chakra and kindles love for fellow beings. This helps us to achieve our material desires, when placed with other bīja-s. Ka refers to Manmatha, also known as Kāmadeva. There are references that ka also refers to Lord Kṛṣṇa; la refers to Indra, the chief gods and goddesses, Ī refers to contentment and satisfaction and the bindu here gives both happiness and sorrow. This is the effect of materialistic desires, which consists of both happiness and sorrow. This bīja acts in a strange way. It induces desires and at the same time if one is not satisfied with what is given, it also causes miseries.
 All these mantras have in common “vajra vairocanīye”. Vajra means thunderbolt, which refers to a weaponry of Indra, which was made out of spine of Sage Dadhīca (also known as Dadhīci). Vajra also refers to the lightning evolved from the centrifugal energy of the circular thunderbolt of Indra when launched at a foe. Vairocana means the disc belonging to the sun, the central point of the sun where She is supposed to reside. It is conveyed through “vairocanīye” that one gets Self-realized by perceptive illumination when one’s kuṇḍalinī is activated either through love for the Divine or through kuṇḍalinī meditation, to hasten the process

of illumination. Vairocana also means world of Buddhists. Upaniṣad-s also describe Brahman in the form of lightning. This is because, Brahman reveals Himself only in the form lightning which lasts only for a few seconds.

6. TRIPURABHAIRAVI This is the sixth of ten Mahāvidyā-s. Tri means three; pura means fortress, castle, city, town, etc; Bhairavi refers to the Consort of Bhairava, a form of Shiva. Three mythologically refers to three forts ruled by three demons. But, they subtly convey three different stages of consciousness, active, dream and deep sleep. She is in the form of all triads. For example, She is in the form of Brahma, Viṣṇu and Rudra; Icchā, jñāna and kriyā śakti-s; creation, sustenance and destruction; the three nādi-s, iḍā, piṅgala and suṣumna; three worlds, bhūr, bhuva, suvaḥ; three guṇa-s sattvic, rajasic and tamsic. She is in the form of all such triads and once these triads are transcended, the Brahman is attained. In other words, once we have Her Grace, we can realize Shiva. Hence She is called Tripurabhairavī. Bhairavī is exclusive Power of Bhairava. Ultimate is Brahman or Śiva, who transcends everything and abides in transcendental eminence, because He simply wants to remain there. This transcendental eminence is known as Śaktī. Practically speaking, there is no difference between Śiva and Śaktī. While Śiva is called Supreme, His unsurpassable divine energy is known as His Śaktī. She is known as anugrahātmika, the Grace incarnate. She is present in all conditions as the divine consciousness. The divine “I” consciousness is eternally present and hence Śiva is subjective in all the actions of the universe. Therefore, Śiva becomes the Ultimate Reality. Without Śiva, the universe cannot exist as He alone is Self-illuminating. This Selfilluminating light is prakāśa, without which no activity can happen in the universe. This light alone cannot cause activities in the universe. The light can be realized only if there are objects as otherwise, the luminance of prakāśa becomes unknown. Śiva can know His unsurpassable power only through vimarśa. Therefore, vimarśa (Bhairavī) becomes the reasoning factor of prakāśa, without which, prakāśa will remain obscure. In other words, without Śaktī, Śiva becomes inert. It is not that Śaktī is more potent than Śiva. Factually speaking, Śaktī would not have originated as an independent energy, but for the will of Śiva. Śiva has given His power of authority or svātantrya to Śaktī, without which She cannot carry out the universal process. Because of this Supreme power or svātantrya, Śaktī manifests as ‘This’, whereas, Śiva continues to remain the

Supreme “I” consciousness. It is due to the will of Śiva, Bhairavī creates nara or souls who get bound by Her illusionary power known as māyā. Again, Tripurabhairavī is set to be residing in mūlādhāra chakra. Her mantra consists of three bījākśara-s and all they form an inverted triangle in the centre of mūlādhāra chakra. She is the creator in mūlādhāra chakra in the form of kāmarūpā, which consists of three bindu-s (dots) forming an inverted triangle, from which all triads are born, which ultimately leads to the creation of this universe. The innermost triangle of mūlādhāra chakra is known as kāmarūpā. The three points of triangle have three bījākśara-s and the three bījākśara-s connected to each other by the sides of the triangle and each of these sides represent icchā śakti, jñāna śakti and kriyā śakti or the Divine will, Divine knowledge and Divine action. Divine action is the final stage of manifestation, the first two being desire to create and the requisite knowledge to create. How can She alone create? Shiva is there within that triangle. This also goes to prove that Śiva and Śakti are inseparable (Source: Ṣaṭcakra Nirūpaṇa). In Her yantra, the inverted triangle and the central bindu are prominently depicted (as in Śri Cakra). What is the difference between Tripurasundarī and Tripurabhairavī. Tripurabhairavī is posited as the latent energy (existing in unconscious or dormant form but potentially able to achieve expression; the energy contained in an object as a result of its position in space, its internal structure, and stresses imposed on it) whereas as Tripurasundarī who causes this latent energy to actualize and moves this energy upwards towards higher chakras till brahmarandhra at sahasrāra. She is also known as Vāk Devi, from whom speech originates. Speech originates from Prakāśa and vimarśa form of the Brahman, frequently referred while discussing the Supreme Reality or the Absolute. Generally it is to be understood that prakāśa form represent Śiva and vimarśa form represent Śakthī. Śiva or Parameśvara (parama means the highest) is pure and unblemished self-illuminating light and Śaktī or vimarśa is the realisation of this pure light. Prakāśa and vimarśa cannot be separated. There is a Sanskrit saying that word and its meaning cannot be separated; in the same way Pārvatī or Śaktī and Parameśvaran or Śiva cannot be separated from each other. When there is a brilliant light, one needs to have knowledge to realise it as light. Suppose, there is a candle burning, and on seeing the candle with light, one can say that the candle gives light. When one wants to see a candle light, he needs to have a lighted candle. The light and its visibility though separate, are interdependent. Visibility is the expression of light and without the source of the light, visibility becomes impossible. In the same way, light is of no use, if it is not reflected making the visibility possible. Both light and its expression together is known as light. This is called prakāśa vimarśa māyā or the Absolute. Sound originates from this

Absolute form. This Absolute form is also called parāvāc, which is primeval stage. The sound in this stage can be called as a seed that has not yet germinated. When the seed begins its germination, the stage is called paśyantī. At this stage the seed has the desire to grow. The stem becomes visible and the seed is set to commence its journey of growth. Though it is certain that there is going to be a tree at a future date, one does not know how the tree would be, big or small, fruit bearing or barren etc. When the sapling grows to a certain height, one is able to see its leaves, he will be able to identify what type of tree that would be. This stage is called madhyamā. The sapling further grows to become a tree, when one is able to see its flowers and fruits. He is able to recognize the nature of this seed totally now. The complete form of the tree is known at this stage. This is called vaikharī stage. These three stages originated from the form of the Absolute, the seed in this example. Absolute form is called as parāvāc. Parā mean the highest form or the supreme form and vāc means sound. Parāvāc means the supreme form of sound. From this parā form or the seed form sound germinates, grows and yields words. The result is a full word with meaning. In a human being this parāvāc is said to be in the form of kuṇḍalinī energy posited in mūlādāra cakra or base cakra. From the base cakra, the seed of the sound begins its ascent, reaches manipūraka cakra or navel cakra in the form of paśyantī, moves to anāhat cakra or heart cakra in the form madhyamā and reaches viśuddhi throat cakra as vaikharī where the final cleansing takes place. From the throat cakra the physical form of words are delivered. The vibration of kuṇḍalinī energy is the seed of the sound. When a desire of speech arises, it manifests as Śabda Brahman at mūlādhāra and moves up to take a physical form and delivered through throat cakra in the form of vaikharī. Śabda Brahman is the Brahman in the form of sound. Like universe manifesting from the Brahman, words originate from Śabda Brahman. In reality, these two Brahmans are not different. Apart from the above aspects, there are other descriptions about Her forms and activities. Since She is spoken of Shiva’s Consort, naturally His powers rest with Her. She is Shiva’s Svātantrya Śaktī (Independent and exclusive Power of Shiva). She is described with various forms. She is seated on a lotus; with four hands; one with a book, one with rosary beads, one with chin mudra and another with varada mundra. In another form, she is carrying a sword and a cup containing blood and other two hands showing abhaya and varada mudras. She is also depicted as sitting on Shiva, which is more predominant in tantric worship. She is also depicted as a queen, closely resembling Rājarājesvarī. HER MANTRAS:
 There are many types of mantras for Her, based on the form with which She is contemplated. Some of them are given here.


1. Tripurabhairavī:
 हसैं हसकरीं हसैं॥ hasaiṁ hasakarīṁ hasaiṁ || 2. Tripurabhairavī Pañcakūṭā Mantra (पञ्चकू टा मन्त्र): ह्स्रौं ह्स्क्ल्रीं हस्रौं॥ hsrauṁ hsklrīṁ hasrauṁ ||
 3. Tripurabhairavī Sampatpradā Mantra (सम्पत्प्रदा मन्त्र): हस्रैं ह्स्क्ल्रीं हस्रैं॥ hasraiṁ hsklrīṁ hasraiṁ ||
 4. Rudrabhairavī Mantra (रुद्रभैरवी मन्त्र):
 हस्ख्फ्रें हस्क्ल्रीं हसौः॥ haskhphreṁ hasklrīṁ hasauḥ || 5. Bhuvaneśavarī Bhairavī Mantra (भुवनेशवरी भैरवी मन्त्र)
 हसैं हस्क्ल्ह्रीं हसौः॥ hasaiṁ hasklhrīṁ hasauḥ ||

7. Dhūmāvatī Dhūmāvatī is the seventh of ten Mahāvidyā-s. Dhūma means smoke and Dhūmāvatī is said to be in the form of smoke, mostly relating to funeral pyre. Out of the ten Mahāvidyā-s, only Dhūmāvatī is considered as inauspicious. She looks very aged, wearing rags, unkempt hair, wrinkles on her face and all over the body. She travels in a small four wheeled chariot, which has a flag bearing an image of crow and a banner also containing images of crows. It is said that this chariot is drawn by big sized crows. There are opinions that she has no one to draw this chariot. She is depicted as very old, with shrivelled skin and as a widow. The main reason of depicting her in such an inauspicious form could be due to the fact that our lives contain both good and bad; both auspicious and inauspicious; both right and wrong, etc. In the higher levels of spiritual attainments, one does not differentiate between dichotomies. For them the entire universe is only Shiva, which means Shiva is control of all dichotomies. Śrī Rudraṁ is a typical example how Shiva prevails both as good and bad. Otherwise, His omnipresence will become disputable. In Śrī Rudraṁ, anuvāka 3 says, “Obeisance to the occasional cheater, who cheats all the time and who is the Lord of those who steal.....Lord of forest thieves....Lord of destroying others.....” If we go to anuvāka 8, it says, “Salutation to the one who is seated with Umā...to the one who gives happiness, to the one who is the Lord of all beings....” Thus Shiva does not represent only good; He also manifests as bad because He alone is omnipresent in truest sense. This is one of the reasons for projecting Dhūmāvatī having worst appearance. She is said to live in crematoriums.

As she is considered as highly inauspicious, she is compared to three of the most inauspicious goddesses. Nirṛti (dissolution, destruction, calamity, evil, and adversity), Jyeṣṭhā (misfortune, personified as the elder sister of Lakṣmī) and Alakṣmī (evil fortune, bad luck, distress, poverty and causing misfortune) are the three powerful inauspicious goddesses. There are several mythological stories about her origin. It is said that she came out during churning of ocean and she was given in marriage to a sage who understood that she cannot be pious and divinely. The sage approached Vishnu, who asked him to take his wife to all those places that are full of inauspiciousness. After that both of them could not live together and got separated. She went to Vishnu and told Him about her plight. Vishnu told her that all women will take care of her. But, women also did not take care of her and thus she appears in such an ugly and pathetic form. The main reason being that she is not auspicious for the rationalities discussed above. Apart from her appearance, her eating habits are also said to be appalling. She has strange liking for bones and blood. She is depicted with carrying a broom stick, garland made of skulls, chewing corpses, etc. It is said that she was born in the place where Pārvatī, Consort of Shiva, immolated herself in homa fire of her father Dakṣa, by entering into the sacrificial fire. From the fire, thick smoke came and this is said to be Dhūmāvatī. There is another story wherein Shiva cursed her to become a widow. Thus, Dhūmāvatī is not generally worshiped, except in rare cases. For those who believe in evil acts such necromancy and black magic. She is mostly worshiped through rigorous tantric path. At the same time, it is said that she is the highest level of spiritual attainment, as one’s consciousness transcends all dualities of the material world. But, this aspect is rarely looked into in her worship. Everyone looks at her only as an embodiment of negativity and inauspiciousness. HER MANTRA: धूं धूं धूमावती स्वाहा॥ dhūṁ dhūṁ dhūmāvatī svāhā || As per tantra, the following mantra is used धूं धूं धूमावती ठः ठः॥ dhūṁ dhūṁ dhūmāvatī ṭhaḥ ṭhaḥ ||

8.BAGALAMUKHI Bagalāmukhī is the eighth of ten Mahāvidyā-s. There is no word in Sanskrit as baga. It is mentioned as baka, which means hypocrite. But there is also another opinion wherein valgā is the original word. Valgā means a woman. But whatever be the original word, it is strange that why the word bagala was derived. It appears like a proper noun, without any significant meaning. But generally, this goddess is not

worshiped much, as she is capable of causing negativities. She can turn a good person as a bad person and rich man as pauper. She is often worshipped in Tantra for various purposes such as paralysing enemies, etc. There are three stories about her origin. It is said that there was a torpedo in kṛtayuga, the first of all yuga-s (kṛita or satya, treta, dvāpara and kali yuga-s). During this turbulent time, several beings were destroyed because of torpedo. Even Lord Vishnu was so concerned about it and He meditated to find a solution. Parāśakti appeared before Him and gave Him Bagalāmukhī from a pond, whose water was yellow in colour. Water in the pond is full of turmeric, which is considered as most auspicious. Only Bagalāmukhī could quell the storm. Since she is clad in yellow attire, she is also called Pītāmbarā Devī (Pītāmbara means dressed in yellow clothes and Viṣṇu is also known as Pītāmbara) There is another story which says a demon called Madan attained boon and as a result of that, whatever he said came true. People were suffering due to him and they started worshiping Bagalāmukhī and by the time she was about to cut his tongue, he realised his mistake and prayed to her to permit him to stay at her feet. It is said that she granted this boon. Third story is related to Dhūumavatī. It is said that Dhūumavatī was born in the place where Pārvatī, Consort of Shiva, immolated herself in homa fire of her father Dakṣa, by entering into the sacrificial fire. From the fire, thick smoke came and this is said to be Dhūmāvatī. That form of Pārvatī before self- immolation is known as Bagalāmukhī. Bagalāmukhī is known for her magical powers. It is also said that one can acquire supernatural powers by worshiping Her. Lots of things are spoken about her capability to destroy enemies. She is also said to control five prāṇa-s in the body (prāṇa, apāna, vyāna, udāna and samāna). Though she has been portrayed as a negative goddess, it is also said that she is capable of bestowing highest spiritual knowledge and consequent liberation. There are instances where she is said to be seated on corpse. There is a particular practice called “śava sādhana” or practices with a corpse. She is also said to be chief of army of Lalitāmbikā, probably an indirect reference to Vārāhī (Lalitā Sahasranāma 76 speaks about Vārāhī). She is said to be living in the upper palate of human body, where cerebrospinal fluid enters throat from the skull. This fluid is known as amṛta in kuṇḍalinī meditation. When she is meditated upon, she protects the aspirant. She is also described as the commander of the army of Parāśakti, as Bagalāmukhī was created by Parāśakti, only to destroy that great storm. This storm can be subtly explained as the storm of the mind, where mind fights hard to find out what is right and what is not right. A

realized mind is always beyond dualities. But an ordinary mind always struggles to find a solution, leading to multiple thought processes. If she is worshiped properly, mind is calmed. She is often described with four hands, adorning yellow colour attire (yellow not only symbolizes auspiciousness, but also removal of all diseases) and yellow colour ornaments. She is described only with two hands. In her right hand she holds a club and with her left hand, she is pulling the tongue of demon Madan. The subtle conveyance is that ego manifests in the form of speech, is to be eradicated to calm down the mind, as only in a non-turbulent mental state, Self can be realized. HER MANTRA:
 There is only one mantra for her. Her bījākṣara is ह्ल्रीं hlrīṁ. This is pronounced only as “hleem” where r is silent and not pronounced as “hlreem”. Why ह्ल्रीं hlrīṁ is her bījākṣara? It is made of ha + la + ra; ha is the bīja for ākāśa; la is the bīja for earth and ra is the bīja of fire. As agni or fire is considered as the carrier of our worship to the respective gods, in all auspicious mantras, invariably agni bīja ‘ra’ is included. While ह्रीं hrīṁ (māyā bīja) energises prāṇa, ह्ल्रीं hlrīṁ stabilises it. ह्ल्रीं hlrīṁ has also the power to act on negativities such as black magic, etc. (Black magic is only the fear inculcated and not a reality; but there are many contradictory opinion on this; it is also used for captivating and arresting and all other such activities). Generally this bījākṣara is not used. At the same time, all such evil acts can be removed only by this bījākṣara. It is the only bījākṣara that prevents negative influences affecting our spiritual path, in particular during kuṇḍalinī meditation. ॐ ह्ल्रीं बगलािमुख सवदुर्ष्टानां वाचं मुखं पदं स्तंभय ि◌जह्वां कीलय िबुद्धं ि◌वनाशय ह्ल्रीं ॐ स्वाहा॥ om hlrīṁ bagalāmukhi sarvaduṣṭānāṁ vācaṁ mukhaṁ padaṁ staṁbhaya jihvāṁ kīlaya buddhiṁ vināśaya hlrīṁ om svāhā ||

9. MATANGI Mātaṅgī is the penultimate of Mahāvidyā-s. She is said to be superior to Goddess Sarasvatī, as Mātaṅgī is in charge of vaikharī, the final stage of sound, at the time of delivery, in the form of speech.

Śyāmalādaṇḍakam, one of the finest compositions of great poet Kālidāsa, calls her as Śyāmala. Lalitā Sahasranāma (10) mentions about Śyāmala.
 माता मरकतश्यामा मातङ् गी मदिशालनी॥ mātā marakataśyāmā mātaṅgī madaśālinī || (verse 3 of Śyāmalādaṇḍakam)
 This means “Mother, who is dark as emerald (gemstone), who is the daughter of sage Mātaṅga is rapturous.........” Going with this interpretation, it can be assumed that she is either Goddess Sarasvatī or superior to her, as she represents vaikharī (Vaikharī is the fourth and final form of sound in its evolution. This is the state wherein the sound is heard. This is called vaikharī because the sound is produced by a modified form of prāṇa called vaikharī. This is the stage which is called aparā or non-supreme stage in the evolution of sound, where there exists fully developed materialization, combined with time and space, the components of māyā. In fact the theory of evolution of speech, purely depends upon the materialistic treatment of prāṇa or life energy. The whispering sound in the stage of madhyama, fully transforms into speech and delivered in the form of vaikhari. It is said that will (icchā) forms the basis of speech to finally merge with consciousness. The other three stages of sound are parā, paśyantī and madhyamā; the last one being vaikharī). The important difference between Sarasvatī and Mātaṅgī is, former is related to materialistic and Scriptural knowledge, whereas Mātaṅgī gives inner knowledge to know the Self. In other words, Mātaṅgī dissolves all dyads and triads leading to unveiling of māyā. She also imparts the highest spiritual knowledge “nothing is good and nothing is bad” as Brahman is omnipresent. Since she is considered as Śyāmala, she also controls all mantras. There are several opinions about Mātaṅgī’s origin. There are some references in Buddhism about Mātaṅgī. There is a reference wherein Buddha annihilated her lust and later on she became one of the prime followers of Buddha and the story continues. Shiva and Pārvatī and Lakṣmī and Viṣṇu were sharing food items and while doing so, some items fell on the ground. From these fallen items arose a beautiful woman and sought prasāda (literally prasāda means clearness, brightness, purity, etc apart from the commonly known meaning of offering food to gods. Therefore, it is imperative that while preparing prasāda, cleanliness is insisted). Left over of prasāda is known as ucchiṣṭa (िउच्छष्ट). Ucchiṣṭa also means left, rejected, stale, one who has still the remains of food in the mouth or hands, one who has not washed his hands and mouth and therefore is considered impure. In ucchiṣṭa Gaṇapati worship, offerings are made like this. Hence he is called Ucchiṣṭa Gaṇapati. Shiva and Pārvatī and Lakṣmī and Viṣṇu offered their ucchiṣṭa to this maiden, on her pleading with them to

give their ucchiṣṭa. Shiva, granted her a boon saying that whoever worships her with your mantra, will have their desires fulfilled. After this boon, she is Ucchiṣṭa Mātaṅgī and in her mantra, ucchiṣṭa is also included. There is another story. Pārvatī sought Shiva’s permission to go to her parent’s house. Shiva disgruntledly gave her permission and told her that He would come in person to take her back, if she is delayed. But Pārvatī did not return within the time stipulated and Shiva went to her place disguised in the form of an ornament seller. After having sold some shell ornaments to her, Shiva asked sexual favour from her. Though Pārvatī went into peak of rage, she immediately came to know that this person was only Shiva. Then she agreed and took a different form and began to dance and Shiva asked her who she was. She said that she was the daughter of a caṇḍāla and during their conjugation, Shiva also attained the form of a caṇḍāla and only at this point of time, Shiva recognised that the lady was his wife Pārvatī. After their union, Pārvatī prayed to Shiva that her caṇḍālinī (this present form) will be remembered as Ucchiṣṭa Caṇḍālinī (this forms part of her mantra) and that she should be worshiped first and only later Shiva be worshiped. This is followed even today in Madurai Mīnākṣī Sundareśvara temple. There is another version. Mātaṅga (also known as Mātaṁga; he is described as serpent demon) observed severe tapas (religious austerity, bodily mortification, penance, severe meditation, special observance). As a result of his penance, Parāśakti appeared before him and from Her powerful looks, Kālī appeared and Kālī turned green in complexion and with this form of Kālī, Mātaṅga is said to have attained powers to control all the living beings of this universe. The ideal form to worship her is her sitting posture on a lotus with four hands, in which she holds pāśa (noose), trident, a lotus flower and varadha and chin mudra in a single hand. She is clad in red garments and she is green in complexion. Sometimes, she is described with a parrot and a veena. HER MANTRAS: Version 1 ॐह्रींऐंश्रीं नमोभगिवतिउच्छष्टचािण्डाल श्रीमातङ्गे िश्वर सवजर्नवशंिकर स्वाहा  om hrīṁ aiṁ śrīṁ namo bhagavati ucchiṣṭacāṇḍāli śrī mātaṅgeśvari sarvajanavaśaṁkari svāhā  Version 2 ॐ ह्रीं क्लीं हुं मातङ् ग्यै फट् स्वाहा 
 om hrīṁ klīṁ huṁ mātaṅgyai phaṭ svāhā Version 3 (Known As Sumukhi Mantra) ॐ िउच्छष्टचािण्डािलन सुिमुक िदेव मिहापिशािचन ह्रीं ठः ठः ठः  om ucchiṣṭacāṇḍālini sumuki devi mahāpiśācini hrīṁ ṭhaḥ ṭhaḥ ṭhaḥ 

Version 4 ॐ ऐ ◌ं नमः िउच्छष्ट चािण्डाल मातङ् ि◌ग सववर्शङ् िकर स्वाहा॥ om aiṁ namaḥ ucchiṣṭa cāṇḍāli mātaṅgi sarvavaśaṅkari svāhā ||
 Version 5
 ॐ ऐं ह्रीं क्लीं सौः ऐं ज्येष्ठ मातङ् ि◌ग निमाम िउच्छष्टचािण्डािलन त्रैलोक्य वशंिकर स्वाहा 
 om aiṁ hrīṁ klīṁ sauḥ aiṁ jyeṣṭha mātaṅgi namāmi ucchiṣṭacāṇḍālini trailokya vaśaṁkari svāahā 

10.KAMALA Kamalātmikā also known as Kamalā is the last of Mahāvidyā-s. She is the Consort of Viṣṇu and this is the only Mahāvidyā that is not directly related to Shiva. Kamala means lotus and hence she is also known as lotus goddess. She has four hands; in the rear two hands, she holds a lotus flower each and in the front hands she shows abhaya (removal of fear) and varada (conferring boons) mudras. She is extraordinarily radiant and is considered as an embodiment of auspiciousness and that is why she is just called श्री Śrī, which means light, lustre, radiance, splendour, glory, beauty, grace, loveliness, prosperity, welfare, good fortune, success, auspiciousness, wealth, treasure, riches, etc. To add to Her grandeur, she is often depicted with either two white elephants, one on each side or four white elephants, two on each side, showering water on her. It is said that these elephants shower nectar of Bliss on Her. Elephants, water, lotus, resplendence are the signs of auspiciousness. Further, Viṣṇu is considered as one of the most auspicious Gods and obviously His consort is also considered as an embodiment of auspiciousness. She is also known as Mahālakṣmī, Śakti of Nārāyaṇa/Viṣṇu. She is worshiped more than any other goddesses of Mahāvidyā-s on two counts. One, She is the symbol of auspiciousness and secondly, she is the provider of material wealth. Like Śiva and Śakti, where they become part of each other, say for example Ardhanārīśvara or Śakti sitting on the left lap of Śiva, Lakṣmī is seated in the chest of Viṣṇu and this part of the body of Viṣṇu is called śrīvatsa. She is described with a radiant white saree denoting peace and bliss. Pañcadaśī mantra of Lalitāmbikā becomes Ṣoḍaśī (laghu) mantra by suffixing Lakṣmī bīja श्रीं śrīṁ (this is also known as rama bīja, where rama means pleasing, delighting, rejoicing, etc). Usage of śrīṁ in any mantra increases the devotion to a particular god or goddess; this bīja acts as a catalyst and causes quicker fructification of a mantra. This bīja also

causes fertility. There are stories which say that Indra prospers only due to Her Grace. Virtually all the Kings worshiped Her for prosperously sustaining their kingdoms. Her glories are explained in detail in Lakṣmī Tantra. Pāñcarātra is one of the important Vaiṣṇava doctrines and Lakṣmī Tantra occupies a prime position amongst Pāñcarātra āgama-s. Lakṣmī Herself says in this Tantra (50: 8-10) “I am His (Viṣṇu/ Nārāyaṇa) supreme eternal Śakti known as Śrī. I am free from all blemishes. I fulfil all His (Viṣṇu/Nārāyaṇa) desires and with the fragment of my own self as the foundation I manifest both as pure and impure (being both good and bad at the same time is the unique omnipresent nature of Brahman). I am attached to all His functions and perpetually remain in the state of perpetual absoluteness.” Her full glory is described in Śrī Sūktaṁ. In this hymn, Lakṣmī is invoked to shower Her Grace for auspiciousness and material benefits. The hymn ends like this; “Invoke for me, Agni (Agni because Agni is supposed to carry our oblations to the respective gods), that Goddess Lakṣmī who is ever unfailing, being blessed by whom I shall have wealth in plenty.” There are certain arguments connecting Her to Śiva, as Her Sahasranāma has names such as Śiva, Gaurī (consort of Śiva). But this argument cannot be accepted as both Śiva and Gaurī mean auspiciousness. But as Mahālakṣmī She is the creator of Sarasvatī, Lakṣmī and Mahākālī and these goddesses in turn produced Brahmā, Viṣṇu and Rudra and their Consorts. Aṣṭalakṣmī-S (अष्टलक्ष्मी):
 These are eight of Her manifestations with different forms for different aspects of life.
 िआदलक्ष्मी Ādilakṣmī (She is known as Mahālakṣmī or primordial force); धनलक्ष्मी Dhanalakṣmī (wealth); धान्यलक्ष्मी, Dhǎnyalakṣmī (grains); गजलक्ष्मी Gajalakṣmī (She is with elephants); सन्तानलक्ष्मी Santānalakṣmī (progeny); वीरलक्ष्मी Vīralakṣmī (courageous); ि◌वजयलक्ष्मी, Vijayalakṣmī (victorious) and ि◌वद्यालक्ष्मी, Vidyālakṣmī (knowledge)
 HER MANTRAS:
 1. Single Bīja Mantra: श्रीं॥ śrīṁ || 2. Four Bīja Mantra:
 ॐ ऐंश्रीं ह्रीं क्लीं॥ om aiṁ śrīṁ hrīṁ klīṁ || 3. Ten Bīja Mantra:
 ॐ नमः कमलिवासन्यै स्वाहा॥ om namaḥ kamalavāsinyai

svāhā ||
 4. ॐ श्रीं ह्रीं क्लीं कमले कमलालये प्रसीद प्रसीद श्रीं ह्रीं श्रीं महालक्ष्म्यै नमः॥ om śrīṁ hrīṁ klīṁ kamale kamalālaye prasīda prasīda śrīṁ hrīṁ śrīṁ mahālakṣmyai namaḥ || 5. ॐ ऐंह्रीं श्रीं क्लीं सौं जगत्प्रसूत्यै नमः॥ om aiṁ hrīṁ śrīṁ klīṁ sauṁ jagatprasūtyai namaḥ || 6. ि◌सद्धलक्ष्मी Siddhalakṣmī Mantra: ॐ श्रीं ह्रीं क्लीं श्रीं ि◌सद्धलक्ष्म्यै नमः॥ om śrīṁ hrīṁ klīṁ śrīṁ siddhalakṣmyai namaḥ || What is the importance of these ten Śakti-s? Why the Divine dynamic energy is projected in different forms with different attributes? Why they are mostly related to corpses and skulls? Why they are mostly worshiped as per Tantra? If we try to address these aspects of Daśa Mahāvidyā, we may not get into the underlying principle. The fundamental aspect of spiritual life is about understanding Shiva and Śakti. Shiva is the static form of cosmic energy and Śakti is His own power and is not different from Shiva in any manner. How can a man’s power be segregated from His own self? Without man, his energy obviously cannot exist and a man without energy cannot do any activities or he becomes inert. A man and his energy is always interdependent. Let us take another example. How can a mind exist without body? Mind and body are interdependent. The interdependence is the foundational aspect of Tantra śāstra-s. Tantra always attaches more importance to both internal and external purification. Inner purification is by practicing prāṇāyama and bhūtaśuddhi. Externally they worship with what have been admonished by Vedic tradition, as Shiva is everything to them. For Tantric practitioners, inner purification and mind control is more important than external purification. The best of tantric practitioners never get attached or addicted to anything. For them, everything is Shiva consciousness alone. Broadly they divide consciousness into four divisions – manas (associated with ego and hence dual in nature), manovijñāna (non-dual consciousness), ālayavijñāna (unconscious associated with ego), amalavijñāna (pure consciousness, the self or jīvātman). Out of the four, manas is not considered as vijñāna, which is the faculty of discernment or of right judgment or to put it simply, knowledge of Shiva. Mind is not considered as knowledge (intellect), as it is very mundane in nature and is influenced by ego, causing powerful duality. The rest three are related to knowledge that is not related to dualism. Ritualistic worships start and end only with manas.

Ritualistic worships do not go beyond manas as non- dualism begins to percolate into the mind from intellect (vijñāna), making an adept to commence his spiritual journey. During this transformation, he enters the phase of manovijñāna and then ascends to ālayavijñāna and finally realizes Shiva within (individual soul or jīvātman) at amalavijñāna. Even though tantric practitioners consider consciousness as the ultimate reality, yet approach consciousness through masculine and feminine energies or static and dynamic energies of Shiva. For them everything is Shiva and Shiva alone. They consider union between a man and a woman as the union between Shiva and Shakti. As the result of union between man and woman, kuṇḍalinī of the novice is activated. For tantric practitioners, nothing is right and nothing is wrong, as everything is Shiva. “Everything in Tantric sādhana is aimed at satisfying the senses, comes from profound understanding of human nature. Tantric novices do not leave a single hidden residue, a single unsatisfied desire or a single dream remaining within. Any experience linked to ego, desire or possession has nothing to do with Tantrism. When Shiva penetrates Śakti, it is a complete sacred act. All repressions that are not flushed out or satisfied, produce bouts of thought processes and evade realization of Shiva. They will never achieve divine spontaneity. This is one of the reasons why Tantrism is misunderstood by many who see an opportunity for impulsive debauchery where the divine exercise of spontaneity and the radical elimination of unsatisfied desires intersect.” Tantric practices are always pursued in absolute privacy and not in groups. Lalitā Sahasranāma 870 and 871 explain this and these two nāma-s are reproduced here for the sake of convenience. Antarmukha-samārādhyā अन्तमुख-र् समाराध्या (870) She is worshipped by those who look within. She has to be realized by internal search and exploration. This is based on the theory that Ātman resides within. {Further reading: Kṛṣṇa explains the concept of looking within exhaustively in Bhagavad Gīta Chapter VI consisting of 47 verses and a gist of which is reproduced here as explained by Swami Chinmayananda. Karma yoga practiced without regard to the fruits of actions, form an external aid to better meditation. The process by which lower is brought under the direct management and discipline of the higher are all together called spiritual techniques. No Guru can take the responsibility; no scripture can promise this redemption; no altar can, with its divine blessing make the lower the higher.
 The lower mist necessarily be trained slowly and steadily to accept and under the influence of the discipline of the higher. When a seeker has come in his life to the state explained as yogārūdāḥ, and when in that state of equipoise, the mind is held steadfast in the contemplation of the Supreme, the self- controlled one, in all

serenity is capable of maintaining his consistency on meditation in all circumstances, favourable and adverse, at all levels of his personality. In the right understanding of his own self and the resulting realisation of his own Self, he becomes Self everywhere. To him, who has realised himself to be Self which is all-pervading, the entire universe becomes his own Self, and therefore, his relationship with every other part of the universe is equal and the same. For this the seeker should try to withdraw himself from his mental and physical preoccupations.} Bahirmukha-sudurlabhā िबहमुख-र् सुदल ु भार् (871) Previous nāma conjoins with this nāma to declare the process of Self-realisation. She is very difficult to attain for those who are not able to look within. Mind is the prime factor to look within. Unless senses are controlled, it is difficult to control the mind. This nāma says that She cannot be attained only by external means. Saundarya Laharī (verse 95) says “It is difficult for those who have not controlled their senses to attain you.”
 Kaṭha Upaniṣad (II.i.2) also explains this. “Immature people run after external objects and they invariably get caught in the widespread net of death. Wise people, however, know where true immortality is. That is why they reject everything in this world, knowing that these things are short lived.” This nāma says that She cannot be attained by those who continue to be addicted to sensory pleasures. Addiction is different from necessity.
 Nāma 188 is durlabhā. Durlabhā means difficult and su-durlabha means very difficult. As far as Tantric doctrine is concerned, everything is consciousness and consciousness can be reached through Bliss (sat-cit-ānanda). Sat is existence, the reality; Cit is consciousness, the Absolute; and ānanda is Bliss. Without experiencing Bliss, the state of Absoluteness can never be attained. Mind cannot be controlled that easily. It will always have traces of desires. According to Tantra, one has to experience the desire and then burn it for ever, as any traces of desire in the mind will not make a person completely realized. It will only be falsified or deceptive realization. The influence of Śakti is so powerful, that even after realization, one tends to fall down from the pinnacle of spiritual path due to Her māyā. When Bliss is fully experienced, one enters the state of Shiva without any hitch. Bliss is the state of being with Śakti and Cit is the state of being with Shiva. As long as one remains in the state of Śakti, there is always a danger of falling down. In order to prevent spiritual ruination, māyā, is to be completely removed through perpetual practice (sādhana) leading to Her Grace. This is the intrinsic principle of Tantrism. In order to tune our mind to the reality of the world (Sat in sat-cit-ānanda), sādhana is required. Fruits of sādhana does not depend upon the duration, but the quality. If we understand the reality of our very existence, it is the

Supreme Knowledge. In the final stages of amalavijñāna, a yogi transcends māyā; he moves away from sat-cit-ānanda to sat-cit-ekaṁbrahma (om sat-cit-ekaṁ-brahma is known as mantrodhāra).
 Position Of Ten Mahāvidyā Devi-S In Our Body.
 1. Kālī – She controls both the biological heart and clairvoyant heart chakra. She also controls blood.
 2. Tārā – She controls tongue. She is in total control of the final stage of speech paśyanti. This is how she is connected to knowledge. She controls navel chakra and her presence goes up to ājñācakra. 3. Tripurasundarī – She is at sahasrāra, the crown chakra.
 4. Bhuvaneśvari – She is the space in which the soul resides in heart chakra. According to Kaṭha Upaniṣad, the Self resides in a cave in our heart. This cave is said to be space of ākāśa.
 5. Chinnamastā – She also controls ājñācakra and is in charge of upward movement of prāṇa.
 6. Tripurabhairavī – She is in mūlādhāra in the form of Kuṇḍalinī. It can be said that Kuṇḍalinī is also her name.
 7. Dhūmāvatī – She also resides in heart chakra. But her energy is powerful and at the same time, it is always subtle. Negative thoughts and emotions emerge in the mind, when her energy is hyperactive. 8. Bagalāmukhī – She is in the upper palate, called Indra yoni (or Indra yoga) or the orifice of Indra. This portion is extremely important as Divine nectar (cerebrospinal fluid) drips from the skull through this orifice. She is also related to heart chakra. She plays an important role in transmigration. 9. Mātaṅgī – She presides over throat chakra (viśuddhi) and controls the delivery of speech. Hence she is treated on par with goddess Sarasvati, as she also controls Sarasvati nāḍi running from ājñācakra to the tip of the tongue, conferring the abilities of foretelling.
 10. Kamalātmikā – She pervades in heart chakra and causes all sorts of auspiciousness and beauty of the mind. She completely works on material world and fulfils all material desires. Only when the material desires are fulfilled, Selfrealization can happen. Without realizing the Self within, Liberation is not possible. Therefore, one’s fundamental spiritual quest is handled by her and she continues to stay till he/she crosses all materialistic desires. She affirms that body is the temple and soul within is the sanctum sanctorum.
 If we look at their placements in human body, all their function are related to higher chakras, except Tripurabhairavī, who is posited at mūlādhāra. These ten śakti-s work on subtle body and inculcate higher spiritual knowledge to realize Shiva.
 If we seriously look at these ten śakti-s, each of them control different activities and different attributes or different aspects of mind and intellect. When they are

depicted amorously, it signifies deeper meaning of Shiva and Śakti union. Dhūmāvatī is depicted in a horrifying manner to convey the meaning that Shiva is not only good, but also equally bad. If Shiva is not both good and bad, then He can never be called omnipresent. Shiva’s power is Śakti and She manifests through various attributes in the form of these ten śakti-s. There is no question of who is superior or inferior, as all the ten śakti-s are needed for our very existence. Each of these śakti-s work on our subtle bodies to gain supreme knowledge leading realization of Shiva within and ultimately to become one with Shiva, the liberation.
 During the final stages of liberation, there will be no mantra and no more practices. Mantras can help only to a certain extent, in the initial stages of spiritual life. Mantras are only to protect the mind, not even to control the mind. The power of letters causes subtle vibrations in the body which makes kuṇḍalinī ascend. When kuṇḍalinī is awakened, absorption begins to unfold and during this stage, mantras percolate into our subconscious mind through manas chakra and there is no need for any mantra at this stage and beyond. When mantra ceases, meditation begins to happen on its own. When the meditation happens on its own, trance is triggered. One begins to realize the Self during high velocity trance. There is no need to sit for long hours to meditate. One can remain in the highest stage of mediation for ten to twenty minutes. During the highest stages of meditation, ego is dissolved to almost nothingness; all doubts are cleared (amalavijñāna). When ego is dissolved and mind is pure, one’s consciousness becomes purer and purer over a period of time. The purest form of Consciousness is Shiva. TANTRIC BIJA MANTRAS The term mantra is commonly used today in the media for key phrases, terms or words of power and influence. Each group has its particular mantras that represent its special view, orientation or goal, whether it is a corporation, a political party or religious organization. We are coming to value clear and concise statements or summary views over longer explanations and discussion. Our communication through computers, power point and text messaging is getting progressively condensed or, we could say, mantric in nature. Mantra in the Yoga tradition consists of the use of sacred sounds and intentions to transform the energy of the mind in a positive direction. Mantra is probably the most powerful and commonly used of all yogic meditational methods. All the main paths of Yoga - whether of knowledge, devotion or action, or whether Hatha, Raja or Kundalini Yogas - have their key mantras. Mantras can also be performed to help us with concentration, with our work, dealing with emotions, for health, prosperity or overall well-being.

Mantras are of many types. Some are longer prayers and intentions, like the famous Vedic Gayatri mantra to the solar Godhead. Others consist of the repetition of Divine names like the well known mantra Om Nama Shivaya for Lord Shiva. Yet probably the most important and simplest of all mantras are the single syllable mantras called ‘bija’ or seed mantras starting with Oṁ. They can be used for meditation, worship of deities, energizing prana or for healing purposes – for all aspects of mantra practice. These main bija mantras are also called ‘Shakti mantras’, as they are commonly used in the worship of the Goddess, who Herself is the power of sound and mantra. Shakti bija mantras carry the great forces of Nature such as the energies of the Sun and Moon, electricity and magnetism, not simply as outer factors but as inner potentials of Divine light, love and wisdom. Shakti mantras hold, resonate, and propel the Kundalini force, the higher evolutionary power of consciousness, to flow within us. In this article, we will focus on the eight prime Shakti bija mantras, their energies and usage for Yoga, for health and or overall improving our karmas in life. Eight Prime Shakti Bija Mantras and their Corresponding Powers 1. Pranic energy – ascending power of pure consciousness - Oṁ 2. Energy of sound – creative power of knowledge and guidance- Aiṁ 3. Solar energy – power of illumination and reflection -Hrīṁ

the deepest layers of our consciousness and prana. They should be approached with reverence and respect as the very life blood of the Goddess. Most Shakti mantras contain the vowel– Ī, the vibratory ee-sound, which is the main primal sound of Shakti. Most contain the consonant-R, which is the seed of fire, heaven, light, order and dharma and has a stimulating and energizing effect. Some contain the consonant-L, which is the seed of earth, water, joy and bliss and has a calming and stabilizing effect. Many begin with either the letter-H, which indicates prana, light and the Sun, or the letters S or Sh, which indicate the Moon, the mind and water. Some like Auṁ or Aiṁ consist of vowels only. Application of Shakti Mantras Shakti mantras can be used to create, sustain or dissolve the various forms, patterns and forces within us. They have particular affinities with certain locations in the body and with specific chakras – like Hrīṁ and the heart – but also have a broader effect to promote certain types of forces, like Hrīṁ as solar energy that can be used on many different levels. The application of Shakti mantras, like that of other mantras, depends upon the goals of life that we are using them to achieve (dharma, artha, kama, and moksha or career, wealth, enjoyment or liberation), which gunas we are energizing them with (sattva, rajas, tamas, or the qualities of clarity, action or inertia), or their application through Yoga, Ayurveda, Vedic astrology or other disciplines. In this regard, the same Shakti mantra can be used in many different ways. Yet at the deepest level, Shakti mantras are meant to arouse and support the Yoga Shakti or inner power of Yoga within us.

4. Lunar energy – power of reflection and devotion- Śrīṁ 5. Electric energy – power of action, expression and transformation- Krīṁ 6.Magnetic energy – power of love and attraction- Klīṁ 7. Power of fire – power to purify, protect and remove negativity-Hūṁ 8. Power to stabilize – power to hold and conceive-Strīṁ

Shakti mantras relate to the primary forms of the Goddess or Divine Mother. There are special Shakti mantras for each of the great Goddesses, through which we can commune with them and gain their grace. Shakti mantras are the primary mantras used in Tantric Yoga, in which they are combined in various ways to bring about different results. They have a great capacity for transformation that can extend to

For example, the mantra Śrīṁ at an outer level connects us to the abundance of our dharma and artha, our career and financial gains, and the fulfillment of our kama or desires. For Yoga practice, it grants devotion to guru and the deity. In Ayurveda, it promotes healing, growth, and nourishment. In Vedic astrology, it is the mantra of the Moon and can be used for strengthening benefic Venus and Jupiter as well. In Vastu, it promotes well-being, prosperity and happiness in the dwelling. Used with a sattvic intention, Śrīṁ has a nourishing and harmonizing force; with a rajasic intention, it has a power to promote outer development and achievement; and with a tamasic intention, it can gain a destructive or crushing capacity. At an outer Lakshmi (Goddess of Prosperity) level, Śrīṁ can grant us the abundance of the material world; while at an inner Lakshmi level, it can grant us the abundance of the spiritual life, which is devotion, bliss and the beauty of perception. Many people use such seed mantras as their main mantra for meditation (TM mantras are usually based upon Shakti mantras, for example), also referred to as ‘primal sound’ or ‘mantra meditation’. They may repeat their special mantra before

meditation to take the mind more quickly into the meditative state. Shakti mantras have a powerful effect by their sound alone, which is pranic in nature and helps decondition the mind, even if one does not understand their meaning. They are also easy to pronounce as they consist of one syllable only! Please use these mantras with respect and a sense of their sacred power, along with your meditation, honoring the deity within. Generally, seed mantras are repeated numerous times in a series of continuous meditation sittings to reach the number of 100,000, which is said to be the number usually required to awaken their energy and draw it deep into our psyche. Then they can be repeated regularly as needed. They can be used in combination with Divine names or with other prayers as well. Oṁ Oṁ is the prime mantra of the Purusha, the Cosmic Being, the Atman or higher Self. As such, it attunes us with our true nature and higher reality. Oṁ is the sound of Ishvara, the cosmic lord, the creator, preserver and destroyer of the universe, who is also the inner guru and prime teacher of Yoga. It reflects both the manifest and the unmanifest Brahman, sustaining the vibration of being, life and consciousness in all worlds and all creatures Generally, Oṁ is divided threefold as A, U and M, with A referring to creation, the waking state and Brahma, the creator; U as sustenance, the dream state and Vishnu the preserver; and M as dissolution, the deep sleep state and Shiva the transformer. More specifically, Oṁ relates to Shiva, the cosmic masculine force. Oṁ serves to open and clear the mind for meditation. It brings about an ascension and expansion of our energy. It promotes the higher prana and inner light and takes us into the formless realm. It draws the sound current up the spine, through the chakras and out the top of the head. Oṁ also means ‘yes’ and is said to be the sound of assent. It allows us to harmonize with the forces of the universe externally and with our own nature internally. It attunes us to the cosmic reality and the sacred vibratory patterns that arise from it. Relative to Ayurvedic medicine, Oṁ helps harmonize the body, prana, mind, and senses with the higher Self, Atman or Divine presence within. It connects us with the cosmic healing prana. It brings a deep healing energy into the subconscious mind to remove negative emotions, addictions and compulsions. Relative to Vedic astrology, Oṁ is the sound of the Sun and of the higher light behind all the stars and planets. In Vastu, Oṁ can clear the energy in the home or dwelling and bring in Divine light, grace, and knowledge. Relative to other mantras, Oṁ is often used to begin them. It clears the mind for other mantras to work, opens us up to the higher consciousness, and brings a deeper prana into the mantra. Without first chanting Oṁ, it is said that other mantras may not be effective. Whole Upanishads and entire books have been written about it.

Aiṁ After Oṁ, Aiṁ (pronounced ‘aym’) is the next most common bija mantra. Aiṁ is the feminine counterpart of Oṁ and often follows Oṁ in various chants. Oṁ and Aiṁ are the two main compound vowel mantras, A plus U making Oṁ (and Auṁ) and A plus I making Aiṁ. As such, together they comprehend all sounds. As Oṁ is the unmanifest or expansive aspect of primal sound, Aiṁ is the manifest or directed form. As Oṁ serves to clear the mental field, Aiṁ helps us focus the mind and heart in a particular manner. As Oṁ is the word that is heard, Aiṁ is the word that is seen. As Oṁ is the supreme Purusha or cosmic masculine force, Aiṁ is Adya Shakti, the supreme Shakti or cosmic feminine force. That is why we find the mantra Aiṁ in so many different mantras to the Goddess or Divine Mother. More specifically, Aiṁ is the seed mantra of Sarasvati, the Goddess of knowledge and speech, the consort of Lord Brahma, the Creator in the Hindu trinity of great Gods. As such, Aiṁ aids us in learning, art, expression and communication and is good for promoting learning and education generally. Aiṁ is also the mantra of the guru and helps us access all higher knowledge. It can be used to call or to invoke wisdom and understanding. It indicates motivation, direction and will-power. It can orient us toward whatever we are seeking. It increases concentration of mind and awakens our higher intelligence (Buddhi). Relative to other mantras, Aiṁ is often used to direct our awareness or intention to the deity, to function as our call to draw in the higher knowledge so the mantra can work. In terms of Ayurveda, Aiṁ strengthens the voice and the vocal chords. It helps open the lungs and clear the senses. Astrologically, Aiṁ connects to the planet Mercury and to some extent the Moon, both planets that govern speech and expression. For Vastu, Aiṁ will bring creativity and learning into the dwelling, particularly for studies, libraries and classrooms.

Hrīṁ After Oṁ and Aiṁ, Hrīṁ (pronounced ‘hreem’) is probably the most commonly used bija mantra. It is composed of the sound-Ha, which indicates prana, space and light, with the sound-Ra, which indicates fire, light and dharma, and the sound- Ī, which indicates energy, focus and motivation. Hrīṁ is the prime mantra of the Goddess in all of her three main powers of creation, preservation and destruction, and so is the main Shakti mantra, with a more specific application than Aiṁ. It is said to be the Shakti bija and to be equivalent to Oṁ for the Goddess. More specifically, it relates to Parvati or Shakti,

the consort of Shiva, who is the destroyer/transformer among the great trinity of deities. Hrīṁ is a mantra of magical force, captivation and empowerment. It can be used relative to any deity or object whose presence we wish to access at the level of the heart. It brings about joy, ecstasy and bliss. Hrīṁ both purifies and exalts us in our inner quest, humbling us before the Divine power so that it can enter into our hearts. Hrīṁ is a specific mantra for the heart (hridaya in Sanskrit) on all levels, whether the spiritual heart, the heart chakra, the emotional heart or the heart as a physical organ. It energizes the heart, provides warmth, and allows for both deep feeling and deep thought. In terms of Ayurveda, Hrīṁ can be used to counter heart disease of all types, aiding in longevity and rejuvenation. More specifically, it helps promote the pranic and functional aspect of the heart and with it the power of circulation of the blood, the lungs and the nervous system. It has generally Pitta (fiery) energy but some Vata (air) energy as well, stimulating the higher pranas and emotions. In terms of Vedic astrology, Hrīṁ relates to the Sun, the planet of the heart, and helps promotes solar energy, expression and charisma. Hrīṁ is usually a soft mantra but can also be harsh. As a soft mantra, it increases the finer energies of the heart. As a harsh mantra, it can be used to hypnotize or captivate, to dissolve or to carry away.

Śrīṁ Śrīṁ (pronounced ‘shreem’) is one of the most commonly used mantras because it is probably the most benefic of all sounds, drawing to us all that is good, helpful and promoting of positive growth and development. More specifically, Śrīṁ is the seed mantra of Lakshmi, the Goddess of prosperity and abundance, and the consort of Lord Vishnu, the preserver in the Hindu trinity of great Gods, and brings Lakshmi’s many blessings. Śrīṁ is also called ‘Rama bija’ and is used in the worship of Lord Rama, the avatar of dharma. Śrīṁ is the mantra of faith, devotion, refuge and surrender. It can be used to take refuge in or express devotion to any deity, helping us to gain its favor and grace. Śrīṁ relates to the heart in its feeling aspect, whereas Hrīṁ relates to the pranic or functional aspect of the heart. Írī means splendor in Sanskrit, like the beautiful light of the Moon. Śrīṁ is often used along with Hrīṁ. As Hrīṁ is solar, Śrīṁ is lunar. Śrīṁ relates to the Moon in Vedic astrology and promotes a kind of lunar energy, Soma and beauty overall. Yet it is also used for other benefic planets like Venus and Jupiter, promoting their positive energies.

Relative to Ayurveda, Śrīṁ is mainly a Kapha (watery and earthy) mantra for improving health, happiness, fertility, love and calmness of mind. Yet it does have some secondary Pitta (fire) qualities and improves our glow, luster and light. It is particularly important for women’s health and brings proper function and circulation to the female reproductive system. Śrīṁ has a soothing effect on the mind and emotions, allowing us to surrender to Divine grace and take refuge in the higher powers. Krīṁ Krīṁ (pronounced ‘kreem’) is the first and most important of the consonant mantras, the mantras that begin with a hard consonant rather than a vowel or sibilant. Krīṁ begins with Ka, the first of the Sanskrit consonants that indicates manifest prana and the initial phase of energy. To this it adds the Ra-sound or seed of fire, the Ī-sound or focusing power as in the other Shakti mantras. It creates light and intention like Hrīṁ and Śrīṁ but of a more specific, stimulating, and manifesting nature. Krīṁ relates to Vidyut Shakti or the basic electrical energy behind all things in the universe – the Kriya Shakti or power of action on all levels. Krīṁ rules over all manifestation including time, space and action (causation). Through it, we can gain control of our karmas and also move beyond them. Krīṁ is the seed mantra of Kali, the Goddess of time and transformation, the consort of Lord Shiva, the Destroyer/Transformer in the Hindu trinity of great deities. Through it, we set Kali’s power in motion within us. It serves to energize things to the highest level, which is to raise their level of vibration to the point where we can return to the source. Krīṁ is a mantra of work, yoga and transformative energy, and is said to be Yoga bija or the ‘seed syllable of Yoga practice’. Its inner application is to awaken the Kundalini Shakti to merge our outer nature back into the higher Self. Krīṁ stimulates higher perception and higher prana, promoting the yogic process of pratyahara (internalization of mind) and giving greater power to concentration, meditation and Samadhi. The mantra can connect us with the inner power of any deity we wish to connect to. In terms of Ayurveda, Krīṁ combines Vata (wind, electrical) energy mantra with Pitta (fire) for an adrenaline type effect. It has a powerful electrical force and stimulates all the pranas and Agnis (biological fires), the circulatory and nervous systems, particularly the heart and the liver. In Vedic astrology, Krīṁ relates primarily to the planet Mars, which is the planet of work and effort. Krīṁ is generally a harsh or strong mantra, particularly as used with Hïm, and so should be recited with care.

Klīṁ Klīṁ (pronounced ‘kleem’) is the softer, watery or more feminine aspect of Krīṁ. As Krīṁ is electrical or projective, Klīṁ has a magnetic quality that draws things to us. It can also be used to hold or fix things in place.

Klīṁ carries the Akarshana Shakti or the ‘power of attraction’. It relates to Krishna, who grants bliss (Ananda) as a deity, and to Sundari, the Goddess of love and beauty. Klīṁ is the seed mantra of desire (Kama Bija) and helps us to achieve our true wishes in life. Klīṁ can be used relative to any deity we would like to access to fulfill our wishes. Klīṁ is the mantra of love and devotion, increasing the love energy within our hearts. For this reason, it is one of the most benefic mantras, and one of the safest and most widely used. Relative to Ayurveda, Klīṁ is mainly a Kapha (water)-promoting mantra and is particularly good for the reproductive system and for the plasma and skin. It promotes Kledaka Kapha (the digestive fluids of the stomach), increasing our capacity for nourishment. Most importantly, it is specific for Tarpaka Kapha, the Soma of the brain that promotes well-being, soothing the nerves and calming the heart. It strengthens the immune system and brings contentment to the entire being. Klīṁ is not specifically an astrological mantra, but is sometimes used for Venus or the Moon. For Vastu, it can bring the energy of Divine love and beauty into the dwelling. Klīṁ can have a harsh side as well. It can be used to fix, to stop or to nail down, or to hold things under the power of wishes, though such usage is not as common as its benefic application.

Strīṁ Strīṁ (pronounced ‘streem’) contains the Sa-sound of stability, the Ta-sound which gives extension, and the Ī -vowel that provides energy, direction and motivation. It is connected to root meanings such as to stand, to spread, to take a step, to rise or traverse from one level to another. It brings about an expansion and spreading of energy that can follow a horizontal expansion, a vertical ascent, or a spiral movement. Strīṁ is said to be Shanti bija or the ‘seed syllable of peace’ and carries the Shakti of Sat or Pure being. Strī in Sanskrit also means a woman. The mantra Strīṁ provides the power of the Divine feminine (Stri-Shakti) to give birth, to nourish, to protect and to guide. It is similar to Śrīṁ in sound qualities but stronger and more

stabilizing in its effects. It can be used to increase Shakti or feminine energy in oneself or in one’s outer activity. Strīṁ is another general mantra of the Goddess, particularly in her higher knowledge form. Strīṁ can be used relative to any deity whose energy we wish to expand or project in a creative manner. It grants poetic and artistic powers, as well as powers of argument, debate and law. Strīṁ is the seed mantra of the Hindu Goddess Tara (not the Buddhist Tara, who is a different deity approached with different mantras). Hindu Tara is connected to Durga, who is often called Durga-Tara, as a protective and fiery form of the Goddess. She is the high priestess and represents the inner knowledge and the insight of the guru, particularly the power of the Word. Tara controls the weapons of the Gods, particularly the Trishula or trident of Lord Shiva. Tara also relates to the mantra Oṁ, and Strīṁ is the means through which Oṁ takes us across all difficulties. Tara in astrological symbolism is the wife or feminine form of Brihaspati, the planet Jupiter. She is the great star Goddess associated with the star Aldeberan (the Vedic star Rohini), the bright red star of the constellation Taurus. As Brihaspati/ Jupiter is the high priest or guru of the Gods, Tara is the high priestess of the heavens. Strīṁ as the mantra of the Star Goddess attunes us to the benefic powers of the stars and Nakshatras and gives us astrological knowledge. In terms of Ayurveda, Strīṁ is important as a healing and empowering mantra for women, and can aid in childbirth and can promote women’s health generally, strengthening the heart, reproductive system, circulatory system and bones. Hūṁ Hūṁ (pronounced ‘hoom’) is one of the most important Sanskrit mantras along with Oṁ, Aiṁ and Hrīṁ. It is said to be the Pranava or primal sound of Lord Shiva, the transformative aspect of the Divine Trinity. Hūṁ is the main Agni or fire mantra and can help enkindle fire in all of its forms from the digestive fire to the Pranic fire to the fire of the consciousness. It refers to a gaseous type of fire and so can be connected with lightning and to the power of prana and the breath. Hūṁ is also a weapon and protection mantra and can be used to destroy negativity with its lightning fire. It can used to direct a fiery explosive energy with other mantras. It is also called Krodha bija or the ‘seed sound of wrath’. It is the mantra that Lord Shiva uses to project the fire from his third eye that destroys all negativity and burns up all desires. Hūṁ with a long vowel sound has a similar meaning but a more feminine and Shakti quality. It relates to fierce forms of the Goddess like Kali, Chandi and Chhinnamasta. It has the power to cut off and indicates the sword. However, Hūṁ has a soft potential as well. It is said to be the Dhenu bija, the ‘seed sound of the

Mother cow’, calling its calf back to it. It calls out and invokes, while at the same time challenging and warding off. Hūṁ is used specifically for raising the Kundalini, particularly combining the mantra with the breath, and the fixing of the gaze at the navel, the seat of the digestive fire. Relative to Ayurveda, Hūṁ increases Prana, Tejas and Pitta, setting all our fiery energies in motion from the digestive fire to the fire of the mind. Both strengthen the immune system particularly against any active pathogenic attacks, but as harsh mantras require some care in application. Astrologically, Hūṁ relates to fiery planets like the Sun, Mars or Ketu and increase their fiery properties. They are particularly good for bringing in the higher perceptive power of Ketu, which is a great aid in astrological research, spiritual healing and Yoga. Relative to Vastu, they can be used to create a protective energy shield around one’s dwelling.



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KALI YANTRA





TARA

BHUVANESHWARI





CHINNAMASTA

TRIPURA SUNDARI



BHAIRAVI

KAMALA



LOVE AND BLESSINGS TO ALL . PLEASE PRACTICE ANY MANTRA OR SADHANA OF MAHAVIDYAS ONLY UNDER THE GUIDANCE OF A COMPETENT SIDDHA GURU

SHANTI SWAROOP DHOOMAVATI

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