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Ntjrf;jp - ghfk;-1
P QL Z
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28
Ntjrf;jp - ghfk;-1
P QL Z
Ntjrf;jp - ghfk;-1
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Ntjrf;jp - ghfk;-1
P QL Z
2.
3.
4.
5.
6.
7.
Rshi: This refers to the sage who has had a vision of the mantra from the subtle space element. On
constant penance the divine chose him to reveal this sound combination of a particular divine energy.
He saw the mantra and revealed it to this world. R denotes the emergence of the sound-bijas from
the space into his consciousness and shi denotes the revealing and sustenance of this combination.
Thus this will denote the birth and maintenance of the mantra. R is referred as the amrta bija in
matra akshara ( the four vowels from R,Rr,L,Ll have no change like other vowels , a+i= e like so on,
hence amrta or eternal bija) hence refers to the Brahman which is eternal, sha denotes akasha tatva
and hence its subtle element sound and i denotes the ichha (desire) sakthi . On a whole this refers to
emergence of sound from the Brahman due to desire of the sakthi through the medium called Rshi.
Chandas: This refers to a particular rhythm of the above sound combinations. There are seven primary sound rhythms in the Vedic mantras. They are gayatri, ushnik, anushtup, brhati, pankthi,
trishtup and jagati (the seven horses in the chariot of sun). Cha denotes the Universal consciousness
and da denotes aspiration or desire to merge in it. Thus this denotes a fervent aspiration to merge in
the universal consciousness.
Devata: This refers to the particular divine energy form emerged for blessing the sadhaka. Div is the
root word which means to illuminate. Hence this indicates the divine energy which illuminates the
universe in a particular form. Upanishad also says tasya bhasa sarvam idam vibhaati- the effulgence
of the Brahman illuminates this entire world.
Bija: This refers to the seed sound letter inherent in this unique sound combination causing all
benefits on repeating the mantra. As a big tree dwells inside a seed, the divine energy dwelling in this
specific sound letter for this sound combination is the subtle cause for the emergence of the mantra, the
divine form, and the five subtle elements to build this universe.
Sakthi: This refers to power of the bija (above). Virility, Power, strength are its characteristics. The
entire play of this universe and its movement are inherent in this sound letter.
Kiilaka: This refers to the sound letter which synchronise mantra and sadhaka. As a pin or shaft on
with which a pair of wheels revolves and also link it to the main body of the vehicle (the axle), the
divine energy in this sound letter synchronizes the mantra and the sadhaka.
Nyasa: This means to keep. Hence this refers to keeping of the divine energy in certain parts of the
hand and body. The mantra is usually divided into six parts or the bija (seed letter) is combined with
the six long vowels (Aa, Ia, Uu, Ai, Au and Ah) and placed on (1)the five fingers and the palm and (2)
six limbs ending with certain specific mantras. The six limbs are Hrdaya (heart), Siras (head), Sikha
(tuft of hair on the head), Kavaca (on both arms like wearing armour), Netra (eyes-knowledge organ)
and Astra (by clapping the hands as if sending a missile for protection). The respective ending mantras are namah, svaahaa, vashat, hum, vaushat and phat. They are employed in magical purposes for
worldly gain such as santi (peace), vasya (causing attraction), stambhana (causing immobility),
vidveshana (causing enmity between people), uchchaadana (causing people to flee) and marana
(causing death). A philosophical interpretation of these are:
a.
Hrdaya-namah: Heart denotes the all pervading Brahman; namah is obeisance to it or rather
directing our mind to it. Na also means negation, ma represents individual consciousness
(Jiva bhava). So negation of the individual ego and emergence of the cosmic consciousness is
denoted here.
b. Siras-svaahaa: Head denotes the highest principle called Brahman and svaahaa is dissolution of the universe and individual ego in it.
c. Sikha-vashat: The tuft protects the head which is the highest principle called Brahman by
cultivation of radiance through deep contemplation of it, vashat denotes the physical activity
connected with this action. Constant awareness that the body and universe are an expression
of the divine radiance in denoted by this.
d. Kavaca-Hum: Kava means to catch and Hum means the divine radiance. This refers to
development of the inherent bliss radiating throughout the body.
e. Netra-vaushat: Netra is the organ of sight and implies organs of knowledge. Vasushat is
seeking the divine knowledge. The constant awareness that all that are experienced by the
knowledge organs are an expression of divine is denoted here.
f. Astra-phat: Asu means to throw, tra denotes agitation and phat is the fire of knowledge.
31
Ntjrf;jp - ghfk;-1
P QL Z
The rejection of all worldly sorrows by recognizing the all pervasive bliss is denoted here.
Thus it is clear that all the sadanga mantras are having a repetitive and enforced idea that this
universe is an expression of the divine and we are identical to it. This is verily the goal of all
sadhana.
Count of the japa: Usually a rosary of rudraksha, spatika, putra sajeevani beads are used to count
the number of japa done. Our elders have shown a rosary of the letters (matrka akshara) for
counting the number. The process is described : Start with am-mulamantra-Aam mulamantraIm mulamantra-Iim mulamantra-um mulamantra-Uum mulamantra-. So on and so forth up
to. sham mulamantra-sam mulamantra-ham mulamantra-Lam mulamantra- ksham mulamantra Lam- mulamantra ham mulamantra sam -mulamantra sham ..up to .
mulamantra Uum-mulamantra um-mulamantra Iim-mulamantra im-mulamantra Aam
mulamantra am. The matrka akshara can be placed in the six adhara cakras such as sixteen in the
throat (vishuddi), twelve in the heart (anahata), ten in the navel (manipuraka), six in the root of
genital organ ( svadistana), four in the muladara and two in the centre of eyebrow (agjna). The
ksham can be meditated in the sahasrara as the guru paduka and the rest japa as above can be
done. This process will result in a count of one hundred. This can be repeated for the further
hundreds as desired. A further eight count is to be done in the end; since usually one hundred
and eight or three hundred and eight or one thousand and eight is to be done as per said procedure. For this count the eight divisions of matrka akshara of the vag devatas can be used as am
Aam im Iim..am ah mulamantra- kam kham.. gnam mulamantra- cam cham.. gjam mulamantra like wise up to ..Yam ram lam vam mulamantra- sam sham sam ham Lam ksam mulamantra.
These can be meditated in the six cakras as said before and the last two as the red and white feet
(rakta and sukla paduka) of the guru and meditate on the identity of the mantra, guru and the self.
Ntjrf;jp - ghfk;-1
P QL Z
P uiNz L rD.
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fl; L iu.
The Sri Vidya pancadasakshari mantra has fifteen syllables which are said in a coded manner in the
tripuropanishaT and Devi atharvasiropanishaT. Decoded the mantra runs thus:Ka E I la hrIm ha sa ka ha la
hrIm sa ka la hrIm. Nityasodasikarnava and paramananda Tantra gives us many explanations to the above
mantras. Sri Bhaskararaya also wrote the varivasya Rahasya and a commentary called prakasa for the meanings of this mantra. Of these meanings some are discussed here.
Sampradayartha: The meaning which is got through the worthy preceptors lineage is meant here. This
discusses that the whole mantra is made of 37 syllables indicating the 36 tatvas and the tavAtIta parasiva
state. The syllables in the mantra are separated into consonants and vowels The maya bija hrIm is made into
5 parts as h, r, I, m and nada(subtle nasal sound).
VagbhavakUta:
Vowel
Ka = k + a
= 1
E
= 1
I
= 1
La = L + a
= 1
hrIm=h+r+I+m+nada= 2
Total
6
Consonant
1
Consonant
1
1
1
1
1
2
+
7
+
Nada
1
2
4 +
1
1
= 11
Nada
1
1
=15
sakthi kUta:
Vowel
Consonant
Nada
sa = s + a
= 1
1
ka = k + a
= 1
1
La = L + a
= 1
1
hrIm=h+r+I+m+nada= 2
2
1
Total
5
+
5
+
1 = 11
Hence the total count is 11+15+11=37.
It is interesting to see a harmony and rhythm in the numbers, the second and third kutas have equal number
of consonants and vowels. In the first kuta the vowels are predominating, i.e the sakthi tatva dominates over
siva tatva (vowels represent sakthi tatva and consonants the siva tatva) - It is also wonderful to see this kuta in
the kakAra sahasranama of DaskhinakAli wherein we find names as Ka E I la hrIm svarUpAyai namah, Ka
E I la hrIm prasave namah etc.
Now let us see the individual count.
Vagbhva
Kamaraja
Sakthi
Total
h
1
3
1
5
I
2
1
1
4
r
1
1
1
3
s
1
1
2
L
1
1
1
3
a
2
5
3
10
k
1
1
1
3
m
1
1
1
3
nada 1
1
1
3
E
1
1
33
Ntjrf;jp - ghfk;-1
P QL Z
Total 11
15
11
37
Vowel
Consonant
Nada
Vagbhava kuta
= 6
4
1
Kamaraja kuta
= 7
7
1
Sakth kuta
= 5
5
1
Total
18
+
16
+
3 = 37
Let us look in the one to one correspondence with the 36 tatvas and tatvatIta parasiva.
E represents the tatvAtIta parasiva state. The three nada represent the Siva, sakthi, suddavidya and prakruti.
The three m represent the sadasiva, Isvara, suddavidya, maya, kalA, avidyA, rAga kAla and niyati. Ahamkara,
bhuddi and manas are represented by three k and ten a. karmendrya (vak pani pada payu), gynanendrya
( srotra tvak cakshu jihva ghrana), panca bhuta (akasa vayu vahni jala prthvi) and tanmatra (sabda sparsa
rupa rasa gandha) are represented by five h, four I, three r , two s and threeL
The five sabda gunas are represented by five h
The four sparsa gunas are represented by four I
The three rupa gunas are represented by three r
The two rasa gunas are represented by twos
The gandha guna is represented by three L- there are three to signify the three worlds.
The ten a signify the various states of jives and their multiplicity.
The above is as per Sri Bhaskara raya and the nitysodasikarnava Tantra.
Paramananda Tantra defines this correspondence in a different way, agreeing only with that the tatvatIta
parasiva state is represented by E The rest being as follows:
Prthvi, gandha, ghrana - three L
Apa, rasa, jihva three k ;Teja, rupa, cakshu three r ; Vayu, sparsa, tvak- three m
AkAsa, sabda, srotra- three nada ;Vak pani pada payu uapastha five h
Maya, kalA, avidyA, rAga, kAla, niyati, prakruti, ahamkAra, bhuddi, manas ten a
Sadasiva. Isvara, suddavidya, purusha four I
Siva and sakthi twos
A similar study in hadi and sadi vidyas were undertaken to get the following results
Hadividya: VagbhavaUta:
Vowel
Consonant
Nada
ha = h + a
= 1
1
sa = s + a
= 1
1
ka = k + a
= 1
1
La = L + a
= 1
1
hrIm=h+r+I+m+nada= 2
2
1
Total
6
6
1
The total count of syllables is 13 for Vagbhavakuta
Kamaraja kUta:
Vowel
Consonant
ha = h + a
= 1
1
sa = s + a
= 1
1
ka = k + a
= 1
1
ha = h + a
= 1
1
La = L + a
= 1
1
hrIm=h+r+I+m+nada= 2
2
Total
7
7
The total count of syllables is 15 for kamarajakuta
sakthi kUta:
Vowel
sa = s + a
= 1
ka = k + a
= 1
La = L + a
= 1
hrIm=h+r+I+m+nada= 2
Consonant
1
1
1
2
Nada
1
1
Nada
34
Ntjrf;jp - ghfk;-1
P QL Z
Total
5
5
The total count of syllables is 11 for sakthikuta
Hence total will be 13+15+11=39, but we find a harmony, all kutas have equal number of vowels (18) and
consonants (18) with three nadas. Hence this Vidya has siva sakthi samarasya bhava, maybe that is why it is
called sivaadividya in rasmimala.
Vagbhva
Kamaraja
Sakthi
Total
h
2
3
1
6
I
1
1
1
3
r
1
1
1
3
s
1
1
1
3
L
1
1
1
3
a
4
5
3
12
k
1
1
1
3
m
1
1
1
3
nada 1
1
1
3
Total 13
15
11
39
Vowel
Consonant
Nada
Vagbhava kuta
= 6
6
1
Kamaraja kuta
= 7
7
1
Sakth kuta
= 5
5
1
Total
18
+
18
+
3 = 39
Now the tatavatIta parasiva state may be said as being in the three nada; siva in the extra h and sakti ,
prakruti and suddavidya in the extra s rest can be explained as before.
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