ALCHEMY LAB

THE WORSHIP OF THE GODDESS TRIPURA SUNDARI

Nowadays one of the most large-scaled current venerating
the Mother Goddess in India is the cult of the Goddess Tripurasundari. One can find a lot of information and stories
about the Goddess Tripurasundari in the multitude of published books. In this material I would like to acquaint you
with the essential aspects of the theme and practice.
In accord with the etymology shri has the singnificance of abudance, plenitude, splendour and vidya means
the knowledge which leads a jiva (embodied soul) to mukti
(liberation). This Tradition is mostly known by its famous
Shriyantra which is considered to be a Raja-yantra the
queen of all yantras. The tantrics often invoke other deities
and worship them in this yantra. It is not a casual thing because the shakta-tantrics of Shrividya believe that the
Mother Goddess Tripura Sundari gives the birth and manifistation for the whole Universe
and all deities. Shrividya is the
tradition of mantras indeed as
this tanric cult includes a really
extensive multitude of them as
well as a variety of deities.
Generally there are two groups
of mantras male and female.
The male one is called mantra and the female mantra
vidya. Mantras are supposed
to be the subtle body of a Deity.
They may have the form of
bija a seed syllable or
monosyllabic mantra. Sometimes mantras consist of seve
ral bijas and in this case they
are called kutakshara a
gather ing of syllables. Mantras
can form a subtle body of the
Deity with the help of nyasas
(depositions) inside of the body
of a worshipper. In consequence of this process a practitioner can meditate on the oneness with the Deity.
It is also possible to install a yantra inside of the body, for
example every chakra of yantra upon a chakra of sadhaka.
Such kind of depositions of a Deity or its energy may be made
on ones own body or upon other participant of the tantric
ritual. This approach is popular in the tradition of Kaula.
This tradition is nominaly divided into Shrikula (Shrividya)
and Kalikula (the cult of Kali). However these currents of the
Mother Goddess suplly each other and maintain the same
elements. But talking about Shrikula it is to be emphasized
that at advanced levels of Shrividya we start worshipping
4

ADESH / summer 2014

Kali as well. It is concerned with the fact that Kali is ugra

(fierce) Goddess, cutting off the mundane attachments. This
is why one must perform high-quality worship of Tripurasundari before beginning the practice of Kali especially in the
form of panchamakaras.
The name Lalita Tipurasunadari is translated as one
who has the nature of a play (leela or vilasa), also splendid
in the three worlds. She liberates from these 3 worlds or
bestow jivanmukti in them. Ususally she has the forms of
Bala of 8 years old, Panchadashi of 15 years old, then of the
age 16 and 28 years. There are some definite mantras for every age with the corresponding amount of bijas.
Nevertheless every of her aspects may has very diverse
forms. For instance Bala has a standard form of the three
akshara mantra, but at the same
time there are more then 30
types of this mantra with the
larger number of aksharas for
different purposes. There is also
a sadhana of Bala when she is
worshipped as Kamakhya and
there is a special yantra, retinue
of yoginis and the performance
of puja in this case. At the same
time it is possible to worship
Kamakhya Balasundari with
panchatattva. There is also an
upasana of Bala when she turns
into Tripura Bhairavi and the
syllables Ha, Sa and Ra are ad
ded to the threeakshara mantra. They simbolize Kameshvara,
Kameshvari and their Union.
The Naths as well have the worship of Bala.She is depicted the
same way like in the first variant, but the mantra and practice
are very different, although
goals are similar to Shrividya
Tradition. It is possible to say
the Naths are more prudent with
the practice of abhichara.
Usually the parctitioners meditate on the image of Bala
keeping in mind the secret sacral meaning of every element.
Bala holds in one left hand a book the symbol of know
ledge, other left hand shows the abhaya-mudra the symbol of fearlessness, one right hand holds a rosary and the
other shows the varada-mudra the symbol of compassion
bestowing the good. She wears red clothes which symbolizes
Shakti, therefore the red colour is very significant for the
shaktas. Her three eyes are the symbols of the Fire, the Sun
and the Moon.She is adorned with the crescent on her hair

hr

la
e
a
k

Trikona
Goddess
Consort
Function
Shakti
Sound stage
Consciousness

Left side
Vama
Brahma
Creation
Iccha
Pashyanti
Waking

Center
Jyoshtha
Vishnu
Sustenance
Jnyana
Madhyama
Dreaming

Right side
Raudri
Shiva
Destruction
Kriya
Vaikhari
Deep Sleep

hr
m

Balasundari Mantra:
ai kl sau
Panchadashi mantra:
ka e la hr ha sa ka ha la hr sa ka la hr
Shodashi mantra:
ka e la hr ha sa ka ha la hr sa ka la hr r
Mahashodashi mantra:
r hr kl ai sau o hr r ka e la hr ha
sa ka ha la hr sa ka la hr sau ai kl hr r |

It is to be noticed all these

principal mantras are transmitted by a Guru with the corresponding initiations. On
the other hand there is an infinite amount of mantras in
Shrividya. For instance there are
a lot of sorts of Shodashi and Mahashodashi mantras, usually they are constitued by alternating syllables what changes characteristic of mantra.
My Guruji explains this by the following way. In the beginning we worship young Balasundari Goddess of 8 years
old. So we use the Bala mantra of three aksharas ai kl
sau in practice. The bija ai is the bija of speech,
kl Kama wish and sau Shakti (mystical
power). After the practice of this mantra the experienced
sadhaka starts the practice of mantra of 15 years old Goddess
ha sa ka ha la hrm
Panchadashi mantra. It is a
symbol of the Goddess starting to
have the menstrual cycle. Her
vidya is divided into 3 kutas: the
first starts with ka ka e la
hr; the second with ha ha sa
ka ha la hr and the third one with
sa sa ka la hr. These kutas are
speech, wish (will) and shakti (power),
in fact they proceed with what is practised in Bala mantra. Then sadhaka practises
the mantra of 16 syllables which is the essence
of the two previous and allows to recieve knowledge directly
from the Goddess perceiving the Atman. The transmission of
the 16 syllables mantra my Guru calls shakta abhisheka. After this sadhaka worships Tripurasundari with the mantras
of more then 20 syllables when the Goddess becomes like a
mature woman united with Shiva Kameshvara and from this
moment she is Kameshvari. At this stage sadhaka is empowered and gains authority to practise the most secret me
thods of Shrividya in the form of panchamakara-puja etc.
This intiation is called purna abhisheka. Afterwards upasaka worships Kali and other fierce forms of Goddess. In ge
neral all these stages are considered to be the process of
Kundalini awakening and realizing of her oneness with
Shiva.Certainly all these stages have a lot of secrets and
Guru may transmit them only to tested disciples in whom he
has a real confidence. In some currents of Shrividya other
Gurus may have different algorithm of initiation and principles, but in this article we will explore the most famous
mantra and its meaning.
It is to be mentioned here that in the lineage of the Naths
there is also one initiation called Upadeshi-diksha or

s
a
ka
la

(ardha-chandra) the symbol of the Divine Light -

and of the Divine vision (clairvoyance) - , the power of
vision through any distance (space) . The adornment on the head means the Divine knowledge. Her earrings
stand for Divine Hearing and the ornaments on her
hands symbolize the power of catching anything even objects at a great distance . Ornaments on her
feet are the symbols of the Divine Migration (motion, displacement). The adornment of the neck means the
Divine voice . The fingers of her hands symbolize
the Divine touch and four arms the four aims of life .
In the form of Tripurasundari (Shodashi) she is enthroned
on Sadashiva. From his navel appears a lotus. According to
Shrividya there is a para-vac in navel, so actually Lalita is
manifestated from it. Sadashiva lies on the throne of Lalita
which is situated upon the heads of Brahma, Vishnu, Rudra
and Ishvara. For this reason the Goddess Tripurasundari is
worshipped along with Panchabrahma Shiva fivefaced
Shiva from whom 5 amnayas are descended. There is also a
special form of Ganesha known as Kshipra Ganapati (quick
Ganapati) that corresponds with the Goddess Lalita. He is
supposed to be quick in revealing spiritual experience. Tripurasundari is glorified by her proper respective Shriyantra
like a symbol of all yantras. Obviously this is the reason all
Deities may be worshipped in Shrividya.
The whole sacred image of Tripurasundari with all its elements has a large amount of meanings: her lasso symbolizes
devotion, the curved knife means the power of cutting off attachments, the 5 arrows of sugar cane the 5 arrows of Kamadeva as well as 5 senses. She is sirved by Lakshmi and Sarasvati. It is said in Lalita-sahasranama that Ten Avatars of
Vishnu appear from Her ten nails. In fact if we study thoroughly Lalita-sahasranama we can find descriptions of numerous
symbols of the Goddess appearance as well as her diversed
powers. Moreover her symbolism is even deeper for those who
practise Shrividya: for example from the essential form of Tripurasundari may be manifestated either Durga or Kali.In the
aspect of Rajarajeshwari Tripurasundari assumes the form of
Durga. Rajarajeshwari is depicted on simhasana sitting on
the lion, it is the symbol of royal authority of the Goddess
. We all know that Durga as well move around on a tiger.
Tripurasundari may also assume the form of Bagalamukhi,
Chinnamasta (Shrividya form is Vajraprastarini), etc.
It is to be said that in the linage of Shrividya three Goddesses Kali, Lalita and Durga personify the three component elements of Panchadasha mantra. Therefore first three
Goddesses are very significant for Shrividya-upasana.
The principal mantras of Shrividya are the following:

Bindu
Ambika
Ishvara

Para
the Fourth

ADESH / summer 2014

ka
e

la
hr

vgbhavaka
tat
Kameshvara Brahman ha
savitur varenyam
Kameshvari (Shakti) sa
bhargo devasya dhShiva
ka
mahi
Earth
ha
dhiyo yo na pracodayt Maya
la
hr

kmarjaka
tat
savitur (three syllables = three mantra words)
varenyam
bhargo devasya dh- (one sound = six syllables)
mahi
dhiyo yo na pracodayt

Shankhadhal when Guru trasmits mantras and forms of

upasana to disciples.
But mantras themselves and the way of Goddess Bala worship are quite different. At the same time the image of Bala
is identical to Bala of Shrividya and the mantra is like a derivation from Paraprasada mantra Soham along with Threeakshari mantra, but with the symbolism of Sarasvati, Kali and
Lakshmi united in the image of Bala.
The principal Panchadashi mantra of Srividya is considered to have the origin of Atharvaveda, Shri devi atharvashirsha in particular. This shloka can assume the form of
bijas.

sa
ka
la
hr

aktika
tat savitur varenyam
bhargo devasya dhmahi
dhiyo yo na pracodayt

Kama, Yoni, Kamala, Vajrapani (Indra), Guha, Hamsa, Matarishva, Abhra, Indra, Punarguha, Sakala, Maya are also
mantras of the Mother of Universe who is the Brahman undoubtedly.
There are a lot of ways of decoding of this shloka, I offer
the three well-known variants:
1. m (eros) ka, Yoni (source) e, ml (Goddess) , Vajrapani (Indra) la, Guha (Skanda)
hr, Hasa (Hamsa) ha, sa, Matarishva (air) ka,
Abhra (sky) ha, Indra la, hr, sa, ka, la,
Maya hr.
2. ka wish, e intention, motivation, la accomplishment, hr light and realization of soul,

ha the Sun, sa the Moon, ka wish, ha pra

na, la accomplishment, hr light and realization of soul. sa moon energy of mind, ka wish,
kmo
yoni
kamal
vajrapirguh
has
la accomplishment, hr shakti and light.
mtarivbhramindra |
3. ka Shiva, e Shakti, the God of Love, la
punarguh
sakal
myay
ca
purucyaia
earth, ha the God of Sun, sa the rays of the cool
vivamtditividyom || 14 ||
Moon, ka the God of Love, ha the Sky, la Indra, sa Par, ka the God of Love, la Vishnu.
Derived
Vocal root
Esoteric meaning
There is a multitude of mantras in Shrividya with the
sound
vgbhavaka
various number of aksharas similar to panchadashi where
ka
kan, shine
Shiva, Enlightener
aksharas can have the concealed alchemical meaning. This
e
in, learn
learning tool, i.e. Buddhi
alchemy as a rule is formulated by mutual interaction of
[ka + e point to radiant mind]
different powers and energies. But most of Gurus keep it in

, fill
filling of all reality
secret. In some sense the alchemy of Shrividya is very alla + ha +
superiority
lied to that one of the Naths. However it is to be noticed
r
that nowadays not all of Guru manage to retain this knowl
reason of superiority
edge. In fact there are a few experts in this field of prackmarjaka
tice. Most of such kind of Masters prefer to teach only reha
han, affect
bravery, ha cause of victory
stricted cycle of followers selecting aspirants by extremely
over the enemy
exigent way.
sa
so, enjoy or
wealth, assistance in enjoyThe splitting from bindu to trikona (triangle) generates
su, generate
ment
ka
kam, wish
women, who are attracted by
manifestation of these categories of triadic deities and enmantra and are objects of
ergies and there are various descriptions of them in the
desire
texts of Shrividya. A lot of Masters list different connecha
oharn, go
regard to the achievement of
tions and metaphisical principles of them and sometimes
courage, wealth, desire etc.
they vary deeply in significance and interpretations dela + ha + , shine
glory
pending on a school.
r
The unfolding of the triangle starts from the left line

(rekha) of the inner triangle of Shriyantra (sarvasiddhipaktika

rada) and goes clockwise. This way every element of the
sa ka la
that whereby there exist
symbolic triads becomes related to the lines of the triangle
aforementioned actions
in the center of Shriyantra. The bindu (point) is situated at
h
h, eliminate
Destroyer of Universe
the same center and symbolizes the Goddess Ambika per
shine, cause of creation and
sonifying the authentic Self of a man Atman. When the
maintenance
Mother Goddess creates the Universe the unique source in
[h + = Mother who shines in the heart and dissolves the
the form of mahabindu is divided into 3 bindus (sun, moon
pain, hr dependent determined component
and fire) and they are joined by the different forms of nada.
(karmadhrya) with ]

primary sound (nda) or

These three bindus symbolize the corners of Shri Yantra
knowledge
triangle which is in its turn the yoni of the Goddess.
6

ADESH / summer 2014

ka e la hr Kameshvari (rajas)
ha sa ka ha la hr Vajreshvari (sattva)
sa ka la hr Bhagamalini (tamas)
All Shri Yantra appears, following the evolutionary trends (pravritti), from the central triangle. Panchadashi-mantra is considered to be the foundation of Shri
Yantra. Together with the central bindu
and syllable r it appears as Shodashi.
Some tantrics also relate Panchadashi-mantra to the Vedic Gayatri and
they believe that Gayatri can be transformed into a form of Panchadashi bijas, and that Panchadashi contains all
the Gayatri. Please find attached the
relevant tables of interrelation Gayatri with Panchadashi. And, even each
kutakshara is able to contain the potential of Gayatri-mantra.
Panchadashi mantra is unique because it is capable to untie the three
nodes (granthas) in human body, awaken chakras and Kundalini. So, for example, pronouncing ka e la hr, we untie
Brahma-grantha and activate the condition of fire. When we recite ha sa ka ha la
hr, so we untie the Vishnu node and activate the Sun power, while pronouncing sa ka
la hr, we untie the Rudra node and activate
the Moon power. The sixteenth bija r allows
to open the Sahasrara chakra, and by vibrating
bindu (anusvara) in syllable r with mantras help
we can activate sukshma-chakras of dvadashanta.
Panchadashi mantra syllables are also known by their
connection with fifteen lunar days (tithi), which are associated with fifteen Nitya Goddesses. In Indian astrology
the Moon plays a key role, while in Tantra it is believed that
the Moon contains both powers its own and the solar one.
For example, the new moon (amavasya) is related to the lunar power, whereas the full moon (purnima) to the solar
power. In human body new moon is associated with lower
chakras, while full moon with upper chakras. If we translate the word hatha-yoga, so h means Moon and tha means
lunar and solar discs simultaneously. Hatha-yoga is the balance of the lunar and solar power or Prana and Apana (ascending and descending forces), and also the union of Shakti and Shiva. How the mantras of fifteen Goddesses are
associated with the outer and inner cosmos, this is a topic for
another article, here I will just mention this connection.
Furthermore, the greatness of fifteen syllabic Tripura
Sundari mantra is also in fact that its syllables contain 36
metaphysical categories of Being which are popular in both
Shivaism and Shaktism. Moreover, Panchadashi mantra has
the potential of all the letters of Sanskrit, in Shaktism they
are considered as the Goddesses Mothers (Matrika). For example, the first system a-ka-tha is connected with three
kutas of Yantra. The first kuta includes all Sanscrit vowels

from a, the second kuta includes consonants from ka to ta,

and the third kuta remaining aksharas from tha. There
are other systems that link matrikas with mantra. Sanscrit
aksharas have a feature: consonants contain also the vowel
a, which is pronounced at the end of the word. For example, syllable ka has two sounds fused together such as k
and , while vowel contains just itself and nothing else. If
we count the number of sounds in Panchadashi-mantra, including the sounds of Nada and Bindu in hr, we will get
37 sounds. These sounds are related to the 36 tattvas, including the 37th category Paramashiva (tattvatita) or that
Shri Abhinavagupta called Anuttara. All the Sanscrit letters, from Tantrism point of view, have a deep sacred value,
so, for example, vowels are often seen as being associated
with Shiva, while the consonants with Shakti. Consequently, all mantras consisting of compounds of vowels and
consonants are the personification of the blessed union of
Shiva and Shakti.
Yogi Shri Matsyendranath

ADESH / summer 2014