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Bhavanopanishad
15 Sep
Bhavanopanishad
1. Bhavanopanishad is one among the minor Upanishads; and is, comparatively ,
a recent one. It is listed under the category of Shaktha Upanishads viz. the Upa
nishads that delineate the tantric outlook and attempt to reconcile that with th
e Vedic approach. Bhavanopanishad is affiliated to Atharva Veda. It is a major t
ext in the Sri Vidya
Sri Chakra tradition; and, brings out, very crisply, the sy
mbolism of Sri Chakra and its upasana; its spiritual mode of worship of kadi (sa
maya) school, and contemplation. Bhavanopanishad is an important text for the pr
actice of antar-yaga, the internal worship.
2. Before we proceed further, a brief explanation on the suffix (Upanishad) to t
he title of the text appears necessary.
As per tradition, about thirteen Upanishads are considered major Upanishads; and
they represent the core of the Upanishad wisdom. They are of doubtless antiquit
y and constitute the first tier of the prasthana-traya (the set of three princip
al texts), the foundations of the Vedic heritage; the other two tiers being the
Brahma Sutras and the Bhagavad-Gita. Sri Shankara commented on ten of those majo
r Upanishads (Ishavasya, Kena, Katha, Prashna, Taittireeya, Aithreya, Chandogya,
Brihadaranyaka, Mundaka and Mandukya); and cited the other three (Kaushitaki, S
vethavatara and Jabaala) as being authoritative
2.1. During the later times, varieties of texts gave themselves (or were attache
d with) the suffix-Upanishad to their title. That was perhaps meant to provide th
ose texts a halo of authority and an elevated position in the hierarchy of tradi
tional texts. The thoughts in most of such texts were neither fresh nor universa
l. Many of those texts were theistic and sectarian in their approach; and were,
therefore, classified according to their affiliations, such as Vaishnava, Shaiva
and Shaktha etc. All such Upanishads are enumerated in the Charana-vyuha sectio
n of Atharva Veda, to which they are affiliated. That section itself has a suppl
ementary character about it.
Mukthikopanishad (1.5), itself a minor Upanishad affiliated to Atharva Veda, li
sts about 95 minor (apart from the major 13) Upanishads.
2.2. Their claim to being Upanishads was, generally, based on their acceptance o
f the authority of the Vedas; rejection of the gross ritualism of karma-kanda; a
nd, highlighting the esoteric or the mystical significance of the rituals.
SRI Kameshwara
3. Coming back to Bhavanopanishad; it is described as an Upanishad in the sense
of a secret doctrine or a liberating-wisdom.
3.1. Nothing much is known about its author or its period. It is surmised the te
xt may belong to about 12th century.
3.2. Bhavanopanishad is a short text; a collection of aphoristic statements (vak

yas) running into just about 36 lines. The statements are in Sutra style; exceed
ingly cryptic and with no suggestions. It is not easy to interpret the sutras an
d derive meaning out of them.
3.3. The Bhavanopanishad is closely related to the Tantra-raja-tantra, another m
ajor tantric text of the Kadi School of the Sri Vidya tradition. The Kadi_ matha
is regarded the most orthodox among all the schools of Sri Vidya tradition. It
insists on virtue, discipline and purity of rituals. Its attitude is Sattvic; an
d its form of worship is internal. Hence Kadi School (also known as Samaya) is r
egarded as Para Vidya (transcendental knowledge) where the worship (archana) is
conducted in the space of one s heart (hrudayakasha madhye).
4. 1.The main purport of Bhavanopanishad is to establish a relation between stru
ctures of the human body and Sri chakra. The Sri Chakra, in turn, is regarded as
a projection of the essential characters of the universe. There is an attempt t
o harmonize (samarasya) the micro (pindanda) and the macro (brahmanda), with Sri
Chakra being the median imbibing in itself the characteristics of the both. Bh
avanopanishad lays greater emphasis on symbolic representations and contemplatio
n, than on rituals.
4.2. The text begins with salutations and surrender to the Guru, hailing him as
the fountainhead of the liberating wisdom. Then it goes on to relate the human c
onstitution in its physical, mental and vital levels to the nine-fold energy rep
resented by the nine enclosures of the Sri Chakra. A significant portion of the
text is devoted to the enumeration of the nine enclosures (avaranas) that compos
e the Sri Chakra yantra; and to their geometric, cultic and psycho-physical repr
esentations. The method of enumeration adopted is the samhara-krama (absorption
or dissolution method), which commences from the outermost avarana and proceeds
inwards, systematically, till the central point of the Sri Chakra, the bindu, i
s reached.
In short, the text attempts to construct a harmonious relation between the micro
and the macro; between the Tantric and the Vedic; and between worship and conte
mplation. It also renders the Tantric worship sattvic and sublime.
5.1. In the Sri Vidya tradition, the concept of Bhavana (after which the text is
named) has a very special significance.
In the tantra tradition, the worship is classified as external (bahir-yaga) and
internal (antar-yaga).In the former the worship is offered to a concrete represe
ntation of a divinity which inspires devotion and reverence. Here, the object of
adoration and worship is gross (sthula). The devotee looks upon the mother-godd
ess as having a human form which he can see and touch. The services (upacharas)
are offered to that form as if it were the most adorable and highly revered huma
n being. The worship also includes praising the divinity (stuti), repeating the
mantra handed down by the Guru (japa), which the tongue can utter and the ears c
an hear. There is also the contemplation on the glory of the God (dhyana). This
form of worship is termed as gross (sthula).
The text says that external worship is only a stepping stone, a preliminary proc
edure; and, one must go beyond that in due course. The external worship is a mea
ns and not an end.
5.2. The other form of worship viz. antar-yaga, the internal worship, is in two
stages with external props (sa-adhara) and without such props (nira_dhara).The p
rops referred to here are the physical accessories, such as image, gestures (mud
ra) or sounds. The devotee understands and appreciates the symbolism involved in
those objects of adoration and in the ritual sequences. He knows that the props
are there to help him and guide him along the path; and yet he submits to them,
entirely, with devotion and reverence until the wisdom dawns. His dependence on

the props tapers gradually. The worship here tends to be subtle (sukshma).
5.3. The second stage of antar-yaga is transcendental (para), leading to gradual
dissolution of mind in intense contemplation and visualization of identity with
the mother-goddess. His entire psyche is immersed in the mother principle. Now,
the external rites, worships or conducts, no longer carry any meaning, for him.
5.4. The devotee s consciousness undergoes a transformation with the realization t
hat he and the Mother are one. Such transformation is termed Bhavana. Etymologic
ally, the term is derived from the root bhu (to be) to suggest bringing somethin
g into being. It also suggests a mental process that transforms an idea into rea
lity. In an extended sense, the term means contemplation or meditation, comprehe
nding the abstract as real and tangible.
5.5 The expression Bhavana here is taken to mean, internal worship (antar yaga) o
f the Devi, visualizing Sri Chakra as identical with one s own being (sva-atma sha
kthi) and offering worship through mental constructs , projections and visualiza
tions. The method of Bhavana is regarded as the sublime form of worship for atta
ining liberation, even while one is alive (jeevan mukthi).
6. Bhavana emerged as a very significant concept in the development of the tantr
ic tradition; and, to an extent, it rescued the tantra from totally degenerating
into grotesque and abominable cult practices. It came as a breath of fresh air
cleansing the polluted atmosphere of the tantra. It helped sublimating the coars
e tantric beliefs into universal principles. The advocacy of meditation (bhavana
) rendered the tantra acceptable to householders too. It also helped to reconcil
e the tantra outlook with the Vedic ethos.
7.1. As I mentioned earlier, the Bhavanopanishad is in the form of terse Sutras
and it is not easy to understand its import without the aid of a commentary. The
most well known of all the commentaries on Bhavanopanishad is The Bashya by Bh
askararaya Makhin, who called himself Saubhagya-bhaskara.
7.2. Bhaskararaya was a celebrated authority on the philosophy and practice of T
antra; and, especially on the Sri Vidya upasana. Though his exact dates are unce
rtain, it is accepted he lived (between 1690 and 1795) ; mostly during the 18th
century. His father Ghambhira Raya was a scholar and served as a minister in th
e court of the sultan of Bijapur (North Karnataka).His mother s name is given as K
onnamamba; and his place of birth is mentioned as Bhaga-nagar (the present-day H
yderabad in AP).
7.3. He was initiated into tantric worship by his father; and he had the formal
initiation and final consecration from the tantric master Shivadatta Shukla of S
urat (Guj). He later married Anandi Bai from Maharashtra and initiated her in Sr
i Vidya. After studying for many years in Varanasi, he returned to the south; an
d finally settled down in Tiruvalangadu on the banks of the Cauvery in Chola man
dala. He was a versatile scholar and a prolific writer with more than forty book
s in Sanskrit on several branches of learning.
7.4. His commentary on the Bhavanopanishad is brief but well constructed. His ex
planations are precise and pre supposes familiarity of the reader with the ideol
ogies and concepts of Sri Vidya.
His works are of particular interest to Sri Vidya upasakas, as they furnish prac
tical instructions and information concerning its upasana and sadhana. The more
important among such texts are his companion volume to his commentary on Bhavano
panishad; it is called, for short, prayoga-vidhi, a practical manual for worship
of Sri Chakra.
His other well-known works concerning Sri Vidya are his commentaries on: Lalitha

sahasranama, Tripuropanishad, Kaulopanishad and Lalitha

d.

tripura-sundari Upanisha

He lived to be a very old man and spent his last days at his house on Mahadanapu
ram Street of Madhyarjuna-kshetra (Tiruvidaimarudur). He passed away at the age
of 95.
8. The best known rendering (in English) of Bhaskararaya s commentary on Bhavanopa
nishad is by Prof. S K Ramachandra Rao, published by Kalpatharu Research Academy
, Bangalore.

Sources and References:

The tantra of Sri Chakra by Prof. S K Ramachandra Rao
Bhavana Upanishad- text in English http://www.hinduwiki.com/index.php?title=Bhav
ana_Upanishad
Nitya Kala Devis http://www.srividya.org/Srividya/Svtsweb/apps/?act=viewPhoto&ph
oto_id=8
The Fifteen Nityas http://www.religiousworlds.com/mandalam/nitya.htm
Life sketch of Bhaskararaya Makhin http://kamakshi16.tripod.com/bhaskara.html
http://en.wikipedia.org/wiki/Bhaskararaya
(Please click here for a fairly detailed account of Sri Bhaskararaya Makhin s lif
e)
11 Comments
Posted by sreenivasaraos on September 15, 2012 in Books, Sri Vidya, Tantra
Tags: Bhaskara Raya, Bhavanopanishad, Makhin, Sri Vidya, Tantra
Sri Muthuswami Dikshitar and Sri Vidya (8 of 8)
14 Sep
Kamalamba Navavarana kritis-Part two

tt65
Continued from page one.
While discussing the Navavarana kritis, I propose to restrict myself to those po
rtions of the kritis that have reference to Sri Vidya and Sri Chakra. Most of su
ch references occur in the Charanam segment of the kritis.
1.

First Avarana

Bhupura

Kamalaambaa Samrakshatu Maam

Ananda Bhairavi

Misra Chapu (Triputa)

[The avarana is Bhupura and the Chakra is Trailokyamohana chakra enchants the thr
ee worlds . The yogini is Prakata; Mudra is Sarva Somkshibhni; Siddhi is Anima; an
d the mental state of the aspirant is Jagrata. The presiding deity is Tripura. H

er Vidya is Am Am Sauh.The gem is topaz. The time is 24 minutes and the Shaktis
are 28 that include the ten starting with Anima, the eight Matruka Devis startin
g with Brahmya and Maheshwari; and the ten Mudra Shaktis. 28 is the dominant nu
mber. This avarana corresponds to the feet of the mother goddess.]
Tripuraadi Chakreshvari Animaadi Siddhishvari Nitya Kaameshvari
Kshitipura Trailokyamohana Chakra Vartini Prakata Yogini
Suraripu Mahishaasuraadi Marddini Nigama Puraanaadi Samvedini
Tripureshi Guruguha Janani Tripura Bhanjana Ranjani
Madhuripu Sahodari Talodari Tripura Sundari Maheshvari
The Bhupura Chakra, the earth stretch, includes within its spacial scope the ent
ire design even as the earth supports the entire existence .As he enters the fir
st Avarana, Dikshitar submits his salutations to the Mother Goddess Kamalamba an
d prays for protection and guidance. He address her as the magnificent transcend
ental beauty without a parallel in three worlds (Tripura Sundari); the conqueror
of three levels of existence; the presiding deity of Tripura and other chakras
(Tripuraadi Chakreshvari); Kameshwari; the empress of Trailokyamohana Chakra (Tr
ailokyamohana Chakravartini) of Bhupura (Kshithipura). She is the presiding deit
y of the chakra (Tripureshi); mother of Guruguha; and the enchanting beauty of a
ll the tree worlds (tripura Sundari).
He also submits his salutations to Anima and other Siddhi deities of the Avarana
(Animaadi Siddhishvari); the Nitya Devis; the Yogini of the Avarana (PrakataYog
ini); and Maheshwari and other Matruka Devis.
Thus, along with the prayers, he brings out the salient features of the Bhupura
Chakra, the Earth principle. The name of Raga Anandabhiravi is suggested by the
phrase Kamalaja-ananda Bodhasukhi. His signature also appears in Guruguha janani
.
2, Second Avarana

Shodasha dala padma

Kamalambaam Bhajare Re Maanasa Kalyani- Adi.

[The avarana is Shodasa Dala, and the Chakra is Sarva asha paripuraka chakra fulf
iller all desires and expectations ; the yogini is Gupta Yogini; Mudra is Sarva Vi
dravini; the Siddhi is Laghima; and the mental state is Swapna, The presiding de
ity is Tripureshi. Her vidya is Aim Klim Sauh. The gem is sapphire. The time is
three hours. The Shaktis are the sixteen starting with Kamakarshini.16 is the do
minant number. This avarana corresponds to the Savdhistana chakra of the mother
goddess.]
Sarvaashaa Paripuraka Chakra Svaamineem Parama Shiva Kaamineem
Durvaasaarcchita Gupta Yogineem Dukha Dhvamsineem Hamsineem
Nirvaana Nija Sukha Pradaayineem Nityakalyaaneem Kaatyaayaneem
Sharvaaneem Madhupa Vijaya Venim Sad Guruguha Jananeem Niranjaneem
Garvita Bhandaasura Bhanjaneem Kaamaa Karshanyaadi Ranjaneem
Nirvishesha Chaitanya Roopineem Urvee Tatvaadi Svaroopineem
The sixteen petalled lotus(shodasha dala padma) called sarva asha paripuraka ch
akra , the fulfiller of all desires , is the second enclosure. In the sixteen
petals , the sixteen vowels of Sanskrit alphabet is inscribed.These symbolize si
xteen kalas or aspects or phases.This Avarana is about the self protection of th
e devotee (atma raksha); and liberation from discontent by seeking identity with
Shiva the ever complete and content.
He calls upon his mind to meditate on Kamalamba and cast aside attachments to il
lusory existence (kalpita maaya).The craving Asha springs from discontent; and i

s quenched when discontent is eliminated. That is possible when devotee identifi

es himself with Shiva, ever complete and ever content.
He worships the presiding deity of Sarvasaparipuraka chakra, the fulfiller of al
l desires and expectations (Dukha Dhvamsineem);the beloved of Parama Shiva; the
bestower of true and everlasting bliss (Nirvaana Nija Sukha Pradaayineem). She i
s the manifestation of attribute_ less supreme spirit (Nirvishesha Chaitanya Roo
pineem).She is also the representation of the world and its principles (Urvee Ta
tvaadi Svaroopineem).
When he calls her she who is worshipped by Durvasa (Durvaasaarcchita) , he is refer
ring to the Kaadi matha tradition to which he belonged. The sage Durvasa is one
of the gurus of the Kaadi matha.
Dikshitar also refers to the Gupta Yogini, the yogini of this avarana; the sixte
en, Shakthis starting with Kamakarshini (Kaamaa Karshanyaadi Ranjaneem). They ar
e also called nithyas and named Kamakarshini (fascinating the desires), Budhyaka
rshini (fascinating the intellect) etc. They relate to powers in the Five Elemen
ts, the ten senses of perception or Indriyas (being further divided into five or
gans of action and five sense organs) and the Mind.
The phrase Nija Sukha Pradaayineem Nityakalyaaneem refers to the sixteen Devis o
f this avarana, called Nitya Kala or Nitya Devis.
Raga mudra is in the phrase Nityakalyaneem; and his signature is in Guruguha -ja
naneem.
3. Third Avarana Ashta dala padma
Shree Kamalaambikayaa Kataakshitoham -: Shankarabharanam-Rupaka
[The avarana is ashta dala; The Chakra is Sarvasamkshobana chakra agitates all . T
he Yogini is Guptatara; Mudra is Sarvakarshini; the Siddhi is Mahima; and the me
ntal state is Shushupti. The Presiding deity is Tripura Sundari. Her vidya is Hr
im Klim Sauh. The gem is cat s eye. The time is day and night. The Shaktis are the
eight starting with Ananga Kusuma. 8 is the dominant number. This avarana corre
sponds to the navel region of mother goddess.]
Ananga Kusumaadyashta Shaktyaakaarayaa
Arunavarna Samkshobhana Chakraakaarayaa
Anantakotyandanaayaka Shankara Naayikayaa
Ashta Vargaatmaka Gupta Tarayaa Varayaa
Anangaa Dyupaasitayaa Astadalaabjasthitayaa
Dhanur Baanadhara Karayaa Dayaa Sudhaa Saagarayaa
Eight petalled lotus (astha dala padma) called Sarva-samkhobhana Chakra the agita
tor of all, is the third avarana.Each petal has a consonant inscribed within it
that begins with Ka
The petals represent eight divinities associated with erotic
urges , independent of physical body(ananga).
The Avarana is about overcoming agitations (Samshkoba) and the formless erotic u
rges (ananga)that arise in mind .These refer to mental pleasures and agitations
related to the modalities of mind such as rejection (repulsion or withdrawal),
acceptance (attention or attachment) and indifference (detachment).
The eight petals of the Avarana Asta dala represent eight divinities associated
with such erotic principles. They are named Ananga Kusuma, Ananga mekhala, Anang
a madana and so on. Dikshitar refers to them as Ananga Kusumaadyashta Shaktyaaka
arayaa.

Dikshitar obviously succeeded in gaining freedom from mental agitations and urge
s.
Dikshitar is thrilled with divine ecstasy; I am blessed by the grace of mother
Kamalamba (Shree Kamalaambikayaa Kataakshitoham); and I have realized that Absol
ute Brahman (Sacchidaananda Paripurna Brahmaasmi).
He describes the Devi as the one seated on the red colored (Aruna Varna)Samkshob
hana Chakra,amidst its eight petals (Anangaa Dyupaasitayaa Astadalaabjasthitayaa
) having names starting with Ananga (Ananga Kusumaadyashta).In the eight petals
of the lotus, eight consonants such as ka, cha, ta and so on are inscribed (Asht
a Vargaatmaka).She holds in her hands the bow and arrows (Dhanur Baanadhara Kara
yaa). She is the ocean of mercy (Dayaa Sudhaa Saagarayaa).
Ananga has also a reference also to the cult of Cupid or Eros (Manmatha or Kamar
aja) and its deities that have merged into the tradition of Sri Vidya. Dikshitar
is referring to the school propagated by Kamaraja, the Kamaraja vidya or Kadi m
atha; and continued by the sage Agasthaya. Dikshitar belonged to this school.
He mentions the yogini of the Avarana, Gupta Tarayaa (Gupta Tarayaa Varayaa).
Raga mudra is hinted in Shankara Naayikayaa, the beloved of Shankara. His signat
ure appears in the phrase Guruguhatatraipadayaa.
4. Fourth Avarana

chaturdasha trikona

Kamalaambikaayai Kanakamshukaayai-Kambhoji -Khanda Ata

[The Avarana is chaturdasha trikona, a figure made of 14 triangles; the Chakra i
s Sarvasoubhagya dayaka chakra, grants excellence . The Yogini is Sampradaya Yogini
; the Mudra is Sarva Shankari; the Siddhi is Ishitva. The mental state is Iswara
Vichara. The presiding deity is Tripura Vasini. Her vidya is is Haim Hklim Hsau
h. The gem is coral. The time is day and night . The Shaktis are the fourteen st
arting withSamkshobhini.14 is the dominant number. This avarana corresponds to t
he heart of mother goddess.]
Sakala Saubhaagya Daayakaambhoja Charanaayai
Samkshobhinyaadi Shaktiyuta Chaturthyaavaranaayai
Prakata Chaturddasha Bhuvana Bharanaayai
Prabala Guruguha Sampradaayaantah Karanaayai
Akalanka Rupa Varnaayai Aparnaayai Suparnaayai
Sukara Dhruta Chaapa Baanaayai Shobhanakara Manukonaayai
Sakunkumaadi Lepanaayai Charaacharaadi Kalpanaayai
Chikura Vijita Neelaghanaayai Chidaananda Purna Ghanaayai
Dikshitar worships the presiding deity of the fourth Avarana, playing on the wor
ds occurring in the title of the Chakra: sarva sowbhagya dayaka, the bestower of
all prosperity and addresses the Mother asSakala Saubhaagya Daayakaambhoja Char
anaayai, the goddess with lotus like feet and benefactor of all good things in l
ife. He inserted the Raga mudra, in the phrase kaambhoja Charanaayai,worshipping
her lotus feet.
The fourteen triangles are inscribed with fourteen consonants beginning with ka
and ending with dha.The fourteen corners represent fourteen powers of mother god
dess. The fourteen triangles(chaturdasha trikona) of the chakra represent fourte
en channels of the vital forces in the body(naadis), corresponding with the fou
rteen divinities Sarva Samkshobhini and thirteen others. Dikshitar refers to the
se fourteen forces of the fourth avarana asSamkshobhinyaadi Shaktiyuta Chaturthy
aavaranaayai.

He adulates the Devi as manifest ruler (prakata bharanayai) of the fourteen worl
ds (chaturdasha buvana).The fourteen worlds also represent the faculties : the M
ind (Manas), the Intellect (Buddhi),Being (Chitta), the Conscious Ego (Ahamkara)
and the ten Indriyas.
This avarana corresponds to the heart of the mother goddess. Dikshitar addresses
Kamalamba as the heart (antah karanaayai) of the great tradition (prabala sampr
adaya) to which Dikshitar (Guruguha) belongs. He is referring to the tradition o
f the Kaadi matha of the Dakshinamurthy School of Sri Vidya.
He describes the mother as seated in fourteen
ith vermilion (sa kunkumayai), holding in her
baana chaapa). She is the creator of moveable
araadi Kalpanaayai). She is the embodiment of
nda).

triangle (manu konayai), smeared w

beautiful hands (su_kara) arrows (
and immoveable existence (Charaach
consciousness (chit) and bliss(ana

The symbolism of this avarana is the one cherished by all, sarva sowbhagya dayak
a; for it suggests the identity of Shiva with his Shakthis (Chidananda purna gha
naayai).
5. Fifth Avarana

Bahir dasara

Shree Kamalaambikaayaah Param Nahire- Bhairavi -Misra Jhampa

[The Avarana is Bahirdasara; the Chakra is Sarvarthasadhakachakra, the accomplis
her of all . The Yogini is Kulotteerna yogini; the Mudra is Sarvonmadini; and the
Siddhi is Vashitva. The mental state is Guroopa Sadanam. The presiding deity is
Tripura Shri. Her vidya is is Haim Hklim Hsauh. The gem is pearl. The time is lu
nar day. The Shaktis are the ten starting with Sarva Siddhi Prada.10 is the domi
nant number. This avarana corresponds to the neck of mother goddess.]
Shreekantha Vishnu Virinchaadi Janayitrayaah
Shivaatmaka Vishvakartryaah Kaarayitryaah
Shreekara Bahirdashaara Chakra Sthityaah
Sevita Bhairavi Bhaargavee Bhaaratyaah
Charanam:
Naadamaya Sukshmarupa Sarva Siddhipradaadi Dasha Shaktyaaraadhita Moorthe
Shrotraadi Dasha Karana-aatmaka Kula Kauli Kaadi Bahuvidhopaasita Keertthe
Abheda Nitya Shuddha Buddha Mukta Saccida Anandamaya Paramaadvaita Sphurtthe
Aadi Madhyaanta Rahitaaprameya Guruguha Modita Sarva Arttha Saadhaka Sphurtte
Mulaadi Navaadhaara Vyaavrtta Dashadhvani Bhedajhna Yogibrunda Samraksanyaa
Anaadi Maayaa Avidyaakaarya Kaarana Vinoda Karana Patutarakataaksa Viksanyaah.
This avarana which is in the form of a figure with ten corners is called Bahir
dasara , the outer ten triangles; and represents ten vital currents (pranas) res
ponsible for the various functions of body and mind. They are also the represent
ations of ten incarnations of Vishnu meant to accomplish welfare of mankind. Hen
ce the chakra is called Sarvartha Sadhaka, the accomplisher of all objects.
Dikshitar addresses the Devi as the auspicious one (Shreekara) seated on the Bah
irdasara Chakra, served by Bhairavi (Kaali), Bhargavee (Lakshmi) and Bharathi (S
araswathi). The term Bhairavi is also the Raga mudra, here. (Shreekara Bahirdash
aara Chakra Sthityaah Sevita Bhairavi Bhaargavee Bhaaratyaah)
The shakthis of the avarana are ten in number; and are named Sarva Siddhiprada,
Sarva Sampathprada, and Sarva Priyankari and so on. Dikshitar worships the ten m
anifestations of these shakthis (Sarva Siddhipradaadi Dasha Shaktyaaraadhita Moo

rthe); and describes them as the subtle forms of sounds in the body (Naadamaya S
ukshmarupa).
The yoginis of the chakra are Kulotteerna yoginis and are also called Kuala yogi
nis. Dikshitar worships the mother as being present in various forms (Bahuvidhop
asthitha) such as the ten yoginis kula, Kaula and others (Dasha Karana-aatmaka K
ula Kauli Kaadi).
He describes the fifth avarana Sarvartha Sadhaka, the accomplisher of all object
s, in highly lyrical terms. He hails her as the ultimate good (Shiva) and the ob
jective of the Tantra and Vedic rituals alike; and as the supreme non-dual non-d
ifferentiated ever pure enlightened free self, consciousness and bliss. She is t
he incomparable, nondual being, without an end or beginning. She is loved in dev
otion by Guruguha; and is manifested in Sarvartha Sadhaka Chakra. She is the sub
lime inspiration. (Abheda Nitya Shuddha Buddha Mukta Saccida Anandamaya Paramaad
vaita Sphurtthe, Aadi Madhyaanta Rahitaaprameya Guruguha Modita Sarva Arttha Saa
dhaka Sphurtte).
She is also present as Naada, sound, in the nine vital centers such as Muladhara
and other chakras. She protects yogis; dispels delusion and ignorance. The nine
chakras referred to are Muladhara, Svadhistana, Manipura, anahata, Vishuddha an
d ajna; together with manasa chakra (mind centre) situated above ajna, soma chak
ra (lunar centre) situated above manasa chakra; and Sahasra padma, symbolically,
located above the head. The Sahasra is the seat of consciousness (shiva).
6. Sixth Avarana

Antar dasara

Kamalaambikaayaastava Bhaktoham- Punnaagavaraali -Thrisra Eka

[The Avarana is Antardasara; the Chakra is Sarvaraksakara chakra The gem is emer
ald. The time is Lunar Fortnight. The Shaktis are the ten starting with Sarvagny
a.10 is the dominant number. This avarana corresponds to the middle of the eyebr
ows (bhrukuti) of the mother goddess.] Protects all . The Yogini is Nigarbha Yogini
; the Mudra is Sarva mahankusha; and the Siddhi is Prakamya. The mental state is
Upadesa. The presiding deity is Tripura Malini. Her vidya is is Hrim Klim Blem.
Dasha-kala-atmaka Vahni Svaroopa Prakaasha-antar-dashaara
Sarva Rakshaakara Chakreshvaryaah
Tridasha-adi-nuta
Kachavarga Dvaya Maya Sarvajhnaadi
Dasha-shakti-sameta Malini Chakra-eshvaryaah
Tri-dashavim-shad-varna Garbhini Kundalinyaah
Dasha-mudraa Sama-araadhita Kaulinyaah
Dasharathaadinuta Guruguha Janaka Shiva Bodhinyaah
Dashakarana Vrutti Mareechi Nigarbha Yoginyaah Shree
The ten- sided figure (antar dasara) called Sarva raksha karaka (one that protec
ts all) consisting ten triangles is the sixth avarana. The ten triangles represe
nt the powers of the mother goddess who presides over ten vital fires (vanyaha).
These represent the ten specific fires within the body; they being the fire o
f purgation (Rechak), digestion (Pachak), absorption (Shoshak), burning (Dahak),
the secretion of enzymes (Plavak), acidification (Ksharak), to take out or excr
ete (Uddharak), the fires of pessimism and frustration (Kshobhak), the fire of a
ssimilation (Jrambhak) and creating lustre(Mohak).
The significance of this avarana is explained as protection from all obstacles.
The devotee distances himself from all that hinders his spiritual progress; and
he begins to develop the awareness he is Shiva (the consciousness).

Dikshitar describes the antar dasara chakra as endowed with ten aspects and glow
ing like fire(Dasha-kala-atmaka Vahni SvaroopaPrakaasha-antar-dashaara) .These t
en vital fires correspond to the ten divinities named as Sarvajna, sarva shakthi
prada, Sarvaishvarya prada and so on. These along with the presiding deity Trip
ura Malini, reside in the ten-cornered-figure antar dasara (Sarvajhnaadi Dasha-s
hakti-sameta Malini Chakra-eshvaryaah).
Tripura Malini is the goddess of the Chakra Sarvarakshakara (Sarva Rakshaakara C
hakreshvaryaah).
The ten triangles are inscribed with ten consonants beginning with letters of th
e Ka and Ca groups (Tridasha-adi-nuta Kachavarga Dvaya Maya). They, again, repre
sent the powers of the mother goddess who presides over ten vital fires (vanyaha
).
She is the goddess Kaulini, propitiated by ten Mudras .The mudras of the avarana
are Mahakusha Mudra (Dasha-mudraa SamaaraadhitaKaulinyaah).Dikshitar also menti
ons the yogini of the chakra: Nigarbha yogini (Nigarbha Yoginyaah).
Dikshitar describes the Sri Chakra as containing initself the fifty six alphabet
s and also being the very representation of Kundalini (Tri-dashavim-shad-varna G
arbhini Kundalinyaah).
Sri Chakra has several symbolizms. As per the Tantric idealogy the Sanskrit alp
habet is regarded the vocal epitome of the universe; and each letter is transfor
med into energy when introduced into the chakra. It acquires the character of a s
eed_syllable , Bijakshara, representing a divine aspect or a retinue divinity. He
re , the Tantra texts explain that the consonants are basically inert and depend
on vowels (just as Shiva depends on Shakthi) to manifest in a meaningful form.
It is only when the germinating power (bija) of the vowels is infused with conso
nants, the latter gain meaning. That is the reasons the vowels are Bija aksharas
. They transform ordinary letters into mother like condition (matrika); that is,
they impregnate ordinary letters with meaning and power. The consonants inscrib
ed into Sri Chakra derive power since they are now in union with Shakthi.
Further, in Tantra, the articulate sound is the basic structure overwhich all ou
r thoughts, emotions, aspirations and pleasures are woven as fabrics.
As regards Kundalini, it is basically a terminology of the Yoga school. In Tantr
a the term has an extended meaning. Tantra regards the creation as an expression
of the universal energy (maha-kundalini); Its representation in the individual
is the kundalini. That Kundalini is the basis for all his intensions, cognitions
and actions. The awakening of Kundalini signals the spiritual progress. It is b
y means of its mediating power(mantra shakthi) , the individual realizes the one
ness of consciousness-energy.
Dikshitar therefore says that the vowels and consonants inscribed into the Sri C
hakra as representations of energy and consciousness.
Dikshitar
-vaanyaah
She whose
e Punnaga

hides the Raga mudra in a delightful flight of phrases(Ati-madhuratara

Sharvaanyaah Kalyaanyah Ramaniya-punnaagavaraali Vijita Venyaah Shree)
braided hair excels the beauty of lovely black bees swarming around th
tree.

The Charanam concludes with salutations to the Yogini of the chakra, the ten asp
ects of Nigarbha Yogini, shining brightly like the rays of light (Dashakarana V
rutti Mareechi Nigarbha Yoginyaah Shree)
7. Seventh Avarana-Ashtara

Shree Kamalaambikaayaam Bhaktim Karomi- Sahana-Thrisra Triputa

[The avarana is asthakona; the Chakra is Sarvarogahara chakra cures all ills . the
Yogini is Rahasya Yogini; The Mudra is sarva khechari; and the Siddhi is Bhukthi
. The mental state is Manana. The presiding deity is Tripura Siddha. Her vidya i
s is Hrim Shrim Sauh. The gem is diamond (Vajra). The time is Lunar month. The S
haktis are the eight, starting with Vashini. 8 is the dominant number. This avar
ana corresponds to the forehead (lalata) of the mother goddess.]
Raakaachandra Vadanaayaam Raajiva-nayanaayaam
Paakaarinuta Charanaayaam Aakaashaadi Kiranaayaam Hrimkaara
Vipina-harinyaam Hrimkaara-Susharirinyaam
Hrimkaara Taru Manjaryaam Hrimkaareshvaryaam Gauryaam
Sharira-traya Vilakshana Sukhatara Svaatmaanu Bhoginyaam
Virinci Harishaana Harihaya Vedita Rahasyayoginyaam
Paraadi Vaagdevataa-rupa-vashinyaadi Vibhaaginyaam
Charaatmaka Sarva-roga-hara Niraamaya Raaja-yoginyaam
Karadhruta Vinaa Vaadinyaam Kamalaanagara Vinodinyaam
Sura-nara-munijana-modinyaam
Guruguha-vara-prasaadinyaam
Eight-cornered figure(ashtara) called Sarva roga hara ( the remover of all dece
ases) is the seventh avarana.In the eight triangles formed by this figure, eight
divinities presiding over speech reside.They are known as deties of self expres
sion(Vak Devatha).These shaktis also rule overbasic urges and contradictions in
life (dwandwa) such as cold(water) and heat(fire); happiness(air) and sorrow( e
arth); as also the Desire(akasha-space) and the three gunas of Sattvas (consci
ousness), Rajas(ego) and Tamas(mind).
The significance of this enclosure is its power to eradicate the most basic of d
iseases viz. involvement with impure, fleeting existence laden with stress. The
blessed state is attained when
the distinctions between the subject, the object and transactions between them a
re dissolved.
Hrim is the Bija-mantra (seed-syllable) of this chakra. In the
dya, hrim is a particularly sacred syllable; it represents the
rself. Dikshitar worships the mother as the very embodiment of
usharirinyaam Hrimkaara Taru Manjaryaam). She is Gauri; she is
ty of hrim (Hrimkaareshvaryaam Gauryaam).

context of Sri Vi
mother goddess he
hrim (Hrimkaara-S
the presiding dei

Dikshitar refers to his tradition (Kadi matha) by invoking the name of one of it
s gurus Hayagreeva(Harihaya Vedita). He also refers to the Yogini of the chakra
Rahasya Yogini (Rahasyayoginyaam);and to the letters of the Pa group inscribed i
n the eight triangles, representing eight Shakthis (Vasini and others) presiding
over the aspect of speech (Paraadi Vaagdevataa-rupa-vashinyaadi Vibhaaginyaam).
Dikshitar refers to the basic nature of the chakra Sarvarogahara chakra cures all
ills and calls the mother the Raja Yogini, who cures all kinds of illness ( Char
aatmaka Sarva-roga-hara Niraamaya Raaja-yoginyaam).
The Raga mudra is the phrase Harishaana; while the composer s signature is in Guru
guha-vara-prasaadinyaam.
8. Eight Avarana

Trikona

Kamalaambike Avaava-Ghanta-Adi

[The Avarana is Trikona; the Chakra is Sarvasiddhiprada chakra, grants all attain
ments . the Yogini is Athi Rahasya Yogini; the Mudra is Sarva Beeja; and the Siddh
i is Iccha. The mental state is Nitidhyasana. The presiding deity is Tripuraamba
. Her vidya is is Hsraim Hsrklim Hsrsauh.. The gem is Gomaya .The time is a ritu
- two months. The Shaktis are the three: Kameshwari, Vajreshwari and Bhagamalini
. (4+3=7) is the dominant number. This avarana corresponds to the top of the hea
d (masthka) of the mother goddess]
Lokapaalini Kapaalini Shoolini Lokajanani Bhagamaalini Shakrudaa
Aalokaya Maam Sarva Siddhipradaayike Tripuraambike Baalaambike
Charanam
Santapta Hema Sannibha Dehe Sadaa-akhandaika-rasa-pravaahe
Santa-apahara Trikona-gehe Sa-kaameshvari Shakti-samuhe
Santatam Mukti Ghantaamani Ghosaayamaana Kavaata-dvaare
Ananta Guruguha Vidite
Karaahnguli Nakhodaya Vishnu Dashaavataare
Antahkaraneksu Kaarmuka
Shabdaadi Pancha Tanmaatra Vishikhaatyanta
Raagapaasha Dvesa-ankusha Dharakare Atirahasya Yoginipare
The primary triangle with its apex downward (East) and colored white(Sattva) so
rrounding immediately around the central point , Bindu , is the eighth avarana.
It is called Sarva Siddhi prada chakra, the one that bestows all accomplishment.
This triangle does not intersect with other triangles; and stands independent.
It is Kama Kala. It is feminine in its aspect; and represents three fundamental
manifestations of the mother goddess: Kameshwari (symbolizing moon creation); Va
jreshwari (symbolizing sun- preservation); and Bhagamalini (symbolizing fire -di
ssolution).
The three angles of the triangle also represent three forms of speech : Pashyant
hi,Madhyama and Vaikhari. The triangle is therefore the speech aspect Vak Bhava.
It also represents the three powers of iccha (will) , jnana (knowledge) and kriy
a(activity).The three corners of the triangle stand for three peaks(kuta) of the
fifteen_lettered mantra; or as three dimensions of all existence. The triangle
itself is regarded the abode of the mother goddess (kama-kala).
Dikshitar in divine ecstasy sings the glory of the Mother, the protector of worl
ds adorned with garland of skulls and holding a trident. She is Bhagamalini, sym
bolizing fire representing Rudra s power of dissolution. She is also Tripurambika;
the presiding deity of the avarana. She is Balamba. She is the ruler of the Sar
vasiddhiprada chakra (Lokapaalini Kapaalini Shoolini Lokajanani Bhagamaalini Sha
krudaa Aalokaya Maam Sarva Siddhipradaayike Tripuraambike Baalaambike).
She
is
She
and
of

whose body is glowing like molten gold(Santapta Hema Sannibha Dehe); She who
the eternal undifferentiated unique bliss(Sadaa-akhandaika-rasa-pravaahe );
who resides in the enchanting Trikona chakra(Santa-apahara Trikona-gehe );
delighting in the company of Kameshwari (symbolizing moon
creation) and host
other friends ( Sa-kaameshvari Shakti-samuhe).

The eight cornered figure that surrounds the Trikona, suggests five basic elemen
ts of phenomenal existence (tanmatras: earth, water, fire, air and space), symbo
lized by five arrows of flowers (pancha bana) which is also the symbol of Kama;
passion (raga) symbolized by the noose (pasha); aversion (dwesha) symbolized by
the goad (ankusha); and mind (manas) symbolized by sugarcane stalk (ikshu danda)
; all of which are held by the deity, in the company of the yogini of the avaran
a ,Athi Rahasya Yogini.
Dikshitar puts the entire thing, beautifully, in just two compact lines:

Antahkaraneksu Kaarmuka
Shabdaadi Pancha Tanmaatra Vishikhaatyanta
Raagapaasha Dvesa-ankusha Dharakare Atirahasya Yoginipare.
The Raga mudra is in Mukti Ghantaamani Ghosaayamaana; while the composer s mudra i
s in Ananta Guruguha Vidite.
Tripurasundari (1)
9. Ninth Avarana-Bindu
Kamalaambaa Jayati-Ahiri-Rupaka
[The avarana is the Bindu and the Chakra is Sarvanandamaya chakra, replete with b
liss . The yogini is parathi para Rahasya; the Mudra is sarva yoni; and the Siddhi
is Prapthi. The mental state is Savikalpa Samadhi. The presiding deity is her T
ranscendent Majesty Lalita Maheshvari Mahatripurasundari. Her vidya is Kamaraja
vidya : ka e i la hrim ha sa ka ha la hrim sa ka la hrim, plus a secret 16th syl
lable. The gem is ruby. The time is year. The Shakti is Maha Tripura Sundari the
personification of Brahman. This avarana corresponds to Brahma_randra on the to
p of the head of the mother goddess.]
Pallavi
Shri Kamalaambaa Jayati Ambaa Shri Kamalaambaa Jayati Jagadaambaa
Shri Kamalaambaa Jayati Shringaara Rasa Kadambaa Madambaa
Shri Kamalaambaa Jayati Chidbimbaa Pratibimbendu Bimbaa
Shri Kamalaambaa Jayati Shreepura Bindu Madhyastha
Chintaamani Mandirastha Shivaakaara Manchasthita Shivakaameshaankasthaa
Anupallavi
Sukara-ananaadya-arccita Mahaa-tripura
Sundarim Raajaraajeshvareem
Shreekara Sarva-ananda-maya Chakra-vaasinim Suvaasinim Chintayeham
Divaakara Sheetakirana Paavakaadi Vikaasakarayaa
Bheekara Taapa-traya-adi Bhedana Dhurinatarayaa
Paakaripu Pramukhaadi Praarthita-Sukalebarayaa
Praakatya Paraaparayaa Paalitodayaakarayaa
Charanam
Shrimaatre Namaste Chinmaatre Sevita Ramaa Harisha Vidhaatre
Vaamaadi Shaktipujita Paradevataayaah Sakalam Jaatam
Kaamaadi Dvaadashabhir-upaasita Kaadi Haadi Saadi Mantra-rupinyaah
Premaaspada Shiva Guruguha Jananyaam Pritiyukta Macchittam Vilayatu
Brahmamaya Prakaashini Naamaroopa Vimarshini Kaamakalaa Pradarshini Saamarasya N
idarshini
The ninth enclosure is the Bindu. It is called
emely blissfull one. It is independent of the
a temple, would be the sanctum sanctorum, with
es representing various parts of the temple as

Sarvananda-maya chakra , the supr

intersecting triangles. This, in
all the other circles or enclosur
you move inwards.

It is this Bindu that is in reality the Sri Chakra; it represents the mother god
dess Maha Tripura Sundari, Lalitha or Rajarajeshwari herself; and everything els

e is a manifestation of her aspects.

The goddess is nothing other than the devotees own self. The self here refers to
individual consciousness (buddhi) which is beyond the body-mind complex. It is
filled with all bliss (sarvananda maya). This constant, abundant bliss is the ex
pression of the union of Shiva (consciousness) and Shakthi (power of deliberatio
n Vimarsha). It is the very basis of existence.
The significance of this avarana is the complete harmony (samarasya) of principl
es of pure consciousness (Shiva) and the principle of energy as deliberation (vi
marsha shakthi).It signifies a state of non-duality, where all tendencies of app
roach and withdrawal become nonexistent, dissolve in a state in which the devote
e ultimately rests. Bliss, in Tantra, is explained as resting in oneself (Svarup
a pratishta).
Dikshitar bursts forth into a fountain of divine ecstasy and sings the glory and
the celebration of the Supreme Mother Goddess in highly lyrical and sublime poe
try. The krithi is also rich in Sri Vidya lore.
He describes the Mother as the very personification of the Bindu, the pure consc
iousness at the centre of Sri Chakra (Chidbimbaa Pratibimbendu Bimbaa); and as o
ne who resides as the Bindu, in a mansion of ruby (Chintaamani Mandirastha), at
the heart of the Sri Chakra (Shreepura Bindu Madhyastha).Here the expression bim
bendu, refers to the moon and the point. As per the Tantric ideology the mother
goddess is the moon; and the fifteen phases of the moon are her individualized a
spects, kalas. She resides in the lunar orb.
The phrase Chintamani mandirasthitha carries with it an elaborate background. Th
e Devi s mansion is visualized as situated in a great garden (mahodyana) rich with
many species of trees such as Santana, Kalpaka, Hari-chandana, Parijatha, Bilva
etc. The garden is enclosed by four ramparts made of nine gems. The central hal
l of her mansion (prasada) is made of coral (manikya mantapa). Inside this vast
enclosure are three tanks (vapika) of immortality (amrita), of biiss (ananda) an
d of deliberation (vimarsha).There is also a grove of lotus flowers (padmatavi).
Amidst all these is the magnificent mansion of the wish granting jewel (Chintaman
i mandira). The mother goddess resides (sthitha) in this enchanting mansion.
At the entrance of this mansion (Kavaata-dvaare), the bejewelled bells (Ghantaam
ani) constantly (Santatam) ring and announce loudly the message of salvation (Mu
kti Ghantaamani Ghosaayamaana).
The line Shivaakaara Manchasthita Shiva-kaamesha-ankasthaa ordinarily means that t
he goddess is sitting on the cot in embrace of Shiva. But, in Sri Vidya, the ima
gery of the cot on which the mother goddess rests has a symbolic significance. T
he Mother Goddess is imagined to be seated at the Bindu (in her mansion) on a co
t (mancha). The four corners of the Bhupura represent the four legs of the cot.
The four legs are the four principles of the phenomenal world: emanation (shrist
i Brahma); preservation (sthithi Vishnu); dissolution (upasamhara Rudra); and wi
thdrawal of the entire creation into a very subtle form (Ishvara).The plank (pha
lakha), which rests on the four legs of the cot is Shiva; he represents the prin
ciple of reception, retention of the withdrawn phenomena. Such dichotomy of exis
tence is preserved (anugraha) until the time for re-emanation arrives. This prin
ciple is Sadashiva tattva (the ever auspicious but inert principle of pure consc
iousness) ; corpse-like , hence also called Sadashiva-preta . The Mother Goddess
rests on this plank, the principle, of Shiva. The Mother Lalitha is surrounded
by nine guardian spirits (nava-shakthi ) : vibhuthi (splendour),unnathi (upliftm
ent) , Kaanthi (lustre) , hrsti (satisfaction ), kirti (celebrity) , shanthi ( c
ourtesy ) , vyushti ( prosperity ) ,utkrshta (excellence ) and riddhi (supremac
y or accomplishment ).

In Tantra, the female is the predominant aspect and the male is subordinate to h
er. The plank of the cot is male; and the female rests on that. The cot is inert
, and the Devi is dynamic. Yet, the male provides the female a field to function
; and the two cannot be separated. Sri Chakra demonstrates this principle.
It is explained further, Shiva and Shakthi should not be viewed as mere male or
female principles. They are indeed neither male nor female; nor even neuter. The
y represent the unity of consciousness and energy the very basis and the essence
of all Universe.
[The seat of Lalitha or Maha Tripurasundari is Yoga pitha, in the form of red lo
tus, impressed with the Sri Chakra design, symbolizing the very heart of the dev
otee. The symbolism of this appears to be that Mother goddess worshipped in Sri
Chakra is indeed the universe in all its aspects; and the devotee has to identif
y this principle in his body; and again his body too is Sri Chakra and the unive
rse in miniature.]
The presiding deity of the avarana is Maha Tripura Sundari and her chakra is Sar
vanandamaya chakra. Dikshitar meditates on the chakra and the presiding deity wo
rshipped by Varahi and other attendant deties, the Yoginis (Sukara-ananaadya-arc
cita Mahaatripura Sundarim Rajaraajeshvareem).
Dikshitar mentions the Sun (Divaakara), the moon (Sheetakirana) and the fire (Pa
avaka) as the expansion (Vikaasa) and manifestation of the presiding deity. Here
, he is referring to the view that the central point, the Bindu, is actually com
posed of three dots or drops (Bindu traya) representing three fires (vanhi): Moo
n (soma); Sun (surya); and Fire (Agni). The Bindu expanding into three three is
an act of swelling (ucchuna); and is the immediate unfolding of the Sri Chakra.
Dikshitar then sings the glory and the powers of the mother worshipped by Lakshm
i, Shiva, Vishnu, Brahma and other divinities.
In the line Kaamaadi -Dvaadashabhir-upaasita Kaadi- Haadi- Saadi
Mantra-rupinyaah ,
Dikshitar is recalling the twelve gurus and the traditions of the Sri Vidya. Th
e Sri Vidya tradition which centres on the worship of Sri Chakra considers the f
ollowing twelve gods and sages as its gurus: Manu, Chandra, Kubera, Lopamudra, K
ama (Manmatha), Agasthya, Nandisha, Surya, Vishnu, Skanda, Shiva and Durvasa. It
is said; each of the twelve gurus propagated a school with regard to the worshi
p and significance of Sri Chakra. Of these, only two schools have survived to th
is day; one is the school started by Manmatha (also called Kamaraja) known as Ka
di-matha. The Kadi tradition was continued by sage Agasthya. The other school is
Hadi-matha started by Lopamudra wife of the Sage Agastya. There is also an obsc
ure third school called Sadi-matha. Dikshitar belonged to the Kadi Matha School,
started by Kamaraja.
Let my loving mind (chittam) be dissolved (vilayatu) in her, whose beloved (prem
a) is Shiva, and who is the mother (jananyaam) of Guruguha.
In the line Brahmamaya Prakaashini Naamaroopa Vimarshini Dikshtar touches upon the
core concepts of Sri Vidya. Shiva as consciousness is illumination (prakasha);
and the Kameshwari as the energy to unfold the creation, to evolve, is the delib
eration (vimarsha).The two principles are undistinguished, united and in perfect
harmony at the time of dissolution (pralaya).They however appear distinct at th
e time of creation (shristi) and preservation (sthithi).The twin aspects of illu
mination (prakasha) and evolution (vimarsha) are the basis of the expanding univ
erse. The relation between the two is analogues to that of lamp and its light. T
he rays of lamp spread in all directions and is responsible for life and its evo
lution. Shiva is absolute consciousness (Brahmamaya Prakaashini) and vimarsha th
e energy flows into the world of names and forms (Naamaroopa Vimarshini).These t
wo principles come together again at the time of withdrawal or dissolution.

The phrase Kaamakalaa Pradarshini

is again a reference to the concepts of Sri Vid
ya. The triangular formation of three dots or drops (Bindu traya) at the centre
of Sri Chakra is rich in symbolism. The triangle is named Kama Kala. One of the
interpretations is that the top dot is shiva and the bottom dots are Shakthi (en
ergy) and nada (sound).Here, Kama is the union of Shiva (kameshvara) and Shakthi
(Kameshvari): and the concrete manifestation of the two is Kala. This is also r
eferred to as Nada-bindu-kala.
The other interpretation is that the top dot stands for Kama (primordial desire
to evolve) and the bottom two dots represent the manifestation and eventual with
drawal.
The concluding phrase Saamarasya Nidarshini suggests the complete harmony (samaras
ya) of the principle of pure consciousness (Prakasha, Shiva) and the principle o
f energy, as evolution or expansion (Vimarsha, Shakthi). It signifies (nidarshin
i) a state of non-duality, a state in which the devotee ultimately rests (Svarup
a pratishta).
Dikshitar concludes in his auspicious mangala kriti in deep devotion, fulfilment
and celebration of the Mother s transcendent powers and glory.
Sri Rajarajeshwari by Shilpi Sri Siddalaing aSwamy
Reference:
http://www.ecse.rpi.edu/Homepages/shivkuma/personal/music/kamalambasamrakshatu.p
df
Painting of Sri Rajarajeshwrai by Shilpi Siddanthi Shri Siddalainga Swamy of Mys
ore

11 Comments
Posted by sreenivasaraos on September 14, 2012 in Music, Muthuswami Dikshitar, S
anskrit, Sri Vidya, Tantra
Tags: Kamalamba Navavarana, music, Muthuswami Dikshitar, Sri Vidya
Sri Muthuswami Dikshitar and Sri Vidya (7 of 8)
14 Sep
Kamalamba Navavarana Kritis

Part One

Sri Kamalamba at Sri Tyagaraja temple, Tiruvarur.

The years he spent at Tiruvavur were richly creative and highly productive for S
ri Muthuswami Dikshitar, the composer. Dikshitar s creations at Tiruvavur included
a set of sixteen kritis on the various attributes of Ganesha; a set of kritis o
n Thygaraja and Nilothpalambika the presiding deities of Tiruvarur shrine; a set
of Tiruvarur Panchalinga kritis; and eleven kritis of Kamalamba Navavarana grou
p.
Dikshitar had developed a fascination for composing a series of kritis on a comp
osite theme, perhaps in an attempt to explore the various dimensions of the subj
ect. In some of these, he employed all the eight Vibhaktis, the various cases th
at delineate a noun.He also composed a series of kritis in a set of ragas, all e
nding with the same suffix (e.g.Gaula). No other composer has attempted so many

group kritis in such a planned, orderly, meticulous fashion.

The most outstanding of such series of compositions is of course the magnificent
Kamalamba Navavarana kritis. They are incomparable compositions and are the jew
els of Carnatic music.These compositions, intellectually sublime steeped in deep
devotion, are a testimony to Dikshtar s musical genius, his mastery over the Sans
krit language; and his thorough knowledge of and intense dedication to Sri Vidya
, Sri Chakra and the worship of its avaranas.
Through its graceful lyrics , majestic sweep of ragas and descriptive details ri
ch in mystical symbolism of Tantra, Mantra, Yoga, Sri Vidya and Advaita ; Dikshi
tar virtually threw open the doors to the secret world of Sri Vidya,to all those
eager to approach the Divine Mother through devotion and music.
It is amazing how Dikshitar builds into each of his crisp and well-knit structur
e of lyrics, the references to the name of the chakra; the names of its presidin
g deity, yoginis, mudras, Siddhis and the gurus of the Kadi tradition of Sri Vid
ya ;and to the seed(Beeja) mantras. In addition he manages to insert, as ever, c
ogently, the name of the raga and his signature. The Kamalamba Navavarana is a t
reasure house not merely to the classical musicians but also to the Sri Vidya up
asakas.
Kamala is one of the ten maha_Vidyas, the principle deities of the Shaktha tradi
tion of Tantra. But, the Sri Kamalamba referred to by Sri Muthuswami Dikshitar i
n this set of kritis, is the Supreme Divine Mother herself. The immediate inspir
ation to Dikshitar was, of course, Sri Kamalamba (regarded one of the sixty-four
Shakthi centers), the celebrated deity at the famous temple of Sri Tyagaraja an
d Sri Nilothpalambika in Tiruvavur.
Thyagarajasvami and his consort Nilotpalamba
Interestingly, the temple complex also accommodates the shrines of Maha_Ganapath
i, Subrahmanya, Dakshinamurty and Balamba; all Shakthi deities. The temple compl
ex has a Pushkarini, a lake, named kamalalaya, the abode of Kamala.This tank is
reffered to by Dikshitar , in his kritis , as Kamalalaya thirtha and the Devi i
s Kamalalaya thirtha vaibhave. The town of Tiruvarur is mentioned as Kamala nag
ara (e.g. Kamalanagara viharinai) and as Kamala pura(e.g.Kamalapura sadanam) ; r
eferring to Devi as one who resides in and walks about the town of Kamalapura/Ka
malanagara.
Sri Muthuswami Dikshitar follows the Smahara krama, the absorption path, of Sri
Chakra puja and proceeds from the outer avarana towards the Bindu in the ninth a
varana at the center of the Sri Chakra. At each avarana, he submits his salutati
on and worships the presiding deity, the yogini (secondary deity) and the attend
ant siddhis of that avarana; and describes the salient features of the avarana a
ccording to the Kadi School of the Dakshinamurthy tradition of Sri Vidya. It is
in effect both worship and elucidation.
Dikshitar devoted one composition to each of the nine avaranas. In addition, the
re is a Dhyana Kriti, a verse in meditation, preceding the set of nine; and a ma
ngala kriti, the verse celebrating the auspicious conclusion, at the end. Thus,
the Navavarana composition of Dikshitar, per se, is a set of eleven kritis.
It is customary, as a prelude to Kamalamba Navavarana group of kritis, to invoke
Maha_Ganapathi and Lord Subrahmanya by singing Shri Mahaganapathivaratu mam (Ga
ula) followed byBalasubrahmanyam Bhaje (Surati).
The Dhyana kriti Kamalambike_ashrita_kalpa_lathike is composed in Raga Todi (Rup
aka); while the concluding Mangala kriti Shri_Kamalambike is in the auspicious S
hri Raga.

[The Dhyana kriti in Todi does not bear the customary Raga_mudra, the name of it
s Raga.]
Thus the vocal tradition of the Kamalamba Navavarana has a set of thirteen kriti
s. The core kritis are however the nine relating to nine avaranas of Sri Chakra.
For the core nine kritis sang in worship of the Navavaranas of Sri Chakra, Diksh
itar employed eleven different Ragas and eight different Vibhakthis (case ending
s denoting the noun) of Sanskrit grammar; and for the ninth avarana kriti he emp
loys a garland of all the eight Vibhakthis.
As regards the Raga-mudra, a distinctive feature of Dikshitar s compositions, the
kritis in Anandabhairavi (first avarana), and shankarabharaaam (third avarana) i
ndicate their Ragas only partially (the word Ananda for the former, and shankara
for the latter). The kambhoji, Sahana, and Ahiri compositions have their Raga m
udras hidden within complex phrases. In all the other kritis, the Raga mudra is
explicit.
The following briefly is representation of the kriti, the Raga, the taala and th
e Vibhakthi of the nine kritis:
Avarana
No.
01
02
03
04
05
06
07
08
09

Kriti Raga
Taala Vibhakthi
Kamalamba Sam_rakshathu
Ananda Bhiravi Triputa
Prathama
Kamalambaam Bhajare
Kalyani
Adi
Dwitiya
Sri Kamalambikaya
Shankarabharanam
Rupakam
Truthiya
Kamalambikayai Kambhoji
(Khanda) Ata
Chaturthi
Sri Kamalambikayah
Bhairavi
Misra Jampa
Panchami
Kamalambikaya sthava
Punnagavarali Rupaka Shasti
Sri Kamalambikayaam
Shahana
Triputa
Sapthami
Sri Kamalambike
Ghanta Adi
Sambhodhana
Sri Kamalambaa Jayathi Ahiri Rupaka Sarva Vibhakthi*

* Meaning that all the eight vibhakthis are employed ; a unique feat.
For the complete text of the Kamalamba Navavarana kritis in English Click here
and for the Sanskrit text please click here.
There are several theories explaining Dikshitar s selection of Ragas for these kri
tis. Dikshitar was a meticulous person and had a methodical approach to life and
to his works. Dr. R K Srikantan, the celebrated Carnatic musician and scholar,
feels that the Ragas selected for these kritis are stringed together by an under
lying scheme that is at once simple and logical. He observes that the Raga of ea
ch kriti flows into the next, seamlessly with minimum alteration in the structur
e of its swaras. Here is an extract from his article:
1. From Anandhabhairavi to Kalyani meant a change of Gandhara.
2. From Kalyani to Shankarabharanam meant a only a changeof madhyama.
3. From Shankarabharanam to Khamboji meant an addition of a nishada.
4. From khamboji to Bhairavi meant removal of the additional nishada, addition o
f a dhaivata and change of gandhara.
5. From Bhairavi to Punnagavarali meant removal of the additional dhavata and in
troduction of a rishabha.

6. The next song shows changes in gandhara and dhaivata after the removal of the
additional rishabha.
7. Ghanta indicates addition of Rishabha and dhaivatha with change in gandhara.
8. The last change is extremely complex. It basically indicates addition of gand
hara and nishadha.
[For more on that theme, please check here ]
As regards the Ahiri, the Raga of the kriti associated with the ninth avarana, t
here is a view, the raga has all the twenty-two notes in the octave; and such a
fusion of all melodic and temporal elements in the same kriti is rather unusual
especially when the pallavi has distinctive prose sections put together, seamles
sly.
Before we enter a discussion on the Navavarana kritis, let us take a broad look
at their association with the Chakras, the deities, the Yoginis, and Siddhis etc
. of the Sri Chakra.
No.
Kriti Chakra Deity Yogini Siddhis
01
Kamalamba Sam-rakshathu
Bhupura
Tripura
Prakata
Anima
02
Kamalambaam Bhajare
Shodasha dala padma
Tripuresi
Gupta
Laghima
03
Sri Kamalambikaya
Asta dala padma
Tripurasundari Guptatar
a
Mahima
04
Kamalambikayai Chaturdasha
Tripuravasini Sampradaya
Ishitva
05
Sri Kamalambikayah
Bahirdasha
Tripurashri
Kula
Vasithva
06
Kamalambikaya sthava
Antardasaha
Tripuramalini Nigarbha
Pranamya
07
SriKamalambikayaam
Astara Tripurasiddha Rahasya
Bhutkhi
08
Sri Kamalambike
Trikona
Tripuramba
Athi Rahasya
Iccha
09
SriKamalambaa Jayathi Bindu Mahatripurasundari
Parathi para Rah
asya
Prapthi
The Kamalamba Navavarana kritis are works of musical and poetic excellence. They
are adorned with sublime music, intellectual sophistication, soulful devotional
lyrics and richly imaginative poetic imagery. Listening to the kritis is a trul
y rewarding experience, even if one is not aware of or ignores the underlying co
nnotations of Sri Chakra and Sri Vidya tradition.
The discussion on each of the Navavarana kritis, with reference to and in the li
ght of traditions, concepts and lore of Sri Chakra and Sri Vidya, follows in the
next page.
Continued in the Next Part
Kamalamba Navavarana Kritis

Part Two

3 Comments
Posted by sreenivasaraos on September 14, 2012 in Music, Muthuswami Dikshitar, S
ri Vidya, Tantra
Tags: Kamalamba Navavarana, music, Muthuswami Dikshitar, Sri Vidya
Sri Muthuswami Dikshitar and Sri Vidya (6 0f 8)
14 Sep

The structure of Sri Chakra

The basis of Sri Chakra is its mantra; the fifteen lettered mantra in three grou
ps: a e i la hrim; ha sa ka ha la hrim; sa ka la hrim. The sixteenth letter srim i
s present in a subtle form. Sri Chakra is basically a triad. The triangle which
is primary to the chakra has three angles and the deity residing in it is Tripur
a. The mantra of each of the nine enclosures of Sri Chakra is three lettered; th
e mother goddess is worshipped in her three forms; the Kundalini energy in the i
ndividual is threefold, and the phenomenal processes arising out of the union of
Shiva and Shakthi are also three. The Chakra design represents Tripura or Tripu
ra Sundari; while her manifest powers (yogini) are nine.
All its other interpretations are also in terms of three and nine. The three gro
ups that constitute the mantra are called Kuta (peaks) or Khanda (segments).They
are interpreted variously in sets of three as: Agni(fire), Surya(sun) and Chan
dra(moon); srishti(creation), Shtithi (preservation) and laya (dissolution); Icc
ha ( will), jnana(knowledge) and kriya(action); Sattva, Rajas and Tamas; Jagrat
(wakefulness); swapna (dream state) and sushupthi (deep sleep); jnatra (the know
er), jnana (the knowledge) and jneya( the known) ; as atma(individual self), ant
aratma(inner being) and paramatma (supreme self) and also as past , present and
future.
In general, the Sri Yantra is a cosmogram
a graphic representation of the universa
l processes of emanation and re-absorption reduced to their essential outline.
The diagram of the Sri Chakra is primarily a Matrix (i.e. womb) of nine interloc
king triangles. Five of these triangles have their apex facing downward. They ar
e
Shakthi trikonas, the triangles representing five forms of feminine energy, Shak
thi. The other four triangles with their apex facing upward are Shiva trikonas r
epresenting the male aspect, Shiva, Consciousness. In Tantra, the feminine is th
e active principle; and the male is passive. The Tantra texts mention that Sri C
hakra is produced when five forms of Shakthi and four forms of Shiva unite. The
intersection of these nine triangles creates forty-three triangles. It is custom
ary to regard the point at the centre also as a triangle. Thus, in effect there
are forty-four triangles in Sri Chakra; and these are arranged in nine enclosure
s (navavaranas), in groups of three.
The intersection of two lines is called Sandhi; and there are 24 such Sandhis. T
hese intersections have certain significance. The meeting of two lines represent
s union of Shiva and Shakthi.
And, the points where three lines meet are called marma sthanas. There are 28 su
ch marma sthanas.
The meeting of three lines represents explicit harmony between Shiva and Shakthi
; and they are vital spots in the body where the life-energy resides as well as
accumulates. The marma has thus been called the Seat of Life or Jiva-sthana.
sri yantra marmas
A total of 43 triangles are created from the overlapping of the nine original tr
iangles.
As regards the Bindu , the dimensionless point at the core of the Sri Chakra Yan
tra, the Tantra texts explain that Bindu is Kameshwara , the ground of the univ
erse; and the immediate triangle is Kameshwari the mother of universe; the union
of purusha and prakriti. The union of these two is the Sri Chakra, which repres
ents the entire phenomenal pattern. This is denoted by the secret syllable shrim

. In fact, it is this point, coloured red, which really is the Sri Chakra. Every
other detail is an expansion or a manifestation of its aspects. The mother godd
ess worshipped in Sri Chakra is the universe. The devotee has to identify that p
rinciple in his body, for his body is the Sri Chakra or the universe in epitome.
He is guided in this endeavour by the guru who is the representative of Shiva.
The Bindu also represents, at various times, the principles or activities known
as the Pancha Kriya of: Emanation of the cosmos from its primal source; Projecti
on of creation into the primal void; Preservation of the created universe; Withd
rawal of the creative and preservative energies in cosmic dissolutions; and last
ly, Retention of the withdrawn energy-universe for the next cycle of re-creation
. These five activities are regarded as the five modes of expression of the Univ
ersal Mother.
There are several other explanations.
Bindu is regarded a sphere in its own right. The expanded form of the Bindu is t
he triangle formed by three points and is called Sarva siddhi prada (the sphere
of fulfilment of all aspirations). It is described as Prakriti (Mother Nature) c
omposed of three gunas (fundamental fabric of all existence) sattva, rajas and t
amas. The Kadi School explains sattva as that which covers and conceals (aavaran
a); while the other two gunas as that which project the world of duality or mult
iplicity (vikshepa). The three gods Brahma (creator), Vishnu (preserver) and Rud
ra (destroyer) are actually the representations of these three gunas. They are i
n turn the three aspects of the Devi represented as trikona chakra.
It also explained that from Shakthi flashes forth the creative impulse known as
nada (sound), which manifests as Kundalini or the creative urge, in all living b
eings. Here, Bindu is Shiva; Bija is Shakthi; and nada is their union. These giv
e rise to the power of will (icchha shakthi); the power of knowledge (jnana shak
thi); and power of action (kriya shakthi).These in turn give rise to Rudra, Vish
nu and Brahma.
Another explanation is, Bindu, also called Sarvanandamaya (all blissful), and re
presents the transcendental power (Para Shakthi) and absolute harmony (saamarasy
a) between Shiva and Shakthi. This is equivalent to what the Vedanta calls the B
rahman. Owing to the power of the will (icchha shakthi) there comes about an app
arent differentiation of Shakthi from Shiva, expressed in the form of triangle.
Here again, the triangle is the expansion of the Bindu (bindu vikasana).If the B
indu represents the Para-nada, the triangle represents the Pashyanti, the second
stage of the sound, nada. The enclosure next to this, the eight sided figure (a
shta kona chakra) is the Madhyama or the third stage in the development of sound
. The rest of the Chakra represents the physical or the phenomenal stage, the Va
ikhari, which is the manifest and articulate form of sound. The Vaikhari form is
represented by the fifty letters of the alphabet, called matrikas or the source
of all transactions and existence. The sixteen vowels (from aa) constitute the
lunar sphere (Chandra mandala), the twenty-four consonants (from ka to tha) the
solar sphere (Surya mandala); and the remaining ten consonants (from ma to ksha)
the sphere of fire (Agni mandala). Thus, the triangle is also known as tri kuta
, tri khanda and tri mandala.
Bindu is identified with Shiva and trikona with Shakthi. The process of evolutio
n (shristi) or the apparent separation of Shiva and Shakthi is referred to as ad
i-dwandwa. The evolution from the primary state into the mundane level is regard
ed as a descent, avarohana krama; whereas the withdrawal from the gross to the v
ery subtle state is termed Samhara krama. Here the devotee moves into higher sp
iritual levels; and therefore it is termed arohana krama. It is a gradual proces
s.
The significance of the triangle is explained thus:

The name of the goddess is Tripura; and number three is important in approaching
her. She is of the nature of the sun, the moon and the fire. She is masculine,
feminine and neuter. Her form is red, white and the mixture of the two. Her mant
ra has three letters (hrim, klim, sauh); and from this mantra three segments of
time
past, present and future
emerge. From this mantra too emerge the realms, th
ree Vedas, three states of existence ( waking, dreaming and sleeping) and three
gods Brahma, Vishnu and Shiva.
All these geometric designs are contained within Sri Chakra, arranged in nine en
closures or nava-avaranas.They are also termed as nine chakras. Each of this has
its name, a characteristic physical form and a spiritual significance. Each has
its colour suggesting its tendencies. Each Chakra has its presiding deity (chak
reshwari or Chakra nayika); and she is a variant form of the mother goddess abid
ing at the Bindu. The Chareshwari rules over her set of attendant divinities; su
ch as Yoginis who aid the devotee on in his spiritual progress, and the Mudra De
vatas, seal-divinities, who welcome, purify and delight the devotee.
The yoginis have a special role in Sri Chakra worship. They make explicit the un
ion of the male and female aspects of the Sri Chakra in each of its enclosures.
They are in fact, the symbols of urges, aspirations, inhibitions, limitations, o
bstructions and powers active in each individual. The yoginis aid the devotees,
but derive their power from the mother goddess.
Sri Chakra
e universe
olize in a
deological
aspects of

is verily the body of the mother goddess, who resides as energy in th

and as pure consciousness in the individual. The nine enclosures symb
graded series the significance of the universal and individual; the i
and ritual; expressive and contemplative; and the in inner and outer
Sri Chakra.

The outer group of chakras (1, 2 and3) symbolizes extension or shristi. They rep
resent Shiva aspect of the chakra. The middle group (4, 5 and 6) symbolizes the
preservation or sthithi. They represent Shakthi aspect of the chakra. The inner
group (7, 8 and the Bindu) symbolize absorption or samhara. The Bindu represents
the transcendental aspect of mother goddess. The other two avaranas (7and 8) ar
e also Shakthi aspects.
The nine chakras are interpreted in terms of Time (kaala), the five elements tha
t compose all things (Pancha-Bhuthas); and three states of awareness-wakefulness
, dream and deep sleep.
The nine chakras are also interpreted as corresponding to parts in human body.
No.
Chakra Corresponding to part of human body
01
Bhupura
First line: feet; Second line: knees; and third line : t
highs
Triple girdle Mid portion of the body
02
Shoidasha-dala padma
Region below navel and up to penis region ; kat
i
03
Ashta-dala padma
Navel region nabhi
04
Chaturdasha
Abdominal region-kukshi
05
Bahir -dasha
Neck-kantha
06
Antar-dasha
Region between eye brows- bhru-madhya
07
Ashtara
Forehead-lalata
08
Trikona
Top of the head- masthaka
09
Bindu Opening on the crown of the head leading to Sahasra Dala padma (
Brahma randra)
The nine avaranas are again recognized as chakras said to be situated along the
central channel or the Shushumna nadi.
No.
Avarana in Sri Chakra Nadi-chakra

01
02
03
04
05
06
07
08
09

Bhupura
Muladhara
Shoidasha dala padma
Svadhistana
Ashta-dala padma
Manipura
Chaturdasha
Anahatha
Bahir _dasha
Vishuddha
Antar-dasha
Ajna
Ashtara
Manasa-chakra
Trikona
Soma-chakra
Bindu Sahasra Padma

The nine avaranas, enclosures that compose Sri Chakra are briefly as under. Thes
e are described in the order of absorption (Samhara-krama) according to Dakshina
murthy tradition. It starts with the outermost enclosure-Bhupura- and leads to B
indu, the central point.
1. Bhupura also called Trilokya mohana-chakra (Deluder of the Realms) , is the fo
ur-sided enclosing wall. The three lokas being three levels of experience: atta
inments, obstructions and powers. They are also related to the body- mind comple
x of the devotee.
A tantra design is always enclosed within an outer wall serving as a protective
cover. As the devotee enters into the Mandala he leaves behind the normal worldl
y distractions and conflicts; and emigrates into a world of symbols and visualiz
ations. A Mandala is thus a mansion of gods and goddesses, a symbol of a higher
form of existence.
There are actually six gateways to the fort Sri Yantra, if we take a three-dimen
sional view of it; the four obvious dwaras and those above and below . The Eastern ga
te is the way of the mantras. The Southern gate is the way of devotion or bhakti
. The Western gate is for the performance of rites and rituals, or karma-kanda.
The Northern gate is the way of wisdom, or Jnana. The gate below is the path of wor
ds while the gate above is the way or road of liberation . These are located at the So
uthern and Northern gate, respectively, i.e. above is north, below is south. Each of
these gates also stands for one of the six primary chakras in the body.
The Bhupura Chakra, the earth stretch, includes within its spatial scope the ent
ire design even as the earth supports the entire existence. Bhupura is a Shiva a
spect and is made up of three lines or ramparts. The first (outermost) line is i
dentified with the attainments of yoga powers called Siddhis. They are needed fo
r self-protection along the inward journey. Such Siddhis are eight in number; an
d are attained consequent on gaining control over the elements and the mind.
The second or the middle line represents the powers of eight mother-like divinit
ies Mathrika who rule over emotions such as passionate longing (Brahmi), violent
anger (Maheshwari), avarice (kaumari) obstinacy (Varahi) etc
The third (inner) line of the square is identified with ten feminine deties, Mud
ra devathas, carrying seals of authority. The mudras are an approach to the divi
nities. These could be gross (sthula) being body postures and gestures by hand;
subtle (sukshma) by way of seed-mantras; and para transcendental that is mental
or intuitional approach.
These three lines are also taken to represent the Mother goddess; the outermost
line corresponds to her feet; the middle line to her thighs; and the inner line
to her knees.
There are also three concentric circles (trivritta) representing three objective
s of life: Dharma, Artha and Kama.
The avarana is Bhoopura and the Chakra is Trailokyamohana chakra enchants the thr

ee worlds . The yogini is Prakata; Mudra is Sarva Somkshibhni; Siddhi is Anima; an

d the mental state of the aspirant is Jagrata. The presiding deity is Tripura. H
er Vidya is Am Am Sauh.The gem is topaz. The time is 24 minutes and the Shaktis
are 28 that include the ten starting with Anima, the eight starting with Brahmya
and the ten Mudra Saktis. 28 is the dominant number.
This avarana corresponds to the feet of the mother goddess.
2. The sixteen petalled lotus (shodasha dala padma) called sarva asha paripuraka
chakra, the fulfiller of all desires, is the second enclosure. In the sixteen
petals, the sixteen vowels of Sanskrit alphabet is inscribed. These symbolize s
ixteen kalas or aspects or phases. They are also called nithyas and named Kamaka
rshini (fascinating the desires), Budhyakarshini (fascinating the intellect) etc
. These relate to powers in the Five Elements, the ten senses of perception or I
ndriyas (being further divided into five organs of action and five sense organs)
and the Mind.
The significance of this enclosure is explained as self-protection (atma raksha)
of the devotee. Since frustrated desire is the strongest obstacle to spiritual
progress, the next stage is wisely concerned with satisfying them. Only he who h
as experienced can renounce. The values of virtue, wealth and pleasure are grant
ed at this stage.
The craving Asha springs from discontent; and is quenched when discontent is eli
minated. That is possible when devotee identifies himself with Shiva, ever compl
ete and ever content.
This is achieved by the cultivation or strengthening of power over mind, ego, so
und, touch, sight, taste, smell, intellect, steadiness, memory, name, growth, et
hereal body, revivification, and physical body.
The avarana is Shodasa Dala, and the Chakra is Sarvasaparipuraka chakra fulfils a
ll expectations ; the yogini is Gupta Yogini; Mudra is Sarva Vidravini; the Siddhi
is Laghima; and the mental state is Swapna, The presiding deity is Tripureshi.
Her vidya is Aim Klim Sauh.The gem is sapphire. The time is three hours. The Sh
aktis are the sixteen starting with Kamakarshini. 16 is the dominant number.
This avarana corresponds to the Savdhistana chakra of the mother goddess.
3. Eight petalled lotus (astha dala padma) called Sarva-samkhobhana Chakra the ag
itator of all, is the third avarana. Each petal has a consonant inscribed within
it that begins with Ka
The petals represent eight divinities associated with ero
tic urges , independent of physical body(ananga).These relate to mental pleasure
s derived through five organs and through the modalities of mind: rejection(repu
lsion or withdrawal), acceptance (attention or attachment) and indifference(deta
chment).
This enclosure represents the last of the first group of the chakras that symbol
izes Shrusti or emanation.
The avarana is ashta dala; The Chakra is Sarva-samkshobana chakra agitates all . Th
e Yogini is Gupta- Tara; Mudra is Sarvakarshini; the Siddhi is Mahima; and the m
ental state is Shushupti. The Presiding deity is Tripura Sundari. Her vidya is H
rim Klim Sauh. The gem is cat s eye. The time is day and night. The Shaktis are th
e eight starting with Ananga Kusuma. 8 is the dominant number.
This avarana corresponds to the navel region of mother goddess.
4. Fourteen triangles (chaturdasha trikona) called sarva sowbhagya dayaka; the b
estower of all prosperity is the fourth enclosure. This is in the form of a comp

lex figure made up of fourteen triangles. The fourteen triangles are inscribed w
ith fourteen consonants beginning with ka and ending with dha. The fourteen corn
ers represent fourteen powers of mother goddess. These are said to preside over
fourteen principle channels of vital forces in human body (naadis) corresponding
with fourteen powers Sarva -Samkshobhini and others.
They are also related to the seat of Shaktis who represent: the Mind (Manas), th
e Intellect (Buddhi), Being (Chitta), the Conscious Ego (Ahamkara) and the ten I
ndriyas.
This enclosure refers to the channels of life currents in the human body (prana)
and their identity with the aspects of Sri Chakra. The explanation given in Tan
tra texts is that the breathing in human body is influenced by five elements pre
sent in the body; and in turn those five elements are influenced by the manner w
e breathe. Normally, we breathe 360 times in a unit of time called nadika (equiv
alent to 24 minutes). A day (dina) consists 60 such nadikas. Therefore, in a day
(24 hours) we breathe 21,600 times. The collection of all breathes is mother go
ddess herself. This is called nadi-chakra, the organization of winds within the
body. The distribution of breathes among the body centres are as follows:
Chakra Number of Breathes
Time taken Hrs-mins-sec
Muladhara
0,600 00-40-00
Svadhistana
6,000 06-40-00
Manipura
6,000 06-40-00
Anahata
6,000 06-40-00
Vishuddha
1,000 01-06-40
Ajna
1,000 01-06-40
Sahasra
1,000 01-06-40
Total 21,600 24-00-00
The navel is the central point for distribution of all breathes and life forces
moving along the channels. Normally breath alternates between the ida channel r
eaching the left nostril and pingala the channel reaching the right nostril. The
former is moon principle and cools the body; and the latter is sun principle wa
rms the body. The two meet at muladhara, close to kundalini. Around this central
channel is a network of 72,000 channels of which the more important are the 14
mentioned earlier in this paragraph. These are referred also as 14 divinities. I
n this avarana the number 14 is dominant.
Sri Chakra is also described as the diagrammatic representation of the cycle of
time (kaala chakra) and of the chakras in human system.
The Avarana is Chaturdasara; the Chakra is Sarva soubhagya dayaka chakra, grants
excellence . The Yogini is Sampradaya Yogini; the Mudra is Sarva Shankari; the Sid
dhi is Ishitva. The mental state is Iswara Vichara. The presiding deity is Tripu
ra Vasini. Her vidya is Haim Hklim Hsauh.The gem is coral. The time is day and n
ight. The Shaktis are the fourteen starting with Samkshobhini.14 is the dominant
number.
This avarana corresponds to the heart of mother goddess.
5. Ten-sided figure (bahir-dasara) called Sarvartha Sadhaka chakra (accomplisher
of all objects) consisting ten triangles, is the fifth avarana. It is named the
outer ten cornered figure (bahir dasara) in order to distinguish it from a simila
r figure enclosed within it.
The ten triangles in this avarana house ten auspicious deties , such as Sarva si
ddhi prada, Sarva sampath prada, Sarva priyamkari, Sarva mangala karini and so o
n. The five of the triangles are inscribed with consonants beginning with Ka; an
d the other five triangles are inscribed with consonants beginning with Cha..The

se represent ten powers of mother goddess who presides over ten vital forces pra
nas active in the body. The idea of vayu the winds or vital currents is fundamen
tal to the concept of channels.
The vital currents are divided into two groups: prana- panchaka andnaga-panchaka
. The first group consist: prana, apana, vyana, udana and samana vayus. These a
re responsible for body functions such as respiration, blood circulation, digest
ion, voice and separation of nutrients from food etc.
The second group consists vital currents such as naga, kurma, krkara, devadatta
and dhananjaya. These are involved in body movement like belching, yawning movem
ent of eyelids, causing various sounds in the body. The Dhanajaya vayu, it is sa
id, is the last to leave the body at its death. In this avarana the number ten i
s dominant.
The Avarana is Bahirdasara; the Chakra is Sarvarthasadhakachakra, the accomplishe
r of all . The Yogini is Kulotteerna yogini;; the Mudra is Sarvonmadini; and the S
iddhi is Vashitva. The mental state is Guroopa Sadanam. The presiding deity is T
ripura Shri. Her vidya is is Haim Hklim Hsauh.The gem is pearl. The time is luna
r day. The Shaktis are the ten starting with Sarva Siddhi Prada.10 is the domina
nt number.
This avarana corresponds to the neck of mother goddess.
6. Ten sided figure (antar dasara) called Sarva raksha karaka (one that protects
all) consisting ten triangles is the sixth avarana. It is named antar dasara, t
he inner ten cornered figure, since it is placed within a similar ten cornered f
igure, mentioned earlier.
The ten triangles are inscribed with ten consonants beginning with the five of T
ha and the five of Tta group. They represent the powers of the mother goddess wh
o presides over ten vital fires (vanyaha).These represent the ten specific fires
within the body; being the fire of purgation (Rechak), digestion (Pachak), abso
rption (Shoshak), burning (Dahak), the secretion of enzymes (Plavak), acidificat
ion (Ksharak), to take out or excrete (Uddharak), the fires of pessimism and fru
stration (Kshobhak), the fire of assimilation (Jrambhak) and creating lustre (Mo
hak).
This enclosure is the third of the second group of
tion. The advent of inner realization begins here.
ana is explained as protection from all obstacles.
from all that hinders his spiritual progress; and
ness he is Shiva ( the consciousness).

chakras representing Preserva

The significance of this avar
The devotee distances himself
he begins to develop an aware

The Avarana is Antardasara; the Chakra is Sarvaraksakara chakra protects all . The
Yogini is Nigarbha Yogini; the Mudra is Sarva mahankusha; and the Siddhi is Prak
amya. The mental state is Upadesa. The presiding deity is Tripura Malini. Her vi
dya is is Hrim Klim Blem.The gem is emerald. The time is Lunar Fortnight. The Sh
aktis are the ten starting with Sarvagnya.10 is the dominant number.
This avarana corresponds to the middle of the eyebrows (bhrukuti) of the mother
goddess.
7. Eight-cornered figure (ashtara) called Sarva roga hara (the remover of all de
ceases) is the seventh avarana. In the eight triangles formed by this figure, ei
ght divinities presiding over speech reside. Between them they cover all the alp
habets in Sanskrit grammar. These shakthis also rule over contradictions in life
(dwandwa) such as cold(water) and heat(fire); happiness(air) and sorrow( earth
); as also the Desire(akasha-space) and the three gunas of Sattvas (consciousn
ess), Rajas(ego) and Tamas(mind).

The
ase
The
ect

significance of this enclosure is its power to eradicate the most basic dise
viz. involvement with impure, fleeting existence that is laden with stress.
blessed state is attained when the distinctions between the subject, the obj
and transactions between them are dissolved.

The avarana is asthakona; the Chakra is Sarvarogahara chakra cures all

ogini is Rahasya Yogini; the Mudra is sarva khechari; and the Siddhi is
The mental state is Manana. The presiding deity is Tripura Siddha. Her
is Hrim Shrim Sauh.The gem is diamond (Vajra).The time is Lunar month.
tis are the eight, starting with Vashini. 8 is the dominant number.

ills . The Y
Bhukthi.
vidya is
The Shak

This avarana corresponds to the forehead (lalata) of the mother goddess.

The Four Weapons
In between the mandalas of eight triangles and the central triangles are the fou
r weapons flowery bow, flowery arrows, noose (pasha) and goad (ankusha). They ar
e red in colour. They are the weapons of both the mother goddess as Kameshwari a
nd also of Shiva as Kameshwara.
8. The primary triangle with its apex downward (East) and coloured white (Sattva
) surrounding immediately around the central point, Bindu, is the eighth avarana
. It is called Sarva Siddhi prada chakra, the one that bestows all accomplishmen
t. This triangle does not intersect with other triangles; and stands independent
. It is Kama Kala. It is feminine in its aspect; and represents three fundamenta
l manifestations of the mother goddess: Kameshwari (symbolizing moon creation);
Vajreshwari (symbolizing sun- preservation); and Bhagamalini (symbolizing fire dissolution).
The three angles of the triangle also represent three forms of speech: Pashyanth
i, Madhyama and Vaikhari. The triangle is therefore the speech aspect Vak Bhava.
It also represents the three powers of iccha (will) , jnana (knowledge) and kriy
a(activity).The three corners of the triangle stand for three peaks(kuta) of the
fifteen-lettered mantra; or as three dimensions of all existence. The triangle
itself is regarded the abode of the mother goddess (kama-kala).
The Avarana is Trikona; the Chakra is Sarva-siddhi-prada chakra, grants all attai
nments . The Yogini is Athi Rahasya Yogini; the Mudra is Sarva Beeja; and the Sidd
hi is Iccha. The mental state is Nitidhyasana. The presiding deity is Tripuraamb
a. Her vidya is is Hsraim Hsrklim Hsrsauh..The gem is Gomaya .The time is a ritu
- two months. The Shaktis are the three starting with Kameshwari. (4+3=7) is the
dominant number.
This avarana corresponds to the top of the head (masthka) of the mother goddess.
9. The ninth enclosure is strictly not an enclosure. It is the central dimension
less point, the Bindu. It is called Sarvananda-maya chakra, the supremely blissf
ul one. It is independent of the intersecting triangles. It is coloured red. Th
is, in a temple, would be the sanctum sanctorum, with all the other circles or e
nclosures representing various parts of the temple as you move inwards.
It is this Bindu that is in reality the Sri Chakra; it represents the mother god
dess Maha Tripura Sundari, Lalitha or Rajarajeshwari herself; and everything els
e is a manifestation of her aspects.
The goddess is nothing other than the devotees own self. The self here does not
refer to jiva, engaged in organizing the body, mind and senses. The self here re
fers to individual consciousness (buddhi) which is beyond the body-mind complex.

It is filled with all

the expression of the
beration Vimarsha). It
undara, in this sense.
Maha Tripurasundari.

bliss (sarvananda maya). This constant, abundant bliss is

union of Shiva (consciousness) and Shakthi (power of deli
is the very basis of existence. It is called beautiful, s
It is in this sense the supreme mother goddess is called

The significance of this avarana is the complete harmony (samarasya) of principl

es of pure consciousness (Shiva) and the principle of energy as deliberation (vi
marsha shakthi).It signifies a state of non-duality, where all tendencies of app
roach and withdrawal become nonexistent, dissolve in a state in which the devote
e ultimately rests. Bliss, in Tantra, is explained as resting in oneself (Svarup
a pratishta).
There is also a school which propounds that the central point is composed of thr
ee dots or drops(Bindu traya) representing three fires(vanhi): Moon(soma);Sun(su
rya); and Fire(Agni).The top dot symbolizes the head of the deity; and the pair
of dots at the bottom symbolize the breasts of the Mother. It is explained that
the central point expanding into the three is an act of swelling (ucchuna); and
that is how the central point becomes the primary triangle in Sri Chakra.
The avarana is the Bindu and the Chakra is Sarvanandamaya chakra, replete with bl
iss . The yogini is parathi para Rahasya; the Mudra is sarva yoni; and the Siddhi
is Prapthi. The mental state is Savikalpa Samadhi. The presiding deity is her Tr
anscendent Majesty Lalita Maheshvari Mahatripurasundari. Her vidya is Kamaraja v
idya: ka e i la hrim ha sa ka ha la hrim sa ka la hrim, plus a secret 16th sylla
ble. The gem is ruby. The time is year. The Shakti is Maha Tripura Sundari the p
ersonification of Brahman.
This avarana corresponds to Brahma-randra on the top of the head of the mother g
oddess.
***
Travelling from the outer periphery wall to the inner bindu is an ascent through
various levels of consciousness and mystical significance, overcoming myriad ob
stacles of conditioning and fears along the way. As he proceeds inward from the
outermost enclosure the devotee s thoughts are gradually refined; and the associat
ion of ideas is gradually freed from the constraints of conventional reality. Th
e Devi is felt or visualized in his heart and then drawn out through the breath
and installed in the yantra. She is then worshipped as actually residing there.
The true home of Devi is however in his heart .The devotee identifies himself wi
th the Devi and goes through the worship guided by the symbolism. Whatever be th
e details, the symbolism involved is important in the external worship ; and mor
e so in internal worship( contemplation on the import of the chakra).
Sri Chakra is also a construct of space and time, just as the universe is a spac
e time continuum. The way of the universe is continuous and constant change. Tha
t change, in a relative existence, is measured by the phases of moon. Mother god
dess is the principle of time; she is kala or nitya. The Sri Chakra also puts fo
rth the interdependence of time and space. The devotee views the evolution of th
e universe as the unfolding of a changeless reality of Mother Goddess.
The Sri Chakra represents the interplay of the purusha and prakriti; the univers
e and its energy. The union of the Devi (energy) and Shiva (consciousness) worsh
ipped in Sri Chakra is the universe and its evolution. The universe is thus styl
ized into a pattern of energies, symbolized by the patterns and layout of Sri Ch
akra. It provides a model to the individual for transformation. The consciousnes
s of the individual finds in it an articulation; and the model helps in breaking
the barriers of subjective feelings and limitations of the objective world. The
devotee identifies that his body is the Sri Chakra or the universe in epitome;

and that The Yantra too is the Devi. The aim is to realize that oneness, the bli
ss of pure consciousness.
Continued in the Next Part
Kamalamba Navavara kritis

Part One

Reference;
The Tantra of Sri Chakra by Prof.SK Ramachandra Rao(1953)
Lalita Tripurasundari, the Red Goddess
http://www.shivashakti.com/tripura.htm
Sri Yantra

the Significance and Symbolism of its design

http://www.sriyantraresearch.com/
http://www.sriyantraresearch.com/Optimal/optimal_sri_yantra.htm
Sri Yantra Definition
http://www.sriyantraresearch.com/Definition/sri_yantra_definition.htm
Hymns of Sri Chakra
http://www.bhagavadgitausa.com.cnchost.com/HYMNS%20OF%20SANKARA.htm
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Posted by sreenivasaraos on September 14, 2012 in Muthuswami Dikshitar, Sanskrit
, Sri Vidya, Tantra
Tags: Muthuswami Dikshitar, Sri Vidya, Sri Yantra, Tantra
Sri Muthuswami Dikshitar and Sri Vidya (5 0f 8)
14 Sep
Sri Chakra and Sri Vidya
According to Tantric texts, the Chakra, Mandala or Yantra is a sphere of influen
ce and a consecrated environment. It is an instrument to harmonize feelings; and
also to coordinate inner and outer forces.
The term Yantra is derived from the root yam suggesting a sense of control (say,
as in niyantra to control), giving raise to the meaning of an instrument that c
an control or be controlled. In that sense, the body is a yantra. The other term
tra is from the root word trayati, that which liberates. Yantra is that which c
ontrols and liberates. It draws towards the centre as also takes away from the c
entre of all reality.
The basic energies of the universe, which are the deities, can be approached thr
ough a mental creative process, that is, through words or through created forms.
Deities are therefore represented both in words and forms.
There are different degrees of abstraction. We can represent a deity through the
description of its characteristics in words, or sounds, that is, mantras. Simil
arly, we can represent a deity through diagrams, geometrical abstractions or p
atterns, the yantra. The representation of a deity through mantra or yantra is c
onsidered more subtle than through an image.
Yantras are the visual equivalents of the mantras. The yantra has the mantra as
its soul; and the deity is the soul of the mantra. The difference between the ma

ntra and the deity is the difference between the body and the soul. The deity is
invoked by drawing its yantra and calling its subtle name (bija akshara).
All the elementary geometric figures lines, triangles, crosses, and point (bindu)
have a symbolic value corresponding to their basic notions. They can be combine
d to form complex figures to give expression to forces, the inner aspects and qu
alities embodied in a given form of creation. It is said, there no shape, no for
m which may not be reduced to yantra patterns. Every shape, every leaf, every fl
ower is a yantra, which through its shape, colour, formation, perfume can tell t
he story of its creation.
Yantras which are drawn on flat surfaces are basically conceived as solid forms.
The drawing is a mere suggestion of its three dimensional aspects of the yantra
. And, the yantra is itself a static image of the moving, living combination of
forces represented in a divinity.
A Yantra is structured in three levels, of spaces, the level of physical world o
f beings and things (mahakasha); the level of thoughts and feelings (Chittakasha
); and the level of pure, undifferentiated consciousness (Chidakasha).The first
level is predominantly inert , Tamas; while the second level is active and emoti
onal, Rajas. The third level is of light and pure awareness Sattva. A Yantra is
a means to progress from the gross to the subtle, sukshma.
To put it in another way, Yantra is an instrument to transform matter into energ
y and the energy into consciousness. In the final analysis, the walls separating
the objective world, the subjective person and the Universal consciousness brea
k down; and it is all One in the end. This complete harmony of existence is symb
olized by Bindu, a dimensionless point at the centre of the Yantra or Chakra.
In fact, chakra is regarded the expansion or the evolution of that Bindu. The Bi
ndu in turn is epitome or the microcosm of the Chakra. The Yantra facilitates th
e movement of consciousness from the concrete form of Chakra to the abstract Bin
du. It also enables movement from the abstract Bindu to the form of Chakra. A Ya
ntra in essence is a map of the universe in its emanation and absorption.
Sri Chakra Yantra is regarded the supreme Yantra, the Yantra Raja, the king of Y
antras. It is the Yantra of the Shaktha school of Tantra. It is also variously r
egarded as the visual representation of the city, mansion, island or the body of
the mother goddess Devi, Tripurasundari, Lalitha, Rajarajeshwari and Parabhatta
rika, the supreme controller. The design also stands for this divinity s court wit
h all her attendant aids, guards, pavililions, enclosures and entrances. The pri
ncipal divinity is regarded as being at the centre, the Bindu of the chakra.
The prefix Sri denotes that the Yantra is auspicious, beneficent, salutary, beni
gn and conducive to prosperity. Sri is Lakshmi, the goddess of beauty and prospe
rity. Sri is also the Mother goddess who rules the universe. Sri Chakra is a rep
resentation of the interplay of the principles of pure consciousness (Shiva) and
primordial power (Shakthi).Sri Chakra represents the essential aspects of the u
niverse and also the constitution of the devotee s body-mind complex.
The concept and worship of Sri Chakra is relevant in the context of an esoteric
discipline known as Sri Vidya.
Sri Vidya is hailed as the Vidya of Sri (the knowledge that leads to the ultimat
e benefit mukthi liberation), she therefore is the highest divinity. Sri Vidya i
s also the Vidya that yields Sri (prosperity). Sri Vidya is thus Bhukthi Mukthi
prada the bestower of wellbeing, prosperity and liberation. Sri Vidya is the pat
h and the goal.
Vidya usually stands for knowledge, learning, discipline and a system of thought

. But, in the context of Tantra, it has an extended meaning. Here, it variously

refers to a female deity, to the personification of her consciousness; or to the
manifestation of her power. Devi Durga is described as the Vidya in all beings
(Ya Devi sarvabhutheshu, Vidya rupena samsthita); and the form of her Vidya is t
he primordial energy Adi prakrithi.
The Tantra texts classify ten divinities into three levels of Vidyas:
(1) Maha_vidya, the extraordinary Vidyas, consisting Kali and Tara. The worship
of these divinities requires great rigor, austerity, devotion, persistence and a
sort of detachment. The practice of Maha_vidya is very difficult and filled wit
h risks and dangers ;
( 2) Vidya, the normal Vidyas consist deities Shodashi (or Tripura), Bhuvaneshwa
ri, Bhiravi, Chinmastha and Dhumavathi. The practice of this class of Vidya is c
onsidered safe and suitable for householders;
and
(3) Siddha Vidya, the Vidya for adepts involves deities Kamalaa, Matangi and Bha
galamukhi. This class is not for normal persons as it involves rituals that cann
ot be practiced normally.
Shodashi is the first among the Vidyas in the middle group; she is otherwise kno
wn as Sri Vidya. Shodashi literally meaning a girl of sixteen is identified with d
eities Lalitha, Raja_rajeshwari, Sundari, Kameshwari and Bala. Lalitha is the pl
ayful one; all creation, manifestation and dissolution is her play. She is Mahat
ripura Sundari the most magnificent transcendental beauty without a parallel in
three worlds. She is the conqueror of three levels of existence.
The Tantra texts however explain that the Vidya is called Shodashi because the m
antra of the Vidya is made up of sixteen seed _syllables. There is another schoo
l (Kadi Vidya) which says the mantra consists fifteen visible syllables (ka e i
la hrim; ha sa ka ha la hrim; sa ka la hrim). It is explained that ka represents
the air; ha the fire; sa the water; la the earth and e the space. The fifteen s
yllables are: one of space, two of air; three of fire; four of water; and five o
f earth. The sixteenth letter is srim in subtle form. The mantra then becomes Shod
ashi, the sixteen lettered.
The fifteen lettered mantra is divided into three groups: ka e i la hrim); ha sa
ka ha la hrim; and; sa ka la hrim. The three groups that constitute the mantra
are called Kuta (peaks) or Khanda (segments). They are interpreted variously in
sets of three as: Agni(fire) , Surya(sun) and Chandra(moon); srishti (creation),
Shtithi (preservation) and laya (dissolution); Iccha ( will), jnana(knowledge)a
nd kriya (action);Sattva, Rajas and Tamas; Jagrat (wakefulness); swapna (dream s
tate) and sushupthi (deep sleep);jnatra (the knower), jnana (the knowledge) and
jneya ( the known) ; atma (individual self) , antaratma (inner being) and parama
tma (supreme self) and as past , present and future.
There is also a view that the first group starting with ka is kadi_matha; the se
cond group starting with ha is hadi_matha; and the third group starting with sa
is sadi_matha.
The mantra (fifteen or sixteen letters) is an expression of Sri Vidya. The verba
l expression (nada or sound) of the Vidya is mantra and its visual expression is
the Sri Chakra Yantra. The two are essentially the same. Both seek identity of
consciousness with Maha Tripura Sundari.
Another interesting aspect is that the vowels (aa, e, i etc.) are regarded as re
presentations of Shakthi; while the 35 consonants are basically inert and depend

on vowels (just as Shiva depends on Shakthi) to manifest in a meaningful form.

It is only when the germinating power (bija) of the vowels is infused with conso
nants, the latter gain meaning. That is the reasons the vowels are Bija aksharas
. They transform ordinary letters into mother like condition (matrika); that is,
they impregnate ordinary letters with meaning and power.
Sri Vidya is also described as Chandra_kala_vidya, the lore of the lunar digits.
This school of Sri Vidya explains that the fifteen letters of the mantra corres
pond to fifteen digits of the moon in each fortnight commencing from prathipada,
the first day of the brighter half, when the moon comes out of the sun ; and endin
g with the full moon on the fifteenth day. Similarly, in the dark half of the mo
on cycles all digits return to the sun . The emanation of the fifteen digits of the
moon from the sun culminates in the full moon (purnima); while the absorption o
f the digits into the sun results in new moon (Amavasya).The sixteenth letter (S
hodasha kala or Srim) is said to be present in each of the digits which are call
edKalas or nityas. The digits are invoked as forms of the Mother goddess.
The first digit is Maha Tripura Sundari; the second is Kameshwari; and the third
is Bhagamalini. These three together form the primary triangle which is the imm
ediate unfolding of the central Bindu representing Mother Goddess.
The Sri Vidya tradition which centers on the worship of Sri Chakra, considers th
e following twelve gods and sages as its gurus: Manu, Chandra, Kubera, Lopamudra
, Manmatha, Agasthya, Nandisha, Surya, Vishnu, Skanda, Shiva and Durvasa. It is
said each of the twelve gurus propagated a school with regard to the worship and
significance of Sri Chakra. Of these, only two schools have survived to this d
ay; one is the school started by Manmatha (also called Kamaraja) known as Kadi_m
atha. The Kadi tradition was continued by sage Agastya. The other school is Hadi
_matha started by Lopamudra wife of the Sage Agastya. There is also a mention of
an obscure third school called Sadi_matha.
Of the three, the Kadi_ matha (with its mantra starting with letter Ka) is regar
ded the oldest and its attitude and worship is Sattvic. It insists on virtue, di
scipline and purity of rituals. The prominent gurus of this school are Paramashi
va, Durvasa, Hayagreeva and Agasthya. Of the other two schools, Hadi_matha is Ra
jasik and the Sadi _matha is Tamasik.
Kadi matha accepts Vedic authority and formulates its position in accordance wit
h the Vedic tradition. The other school is considered different (iyam anya cha v
idya).The term Samaya also means Vedic convention as orthodox and valid. Hence K
adi School came to be known as Samaya.
Samaya believes in sameness of Shiva and Shakthi; and the form of worship is pur
ely internal. Hence Kadi School is also known as Para Vidya where the worship (a
rchana) is conducted in the space of one s heart (hrudayakasha madhye).
The external worship conducted say by Kaulas, lays greater importance on the Mul
adhara and Swadhistana chakras which are said be situated at the base of the spi
nal column which relate essentially to physiological needs and psychological urg
es. The Samaya School on the other hand prescribes that the internal worship (a
ntar aradhana) be conducted at higher levels, viz., from Manipura to Sahasra. T
he seat of Tripura is at Sahasra, beyond the six chakras. It is also the seat of
supreme consciousness, Shiva from which Shakthi springs forth.
Shakthi is of the same nature as Brahma (Brahma rupini) that divides itself five
-fold. It is a spontaneous unfoldment. In Samaya system Brahman is called Sadash
iva; it is the Bindu, from which emerges nada which is Para_shakthi. It is at th
e Sahasra, the Bindu Sthana that Shiva and Shakthi reside. They are the same; on
e cannot be without the other.

Samaya is centred on knowledge (jnana) which is the realization of the identity

of Shiva and Shakthi: Shiva becomes Kameshwara and Kameshwari becomes Shiva. The
ir names too get intertwined, for instance, Shiva and Shivaa; Tripura and Tripur
aa; Bhava and Bhavani; Shambu and Shambhavi; Rudra and Rudrani; and Sundara and
Sundari etc.
Dakshinamurthi is a revered seer of the Kadi (samaya) School. The term Dakshina
literally means a woman and refers to the feminine principle, which can create,
unfold and manifest. When Dakshina assumes a form, it results in Dakshinamurthi
a variety of Shiva s forms. Dakshinamurthi, as ardha_nari; Kameshwara and Kameshwa
ri are together regarded the principle deities of Kadi School.
Sri Chakra is the main device employed by Kadi (Samaya) school; and the worship
is mainly through symbolisms and successive identifications. The symbolism invol
ves identification (saamaya) of the arrangements and the lines of the diagram wi
th the structure of the Universe; the psychophysical aspects of the devotee with
the spatial arrangement of the diagram representing the goddess; and identifyin
g the Mantra with the Yantra.
As regards the worship of Sri Chakra, there are three recognized procedures :
( 1) Hayagreeva tradition regarded as Dakshina_chara, the right handed method, r
eciting Lalitha_sahasra Nama and Lalitha_tristathi offering kunkumam.
(2) Anandabhirava tradition , a Vama_chara,a left handed method;
and
(3) Dakshinamurthy tradition , a doctrinal school.
Of the three the last one is considered the best.
Sri Vidya traditions speak of two forms of Sri Chakra. One is its physical repr
esentation of lines and forms. This form entails external worship (puja) accordi
ng to prescriptions of kalpa sutra spread over 26 steps. Here, Kameshwara and Ka
meshwari are the deities that receive worship.
There are, again, three methods of worship of Sri Chakra. Theshrishti_krama the
expansion mode of worship, carried out in morning, comprehends the chakra from t
he central point the Bindu to the outer square. The Sthithi_krama the preservati
on mode of worship, carried out in the afternoon, comprehends the chakra from th
e outer square to the eightfold lotus and from the Bindu to the fourteen cornere
d figure. The third, Samhara_krama the absorption mode of worship, carried out i
n the night, comprehends the chakra from the outer square to the central point.
[Even in this method the visualizations and contemplations are not entirely dis
pensed with.]
The other form of worship is Viyacchakra, the chakra emerging within ones heart.
This entails visualization of Bindu, which is in the centre of the Sahasra, wit
hin ones heart. The ability to visualize Viyacchakra is known assamaya. The wors
hip (maanasa puja) is offered internally and consists wholly of visualizations a
nd contemplations; and is carried out in seclusion by one who is in control of h
is senses.
The process here involves a four-fold conceptualization of identity (aikya chint
ana)They are , briefly :
(i) Identity of the Supreme goddess who is un_manifest with Sri Chakra which is
manifest;

(ii) Identity of the design of Sri Chakra with the Universe. It is viewed as a c
osmogram ;
(iii) Identity of the individual with the Universe . This is done primarily on
the basis of the Shat chakra ideology (six chakras- muladhara, svadhistana, mani
pura, anahata, visuddha and ajna) and the tattvas , the principles , of Shaivaga
ma;
and
(iv) Identity of the letters of the alphabets (matrikas) with the deities locate
d in various segments of the Sri Chakra.
As can be seen from the above the six factors involved are :
(i) the Universe (Brahmanda);
(ii) individual (pindanda);
(iii) the structure of Sri Chakra;
(iv) letters of the alphabets(matrikas);
(v) the goddess (Devi);
and
(vi) the mantra specific to her.
The Tantra texts emphasize the merit of inner worship (antar_yaga), once a fair
degree of understanding has been gained. They said Best of all forms of worship i
s inner worship. External worship (ritualistic) is to be resorted until the dawn
of understanding.
In any case, Sri Vidya is the worship of mother goddess incarnated in the Sri Ch
akra. Her worship includes the worship of her consorts (Devata) and aids (yogini
); all of whom are female. The ritualistic details are characteristically femini
ne.
A Sri Vidya Upasaka worships beauty and grace; rejecting ugliness in thought, wo
rd and deed. Sri Vidya is the path of devotion and wisdom. The wisdom consists
in realizing ones identity (sva svarupa prapti) with the Mother goddess. It is t
his wisdom that liberates the devotee (jivan Mukthi). This liberating wisdom is
granted to him by the Mother out of pure love, when the devotee surrenders to he
r completely in full faith and devotion. The Mother is the path and the goal. Sr
i Vidya is the culmination of all paths, the consummation of all transformations
.
lotus-flower-meaning-3
Sri Muthuswami Dikshitar was initiated into Srividya Maha Shodasakshari Diksha.
In his first kriti , he referrers to the Guru tradition, its twelve gurus and t
hree schools of worship, kadi, hadi and Sadi: Kamaadi dwadashabhirupa_sthitha ka
di hadi sadi mantra rupinya .Dikshitar also mentions that he followed the tradit
ion of the sages Durvasa , Agasthya and Hayagreeva ; and declares he belonged to
Kadi school: maatmaka kadi mathanusthano.
Dikshitar followed the Kadi practice of worship of Sri Chakra from Bhupura the o
uter square to the Bindu the central point. He had a certain pride in his tradit

ion; in his kriti Kamalambikai, he states prabala guruguha sampradaya anthah kara
yayai referring to his hallowed tradition
Dikshitar composed about 40 kritis spread over four sets of compositions on the
subjects related to Sri Vidya; Kamalamba Navavarana (11+ 2 kritis); Nilothpalamb
a kritis (8 kritis); Abhayamba kritis (10 kritis) and Guru Kritis (8 kritis).Of
these the Kamalamba set of kritis, is highly well organized and is truly remarka
ble for its classic structure , majesty and erudite knowledge. More of that in t
he succeeding sections.
Muthuswami Dikshitar, in his kritis, yearns for Videha Mukthi. He beseeches the
Divine Mother repeatedly and addresses her as one who grants Videha mukthi (Mama
ka videha mukthi sadanam Ranganayakam-Nayaki); the bestower of videha mukthi (vik
alebara kaivalya danaya-Guruguhaya-Sama); and at times he feels he is nearing vi
deha mukthi(Videha kaivalyam yami-Tyagaraje-Saranga). Sri Muthuswami Dikshitar w
as a jivan Muktha who attained his Videha Mukthi.
Videha mukthi is a concept of the later Advaita schools. It believes, one can at
tain liberation (moksha) from attachments while still encased in a body. Such an
attained one is Jivan Muktha. The body continues to function till its Prarabdha
Karma is exhausted; thereafter the mortal coils fall away. Videha mukthi is she
dding off the body by a Jivan muktha, the one who has already attained liberatio
n.
Jivanmukthi, emancipation while yet alive, is also a concept of the Tantra Sidda
ntha which believes that it is possible for a person to transact with the world
without getting involved in it. In other words, one lives on actively and cheerf
ully, amidst distractions and confusions of the world without letting his self r
eflect them. His moorings in the phenomenal world have withered away, his instin
ct of self-preservation and insecurity has been minimized. He is alive only to e
ssential thing in life that is the source of life. The real world continues to e
xist for him. But he does not rest in the world but rests in himself (Svarupa pr
atishta).
In the Sri Vidya tradition, a jivan muktha is a devotee, a bhaktha as well as a
jnani the wise one. Here, the wisdom consists in realizing his identity(sva sva
rupa prapti) with the Mother goddess. It is this wisdom that liberates him (jiva
n Mukthi). This liberating wisdom is granted to him by the Mother out of pure lo
ve, when he completely surrenders to her in full faith and devotion.
Sri Muthuswami Dikshitar, either way, was a jivan Muktha who attained Videha Muk
th with the grace of the Devi.
Continued in the Next Part
The structure of Sri Chakra

Reference;
The Tantra of Sri Chakra by Prof.SK Ramachandra Rao(1953)
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Posted by sreenivasaraos on September 14, 2012 in Music, Muthuswami Dikshitar, S
ri Vidya, Tantra
Tags: Mantra, music, Muthuswami Dikshitar, Sri Vidya, Tanra, Yantra

Sri Muthuswami Dikshitar and Sri Vidya (4 of 8)

14 Sep
The music of Sri Muthuswami Dikshitar
Sri Muthuswami Dikshitar was a versatile intellect. He was open to a variety of
influences. His works reflect some of those influences rather explicitly while s
ome others shine through in a subtle way. Before we get into a discussion about
Dikshitar s creations, we need to recognize a few features that influenced him.
Muthuswami Dikshitar was a vainika-gayaka, a musician who sang as he played on t
he Veena. He was well trained both in vocal and instrumental music. Naturally, t
he graces, the rich gamaka prayogas of his compositions structured in slow tempo
shine in mellow glow when played on the Veena.
In his childhood he received training in the lakshya and lakshana aspects of Car
natic music. The lakshana gitams and prabandhas of Venkatamakhi formed an import
ant input of his training. Later, as a composer, he chose to follow Venkatamukhi s
system of Mela _classification of ragas.
He spent seven years at Varanasi, in the prime of his youth. He was captivated b
y the grandeur, the spaciousness and the purity of the ancient Druphad School. H
e learnt Dhrupad diligently; and that left a lasting impression on his works.
Earlier in his teenage he gained familiarity with Western music; and traces of i
ts influence can be noticed in the movement of his songs.
He had a good command over Sanskrit; and learnt to use it to express his ideals
and aspirations in pristine poetry. He had a fascination for sabdalankara, beaut
ifully turned phrases and wordplay. He had the composure of a yogi and the heart
of a poet. Dikshitar s kritis are therefore adorned with poetic imagery, tranquil
grace, a certain majesty steeped in devotion.
Dikshitar had acquired a fair knowledge of Jyothisa, Ayurveda, and iconography a
nd of temple architecture.
He was unattached to possessions or to a place (jangama). He was a virtual pilgr
im all his life. He visited a large number of shrines and sang about them and th
e deities enshrined there.
He was intensely devotional yet not overly affiliated a particular deity. He com
posed soulful songs in praise of a number of gods and goddesses.
He had a fascination for composing a set of kritis exploring the various aspects
of a particular deity or dimensions of a subject , as if he had undertaken a
project.
He was an Advaitin well grounded in Vedanta.
And above all,
Dikshitar was an ardent Sri Vidya Upasaka; a Sadhaka, an intense devotee of Devi
, the divine mother. He was a master of Tantra and of Yantra puja. The Tantra id
eology permeates all through his compositions.

It is the harmonious confluence of these influences that one finds in Dikshitar s

music.

***
Output:
Anandamruthavarshini by Shri S Rajam

Sri Muthuswami Dikshitar was prolific; about 479 of his compositions have now be
en identified, spread over 193 ragas. These include four Ragamalikas and about f
orty Nottuswara sahithya verses.
The great Venkatamakhi who formulated the 72 Mela-kartha ragas is reported to ha
ve wondered of the 72 Melas only a few are known and found in practice and will th
e permutation be a waste.? (Dr. V Raghavan: paper presented at All India Oriental
conference, at Hyderabad, 1941). It was the genius of Muthuswami Dikshitar that
gave form and substance to all the 72 Mela-kartha ragas, fulfilling the dream o
f Venkatamakhi. He gave expression to nearly 200 ragas of that system.
Sri Muthuswami Dikshitar was a pilgrim virtually all his life. He visited a larg
e number of shrines and sang about them and the deities enshrined there. He was
intensely devotional yet not overly affiliated to a particular deity. He compose
d soulful songs in praise of a number of gods and goddesses. About 74 of such te
mples are featured in his kritis; and there are references to about 150 gods and
goddesses. The most number of his kritis (176) were in praise of Devi the mothe
r principle, followed by (131) kritis on Shiva. Dikshitar was the only major com
poser who sang in praise of Chaturmukha Brahma.
Some scholars have said that Dikshitar s songs are summaries of Durga Suktam, Sri
Suktam and Purusha Suktam. He built in the mantras in a few krithis like Sri R
aaja raajeshwari (madyamavathi), pavanatmaja aagaccha (naatta). For the benefit
of those who couldn t practice rituals he composed vaara krithis on navagrahas. S
imilarly, he opened the doors to the secret world of Sri Vidya, for the benefit
of all, through his Kamalamba navavarana kritis.
Krithi Groups
Dikshitar had a fascination for composing sets of kritis on a composite theme,
erhaps in an attempt to explore the various dimensions of the subject. In some
f these, he employed all the eight Vibhaktis, the various cases that delineate
noun. No other composer has attempted so many group kritis in such a planned,
rderly, meticulous fashion. The following are some Important Krithi Groups
Guruguha Vibhakti krithis
Kamalamba Nava Varnams
Navagraha Krithis
Nilotpalamba vibhakti Krithis;
Panchalinga Kshetra kritis;
Panchabhuta Kriti
Rama vibhakti Krithis;
Tiruvarur Pancalinga kritis;
Thyagaraja vibhakti Krithis;
Abhayamba vibhakti Krithis
Madhuramba vibhakti Krithis

p
o
a
o

The selection of raga and tala; and the diction of these kritis demonstrate his
musical skills and intellectual refinement.
For greater information on Group Kritis of Dikshitar, please check here.

Ragamalika
Just as his father Sri Ramaswamy Dikshitar (who had composed the longest ever Ra
gamalika in Karnataka Samgita- the Ashtotrasata ragatalamalika
set in 108 Ragas
and various Taalas) , Sri Mutthuswamy Dikshitar was also an adept in the Raga
malika format. Though he did not attempt anything as lengthy or as grand as his
father did, the four delightful Ragamalikas that Sri Mutthuswamy Dikshitar creat
ed are true gems of art.
:
Madhavo mam patu
is a Ragamalika on the ten avatars of Lord Vishnu, with ten pass
ages set to ten Ragas (Nata, Gaula, Sri, Arabhi, Varali, Kedara, Vasanta, Surati
, Saurashtra and Madhyamavati).
Of the ten Ragas employed in the Ragamalika, five are Ghana-ragas excellent for
rendering Taana on the Veena. The sixth Raga Kedara is invigorating and the las
t four ragas are Mangala Ragas leading up to the final Mangalam in Madhyamavati.
The Raga of each passage blends admirably well its Sahitya. Here too, Sri Diksh
itar adopts his favorite Vibhakthi scheme of addressing the subject. The first e
ight passages are in the eight Vibhakthi cases, in their order (krama) ; and , t
he rest two- ninth and tenth are in the accusative case .
While rendering the Ragamalika, the singers can progress from one passage to the
next without having to repeat the Pallavi of the just concluded passage.
: The Ragamalika Poorna-chandra-bimba-vadane in celebration of Goddess Kamalambika
at Tiruvarur is composed of six Charanas in six different Ragas: Shad-raga-malik
a . The Ragas are: Poornachandrika, Saraswatimanohari, Narayani, Suddhavasanta, H
amsadhwani and Nagadhwani; and, all the six belong to Dheera Sankarabharana (29th)
Mela, Sri Dikshitar s favorite.
: The third Ragamalika Simhasana-sthite in four passages is addressed to most grac
eful Devi seated on her throne in a serene tranquil posture. The four are Mangal
a-prada Ragas, auspicious, soothing and peaceful Saurashtra, Vasanta, Surati and
Madhyamavati. This Ragamalika is therefore sung at the conclusion of Sri Dikshi
tar annual celebration festivals. It is also a favorite of the Bharatanatyam danc
ers.
:- Perhaps , Sri Dikshitar s most famous Ragamalika is his Chaturdasha Ragamalika
ri Vishwanatham bhajeham set in fourteen Ragas singing in ecstasy the glory of th
e Lord of the universe Shiva. The fourteen Ragas are interwoven with the passage
s in an intricate pattern.
Chapter 12 of Shqdhganga describes this Ragamalika as
The pallavi has two ragas, starting with Sri Raga and each Raga is encapsulated
in two lines of one Avarta, the second being in Madhyama kala. Similarly, the A
nu-pallavi is set to four ragas Gauri, Nata, Gaula and Mohanam; but at the end,
after Mohanam, a Viloma passage takes us through the same four ragas of the Anupallavi and the two of the pallavi in reverse order, back to Sri. The same patt
ern is followed in the charanam with eight Ragas Sama, Lalita, Bhairavam, Sarang
a, Sankarabharanam, Kambhoji, Devakriya and Bhupala; and, these are again taken
in reverse order in a Madhyama-kala sahitya, back to the pallavi in Sri. Dikshi
tar has followed a pattern not only in the order of the occurrence of the Ragas,
but also in terms of the lengths of the Avartas for each raga. The fifth and si
xth ragas
Gaula and Mohanam have been allotted 1 Avartas, all in Madhyama-kala,
while the preceding Ragas have been given 2 full Avartas one each in Sama kala a
nd Madhyama kala. The same pattern has been followed in the first half and secon
d half of the charanam of the Ragamalika. Another striking feature of the sahit
ya of this Ragamalika of Dikshitar is that the last part of the swara sahitya se

t to each raga is composed of the same words as of the last part of the precedin
g line of sahitya.
Chronological order
It is rather difficult to arrange Dikshitar s compositions in a chronological orde
r. His Nottuswara Shitya verses were, of course, composed in his early years whi
le his family lived at Manali a small town near Madras. His first composition as
Vak-geya-Kara was Srinathandi in Mayamalava gaula at the hill shrine of Tirutta
ni; and his last composition was Ehi Annapurne in Punnagavarali while he was at
Ettayapuram during his last years. It is believed that the set of Vibhakti krit
is followed his first composition. Thereafter he travelled to Kanchipuram, Mayur
am, Chidambaram, Vaidyanatha koil and Kumbhakonam. He often visited Tiruchirapal
li (where it is said his daughter lived).
He spent his productive years at Tiruvavur and his final years in Ettayapuram. I
n between, he is believed to have visited about 70 temples and sung the glory of
those deities. It is however not possible to arrange those kritis in a sequence
.
Please check here for a map of his probable travels in South India:

Ragas:
Dikshitar followed the mela paddhati (a system of classifying ragas) devised by
Venkatamakhi, to whose school he belonged. In handling the vivadi melas, Dikshit
ar followed Venkatamakhi and avoided unharmonious expressions, prayogas.Further,
since Kharaharapriya was not a part of venkatamakhi s scheme, there is no known c
omposition of Dikshitar in that raga. The twenty-second melakarta was Sri Raga;
the mangal kriti of Navavarana series is composed in Sri Raga. Again, Venkatamak
hi tradition treated Bhairavi and Anandha Bhairavi as upanga ragas; so did Diksh
itar.
Some scholars opine that Dikshitar s major service to Carnatic music is that he ga
ve expression to nearly 200 ragas of Venkatamakhi. He also breathed life into a
number of ancient ragas that were fading away. Several ancient ragas found a new
lease of life though Dikshitar s kritis. To name a few of them:Mangalakaisiki, Gh
anta, Gopikavasanta, Narayana Gaula,Sulini, Samantha, maargadhesi and mohana naa
tta. Even today their lakshanas are illustrated mainly through Dikshitar s creatio
ns.
There are many ragas which are employed only by Dikshitar. Take for instance: Sa
ranganata, Chhaya Goula, Poorvi, Padi, Mahuri, Suddhavasanta, Kumudakriya, and A
mritavarshini. In Dwijavanti, Chetasri and Akhilandeshwari stand out in solitary
splendour.
He transformed many Outhareya, the Hindustani ragas into Carnatic form through h
is creative genius. His interpretation and rendering of ragas like Dwijavathi, R
amkali, and Yamakalyan, Hamirkalyani, and Brindavan sarang are highly original a
nd creative. He made them into his own. His Cheta sri is so wonderfully well ada
pted to Carnatic raga-bhava that one scarcely notices the Outhareya traces in it
s character. He took in the best aspects of the other system, transformed them a
nd enriched both the systems.
Shankarabharanam scale appears to have been his forte; there are as many as 96 k
ritis based on that scale. The kritis in Harikambhoji scale number about 63; whi
le 57 kritis are in Kharaharapriya scale. He had a special affinity for Mayamala
va-gaula in which he composed about 51 songs. The derivatives of that scale such

as Saalanga Nata, Paadi and Mangala Kaishiki would have been lost but for Diksh
itar.
Taala:
Dikshitar was accomplished in the matter of talas, the rhythmic patterns. He is
the only composer to have set his music in all the seven basic taalas. He employ
ed all the Saptha Talas in his Vara-Stutis i.e. a song for each day of the week.
He is said to have used ten improvised varieties of taalas in his compositions
. The majority of his compositions are set in Adi (190) and Rupaka (139) taalas.
Music:
The most fascinating aspect of Dikshitar s songs is the grandeur and majesty of hi
s music, sublime lyrics, intellectual brilliance and the overall technical sophi
stication. They exude a tranquil joy. His vision of the ragas and their structur
e is inspiring.
Dikshitar was blessed with the heart of a poet and the composure of a yogi. He w
as an intense devotee but undemonstrative. There is therefore certain composure,
measured grace, dignity and a mellow joy glowing through his music as in his li
fe.
The Druphad way of elaboration captured his imagination. The tempo of his songs
is mostly the Vilamba-kala- slow, measured and majestic; rich in gamaka just as
the meends on a Veena. Dikshitar aptly called himself Vainika gayaka guruguhanuta .
Dikshitar s treatment of the raga exemplifies the essence of raga bhaava and bring
s out its delicate shades. It is as if the musician is immersed in contemplative
meditation. The graces, the rich gamaka prayogas of his compositions structured
in slow tempo shine in mellow glow when played on the Veena. This is amply refl
ected in his works ; for instance in Cheta Sri (Dvijawanthi); Balagopala (Bhair
avi); Sri Rajagopala (Saveri); Meenakshi Me Mudam (Poorvikalyani) and in Sri
Subramanyaya Namasthe (Kambhoji). The other compositions of this genre are: Dak
shinamuthe (shankrabharanam); Manasaguruguha (anandabhiravi); Ehi Annapaurne (pu
nnagavarali); Amba Neelayatakshi (nilambari) and each of the nava-avarana kritis
. These are monumental works.
It is not that all aspects of music are slow and spacious. He built into his com
positions exhilarating bursts of speed and sparkling delight as if in celebratio
n of the divine spirit, towards the end. Certain kritis are interlaced with Madh
yamakala Sahitya, passages in tempo faster than the rest of the kriti (E.g. Maha
ganapatim in Nata).
Sri Dikshitar redefined the treatment of even the traditional Carnatic ragas by
way of elaborate beginning, rich in gamakas resembling the sliding meends as, f
or instance, in the slow paced majesty of Akshyalinga Vibho (Shankarabharanam)
or in Balagopala (Bhiravi), portraying the beauty of the divine child, Krishna.
His Nirajakshi Kamakshi in Hindolam with dha flat entirely changed the way Hindo
lam came to be sung by his contemporaries and by the later Carnatic musicians.
Dikshitar was well versed in the alapana paddhati and followed it in the elabora
tion of the kriti. The musicologists have said The most outstanding aspect of the
compositions of Dikshitar is their richness in raga bhava . His sense of selectio
n of the apt sancharas of the raga to bring out the true emotion is remarkable.
They range from the mandra to the tara sthayi and give a complete picture of the
raga. It is said that if you sing his kriti in akara, it can bring out the cha
racter of the raga. His kriti are virtually, raga alapana, chiselled to fit in w
ith tala and dressed in sahitya.

Structure of kritis
His kritis are well structured, close knit and written in graceful Sanskrit. Dik
shitar s kritis do not have more than one Charanam; and as many as 157 of his crea
tions are Samasti-charanams carrying no Anupallavi or the Anupallavi acting as C
haranam. His rhythm is subtle and lyrics are divine.
Dikshitar s kritis with Samashti charanam have enriched the variety of musical for
ms in Karnataka Samgita. These Krfitis composed in Madhyama-kala are highly popu
lar ; e.g.
Sri Saraswati (Arabhi); Parvati patim (Hamsadhvani);
Vallabha nayakasya
(Begada); Saraswati vidhi yuvati (Hindolam); Sri Ranganathaya (Dhanyasi).
Since he did not compose multiple Charanas his single Charranas tended to be qui
te lengthy as compared to the Kritis composed in Pallavi-Anupallavi-Charanam for
mat. Such fairly long Charanams, however, enabled Dikshitar to provide exhaustiv
e information about various deities, shrines, Sri Vidya etc. The Madhyama-kala s
ahitya that he employed for such Kritis helped in introducing some variation in
such long Charanam.
[ Perhaps his only multiple-charana creations are his Kriti Maye tvam
) and his four Ragamalikas]

( Tarangini

Each of his compositions is unique, brilliantly crafted and well chiselled work
of intricate art. It is incredible how delicately he builds into his tight-knit
kritis a wealth of information about the temple, its deity, its architecture and
its rituals; and about jyothisha, tantra, mantra, Sri Vidya, Vedanta etc. He al
so skilfully builds into the lyrics, the name of the raga (raga mudra) and his M
udra, signature.
Sri Dikshitar also built in phrases of Samgita-shastra in the body of the few o
f his kritis, sometimes giving technical details in precise ways. For instance;
in his Kriti Meenakshi me-mudam- dehi (Purvi Kalyani), the phrase Dasa Gamaka Kriy
e refers to Dasavidha Gamakas discussed in ancient music-texts. And, similarly, t
he phrase Dvisapatati raganga raga modinim in the Kriti Sringira rasa manjari in Ras
amanjari Raga (Rasikapriya) refers to the scheme of seventy two Melas.
Language and wordplay
Except for one kriti in Telugu and three Manipravala kritis (Sanskrit+Telugu+Tam
il) all his other compositions are in Sanskrit.
[ The term is said to be made of mani + pravala, meaning a mixture of gems and
coral]
Sri Dikshitar is credited with one Chauka kala pada-varnam
taala) and a Daru Ni sati (Sriranjani) also in Telugu.

Rupamu juchi

(Todi, Ata

Dikshitar had a good command over Sanskrit; and learnt to express through it his
ideals and aspirations in pristine poetry. He had the composure of a yogi and t
he heart of a poet. Dikshitar s kritis are therefore adorned with poetic imagery,
tranquil grace, a certain majesty steeped in devotion.
He had a fascination for Sabdalankaras, adorning his poetry with beautifully tur
ned phrases ringing sweetly like temple bells; captivating rhymes of Prasa and A
nuprasa. He loved the intricate play of words and to coin sweet sounding phrases
. Look at the pada lalithya, a grand procession of enchanting phrases :
Akalanka darpana kapola vishesha
Mana matrike maye marakata chaye
Devi Shakthi beejodbhava matrikarna swaroopini

And
Komlakara pallava pada kodanda Rama.
The rhyming and ringing phrases
of unparallel beauty.

Shyamalanga- vihanga- sadayapanga-satsanga- are

He often structured his lyrics in geometric patterns. He enjoyed a childlike del

ight in employing Yatis (geometric patterns) such as Gopuccha (tapering like the
tail of a cow) or it s opposite, the Sorotovaha (broadening like the flow of a ri
ver) for structuring his lyrics. For instance, in his Sri Varalakshmi (Sri) and
Maye Twam Yahi (Sudha Tarangini) he used the tapering pattern of Gopuccha.
Sarasa Pade,
Rasapade,
Sapade,
Pade.
de
Sarasa Kaye
Rasakaye
Sakaye
Aye
In his kriti Tyagarajayoga Vaibhavam (Anandabhairav) Dikshitar uses both the Yat
is : Gopuccha Yati and Srotovaha.
The phrases are: Gopuccha Yati (like a cow s tail):
Tyagaraja Yoga Vaibhavam
Agaraja Yoga Vaibhavam
Rajayoga Vaibhavam
Yoga Vaibhavam
Vaibhavam
Bhavam
Vam

And Srotovaha Yeti (flowing or expanding like a river )

Sam
Prakasham
Svarupa Prakasham
Tatva svarupa Prakasham

Sakala Tatva svarupa Prakasham

Shivashaktyadi Sakala Tatva svarupa Prakasham
Dikshitar at times used Swaraksharams i.e., the words matching with the syllable
s of the notes. For instance, Sadasrita (in Akshayalinga Vibho) could be tuned a
s Sa Da Pa Ma; and Pashankushsa Dharam (in Siddhi Vinayakam) could be tuned as P
a SA Ga RI Ni SA.
Sri Muthuswami Dikshitar set the trend for embedding raga mudra, the name of the
raga, in the lyrics. This served the purpose of establishing the raga of the kr
iti; and it also added a novel lyrical beauty. Sometimes the raga mudra could be
as simple as Brindavana Sarangendra; or Satchidananda Bhiravisham; or Krith
ika Suddha Dhyanyena. But, at times he would ingeniously suggest the raga by
hiding it in a complex word, through shlesha, a skillful play on words. For inst
ance, as in:
(Veena+Abheri) to suggest Abheri;
(Panchamukha+arishadvarga_rahita) to suggest Mukhari; and
(Chidbimbou+lilavigrahou) to suggest Bouli
Some of the Ragas have peculiar names and require great skill to blend them into
the composition. For example, the Raga names like Paraz, Mahuri and Arabhi are
rather unusual; yet, he successfully binds them into the composition without mar
ring its literary merit . For instance :
Bhakthajananam athisamiparujumarga darsitam,
Tvamahurisadayo, Samsarabhithyapaham.
Again there is a Raga with the name Andhali which conveys no specific meaning? But
in Brihan nayaki varadayaki through the phrase
Andhaliharana chana pratapini he d
evelops a fine poetic expression out of it: The fragrance of her shining beauty a
ttracts even blind bees. The name of the Raga Varali enhances the artistic beauty o
f the song Mamava Minakshi through the phrase madhuravani, Varali veni. These are ty
pical of Sri Dikshitar s poetic excellence and his ability to achieve natural flow
of delightful phrases set to sublime music.
Sri Dikshitar also specialized in the use of different vibhakti (the various cas
es that delineate a noun) running parallel. A striking example is the first batc
h of eight krtis he composed in praise of Lord Subrahmanya of Tiruttani. Sanskri
t language employs eight cases (vibhaktis) for the declination of a noun, namely
nominative (prathama), accusative (dvitIya), instrumental (tritIya), dative (ch
aturthi), ablative (panchami), genitive (Shasti), locative (saptami) and vocativ
e (sambhodhana). The eight cases for the noun guruguha would be: guruguhah (guru
guho), guruguham, guruguhena, guruguhaya, guruguhat, guruguhasya, guruguhe and (
hey or Oh..!) guruguha.
Guruguha:
The mudra, the signature for his kritis occurs as Guruguha not only in his class
ic creations commencing with Srinathadi, but also in this earlier Sanskrit verse
s grouped under Nottuswara Sahitya. The term Guruguha means the Guru dwelling in
the cave of my heart; and it normally refers to Kartikeya. The term however acq
uires shades of other meanings depending on the context.
Dikshitar was an Advaitin and in that context Guru refers the Supreme Principle

Brahman. In his Sri Guruguha dasoham he says

Sri Dakshinamurthy the yogic incarnation of
tar as Guruguha. Again , in his Jambu-pathe
e Guru in nirvikalpa Samadhi as Guruguha
emish-less (niranja) supreme consciousness
niranjana guruguha guroo).

I am Guruguha .
Shiva is often referred to by Dikshi
(yaman kalyan) he refers to Shiva th
the attribute-less (nir-vishesha) bl
(chaitanya) (nir-vishesha chaitanya

Sri Dikshitar was also a yogi. In his Shrinathadiguruguho Jayati, the Guruguha i
s the Lord seated in his Sahasrara-Lotus and drinking the nectar of his sweet mu
sic.
In the Shakta tradition, the universe is interplay of Shiva and Shakthi. The gur
u is Shiva the body and Shakthi the energy as guhya shakthi, the intrinsic power
. Guruguha is at times a wordplay based on this principle.
Sri Dikshitar was also a Srividya Upasaka and as per its tradition he submitted
his salutations to that Guruparampara (the linage of his Guru s). Sri Vidya gradua
tes the evolution from the most subtle form (Shukshma) to the gross in 36 steps;
the first being Shiva-tatva and the final one being Prithvi-tatva. According to
this School, Shiva is Adinatha the progenitor; Shiva is Adi-guru. The tantric t
exts identity the guru and the mantra with the deity; the three are one. The man
tra represents manas (mind), the Devata stands for the prana (vital force) and t
he guru represents the aspirants own self (atman). That is the reason Dikshitar
in his Sri Guruguha dasoham he says: I am Guruguha .
In the Sri Vidya tradition, the Guru is not an abstract concept. Guru is an indi
vidual. He also symbolizes the hoary tradition Sampradaya in a succession of mas
ters. The human guru is the contemporary master; who has descended in an unbroke
n line of gurus beginning from Adi Guru Shiva himself. He not only reveals the t
ranscendental reality to the disciple but helps him realize his own essential re
ality (svartha parartha-prakatana paro guruh). Devotion to the human guru is to pu
rify the mind and fortify it with the spirituality of the guru. In his Anandeshw
ara (Anandabhiravi), Dikshitar refers to his guru who initiated him as the incar
nation of Guruguha (jnana pradana guruguha-rupa).
Sri Dikshitar refers to the Guru-parampara as Adi guruguha-varena. He mentions Pa
ramashiva, Durvasa, Agasthya, Hayagreeva and other Gurus of Sri Vidya tradition.
Elsewhere he makes a mention of twelve upasakas in three schools of worship in
Srividya Kadi, Hadi and Sadi- in his line Kamadi dwadasha
bhi rupasthitha kadi h
adi sadi mantra rupinya iharena navanathena adyena. Shiva is Adi-guru, the gurug
uha who resides in the cave of the heart.
Influence of Advaita
Muthuswami Dikshitar was well grounded in Vedanta and he was an Advaitin. The in
fluence of that school of Vedanta is visible in several of his kritis; for insta
nce in Girijayaa ajayaa (Shankarabharanam), saadhu Jana (purna panchamam), Sri G
uruguha murthe (udhaya ravichandrika), Guhad anyam (Balahamsa), Ambhikaya Abhaya
mbikaya (Kedara) and Abhayamba Jagadamba (Kalyani) etc.
In these compositions, he speaks about the identity of jiva and Brahman; the sup
erimposition, Adhyasa; the seemingly real yet not- real (Maya); the errors in pe
rception, each atom being the microcosm of the universe (chidvilasa koti koti ci
dabhasa) and other Advaita concepts. In his Kamalamba Navavarana kritis in Shank
arabharanam he declares I am guruguha .
Influence of Sri Vidya
Sri Muthuswami Dikshitar was a Devi Upasaka and was well versed in all aspects o

f Sri Vidya Upasana. His kritis permeated with Sri Vidya are too many to be list
ed here. The prominent among this genre is the Kamalamba navavarana kritis, rich
in celebration of the deities and traditions of Sri Chakra worship, expounding
in each of the nine kritis, the details of the each avarana of the Sri Chakra. A
ccording to him, Sri Vidya protects the devotee: Bhaktanam Abhayapradam; and is
his way to well being and also the way to liberation (bhukti mukti prada margam
.He sings in inspired devotion; and beseeches the Divine mother to protect him a
nd guide him along the right path.
There are references to Shaktha tradition in his Nilothpalamba Vibhakthi composi
tions, the Guruguha Vibhakthi and Abhayamba Vibhakthi compositions, in addition
to references in several individual compositions.
Dikshitar composed about 40 kritis spread over four sets of compositions on the
subjects related to Sri Vidya; Kamalamba Navavarana (11+ 2 kritis); Nilothpalamb
a kritis (8 kritis); Abhayamba kritis (10 kritis) and Guru Kritis (8 kritis).Of
these the Kamalamba set of kritis, is highly well organized and is truly remarka
ble for its classic structure , majesty and erudite knowledge.
Let us talk more about Sri Chakra, Sri Vidya and their influence on Dikshitar, i
n the next sections.
tt65
Sri Muthuswami Dikshitar was a many splendored genius. He gave form and substanc
e to all the 72 Melakartha ragas. Besides, he breathed life into several ancient
ragas that were fading away from common memory. He redefined the paradigm of Ca
rnatic music. Each of his compositions exemplifies the essence of raga bhava and
captures the depth and soulfulness of the melody. His vision of the ragas and t
heir structure is sublime.
His compositions are crisp, well chiselled and rich in knowledge. His Sanskrit
is delightfully captivating. His synthesis of Carnatic and Hindustani Music syst
ems is creative and original. He took the best in the other systems and adorned
the Carnatic System; enriching both. Dikshitar revolutionized Carnatic classic e
thos while firmly positioned within its orthodox framework.
He excelled in all the four aspects of the traditional music viz. Raga, Bhava, T
ala and Sahitya. The technical sophistication, intellectual brilliance and the m
ajesty of his music is unsurpassed.
Sri Dikshitar was a scholar well grounded in good tradition (sampradaya).To him,
music was more than an art; it was serene contemplation, a way of worship in tr
anquillity and it was also an outpouring of his soul in celebration of the divin
e. He described the divine as embodiment of Raga, Bhava and Tala (Bhava raga tal
a _swarupakam).He was a yogi, with the heart of a poet; there is therefore a cer
tain composure and majesty in his music along with sublime poetic imagery adorne
d by grace and enchanting beauty. His kritis exude with soulful repose, peace an
d transcendental joy.
aravinda
Continued in Part Five
Sri Chakra and Sri Vidya
Sources:
Compilation of Dishitar s compositions
Dr. P. P. Narayanswami s page
Statistical Analysis of Dikshitar s compositions
Dr. P. P. Narayanaswami s page

Group Kritis of Dikshitar

List of temples mentioned in his works
Muthuswami Dikshitar

A Creative Genius by Chitravina N Ravikiran

Guru principle and Guruguha in Dikshitar

I gratefully acknowledge the paintings by Sri S Rajam
8 Comments
Posted by sreenivasaraos on September 14, 2012 in Music, Muthuswami Dikshitar, S
anskrit, Sri Vidya
Tags: Guruguha, music, Muthuswami Dikshitar, Sri Vidya
Sri Muthuswami Dikshitar and Sri Vidya (3 of 8)
13 Sep
Dikshitar and Hindustani music
While you read the article .listen to
Jambu pathe maam pahi in Yaman Kalyani sung by Shri TM Krishna
(Thanks to Sashidhar Vasisth)
[The majestic Jambu pathe (Yamuna Kalyani, Rupakam) a masterpiece by Sri Dikshit
ar, is based in Hindustani raga Yaman Kalyan. The stately gait of the compositio
n is akin to the Dhrupad style of singing. The kriti is one of his Pancha linga
group kritis extolling the manifestations of Shiva among the five elements of n
ature (Panchabhuta); and, is in celebration of the water-element (Appu), singing
in praise the glory of Jambukeswara the deity in the temple at Tiruvanaikaval n
ear Trichy in Tamil Nadu.
Please check the link for the text and brief explanation http://www.guruguha.org
/wiki/jambupate.html ]
During his stay at Varanasi, Muthuswamy Dikshitar enjoyed splendid opportunities
of listening to Hindustani music in its pristine forms. He seemed to be impress
ed greatly by the ancient Drupad form of singing and of playing the string instr
uments; particularly by its elaboration of raga (alap), the tempo and the struct
ure of the lyrics . He diligently studied and learnt the Druphad. This had a pro
found influence on his creative genius, and apparently modeled his portrayal of
ragas in general and in transforming the Hindustani ragas into Carnatic form, in
particular. His synthesis of Carnatic and Hindustani Music systems is creative
and original.
Singing
The influence of Hindustani music on Dikshitar and his works are manifold. It is
not confined to composing some kritis based on Outhareya that is Hindustani rag
as. The influence is evident in the structure of his kritis, the tempo of his mu
sic, in the selection of the Talas and in elaboration of the raga too.
His kritis are well structured, close knit and written in graceful Sanskrit akin
to Druphad compositions. Dikshitar s kritis do not have more than one Charanam; a
nd many of his creations areSamasti-charanams carrying no Anupallavi or the Anup
allavi acting as Charanam. His rhythm is subtle and lyrics are divine.

The Druphad way of elaboration appears to have captured his imagination. The tem
po of his songs is mostly the Vilambakala slow, measured and majestic; rich in ga
maka just as the meends on a Been. Dikshitar s treatment of the raga exemplifies t
he essence of raga bhaava and brings out its delicate shades. It is as if the mu
sician is immersed in contemplative meditation. A scholar aptly remarked
. Dikshit
ar s kritis are epitome of the spiritual record of India .
This is amply reflected in his works ; for instance in Cheta Sri (Dvijawanthi),
Balagopala (Bhairavi),Sri Rajagopala (Saveri), Meenakshi Me Mudam (Poorvikalyan
i) , Jambu pathe maam pahi (yaman kalyani) and in Sri Subramanyaya Namasthe (Kam
bhoji).
It was not all slow and spacious. He built into his compositions exilirating bur
sts of Madhyamakala gathi, of speed and sparkling delight as if in celebration o
f the divine, towards the end.
He did not merely import the Hindusthani ragas but transformed them and gave the
m an entire new form and luster. That was the creative genius of Dikshitar. For
instance, his interpretation and rendering of ragas like Dwijavathi, Ramkali, Ya
makalyani, Hamirkalyani, and Brindavan sarang are highly original and creative.
He made them into his own. His Cheta sri is so wonderfully well adapted to Carna
tic raga_bhava that one scarcely notices the Outhereya traces in its character.
He took in the best aspects of the other system, transformed them and enriched b
oth the systems.
His Jambupathe (Yamankalyani), Parimalaranganatham (Hamir Kalyani), Rangapuravih
ara (Brindavana Saranga) and Mamava pattabhrama (manirangu) bear testimony to hi
s virtuosity. They are the bench mark kritis in those ragas and are splendid exa
mples of aesthetic excellence of the ragasancharas.
The Hindustani influence spilled over to some of his compositions in Carnatic ra
gas too, by way of elaborate beginning and by gamakas resembling sliding meends;
as , for instance , in the grandeur and slow paced majesty of Akshyalinga Vibh
o (Shankarabharanam) in contemplation of the Shiva the Yogi; or in Balagopala (B
hiravi), portraying the delight and beauty of the divine child Krishna. His Ni
rajakshi Kamakshi in Hindolam with dha flat re-defined the way Hindolam was sung
by his contemporaries and by the later Carnatic musicians.
Dikshitar was a scholar well grounded in good tradition (sampradaya).To him, mus
ic was more than an art; it was serene contemplation, a way of worship in tranqu
ility and it was also an outpouring of his soul in celebration of the divine. He
took his music seriously. His involvement in Western or Hindustani music was no
t flippant .The influences of those other systems on the traditional Carnatic mu
sic, which he practiced with great devotion and diligence, was purposeful and di
d not in any manner diminish the pristine tradition of Carnatic music, his forte
. He took the best in the other systems and adorned the Carnatic System; enrich
ing both the donor and the recipient systems. Dikshitar revolutionized Carnatic
classic ethos while firmly positioned within its orthodox framework.
3689508840_acbe116319
Continued in Part Four
The music of Sri Dikshitar
Resource:
Muthuswami Dikshitar

A Creative Genius by Chitravina N Ravikiran

I gratefully acknowledge Shri S Rajam s painting of Jambu-linga

Leave a comment
Posted by sreenivasaraos on September 13, 2012 in Music, Muthuswami Dikshitar, S
ri Vidya
Tags: Dikshitar and Hindustani music, Muthuswami Dikshitar, Sri Vidya
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