Académique Documents
Professionnel Documents
Culture Documents
3
Table of Contents:
# Topics Page
1 Introduction 5
2 Devi AshtAngam 6
3 Naimittika prakaranam - Ashvini 9
4 tripurA bhairavI mantra japa krama 12
5 tripurA bhairavI AvaraNa pUjA krama 18
6 tripurA bhairavI ashtOttara shatanAma stOtram 29
7 tripurA bhairavI trailOkya vijaya kavacam 30
9 tripurA bhairavI stave rAja stOtram 31
10 parashurAmA’s tenets 32
11 Q & A - sadA vidyA anusaMhatiH 37
4
|| ÍzÉuÉÉÌS aÉÑÂprÉÉã lÉqÉÈ ||
Introduction
We covered important mantra and pUjA kramas of ChinnamastAmbA in the last issue.
In this issue, we will be focusing on the sixth dashamahA vidhyA – tripurA bhairavI.
In this issue we bring the mantra japa kramA, AvaraNa pUjA kramA, and nyAsAs of
tripurA bhairavI dEvatA. The tripurA bhairavI ashtOttara shlOkA, stavarAja shlOkA, and
trailOkya vijaya kavacA have been included for the readers benefit.
As usual, we would like to caution the upAsakAs that these dEvatAs CANNOT be taken
lightly and the mantrAs considered like any other mantra. As the tantras rightly caution,
this path is like walking on a sword and can only be ventured into by the Grace of the
GurunAthA. The upAsana karma of these dEvatAs demands strict yamA and niyamAs
and also ardent faith on the Guru and the dEvatA. It is important to understand the
meaning of the mantra, the physical representation of the dEvatA, and contemplation on
the deeper aspects of the same. These can only be provided by the Guru and by the
power of the sAdhanA.
These mantras cannot be taken lightly and readers are strongly adviced to check with
their Guru’s prior to start practicing any mantra or procedure as detailed in this issue.
We thank ShrI yOgAmbA samEta AtmAnandanAthA (Shri Ramesh Kutticad) for penning
the parashurAmA’s tenets and answering the sadA vidyA anusaMhatiH section of this
issue.
5
SãuÉÏ qÉÉlÉ A¹É…¡ûqÉç
´ÉÏ AÉÌSaÉÑUÉãÈ mÉUÍzÉuÉxrÉ AÉ¥ÉrÉÉ mÉëuÉiÉïqÉÉlÉ SãuÉÏqÉÉlÉãlÉ wÉÎQè§ÉÇzÉiÉç iÉiuÉÉiqÉMü xÉMüsÉ mÉëmÉgcÉ xÉ×̹
ÎxiÉÍjÉ xÉÇWûÉU ÌiÉUÉãkÉÉlÉ AlÉÑaÉëWû MüÉËUhrÉÉÈ mÉUÉzÉ£ãüÈ FkuÉï pÉÔÌuÉpÉëqÉã lÉÇ bÉëÉhÉ iÉiuÉ qÉWûÉMüsmÉã SÇ
cɤÉÑxiÉiuÉ MüsmÉã jÉÇ iuÉMçü iÉiuÉ qÉWûÉrÉÑaÉã ZÉÇ xÉSÉÍzÉuÉ iÉiuÉ rÉÑaÉã SÇ cɤÉÑ iÉiuÉ mÉËUuÉ×iÉÉæ aÉÇ DµÉU iÉiuÉ
uÉwÉãï - ´ÉÏ sÉÍsÉiÉȨ́ÉmÉÑUxÉÑlSUÏmÉUÉpÉ–ûÉËUMüÉ mÉëxÉÉSÍxÉSèkrÉjÉãï rÉjÉÉ zÉÌ£ü (eÉmÉ ¢üqÉÇ) xÉmÉrÉÉï¢üqÉqÉç
ÌlÉuÉïiÉÌrÉwrÉã |
SEP 23 SEP 24 SEP 25 SEP 26
qÉÉxÉã AÉæÇ A…¡ûSÉ AÉæÇ A…¡ûSÉ AÉæÇ A…¡ûSÉ AÉæÇ A…¡ûSÉ
iÉiuÉ ÌSuÉxÉã TÇü mÉÉÍhÉ oÉÇ mÉÉS pÉÇ mÉÉrÉÑ qÉÇ EmÉxjÉ
ÌSlÉ ÌlÉirÉÉrÉÉÇ AÉÇ pÉaÉqÉÉÍsÉÌlÉ AÇ MüÉqÉãµÉUÏ AÇ MüÉqÉãµÉUÏ AÉÇ pÉaÉqÉÉÍsÉÌlÉ
uÉÉxÉUã xÉirÉÉlÉlSlÉÉjÉ mÉÔhÉÉïlÉlSlÉÉjÉ xuÉpÉÉuÉÉlÉlSlÉÉjÉ mÉëÌiÉpÉÉlÉlSlÉÉjÉ
bÉÌOûMüÉãSrÉã iÉ - MüÉU rÉ - MüÉU A - MüÉU L - MüÉU
SEP 27 SEP 28 SEP 29 SEP 30
qÉÉxÉã AÉæÇ A…¡ûSÉ AÉæÇ A…¡ûSÉ AÉæÇ A…¡ûSÉ AÉæÇ A…¡ûSÉ
iÉiuÉ ÌSuÉxÉã rÉÇ zÉoS UÇ xmÉzÉï sÉÇ ÃmÉ uÉÇ UxÉ
ÌSlÉ ÌlÉirÉÉrÉÉÇ CÇ ÌlÉirÉÎYsɳÉÉ DÇ pÉãÂhQûÉ EÇ uÉÌ»ûuÉÉÍxÉÌlÉ FÇ uÉeÉëãµÉËU
uÉÉxÉUã xÉÑpÉaÉÉlÉlSlÉÉjÉ mÉëMüÉzÉÉlÉlSlÉÉjÉ ÌuÉqÉzÉÉïlÉlSlÉÉjÉ AÉlÉlSÉlÉlSlÉÉjÉ
bÉÌOûMüÉãSrÉã cÉ - MüÉU iÉ - MüÉU rÉ - MüÉU A - MüÉU
OCT 1 OCT 2 OCT 3 OCT 4
qÉÉxÉã AÉæÇ A…¡ûSÉ AÉæÇ A…¡ûSÉ AÉæÇ A…¡ûSÉ AÉæÇ A…¡ûSÉ
iÉiuÉ ÌSuÉxÉã zÉÇ aÉlkÉ wÉÇ AÉMüÉzÉ xÉÇ uÉÉrÉÑ WÇû uÉÌ»û
ÌSlÉ ÌlÉirÉÉrÉÉÇ GÇ ÍzÉuÉSÕÌiÉ HÇ iuÉËUiÉÉ sÉ×Ç MÑüsÉxÉÑlSËU sÉ×Ç ÌlÉirÉÉ
uÉÉxÉUã ¥ÉÉlÉÉlÉlSlÉÉjÉ xÉirÉÉlÉlSlÉÉjÉ mÉÔhÉÉïlÉlSlÉÉjÉ xuÉpÉÉuÉÉlÉlSlÉÉjÉ
bÉÌOûMüÉãSrÉã L - MüÉU cÉ - MüÉU iÉ - MüÉU rÉ - MüÉU
6
OCT 5 OCT 6 OCT 7 OCT 8
qÉÉxÉã AÉæÇ A…¡ûSÉ AÉæÇ A…¡ûSÉ AÇ mÉÔhÉÉï AÇ mÉÔhÉÉï
iÉiuÉ ÌSuÉxÉã VÇû eÉsÉ ¤ÉÇ mÉ×ÎjuÉ AÇ ÍzÉuÉ MÇü zÉÌ£ü
ÌSlÉ ÌlÉirÉÉrÉÉÇ LÇ lÉÏsÉmÉiÉÉMüÉ LåÇ ÌuÉeÉrÉÉ AÉåÇ xÉuÉïqÉ…¡ûsÉÉ AÉæÇ euÉÉsÉÉqÉÉÍsÉÌlÉ
uÉÉxÉUã mÉëÌiÉpÉÉlÉlSlÉÉjÉ xÉÑpÉaÉÉlÉlSlÉÉjÉ mÉëMüÉzÉÉlÉlSlÉÉjÉ ÌuÉqÉzÉÉïlÉlSlÉÉjÉ
bÉÌOûMüÉãSrÉã A - MüÉU L - MüÉU cÉ - MüÉU iÉ - MüÉU
OCT 9 OCT 10 OCT 11 OCT 12
qÉÉxÉã AÇ mÉÔhÉÉï AÇ mÉÔhÉÉï AÇ mÉÔhÉÉï AÇ mÉÔhÉÉï
iÉiuÉ ÌSuÉxÉã ZÉÇ xÉSÉÍzÉuÉ aÉÇ DµÉU bÉÇ xÉÑ®ÌuÉkrÉÉ XÇû qÉÉrÉÉ
ÌSlÉ ÌlÉirÉÉrÉÉÇ AÇ ÍcɧÉÉ AÇ ÍcɧÉÉ AÉæÇ euÉÉsÉÉqÉÉÍsÉÌlÉ AÉåÇ xÉuÉïqÉ…¡ûsÉÉ
uÉÉxÉUã AÉlÉlSÉlÉlSlÉÉjÉ ¥ÉÉlÉÉlÉlSlÉÉjÉ xÉirÉÉlÉlSlÉÉjÉ mÉÔhÉÉïlÉlSlÉÉjÉ
bÉÌOûMüÉãSrÉã rÉ - MüÉU A - MüÉU L - MüÉU cÉ - MüÉU
OCT 13 OCT 14 OCT 15 OCT 16
qÉÉxÉã AÇ mÉÔhÉÉï AÇ mÉÔhÉÉï AÇ mÉÔhÉÉï AÇ mÉÔhÉÉï
iÉiuÉ ÌSuÉxÉã cÉÇ MüsÉÉ NÇû AÌuÉ±É eÉÇ UÉaÉ fÉÇ MüÉsÉ
ÌSlÉ ÌlÉirÉÉrÉÉÇ LåÇ ÌuÉeÉrÉÉ LÇ lÉÏsÉmÉiÉÉMüÉ sÉ×Ç ÌlÉirÉÉ sÉ×Ç MÑüsÉxÉÑlSËU
uÉÉxÉUã xuÉpÉÉuÉÉlÉlSlÉÉjÉ mÉëÌiÉpÉÉlÉlSlÉÉjÉ xÉÑpÉaÉÉlÉlSlÉÉjÉ mÉëMüÉzÉÉlÉlSlÉÉjÉ
bÉÌOûMüÉãSrÉã iÉ - MüÉU rÉ - MüÉU A - MüÉU L - MüÉU
OCT 17 OCT 18 OCT 19 OCT 20
qÉÉxÉã AÇ mÉÔhÉÉï AÇ mÉÔhÉÉï AÇ mÉÔhÉÉï AÇ mÉÔhÉÉï
iÉiuÉ ÌSuÉxÉã gÉÇ ÌlÉrÉÌiÉ OÇû mÉÑÂwÉ PÇû mÉM×üÌiÉ QÇû AWÇûMüÉU
ÌSlÉ ÌlÉirÉÉrÉÉÇ HÇ iuÉËUiÉÉ GÇ ÍzÉuÉSÕÌiÉ FÇ uÉeÉëãµÉËU EÇ uÉÌ»ûuÉÉÍxÉÌlÉ
uÉÉxÉUã ÌuÉqÉzÉÉïlÉlSlÉÉjÉ AÉlÉlSÉlÉlSlÉÉjÉ ¥ÉÉlÉÉlÉlSlÉÉjÉ xÉirÉÉlÉlSlÉÉjÉ
bÉÌOûMüÉãSrÉã cÉ - MüÉU iÉ - MüÉU rÉ - MüÉU A - MüÉU
OCT 21 OCT 22 OCT 23 OCT 24
qÉÉxÉã AÇ mÉÔhÉÉï AÇ mÉÔhÉÉï AÇ mÉÔhÉÉï AÇ mÉÔhÉÉï
iÉiuÉ ÌSuÉxÉã RÇû oÉÑή hÉÇ qÉlÉxÉç iÉÇ ´ÉÉã§É jÉÇ iuÉMçü
ÌSlÉ ÌlÉirÉÉrÉÉÇ DÇ pÉãÂhQûÉ CÇ ÌlÉirÉÎYsɳÉÉ AÉÇ pÉaÉqÉÉÍsÉÌlÉ AÇ MüÉqÉãµÉUÏ
uÉÉxÉUã mÉÔhÉÉïlÉlSlÉÉjÉ xuÉpÉÉuÉÉlÉlSlÉÉjÉ mÉëÌiÉpÉÉlÉlSlÉÉjÉ xÉÑpÉaÉÉlÉlSlÉÉjÉ
bÉÌOûMüÉãSrÉã L - MüÉU cÉ - MüÉU iÉ - MüÉU rÉ - MüÉU
7
mÉuÉÉï ÌSlÉãprÉÈ
America India
AqÉÉuÉÉxrÉÉ 23 Sep 2014 24 Sep 2014
8
lÉæÍqĘ́ÉMü mÉëMüUhÉqÉç - qÉÉxÉ mÉÉæhÉïqrÉÉqÉç M×üirÉqÉç
śrī vidyā saparyā has two frequencies, the nityā and naimittika. Daily ritual- nitya- is to
be done in during daytime. Naimittika is performed on five days in a month – viz.
paurṇami, amāvāsyā, kṛṣṇa pakṣa aṣṭami, kṛṣṇa pakṣa caturdaśī and māsa
saṅkramaṇa after sunset with special offerings. Tantra has indicated a monthly
schedule of things available at those seasons of a year to be offered as these “special”
offerings, mostly on those respective paurṇami, which have been compiled in
Nityotsava by śrī umānandanātha. The month followed here is the cāndramāna- lunar
calendar. We have covered the bhAdrapAda month pUjA in the past issue.
Next is the AshvinA month, which has the most famous durgā pujā, navarātri. From the
Śukla Prathama special worship is to be done, can be done till (Navami) paurṇami with
lotus and parijāta flowers. Get (Buy) these flowers Clean the flowers, remove any dirt or
rotten flowers. Chant
Keep them in a sliver vessel, Place in a silver vessel, sprinkle water with mūla mantra.
Perform fivefold service to this kEtaki puShpA’s adhiṣtāna devatā
9
Cover with a clean cloth and leave overnight in a clean place. Worship all the āvaraṇa
devatās with these flowers. Do havan with ghee offerings of a hundred times. Do japa of
mūla mantra thousand times, with one-tenth the aṅgopāṅga mantras. Worship a
kanyakā (Virgin) and offer her the best of your capacity. Have Devi Prasad along with
likeminded aspirants and be Happy. On the second day also till (Navami) paurṇami
worship in the same manner increasing a hundred fire offerings (āhūti) per day and the
number of maidens worshiped as one per day. Thus on the fifth day, a fire offerings of
five hundred, five maidens will be worshipped. This will culminate on the paurṇami with
one thousand five hundred fire offerings (āhūti) and fifteen maidens worshipped.On the
next day during paurṇami pūja, add in the resolve (sankalpa)
10
´ÉÏ Ì§ÉmÉÑUÉpÉæUurÉqoÉÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ lÉqÉÈ
11
´ÉÏ Ì§ÉmÉÑUÉ pÉæUuÉÏ qÉWûÉqÉl§É eÉmÉ ¢üqÉÈ
MüUlrÉÉxÉÇ A…¡ûlrÉÉxÉÇ
Á WûxÉUÉÇ A…¡Óû¸ÉprÉÉÇ lÉqÉÈ | Á WûxÉUÉÇ ™SrÉÉrÉ lÉqÉÈ |
Á WûxÉUÏÇ iÉeÉïlÉÏprÉÉÇ lÉqÉÈ | Á WûxÉUÏÇ ÍzÉUxÉã xuÉÉWûÉ |
Á WûxÉÃÇ qÉkrÉqÉÉprÉÉÇ lÉqÉÈ | Á WûxÉÃÇ ÍzÉZÉÉrÉæ uÉwÉOèû |
Á WûxÉUæÇ AlÉÉÍqÉMüÉprÉÉÇ lÉqÉÈ | Á WûxÉUæÇ MüuÉcÉÉrÉ WÒÇû |
Á WûxÉUÉæÇ MüÌlÉ̸prÉÉÇ lÉqÉÈ | Á WûxÉUÉæÇ lÉã§É§ÉrÉÉrÉ uÉÉæwÉOèû |
Á WûxÉUÈ MüUiÉsÉMüUmÉ׸ÉprÉÉÇ lÉqÉÈ | Á WûxÉUÈ Ax§ÉÉrÉ TüOèû |
xÉãiÉÑÈ - ™SrÉqÉÑSìrÉÉ ™SrÉã lrÉxrÉ | Á LåÇ ¾ûÏÇ ´ÉÏÇ Á CÌiÉ LMüɤÉU xÉãiÉÑ ÌuɱÉÇ Ì§ÉuÉÉUÇ
eÉmÉãiÉç |
qÉWûÉxÉãiÉÑÈ - MühPãû lrÉÉxÉ qÉÑSìrÉÉ lrÉxrÉ | Á LåÇ ¾ûÏÇ ´ÉÏÇ x§ÉÏÇ CÌiÉ LMüɤÉU qÉWûÉxÉãiÉÑ
ÌuɱÉÇ Ì§ÉuÉÉUÇ eÉmÉãiÉç |
12
ÌlÉuÉÉïhÉ ÌuÉ±É - lÉÉpÉÉæ lrÉÉxÉ qÉÑSìrÉÉ lrÉxrÉ |
Á AÇ AÉÇ CÇ DÇ EÇ FÇ HÇ HÇ sÉ×Ç sÉÚÇ LÇ LåÇ AÉåÇ AÉæÇ AÇ AÈ
MÇü ZÉÇ aÉÇ bÉÇ XÇû
cÉÇ NÇû eÉÇ fÉÇ gÉÇ
OÇû PÇû QÇû RÇû hÉÇ
iÉÇ jÉÇ SÇ kÉÇ lÉÇ
mÉÇ TÇü oÉÇ pÉÇ qÉÇ
rÉÇ UÇ sÉÇ uÉÇ zÉÇ wÉÇ xÉÇ WÇû VÇû ¤ÉÇ
LåÇ (̧ÉmÉÑUÉ pÉæUuÉÏ qÉÔsÉÇ) LåÇ
krÉÉlÉqÉç
13
mÉgcÉmÉÔeÉÉ
There are numerous variations of tripurA bhairavI mantras and hence we are not
providing the actual mantra to avoid confusion. Each guru mandalam follows a
particular variation. The most prominent mantra is the 8 letter mantra and we suggest
that the mantra given by the Guru be used here.
The shivA for tripurA bhairavI is dakShiNAmUrti shivA. Hence the mUla mantra for
dakShiNAmUrti is used. A few texts include Tripura bhairavA as the shivA and for
completion purposes, that mantra and dhyanA are provided below. However, as we
always state, whatever is prescribed and practiced by your Guru / Guru maNdalA
should be followed.
14
̧ÉmÉÑU pÉæUuÉ qÉl§ÉÈ
(SzÉÉqxÉÇ eÉmÉãiÉç)
wÉQû…¡û lrÉÉxÉÈ
15
krÉÉlÉqÉç
mÉgcÉmÉÔeÉÉ
16
´ÉÏ Ì§ÉmÉÑUÉpÉæUurÉqoÉÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ lÉqÉÈ
17
´ÉÏ Ì§ÉmÉÑUÉpÉæUurÉqoÉÉ AÉuÉUhÉ mÉÔeÉÉ ¢üqÉÈ
mÉÏPû mÉÔeÉÉ
Á CcNûÉrÉæ lÉqÉÈ |
Á ¥ÉÉlÉÉrÉæ lÉqÉÈ |
Á Ì¢ürÉÉrÉæ lÉqÉÈ |
Á MüÉqÉSÉÌrÉlrÉæ lÉqÉÈ |
Á UirÉæ lÉqÉÈ |
Á UÌiÉÌmÉërÉÉrÉæ lÉqÉÈ |
Á lÉlSÉrÉæ lÉqÉÈ |
Á mÉUÉrÉæ lÉqÉÈ |
Á AmÉUÉrÉæ lÉqÉÈ |
18
Á LåÇ YsÉÏÇ xÉÉæÈ sÉ×Ç Ì§ÉmÉÑUÉqoÉÉrÉæ lÉqÉÈ - S¤ÉrÉMümÉÉãsÉã
Á LåÇ YsÉÏÇ xÉÉæÈ sÉÚÇ qÉWûȨ́ÉmÉÑUpÉæUurÉæ lÉqÉÈ - uÉÉqÉMümÉÉãsÉã
Á LåÇ YsÉÏÇ xÉÉæÈ LÇ oÉëÉyqrÉæ lÉqÉÈ - FkuÉÉãï¸ã
Á LåÇ YsÉÏÇ xÉÉæÈ LåÇ qÉÉWãûµÉrÉæï lÉqÉÈ - AkÉUÉã¸ã
Á LåÇ YsÉÏÇ xÉÉæÈ AÉãÇ MüÉæqÉÉrÉæï lÉqÉÈ - FkuÉïSliÉmÉÇ£üÉæ
Á LåÇ YsÉÏÇ xÉÉæÈ AÉæÇ uÉæwhÉurÉæ lÉqÉÈ - AkÉÉãSliÉmÉÇ£üÉæ
Á LåÇ YsÉÏÇ xÉÉæÈ AÇ uÉÉUɽæ lÉqÉÈ - ÎeÉÀûÉaÉëã
Á LåÇ YsÉÏÇ xÉÉæÈ AÈ ClSìÉhrÉæ lÉqÉÈ - MühPãû
Á LåÇ YsÉÏÇ xÉÉæÈ MÇü cÉÉqÉÑhQûÉrÉæ lÉqÉÈ - S¤ÉrÉoÉÉWÒûqÉÔsÉã
Á LåÇ YsÉÏÇ xÉÉæÈ ZÉÇ xuÉUzÉYirÉæ lÉqÉÈ - S¤ÉrÉMÔümÉïUã
Á LåÇ YsÉÏÇ xÉÉæÈ aÉÇ ÌuÉzÉÉsÉÉrÉæ lÉqÉÈ - S¤ÉrÉqÉÍhÉoÉlkÉã
Á LåÇ YsÉÏÇ xÉÉæÈ bÉÇ ÌuÉzÉÉsÉɤrÉæ lÉqÉÈ - S¤ÉrÉMüUÉ…¡ÓûÍsÉqÉÔsÉã
Á LåÇ YsÉÏÇ xÉÉæÈ XÇû ÌlÉqÉïsÉÉrÉæ lÉqÉÈ - S¤ÉrÉMüUÉ…¡ÓûsrÉaÉëã
Á LåÇ YsÉÏÇ xÉÉæÈ cÉÇ qÉsÉuÉÎeÉïiÉÉrÉæ lÉqÉÈ - uÉÉqÉoÉÉWÒûqÉÔsÉã
Á LåÇ YsÉÏÇ xÉÉæÈ cÉÇ MüÉsrÉæ lÉqÉÈ - uÉÉqÉMÔümÉïUã
Á LåÇ YsÉÏÇ xÉÉæÈ eÉÇ MüÉsÉMüsmÉÉrÉæ lÉqÉÈ - uÉÉqÉqÉÍhÉoÉlkÉã
Á LåÇ YsÉÏÇ xÉÉæÈ fÉÇ MüÉsÉUɧrÉæ lÉqÉÈ - uÉÉqÉMüUÉ…¡ÓûÍsÉqÉÔsÉã
Á LåÇ YsÉÏÇ xÉÉæÈ gÉÇ ÌlÉzÉÉcÉrÉæï lÉqÉÈ - uÉÉqÉMüUÉ…¡ÓûsrÉaÉëã
Á LåÇ YsÉÏÇ xÉÉæÈ OÇû FkuÉïMãüzrÉæ lÉqÉÈ - S¤ÉÉãÂqÉÔsÉã
Á LåÇ YsÉÏÇ xÉÉæÈ PÇû qÉÑ£üMãüzrÉæ lÉqÉÈ - S¤ÉrÉeÉÉlÉÑlÉÏ
Á LåÇ YsÉÏÇ xÉÉæÈ QÇû uÉÏUÉrÉæ lÉqÉÈ - S¤ÉrÉaÉÑsTãü
Á LåÇ YsÉÏÇ xÉÉæÈ RÇû qÉWûÉpÉrÉÉrÉæ lÉqÉÈ - S¤ÉrÉmÉÉSÉ…¡ÓûÍsÉqÉÔsÉã
Á LåÇ YsÉÏÇ xÉÉæÈ hÉÇ eÉrÉSÉrÉæ lÉqÉÈ - S¤ÉrÉmÉÉSÉ…¡ÓûsrÉaÉëã
Á LåÇ YsÉÏÇ xÉÉæÈ iÉÇ qÉÉÌlÉlrÉæ lÉqÉÈ - uÉÉqÉÉãÂqÉÔsÉã
Á LåÇ YsÉÏÇ xÉÉæÈ jÉÇ qÉÉrÉÉrÉæ lÉqÉÈ - uÉÉqÉeÉÉlÉÑlÉÏ
Á LåÇ YsÉÏÇ xÉÉæÈ SÇ mÉëcÉhQûÉrÉæ lÉqÉÈ - uÉÉqÉaÉÑsTãü
Á LåÇ YsÉÏÇ xÉÉæÈ kÉÇ ÌuÉlSÒqÉÉÍsÉlrÉæ lÉqÉÈ - uÉÉqÉmÉÉSÉ…¡ÓûÍsÉqÉÔsÉã
Á LåÇ YsÉÏÇ xÉÉæÈ lÉÇ ÌuÉÃmÉÉrÉæ lÉqÉÈ - uÉÉqÉmÉÉSÉ…¡ÓûsrÉaÉëã
19
Á LåÇ YsÉÏÇ xÉÉæÈ mÉÇ ÌuÉÃmÉɤrÉæ lÉqÉÈ - S¤ÉrÉmÉɵÉãï
Á LåÇ YsÉÏÇ xÉÉæÈ TÇü ZÉQèuÉÉXçarÉæ lÉqÉÈ - uÉÉqÉmÉɵÉãï
Á LåÇ YsÉÏÇ xÉÉæÈ oÉÇ ÌuɵÉÃÌmÉhrÉæ lÉqÉÈ - mÉÚ¸ã
Á LåÇ YsÉÏÇ xÉÉæÈ pÉÇ UÉæSìÏ qÉÉrÉÉrÉæ lÉqÉÈ - lÉÉpÉÉæ
Á LåÇ YsÉÏÇ xÉÉæÈ qÉÇ qÉWûÉqÉÉrÉÉrÉæ lÉqÉÈ - eÉPûUã
Á LåÇ YsÉÏÇ xÉÉæÈ rÉÇ mÉëãiÉɤrÉæ lÉqÉÈ - ™SrÉã
Á LåÇ YsÉÏÇ xÉÉæÈ UÇ TãüOèMüÉrÉæï lÉqÉÈ - S¤ÉMü¤Éã
Á LåÇ YsÉÏÇ xÉÉæÈ sÉÇ pÉrÉlÉÉÌSlrÉæ lÉqÉÈ - aÉsÉmÉ׸ã
Á LåÇ YsÉÏÇ xÉÉæÈ uÉÇ kÉqÉëɤrÉæ lÉqÉÈ - uÉÉqÉMü¤Éã
Á LåÇ YsÉÏÇ xÉÉæÈ zÉÇ rÉÉãÌaÉlrÉæ lÉqÉÈ - ™SrÉÉÌSS¤ÉMüUÉl…¡ÓûsrÉliÉã
Á LåÇ YsÉÏÇ xÉÉæÈ wÉÇ bÉÉãUÉrÉæ lÉqÉÈ - ™SrÉÉÌSuÉÉqÉMüUÉl…¡ÓûsrÉliÉã
Á LåÇ YsÉÏÇ xÉÉæÈ xÉÇ ÌuɵÉÃmÉÉrÉæ lÉqÉÈ - ™SrÉÉÌSS¤ÉmÉSÉl…¡ÓûsrÉliÉã
Á LåÇ YsÉÏÇ xÉÉæÈ WÇû pÉrɃ¡ûrÉæïlÉqÉÈ - ™SrÉÉÌSuÉÉqÉmÉÉSÉl…¡ÓûsrÉliÉã
Á LåÇ YsÉÏÇ xÉÉæÈ VÇû pÉæUurÉæ lÉqÉÈ - MüšÉÌSmÉÉSÉ…¡ÓûsrÉliÉÇ
Á LåÇ YsÉÏÇ xÉÉæÈ ¤ÉÇ ´ÉÏ pÉæUuÉÌmÉërÉÉrÉæ lÉqÉÈ - MüšÉÌSoÉë¼UlkÉëÉliÉÇlÉÉqÉ xiÉÉã§ÉqÉç
20
(̧ÉmÉÑUÉ pÉæUuÉÏ qÉÔsÉÇ) | ´ÉÏ Ì§ÉmÉÑUÉpÉæUurÉqoÉÉrÉæ lÉqÉÈ |-xjÉÉÌmÉiÉÉã pÉuÉ | - xjÉÉmÉhÉ qÉÑSìÉÇ
mÉëSzÉïrÉ
(̧ÉmÉÑUÉ pÉæUuÉÏ qÉÔsÉÇ) | ´ÉÏ Ì§ÉmÉÑUÉpÉæUurÉqoÉÉrÉæ lÉqÉÈ | -xÉÇÎxjÉiÉÉã pÉuÉ | - xÉÇÎxjÉiÉÉã qÉÑSìÉÇ
mÉëSzÉïrÉ
(̧ÉmÉÑUÉ pÉæUuÉÏ qÉÔsÉÇ) | ´ÉÏ Ì§ÉmÉÑUÉpÉæUurÉqoÉÉrÉæ lÉqÉÈ | -xÉͳÉÂkÉÉã pÉuÉ | - xÉͳÉÂkÉ qÉÑSìÉÇ
mÉëSzÉïrÉ
(̧ÉmÉÑUÉ pÉæUuÉÏ qÉÔsÉÇ) | ´ÉÏ Ì§ÉmÉÑUÉpÉæUurÉqoÉÉrÉæ lÉqÉÈ | - xÉqqÉÑZÉÏ pÉuÉ | - xÉqqÉÑZÉÏ qÉÑSìÉÇ
mÉëSzÉïrÉ
(̧ÉmÉÑUÉ pÉæUuÉÏ qÉÔsÉÇ) | ´ÉÏ Ì§ÉmÉÑUÉpÉæUurÉqoÉÉrÉæ lÉqÉÈ | ´ÉÏ Ì§ÉmÉÑUÉpÉæUurÉqoÉÉ ´ÉÏ mÉÉSÒMüÉÇ
mÉÔeÉrÉÉÍqÉ lÉqÉÈ | - uÉlSlÉ SãlÉÑ rÉÉãÌlÉ qÉÑSìÉÇ¶É mÉëSzÉïrÉ
rÉjÉÉ zÉÌ£ü wÉÉãQûzÉ EmÉcÉÉU mÉÔeÉÉ mÉgcÉÉãmÉcÉÉU mÉÔeÉÉ uÉÉ MÑüÂiÉ | uÉlSlÉ kÉãlÉÑ rÉÉãÌlÉ qÉÑSìÉǶÉ
mÉëSzrÉï |
(Do Shodasa upacara puja or panchopacara depending on the time and convenience)
wÉQû…¡û iÉmÉïhÉqÉç –
Á WûxÉUÉÇ ™SrÉÉrÉ lÉqÉÈ | ™SrÉ zÉÌ£ü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á WûxÉUÏÇ ÍzÉUxÉã xuÉÉWûÉ | ÍzÉUÉã zÉÌ£ü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á WûxÉÃÇ ÍzÉZÉÉrÉæ uÉwÉOèû | ÍzÉZÉÉ zÉÌ£ü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á WûxÉUæÇ MüuÉcÉÉrÉ WÒÇû | MüuÉcÉ zÉÌ£ü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á WûxÉUÉæÇ lÉã§É§ÉrÉÉrÉ uÉÉæwÉOèû | lÉã§É zÉÌ£ü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á WûxÉUÈ Ax§ÉÉrÉ TüOèû | Ax§É zÉÌ£ü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
21
sÉrÉÉ…¡û iÉmÉïhÉqÉç -
(̧ÉmÉÑUÉ pÉæUuÉÏ qÉÔsÉÇ) | ´ÉÏ Ì§ÉmÉÑUÉpÉæUurÉqoÉÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ | (SzÉ
uÉÉUqÉç)
mÉëjÉqÉÉuÉUhÉqÉç -
Á WûxÉUÉÇ ™SrÉÉrÉ lÉqÉÈ | ™SrÉ zÉÌ£ü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
22
Á WûxÉUÏÇ ÍzÉUxÉã xuÉÉWûÉ | ÍzÉUÉã zÉÌ£ü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á WûxÉÃÇ ÍzÉZÉÉrÉæ uÉwÉOèû | ÍzÉZÉÉ zÉÌ£ü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á WûxÉUæÇ MüuÉcÉÉrÉ WÒÇû | MüuÉcÉ zÉÌ£ü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á WûxÉUÉæÇ lÉã§É§ÉrÉÉrÉ uÉÉæwÉOèû | lÉã§É zÉÌ£ü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á WûxÉUÈ Ax§ÉÉrÉ TüOèû | Ax§É zÉÌ£ü ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
(̧ÉmÉÑUÉ pÉæUuÉÏ qÉÔsÉÇ) | ´ÉÏ Ì§ÉmÉÑUÉpÉæUurÉqoÉÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ | (̧ÉÈ)
xÉÇiÉmrÉï |
̲iÉÏrÉÉuÉUhÉqÉç
23
(̧ÉmÉÑUÉ pÉæUuÉÏ qÉÔsÉÇ) | ´ÉÏ Ì§ÉmÉÑUÉpÉæUurÉqoÉÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ | (̧ÉÈ)
xÉÇiÉmrÉï |
iÉ×iÉÏrÉÉuÉUhÉqÉç
LåÇ YsÉÏÇ x§ÉÏÇ xÉÈ xÉÑpÉaÉÉrÉæ lÉqÉÈ | xÉÑpÉaÉÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
LåÇ YsÉÏÇ x§ÉÏÇ xÉÈ pÉaÉÉrÉæ lÉqÉÈ | pÉaÉÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
LåÇ YsÉÏÇ x§ÉÏÇ xÉÈ pÉaÉxÉÌmÉïhrÉæ lÉqÉÈ | pÉaÉxÉÌmÉïhÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
LåÇ YsÉÏÇ x§ÉÏÇ xÉÈ pÉaÉqÉÉÍsÉlrÉæ lÉqÉÈ | pÉaÉqÉÉÍsÉlÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
LåÇ YsÉÏÇ x§ÉÏÇ xÉÈ AlÉ…¡ûÉrÉæ lÉqÉÈ | AlÉ…¡ûÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
LåÇ YsÉÏÇ x§ÉÏÇ xÉÈ AlÉ…¡ûMÑüxÉÑqÉÉrÉæ lÉqÉÈ | AlÉ…¡ûMÑüxÉÑqÉÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
LåÇ YsÉÏÇ x§ÉÏÇ xÉÈ AlÉ…¡ûqÉãZÉsÉÉrÉæ lÉqÉÈ | AlÉ…¡ûqÉãZÉsÉÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
LåÇ YsÉÏÇ x§ÉÏÇ xÉÈ AlÉ…¡ûqÉSlÉÉrÉæ lÉqÉÈ | AlÉ…¡ûqÉSlÉÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
(̧ÉmÉÑUÉ pÉæUuÉÏ qÉÔsÉÇ) | ´ÉÏ Ì§ÉmÉÑUÉpÉæUurÉqoÉÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
(̧ÉÈ) xÉÇiÉmrÉï |
iÉÑËUrÉÉuÉUhÉqÉç
24
Á AÍxÉiÉÉ…¡û oÉëɼÏprÉÉÇ lÉqÉÈ | AÍxÉiÉÉ…¡û oÉëÉ¼Ï ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á  qÉÉWãûµÉUÏprÉÉÇ lÉqÉÈ |  qÉÉWãûµÉUÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á cÉhQû MüÉæqÉÉUÏprÉÉÇ lÉqÉÈ | cÉhQûMüÉæqÉÉUÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á ¢üÉãkÉ uÉæwhÉuÉÏprÉÉÇ lÉqÉÈ | ¢üÉãkÉuÉæwhÉuÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á ElqÉ¨É uÉÉUÉWûÏprÉÉÇ lÉqÉÈ | ElqÉ¨É uÉÉUÉWûÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á MümÉÉsÉÏlSìÉhÉÏprÉÉÇ lÉqÉÈ | MümÉÉsÉÏlSìÉhÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á pÉÏwÉhÉ cÉÉqÉÑhQûÉprÉÉÇ lÉqÉÈ | pÉÏwÉhÉ cÉÉqÉÑhQûÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á xÉÇWûÉU qÉWûÉsɤqÉÏprÉÉÇ lÉqÉÈ | xÉÇWûÉU qÉWûÉsɤqÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ
|
(̧ÉmÉÑUÉ pÉæUuÉÏ qÉÔsÉÇ) | ´ÉÏ Ì§ÉmÉÑUÉpÉæUurÉqoÉÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
(̧ÉÈ) xÉÇiÉmrÉï |
mÉgcÉqÉÉuÉUhÉqÉç
25
Á WûÉæÇ DzÉÉlÉÉrÉ lÉqÉÈ | CzÉÉlÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á AÉÇ oÉë¼ÉrÉ lÉqÉÈ | oÉë¼ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
Á ¾ûÏÇ AlÉliÉÉrÉ lÉqÉÈ | AlÉliÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
(̧ÉmÉÑUÉ pÉæUuÉÏ qÉÔsÉÇ) | ´ÉÏ Ì§ÉmÉÑUÉpÉæUurÉqoÉÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |
(̧ÉÈ) xÉÇiÉmrÉï |
26
sÉÇ mÉ×ÍjÉurÉÉÎiqÉMüÉrÉæ aÉlkÉÇ MüsmÉrÉÉÍqÉ
WÇû AÉMüÉzÉÉÎiqÉMüÉrÉæ mÉÑwmÉÉÍhÉ MüsmÉrÉÉÍqÉ
rÉÇ uÉÉruÉÉÎiqÉMüÉrÉæ kÉÔmÉÇ MüsmÉrÉÉÍqÉ
UÇ AalrÉÉÎiqÉMüÉrÉæ SÏmÉÇ MüsmÉrÉÉÍqÉ
uÉÇ AqÉ×iÉÉÎiqÉMüÉrÉæ AqÉ×iÉÇ qÉWûÉlÉæuÉã±Ç MüsmÉÉrÉÉÍqÉ
xÉÇ xÉuÉÉïÎiqÉMüÉrÉæ iÉÉqoÉÔsÉÉÌS xÉqÉxiÉÉãmÉcÉÉUÉlÉç MüsmÉrÉÉÍqÉ
27
´ÉÏ Ì§ÉmÉÑUÉpÉæUurÉqoÉÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ lÉqÉÈ
28
̧ÉmÉÑUÉpÉæUurÉqoÉÉ A¹Éã¨ÉUzÉiÉ lÉÉqÉ xiÉÉã§ÉqÉç
29
̧ÉmÉÑUÉpÉæUurÉqoÉÉ §ÉæsÉÉãYrÉ ÌuÉeÉrÉ MüuÉcÉqÉç
30
̧ÉmÉÑUÉpÉæUuÉÏ xiÉuÉUÉeÉ xiÉÉã§ÉqÉç
31
Paraśurāma’s tenets
In the last chapter of Paraśurāma kalpa sūtra we find the tenets to be adhered to by an
sādhaka in this upāsana. Out of the many said following tenet is discussed.
‘strī-vṛndâdima-kalaśa-siddha-liṅgi-krīḍā-''kula-kumārī-kula-sahakārâśokaika-taru-
and prostrate with his mind. Since other wise this action would be against another tenet
Darśana will also point to revealing of divinity. Vandana will mean reverence, thus this
‘vimānasthā’- ‘vi’- (viśeṣena) especially, māna – measured, sthā – placed in, thus this
will point to the śakti tattva which has caused the primordial movement to manifest this
visible universe which can be measured from the pre-creative state which is
immeasurable. The traditional iconography of sakthi is female, thus this will mean as -
inherent in the female. Devi māhātmyā also says – tava Devi bhedhā striya: samasatā:’-
verily all the female are your form. Thus it is proper to venerate the movement of energy
personified as śakti.
32
Strī by katapayādi will point to the number two; vrnda to a group, thus the whole
âdima-kalaśa:- âdima -the first ‘ma’ in the pañca makāra which is alcohol. Kalaśa
when the kāraṇa kalaśa is established. The Primordial couple is invoked in the liquid as
ānanda bhairava and ānanda bhairavi mithuna. Thus we find veneration to that divine
The first ‘ma’kāra is one of the cause of manifestation of Brahman as per verse in the
Looking further this liquid (alcohol), is a transformed one, from sugar. Thus it will now
traditionally as this body itself. Thus to recognize that transformation of mind awareness
from body level to Universal level, which is full if bliss is the divine to be attained is the
‘cooked’. Liṅga means identification. Thus if we find such an accomplished soul in our
midst we are to intuitively recognize and salute him. The qualities of an accomplished
soul are that in his presence the mind becomes quite without much effort, we find all
doubts are erased without questions and a great joy fills up instantaneously (A classic
example is Bhagavān Ramaṇa) These being our goal, all accomplished sādhakas, who
33
have the everlasting awareness of the divine couple, are to be venerated for their
blessings and guidance in this path.
krīḍā-''kula-kumārī- Playful group of young maidens. Lalitā triśati has a name: hallīsa
lāsya santuṣtā’ and ‘lāsya priyā’, Sahasranāma says ‘lāsyā’ - Devi is happy in a group
with playful mood. ‘hallīsa’ is ‘kummi’ in the southern Tamil vernacular or ‘Dandya’ in the
northern (esp Gujarati). This is played by a circular woven motion of dance and clicking
two colorfully decorated sticks held in the hands. This will now point to an expression of
joy and great flow of energy, which is identical to the primordial surge during creation,
‘krīda’ and ‘kula’ as per katapayādi is thirty one, which denotes the mayā tattva. Kula
also will point to the six astral centers in the body and kumari to inherent power in this
body called kuṇḍalini. Thus recognition and veneration of the play of māya and bliss of
aśoka tree and a single tree in within the vision range. Traditionally certain trees are
associated with divinity- the banyan, peepul, and gooseberry (amla) etc, they will bring a
sense of clam and joy to devotees. Mango tree blossoms in the spring, wherein all the
creatures are in joyful state of mind. ‘a’ ‘śoka ‘ by name it self will point to a joyful state,
‘eka taru’ – a single tree within eye sight- indicative of divinity associated with that
place, On a whole recognizing the ever lasting joyful state and divinity, which is the
recognition of the divine couple as permeated in this entire universe is the ‘darśana’
here.
pretâvani- The literal translation is cremation ground. “Preta” means a lifeless being or
corpse. (Pra(Karṣana) Itah (Gatah) Yasmāt Jivah–sah). avani means earth or place.
Thus places where in the corpse are buried or burnt- the cremation ground is to be
34
venerated. The creation of this body is from the five elements in a universe after
pañcīkaraṇa of the five elements and after the soul leaves this body it will return to its
original state of elements, either by burial or by burning. The main idea said here is the
realization that sthūla deha – gross body is made up of the five elements as a
movement by the divine couple. Recognizing the initial spanda of creation and further
śyāmā- The dark hued women. Here the secret message can be unfolded by
katapayādi code, ‘sya’ is one and ‘ma’ is five, reversing we get fifty one. They are the
sound and its thought constructions, the compounded intellectual knowledge through
time is personified as the divine. In practice this can also means the teachers, the
musical performer esp. singers, an allusion is there to worship śyāmalā Devi as the
35
rakta-vasanā- Women in red colored attire / clothes. So, if we find women in red
garments we have to recognize the divinity of that situation and be respectful. Red color
called Mahākāmeśvara, the bliss full Lalitā and the sādhaka with the sensory organs as
being not different from the ātmā. This is verily the upāsanā of Lalitā.
Thus these tenets have been deeply analyzed by the Grace of Śrī Guru and Lalitā
Kāmeśvara, The word ‘sūtra’ itself is a pointer in this direction. ‘Soocanaat sootra’-
Sūtrā are indicative in nature. Thus we have done a deep meditation on the real
purpose of these sūtrās.
36
xÉSÉ ÌuɱÉÅlÉÑxÉÇWûÌiÉÈ
- Answers by AtmAnandanAtha
Vaṭuka is Devi putra, her child. The whole world has sprung forth from her, thus
recognizing this motherliness of Devi is worship of Vaṭuka, in a child like attitude. All
older tantras insist Vaṭuka Pūja as a part of the Bāhya saparya. Lalitā sahasranāma
says Kumāra gaṅa nāthambā, guhāmbā etc, to emphasise this motherly aspect said in
the first name Śrī mātā is this worship.
37
3. What is the krama for the fifteen khadgamālā pārāyana?
Lalitā pariśiṣṭa tantra talks about the fifteen khadgamālā pārāyanas and indicates four
level, the uttama (highest), madhyama (middle), adhama (Lower) and adhamādhama
(Most lower) combinations of these fifteen which are seen below:-
Adhamadhama paksha
Day 1 Śuddha Śakti Sambudyanta mālā Śukla Prathama amavasya
Day 2 Śuddha Śakti Namonata mālā Śukla Dvitiya Kṛṣṅa caturdaśi
Day 3 Śuddha Śakti svāhānta mālā Śukla Tṛtiya Kṛṣṅa trayodaśi
Day 4 Śuddha Śakti tarpaṅānta mālā Śukla Caturthi Kṛṣṅa Dvadaśi
Day 5 Śuddha Śakti jayānata mālā Śukla Pañcami Kṛṣṅa ekadaśi
Day 6 Śuddha Śiva Sambudyanta mālā Śukla ṣaṣṭi Kṛṣṅa daśami
Day 7 Śuddha Śiva Namonata mālā Śukla Saptami Kṛṣṅa navami
Day 8 Śuddha Śiva svāhānta mālā Śukla Aṣṭami Kṛṣṅa aṣṭami
Day 9 Śuddha Śiva tarpaṅānta mālā Śukla Navami Kṛṣṅa saptami
Day 10 Śuddha Śiva jayānata mālā Śukla Daśami Kṛṣṅa ṣaṣṭi
Day 11 Mithuna Śiva Śakti Sambudyanta mālā Śukla Ekadaśi Kṛṣṅa pañcami
Day 12 Mithuna Śiva Śakti Namonata mālā Śukla Dvadaśi Kṛṣṅa caturthi
Day 13 Mithuna Śiva Śakti svāhānta mālā Śukla trayodaśi Kṛṣṅa tṛtiya
Day 14 Mithuna Śiva Śakti tarpaṅānta mālā Śukla caturdaśi Kṛṣṅa dvitiya
Day 15 Mithuna Śiva Śakti jayānata mālā paurṅami Kṛṣṅa Prathama
Adhama paksha
Day 1 Śuddha Śakti Sambudyanta mālā
Śuddha Śiva Sambudyanta mālā
Mithuna Śiva Śakti Sambudyanta mālā
Day 2 Śuddha Śakti Namonata mālā
Śuddha Śiva Namonata mālā
Mithuna Śiva Śakti Namonata mālā
Day 3 Śuddha Śakti svāhānta mālā
Śuddha Śiva svāhānta mālā
Mithuna Śiva Śakti svāhānta mālā
Day 4 Śuddha Śakti tarpaṅānta mālā
Śuddha Śiva tarpaṅānta mālā
Mithuna Śiva Śakti tarpaṅānta mālā
Day 5 Śuddha Śakti jayānata mālā
Śuddha Śiva jayānata mālā
Mithuna Śiva Śakti jayānata mālā
38
Madhyama paksha
Uttamapaksha
39
4. Where do we visualise the Ūrdhvāmnāya and anuttarāmnāya said in the
saparya?
The four āmnāya are in the four openings / doors seen in the Śrīcakra’s outermost
square (Bhūpura). The Ūrdhvāmnāya is said to be in the Śāmbhava pīṭa, which is
none other than the lap of Mahā Kāmeśvara. The unity of ŚivaŚakti is said in this
āmnāya is pictorially represented as Lap of Kāmeśvara, so this is in bindu pīṭa.
Anuttarāmnāya is the expansion of this Śiva Śakti union and is present in the entire
cakra.
40
±ñ½¡ ¢Ãò¾¡ñÎ §Â¡¸õ þÕ츢Ûõ
¸ñ½¡÷ «Ó¾¢¨Éì ¸ñ¼È¢ šâø¨Ä
¯ñ½¡Êì Ìû§Ç ´Ç¢ÔÈ §¿¡ì¸¢É¡ø
¸ñ½Ê §À¡Äì ¸Äóп¢ý È¡§É
- ¾¢ÕÁó¾¢Ãõ 603
41