6. purnanandalahari-sept 2014

8/9/2019 6. Purnanandalahari-Sept 2014

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mÉÔhÉï AÉlÉlS

mÉÑwmÉÈ - 2 Sep 2014 – Oct 2014 SsÉÇ -6


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lÉ aÉÑUÉUÍkÉMÇü lÉ aÉÑUÉãUÍkÉMÇü lÉ aÉlÉ aÉÑUÉUÍkÉMÇü lÉ aÉÑUÉãUÍkÉMÇü lÉ aÉ

|| ´ÉÏ aÉÑÂprÉÉã lÉqÉÈ ||


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´ÉÏ ÍNû³ÉqÉxiÉÉqoÉÉ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉrÉÉÍqÉ


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Table of Contents:

# Topics Page1 Introduction 5

2 Devi AshtAngam 7

3 Naimittika prakaranam - bhAdrapAda 9

4 CinnamastAmbA mantra japa krama 13

5 CinnamastAmbA AvaraNa pUjA krama 23

6 CinnamastAmbA ashtOttara shatanAma stOtram 37

7 CinnamastAmbA trailOkya vijaya kavacam 39

9 CinnamastAmbA hRudaya stOtram 41

10 Brahma viracita CinnamastRambA stOtra 43

11 CinnamastAmbA (pracanDa canDikA) stavarAja stOtram 44

12 Gems from BhaskaARA rOya 46

13 Q & A - sadA vidyA anusaMhatiH 52


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|| ÍzÉuÉÉÌS aÉÑÂprÉÉã lÉqÉÈ ||Introduction

We covered important mantra and pUjA kramas of bhuvanEshvaryambA in the lastissue. In this issue, we will be focusing on the fourth dashamahA vidhyA – ChinnamastAmbA.

In this issue we bring the mantra japa kramA, AvaraNa pUjA kramA, and nyAsAs ofChinnamastA dEvatA (also called pracaNda caNdikA). The ChinnamastA ashtOttarashlOkA, hRudaya shlOkA, and trailOkya vijaya kavacA have been included for thereaders benefit. The ChinnamastA stOtrA rendered by brahmA, and the ChinnamastAstava rAjA rendered by shrI shankarAcAryA have been included for pArAyanA

purposes.

While several people get a shock on their first glimpse of the svarUpa of ChinnamastA,she is in fact one of the most kArunyA and shIghra phaladA. Those who have realizedand experienced the true nature of this dEvatA would understand that she is nothing butthe Sukshma-tama representation (kundaliNI) of the mahAvidyA. The iDA, piNgalA, andsushumNA representation of the yOgic path resulting in the enjoyment of the nectarcalled mOkshA by standing on top of the mithuna dampatI cannot be any more clearer.This dEvatA is a simple pictorial representation of numerous yOgic tantrAs. There havebeen several siddha purushAs even in the recent generations who have had

pratyakSha siddhi of this dEvatA. They have vouched for the siddhi phala potential ofthe OM hrIM OM samputIkaranA of the mUla mantrA.

Like TarA, ChinnamastA is another mahAvidyA that is adopted into the Buddhist tantricpractices as VajravairOchani. While tArA svarUpA in Buddhist doctrines are different,ChinnamastA svarUpA is very similar to that of the shaktA scriptures.

As usual, we would like to caution the upAsakAs that these dEvatAs CANNOT be takenlightly 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 niyamAsand also ardent faith on the Guru and the dEvatA. It is important to understand themeaning of the mantra, the physical representation of the dEvatA, and contemplation onthe deeper aspects of the same. These can only be provided by the Guru and by thepower of the sAdhanA.

These mantras cannot be taken lightly and readers are strongly adviced to check withtheir Guru’s prior to start practicing any mantra or procedure as detailed in this issue.


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We thank ShrI yOgAmbA samEta AtmAnandanAthA (Shri Ramesh Kutticad) for sharingthe beautiful photos and answering the sadA vidyA anusaMhatiH section of this issue.

Lalithai vEdam sarvam.Surrendering to the holy pAdukAs of Shri Guru,

mÉëMüÉzÉÉqoÉÉ xÉqÉ


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SãuÉÏ qÉÉlÉ ¹É…¡ûqÉç

´ÉÏ AÉÌSaÉÑUÉãÈ mÉUÍzÉuÉxrÉ AÉ¥ÉrÉÉ mÉëuÉiÉïqÉÉlÉ Sã

ÎxiÉÍjÉ xÉÇWûÉU ÌiÉUÉãkÉÉlÉ AlÉÑaÉëWû MüÉËUhrÉÉÈ m cÉ¤ÉÑxiÉiuÉ MüsmÉã jÉÇ iuÉMçü iÉiuÉ qÉWûÉrÉÑaÉã ZÉÇ xÉSÉÍzÉ uÉwÉãï - ´ÉÏ sÉÍsÉiÉÉÌ§ÉmÉÑUxÉÑlSUÏmÉUÉpÉ – ûÉËUMüÉ mÉëxÉÉSÍxÉSèkrÉjÉãï rÉjÉÉ ÌlÉuÉïiÉÌrÉwrÉã |

AUG 26 AUG 27 AUG 28 AUG 29

qÉÉxÉ AÉåÇ mÉëÏÌiÉ AÉåÇ mÉëÏÌiÉ AÉåÇ mÉëÏÌiÉ AÉåÇ mÉëÏÌiÉ iÉiuÉ ÌSuÉxÉ zÉÇ aÉlkÉ wÉÇ AÉMüÉzÉ xÉÇ uÉÉrÉÑÌSlÉ ÌlÉirÉÉrÉÉ AÇ MüÉqÉãµÉUÏ AÉÇ pÉaÉqÉÉÍsÉÌlÉ CÇ ÌluÉÉxÉUã ¥ÉÉlÉÉlÉlSlÉÉjÉ xÉirÉÉlÉlSlÉÉjÉ mÉÔhÉÉbÉÌOûMüÉSrÉ A - MüÉU L - MüÉU cÉ - MüÉU iÉ - MüÉU

AUG 30 AUG 31 SEP 1 SEP 2

qÉÉxÉ AÉåÇ mÉëÏÌiÉ AÉåÇ mÉëÏÌiÉ AÉæÇ A…¡ûSÉ AÉæÇ A…¡ûSÉ iÉiuÉ ÌSuÉxÉ VÇû eÉsÉ ¤ÉÇ mÉ×ÎjuÉ AÇ ÍzÉuÉ MÇü zÉÌ£üÌSlÉ ÌlÉirÉÉrÉÉ EÇ uÉÌ»ûuÉÉÍxÉÌlÉ FÇ uÉeÉëãµÉËU GÇ ÍzuÉÉxÉUã mÉëÌiÉpÉÉlÉlSlÉÉjÉ xÉÑpÉaÉÉlÉlSlÉÉjÉ mÉ

bÉÌOûMüÉSrÉ rÉ - MüÉU A - MüÉU L - MüÉU cÉ - MSEP 3 SEP 4 SEP 5 SEP 6qÉÉxÉ AÉæÇ A…¡ûSÉ AÉæÇ A…¡ûSÉ AÉæÇ A…¡ûSÉ AÉæÇ A…¡ûSÉ iÉiuÉ ÌSuÉxÉ ZÉÇ xÉSÉÍzÉuÉ aÉÇ DµÉU bÉÇ xÉÑ®Ì XÇû qÉÉrÉÉÌSlÉ ÌlÉirÉÉrÉÉ sÉ×Ç MÑüsÉxÉÑlSËU sÉ×Ç ÌlÉirÉÉ LÇ lÉuÉÉxÉUã AÉlÉlSÉlÉlSlÉÉjÉ ¥ÉÉlÉÉlÉlSlÉÉjÉ xÉirÉÉlbÉÌOûMüÉSrÉ iÉ - MüÉU rÉ - MüÉU A - MüÉU L - MüÉU


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mÉuÉÉï ÌSlÉãprÉÈAmerica India

AqÉÉuÉÉxrÉÉ 25 AUG 2014 25 Aug 2014

qÉÉxÉ xÉƒ¡ûUÉÎliÉ16 Sep 2014 17 Sep 2014

mÉÔÍhÉïqÉÉ 8 Sep 2014 8 Sep 2014 M×üwhÉ A¹ÍqÉ 15 Sep 2014 16 Sep 2014 M×üwhÉ cÉiÉÑSïÍzÉ22 Sep 2014 23 Sep 2014AqÉuÉÉxrÉÉ 23 Sep 2014 24 Sep 2014

AlrÉ mÉeÉÉ ÌSlÉãprÉÈ America India zÉÑYsÉ cÉiÉÑÍjÉï29 Aug 2014 29 Aug 2014 M×üwhÉ cÉiÉÑÍjÉï12 Sep 2014 12 Sep 2014

ÌuÉzÉwÉ mÉuÉÉï ÌSlÉãprÉÈAmerica India

Vinayaka Cathurthi 29 Aug 2014 29 Aug 2014

Rishi Panchami 30 Aug 2014 30 Aug 2014

MahAlaya amAvAsyA 23 Sep 2014 24 Sep 2014


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lÉæÍqÉÌ¨ÉMü mÉMüUhÉqÉç - qÉÉxÉ mÉÉ

pÉÉSìmÉÉSmÉÔÍhÉïqÉÉ - MãüiÉMüÐ MÑüxÉÑqÉ mÉÔeÉÉ

śrī vidyā saparyā has two frequencies, the nityā and naimittika. Daily ritual- nitya- is tobe done in during daytime. Naimittika is performed on five days in a month – viz.paur ṇami, amāvāsyā, kṛṣṇa pak ṣa a ṣṭami, k ṛṣṇa pak ṣa caturdaśī and māsasa ṅkrama ṇa 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 paur ṇami, which have been compiled in

Nityotsava by śrī umānandanātha. The month followed here is the cāndramāna- lunarcalendar. We have covered the shrAvaNa month pUjA in the past issue.

Next is the bhAdrapAda month, in which we find the continuation of festivals. Offering of

ketaki flowers (kewda) is the agenda for this month. Get (buy) kewda flowers. (Fragrant

crew pine -Pandanus Odoratissimus - Bot.). Clean the flowers for any dirt, remove the

thorn like extrusions, pollen sacs etc. Carefully take only the fragrant leaves from centre

leaving back all unwanted parts in the flower. Chant

Á ÍzÉuÉ mÉëxÉÉS xÉqpÉÔiÉ MãüiÉMüÐ M | SãuÉÏ MüÉrÉïÇ xÉqÉÑÌ¬zrÉ lÉÏiÉgcÉÉÍxÉ ÍzÉuÉÉ¥ÉrÉÉ ||

Sprinkle water with mūla mantra on it. Perform fivefold serviceto this kEtaki puShpA’s adhi ṣtāna devatā

Á LåÇ ¾ûÏÇ ´ÉÏÇ MÑüxÉÑqÉ SãuÉiÉÉrÉæ lÉqÉÈ | aÉlkÉÇ xÉqÉmÉïrÉÉÍqÉ | Á LåÇ ¾ûÏÇ ´ÉÏÇ MÑüxÉÑqÉ SãuÉiÉÉrÉæ lÉqÉÈ | mÉ Á LåÇ ¾ûÏÇ ´ÉÏÇ MÑüxÉÑqÉ SãuÉiÉÉrÉæ lÉqÉÈ | kÉÔ Á LåÇ ¾ûÏÇ ´ÉÏÇ MÑüxÉÑqÉ SãuÉiÉÉrÉæ lÉqÉÈ | SÏm Á LåÇ ¾ûÏÇ ´ÉÏÇ MÑüxÉÑqÉ SãuÉiÉÉrÉæ lÉqÉÈ | lÉæ Á LåÇ ¾ûÏÇ ´ÉÏÇ MÑüxÉÑqÉ SãuÉiÉÉrÉæ lÉqÉÈ | iÉÉ


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Cover the vessel with a clean cloth. Keep it aside in a clean place. On the next day

during paur ṇami pūja, add in the resolve (sankalpa)

MãüiÉMüÐ MÑüxÉÑqÉ xÉqÉmÉïhÉ mÉÔuÉïMÇü rÉjÉ

Before the main āvaraṇa pūja is done as usual, pray to Devi-

wÉÉãQûzÉÉhÉãï eÉaÉlqÉÉiÉÈ uÉÉÎgNûiÉÉjÉïTüsÉmÉ WûixjÉÉlÉç mÉÔUrÉ qÉã MüÉqÉÉlÉç SãuÉÏ MüÉqÉãµWorship all the āvaraṇa devatās with this flower. Do japa of mūla mantra thousandtimes, with one-tenth the a ṅgopāṅga mantras. Worship Śakti and offer her the best ofyour capacity. Have Devi Prasad along with likeminded aspirants and be Happy.


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´ÉÏ ÍNû³ÉqÉxiÉÉ qÉWûÉqÉl§É eÉmÉ ¢üqÉÈ

AxrÉ ´ÉÏ ÍNû³ÉqÉxiÉÉqoÉÉ qÉWûÉ qÉl§ÉxrÉpÉæUuÉ GÌwÉÈ

xÉqÉëÉOèû NûlSÈ´ÉÏ ÍNû³ÉqÉxiÉÉqoÉÉ SãuÉiÉÉ

WÕÇû WÕÇû oÉÏeÉÇ | xuÉÉWûÉ zÉÌ£üÈ | qÉqÉÉpÉÏ¹Í qÉÔsÉãlÉ Ì§ÉÈ urÉÉmÉMÇü MÑürÉÉïiÉç |

MüUlrÉÉxÉÇ

Á AÉÇ ZÉ…ûÉrÉ ™SrÉÉrÉ xuÉÉWûÉ | A…¡Óû¸ÉprÉÉÇ lÉqÉÈ | Á DÇ xÉÑZÉ…ûÉrÉ ÍzÉUxÉã xuÉÉWûÉ | iÉeÉïlÉÏprÉÉ Á FÇ xÉÑuÉeÉëÉrÉ ÍzÉZÉÉrÉæ xuÉÉWûÉ | qÉkrÉqÉÉÁ LåÇ mÉÉzÉÉrÉ MüuÉcÉÉrÉ xuÉÉWûÉ | AlÉÉÍqÉMüÁ AÉæÇ Aƒ¡ÓûzÉÉrÉ lÉã§É§ÉrÉÉrÉ xuÉÉWûÉ | MüÌlÉ|Á AÈ xÉÑU¤ÉÉU¤ÉÉxÉÑU¤ÉÉrÉ Ax§ÉÉrÉ xuÉÉWûÉ

…¡ûlrÉÉxÉÇ

Á AÉÇ ZÉ…ûÉrÉ ™SrÉÉrÉ xuÉÉWûÉ | ™SrÉÉrÉ lÉqÉ

Á DÇ xÉÑZÉ…ûÉrÉ ÍzÉUxÉã xuÉÉWûÉ | ÍzÉUxÉã xuÉ Á FÇ xÉÑuÉeÉëÉrÉ ÍzÉZÉÉrÉæ xuÉÉWûÉ | ÍzÉZÉÉrÉæÁ LåÇ mÉÉzÉÉrÉ MüuÉcÉÉrÉ xuÉÉWûÉ | MüuÉcÉÉrÉÁ AÉæÇ Aƒ¡ÓûzÉÉrÉ lÉã§É§ÉrÉÉrÉ xuÉÉWûÉ | lÉã§É Á AÈ xÉÑU¤ÉÉU¤ÉÉxÉÑU¤ÉÉrÉ Ax§ÉÉrÉ xuÉÉWûÉ


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Á pÉÔpÉÑïuÉxÉÑuÉUÉãÇ CÌiÉ ÌSaoÉlkÉÈ |MÑüssÉÑMüÉ- ÍzÉUÉãqÉÑSìrÉÉ ÍzÉUxÉã lrÉxrÉ | Á ¤ÉëÉæÇ C

xÉãiÉÑÈ - ™SrÉqÉÑSìrÉÉ ™SrÉã lrÉxrÉ |Á LåÇ ¾ûÏÇ ´ÉÏÇ Á CÌiÉ LMüÉ¤É eÉmÉãiÉç |

qÉWûÉxÉãiÉÑÈ - MühPãû lrÉÉxÉ qÉÑSìrÉÉ lrÉxrÉ | Á LåÇ ¾ûÏÇ ÌuÉ±ÉÇ Ì§ÉuÉÉUÇ eÉmÉãiÉç |

SÏmÉlÉÇ - DÇ - (ÍNû³ÉqÉxiÉÉ qÉÔsÉÇ) - SzÉ uÉÉUÇ eÉmÉã

ÌlÉuÉÉïhÉ ÌuÉ±É - lÉÉpÉÉæ lrÉÉxÉ qÉÑSìrÉÉ lrÉxrÉ |Á AÇ AÉÇ CÇ DÇ EÇ FÇ HÇ HÇ sÉ×Ç sÉÚÇ LÇ LåÇ A

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

WÕÇû ¾ûÏÇ ´ÉÏÇ (ÍNû³ÉqÉxiÉÉ qÉÔsÉÇ ) ´ÉÏÇ ¾ûÏÇ W

AÇ AÉÇ CÇ DÇ EÇ FÇ HÇ HÇ sÉ×Ç sÉÚÇ LÇ LåÇ AÉ 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 Á -


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mÉgcÉmÉeÉÉ

sÉÇ mÉ×ÍjÉurÉÉÎiqÉMüÉrÉæ aÉlkÉÇ MüsmÉrÉÉÍqÉ |

WÇû AÉMüÉzÉÉÎiqÉMüÉrÉæ mÉÑwmÉÉÍhÉ MüsmÉrÉ rÉÇ uÉÉruÉÉÎiqÉMüÉrÉæ kÉÔmÉÇ MüsmÉrÉÉÍqÉ | UÇ AalrÉÉÎiqÉMüÉrÉæ SÏmÉÇ MüsmÉrÉÉÍqÉ | uÉÇ AqÉ×iÉÉÎiqÉMüÉrÉæ AqÉ×iÉÇ qÉWûÉlÉæuÉã±Ç xÉÇ xÉuÉÉïÎiqÉMüÉrÉæ iÉÉqoÉÔsÉÉÌS xÉqÉxiÉÉãmÉÍNû³ÉqÉxiÉÉ qÉsÉÇ

There are numerous variations of ChinnamastA 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 16 letter mantra and we suggest

that the mantra given by the Guru be used here.

Tantras also prescribe that for shIghra siddhi of this mantra, Á ¾ûÏÇ Ábe chanted

before and after the mula mantra. There are two variations of this – one is to chant justÁ ¾ûÏÇ Á108 time before the chanting of mula mantra and once the mula mantra iscomplete, again chant Á ¾ûÏÇ Á 108 times. The second variation is to chant themula mantra in the following form:

Á ¾ûÏÇ Á (ÍNû³ÉqÉxiÉÉ qÉÔsÉÇ ) Á ¾ûÏÇ Á

ÍNû³ÉqÉxiÉÉ aÉÉrÉ§ÉÏ qÉl§ÉÈ

Á uÉæUÉãcÉlrÉã ÌuÉ©Wãû ÍNû³ÉqÉxiÉÉrÉæ kÉÏqÉÌW


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MüoÉlkÉ ÍzÉuÉ ÍzÉuÉ qÉÔsÉÇ

Á ´ÉÏÇ WûÉæÇ MüoÉlkÉ ÍzÉuÉÉrÉ xuÉÉWûÉ |

(SzÉÉqxÉÇ eÉmÉãiÉç)

ÍNû³ÉqÉxiÉÉ…¡û SãuÉiÉÉÈ

¢üÉãkÉ pÉæUuÉÈ- Á uÉeÉë euÉÉsÉãlÉ WûlÉ WûlÉ xÉuÉïpÉÔiÉÉ iÉl§É) ÌuÉ¥ÉÉlÉÉMüÌwÉïhÉÏ- Á oÉë¼qÉÑZÉã TüOèû TüOèû (QûÉqÉU iÉl§ U¤ÉÉMüUhÉ xÉÑUãZÉÉ qÉl§ÉÈ- Á uÉeÉëUãZÉã xÉÑUãZÉã WÒÇû WÒÇ(MüÉãÌMüsÉÉhÉïuÉ iÉl§Éã lÉ×ÍxÉÇWû zÉUpÉÈ AÌmÉ

wÉQû…¡û lrÉÉxÉÈ

Á AÉÇ ZÉ…ûÉrÉ ™SrÉÉrÉ xuÉÉWûÉ | ™SrÉÉrÉ lÉqÉ Á DÇ xÉÑZÉ…ûÉrÉ ÍzÉUxÉã xuÉÉWûÉ | ÍzÉUxÉã xuÉ Á FÇ xÉÑuÉeÉëÉrÉ ÍzÉZÉÉrÉæ xuÉÉWûÉ | ÍzÉZÉÉrÉæÁ LåÇ mÉÉzÉÉrÉ MüuÉcÉÉrÉ xuÉÉWûÉ | MüuÉcÉÉrÉÁ AÉæÇ Aƒ¡ÓûzÉÉrÉ lÉã§É§ÉrÉÉrÉ xuÉÉWûÉ | lÉã§É Á AÈ xÉÑU¤ÉÉU¤ÉÉxÉÑU¤ÉÉrÉ Ax§ÉÉrÉ xuÉÉWûÉ

Á pÉÔpÉÑïuÉxÉÑuÉUÉãÇ CÌiÉ ÌSÎauÉqÉÉåaÉÈ |


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2.

xuÉlÉÉpÉÉæ lÉÏUeÉÇ krÉÉrÉãS®ïÇ ÌuÉMüÍxÉiÉÇ ÍxÉ

iÉimÉ©MüÉãzÉqÉkrÉã iÉÑ qÉhQûsÉÇ cÉhQûUÉãÍcÉw eÉmÉÉMÑüzÉÑqÉxÉÇMüÉzÉÇ U£üoÉlkÉÔMüxÉÍ³ÉpÉ UeÉÈ xÉiuÉiÉqÉÉãUãZÉÉ rÉÉãÌlÉqÉhQûsÉ qÉÎhQûiÉq

qÉkrÉã iÉÑ iÉÉÇ qÉWûÉSãuÉÏÇ xÉÔrÉïMüÉãÌOûxÉqÉ ÍNû³ÉqÉxiÉÉÇ MüUã uÉÉqÉã kÉÉUrÉliÉÏÇ xuÉqÉxiÉM

mÉëxÉÉËUiÉqÉÑZÉÏÇ SãuÉÏÇ sÉãÍsÉWûÉlÉÉaÉë ÎeÉÌ ÌmÉoÉÇiÉÏÇ UÉæÍkÉUÏÇ kÉÉUÉÇ ÌlÉeÉMÇüPûÌuÉÌlÉ

ÌuÉMüÐhÉïMãüzÉmÉÉzÉÉÇ cÉ lÉÉlÉÉmÉÑwmÉ xÉqÉ SÍ¤ÉhÉã cÉ MüUã Mü§ÉÏïÇ qÉÑhQûqÉÉsÉÉÌuÉpÉÔÌw

ÌSaÉqoÉUÉÇ qÉWûÉbÉÉãUÉÇ mÉëirÉÉsÉÏRûmÉSã ÎxjAÎxjÉqÉÉsÉÉkÉUÉÇ SãuÉÏÇ lÉÉaÉrÉ¥ÉÉãmÉuÉÏÌiÉlÉ

UÌiÉMüÉqÉÉãmÉËU¸ÉÇ cÉ xÉSÉ krÉÉrÉÇÌiÉ qÉÇÌ§Éh xÉSÉ wÉÉãQûzÉuÉÌwÉïrÉÉÇ mÉÏlÉÉã³ÉiÉmÉrÉÉãkÉU

ÌuÉmÉUÏiÉ UiÉÉxÉ£üÉæ krÉÉrÉãSìÌiÉqÉlÉÉãpÉuÉÉæ rÉÉãÌlÉqÉÑSìÉ xÉÇÃRûÉÇ ÌuÉÍcÉ§ÉÉxÉlÉ xÉÇÎxjÉiÉ

QûÉÌMülÉÏuÉÍhÉïlÉÏrÉÑ£üÉÇ uÉÉqÉSÍ¤ÉhÉrÉÉãaÉiÉÈ SãuÉÏaÉsÉÉãcNûsÉSì£ü kÉÉUÉmÉÉlÉÇ mÉëMÑüuÉïli


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uÉÍhÉïlÉÏÇ sÉÉãÌWûiÉÉÇ xÉÉæqrÉÉÇ qÉÑ£üMãüzÉÏÇ MümÉÉsÉMüÌ§ÉïMüÉWûxiÉÉÇ uÉÉqÉSÍ¤ÉhÉrÉÉãaÉi

lÉÉaÉrÉ¥ÉÉãmÉuÉÏiÉÉžÉÇ euÉsÉ¨ÉãeÉÉãqÉrÉÏÍqÉuÉ mÉëirÉÉsÉÏRûmÉSÉÇ ÌuÉ±ÉÇ lÉÉlÉÉsÉƒ¡ûÉUpÉÔÌwÉ

xÉSÉ ²ÉSzÉwÉÏïrÉÉqÉÎxjÉqÉÉsÉÉ ÌuÉpÉÔÌwÉiÉÉqÉç QûÉÌMülÉÏ uÉÉqÉmÉÉµÉãï iÉÑ MüsmÉxÉÔrrÉÉïlÉsÉÉ

ÌuÉ±Ñ‹OûÉÇ Ì§ÉlÉrÉlÉÉÇ SÇiÉmÉÇÌ£üo ÉsÉÉÌMülÉÏqÉç | SÇ¹íÉMüUÉsÉuÉSlÉÉqÉç mÉÏlÉÉã³ÉiÉmÉrÉÉãkÉUÉqÉ

qÉWûÉSãuÉÏÇ qÉWûÉkÉÉãUÉÇ qÉÑ£üMãüzÉÏÇ ÌSaÉq sÉãÍsÉWûÉlÉqÉWûÉÎeÉÀûÉÇ qÉÑhQûqÉÉsÉÉÌuÉpÉÔ

MümÉÉsÉMüÌ§ÉïMüÉWûxiÉÉÇ uÉÉqÉSÍ¤ÉhÉrÉÉãaÉi SãuÉÏÇ aÉsÉÉãcNûsÉSì£ükÉÉUÉmÉÉlÉÇ mÉëMÑüuÉï

MüUÎxjÉiÉMümÉÉsÉãlÉ pÉÏwÉhÉãlÉÉÌiÉpÉÏwÉhÉÉqÉAÉprÉÉÇ ÌlÉwÉãuÉqÉÉhÉÉÇ iÉÉÇ krÉÉrÉã¬ãuÉÏÇ ÌuÉ


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mÉgcÉmÉeÉÉ

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´ÉÏÇ ¾ûÏÇ YsÉÏÇ LåÇ sÉÚÇ eÉrÉÉrÉæ lÉqÉÈ - uÉÉqÉ´ÉÏÇ ¾ûÏÇ YsÉÏÇ LåÇ LÇ mÉ©ÉrÉæ lÉqÉÈ - FkuÉÉãï¸´ÉÏÇ ¾ûÏÇ YsÉÏÇ LåÇ LåÇ uÉÍhÉïlÉÏ lÉqÉÈ - AkÉUÉã

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wÉQû…¡û iÉmÉïhÉqÉç –

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mÉÔeÉrÉÉÍqÉ iÉmÉïrÉÉÍqÉ lÉqÉÈ |


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sÉrÉÉ…¡û iÉmÉhÉqÉç-

(ÍNû³ÉqÉxiÉÉ qÉÔsÉÇ) | ´ÉÏ ÍNû³ÉqÉxiÉÉqoÉÉ ´ÉÏ mÉ uÉÉUqÉç)

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Á SÇ ShQûÉrÉ lÉqÉÈ | ShQû ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÉÁ ZÉÇ ZÉ…ûÉrÉ lÉqÉÈ | ZÉ…û ´ÉÏ mÉÉSÒMüÉÇ mÉ Á mÉÇ mÉÉzÉÉrÉ lÉqÉÈ | mÉÉzÉ ´ÉÏ mÉÉSÒMüÉÇ m

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iÉÑËUrÉÉuÉUhÉqÉç - A¹SsÉ MãüxÉUãwÉÑ

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Á qÉWûÉpÉæUurÉæ lÉqÉÈ | qÉWûÉpÉæUuÉÏ ´ÉÏ mÉÉÁ ClSìÉ¤rÉæ lÉqÉÈ | ClSìÉ¤ÉÏ ´ÉÏ mÉÉSÒMüÉÇ mÉÔeÁ ÌmÉ…¡ûÉ¤rÉæ lÉqÉÈ | ÌmÉ…¡ûÉ¤ÉÏ ´ÉÏ mÉÉSÒMüÉ

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wÉ¸ÉuÉUhÉqÉç - A¹SsÉÉaÉëã

WÒÇû TüOèû lÉqÉÈ | WÒÇû TüOèû ´ÉÏ mÉÉSÒMüÉÇ

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Á LåÇ ¾ûÏÇ ´ÉÏÇ ApÉÏ¹ÍxÉÎ®Ç qÉã SãÌWû zÉUhÉÉaÉipÉYirÉÉ xÉqÉmÉïrÉã iÉÑprÉÇ xÉmiÉqÉÉuÉU


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ÍNû³ÉqÉxiÉÉqoÉÉ A¹É¨ÉUzÉiÉ lÉÉqÉ xiÉÉ


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ÍNû³ÉqÉxiÉÉqoÉÉ §ÉæsÉÉãYrÉ ÌuÉeÉrÉ M


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ÍNû³ÉqÉxiÉÉ ™SrÉ xiÉÉã§ÉqÉç


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oÉ¼ ÌuÉUÍcÉiÉ ÍNû³ÉqÉxiÉÉ xiÉÉã§É


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ÍNû³ÉqÉxiÉÉ mÉcÉhQû cÉÎhQûMüÉ) xiÉuÉU


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These commentaries are full of very high intellectual and inspired brilliant analysis of the

said texts. Some of the analysis, which has been of particular interest to the aspirants

and to this small child, is being discussed.

Nitya Sho dasikarn ava tantra:

In the mantra uddara of the saadhya siddha Asana, which is also the bija of the sixth

avarana cakresvari, we find the following:- ‘Take the first two bijas of tripurasundari, thethird cakresvari and a dd to it the bija made of ‘toya, shakra and sakti’. This will be themantra of the sixth cakreshvari.

In his commentary we find:- the toya –water bija as ‘va’, shakra is indra and his bija is ‘la’and sakti as ‘e’ – the eleventh vowel as said in the sarvasi ddhikara stotra ‘ganeshagraha nakshatra…. Yad ekaadasam aadhaaram bijam kona trayotdbhavam’. Thecombination will result in the bija ‘vlem’. He also cautions that the fist syllable is not thethird of the ‘p’ series. (See more on this in the article sashtaavarana devata – thoughts)

In the meaning called of the verse ‘vaaguraa mula valaye’ representing thekaulikaartha of the pancadasi vidya, he has explained that this meaning has a simile of

the fisherman’s net, though seems to have a lot of links, they all are held in the hand ofthe fisherman. Like wise there will seem many lineages and procedures, but in spirit the

truth is that all of these lineages have been initiated by the single guru, who is the Lord

Shiva himself. He then gives us a picture of the lineage from the top as: The Initial

spanda to create in the Nirguna Parabrahman resulted in the subtle sound energy being

manifested in the subtle space. This energy took the form of Svaccahnda bhairava and

unfolded the Tantras in a very secret coded form and revealed them to anAsrita siva,

who elaborated them to shAntAtItA devi. She revealed them to SadAsiva, who made

them into the five amnAyA (pathway), Isvara, who is the vidyesvara, then revealed them

to srikhantadi devatas. In this line is our worshipful preceptor, from whom these

meanings are revealed.


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In the meaning called ‘sampradaya artha ’, wherein the identity of the moola mantra(pancadasi) with the thirty six tattvas is discussed, we find an elaboration as follows:

E’ represents the tatvAtIta parasiva state. The three ’nada’ represent the Siva, sakthi,

suddavidya and prakruti. The three ‘m’ represent the sadasiva, Isvara, suddavidya,maya, kalA, avidyA, rAga kAla and niyati. Ahamkara, bhuddi and manas are

represented by three ‘k’ and ten ‘a’. The karmendrya (vak pani pada payu),gynanendrya ( srotra tvak cakshu jihva ghrana), panca bhuta (akasa vayu vahni jala

prthvi) and tanmatra (sabda sparsa rupa rasa gandha) are represented by five ’h’, four‘I’, three ‘r’ , two ‘s’ and three’L’

The five sa bda gunas are represented by five ‘h’

The four sparsa gunas are represented by four ‘I’

The three rupa gunas are represented by three ‘r’

The two rasa gunas are represented by two‘s’

The gandha guna is represented by three ‘L’- there are three to signify the three worlds.

The ten ‘a’ also signify the various states of jives and their multiplicity.

The three ‘k’ also represent the three states of upasaka sakala, vigynakala andpralayakala.

Kaula Upanidhad:

This short Upanishad has an excellent commentary by Sri Bhaskararaya. One of the

senior upasakas commented that without this commentary one is sure to be misled by

the sutras (phrases) of this Upanishad.


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He also defends the usage of the first makaara, it is interesting to read, in comparison to

the astanga yoga and says even after your Samadhi in that karma you are back into this

world, so what effect it had?. He compares using the first to a boat ride, saying that as

the effect lasts even after alighting from a boat we have to focus with the help of the

makaara in our self.

Later while commenting on the last rg (verse), he says that a state wherein the same

identity is enforced in the conscious without these makaaraas is the ultimate goal of this

Upanishad.

He decodes the specific patterns of the Vedic chanting from the words in last line and

proclaims that chanting this Upanishad will bestow benefits of chanting all the four

Vedas.

Since this Upanishad ends with pranava, he elucidates that Sri Vidya karma is also to

be adopted by the people with total renunciation.

Bhavanopanidhad:

This Upanishad is the foremost in his commentaries, he has also written a prayoga

vidhi- ritualistic manual for usage of this Upanishad.

The identification of the navanathas with the body nine apertures, the six rithus (two

month division) with rasas as said in texts of ayurveda, the reasoning for the order of

the rasa in the first enclosure are of brilliant analysis and deductions

The essence of all shastras is found in the commentary of ‘nirupadiaka + etasyavimarshah’. The Atman which has no attribute is called Mahakameshvara and with theattribute of bliss is called Lalithambika and with the our internal organs of cognition (

manas bhuddhi amhkara and chitta) is called sadhas, this oneness is the red color

stated . The parkas and vimarsha carana explanation is a mantra by itself.

Durga Sapatsat i :

The meaning of candi navakshari in verse at the beginning is a rare treasure.


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With respect to mantra sastra he decodes the first sloka – saavarni soorya tanayo+mama’ to various bijas like para – sauh, maya- hrim, varahaa – glaum, nrsimha –kshraum. Let us see the parra bija : Saa varnih – the letter ‘sa’. Manuh – represents thenumber fourteen, since the numbers of manus are there in each manvantra. This will

point to the fourteenth vowel- au and take the visarga at the end of the line, to find the

para bija – sa+au+h = sauh.

Similarly all other bijas have been extracted.

In the first chapter, we find a sloka –madhu kaitabhau duraatmanau+’ will have aseventeen syllable in contrast to the sixteen of a half anushtub meter. He reconciles the

text saying it is aarsham – said by the rishi and we cannot correct it.

Lali tha sahasra nama – saubh agya bhaskara:

This commentary is the jewel among his works. As said earlier, the breakup of the

chapters itself is very fascinating. The second chapter beings with the discussion of

pranava and its difference with thirteenth vowel, and concludes on the scarce use of

pranava – which is to be pronounced in a three and half matraa duration ,while thethirteenth vowel is a single matraa ( matraa is a unit of time). With his unique innovative

genius, he unfolds mantras from each nama. The nityaa nityaa mantra, bhuvaneshvari,

pancadasi vidya, bhairavi vidya are some of the best elucidation of the mantra from the

text.

These gems are shown here for kindling the interest of sadhakas in further reading and

imbibing the foundation of knowledge from Bhaskararaya.


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xÉSÉ ÌuÉ±ÉÅlÉÑxÉÇWûÌiÉÈ

- Answers by AtmAnandanAtha

(Since there have been repeated questions in last few months, we shall review the earliersaid answers for their benefit)

1. One of the five parvA days of naimittika is mAsa saMkranaNa. If the

saMKramaNa occurs in nights or early mornings how to perform the saparya?

According to astrology the samkramana occurs at a particular minute, so it is difficult to

pin point the time for saparya, there are vyAptis- time slots before and after each mAsa

saMkranmaNa said there in (astrology), it can be seen in the following table.

Hours .Min

Purva vyap t i(nazhikai) Masa

Uttaravyapt i

(nazhikai)Hours. Min

4.00 10 mesha 10 4.006.24 16 rishabha ** **

** ** mithuna 16 6.2412.00 30 kataka ** **6.24 16 simha ** **

** ** kanya 16 6.24

4.00 10 tula 10 4.006.24 16 vrischika ** **

** ** dhanur 16 6.24** ** makara 24 9.36

6.24 16 kumba ** **** ** meena 16 6.24

We can choose a time which falls in the above time slot for the naimittika saparya of

mAsa saMkramaNa. If it coincide with the nitya saparya of the daytime, then the

Avarana pooja is done a second time after offering small naivedya at the end of the first

round. The special offerings are to me made at the end of second avarana pooja . Else,

do the prayascitta of 108 japa for the nitya saparya and perform the special naimittika

arcana.


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2. What is the difference between nitya pooja and naimittika pooja?

The daily saparya ritual carried out in the morning after sandhya is called nitya saparya .

Saparya means pooja with whole paddhati, including visheshraghya prathishta, tantras

don’t accept a concept called laghu pooja. This is a must for all dikshitas. Repentance(prayascitta) of non-performance of nitya saparya is one hundred and eight chants of

pañcadaśi Vidya, with a sankalpa – nitya krama karana ashaktatvaat atottara satavaara mūla mantra japamaham śrī guror aagynayaa karishye’. The special ritualshould be done on five days of a month is called naimittika saparya – namely (a)amaavasya (b) pournami (c) krshnapak ṣa astami (d) krshna pak ṣa caturdasi (e) first

day of the solar month. We have to perform these naimittika saparyas with more

devotion and specially made offerings. (panca parvasu vishesharchanam kuryaat-Parasurama kalpasutra) The reckoning of these dates is such that these tithis shall be

present in the sunset time (pradosha kaala) up to two hours into night. If two days have

equal durations of these tithis, then the day wherein the tithi is longer in the night shall

be chosen. The repentance (prayascitta) of non-performance of this is one thousand

and eight chant of the pañcadaśi vidya with a sankalpa – naimittilka krama karanaashaktatvaat asttottara sahsara vaara mūla mantra japamaham śrī guror aagynayaakarishye’. Please note that these two are two different poojas. One should not neglectdoing saparya (either nitya or naimittika) for more than a month, else the dik ṣa is said to

be lost and we have to get dik ṣa again. This is also the reason of saamaayika pooja

inclusion in saparya, which implies that one should at least participate in a pooja, if

doing pooja is a constraint.

3. What is today’s nitya ?

The tithi at the sunrise is to be reckoned for calculating today’s nitya. Even if thetime span is less, this nitya is to be t aken as today’s nitya in case of daily ritual(Japa or nitya devi archana in daily saparya). If the same tithi is repeating in the

next day morning, then the same nitya is repeated. In case the next day tithi is one

skipped (if today is tithi dvaya) then there will be two nityas for today. In case of


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special poojas (naimittika pooja) , the tithi prevalent at the time of pooja is to be

taken as that day’s nitya in the nitya devi arcahna of this saparya.

4. If Guru is present in a pooja, but if another person is doing pooja, how the

sishyas should perform Samayika pooja? Whether through Guru or with theSadhaka, who does the pooja? Explain about the correct method of athma pathrasamarpanam after Samayika pooja?

It is very auspicious to do the pooja in th e presence of Śrī Guru. The shishyashould receive the vishesharghya through Śrī Guru or get it touched by him.Worship the guru paduka in the guru, the parama guru on his head and the

parameshti guru on the paramaguru’s head (imagine this mentally). Then atmacatushtaya are to be worshipped in his heart, and devta tarpana on the pooja

peeta. After reciting the tattva shodhana mantras, the request to offer into thecidagni (Hoshyami) should be cleared by Śrī Guru (Jushasva/Juhoti). Clean thepatra and offer the patra with dakshina to Śrī Guru only in his hand. It is theprerogative of Śrī Guru to do samarpana of the offered to the pooja peeta throughsadhaka, who does the pooja.


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Eight thousand years of yOgA dear

6. purnanandalahari-sept 2014

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