111 :D

111
UNDERSTANDING & WORSHIPING

SRI CHAKRA
BY
V. RAVI
A MANBLUNDER PUBLICATION
CHENNAI, INDIA
www.manblunder.com
4
Copyright with the author
All rights reserved. No part of this book may be reproduced, stored
in retrieval system or transmitted, in any form or by any means,
electronic, mechanical, photocopying, recording or otherwise without
the written permission from the author, except for brief passages
quoted in reviews or critical articles.
Published by:
Manblunder Publication,
Chennai, India.
Web: www.manblunder.com
Email: ravi@manblunder.com
5
PREFACE
She abides in r Cakra. This is also known as r Yantra and Cakrarj. This is the supreme amongst all the yantra-s. Uttara bhg (the
chapter containing the benefits of recitation, also known as
phalaruti) of Lalit Triat elucidates r Cakra in a comprehensive

manner. r Cakra is the body of iva and akt. r Cakra is
compared to a human body and iva and akt are compared to the
soul within. r Cakra is full of life and energy and should be
worshipped with great reverence. Any god or goddess can be
worshipped in r Cakra, as all of them have a place in it.
Saundarya Lahar (verse 11) describes r Cakra. Your abode (r
Cakra) is made up of nine mlaprakti-s, the primary causative force
of the universe, represented by the triangles in r Cakra. There are
four iva triangles, the apex of which facing upwards and five akt
triangles, the apex of which facing downwards, the bindu, eight petal
lotus, the sixteen petal lotus and three circles with four entries thus
counting forty four.
In all r Cakra has forty three triangles and the bindu. Apart from
the triangles, there is an eight petal lotus and a sixteen petal lotus. All
the forty three triangles and the bindu are within the two lotuses.
Outside these two lotuses, there are three circular lines. Outside these
circular lines there are three squares with four entries from each side.
This is the formation of r Cakra.
One has to enter the r Cakra from the outermost square. All the
three squares put together is known as trailokaya-mohana chakra that
deludes the three stages of consciousness. This is the first enclosure
of r Cakra. This enclosure is ruled by Tripur Devi. Each varaa,
known as enclosure is ruled by a presiding deity and has several

yogin-s. Yogin-s of the first varaa are known as Prakaa Yogins. In the outermost walls there are ten goddesses representing ten
siddhi-s (super human powers), in the middle wall, there are aa
mta-s (eight devi-s like Brhm, Vrhi, etc). Their spouses are the
aa Bhairava-s (Asitga, Ruru, etc). In the inner wall there are ten
6
goddesses representing the ten mudra-s (hand gestures) like, yoni
mudra, trikha, etc. Therefore, in the first enclosure there are 10 +
8 + 10 = 28 goddesses. Entry into r Cakra is to be made from the
opening just below the apex of the innermost triangle, facing the
worshipper. After worshipping all the twenty eight goddesses and
after obtaining permission from them, one has to move to the next
enclosure.
The second enclosure is known as sarva-pari-praka chakra that
enlivens the spiritual hopes of the practitioner. This enclosure is ruled
by Tripure and the yogin for this enclosure is Gupta yogin. The
second enclosure is the sixteen petal lotus inside the three circles,
where no worship takes place. Each of the sixteen petals is ruled by a
goddess and each petal has one vowel of Sanskrit (Sanskrit has
sixteen vowels). After worshipping these sixteen goddesses and after
obtaining permission from them, one has to proceed to the next
enclosure.
The third enclosure is known as sarva-sakobhaa chakra that
crusades for spiritual aspirations. This is the eight petal lotus. The
presiding deity of this enclosure is Tripurasundar and the yogin is
Guptatara yogin. There are eight goddesses in each of the petals.
After worshipping them and after obtaining permission from them,
one has to enter the first set of triangles of r Cakra.
The fourth enclosure is known as sarva-saubhgya-dyaka chakra,
which provides all spiritual and material comforts. It has fourteen
triangles and presided over by Tripuravsin. The concerned yogin
is Sapradya yogin. Each petal is ruled by a goddess. After
worshipping them and after obtaining permission from them, one has
to proceed to the next enclosure.
The fifth enclosure is known as sarvrtha-sdhaka chakara, which
makes the worshipper spiritually prosper and has ten triangles. The
presiding deity is Tripurr and the concerned yogin is kulottrayogin. Each triangle is presided over by a goddess. After
7
worshipping them and after obtaining permission from them, one has
to proceed to the next covering.
The sixth varaa has again ten triangles and is known as sarvarakkara chakra, which protects the worshipper from the inflictions
of sasra. This enclosure is known as inner ten triangles and the
previous triangle is known as exterior ten triangles. This varaa is
presided over by Tripuramlin and the yogin is Nigarbha yogin.
Each of the triangles is presided over by a goddess. After
worshipping them and after their permission, one has to proceed to

the next enclosure.
The seventh varaa is sarva-roga-hara chakra the remover of all
mental afflictions. It has eight triangles also known as vasu koa
representing the eight vasu-s (according to Bhadraayaka Upaniad
(III.ix.) aa vasu-s or eight Vasu-s are pa, the water; Dhruva, the
pole-star; Soma, the Moon; Dhava or Dhara; Anila, the Wind;
Anala or Pvaka, the fire; Pratyusha, the dawn; and Prabhsa, the
light). The presiding deity is Tripursiddh and the yogin is Rahasya
yogin. Each of the triangles is presided over by a Vc Devi, the
authors of Lalit Sahasranma. Vmakevarmatam (verses 60-63)
says that all the Sanskrit alphabets are ruled by these eight Vc Devis. Apart from what is said in the above Scripture, all the triangles and
lotus petals are inscribed with Sanskrit alphabets. This triangle is just
outside the inner most triangle. After worshipping these eight
goddesses, one proceeds to worship the armouries of Lalitmbik.
The eighth enclosure is just outside the central bindu which is the
innermost triangle. This is where the spiritual attainments begin and
culminate at the bindu within. Outside this triangle, the weaponries
of Mahkmevar and Her Consort Mahkmevar are placed. It is
interesting to note that both of them have the same weaponries. These
weapons are described in Lalit Sahasranma 8, 9, 10 and 11. After
worshipping Her weaponries, one enters the eighth enclosure, known
as sarva siddhi pradh and is ruled by Tripurmb and the concerned
yogini is Atirahasya yogin. There are three goddesses who are

8
worshipped at the three corners of the triangle and Lalitmbik is
worshipped at the central point, the bindu.
Outside this inner most triangle the fifteen tithi nitya devi-s are
worshipped. Each tithi nitya devi represents one lunar day. Ones
Guru lineage is also worshipped in three parallel lines drawn outside
the upper portion of the inner most triangle. In this place, ones Guru,
Gurus Guru and Gurus Gurus Guru are worshipped. Along with
them several celebrated Gurus are also worshipped. Worshipping
Guru is an important aspect of r vidy cult.
The ninth enclosure is the bindu. This is known as sarvnanda-maya
cakra, the ultimate bliss, where self unites with ever existing and
omnipresent Self (the Brahman) here. This chakra is presided by r
Mah Tripurasundar, also known through various other names such
as Lalitmbik, Rjarjevar, Mah Kmevar, etc who is the
ultimate Goddess of this universe, the Supreme Mother. The
concerned yogin is Parparti rahasya yogin (Parparti rahasya
means the supreme secret). Beyond this point, those who are not
initiated into oda cannot proceed. Those who are initiated into
oda are blessed to worship Her again at the bindu with Her ultimate
mantra and trikhanda mudra. This chakra or the enclosure or varaa
is the highly secretive in nature, where the conjugation of Praka and
Vimara (iva and akt) form of creation takes place. Here akt
sits on the left lap of iva and They together shower Their grace on
those who seek Them.
When a practitioner is afflicted with worldly affiliations, known as
sasra, enters r Cakra, he is gradually endowed with knowledge
and by the time he reaches the supreme bindu, he is totally
transformed. The bindu stands for both creation and absorption. A
practitioner stands totally absorbed when he enters the bindu from the
first varaa. If an absorbed practitioner again indulges in sasra,
he is re-created making his exit from the bindu to the outermost
chakra.
9
Totally, one hundred and thirteen goddesses are worshipped in r
Cakra. r Cakra is enclosed by r Nagara, where exists twenty five
forts. In between the forts there are huge places where all the other
gods and goddesses reside. The nine coverings of r Cakra are
compared to six psychical cakra-s beginning from mldhra to j,
sahasrra, kula sahasrra and akula sahasrra. r Cakra is not a mere
geometrical representation of creation, sustenance, dissolution,
concealing and re-creation; it is the known expression of evolutionary
cosmology which is superimposed on a miniscule existence of a
human being. Scriptures point out that human body is just a replica
of r Cakra.
It is important for all r Vidy upsaka-s to abide by his or her Guru.
In any matter related to r Vidy worship, the dictums of Guru alone

holds good, be it mantra or pj, etc. That is why lineage or
community (kula) is considered as very important in r Vidy cult,
as the method of worship differs from lineage to lineage and
prescribed by sages and saints several thousand years ago.
The entire book is divided into three sections. First section helps in
understanding ri Cakra. This section of the book is titled as Journey
to ri Cakra wherein one begins his or her journey from the material
world towards the inner triangle of ri Cakra and then gets absorbed
into iva. The second part deals with navvaraa pj along with
interpretations, explanations and references. This section of the book
is full of mantras and procedures. Number of references have been
taken from Lalit Sahasranma. Procedures described here are not
based on any particular krama (procedural steps) or sampradya
(established doctrine). But major portion of this text is as per sahra
krama. The idea of this text is only to explain in brief, general
procedural aspects of ri Cakra Navvaraa Pj. Third and the last
section explains intricacies of Bhvanopaniad. Bhvana means
imagination or formation of a concept in the mind. Like any other
Upaniad, this Upaniad also does not deal with practices. It helps us
to contemplate our body with ri Cakra.
10
Thus, the book dwells at length in understanding and worshiping ri
Cakra. Every effort has been taken to present this book as
flawless as possible, thanks to selfless service by Shri. AUM

Raviji in editing this book.
NOVEMBER 03, 2013 V. RAVI
CHENNAI, INDIA
11
CONTENTS
Preface 5
Notes on transliteration 16
SECTION I
Journey to ri Cakra 23
1. Entry into ri Nagara 24
2. Entry into ri Cakra 48
3. First varaa 53
4. Second varaa 59
5. Third varaa 62
6. Fourth varaa 64
7. Fifth varaa 66
8. Sixth varaa 69
9. Seventh varaa 72
Guru Maala 74
Further reading on mnya-s 81
Tithi nity dev-s 83
Weaponries 87
10. Eighth varaa 90

11. Ninth varaa: 92
12
SECTION II
ri Cakra navvaraa pj
1. Entry into the place of pj 95
2. Entry into pj maapa 97
3. Tatvcamanam 98
4. Gaapati dhynam 99
5. Pryma 99
6. Sakalpa 100
7. sanapj 101
8. Ghapj 104
9. Deha rak 105
10. Anuj 108
11. ri Cakra prapratih 111
Types of ri Cakra 111
Laghu prapratih 111
Detailed version of prapratih 114
12. rnagara pj 124
13. Dpa pj 128
14. Bhtauddhi 129
15. tma prapratih 132
16. Vignotsraam 133
13
17. Introudction to nysa 133
18. Nysa mantras and procedures 142
19. Ptra sdanam Requirements 156
Arrangements 159
Meaning and purpose 161
Establishing vardhan kalaa 163
Establishing smnya arghya 166
Consecrating viea arghya 172
21. Antaryga 205
Kula and Akula 205
Chakra meditation 207
22. Invoking Her in ri Cakra 213
Dhyna verse 214
Catu-ayupacra 219
Magalartrikam 230
23. Caturyatana Pj 232
Pjaymi and Tarpaymi explained 233
24. Layga pj 240
25. aagrcanam 241
26. Nitydev yajanam 243
14
27. Gurumaalrcanam 250
Seeking Her permission to commence pj 260

Chakra, mantra and pj rahasya 261
28. First varaa 264
29. Second varaa 270
30. Third varaa 274
31. Fourth varaa 277
32. Fifth varaa 281
33. Sixth varaa 285
34. Seventh varaa 288
35. Eighth varaa 292
36. Ninth varaa 297
37. Pacapacikpj 301
38. adarnavidy 307
39. adhrapj 308
40. mnyasamaipj 310
41. Arcana-s 315
42. Dhpa 318
43. Dpa 319
44. Mahnaivedyam 321
15
45. Kuladpa 329
46. Karpranrajanam 330
47. Mantrapupam 333
48. Upacr 338
49. Kmakaldynam 339

50. Balidnam 341
51. Japa 342
52. Guru vandanam 342
53. Suvsin pj 345
54. Kumr pjanam 351
55. Smayik pj 357
56. Tattvaodhanam 358
57. Devatodvsanam 362
58. ntistava 366
59. Viea arghya udvsanam 367
SECTION III
Bhvanopaniad interpretation 369
Useful images 423
16
NOTES ON TRANSLITERATION
Pronouncing the first 25 Sanskrit consonants
Consonants
First Group
Guttural
Original
characters Transliteration Information
ka
kha
ga
gha
a
Palatal
ca
It is a unaspirate hard letter. In short,
this letter does not reverberate (hard),
and it does not need any exhalation
(unaspirate) to be pronounced. It is
just as "k" in "kick".
It is an aspirate hard letter. In short,
but it does need an exhalation
(aspirate) to be pronounced. Just as
"k" but with an exhalation of air.
It is a unaspirate soft letter. In short,
this letter does reverberate (soft), but
it does not need any exhalation
just as "g" in "game".
It is an aspirate soft letter. In short,
this letter reverberates (soft), and it
needs an exhalation (aspirate) to be
pronounced. Just as "g" but with an

exhalation of air.
It is a nasal soft letter. It sounds just
as "n" in "bang". All nasal letters are
soft.
17
Consonants
cha
ja
jha
a It is a nasal soft letter. It sounds like
Cerebral (Cacuminal)
a
ha
just as "ch" in "champion", but it is
written "c" not "ch". Careful!

"c" but with an exhalation of air. It
does not sound like English "ch".
Careful!
just as "j" in "Jane".
pronounced. Just as "j" but with an
exhalation of air.
"nya". All nasal letters are soft.
just as "t" but with the tongue rolled
slightly backward (pressing against
the roof).

(aspirate) to be pronounced. Just as ""
but with an exhalation of air.
18
Consonants
a
ha
a
Dental
ta
tha
da
dha
just as "d" but with a slight rolling
back of the tongue.

pronounced. Just as "" but with an
exhalation of air.
It is a nasal soft letter. It sounds like a
"n" but with a slight rolling back of
the tongue (as in "turn"). All nasal
letters are soft.
just as "t" in "time", with the tongue
pressing the back of the teeth.
(aspirate) to be pronounced. Just as "t"
but with an exhalation of air.
just as "d" in "doubt".

pronounced. Just as "d" but with an
exhalation of air.
19
Consonants
na
Labial
pa
pha
ba
bha
ma
It is a nasal soft letter. It sounds like
"n" in "name". All nasal letters are
soft.
just as "p" in "pink".

"p" but with an exhalation of air.
just as "b" in "boat".
pronounced. Just as "b" but with an
exhalation of air.
It is a nasal soft letter. It sounds like
"m" in "make". All nasal letters are
soft.
More consonants
Second Group
The 4 Semivowels
Original
characters Transliteration Information
ya
It is a palatal soft letter. The sound is
just as "y" in "yet". All Semivowels

20
More consonants
Second Group
ra
la
va
are soft, that is to say, they
reverberate.
It is a cerebral soft letter. "r" is not just
as English "r" at all. The tongue rolls
slightly backward till it presses against
the roof, but not the soft palate. And
the sound is slightly stronger than the
English "r" sound.
It is a dental soft letter. The sound is
just as "l" in "land", but with the
tongue fully pressing the back of the
teeth.
It is a labial soft letter. The sound is
just as "v" in "vain", but sometimes,
when it comes after a consonant it is
usually pronounced as "u" (Sanskrit
"u", not English "u"... in English it

would be "w"). For example: "svm"
(master) is generally articulated as
"swm". However, you can also
pronounce "svm", and it is correct
too.
Third Group
The 3 Sibilants
a
a
sa
Fourth Group
Sonant Aspirate
It is a palatal hard letter. The sound is
just as "sh" in "show". All Sibilants
are hard, that is to say, they do not
reverberate.
It is a cerebral hard letter. The sound
is just as "", but with a slight rolling
back of the tongue.
It is a dental hard letter. The sound is
just as "s" in "surf".
21
More consonants
Second Group
ha It is a guttural soft letter. The sound is
(Information courtesy http://www.sanskrit-sanscrito.com.ar)
just as "h" in "hello".
Further guide to pronunciation:
Sanskrit plural is difficult to understand. Let us take the example of
nma, the origin of which is nman. Nma means name. The correct
plural of nma is nmni. In order to avoid confusion plural of nma
is used in this book as nma-s. All the words in hyphenated form
mean plural.
Let us take another word sahasrra. It is generally pronounced as
sahasrr. The actual Sanskrit word is sahasrra (). Only actual
Sanskrit words in transliterated forms are used in this book.
In IAST format chakra is written as cakra. But in many places in this
book, chakra is used to avoid any confusion.
22
EXPRESSION OF GRATITUDE
The entire text was edited by Shri. AUM RAVI of Vishakpatnam,
Andhra Pradesh, India (raviaumr@gmail.com). No words are good
enough to express my sincere gratitude and thanks to Shri AUM
Raviji for his selfless service in bringing out this book as flawless as
possible. He is worshiping Lalitmbik from his 18th year and has
been performing navvaraa pj for the past seven years regularly.
He is blessed with pra dk in r Vidy.

23
SECTION I
JOURNEY TO RI CAKR
(More images are available in the navvaraa pj)
This is our journey to ri Cakr. We stand miles away from ri Cakr.
We are able to see three huge
mountains and another mountain (the
fourth one) which is much bigger
than the other three. The highest
mountain, known as Mah Meru
(Supreme Mountain) is in the middle,
which is the Abode of Parakti.
Towards its eastern side, there is
Brahma loka, (world of Brahm)
marked as C in the diagram. Towards
southwest, there is Viu loka (world
IMAGE 1
of Viu) marked as D in the diagram. Towards northwest, there is
Rudra loka (world of Rudra), marked as E in the diagram. B and A in
the diagram refer to ri Nagara and ri Cakr respectively. Dotted
lines represent the route we take, for our journey to ri Cakr. Out of
the four mountains, we are able to see Mah Meru glittering, as it is
made up of gold. All the constructions in Mah Meru were planned
and executed by Vivakarman, divine creative architect. He is also

referred in Vedas. g Veda (X.81.2) says, .....the universal
architect, seeing all, creates the earth and creates the heaven with His
might.Now we are standing near Brahma loka (marked as C in the
image 1), which is situated in the east of Meru Mountain. We begin
our journey from here. First we worship the world of Brahm, but we
24
do not enter this world, as we will be worshipping Him in ri Nagara.
Standing before the world of Brahm, we worship Mah Meru from
its eastern side. Now, we move towards southern side of Mah Meru
and worship Mah Meru from its southern side. Then we move
towards southwestern side, known as niti (niti means destruction,
dissolution, calamity, etc). Here we see the world of Viu. Without
entering into the world of Viu, we continue our journey towards
west. We worship Mah Meru from its western side and proceed
towards northwestern side, known as Vyu cardinal, where we are
able to see Rudra loka, the world of Rudra. We do not enter into
Rudral loka. After worshipping Rudra loka, we proceed to the point
where we have commenced our journey, the eastern side of Mah
Meru, where Brahma loka is situated.
We now enter ri Nagara, which has twenty five forts (marked as B
in the chart). We can reach ri Cakr only after passing through these
twenty five huge forts, running into several thousand miles each.
There are forests between any two forts, where many gods and
goddesses perpetually worship Parakti. First we enter through the
huge entrance gate of the fort made of iron. (Description of length,
breadth and all other measurements are omitted.) When we exit
through the huge gates of the iron fort, we are able to see large bronze
fort, several miles away. Once we exit through the exit gates of iron
fort, we see a huge forest consisting of fruit bearing trees, flower
trees, etc. We are able to see huge fruits hanging from the trees and
the fragrance of flowers grown in trees and shrubs give us divine
feeling. We are also able to see a lot of birds like peacocks, parrots,
etc. We listen to the hissing sound of several types of bees. In the
midst of this dense forest, there are several rivers and lakes, where
several varieties of lotus flowers have fully blossomed. On the side
of these huge rivers, we are able to see huge palaces. Out of many
palaces, we are able to see a huge palace and we walk towards that
palace with great reverence. We walk through the main gates of the
palace to reach the middle of the palace where, we are able to have
daran of Mahkl embracing Bhadrakl, who is dark blue in
25
complexion. We worship both of them, take their blessings and
proceed towards the entry gate of the bronze fort.
We now enter the bronze fort, whose length is beyond description.
After walking through this fort, we reach the exit gates and come out.
Once we stand in the open, we see a huge fort made of copper, several
miles away. Before we proceed to the entry gates of copper fort, we

go around the forest garden situated between bronze and copper forts.
This forest/garden is known as forest of kalpavka-s; kalpavka is a
divine tree. There are a number of long and broad rivers and lakes. In
the midst of this forest, we see Vasantatunthan, the one who
presides over vasantatu (tu means bi-solar months based on seasons
and one year has six tu-s, each comprising of two solar months). He
is seen with his two wives Madhur and Mdhavar.
Vasantatunthan (he presides over spring season) holds an astra
(weapon) made of flowers. After worshipping him, we go around this
forest and come to the entrance gates of the next fort, the copper fort.
We enter the copper fort, which is the third fort from the beginning.
This fort is also equally lengthy and after walking through this fort,
we reach the exit gates and pass through them to come to another
open space. From here, we are able to see a huge lead fort several
miles away. Between the copper fort and the lead fort, there is a
medium sized forest. This forest has infinite numbers of sandalwood
trees and this forest is known as candanavik, the forest of
sandalwood trees (candana means sandal and vi means an
enclosure). This forest has a number of bees, doves, etc. This forest
is extremely hot because of intense heat of the sun. In this enclosure,
we are able to see Grmatunthan (god presiding over summer
season, known as grmatu) and his two wives ukrar and Sucir.
After worshipping them, we proceed to the entrance gates of the next

fort, the lead fort.
Lead fort is the fourth fort and is equally lengthy like any other forts.
We walk through this fort to reach the exit gate. After passing through
the exit gates of this fort, we see the brass fort, situated miles away
from the point, where we are standing. We are now entering the forest
26
area between the lead fort and the brass fort. This forest too has
sandalwood trees and this forest is known as haricandanavik.
Haricandana trees are one of the five trees of paradise. The other four
trees are Prijta, Mandra, Satna, and Kalpa. Haricandana trees
are yellow in colour and are different from candanatrees and produce
yellow coloured sandal. In this forest, there are a number of cuckoo
birds, which sing in chorus. Inside the forest, we are able to see
Varatunthan (god presiding over rainy season) along with his
wives Nabhar and Nabhasyar. After worshipping them, we now
proceed to the main gates of the brass fort.
Brass fort is the fifth fort and as we walk through this fort, we reach
the exit gates and enter into an open space. From the exit gates of this
fort, we are able to see the fort of pacaloha (combination of five
metals copper, brass, tin, lead and iron; there are other versions as
well by including gold, silver, etc). We now enter into the forest area
between brass and pacaloha forts, which is known as
mandravik. This is full of coral tress that can be seen only in
heavens. This is one of the five trees of heaven and cannot be seen in
other worlds. The flowers of these trees are highly fragrant. When we
go around this forest, we see aradtunthan (god presiding over
autumn season) along with his wives Iar and rjar constantly
worshipping Parakti with fragrant flowers. After worshipping
them, we now move towards the entry gates of pacaloha fort.
We walk through pacaloha fort and reach its exit gates. After
crossing the huge exit gates, we are able to see another huge fort made
of silver (seventh fort), situated miles away. We now enter the forest
area between pacaloha and silver forts. This forest is full of prijta
trees and this forest is named after these trees as prijtavik. This
flower is also one of the five tress of heaven and its flowers are large
crimson flowers. This forest has very cold weather. Here too, a lot of
cuckoo birds sing in chorus. As we walk through prijtavik, we
are able to see Hemantatunthan along with his two wives Sahar
and Sahasyar. After worshipping them, we now reach the huge entry
gates of silver fort.
27
We walk through this silver fort and after exiting from the fort, we
are able to see another huge fort made of gold (eighth fort), which is
glittering and shining. We now enter another forest area by name
kadambavipinav (vipina means thick and this forest is very
dense) situated between silver and gold forts. Parakti is extremely
fond of this forest. Lalit Sahasranma (60) says, Kadabavanavsin, which means that She lives (sojourns) in this Kadabavana.
This forest is different from the previous ones. The flowers in this
forest are highly fragrant in nature and have a large quantity of pollen.
As a result, a lot of honey is produced and there is a huge falls in
which only red coloured honey flows. While we are awestruck with
the beauty of this forest, we also see iiratunthan along with his
wives Tapar and Tapasyar. We worship them and reach the main
entry gates of the gold fort.
When we are standing before the huge gates of gold fort, we find there
is a huge palace, surrounded by divine fragrance of kadamba flowers.
We go towards this palace, which has gold steps and a huge hall built
with precious rubies (one of the precious gems). There we find a huge
throne fully studded with precious gems. On the throne we find
Mantrii Dev seated majestically. Immediately, we recollect Lalit
Sahasranma 75, Mantrinyamb-viracita-viagavadha-toit. We
request our Guru who is guiding us in our journey to r Cakr, to
explain about Mantrini Dev.
Now Guru explains; Lalitmbik was delighted with the destruction
of demon Viagavadha by Mantrin Devi, who is also known as
ymal Devi). She helps us in attaining super natural powers and
also eradicates evil influences on us. Mantrin Devi represents the
potency of mantra-s. Mantrin Devi destroys evil desires of the
devotees of Lalitmbik. Mantrin Devi has her own chakra, which
consists of bindu, innermost triangle, five-faced angle, inner eight

petal lotus, outer eight petal lotus, sixteen petal lotus and outer square.
This chakra is known as Geyacakra and this is explained in Lalit
Sahasranma 69, which says Geyacakra-rathrha-mantriparisevit. The chariot in which she travels is also known as
28
Geyacakra ratha. She is one of the important ministers of
Lalitmbik. There is one more nma in Lalit Sahasranma (786)
which says, Mantrin-nyasta-rjyadh. Mantrii is the feminine
gender for minister (mantri). ymal Devi presides over all the
alphabets of Sanskrit. If we worship Her, mantras will fructify easily.
She is also known as Rja-Mtag and Rja-ymal. Let us now
worship her and take her blessings, as without her permission, we
cannot go anywhere near Lalitmbik. After carefully listening to
Gurus explanation, we go near her to worship.
She appears in multi coloured complexion like the wings of peacock.
She is wearing ear studs made out of palm leaves. Her mouth chews
betel leaves which emit pleasant fragrance. Her lips are deep red in
colour. She has embellished saffron paste all over her body. She is
wearing a crown with radiating moon. Her feet are red in complexion.
She has a melodious voice. She is wearing red and white coloured
garments. She is wearing a beautiful garland made out of kadamba
flowers that are grown in kadamba forest. She is also wearing another
garland of basil leaves. Her hair is falling on her left shoulders. She
has four arms. She holds a parrot in one hand and a lotus flower in
another hand. With other two hands, she is playing a veena, a stringed
musical instrument and she appears overwhelmed with the melody of
her tune. Since, she is so fond of music, she is also known as Sagta
Mtk (mother of music). We now stand before her seeking her
blessings to have personal daran of Lalitmbik. When she sees such
a good gathering of great devotees, headed by the right Guru, She
blessed all of us without any hesitation and told us that all our
afflictions, such as sorrow, anguish and distress now stand eradicated.
With tears of joy, we now move to the next fort.
We now move to the entrance gates of gold fort (fort number 8) and
walk through the fort and reach the other end of the fort. By walking
through exit gates, we once again see huge open space. This place is
very well lit by the next fort (fort number 9) made of puparga
(topaz. Wearing this stone is said to give wealth. It is worn, when
Jupiter is afflicted). When we walk through this open space, we are
29
able to see Siddha-s (Self-realised persons, who constantly affirm
ivoham I am iva - meditating on Lalitmbik.) When we go
around this space, we could see a number of well known Siddha-s.
All of them keep their eyes closed. When we go past them, we have
goose bumps (goose bumps are possible when divine energy enters
into our body). Every one of them appear radiating and this place is
not only lit by the effulgent puparga fort, but also by the presence
of great Siddha-s, from whom radiating light emerge. They also recite
oa and Pacada mantra-s apart from reciting ivoham. After
paying our obeisance to the great Siddha-s, we now move to the next
fort, puparga fort.
We stand before the entry gates of puparga fort (fort number 9) and
walk through this fort to reach the other end of the fort. On exiting
this fort, we find another open area where craa-s sing in praise of
Lalitmbik. Craa-s are those who have surrendered to Her totally.
They have got this name because they have made aragati to Her.
aragati means taking refuge in Her. They are complexly purified
from all their sins and they take care of maintaining r Nagara. They
are very fond of true worshippers of Lalitmbik. After paying our
respects to them we now move to the next fort padmarga fort.
We now stand before the gates of padmarga fort (fort number 10,
made of ruby) and enter the fort, only to exit through the other end.
We now enter into another open area, where we see many young
bachelors known as Vauka-s. All of them are meditating on
Lalitmbik. Along with them live certain types of yogin-s (yogins are female demons attending on Goddess Durg). They also worship
a goddess by name Sakarin. After paying our obeisance to
Sakarin, Vauka-s and yogin-s, we move towards the next fort.
We now proceed towards the entrance gates of the eleventh fort made
of gomedaka (known as zircon). It is said to alleviate the evil effects
of Rahu. It is also believed that by wearing this gem, one will get rid
of all his sins source: Maniml, an ancient treatise on gems). When
we leave this fort, we now enter into another huge open space. From
the point where we are standing now, we are also able to see the next
30
fort made of vajraramai (known as thunderbolt gem, a type of
diamond), which is extremely glittering. In the open space that exists
between the forts of gomedaka and vajraramai, there are a number
of huge flower gardens, rivers, lakes and several beautiful palaces. In
this beautiful place live divine damsels like Ramb, rvas and
others. They sing and dance in praise of Lalitmbik. There is a
rivulet by name Vajr (vajra means thunderbolt). It is also said that
the river is invisible. Water is gushing through this rivulet making a
thundering sound. In quiet area of this rivulet, there are swans. On the
banks of this river, there is a goddess by name Vajre. She is adorned
with diamond ornaments. She is worshipped by Indra, the chief of
gods. (Vajre referred here does not mean Vajrevar, nma 468 or
Vajri, nma 944 of Lalit Sahasranma. Both of them are the names
of Lalitmbik). After worshipping Vajre, who constantly worships
Lalitmbik, we proceed towards vajraramai fort.
Vajraramai fort glitters like blinding lights. We walk through this
fort to reach the other end of the fort. When we exit this fort, we enter
into a huge garden. There are a number of well crafted palaces in
which live eight huge serpents like Ananta, Vsuki, Takaka,

Karkoaka, etc. Apart from these gigantic nga-s, some devoted
demons like Bali (he was humiliated by Viu). After paying our
respects to them we move on to the next fort.
This fort (fort number 13) is made up of vairya (cats eye). We
walk through this fort to enter into another open space. When we
stand at the exit gate of vairya fort, we could see another huge fort
resembling the sky and it is difficult to distinguish between the colour
of the sky and this fort. We are now in the open space between this
fort and vairya fort. In this place, there are a number of huge
palaces. This place is meant for those who never deviated from
dharma. In this place live Manu, Bharata, etc. All of them worship
only Lalitmbik. After paying our obeisance to them, we move to
the next fort, fort number 14, which is made of indranla (sapphire)
gems. We are now at the entrance gates of indranla fort.
31
We are now standing before indranla (sapphire) fort. At that time,
Guru, who is leading us in our journey to r Cakr told us that we
did not have daran of an important goddess, who resides in this area
(between vairya and indranla forts) by name todar (Lalit
Sahasranma 130). She is known by this name because of her thin
waist (todara means thin waisted). We are also able to see a number
of great kings paying respects to her. After worshipping her, Guru
gave us small lecture about this sapphire fort. Sapphire is a highly
auspicious stone. It is often compared to the colour or Bhramara

(literal meaning black bee), an analogue to Manmatha (Cupid) of
ancient mythology. His complexion is said to be beautiful grey. This
gem is available in other colours like the throat of iva (blue in
colour) or the complexion of Ka (dark blue, more towards black).
Depending upon the nature of the stone, it has the ability to augment
ones wealth, fame and prosperity in the family. It is the favorite stone
of planet Saturn. Those who worship
Lalitmbik only for material wealth,
get their wealth from this fort. After
listening to Gurus description about
sapphire stone, we walk through this
fort and reach a huge open space.
This space is really huge and beyond
IMAGE 2
our comprehension. To whichever side we turn, we see only beautiful
trees with fragrant flowers and fruits. We are able to see very huge
glittering palaces. The whole place is reverberating with Divine
energy. We have not experienced this kind of feeling so far. The
length and breadth of this place is too vast to describe. Guruji told us
that eight gods who are presiding over eight cardinals live in this
place and they are known as aadikblaka-s. We now proceed to have
daran of aadikblaka-s and we begin from eastern side, where
Brahmaloka (marked as C in the image 1) is situated outside ri

Nagara.
Eastern side is presided over by Indra, who is the chief of all gods and
goddesses. Indra also presides over aadikpla-s. We see Indra
32
mounted on his elephant vehicle known as Airvata (it is also known
as Airvaa, which is white in colour), produced while churning the
ocean. He is seated on Airvata with his wife a. He is holding a
peculiar club (weaponry called thunderbolt) in his hand, known as
vajryudha, which is his unique weapon. Vajryudha was given to
Indra by Lalitmbik. Vajryudha is made of the spinal cord of a great
sage Dadhci, who was constantly meditating on Her. Lalitmbik, in
appreciation of his penance, took him with Her by offering him
liberation through Vajre, a goddess on the banks of river Vajr,
whose daran we had when we were in the open space between 11th
and 12th forts. The spinal cord of Dadhci after his liberation was
given to Indra as his weapon to destroy demons. Vajryudha is
considered as one of the most potent weapons. Ka talks about
Indra on three occasions in Bhagavad Gt (Chapter X). He says, I
am Indra, among gods; Among elephants, I am Airvata (Indras
elephant vehicle) and Among thunderbolts, I am vajryudha.
After worshipping Indra, we now move on to South Eastern cardinal.
South East is presided over by Agni, the god of fire. We move
forward to have daran of Agni, who is the carrier of oblations to the
respective gods. He is seated on a sheep with his two wives Svh

(her body is said to consist of the four Vedas, and her limbs are the
six Aga-s; she is the carrier of offerings made as oblations in fire
rituals to gods and goddesses) and Svadh (she is the carrier of
offerings made as oblations in fire rituals to departed ancestors).
Form of Agni is dreadful. He has two faces, six eyes and seven
tongues. These seven tongues are worshiped in all fire rituals (sapta
te agne samidhas-saptajihv). Each of these tongues has a name.
Agni is seen with a hand fan (used to kindle fire in the fire pits or fire
altar, known as homakua-s), sruk ( ), also written as sruc ( ), a
large wooden ladle, made out of pala or khadira wood, used to offer
ghee into the fire as oblations during fire rituals, sruva (same like sruc
but small in size), jyaptra (a vessel to hold clarified butter known
as ghee, for offering into the tongues of fire, during oblations),
tomara (a long stick) and annaptra (a vessel containing cooked rice
33
for offering as oblations). Guru informed us that Agni is the best
purifier. Ka says in Bhagavad Gt (X.23), Among eight Vasu-s,
I am Pvaka (Agni). After praying to Agni that he should keep our
mind clean, we move towards Southern cardinal.
(Further reading on Vaus-s: Vasu-s are a class of gods who are highly
benevolent. Their names differ in various scriptures. Vasu-s are
eight in number and generally known as aavasu-s. According to
Vishnu Purana the names of these gods are pa (Water), Dhruva (the
pole star), Soma (moon), Dhava or Dhara, Anila (wind), Anala or
Pvaka (fire), Pratyua (the dawn), and Prabhsa (the light). Amongst
them Anala or Pvaka is said to be the chief.)
As we move towards South, we find darkness. This is known as
Yamaloka, the world of Yama, the god presiding over death. Since
Yama is known for dharma, he is also known as Dharmarja. That is
why Ka says, Among the rulers, I am Yama. He is upright in
following dharma guidelines (Law of Karma) prescribed by
Lalitmbik. Though every one of us is scared to go anywhere near
this place, at the insistence of our Guru, we move forward to have
daran of Yama, the upright ruler. When we go near him, we are more
scared on seeing his form, complexion and his vehicle. He is very
dark in colour and two of his teeth are protruding outside his mouth
making him look dreadful. He is seated on a wild ox, which is darker
than Yama. He is holding a club and a noose in his hand. Because he
is holding a noose, he is also known as pahasta (holder of noose).
He uses this rope to take the lives of those who are about to die. There
are a number of his assistants around him, who look terribly dreadful
than Yama. He is seated on the ox along with his wife ymala. After
praying to Yama that he should bestow his grace on us to lead a
meritorious life, we move on to South West.
South Western cardinal is presided over by a demon called Nirti.
Nirti means dissolution, destruction, calamity, evil and adversity.
His vehicle is said to be human and he has dreadful weapons made of

iron such as knife, etc. He is dark to look at and he is with his wife
34
known as Dhrg. Nirti sometimes is also referred as a female form
of demon. After worshipping him, we move on to Western cardinal.
Western cardinal is ruled by Varua, who presides over water bodies.
He is bright in complexion and is seated on a fish vehicle (sometimes
referred as crocodile or sea monster). He has a noose and is seated
with his wife Kl (not Goddess Kl). In Vedic parlance, he is
explained as the one with extraordinary powers and often worshipped
along with Indra. He has extraordinary wisdom and those who violate
dharma are punished by him. He is supposed to be presiding over
immortality. After worshipping him, we move on North West.
North West cardinal is ruled by Vyu, god presiding over air. He is
known for the highest level of spiritual knowledge and is extremely
wise. He is seated on his deer vehicle with his wives, suumna, i
and pigal, the three n-s relating to the movement of Kualin,
the subtlest form of Lalitmbik. Vyu always lives amidst great
yogis, the important one being Goraka. After worshipping them and
seeking his grace for spiritual knowledge, we move on to the next
cardinal, North.
North cardinal is presided over by Kubera, god of wealth. His place
is well lit, with huge gold palaces all-round. The world of Kubera
reflects every symptom of prosperity. Kubera is the chief of yaka-s

(yaka-s are said to be demigods, unlike Varua or Vyu). Kubera is
also known as Vairavaa. He is seated on a horse along with his wife
Citrarekh (she is also known as Surgan, one of the beautiful
celestial women). He has only a knife as his weapon. Kubera is often
seen with another yaka by name Mibhadra, who is also known as
prince of yaka-s. All of them worship Lalitmbik with great
reverence. Kubera worship Her with his own Pacada mantra. After
paying our respects to Kubera, we move on to the next cardinal, North
East.
North East is the eighth and last cardinal point from East and is
presided over by na, who is one of the eleven Rudra-s
(ekdaarudra-s). na means wealthy and splendorous. This place
35
has many palaces constructed with gold. There are many temples in
this place. na with his wife Ktyyan is seated on a pure white
bull (abha vhana). na has moon in his crown. na and
Ktyyan are believed to be lower forms of iva and Prvat. The
world of na has sixteen varaa-s (like roundabouts in temples).
With this, our journey in the space between indranla fort and pearl
fort (fort number 15) has come to an end. We have reached the
starting point, Indra lok, ready to move into the fort of pearls.
Fort of pearl is the fifteenth fort in r Nagara. Once we cross this
fort, we have to cross ten more forts to reach the outer walls of r
Cakra. We now cross the pearl fort and enter into a huge open space.
From this open space, we are able to see the fort of emerald
(marakata). In this place there are a lot of palm trees. Each palm tree
is shining like gold. Gold pots are fixed on the top of these trees to
extract an intoxicating drink known as madhu from the fruits of palm
trees (madhu is also referred as spirituous liquor, generated from the
skull that drips into the throat during kualin meditation. This is
referred in Lalit Sahasranma 106, sudhsrabhi-vari. According
to this nma there is one soma chakra in the middle of sahasrra.
When Kualin reaches this chakra, out of the heat generated by
Paraktis presence, the ambrosia which is stored there gets melted
and drips through the throat and enters the entire nervous system). As
we go around the open space, we find a huge palace made of
emeralds. As we enter into this palace, we see a massive hall with one
hundred pillars, also made of emeralds. In that hall, there is a throne,
fully made of gold and in the middle of this gold throne there is a gold
lotus flower, known as mantrarjam, where we are able to have a
glimpse of Vrhi Devi, who is majestically seated. The palace of
Vrhi Devi is in no way different from the palace of Mantrin Devi
(situated in the space between forts 7 and 8). Both of them form the
two front arms of Parakti (Mantrin is in left lower hand and Vrhi
is the right lower hand. Vrhi Devi is subtly conveyed in Lalit
Sahasranma 11, pacatanmtra-syak (pacatanmtra-s are sound,
touch, sight, taste and smell). There are another two nma-s (70 and
36
76) which speak about Vrhi in Lalit Sahasranma. Apart from
these nma-s, there are several subtle references. Vrhi Devi is
seated on Kiricakra, her yantra. Her chariot is known as Kiricakraratha. We now move closer to Vrhi Devi.
Vrha means boar (pig or hog). Since Vrhi has boar like face, she
is known as Vrhi. She has beautiful eyes like that of lotus flowers.
Her body has lustrous gold complexion. She has the moon on her
crown. She is wearing red coloured garments. A red garland adores
her body. She has eight hands and six hands are holding six different
weapons and two hands show abhaya (removing the fears of devotees
of Parakti) and varada (conferring boons) mudras. The rest of the
hands hold a plough, a daa (staff appearing like a pestle), a conch,
a wheel, an akua (hook) and a pa (noose). She is also known as
Daanth because she always carries a daa (staff) with her. She
is dreadful to sinners. She is extremely fond of devotees of Parakti
and always blesses them. She is surrounded by Svapne,
aabhairava-s with their consorts and others like Jambhini, etc.
Her mla mantra is also known as mantrarjam which has 110 akaras and is considered as one of the most potent mantras, which is
reproduced here.

om ai glau ai namo bhagavati vrtli vrhi vrhamukhi ai
glau ai adhe adhini namo rudhe rudhini namo jabhe
jabhini namo mohe mohini nama stabhe stabhini nama ai
glau ai sarvaduapratun sarve
sarvavkpadacittacakurmukhagatijihvstabha kuru kuru
ghra vaa kuru kuru ai glau ai ha ha ha ha hu
pha svh ||
37
(Please note: This mantra is taken from Mantramahrava and
appears as the correct one. There are several versions of this mantra
and authenticity of these mantras could not be verified.)
Vrh is the chief of Lalitmbiks army. Vrh has the capacity to
drive away the evil forces. If Vrh is worshiped on the 18th day of
the month of ha (July-August), it is believed that those who have
difficulties in getting married will get married. The Bhvanopaniad
considers goddess Vrhi as father and Kurukull as mother (we will
have her daran later in r Nagara). It says, Vrhi piturp
kurukull balidevat mt ( ).
It is also said Vrhi Devis 110 akara-s and ymal Devis 98
akara-s, together form 208 akara-s used in r Cakr navvaraa
pj. ymal Devi is between forts 7 and 8. After praying to Vrh
that She should bless us in having a close daran of Lalitmbik, we
move from Her palace and reach the huge entrance doors of the
emerald fort.
Emerald fort is the 16th fort. When we pass through this fort, the green
colour of emerald is very pleasing to our eyes. After exiting this fort,
we are able see another fort, far away, which is fully made of corals.
Coral fort is the 17th fort. We are now in the open area between the
emerald fort and coral fort. When we go around this open space, we
find Lord Brahm in a meditative posture. He is in charge of creation
of beings and this work is allocated to Him by Lalitmbik. He is also
known as Prajpati, meaning lord of creatures. He is often called
great-grandfather of the beings, while Viu is called as grandfather
and iva as father. We, with great reverence move towards Brahm,
who has the complexion of saffron mixed with milk (combination of
red and white), giving golden sheen to His body. After worshipping
Him from a distance, we proceed towards the coral fort.
We walk through the coral fort to reach another open space. From this
open space, we are able to see another fort made of navaratna -s (built
with nine types of precious gems - pearl, ruby, topaz, diamond,
38
emerald, lapis lazuli, coral, sapphire, and gomedhaka, known as
zircon), which is fort number 18. We now begin to walk around
outside the coral fort. We find a huge palace built with highly
precious rubies. We enter into this fort and in the middle of the fort,
we find Viu along with His Consort Lakm, seated on His Garua
vhana (Garua referred here is not a regular bird, but a mythological

bird, born to sage Kayapa and Vinat. Vinat is the mother of
Supara, Arua and Garua). We move closer to Him, as we know
that He sustains the universe and is always compassionate. He has the
complexion of young leaves of Tamla tree (this tree is said to be dark
in colour, but blossoms in white colour). Even from a distance, we
are able to see His radiance. He is wearing kuala-s in His ears
(kuala means ear stud or ear ring). The radiance of the kuala-s
are reflected in His shining cheeks. His lips are red in colour and He
is ever smiling. His face appears like the moon. He has kastr tilak
in His forehead (kastr means musk, naturally fragrant glandular
secretion from the male musk deer). His eyes appear like fully
blossomed lotus flowers. He is wearing garlands made of campaka
flowers (fragrant yellow flowers). He is wearing pure white silk
garments. rvatsa adores His chest. (Viu Sahasranma 601 is
rvatsavak and is explained thus: rvatsa is a mark in the chest
of Viu, which is considered as very auspicious. Vakas means
chest. It is also said that it is the place where His consort Lakm
resides. Though the Lord Himself is an embodiment of
auspiciousness, the presence of Lakm makes His form more
auspicious.) He appears exactly as described in this dhyna verse of
Viu Sahasranma: saaakha-cakra sakira-kuala
saptavastra sarasruhekaa |sahra-vakasthala-obhikaustubha nammi viu iras caturbhujam || Meaning: I pay
obeisance to Lord Viu with four hands, who holds conch

(Pcajanya) and disc (Sudaranacakra), who is adorned with crown
and ear studs, golden raiments, beautiful eyes like lotus flower, His
chest bedecked with garlands and kaustubha, a celebrated jewel
obtained with thirteen other precious things at the churning of the
ocean and suspended on the chest of Viu. He is also adorned with
a garland of basil leaves (tulas or tuls). His Consort Lakm is sitting
39
very close to Him. The very sight of this gives us immense happiness.
We prostrate before them and seek their blessings.
After leaving His place, we moved towards the entry gates of
navaratna fort (fort number 18) and walked through this fort to reach
the other end of the fort. When we entered into the open space after
navaratna fort, at a distance, we are able to see another huge and
beautiful fort made of nnratna-s (different types of precious gems),
which is known as nnratna fort (fort number 19). We now begin to
go around outside navaratna fort. We are able to see a number of
massive palaces, vast flower gardens. There are big mountains with
high peaks. While we are walking through this place, we find a large
hall fully constructed with gold. This hall has one thousand gold
pillars. When we are about to enter this palace, we are able to listen
to the chants of Vedas. Vedic chants reverberate everywhere. In the
middle of this gold hall, we find a throne, fully decorated with tiger
skin. In that throne is seated Rudra, along with His consort, Bhavn.
In front of Rudra and Bhavn, is seated with great reverence, a bull
known as abha. This bull is said to be Nandi, the vehicle of Rudra.
Along with Nandi is seated Bhgi, one of Rudras attendants. Both
abha and Bhgi always recite the names of Rudra and Bhavn.
Apart from abha and Bhgi there are other attendants and they are
known as Rudragaa-s. We prostrate before Rudra and Bhavn and
after seeking their blessings, we move to the next fort.
(Further reading: iva attains several forms depending upon the
necessity. His Supreme form is Paramaiva. This form of iva
encompasses Parakti. Both of them are in a single form. However,
this form is different from Ardhanrvara, in which akti occupies
left side of ivas body. But Paramaiva is different from this form,
as akti has not yet been created as a separate entity, but remains in
Paramaiva; still She is inherent in this form. At the time of creation,
Paramaiva becomes iva and akti, as two separate entities. iva,
expands Himself in order to create the universe through His various
forms such as Sadiva, vara, Rudra, etc. This is like water in a well,
in a lake and in an ocean. Water is the same and only the container in
40
which the water is held is different. In the same way, inner essence is
always iva, who manifests in different names and forms such as
Sadiva, vara, Rudra, etc. Modification of iva into various forms
depends upon the influence of akti, known as My, on Him.
We are now standing in front of huge gates of manomaya fort (fort of

mind, mental fort or mental sheath), which is fort number 20. Forts
20, 21 and 22 form the forts of antakaraa. Antakaraa consists of
three components as per Trika philosophy and four components as
per Advaita philosophy. The four components are mind, intellect,
consciousness and ego. In Trika, consciousness is not included, as
iva Himself is Consciousness. We walk through manomaya fort to
reach another open vast space, which is lustrous red in colour.
In this open space, we see Amtavpik (lake of nectar). Bank of the
lake is named as sacala ( referring to wavering nature of the
mind). In this lake, we are able to see swans in the colour of pearls
(pure white), moving around. We also find many gold lotus flowers
in the lake. Apart from gold lotuses, there are other fragrant watery
flowers, and bees fly around these flowers making buzzing sound,
which is soothing to our ears. In the middle of this lake, there is a
boat, built with pure white pearls. In that boat, we see a beautiful
young woman playing with her friends. She is pinkish red in
complexion (sindrapalg). She has moon in her crown, her face
appears like the full moon and her lower lip is deep red in color, like
pomegranate flowers. She has dark curly hair and her eyes are like
young does (female deer) eyes. She has bright ear studs, the
reflections of which are seen in her shining cheeks. She is being given
abhieka (sacred bath, accompanied with recitation of mantras) by
her assistants, who also travel with her in small boats. They give her
bath by using gold horns (like horns of cow). She is Tr Devi (one
of the akti-s of daamahvidy). After worshipping her, we move on
to the next fort (four number 21), fort of ego.
The fort of mind is a subtle fort (though not explicitly said so).
Thought processes of the mind are explained as the banks of the pond
41
and that is why they are named as sacala (sacala means wavering).
Gold lotuses represent material desires. Fragrance, colour,
complexion, etc refer to lecherousness. Sounds of bees are the
material sounds that afflict our minds. Sight and sound are the
primary reasons, for causing lasting mental impressions in our minds.
In order to remove mental afflictions, Tr Devi is worshipped, as she
is known for wisdom and knowledge. When her grace is obtained, we
begin to taste the divine nectar (spiritual advancement).
(Further reading on Tr Devi: Tr Devi described here and in other
mantra texts do not agree. Some of the common descriptions are boat,
pearl, etc. There are three types of dhyna for her and they are i,
sthiti and sahra dhyna-s (contemplation for creation, sustenance
and destruction). Based upon different acts, her dhyna verses also
vary. For example, white colour is associated during creation, red
during sustenance and black during destruction. It is also said that
Brahm and Viu worshipped her with different mantras. Brahm
worshipped her with om tr hr hu pha and
Viu worshipped her with om hr r kl sau hu ugratre

hu pha . But her common mantra
is om hr tr hu pha . Her bja is tr )
We are now standing before the gates of fort of intellect (buddhi),
which is the 21st fort. As we walk through this fort, we reach another
open space. While going around this place, we find another lake by
name nandavpik (lake of bliss), which is full of nectar. This lake
has steps made of rubies, which are deep red in colour. There is a
small boat, built with rubies, in the middle of the lake of bliss. In that
boat, is seated Amte. She has compassionate eyes and she is well
decorated with shining ornaments. She is also known as Vrui Devi.
This Devi is explained in Lalit Sahasranma (333), Vrui-madavihval, which is explained thus: Vrui is the extract of dates that is
allowed to brew and when consumed causes inebriation. There is a
ni (nerve) called vrui which can be controlled by breath. This
ni plays a significant role in excretion of bodily waste. If this ni
42
is brought under control by proper breathing exercises, one will never
feel tiredness in the body. Sages keep this ni under their control to
cope up with longer duration of meditation. Opposite to her, some
beautiful divine damsels are seated with gold oars in their hands (to
row the boats). We pray to her that she should give us enough
knowledge (higher level of spiritual knowledge known as buddhi) to
know about Lalitmbik and move to the next fort.
Next fort (fort number 22) is fort of ego (ahakra). We walk through
this fort to reach yet another open space. This space is known as
malayapavamna (malaya mountain range; pavamna being
purified; this possibly indicates presence of purified air in this
mountain range). We are able to feel the breeze, filled with fragrance
of newly blossomed flowers. There are many birds in this region.
There are many bees tasting the nectar from the newly blossomed
flowers. The buzzing sound of the bees is sweet to our ears. In this
mountain range, there is a pond called vimaravpik. This pond is
the store house of nectar that flows into the throat during kualin
meditation. This is purely a Divine Grace and not everybody is
blessed with this flow of nectar.
(Further reading on the flow of nectar: This is discussed in two nmas of Lalit Sahasranma 105 and 106, the essence of which is given
here: She has now reached Her destination, the sahasrra, where
iva is waiting for Her. Sahasrra is just below the brahmarandhra,
an orifice in the skull that connects to cosmos (The existence of this
orifice has not been medically proved. Perhaps this is like the pores
that exist in our skin through which sweat comes out.) But one can
distinctly feel the cosmic connection through this orifice. But
according to Ayurveda, there is marma point (also known as varma
point here, by name adhipati). The union of iva and akt takes
place at sahasrra. The sdhaka, who all along was worshipping only
the akt, begins to worship Her along with Her Creator, iva. There
is one soma chakra in the middle of sahasrra. When Kualin

reaches this cakra, out of the heat generated by Her presence, the
43
ambrosia which is stored there gets melted and drips through the
throat and enters the entire nervous system.)
We are able to see in the middle of vimaravpik, a boat made of
rubies. In the boat we are able to see a beautiful dark green
complexioned damsel. She has a well developed body. She has
beautiful eyebrows that shames Manmathas bow. She is smiling
pleasantly. She is wearing ear studs made of rubies. She is Kurukull
Devi. A reference to her is available in Lalit Sahasranma 438
Kurukull, and this nma is explained like this: Kurukull is a
goddess who dwells in r Cakra between the boundaries of ego and
consciousness. The Bhvanopaniad considers goddess Vrhi as
father and Kurukull as mother. It says, Vrhi piturp kurukull
balidevat mt ( ). This is based
on the principle that our body consists of sensory organs along with
flesh and blood that cause the feeling of bodily lust. The physical
description of Kurukull is terrifying, probably indicating that lust is
one of the factors that form a stumbling block to the spiritual
progression.
After paying our respects to her, we move to the next fort (fort
number 23), the sun fort.
We now walk through the sun fort to reach bhnu prkra (bhnu
means sun and prkra means roundabout), the roundabout after sun
fort. Sun shines from this place and illuminates all the fourteen
mythical worlds (seven upper worlds are mentioned in Gytri
mantra). As we walk through this prkra, we find a huge hall which
is constructed with lustrous rubies. There is a lotus like gold throne
placed at the far end of the hall. On the throne is seated MrtaBhiarava (mrta refers to the sun). He is wearing a red flower
garland. Flowers in the garland are deep red in color and are very
fresh (fresh flowers are specifically mentioned to say that the flowers
are not affected by suns heat). Light of the sun is known as
cakumati, which means faculty of sight. Mrta-Bhairava has
two wives and they are Cakumat and Chy Devi (chya means
44
shadow). Two of his wives represent light and shadow. Sun god, who
is also known as Mrta-Bhiarava, is a great devotee of
Lalitmbik. A reference to this is available in Lalit Sahasranma
785, Mrta-bhairavrdhy, which is explained thus: She is
worshipped by Mrta-bhairava. He is posited in the twenty fourth
prkra of r Nagara. r Cakra is in the centre of this r Nagara.
Anything associated with Her is prefixed with r, a sign of
auspiciousness. Sage Durvsa says that he worships him with his wife
Chya Devi. After worshipping Mrthada-Bhairava and his two
wives, we proceed to the next fort.
Next fort is moon fort (fort number 24) and we move towards this
fort. This place is very cool and pure white in colour. There are many
stars shining in this place. We find moon shining like a pure white
flower and is surrounded by many stars. (It is said in Scriptures that
all the twenty seven stars, that are referred in astrology are his wives.)
We pay our respects to Candran (moon) and exit through the moon
fort.
On exiting the moon fort, we find a huge fort called gra fort (fort
number 25, the last fort). gra means erotic sentiments. Lalit
Sahasranma 376 addresses Her as gra-rasa-sapr, which
means that She is in the form of essence of love. Like all other
abstractions, love also originates from Her. gra fort is built with
gold and precious gems. There is a deep trench outside this fort. This
trench is full of water. There are many gold boats rowing in the
trench. These boats are well decorated with precious gems. Every
boat carries pretty divine damsels. We find Manmatha amongst them!
After praying to Manmatha, we enter into the great gra fort.
When we enter into gra fort, we place our feet with great
reverence on the cintmai prkra, the roundabout fully constructed
with the most precious of all gems, cintmai. It is called cintmai,
because it is capable of fulfilling all types of desires. After crossing
this cintmai prkra, we find a huge tropical garden with full of
different types of herbs, flowering plants, huge lotus ponds with
inexplicable and beautiful lotus flowers, very tall trees, etc and this
45
place is known as Mahpadmavi (Lalit Sahasranma 59 Mahpadmav-sasth). Lalitmbik visits this forest garden
frequently. In the midst of this Mahpadmavi, there is a very huge
palace known as Cintmai Gha, the Abode of Lalitmbik. Lalit
Sahasranma 57 says, Cintmai-guhntasth. In the middle of
Cintmai Gha is r Cakra and in the centre of r Cakra, is seated
Lalitmbik.
From the point where we are standing now, we are able to see
Cintmai Gha. To reach Cintmai Gha, we are now walking
through Mahpadmavi. As we are continuously reciting Lalit
Sahasranma, we did not have any difficulty in standing before the
Eastern entrance of Cintmai Gha. At the outer side, we find huge
vessels made of gold and these are known as arghyaptra-s. These
vessels contain pure water. There will be one big vessel in which
clean water is poured. There are medium sized vessels for the purpose
of drinking, washing hands, washing feet and for gargling. Every
time, water is taken from the main vessel and used for the purposes
mentioned above and after usage they are accumulated in smaller
vessels. Thus we have five vessels and hence it is called pacaptra
(one main vessel and four medium or small sized vessels). This gold
pacaptra is held by god Agni in his hands, who stands outside the
entrance of the main gates of Cintmai Gha. Thus, Agni forms the
base of these vessels. The main vessel is also known as vardhan

kalaa. (vardhana means causing to increase or increase in
prosperity). There is another vessel called smnyrghyaptra,
usually a conch. Water to this conch is taken from the bigger vessel
of pacaptra. Water from this is used to purify the offerings made to
Lalitmbik (including garlands, food, etc). Then there is another
vessel known as vierghyaptra (special arghya vessel).
Vierghyaptra is the body of sun and the contents of
vierghyaptra is nectar and this vessel is specially worshipped.
There are several maala-s in this vierghyaptra and they are agni
(fire), srya (sun), soma (moon) Brahm, (in charge of creation, not
the Creator), Viu (sustainer), Rudra (the destroyer), vara (the
annihilator or the one who conceals), Sadiva (the re-creator; the one
46
who creates the universe annihilated by vara) and Devi maala.
Brahm, Viu, Rudra, vara and Sadiva are known as the chiefs
of pacaktya-s. This is explained in Lalit Sahasranma 274 (She is
the abode of all the five functions discussed above. Nma 250 Pacabrahma-svarpin says that She is the cause of all these five acts. All
these five acts are carried out by Her as prkaa (cit) vimara (akt)
mah my svarpin. She is also known as Cit akt. Cit means the
consciousness that is absolute and unchanging). These five gods
reside inside the vierghyaptra and their palaces are situated
beneath vierghyaptra. It is said that all the fourteen worlds (seven
below the earth, the earth and six above the earth) are illuminated by
these palaces. Preparation of vierghya and worshipping
vierghyaptra are important aspects in r Cakra Navvaraa
worship.
We are now at the main gates of Cintmai Gha. We go around
Cintmai Gha to fully understand its grandeur. Now we are on the
eastern side. Main entrance gates to Cintmai Gha are situated on
the eastern side. We are now facing Cintmai Gha and to our right,
is the palace of mala Devi. We have already seen her in the space
between forts 7 and 8 (silver and gold forts). This is another palace
of mala Devi (this can be explained as a palace for rejuvenation).
To our left is the palace of Vrhi Devi. We have already seen her in
the space between forts 15 and 16 (forts of pearls and emerald). Like
Mantrin Devi (mala Devi), Vrhi too uses this refreshment.
Cintmai Gha has four main entrance gates, one each at the four
cardinals. Each of these main gates is guarded by mnya devata-s.
Eastern gate is guarded by Bhuvaneavar (representing mantra
yoga). South side is guarded by Dakia Kl (path of devotion).
Western side is guarded by Kubjik (path of tantra, the main authority
being Kubjikatantra). Northern side is guarded by Guhya Kl (path
of knowledge).
As we go around, at Southeast corner, we find a fire altar, known as
Cidagnikua. Lalitmbik originated from this kua. This is
explained in Lalit Sahasranma 4, Cidagnikua-sabht, which
47
is interpreted thus: {Cit + agni + kua + sabhta. Cit means
nirgua Brahman or Brahman without attributes (the foundational
consciousness). Agni kua means a fire altar, in which fire
sacrifices are done by offering oblations. Sabht means born.
Agni kua or the fire altar means the dispeller of darkness. Darkness
means lack of knowledge or ignorance which is called a-vidy (vidy
means knowledge). This should not be interpreted as the one who
was born out of the fire. She is the Supreme Consciousness who
dispels ignorance. She dispels ignorance through Her form of pure
Consciousness, who illuminates within, dispelling the darkness of
my.} After prostrating before this fire altar and after having seen
the birth place of Lalitmbik, we move forward to Southwest, where
we find Cakrarja ratha, the chariot of Lalitmbik. This is described
in Lalit Sahasranma 68, Cakrarja-rathrha-sarvyudhaparikt, which is reproduced here, as reference is made to ri Cakra
in this nma.
{Cakrarja is the chariot of Lalitmbik in which She travels along
with all types of weapons. Weapons mean the ways of attaining
suddhavidy or pure knowledge which is called the knowledge of the
Brahman. This chariot consists of nine tiers. Two other chariots,
Geyacakra ratha of ymal devi and Giricakra ratha of Vrh devi
always accompany Cakrarja. Cakrarja is said to mean the r Cakra,
the place of Lalitmbik. Parikt means adorned.
A brief knowledge of r Cakr becomes a necessity to understand

this nma. r Cakr consists of nine partitions or angles broadly
divided into five akt cakra-s and four iva cakra-s. The triangles
facing upwards are called iva cakra-s, and the triangles facing down
are akt cakra-s. r Cakr contains forty four triangles in which
forty three goddesses (44th is Lalitai) and seventy nine yogin-s (demigoddesses) live. All the gods and goddesses are said to reside in r
Cakra and that is why it is said that one can perform pja to any
god/goddess in r Cakra. The nma 996 r Cakrrja nilay
confirms Her Abode in r Cakra.
48
Cakrarja also means the six cakra-s (mldhr to ja). Ratha
means base or foundation. Arha means control and sarvyudha
means pure knowledge which is called suddhavidy. The six cakras form the foundation to attain pure knowledge through which mind
can be controlled in the sixth cakra. The five psychic cakra-s
represent the five basic elements and the ja cakra represents mind.
Therefore to control the basic elements and the mind, pure knowledge
becomes essential. When cakra-s are controlled, siddhi-s are
attained.}
After worshipping Cakrarja, Lalitmbiks chariot, we move on to
North western side, where we find Geyacakra ratha, This is the
chariot of Mantrin Devi who is also called yamal Devi. After
worshipping the same, we move forward to North eastern side, where
Kiricakra-ratha is situated. This chariot belongs to Daanth Devi

who is also known as Vrh Devi. After worshipping this chariot, we
proceed to the main entrance gates of Cintmai Gha.
From a distance, through the Eastern gates of Cintmai Gha, we are
able to see the outer wall of r Cakra. We are greatly excited to get
into r Cakra, for which we are awaiting for necessary permissions
from yamal Devi, Vrh Devi and Bhuvaneavar Devi. We are
now waiting outside the gate, taking rest under the huge tress of
Mahpadmavi.
While we are waiting for necessary permissions, our Guru gives a
small lecture about r Cakra (should be read as chakra).
We have reached this place after crossing twenty five forts and we
are about to enter into r Cakra. I am not going into the details of
various enclosures now. There are two types of worshipping r
Cakra. One is ritualistic worshipping all the nine enclosures with
flowers, etc. There are several goddesses in these enclosures and all
of them are worshipped before reaching the innermost triangle and
the bindu (the dot in the center). The inner most triangle and the bindu
are the source of creation of the universe. There is another way of
worshipping r Cakra through mind, as explained in
49
Bhvanopaniad (), which is based on certain subtle
conveyances of Atharvaveda. Bhvanopaniad is in the form of stras (aphorisms) and enlighten the similarity between human body and
r Cakra. Bhvana means contemplation, where only the mind is

used. When you involve your mind in worship, you are bound to have
significant and instantaneous effects. You must always remember
that you can reach Her feet only through your mind and not through
your sensory organs. At the same time, you must also remember, that
you cannot straight away begin mental worship, without going
through the process of ritual worship. If you do that, your sdhana
will be imperfect and you cannot achieve the desired results.
Bhsakararya, one of the greatest devotees of Parakti in recent
times spoke about three stages of worship. First one is worshipping
Her with gross forms, such as having Her idol, etc. This includes
navvaraa pj, Lalit Sahasranma or Triat arcane, etc. In this
kind of worship, we always consider Her as someone different from
us and we adore Her by placing Her on a higher pedestal. When one
attains perfection in these rituals, he moves on to worship Her with
mantras, gradually moving away from ritualistic worship. Initiation
of mantras happens during this period. One moves from Bl mantra
to Pacada and ultimately to oa. Even in mantra sdhana, one
begins with all types of nysa-s (touching a particular part of the body
with specific fingers of the hand, symbolically placing Parakti all
over the body). Over a period of time, he dispenses all nysa-s and
concentrate only on the mantra. When he is comfortable with this
stage, he begins to move on to the final stage of his sdhana, merely
contemplating Her within. He does not need the help of pj-s and
mantra recitations and he, on his own establishes a cosmic connection

with Her in deep meditation. In the deep state of meditation
(nirvikalpa samdhi or deep trance), there should be nothing, except
your mind and Her subtle form. This stage is explained in Lalit
Sahasranma 254, Dhyna-dhyt-dhyeya-rp (She is the form of a
triad the meditation, the meditator and the object of meditation.
This triad leads to another triad the knower, the known and the
knowledge. Higher level of spiritual knowledge can be attained only
through dhyna or meditation. Meditation is only a process of
50
powerful concentration. Reading books and listening to sermons are
not knowledge. Knowledge is attained through internal quest and
exploration. The store house of knowledge is not extraneous, but
within. The store house is nothing but the Supreme Self. Patajali
Yoga Stra (III.2) explains this further. Unbroken flow of that
concentration in that object is called dhyna.)
At the initial stages, he tries to become one with Her, but he is not
able to sustain this union for long. However, he continues his practice
ignoring his own form and after a long and hectic sdhana, he realizes
Her within. Now he knows that there is no difference between Her
and his own self, which thought destroys all his dualities, which in
turn removes the veil of my in his mind. This can be further
explained, but this is not the place to discuss more on this.
Concept of Guru is very important in knowing Her truly. Guru will

know his disciple and will take him through the stages over a period
of time. The transition from stage one to the third stage depends upon
ones devotion, level of sdhana and willingness to move forward,
without questioning the intentions of his Guru. A true Guru knows
how to uplift his disciple. A true Guru will not take much time to
shape his disciple. That is why Bhvanopaniad begins by saying
rguru sarvakraabht akti || The
next stra says that only because of Guru, the disciple has nine
openings in his body. In other words, the Upaniad says that the body
of the disciple is in no way different from the body of his Guru. You
will be surprised to know that the nine openings of the body (pair of
eyes, pair of ears, two nostrils, mouth, organs of excretion and
procreation- total nine) are the nine enclosures of r Cakra. This not
only establishes that there is no difference between Guru and his
disciple but also establishes that there is no difference between our
body and r Cakra. Thus, there is no difference between Guru, r
Cakra and the disciple.
Each of the nine enclosures (varaa) of r Cakra is presided over
by a cakrevar (presiding goddess of that particular varaa). Apart
51
from cakrevar, there is a yogin in each of these nine varaa-s
(navvaraa- nine enclosures). Cakrevar is not different from
Parakti. Every cakrevar represents Parakti, but in a much
concealed manner. Let us assume that a lamp is covered by eight

different veils. When we complete one varaa, one of the veils will
be removed. These veils are known as tiraskarai, who is worshipped
in the beginning itself during navvaraa pj. When we move
towards inner triangle and bindu, at the end of each varaa, one veil
is removed and Parakti reveals Herself more clearly.
But yogin-s are different. Yogin-s can be explained as spiritual
powers, symbolically represented as divine damsels. Yogin is
derived from the world yoke (English word), which means union.
Yoke is a word derived from yoga, which also means union. Practice
of yoga leads to the union of jvtman with Paramtman. Yogin-s
play significant role in making this union complete, by sufficiently
providing enough spiritual powers to jvtman, so that jvtman is
completely purified to become eligible to unite with Paramtman.
Lalit Sahasranma 237 is mah-catu-ati-koi-yogin-gana-sevith
(Mah-catu-ati-koi means sixty four crores or 640 million.
Yogin-gana are demigoddesses. She is worshipped by these 640
million demigoddesses also known as yogini-s. In r Cakra, there
are eight mtk devi-s (also known as ata mta-s) like, Brhm,
Mhevar, Kaumr, Vaiav, Vrh, Indr, Cmud,
Mahlakm. The ata mta-s have eight deputies called as yoginis which make sixty four yogini-s. Each of these sixty four yogini-s
has one crore or ten million attendant yogini-s. Thus the calculation
of 640 million yogini-s is arrived. These yogini-s attend to different
aspects of administration of the universe.)

Apart from aiding the union of jvtman with Paramtman, yogin-s
also cause the intertwining of iva and akti cakra-s of r Cakra in
a perfect and smooth manner. At the end of each varaa, one mudra
(finger gesture) akti and one of the eight aamasiddhi-s are also
worshipped. Therefore, at the end of each varaa, first the concerned
cakrevar followed by one of the aamasiddhi-s, mudra akti and
52
finally Lalit Mahtripurasundar Par Bhrik (bhrika means
noble and majestic Goddess) are worshipped. While performing r
Cakra pj, it is always assumed that She is seated facing the eastern
direction and we have to enter through the western direction.
When Guru finished, Bhuvaneavar Devi (mnya Devi) informed
us that permission is granted for us to enter Her Abode, r Cakra.
We now commence our journey to the Supreme Abode of Lalit
Mahtripurasundar Par Bhrik.
FIRST VARAA (First enclosure)
We now enter the first varaa (enclosure). We find three tiers of
huge square walls, white, red and yellow in colour. All the three walls
put together is known as trilokyamohanacakra, which is also known
as bhpura. Trilokya mohana means attracting three worlds. Three
worlds can be explained both grossly and subtly. Grossly it means the
three worlds referred in three vyhti-s of Gyatr mantra, bhr,
bhuvar and svar loka-s. Subtly the three worlds are three states of
consciousness, active, dream and deep sleep states. There are 28
goddesses in trilokyamohanacakra.
Presiding deity of this varaa is Tripurcakrevar; Aimsiddhi is
the siddhi devi, Sarvasakobhii mudra is the mudra akti and
Prakaayogin is the yogin. At the end of this varaa, all these aktis are worshipped. Lalit Mahtripurasundar Par Bhrik is also
worshipped in each of the varaa-s. Each varaa has one specific
mudra with which Parakti is worshipped and apart from the specific
mudra, She is also worshipped with yoni mudra at the end of each
varaa. As far as worshipping this prathamvaraa (first enclosure)
is concerned, first square which is protected by ten akti-s is white in
colour and is to be worshipped with white flowers. Second wall or
second square, which has eight akti-s is to be worshipped with red
flowers. Third and the last wall or square, which has ten akti-s is to
be worshipped with yellow flowers. Now we are going to have daran
53
of these twenty eight akti-s. (During r Cakra worship, the
innermost triangle should be facing the practitioner.) Numbers
indicated in the image, which is available in the second section of this
book and numbers indicated in the narration here correspond to the
place of that particular akti in the wall.
First wall:
This wall has ten akti-s, which includes aama siddhi-s (eight aktis representing supper human powers) and two other akti-s (7 and 8).
It is important to note that eight (1 to 8) of them are guarding the eight

cardinals; out of which four of them are guarding the four entrance
gates and the other four are guarding other four cardinals.
1. aimsiddhi 2. laghimsiddhi
3. mahimsiddhi 4. itavasiddhi
5. vaitasiddhi 6. prkmyasiddhi
7. bhuktisiddhi 8. icchsiddhi
9. prptisiddhi 10. sarvakmasiddhi
Second wall:
This wall is protected by eight akti-s, who are commonly known as
aamt-s (eight mothers or aamt-s. It is important to note that
the first four of them (11, 12, 13 and 14) are guarding the four
entrances of r Cakra and the rest guarding the four corners (15, 16,
17 and 18) of r Cakra.
11. brhmmt 12. mhevarimt
13. kaumrmt 14. vaiavmt
15. vrhmt 16. mhendrmt
17. cmumt 18. mahlakmmt
Third wall:
54
This wall is protected by ten mudraakti-s. During navvaraa pj,
at the end of each varaa, Parakti is worshipped through these ten
finger gestures, known as ten mudr -s. This is also referred in Lalit
Sahasranma 977, daamudr-samrdhy. (mudr -s are the

configuration of fingers that represent the energy of the deity
concerned. They are the secret signs of exchange of reverence and
Grace between the practitioner and the deity respectively and should
never be used in public. Mudra-s are highly powerful.) The last of
these mudr -s can be used only by those, who are initiated into
oa mantra.
19. sarvasakobhi mudraakti
20. sarvavidrvi mudraakti
21. sarvkari mudraakti
22. sarvavaakar mudraakti
23. sarvonmdin mudraakti
24. sarvamhku mudraakti
25. sarvakhecar mudraakti
26. sarvabja mudraakti
27. sarvayoni mudraakti
(Lalit Sahasranma 982 is Yoni-mudr (iva says to Prvat (Todala
tantra II.25) My dear, this yoni mudra removes all illness. Oh!
Goddess, without elaborating I can just say that it destroys great
diseases and Oh! Goddess, without exaggerating I can say that this
mudra causes the realisation of the mantra, brings about direct
perception of one s self and bestows on the practitioner the great
liberation.).
28. sarvatrikha mudraakti ;
(Lalit Sahasranma 983 is trikhae. This mudra is used to invoke

Her during rituals. Trikhana mudra also means the union of
55
various triads into single entity. For example, practitioner, his Guru
and Devi or the knower, the known and the path of knowing are triads.
Merger of triads into a single entity is the supreme knowledge that
the practitioner has asked for in the previous nma using yoni mudra.
It is also said that this mudra refers to the three ka-s of Pacada
mantra. From the broader perspective, this mudra can be termed as
the Brahma mudra. The extended pair of fingers point out to creation,
sustenance and dissolution. During navvaraa pj, only those who
are initiated into oa alone can use this mudra).
We have discussed about 28 goddesses in the first varaa, known as
trilokyamohanacakra and these goddesses guard three outer walls of
ri Cakra. It is also interesting to note that beginning from
trilokyamohanacakra, there are no male gods in any of the varaas. Even all the four gates of ri Cakra are guarded only by goddesses.
Bhvanopaniad says that our body is a replica of ri Cakra and our
body parts are related to these nine enclosures. In the first wall of
trilokyamohanacakra, also known as bhpura, there are ten siddhi
devi-s. The outer most wall is guarded by siddhi devi-s because,
siddhi-s are to be ignored, when one attains them. Sage Patajali says
in his Yoga Stra that these siddhi-s are possible only if we develop
the highest level of concentration and our ability to connect to an
element (like air, water, etc) with our consciousness. In the present
day world, attaining such siddhi-s is impossible and if one tries to
practice this, with certainty it can be said that he is only wasting his
time. Now, let us understand about these ten goddesses in the first
wall.
1. Aim means ability to become smaller than an atom.
2. Laghim means ability to float in the air by making the body light.
3. Mahim is the power to become huge.
4. itava is the power of creativity and the ability to rule.
56
5. Vaitva is the power to subjugate both living as well as insentient
objects.
6. Prkmya is the ability to get any task done in no time.
7. Bhukti siddhi is not mentioned by Sage Patajali and this is out of
the purview of eight siddhi-s known as aamasiddhi-s. It is the power
to enjoy with what is attained. This siddhi is discussed only in tantric
scriptures.
8. Icch siddhi is also outside the purview of aamasiddhi-s referred
by Patajali. Some are of the opinion that sarvakmasiddhi is
icchsiddhi. We go only by the ten goddesses mentioned in authentic
texts and hence we consider icchsiddhi and sarvakmasiddhi as two
different siddhi-s. Sometimes, sarvakmasiddhi and prkmyasiddhi
are considered as the same. But tantric texts have different versions.
Icch siddhi means power to attain any form according to his will. He
can become an ant and again he can become an elephant.
9. Prpti is the power to go anywhere, even to other worlds.
10. Sarvakma is fulfillment of all his desires.
(There could be certain variations while interpreting siddhi-s).
As discussed earlier, no male god can enter ri Cakra. Goddesses who
guard different cardinal points are known as siddhyab. The ten
siddhyaba-s discussed above guard ten cardinal points. For
example, Aim siddhyab, guard eastern cardinal, Laghim
siddhyab is guarding the western cardinal.
It is also said that out of these siddhyab-s, nine siddhyab-s
represent navarasa or nine emotional states. Lalit Sahasranma 376
is gra-rasa- sapr, which is explained thus: Lalitmbik is
said to be the embodiment of extracts (rasa) of finer things in life.
There are said to be eight to ten types of rasa-s, though only nine types
of rasa-s are generally mentioned. These ten rasa-s are love (gra),
heroism, disgust, anger, mirth, fear, pity, amazement, tranquillity and
warmth.
57
In the above interpretation, only nine types of emotional states are
mentioned. The tenth one is niyati, which can be interpreted to mean
prrabdha karma (that part of karma which is carved out of the total
sum of karma accumulated over past several births and known as
sacita karma; prrabdha karma is the karma meant for the present
life and to be experienced in this life itself). Niyati also forms one of
the six kacuka-s (coverings) of my, as per Trika philosophy.
Niyati is not included while interpreting Lalit Sahasranma 376,
because, Brahman is beyond the concept of karma and hence not
applicable to Her.
The second wall is protected by eight divine mothers known as
aamt-s. According to tantric texts, these aamt-s originated
from eight different gods and having thus originated from different
gods, aamt-s assist Parakti in Her war against demons (mythical
war against sinners). Demons are persistent evil doers who are
unwilling to mend their ways. Since Parakti is upholder of the
universe, She has to ensure that there is a proper balance between
good and bad in the world. If bad begins to predominate, She
manifests and annihilate them. During wars against perpetual
evildoers, these aamt-s assist Her. Now let us have a look about
their origin. Serial number is their numbers in ri Cakra and numeric
in parenthesis refers to the serial order of aamt-s
11. (1) Brhm originated from Brahm
12. (2) Mhevari from Mhevara
13. (3) Kaumr from Krttikeya, also known as Skanda. He is also
known as Kaumra. He is the son of iva and Prvat
14. (4) Vaiav from Viu
15. (5) Vrh from Vrha, one of the incarnations of Viu
16. (6) Mhendr from Indra

58
17. (7) Cmu is said to have born from the body of Parakti
Herself.
18. (8) Mahlakm from Nryaa
It is also said that their consorts are aabhairava-s. There are different
versions on this. Obviously, Mahlakm is the Consort of
Mahviu. This is explained subsequently.
While the ten siddhidevi-s in the outer wall represent emotional status
of mind, these aamt-s represent skin, blood, muscle, fat, bone,
bone marrow, procreative fluids and vitality. Their places of
residence in a human body are jcakra, breasts, navel, heart, throat,
face, nose and forehead. But, according to ivgama, instead of
Mahlakmmt, Ca is named. In that case, the Bhairava consort
of Ca is Sahra Bhairava.
Aamt-s and their consorts aabhairava-s are given below:
(1) Brhm - Asitgabhairava
(2) Mhevari Rurubhairava
(3) Kaumr - Caabhairava
(4) Vaiav Krodhanabhairava
(5) Vrh Unmattabhairava
(6) Mhendr - kaplbhairava
(7) Cmu - Bhaabhairava
(8) Cai - Sahrabhairava *
*Generally only saptamt-s (seven in number) are referred. In

certain Scriptures aamt-s are also referred. In that case, either
Mahlakm or Cai is named as the eighth mother. If Mahlakm
is referred, then there is no corresponding Bhairava. In certain texts,
59
Yam is mentioned and correspondingly her consort is Yama (lord of
death). There is no corresponding Bhairava for Yam too.
The third wall is guarded by ten mudraakti-s. We have to leave the
tenth mudra, sarvatrikha mudra, as this belongs to Parakti. The
nine mudras represent nine types of powers and they are (19 to 27 in
the same order) power of agitation, power of fighting, power of
fascination, power of subjugation, power of insanity, power of
motivation, power to connect to ariel beings or the power to move in
void, referring to higher spiritual levels and the power to create.
Trikhaa means dividing something into three parts and here it
means the union of the knower, known and the path of knowing
(sdhana). Beyond this, no further information is available about
these mudraakti-s.
Thus, if we look at the three walls of the first enclosure, we will find
three planes corresponding to the three loka-s and they are
attainments (ten siddhyaba-s relating to the mind), obstructions
(aamt-s causing attachment to physical body) and powers (power
of fighting, etc as discussed in the previous paragraph) of normal
human activates are represented or these three stages of normal

human activity originated form ri Cakra. The latter seems to be more
appropriate, as the entire universe has originated only from the central
triangle of ri Cakra and the bindu within (representing akti and
iva respectively). Hence the first enclosure is called
trilokyamohanacakra and the three loka-s are attainments,
obstructions and powers as discussed above.
SECOND VARAA (Second enclosure)
We are now going to enter the second varaa (dvityvaraa
). This enclosure is known as sarv-paripraka cakra
(- ). Presiding deity of this varaa is
Tripurecakrevar (presiding deity of the first varaa is
Tripurcakrevar. The difference is Tripur in the first varaa and
Tripure in this varaa). Laghimsiddhi is the Siddhi Devi.
60
Sarvavidhrvi is the Mudrakti and Guptayogin is the Yogin. At
the end of this varaa, these akt-s are worshipped. . Lalit
Mahtripurasundar Par Bhrik is also worshipped in each of the
varaa-s. Each varaa has one specific mudra with which Parakti
is worshipped and apart from the specific mudra, She is also
worshipped with yoni mudra at the end of each varaa.
The second varaa is in the form of lotus petals (oaadala padma
) and there are sixteen such lotus petals that form sarvparipraka cakra. Between the first enclosure and this enclosure,
there are three circles known as trivtta or trivalaya, where tri refers
to numeric three and vtta or valaya means circles. There are no akts in any of these three circles guarding ri Cakra. There circles are
not worshipped. These circles mean three of the four pururtha-s
(human pursuits) viz. dharma (prescribed conduct), artha (acquiring
wealth) and kma (satiating desires). The fourth pururtha, viz.
moka (liberation) can be attained only if we reach the central triangle
of ri Cakra.
This varaa is worshipped in anticlockwise direction. The sixteen
lotus petals are attached to trivtta (three rings) in the outer side and
in the inner side they are attached to the eight lotus petals of the third
varaa. Now let us begin our journey in the second varaa for
worshipping these sixteen akt-s. It is to be remembered that we are
now moving anticlockwise direction.
1. Kmkari nityakaldev
(nityakaldev is to be suffixed to all the devi-s mentioned
hereafter).
2. Buddhyakari
3. Ahakrkari
4. abdkari 5. Sparkari
6. Rpkari 7. Raskari
8. Gandhkari 9. Cittkari
61
10. Dhairykari 11. Smtykari

12. Nmkari 13. Bjkari
14. tmkari 15. Amtkari
16. arrkari nityakaldev .
During our journey in the previous varaa, we wound up at 28. This
varaa is placed opposite (around 600
1(indicated in red ink in the chart) of second varaa from 28 of first
varaa, moving in anticlockwise direction. Once we reach 1 of this
varaa, we move forward only in anticlockwise direction.
These sixteen petals refer to multiple things and they are 1. Each petal has one vowel embedded in it. There are sixteen vowels
in Sanskrit, a to a ( to ). Since this oaadala padma holds all
the sixteen vowels, this cakra produces words, their sound
(pronunciation) and meaning.
2. These sixteen petals also represent the following; five pra-s
(pra, apna, vyna, udna samna); five jnendriya-s (organs of
perception ear, skin, eye, tongue, nose); five karmendriya-s (organs
of action mouth, feet, hands, organ of procreation and organ of
excretion); and mind, thus making 16 petals of this enclosure.
3. It is also said that these sixteen akti-s represent sixteen tithi-s (one
tithi is equivalent to one lunar day). Totally there are sixteen tithinity
devi-s and they are worshipped in the innermost triangle of ri Cakra.
Sixteen tithinity devi-s include Mahnitty, who is Lalitmbik and
She is worshipped in the bindu, which is the central point of ri
Cakra. We will be worshipping tithinity devi-s while worshipping

eighth varaa. But, in navvaraa pj, they are worshipped in the
beginning itself.
It is also said that sisxteen devi-s of second varaa are descendents
of sixteen tithinity devi-s, who will be worshiped at the beginning
) to 28. We have to reach
62
of navvaraa pj. However, tithinity devi-s are not yogin-s,
whereas all varaa devi-s are yogin-s.
4. Apart from the above interpretation, these sixteen akti-s also
represent sixteen kal-s of moon and these sixteen kal-s are
represented by sixteen tithinity devi-s, as discussed above. Based on
this, nityakaldev is suffixed after their names (nitya also means
daily). However, names of the sixteen kal-s are different. These
sixteen kal-s of the moon are worshipped during vierghya pj.
5. In their individual capacities, these nityakaldev-s represent the
following sixteen attributes desire, intellect, ego, sound, touch,
form, taste, smell, thought processes, fortitude (mental courage),
recollections (memory), names and forms, source, the self within
(jvtman), eternity and the gross body.
In the first varaa, we worshipped 28 akti-s and in this varaa, we
have worshipped 16 akti-s. Thus, we have so far worshipped 43
akti-s in ri Cakra, who take care different aspects of sustenance of
the universe.
THIRD VARAA (Third enclosure)
We are now about to enter the third varaa, known as ttyvaraam
( ), which is also known as sarva sa kobhaa cakra (
). Sakobhaa means commotion and sarva
sakobhaa means all types of commotions. All types of mental
commotions originate from this varaa. This varaa has eight petal
lotus, known as aadala padma ( ). This varaa is presided
over by Tripurasundar Cakrevar (presiding deity of the first
varaa is Tripur Cakrevar, presiding deity of second varaa is
Tripure Cakrevar and the presiding deity of this varaa is
Tripurasundar Cakrevar. We have to note the minute difference in
their names.) Mahim Siddhi is the siddhi Devi; Sarvkari is the
mudra akti and Guptatarayogin is the Yogin. At the end of
worshipping these eight devi-s, above akti-s are worshipped and
63
after worshipping them, Lalit Mahtripurasundar Par Bhrik is
also worshipped in each of the varaa-s. Each varaa has one
specific mudra with which Parakti is worshipped and apart from the
specific mudra (in this varaa Sarvkari is the mudra), She is also
worshipped with yoni mudra at the end of each varaa. Before,
going into the details, let us worship these eight devi-s.
The peculiarity of these devi-s is that their names begin with anaga.
Anaga means bodiless. Worshipping varaa devi-s begin from
western side as against the eastern side of the second varaa. They
are worshipped clock wise, west, north, east, south, north west, north
east, south east and south west.
1. anaga kusum dev
2. anaga mekhal dev
3. anaga madan dev ;
4. anaga madantur dev
5. anaga rekh dev
6. anaga vegin dev
7. anaga agu dev
8. anaga mlin dev
All these devi-s represent Manmatha (Cupid) in some way or other.
Manmatha is also bodiless. These devi-s form flowers, girdle,
intoxication, addiction, silhouette, urge, goad and garland of
Manmatha. Apart from representing and acting on behalf of
Manmatha, they also cause certain subtle modification in the mind of
a human being and these modifications are explained as
psychophysical in nature. Psychophysical is explained as
quantitative relations between physical stimuli and their
psychological effects. It is a sort of body-mind combination.
There are different interpretations as to how they represent
psychophysical properties. According to one version they represent
64
prakti (primordial nature), mahat (mahat means great; according to

Skhya philosophy, mahat arises from the union of purua and
prakti; the Self within can be realized only due to mahat principle
and this depends upon mind), ego (non-essential ego),
pacatanmtra-s (sound, touch, sight, taste and smell), five principle
elements of the universe (ka, air, fire, water and earth), ten organs
of action and perception (karmendriya-s and jnendriya-s),
antakaraa (mind, intellect, consciousness and ego) and purua
(individual soul). Another interpretation is that these eight devi-s
represent expression, apprehension, movement, elimination, lust,
rejections, attention and detachment.
When we move towards ri Cakra, we shed those qualities
represented by different devi-s in different varaa-s and when we go
near the innermost triangle, we are completely purified, as we are
about to become one with iva and akti. When we move away from
ri Cakra, we attain these qualities and attributes one by one, so that
when we are born, our inner Self is completely covered by my. The
former journey is towards liberation and the latter journey is towards
creation.
FOURTH VARAA (Fourth enclosure)
We are now entering the fourth varaa, which is known as
turiyvaraa (fourth enclosure). This varaa is called as sarvasaubhgya-dyaka cakra (- - ). All types of prosperity
originate from this varaa. Sarva-saubhgya-dyaka means giver of
all kinds of prosperity, including both material and spiritual.

Presiding deity of this varaa is Tripuravsin cakrevar,
Sarvavaakar is the Mudrakti and Sapradyayogin is the
Yogin. At the end of this varaa, the above akt-s are worshipped.
. Lalit Mahtripurasundar Par Bhrik is also worshipped in each
of the varaa-s. Each varaa has one specific mudr with which
Parakti is worshipped and apart from the specific mudra, She is also
worshipped with yoni mudra at the end of each varaa. This varaa
is in the form of a triangle and there are 14 akti-s in this triangle.
65
This is the first triangle that we come across when we enter into ri
Cakra. ri Cakra has nine triangles like this and out of this nine, four
triangles are facing upwards and five triangles are facing downwards.
These nine triangles intersecting each other give rise six varaa-s
and 43 triangles. All these triangles represent Divine Procreative
energy. Four upward facing triangles are known as iva cakra-s
(triangles) and the five downward facing triangles are known as akti
cakra-s.
This varaa consists of 14 triangles. When we worship these devi-s,
we have to move in anticlockwise manner.
1. Sarvasakobhi akti
(at the end of the name, akti is to be added)
2. Sarvavidravi
3. Sarvkarii
4. Sarvhldin
5. Sarvasamohin
6. Sarvastabhin
7. Sarvajbhi
8. Sarvavaakar
9. Sarvarajan
10. Sarvonmdin
11. Sarvrthasdhin
12. Sarvasapattipra
13. Sarvamantramay
14. Sarvadvandvakayakar akti
Their worship begins from the East and proceeds in anticlockwise
manner. These fourteen akti-s are referred as the fourteen upper
worlds as mentioned in Brahmagytr mantra and these worlds are
Bh, Bhuva, Sva, Maha, Jana, Tapa and Satya. It is also said that
66
these fourteen akti-s represent fourteen important n-s (tubular
vessels) in our body and they are alabhu, kuh, vivodar*,
vra*, hastijihv, yaovati*, payasvin*, gndhr, p, akhin,
sarasvat*, i, pigal and suumna. These n-s help in excretion,
procreation, digestion, locomotion, hearing, vision, taste and of
course three divine n-s. i, pigal and suumna. However,
Yogacmai Upaniad (verses 18,19 and 20) talks about only ten
n-s (* represent those n-s not mentioned in the Upaniad).

There are other variations also.
The above 14 akti-s are in charge of fourteen qualities or attributes
such as mental agitation, chasing away (evil thoughts), attraction
(physical), causing happiness, delusion (my), obstruction (in the
path Self-realization), release (releasing obstructions in the path of
Self-realization), subjugation (surrendering to Her), rejoicing
(experiencing Bliss), maddening, accomplishment of desires (both
material and spiritual), providing wealth (material wealth), all
mantras (to conquer mind) and dispelling all types of dualities
(dispelling ). When this varaa is worshiped, She sends the right
Guru to the worshiper who will take him to higher spiritual levels. It
is also said that iva Himself appears as Guru in human form. This
also establishes the difference between Guru (imparts spiritual
knowledge, leading to Self-realization) and guru (who initiates into
mantras and teaches the aspirant about performing pj-s and other
rituals).
At the end of the fourth varaa, we have worshipped 66 akt-s.
(First varaa 28; second varaa 16; third varaa 8 and this (fourth)
varaa 14 totalling to 66).
FIFTH VARAA (Fifth enclosure)
We are now entering fifth varaa, which is known as pacamvaraa
(fifth enclosure). This varaa is called Sarvrthasdhakacakra
( ). Ten primary pra-s originate from this varaa and
each vital breath is represented by a akti. There are ten triangles in

this varaa and each triangle is presided over by a akti. Thus there
67
are ten akti-s in this enclosure. By worshipping the akti-s in this
varaa, Guru-disciple relationship is strengthened. Sarvrtha means
accomplishments of all our aims and objects of this life and in
particular, Self-realization and consequent liberation from the
process of transmigration. This varaa is presided over by Tripurr
Cakrevar and Sarvonmdin is the Mudrakti and Kulotrayogin
is the Yogin. She increases spiritual knowledge through strongly
bonding Guru-disciple relationship. After worshipping them at the
end of this varaa, Lalit Mahtripurasundar Par Bhrik is
worshipped with yonimudra.
This varaa consists of 10 triangles. When we worship these devi-s,
like in the previous varaa, we have to move in anticlockwise
manner. These devi-s also represent ten vital breaths - pra, apna,
vyna, udhna, samna, nga, krma, kkara, devatatta and
dhanajaya. Each of these pra-s occupy certain specific parts in a
human body. Pra in the chest; apna in the navel and is the cause
for procreation and excretion; vyna in nostrils, stomach and is the
cause for circulation of blood and lymph; udhna having its abode at
throat and circulates in arms and legs; samna causes digestive fire
(jahargni). These five are primary pra-s and the next five are
secondary pra-s and their functions are nga in vomiting; krma in

winking of eyes; hkara in digestion; devatatta in yawning and
sleeping; and dhanajaya is the cause for subtle sounds within the
body and this does not leave the body even after death; by continuing
to remain in the corpse, it makes the corpse to decay and at the time
of cremation, it escapes through the skull by breaking open the skull.
It continues to remain in the corpse that is buried and makes the
corpse to decay and finally escapes through the skull after a few days
in the same manner discussed above.
1. Sarvasiddhiprad dev
2. Sarvasapatprad dev
3. Sarvapriyakar dev
4. Sarvamagalakri dev
68
5. Sarvakmaprad dev
6. Sarvadukhavimocin dev
7. Sarvamtyupraaman dev
8. Sarvighnanivri dev
9. Sarvgasundar dev
10. Sarvasaubhgyadyin dev
Their worship begins from the eastern side and proceeds in
anticlockwise manner. The difference between the previous varaa
is that the former was gross in nature like material wealth, etc and this
varaa ias purely in subtle in nature and deals with invisibilities like
pra. Apart from controlling pra-s, these ten akti-s control the
following. They are bestowing everything, giving material wealth,
worthiness (both material and spiritual), fulfilment of all types of
desires, removal of sorrow and pain, removing all pains at the time of
death and foretelling death (Birth and death are always painful, hence
there is an urgent need to get liberated in this birth itself. It is said that
everyone knows very clearly, when the process of death is initiated
in his or her body. It is also said that process of death does not even
last for a few seconds.), removal of all obstructions both in spiritual
and material life, giving a good external appearance and good looks
and bestowing both material and spiritual prosperity. From this
varaa onwards, knowledge about iva is imparted gradually.
In order to merge with iva, to whom alone an individual soul can
merge to get total liberation, one has to have complete knowledge of
iva. iva here means Brahman. Such a soul merges with iva
(Brahman), to become one with Him. This can be done only by
Lalitmbik, as explained in Lalit Sahasranma 727, iva-jnapradyin.
{Further reading on iva-jna-pradyin: She imparts the
knowledge of iva, the Ultimate. iva jna (knowledge) means the
knowledge of the Brahman, which is also known as the Supreme
69
knowledge. To know iva, one should first know His akt, who
alone is capable of leading a person to the Brahman or iva.
Rmyaa says wind can be realized through movements, fire can

be realised through heat and iva can be realized only through akt.
It can also be said that iva is the source of knowledge for Her. It is
said akara caitanyam which means that iva is both jna and
kriy. He is the sovereign, pure free will in knowledge and action.
Based upon this principle, iva Stra-s opens by saying
caitanyamtm. Caitanyam means consciousness of the highest
purity and knowledge. There is no difference between Brahman and
the highest form of consciousness. But how akt alone is capable of
unravelling iva? This is answered by iva Stra (I.6) again which
says that by meditating on akt, the universe disappears as a separate
entity thereby unveiling Self illuminating iva. The process of such
happening is described in Spanda Krik (I.8) (another treatise of
Kashmiri Saivism) which says the empirical individual cannot ward
off the urge of desires. But entering the energetic circle of the Self
(iva), he becomes equal to that Self. The seeker of iva becomes
iva himself. This is known as iva jna and She imparts this kind
of Supreme knowledge. It is also said that iva cannot be attained
without first realising akt. She alone can lead one to iva. iva is
inaccessible directly. Unless She chooses to impart the required
Supreme knowledge, none can realise iva. Hence, She is called
iva-jna-pradyin.}
SIXTH VARAA (Sixth enclosure)
We are now entering the sixth varaa (ahvaraa), which is

known as Sarvarakkaracakra ( ). This varaa has ten
triangles and each triangle is presided over by a akti. On the subtle
side, sarvarakkara means protection from the spiritual stage
attained. Guru-disciple relationship that was strengthened in the
previous varaa leads to destruction of duality in this varaa, which
ultimately leads to liberation. On the grosser side, these ten akti-s
represent ten digestive fires. Ten pra-s of the fifth varaa, now
transforms into ten digestive fires (ten aspects of digestion,
70
absorption and excretion). This varaa is presided over by
Tripuramlin Cakrevar. Sarvamahku is the Mudrakti and
Nigarbhayogin is the Yogin. In this varaa also, worship is to be
done in anticlockwise manner. Now, let us worship these ten akti-s.
1. Sarvajdev
2. Sarvaaktidev
3. Sarvaivaryapraddev
4. Sarvajnamaydev ;
5. Sarvavydhivinindev
6. Sarvthrasvarpdev
7. Sarvappahardev
8. Sarvnandamaydevi
9. Sarvaraksvarpidev
10. Sarvepsitaphalapraddev
Like other varaa-s, we proceed from the Eastern side in

anticlockwise manner. If we look at devi-s in various varaa-s, we
can understand that their activities become more subtle as we proceed
towards the central triangle. An aspirant who has reached this stage
is further fine tuned to make him eligible to attain Her. However, he
has to be still more perfected to merge into the Praka form iva.
iva is worshipped in the bindu, the central point of ri Cakra.
Creation begins from Him and leads to the immediate next triangle,
the innermost triangle of ri Cakra. The three angles of the innermost
triangle represent icch, jna and kriya akti-s.
Let us find out how these akti-s cleanse the aspirant. First devi gives
him all the requisite knowledge so that he is completely freed from
my. In this stage, the aspirant begins to realize I am That. This
devi imparts this knowledge by saying, You are That. Second devi
gives him necessary spiritual energy to transform into a yog, in
whom the union between the individual soul and Brahman takes
71
place. A yog is the one, whose individual consciousness is yoked
with Supreme Consciousness. Third devi assists him in attaining
mastery over all types of knowledge that leads him to realization.
Fourth devi ensures that such knowledge stays with him. During
spiritual practices, one will not pay attention to his or her physical
body. Due to lack of physical activities, he is bound to have some
disease or other (in modern times it is about diabetes and heart

ailments). He has no time or inclination to take care of his body.
Instead, fifth devi takes care of his body and frees him from all types
of diseases (it can be observed that those who are at highest spiritual
level have paunch. This is the reason why many ancient sages have
been depicted with big bellies). Sixth devi supports all his or her
spiritual practices (please recall Lalit Sahasranma 659 sarvdhra.
Every devi in ri Cakra is connected to any one of the nma-s of
Sahasranma). When one attains liberation, even the traces of karmic
imprints have to be removed. Seventh devi does this. Parakti is an
embodiment of purity. In order to go anywhere near Her, one has to
be purified. This purification process is related to mind. When one is
able to reach this varaa, it means that he has almost disowned his
body. This concept is not applicable to navvaraa pj, which is
done externally. What is being discussed here is related to
Bhvanopaniat (mental worship; bhvana means contemplation).
(There is a reference about physical and mental worship. A king built
a temple and fixed a date for its consecration. He prayed to iva that
He should be present personally during consecration rituals. But iva
refused and said that He has already accepted invitation from
someone else, who is also building a temple very close to kings
temple and the consecration is fixed and both these dates coincided.
King was surprised and asked his men to find out this temple. His
men could not find any temple nearby. King was surprised and
requested iva to show him the temple so that he can be present to

attend the consecration function. iva told him the place and asked
the king to go to that place only the next day, the day fixed for
consecration. King went to that place and he did not find any temple.
But there was a hut in that place and in front of the hut, there was a
72
man in rags who was bursting with emotions with tears rolling down
his eyes. King called him and without opening his eyes he told the
king not to disturb him as he was performing consecration of his
temple. Now king understood why iva did not accept kings
invitation and gladly accepted the poor mans invitation. This story
highlights the power of mental worship.)
Eighth devi causes Bliss. When the mind sheds all types of thought
processes, mind becomes pure. In a completely purified mind, all
types of dualities are annihilated. When the mind is pure, one
experiences Bliss. This stage cannot be explained that easily. This
Bliss is to be experienced. For no reason, one becomes emotional and
enters into the state of Bliss. The only external symptom of Bliss is
tears rolling down. Ninth devi protects this yog completely (this is
the stage where one cannot fall from his spiritual level attained; there
are many instances where one falls from his hard earned spiritual
level. If one falls from his spiritual level, it is virtually impossible to
get back to his original spiritual level. Therefore one has to be
extremely cautious while pursuing spiritual path). Tenth devi grants

his two wishes of falling at Her lotus feet first and later getting
liberated. This devi approves him to go to the next varaa.
SEVENTH VARAA (Seventh enclosure)
We are now about to enter the seventh varaa or saptamvaraa
(sapta means seven; please recall saptamat-s), which is known as
sarvarogaharacakra ( ). This varaa has eight triangles
and each triangle is presided over by a vgdev. This varaa is
presided over by Tripursiddh Cakrevar. Sarvakear is the
Mudrakti and Rahasyayogin is the Yogin. These eight vgdev-s
composed Lalit Sahasranma. While reciting Lalit Sahasranma,
they are worshipped as i-s (in ydi nysa they are worshipped
as vainydi vgdevat aya ). They
composed Lalit Sahasranma and made its maiden rendition*. On
the subtler side, they preside over all the 51 Sanskrit alphabets and
hence they are known as vgdev-s (this can also be written as
73
vcdev-s). Vc means to express, to speak, etc. Without sound, we
cannot understand anything. Parakti has given them powers to
administer everything related to alphabets. These eight vcdev-s
have attained complete mastery over language. But for their mastery,
Lalit Sahasranma, an amazing masterpiece, would not have come
into existence. Like primeval stage of vc**, they work on the
subtleties of human mind such as spiritual ignorance, mind, intellect
and ego. Subtleties of mind need thorough transformation in order to

understand the teachings of Guru, tat tva asi (You are That).
When Guru teaches the concept of tat tva asi, the student should
affirm aha brahma asi (I am That). Merely making a statement
saying that I am Brahman is not realization. Brahman is to be
experienced through Bliss. These eight devi-s do this subtle work for
those who are eligible to have this Supreme Knowledge. Mental
afflictions are called roga (sickness) and as these eight vcdev-s
remove mental sickness. This varaa is known as
sarvarogaharacakra, where sarva mens all; roga means sickness and
hara means destroying. Now, let us get to know these eight vcdevs. As in other varaa-s, they are also worshipped in anticlockwise
manner.
1. Vain vgdev
2. Kmevar vgdev
3. Modin vgdev
4. Vimal vgdev
5. Aru vgdev
6. Jaini vgdev
7. Sarvevar vgdev
8. Kaulin vgdev
Apart from what is explained above, these eight vcdev-s also
represent puryaaka*** which consists of the following eight - 1)
five organs of action (karmendriya-s), 2) five organs of senses

(jnaendriya-s), 3) antakaraa (four in numbers - manas, buddhi,
74
cittam and ahakra or ego), 4) five pra-s (pra, apa, etc), 5)
five elements (ka, air, etc) 6) desire, 7) ignorance and 8) karma.
With this varaa, worshipping of secondary deities in ri Cakra gets
completed. Including this varaa, we have so far worshipped 94
akti-s. However, fifteen tithi nity devi-s are worshipped outside the
innermost triangle, which is being discussed subsequently.
Guru Maala
IMAGE 3
Below Aru vgdev (image 3 above), three lines can be noticed
(indicated by an arrow mark). This is called Guru Maala, where
Guru-s reside. There are four types of Guru-s. First is Paraguru, who
is the first Guru or di Guru. di Guru is Mahkmevara. It is He,
who has initiated Mahkmevar into r Vidy. Thus iva becomes
the first Guru and the first disciple of r Vidy lineage is Parakti.
Therefore di Guru Mahkmevara and His disciple
Mahkmevar are worshipped in the inner most triangle and the
bindu within. If we look at the image 3, above the flat end of the
innermost triangle and below the triangle where Aru vgdevi
resides, there are three horizontal parallel lines. This is the place our
Guru-s live. There are three types of Guru-s in r Vidy cult. Ones
own Guru is known as svaguru. He is the one who initiates the
75
aspirant into r Vidy cult. He is often called Guruji!! He should be
a Self-realized person iand should be capable of taking the aspirant
beyond my. A true Guru is the one who carefully follows up with
those who are initiated and takes them to successive higher stages, till
Parakti is realized. His job does not end here. After making the
aspirant to realize Parakti, he has to make the aspirant realize iva.
A Guru has to tirelessly work hard with his students, till they are able
to evolve themselves. Only this type of Guru is considered on par
with Parakti and not those who merely initiate his disciples. If the
second type of guru is considered on par with Parakti, both the guru
and his students accrue huge amount of insurmountable karma. This
is to be always kept in mind before getting initiated into r Vidy
cult. Lalit Sahasranma 713**** says that Lalitmbik Herself is in
the form of Guru Maala.
{*Further reading: This scene takes us back to the situation at the time
of first appearance of this Sahasranma. All gods and goddesses are
seated in Lalitmbik-s royal court. Sapta (seven) rii-s, other rii-s,
eighteen siddha-s and other saints are also seated. The seating
arrangement was as per the protocol. There is a huge throne made
out of gold and the best of precious stones. Suddenly, there was a
divine fragrance that spread throughout the royal court and the whole
area was filled with radiating red light. Lalitmbik entered the court
along with Her assistants. All those seated got up and paid their
obeisance to Her. Her form is described in dhyna verses. She had
earlier summoned Her eight Vc Devi-s and spoke to them thus: The
eight of you got the power of your vc (mastery of speech) through
my blessings. You are appointed to provide the power of vc to my
devotees. You are aware of the secrets of my r Cakra. You
perpetually chant my name with great devotion. Therefore, I
command you to script a verse about me consisting of 1000 nma-s.
When my devotees recite this verse, I should derive immense
satisfaction. The verse should have my name as its cachet. She
emphasized three points for composing the verse. First, it should
have 1000 nma-s; second, the verse should have Her name
embossed; third, She should be gratified when Her devotees recite the
76
verse. Bearing Her command in mind, Vc Devi-s composed such a
verse and were ready for the recitation. When Lalitmbik nodded
Her head, Vc Devi-s commenced their recitation and Lalit
Sahasranma was declared to the universe. She expressed Her
immense happiness by nodding Her head often and smiling
frequently while attentively listening to their rendition. She also
encouraged the Vc Devi-s by saying good and excellent.}
** Please refer Lalit Sahasranma 366 to 371.
*** {Further reading on puryaaka: (as told by sage Vsiha to Lord
Rama in Yoga-vsiha - VI.5). Brahman who is without beginning
or end and which is the seed of the universe, becoming differentiated

is jva (soul); subjecting itself to the idea of separateness, it becomes
ahakra (ego) with manana (contemplation), it becomes manas
(mind); with the certainty of intelligence, it becomes buddhi
(intellect); then the five elements (sound, etc) through indriy-s
(sensory organs). With the thought of the body, it becomes the body
itself; with the thought of a vessel, it becomes the vessel. A form
(subtle body), having such a nature is called puryaaka body or eight
constituents of the body. The eight constituents are mind, ego,
intellect, sound, touch, sight, taste and smell, the last five together
known as tanmtra-s.}
****Further reading: Lalit Sahasranma 713 is Guru-maalarpi and is explained thus:
This nma subtly conveys that the meaning and interpretation of
kmakal should be learnt only from a Guru as this has intrinsic and
subtle meaning. Most of these interpretations have already been dealt
with elaborately. Guru maala means lineages of Guru-s. r Vidy
attaches great importance to Guru and his lineage. Whatever Guru
says should be final. Lineage of Guru is stressed because, rituals and
certain procedures differ from maala to maala (maala here
means group) and each maala follows different customs and
practices. Each r Vidy student will have three categories of Gurus
- Guru, Paramaguru (Gurus Guru) and Paramehiguru
77
(Paramagurus Guru). During navvaraa pja, all these Guru-s are

worshipped along with many other Guru-s. This nma says that She
is in the form of Guru maala. There is no difference between Guru
and Lalitmbik, hence this nma. The first Guru or di Guru is iva.
Guru is also worshipped in sahasrra, where She conjoins iva.
Primarily there are three types of Guru Lineages. They are for
kdividhy upsaka-s and hdividhy upsaka-s who are initiated
into Pacada mantras. Separate Guru Lineage exists for oa
upsaka-s. Upsaka-s mean worshippers. What is described here is
the one that belongs to oa upsaka-s. There are three types of
Guru-s in each of these lineages. They are Divyaguru-s, Siddhagurus and Mnavaguru-s. Let us now understand them. Each mnya
(sacred tradition comprising of papritcular assemblage of gods) has
one principle Guru. He is the one who had laid down the methods of
worship in that particular mnya. mnya means sacred tradition*.
Number of Guru-s under each group differs from tradition to tradition
and similarly, the names of Guru-s also differ. Ones Guru is
worshiped in the lower most line, marked as 6. Gurus Guru, known
as Paramaguru is worshiped in the middle line marked as 5 and
Paramagurus Guru is known as Paramehi Guru and he is
worshipped in the top line, marked as 4.** Paramehi means
supreme. In other words, Guru would have been initiated by his Guru
(who is Paramaguru for us) and Paramaguru would have been
initiated by Paramagurus Guru (who is Paramehi Guru for us).
Tradition followed in this article is as per Paraurma kalpa stra, the

best authentic version of r Vidy upsaa.
**There are variations about where to worship these three types of
Guru-s. The right method would be to worship divyaguru-s in 6, as
they are very close to Parakti. Siddhaguru-s should be worshipped
in 5 and Mnavaguru-s should be worshiped in 4, away from
Parakti, which means they have to intensify Her contemplation still
further.
If we look at the image (detailed image available in the second
section), we can find three lines marked 4, 5 and 6. In 4 our
78
Paramehi Guru is worshiped along with five other divyaguru-s.
Nine Divyaguru-s are (from 1 to 5): The following Guru Maala is
for oa upsaka-s.
1. Vyomttmb
2. Vyomeyamb
3. Vyomagmb
4. Vyomacriyamb
5. Vyomasthmb
In 5 our Paramaguru is worshiped along with nine Siddhaguru-s and
they are (from 1 to 9)
1. Unmanka nandantha
(In subsequent eight names, nandantha () is to be added
next to their names.)

2. Samanka
3. Vypaka
4. aktyka
5. Dhvanyka
6. Dhvanimtr
7. Anhatka
8. Bindvka
9. Indrka
In 6 our Guru (the one who has initiated into r Vidy cult, is
worshiped along with nine mnavaguru-s and they are (from 1 to 9)
1. Paramtma nandntha
(In subsequent eight names, nandantha () is to be added
next to their names)
79
2. mbhava 3. Cinmudra
4. Vgbhava 5. Ll
6. Sambhrma 7. Cida
8. Prasanna 9. Vivnandantha
A Guru, either at the time of initiation or during prbhieka confers
a dk name to the aspirant. Method of initiation is purely Gurus
choice. He can initiate either through one of the normal procedures
(verbally, etc) or by performing prbhieka. Mostly, normal
initiation is done first and depending upon the progress of the disciple
prbhieka is done subsequently and at that time dk name is

given to him. Such dk names should be used only during Gurus
presence or among the disciples of the same Guru. This name should
not be used in public except in the case of sanysin-s. The dk
name given by a Guru will also end with nandantha. Sometimes,
deika and bhaaraka are used instead of nandantha (technically it
is only ntha). For sanysin-s, it woul only be nanda. Sanysins are those who become eligible under the pacopaniads or five
Upaniad-s (nirvoupaiad, kuikopaniad, bhikuikopaniad,
avadhutopaniad and paramahasaparivrjakoupaniad) which
speaks about sanysin-s.
Before worshipping Guru Maala, the three sides of innermost
triangle and the bindu within the triangle are worshipped. Triangle
represents Parakti and the bindu represents iva. Innermost triangle
has three sides, left, right and top. Inside the triangle, there is a bindu.
It is Mahkmevara (Paramaiva), who initiated Mahkmevar
during Kita yuga (consisting or 1,728,000 years). This is the first of
four yuga-s. In r Vidy cult, Mahkmevara who initiated
Mahkmevar is known as Carynandantha (carya means to be
practiced or to be performed, signifying the importance of sdhana).
Carynandantha is also known by other names such as
Vidynandantha and Paramaivnandantha. After having initiated
Mahkmevar in Kita yuga, Mahkmevara initiated
80
Unandantha in Tret yuga (1,296,000 human years),

ahnandanta in Dvpara yuga (864,000 human years) and
Mitrenandantha in the present Yuga (Kali yuga comprising of
432,000 human years; 2013-14 is 5115th year of Kali yuga). Thus,
Mahkmevara is worshiped in the bindu and the three Gurus who
were initiated directly by Paramaiva along with three other Gurus
are worshipped in the three sides of the innermost triangle.
Mahkmevara (Paramaiva) is worshipped in the bindu with this
mantra:

om ai hr r ai hr r ai kl sau ai glau hskhphre
hasakamalavaray hsau sahakamalavaray shau
rvidynandanthtmaka carynandantha r
mahpdukk pjaymi ||
The Gurus who are initiated by Paramaiva
are worshiped on the three sides of the
innermost triangle.
On the top of the triangle, following Gurus are
worshiped.
IMAGE 4
1. Uanandantha
2. Praknandantha
3. Vimarnandantha
4. nandanandantha
On the right side of the triangle (on the right of the practitioner),
following Gurus are worshipped.
1. anandantha
81
2. Jnnandantha
3. Satynandantha
4. Prnandantha
On the left side of the triangle (on the left side of the practitioner)
following Gurus are worshiped.
1. Mitrenandantha
2. Svabhvnandantha
3. Pratbhnandantha
4. Subhagnandantha
In general, in r Vidy cult, great importance is attached to Guru and
Guru Maala. It is also said that Paramaiva not only initiated Gurus
into r Vidy, but also imparted tmavidy (tat tvaasi or you are
That, where That stands for Brahman).
At the time of initiation, Guru apart from initiating a mantra, also
gives Gurupduk mantra. Gurupduk mantra is given for the Guru
who initiates, Gurus Guru (Paramaguru for the one who is being
initiated and Paramagurus Guru (Paramehi Guru for the one who
is being initiated). During this process, dk names of all the three
Gurus are revealed to the disciple. There are three types of mantras
for Guru, Paramaguru and Paramehi Guru. A disciple has to pay his
respect to his Guru by using mgmudra (mg means female deer, a
doe).
Further reading on mnya-s:
Sacred traditions or doctrines are known as mnya-s and they are the
paths to liberation. The significant aspect of mnya-s is that they are
communicated only through words. This means that mnya-s should
be known only through a Guru. Commonly known mnya-s are five,
corresponding to the five faces of iva. Knowing and
82
following mnya-s are the right path to liberation. mnya means
sacred tradition or Tantra.
Lord iva has five faces, four faces facing the four cardinals (East,
South, West and North) and one face facing upwards and each of His
face represents one mnya. Thus His face facing east represents
Prvmnya; south represents Dakimnya; west represents
Pacimmnya and north represents Uttarmnya. These are His four
faces facing four cardinal directions. His fifth face is facing upwards
(ka) and this is known as rdhvmnya. There is one more
mnya by name mnya, which is not commonly known. This face
of iva looks down. Some texts call sixth mnya as Anuttarmnya.
Anuttara means the Highest, referring to Paramaiva, who is beyond
normal human comprehension. With reference to r Vidy, those

who are initiated into Pacda mantra follow only four mnya-s and
those who are initiated into oa follow six mnya-s, the
additional two being Uttarmnya and Anuttarmnya.
Prvmnya represents creation. It also reveals the path of mantra by
which He can be attained. Dakimnya represents sustenance and
represents the path of devotion, by which He can be attained.
Pacimmnya represents destruction (destruction should be taken to
mean destruction of dualities, which alone can lead to realization) and
represents Law of Karma, by which He can be attained. Uttarmnya
represents His Grace (anugraha) and represents the path of pure
knowledge, by which He can be attained. rdhvmnya represents
His face facing upwards, which representsiva Himself in His
Absolute form. This is the direct form of iva Himself. This mnya
is considered to be highly secretive in nature, as it reveals the true
form of iva. In each of these four faces, He reveals a group of
goddesses. iva can be realized by worshipping them and reciting
their mantras. These goddesses, when worshipped properly reveal
iva and akti. However, for liberation, ivas Grace is important.
For the purpose of liberation, it is enough that any one of these
four mnya-s are followed with discipline and sincerity. If one
happens to know all the four mnya-s, he becomes iva. But, with
83
regard to rdhvmnya, there are restrictions, as this is a direct path
to become iva Himself. Even thinking about rdhvmnya happens,

only if it is his last birth. This means, practicing rdhvmnya is
possible only if ones karmic account is on the verge of
extermination; this is a situation where only traces of his or her
karmic imprints remain. The only condition is that rdhvmnya
should be learnt from a Self-realized Guru. Mere initiation into
rdhvmnya by a Guru, leads to liberation. The practitioner
becomes blessed and the place he lives is showered with prosperity.
Unlike other mnya-s rdhvmnya does not have any specific
goddesses or mantras. The presiding God for rdhvmnya is iva
and the mantra is ones own breath; observing ones breathing. The
mantra that needs to be recited along with breath is hamsa,
where ha stands for iva and sa stands for akti. (The subtle meaning
of hamsa is I am both iva and akti where the middle m refers to
aham or I am). hamsa is not a mantra, it is the subtle sound of
breath during exhalation and inhalation. Both iva and akti join
together to form the universe. hamasa mantra does not confine
itself only iva but also includes akti. Without Her, creation is not
possible for iva. Ha is to be synchronised with exhalation and sa is
synchronised with inhalation. The first four mnya-s represent four
Vedas; rdhvmnya represents Upaniad-s;mnya represents
essence of teaching Upaniad-s I am That. Thus from the
six mnya-s, all the mantras originate. Each mnya is presided over
by a Deity and a i (sage).

TITHI NITY DEV-S
Before we proceed to eighth varaa, we should know about tithi
nity dev-s as they are worshipped in the outer side of the innermost
triangle. Before entering into eighth varaa we will be worshiping
Her four weaponries placed outside the innermost triangle. This will
be discussed in the next part.
Tithi nity dev-s represent fifteen digits of the moon and each digit
is known as tithi or lunar day. There are fifteen tithi-s or lunar days
84
and each tithi is represented by a nity dev and hence they are known
as tithi nity dev-s. Pacada has fifteen letters and each of these
letters represent one kal (digit) of the moon. But, kal also means
sixteenth part (1/16). But we have only fifteen letters in Pacada
mantra. The sixteenth kal is oa bja r (), which is hidden
and always remains subtle. As there are only fifteen tithi nity devs, how to worship the sixteenth oa kal? Answer to this question
is considered as secret, as the answer reveals Mahkmevar.
Sixteenth kal is worshiped in the bindu, the place of iva. But in the
bindu, iva is not worshiped while worshipping tithi nity dev-s, but
Mahkmevar is worshiped. This also subtly conveys the union of
iva and akti. Though there is no separate procedure for oa
upsaka-s (those who are initiated into oa), when Mahkmevar
is worshipped in the bindu, the above aspect is to be contemplated. It
would be ideal to worship Mahnity (Mahkmevar) in the bindu

with oa mantra for the sixteenth kal, though it is not explicitly
mentioned; but it is implied. Texts say that while worshipping
Mahnity, Pacada mantra should be encased (sampukaraa)
between two a (). Each nity dev represents fifteen vowels from
a to a ( to ). But, those who are initiated into oa should use
oa mantra, instead of Pacada mantra.
It is also said that during uklapaka (waxing moon), tithi nity devs should be worshiped from 1 to 16 (anticlockwise) as shown in the
image (image available in the second section). But during kapaka
(waning moon), they should be worshiped in clock wise manner, i.e.
from 16 to 1. However, one has to follow what his or her Guru says.
In r Vidy worship, one has to meticulously follow what his or
Guru says and there should be no deviation from his instructions, as
he follows the traditions of his Guru and Paramaguru. But, it should
always be remembered that he should be a Guru, who has attained
mastery over the various types of worshiping ri Cakra and should
remain with Parakti all the time. Each tithi nity dev have their
own yantra-s and mantra-s. They have their own mlamantra-s,
varaa pj-s, etc. The innermost triangle is formed by the first,
second and sixth tithi nity dev-s, viz. Kmevar, Vajrevari and
85
Bhagamlin, each representing one corner of the triangle. Though as
tithi nity dev-s, they do not hold the innermost triangle, they hold
this triangle as three devi-s representing three gua-s. This will be
discussed in the next varaa, viz. eighth varaa. In fact, the
innermost triangle is held by them. However, there are other views
on this, which says that Lalitmbik, Kmevar nity and
Bhagamlin nity hold the innermost triangle. But this argument
cannot be accepted. When Lalitmbik is seated on the lap of iva,
obviously, She cannot be holding this triangle. Further, She cannot be
compared to other nity dev-s, who function under Her.
Following are the tithi nity dev-s and their abode is marked as 1 to
15 in the image and mentioned in anticlockwise manner. Worship of
tithi nity dev-s begin with the worship of Mahnity, Lalitmbik.
She is worshipped like this in the bindu, three times using the
following mantra.
Om ai hr r a ( )
followed by the initiated mlamantra
(either Pacada or oa) and at the end
of mlamantra alphabet a () is recited
followed by Lalit Mahtripurasundar
Par Bhrik pjaymi (tarpaymi)
nama. Tarpaymi is included only while
IMAGE 5
performing navvaraa pj.
1. Kmevarinity (nity is to be suffixed to all the
names)
2. Bhagamlini 3. Nityaklinn
4. Bherun
5. Vahnivsini
6. Mahvajrevar
7. ivadt
8. Tvarit
86
9. Kulasundar
10. Nity
11. Nlapatk
12. Vijay
13. Sarvamagal
14. Jvlmlin
15. Citr
Finally Mahtripurasundar Par Bhrik preceded by initiated
mlamantra in the bindu. She is known as Mahnity.
Fifteenth tithi is either full moon or new moon and hence She is
worshiped on these days. It is also said that on full moon day, She is
in the form of Pacada mantra and on the new moon day, She is in
the form of oa mantra. There is a reason for this, which is also
considered as highly secretive. During new moon day, both sun and
moon come together signifying the union of iva and akti, which is
explained in Lalit Sahasranma 999 iva-akty-aikya-rpi. Based

on this principle, it is said that oa surely gives liberation. Though,
She is the cause for liberation, merger of the individual soul with the
Self happens only with iva. For the same reason, She is addressed
as is iva jna pradyin in Lalit Sahasranma 727. Merger with
iva can happen only if She is fully realized. That is why, the knower,
the path of knowing and the known should become one during
contemplation. Liberation is possible only if She fully pervades our
mind. Unless we become one with Parakti, obviously, when She
unites with iva, merger of our individual soul cannot merge with
iva. Sixteenth kal is invisible and immortal. There is a reference to
this in Bhadrayaka Upaniad (I.v.14). The Upaniad says, Nights
and days are his (Hirayagarbha*) fifteen digits and the constant one
is His sixteenth digit. .....Through this sixteenth digit, he permeates
all these living beings on the new moon night.... It is also important
to note that iva too has sixteen kal-s and it is said that ivas lunar
and solar aspects culminate.
87
This is the reason, why oa is considered as the most powerful
mantra and should not be initiated to those who are not worthy of it.
A Guru takes extraordinary care before initiating someone into
oa. Literally, Guru is paving way for the liberation of his disciple
when he initiates him or her into oa. It is often believed that a
Guru does not initiate a person into oa without Her approval.
Many of these tithi nity dev-s are referred in Lalit Sahasranma.

*Hirayagarbha: Vednta Paribhs a 17th century scripture explains
hirayagarbha. It says Hirayagarbha is the first soul to be born and
is different from Brahm, Viu and iva. The subtle body
consisting of the five vital forces, the mind, the intellect and the ten
organs is produced from the five basic elements. This paves the way
for the soul to experience the result of actions or in other words it
causes karma-s. The subtle body is of two kinds, superior and inferior.
The superior one is the subtle body of hirayagarbha and the inferior
is the subtle body of living beings. The subtle body of hirayagarbha
is called as mahat or the cosmic intellect and the subtle body of living
beings is called ego.
WEAPONRIES
We are about to enter the eighth varaa, which is the innermost
triangle. Within this triangle is the bindu. Tithi nity dev-s were
worshipped outside this triangle. Guru Maala was worshiped above
this triangle. This is the triangle from which, the entire universe was
born. Eighth varaa or aamvaraa is known as Sarvasiddhiprad,
which bestows all attainments, leading to a completely transformed
stage from mundane consciousness to the highest level of spiritual
attainment. This is the stage where one can experiences the highest
level of Bliss. This varaa is presided over by
Tripurbcakrevar. Sarvabja is the Mudrakti and
Atirahasyayogin (atirahasya means highly secretive) is the Yogin.

There are only three Devi-s in this varaa. Before worshipping them,
we need to worship Lalitmbiks weaponries, which are placed
outside this triangle. These weaponries are marked as A, B, C and D
88
in the imag (available in the second section). It is very important to
note that both Mahkmevara and Mahkmevar have the same
weaponries. Both of them have arrows, bows, nooses (pa) and
hooks (akua). Now a doubt could arise in our minds, whether they
hold these weaponries jointly or individually. This doubt arises
because the mantras mention both of them. For example, let us take
the mantra for bows which goes like this.
kmevar kmevara dhanurbhy nama| dhanuakti pjaymi ||

This means that we worship the bows of both Kmevar and
Kmevara, as usage of dhanurbhy signifies two and not one. In
reality, both of them are not different. They are the same. What
Kmevar holds is nothing but the mirror image of the weaponries,
which Kmevara hold. This subtly conveys that our inherent my
has not yet been annihilated, even at this point of time. Why our my
has not yet been annihilated, though we are very close to the
innermost triangle? My can be annihilated only if we realize and
merge into Her. This has not yet happened as we are still outside the
innermost triangle. Unless we enter into the innermost triangle
(innermost triangle is the place where our merger with Her takes
place), our inherent my will continue to be present. Though major
portion of my has been annihilated, still traces continue to remain
even at this stage. We must always bear in mind that Parakti is
svtantrya akti of iva and is in no way different from Him. Both of
them are single entity and not two separate entities. It is due to my
or delusion that they appear as different to our mind. These details
have been elaborately dealt with in differnt articles. We now proceed
to worship their weaponries.
A is their ba, which means arrow. Both of them have five arrows.
These five arrows imply pacatanmtra-s (sound, touch, sight, taste
and smell). This is explained in Lalit Sahasranma 11,
Pacatanmtra-syak.
89
B is their bow. This bow is made up of sugar cane. Lalit
Sahasranma 10 calls this bow as koda (Manorpeku-koda).
This bow implies the mind. Mind involves both sakalpa and
vikalpa. Sakalpa means resolve, process of thought. Vikalpa
means difference of perception. Both are opposite to each other.
Mind is also subtle, like knowledge. Mind is reflected through the
five sensory organs. It has both sakalpa and vikalpa qualities, as it
acts through the impressions received from sense organs that get fine
tuned in the form of thought and finally explode in the form of
actions. Manorpeku-koda can also be explained as Her mind,

which is ever sweet like sugarcane.
C is pa, the noose. Lalit Sahasranma 8 (Rgasvarpa-phy)
speaks about this pa. She pulls all the desires of Her devotees using
this noose, which represents icc akti, the
desire. When a devotee reaches this stage, She
annihilates all his desires by using this noose
and transforms him into absolute purity. This
transformation happens because in the next
stage he is going to merge with Her, by
entering into the innermost triangle.
D is hood or akua and this is explained in
Lalit Sahasranma 9
IMAGE 6
(Krodhkrakuojval). A hook is a weapon to control elephants.
Mind by nature, always leans towards sensory organs. By using this
akua, She ensures that the devotee gets himself detached from all
types of sensory excesses.
After worshipping these weaponries, we are freed not only from the
afflictions of the mind, such as desire, attachment, ego, sensory
pleasures, but also relieved from my to a very great extent. All
types of delusions get annihilated, just before we enter into the inner
most triangle, yet the traces remain. Parakti is the embodiment of
purity and before we merge into Her, all our impurities are
annihilated. These impurities will not rear their heads again, because
She showers Her Grace on us during this time. This stage can be
90
attained only if our karmic account permits. All our karmas should
have been experienced and we should have surrendered to Her much
before entering into the first varaa of ri Cakra, which is not merely
a yantra. Ultimate goal of reaching Her is often not achieved as we
merely consider ri Cakra as an yantra. It is the point of origin of the
universe. The innermost triangle and the bindu within is the point of
origin and the manifestation of the universe is complete before the
entry into ri Nagara (not ri Cakra), which has been discussed in the
beginning. Therefore, when navvaraa pja is performed, one has to
mentally stay connected with Her. This is also the reason for
performing navvaraa pja in as much privacy as possible. This
concept is explained in Lalit Sahasranma 871 (Bahirmukhasudurlabh - She is very difficult to attain for those who are not able
to look within. Mind is the prime factor to look within. Unless senses
are controlled, it is difficult to control the mind. This nma says that
She cannot be attained only by external means.)
EIGHTH VARAA (Eigth enclosure)
After being purified, we are ready to enter into the eighth varaa.
This is the innermost triangle, from where the universe was born and
into which the universe will merge at the time of annihilation. There
is a veil in the centre of the triangle. This veil is called tiraskarai,
which means a veil. This is the veil of mahmya (the Divine Power
of illusion). This veil can be removed only by the three Devi-s
protecting the three corners of this triangle and that too, only on Her
command.
These Devi-s are marked as1, 2 and 3 in the innermost triangle. These
Devi-s alone are capable of conferring mantra siddhi. These three
Devi-s are the cause for trikhaa mudra, which can be used only by
those who are initiated into oa. These three Devi-s are also
worshiped in anticlockwise manner, beginning from east, proceeding
to South and then to North.
1 represents Mah Kmevar (not Parakti; Mah and Kmevar
are two separate words here) and she protects the eastern corner, the
91
point of triangle facing down. She represents fire, Divine creative
aspect (power of Brahm), Divine energy that permeates the universe
and individual self (jvtman or individual soul). She also represents
icch akti. (Lalit Sahasranma 658, Icchakti-jnaaktikriyakti-svarpi). She also represents kmagiripha.
2 represents Mah Vajrevar and she represents the sun, antartman
(antartman means internal feelings of the mind; possibly, this could
mean ones karmic account), jnaakti and the power of Viu, the
Divine aspect of sustenance. She also represents prnagiripha.
3 represents Mah Bagamlin and she represents destruction,
annihilation, kriyakti, presence of the Self within the individual
self, also known as Paramtma (Paramtman means the Supreme

Spirit, yet not the Self or Brahman. Brahman, also known as the Self
is Paramaiva, with whom we are going to merge in the next varaa).
She also represents jlandharapha. (There are different opinions
about jlandharapha and prnagiripha and are often interchanged.)
All the three Devi-s are now satisfied with our spiritual attainment
and they remove the veil of tiraskarai and we now become
speechless as we are seeing Lalit Mahtripurasundar Par Bhrik
with our biological eyes. She is not seated in the bindu as we were
thinking all these days. She is seated quite a distance away from the
Bindu towards West. Bindu also remains veiled. Bindu is the seat of
iva. We are awe struck. We become totally immobile for several
moments till She calls us by our names. She is fully aware of our past,
present and future. We are not able to speak. We forget all the
mantras, hymns and verses that we have been practicing till now. We
fall flat before Her and by touching Her pinkish feet, we reach the
Supreme stage of Bliss. Our individual consciousness is now totally
lost. We forget ourselves. We are literally unconscious now. We need
nothing now. We have attained the goal of our lives. She calls us by
names and makes us to sit on Her lap. We now understand that ivas
lap is meant for Her and Her lap is meant for us. She looks into our
eyes with compassion and love. We are blessed to notice that
everlasting smile in Her face. We now understand what infinity is.
92
We are now half dead. We are not aware of what is happening around
us. We feel the Divine Fragrance throughout this innermost triangle.
We have no mind to leave Her lap. We now fully understand the
DIVINE MOTHER, about whom we were talking about for years and
years. She is the Supreme Power of iva, known as Parabrahmaakti
and presides over Mahoyapha. We continue to remain in Her lap,
in spite of Her willingness to take us to iva. We dont want to leave
Her lap. We do not even want liberation. We are completely satisfied
by remaining on Her lap.
NINTH VARAA (Ninth enclosure)
Practically speaking there is no ninth varaa, which is the Bindu
(bindusthna), as this is within the innermost triangle. Ninth varaa
(navamvaraa) has myriad significances. It is also known as
sarvnandamayacakra. Sarvnandamaya means Absolute Bliss,
which cannot be explained at all. It is very important to note that r
Mahtripurasundar is the Cakrevar of this varaa. This is because
She presides over Bindu, where iva is seated. This subtly conveys
how meticulously She takes care of Her Consort. Sarvayoni is the
Mudrakti and Parparti-rahasya-yogin is the Yogin (Parpartirahasya means extremely sercretive). Nobody has access to this
Bindu except Parakti. All the acts of Divine originate from this
Bindu, as only here the Divine procreative union of iva and akti
takes place. The principle acts of Divine are creation or si (LS 264)
(LS refers to Lalit Sahasranma), sustenance or sthiti (LS 266) and

destruction known as sahra (LS 268). There are other two acts,
which are also equally important and they are annihilation (LS 270;
this is also known as tirodhna which means concealment or
disappearance) and recreation (LS 273; anugraha or recreation out of
compassion). This is explained in Lalit Sahasranma LS 905, as
Baindavsan (baindava means bindu and sana means seat.) All
these five acts originate from this Bindu, go towards the outer triangle
and from there various energies are diversified and creation is
completed at the entry point of r Nagara. From this entrance point,
manifestation of the universe is completed. This procedure is with
93
regard to creative aspect or sikrama. The reverse process is known
as sahrakrama. At this point, let us understand that sikrama
refers to our birth and sahrakrama refers to our liberation.
In the ninth varaa, union of iva and akti happens. Their union
varies according to the krama. If it is sikrama (creation), their union
is different and if it is sahrakrama, their union is on different plane.
Sahra here refers to liberation and now, we are only discussing
about liberation. During sikrama, during their union, both of them
alone remain. But during sahrakrama, we are also present along
with Her. It is like a mother holding the hands of her child and
handing over the child to the childs father. During sikrama, She
attains the form of Kmakal (Lalit Sahasranma 322 Kmakal
rp) and their union is symbolized in the form of a Liga, where the
bottom portion represents akti and the upper portion represents iva.
At the end of eighth varaa, we continued to remain in Her lap and
we refused even liberation, the ultimate goal of anyones life. But She
takes pains in explaining to us the importance of liberation. She told
us about the pains of birth and death, how we have worked hard in
our sdhana (spiritual practice) to reach this level, etc. She also told
us that Her Consort will be more compassionate and more lovable to
us. Reluctantly we agreed to Her sermons. In any moment from now,
we are going to be liberated.
She is now raising up from Her throne (LS 3) and by holding our
hands, She enters into the Bindu. Bindu is full of Splendorous Light
and in the midst of blinding light we could not see anything around.
The place is full of Divine Fragrance. We could not move any further
as the Light was so blinding. We have read in Upaniad-s, how this
Light would be. But we have an opportunity to personally experience
this Light now. When She moves towards the Light, the blinding
white Light gradually turning red and iva is revealed to us, who is
fully radiant, in crystal complexion, extraordinary brilliance
throughout His body. He cannot be explained at all. The energy from
Him is so powerful and we feel as if we are being pushed towards
Him. This is what is known as the energy of liberation, which is
94
explained as Mah-grs (LS 752). Kaha Upaniad (I.ii.25) says the

best among all people are like food to the Self. Death overcomes
everyone, yet even death is a mere condiment for the Self.
Parakti is now seated by ivas side. The crystal complexion of
iva now looks like the colour of the rising moon on a full moon day.
We now understand that this is the Bindusthna, the place from
which the universe originates and dissolves. As we have almost lost
our consciousness, nothing goes into our minds. We have lost our
mind, intellect, consciousness and ego. All the four components of
antakaraa are already annihilated when we entered the eighth
varaa. At this point where we are now, our body, mind and soul are
completely purified. We have read that merger into Brahman cannot
take place unless these are purified. What we have read once, we are
experiencing now. For any experience, knowledge is very important
and without knowledge, spiritual experiences cannot be explained or
defined.
She now asks all of us to come near Her and She makes us to sit on
Her lap again. By sitting on Her lap, we are able to have close daran
of iva. He smiles at us and then He looks at Parakti. Now She
begins to move slowly towards iva and ultimately She merges with
Him. Now we understand what is really meant by iva-akty-aikyarpi (LS 999). We are now inside iva and we are liberated, not to
be born again!
As far as ninth varaa is concerned, there is an additional procedure
for those who are initiated into oa. The mantra for oa upsaka
encompasses everything that is possible in this universe. She is
worshiped as Praka Vimara smarasya rpin. Praka refers to
iva, (praka means Light, principle of Self-revelation, by which
everything else in the universe is made known) and Vimara is akti
(vimara refers to that part of praka, which makes the worldly
objects visible, the state of manifestation of the universe) and
smarasya is the procreative union of iva and akti (smarasya is
explained as the identity of Consciousness, in which all
differentiation has disappeared).
95
SECTION II
RI CAKRA NAVVARAA PJ VIDHI
NAVVARAA PJ
1. Entry into the place of pj.
One should take bath before performing navvaraa pj.
Before entry into the place of pj, first ones r Vidy Guru should
be mentally worshiped. There are two ways of worshiping Guru.
Simple way is to mentally contemplate Svaguru (ones own Guru),
Paramaguru and Paramehiguru by reciting Guru Pduka mantra
which is as follows. While reciting Guru mantras, one should use
mg mudra, which is shown here. Mg means doe (female deer).
IMAGE 7
i). Paramehiguru:

aaaa
96
om ai hr r ai kl sau hasa iva soha hasa
hskhpre hasakamalavaray hsau sahakamalavaray au
hasa iva soha hasa svtmrma pacara paramnanda
vilna tejase rparamehi gurave nama aaaa rpduk pjaymi
nama ||
ii). Paramaguru

bbbb

om ai hr r ai kl sau soha hasa iva hkhphre
hasakamalavaray hsau sahakamalavaray au soha
hasa iva svacchapraka vimarahetave r paramagurave
nama bbbb rpduk pjaymi nama ||
iii). rguru

cccc

om ai hr r ai kl sau hasa iva soha hkhphre
hasakamalavaray hsau sahakamalavaray au hasa
iva soha svarpa nirpaa hetave rgurave nama cccc

rpduk pjaymi (tarpaymi) nama ||
aaaa should be replaced with ones Paramehigurus nma.
bbbb should be replaced with ones Paramagurus nma.
cccc should be replaced with ones rgurus nma.
There are variations in the order. First, rguru, then Paramaguru and
finally Paramehiguru is worshiped.
97
2. Entry into pj maapa.
This is also known as mantrapravea (mantra entry).
Generally, a pj maapa will have four sides, as per the image 8
given here. Before entry into the maapa, following worship is to be
made. Three sides are marked as 1, the left side of the sdhaka (the
one who is going to perform navvaraa pj); 2, his opposite side
and 3, his right side. His left side, opposite side and right side are to
be worshiped with the following mantras. One has to take flowers in
both the hands and offer these flowers at the end of each mantra at
the respective places.
In most of the mantras in navvaraa pj, om ai hr r is
prefixed to the mantra. As we know is praava and ai hr r
( ) is known as tritr.
Please note that first right side, then left side and finally opposite side
are to be worshiped. They are known as dvradevat-s.
IMAGE 8
1. om ai hr r bha bhadraklyai
nama (to our right side mentioned as 2 in the image above)
2. om ai hr r bha bhairavya nama
(to our left side mentioned as 1 in the image above)
3. om ai hr r la lambodarya
nama (on the opposite side mentioned as 3 in the image above)
98
Optional: At the end of this pj, diprdhana and naivedya can be
performed. After performing this pj, we have to enter into the pj
maapa.
3. Tatvcamanam
camana is a procedure where water is taken in the right palm, which
is sipped after reciting mantras. This is also known as mahvydhi
praaman nma tray vidy ( ). This
means by swallowing this water with mantras, it cures all types of
illness, both physical and mental. While taking water in the palm,
little finger and thumb should not be folded and other fingers should
be slightly folded inwards. There are other variations also on this. But
what is practiced in r Vidy is different. Instead of three, there are
four mantras in r Vidy. These mantras talk about cleaning of
individual soul, annihilating ego, actions for the benefit of the self
and finally all other mala-s or impurities. Spanda Krik (I.9)
explains natural impurity or mala thus, The afflicted mental state of
an empirical individual is disabled by his own impurity causing

attachment to actions. When this disappears, then the highest state of
the Self appears.
The first three mantras are for removing three inherent impurities in
a person and they are ava mala, myya mala, and krma mala. The
last mantra is recited for removing all other types of impurities not
mentioned here. Hence there are four mantras for tatvcamanam.
These are the four mantras. Before recitation of these mantras, a
spoonful of water should be taken from pacaptra (an exclusive
vessel to perform only camana. This vessel, water and spoon should
not be used for any other purpose. After finishing camana, right
palm should be washed with a few drops of water from pacaptra.
Sdhaka should always have a clean white towel by his /her side to
dry his/her hands.
1. tmatatva odhaymi svh
2. vidytattva odhaymi svh
99
3. ivatattva odhaymi svh
4. sarvatattva odhaymi svh
(odhaymi means purification; pushing aside impurities )
Once this is done, right palm should be washed and dried, as
explained above.
There are variations in tatvcamanam. Each of the three k-s of r
saubhgya pacada is used for 1 to 3 and the entire r saubhgya
pacada is used for 4.

4. Gaapati dhynam :

uklbaradhara viu aivara caturbhujam |
prasannavadana dhyyet sarvighnopantaye ||
(Meaning: Eternally present, wearing white garments, shining like
the moon, having four hands, whose face is full of Bliss, I worship
you to remove all the obstacles (while performing this pj.)
While reciting this mantra, one should close all the fingers in both the
palms (knuckles) and cuff the sides of the forehead. This increases
the blood flow to the brain. There are certain ni-s on both sides of
the forehead and while slightly cuffing these places with fists, they
get activated.
5. Pryma
Fold index and middle fingers of the right palm. Use the little finger
and the ring finger to close the left nostrils and the thumb to close the
right nostril. Inhale through the left nostril, hold for a few seconds
and exhale through the right nostril. This is one round of pryma.
100
Thus one should perform three rounds of the following
Brahmagyatr mantra.

-- -
om bh| om bhuva| om suva| om maha| om jana| om tapa| om
satyam ||
om tat saviturvareya bhargo devasya dhmahi |
dhiyo yo na pracodayt ||
ompo-jyot-raso'mta-brahma bhrbhuvassuvarom ||
(Meaning: All the seven worlds are . We meditate on Brahman in
the form of Light, who makes us to perform different actions. is
water, light and essence. Essence of food that is given by the Earth,
pra, which is important for our existence, the vastness of the sky
and three vyhti-s bh, bhuva and suva which represent mind,
intellect and ego are also .)
6. Sakalpa

-
** , ,
, ,
, , , ,
, ,

101
ubhe obhne muhrte dyabrahmaa dvtya-parrdhe
vetevarhakalpe vaivasvatamanvantare aviatitame kaliyuge
prathamepde lalitdvpe lalitnma vare, lalitnma khae, asmin
vartamne vyavahrike lalitnma savatsare, lalitnma ayene,
lalitnma tau, lalitnma mse, lalitnma pake, lalitnma tithau,
lalitnma vsarayukty, lalitnma nakatrayuktym,
ubhayoga ubhakaraa sakalavieaa viiy asy lalitnma
ubhatithau mamoptta samasta duritakayadvra r
paramevaraprtyartha asmka kemasthairya vryavijaya
yurrogya aivarya abivddhyartha samasta magala
avptyartha samsta duritopantyartha r lalit
mahtripurasundar parbharik darana bhana siddhyarte sr
cakra navvaraa pj kariye ||
Note: Uniformly lalitnma is used in the entire sakalapa to avoid
any confusion.
7. sanapj (Purification of seat)
Convenience of sitting is important in navvaraa pj, as one has to
remain in the same sitting posture for a minimum period of three
hours. Sage Patajali says, sthira sukha sanam which means
that ones seating should be firm, without frequently altering position
of seating while performing pj and at the same time, seating should
be the most convenient to the person who performs the pj.
First take some water in right palm and sprinkle on the seat by reciting
sau ( ) twelve times. Though we know this bja as parbja, here
it also refers to the unison of iva and akti (smarasya). The seat is
purified with sau with an intention that one should realize the
meaning of mahvkya (aha Brahsmi or I am That). The ultimate
aim of any pj is to realize the Self. At this point, the worshiper
should not sit on this seat until the following procedure is completed.
Mantra for consecrating the sana or seat
102

asya r sanamahmantrasya | pthivy merupha ii | sutala
chanda | krmo devat | sane viniyoga ||
(nysa-s for ii, chanda-s, and viniyoga as per japa)
The following prayer should be addressed to the seat

pthvi tvaya dht lok devi tva viun dht |
tva ca dhraya m devi pavitra csana kuru ||
Taking some flowers, arcan is to be performed for the seat on the
four corners and in the middle as explained in the picture below.
IMAGE 9
1. yogsanya nama|
2. vrsanya nama|
3. rsanya nama|
4. samyogasanya nama|
5. om ai hr r
om hr dhraakti kamalsanya nama
103
Meaning and purpose:
1. This mantra worships the purest form of the mind that is required
to unite individual consciousness (individual soul) with Supreme
Consciousness (Brahman)
2. This mantra pleads for destruction of ego.
3. This mantra worships the mind that is purged of all dyads and
triads.
4. This mantra worships the mind that is merged with Her.
5. This mantra worships Her subtlest form Kualin and the six
psychic chakras. Next to , there are three bja-s and they are known
as vimara praava-s. is praka praava which refers to iva and
vimara praava-s refer to ivas Svtantrya akti, icach, jna and
kriya akti-s. There is another followed by hr, which is known
as my bja. This again refers to iva and hr refers to
pacabhta-s, the sun, the moon and mind. This mantra is recited to
relieve the mind from material afflictions and stay tuned with Her
during navvaraa pj.
The purpose of these mantras are to free the sdhakas mind from
afflictions and to focus his or her mind only on Her so that the triad,
the worshiper, the worshiped (Parakti) and the method of worship
(navvaraa pj) become one with Parakti. Contemplating this is
important.
Now, the following mantra is to be recited with flowers in hand and
at the end of the mantra, the flowers are to be offered to Mother Earth.

om ai hr r rakta dvdaa aktiyuktya dvpanthya nama ||
104
Body of the worshiper is an island and the ruler of the island (body)
is the Self. Dvdaa akti refers to the twelve kal-s of the sun (names
of these twelve kal-s are available during consecrating vierghya).
Typically this can be explained through another verse which also
conveys the same meaning. However, this mantra is not part of
navvaraa pj. There is nothing wrong in reciting this verse before
commencing navvaraa pj.

deho devlaya prokto jvo deva santana
This means that the body is the temple and the self within is eternal
Brahman (Individual soul covered by my is known as jvan and
when spiritual knowledge is attained, the veil of my is removed and
Brahman is revealed).
8. Ghapj (to be placed on a plate):
Worshiping the bell, that is used during pj. Calling this as bell
seems to be inappropriate, but this is the only English word for
ghaa. Following is the mantra.

om jayadhvani mantramta svh ||
gamrtha tu devn gamanrtha tu rakasm |
gharava karaumydau devathvna kraam ||
After reciting this verse, offer some flowers to the bell and then ring
the bell. Ringing the bell is important.
105
In ancient times, bells were rung to invite gods and annihilate
demons. Demons refer to modifications of the mind (distraction
towards the material world. By annihilating demons mean destruction
of desires, attachments, ego, pomp and vanity, etc. Gods refer
different types of devotional and spiritual attainments. The ultimate
attainment is Parakti and when She pervades our hearts (referring
to universal love and compassion), the sound of Self is heard within
and this is known as anhata dvani gha. According to Upaniad-s,
there is no difference between and Brahman.
9. Deha rak
i) By reciting this mantra, run both the palms from head to toe of the
body. First, do this from head to toe and after this, cross forearms and
run the palms from shoulders to finger tips (just like japa nysa kavacya h). This is to be done three times by reciting the mantra
three times. Following is the mantra.

om ai hr r rmahtripurasundari tmna raka raka ||
Parakti presidess over three types of human bodies gross
(physical), subtle (mind) and causal (pra). Within the causal body
is the Self. The above mantra is known as protective mantra and by
reciting this mantra our bodies remain protected by Her throughout
navvaraa pj and even thereafter. When our consciousness goes
past these types of bodies, we realize Her within. By reciting this
mantra, all dualities are destroyed and we become one with Her. This
prayer seeks Her Grace to protect our bodies. Raka means
protection.
ii) Following mantras are to be recited by touching the body parts
indicated against the mantras.
106
gu gurubhyo nama | - right forearm (using left
hand)
ga gaapataye nama | - left forearm (using right
hand)

du durgyai nama | - right thigh
va vaukya nama | - left thigh
y yoginbhyo nama | - feet (it is advisable to
mentally touch the feet. If feet are touched by hands, then hands
should be washed and dried).
ka ketraplya nama | - navel
pa paramtmane nama | - heart (the place where
biological heart is situated. In some other contexts, heart also means
heart chakra, hence this explanation.)
The above mantras are also for protective covering.
All of them are posited in rnagara. Guru is in Gurumaala.
Gaapati is the chief of gaa-s who are posited in fort number
nineteen. Gaapati literally means ruler of gaa-s and gaa-s are
attendants on iva. He is also the remover of all obstacles and is
described as the son of iva and Prvat. Vauka-s are young spiritual
seekers who always meditate on Her in the place between fort ten and
eleven of rnagara. Durg (referred in Devmhtmya as Cai) is
considered as one of the terrible forms of Parakti. Yogin-s are the
attendants on Durg (like gaa-s for iva). Yogin-s also refer to the
presiding deities of nine varaa-s of ri Cakra. The presiding deities
of psychic centres are also known as yogin-s. This is explained in
Lalit Sahasranma 475 to 534. But the yogin-s who are mentioned
here are ones who rule over the nine varaa-s of ri Cakra. Each of
these yogin-s play important role in aligning the performer of the

pj with Cicchakti (pure consciousness and pure knowledge - Lalit
Sahasranma 416). Ketrapla are protective deities, also known as
tutelary deities. There are different ketrapla-s, who protect different
places. It is believed that each city, town or village is protected by
107
ketrapla-s. What is referred here is the ketrapla who protects the
place where navvaraa pj is held. Every human body is also called
ketra. Pla means guard. Finally, Paramtma is worshiped and His
protection is also sought. Paramtma means Brahman and
contextually, it refers to iva.
iii) Worshiping Tiraskarii
Tiraskari means veil of my. This prayer is made to Her to remove
my, so that Praka form of iva can be realized. In order to realize
iva, who alone is capable of offering liberation, we need Her Grace
first. When She showers Her Grace on a true aspirant, She removes
the veil of my, known as tiraskari, cast by Her. She alone casts the
spell of my and She alone can remove this veil. Hence, She is also
known as Mahmy. This prayer is to be mentally made to Her. This
is the mantra.

om ai hr r om namo bhagavati tiraskarii mahmye
mahnidre sakalapaujana manacaku rotra tiraskaraa kuru
kuru svh ||
iv) The following mantra is to be recited

om ai hr r hasanti hasitlpe mtagi paricrike mama
bhayavighnpad na kuru kuru ha ha ha h pha svh.
This mantra is recited to eliminate any obstacles, misfortunes,
calamities, etc either during performing pj or during recitation of
mantras, etc. Mantras should not be pronounced wrongly.
108
v) Digbandha

om ai hr r om namo bhagavati jvlmlini devadevi
sarvabhta sahrakrike jtevedasi jvalanti jvala jvala prajvala
prajvala hr hr hr ra ra ra ra ra ra ra h pha svh ||
bhrbhvassuvaro iti digbandha ||
This mantra is used to arrest possible obstacles from cardinals. While
reciting this mantra we have to visualize that agni (fire) is around us,
protecting from all sides.
10. Anuj
i) Anuj means permission. Before proceeding with navvaraa

pj, we have to take permissions from nine Yogin-s, who preside
over the nine varaa-s of ri Cakra. Without their permissions,
varaa-s cannot be entered. By taking flowers in both the palms and
after reciting the following mantra, flowers are to be placed on ri
Cakra with great reverence. When flowers are placed on ri Cakra,
extreme care should be taken. We have to visualize Lalitmbik in
the middle of ri Cakra. When we offer flowers we have to ensure
that offering flowers should not hurt Her body. Flowers should never
be thrown from a distance. Similarly, both the palms should be used
(except otherwise specified) to offer flowers and flowers should be
offered through the fingers. Flowers that have no fragrance should
not be used.

109
om ai hr r samasta prakaa gupta guptatara sapraduaya
kulottra nigarbha rahasytirahasya parparti rahasya yogin
devatbhyo nama ||
At the end of this mantra, place the flowers on ri Cakra, as explained
above.
Yogin-s represent Citakti with updhi. iva has five types of
energies and they are Cit akti (the energy of consciousness), nanda
akti (the energy of Bliss), icch akti (the energy of will), jna akti
(energy of knowledge) and kriy akti (energy of action). Updhi

means discrimination, substitution. When pure Cit akti is realized, it
is Self-realization. But, when pure Cit akti is veiled by updhi-s, it
leads to discrimination and illusion, which is also known as my. In
order to remove these discriminations, we pray to these nine Yogins with a request that they should help us in removing updhi-s, as we
progress towards the central triangle and the bindu (akti and iva).
This mantra is addressed to these nine Yogin-s for this purpose.
ii) Purification of body
By reciting this mantra, touch thumbs to little fingers then both the
palms, forearms, elbows, knees and the entire body.

om ai hr r ai hra astrya pha ||
The bja ai () is known vcbja and represents four Vedas. The bja
ai comprises of a + e + a ( ) and anusvra (a dot on the top
causing nasal sound). Thus a, e, a and the dot represents the four
Vedas. Since Vedas speak about Brahman, the bja ai refers to
Brahman. There is another bja next to ai, which is hra (). In
order to attain Brahman, all dualities need to be destroyed. Examples
of dualities are happiness and sorrow; rich and poor, etc. This is also
known as astra bja (astra means missile or weapon). This astra bja
110
destroys impediments to realization such as dyads, etc. By reciting
this mantra, all impurities in both mind and body are destroyed and
at this point, mind is purified and ready to commence navvaraa
pj.
iii) Permission from Dakimrt
To obtain permission from Dakimrt, following mantra is to be
recited. There are two different verses, one for Dakimrt and
another for Bhairava (this Bhairava is different from Bhairava, which
refers to iva.)
a)

b)

a) om ai hri r rguro dakimurte bhaktnugrahakraka |
anuj dehi bhagavan rcakrayajanya me ||
b) om ai hri r atikrra mahkya kalpntadahanopama |
bhairavya namastubhya anuj dtumarhasi ||
a) O! Dakimrt paramaguru, O! Compassionate to all the
devotees! Please give me permission to perform this ri Cakra yaja.
(It is important to note that it is not referred as ri Cakra navvaraa
pj, but referred as ri Cakra yaja. This means that Cakra
navvaraa pj is compared to great yaja-s like avamedha, etc.)
b) Appearing like fire during annihilation, having fearsome
appearance, obeisance to You. Please give me permission to perform
ri Cakra yaja.
111
In Dakimrt, dakia refers to creation, sustenance and
annihilation carried out by Sagua Brahman (Brahman with
attributes) and amrti refers to Nirgua Brahman (Brahman without
attributes). This explains Dakimrt.
11.ri Cakra prapratih (consecrating ri
Cakra)
ri Cakra is to be consecrated before performing navvaraa pj.
There are two types of consecration, one is laghu (easy, quick)
prapratih and another is regular prapratih. If regular
prapratih has been performed, this part can be left out while
performing navvaraa pj. Both these types of prapratih-s are
discussed here. However, the detailed version can still be expanded.
Types of ri Cakra:
There are three types of ri Cakra. One is bhprastra () and
another is meruprastra ( ). These two are commonly
available. Thrid one is kailaprastra ( ) related to mtka
akara-s. Bhprastra refers to normal flat ri Cakra, whose surface
is flat. Whether it is ri Cakra or Meru, it should always be in square
shape. Meruprastra, which is vertical in nature, is divided into three
types. The first three varaa-s -si karma (creation); The next three
varaa-s are sthiti krama (sustenance) and the last three varaa-s
are sahraka (absorption) krama-s. The height of the first three

varaa-s (bhpur and eight petal lotus and 16 petal lotus) is more
than the other two is one type. The height of fourth, fifth and sixth
varaa-s is more than first three and last three varaa-sis the second
type. All varaa-s having the equal height is the third type.
11.1) Laghu prapratih:
Place ri Cakra or Meru in the place where the entire pj is going to
be performed. After prapratih, the position of ri Cakra or Meru
should not be changed. There are three verses and by touching ri
112
Cakra or Meru with right hand the following mantras are to be
repeated.
i)

om ai hr r om hr kro ya ra la va a a sa
ha om hasa soha soha hasa iva rcakrasya pr iha
pr ||
ii)

om ai hr r om hr kro rcakrasya jva iha sthita |

sarvendriyi vmanacaku rotra jihvghr ihaivgatya asmin
cakre sukha cira tihantu svh ||
iii)

om ai hr r om asunte punarasmsu caku puna pramiha
no dehi bhogam | jyokpayeme sryamuccranta manumate muay
na svasti ||
Prapratih means infusing vital energy (pra) into the yantra. As
we know, Brahman is formless and for the purpose of worshiping, we
visualize a form and invoke the concerned form in a yantra. The
infusion of energy is done using the pra of the worshipper. Since
She is invoked with the pra of the worshiper, the duality between
Her and the worshiper is lost and She alone prevails during the entire
worship. This is the infant stage of realization of mahvkya aha
brahmsmi or I am That. She is invoked in ri Cakra using both
113
bhyakaraa (external sense organs organs of perception and action
totalling to ten) and antakaraa (mind, intellect and ego; sometimes
consciousness is also added). Bhadrayaka Upaniad (IV.iv.18)
says Brahman is prsya pra, which means that Brahman is
pra of pra (or chief of pra), which clearly proves that pra is
nothing but Brahman and hence She is being invoked with our pra.
This is with further reference to the first verse. We already know
about om and ai hr r. After the second om (first om is for
trittri and the second om is for the mantra of this verse. Trittri
should always be prefixed with om. The second om refers to

Brahman; ( ) refers to the deity invoked, who represents Citakti
(energy of Consciousness, which refers to iva). ( ) is the power
of Brahman. In terms of Trika philosophy, power of Brahman is
known as akti. This is the bja of this mantra. hr is my bja and
forms the akti of this mantra. kro, which is also known as krodha
bja is klaka (one to which the mantras are tied; inner syllable os a
mantra) of this mantra. om hasa soha soha hasa iva refers
to auspicious form of iva in the form of praava (). ya, ra, la,
va and ha refer to five principle elements (pacabhta) from
which organs of action and organs of perception develop. The three
other bja-s a, a and sa represent mind, intellect and ego.
Pacabhta and antakaraa make eight and they are together know
as puryaaka.
As soon as these mantras are recited, the performer of worship, the
object of worship (Lalitmbik) and the process of worship
(navvaraa pj) become one. This contemplation is absolutely
essential while going forward. First, by touching the ri Cakra or the
Meru as the case may be, the mantra should be recited. After reciting
of these three verses, the practitioner should visualize the union
mentioned above by silently contemplating for a few minutes. If
contemplation is not perfect, it would be ideal to wait for this to
happen and then go forward.
114
11.2. Detailed version of prapratih.

Once ri Cakra or Meru is consecrated with this version, lagu version
is not necessary and after completing anuj (serial number 10), one
can proceed to rnagarapj.
This procedure is done after fixing an auspicious time and date. Days
nakatra, candra and tra bala are taken into account while
consecrating any yantra. Ones Guru who performs this consecration
decides and fixes the most auspicious time and date. Some are of the
opinion that all rituals prescribed for idol consecrations should be
followed for consecrating ri Cakra or Meru like jaldhivsa,
dhnyadhivsa, ayadhivsa and a host of other fire oblations,
nysa-s, pj-s, etc. Ones Guru is the deciding authority on these
matters. But, in general, the consecration procedure spreads over
three days. But this procedure is very elaborate and may not be
necessary if ri Cakra or Meru is moved from place to place. These
detailed procedures are applicable only when ri Cakra or Meru is
permanently fixed in a particular place without making any change in
position.
What is prescribed here is detailed procedure where ri Cakra or
Meru are moved from their places for various reasons such as
abhieka, etc.
a) Sakalpa:
A simple sakalpa like this will do.

mamopatta samastaduriatakayadvr r paramevaraprtyarthe
rcakra pratihpana kariye ||
b) Establishing maala for abhieka
115
Draw a diagram like this and in the middle of the maala (diagram),
place the vessel filled with pacagavya. Pacagavya is the
combination of cows milk, curd, butter or ghee, urine and dung.
When the last two are not available they can be replaced with turmeric
powder and sacred ashes (vibhti). The vessel should be filled up with
pacagavya and should be placed on the inner dot of the maala. It
would be ideal to use either copper or silver vessel for this purpose.
By touching this vessel with right hand (this is known as
abhimantraa), recite hau () 108 times. Now, take ri Cakra or
Meru with right hand (if Meru is heavy, both the hands can be used)
and immerse into the vessel containing consecrated pacagavya by
reciting ( can be recited as long as dipping is done). Dipping can
be done two or three times and one has to ensure that every part of
the yantra is fully immersed into pacagavya. After immersing, take
the yantra and keep it on another vessel. Normally, this vessel will be
abhieka ptra (bathing vessel!), where the yantra is placed.
IMAGE 10
After placing the yantra on abhieka ptra, abhieka (religious
bathing) is done with pacmta. There are different versions with
regard to the contents of pacmta. Fruits with honey and sugar can
be used. But the laid down combination for making pacmta is the
combination of the following five cows milk, curd, butter, honey
and sugar. Often, curd and butter are replaced with any available
fruits such as dates, etc. As soon as pacmta abhieka is over,
incense should be offered. After this, abhieka with other offerings
should be done. At the end of every abhieka, either incense or lamp
should be offered. The contents of abhieka-s made should be
116
collected collectively and with this one more abhieka should be
done. While performing all these abhieka-s only mla mantra should
be recited (either oa or Pacada).
c) Establishing kalaa and invoking Varua
Take water in a separate vessel (with narrow neck). Draw a triangle
and around this a square; place the kalaa on the top of this with
ripped coconut on the top. If mango leaves are available, they can be
placed below the coconut. Add condiments to the water and make the
water fragrant. Bundle twelve kua grass together and place the thick
end of the grass inside the water and outer ends should be tied
together. Now take some flowers and invoke Varua in the kalaa
with the following mantra.

ima me varua rudh havamadhy ca muaya | tvmavasyur cake
||
tatv ymi brahma vandamnstadste yajamno havirbhi |
aheamno varueha bodhyuru akusa m na yu pramo ||
asmin kumbhe varua vhaymi ||

varuya nama || sana samarpaymi (offering seat to Varua) |
pdya samarpaymi (washing his feet) | arghyam samarpaymi (
washing his hands)| camanyam samrspaymi offering him water to
drink)| snnam samarpaymi (offering him mantra bath)|
snnnantara camanya samarpaymi | vastra samarpaymi
117
(offering him new clothes) | nnvidha parimala patra pupi
samarpaymi (offering him all types of fragrant flowers and herbs)
Meaning: I invoke you to make this day happy and implore you for
your helpful blessings.
Mentally contemplate Varua in the kalaa and after reciting the
above mantra, offer flowers to the kalaa as a mark of respect to
Varua.
Offer jaggery as naivedhya to Varua. Offer dhpa and dpa.
d) Invoking iva and akti in the kalaa

Now we have to invoke Lalitmbik in the kalaa.

asmin kalaa madhye akhilakoi brahma nyaki r
rjarjevar lalit mahtripurasundar parbhaarik mahdevy
mahkmevara sameta vhaymi ||

sana samarpaymi (offering seat to Mahkmevara and
Kmevar) | pdya samarpaymi (washing their feet) | arghyam
samarpaymi ( washing their hands)| camanyam samarpaymi
offering them water to drink)| snnam samarpaymi (offering them
mantra bath)| snnnantara camanya samarpaymi | vastra
samarpaymi (offering them new clothes) | nnvidha parimala patra
pupi samarpaymi (offering him all types of fragrant flowers and
herbs) ||
118
(It would be ideal to invoke iva and akti together; but in general
Kmevar alone is invoked. But we have to remember that
Mahkmevara exists in the central bindu of ri Cakra.)
Now recite mlamantra 108 times by touching the kalaa with a
bunch of kua grass. Thicker end of kua grass should be held in right
hand and thinner end should be touching the kalaa. Then offer dhpa
and dpa to the kalaa, where Mahkmevara and Kmevar
manifest.
Now invoke aadikblaka-s around the yantra. Take some flowers
and offer them to the eight cardinal gods. Start from East in clockwise
manner and finish at Northeast.

indrya nama | agnaye nama | yamya nama | nirtaye nama |
varuya nama | vyave nama | somya nama | naya nama ||
IMAGE 11
Now remove coconut and mango leaves from the top of the kalaa
and perform abhieka to the yantra with kalaa water, by reciting only
the mlamantra. Now remove the yantra and wipe clean with a clean
cloth and place on a pha (an elevated wooden seat or a stone seat).
It is important to keep the innermost triangle of the yantra, facing the
sdhaka.
119
Take the same kua grass and hold in the same manner as explained
above and touch the yantra with the tip of the kua grass bundle and
recite 108 times, yantra gyatr mantra.

om ai hr r om yantrarjya vidmahe mahyantrya dhmahi |
tanno yantra pracodayt ||

e) Performing nysa-s
Now, do bhtauddhi and mtruknysa.
(These two will be available after rnagarapj dpapja).
f) Main part of prapratih (to be done like a japa mantra)
prapratih mantra: During this process, touch the yantra with
right hand.
i) ydi nysa

asya r prapratih mahmantrasya | brahmaviumahevara
aya | gyajussmtharvi chandsi |
sakalajagatsisthitisahrakri praakti par devat ||
bjam | hr akti | kro klakam ||
ii) Karanysa
aguhbhy nama |
120
(use both the index fingers and run them on both the thumbs)
hr tarjanbhy nama |
(use both the thumbs and run them on both the index fingers)
kro madhyambhy nama |
(both the thumbs on the middle fingers)

anmikbhy nama |
(both the thumbs on the ring fingers)
hr kanihikbhy nama |
(both the thumbs on the little fingers)
kro karatalakarapbhy nama ||
(open both the palms; run the opened palms of the right hand on the
front and back sides of the left palm and repeat the same for the other
palm)
iii) Hrdaydi nysa
hrdayya nama| (open index, middle and ring
fingers of the right hand and place them on the heart chakra)
- hr - irase svh| (open middle and ring fingers of
the right hand and touch the top of the forehead)
- kro - ikhyai vaa| (open the right thumb and
touch the back of the head. This is the point where tuft is kept)
- - kavacya hu| (cross both the hands and run the
fully opened palms from shoulders to finger tips)
- hr - netratrayya vaua| (open the index, middle
and ring fingers of the right hand; touch both the eyes using index and
121
ring fingers and touch the point between the two eyebrows (j
cakra) with the middle finger.
- kro - astrya pha||
bhrbhuvassuvaromiti digbandha||
iv) Dhynam

raktbhodhisthapotollasadarua sarojdhirh karbjai
p kodaamikdbhavamaaguamapyakua pacabn|
bibhrskkapla trinayanalasit pnavakoruhhay
dev blrkavar bhavatu sukhakar praakti par na ||
(Meaning: She is in a corner of a red lake, sitting on a boat and having
a red lotus as her seat. She has noose, hook, sugarcane bow, flower
arrows, skull. She has three eyes. She shines like the rising sun. Let
this Praakti known as Parakti give us happiness.)
v) Pacapj (follow as per Karanysa)
-
-
-

-
-
122
-
la - pthivytmikyai gandha samarpaymi|
ha - ktmikyai pupai pjaymi|

ya - vyvtmikyai dhpamghrpaymi|
ra - agnytmikyai dpa daraymi |
va - amttmikyai amta mahnaivedya nivedaymi |
sa - sarvtmikyai sarvopacra pjm samarpaymi||
vi) Main mantra

hau ha sa rcakrasya pr iha pr |
(Meaning: Let the pra of ri Cakra be pra here (meaning that
pra originates from ri Cakra and pervades the world).
hau ha sa rcakrasya jva iha sthita |
(Meaning: Let the jva (existence) of ri Cakra be the existence of the
world)
123
hau ha sa rcakrasya sarvendriy |
(Meaning: Let indriya-s of ri Cakra pervade the world)
om ai hr r om hr kro ya ra la va a a
sa hau ha sa rcakrasya vmanascaku rotra jihvghra
vk pi pda pyupasthkhyni pr
pnavytodnasamncgasya mukha ciram tihantu svh ||
(Meaning: Let speech, mind, five organs of perception, five organs of
action and five pra-s exist eternally in the world svh (hail))

asunte punarasmsu cakupuna pramiha no dhehi bhogam |
jyok payema srya mucaranta manumate may na svasti ||

pacadaa saskrrtha pacadaavra praavajapa ktv ||
Now repeat fifteen times. This is for 15 saskra-s (saskra
means purification of a person at different time periods. For example,
garbhdhna, pusavana, smantonnayana, jtakarman,
nmakarman, nikramaa, annaprana, etc. Instead of doing these
elaborate rituals, fifteen praava-s are recited.

vahit bhava | sthpit bhava | sannihit bhava | sanniruddh bhava

| avkuhit bhava | suprt bhava | sumann bhava | sumukh bhava
| varad bhava | prasda prasda | devi sarvajagannayike prtibhvena
rcakre'smin sannidhi kuru ||
124
(There are vhandi mudr-s that can be used while doing the above
invocation.)
(Meaning: Please give us Your daran, take Your seat permanently in
this ri Cakra. Shower Your Grace on us. Be felicitous and
auspicious, graciously smile and fulfil our desires. Be compassionate
to us, O the ruler of the universe. With compassion, please be seated
in this ri Cakra. This mental contemplation is very important after
finishing the above mantras. Take some time in contemplating Her in
ri Cakra.
After this, using kua bundle, touch the ri Cakra, as described earlier
and recite again 108 times of mlamantra. If homa is possible offer
108 oblations with mlamantra. At the end of every oblation, a drop
of ghee should be placed on the consecrated ri Cakra. This should
be done after reciting svh. Alternatively, such drops can be
collected in a separate vessel and abhieka can be made to ri Cakra
after concluding homa.
When all these rituals are completed move the yantra a little towards
north and this is known as yathsthna (proper or right place where
daily pj would be held).
At the end of this procedure, if ones Guru is nearby, he has to go in

person and pay his respects to his Guru. Prapratih procedure can
be done either individually with Gurus permission or in the presence
of Guru under his direct supervision. It is advisable that this
procedure should be done by the person who is going to do the
worship.
12. rnagara pj
rnagara is situated outside ri Cakra. rnagara has twenty five high
raised huge forts. In between any two forts, there are many gods,
sages and saints protecting ri Cakra and simultaneously worshiping
Lalitmbik. Only after crossing rnagara, one can enter ri Cakra.
Entry into ri Cakra is restricted only to those who are in the process
125
of realizing the Self, for which sdhana alone helps. There are forty
four arcana-s (arcana means praising; this is done by offering flowers
at the end of saying nama). and trittri (ai hr r) are to be
prefixed and nama at the end. For example, the first nma should be
recited like this om ai hr r amtmbhonidhaye nama.
1. amtmbhonidhaye (Citakti the energy of
Consciousness)
2. ratnadvpya (manifestation)
3. nnvka mahodynya (ligaarra
individual soul, where karmic imprints are embedded).
4. kalpavka vikyai (sakalpa notion formed

in the mind, desire, etc)*
5. santna vikyai* (thought processes)
6. haricandana vikyai* (ego)
7. mandra vikyai* (intellect)
8. prijta vikya* (citta mind of the empirical
individual)
9. kadamba vikyai* (mind)
(*4 9 represent antakaraa mind, intellect, consciousness and
ego; and thought processes. Apart from these, they also form
modifications of pacabhta such as tanmatra-s such as sound, touch
etc and five organs of perception or jnendriya-s.)
10.
puparga ratnaprkrya (flesh)
11. padmarga ratnaprkrya (ojas energy,
vitality)
12. gomedhaka ratnaprkrya (virility)
13. vajra ratnaprkrya (bone)
14. vairya ratnaprkrya (skin)
15. indranla ratnaprkrya (hair)
16. mukt ratnaprkrya (procreative fluids)
126
17. marakata ratnaprkrya (bone marrow)
18. vidruma ratnaprkrya (blood)
19. mikya maapya (heart)
20. sahasrastambha maapya (sahasrra)

21. amta vpikyai (dvdanta - twelve inches above
sahasrra)
22. nanda vpikyai (central point in lala or
forehead; different form jcakra)
23. vimara vpikyai (jcakra)
24. bltapodgrya (opening of an eye referring to the
sun)
25. candrikodgrya (opening of another eye referring
to the moon)
(24 and 25 refer to joy and happiness arising out of material world)
26. mahgraparighyai (the orifice in the upper
palate; this is the point where organs of action, organs of perception
and antakaraa meet. Further, this is also the point where the three
major ni-s, ia, pigala and suumna conglomerate; this is related
to khecarimudra)
27. mahpadmavyai (heart and /or sahasrra)
28. cintmai maya gharjya (purified
antakaraa; only purified antakaraa can lead to liberation;
purification of antakaraa is more important than purification
external organs).
29. prvmnya maya prvadvrya (Rig Veda)
30. dakimnya maya dakiadvrya
(Yajur Veda)
31. pacimmnya maya
pacimadvrya (Sma Veda)
127
32. uttarmnya maya uttaradvrya
(Atharva Veda)
33. ratnapradpavalayya (expansion of knowledge)
34. maimaya mahsihsanya (benefits of
mantras)
35. brahmamayaikamacapdya (creation
mldhra chakra)
36. viumayaikamacapdya (sustenance svdhihna)
37. rudramayaikamacapdya (dissolution maipraka)
38. varamayaikamacapdya (tirodhna or
disappearance or concealment - anhata)
39. sadivamayaikamacaphalakya
(anugraha recreation viuddhi)
40. hamsatlik talpya (mahpralaya total
annihilation at the end of a yuga deep sleep state jcakra)
41. hamsatlik mahopadhnya (avidya or
spiritual ignorance)
42. kausumbhstaraya (sum total of ego of all the
beings)
43. mahvitnakya (avyakta, the state of prakti in its
un-manifested form)
44. mahmyyavanikyai (mahmy)
The above forty four refer to various aspects of both subtle and gross
bodies and with this forty four, an entire body is formed. It is
important to note that ri Cakra too has 44 triangles (including the
Bindu). Each of these forty four nma-s together create, sustain,
dissolve, annihilate and recreate the universe. This is applicable to
both macrocosm and microcosm. When we go past rnagara, it
means that our mind is purified, ego is annihilated, sensory organs
are not used beyond the basic needs, the highest level of spiritual
128
knowledge is attained and thus, our body, mind and soul are unified
and become ready for liberation.)
English meaning for certain Sanskrit words: nidhi storehouse; vi
- enclosed ground; dvpa island; prkra enclosure; maapa a
sort of decorated hall or temple; dvra entrance; valaya round
enclosure; vpika natural pond;
13. Dpa pj
It is preferable to light four lamps, two before
Her consecrated idol form (one on each side) and
two before consecrated ri Cakra (one on either
side of the maala). These lamps should not be

placed on the ground. There should be bases for
IMAGE 12
these lamps. In the bases, an inverted triangle should be drawn and
the tips of the triangles should be facing the worshiper (as shown in
the image 12). To idols right, ghee should be used with white wick
and to idols left, sesame oil should be used with red wick (kumkum
can be applied on white wick) for the lamps. The same principle
should be followed for ri Cakra. Lamps are to be placed in such a
way, that they are not disturbed during pj. After reciting the
following verse, flowers are to be offered at the bottom of the lamps.
Flowers should not be kept on the top of the lamps.

om ai hr r dpadevi mahdevi ubha bhavatu me sad |
yvatpj sampti sytvat prajvala susthir ||
Meaning: O! Devi in the form of knowledge and intellect! Please
bless me with auspicious mindset of non-dualism. Till I complete this
yaj (navvaraa pj), please protect me that I am not engulfed
with avidy (spiritual ignorance or duality).
129
14. Bhtauddhi
Bhta refers to our body and uddhi refers to purification. By doing
the following procedure, we first remove avidya (nescience) and
consequently my. When these two are removed, ego is annihilated

and I becomes That. In order to purify our body (gross, subtle
and causal) this procedure is done. An example is quoted to explain
this further. In a paddy grain, rice is covered by husk. When rice is
covered by husk it is called paddy and when the husk is removed, it
is rice. Thus there is no change in the nature of the rice. Paddy is
compared to individual soul and rice is compared to the Self. Husk is
my. Unless the husk called my is removed, the Self (rice) cannot
be seen. This is possible only if all the three bodies gross, subtle
and causal - are destroyed. When these bodies are destroyed (not in
literal sense), what we see is the Self. It is also said that that the
individual self (covered by my) is situated at mldhra and on
attaining knowledge, it goes up through suumna to merge with iva
at brahmarandhra (an orifice at sahasrra). However, this theory is
somewhat in contravention to the concept of kualin, which is
worshiped as Parakti Herself. Lalit Sahasranma 110 says that Her
subtlest form is Kualin.
Please also note that according to Tantra stra-s the first inhalation
is to be done through the right nostril, instead of left nostril. For
example, Mahnirva Tantra (III.44 and 45) says, Pressing the left
nostril, recite mla mantra eight times and inhale through right
nostril. Hold the breath for thirty two counts and exhale through the
left nostril. This process is repeated through the other nostril. There
are Tantra Scriptures like Tarklakra, first inhalation is advised

through the left nostril. The description above is based on Yoga
philosophy and not on Tantra Scriptures, as they talk about mla
mantra-s and kumbhaka (holding of breath). Hahayoga Pradpaka
(II.7) says that in any pryama, one should begin inhalation with
the left nostril (ia ni). Yoga CmaiUpaniad (98) also says that
first breath should be drawn through the left nostril and exhaled
through right nostril.
130
Purpose of bhtauddhi and mantras:
i) First, by inhaling through the left nostril, one should visualize that
he is drawing jvaiva (life energy) from mldhra and take it to
sahasrra through suumna. Now, one has to contemplate that
jvaiva merges with Paramaiva (the Self or Brahman) at sahasrra
and exhale through the right nostril. Now, we have to inhale through
the right nostril (the nostril through which last exhalation was done
as in i above). While inhaling (ya) is to be mentally recited sixteen
times. (ya) is vyu bja. It is to be contemplated that by air, the
mortal body with unfulfilled desires be dried up with air using vyu
bja. Having dried, this purified body is to be burnt with agni bja
(ra). After having burnt the body, using amta (nectar) bja (va),
spirituous liquor (refer Lalit Sahasranma 106) known as sudh
(ambrosia) is drawn from sahasrra and the burnt body (destruction
of afflictions of the mind or destruction of three types of bodies as
discussed above) be washed away with ambrosia and by using pthv

(earth) bja (la), divine body is created. Finally, this purified
divine body is taken back to mldhra. The body that is being taken
back to the base chakra is a purified body without any mental
afflictions. This is done by reciting bja-s hasa soha. The
breathing patterns along with the respective recitations are given here.
i)

om ai hr r mlagakt suumnpathena jvaiva

paramaivapade yojaymi svh ||
(Inhale through left nostril and while doing so visualize that jvtman
in mldhra is being taken to brahmarandhra at sahasrra to merge
with Paramtman through suumna. Then exhale through the right
nostril.
ii) *
131
om ai hr r ya* sakoca arra oaya oaya svh ||
*bja ya ( ) is to be repeated 16 times.
oaya drying; sakoca withering.
(Inhale through the right nostril and exhale through the left nostril.
During this, mantra in ii is to be recited mentally.
iii) *
om ai hr r ra* sakoca arra daha daha paca paca svh
||
daha to burn; paca baked (referring to ashes).
*bja ( ) ra is to be recited 16 times.
(Inhale through left nostril and exhale through right nostril)
iv) *
om ai hr r va* paramaivmta varaya varaya svh ||
(vara showering)
* bja ( ) va is to be recited 16 times.
(Inhale through right nostril and exhale through left nostril)
v) *
om ai hr r la* bhava arra utpdaya utpdaya svh||
(utpda coming forth, birth)
132
* bja ( ) la is to be recited 16 times.
vi)

om ai hr r hasa soha avatara avatara ivapdt jva
suumn pathena pravia mlagaka ullasollasa jvala jvala
prajvala prajvala hasa soha svh ||
(inhale through left nostril and exhale through right nostril)
(hasa though refers to swan, it has subtler meaning relating to
energy of breath. hasa consists of two parts ha + sa, where ha
means exhalation and sa means inhalation. hasa therefore means
vitality which is the most essential component of existence. It is also
said that hasa is said to be iva, whose seat is said to be the sky
(infinity). The Self is also called hasa. ha + sa can also be
explained as emanation and re-absorption activities of iva. hasa is
the spontaneous sound that penetrates into suumna ni causing
Bliss and ultimate liberation.)
15. tma prapratih
Avidya or spiritual ignorance is impurity causing duality. Such
impurities have already been removed through bhtauddhi. In such
a purified body and soul, Brahman and His Power are being
established. This is the concept of tma prapratih.
Procedure:
Keep the right palm on the heart and recite the following mantra three
times.

om ai hr r soha
133
After this, one has to do pryama three, ten or sixteen times with
the initiated mlamantra, either Pacada or oa. (ideal ratio of
pryama inhalation holding exhalation is 1:4:2). Pryama is
done here to concentrate on Her during the entire period of
navvaraa pj. Pryama always helps in purification of the mind.
16. Vighnotsraam
This is a prayer to remove all obstacles. The obstacles are afflictions
of the material world such as desires, attachments, illusions, etc. All

these obstacles are being removed with ivas command. The
following mantra is to be recited.

apasarpantu te bht ye bht bhuvi sasthit |
ye bht vighnakartraste gacchantu ivjay ||
17. Nysa
This is discussed under two parts. The first part deals with principle
and purpose of nysa-s and the second part deals with practical nysas. Explanatory notes and applications are restricted to only select
nysa-s. All types of nysa-s are give here only for the purpose of
knowing the types of nysa-s.
Principle behind nysa-s:
Nysa is explained as mental appropriation or assignment of various
parts of the body to protective deities (tutelary deities) and
exceptionally for the principal deity. There are also meanings such as
placing, fixing, putting away, taking off, etc. Irrespective of these
meanings, nysa is an act of the mind expressed physically by
touching various parts of the body. This is mainly done to make the
worshiper feel that his body is not different from Her. At the end of
134
nysa procedures, sdhakas duality is completely dissolved and he
becomes one with Her. At this stage the ego of the sdhaka is
completely annihilated paving to realize Her within. When ego is

dissolved, the sdhaka realizes that he is not the performer of
navvaraa pj. This is the stage where the navvaraa pj, the one
who performs navvaraa pj and Lalitmbik become one.
Lalitmbik is Citakti, the power of Consciousness (of iva), that
brings about the world process (creation, sustenance, etc). What is
the power of Citakti in the mind? When the mind affirms that we are
Citakti, it is important that the mind is fully aware of three forms of
Parakti viz. gross, subtle and subtlest. She has many gross forms
and known by different names such as Kl, oa and other forms,
more fully explained in Daamahvidy and other Scriptures. In fact,
all that exists in the universe is Her form. Subtle forms refers to Her
mantra form such as oa mantra, Pacada mantra and all other
mantras. In fact, all the mantras originate from Her. Lalit
Sahasranma 204 says, Sarvamantra svarpi. Mantras are made
up of different alphabets of Sanskrit and all these alphabets originate
from Her, says Lalit Sahasranma 577, mtk-vara-rpin. Most
importantly, Her subtler form is said to be kmakal, which is
explained in Lalit Sahasranma 322, kmakal-rp. Her subtlest
form is Kualin.
By performing nysa-s in the body, our body is considered as Her
mantra form. This is the purpose of nysa. Therefore, it is very
important that mental concentration is important while performing
nysa-s, otherwise, the very purpose of nysa-s would be defeated.
Following twenty nine nysa-s are prescribed in r Vidy.

01. bahirmtknysa
02. antarmtknysa
Mtk literally means mother. Mtk also means the power of
letters. Combination of various letters gives rise to a word and
formation of words is known as Mlin, the deity of alphabets
135
(rtantrloka). In other words, Mtk is the mother of alphabets
and Mlin is the mother of words. Mlin (Lalit Sahasranma 455)
is explained as the power of letters which holds the entire universe
within itself. iva says to Prvat, All the sins are destroyed by
performing mtknysa-s (Mantrayoga Sahit). By performing
mtknysa-s one identifies his body with the subtle form of
Parakti. This contemplation is more important in performing all the
nysa-s.
Bahirmtknysa or bhyamtknysa means touching various
external parts of the body with finger tips by reciting an alphabet.
Thus all the fifty alphabets are placed at different parts of the body.
Antarmtknysa means contemplating the same fifty alphabets in
the six psychic chakras, from mldhra to j and at sahasrra.
Every alphabet is preceded by praava, tritri and Bl and this is
formed like this:
om - ai hr r - ai kl sau - -
After this an alphabet is recited with bindu (a dot on the top of the
alphabet) and suffixed with nama hasa ( ) at the end. Let
us take the example of alphabet a () and nysa is done like this.
om - ai hr r - ai kl sau - a - nama hasa -
-
Practical nysa will be dealt with subsequently.
03. karauddhinysa
Karauddhi literally means cleansing of hands. But, contextually
karauddhinysa is one of these several nysa-s.
This nysa is done by prefixing om - ai hr r to a or or
sau ( ) and suffixing with nama (). For example om ai hr r a nama. The three bja-s a, , sau ( )
136
are derived from the first varaa, trilokyamohanacakra. Each
cakreavar (the one who presides over that varaa) has got different
bja-s and these bja-s are used as prefixes to various nysa-s.
The purpose of karauddhinysa is to eliminate the influences of
antakaraa, organs of perception and organs of action on the mind,
so that the mind is purified and becomes one with iva tattva. Hands
and fingers are cleansed symbolically to purify the mind as explained
above. Again the contemplation is more important here, as is always
the case with all types of nysa-s.
There are twelve karauddhinysa-s.
04. tmaraknysa
This nysa is done in the heart chakra, known as anhata chakra. In

this nysa, the three bja-s of second varaa ai, kl, sau (
) are prefixed to r mahtripurasundari tmna raka raka. This
nysa is done for two purposes. One, to pray to Her to remove my,
which acts as an impediment to the realization of the Self. Two, in
order to remove my, Her Grace is sought. When Her Grace
descends, karmic imprints are removed. Therefore, this nysa seeks
protection for the individual soul, which is the very cause of our
existence. Within this individual soul remains the Self, but veiled by
my.
05. catursananysa
Catursana means four types of subtle seating. They are tmsana,
cakrsana, sarvamantrsana and sdhyasiddhsana (, ,
and ). Out of the nine varaa-s, the bja-s of

the first two varaa-s are used in karauddhinysa (3 above) and
tmaraknysa (4 above). In catursananysa the bja-s of third,
fourth, fifth and sixth varaa-s are used. These four nysa-s refer to
unification of pramt (subject), prameya (object) and prama
(means, anumna, inference). These three are symbolically
137
represented by tmsana, cakrsana and sarvamantrsana. When the
subject, object and the means are perfectly in unison, it leads to the
ultimate stage of union of iva and akti. This is known as PrakaVimara smarasya, where Praka is iva, Vimara is akti and
smarasya means union of iva and akti. Lalit Sahasranma 792

smarasya-parya explains this. This concept is also explained in
Bhvanopaniad 8, which says, jt jna jeyn
abhedabhvana rcakrapjanam. This means that realising, that
there is no difference between the knower, the known and the process
of knowing (knowledge) is true worship of ri Cakra.
06. blaaanysa
Here, nysa is done with Bl mantra ai kl sau ( ).
Generally, in r Vidy cult, in the beginning one is initiated with
Bl mantra and a sdhaka with consistent and dedicated practice
moves up in stages to Pacada and oa to become one with Her.
This nysa is performed to comprehend that there is no differentiation
in Her various forms. She alone manifests in different forms.
07. vainydinysa
This is also known as vgdevat nysa ( ), the
composers of Lalit Sahasranma. Identifying ourselves with these
vgdevei-s is the purpose of this nysa. All the fifty alphabets are
used in this nysa and nysa is done on the psychic centres.
08. mlavidyvaranysa
Mlavidyvaranysa is different from mlavidynysa, which is
discussed under additional nysa-s. The main difference between the
two is this - mlavidyvaranysa uses fifteen alphabets used in
Pacada as bjkara-s. Vara means sound, vowel, syllable. For
example the first alphabet of Pacada mantra is ka (). In

mlavidyvaranysa, a bindu is added by making ka () as ka ().
138
In mlavidynysa, pacada mantra is used for nysa.
Mlavidynysa nysa is done like karanysa and hrdaydi nysa
using each k of Pacada mantra.
Both these nysa-s are done to reaffirm that there is no difference
between Her, Her mantra and the sdhaka. This is subtly conveyed in
Varivasy Rahasya (verse 114) which says, Body of Parakti is
composed of Vg, Kma and akti ka-s of Pacada mantra which
are placed from Her crown to neck, neck to hip and hip to feet. The
same concept is also explained in Lalit Sahasranma 85, 86 and 87
(rmadvgbhava-kaika-svarpa-mukha-pakaj, kahdha
kaiparyantha-madhyaka-svarpi and akti-kaikatpannakayadhobhga-dhrin).
09. roakarnysa
This nysa is done with oa mantra with certain mudras like
saubhgyadain, ripujihvgrah, trikha and yoni. The purpose
of this nysa is to control worldly life endued with desires,
attachment, etc and to attain liberation by becoming one with Her.
10. samohananysa
Contemplating the entire universe as red is the purpose of this nysa.
Bhvanopaniad 19 says, lauhityametasya sarvasya vimara. This
means that pure Consciousness is Kmevara. Individual self, which
is in the state of eternal Bliss is Lalitmbik. The redness is

contemplating the union of iva, akti and jvan (individual soul).
When the universe is contemplated as red, the sdhaka attains Her
qualities of compassions. She is described as red in dhyna verses of
Lalit Sahasranma.
11. sahranysa
12. sinysa
13. sthinysa
139
Sahranysa, sinysa and sthinysa refers to dissolution, creation
and sustenance. sahranysa is done to annihilate avidy (nescience
or spiritual ignorance). Sinysa is done to contemplate that sdhaka
is born afresh with vidy or spiritual knowledge, where all dyads and
triads are not in existence. Sthinysa is done to establish the union of
sdhaka with Her. This is the state of jvanmukta. This is the essence
of mahvkya-s such as I am Brahman, I am That or aha
brahmsmi.
14. laghuohnysa
Laghu means easy, quick, etc. Laghuohnysa consists of six types
of nysa-s and they are follows.
i) gaeanysa
ii) grahanysa
iii) nakatranysa
iv) yoginnysa
v) rinysa
vi) phanysa
These six types of nysa-s are done to reaffirm that there is no
differentiation between Her and the sdhaka. This means that Gaea
(also known as Gaapati), the god of knowledge who removes all
obstacles and is the son of iva and Prvat. He is worshiped to
remove all obstacles at the commencement of navvaraa pj. By
doing this nysa, it is established that Lalitmbik is not different
from Gaea. Similarly, navagraha-s (nine planets) and twenty seven
stars are one with Her. Nine planets, twenty seven stars and nine ris (zodiac; also called bhva or houses) constitute a birth chart. When
She is worshiped with true devotion and love, even if the planets are
placed adversely in ones birth chart, they will not cause any
impediments in sdhakas life.
140
Yoginnysa is about sixty four yogini-s, who preside over various
parts of the body. Yogin here means the deities who preside over
various aspects of existence. There are several references to sixty four
yogini-s. However, for the purpose of this nysa, seven yogini-s
presiding over seven psychic centres and their deputies amounting to
forty nine are taken into account. Each psychic centre has certain
number of lotus petals and each petal is embedded with a Sanskrit
alphabet. Thus we have fifty alphabets placed in the fifty petals of six
psychic centres and at sahasrra each alphabet is placed in twenty
petals giving rise to one thousand petals. This is explained in detail

in Lalit Sahasranma 475 to 534. Please refer to the interpretation of
these nma-s for details. Thus, not only the psychic centres are
identified with Lalitmbik, but also the entire alphabets of Sanskrit.
These alphabets form words and their meaning, which establishes Her
presence in every aspect of the universe. This is the purpose of
yoginnysa.
Phanysa refers to fifty one aktipiha-s. iva was not invited by
Daka to participate in a yaj organised by him. Daka is father of
Sat, an incarnation of akt. When She was humiliated by Her father,
She immolated Herself. iva carrying Her corpse was milling around.
Viu cut the corpse into fifty one pieces that fell in fifty one different
places. These places are known as fifty one aktipiha-s. Each of
these aktipiha-s is represented by an alphabet and thus we have fifty
one alphabets. The number of alphabets is different from fifty
alphabets referred in yoginnysa as alphabet (a) is addition here.
15. rcakranysa
In rcakranysa, Gaapati, Ketrapla, Yogini-s (who preside over
eight varaa-s), aadikblaka-s (cardinal guards), bauka (young
guards), Brahm and Ananta are placed in various parts of the body.
This nysa also confirms that every aspect of the universe is pervaded
by Her.
i). trailokyamohanacakranysa
141
ii). sarvapariprakacakranysa
iii). sarvasakobhaacakranysa
iv). sarvasaubhgyadyakacakranysa
v). sarvrthasdhakacakranysa
vi). sarvarakkaracakranysa
vii). sarvarogaharacakranysa
viii a). yudhanysa
viii b). sarvasiddhipradacakranysa
ix). sarvnandamayacakranysa
These nine nysa-s represent nine varaa-s of ri Cakra. Each akti
of every varaa is placed on different parts of the body. Nysa for
ninth varaa is done only with mlamantra.
Additional nysa-s.
1. mlavidynysa: this is discussed along with
mlavidyvaranysa (08).
2. kmevarytinysa is done contemplating the four piha-s () viz.
kmagiripiha, pragiripha, jlandharapha and oyapha,
which are connected to four mnya-s (pantheons). Each pantheon
has one akti and all the pantheons put together, we have four aktis. mnya-s are worshiped at the end of navvaraa pj.
These are the broad interpretations of nysa-s and their significance.
Which of these nysa-s are to be followed is decided by ones Guru
and his lineage. It is important to contemplate Her while performing
nysa-s, as otherwise the very purpose of nysa-s would be lost.

142
18. Nysa mantras and procedures:
1) Mtknysa
This is done like a japa. Following is the general procedure and this
is to be done first.
i) ydi nysa

asya rmtknysamahmantrasya
brahm i | gyatr chanda | rmtk sarasvat devat |
(i - open the right palm and touch the top of the forehead; chanda
- tip of right fingers on the mouth; but lips should not be touched;
devat - right palm on the heart chakra)
Halbhyo bjebhyo nama
bindubhyo klakebhyo nama
(1.bja - touch right shoulder with right hand; 2. akti - touch left
shoulder with right hand; 3. klakam on the navel*. Only tip of the
fingers to be used.)
This subtly conveys the origin or alphabets, words and their
meanings.
*It is said that if any part below the navel is touched, hands should be
washed with water from pacaptra (a vessel with water kept for the
purpose of purification). But for the purpose of nysa-s, hands can be
washed after completing all the nysa-s. This is based on precepts of
| svarebhya aktibhyo nama
1
3
|
|
2
143
stra-s, which consider that all body parts below the navel are
impure.
mama r vidy'gatvena nyse viniyoga
(open both the palms and run them over all parts of the body; from
head to feet; alternatively viniyoga mudra can be used.
ii) Karanysa
Note: Throughout nysa procedures, if number 7 is used, it means om
ai hr r ai kl sau ( ). Numeric 7
consists of praava (), tritri (ai, hr, r) and Bl (ai, kl,
sau). If numeric 4 is used, it means only praava and tritri (om ai
hr r).
ii.1) 7
7 a ka kha ga gha a aguhbhym nama|
(use both the index fingers and run them on both the thumbs)
ii.2) 7
7 i ca cha ja jha a tarjanbhy nama |
(use both the thumbs and run them on both the index fingers)
ii.3) 7
7 u a ha a ha a madhyambhy nama|
(both the thumbs on the middle fingers)
ii.4) 7
7 ai ta tha da dha na ai anmikbhy nama|
(both the thumbs on the ring fingers)
144
ii.5) 7
7 au pa pha ba bha ma au kanihikbhy nama|
(both the thumbs on the little fingers)
ii.6) 7
7 a ya ra la ba a a sa ha a ka a
karatalakaraphbhy nama|
(open both the palms; run the opened palms of the right hand on the
front and back sides of the left palm and repeat the same for the other
palm)
iii) Hrdaydi nysa
iii.1) 7
7 a ka kha ga gha a hrdayya nama|
(open index, middle and ring fingers of the right hand and place them
on the heart chakra)

iii.2) 7
7 i ca cha ja jha a irase svh|
iii.3) 7
7 u a ha a ha a ikhyai vaa|
(open the right thumb and touch the back of the head. This is the point
where tuft is kept)
iii.4) 7
7 ai ta tha da dha na ai kavacya hu|
(cross both the hands and run the fully opened palms from shoulders
to finger tips)
iii.5) 7
145
7 au pa pha ba bha ma au netratrayya vaua|
(open the index, middle and ring fingers of the right hand; touch both
the eyes using index and ring fingers and touch the point between the
two eyebrows (j cakra) with the middle finger.)
iii.6) 7
7 a ya ra la ba a a sa ha a ka a astrya pha||
(by using right hand thumb and middle fingers make rattle clockwise
around the head)
bhrbhuvassuvaromiti digbandha||
iv) Dhynam

pacdvara bhedai vihitavadanado pdayuk kukivako
de bhsvatkapardkalita aikalmindukundvadtm |
akasrakkumbha cintlikhitavarakar rka abjasasth
achkalp atuccha stana jaghanabhar bhrat t nammi||
Meaning: The verse describes Bhrat Devi (known as Sarasvat, the
goddess presiding over speech. Lalitmbik is addressed as mtkvara-rpi in Lalit Sahasranma 577). Fifty alphabets (Sanskrit)
are Her face, arms, legs, abdomen and bosoms. She has moon with
kal-s on Her head. She is white complexioned like jasmine flower.
She holds in her hands, an akaml (rosary of 51 beads; (a) is
added to fifty alphabets; Lalit Sahasranma 489 is akamldidhar), a pitcher containing nectar (amta kalaa; amta also refers to
immortality), a book and varada mudra (conferring boons). She has
146
three eyes. Her entire form is flawless (nirmala). She is seated on a
lotus. I bow to this Devi.
(It is said that iva is in the form dhyna (meditation) and akti is in
the form of japa. Only this union (union of meditation and mantra
japa) leads to realization. There is no other way to attain realization.
The entire form of Lalitmbik is r Vidy mantra-s. When nysa is
done, it means that our body transforms as Her temple. Abiding in

this thought perpetually leads to Her realization.)
v). Pacapj (follow the procedure as per karanysa)
ra - agnytmikyai dpa daraymi |
-
-
-

-
-
-
18.1a. Bahirmtknysa (nysa on the external
body parts)
7 is to be prefixed to each akara and nama hasa ( )
Example: om ai hr r ai kl sau a nama hasa
147

While touching the body parts, join right hand thumb and ring finger
and the body parts should be touched with these fingers joined as
explained in this chart.
1 a Head
2 Mouth
3 i Right eye
4 Left eye
5 u Right ear
6 Left ear
7 ru Right nostril
8 r Left nostril
9 lu Right cheeks
10 l Left cheeks
11 e Upper lips
12 ai Lower lips
13 o Upper teeth
14 au Lower teeth
15 a Tip of the tongue
16 a neck
17 ka Right shoulder
18 kha Right elbow
19 ga Right wrist
20 gha bottom of right fingers
21 a Tip of right fingers
22 ca Left shoulder
23 cha Left elbow
24 ja Left wrist
25 jha bottom of left fingers
26 a Tip of right fingers
27 a Right thigh joint
28 ha Right knee
148
29 a Right ankle
30 ha Bottom of right toes
31 a Tip of toes
32 ta Left thigh joint
33 tha Left knee
34 da Left ankle
35 dha Bottom of left toes
36 na Tip of left toes
37 pa Right thorax
38 pha Left thorax
39 ba Lower back
40 bha navel
41 ma abdomen
42 ya heart
43 ra Right armpit
44 la Nape of the neck
45 va Left armpit
46 a Run left hand fingers from
47 a Run right hand fingers

48 sa Run left hand fingers from
49 ha Run right hand fingers
50 a Run both hand fingers
51 ka Run both hand fingers
heart to right finger tips
from heart to left finger
tips
heart to right toe
from heart to left toe
from hip to toes
from hip to top of the head
Notes:
1 to 16 are vowels and from 17 to 51 are consonants. Each alphabet
is with nda-bindu (nda-bindu can be explained as the supreme
energy that is divided into three nda, bindu and bja).
149
As already discussed, any portion below the navel is touched, hands
should be washed as detailed above; otherwise these nysa-s can be
mentally contemplated.
18.1b. Antarmtknysa (nysa on the psychic
centres)
Same procedure as per 18.2 above is to be adopted.
Example:
7 is to be prefixed to each akara and nama hasa ( )
Example: om ai hr r ai kl sau a nama hasa

1 a
2
3 i
4
5 u
6
7 ru
8 r
9 lu
10 l
11 e
12 ai
13 o
14 au
15 a
16 a
17 ka
18 kha
Throat area
Viuddhi chakra
16 petals
19 ga
20 gha
21
22 ca
23 cha
24 ja
25 jha
26 a
27
28
150
ha
Heart
Anhata chakra
12 petals
29
30
31
32 ta
33 tha
34 da
35 dha
36 na
37 pa
38 pha
39 ba
40 bha
41 ma
42 ya
43 ra
44 la
45 va
46 a
47
48 sa
a
ha

Perineum
Navel
ipraka chakra
Ma
10 petals
Coccyx
Svdhihna chakra
6 petals
Mldhra chakra
4 petals
151
49 ha Centre of eye brows j
50 ka
chakra
2 petals
For nysa in sahasrra, all the fifty akara-s mentioned above are to
be done and with prefix and suffix. Each akara should have prefix
and suffix. Similar is the case for every chakra.
Notes:
1. Nysa-s on these chakras follow the pattern of Lalit Sahasranma,
where viuddhi chakra (475), anhata (485), maipraka (495),
svdhihna (504), mldhra (514), j (521) and sahasrra (528).
18.2) karauddhinysa (nysa-s on palm and fingers)
This nysa is of two types. First one is done on the palms and the
second one is done on the fingers. Some texts say that prefix for palms
is 4 (om ai hr r) and for the fingers it is 7 (om ai hr r
ai kl sau); other texts say prefix is only 4. We are adopting only
4. There is no suffix except nama for this nysa. For nysa on the
fingers, procedure for karanysa is to be adopted. For nysa-s on the
right palm, left hand is to be used. There are only three bjkara-s
used a sau ( ).
I. Palms
i) 4 (om ai hr r )a nama - 4 right palm
ii) 4 nama - 4 back of the right palm
iii) 4 sau nama - 4 both sides of the right palm
iv) 4 a nama - 4 left palm
v) 4 nama - 4 back of the left palm
vi) 4 sau nama - 4 both sides of the left palm
152
II. Fingers
i) 4 a nama - 4 middle fingers of both hands
ii) 4 nama - 4 ring fingers

iii) 4 sau nama - 4 little fingers
iv) 4 a nama - 4 thumbs
v) 4 nama - 4 index fingers
vi) 4 sau nama - 4 back sides of both palms
18.3). tmaraknysa
Join both palms in front of the heart chakra and meditate on Her by
reciting this mantra. While doing so, inner side of palms should be in
contact with middle of the chest.
7 r mahtripurasundari tmna raka raka ||
7
18.4) Blaaanysa
Nysa is done with Bl mantra which is as follows.
i) 4 - 4 ai - hrdayya nama| (open index, middle and
ring fingers of the right hand and place them on the heart chakra)
ii) 4 - 4 kl - irase svh| (open middle and ring
fingers of the right hand and touch the top of the forehead)
iii) 4 - 4 sau - ikhyai vaa| (open the right thumb
and touch the back of the head. This is the point where tuft is kept)
iv) 4 - 4 ai - kavacya hu| (cross both the hands and
run the fully opened palms from shoulders to finger tips)
153
v) 4 - 4 kl - netratrayya vaua| (open the index,
middle and ring fingers of the right hand; touch both the eyes using
index and ring fingers and touch the point between the two eyebrows
(j cakra) with the middle finger.
vi) 4 - 4 sau - astrya pha||
18.5) Catursananysa
i) 4 4 hr kl sau devytmsanya
nama |
(touching feet with both hands with nysa mudra)
ii) 4 4 hai hkl hsau rcakrsanya
nama |
(knees)
iii) 4
4 hsai hskl hssau
sarvamantrsanya nama
(upper thighs)
iv) 4 4 hr kl ble
sdhyasiddhsanya nama |
(on the perineum / mldhra this nysa can be mentally
contemplated)
18.6). Vainydinysa
This nysa follows the pattern of seventh varaa
Please refer nysa 18.2 above, where there are fifty one akara-s.
These 51 akara-s are used in this nysa as detailed below. For
154
example 1 16 means akara-s to (a to a). These are eight
Vgdevi-s who composed Lalit Sahasranma.

i) 4 (om ai hr r ) 1 16 4 1- 16 bl
vaini vgdevatyai nama |
(head sahasrra)
ii) 4 17 21 4 17 21
klhr kmevar vgdevatyai nama |
(forehead manas chakra, which is just above jcakra)
iii) 4 22 26 4 22 26 nvl modin
vgdevatyai nama |
(centre of eye brows jcakra)
iv) 4 27 31 4 27 31yl vimal
vgdevatyai nama |
(neck - viuddhi chakra)
v) 4 32 36 4 32 36 jmr aru
vgdevatyai nama |
(heart anhata chakra)
vi) 4 37 41 4 37 41 hslvy jayin
vgdevatyai nama
(navel - maipraka)
vii) 4 42 -45 4 42 -45 jhmry sarvevar
vgdevatyai nama |
155
(genital - sex chakra/svdhihna chakra)
viii) 4 46 51 4 46 51 kmr kaulin
vgdevatyai nama |
(perineum mldhra chakra)
18.7) Mlavidyvaranysa
This nysa is based on pacada mantra. Mlamantra of Lalitmbik
is always pacada mantra (Lalit Sahasranma 88 is
mlamantrtmik), the reason for which is explained in Lalit
Sahasranma 322, kmakalrp. Alphabets of pacada mantra do
not have bindu, whereas in this nysa each letter is used with bindu.
Certain versions place each akara of Bl mantra after 4 and before
the akara-s. For example om ai hr r ai ka nama.
om ai hr r (4) is to be prefixed to all the akara-s
and nama at the end. Example: om ai hr r ha nama

i) First ka:
ka head; e mldhra (can be mentally contemplated) ;
heart (biological heart); la - right eye; hr - left eye.
ii) Second ka:
ha - centre of eyebrows; sa - right ear; ka - left ear; ha
- mouth; la - right shoulder; hr - left shoulder.
iii) Third ka:
sa - derriere (can be contemplated mentally); ka - right knee;
la left knee; hr - navel.
156
After completing nysa-s, mlamantra japa should be done. If one is

initiated into oa, only oa should be recited mentally.
This completes nysa procedures. After completing, both the hands
should be washed with the water kept in a vessel (pacaptra) meant
for this purpose, as during nysa-s parts below the navel are touched.
After completing nysa-s, it would be ideal not to change the sitting
posture or get up from the seat. If one has to get up for compelling
reasons, twenty four counts of mlamantra japa should be done.
Further, while performing navvaraa pj, it is better to have two
persons for help. Navvaraa pj is equivalent to performing a yaj
and therefore, one has to follow the laid down procedures to the
maximum possible extent.
19. Ptra sdanam
19.1) Requirements:
Ptra means vessels and sdana means arranging. Though there are
several vessels used for navvaraa pj, three vessels viz. vardhan
kalaa, smanya arghya and viea arghya are considered as
important. Out of the three, vierghya ptra is extremely important.
For performing navvaraa pj the following materials are required.
1. Wooden plank or mat for seating. This is called sana.
2. camana ptra with uttarai (spoon like). This vessel should be
filled with water from a bigger vessel, which is explained in 6 below.
camana procedure is explained under tatvcamanam.
3. A few containers/bowls for keeping flowers. It would be ideal to
procure different kinds of flowers, at least nine types. Similarly,

containers for keeping different kinds of fruits, required for naivedya
to be offered at the end of each varaa. If possible, it would be ideal
to use nine kinds of fragrant flowers and nine types of fruits meant
157
for each varaa. Whenever possible, different cooked items can also
be prepared for naivedya.
4. Navvaraa pj cannot be done individually, as it requires lot of
preparations before and during the pj. Once the performer is seated,
he or she should not get up from the sana. Someone has to help the
performer by arranging naivedya at the end of each varaa. If
naivedya can be prepared in the form of cooked items, more persons
are required to prepare these dishes. These dishes are to be prepared
with pure mind and body. Unnecessary talks must be avoided and
instead, Lalit Sahasranma, Saundaryalahar, rdev Mhtmya and
other hymns and verses should be recited in Her praise. These
recitations will bring immense positive energy in the place. All
preparations for naivedya should be done with pure and devoted
mind.
5. At the end of each varaa, dhpa, dpa, naivedya and nrjana
should be offered. Necessary materials for performing dhpa, dpa
and nrjana are to be kept ready. Naivedya has been discussed in 3
above. Dpa and nrjana can be done with wicks dipped in ghee.
There should be two dhpa-s; one should be continuously burning

and another one should be used for offering dhpa at the end of each
varaa. Similarly, lamps on two sides of the maala should be
burning continuously and both ghee and sesame oil should be filled
in the lamp frequently, so that the lamps burn continuously.
6. A bigger vessel containing pure potable water is to be kept. Only
from this, water for vardhan kalaa, smanya arghya and viea
arghya is to be taken. Iron and plastic containers are to be totally
avoided. It would be ideal to purify this water by reciting Gytatr
mantra twenty four times.
7. A medium sized vessel to prepare viea arghya. This vessel is
known as kraa kalaa.
8. Vessels for vardhan kalaa, smanya arghya and viea arghya.
For vardhan kalaa, a uttarai (this is like a small spoon, but with
158
more depth to hold water and is always placed inside pacaptra). For
smanya arghya, a conch with a base (ideally in the form of a tortoise)
is required. For viea arghya another pacaptra, preferably in silver
or copper is required. A tweezer is also required and this tweezer
should be either made of silver or copper. This is meant to perform
tarpaa. Instead of a tweezer, a thin silver rod is used with spikes on
one side and a very small uttarai like structure which can hold one
or two drops of viea arghya can also be used.
9. Three or more very small silver or copper cups for Guru ptra, tma
ptra, and few extra cups to distribute to other upsaka-s. It is also

advised that a separate ptra can be kept for the spouse of the
worshipper and this is generally known as patni ptra, provided,
spouse is also initiated into either Pacada or oa. (Spouse
means either husband or wife pati or patn)
10. Sandal paste and kumkum for decorating these vessels, lamps,
etc. Whole rice grains mixed with turmeric powder and a little water
and this is known as akata or yellow rice which symbolizes
auspiciousness. Akata is also required during pj.
11. Powdered condiments like cardamom, cloves, saffron, edible
camphor, etc. Though they can be mixed with water straight away, it
is better to get them powdered so that they can mix well with water.
12. A few pieces of peeled ginger.
13. Ingredients to prepare viea arghya. There are different opinions
on preparation of viea arghya and almost every lineage has their
own methods of preparing viea arghya. We go with the simplest
method, for which following ingredients are required. Milk (not
boiled; it is better to use cows milk, if available), small quantity of
tender coconut water, honey, saffron, edible camphor, very small
quantity of powdered sugar, finely powdered cardamom, clove, maze
and jtpattr (arillus of the nut or maca). All the condiments are to be
nicely powdered and mixed with milk, tender coconut water and
honey. Consistency of this mixture should be thicker than milk.
159
14. A copper plate to for bali. This is also known bali ptra.
15. An rati plate with water by adding kumkum till the water turns
red.
It is also advisable to keep pure water in a separate container to wash
hands as and when needed. Dry towels may be required to dry hands.
If mantras are not memorised, provision should be made to keep the
printed copies in a comfortable position.
19.2) Arrangements:
Entry into pj maapa is explained in serial number 2. Inside this
pj maapa, the following arrangements are made.
Everything is to be arranged as indicted in the diagram below.
IMAGE 13
1. Kmevara-kmevar idol, if available.
2. ri Cakra/ Meru
3. Two lamps on either side. Lamps to the left of sdhaka should be
lit with ghee (clarified butter) and lamps to the right of sdhaka
should be lit with sesame oil. Totally there will be four lamps. All the
four lamps should be placed on bases. One small additional lamp can
be kept separately to light dhpa, dpa and nrjana. Base for this lamp
is not a must.
160
4. This is the sana. Sitting posture is very important. One should take
the most comfortable sitting posture. As far as possible, sdhaka
should not change his sitting posture too frequently. Ardhapadmsana

is the best sitting posture for performing navvaraa pj.
5. Viea arghya ptra should be consecrated here on the prescribed
base.
6. Smanya arghya (conch) should be established here on the
prescribed base.
7. Vardhan kalaa should be established here.
8. camana ptra can be kept here (this vessel can be moved from
this place).
9. Flower bowl can be kept here.
10. Other pj accessories such as bell, dhpa, dpa, nrjana etc can
be kept here.
11. Naivedya when needed can be kept here.
If idols of Ganea, Sun, Viu and iva are available, they can be kept
in the places marked A, B, C and D respectively in the image 13
above. This will be useful while performing caturyatana pj later.
All other materials can be kept in places that are most convenient to
sdhaka. Someone who is conversant with mantras can read out the
mantras and sdhaka can perform the pj. ri Cakra should be placed
in front of the idol. Navvaraa pj can be done even without an
idol. But ri Cakra or Meru is must (there are contradictory opinions
on this). Viea arghya ptra and Smanya arghya should not be
moved after consecrating them. This is one of the very important
aspects of navvaraa pj.

161
19.3) Meaning and purpose (broader perspective):
Consecration of ptra-s, viea arghya ptra, smanya arghya,
vardhan kalaa, Guru ptra and tma ptra is importnat. Patn ptra
need not be consecrated and should not be mixed with tma ptra, if
wife/husband is not initiated into Pacada or oa.
Water is given so much importance not only in navvaraa pj, but
in every ritual including great yaja-s. It is said that when bad
thoughts percolate into mind, one should continue to touch water and
recite mlamantra. In general water is compared to knowledge in
various Scriptures. This can be observed from the relevant mantras
discussed later. Vardhanya means to be made prosperous or happy.
Mantras for consecrating kalaa refer to Brahm, Viu and Rudra.
When trimrti-s are referred while consecrating water in kalaa, it
underlines the importance of water. Thus, water not only signifies
purity, but also purifies other objects kept for navvaraa yaja. This
water is said to contain seven continents, four Vedas, sacred rivers,
etc.
The three arghya vessels convey deeper insight into Consciousness
beginning from ordinary knowledge to supreme knowledge.
Vardhan kalaa refers to inferior knowledge known as aparajna,
where mind goes with shapes, forms and names associated with
empirical world. Smanya arghya is higher state of knowledge than
empirical knowledge, where dualities are dissolved, but the thought

of I am iva (aha + iva = ivoham or I am iva) has not yet
emerged. In this state, sdhaka is associated with Vimara or dynamic
aspect of iva. Viea arghya refers to Supreme knowledge, the stage
of realising the Self, the state of saccidnanda (sat-cit-nanda). In this
stage the veil of my that was present in smanya arghya is removed
and Praka form of iva is realized. Literally speaking smanya
means ordinary and viea means special. Both ordinary and special
refer to the type of knowledge, the sdhaka acquires while performing
navvaraa pj. Navvaraa pj is not just a ritual, but it is the
foundation for spiritual path. Viea arghya is the material depiction
of union of iva and akti (Paramevara, where akti is inherent). If
162
this discussion can be taken forward, it also means that the central
bindu of ri Cakra means iva and the innermost triangle of ri Cakra
refers to akti. Union of iva and akti takes place only in the
innermost triangle of ri Cakra, which leads to creation, sustenance,
dissolution, concealment and re-creation, the five principal acts of
Brahman. Hence, navvaraa pj is not only considered as secret,
but also sacred.
Each of these ptra-s are placed on a base, also known as maala (a
circular base) or dhra (substratum). Every ptra will have three
components the base, the vessel and the water in the vessel and they
represent agni (fire), sun and moon on the grosser side and suumna,
pigala and ia on the subtler side respectively. Pacada mantra,
kmakal (Lalit Sahasranma 322) and ri Cakra are also compared
to moon, sun and fire. Bhvanopaniad elaborately discusses on these
subtleties and these subtleties are dealt with in the series ri Cakra
and human body). In kta worship, every aspect of creation can be
divided into three, known as triads. When a sdhaka pursues spiritual
path, he pursues pururtha, which means human pursuit. She is the
giver of pururtha-s says Lalit Sahasranma 291, Pururtha-prad.
Pururtha is the fourfold value of human life. They are dharma
(righteousness or virtues), artha (wish or purpose), kma (desires and
pleasures) and moka (the liberation). It is clear that the ancient
scriptures do not prohibit these great human values. What they say is
not to get attached to them. On many occasions this concept is
misquoted. The first entry into pj maapa is known as path to
liberation and one is liberated at the end of navvaraa pj, provided
sdhaka performs this pj with absolute devotion. When he enters
into the path of liberation, he undergoes various modifications and
these changes are symbolically explained and expressed through
these smanya arghya and viea arghya.
The same concept can be explained subtly through psychic chakras.
Sdhakas physical body represents the bases of arghya ptra-s and is
to be contemplated at mldhra chakra, which also represents first
of the four pururtha-s viz. dharma. Because of his accumulated
163
dharma account over his past births, he has attained human form. He
continues to exist in this form because of the fire of kualin burning
at his mldhra chakra. While mldhra chakra is the base of the
human body, his mind is the vessel and the water or amta within the
ptra-s is his worldly experience. Thus it indicates that one needs to
have pure body, pure mind and pure thought processes while
performing navvaraa pj. When a sdhaka purifies his mind, the
other components of antakaraa (intellect, consciousness and ego)
are also purified by the moon and this purifications process begins at
viuddhi chakra and is completed at j chakra. When antakaraa
is purified, his devotion for Her turns into love and during this stage
his consciousness begins to enter into cosmic consciousness by
piercing sahasrra and during this stage, nectar (amta) is secreted
from sahasrra and drips into the throat chakra. This is explained in
Lalit Sahasranma 106 Sudhsrabhi-vari. This is considered as
the most secretive part of viea arghya in navvaraa pj.
The five vessels or ptra-s - smanya arghya, viea arghya, guru
ptra, tma ptra and bali ptra represent five M-s or pacamakra-s
(this is not accepted in certain sections) and these five are madya
(intoxicating drink), msa (meat), matsya (fish), mudr (finger
gestures) and maithuna (copulation). Each of these tattva-s is
represented by pacabhta-s or five principal elements viz. fire,
water, earth, air and ka.

This is the broader perspective of ptra-s and specifics will be
discussed at the time of discussing relevant mantras.
19.4) Procedure for establishing vardhan kalaa:
(All procedures and mantras are abridged. If this procedure is
adopted, it would approximately take about three hours to complete
navvaraa pj. There are several expanded versions with
procedures and mantras in detail and for performing such pj-s,
which could take about eight to twelve hours. Which version one has
to adopt is decided by ones Guru.)
164
To the left of sdhaka (marked as 7 in image 13) is vardhan kalaa.
Position of these vessels can be marginally adjusted to suit the
convenience of sdhaka; however their places should not be
interchanged.
A yantra is to be drawn as shown in the image below. It consists of a
bindu, three triangles and a square. Ideally this yantra should be
drawn with diluted paste comprising of sandal, kumkum and turmeric
paste. This is the base or maala on which vardhan kalaa will be
placed. Those who frequently perform navvaraa pj get them
engraved on metallic plates or wooden plates. Flowers/ akata should
be offered to each of the triangles by reciting this mantra six times.
IMAGE 14
4 4 a agni maalya nama ||
Place sandal paste and kumkum on the four upper sides of the
vardhan kalaa and fill it with water taken from 19.1.5 (discussed
earlier) mixed with condiments on the maala above, by reciting the
following mantra twelve times. When vardhan kalaa is placed on
the maala, it should be filled with water and should have uttarai
within.
4 4 u sryamaalya nama ||
After placing the vessel on the maala offer flowers to the vessel
(not to be placed inside the vessel). Now by closing the kalaa with
right palm recite the following mantra sixteen times.
4 ma somamaalya nama || (This is known
as abhimantraa or consecrating).
165
Without taking the right palm, recite the following mantra.

- -

kalaasya mukhe viu kahe rudra samrita |
mle tatra sthito brahm madhye mtga smt ||

kukau tu sgar sarve saptadvp vasundhar |
gvedo'tha yajurveda smavedo'pyatharvaa ||
agaica sahit sarve kalabusamrit |
yatu dev-pjrtha duritakaya-krak ||
gage ca yamune caiva godvari sarasvati |
narmade sindhu kveri jalesmin sannidhi kuru ||
(Meaning: Mouth of this vessel is Viu, its neck is Rudra and its
base is Brahm. In the centre all the akara-s reside. All the oceans
are within, along with the seven continents. Four Vedas together
with all their branches dwell within this water. Holy rivers Gaga,
Yamun, Godvar, Sarasvat, Narmad, Sindhu and Kveri are
present in these waters.)
Continue to hold the kalaa with right palm and recite mlamantra
(initiated mantra either Pacada or oa) eight times. Now show
dhenu mudra over the kalaa. Take some water with uttarai and
sprinkle (prokaa) all over the pj items and over the self. This is
known as uddhisaskra ( ) or purification rites.
166
(Dhenu mudra: Join the fingers of both palms, connect little fingers
with ring fingers and connect index fingers with middle fingers. Join
the thumbs and make these intertwined fingers to face down. This
mudra is for making the water in kalaa as amta or nectar.)
19.5) Procedure for establishing smnya arghya:
Similar maala is to be established again for smnya arghya.

Establishing smnya arghya requires a conch and a base as shown in
the picture below, apart from the maala. On the maala, base for
the conch is placed (which is usually turtle shaped) and on this base,
the conch is to be placed. This is called smnya arghya.
Establishing maala for smnya arghya is different from
establishing vardhan kalaa, though the drawing remains the same.
Let us assume that the sdhaka is sitting facing east. Then the
maala is to be worshiped as per image 15 below. There are three
types of mantras. One is performed on the outer square (marked 1 to
6) , another is performed in the hexagon (marked as 1 to 6) and the
third one is worshiped in the inner triangle which is marked in roman
numeric. The entire pj is done with Pacada or oa mantras,
as described in Blaaanysa, with some additional mantras.
A maala consists of six parts. Square represents future; Circle
represents past; akoa (hexagon) represents present. Innermost
triangle represents icch jn and kriy akti-s. Bindu represents
nta-kal. There are other interpretations as well. Outer square,
circle, hexagon, innermost triangle and bindu represent antakaraa
(mind, intellect, consciousness and ego) and thought process. There
are other subtle interpretations for maala
19.5.a) Worshiping outer square (marked 1 to 5 on the outer sides
and 6 in the bindu):
1. 4
4 ai hdayya nama | hdayaakti rpduk pjaymi nama
167
2. 4
4 kl irase svh | iraakti rpduk pjaymi nama ||
IMAGE 15
3. 4
4 sau ikhyai vaa | ikhakti rpduk pjaymi nama ||
4. 4
4 ai kavacya h | kavacaakti rpduk pjaymi nama ||
5. 4
4 kl netratrayya vaua | netraakti rpduk pjaymi
nama
6. 4
4 sau astrya pha | astraakti rpduk pjaymi nama ||
There are three * marks which represent south, west and north sides.
In these three places, without reciting any mantra place akata at these
cardinal points.
19.5.b) Worshiping six inner triangles: (marked as 1 to 6)
In 19.5.a, Bl mantra was used. In this section, Saubhgya Pacada
is used.
180
i) 4

4 sadyojta prapadymi sadyojtya vai namo nama |

bhave bhaventi bhave bhavasya m bhavodbhavya nama ||
ii) 4

4 vmadevya namo jyehya nama rehya namo rudrya nama
klya nama kalavikaraya namo balavikaraya namo balya
namo balapramathanya nama sarvabhtadamanya namo
manonmanya nama ||
iii) 4

4 aghorebhyo'tha ghorebhyo ghoraghoratarebhya | sarvebhya
sarvaarvebhyo namaste astu rudrerpebhya ||
iv) 4
4 tatpuruya vidmahe mahdevya dhmahi tanno rudra
pracodayt ||
v) 4

4 na sarvavidynmvara sarvabhtn
brahmdhipatirbrahmao'dhipatirbrahm ivo me astu sadivom
20.5) Recite the following mantra before pouring nectar into viea
arghya ptra.
4

181
4 sau sa ka la hr soma maalya kmaprada oaa kaltmane
r mahtripursundary viea argya amtya nama |
Now take a piece of peeled ginger and hold in the left hand with tattva
mudra (joining thumb and ring finger of the left hand is tattva mudra
(image available at the end of the book). Now take kraa kalaa in
the right hand and pour amta (viea arghya) slowly through into the
viea arghya ptra. While doing so, we have to recite mentally all
the alphabets of Sanskrit first in the regular manner and next in
reverse manner. That is, first we have to begin with and finish at
and then begin at and finish at (akrati kakrntam). Akara-s
shown here are without bindu. Each of the following akara-s should
be recited with bindu. For example (a) becomes (a) and (ka)
becomes (ka).
Fifty one alphabets of Sanskrit are as follows:
(16)
a i u e ai o au a a
(5) (5)
ka kha ga gha a ca cha ja jha a
(5) (5)
a ha a ha a ta tha da dha na
(5)
pa pha ba bha ma
(10)
ya ra la va a a sa ha a ka
Now the viea arghya is filled in the viea arghya ptra.The ginger
piece is to be placed inside the viea arghya. Five different types of
small flowers can also be placed inside viea arghya. Now the amta
182
in the viea arghya ptra is to be consecrated. Amta in the viea
arghya ptra is soma maala.
Following mantra is to be recited and offer akata into the ptra at the
end of the mantra. Rest of the mantras in this part is for Sudh Devi
( ), who presides over amta.
4

4 pyyasva samedu te vivata somaviyam | bhavvjasya
sagathe || s s s sai sau sa samalavary
somamaalya nama ||
Now take pure honey in a small cup and have a small and pointed
wooden spoon or silver spoon. There are special instrument specially
made for performing navvaraa pj like the one shown here. A drop
of honey is to be transferred to viea arghya ptra by reciting the
following mantras. This worship is to amta inside the viea arghya
ptra.
Mantras here are the names of sixteen kal-s (oaa kal) candra
maala. Amta inside the viea arghya ptra is to be mentally

divided into sixteen parts. In each of these mantras after 4 (om ai
hr r), all the sixteen vowels of Sanskrit are prefixed. These
arcana-s are to be done with honey, using side A, which can hold only
a drop of honey. The other side B is meant for performing tarpaa. A
ginger piece can be inserted here. The above piece can be used instead
of tweezers. It is important that arcana-s to be done in
anticlockwise manner.
i) 4 4 a amtyai nama
ii) 4 4 manadyai nama
iii) 4 4 i pyai nama
iv) 4 4 tuyai nama
v) 4 4 u puyai nama
183
vi) 4 4 ratyai nama
vii) 4 4 dhtyai nama
viii) 4 4 ainyai nama
ix) 4 4 lu candrikyai nama
x) 4 4 kntyai nama
xi) 4 4 e jyotsnyai nama
xii) 4 4 ai riyai nama
xiii) 4 4 o prtyai nama
xiv) 4 4 au agadyai nama
xv) 4 4 a pryai nama
xvi) 4 4 a prmtyai nama

After adding honey thus to the amta inside viea arghya ptra, the
following mtyujaya mantra is to be repeated eight times.
om jusa svh ||
Now, repeat mlamantra eight times.
Now contemplate an inverted triangle formed of mtk-s with a
bindu within, on the amta inside the viea arghya ptra as shown
below.
Now we have to write 51 alphabets with bindu (like a ) on the
three corners of the triangle as detailed below. Alphabets can be
written using dharvi or they can be contemplated. In other words,
mtk-s are to be contemplated in the form of a triangle
184
IMAGE 18
. 1 2: (16)
a i u e ai o au a a
2 3: (16)
ka kha ga gha a ca cha ja jha a a ha a ha a ta
3 -1: (16)
tha da dha na pa pha ba bha ma ya ra la va a a sa
4 ha; 5 a; 6 ka (51 alphabets end here); 7
(kmakal); 8 ha; 9 sa. (7, 8, 9 are not counted for arriving
51 alphabets).
Similarly we have to write pacada mantra (oa upsaka-s

should use oa mantra) as described below:
At bindu marked as 7
4
4 ka e la hr ha sa ka ha la hr sa ka la hr nama
Between 1 and 3
4 4 ka e la hr nama
Between 3 and 2
185
4 4 ha sa ka ha la hr nama
Between 2 and 1
4 4 sa ka la hr nama
Now draw a circle around this triangle by reciting hasa ( ) and
then draw hexagon (akoa) as shown in image 19.
IMAGE 19
The inner triangle has already been worshiped. Starting from the
lower outer triangle, in clockwise manner, we have to worship with
Pacada or oa mantra-s. If one finds writing difficult, he/she
can contemplate writing.
1. 4
4 ka e la hr hdayya nama | hdayaakti rpduk
pjaymi nama ||
2. 4
4 ha sa ka ha la hr irase svh | iraakti rpduk pjaymi
nama ||
3. 4
4 sa ka la hr ikhyai vaa | ikhakti rpduk pjaymi
nama ||
186
4. 4
4 ka e la hr kavacya h | kavacaakti rpduk pjaymi
nama ||
5. 4
4 kl ha sa ka ha la hr netratrayya vaua | netraakti
rpduk pjaymi nama ||
6. 4
4 sa ka la hr astrya pha | astraakti rpduk pjaymi
nama ||
Now we have to invoke Sudh Devi in our seven psychic centres
from mldhra to just below sahasrra. mla refers to the initiated
mantra such as pacada, saubhgya-pacada or oa.
i) 4 (contemplation on mldhra
chakra)
4 mla pthiv tattvam vhaymi nama
ii) 4 (contemplation on svdhihna
chakra)
4 mla pa tattvam vhaymi nama
iii) 4 (contemplation on maipraka

chakra)
4 mla teja tattvam vhaymi nama
iv) 4 (contemplation on anhata
chakra)
4 mla vyu tattvam vhaymi nama
v) 4 (contemplation on viuddhi
chakra)
4 mla ka tattvam vhaymi nama
187
vi) 4 (contemplation on j chakra)
4 mla manas tattvam vhaymi nama
vii) 4 (contemplation on manas
(mind) chakra. This is just above j chakra.)
4 mla unmana tattvam vhaymi nama
Unmana means the Power of Paramaiva which is ready to manifest.
Literally it means transcending mind. j chakra refers to mind and
unmana refers to transcending mind.
The following is to be recited in praise of Sudh Devi
4 -

4 mla t cinmay nandalaka amtakalaa-piita
hastadvay prasann dev pjaymi nama svh ||
After reciting the above verse, take amta from viea arghya ptra in
an uttarai. Now raise the uttarai above the head by saying the
following mantra.
Each of the following mantras has a purpose and these mantras are
classified under different gender.
4 4 vaa (male; used for invocation, peace and prosperity)
By reciting the following mantra, pour back the amta into viea
arghya ptra.
4 4 svh (female; destruction of sins and produces auspicious
results)
Now, show avakuhana mudra to viea arghya ptra by saying the
following mantra.
4 4 hu (female; infatuation)
188
Now, show dhenu mudra to viea arghya ptra by saying the
following mantra.
4 4 vaua (gender not known; invitation)
Now, show astra mudra to viea arghya ptra by saying the following
mantra.
4 4 pha (male; destroying evil forces)
(astra mudra is clapping the left palm with index and middle fingers
of the right palm. While doing so, there should be enough sound.)
Now offer flowers to viea arghya ptra by reciting the following.
4 4 nama (eunuch; attraction)
Now, by reciting mlamantra look at the viea arghya ptra, through

glin mudra (open up the left palm and hold the right palm with palm
facing down. Now connect the left ring finger with the right middle
finger and left middle finger with right ring finger. Connect left
thumb with right little finger and vice versa. This is glin mudra.)
By reciting 4 4 ai worship Sudh Devi in viea arghya ptra with
yoni mudra.
Now recite mlamantra seven times.
At this point, we have two options. In the first option, Sudh Devi can
be consecrated in detailed manner and the mantra for this
consecration is as per consecration of ri Cakra earlier. In the second
option, by skipping the consecration procedure only invocation
procedure can be done, which is as follows. It would be ideal to use
yellow coloured flowers here.
4 4 sudhdev vhaymi nama
189
4 4 sudhdevyai nama sanam
kalpaymi nama |
4 4 sudhdevyai nama pdya
kalpaymi nama |
4 4 sudhdevyai nama arghya
kalpaymi nama |
4 4 sudhdevyai nama snna
kalpaymi nama |
4 4 sudhdevyai nama
camanya kalpaymi nama |
4 4 sudhdevyai nama vastra
kalpaymi nama |
4 , , ,
4 sudhdevyai nama dhpa, dpa, naivedya and nrajanam
samarpaymi |
(All the above are to be done separately).
Now worship Sudh Devi with yoni mudra.
Now take a few drops of amta from viea arghya ptra and sprinkle
on all the pj articles. Wash and dry the hands. Recite 16 times
mlamantra.
Brief note abaout Sudh Devi:
The nectar in the viea arghya ptra is known as Sudh Devi. She
presides over amta in viea arghya or she is in the form of amta.
She is revealed through pacada mantra. Her physical form is
described with two hands. In one hand she holds a pot of nectar
190
(amtakalaa) and in another hand she holds a fish. Amta or nectar
refers to moka (liberation) and fish refers to the material world. Both
lead to happiness, but physical and material pleasures are short lived.
Only moka gives perpetual Bliss. Difference is in the usage of Bliss
and pleasure. Bliss is due to Divine Grace and pleasure is material
happiness dueto afflicted mind (illusion). Every tarpaa made with

viea arghya in various varaa-s leads us gradually towards
Lalitmbik who is majestically seated in the innermost triangle. She
is praka-vimara-smarasytmaka parabrhma svarpii (this verse
comes up in ninth varaa). In inner triangle and bindu the equipoise
stage of iva and akti prevails, where, the union of the individual
self with the Supreme Self takes place. While advancing from the first
varaa towards the ninth, our mind has to undergo complete
transformation from egoism to total surrender. By doing tarpaa, we
sacrifice our individuality by controlling our senses and antakaraa
to finally become one with Her who takes us to iva for liberation.
Hence in navvaraa pj, there is always a correlation between the
material world and the inner self. There will be no benefit if
navvaraa pj is done without staying focussed on Her. Pomp and
vanity have no place in navvaraa pj. In general navvaraa pj
should always be done privately as far as possible to gain maximum
benefits.
We must remember that viea arghya ptra should not be moved. So,
whatever we do, should be done without moving viea arghya ptra
from its place. The same rule applies to smnya arghya as well.
Now, viea arghya will be further purified/sanctified (abhimantraa)
with the following kal-s. Literally abhimant refers to our existence
with ego. Even after all these rituals and procedures, ego still prevails.
The purpose of performing tarpaa with viea arghya is to surrender
our individuality (organs of perception, organs of action and

antakaraa) and become one with Her. Abhimantraa with these
kal-s are done to completely purify our mind, intellect,
consciousness and ego (antakaraa). At the end of this procedure the
veil of my should have been removed, leading to realization of the
191
Self. Therefore, while performing navvaraa pj, concentration of
mind is the foremost factor and procedures take only a back seat.
Guru ptra and tma ptra are established at this point according to
krama-s. As we are now further sanctifying viea arghya, it would
be appropriate to establish them later after completing worship of
Sudh Devi. Since she is already invoked and present in viea
arghya, She should not be made to wait.
Following are the 94 kal-s.
Agni maala 10; Srya maala 12; Soma maala 16;
Brahm maala 10; Viu maala 10; Rudra maala 10;
Ivara maala 4; Sadiva maala 16; akti kal-s 6;
Thus there will be 94 kal-s with which abhimantraa is done. Paca
brahma mantra-s are given at the end of the respective maala-s.
Certain versions club paca brahma mantra-s at the end of all kal-s.
Brahm, Viu, Rudra, var and Sadiva are paca brahma-s.
Lalit Sahasranma 250 says that She is paca-brahma-svarpi.
This also goes to prove that there is no difference between the essence
of Lalit Sahasranma and navvaraa pj.

Kal-s / maala-s have subtle conveyances. Agni, sraya and soma
maala-s refer to suumna, ia and pigala ni-s. Similarly Brahm
(actually it is known as brahma Kal; there is difference between
Brahma and Brahm; Brahman refers to Brahman and Brahm refers
to god incharge of creation; in order to differentiate this, Brahm is
used. Here it refers to god of creation), Viu, Rudra, vara and
Sadiva also refer five psychic chakras mldhra, svdhihna,
maipraka, anhata and viuddhi, In j chakra, ones Guru is
present who helps the sdhaka to get liberated at sahasrra. This part
of navvaraa pj establishes the union of the sdhaka with his Guru
and Lalitmbik. Each part of a maala is known as kal and several
kal-s form one maala. Each of these kal-s has their own
significance and play a vital part in the actions connected to that
particular maala. Brahm, Viu, Rudra, var and Sadiva
192
represent, pacaktya-s (Lalit Sahasranma 274 - pacaktya
parya), creation, sustenance, destruction, concealment and recreation (Refer Lalit Sahasranma 264 to 274).
For the purpose of abhimantraa use right hand index, middle and
ring fingers to touch the viea arghya ptra. While doing so, it is
important to remember that the viea arghya ptra should not be
moved. The best option would be to hold the wooden/silver
darvi/tweezers using right hand thumb, middle and ring fingers, the
other end of the darvi is immersed into the amta. At any point of time
during this procedure, there should be a contact between darvi, viea
arghya ptra, amta within viea arghya ptra and our hand.
1. Agni maala 10
i) 4 4 ya dhmrrcie nama
ii) 4 4 ra umyai nama
iii) 4 4 la jvalinyai nama
iv) 4 4 va jvlinyai nama
v) 4 4 a visphuliginyai nama
vi) 4 4 a suriyai nama
vii) 4 4 sa surpyai nama
viii) 4 4 ha kapilyai nama
ix) 4 a havyavhyai nama
x) 4 ka kavyavhyai nama
Recite mlamantra three times.
2. Srya maala 12
i) 4 4 ka bha tapinyai nama
ii) 4 4 kha ba tpinyai nama
iii) 4 4 ga pha dhmryai nama
193
iv) 4 4 gha pa marcyai nama
v) 4 4 a na jvlinyai nama
vi) 4 4 ca dha rucyai nama
vii) 4 4 cha da suumnakyai nama
viii) 4 4 ja tha bhogadyai nama

ix) 4 4 jha ta viavyai nama
x) 4 4 a a bodhinyai nama
xi) 4 4 a ha dhriyai nama
xii) 4 4 ha a kamyai nama
Recite mlamantra three times
3. Soma maala 16
i) 4 4 a amtyai nama
ii) 4 4 manadyai nama
iii) 4 4 i pyai nama
iv) 4 4 tuyai nama
v) 4 4 u puyai nama
vi) 4 4 ratyai nama
vii) 4 4 dhtyai nama
viii) 4 4 ainyai nama
ix) 4 4 lu candrikyai nama
x) 4 4 kntyai nama
xi) 4 4 e jyotsnyai nama
xii) 4 4 ai riyai nama
xiii) 4 4 o prtyai nama
xiv) 4 4 au agadyai nama
xv) 4 4 a pryai nama
194
xvi) 4 4 a prmtyai nama

4. Brahm maala 10
i) 4 4 ka syai nama
ii) 4 4 kha ddhyai nama
iii) 4 4 ga smtyai nama
iv) 4 4 gha medhyai nama
v) 4 4 a kntyai nama
vi) 4 4 ca lakmyai nama
vii) 4 4 cha dyutyai nama
viii) 4 4 ja sthiryai nama
ix) 4 4 jha sthityai nama
x) 4 4 a siddhyai nama
4

4 hagumsa suciadvasu antarika saddhot vediad atithirduroasat
| nadvara sadsadvyoma sad abjgoj taj adrij ta bhat ||
nama |
5. Viu maala 10
i) 4 4 a jaryai nama
ii) 4 4 ha plinyai nama
iii) 4 4 a ntyai nama
iv) 4 4 ha varyai nama
v) 4 4 a ratyai nama
195
vi) 4 4 ta kmikyai nama
vii) 4 4 tha varadyai nama
viii) 4 4 da hldinyai nama
ix) 4 4 dha prtyai nama
x) 4 4 na drghyai nama
4

4 pratad viustavate vryya mgo na bhma kucaro girih |
yasyoruu triu vikrameu adhikiyanti bhuvanni viv || nama ||
6. Rudra maala 10
i) 4 4 pa tkyai nama
ii) 4 4 pha raudryai nama
iii) 4 4 ba bhyayai nama
iv) 4 4 bha nidryai nama
v) 4 4 ma tandryai nama
vi) 4 4 ya kudhyai nama
vii) 4 4 ra krodhinyai nama
viii) 4 4 la kriyyai nama
ix) 4 4 va udgryai nama
x) 4 4 a mtyave nama
4

4 trayambaka yajmahe sugandhi puivardhanam | urvrukamiva
bandhann mtyormukya mmtt || nama ||
196
7. Ivara maala 4
4 4 a ptyai nama
4 4 sa vetyai nama
4 4 ha aruyai nama
4 4 ka asityai nama
4

4 tadvio paramam pada sadh payanti sraya | divva
cakurtatam | tadviprso vipanyavo jgvsagum samindhate |
vioryatparama padam || nama ||
8. Sadiva maala 16
i) 4 4 a nivtyai nama
ii) 4 4 pratihyai nama
iii) 4 4 i vidyyai nama
iv) 4 4 ntyai nama
v) 4 4 u indhikyai nama
vi) 4 4 dpikyai nama
vii) 4 4 recikyai nama

viii) 4 4 mocikyai nama
ix) 4 4 paryai nama
x) 4 4 skmyai nama
xi) 4 4 e skmmtyai nama
xii) 4 4 ai jnyai nama
197
xiii) 4 4 o janmtyai nama
xiv) 4 4 au pyyinyai nama
xv) 4 4 a vypinyai nama
xvi) 4 4 a vyomarupyai nama
4

4 viuryoni kalpayatu tva rpi viatu | asicatu
prajpatirdhta garbha dadhtu te || garbha dehi sinvli garbha
dehi sarasvati | garbha te avinau devvdhatt pukarasraj ||
nama ||
9. akti maala 6
i) 4 mla nama 4
ii) 4

4 akhaaka rasnandakare parasudhtmani | svacchanda

spuramatra nidhehi kulanyike || nama ||
iii) 4

4 akulasthmtkre uddhajnakare pare | amtatva
nidhehyasmin vastuni klinnarpii || nama ||
iv) 4

198
4 tadrpiyaikarasyatva ktv hyetatsvarpii | bhtv
parmtkr mayi citsphuranana kuru || nama ||
v) 4

4 ai bl jhrau ju sa amte amtodbhave amtevari
amavarii amta srvaya srvaya svh || nama ||
vi) 4

4 ai vada vada vgvdini ai | kl klinne kledini kledaya
mahkobha kuru kuru kl | sau moka kuru kuru | hsau |
shau ||
(This mantra consists of five parts; three of these are represented by
Bl mantra, fourth one by prasdapar mantra and the fifth one by
parprasda mantra).
(Meaning: O! Queen of kula-s! Bestower unlimited and
unconstrained Bliss! Incommensurable form of nectar (amtavarini)!

In this amta (in viea arghya ptra), please endow citakti (purest
form of consciousness and knowledge). You are shining forth in
akulasahasrra (beyond sahasrra; Lalit Sahasranma 96 akul) in
the form of nectar. Please bestow this amta with supreme (viea)
and pure knowledge.)
With this consecration of viea arghya is concluded. Once this
procedure is done, sdhaka has to bring in two or three small cups.
When it is two cups, they refer to Guru ptra and tma ptra. When
three ptra-s are placed, third one is known as patn ptra, meant for
the wife of the sdhaka, provided she is also initiated either into
Pacada or oa by the same Guru. These ptra-s should be
preferably in silver. These ptra-s should be kept to the right side of
viea arghya ptra. Next to viea arghya ptra is Guru ptra, next to
this is tma ptra. If there is going to be patn ptra, this should be
kept next to tma ptra. Guru ptra and tma ptra are to be placed on
199
a maala drawn (same as discussed in smanya arghya) using
smnya arghya and these maala-s are to be worshiped with
initiated mla mantra (either Pacada or oa).
These three ptra-s should be purified by sprinkling water from
vardhan kalaa.
Now using an uttarai, transfer one uttarai of viea arghya to Guru
ptra after reciting each of the following mantas. Thus there will be
three transfers from viea arghya ptra to Guru ptra.
i). Paramehiguru:

aaaa
nama ||
Transfer one uttarai of viea arghya to Guru ptra.
ii). Paramaguru

bbbb
nama bbbb rpduk pjaymi nama ||
200
Transfer another uttarai of viea arghya to Guru ptra.
iii). rguru

cccc
iva soha svarpa nirpaa hetave rgurave nama cccc
rpduk pjaymi (tarpaymi) nama ||
Transfer another uttarai of viea arghya to Guru ptra.
aaaa should be replaced with ones Paramehigurus nma.
bbbb should be replaced with ones Paramagurus nma.
cccc should be replaced with ones rgurus nma.
There are variations in the order. First, rguru, then Paramaguru and
finally Paramehiguru is worshiped.
At the end of Guru Maala

sadivasamrambh akarcryamadhyam |
asmadcryaparyanta vande guru parapar ||
(Beginning from Lord Sadiva, through akarcrya and up to my
Guru, I pay my obeisance to all the Gurus)
If rguru is present in person, offer the Guru ptra to him with viea
arghya. He will consume the viea arghya and will leave a small
portion in the Guru ptra itself. This is known as Guru prasda (Guru
201
ucchia left over by Guru, which is considered as Guru prasda).

After taking back Guru ptra from Guru, sdhaka should transfer
Guru prasda to his tma ptra and patn ptra (if present). If rguru
is not present personally, his pduk should be meditated upon at
sahasrra, by keeping the Guru ptra at sahasrra. After reciting Guru
pduk mantra, transfer this viea arghya to tma ptra and patn
ptra (if present). If Guru is not present personally during this yaja,
only small quantity of viea arghya should be transferred to Guru
ptra, otherwise, there will be no place to add viea arghya to tma
ptra. Now wash Guru ptra and keep this in its place (next to viea
arghya) or this can be washed kept safely by moving this from the
pj maala.
Now add more viea arghya to tma ptra. Take this tma ptra in
right hand and hold the bottom of the ptra (a small cup) using thumb,
middle and ring fingers. Similarly add more viea arghya to patn
ptra (wherever applicable). Both sdhaka and his or her spouse
should recite the following mantras by holding the respective ptra-s
as explained above.
Now contemplate that the viea arghya held in tma ptra is the
oblation that is being offered to the fire of kualin burning at
mldhra chakra. This procedure is typically to surrender every
aspect of our individuality such as mind, intellect, consciousness,
ego, good acts, evil acts, good thoughts, evil thoughts, righteous
(dharma) acts and acts of demerits (adharma). We also offer as
oblations our pra, all the five types of bodies (gross, subtle and
causal comprising five types of koa-s), three normal stages of
consciousness, active state, dream state and deep sleep state, all the
actions done in the past and present, all bad thought processes
contemplated in the past and present are offered in the form viea
arghya in tma ptra to fire of kualin. (This also means that having
offered as oblations all the past and present evil thoughts and actions,
one should not accrue any further thoughts and actions from now on.
This oblation means cleansing of physical body as well as
antakaraa.)
202
Now we have to recite the following mantras.
i) Recite mlamantra three times.
ii) Recite the following mantra. During recitation one has to
contemplate cidagni maala in his heart and this contemplation is
known viraja homa. Viraja means purification. Viraja homa is
generally performed before resorting to sanysa. Though, the
mantras given here are not the replica of viraja homa mantras given
in Mahnryaa Upaniad (63 to 66) yet, the conveyance of the
following mantras relate to the conveyances of this Upaniad.
4
4 kualinyadhihita cidagni maalya nama |
iii) Recite the following mantras.
4 4 puya juhomi svh |

4 4 ppa juhomi svh |
4 4 ktya juhomi svh |
4 4 aktya juhomi svh |
4 4 sakalpa juhomi svh |
4 4 vikalpa juhomi svh |
4 4 dharma juhomi svh |
4 4 adharma juhomi svh |
4 4 mla adharma* juhomi vaua |
(* Another version says 4 mla sarvadharma juhomi vaua)
iii) Recite the following mantra. While reciting this mantra,
contemplate on what has been explained previously viz. surrender
every aspect of our individuality.......
203
4 - - - --

4 ita prva pra-buddhi-deha-dharmdhikrata jgrat-svapnasuuptyavasthsu manasa vc karmaa hastbhy padbhy
udrarea in yatsmta yadukta yatkta tatsarva
brahmrpaa bhavatu svh ||
(Now it is assumed that all those referred in the above mantras (like
(puya, ppa, etc) have been offered into the perpetual fire of
Kualin. This is considered as prhut () mantra, which
signifies end of all oblations.)

iv) Recite mlamantra three times.
v) Now, recite the following mantra.
4

4 rdra jvalati jyotirahamasmi jyotirjvalati brahmhamasmi |
yo'hamasmi brahmhamasmi | ahamasmi brahmhamasmi |
ahamevha m juhomi svh ||
(This is verse is from Mahnryaa Upaniad (67). That Supreme
Light which projected Itself as the universe like a soaked seed with
sprouts (or that Supreme Light which shines as the substratum of
liquid element) I am That (Supreme Light). I am That Supreme
Light of Brahman which shines as the inmost essence of all that
exists. In reality I am the same infinite Brahman even when I am
experiencing myself as finite self (individual soul) owing to
ignorance (my). Now by the onset of knowledge, I am really that
Brahman, which is my eternal nature. Therefore, I realize his identity
by making myself the Finite Self as an oblation into the fire of the
infinite Brahman which I am always. May this oblation be well
made.)
204
Viea arghya in tma ptra refers to individual soul (self). The fire
of kualin, which burns perpetually at mldhra, into which viea
arghya (consuming viea arghya is known as oblations) is offered is
the Supreme Self (Brahman). This mantra re-associates the individual

self with the Supreme Self (Brahman or the Self). The veil of my
is removed by acquiring knowledge. Knowledge is acquired while
performing navvaraa pj. Therefore, it is extremely important to
perform navvaraa pj with a clean and focused mind and with
great reverence for Her. Anger and ego should not have any place
while performing navvaraa pj. One cannot perform navvaraa
pjayaj without Her Grace. Unless the sdhaka literally becomes
Her, the complete benefit of navvaraa pjayaj can never be
attained.
Now, consume viea arghya, wash the cup and keep this in its
original place. Patn ptra need not be kept again in the same place.
This can be washed and taken away. This is required again towards
the end of navvaraa pj.
Now add a few drops of viea arghya into kraa kalaa (in which
viea arghya was prepared and the balance kept in this kalaa).
Similarly, add a few drops of viea arghya to smnya arghya
(conch). It is to be remembered that viea arghya and smnya
arghya should not be shaken or moved from their respective places.
It is to be remembered that one should not get from his/her seat once
nysa-s are done. Under exceptional circumstances, the sdhaka can
leave his/her seat now, as later there is no provision at all to leave the
seat. One can leave the seat after seeking approval from his/her Guru.
If Guru is not personally present and if one has to leave his/her seat,
then mlamantra with all nysa-s should be performed 108 times.
After performing mlamantra japa, recite pduk and then continue
navvaraa pj. After taking seat again, one has to again do
tatvcamanam (described in part 1).
This completes consecration procedure of viea arghya.
205
21. Antaryga
Antara means internal and yga means oblations, offerings or
sacrifice. In other words, this part deals with internal worship. From
the point of view of Advaita philosophy, Nirgua Brahman resides
within as the Self. While performing external pj, the Self within is
to be brought out using vhan mudra-s and consecrated in ri Cakra
and once the entire pj is over, the installed Self in ri Cakra is to
be brought back within. This is symbolically done by taking a flower
from ri Cakra and placing it on anhata chakra (placing on j
chakra is still better). The difference between bhya pj and antara
pj is that in the case of external worship, it is time bound and in the
case of internal worship, it is perpetual. Without proper internal
worship, She cannot be consecrated in ri Cakra. This is the basic
principle in any external worship. Bhvanopaniad establishes the
connection between ri Cakra and human body and this has already
been discussed in the series ri Cakra and human body. This
concept is also explained in Saundaryalahar verse 9 mah
mldhre which says, You remain in solitude with Your consort

iva in the thousand petal lotus known as sahasrra (crown chakra),
by piercing the earth element at mldhra chakra, water element at
maipra chakra, the element of fire in svdhihna chakra, the
element of air in the anhata chakra and the element of ka in
viuddhi chakra, which is placed above these four chakras; the tattva
of mind in jcakra thus transcending the entire path of kula. In
general, akula refers to iva and kula refers to akti. iva resides in
sahasrra and akti under normal circumstances resides in
mldhra. When She ascends in the form of Kualin (Her subtlest
form) through suumna, She illuminates suumna and this
illumination is infinite times powerful than the sun. Though She
illumines like the sun, She is as cool as the moon.
Kula and Akula:
Kula is the state of iva-akti union (Lalit Sahasranma 999), where
akti is inherent in iva. This can also be explained as the state of
206
Paramaiva (the highest state, the Absolute). Akula is the pure state
of iva. When akula refers to iva, obviously it refers to His place at
sahasrra. But there is another interpretation for akula, which is the
expression of akti through 36 taatva-s which means manifestation.
Jaideva Singh in his iva Stras says, There is double entendre
(ambiguity with one interpretation that is indelicate) in the word
akula. It is impossible to bring this out in translation. Abhinavagupta

in his Tantrloka (III.67) says, She is Parakti (the highest power
of divine) expands the kula of Akula as Kaulik, with whom
Paramevara rests always. She is Kaulik akti whose course consists
of identity, distinction and identity-distinction. In spite of all Her
activities, She is known as aml (not akula), which means that Her
origin eternally remains unknown. Ultimately when She ascends
from akula sahasrra (below mldhra chakra) in the form of
effulgent Kualin and unites with iva at sahasrra, manifestation
of the universe begins. This can be realized only if one attains
absolute perfection in kualin meditation. Akula also means
beyond sahasrra, the crown chakra. This way, it can be explained
that akti as kula resides in mldhra in the form of Kualin and
iva is beyond sahasrra or akula sahasrra. This is also confirmed
by akulenduglitmadhrrpi which means that they are in the
form of nectar that flows like a stream from akula sahasrra.
However, in antaryga, akula sahasrra refers to the place below
mldhra. This means that She has to be contemplated from the base
of the human body till the top of the head.
Now we have to meditate on Lalitmbik along with bja-s of each
varaa, name of each varaa, the name of akti (devi) in the first
petal (it is like using etc), number of petals in each varaa, name of
the yogini presiding over the respective varaa, presiding cakrevar
of each varaa. After mentally worshiping all of them we have to
mentally offer dhpa, diprdhana, naivedya and nrjana. Number

of petals of an varaa and number of petals of a chakra have no
relevance.
207
1. Akulasahasrra: (below mldhra and this is called akulasahasrra because this too has one thousand petals like sahasrra)
4

4 a sau | caturaratraytmaka trailokyamohan
cakrdhihtryai aimdyaaviati akti sahita
prakaayoginrpyai tripurdevyai nama ||
Notes: a sau are the bja-s of first varaa devi;
caturaratraytmaka three squares of the first varaa;
trailokyamohan cakra is the name of the first varaa;
aimdyaaviati twenty eight akti-s of first varaa, the first
among them is Aim. Prakaayogin is the name of the yogin, who
presides over the first varaa. Tipurdevi is the cakrevar (presiding
devi) of the first varaa.
2. Viuva chakra (this is between akulasahasrra and mldhra):
4

4 ai kl sau | oaadalapadmtmaka sarvparipraka
cakrdhihtryai kmkariydi oaaaktisahita
guptayoginrpyai tripuredevyai nama ||
Notes: ai kl sau are the bja-s of second varaa devi;

oaadalapadma sixteen petal lotus; sarvparipraka is the name
of the second varaa; kmkariydi oaaaktisahita sixteen
akti-s of second varaa beginning from Kmkarii; Guptayogin
is the name of the yogin, who presides over the second varaa.
Tripuredevi is the cakrevar (presiding devi) of the second varaa.
3. Mldhra chakra:
4

208
4 hr kl sau | aadalapadmtmaka sarvasakobhaa
cakrdhihtryai anagakusumdyaaakti sahita guptatarayogin
rpyai tripurasundar devyai nama ||
Notes: hr kl sau are the bja-s of third varaa devi;
aadalapadma eight petal lotus; Sarvasakobhaa is the name of
the third varaa. anagakusumdyaaakti sahita - eight akti-s of
third varaa beginning from Anagakusum; Guptatarayogin is the
name of the yogin, who presides over the third varaa.
Tripurasundar is the cakrevar (presiding devi) of the third varaa.
4. Svdhihna chakra:
4

4 hai hkl hsau | caturdartmaka sarvasaubhgyadyaka

cakrdhihtryai sarvasakobhiydi cadurdaaktisahita
sapradyayoginrpyai tripuravsinidevyai nama ||
Notes: hai hkl hsau are the bja-s of fourth varaa devi;
caturdartmaka fourteen petal lotus; Sarvasaubhgyadyaka is
the name of the fourth varaa; sarvasakobhiydi
cadurdaaktisahita- fourteen akti-s of fourth varaa beginning
from Sarvasakobhii; Sapradyayogin is the name of the yogin,
who presides over the fourth varaa. Tripuravsini is the cakrevar
(presiding devi) of the fourth varaa.
5. Maipraka chakra:
4

4 hsai hskl hssau | bahirdartmaka sarvrthasdhaka
cakrdhihtryai sarvasiddhipraddi daaaktisahita
sapradyayogin rpyai tripurrdevyai nama ||
209
Notes: hsai hskl hssau are the bja-s of fifth varaa devi:
bahirdartmaka outer ten triagnles (there are two ten faced
triangles, hence it is mentioned here as outer ten triagles);
Sarvrthasdhaka is the name of is the name of the fifth varaa;
sarvasiddhipraddi daaaktisahita ten akti-s of fifth varaa
beginning from Sarvasiddhiprad; Sapradyayogin is the name of
the yogin, who presides over the fifth varaa. Tripurrdevi is the
cakrevar (presiding devi) of the fifth varaa.

6. Anhata chakra:
4

4 hr kl ble | antardartmaka sarvarakkara
cakrdhihtryai sarvajdidaaaktisahita nigarbhayoginrpyai
tripuramlindevyai nama ||
Notes: hr kl ble are the bja-s of sixth varaa devi;
antardartmaka inner ten triangles; Sarvarakkara is the name of
is the name of sixth varaa. sarvajdi daa akti sahita - ten akti-s
of sixth varaa beginning from Sarvaj; Nigarbhayogin is the
name of the yogin, who presides over the sixth varaa.
Tripuramlindevi is the cakrevar (presiding devi) of sixth varaa.
7. Viuddhi chakra:
4

4 hr r sau | artmaka sarvarogahara cakrdhihtryai
vainydyaaaktisahita rahasyayoginrpayai tripursiddhdevyai
nama ||
Notes: hr r sau are the bja-s of seventh varaa devi;
artmaka eight triangles; Sarvarogahara is the name of seventh
varaa; vainydyaa akti sahita Vain vgdevat and seven
other vgdevi-s of seventh varaa (composers of Lalit
210
Sahasranma); Rahasyayogin is the name of the yogin, who presides
over the seventh varaa; Tripursiddhdevi is the cakrevar
(presiding devi) of seventh varaa.
8. Lambik chakra: (lambin means the hanging soft palate in throat)
4

4 hsrai hsklr hsrau | trikotmaka sarvasiddhiprada
cakrdhihtryai yudhaaktisameta kmevarydi triaktisahita
atirahasyayogin rupyai tripurmbdevyai nama ||
Notes: hsrai hsklr hsrau are the bja-s of eighth varaa devi.
trikotmaka inner triangle; sarvasiddhiprada is the name of eighth
varaa; yudhaakti sameta kmevarydi triaktisahita In eighth
varaa, we worship the weaponries of Kmevara and Kmevar.
After worshiping their weaponries, Kmevar, Vajrevar and
Bagamlin are worshiped in the three corners of the innermost
triangle; Atirahasyayogin is the name of the yogin, who presides
over the eighth varaa. Tripurmbdevi is the cakrevar (presiding
devi) of eighth varaa.
9. jcakra:
4

4 ka e la hr | ha sa ka ha la hr | sa ka la hr || bindvtmaka
sarvnandamaya cakrdhihtryai aagayudha daa sahita

parpartirahasyayogin mahtripurasundar devyai nama ||
Notes: It is important to note that Pacada mantra is used as bja-s
for the ninth varaa. Three sides of the inner most triangle are
formed by each k of Pacada; bindvtmaka refers to the bindu
(dot) within the triangle; Sarvnandamaya is the name of ninth
varaa; this is stage of Absolute Bliss, where Her Grace (aktipta)
211
is showered on the contemplator; aaga akti sahita- with six aktis; aaga akti can be explained in two ways. If we go with
Blaaga nysa, then these six akti-s can be interpreted as hdaya,
ira, ikh, kavaca, netra and astra akti-s. We can also contemplate
these akti-s as Her six powers such as omniscience, completeness,
supreme levels of consciousness, freedom, everlasting power and
infinity. These are the six qualities of iva, who is Praka (Selfilluminating). This is explained in Lalit Sahasranma 386.
Parpartirahasyayogin is the name of yogin of the ninth varaa.
Mahtripurasundar Devi is the presiding Deity of the ninth varaa.
This varaa is presided because iva is also there in the name of
bindu (Lalit Sahasranma 905 is Baindavsan).
From jcakra to brahmarandra (an orifice at the top of the head in
sahasrra) there are ten minor chakras. These chakras refer to
ndabindu (which means the sound of , where bindu is the dot
causing the joining of lips to make sound; it is the combination
of ma () and bindu or makra bindu samyuktam.

Now contemplation is to be made by visualizing a straight line from
jcakra to brahmarandra, dividing the entire portion into ten
equidistant points. The first point starts at bindu, just above jcakra.
In fact these ten dots have different shapes.
i) 4 4 a sau nama at bindu.
ii) 4 4 ai kl sau nama at ardhacandra.
iii) 4 4 hr kl sau nama at rodhini.
iv) 4 4 hai hkl hsau nama at nda.
v) 4 4 hsai hskl hssau nama at ndnta.
vi) 4 hr kl ble nama at akti.
vii) 4 4 hr r sau nama at vypik.
viii) 4 4 hsrai hsklr hsrau nama
samani.
212
ix) 4
4 ka e la hr | ha sa ka ha la hr | sa ka la hr nama || at
unmani.
x) 4 4 oa nama at brahmarandra.
(x is to be left out, if one is not initiated into oa)
Further reading on chakras:
Generally six chakras are known to us, as sahasrra is not considered
as a chakra. In addition to the above 6 + 1, three more chakras are
also commonly known above jcakra they are lalan (tongue),
manas (mind) and soma (moon) chakras. These chakras are also
called dhra. Following is the list of twenty chakras that are
mentioned in Advaitamrtada, a modern Sanskrit work by late
Brahmnanda Svm.
1.dhra; 2. Kuladpa; 3. Yaj; 4. svdhihna; 5. Raudra; 6.
Karla; 7. Gahvara; 8. Viyprada; 9. Trimukha; 10. Tripada; 11.
Kla-daaka; 12. Ukr; 13. Kladvra; 14. Karamgaka; 15. Dpaka;
16. nanda-lalit; 17. Maipraka; 18. Nkula; 19. Kla-bhedana and
20. Mahotsha.
At the end of antaryga, we have mentally consecrated Parakti
within and now, we have to enthrone Her in ri Cakra which is
already purified and consecrated in the maala opposite to us.
Without fully visualising and establishing Her within, She cannot be
invoked in ri Cakra. She has to be invoked in the inner triangle and
bindu of ri Cakra from within. The sole purpose of antaryga is only
to visualize Her within.
Now, we have to invoke Her ri Cakra and offer Her
catuayupacra pj (Lalit Sahasranma 235).
213
22. 1) Invoking Her in ri Cakra:
Technically, navvaraa pj begins from here. In the previous part,
antaryga, She was contemplated in different psychic chakras and
taken to the top of sahasrra. When we speak about sahasrra, it is
obvious that we are referring to iva-akti union. How they are to be

invoked? They are to be contemplated as Kmevara and Kmevar.
In this form, She is seated majestically and proudly on His left thigh.
Kmevara is Praka and Kmevar is Vimara. Kmevara is in
the bindu and Kmevar is the innermost triangle. This innermost
triangle and the bindu have manifested as ivaliga, which is the
cause of the universe.
Now, we have to take flowers using trikha mudra, move the
kualin from mldhra to sahasrra using our breath and
consciousness. First inhale and by holding breath within, move
kualin to sahasrra. Now exhale and at the time of exhalation, hold
fingers of trikha mudra with flowers below the nostrils and
visualize Kmevara and Kmevar in the form of subtle pra in the
flowers and place the flowers in the middle of ri Cakra. If three
different colour flowers are available, they can be kept in three joints
of trikha mudra. This means that we are transferring the visualized
image of the Divine Couple through our pra (exhalation) to be
consecrated in the middle of ri Cakra. Without proper contemplation
within, as discussed in antaryga (previous part), consecration in ri
Cakra will be futile. The flowers are to be placed in ri Cakra very
carefully and very gently using the following mantra. Under no
circumstances, flowers should be thrown on ri Cakra. They are to
placed with great reverence.
4
4 hr r sau rlality amtacaitanya mrti kalpaymi nama

||
[amtacaitanya means imperishable knowledge or supreme
knowledge. This means that They are being invoked in the form of
Supreme knowledge.]
214
22.2) Dhyna verse:

ikukodaapupeu pkua caturbhujm |
sarvadevamay ab sarva saubhgya sundarm ||
sarvatrthamay divy sarvakmapraprim |
sarvamantramay nity sarvgama viradm ||
sarvaketramay dev sarvavidymay ivm |
sarvaygamay vidy sarvadeva svarpim ||
sarvastramay nity sarvgama namasktm |

savmnyamay dev sarvyatana sevitm ||
sarvnandamay jnagahvar savida parm |
eva dhyyet parmab saccidnanda rpim ||
Meaning:
She is to be contemplated with a sugarcane bow, flower arrows, noose
and goad in Her four hands. She encompasses all gods and goddesses.
She is an embodiment of all auspiciousness, sacred rivers, fulfilling
all desires, all types of mantras, sacred and traditional doctrines, holy
places (ketra technically means geometrical dimensions with
215
astronomical and astrological implications and holy places; ketra
also means body), grammatical treatises in the form of mantras that
are communicated through initiations orally, all holy places and
temples, blissfulness and knowledge.
Further reading on dhyna verse:
The above verse says that She is the universe itself or She manifests
as the universe. Parakti is the Supreme Power of iva, known as
Svtantrya akti or independent and absolute power of iva, which
He alone possesses. iva is in the form of illumination, hence He is
known as Praka. Light without objects around is of no use. If we
light a candle in a desert, there is no use for this candle, as there are
no objects around to reflect the light of the candle. If iva alone is
present, the manifestation of the universe will not be visible. Hence
Parakti manifests as the universe and is in total control of the

universe and none of the activities of the universe can happen without
Her will, grace and knowledge. Hence, Lalit Sahasranma (658)
adores Her as Icchakti-jnaakti-kriyakti-svarpi (- -), which is interpreted as follows: She is in
the form of three energies the energy of will, the energy of wisdom
and the energy of action. These energies form a part of trik.
Trik (tri + iik) means analysis of three. Tri means three and iik
means var, the power, abiding in divine consciousness. She is the
controller of all triads in the process of creation. For example, the
three acts of the Brahman, creation, sustenance and dissolution.
Though She is said to be var of creation, etc, She is not different
from iva. The supreme divine consciousness on the point of
expansion according to Her inherent nature is Icch akthi. The
actual process of expansion is jna akti and the process of diversity
leading to creation of the universe is kriy akti. The One who is the
possessor of all three akti-s or energies is known as par-akti or the
Supreme energy. r Tantrloka (III.111) says When the power of
action reflects upon soma (the essence of ecstasy), srya (the sun) and
agni (the fire) and we attain the indivisible Light that is our absolute
bindu. When kriy akt is accomplished in the phases represented
216
by icch akt and jna akt, in the inner manifestation, the Supreme
Reality of iva is realized.

Vimara is also non-dualistic in nature like Praka. In other words,
She is also non-dualistic like iva. But there are two perspectives of
Vimara, both being non-dualistic. Both are at the metaphysical
levels; first one (metaphysical to physical) is about Self-illuminating
iva uniting with Vimara to make the world process unfold. This is
about the dynamics of power of iva uniting with the recognition of
power of light, akti. Therefore, without iva-akti union, universe
cannot manifest and worldly process cannot be initiated. The second
one is the reverse process, known as spiritual path or path to liberation
(from physical to metaphysical). Liberation can only be offered by
iva, but She has to put Her stamp of approval for liberation. This is
explained in Lalit Sahasranma (727) iva-jna-pradyin, which
is explained thus: She imparts the knowledge of iva, the Ultimate.
iva jna (knowledge) means the knowledge of the Brahman, which
is also known as the Supreme knowledge. To know iva, one should
first know His akt, who alone is capable of leading a person to the
Brahman or iva. Rmyaa says wind can be realized through
movements, fire can be realised through heat and iva can be realized
only through akt. It can also be said that iva is the source of
knowledge for Her. It is said akara caitanyam which means that
iva is both jna and kriy. He is the sovereign, pure free will, in
knowledge and action. Based upon this principle, iva Stra-s opens
by saying caitanyamtm. Caitanyam means consciousness of the
highest purity and knowledge. There is no difference between

Brahman and the highest form of consciousness. But how akt alone
is capable of unravelling iva? This is answered by iva Stra (I.6)
again which says that by meditating on akt, the universe disappears
as a separate entity thereby unveiling Self illuminating iva. The
process of such happening is described in Spanda Krik (I.8)
(another treatise of Kashmiri Saivism) which says the empirical
individual cannot ward off the urge of desires. But entering the
energetic circle of the Self (iva), he becomes equal to that Self. The
seeker of iva becomes iva himself. This is known as iva jna
217
and She imparts this kind of Supreme knowledge. It is also said that
iva cannot be attained without first realising akt. She alone can
lead one to iva. iva is inaccessible directly. Unless She chooses to
impart the required Supreme knowledge, none can realise iva.
Hence, She is called iva-jna-pradyin.
What is the transformation that happens within after She imparts
knowledge about iva? :New experience unfolds when devotion
transforms into love. This is full of love, full of bliss, intensity of love
rises here in kualin, which is the embodiment of love. Only in
kualin true love exists. It is Her touch within, which leads to tears
of joy, will make us stammer, which makes our voice break and
ultimately blossoms out with laughter. This stage is known as inner
absorption, known as anta samvea (samvea means absorption).

When inner absorption is complete, which means ascension of
kualin is complete, universe is transcended and the meditator
becomes one with the highest form of iva, Paramaiva, where She
is inherent. Kulrava Tantra says, A billion pj-s equal a stotra
(hymns in praise); a billion stotra-s equal a japa; a billion japa-s equal
a dhyna and a billion dhyna equal a laya (absorption).
Only this understanding and contemplation leads to realization.
Realisation happens only when one surrenders to Her through mind,
intellect, consciousness and ego (antakaraa). During navvaraa
pj, what is important is ones ability to contemplate Her within and
bring Her out from within and make Her majestically seated on ivas
left lap in the middle of ri Cakra. Any extraneous thoughts during
contemplation, are serious distractions for anta samvea. We
should establish a strong connection between the Divine Couple and
our consciousness. Here, our consciousness means the dissolution of
mind, intellect and ego into consciousness where pure consciousness
alone prevails. It is like offering as oblations our mind, intellect and
ego into the fire of consciousness.
218
22.3) vhana mantra-s:
vhana means invitation or invocation. By using certain mantras
and mudras, the Divine Couple are invited from within to be seated
in the midst of ri Cakra along with Her retinue. Following is the
mantra.
4

4 hsrai hsklrm hsrau | mahpadmavanndaste krananda
vigrahe | sarvabhtahite mta ehyehi paramevari ||
rlalitmahtripursundar parbharik mahkmeara sameta
vhymi ||
Now place the flowers now being held in trikha in the centre of
ri Cakra. Now the Divine Couple are seated in ri Cakra. If they are
contemplated well within and properly invited to be seated in the
midst of ri Cakra, at the time of taking Their seat, subtle resonances
can be felt in the maala where ri Cakra is kept.
In order to pay our respects first, we are now showing some mudras
to them and these mudras are known as vhana mudras. These
mudras are used to stabilise our invocation. For each of the following
mantras, there are mudras. 4 is to be added before each of these
mantras.
4 4 4 4 4
4 4
4 vhit bhava | 4 sasthpit bhava | 4 sannidhpit bhava | 4
sanniruddh bhava | 4 sammukh bhava | 4 avakuhit bhava | 4
suprt bhava ||
Having thus established Them, now we have to do 64 types of

upacra-s to Them. Upacra can be explained as attendance with
219
reverence. Sixty four types of upacra-s is known as chatuayupacra. This is referred in Lalit Sahasranma (235) as chatuayupacrhy. Sixty four upacra-s is a long and time
consuming procedure. If time is a constraint, then these sixty four
upacra-s are curtailed to either five or sixteen. Five types of upacras are known as paca- upacra-s and sixteen types of upacra-s are
known as oaa- upacra-s.
22.4) Chatu-ayupacra
Following is chatu-ayupacra (64 upacra-s). om ai hr r
( ) (4) are to be prefixed to each upacra. These upacra-s
are meant only for Lalitmbik. iva will continue to remain seated
in the bindu of ri Cakra. It is to be remembered that iva is devoid
of any attributes and He is known as Nirgua Brahman and
Lalitmbik is Sagua Brahman, who is the kinetic force of the
universe. iva is Supreme and He alone shines by Himself; hence He
is known as Praka. He is beyond all these rituals and hence He is
known as nikriy, which means inactive.
Example: The portion marked as ------ each of the upacra-s
mentioned below is to be filled.
om ai hr r r lalityai -------- kalpaymi nama |
--------
(kalpaymi - an expressive style that uses events to describe some

action; an extended metaphor. Kalpita means inferred or assumed.
Basically, these 64 upacra-s are to be contemplated. Kalpita also
means arranged. Kalpaymi is different from samarpaymi;
samarpaymi means offering in person, whereas kalpaymi is
conceptualisation or visualization. It is stated that in the absence of
any of the 64 offerings not available, a drop from smnya arghya
can be offered in Her left hand with flowers. It would be better to
contemplate those offerings that are not easily available. The very
purpose of using kalpaymi indicates that most of these offerings can
be offered to Her mentally.)
220
Please note: While reading this article, every upacra is to be
contemplated. Please spend some time during each upacra.
For example 1 is be recited like this.
1.

om ai hr r r lalityai pdya kalpayami nama |
(offering water for washing hands and feet; in 64 upacra-s camana
is also included here)
2. bharavaropaa (removing Her jewels)
3. sugandhitaila abhyaga (applying aroma oil on
Her)
4. majanalpraveana (entering into the place
where She is going to be bathed)
5. majanala maiphopaveana (taking

Her seat on gem studded pedestal and gets ready for bath)
6. divysannyodvayartana (applying fragrant
powders)
7. uodakasnna (bathing with hot water)
(Mantramtkpupamlstava (verse 4): After visualizing Her
place, Her throne and after having wash Her feet and offered Her
water, the aspirant now gives Her a bath.)
8. kanakakalaacyuta sakala
trtbhiaka (bathing Her with water brought from various sacred
rivers in gold pots).
9. dhautavastraparimrjana (predry with towels)
221
10. aruaduklaparidhna (adoring Her with
crimson garment)
(Mantramtkpupamlstava (verse 5) I have gathered bright
precious stones from the golden Mount Meru and fixed them on the
red upper garment which is in the colour of saffron.)
11. aruaduklaparidhna (adoring Her with
crimson upper garment)
12. lepamaapapraveana (entering into a room
for application of perfumes)
(Mantramtkpupamlstava (verse 7) I have prepared sandal
paste mixed with camphor and saffron to apply on Your body. I have
musk tilaka to be placed on Your forehead. I have gorocan for Your
mirror like cheeks. I have eyeliner for Your eyes and I have thick
paste of pure musk for your lotus like neck. I offer all this for Your
delight.)
13. lepamaapa maiphopaveana
(making Her to sit on a gem studded pedestal).
14.
candangaru kukuma mgamata karpra kastr gorocandi
divyagandhasarvgiavilepana (application of paste made of
sandal, saffron and other five fragrant ingredients; these ingredients
are freshly grinded and made in the form of paste)
(Lalit Sahasranma 434 Candana-drava-digdhg - Her body is
smeared with sandal paste.)
15. keabhrasya klgarudhpa (offering
aromatic smoke to Her hair)
222
(Mantramtkpupamlstava (verse 9) Your hair appearing like a
chain of bees, bewitch the mind of iva. Though Your body is the
playground for fragrances, I mentally offer to Your body and hair, the
fumes of ten different types of incenses.)
16.

mallik mlat jt campaka aoka atapatra pga guha punnga
kahlra mukhya sarvartukusuma ml

Ten different flowers are mentioned here. Garlands are made out of
these flowers and adorned on Her. These flowers also adorn Her hair.
(Mantramtkpupamlstava (verse 8): There are several flowers
mentioned here and many of them cannot be properly translated into
English. The flowers are white water lily, blossomed blue lotus,
jasmine, fragrant herbs, another flower of jasmine family, yellow
colored campaka flower, another flower of jasmine family that
blossoms in the evening, flowers of coral tree, fragrant oleander,
leaves of another herb, golden lotus and other fragrant flowers.)
(Lalit Sahasranma (13) Campakoka-punnga-saugandhika-lasatkac. Campaka, aoka, punnga, saugandhika are the four types of
fragrant flowers that adorn Her hair. But Her hair does not get
fragrance because of these flowers, whereas these flowers get their
fragrance from Her hair. Her hair is always sweet smelling.)
17. bhaamaapa praveana (She now enters
into a hall where She is going to be adorned with various types of
ornaments.)
18. bhaamaapa maiphopaveana
(She is made to sit on a gem studded pedestal where is She is adorned
with all types of ornaments. These ornaments are adorned on Her one
after another as described in subsequent upacra-s.)
223
(Mantramtkpupamlstava (verse 6): Please accept necklaces,
bracelets, bracelets with tiny bells, anklets, ear studs, crown, head
ornament, nose stud, finger rings, bangles and waist band.)
19. navamaimakua (crown made of nine precious
gems)
(Lalit Sahasranma (14) Kuruvinda-maire-kanat-koramait: Kuruvinda is a rare type of ruby, which is red in colour. This
particular type of ruby is said to enhance love, wealth and devotion
for Viu (Viu is Her brother). These rubies adorn Her crown.
When She is meditated upon with this red crown, spirituality and
prosperity will increase. Saundarya Lahar (verse 42) says, Why
will not he, who extols your golden crown, closely stud with the
twelve Suns (twelve ditya-s - dvdasa ditya-s, each ditya
representing one solar month ) transformed into gems, form the idea
that the digit of the (crescent) Moon, variegated by enveloping lustre
of the inlaid gems, is but the bow of Indra (rainbow)? r akt
Mahimna (verse 42) also describes Her crown.)
20. candrakala (an ornament appearing like crescent
moon)
21. smantasindra (vermilion kept at the parting of hair
at forehead).
22. tilakaratna (mark on the forehead just above the
meeting points of eyebrows.
(Lalit Sahasranma (16) Mukacandra-kalakbha-mganbhivieak - She is wearing a kastri (kastrik a fragrant paste) tilaka
(a mark on the forehead made with musk, sandal-wood, etc) and

Lalit Sahasranma (632) Sindra-tilakcit - She is adorned with
vermillion mark on Her forehead.)
224
23. kljana (black collyrium applied to the eyelashes or
the inner coat of the eyelids)
24. vlyugala (adorning ear studs)
(Lalit Sahasranma (864) Kanat-kanaka-tak - She is wearing
glittering ear studs made of shining gold. Saundarya Lahar (verse
28) says that it is due to the power of Her tak (ear studs), iva
becomes deathless, even after swallowing the terrible poison. It is
also said that sun and moon are Her ear studs.)
25. maikualayugala (a pair of hanging ear studs
made of precious stones fixed to the pair of vlyugala)
26. nsbharaa (nose studs)
(Lalit Sahasranma (20) trknthi-tiraskri-nsabharaa-bhsur She is wearing a nose stud that outshines the stars. Her nose stud is
made up of rubies and pearls. Tr means stars Tr also means two
goddesses Magal and ukl. ukl has later come to be known as
ukr. Possibly these Magal and ukr could mean the two planets
Mars and Venus. Each planet governs certain precious stones. Planet
Mars rules ruby that is red in colour and Venus rules diamond (Mani
Ml II.79). It can also be said that these two planets adorn Her nose.)
27. adharayvaka (lipstick)
28. pradamabhaa (mgalya-stra)

(Lalit Sahasranma (30) Kmea-baddha-mgalya-stra-obhitakandhar - Her neck is adorned with the mgalya stra (married
women wear this) tied by Kmevara.)
29. kanakacintka (gold necklace that is worn close to
the neck; not of hanging type)
225
30. padaka (comparatively small pendant)
31. mahpadaka (bigger pendant)
32. muktval (pearl necklace)
33. ekvali (a necklace made of 27 pearls; probably referring
to 27 stars)
34. channavra (crisscrossing of gold braids)
35. keyurayugala catuaya (bangle like ornaments
worn on Her four upper arms)
(Lalit Sahasranma (31) Kanakgada-keyra-kamanya-bhujanvit
- kanaka golden; agada bangles or bracelets; keyra is a type of
ornament worn in the upper arms. She is wearing these ornaments.
Possibly, this could mean the following. Both these ornaments are
made out of gold and worn in the arms.)
36. valayvali (concatenation of bangles)
37. rmikvali (rings in every finger)
38. kcdma (waist band)
(Lalit Sahasranma (36) stanabhra-dalanmadhya-paabandha-
valitray - The golden belt that She wears supports Her waist as it
bends under the heaviness of Her bosoms, resulting in three folds in
Her stomach area.)
39. kaistra (gold girdle)
(Lalit Sahasranma (38) Ratna-kikiik-ramya-raan-dmabhit - She is adorned with girdle studded with mini bells and gems.
Devis Pacada mantra consists of three parts or ka-s. Vgbhava
226
ka was discussed from nma 13 to 29. Madhya ka was discussed
from 30 to 38 and akt ka will be discussed from 39 to 47. Devis
face is vgbhava ka, from face to hip is madhya ka (also known
as kmarja ka) and akt ka is hip downwards.)
40. saubhgybharaa (various gold shapes are fixed to
gold girdle; what is referred here is a gold leaf resembling peepul tree,
which signifies auspiciousness.)
41. pdakaaka (anklets)
(Lalit Sahasranma (46) sijna-mai-majra-maitasrpadmbuj - She is wearing anklets made out of precious gems that
shine.)
42. ratnanpura (ornaments for the toes, ankles and feet
interconnecting them)
43. pdgulayaka (toe rings; generally they are worn
on the second toe; but they are also worn on all the toes webbed by a
gold chains).
44. pa (noose or chord)
(Lalit Sahasranma (8) Rgasvarpa-phy - Rga means desire

or a wish. Pa is a type of rope used to pull an object. She pulls all
the desires of Her devotees using this rope. There are three akti-s
(akti in this context means power) icc, jna and kriya. This nma
talks about icc akti or the desire. She never allows Her devotees to
sink with desires. This arm is Her left upper arm and is represented
and is represented by Avrd Devi.)
45. akua (an elephant hook)
(Lalit Sahasranma (9) Krodhkrakuojval - She holds an
elephant hook in her right upper arm. Krodha means hatred and akra
227
means knowledge. This nma talks about subtle body. Knowledge
is always subtle. She uses this elephant hook to destroy the hatred if
developed in Her devotees and gives them knowledge.)
46. purekucp (pura a type of red coloured sugar
cane; iku also means sugar cane) adorning Her left arm with sugar
cane bow.
(Lalit Sahasranma (10) Manorpeku-koda - Mind involves
both sakalpa and vikalpa. Sakalpa means resolve, process of
thought. Vikalpa means difference of perception. Both are opposite
to each other. Mind is also subtle like knowledge. Mind is reflected
through the five sensory organs. It has both sakalpa and vikalpa
quality as it acts through the impressions received from sense organs
that get fine tuned in the form of thought and finally explodes in the
form of actions. Iku means sugar cane and kodaa means a bow.
She is holding in Her left upper arm a bow of sugar cane.)
47. pupabn (adorning Her with five flowers as arrows
in Her right lower arm.)
(Lalit Sahasranma (11) Pacatanmtra-syak - The five flower
arrows represent five subtle elements. These five flowers or arrows
are described differently in various tantra stra-s. These five flowers
are lotus flower, raktakairava flower, kalhara flower, indivara flower
and flowers of mango tree. These five flowers represent excitement,
madness, confusion, stimulation and destruction.)
48. rmanmikyapduke (a pair of sandals made of
ruby)
She is getting ready to return to ri Cakra, where Kmevara is
waiting for Her.
49.
svasamna veabhi varaa devatbhi saha r cakrdhirohana
228
(She is ascending ri Cakra with Her attendants (varaa devi-s), who
are equally well dressed and ornamented. At this point all varaa
devi-s take their respective positions; but She stands beside
Kmevara.)
50. kmevarkaparyaka upaveana (She
is sitting on the left lap of Kmevara)
(Lalit Sahasranma (52) iva-kmevarkasth - She sits on the left

thigh of iva. This is the form of Sagua Brahman. iva is Praka
form and self illuminating and akt is His Vimara form. It is good
to meditate upon this posture of Them. Why She is sitting on his left
thigh? Heart is on the left side and She is said to be ivas heart
(could also mean love).
51. amtsavacaaka (offering Them cup of honey)
52 and 53 are to be offered twice, one for Kmevara and Kmevar.
52. camanya (offering water to wash Their mouths).
53. karpravik (Karpravtik is a combination of
fragrant ingredients, used to chew along with the betel leaves. The
ingredients used are saffron, cardamom, clove, camphor, kastri,
nutmeg and mace or myristica fragrans or jtipattr (arillus of the nut
also known as myristica officinalis). The ingredients are finely
powdered and mixed with powdered sugar candy. This Karpravtik
powder when used with betel leaves for chewing gives immense
fragrance and delicious taste). When She chews this, it provides
fragrance to the entire universe.)
(Lalit Sahasranma (559) Tmbhla-prita-mukh - She is fond of
chewing betel leaves with karpra vik (nma 26). The betel leaves
turn Her lips into red colour. This nma says that Her face shines
with betel leaves in Her mouth. The fragrance of betel leaves with
karpra vik emanates pleasing fragrance.)
229
54. nandollsavilsahsa (She smiles at us if
we have done all the above with devotion and love. When She smiles,
we also smile at Her with tears rolling down. The tears we shed now
signals Her acceptance of our upacra-s offered to Her.)
55. magalartrikam (Showing nine lamps to Them. This
is a sign of auspiciousness. There is a separate procedure for this,
which is discussed in 22.4.55. Only after performing this, further
upacra-s should be continued.)
56. chatra (offering them gold umbrella with gems and
diamonds embedded. This is done as a mark of paying our respects
to Rjarjesvar and Rjarjesvar (Kmevara and Kmevar).
57. cmara (this is a kind of fan made out of plumes of white
horse; They are being fanned with cmara, a mark of respect.)
58. darpaa (showing mirror to them in order to make them
look at the mirror and enjoy the company of each other. It is also a
sign of auspiciousness.)
59. tlavnta (fanning them with hand fans made out of palm
leaves.)
60. gandha (offering them sandal paste)
61. pupa (offering Her flowers flowers can be placed at Their
lotus feet).
Following three should be done at the end of navvaraa pj.
62. dhpa (offering incense; incense should be shown to them
from a distance, so that it does not affect their inhalation (they are to
be contemplated with life).
230
63. dpa (waving of lamps before Them. This is done out of
reverence. There are several types of dpa-s, including ekahrat
dpa, alakra dpa, pacahrati dpa, Gyatr dpa, nandi
dpa, prakumbha dpa and finally nrjana.
64. naivedya (offering of food and other delicacies along with
fruits. First, cooked food is to be offered, followed by camanya
(to wash their hands, mouth and feet) followed by offering of drinking
water, followed by fruits and finally betel leaves with karpravtik.)
Now we have wait to for Their ascent to proceed further.
22.4.55) Magalartrikam
(This has already been discussed under 55 above. Now, relevant
mantras and procedures are being discussed.)
A copper or silver plate, (image 20) rice or wheat flour, milk, nine
wicks, ghee and camphor are required. Mix flour with milk and sugar
and make dough. Using the dough prepare nine triangle shaped lamps
and make enough dough to make one more lamp for kuladpa which
will be discussed under serial number 43. They should be designed in
such a way that there is some space available to pour few drops of
ghee in the middle. These lamps should be arranged like eight petal
lotus and the ninth lamp should be placed in the centre. When two
opposite lamps are joined together, it will appear like a damuru. Thus
there will be four damuru-s forming eight triangles and the ninth is
the centre. There are other variations in this arrangement. Now, the
wicks are to be dipped in ghee and smeared with camphor at the tip
of the wicks. In the space available in each of these lamps for ghee, a
few drops of ghee are to be poured and wicks are lit. It is to be ensured
that all the nine lamps burn simultaneously and with the same kind of
flame. When the lamps are lit, hr is to be recited. This should
be recited while lighting all the nine lamps.
231
IMAGE 20
Now, by touching (abhimantraa) the plate, recite the following
mantra which is known as navkar ratnevar mantra ( ).
4 r hr gl sl ml pl nl hr r
4
After completing the recitation, show chakra mudra to the lamps.
Now recite mlamantra by touching the plate (abhimantraa means
abhi-mantraa-mantra; making anything sacred by a special formula
or consecrating). Now take the plate and rotate clockwise nine times
in front of (like diprdhana) Kmevar and Kmevar (if idols are
available) and ri Cakra by reciting two mantras. First mantra is the
first verse of Durg Skta.
i)

jtavedase sunavma somamartyato nidahti veda | sa na

paradati viv nveva sindhu durittyagni ||
ii)

samasta cakra cakreyute devi navtmike |
rtrikamida tubhya gha mama siddhaye ||
After having done this, we have to place the lamp to our right.
232
23) Caturyatana Pj
yatana means resting place or abode. Every place and every being
is yatana of iva. As we know that there are five types of akti-s
citakti, nandaakti, icchakti, jnaakti and kriyakti. The first
three akti-s along with the last two akti-s are responsible for
creation. These five akti-s are known as iva, akti, Sadiva, vara
and uddhavidy respectively. Technically, worshiping these five
akti-s is known as pacyatana pj. Therefore, pacyatana pj
means worshipping the five primary principles of creation, as
mentioned above. iva alone is Absolute and the rest have originated
from Him. He alone pervades the entire universe. He is Cit (Absolute
Consciousness) and akti is full of Bliss (nandaakti). Both of them
are known as Saccidnanda, who pervade the universe. In order to let
us know that the whole world is permeated by Saccidnanda and no
object or being is different from Saccidnanda, pacyatana pj is
performed. There are three types of pacyatana pj iva, akti

and Viu pacyatana pj-s. In any pacyatana pj, five Gods
are worshiped and they are iva, akti, Viu, Gaea and Srya. The
presiding deity is placed in the middle and other deities are worshiped
clockwise beginning from North East (na), South East, South West
and North West.
In navvaraa pj, which is performed to attain Her Grace and
Compassion, instead of pacyatana pj, caturyatana pj is
performed, as Kmevar is majestically seated in the middle of ri
Cakra along with Mah-Kmevara. Theoretically, caturyatana pj
is akti pacyatana pj. Kmevar is worshiped in the middle,
Gaea in nirti (South West), Srya in vyu (North West), Viu in
na (North East) and iva in agni (South East). Gaea is the chief
of gaa-s, who protects the universe (14 worlds). He is an
embodiment of knowledge. He is not only the obstacle remover, but
also causes obstacles. Hence, he is worshiped first in order to remove
any possible obstacles. (However, for a true devotee no obstacles will
be there in his spiritual path; however, he has to undergo the pains
and sufferings of life due to his or her individual karma and the group
233
karma - group means society as well as relationships). Srya (the sun)
has the ability to create and he rules the world along with his consort
Savit. Since he is the creator (creator contextually does not refer to
Brahman), Srya is worshiped. Viu is the sustainer of the universe
and hence Viu is worshiped. iva is worshiped as Rudra, who alone

is capable of annihilating the universe, hence He is worshiped. iva
has multiple manifestations, from a subordinate staff to the chief
executive. Though He is known through different names such as
Sadiva, vara, Mahdeva, na, Kmevara, Bhairava, etc, all
these forms are different manifestations of iva only. Hence iva is
worshiped. Parakti is worshiped in the centre, in the innermost
triangle of ri Cakra. She is the embodiment of everything that
prevails in the universe. She gets Her energy from iva and She acts
on behalf of iva. She gives spiritual knowledge and bliss. Without
Her Grace, liberation cannot be attained. She is Praka Vimara
Mahmy Svarpini. The very purpose of navvaraa pj is only
to contemplate Her perpetually, setting aside attachments to material
world (normal living is not material attachment; if we do not live
normal materialistic life, Ka will be angry with us as we would be
violating His teaching on karma yoga!)
Pjaymi and Tarpaymi:
This is the most significant aspect of navvaraa pj. Hereafter, at
the end of every mantra pjana and tarpaa are to be done.
Flowers are to be taken in the left hand. In the right hand, tweezers is
to be taken with a piece of ginger held between the tweezers. At the
time of saying pjaymi flowers from the left hand are to be placed.
At the time of saying tarpaymi, the ginger piece is to be dipped into
viea arghya using the tweezers and a drop of viea arghya is to be

offered in the same place where flowers are placed. This is further
explained in Gaea pj.
234
23.1) Gaea pj.
i) Gaea vahana:
4

4 siddhalakm sameta r mahgaapati dhyymi | vhaymi
sana | pdya | arghya | snapaymi | camanya | gandhn
dhraymi | pupai pjaymi ||
ii) Gaea mlamantra:
(to be recited three times)
4

4 om r hr kl glau ga gaapataye varavarada
sarvajaname vaamnaya svh siddhalakm sameta r
mahgaapati r pduk pjaymi tarpaymi nama ||
Now take flowers in the left palm and place the flowers, where
Gaea idol is kept (nirti - South West) and simultaneously take
amta using a tweezers made of either silver or copper. This is meant
to perform tarpaa. Instead of a tweezers, a thin silver rod with spikes
on one side and a very small uttarai like structure which can hold
one or two drops of viea arghya can also be used. At the end of the
tweezers peeled ginger should be placed firmly. The tip of tweezers
is dipped into viea arghya, a drop of amta is taken and immediately
placed in the place where flowers are placed. This procedure is known
as pjaymi and tarpaymi. In fact, both pjana and tarpaa
should be done simultaneously.
Note: r pduk pjaymi tarpaymi nama will hence forth be
referred as spptn.
235
iii) Arcana: (only flowers to be offered)

om sumukhya nama | ekadantya nama | kapilya nama |
gajakarakya nama | lambodarya nama | vikaya nama |
vighnarjya nama | vinyakya nama dhmaketave nama |
gadhyakya nama | phlacandrya nama | gajnanya nama |
vakratuya nama | rpakarya nama | herambya nama |
skandaprvajya nama ||
(Any verses and hymns in praise of Gaapati such as r
Gaetharvaram can be chanted at this point. Similarly verses,
hymns and Veda mantras can be recited while doing pj-s to Srya,
Viu and Rudra).

iv) Upacra-s:
dhpa , diprdhana, naivedya and nrjana.
v) Gaea gyatr:

tatpuruya vidmahe vakratuya dhmahi |
tanno danti pracodayt ||
{From this point onwards, naivedya should be kept ready for every
upacra. There will be a need of 14 sets comprising of 4 (caturyatana
pj) + 9 (for nine varaa s) + 1 (after completing pj for all the
nine varaa s; this is the main one) dhpa , diprdhana, naivedya
and nrjana; necessary materials should have been kept ready).
236
23.2) Srya pj.
i) Srya vahana:
4

4 praka akti sahita mrtabhairava dhyymi | vhaymi
(Mrta is derived from mrta, which means bird sprung from
a lifeless egg. Mrta, which is used here refers to sun god.
Mrta also signifies numeric twelve and therefore could possibly

refer twelve ditya-s)
ii) Srya mlamantra:
(following spptn to be done 12 times; there are texts which say only
3 times; ultimately Gurus words alone count)
4
(spptn)
4 om hr ghi srya dityom || praka akti sahita
mrtabhairava r pduk pjaymi tarpaymi nama (spptn).
(spptn - r pduk pjaymi tarpaymi nama; spptn -
)
(om is to be prefixed and nama to be suffixed to each nma)

237
om mitrya nama | ravaye | sryya | bhnave | khagya | pe |
hirayagarbhya | marcaye | dityya | savitre | arkya | om bhskrya
nama ||
iv) iv) Upacra-s:
v) Srya gyatr:

om bhskarya vidmahe mahdyutikarya dhmahi | tanno ditya

pracodayt ||
23.3) Viu pj.
i) Viu vahana:

om namo nrayaya | mahlakm sameta r mahviu vhaymi
ii) Viu mlamantra:
om namo nrayaya |
(following spptn to be done three times)
spptn
r mahlakm sameta r mahviu spptn
238
Puruasktam can be recited here.

ntkra bhujagaayana padmanbha surea
vivkra gaganasada meghavara ubhgam |
lakmknta kamalanayana yogibhidhyrnagamya

vande viu bhavabhayahara sarvalokaikantham ||

om keavya nama | nryaaya | mdhavya | govindya | viave
| madhusdanya | trivikramya | vmanya | rdharya | hkeya
| padmanbhya | om dmodarya nama ||
iv) Upacra-s:
v) Viu gyatr:

om nryaya vidmahe vsudevya dhmahi | tanno viu
pracodayt ||
23.4) iva pj:
i) iva vahana:

239

namaste astu bhagavan vivevarya mahdevya tryabakya
tripurntakya trikgni klya klgnirudrya nlakahya

mtyujayya sarvevarya sadivya rmanmahdevya nama|
um sameta r mahevara vhaymi ||
ii) iva mlamantra:
spptn |

om namaivya smbaparamevara spptn |
sgya syudhya saaktiparivrya sarvlagrabhitya
ummahevara spptn ||
r Rudra can be recited here.

om bhavya devya nama | arvya | nya | paupataye | rudrya
| ugrya | bhmya | om mahate devya nama ||
iv) Upacra-s:
v) iva gyatr:

240
om tatpuruya vidmahe mahdevya dhmahi | tanno rudra
pracodayt ||
24) layga pj
Some do not perform this pj. layga comprises of laya and aga;
laya means absorption and aga means body, mind, etc. Therefore
layga means absorption into Brahman. The very purpose of
performing navvaraa pj is to get absorbed into Brahman, setting
aside the body and mind. Only to accentuate this point, layga pj
is prescribed. This principle can be interpreted from the point of view
of Trika philosophy (triads). All the triads originate from the
innermost triangle and bindu of ri Cakra. Bindu is both Praka and
Vimara (iva and akti), the source of kmakal ( ). The
universe originates from Bindu and dissolves into Bindu. Keeping
this philosophy in mind, layga pj is done. Bindu is worshiped
three times at this point. The first pjana and tarpaa is for the
union of Kmevar and Kmevar; the second one is for kmakal,
the source of creation; the third one is identifying ourselves with the
universe. Self-realization does not end with the realization of the Self
within. Self-realization also means of identifying universe with the
Self. The Self, the individual self (the Self within, veiled by my;
this is known as individual soul) and the universe. Ultimately,
individual soul and the universe get absorbed (laya) into the Self. This
is the purpose of layga pj.
This is to be done three times on the Bindu.
4 - mla (mlamantra)

4 (mlamantra) - akhilakoi brahmanyaki r
rjarjevar lalitmahtripurasundar parbhaarik mahdevy
praka vimara mahmy svarpii r pduk pjaymi
tarpaymi nama ||
241
25) aagrcanam:
Basically, this pj is also based on pacyatana, caturyatana and
layga pj-s. aaga means six parts. The following two nma-s
of Lalit Sahasranma speaks about aaga devata-s.
aaga-devatyukt - (386): a (six) + aaga (parts)
means six parts. For every mantra there are six parts and each such
part is under the control of a god/goddess called aaga devat-s of
the presiding deity. These six parts are heart, head, tuft of hair, arms,
eyes and weapons. Before and after the recitation of a mantra, the
deities of these parts are worshipped in our bodies by touching the
respective body parts with fingers. This is with regard to the external
worship. iva has six types of known qualities and they are
omniscience, completeness, supreme level of consciousness,
freedom, everlasting power and infinity. These six are the qualities
of the Brahman without attributes or praka form of the Brahman.
This nma says that She is surrounded by these six aaga devat-s.
It is important to remember that She is described both as Brahman
without attributes or the praka form and as Brahman with attributes

or the vimara form.
guya-pariprit - (387) She is endowed with six
qualities that are considered auspicious. They are prosperity,
righteousness, fame, material wealth, wisdom and dispassion.
Dispassion because, She will not show any special favours to a select
few, transcending the law of karma. She does not encourage
favouritism.
This is to be done at the bindu.
Note: Those who are initiated into oa should use oa mantra,
which is to be divided into six pda-s. Those who are not initiated
into oa should go with saubhgya-pacada. What is given here
is saubhgya-pacada.
242
i) 4
4 ai ka e la hr hdayya nama | hdayaakti r pduk
tarpaymi nama ||
ii) 4

4 kl ha sa ka ha la hr irase svh | iraakti rpduk
pjaymi tarpaymi nama ||
iii) 4
4 sau sa ka la hr ikhyai vaa | ikhakti rpduk pjaymi

tarpaymi nama ||
iv) 4
4 ai ka e la hr kavacya hu | kavacaakti rpduk pjaymi

tarpaymi nama ||
v) 4

4 kl ha sa ka ha la hr netratrayya vaua | netraakti rpduk
vi) 4
4 sau sa ka la hr astrya pha | astraakti rpduk pjaymi

tarpaymi nama ||
26. nitydev yajanam:
Yajana means worship and this part deals with worshiping of fifteen
nitydev-s.
243
26.1) Preliminary study of fifteen nitydev-s.
Tithi nity dev-s represent fifteen digits of the moon and each digit
is known as tithi or lunar day. There are fifteen tithi-s or lunar days
and each tithi is represented by a nity dev and hence they are known
as tithi nity dev-s. Technically speaking, there are only fourteen
tithi-s and the fifteenth tithi is either full moon (prim) or new
moon (amvsy). Fifteenth lunar day, either full moon (prim) or

new moon (amvsy) is represented by Mahkmevar Herself.
Pacada has fifteen letters and each of these letters represent one
kal (digit) of the moon. But, kal also means sixteenth part (1/16).
But we have only fifteen letters in Pacada mantra. The sixteenth
kal is oa bja r (), which is hidden and always remains
subtle. As there are only fifteen tithi nity dev-s, how do we worship
the sixteenth oa kal? Answer to this question is considered as
secret, as the answer reveals Mahkmevar. Sixteenth kal is
worshiped in the bindu, the place of iva. But in the bindu, iva is
not worshiped while worshipping tithi nity dev-s, but
Mahkmevar is worshiped. This also subtly conveys the union of
iva and akti. Though there is no separate procedure for oa
upsaka-s (those who are initiated into oa), when Mahkmevar
is worshipped in the central bindu, the above aspect is to be
contemplated. It would be ideal to worship Mahnity
(Mahkmevar) in the bindu with oa mantra for the sixteenth
kal, though it is not explicitly mentioned; but it is implied. Texts say
that while worshipping Mahnity, Pacada mantra should be
encased (sampukaraa) between two a (). Each nity dev
represents fifteen vowels from a to a ( to ). But, those who are
initiated into oa should use oa mantra, instead of Pacada
mantra. It is also said that during uklapaka (waxing moon), tithi
nity dev-s should be worshiped from 1 to 16 (anticlockwise) as

shown in the image. But during kapaka (waning moon), they
should be worshiped in clock wise manner, i.e. from 16 to 1.
However, one has to follow what his or her Guru says. In r Vidy
worship, one has to meticulously follow what his or Guru says and
there should be no deviation from his instructions, as he follows the
244
traditions of his Guru and Paramaguru. But, it should always be
remembered that he should be a Guru, who has attained mastery over
the various types of worshiping ri Cakra and should remain with
Parakti all the time. Each tithi nity dev have their own yantra-s
and mantra-s. They have their own mlamantra-s, varaa pj-s, etc.
The innermost triangle is formed by the first three tithi nity dev-s,
viz. Kmevar, Vajrevari and Bhagamlin, each representing one
corner of the triangle. Though as tithi nity dev-s, they do not hold
the innermost triangle, they hold this triangle as three devi-s
representing three gua-s. This will be discussed in the next varaa,
viz. eighth varaa. In fact, the innermost triangle is held by them.
However, there are other views on this, which says that Lalitmbik,
Kmevar nity and Bhagamlin nity hold the innermost triangle.
But this argument cannot be accepted. When Lalitmbik is seated on
the lap of iva, obviously, She cannot be holding this triangle.
Further, She cannot be compared to other nity dev-s, who function
under Her.
26.2) Further study of fifteen nitydev-s:

r Vidy is primarily based on lunar digits. Several Scriptures
concatenate about lunar digits and sixteen vowels. As discussed
earlier, when sun and moon unite, this union subtly conveys Cosmic
Union of iva and akti and this happens on amvsy or new moon
day. We have also discussed that Lalitmbik is in the form of oa
mantra (having sixteen letters) on amvsy. When one meditates on
Her with oa mantra at the time of 100% conjunction of sun and
moon, which is known as sakrama (generally it refers to the
movement of sun through twelve zodiac signs; but contextually it is
used here to mean union or coming together of sun and moon), one
is blessed with aktipta. For a few minutes sun and moon remain in
the same degree and these precious minutes should be used to
contemplate Her, which quickly leads to the descent of Her Grace
(aktipta) and subsequent liberation. Descent of Her Grace is known
as aktipta, without which realization is not possible. When our
contemplation is intent and complete during sakrama, aktipta is
245
possible. However, this purely depends upon ones depth of devotion
and spiritual evolution, which always progresses concurrently.
When moon comes out of its union with the sun, moon begins to add
one kal or digit to itself every day and on the full moon day
(prim), the moon becomes bright with all its fifteen digits shining.
The sixteenth kal or digit which is nothing but Lalitmbik, is

present in every digit; without this sixteenth digit being present subtly
in all the fifteen digits or kal-s, these digits cannot individually
function. It is the principle based on the Self and the self. Without the
Self (Brahman) being present in the self (individual soul), latter
cannot function at all. Similar is the case with nitydev-s. Without
Lalitmbik being present in these fifteen nitydev-s, they cannot
function and without their function, day, week, month, year, decade,
century and other time factors cannot happen leading to chaos and
confusion. We have to remember that time is the crucial factor for
Her five acts creation, sustenance, destruction, concealment and
grace or compassion. This is explained in detail in Lalit
Sahasranma 264 to 274.
Out of the fifteen tithi nitydev-s, three of them form the inner most
triangle of ri Cakra and they are worshiped again in eighth varaa.
Mah Kmevar, Mah Vajrevar (She is also known as Mahvidy)
and Mah Bagamlin are the three tithi nitydev-s who guard the
three sides of the innermost triangle of ri Cakra. These three akti-s
are thus worshiped twice, one as tithi nitydev-s and another as
eighth varaa devi-s.
There is direct relationship between Her subtlest form Kualin and
the phases of the moon. This however vastly differs from the
foregoing discussion. As we have already seen that during full moon,
She conjoins with iva and hence, She is in sahasrra, the
microcosmic plane of Their union. Their macrocosmic union takes

place in the cosmos. Whatever happens in the macrocosm is reflected
in microcosm and we are unable to understand this reality, as we have
never seriously looked into these aspects. Sanatkumra Sahita gives
an entirely different interpretation. As Kualin, She rests at
246
mldhra during new moon and goes up to sahasrra during full
moon. In fact, in mldhra, iva and akti remain united at kulasahasrra. Kula always refers to akti and akula refers to iva. During
new moon day, their union takes place at kula-sahasrra, a dark place
below mldhra. Kula-sahasrra is aktis place and akula-sahasrra
is ivas place. In both the above versions, it is obvious that both of
them enter into sakrama either on the new moon day or the full
moon day. But, this version is not generally accepted and followed,
as the secretive principle is not understood.
This secretive principle can be explained like this. Lalitmbik as the
sixteenth digit is present in all the digits of the moon, which are
worshiped as tithi nitydev-s. We have already discussed on several
occasions that akti cannot function without iva nor iva can shine
without akti. Thus they are interdependent in absolute terms.
Whether akti is in mldhra or sahasrra or in any other place, they
cannot remain as two individual entities. If the Self is not present as
the individual soul within, veiled by my (akti), we cannot function
and the same rationale is applicable to both macrocosmic and
microcosmic principles. r Vidy worship does not serve any

purpose without understanding this basic principle. The
interconnection between macrocosm and microcosm is subtly and
authentically conveyed through r Vidy. Most of the followers of
r Vidy are not able to attain the desired goal because of their failure
to understand the subtle and secretive conveyances. Instead of
learning and understanding the secretive and authentic conveyances,
we tend to get attached more towards practical applications rather
than spiritual implications.
Each of these tithi nitydev-s represent one vowel of Sanskrit, which
has sixteen vowels. Out of the sixteen vowels, fifteen of them with
bindu-s represent fifteen tithi nitydev-s and the last one does not
have a bindu and instead has visarga (two dots one above the other
by the side of an alphabet is visarga, like a semicolon :). This visarga
represents manifesting aspect of akti, whereas the bindu (a dot on
the top of an alphabet) represents the creative aspect of iva. Based
247
on this principle, in the arrangements of vowels (a) comes before
(a). This signifies that from iva, akti originates and secondly it
also means that akti manifests as the universe. This concept is well
explained in the worship of tithi nitydev-s. Fifteen tithi nitydev-s
are worshiped outside the innermost triangle of ri Cakra and they
represent the first fifteen vowels with bindu. But, Lalitmbik is
worshiped on the bindu, which is the central point of ri Cakra with

the last vowel (a). This means that the creation begins from
visarga. It is also important to note that both iva and akti have
sixteen kal-s. In the first fifteen kal-s iva is present and the last
kal (a) is entirely left to akti for the purpose of manifestation.
But for the first fifteen vowels, sixteenth vowel (a) is not possible
and similarly, but for the sixteenth vowel, the presence of first fifteen
vowels are of no use in the process of manifestation. Manifestation is
possible only with visarga and creation is possible only with bindu
which symbolically represents akti and iva respectively. This also
explains the principle of kaula. iva is known as akula and akti is
known as kula and their union is known as kaula, which forms the
basis of Tantra stra-s. This creative principle is grossly
undermined, misunderstood and misrepresented now-a-days. Union
of iva-akti is emblematically represented in macrocosm by the
union of sun and moon and in the microcosm it is actually represented
by Kualin, who unites with iva at sahasrra. This is explained in
detail in Lalit Sahasranma 98 Samaycra-tatpar. This
phenomenon can be better understood only through contemplation.
That is why, worship of ri Cakra is divided into two categories. One
is viyat-cakra (viyat means atmosphere) or worship in space, which
includes understanding both macrocosmic and microcosmic union of
iva-akti and the other category is bahirvtti- cakra (bahirvtti
means occupation with external objects) which is nothing but
navvaraa pj. Viyat-cakra contemplation is considered much

superior to contemplation explained in Bhvanopaniad, because in
viyat-cakra contemplation, everything happens in cosmos whereas in
Bhvanopaniad, contemplation is related to human bodies. This is
known as Chakra rahasya (secret of ri Cakra). There are other
248
rahasya-s like mantra rahasya and pja rahasya (rahasya means
secret). Another significant point that needs to be understood is about
kmakal, which has a lot to do with tithi nitydev-s. The first fifteen
vowels representing fifteen lunar digits (fifteen lunar days) merge
into a triangle and this triangle is represented by kmakal and this is
explained in Lalit Sahasranma 322 kmakal rp.
As far as Kaula-s are concerned, they worship the particular tithi
nitydev ruling on that particular day. But, as far as samaya-s are
concerned, they worship all the fifteen nitydev-s daily as they know
that all these nitydev-s originate from Mahnitydev, also known
as Lalitmbik. In other words, samaya-s are aware that the fifteen
kal-s originate from the oaa kal or sixteenth kal, which is in the
form of (r) bja. Evolution of Pacada mantra to oa
mantra is based on this principle.
26.3) Worship of tithi nitydev-s:
IMAGE 21
Fifteen nitydev-s are worshiped outside the innermost triangle.
Mahnitydev and the nitydev presiding over the particular day are
worshiped in the bindu. Each of these nitydev-s have mantras,
yantras, varaa devi-s, arcana, etc.
To begin with, Mahnitydev is to be worshiped in the bindu and
pjana and tarpaa should be made three times.
4 -
249
4 - mla | a r lalitmahnity r pduk pjaymi tarpaymi
nama ||
This should be followed by pjana and tarpaa for three times for
the nitydev presiding over the particular day in which navvaraa
pj is performed. Let us take an example of fifth lunar day of
uklapaka (waxing moon), which is known as pacam tithi and
uklapaka pacam tithi is presided over by Vahnivsin nitydev.
She is posited in the place marked as 5 in image 21 above. The same
nitydev viz. Vahnivsin nitydev is worshiped in the same place
during kapaka (waning moon) ekda tithi; the only difference is
that she is worshiped as the fifth nitydev during uklapaka pacam
and as the eleventh nitydev during kapaka ekda. All the
nitydev-s continue to exist in the same place with the same
bjkara-s. This also signifies the expansion of kal-s during
uklapaka and contraction of kal-s during kapaka.
Bjkara-s and the names of tithi nitydev-s are given here. While
performing pjana and tarpaa, 4 is to be prefixed and nity and
r pduk pjaymi tarpmi nama is to be suffixed. Following is

the example.

om ai hr r vahnivsin nity r pduk pjaymi tarpmi
nama ||
1. a - Kmevarinity -
2. - Bhagamlini -
3. i - Nityaklinn -
4. - Bherun -
5. u - Vahnivsini -
6. - Mahvajrevar -
7. - ivadt -
8. - Tvarit -
250
9. lu - Kulasundar -
10. - Nity -
11. e - Nlapatk -
12. ai - Vijay -
13. o - Sarvamagal -
14. au - Jvlmlin -
15. a - Citr -
There are also other versions about how nitydev-s are to be
worshiped.
27. Gurumaalrcanam ||
27.1) Guru-iya relationship:
In r Vidy, role of a Guru is extremely important. Pursuing r
Vidy in its proper perspective leads to liberation step by step. r
Vidy literally means exalted science. But, there are various
paddhati-s () (paddhati means path or divisions) which discuss
about various aspects of worshipping Lalitmbik. In r Vidy cult,
ones Guru is called r Guru and prefix r not only delineates the
auspiciousness of the Guru, but also used as honorific prefix. Guruiya relationship is not only extremely important in r Vidy, but
also sacred and auspicious. The inherent factor in this relationship is
mutual trust. At the time of choosing the Guru one should make
proper enquiries about the prospective Guru and once Guru-iya
relationship is established, the disciple should not move away from
the Guru without any valid reasons. Similarly, a true Guru from r
Vidy lineage will also evaluate a person before accepting him or her
as a disciple. But how many Guru-s in r Vidy really know the
subject and how many of them are capable of taking the disciple to
pursue spiritual path for attaining Her Grace and final liberation, is a
big question. Though many of them are thorough with practices, they
are not aware as to how to lead his or disciple towards liberation.
251
Without the goal of realization, mere ritualistic practices are of no
use. In a spiritual journey one begins with dvaita (dualism)
philosophy, moves to Advaita and finally realizes Brahman. In r

Vidy also this is the fundamental intent. r Vidy is in no way a
substitute to Advaita Philosophy and on the contrary it explicitly
advocates non-dualism in stages. The culmination of r Vidy is at
the Bindu in ri Cakra, where iva and akti unite. Understanding
the union of iva and akti is of great importance in r Vidy. Their
union is known as kmakal and only from kmakal mah
parprsda mantra mantra originates(mah parprsda mantra is
hsau shau; from this originates hasa mantra). This is based on
the revelation made in Saundaryalahar (verse 1), iva akty yukto
yadi bhavati akta prabhavitu which means that iva becomes
inert if He is not united with akti. The greatest advantage of r
Vidy is that a practitioner is made to realize Lalitmbik first, who
personally takes the aspirant to iva for liberation. It is important to
understand that only iva is capable of granting liberation and akti
evaluates a person for liberation. Hence She is adored as iva-jnapradyin (Lalit Sahasranma 727). Thus, for the purpose of
liberation, one has to realize akti first. r Vidy strongly paves the
way to realize Her through mantras and yantras and hence attains
great importance. r Vidy is a quicker way to realize Her due to the
intensity of upsana. Upsana consists of four aspects one leading to
the other and they are updna or preparation of offering, ijy or
oblation, svdhyya or recitation, and yoga or devotion. This means
that there are four stages in upsana and these can be briefly explained
like this. The first stage is preparatory stage, where a mantra is

initiated to a disciple. The disciple, apart from reciting that initiated
mantra, begins to understand the mantra and with the help of the
mantra, begins to worship the concerned deity. His worship then
evolves into offering oblations to the concerned deity. After having
satisfied himself with all the procedural aspects of worship, he moves
to mantra recitation. This stage is the most crucial aspect of any
upsana, where inexplicable connection is established between him
and the concerned deity which blossoms into devotion for that deity.
With more intensified pursuit, his devotion transforms into love and
252
he becomes one with the deity, the logical conclusion of any upsana.
Transition from one level to next higher level is aided by ones Guru.
Transition happens both in the physical plane as well as in the mental
plane. Physical transition leads to perfection in ritualistic procedures
and transition in mental plane leads to realization of the Self through
Her. An aspirant under normal circumstances may not be able to
realize mental transformation and only Guru can guide him in this
aspect. An aspirant will have several confusions when hypervelocity
mental transformation happens. All these doubts can be clarified only
by a Guru. When hypervelocity mental transformation begins to
unfold, one is bound to move away from the first two aspects of
upsana, updna and ijy, which will stop automatically. When one
enters into trance, even the mantra stops on its own, as in samdhi
everything is stilled including the mantra. During this stage, one
naturally gets a doubt whether it is right to stop this mantra like this.
A Guru will surely advise his disciple, that this is the perfect stage in
his spiritual path. This stage alone leads to perfection in yoga (yoga
means union, union of individual consciousness and Supreme
Consciousness).
There are many Scriptures that describe about Guru-s.
Kmakalvilsa (verse 39) says that both iva-akti are in the form
of Gurumaala-s. It describes them as Gurumaala-svarpa.
Though they are apparently different from Gurumaala-s, yet is not
so. This is explained by using the phrase aviea-bheda bhinna
( - ). Similarly, Kulrava Tantra speaks about Gurus
extensively. Two chapters have been exclusively devoted to Gurudisciple relationship. It speaks about two types of initiations, one is
external initiation (bhya dk) and another is internal initiation
(vedha dk). Bhya dk is also known as kriy dk, when a
mantra is imparted to a disciple after performing specific rituals. But,
in vedha-dk, Guru transfers his energy to the disciple, which will
have almost instantaneous impact on the disciple. iva tells His
Consort in Kulrava Tantra (14.66), O! My beloved! Difficult to
get is such a Guru who can initiate thus through subtle impact of
vedha (not to be confused with Veda; vedha contextually can be
253
explained as penetration, piercing, breaking through, breach);

difficult also is the disciple fit for it. This means that this type of
initiation is possible only by Self-realized Guru-s and a disciple will
attain such a Guru only if he or she has Her Grace. She manifests in
the form of such a Guru and liberates a well deserved disciple. When
one is fortunate to get initiation from such a Guru, iva says,
(KT.IV.95), For the one who is initiated thus, there is nothing to be
achieved by tapas (meditating for a longer duration), regulations
(scriptural dictums), observances (fasting, etc), pilgrimages (visit to
holy places) and regulative controls of the body (religious symbols
like wearing of sacred ashes, celibacy, restrictions on food, bodily
comforts, etc).
Another important aspect of a realized Guru is that he will stick on
with one mantra and will prepare his disciple with that mantra alone
to attain liberation. Initiating too many mantras will severely hamper
spiritual progression and such a disciple will not be able to proceed
to the final aspect of upsana, transforming into a yogi. If there are
too many mantras, it is difficult or rather impossible to establish a
connection between individual consciousness and Supreme
Consciousness. There should be one Guru, one mantra and one
Devata for upsana, which alone is known as sdhana. Sdhana is not
possible with multiple mantras and multiple forms of devata-s. A true
Guru will impart the knowledge of Brahman to his disciple who has
attained perfection in sdhana. At this point of time, Guru will say to
his disciple Tat tva asi (you are That) and the disciple will explore
this ultimate teaching and after satisfying himself will affirm to his
Guru aha Brahmsmi (I am Brahman or I am That). Guru will
know whether such an affirmation comes from the disciple after
realization or it is simply a verbal statement or deceptive realization.
Ultimately, Brahman is devoid of any forms and all forms lead only
to the formless Brahman. Though r Vidy is about Sagua Brahman
(Brahman with attributes), ultimately while performing pj at the
Bindu, Sagua Brahman is dissolved and Nirgua Brahman is
revealed. Without understanding this concept, any number of japa-s
and pj-s will not yield the desired result.
254
A true Guru will not give importance to his attire. He will be one
amongst us. He will be averse to crowd. He will select his disciples
and teach them the ultimate knowledge or Brahmavidy (r Vidy is
also known as Brahmavidy). Brahmavidy should be taught on one
to one basis, as all the disciples will not attain the same level. It is not
a classroom teaching. It is always one to one teaching. Such a Guru
will not make his disciple to pay him for initiation. Spirituality should
never be traded like a commodity. Spiritual knowledge is to be sown
as a seed within the disciple by his Guru and he will be taught how to
germinate the seed and grow it into a huge tree. Once the tree is fully
grown, that disciple is made to become a Guru. This is how a Guru
maala grows. Getting initiation from a guru who is not comfortable

with various aspects of Divinity and getting initiation by paying
money will accrue mountain of sins both to the initiator and the
initiated.
27.2) Understanding Guru maala.
Primarily there are three types of Guru Lineages. They are for
kdividhy upsaka-s, oa upsaka-s and hdividhy upsaka-s.
Upsaka-s mean worshippers. What is described here is the one that
belongs to oa upsaka-s. There are three types of Guru-s in each
of these lineages. They are Divyaguru-s, Siddhaguru-s and
Mnavaguru-s. Let us now understand them. Each mnya has one
principle Guru. He is the one who had laid down the methods of
worship in that particular mnya. mnya means sacred tradition.
Number of Guru-s under each group differs from tradition to tradition
and similarly, the names of Guru-s also differ. Ones Guru is
worshiped in the lower most dotted line. Gurus Guru, known as
Paramaguru is worshiped in the middle line (marked in red) and
Paramagurus Guru is known as Paramehi Guru and he is
worshipped in the top line (marked in black). Paramehi means
supreme. In other words, Guru would have been initiated by his Guru
(who is Paramaguru for us) and Paramaguru would have been
initiated by Paramagurus Guru (who is Paramehi Guru for us). At
the time of initiation, Guru apart from initiating a mantra, also gives
255
Gurupduk mantra. Gurupduk mantra is given for the Guru who

initiates, Gurus Guru (Paramaguru for the one who is being initiated
and Paramagurus Guru (Paramehi Guru for the one who is being
initiated). During this process, dk names of all the three Gurus are
revealed to the disciple. There are different mantras for Guru,
Paramaguru and Paramehi Guru. A disciple has to pay his respect
to his Guru by using mgmudra (mg means female deer or doe).
27.3) Guru maala mantras.
27.3.1) Mahpdukk mantra:
Mahkmevara (Paramaiva) is worshipped in the bindu with this
mantra:

om ai hr r ai hr r ai kl sau
glau hskhphre hasakamalavaray hsau
sahakamalavaray shau
rvidynandanthtmaka carynandantha r
IMAGE 22
mahpdukk pjaymi tarpaymi nama ||
27.3.2) Gurus directly initiated by Paramaiva:
The Gurus who are initiated directly by Paramaiva are worshiped on
the three sides of the innermost triangle. It is Mahkmevara

(Paramaiva), who initiated Mahkmevar during Kita yuga
(consisting or 1,728,000 years). This is the first of four yuga-s. In r
Vidy cult, Mahkmevara who initiated Mahkmevar is known
as Carynandantha (carya means to be practiced or to be performed,
signifying the importance of sdhana). Carynandantha is also
known by other names such as Vidynandantha and
Paramaivnandantha. After having initiated Mahkmevar in
256
Kita yuga, Mahkmevara initiated Unandantha in Tret
yuga (1,296,000 human years), ahnandanta in Dvpara yuga
(864.000 human years) and Mitrenandantha in the present Yuga
(Kali yuga comprising of 432,000 human years; 2013-14 is 5115th
year of Kali yuga). Thus, Mahkmevara is worshiped in the bindu
and the three Gurus who were initiated directly by Paramaiva along
with three other Gurus are worshipped in the three sides of the
innermost triangle.
On the top of the triangle (left side of the practitioner), following
Gurus are worshiped.
1. 4 - Uanandantha rpduk pjaymi tarpaymi nama ||

(Note: pjaymi tarpaymi nama || is
marked as spptn ||)
2. 4 - Praknandantha spptn || 4 - spptn ||
3. 4 - Vimarnandantha spptn || 4 - spptn ||

4. 4 - nandanandantha spptn || 4 - spptn ||
On the right line of the triangle, following Gurus are worshipped.
1. 4 - anandantha spptn || 4 - spptn ||
2. 4 - Jnnandantha spptn || 4 - spptn ||
3. 4 - Satynandantha spptn || 4 - spptn ||
4. 4 - Prnandantha spptn || 4 - spptn ||
On the left side of the triangle (right side of the practitioner) following
Gurus are worshiped.
1. 4 - Mitrenandantha spptn || 4 - spptn ||
2. 4 - Svabhvnandantha spptn || 4 - spptn ||
3. 4 - Pratbhnandantha spptn || 4 - spptn ||
257
4. 4 - Subhagnandantha spptn || 4 - spptn ||
27.3.3) Our Gurumaalrcanam:
If we look at the image above, we can find three lines marked 4, 5
and 6.
In A our Paramehi Guru is worshiped along with five other
divyaguru-s.
27.3.3.1) Five Divyaguru-s are (from 1 to 5):
1. 4 - Vyomttmb spptn || spptn ||
2. 4 - Vyomeyamb spptn || spptn ||
3. 4 - Vyomagmb spptn || spptn ||
4. 4 - Vyomacriyamb spptn || spptn ||

5. 4 - Vyomasthmb spptn || spptn ||
27.3.3.2) In 5 our Paramaguru is worshiped along with nine
Siddhaguru-s and they are (from 1 to 9)
(Names given here are in two separate words for the purpose of
convenience and understanding. They can be clubbed together. In that
the last a in the dk name will be removed and there will be one
for both dk name and nandantha. Let us take the example of
Unmanka nandantha. If both the parts are combined, then it
should be pronounced as Unmanknandantha or
)
258
IMAGE 23
1. 4 - Unmanka nandantha 4 - spptn ||
2. 4 - Samanka nandantha spptn || 4 - spptn
||
3. 4 - Vypaka nandantha spptn || 4- spptn ||
4. 4 - aktyka nandantha spptn || 4 - spptn.
5. 4 - Dhvanyka nandantha spptn || 4 -
spptn ||
6. 4 - Dhvanimtr nandantha spptn || 4 - spptn
||
7. 4 - Anhatka nandantha spptn || 4 -
spptn ||
8. 4 - Bindvka nandantha spptn || 4 - spptn

||
9. 4 - Indrka nandantha spptn || 4 - spptn ||
27.3.3.3) In 6 our Guru (the one who has initiated into r Vidy
cult, is worshiped along with nine mnavaguru-s and they are
(from 1 to 9)
1. 4 - Paramtma nandntha spptn || 4 - spptn ||
2. 4 - mbhava nandantha spptn || 4 - spptn ||
3. 4 - Cinmudra nandantha spptn || 4 - spptn ||
4. 4 - Vgbhava nandantha spptn || 4 - spptn ||
259
5. 4 - Ll nandantha spptn || 4 - spptn ||
6. 4 -Sambhrma nandantha spptn || 4 - spptn ||
7. 4 - Cida nandantha spptn || 4 - spptn ||
8. 4 - Prasanna nandantha spptn || 4 - spptn ||
9. 4 - Vivnandantha nandantha spptn || 4 -
spptn ||
27.3.3.4) Worshiping Paramehiguru, Paramaguru and
rguru:
Paramehiguru: (to be done at the top line)

aaaa

hskhphre hasakamalavaray hsau sahakamalavaray au
nama ||
Paramaguru: (to be done on the middle line)

om ai hr r ai kl sau soha hasa iva hskhphre
nama Satyajtnandantha rpduk pjaymi tarpaymi nama
260
rguru: (to be done at the bottom line)

om ai hr r ai kl sau hasa iva soha hskhphre
iva soha svarpa nirpaa hetave rgurave nama
nandnandantha rpduk pjaymi tarpaymi nama ||
At the end of Guru Maala

sadivasamrambh akarcryamadhyam |
asmadcryaparyanta vande guru parapar ||
(Beginning from Lord Sadiva, through akarcrya and up to my
Guru, I pay my obeisance to all the Gurus)
Seeking Her permission to perform varaa pj-s:
With this preliminaries of navvaraa pj are completed. Now we
have to move to varaa pj-s. We have to obtain necessary
permission from Lalitmbik to perform navvaraa pj.
Following is the mantra for this permission.

savimaye pare devi parmtarucipriye |
anuj tripure dehi parivrrcanya me ||
261
Typical varaa pj-s commence now. Various aspects of ri Cakra
have been dealt with in earlier series, Journey to ri Cakra and ri
Cakra and human body. Understanding ri Cakra and contemplating
Her are the important factors in navvaraa pj. Various Tantra
Scriptures deal exhaustively with ri Cakra and its worship. Samaya
scriptures highlight three important aspects while performing
navvaraa pj and they are called as rahasya-s (secret, private or
secret doctrine). Usage of the word rahasya emphasizes that
navvaraa pj should not be done as a public ritual. The following

three rahasya-s are mentioned.
1. Chakra rahasya:
This is about our ability to align ri Cakra with cosmos and our body.
Bhvanopaniad deals with contemplating our body as ri Cakra and
this has been dealt with in the series, ri Cakra and human body.
Cosmic contemplation depends upon our ability to align triangles
with gross, subtle and causal bodies, which are also known as Tripura.
She prevails in all the three planes in the form of Consciousness
(cidka; cittkaa refers to mind space, which remains within
cidka; typically the former refers to the Self and latter refers to an
individual self).
2. Mantra rahasya:
Her fifteen lettered Supreme mantra Pacada which evolves into
sixteen lettered mantra oa, corresponding to the sixteen digits of
moon. The sixteenth digit of the moon is subtle and is considered as
rahasya. Those who understand the significance of the sixteenth digit
of moon are known as the knowers of this secret. The other secret is
about Pacada mantra which is formed as an inverted triangle with
bindu within. This can be explained through kmakal. The ninth
varaa subtly conveys this secret. Without understanding the
secrecies of Pacada and oa mantras, desired results can never
be attained. Here, ones Guru plays a significant role.
262
3. Pj rahasya:
Pj-s should not be performed without contemplation. External
rituals should be aligned with contemplation. This is possible only if
one understands the significance of ritualistic practices. For example
let us take the case of (hr). During pj, we recite several hrs. Why we repeatedly use hr? hr consists of three letter ha + ra
+ and ma conjoins the first three letters. ha + ra + represent three
bodies gross (ha), subtle (ra) and causal (ra) bodies and the ma
conjoins all the three bodies together to form the self or individual
self. hr will be complete only if a bindu (dot) is placed on the top
of hr and the dot represents the Self. Without this dot on the top of
(hr) the bja hr is not complete. Bindu represents iva (the
central Bindu of ri Cakra) and the three letters ha + ra + represent
Tripura (three sides of the innermost triangle of ri Cakra). Similarly,
every letter conveys different aspects of Divinity. Wrong
pronunciation of mantras could cause malefic results.
Types of union:
There are three types of union corresponding to the above three
rahasya-s. These unions are gross, subtle and the subtlest. Gross
union is normal human conjugation. Subtle union is kmakal ()
and the subtest union happens at sahasrra. These three different
types union are also called rahasya-s. There are two more unions
transcending these three secretive unions. First one is the union of
individual soul with Lalitmbik, who showers Her Grace on the

individual soul to unite with iva and liberates that individual soul
from transmigration. The second union is the actual merger with iva,
which is the ultimate union. Practicing the three rahasya-s in a proper
way leads to liberation, which is the very purpose of all our religious
and spiritual activates. All spiritual practices culminate at ivoham
or I am iva (I am That or aha brahmsmi). Perfection of religious
practices leads to perfection of contemplation and at the height of
contemplation Bliss dawns and at the peak of Bliss, She reveals
Herself. Navvaraa pj helps in perfecting both religious practices
263
and in contemplation. Mantra japa acts as a catalyst to hasten ones
spiritual progress. When one enters into the state of stillness, it means
Bliss where all his religious and spiritual practices cease and there
exists only Lalitmbik in his own world.
ri Cakra:
The concept of ri Cakra is only successive and firm upward
movements towards iva. Worshipping of ri Cakra is done by
evolved devotees. Unholy practices are followed by some, under the
guise of Tntric worship, without properly understanding the concept
of Tantra stra-s. Mediocre devotes resort to idol worship. Out of the
three types of worship, understanding and worshipping ri Cakra is
considered supreme. When contemplations as prescribed in
Bhvanopaniad and navvaraa pj are concurrently done, it is
considered as the highest form of worship. The nine orifices of human

body are related to the nine varaa-s of ri Cakra.
There are three types of ri Cakra worship or r Vidy upsan. First
one is known as pure worship or uddha worship (uddha means
pure), which is done by sthitapraja-s. The entire worship is only
contemplated and visualized. This is done only in the mind, due to
which She begins to pervade his mind and thus he or she becomes a
sthitapraja (the one with a firm mind that She is within). Navvaraa
pj-s done without ego and with unstinted devotion also falls under
this category. It is not necessary that one should renounce worldly life
to attain Her Grace. What is essential is pure mind, destruction of ego,
pure thought processes and absolute love for Her. The next type of
worship is mira worship (mira means mixed). This type of worship
is normally done nowadays. It is the combination of mediocre
devotion and mediocre pride. These two types of worships are
acceptable. However, She can be attained only in silence and
seclusion. The third one is known as galita worship (galita means
defective) and is not acceptable at all. Here, rituals are done in a very
casual manner, to impress others, to make money, etc.
With these basic inputs, we now proceed to navvaraa pj.
264
28.1) Prathamvaraam - First varaa
i. Name of the varaa: Trilokyamohanacakra
ii. Bjkara-s of prathamvaraam: a sau

iii. Cakrevar: Tripur
iv. Siddhi akti: Anim
v. Mudra akti: Sarvasakobhi
vi. Yogin: Prakaayogin
(There are nine yogin-s in navvaraa pj. Each yogin represents
one type of avasth (state of condition) which gets associated with
Citakti (Absolute Consciousness of iva) with a particular updhi.
Updhi means condition or substitution. When updhi is associated
with Citakti, the unlimited Citakti appears as limited. As we
proceed from the first varaa to the ninth varaa, the power of
updhi gradually decreases and in the ninth varaa, the worshipper
enters into nirvikalpa samdhi and then experiences Her in the form
of Bliss. Yogin-s have vsan-s. Vsan means perception or
residual traces of our actions retained in the mind unconsciously, also
known as habit formation. These nine yogin-s have one common
vsan in the form of a mantra ai hra astrya pha.
Typically, this mantra is meant for purification of body. Yogin-s who
remain in the form of above mantra or who act through the above
mantra purifies different vsan-s embedded in our mind. (ai)
signifies the four Vedas; technically this bja refers to Brahman
(contextually it is iva). is known as astra bja (astra means missile
or weapon). Here knowledge of Advaita is referred as astra, which
acts in destruction of dualistic knowledge. Therefore, worshiping
yogin-s at the end of each varaa leads to successive stages of

liberation. Apart from the above, yogin-s make masculine and
feminine energies unite to cause creation.)
265
vii. Number of akti-s in the varaa: Twenty eight.
viii. Pj procedure:
IMAGE 24
4 4 a sau ||
trailokyamohanacakrya nama ||
There are three walls in this varaa and totally there are 28 akti-s in
this varaa. These 28 akti-s are marked as 1 to 28 in the above
image and are correspondingly numbered below. The worship is
neither clockwise nor anticlockwise. Therefore, sufficient care should
be taken to worship these akti-s in their respective places marked in
the image. The number in the image and the number mentioned below
refer to the abode and name of each akti. Both pjana and tarpana
ould be done for each akti.
First wall or outermost covering:
(4 represents om a hr r ( ); a sau ( )
are the bjkara-s of Cakrevar Tripur. Apart from these seven
bjkara-s, one bjkara is prefixed before the name of each akti.
Thus there will eight bjkara-s prefixed to each akti. Example
266
om (1) - a (2) - hr (3) - r (4) - a (5) - (6) sau (7) a

(8) - aimsiddhi r pduk pjaymi tarpaymi nama. Though
the first seven bjkara-s will remain the same, the eight one will
modify according to the respective akti-s.
1. 4 a sau a aimsiddhi r pduk pjaymi tarpaymi
nama ||
4
2. 4 a sau la laghimsiddhi spptn ||
4 spptn ||
3. 4 a sau ma mahimsiddhi spptn ||
4 spptn ||
4. 4 a sau ittvasiddhi spptn ||
4 spptn ||
5. 4 a sau va vaitasiddhi spptn ||
4 spptn ||
6. 4 a sau pa prkmyasiddhi spptn ||
4 spptn ||
7. 4 a sau bhu bhuktisiddhi spptn ||
4 spptn ||
8. 4 a sau i icchsiddhi spptn ||
4 spptn ||
9. 4 a sau pa prptisiddhi spptn ||
4 spptn ||
10. 4 a sau sa sarvakmasiddhi spptn ||
4 spptn ||
267
Second wall or middle covering:
11. 4 a sau brhmmt spptn ||
4 spptn ||
12. 4 a sau mhevarimt spptn ||
4 spptn ||
13. 4 a sau kaumrmt spptn ||
4 spptn ||
14. 4 a sau vaiavmt spptn ||
4 spptn ||
15. 4 a sau vrhmt spptn ||
4 spptn ||
16. 4 a sau ai mhendrmt spptn ||
4 spptn ||
17. 4 a sau au cmumt spptn ||
4 spptn ||
18. 4 a sau a mahlakmmt spptn ||
4 spptn ||
Third wall or the innermost covering:
19. 4 a sau dr sarvasakobhi mudraakti spptn ||
4 spptn ||
20. 4 a sau dr sarvavidrvi mudraakti spptn ||
4 spptn ||
21. 4 a sau kl sarvkari mudraakti spptn ||
4 spptn ||
22. 4 a sau bl sarvavaakar mudraakti spptn ||
268
4 spptn ||
23. 4 a sau sa sarvonmdin mudraakti spptn ||
4 spptn ||
24. 4 a sau kro sarvamhku mudraakti spptn ||
4 spptn ||
25. 4 a sau hskhphre sarvakhecar mudraakti spptn ||
4 spptn ||
26. 4 a sau hsau sarvabja mudraakti spptn ||
4 spptn ||
27. 4 a sau ai sarvayooni mudraakti spptn ||
4 spptn ||
28. 4 a sau hsrai hsklr hsrau sarvatrikha mudraakti
spptn ||
4 spptn ||
{After completing the worship of varaa akti-s (devi-s),
Cakrevar, Siddhi devi, Mudrakti (the concerned mudra to be
shown here) and Lalitmbik are worshiped jointly, known as samai
pj and severally. At the end of this worship, dhpa, dpa,
naivedya and nrjana are offered. After offering nrjana, worship of
first varaa is submitted to Lalitmbik. Lalitmbik along with the

Yogin is worshiped at the end of each varaa. Finally, Lalitmbik
is worshiped with yoni mudra by submitting the first varaa pj to
Her with reverence. The same sequence of these eight pj-s/rituals
is applicable to all the nine varaa-s.}
The following is known as samai pj. After reciting this mantra,
offer flowers on ri Cakra. There is no tarpaa here.
269
1.
- - - -
et prakaayoginya trailokyamohanacakre sa-mudr s-siddhaya

syudh sa-aktaya sa-vhan sa-parivr sarvopacrai
sapjit santarpit santu santu nama ||
2. 4 spptn || 4 a sau tripurcakrevar
spptn ||
3. 4 spptn || 4 a aimsiddhi spptn ||
4. 4 spptn || 4 dr sarvasakobhi
murakti spptn ||
Now recite dr and show sarvasakobhi mudra.
(pjana and tarpaa for 5 below is to be done three times by
repeating the mantra three times)
5. 4 (Pacada or oa) -
spptn ||
4 - mla (Pacada or oa) rlalit Mahtripurasundar
Parbharik spptn ||
6. dhpa, dpa, naivedya, tmbla (betel leaves with
karpravik*) and nrjana to be done now.
7. 4

4 bhasiddhi me dehi aragatavatsale |
bhakty samarpayettubhya prathamvararcanam ||
270
{Now take a drop of smnya arghya in uttarai (it is important that
smnya arghya should not be moved from its place) and offer to Her
left hand}.
8. There is no pjana and tarpaa here. She is to be worshiped
with yoni mudra.
4
||
4 prakaayogin maykhyai prathamvaraa devatsahityai
rlalit mahtripurasundar parbhaarikyai nama ||
(Now we have to worship Her with yoni mudra)
This concludes the worship of the first varaa.
* Preparation of karpravik: saffron, cardamom, clove, camphor,
kastri, nutmeg and mace or myristica fragrans or jtipattr (arillus of
the nut also known as myristica officinalis). The ingredients are
finely powdered and mixed with powdered sugar candy. Refer Lalit
Sahasranma 26 - Karpravikmodha-samkari-digantar.
29. Dvitiyvaraam Second varaa
i. Name of the varaa: Sarvpariprakacakram ( )
ii. Bjkara-s of Dvitiyvaraam: ai kl sau
iii. Cakrevar: Tripure
iv. Siddhi akti: Laghim
v. Mudra akti: Sarvidrvimudrakti
vi. Yogin: Guptayogin
vii. Number of akti-s in the varaa: Sixteen.
271
viii. Pj procedure:
IMAGE 25
Pjana and tarpaa are to be done anticlockwise in the sixteen
petal lotus, where numerals are marked. We have to go with the
ascending order of the numerals.
By reciting the following mantra, place flowers on ri Cakra. This
procedure is applicable to all varaa-s.
4 4 ai kl sau
sarvparipraka cakrya nama ||
1. 4 ai kl sau a Kmkari nityakaldev spptn ||
4 spptn ||
2. 4 ai kl sau Buddhyakari nityakaldev spptn ||
4 spptn ||
3. 4 ai kl sau i Ahakrkari nityakaldev spptn ||
4 spptn ||
4. 4 ai kl sau abdkari nityakaldev spptn ||
272
4 spptn ||
5. 4 ai kl sau u Sparkari nityakaldev spptn ||
4 spptn ||
6. 4 ai kl sau Rpkari nityakaldev spptn ||
4 spptn ||
7. 4 ai kl sau Raskari nityakaldev spptn ||
4 spptn ||
8. 4 ai kl sau Gandhkari nityakaldev spptn ||
4 spptn ||
9. 4 ai kl sau Cittkari nityakaldev spptn ||
4 spptn ||
10. 4 ai kl sau Dhairykari nityakaldev spptn ||
4 spptn ||
11. 4 ai kl sau e Smtykari nityakaldev spptn ||
4 spptn ||
12. 4 ai kl sau ai Nmkari nityakaldev spptn ||
4 spptn ||
13. 4 ai kl sau o Bjkari nityakaldev spptn ||
4 spptn ||
14. 4 ai kl sau au tmkari nityakaldev spptn ||

4 spptn ||
15. 4 ai kl sau a Amtkari nityakaldev spptn ||
4 spptn ||
16. 4 ai kl sau a arrkari nityakaldev spptn ||
4 spptn ||
273
1. 4 - - - -

4 et guptayoginya sarvpariprakacakre sa-mudr ssiddhaya syudh sa-aktaya sa-vhan sa-parivr

sarvopacrai sapjit santarpit santu santu nama ||
2. 4 spptn || 4 a sau tripurecakrevar
spptn ||
3. 4 spptn || 4 la lagimsiddhi spptn ||
4. 4 spptn || 4 dr sarvavidrvimudraakti
spptn ||
Now recite dr and show sarvavidrvi mudra.
spptn ||
Parbharik spptn ||
(5 above should be done three times)
6. dhpa, dpa, naivedya, tmbla and nrjana to be offered
now.
7. 4

274
bhakty samarpayettubhya dvityvararcanam ||
(Now take a drop of smnya arghya in uttarai (it is important that
left hand)
with yoni mudra.
4
||
4 guptayogin maykhyai prathamvaraa devatsahityai
rlalit mhtripurasundar parbhaarikyai nama ||
This concludes the worship of the second varaa.
30. Ttyvaraam Third varaa
i. Name of the varaa: Sarvasakobhaacakram ( )
ii. Bjkara-s of ttyvaraam: hr kl sau
iii. Cakrevar: Tripurasundar

iv. Siddhi akti: Mahim
v. Mudra akti: Sarvkari
vi. Yogin: Guptatarayogin
vii. Number of akti-s in the varaa: Eight.
viii. Pj procedure:
Pjana and tarpaa are to be done in the inner eight petal lotus,
where numerals are marked in ri Cakra. We have to go with the
ascending order of the numerals, as explained below.
275
IMAGE 26
1. 4 hr kl sau ka kha ga gha a anaga kusum dev
spptn ||
4 spptn ||
2. 4 hr kl sau ca cha ja jha a anaga mekhal dev
spptn ||
4 spptn ||
3. 4 hr kl sau a ha a ha a anaga madan dev
spptn ||
4 spptn ||
4. 4 hr kl sau ta tha da dha na anaga madantur dev
spptn ||
4 spptn ||
5. 4 hr kl sau pa pha ba bha ma anaga rekh dev
spptn ||
4 spptn ||
6. 4 hr kl sau ya ra la va anaga vegin dev spptn ||
4 spptn ||
276
7. 4 hr kl sau a a sa ha anaga agu dev spptn ||
4 spptn ||
8. 4 hr kl sau a ka anaga mlin dev spptn ||
4 spptn ||
1. 4 - - - -
4 et guptatarayoginya sarvasakobhaacakre sa-mudr ssiddhaya syudh sa-aktaya sa-vhan sa-parivr

2. 4 spptn ||
4 hr kl sau tripurasundarcakrevar spptn ||
3. 4 spptn || 4 ma mahimsiddhi spptn ||
4. 4 spptn ||
4 kl sarvkarimudraakti spptn ||
Now recite kl and show sarvkari mudra.
spptn ||
Parbharik spptn ||
(5 above should be done three times)
now.
277
7. 4

bhakty samarpayettubhya ttyvararcanam ||
left hand)
with yoni mudra.
4
||
4 guptatarayogin maykhyai ttyvaraa devatsahityai
rlalit mahtripursundar parbhaarikyai nama ||
This concludes the worship of the third varaa.
31. Turiyvaraam Fourth varaa
i. Name of the varaa: sarvasaubhgyadyakacakram

( )
ii. Bjkara-s of Turiyvaraam: hai hkl hsau
iii. Cakrevar: Tripuravsin
iv. Siddhi akti: itva
v. Mudra akti: Sarvavaakar
vi. Yogin: Sapradya
278
vii. Number of akti-s in the varaa: Fourteen
viii. Pj procedure:
Pjana and tarpaa are to be done in anticlockwise manner in the
outer triangle, where numerals are marked in black in ri Cakra.
Offer flowers in ri Cakra by reciting the following mantra. There is
no tarpaa here.
4
4 hai hkl hsau sarvasaubhgyadyakacakrya nama ||
IMAGE 27
1. 4 hai hkl hsau ka sarvasakobhi akti spptn ||
4 spptn ||
2. 4 hai hkl hsau kha sarvavidrvi akti spptn ||
4 spptn ||
3. 4 hai hkl hsau ga sarvkari akti spptn ||
4 spptn ||
279
4. 4 hai hkl hsau gha sarvhldin akti spptn ||

4 spptn ||
5. 4 hai hkl hsau a sarvasamohin akti spptn ||
4 spptn ||
6. 4 hai hkl hsau ca sarvastabhin akti spptn ||
4 spptn ||
7. 4 hai hkl hsau cha sarvajbhi akti spptn ||
4 spptn ||
8. 4 hai hkl hsau ja sarvavaakar akti spptn ||
4 spptn ||
9. 4 hai hkl hsau jha sarvarajin akti spptn ||
4 spptn ||
10. 4 hai hkl hsau a sarvonmdin akti spptn ||
4 spptn ||
11. 4 hai hkl hsau a sarvrthasdhin akti spptn ||
4 spptn ||
12. 4 hai hkl hsau ha sarvasapattipra akti spptn ||
4 spptn ||
13. 4 hai hkl hsau a sarvamantramay akti spptn ||
4 spptn ||
14. 4 hai hkl hsau ha sarvadvandvakayakar akti spptn ||
4 spptn ||

280
1. 4 - -
- - -
4 et sapradyayoginya sarvasaubhgyadyakacakre sa-mudr

s-siddhaya syudh sa-aktaya sa-vhan sa-parivr
2. 4 spptn || 4 hai hkl hsau
tripuravsinicakrevar spptn ||
3. 4 spptn || 4 itvasiddhi spptn ||
4. 4 spptn ||
4 bl sarvavaakar mudrakti spptn ||
Now recite bl and show sarvavaakar mudra.
spptn ||
Parbharik spptn ||
(5 above should be done three times on the bindu)
now.
7. 4

bhakty samarpayettubhya turyvararcanam ||

281
left hand)
with yoni mudra.
4
||
4 sampradyayogin maykhyai turiyvaraa devatsahityai
This concludes the worship of the fourth varaa.
32. Pacamvaraam ( ) Fifth varaa
i. Name of the varaa: Sarvrthasdhakacakram ( )
ii. Bjkara-s of Pacamvaraam: hsai hskl
hssau
iii. Cakrevar: Tripurrcakrevar
iv. Siddhi akti: Vaitva
v. Mudra akti: Sarvonmdin
vi. Yogin: Kulottra
vii. Number of akti-s in the varaa: Ten
viii. Pj procedure:
282
IMAGE 28
Pjana and tarpaa are to be done in anticlockwise manner in the
inner triangle, where numerals are marked in ri Cakra.
no tarpaa here.
4
4 hsai hskl hssau sarvrthasdhakacakrya nama ||
1. 4 hsai hskl hssau a sarvasiddhiprad dev spptn ||
4 spptn ||
2. 4 hsai hskl hssau ta sarvasapatprad dev spptn ||
4 spptn ||
3. 4 hsai hskl hssau tha sarvapriyakar dev spptn ||
4 spptn ||
4. 4 hsai hskl hssau da sarvamagalakri dev spptn ||
4 spptn ||
5. 4 hsai hskl hssau dha sarvakmaprad dev spptn ||
283
4 spptn ||
6. 4 hsai hskl hssau na sarvadukhavimocin dev spptn ||
4 spptn ||
7. 4 hsai hskl hssau pa sarvamtyupraaman dev spptn ||
4 spptn ||
8. 4 hsai hskl hssau pha sarvighnanivri dev spptn ||
4 spptn ||
9. 4 hsai hskl hssau ba sarvgasundar dev spptn ||
4 spptn ||
10. 4 hsai hskl hssau bha sarvasaubhgyadyin dev spptn ||
4 spptn ||
1. 4 - - - -
4 et kulottrayoginya sarvrthasdhakacakre sa-mudr ssiddhaya syudh sa-aktaya sa-vhan sa-parivr

2. 4 spptn || 4 hai hkl hsau
tripurrcakrevar spptn ||
3. 4 spptn || 4 va vaitvasiddhi spptn ||
4. 4 spptn || 4 sa sarvonmdini mudrakti
spptn ||
284
Now recite sa and show sarvonmdini mudra.
spptn ||
Parbharik spptn ||

now.
7. 4

bhakty samarpayettubhya pacamvararcanam ||
left hand)
with yoni mudra.
4
||
4 kulottrayogin maykhyai pacamvaraa devatsahityai
This concludes the worship of the fifth varaa.
285
33. ahvaraam Sixth varaa
i. Name of the varaa: Sarvarakkaracakram
ii. Bjkara-s of ahvaraam: hr kl ble
iii. Cakrevar: Tripuramlincakrevar
iv. Siddhi akti: Prkmyasiddhi

v. Mudra akti: Sarvamahku
vi. Yogin: Nigarbhayogin
vii. Number of akti-s in the varaa: Ten
viii. Pj procedure:
IMAGE 29
Pjana and tarpaa are to be done in anticlockwise manner, where
numerals are marked in ri Cakra.
no tarpaa here*.
286
*4
*4 hr kl ble sarvarakkaracakrya nama ||
Pjana and tarpaa are to be done anticlockwise manner for the
following 10.
1. 4 hr kl ble ma sarvajdev spptn ||
4 spptn ||
2. 4 hr kl ble ya sarvaaktidev spptn ||
4 spptn ||
3. 4 hr kl ble ra sarvaivaryapraddev spptn ||
4 spptn ||
4. 4 hr kl ble la sarvajnamaydev spptn ||
4 spptn ||
5. 4 hr kl ble va sarvavydhivinindev spptn ||
4 spptn ||
6. 4 hr kl ble a sarvthrasvarpdevspptn ||
4 spptn ||
7. 4 hr kl ble a sarvappahardev spptn ||
4 spptn ||
8. 4 hr kl ble sa sarvnandamaydevi spptn ||
4 spptn ||
9. 4 hr kl ble ha sarvaraksvarpidev spptn ||
4 spptn ||
10. 4 hr kl ble ka sarvepsitaphalapraddev spptn ||
4 spptn ||
287
offer flowers on ri Cakra. There is no tarpaa here (only for 1
below).
1. 4 - - - -

4 et nigarbhayoginya sarvarakkaaecakre sa-mudr sasiddhaya syudh sa-aktaya sa-vhan sa-parivr

Both pjana and tarpaa are to be performed for the following
mantras (wherever spptn is used, it means that both pjana and
tarpaa are to be performed).
2. 4 spptn ||
4 hr kl ble tripuramlincakrevar spptn ||
3. 4 spptn ||
4 pa prkmyasiddhi spptn ||
4. 4 spptn ||
4 kro sarvamahku mudrakti spptn ||
Now recite kro and show sarvamahku mudra.
spptn ||
Parbharik spptn ||
now.
288
7. 4

bhakty samarpayettubhya ahkhyvararcanam ||
left hand)
with yoni mudra.

4
||
4 nigarbhayogin maykhyai ahvaraa devatsahityai
This concludes the worship of the sixth varaa.
34. Saptamvaraam Seventh varaa
i. Name of the varaa: Sarvarogaharacakram
ii. Bjkara-s of Saptamvaraam: hr r sau
iii. Cakrevar: Tripursiddhcakrevar
iv. Siddhi akti: Bhuktisiddhi
v. Mudra akti: Sarvakear
vi. Yogin: Rahasyayogin
289
vii. Number of akti-s in the varaa: Eight
viii. Pj procedure:
IMAGE 30
Pjana and tarpaa are to be done in anticlockwise manner, where
numerals are marked in ri Cakra.
*Offer flowers in ri Cakra by reciting the following mantra. There
is no tarpaa here.
*4 *4 hr r sau
sarvatogaharacakrya nama ||
Pjana and tarpaa are to be done anticlockwise manner for the

following 8. They are the composers and authors of Lalit
Sahasranma.
1. 4 hr r sau a i u e ai o
au a a bl vain vgdevat spptn ||
4
spptn ||
2. 4 hr r sau ka kha ga gha a klhr kmevar
vgdevat spptn ||
290
4 spptn ||
3. 4 hr r sau ca cha ja jha a nvl modin vgdevat
spptn ||
4 spptn ||
4. 4 hr r sau a ha a ha a yl vimal vgdevat
spptn ||
4 spptn ||
5. 4 hr r sau ta tha da dha na jmr aru vgdevat
spptn ||
4 spptn ||
6. 4 hr r sau pa pha ba bha ma hslvy jaini
vgdevat spptn ||
4 spptn ||
7. 4 hr r sau ya ra la va jhmry sarvevar vgdevat

spptn ||
4 spptn ||
8. 4 hr r sau a a sa ha a ka kmr kaulin
vgdevat spptn ||
4 spptn ||
offer flowers on ri Cakra. There is no tarpaa here* (only for 1
below).
1. *4 - - - -
291
*4 et rahasyayoginya sarvarogaharacakre sa-mudr ssiddhaya syudh sa-aktaya sa-vhan sa-parivr
2. 4 spptn ||
4 hr r sau tripurasiddhcakrevar spptn ||
3. 4 spptn ||
4 bu bhuktisiddhi spptn ||
4. 4 spptn ||
4 hskhphre sarvakecar mudrakti spptn ||

Now recite hskhphre and show sarvakecar mudra.
spptn ||
Parbharik spptn ||
now.
7. 4

bhakty samarpayettubhya Saptamvararcanam ||
292
left hand)
with yoni mudra.
4
||
4 rahasyayogin maykhyai saptamvaraa devatsahityai
This concludes the worship of the seventh varaa.

35. Aamvaraa (eighth varaa)
i. Name of the varaa: Sarvasiddhipradacakra
ii. Bjkara-s of aamvaraa: hsrai hsklr
hsrau
iii. Cakrevar: Tripurbcakrevar
iv. Siddhi akti: Icchsiddhi
v. Mudra akti: Sarvabja
vi. Yogin: Atirahasyayogin
vii. Number of akti-s in the varaa: Four weaponries and three
akti-s. Fourth pjana and tarpaa is done on the Bindu.
Eighth varaa is different from other varaa-s. Before worshipping
varaa akti-s, we have to worship four common weaponries of
293
Mahkmevara and Mahkmevar. After worshiping their
weaponries, three akti-s are worshiped. For the purpose of easier
understanding, this varaa is divided into two parts. Part a is about
worshipping weaponries and part b is about worshipping three aktis.
viii. Pj procedure:
IMAGE 31
viii.a) yudhrcanam (worship of weaponries):
Weaponries are to be worshiped in the places marked A, B, C and D,
in the same order. (There are versions where no tarpaa is done in
yudhrcanam and instead pjana is done twice). However, varaa

bjkara-s are not prefixed before yudhrcana mantras.
A. 4
spptn ||
4 y r l v s dr dr kl bl sa
sarvajambhanebhyo kmevar kmevara bebhyo nama |
baakti spptn ||
B. 4
spptn ||
4 tha dha sarvasammohanbhy kmevar kmevara
dhanurbhy nama | dhan akti spptn ||
294
C. 4
spptn ||
4 hr sarvavakarabhy kmevar kmevara
pbhy nama | paakti spptn ||
D. 4
spptn ||
4 kro kro sarvastambhanbhy kmevar kmevara
akubhy nama | akuaakti spptn ||
viii.b) Eighth varaa pj:
no tarpaa here*.
*4
*4 hsrai hsklr hsrau sarvasiddhipradacakrya nama ||
Following three akti-s are to be worshiped in the places marked 1, 3
and 2 in anticlockwise manner as explained in the figure above. Three
ka-s of saubhagyapacada mantra are used as prefix to these three
mantras. In 4, entire saubhagyapacada mantra is used as prefix.
1. 4 - -

spptn ||
4 ai - ka e la hr - agnicakre kmagiriphe mitreantha
navayonicakrtmaka tmatattva siktya jgraddadhihayaka
icchakti vgbhavtmaka vgvarsvarupa brahmtmaakti
mahkmevar spptn ||
3. 4 - -

spptn ||
295
4 kl - ha sa ka ha la hr - sryacakre jlandharaphe
ahantha daratvaya caturdaracakrtmaka vidytatva
sthitiktya svana dadhihyaka jnaakti kmarjtmaka
kmakalsvarpa vivtmaakti mahvajrevar spptn ||
2. 4 - -

spptn ||
4 sau - sa ka la hr - somacakre pragiriphe uantha

aadala oaadala caturara cakrtmaka ivatattva sahraktya
suupti dadhihyaka kriyakti aktibjtmaka parparaakti
svarpa rudrtmaakti mahbhagamlin spptn ||
4. This is to be performed at the Bindu.
4 - - - - - -

spptn ||
4 ai - ka e la hr - kl - ha sa ka la hr - sau - sa ka la hr
- parabrahmacakre mahoyaphe carynandattha
samastacakrtmaka saparivra paramatatva si sthiti sahraktya
turya dadhihyaka icch jna kriy ntakti vgbhava
kmarja akti bjtmaka paramaakti svarpa parabrahmaakti r
lalit mahtripurasundar spptn ||
offer flowers on ri Cakra. There is no tarpaa here (only for 1
below).
1. 4 - - - -

296
4 et atirahasyayoginya sarvasiddhipradacakre sa-mudr ssiddhaya syudh sa-aktaya sa-vhan sa-parivr

2. 4 spptn ||
4 hsrai hsklr hsrau tripurmbcakrevar spptn ||
3. 4 spptn || 4 i icchsiddhi spptn ||
4. 4 spptn || 4 hsau sarvabja mudrakti spptn.
Now recite hsau and show sarvabja mudra.
spptn ||
Parbharik spptn ||
(5 above should be done three times on the Bindu)
now.
7. 4

bhakty samarpayettubhya aamvararcanam ||
left hand)
297
with yoni mudra.
4
||
4 atirahasyayogin maykhyai aamvaraa devatsahityai
This concludes the worship of the eighth varaa.
36. Navamvaraam ( ) Ninth varaa: (Bindu)
i. Name of the varaa: sarvnandamayacakra
ii. Bjkara-s of navamvaraam: Entire pacada mantra itself
forms the bjkara-s of this varaa.

ka e la hr | ha sa ka ha la hr | sa ka la hr ||
iii. Cakrevar: r Mahtripurasundarcakrevar

iv. Siddhi akti: Prptisiddhi
v. Mudra akti: Sarvayoni
vi. Yogin: Parpartirahasyayogin
vii. Number of akti-s in the varaa: One
Ninth varaa is the last varaa in ri Cakra and only Lalitmbik
is worshiped here.
298
viii. Pj procedure:
(Image is the same as given in eighth varaa.)
no tarpaa here*.
*4
*4 ka e la hr | ha sa ka ha la hr | sa ka la hr ||
sarvnandamayacakrya nama ||
For the following mantra pjana and tarpaa are to performed
three times
4 (Pacada, Saubhgyapacadai or oa) -
spptn ||
4 mla (Pacada, Saubhgyapacadai or oa) - r lalit
mahtripurasundar
parbharik spptn ||
There is no samai pj in this varaa. Both pjana and tarpaa
are offered only to Lalitmbik.
For the following mantra only pjana is to be done. There is no
tarpaa here.
1. - - -
- -
e parpartirahasyayogin sarvnandamayacakre sa-mudr ssiddhaya syudh sa-aktaya sa-vhan sa-parivr
sarvopacrai sapjit santarpit santu'stu nama ||
299
For the following mantras, both pjana and tarpaa are to be
done.
2.
spptn ||
ka e la hr | ha sa ka ha la hr | sa ka la hr || r
mahtripurasundarcakrevar spptn ||
3. 4 spptn ||
4 pa prptisiddhi spptn ||
4. 4 spptn ||
4 ai sarvayoni mudrakti spptn ||
Now recite ai and show yonimudra.
** Those who are initiated into oa mantra, continue with 5, after
completing additional mantras given below where ** are marked and
shown in italics.
5. 4 (Pacada or Saubhgyapacadai or oa) -
spptn ||
4 - mla (Pacada or Saubhgyapacadai or oa) rlalit
Mahtripurasundar Parbharik spptn ||
now.
7. 4


bhakty samarpayettubhya navamvararcanam ||
left hand)
300
with yoni mudra.
4
||
4 parpartirahasyayogin maykhyai navamvaraa
devatsahityai rlalit mahtripurasundar parbhaarikyai
nama||
This concludes the worship of ninth varaa, subject to the following.
**The following is meant for those who are initiated into oa. This
is to be done in addition to what is mentioned above in the ninth
varaa.
Both pjana and tarpaa are to be done three times for the
following mantra.
a) 4 --
4 hasakala-hasakahala-sakalahr turymb r pduk
No tarpaa for the following mantra# (only for b bleow)
(This is one of the most powerful mantras of Lalitmbik)

b) # 4

301
4 sarvnandamaye cakre mahoyaphe
carynandanthtmaka turiytta dadhihyaka
ntyattakaltmaka praka vimara smarasytmaka
parabrahmasvarpi parmtaakti sarvamantrevar
sarvaphevar sarvayogevar sarvavgvar sarvasiddhevar
sarvavrevar sakalajagadutpatti mtk sacakr sadevat ssan
syudh saakti savhan sparivr sacakreik paray aparay
parparay saparyay sarvocprarai sampjit santarpit
santu'stu namo nama ||
c) 4 spptn ||
4 sa sarvakmasiddhi spptn ||
d) 4 spptn ||
4 hsrai hsklr hsrau sarvatrikhamudraakti spptn ||
Now recite hsrai hsklr hsrau and show sarvatrikhamudra.
Now, please go back to 5 above and continue.
37. pacapacikpj:
Pacapacin means fivefold. This part of navvaraa pj contains
some important mantras of Her assistants.
This can be explained as fivefold pj. Five thrones are to be
contemplated one above the other over Bindu. The first one just above
the Bindu is to be contemplated. These five thrones or pha-s
represent five stages of samdhi. Each pha is presided over by one
primary akti in the form Lalitmbik and four other akti-s in the
four cardinal vyukoa (North West), na (North East), Agni (South
East) and nairti (South West). Each of these pha-s are known by
these names beginning from the lowest one, pacalakmya
() pacakomb (), pacakalpalat
(), pacakmadugh ( ) and pacaratnmb
() respectively. There are five akti-s in each pha and
302
there are five pha-s and thus we have to worship twenty five akti-s
pacapacikpj.
These five pha-s are to be visualized with bigger throne at the
bottom and the smallest throne at the top. This is based on the fact
that the lowest pha is the grossest and the top most pha is the
subtlest. In fact, this can be said as the subtlest because, in this pha,
the aspirant becomes one with Her. These pha-s represent five
stages of samdhi beyond savikalpa stage. Savikalpa is the stage of
samdhi where duality still persists. Soon after performing
navvaraa pj, one is supposed to contemplate Her to ultimately

become one with Her. Contemplation attains perfection in successive
stages, which are represented by these five pha-s. In the fifth pha,
the one who performed navvaraa pj with perfection and devotion
becomes one with Her. The five stages of samdhi are smya (state
of equilibrium), laya (absorption), vina (destruction or removal),
atyantbhva (absolute non-existence) and aikya (oneness with Her).
There are two different versions in doing pacapacikpj. One is
to merely contemplate on this aspect of becoming one with Her.
Another is doing both pjana and tarpaa. Both are acceptable, as
Lalitmbik alone prevails in the form of five Devi-s in the middle of
each pha. This is evident from the fact that mlamantra is prefixed
to the mantra for the pj done in the Bindu. Secondly, no pj or
tarpaa can be done in the Bindu, except for Lalitmbik. However,
as this is related to the different stages of samdhi, it would be ideal
to contemplate Her.
In the following mantras, numerical indicate the following.
1 Middle (always prefixed with mlamantra and r Vidy and
represents Lalitmbik); 2 - vyukoa (North West); 3 - na (North
East); 4 - agni (South East); 5 - nairti (South West). These numerical
are indicated in the diagram below.
Those who perform both pj and tarpaa should use spptn and those
who wish to contemplate Her should use nama (). Certain
303
mantras are given in abbreviated forms without losing the essence of
the mantras.
IMAGE 32
i) Pacalakmya (bottom most)
1. 4 - mla - spptn /
4 - mla - rvidylakmyamb spptn / nama |
2. 4 - spptn /
4 r lakmilakmyamb spptn /
3. 4 -
spptn /
4 - om r hr r kamale kamallaye prasda prasda r
hr r om r mahlakmyai nama | mahlakmyamb spptn /

4. 4 - spptn /
4 - r hr kl triaktilakmyamb spptn /
5. 4 - spptn /
4 - r sahakalahr r sarvasmrjyalakmyamb spptn /
ii) Pacakomb : (Second from the base)

304
1. 4 - spptn /
4 - mla - rvidykomb spptn /
2. 4 - spptn /
4 - om hr hasasoha svh | parajyotikomb spptn /
3. 4 - spptn /
4 - om hasa paranikalkomb spptn /
4. 4 - spptn /
4 - hasa ajapkomb spptn /
5. 4 - to (all the 51 letters) spptn /
4 - a to ka ((all the 51 letters) mtkkomb spptn /
iii) Pacakalpalat (third from the base)
1. 4 - spptn /
4 - mla - rvidykalpaltmb spptn /
2. 4 - spptn/
4 - hr kl ai bl str pacakmevar tvaritkalpalatmb
spptn /
3. 4 -
spptn /
4 - om hr hr hasakalahr om sarasvatyai nama hasrai
prijtevarkalpalatmb spptn /
4. 4 - spptn /
4 - r hr kl ai kl sau kumr tripukalpalatmb spptn
/
305
5. 4 - spptn /
4 - dr dr kal bl sa pacabevarkalpalatmb spptn /

iv) Pacakmadugh (fourth from the base).
1. 4 spptn /
4 - mla - r vidykmadughmb spptn /
2. 4 -
spptn /
4 - om hr hasa ju sajvani jva pragranthistha kuru
kuru svh || amtaphevar kmadughmb spptn /
3. 4 -
spptn /
4 - ai vada vada vgvdini hsrai kl klinne kledini kledaya
mahkobha kuru kuru hsklr sau om moka kuru kuru hsrau
sudhsukmadughmb spptn /
4. 4 -
spptn /
4 - ai bl jhrau ju sa amte amtodbhave amtevari
amtavarii amta srvaya srvaya svh |
amtevarkmadughmb spptn /
5. 4 -
spptn /
4 - om hr r kl om namo bhagavati mhevari annapre
mambhilaitamanna dehi svh | annaprkmadughmb spptn
/
306
v) Pacaratnmb (top most)
1. 4 - spptn /
4 - mla rvidyratnmb spptn /
2. 4 -
spptn /
4 - jjhr mahcane teja saakarii klamanthne ha
siddhalakmratnmb spptn /
3. 4 -

spptn /
4 - ai hr r ai kl sau om namo bhagavati
rrjamtakvar sarvajanamanohari sarvamukharajani kl hr
r sarvarjavaakari sarvastrpuruavaakari
sarvaduamgavaakari sarvasatvavaaakari sarvalokavaakari
trailokya me vaamnaya svh sau kl ai r hr ai
rrjamtagarratnmb spptn /
4. 4 - spptn /
4 - r hr r bhuvanevarratnmb spptn /
5. 4 -

spptn /

4 - ai glau ai namo bhagavati vrtli vrtli vrhi vrhi
varhamukhi varhamukhi andhe andhini nama rundhe rundhini
307
nama jambe jambhini nama mohe mohini nama stambhe
stambhini nama sarvaduapradun sarve sarvavkcitta
cakurmukhagatijihvstmbhana kuru kuru ghra vaya ai
glau ai ha ha ha ha hu pha svh | vrhratnmb spptn
/
38. adarnavidy ||
There are six types of darana-s. Darana refers to philosophical
doctrines, understanding and perceiving Brahman through various
methods. Darana literally means vision and nature of reality.
Though Brahman is One, paths to realize Him are different.
Contextually, Brahman here refers to Parakti. A particular path is
chosen through lineages and sudden spiritual impetus. It is like
approaching a particular destination through different routes. Six
religious/spiritual paths discussed below lead to the realization of
Citakti (Supreme Consciousness of iva) Baudha (Buddhism),
Vaidika (Vedas), Saura (worshipping the sun), Vaiava
(worshipping Viu), aiva (worshipping iva) and kta (worship
of akti). It is important to note that ri Cakra navvaraa pj
encompasses all these six darana-s and this is conveyed through

adarnavidy, which is performed here to make worshipers
understand that all types of worship lead to Brahman and that they
should not undermine or discriminate one path or the other.
This part contains six mantras and both pj and tarpaa are to be
done at the Bindu.
1. 4 - spptn ||
4 - tre tuttre ture svh | trdevatdhihita bauddhadarana
spptn ||
2. 4 - * spptn ||
4 - gyatr | parorajase svadom* | brahmadevatdhihita
vaidikadarana spptn ||
308
{* if parorajase svadom is added to Gyatr mantra at the end, it
becomes Turya Gyatr mantra. One recitation of Pacada mantra
is equivalent to three recitations of Turya Gyatr mantra. Generally
it is said that no mantra should be recited beyond the number of
counts of Gyatr mantra. Based on the above principle, this rule does
not apply to Pacada and oa mantras.}
3. 4 - spptn ||
4 - om hr namaivya | rudradevatdhihita aivadarana spptn
||
4. 4 - spptn ||
4 - om hr ghissrya dityom | sryadevatdhihita

sauradarana spptn ||
5. 4 - spptn ||
4 - om namo nryaya | viudevatdhihita vaiavadarana
spptn ||
6. 4 - spptn ||
4 - om r hr r bhuvanevardevatdhihita ktadarana
spptn ||
39. adhrapj:
adhra means six psychic chakras of human body beginning from
mldhra to j chakras. Each of these chakras are presided over
by six yogin-s. These six yogin-s are compared as follows.
1 Mldhra Gaea Skini
2 svdhihna Brahm (God of
3 maipraka Viu (God of
Kkini
creation)
Lkini
sustenance)
4 anhata Rudra (God of
5 Viuddhi Jvtman (individual
6 j Paramtman (Brahman) Hkini
309
destruction) or Sadiva
(for absorption)
soul)
Rkini
kini
This is to make us understand that all these forms of Divinity
represent only Parakti. In other words, She only manifests in the
forms of different gods. She alone is my and when the time is ripe,
She removes the veil of my and reveals the Self. This pj stresses
that Brahman (contextually it is Parakti) alone prevails in various
forms of gods. Knowledge of non-dualism (Advaita) is being
imparted to the aspirants who are blessed to offer pj and tarpaa at
the Bindu (Lalit Sahasranma 905, baindavsan and Lalit
Sahasranma 974, bindutarpaasantu.
This part also contains six mantras and both pj and tarpaa are to
be done at the Bindu.
1. 4 -
spptn ||
4 - s hasa mldhrehihnadevatyai skinsahita
gaanthasvarpiyai nama | gaanthasvarpinyamb spptn ||
2. 4 -
spptn ||
4 - k soha svadhihnahihnadevatyai kkinsahita
brahmasvarpiyai nama | brahmasvarpiyamb spptn ||
3. 4 -
spptn ||
310
4 - l hasassoha maiprakdhihnadevatyai
lkinsahitaviusvarpiyai nama | viusvarpiyamb spptn ||
4. 4 -
spptn ||
4 - r hasaivassoha anhatdhihnadevatyai
rkisahita sadivasvarpiyai nama | sadivasvarpiyamb
spptn ||
5. 4 -
spptn ||
4 - soha hasaiava viuddhydhihnadevatyai
kinsahitajvevara svarpiyai nama | jvevarasvarpiyamb
spptn ||
6. 4 -
spptn ||
4 - h hasaivassoha soha hasaiiva
jdhihnadevatyai hkinsahita paramtmasvarpiyai nama |
paramtmasvarpiyamb spptn ||
40. mnyasamaipj:
Sacred traditions or doctrines are known as mnya-s and they are the
paths to liberation. The significant aspect of mnya-s is that they are
communicated only through words. This means that mnya-s should
be known only through a Guru. Commonly known mnya-s are five,

corresponding to the five faces of iva, four faces facing the four
cardinals (East, South, West and North) and one face facing upwards.
His face facing east represents Prvmnya; south represents
Dakimnya; west represents Pacimmnya and north represents
Uttarmnya. These are His four faces facing four cardinal directions.
His fifth face is facing upwards (ka) and this is known as
rdhvmnya. There is one more mnya by name mnya, which
is not commonly known. This face of iva looks down. Some texts
311
call sixth mnya as Anuttarmnya. Anuttara means the Highest,
referring to Paramaiva, who is beyond normal human
comprehension. With reference to r Vidy, those who are initiated
into Pacda mantra use only four mnya-s and those who are
initiated into oa use six mnya-s, the additional two being
Uttarmnya and Anuttarmnya. Prvmnya represents creation. It
also reveals the path of mantra by which He can be attained.
Dakimnya represents sustenance and represents the path of
devotion, by which He can be attained. Pacimmnya represents
destruction (destruction should be taken to mean destruction of
dualities, which alone can lead to realization) and represents Law of
Karma, by which He can be attained. Uttarmnya represents His
Grace (anugraha) and represents the path of pure knowledge, by
which He can be attained. rdhvmnya symbolizes His face facing

upwards, which represents iva Himself in His Absolute form. This
is the direct form of iva. This mnya is considered to be highly
secretive in nature, as it reveals the true form of iva. In each of these
four faces, He reveals a group of goddesses. iva can be realized by
worshipping them and reciting their mantras. These goddesses, when
worshipped properly reveal iva and akti.
There is another interpretation for mnya-s. Four mnya-s
representing four cardinals are described as four Vedas.
rdhvmnya represents Upaniad-s and Anuttarmnya represents
the essence of Upaniad-s (aha brahmsmi / I am Brahman). It is
also said that these six mnya-s encompass all the mantras
(70,000,000 mantras / seven crores in number). Whatever mantra one
practices, it ultimately leads to Parakti alone.
Purport of mnyasamaipj is to convey that She alone prevails
everywhere, in the form of Vedas, Upaniad-s, Brahma tattva,
mantras, etc. Ultimately, this worship emphasises Her Omnipresence.
Mantras for all the six mnya-s are given here. Those who are
initiated into pacada or saubhgyapacada should use only the
first four mantras. For those who are initiated into any type of oa
should use all the six mantras. There are two verses under each
312
mnya-s. The first verse is regarding the mnya devata and the
second verse is about other devata-s belonging to that mnya.
1. Prvmnya:
i) 4 - - spptn
||
4 - hsrai hsklr hsrau - prvmnyasamaya
vidyevaryunmodin devyamb spptn ||
ii) 4 -

spptn ||
4 - mla - gurutraya gaapatiphatraya sahityai uddhavidydi
samaya vidyevar paryanta caturvimati sahasradevat parisevityai
kmagiriphasthityai prvmnyasamirpiyai
rmahtripurasundaryai nama | rmahtripurasundar spptn ||
(/ mla means initiated mantras such as Pacada or oa)
2. Dakimnya:
i) 4 -
spptn ||
om hr ai klinne klinnamadadrave kule hsau
dakimnyasamaya vidyevar bhogin devyamb spptn ||
ii) 4 -

spptn ||
4 - mla - bhairavaka navasiddhaugha vaukatraya padayuga
sahityai saubhgyvidhdi samayavidyevar paryanta
trisahasradevat parisevityai pragiriphsthityai dakimnya

313
samairpiyai rmahtripurasundaryai nama |
rmahtripurasundar spptn ||
3. Pacimmnya:
i) 4 -

spptn ||
4 - hsrai hsr hsrau hskhphre bhagavatyambe
hasakamalavaray hskhphre aghoramukhi chra chr kii kii
vicce hsrau hskhphre hsrau pacimmnya samaya vidyevar
kucikdevyamb spptn ||
ii) 4 - -

spptn ||
mla - daadti maalatraya daavra catuaisiddhantha
sahityai lopmudrdhi samayavidyevar paryanta dvisahasradevat
parisevityai jlandharaphasthityai pacimmnya
samairupiyai rmahtripurasundaryai nama |
4. Uttarmnya:
i) 4 -
spptn ||
4 - hskhphre mahcaayogvari klike pha | uttarmnya
samaya vidyevar klikdevyamb spptn ||

ii) 4 -

spptn ||
314
4 - mla navamudr pacavrval sahityai turymbdi samaya
vidyevar paryanta dvisahasradevat parisevityai oynapha
sityai uttarmnya sami rpiyai rmahtripurasundaryai nama |
The following two mnya-s are meant only for oa upsakas
5. rdhvmnya:
i) 4 - spptn ||
4 - makhaparayaghac mahicanaayagaaphara rdhvmnya
samayavidyevaryamb spptn ||
ii) 4 - -

spptn ||
4 - mla - rmanmlinimantrarja gurumaala sahityai
parmbdi samaya vidyevar paryantti sahasradevat
parisevityai mbhavaphasthityai rdhvmnya samairpinyai
rmahtripursundaryai nama | rmahtripursundar parbhaarik
spptn ||
6. Anuttarmnya:
i) 4 -
spptn ||
4 - bhagavati vicce mahmye mtagini bl anuttaravgvdini
hskhphre hskhphre hsrau | anuttarakaryamb spptn ||
ii) 4 -

spptn ||
315
4 - mla pariprnandanthdi navantha sahityai
caturdaamulavidydi rprtividyntnanta devatparisevityai
anuttarmnya samairpiyai rmahtripurasundaryai nama |
rmahtripurasundar parbharik spptn ||
41. arcanam:
There are three mini versions of arcana given here. Arcana means
praise. Arcana comprises of different names and at the end of each
name (nma) flowers are offered. There is no tarpaa here. These
three arcana-s are performed for Daanth (Vrhi), Mantri
(ymal) and Lalitmbik respectively.
1. Daanth nmrcana:
There are twelve nma-s for Daanth available in Lalit
Mhtmy section of Brahma Pura. Hayagrva says to Agastya,
Listen to these twelve names of Daanth on hearing which, she
will become pleased. If a person recites these twelve names with
devotion, he will never have any miseries in his life.
Following are the twelve names. Each of these twelve nma-s are to
be prefixed with om - ai - glau ( - ) and at the end nama
() is to be added.
1. om - ai - glau pacamyai nama |
2. daanthyai 3. saketyai
4. Samayevaryai 5. samayasaketyai |
6. vrhyai | 7. potriyai |
8. ivyai | 9. vrtlyai |
10. mahsenyai | 11. jcakrevaryai |
12. arighnyai ||

316
2. Mantri nmrcana:
There are sixteen nma-s for Mantri available in Lalit Mhtmy
section of Brahma Pura. Hayagrva says to Agastya, Gods and
goddesses praised Mantri by means of these sixteen names. If a
person worships Mantri Devi with these sixteen names, he will
conquer the three worlds.
Following are the sixteen nma-s, which are to prefixed with praava
and Bl - om - ai - kl - sau ( - - ) and at the end
nama () is to be added.
1. om - ai - kl - sau - sagtayoginyai nama | - -
-
2. ymyai | 3. ymalyai |
4. mantranyikyai |

6. sacivenyai | 7. pradhneyai |
8. ukapriyyai | 9. vvatyai |
10. vaiikyai | 11. mudriyai |
12. priyakapriyyai |

14. kadambeyai 15. kadambavanavsinyai |
16. sadmadyai |
3. Lalitmbik nmrcana:
There are twenty five nma-s for Lalitmbik available in Lalit
Mhtmy section of Brahma Pura. Hayagrva says to Agastya
that these twenty five nma-s were used by gods and goddesses in
praising Her during war. Hayagrva says that these nma-s are like
twenty five precious gems and are capable of subduing all the sins of
a person.
5. mantriyai |
13. npapriyyai |

317
Following are the twenty five nma-s, which are to be prefixed with
praava and tritri (ai - hr - r - ) and at the end nama
() is to be added.
1. om - ai - hr - r sihsaneyai nama | - -

2. lalityai | 3. mahrjyai |
4. varkuyai | 5. cpinyai |
6. tripuryai | 7. mahtripurasundaryai |
8. sundaryai | 9. cakranthyai |
10. samrjyai | 11. cakriyai |
12. cakrevaryai | 13. mahdevyai |
14. kmeyai | 15. paramevaryai |
16. kmarjapriyyai |

18. cakravartinyai | 19. mahvidyyai |
20. ivnagavallabhyai |

22. kulanthyai | 23. mnyanthyai |
24. sarvmnyanivsinyai |

17. kmakoikyai |

21. sarvapalyai |

25. granyikyai |

Those who have time can do Lalit Sahasranma and Lalit Triat
arcana here. If flowers are not available, arcana can be done with
kumkum. Instead of arcana, pryaa can also be done. It is
important that after Lalit Triat no further arcane or pryaa should
be done. After Lalit Triat we should proceed with dhpa, dpa, etc.
318
42. dhpa:
(Dhpa is subtly explained. In the fire, when aromatic powder is
added, fragrant fumes come up. Fire is explained as Brahman,
aromatic powder is explained as oblations of our karmendriya-s and
jnendriya-s; when attachment to the material world is annihilated,
then the fragrance of the Self is revealed.)
Aroma of dhpa should not be strong and should not be shown at Her
face. While offering dhpa, dhpaptra should be kept away from
Meru / ri Cakra and Her idol as they are live due to proper and
devoted performance of navvaraa pj.
Mantra:
4 -

4 - dhrasi dhrva dhrvanta dhrva ta yo'smn dhrvati ta
dhrvaya vaya dhrvmastva devnmasi sasnitama
papritama juatama vahnitama devahtamamahratamasi

havirdhna dgum hasva mhvrmitrasya tv caku pree m
bherm samvikhth m tvhigusiam ||
4 -

4 - akhilakoi brahmanyaki r rjarjevari lalit
mahtripurasundar par bharik mahdevyai nama |
dhpamghrpaymi ||
dhpnantara camanya
samarpaymi ||
(take small quantity of uttarai water from vardhankalaa and offer
in the camanya vessel).
319
43. dpa:
Three types of dpa-s are discussed here - pacahrat dpa (
), ekahrat dpa ( ) and prakubha dpa (
). Each of these dpa-s have their own significance which are
explained along with the respective mantras. There is one more dpa
called kuladpa (), which comes after naivedya. After kuladpa,
nrjana is performed.
Agni is elaborately worshiped in Vedas. There are more number of
verses for Agni, than any other gods in Vedas, as the effects of
oblations offered in yaja-s are carried by Agni to the respective gods.
Rig Veda (VI.2.4) praises Agni thus. O! Agni! May the mortal who
propitiates the benefactor and the bountiful Lord with intelligent
actions, with the assistance of divine resplendent powers come safe
through the straits of enmity and sin. (this is a prayer to Agni and
forms the basis for diprdhana-s).
i) pacahrat dpa:
This is based on Taittirya Upaniad (I.vii). The Upaniad says that
different five folds, both external and internal are expressions of
Brahman. What matters is oneness of these multiple five folds. When
a person realizes this, he is the Lord of universe, he becomes one with
Brahman. As far pacahrat dpa is concerned, it refers to the
existence of five folds such as loka pkta , devat pkta, bhta
pkta, pra pkta, indriya pkta, dhtu pkta (pkta means
fivefold), etc. Though they exist as fivefold, they ultimately become
one with Brahman and this is conveyed through ekahrat dpa,
which follows pacahrat dpa.
Mantra:
4 -

320
4 -

4 - paca huto havai nmaia | ta v eta pacahutagum santam |
pacahotetycakate parokea | parokapriy iva hi dev ||

mahtripurasundar par bharik mahdevyai nama | pacahrat
dpa daraymi | dpanantra camanya samarpaymi | pupai
pjaymi* ||
(* offer only flowers)
ii) ekahrat dpa:
4 -

4 -

4 - uddpyasva jtavedo'paghnanniti mama | pagumca mahya
mvaha jvana ca dio dia | mno higusjjtavedo gmava
purua jagat | abibhradagna gahi riy m pariptaya ||
mahtripurasundar par bharik mahdevyai nama | ekahrat
dpa daraymi || dpanantra camanya samarpaymi | pupai
pjaymi ||
iii) prakubha dpa:
The concept of prakubha dpa is to convey that all worldly
desires are burnt by the fuel of non-attachment and with the wick of
321
devotion. When the light is lit with the fuel of non- attachment and
with the wick of devotion, the light of knowledge dawns.
4 -

@

4

4 - vairgya tailasapre bhaktivarti samanvite |
prabodhapra ptre tu japti dpa vilokayet ||
@ pramada pramitda prt pra mudacyate |
prasya pramdya prameviyate ||
mahtripurasundar par bharik mahdevyai nama |
prakubadpa daraymi | dpanantra camanya
samarpaymi | pupai pjaymi ||
@ This couplet is from Bhadrayaka Upaniad (V.i). It says, That
(the Brahman) is infinite and this (universe) is infinite. The infinite
proceeds from infinite. Then, taking the infinitude of the infinite
(universe), it remains as the Infinite (the Brahman) alone.
44. mahnaivedyam:
This is known as mahnaivedya because this is done after worshiping
all the varaa devi-s and this is offered only to Lalitmbik and iva
in their unified form as explained in Lalit Sahasranma (999) ivaakati-aikya-rpi. Mahnaivedya in navvaraa pj is an elaborate
procedure. Having satisfied with the extreme devotion with which
navvaraa pj was performed, both iva and akti appear in
322
person (visualization happens in the mind of the sdhaka) and take
the offerings. As naivedya is offered to Them, there are procedures to
sanctify and consecrate the offered materials with mantras and
mudras. Apart from cooked food, curd, coconut, fruits and most
importantly viea arghya in a separate vessel with few ginger pieces
(from the viea arghya ptra) are to be offered as naivedya.
1. Procedure:
Even at this point of time, both smnya arghya and viea arghya
vessels should not be disturbed. Therefore, while placing the
offerings for naivedya, adequate care should be taken.
A square is to be drawn to the left of the sdhaka (right side of Devi),
with water from smnya arghya using an uttarai. Above this square,
place a plank and sprinkle water from vardhan kalaa on the plank
and then place the offerings on the plank. After having placed all the
offerings on the plank, prokaa (sprinkling) is to be done using all
the three arghya-s, vardhan kalaa, smnya arghya and viea
arghya.
After prokaa, there is a four step process for purifying and
consecrating the offerings. They are nirkaa (purification by looks),

prokaa (purification through sprinkling), mudra- pradarana
(purification through finger gestures) and doanirasana (eliminating
impurities arising out of touching and smelling the offerings while
preparing them).
2. Mantras:
i) By reciting mla mantra, look at naivedya and touch all the vessels
wherein offerings are kept.
ii) Take arghya from smnya arghya ptra in the right palm and do
prokaa on the offerings by saying 4 - 4 ai hra.
323
iii) Again take arghya from smnya arghya ptra in right palm and
recite mla mantra seven times by continuing to hold smnya arghya
in the right palm. After completing the seventh repetition, do
prokaa on the offerings by reciting 4 4 om ju sa
vaua (this mantra is part of mtyujaya mantra). After sprinkling
arghya thus, show chakra mudra. During this process, abhimantrita
arghya turns into nectar for longevity.
iv) Now three bja-s of pacabhta are going to be used for further
purification of naivedya.
a. Keep the left palm facing down and rotate clockwise seven times
over naivedya by reciting vyju bja 4 4 ya. This is done with
the intent of removing doa-s, if any. Such doa-s are dried up by
vyju bja.
b. Repeat the above process with right hand by reciting agni bja 4
4 ra. If any doa-s still persist, they are removed by agni bja.
c. Recite amta bja 4 4 va and show dhenu mudra. During
this process we have to contemplate that amta (nectar of immortality)
is being showered on naivedya.
v) We have kept viea arghya in a separate vessel for offering as
naivedya. Now this is to be consecrated. Take viea arghya from the
viea arghya ptra in right palm. Do prokaa three times on viea
arghya kept for naivedya.
vi) Now by touching the vessel containing viea arghya kept for
naivedya, recite mla mantra seven times.
vii) Now touch all the vessels containing naivedya and recite the
following mantra.
324
4
4 kl kmadughe moghe varade vicce spura spura r para r.
(vicce refers to mind and perpetual bliss; r refers to material and
spiritual wealth; para r refers to liberation or moka)
After this, show dhenu mudra. After this procedure, all the offerings
become nectar and ready for offering to Them. Now offer pdyam,
arghyam and camanyam to Them.
viii) Now mentally recite mla mantra three times. Place the viea
arghya kept for naivedya in the plate where broken coconut (to be
broken into two pieces - nlikera kaadvayam), fruits, betel leaves

with karpravik are kept. By touching this plate with left hand,
naivedya is to be offered to Them now, by reciting the following
mantra.
4 - -

4 - mla - sgyai syudhyai savhanyai saparivryai
sarvtmikyai nama | rmahtripurasundariparbhrikyai
naivedyam kalpaymi nama ||
Now offer flowers on the Bindu.
ix) Recite the following mantra:
4 -

4 - hemaptragata divya paramnna susaktam |
pacadh arasopeta gha paramevari ||
325
arkarpyasppa ghdavyacana sayutam |
vicitraruci nevaidya hdyamvedammyaham ||
x) Normal naivedya procedure:
Recite this mantra (first mantra is turiya gyatr mantra)

om bhrbhuvasuva | tatsaviturvareya bhargo devasya dhmahi |
dhioyo yo na pracodayt | parorajase svadom ||
devasavita prasuva | satyatvartena pariicmi |
amtopastaraamasi ||
(amtopastaraamasi refers to offering water before offering
naivedya. If the puja is done in the evening or night satyatvartena
pariicmi is be replaced with tantv satyena)
xi) By reciting the following mantra, naivedya is now offered to
Them.
4 4 4 4
4 4
4 ai prya svh | 4 kl apnya svh | 4 sau vynya svh |
4 ai kl udnya svh | 4 ai kl sau samnya svh | 4
brahmae svh ||
Now all naivedya have been offered to Them.
xii) Following mantras ensure Their satisfaction of naivedya offered.
a. 4 -

326
4- ai ka e la hr - tmatatvavypini akhilakoi
brahmanyaki r rjarjevari lalit mahtripurasundar par
bharik mahdevy tpayatu |
b. 4 -

4 - kl ha sa ka la hr - vidytatvavypini akhilakoi
c. 4 -

4 - sau sa ka la hr - ivatatvavypini akhilakoi
d. 4 - -

4 - ai kl sau - mla - sarvatatvavypini akhilakoi
bharik mahdevy tpayatu ||
Take a few drops of water from smnya arghya ptra and offer in
Her left palm.
xiii) Recite the following mantra:
a. 4 -

4 - citptre saddhavissaukhya vividhoneka bhakaam |
nivedaymi te devi snugyai jua tat ||
327
b. 4 -

4 - madhuvt tyate | madhu karanti sindhava | mdhvrna
santvoadh ||
madhu naktamutoasi | madhumatprthivagu raja | madhudyorastu
na pit ||
madhumn no vanaspati | madhumgu astu srya | mdhvrgvo
bhavantu na ||
madhu madhu madhu ||
brahmrpaa brahmahavirbrahmgnau brahm hutam | brahmaiva
tena gantavya brahmakarmasamdhin ||
mahnaivedyam nivedaymi ||
c. After having offered Them naivedya, we are now offering Them
water to drink.
{Insted of water, paka (jiggery mixed with water, ginger, lemon,
cardamom powder, etc) or fruit juices are offered}
4 -

mahtripurasundar par bharik mahdevy amtapnya
samarpaymi ||
328
Now, we have to close our eyes and visualize that They taste the
naivedya offered. Mla mantra can be recited as many times as
possible during this contemplation.
d. Now water for drinking is offered to Them. After having offered
Them water to drink, we have to offer Them water to wash Their
hands, to wash Their feet and to gurgle. Following is the mantra.
4 -

mahtripurasundar par bharik mahdevy hastapraklanam
gaa pdapraklana camanya ca kalpaymi nama ||
xiv) Preparation for bali:
IMAGE 33
Draw a square using sandal paste mixed with water by the side of
naivedya. Within this square draw a circle and within the circle draw
a downward facing triangle. Place a plank on this and do prokaa
with smnya arghya by saying ai h astryapha.
On this, place a copper plate. Now transfer small quantities of
naivedya, viea arghya and smnya arghya into the copper plate.
After having completed this process, all naivedya items should be
taken away from the pj area. Balidna will be done towards the end.
329
xv) Offering tmbla:
Now betel leaves along with karpravk are offered to Them. For
this, place betel leaves on a place and on the betel leaves place
karpravk and sprinkle them with smnya arghya. Now we have
to offer this to Them by reciting this mantra.
4 -

4 - pgphalasamyukta ngavalldalairyutam |
karpracrasayukta tbla pratighyatm ||
tamladala karpr pgabhga samanvitam | elpatrasusayukta
tmbla pratighyatm ||
4 -

mahtripurasundar par bharik mahdevy karpratbla
samarpaymi ||
[There are references in both Lalit Sahasranma (26 and 559) and
Lalit Triat (14) about karpravk. The ingredients used for
preparing karpravk are saffron, cardamom, clove, edible
camphor, kastri, nutmeg and mace or myristica fragrans or jtipattr
(arillus of the nut also known as myristica officinalis). The
ingredients are finely powdered and mixed with powdered sugar
candy.]
45. kuladpa:
Magalartrikam was discussed in 22.4 and forms a part of chatuayupacra discussed earlier. Nine lamps were used there and the
balance one lamp is to be used here. Place that lamp in a copper or
silver plate and offer diprdhana three times with this lamp by
reciting this mantra.
330
4 -

4 - mla - antastejo bahisteja ekktymitaprabham |
tridh dpa paribhrmya kuladpa nivedaye ||
(The inner light and external light are the same and that light alone
shines bright and I offer you this light as diprdhana three times.
This diprdhana signifies Her omnipresence and at the end of
navvaraa pj, the sdhaka realises the Truth.)
46. karpranrajanam:
Generally this nrjana is done with camphor. But in many places
camphor is prohibited. Instead of camphor, wick with ghee can be
used. There are six mantras for karpranrajanam.
Mantra-s:
a) 4 -

4 -somo v etasya rjyamdatte | yo rjsanrjyo v somena yajate

| devasuvmetni havigui bhavanti | etvanto vai tevngu sav
| ta evsmai savn prayaccanti | ta ena puna suvante rjyya |
devasu rj bhavati ||
(Soma (contextually to be understood as Brahman) bestows kingship
to those who make sacrifices or oblations. These sacrifices are to
Your various energies (different akti-s and contextually they are
navvaraa devi-s), who offer kingship to those who perform
sacrifices without any desires.)
331
(b) 4 -

4 - smrjya bhojya svarjya vairjya pramehika
rjya mahrjyamdhipatyam ||
(Let us enjoy big empires with sub-kingdoms and sub rulers. Let my
own empire flourish. Let my empire continue as per my dictates. Let
a glorious government enjoy full power.)
c) 4 -

4 - na tatr sryo bhti na candratraka nem vidyuto bhnti
kudo'yamayagni | tameva bhntamanubhti sarva tasya bhs
sarvamida vibhti ||
(In the presence of Brahman, the sun does not shine, nor do the moon
and stars, nor does lightning, let alone this fire. When Brahman
shines, everything follows. By Its Light, all these are lighted - Kaha
Upaniad (II.ii.15).
d) 4 -

4 - manasa kmamkti vcassatyamamahi | pan
rpamannasya mayi r rayat yaa ||
(Please bless me with positive and compassionate thoughts,
overflowing happiness, truth in my speech, bountiful cows, bountiful
food and fame.)
e) 4 -

332
4 - rjdhirjya prasahya shine namovaya vairavaya
kurmahe | samekm kmakmya mahyam | mh```````evaro
vairavao dadtu | kuberya vairavaya mahrjya nama ||
(We worship and praise Kubera, who is the lord of lords and who is
the giver of all victories. He, who is the fulfiller of all desires and the
lord of wealth, let him bless me with enough wealth to fulfil all my
desires. Praises to you Kubera, the lord of wealth and king of kings.)
f) 4 -

mahtripurasundar par bharik mahdevy karpranrajanam

daraymi nama ||
After showing karpranrajanam, place it down and show yoni mudra
to Her. After yoni mudra, recite navkar ratnevar mantra (
).
g) 4 r hr gl sl ml pl nl hr r
4
After completing the recitation, show chakra mudra and again show
karpranrajanam to Her. After showing, place the karpranrajana
plate/ ptra down and offer camana thus. Take water from vardhan
kalaa in the uttarai and recite the following mantra.
h) 4 -
4 - nrjannantara cmanya kalpaymi ||
Take flowers and place on ri Cakra by reciting the following mantra.
i) 4 -

333
mahtripurasundar par bharik mahdevyai nama | pupai
pjaymi ||
47.
mantrapupam
Take flowers in both hands and recite the following mantra. Flowers
can be given to everyone, who is present. Now recite the following
mantras.
a)

yop pupa veda | pupavn prajvn paumn bhavati | candram
v ap pupam | pupavn prajvn paumn bhavati |
ya eva veda | yopmyatana veda | yatanavn bhavati ||
b)

agnirv apmyatanam | yatanavn bhavati |yogneryatana veda |
yatanavn bhavati | pov agneryatanam | yatanavn bhavati |
c)

vyurv apmyatanam | yatanavn bhavati | yovyoryatana veda
| yatanavn bhavati | povai vyoryatanam | yatanavn bhavati |
334
d)

asau vai tapannapmyatanam | yatanavn bhavati | yo'muyatapata

yatana veda| yatanavn bhavati | pov amuyatapata yatanam |
yatanavn bhavati |
e)

candram v apmyatanam | yatanavn bhavati | yacandramasa
ayatana veda| yatanavn bhavati | povai candramasa yatanam |
yatanavn bhavati |
f)

nakatriv apmyatanam | yatanavn bhavati |
yonakatramyatana veda| yatanavn bhavati | povai
nakatrmyatanam | yatanavn bhavati |
g)

335
parjanyov apmyatanam | yatanavn bhavati |
yaparjanyasyyatana veda | yatanavn bhavati | povai

parjanyasyyatanam | yatanavn bhavati |
h)

savatsarov apmyatanam | yatanavn bhavati |
yassavatsarasyyatana veda | yatanavn bhavati | povai
savatsarasyyatana | yatanavn bhavati |
ya eva veda | yo'psunva pratihit veda | pratyevetihati ||
i)

rjdhirjya prasahya shine namovaya vairavaya kurmahe |
samekm kmakmya mahyam | kmevaro vairavao dadtu |
kuberya vairavaya mahrjya nama ||
j)

om tad brahma | om tad vyu | om tadtm | om tat satya | om tat
sarva | om tat puror nama | andacarati bhdeu guhy
vivamrtiu | | tva yajas tva vaakras tva indras dva'gu
rudras tva viusttva brahmastva prajpati | tva tadpa po
jyot raso'mruta brahma bhrbhuvassuvarom ||
336
Meaning (a to j)
That one who knows the flowers of water, he becomes the possessor
of flowers, cattle and progeny. Moon is the flower of the water. He
who knows it to be so, he becomes the possessor of cattle and
progeny. That one who knows the source of the water, he becomes
established in his Self. Fire is the source of water. He who knows the
source of fire, he becomes established in his Self. Water is the source
of fire. He who knows it to be so, he becomes established in his Self.
That one who knows the source of the water, he becomes established
in his Self. Air is the source of water. He who knows the source of
air, he becomes established in his Self. Water is the source of air. He
who knows it to be so, he becomes established in his Self. That one
who knows the source of the water, he becomes established in his
Self. The scorching sun is the source of water. He who knows the
source of the scorching sun, he becomes established in his Self. Water
is the source of the scorching sun. He who knows it to be so, he
becomes established in his Self. That one who knows the source of
the water, he becomes established in his Self. Moon is the source of
water. He who knows the source of moon, he becomes established in
his Self. Water is the source of moon. He who knows it to be so, he
becomes established in his Self. That one who knows the source of
the Water, he becomes established in his Self. The Stars is the source
of water. He who knows the source of the stars, he becomes

established in his Self. Water is the source of the stars. He who knows
it to be so, he becomes established in his Self. That one who knows
the source of the water, he becomes established in his Self. Cloud is
the source of water. He who knows the source of the clouds, he
becomes established in his Self. Water is the source of the Clouds.
He who knows it to be so, he becomes established in his Self. That
one who knows the source of the water, he becomes established in his
Self. Rainy season is the source of water. He who knows the source
of rainy season, he becomes established in his Self. Water is the
source of rainy season. He who knows it to be so, he becomes
established in his Self. He who knows the raft that is established in
the water, he becomes established in that itself.
337
We worship and praise Kubera, who is the lord of lords and who is
the giver of all victories. He, who is the fulfiller of all desires and the
lord of wealth, let him bless me with enough wealth to fulfil all my
desires. Praises to you, Kubera, the lord of wealth and king of kings!!
alone is that Parabrahman. alone is that vyu (air) and alone
is tman. alone is the Truth. is verily everything; only is the
existence of such a person known by the word Tat and to this I
salute.
i)

ive ivasuitalmta taraga gandhollasannavvaraa devate

navanavmtasyandini |
gurukramapuraskte guaarra nityojjvale aaga parivrite kalita
ea pupjali ||
(O! The auspicious one, the embodiment of navvaraa devi-s; Your
sandal fragrance originates from the drops of nectar of iva and you
too continue to shower fresh nectars. You are realized through Guru
Lineage. You are the embodiment of three gua-s (Lalit
Sahasranma 397, mlaprakti) and You are surrounded by six aga
devat-s (aaga akti sahita- with six akti-s; aaga akti can be
explained in two ways. If we go with Blaaga nysa, then these
six akti-s can be interpreted as hdaya, ira, ikh, kavaca, netra and
astra akti-s. We can also contemplate these akti-s as Her six powers
such as omniscience, completeness, supreme levels of consciousness,
freedom, everlasting power and infinity). Please accept my flower
offerings.)
338
48. upacr:
This is different from chatu-ayupacra discussed under 22.4. The
upacra under discussion here adores Her by recitations from four the
Vedas, hymns (stotra) in Her praise, rendering songs in Her praise.
Apart from the above, generally cmara is used for fanning Her
during the above recitations. Veda recitations should not be done,
unless one is very conversant with Veda recitations.
The following recital can be made duly filling the blanks as detailed
below.
------ ******
devadevottame devata sarvabhauma akhilakoi brahmanyike

------- priye ******* mavadhraya ||
------- is to be filled what is to be recited ****** is again to be filled
with what is mentioned in ------Suppose Rig Veda is to be recited, then ------ is to be filled with Rig
Veda and ****** is also to be filled with Rig Veda. Example is given
here.
Example:

devadevottame devat sarvabhauma akhilakoi brahmanyike

g veda priye g Veda mavadhraya ||
Generally Rig Veda, Yajur Veda, Sma Veda, Atharva Veda, stora
and sagita.
339
49. kmakaldynam:
This is known as kmakal meditation. There are two types of
kmakal meditation. One is subtle and another is gross. This is to be

done with intent concentration. Some worshipers do this separately
in solitude after completing navvaraa pj.
i) Gross kmakal meditation:
It is about the union of two supreme powers of the universe iva and
akti, the one without the other is inefficacious to create and sustain
the universe. iva alone has Power, but He does not use His Power
directly. iva by means of a Power of Attorney, transforms a
miniscule of His Svtantrya akti (unique and absolute power of
iva) to akti. iva is in the form of Light (Praka) and it is akti
who diffuses this Light and the universe is created. iva is
contemplated with the first letter of Sanskrit (a) and akti is
contemplated with the last letter of Sanskrit (ha). When these two
letters unite, this union gives rise to (aha), which means I. This
is not merely the union of two letters, but the union of Praka and
Vimara, also known as union of iva and akti and Smarasyaparya (Lalit Sahasranma 792). iva is Self-illuminating
Brahman and akt is His svabhva. Svabhva means nature, innate
or inherent disposition. The nature of iva is reflected through akt.
iva can realise His Self only in akt, who acts as a mirror to Him.
akt is the power of doership of iva. It is said that the ultimate
reality were to be merely iva, He would become inert. Brahman
cannot become inert. Though iva continues to be inert, akt, the
power holder of iva acts as the energetic force in creation,
sustenance and dissolution of the universe. Therefore iva without

akt or akt without iva becomes torpid. They are known as the
parent of the universe. Contemplating the union of iva and akti
leads to the realisation of . What is realized as ( means I)?
The Self (Brahman) is realized as . This contemplation is known
as gross kmakal meditation. This is explained in all the Upaniad340
s as Cit-nand. Saundaryalahar (verse 19) also explains about
kmakal. The one who meditates on Your Kmakal form with
Your face as bindu; below Your face, Your two bosoms and still
below that, the triangle, the creative aspect of iva causes immediate
agitation in the minds of women of three worlds, who have sun and
moon as their bosoms towards the aspirant.
ii) Subtle kmakal meditation:
In gross the meditation was on (union of iva and akti). In subtle
meditation, contemplation is to be done on the akara (). This
kmakal is explained in detail in Lalit Sahasranma (322)
Kmakal rp which can be read in this link. This is about
contemplating Her bosoms and yoni and visualizing our merger with
Her for the purpose of cessation from the pains of transmigration and
ultimate unto iva.
iii) Mantras for contemplation.
(Essence of above discussion is given in these two verses.)
a)

mahmantrarjnta bja parkhya svato nyasta hrdam |
bhavadvaktra vakoja guhybhidhna svarpa sakdbhvayet sa
tvameva ||
b)

tathnye vikalpeu nirvia citstadeka samdhya bindutraya te
| parnandasaddhna sindhau nimagn punargarbharandhra na
payanti dhr ||
341
50. balidnam:
Bali is meant for extraterrestrial beings (referring to all disruptive
forces such as certain demigods, semi-divine beings, household
divinities, spirits, etc in our spiritual journey). In order to satiate their
hunger and in order to please them, bali is offered. This also refers to
bhta-yaja out of five mah-yajas (Lalit Sahasranma 946 pacayaja-priy). Difference between naivedya and bali is that
naivedya should be consumed by the worshipper and bali should not
be consumed. Bhagavad Gt (III.13) says, Those who eat the
remnants of fire oblations (yaja) are freed from all sin (referring to
naivedya). But the sinners who eat food merely to nourish their
bodies consume only sin.
There is another interpretation for bali. Naivedya is meant for the
Divine in whose favour pj is done. After naivedya is performed, it

can be distributed to everyone. Bali is meant for all other Divinities,
except the one in whose favour pj is done; but mostly, this version
is neither accepted nor followed.
Bali ptr was already established during mahnaivedya (42.14).
Now worship the base (maala, on which a plank was placed) with
flowers and akata with the following mantra.
4 - 4 - ai vypakamaalya nama |
Procedure:
Take water from vardhan kalaa in uttarai using right hand. Form
tattva mudra (connecting left ring finger and the thumb) and pour the
water from the uttarai through tattva mudra (shown here) on the
contents of bali ptr. After doing this place the uttarai back in the
vardhan kalaa. Now clap using both the hands three times. Now
look up and show ba mundra (ba means arrow). There are two
types of ba mudra. One is to use both the hands as if we are
342
releasing an arrow from a bow. Alternatively, avakuha mudra using
right hand can be shown.
Recite the following manra three times.
4-
4 - om hr sarvavighnakdbhya sarvabhtebhyo hu pha svh |
Move the bali ptr along with the contents towards nirti cardinal
and then remove from there. Sprinkle water on that place.

After doing balidna, do camana (part 1 -3) and bhtauddhi (part 4
14). If the worshipper himself removes the bali ptr, then he should
wash his/her feet and after resuming his seat, camana and
bhtauddhi should be done.
51. japa:
Now do japa with initiated mantras.
52. Guru vandanam:
This is offering our respects to our Guru, who has initiated mantras.
Only few lineages do this worship here. Some traditions treat this
section by reciting verses in Her praise apart from including verses in
praise of Guru. Not only the Guru, but also Paramaguru and
Paramehiguru (Gurytraya) are worshiped in this section.
Following verses are recited.
i)

ii)

343

iii)

i) ajnatimirndhasya jnjana alkay |
cakurunmlita yena tasmai r gurave nama ||

ii) brahmnanda paramasukhada kevala jnamrtim
dvandvtta gaganasada tatvamasydi lakyam |
ega nitya vimalamacala sarvadh skibhtam
bhvtta triguarahita sadguru ta nammi ||
iii) namaste ntha bhagavn ivya gururpie |
vidyvatra sasiddhyai svktneka vigraha ||
Meaning:
i) I pay my obeisance to my Guru, who has opened my eyes through
knowledge, which remained blinded due to my spiritual ignorance.
ii) I prostrate my Guru, who in the form eternal Bliss, eternal
prosperity, knowledge, beyond all dyads, infinite like the sky, knower
of Brahman, incomparable, eternal, pure, unimpaired, beyond
perception and the one who has transcended the three guas.
iii) O! Protector and adorable! You attain different forms in order to
help me attain perfection in r Vidy and I prostrate before you, an
incarnation of iva.
Now obeisance is offered to Guru-traya.
iv)

1
2
344

Amuknandanthya1 mama rgurave nama |
Amuknandanthya2
Amuknandanthya3
Note:
Replace 1 with ones svaguru dk nma;
Replace 2 with ones paramgurus dk nma;
Replace 3 with ones paramehigurus dk nma.
Meaning:
I pay my obeisance to my Guru, Paramguru (Gurus Guru) and
Paramehiguru (Gurus Gurus Guru). They are known as Gurutraya.
v)

bla bhvnusrea mameda hi viceitam |
mtvstalya sada tvay devi vidhuatm ||
Meaning:
I described the attributes of my Guru to You (Lalitmbik) like a child
describing to its mother. O! Divine Mother! Please approve my
description of my Guru with motherly love.
(This underlines the importance of Gurus and mantra initiation should
be taken only from Self-realized Guru-s.)
If Guru is available in the place where pj is done, worship him with
mg mudra and yoni mudra.
3
gurave paramya me |
gurave paramehine ||
345
53. suvsin pj:
Suvsin means a married woman living with her husband. For the
purpose of suvsin pj in navvaraa pj, suvsin-s are classified
into two types initiated into r Vidy and not initiated into r
Vidy. Suvsin-s are invited to the place where navvaraa pj is
performed and they are worshiped as Lalitmbik. Viea arghya is
offered to the invited suvsin-s goes to prove that the invited suvsin
or suvsin-s are considered as embodiment of Lalitmbik and all
respects paid to Lalitmbik are paid to them. This procedure is
generally done only by those who follow dakicra and the worship
is done only to their feet.
Lalit Sahasranma 970 says that Lalitmbik Herself is a Suvsin
and the next nma says that She is fond of worshiping suvsin-s
(Suvsinyarcana-prt). Qualities of suvsin-s are described in
Vlmki Rmyaa. Lalitmbik is also known Mahsuvsin.
Anasya says in Vlmki Rmyaa (ayodhka, Canto 117,
verses 22 to 24). O! Proud St! Worlds that are attended with great
prosperity await those women to whom their husband is dear, no
matter whether he lives in a city or a forest, whether he is propitious
or adverse. In the eyes of women who are blessed with a noble
disposition, the husband is the highest deity, no matter whether he is

ill-mannered or licentious or entirely devoid of riches. Though
deeply pondering, I do not see for a woman, a friend greater than her
husband and more capable of yielding ones desired object at all
places like the imperishable fruit of ones austerities.
Again in Canto 39 verse 22 says (Rmas mother Kausaly speaks to
St thus) Neither noble birth nor good turn, nor learning, nor gift
nor even marriage ties capture the heart of such women, who are in
fact devoted to good conduct, truthfulness and the percept of their
elders and keep within the bounds of decorum laid down for their
family, their husband is the most sacred object and he alone excels
all.
346
Yet again St says (Sundaraka canto 24 verse 9), I am
devoted to my husband, r Rma, the foremost of the Ikvkus, in
the same way as the highly blessed ac waits upon Indra, as does
Arundhat upon sage Vasiha and Rohi (the foremost of the twenty
seven spouses of the moon god, presiding over the same number
constellations appearing in the sky) on the moon god, as does,
Lopmudr upon sage Agastya and Sukany did upon sage Cyavana,
as Svitr did upon Satyavn and rmat upon Lord Kapila, as
Madayant did upon King Saudsa and Kein upon King Sagara, and
as Damayant, daughter of Bhma, was devoted to her husband,
Nala.
Based on the above references in Rmyaa, suvsini not merely

means the one who is well dressed, but also endowed with the above
qualities. Some are of the view that suvsin pj is done only for
Lalitmbik as Mahsuvsin. However, one should follow what his
or her Guru says. But, in general it is better to perform suvsin pj
at the end of navvaraa pj and also during navartr, puracaraa
at the end of homa (Havana), and all other auspicious occasions.
Suvsin pj, if possible should be done by the sdhaka and his or
her spouse.
Procedure:
1) Invite suvsin and offer her a seat. She should wash her feet
thoroughly before taking the seat offered. If suvsin is not initiated
into r Vidy, Bhuvanevar mantra and Bl mantra should be
initiated to her through a simple initiation procedure. Recite
Bhuvanevar mantra followed by Bl mantra (om hr followed by
om ai kl sau - followed by ) and ask her to
repeat. The purpose of this initiation is that viea arghya is generally
not given to those who are not initiated into r Vidy (at this point
of time). Secondly, worshiping a suvsin means worshiping
Lalitmbik and it is expected that such a suvsin is a devotee of
Lalitmbik. If Bhuvanevar and Bl mantras are initiated, it means
that the suvsin is initiated into r Vidy cult.
347
2) Wash the feet (pdapraklana) of suvsin, first with water

followed by milk and again by water and dry her feet with a towel.
For this purpose, a plate is used to keep her feet. At the end of
pdapraklana, this plate is removed and replaced with a plank to
enable her to keep her feet on the plank. Now apply turmeric paste to
her feet (this is known as nalagu), place kumkum on both the feet
followed by offering akata and flowers.
3) Then a new saree with blouse (top) is given. (Generally, suvsin-s
are decided much earlier and blouse pieces and sarees are given to
them in advance, so that they can wear the clothes offered to them
and attend the function.)
4) Now recite the following mantra and offer viea arghya to her in
a small cup called aliptra (like tmaptra). While receiving aliptra,
she should receive the cup in her left hand using only the thumb,
index and ring fingers (this appears like a tripod). This mantra is to
be addressed to her.

aliptra ida tubhya dyate piitnvitam |
svktya subhage devi yao dehi ripn daha ||
(O! The auspicious one! This cup containing nectar (viea arghya)
is given to you. Please drink this nectar and bless us to overcome our
desire, anger and other afflictions and lead us to a happy and reputed
life.)
Now worship her with yoni mudra.

5) Suvsin after receiving aliptra in her left hand as described
above, should join the thumb, index and ring fingers (exactly in the
same way as explained above, but with the right hand here) and take
a few drops of viea arghya from aliptra and should place the drops
348
on her head twice. These drops are meant for her Guru (if she is not
initiated into r Vidy, then these drops are meant for iva). If she is
initiated into r Vidy, she should recite her Guru pduk mantra.
After doing this, she has to drink a portion of viea arghya and
returns aliptra with viea arghya back to the sdhaka with the
following mantra. If she does not know the mantra, someone who
knows the mantra can recite the mantra on her behalf.

vatsa tubhya may datta ptaea kulmtam |
tvacchatrn sahariymi tavbha dadmyaham ||
(Suvsin, who is the embodiment of Lalitmbik grants the wishes
of the sdhaka and gives back the balance of viea arghya as prasda
to him/her).
After having given the aliptra with remaining viea arghya (this is
known as ucchia, meaning remains of the food), she shows yoni
mudra to the sdhaka.
6) Now the sdhaka has to do oaa upacra to the suvsin thus.

i) Offer flowers at suvsinis feet by reciting this mantra.
4 -

mahtripurasundar par bharik mahdevy suvsin svarpena
vahaymi nama ||
ii) Again offer flowers at suvsinis feet by reciting this mantra.
4 -
4 - suvsinyai nama | sana samarpaymi ||
349
iii) Offer viea arghya in her hands.
4 -
4 - suvsinyai nama | arghyam samarpaymi ||
iv) Offer smnya arghya in her hands.
4 -
4 - suvsinyai nama | camanya samarpaymi ||
v) Now do prokaa on her using water from vardhan kalaa. During
this process, rsktam and durgsktam can be recited, if time
permits.
4 -
4 - suvsinyai nama | mantrasnna samarpaymi ||
vi) Offer her saree, etc. (as they are already offered to her, now it can
be done through bhvan (contemplation).
4 -
4 - suvsinyai nama | vastram samarpaymi ||
vii) Now offer her ornaments (generally bangles, mirror, etc are
given).
4 -
4 - suvsinyai nama | bharani samarpaymi ||
ix) Now offer her sandal paste in a cup.
4 -
4 - suvsinyai nama | divya parimala gandham samarpaymi ||
x) Now offer haridrkumkum.
350
4 -
4 - suvsinyai nama | divya haridrkumkum samarpaymi ||
xi) Now offer her dhpa.
4 -
4 - suvsinyai nama | dhpa grpaymi ||
xii) Now offer her dpa.
4 -
4 - suvsinyai nama | dpa daraymi ||
xiii) Now offer her food. What is offered as naivedya can be given to
her as a token. But, generally, during this time, she is offered with
lunch. Others should wait till she completes her lunch. Lunch should
be served to her in a secluded place (not to cause any embarrassment
to her).
4 -
4 - suvsinyai nama | mahnaivedyam samarpaymi ||
xiv) Offer her water during lunch. Generally a new tumbler (drinking
glass) is purchased for this purpose and is given to her.
4 -
4 - suvsinyai nama | madhye madhye amta pnyam samarpaymi
||
xv) Now offer water to wash her hands.
4 -
4 - suvsinyai nama | camanya samarpaymi ||
xvi) Now offer her betel leaves with karpravtik.
351
4 -
4 - suvsinyai nama | karpratmbla samarpaymi ||
Now, prostrate before the suvsini and take her blessings. Suvsini is
to be sent-off with great respect. Few perform dhampati pj instead
of suvsini. In dhampati pj, both husband and wife are to be
worshiped. They are worshiped as Prvat and Paramevara. In
suvsini pj it is preferable to seek the blessings of an elderly
woman. Similarly in the case of dhampati pj, it is preferable to
invite elderly couple/s. After suvsini pj and or dhampati pj,
kumr pj is to be done.
54. kumr pjanam:
This is about worshipping girls who have not attained puberty and
their age should be between two years and ten years. There is a lot of
significance attached to kumr pjana. This is explained in detail in
Devbhgavatapura (book 3: chapter 25). During navartri days, if
kumr pjana is done, apart from attaining Her Grace, some material
benefits also accrue. Depending upon their age, they are worshiped
as different forms of Parakti. However, there are variations in the
names from what is given Devbhgavatapura and Lalit
Sahasranma and the variations are given in the brackets.
Age Names as given in
2 kumri Sarasvat
3 Trimrt
4 Kaly
5 Rohi Subhag
Variations, if any
Devbhgavata
352
6 Klik Um
7 Caik Mlin
8 bhav
9 Durg Bl / Rohi
10 Subhadr Gaur
Effects of worship based on the age of the girl as per
Devbhgavata.
Age Effect of worship
2 Relief from miseries and poverty, long life and
more power.
3 Dharma, artha and kma; progeny and wealth.
4 Knowledge, home; she fulfills almost all desires.
5 Curing ailments.
6 Destruction of both internal (afflictions of the
mind) and external enemies.
7 Prosperity and richness
8 For enchantment, overpowering negative forces,
removing miseries and poverty.
9 Destruction of dreadful enemies, happiness in the
next world (after death).
353
10 Fulfillment of all types of desires.
Procedure:
As in the case of suvsin pj, girls who are invited for this pj are
informed in advance and dress material is given to them so as to
enable them to make them ready for wearing on the day of the pj.
On the day of pj, when the invited girl arrives (generally with her
mother, who can be treated as suvsin), after welcoming her, she
should be requested to wash her feet. A wooden plank is offered for
her to sit. Now the pj begins.
1. Take flowers and akata and recite the following mantra for the
purpose of vhana.

aadalopari kumr samveaya |
om kl kulakumrikyai nama ||
mantrkaramay dev mtru rpadhri |
navadurgtmik skt kanymvhaymyaham ||
This is invoking her in nine Divine forms. Now place flowers and
akata before her.
2. Washing her feet. Most of the procedures are as per suvsin pj.
4 -
4 - om kl kulakumrikyai nama | pdya samarpaymi ||
3. Offering water to drink.
354
4 -
4 - om kl kulakumrikyai nama | arghyam samarpaymi ||
4. Offering water to wash her hands.
4 -
4 - om kl kulakumrikyai nama | camaniya samarpaymi ||
5. Offer her new clothes. If dress material is already given, this can
be contemplated.
4 -
4 - om kl kulakumrikyai nama | vastra samarpaymi ||
6. Offer flowers to her to wear on her head.
4 -
4 - om kl kulakumrikyai nama | pupa samarpaymi ||
7. Offering her sandal paste.
4 -
4 - om kl kulakumrikyai nama | gandha samarpaymi ||
8. Offering her ornaments.
4 -
4 - om kl kulakumrikyai nama | bharan samarpaymi ||
9. Offering viea arghya. Pour viea arghya in a small cup and offer
this to her to drink.
4 -
4 - om kl kulakumrikyai nama | viea arghya samarpaymi
10. Now do the following arcana with flowers and akata.
355
4 -
4 - om kl kulakumrikyai nama | arcana samarpaymi ||
In this arcana, all the nine names mentioned in the first table are used.
i) 4 - 4 - om kl kaumyai nama |
ii) 4 - 4 - om kl tripuryai nama |
iii) 4 - 4 - om kl kalyyai nama |
iv) 4 - 4 - om klrohiyai nama |

v) 4 - 4 - om kl kmikyai nama |
vi) 4 - 4 - om kl caikyai nama |
vii) 4 - 4 - om kl karyai nama |
viii) 4 - 4 - om kl durgyai nama |
ix) 4 - 4 - om kl subhadryai nama |
4 -
4 - om kl kulakumrikyai nama | nnvidha parimala pupi ca

akatn samarpaymi |
Place some flowers and akata before her.
11. Offer her dhpa
4 -
4 - om kl kulakumrikyai nama | dhpa grpaymi ||
12. Offer her dpa.
4 -
356
4 - om kl kulakumrikyai nama | dpa daraymi ||
13. Now offer her food. What is offered as naivedya can be given to
her as a token. But, generally, during this time, she is offered with
lunch. Others should wait till she completes her lunch. If her mother
is invited as suvsini, then both mother and child can be offered food
in a secluded place, not to cause any embarrassment to them).
4 -
4 - om kl kulakumrikyai nama | mahnaivedyam samarpaymi
14. Offer her water during lunch. Generally a new tumbler (drinking
glass) is purchased for this purpose and is given to her.
4 -
4 - om kl kulakumrikyai nama | madhye madhye amta pnyam
samarpaymi ||
15. Now offer water to wash her hands.
4 -
4 - om kl kulakumrikyai nama | camanya samarpaymi ||
16. Now offer her betel leaves with areca nut and dry fruits.
4 -
4 - om kl kulakumrikyai nama | karpratmbla samarpaymi
||
17. Now offer her nrjana.
4 -
4 - om kl kulakumrikyai nama | karpra nrjana daraymi |
18. Offer her mantra pupa.
357
4 -

4 - om kl kulakumrikyai nama | mantrapupa samarpaymi ||
Now we have to pray to her. The following verse can be used for
prayer.

vanditghriyuke devi sarvasaubhgyadyini |
rpa dehi jaya dehi yao dehi dvio jahi ||
Now, prostrate before the kumr and take her blessings. Kumr is to
be sent-off with great respect.
Further reading - kumr pj during navartr:
As far as kumr pj is concerned, they are worshiped during
navartr. There are three types of kumr pj. In the first method,
one kumr is worshiped on the first day of navartr, two in the
second day, three in the third day and so on and on the ninth day
(mahnavami) nine kumr-s are worshiped. In the second method,
everyday one kumr is worshiped during the entire period of
navartr. In the third method, one kumr is worshiped during the
entire navartr period. Such worship is done on either on aam or
on mahnavami day.
55. smayik pj:
Smayika means same minded or like minded, referring to other
upsaka-s present during this navvaraa pj. All those who are
initiated into r Vidy would have brought their tmaptra-s. All r
Vidy upsaka-s are expected to carry their tmaptra-s whenever
they attend navvaraa pj outside their home. There are certain
controversies here. A sdhaka initiated by a Guru does not take viea
arghya of a sdhaka initiated by another Guru. This thought is against
358
the basic principle of r Vidy and no such discriminations should
be there. Secondly, in exceptional cases, if a sdhaka forgets to bring
his or her tmaptra, he or she should not be denied viea arghya.
Normally, a sdhaka who frequently performs navvaraa pj keeps
extra cups for this purpose and these cups are given to those who have
not brought their tmaptra-s.
If Guru of the sdhaka is present in the place, he should be offered
with sandal paste, flowers, etc and he should be offered viea arghya
in Guru ptra, which is kept in pj maala. While offering viea
arghya to Guru, viea arghya should be worshiped with Guru pduk
mantras given by him. Guru will return the ptra after consuming the
viea arghya. In case Guru is not present personally during
navvaraa pj, sdhaka should take viea arghya from kraa
kalaa and pour into his tmaptra and keep it on his head and recite
Guru pduk mantras and consume viea arghya after reciting
mantras given in the following section.
After doing this, smayika-s present should be offered sandal paste,
flowers, etc and fill their tmaptra-s with viea arghya along with a
piece of ginger and offer their respective ptra-s to them. On
receiving their respective tmaptra-s, they will perform mental
worship with the following mantras or as instructed by their Gurus.
This worship is known as tattvaodhanam, which is described in the
next section.
56. tattvaodhanam:
These mantras are based on virjhomamantra-s of Mahnryaa
Upaniad. Though mantras are not exactly the same, the conveyance
is the same. Virj refers to the Supreme Intellect located in a supposed
aggregate of gross bodies, known as Vaivnara.
Those who have received their tmaptra-s filled with viea arghya
do the following. Sdhaka should also follow this procedure before
consuming viea arghya from his tmaptra.
359
i) The following mantra purifies the gross body of the sdhaka and
smayika-s. This mantra also removes the remnants of ego. The
mantra says that by doing this yaj (navvaraa pj is always
considered as yaj), let my soul become pure; let me become the
Divine Light, without afflictions and sins. With this in mind, the
following mantra is to be recited. First ka of Pacada is used twice
in this mantra, one at the beginning and another after the recitation of
16 vowels with bindu, beginning from to . This oblation is
through tmatattva. Please recall tatvcamanam done in part I.3. All
the four camana-s done there are reflected in the first four mantras
here.
4 - -

-

4 - ka e la hr - praktyahakrabuddhi mana rotra tvak
cakurjihvghra vkpipda pypastha abda spara rpa
gandhka vyu vahni salila bhmytman a - a ka e la hr
tmatatvena avamala odhanrtha sthaladeha pariodhaymi
juhomi svh |
tmme uddhyant jyotiraha viraj vippm bhysagu svh
ii) The following mantra purifies the subtle body of the sdhaka and
smayika-s. This mantra also removes my. The mantra says that by
doing this yaj, let my subtle body become pure; let me become the
Divine Light, without afflictions and sins. Second ka of Pacada
is used twice in this mantra, one at the beginning and another after
the recitation of 25 consonants with bindu, beginning from - .
This oblation is through vidytatva.
360
4 - -
-

4 - ha sa ka ha la hr - my kal avidy rga kla niyati
purutman ka - ma ha sa ka ha la hr vidytatvena
myikamalaodhanrtha skmadeha pariodhaymi juhomi
svh |
antartm me uddhyant jyotiraha viraj vippm bhyasagu

svh ||
iii) The following mantra purifies the causal body of the sdhaka and
smayika-s. This mantra also removes ones karmas. Unless karmas
are totally removed, liberation is not possible. This is the state of
jvanmukta. The mantra says that by doing this yaj, let my causal
body become pure; let me become the Divine Light, without
afflictions and sins. Third ka of Pacada is used twice in this
mantra, one at the beginning and another after the recitation of 9
consonants with bindu, beginning from . This oblation is through
ivatatva.
4 -
-

4 - sa ka la hr iva akti sadiva vara uddhavidytman ya
ra la va a a sa ha ka - sa ka la hr ivatatvena
krmikamala odhanrtha kraadeha pariodhaymi juhomi
svh |
paramtm me uddhyant jyotiraha viraj vippm bhyasagu
svh ||
361
iv.a) The following mantra purifies all the three bodies comprising of
prakti tattva to uddhavidya tattva and through this process, the

individual souls of the sdhaka and smayika-s are purified. The
mantra says that by doing this yaj, let my jvtman become pure;
let me become the Divine Light, without afflictions and sins. Mla
mantra (the highest initiated mantra) is to be recited at the beginning
and another recitation of mla mantra after the recitation of all the
alphabets with bindu, beginning from . This oblation is through
sarvatatva.
4 - -

- - -

4 - mla - praktyahakrabuddhi mana rotra tvak
cakurjihvghra vkpipda pypastha abda spara rpa rasa
gandhka vyu vahni salila bhmi my kal avidy rga kla
niyati purua iva akti sadiva vara uddhavidytman a - ka
- mla - sarvatatvena sarvadeha sarvadehbhimnina
jvtmna pariodhaymi juhomi svh |
jntm me uddhyant jyotiraha viraj vippm bhyasagu
svh ||
iv.b) For those initiated into oa. This mantra says That (the
Brahman) is infinite and this (universe) is infinite. The infinite
proceeds from infinite. Then, taking the infinitude of the infinite

(universe), it remains as the infinite (the Brahman) alone.
4 - -

4 - mla - pramada pnamidam prtpramudacyate|
prasya pramdya pramevvaiyate ||
362
v) This mantra is taken from Mahnryaa Upaniad. That Supreme
Light which projected Itself as the universe like a soaked seed which
sprouts as I am that Supreme Light. I am that supreme light of
Brahman, which shines as the innermost essence of all that exists. In
reality, I am the same infinite Brahman, even when I am experiencing
myself as a finite self, owing to ignorance. Now, by the onset of
knowledge, I am really That Brahman which is my eternal nature.
Therefore, I realize this identity by making myself, the finite self, an
oblation into the fire of the Infinite Brahman, which I am always. May
this oblation be well made. After reciting this mantra, both sdhaka
and smayika-s who are holding the viea arghya ptra with viea
arghya in their right palm using thumb, middle and ring fingers,
should now consume the viea arghya.
4 -

4 - rdra jvalati jyotirahamasmi | jyotirjvalati brahmhamasmi |
yo'hasmi brahmhamasmi | ahamasmi brahmhamasmi |

Now wash the tmaptra and keep it back in the maala. Smayikas also should wash their tmaptra-s and take them back.
57. devatodvsanam:
This is the combination of two words devat and udvsanam, where
devat refers to iva, akti and all the gods and goddesses who were
worshiped in ri Cakra and udvsana means the act of taking away.
It is to be recalled that we have enthroned all of them using our subtle
pra. During external worship, the Self within is brought out and
worshiped externally and once the external worship is done, the Self
in the idols should be brought back within, again using our pra and
this is called udvsanam. For this purpose, the process done in 22.1
is to be reversed. In addition to this, one has to use kecar mudra to
bring Them back to daharka.
363
Lalit Sahasranma (609) is Daharka-rpi, which is explained
thus.
In the hearts of all beings is Her subtle form. Kaha Upaniad (I.iii.1)
mentions daharka as In this superior space of the heart, present
in the cave of the intellect. It further says (II.i.12), Of the size of a
thumb, the Brahman resides in the centre of the body. Chndogya
Upaniad says This body is the city of the Brahman. Within it is an
abode in the shape of a lotus (meaning heart) and within that there is
a small space (Please note the word. It is space and not place.
Space is infinite and place is definite). One must search within this
space and earnestly desire to know what is there (Self-realization)?
Brahma Stra (I.iii.14) says, dahara uttarebhya ,
referring to the small space in the heart. It proceeds to say, That is
which is inside, that is sought for, that is surely to be inquired into,
indicating the process of Self-realisation.
There are five mantras in this section that impart subtle conveyances.
Following are the mantras, which are to be recited after understanding
their conveyances.
1) O! Devi! I worship You, who shines in the form of Gaea,
navagraha (nine planets), twenty seven stars, yogin-s (yogin-s can
be interpreted to mean nine varaa yogin-s or six yogin-s of
psychic chakras), twelve ri-s (astrological houses), saptakoi
mantras (70 million), mtk akara-s (Sanskrit alphabets) and five
pha s (kmagiri, pragiri, jlandhara, oya and mbhava
pha-s associated with five of the six mnya-s).

gaea graha nakatra yogin r rpi |
dev mantramy naumi mtkpha rpi ||
364
2) Let my speech be your japa, my movement of hands be your
mudras, my locomotion be circumambulation for you, my eating and
drinking be fire oblations for you, my lying down be prostrations for

you, all my enjoyments be my surrender to You and let these actions
of mine become the main part of Your worship. (Saundaryalahar
verse 27)

japo jalpa ilpa sakalamapi mudrviracan
gati prdakiyakramaa maandyhutividhi |
prama saveassukhamakhilamtmrpaad
saparyparyyastava bhavatu yanme vilasitam ||
3) By reciting the following mantra, pour a drop of water on Her left
palm. Remove smnya arghya (conch) with right hand, lift the conch
and make three circles around ri Cakra/Meru. Empty the water in
the conch into the right palm and sprinkle on the self and on all others
present there. Wash and dry the conch and place it safely.
O! Parakti! Whatever actions I did in your praise, whether rightly
or wrongly, please accept all my actions with Compassion. (sdhuv
asdhu v in the following verse is taken from rmad Bhgavatam
8.9.12)

sdhuv'sdhu v karma yadyadcarita may |
tatsarva kpay devi ghrdhana mama ||

365
4) O! akari (Consort of akara is akari; She is Parakti,
Lalitmbik, Mahdevi and She is everything that exists in the
universe), Mahdevi! Please come back to the pericarp of my heart
(where is Self is seated) with iva along with all Your ornaments.
After reciting this mantra, contemplate that Kmevara and
Kmevar have come back to your body as the Self. Meditate Them
within for a few minutes and after ensuring that They are back in the
body, mentally perform paca pj, given after the mantra.
4 -

4 - htpadmakarik madhye ivena saha akari |
pravia tva mahdevi sarvai rvaraai saha ||
Pacapj to be done mentally:
-
-
-

-
-
-
ra - agnytmikyai dhpa daraymi |
366
58. ntistava:
This is the penultimate part of navvaraa pj. This part consists of
three mantras. nti contextually refers to eternal peace, which can
be experienced only by jnin-s. For a jnin, nothing needs to be
attained, as he is devoid of desires and as a result of which, he always
remains united with the Self. Ka says in Bhagavad Gt (VII.15 17), Arjuna! Four types of virtuous men worship Me, the seekers of
material prosperity, the afflicted, the seekers of knowledge and men
of wisdom. Out of the four, a man of wisdom (jnin) who is always
established in Me and possessing single pointed devotion to Me is
superior. I am very dear to him and he is very dear to Me. This goes
to prove that at the end of navvaraa pj, a sdhaka transforms into
a jnin, as described by Lord Ka.
This part consists of three prayers to Her, not only for the sdhaka,
but also for everyone around him. This confirms his transformation
as a jnin.
1) Let peace prevail due to the Grace of Brahman for those who do
pj, who have conquered their organs of action and perception and
those who rule all the beings.
4 -

4 - sapjakn pariplakn yetendriy ca tapodhannm |
deasya rrasya kulasya rj karotu nti bhagavn kulea ||
2) Let all sdhaka-s and all siddha-s (endowed with supernatural
faculties; also means beatified) remain in the state of blissfulness. Let
the curses of yogin-s befall on those who mock at samaycra
worship. Let the inexplicable state of mbhav (Lalit Sahasranma
122) prevail in me due to the grace of my Guru, as I continue to
behold his lotus feet.
367
4 -

4 - nandantu sdhakakulnya aimdisiddh p patantu
samayadvii yoginnm |
s bhav sphuratu kpi mampyavasth yasy
gurocaraapakajameva labhyam ||
3) All the tattva-s (36 tattva-s) beginning from Paramaiva till the
earth; all the living beings beginning from Brahm till tiny insects
and from klgni (the fire of iva that annihilates the universe) to
iva (the Creator) become satisfied with this yaja (navvaraa pj).

ivdyavani paryanta brahmdistaba sayutam |
klgnydi ivnta ca jagadyajena tpyatu ||
59. viea arghya udvsanam:
Now viea arghya is to be removed as navvaraa pj has come to
an end. By reciting mla mantra, take viea arghya ptr above the
head and then transfer the amta within to another vessel by reciting
the following mantra. While reciting this mantra, it is to be
contemplated that oblations are made with viea arghya into the
eternal fire of kualin.
4 -

4 - rdra jvalati jyotirahamasmi | jyotirjvalati brahmhamasmi |
yo'hasmi brahmhamasmi | ahamasmi brahmhamasmi |
368
After transferring viea arghya to another vessel, viea arghya ptr
is to be washed and kept safely. Now distribute viea arghya to all
those present and offer them prasda.
Navvaraa pj concluded
369
SECTION III
BHVANOPANIAD
This is another series on ri Cakra based on Bhvanopaniad
(bhvana + upaniad). Bhvana means imagination or formation of a

concept in the mind. Like any other Upaniad, this Upaniad also
does not deal with practices. It helps us to contemplate our body with
ri Cakra. There are thirty seven verses (some texts call these as stras) in Bhvanopaniad and we will take up for discussion, each verse
in detail.
1. rguru sarvakraabht akti |
First two verses talk about Guru. In r Vidy, the role of Guru is
extremely important. There are multiple reasons for this. r Vidy is
also known as Brahmaidy, knowledge about Brahman. Knowledge
about Brahman means Supreme Knowledge. Since r Vidy deals
with liberation, it is also known as Brahmaidy.
The first verse says that Guru is the cause for everything. His power
is phenomenal with regard to the revelation of Divine Knowledge. He
is the one, who can literally show Parakti. When the darkness of
illusion is destroyed with the grace of Guru, one can realize the Self.
How my can be annihilated to realize Parakti within, is revealed
by Guru. He generally takes his disciple step by step to reach the
ultimate goal of realization. Though there are several factors that
determine Guru-disciple relationship, certain aspects are more
important. First, a disciple has to approach a Guru with a request to
accept him as his disciple. In the present day context, it is extremely
important that a disciple should also make adequate enquiries about
370
the Guru he is planning to approach and should satisfy himself about

the quality and purity of the Guru. It is not at all advisable to move
from one Guru to another Guru, unless the circumstances so warrant.
A Guru invariably evaluates his disciple to know his spiritual, mental
and physical status. If he is satisfied, Guru accepts him as his disciple.
Next comes, initiation. It is said that without initiation, inherent my
in a disciple is not annihilated. Kulrava Tantra speaks about seven
types of initiations or dk-s and they are through rituals, through
letters (mantra given in writing), working through energy body of the
disciple and planting the seed of spirituality within his body, by
touching the body of the disciple, verbal initiation (mantras), through
looks (looking at the disciple) and mental initiation (working through
the mind of the disciple). Except initiation through rituals, none of
the other dk-s involve rituals. Some Gurus do small rituals, like
sakalpa and the like. These are all very small procedures. Again, in
ritualistic initiations, there are several types of procedures. Kulrava
tantra explains this in detail. Out of the seven, initiation by touching
the body of the disciple is considered as inferior in quality and
initiations either through energy level or mind are considered as the
highest. Particularly, transmission of energy is considered as the
highest one. For this type of initiation, both Guru and the disciple
should have capabilities. The most important factor during initiation
is the awakening of the disciples dormant spiritual energy, which has
to grow and bloom. Generally, a proper initiation makes a disciple to

reach higher levels in about six months to one year, depending upon
the disciples sincerity in sdhana. It is very important that Guru
reviews his disciples progress and in case the progress is not up to
the mark due to various reasons, Guru has to talk to his disciple to
ensure that he advances in his spiritual pursuit without any difficulty.
Tantric way of initiation is to be ignored and not discussed here, as
this has been grossly misunderstood nowadays.
Guru fixes auspicious date and time for initiation. Various factors are
taken into account while fixing this time. Most important factors are
trabala, candrabala and eighth place in muhrta should be vacant. At
the time of initiation, Guru gives his disciple Mahpduk mantra.
371
Mahpduk is worshipping iva, who initiated Parakti during
Kita yuga (3,893,114 years ago from 2013-14, spreading across four
yuga-s). Following is the Mahpduk mantra.
- -

om ai hr r ai kl sau ai glau hskhphre
hasakamalavaray hsau sahakamalavay au
rvidynandanthtmaka carynandantha rmahpaduk
pjaymi (tarpaymi)* nama
* tarpaymi is used only during navvaraa pj.
This is followed by the revelation of Guru pduk mantras. There are
three mantras, one for Paramehiguru (paramehi means superior),

who is Gurus Gurus Guru. The next mantra is for Paramaguru
(Gurus Guru), a little lower than Paramehiguru and last one is for
svaguru or rguru (initiating Guru). At the time of entering into r
Vidy lineage, dk nma is given to the disciple. Thus, all the three
Gurus will have their own dk nma-s and they are worshipped only
with dk nma-s and not by their names. Dk name should not be
revealed to others and is meant to pay respects to ones Guru.
Generally, all dk nma-s end with nandantha, which is suffixed
to his dk nma comprising of three or four letters (this is a general
rule and exceptions can be made). For example prka, vimara
(, Prknandantha, Vimarnandantha), etc. For
women disciples dk nma-s generally end with amb (). For
example, ukladevyab, Kmevaryb ( , ),
etc. The lineage of rguru is revealed to the disciple only at the time
of initiation and not before.
Following are the Guru pduk mantras for Paramehiguru,
Paramaguru and rguru (ones own Guru).
1. Paramehiguru:
372

----- (dk name of Paramehiguru)
()
vilna tejase rparamehi gurave nama ----- (dk name of
Paramehiguru) nandantha rpduk pjaymi (tarpaymi)
nama ||
2. Paramaguru

----- (dk
name of Paramaguru)
nama ----- (dk name of Paramaguru) nandantha rpduk
pjaymi (tarpaymi) nama ||
3. rguru

----- (dk name
of rguru)
iva soha svarpa nirpaa hetave rgurave nama ----- (dk
name of rguru) nandantha rpduk pjaymi (tarpaymi)
nama ||
373
Some Gurus give dk name on the day of initiation, while others
give after the disciple attains a particular level. The decision of the
Guru is final.
There are innumerable references to the Supremacy of Guru in
various texts. The essence of all these texts goes like this. Guru is
the ultimate. He is treated on par with iva. Guru not only imparts the
mantra, but also guides him in all the rituals and finally he begins to
impart knowledge about Brahman (Brahmaidy). He cites references
from Upaniad-s and helps the disciple to move from Sagua
Brahman worship to Nirgua Brahman contemplation, formless form
of Brahman. He solidly stands with his disciple and ensures that the
disciple puts every step forward with confidence and dedication. A
true Guru is not satisfied till his disciple realizes the Self within (Selfrealization). Once the Guru is satisfied, he allows his disciple to go
on his own and ensures that he also teaches to others in the same
manner he was taught. Even if God curses a disciple, this curse can
be removed by a Guru, but if Guru curses his disciple, this curse
cannot be removed even by God.
In r Vidy cult, Guru-disciple relationship is very important and
hence Guru is worshiped very close to the inner triangle of ri Cakra.
There is a separate text called r Gurugt consisting of 274 verses.
This Scripture explains in details the importance of Guru and how he
is to be worshipped.
tena navarandhrarpo deha (2) (Bhvanopaniad)
Navarandhra means nine apertures. This verse says that a human
body with nine apertures is the form of his or her Guru. This verse
compares the nine triangles of ri Cakra to the nine apertures of
human body. When a human body with nine apertures is the body of
Guru, logically Guru represents ri Cakra. Thus there is no difference
between Guru, ri Cakra and the aspirant. Nine apertures of a human
body are two opening of eyes, two openings of ears, two nostrils,
mouth, and organs of procreation and excretion. When the soul leaves
the body, it generally leaves through one of these apertures. In the
374
case of yogis, however, their souls generally leave through
brahmarandhra, an orifice located on the vertex, the topmost point of
the skull. This is known as adhipati, a marma point. This aperture
controls two major psychic chakras, sahasrra (taken as chakra only
for the purpose of this discussion) and jcakra.
But, this concept does not apply to all Gurus. There are several
references that speak about Guru lakaa, which means that there are
several references which discuss about the qualities of a Guru who is
worthy of worship. Almost, all the Tantric Scriptures talk about this
subject. The foremost among all the qualities is that he should have
realized the Self and should be in a position to help his disciples to
attain liberation. Kulrava Tantra (chapters 12 and 13) discusses not

only about Guru lakaa, but also about Guru-disciple relationship.
Some of the qualities of Guru are mentioned here. Wearing clean
dress; charming; knowledge about mantras; easily accessible; ability
to clear doubts; equal minded to iva and Viu; devoid of desire,
anger, greed, ego, delusion and jealousy; complete control over his
senses; endowed with powers of mantras; merciful, etc. The list is a
long one.
What is the main quality of a Self realized person? He would have
realized iva, Self-illuminating form of Brahman. iva alone is Selfilluminating and when the Guru has realized the Praka form of iva
(iva alone is known as Praka, meaning Divine Light), this Guru is
worshipped on par with iva Himself. In Kulrava Tantra, iva
says, Out of compassion for creatures, iva takes the form of
Guru....Guru is none other than iva, Viu and Brahm..... There is
no difference between iva and Guru. Devat, mantra and Guru ae
one and the same. Therefore Prvat, I accept the worship assuming
the form of Guru and annihilate transmigration.
iva alone cannot manifest the world and therefore, He needs akti
to make all the objects known or visible. Suppose there is a powerful
light in a huge ground, what is the use of that light? There has to be
some objects around that light in order to realize that light. Similarly,
iva, as Praka cannot create the universe and He needs akti in
375
order to manifest Himself in different shapes and forms. It is

important to remember that iva is within the individual soul as the
Self. Therefore, akti is known as Vimara, who brings about the
world process. It is not enough for a Guru to become a Self realized
personality; he should have the ability to explain and teach the
methods through which he has attained iva. As iva, he cannot be
inert and as akti, he cannot be active in the material world by
imparting spiritual knowledge. If every Self-realized person shuns the
material world and resorts to penance, who will liberate pau-s like
us? Pau can be explained as those who are not initiated by a Guru or
the individual souls devoid of any thought about the Self within or
devoid of any spiritual thoughts. Mundane existence without any
connection to Brahman is known as pau. By remaining as a pau,
liberation can never be thought of. These explanations are necessary
as to why this verse says that a body with nine openings represents
Guru. These discussions drive home the point that Guru is like a God
with a shape and form and who is also capable of offering liberation.
What we have discussed above is nine gross apertures, which forms
a human body. Instead of saying that there is no difference between
the Guru and his disciples body, this verse said that Guru represents
nine apertures of the body. While dwelling on the sensory organs,
Guru teaches his disciples with the help of Upaniad-s, quoting
references and examples. Understanding Brahman is a tough subject
as it dwells only on subtleties and can be understood only by the
subtle body, the mind. By quoting such references, the disciples

mind is purified by the Guru. The next step is kindling his dormant
spiritual energy.
But there are nine subtle apertures, through which a Guru kindles the
dormant spiritual energy of his disciple at the time of initiation. The
dormant spiritual energy lies at the bottom of the spinal cord
(mldhra cakra; practically speaking dormant spiritual energy lies
in perineum in the form of kualin). According to ancient
Scriptures, a Guru is worshiped as suumna ni (a think tubular
vessel inside the spinal cord). A Guru not only represents himself, but
376
also represents the Guru lineage. Guru, Paramaguru and
Paramehiguru originated from the word ogha which literally
means uninterrupted tradition. This tradition is remembered as
Divyaguru-s, Siddhaguru-s and Mnavaguru-s. These three types
Gurus represent three types of Divine vibrations Divyaugha,
Siddhaugha and Mnavaugha. Divyaugha is iva Himself. The Gurus
who come under this category are liberated souls and iva has not
merged their souls unto Him as He has to send them back to resurrect
the world in different places. They are born as great sages and saints,
who exist even today. Their job is only to liberate spiritually
advanced people, who are ready for liberation. Second type of Gurus
are in the mid state. They are neither liberated nor suffer from sasra
(transmigration). This is the state of jvanmukta-s. Third is

Mnavaguru-s and they are in human forms and generally known as
rguru or Svaguru. In exceptional circumstances, one could be lucky
to get a jvanmukta as his or her Guru. But for this, Divine Grace is a
must.
What is the need to worship three types of Gurus viz. rguru,
Paramaguru and Paramehiguru can be understood while
understanding the nine subtle openings in the body. Paramehiguru.
This aspect can be best understood by marginally dwelling on Trika
philosophy. Paramehiguru represents three subtleties of the highest
order viz. iva, akti and Parsavid. iva is Cit or Supreme
Consciousness or Praka. akti is nanda, the Bliss and She is
Vimara, who diffuses the Power of iva to create. The third one is
known as parsavid, which manifests as four forms the subject,
the means, the object and knowledge. These four put together is
known as awareness, the awareness of akti and iva. Parsavid is
the state of union of Praka, Vimara, jnaakti and Svtantrya
akti (Independent and absolute will of iva).
Paramaguru represents three subtleties of the middle order of spiritual
elevation knowledge (suddhavidy), truth and fulfilment. rguru
represents the last of three subtleties viz. inherent nature of the
disciple, niyati, (can be explained in two ways. One is the karmic
377
account of the disciple and two religious duties of the disciple. This
is the reason for saying that the moment one gets initiation from a
true rguru, all his sins are burnt); Vidy, spiritual knowledge (when
all sins are burnt, spiritual knowledge is infused by rguru into the
disciples subtle body, the mind); the third is subhaga, where the
initiated disciple transforms into a blessed soul endowed with good
fortunes. Out of all the three Gurus, rguru is very important as he
prepares the mind, body and the soul of the aspirant to attain higher
spiritual levels. After refining, reforming and purifying the disciple,
he is handed over to the Paramaguru, who takes him to higher
spiritual levels by imparting the highest level of spiritual knowledge,
where Tat tvamasi or you are That) is taught. The disciple
understands this Truth and at the end of Paramagurus teachings, the
disciple transforms into a soul that is ready for merger into
Paramaiva (Brahman) and the disciples spiritual journey is now
consummated. At the end, the disciple confidently affirms aha
brahmsmi (I am That or I am Brahman). At this stage, the disciple
is handed over to Paramehiguru for ultimate merger with
Paramaiva through akti.
This explains the need for rguru and his lineage. rguru is the one
who teaches only spiritual knowledge to attain ultimate realization.
These nine subtle apertures correspond to the nine gross apertures in
the body. Both ears and the mouth correspond to three subtle
apertures (iva, akti and Parsavid) belonging to Paramehiguru.
Both eyes and organ of procreation correspond to three subtle

apertures of Paramaguru (highest level of spiritual knowledge, Truth
and fulfilment). Two nostrils and the organ of excretion correspond
to the three subtle apertures of rguru (inherent nature of the disciple,
annihilating all the sins of the disciple and imparting spiritual
knowledge).
All the gross apertures are in the physical body and all the subtle
apertures are in the subtle body viz. in the suumna (spinal cord). A
Guru should have the ability to penetrate into the energy body of the
disciple at the time of initiation. During the time of initiation, rguru
378
plants the seed of liberation and it is for the aspirant to make this seed
to sprout and grow.
This concludes discussions about Guru in Bhvanopaniad.
Navacakrarpa rcakram (Bhvanopaniad 3)
There is also another version of this verse (stra) which goes like this:
navaaktimaya rcakram |
This means that one with nine forms of cakra is ri Cakra. As we
know that ri Cakra has nine triangles. There are two types of
triangles, upward facing triangles and downward facing triangles.
Four upward facing triangles are iva koa-s (koa means triangle)
and five downward facing triangles are akti koa-s. The most
important factor of these triangles is their intertwining nature. This
explains the inseparableness of iva and His Power akti. It also
emphasizes the need for twin energies for creation, male and female
energies. This is with regard to only the triangles. Bindu and the
innermost triangle typically refers to the union of iva and akti,
which is explained in Lalit Sahasranma 999, iva-akty-aikyarpi.
If we go by nine varaa-s, they can also be classified as iva and
akti varaa-s. Some texts refer these varaa-s as cakra-s. varaas 1, 2, 3 and 9 (bindu) are iva varaa-s and varaa-s 4, 5, 6, 7 and
8 (innermost triangle) are akti varaa-s. Let us look at this from
grosser perspective. iva, by remaining inside the innermost triangle
as the bindu, protects Lalitmbik from the outer side by forming the
first three varaa-s. This also goes to prove that everything
originates from iva, protected by iva and dissolves unto iva.
Basically, this is the principle of ri Cakra. Though iva is the cause,
we cannot directly go to Him. We have to necessarily go through
Parakti. It only She, who imparts the ultimate knowledge known as
ivajna and it is She, who imparts this knowledge and hence She
is known as iva-jna-pradyin (Lalit Sahasranma 727). Hence,
379
ri Cakra is predominantly worshiped by those who aim for liberation
from transmigration.
The above discussion pertains to ri Cakra. Now let us understand
how to correlate ri Cakra with our subtle body. Already we have
discussed that the nine openings in a human body represent Guru.
That is with regard to gross body. The nine forms discussed here is
about nine akti-s (powers or psychic powers). If we discuss from this
point of view, then it would be appropriate to say navaaktimaya
rcakram instead of navacakrarpa rcakram. Cakra not only
means a wheel, but also means subtle energy (akti also means
energy) centres in the body. Most commonly known psychic centres
are six in number, beginning from mldhra cakra to jcakra and
the seventh one sahasrra, at the top of the head, which is not included
for the purpose of calculating psychic centres. It is not a centre, but is
the Seat of iva.
The first six psychic centres are well known and they are mldhra,
svdhihna, maipraka, anhata, viuddhi and j cakra-s.
Between jcakra and sahasrra, there are seven subtle centres. If
we include both jcakra and sahasrra, then there are nine subtle
centres. These nine subtle centres are known as bindu (jcakra),
ardhacandra, rodhin, nda, ndnta, akti, vyppik, samna and
unman (sahasrra). The nine subtle forms that we are discussing
about in this verse could also mean these nine subtle centres.
Interpretation of these nine forms is based on the spiritual attainment
of the practitioners. For those on the elevated spiritual level can go
with these nine psychic centres from jcakra to sahasrra, and
those who are yet to be spiritually elevated can go with nine forms
beginning with mldhra to sahasrra. The ultimate end is only
sahasrra. For the second category of practitioners, apart from
including the lower six psychic centres up to jcakra, mind cakra

and lunar cakra are included along with sahasrra, thus making a total
of nine chakras. Mind chakra and moon chakra are situated above
jcakra, one above the other. It is important to remember that
Lalitmbik has three types of forms, gross, subtle and subtlest. Gross
380
form is the nine apertures in the human body that correspond to ri
Cakra. Her subtler form is kmakal (intertwining of nine triangles)
and Her subtlest form is kualin. During Her journey from the base
chakra to sahasrra in the form of Kualin, manifestation of the
universe takes place. Meditating Her in the form of Kualin in the
nine psychic centres is known as antaryga (internal oblations),
which is more powerful that external oblations.
If we proceed to think further, we can find out that these nine triangles
of ri Cakra give rise to nine forms of Kl known as Navakl, nine
forms of Durg, Navagrah-s, etc.
So far, we have not discussed about a few aspects. The first one is
about trivalaya also known as tirvtta, the three circles or rings
immediately after the first varaa. There are different versions
regarding these circles. Many are of the opinion, that these three lines
represent worldly affairs and are to be ignored. Different traditions
adopt different views on these three circles. In nadabhiarava
tradition, they are present but not worshiped. In Hayagrva tradition,
they are not even present. In Dakimrti tradition, they are present
and worshiped, but not taken into account as an varaa. There are
sixty one akti-s, who are present in these three circles. Tradition is
known as sampradya and thus we have three main sampradya-s and
they are nadabhiarava sampradya, Dakimrti sampradya and
Hayagrva sampradya. Which sampradya one follows can be
known by the mantras practiced. Generally, they become the i of
that particular sampradya.
Another aspect which we have not yet discussed is about krama-s.
Krama means course or procedure followed step by step. ri Cakra is
worshiped in three types of krama-s. Most commonly worshiped
krama is sahra krama, where the worship begins from first varaa
and goes step by step towards the bindu (ninth varaa). This signifies
liberation of individual soul. This is because from the material world,
we move towards iva and ultimately get absorbed into Him.
Sahra means absorption or binding together. This refers to the
union of individual soul and the Self, and in this case it is the union
381
of jvtman with iva (Paramtman) through akti. The second krama
is sthiti krama, where sthiti means continued maintenance or
existence. In this krama, worship begins from the first varaa,
proceeds up to seventh varaa; then the worship begins from the
ninth varaa, the bindu and ends at the fourth varaa, in the reverse
direction. The last krama is si krama, where the worship begins
from the bindu (ninth varaa) and ends at the first varaa.
Coming back to the discussion on this verse about the nine subtle
psychic centres, we already know about the first six chakras, from
mldhra to jcakra. Above jcakra, there are two very
powerful psychic centres known as manascakra (mind) and
somacakra (moon). These two centres are one above the other. There
is always a direct relation between mind and the moon. There is a
strong connection between these two chakras. If the mind chakra is
calm and composed without any agitation, soma chakra becomes
highly active and begins to secrete nectar like substance, which flows
down the throat after crossing mind chakra and jcakra. This nectar
like substance is known as amtavarii. Somacakra has sixteen kals, corresponding to the fifteen tithi-s (lunar days) and Lalitmbik or
corresponding to the sixteen Sanskrit vowels. These sixteen kal-s are
worshiped during the preparation of vieargya during navvaraa
pj. These two chakras determine the mind and spirituality of a
person. Without activating these chakras, mind cannot be cleansed.
Once the mind is purified in these chakras, kualin ascends to
sahasrra to complete the process of union between iva and akti.
This is the union of individual consciousness with the Supreme
Consciousness. This is liberation.
There are two marma (also known as varma) points known as
sthapan, one exactly at jcakra and another one at manaschkara
(midpoint of the forehead). Applying slight pressure in circular

motions on these two points controls the mind. Almond oil or sesame
oil can be used to massage these two points. If any issues relating to
kualin syndrome are present, this massage will relieve all types of
syndromes related to kualin. One can meditate on these points by
382
reciting (). There is a specific way of reciting , which is known
as kta praava. While reciting , emphasis should be given on
by prolonging the recitation of . While doing so, eyes should be
closed and by focussing and concentrating on jcakra, one should
push the breath towards sahasrra.
With this, correlation between nine triangles of ri Cakra and nine
psychic centres of the human body is completed.
Vrh pitdevat kurukull balidevat mt ||

(Bhvanopaniad 4)
This verse says that Vrh Devi is the father and Kurukull Devi is
the mother. This appears to be difficult to explain as there are no
authentic and elaborate explanations on this verse. Both Vrh and
Kurukull need to be separately understood. Though there are enough
materials about Vrh, not many are available on Kurukull. This
verse speaks about their parenthood not only to a human being, but
also to all the beings. It can however be explained that they are
parents both to physical as well as subtle bodies. In other words, they
are the cause for existence of our gross bodies as well as mind (subtle
body). It is said that Vrh presides over bones and Kurukull
presides over other parts of the body. Without bone, no proper shape
is possible and thus, bone forms the basic structure of the bodily
constitution. With bone alone, a shape cannot be completed. Rest of
the bodily material are provided by Kurukull. Since bone is the
toughest part of the body, Vrh is described as father and rest of the
body compositions are subtler and soft and Kurukull is described as
mother. Both these names are referred in Lalit Sahasranma.
A physical body needs two aspects. One is protection, which Vrh
does as father and another aspect is nourishment which is provided
by Kurukull as mother. Kurukull is rarely known in rituals and
mostly associated with Buddhist tradition. However, she is said to be
one of the nine kula devi-s of Tantric tradition, the other eight being
383
Nrasimh, Cmud, Vrui, Kalp, Nrya, Kaumr, Parjit
and Aparjit.
There are eight mothers (aa mta-s), representing eight different
human qualities. They are 1. Yogevar representing desire, 2.
Mhevar for anger, 3. Vaiav for greed, 4. Brhma for passion,
5. Kaly for bewilderment, 6. Indraj for envy, 7. Vrh for disdain
and 8. Yamada for death. There are variations in their names from
the one mentioned above, while worshipping them in r Cakra. They
are worshipped in r Cakra as Brhm, Mhevar, Kaumr,

Vaiav, Vrh, Mhendr, Cmun and Mahlakm. These
goddesses are worshiped in the first varaa in r Cakra worship.
Aa mta-s also refer to eight veins on both sides of human neck.
How does Kurukull nourish a human body? It is said that she
receives offerings made during fifteen lunar days and nourishes the
body. It is also believed that tithinity devi-s receive the offerings
made on a particular tithi and they in turn offer them to Kurukull to
sustain all the gross bodies in the universe. Hence, she is called as
balidevat in this verse. Bali is also an offering during rituals made
to other inferior deities. Bali always forms a part of the main offering,
except in the case of ketrepla bali, which is prepared separately.
Some are of the opinion that the presiding deity should be given
offerings which is called naivedya and for all other deities during that
particular ritual offerings made are known as bali.
It is also said that Kurukull represents full moon, when Parakti
remains in the form of Pacada mantra. As discussed earlier
(Journey to ri Cakra), Parakti is in the form of oa mantra on
new moon days, which is represented by Vrh. Since the entire
creation is placed between Pacada and oa representing full
moon days and new moon days and since Kurukull and Vrh
represent new moon days and full moon days, it is said that they are
like father and mother of the universe. We have seen Kurukull Devi
(while discussing Journey to ri Cakra) in the middle of
vimaravpik, a boat made of rubies. In the boat we are able to see

a beautiful dark green complexioned damsel. She has a well
384
developed body. She has beautiful eyebrows that shames
Manmathas bow. She is smiling pleasantly. She is wearing ear studs
made of rubies. She is Kurukull Devi. A reference to her is available
in Lalit Sahasranma 438 Kurukull, and this nma is explained like
this: Kurukull is a goddess who dwells in r Cakra between the
boundaries of ego and consciousness (between forts 21 and 22).
Based on her positioning between the forts of mind and ego, we can
also say that Kurukull controls antakaraa (mind, intellect and
ego). If Kurukull is described like this, it can also be said that Vrh
presides over gross body and Kurukull presides over subtle body.
There are other interpretations also, which are of no significance.
However, it is still intriguing why these references are made in this
Upaniad, which belongs to Atharva Veda.
Pururth sgara (Bhvanopaniad 5)
Object of human pursuit is like an ocean. Pururtha consists of four
ambitions of life dharma, artha, kma and moka. They can be
interpreted as leading life following the path of righteousness,
acquiring material wealth, not only to sustain the self, but also to
become a philanthropist, gratifications of desires and attaining
liberation. This verse says these four, making the pururtha-s are like
an ocean. Pururthas are not the same in everyone, though the last
of the four, moka is the same in everyone. There are two types of
moka-s. One is final liberation and that soul will not be born again.
This is known as liberation. Another moka is inferior to liberation,
where the soul reaches heavens (higher planes) and sojourns there,
only to be born again to experience the remnants of karmic
impressions. Lalit Sahasranma 291 says that She alone is the giver
of these pururtha-s. iva will not give pururtha-s, as He is beyond
all these mundane activities. iva does not even give moka, as She
after imparting knowledge about iva (Lalit Sahasranma 727
ivajnapradyin) ensures that such a yogi merges unto iva.
The first three of pururtha-s vary depending upon ones spiritual
advancement. Let us take dharma. Dharma is explained as dos and
385
donts of ethical and moral life. The precepts of dharma vary
according to spiritual progression. There is no need to tell a
sanysin that he should not be angry or give room for emotions,
ego, etc. When he has resorted to sanysa, it is understood that he
should be away from material world with a steadfast mind. Similarly,
a family man is entitled and duty bound to carry out his duties to his
family and should not renounce without completing his duties, and at
the same time pursuing his spiritual path. He has to earn for the
sustenance of his family in a righteous way. What he has to do? This
is explained in Lalit Sahasranma 946 Paca-yaja-priy. (The five
yaja-s referred in smti-s are known as paca mah yaja-s. They

are deva yaja (appeasing gods and goddesses), brahma yaja (the
knower of Vedas), pit yaja (for ancestors), bhta yajna (animals,
etc) and nara or atithi yaja (nara means man and atithi means guest).
Atithi is explained as a person who is entitled for hospitality. Deva
yaja is the worship to ones kula devat (the deity worshipped
through lineage). The study of Veda-s is the next. Remembering our
ancestors is the third. This is performed on the annual death days of
ancestors. (There is no point in performing annual ceremonies
without taking care of them when they were alive). The idea behind
this yaja is not only to remember them, but also to remember and
follow the familys culture and values. Bhta yaja means sharing
with other living beings. Feeding the hungry animals develops
universal love. The last one also known as manuya yaja (manuya
means friendly to man), traditional hospitality extended to fellow
beings.) As the one who sustains his family, he has to follow the
above five yaja-s. Thus, dharma though considered by the
commandments, varies according to the level of spiritual
evolvements of individuals.
Artha means wealth (Artha has other meanings such as purpose,
cause, motive, etc). This also depends upon ones spiritual evolution.
The one at the higher end of spiritual life will not ask for more and
more material wealth and instead will seek spiritual knowledge,
which he considers as supreme wealth. Kma means desires, which

includes all types of desires such as material, physical, intellectual,
386
etc. Therefore, pururtha-s is not a yardstick that can be applied to
everyone equally. Similarly, many are of the opinion that women
should not recite , or perform agni rituals, etc. This is not true.
Dharma applies to everyone and it does not differentiate based on
gender.
Pururtha-s can be interpreted from the point of view of the previous
verse, which discussed about masculine and feminine energy in the
names of Vrh and Kurukull. Union of masculine and feminine
energies is taken forward through various Tantra stra-s, which is
often misunderstood, bringing disrepute to Tantra stra-s. This verse
says that one has to transcend pururtha-s, which is like an ocean, to
reach the ultimate goal of liberation. If first three of the pururtha-s
are transcended, the fourth pururtha is automatically attained, as the
first three deal with the mind and the fourth can be attained, only if
the mind is cleansed of the impressions of the first three, beyond the
need for normal existence.
deho navaratnadvpastvagdi saptadhtu roma sayukta ||
(Bhvanopaniad 6)
In some texts this verse is split into two separate verses. In that case,
the two verses will be like this. deho navaratnadvpa ||
and tvagdi saptadhtu roma sayukta ||
But the meaning does not change.

This body is an island of nine gems. A body is called an island
because each body functions independently. The next part of this
verse explains these nine gems. They are saptadhtu-s (chyle, blood,
flesh, fat, bone, marrow, and procreative fluids) hair and vital breath
called pra. There are different versions regarding these constituents
which really do not matter much. What we need to know is that the
body is made of nine constituents, as this is more towards grosser
interpretation. Already the nine apertures of human body are
compared to nine triangles or nine varaa-s. It is important to
387
remember that nine triangles are different from nine varaa-s, which
have been explained already.
Numeric nine has got a lot of significance in ri Cakra worship. For
example, we have nine triangles, nine varaa-s, nine yogini-s, nine
mudras (trikhaa mudra is excluded as it is meant only for those who
are initiated into mahoa mantra), nine cakrevar-s, nine siddhis, etc. Apart from this, there are nine planets, nine gems, navartri,
etc. Since ri Cakra is made of nine triangles and nine varaa-s and
as ri Cakra represents creation (inner triangle and the bindu within),
it can be explained that the universe originated from the nine
underlying principles of ri Cakra.
On the subtler side, these nine gems are compared to Her Grace,
which consists of nine components. When we talk about showering
of Her Grace on us, the following nine components get embedded in

our body, both physical and subtle. A body becomes complete only
when both gross and subtle come together and in the best possible
alignment. The nine components of Her Grace are vibhti (Her
Grandeur), unnati (causing further spiritual elevation), knti (bodily
splendour), hi (ecstatic Bliss), krti (fame), nti (tranquillity
personified), vyui (reward), utka (taking to a much higher
position) and ddhi (conclusive evidence).
We can also look at this verse from the angle of navadurg forms.
Kumrik (a girl of 10 to 12 years old), Trimrti (as Brahm, Viu.
iva), ktyyan, Rohi (a girl of nine years), Kl, Caik,
mbhavi, Durg and Bhadr (prosperous and happy). There are
other versions of navadurg. It can also be argued that She bestows
Her Grace through these nine forms. It is also said that the nine forms
of Durg represent nine different stages of growth of Prvat Devi,
Consort of iva. The Final Beatitude is conferred by Bhadr. At the
end of Final Beatitude, Lalit Mahtripurasundar Par Bhrik
takes over the meditator and takes him to iva for liberation. This
aspect is subtly conveyed here.
388
Thus, when She showers Her Grace, all these nine aspects descends
one after another on the meditator making him a perfect yogi. The
moment Her Grace falls on us, our body and mind becomes lustrous
and we spiritually advance further, to finally get liberated. Only based

on these nine components of Her Grace, She is adored as ivajna
pradyin in Lalit Sahasranma 727. Liberation is possible only if
She showers Her Grace.
sakalp kalpatarava teja kalpakodynam rasanay
bhvyamn sadhurmlatiktakakayalavaaras atava ||

(Bhvanopaniad 7)
Some texts have split this into two verses.
A resolute mind is like the wish granting tree of the heaven.
Splendour of the mind is the garden of wish granting trees. The taste
buds in the tongue which tastes sweet, sour, bitter, pungent, astringent
and salt are six seasons.
Now Bhvanopaniad begins to discuss about the mind. Bhvana
means contemplation and Bhvanopaniad enables us to perceive ri
Cakra through our minds. First part of this verse speaks about the
mind. In order to effectively synchronise our mind with ri Cakra, we
need to have a resolute mind. What is a resolute mind? When the
mind determines that the Self is within, it is known as resolute mind,
the state of sthitapraja (firmness of the mind attained through
knowledge and wisdom, where all desires are annihilated). This verse
says that this kind of mind is the garden of celestial boon granting
trees. In a contended mind, there will be no desires, no attachments
and no needs. Though he is aware that he can get whatever he wants
by the Divine Grace, he will not ask for anything, as he has no needs
at all, as he has now become a yogi (union of individual
consciousness with Supreme Consciousness). He is contended in all
aspects of life. Such a person will be able to control multitudes of
389
nines (explained in the previous verse as navaratna) that exist in his
body. Here is the situation, where the mind and body are completely
in alignment. He is in full control of his mind and through his resolute
mind he controls all the sense organs of his body. Over a period of
time he will cease to take his food, lose his sleep, etc. All this happens
one after another.
Having explained about the mind, the verse proceeds to discuss about
the six seasons. Six seasons form twelve months of a year are on the
grosser side. Taste of the tongue is also gross. But, as we are
discussing Bhvanopaniad, we have to look for subtle conveyances.
The first part of the verse says that one needs to have a resolute mind;
in other words one has to be a sthitapraja first. Once the state of
sthitapraja is reached, Her Grace descends on him. When the Grace
descends on him, how it enters the body is now the question. It enters
through sahasrra (crown chakra), where there is an orifice known as
brahmarandra. This orifice always remains closed. This orifice can be
opened only through Divine Grace and that is why it is known as
brahmarandra (orifice of Brahman; it is also known as orifice of
Brahm, the god in-charge of creation; the correct interpretation is

orifice of Brahman). Her Grace enters into our body through this
orifice and activates six psychic chakras from j cakra to
mldhra. She already exists in the form of aktikualin at the
perineum, but in a dormant state. When the Divine Grace descends,
aktikualin transforms into parkualin, where iva is inherent.
When parkualin is active, that state of the meditator is known as
prhant, the state of Supreme Paramaiva (where She is inherent
and in a state of inseparableness). Now the meditator becomes one
with That Absolute (I am That or aha brahmsmi).
When deep state of devotion transforms into love for Her, without
any efforts on the part of the meditator, he is taken to the advanced
spiritual states through navadurg concept and at the end of
navadurg state, She showers Her Grace through his brahmarandra
and ultimately ensures his union with iva and this meditator is not
born again.
390
While pursuing r Vidy upsana, it is important to understand its
intricacies, if one wants to attain liberation. Rituals should pave way
for japa mantras and japa mantras should pave way for understanding
and contemplating ri Cakra effectively with the help of
Bhvanopaniad and these transitions should happen in quick
successions, aiming for liberation in this life itself.
jnamarghya jeya havi jt hot | jt jna jeyn
abhedabhvana rcakrapjanam ||

(Bhvanopaniad 8)
This is one of the important verses of Bhvanopaniad.
This verse says that knowledge is arghya. That which is to be known
is oblation. The one who seeks knowledge is the performer of homa
(oblations into the fire). Understanding that there is no difference
between the knower, the known and the process of knowing
(knowledge) is true worship of ri Cakra. There are three aspects in
a fire ritual. One is the performer or doer; another is oblation and
while offering oblations, mantras are recited; the third one is to whose
favour (in this ritual, it is Lalitmbik) these oblations are made.
There are three words in the second part of this verse jt, jna
and jeya. Jt is the meditator; jna is the knowledge; and jeya
means the one, who is to be known. When these three becomes one,
She is realized. As long as there is differentiation, She cannot be
realized. When there is no differentiation between the three means
that the practitioner has already crossed ritualistic worship and moved
on to mental worship. Where there is no union between the three, it
means that the practitioner still remains in the ritualistic mode. This
is the essence of this verse.
Knowledge is said to be arghya. Arghya literally means welcoming a
guest with great reverence and respectfully offering water. ri Cakra
pj is also known as navvaraa pj. When invocation is done

391
properly with this mantra using trikha mudra (restricted to those
who are initiated into oa), She will surely take Her seat in the
midst of ri Cakra and now we can offer Her arghya.
om ai hr r hsrai hsklri hsrau* mahpadmavanntaste
kranandavigrahe |
sarvabhtahite mta yehyehi paramevari|| r Lalit
Mahtripurasundar Par Bhrik Mahdevy vhaymi ||
But, in navvaraa pj, there is one special arghya known as
vierghya, which is specially formulated using different ingredients
according to ones Guru Lineage and this vierghya is mentioned
here while referring to arghya. Why is it so? Vierghya is the
symbolic representation of saccidnanda iva. Saccidnanda (satcit-nanda) means existence, consciousness and bliss. But why
iva? He is the destination in navvaraa pj, as He is in the bindu.
Further, He alone can give liberation, hence Saccidnanda iva,
where iva refers to Brahman. Since r Vidy paves way for
liberation, it is also known as Brahmavidy. Vierghya is not only
related to ritual worship, it is also related to mental worship. In deep
stage of meditation, ambrosia like substance (Lalit Sahasranma
106, sudhsrabhi-vari) drips from the skull into throat chakra and
this is vierghya (discussed later in this article). Normally, flow of
ambrosia will be felt during kualin meditation. In ordinary
meditation also, this can be experienced. This secretion is directly

related to the purity level of ones consciousness. Jt, jna and
jeya are not related to ritual worship and this triad talks about mental
worship, which is the object of Bhvanopaniad.
When spiritual wisdom dawns on the aspirant, he moves forward to
attain Her Grace. Without Her Grace, liberation is not possible. A true
and dedicated ri Cakra practitioner evolves over a period of time.
The exercise begins with mantra initiation, daily worship, ri Cakra
worship (navvaraa pj), ri Cakra homa, mantra japa with mental
pj, only mantra japa, kmakal meditation, kualin meditation,
experiencing samdhi and finally liberation. If this kind of
392
progression is not practiced, liberation cannot be attained, even if one
is initiated into oa, though oa is known as kevalm moka
sdhanam (oa will be effective only for liberation). vetvatara
Upaniad (I.12) also says, You have to know that Brahman is always
residing within. There is nothing higher than this knowledge. The
jva (the enjoyer), the jagat (that which the enjoyer enjoys) and the
Brahman within, who directs know these three as Brahman.
This verse says that there should be no differentiation between the
practitioner, the path of practice (knowledge) and Parakti. When
this triad is dissolved, She reveals Herself to the practitioner.
Now, Bhvanopaniad proceeds to convey subtleties of nine varaas.
niyati sahit grdayo ras aimdaya | kmakrodhalobhamoha

madamtsaryapuyappamayy brhmydyaa aktya |
dhranavaka mudraktya ||

(Bhvanopaniad 9)
First varaa has three types of walls and each wall is protected
different akti-s. In the outer wall there are ten akti-s, in the middle
wall there are eight akti-s and the inner wall there are ten akti-s;
thus we have twenty eight akti-s in the first varaa. Entering into
ri Cakra through the outer walls is known as sahrakrama.
Sahra means contraction, which is opposite of expansion. When
iva expands, it is creation and when He contracts, it means
annihilation or liberation. Contraction means that He withdraws the
individual soul (or the entire souls during annihilation) of the devotee
unto Himself. It is not merely liberation; it is merger. The devotee
who dissolves the triad discussed in the previous verse will be able to
attain Her Grace by experiencing Bliss and later getting liberated.
393
In the first wall there are ten siddhi devi-s and they are mentioned in
the first part of this verse niyati sahit, which means along with
niyati. Niyati can be explained in different ways. Niyati means
destiny or fate, which can be corroborated with ones karmic account.
If niyati is taken to mean ones karma, entry into ri Cakra is possible
only if ones karmic account permits. Liberation is possible only if

one exhausts all his karmas. According to Trika philosophy, niyati is
one of the five coverings of my. Since, grosser meaning of
supernatural power is conveyed through the ten devi-s in the first wall
of the first varaa, there should be some subtle meaning for niyati,
etc (niyati sahit). Niyati also refers to the power of limitation in an
individual; this is the power that controls the functions of an
individual. Niyati is also known as universal law that controls and
executes normal and successive manifestations. For example, a tiny
seed gives rise to a gigantic tree. If the tree grows all of a sudden
without the seed, then it is against the principle of niayati. For
example, a yogi creates a tree from nowhere (without the usual
procedure of sowing a seed, germination, growth, etc the normal
and known mode of growth), then it is not niyati. Only exception to
niyati is found in rdhvmnya pantheon (paroa), as this
pantheon is not a normal one. Thus ten devi-s in the first wall of the
first varaa represents niyati, the step by step transformation of a
practitioner, annihilating all his karmas - prrabdha, sacita and
gmin. The very thought of entering into ri Cakra annihilates all
types of karmas and this is done by these ten devi-s.
There is yet another interpretation possible based on the second part
of the first verse grdayo ras. Lalit Sahasranma 376 is
gra-rasa- sapr, wherein ten types of rasa-s are explained. .
These ten rasa-s are love (gra), heroism, disgust, anger, mirth,
fear, pity, amazement, tranquillity and warmth. As we are talking
about liberation (sahrakrama), it means that these rasa-s are
annihilated from both mind and body. Rasa means emotional states.
When we move towards liberation, our emotions should be
annihilated. This is done by these ten devi-s of the first wall.
394
If niyati is taken to mean a part of my, then it can be considered to
mean that my is annihilated by these ten devi-s by working on both
organs of perception and organs of action (totalling ten), so that the
mind is purified and becomes eligible to enter into ri Cakra. The
ultimate idea of the first part of this verse is that one is purified before
entering into ri Cakra. This can be compared to performing
puyhavcanam (purification rites by reciting pavamnaskta).
Now the practitioner is cleansed both internally and externally and
continues his journey further.
Now we go to the second part of this verse, which corresponds to the
second wall of the first varaa, which is ruled by aamt-s (eight
mothers or aamt-s). They signify kma (all desires including lust),
krodha (anger), lobha (impatience, cupidity, etc), moha (distraction,
infatuation, delusion leading to continued spiritual ignorance), mada
(pride due to falsified ego, arrogance), mtsarya (envy, jealousy,
dissatisfaction), puya (merits accrued both through actions and
thoughts) ppa (demerits such as sin, vice, crime, guilt), the eight
impediments to realize Her. These eight qualities are annihilated by

aamt-s. The yogi is now further purified by eliminating these
qualities, both good and bad. When the mind becomes pure, there
cannot be any differentiation between good thoughts and bad
thoughts, good actions and bad actions, auspiciousness and
inauspiciousness, etc. These are the attributes associated with
dualism. All dyads and triads are related to dualism. When we are
about to be liberated, our mind becomes steadfast and hence we are
called sthitapraja-s (firm mind with perfect judgment and wisdom,
calm, contented; this is resoluteness by which we affirm that She is
within, without even an iota of doubt). As we move towards the inner
triangle, we are transformed into jvanmukta-s, ready to merge with
iva, who is at bindu.
The last part of this verse speaks about the innermost wall of the first
varaa. There are ten akti-s here and they are known as mudraktis. The verse says, dhranavaka mudraktya. dhranavaka
means nine powers of sustenance and support, which refers to nine
395
mudrakti-s. Mudras can be understood in three ways. First is gross,
usage of finger gestures. Next is subtle, contemplating the nine
bjkara-s, one for each mudrakti. These nine bjkara-s are dr,
dr, kl, bl, sa, kro, hskhphrem, hsau and ai ( , , ,
, , , , and ). The tenth one is sarvatrikha
mudraakti, whose bjkara-s are hsrai, hsklr, hsrau (, ,
). These three bjkara-s are used while invoking Her to be seated

in the midst of ri Cakra*. The third one is to contemplate these ten
akti-s in the ten psychic centres of the body.
The commonly known psychic centres (chakras in kualin
meditation) are seven in number including sahasrra. Apart from the
above, there are three important chakras, one at the palate (the
upper surface of the mouth that separates the oral and nasal cavities)
and two more chakras above j cakra manas (mind) charka and
soma (moon) chakra. Above jcakra, there are two very powerful
psychic centres known as manascakra (mind) and somacakra (moon).
These two centres are one above the other. There is always a direct
relation between mind and the moon. There is a strong connection
between these two chakras. If the mind chakra is calm and composed
without any agitation, soma chakra becomes highly active and begins
to secrete nectar like substance, which flows down the throat after
crossing mind chakra and jcakra. This nectar like substance is
known as amtavarii.
As Bhvanopaniad is related to contemplation that ultimately leads
to liberation, it is necessary to understand how these ten chakras pave
way for liberation. First five chakras represent five principle elements
of Nature, earth, water, fire, air, ka. The one just above the throat
chakra is known as lampikstna or catupada (four-way cleansing of
breath). j cakra is related to the mind, where ones mind is
purified here. When consciousness moves away from j cakra to

sahasrra, where iva is seated, ones mind and consciousness needs
further purification. Liberation at sahasrra is not possible with
inherent impurities. The inherent impurities in the subconscious mind
are purified and manascara and Divine energies are infused at
396
somacakra in the form of spiritual elixir (ambrosia or sudhdhra)
which drips into the body to cleanse the body and make it fit to
withstand the energy generated at the time of liberation (union of iva
and akti at sahasrra).
Thus, this verse (Bhvanopaniad 9) talks about mind-body
purification processes. The first purification is elimination of all
karmic impressions, second elimination is annihilating all emotions
and third part of purification is for the psychic body and mind.
pthivyaptejovyvka rotratvakjihvghra
vkpdapipypasthni manovikr kmkariydi
oaaaktaya ||

(Bhvanopaniad 10)
This verse is about the second varaa, known as sarv-paripraka
cakra. The sixteen powers that are being discussed in this verse refer
to sixteen subtle elements of the body. Sixteen akti-s (devi-s)
represent five principal elements - earth, water, fire, air, ka
(another interpretation is that they represent five pra-s); five organs
of perception ears, skin, eyes, tongue, nose; five organs of action

mouth, feet, hands, organs of excretion and procreation. Thus five
mahbhta-s, five jnendriya-s and five karmendriya-s make fifteen
elements. If we add mind (manas), then we get sixteen akti-s, each
akti presiding over one of the above sixteen powers. Mind and
indriya-s (faculty of sense) are purified here in sahra krama (the
process of liberation and ultimate merger unto iva). Here all the
embedded thoughts are completely annihilated by these sixteen devis. In particular, subconscious mind is purified here resulting in nodream state. The devotee who worships this varaa mentally gets his
subtle body cleansed by these sixteen devi-s. It can also be said that
the sixteen kal-s of the moon in their individual capacities purify the
subtle body of the aspirant. There is a strong relationship between
these sixteen akti-s and sixteen tithi nity devi-s. The process of
purifying a devotee continues in the second varaa. During si
397
krama (during creation; creation happens from the innermost triangle
and the bindu), these sixteen sixteen kal-s of the moon represent
Vimara (akti) aspect of Praka (iva). They work on the subtle
body known as manas or mind (manomayakoa). Each of these devis have different powers and during creation, powers of one or more
than one devi work on a person during birth and that power manifests
in him as he grows. During the reversal process, all such powers are
withdrawn while cleansing his mind.
vacandnagamananavisargnanda hnopdanopekkhya
buddhayo'nagakusumddyau ||

(Bhvanopaniad 11)
This verse is about third varaa, which is also known as
sarvasakobhaa cakra. The mind that was cleansed in the previous
varaa is not complete. Still there are some traces left in the mind.
But the mind needs to be completely purified before liberation, as
liberation is possible only through mind. Mind is often afflicted with
non-essential ego. There are two types of egos. One is essential ego,
which is necessary for our existence. Another is non-essential ego,
which is known as pride or self-boasting.
Let us understand this with examples. In a yogi, non-essential ego
alone prevails. He never talks about himself. If one is a truly realized
person, he will not boast himself. There is no need for him. Why
should he go and tell someone that he is a realized person. He does
not like that. This is the stage where non-essential ego is completely
annihilated. Annihilation of non-essential ego is directly related to
ones spiritual advancement. Let us take an example of a self
proclaimed yogi. He will only try to project himself as a realized
person for reasons best known to him. A Self-realized person can
never be lured with money. Therefore, desire for material gains and
ego are also directly related. Liberation cannot be bought with money
and can be attained only with the guidance of a Guru coupled with
dedication and perseverance to do sdhana. Even for a fully realized

398
person, traces of non-essential ego will continue to prevail*. There
are only very few exceptions like Ramana Maharishi. There is every
likely hood that these traces could sprout and grow to unmanageable
proportions, which could be disastrous.
The traces of non-essential ego if any will be removed in this
varaa*. After purifying his mind, he aspirant begins to develop
detachment from the material world. These eight varaa devi-s work
on puryaaka (eight constituents of the body) and remove their
afflictions if any. Liberation can be attained only by those who have
conquered puryaaka. Puryaaka consists of the following eight- 1)
five organs of action (karmendriya-s), 2) five organs of senses
(jnaendriya-s), 3) antakaraa (four in numbers - manas, buddhi,
cittam and ahakra or ego), 4) five pra-s (pra, apa, etc), 5)
five elements (ka, air, etc) 6) desire, 7) ignorance and 8) karma.
The total components of puryaaka are twenty seven and with this,
the attributes of iva is added, takes the total to twenty eight. The
mla mantra of Mah Gaapati is twenty eight. When all the twenty
seven components of puryaaka are destroyed, it leads to attributes
of iva. The attributes of iva (sagua Brahman) leads to pure iva
or nirgua Brahman (iva without attributes). Sagua Brahman
(Vimara aspect of iva, known as akti) is often realized in the form
of Bliss (akti is always known for Her nanda; in Trika philosophy,
She is known as nanda akti). When we merge into iva, even this
Bliss is also annihilated, as Bliss is related to mind. Third cleansing
process happens in this varaa.
The mind that is often agitated gets calmed down at the end of this
varaa. Agitations prevail only if the mind is filled with desires and
attachments. When desires and attachments are removed, the mind
becomes calm. This process is done in this varaa, as at the time of
liberation, mind should be completely free of any thought processes
and this process is being done through these eight varaa devi-s.
alambu kuhrvivodar vra hastijihv yaauvat payasvin
gndhr p akin sarasvat pigal suumn ceiti caturdaa
naya sarvasakobhiydi catrudahsa aktaya ||
399

(Bhvanopaniad 13)
This verse talks about the fourth varaa, which is known as sarvasaubhgya-dyaka cakra. There are fourteen akti-s in this varaa,
who again work on the subtle aspects of a human body. Each of the
devi-s preside over fourteen subtle ni-s of the body. Pra, which
we inhale gets converted and further energised to make our internal
organs function. Under general conditions, we breathe about 21,600
times daily (24 hour period). These 21,600 breaths are distributed to
different psychic centres of the body (chakras), but not equally. Major
portion of breath is distributed to three major psychic centres of the

body sex chakra, navel chakra and heart chakra. Out of the above
three chakras, navel chakra is extremely important as it represents the
nourishing aspect of the body. Nysa-s that we perform while doing
mantra japa is directly related to different ni-s and different psychic
chakras. Nysa means depositing. It is a process by which we
mentally place the concerned devata in various parts of the body.
When one surge forward in spiritual path, nysa-s can be dispensed
with. For them there is no need for nysa-s as they know that the
concerned deity pervades their entire body. Though there are several
types of nysa-s, primary nysa-s are hrdaydi or aga nysa. If a
mantra is too long, the mantra is split into six parts and each of these
parts are touched (tactile sense) with right hand fingers to
symbolically implant the mantra and devata into the body (it would
be ideal if only is able to do this mentally instead of doing this
externally). In hrdaydi nysa a part of the mantra (in some cases, it
will be full mantra) is implanted in the heart chakra, jcakra, back
head chakra, eyes, manas chakra and finally at the eight cardinal
points around us. In the case of mahoa mantra, there are around
thirty known nysa-s.
On the subtle side, the pra that we inhale first reaches the base
chakra known as mldhra, where kualin lies in a dormant state.
400
From mldhra, energy proceeds to the navel chakra, to the heart

chakra, to the throat chakra, to the shoulder blades and then to
jcakra and finally reaches brahmarandra (a minute orifice at the
top of the skull) in sahasrra. When the mind is completely purified
in the previous varaa-s, psychic centres are purified in this varaa.
Purification of psychic centres not only cleanses the subtle body, but
also cleanses various internal and external organs to which these
psychic centres are connected. When complete purification happens
in this varaa, kualin pierces brahmarandra to establish
connection between individual consciousness and Supreme
Consciousness. At this stage, connection is established between
brahma (macrocosm) and pia (microcosm). When this
connection is established, purity of the cosmos also prevails within
the human body and pervades the mind. In this varaa dualism is
completely annihilated and the yogi at this stage always stands
connected to Parakti, who has manifested as macrocosm. This
perfect conceptualization may not be possible while performing
navvaraa pj, as mind is preoccupied with material objects such
as offerings, flowers, etc. For cleaning the mind, the mind needs to
be without action. Hence meditation is recommended for final
emancipation. Names of the fourteen ni-s and names of the
fourteen devi-s are discussed while discussing fourth varaa. There
is always a direct relationship between kualin and spiritual level
of an aspirant. Whether someone likes it or not, kualin
automatically ascends with spiritual practices.

prapna vynodna samna nga krma kkara devadatta
dhanajaya daavyava sarvasiddhipraddi bahirdara devat ||

(Bhvanopaniad 14)
This verse talks about fifth varaa, known as Sarvrthasdhakacakra
and has ten akti-s. This verse identifies these ten akti-s with ten
401
types of pra-s - pra, apna, vyna, udhna, samna, nga, krma,
hkara, devatatta and dhanajaya and this has already been discussed
in fifth varaa. After having cleansed the aspirants subtle body, this
varaa imparts spiritual knowledge with reasoning and makes him
proficient and compatible to move further towards his or her spiritual
goal. Sarvrtha refers to means of accomplishing his goal and
sdhaka means effective, efficient and productive. The purified subtle
body realises its purpose of existence and moves towards the central
point of ri Cakra to attain liberation. From this varaa onwards,
knowledge about iva is gradually being imparted. When all the
pra-s are purified, the aspirant is totally detached from the material
world.
The cleansing process takes much longer time in this varaa than in
other varaa-s, because all the internal and external organs are
controlled by the ten pra-s. These ten pra-s make jnendriya-s

and karmendriya-s functional. When these ten pra-s unify to
become a single entity called pra, from which these ten pra-s
originated, the functions of organs of perception and action are
subdued and later withdrawn at the time of liberation. This is known
as contraction. Contraction refers to liberation and expansion refers
to creation. Since we are looking at Bhvanopaniad from the angle
of sahrakrama, the Upaniad is being interpreted from the point of
view of liberation.
Sarva-siddhi-prad means bestowing of universal success or
bestowing complete accomplishment. This means that the prolonged
contemplation of Her lotus feet has now yielded results. The result
comes in the form of Her Grace, which is showered on the aspirant
through Her various representatives. First comes the Guru, who
teaches tat tva asi (You are That). Next comes Her different aktis beginning from the first varaa to the eighth varaa. In the ninth
varaa She takes over the aspirant and She Herself imparts
knowledge about iva (Lalit Sahasranma 727 ivajna-pradyin).
After ensuring that the yogi is perfectly fit for liberation, She reveals
iva to him for final liberation and he is not born again.
402
etadvyu sasargopdhi bhedena recaka pcaka oako dhaka
plvaka iti pramukhyatvena pacadh jahargni bhavati ||
kraka uddhraka kobhako jbhako mohaka iti ngamukhyena
pacavidhste manuy dehag bhakya bhojya oya lehya

peytmaka pacavidhamanna pcayanti ||
et daa vahnikal sarvajddy antardevat ||

(Bhvanopaniad 15)
This verse discusses about the sixth varaa. We have discussed
about five important pra-s in the previous verse. In si krama, it
is always from subtle to gross and in sahra krama, it is always from
gross to subtle. These five pra-s get modified as five different types
of digestive fires. In particular, nga (one of the ten pra-s) gets
converted into jahargni, which aids different types of assimilation
and excretion including belching. There are ten aspects of digestion
referred in this verse and they are recaka (purging, etc), pcaka
(actual digestion), oaka (absorption of water contents into the
body), dhaka (actual metabolic action for life sustenance), plvaka
(this can be explained as the fire log for the digestive fire). The second
five are mentioned in the second part of this verse and they are
kraka (bile secretion), uddhraka (expelling gas generated during
digestive process), kobhaka (churning of food), jbhaka
(expansion of the stomach) and mohaka (assimilation of food by the
body).
In this varaa the entire digestive system is cleansed. With the
cleansing of digestive system and its associated actions, the one, who
403
is going to be liberated does not have appetite. Many living yogis are
examples. They do not eat anything for years. There are certain places
where yogis meditate throughout the year and they see the external
world only on ivartri (once in a year). Rest of the days they
meditate perpetually without sleep, water, food and excretion. This is
possible only because their digestive systems do not function and they
live only on pra. They not only inhale pra through their nostrils,
their back head chakra and crown chakra also feeds their body with
cosmic energy to keep their life going.
In this varaa, the yogi is almost purified except the presence of
three gua-s, tanmtra-s and antakaraa. They will also be
contracted in the subsequent varaa-s. By the time, a yogi enters the
ninth varaa, he or she is completely purified ready to have Her
daran and ultimate liberation.
toa sukhadu khecch satva-rajastamogu vainydi
aktayo'au ||
-
(Bhvanopaniad 16)
Eight vgdev-s represent climatic conditions such as heat and cold,
mental state such as happiness and sadness, emotionalism and three

gua-s.
This verse discusses about the seventh varaa known as
sarvarogaharacakra. We have already discussed that the seventh
varaa is presided over by eight vgdev-s, who composed Lalit
Sahasranma. In Bhvanopaniad, we are discussing about liberation
or sahra krama. As we go towards inner triangle and the bindu
within, our gross and subtle bodies are purified.
Human body is made of five sheaths, known as koa-s. These sheaths
form the covering of human organism, which is also called pia
arra. The soul is covered by three overlapping vestures. They are
404
causal body, subtle body and gross body. The causal body is the
innermost and gross body is the outermost. The gross body is
perishable, subtle body sustains for longer time and the causal body
is permanent till the final liberation of the soul. The soul along with
karmic account is embedded in the causal body. According to
Vednta philosophy, there are five superimposed sheaths known as
koa-s. The inner most is nandamaya koa (the sheath of bliss),
which corresponds to the casual body. The next three layers are
vijnamaya koa (the sheath of intellect and knowledge), manomaya
koa, the sheath of mind, prnamaya koa, the sheath of vital airs like
prna, apna, etc. These three, vijnamaya koa, manomaya koa
and prnamaya koa correspond to the subtle body. The fifth and the
outer sheath is annamaya koa, the sheath of food that corresponds to

the gross body. The entire sheathing structure of the human organism
hides the soul or purua or the self, deep within and falsely projecting
itself as the microcosm and bringing forth the illusion of the world as
the macrocosm.
When we move towards the central bindu for the purpose of
liberation, each of these koa-s are purified in stages. As far as this
varaa is concerned, eight aspects are purified or contracted.
Creation is called expansion of iva and liberation is called
contraction by iva. There is difference between individual liberation
and universal annihilation. At the time of liberation, the individual
soul merges with iva (not necessarily during death). An individual
soul, which becomes impure due to different afflictions caused by
my has to be purified totally before it is liberated. This process of
purification is done in the eight varaa-s of ri Cakra.
When we enter ri Cakra from the first varaa, the cleansing process
begins form the gross body and as we proceed towards the bindu,
subtle body and finally causal body are purified. In the seventh
varaa, any remains of rajo gua and tamo gua are purified. This is
the state of prakti (imperceptible), where all the three gua-s lie in
equipoise. In this varaa, purification is done for the subtle body
comprising of mind and intellect. They are purified by working on
405
antakaraa (mind, intellect and ego) as well as any modifications of

pacabhta-s. He now truly understands advaita or non-dualism, as
all his dualities are destroyed in this varaa. The process of
liberation from this point onwards is kept as a closely guarded secret.
This is the stage where an aspirant perpetually contemplates Her and
the connection between the aspirant and Lalitmbik is kept as a
closely guarded secret. How this secret is maintained due to the
destruction of his mind, intellect and non-essential ego? His external
appearance undergoes complete transformation. He begins to discard
all external accessories such as wearing sacred ashes, rudrka beads,
etc. From the stage of sthitapraja he moves very close to the state of
jvanmukta. Jvanmukta is the stage where one is liberated while he
is alive. The aspirant here continues to live, but as a thoroughly
transformed person, as he is now very close to complete purification.
Once the purification is complete, he becomes jvanmukta awaiting
his death to merge into Brahman.
Apart from the destruction of dualities, remnants of five principle
elements and antakaraa, seven psychic centres (chakras in
kualin meditation) are also purified.
abddi tanmtr paca pupab | mana ikadhanu | rga
pa |dveo'kua ||

(Bhvanopaniad 17)
Five tanmtra-s are represented by the five flower arrows. Mind
(manas) is the sugarcane bow. Desire is the noose and hatred and
aversion is the goad. These four are the weaponries that are worshiped
outside the eighth varaa. These four weaponries annihilate all the
qualities, known as gua-s of a devotee. At the time of liberation, one
should be devoid of gua-s. When there is imbalance in gua-s, only
then modifications in the mind happen, which leads to desires,
attachments, hatred, aversion, etc. When the mind is completely
purified and is made devoid of gua-s, qualities of the mind are
406
annihilated and the mind is made completely placid. In an unruffled
state of mind, the aspirant thinks only about Her. In this state of mind,
mantra and mediation are automatically culminated. All these unfold
on its own, as his mind has already been cleansed and made pure.
avyakta mahadahakr kmevar vajrevar
bhgamlinyo'ntasrikoag devat ||

(Bhvanopaniad 18)
Avyakta, mahat and ego are Kmevar, Vajrevar and Bhagamlin
and control the three corners of the inner most triangle.
This verse talks about eighth varaa. The universe first becomes
visible when avyakta in combination with intellect (mahat or buddhi)
and ego interact with tanmtra-s, as discussed in the previous verse.
Further contraction of the aspirant happens here. Kmevar,
Vajrevar and Bhagamlin work on him in the subtlest way possible.

His subtlest aspect alone remains, which is the state of nanda or the
nandamaya koa, which is his causal body. nanda here refers to
Parakti, the Supreme Power of iva. nanda is also a state of mind,
however without duality. In the state of Bliss or nanda the aspirant
completely unites with Her and residues of dualities are annihilated.
At the time of liberation, even nanda is also considered as a quality.
It is important to understand the difference between Cit and nanda.
Cit is iva and nanda is akti. Cit is Praka, the Power of Selfrevelation (the Absolute and the foundational Consciousness that
never undergoes any changes) and nanda is Vimara, the absolute
state of Bliss, also known as svtantrya akti of iva (Independent
and Absolute Authority of iva, beyond which nothing exists). At the
time of creation, everything begins from akti and at the time of
liberation of an individual soul, everything is dissolved into Her and
the soul is finally merged with iva only by Her. An individual soul
407
cannot directly merge with iva without Her stamp of approval. The
importance of worshipping akti arises from this reality.
Kmevar cleanses the aspirant with fire. His individual soul is now
totally purified, as fire and water are considered as the best purifiers.
Purification of individual soul means removing the remnants of
karmic impressions. Vajrevar purifies him with the rays of the sun.
His inner soul after these two purifications is realised as antartma.
In this state, the inner soul is prepared to merge with the Supreme
Soul. Finally, Bhagamlin makes his soul ready to get the final
approval of Lalitmbik and takes him before Her for final realization
and liberation.
virupdhik savideva kmevara sadnandapr svtmaiva
paradevat lalit | lauhityametasya sarvasya vimara ||

(Bhvanopaniad 19)
Pure Consciousness is Kmevara. Individual self, which is in the
state of eternal Bliss is Lalitmbik. The redness is contemplating the
union of iva, akti and jvan (individual soul).
This verse talks about ninth varaa, which has been elaborately dealt
with while discussing sarvnandamayacakra. This is the innermost
triangle and on each side of the triangle one ka of Pacada mantra
is placed. At the time of creation, the inner most triangle is known
Divine Procreative point (yoni). A person born out of this point comes
back to Her at the time of liberation. Thus, She becomes the cause,
both for creation and liberation. The entire period from creation to
liberation is controlled by Her. In other words, our existence in this
world is under Her direct control and care. Having born due to karmic
impressions, we have two options before us. One is to realize Her and
get liberated. Another option is to continue our existence, without
making efforts to realize Her. To realize Her, the highest form of
408
spiritual knowledge is required and the source of highest spiritual
knowledge is Brahma Stra and Upaniad-s. A learned Guru imparts
highest spiritual knowledge to his disciples in stages, first by
initiating into mantras and gradually takes the aspirant forward to the
path of liberation. Hence Guru maala attains great importance in
ri Cakra worship.
The contraction of the aspirant in this varaa is complete. When
reflections are withdrawn in stages over a period of time, the aspirant
is able to witness the original illuminating Light of iva known as
Praka. This is the point where the aspirant affirms ivoham (I am
iva or I am That or aha brahmsmi). He becomes liberated and
becomes a jvanmukta (liberated while alive).
Depending upon his karmic account, his period of life is determined.
After becoming a jvanmukta he continues to live, but without any
traces of duality as every trace of materialistic world is annihilated
and they will not reappear again as She has already showered Her
Grace (akti-pta) on him. Without the decadence of Her Grace,
jvanmukta state is not possible.
With this, the first part of Bhvanopaniad is completed. There are
another fifteen verses which describe about practice.
ananyacittatvena ca siddhi || (Bhvanopaniad
20)
Undisturbed awareness coupled with yearning for realization is

worship and ultimate attainment.
Having elaborately dealt with the contemplation of various varaas with different aspects of human body, the second section of
Bhvanopaniad deals with mental worship. Identifying gross and
subtle bodies with different varaa-s of ri Cakra is the preliminary
stage of contemplation. This is based on the fact that perfect identity
should be established between the worshiper and the worshiped.
Having thus unified the worshiper (the aspirant) and the worshiped
409
(Lalitmbik), the next stage is to attain Her. This aspect of worship
is being explained now.
Ultimate object of any worship is only liberation. Liberation is not an
easy task and it entirely depends upon two factors. One is our mind
and another is our karmic account. When karmic impressions are less,
one resorts to the path of spirituality. Worship consists of several
methods. The preliminary stage is gross worship where our sensory
organs are involved. This is ritualistic worship, where She is
considered as someone different from us. This kind of worship is
based on dualism. As long as an object is worshiped, it is always
dualism, though one may claim that it is not dualism. It is dualism
because there are two different objects worshiper and the
worshiped. The next stage is mantra japas. A proper and perfect
ritualistic practice leads an aspirant to the state of mantra japa where
the aspirant persistently recites a particular mantra by contemplating

Her. Bl, Pacada, oa and other mantras help in contemplating
Her. There are three types of mantra sdhana-s. One is infantry stage
where the aspirant sits for repeating japa mantras for certain rounds
per day. The mediocre stage is where the performer repeats the
mantra throughout the day without any break during his active state.
Advanced stage is where the performer aligns his or her breath with
the mantra in a way that is convenient to him or her. As long as the
aspirant breathes, he continues to recite mantras.
During the second and third stages mentioned above, a practitioner
while mentally reciting the mantra contemplates on a particular form
of Lalitmbik. The description of the form is only secondary; what
is more important is the ability to contemplate Her with a particular
form of his or her choice that is most convenient to the practitioner.
This is based on the fact that Brahman has no shape and form. But
this reality can be understood and experienced over a period of
perfect sdhana. Sdhana does not mean only meditation. Sdhana
begins from ritualistic worship, move forward to japa stage, perpetual
repetition of japa mantras, preliminary stages of meditation and
advanced stages of meditation. We must always remember that
410
Lalitmbik has three types of forms gross (in various shapes and
forms such as Bl, Pacada, oa, Kl, Lakm, etc), subtle (Her
Kmakal form, where iva and akti unite to create the world
process) and finally the subtlest of Her form, Kualin (combination

of breath and consciousness). Along with our advancement in
sdhana, we also move from gross to subtle and then subtle to subtlest
of Her forms.
The object of Bhvanopaniad is only to enable us to meditate on Her.
This is neither the second stage nor the third stage as detailed above.
This is the preliminary meditative stage. This is so, because still there
are traces of dualities involved here, such as contemplating various
parts of the body with the different varaa-s of ri Cakra.
Contemplation here is not on a single object, whereas contemplation
is on more than one object (nine varaa-s). When the contemplation
is not focussed on a single object, it means dualism still persists. In
the first part of Bhvanopaniad, though we contemplate Her in the
ninth varaa, yet, it is not pure as elucidated in other Upaniad-s,
where Brahman alone is the object of discussion, understanding and
realization. That is why second part of Bhvanopaniad pursues Her
through discussion, understanding and realization.
The first part of Bhvanopaniad dealt with varaa-s in the following
manner.
First varaa dealt with schematic attainments, emotions, ritualistic
mudras.
Second varaa dealt with five pra-s (pra, apna, vyna, udna
samna); five jnendriya-s (organs of perception ear, skin, eye,
tongue, nose); five karmendriya-s (organs of action mouth, feet,

hands, organ of procreation and organ of excretion); and mind.
Third varaa dealt with represent psychophysical properties.
Another interpretation is that this varaa represents expression,
apprehension, movement, elimination, lust, rejections, attention and
detachment.
411
Fourth varaa dealt with represent mental agitation, chasing away
(evil thoughts), attraction (physical), causing happiness, delusion
(my), obstruction (in the path Self-realization), release (releasing
obstructions in the path of Self-realization), subjugation
(surrendering to Her), rejoicing (experiencing Bliss), maddening,
accomplishment of desires (both material and spiritual), providing
wealth (material wealth), all mantras (to conquer mind) and dispelling
all types of dualities (dispelling ).
Fifth varaa dealt with ten pra-s which work on different aspects
of sustenance and death such as bestowing everything, giving
material wealth, worthiness (both material and spiritual), fulfilment
of all types of desires, removal of sorrow and pain, removal of all
pains at the time of death and foretelling death, removal of all
obstructions both in spiritual and material life, giving a good external
appearance and good looks and bestowing both material and spiritual
prosperity.
Sixth varaa dealt with requisite knowledge, necessary spiritual
energy, attaining mastery over all types of knowledge leading to

realization, continued spiritual knowledge, free from all types of
diseases, supports all spiritual practices, removal of traces of karmic
impressions, purification of mind leading to Bliss.
Seventh varaa dealt with five organs of action (karmendriya-s),
five organs of senses (jnaendriya-s), antakaraa (four in numbers
- manas, buddhi, cittam and ahakra or ego), five pra-s (pra,
apa, etc), five elements (ka, air, etc) desire, ignorance and
karma.
Eighth varaa dealt with mind that is freed not only from all
afflictions, such as desire, attachment, ego, sensory pleasures, but
also relieved from my to a very great extent.
Ninth varaa dealt with the union of iva and akti leading ultimate
Bliss and liberation.
412
Thus, in the nine varaa-s discussed above, every form of duality
gets annihilated when we proceed from the first varaa to the ninth
varaa and then to the bindu, where merger with iva takes place.
Once we reach the innermost triangle, it is the point of no return for
him to be born again in this world. Lalitmbik is revered as r Mt
because She never allows anyone who falls at Her feet to go back to
the mundane world and undergo sasra.
Therefore, it is important that one has to evolve in spiritual life
crossing infant and mediocre stages as quickly as possible to reach

the higher stages of spiritual life. During intent stages of meditation,
sense organs and mind cease to function. Mantra japa is associated
with the mind and hence mantra japa stops on its own when one
begins to experience the initial stages of Bliss or nanda, which is
nothing but an indication of our closeness with Her. When our mind
is fully pervaded by Her due to our perpetual contemplation, where
is the question of mantra japa? Mantra japa is needed only to make
Her pervade our mind. When She pervades our mind, we begin to
experience Her Grace in the form of inexplicable Bliss. During this
stage, the differentiation between the knower, the known and the
process of knowing is completely annihilated. In other words, all
types of dyads and triads are dissolved where She alone exists.
This is the conveyance of this verse.
bhvany kriy upacr | aha tva asti nsti kartavya
akartavya upsitavya iti vikalpn tmani vilpana homa |
bhvan viay abhedn tarpaam ||

(Bhvanopaniad 21)
Contemplating Her alone is reverence. In other words, meditation is
the best practice. I and you, existent and non-existent, that which
ought to be done and which ought not to be done, that is to be
worshiped are to be offered as oblations into the Self (Brahman
413
within). Offering all dyads into the Self is the real fire oblation or
homa ritual. Contemplating non-differentiation is libation (tarpaa).
In other words, considering x higher than y, etc is to be discarded
(discrimination is to be discarded). This alone is true tarpaa.
This verse talks about higher spiritual level, which takes the aspirant
closer to Her. Reaching Her is the penultimate stage to liberation.
This is based on the fact that iva alone can offer liberation. This
verse says that She can be reached through mental contemplation. It
subtly conveys spiritual transformation. Upacra means approach,
service, polite behaviour and reverence. Upsana and upacra are
almost similar. Upsana means intent concentration on Her.
Concentration can be through rituals or through meditation; the
former always leads to the latter. Emancipation happens in deep
stages of meditation such as nirvikalpasamdhi (the state of
thoughtlessness due to dissolution of all dualities). Again upacra can
also be through ritual or through contemplation. ri Cakra navvaraa
pj is a typical example of ritual worship.
Mantramtkpupamlstava is a typical example of mental
worship.
There are several aspects in external worship and each type of
worship has different purpose. Worshiping different gods for
different purposes, such as worshiping Gaapati for removing
obstacles, worshiping goddess Sarasvat or Hayagrva for education,

worshiping Goddess Lakm for material wealth, propitiating
different planets to ward off their evil effects, etc. There is another
aspect in external worship, worshiping Ia Devata for all purposes,
without going into multiple forms of gods and goddesses. This is
known as upsana. Pursuing multiple upsana-s leads us to nowhere,
as there can be only one Ia Devata. Sometimes, Ia Devata and
Upsana Devata could be different. Depth of devotion alone is
important in contemplation. It is only the love that connects the
practitioner with Her. iva said to His Consort Prvat, When a
sdhaka places offerings before me, I accept them by sight only. But
I eat them through the saintly devotees (saintly devotees are those
414
who have discarded all dualities). But, we often get struck with
multifarious rituals without making sufficient efforts to move
forward towards emancipation. If emancipation can be attained only
through meditation, one may ask as to what is the very purpose of r
Vidy. r Vidy does not refer only to ritualistic procedures. It also
refers to visualization and contemplation. Another person may ask,
what is the purpose of Sage Patajalis Yoga Stra-s or Bdaryaas
Brahma Stra or various Upaniad-s. It is like asking what is purpose
of high schools and universities. It is obvious that without passing out
from high school, one cannot enter university. Similarly, perfection
in ritualistic practices leads to contemplation, visualization and
meditation and ultimate realisation and liberation.

Let us take the case of pacapj, which is followed both in ritualistic
worship and during mental japa. Pacapj refers to five basic
elements during external worship earth (applying sandal paste),
ka (offering flowers), air (offering incense sticks), fire
(diprdhana) and water (food offerings or nivedya). The same
method is followed while mentally performing mantra japa, which is
as follows.
ra - agnytmikyai dhpa daraymi |
The five basic elements are taken into account in both the types of
worship because the universe is created only with these five elements
and their different modifications.
It is said that more care should be taken during internal worship than
external worship. This is based on the fact that the period of
connectivity between Her and the devotee is restricted only during
the period of pj or homa. But this restriction is not present for the
one who always stays connected with Her through his mind. In the
415
beginning of his meditative practices, he tries to install Her in his
mind and when he succeeds in his attempt, perpetual connectivity is

established with Her and his individual ego loses ground over a
period of time. As long as ego is present, realization is not possible
as ego makes a person to identify himself as a separate entity, the
concept of dualism. Though, one may find the process of
contemplation difficult in the initial stages, with persistent practice
and perseverance one can move forward to liberation with ease and
comfort.
Again, homa (oblations offered in the fire) is of two types, external
and internal. In external homa, the concerned deity is invoked in the
fire pit and oblations are offered into the pit. The fire god Agni takes
these oblations to the concerned deity or deities; Agni is the carrier
of these oblations who are posited in higher realms. But the internal
fire oblations are far more powerful than the external fire rituals. The
fire of kualin (the subtlest and the most powerful form of
Parakti) is the internal homa pit (homakua). Instead of offering
different material oblations as is the case with external fire rituals,
thought processes of the mind, ego, sense organs, desires,
attachments, hatred, and dualism are all offered as oblations into the
fire of kualin. Lalit Sahasranma 98, samaycra-tatpar explains
in detail how mental worship of kualin is to be performed.
Finally, this verse speaks about tarpaa, which means offering water
or libation (oblation and libation are almost the same. Former is a fire
ritual where offerings are made into fire. In the case of the latter,
water is offered to appease gods and pit-s). As far as r Vidy is

concerned, tarpaa is made in the central point of ri Cakra, known
as Bindu (Lalit Sahasranma 974, bindu-tarpaa-santu).
Contemplating tarpaa in Bindu is mental worship. Secretion of
nectar fluid during meditation is also known as internal homa. Please
refer Lalit Sahasranma 105 and 106 - Sahasrrambujrh,
Sudhsrabhi-vari.
To conclude, every part of external worship is related to internal
worship. For example, let us take a dhyna verse. It is not enough to
416
simply recite dhyna verse verbally. Dhyna verse is meant for
contemplation through mind. Literally dhyna means mental
representation of the personal attributes of a deity that are to be
visualized. It is also said that outer worship should not be done
without performing mental worship, for without inner worship, outer
worship is fruitless. Shiva said to His Consort, A single inner
worship grants the fruits of millions of outer worship. In Gaandharva
Tantra it is said, The man who offers mental offerings to Parakti
attains happiness (Bliss) and longevity (liberation).
The ultimate aim of everyone is to attain liberation. If aim of someone
is different from emancipation, he is not considered as a true devotee.
For attaining liberation, there are set of guidelines available. The
whole process starts with external worship. After attaining external
worship, one has to perform japa mantra. During this period both
external worship and japa mantra are done one after another. When
he attains perfection in japa mantras, he has to move on to meditate
on Her. To begin with, one has to meditate on the mantra which will
stop on its own when meditation becomes perfect. After attaining
perfection, the aspirant installs Her in his or her mind and establishes
perpetual connection with Her. When this connection is firmed up,
the aspirant transforms himself or herself into Parakti and
experiences Bliss which turns perpetual over a period of time. At the
end of high intensity of Blissful state, he or she confidently says I
am That or aha brahmsmi (I am Brahman). Reaching this stage
is the very purpose of Bhvanopaniad. This can be achieved only
through internal worship such as meditation, contemplation,
visualization, etc.
pacadaatithirpea klasya parimvalokana pacadaa nity.

(Bhvanopaniad 22)
417
The verse says that witnessing the changes happening (progression of
time, day, etc, generally known as evolution) through fifteen lunar
days (tithi) is seeing.
Importance of tithi nity dev-s is very significant in the evolution of
the world. Moon waxes and wanes. As we know, the moon waxes for
a period of fifteen days and each of these days is represented by a tithi
nity dev. Similarly, the moon begins to wane for the next fifteen
days, thus causing bright fortnight or uklapaka. On the fifteenth
day, the moon becomes complete without any blemishes (prim or
full moon). Similarly, the moon begins to wax for another fifteen days
(kapaka ) and completely covered by sun on the new moon day
(amvsya). On the day of new moon, also known as amvsya, sun
and moon are in the same ecliptical longitude (positions and orbits of
solar system objects, in relation to the sun). These fifteen tithi nity
dev-s are called as changing principles (because they make the time
or kla), Lalitmbik, as the sixteenth digit does not change. Thus She
is the unchanging principle of all changes. This means, everything
changes along with the waxing and waning moon, but Lalitmbik
alone does not change. These details are discussed in the above
referred article. It is important to note that Lalitmbik, as
Mahkmevari, sits on the left lap of Mahkmevara on the new
moon day (amvsya). When She, in the form of moon, conjoins with
iva, who is in the form of sun, She becomes oa. The sixteen
kal-s of moon and the sixteen kal-s of the sun join together and this
is subtly conveyed in the form of oa mantra. Based on this
principle, it is said that oa mantra gives liberation. iva is
worshiped in the form of the sun and akti is worshiped in the form
of moon. Their union takes place on the day of amvsya, hence
amvsya is considered as the most auspicious day for practicing
oa mantra.
There is relevance between tithi nity dev-s and the contemplation
of an aspirant. In the initial stages of ones sdhana, the aspirant
identifies himself with these tithi nity dev-s, who represent constant
changes happening in the world with the passage of minute, hour,
418
day, week, month, year and multitude of years. Ones birth and death
are determined by time. When the aspirant identifies himself with
tithi nity dev-s, he gets bound by time. When he is bound by time,
he has not yet removed his spiritual ignorance. When spiritual
ignorance is removed due to Her Grace, the aspirant shifts his
consciousness from the ever changing principles, to the changeless
principle, viz. Mahkmevari. Only in this state the aspirant enters
into the state of Bliss or nanda, which subsequently leads to
liberation. Therefore, ones object of meditation should be shifted
from ever changing principles in the form of tithi nity dev-s and
after attaining perfection, one should meditate on the unchanging
principle amongst all changing principles, Mahkmevari. The
method of meditation and the benefits thereof is explained in the next
verse.
eva muhrtritaya mhrtadvitaya muhrtamtra v
bhvanparo jvanmukto bhavati | sa eva ivayogti gadyate ||

(Bhvanopaniad 23)
This verse and the next verse form phala stuti; this talk about benefits
accruing out contemplation explained in Bhvanopaniad.
This verse says, the one who contemplates as detailed in
Bhvanopaniad for three muhrta-s, two muhrta-s, or even one
muhrta gets liberated in this life itself and such a yogi is called ivayogin. One muhrta is equivalent to 1/30 part of a day (24 hour
period), which is 48 minutes. Inhalation of breath alternates between
two nostrils. For a certain period (generally it is 90 minutes under
normal conditions) of time, inhalation is done through left nostril and
after sometime, it automatically shifts to right nostril. Thus inhalation
and exhalation alternates between two nostrils. Under normal
circumstances, twelve to fifteen rounds of breathing takes place per
minute. This can be reduced drastically, if mind is made calm and
419
serene. The process of making the mind pure is possible only through
perfect meditation and in order to attain perfection in meditation and
in order to calm the mind, the number of breaths per minute gets
drastically reduced. In the highest level of meditations, breathing per
minute comes down to two or three. When the entire body is aligned
with ri Cakra mentally, the aspirant Himself becomes the Abode of
Lalitmbik. It is said that the body is the temple and the Self within
is the Sanctum Santorum (garbhagha). Only in this stage, She is
realized.
While this process is going on in one side, simultaneously due to the

depth of love for Her, due to the slow and deep breathing patterns,
the aspirants kualin is awakened on its own. Kualin can be
awakened by practice and kualin will also awake on its own when
the devotion transforms into Love for Her. When She is fully
awakened, either due to practice or due to Love for Her, She moves
up the spine to become one with iva at the crown chakra. During
this union, the aspirant is completely absorbed into this Divine Union
and he enters into the state of Bliss which leads to samdhi or trance.
Realisation gets triggered during the period of trance that lasts for
more than 48 minutes or one muhrta.
What happens during the final stages of spiritual progression? An
aspirant sheds all his practices; remains calm, does not aspire for
anything. He sheds his non-essential ego and stays attuned with Her
all the time. He does not perform any pj-s and japa stops on its own;
he does not even spend separate time for meditation, as he is able
realize Her within. When She is with him, to whom he is going
perform pj-s, for whom he is going to repeat japa mantras and on
whom he is going to meditate? He sheds his duality by pursuing the
path of Brahmavidy. Though r Vidy is also known as
Brahmavidy, former is slightly different from the latter. r Vidy
initially dwells on pj-s and japas any by practicing them, the
aspirant gains complete knowledge about Her. Once he understands
and realizes Her, She showers Her Grace on him, which is known as
aktipta. At the end of r Vidy, a true aspirant experiences
420
aktipta. What is aktipta? It is explained as the descent of akti
Herself in the form of Grace on the aspirant. Only on the descent of
aktipta, the aspirant realizes that the individual soul within, is
nothing but the Self. He now understands His true nature and
becomes perfectly fit for emancipation (cessation from
transmigration). What happens to him after the descent of aktipta?
This is explained in iva Stra (II.8), which says, arra havi,
which can be explained briefly thus. The aphorism says that the body
is the oblation. Ego is reflected through I consciousness that
percolates into all three types of bodies (gross, subtle and subtlest)
and if this percolation is allowed to happen for long, destroying this I
consciousness becomes difficult. In the early stage of spiritual path,
if I consciousness in all the three levels of a body are offered as
oblations into the fire of God consciousness or iva consciousness,
ego is burnt into ashes not to rear again. It is not just enough to offer
these oblations, but repeatedly affirm that evils of ego have been
reduced to ashes and what exists now is that of iva or belong to iva.
Such a transformed yogi will not repeat namaivya, the great mantra
of iva, but he will turn into iva himself and affirm confidently
ivoha, meaning I am iva. This is possible only if aktipta is
experienced. When he realizes that He is iva, he is transformed into
a jvanmukta, the one who is liberated in this birth itself and waiting
for his death to merge with iva.
Though one may boast that he has complete knowledge of various
texts, various practices, etc, such a person will never be realized
person, as he is completely encompassed with ego. When ego is
predominant, he will end up by only remaining as the knower of texts,
capable of criticism, misleading others from reality, etc and due to his
egoistic approach he loses the focus on the Self and will never
experience aktipta. Therefore, one has to be extremely careful
during the transition from r Vidy to Brahmavidy. Once r Vidy
is transcended due to the descent of aktipta, his entry into
Brahmavidy will be much more comfortable, as in Brahmavidy,
senses are not at all involved; when senses are not involved, he works
421
only through his mind. In other words, he moves from the ritualistic
path to spiritualistic path. This is the essence of Bhvanopaniad.
kdimatena antacakrabhvan pratipadit ||

(Bhvanopaniad 24)
The explanation of Bhvanopaniad is based on kdi vidy
(Pacada mantra-s beginning with () ka). This Upaniad taught
about inner meditation based on inner psychic chakras. Meditation
alone will not make a person Self-realized. He has to undergo several
internal process and transformations before he enters into meditative

practices. Spiritual journey typically begins with rituals, fully
understanding the underlying implications. The next stage is to
visualize all these rituals through contemplation. After this stage, the
aspirant moves from different forms of worship to the single formless
Brahman, Only in this stage aktipta descends on him and he is now
called as a yogi. His true spiritual journey begins here and is
completed at the stage of becoming a jvanmukta.
ya eva veda so'tharvairo'dhte | ityupaniat ||

(Bhvanopaniad 25)
The one who understands these important conveyances of this
Upaniad is said to have mastered Atharva. Atharva is the eldest son
of Brahm (god of creation; not Brahman) to whom Brahmavidy is
revealed. This Upaniad comes under Atharva Veda.
Bhvanopaniad is concluded with a iva Stra (II.1), Citta
mantra, which is explained as follows;
Citta is unconditioned self awareness as opposed to ahakra (ego)
that is conditioned by self-concern. Mantra in this context does not
merely refer to mantra-s. Mantra is the essential tool to connect
individual consciousness with cosmic consciousness. The general
422
purpose of mantra is to establish his awareness firmly with the
concerned deity. But, in this aphorism, iva says that mind itself is
mantra. As far as this stra is concerned, citta cannot be simply

explained as mind. It is the modification of the mind where the stage
of supreme consciousness is attained by focusing within. This is the
stage, where ones awareness is disconnected from his senses. His
mind at this point becomes devoid of sensory perceptions. Only if
the mind becomes devoid of sensory perceptions, the higher level of
consciousness can be reached. Only in the purest form of
consciousness, Supreme Reality can be realised. Apart from
delinking the mind from sensory perceptions, one has to get over
sensory impressions also. Sensory impressions are more harmful
than perceptions.
Mantra is one of the tools, by which one can control the wavering
mind. The repeated recitation of any mantra makes a person to
develop concentration. In the initial stages spiritual pursuits, it is not
easy to control the mind. An effective control of the mind can be
achieved only by persistent practice. Mantras main objective is to
tune his mind to concentrate. As a by-product, he is also protected
from transgressing spiritual path. No mantra will fructify if proper
alignment is not made between the practitioner, mantra and the deity.
This is where consciousness assumes greater significance. Such
alignment can happen only in the purest form of the mind. Purity of
thought and mind is very important while pursuing spiritual path.
That is why, mantra-s are recited mentally and not vocally.
Bhvanopaniad concluded
423
USEFULL IMAGES
tattva mudra tweezers for tarpaa stick for tarpaa

for nysa
avakuhana mudra dhenu mudra
paca ptra uttarai and kalaa chakra mudra

smnya arghya
424
tattva mudra to be used while pouring viea arghya
51 alphabets of Sanskrit
425
NOTES
426
NOTES
427
NOTES
428
NOTES
429
NOTES
430
NOTES
431
NOTES
432
NOTES
433
434
NOTES

111 :D

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

111 :D

Uploaded by

Copyright:

Available Formats

111

UNDERSTANDING & WORSHIPING

phalaruti) of Lalit Triat elucidates r Cakra in a comprehensive

known as enclosure is ruled by a presiding deity and has several

worshipping them and after their permission, one has to proceed to

yogini is Atirahasya yogin. There are three goddesses who are

In any matter related to r Vidy worship, the dictums of Guru alone

flawless as possible, thanks to selfless service by Shri. AUM

10. Eighth varaa 90

Seeking Her permission to commence pj 260

49. Kmakaldynam 339

pronounced. Just as "g" but with an

but it does need an exhalation

this letter does not reverberate (hard),

needs an exhalation (aspirate) to be

this letter reverberates (soft), and it

this letter does not reverberate (hard),

just as "y" in "yet". All Semivowels

"u", not English "u"... in English it

He is blessed with pra dk in r Vidy.

and executed by Vivakarman, divine creative architect. He is also

miles away. Before we proceed to the entry gates of copper fort, we

After worshipping them, we proceed to the entrance gates of the next

consists of bindu, innermost triangle, five-faced angle, inner eight

which live eight huge serpents like Ananta, Vsuki, Takaka,

auspicious stone. It is often compared to the colour or Bhramara

Brahmaloka (marked as C in the image 1) is situated outside ri

respective gods. He is seated on a sheep with his two wives Svh

His vehicle is said to be human and he has dreadful weapons made of

reflects every symptom of prosperity. Kubera is the chief of yaka-s

vhana (Garua referred here is not a regular bird, but a mythological

obeisance to Lord Viu with four hands, who holds conch

We are now standing in front of huge gates of manomaya fort (fort of

Viu worshipped her with om hr r kl sau hu ugratre

is one soma chakra in the middle of sahasrra. When Kualin

base of these vessels. The main vessel is also known as vardhan

A brief knowledge of r Cakr becomes a necessity to understand

Kiricakra-ratha is situated. This chariot belongs to Daanth Devi

r Cakra. Bhvana means contemplation, where only the mind is

mantra recitations and he, on his own establishes a cosmic connection

Concept of Guru is very important in knowing Her truly. Guru will

concealed manner. Let us assume that a lamp is covered by eight

aspects of administration of the universe.)

It is important to note that eight (1 to 8) of them are guarding the eight

Sahasranma 977, daamudr-samrdhy. (mudr -s are the

(Lalit Sahasranma 983 is trikhae. This mudra is used to invoke

16. (6) Mhendr from Indra

*Generally only saptamt-s (seven in number) are referred. In

human activates are represented or these three stages of normal

10. Dhairykari 11. Smtykari

Cakra. We will be worshipping tithinity devi-s while worshipping

prakti (primordial nature), mahat (mahat means great; according to

all kinds of prosperity, including both material and spiritual.

n-s (* represent those n-s not mentioned in the Upaniad).

each vital breath is represented by a akti. There are ten triangles in

secondary pra-s and their functions are nga in vomiting; krma in

Rmyaa says wind can be realized through movements, fire can

We are now entering the sixth varaa (ahvaraa), which is

Like other varaa-s, we proceed from the Eastern side in

disease or other (in modern times it is about diabetes and heart

requested iva to show him the temple so that he can be present to

extremely cautious while pursuing spiritual path). Tenth devi grants

and ego. Subtleties of mind need thorough transformation in order to

five organs of action (karmendriya-s), 2) five organs of senses