UNIVERSITY OF TORONTO

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WILLIAM H. DONNER
COLLECTION

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 TANTRIK TEXTS
Edited by ART 1 1 UR Wf X)N
VOL. IV

lad urr \ LUXDuN

anskrit press DEPOsiflBU LUZAC k CO.
SO, CORNWALLIS STK^.^ 46, GREAT KUfcSLL STREET, W. C.
 U

TANTRIK TEXTS
Vol. I. TANTRABIIIDHANA witc Vf J A N I G U ANT\j
and M U DRA-N IGH AA/TU.
Vol. II. S/fA 7X1 AK RAN RO PA/VA
I I of Punzananda
SvA.m1, with Commentary of KAlichara/m and notes by
Shano-kara. PADU KAPANCH AK A, with Commen-
tary of Kalicharawa. With these are notes from the Tika
of Vishvanatha on the Second Pa/ala of Kaivalya Kalika
Tantra.

Vol. III. PRAPANCHASARA TANTRA.

Vol. IV. DAM AjVI TANTRA.
K U LAC H
Vol. V. KULARA^AVA TANTRA. (Shortly out).
Vol. VI. IvALIVILASA TANTRA. (In the press).
Vol. VII. TANTRARAjA TANTRA. (In the press).

WORKS ON TANTRA BY ARTHUR AVALON

TANTRA^PF THE GREAT LIBERATION ( MAHA-
WvtiNkNA TANTRA). A Translation from the Sans-
krit, with Introduction and Commentary.

PRINCIPLES OF TANTRA (TANTRA-TATTVA)

Vols. I and II.

THE CENTRES AND THE SERPENT FORCE

SIX
(SUA TCHAKRANIRU PA N A). (In the press < ).

OCEAN OF KULA TANTRA (KULARA'AVA

TANTRA). (In preparation ).

BY ARTHUR AND ELLEN AVALON

HYMNS TO THE GODDESS (from the Tantra and other
Shastra and Stotra of Shangkaracharyya).
 ADDENDUM.
P, 2 1. 12.

It has been suggested to me by Dr. Otto Schrader that

in Ch. II 25 is a mistake in the manuscript for either ^f|^ or
more probably for f^Bf. This criticism seems correct for there

is no reason why the twice-born castes should be excluded.

Moreover all the other nouns are in the dative as f%if is.

According to this reading Kaula knowledge is to be kept from

inimical persons not " persons of the twice-born caste "
as stated
in Sj. A. K. Maitra's Introduction.
 Digitized by the Internet Archive
in 2011 with funding from
University of Toronto

http://www.archive.org/details/kulachudamanitanOOgiri
/
 INTRODUCTION.

This first edition of the hitherto unpublished KulachiV&m-

iim has been prepared with the help of manuscripts (marked m
and collected by the Varendra Anusandhana Samiti of Raj-
t)
shahi from reputed centres of Tantrika worship in Bengal.
The text has been compared in several cases with other manus-
cripts access to which was given by Tantrika "Gurus to the
travelling Pandit of the Samiti. The work consists of seven
Pa/alas (chapters).

This Tantra is of a different type from that published in

the last volume.

The KulachtWama^i-tantra or "crest-jewel" of the Kula-

chara division of Tantrika Sadhakas is included in the list of
revealed works, which, according- to the Vamakeshvara Tantra,
are considered to be the chief amongst those which deal with
the worship of Shakti. It is accordingly found frequently
referred to as an authority in many compilations though the
Rulachurtamawi itself (II. 8) refers us, for all technical terms, to
the Bhairavi Tantra, which is, however now known chiefly
from quotations made from it.

Like all original works on Tantrika worship, the Kula-

ichurt&maf/i is cast in the form of a dialogue
the Shastra being-
revealed by the Devi in Her form as Bhairavi, in answer to
questions put to Her by Shiva in His form as Bhairava. For
this reason the book is included in the class which goes by the
name of Nigama as opposed to Agama, in which the Shastra
is revealed by Shiva Himself. The form in which a Shastra
is presented whether as the Revelation of Shiva or Shakti is
mere Lil&. Since Shiva and Shakti are one and the same and
it is Shiva who reveals. Shiva is the revealer of the Shastra
in all cases, though insome He figures as Shi^ya and in
others as Guru. The Svachchhanda Tantra puts this clearly in
the following verse :

Guru-shi^yapade sthitva svayameva mahesvara//

Prashnottara-padair vakyaistantrang samavatArayat
2 INTRODUCTION.
The Tantra according to this verse, \v;is originally revealed
I))- Mahesvara (Shiva) who Himself stood for that purpose in
the: position of the Guru as well as that of the Slmviya. This
is also stated in the last chapter (VII. 79) (if the KulachiW/4-
mawi where the Devi addressing Her Lord says :

Gunistvam sarvatantr;i//am.

Kulachara has been called a secret doctrine and practice.

The Bhairavi in discoursing" of it in the KulachiWamawi sa)'s at
the outset (I. 31) that it had not been told to Vis/etm nor to
Brahma nor to Ga//apa.

Kaula knowledge, says the text (II. 25) must not be di-
vulged to atheists, fools. Pashus, or to persons of the twice-
born caste. The secret teaching appears to have been trans-
mitted for a long time " from mouth to mouth " (Yaktrat
vaktrantaram) and even when it came in part to be reduced
into writing, sufficient precaution was taken to conceal it
from the uninitiated under technical terms, the import of
which could only be learnt from the Guru. The general fea-
tures may, however, be summed up as follows.

Although the word Kula in ordinary parlance means a

family or clan, its technical sense has been defined by the
Tararahasyavr/ttika to be "Kulam = matr/-mana-meyam." The
term thus combines the meaning of the three other words which
are further explained to mean Jiva (Mata) Jn&na (Manam)
and the manifold universe or Vishva (Meyam). The gist (Sang-
kalitartha) therefore is said to be Shakti. As Shakti is Kula
so Shiva (as distinguished from Shakti) is spoken of as Akula.
Kulachara is one of the seven Acharas enumerated by the
Kular//ava one of the leading Tantras of the division of Sadha-
kas of this school called Kaulas. According to the last named
Tantra it occupies the highest rank. "The Vaidikachara" it says,
"is no doubt higher than all, but Vai^z/avachara is higher than
Vaidikachara; Shaivachara is higher than Vai.?//avachara ;

Dak\?/^i;/achara is higher than Shaivachara Yamachara is ;

higher than Dak^i;zachara Siddhantachara is higher than the

;

last and Kulachara is superior to all."

As Kulachara is thus said to be the highest of the Acharas,

only those Sadhaka^ are qualified therefor who in this or ano-
ther birth have graduated in the preceding Acharas which are
regarded as stepping stones to it. Such a Sadhaka is called
Kaulika or Kulina. Being the final stage of Sadhana this
 INTRODUCTION.
Aclwa knows no destinction, of race, colour, caste, or sect.
But the esoteric character of its doctrine and practice is such
that it was never meant for the ordinary man of the world.
On the contrary the difficulties of its true practice are said to
be such that according to the doctrine " it is easier to walk on
a drawn sword," than to be a true Kaula. It is expressly

stated (I 42) that the Adhikfiri must be a Kulma that is one

who is capable of realizing that every person, thing, and act is
a manifestation of the Mother or Shakti jStrimayancha jagat-
sarvam). An essential feature of this Achara is the attain-
ment of the knowledge that the Mother who is worshipped
under different forms as Tripura, Kalika and so forth with
differing rituals is She from whom all creation proceeds and
who is all in all. This is very aptly set forth in the text (I. 24)
which says " Oh All-knowing One if Thou knowest Me then
of what use are the Amnayas (revealed teachings) and Yajanam
(sacrifices :ritual). If Thou knowest Me not, then of what use-
are Amnaya and Yajanam."

Yadi mfing viddhi sarvajna kva chamnayai kva yajanam.

Na viddhi mang chet sarvajna kva chanmaya/j kva yajanam.

This teaching has found its way into popular Bengali songs
which say.

" Tell me what will japa, tapa, yoga and yaga do for a man
in whom Kulaku^alini awakens and for the man in whom She
awakens not." Supremacy is claimed for Kulachara on the
ground that it is the final stage of Saxlhana in which Knowledge
is realised to be superior to ritual. Kuladharma is accord-
ingly said to weigh more than all Yajnas and Vratas put to-
gether in the scale against it though such rituals are necessary
in the preliminary Acharas which qualify for the last. As J nana
alone secures liberation the Kular#ava Tantra affirms that
without Kuladharma liberation is not possible. With the
question whether this claim is well founded I am not con-
cerned but with the statement of the historical facts. As being
the Achara which is claimed to be at the entry of liberation it is
regarded by K aulas as supreme and the end for those which
precede it. Other schools take a different view of the Kaula
claims.


CHAPTER I.

The book opens with an enumeration of the K ula-sundaris

or Devis who are said to be innumerable, under the names of
TripurA. KAlikA. V.'igishvari, Sukula, KulA, M atanggini, Pun/A,
YimalA, Chaw/anAyikA, Hkaja/A, Durga and others. Several
doctrines also such as Vai^wava, Gu/apatya and others are
mentioned.

The names of a number of Tantras belonging to the sixty-

four are next given. A
complete list has been quoted in the
footnotes (pages 2
3) from the YAmakeshvara-tantra, according
to which each of the eight Bhairavas has a Tantra of his own,
all of which are collectively known as the BhairavAji/akam.
Similarly the Tantras relating to the seven MAtr/kAs and the
Shivadutis are collectively called BahunipA-f^/akam. The
YAmalas are eight in number. These three classes give us 24
works, while the rest are those named in the list.

The 64 Tantras given in the Vamakeshvara are as follows:

1 M ah am ay &
*2 Shambara
3 Y oginij Ala-sham bara
4 Tattva-shambara
5 12 Bhairava^/aka (a) AsitAngga
Ruru
w Cha;/c/a
(d) Krodha
(') Unmatta
(/) Kapali
Bhis/iana
(A) SanghAra
13 20 Bahurt\pA^/aka the eight Tantras of the seven
MAtr/kA-y and Shivadutis
21 28 Yamala^/aka (a) Brahmayamala
(6) Vij/wuyamala
(c) Rudrayamala
(d) Lak^miyAmala
(e) Umayamala
 INTRODUCTION. 5

(/) Skandayamala (Bhaskara

substitutes Jayadrathayamala)

(g) Gaeshayamala
(k) Grahayamala
*2 MahochchhiLsV/ya 49 Sarvajnanottara
9
*;5 o Vatula * o Mahakalimata
5
*3> Vatulottara 5' MahAlak-r/zmimata

32 Hr/dbhcda 52 Siddhayoeshvarimata
Tantrabheda 53 Kunipikamata
34 Guhyatantra 54 Devarupikamata
35 KAmika 55 Sarvaviramata
36 Kahivada 56 Vimalamata
37 Kalasara 57(#) Purvamnaya
3 Kubjikamata (d) Pashchimamnfiya
*39 Tantrottara (c) Dak^iamnaya
40 Vi/zntantra (z/) Uttaramnaya
4i Troz/ala 58 Niruttara
42 Troz&ilottara 59 Vaishe^/zika

43 Pancham/'/ta 60 J nanar/zava
44 Rupabheda *6i Virabali

45 BhutortWfimara 62 Aru/zesha
46 Kulasara 63 Mohimsha
47 K ulozzVisha 64 Vishuddhesvara
* s Kuladiuz/amazzi
4

It has not been found possible to identify with certainty all

items in the list oiven in this work with that of the Vamakesh-
vara and in some respects the list differs. If, however, we take

Mayottara, Kalapaka or Kalapada, Sarvajnanatmaka and

Vishudeshvara which occur in the Kulachuzramazzi to refer to
items 1, 36. 48 and 64 respectively of the Vamakeshvara list
then the two lists correspond except as to the 9 items marked
with an asterisk. In the place of these last the present work
appears to <^ive the names of the following Tantras Maha- :

sarasvata, Tantrajnana, Vasuki, Mahfisammohana, Maha-
suta/zma, Vahana, Vahanottara, Mat/'/bheda. Vishvatmaka.
Shivavali. If however we thus count' them we get 10 Tantras
or one too many. Possibly MahasuloVzma may be part of the
title of the Vahana Tantra which succeeds it, in which case it
may be eliminated.
 INTkODCCTIOK.
The Bhairava then says thai lie knows all these Kula-
sundaris, doctrines, and Tantras hut has nevertheless not
attained hliss (Ananda). lie asks the Bhairavi why this is so?

In reply the Bhairavi first givessome general philosophical

instruction in eleven verses16-26) to the Bhairava whom
(I.

She addresses as the most Supreme Kula the ocean of Tantrika

Kula knowledge (TantrajnAnakular;/ava) which, since He
apparently seeks instruction, has for the moment heen obscured
by Her Maya. This portion may be divided into three sec-
tions. The first (vv. 16-17) refers to that primordial state
when She as Prakr/ti was bidden in ChidAnanda (Ahang Prakr/-
tinipa chech chidAnandapantya/m ). In this state there is
neither creation, maintenance or destruction neither Brahma. ;

I lari or Shambhu or other Devas neither attachment, suffer-

;

ing" nor liberation neither piety. Theism, or Atheism. Japa.

;

Guru or Shuviya.

The second state (vv. 17-24) is that in which the Devi

covering Herself withHer own MayA becomes desirous of
creation (Unmukhi) and threefold. Then joyful in the mad
delight which comes of Her union with the Supreme Akula
She becomes Vikari/n ; that is the Vikaras or Tattvas arise in
Mulaprakmi.

Mayayachchhadya chatmanang tridha bhiitva yadonmukhi

Parakularasonmadamodini cha vikari/n

At this second stage Brahma. Hari. Shambhu appear and

with them the Worlds (Loka) and the Elements (Panchabh titan i)
of which they are composed. By the differentiation of Shiva
and Shakti the Guuas commence to operate (Shivashakti-pra-
bhedena gu//otpattistu jayate). Brahma and the others are not
distinct entities. They are all one and the same as parts of
Her. The creation which is Matratmaka appears and then
disappears in Pralaya.

In the third section (vv. 24-26) the Devi teaches the great
lesson that all scripture and ritual are unneeded where She is
known as they are unneeded where She is not known. For
;

scriptural teaching-is a means to an end knowledge of Her.

;
It therefore has no use where She is known. If on the other
hand religious disposition is wholly wanting these means alone
will not evoke it. though they are not without their uses in
educating a latent piety in the disciple. The Bhairavi then
says " I manifest myself as woman (that is in female form or
 INTRODUCTION.
Shakti) which is my own Self and the very essence of creation
(Narinipang samfisthaya s77>///is&ram madatmakam) in order to
know Thee Bhairava, the Guru who art united with Me
(Bhavayogastham)". She adds that even when all this is said
Her Tattva is not known.

The Devi
then speaks of the methods (Upaya) of attaining
liberation which is the essence of all Tantras and is honoured

by all DevatAs. These means secure knowledge and awaken

Tattvabodha. They destroy both merit and demerit and
(v. 29) give both enjoyment and liberation (Bhogamuktiprad-
Ayakam). This doctrine is said to have been kept as a pro-
found secret so that it had not been divulged even to Vis/imi,
Brahma nor Gawapa. It should be concealed in the heart
(Gopantyantu hr/daye). " This wonderful secret, my child,
should be kept from Pashus" (v. 40. Rahasyam adbhutang vatsa
goptavyam pashushangka/e). The Devi speaking of this doc-
trine thus addresses the Bhairava " Child (Vatsa) it strikes me
with wonder and bewilders even the wise. It is replete with

numerous and bewildering meanings and is the final resting

place of all good disciples (Sachchlm//ya-param&spadam). It is
Sadachara according to all doctrines (Sarvavadisadachara)
and is at the same time blamed or reprobated by all doctrines
(Sarvavadivigarhita). It can be learnt only from a good
teacher (SadAcharyyaparijnaptam). Follow it with care."

To
begin with, the Devi speaks of the necessity for the
acquisition of J nanashuddhi, the
purification of knowledge, and
for this purpose She refers to the daily observances beginning
with the morning rites. The Sadhaka should rise in the morn-
ing, make his PriwAma to the Kula trees (Kulavr/k.sV/a), and
contemplate upon the Kula (Shakti) from the Muladhara to the
Brahmarandhra and meditate on the Guru.

The Kulavr/k.f//as according to the K&meshvara Tantra are

Shlesmataka, Karanja, Nimba, Ashvattha, Kadamba, Vilva,
Va/a, Ashoka(i). The Tararahasyavr/ttika quoting the above
verse from the K&meshvara Tantra adds that the above are those
usually enumerated but that a ninth is added by some namely
the Chincha. The printed Tantrasdra however gives a list
of ten trees viz. the first seven mentioned together with
%

( 1 ) Shleslimatakakaraiijilkhyaninihashvattlinkaclanihaka//
Vilvo va/o 'pyashnkashclia itya.f///au kulapddapd/;.
 INTRODUCTION.
Uz/umbara, Dlrtlri, and Chinchft(i ). I'Vom whic h it would appear
that whilst Shlrshmataka, Karanja, Vilva, Ashvattha. Kadamba,
Nimba and Va/a arc generally recognised as Kula trees, U//mn-
bara, )hitn, Chinch.!, and Ashoka are only exceptionally so.
I

'['hen follows the mental worship of the eight Kulanathas, namely

Prahladananda, Sanakananda, Kumar&nanda, Vashi^/^Ananda,
Krodhananda, Sukhananda, Jnanananda and Bodhananda.
Their Dhyana is given in two verses. They are those whose
eves betray the bliss in their hearts which comes from the
great Rasa (Maharasarasollasahr/dayanandalochana//) whose ;

darkness (Tamas) has been cut and crushed by embracing Kula ;

the dispellers of fear who know the meaning of all the Kula
Tantras (1. 36-37). The Chapter closes with the instruction
that the Guru fit to initiate a disciple in this system must be a
Kulina and no other. The Kulma is Adhikari of all Vidyas
and is competent to initiate in all Mantras (Dik^aprabhu//! sa
cvatra sarvamantrasya napara/fc). The work of those who
leave the Kulaguru is stated to be mere Abhichara.

CHAPTER II.

This chapter begins with the ablution-rites (Snana) and

states the Shastric rules which must be followed. The devotee,
after ablution, is directed to wear two pieces of cloth (II. 12).
This is strictly in accordance with the rules laid down by Yogi
Yajnavalkya. A departure from this rule constitutes, according
to Bhr/gu, nakedness, which disqualifies for the performance of
religious rites. The devotee is next directed to worship Shakti
with offerings of flowers, incense, perfumed betel, and other
desirable articles. Then follows the worship with Yantra and
the contemplation of Oneness with the Mother. The worship
of the S&dhaka's wife 'Nijakantam II. 30) is described with the
details of her initiation to be given where She has previously
been uninitiated.

(1) Shlesbma^akakaranjancha-vilvSshvaltha-kadamhakaA
Nimbo va/o rthmburancha dhatri chincha dasha simv'ta^.
 !

CHAPTER III.

The rites prescribed for the night are disclosed in this

Chapter. If the devotee worships a Parashakti, he should first
initiate her if she happens to be uninitiated. The mantra for
such initiation is referred to in three verses (III. 13-15). The
food to be offered to Shakti during the Purashchara;/a-ceremony
is enumerated at length (III. 22-26). The Shaktis worship-
ped are to be looked upon as eight Matrzkas, and they should
be named accordingly. The hymn to be recited in their wor-
ship is given, which shows that each of them is to be addressed
as one of the aspects of the Mother Herself.

The hymn is called Kanzejapa-stotra from the fact that each

verse addressed to each of the Matr/kas is whispered into her
ear. In this worship the elder may bow down to the younger,
one of superior caste to one of inferior caste, for the Shaktis
selected for worship, are each and all manifestations of the
Mother. The following translation and accompanying notes
are by the General Editor.

Oh.

Obeisance to Thee O Mother ! O Devi

The pure One(i) Who art Brahma (2)
Remove by Thy mercy all obstacles (3) which beset me
And grant me liberation (4)

2.

Our great Lady !

(5) Bestower of blessings !

Oh Devi ! Who art the Supreme Bliss (6)

Remove by Thy mercy all obstacles which beset me
And grant me liberation

1. Anaghe.
2. Brahmarupadhare i. e. Shakti of Brahmil or Br&hrm Shakti.

3. Vighnam ; that is obstacles standing in the way of liberation.

4. Siddhi ; the greatest of which liberation (Mokr/ja) is. The refrain runs :

Krzpaya hara vighnam me mama siddhing prayachchha me.

5. Maheshi, Shakti of Mahesha or Shiva : Shaiva Shakti.

6. Paramanandarupiwi : for She is according to Tantra one with the Supreme Brahman Who
is Bliss Itself.

2
IO INTRODUCTION.
3-

Kauiruin !(i) beautiful Playmate of Kumftra!

The sovereign Mistress of all Vidyas !
(2)
Remove by Thy mercy all obstacles which beset me
And grant me liberation

4-

O Devi Who ! borne by the son of Vinata (3)

Art \ r\s/im\ (4)
Remove by Thy mercy all obstacles which beset me
And grant me liberation

5-

Oh Devi ! Bestower of blessings ! Who art Vanihi (5)

By Whom the earth was lifted on Thy tusks (6)
Remove by Thy mercy all obstacles which beset me
And grant me liberation.

6.

O Devi Who art Shakra (7)

!

Who art worshipped by Shakra and other Suras (8)

Remove by Thy mercy all obstacles which beset me
And grant me liberation.

7-

Chamu^a !
(9) besmeared with blood wearing a garland
of severed heads
Destructress of fear
Remove by Thy mercy all obstacles which beset me
And grant me liberation.

1. Shakti of Kumara.
2. Sarvavidyeshi ; the Vidyas are various manifestations of Mahashakti.

3. That is the bird-king Garu^/a the vehicle of Visfom,

4. VirAwurfipadhare, i e. VaiV/z/avi Shakti.

5. Sh.tkti of Varaha the Boar incarnation of V\s/inu.
6. The Varaha Avatara which succeeded the Kurmma &nd raised the earth from the waters
in which it was submerged.
7. Indra, the Devi is here addressed as the Shakti of Indra or Aindfi Shakti.
8. The Devas.
9. One of the SanghariT manifestations of Devi.
 )

INTRODUCTION.
8.

Mahalaksvfcmi, Mahamaya (! !
r

Destructress of anguish and sorrow !

Remove by Thy mercy all obstacles which beset me

And grant me liberation.

9-

Thou art O Devi the Father and Mother of all (2)

!

And art to us in the place of Father and Mother (3)

One Thou art yet manifold (4) in the form of the
Universe (5)
Obeisance, Oh Devi ! to Thee.

the recitation of this hymn ends the Puja of the

With
Shaktis the worship of at least one of whom is enjoined. Other
;

rites are enumerated in the subsequent Chapters.

CHAPTER IV.

The devotee should be

well versed in Vai^wavachara that
is Bhaktimarga before he can be permitted to adopt any of
in
the special rites. He should be Udarachitta/j (large minded)
Paranind&-sahi.!f/wu/j (patient of ill said of him) and Upakara-
rata/j (one who does good to others). He is required to recite
his Mula-mantra if he happens to come upon a deserted temple,
junction of four roads and such other places which are said to
be fit for worship.He is directed also to bow unnoticed to Maha-
kali if he sees certain birds and animals; Gr/dhra (Vulture),
K^emangkan (Bnihma^i kite) Jambuki (She-jackal) Yama-
dutika (raven) Kurara (osprey) Shyena (hawk, eagle or falcon) a
crow and a black cat. He is further directed to do circumambu-
lation (Pradak^i^a) of a corpse and the cremation ground. The
Mantras to be recited on such occasions are noted. Obeisance

1. Mahamohe. As such the Mother is the Destructress of Avidya and therefore as the verse
says destructress of all the anguish and sorrow which proceed from it.

2. Pitnmat/vmaye.
3. Pitrimatr/vahij/ikrz'te. The earthly father and mother which are mere Angshasliaktis
are put aside to revere Her as the real Father and Mother of all.

4 Eke bahuvidhe.
5. Vishvanipe.
 INTRODUCTION.
must also be made when he
sees a black (lower, red cloth, a
king, a prince, an elephant, a horse, a chariot,weapons of war,
valorous man ( Virapuruy/ja) a buffalo, a Kaulika or an image
of Malm/zamardini. If he sees a jar of wine, fish or flesh, or
a beautiful woman, or a Devi Bhairavi, he must bow and recite
a special mantra. The N'ilatantra gives a fuller list of objects
to which obeisance is to be made in this way. Then comes
the ritual prescribed for the worship of Kali in the cremation-
ground. The Dhyana is revealed in seven verses (IV. 39-45).
As this Devi fulfils all Siddhis She is called Dak^iwakali.

CHAPTER V.

This Chapter deals with rites which are performed for the
development of powers enabling the devotee to draw towards
him any Deva, lower Spirits or human being he wishes.
Vv. 7-8 say that if anything is taken from the subject of the
rite which belongs to him or he or she are ill-treated or deceived
in any way the Sadhaka is fallen (Bhra^/a) and dies. Harm also
happens to his family from such magic (Abhichara). The
rite consists of the worship of Dak^i;mkali, The Risla of the
Mantra is Bhairava and Chhanda is \5shn\k. The first Vija is
the supreme Shakti (Purvang vijang parashakti). The Angga-
nyasa is directed to be performed with the Vija coupled with
the six long vowels. In this rite the Brahmawa Sadhaka is
directed to substitute for wine (where this is mentioned) honey
in a vessel of copper (v. 78) or he may perform the Kulapuja
with Kula wine.

CHAPTER VI.

This part concerned with the method of acquiring powers

is

(Vetalasiddhi) enabling the devotee to go anywhere he pleases.

It consists in the worship of Yoganidra, Katyayani, Purweshi ;

Cha7^i Kamakhya. and Dikkaravasini. The special rite of

;

Sadhana which goes by the name of Shavasadhana, is described

in this chapter (vv. 19-28). The object of this Sadhana in this
special instance is the acquisition of the power with which the

Chapter deals.


CHAPTER VI 1.

This the last chapter describes the worship of Mahi^a-

mardini which, from the large number of stone and metal
images discovered in various places, seems to have been very
popular at one time. The worship of Mahi^amardim appears
to have undergone gradual changes. This is indicated by the
Mantra as disclosed in the KulachiWama//i. The Mantra has
been revealed in the usual Tantrika garb by the following
verse :

Trailokyavijabhutante sambodhanapadang tata/i

Sr/^/isangharakau var/rau vidya mahi^amardini

This yields a mantra of nine syllables, namely

Ong Mahi^amardini Svaha

But the text (VII 5) ordains that if the Mantra and its
Sadhana is disclosed at all, it may be
disclosed to one who is
extremely obedient to his Guru, but even then not with its Vija.
Only eight syllables should be disclosed, thus reducing the
mantra to

Mahi^amardini Svaha.

It is said that the Mantra of nine

syllables should not be
imparted but should Kali age be kept concealed, and
in the
that eight syllables alone should be disclosed with the Mantra,
Svaha, but never with the Mantra Nama//.

It would appear from the Sharadatilaka, a compilation by

Lalo-imawa Deshika of the eleventh century A. D. that in his
day the Mantra of eight syllables alone was known. The
Mantra of ten syllables is not mentioned even by the Kula-
chiu/amam. This may be taken to suggest that the worship of
Mahi^mardini is of great antiquity. Originally the mantra
was of eight, nine and ten syllables. But in course of time (at
the date when the KulachiWama^i was .reduced into writino-
the Mantra of ten syllables had already fallen into disuse, while
the Mantra of nine syllables, was discontinued. In the eleventh
century A.D. sat the date of the compilation of Sharadatilaka)
the Mantra of eight syllables only was known.
,,, INTRODUCTION.
Another important change is noticeable in the Risk\ and
Chhanda of this Mantra. The Risk] according to RAghava's
Commentary on the SliAradAtilaka, is said to be Shakavatsa ;

the Chhanda according to it is Prakr/'ti. The Commentator also

notices that in his day according to some the Rish'\ was also
said to be M
ArkaWeya. But the KulachiVAmawi (VII. 11)
distinctly says that the Risk'x is Narad a and the Chhanda is
Gayatri. It is noticeable that the A'is/n and Chhanda of the

Mantra for the worship of DitrgA. are Nfirada and Gayatri.

May be that the worship of Mahi^amardini was gradually
it

sought to be cast into the same form as the worship of Durga ?

This seems highly probable from another circumstance that
according to the Sharadatilaka-/ika of Raghava Bha//a, the
PiMapuja. should be performed as ordained for the worship of
Durga-,

The image Mahi^amardini is however different from

of
that of of Durga. MahuV/amardini according to Kulachurt&ma/zi
(VII 13) has eight hands holding on the right side Chakra
(discus) Kha</ga (sacrificial sword), Va#a (arrow), Shula (trident),
and on the left side Khart'ga, Charma (shield), Dhanu (bow) and
Tarjani-mudra {vide post). The Devi is said to be of black colour,
wearing yellow cloth, and is placed on the body of a black
buffalo.

This Dhyana does not exactly correspond with the one

which is noted in the Sharadatilaka. According to it, the Devi
holds in Her hands Chakra, Shangkha (conch shell), Kr/pa;/a
(sword) Khe/aka (club). V&a, Karmuka (bow). Shula and
Tarjani-mudra. The Devi who is said to be of the colour of
Gariu/a-stone (emerald) and bedecked with the crescent moon
is described as sitting on the head of the buffalo.

Hymn incorporated with the text of the KulachtWa-

In the
\\r&n\(VII 33) the Devi is said to be black of colour, resem-
bling crushed antimony and is described as holding Chakra,
Dara, (Shangkha), Kartr/ka (small sword), Khe/a (club), VAxa,
Dhanu, Trishula and Abhaya-mudra. So far as this Mudra is
concerned, Raghava cites an authority to show that Tarjani-
mudra is the same as the Abhaya-mudra. It appears from the
Tantrasara that the Devi is to be worshipped now in this form.

The KulachWamam gives no Shangkha, or Khe/aka or

Kartr/ka. has instead two Kha^gas and Charma.
It The
SliAradAtilaka mentions no Charma or double sword. It intro-
duces Shangkha and Khe/aka. The Hymn makes a further
 INTRODUCTION. '5

departure by changing the Kha^ga into Kartr/ka, This is

exactly what appears to have been in vogue when the Tantra-
sara came to be compiled about 400 years ago. The Hymn
therefore appears to be of a date later than this.

While the images appear to have changed in this way, the

mode of worship has remained pretty fairly the same. The
details are given with a view to help the reader to follow the
ritual.

The worship of Mahisiamardini is in general performed in

the usual Tantrika way. The text only notices the points of
difference which constitute its special features. The most
noticeable of these is the Angganyasa which usually embraces
six Anggas. In the case of the worship of Mahi^amardini the
text (VII 15-17) mentions only five Anggas. The SharadAtilaka
(XI 25) says that in this worship Nyasa is made only upon five
Anggas, leaving out the Nyasa of the eyes. The Dhyana is
given in verses 12-14. The Yantra is composed of a lotus of
eight petals, in each of which (VII 18) eight Devis are wor-
shipped, described generally as Durga and others (Durgadya).
Their names are given in the Sharadfitilaka (XI 29) as Durga,
Varavaraim, Arya, Kanakaprabha, Kr/ttika, Abhayaprada,
Kanya and Surupa. They are worshipped with the long-
vowels a, \, u, H, IH, ai, au and a/i. Thus Ang Durgayai
:

nama/; Ing Varavar^inyai nama/i
;
Ong Aryfiyai nama// 7?mg
; ;

Kanakaprabhayai nama// Lring Kmtikayai nama/;

;
Aing ;

Abhayapradayai nama/i Aung Kanyayai namai A/i Surupayai

; ;

nama/^. The Sharadatilaka-/ika of Raghava Bha//a says that in

selecting the long vowels H, Irl should be rejected as neuter
vowels. The Tantrasara, however, gives the long vowels as a, 1,
ft, ?% Irt, ai, au, -dk. The weapons are also to be worshipped along
with the consonants beginning with ya or in other words the
consonants beginning with ya, that is ya, ra, la, va, sha, ska, sa,
and ha are selected.

The hymn to Mahi^amardini incorporated in the Kulachu-

^amam is recited by Bhairava. The text of this
appears hymn
to have grown defective in course of time. Reference had
accordingly to be made not only to the printed edition but to
Ms. copies of the Tantrasara in which it is quoted. One Ms.
dated 1604 Shaka year found in the district of Mymensing by
the travelling Pandit of the Varendra Research Society, was of
great, help in restoring the correct reading. The text, as
printed herein may, therefore, be taken as fairly accurate. From
the hymn ( Vv 22-35 ) lt appears that whilst the worship of
 INTRODUCTION.
Vi.s//7/u nnil Shiva was popular, and their votaries were ap-
.

plauded the Kuhtchara was blamed. A translation of this

hymn in FCnglish was printed in the volume entitled "Hymns to
the Goddess" by A. & E. Avalon. As was there pointed out
the text of the Tantrasara used for this translation was in parts
corrupt and unintellcgiblc and in others of doubtful meaning.
A further translation with commentary has therefore been here
made by A. Avalon of the text as it has now been revised :

and the opportunity has been availed of to correct some errors.

The following translation and accompanying notes are by the
General Editor.

M A H LS7/AMAR D I NI( i ) STOT R A.

O Chiindl !
(2)
By Whom the act of the wicked and formidable Asura(3)
was shattered.
Do Thou wander in my heart.
Destroy my selfishness and the calamities which deeply
pierce me,
Arising from the mass of malice and fears (which assail me),
So that, free from danger,
And protected by the lotus cluster of Thy feet,
My swan-like(4) mind may swim and rejoice in the Ocean
of Bliss.

What who worships Thee ?

fear of his enemies has he
The Devas who worship Thy feet
Having abandoned the form of Nrz'singha(5)
Whose towering mane rivals in splendour and height
towering Mount Sumeru,

(0 A title of the Shakti nf Shiva us the powerful victrix of demons. She is Mahuvfo-
mardini, as the slayer of Mahij7;a. The Daitya Shumbha attacked Her in the form of a

buffalo (Mahi.r/;a} ; see Chawflfi.

(2) A form of the Devi assumed for the destruction of the Daitya Chawtfa, and who assisted

in the destruction of the demon Raktavija ; see (Marka;/dfeya F'urawa).

(3) Mahij-/;a.

(4) Manohangsa the Hangsa is variously

; described as a swan, gander, and flamingo.

(5) The Man-lion incarnation (Avatara) of \ r\:/ina, in which He destroyed the Daitya
Hirawyakashipu, father of His devotee l'rahl&da.
 ) 7

INTRODUCTION. 1

And whose fingers are outstretched to tear (the breast of )

H irayakashipu( i

Now worship (the lion)(2) the enemy of the elephant^)

Server of Thy feet which destroy the bonds of the Pashu.

O Chawflfi when
the syllables, the letters of which speak
!

of Thee,
Reach the ear, then Brahma and other Devas
Sing" the truth, touching Puru^a and Prakr/ti(/j.).
0 Devi be today gracious to me,
!

Devoted as I am to the kissing of Thy sacred lotus feet,

The one and only glittering abode of the essence of the
nectar of all Devatas.

If, because of my of Kula(5),

following Your way
1 suffer reproach, better be without
is it that I shall thus
fame.
Let me not have that which comes of the worship of
Keshava(6) and Kaushika(7) !

Rather, O Mother ! let my heart rest in meditation on Thy

lotus feet,
Worshipped by Brahma, Hari(8), and the Enemy of Smara(c))
By the Eater of oblations(io) and the Enemy of the
Daitya (i i).

(1) The Avat&ra is generally represented with the King of the Dailyas accrnss His knees,
tearing asunder with 1 1 is hands and claws the lattcr's belly. See note 5, p. 16.

(2) Which accompanies the Devi as Durga. After the destruction of Hirawyakashipu,
Vishm's wrath was not appeased. The world trembled, fearing what He might do. The
Devas asked the help of Shiva, who assumed the Sharabha form that of a lion with wings and
eight feet who caught up Vis/tmi into the air and held him there until he had become powerless.
The lion then went to the feet of DurgS, whom he accompanies.
(3) Kari the elephant form subsequently assumed by the Asura Mahi^a. KarivairT==enemy
of elephant = lion.

(4) Shiva and Shakti ; the "Male" and "Female" from whose union springs the Universe.

(5) That is, Kulachara, one of the divisions of TAntrik worshippers, who, the verse says,
are misunderstood, and therefore subject of reproach ; and which is contrasted in the next line
but one with the more popular and conventional worship of Keshava and Kausln'ka.

(6) VisAmx. (7) Imlra. (8) Yis/uta.

(9) Smara, the God of Love ;

Shiva, who slew him, is his "enemy."
(10) That is Fire.

(11) Daityari : usually an epithet of Shrt Krishna., but ;is Hari has already been mentioned
possibly the reference may be to Indra. According to Mcdini, DaitySri - Devata

3
 INTRODUCTION.
5

O Mother !
the constant contemplation
If I be engaged in
of Thy lotus feet,
Then what is there which Siddhas have(i) which I have not
May Thy lotus Feet be ever present to my blissful mind(2)
Thy feet from which exceeding mercy flows !

() propitious Mother! do Thou forgive me.

Verily and without doubt, even the Lord of Bhfttas(3)

would have pcrished(4)
Maddened as He was with the joy of the embrace of (Thee
Who art) His own self(5)
Had He not been freshened by the lotus fragrance of Thy
feet,

Bathed in the honey which flows within

From the union of Shiva and Shakti(6).

O Mother ! let the stream of heavy showers of holy

devotion towards Thee
Be ever shed upon me,
Struggling and drowning^), alas ! as I am in the endless
Ocean of Illusion

(i} Siddhaspada.
(2) This "mind" has a qualifying adjective viz :
" Aki/zatasampadi"' " of .uninterrupted

happiness." It is so hecause the Devi is dancing there.

(3) Shiva is Bhuteshvara or Bhfitanatha. Bhuta, which in a general sense means "beings,"
specifically refers to the Spirits by whom Shiva is surrounded, and of whom He is Master.
(4) It is by the Devi's aid that Shiva is Tarameshvara, for without Shakti He is nothing, and
without Her life-giving energy and support cannot exist. As the Kubjika Tantra says : "With-
out their Shaktis the husbands are but Preta (inert corpses)." So also the Jnanarava : "O
beloved, pure Sadashiva, without Shakti is without motion like a corpse, for without Shakti
He can do nothing."
(5) Svatmanam parirabhya. Literally, having embraced Himself. The Devi is, however,
in a dualistic sense, His sacred half, and in reality one with Him and his own self ( see Maha-
nirvawa Tantra, Chap. I). Cf. Atmaratipriya/z (.SVza/chakra p. 64).

(6) Daivadvichyutachandrachandanarasapragalbhyagarbhasravat. The meaning is not clear

but Chandra ( moon ) seems to stand for the Vija of Shiva (which it also means) : and
Chandanarasa (liquid sandal flow) issues from Devi. Therefore the union of Shiva and Shakti in
the Sahasrara appears to be indicated.

(7) Mohajaladhi-vyahara-viddhu, lit : "pierced by the mockery of the ocean of illusion."

 INTRODUCTION. 19

Without taste of the water of the Bliss of Brahman

Which devotion dispels the weight of anguish from numbers
of Devas.

May the glory of Thy feet dark as a rainladen cloud,

Be ever in my heart
Dispelling by its lustre as of ten million suns
The darkness which overspreads my mind.
From its glittering womb were born the three Devatas,
Who create, maintain, and destroy the world,
Whose substance is pure consciousness and bliss.

May(i) Devi Durga Who gives victory and happiness

Dispeller of fear, Victrix of fortresses and ill-fortune
Who had power to destroy the proud enemies of the
Devatas,
And Who strikes terror into the hearts of thousands (of
Ever conquer ! Her foes)
She it was Who, having severed the head of the Asura
Manila,
Crushed and killed under Her feet him who assumed the
form of a buffalo
Now bellowing, now
charging, and again retreating
And from whose mouth the Asura issued.

10

In the red ocean vast and surging

Danced the great shields weapons and streamers^) of the
enemy
(An ocean) clouded by the flight of discus
And the arrows of the heaving multitude of soldiers
There lay the heads of the proud and wicked Asuras
Broken and cut to pieces, tossed about by the storm of
battle,
(The sight of which) sharpened the thirst and hunger of
the birds of carrion.

) See M ilrkawafeyn. Chiuidi vv. 38, 39.

) Chdniata.
 IXTKUDUC'I ON. I

I 1

I mc(litalc( ) upon Devi Mahi^amardim,

1

Rushing in frenzy now here, now there on that wondrous

field of battle (for the slaughter of the enemies)
Attended by eight companion Mftl/'j(2)
And on the Mantra and Badhu Vija(3) m tnc olu s f ^i^rnl ' -

petals^).
Within the two horns of the fierce and terrible restless and
challenging head
Bent low and slanting^) of the maddened buffalo.

I 2

Let the Sadhaka meditate on the dark Shiva

(MahiVzamardim),
Holding in Her hands discus, lance, axe, shield, arrow,
bow, and trident,
Making- the gesture(6) which dispels fear ;

Her mass of hair is like a bank of cloud entwined up on

Her head,
Her face most formidable awes (Her foes)
Making even the defiant falter
Her laugh is loud and terrible.

13

O
Devi such as in this manner
!

Meditate upon this Thy faultless form .

Or upon Thee as Durga or other form of Thine

Worshipped by Indra and other Devas,
To them it is given to attack the cities of their foes,
And conquering their enemies, to gain a kingdom ;

They too, acquire the nectar of the knowledge of poesy,

And power to arrest, banish, and slay(7).

r
(1) Reading Smare for \ are in text.

(2) The Devisso called vide ante the Karejapa-Stotra.

{3) String the Mantra may he said with this or the Tara (Ong) Maya (llring) Kama (Kling)
or Vagbhava Vija (Aing).
(4) On the petals are the. eight syllables Marm/zmardini svaha : "Salutation to the Devi
slayer of Manila"
(5) The buffalo when charging puts its head askew. The Mantra is thought of as placed
between the two horns.
(6) The Abhayamudra.
(7) Stambhanam, Uchcha/anam. and Mara/zam ; three ol the Tantrik SV/a/karma.
 )

INTRODUCTION.
14

Whosoever reads or hears this Hymn

Made by me in rapt meditation upon Thy lotus feet,
Wherein is said Thy Kula worship and Mantra in hidden
fonn( 1

In the palms of the hands of all such

Are forthwith wealth, fulfilment of desire and liberation.
O Mother salutation ! to Thee !

May Thou conquer !

Chapter the Devi says that

In the concluding portion of this
Her chief forms are represented by Mahi^amardini, Kali, and
Tripurabhairavi, the last being considered the primary mani- -

festation (VII. 37). This work inculcates the worship of Yog-

inis as a part of Kula- worship, on Kula-days (Kulavara) and
Kula-tithis, specially on the 14th day of the moon.

[The KulavAras havebeen described in the Yamalas from

which have been quoted in the Tantrasara as follows
they
" Tuesday and Friday are Kula days while Wesdnesday is both
Kula and Aktila, the rest being all Akula "(2) Again all Tithis
with an uneven number are Akula with an even number Kula ;

with the exception of the second, sixth and tenth which are
both Kula and Akula. ](3)

The evening rite, consisting in the offering of food to jackals,

is described at length. The Devi towards the end says " Thou
art the Guru of all the Tantras and neither I nor Han. There-
fore Thou art the Revealer of the Tantras. I entered into Thy

body ( as Shakti ) and thereby Thou didst become the Lord

( Prabhu ). There is none but Myself who is the Mother to
create ( Karyyavibhavini ) (4) and therefore it is when creation

(1) The Mantra Mahi.r/zamardinl svaha may be spelt out from the first six verses from the
lollowing words which respectively commence them. Mochchitte (.Ma) Ilitva (Hi) Cha//Ti
tadvij/zayantara (57/ a) Manninda (,Ma) Nirddij///o'smi (Rclini) Svatmanam and not atmanam as
given in the text (Sva) and Ilaha (Ha).
(2) Ravichandrau guru// saurish chattvarashchakula niata//

Bhaumashukrau kulakhyau tn budhavara// kulaknla//. See Pa /a a VII. 38.

I

(3) Dvitiya dashami sha.r/z//zi kulakulamudahr/'tam

Vix/zamashchakula/z sarva/z shcr/zashcha tithaya/z kula/z
Similarly all Nakj/zatras with an even number are Kula :

Varu/zardrabhijinnuilang kulakulamudahr/tam
Kulani samadlm/z;/yani shcsV/aiihany akulani cha.
(4) Tliat is She has the disposition to act or to carry out what He wills. She alone has
Kartr/'ttva lor the Father as efficient cause does not act, but the Mother in whose womb the
seed of the world is sown alone does so
 INTRODUCTION.
takes place that sonship is in Thee. Thou alone art the Father
who wills what I do (
KAryyavibhavaka ) and none else.

Mang vina janani kapi naiva karyyavibhavini

Av.iA karyye samutpanne putratvang tvayi vartate
Tvang vina. janaka/z ko'pi naiva karyya-vibhavaka/z
Atastvameva janako nastyanyo'pi kathanchana

"At times Thou art the father at others the son

; at times;

Thou art the Guru ;

at others the disciple. By the union of Shiva
and Shukti creation comes (
Shivashakti-samnyogAt jayate S7-z-
.sV/Vikalpana ). As all in this universe is both Shiva and Shakti

(
Shivashaktimaya ) therefore, Oh Maheshvara ! Thou art in
every place and I am in every place. Thou art in all and I am
in all."

Varendra Research Samiti, Rajshahi,

August 191 5.
A. K. Maitra.
*Nrrafc qt*T*fa wf^cTO I

SfrfefTTflT^JTWi
 Printed by Upendra Natba Chakravarti,
AT THE SANSKRIT PRESS,
No. 5, Nandakumab Chaudhury's 2nd Lane, Calcutta.
1915.
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