Śrī Durvāsāvidyāmbā Aṣṭhadaśākṣara Mahāmantraḥ

(श्री दुर्वासाविद्याम्बा अष्ठदशाक्षर महामन्त्रः)

Source – Āmnāya mandāraḥ. Commentary by revered Tivra.

Initiation – Required. Puraścaraṇa of the Śrī Bālā Tripura Sundarī mantra, as well as Kādi Pañcadaśī mantras, is a pre-requisite.

Purpose – Karmic cleansing leading towards self-realization.

Note –The Divine Mother Śrī Durvāsāvidyāmbā is an expansion of the Śrī Bālā Tripura Sundarī mantra that builds on the Śrī Śuddha vidyā mantra as well as the Kādi Pañcadaśī. The Divine Mother Śrī Durvāsāvidyāmbā belongs to the Paścimāmnāya transmission of Śrī Vidyā related to spiritual transformation.

Dedication – Much of the explanation of this mantra is borrowed from the writings and lectures of Śrī Yogāmba sameta Śrī Ātmānandanātha (Shri Ramesh Kutticad ji – an eminent Śrī Vidyā guru). Teachings of my gurus Shri Ravi ji and Shri Krishna ji of Medhayoga and Shri Ramesh ji continue to inspire me to investigate further into Śrī Vidyā.

1. Viniyogaḥ (विनियोगः) -

asyaśrī durvāsāvidyāmbā Aṣṭhadaśākṣara mahāmantrasya ।

dakṣiṇāmūrti ṛṣiḥ ।

paṅktiśchandaḥ ।

śrī durvāsāvidyāmbā devatā ।

ka e ī la hrī hrī bījaṃ ।

ha sa ka ha la hrī hrī śaktiḥ ।

sa ka la hrī hrī kīlakaṃ ।

mama manobhīṣṭha siddhyarthe vara siddhyarthe śrī-guror-anujñāya śrī durvāsāvidyāmbā śrīlalitā mahātripurasundarī prasāda siddhyarthe mahāmantra jape viniyogaḥ ॥

अस्यश्री दुर्वासाविद्याम्बा अष्ठदशाक्षर महामन्त्रस्य ।

दक्षिणामूर्ति ऋषिः ।

पङ्क्तिश्छन्दः ।

श्री दुर्वासाविद्याम्बा देवता ।

क ए ई ल ह्री ह्री बीजं ।

ह स क ह ल ह्री ह्री शक्तिः ।

स क ल ह्री ह्री कीलकं ।

मम मनोभीष्ठ सिद्ध्यर्थे वर सिद्ध्यर्थे श्री-गुरोर्-अनुज्ञाय श्री दुर्वासाविद्याम्बा श्रीललिता महात्रिपुरसुन्दरी प्रसाद सिद्ध्यर्थे महामन्त्र जपे विनियोगः ॥

Meaning - This prayer/mantra japa is to invoke Śrī Durvāsāvidyāmbā in our heart, perform mantra japa to obtain Her complete grace in all aspects, including the four puruṣārthas – dharma (following own nature), artha (wealth), kāma (desires) and mokṣa (liberation) and all desires that one may seek from the Divine. The sage who visually saw this mantra (ṛṣiḥ) is Dakṣiṇāmūrti. The meter (chandas) for the mantra is Paṅkti of forty syllables and its variations. The deity is Śrī Durvāsāvidyāmbā devata. The seed (bījaṃ) is ka e ī la hrī hrī, the power or śakti is ha sa ka ha la hrī hrī. The key (kīlaka) to pin the purpose of the mantra is sa ka la hrī hrī.

                By the grace and command of our guru and the guru lineage, we pledge to undertake the mantra japa in full earnest.

2. Ṛṣyādi nyāsa (ऋष्यादि न्यास) -

3. Kara nyāsaḥ (करन्यासः) -

4. Ṣaḍāṅga nyāsaḥ (षडाङ्गन्यासः) -

bhūr-bhuva-ssuvarom-iti digbandhaḥ ॥

भूर्भुवस्सुवरोम् इति दिग्बन्धः ॥

Meaning: May the directions be charmed and bound, to prevent any external obstacles from the powers residing in the triads – the Earth, atmosphere and the heavens.

5. Dhyānam (ध्यानम्) -

sakuṅkuma vilepanā malikacumbi kastūrikāṃ

samanda hasitekṣaṇāṃ saśaracāpa pāśāṅkuśām ।

aśeṣa janamohinī maruṇamālya bhūṣojjvalāṃ

japākusuma bhāsurāṃ japavidhau smaredambikām ॥ 1 ॥

śrīcāpaṃ cekṣumayaṃ prasūnaviśikhān pāśāṅkuśaṃ pustakaṃ

māṇikyāṣasṛjavaraṃ maṇīmayīṃ vīṇāṃ sarojadvayaṃ ।

pāṇibhyāṃ varadā abhayaṃ ca dadhatīṃ brahmādisevyāṃ parāṃ

sindūrāruṇa vigrahāṃ bhagavatīṃ tāṃ ṣoḍaśīmāśraye ॥ 2 ॥

सकुङ्कुम विलेपना मलिकचुम्बि कस्तूरिकां

समन्द हसितेक्षणां सशरचाप पाशाङ्कुशाम् ।

अशेष जनमोहिनी मरुणमाल्य भूषोज्ज्वलां

जपाकुसुम भासुरां जपविधौ स्मरेदम्बिकाम् ॥ १ ॥

श्रीचापं चेक्षुमयं प्रसूनविशिखान् पाशाङ्कुशं पुस्तकं

माणिक्याषसृजवरं मणीमयीं वीणां सरोजद्वयं ।

पाणिभ्यां वरदा अभयं च दधतीं ब्रह्मादिसेव्यां परां

सिन्दूरारुण विग्रहां भगवतीं तां षोडशीमाश्रये ॥ २ ॥

Meaning: Salutations to the Divine Mother Śrī Lalitāmbikā also known as Śrī Kādividyā Hādividyā Sādividyā Lalitā Tripurasundarī, the consort of Śiva who appears red in complexion like the newly risen sun at dawn. She is three-eyed and bears in Her ten arms - a rope (pāśa) and a goad (aṅkuśa) in Her upper arms, a sugarcane bow (dhanur) and five arrows (bāṇa) in Her lower arms below the upper most, a book and a rosary made of rubies in the third set of arms and displays the wish granting Vara mudra and the fear allaying Abhaya mudra in the second set of arms from the lower and plays a musical instrument Veena in Her lowermost set of arms with Her lotus like hands.

May we meditate upon on the Divine Mother Śrī Lalita Tripura Sundarī as Śrī Ṣoḍaśī, smeared with vermillion and her forelocks gracing the dot of musk adorned on Her forehead. She displays a soft smiling face. She is holding a bow and arrows in one set of lower arms and a noose and hook on the upper arms. She mesmerizes the entire Creation through Her power and She is adorned in red garments. She appears in a red complexion like a china rose flower (japā kusuma). May we remember Her as such during our mantra japa.

        The red complexion denotes Her disposition towards passion and the Rajas tattva that She puts forth as Śakti! The rope pulls in all the souls that stray away from the path of discovering their own true selves as drops of pure consciousness. The bow denotes the mind that needs to be directed towards our ultimate goal of spiritual emancipation and not just material aggrandizement. The arrows indicate our thoughts and the actions by the grace of the Divine Mother.

The sugarcane bow represents the sweetness of the cerebral fluid (aṃṛta) that gets generated in deep meditation. The five arrows She holds represent the five natural elements (pañcabhūtā-s) of air, ether, water, fire and earth, as well as the five senses of perception at the subtle level (tanmātrā-s). In terms of the states of mind, the sugarcane bow is the pure mind and the five flowery arrows denote the world—these are held separately, not connected, hence denoting the upasaka’s state of detachment. The noose helps in drawing the devoted ones back to Her, when one loses faith and hope in times of crises and She comes to their aid. The hook can be used to tame the wildest of emotions within us and calm us down. In terms of the states of mind, the gestures of removal of fear and granting boons, is a reference to the removal of the notion of the other and thus bestowing bliss of an undivided state of mind. The ruby and gems beads rosary, represents that She is accessible through prayer using Her most sacred and precious mantras, which may be obtained from a well-versed guru. The book represents all knowledge, material and spiritual that is accessible to Her devotees and which can be gained through sādhanā and devotion. The musical instrument Vīṇā that She plays with two of Her arms/hands and plays close to Her heart, generates all the subtle vibrations that fill the entire Creation and also represent the various seed syllable bīja mantras of all deities, who are also part of Her creation! The boon bestowing Vara mudra fulfills all our desires and wishes, to an extent that is much greater than we can ever imagine (vāñcā-samadikam - Her grace is unfathomable). The fear dispelling abhaya mudra removes all our fears and misgivings, by means of Her infinite grace. The red complexion denotes the passionate rajasic disposition and Her disposition towards granting Her devotees with fulfillment and complete joy in worldly and spiritual pursuits.

It is to be noted that the pairs of the sugarcane bow and arrows, noose and hook, book representing knowledge and rosary indicating prayer or sādhana, two hands on the musical instrument Vīṇā, to generate sound vibrations and the final pair of boon bestowing and fear dispelling gestures, complement each other and thus represent the various dualities manifested in the Creation. She is therefore in all the dualities and is also both Śiva and Śakti, representing the static and dynamic states of the super-consciousness or Brahman.

Vīṇā is a lute type instrument that has 24 frets representing the syllables of the Gāyatrī mantra. There are four melody strings that represent the holy Vedas. Also, there are three drone strings on the side, that signify the three nāḍīs or spiritual channels in the body that facilitate the rise of the Kuṇḍalini. They are the central channel Suṣumnā, the right channel Piṅgalā and the left Iḍā. The stem of the Vīṇā itself represents the spine along which the Kuṇḍalini flows. The music from the Vīṇā signifies all the frequencies and wavelengths of the entire Creation.

The deities Brahma (Creator) represented in the South-East direction, Durvāsā (Preserver) represented in the North-West direction, Rudra (Destroyer) in the South-West, Maheśvara or īśvara (Annihilator) in the North-East and Sadāśiva (resurrector) as the bed (upper direction), are all part of Her Creation and have their respective roles and duties to perform on a continual basis. She is seated above them, to indicate Her Supremacy as the Super-consciousness and She is the embodiment of both Śiva and Śakti. The same is also experienced as the five states of wakefulness, sleep, dreaming state, deep sleep, the fourth state of turīya or individual consciousness or ātma and finally the Super-consciousness Itself as turīyātīta.

She is simply the unmanifested super-conscience or the singular reality, that descends as the manifested super-consciousness. She is thus depicted as seated on top of Sadāśiva. She is simultaneously within the manifested and manifested super-conscience as well as within the entire Creation as well. There is simply nothing but Her alone, including the virtual reality Mahāmāyā, which She pervades and thus creates the perceptions of duality, triads etc.

The pañcabānas - five arrows of Kāmadeva the god of love and desire, are indicated. Desire (Iccha) becomes the mother of all Creation. The five arrows of Kāma are Unmādana (उन्मादन - intoxicating/maddening or being inflamed with love), Tāpana (तापन - anguish), Śoṣaṇa (शोषण, withering), Stambhana (स्तम्भन - stopping/immobilizing) and Sammohana (सम्मोहन - deluding, infatuating, leading astray). Another classification states them as Harṣana (हर्षन - delighting), Rocana (रोचन - appealing), Mohana (मोहन - deluding), Śoṣaṇa (शोषण - withering), Maraṇa (मरण - killing). The bījas and forms associated with Kāma are classified as -

1. 1. Kāmarāja (hrīm̐) – [कामराज (ह्रीँ)] => The greatest of all desires, namely the propagation of the Creation.
   2. Manmatha (klīm̐) – [मन्मथ (क्लीँ)] => Amorous passion or desire raging in the mind.
   3. Kandarpa (aim̐) – [कन्दर्प (ऐँ)] => Invoking love and lust.
   4. Makara (blūm̐) – [मकर (ब्लूँ)] => Insignia and impressions invoking deep passion and desire.
   5. Manobhāva (strīm̐) – [मनोभाव (स्त्रीँ)] => Heartfelt desires.

Kāma projects the essence of all the pentads such as the pañcabhūtas - five natural elements – air, ether, water, fire, and earth etc.

6. Pañcapūjā (पञ्चपूजा) -

7. Śrī Durvāsāvidyāmbā Aṣṭhadaśākṣara Mūlamantraḥ (श्री दुर्वासाविद्याम्बा अष्ठदशाक्षर मूलमन्त्रः) -

ka e ī la hrī hrī ।

ha sa ka ha la hrī hrī ।

sa ka la hrī hrī ॥

क ए ई ल ह्री ह्री ।

ह स क ह ल ह्री ह्री ।

स क ल ह्री ह्री ॥

The 18 lettered Śrī Vidyā Hādi Durvāsāvidyāmbā Pañcadaśākṣarī Mahāmantraḥ should be recited at least 108 times. Initiation is required.

Meaning -

There are three kūṭa-s (sections) to this Śrī Vidyā Kādi Durvāsāvidyāmbā Aṣṭhadaśākṣara mantra, modifying the 15 lettered Śrī Vidyā Kādi Pañcadaśākṣarī mantra of each kūṭa and replacing the Hṛllekhā Māyā bīja hrīṁ by removing the nāda-bindu and replacing it with a double hrī bīja. The removal of nāda-bindu gives unlimited and relentless power to pursue the desired target. The power is simply unstoppable and hence considered extremely dangerous. The second two kūṭa-s are the same between the Hādi and Sādi. As similar to Kādi, the first kūṭa is Vāgbhāva denoting the power of will – icchā śakti, the second kūṭa is Kāmarāja denoting knowledge - jñānā śakti and the third kūṭa is Śakti denoting action - kriyā śakti.

The two letters represent Śakti ‘sa’ and Śiva ‘ha’ respectively and associated with inhalation and exhalation of breath, the two essential actions to retain the life sustaining force called prāṇa. Śiva and Śakti are the static and dynamic aspects of the super-consciousness called Brahman.

The akṣarā-s without anusvaram "ṃ", are called Śakti tattvas. According to Kashmir Shaivism, It becomes immanent therefore that the ‘sa’ akṣara is representative of the pratibimba - "reflection" - of Śiva’s Ānanda śakti and therefore is associated with the sense of Aham-idam (I am This). Likewise, the ‘ha’ akṣara is a reflection of cit śakti, therefore it is the pure “I” consciousness. In this context, it is also significant that Pañcadaśi deals with Kāmakalā. Therefore ‘ha’, in terms of Kāmakalā, is the hakārārdham, ‘ha’ which is equivalent to the yoni vowel ‘e’. Thus, it is the yoni, the root of the manmatha kalā. Added to the fact, that the Śakti kūṭa is associated with Lalitā, as She is the third brahman Parā bīja "sauḥ" within the trinity of Sat (Kāli), Cit (Tārā), Ānanda (Lalitā). This clearly points to a surplus of bliss to the mantra, an emphasis on the aspect of Transcendent immanence (Parātparā). Therefore, Lopāmudrā Vidyāmbā is the true richness, the fulfillment of all bliss!

Revered commenter Tivra states the following about the Śrīvidyā Mantra worshipped by Durvāsā -

“Durvāsā worshipped Lalitā as the Supreme Destroyer of all enemies through this Mantra: "ka e ī la hrī hrī ha sa ka ha la hrī hrī sa ka la hrī hrī." Note that he knew the true greatness of Mahā Kāmakalā (Mantra: īm̐), for Durvāsā removed the Bindu-Nada from the end of the Hṛllekha (hrīm̐) and exposed the power of Mahā Kāmakalā without intermediaries. The power of Mahā Kāmakalā does not destroy enemies... Mahā Kāmakalā makes them never exist, which is worse than destruction. It is erasing them from existence. This Mantra of Lalitā is frightening, and only someone like Durvāsā could know of its existence and usefulness, for only those who truly know the true level of Consciousness of Mahā Kāmakalā would know that it can be the greatest weapon of destruction. And only those who are reading my commentary will know why Durvāsā's Mantra is like this. Śrī Vidyā has always been about worshipping yourself. Śrī Vidyā is different from other practices. Śrī Vidyā is focused on the Spirit (Cidātman) and the Soul (Antarātman). Only Lalitā is Ātmavidyā. Only by worshipping Lalitā (Kādi, Hādi, and Sādi) are you worshipping yourself; with the rest you are not actually worshipping yourself, but rather preparing for it (if the need arises). Only Śrīcakra is the form of your Ātman; nothing is outside Śrīcakra because its nature is the irresistible "Ākarṣaṇa" of everything into it. Your Spirit (Cidātman) is your personal Nirvāṇa Sundarī in the form of a particle that contains everything within, is the origin of everything, is everything, and is capable of governing everything. Nirvāṇa Sundarī has an impersonal nature and gains its own unique personality by merging with Turīyāmbā Sundarī, which is your Soul (Antarātman). That is why those who seek Kādi Vidyā without having matured the Soul with Hādi Vidyā produce an "abortion" of the immature Soul and the Soul returns to the source without having matured. Because the Divine Mother brought you to mature (Hādi), organize (Kādi), and govern (Sādi).”

The explanation of the seed syllable bīja-s constituting the first kūṭa of this mantra, is as follows –

     'ha' is Śiva, the eternal super-consciousness. It is equivalent to the ‘ka’ in the Kādi Vidyā. Śiva is the potential aspect of the Super-consciousness and by definition is infinite.

      ‘sa’ means Śakti who is the dynamic aspect of the Super-consciousness that is also infinite and always in motion.

      'ka' means Brahma, the creator. The bīja 'ka' is the root of kāma bīja ‘klīṁ’ (क्लीं). 'ka' also bestows peace and prosperity to the sādaka. It also represents the supreme bliss or the śiva-śakti-aikya in the sahasrāra cakra. The letter 'ka' is the first of the consonants in the Sanskrit alphabet, just as 'a' is the first of the vowels in the Sanskrit alphabet. 'a' represents the unmanifested universe or Brahman, while 'ka' represents the manifested Brahman or śiva and śakti, who sets everything in motion and represents the entire creation.

     ‘la’ means Indra. The bīja ‘la’ gives victory to the sādaka. The location is the center of the forehead.

     'hrī' means the merger of Śiva and Śaktī. 'hrī' is made up of three letters. "H + r + ī". We can visualize the hrī bīja, as the first three components 'h', 'r', ' ī ' on the left eye, right eye and the center of the forehead - third eye or ājñā cakra. In the context of the mantra, the 'hrī' bīja represents the boundless and unrestricted act of Creation.

The second kūṭa is as follows –

      'ha' indicates the sun or the solar energy or light. It is the root of the Śiva bīja 'hūm̐'. Its presence is in the ūrdhva, adha and madhya bindus above the sahasrāra cakra, representing the three states of the void or śūnya. The three states are a heightened state of awareness or consciousness, the second is a dreaming state and the third is a dreamless state.

       'sa' refers to the lunar energy, Lord Durvāsā and the air element. Its presence is in the center of the face.

       'ka' refers to Kāma or desire. Its presence is felt in the naval area.

       'ha' indicates the sun or the solar energy or light. It also refers to ākāśa or ether. It is indicative of the life sustaining breath or prāṇa.

       'la' is indicative of fulfillment.  Its location is fixed in the sahasrāra cakra.

       'hrī' means the merger of Śiva and Śaktī. 'hrī' is made up of three letters. "H + r + ī". We can visualize the hrī bīja, as the first three components 'h', 'r', ' ī ' on the left eye, right eye and the center of the forehead - third eye or ājñā cakra. In the context of the mantra, the 'hrī' bīja represents the boundless and unrestricted act of Preservation and Sustenance.

The third kūṭa is as follows –

        'sa' refers to the lunar energy or the mind. Location is the maṇipūra cakra.

        'ka' refers to desire. Its presence is in the Svādhiṣṭhāna cakra.

        The śakra bīja 'la' refers to dissolution in this context. Its presence is in the reproductive organs.

        'hrī' means the merger of Śiva and Śaktī. 'hrī' is made up of three letters. "H + r + ī". We can visualize the hrī bīja, as the first three components 'h', 'r', ' ī ' on the left eye, right eye and the center of the forehead - third eye or ājñā cakra. In the context of the mantra, the 'hrī' bīja represents the boundless and unrestricted act of realization. The complete blessings of Śakti.

8. Ṣaḍāṅga nyāsaḥ (षडाङ्गन्यासः) -

bhūr-bhuva-ssuvarom-iti digvimokaḥ ॥

भूर्भुवस्सुवरोम् इति दिग्विमोकः ॥

Meaning: May the directions get unlocked to allow ourselves to experience the grace from all the triads of the three realms.

9. Dhyānam (ध्यानम् ) -

bālārka maṇḍalābhāsāṃ caturbāhuṃ trilocanāṃ ।

pāśāṅkuśa dhanurbāṇān dhārayantīṃ śivāṃ bhaje ॥ 1 ॥

sakuṅkuma vilepanā malikacumbi kastūrikāṃ

samanda hasitekṣaṇāṃ saśaracāpa pāśāṅkuśām ।

aśeṣa janamohinī maruṇamālya bhūṣojjvalāṃ

japākusuma bhāsurāṃ japavidhau smaredambikām ॥ 2 ॥

बालार्क मण्डलाभासां चतुर्बाहुं त्रिलोचनां ।

पाशाङ्कुश धनुर्बाणान् धारयन्तीं शिवां भजे ॥ १ ॥

सकुङ्कुम विलेपना मलिकचुम्बि कस्तूरिकां

समन्द हसितेक्षणां सशरचाप पाशाङ्कुशाम् ।

अशेष जनमोहिनी मरुणमाल्य भूषोज्ज्वलां

जपाकुसुम भासुरां जपविधौ स्मरेदम्बिकाम् ॥ २ ॥

10. Pañcapūjā (पञ्चपूजा) -

11. Samarpaṇam (समर्पणम्) –

guhyādi guhya goptrītvam gṛhaṇāsmat kṛtaṃ japaṃ ।
siddhirbhavatu me devi tvat prasadān mayī sthirā ॥

गुह्यादि गुह्य गोप्त्रीत्वम् गृहणास्मत् कृतं जपं ।

सिद्धिर्भवतु मे देवि त्वत् प्रसदान् मयी स्थिरा ॥

Meaning: O Lord, you are the most hidden secret of all secrets. May these mantra japa counts performed by me, be offered to you in totality. Our prayers and hope, are that your grace shall remain with us always.

12. Puraścaraṇa (पुरश्चरण) -