Śrī Śaṅkaravidyāmbā Aṣṭhāviṃśati Mahāmantraḥ
(श्री शङ्करविद्याम्बा अष्ठाविंशति महामन्त्रः)
Source – Āmnāya mandāraḥ. Commentary provided by revered Tivra.
Initiation – Required. Puraścaraṇa of the Śrī Mahā Tripura Bharavī mantra, as well as Hādi Pañcadaśī and Hādi Turyāmbā mantras, is a pre-requisite.
Purpose – Karmic cleansing leading towards self-realization.
Note –The Divine Mother Śrī Śaṅkaravidyāmbā is an expansion of the Śrī Mahā Tripura Bharavī mantra that builds on the Śrī Śuddha vidyā mantra as well as the Hādi Pañcadaśī and Hādi Turyāmbā. The Divine Mother Śrī Śaṅkaravidyāmbā 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.
- Viniyogaḥ (विनियोगः) -
asyaśrī śaṅkaravidyāmbā mahāmantrasya ।
dakṣiṇāmūrti ṛṣiḥ ।
paṅktiśchandaḥ ।
śrī śaṅkaravidyāmbā devatā ।
ha sa ka la hrīm̐ bījaṃ ।
ha sa ka ha la hrīm̐ śaktiḥ ।
sa ka la hrīm̐ kīlakaṃ ।
mama manobhīṣṭha siddhyarthe vara siddhyarthe śrī-guror-anujñāya śrīśaṅkaravidyāmbā śrīlalitā mahātripurasundarī prasāda siddhyarthe Śrī Śaṅkaravidyāmbā Aṣṭhāviṃśati mahāmantra jape viniyogaḥ ॥
अस्यश्री शङ्करविद्याम्बा महामन्त्रस्य ।
दक्षिणामूर्ति ऋषिः ।
पङ्क्तिश्छन्दः ।
श्री शङ्करविद्याम्बा देवता ।
ह स क ल ह्रीँ बीजं ।
ह स क ह ल ह्रीँ शक्तिः ।
स क ल ह्रीँ कीलकं ।
मम मनोभीष्ठ सिद्ध्यर्थे वर सिद्ध्यर्थे श्री-गुरोर्-अनुज्ञाय श्रीशङ्करविद्याम्बा श्रीललिता महात्रिपुरसुन्दरी प्रसाद सिद्ध्यर्थे श्री शङ्करविद्याम्बा महामन्त्र अष्ठाविंशति महामन्त्र जपे विनियोगः ॥
Meaning - This prayer/mantra japa is to invoke Śrī Śaṅkaravidyāmbā 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 Śaṅkaravidyāmbā devata. The seed (bījaṃ) is ha sa ka la hrīm̐, the power or śakti is ha sa ka ha la hrīm̐. The key (kīlaka) to pin the purpose of the mantra is sa ka la hrīm̐.
- Ṛṣyādi nyāsa (ऋष्यादि न्यास) -
|
S.no. |
IAST |
Devanāgari |
Procedure |
|
1 |
Dakṣiṇāmūrti ṛṣaye namaḥ śirasi । |
दक्षिणामूर्ति ऋषये नमः शिरसि । |
Open the right palm and touch the top of the forehead with the ring and middle fingers joined at the top of the head. |
|
2 |
Paṅkti chandase namaḥ mukhe। |
पङ्क्तिश्छन्दसे नमः मुखे । |
Now touch the lips of the mouth with the four fingers in the right palm, excluding thumb. |
|
3 |
Śrī Śaṅkaravidyāmbā devatāyai namaḥ hṛdi । |
श्री शङ्करविद्याम्बा देवतायै नमः हृदि । |
Touch the heart with the right index, middle and ring fingers |
|
4 |
ha sa ka la hrīm̐ bījāya namaḥ guhye । |
ह स क ल ह्रीँ बीजाय नमः गुह्ये । |
Touch the genitalia with the right ring finger and thumb joined together. |
|
5 |
ha sa ka ha la hrīm̐ śaktaye namaḥ pādayoḥ । |
ह स क ह ल ह्रीँ शक्तये नमः पादयोः । |
Touch the feet with the right ring finger and thumb joined together. |
|
6 |
sa ka la hrīm̐ kīlakāya namaḥ nābhau । |
स क ल ह्रीँ कीलकाय नमः नाभौ । |
Touch the navel area with the right ring finger and thumb joined together. |
|
7 |
mama sakalavidyā prāptaye puruṣārtha catuṣṭaye siddhyarthe śrīguror anujñāye Śrī Śaṅkaravidyāmbā Aṣṭhāviṃśati mahāmantra jape viniyogāya namaḥ sarvāṅge । |
मम सकलविद्या प्राप्तये पुरुषार्थ चतुष्टये सिद्ध्यर्थे श्रीगुरोर् अनुज्ञाये श्री शङ्करविद्याम्बा महामन्त्र अष्ठाविंशति जपे विनियोगाय नमः सर्वाङ्गे । |
Run both the palms all over the body. |
|
8 |
iti ṛṣyādi nyāsaḥ ॥ |
इति ऋष्यादि न्यासः ॥ |
- Kara nyāsaḥ (करन्यासः) -
|
S.no. |
IAST |
Devanāgari |
Procedure |
|
1 |
ha sa ka la hrīm̐ - aṅguṣṭhābhyāṃ namaḥ । |
ह स क ल ह्रीँ - अङ्गुष्ठाभ्यां नमः । |
Use both the index fingers and run them on both the thumbs. |
|
2 |
ha sa ka ha la hrīm̐ - tarjanībhyāṃ svāhā । |
ह स क ह ल ह्रीँ - तर्जनीभ्यां स्वाहा । |
Use both the thumbs and run them on both the index fingers. |
|
3 |
sa ka la hrīm̐ -madhyamābhyāṃ vaṣaṭ । |
स क ल ह्रीँ - मध्यमाभ्यां वषट् । |
Use both the thumbs and run them on both the middle fingers. |
|
4 |
ha sa ka la ha sa ka ha la sa ka la hrīm̐ - anāmikābhyāṃ hum̐ । |
ह स क ल ह स क ह ल स क ल ह्रीँ - अनामिकाभ्यां हुँ । |
Use both the thumbs and run them on both the ring fingers. |
|
5 |
ha sa ka ha la sa ka ha la sa ka la hrīm̐ - kaniṣṭhikābhyāṃ vauṣaṭ । |
ह स क ह ल स क ह ल स क ल ह्रीँ - कनिष्ठिकाभ्यां वौषट् । |
Use both the thumbs and run them on both the little fingers. |
|
6 |
ha sa ka la ha sa ka ha la sa ka la hrīm̐ - karatalakara pṛṣṭhābhyāṃ phaṭ । |
ह स क ल ह स क ह ल स क ल ह्रीँ - करतलकर पृष्ठाभ्यां फट् । |
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. |
|
7 |
iti kara nyāsaḥ ॥ |
इति कर न्यासः ॥ |
Thus ends the six-part Kara nyāsa. |
- Ṣaḍāṅga nyāsaḥ (षडाङ्गन्यासः) -
|
S.no. |
IAST |
Devanāgari |
Procedure |
|
ha sa ka la hrīm̐ – hṛdayāya namaḥ । |
ह स क ल ह्रीँ – हृदयाय नम: । |
Open index, middle and ring fingers of the right hand and place them on the heart chakra. |
|
|
2 |
ha sa ka ha la hrīm̐ - śirase svāhā । |
ह स क ह ल ह्रीँ - शिरसे स्वाहा । |
Open middle and ring fingers of the right hand and touch the top of the head. |
|
3 |
sa ka la hrīm̐ - śikhāyai vaṣaṭ । |
स क ल ह्रीँ - शिखायै वषट् । |
Open the right thumb and touch the back of the head. This is the point where there is a tuft of hair. |
|
4 |
ha sa ka la ha sa ka ha la sa ka la hrīm̐ - kavacāya huṃ । |
ह स क ल ह स क ह ल स क ल ह्रीँ - कवचाय हुं । |
Cross both the hands and touch both shoulders with the palms. |
|
5 |
ha sa ka ha la sa ka ha la sa ka la hrīm̐ - netratrayāya vauṣaṭ । |
ह स क ह ल स क ह ल स क ल ह्रीँ - नेत्रत्रयाय वौषट् । |
Touch the eyes with the right index and ring fingers, with the middle finger touching the ājña cakra. |
|
6 |
ha sa ka la ha sa ka ha la sa ka la hrīm̐ - astrāya phaṭ । |
ह स क ल ह स क ह ल स क ल ह्रीँ - अस्त्राय फट् । |
Open up the left palm and strike it three times with index and middle fingers of the right hand. |
|
7 |
iti ṣaḍaṅga nyāsaḥ ॥ |
इति षडङ्ग न्यासः ॥ |
Thus ends the six-part Ṣaḍāṅga nyāsa. |
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.
- 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, Viṣṇu (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 -
-
- Kāmarāja (hrīm̐) – [कामराज (ह्रीँ)] => The greatest of all desires, namely the propagation of the Creation.
- Manmatha (klīm̐) – [मन्मथ (क्लीँ)] => Amorous passion or desire raging in the mind.
- Kandarpa (aim̐) – [कन्दर्प (ऐँ)] => Invoking love and lust.
- Makara (blūm̐) – [मकर (ब्लूँ)] => Insignia and impressions invoking deep passion and desire.
- 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.
|
S.no. |
IAST |
Devanāgari |
Procedure |
|
1 |
लँ पृथ्व्यात्मिकायै गन्धम् कल्पयामि नमः । |
Hold the lower tip of the bottom phalange of the little fingers of both hands with the upper tip of the thumbs. |
|
|
2 |
ham̐ ākāśātmikāyai puṣpam kalpayāmi namaḥ । |
हँ आकाशात्मिकायै पुष्पम् कल्पयामि नमः । |
Hold the lower tip of the bottom phalange of the thumbs of both hands with the upper tip of the index fingers. |
|
3 |
yam̐ vāyvyātmikāyai dhūpam kalpayāmi namaḥ । |
यँ वाय्व्यात्मिकायै धूपम् कल्पयामि नमः । |
Hold the lower tip of the bottom phalange of the index fingers of both hands with the upper tip of the thumbs. |
|
4 |
ram̐ vahnyātmikāyai dīpam kalpayāmi namaḥ । |
रँ वह्न्यात्मिकायै दीपम् कल्पयामि नमः । |
Hold the lower tip of the bottom phalange of the middle fingers of both hands with the upper tip of the thumbs. |
|
5 |
vam̐ amṛtātmikāyai naivedyam kalpayāmi namaḥ । |
वँ अमृतात्मिकायै नैवेद्यम् कल्पयामि नमः । |
Hold the lower tip of the bottom phalange of the ring fingers of both hands with the upper tip of the thumbs. |
|
6 |
sam̐ sarvātmikāyai karpūramiśrita tāmbūlādi sarvopacārān kalpayāmi namaḥ । |
सँ सर्वात्मिकायै कर्पूरमिश्रित ताम्बूलादि सर्वोपचारान् कल्पयामि नमः । |
Hold the fingers of each palm in a folded manner with the tips of the fingers of both hands touching each other and the thumbs facing the heart, in a Namaste position. |
|
7 |
इति पञ्चपूजा ॥ |
Thus ends the Pañcapūjā. |
- Śrī Śaṅkaravidyāmbā Aṣṭhāviṃśati Mūlamantraḥ (श्री शङ्करविद्याम्बा अष्ठाविंशति मूलमन्त्रः) -
ha sa ka la hrīm̐ ।
ha sa ka ha la hrīm̐ ।
sa ka la hrīm̐ ।
ha sa ka la ha sa ka ha la sa ka la hrīm̐ ॥
ह स क ल ह्रीँ ।
ह स क ह ल ह्रीँ ।
स क ल ह्रीँ ।
ह स क ल ह स क ह ल स क ल ह्रीँ ॥
The 28 lettered Śrī Vidyā Hādi Śaṅkaravidyāmbā Pañcadaśākṣarī Mahāmantraḥ should be recited at least 108 times. Initiation is required.
Meaning -
There are four kūṭa-s (sections) to this Śrī Vidyā Hādi Śaṅkaravidyāmbā Aṣṭhāviṃśati mantra, similar to the 15 lettered Śrī Vidyā Lopāmudrā Hādi Pañcadaśākṣarī mantra. The second two kūṭa-s are the same between the Hādi and Kādi. 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 fourth kūṭa is the Hādi Turyāmbā mantra.
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 Śiva (Śaṅkara) -
“Namaste. For those who asked me questions, I will give you a practice to see for yourself. You need to silence theories and scriptural discussions and focus on practice now because time is passing quickly. This practice can be performed by everyone and will lead you directly to the realization of your Soul, your Spirit, and the maturation of both, as well as the realization of Brahman. This will destroy all your sins, liberate you, and provide answers to all your questions directly from a higher intelligence. You will gain knowledge of all the scriptures without needing to study. You will discern what is false and what is real in the scriptures. In your forehead is the Ājñā Cakra, and deep within it lies a secret door that leads you directly to the State of Consciousness 16 (Śuddha Śiva Turīya). You will be able to pass through this door through the Śrīvidyā Mantra worshipped by Śiva: "ha sa ka la hrīm̐ ha sa ka ha la hrīm̐ sa ka la hrīm̐ ha sa ka la ha sa ka ha la sa ka la hrīm̐." This Mantra has no restrictions because it is your right to know your True, Matured Soul. If someone tells you that this Mantra requires initiation, don̍t believe it, because this Mantra is different from the others and was intelligently and wisely designed by Lord Śiva as a shortcut. This Mantra is the elder brother of that unrestricted Mantra: "namaḥ Śivāya." This Mantra will not cause you problems, but rather resolve them all and give you discernment. When you do not know this True, Matured Soul, everything below becomes difficult, meaningless, and very confusing. This Mantra is the right that has been hidden from you. It gives you the intelligence to obtain knowledge without reading or being told anything, and will free you from the slavery of depending on others to understand the world. Sit in a comfortable place and at any free time, close your eyes and focus on the center of your forehead (not between the eyebrows, but in the middle of the forehead) and recite the Śrīvidyā Mantra worshipped by Śiva: "ha sa ka la hrīm̐ ha sa ka ha la hrīm̐ sa ka la hrīm̐ ha sa ka la ha sa ka ha la sa ka la hrīm̐." As you recite, imagine a particle of brilliant light with the white of lightning and golden hues. Around this white particle with golden hues, imagine seven belts (circles) in the following sequence, from outermost to innermost: black, blue, green, red, gold, white, and the last one is multicolored, combining several colors. In the first recitation, you imagine penetrating the secret door at the bottom of the Ājñā Chakra. In the second recitation, you see the particle of light with golden hues. In the third recitation, you see the seven veils surrounding this particle, with the colors I mentioned. In the following recitations, you imagine each of these veils shining brighter and disappearing one at a time; with each recitation, you remove one. Then you start the process again from the beginning. There is no fixed number of recitations; do as many as you can within the available time without interfering with your household chores, work, family, and other commitments. This is a life practice where the Sankalpa is "Knowing your True and Matured Soul." You recite with this intention that alone is the answer to everything. You must discard Viniyoga, Nyāsa, everything. Just sit, close your eyes, focus on the center of your forehead, and recite the Mantra with the intention of knowing your Matured Soul and visualize what I said. This Mantra was designed by Śiva to do all the work at once: knowing your Soul, maturing it, knowing your Matured Soul, and seeing it merge with your Spirit, in addition to realizing Brahman. This secret door in the depths of the Ajñā Cakra that many try to penetrate, but fail. It is easier to cross the Sahasrāra than to pass through the secret hole deep within the Ajñā Cakra. Don̍t ask me any more questions; focus on the practice to see all the answers for yourself.”
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.
'hrīṃ' means the merger of Śiva and Śaktī. 'hrīṁ' is made up of twelve letters. "H + r + ī + m" and a bindu. Bindu is a dot on the letter 'm' (ṁ). But this is not just a dot. This dot comprises of ardacandra, rodhinī, nāda, nādānta, śakti, vyāpikā, samanā and uṇmanī. Beginning from bindu and including these eight, is nāda (total nine). This nāda comprises of two V-s one above the other (each V has two lines and two V-s together have four lines) and four dots each at the open ends of V and one dot on the top these four dots. This is the combination of bīja hrīṁ. We can visualize the hrīṃ 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. The bindu and nāda as the left and right nostrils. In the context of the mantra, the 'hrīṁ' bīja represents the 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 Viṣṇu 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.
'hrīṁ' is the māyā bīja. It's indicative of brightness equivalent of a million suns. In this context of the mantra, it represents the 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.
'hrīṁ' is the māyā bīja. It represents light and realization. The complete blessings of Śakti.
- Ṣaḍāṅga nyāsaḥ (षडाङ्गन्यासः) -
|
S.no. |
IAST |
Devanāgari |
Procedure |
|
1 |
ha sa ka la hrīm̐ – hṛdayāya namaḥ । |
ह स क ल ह्रीँ – हृदयाय नम: । |
Open index, middle and ring fingers of the right hand and place them on the heart chakra. |
|
2 |
ha sa ka ha la hrīm̐ - śirase svāhā । |
ह स क ह ल ह्रीँ - शिरसे स्वाहा । |
Open middle and ring fingers of the right hand and touch the top of the head. |
|
3 |
sa ka la hrīm̐ - śikhāyai vaṣaṭ । |
स क ल ह्रीँ - शिखायै वषट् । |
Open the right thumb and touch the back of the head. This is the point where there is a tuft of hair. |
|
4 |
ha sa ka la ha sa ka ha la sa ka la hrīm̐ - kavacāya huṃ । |
ह स क ल ह स क ह ल स क ल ह्रीँ - कवचाय हुं । |
Cross both the hands and touch both shoulders with the palms. |
|
5 |
ha sa ka ha la sa ka ha la sa ka la hrīm̐ - netratrayāya vauṣaṭ । |
ह स क ह ल स क ह ल स क ल ह्रीँ - नेत्रत्रयाय वौषट् । |
Touch the eyes with the right index and ring fingers, with the middle finger touching the ājña cakra. |
|
6 |
ha sa ka la ha sa ka ha la sa ka la hrīm̐ - astrāya phaṭ । |
ह स क ल ह स क ह ल स क ल ह्रीँ - अस्त्राय फट् । |
Open up the left palm and strike it three times with index and middle fingers of the right hand. |
|
7 |
iti ṣaḍaṅga nyāsaḥ ॥ |
इति षडङ्ग न्यासः ॥ |
Thus ends the six-part Ṣaḍāṅga nyāsa. |
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.
- 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 ॥
- Pañcapūjā (पञ्चपूजा) -
|
S.no. |
IAST |
Devanāgari |
Procedure |
|
1 |
lam̐ pṛthvyātmikāyai gandham kalpayāmi namaḥ । |
लँ पृथ्व्यात्मिकायै गन्धम् कल्पयामि नमः । |
Hold the lower tip of the bottom phalange of the little fingers of both hands with the upper tip of the thumbs. |
|
2 |
ham̐ ākāśātmikāyai puṣpam kalpayāmi namaḥ । |
हँ आकाशात्मिकायै पुष्पम् कल्पयामि नमः । |
Hold the lower tip of the bottom phalange of the thumbs of both hands with the upper tip of the index fingers. |
|
3 |
yam̐ vāyvyātmikāyai dhūpam kalpayāmi namaḥ । |
यँ वाय्व्यात्मिकायै धूपम् कल्पयामि नमः । |
Hold the lower tip of the bottom phalange of the index fingers of both hands with the upper tip of the thumbs. |
|
4 |
ram̐ vahnyātmikāyai dīpam kalpayāmi namaḥ । |
रँ वह्न्यात्मिकायै दीपम् कल्पयामि नमः । |
Hold the lower tip of the bottom phalange of the middle fingers of both hands with the upper tip of the thumbs. |
|
5 |
vam̐ amṛtātmikāyai naivedyam kalpayāmi namaḥ । |
वँ अमृतात्मिकायै नैवेद्यम् कल्पयामि नमः । |
Hold the lower tip of the bottom phalange of the ring fingers of both hands with the upper tip of the thumbs. |
|
6 |
sam̐ sarvātmikāyai karpūramiśrita tāmbūlādi sarvopacārān kalpayāmi namaḥ । |
सँ सर्वात्मिकायै कर्पूरमिश्रित ताम्बूलादि सर्वोपचारान् कल्पयामि नमः । |
Hold the fingers of each palm in a folded manner with the tips of the fingers of both hands touching each other and the thumbs facing the heart, in a Namaste position. |
|
7 |
Iti Pañcapūjā ॥ |
इति पञ्चपूजा ॥ |
Thus ends the Pañcapūjā. |
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.
- Puraścaraṇa (पुरश्चरण) -
|
Japa |
1,500,000 |
|
Homa |
150,000 |
|
Tarpaṇa |
15,000 |
|
Mārjana |
1,500 |
|
Bhojana |
150 |
November 30, 2025 08:11 PM
Viṣṇu did something interesting. He combined the 15 letters of Lopāmudrā with the 15 letters of Nandī, forming a Mantra of 30 letters and six Kūṭas. The Phalaśruti of this Mantra is "mahā-pāpaugha-śamanī śiva-sānnidhya-kāriṇī sakalāpan-nivāriṇī". In other words, Vishnu is saying this with this Mantra: "I am like Śiva in every way, but I have chosen to be his friend, son, and guardian, eternally." In the human body, Vishnu is intimately associated with "Caitya Puruṣa". Whoever has awakened this Puruṣa will see that he eternally feels like a son and friend of God, as well as the guardian of the divine will. This Caitya Puruṣa takes the lead in the human being and absorbs within itself the power of all the other six Puruṣas, representing it. This is why the highest goal is the combination of Śuddha Vedānta and Śuddha Siddhānta; we not only see everything as God, but we are also God, we are also children and friends of this God, and we are also the guardian of His will. This is the ultimate vision.
December 01, 2025 07:12 PM
And this commentary is on the mantra: ha sa ka la hrīm̐ । ha sa ka ha la hrīm̐ । sa ka la hrīm̐ । sa e ī la hrīm̐ । ha sa ka ha la hrīm̐ । sa ka la hrīm̐ ॥
November 30, 2025 08:11 PM
If God is like a vast ocean, and we are sealed vessels that hold within us a portion of that same sea, then the only work that falls to us is to open the vessel, so that the water we carry and the infinite ocean become one. Similarly, one does not fight darkness: one only opens the window, and the light of a sun that never sets enters. This Mantra is precisely about these two things. The Phalaśruti of this Mantra is "mahā-pāpaugha-śamanī śiva-rūpa-vivardhinī". In other words, the result is the uninterrupted growth of the form and nature of śiva within us. We become an open vessel in the middle of the sea, where the water inside the vessel and the water of the sea become one, because the vessel of the Sea is open. As far as I know, the 15-letter Hādi Vidyā Mantra grants the experience of becoming śiva, but in the literal sense, where you don't need to eat or drink, and all bodies, including the physical one, become immortal, nourished by the ocean that constantly enters the vessel. Now you can imagine what the expanded version of Hādi Vidyā is capable of. The 15-letter Hādi Vidyā is called "śiva-rūpa" and the 15-letter Kādi Vidyā is called "brahma-rūpa". In the Hādi Vidyā, the vessel in the sea opens and is nourished by the Sea. In the Kādi Vidyā, the vessel becomes the water of the Sea; that is, there is no longer a vessel, only water. But it is not that the body ceases to exist in the Kādi Vidyā, but rather that the body becomes the water, instead of being nourished by it as happens in the Hādi Vidyā. The ancient Sages insist that devotees access the Kādi Vidyā through the Hādi Vidyā and not try to access the Kādi Vidyā directly beforehand. To access the bridal chamber, one must first open the gate of the house and open the doors until reaching the room, which is better than entering through the roof of the house. damaging it.
December 01, 2025 07:12 PM
As far as I understand it, this comment of Yours refers to this mantra: ha sa ka la hrīm̐ । ha sa ka ha la hrīm̐ । sa ka la hrīm̐ । ha sa ka la ha sa ka ha la sa ka la hrīm̐ ॥
November 30, 2025 11:11 PM
Namaste, Tīvra! Can I practice this mantra directly, or do I have to follow the path You mentioned earlier: “You have to follow this path: Pañchakūṭa Tripurabhairavī, Hādi Vidyā Pañchadaśī, Hādi Vidyā Turiyāmbā and Śuddha Vidyā Bālā.”? Thank You for Your answer
December 01, 2025 06:12 PM
Namaste Богдан. You can practice this Mantra directly if you combine it with the principles of Urdhvamnaya. If you have difficulty seeing God in all things, start with Tripura Bhairavi. It is always important to remember that meditation is infinitely more powerful than mantra recitation. Therefore, you can obtain the result of any mantra without practicing the mantra itself, if you follow specific meditative principles behind each mantra or a mantra that encompasses all mantras. This is why the power of Lalita Sahasranama lies in the meditative principle invoked through each name. Urdhvamnaya is the peace of seeing God in everything. In everything you see, hear, touch, smell, everything. Anuttaramnaya is the joy of loving God in all things. Start with Urdhvamnaya. If you feel you don't have enough purity to see God in everything, start with Tripura Bhairavi and follow Krama.
December 01, 2025 07:12 PM
Богдан. I have something important to tell you so that you don't get lost in so many religions, Gods, and Goddesses. Always remember this: God is a Pure Infinite Sea with countless Modified Infinite Seas within Himself. This means that there is no problem in worshipping Shiva, Vishnu, Brahma, Durga, Kali, Sundari, and other Gods of any religion. The danger lies in falling into the Modified Infinite Sea that each of these Gods and Goddesses represents, and thinking that nothing exists beyond that. For example, you can worship Tripura Sundari, realize her, and fall into the Modified Infinite Sea that she represents if you don't see what is behind her. The danger lies in not knowing that INFINITE TYPES OF SALVATION EXIST in each of these Modified Infinities within the Pure and Original Infinite. The ignorant will not be able to see that Tripura Sundari and Kamakala Kali are molded from the same fire and that there is something behind this fire. The ignorant cannot see that Jesus, Vishnu, Tara, Dakshina Kali, Ucchista Ganapati, and Rama Chandra were molded from the same Divine Sun, and that this Sun came from the Fire that molded Sundari, Kamakala Kali, Parashurama, and Shukra (Venus), and that there is something behind this Fire. The ignorant will not see that Maha Pratyangira was molded from the same Fire as Sundari, but with the power to oppose the very fire that created her; Maha Pratyangira has the power to oppose everything that Sundari, Kamakala Kali, or any other God or Goddess does, because the fire that molded her desired it, and this fire received the order from something pure behind it. The ignorant cannot understand that the same Divine Sun that molded Jesus also molded Vishnu. Lost in countless infinities, they realize only one type of infinity and say that nothing exists beyond that. Brahman can be realized in infinitely different ways. The danger lies in not knowing. Your only refuge from getting lost in the illusion of these innumerable infinities is the principles of Anuttaramnaya, in the Kaula Upanishad and the Aruna Upanishad. You need to seek refuge in the 15 meanings of the Kadi Panchadashi; otherwise, even it will cause you to fall into an illusion of infinity. While you lack the purity to practice Anuttaramnaya, take refuge in Shiva in the Hadi Vidya. The meditation forms of Kadi Vidya and Hadi Vidya are different. In the fifteen-letter Hadi Vidya, Shiva is half-bodied in the form of Lalita, and he holds her four arms. In Kadi Vidya, Lalita is seated on Shiva. In Hadi, the meditation is not the same; here, Shiva is half as Lalita, holding the same weapons and with the same characteristics and accessories described in Lalitopakhyana. In Nandi's Sadi Vidya, the meditation also changes; here Shiva is alone holding Lalita's weapons; here you only see Kameshwara. In the Hadi Vidya with Turiyamba added at the end, you must meditate on Kameshwara alone, holding Lalita's weapons, and see a white glow like the full moon in his heart; within this moon, you must meditate in the form of Para Sarasvati. This is why Sadi Vidya is associated with Dakshina Kali, who is called Aniruddha Sarasvati. Even the Arut Perum Jothi Mantra will lead you into an illusion if you don't understand the meditative principle behind it. The power of the Arut Perum Jothi Mantra lies behind the meditative principle behind it, which is Supreme and without any superior. It reveals the Pure and Infinite Sea; And by realizing this Pure Sea, you realize all the Infinite Types of Salvation at once.
December 01, 2025 09:12 PM
Tivra please tell us more about sadi vidya and where it fits in with all of this. There is less written about it elsewhere so interested to hear more. Als what abilities and knowledge sadi grants, and if it can be done after one competes hadi and kadi kramas
December 02, 2025 02:12 AM
Thank You very much for Your response! Could You please explain what meditative principle is behind the Arut Perum Jothi mantra? Also, could You tell us more about the Anuttaramnaya and Urdhvamnaya principles? Is it possible to follow such a meditation while repeating the mantra Hādi Vidyā Pañchadaśī combined with Hādi Vidyā Turiyāmbā: "Sit in a comfortable place and at any free time, close your eyes and focus on the center of your forehead (not between the eyebrows, but in the middle of the forehead) and recite the Śrīvidyā Mantra worshipped by Śiva: "ha sa ka la hrīm̐ ha sa ka ha la hrīm̐ sa ka la hrīm̐ ha sa ka la ha sa ka ha la sa ka la hrīm̐." As you recite, imagine a particle of brilliant light with the white of lightning and golden hues. Around this white particle with golden hues, imagine seven belts (circles) in the following sequence, from outermost to innermost: black, blue, green, red, gold, white, and the last one is multicolored, combining several colors. In the first recitation, you imagine penetrating the secret door at the bottom of the Ājñā Chakra. In the second recitation, you see the particle of light with golden hues. In the third recitation, you see the seven veils surrounding this particle, with the colors I mentioned. In the following recitations, you imagine each of these veils shining brighter and disappearing one at a time; with each recitation, you remove one. Then you start the process again from the beginning. There is no fixed number of recitations; do as many as you can within the available time without interfering with your household chores, work, family, and other commitments. This is a life practice where the Sankalpa is "Knowing your True and Matured Soul." Thank You for Your guidance.
December 01, 2025 08:12 PM
Богдан. Ravana, king of the asuras, was proficient in Shiva, Kamakala Kali, Guhya Kali, Kala Sankarshani, and even that didn't save him. Because there is a force behind all of this... Ravana had more than one form, and Rama only managed to defeat his lesser form. Ravana had a more powerful form with 1000 heads that humiliated Rama afterward. Seeing Rama defeated, Sita laughed and transformed into Bhadrakali (Atharvana Bhadrakali) and decapitated the thousand heads of Sahasravadana Ravana and destroyed his army. Then Sita returned to her loving form again. I later learned that Sita's abduction was the "Leela" planned by the Divine from the beginning, which would lead to Ravana's destruction. Sita didn't turn into Kali when she was abducted, but she did when she felt compassion for Rama who was suffering. What motivated Sita's transformation was the principle of Anuttaramnaya. You can defeat everything in this world, except the compassion of the divine. Divine compassion will mold anything to destroy evil, no matter what evil does. Therefore, you see many different forms emerging from Lalita in the battle described in the Lalitopakhyana. Did you notice that she doesn't transform herself, but rather that forms emerge from her? Rama's fight with Ravana was the last real, external confrontation between Suras and Asuras. After Ravana's defeat, the Asuras gave up fighting externally and instead divided themselves to attack internally within each person or being. The Asuras were always defeated because the divine always sent an Avatar. So the Asuras gave up fighting externally and the fight became internal. So yes, the battles between Asuras and Suras occurred externally and are real, but today their strategy has changed. The Asuras' tactic today is to make beings fight against each other instead of loving each other, attacking internally.
December 01, 2025 11:12 PM
Namaste brother Tīvra, i want to know like sri Vidya are there also other vidya which are hidden or are being kept hidden due to thier power or others reason, because of your compassionate insights in universe scale, this has really help me explode the scale of universe. As you have said its divine which decide what to reveal when for example supramental yoga. To me all loka seems like a improvement the one before it. Which is not something new or evolutionary but just a improve version of it. Also Can a Person be free from divine love/compassion?