Śrī Viṣṇuvidyāmbā Triṃśatyakṣara Mahāmantraḥ

(श्री विष्णुविद्याम्बा त्रिंशत्यक्षर महामन्त्रः)

 

Source – Āmnāya mandāraḥ. Commentary provided by revered Tivra.

Initiation Required. Puraścaraṇa of the Śrī Mahā Tripura Bharavī mantra, as well as Hādi and Sādi Pañcadaśī mantras, is a pre-requisite.

Purpose – Karmic cleansing leading towards self-realization.

NoteThe Divine Mother Śrī Viṣṇuvidyāmbā 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 Pañcadaśī. The Divine Mother Śrī Viṣṇuvidyāmbā 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 viṣṇuvidyāmbā triṃśatyakṣara mahāmantrasya

dakṣiṇāmūrti ṛṣiḥ

paṅktiśchandaḥ

śrī viṣṇuvidyāmbā devatā

ha sa ka la hrī~ bījaṃ

ha sa ka ha la hrī~ śaktiḥ

sa ka la hrī~ kīlakaṃ

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

अस्यश्री विष्णुविद्याम्बा त्रिंशत्यक्षर महामन्त्रस्य ।

दक्षिणामूर्ति ऋषिः ।

पङ्क्तिश्छन्दः ।

श्री विष्णुविद्याम्बा 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 श्रीविष्णुविद्याम्बा श्रीललिता महात्रिपुरसुन्दरी प्रसाद सिद्ध्यर्थे महामन्त्र जपे विनियोगः ॥

Meaning - This prayer/mantra japa is to invoke Śrī Viṣṇuvidyāmbā in our heart, perform mantra japa to obtain Her complete grace in all aspects, including the four puruṣārthasdharma (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 Viṣṇuvidyāmbā 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.

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

 

  1. 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 Viṣṇuvidyāmbā devatāyai namaḥ hṛdi ।

श्री विष्णुविद्याम्बा 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 Viṣṇuvidyāmbā Triṃśatyakṣara mahāmantra jape viniyogāya namaḥ sarvāṅge ।

मम सकलविद्या प्राप्तये पुरुषार्थ चतुष्टये सिद्ध्यर्थे श्रीगुरोर् अनुज्ञाये श्री विष्णुविद्याम्बा महामन्त्र त्रिंशत्यक्षर जपे विनियोगाय नमः सर्वाङ्गे ।

Run both the palms all over the body.

8

iti ṛṣyādi nyāsaḥ ॥

इति ऋष्यादि न्यासः ॥

Thus ends the Ṛṣyādi nyāsa.

 

  1. 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

sa e ī la hrīm̐ - anāmikābhyāṃ hum̐

स ए ई ल ह्रीँ - अनामिकाभ्यां हुँ ।

Use both the thumbs and run them on both the ring fingers.

5

ha sa ka ha la hrīm̐ - kaniṣṭhikābhyāṃ vauṣaṭ ।

ह स क ह ल ह्रीँ - कनिष्ठिकाभ्यां वौषट् ।

Use both the thumbs and run them on both the little fingers.

6

sa ka la hrīm̐ - karatalakara pṛṣṭhābhyāṃ phaṭ

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 nyāsa

इति कर न्यासः ॥

Thus ends the six-part Kara nyāsa.

 

  1. 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

sa e ī la hrīm̐ - kavacāya huṃ

स ए ई ल ह्रीँ - कवचाय हुं

Cross both the hands and touch both shoulders with the palms.

5

ha sa ka ha la hrīm̐ - netratrayāya vauṣaṭ

ह स क ह ल ह्रीँ - नेत्रत्रयाय वौषट्

Touch the eyes with the right index and ring fingers, with the middle finger touching the ājña cakra.

6

sa ka la hrīm̐ - astrāya phaṭ ।

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.

 

  1. 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 -

    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.

 

  1. 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

ya 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

sa 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 Pañcapū

इति पञ्चपूजा

Thus ends the Pañcapūjā.

 

 

  1. Śrī Viṣṇuvidyāmbā Triṃśatyakṣara Mūlamantraḥ (श्री विष्णुविद्याम्बा त्रिंशत्यक्षर मूलमन्त्रः) -

 

ha sa ka la hrīm̐

ha sa ka ha la hrī

sa ka la hrīm̐

sa e ī la hrī

ha sa ka ha la hrī

sa ka la hrī

ह स क ल ह्रीँ ।

ह स क ह ल ह्रीँ ।

स क ल ह्रीँ ।

स ए ई ल ह्रीँ ।

ह स क ह ल ह्रीँ ।

स क ल ह्रीँ ॥

 

The 30 lettered Śrī Vidyā Hādi Viṣṇuvidyāmbā Pañcadaśākṣarī Mahāmantraḥ should be recited at least 108 times. Initiation is required.

 

Meaning -

There are six kūṭa-s (sections) to this Śrī Vidyā Sahādi Viṣṇuvidyāmbā Triṃśatyakṣara mantra, combining the 15 lettered Śrī Vidyā Lopāmudrā Hādi Pañcadaśākṣarī mantra with the Śrī Vidyā Nandi upāsita Sādi Pañcadaśākṣarī mantra. 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 same applies to the fourth, fifth and sixth kūṭas.

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 Viṣṇu -

 

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. 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.”

 

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 ma 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.

 

The following is applicable to the Sādi Vidyā mantra which constitute the fourth, fifth and sixth kūṭas of the main mantra –

 

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

    

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

‘e’ means Sarasvatī the goddess of jñāna and is also a dimunitive form of vāgbīja ‘aiṁ’ and is therefore a container of all sounds within itself and a source of their manifestation. The bīja 'e' also prevents misfortune to the sādhaka or devotee. It also represents the viśvayoni or Creation itself! It is kulakuṇḍalini present in the mūlādhāra root/base cakra.

‘ī’ means Lakṣmī. ‘ī’ bestows wealth and all good things to sādaka. ‘Ī’ also represents īśāna Śaktī, covering all aspects of iccha, jñāna and kriyā, which means wishes, knowledge and action respectively. It is the root of the kāmakalā bīja īṃ, indicating the union of Śiva and Śaktī or the coming together of the static and dynamic aspects of the Super-Consciousness. It is located in the anāhata cakra.

‘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 –

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

'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.

'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.

 

 

 

 

  1. 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

sa e ī la hrīm̐ - kavacāya huṃ ।

स ए ई ल ह्रीँ - कवचाय हुं ।

Cross both the hands and touch both shoulders with the palms.

5

ha sa ka ha la hrīm̐ - netratrayāya vauṣaṭ ।

ह स क ह ल ह्रीँ - नेत्रत्रयाय वौषट् ।

Touch the eyes with the right index and ring fingers, with the middle finger touching the ājña cakra.

6

sa ka la hrīm̐ - astrāya phaṭ ।

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.

 

  1. 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 ॥

 

  1. 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.

 

  1. Puraścaraṇa (पुरश्चरण) -

Japa

3,000,000

Homa

300,000

Tarpaṇa

30,000

Mārjana

3,000

Bhojana

300