Now about these meanings with reference to kādi (KA E Ī LA HRĪṀ HA SA KA HA LA HRĪṀ SA KA LA HRĪṀ). Bhāvārtha is not really very different, so there isn't much to say there. For Saṁpradāyārtha, the five letters HA, KA, RA, SA, and LA still represent the five elements. Unlike hādi, there are five HAs in kādi, so the inner resonance of the elements which is represented by the sixth HA in hādi is not counted here. The wind element is represented by the three KAs plus the Ī in the first kūṭa. The meanings of the three LAs and RAs are the same. The two SAs refer to water and earth which is pervaded by it. The 37 tattvas (36 + Paramaśiva) are constituted by dividing the consonants and vowels (i.e. KA would be K and A). Not counting the anusvāras, the first kūṭa has 11, the second has 15, and the third has 11. Nigarbārtha is also not really different. For Kaulikārtha, the alternative interpretation is different from hādi. The nine planets are said to be the three anusvāras, the three nādas that follow each, and the remainder of the three kūṭas. The 27 lunar mansions are the aforementioned 37 vowels and consonants, although because, excluding the hṛllekhās, there are ten As (two in the first kūṭa, five in the second, and three in the third) which are not separate from the consonants, they are not counted and so the number is reduced to 27. The six Yoginīs which correspond to the six cakras and dhātus (though the number of dhātus with Yoginīs is sometimes inconsistent) are the three hṛllekhās and three kūṭas. The zodiac consists of the nine subtle resonances that follow every anusvāra plus the three LAs that precede each. Sarvarahasyārtha is the same, just with the three kūṭas of kādi instead. Mahātattvārtha is also the same. Now, what is one to make of all this? Śrīvidyācārya Bhāskararāya says: "The utterance of sound without a knowledge of the true import bears no fruit, even as the offering thrown over ashes in the absence of fire does not burst into flame. Those who are merely reciting the different sounds without a knowledge of their meaning may be compared to a donkey carrying a load of sandalwood grown in the Malaya mountains. By those men who are in quest of the goals of human desires should be comprehended the meanings of the mantra. To those who ignore the meanings there is no attainment of their desire; on the contrary, such ignorance leads to ruin." A mantra is not simply an utterance of sounds. It is an inner reflective awareness which is devoid of thought constructs and which frees the mind from them. The outer forms of mantras are expressions of the powers that are experienced inwardly. This power is the "meaning" of the mantra, and since the "meaning" is the non-discursive supreme reality itself, the mantra and what it denotes are in fact one and the same. Japa is a kind of bhāvanā. The mind being freed from discursive thought through the repetition of the mantra, which is contemplated in accord with its meaning, the two become one. Eventually, both the mantra and the mind dissolve into the supreme reality where everything becomes Mantra. The actual contemplation in accordance with the meaning is subtle. It's almost instinctive, meaning to say that when doing japa you're not thinking about the words or the specific details. The sense of it is intuitively understood without thinking as you recite, and indeed you begin to see that the resonance itself and this intuitive understanding of meaning become one and the same. Read through these arthas and understand the sense of them. It's possible one might feel intuitively more important to you than the others. When you do japa, allow the resonance of the mantra and the meaning fuse into a seamless bhāvanā.

There is such a concept in Jyotish as Ishta Devata, which leads a person to liberation, it is located through Atma Karaka (AK) in Navamsha in 12 D from AK. AK is a Graha (planet) with the highest degree in the Rashi of the horoscope (if it is in 29-30 degrees, it is considered dead, and all the accumulated merits are strengthened, which hinders progress in life). As Tivraji wrote, AK is in Sahasranama Chakra, and Amatya karaka AmK) in Ajna chakra, which helps to make a decision AK because AmK is an advisor, a prime minister for AK. Manoj, look at your AK and Navamsha (9D), count from it the 12th house and see what is there. You write that Rahu is in your Rashi (unlike other planets, Rahu moves in the opposite direction and occupies the beginning of the sign like AK, and not the end as I understand it is at the beginning of Virgo) in Uttara Phalguni, look at what place it occupies in Navamsha and count 12 signs. Look at what is there. What Graha, what sign. (Sagittarius is the owner of the sign Jupiter (Guru) if there are no planets then we look at what sign it occupies).

Namaste Raman. I will talk about kādi later. The Triśati is based on the kādividyā itself, each name beginning with the letters of the vidyā in the order they appear. In the prologue to the Sahasranāma, Hayagrīva says that of the vidyā, kādi is supreme: "The Śrīvidyā is the first of all mantras, and of it the Kādi form is the first and the best." However, that does not necessarily mean that they are restricted to kādi. Initiation into some form of the Pañcadaśī at least is implied for the recitation of the latter in the viniyoga: śrīmadvāgbhavakūṭeti bījam, madhyakūṭeti śaktiḥ, śaktikūṭeti kīlakam. Hayagrīva says to Agastya after the Sahasranāma: "You should not impart this hymn to one who is not initiated into the Śrīvidyā, nor to one who is not a devotee. Just as the Śrīvidyā is to be kept secret, so also, O Muni, this Sahasranāma should be kept concealed from the eyes of the uninitiated. This holy hymn ought not to be promulgated among those whose nature resembles that of beasts. If a person so loses his wits so as to impart this to one who is not initiated into the Śrīvidyā, the Yoginīs curse him and it is a source of great loss to him." Again, he says initiation into the Śrīvidyā is necessary, but does not specify any particular form thereof.

Sir,what is the process of getting initiated by you?

Thank you, Dylan! Please provide an explanation of the manifold traditional interpretations of the Kādi Pañcadaśī as well. Furthermore, is the practice of chanting the Lalitā Sahasranāma and Lalitā Triśati confined to Kādi Vidyā, or is it also integral to Hādi Vidyā?

In nabhi Vidya,Saubhaagya Vidya Panchadashi Mantra, is ending with Shreem but In the website - for Saubhaagya Panchadashi mantra japa page, shreem beeja is missing. Is there any variation or is it typo error in the mantra japa section.

For the sake of everyone's benefit, I will explain the various traditional meanings of the Pañcadaśī. What follows is the exposition of the hādividyā (HA SA KA LA HRĪṀ HA SA HA KA LA HRĪṀ SA KA LA HRĪṀ), although kādividyā is not especially different regarding these meanings. I will probably write another comment later on explaining where the latter differs from what is said here. Everything in this exposition follows what is taught in the Yoginīhṛdaya Tantra. If anyone wants clarification on anything said here feel free to ask. 1. Bhāvārtha: The Śrīvidyā is the union of Śiva and Śakti. In that respect, it is simultaneously the result of and the embodiment of that union of Śiva and Śakti; consciousness and bliss, transcendence and immanence, word and meaning, subject and object, etc. Continuing that theme, the Yoginīhṛdaya says that this union is also embodied by the Yoginīs and Vīras. The Yoginīs in this case refer to the three śaktis: icchā, jñāna, kriyā. The Vīras are Brahmā, Viṣṇu, and Rudra. Embodying the various triads, each of these pairs corresponds to each of the three kūṭas of the Śrīvidyā. The idea here is that the union of Śiva and Śakti, the supreme reality, is recapitulated at every level of existence. The Yoginīhṛdaya says: "Thus constituted, delighting in the utmost bliss, the Goddess, whose nature is vibration, of innate beauty, once known, is to be freely worshipped." The Śrīvidyā is thus the reflective awareness of the supreme reality of the form of the union of Śiva and Śakti which manifests as the totality of all things. 2. Saṁpradāyārtha: This artha concerns the emergence of the supreme reality as the universe. The letters HA, KA, RA, SA, and LA which constitute the vidyā (excluding the 'Ī's and 'Ṁ's of the hṛllekhās) represent space, wind, fire, water and earth, respectively, of which the universe is composed. Together, these five elements have fifteen guṇas. In other words, each element pervades each of the ones below it, which creates fifteen guṇas total. These are also the fifteen Nityākalā Devīs. Moreover, if the vowels and consonants are divided (i.e. HA, for example, is divided into H and A), we get eleven letters in the first kūṭa, thirteen in the second, and nine in the third, totalling 33. When the anusvāras at the end of each of the three hṛllekhās are added, we get 36. These are the 36 tattvas. The entire vidyā as a whole, as the Goddess, is the "37th tattva", which is not a distinct tattva per se, but rather represents the simultaneously transcendent and immanent nature of the supreme reality. There are six HAs in the vidyā, the first five embodying the space element which pervades the others, along with its subtle nature as the resonance of consciousness which is the sixth. There are three RAs, embodying the guṇas pervaded by fire: earth, water, and fire itself. There are three SAs, the water element which pervades earth. The third is the 'subtle' form, which is to say, from the perspective of earth it is that which pervades it and so is subtle. There are three LAs, which represent the earth element as constituting the three worlds. There are three KAs, which represent the three states of bound subjectivity: vijñānākalā, pralayākala, and sakala. All of these elements are to be viewed as originating from Mahāmāyā and the supreme reality, represented by the letters Ī and Ṁ, respectively. The sense of all this is explained: "In any object one can say that there is śakti. This is the Goddess, the universal sovereign. And any object is the Supreme Lord." 3. Nigarbhārtha: Śiva, the supreme reality, is the Self of the guru and the sādhaka. Thus, the Śrīvidyā embodies the unitary nature of these three. 4. Kaulikārtha: To begin this one, it is necessary to cite the opening verse of the Nityāṣoḍaśikārṇava: "I bow to the Goddess who consists of Mantra, who is the letters of the alphabet, who takes the form of the gaṇapatis, the planets, the lunar mansions, the Yoginīs, and the constellations, and who is the embodiment of the pīṭhas." The nine planets in this case are the three guṇas, three powers (icchā, jñāna, kriyā), and three luminaries (moon, sun, fire). The lunar mansions are the five jñānendriyas and their objects, five karmendriyas and their objects, the four constituents of the antaḥkaraṇa: manas, ahaṁkāra, buddhi, citta, prakṛti, guṇatattva, and puruṣa. The Yoginīs preside over the dhātus: skin, blood, muscle, fat, marrow, semen, plasma, and bone. The constellations of the zodiac consist of the ten prāṇas plus the individual and supreme selves. The gaṇas are the phonemes. There is also an alternative explanation for these. HRĪṀ can be divided into three parts: the first three letters, the bindu, and the inaudible resonances that follow. As each HRĪṀ is thus split into three parts and there are three of them, these are the nine planets. The lunar mansions are the fifteen syllables of the vidyā plus the twelve parts of the hṛllekhās (taken as a whole, not all three). Each hṛllekhā plus the LAs that proceed each one are the Yoginīs. The twelve signs of the zodiac are the twelve syllables that remain when each hṛllekhā is excluded from the vidyā. The sense of all this is explained: "All the aspects just described as in the body of the Goddess are to be found in the same way in the body of the spiritual master, and, through his grace, the disciple will also shine in this form." 5. Sarvarahasyārtha: The first kūṭa should be meditated upon in the mūlādhāra. This is the maṇḍala of fire, the first three āvaraṇas (saṁhārakrama) of the Śrīcakra. Ascending along the central channel as the resonance of the vāgbhavakūṭa, the kāmarājakūṭa is to be meditated upon in the heart. This is the maṇḍala of the sun, the second set of āvaraṇas. Its resonance rising, the śaktikūṭa is to be meditated upon in the brow center. It is the maṇḍala of the moon, the last set of three āvaraṇas. The resonance of the śaktikūṭa reaching the dvādaśānta, "...She pervades the whole universe, Her nature being constant bliss. The thought: 'this energy is my own Self,' such is the secret meaning." 6. Mahātattvārtha: I think it is best to just quote directly from the Yoginīhṛdaya here: " It consists in uniting oneself with the indivisible, supreme, subtle, imperceptible, with no concrete existence, the reality supreme, above the inner sky, light and bliss, both transcending the universe and identical with it. Since luminosity is the state of things that are luminous and also that of those that are dark, there is therefore a necessary and essential connection between the universe and the highest reality. The highest reality shines, O Flame of the essence of the divine play! The secret meaning, the attainment of which is preceded by the stability of the spirit that appears when all volition and all doubt are banished, is completely hidden. It gives immediate certainty. It is seen in the ocean of the high knowledge. There, no doubt survives, O Pārvatī! Giver of divine powers, it is present in the three kūṭas composing the seat pīṭha of the vidyā. Will enjoy this, O Goddess, those who follow the practice of Kula and who meditate on the feet of the Master, who take part zealously in the meetings with the Yoginīs, who have received the divine unction, are free from the stain of doubt, their spirit ceaselessly joyful and well versed in the secret meaning known through the uninterrupted succession of masters."

Namaste Dylan. My question concerns the Śrī Vidyā mantra that Tīvra brought to light and that Lord Śiva is said to have practiced. With your profound expertise in Tantra, could you please clarify what the Tantras say about the 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—and, in particular, its viniyoga and dhyāna? Thank you very much!

Truly incredible information. Endless thanks to Tivra ji and this website.

Namaste tivra sir , you have a great wisdom. I wanted to know if these mantras can change your destiny that astrologers say can’t be changed. Do these mantras hold the power to create your life the way you want to? Also what if you don’t have a guru , what to do in that case. Thanks for reading my question.