Sir,What happens if we chant the pancadasi mantra without initiation? or if we chant the mantra from where it is derived from , will it have the same effect?RegardsVinay  

This is the correct one ॐ ऐं ह्रीं श्रीं ऐं क्लीं सौः ऐं ग्लौं ह्स्ख्फ्रें हसक्षमलवरयूं ह्सौः सहक्षमलवरयीं स्हौः श्रीविद्यानन्दनाथात्मक चर्यानन्दनाथ श्री महापादुक्कां पूजयामि तर्पयामि नमः॥ om aiṁ hrīṁ śrīṁ aiṁ klīṁ sauḥ aiṁ glauṁ hskhphreṁ hasakṣamalavarayūṁ hsauḥ sahakṣamalavarayīṁ shauḥ śrīvidyānandanāthātmaka caryānandanātha śrī mahāpādukkāṁ pūjayāmi tarpayāmi namaḥ ||

Respected Guruji, Can you please confirm which of the version is the correct Maha paduka mantra 1: om aiṁ hrīṁ śrīṁ aiṁ klīṁ sauḥ aiṁ glauṁ hskhphreṁ hasakṣamalavarayūṁ hsauḥ sahakṣamalavarayīṁ shauḥ śrīvidyānandanāthātmaka caryānandanātha śrī mahāpādukkāṁ namaḥ || (this is as per the article above, also i have removed pujayami and tarpayami) 2: om aiṁ hrīṁ śrīṁ aiṁ hrīṁ śrīṁ klīṁ sauḥ aiṁ glauṁ hskhpreṁ hasakṣamalavarayūṁ hsauḥ sahakṣamalavaraīyīṁ s-hauḥ śrīvidyānandanāthātmaka caryānandanātha śrīmahāpādukāṁ namaḥ ॥ (this is as per the mantra given in the discussion forum) Regards,Jayanth

Nada in the form of Kundalini conjoins Bindu in Sahasrara. Siva is in the top of the head and Sakthi is in Muladhara. So the order of of Kutas in LS seems to be correct and in consonance with yogic scriptures. Sakthi Kuta is where Sakthi resides in the form of Kundalini. The first two Kutas begins with Siva aksharas and the third kuta begins with a Sakthi akshara which corresponds to this proposition.

dear sirwill you please diagramatically explain how both kamakala and hardakala will look once it is drawn. i gues this is the samething invoked in visesharghya too. please helpregdsSreekanth  

Varivasyārahasya cannot prevail over Lalitā Sahasranāma, as it is rendered by Vācdevi-s, who are worshiped at 7th āvaraṇa in navāvaraṇa pūjā with red flowers. You are absolutely right.

But how can Varivasya Rahasya prevail over Lalitha Sahasranama? The interpretation as per Lalitha Sahasranama has to be taken as correct in case of any conflict.

jia mata di.... dhnayavadah for this information

Varivasyārahasya in verses 20 and 21 explain this. “The first kūṭa, which resembles the diluvian fire touches anāhata beginning from mūlādhāra. The second kūṭa which has the brilliance of ten million suns, touches ājñā chakra from anāhata. The third kūṭa which has the effulgence of ten million moons, touches the middle of the forehead (lalāṭamadhya) from ājñā chakra. The letters constituting the three kūṭa-s are to be regarded as beads in a rosary, one above the other.”Lalāṭamadhya is not the central point of the forehead, but it is the point in the middle of skull where pineal and pituitary glands are situated. This means that when we repeat Pañcadaśī mantra, we have to contemplate the first kūṭa from mūlādhāra to anāhata and the second kūṭa from anāhata to ājñā chakra (bhrūmadhya which refers to the gap between the two eye brows on the forehead which is visible to biological eyes) and the third kūṭa from ājñā chakra (bhrūmadhya) to pituitary and pineal glands (lalāṭamadhya) which are in the middle of the skull internally. Now we move from gross to subtle in the third kūṭa. However, Lalitā Sahasranāma interprets differently and these interpretations are reproduced here:Śrīmadvāgbhava-kūṭaika-svarūpa-mukha-paṅkajā श्रीमद्वाग्भव-कूटैक-स्वरूप-मुख-पङ्कजा (85)Beginning this nāma, Her Pañcadaśī mantra is being explained. Pañcadaśī mantra has been explicated in detail in the introductory chapter. Now, the description of Her subtle form begins. Her subtle form comprises of three divisions viz. subtle, subtler and the subtlest. Subtle form is Pañcadaśī mantra. Her subtler form is kāma-kalā, nāma 322. kāmakalā-rūpā. Her subtlest form is kuṇḍalinī śaktī (nāma 110). In this nāma, Her face is compared to the first kūṭa viz. vāgbhava-kūṭa of Pañcadaśī mantra, which gives knowledge and wisdom. The prefix Śrīmad is used here to indicate the power of Pañcadaśī mantra as a whole. Śrīmad also indicates the respect given to the mantra. Since this kūṭa is described first, this prefix is added to this nāma. kaṇṭhādhaḥ kaṭiparyantha-madhyakūṭa-svarūpiṇī कण्ठाधः कटिपर्यन्थ-मध्यकूट-स्वरूपिणी (86)Madhya kūṭa or the middle group of Pañcadaśī mantra refers to that portion between Her neck and the hip. Previous nāma is jñāna śaktī, this nāma is icchā śaktī and the next nāma is kriyā śaktī.Śakti-kūṭaikatāpanna-kaṭyadhobhāga-dhārinī शक्ति-कूटैकतापन्न-कट्यधोभाग-धारिनी (87)Śaktī kūṭa, the last of the three kūṭa-s is compared to Her hip downwards. Now let us analyse the difference between Lalitā Sahasranāma and Varivasyārahasya. LS 85 says that the first kūṭa known as vāgbhavakūṭā should be contemplated as Her face, whereas Varivasyārahasya says that the first kūṭā exists between mūlādhāra and anāhata chakras. LS 86 says that the second kūṭa known as madhyakūṭa or kāmarājakūṭa should be contemplated as that part of Her body between neck and hip, whereas Varivasyārahasya says that this kūṭa exists between anāhata and ājñā chakras. LS 87 says that the third kūṭa known as Śaktī kūṭa should be contemplated below Her hip, where as Varivasyārahasya says that this kūṭa exists between ājñā and lalāṭamadhya. Why this difference between the two important scriptures? We must not forget that She has three forms – gross, subtle and subtlest. Her various manifestations are gross forms. Her subtle form is Her mantra form and Her subtlest form is Her Kuṇḍalinī form. Lalitā Sahasranāma describes all of Her forms; but dwells more on Her gross forms, rather than dwelling elaborately on Her other two forms. Her three forms can be contemplated depending upon the present position of a practitioner. Anyone can recite Lalitā Sahasranāma and hence no elaborate details are given about Her other two forms here. Her mantra form is Kāmakalā. Therefore interpretations are to be considered, based on various parameters.

THIS IS A MAIL I HAVE RECEIVED ON THIS ARTILCE. AND PUBLISHED HERE FOR CLARIFICATION While explaining panchadashi, there are 3 kutas. It is mentioned that the first vagbhava kuta represents Lalithambika's face. But while chanting mantra, it is mentioned as "The pronunciation of Vākbhava kūṭa should commence from mūlādhāra cakra and end at anāhata cakra, contemplating the entire kūṭa as the fire"While the kuta is Mother's face, why contemplation is on Lower chakras as fire Similarly, kamaraja Kuta is Mothers neck to Hip. But contemplation wise you mention this kūṭa is to be contemplated from anāhata cakra to ājñā cakra in the form brightness that is equivalent to millions of suns And sakti Kuta - This kūṭa is to be meditated upon the portion between hip and the feet of Lalitāmbikā. But contemplation, you mention as This kūṭa is to be contemplated from anāhata cakra to the middle of the forehead in the forms of brightness comparable to the millions of moonsVagbhava kuta should be contemplated as Moon, Kamaraja as Sun and Shakthi Kuta as Fire. This goes well with representation of Mother.Yet another reference to what I said:http://www.hindupedia.com/en/Yoga_Sastra Pls see the section of mantra yoga where it is mentioned"Unlike in kundalini yoga where the seeker’s concentration proceeds from below to above, in mantra yoga the concentration goes downwards – from vagbhava to muladhara". Vagbhava is throat center to focus, Madhyama (Kamaraja Kuta) is anahata and Shakthi kuta is muladhara to focus" Pls se the section of Kundalini Yoga where it is mentionedThe bottom two – muladhara and swadhisthana associate with one granthi, the Brahma granthi. This will be Agni mandala.(associated with Shakthi Kuta) (Creation)Manipura and anahata associate with Vishnu granthi. This will be Aditya/Surya mandala (Sustenance) (Associated with Kamaraja Kuta)Then visuddha and ajna cakras associate with Rudra granthi. This will be Soma mandala (associated with Vaghbava Kuta) Corrections in your article are to be made with association of Kutas to Chakras for all the three kutas and the khanda or mandala associated with that. Saraswathi beeja in the link http://www.hindupedia.com/en/Some_Primary_Mantra_BeejasThere is explanation of kutas there and the contemplations of chakras "Vagbhava beeja that represents Vagbhava kuta, originates at the throat center. This is the place from where vaikhari or external sound emanates. Sakti at this center is also called, for the same reason, kriya sakti – the power of action. In Madhya kuta, vak is of madhyama form or anahata. Devi in Madhya kuta is Jnana sakti, the power of knowledge. In Sakti kuta, vak is in para and pasyanti forms. Devi in sakti kuta is Iccha sakti, the power of divine will. Through the power of will, knowledge and action, the entire cosmic sport is performed by Her. (Again, divine will is Agni and She is thus Agni khanda there). In Lalita upakhyana, the Mother is said to have slain Bhanda – She goes with Her minister Raja Syamala (also called Mantrini, Nakuli, Matangi) and general Varahi. These three, the ruler, minister and general are the three powers of will, knowledge and action – corresponding to their roles. Ruler makes the decision, minister devises the strategy and general implements it. However, the Mother has put the responsibility of ruling also, on Her minister Syamala – so She is called Raja Syamala or Raja Matangi too.]"