Tīvra ji, how do i play with 3 kutas of kadi ? How can i use them as samputik according to my need in 3 ang and siddha kunjika. Can you please provide your insight on it? For kamaraja kuta "ka e ī la hrīṁ" from my ignorant understand can be used for attraction, to increase iccha sakti and increase in experience?. For vagkuta it can be used for attaining vak siddhi, increase in jnana sakti and other intellectual and speech related power. As for sakti kuta it can be used to increase kriya sakti, in general power of all respective mantra and kavch the sadhak is doing and in general power related activity. Tivra ji does aligning these kuta with their respective sandhya give better results? And what will happen if i use these 3 kutas raw without hrim for samputik. Please tivra ji bestow your grace and calm my restless mind.

Tīvra ji, my current upasana consists of sapsloki, durga 108, kavach, argala, kilak and siddha kunjika. How can i make most of it bring out full power of these 3 ang. Usually there is karnyasa and ang nyasa, sadanga nyasa but it not given in 3 ang of saptshati why is that ?. Can you please suggest me their nyasa that i can accompany because without nyasa it is said half the power is lost or get evaporated in environment. Thankyou

Namaste Mr. I am not the Sriram from the initiation page. I am different.

Could you provide Kshipra Ganapati details? Thankyou ..

A common misconception that I would like to clarify is this: Lalitāmbikā and Ṣoḍaśī are not the same. Lalitāmbikā is Nirvāṇa Sundarī who has descended into the lowest point and is educating the densest matter, guiding it upward from below toward salvation and toward the realization of its true nature. She is the one who drives the evolution of all species, not merely the human species. It is through her that the human species gradually emerged. All of Nature’s adaptations for survival occur through her agency. When we speak of Lalitāmbikā, we are speaking of the supreme authority of this entire existence. We are speaking of Her Majesty who encompasses and assumes the whole body of Śiva as the Eighteenth Kalā of the Moon. Lalitāmbikā knows the entire Truth because she is Nirvāṇa Sundarī herself, acting as the Guru of this entire Creation. Lalitāmbikā is the expression of what, within the human being, is called the “Spirit.” For the Spirit to manifest fully within dense matter, it requires a “transformer,” namely the “Soul.” Thus, from Lalitāmbikā emerges Ṣoḍaśī, the “transformer” that arises through our evolving Soul. Ṣoḍaśī brings about the maturation of our Soul so that it may ultimately unite with our Spirit. When the Soul reaches complete maturity, it unites with the Spirit through Saptadaśī, carrying with it the physical, vital, and mental bodies. The complete circuit and the reconnection with Nirvāṇa Sundarī (Aṣṭādaśī) therefore take place when the Soul (Ṣoḍaśī–Saptadaśī) becomes the perfect “transformer” through which the Spirit (Lalitāmbikā) can manifest its glory without refraction, distortion, or diminution. In this way, the reconnection between the highest point and the lowest point is accomplished. So, what is the common mistake made by many? If you go directly toward Nirvāṇa Sundarī, you will not have created a bridge through which she can manifest here below in her fullness. Instead, you are drawn upward, and all the other parts of your Being are dissolved. Through Ṣoḍaśī, the Soul matures and learns to depend solely upon its own Tapas, or effort. Through Saptadaśī, the Soul reaches the summit of its maturity and comes to depend exclusively upon Divine Grace, with no effort whatsoever required. When this Divine Grace emerges within the Soul, Lalitāmbikā’s original plan is complete, and she can once again become Nirvāṇa Sundarī here below. Saptadaśī draws the devotee toward That which is neither below nor above, nor situated in any direction whatsoever; That which transcends every sense of direction: the Ineffable Śiva, the great mediator of Saptadaśī within Aṣṭādaśī. Although there are Mantras associated with these stages, a Mantra conveys only a particular vision. If you can sustain that vision through the mind itself, you do not require the corresponding Mantra. The Mantra is not indispensable for accomplishing all of these things.

Thank you, Tīvra Ji, for clearing my doubts and for your guidance. Regarding your suggestion of the 15-letter Kādi Vidyā, I wish to follow the Śuddha Sanmārga through the 17-stage Tantric mapping that you have provided. If I remember the sequence correctly, it begins with the five kūṭas of Tripura Bhairavī, followed by Lopōmudrā Hādi Vidyā, Mahāpūrti Vidyā, Hādi + Pūrti Vidyā, and finally the 15-letter Kādi Vidyā + Mahāpūrti Vidyā, leading toward the realization of the seven Puruṣas and by gathering them at the center of the heart with the help of Caitanya Puruṣa. At present, I am honestly unsure how I am going to travel this entire journey. But having Caṇḍikā Devī by my side is very reassuring. She is especially dear to those who are willing to take on challenges. I will leave the rest to Her and continue doing my part, even though I know I am someone with many avaguṇas. I wish to see how far human body and consciousness can evolve.

Namaste, Mr. Ask whatever you like.

Namaste Tivra ji. I wanted to ask a question regarding the 30 nitya sadhana you provided info about which had both maa Lalita and maa kaamkala kali in it with their respective nityas. How do we have to generate the bhaav related to each of nityas? Like do we have to meditate on that particular bhaav before starting the mantra recitation or do we have to keep that feeling throughout the time we are chanting that mantra? Please answer this query. Also, thanks a lot for all these new comments of yours full of knowledge. Jay Maa.

Kashik. At first glance, when looking at the list of Nyāsas (where we find Sarasvatī Nyāsaḥ and Mahālakṣmyādi Nyāsaḥ), it may seem that Mahākālī has been “forgotten” or left out. However, Mahākālī is not absent. Mahākālī is included within the Mahālakṣmyādi Nyāsaḥ. The full name of the ritual is Mahālakṣmyādi Nyāsaḥ. In Sanskrit, the word ādi means “and the others” or “and their manifestations.” When we recite this Nyāsa, the three Great Goddesses are installed in the body in their respective regions. Therefore, Mahākālī has her own consecrated and indispensable place within this Nyāsa. Why, then, is there a separate Sarasvatī Nyāsa (or Mātṛkā Nyāsa)? The very definition of Nyāsa is the placement or allocation of sounds and letters (Akṣaras) within the practitioner’s body. Sarasvatī is the Vāg-Devatā, the Goddess of Sound and Speech. The body of Mahāsarasvatī is composed of the 51 letters of the Sanskrit alphabet, the Mātṛkās, from A to Kṣa. Before the practitioner can recite any mantra or sacred text, they must first consecrate their vocal apparatus and nervous centers with the Primordial Sound. Thus, Sarasvatī Nyāsa (or Mātṛkā Nyāsa) serves as a technical preparatory stage of phonetic and mental purification. Without first working upon the vibration of speech (Vāc), which is governed by Sarasvatī, the practitioner would not possess the “instrument” necessary to invoke the other energies. Therefore, this is not an omission of Mahākālī, but rather the precise fulfillment of the cosmology presented in the text, the Prādhānika Rahasya, as well as the practical function of the ritual: purification through the Sound of Sarasvatī must precede worship.

hii respected dear sriram ji ; Are u the same person whose contact is given on mantra initiations page of this website or different one , i m asking it fr my knowledge before i ask my doubt let me know plss