What is the source of claiming that the Vancha Kalpalatha Ganapathi mantra is equal to 444 times of Maha Ganapathi Mantra?

Guru ji how to start praying to uchistha Ganapathi and I want o know whether this mantra uchistha ganeshaya Namaha hasti pisasi likiye swaha can I recites this mantra what is the benefit thank you guru ji

To Sri Tripuraghna and all the devotees who brought this Nabhi Vidyā to us—so that it may be integrated into our hearts and help us realize who we truly are, as described by all the Jagadgurus— I practiced it today after my regular daily pūjā, and it has been like a profound reconnection. Before, my connection with Mother felt very personal and beautiful… but now I feel as if She is not coming and going anymore—She is simply here, always with me. I am forever grateful to everyone who has shared so much grace through this page, and to my most graceful and revered Guru, Śrī Ravi. J.

Thank you Bala and thank you Manblunder team. I self-initiated and kept it simple, and all I have to say is even just worshipping her after praying to her for so long, and experiencing this feeling of bliss, no worry and clutter free mind. I now understand why you share all of this online for us for free. How can one not want every single person to experience this? To learn to sustain this and share this with feeling with others is such a passion of mine now. Thank you thank you thank you.

Namaste Rajiv. The chapter you're looking for is chapter 29. Kālasaṁkarṣiṇī's bīja is the Piṇḍanātha with five letters. There are various sets of five in the tradition of the Kālikākrama, all of which are indicated by the five letters of the bīja. The name Kālī comes from 'kalana', meaning operation, cause, to bring about. In that respect, the Goddess is understood in terms of Her five operations. The first of these is kṣepa, 'casting forth'. This means that She manifests the totality of all things from Her own being as if they were separate from Her. The second is jñāna, which means that even though it has been manifested as if it were outside, the universe, consisting of subject, object, and means of knowledge, reside within pure consciousness as one with it. The sense of what 'external' and 'internal' mean in a non-dual system like the Krama is explained in the Īśvarapratyabhijñākārikā: "Indeed, internality is unity with the knowing subject, externality is separation form Him." In other words, it is a matter of perception, and ultimately all things manifest because they are one with the light of consciousness, regardless of whether they are discerned as such or not. The third is saṁkhyāna, 'enumeration'. This is the perception of mutually exclusive realities based on the perceived distinction between what something is in reference to what is isn't. Again, the Īśvarapratyabhijñākārikā: "For we call vikalpa the ascertainment of a certain thing arrived at through the exclusion of its opposite by the knowing subject only, in whom that and the opposite of that are manifested." The fourth is gati, 'appropriation'. The sense is that the world of duality 'appropriates' pure consciousness in the sense that the former is entirely dependent on the latter which is their substratum and essential nature. It's kind of like a mirror where the various reflections that appear on its surface, though apparently distinct from the substratum of the mirror, are in fact nothing but the mirror's reflectivity. The fifth is śabda, which does not refer to 'sound' in the general sense, but the Unstruck Sound of consciousness, the reflective awareness which the ultimate reality has of its nature, its absolute autonomy. These correspond to the phases of cognition as well. In the initial moment of cognition, consciousness (the Goddess) projects its contents within itself. Then, in the second phase, it discerns more clearly what appears within it and so sustains it. Having done so, it then characterizes everything with concepts. Then, everything is withdrawn into the subject as the locus of the cognitive act (i.e. "I have seen, etc."). Finally, when the latent traces of cognition dissolve into consciousness, the subject rests in his essential nature. Thus, everyone performs the divine acts of sṛṣṭi, sthiti, saṁhāra, and a fourth called alaṁgrāsa in each and every moment. Though this is common to all, yogis are able to discern it. There are other sets of five: the Pīṭhacakra, Pañcavāha, the five groups of Siddhas and Yoginīs who together make 64. But for now I will explain the Piṇḍanātha, KHPHREṀ, in terms of the meaning of each letter. There is a passage which explains the meaning and reveals the bīja in code: "The yogi whose senses have fallen away in the Sky of Śiva, bliss expanded within him by the unfolding of Kuṇḍalinī, all the cavities of his senses burning with consciousness, having ascended into the cave of a beautiful, passionate woman's heart, rests in the void, his Heart of the Yoginī, rises up spontaneously in the Sky of the Heart, shining brilliantly like countless millions of fires." The "Sky of Śiva" is the letter KH. The Sky is pure consciousness, so-called because it is infinite and unobstructed, devoid of any thing in the sense that, as the one nondual reality, there is no-thing in it. The Unstruck Sound, which is Kuṇḍalinī, is the letter PH. The radiant dynamism of consciousness, reflective awareness, flies freely in the Sky like a flash of lightning. It is said in the Ciñcinīmatasārasamuccaya: "The Kālīkrama arises as Kuṇḍalinī, pulsing with energy by the delight of the consciousness of its savour. It merges into the supreme plane with the sound of a flying bee." As a result, all of the senses, the passages through which Kuṇḍalinī moves, are inflamed with the fire of consciousness. That is, they are forcibly made one with the pulse of consciousness which unfolds through and as them in this way. This is the letter R. The "cave of the woman's heart" is the letter E, the yoni. Kuṇḍalinī has three and one half coils, which are the three lines and center which constitute the trikoṇa. The "crooked" shape of Kuṇḍalinī is the triangle, the ocean and matrix of all energies. The primary ones, indicated by the lines, are icchā, jñāna, and kriyā. I've already explained how these manifest in the cognitive process (though I didn't use those exact terms, the various triads/tetrads/pentads are various manifestations of the same thing). The yogi who recites the Piṇḍanātha moves through them to reach his essential nature, in accord with the dictum that: "although an entity has manifest, without any awareness of it, it is in fact unmanifest because it does not rest within the consciousness of the perceiver." This is a process of reversal, mind you. The yoni retracts and is retracted into the anusvāra, the state of repose in the Sky of the Heart. This is the best explanation I can give in the time that I have.

Namaste Dylan, Thank You very much for your answer! You mentioned the extensive work Tantraloka, which has 37 (Ahnikas) chapters. Please indicate in which chapter to look for the necessary information (or is it encrypted)? And is there a bija, ekakshara Kalasankarshini?

அய்யா வணக்கம் . தங்களுடைய பதிவுகளை ஆர்வமாக படிக்கிறேன் . நன் பெரிய கல்வி அறிவு இல்லாதவன் ஆனால் ஆன்மீகத்தில் மேலும் மேலும் முன்னேற வேண்டும் என்ற தாகம் எப்பொழுதும் உண்டு. தங்களுடைய பதிவுகள் அமுதம் போன்றவை. தாங்களே என்னுடைய குரு . தங்களுடைய ஆசீர்வாதம் பெறுவேன் . குருவே சரணம்

Hello sir. I read your posts with interest. I am not a very educated person But I always have a thirst to progress more and more in spirituality. Your posts are like nectar. You are my Guru. I will receive your blessings. I take refuge in the Guru.

Namaste Rajiv. If you really want to know the 17 syllable vidyā, the chapter of the Tantrāloka dealing with the secret Kula practice is the easiest place to find it. I will not write it out here, in accord with the injunction of the Devīdvyardhaśatikā: "Since it is beyond the jungle of different practices, it becomes firm when it is transmitted orally. Thus, it is to be attained from the Mouth of the Teacher, and not to be written in books." I will still tell you a bit about it, though. Kālasaṁkarṣiṇī has two main vidyās, one of nine syllables and another of seventeen. The nine syllable vidyā is called Kula, which is the pīṭha, the body. The 17 syllable vidyā is Kaula, the liṅga, the Self. Placing the two together, the nectar of immortality is generated. Of this matter, I will say no more. The number 17 is very important. There are 16 kalās of the Moon in a lunar fortnight, and the transition of the successive phases represents the world of succession and time which is the radiant activity of the Goddess. The seventeenth kalā is their transcendental, unchanging source, the reflective awareness which the ultimate reality has of itself, Parākuṇḍalinī. As the sixteen are the reflections of the seventeenth, the seventeenth is in turn reflected in them. There are many ways in which this symbolism may be understood and applied in practice, but the analysis of the Kālikākrama they are understood as four sets of four energies: prameya, pramāṇa, pramātā, and pramā, each having four phases: sṛṣṭi, sthiti, saṁhāra, and anākhya. As you asked, Kālasaṁkarṣiṇī is indeed the 13th, which is in fact the center of the Anākhyacakra composed of twelve Kālikās. The logic here is the same as that of the 17th. It is said in the Jayadrathayāmala Tantra: "The Sun of the Twelve Kālikās which is the light which illumines the world has emerged from the Sun in the middle. Within the Sun is the Sun that illumines all the universe. The universe is filled with the network of the rays of the energy that emanates from Her, Bhānavī Kaulinī."

There is no specific order of worshipping the deities of Śrīvidyā that I am aware of during this time. Please follow the article to learn different ways to celebrate the 9 auspicious nights.