Namaste Please give me the khadgamala stotram by vidyaranya swamy parampara not regular shuddha shakti khadgamala. Vidyaranya swamy khadgamala

dearest, Aiya, please advice us on the mantra and the form of Chinnamasta, out of all forms and mantra, that is best for the upliftment of all of us. I humbly request you to elucidate the connection between Narasimha (VAJRA-DAMSTRA) and Mother Chinna (VAJRA-YOGINI). thank you...

thank you so much Dylan :)

Nesh. Now I will explain Chinnamastā which is difficult to understand even for the wisest. The reddish and golden Chinnamastā (Buddhi Tattva) is accompanied by the reddish Varṇinī (Ahaṅkāra Tattva) and the dark Ḍākini (Manas Tattva); she is standing on Kāma (Puruṣa Tattva) and Rati (Prakṛti Tattva). The severed head of Chinnamastā alone is the set of the 5 Pure Tattvas: Śiva Tattva, Śakti Tattva, Sadāśiva Tattva, Iśvara Tattva and Śuddhavidyā Tattva. This is why Vasishtha Ganapati Muni says that many heads have been severed since the beginning of life, but only the severed head of Chinnamastā is worthy of worship, and that the wise know that the whole world is under the control of her body separate from the head (I will explain this further later). Now I will explain the meaning of the stories of Chinnamastā. This Goddess is the sum of all the agents illustrated in her meditation. Her central essence is Buddhi Tattva. What is this? I will answer with a quote from Vallalar: "Follow the practice of seeing all beings as your own self (i.e., cultivate the vision of equality with all beings) and get it as your habitual nature. One who gets in his nature this habit of seeing all beings alike, is verily the omnipotent Divine." This is the power of Buddhi Tattva and the main tool for destroying evil in all its forms. There is a story where Kāma (Puruṣa Tattva, but imprisoned by the 5 Kañcukas) and Rati (Prakṛti Tattva, but contaminated by ignorance) were called to pacify Chinnamastā. When Kāma shot the arrow at Chinnamastā, the arrow had no effect on the Goddess, and do you know what she did with that arrow later? She empowered the arrow with the power of the wisdom of the Buddhi Tattva and shot it back at Kāma and Rati. At that moment Kāma’s limitations were destroyed and he became identical with Paraśiva (Puruṣa Tattva = Śiva Tattva). When the arrow hit Kāma, he understood that he was Śiva and saw Rati, who represents the Prakṛti Tattva and all other Tattvas below, as Parāśakti. They copulated, and Kāma, by his love, transformed Rati’s Prakṛti of Ignorance into the Prakṛti of Pure Knowledge (Prakṛti Tattva = Śakti Tattva). A reddish-golden fire arose from their copulation. Seeing this scene, Chinnamastā (Buddhi Tattva) became happy and climbed on top of them, laughing and dancing. The red-golden fire of the copulation between Puruṣa and Prakṛti, both free from all limitations, further empowered Chinnamastā and her Buddhi Tattva. But another problem arose: Varṇinī (Ahaṅkāra Tattva) and Ḍākini (Manas Tattva) were hungry, and without the help of Chinnamastā, they could not feed on that fire generated by the divine copulation between Puruṣa and Prakṛti. Seeing this, Chinnamastā cut off her own head, which signifies the 5 Pure Tattvas, and reversed the flow of the 36 Tattvas, causing the Puruṣa Tattva and Prakṛti Tattva to feed all the other Superior and Inferior Tattvas. In other words, Puruṣa Tattva and Prakṛti Tattva became the greatest Tattvas and the source of power for all the others. The new power of Puruṣa and Prakṛti empowered Buddhi (Chinnamastā) which released 3 streams of blood: the central one feeds the 5 Higher Pure Tattvas; the left stream feeds Varṇinī (Ahaṅkāra Tattva); the right stream feeds Ḍākini (Manas Tattva). It is Ḍākini who passes on this new power to the lower Tattvas up to Pṛthvītattva. When you look at this meditation you realize that the Puruṣa and Prakṛti have dominated and become the source of power of all the 36 Tattvas through the Buddhi Tattva which is Chinnamastā, even though it is below. Chinnamastā holds her head in the form of the 5 Pure Tattvas: Śiva Tattva, Śakti Tattva, Sadāśiva Tattva, Iśvara Tattva and Śuddhavidyā Tattva. All these are fed by Puruṣa and Prakṛti Tattvas now, after the action of Chinnamastā and copulation. Now I will bring some additional information for better understanding. The source of a person’s Soul is in the Forehead and the “Individual Self” is at the top of the head. The Evolving Soul is in the heart and the Instruments are in the form of the Vital, Mental and Physical. Chinnamastā is the reintegration of all these, but with one difference: the Heart Soul (Puruṣa Tattva) dominates and becomes the source of power for everything. That Soul discovers that the source of nourishment is not outside, but within the soul itself. The body changes and the nourishment and power begins to come from within, not from something external. That Puruṣa Tattva becomes the source of power for everything because he is an Atom of the Supreme Power, but present in the world of ignorance. By discovering who he is, he can change the inner and outer nature into attributes of pure knowledge.

Namaste sir, could you tell please is there anybody whom I can write to get initiated into Tara Devi sadhana (as my Ishta Devi)? Thank you.

Namaste Prince. In general, the Pañcapiṇḍanātha embodies the pentadic metaphysics of the Krama. It has two primary forms. The first is RPHKHEṀ. First, the external world of objectivity is burnt up by the means of knowledge. That is to say, it is recognized through the extension of the perceiver in the form of the means of knowledge to be nothing other than consciousness itself. This is the letter Ra. As a result of this, unconditioned awareness unfolds. This is the letter Pha. This consumes even the latent traces of objectivity, the "ashes", and so the state of the pure sky of consciousness is attained. This is the letter Kha. Reversing the process through which externality is emitted, the energies of the womb of consciousness are withdrawn in the reverse order, that is, from kriyā to jñāna to icchā. This is the letter E. Finally, resting in the pure awareness of the Goddess, all things are withdrawn. This is the letter Ṁ. You could say that it is, in order, the withdrawal of prameya and pramāṇa into the individual subject, the withdrawal of the individual subject into the supreme subject who possesses the three powers, and the withdrawal of the supreme subject and His powers into the Heart; the Goddess. The other form of the Pañcapiṇḍanātha is KHPHREṀ. When objectivity and the senses have withdrawn into the sky of consciousness (Kha), one experiences the unfolding of the resonance of unconditioned awareness (Pha). The fire of consciousness thus engaged in withdrawing everything (Ra), the emanative activity of the three energies is reversed (E), resulting in repose in the Goddess-nature (Ṁ).

Thank you for elucidating about Kundalini Dylan. You are a great help to us. May I ask you and everyone here about the elucidation of the श्रीपञ्चपिण्डनाथरहस्यम्: ? Sri pancha pinda natha rahasyam ? What does this mean and what are its implications ?

Namaskaram sisters and brothers! Has anyone here worked with Hatha Yoga in combination with induced hypercapnia? I’m referring to breath patterns that deliberately raise CO2 levels, like breath holds following hyperventilation or other cyclic methods. I’ve experienced striking mental, physical, and sometimes perhaps supersensual effects from this kind of breathwork eg heightened clarity, deep calm, and sometimes a strong energetic response that feels like it brushes against the base of kundalini. I’m totally new to Hatha Yoga and trying to keep my approach focused, so I’m curious if there are lineages, teachers, or personal approaches that weave CO2-rich breath states into asana or bandha practice. Any thoughts, reflections, or suggestions would be deeply appreciated.

Namaste Prince. Kuṇḍalinī is the universal power of consciousness. As such, She is Kula, the aggregate of all things. This power flows as the vital breath. It is said in the Śrīmatottara Tantra: "The Body of Kula is located in the pneumatic channels of the body and its characteristic mark is the movement of the individual soul through it." The movement of the vital breath is the resonance of consciousness. So says the Kubjikāmata Tantra: "She is endowed with the 21,600 breaths enumerated in relation to the fettered soul in accord with the yogic teaching concerning night and day." The 'teaching concerning night and day' is this: in the fettered state, the breaths move in the spiraling motions of the left and right channels (one reason why She is called Kuṇḍalinī; She has the 'crooked' form of the flow of the vital breath). These two channels are the Moon and Sun, night and day, withdrawal and emanation, prameya and pramāṇa. The resonance of the vital breath as the individual soul is thus the perpetual japa of Haṁsa. The letters Ha and Sa indicate these two movements. So it is said: "The Supreme Goddess, the Crooked One, brings about emanation and withdrawal by the movement of the two breaths." In cognitive terms, this is the state in which perception and its object are so dominant that the subject cannot repose in himself. The movement of the breath is thus equivalent and parallel to one's state of awareness. The flow of the vital breath in this way generates dualistic thought constructs and so the former is reinforced by the latter. Hence, the letters Ha and Sa refer to rejecting (hāna) and accepting (samādāna) or, more generally, "letting go" and "bringing back". This is called Śaktikuṇḍalinī in the Triśirobhairava Tantra, the "inferior" form of the Unstruck Sound. Śrīvidyācārya Jayaratha explains that this is the state of Kuṇḍalinī when She is resting in Herself, that is, averse to activity and thus containing the totality of all things within Herself as if asleep. So, She is said to be 'crooked' like a sleeping serpent. In cognitive terms, this is the state of consciousness which, having descended from its supreme state (located in the yogic body at the "twelve finger space" above the head), the Unstruck Sound becomes the vital breath and then, having lost discernment of its true nature, is as if asleep, holding its vitality within itself. She is thus Mahāmāyā. However, then the two oscillating breaths meet in the central channel, they are united and stilled. As it is said in the Mahārthamañjarī: "If you wish to know the perpetual, undifferentiated outpouring of your own heart, then when the Sun and Moon set, the intermediate instant between them should be split apart." In cognitive terms, when one focused one-pointedly on their own subjectivity, the oscillation of perception and its object are stilled. Then, Ha and Sa become So'haṁ, the intermediate level of the Unstruck Sound. To "split apart" the two means to unite them in this unitary resonance, like a string that pierces beads on a necklace. This is what the Triśirobhairava Tantra calls Prāṇakuṇḍalinī. Here, the emanative, downward flow of Kuṇḍalinī is reversed in an ascending motion of withdrawal. The former is the usual movement of Kuṇḍalinī that is always active, in a non-conscious state or as Mahāmāyā, which generates duality. In this case, Kuṇḍalinī moves consciously, that is, as one's own energy of emission or Kaulikīśakti. In this case, what is emitted thereby is one's own nature and so one attains recognition of one's true nature due to the unity of all things within it. The deities that preside over the various centers along the central channel, embodying various levels of the cosmos, are thus said to be liberated. It is perhaps worth mentioning at this point that since Kuṇḍalinī is Kula, She is the triangle from which all things are born, the great ocean or womb of the energies of consciousness, which is both the totality of all things and the liberating teachings (the two being really one and the same). This is another meaning of 'crooked', namely, as bent form of the triangle. As Speech, She is the Mouth of the Yoginī, the guru's consort (which is sometimes embodied as the teacher's wife, or, in a deeper sense, his awakened awareness) through which the liberating teachings are "spoken." Satisfied with this, returning to the twelve finger space, She is Parākuṇḍalinī, the supreme form of the Unstruck Sound, the pure reflective awareness consciousness has of its own nature.

hi all, i have another question regarding the mantra of mother rajyasiddhilakshmi as per two sources of the Kali-Krama 1) As per the mantra given to us by venerable Gnana Siddhar Tivra, a) śrīm̐ hrīm̐ klīm̐ plūm̐ aim̐ hrīm̐ klīm̐ paum̐ kṣīm̐ klīm̐ siddhilakṣmyai namaḥ klīm̐ paum̐ hrīm̐ aim̐ ॥ श्रीँ ह्रीँ क्लीँ प्लूँ ऐँ ह्रीँ क्लीँ पौँ क्षीँ क्लीँ सिद्धिलक्ष्म्यै नमः क्लीँ पौँ ह्रीँ ऐँ ॥. This particular mantra is from the prana-ayutaksara mantra (calls upon all the goddess of all amnayas, which in the surround the centre of mother Kamakala kali) of mother Kamakala Kali, 2) Second mantra made out of fierce and complex bijas from the prana-ayutaksara mantra of mother Guhya Kali b) rasakamahalakṣachrīṃ halamakakṣahraphrachrīṃ camlahakṣa sakalahrūṃ hraphraiṃ phaṭ phaṭ phaṭ namaḥ svāhā hrasaglakṣavyraūṃ raphroṃ vyraklakṣahramlūṃ rājyasiddhilakṣmi My questions are fourfold: 1) Why does the variation of mantra for the same goddess occurs, even within closely related systems (Kali-krama, Uttaramnaya). What could account for these differences ? 2) The syllables and Bijas used in KamakalaKali mantra is more similar to mantra structure Sri-Vidya Krama while the mantras in Guhyakali mantra are more related to the systems relating to Kala-sankarsini and Trika. Is this a fair statement? 3) I expected the mantras of mother Kamakala Kali to be more complex than Guhyakali mantra, as per the wise sages who came before and advised us in here, Guhyakali is a pre-requisite to Kamakala Kali. However, why does the bija(s) for the same deity mantra vary across two different sub-systems ? 4) Finally, my question relates to the structure of the Pranayutaksara mantra structure for both Mother. It can be seen that it is the compilation of all goddesses in the various amnaya-s being invoked all at once. I think this could mean that the chief goddess's (Kamakala-Kali/Guhyakali) anga vidyas are all the various goddesses of the amnayas as invoked by the pranayutaksara mantra. It could also mean, that the chief goddess herself takes the form of each amnaya goddess of invoked in the mantra, and if i guess correctly, due to the differences in the nature, 'flavour' and characteristics of the chief goddess: each constituent mantra of each amnaya goddesses is influenced and therefore changes according to the polarising ability of the chief goddess. Please feel free to point out any assumptions, mistakes i have made. I am here to learn. Thank you