Brahma and Sarasvati mantra (Shruti dharani Vidya and MAtrukAksharA )meditation

One of the main rituals of a Srividyopasaka is the chanting of the thirty seven rasmimala mantras encoded in the ParasurAma kalpasUtra, of which the fourteenth and fifteenth mantras are the Brahma and Saravsati mantras, to be meditated at the Brahma randra and dvadashaantaa respectively.. The brahma mantra is Vedic; effect of this mantra is said by Bhagavan Parasurama as shruti dharini-One who helps in remembrance of heard knowledge. The sarsavati mantra is the fifty one matrukaksharaa.

In the Sri Nagara, both Brahma and his consort sarasvati are found in the vidruma ratna prAkAra (red coral fort enclosure).

The Brahma mantra deciphered from Parasurama kalpa sutra and according to nityotsava is: „Om namo brahmane dharanam meastvanirAkaranam daharayitaa bhooyaasam karNayorshrutam mAcyOdhvan mamamushya Om.’ The sarasvati mantra is ‘am…. Ksham (51 alphabets)‟

This Vedic mantra is found in the mahA nArAyanopanishat as its ninth chapter. Brahmane- Oh Brahman namah- prostrations; me- to me ; dharanam – concentration of thought (or) powerful memory; asthu – be; anirakaranam – without distraction; dharayitaa – one who practices concentration of thoughts; bhooyaasam- may I be; karnayoh shrutam – whatever I have heard with my ears; amushya- of such and such; mama – mine; maa – not be; cyoDhvam- fail. A free rendering of the above translation would be- My prayers to Brahma for perfect hearing, intact memory, absorb the heard sound to a high degree, not to loose what ever is heard, let me be so.

Akshamaalaa: The count beads (fifty one in number).The main aspect of keeping in memory required a structured way of the sounds. ‘dhaaranam me asthu’ in the mantra explicitly says this idea. removal of this is said here. The ritual sacrificial pot points to the action.thus ‘karnayor shrutam maa chyodhvam’. The unique form of Lord Brahma. This is possible by the inner intuitive intelligence only. thus making the mantra very powerful in utility. bhaarati sakham: with his consort Bhaarati . This is found in the mantra as ‘namo’ in the sense of salutation and ‘mamaamushya’ in the sense of the doer. explains this perfectly. the creator has four faces and was born in the lotus. Numah: I bow. The initial throb when manifested produced a sound which is the pranava. The main aspect of hearing a sound is to recognize and keep it in memory. which is figuratively said as inner light. The most peculiar identity of this mantra is that it starts with pranava ‘Om’ and ends in pranava ‘Om’. These ideas are in ‘dhaarayitaa bhooyaasam’ kamandaludharam: Holding the ceremonial water pot. Thus this will point to ‘brahmane’ in the mantra. where in the continuous usage of the structured response is kept alive. Here the best boon is the analysis of beauty in the above structured response and fear is lapse in holding this capacity. hence this is befitting that all the alphabets which are an expansion of the primordial sound starts and ends in the same. here they are the fifty one in the language spoken – Sanskrit. the ear is an organ of cognition – karmendriya. which are the alphabets. This idea is visualized in the ‘aniraakaranam’ varaabheeti: Showing gestures of removing fear and granting boons.The dyana sloka of Brahma according to Nityotsava / Datta samhita is “caturaananam ambhoja samstham bhaarati sakham Akshamaalaavaraabheeti kamandaludharam numah” caturaananam ambhoja samstham: Having four faces and seated in a lotus. karma. . ‘Bhaa’ means light or splendor – here the inner light.

bottom and top of trunk. the ‘Ta’ and ‘ta’ series – the hip. left armpit.top of head (this is as per paramananda tantra) doh : hands. from heart to extremes of arms.a – top of head.upper and lower lips. There we find another dhyana sloka: “panca sata varna bhedaih vihita vadana doh padayuk kukshi vaksho deshaam Bhaasvat kapardaakalita shashi kalaam indu kundavataataam Akshasrk kumbha cintaa likhita vara karaam treekshanaam Abja samsthaam acchaakalpaam aduccha stana jaghana bharaam bhaarateem taaam namaami” panca sata varna bhedaih : The variations of the fifty one alphabets ‘am to ksham’ vihita: Divided into vowels.right and left chin. wrist. e and ai. the vowels . starting and tip of fingers in both the right and left hands padayuk :both legs. This is the expression of the above alphabets which forms all fields of vidya (knowledge). In the Sri vidya saparya we perform first the matrukaa nyaasa. am. o and au. u and uu – right and left ear. R ad RR.‘pa’ series . the ‘ka’ and ‘ca’ series – the hand joint. legs. right armpit. I and ii. Samasta vidyaa roopiniim dhyayeham matrukaambikaam: She is the form of all knowledge. knee. heel and starting and tip of toes. .’ The placement of them please see the explanation of the below dhyana sloka. ka ca Ta ta pa ya vargas (series ) vadana: Placed on the face.navel.right and left eye.upper and lower teeth.The dyana sloka of Sarasvati Devi is “panca sata matrukaarnaih aarabdhaakhila dehayaa Samasta vidyaa roopiniim dhyayeham matrukaambikaam” panca sata matrukaarnaih aarabdhaakhila dehayaa: The body of the devi is made of fifty one letters – this explicitly points to all the matrukaaskharaa ‘am to ksham. neck nape.right and left nostril. aa. back side . I meditate on matrukaadevi.tounge tip and ah.circum fence of face. both sides vaksho deshaam: The area of chest – the ‘ya’ series – the heart. mid arm. LR and LLR. kukshi: The stomach.

Samsthaam will mean placed on.Bhaasvat kapardaakalita shashi kalaam: Lighting up with the crescent on her braided. the past present and future knowledge of this sakti. This awareness is of both the light and darkness. Lotus opens to light and is also a personification of the heart. The names of lotus are ‘padma’ when seen through katapayadi code is fifty one. Thus cumulative knowledge is said here vara karaam: The highest boon is the awareness of the eternal self. Since the aspect of the first element space is sound. which is used for communications kumbha – The pot filled with nectar. This is envisaged as nectar pot. . The three eye sight will be different. sum is nine which is a mystical number in the mantra sashtra.clothes and ornaments. which is a pre requisite for the above sadhana. this being the ultimate goal is experienced as the grace of this devi treekshanaam: Having three eyes.the varnadhva . cintaa likhita : The written down palm leaves.the alphabets are eternal.pointing the mantraadhvaa. The ‘kaparda’ shows the structured and systematic way of analysis of all the sounds to go deep into meditations and hence the source.amrta.‘varanaah nityaah’. thus seeing from the above will mean seated on the sukshma adhvaa :. pada and mantra. hence the eternal nature is indicated Abja samsthaam: Seated on a lotus. Akshasrk – The beads – fifty one. They represent the fifty one alphabets from ‘am to ksham’. un conditioned love. knotted and matted hair. Normal usual vision of humans is with two eyes. acchaakalpaam: Bright attire. The brightness will show the awareness that is got. which is termed as knowledge. five and three. The phonetic variations of expressed structured speech. this will show the trikala gynana. which points to the involution of the mind to a point. ‘abja’ will translate as eighty the padaadhva and ‘kamala’ will be one. This is akin to Bhagavan Sri Ramana’s introspection of ‘who am I?’ indu kundavataataam: of the hue of moon and jasmine. the matrukasharas. The above phonetic speech was written down for the transmission of the knowledge acquired.white in color.varna. The anusvra is written like a crescent. White denotes shuddha satva guna. it is eternal Parasurama says.

Per Shaiva shatras mantra adhvaa is personified as the blood in the body of the invoked deity. Breasts are two in number. which represents the rudhira dhatu (blood constituent). The deities are found in the red coral fortress.aduccha stana jaghana bharaam : Very prominent breast and hip. thus we find the whole Vidya resting on the matrukaakshraas. ’ O Lord Datta!!! These are flowers on your feet’’ . illuminating all. The above description will suffice to name this deity as the illuminant. bhaarateem: The inner light . Jaghana is the base on which the body rests. showing the vowels and consonants. It is so apt that deities of matrukasharas and memory are residing (reflecting) in mantra adhvaa. taaam namaami: I bow to her.