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This is our journey to ri Cakr. We stand miles away from ri Cakr. We are able to
see three huge mountains and another mountain (the fourth one) which is much
bigger than the other three. The highest mountain, known as Mah Meru (Supreme
Mountain) is in the middle, which is the Abode of Parakti. Towards its eastern side,
there is Brahma loka, (world of Brahm) marked as C in the diagram. Towards
southwest, there is Visn u loka (world of Visn u) marked as D in the diagram. Towards
northwest, there is Rudra loka (world of Rudra), marked as E in the diagram. B and A
in the diagram refer to ri Nagara and ri Cakr respectively. Dotted lines represent
the route we take, for our journey to ri Cakr. Out of the four mountains, we are
able to see Mah Meru glittering, as it is made up of gold. All the constructions in
Mah Meru were planned and executed by Vivakarman, divine creative architect.
He is also referred in Vedas. Rg Veda (X.81.2) says, ..the universal architect,
seeing all, creates the earth and creates the heaven with His might.
Now we are standing near Brahma loka (marked as C in the image), which is
situated in the east of Meru Mountain. We begin our journey from here. First we
worship the world of Brahm, but we do not enter this world, as we will be
worshipping Him in ri Nagara. Standing before the world of Brahm, we worship
Mah Meru from its eastern side. Now, we move towards southern side of Mah
Meru and worship Mah Meru from its southern side. Then we move towards
southwestern side, known as nir ti (nir ti means destruction, dissolution, calamity,
etc). Here we see the world of Visn u. Without entering into the world of Vis n u
, we
continue our journey towards west. We worship Mah Meru from its western side
and proceed towards northwestern side, known as Vyu cardinal, where we are able
to see Rudra loka, the world of Rudra. We do not enter into Rudral loka. After

worshipping Rudra loka, we proceed to the point where we have commenced our
journey, the eastern side of Mah Meru, where Brahma loka is situated.
We now enter ri Nagara, which has twenty five forts (marked as B in the chart). We
can reach ri Cakr only after passing through these twenty five huge forts, running
into several thousand miles each. There are forests between any two forts, where
many gods and goddesses perpetually worshipParakti. First we enter through the
huge entrance gate of the fort made of iron. (Description of length, breadth and all
other measurements are omitted.) When we crossed the iron fort, we reach the huge
exit gates of the iron fort, we are able to see huge bronze fort, several miles away.
Once we exit through the exit gates of iron fort, we see a huge forest consisting of
fruit bearing trees, flower trees, etc. We are able to see huge fruits hanging from the
trees and the fragrance of flowers grown in trees and shrubs give us divine feeling.
We are also able to see a lot of birds like peacocks, parrots, etc. We listen to the
hissing sound of several types of bees. In the midst of this dense forest, there are
several rivers and lakes, where several varieties of lotus flowers have fully
blossomed. On the side of these huge rivers, we are able to see huge palaces. Out
of many palaces, we are able to see a huge palace and we walk towards that palace
with great reverence. We walk through the main gates of the palace to reach the
middle of the palace where, we are able to have daran of Mahkl embracing
Bhadrakl, who is dark blue in complexion. We worship both of them, take their
blessings and proceed towards the entry gate of the bronze fort.
We now enter the bronze fort, whose length is beyond description. After walking
through this fort, we reach the exit gates and come out. Once we stand in the open,
we see a huge fort made of copper, several miles away. Before we proceed to the
entry gates of copper fort, we go around the forest garden situated between bronze
and copper forts. This forest/garden is known as forest ofkalpavr ksa-s, the forest of
divine tree known as kalpavr ksa. There are a number of long and broad rivers and
lakes. In the midst of this forest, we see Vasantar t unthan, the one who presides
over vasantar tu (r tu means bi-solar months based on seasons and one year has six
r tu-s, each comprising of two solar months). He is seen with his two wives Madhur
and Mdhavar. Vasantar tunthan (he presides over spring season) holds
an astra (weapon) made of flowers. After worshipping him, we go around this forest
and come to the entrance gates of the next fort, the copper fort.
We enter the copper fort, which is the third fort from the beginning. This fort is also
equally lengthy and after walking through this fort, we reach the exit gates and pass
through them to come to another open space. From here, we are able to see a huge
lead fort several miles away. Between the copper fort and the lead fort, there is a
medium sized forest. This forest has infinite numbers of sandalwood trees and this
forest is known as candanavt i k, the forest of sandalwood trees (candana means

sandal and vt i means an enclosure). This forest has a number of bees, doves, etc.
This forest is extremely hot because of intense heat of the sun. In this enclosure, we
are able to see Grsmar t unthan (god presiding over summer season, known as
grsmar tu) and his two wives ukrar and Sucir. After worshipping them, we
proceed to the entrance gates of the next fort, the lead fort.
Lead fort is the fourth fort and is equally lengthy like any other forts. We walk through
this fort to reach the exit gate. After passing through the exit gates of this fort, we see
the brass fort, situated miles away from the point, where we are standing. We are
now entering the forest area between the lead fort and the brass fort. This forest too
has sandalwood trees and this forest is known as haricandanavt ik. Haricandana
trees are one of the five trees of paradise. The other four trees are Prijta,
Mandra, Sam tna, and Kalpa. Haricandana trees are yellow in colour and are
different from candanatrees and produce yellow coloured sandal. In this forest, there
are a number of cuckoo birds, which sing in chorus. Inside the forest, we are able to
see Varsar tunthan (god presiding over rainy season) along with his wives Nabhar
and Nabhasyar. After worshipping them, we now proceed to the main gates of the
brass fort.
Brass fort is the fifth fort and as we walk through this fort, we reach the exit gates
and enter into an open space. From the exit gates of this fort, we are able to see the
fort of pacaloha (combination of five metals copper, brass, tin, lead and iron; there
are other versions as well by including gold, silver, etc). We now enter into the forest
area between brass and pacaloha forts, which is known as mandravt i k. This is
full of coral tress that can be seen only in heavens. This is one of the five trees of
heaven and cannot be seen in other worlds. The flowers of these trees are highly
fragrant. When we go around this forest, we see aradr tunthan (god presiding over
autumn season) along with his wives Iar and rjar constantly worshipping
Parakti with fragrant flowers. After worshipping them, we now move towards the
entry gates of pacaloha fort.
We walk through pacaloha fort and reach its exit gates. After crossing the huge exit
gates, we are able to see another huge fort made of silver (seventh fort), situated
miles away. We now enter the forest area between pacaloha and silver forts. This
forest is full of prijta trees and this forest is named after these trees as
prijtavt i k. This flower is also one of the five tress of heaven and its flowers are
large crimson flowers. This forest has very cold weather. Here too, a lot of cuckoo
birds sing in chorus. As we walk through prijtavt i k, we are able to see
Hemantar tunthan along with his two wives Sahar and Sahasyar. After
worshipping them, we now reach the huge entry gates of silver fort.
We walk through this silver fort and after exiting from the fort, we are able to see
another huge fort made of gold (eighth fort), which is glittering and shining. We now

enter another forest area by name kadambavipinavt (vipina means thick and this
forest is very dense) situated between silver and gold forts. Parakti is extremely
fond of this forest. Lalit Sahasranma (60) says, Kadam bavana-vsin, which
means that She lives (sojourns) in this Kadam bavana. This forest is different from
the previous ones. The flowers in this forest are highly fragrant in nature and have a
large quantity of pollen. As a result, a lot of honey is produced and there is a huge
falls in which only red coloured honey flows. While we are awestruck with the beauty
of this forest, we also see iirar t unthan along with his wives Tapar and
Tapasyar. We worship them and reach the main entry gates of the gold fort.
(to be continued)


When we are standing before the huge gates of gold fort, we find there is a huge
palace, surrounded by divine fragrance of kadamba flowers. We go towards this
palace, which has gold steps and a huge hall built with precious rubies (one of the
precious gems). There we find a huge throne fully studded with precious gems. On
the throne we find Mantrini Dev seated majestically. Immediately, we recollect Lalit
Sahasranma 75, Mantrinyamb-viracita-via gavadha-tos it. We request our Guru
who is guiding us in our journey to r Cakr, to explain about Mantrini Dev.
Now Guru explains; Lalitmbik was delighted with the destruction of demon
Viagavadha by Mantrin Devi, who is also known as ymal Devi). She helps us
in attaining super natural powers and also eradicates evil influences on us. Mantrin
Devi represents the potency of mantra-s. Mantrin Devi destroys evil desires of the
devotees of Lalitmbik. Mantrin Devi has her own chakra, which consists of bindu,
innermost triangle, five-faced angle, inner eight petal lotus, outer eight petal lotus,
sixteen petal lotus and outer square. This chakra is known as Geyacakra and this
is explained in Lalit Sahasranma 69, which says Geyacakra-rathrdha-mantrinparisevit. The chariot in which she travels is also known as Geyacakra ratha. She is
one of the important ministers of Lalitmbik. There is one more nma in Lalit
Sahasranma (786) which says, Mantrin-nyasta-rjyadhh . Mantrini is the feminine
gender for minister (mantri). ymal Devi presides over all the alphabets of
Sanskrit. If we worship Her, mantras will fructify easily. She is also known as RjaMtag and Rja-ymal. Let us now worship her and take her blessings, as
without her permission, we cannot go anywhere near Lalitmbik. After carefully
listening to Gurus explanation, we go near her to worship.
She appears in multi coloured complexion like the wings of peacock. She is wearing
ear studs made out of palm leaves. Her mouth chews betel leaves which emit
pleasant fragrance. Her lips are deep red in colour. She has embellished saffron
paste all over her body. She is wearing a crown with radiating moon. Her feet are red

in complexion. She has a melodious voice. She is wearing red and white coloured
garments. She is wearing a beautiful garland made out of kadamba flowers that are
grown in kadamba forest. She is also wearing another garland of basil leaves. Her
hair is falling on her left shoulders. She has four arms. She holds a parrot in one
hand and a lotus flower in another hand. With other two hands, she is playing a
veena, a stringed musical instrument and she appears overwhelmed with the melody
of her tune. Since, she is so fond of music, she is also known as Sa gta Mtr k
(mother of music). We now stand before her seeking her blessings to have personal
daran of Lalitmbik. When she sees such a good gathering of great devotees,
headed by the right Guru, She blessed all of us without any hesitation and told us
that all our afflictions, such as sorrow, anguish and distress now stand eradicated.
With tears of joy, we now move to the next fort.
We now move to the entrance gates of gold fort (fort number 8) and walk through the
fort and reach the other end of the fort. By walking through exit gates, we once again
see huge open space. This place is very well lit by the next fort (fort number 9) made
of pusparga (topaz. Wearing this stone is said to give wealth. It is worn, when
Jupiter is afflicted). When we walk through this open space, we are able to see
Siddha-s (Self-realised persons, who constantly affirm ivoham I am iva meditating on Lalitmbik. When we go around this space, we could see a number
of well known Siddha-s. All of them keep their eyes closed. When we go past them,
we have goose bumps (goose bumps are possible when divine energy enters into
our body). Every one of them appears radiating and this place is not only lit by the
effulgent pusparga fort, but also by the presence of great Siddha-s, from whom
radiating light emerge. They also recite Soda and Pacada mantra-s apart from
reciting ivoham. After paying our obeisance to the great Siddha-s, we now move to
the next fort, pusparga fort.
We stand before the entry gates of pus parga fort (fort number 9) and walk through
this fort to reach the other end of the fort. On exiting this fort, we find another open
area where crana-s sing in praise of Lalitmbik. Crana-s are those who have
surrendered to Her totally. They have got this name because they have made
arangati to Her. arangati means taking refuge in Her. They are complexly
purified from all their sins and they take care of maintaining r Nagara. They are
very fond of true worshippers of Lalitmbik. After paying our respects to them we
now move to the next fort padmarga fort.
We now stand before the gates of padmarga fort (fort number 10, made of ruby)
and enter the fort, only to exit through the other end. We now enter into another open
area, where we see many young bachelors known as Vat uka-s. All of them are
meditating on Lalitmbik. Along with them live certain types of yogin-s (yogin-s are
female demons attending on Goddess Durg). They also worship a goddess by

name Sakarsin After paying our obeisance to Sa

kars in, Vat uka-s and yogin-s,
we move towards the next fort.
We now proceed towards the entrance gates of the eleventh fort made of gomedaka
(known as zircon. It is said to alleviate the evil effects of Rahu. It is also believed that
by wearing this gem, one will get rid of all his sins source: Maniml, an ancient
treatise on gems). When we leave this fort, we now enter into another huge open
space. From the point where we are standing now, we are also able to see the next
fort made of vajraramani (known as thunderbolt gem, a type of diamond), which is
extremely glittering. In the open space that exists between the forts of gomedaka
and vajraramani, there are a number of huge flower gardens, rivers, lakes and
several beautiful palaces. In this beautiful place live divine damsels like Ramb,
rvas and others. They sing and dance in praise of Lalitmbik. There is a rivulet by
name Vajr (vajra means thunderbolt). It is also said that the river is invisible. Water
is gushing through this rivulet making a thundering sound. In quiet area of this rivulet,
there are swans. On the banks of this river, there is a goddess by name Vajre. She
is adorned with diamond ornaments. She is worshipped by Indra, the chief of gods.
(Vajre referred here does not mean Vajrevar, nma 468 or Vajrin , nma 944 of
Lalit Sahasranma. Both of them are the names of Lalitmbik). After worshipping
Vajre, who constantly worship Lalitmbik, we proceed towards vajraraman i fort.
Vajraramani fort glitters like blinding lights. We walk through this fort to reach the
other end of the fort. When we exit this fort, we enter into a huge garden. There are a
number of well crafted palaces in which live eight huge serpents like Ananta,
Vsuki, Taksaka, Karkot a
ka, etc. Apart from these gigantic nga-s, some devoted
demons like Bali (he was humiliated by Vis n u
). After paying our respects to them we
move on to the next fort.
This fort (fort number 13) is made up of vaidrya (cats eye). We walk through this
fort to enter into another open space. When we stand at the exit gate of vaidrya
fort, we could see another huge fort resembling the sky and it is difficult to distinguish
between the colour of the sky and this fort. We are now in the open space between
this fort and vaidrya fort. In this place, there are a number of huge palaces. This
place is meant for those who never deviated from dharma. In this place live Manu,
Bharata, etc. All of them worship only Lalitmbik. After paying our obeisance to
them, we move to the next fort, fort number 14, which is made of indranla (sapphire)
gems. We are now at the entrance gates of indranla fort.
(to be continued)


We are now standing before indranla (sapphire) fort. At that time, Guru, who is
leading us in our journey to r Cakr told us that we did not have daran of an
important goddess, who resides in this area (between vaidrya and indranla forts)
by name todar (Lalit Sahasranma 130). She is known by this name because of
her thin waist (todara means thin waisted). We are also able to see a number of
great kings paying respects to her. After worshipping her, Guru gave us small lecture
about this sapphire fort. Sapphire is a highly auspicious stone. It is often compared
to the colour or Bhramara (literal meaning black bee), an analogue to Manmatha
(Cupid) of ancient mythology. His complexion is said to be beautiful grey. This gem is
available in other colours like the throat of iva (blue in colour) or the complexion
of Kr s n
a (dark blue, more towards black). Depending upon the nature of the stone, it
has the ability to augment ones wealth, fame and prosperity in the family. It is the
favorite stone of planet Saturn. Those who worship Lalitmbik only for material
wealth, get their wealth from this fort. After listening to Gurus description about
sapphire stone, we walk through this fort and reach a huge open space.
This space is really huge and beyond our comprehension. To whichever side we
turn, we see only beautiful trees with flowers and fruits. We are able to see very
huge glittering palaces. The whole place is reverberating with Divine energy. We
have not experienced this kind of feeling so far. The length and breadth of this place
is too vast to describe. Guruji told us that eight gods who are presiding over eight
cardinals live in this place and they are known as as t adikblaka-s. We now proceed
to have daran of ast a
dikblaka-s and we begin from eastern side, where
Brahmaloka (marked as C in the image in part I) is situated outside ri Nagara.

Eastern side is presided over by Indra, who is the chief of all gods and goddesses.
Indra also presides over as t adikblaka-s. We see Indra mounted on his elephant
vehicle known as Airvata (it is also known as Airvana, which is white in colour),
produced while churning the ocean. He is seated on Airvata with his wife a. He
is holding a peculiar club (weaponry called thunderbolt) in his hand, known as
vajryudha, which is his unique weapon. Vajryudha was given to Indra by
Lalitmbik. Vajryudha is made of the spinal cord of a great sage Dadhci, who was
constantly meditation on Her. Lalitmbik, in appreciation of his penance, took him
with Her by offering him liberation through Vajre, a goddess on the banks of river
Vajr, whose daran we had when we were in the open space between 11 th and

12th forts. The spinal cord of Dadhci after his liberation was given to Indra as his
weapon to destroy demons. Vajryudha is considered as one of the most potent
weapons. Kr s n
talks about Indra on three occasions inBhagavad Gt (Chapter X).
He says, I am Indra, among gods; Among elephants, I am Airvata (Indras
elephant vehicle) and Among thunderbolts, I am vajryudha. After worshipping
Indra, we now move on to South Eastern cardinal.
South East is presided over by Agni, the god of fire. We move forward to have
daran of Agni, who is the carrier of oblations to the respective gods. He is seated on
a sheep with his two wives Svh (her body is said to consist of the four Vedas, and
her limbs are the six Aga-s; she is the carrier of offerings made as oblations in fire
rituals to gods and goddesses) and Svadh (she is the carrier of offerings made as
oblations in fire rituals to departed ancestors). Form of Agni is dreadful. He has two
faces, six eyes and seven tongues. These seven tongues are worshiped in all fire
rituals (sapta te agne samidhas-saptajihv). Each of these tongues has a name.
Agni is seen with a hand fan (used to kindle fire in the fire pits or fire altar, known as
homakund a-s), sruk (), also written as sruc(), a large wooden ladle, made out
of pala or khadira wood, used to offer ghee into the fire as oblations during fire
rituals, sruva (same like sruc but small in size), jyaptra (a vessel to hold clarified
butter known as ghee, for offering into the tongues of fire, during
oblations), tomara (a long stick) and annaptra (a vessel containing cooked rice for
offering as oblations). Guru informed us that Agni is the best purifier. Kr s n
a says
in Bhagavad Gt (X.23), Among eight Vasu-s, I am Pvaka (Agni). After praying to
Agni that he should keep our mind clean, we move towards Southern cardinal.
(Further reading on Vaus-s: Vasu-s are a class of gods who are highly benevolent.
Their names differ in various scriptures. Vasu-s are eight in number and generally
known as ast avasu-s. According to Vishnu Purana the names of these gods are pa
(Water), Dhruva (the pole star), Soma (moon), Dhava or Dhara, Anila (wind), Anala
or Pvaka (fire), Pratyua (the dawn), and Prabhsa (the light). Amongst them Anala
or Pvaka is said to be the chief.)
As we move towards South, we find darkness. This is known as Yamaloka, the world
of Yama, the god presiding over death. Since Yama is known for dharma, he is also
known as Dharmarja. That is why Kr s n a
says, Among the rulers, I am Yama. He
is upright in following dharma guidelines (Law of Karma) prescribed by Lalitmbik.
Though every one of us is scared to go anywhere near this place, at the insistence of
our Guru, we move forward to have daran of Yama, the upright ruler. When we go
near him, we are more scared on seeing his form, complexion and his vehicle. He is
very dark in colour and two of his teeth are protruding outside his mouth making him
look dreadful. He is seated on a wild ox, which is darker than Yama. He is holding a
club and a noose in his hand. Because he is holding a noose, he is also known as

pahasta (holder of noose). He uses this rope to take the lives of those who are
about to die. There are a number of his assistants around him, who look terribly
dreadful than Yama. He is seated on the ox along with his wife ymala. After
praying to Yama that he should bestow his grace on us to lead a meritorious life, we
move on to South West.
South Western cardinal is presided over by a demon called Nirr ti. Nirr ti means
dissolution, destruction, calamity, evil and adversity. His vehicle is said to be human
and he has dreadful weapons made of iron such as knife, etc. He is dark to look at
and he is with his wife known as Dhrg. Nirr ti sometimes is also referred as a
female form of demon. After worshipping him, we move on to Western cardinal.
Western cardinal is ruled by Varuna, who presides over water bodies. He is bright in
complexion and is seated on a fish vehicle (sometimes referred as crocodile or sea
monster). He has a noose and is seated with his wife Kl (not Goddess Kl). In
Vedic parlance, he is explained as the one with extraordinary powers and often
worshipped along with Indra. He has extraordinary wisdom and those who violate
dharma are punished by him. He is supposed to be presiding over immortality. After
worshipping him, we move on North West.
North West cardinal is ruled by Vyu, god presiding over air. He is known for the
highest level of spiritual knowledge and is extremely wise. He is seated on his deer
vehicle with his wives, susumna, id and pigal, the three nd-s relating to the
movement of Kund alin, the subtlest form of Lalitmbik. Vyu always lives amidst
great yogis, the important one being Goraks a. After worshipping them and seeking
his grace for spiritual knowledge, we move on to the next cardinal, North.
North cardinal is presided over by Kubera, god of wealth. His place is well lit, with
huge gold palaces all-round. The world of Kubera reflects every symptom of
prosperity. Kubera is the chief of yaks a-s (yaksa-s are said to be demigods,
unlike Varuna or Vyu). Kubera is also known as Vairavana. He is seated on a
horse along with his wife Citrarekh (she is also known as Sur gan, one of the
beautiful celestial women). He has only a knife as his weapon. Kubera is often seen
with anotheryaksa by name Mnibhadra, who is also known as prince of yaks a-s. All
of them worship Lalitmbik with great reverence. Kubera worship Her with his
own Pacada mantra. After paying our respects to Kubera, we move on to the next
cardinal, North East.
North East is the eighth and last cardinal point from East and is presided over by
na, who is one of the eleven Rudra-s (ekdaarudra-s). na means wealthy and
splendorous. This place has many palaces constructed with gold. There are many
temples in this place. na with his wife Ktyyan is seated on a pure white bull
(r s abha vhana). na has moon in his crown. na and Ktyyan are believed to

be lower forms of iva and Prvat. The world of na has sixteen varan a-s (like
roundabouts in temples).
With this, our journey in the space between indranla fort and pearl fort (fort number
15) has come to an end. We have reached the starting point, Indra lok, ready to
move into the fort of pearls.


Fort of pearl is the fifteenth fort in r Nagara. Once we cross this fort, we have to
cross ten more forts to reach the outer walls of r Cakra. We now cross the pearl
fort and enter into a huge open space. From this open space, we are able to see the
fort of emerald (marakata). In this place there are a lot of palm trees. Each palm tree
is shining like gold. Gold pots are fixed on the top of these trees to extract an
intoxicating drink known as madhu from the fruits of palm trees (madhu is also
referred as spirituous liquor, generated from the skull that drips into the throat
during kund alin meditation. This is referred in Lalit Sahasranma 106,
sudhsrabhi-varsin. According to this nma there is one soma chakra in the middle
of sahasrra. When Kund alin reaches this chakra, out of the heat generated
by Paraktis presence, the ambrosia which is stored there gets melted and drips
through the throat and enters the entire nervous system). As we go around the open
space, we find a huge palace made of emeralds. As we enter into this palace, we
see a massive hall with one hundred pillars, also made of emeralds. In that hall,
there is a throne, fully made of gold and in the middle of this gold throne there is a
gold lotus flower, known as mantrarjam, where we are able to have a glimpse of
Vrhi Devi, who is majestically seated. The palace of Vrhi Devi is in no way
different from the palace of Mantrin Devi (situated in the space between forts 7 and
8). Both of them form the two front arms of Parakti (Mantrin is in left lower hand
and Vrhi is the right lower hand.Vrhi Devi is subtly conveyed in Lalit
Sahasranma 11, pacatanmtra-syak (pacatanmtra-s are sound, touch, sight,
taste and smell). There are another two nma-s (70 and 76) which speak
about Vrhi in Lalit Sahasranma. Apart from these nma-s, there are several
subtle references. Vrhi Devi is seated on Kiricakra, her yantra. Her chariot is
known as Kiricakra-ratha. We now move closer to Vrhi Devi.
Vrha means boar (pig or hog). Since Vrhi has boar like face, she is known as
Vrhi. She has beautiful eyes like that of lotus flowers. Her body has lustrous gold
complexion. She has the moon on her crown. She is wearing red coloured garments.
A red garland adores her body. She has eight hands and six hands are holding six
different weapons and two hands show abhaya (removing the fears of devotees
of Parakti) and varada (conferring boons) mudras. The rest of the hands hold a
plough, a dand a (staff appearing like a pestle), a conch, a wheel, an a kua (hook)

and a pa (noose). She is also known as Danda

nth because she always carries
a dand a (staff) with her. She is dreadful to sinners. She is extremely fond of
devotees of Parakti and always blesses them. She is surrounded by Svapne,
ast abhairava-s with their consorts and others like Jambhini, etc.
Her mantra is also known as mantrarjam which has 110 aksara-s and is considered
as one of the most potent mantras, which is reproduced here.

om ai glau ai namo bhagavati vrtli varhi vrhamukhi ai glau ai
adhe adhini namo rudhe rudhini namo ja bhe ja bhini namo mohe mohini
namah stabhe stabhini namah ai glau ai sarvadus tapratus


sarves sarvavkpadacittacaks urmukhagatijihvstabha kuru kuru ghra
vaa kuru kuru ai glau ai thah
hu phat svh

(Please note: This mantra is taken from Mantramahrnavah and appears as the
correct one. There are several versions of this mantra and authenticity of these
mantras could not be verified.)
Vrh is the chief of Lalitmbiks army. Vrh has the capacity to drive away the
evil forces. If Vrh is worshiped on the 18th day of the month of s dha (JulyAugust), it is believed that those who have difficulties in getting married will get
married. The Bhvanopanis ad considers goddess Vrhi as father and Kurukull as
mother (we will have her daran later in r Nagara). It says, Vrhi pitr u
kurukull balidevat mt ( ).
It is also said Vrhi Devis 110 aks ara-s and ymal Devis 98 aks ara-s, together
form 208 aksara-s used in r Cakr navvarana pj. ymal Devi is between
forts 7 and 8. After praying to Vrh that She should bless us in having a close
daran of Lalitmbik, we move from Her palace and reach the huge entrance doors
of the emerald fort.
Emerald fort is the 16th fort. When we pass through this fort, the green colour of
emerald is very pleasing to our eyes. After exiting this fort, we are able see another
fort, far away, which is fully made of corals. Coral fort is the 17 th fort. We are now in
the open area between the emerald fort and coral fort. When we go around this open
space, we find Lord Brahm in a meditative posture. He is in charge of creation of
beings and this work is allocated to Him by Lalitmbik. He is also known as
Prajpati, meaning lord of creatures. He is often called great-grandfather of the
beings, while Visn u is called as grandfather and iva as father. We, with great
reverence move towards Brahm, who has the complexion of saffron mixed with milk

(combination of red and white), giving golden sheen to His body. After worshipping
Him from a distance, we proceed towards the coral fort.
We walk through the coral fort to reach another open space. From this open space,
we are able to see another fort made of navaratna -s (built with nine types of
precious gems - pearl, ruby, topaz, diamond, emerald, lapis lazuli, coral, sapphire,
and gomedhaka, known as zircon), which is fort number 18. We now begin to walk
around outside the coral fort. We find a huge palace built with highly precious rubies.
We enter into this fort and in the middle of the fort, we find Visn u
along with His
Consort Laksm, seated on His Garuda vhana (Garuda referred here is not a
regular bird, but a mythological bird, born to sage Kayapa and Vinat. Vinat is the
mother of Suparna, Aruna and Garuda). We move closer to Him, as we know that
He sustains the universe and is always compassionate. He has the complexion of
young leaves of Tamla tree (this tree is said to be dark in colour, but blossoms in
white colour). Even from a distance, we are able to see His radiance. He is wearing
kund ala-s in His ears (kunda
la means ear stud or ear ring). The radiance of the
kund ala-s are reflected in His shining cheeks. His lips are red in colour and He is
ever smiling. His face appears like the moon. He has kastr tilak in His forehead
(kastr means musk, naturally fragrant glandular secretion from the male
musk deer). His eyes appear like fully blossomed lotus flowers. He is wearing
garlands made of campaka flowers (fragrant yellow flowers). He is wearing pure
white silk garments. rvatsa adores His chest. (Visn u
Sahasranma 601 is
rvatsavaksh and is explained thus: rvatsa is a mark in the chest of Vis n
which is considered as very auspicious. Vaksas means chest. It is also said that it is
the place where His consort Laks m
resides. Though the Lord Himself is an
embodiment of auspiciousness, the presence of Laks m
makes His form more
auspicious.) He appears exactly as described in this dhyna verse
of Visn u Sahasranma:
saaakha-cakra sakirta-kun
d ala saptavastra

sarasruheks an a |sahra-vaks asthala-obhi-kaustubha nammi vin u iras

caturbhujam || Meaning: I pay obeisance to Lord Vis n
u with four hands, who holds
conch (Pcajanya) and disc (Sudaranacakra), who is adorned with crown and ear
studs, golden raiments, beautiful eyes like lotus flower, His chest bedecked with
garlands and kaustubha, a celebrated jewel obtained with thirteen other precious
things at the churning of the ocean and suspended on the chest of Vis n
u. He is also
adorned with a garland of basil leaves (tulas or tuls). His Consort Laks m
is sitting
very close to Him. The very sight of this gives us immense happiness. We prostrate
before them and seek their blessings.
After leaving His place, we moved towards the entry gates of navaratna fort (fort
number 18) and walked through this fort to reach the other end of the fort. When we
entered into the open space after navaratna fort, at a distance, we are able to see
another huge and beautiful fort made of nnratna-s (different types of precious

gems), which is known as nnratna fort (fort number 19). We now begin to go
around outside navaratna fort. We are able to see a number of massive palaces,
vast flower gardens. There are big mountains with high peaks. While we are walking
through this place, we find a large hall fully constructed with gold. This hall has one
thousand gold pillars. When we are about to enter this palace, we are able to listen
to the chants of Vedas. Vedic chants reverberate everywhere. In the middle of this
gold hall, we find a throne, fully decorated with tiger skin. In that throne is seated
Rudra, along with His consort, Bhavn. In front of Rudra and Bhavn, is seated with
great reverence, a bull known as Rs a
bha. This is bull is said to be Nandi, the vehicle
of Rudra. Along with Nandi is seated Bhr
gi, one of Rudras attendants. Both
Rs abha and Bhr
gi always recite the names of Rudra and Bhavn. Apart from
Rs abha and Bhr
gi there are other attendants and they are known as Rudragan a
We prostrate before Rudra and Bhavn and after seeking their blessings, we move
to the next fort.
(Further reading: iva attains several forms depending upon the necessity. His
Supreme form is Paramaiva. This form of iva encompasses Parakti. Both of
them are in a single form. However, this form is different from Ardhanrvara, in
which akti occupies left side of ivas body. But Paramaiva is different from this
form, as akti has not yet been created as a separate entity, but remains in
Paramaiva; still She is inherent in this form. At the time of creation, Paramaiva
becomes iva and akti, as two separate entities. iva, in order to creates modifies
and expands Himself to create the universe through His various forms such as
Sadiva, vara, Rudra, etc. This is like water in a well, in a lake and in an ocean.
Water is the same and only the container in which the water is held is different. In the
same way, inner essence is always iva, who manifests in different names and
forms such as Sadiva, vara, Rudra, etc. Modification of iva into various forms
depends upon the influence of akti, known as My, on Him.)
There are six more forts before we could reach r Cakr. We can begin our journey
inside r Cakr only after crossing these six forts.


We are now standing in front of huge gates of manomaya fort (fort of mind, mental
fort or mental sheath), which is fort number 20. Forts 20, 21 and 22 form the forts
of antahkarana. Antahkarana consists of three components as per Trika
philosophy (explained in this link in three parts) and four components as per Advaita
philosophy. The four components are mind, intellect, consciousness and ego. In
Trika, consciousness is not included, as iva Himself is Consciousness. We walk
throughmanomaya fort to reach another open vast space, which is lustrous red in

In this open space, we see Amr tavpik (lake of nectar). Two banks of the lake are
named as sacala (referring to wavering nature of the mind). In this lake, we are
able to see swans in the colour of pearls (pure white), moving around. We also find
many gold lotus flowers in the lake. Apart from gold lotuses, there are other fragrant
watery flowers, and bees fly around these flowers making buzzing sound, which is
soothing to our ears. In the middle of this lake, there is a boat, built with pure white
pearls. In that boat, we see a beautiful young woman playing with her friends. She is
pinkish red in complexion (sindrapt a
lg). She has moon in her crown, her face
appears like the full moon and her lower lip is deep red in color, like pomegranate
flowers. She has dark curly hair and her eyes are like young does (female deer)
eyes. She has bright ear studs, the reflections of which are seen in her shining
cheeks. She is being given abhis e
ka (sacred bath, accompanied with recitation of
mantras) by her assistants, who also travel with her in small boats. They give her
bath by using gold horns (like horns of cow). She is Tr Devi (one of the akti-s of
daamahvidy). After worshipping her, we move on to the next fort (four number
21), fort of ego.
The fort of mind is a subtle fort (though not explicitly said so). Thought processes of
the mind are explained as the banks of the pond and that is why they are named
as sacala (sacala means wavering). Gold lotuses represent material desires.
Fragrance, colour, complexion, etc refer to lecherousness. Sounds of bees are the
material sounds that afflict our minds. Sight and sound are the primary reasons, for
causing lasting mental impressions in our minds. In order to remove mental
afflictions, Tr Devi is worshipped, as she is known for wisdom and knowledge.
When her grace is obtained, we begin to taste the divine nectar (spiritual
(Further reading on Tr Devi: Tr Devi described here and in other mantra texts
do not agree. Some of the common descriptions are boat, pearl, etc. There are three
types of dhyna for her and they are s r s t i , sthiti and sahra dhyna-s
(contemplation for creation, sustenance and destruction). Based upon different acts,
her dhyna verses also vary. For example, white colour is associated during
creation, red during sustenance and black during destruction. It is also said that
Brahm andVisn u
worshipped her with different mantras. Brahm worshipped her
with om tr hr hu phat and Visn u
worshipped her with om hr
r kl sauh hu ugratre hu phat . But her common
mantra is om hr tr hu phat . Her bja is tr )
We are now standing before the gates of fort of intellect (buddhi), which is the
21st fort. As we walk through this fort, we reach another open space. While going
around this place, we find another lake by name nandavpik (lake of bliss), which
is full of nectar. This lake has steps made of rubies, which are deep red in colour.

There is a small boat, built with rubies, in the middle of the lake of bliss. In that boat,
is seated Amr te. She has compassionate eyes and she is well decorated with
shining ornaments. She is also known as Vruni Devi. This Devi is explained in Lalit
Sahasranma (333), Vruni-mada-vihval, which is explained thus: Vruni is the
extract of dates that is allowed to brew and when consumed causes inebriation.
There is a ndi (nerve) called vruni which can be controlled by breath. This ndi
plays a significant role in excretion of bodily waste. If this ndi is brought under
control by proper breathing exercises, one will never feel tiredness in the body.
Sages keep this ndi under their control to cope up with longer duration of
meditation. Opposite to her, some beautiful divine damsels are seated with gold
oars in their hands (to row the boats). We pray to her that she should give us enough
knowledge (higher level of spiritual knowledge known as buddhi) to know about
Lalitmbik and move to the next fort.
Next fort (fort number 22) is fort of ego (aha kra). We walk through this fort to
reach yet another open space. This space is known as malayapavamna (malaya
mountain range; pavamna being purified; this possibly indicates presence of
purified air in this mountain range). We are able to feel the breeze, filled with
fragrance of newly blossomed flowers. There are many birds in this region. There are
many bees tasting the nectar from the newly blossomed flowers. The buzzing sound
of the bees is sweet to our ears. In this mountain range, there is a pond called
vimaravpik. This pond is the store house of nectar that flows into the throat
during kund alin meditation. This is purely a Divine Grace and not everybody is
blessed with this flow of nectar.
(Further reading on the flow of nectar: This is discussed in two nma-s of Lalit
Sahasranma 105 and 106, the essence of which is given here: She has now
reached Her destination, the sahasrra, where iva is waiting for Her. Sahasrra is
just below the brahmarandhra, an orifice in the skull that connects to cosmos (The
existence of this orifice has not been medically proved. Perhaps this is like the pores
that exist in our skin through which sweat comes out. But one can distinctly feel the
cosmic connection through this orifice. But according to Ayurveda, there is marma
point (also known as varma point here, by name adhipati). The union of iva and
akt takes place at sahasrra. The sdhaka, who all along was worshipping only
the akt, begins to worship Her along with Her Creator, iva. There is one soma
chakra in the middle of sahasrra. When Kund alin reaches this cakra, out of the
heat generated by Her presence, the ambrosia which is stored there gets melted and
drips through the throat and enters the entire nervous system.)
We are able to see in the middle of vimaravpik, a boat made of rubies. In the
boat we are able to see a beautiful dark green complexioned damsel. She has a well
developed body. She has beautiful eyebrows that shames Manmathas bow. She is

smiling pleasantly. She is wearing ear studs made of rubies. She is Kurukull Devi. A
reference to her is available in Lalit Sahasranma 438 Kurukull, and this nma is
explained like this: Kurukull is a goddess who dwells in r Cakra between the
boundaries of ego and consciousness. The Bhvanopanisad considers goddess
Vrhi as father and Kurukull as mother. It says, Vrhi pitr urp kurukull
balidevat mt ( ). This is based on the principle that our
body consists of sensory organs along with flesh and blood that cause the feeling of
bodily lust. The physical description of Kurukull is terrifying, probably indicating that
lust is one of the factors that form a stumbling block to the spiritual progression.
After paying our respects to her, we move to the next fort (fort number 23), the sun


We now walk through the sun fort to reach bhnu prkra (bhnu means sun and
prkra means roundabout), the roundabout after sun fort. Sun shines from this
place and illuminates all the fourteen mythical worlds (seven upper worlds are
mentioned in Gytri mantra). As we walk through this prkra, we find a huge hall
which is constructed with lustrous rubies. There is a lotus like gold throne placed at
the far end of the hall. On the throne is seated Mrtn d
a-Bhiarava (mrtnd a refers
to the sun). He is wearing a red flower garland. Flowers in the garland are deep red
in color and are very fresh (fresh flowers are specifically mentioned to say that the
flowers are not affected by suns heat). Light of the sun is known as caks usmati,
which means faculty of sight. Mrtnda
-Bhiarava has two wives and they are
Caksusmat and Chy Devi (chya means shadow). Two of his wives represent
light and shadow. Sun god, who is also known as Mrtn da
-Bhiarava, is a great
devotee of Lalitmbik. A reference to this is available in Lalit Sahasranma 785,
Mrtnd a-bhairavrdhy, which is explained thus: She is worshipped by
Mrtnd a-bhairava. He is posited in the twenty fourthprkra of r Nagara. r
Cakra is in the centre of this r Nagara. Anything associated with Her is prefixed
with r, a sign of auspiciousness. Sage Durvsa says that he worships him with his
wife Chya Devi. After worshipping Mrthanda-Bhairava and his two wives, we
proceed to the next fort.
Next fort is moon fort (fort number 24) and we move towards this fort. This place is
very cool and pure white in colour. There are many stars shining in this place. We
find moon shining like a pure white flower and is surrounded by many stars. (It is
said in Scriptures that all the twenty seven stars, that are referred in astrology are his
wives.) We pay our respects to Candran (moon) and exit through the moon fort.
On exiting the moon fort, we find a huge fort called r
gra fort (fort number 25, the
last fort). r
gra means erotic sentiments. Lalit Sahasranma 376 addresses Her

as r
gra-rasa-saprn, which means that She is in the form of essence of love.
Like all other abstractions, love also originates from Her. r
gra fort is built with
gold and precious gems. There is a deep trench outside this fort. This trench is full of
water. There are many gold boats rowing in the trench. These boats are well
decorated with precious gems. Every boat carries pretty divine damsels. We find
Manmatha amongst them! After praying to Manmatha, we enter into the great
gra fort.
When we enter into r
gra fort, we place our feet with great reverence on the
cintmani prkra, the roundabout fully constructed with the most precious of all
gems, cintmani. It is called cintmani, because it is capable of fulfilling all types of
desires. After crossing this cintmani prkra, we find a huge tropical garden with
full of different types of herbs, flowering plants, huge lotus ponds with inexplicable
and beautiful lotus flowers, very tall trees, etc and this place is known as
Mahpadmt avi (Lalit Sahasranma 59 - Mahpadmt av-sam sth). Lalitmbik
visits this forest garden frequently. In the midst of this Mahpadmt a
vi, there is a
very huge palace known as Cintmani Gr ha, the Abode of Lalitmbik. Lalit
Sahasranma 57 says, Cintmani-gr uhntasth. In the middle of Cintmani Gr ha is
r Cakra and in the centre of r Cakra, is seated Lalitmbik.
From the point where we are standing now, we are able to see Cintmani Gr ha. To
reach Cintmani Gr ha, we are now walking through Mahpadmt a
vi. As we are
continuously reciting Lalit Sahasranma, we did not have any difficulty in standing
before the Eastern entrance of Cintmani Gr ha. At the outer side, we find huge
vessels made of gold and these are known as arghyaptra-s. These vessels contain
pure water. There will be one big vessel in which clean water is poured. There are
medium sized vessels for the purpose of drinking, washing hands, washing feet and
for gargling. Every time, water is taken from the main vessel and used for the
purposes mentioned above and after usage they are accumulated in smaller vessels.
Thus we have five vessels and hence it is called pacaptra (1 main vessel and 4
medium or small sized vessels). This gold pacaptra is held by god Agni in his
hands, who stands outside the entrance of the main gates of Cintman i Gr ha. Thus,
Agni forms the base of these vessels. The main vessel is also known as vardhan
kalaa. (vardhana means causing to increase or increase in prosperity). There is
another vessel called smnyrghyaptra, usually a conch. Water to this conch is
taken from the bigger vessel of pacaptra. Water from this is used to purify the
offerings made to Lalitmbik (including garlands, food, etc). Then there is another
vessel known as viesrghyaptra (special arghya vessel). Vies rghyaptra is the
body of sun and the contents of vies rghyaptra is nectar and this vessel is
specially worshipped. There are several mand a
la-s in this viesrghyaptra and
they are agni (fire), srya (sun), soma (moon) Brahm, (in charge of creation, not the
Creator), Visn u (sustainer), Rudra (the destroyer), Mahevara (the annihilator or

the one who conceals) and Sadiva (the re-creator; the one who creates the
annihilated universe by Mahevara). These five (except fire, sun and moon) are
known as the chiefs of pacakr t ya-s. This is explained in Lalit Sahasranma 274
(She is the abode of all the five functions discussed above. Nma 250 Pacabrahma-svarpin says that She is the cause of all these five acts. All these five acts
are carried out by Her as prkaa (cit) vimara (akt) mah my svarpin. She is
also known as Cit akt. Cit means the consciousness that is absolute and
unchanging). These five gods reside inside the vies
rghyaptra and their palaces
are situated beneath vies rghyaptra. It is said that all the fourteen worlds (seven
below the earth, the earth and six above the earth) are illuminated by these palaces.
Preparation of viesrghya and worshipping vies rghyaptra are important aspects
in r Cakra Navvarana worship.
We are now at the main gates of Cintmani Gr ha. We go around Cintmani Gr ha to
fully understand its grandeur. Now we are on the eastern side. Main entrance gates
to Cintmani Gr ha are situated on the eastern side. We are now facing Cintman i
Gr ha and to our right, is the palace of mala Devi. We have already seen her in the
space between forts 7 and 8 (silver and gold forts). This is another palace of mala
Devi (this can be explained as a palace for refreshment). To our left is the palace of
Vrhi Devi. We have already seen her in the space between forts 15 and 16 (forts
of pearls and emerald). Like Mantrin Devi (mala Devi), Vrhi too uses this
Cintmani Gr ha has four main entrance gates, one each at the four cardinals. Each
of these main gates is guarded by mnya devata-s. Eastern gate is guarded by
Bhuvaneavar (representing mantra yoga). South side is guarded by Daks ina Kl
(path of devotion). Western side is guarded by Kubjik (path of tantra, the main
authority being Kubjikatantra). Northern side is guarded by Guhya Kl (path of
As we go around, at Southeast corner, we find a fire altar, known as
Cidagnikund a. Lalitmbik originated from this kunda
. This is explained in Lalit
Sahasranma 4, Cidagnikund a-sam bht, which is interpreted thus: {Cit + agni +
kund a + sam bhta. Cit means nirguna Brahman or Brahman without attributes (the
foundational consciousness). Agni kund a means a fire altar, in which fire sacrifices are done
by offering oblations. Sam bht means born. Agni kund a or the fire altar means the
dispeller of darkness. Darkness means lack of knowledge or ignorance which is called avidy (vidy means knowledge). This should not be interpreted as the one who was born
out of the fire. She is the Supreme Consciousness who dispels ignorance. She dispels
ignorance through Her form of pure Consciousness, who illuminates within, dispelling the
darkness of my.} After prostrating before this fire altar and after having seen the

birth place ofLalitmbik, we move forward to Southwest, where we find Cakrarja

ratha, the chariot ofLalitmbik. This is described in Lalit Sahasranma 68,

Cakrarja-rathrdha-sarvyudha-pariskr t, which is reproduced here, as reference
is made to ri Cakra in this nma.
{Cakrarja is the chariot of Lalitmbik in which She travels along with all types of weapons.
Weapons mean the ways of attaining suddhavidy or pure knowledge which is called the
knowledge of the Brahman. This chariot consists of nine tiers. There are other two chariots
that accompany this Cakrarja the details of which will be discussed in the next two nma-s.
This Cakrarja is said to mean the r Cakra, the place of Lalitmbik. Pariskr t means
A brief knowledge of r Cakr becomes a necessity to understand this nma. r Cakr
consists of nine partitions or angles broadly divided into five akt cakra-s and four iva
cakra-s. The triangles facing upwards are called iva cakra-s, and the triangles facing down
are akt cakra-s. r Cakr contains forty four triangles in which forty three goddesses
(44th is Lalitai) and seventy nine yogin-s (demi-goddesses) live. All the gods and goddesses
are said to reside in r Cakra and that is why it is said that one can perform pja to any
god/goddess in r Cakra. The nma 996 r Cakrrja nilay confirms Her domicile in r
Cakrarja also means the six cakra-s (mldhr to ja). Ratha means base or
foundation. Ardha means control and sarvyudha means pure knowledge which is called
suddhavidy. The six cakra-s form the foundation to attain pure knowledge through which
mind can be controlled in the sixth cakra. The five psychic cakra-s represent the five basic
elements and the ja cakra represents mind. Therefore to control the basic elements and
the mind, pure knowledge becomes essential. When cakra-s are controlled, siddhi-s are

After worshipping Cakrarja, Lalitmbiks chariot, we move on to North western

side, where we find Geyacakra ratha, This is the chariot of Mantrin Devi who is also
called yamal Devi. After worshipping the same, we move forward to North eastern
side, where Kiricakra-ratha is situated. This chariot belongs to Dan d
nth Devi who
is also known as Vrh Devi. After worshipping this chariot, we proceed to the main
entrance gates of Cintmani Gr ha.
From a distance, through the Eastern gates of Cintman i Gr ha, we are able to see
the outer wall of r Cakra. We are greatly exited to get into r Cakra, for which we
are awaiting for necessary permissions from yamal Devi, Vrh Devi and
Bhuvaneavar Devi. We are now waiting outside the gate, taking rest under the
huge tress of Mahpadmt avi.


While we are waiting for necessary permissions, our Guru gives a small lecture
about r Cakra (should be read as chakra).
We have reached this place after crossing twenty five forts and we are about to
enter into r Cakra. I am not going into the details of various enclosures now. There
are two types of worshipping r Cakra. One is ritualistic worshipping all the nine
enclosures with flowers, etc. There are several goddesses in these enclosures and
all of them are worshipped before reaching the innermost triangle and the bindu (the
dot in the center). The inner most triangle and the bindu are the source of creation of
the universe. There is another way of worshipping r Cakra through mind, as
explained in Bhvanopanis ad (), which is based on certain subtle
conveyances of Atharvaveda. Bhvanopanis ad is in the form of stra-s (aphorisms)
and enlighten the similarity between human body and r Cakra. Bhvana means
contemplation, where only the mind is used. When you involve your mind in worship,
you are bound to have significant and instantaneous effects. You must always
remember that you can reach Her feet only through your mind and not through your
sensory organs. At the same time, you must also remember, that you cannot straight
away begin mental worship, without going through the process of ritual worship. If
you do that, your sdhana will be imperfect and you cannot achieve the desired
results. Bhsakararya, one of the greatest devotees of Parakti in recent times
spoke about three stages of worship. First one is worshipping Her with gross forms,
such as having Her idol, etc. This includes navvarana pj, Lalit Sahasranma
or Triat arcane, etc. In this kind of worship, we always consider Her as someone
different from us and we adore Her by placing Her on a higher pedestal. When one
attains perfection in these rituals, he moves on to worship Her with mantras,
gradually moving away from ritualistic worship. Initiation of mantras happens during
this period. One moves from Bl mantra to Pacada and ultimately to Soda.
Even in mantra sdhana, one begins with all types of nysa-s (touching a particular
part of the body with specific fingers of the hand, symbolically placing Parakti all
over the body). Over a period of time, he dispenses all nysa-s and concentrate only
on the mantra. When he is comfortable with this stage, he begins to move on to the
final stage of his sdhana, merely contemplating Her within. He does not need the
help of pj-s and mantra recitations and he, on his own establishes a cosmic
connection with Her in deep meditation. In the deep state of meditation (nirvikalpa
samdhi or deep trance), there should be nothing, except your mind and Her subtle
form. This stage is explained inLalit Sahasranma 254, Dhyna-dhytr -dhyeyarp (She is the form of a triad the meditation, the meditator and the object of
meditation. This triad leads to another triad the knower, the known and the
Higher level of spiritual knowledge can be attained only
through dhyna or meditation. Meditation is only a process of powerful
concentration. Reading books and listening to sermons are not knowledge.

Knowledge is attained through internal quest and exploration. The store house of
knowledge is not extraneous, but within. The store house is nothing but the
Supreme Self. Patajali Yoga Stra (III.2) explains this further. Unbroken flow of
that concentration in that object is called dhyna.) At the initial stages, he tries to
become one with Her, but he is not able to sustain this union for long. However, he
continues his practice ignoring his own form and after a long and hectic sdhana, he
realizes Her within. Now he knows that there is no difference between Her and his
own self, which thought destroys all his dualities, which in turn removes the veil of
my in his mind. This can be further explained, but this is not the place to discuss
more on this.
Concept of Guru is very important in knowing Her truly. Unfortunately, many say that
they are realized souls, which is only a myth. This is known as deceptive realization,
where their egos play spoil sport. Guru will know his disciple and will take him
through the stages over a period of time. The transition from stage one to the third
stage depends upon ones devotion, level of sdhana and willingness to move
forward, without questioning the intentions of his Guru. A true Guru knows how to
uplift his disciple. A true Guru will not take much time to shape his disciple. That is
why Bhvanopanisad begins by saying rguruh sarvakranabht aktih ||
The next stra says that only because of Guru, the disciple has nine
openings in his body. In other words, the Upanis a
d says that the body of the disciple
is in no way different from the body of his Guru. You will be surprised to know that
the nine openings of the body (pair of eyes, pair of ears, two nostrils, mouth, organs
of excretion and procreation- total nine) are the nine enclosures of r Cakra. This
not only establishes that there is no difference between Guru and his disciple but
also establishes that there is no difference between our body and r Cakra. Thus,
there is no difference between Guru, r Cakra and the disciple.
Each of the nine enclosures (varana) of r Cakra is presided over by a cakrevar
(presiding goddess of that particular varana). Apart from cakrevar, there is a
yogin in each of these nine varana-s (navvarana- nine enclosures). Cakrevar is
not different from Parakti. Everycakrevar represents Parakti, but in a much
concealed manner. Let us assume that a lamp is covered by eight different veils.
When we complete one varana, one of the veils will be removed. These veils are
known as tiraskarani, who is worshipped in the beginning itself during navvaran a

pj. When we move towards inner triangle and bindu, at the end of each varan a
one veil is removed and Parakti reveals Herself more clearly.
But yogin-s are different. Yogin-s can be explained as spiritual powers, symbolically
represented as divine damsels. Yogin is derived from the world yoke (English word),
which means union. Yoke is a word derived from yoga, which also means union.
Practice of yoga leads to the union of jvtman with Paramtman. Yogin-s play

significant role in making this union complete, by sufficiently providing enough

spiritual powers to jvtman, so that jvtman is completely purified to become
eligible to unite with Paramtman. Lalit Sahasranma 237 is mah-catuh-sastikot i -yogin-gana-sevith (Mah-catuh-sasti-kot i means sixty four crores or 640
million. Yogin-gana are demigoddesses. She is worshipped by these 640 million
demigoddesses also known as yogini-s. In r Cakra, there are eight mtr k devi-s
(also known as ash ta mta-s) like, Brhm, Mhevar, Kaumr, Vainav, Vrh,
Indrn, Cmund, Mahlakm. The ash t a mta-s have eight deputies called as
yogini-s which make sixty four yogini-s. Each of these sixty four yogini-s has one
crore or ten million attendant yogini-s. Thus the calculation of 640 million yogini-s is
arrived. These yogini-s attend to different aspects of administration of the universe.)
Apart from aiding the union of jvtman with Paramtman, yogin-s also cause the
intertwining of iva and akti cakra-s of r Cakra in a perfect and smooth manner.
At the end of each varana, one mudra (finger gesture) akti and one of the eight
ast amasiddhi-s are also worshipped. Therefore, at the end of each varan a
, first the
concerned cakrevar followed by one of the as t amasiddhi-s, mudra akti and finally
Lalit Mahtripurasundar Par Bht t rik (bht t rika means noble and majestic
Goddess) are worshipped. While performing r Cakra pj, it is always assumed
that She is seated facing the eastern direction and we have to enter through the
western direction.
When Guru finished, Bhuvaneavar Devi (mnyy Devi) informed us that
permission is granted for us to enter Her Abode, r Cakra. We now commence our
journey to the Supreme Abode of Lalit Mahtripurasundar Par Bht t rik.


FIRST VARANA (First enclosure)
We now enter the first varana (enclosure). We find three tiers of huge square walls,
white, red and yellow in colour. All the three walls put together is known as
trilokyamohanacakra, which is also known as bhpura. Trilokya mohana means
attracting three worlds. Three worlds can be explained both grossly and subtly.
Grossly it means the three worlds referred in three vyhr ti-s of Gyatr mantra, bhr,
bhuvar and svar loka-s. Subtly the three worlds are three states of consciousness,
active, dream and deep sleep states. There are 28 goddesses in
Presiding deity of this varana is Tripurcakrevar; Animsiddhi is the siddhi devi,
Sarvasaksobhini mudra is the mudra akti and Prakat ayogin is the yogin. At the
end of this varana, all these akti-s are worshipped. Lalit Mahtripurasundar Par
Bht t
rik is also worshipped in each of the varana-s. Each varana has one
specific mudra with which Parakti is worshipped and apart from the specific

mudra, She is also worshipped with yoni mudra at the end of each varana. As far
as worshipping this prathamvarana (first enclosure) is concerned, first square which
is protected by ten akti-s is white in colour is to be worshipped with white flowers.
Second wall or second square, which has eight akti-s is to be worshipped with red
flowers. Third and the last wall or square, which has ten akti-s is to be worshipped
with yellow flowers. Now we are going to have daran of these twenty eight akti-s.
(During r Cakra worship, the innermost triangle should be facing the practitioner.)
Numbers indicated in the chart and numbers indicated in the narration correspond to
the place of that particular akti in the wall.

First wall:

This wall has ten akti-s, which includes as t a

ma siddhi-s (eight akti-s representing
supper human powers) and two other akti-s (7 and 8). It is important to note that
eight (1 to 8) of them are guarding the eight cardinals; out of which four of them
guarding the four entrance gates and the other four guarding other four cardinals.
1. animsiddhi ; 2. laghimsiddhi ; 3. mahimsiddhi ;
4. itavasiddhi ; 5. vaitasiddhi ; 6. prkmyasiddhi ;
7. bhuktisiddhi ; 8. icchsiddhi ; 9. prptisiddhi ;
10. sarvakmasiddhi .

Second wall:
This wall is protected by eight akti-s, who are commonly known as as t a
mtr -s
(eight mothers or ast a
mt-s. It is important to note that the first four of them (11,
12, 13 and 14) are guarding the four entrances of r Cakra and the rest guarding
the four corners (15, 16, 17 and 18) of r Cakra.
11. brhmmtr ; 12. mhevarimtr ; 13. kaumrmtr ;
14. vaisn a
vmtr ; 15. vrhmtr ; 16. mhendrmtr ;
17. cmund mtr
; 18. mahlaksmmtr

Third wall:
This wall is protected by ten mudraakti-s. During navvaran a pj, at the end of
each varana,Parakti is worshipped through these ten finger gestures, known as
ten mudra-s. This is also referred in Lalit Sahasranma 977, daamudrsamrdhy. (Mudra-s are the configuration of fingers that represent the energy of
the deity concerned. They are the secret signs of exchange between the practitioner
and the deity and should never be used in public. Mudra-s are highly powerful.) The
last of these mudras can be used only by those, who are initiated into Soda
mudraakti ;
mudraakti ;
mudraakti ;
22. sarvavaakar mudraakti ;
mudraakti ; 24. sarvamhku mudraakti ;
mudraakti ;
mudraakti ; 27. sarvayooni mudraakti ; (Lalit
Sahasranma 982 is Yoni-mudr (iva says to Prvat (Todala tantra II.25) My dear,
this yoni mudra removes all illness. Oh! Goddess, without elaborating I can just say
that it destroys great diseases and Oh! Goddess, without exaggerating I can say that

this mudra causes the realisation of the mantra, brings about direct perception of one
s self and bestows on the practitioner the great liberation.). 28. sarvatrikhan d

mudraakti ; (Lalit Sahasranma 983 is trikhand e

. This mudra
is used to invoke Her during rituals. Trikhannda
mudra also means the union of
various triads into single entity. For example, practitioner, his Guru and Devi or the
knower, the known and the path of knowing are triads. Merger of triads into a single
entity is the supreme knowledge that the practitioner has asked for in the previous
nma using yoni mudra. It is also said that this mudra refers to the three kt a
-s of
Pacada mantra. From the broader perspective, this mudra can be termed as the
Brahma mudra. The extended pair of fingers point out to creation, sustenance and
dissolution. During navvarana pj, only those who are initiated into Soda alone
can use this mudra).


We have discussed about 28 goddesses in the first varana, known
as trilokyamohanacakra and these goddesses guard three outer walls of ri Cakra. It
is also interesting to note that beginning from trilokyamohanacakra, there are no
male gods in any of the varana-s. Even all the four gates of ri Cakra are guarded
only by goddesses.
Bhvanopanisad says that our body is a replica of ri Cakra and our body parts are
related to these nine enclosures. In the first wall of trilokyamohanacakra, also known
as bhpura, there are ten siddhi devi-s. The outer most wall is guarded by siddhi
devi-s because, siddhi-s are to be ignored, when one attains them. Sage Patajali
says in his Yoga Stra says that these siddhi-s are possible only if we develop the
highest level of concentration and our ability to connect to an element (like air, water,
etc) with our consciousness. In the present day world, attaining such siddhi-s is
impossible and if one tries to practice this, with certainty it can be said that he is only
wasting his time. Now, let us understand about these ten goddesses in the first wall.
1. Anim means ability to become smaller than an atom.
2. Laghim means ability to float in the air by making the body light.
3. Mahim is the power to become huge.
4. itava is the power of creativity and the ability to rule.
5. Vaitva is the power to subjugate both living as well as insentient objects.
6. Prkmya is the ability to get any task done in no time.

7. Bhukti siddhi is not mentioned by Sage Patajali and this is out of the purview of
eight siddhi-s known as as t a
masiddhi-s. It is the power to enjoy with what is
attained. This siddhi is discussed only in tantric scriptures.
8. Icch siddhi is also outside the purview of ast amasiddhi-s referred by Patajali.
Some are of the opinion that sarvakmasiddhi is icchsiddhi. We go only by the ten
goddesses mentioned in authentic texts and hence we consider icchsiddhi and
sarvakmasiddhi as two different siddhi-s. Sometimes, sarvakmasiddhi and
prkmyasiddhi are considered as the same. But tantric texts have different
versions. Icch siddhi means power to attain any form according to his will. He can
become an ant and again he can become an elephant.
9. Prpti is the power to go anywhere, even to other worlds.
10. Sarvakma is fulfillment of all his desires.
(There could be certain variations while interpreting siddhi-s).
As discussed earlier, no male god can enter ri Cakra. Goddesses who guard
different cardinal points are known as siddhya b. The ten siddhya
ba-s discussed
above guard ten cardinal points. For example, Anim siddhyab, guard eastern
cardinal, Laghim siddhyab is guarding the western cardinal, etc and other
siddhyab-s and their cardinals can be found out from the chart attached to the
previous article.
It is also said that out of these siddhya b-s, nine siddhya b-s
represent navarasa or nine emotional states. Lalit Sahasranma 376 is r
grarasa- saprn, which is explained thus: Lalitmbik is said to be the embodiment
of extracts (rasa) of finer things in life. There are said to be eight to ten types of
rasa-s, though only nine types of rasa-s are generally mentioned. These ten rasa-s
are love (r
gra), heroism, disgust, anger, mirth, fear, pity, amazement, tranquillity
and warmth.
In the above interpretation, only nine types of emotional states are mentioned. The
tenth one isniyati, which can be interpreted to mean prrabdha karma (that part of
karma which is carved out of the total sum of karma accumulated over past several
births and known as sacita karma; prrabdha karma is the karma meant for the
present life and to be experienced in this life itself).Niyati also forms one of the six
kacuka-s (coverings) of my, as per Trika philosophy. Niyati is not included while
interpreting Lalit Sahasranma 376, because, Brahman is beyond the concept of
karma and hence not applicable to Her.
The second wall is protected by eight divine mothers known as ast a
According to tantric texts, these as t a
mt-s originated from eight different gods and

having thus originated from different gods, as t a

mt-s assistParakti in Her war
against demons (mythical war against sinners). Demons are persistent evil doers
who are unwilling to mend their ways. Since Parakti is upholder of the universe,
She has to ensure that there is a proper balance between good and bad in the world.
If bad begins to predominate, She manifests and annihilate them. During wars
against perpetual evildoers, these ast a
mt-s assist Her. Now let us have a look
about their origin. Serial number is their numbers in ri Cakra and numeric in
parenthesis refers to the serial order of as t a
11. (1) Brhm originated from Brahm
12. (2) Mhevari from Mhevara
13. (3) Kaumr from Krttikeya, also known as Skanda. He is also known
as Kaumra. He is the son of iva and Prvat
14. (4) Vaisn a
v from Visn u

15. (5) Vrh from Vrha, one of the incarnations of Vis n

16. (6) Mhendr from Indra
17. (7) Cmund is said to have born from the body of Parakti Herself.
18. (8) Mahlaksm from Nryana
It is also said that their consorts are ast a
bhairava-s. There are different versions on
this. Obviously, Mahlaksm is the Consort of Mahvis n u
. This is explained
While the ten siddhidevi-s in the outer wall represent emotional status of mind,
these ast amt-s represent skin, blood, muscle, fat, bone, bone marrow, procreative
fluids and vitality. Their places of residence in a human body are jcakra, breasts,
navel, heart, throat, face, nose and forehead. But, according ivgama, instead of
Mahlaksmmtr , Cand is named. In that case, the Bhairava consort of Cand
is Sahra Bhairava.
Ast amt-s and their consorts as t a
bhairava-s are given below:
(1) Brhm - Asitgabhairava
(2) Mhevari Rurubhairava
(3) Kaumr - Cand abhairava
(4) Vaisn av Krodhanabhairava
(5) Vrh Unmattabhairava

(6) Mhendr - kaplbhairava

(7) Cmund
- Bhsanabhairava
(8) Cand i - Sahrabhairava *
*Generally only saptamt-s (seven in number) are referred. In certain Scriptures
ast amt-s are also referred. In that case, either Mahlaks m or Candi is named as
the eighth mother. If Mahlaks m
is referred, then there is no corresponding
Bhairava. In certain texts, Yam is mentioned and correspondingly her consort is
Yama (lord of death). There is no corresponding Bhairava for Yam too.
The third wall is guarded ten mudraakti-s. We have to leave the tenth
mudra, sarvatrikhand mudra, as this belongs to Parakti. The nine mudras
represent nine types of powers and they are (19 to 27 in the same order) power of
agitation, power of fighting, power of fascination, power of subjugation, power of
insanity, power of motivation, power to connect to ariel beings or the power to move
in void, referring to higher spiritual levels and the power to create. Trikhanda
dividing something into three parts and here it means the union of the knower, known
and the path of knowing (sdhana). Beyond this, no further information is available
about these mudraakti-s.
Thus, if we look at the three walls of the first enclosure, we will find three planes
corresponding to the three loka-s and they are attainments (ten siddhya ba-s
relating to the mind), obstructions (as t a
mt-s causing attachment to physical body)
and powers (power of fighting, etc as discussed in the previous paragraph) of normal
human activates are represented or these three stages of normal human activity
originated form ri Cakra. The latter seems to be more appropriate, as the entire
universe has originated only from the central triangle of ri Cakra and the bindu
within (representing akti and iva respectively). Hence the first enclosure is
called trilokyamohanacakra and the three loka-s are attainments, obstructions and
powers as discussed above.


We are now going to enter the second varana (dvityvarana ). This
enclosure is known as sarv-paripraka cakra ( - ). Presiding deity of
this varana is Tripurecakrevar (presiding deity of the first varan a

is Tripurcakrevar. The difference is Tripur in the first varana and Tripure in

this varana). Laghimsiddhi is the Siddhi Devi. Sarvavidhrvin is the Mudrakti
and Guptayogin is the Yogin. At the end of this varan a, these akt-s are
worshipped. . Lalit Mahtripurasundar Par Bht t rik is also worshipped in each
of the varana-s. Each varana has one specific mudra with which Parakti is

worshipped and apart from the specific mudra, She is also worshipped with yoni
mudra at the end of each varana.
The second varana is in the form of lotus petals (s odaadala padma ) and
there are sixteen such lotus petals that form sarv-paripraka cakra. Between the
first enclosure and this enclosure, there are three circles known as trivr tta
or trivalaya, where tri refers to numeric three and vr tta or valaya means circles.
There are no akt-s in any of these three circles guarding ri Cakra. There circles
are not worshipped. These circles mean three of the four purus rtha-s (human
pursuits) viz. dharama (prescribed conduct), artha (acquiring wealth) and kma
(satiating desires). The fourth purus rtha, viz. moksa (liberation) can be attained
only if we reach the central triangle of ri Cakra.
This varana is worshipped in anticlockwise direction, as indicated by ascending
numerical in the chart (in red ink). The sixteen lotus petals are attached to trivr t ta in
the outer side and in the inner side they are attached to the eight lotus petals of the
third varana. Now let us begin our journey in the second varan a
for worshipping
these sixteen akt-s. It is to be remembered that we are now moving anticlockwise

1. Kmkarsin nityakaldev . (nityakaldev is to be suffixed to all

hereafter). 2.
Buddhyakarsin ;
Ahakrkarsin ; 4. abdkarsin ; 5. Sparkarsin ; 6.

Rpkarsin ; 7. Raskarsin ; 8. Gandhkarsin ; 9.

Cittkarsin ; 10. Dhairykarsin ; 11. Smr tykarsin; 12.
Nmkarsin ; 13. Bjkarsin ; 14. tmkarsin ; 15.
Amr tkarsin 16. arrkarsin nityakaldev .
During our journey in the previous varana, we wound up at 28, as indicated in the
chart. This varana is placed opposite (around 600) to 28. We have to reach
1(indicated in red ink in the chart) of second varan a
from 28 of first varana,
moving in anticlockwise direction. Once we reach 1 of this varana, we move
forward only in anticlockwise direction.
These sixteen petals refer to multiple things and they are 1. Each petal has one vowel embedded in it. There are sixteen vowels in Sanskrit, a
to ah ( to ).Since this sodaadala padma holds all the sixteen vowels, this cakra
produces words, their sound (pronunciation) and meaning.
2. These sixteen petals also represent the following; five prn a-s (prna, apna,
vyna, udna samna); five jnendriya-s (organs of perception ear, skin, eye,
tongue, nose); five karmendriya-s (organs of action mouth, feet, hands, organ of
procreation and organ of excretion); and mind, thus making 16 petals of this
3. It is also said that these sixteen akti-s represent sixteen tithi-s (one tithi is
equivalent to one lunar day). Totally there are sixteen tithinity devi-s and they are
worshipped in the innermost triangle of ri Cakra. Sixteen tithinity devi-s include
Mahnitty, who is Lalitmbik and She is worshipped in the bindu, which is the
central point of ri Cakra. We will be worshipping tithinity devi-s while worshipping
eighth varana. But, in navvarana pj, they are worshipped in the beginning itself.
4. These sixteen akti-s also represent sixteen kal-s of moon and these sixteen
kal-s are represented by sixteen tithinity devi-s, as discussed above. Based on
this, nityakaldev is suffixed after their names (nitya also means daily). However,
names of the sixteen kal-s are different. These sixteen kal-s of the moon are
worshipped during viesrghya pj.
5. In their individual capacities, these nityakaldev-s represent the following sixteen
attributes desire, intellect, ego, sound, touch, form, taste, smell, thought processes,
fortitude (mental courage), recollections (memory), names and forms, source, the
self within (jvtman), eternity and the gross body.
In the first varana, we worshipped 28 akti-s and in this varana, we have
worshipped 16 akti-s. Thus, we have so far worshipped 44 akti-s in ri Cakra, who
take care different aspects of sustenance of the universe.


We are now about to enter the third varana, known as tr tyvaranam ( ),
which is also known as sarva saks obhana cakra ( ). Sam ksobhana
means commotion and sarva saks obhana means all types of commotions. All
types of mental commotions originate from this varan a. This varana has eight
petal lotus, known as as t adala padma ( ). This varana is presided over by
Tripurasundar Cakrevar (presiding deity of the first varan a is Tripur Cakrevar,
presiding deity of second varana is Tripure Cakrevar and the presiding deity of
this varana is Tripurasundar Cakrevar. We have to note the minute difference in
their names.) Mahim Siddhi is the siddhi Devi; Sarvkars in is the mudra akti and
Guptatarayogin is the Yogin. At the end of worshipping these eight devi-s, above
akti-s are worshipped and after worshipping them, Lalit Mahtripurasundar Par
Bht t
rik is also worshipped in each of the varana-s. Each varana has one
specific mudra with which Parakti is worshipped and apart from the specific mudra
(in thisvarana Sarvkarsin is the mudra), She is also worshipped with yoni mudra
at the end of eachvarana. Before, going into the details, let us worship these eight
devi-s. Abodes of these devi-s are marked 1 to 8 in the eight petal lotus.

The peculiarity of these devi-s is that their names begin with ana ga. Ana ga means
bodiless. Worshipping varana devi-s begin from western side as against the
eastern side of the second varana. varana devi-s are marked in blue ink in eight
petal lotus. They are worshipped clock wise, west, north, east, south, north west,
north east, south east and south west.
1. anaga kusum dev ; 2. anaga mekhal dev ;
3. anaga madan dev ; 4. anaga madantur

dev ;
5. anaga rekh dev ; 6. anaga
vegin dev ;
7. anaga agu
dev ; 8. anaga mlin dev
All these devi-s represent Manmatha (Cupid) in some way or other. Manmatha is
also bodiless. These devi-s form flowers, girdle, intoxication, addiction, silhouette,
urge, goad and garland of Manmatha. Apart from representing and acting on behalf
of Manmatha, they also cause certain subtle modification in the mind of a human
being and these modifications are explained as psychophysical in nature.
Psychophysical is explained as quantitative relations between physical stimuli and
their psychological effects. It is a sort of body-mind combination.
There are different interpretations as to how they represent psychophysical
properties. According to one version they represent prakr ti (primordial nature),
mahat (mahat means great; according to S khya philosophy, mahat arises from
the union of purusa and prakr ti; the Self within can be realized only due to mahat
principle and this depends upon mind), ego (non-essential ego), pacatanmtra-s
(sound, touch, sight, taste and smell), five principle elements of the universe (ka,
air, fire, water and earth), ten organs of action and perception (karmendriya-s and
jnendriya-s), antahkarana (mind, intellect, consciousness and ego) and purus a

(individual soul, which is being currently discussed in Brahma Stra interpretations in

this site). Another interpretation is that these eight devi-s represent expression,
apprehension, movement, elimination, lust, rejections, attention and detachment.
When we move towards ri Cakra, we shed those qualities represented by different
devi-s in different varana-s and when go near the innermost triangle, we are
completely purified, as we are about to become one with iva and akti. When we
move away from ri Cakra, we attain these qualities and attributes one by one, so
that when we are born, our inner Self is completely covered by my. The former
journey is towards liberation and the latter journey is towards creation.


We are now entering the fourth varana, which is known as turiyvarana (fourth
enclosure). This varana is called as sarva-saubhgya-dyaka cakra ( --
). All types of prosperity originate from this varana. Sarva-saubhgya-dyaka
means giver of all kinds of prosperity, including both material and spiritual. Presiding
deity of this varana is Tripuravsin cakrevar, Sarvavaakar is the Mudrakti
and Sapradyayogin is the Yogin. At the end of this varan a
, the above akt-s
are worshipped. . Lalit Mahtripurasundar Par Bht t
rik is also worshipped in
each of the varana-s. Each varana has one specific mudra with which Parakti is
worshipped and apart from the specific mudra, She is also worshipped with yoni
mudra at the end of each varana. This varana is in the form of a triangle and there

are 14 akti-s in this triangle. This is the first triangle that we come across when we
enter into ri Cakra. ri Cakra has nine triangles like this and out this nine, four
triangles are facing upwards and five triangles are facing downwards. These nine
triangles intersecting each other give rise six varana-s and 44 triangles. All these
triangles represent Divine Procreative energy. Four upward facing triangles are
known as iva cakra-s (triangles) and the five downward facing triangles are known
as akti cakra-s.

This varana consists of 14 triangles and this is marked in the above image. When
we worship these devi-s, we have to move in anticlockwise manner.
1. Sarvasaksobhin akti
(at the end of the name, akti is to be
added); 2.Sarvavidravin ; 3. Sarvkarsini 4.
Sarvhldin ;
5. Sarvasamohin
; 6. Sarvastabhin ; 7. Sarvajr
8. Sarvavaakar ; 9. Sarvarajan ; 10. Sarvonmdin ;
11. Sarvrthasdhin ; 12. Sarvasapattipran ;
13. Sarvamantramay ; 14. Sarvadvandvaksayakar akti
Their worship begins from the East and proceeds in anticlockwise manner. These
fourteen akti-s are referred as the fourteen upper worlds as mentioned in
Brahmagytr mantra and these worlds are Bh, Bhuva, Sva, Maha, Jana, Tapa

and Satya. It is also said that these fourteen akti-s represent fourteen important
nd-s (tubular vessels) in our body and they are ala bhu, kuh, vivodar*,
vran*, hastijihv, yaovati*, payasvin*, gndhr, p, a khin, sarasvat*, id,
pigal and susumna. These nd-s help in excretion, procreation, digestion,
locomotion, hearing, vision, taste and of course three divine nd-s. id, pigal and
susumna. However, Yogacdmani Upanisad (verses 18,19 and 20) talks about only
ten nd-s (* represent those nd-s not mentioned in the Upanis ad). There are other
variations also.
The above 14 akti-s are in charge of fourteen qualities or attributes such as mental
agitation, chasing away (evil thoughts), attraction (physical), causing happiness,
delusion (my), obstruction (in the path Self-realization), release (releasing
obstructions in the path of Self-realization), subjugation (surrendering to Her),
rejoicing (experiencing Bliss), maddening, accomplishment of desires (both material
and spiritual), providing wealth (material wealth), all mantras (to conquer mind) and
dispelling all types of dualities (dispelling ). When this varan a is worshiped, She
sends the right Guru to the worshiper who will take him to higher spiritual levels. It is
also said that iva Himself appears as Guru in human form. This also establishes
the difference between Guru (imparts spiritual knowledge, leading to Self-realization)
and guru (who initiates into mantras and teaches the aspirant about performing pjs and other rituals).
At the end of the fourth varana, we have worshipped 66 akt-s. (First varana 28;
second varana 16; third varana 8 and this (fourth) varana 14 totalling to 66).


We are now entering fifth varana, which is known as pacamvarana (fifth
enclosure). This varana is called Sarvrthasdhakacakra (). Ten
primary prna-s originate from this varana and each vital breath is represented by a
akti. There are ten triangles in this varana and each triangle is presided over by a
akti. Thus there are ten akti-s in this enclosure. By worshipping the akti-s in this
varana, Guru-disciple relationship is strengthened. Sarvrtha means
accomplishments of all our aims and objects of this life and in particular, Selfrealization and consequent liberation from the process of transmigration. This
varana is presided over by Tripurr Cakrevar and Sarvonmdin is the
Mudrakti and Kulotrnayogin is the Yogin. She increases spiritual knowledge
through strongly bonding Guru-disciple relationship. After worshipping them at the
end of this varana, Lalit Mahtripurasundar Par Bht t rik is worshipped with

This varana consists of 10 triangles and this is marked in the above image. When
we worship these devi-s, like in the previous varana, we have to move in
anticlockwise manner. These devi-s are marked 1 to 10 in red in the chart above.
These devi-s also represent ten vital breaths - prna, apna, vyna, udhna,
samna, nga, krma, hr kara, devatatta and dhanajaya. Each of these prna-s
occupy certain specific parts in a human body. Prna in the chest; apna in the
navel and is the cause for procreation and excretion; vyna in nostrils, stomach and
is the cause for circulation of blood and lymph; udhna having its abode at throat
and circulates in arms and legs; samna causes digestive fire (jat hargni). These
five are primary prna-s and the next five are secondary prna-s and their functions
are nga in vomiting; krma in winking of eyes; hr kara in digestion; devatatta in
yawning and sleeping; and dhanajaya is the cause for subtle sounds within the
body and this does not leave the body even after death; by continuing to remain in
the corpse, it makes the corpse to decay and at the time of cremation, it escapes
through the skull by breaking open the skull. It continues to remain in the corpse that
is buried and makes the corpse to decay and finally escapes through the skull after a
few days in the same manner discussed above.
1. Sarvasiddhiprad dev ; 2. Sarvasapatprad dev ;
3. Sarvapriyakar dev ; 4. Sarvamagalakrin dev ;
5. Sarvakmaprad dev ; 6.Sarvaduhkhavimocin dev ;
7. Sarvamr tyupraaman dev ; 8. sarvighnanivrin dev ;
9. Sarvgasundar dev ; 10. Sarvasaubhgyadyin dev .
Their worship begins from the eastern side and proceeds in anticlockwise manner.
The difference between the previous varana is that the former was gross in nature
like material wealth, etc and this varana ias purely in subtle in nature and deals with

invisibilities like prna. Apart from controlling prna-s, these ten akti-s control the
following. They are bestowing everything, giving material wealth, worthiness (both
material and spiritual), fulfilment of all types of desires, removal of sorrow and pain,
removing all pains at the time of death and foretelling death (Birth and death are
always painful, hence there is an urgent need to get liberated in this birth itself. It is
said that everyone knows very clearly, when the process of death is initiated in his or
her body. It is also said that process of death does not even last for a few seconds.),
removal of all obstructions both in spiritual and material life, giving a good external
appearance and good looks and bestowing both material and spiritual prosperity.
From this varana onwards, knowledge about iva is imparted gradually.
In order to merge with iva, to whom alone an individual soul can merge to get total
liberation, one has to have complete knowledge of iva. iva here means Brahman.
Such a soul merges with iva (Brahman), to become one with Him. This can be
done only by Lalitmbik, as explained in Lalit Sahasranma 727, iva-jnapradyin.
{Further reading on iva-jna-pradyin: She imparts the knowledge of iva, the
Ultimate. iva jna (knowledge) means the knowledge of the Brahman, which is
also known as the Supreme knowledge. To know iva, one should first know His
akt, who alone is capable of leading a person to the Brahman or iva. Rmyana
says wind can be realized through movements, fire can be realised through heat
and iva can be realized only through akt. It can also be said that iva is the
source of knowledge for Her. It is said akara caitanyam which means that iva
is both jna and kriy. He is the sovereign, pure free will in knowledge and action.
Based upon this principle, iva Stra-s opens by saying caitanyamtm. Caitanyam
means consciousness of the highest purity and knowledge. There is no difference
between Brahman and the highest form of consciousness. But how akt alone is
capable of unravelling iva? This is answered by iva Stra (I.6) again which says
that by meditating on akt, the universe disappears as a separate entity thereby
unveiling Self illuminating iva. The process of such happening is described in
Spanda Krik (I.8) (another treatise of Kashmiri Saivism) which says the empirical
individual cannot ward off the urge of desires. But entering the energetic circle of the
Self (iva), he becomes equal to that Self. The seeker of iva becomes iva
himself. This is known as iva jna and She imparts this kind of Supreme
knowledge. It is also said that iva cannot be attained without first realising akt.
She alone can lead one to iva. iva is inaccessible directly. Unless She chooses to
impart the required Supreme knowledge, none can realise iva. Hence, She is called


We are now entering the sixth varana (sast hvarana), which is known as
Sarvarakskaracakra( ). This varana has ten triangles as indicated in
blue colour in the chart and each varana is presided over by a akti. On the subtle
side, sarvarakskara means protection from the spiritual stage attained. This is
presently being explained in detail in the series on Brahma Stra. Guru-disciple
relationship that was strengthened in the previous varana leads to destruction of
duality in this varana, which ultimately leads to liberation. On the grosser side,
these ten akti-s represent ten digestive fires. Ten prna-s of the fifth varana, now
transforms into ten digestive fires (ten aspects of digestion, absorption and
excretion). This varana is presided over by Tripuramlin Cakrevar.
Sarvamahku is the Mudrakti and Nigarbhayogin is the Yogin. In this varan a
also, worship is to be done in anticlockwise manner. Now, let us worship these ten

1. Sarvajdev ; 2. Sarvaaktidev ;
3. Sarvaivaryapraddev ; 4. Sarvajnamaydev ;
5. sarvavydhivinindev ; 6. Sarvthrasvarpdev :
7. Sarvappahardev ; 8. Sarvnandamaydevi ;
9. sarvarakssvarpindev ; 10.
Sarvepsitaphalapraddev .

Like other varana-s, we proceed from the Eastern side in anticlockwise manner. If
we look at devi-s in various varana-s, we can understand that their activities
become more subtle as we proceed towards the central triangle. An aspirant who
has reached this stage is further fine tuned to make him eligible to attain Her.
However, he has to be still more perfected to merge into the Praka form iva. iva
is worshipped in the bindu, the central point of ri Cakra. Creation begins from Him
and leads to the immediate next triangle, the innermost triangle of ri Cakra. The
three angles of the innermost triangle represent icch, jna and kriya akti-s.
Let us find out how these akti-s cleanse the aspirant. First devi gives him all the
requisite knowledge so that he is completely freed from my. In this stage, the
aspirant begins to realize I am That. This devi imparts this knowledge by saying,
You are That. Second devi gives him necessary spiritual energy to transform into a
yog, in whom the union between the individual soul and Brahman takes place. A
yog is the one, whose individual consciousness is yoked with Supreme
Consciousness. Third devi assists him in attaining mastery over all types of
knowledge that leads him to realization. Fourth devi ensures that such knowledge
stays with him. During spiritual practices, one will not pay attention to his or her
physical body. Due to lack of physical activities, he is bound to have some disease or
other (in modern times it is about diabetes and heart ailments). He has no time or
inclination to take care of his body. Instead, this devi takes care of his body and frees
him from all types of diseases (it can be observed that those who are at highest
spiritual level have paunch. This is the reason why many ancient sages have been
depicted with big bellies). Sixth devi supports all his or her spiritual practices (please
recall Lalit Sahasranma 659 sarvdhra. Every devi in ri Cakra is connected to
any one of the nma-s of Sahasranma. This will be discussed towards the end of
this series). When one attains liberation, even the traces of karmic imprints have to
be removed. Seventh devi does this. Parakti is an embodiment of purity. In order
to go anywhere near Her, one has to be purified. This purification process is related
to mind. When one is able to reach this varana, it means that he has almost
disowned his body. This concept is not applicable to navvaran a
pj, which is done
externally. What is being discussed here is related to Bhvanopanis a
t (mental
worship; bhvana means contemplation).
(There is a reference about physical and mental worship. A king built a temple and
fixed a date for its consecration. He prayed to iva that He should be present
personally during consecration rituals. But iva refused and said that He has already
accepted invitation from someone else, who is also building a temple very close to
kings temple and the consecration is fixed and both these dates coincided. King was
surprised and asked his men to find out this temple. His men could not find any
temple nearby. King was surprised and requested iva to show him the temple so
that he can be present to attend the consecration function. iva told him the place

and asked the king to go to that place only the next day, the day fixed for
consecration. King went to that place and he did not find any temple. But there was a
hut in that place and in front of the hut, there was a man in rags who was bursting
with emotions with tears rolling down his eyes. King called him and without opening
his eyes he told the king not to disturb him as he was performing consecration of his
temple. Now king understood why iva did not accept kings invitation and gladly
accepted the poor mans invitation. This story highlights the power of mental
Eighth devi causes Bliss. When the mind sheds all types of thought processes, mind
becomes pure. In a completely purified mind, all types of dualities are annihilated.
When the mind is pure, one experiences Bliss. This stage cannot be explained that
easily. This Bliss is to be experienced. For no reason, one becomes emotional and
enters into the state of Bliss. The only external symptom of Bliss is tears rolling
down. Ninth devi protects this yog completely (this is the stage where one cannot
fall from his spiritual level attained; there are many instances where one falls from
his hard earned spiritual level. If one falls from his spiritual level, it is virtually
impossible to get back to his original spiritual level. Therefore one has to be
extremely cautious while pursuing spiritual path). Tenth devi grants his two wishes of
falling at Her lotus feet first and later getting liberated. This devi approves him to go
to the next varana.


We are now about to enter the seventh varana or saptamvarana (sapta means
as sarvarogaharacakra ( ). This varana has eight triangles, as indicated in
blue colour in the chart and each varana is presided over by a vgdev. These
eight vgdev-s composed Lalit Sahasranma. While reciting Lalit Sahasranma,
they are worshipped as Rs i-s (in Rs ydi nysah they are worshipped as vainydi
vgdevat r s a
yah ). They composed Lalit Sahasranma and
made its maiden rendition*. On the subtler side, they preside over all the 51 Sanskrit
alphabets and hence they are known as vgdev-s (this can also be written as
vcdev-s). Vc means to express, to speak, etc. Without sound, we cannot
understand anything. Parakti has given them powers to administer everything
related to alphabets. These eight vcdev-s have attained complete mastery over
language. But for their mastery, Lalit Sahasranma, an amazing masterpiece,
would not have come into existence. Like primeval stage of vc**, they work on the
subtleties of human mind such as spiritual ignorance, mind, intellect and ego.
Subtleties of mind need through transformation in order to understand the teachings
of Guru, tat tvaasi (You are That). When Guru teaches the concept of tat tva
asi, the student should affirm aha brahma asi (I am That). Merely making a

statement saying that I am Brahman is not realization. Brahman is to be experienced

through Bliss. These eight devi-s do this subtle work for those who are eligible to
have this Supreme Knowledge. Mental afflictions are called roga (sickness) and as
these eight vcdev-s remove mental sickness. This varana is known
assarvarogaharacakra, where sarva mens all; roga means sickness and hara means
destroying. Their place of residence is indicated as 1 to 8 in red colour. Now, let us
get to know these eight vcdev-s. As in other varana-s, they are also worshipped
in anticlockwise manner.
1. Vain vgdev ; 2. Kmevar vgdev ;
3. Modin vgdev ; 4. Vimal vgdev ;
5. Arun vgdev ; 6. Jaini vgdev ;
7. Sarvevar vgdev ; 8. Kaulin vgdev .
Apart from what is explained above, these eight vcdev-s also represent
puryast aka*** which consists of the following eight - 1) five organs of action
(karmendriya-s), 2) five organs of senses (jnaendriya-s), 3) antahkarana (four in
numbers - manas, buddhi, cittam and aham kra or ego), 4) five prna-s (prna,
apna, etc), 5) five elements (ka, air, etc) 6) desire, 7) ignorance and 8) karma.
With this varana, worshipping of secondary deities in ri Cakra gets completed.
Including this varana, we have so far worshipped 94 akti-s. However, fifteen tithi
nity devi-s are yet to be worshipped and they will be worshipped outside the
innermost triangle. This will be discussed in subsequent parts.

Below Arun vgdev (marked as 5 in the image), three lines can be noticed. This is
called Guru Mand ala, where Guru-s reside. There are four types of Guru-s. First is
Paraguru, who is the first Guru or di Guru. di Guru is Mahkmevara. It is He,
who has initiated Mahkmevar into r Vidy. Thus iva becomes the first Guru
and the first disciple of r Vidy lineage is Parakti. Therefore di Guru
Mahkmevara and His disciple Mahkmevar are worshipped in the inner most
triangle and the bindu within. If we look at the image, above the flat end of the
innermost triangle and below the triangle where Jaini vgdevi resides, there are
three horizontal parallel lines. This is the place our Guru-s live. There are three types
of Guru-s in r Vidy cult. Ones own Guru is known as svaguru. He is the one who
has initiates the aspirant into r Vidy cult. He is often called Guruji!!. He should be
a Self-realized person and should be capable of taking the aspirant beyond my. A
true Guru is the one who carefully follows up with those who are initiated and takes
them to successive higher stages, till Parakti is realized. His job does not end
here. After making the aspirant to realize Parakti, he has to make the aspirant
realize iva. A Guru has to tirelessly work hard with his students, till they are able to
evolve themselves. Only this type of Guru is considered on par with Parakti and
not those who merely initiate his disciples. If the second type of guru is considered
on par with Parakti, both the guru and his students accrue huge amount of
insurmountable karma. This is to be always kept in mind before getting initiated
into r Vidy cult. Lalit Sahasranma 713**** says that Lalitmbik Herself is in the
form of Guru Mand ala.

Guru Mand ala in detail will be discussed in the next part.

{*Further reading: This scene takes us back to the situation at the time of first
appearance of this Sahasranma. All gods and goddesses are seated in
Lalitmbik-s royal court. Sapta (seven) risi-s, other risi-s, eighteen siddha-s and
other saints are also seated. The seating arrangement was as per the protocol.
There is a huge throne made out of gold and the best of precious stones. Suddenly,
there was a divine fragrance that spread throughout the royal court and the whole
area was filled with radiating red light. Lalitmbik entered the court along with Her
assistants. All those seated got up and paid their obeisance to Her. Her form is
described in dhyna verses. She had earlier summoned Her eight Vc Devi-s and
spoke to them thus: The eight of you got the power of your vc (mastery of speech)
through my blessings. You are appointed to provide the power of vc to my
devotees. You are aware of the secrets of my r Cakra. You perpetually chant my
name with great devotion. Therefore, I command you to script a verse about me
consisting of 1000 nma-s. When my devotees recite this verse, I should derive
immense satisfaction. The verse should have my name as its cachet. She
emphasized three points for composing the verse. First, it should have 1000 nmas; second, the verse should have Her name embossed; third, She should be gratified
when Her devotees recite the verse. Bearing Her command in mind, Vc Devi-s
composed such a verse and were ready for the recitation. When Lalitmbik nodded
Her head, Vc Devi-s commenced their recitation and Lalit Sahasranma was
declared to the universe. She expressed Her immense happiness by nodding Her
head often and smiling frequently while attentively listening to their rendition. She
also encouraged the Vc Devi-s by saying good and excellent.}
** Please refer Lalit Sahasranma 366 to 371
*** {Further reading on puryas t a
ka: (as told by sage Vsis t h
a to Lord Rama in
Yoga-vsist h
a - VI.5). Brahman who is without beginning or end and which is the
seed of the universe, becoming differentiated is jva (soul); subjecting itself to the
idea of separateness, it becomes aham kra (ego) with manana (contemplation), it
becomes manas (mind); with the certainty of intelligence, it becomes buddhi
(intellect); then the five elements (sound, etc) through indriy-s (sensory organs).
With the thought of the body, it becomes the body itself; with the thought of a vessel,
it becomes the vessel. A form (subtle body), having such a nature is called
puryast aka body or eight constituents of the body. The eight constituents are mind,
ego, intellect, sound, touch, sight, taste and smell, the last five together known as
****Further reading:
explained thus:

Lalit Sahasranma 713 is Guru-manda

la-rpin and is

This nma subtly conveys that the meaning and interpretation of kmakal should be
learnt only from a Guru as this has intrinsic and subtle meaning. Most of these
interpretations have already been dealt with elaborately. Guru mand a
la means
lineages of Guru-s. r Vidy attaches great importance to Guru and his lineage.
Whatever Guru says should be final. Lineage of Guru is stressed because, rituals
and certain procedures differ from manda
la to mand ala (manda
la here means
group) and each manda
la follows different customs and practices. Each r vidy
student will have three categories of Gurus - Guru, Paramaguru (Gurus Guru) and
Paramest h
iguru (Paramagurus Guru). During navvarana pja, all these Guru-s are
worshipped along with many other Guru-s. This nma says that She is in the form of
Guru mand ala. There is no difference between Guru and Lalitmbik, hence this
nma. The first Guru or di Guru is iva. Guru is also worshipped in sahasrra,
where She conjoins iva.


Primarily there are three types of Guru Lineages. They are for kdividhy upsaka-s,
soda upsaka-s and hdividhy upsaka-s. Upsaka-s mean worshippers. What is
described here is the one that belongs to s oda upsaka-s. There are three types of
Guru-s in each of these lineages. They are Divyaguru-s, Siddhaguru-s and
Mnavaguru-s. Let us now understand them. Each mnya has one principle Guru.
He is the one who had laid down the methods of worship in that particular mnya.
mnya means sacred tradition*. Number of Guru-s under each group differs from
tradition to tradition and similarly, the names of Guru-s also differ. Ones Guru is
worshiped in the lower most dotted line. Gurus Guru, known as Paramaguru is
worshiped in the middle line (marked in red) and Paramagurus Guru is known as
Paramest h
i Guru and he is worshipped in the top line (marked in red)**. Parames t h
means supreme. In other words, Guru would have been initiated by his Guru (who is
Paramaguru for us) and Paramaguru would have been initiated by Paramagurus
Guru (who is Paramest h
i Guru for us). Tradition followed in this article is as per
Paraurma kalpa stra, the best authentic version of r Vidy upsan a.
**There are variations about where to worship these three types of Guru-s. The right
method would be to worship divyaguru-s in C, as they are very close
to Parakti. Siddhaguru-s should be worshipped in B and Mnavaguru-s should be
worshiped in A, away from Parakti, which means they have to intensify Her
contemplation still further.

If we look at the image above, we can find three lines marked A, B and C. In A our
Paramest h
i Guru is worshiped along with five other divyaguru-s. Nine Divyaguru-s
are (from 1 to 5):
1. Vyomttmb ; 2. Vyomeyamb ;
3. Vyomagmb ; 4. Vyomacrinyamb
5. Vyomasthmb
In B our Paramaguru is worshiped along with nine Siddhaguru-s and they are (from 1
to 9)
1. Unmanka nandantha ; In subsequent eight names,
() is to be added next to their names. 2. Samanka ;
3. Vypaka ; 4. aktyka ; 5. Dhvanyka ;
6. Dhvanimtr ; 7. Anhatka ; 8. Bindvka ;
9. Indrka .
In C our Guru (the one who has initiated into r Vidy cult, is worshiped along with
nine mnavaguru-s and they are (from 1 to 9)
1. Paramtma nandntha ; In subsequent eight names,
nandantha ()
is to be added next to their names.

2. mbhava ; 3. Cinmudra ; 4. Vgbhava ; 5. Ll ;

6. Sambhrma ; 7. Cida ; 8. Prasanna ; 9.
Vivnandantha .
A Guru, either at the time of initiation or during prnbhiseka confers a dks name
to the aspirant. Method of initiation is purely Gurus choice. He can initiate either
through one of the normal procedures (verbally, etc) or by performing prn
Mostly, normal initiation is done first and depending upon the progress of the disciple
prnbhiseka is done subsequently and at that time dks name is given to him.
Such dks names should be used only during Gurus presence or among the
disciples of the same Guru. This name should not be used in public except in the
case of sam nysin-s. The dks name given by a Guru will also end
with nandantha. Sometimes, deika and bhat t a
raka are used instead of
nandantha (technically it is only ntha).
Before worshipping Guru Mand ala, the three sides of innermost triangle and the
bindu within the triangle are worshipped. Triangle represents Parakti and the bindu
represents iva. Innermost triangle has three sides, left, right and top. Inside the
triangle, there is a bindu (marked in red).
It is Mahkmevara (Paramaiva), who initiated Mahkmevar during Kr ita yuga
(consisting or 1,728,000 years). This is the first of four yuga-s. In r Vidy cult,
Mahkmevara who initiatedMahkmevar is known as Carynandantha (carya
means to be practiced or to be performed, signifying the importance of sdhana).
Carynandantha is also known by other names such as Vidynandantha and
Paramaivnandantha. After having initiated Mahkmevar in Kr ita yuga,
Mahkmevara initiated Udd nandantha in Tret yuga (1,296,000 human
years), ast h
nandanta in Dvpara yuga (864.000 human years) and
Mitrenandantha in the present Yuga (Kali yuga comprising of 432,000 human
years; 2013-14 is 5115th year of Kali yuga). Thus, Mahkmevara is worshiped in
the bindu and the three Gurus who were initiated directly byParamaiva along with
three other Gurus are worshipped in the three sides of the innermost triangle.
Mahkmevara (Paramaiva) is worshipped in the bindu with this mantra:

om ai hr r ai hr r ai kl sauh glau hskhphre
rvidynandanthtmaka carynandantha r mahpdukk pjaymi ||

The Gurus who are initiated by Paramaiva are worshiped on the three sides of the
innermost triangle.

On the left side of the triangle (left side of the practitioner) following Gurus are
1. Udd sanandantha ; 2. Praknandantha ;
3. Vimarnandantha ; 4. nandanandantha .
On the top of the triangle, following Gurus are worshipped.
1. Sast nandantha; 2. Jnnandantha ;
3. Satynandantha ; 4. Prnnandantha .
On the right side of the triangle (right side of the practitioner) following Gurus are
1. Mitrenandantha ; 2. Svabhvnandantha ;
3. Pratbhnandantha ; 4. Subhagnandantha .
In general, in r Vidy cult, great importance is attached to Guru and Guru
Mand a
la. It is also said that Paramaiva not only initiated Gurus into r Vidy, but
also imparted tmavidy (tat tvaasi or you are That, where That stands for
At the time of initiation, Guru apart from initiating a mantra, also gives Gurupduk
mantra. Gurupduk mantra is given for the Guru who initiates, Gurus Guru
(Paramaguru for the one who is being initiated and Paramagurus Guru (Paramest hi
Guru for the one who is being initiated). During this process, dks names of all the
three Gurus are revealed to the disciple. There are three types of mantras for

Guru, Paramaguru and Paramest h

i Guru. A disciple has to pay his respect to his
Guru by using mr gmudra (mr g means female deer, a doe).

Further readings:
* Further reading on mnya-s
Guru and the process of initiation


Before we proceed to eighth varana, we should know about tithi nity dev-s as
they are worshipped in the outer side of the innermost triangle. Before entering into
eighth varana we will be worshiping Her four weaponries placed outside the
innermost triangle. This will be discussed in the next part.
Tithi nity dev-s represent fifteen digits of the moon and each digit is known as tithi
or lunar day. There are fifteen tithi-s or lunar days and each tithi is represented by a
nity dev and hence they are known as tithi nity dev-s. Technically speaking, there
are only fourteen tithi-s and the fifteenth tithi is either full moon (prn i m) or new
moon (amvsy). Fifteenth lunar day, either full moon (prn im) or new moon
(amvsy) is represented by Mahkmevar Herself. Pacada has fifteen letters
and each of these letters represent one kal (digit) of the moon. But, kal also
means sixteenth part (1/16). But we have only fifteen letters in Pacada mantra.
The sixteenth kal is Soda bja r() , which is hidden and always remains
subtle. As there are only fifteen tithi nity dev-s, how to worship the sixteenth
Soda kal? Answer to this question is considered as secret, as the answer
reveals Mahkmevar. Sixteenth kal is worshiped in the bindu, the place of iva.
But in the bindu, iva is not worshiped while worshipping tithi nity dev-s, but
Mahkmevar is worshiped. This also subtly conveys the union of iva and akti.
Though there is no separate procedure for Soda upsaka-s (those who are
initiated into Soda), when Mahkmevar is worshipped in the central bindu, the
above aspect is to be contemplated. It would be ideal to worship Mahnity
(Mahkmevar) in the bindu with Soda mantra for the sixteenth kal, though it is
not explicitly mentioned; but it is implied. Texts say that while
worshipping Mahnity, Pacada mantra should be encased (samput karana)
between two ah (). Each nity dev represents fifteen vowels from a to
ah ( to ). But, those who are initiated into Soda should use Soda mantra,
instead of Pacada mantra.
It is also said that during uklapaks a (waxing moon), tithi nity dev-s should be
worshiped from 1 to 16 (anticlockwise) as shown in the image. But during

kr s n a
paksa (waning moon), they should be worshiped in clock wise manner, i.e.
from 16 to 1. However, one has to follow what his or her Guru says. In r Vidy
worship, one has to meticulously follow what his or Guru says and there should be
no deviation from his instructions, as he follows the traditions of his Guru and
Paramaguru. But, it should always be remembered that he should be a Guru, who
has attained mastery over the various types of worshiping ri Cakra and should
remain with Parakti all the time. Each tithi nity dev have their own yantra-s and
mantra-s. They have their own mlamantra-s, varana pj-s, etc. The innermost
triangle is formed by the first three tithi nity dev-s, viz. Kmevar, Vajrevari and
Bhagamlin, each representing one corner of the triangle. Though as tithi nity devs, they do not hold the innermost triangle, they hold this triangle as three devi-s
representing three guna-s. This will be discussed in the next varana, viz. eighth
varana. In fact, the innermost triangle is held by them. However, there are other
views on this, which says that Lalitmbik, Kmevar nity and Bhagamlin nity
hold the innermost triangle. But this argument cannot be accepted. When
Lalitmbik is seated on the lap of iva, obviously, She cannot be holding this
triangle. Further, She cannot be compared to other nity dev-s, who function under

Following are the tithi nity dev-s and their abode is marked as 1 to 15 in the image
above and mentioned in anticlockwise manner.
Worship of tithi nity dev-s begin with the worship of Mahnity, Lalitmbik. She is
worshipped like this in the bindu, three times using the following mantra.
Om aihr r
( ) followed by the initiated mlamantra (either Pacada
or Soda) and at the end of mlamantra alphabet ah () is recited followed by Lalit
Mahtripurasundar Par Bht t
rik pjaymi (tarpaymi) namah. Tarpaymi is
included only while performing navvarana pj. Navvarana pj will be dealt with
separately, in due course.

1. Kmevarinity (nity is to be suffixed to all the names);

2. Bhagamlini ; 3. Nityaklinn ;
4. Bherund ; 5. Vahnivsini ; 6. Mahvajrevar ;
7. ivadt ; 8. Tvarit ; 9. Kulasundar ;
10. Nity ; 11. Nlapatk ; 12. Vijay ; 13. Sarvamagal ;
14. jvlmlin ; 15. Citr ;
Finally Mahtripurasundar Par Bht t
rik preceded by initiated mlamantra in the
bindu. She is known as Mahnity.
Fifteenth tithi is either full moon or new moon and hence She is worshiped on these
days. It is also said that on full moon day, She is in the form of Pacada mantra
and on the new moon day, She is in the form of Soda mantra. There is a reason for
this, which is also considered as highly secretive. During new moon day, both sun
and moon come together signifying the union of iva and akti, which is explained
in Lalit Sahasranma 999 iva-akty-aikya-rpin. Based on this principle, it is said
that Soda surely gives liberation. Though, She is the cause for liberation, merger of
the individual soul with the Self happens only with iva. For the same reason, She is
addressed as is iva jna pradyin in Lalit Sahasranma 727. Merger with iva
can happen only if She is fully realized. That is why, the knower, the path of knowing
and the known should become one during contemplation. Liberation is possible only
if She fully pervades our mind. Unless we become one withParakti, obviously,
when She unites with iva, merger of our individual soul cannot merge with
iva. Sixteenth kal is invisible and immortal. There is a reference to this in
Br hadranyaka Upanisad (I.v.14). The Upanis a
d says, Nights and days are his
(Hiranyagarbha*) fifteen digits and the constant one is His sixteenth digit.
..Through this sixteenth digit, he permeates all these living beings on the new
moon night. It is also important to note that iva too has sixteen kal-s and it is
said that ivas lunar and solar aspects culminate.
This is the reason, why Soda is considered as the most powerful mantra and
should not be initiated to those who are not worthy of it. A Guru takes extraordinary
care before initiating someone intoSoda. Literally, Guru is paving way for the
liberation of his disciple when he initiates him or her intoSoda. It is often believed
that a Guru does not initiate a person into Soda without Her approval.
Many of these tithi nity dev-s are referred in Lalit Sahasranma.
* Hiranyagarbha: Vednta Paribhs a 17th century scripture explains hiranyagarbha.
It says Hiranyagarbha is the first soul to be born and is different from Brahm,
Visn u
and iva. The subtle body consisting of the five vital forces, the mind, the
intellect and the ten organs is produced from the five basic elements. This paves the

way for the soul to experience the result of actions or in other words it causes karmas. The subtle body is of two kinds, superior and inferior. The superior one is the
subtle body of hiranyagarbha and the inferior is the subtle body of living beings. The
subtle body of hiranyagarbha is called as mahat or the cosmic intellect and the
subtle body of living beings is called ego.


We are about to enter the eighth varana, which is the innermost triangle. Within
this triangle is the bindu. Tithi nity dev-s were worshipped outside this triangle.
Guru Manda
la was worshiped above this triangle. This is the triangle from which, the
entire universe was born. Eighth varana or ast a
mvarana is known as
Sarvasiddhiprad, which bestows all attainments, leading to a completely
transformed stage from mundane consciousness to the highest level of spiritual
attainment. This is the stage where one can experiences the highest level of Bliss.
This varana is presided over by Tripurbcakrevar. Sarvabja is the Mudrakti
and Atirahasyayogin (atirahasya means highly secretive) is the Yogin. There are
only three Devi-s in this varana. Before worshipping them, we need to worship
Lalitmbiks weaponries, which are placed outside this triangle. These weaponries
are marked as A, B, C and D in the image below. It is very important to note that both
Mahkmevara and Mahkmevar have the same weaponries. Both of them
have arrows, bows, nooses (pa) and hooks (a kua). Now a doubt could arise in
our minds, whether they hold these weaponries jointly or individually. This doubt
arises because the mantras mention both of them. For example, let us take the
mantra for bows which goes like this.
kmevar kmevara dhanurbhynamah| dhanuhakti pjaymi ||

This means that we worship the bows of both Kmevar and Kmevara, as usage
of dhanurbhysignifies two and not one. In reality, both of them are not different.
They are the same. What Kmevar holds is nothing but the mirror image of the
weaponries, which Kmevara hold. This subtly conveys that our inherent my has
not yet been annihilated, even at this point of time. Why our my has not yet been
annihilated, though we are very close to the innermost triangle? My can be
annihilated only if we realize and merge into Her. This has not yet happened as we
are still outside the innermost triangle. Unless we enter into the innermost triangle
(innermost triangle is the place where our merger with Her takes place), our inherent
my will continue to be present. Though major portion of my has been
annihilated, still traces continue to remain even at this stage. We must always bear
in mind that Parakti is svtantrya akti of iva and is in no way different from Him.
Both of them are single entity and not two separate entities. It is due to my or

delusion that they appear as different to our mind. These details have been
elaborately dealt with in differnt articles. We now proceed to worship their

A is their bna, which means arrow. Both of them have five arrows. These five
arrows imply pacatanmtra-s (sound, touch, sight, taste and smell). This is
explained in Lalit Sahasranma 11, Pacatanmtra-syak.
B is their bow. This bow is made up of sugar cane. Lalit Sahasranma 10 calls this
bow as kodand (Manorpeksu-kodand
). This bow implies the mind. Mind involves
both sam kalpa and vikalpa. Sam kalpa means resolve, process of thought. Vikalpa
means difference of perception. Both are opposite to each other. Mind is also
subtle, like knowledge. Mind is reflected through the five sensory organs. It has
both sam kalpa and vikalpa qualities, as it acts through the impressions received from
sense organs that get fine tuned in the form of thought and finally explode in the form
of actions.
C is pa, the noose. Lalit Sahasranma 8 (Rgasvarpa-pdhy) speaks about
this pa. She pulls all the desires of Her devotees using this noose, which
represents icc akti, the desire. When a devotee reaches this stage, She
annihilates all his desires by using this noose and transforms him into absolute
purity. This transformation happens because in the next stage he is going to merge
with Her, by entering into the innermost triangle.
D is hook or akua and this is explained in Lalit Sahasranma 9
(Krodhkrakuojval). A hood is a weapon to control elephants. Mind by nature,
always leans towards sensory organs. By using this a kua, She ensures that the
devotee gets himself detached from all types of sensory excesses.
After worshipping these weaponries, we are freed not only from the afflictions of the
mind, such as desire, attachment, ego, sensory pleasures, but also relieved from
my to a very great extent. All types of delusions get annihilated, just before we
enter into the inner most triangle, yet the traces remain. Parakti is the embodiment
of purity and before we merge into Her, all our impurities are annihilated. These

impurities will not rear their heads again, because She showers Her Grace on us
during this time. This stage can be attained only if our karmic account permits. All our
karmas should have been experienced and we should have surrendered to Her
much before entering into the firstvarana of ri Cakra, which is not merely a yantra.
Ultimate goal of reaching Her is often not achieved as we merely consider ri Cakra
as an yantra. It is the point of origin of the universe. The innermost triangle and the
bindu within is the point of origin and the manifestation of the universe is complete
before the entry into ri Nagara (not ri Cakra), which has been discussed in the
beginning of this series. Therefore, when navvaran a
pja is performed, one has to
mentally stay connected with Her. This is also the reason for performing navvaran a

pja in as much privacy as possible. This concept is explained in Lalit

Sahasranma 871 (Bahirmukha-sudurlabh - She is very difficult to attain for those
who are not able to look within. Mind is the prime factor to look within. Unless
senses are controlled, it is difficult to control the mind. This nma says that She
cannot be attained only by external means.)
After being purified, we are ready to enter into the eighth varan a. This is the
innermost triangle, from where the universe was born and into which the universe
will merge at the time of annihilation. There is a veil in the centre of the triangle. This
veil is called tiraskarani, which means a veil. This is the veil of mahmya (the
Divine Power of illusion). This veil can be removed only by the three Devi-s
protecting the three corners of this triangle and that too, only on Her command.
These Devi-s are marked as1, 2 and 3 in the innermost triangle. These Devi-s alone
are capable of conferring mantra siddhi. These three Devi-s are the cause for
trikhand a mudra, which can be used only by those who are initiated into Soda.
These three Devi-s are also worshiped in anticlockwise manner, beginning from
East, proceeding to South and then to North.
1 represents Mah Kmevar (not Parakti; Mah and Kmevar are two
separate words here)and she protects the eastern corner, the point of triangle facing
down. She represents fire, Divine creative aspect (power of Brahm), Divine energy
that permeates the universe and individual self (jvtman or individual soul). She also
represents icch akti. (Lalit Sahasranma 658, Icchakti-jnaakti-kriyaktisvarpin). She also represents kmagiript ha.
3 represents Mah Vajrevar and she represents the sun, antartman (antartman
means internal feelings of the mind; possibly, this could mean ones karmic account),
jnaakti and the power ofVisn u
, the Divine aspect of sustenance. She also
represents prnagiript ha.
2 represents Mah Bagamlin and she represents destruction, annihilation,
kriyakti, presence of the Self within the individual self, also known as Paramtma

(Paramtman means the Supreme Spirit, yet not the Self or Brahman. Brahman,
also known as the Self is Paramaiva, with whom we are going to merge in the next
varana). She also represents jlandharapt h
All the three Devi-s are now satisfied with our spiritual attainment and they remove
the veil of tiraskarani and we now become speechless as we are seeing Lalit
Mahtripurasundar Par Bht t
rik with our biological eyes. She is not seated in the
bindu as we were thinking all these days. She is seated quite a distance away from
the Bindu towards West. Bindu also remains veiled. Bindu is the seat of iva. We are
awe struck. We become totally immobile for several moments till She calls us by our
names. She is fully aware of our past, present and future. We are not able to speak.
We forget all the mantras, hymns and verses that we have been practicing till now.
We fall flat before Her and by touching Her pinkish feet, we reach the Supreme stage
Bliss. Our individual consciousness is now totally lost. We forget ourselves. We are
literally unconscious now. We need nothing now. We have attained the goal of our
lives. She calls us by names and makes us to sit on Her lap. We now understand
that ivas lap is meant for Her and Her lap is meant for us. She looks into our eyes
with compassion and love. We are blessed to notice that everlasting smile in Her
face. We now understand what infinity is. We are now half dead. We are not aware
of what is happening around us. We feel the Divine Fragrance throughout this
innermost triangle. We have no mind to leave Her lap. We now fully understand the
DIVINE MOTHER, about whom we were talking about for years and years. She is
the Supreme Power of iva, known as Parabrahmaakti and presides over
Mahodynapt ha. We continue to remain in Her lap, in spite of Her willingness to
take us to iva. We dont want to leave Her lap. We do not even want liberation. We
are completely satisfied by remaining on Her lap.


Practically speaking there is no ninth varana, which is the Bindu (bindusthna), as
this is within the innermost triangle. Ninth varana (navamvarana) has myriad
significances. It is also known as sarvnandamayacakra. Sarvnandamaya means
Absolute Bliss, which cannot be explained at all. It is very important to note that r
Mahtripurasundar is the Cakrevar of this varan a. This is because She presides
over Bindu, where iva is seated. This subtly conveys how meticulously She takes
care of Her Consort. Sarvayoni is the Mudrakti and Parparti-rahasya-yogin is
the Yogin (Parparti-rahasya means extremely sercretive). Nobody has access to
this Bindu except Parakti. All the acts of Divine originate from this Bindu, as only
here the Divine procreative union of iva and akti takes place. The principle acts of
Divine are creation or sr s t i (LS 264), sustenance or sthiti (LS 266) and destruction
known as sahra (LS 268). There are other two acts, which are also equally
important and they are annihilation (LS 270; this is also known as tirodhna which

means concealment or disappearance) and recreation (LS 273; anugraha or

recreation out of compassion). This is explained in Lalit Sahasranma LS 905, as
Baindavsan (baindava means bindu and sana means seat.) All these five acts
originate from this Bindu, go towards the outer triangle and from there various
energies are diversified and creation is completed at the entry point of r Nagara.
From this entrance point, manifestation of the universe is completed. This procedure
is with regard to creative aspect or sr s t ikrama. The reverse process is known as
sahrakrama. At this point, let us understand that sr s t i krama refers to our birth
and sahrakrama refers to our liberation. Different krama-s will be dealt with later
in this series, as we are going to be liberated shortly.
In the ninth varana, union of iva and akti happens. Their union varies according
to the krama. If it is sr s t ikrama (creation), their union is different and if it is
sahrakrama, their union is on different plane. Sa
hra here refers to liberation
and now, we are only discussing about liberation. During sr s t i krama, during their
union, only both of them alone remain. But during sa hrakrama, we are also
present along with Her. It is like a mother holding the hands of her child and handing
over the child to the childs father. During sr s t ikrama, She attains the form of
Kmakal (LS 322 Kmakal rp) and their union is symbolized in the form of a
Liga, where the bottom portion represents akti and the upper portion represents
At the end of eighth varana, we continued to remain in Her lap and we refused
even liberation, the ultimate goal of anyones life. But She takes pains in explaining
to us the importance of liberation. She told us about the pains of birth and death,
how we have worked hard in our sdhana (spiritual practice) to reach this level, etc.
She also told us that Her Consort will be more compassionate and more lovable to
us. Reluctantly we agreed to Her sermons. In any moment from now, we are going to
be liberated.

She is now raising up from Her throne (LS 3) and by holding our hands, She enters
into the Bindu. Bindu is full of Splendorous Light and in the midst of blinding light we

could not see anything around. The place is full of Divine Fragrance. We could not
move any further as the Light was so blinding. We have read in Upanis a
d-s, how this
Light would be. But we have an opportunity to personally experience this Light now.
When She moves towards the Light, the blinding white Light gradually turning red
and iva is revealed to us, who is fully radiant, in crystal complexion, extraordinary
brilliance throughout His body. He cannot be explained at all. The energy from Him
is so powerful and we feel as if we are being pushed towards Him. This is what is
known as the energy of liberation, which is explained as Mah-grs (LS
752). Kat h
a Upanisad (I.ii.25) says the best among all people are like food to the
Self. Death overcomes everyone, yet even death is a mere condiment for the Self.
Parakti is now seated by ivas side. The crystal complexion of iva now looks like
the colour of the rising moon on a full moon day. We now understand that this is the
Bindusthna, the place from which the universe originates and dissolves. As we
have almost lost our consciousness, nothing goes into our minds. We have lost our
mind, intellect, consciousness and ego. All the four components of antah karana are
already annihilated when we entered the eighth varan a. At this point where we are
now, our body, mind and soul are completely purified. We have read that merger into
Brahman cannot take place unless these are purified. What we have read once, we
are experiencing now. For any experience, knowledge is very important and without
knowledge, spiritual experiences cannot be explained or defined.
She now asks all of us to come near Her and She makes us to sit on Her lap again.
By sitting on Her lap, we are able to have close daran of iva. He smiles at us and
then He looks at Parakti. Now She begins to move slowly towards iva and
ultimately She merges with Him. Now we understand what is really meant by ivaakty-aikya-rpin (LS 999). We are now inside iva and we are liberated, not to be
born again!
As far as ninth varana is concerned, there is an additional procedure for those who
are initiated into Soda. The mantra for Soda upsaka encompasses everything
that is possible in this universe. She is worshiped as Praka Vimara smarasya
rpin. Praka refers to iva, (praka means Light, principle of Self-revelation, by
which everything else in the universe is made known) and Vimara is akti (vimara
refers to that part of praka, which makes the worldly objects visible, the state of
manifestation of the universe) and smarasya is the procreative union of iva and
akti (smarasya is explained as the identity of Consciousness, in which all
differentiation has disappeared).
This completes the first section of this series. This series will be continued later, for
the purpose of understanding ritual aspects of ri Cakra and other intricacies.
Contemplating our body with ri Cakra with the help of Bhvanopanis ad will also be
dealt with.