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UNDERSTANDING & WORSHIPING
SRI CHAKRA
BY
V. RAVI
A MANBLUNDER PUBLICATION
CHENNAI, INDIA
www.manblunder.com
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All rights reserved. No part of this book may be reproduced, stored
in retrieval system or transmitted, in any form or by any means,
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quoted in reviews or critical articles.
Published by:
Manblunder Publication,
Chennai, India.
Web: www.manblunder.com
Email: ravi@manblunder.com
PREFACE
She abides in Śrī Cakra. This is also known as Śrī Yantra and Cakra-
rājā. This is the supreme amongst all the yantra-s. Uttara bhāg (the
chapter containing the benefits of recitation, also known as

phalaśruti) of Lalitā Triśatī elucidates Śrī Cakra in a comprehensive
manner. Śrī Cakra is the body of Śiva and Śaktī. Śrī Cakra is
compared to a human body and Śiva and Śaktī are compared to the
soul within. Śrī Cakra is full of life and energy and should be
worshipped with great reverence. Any god or goddess can be
worshipped in Śrī Cakra, as all of them have a place in it.
Saundarya Laharī (verse 11) describes Śrī Cakra. “Your abode (Śrī
Cakra) is made up of nine mūlaprakṛti-s, the primary causative force
of the universe, represented by the triangles in Śrī Cakra. There are
four Śiva triangles, the apex of which facing upwards and five Śaktī
triangles, the apex of which facing downwards, the bindu, eight petal
lotus, the sixteen petal lotus and three circles with four entries thus
counting forty four.”
In all Śrī Cakra has forty three triangles and the bindu. Apart from
the triangles, there is an eight petal lotus and a sixteen petal lotus. All
the forty three triangles and the bindu are within the two lotuses.
Outside these two lotuses, there are three circular lines. Outside these
circular lines there are three squares with four entries from each side.
This is the formation of Śrī Cakra.
One has to enter the Śrī Cakra from the outermost square. All the
three squares put together is known as trailokaya-mohana chakra that
deludes the three stages of consciousness. This is the first enclosure
of Śrī Cakra. This enclosure is ruled by Tripurā Devi. Each āvaraṇa,

known as enclosure is ruled by a presiding deity and has several
yoginī-s. Yoginī-s of the first āvaraṇa are known as Prakaṭa Yoginī-
s. In the outermost walls there are ten goddesses representing ten
siddhi-s (super human powers), in the middle wall, there are aṣṭa
māta-s (eight devi-s like Brāhmī, Vārāhi, etc). Their spouses are the
aṣṭa Bhairava-s (Asitāñga, Ruru, etc). In the inner wall there are ten
goddesses representing the ten mudra-s (hand gestures) like, yoni
mudra, trikhaṇḍā, etc. Therefore, in the first enclosure there are 10 +
8 + 10 = 28 goddesses. Entry into Śrī Cakra is to be made from the
opening just below the apex of the innermost triangle, facing the
worshipper. After worshipping all the twenty eight goddesses and
after obtaining permission from them, one has to move to the next
enclosure.
The second enclosure is known as sarvāśa-pari-pūraka chakra that
enlivens the spiritual hopes of the practitioner. This enclosure is ruled
by Tripureśī and the yoginī for this enclosure is Gupta yoginī. The
second enclosure is the sixteen petal lotus inside the three circles,
where no worship takes place. Each of the sixteen petals is ruled by a
goddess and each petal has one vowel of Sanskrit (Sanskrit has
sixteen vowels). After worshipping these sixteen goddesses and after
obtaining permission from them, one has to proceed to the next
enclosure.
The third enclosure is known as sarva-saṁkṣobhaṇa chakra that

crusades for spiritual aspirations. This is the eight petal lotus. The
presiding deity of this enclosure is Tripurasundarī and the yoginī is
Guptatara yoginī. There are eight goddesses in each of the petals.
After worshipping them and after obtaining permission from them,
one has to enter the first set of triangles of Śrī Cakra.
The fourth enclosure is known as sarva-saubhāgya-dāyaka chakra,
which provides all spiritual and material comforts. It has fourteen
triangles and presided over by Tripuravāsinī. The concerned yoginī
is Saṁpradāya yoginī. Each petal is ruled by a goddess. After
worshipping them and after obtaining permission from them, one has
to proceed to the next enclosure.
The fifth enclosure is known as sarvārtha-sādhaka chakara, which
makes the worshipper spiritually prosper and has ten triangles. The
presiding deity is Tripurāśrī and the concerned yoginī is kulottīrṇa-

yoginī. Each triangle is presided over by a goddess. After
worshipping them and after obtaining permission from them, one has
to proceed to the next covering.
The sixth āvaraṇa has again ten triangles and is known as sarva-
rakṣākara chakra, which protects the worshipper from the inflictions
of saṃsāra. This enclosure is known as inner ten triangles and the
previous triangle is known as exterior ten triangles. This āvaraṇa is
presided over by Tripuramālinī and the yoginī is Nigarbha yoginī.
Each of the triangles is presided over by a goddess. After

worshipping them and after their permission, one has to proceed to
the next enclosure.
The seventh āvaraṇa is sarva-roga-hara chakra the remover of all
mental afflictions. It has eight triangles also known as vasu koṇa
representing the eight vasu-s (according to Bṛhadāraṇayaka Upaniṣad
(III.ix.) aṣṭa vasu-s or eight Vasu-s are Āpa, the water; Dhruva, the
pole-star; Soma, the Moon; Dhava or Dhara; Anila, the Wind;
Anala or Pāvaka, the fire; Pratyusha, the dawn; and Prabhāsa, the
light). The presiding deity is Tripurāsiddhā and the yoginī is Rahasya
yoginī. Each of the triangles is presided over by a Vāc Devi, the
authors of Lalitā Sahasranāma. Vāmakeśvarīmatam (verses 60-63)
says that all the Sanskrit alphabets are ruled by these eight Vāc Devi-
s. Apart from what is said in the above Scripture, all the triangles and
lotus petals are inscribed with Sanskrit alphabets. This triangle is just
outside the inner most triangle. After worshipping these eight
goddesses, one proceeds to worship the armouries of Lalitāmbikā.
The eighth enclosure is just outside the central bindu which is the
innermost triangle. This is where the spiritual attainments begin and
culminate at the bindu within. Outside this triangle, the weaponries
of Mahākāmeśvarī and Her Consort Mahākāmeśvarā are placed. It is
interesting to note that both of them have the same weaponries. These
weapons are described in Lalitā Sahasranāma 8, 9, 10 and 11. After
worshipping Her weaponries, one enters the eighth enclosure, known
as sarva siddhi pradhā and is ruled by Tripurāmbā and the concerned

yogini is Atirahasya yoginī. There are three goddesses who are
worshipped at the three corners of the triangle and Lalitāmbikā is
worshipped at the central point, the bindu.
Outside this inner most triangle the fifteen tithi nitya devi-s are
worshipped. Each tithi nitya devi represents one lunar day. One’s
Guru lineage is also worshipped in three parallel lines drawn outside
the upper portion of the inner most triangle. In this place, one’s Guru,
Guru’s Guru and Guru’s Guru’s Guru are worshipped. Along with
them several celebrated Gurus are also worshipped. Worshipping
Guru is an important aspect of Śrī vidyā cult.
The ninth enclosure is the bindu. This is known as sarvānanda-maya
cakra, the ultimate bliss, where self unites with ever existing and
omnipresent Self (the Brahman) here. This chakra is presided by Śrī
Mahā Tripurasundarī, also known through various other names such
as Lalitāmbikā, Rājarājeśvarī, Mahā Kāmeśvarī, etc who is the
ultimate Goddess of this universe, the Supreme Mother. The
concerned yoginī is Parāparāti rahasya yoginī (Parāparāti rahasya
means the supreme secret). Beyond this point, those who are not
initiated into ṣodaśī cannot proceed. Those who are initiated into
ṣodaśī are blessed to worship Her again at the bindu with Her ultimate
mantra and trikhanda mudra. This chakra or the enclosure or āvaraṇa
is the highly secretive in nature, where the conjugation of Prakāśa and
Vimarśa (Śiva and Śaktī) form of creation takes place. Here Śaktī
sits on the left lap of Śiva and They together shower Their grace on
those who seek Them.
When a practitioner is afflicted with worldly affiliations, known as
saṃsāra, enters Śrī Cakra, he is gradually endowed with knowledge
and by the time he reaches the supreme bindu, he is totally
transformed. The bindu stands for both creation and absorption. A
practitioner stands totally absorbed when he enters the bindu from the
first āvaraṇa. If an absorbed practitioner again indulges in saṃsāra,
he is re-created making his exit from the bindu to the outermost
chakra.
Totally, one hundred and thirteen goddesses are worshipped in Śrī
Cakra. Śrī Cakra is enclosed by Śrī Nagara, where exists twenty five
forts. In between the forts there are huge places where all the other
gods and goddesses reside. The nine coverings of Śrī Cakra are
compared to six psychical cakra-s beginning from mūlādhāra to ājñā,
sahasrāra, kula sahasrāra and akula sahasrāra. Śrī Cakra is not a mere
geometrical representation of creation, sustenance, dissolution,
concealing and re-creation; it is the known expression of evolutionary
cosmology which is superimposed on a miniscule existence of a
human being. Scriptures point out that human body is just a replica
of Śrī Cakra.
It is important for all Śrī Vidyā upāsaka-s to abide by his or her Guru.
In any matter related to Śrī Vidyā worship, the dictums of Guru alone
holds good, be it mantra or pūjā, etc. That is why lineage or
community (kula) is considered as very important in Śrī Vidyā cult,
as the method of worship differs from lineage to lineage and
prescribed by sages and saints several thousand years ago.
The entire book is divided into three sections. First section helps in
understanding Śri Cakra. This section of the book is titled as Journey
to Śri Cakra wherein one begins his or her journey from the material
world towards the inner triangle of Śri Cakra and then gets absorbed
into Śiva. The second part deals with navāvaraṇa pūjā along with
interpretations, explanations and references. This section of the book
is full of mantras and procedures. Number of references have been
taken from Lalitā Sahasranāma. Procedures described here are not
based on any particular krama (procedural steps) or sampradāya
(established doctrine). But major portion of this text is as per saṁhāra
krama. The idea of this text is only to explain in brief, general
procedural aspects of Śri Cakra Navāvaraṇa Pūjā. Third and the last
section explains intricacies of Bhāvanopaniṣad. Bhāvana means
imagination or formation of a concept in the mind. Like any other
Upaniṣad, this Upaniṣad also does not deal with practices. It helps us
to contemplate our body with Śri Cakra.
10
Thus, the book dwells at length in understanding and worshiping Śri
Cakra. Every effort has been taken to present this book as

flawless as possible, thanks to selfless service by Shri. AUM
Raviji in editing this book.
NOVEMBER 03, 2013 V. RAVI
CHENNAI, INDIA
11
CONTENTS
Preface 5
Notes on transliteration 16
SECTION I
Journey to Śri Cakra 23
1. Entry into Śri Nagara 24
2. Entry into Śri Cakra 48
3. First āvaraṇa 53
4. Second āvaraṇa 59
5. Third āvaraṇa 62
6. Fourth āvaraṇa 64
7. Fifth āvaraṇa 66
8. Sixth āvaraṇa 69
9. Seventh āvaraṇa 72
Guru Maṇḍala 74
Further reading on Āmnāya-s 81
Tithi nityā devī-s 83
Weaponries 87
10. Eighth āvaraṇa 90
11. Ninth āvaraṇa: 92
12
SECTION II
Śri Cakra navāvaraṇa pūjā
1. Entry into the place of pūjā 95
2. Entry into pūjā maṇḍapa 97
3. Tatvācamanam 98
4. Gaṇapati dhyānam 99
5. Prāṇāyāmaḥ 99
6. Saṁkalpaḥ 100
7. Āsanapūjā 101
8. Ghaṇṭāpūjā 104
9. Deha rakṣā 105
10. Anujñā 108
11. Śri Cakra prāṇapratiṣṭhā 111
Types of Śri Cakra 111
Laghu prāṇapratiṣṭhā 111
Detailed version of prāṇapratiṣṭhā 114
12. Śrīnagara pūjā 124
13. Dīpa pūjā 128
14. Bhūtaśuddhiḥ 129
15. Ātma prāṇapratiṣṭhā 132
16. Vignotsāraṇam 133

13
17. Introudction to nyāsa 133
18. Nyāsa mantras and procedures 142
19. Pātra sādanam – Requirements 156
Arrangements 159
Meaning and purpose 161
Establishing vardhanī kalaśa 163
Establishing sāmānya arghya 166
Consecrating viśeṣa arghya 172
21. Antaryāgaḥ 205
Kula and Akula 205
Chakra meditation 207
22. Invoking Her in Śri Cakra 213
Dhyāna verse 214
Catuḥ-ṣaṣṭyupacāra 219
Maṅgalarātrikam 230
23. Caturāyatana Pūjā 232
Pūjayāmi and Tarpayāmi explained 233
24. Layāṅga pūjā 240
25. Ṣaḍaṅgārcanam 241
26. Nityādevī yajanam 243
14
27. Gurumaṇḍalārcanam 250

Seeking Her permission to commence pūjā 260
Chakra, mantra and pūjā rahasya 261
28. First āvaraṇa 264
29. Second āvaraṇa 270
30. Third āvaraṇa 274
31. Fourth āvaraṇa 277
32. Fifth āvaraṇa 281
33. Sixth āvaraṇa 285
34. Seventh āvaraṇa 288
35. Eighth āvaraṇa 292
36. Ninth āvaraṇa 297
37. Pañcapañcikāpūjā 301
38. Ṣaḍdarśnavidyā 307
39. Ṣaḍādhārapūjā 308
40. Āmnāyasamaṣṭipūjā 310
41. Arcana-s 315
42. Dhūpaḥ 318
43. Dīpaḥ 319
44. Mahānaivedyam 321
15
45. Kuladīpaḥ 329
46. Karpūranīrajanam 330
47. Mantrapuṣpam 333
48. Upacārāḥ 338

49. Kāmakalādyānam 339
50. Balidānam 341
51. Japaḥ 342
52. Guru vandanam 342
53. Suvāsinī pūjā 345
54. Kumārī pūjanam 351
55. Sāmayikā pūjā 357
56. Tattvaśodhanam 358
57. Devatodvāsanam 362
58. Śāntistavaḥ 366
59. Viśeṣa arghya udvāsanam 367
SECTION III
Bhāvanopaniṣad interpretation 369
Useful images 423
16
NOTES ON TRANSLITERATION
Pronouncing the first 25 Sanskrit consonants
Consonants
First Group
Guttural
Original
characters Transliteration Information
क ka
ख kha
ग ga
घ gha
ङ ṅa
Palatal
च ca
It is a unaspirate hard letter. In short,
this letter does not reverberate (hard),
and it does not need any exhalation
(unaspirate) to be pronounced. It is
just as "k" in "kick".
It is an aspirate hard letter. In short,
but it does need an exhalation
(aspirate) to be pronounced. Just as
"k" but with an exhalation of air.
It is a unaspirate soft letter. In short,
this letter does reverberate (soft), but
it does not need any exhalation
just as "g" in "game".
It is an aspirate soft letter. In short,
this letter reverberates (soft), and it
needs an exhalation (aspirate) to be

pronounced. Just as "g" but with an
exhalation of air.
It is a nasal soft letter. It sounds just
as "n" in "bang". All nasal letters are
soft.
17
Consonants
छ cha
ज ja
झ jha
ञ ña It is a nasal soft letter. It sounds like
Cerebral (Cacuminal)
ट ṭa
ठ ṭha
just as "ch" in "champion", but it is
written "c" not "ch". Careful!

"c" but with an exhalation of air. It
does not sound like English "ch".
Careful!
just as "j" in "Jane".
pronounced. Just as "j" but with an
exhalation of air.
"nya". All nasal letters are soft.
just as "t" but with the tongue rolled
slightly backward (pressing against
the roof).

(aspirate) to be pronounced. Just as "ṭ"
but with an exhalation of air.
18
Consonants
ड ḍa
ढ ḍha
ण ṇa
Dental
त ta
थ tha
द da
ध dha
just as "d" but with a slight rolling
back of the tongue.

pronounced. Just as "ḍ" but with an
exhalation of air.
It is a nasal soft letter. It sounds like a
"n" but with a slight rolling back of
the tongue (as in "turn"). All nasal
letters are soft.
just as "t" in "time", with the tongue
pressing the back of the teeth.
(aspirate) to be pronounced. Just as "t"
but with an exhalation of air.
just as "d" in "doubt".

pronounced. Just as "d" but with an
exhalation of air.
19
Consonants
न na
Labial
प pa
फ pha
ब ba
भ bha
म ma
It is a nasal soft letter. It sounds like
"n" in "name". All nasal letters are
soft.
just as "p" in "pink".

"p" but with an exhalation of air.
just as "b" in "boat".
pronounced. Just as "b" but with an
exhalation of air.
It is a nasal soft letter. It sounds like
"m" in "make". All nasal letters are
soft.
More consonants
Second Group
The 4 Semivowels
Original
characters Transliteration Information
य ya
It is a palatal soft letter. The sound is

just as "y" in "yet". All Semivowels
20
More consonants
Second Group
र ra
ल la
व va
are soft, that is to say, they
reverberate.
It is a cerebral soft letter. "r" is not just
as English "r" at all. The tongue rolls
slightly backward till it presses against
the roof, but not the soft palate. And
the sound is slightly stronger than the
English "r" sound.
It is a dental soft letter. The sound is
just as "l" in "land", but with the
tongue fully pressing the back of the
teeth.
It is a labial soft letter. The sound is
just as "v" in "vain", but sometimes,
when it comes after a consonant it is
usually pronounced as "u" (Sanskrit

"u", not English "u"... in English it
would be "w"). For example: "svāmī"
(master) is generally articulated as
"swāmī". However, you can also
pronounce "svāmī", and it is correct
too.
Third Group
The 3 Sibilants
श śa
ष ṣa
स sa
Fourth Group
Sonant Aspirate
It is a palatal hard letter. The sound is
just as "sh" in "show". All Sibilants
are hard, that is to say, they do not
reverberate.
It is a cerebral hard letter. The sound
is just as "ś", but with a slight rolling
back of the tongue.
It is a dental hard letter. The sound is
just as "s" in "surf".
21
More consonants
Second Group
ह ha It is a guttural soft letter. The sound is
(Information courtesy http://www.sanskrit-sanscrito.com.ar)
just as "h" in "hello".
Further guide to pronunciation:
Sanskrit plural is difficult to understand. Let us take the example of
nāma, the origin of which is nāman. Nāma means name. The correct
plural of nāma is nāmāni. In order to avoid confusion plural of nāma
is used in this book as nāma-s. All the words in hyphenated form
mean plural.
Let us take another word sahasrāra. It is generally pronounced as
sahasrārā. The actual Sanskrit word is sahasrāra (सहससररर). Only actual
Sanskrit words in transliterated forms are used in this book.
In IAST format chakra is written as cakra. But in many places in this
book, chakra is used to avoid any confusion.
22
EXPRESSION OF GRATITUDE
The entire text was edited by Shri. AUM RAVI of Vishakpatnam,
Andhra Pradesh, India (raviaumr@gmail.com). No words are good
enough to express my sincere gratitude and thanks to Shri AUM
Raviji for his selfless service in bringing out this book as flawless as
possible. He is worshiping Lalitāmbikā from his 18th year and has
been performing navāvaraṇa pūjā for the past seven years regularly.
He is blessed with pūrṇa dīkṣā in Śrī Vidyā.
23
SECTION I
JOURNEY TO ŚRI CAKRĀ
(More images are available in the navāvaraṇa pūjā)
This is our journey to Śri Cakrā. We stand miles away from Śri Cakrā.
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 Mahā Meru
(Supreme Mountain) is in the middle,
which is the Abode of Parāśakti.
Towards its eastern side, there is
Brahma loka, (world of Brahmā)
marked as C in the diagram. Towards
southwest, there is Viṣṇu loka (world
IMAGE 1
of Viṣṇu) 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 Śri Nagara and Śri Cakrā respectively. Dotted
lines represent the route we take, for our journey to Śri Cakrā. Out of
the four mountains, we are able to see Mahā Meru glittering, as it is
made up of gold. All the constructions in Mahā Meru were planned

and executed by Viśvakarman, divine creative architect. He is also
referred in Vedas. Ṛg 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 1), which is situated in the east of Meru Mountain. We begin
our journey from here. First we worship the world of Brahmā, but we
24
do not enter this world, as we will be worshipping Him in Śri Nagara.
Standing before the world of Brahmā, we worship Mahā Meru from
its eastern side. Now, we move towards southern side of Mahā Meru
and worship Mahā Meru from its southern side. Then we move
towards southwestern side, known as niṛti (niṛti means destruction,
dissolution, calamity, etc). Here we see the world of Viṣṇu. Without
entering into the world of Viṣṇu, we continue our journey towards
west. We worship Mahā Meru from its western side and proceed
towards northwestern side, known as Vāyu 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 Mahā
Meru, where Brahma loka is situated.
We now enter Śri Nagara, which has twenty five forts (marked as B
in the chart). We can reach Śri Cakrā 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 worship Parāśakti. 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 exit
through the huge gates of the iron fort, we are able to see large 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
darśan of Mahākālā embracing Bhadrakālī, who is dark blue in
25
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 of kalpavṛkṣa-s; kalpavṛkṣa is a
divine tree. There are a number of long and broad rivers and lakes. In
the midst of this forest, we see Vasantaṛtunāthan, the one who
presides over vasantaṛtu (ṛtu means bi-solar months based on seasons
and one year has six ṛtu-s, each comprising of two solar months). He
is seen with his two wives Madhuśrī and Mādhavaśrī.
Vasantaṛtunāthan (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 “candanavāṭikā”, the forest of
sandalwood trees (candana means sandal and vāṭi 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 Grīṣmaṛtunāthan (god presiding over summer
season, known as grīṣmaṛtu) and his two wives Śukraśrī and Suciśrī.
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
26
area between the lead fort and the brass fort. This forest too has
sandalwood trees and this forest is known as “haricandanavāṭikā”.
Haricandana trees are one of the five trees of paradise. The other four
trees are Pārijāta, Mandāra, Saṃtāna, 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
Varṣaṛtunāthan (god presiding over rainy season) along with his
wives Nabhaśrī and Nabhasyaśrī. 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 pañcaloha (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 pañcaloha forts, which is known as
“mandāravāṭikā”. 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 Śaradṛtunāthan (god presiding over
autumn season) along with his wives Iśaśrī and Ūrjaśrī constantly
worshipping Parāśakti with fragrant flowers. After worshipping
them, we now move towards the entry gates of pañcaloha fort.
We walk through pañcaloha 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 pañcaloha and silver forts. This forest is full of pārijāta
trees and this forest is named after these trees as “pārijātavāṭikā”. 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 pārijātavāṭikā, we
are able to see Hemantaṛtunāthan along with his two wives Sahaśrī
and Sahasyaśrī. After worshipping them, we now reach the huge entry
gates of silver fort.
27
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
“kadambavipinavāṭī” (vipina means thick and this forest is very
dense) situated between silver and gold forts. Parāśakti is extremely

fond of this forest. Lalitā Sahasranāma (60) says, Kadaṃbavana-
vāsinī, which means that She lives (sojourns) in this Kadaṃbavana.
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 Śiśiraṛtunāthan along with his
wives Tapaśrī and Tapasyaśrī. We worship them and reach the main
entry gates of the gold fort.
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
Mantriṇi Devī seated majestically. Immediately, we recollect Lalitā
Sahasranāma 75, Mantrinyambā-viracita-viśaṅgavadha-toṣitā. We
request our Guru who is guiding us in our journey to Śrī Cakrā, to
explain about Mantrini Devī.
Now Guru explains; “Lalitāmbikā was delighted with the destruction
of demon Viśaṅgavadha by Mantrinī Devi, who is also known as
Śyāmalā Devi). She helps us in attaining super natural powers and
also eradicates evil influences on us. Mantrinī Devi represents the
potency of mantra-s. Mantrinī Devi destroys evil desires of the
devotees of Lalitāmbikā. Mantrinī 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 Lalitā
Sahasranāma 69, which says Geyacakra-rathārūḍha-mantriṇī-
parisevitā. The chariot in which she travels is also known as
28
Geyacakra ratha. She is one of the important ministers of
Lalitāmbikā. There is one more nāma in Lalitā Sahasranāma (786)
which says, Mantrinī-nyasta-rājyadhūḥ. Mantriṇi is the feminine
gender for minister (mantri). Śyāmalā Devi presides over all the
alphabets of Sanskrit. If we worship Her, mantras will fructify easily.
She is also known as Rāja-Mātaṅgī and Rāja-Śyāmalā. Let us now
worship her and take her blessings, as without her permission, we
cannot go anywhere near Lalitāmbikā.” After carefully listening to
Guru’s 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 Saṁgīta
Mātṛkā (mother of music). We now stand before her seeking her
blessings to have personal darśan of Lalitāmbikā. 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 puṣparāga
(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
29
able to see Siddha-s (Self-realised persons, who constantly affirm
Śivoham – I am Śiva - meditating on Lalitāmbikā.) 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 appear radiating and this place is
not only lit by the effulgent puṣparāga fort, but also by the presence
of great Siddha-s, from whom radiating light emerge. They also recite
Ṣoḍaśī and Pañcadaśī mantra-s apart from reciting Śivoham. After
paying our obeisance to the great Siddha-s, we now move to the next
fort, puṣparāga fort.
We stand before the entry gates of puṣparāga 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 cāraṇa-s sing in praise of
Lalitāmbikā. Cāraṇa-s are those who have surrendered to Her totally.
They have got this name because they have made śaraṇāgati to Her.
Śaraṇāgati means taking refuge in Her. They are complexly purified
from all their sins and they take care of maintaining Śrī Nagara. They
are very fond of true worshippers of Lalitāmbikā. After paying our
respects to them we now move to the next fort padmarāga fort.
We now stand before the gates of padmarāga 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 Vaṭuka-s. All of them are meditating on
Lalitāmbikā. Along with them live certain types of yoginī-s (yoginī-
s are female demons attending on Goddess Durgā). They also worship
a goddess by name Saṁkarṣinī. After paying our obeisance to
Saṁkarṣinī, Vaṭuka-s and yoginī-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: Manimālā, 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
30
fort made of vajraramaṇi (known as thunderbolt gem, a type of
diamond), which is extremely glittering. In the open space that exists
between the forts of gomedaka and vajraramaṇi, there are a number
of huge flower gardens, rivers, lakes and several beautiful palaces. In
this beautiful place live divine damsels like Rambā, Ūrvasī and
others. They sing and dance in praise of Lalitāmbikā. There is a
rivulet by name Vajrā (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 Vajreśī. She is adorned
with diamond ornaments. She is worshipped by Indra, the chief of
gods. (Vajreśī referred here does not mean Vajreśvarī, nāma 468 or
Vajriṇī, nāma 944 of Lalitā Sahasranāma. Both of them are the names
of Lalitāmbikā). After worshipping Vajreśī, who constantly worships
Lalitāmbikā, we proceed towards vajraramaṇi fort.
Vajraramaṇi 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, Vāsuki, Takṣaka,
Karkoṭaka, etc. Apart from these gigantic nāga-s, some devoted
demons like Bali (he was humiliated by Viṣṇu). After paying our
respects to them we move on to the next fort.
This fort (fort number 13) is made up of vaiḍūrya (cat’s eye). We
walk through this fort to enter into another open space. When we
stand at the exit gate of vaiḍūrya 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 vaiḍūrya 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 Lalitāmbikā. After paying our obeisance to them, we move to
the next fort, fort number 14, which is made of indranīla (sapphire)
gems. We are now at the entrance gates of indranīla fort.
31
We are now standing before indranīla (sapphire) fort. At that time,
Guru, who is leading us in our journey to Śrī Cakrā told us that we
did not have darśan of an important goddess, who resides in this area
(between vaiḍūrya and indranīla forts) by name Śātodarī (Lalitā
Sahasranāma 130). She is known by this name because of her thin
waist (śātodara 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 Śiva (blue in
colour) or the complexion of Kṛṣṇa (dark blue, more towards black).
Depending upon the nature of the stone, it has the ability to augment
one’s wealth, fame and prosperity in the family. It is the favorite stone
of planet Saturn. Those who worship
Lalitāmbikā only for material wealth,
get their wealth from this fort.” After
listening to Guru’s description about
sapphire stone, we walk through this
fort and reach a huge open space.
This space is really huge and beyond
IMAGE 2
our comprehension. To whichever side we turn, we see only beautiful
trees with fragrant 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 aṣṭadikbālaka-s. We now proceed to have
darśan of aṣṭadikbālaka-s and we begin from eastern side, where

Brahmaloka (marked as C in the image 1) is situated outside Śri
Nagara.
Eastern side is presided over by Indra, who is the chief of all gods and
goddesses. Indra also presides over aṣṭadikpāla-s. We see Indra
32
mounted on his elephant vehicle known as Airāvata (it is also known
as Airāvaṇa, which is white in colour), produced while churning the
ocean. He is seated on Airāvata with his wife Śaśī. He is holding a
peculiar club (weaponry called thunderbolt) in his hand, known as
vajrāyudha, which is his unique weapon. Vajrāyudha was given to
Indra by Lalitāmbikā. Vajrāyudha is made of the spinal cord of a great
sage Dadhīci, who was constantly meditating on Her. Lalitāmbikā, in
appreciation of his penance, took him with Her by offering him
liberation through Vajreśī, a goddess on the banks of river Vajrā,
whose darśan we had when we were in the open space between 11th
and 12th forts. The spinal cord of Dadhīci after his liberation was
given to Indra as his weapon to destroy demons. Vajrāyudha is
considered as one of the most potent weapons. Kṛṣṇa talks about
Indra on three occasions in Bhagavad Gītā (Chapter X). He says, “I
am Indra, among gods”; “Among elephants, I am Airāvata (Indra’s
elephant vehicle)” and “Among thunderbolts, I am vajrāyudha.”
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 darśan of Agni, who is the carrier of oblations to the

respective gods. He is seated on a sheep with his two wives Svāhā
(her body is said to consist of the four Vedas, and her limbs are the
six Aṅga-s; she is the carrier of offerings made as oblations in fire
rituals to gods and goddesses) and Svadhā (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-saptajihvā). 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 homakuṇḍa-s), sruk (ससरकस ), also written as sruc (ससरचच ),्स a
large wooden ladle, made out of palāśa or khadira wood, used to offer
ghee into the fire as oblations during fire rituals, sruva (same like sruc
but small in size), ājyapātra (a vessel to hold clarified butter known
as ghee, for offering into the tongues of fire, during oblations),
tomara (a long stick) and annapātra (a vessel containing cooked rice
33
for offering as oblations). Guru informed us that Agni is the best
purifier. Kṛṣṇa says in Bhagavad Gītā (X.23), “Among eight Vasu-s,
I am Pāvaka (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 aṣṭavasu-s. According to

Vishnu Purana the names of these gods are Āpa (Water), Dhruva (the
pole star), Soma (moon), Dhava or Dhara, Anila (wind), Anala or
Pāvaka (fire), Pratyuśa (the dawn), and Prabhāsa (the light). Amongst
them Anala or Pāvaka 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 Dharmarāja. That is
why Kṛṣṇa says, “Among the rulers, I am Yama”. He is upright in
following dharma guidelines (Law of Karma) prescribed by
Lalitāmbikā. Though every one of us is scared to go anywhere near
this place, at the insistence of our Guru, we move forward to have
darśan 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 pāśahasta (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 Śyāmala. 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 Nirṛti.
Nirṛti 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
34
known as Dhīrgā. Nirṛti sometimes is also referred as a female form
of demon. After worshipping him, we move on to Western cardinal.
Western cardinal is ruled by Varuṇa, 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 Kālī (not Goddess Kālī). 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 Vāyu, 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, suṣumna, iḍā
and piṅgalā, the three nāḍī-s relating to the movement of Kuṇḍalinī,
the subtlest form of Lalitāmbikā. Vāyu always lives amidst great
yogis, the important one being Gorakṣa. 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 yakṣa-s
(yakṣa-s are said to be demigods, unlike Varuṇa or Vāyu). Kubera is
also known as Vaiśravaṇa. He is seated on a horse along with his wife
Citrarekhā (she is also known as Surāṅganā, one of the beautiful
celestial women). He has only a knife as his weapon. Kubera is often
seen with another yakṣa by name Māṇibhadra, who is also known as
prince of yakṣa-s. All of them worship Lalitāmbikā with great
reverence. Kubera worship Her with his own Pañcadaśī 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 Īśāna, who is one of the eleven Rudra-s
(ekādaśarudra-s). Īśāna means wealthy and splendorous. This place
35
has many palaces constructed with gold. There are many temples in
this place. Īśāna with his wife Kātyāyanī is seated on a pure white
bull (ṛṣabha vāhana). Īśāna has moon in his crown. Īśāna and
Kātyāyanī are believed to be lower forms of Śiva and Pārvatī. The
world of Īśāna has sixteen āvaraṇa-s (like roundabouts in temples).
With this, our journey in the space between indranīla fort and pearl
fort (fort number 15) has come to an end. We have reached the
starting point, Indra lokā, ready to move into the fort of pearls.
Fort of pearl is the fifteenth fort in Śrī Nagara. Once we cross this
fort, we have to cross ten more forts to reach the outer walls of Śrī
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 kuṇḍalinī meditation. This is
referred in Lalitā Sahasranāma 106, sudhāsārabhi-varṣiṇī. According
to this nāma there is one soma chakra in the middle of sahasrāra.
When Kuṇḍalinī reaches this chakra, out of the heat generated by
Parāśakti’s 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 mantrarājam, where we are able to have a
glimpse of Vārāhi Devi, who is majestically seated. The palace of
Vārāhi Devi is in no way different from the palace of Mantrinī Devi
(situated in the space between forts 7 and 8). Both of them form the
two front arms of Parāśakti (Mantrinī is in left lower hand and Vārāhi
is the right lower hand. Vārāhi Devi is subtly conveyed in Lalitā
Sahasranāma 11, pañcatanmātra-sāyakā (pañcatanmātra-s are sound,

touch, sight, taste and smell). There are another two nāma-s (70 and
36
76) which speak about Vārāhi in Lalitā Sahasranāma. Apart from
these nāma-s, there are several subtle references. Vārāhi Devi is
seated on Kiricakra, her yantra. Her chariot is known as Kiricakra-

ratha. We now move closer to Vārāhi Devi.
Vārāha means boar (pig or hog). Since Vārāhi has boar like face, she
is known as Vārāhi. 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 Parāśakti) and varada (conferring boons) mudras. The rest of the
hands hold a plough, a daṇḍa (staff appearing like a pestle), a conch,
a wheel, an aṅkuśa (hook) and a pāśa (noose). She is also known as
Daṇḍanāthā because she always carries a daṇḍa (staff) with her. She
is dreadful to sinners. She is extremely fond of devotees of Parāśakti
and always blesses them. She is surrounded by Svapneśī,
aṣṭabhairava-s with their consorts and others like Jambhini, etc.
Her mūla mantra is also known as mantrarājam which has 110 akṣara-
s and is considered as one of the most potent mantras, which is
reproduced here.
ॐ ऐऐ गलल ऐऐ नमम भगवतत वरतररलल वरररहह वरररहमच खख ऐऐ गलल ऐऐ अऐ धधअऐधधतन
नमम रऐ धध रऐ धधतन नमम जऐ भध जऐ लभतन नमम ममहध ममहहतन नमम सतऐ भध सतऐ लभतन
नमम ऐऐ गलल ऐऐ सवदर षटच पसरतच षटरनरऐ सवध षरऐ सववर ्रकपदधचतचकच मखच र गततहजवरसरसतभऐ ्ऐ
कचर कचर शशघसरऐ वशऐ कचर कचर ऐऐ गलल ऐऐ ठम ठम ठम ठम हचऐ फटस सवरहर॥
om aiṁ glauṁ aiṁ namo bhagavati vārtāli vārāhi vārāhamukhi aiṁ
glauṁ aiṁ aṁdhe aṁdhini namo ruṁdhe ruṁdhini namo jaṁbhe
jaṁbhini namo mohe mohini namaḥ staṁbhe staṁbhini namaḥ aiṁ
glauṁ aiṁ sarvaduṣṭapratuṣṭānāṁ sarveṣāṁ
sarvavākpadacittacakṣurmukhagatijihvāstaṁbhaṁ kuru kuru
śīghraṁ vaśaṁ kuru kuru aiṁ glauṁ aiṁ ṭhaḥ ṭhaḥ ṭhaḥ ṭhaḥ huṁ
phaṭ svāhā ||
37
(Please note: This mantra is taken from Mantramahārṇavaḥ and
appears as the correct one. There are several versions of this mantra
and authenticity of these mantras could not be verified.)
Vārāhī is the chief of Lalitāmbikā’s army. Vārāhī has the capacity to
drive away the evil forces. If Vārāhī is worshiped on the 18th day of
the month of āṣāḍha (July-August), it is believed that those who have
difficulties in getting married will get married. The Bhāvanopaniṣad
considers goddess Vārāhi as father and Kurukullā as mother (we will
have her darśan later in Śrī Nagara). It says, “Vārāhi pitṛurūpā
kurukullā balidevatā mātā (वरररहह पपतरर पर कचरकचललर बललदध वतर मरतर).”
It is also said Vārāhi Devi’s 110 akṣara-s and Śyāmalā Devi’s 98
akṣara-s, together form 208 akṣara-s used in Śrī Cakrā navāvaraṇa
pūjā. Śyāmalā Devi is between forts 7 and 8. After praying to Vārāhī
that She should bless us in having a close darśan of Lalitāmbikā, 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 17th 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 Brahmā in a meditative posture. He is in charge of creation
of beings and this work is allocated to Him by Lalitāmbikā. He is also
known as Prajāpati, meaning lord of creatures. He is often called
great-grandfather of the beings, while Viṣṇu is called as grandfather
and Śiva as father. We, with great reverence move towards Brahmā,
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,
38
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 Viṣṇu along with His Consort Lakṣmī, seated on His Garuḍa
vāhana (Garuḍa referred here is not a regular bird, but a mythological
bird, born to sage Kaśyapa and Vinatā. Vinatā is the mother of
Suparṇa, Aruṇa and Garuḍa). 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 Tamāla 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 kuṇḍala-s in His ears
(kuṇḍala means ear stud or ear ring). The radiance of the kuṇḍala-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 kastūrī tilak
in His forehead (kastūrī 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. Śrīvatsa adores His chest. (Viṣṇu Sahasranāma 601 is
Śrīvatsavakṣāḥ and is explained thus: Śrīvatsa is a mark in the chest
of Viṣṇu, which is considered as very auspicious. Vakṣas means
chest. It is also said that it is the place where His consort Lakṣmī
resides. Though the Lord Himself is an embodiment of
auspiciousness, the presence of Lakṣmī makes His form more
auspicious.) He appears exactly as described in this dhyāna verse of
Viṣṇu Sahasranāma: saśaṅakha-cakraṁ sakirīṭa-kuṇḍalaṁ
sapītavastraṁ sarasīruhekṣaṇaṁ |sahāra-vakṣasthala-śobhi-

kaustubhaṁ namāmi viśṇuṁ śirasā caturbhujam || Meaning: “I pay
obeisance to Lord Viṣṇu with four hands, who holds conch
(Pāñcajanya) and disc (Sudarśanacakra), 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 Viṣṇu.” He is also adorned with
a garland of basil leaves (tulasī or tulsī). His Consort Lakṣmī is sitting
39
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 nānāratna-s (different types of precious gems),
which is known as nānāratna 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, Bhavānī.
In front of Rudra and Bhavānī, is seated with great reverence, a bull
known as Ṛṣabha. This bull is said to be Nandi, the vehicle of Rudra.
Along with Nandi is seated Bhṛṅgi, one of Rudra’s attendants. Both
Ṛṣabha and Bhṛṅgi always recite the names of Rudra and Bhavānī.
Apart from Ṛṣabha and Bhṛṅgi there are other attendants and they are
known as Rudragaṇa-s. We prostrate before Rudra and Bhavānī and
after seeking their blessings, we move to the next fort.
(Further reading: Śiva attains several forms depending upon the
necessity. His Supreme form is Paramaśiva. This form of Śiva
encompasses Parāśakti. Both of them are in a single form. However,
this form is different from Ardhanārīśvara, in which Śakti occupies
left side of Śiva’s body. But Paramaśiva is different from this form,
as Śakti has not yet been created as a separate entity, but remains in
Paramaśiva; still She is inherent in this form. At the time of creation,
Paramaśiva becomes Śiva and Śakti, as two separate entities. Śiva,
expands Himself in order to create the universe through His various
forms such as Sadāśiva, Īśvara, 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
40
which the water is held is different. In the same way, inner essence is
always Śiva, who manifests in different names and forms such as
Sadāśiva, Īśvara, Rudra, etc. Modification of Śiva into various forms
depends upon the influence of Śakti, known as Māyā, on Him.

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 antaḥkaraṇa. Antaḥkaraṇa consists of
three components as per Trika philosophy and four components as
per Advaita philosophy. The four components are mind, intellect,
consciousness and ego. In Trika, consciousness is not included, as
Śiva Himself is Consciousness. We walk through manomaya fort to
reach another open vast space, which is lustrous red in colour.
In this open space, we see Amṛtavāpikā (lake of nectar). Bank of the
lake is named as saṁcala (सऐ चल 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 (sindūrapāṭalāṅgī). 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 doe’s (female deer) eyes. She has bright ear studs, the
reflections of which are seen in her shining cheeks. She is being given
abhiṣeka (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 Tārā Devi (one
of the Śakti-s of daśamahāvidyā). 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
41
and that is why they are named as saṁcala (saṁcala 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, Tārā Devi is worshipped, as she
is known for wisdom and knowledge. When her grace is obtained, we
begin to taste the divine nectar (spiritual advancement).
(Further reading on Tārā Devi: Tārā 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 dhyāna for her and they are ṣṛṣṭi,
sthiti and saṁhāra dhyāna-s (contemplation for creation, sustenance
and destruction). Based upon different acts, her dhyāna verses also
vary. For example, white colour is associated during creation, red
during sustenance and black during destruction. It is also said that
Brahmā and Viṣṇu worshipped her with different mantras. Brahmā
worshipped her with “om trīṁ hrīṁ huṁ phaṭ ॐ तस्शऐ हसरऐ हचऐ फटस ” and
Viṣṇu worshipped her with “om hrīṁ śrīṁ klīṁ sauḥ huṁ ugratāre
huṁ phaṭ ॐ हसरऐ शस्शऐ कलरऐ स ्म हचऐ उगसरतररध हचऐ फटस ”. But her common mantra
is “om hrīṁ trīṁ huṁ phaṭ ॐ हसरऐ तस्शऐ हचऐ फटस ”. Her bīja is trīṁ तस्शऐ”)
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 ānandavāpikā (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 Amṛteśī. She has compassionate eyes and she is well
decorated with shining ornaments. She is also known as Vāruṇi Devi.
This Devi is explained in Lalitā Sahasranāma (333), Vāruṇi-mada-

vihvalā, which is explained thus: Vāruṇi is the extract of dates that is
allowed to brew and when consumed causes inebriation. There is a
nāḍi (nerve) called vāruṇi which can be controlled by breath. This
nāḍi plays a significant role in excretion of bodily waste. If this nāḍi
42
is brought under control by proper breathing exercises, one will never
feel tiredness in the body. Sages keep this nāḍi 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 Lalitāmbikā and move to the next fort.

Next fort (fort number 22) is fort of ego (ahaṁkāra). We walk through
this fort to reach yet another open space. This space is known as
“malayapavamāna” (malaya – mountain range; pavamāna – 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 “vimarśavāpikā”. This pond is
the store house of nectar that flows into the throat during kuṇḍalinī
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 nāma-

s of Lalitā Sahasranāma 105 and 106, the essence of which is given
here: “She has now reached Her destination, the sahasrāra, where
Śiva is waiting for Her. Sahasrāra 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 Śiva and Śaktī takes
place at sahasrāra. The sādhaka, who all along was worshipping only
the Śaktī, begins to worship Her along with Her Creator, Śiva. There
is one soma chakra in the middle of sahasrāra. When Kuṇḍalinī
reaches this cakra, out of the heat generated by Her presence, the
43
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 vimarśavāpikā, 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 Manmatha’s bow. She is smiling
pleasantly. She is wearing ear studs made of rubies. She is Kurukullā
Devi. A reference to her is available in Lalitā Sahasranāma 438
Kurukullā, and this nāma is explained like this: “Kurukullā is a
goddess who dwells in Śrī Cakra between the boundaries of ego and
consciousness. The Bhāvanopaniṣad considers goddess Vārāhi as
father and Kurukullā as mother. It says, ‘Vārāhi pitṛurūpā kurukullā
balidevatā mātā (वरररहह पपतरर पर कचरकचललर बललदध वतर मरतर).’ 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 Kurukullā 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 fort.

We now walk through the sun fort to reach bhānu prākāra (bhānu
means sun and prākāra 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 Gāyātri
mantra). As we walk through this prākāra, 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 Mārtāṇḍa-
Bhiarava (mārtāṇḍa 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 sun’s heat). Light of the sun is known as
cakṣuṣmati, which means faculty of sight. Mārtāṇḍa-Bhairava has
two wives and they are Cakṣuṣmatī and Chāyā Devi (chāya means
44
shadow). Two of his wives represent light and shadow. Sun god, who
is also known as Mārtāṇḍa-Bhiarava, is a great devotee of
Lalitāmbikā. A reference to this is available in Lalitā Sahasranāma
785, Mārtāṇḍa-bhairavārādhyā, which is explained thus: “She is
worshipped by Mārtāṇḍa-bhairava. He is posited in the twenty fourth
prākāra of Śrī Nagara. Śrī Cakra is in the centre of this Śrī Nagara.
Anything associated with Her is prefixed with Śrī, a sign of
auspiciousness. Sage Durvāsa says that he worships him with his wife
Chāya Devi.” After worshipping Mārthaṇda-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 śṛṅgāra fort (fort
number 25, the last fort). Śṛṅgāra means erotic sentiments. Lalitā
Sahasranāma 376 addresses Her as Śṛṅgāra-rasa-saṁpūrṇā, which
means that She is in the form of essence of love. Like all other
abstractions, love also originates from Her. Śṛṅgāra 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 Śṛṅgāra fort.
When we enter into Śṛṅgāra fort, we place our feet with great
reverence on the cintāmaṇi prākāra, the roundabout fully constructed
with the most precious of all gems, cintāmaṇi. It is called cintāmaṇi,
because it is capable of fulfilling all types of desires. After crossing
this cintāmaṇi prākāra, 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
45
place is known as Mahāpadmāṭavi (Lalitā Sahasranāma 59 -
Mahāpadmāṭavī-saṃsthā). Lalitāmbikā visits this forest garden
frequently. In the midst of this Mahāpadmāṭavi, there is a very huge
palace known as Cintāmaṇi Gṛha, the Abode of Lalitāmbikā. Lalitā
Sahasranāma 57 says, Cintāmaṇi-gṛuhāntasthā. In the middle of
Cintāmaṇi Gṛha is Śrī Cakra and in the centre of Śrī Cakra, is seated
Lalitāmbikā.
From the point where we are standing now, we are able to see
Cintāmaṇi Gṛha. To reach Cintāmaṇi Gṛha, we are now walking
through Mahāpadmāṭavi. As we are continuously reciting Lalitā
Sahasranāma, we did not have any difficulty in standing before the
Eastern entrance of Cintāmaṇi Gṛha. At the outer side, we find huge
vessels made of gold and these are known as arghyapātra-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 pañcapātra
(one main vessel and four medium or small sized vessels). This gold
pañcapātra is held by god Agni in his hands, who stands outside the
entrance of the main gates of Cintāmaṇi Gṛha. Thus, Agni forms the
base of these vessels. The main vessel is also known as vardhanī
kalaśa. (vardhana means causing to increase or increase in
prosperity). There is another vessel called sāmānyārghyapātra,
usually a conch. Water to this conch is taken from the bigger vessel
of pañcapātra. Water from this is used to purify the offerings made to
Lalitāmbikā (including garlands, food, etc). Then there is another
vessel known as viśeṣārghyapātra (special arghya vessel).
Viśeṣārghyapātra is the body of sun and the contents of
viśeṣārghyapātra is nectar and this vessel is specially worshipped.
There are several maṇḍala-s in this viśeṣārghyapātra and they are agni
(fire), sūrya (sun), soma (moon) Brahmā, (in charge of creation, not
the Creator), Viṣṇu (sustainer), Rudra (the destroyer), Īśvara (the
annihilator or the one who conceals), Sadāśiva (the re-creator; the one
46
who creates the universe annihilated by Īśvara) and Devi maṇḍala.
Brahmā, Viṣṇu, Rudra, Īśvara and Sadāśiva are known as the chiefs
of pañcakṛtya-s. This is explained in Lalitā Sahasranāma 274 (She is
the abode of all the five functions discussed above. Nāma 250 Pañca-
brahma-svarūpinī says that She is the cause of all these five acts. All
these five acts are carried out by Her as prākaśa (cit) vimarśa (śaktī)
mahā māyā svarūpinī. She is also known as Cit Śaktī. Cit means the
consciousness that is absolute and unchanging). These five gods
reside inside the viśeṣārghyapātra and their palaces are situated
beneath viśeṣārghyapātra. 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 viśeṣārghya and worshipping
viśeṣārghyapātra are important aspects in Śrī Cakra Navāvaraṇa
worship.
We are now at the main gates of Cintāmaṇi Gṛha. We go around
Cintāmaṇi Gṛha to fully understand its grandeur. Now we are on the
eastern side. Main entrance gates to Cintāmaṇi Gṛha are situated on
the eastern side. We are now facing Cintāmaṇi Gṛha and to our right,
is the palace of Śāmala Devi. We have already seen her in the space
between forts 7 and 8 (silver and gold forts). This is another palace
of Śāmala Devi (this can be explained as a palace for rejuvenation).
To our left is the palace of Vārāhi Devi. We have already seen her in
the space between forts 15 and 16 (forts of pearls and emerald). Like
Mantrinī Devi (Śāmala Devi), Vārāhi too uses this refreshment.
Cintāmaṇi Gṛha has four main entrance gates, one each at the four
cardinals. Each of these main gates is guarded by āmnāya devata-s.
Eastern gate is guarded by Bhuvaneśavarī (representing mantra
yoga). South side is guarded by Dakṣiṇa Kālī (path of devotion).
Western side is guarded by Kubjikā (path of tantra, the main authority
being Kubjikatantra). Northern side is guarded by Guhya Kālī (path
of knowledge).
As we go around, at Southeast corner, we find a fire altar, known as
Cidagnikuṇḍa. Lalitāmbikā originated from this kuṇḍa. This is
explained in Lalitā Sahasranāma 4, Cidagnikuṇḍa-saṃbhūtā, which

47
is interpreted thus: {Cit + agni + kuṇḍa + saṃbhūta. Cit means
nirguṇa Brahman or Brahman without attributes (the foundational
consciousness). Agni kuṇḍa means a fire altar, in which fire
sacrifices are done by offering oblations. Saṃbhūtā means born.
Agni kuṇḍa or the fire altar means the dispeller of darkness. Darkness
means lack of knowledge or ignorance which is called a-vidyā (vidyā
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
māyā.} After prostrating before this fire altar and after having seen
the birth place of Lalitāmbikā, we move forward to Southwest, where
we find Cakrarāja ratha, the chariot of Lalitāmbikā. This is described
in Lalitā Sahasranāma 68, Cakrarāja-rathārūḍha-sarvāyudha-

pariṣkṛtā, which is reproduced here, as reference is made to Śri Cakra
in this nāma.
{Cakrarāja is the chariot of Lalitāmbikā in which She travels along
with all types of weapons. Weapons mean the ways of attaining
suddhavidyā or pure knowledge which is called the knowledge of the
Brahman. This chariot consists of nine tiers. Two other chariots,
Geyacakra ratha of Śyāmalā devi and Giricakra ratha of Vārāhī devi
always accompany Cakrarāja. Cakrarāja is said to mean the Śrī Cakra,
the place of Lalitāmbikā. Pariṣkṛtā means adorned.

A brief knowledge of Śrī Cakrā becomes a necessity to understand
this nāma. Śrī Cakrā consists of nine partitions or angles broadly
divided into five Śaktī cakra-s and four Śiva cakra-s. The triangles
facing upwards are called Śiva cakra-s, and the triangles facing down
are Śaktī cakra-s. Śrī Cakrā contains forty four triangles in which
forty three goddesses (44th is Lalitai) and seventy nine yoginī-s (demi-
goddesses) live. All the gods and goddesses are said to reside in Śrī
Cakra and that is why it is said that one can perform pūja to any
god/goddess in Śrī Cakra. The nāma 996 Śrī Cakrārāja nilayā
confirms Her Abode in Śrī Cakra.
48
Cakrarāja also means the six cakra-s (mūlādhārā to ājña). Ratha
means base or foundation. Arūḍha means control and sarvāyudha
means pure knowledge which is called suddhavidyā. 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 ājña cakra represents mind.
Therefore to control the basic elements and the mind, pure knowledge
becomes essential. When cakra-s are controlled, siddhi-s are
attained.}
After worshipping Cakrarāja, Lalitāmbikā’s chariot, we move on to
North western side, where we find Geyacakra ratha, This is the
chariot of Mantrinī Devi who is also called Śyamalā Devi. After
worshipping the same, we move forward to North eastern side, where

Kiricakra-ratha is situated. This chariot belongs to Daṇḍanāthā Devi
who is also known as Vārāhī Devi. After worshipping this chariot, we
proceed to the main entrance gates of Cintāmaṇi Gṛha.
From a distance, through the Eastern gates of Cintāmaṇi Gṛha, we are
able to see the outer wall of Śrī Cakra. We are greatly excited to get
into Śrī Cakra, for which we are awaiting for necessary permissions
from Śyamalā Devi, Vārāhī Devi and Bhuvaneśavarī Devi. We are
now waiting outside the gate, taking rest under the huge tress of
Mahāpadmāṭavi.
While we are waiting for necessary permissions, our Guru gives a
small lecture about Śrī Cakra (should be read as चकस र chakra).
“We have reached this place after crossing twenty five forts and we
are about to enter into Śrī Cakra. I am not going into the details of
various enclosures now. There are two types of worshipping Śrī
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 Śrī Cakra through mind, as explained in
49
Bhāvanopaniṣad (भरवनमपतनषदस), which is based on certain subtle
conveyances of Atharvaveda. Bhāvanopaniṣad is in the form of sūtra-

s (aphorisms) and enlighten the similarity between human body and
Śrī Cakra. Bhāvana 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 sādhana
will be imperfect and you cannot achieve the desired results.
Bhāsakararāya, one of the greatest devotees of Parāśakti 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
navāvaraṇa pūjā, Lalitā Sahasranāma or Triśatī 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 Bālā mantra
to Pañcadaśī and ultimately to Ṣoḍaśī. Even in mantra sādhana, one
begins with all types of nyāsa-s (touching a particular part of the body
with specific fingers of the hand, symbolically placing Parāśakti all
over the body). Over a period of time, he dispenses all nyāsa-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 sādhana, merely
contemplating Her within. He does not need the help of pūjā-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 samādhi or deep trance), there should be nothing, except
your mind and Her subtle form. This stage is explained in Lalitā
Sahasranāma 254, Dhyāna-dhyātṛ-dhyeya-rūpā (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
knowledge. Higher level of spiritual knowledge can be attained only
through dhyāna or meditation. Meditation is only a process of
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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. Patañjali
Yoga Sūtra (III.2) explains this further. “Unbroken flow of that
concentration in that object is called dhyāna.”)
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 sādhana, 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 māyā 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. 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
one’s devotion, level of sādhana 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 Bhāvanopaniṣad begins by saying
“śrīguruḥ sarvakāraṇabhūtā śaktiḥ || शस्शगरम सवकर ्ररणभभतर शकतम॥” The
next sūtra says that only because of Guru, the disciple has nine
openings in his body. In other words, the Upaniṣad 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 Śrī 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 Śrī Cakra. Thus, there is no difference between Guru, Śrī
Cakra and the disciple.
Each of the nine enclosures (āvaraṇa) of Śrī Cakra is presided over
by a cakreśvarī (presiding goddess of that particular āvaraṇa). Apart
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from cakreśvarī, there is a yoginī in each of these nine āvaraṇa-s
(navāvaraṇa- nine enclosures). Cakreśvarī is not different from
Parāśakti. Every cakreśvarī represents Parāśakti, but in a much

concealed manner. Let us assume that a lamp is covered by eight
different veils. When we complete one āvaraṇa, one of the veils will
be removed. These veils are known as tiraskaraṇi, who is worshipped
in the beginning itself during navāvaraṇa pūjā. When we move
towards inner triangle and bindu, at the end of each āvaraṇa, one veil
is removed and Parāśakti reveals Herself more clearly.
But yoginī-s are different. Yoginī-s can be explained as spiritual
powers, symbolically represented as divine damsels. Yoginī 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 jīvātman with Paramātman. Yoginī-s
play significant role in making this union complete, by sufficiently
providing enough spiritual powers to jīvātman, so that jīvātman is
completely purified to become eligible to unite with Paramātman.
Lalitā Sahasranāma 237 is mahā-catuḥ-ṣaṣti-koṭi-yoginī-gana-sevithā
(Mahā-catuḥ-ṣaṣti-koṭi means sixty four crores or 640 million.
Yoginī-gana are demigoddesses. She is worshipped by these 640
million demigoddesses also known as yogini-s. In Śrī Cakra, there
are eight mātṛkā devi-s (also known as aṣḥta māta-s) like, Brāhmī,
Māheśvarī, Kaumārī, Vaiśṇavī, Vārāhī, Indrāṇī, Cāmuṇdā,
Mahālakśmī. The aṣḥta māta-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 jīvātman with Paramātman, yoginī-s
also cause the intertwining of Śiva and Śakti cakra-s of Śrī Cakra in
a perfect and smooth manner. At the end of each āvaraṇa, one mudra
(finger gesture) śakti and one of the eight aṣṭamasiddhi-s are also
worshipped. Therefore, at the end of each āvaraṇa, first the concerned
cakreśvarī followed by one of the aṣṭamasiddhi-s, mudra śakti and
52
finally Lalitā Mahātripurasundarī Parā Bhṭṭārikā (bhṭṭārika means
noble and majestic Goddess) are worshipped. While performing Śrī
Cakra pūjā, it is always assumed that She is seated facing the eastern
direction and we have to enter through the western direction.
When Guru finished, Bhuvaneśavarī Devi (Āmnāya Devi) informed
us that permission is granted for us to enter Her Abode, Śrī Cakra.
We now commence our journey to the Supreme Abode of Lalitā
Mahātripurasundarī Parā Bhṭṭārikā.
FIRST ĀVARAṆA (First enclosure)
We now enter the first āvaraṇa (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 bhūpura. Trilokya mohana means attracting three worlds. Three
worlds can be explained both grossly and subtly. Grossly it means the
three worlds referred in three vyāhṛti-s of Gāyatrī mantra, bhūr,

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 trilokyamohanacakra.
Presiding deity of this āvaraṇa is Tripurācakreśvarī; Aṇimāsiddhi is
the siddhi devi, Sarvasaṁkṣobhiṇi mudra is the mudra śakti and
Prakaṭayoginī is the yoginī. At the end of this āvaraṇa, all these śakti-
s are worshipped. Lalitā Mahātripurasundarī Parā Bhṭṭārikā is also
worshipped in each of the āvaraṇa-s. Each āvaraṇa has one specific
mudra with which Parāśakti is worshipped and apart from the specific
mudra, She is also worshipped with yoni mudra at the end of each
āvaraṇa. As far as worshipping this prathamāvaraṇa (first enclosure)
is concerned, first square which is protected by ten śakti-s is white in
colour and is to be worshipped with white flowers. Second wall or
second square, which has eight śakti-s is to be worshipped with red
flowers. Third and the last wall or square, which has ten śakti-s is to
be worshipped with yellow flowers. Now we are going to have darśan
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of these twenty eight śakti-s. (During Śrī Cakra worship, the
innermost triangle should be facing the practitioner.) Numbers
indicated in the image, which is available in the second section of this
book and numbers indicated in the narration here correspond to the
place of that particular śakti in the wall.
First wall:
This wall has ten śakti-s, which includes aṣṭama siddhi-s (eight śakti-
s representing supper human powers) and two other śakti-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 are guarding the four entrance
gates and the other four are guarding other four cardinals.
1. aṇimāsiddhi अखणमरलसपप 2. laghimāsiddhi लतघमरलसपप
3. mahimāsiddhi महहमरलसपप 4. īśitavasiddhi ईलशतवलसपप
5. vaśitasiddhi वलशतलसपप 6. prākāmyasiddhi पसररकरमयलसपप
7. bhuktisiddhi भच कतलसपप 8. icchāsiddhi इचछरलसपप
9. prāptisiddhi पसररपतलसपप 10. sarvakāmasiddhi सवरकरमलसपप
Second wall:
This wall is protected by eight śakti-s, who are commonly known as
aṣṭamātṛ-s (eight mothers or aṣṭamātā-s. It is important to note that
the first four of them (11, 12, 13 and 14) are guarding the four
entrances of Śrī Cakra and the rest guarding the four corners (15, 16,
17 and 18) of Śrī Cakra.
11. brāhmīmātṛ बसररहशमरतर 12. māheśvarimātṛ मरहध शवररमरतर
13. kaumārīmātṛ क मरररमरत ्र 14. vaiṣṇavīmātṛ वषस्षणवशमरतर
15. vārāhīmātṛ वरररहरमरतर 16. māhendrīmātṛ मरहध नदसररमरतर
17. cāmuṇḍāmātṛ चरमच णडरमरतर 18. mahālakṣmīmātṛ महरलकमशमरतर
Third wall:
54
This wall is protected by ten mudraśakti-s. During navāvaraṇa pūjā,
at the end of each āvaraṇa, Parāśakti is worshipped through these ten
finger gestures, known as ten mudrā -s. This is also referred in Lalitā
Sahasranāma 977, daśamudrā-samārādhyā. (mudrā -s are the
configuration of fingers that represent the energy of the deity
concerned. They are the secret signs of exchange of reverence and
Grace between the practitioner and the deity respectively and should
never be used in public. Mudra-s are highly powerful.) The last of
these mudrā -s can be used only by those, who are initiated into
Ṣoḍaśī mantra.
19. sarvasaṅkṣobhiṇī mudraśakti सवरसङस ककमलभणश मच रशकत
20. sarvavidrāviṇī mudraśakti सवरपवररपवणश मच रशकत
21. sarvākarṣiṇī mudraśakti सवररकपषरणश मच रशकत
22. sarvavaśaṅkarī mudraśakti सवरवशङस ककरर मच रशकत
23. sarvonmādinī mudraśakti सवमनदसमरहदनश मच रशकत
24. sarvamāhāṅkuśā mudraśakti सवमर ्रहरङस ककचशर मच रशकत
25. sarvakhecarī mudraśakti सवरखध चरर मच रशकत
26. sarvabīja mudraśakti सवरबशज मच रशकत
27. sarvayoni mudraśakti सवरयमतन मच रशकत
(Lalitā Sahasranāma 982 is Yoni-mudrā (Śiva says to Pārvatī (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. sarvatrikhaṇḍā mudraśakti सवरतसरतखणडर मच रशकत;

(Lalitā Sahasranāma 983 is trikhaṇḍeśī. This mudra is used to invoke
Her during rituals. Trikhanṇḍa mudra also means the union of
55
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 nāma using yoni mudra.
It is also said that this mudra refers to the three kūṭa-s of Pañcadaśī
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 navāvaraṇa pūjā, only those who
are initiated into Ṣoḍaśī alone can use this mudra).
We have discussed about 28 goddesses in the first āvaraṇa, known as
trilokyamohanacakra and these goddesses guard three outer walls of
Śri Cakra. It is also interesting to note that beginning from
trilokyamohanacakra, there are no male gods in any of the āvaraṇa-

s. Even all the four gates of Śri Cakra are guarded only by goddesses.
Bhāvanopaniṣad says that our body is a replica of Śri Cakra and our
body parts are related to these nine enclosures. In the first wall of
trilokyamohanacakra, also known as bhūpura, 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 Patañjali says
in his Yoga Sūtra 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. Aṇimā means ability to become smaller than an atom.
2. Laghimā means ability to float in the air by making the body light.
3. Mahimā is the power to become huge.
4. Īśitava is the power of creativity and the ability to rule.
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5. Vaśitva is the power to subjugate both living as well as insentient
objects.
6. Prākāmya is the ability to get any task done in no time.
7. Bhukti siddhi is not mentioned by Sage Patañjali and this is out of
the purview of eight siddhi-s known as aṣṭamasiddhi-s. It is the power
to enjoy with what is attained. This siddhi is discussed only in tantric
scriptures.
8. Icchā siddhi is also outside the purview of aṣṭamasiddhi-s referred
by Patañjali. Some are of the opinion that sarvakāmasiddhi is
icchāsiddhi. We go only by the ten goddesses mentioned in authentic
texts and hence we consider icchāsiddhi and sarvakāmasiddhi as two
different siddhi-s. Sometimes, sarvakāmasiddhi and prākāmyasiddhi
are considered as the same. But tantric texts have different versions.
Icchā siddhi means power to attain any form according to his will. He
can become an ant and again he can become an elephant.
9. Prāpti is the power to go anywhere, even to other worlds.
10. Sarvakāma is fulfillment of all his desires.
(There could be certain variations while interpreting siddhi-s).
As discussed earlier, no male god can enter Śri Cakra. Goddesses who
guard different cardinal points are known as siddhyaṁbā. The ten
siddhyaṁba-s discussed above guard ten cardinal points. For
example, Aṇimā siddhyaṁbā, guard eastern cardinal, Laghimā
siddhyaṁbā is guarding the western cardinal.
It is also said that out of these siddhyaṁbā-s, nine siddhyaṁbā-s
represent navarasa or nine emotional states. Lalitā Sahasranāma 376
is śṛṅgāra-rasa- saṁpūrṇā, which is explained thus: “Lalitāmbikā 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 (śṛṅgāra),
heroism, disgust, anger, mirth, fear, pity, amazement, tranquillity and
warmth.”
57
In the above interpretation, only nine types of emotional states are
mentioned. The tenth one is niyati, which can be interpreted to mean
prārabdha karma (that part of karma which is carved out of the total
sum of karma accumulated over past several births and known as
saṁcita karma; prārabdha karma is the karma meant for the present
life and to be experienced in this life itself). Niyati also forms one of
the six kañcuka-s (coverings) of māyā, as per Trika philosophy.
Niyati is not included while interpreting Lalitā Sahasranāma 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
aṣṭamātā-s. According to tantric texts, these aṣṭamātā-s originated
from eight different gods and having thus originated from different
gods, aṣṭamātā-s assist Parāśakti in Her war against demons (mythical
war against sinners). Demons are persistent evil doers who are
unwilling to mend their ways. Since Parāśakti 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 aṣṭamātā-s assist Her. Now let us have a look about
their origin. Serial number is their numbers in Śri Cakra and numeric
in parenthesis refers to the serial order of aṣṭamātā-s
11. (1) Brāhmī originated from Brahmā
12. (2) Māheśvari from Māheśvara
13. (3) Kaumārī from Kārttikeya, also known as Skanda. He is also
known as Kaumāra. He is the son of Śiva and Pārvatī
14. (4) Vaiṣṇavī from Viṣṇu
15. (5) Vārāhī from Vārāha, one of the incarnations of Viṣṇu

16. (6) Māhendrī from Indra
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17. (7) Cāmuṇḍā is said to have born from the body of Parāśakti
Herself.
18. (8) Mahālakṣmī from Nārāyaṇa
It is also said that their consorts are aṣṭabhairava-s. There are different
versions on this. Obviously, Mahālakṣmī is the Consort of
Mahāviṣṇu. This is explained subsequently.
While the ten siddhidevi-s in the outer wall represent emotional status
of mind, these aṣṭamātā-s represent skin, blood, muscle, fat, bone,
bone marrow, procreative fluids and vitality. Their places of
residence in a human body are ājñācakra, breasts, navel, heart, throat,
face, nose and forehead. But, according to Śivāgama, instead of
Mahālakṣmīmātṛ, Caṇḍī is named. In that case, the Bhairava consort
of Caṇḍī is Saṁhāra Bhairava.
Aṣṭamātā-s and their consorts aṣṭabhairava-s are given below:
(1) Brāhmī - Asitāṅgabhairava
(2) Māheśvari – Rurubhairava
(3) Kaumārī - Caṇḍabhairava
(4) Vaiṣṇavī – Krodhanabhairava
(5) Vārāhī – Unmattabhairava
(6) Māhendrī - kapālbhairava
(7) Cāmuṇḍā - Bhīṣaṇabhairava
(8) Caṇḍi - Saṁhārabhairava *

*Generally only saptamātā-s (seven in number) are referred. In
certain Scriptures aṣṭamātā-s are also referred. In that case, either
Mahālakṣmī or Caṇḍi is named as the eighth mother. If Mahālakṣmī
is referred, then there is no corresponding Bhairava. In certain texts,
59
Yamī is mentioned and correspondingly her consort is Yama (lord of
death). There is no corresponding Bhairava for Yamī too.
The third wall is guarded by ten mudraśakti-s. We have to leave the
tenth mudra, sarvatrikhaṇḍā mudra, as this belongs to Parāśakti. 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.
Trikhaṇḍa means dividing something into three parts and here it
means the union of the knower, known and the path of knowing
(sādhana). Beyond this, no further information is available about
these mudraśakti-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 siddhyaṁba-s relating to the mind), obstructions
(aṣṭamātā-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 Śri Cakra. The latter seems to be more
appropriate, as the entire universe has originated only from the central
triangle of Śri Cakra and the bindu within (representing Śakti and
Śiva respectively). Hence the first enclosure is called
trilokyamohanacakra and the three loka-s are attainments,
obstructions and powers as discussed above.
SECOND ĀVARAṆA (Second enclosure)
We are now going to enter the second āvaraṇa (dvitīyāvaraṇa
पहतशयरवरण). This enclosure is known as sarvāśā-paripūraka cakra
(सवररशर-पररपभरक चकस र). Presiding deity of this āvaraṇa is
Tripureśīcakreśvarī (presiding deity of the first āvaraṇa is
Tripurācakreśvarī. The difference is Tripurā in the first āvaraṇa and
Tripureśī in this āvaraṇa). Laghimāsiddhi is the Siddhi Devi.
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Sarvavidhrāviṇī is the Mudrāśakti and Guptayoginī is the Yoginī. At
the end of this āvaraṇa, these śaktī-s are worshipped. . Lalitā
Mahātripurasundarī Parā Bhṭṭārikā is also worshipped in each of the
āvaraṇa-s. Each āvaraṇa has one specific mudra with which Parāśakti
is worshipped and apart from the specific mudra, She is also
worshipped with yoni mudra at the end of each āvaraṇa.
The second āvaraṇa is in the form of lotus petals (ṣoḍaśadala padma
षमडशदल पदसम) and there are sixteen such lotus petals that form sarvāśā-
paripūraka cakra. Between the first enclosure and this enclosure,

there are three circles known as trivṛtta or trivalaya, where tri refers
to numeric three and vṛtta or valaya means circles. There are no śaktī-
s in any of these three circles guarding Śri Cakra. There circles are
not worshipped. These circles mean three of the four puruṣārtha-s
(human pursuits) viz. dharma (prescribed conduct), artha (acquiring
wealth) and kāma (satiating desires). The fourth puruṣārtha, viz.
mokṣa (liberation) can be attained only if we reach the central triangle
of Śri Cakra.
This āvaraṇa is worshipped in anticlockwise direction. The sixteen
lotus petals are attached to trivṛtta (three rings) in the outer side and
in the inner side they are attached to the eight lotus petals of the third
āvaraṇa. Now let us begin our journey in the second āvaraṇa for
worshipping these sixteen śaktī-s. It is to be remembered that we are
now moving anticlockwise direction.
1. Kāmākarṣiṇī nityakalādevī करमरकपषरणश तनतयकलरदध वश
(nityakalādevī is to be suffixed to all the devi-s mentioned
hereafter).
2. Buddhyakarṣiṇī बदस्चसयकपषणर ्श
3. Ahaṁkārākarṣiṇī अहऐ करररकपषरणश
4. Śabdākarṣiṇī शबदरकपषरणश 5. Sparśākarṣiṇī सपशररकपषरणश
6. Rūpākarṣiṇī रपरकपषरणश 7. Rasākarṣiṇī रसरकपषरणश
8. Gandhākarṣiṇī गनदरकपषरणश 9. Cittākarṣiṇī धचतरकपषरणश
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10. Dhairyākarṣiṇī धष यररकपषरणश 11. Smṛtyāākarṣiṇī समतस्रयरकपषणर ्श
12. Nāmākarṣiṇī नरमरकपषरणश 13. Bījākarṣiṇī बशजरकपषरणश
14. Ātmākarṣiṇī आतमरकपषरणश 15. Amṛtākarṣiṇī अमतर ्रकपषणर ्श
16. Śarīrākarṣiṇī nityakalādevī शररररकपषरणश तनतयकलरदध वश.
During our journey in the previous āvaraṇa, we wound up at 28. This
āvaraṇa is placed opposite (around 600
1(indicated in red ink in the chart) of second āvaraṇa from 28 of first
āvaraṇa, moving in anticlockwise direction. Once we reach 1 of this
āvaraṇa, 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 aḥ (अ to अम). Since this ṣoḍaśadala padma holds all
the sixteen vowels, this cakra produces words, their sound
(pronunciation) and meaning.
2. These sixteen petals also represent the following; five prāṇa-s
(prāṇa, apāna, vyāna, udāna samāna); five jñānendriya-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 enclosure.
3. It is also said that these sixteen śakti-s represent sixteen tithi-s (one
tithi is equivalent to one lunar day). Totally there are sixteen tithinityā
devi-s and they are worshipped in the innermost triangle of Śri Cakra.
Sixteen tithinityā devi-s include Mahānittyā, who is Lalitāmbikā and
She is worshipped in the bindu, which is the central point of Śri

Cakra. We will be worshipping tithinityā devi-s while worshipping
eighth āvaraṇa. But, in navāvaraṇa pūjā, they are worshipped in the
beginning itself.
It is also said that sisxteen devi-s of second āvaraṇa are descendents
of sixteen tithinityā devi-s, who will be worshiped at the beginning
) to 28. We have to reach
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of navāvaraṇa pūjā. However, tithinityā devi-s are not yoginī-s,
whereas all āvaraṇa devi-s are yoginī-s.
4. Apart from the above interpretation, these sixteen śakti-s also
represent sixteen kalā-s of moon and these sixteen kalā-s are
represented by sixteen tithinityā devi-s, as discussed above. Based on
this, nityakalādevī is suffixed after their names (nitya also means
daily). However, names of the sixteen kalā-s are different. These
sixteen kalā-s of the moon are worshipped during viśeṣārghya pūjā.
5. In their individual capacities, these nityakalādevī-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
(jīvātman), eternity and the gross body.
In the first āvaraṇa, we worshipped 28 śakti-s and in this āvaraṇa, we
have worshipped 16 śakti-s. Thus, we have so far worshipped 43
śakti-s in Śri Cakra, who take care different aspects of sustenance of

the universe.
THIRD ĀVARAṆA (Third enclosure)
We are now about to enter the third āvaraṇa, known as tṛtīyāvaraṇam
(ततर ्शयरवरणम), which is also known as sarva sa ्स ṁkṣobhaṇa cakra (सवर
सऐ कमभण चकस र). Saṃkṣobhaṇa means commotion and sarva
saṁkṣobhaṇa means all types of commotions. All types of mental
commotions originate from this āvaraṇa. This āvaraṇa has eight petal
lotus, known as aṣṭadala padma (अषटदल पदसम). This āvaraṇa is presided
over by Tripurasundarī Cakreśvarī (presiding deity of the first
āvaraṇa is Tripurā Cakreśvarī, presiding deity of second āvaraṇa is
Tripureśī Cakreśvarī and the presiding deity of this āvaraṇa is
Tripurasundarī Cakreśvarī. We have to note the minute difference in
their names.) Mahimā Siddhi is the siddhi Devi; Sarvākarṣiṇī is the
mudra śakti and Guptatarayoginī is the Yoginī. At the end of
worshipping these eight devi-s, above śakti-s are worshipped and
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after worshipping them, Lalitā Mahātripurasundarī Parā Bhṭṭārikā is
also worshipped in each of the āvaraṇa-s. Each āvaraṇa has one
specific mudra with which Parāśakti is worshipped and apart from the
specific mudra (in this āvaraṇa Sarvākarṣiṇī is the mudra), She is also
worshipped with yoni mudra at the end of each āvaraṇa. Before,
going into the details, let us worship these eight devi-s.
The peculiarity of these devi-s is that their names begin with anaṅga.
Anaṅga means bodiless. Worshipping āvaraṇa devi-s begin from

western side as against the eastern side of the second āvaraṇa. They
are worshipped clock wise, west, north, east, south, north west, north
east, south east and south west.
1. anaṅga kusumā devī अनङस कगकचसच मरदध वश
2. anaṅga mekhalā devī अनङस कगमध खलरदध वश
3. anaṅga madanā devī अनङस कगमदनरदध वश;
4. anaṅga madanāturā devī अनङस कगमदनरतररदध वश
5. anaṅga rekhā devī अनङस कगरध खरदध वश
6. anaṅga veginī devī अनङस कगवध धगनशदध वश
7. anaṅga aṅguśā devī अनङस कगअङस कगशच ्रदध वश
8. anaṅga mālinī devī अनङस कगमरललनशदध वश
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
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prakṛti (primordial nature), mahat (mahat means great; according to
Sāṁkhya philosophy, mahat arises from the union of puruṣa and
prakṛti; the Self within can be realized only due to mahat principle
and this depends upon mind), ego (non-essential ego),
pañcatanmātra-s (sound, touch, sight, taste and smell), five principle
elements of the universe (ākāśa, air, fire, water and earth), ten organs
of action and perception (karmendriya-s and jñānendriya-s),
antaḥkaraṇa (mind, intellect, consciousness and ego) and puruṣa
(individual soul). Another interpretation is that these eight devi-s
represent expression, apprehension, movement, elimination, lust,
rejections, attention and detachment.
When we move towards Śri Cakra, we shed those qualities
represented by different devi-s in different āvaraṇa-s and when we go
near the innermost triangle, we are completely purified, as we are
about to become one with Śiva and Śakti. When we move away from
Śri Cakra, we attain these qualities and attributes one by one, so that
when we are born, our inner Self is completely covered by māyā. The
former journey is towards liberation and the latter journey is towards
creation.
FOURTH ĀVARAṆA (Fourth enclosure)
We are now entering the fourth āvaraṇa, which is known as
turiyāvaraṇa (fourth enclosure). This āvaraṇa is called as sarva-

saubhāgya-dāyaka cakra (सवर-स भरगय-दरयक चकस र). All types of prosperity
originate from this āvaraṇa. Sarva-saubhāgya-dāyaka means giver of

all kinds of prosperity, including both material and spiritual.
Presiding deity of this āvaraṇa is Tripuravāsinī cakreśvarī,
Sarvavaśaṅkarī is the Mudrāśakti and Saṁpradāyayoginī is the
Yoginī. At the end of this āvaraṇa, the above śaktī-s are worshipped.
. Lalitā Mahātripurasundarī Parā Bhṭṭārikā is also worshipped in each
of the āvaraṇa-s. Each āvaraṇa has one specific mudrā with which
Parāśakti is worshipped and apart from the specific mudra, She is also
worshipped with yoni mudra at the end of each āvaraṇa. This āvaraṇa
is in the form of a triangle and there are 14 śakti-s in this triangle.
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This is the first triangle that we come across when we enter into Śri
Cakra. Śri Cakra has nine triangles like this and out of this nine, four
triangles are facing upwards and five triangles are facing downwards.
These nine triangles intersecting each other give rise six āvaraṇa-s
and 43 triangles. All these triangles represent Divine Procreative
energy. Four upward facing triangles are known as Śiva cakra-s
(triangles) and the five downward facing triangles are known as Śakti
cakra-s.
This āvaraṇa consists of 14 triangles. When we worship these devi-s,
we have to move in anticlockwise manner.
1. Sarvasaṁkṣobhiṇī śakti सवरसऐ कमलभणश शकत
(at the end of the name, śakti is to be added)
2. Sarvavidraviṇī सवरपवरपवणश
3. Sarvākarṣiṇi सवररकपषरखण
4. Sarvāhlādinī सवररहरहदनश
5. Sarvasaṁmohinī सवरसऐ ममहहनश
6. Sarvastaṁbhinī सवरसतऐ लभनश
7. Sarvajṛṁbhiṇī सवजर ्ऐलरभणश
8. Sarvavaśaṅkarī सवरवशङस ककरर
9. Sarvarañjanī सवररञजनश
10. Sarvonmādinī सवमनदसमरहदनश
11. Sarvārthasādhinī सवररथरसरधधनश
12. Sarvasaṁpattipūraṇī सवसर ्ऐपपतपरणश
13. Sarvamantramayī सवरमनदसतमयश
14. Sarvadvandvakṣayaṅkarī śakti सपवरनदसप्कयङस ककरर शकत
Their worship begins from the East and proceeds in anticlockwise
manner. These fourteen śakti-s are referred as the fourteen upper
worlds as mentioned in Brahmagāyātrī mantra and these worlds are
Bhū, Bhuva, Sva, Maha, Jana, Tapa and Satyaṁ. It is also said that
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these fourteen śakti-s represent fourteen important nāḍī-s (tubular
vessels) in our body and they are alaṁbhuśā, kuhū, viśvodarā*,
vāraṇā*, hastijihvā, yaśovati*, payasvinī*, gāndhārī, pūśā, śaṁkhinī,
sarasvatī*, iḍā, piṅgalā and suṣumna. These nāḍī-s help in excretion,
procreation, digestion, locomotion, hearing, vision, taste and of
course three divine nāḍī-s. iḍā, piṅgalā and suṣumna. However,
Yogacūḍāmaṇi Upaniṣad (verses 18,19 and 20) talks about only ten
nāḍī-s (* represent those nāḍī-s not mentioned in the Upaniṣad).
There are other variations also.
The above 14 śakti-s are in charge of fourteen qualities or attributes
such as mental agitation, chasing away (evil thoughts), attraction
(physical), causing happiness, delusion (māyā), 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 āvaraṇa is worshiped, She sends the right
Guru to the worshiper who will take him to higher spiritual levels. It
is also said that Śiva 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 pūjā-s and other
rituals).
At the end of the fourth āvaraṇa, we have worshipped 66 śaktī-s.
(First āvaraṇa 28; second āvaraṇa 16; third āvaraṇa 8 and this (fourth)
āvaraṇa 14 totalling to 66).
FIFTH ĀVARAṆA (Fifth enclosure)
We are now entering fifth āvaraṇa, which is known as pañcamāvaraṇa
(fifth enclosure). This āvaraṇa is called Sarvārthasādhakacakra
(सवररथरसरधकचकस र). Ten primary prāṇa-s originate from this āvaraṇa and
each vital breath is represented by a śakti. There are ten triangles in
this āvaraṇa and each triangle is presided over by a śakti. Thus there
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are ten śakti-s in this enclosure. By worshipping the śakti-s in this
āvaraṇa, Guru-disciple relationship is strengthened. Sarvārtha means
accomplishments of all our aims and objects of this life and in
particular, Self-realization and consequent liberation from the
process of transmigration. This āvaraṇa is presided over by Tripurāśrī
Cakreśvarī and Sarvonmādinī is the Mudrāśakti and Kulotīrṇayoginī
is the Yoginī. She increases spiritual knowledge through strongly
bonding Guru-disciple relationship. After worshipping them at the
end of this āvaraṇa, Lalitā Mahātripurasundarī Parā Bhṭṭārikā is
worshipped with yonimudra.
This āvaraṇa consists of 10 triangles. When we worship these devi-s,
like in the previous āvaraṇa, we have to move in anticlockwise
manner. These devi-s also represent ten vital breaths - prāṇa, apāna,
vyāna, udhāna, samāna, nāga, kūrma, kṛkara, devatatta and
dhanañjaya. Each of these prāṇa-s occupy certain specific parts in a
human body. Prāṇa in the chest; apāna in the navel and is the cause
for procreation and excretion; vyāna in nostrils, stomach and is the
cause for circulation of blood and lymph; udhāna having its abode at
throat and circulates in arms and legs; samāna causes digestive fire
(jaṭharāgni). These five are primary prāṇa-s and the next five are
secondary prāṇa-s and their functions are nāga in vomiting; kūrma in
winking of eyes; hṛkara in digestion; devatatta in yawning and
sleeping; and dhanañjaya 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. Sarvasiddhipradā devī सवरलसपपपसरदर दध वश
2. Sarvasaṁpatpradā devī सवरसऐ पतपसरदर दध वश
3. Sarvapriyaṅkarī devī सवरपपसरयङस ककरर दध वश
4. Sarvamaṅgalakāriṇī devī सवरमङस कगलकरररणश दध वश
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5. Sarvakāmapradā devī सवरकरमपसरदर दध वश
6. Sarvaduḥkhavimocinī devī सवदर ्म्चखपवममधचनश दध वश
7. Sarvamṛtyupraśamanī devī सवमर तस्रयपसरशमनश दध वश
8. Sarvighnanivāriṇī devī सपवरघनतनवरररणश दध वश
9. Sarvāṅgasundarī devī सवररङस कगसनदस्चदरर दध वश
10. Sarvasaubhāgyadāyinī devī सवरस भरगयदरतयनश दध वश
Their worship begins from the eastern side and proceeds in
anticlockwise manner. The difference between the previous āvaraṇa
is that the former was gross in nature like material wealth, etc and this
āvaraṇa ias purely in subtle in nature and deals with invisibilities like
prāṇa. Apart from controlling prāṇa-s, these ten śakti-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
āvaraṇa onwards, knowledge about Śiva is imparted gradually.
In order to merge with Śiva, to whom alone an individual soul can
merge to get total liberation, one has to have complete knowledge of
Śiva. Śiva here means Brahman. Such a soul merges with Śiva
(Brahman), to become one with Him. This can be done only by
Lalitāmbikā, as explained in Lalitā Sahasranāma 727, Śiva-jñāna-

pradāyinī.
{Further reading on Śiva-jñāna-pradāyinī: She imparts the
knowledge of Śiva, the Ultimate. Śiva jñāna (knowledge) means the
knowledge of the Brahman, which is also known as the Supreme
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knowledge. To know Śiva, one should first know His Śaktī, who
alone is capable of leading a person to the Brahman or Śiva.

Rāmāyaṇa says ‘wind can be realized through movements, fire can
be realised through heat and Śiva can be realized only through Śaktī.’
It can also be said that Śiva is the source of knowledge for Her. It is
said śaṁkaraṁ caitanyam which means that Śiva is both jñāna and
kriyā. He is the sovereign, pure free will in knowledge and action.
Based upon this principle, Śiva Sūtra-s opens by saying
caitanyamātmā. Caitanyam means consciousness of the highest
purity and knowledge. There is no difference between Brahman and
the highest form of consciousness. But how Śaktī alone is capable of
unravelling Śiva? This is answered by Śiva Sūtra (I.6) again which
says that by meditating on Śaktī, the universe disappears as a separate
entity thereby unveiling Self illuminating Śiva. The process of such
happening is described in Spanda Kārikā (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
(Śiva), he becomes equal to that Self.’ The seeker of Śiva becomes
Śiva himself. This is known as Śiva jñāna and She imparts this kind
of Supreme knowledge. It is also said that Śiva cannot be attained
without first realising Śaktī. She alone can lead one to Śiva. Śiva is
inaccessible directly. Unless She chooses to impart the required
Supreme knowledge, none can realise Śiva. Hence, She is called
Śiva-jñāna-pradāyinī.}
SIXTH ĀVARAṆA (Sixth enclosure)

We are now entering the sixth āvaraṇa (ṣaṣṭhāvaraṇa), which is
known as Sarvarakṣākaracakra (सवररकरकरचकस र). This āvaraṇa has ten
triangles and each triangle is presided over by a śakti. On the subtle
side, sarvarakṣākara means protection from the spiritual stage
attained. Guru-disciple relationship that was strengthened in the
previous āvaraṇa leads to destruction of duality in this āvaraṇa, which
ultimately leads to liberation. On the grosser side, these ten śakti-s
represent ten digestive fires. Ten prāṇa-s of the fifth āvaraṇa, now
transforms into ten digestive fires (ten aspects of digestion,
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absorption and excretion). This āvaraṇa is presided over by
Tripuramālinī Cakreśvarī. Sarvamahāṅkuśā is the Mudrāśakti and
Nigarbhayoginī is the Yoginī. In this āvaraṇa also, worship is to be
done in anticlockwise manner. Now, let us worship these ten śakti-s.
1. Sarvajñādevī सवरजरदध वश
2. Sarvaśaktidevī सवरशकतदध वश
3. Sarvaiśvaryapradādevī सवष शवयरपसरदरदध वश
4. Sarvajñānamayīdevī सवरजरनमयशदध वश;
5. Sarvavyādhivināśinīdevī सवरवयरधधपवनरलशनशदध वश
6. Sarvāthārasvarūpādevī सवररथररसवरपरदध वश
7. Sarvapāpaharādevī सवरपरपहररदध वश
8. Sarvānandamayīdevi सवररननदमयशदध पव
9. Sarvarakṣāsvarūpiṇīdevī सवररकरसवरपपणशदध वश
10. Sarvepsitaphalapradādevī सवध हससतफलपसरदरदध वश

Like other āvaraṇa-s, we proceed from the Eastern side in
anticlockwise manner. If we look at devi-s in various āvaraṇa-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 Prakāśa form Śiva.
Śiva is worshipped in the bindu, the central point of Śri Cakra.
Creation begins from Him and leads to the immediate next triangle,
the innermost triangle of Śri Cakra. The three angles of the innermost
triangle represent icchā, jñāna and kriya śakti-s.
Let us find out how these śakti-s cleanse the aspirant. First devi gives
him all the requisite knowledge so that he is completely freed from
māyā. 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 yogī, in
whom the union between the individual soul and Brahman takes
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place. A yogī 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, fifth 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 Lalitā Sahasranāma 659 sarvādhāra.
Every devi in Śri Cakra is connected to any one of the nāma-s of
Sahasranāma). When one attains liberation, even the traces of karmic
imprints have to be removed. Seventh devi does this. Parāśakti 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 āvaraṇa, it means that he has almost disowned his
body. This concept is not applicable to navāvaraṇa pūjā, which is
done externally. What is being discussed here is related to
Bhāvanopaniṣat (mental worship; bhāvana 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 Śiva that
He should be present personally during consecration rituals. But Śiva
refused and said that He has already accepted invitation from
someone else, who is also building a temple very close to king’s
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 Śiva to show him the temple so that he can be present to
attend the consecration function. Śiva 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
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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 Śiva did not accept king’s
invitation and gladly accepted the poor man’s invitation. This story
highlights the power of mental worship.)
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 yogī 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 āvaraṇa.
SEVENTH ĀVARAṆA (Seventh enclosure)
We are now about to enter the seventh āvaraṇa or saptamāvaraṇa
(sapta means seven; please recall saptamatā-s), which is known as
sarvarogaharacakra (सवररमगहरचकस र). This āvaraṇa has eight triangles
and each triangle is presided over by a vāgdevī. This āvaraṇa is
presided over by Tripurāsiddhā Cakreśvarī. Sarvakeśarī is the
Mudrāśakti and Rahasyayoginī is the Yoginī. These eight vāgdevī-s
composed Lalitā Sahasranāma. While reciting Lalitā Sahasranāma,
they are worshipped as Ṛṣi-s (in Ṛṣyādi nyāsaḥ they are worshipped
as vaśinyādi vāgdevatā ṛṣayaḥ वलशनदरहद वरगदध वतर ऋषयम). They
composed Lalitā Sahasranāma and made its maiden rendition*. On
the subtler side, they preside over all the 51 Sanskrit alphabets and
hence they are known as vāgdevī-s (this can also be written as
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vācdevī-s). Vāc means to express, to speak, etc. Without sound, we
cannot understand anything. Parāśakti has given them powers to
administer everything related to alphabets. These eight vācdevī-s
have attained complete mastery over language. But for their mastery,
Lalitā Sahasranāma, an amazing masterpiece, would not have come
into existence. Like primeval stage of vāc**, they work on the
subtleties of human mind such as spiritual ignorance, mind, intellect

and ego. Subtleties of mind need thorough transformation in order to
understand the teachings of Guru, “tat tvaṁ asi” (You are That).
When Guru teaches the concept of “tat tvaṁ asi”, the student should
affirm “ahaṁ brahmaṁ 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 vācdevī-s
remove mental sickness. This āvaraṇa is known as
sarvarogaharacakra, where sarva mens all; roga means sickness and
hara means destroying. Now, let us get to know these eight vācdevī-
s. As in other āvaraṇa-s, they are also worshipped in anticlockwise
manner.
1. Vaśinī vāgdevī वलशनश वरगदध वश
2. Kāmeśvarī vāgdevī करमध शवरर वरगदध वश
3. Modinī vāgdevī ममहदनश वरगदध वश
4. Vimalā vāgdevī पवमलर वरगदध वश
5. Aruṇā vāgdevī अरणर वरगदध वश
6. Jaini vāgdevī जष तन वरगदध वश
7. Sarveśvarī vāgdevī सवध शवरर वरगदध वश
8. Kaulinī vāgdevī क ललनश वरगदध वश
Apart from what is explained above, these eight vācdevī-s also
represent puryaṣṭaka*** which consists of the following eight - 1)

five organs of action (karmendriya-s), 2) five organs of senses
(jñānaendriya-s), 3) antaḥkaraṇa (four in numbers - manas, buddhi,
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cittam and ahaṃkāra or ego), 4) five prāṇa-s (prāṇa, apāṇa, etc), 5)
five elements (ākāśa, air, etc) 6) desire, 7) ignorance and 8) karma.
With this āvaraṇa, worshipping of secondary deities in Śri Cakra gets
completed. Including this āvaraṇa, we have so far worshipped 94
śakti-s. However, fifteen tithi nityā devi-s are worshipped outside the
innermost triangle, which is being discussed subsequently.
Guru Maṇḍala
IMAGE 3
Below Aruṇā vāgdevī (image 3 above), three lines can be noticed
(indicated by an arrow mark). This is called Guru Maṇḍala, where
Guru-s reside. There are four types of Guru-s. First is Paraguru, who
is the first Guru or Ādi Guru. Ādi Guru is Mahākāmeśvara. It is He,
who has initiated Mahākāmeśvarī into Śrī Vidyā. Thus Śiva becomes
the first Guru and the first disciple of Śrī Vidyā lineage is Parāśakti.
Therefore Ādi Guru Mahākāmeśvara and His disciple
Mahākāmeśvarī are worshipped in the inner most triangle and the
bindu within. If we look at the image 3, above the flat end of the
innermost triangle and below the triangle where Aruṇā vāgdevi
resides, there are three horizontal parallel lines. This is the place our
Guru-s live. There are three types of Guru-s in Śrī Vidyā cult. One’s
own Guru is known as svaguru. He is the one who initiates the

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aspirant into Śrī Vidyā cult. He is often called Guruji!! He should be
a Self-realized person iand should be capable of taking the aspirant
beyond māyā. A true Guru is the one who carefully follows up with
those who are initiated and takes them to successive higher stages, till
Parāśakti is realized. His job does not end here. After making the
aspirant to realize Parāśakti, he has to make the aspirant realize Śiva.
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 Parāśakti and not those who merely initiate his disciples. If the
second type of guru is considered on par with Parāśakti, both the guru
and his students accrue huge amount of insurmountable karma. This
is to be always kept in mind before getting initiated into Śrī Vidyā
cult. Lalitā Sahasranāma 713**** says that Lalitāmbikā Herself is in
the form of Guru Maṇḍala.
{*Further reading: This scene takes us back to the situation at the time
of first appearance of this Sahasranāma. All gods and goddesses are
seated in Lalitāmbikā-s royal court. Sapta (seven) riṣi-s, other riṣi-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. Lalitāmbikā entered the court
along with Her assistants. All those seated got up and paid their
obeisance to Her. Her form is described in dhyāna verses. She had
earlier summoned Her eight Vāc Devi-s and spoke to them thus: “The
eight of you got the power of your vāc (mastery of speech) through
my blessings. You are appointed to provide the power of vāc to my
devotees. You are aware of the secrets of my Śrī Cakra. You
perpetually chant my name with great devotion. Therefore, I
command you to script a verse about me consisting of 1000 nāma-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 nāma-s; second, the verse should have Her name
embossed; third, She should be gratified when Her devotees recite the
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verse. Bearing Her command in mind, Vāc Devi-s composed such a
verse and were ready for the recitation. When Lalitāmbikā nodded
Her head, Vāc Devi-s commenced their recitation and Lalitā
Sahasranāma 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 Vāc Devi-s by saying ‘good’ and ‘excellent’.}
** Please refer Lalitā Sahasranāma 366 to 371.
*** {Further reading on puryaṣṭaka: (as told by sage Vāsiṣṭha to Lord
Rama in Yoga-vāsiṣṭha - VI.5). Brahman who is without beginning

or end and which is the seed of the universe, becoming differentiated
is jīva (soul); subjecting itself to the idea of separateness, it becomes
ahaṃkāra (ego) with manana (contemplation), it becomes manas
(mind); with the certainty of intelligence, it becomes buddhi
(intellect); then the five elements (sound, etc) through indriyā-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 puryaṣṭaka 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 tanmātra-s.}
****Further reading: Lalitā Sahasranāma 713 is Guru-maṇḍala-

rūpiṇī and is explained thus:
This nāma subtly conveys that the meaning and interpretation of
kāmakalā 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 maṇḍala means lineages of Guru-s. Śrī Vidyā
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 maṇḍala to maṇḍala (maṇḍala here
means group) and each maṇḍala follows different customs and
practices. Each Śrī Vidyā student will have three categories of Gurus
- Guru, Paramaguru (Guru’s Guru) and Parameṣṭhiguru
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(Paramaguru’s Guru). During navāvaraṇa pūja, all these Guru-s are
worshipped along with many other Guru-s. This nāma says that She
is in the form of Guru maṇḍala. There is no difference between Guru
and Lalitāmbikā, hence this nāma. The first Guru or Ādi Guru is Śiva.
Guru is also worshipped in sahasrāra, where She conjoins Śiva.
Primarily there are three types of Guru Lineages. They are for
kādividhyā upāsaka-s and hādividhyā upāsaka-s who are initiated
into Pañcadaśī mantras. Separate Guru Lineage exists for Ṣoḍaśī
upāsaka-s. Upāsaka-s mean worshippers. What is described here is
the one that belongs to Ṣoḍaśī upāsaka-s. There are three types of
Guru-s in each of these lineages. They are Divyaguru-s, Siddhaguru-

s and Mānavaguru-s. Let us now understand them. Each āmnāya
(sacred tradition comprising of papritcular assemblage of gods) has
one principle Guru. He is the one who had laid down the methods of
worship in that particular āmnāya. Āmnāya means sacred tradition*.
Number of Guru-s under each group differs from tradition to tradition
and similarly, the names of Guru-s also differ. One’s Guru is
worshiped in the lower most line, marked as 6. Guru’s Guru, known
as Paramaguru is worshiped in the middle line marked as 5 and
Paramaguru’s Guru is known as Parameṣṭhi Guru and he is
worshipped in the top line, marked as 4.** Parameṣṭhi 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 Paramaguru’s Guru (who is Parameṣṭhi Guru for us).

Tradition followed in this article is as per Paraśurāma kalpa sūtra, the
best authentic version of Śrī Vidyā upāsaṇa.
**There are variations about where to worship these three types of
Guru-s. The right method would be to worship divyaguru-s in 6, as
they are very close to Parāśakti. Siddhaguru-s should be worshipped
in 5 and Mānavaguru-s should be worshiped in 4, away from
Parāśakti, which means they have to intensify Her contemplation still
further.
If we look at the image (detailed image available in the second
section), we can find three lines marked 4, 5 and 6. In 4 our
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Parameṣṭhi Guru is worshiped along with five other divyaguru-s.
Nine Divyaguru-s are (from 1 to 5): The following Guru Maṇḍala is
for Ṣoḍaśī upāsaka-s.
1. Vyomātītāmbā वयममरतशतरमबर
2. Vyomeśyambā वयममध शयमबर
3. Vyomagāmbā वयममगरमबर
4. Vyomacāriṇyambā वयममचरररणयमबर
5. Vyomasthāmbā वयममसथरमबर
In 5 our Paramaguru is worshiped along with nine Siddhaguru-s and
they are (from 1 to 9)
1. Unmanākāśa ānandanātha उनदसमनरकरश आननदनरथ
(In subsequent eight names, ānandanātha (आननदनरथ) is to be added

next to their names.)
2. Samanākāśa समनरकरश
3. Vyāpakāśa वयरपकरश
4. Śaktyākāśa शकतयरकर
5. Dhvanyākāśa ्सवनदरकरश
6. Dhvanimātrā ्सवतनमरतस्र
7. Anāhatākāśa अनरहतरकरश
8. Bindvākāśa तसरबनदसप्रकरश
9. Indrākāśa इनदसररकरश
In 6 our Guru (the one who has initiated into Śrī Vidyā cult, is
worshiped along with nine mānavaguru-s and they are (from 1 to 9)
1. Paramātma ānandānātha परमरतम आननदरनरथ
(In subsequent eight names, ānandanātha (आननदनरथ) is to be added
next to their names)
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2. Śāmbhava शरमभव 3. Cinmudra धचनदसमचर
4. Vāgbhava वरगभव 5. Līlā लरलर
6. Sambhrāma समसररम 7. Cida धचद
8. Prasanna पसरसनदसन 9. Viśvānandanātha पवशवरननदनरथ
A Guru, either at the time of initiation or during pūrṇābhiṣeka confers
a dīkṣā name to the aspirant. Method of initiation is purely Guru’s
choice. He can initiate either through one of the normal procedures
(verbally, etc) or by performing pūrṇābhiṣeka. Mostly, normal
initiation is done first and depending upon the progress of the disciple
pūrṇābhiṣeka is done subsequently and at that time dīkṣā name is
given to him. Such dīkṣā names should be used only during Guru’s
presence or among the disciples of the same Guru. This name should
not be used in public except in the case of saṃnyāsin-s. The dīkṣā
name given by a Guru will also end with ānandanātha. Sometimes,
deśika and bhaṭṭaraka are used instead of ānandanātha (technically it
is only nātha). For saṁnyāsin-s, it woul only be ānanda. Saṁnyāsin-

s are those who become eligible under the pañcopaniṣads or five
Upaniṣad-s (nirvāṇoupaṇiṣad, kuṇḍikopaniṣad, bhikṣuikopaniṣad,
avadhutopaniṣad and paramahaṁsaparivrājakoupaniṣad) which
speaks about saṁnyāsin-s.
Before worshipping Guru Maṇḍala, the three sides of innermost
triangle and the bindu within the triangle are worshipped. Triangle
represents Parāśakti and the bindu represents Śiva. Innermost triangle
has three sides, left, right and top. Inside the triangle, there is a bindu.
It is Mahākāmeśvara (Paramaśiva), who initiated Mahākāmeśvarī
during Kṛita yuga (consisting or 1,728,000 years). This is the first of
four yuga-s. In Śrī Vidyā cult, Mahākāmeśvara who initiated
Mahākāmeśvarī is known as Caryānandanātha (carya means to be
practiced or to be performed, signifying the importance of sādhana).
Caryānandanātha is also known by other names such as
Vidyānandanātha and Paramaśivānandanātha. After having initiated
Mahākāmeśvarī in Kṛita yuga, Mahākāmeśvara initiated
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Uḍḍīśānandanātha in Tretā yuga (1,296,000 human years),
Śaṣṭhīśānandanāta in Dvāpara yuga (864,000 human years) and
Mitreśānandanātha in the present Yuga (Kali yuga comprising of
432,000 human years; 2013-14 is 5115th year of Kali yuga). Thus,
Mahākāmeśvara is worshiped in the bindu and the three Gurus who
were initiated directly by Paramaśiva along with three other Gurus
are worshipped in the three sides of the innermost triangle.
Mahākāmeśvara (Paramaśiva) is worshipped in the bindu with this
mantra:
ॐ ऐऐ हसरऐ शस्शऐ ऐऐ हसरऐ शस्शऐ ऐऐ कलरऐ स ्म ऐऐ गलल हससखसस्सरर हसकमलवरयभऐ हससखस ्म सहकमलवरयशऐ
सह ्म शस्शपवदरननदनरथरतमक चयरनर नदनरथ शस्श महरपरदकस ्चकरऐ पभजयरलम॥
om aiṁ hrīṁ śrīṁ aiṁ hrīṁ śrīṁ aiṁ klīṁ sauḥ aiṁ glauṁ hskhphreṁ
hasakṣamalavarayūṁ hsauḥ sahakṣamalavarayīṁ shauḥ
śrīvidyānandanāthātmaka caryānandanātha śrī
mahāpādukkāṁ pūjayāmi ||
The Gurus who are initiated by Paramaśiva
are worshiped on the three sides of the
innermost triangle.
On the top of the triangle, following Gurus are
worshiped.
IMAGE 4
1. Uḍḍīṣanandanātha उडस डशषननदनरथ
2. Prakāśānandanātha पसरकरशरननदनरथ
3. Vimarśānandanātha पवमशररननदनरथ
4. Ānandanandanātha आननदननदनरथ
On the right side of the triangle (on the right of the practitioner),
following Gurus are worshipped.
1. Ṣaṣṭīśānandanātha षषटशशरननदनरथ
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2. Jñānānandanātha जरनरननदनरथ
3. Satyānandanātha सतयरननदनरथ
4. Pūrṇānandanātha पणभ ्ररननदनरथ
On the left side of the triangle (on the left side of the practitioner)
following Gurus are worshiped.
1. Mitreśānandanātha लमतस्धशरननदनरथ
2. Svabhāvānandanātha सवभरवरननदनरथ
3. Pratībhānandanātha पसरतशभरननदनरथ
4. Subhagānandanātha सच भगरननदनरथ
In general, in Śrī Vidyā cult, great importance is attached to Guru and
Guru Maṇḍala. It is also said that Paramaśiva not only initiated Gurus
into Śrī Vidyā, but also imparted Ātmavidyā (tat tvaṁasi or you are
That, where That stands for Brahman).
At the time of initiation, Guru apart from initiating a mantra, also
gives Gurupādukā mantra. Gurupādukā mantra is given for the Guru
who initiates, Guru’s Guru (Paramaguru for the one who is being
initiated and Paramaguru’s Guru (Parameṣṭhi Guru for the one who
is being initiated). During this process, dīkṣā names of all the three
Gurus are revealed to the disciple. There are three types of mantras
for Guru, Paramaguru and Parameṣṭhi Guru. A disciple has to pay his
respect to his Guru by using mṛgīmudra (mṛgī means female deer, a
doe).
Further reading on Āmnāya-s:
Sacred traditions or doctrines are known as āmnāya-s and they are the
paths to liberation. The significant aspect of āmnāya-s is that they are
communicated only through words. This means that āmnāya-s should
be known only through a Guru. Commonly known āmnāya-s are five,
corresponding to the five faces of Śiva. Knowing and
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following āmnāya-s are the right path to liberation. Āmnāya means
sacred tradition or Tantra.
Lord Śiva has five faces, four faces facing the four cardinals (East,
South, West and North) and one face facing upwards and each of His
face represents one āmnāya. Thus His face facing east represents
Pūrvāmnāya; south represents Dakṣiṇāmnāya; west represents
Paścimāmnāya and north represents Uttarāmnāya. These are His four
faces facing four cardinal directions. His fifth face is facing upwards
(ākāśa) and this is known as Ūrdhvāmnāya. There is one more
āmnāya by name Īśāmnāya, which is not commonly known. This face
of Śiva looks down. Some texts call sixth āmnāya as Anuttarāmnāya.
Anuttara means the Highest, referring to Paramaśiva, who is beyond

normal human comprehension. With reference to Śrī Vidyā, those
who are initiated into Pañcdaśī mantra follow only four āmnāya-s and
those who are initiated into Ṣoḍaśī follow six āmnāya-s, the
additional two being Uttarāmnāya and Anuttarāmnāya.
Pūrvāmnāya represents creation. It also reveals the path of mantra by
which He can be attained. Dakṣiṇāmnāya represents sustenance and
represents the path of devotion, by which He can be attained.
Paścimāmnāya represents destruction (destruction should be taken to
mean destruction of dualities, which alone can lead to realization) and
represents Law of Karma, by which He can be attained. Uttarāmnāya
represents His Grace (anugraha) and represents the path of pure
knowledge, by which He can be attained. Ūrdhvāmnāya represents
His face facing upwards, which representsŚiva Himself in His
Absolute form. This is the direct form of Śiva Himself. This āmnāya
is considered to be highly secretive in nature, as it reveals the true
form of Śiva. In each of these four faces, He reveals a group of
goddesses. Śiva can be realized by worshipping them and reciting
their mantras. These goddesses, when worshipped properly reveal
Śiva and Śakti. However, for liberation, Śiva’s Grace is important.
For the purpose of liberation, it is enough that any one of these
four āmnāya-s are followed with discipline and sincerity. If one
happens to know all the four āmnāya-s, he becomes Śiva. But, with
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regard to Ūrdhvāmnāya, there are restrictions, as this is a direct path

to become Śiva Himself. Even thinking about Ūrdhvāmnāya happens,
only if it is his last birth. This means, practicing Ūrdhvāmnāya is
possible only if one’s karmic account is on the verge of
extermination; this is a situation where only traces of his or her
karmic imprints remain. The only condition is that Ūrdhvāmnāya
should be learnt from a Self-realized Guru. Mere initiation into
Ūrdhvāmnāya by a Guru, leads to liberation. The practitioner
becomes blessed and the place he lives is showered with prosperity.
Unlike other āmnāya-s Ūrdhvāmnāya does not have any specific
goddesses or mantras. The presiding God for Ūrdhvāmnāya is Śiva
and the mantra is one’s own breath; observing one’s breathing. The
mantra that needs to be recited along with breath is “hamsa”,
where ha stands for Śiva and sa stands for Śakti. (The subtle meaning
of hamsa is “I am both Śiva and Śakti” where the middle m refers to
‘aham’ or ‘I am’). “hamsa” is not a mantra, it is the subtle sound of
breath during exhalation and inhalation. Both Śiva and Śakti join
together to form the universe. “hamasa” mantra does not confine
itself only Śiva but also includes Śakti. Without Her, creation is not
possible for Śiva. Ha is to be synchronised with exhalation and sa is
synchronised with inhalation. The first four āmnāya-s represent four
Vedas; Ūrdhvāmnāya represents Upaniṣad-s;Īśāmnāya represents
essence of teaching Upaniṣad-s “I am That”. Thus from the
six āmnāya-s, all the mantras originate. Each āmnāya is presided over
by a Deity and a Ṛṣi (sage).
TITHI NITYĀ DEVĪ-S
Before we proceed to eighth āvaraṇa, we should know about tithi
nityā devī-s as they are worshipped in the outer side of the innermost
triangle. Before entering into eighth āvaraṇa we will be worshiping
Her four weaponries placed outside the innermost triangle. This will
be discussed in the next part.
Tithi nityā devī-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
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and each tithi is represented by a nityā devī and hence they are known
as tithi nityā devī-s. Pañcadaśī has fifteen letters and each of these
letters represent one kalā (digit) of the moon. But, kalā also means
sixteenth part (1/16). But we have only fifteen letters in Pañcadaśī
mantra. The sixteenth kalā is Ṣoḍaśī bīja śrīṁ (शस्शऐ), which is hidden
and always remains subtle. As there are only fifteen tithi nityā devī-
s, how to worship the sixteenth Ṣoḍaśī kalā? Answer to this question
is considered as secret, as the answer reveals Mahākāmeśvarī.
Sixteenth kalā is worshiped in the bindu, the place of Śiva. But in the
bindu, Śiva is not worshiped while worshipping tithi nityā devī-s, but
Mahākāmeśvarī is worshiped. This also subtly conveys the union of
Śiva and Śakti. Though there is no separate procedure for Ṣoḍaśī
upāsaka-s (those who are initiated into Ṣoḍaśī), when Mahākāmeśvarī
is worshipped in the bindu, the above aspect is to be contemplated. It

would be ideal to worship Mahānityā (Mahākāmeśvarī) in the bindu
with Ṣoḍaśī mantra for the sixteenth kalā, though it is not explicitly
mentioned; but it is implied. Texts say that while worshipping
Mahānityā, Pañcadaśī mantra should be encased (sampuṭīkaraṇa)
between two aḥ (अम). Each nityā devī represents fifteen vowels from
a to aḥ (अ to अम). But, those who are initiated into Ṣoḍaśī should use
Ṣoḍaśī mantra, instead of Pañcadaśī mantra.
It is also said that during śuklapakṣa (waxing moon), tithi nityā devī-
s should be worshiped from 1 to 16 (anticlockwise) as shown in the
image (image available in the second section). But during kṛṣṇapakṣa
(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 Śrī Vidyā 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 Śri Cakra and should
remain with Parāśakti all the time. Each tithi nityā devī have their
own yantra-s and mantra-s. They have their own mūlamantra-s,
āvaraṇa pūjā-s, etc. The innermost triangle is formed by the first,
second and sixth tithi nityā devī-s, viz. Kāmeśvarī, Vajreśvari and
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Bhagamālinī, each representing one corner of the triangle. Though as

tithi nityā devī-s, they do not hold the innermost triangle, they hold
this triangle as three devi-s representing three guṇa-s. This will be
discussed in the next āvaraṇa, viz. eighth āvaraṇa. In fact, the
innermost triangle is held by them. However, there are other views
on this, which says that Lalitāmbikā, Kāmeśvarī nityā and
Bhagamālinī nityā hold the innermost triangle. But this argument
cannot be accepted. When Lalitāmbikā is seated on the lap of Śiva,
obviously, She cannot be holding this triangle. Further, She cannot be
compared to other nityā devī-s, who function under Her.
Following are the tithi nityā devī-s and their abode is marked as 1 to
15 in the image and mentioned in anticlockwise manner. Worship of
tithi nityā devī-s begin with the worship of Mahānityā, Lalitāmbikā.
She is worshipped like this in the bindu, three times using the
following mantra.
Om aiṁ hrīṁ śrīṁ aḥ (ॐ ऐऐ हसरऐ शस्शऐ अम)
followed by the initiated mūlamantra
(either Pañcadaśī or Ṣoḍaśī) and at the end
of mūlamantra alphabet aḥ (अम) is recited
followed by Lalitā Mahātripurasundarī
Parā Bhṭṭārikā pūjayāmi (tarpayāmi)
namaḥ. Tarpayāmi is included only while
IMAGE 5
performing navāvaraṇa pūjā.
1. Kāmeśvarinityā करमध शवररतनतयर (nityā is to be suffixed to all the

names)
2. Bhagamālini भगमरललतन 3. Nityaklinnā तनतयहकलनदसनर
4. Bherunḍā भध रनदसडर
5. Vahnivāsini वकस प्वरलसतन
6. Mahāvajreśvarī महरवजसरधशवरर
7. Śivadūtī लशवदतभ ्श
8. Tvaritā तवररतर
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9. Kulasundarī कचलसच नदरर
10. Nityā तनतयर
11. Nīlapatākā नशलपतरकर
12. Vijayā पवजयर
13. Sarvamaṅgalā सवरमङस कगलर
14. Jvālāmālinī जवरलरमरललनश
15. Citrā धचतस्र
Finally Mahātripurasundarī Parā Bhṭṭārikā preceded by initiated
mūlamantra in the bindu. She is known as Mahānityā.
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 Pañcadaśī mantra and on the new moon day, She is in
the form of Ṣoḍaśī 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 Śiva and Śakti, which is
explained in Lalitā Sahasranāma 999 Śiva-śakty-aikya-rūpiṇī. Based
on this principle, it is said that Ṣoḍaśī surely gives liberation. Though,
She is the cause for liberation, merger of the individual soul with the
Self happens only with Śiva. For the same reason, She is addressed
as is Śiva jñāna pradāyinī in Lalitā Sahasranāma 727. Merger with
Śiva 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 with Parāśakti, obviously, when She
unites with Śiva, merger of our individual soul cannot merge with
Śiva. Sixteenth kalā is invisible and immortal. There is a reference to
this in Bṛhadāraṇyaka Upaniṣad (I.v.14). The Upaniṣad says, “Nights
and days are his (Hiraṇyagarbha*) 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 Śiva too has sixteen kalā-s and it is said that Śiva’s lunar
and solar aspects culminate.
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This is the reason, why Ṣoḍaśī 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 into
Ṣoḍaśī. Literally, Guru is paving way for the liberation of his disciple
when he initiates him or her into Ṣoḍaśī. It is often believed that a
Guru does not initiate a person into Ṣoḍaśī without Her approval.
Many of these tithi nityā devī-s are referred in Lalitā Sahasranāma.
*Hiraṇyagarbha: Vedānta Paribhāsā a 17th century scripture explains
hiraṇyagarbha. It says “Hiraṇyagarbha is the first soul to be born and
is different from Brahmā, Viṣṇu and Śiva.” 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 karma-s. The subtle body is of two kinds, superior and inferior.
The superior one is the subtle body of hiraṇyagarbha and the inferior
is the subtle body of living beings. The subtle body of hiraṇyagarbha
is called as mahat or the cosmic intellect and the subtle body of living
beings is called ego.
WEAPONRIES
We are about to enter the eighth āvaraṇa, which is the innermost
triangle. Within this triangle is the bindu. Tithi nityā devī-s were
worshipped outside this triangle. Guru Maṇḍala was worshiped above
this triangle. This is the triangle from which, the entire universe was
born. Eighth āvaraṇa or aṣṭamāvaraṇa is known as Sarvasiddhipradā,
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 āvaraṇa is presided over by
Tripurāṁbācakreśvarī. Sarvabīja is the Mudrāśakti and

Atirahasyayoginī (atirahasya means highly secretive) is the Yoginī.
There are only three Devi-s in this āvaraṇa. Before worshipping them,
we need to worship Lalitāmbikā’s weaponries, which are placed
outside this triangle. These weaponries are marked as A, B, C and D
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in the imag (available in the second section). It is very important to
note that both Mahākāmeśvara and Mahākāmeśvarī have the same
weaponries. Both of them have arrows, bows, nooses (pāśa) and
hooks (aṅkuśa). 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.
kāmeśvarī kāmeśvara dhanurbhyāṁ namaḥ| dhanuḥśakti pūjayāmi ||
करमध शवरर करमध शवर धनभच रयररऐ नमम। धनम्चशकत पजभ यरलम॥
This means that we worship the bows of both Kāmeśvarī and
Kāmeśvara, as usage of dhanurbhyāṁ signifies two and not one. In
reality, both of them are not different. They are the same. What
Kāmeśvarī holds is nothing but the mirror image of the weaponries,
which Kāmeśvara hold. This subtly conveys that our inherent māyā
has not yet been annihilated, even at this point of time. Why our māyā
has not yet been annihilated, though we are very close to the
innermost triangle? Māyā 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 māyā will continue to be present. Though major
portion of māyā has been annihilated, still traces continue to remain
even at this stage. We must always bear in mind that Parāśakti is
svātantrya śakti of Śiva and is in no way different from Him. Both of
them are single entity and not two separate entities. It is due to māyā
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 weaponries.
A is their bāṇa, which means arrow. Both of them have five arrows.
These five arrows imply pañcatanmātra-s (sound, touch, sight, taste
and smell). This is explained in Lalitā Sahasranāma 11,
Pañcatanmātra-sāyakā.
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B is their bow. This bow is made up of sugar cane. Lalitā
Sahasranāma 10 calls this bow as kodaṇḍā (Manorūpekṣu-kodaṇḍā).
This bow implies the mind. Mind involves both saṃkalpa and
vikalpa. Saṃkalpa 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 saṃkalpa 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. Manorūpekṣu-kodaṇḍā can also be explained as Her mind,
which is ever sweet like sugarcane.
C is pāśa, the noose. Lalitā Sahasranāma 8 (Rāgasvarūpa-pāśāḍhyā)
speaks about this pāśa. She pulls all the desires of Her devotees using
this noose, which represents iccā śakti, 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 hood or aṅkuśa and this is explained in
Lalitā Sahasranāma 9
IMAGE 6
(Krodhākāraṅkuśojvalā). A hook is a weapon to control elephants.
Mind by nature, always leans towards sensory organs. By using this
aṅkuśa, 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 māyā to a very great extent. All
types of delusions get annihilated, just before we enter into the inner
most triangle, yet the traces remain. Parāśakti 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
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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 first āvaraṇa of Śri Cakra, which is not merely
a yantra. Ultimate goal of reaching Her is often not achieved as we
merely consider Śri 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 Śri Nagara (not Śri Cakra), which has been discussed in the
beginning. Therefore, when navāvaraṇa pūja is performed, one has to
mentally stay connected with Her. This is also the reason for
performing navāvaraṇa pūja in as much privacy as possible. This
concept is explained in Lalitā Sahasranāma 871 (Bahirmukha-

sudurlabhā - 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 nāma says that
She cannot be attained only by external means.)
EIGHTH ĀVARAṆA (Eigth enclosure)
After being purified, we are ready to enter into the eighth āvaraṇa.
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 tiraskaraṇi,

which means a veil. This is the veil of mahāmāya (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 trikhaṇḍa mudra, which can be used only by
those who are initiated into Ṣoḍaśī. These three Devi-s are also
worshiped in anticlockwise manner, beginning from east, proceeding
to South and then to North.
1 represents Mahā Kāmeśvarī (not Parāśakti; Mahā and Kāmeśvarī
are two separate words here) and she protects the eastern corner, the
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point of triangle facing down. She represents fire, Divine creative
aspect (power of Brahmā), Divine energy that permeates the universe
and individual self (jīvātman or individual soul). She also represents
icchā śakti. (Lalitā Sahasranāma 658, Icchāśakti-jñānaśakti-

kriyāśakti-svarūpiṇī). She also represents kāmagiripīṭha.
2 represents Mahā Vajreśvarī and she represents the sun, antarātman
(antarātman means internal feelings of the mind; possibly, this could
mean one’s karmic account), jñānaśakti and the power of Viṣṇu, the
Divine aspect of sustenance. She also represents pūrnagiripīṭha.
3 represents Mahā Bagamālinī and she represents destruction,
annihilation, kriyāśakti, presence of the Self within the individual

self, also known as Paramātma (Paramātman means the Supreme
Spirit, yet not the Self or Brahman. Brahman, also known as the Self
is Paramaśiva, with whom we are going to merge in the next āvaraṇa).
She also represents jālandharapīṭha. (There are different opinions
about jālandharapīṭha and pūrnagiripīṭha and are often interchanged.)
All the three Devi-s are now satisfied with our spiritual attainment
and they remove the veil of tiraskaraṇi and we now become
speechless as we are seeing Lalitā Mahātripurasundarī Parā Bhṭṭārikā
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
Śiva. 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 of 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 Śiva’s
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.

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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 Śiva, known as Parabrahmaśakti
and presides over Mahoḍyāṇapīṭha. We continue to remain in Her lap,
in spite of Her willingness to take us to Śiva. We don’t want to leave
Her lap. We do not even want liberation. We are completely satisfied
by remaining on Her lap.
NINTH ĀVARAṆA (Ninth enclosure)
Practically speaking there is no ninth āvaraṇa, which is the Bindu
(bindusthāna), as this is within the innermost triangle. Ninth āvaraṇa
(navamāvaraṇa) has myriad significances. It is also known as
sarvānandamayacakra. Sarvānandamaya means Absolute Bliss,
which cannot be explained at all. It is very important to note that Śrī
Mahātripurasundarī is the Cakreśvarī of this āvaraṇa. This is because
She presides over Bindu, where Śiva is seated. This subtly conveys
how meticulously She takes care of Her Consort. Sarvayoni is the
Mudrāśakti and Parāparāti-rahasya-yoginī is the Yoginī (Parāparāti-

rahasya means extremely sercretive). Nobody has access to this
Bindu except Parāśakti. All the acts of Divine originate from this
Bindu, as only here the Divine procreative union of Śiva and Śakti
takes place. The principle acts of Divine are creation or sṛṣṭi (LS 264)
(LS refers to Lalitā Sahasranāma), sustenance or sthiti (LS 266) and
destruction known as saṁhāra (LS 268). There are other two acts,
which are also equally important and they are annihilation (LS 270;
this is also known as tirodhāna which means concealment or
disappearance) and recreation (LS 273; anugraha or recreation out of
compassion). This is explained in Lalitā Sahasranāma LS 905, as
Baindavāsanā (baindava means bindu and āsana 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 Śrī Nagara. From this entrance point,
manifestation of the universe is completed. This procedure is with
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regard to creative aspect or sṛṣṭikrama. The reverse process is known
as saṁhārakrama. At this point, let us understand that sṛṣṭikrama
refers to our birth and saṁhārakrama refers to our liberation.
In the ninth āvaraṇa, union of Śiva and Śakti happens. Their union
varies according to the krama. If it is sṛṣṭikrama (creation), their union
is different and if it is saṁhārakrama, their union is on different plane.
Saṁhāra here refers to liberation and now, we are only discussing
about liberation. During sṛṣṭikrama, during their union, both of them
alone remain. But during saṁhārakrama, 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 child’s father. During sṛṣṭikrama, She
attains the form of Kāmakalā (Lalitā Sahasranāma 322 Kāmakalā

rūpā) and their union is symbolized in the form of a Liṅga, where the
bottom portion represents Śakti and the upper portion represents Śiva.
At the end of eighth āvaraṇa, we continued to remain in Her lap and
we refused even liberation, the ultimate goal of anyone’s 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 sādhana (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 Upaniṣad-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 Śiva 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
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explained as Mahā-grāsā (LS 752). Kaṭha Upaniṣad (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.”
Parāśakti is now seated by Śiva’s side. The crystal complexion of
Śiva now looks like the colour of the rising moon on a full moon day.
We now understand that this is the Bindusthāna, 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
antaḥkaraṇa are already annihilated when we entered the eighth
āvaraṇa. 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 darśan
of Śiva. He smiles at us and then He looks at Parāśakti. Now She
begins to move slowly towards Śiva and ultimately She merges with
Him. Now we understand what is really meant by Śiva-śakty-aikya-

rūpiṇī (LS 999). We are now inside Śiva and we are liberated, not to
be born again!
As far as ninth āvaraṇa is concerned, there is an additional procedure

for those who are initiated into Ṣoḍaśī. The mantra for Ṣoḍaśī upāsaka
encompasses everything that is possible in this universe. She is
worshiped as Prakāśa Vimarśa sāmarasya rūpinī. Prakāśa refers to
Śiva, (prakāśa means Light, principle of Self-revelation, by which
everything else in the universe is made known) and Vimarśa is Śakti
(vimarśa refers to that part of prakāśa, which makes the worldly
objects visible, the state of manifestation of the universe) and
sāmarasya is the procreative union of Śiva and Śakti (sāmarasya is
explained as the identity of Consciousness, in which all
differentiation has disappeared).
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SECTION II
ŚRI CAKRA NAVĀVARAṆA PŪJĀ VIDHIḤ
NAVĀVARAṆA PŪJĀ
1. Entry into the place of pūjā.
One should take bath before performing navāvaraṇa pūjā.
Before entry into the place of pūjā, first one’s Śrī Vidyā Guru should
be mentally worshiped. There are two ways of worshiping Guru.
Simple way is to mentally contemplate Svaguru (one’s own Guru),
Paramaguru and Parameṣṭhiguru by reciting Guru Pāduka mantra
which is as follows. While reciting Guru mantras, one should use
mṛgī mudra, which is shown here. Mṛgī means doe (female deer).
IMAGE 7
i). Parameṣṭhiguru:
ॐ ऐऐ हसरऐ शस्शऐ ऐऐ कलरऐ स ्म हऐ सम लशवम समहऐ हऐ सम हससखसस्सपसरर हसकमलवरयभऐ हससखस ्म
सहकमलवरयशऐ सह ्म हऐ सम लशवम समहऐ हऐ सम सवरतमरररम पञचर परमरननद पवलरन तध जसध
शस्शपरमध पप गच रवध नमम aaaa शस्शपरदकच ्रऐ पभजयरलम नमम॥
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om aiṁ hrīṁ śrīṁ aiṁ klīṁ sauḥ haṁsaḥ śivaḥ sohaṁ haṁsaḥ
hskhpreṁ hasakṣamalavarayūṁ hsauḥ sahakṣamalavarayīṁ śauḥ
haṁsaḥ śivaḥ sohaṁ haṁsaḥ svātmārāma pañcara paramānanda
vilīna tejase śrīparameṣṭhi gurave namaḥ aaaa śrīpādukāṁ pūjayāmi
namaḥ ||
ii). Paramaguru
ॐ ऐऐ हसरऐ शस्शऐ ऐऐ कलरऐ स ्म समहऐ हऐ सम लशवम हससखस्सरर हसकमलवरयभऐ हससखस ्म सहकमलवरयशऐ
सह ्म समहऐ हऐ सम लशवम सवचछपसरकरश पवमशरहध तवध शस्श परमगच रवध नमम bbbb शस्शपरदकच ्रऐ
पभजयरलम नमम॥
om aiṁ hrīṁ śrīṁ aiṁ klīṁ sauḥ sohaṁ haṁsaḥ śivaḥ hkhphreṁ
hasakṣamalavarayūṁ hsauḥ sahakṣamalavarayīṁ śauḥ sohaṁ
haṁsaḥ śivaḥ svacchaprakāśa vimarśahetave śrī paramagurave
namaḥ bbbb śrīpādukāṁ pūjayāmi namaḥ ||
iii). Śrīguru
ॐ ऐऐ हसरऐ शस्शऐ ऐऐ कलरऐ स ्म हऐ सम लशवम समहऐ हससखस्सरर हसकमलवरयभऐ हससखस ्म सहकमलवरयशऐ
स शगच रवध नमम cccc शस्शपरदकच ्रऐ पजभ यरलम

सह ्म हऐ सम लशवम समहऐ सवरप तनरपण हध तवध श्
तपरयरलम नमम॥
om aiṁ hrīṁ śrīṁ aiṁ klīṁ sauḥ haṁsaḥ śivaḥ sohaṁ hkhphreṁ
hasakṣamalavarayūṁ hsauḥ sahakṣamalavarayīṁ śauḥ haṁsaḥ

śivaḥ sohaṁ svarūpa nirūpaṇa hetave śrīgurave namaḥ cccc
śrīpādukāṁ pūjayāmi (tarpayāmi) namaḥ ||
aaaa should be replaced with one’s Parameṣṭhiguru’s nāma.
bbbb should be replaced with one’s Paramaguru’s nāma.
cccc should be replaced with one’s Śrīguru’s nāma.
There are variations in the order. First, Śrīguru, then Paramaguru and
finally Parameṣṭhiguru is worshiped.
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2. Entry into pūjā maṇḍapa.
This is also known as mantrapraveśaḥ (mantra entry).
Generally, a pūjā maṇḍapa will have four sides, as per the image 8
given here. Before entry into the maṇḍapa, following worship is to be
made. Three sides are marked as 1, the left side of the sādhaka (the
one who is going to perform navāvaraṇa pūjā); 2, his opposite side
and 3, his right side. His left side, opposite side and right side are to
be worshiped with the following mantras. One has to take flowers in
both the hands and offer these flowers at the end of each mantra at
the respective places.
In most of the mantras in navāvaraṇa pūjā, om aiṁ hrīṁ śrīṁ is
prefixed to the mantra. As we know ॐ is praṇava and aiṁ hrīṁ śrīṁ
(ऐऐ हसरऐ शस्शऐ) is known as tritārī.
Please note that first right side, then left side and finally opposite side
are to be worshiped. They are known as dvāradevatā-s.
IMAGE 8
1. ॐ ऐऐ हसरऐ शस्शऐ भऐ भरकरलयष नमम om aiṁ hrīṁ śrīṁ bhaṁ bhadrakālyai
namaḥ (to our right side – mentioned as 2 in the image above)
2. ॐ ऐऐ हसरऐ शस्शऐभऐ भष रवरय नमम om aiṁ hrīṁ śrīṁ bhaṁ bhairavāya namaḥ
(to our left side – mentioned as 1 in the image above)
3. ॐ ऐऐ हसरऐ शस्शऐ लऐ लमबमदररय नमम om aiṁ hrīṁ śrīṁ laṁ lambodarāya
namaḥ (on the opposite side – mentioned as 3 in the image above)
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Optional: At the end of this pūjā, dipārādhana and naivedya can be
performed. After performing this pūjā, we have to enter into the pūjā
maṇḍapa.
3. Tatvācamanam ततवरचमनम ्स
Ācamana is a procedure where water is taken in the right palm, which
is sipped after reciting mantras. This is also known as mahāvyādhi
praśamanī nāma trayī vidyā (महरवयरधध पसरशमनश नरम तयश पवयर). This
means by swallowing this water with mantras, it cures all types of
illness, both physical and mental. While taking water in the palm,
little finger and thumb should not be folded and other fingers should
be slightly folded inwards. There are other variations also on this. But
what is practiced in Śrī Vidyā is different. Instead of three, there are
four mantras in Śrī Vidyā. These mantras talk about cleaning of
individual soul, annihilating ego, actions for the benefit of the self
and finally all other mala-s or impurities. Spanda Kārikā (I.9)
explains natural impurity or mala thus, “The afflicted mental state of

an empirical individual is disabled by his own impurity causing
attachment to actions. When this disappears, then the highest state of
the Self appears.
The first three mantras are for removing three inherent impurities in
a person and they are āṇava mala, māyīya mala, and kārma mala. The
last mantra is recited for removing all other types of impurities not
mentioned here. Hence there are four mantras for tatvācamanam.
These are the four mantras. Before recitation of these mantras, a
spoonful of water should be taken from pañcapātra (an exclusive
vessel to perform only ācamana. This vessel, water and spoon should
not be used for any other purpose. After finishing ācamana, right
palm should be washed with a few drops of water from pañcapātra.
Sādhaka should always have a clean white towel by his /her side to
dry his/her hands.
1. आतमतततवऐ शमधयरलम सवरहर ātmatatvaṁ śodhayāmi svāhā
2. पवदरतततवऐ शमधयरलम सवरहर vidyātattvaṁ śodhayāmi svāhā
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3. लशवतततवऐ शमधयरलम सवरहर śivatattvaṁ śodhayāmi svāhā
4. सवरतततवऐ शमधयरलम सवरहर sarvatattvaṁ śodhayāmi svāhā
(śodhayāmi means purification; pushing aside impurities )
Once this is done, right palm should be washed and dried, as
explained above.
There are variations in tatvācamanam. Each of the three kūṭā-s of Śrī
saubhāgya pañcadaśī is used for 1 to 3 and the entire Śrī saubhāgya

pañcadaśī is used for 4.
4. Gaṇapati dhyānam गणपतत धयरनम ्स:
शच कलरऐबरधरऐ पवषणचऐ शलशवणरऐ चतभच ्चरजम।्स
पसरसनदसनवदनऐ ्यरयध तस सपवरघनमपशरनदसतयध ॥
śuklāṁbaradharaṁ viṣṇuṁ śaśivarṇaṁ caturbhujam |
prasannavadanaṁ dhyāyet sarvighnopaśāntaye ||
(Meaning: Eternally present, wearing white garments, shining like
the moon, having four hands, whose face is full of Bliss, I worship
you to remove all the obstacles (while performing this pūjā.)
While reciting this mantra, one should close all the fingers in both the
palms (knuckles) and cuff the sides of the forehead. This increases
the blood flow to the brain. There are certain nāḍi-s on both sides of
the forehead and while slightly cuffing these places with fists, they
get activated.
5. Prāṇāyāmaḥ पसररणरयरमम
Fold index and middle fingers of the right palm. Use the little finger
and the ring finger to close the left nostrils and the thumb to close the
right nostril. Inhale through the left nostril, hold for a few seconds
and exhale through the right nostril. This is one round of prāṇāyāma.
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Thus one should perform three rounds of the following
Brahmagāyatrī mantra.
ॐ भभम। ॐ भच वम। ॐ सच वम। ॐ महम। ॐ जनम। ॐ तपम। ॐ सतयम॥्स

ॐ ततसपवतवच रर ्धणयऐ भगम दध वसय धशमहह ।
धधयम यम नम पसरचमदयरतस॥
ओमरपम-जयमतश-रसमऽमतर ्ऐ-बसरह भभभचरवससच वरमम॥्स
om bhūḥ| om bhuvaḥ| om suvaḥ| om mahaḥ| om janaḥ| om tapaḥ| om
satyam ||
om tat saviturvareṇyaṁ bhargo devasya dhīmahi |
dhiyo yo naḥ pracodayāt ||
omāpo-jyotī-raso'mṛtaṁ-brahma bhūrbhuvassuvarom ||
(Meaning: All the seven worlds are ॐ. We meditate on Brahman in
the form of Light, who makes us to perform different actions. ॐ is
water, light and essence. Essence of food that is given by the Earth,
prāṇa, which is important for our existence, the vastness of the sky
and three vyāhṛti-s bhūḥ, bhuvaḥ and suvaḥ which represent mind,
intellect and ego are also ॐ.)
6. Saṁkalpaḥ सऐ कलपम
शच भध शमभरनध मच हत
भ ध आदबसरहणम प्शतशय-पररधध शवध तधवररहकलपध वष वसवतमनदनदसतरध
अषटरपवशऐ तततमध कललयगच ्ध पसरथमध परदध जमबभतपस ्शप**्ध लललतरनरम वषध , लललतरनरम खणडध ,
अहसमन ्स वतरमरनध वयवहरररकध लललतरनरम सऐ वतसरध , लललतरनरम अयध नध, लललतरनरम
ऋत , लललतरनरम मरसध , लललतरनरम पकध , लललतरनरम ततथ , लललतरनरम
वरसरयतच ्रयर,्ऐ लललतरनरम नकतयतच ्रयरम,्स शभच यमग शभच करण सकलपवशध षण पवलशषटरयरऐ
असयरऐ लललतरनरम शभच ततथ मममपरत समसत दररतकपयरर शस्श परमध शवरपसरशतयथरऐ ्च
असमरकऐ कध मसथयष ्र वशयपरवजय आयरररमगय ऐशवयर अतसरबवदस्र ्यथरऐ समसत मङस कगल
अवरपतयथरऐ समसत दररतमपशरनदसतयथरऐ शस्श लललतर महरतसरतपच रसच नदरर पररभटस टरररकर दशनर
भरशन लसदस्यतध सरस श चकस र नवरवरण पभजरऐ कररषयध ॥

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śubhe śobhne muhūrte ādyabrahmaṇaḥ dvītīya-parārdhe
śvetevarāhakalpe vaivasvatamanvantare aṣṭāviṁśatitame kaliyuge
prathamepāde lalitādvīpe lalitānāma varṣe, lalitānāma khaṇḍe, asmin
vartamāne vyavahārike lalitānāma saṁvatsare, lalitānāma ayene,
lalitānāma ṛtau, lalitānāma māse, lalitānāma pakṣe, lalitānāma tithau,
lalitānāma vāsarayuktāyāṁ, lalitānāma nakṣatrayuktāyām,
śubhayoga śubhakaraṇa sakalaviśeṣaṇa viśiṣṭāyāṁ asyāṁ lalitānāma
śubhatithau mamopātta samasta duritakṣayadvāra śrī
parameśvaraprītyarthaṁ asmākaṁ kṣemasthairya vīryavijaya
āyurārogya aiśvarya abivṛddhyarthaṁ samasta maṅgala
avāptyarthaṁ samsta duritopaśāntyarthaṁ śrī lalitā
mahātripurasundarī parābhaṭṭārikā darśana bhāśana siddhyarte srī
cakra navāvaraṇa pūjāṁ kariṣye ||
Note: Uniformly lalitānāma is used in the entire saṁkalapa to avoid
any confusion.
7. Āsanapūjā आसनपभजर (Purification of seat)
Convenience of sitting is important in navāvaraṇa pūjā, as one has to
remain in the same sitting posture for a minimum period of three
hours. Sage Patañjali says, “sthiraṁ sukhaṁ āsanam” which means
that one’s seating should be firm, without frequently altering position
of seating while performing pūjā and at the same time, seating should
be the most convenient to the person who performs the pūjā.

First take some water in right palm and sprinkle on the seat by reciting
“sauḥ” (स ्म) twelve times. Though we know this bīja as parābīja, here
it also refers to the unison of Śiva and Śakti (sāmarasya). The seat is
purified with sauḥ with an intention that one should realize the
meaning of mahāvākya (ahaṁ Brahāsmi or I am That). The ultimate
aim of any pūjā is to realize the Self. At this point, the worshiper
should not sit on this seat until the following procedure is completed.
Mantra for consecrating the āsana or seat
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असय शस्श आसनमहरमनदसतसय। पधर थवयर मध रपपर ऋपष। सच तलऐ छनदम। कभ मम दध वतर।
आसनध पवतनयमगम॥
asya śrī āsanamahāmantrasya | pṛthivyā merupṛṣṭha ṛiṣi | sutalaṁ
chandaḥ | kūrmo devatā | āsane viniyogaḥ ||
(nyāsa-s for ṛiṣi, chanda-s, and viniyoga as per japa)
The following prayer should be addressed to the seat
पहवव तवय धतर ्र लमकर दध पव तवऐ पवषणच नर धतर ्र।
तवऐ च धररय मरऐ दध पव पपवतसऐ चरसनऐ कचर॥
pṛthvi tvaya dhṛtā lokā devi tvaṁ viṣṇunā dhṛtā |
tvaṁ ca dhāraya māṁ devi pavitraṁ cāsanaṁ kuru ||
Taking some flowers, arcanā is to be performed for the seat on the
four corners and in the middle as explained in the picture below.
IMAGE 9
1. यमगरसनरय नमम। yogāsanāya namaḥ|
2. वशररसनरय नमम। vīrāsanāya namaḥ|

3. शरररसनरय नमम। śārāsanāya namaḥ|
4. समयमगरसनरय नमम। samyogāasanāya namaḥ|
5. ॐ ऐऐ हसरऐ शस्शऐ ॐ हसरऐ आधररशकत कमलरसनरय नमम om aiṁ hrīṁ śrīṁ
om hrīṁ ādhāraśakti kamalāsanāya namaḥ
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Meaning and purpose:
1. This mantra worships the purest form of the mind that is required
to unite individual consciousness (individual soul) with Supreme
Consciousness (Brahman)
2. This mantra pleads for destruction of ego.
3. This mantra worships the mind that is purged of all dyads and
triads.
4. This mantra worships the mind that is merged with Her.
5. This mantra worships Her subtlest form Kuṇḍalinī and the six
psychic chakras. Next to ॐ, there are three bīja-s and they are known
as vimarśa praṇava-s. ॐ is prakāśa praṇava which refers to Śiva and
vimarśa praṇava-s refer to Śiva’s Svātantrya Śakti, icachā, jñāna and
kriya śakti-s. There is another ॐ followed by hrīṁ, which is known
as māyā bīja. This ॐ again refers to Śiva and hrīṁ refers to
pañcabhūta-s, the sun, the moon and mind. This mantra is recited to
relieve the mind from material afflictions and stay tuned with Her
during navāvaraṇa pūjā.
The purpose of these mantras are to free the sādhaka’s mind from
afflictions and to focus his or her mind only on Her so that the triad,
the worshiper, the worshiped (Parāśakti) and the method of worship
(navāvaraṇa pūjā) become one with Parāśakti. Contemplating this is
important.
Now, the following mantra is to be recited with flowers in hand and
at the end of the mantra, the flowers are to be offered to Mother Earth.
ॐ ऐऐ हसरऐ शस्शऐ रत प्रदश शकतयतच ्रय प्शपनरथरय नमम॥
om aiṁ hrīṁ śrīṁ rakta dvādaśa śaktiyuktāya dvīpanāthāya namaḥ ||
104
Body of the worshiper is an island and the ruler of the island (body)
is the Self. Dvādaśa śakti refers to the twelve kalā-s of the sun (names
of these twelve kalā-s are available during consecrating viśeṣārghya).
Typically this can be explained through another verse which also
conveys the same meaning. However, this mantra is not part of
navāvaraṇa pūjā. There is nothing wrong in reciting this verse before
commencing navāvaraṇa pūjā.
दध हम दध वरलयम पसरमतम जशवम दध वम सनरतनम
deho devālayaḥ prokto jīvo devaḥ sanātanaḥ
This means that the body is the temple and the self within is eternal
Brahman (Individual soul covered by māyā is known as jīvan and
when spiritual knowledge is attained, the veil of māyā is removed and
Brahman is revealed).
8. Ghaṇṭāpūjā घणटरपजभ ्र (to be placed on a plate):

Worshiping the bell, that is used during pūjā. Calling this as bell
seems to be inappropriate, but this is the only English word for
ghaṇṭa. Following is the mantra.
ॐ जयवतन मनदसतमरतम सवरहर॥
आगमरथरऐ तच दध वरनरऐ गमनरथरऐ तच रकसरम।्स
घणटररवऐ कर मयरद दध वतरवरसरन कररणम ्स॥
om jayadhvani mantramātaḥ svāhā ||
āgamārthaṁ tu devānāṁ gamanārthaṁ tu rakṣasām |
ghaṇṭāravaṁ karaumyādau devatāhvāna kāraṇam ||
After reciting this verse, offer some flowers to the bell and then ring
the bell. Ringing the bell is important.
105
In ancient times, bells were rung to invite gods and annihilate
demons. Demons refer to modifications of the mind (distraction
towards the material world. By annihilating demons mean destruction
of desires, attachments, ego, pomp and vanity, etc. Gods refer
different types of devotional and spiritual attainments. The ultimate
attainment is Parāśakti and when She pervades our hearts (referring
to universal love and compassion), the sound of Self is heard within
and this is known as anāhata dvani ghaṇṭā. According to Upaniṣad-s,
there is no difference between ॐ and Brahman.
9. Deha rakṣā दध ह रकर

i) By reciting this mantra, run both the palms from head to toe of the
body. First, do this from head to toe and after this, cross forearms and
run the palms from shoulders to finger tips (just like japa nyāsa -
kavacāya hūṁ). This is to be done three times by reciting the mantra
three times. Following is the mantra.
ॐ ऐऐ हसरऐ श्
स शऐश्
स शमहरतसरतपरसच नदरर आतमरनऐ रक रक॥
om aiṁ hrīṁ śrīṁ śrīmahātripurasundari ātmānaṁ rakṣa rakṣa ||
Parāśakti presidess over three types of human bodies – gross
(physical), subtle (mind) and causal (prāṇa). Within the causal body
is the Self. The above mantra is known as protective mantra and by
reciting this mantra our bodies remain protected by Her throughout
navāvaraṇa pūjā and even thereafter. When our consciousness goes
past these types of bodies, we realize Her within. By reciting this
mantra, all dualities are destroyed and we become one with Her. This
prayer seeks Her Grace to protect our bodies. Rakṣa means
protection.
ii) Following mantras are to be recited by touching the body parts
indicated against the mantras.
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गच ऐ गरभरयम नमम। guṁ gurubhyo namaḥ | - right forearm (using left
hand)
गऐ गणपतयध नमम। gaṁ gaṇapataye namaḥ | - left forearm (using right
hand)
च गच ्ररयष नमम। duṁ durgāyai namaḥ | - right thigh
दऐ ्द
वऐ वटच करय नमम। vaṁ vaṭukāya namaḥ | - left thigh
यरऐ यमधगनशभरयम नमम। yāṁ yoginībhyo namaḥ | - feet (it is advisable to
mentally touch the feet. If feet are touched by hands, then hands
should be washed and dried).
कऐ कध तपरलरय नमम। kṣaṁ kṣetrapālāya namaḥ | - navel
पऐ परमरतमनध नमम। paṁ paramātmane namaḥ | - heart (the place where
biological heart is situated. In some other contexts, heart also means
heart chakra, hence this explanation.)
The above mantras are also for protective covering.
All of them are posited in Śrīnagara. Guru is in Gurumaṇḍala.
Gaṇapati is the chief of gaṇa-s who are posited in fort number
nineteen. Gaṇapati literally means ruler of gaṇa-s and gaṇa-s are
attendants on Śiva. He is also the remover of all obstacles and is
described as the son of Śiva and Pārvatī. Vaṭuka-s are young spiritual
seekers who always meditate on Her in the place between fort ten and
eleven of Śrīnagara. Durgā (referred in Devīmāhātmya as Caṇḍi) is
considered as one of the terrible forms of Parāśakti. Yoginī-s are the
attendants on Durgā (like gaṇa-s for Śiva). Yoginī-s also refer to the
presiding deities of nine āvaraṇa-s of Śri Cakra. The presiding deities
of psychic centres are also known as yoginī-s. This is explained in
Lalitā Sahasranāma 475 to 534. But the yoginī-s who are mentioned
here are ones who rule over the nine āvaraṇa-s of Śri Cakra. Each of
these yoginī-s play important role in aligning the performer of the
pūjā with Cicchakti (pure consciousness and pure knowledge - Lalitā
Sahasranāma 416). Kṣetrapāla are protective deities, also known as
tutelary deities. There are different kṣetrapāla-s, who protect different
places. It is believed that each city, town or village is protected by
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kṣetrapāla-s. What is referred here is the kṣetrapāla who protects the
place where navāvaraṇa pūjā is held. Every human body is also called
kṣetra. Pāla means guard. Finally, Paramātma is worshiped and His
protection is also sought. Paramātma means Brahman and
contextually, it refers to Śiva.
iii) Worshiping Tiraskariṇi ततरसकररखण
Tiraskariṇ means veil of māyā. This prayer is made to Her to remove
māyā, so that Prakāśa form of Śiva can be realized. In order to realize
Śiva, who alone is capable of offering liberation, we need Her Grace
first. When She showers Her Grace on a true aspirant, She removes
the veil of māyā, known as tiraskariṇ, cast by Her. She alone casts the
spell of māyā and She alone can remove this veil. Hence, She is also
known as Mahāmāyā. This prayer is to be mentally made to Her. This
is the mantra.
ॐ ऐऐ हसरऐ शस्शऐ ॐ नमम भगवतत ततरसकररखण महरमरयध महरतनरध सकलपशच जन
मनशचकच म शस्मतस ततरसकरणऐ कचर कचर सवरहर॥
om aiṁ hrīṁ śrīṁ om namo bhagavati tiraskariṇi mahāmāye
mahānidre sakalapaśujana manaścakṣuḥ śrotra tiraskaraṇaṁ kuru

kuru svāhā ||
iv) The following mantra is to be recited
ॐ ऐऐ हसरऐ शस्शऐ हसहनदसत हलसतरलरपध मरतङस कधग पररचरररकध मम भयपवघनरपदरऐ नरशऐ
कचर कचर ठम ठम ठम हऐ भ फटस सवरहर॥
om aiṁ hrīṁ śrīṁ hasanti hasitālāpe mātaṅgi paricārike mama
bhayavighnāpadāṁ nāśaṁ kuru kuru ṭhaḥ ṭhaḥ ṭhaḥ hūṁ phaṭ svāhā.
This mantra is recited to eliminate any obstacles, misfortunes,
calamities, etc either during performing pūjā or during recitation of
mantras, etc. Mantras should not be pronounced wrongly.
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v) Digbandhaḥ हदगबनदम
ॐ ऐऐ हसरऐ शस्शऐ ॐ नमम भगवतत जवरलरमरललतन दध वदध पव सवभर तभ सऐ हररकरररकध
जरतध वधदलस जवलहनदसत जवल जवल पसरजवल पसरजवल हस्रऐ हसरऐ हस्भऐ र र र र र र र
हऐ भ फटस सवरहर॥
भभभरभ वससच वरर इतत हदगबनदम॥
om aiṁ hrīṁ śrīṁ om namo bhagavati jvālāmālini devadevi
sarvabhūta saṁhārakārike jātevedasi jvalanti jvala jvala prajvala
prajvala hrāṁ hrīṁ hrūṁ ra ra ra ra ra ra ra hūṁ phaṭ svāhā ||
bhūrbhūvassuvaroṁ iti digbandhaḥ ||
This mantra is used to arrest possible obstacles from cardinals. While
reciting this mantra we have to visualize that agni (fire) is around us,
protecting from all sides.
10. Anujñā अनच जर

i) Anujñā means permission. Before proceeding with navāvaraṇa
pūjā, we have to take permissions from nine Yoginī-s, who preside
over the nine āvaraṇa-s of Śri Cakra. Without their permissions,
āvaraṇa-s cannot be entered. By taking flowers in both the palms and
after reciting the following mantra, flowers are to be placed on Śri
Cakra with great reverence. When flowers are placed on Śri Cakra,
extreme care should be taken. We have to visualize Lalitāmbikā in
the middle of Śri Cakra. When we offer flowers we have to ensure
that offering flowers should not hurt Her body. Flowers should never
be thrown from a distance. Similarly, both the palms should be used
(except otherwise specified) to offer flowers and flowers should be
offered through the fingers. Flowers that have no fragrance should
not be used.
ॐ ऐऐ हसरऐ शस्शऐ समसत पसरकट पगच पगच तर सऐ पसरदरय कचलमतशणर तनगभर
रहसयरततरहसय पररपररतत रहसय यमधगनश दध वतरभरयम नमम॥
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om aiṁ hrīṁ śrīṁ samasta prakaṭa gupta guptatara saṁpradāuaya
kulottīrṇa nigarbha rahasyātirahasya parāparāti rahasya yoginī
devatābhyo namaḥ ||
At the end of this mantra, place the flowers on Śri Cakra, as explained
above.
Yoginī-s represent Citśakti with upādhi. Śiva has five types of
energies and they are Cit śakti (the energy of consciousness), ānanda
śakti (the energy of Bliss), icchā śakti (the energy of will), jñāna śakti
(energy of knowledge) and kriyā śakti (energy of action). Upādhi
means discrimination, substitution. When pure Cit śakti is realized, it
is Self-realization. But, when pure Cit śakti is veiled by upādhi-s, it
leads to discrimination and illusion, which is also known as māyā. In
order to remove these discriminations, we pray to these nine Yoginī-
s with a request that they should help us in removing upādhi-s, as we
progress towards the central triangle and the bindu (Śakti and Śiva).
This mantra is addressed to these nine Yoginī-s for this purpose.
ii) Purification of body
By reciting this mantra, touch thumbs to little fingers then both the
palms, forearms, elbows, knees and the entire body.
ॐ ऐऐ हसरऐ शस्शऐ ऐऐ हसम असतसररय फटस ॥
om aiṁ hrīṁ śrīṁ aiṁ hraḥ astrāya phaṭ ||
The bīja aiṁ (ऐऐ) is known vācbīja and represents four Vedas. The bīja
aiṁ comprises of a + e + a (अ ए अ) and anusvāra (a dot on the top
causing nasal sound). Thus a, e, a and the dot represents the four
Vedas. Since Vedas speak about Brahman, the bīja aiṁ refers to
Brahman. There is another bīja next to aiṁ, which is hraḥ (हसम). In
order to attain Brahman, all dualities need to be destroyed. Examples
of dualities are happiness and sorrow; rich and poor, etc. This is also
known as astra bīja (astra means missile or weapon). This astra bīja
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destroys impediments to realization such as dyads, etc. By reciting

this mantra, all impurities in both mind and body are destroyed and
at this point, mind is purified and ready to commence navāvaraṇa
pūjā.
iii) Permission from Dakṣiṇāmūrtī
To obtain permission from Dakṣiṇāmūrtī, following mantra is to be
recited. There are two different verses, one for Dakṣiṇāmūrtī and
another for Bhairava (this Bhairava is different from Bhairava, which
refers to Śiva.)
a) ॐ ऐऐ हहसऐ शस्शऐ शस्शगरम दककणरमच तधभतरनगसर हकररक।
अनजरऐ दध हह भगवन ्स शस्शचकस रयजनरय मध ॥ ्च
b) ॐ ऐऐ हहसऐ शस्शऐ अततकस रर महरकरय कलपरनदसतदहनमपम।
भष रवरय नमसतच भरयऐ अनजच ्रऐ दरतमच हरलस॥
a) om aiṁ hriṁ śrīṁ śrīguro dakṣiṇāmurte bhaktānugrahakāraka |
anujñāṁ dehi bhagavan śrīcakrayajanāya me ||
b) om aiṁ hriṁ śrīṁ atikrūra mahākāya kalpāntadahanopama |
bhairavāya namastubhyaṁ anujñāṁ dātumarhasi ||
a) O! Dakṣiṇāmūrtī paramaguru, O! Compassionate to all the
devotees! Please give me permission to perform this Śri Cakra yajña.
(It is important to note that it is not referred as Śri Cakra navāvaraṇa
pūjā, but referred as Śri Cakra yajña. This means that Cakra
navāvaraṇa pūjā is compared to great yajña-s like aśvamedha, etc.)
b) Appearing like fire during annihilation, having fearsome
appearance, obeisance to You. Please give me permission to perform

Śri Cakra yajña.
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In Dakṣiṇāmūrtī, dakṣiṇa refers to creation, sustenance and
annihilation carried out by Saguṇa Brahman (Brahman with
attributes) and amūrti refers to Nirguṇa Brahman (Brahman without
attributes). This explains Dakṣiṇāmūrtī.
11.Śri Cakra prāṇapratiṣṭhā शसरश चकस र पसररणपसरततषठर (consecrating Śri
Cakra)
Śri Cakra is to be consecrated before performing navāvaraṇa pūjā.
There are two types of consecration, one is laghu (easy, quick)
prāṇapratiṣṭhā and another is regular prāṇapratiṣṭhā. If regular
prāṇapratiṣṭhā has been performed, this part can be left out while
performing navāvaraṇa pūjā. Both these types of prāṇapratiṣṭhā-s are
discussed here. However, the detailed version can still be expanded.
Types of Śri Cakra:
There are three types of Śri Cakra. One is bhūprastāraḥ (भभपसरसतररम) and
another is meruprastāraḥ (मध रपसरसतररम). These two are commonly
available. Thrid one is kailāśaprastāraḥ (कष लरशपसरसतररम) related to mātṛka
akṣara-s. Bhūprastāra refers to normal flat Śri Cakra, whose surface
is flat. Whether it is Śri Cakra or Meru, it should always be in square
shape. Meruprastāra, which is vertical in nature, is divided into three
types. The first three āvaraṇa-s -sṛṣṭi karma (creation); The next three
āvaraṇa-s are sthiti krama (sustenance) and the last three āvaraṇa-s
are saṁhāraka (absorption) krama-s. The height of the first three
āvaraṇa-s (bhūpurā and eight petal lotus and 16 petal lotus) is more
than the other two is one type. The height of fourth, fifth and sixth
āvaraṇa-s is more than first three and last three āvaraṇa-sis the second
type. All āvaraṇa-s having the equal height is the third type.
11.1) Laghu prāṇapratiṣṭhā:
Place Śri Cakra or Meru in the place where the entire pūjā is going to
be performed. After prāṇapratiṣṭhā, the position of Śri Cakra or Meru
should not be changed. There are three verses and by touching Śri
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Cakra or Meru with right hand the following mantras are to be
repeated.
i) ॐ ऐऐ हसरऐ शस्शऐ ॐ आऐ हसरऐ कस रर यऐ रऐ लऐ वऐ शऐ षऐ सऐ हऐ ॐ हऐ सम समहऐ समहऐ हऐ सम
लशवम शस्शचकस रसय पसररणर इह पसररणरम॥
om aiṁ hrīṁ śrīṁ om āṁ hrīṁ kroṁ yaṁ raṁ laṁ vaṁ śaṁ ṣaṁ saṁ
haṁ om haṁsaḥ sohaṁ sohaṁ haṁsaḥ śivaḥ śrīcakrasya prāṇā iha
prāṇāḥ ||
ii) ॐ ऐऐ हसरऐ शस्शऐ ॐ आऐ हसरऐ कस रर शस्शचकस रसय जशव इह हसथतम। सवध हनदसरयरखण
वरङस मनशचकच म शस्मतस हजवरसरघसररणर इहष वरगतय अहसमन ्स चकस रध सच खऐ धचरऐ तपतनदसतच
सवरहर॥
om aiṁ hrīṁ śrīṁ om āṁ hrīṁ kroṁ śrīcakrasya jīva iha sthitaḥ |
sarvendriyāṇi vāṅmanaścakṣuḥ śrotra jihvāghrāṇā ihaivāgatya asmin
cakre sukhaṁ ciraṁ tiṣṭhantu svāhā ||
iii) ॐ ऐऐ हसरऐ शस्शऐ ॐ असच नशतध पनच रसमरसच चकच म पनच ्म पसररणलमह नम दध हह भमगम ्स।
जयमकपशयध मध सभयमर ्चचसरनदसत मनमच तध मळर यर नम सवहसत॥
om aiṁ hrīṁ śrīṁ om asunīte punarasmāsu cakṣuḥ punaḥ prāṇamiha
no dehi bhogam | jyokpaśyeme sūryamuccranta manumate mṛuḻayā
naḥ svasti ||
Prāṇapratiṣṭhā means infusing vital energy (prāṇa) into the yantra. As
we know, Brahman is formless and for the purpose of worshiping, we
visualize a form and invoke the concerned form in a yantra. The
infusion of energy is done using the prāṇa of the worshipper. Since
She is invoked with the prāṇa of the worshiper, the duality between
Her and the worshiper is lost and She alone prevails during the entire
worship. This is the infant stage of realization of mahāvākya “ahaṁ
brahmāsmi” or “I am That”. She is invoked in Śri Cakra using both
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bāhyakaraṇa (external sense organs – organs of perception and action
totalling to ten) and antaḥkaraṇa (mind, intellect and ego; sometimes
consciousness is also added). Bṛhadāraṇyaka Upaniṣad (IV.iv.18)
says Brahman is “prāṇsya prāṇaḥ”, which means that Brahman is
prāṇa of prāṇa (or chief of prāṇa), which clearly proves that prāṇa is
nothing but Brahman and hence She is being invoked with our prāṇa.
This is with further reference to the first verse. We already know
about om and aiṁ hrīṁ śrīṁ. After the second om (first om is for
tritātri and the second om is for the mantra of this verse. Tritātri
should always be prefixed with om. The second om refers to
Brahman; āṁ (आऐ ) refers to the deity invoked, who represents Citśakti
(energy of Consciousness, which refers to Śiva). āṁ (आऐ ) is the power
of Brahman. In terms of Trika philosophy, power of Brahman is
known as Śakti. This is the bīja of this mantra. hrīṁ is māyā bīja and
forms the śakti of this mantra. kroṁ, which is also known as krodha
bīja is kīlaka (one to which the mantras are tied; inner syllable os a
mantra) of this mantra. om haṁsaḥ sohaṁ sohaṁ haṁsaḥ śivaḥ refers
to auspicious form of Śiva in the form of praṇava (ॐ). yaṁ, raṁ, laṁ,
vaṁ and haṁ refer to five principle elements (pañcabhūta) from
which organs of action and organs of perception develop. The three
other bīja-s śaṁ, ṣaṁ and saṁ represent mind, intellect and ego.
Pañcabhūta and antaḥkaraṇa make eight and they are together know
as puryaṣṭaka.
As soon as these mantras are recited, the performer of worship, the
object of worship (Lalitāmbikā) and the process of worship
(navāvaraṇa pūjā) become one. This contemplation is absolutely
essential while going forward. First, by touching the Śri Cakra or the
Meru as the case may be, the mantra should be recited. After reciting
of these three verses, the practitioner should visualize the union
mentioned above by silently contemplating for a few minutes. If
contemplation is not perfect, it would be ideal to wait for this to
happen and then go forward.
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11.2. Detailed version of prāṇapratiṣṭhā.
Once Śri Cakra or Meru is consecrated with this version, lagu version
is not necessary and after completing anujñā (serial number 10), one
can proceed to Śrīnagarapūjā.
This procedure is done after fixing an auspicious time and date. Day’s
nakṣatra, candra and tāra bala are taken into account while
consecrating any yantra. One’s Guru who performs this consecration
decides and fixes the most auspicious time and date. Some are of the
opinion that all rituals prescribed for idol consecrations should be
followed for consecrating Śri Cakra or Meru like jalādhivāsaḥ,
dhānyadhivāsaḥ, śayaṇādhivāsaḥ and a host of other fire oblations,
nyāsa-s, pūjā-s, etc. One’s Guru is the deciding authority on these
matters. But, in general, the consecration procedure spreads over
three days. But this procedure is very elaborate and may not be
necessary if Śri Cakra or Meru is moved from place to place. These
detailed procedures are applicable only when Śri Cakra or Meru is
permanently fixed in a particular place without making any change in
position.
What is prescribed here is detailed procedure where Śri Cakra or
Meru are moved from their places for various reasons such as
abhiṣeka, etc.
a) Saṁkalpa:
A simple saṁkalpa like this will do.

मममपत समसतदररतकपयररर शस्श परमध शवरपसरशतयथध श्
स शचकस र पसरतपतरपनऐ कररषय॥्ध
mamopatta samastaduriatakṣayadvārā śrī parameśvaraprītyarthe
śrīcakra pratiṣṭhāpanaṁ kariṣye ||
b) Establishing maṇḍala for abhiṣeka
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Draw a diagram like this and in the middle of the maṇḍala (diagram),
place the vessel filled with pañcagavya. Pañcagavya is the
combination of cow’s milk, curd, butter or ghee, urine and dung.
When the last two are not available they can be replaced with turmeric
powder and sacred ashes (vibhūti). The vessel should be filled up with
pañcagavya and should be placed on the inner dot of the maṇḍala. It
would be ideal to use either copper or silver vessel for this purpose.
By touching this vessel with right hand (this is known as
abhimantraṇa), recite “hauṁ” (हल) 108 times. Now, take Śri Cakra or
Meru with right hand (if Meru is heavy, both the hands can be used)
and immerse into the vessel containing consecrated pañcagavya by
reciting ॐ (ॐ can be recited as long as dipping is done). Dipping can
be done two or three times and one has to ensure that every part of
the yantra is fully immersed into pañcagavya. After immersing, take
the yantra and keep it on another vessel. Normally, this vessel will be
abhiṣeka pātra (bathing vessel!), where the yantra is placed.
IMAGE 10
After placing the yantra on abhiṣeka pātra, abhiṣeka (religious
bathing) is done with pañcāmṛta. There are different versions with

regard to the contents of pañcāmṛta. Fruits with honey and sugar can
be used. But the laid down combination for making pañcāmṛta is the
combination of the following five – cow’s milk, curd, butter, honey
and sugar. Often, curd and butter are replaced with any available
fruits such as dates, etc. As soon as pañcāmṛta abhiṣeka is over,
incense should be offered. After this, abhiṣeka with other offerings
should be done. At the end of every abhiṣeka, either incense or lamp
should be offered. The contents of abhiṣeka-s made should be
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collected collectively and with this one more abhiṣeka should be
done. While performing all these abhiṣeka-s only mūla mantra should
be recited (either Ṣoḍaśī or Pañcadaśī).
c) Establishing kalaśa and invoking Varuṇa
Take water in a separate vessel (with narrow neck). Draw a triangle
and around this a square; place the kalaśa on the top of this with
ripped coconut on the top. If mango leaves are available, they can be
placed below the coconut. Add condiments to the water and make the
water fragrant. Bundle twelve kuśa grass together and place the thick
end of the grass inside the water and outer ends should be tied
together. Now take some flowers and invoke Varuṇa in the kalaśa
with the following mantra.
इमऐ मध वरण षसरधच ्श हवमयर च मडरय। तवरमवसयरर चकध ॥
ततवर यरलम बसरहणर वनदमरनसतदरशरसतध यजमरनम हपवलभरम।

अहध डमरनम वरणध ह बमसयर शकऐ्चस मर न आयम्च पसरममषशम॥
अहसमनकचमभध वरणऐ आवरहयरलम॥
imaṁ me varuṇa śrudhī havamadhyā ca mṛuḍaya | tvāmavasyurā cake
||
tatvā yāmi brahmaṇā vandamānstadāśāste yajamāno havirbhiḥ |
aheḍamāno varuṇeha bodhyuru śakuṁsa mā na āyuḥ pramoṣīḥ ||
asmin kumbhe varuṇaṁ āvāhayāmi ||
वरणरय नमम॥ आसनऐ समपरयरलम। परदऐ समपरयरलम। अघयरम ्स समपरयरलम। आचमनशयम ्स
समरससपयरलम। सनरनम ्स समपरयरलम। सनरनरननदसतरऐ आचमनशयऐ समपरयरलम। वसतसरऐ
समपरयरलम। नरनरपवध पररमल पतस पच षपरखण समपरयरलम॥
varuṇāya namaḥ || āsanaṁ samarpayāmi (offering seat to Varuṇa) |
pādyaṁ samarpayāmi (washing his feet) | arghyam samarpayāmi (
washing his hands)| ācamanīyam samrspayāmi offering him water to
drink)| snānam samarpayāmi (offering him mantra bath)|
snānānantaraṁ ācamanīyaṁ samarpayāmi | vastraṁ samarpayāmi
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(offering him new clothes) | nānāvidha parimala patra puṣpāṇi
samarpayāmi (offering him all types of fragrant flowers and herbs)
Meaning: I invoke you to make this day happy and implore you for
your helpful blessings.
Mentally contemplate Varuṇa in the kalaśa and after reciting the
above mantra, offer flowers to the kalaśa as a mark of respect to
Varuṇa.
Offer jaggery as naivedhya to Varuṇa. Offer dhūpa and dīpa.

d) Invoking Śiva and Śakti in the kalaśa
Now we have to invoke Lalitāmbikā in the kalaśa.
अहसमन ्स कलश मयध अखखलरणडकमहट बसरहरणड नरयकक शस्श ररजररजध शवरर लललतर
महरतसरतपच रसच नदरर पररभटस टररकर महरदध वयरम महरकरमध शवर समध त आवरहयरलम॥
asmin kalaśa madhye akhilāṇḍakoṭi brahmāṇḍa nāyaki śrī
rājarājeśvarī lalitā mahātripurasundarī parābhaṭṭarikā mahādevyāḥ
mahākāmeśvara sameta āvāhayāmi ||
आसनऐ समपरयरलम। परदऐ समपरयरलम। अघयरम ्स समपरयरलम। आचमनशयम ्स समपरयरलम।
सनरनम ्स समपरयरलम। सनरनरननदसतरऐ आचमनशयऐ समपरयरलम। वसतसरऐ समपरयरलम। नरनरपवध
पररमल पतस पषस्चपरखण समपरयरलम॥
āsanaṁ samarpayāmi (offering seat to Mahākāmeśvara and
Kāmeśvarī) | pādyaṁ samarpayāmi (washing their feet) | arghyam
samarpayāmi ( washing their hands)| ācamanīyam samarpayāmi
offering them water to drink)| snānam samarpayāmi (offering them
mantra bath)| snānānantaraṁ ācamanīyaṁ samarpayāmi | vastraṁ
samarpayāmi (offering them new clothes) | nānāvidha parimala patra
puṣpāṇi samarpayāmi (offering him all types of fragrant flowers and
herbs) ||
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(It would be ideal to invoke Śiva and Śakti together; but in general
Kāmeśvarī alone is invoked. But we have to remember that
Mahākāmeśvara exists in the central bindu of Śri Cakra.)
Now recite mūlamantra 108 times by touching the kalaśa with a

bunch of kuśa grass. Thicker end of kuśa grass should be held in right
hand and thinner end should be touching the kalaśa. Then offer dhūpa
and dīpa to the kalaśa, where Mahākāmeśvara and Kāmeśvarī
manifest.
Now invoke aṣṭadikbālaka-s around the yantra. Take some flowers
and offer them to the eight cardinal gods. Start from East in clockwise
manner and finish at Northeast.
इनदसररय नमम। अगनयध नमम। यमरय नमम। तनररतयध नमम। वरणरय नमम। वरयवध नमम।
सममरय नमम। ईशरनय नमम॥
indrāya namaḥ | agnaye namaḥ | yamāya namaḥ | nirṛtaye namaḥ |
varuṇāya namaḥ | vāyave namaḥ | somāya namaḥ | īśānaya namaḥ ||
IMAGE 11
Now remove coconut and mango leaves from the top of the kalaśa
and perform abhiṣeka to the yantra with kalaśa water, by reciting only
the mūlamantra. Now remove the yantra and wipe clean with a clean
cloth and place on a pīṭha (an elevated wooden seat or a stone seat).
It is important to keep the innermost triangle of the yantra, facing the
sādhaka.
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Take the same kuśa grass and hold in the same manner as explained
above and touch the yantra with the tip of the kuśa grass bundle and
recite 108 times, yantra gāyatrī mantra.
ॐ ऐऐ हसरऐ शस्शऐ ॐ यनदसतरस रजरय पवदसमहध महरयनदसत्

स रय धशमहह। तनदसनम यनदसतमस पसरचमदयरत ्स॥
om aiṁ hrīṁ śrīṁ om yantrarājāya vidmahe mahāyantrāya dhīmahi |

tanno yantraḥ pracodayāt ||
e) Performing nyāsa-s
Now, do bhūtaśuddhiḥ and mātrukānyāsaḥ.
(These two will be available after Śrīnagarapūjā dīpapūja).
f) Main part of prāṇapratiṣṭhā (to be done like a japa mantra)
prāṇapratiṣṭhā mantra: During this process, touch the yantra with
right hand.
i) Ṛṣyādi nyāsaḥ ऋषयरदद नयरसम
असय शस्श पसररणपसरतपतर महरमनदसतसय। बसरहपवषणमच हध शवर ऋषयम।
ऋगयजच ससरमरथवररखण छनदरऐ लस। सकलजगतसपर षटहसथततसऐ हररकरररणश पसररणशकतम
परर दध वतर॥
आऐ बशजम ्स। हसरऐ शकतम। कस रर कशलकम ्स॥
asya śrī prāṇapratiṣṭhā mahāmantrasya | brahmaviṣṇumaheśvara
ṛṣayaḥ | ṛgyajussāmātharvāṇi chandāṁsi |
sakalajagatsṛṣṭisthitisaṁhārakāriṇī prāṇaśaktiḥ parā devatā ||
āṁ bījam | hrīṁ śaktiḥ | kroṁ kīlakam ||
ii) Karanyāsaḥ करनयरसम
āṁ aṁguṣṭhābhyāṁ namaḥ | आऐ अऐ पगच रभरयरऐ नमम
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(use both the index fingers and run them on both the thumbs)
hrīṁ tarjanībhyāṁ namaḥ | हसरऐ तजरनशभरयरऐ नमम।
(use both the thumbs and run them on both the index fingers)
kroṁ madhyamābhyāṁ namaḥ | कस रर मयमरभरयरऐ नमम।

(both the thumbs on the middle fingers)
āṁ anāmikābhyāṁ namaḥ | आऐ अनरलमकरभरयरऐ नमम।
(both the thumbs on the ring fingers)
hrīṁ kaniṣṭhikābhyāṁ namaḥ | हसरऐ कतनपपकरभरयरऐ नमम।
(both the thumbs on the little fingers)
kroṁ karatalakarapṛṣṭābhyāṁ namaḥ || कस रर करतलकरपषटर ्रभरयरऐ नमम॥
(open both the palms; run the opened palms of the right hand on the
front and back sides of the left palm and repeat the same for the other
palm)
iii) Hrdayādi nyāsaḥ हसरदयरदद नयरसम
आऐ हसरदयरय नमम। āṁ hrdayāya namaḥ| (open index, middle and ring
fingers of the right hand and place them on the heart chakra)
हसरऐ - लशरसध सवरहर। hrīṁ - śirase svāhā| (open middle and ring fingers of
the right hand and touch the top of the forehead)
कस रर - लशखरयष वषटस । kroṁ - śikhāyai vaṣaṭ| (open the right thumb and
touch the back of the head. This is the point where tuft is kept)
आऐ - कवचरय हचऐ। āṁ - kavacāya huṁ| (cross both the hands and run the
fully opened palms from shoulders to finger tips)
हसरऐ - नध ततयरय व षटस । hrīṁ - netratrayāya vauṣaṭ| (open the index, middle
and ring fingers of the right hand; touch both the eyes using index and
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ring fingers and touch the point between the two eyebrows (ājñā
cakra) with the middle finger.
कस रर - असतसररय फटस ॥ kroṁ - astrāya phaṭ||

भभभवच र ससच वरमलमतत हदगबनदम॥ bhūrbhuvassuvaromiti digbandhaḥ||
iv) Dhyānam धयरनम ्स
रकतरऐ भमधधसथपमतमललसदरण सरमजरधधरढर कररबजष म
स वमळगणच मसयकऐ ्चशऐ पञचबरणरन ्स।

परशरऐ कमदणडलमकभदभ
तसरबररणरसकस ्र कपरलऐ तसरतनयनललसतर पशनवकमरहरढयर
दध वश बरलरकरवणरर भवतच सखच करर पसररणशहकतम परर नम॥
raktāṁbhodhisthapotollasadaruṇa sarojādhirūḍhā karābjaiḥ
pāśāṁ kodaṇḍamikṣūdbhavamaḻaguṇamapyaṁkuśaṁ pañcabāṇān|
bibhrāṇāsṛkkapālaṁ trinayanalasitā pīnavakṣoruhāḍhayā
devī bālārkavarṇā bhavatu sukhakarī prāṇaśaktiḥ parā naḥ ||
(Meaning: She is in a corner of a red lake, sitting on a boat and having
a red lotus as her seat. She has noose, hook, sugarcane bow, flower
arrows, skull. She has three eyes. She shines like the rising sun. Let
this Prāṇaśakti known as Parāśakti give us happiness.)
v) Pañcapūjā पञचपजभ ्र (follow as per Karanyāsa)
लऐ - पधर थवयरहतमकरयष गनदऐ समपयर ्रलम।
हऐ - आकरशरहतमकरयष पषस्चपम्ष पजभ यरलम।
यऐ - वरयवरहतमकरयष धप
भ मरघसररपयरलम।
रऐ - अगनदरहतमकरयष दरपऐ दशरयरलम।
वऐ - अमतर ्रहतमकरयष अमतर ्ऐ महरनवष ्धदऐ तनवध दयरलम।
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सऐ - सवररहतमकरयष सवमपचरर पजभ ्रम ्ससमपयर ्रलम॥
laṁ - pṛthivyātmikāyai gandhaṁ samarpayāmi|

haṁ - ākāśātmikāyai puṣpaiḥ pūjayāmi|
yaṁ - vāyvātmikāyai dhūpamāghrāpayāmi|
raṁ - agnyātmikāyai dīpaṁ darśayāmi |
vaṁ - amṛtātmikāyai amṛtaṁ mahānaivedyaṁ nivedayāmi |
saṁ - sarvātmikāyai sarvopacāra pūjām samarpayāmi||
vi) Main mantra
ॐ ऐऐ हसरऐ शस्शऐ ॐ आऐ हसरऐ कस रर यऐ रऐ लऐ वऐ शऐ षऐ सऐ हल हऐ सम शस्शचकस रसय पसररणर
इह पसररणरम।
ॐ ऐऐ हसरऐ शस्शऐ ॐ आऐ हसरऐ कस रर यऐ रऐ लऐ वऐ शऐ षऐ सऐ हल हऐ सम शस्शचकस रसय जशव इह
हसथतम।
ॐ ऐऐ हसरऐ शस्शऐ ॐ आऐ हसरऐ कस रर यऐ रऐ लऐ वऐ शऐ षऐ सऐ हल हऐ सम शस्शचकस रसय
सवध हनदसरयरणश। ।
ॐ ऐऐ हसरऐ शस्शऐ ॐ आऐ हसरऐ कस रर यऐ रऐ लऐ वऐ शऐ षऐ सऐ हल हऐ सम शस्शचकस रसय
वरङस मनसचकच म शस्मतस हजवरसरघसररण वरकस परखण परद परयपच सथरसयरतन पसररणर
परनवयरतमदरनसमरनरशचरगसय मखच ्ऐ धचरम ्सतपतनदसतचसवरहर॥
hauṁ haṁ saḥ śrīcakrasya prāṇā iha prāṇāḥ |
(Meaning: Let the prāṇa of Śri Cakra be prāṇa here (meaning that
prāṇa originates from Śri Cakra and pervades the world).
hauṁ haṁ saḥ śrīcakrasya jīva iha sthitaḥ |
(Meaning: Let the jīva (existence) of Śri Cakra be the existence of the
world)
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hauṁ haṁ saḥ śrīcakrasya sarvendriyāṇī |
(Meaning: Let indriya-s of Śri Cakra pervade the world)
om aiṁ hrīṁ śrīṁ om āṁ hrīṁ kroṁ yaṁ raṁ laṁ vaṁ śaṁ ṣaṁ
saṁ hauṁ haṁ saḥ śrīcakrasya vāṅmanascakṣuḥ śrotra jihvāghrāṇa
vāk pāṇi pāda pāyupasthākhyāni prāṇā
pānavyātodānasamānāścāgasya mukhaṁ ciram tiṣṭhantu svāhā ||
(Meaning: Let speech, mind, five organs of perception, five organs of
action and five prāṇa-s exist eternally in the world svāhā (hail))
असच नशतध पनच रसमरसच चकच मपनच ्म पसररणलमह नम धध हह भमगम।्स
जयमकस पशयध म सभयर मचच रनदसत मनमच तध मळर यर नम सवहसत॥
asunīte punarasmāsu cakṣuḥpunaḥ prāṇamiha no dhehi bhogam |
jyok paśyema sūrya mucaranta manumate mṛḻayā naḥ svasti ||
पञचदश सऐ सकरररथरऐ पञचदशवररऐ पसरणवजपऐ करतवर॥
pañcadaśa saṁskārārthaṁ pañcadaśavāraṁ praṇavajapaṁ kṛtvā ||
Now repeat ॐ fifteen times. This is for 15 saṁskāra-s (saṁskāra
means purification of a person at different time periods. For example,
garbhādhāna, puṁsavana, sīmantonnayana, jātakarman,
nāmakarman, niṣkramaṇa, annaprāśana, etc. Instead of doing these
elaborate rituals, fifteen praṇava-s are recited.
आवहहतर भव। सथरपपतर भव। सहनदसनहहतर भव। सहनदसनपरर भव। अवरकचहणठतर भव।
सच पसरशतर भव। समच नदसनर भव। समच ्चखर भव। वरदर भव। पसरसशद पसरसशद । दध पव सवरजगनदसनतयकध
पसरशततभरवध न शस्शचकस रध ऽहसमनसहनदसनधधऐ कचर॥

āvahitā bhava | sthāpitā bhava | sannihitā bhava | sanniruddhā bhava
| avākuṇṭhitā bhava | suprītā bhava | sumannā bhava | sumukhā bhava
| varadā bhava | prasīda prasīda | devi sarvajagannayike prītibhāvena
śrīcakre'smin sannidhiṁ kuru ||
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(There are āvāhanādi mudrā-s that can be used while doing the above
invocation.)
(Meaning: Please give us Your darśan, take Your seat permanently in
this Śri Cakra. Shower Your Grace on us. Be felicitous and
auspicious, graciously smile and fulfil our desires. Be compassionate
to us, O the ruler of the universe. With compassion, please be seated
in this Śri Cakra. – This mental contemplation is very important after
finishing the above mantras. Take some time in contemplating Her in
Śri Cakra.
After this, using kuśa bundle, touch the Śri Cakra, as described earlier
and recite again 108 times of mūlamantra. If homa is possible offer
108 oblations with mūlamantra. At the end of every oblation, a drop
of ghee should be placed on the consecrated Śri Cakra. This should
be done after reciting svāhā. Alternatively, such drops can be
collected in a separate vessel and abhiṣeka can be made to Śri Cakra
after concluding homa.
When all these rituals are completed move the yantra a little towards
north and this is known as yathāsthāna (proper or right place where
daily pūjā would be held).

At the end of this procedure, if one’s Guru is nearby, he has to go in
person and pay his respects to his Guru. Prāṇapratiṣṭhā procedure can
be done either individually with Guru’s permission or in the presence
of Guru under his direct supervision. It is advisable that this
procedure should be done by the person who is going to do the
worship.
12. Śrīnagara pūjā शसरशनगर पभजर
Śrīnagara is situated outside Śri Cakra. Śrīnagara has twenty five high
raised huge forts. In between any two forts, there are many gods,
sages and saints protecting Śri Cakra and simultaneously worshiping
Lalitāmbikā. Only after crossing Śrīnagara, one can enter Śri Cakra.
Entry into Śri Cakra is restricted only to those who are in the process
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of realizing the Self, for which sādhana alone helps. There are forty
four arcana-s (arcana means praising; this is done by offering flowers
at the end of saying namaḥ). ॐ and tritātri (aiṁ hrīṁ śrīṁ) are to be
prefixed and namaḥ at the end. For example, the first nāma should be
recited like this  om aiṁ hrīṁ śrīṁ amṛtāmbhonidhaye namaḥ.
1. अमतर ्रमभमतनधयध amṛtāmbhonidhaye (Citśakti – the energy of
Consciousness)
2. रपतनशपरय ratnadvīpāya (manifestation)
3. नरनरवकर महमदरनरय nānāvṛkṣa mahodyānāya (liṅgaśarīra –
individual soul, where karmic imprints are embedded).

4. कलपवकर वरहटकरयष kalpavṛkṣa vāṭikāyai (saṃkalpa – notion formed
in the mind, desire, etc)*
5. सनदसतरन वरहटकरयष santāna vāṭikāyai* (thought processes)
6. हररचनदन वरहटकरयष haricandana vāṭikāyai* (ego)
7. मनदरर वरहटकरयष mandāra vāṭikāyai* (intellect)
8. परररजरत वरहटकरयष pārijāta vāṭikāya* (citta – mind of the empirical
individual)
9. कदमब वरहटकरयष kadamba vāṭikāyai* (mind)
(*4 – 9 represent antaḥkaraṇa – mind, intellect, consciousness and
ego; and thought processes. Apart from these, they also form
modifications of pañcabhūta such as tanmatra-s such as sound, touch
etc and five organs of perception or jñānendriya-s.)
10. पषस्प
च ररग रतनपसररकरररय puṣparāga ratnaprākārāya (flesh)
11. पदसमररग रतनपसररकरररय padmarāga ratnaprākārāya (ojas – energy,
vitality)
12. गममध धक रतनपसररकरररय gomedhaka ratnaprākārāya (virility)
13. वजसर रतनपसररकरररय vajra ratnaprākārāya (bone)
14. वडषभ यररतनपसररकरररय vaiḍūrya ratnaprākārāya (skin)
15. इनदसरनशल रतनपसररकरररय indranīla ratnaprākārāya (hair)
16. मच तर रतनपसररकरररय muktā ratnaprākārāya (procreative fluids)
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17. मरकत रतनपसररकरररय marakata ratnaprākārāya (bone marrow)
18. पवरमच रतनपसररकरररय vidruma ratnaprākārāya (blood)
19. मरखणकय मणडपरय māṇikya maṇḍapāya (heart)

20. सहससरसतमभ मणडपरय sahasrastambha maṇḍapāya (sahasrāra)
21. अमतर वरपपकरयष amṛta vāpikāyai (dvādaśānta - twelve inches above
sahasrāra)
22. आननद वरपपकरयष ānanda vāpikāyai (central point in lalāṭa or
forehead; different form ājñācakra)
23. पवमशर वरपपकरयष vimarśa vāpikāyai (ājñācakra)
24. बरलरतपमदसगरररय bālātapodgārāya (opening of an eye referring to the
sun)
25. चहनदसरकमदसगरररय candrikodgārāya (opening of another eye referring
to the moon)
(24 and 25 refer to joy and happiness arising out of material world)
26. महरशङस कस ्र गररपररघरयष mahāśṛṅgāraparighāyai (the orifice in the upper
palate; this is the point where organs of action, organs of perception
and antaḥkaraṇa meet. Further, this is also the point where the three
major nāḍi-s, iḍa, piṅgala and suṣumna conglomerate; this is related
to khecarimudra)
27. महरपदसमरटवयष mahāpadmāṭavyai (heart and /or sahasrāra)
28. धचनदसतरमखण मय गह ररजरय cintāmaṇi maya gṛharājāya (purified
antaḥkaraṇa; only purified antaḥkaraṇa can lead to liberation;
purification of antaḥkaraṇa is more important than purification
external organs).
29. पवभ ्ररमनरय मय पपवभर ्रररय pūrvāmnāya maya pūrvadvārāya (Rig Veda)
30. दककणरमनरय मय दककपणरररय dakṣiṇāmnāya maya dakṣiṇadvārāya

(Yajur Veda)
31. पहशचमरमनरय मय पहशचपमरररय paścimāmnāya maya
paścimadvārāya (Sāma Veda)
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32. उतररमनरय मय उतपररररय uttarāmnāya maya uttaradvārāya
(Atharva Veda)
33. रतनपसरदरपवलयरय ratnapradīpavalayāya (expansion of knowledge)
34. मखणमय महरलस ्ऐहरसनरय maṇimaya mahāsiṁhāsanāya (benefits of
mantras)
35. बसरहमयष कमञचपरदरय brahmamayaikamañcapādāya (creation –
mūlādhāra chakra)
36. पवषणमच यकष मञचपरदरय viṣṇumayaikamañcapādāya (sustenance -
svādhiṣṭhāna)
37. ररमयष कमञचपरदरय rudramayaikamañcapādāya (dissolution -
maṇipūraka)
38. ईशवरमयष कमञचपरदरय īśvaramayaikamañcapādāya (tirodhāna or
disappearance or concealment - anāhata)
39. सदरलशवमयष कमञचफलकरय sadāśivamayaikamañcaphalakāya
(anugraha – recreation – viśuddhi)
40. हमसतभललकर तलपरय hamsatūlikā talpāya (mahāpralaya – total
annihilation at the end of a yuga – deep sleep state – ājñācakra)
41. हमसतभललकर महमपधरनरय hamsatūlikā mahopadhānāya (avidya or
spiritual ignorance)
42. क सच मभरसतरणरय kausumbhāstaraṇāya (sum total of ego of all the

beings)
43. महरपवतरनकरय mahāvitānakāya (avyakta, the state of prakṛti in its
un-manifested form)
44. महरमरयरयवतनकरयष mahāmāyāyavanikāyai (mahāmāyā)
The above forty four refer to various aspects of both subtle and gross
bodies and with this forty four, an entire body is formed. It is
important to note that Śri Cakra too has 44 triangles (including the
Bindu). Each of these forty four nāma-s together create, sustain,
dissolve, annihilate and recreate the universe. This is applicable to
both macrocosm and microcosm. When we go past Śrīnagara, it
means that our mind is purified, ego is annihilated, sensory organs
are not used beyond the basic needs, the highest level of spiritual
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knowledge is attained and thus, our body, mind and soul are unified
and become ready for liberation.)
English meaning for certain Sanskrit words: nidhi – storehouse; vāṭi
- enclosed ground; dvīpa – island; prākāra – enclosure; maṇḍapa – a
sort of decorated hall or temple; dvāra – entrance; valaya – round
enclosure; vāpika – natural pond;
13. Dīpa pūjā दशप पजभ ्र
It is preferable to light four lamps, two before
Her consecrated idol form (one on each side) and
two before consecrated Śri Cakra (one on either

side of the maṇḍala). These lamps should not be
placed on the ground. There should be bases for
IMAGE 12
these lamps. In the bases, an inverted triangle should be drawn and
the tips of the triangles should be facing the worshiper (as shown in
the image 12). To idol’s right, ghee should be used with white wick
and to idol’s left, sesame oil should be used with red wick (kumkum
can be applied on white wick) for the lamps. The same principle
should be followed for Śri Cakra. Lamps are to be placed in such a
way, that they are not disturbed during pūjā. After reciting the
following verse, flowers are to be offered at the bottom of the lamps.
Flowers should not be kept on the top of the lamps.
ॐ ऐऐ हसरऐ शस्शऐ दरपदध पव महरदध पव शच भऐ भवतच मध सदर।
यरवतपजभ ्र समरपतम सयरतरवतपसरजवल सच हसथरर॥
om aiṁ hrīṁ śrīṁ dīpadevi mahādevi śubhaṁ bhavatu me sadā |
yāvatpūjā samāptiḥ syātāvat prajvala susthirā ||
Meaning: O! Devi in the form of knowledge and intellect! Please
bless me with auspicious mindset of non-dualism. Till I complete this
yajñā (navāvaraṇa pūjā), please protect me that I am not engulfed
with avidyā (spiritual ignorance or duality).”
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14. Bhūtaśuddhiḥ भभतशदस्चधम
Bhūta refers to our body and śuddhi refers to purification. By doing
the following procedure, we first remove avidya (nescience) and

consequently māyā. When these two are removed, ego is annihilated
and “I” becomes “That”. In order to purify our body (gross, subtle
and causal) this procedure is done. An example is quoted to explain
this further. In a paddy grain, rice is covered by husk. When rice is
covered by husk it is called paddy and when the husk is removed, it
is rice. Thus there is no change in the nature of the rice. Paddy is
compared to individual soul and rice is compared to the Self. Husk is
māyā. Unless the husk called māyā is removed, the Self (rice) cannot
be seen. This is possible only if all the three bodies – gross, subtle
and causal - are destroyed. When these bodies are destroyed (not in
literal sense), what we see is the Self. It is also said that that the
individual self (covered by māyā) is situated at mūlādhāra and on
attaining knowledge, it goes up through suṣumna to merge with Śiva
at brahmarandhra (an orifice at sahasrāra). However, this theory is
somewhat in contravention to the concept of kuṇḍalinī, which is
worshiped as Parāśakti Herself. Lalitā Sahasranāma 110 says that Her
subtlest form is Kuṇḍalinī.
Please also note that according to Tantra śāstra-s the first inhalation
is to be done through the right nostril, instead of left nostril. For
example, Mahānirvāṇa Tantra (III.44 and 45) says, “Pressing the left
nostril, recite mūla mantra eight times and inhale through right
nostril. Hold the breath for thirty two counts and exhale through the
left nostril.” This process is repeated through the other nostril. There
are Tantra Scriptures like Tarkālaṁkāra, first inhalation is advised
through the left nostril. The description above is based on Yoga
philosophy and not on Tantra Scriptures, as they talk about mūla
mantra-s and kumbhaka (holding of breath). Haṭhayoga Pradīpaka
(II.7) says that in any prāṇāyama, one should begin inhalation with
the left nostril (iḍa nāḍi). Yoga CūḍāmaṇiUpaniṣad (98) also says that
first breath should be drawn through the left nostril and exhaled
through right nostril.
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Purpose of bhūtaśuddhi and mantras:
i) First, by inhaling through the left nostril, one should visualize that
he is drawing jīvaśiva (life energy) from mūlādhāra and take it to
sahasrāra through suṣumna. Now, one has to contemplate that
jīvaśiva merges with Paramaśiva (the Self or Brahman) at sahasrāra
and exhale through the right nostril. Now, we have to inhale through
the right nostril (the nostril through which last exhalation was done
as in i above). While inhaling यऐ (yaṁ) is to be mentally recited sixteen
times. यऐ (yaṁ) is vāyu bīja. It is to be contemplated that by air, the
mortal body with unfulfilled desires be dried up with air using vāyu
bīja. Having dried, this purified body is to be burnt with agni bīja रऐ
(raṁ). After having burnt the body, using amṛta (nectar) bīja वऐ (vaṁ),
spirituous liquor (refer Lalitā Sahasranāma 106) known as sudhā
(ambrosia) is drawn from sahasrāra and the burnt body (destruction
of afflictions of the mind or destruction of three types of bodies as

discussed above) be washed away with ambrosia and by using pṛthvī
(earth) bīja लऐ (laṁ), divine body is created. Finally, this purified
divine body is taken back to mūlādhāra. The body that is being taken
back to the base chakra is a purified body without any mental
afflictions. This is done by reciting bīja-s haṁsaḥ sohaṁ. The
breathing patterns along with the respective recitations are given here.
i) ॐ ऐऐ हसरऐ शस्शऐमल
भ शङस कस ्रगरटकरतसच षमस्चनरपथध न जशवलशवऐ परमलशवपदध यमजयरलम
सवरहर॥
om aiṁ hrīṁ śrīṁ mūlaśṛṅgāṭakāt suṣumnāpathena jīvaśivaṁ
paramaśivapade yojayāmi svāhā ||
(Inhale through left nostril and while doing so visualize that jīvātman
in mūlādhāra is being taken to brahmarandhra at sahasrāra to merge
with Paramātman through suṣumna. Then exhale through the right
nostril.
ii) ॐ ऐऐ हसरऐ शस्शऐ यऐ * सऐ कमच शरररऐ शमषय शमषय सवरहर॥
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om aiṁ hrīṁ śrīṁ yaṁ* saṁkoca śarīraṁ śoṣaya śoṣaya svāhā ||
*bīja yaṁ (यऐ ) is to be repeated 16 times.
śoṣaya – drying; saṁkoca – withering.
(Inhale through the right nostril and exhale through the left nostril.
During this, mantra in ii is to be recited mentally.
iii) ॐ ऐऐ हसरऐ शस्शऐ रऐ * सऐ कमच शरररऐ दह दह पच पच सवरहर॥
om aiṁ hrīṁ śrīṁ raṁ* saṁkoca śarīraṁ daha daha paca paca svāhā
||
daha – to burn; paca – baked (referring to ashes).
*bīja (रऐ ) raṁ is to be recited 16 times.
(Inhale through left nostril and exhale through right nostril)
iv) ॐ ऐऐ हसरऐ शस्शऐ वऐ * परमलशवरमतर ्ऐ वषयर वषयर सवरहर॥
om aiṁ hrīṁ śrīṁ vaṁ* paramaśivāmṛtaṁ varṣaya varṣaya svāhā ||
(varṣa – showering)
* bīja (वऐ ) vaṁ is to be recited 16 times.
(Inhale through right nostril and exhale through left nostril)
v) ॐ ऐऐ हसरऐ शस्शऐ लऐ * शरऐ भव शरररऐ उतपरदय उतपरदय सवरहर॥
om aiṁ hrīṁ śrīṁ laṁ* śāṁbhava śarīraṁ utpādaya utpādaya svāhā||
(utpāda – coming forth, birth)
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* bīja (लऐ ) laṁ is to be recited 16 times.
vi) ॐ ऐऐ हसरऐ शस्शऐ हऐ सम समहऐ अवतर अवतर लशवपरदरतजशव सषच ्चमनर पथनध पसरपवश
मभलशगरऐ ्रटकऐ उललसमललस जवल जवल पसरजवल पसरजवल हऐ सम समहऐ सवरहर॥
om aiṁ hrīṁ śrīṁ haṁsaḥ sohaṁ avatara avatara śivapādāt jīva
suṣumnā pathena praviśa mūlaśṛṁgāṭakaṁ ullasollasa jvala jvala
prajvala prajvala haṁsaḥ sohaṁ svāhā ||
(inhale through left nostril and exhale through right nostril)
(haṁsa though refers to swan, it has subtler meaning relating to
energy of breath. haṁsa consists of two parts “ha” + “sa”, where ha
means exhalation and sa means inhalation. haṁsa therefore means
vitality which is the most essential component of existence. It is also

said that haṁsa is said to be Śiva, whose seat is said to be the sky
(infinity). The Self is also called haṁsa. “ha” + “sa” can also be
explained as emanation and re-absorption activities of Śiva. haṁsa is
the spontaneous sound that penetrates into suṣumna nāḍi causing
Bliss and ultimate liberation.)
15. Ātma prāṇapratiṣṭhā आतम पसररणपसरततषठर
Avidya or spiritual ignorance is impurity causing duality. Such
impurities have already been removed through bhūtaśuddhi. In such
a purified body and soul, Brahman and His Power are being
established. This is the concept of ātma prāṇapratiṣṭhā.
Procedure:
Keep the right palm on the heart and recite the following mantra three
times.
ॐ ऐऐ हसरऐ शस्शऐ आऐ समहऐ ॥
om aiṁ hrīṁ śrīṁ āṁ sohaṁ ॥
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After this, one has to do prāṇāyama three, ten or sixteen times with
the initiated mūlamantra, either Pañcadaśī or Ṣoḍaśī. (ideal ratio of
prāṇāyama inhalation – holding – exhalation is 1:4:2). Prāṇāyama is
done here to concentrate on Her during the entire period of
navāvaraṇa pūjā. Prāṇāyama always helps in purification of the mind.
16. Vighnotsāraṇam दघनमतसररणम ्स
This is a prayer to remove all obstacles. The obstacles are afflictions

of the material world such as desires, attachments, illusions, etc. All
these obstacles are being removed with Śiva’s command. The
following mantra is to be recited.
अपसपनदस्र तच तध भभतर यध भभतर भच पव सऐ हसथतरम।
यध भभतर पवघनकतरररसतध गचछनदसतचलशवरजयर॥
apasarpantu te bhūtā ye bhūtā bhuvi saṁsthitāḥ |
ye bhūtā vighnakartāraste gacchantu śivājñayā ||
17. Nyāsaḥ नयरसम
This is discussed under two parts. The first part deals with principle
and purpose of nyāsa-s and the second part deals with practical nyāsa-
s. Explanatory notes and applications are restricted to only select
nyāsa-s. All types of nyāsa-s are give here only for the purpose of
knowing the types of nyāsa-s.
Principle behind nyāsa-s:
Nyāsa is explained as mental appropriation or assignment of various
parts of the body to protective deities (tutelary deities) and
exceptionally for the principal deity. There are also meanings such as
placing, fixing, putting away, taking off, etc. Irrespective of these
meanings, nyāsa is an act of the mind expressed physically by
touching various parts of the body. This is mainly done to make the
worshiper feel that his body is not different from Her. At the end of
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nyāsa procedures, sādhaka’s duality is completely dissolved and he
becomes one with Her. At this stage the ego of the sādhaka is
completely annihilated paving to realize Her within. When ego is
dissolved, the sādhaka realizes that he is not the performer of
navāvaraṇa pūjā. This is the stage where the navāvaraṇa pūjā, the one
who performs navāvaraṇa pūjā and Lalitāmbikā become one.
Lalitāmbikā is Citśakti, the power of Consciousness (of Śiva), that
brings about the world process (creation, sustenance, etc). What is
the power of Citśakti in the mind? When the mind affirms that we are
Citśakti, it is important that the mind is fully aware of three forms of
Parāśakti viz. gross, subtle and subtlest. She has many gross forms
and known by different names such as Kālī, Ṣoḍaśī and other forms,
more fully explained in Daśamahāvidyā and other Scriptures. In fact,
all that exists in the universe is Her form. Subtle forms refers to Her
mantra form such as Ṣoḍaśī mantra, Pañcadaśī mantra and all other
mantras. In fact, all the mantras originate from Her. Lalitā
Sahasranāma 204 says, “Sarvamantra svarūpiṇī”. Mantras are made
up of different alphabets of Sanskrit and all these alphabets originate
from Her, says Lalitā Sahasranāma 577, mātṛkā-varṇa-rūpinī. Most
importantly, Her subtler form is said to be kāmakalā, which is
explained in Lalitā Sahasranāma 322, kāmakalā-rūpā. Her subtlest
form is Kuṇḍalinī.
By performing nyāsa-s in the body, our body is considered as Her
mantra form. This is the purpose of nyāsa. Therefore, it is very
important that mental concentration is important while performing
nyāsa-s, otherwise, the very purpose of nyāsa-s would be defeated.

Following twenty nine nyāsa-s are prescribed in Śrī Vidyā.
01. bahirmātṛkānyāsaḥ बहहमररतकर ्रनदरसम
02. antarmātṛkānyāsaḥ अनदसतमरतर कर ्रनदरसम
Mātṛkā literally means mother. Mātṛkā also means the power of
letters. Combination of various letters gives rise to a word and
formation of words is known as Mālinī, the deity of alphabets
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(Śrītantrālokaḥ). In other words, Mātṛkā is the mother of alphabets
and Mālinī is the mother of words. Mālinī (Lalitā Sahasranāma 455)
is explained as the power of letters which holds the entire universe
within itself. Śiva says to Pārvatī, “All the sins are destroyed by
performing mātṛkānyāsa-s” (Mantrayoga Saṁhitā). By performing
mātṛkānyāsa-s one identifies his body with the subtle form of
Parāśakti. This contemplation is more important in performing all the
nyāsa-s.
Bahirmātṛkānyāsa or bāhyamātṛkānyāsa means touching various
external parts of the body with finger tips by reciting an alphabet.
Thus all the fifty alphabets are placed at different parts of the body.
Antarmātṛkānyāsa means contemplating the same fifty alphabets in
the six psychic chakras, from mūlādhāra to ājñā and at sahasrāra.
Every alphabet is preceded by praṇava, tritāri and Bālā and this is
formed like this:
om - aiṁ hrīṁ śrīṁ - aiṁ klīṁ sauḥ ॐ - ऐऐ हसरऐ शस्शऐ - ऐऐ कलरऐ स ्म

After this an alphabet is recited with bindu (a dot on the top of the
alphabet) and suffixed with namaḥ haṁsaḥ (नमम हऐ सम) at the end. Let
us take the example of alphabet a (अ) and nyāsa is done like this.
om - aiṁ hrīṁ śrīṁ - aiṁ klīṁ sauḥ - aṁ - namaḥ haṁsaḥ ॐ - ऐऐ हसरऐ
शस्शऐ - ऐऐ कलरऐ स ्म – अऐ – नमम हऐ सम
Practical nyāsa will be dealt with subsequently.
03. karaśuddhinyāsaḥ करशच पपनदरसम
Karaśuddhi literally means cleansing of hands. But, contextually
karaśuddhinyāsa is one of these several nyāsa-s.
This nyāsa is done by prefixing om - aiṁ hrīṁ śrīṁ to aṁ or āṁ or
sauḥ (अऐ आऐ स ्म) and suffixing with namaḥ (नमम). For example om -
aiṁ hrīṁ śrīṁ aṁ namaḥ. The three bīja-s aṁ, āṁ, sauḥ (अऐ आऐ स ्म)
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are derived from the first āvaraṇa, trilokyamohanacakra. Each
cakreśavarī (the one who presides over that āvaraṇa) has got different
bīja-s and these bīja-s are used as prefixes to various nyāsa-s.
The purpose of karaśuddhinyāsa is to eliminate the influences of
antaḥkaraṇa, organs of perception and organs of action on the mind,
so that the mind is purified and becomes one with Śiva tattva. Hands
and fingers are cleansed symbolically to purify the mind as explained
above. Again the contemplation is more important here, as is always
the case with all types of nyāsa-s.
There are twelve karaśuddhinyāsa-s.
04. ātmarakṣānyāsaḥ आतमरकरनदरसम

This nyāsa is done in the heart chakra, known as anāhata chakra. In
this nyāsa, the three bīja-s of second āvaraṇa aiṁ, klīṁ, sauḥ (ऐऐ कलरऐ
स ्म) are prefixed to śrī mahātripurasundari ātmānaṁ rakṣa rakṣa. This
nyāsa is done for two purposes. One, to pray to Her to remove māyā,
which acts as an impediment to the realization of the Self. Two, in
order to remove māyā, Her Grace is sought. When Her Grace
descends, karmic imprints are removed. Therefore, this nyāsa seeks
protection for the individual soul, which is the very cause of our
existence. Within this individual soul remains the Self, but veiled by
māyā.
05. caturāsananyāsaḥ चतररसननदरसम
Caturāsana means four types of subtle seating. They are ātmāsana,
cakrāsana, sarvamantrāsana and sādhyasiddhāsana (आतमरसन, चकस ररसन,
स रसन and सरसयलपसरसन). Out of the nine āvaraṇa-s, the bīja-s of

सवरमनदसत्
the first two āvaraṇa-s are used in karaśuddhinyāsa (3 above) and
ātmarakṣānyāsa (4 above). In caturāsananyāsa the bīja-s of third,
fourth, fifth and sixth āvaraṇa-s are used. These four nyāsa-s refer to
unification of pramātā (subject), prameya (object) and pramāṇa
(means, anumāna, inference). These three are symbolically
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represented by ātmāsana, cakrāsana and sarvamantrāsana. When the
subject, object and the means are perfectly in unison, it leads to the
ultimate stage of union of Śiva and Śakti. This is known as Prakāśa-

Vimarśa sāmarasya, where Prakāśa is Śiva, Vimarśa is Śakti and
sāmarasya means union of Śiva and Śakti. Lalitā Sahasranāma 792
sāmarasya-parāyaṇā explains this. This concept is also explained in
Bhāvanopaniṣad 8, which says, “jñātṛ jñāna jñeyānāṁ
abhedabhāvanaṁ śrīcakrapūjanam.” This means that realising, that
there is no difference between the knower, the known and the process
of knowing (knowledge) is true worship of Śri Cakra.
06. bālāṣaḍaṅanyāsaḥ बरलरषडङनदरसम
Here, nyāsa is done with Bālā mantra aiṁ klīṁ sauḥ (ऐऐ कलरऐ स ्म).
Generally, in Śrī Vidyā cult, in the beginning one is initiated with
Bālā mantra and a sādhaka with consistent and dedicated practice
moves up in stages to Pañcadaśī and Ṣoḍaśī to become one with Her.
This nyāsa is performed to comprehend that there is no differentiation
in Her various forms. She alone manifests in different forms.
07. vaśinyādinyāsaḥ वलशनदरहदनदरसम
This is also known as vāgdevatā nyāsaḥ (वरगदध वतर नदरसम), the
composers of Lalitā Sahasranāma. Identifying ourselves with these
vāgdevei-s is the purpose of this nyāsa. All the fifty alphabets are
used in this nyāsa and nyāsa is done on the psychic centres.
08. mūlavidyāvarṇanyāsaḥ मलभ पवदरवणरनदरसम
Mūlavidyāvarṇanyāsa is different from mūlavidyānyāsa, which is
discussed under additional nyāsa-s. The main difference between the
two is this - mūlavidyāvarṇanyāsa uses fifteen alphabets used in
Pañcadaśī as bījākṣara-s. Varṇa means sound, vowel, syllable. For

example the first alphabet of Pañcadaśī mantra is ka (क). In
mūlavidyāvarṇanyāsa, a bindu is added by making ka (क) as kaṁ (कऐ).
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In mūlavidyānyāsa, pañcadaśī mantra is used for nyāsa.
Mūlavidyānyāsa nyāsa is done like karanyāsa and hrdayādi nyāsa
using each kūṭā of Pañcadaśī mantra.
Both these nyāsa-s are done to reaffirm that there is no difference
between Her, Her mantra and the sādhaka. This is subtly conveyed in
Varivasyā Rahasya (verse 114) which says, “Body of Parāśakti is
composed of Vāg, Kāma and Śakti kūṭa-s of Pañcadaśī mantra which
are placed from Her crown to neck, neck to hip and hip to feet. The
same concept is also explained in Lalitā Sahasranāma 85, 86 and 87
(Śrīmadvāgbhava-kūṭaika-svarūpa-mukha-paṅkajā, kaṇṭhādhaḥ
kaṭiparyantha-madhyakūṭa-svarūpiṇī and Śakti-kūṭaikatāpanna-

kaṭyadhobhāga-dhārinī).
09. śrīṣoḍaśākṣarīnyāsaḥ शस्शषमडशरकररनदरसम
This nyāsa is done with Ṣoḍaśī mantra with certain mudras like
saubhāgyadaṇḍinī, ripujihvāgrahā, trikhaṇḍā and yoni. The purpose
of this nyāsa is to control worldly life endued with desires,
attachment, etc and to attain liberation by becoming one with Her.
10. saṁmohananyāsaḥ सऐ ममहननदरसम
Contemplating the entire universe as red is the purpose of this nyāsa.
Bhāvanopaniṣad 19 says, “lauhityametasya sarvasya vimarśaḥ”. This
means that pure Consciousness is Kāmeśvara. Individual self, which

is in the state of eternal Bliss is Lalitāmbikā. The redness is
contemplating the union of Śiva, Śakti and jīvan (individual soul).
When the universe is contemplated as red, the sādhaka attains Her
qualities of compassions. She is described as red in dhyāna verses of
Lalitā Sahasranāma.
11. saṁhāranyāsaḥ सऐ हररनदरसम
12. sṛṣṭinyāsaḥ सपर षटनदरसम
13. sthinyāsaḥ हसथनदरसम
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Saṁhāranyāsa, sṛṣṭinyāsa and sthinyāsa refers to dissolution, creation
and sustenance. saṁhāranyāsa is done to annihilate avidyā (nescience
or spiritual ignorance). Sṛṣṭinyāsa is done to contemplate that sādhaka
is born afresh with vidyā or spiritual knowledge, where all dyads and
triads are not in existence. Sthinyāsa is done to establish the union of
sādhaka with Her. This is the state of jīvanmukta. This is the essence
of mahāvākya-s such as “I am Brahman”, “I am That” or “ahaṁ
brahmāsmi”.
14. laghuṣoḍhānyāsaḥ लघषच मढरनदरसम
Laghu means easy, quick, etc. Laghuṣoḍhānyāsa consists of six types
of nyāsa-s and they are follows.
i) gaṇeśanyāsaḥ गणध शनदरसम
ii) grahanyāsaḥ गसरहनदरसम
iii) nakṣatranyāsaḥ नकतनदरसम
iv) yoginīnyāsaḥ यमधगनशनदरसम

v) rāśinyāsaḥ ररलशनदरसम
vi) pīṭhanyāsaḥ पशठनदरसम
These six types of nyāsa-s are done to reaffirm that there is no
differentiation between Her and the sādhaka. This means that Gaṇeśa
(also known as Gaṇapati), the god of knowledge who removes all
obstacles and is the son of Śiva and Pārvatī. He is worshiped to
remove all obstacles at the commencement of navāvaraṇa pūjā. By
doing this nyāsa, it is established that Lalitāmbikā is not different
from Gaṇeśa. Similarly, navagraha-s (nine planets) and twenty seven
stars are one with Her. Nine planets, twenty seven stars and nine rāśi-
s (zodiac; also called bhāva or houses) constitute a birth chart. When
She is worshiped with true devotion and love, even if the planets are
placed adversely in one’s birth chart, they will not cause any
impediments in sādhaka’s life.
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Yoginīnyāsa is about sixty four yogini-s, who preside over various
parts of the body. Yoginī here means the deities who preside over
various aspects of existence. There are several references to sixty four
yogini-s. However, for the purpose of this nyāsa, seven yogini-s
presiding over seven psychic centres and their deputies amounting to
forty nine are taken into account. Each psychic centre has certain
number of lotus petals and each petal is embedded with a Sanskrit
alphabet. Thus we have fifty alphabets placed in the fifty petals of six
psychic centres and at sahasrāra each alphabet is placed in twenty

petals giving rise to one thousand petals. This is explained in detail
in Lalitā Sahasranāma 475 to 534. Please refer to the interpretation of
these nāma-s for details. Thus, not only the psychic centres are
identified with Lalitāmbikā, but also the entire alphabets of Sanskrit.
These alphabets form words and their meaning, which establishes Her
presence in every aspect of the universe. This is the purpose of
yoginīnyāsa.
Pīṭhanyāsa refers to fifty one Śaktipiṭha-s. Śiva was not invited by
Dakṣa to participate in a yajñā organised by him. Dakṣa is father of
Satī, an incarnation of Śaktī. When She was humiliated by Her father,
She immolated Herself. Śiva carrying Her corpse was milling around.
Viṣṇu cut the corpse into fifty one pieces that fell in fifty one different
places. These places are known as fifty one Śaktipiṭha-s. Each of
these Śaktipiṭha-s is represented by an alphabet and thus we have fifty
one alphabets. The number of alphabets is different from fifty
alphabets referred in yoginīnyāsa as alphabet ळ (ḻa) is addition here.
15. śrīcakranyāsaḥ शस्शचकस रनदरसम
In śrīcakranyāsa, Gaṇapati, Kṣetrapāla, Yogini-s (who preside over
eight āvaraṇa-s), aṣṭadikbālaka-s (cardinal guards), baṭuka (young
guards), Brahmā and Ananta are placed in various parts of the body.
This nyāsa also confirms that every aspect of the universe is pervaded
by Her.
i). trailokyamohanacakranyāsaḥ तस्षलमकयममहनचकस रनदरसम

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ii). sarvaśāparipūrakacakranyāsaḥ सवशर ्रपररपरकचकस रनदरसम
iii). sarvasaṅkṣobhaṇacakranyāsaḥ सवरसङस ककमभणचकस रनदरसम
iv). sarvasaubhāgyadāyakacakranyāsaḥ सवरस भरगयदरयकचकस रनदरसम
v). sarvārthasādhakacakranyāsaḥ सवररथरसरधकचकस रनदरसम
vi). sarvarakṣākaracakranyāsaḥ सवररकरकरचकस रनदरसम
vii). sarvarogaharacakranyāsaḥ सवररमगहरचकस रनदरसम
viii a). āyudhanyāsaḥ आयधच नदरसम
viii b). sarvasiddhipradacakranyāsaḥ सवरलसपपपसरदचकस रनदरसम
ix). sarvānandamayacakranyāsaḥ सवररननदमयचकस रनदरसम
These nine nyāsa-s represent nine āvaraṇa-s of Śri Cakra. Each śakti
of every āvaraṇa is placed on different parts of the body. Nyāsa for
ninth āvaraṇa is done only with mūlamantra.
Additional nyāsa-s.
1. mūlavidyānyāsa: this is discussed along with
mūlavidyāvarṇanyāsa (08).
2. kāmeśvaryātinyāsa is done contemplating the four piṭha-s (पपठ) viz.
kāmagiripiṭha, pūrṇagiripīṭha, jālandharapīṭha and oḍyāṇapīṭha,
which are connected to four āmnāya-s (pantheons). Each pantheon
has one śakti and all the pantheons put together, we have four śakti-
s. Āmnāya-s are worshiped at the end of navāvaraṇa pūjā.
These are the broad interpretations of nyāsa-s and their significance.
Which of these nyāsa-s are to be followed is decided by one’s Guru
and his lineage. It is important to contemplate Her while performing

nyāsa-s, as otherwise the very purpose of nyāsa-s would be lost.
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18. Nyāsa mantras and procedures:
1) Mātṛkānyāsaḥ मरतकर ्रनयरसम
This is done like a japa. Following is the general procedure and this
is to be done first.
i) Ṛṣyādi nyāsaḥ ऋषयरदद नयरसम
असय शस्शमरतकर ्रनदरसमहरमनदसतसय
बसरहर ऋपषम। गरयतस्श छनदम। शस्शमरतकर ्र सरसवतश दध वतर।
हलरभयम बशजध भरयम नमम। सवरध भरयम शकतभरयम नमम। तसरबनदभच रयम कशलकधभरयम नमम।
मम शस्श पवदरऽङस कगतवध न नदरसध पवतनयमगम
asya śrīmātṛkānyāsamahāmantrasya
brahmā ṛṣiḥ | gāyatrī chandaḥ | śrīmātṛkā sarasvatī devatā |
(ṛṣiḥ - open the right palm and touch the top of the forehead; chandaḥ
- tip of right fingers on the mouth; but lips should not be touched;
devatā - right palm on the heart chakra)
Halbhyo bījebhyo namaḥ
bindubhyo kīlakebhyo namaḥ
(1.bījaṁ - touch right shoulder with right hand; 2. śaktiḥ - touch left
shoulder with right hand; 3. kīlakam – on the navel*. Only tip of the
fingers to be used.)
This subtly conveys the origin or alphabets, words and their
meanings.
*It is said that if any part below the navel is touched, hands should be
washed with water from pañcapātra (a vessel with water kept for the
purpose of purification). But for the purpose of nyāsa-s, hands can be
washed after completing all the nyāsa-s. This is based on precepts of
| svarebhyaḥ śaktibhyo namaḥ
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śāstra-s, which consider that all body parts below the navel are
impure.
mama śrī vidyā'ṅgatvena nyāse viniyogaḥ
(open both the palms and run them over all parts of the body; from
head to feet; alternatively viniyoga mudra can be used.
ii) Karanyāsaḥ करनयरसम
Note: Throughout nyāsa procedures, if number 7 is used, it means om
aiṁ hrīṁ śrīṁ aiṁ klīṁ sauḥ (ॐ ऐऐ हसरऐ शस्शऐ ऐऐ कलरऐ स ्म). Numeric 7
consists of praṇava (ॐ), tritāri (aiṁ, hrīṁ, śrīṁ) and Bālā (aiṁ, klīṁ,
sauḥ). If numeric 4 is used, it means only praṇava and tritāri (om aiṁ
hrīṁ śrīṁ).
ii.1) 7 अऐ कऐ खऐ गऐ घऐ ङऐ आऐ अङस पकगच रभरयरम ्सनमम।
7 aṁ kaṁ khaṁ gaṁ ghaṁ ṅaṁ āṁ aṅguṣṭhābhyām namaḥ|

(use both the index fingers and run them on both the thumbs)
ii.2) 7 इऐ चऐ छऐ जऐ झऐ ञऐ ई तजरनशभरयरऐ नमम।
7 iṁ caṁ chaṁ jaṁ jhaṁ ñaṁ īṁ tarjanībhyāṁ namaḥ |
(use both the thumbs and run them on both the index fingers)
ii.3) 7 उऐ टऐ ठऐ डऐ ढऐ णऐ ऊऐ मयमरभरयरऐ नमम।
7 uṁ ṭaṁ ṭhaṁ ḍaṁ ḍhaṁ ṇaṁ ūṁ madhyamābhyāṁ namaḥ|
(both the thumbs on the middle fingers)
ii.4) 7 ऐऐ तऐ थऐ दऐ धऐ नऐ ऐऐअनरलमकरभरयरऐ नमम।
7 aiṁ taṁ thaṁ daṁ dhaṁ naṁ aiṁ anāmikābhyāṁ namaḥ|
(both the thumbs on the ring fingers)
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ii.5) 7 औ ्ऐ पऐ फऐ बऐ भऐ मऐ औ ्ऐकतनपपकरभरयरऐ नमम।
7 auṁ paṁ phaṁ baṁ bhaṁ maṁ auṁ kaniṣṭhikābhyāṁ namaḥ|
(both the thumbs on the little fingers)
ii.6) 7 अऐ यऐ रऐ लऐ बऐ शऐ षऐ सऐ हऐ ळऐ कऐ अम करतलकरपपर ्रभरयरऐ नमम।
7 aṁ yaṁ raṁ laṁ baṁ śaṁ ṣaṁ saṁ haṁ ḻaṁ kṣaṁ aḥ
karatalakarapṛṣṭhābhyāṁ namaḥ|
(open both the palms; run the opened palms of the right hand on the
front and back sides of the left palm and repeat the same for the other
palm)
iii) Hrdayādi nyāsaḥ हसरदयरदद नयरसम
iii.1) 7 अऐ कऐ खऐ गऐ घऐ ङऐ आऐ हसरदयरय नमम
7 aṁ kaṁ khaṁ gaṁ ghaṁ ṅaṁ āṁ hrdayāya namaḥ|
(open index, middle and ring fingers of the right hand and place them
on the heart chakra)
iii.2) 7 इऐ चऐ छऐ जऐ झऐ ञऐ ई लशरसध सवरहर।
7 iṁ caṁ chaṁ jaṁ jhaṁ ñaṁ īṁ śirase svāhā|
iii.3) 7 उऐ टऐ ठऐ डऐ ढऐ णऐ ऊऐ लशखरयष वषटस ।
7 uṁ ṭaṁ ṭhaṁ ḍaṁ ḍhaṁ ṇaṁ śikhāyai vaṣaṭ|
(open the right thumb and touch the back of the head. This is the point
where tuft is kept)
iii.4) 7 ऐऐ तऐ थऐ दऐ धऐ नऐ ऐऐकवचरय हचऐ।
7 aiṁ taṁ thaṁ daṁ dhaṁ naṁ aiṁ kavacāya huṁ|
(cross both the hands and run the fully opened palms from shoulders
to finger tips)
iii.5) 7 औ ्ऐ पऐ फऐ बऐ भऐ मऐ औ ्ऐनधततयरय व षटस ।
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7 auṁ paṁ phaṁ baṁ bhaṁ maṁ auṁ netratrayāya vauṣaṭ|
(open the index, middle and ring fingers of the right hand; touch both
the eyes using index and ring fingers and touch the point between the
two eyebrows (ājñā cakra) with the middle finger.)
iii.6) 7 अऐ यऐ रऐ लऐ बऐ शऐ षऐ सऐ हऐ ळऐ कऐ अम असतसररय फटस ॥
7 aṁ yaṁ raṁ laṁ baṁ śaṁ ṣaṁ saṁ haṁ ḻaṁ kṣaṁ aḥ astrāya phaṭ||
(by using right hand thumb and middle fingers make rattle clockwise
around the head)
भभभचरवससच वरमलमतत हदगबनदम॥ bhūrbhuvassuvaromiti digbandhaḥ||
iv) Dhyānam धयरनम ्स

पपञचरणर भध दषम पवहहतवदनदमम परदयकच ्स कचककवकम
दध शरऐ भरसवतकपदररकललत शलशकलरऐ इनदकचनदरवदरतरम ्स।
अकससरककचमभ धचनदसतरललखखतवरकररऐ शस्शकणरऐ अबजसऐ सथरऐ
अचछरकलपरऐ मतच चछ सतन जघनभररऐ भररतशऐ तरऐ नमरलम॥
pañcādvarṇa bhedaiḥ vihitavadanadoḥ pādayuk kukṣivakṣo
deśāṁ bhāsvatkapardākalita śaśikalāmindukundāvadātām |
akṣasrakkumbha cintālikhitavarakarāṁ śrīkṣaṇāṁ abjasaṁsthāṁ
achākalpāṁ atuccha stana jaghanabharāṁ bhāratīṁ tāṁ namāmi||
Meaning: The verse describes Bhāratī Devi (known as Sarasvatī, the
goddess presiding over speech. Lalitāmbikā is addressed as mātṛkā-
varṇa-rūpiṇī in Lalitā Sahasranāma 577). Fifty alphabets (Sanskrit)
are Her face, arms, legs, abdomen and bosoms. She has moon with
kalā-s on Her head. She is white complexioned like jasmine flower.
She holds in her hands, an akṣamālā (rosary of 51 beads; ळ (ḻa) is
added to fifty alphabets; Lalitā Sahasranāma 489 is akṣamālādi-

dharā), a pitcher containing nectar (amṛta kalaśa; amṛta also refers to
immortality), a book and varada mudra (conferring boons). She has
146
three eyes. Her entire form is flawless (nirmala). She is seated on a
lotus. I bow to this Devi.
(It is said that Śiva is in the form dhyāna (meditation) and Śakti is in
the form of japa. Only this union (union of meditation and mantra
japa) leads to realization. There is no other way to attain realization.
The entire form of Lalitāmbikā is Śrī Vidyā mantra-s. When nyāsa is

done, it means that our body transforms as Her temple. Abiding in
this thought perpetually leads to Her realization.)
v). Pañcapūjā पञचपभजर (follow the procedure as per karanyāsa)
raṁ - agnyātmikāyai dīpaṁ darśayāmi |
लऐ - पधर थवयरहतमकरयष गनदऐ समपरयरलम।
रऐ - अगनदरहतमकरयष दरपऐ दशरयरलम।
वऐ - अमतर ्रहतमकरयष अमतर ्ऐ महरनष वधदऐ तनवध दयरलम।
सऐ - सवररहतमकरयष सवमपचरर पजभ ्रम ्ससमपयर ्रलम॥
18.1a. Bahirmātṛkānyāsaḥ बदहमररतकर ्रनयरसम (nyāsa on the external
body parts)
7 is to be prefixed to each akṣara and namaḥ haṁsaḥ (नमम हऐ सम)
Example: om aiṁ hrīṁ śrīṁ aiṁ klīṁ sauḥ aṁ namaḥ haṁsaḥ ।
147
ॐ ऐऐ हसरऐ शस्शऐ ऐऐ कलरऐ स ्म अऐ नमम हऐ सम ।
While touching the body parts, join right hand thumb and ring finger
and the body parts should be touched with these fingers joined as
explained in this chart.

1 अऐ aṁ Head
2 आऐ āṁ Mouth
3 इऐ iṁ Right eye
4 ई īṁ Left eye
5 उऐ uṁ Right ear
6 ऊऐ ūṁ Left ear
7 रऐ ruṁ Right nostril
8 रऐ rūṁ Left nostril
9 लच ऐ luṁ Right cheeks
10 लभऐ lūṁ Left cheeks
11 एऐ eṁ Upper lips
12 ऐऐ aiṁ Lower lips
13 ओऐ oṁ Upper teeth
14 औ ्ऐ auṁ Lower teeth
15 अऐ aṁ Tip of the tongue
16 अम aḥ neck
17 कऐ kaṁ Right shoulder
18 खऐ khaṁ Right elbow
19 गऐ gaṁ Right wrist
20 घऐ ghaṁ bottom of right fingers
21 ङऐ ṅaṁ Tip of right fingers
22 चऐ caṁ Left shoulder
23 छऐ chaṁ Left elbow

24 जऐ jaṁ Left wrist
25 झऐ jhaṁ bottom of left fingers
26 ञऐ ñaṁ Tip of right fingers
27 टऐ ṭaṁ Right thigh joint
28 ठऐ ṭhaṁ Right knee
148
29 डऐ ḍaṁ Right ankle
30 ढऐ ḍhaṁ Bottom of right toes
31 णऐ ṇaṁ Tip of toes
32 तऐ taṁ Left thigh joint
33 थऐ thaṁ Left knee
34 दऐ daṁ Left ankle
35 धऐ dhaṁ Bottom of left toes
36 नऐ naṁ Tip of left toes
37 पऐ paṁ Right thorax
38 फऐ phaṁ Left thorax
39 बऐ baṁ Lower back
40 भऐ bhaṁ navel
41 मऐ maṁ abdomen
42 यऐ yaṁ heart
43 रऐ raṁ Right armpit
44 लऐ laṁ Nape of the neck
45 वऐ vaṁ Left armpit
46 शऐ śaṁ Run left hand fingers from

47 षऐ ṣaṁ Run right hand fingers
48 सऐ saṁ Run left hand fingers from
49 हऐ haṁ Run right hand fingers
50 ळऐ ḻaṁ Run both hand fingers
51 कऐ kṣaṁ Run both hand fingers
heart to right finger tips
from heart to left finger
tips
heart to right toe
from heart to left toe
from hip to toes
from hip to top of the head
Notes:
1 to 16 are vowels and from 17 to 51 are consonants. Each alphabet
is with nāda-bindu (nāda-bindu can be explained as the supreme
energy that is divided into three – nāda, bindu and bīja).
149
As already discussed, any portion below the navel is touched, hands
should be washed as detailed above; otherwise these nyāsa-s can be
mentally contemplated.
18.1b. Antarmātṛkānyāsaḥ अनतमररतकर ्रनयरसम (nyāsa on the psychic
centres)
Same procedure as per 18.2 above is to be adopted.

Example:
7 is to be prefixed to each akṣara and namaḥ haṁsaḥ (नमम हऐ सम)
Example: om aiṁ hrīṁ śrīṁ aiṁ klīṁ sauḥ aṁ namaḥ haṁsaḥ ।
ॐ ऐऐ हसरऐ शस्शऐ ऐऐ कलरऐ स ्म अऐ नमम हऐ सम ।
1 अऐ aṁ
2 आऐ āṁ
3 इऐ iṁ
4 ई īṁ
5 उऐ uṁ
6 ऊऐ ūṁ
7 रऐ ruṁ
8 रऐ rūṁ
9 लच ऐ luṁ
10 लभऐ lūṁ
11 एऐ eṁ
12 ऐऐ aiṁ
13 ओऐ oṁ
14 औ ्ऐ auṁ
15 अऐ aṁ
16 अम aḥ
17 कऐ kaṁ
18 खऐ khaṁ
Throat area
Viśuddhi chakra
16 petals
19 गऐ ga
20 घऐ gha
21 ङऐ
22 चऐ ca
23 छऐ cha
24 जऐ ja
25 झऐ jha
26 ञऐ ña
27 टऐ
28 ठऐ
150
ṭ
ṁ
ṭha
Heart
Anāhata chakra
12 petals
29 डऐ
30 ढऐ
31 णऐ
32 तऐ ta
33 थऐ tha
34 दऐ da
35 धऐ dha
36 नऐ na
37 पऐ pa
38 फऐ pha
39 बऐ ba
40 भऐ bha
41 मऐ ma
42 यऐ ya
43 रऐ ra
44 लऐ la
45 वऐ va
46 शऐ śa
47 षऐ
48 सऐ sa
ḍha
ṁ
ṁ
ṁ Perineum
Navel
ṇipūraka chakra
Ma
10 petals
Coccyx
Svādhiṣṭhāna chakra
6 petals
Mūlādhāra chakra
4 petals
151
49 हऐ haṁ Centre of eye brows Ājñā
50 कऐ kṣaṁ
chakra
2 petals
For nyāsa in sahasrāra, all the fifty akṣara-s mentioned above are to
be done and with prefix and suffix. Each akṣara should have prefix
and suffix. Similar is the case for every chakra.

Notes:
1. Nyāsa-s on these chakras follow the pattern of Lalitā Sahasranāma,
where viśuddhi chakra (475), anāhata (485), maṇipūraka (495),
svādhiṣṭhāna (504), mūlādhāra (514), ājñā (521) and sahasrāra (528).
18.2) karaśuddhinyāsaḥ करशच दनयरसम (nyāsa-s on palm and fingers)
This nyāsa is of two types. First one is done on the palms and the
second one is done on the fingers. Some texts say that prefix for palms
is 4 (om aiṁ hrīṁ śrīṁ) and for the fingers it is 7 (om aiṁ hrīṁ śrīṁ
aiṁ klīṁ sauḥ); other texts say prefix is only 4. We are adopting only
4. There is no suffix except namaḥ for this nyāsa. For nyāsa on the
fingers, procedure for karanyāsa is to be adopted. For nyāsa-s on the
right palm, left hand is to be used. There are only three bījākṣara-s
used aṁ āṁ sauḥ (अऐ आऐ स ्म).
I. Palms
i) 4 (om aiṁ hrīṁ śrīṁ )aṁ namaḥ - 4 अऐ नमम – right palm
ii) 4 āṁ namaḥ - 4 आऐ नमम – back of the right palm
iii) 4 sauḥ namaḥ - 4 स ्म नमम – both sides of the right palm
iv) 4 aṁ namaḥ - 4 अऐ नमम – left palm
v) 4 āṁ namaḥ - 4 आऐ नमम – back of the left palm
vi) 4 sauḥ namaḥ - 4 स ्म नमम – both sides of the left palm
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II. Fingers
i) 4 aṁ namaḥ - 4 अऐ नमम – middle fingers of both hands

ii) 4 āṁ namaḥ - 4 आऐ नमम – ring fingers
iii) 4 sauḥ namaḥ - 4 स ्म नमम – little fingers
iv) 4 aṁ namaḥ - 4 अऐ नमम – thumbs
v) 4 āṁ namaḥ - 4 आऐ नमम – index fingers
vi) 4 sauḥ namaḥ - 4 स ्म नमम – back sides of both palms
18.3). Ātmarakṣānyāsaḥ आतमरकरनयरसम
Join both palms in front of the heart chakra and meditate on Her by
reciting this mantra. While doing so, inner side of palms should be in
contact with middle of the chest.
7 śrī mahātripurasundari ātmānaṁ rakṣa rakṣa ||
7 शस्श महरतसरतपरसच नदरर आतमरनऐ रक रक॥
18.4) Bālāṣaḍaṅanyāsaḥ बरलरषडङनयरसम
Nyāsa is done with Bālā mantra which is as follows.
i) 4 ऐऐ- हसरदयरय नमम। 4 aiṁ - hrdayāya namaḥ| (open index, middle and
ring fingers of the right hand and place them on the heart chakra)
ii) 4 कलरऐ - लशरसध सवरहर। 4 klīṁ - śirase svāhā| (open middle and ring
fingers of the right hand and touch the top of the forehead)
iii) 4 स ्म - लशखरयष वषटस । 4 sauḥ - śikhāyai vaṣaṭ| (open the right thumb
and touch the back of the head. This is the point where tuft is kept)
iv) 4 ऐऐ - कवचरय हचऐ। 4 aiṁ - kavacāya huṁ| (cross both the hands and
run the fully opened palms from shoulders to finger tips)
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v) 4 कलरऐ - नध ततयरय व षटस ।4 klīṁ - netratrayāya vauṣaṭ| (open the index,
middle and ring fingers of the right hand; touch both the eyes using
index and ring fingers and touch the point between the two eyebrows
(ājñā cakra) with the middle finger.
vi) 4 स ्म - असतसररय फटस ॥ 4 sauḥ - astrāya phaṭ||
18.5) Caturāsananyāsaḥ चतच ररसननयरसम
i) 4 हसरऐ कलरऐ स ्म दध वयरतमरसनरय नमम। 4 hrīṁ klīṁ sauḥ devyātmāsanāya
namaḥ |
(touching feet with both hands with nyāsa mudra)
ii) 4 हह हससखकलरऐ हससखस ्म शस्शचकस ररसनरय नमम। 4 haiṁ hklīṁ hsauḥ śrīcakrāsanāya
namaḥ |
(knees)
iii) 4 हससखसह हससखसकस लरऐ हससखसस ्म सवरमनदसत्

स रसनरय नमम।4 hsaiṁ hsklīṁ hssauḥ
sarvamantrāsanāya namaḥ
(upper thighs)
iv) 4 हसरऐ कलरऐ बलर सरसयलपसरसनरय नमम। 4 hrīṁ klīṁ bleṁ
sādhyasiddhāsanāya namaḥ |
(on the perineum / mūlādhāra – this nyāsa can be mentally
contemplated)
18.6). Vaśinyādinyāsaḥ वशशनयरददनयरसम
This nyāsa follows the pattern of seventh āvaraṇa
Please refer nyāsa 18.2 above, where there are fifty one akṣara-s.
These 51 akṣara-s are used in this nyāsa as detailed below. For
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example 1 – 16 means akṣara-s अऐ to अम (aṁ to aḥ). These are eight

Vāgdevi-s who composed Lalitā Sahasranāma.
i) 4 (om aiṁ hrīṁ śrīṁ ) 1 – 16 बलभऐ वलशतन वरगदध वतरयष नमम।4 1- 16 blūṁ
vaśini vāgdevatāyai namaḥ |
(head – sahasrāra)
ii) 4 17 – 21 कलहसरऐ करमध शवरर वरगदध वतरयष नमम। 4 17 – 21
klhrīṁ kāmeśvarī vāgdevatāyai namaḥ |
(forehead – manas chakra, which is just above ājñācakra)
iii) 4 22 – 26 नदसवलरऐ ममहदनश वरगदध वतरयष नमम। 4 22 – 26 nvlīṁ modinī
vāgdevatāyai namaḥ |
(centre of eye brows – ājñācakra)
iv) 4 27 – 31 यलभऐ पवमलर वरगदध वतरयष नमम। 4 27 – 31ylūṁ vimalā
(neck - viśuddhi chakra)
v) 4 32 – 36 जस्स्शऐ अरणर वरगदध वतरयष नमम। 4 32 – 36 jmrīṁ aruṇā
(heart – anāhata chakra)
vi) 4 37 – 41 हससखसलसवयभऐ जतयनश वरगदध वतरयष नमम। 4 37 – 41 hslvyūṁ jayinī
vāgdevatāyai namaḥ
(navel - maṇipūraka)
vii) 4 42 -45 झममरसयभऐ सवध शवरर वरगदध वतरयष नमम। 4 42 -45 jhmryūṁ sarveśvarī
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(genital - sex chakra/svādhiṣṭhāna chakra)
viii) 4 46 – 51 क्स्शऐ क ललनश वरगदध वतरयष नमम। 4 46 – 51 kṣmrīṁ kaulinī

(perineum – mūlādhāra chakra)
18.7) Mūlavidyāvarṇanyāsaḥ मभलददरवणनस्र यरसम
This nyāsa is based on pañcadaśī mantra. Mūlamantra of Lalitāmbikā
is always pañcadaśī mantra (Lalitā Sahasranāma 88 is
mūlamantrātmikā), the reason for which is explained in Lalitā
Sahasranāma 322, kāmakalārūpā. Alphabets of pañcadaśī mantra do
not have bindu, whereas in this nyāsa each letter is used with bindu.
Certain versions place each akṣara of Bālā mantra after 4 and before
the akṣara-s. For example om aiṁ hrīṁ śrīṁ aiṁ kaṁ namaḥ.
ॐ ऐऐ हसरऐ शस्शऐ om aiṁ hrīṁ śrīṁ (4) is to be prefixed to all the akṣara-s
and namaḥ at the end. Example: om aiṁ hrīṁ śrīṁ haṁ namaḥ ॐ ऐऐ
हसरऐ शस्शऐ हऐ नमम
i) First kūṭa:
kaṁ कऐ – head; eṁ एऐ – mūlādhāra (can be mentally contemplated) ; īṁ
ई – heart (biological heart); लऐ laṁ - right eye; हसरऐ hrīṁ - left eye.
ii) Second kūṭa:
हऐ haṁ - centre of eyebrows; सऐ saṁ - right ear; कऐ kaṁ - left ear; हऐ haṁ
- mouth; लऐ laṁ - right shoulder; हसरऐ hrīṁ - left shoulder.
iii) Third kūṭa:
सऐ saṁ - derriere (can be contemplated mentally); कऐ kaṁ - right knee;
laṁ लऐ – left knee; हसरऐ hrīṁ - navel.
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After completing nyāsa-s, mūlamantra japa should be done. If one is
initiated into Ṣoḍaśī, only Ṣoḍaśī should be recited mentally.
This completes nyāsa procedures. After completing, both the hands
should be washed with the water kept in a vessel (pañcapātra) meant
for this purpose, as during nyāsa-s parts below the navel are touched.
After completing nyāsa-s, it would be ideal not to change the sitting
posture or get up from the seat. If one has to get up for compelling
reasons, twenty four counts of mūlamantra japa should be done.
Further, while performing navāvaraṇa pūjā, it is better to have two
persons for help. Navāvaraṇa pūjā is equivalent to performing a yajñā
and therefore, one has to follow the laid down procedures to the
maximum possible extent.
19. Pātra sādanam परतसर सरदनम ्स
19.1) Requirements:
Pātra means vessels and sādana means arranging. Though there are
several vessels used for navāvaraṇa pūjā, three vessels viz. vardhanī
kalaśa, sāmanya arghya and viśeṣa arghya are considered as
important. Out of the three, viśeṣārghya pātra is extremely important.
For performing navāvaraṇa pūjā the following materials are required.
1. Wooden plank or mat for seating. This is called āsana.
2. Ācamana pātra with uttaraṇi (spoon like). This vessel should be
filled with water from a bigger vessel, which is explained in 6 below.
Ācamana procedure is explained under tatvācamanam.
3. A few containers/bowls for keeping flowers. It would be ideal to

procure different kinds of flowers, at least nine types. Similarly,
containers for keeping different kinds of fruits, required for naivedya
to be offered at the end of each āvaraṇa. If possible, it would be ideal
to use nine kinds of fragrant flowers and nine types of fruits meant
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for each āvaraṇa. Whenever possible, different cooked items can also
be prepared for naivedya.
4. Navāvaraṇa pūjā cannot be done individually, as it requires lot of
preparations before and during the pūjā. Once the performer is seated,
he or she should not get up from the āsana. Someone has to help the
performer by arranging naivedya at the end of each āvaraṇa. If
naivedya can be prepared in the form of cooked items, more persons
are required to prepare these dishes. These dishes are to be prepared
with pure mind and body. Unnecessary talks must be avoided and
instead, Lalitā Sahasranāma, Saundaryalaharī, Śrīdevī Māhātmya and
other hymns and verses should be recited in Her praise. These
recitations will bring immense positive energy in the place. All
preparations for naivedya should be done with pure and devoted
mind.
5. At the end of each āvaraṇa, dhūpa, dīpa, naivedya and nīrājana
should be offered. Necessary materials for performing dhūpa, dīpa
and nīrājana are to be kept ready. Naivedya has been discussed in 3
above. Dīpa and nīrājana can be done with wicks dipped in ghee.
There should be two dhūpa-s; one should be continuously burning
and another one should be used for offering dhūpa at the end of each
āvaraṇa. Similarly, lamps on two sides of the maṇḍala should be
burning continuously and both ghee and sesame oil should be filled
in the lamp frequently, so that the lamps burn continuously.
6. A bigger vessel containing pure potable water is to be kept. Only
from this, water for vardhanī kalaśa, sāmanya arghya and viśeṣa
arghya is to be taken. Iron and plastic containers are to be totally
avoided. It would be ideal to purify this water by reciting Gāytatrī
mantra twenty four times.
7. A medium sized vessel to prepare viśeṣa arghya. This vessel is
known as kāraṇa kalaśa.
8. Vessels for vardhanī kalaśa, sāmanya arghya and viśeṣa arghya.
For vardhanī kalaśa, a uttaraṇi (this is like a small spoon, but with
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more depth to hold water and is always placed inside pañcapātra). For
sāmanya arghya, a conch with a base (ideally in the form of a tortoise)
is required. For viśeṣa arghya another pañcapātra, preferably in silver
or copper is required. A tweezer is also required and this tweezer
should be either made of silver or copper. This is meant to perform
tarpaṇa. Instead of a tweezer, a thin silver rod is used with spikes on
one side and a very small uttaraṇi like structure which can hold one
or two drops of viśeṣa arghya can also be used.
9. Three or more very small silver or copper cups for Guru pātra, ātma
pātra, and few extra cups to distribute to other upāsaka-s. It is also
advised that a separate pātra can be kept for the spouse of the
worshipper and this is generally known as patni pātra, provided,
spouse is also initiated into either Pañcadaśī or Ṣoḍaśī. (Spouse
means either husband or wife – pati or patnī)
10. Sandal paste and kumkum for decorating these vessels, lamps,
etc. Whole rice grains mixed with turmeric powder and a little water
and this is known as akṣata or yellow rice which symbolizes
auspiciousness. Akṣata is also required during pūjā.
11. Powdered condiments like cardamom, cloves, saffron, edible
camphor, etc. Though they can be mixed with water straight away, it
is better to get them powdered so that they can mix well with water.
12. A few pieces of peeled ginger.
13. Ingredients to prepare viśeṣa arghya. There are different opinions
on preparation of viśeṣa arghya and almost every lineage has their
own methods of preparing viśeṣa arghya. We go with the simplest
method, for which following ingredients are required. Milk (not
boiled; it is better to use cow’s milk, if available), small quantity of
tender coconut water, honey, saffron, edible camphor, very small
quantity of powdered sugar, finely powdered cardamom, clove, maze
and jātīpattrī (arillus of the nut or maca). All the condiments are to be
nicely powdered and mixed with milk, tender coconut water and
honey. Consistency of this mixture should be thicker than milk.

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14. A copper plate to for bali. This is also known bali pātra.
15. An ārati plate with water by adding kumkum till the water turns
red.
It is also advisable to keep pure water in a separate container to wash
hands as and when needed. Dry towels may be required to dry hands.
If mantras are not memorised, provision should be made to keep the
printed copies in a comfortable position.
19.2) Arrangements:
Entry into pūjā maṇḍapa is explained in serial number 2. Inside this
pūjā maṇḍapa, the following arrangements are made.
Everything is to be arranged as indicted in the diagram below.
IMAGE 13
1. Kāmeśvara-kāmeśvarī idol, if available.
2. Śri Cakra/ Meru
3. Two lamps on either side. Lamps to the left of sādhaka should be
lit with ghee (clarified butter) and lamps to the right of sādhaka
should be lit with sesame oil. Totally there will be four lamps. All the
four lamps should be placed on bases. One small additional lamp can
be kept separately to light dhūpa, dīpa and nīrājana. Base for this lamp
is not a must.
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4. This is the āsana. Sitting posture is very important. One should take
the most comfortable sitting posture. As far as possible, sādhaka

should not change his sitting posture too frequently. Ardhapadmāsana
is the best sitting posture for performing navāvaraṇa pūjā.
5. Viśeṣa arghya pātra should be consecrated here on the prescribed
base.
6. Sāmanya arghya (conch) should be established here on the
prescribed base.
7. Vardhanī kalaśa should be established here.
8. Ācamana pātra can be kept here (this vessel can be moved from
this place).
9. Flower bowl can be kept here.
10. Other pūjā accessories such as bell, dhūpa, dīpa, nīrājana etc can
be kept here.
11. Naivedya when needed can be kept here.
If idols of Ganeśa, Sun, Viṣṇu and Śiva are available, they can be kept
in the places marked A, B, C and D respectively in the image 13
above. This will be useful while performing caturāyatana pūjā later.
All other materials can be kept in places that are most convenient to
sādhaka. Someone who is conversant with mantras can read out the
mantras and sādhaka can perform the pūjā. Śri Cakra should be placed
in front of the idol. Navāvaraṇa pūjā can be done even without an
idol. But Śri Cakra or Meru is must (there are contradictory opinions
on this). Viśeṣa arghya pātra and Sāmanya arghya should not be
moved after consecrating them. This is one of the very important

aspects of navāvaraṇa pūjā.
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19.3) Meaning and purpose (broader perspective):
Consecration of pātra-s, viśeṣa arghya pātra, sāmanya arghya,
vardhanī kalaśa, Guru pātra and ātma pātra is importnat. Patnī pātra
need not be consecrated and should not be mixed with ātma pātra, if
wife/husband is not initiated into Pañcadaśī or Ṣoḍaśī.
Water is given so much importance not only in navāvaraṇa pūjā, but
in every ritual including great yajña-s. It is said that when bad
thoughts percolate into mind, one should continue to touch water and
recite mūlamantra. In general water is compared to knowledge in
various Scriptures. This can be observed from the relevant mantras
discussed later. Vardhanīya means to be made prosperous or happy.
Mantras for consecrating kalaśa refer to Brahmā, Viṣṇu and Rudra.
When trimūrti-s are referred while consecrating water in kalaśa, it
underlines the importance of water. Thus, water not only signifies
purity, but also purifies other objects kept for navāvaraṇa yajña. This
water is said to contain seven continents, four Vedas, sacred rivers,
etc.
The three arghya vessels convey deeper insight into Consciousness
beginning from ordinary knowledge to supreme knowledge.
Vardhanī kalaśa refers to inferior knowledge known as aparajñāna,
where mind goes with shapes, forms and names associated with
empirical world. Sāmanya arghya is higher state of knowledge than

empirical knowledge, where dualities are dissolved, but the thought
of “I am Śiva” (ahaṁ + śivaṁ = śivoham or I am Śiva) has not yet
emerged. In this state, sādhaka is associated with Vimarśa or dynamic
aspect of Śiva. Viśeṣa arghya refers to Supreme knowledge, the stage
of realising the Self, the state of saccidānanda (sat-cit-ānanda). In this
stage the veil of māyā that was present in sāmanya arghya is removed
and Prakāśa form of Śiva is realized. Literally speaking sāmanya
means ordinary and viśeṣa means special. Both ordinary and special
refer to the type of knowledge, the sādhaka acquires while performing
navāvaraṇa pūjā. Navāvaraṇa pūjā is not just a ritual, but it is the
foundation for spiritual path. Viśeṣa arghya is the material depiction
of union of Śiva and Śakti (Parameśvara, where Śakti is inherent). If
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this discussion can be taken forward, it also means that the central
bindu of Śri Cakra means Śiva and the innermost triangle of Śri Cakra
refers to Śakti. Union of Śiva and Śakti takes place only in the
innermost triangle of Śri Cakra, which leads to creation, sustenance,
dissolution, concealment and re-creation, the five principal acts of
Brahman. Hence, navāvaraṇa pūjā is not only considered as secret,
but also sacred.
Each of these pātra-s are placed on a base, also known as maṇḍala (a
circular base) or ādhāra (substratum). Every pātra will have three
components – the base, the vessel and the water in the vessel and they
represent agni (fire), sun and moon on the grosser side and suṣumna,
piṅgala and iḍa on the subtler side respectively. Pañcadaśī mantra,
kāmakalā (Lalitā Sahasranāma 322) and Śri Cakra are also compared
to moon, sun and fire. Bhāvanopaniṣad elaborately discusses on these
subtleties and these subtleties are dealt with in the series “Śri Cakra
and human body). In Śākta worship, every aspect of creation can be
divided into three, known as triads. When a sādhaka pursues spiritual
path, he pursues puruṣārtha, which means human pursuit. She is the
giver of puruṣārtha-s says Lalitā Sahasranāma 291, Puruṣārtha-pradā.
Puruṣārtha is the fourfold value of human life. They are dharma
(righteousness or virtues), artha (wish or purpose), kāma (desires and
pleasures) and mokṣa (the liberation). It is clear that the ancient
scriptures do not prohibit these great human values. What they say is
not to get attached to them. On many occasions this concept is
misquoted. The first entry into pūjā maṇḍapa is known as path to
liberation and one is liberated at the end of navāvaraṇa pūjā, provided
sādhaka performs this pūjā with absolute devotion. When he enters
into the path of liberation, he undergoes various modifications and
these changes are symbolically explained and expressed through
these sāmanya arghya and viśeṣa arghya.
The same concept can be explained subtly through psychic chakras.
Sādhaka’s physical body represents the bases of arghya pātra-s and is
to be contemplated at mūlādhāra chakra, which also represents first
of the four puruṣārtha-s viz. dharma. Because of his accumulated

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dharma account over his past births, he has attained human form. He
continues to exist in this form because of the fire of kuṇḍalinī burning
at his mūlādhāra chakra. While mūlādhāra chakra is the base of the
human body, his mind is the vessel and the water or amṛta within the
pātra-s is his worldly experience. Thus it indicates that one needs to
have pure body, pure mind and pure thought processes while
performing navāvaraṇa pūjā. When a sādhaka purifies his mind, the
other components of antaḥkaraṇa (intellect, consciousness and ego)
are also purified by the moon and this purifications process begins at
viśuddhi chakra and is completed at ājñā chakra. When antaḥkaraṇa
is purified, his devotion for Her turns into love and during this stage
his consciousness begins to enter into cosmic consciousness by
piercing sahasrāra and during this stage, nectar (amṛta) is secreted
from sahasrāra and drips into the throat chakra. This is explained in
Lalitā Sahasranāma 106 Sudhāsārabhi-varṣiṇī. This is considered as
the most secretive part of viśeṣa arghya in navāvaraṇa pūjā.
The five vessels or pātra-s - sāmanya arghya, viśeṣa arghya, guru
pātra, ātma pātra and bali pātra represent five M-s or pañcamakāra-s
(this is not accepted in certain sections) and these five are madya
(intoxicating drink), māṁsa (meat), matsya (fish), mudrā (finger
gestures) and maithuna (copulation). Each of these tattva-s is
represented by pañcabhūta-s or five principal elements viz. fire,

water, earth, air and ākāśa.
This is the broader perspective of pātra-s and specifics will be
discussed at the time of discussing relevant mantras.
19.4) Procedure for establishing vardhanī kalaśa:
(All procedures and mantras are abridged. If this procedure is
adopted, it would approximately take about three hours to complete
navāvaraṇa pūjā. There are several expanded versions with
procedures and mantras in detail and for performing such pūjā-s,
which could take about eight to twelve hours. Which version one has
to adopt is decided by one’s Guru.)
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To the left of sādhaka (marked as 7 in image 13) is vardhanī kalaśa.
Position of these vessels can be marginally adjusted to suit the
convenience of sādhaka; however their places should not be
interchanged.
A yantra is to be drawn as shown in the image below. It consists of a
bindu, three triangles and a square. Ideally this yantra should be
drawn with diluted paste comprising of sandal, kumkum and turmeric
paste. This is the base or maṇḍala on which vardhanī kalaśa will be
placed. Those who frequently perform navāvaraṇa pūjā get them
engraved on metallic plates or wooden plates. Flowers/ akṣata should
be offered to each of the triangles by reciting this mantra six times.
IMAGE 14
4 अऐ अहगन मणडलरय नमम॥ 4 aṁ agni maṇḍalāya namaḥ ||

Place sandal paste and kumkum on the four upper sides of the
vardhanī kalaśa and fill it with water taken from 19.1.5 (discussed
earlier) mixed with condiments on the maṇḍala above, by reciting the
following mantra twelve times. When vardhanī kalaśa is placed on
the maṇḍala, it should be filled with water and should have uttaraṇi
within.
4 उऐ सयभ मर णडलरय नमम॥ 4 uṁ sūryamaṇḍalāya namaḥ ||
After placing the vessel on the maṇḍala offer flowers to the vessel
(not to be placed inside the vessel). Now by closing the kalaśa with
right palm recite the following mantra sixteen times.
4 मऐ समममणडलरय नमम॥ maṁ somamaṇḍalāya namaḥ || (This is known
as abhimantraṇa or consecrating).
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Without taking the right palm, recite the following mantra.
कलशसय मच खधपवषणच म कणठध ररम समरधशतम।
मभलध ततस हसथतम बसरहर मयध मरतगर णरम समतर ्रम॥
कचक तच सरगररम सवध पपसशपर वसच नदरर।
ऋगवध दमऽथ यजच वध दम सरमवध दमऽसयथवणर ्म॥
अङस कगशचष सहहतरम सवध कलशरऐबसच मरधशतरम।
आयङस कतच दध वश-पजभ ्रथरऐ दररतकय-कररकरम॥
गङस कगध च यमच नध चष व गमदरवरर सरसवतत।
नमरदध लसनदक
च रवध रर जलध हसमनसहनदसनधधऐ कचर॥
kalaśasya mukhe viṣṇuḥ kaṇṭhe rudraḥ samāśritaḥ |

mūle tatra sthito brahmā madhye mātṛgaṇāḥ smṛtāḥ ||
kukṣau tu sāgarāḥ sarve saptadvīpā vasundharā |
ṛgvedo'tha yajurvedaḥ sāmavedo'pyatharvaṇaḥ ||
aṅgaiśca sahitāḥ sarve kalaśāṁbusamāśritāḥ |
āyaṅtu devī-pūjārthaṁ duritakṣaya-kārakāḥ ||
gaṅge ca yamune caiva godāvari sarasvati |
narmade sindhu kāveri jalesmin sannidhiṁ kuru ||
(Meaning: Mouth of this vessel is Viṣṇu, its neck is Rudra and its
base is Brahmā. In the centre all the akṣara-s reside. All the oceans
are within, along with the seven continents. Four Vedas together
with all their branches dwell within this water. Holy rivers Gaṅga,
Yamunā, Godāvarī, Sarasvatī, Narmadā, Sindhu and Kāveri are
present in these waters.)
Continue to hold the kalaśa with right palm and recite mūlamantra
(initiated mantra either Pañcadaśī or Ṣoḍaśī) eight times. Now show
dhenu mudra over the kalaśa. Take some water with uttaraṇi and
sprinkle (prokṣaṇa) all over the pūjā items and over the self. This is
known as śuddhisaṁskāraḥ (शच पपसऐ सकररम) or purification rites.
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(Dhenu mudra: Join the fingers of both palms, connect little fingers
with ring fingers and connect index fingers with middle fingers. Join
the thumbs and make these intertwined fingers to face down. This
mudra is for making the water in kalaśa as amṛta or nectar.)
19.5) Procedure for establishing sāmānya arghya:

Similar maṇḍala is to be established again for sāmānya arghya.
Establishing sāmānya arghya requires a conch and a base as shown in
the picture below, apart from the maṇḍala. On the maṇḍala, base for
the conch is placed (which is usually turtle shaped) and on this base,
the conch is to be placed. This is called sāmānya arghya.
Establishing maṇḍala for sāmānya arghya is different from
establishing vardhanī kalaśa, though the drawing remains the same.
Let us assume that the sādhaka is sitting facing east. Then the
maṇḍala is to be worshiped as per image 15 below. There are three
types of mantras. One is performed on the outer square (marked 1 to
6) , another is performed in the hexagon (marked as 1 to 6) and the
third one is worshiped in the inner triangle which is marked in roman
numeric. The entire pūjā is done with Pañcadaśī or Ṣoḍaśī mantras,
as described in Bālāṣaḍaṅanyāsaḥ, with some additional mantras.
A maṇḍala consists of six parts. Square represents future; Circle
represents past; ṣaṭkoṇa (hexagon) represents present. Innermost
triangle represents icchā jñānā and kriyā śakti-s. Bindu represents
śānta-kalā. There are other interpretations as well. Outer square,
circle, hexagon, innermost triangle and bindu represent antaḥkaraṇa
(mind, intellect, consciousness and ego) and thought process. There
are other subtle interpretations for maṇḍala
19.5.a) Worshiping outer square (marked 1 to 5 on the outer sides
and 6 in the bindu):

1. 4 ऐऐ हदयरय नमम। हदयशकत शस्शपरदकच ्रऐ पजभ यरलम नमम॥
4 aiṁ hṛdayāya namaḥ | hṛdayaśakti śrīpādukāṁ pūjayāmi namaḥ
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2. 4 कलरऐ लशरसध सवरहर। लशरमशकत शस्शपरदकच ्रऐ पजभ यरलम नमम॥
4 klīṁ śirase svāhā | śiraḥśakti śrīpādukāṁ pūjayāmi namaḥ ||
IMAGE 15
3. 4 स ्म लशखरयष वषटस । लशखरशकत शस्शपरदकच ्रऐ पजभ यरलम नमम॥
4 sauḥ śikhāyai vaṣaṭ | śikhāśakti śrīpādukāṁ pūjayāmi namaḥ ||
4. 4 ऐऐ कवचरय हऐ ।भ कवचशकत शस्शपरदकच ्रऐ पजभ यरलम नमम॥
4 aiṁ kavacāya hūṁ | kavacaśakti śrīpādukāṁ pūjayāmi namaḥ ||
5. 4 कलरऐ नध ततयरय व षटस । नध तशकत शस्शपरदकच ्रऐ पजभ यरलम नमम॥
4 klīṁ netratrayāya vauṣaṭ | netraśakti śrīpādukāṁ pūjayāmi
namaḥ
6. 4 स ्म असतसररय फटस । असतसरशकत शस्शपरदकच ्रऐ पजभ यरलम नमम॥
4 sauḥ astrāya phaṭ | astraśakti śrīpādukāṁ pūjayāmi namaḥ ||
There are three * marks which represent south, west and north sides.
In these three places, without reciting any mantra place akṣata at these
cardinal points.
19.5.b) Worshiping six inner triangles: (marked as 1 to 6)
In 19.5.a, Bālā mantra was used. In this section, Saubhāgya Pañcadaśī
is used.
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i) 4 सदमजरतऐ पसरपदरलम सदमजरतरय वष नमम नमम।
भवध भवध नरतत भवध भवसय मरऐ भवमदसभवरय नमम॥

4 sadyojātaṁ prapadyāmi sadyojātāya vai namo namaḥ |
bhave bhavenāti bhave bhavasya māṁ bhavodbhavāya namaḥ ||
ii) 4 वरमदध वरय नमम पजयध रय नमम शसप्धरय नमम रररय नमम करलरय नमम
कलपवकरणरय नमम बलपवकरणरय नमम बलरय नमम बलपसरमथनरय नमम
सवरभतदमनरय नमम मनमनदसमनरय नमम॥ ्भ
4 vāmadevāya namo jyeṣṭhāya namaḥ śreṣṭhāya namo rudrāya namaḥ
kālāya namaḥ kalavikaraṇāya namo balavikaraṇāya namo balāya
namo balapramathanāya namaḥ sarvabhūtadamanāya namo
manonmanāya namaḥ ||
iii) 4 अघमरध भरयमऽथ घमरध भरयम घमरघमरतरध भरयम। सवध भरयम सवशर वध भरयम नमसतध असतच
ररध रपध भरयम॥
4 aghorebhyo'tha ghorebhyo ghoraghoratarebhyaḥ | sarvebhyaḥ
sarvaśarvebhyo namaste astu rudrerūpebhyaḥ ||
iv) 4 ततपरषरय पवदसमहध महरदध वरय धशमहह तनदसनम रर पसरचमदयरत॥्स
4 tatpuruṣāya vidmahe mahādevāya dhīmahi tanno rudra
pracodayāt ||
v) 4 ईशरनम सवरपवदरनरमशशवरम सवभर ्भतरनरऐ बसरहरधधपततबसररहणमऽधधपततबसररहर
लशवम मध असतच सदरलशवमम॥्स
4 īśānaḥ sarvavidyānāmīśvaraḥ sarvabhūtānāṁ
brahmādhipatirbrahmaṇo'dhipatirbrahmā śivo me astu sadāśivom
20.5) Recite the following mantra before pouring nectar into viśeṣa
arghya pātra.
4 स ्म स क ल हसरऐ मऐ समम मणडलरय करमपसरद षमडश कलरतमनध शस्श

महरतसरतपसच ्चरनदयररम पवशध ष अगयर अमतर ्रय नमम।
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4 sauḥ sa ka la hrīṁ soma maṇḍalāya kāmaprada ṣoḍaśa kalātmane
śrī mahātripursundaryāḥ viśeṣa argya amṛtāya namaḥ |
Now take a piece of peeled ginger and hold in the left hand with tattva
mudra (joining thumb and ring finger of the left hand is tattva mudra
(image available at the end of the book). Now take kāraṇa kalaśa in
the right hand and pour amṛta (viśeṣa arghya) slowly through into the
viśeṣa arghya pātra. While doing so, we have to recite mentally all
the alphabets of Sanskrit first in the regular manner and next in
reverse manner. That is, first we have to begin with अऐ and finish at कऐ
and then begin at कऐ and finish at अऐ (akārati kṣakārāntam). Akṣara-s
shown here are without bindu. Each of the following akṣara-s should
be recited with bindu. For example अ (a) becomes अऐ (aṁ) and क (kṣa)
becomes कऐ (kṣaṁ).
Fifty one alphabets of Sanskrit are as follows:
अ आ इ ई उ ऊ ऋ ॠ ऌ ॡ ए ऐ ओ औ अऐ अम (16)
a ā i ī u ū ṛ ṝ ḷ ḹ e ai o au aṁ aḥ
क ख ग घ ङ (5) च छ ज झ ञ (5)
ka kha ga gha ṅa ca cha ja jha ña
ट ठ ड ढ ण (5) त थ द ध न (5)
ṭa ṭha ḍa ḍha ṇa ta tha da dha na
प फ ब भ म (5)
pa pha ba bha ma
य र ल व श ष स ह ळ क (10)
ya ra la va śa ṣa sa ha ḻa kṣa
Now the viśeṣa arghya is filled in the viśeṣa arghya pātra.The ginger
piece is to be placed inside the viśeṣa arghya. Five different types of
small flowers can also be placed inside viśeṣa arghya. Now the amṛta
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in the viśeṣa arghya pātra is to be consecrated. Amṛta in the viśeṣa
arghya pātra is soma maṇḍala.
Following mantra is to be recited and offer akṣata into the pātra at the
end of the mantra. Rest of the mantras in this part is for Sudhā Devi
(सच धर दध पव), who presides over amṛta.
4 आसयरयसव समध तचतध पवशवतम सममवहषणयम।्स भवरवरजसय सङस कगथध ॥ सरऐ सशऐ
सभऐ सह सल सम समलवयभरऐ समममणडलरय नमम॥
4 āpyāyasva samedu te viśvataḥ somavṛṣṇiyam | bhavāvājasya
saṅgathe || sāṁ sīṁ sūṁ saiṁ sauṁ saḥ samalavaryūṁ
somamaṇḍalāya namaḥ ||
Now take pure honey in a small cup and have a small and pointed
wooden spoon or silver spoon. There are special instrument specially
made for performing navāvaraṇa pūjā like the one shown here. A drop
of honey is to be transferred to viśeṣa arghya pātra by reciting the
following mantras. This worship is to amṛta inside the viśeṣa arghya
pātra.
Mantras here are the names of sixteen kalā-s (ṣoḍaśa kalā) candra
maṇḍala. Amṛta inside the viśeṣa arghya pātra is to be mentally
divided into sixteen parts. In each of these mantras after 4 (om aiṁ
hrīṁ śrīṁ), all the sixteen vowels of Sanskrit are prefixed. These
arcana-s are to be done with honey, using side A, which can hold only
a drop of honey. The other side B is meant for performing tarpaṇa. A
ginger piece can be inserted here. The above piece can be used instead
of tweezers. It is important that arcana-s to be done in
anticlockwise manner.
i) 4 अऐ अमतर ्रयष नमम 4 aṁ amṛtāyai namaḥ
ii) 4 आऐ मनदरयष नमम 4 āṁ manadāyai namaḥ
iii) 4 इऐ पषभ ्रयष नमम 4 iṁ pūṣāyai namaḥ
iv) 4 ई तच षटटषनमम 4 īṁ tuṣṭyai namaḥ
v) 4 उऐ पषटस ्चयषनमम 4 uṁ puṣṭyai namaḥ
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vi) 4 ऊऐ रतयष नमम 4 ūṁ ratyai namaḥ
vii) 4 ऋऐ धतस्रयषनमम 4 ṛṁ dhṛtyai namaḥ
viii) 4 ॠऐ शलशनदष नमम 4 ṝṁ śaśinyai namaḥ
ix) 4 लच ऐ चहनदसरकरयष नमम 4 luṁ candrikāyai namaḥ
x) 4 ॡऐ करनदसतयष नमम 4 ḹṁ kāntyai namaḥ
xi) 4 एऐ जयमतसनरयष नमम 4 eṁ jyotsnāyai namaḥ
xii) 4 ऐऐ धशयष नमम 4 aiṁ śriyai namaḥ
xiii) 4 ओऐ पसरशतयष नमम 4 oṁ prītyai namaḥ
xiv) 4 औ ्ऐ अङस कगदरयष नमम 4 auṁ aṅgadāyai namaḥ
xv) 4 अऐ पणभ ्ररयष नमम 4 aṁ pūrṇāyai namaḥ

xvi) 4 अम पभणररमतर ्रयष नमम 4 aḥ pūrṇāmṛtāyai namaḥ
After adding honey thus to the amṛta inside viśeṣa arghya pātra, the
following mṛtyuṃjaya mantra is to be repeated eight times.
ॐ जचऐ सम सवरहर ॥ om juṁsaḥ svāhā ||
Now, repeat mūlamantra eight times.
Now contemplate an inverted triangle formed of mātṛkā-s with a
bindu within, on the amṛta inside the viśeṣa arghya pātra as shown
below.
Now we have to write 51 alphabets with bindu (like aṁ āṁ) on the
three corners of the triangle as detailed below. Alphabets can be
written using dharvi or they can be contemplated. In other words,
mātṛkā-s are to be contemplated in the form of a triangle
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IMAGE 18
. 1 – 2: अ आ इ ई उ ऊ ऋ ॠ ऌ ॡ ए ऐ ओ औ अऐ अम (16)
a ā i ī u ū ṛ ṝ ḷ ḹ e ai o au aṁ aḥ
2 – 3: क ख ग घ ङ च छ ज झ ञ ट ठ ड ढ ण त (16)
ka kha ga gha ṅa ca cha ja jha ña ṭa ṭha ḍa ḍha ṇa ta
3 -1: थ द ध न प फ ब भ म य र ल व श ष स (16)
tha da dha na pa pha ba bha ma ya ra la va śa ṣa sa
4 – हऐ haṁ; 5 – ळऐ ḻaṁ; 6 – कऐ kṣaṁ (51 alphabets end here); 7 – ई īṁ
(kāmakalā); 8 – हऐ haṁ; 9 – सम saḥ. (7, 8, 9 are not counted for arriving
51 alphabets).
Similarly we have to write pañcadaśī mantra (Ṣoḍaśī upāsaka-s
should use Ṣoḍaśī mantra) as described below:
At bindu marked as 7
4 ऐ क ए ई ल हसरऐ । ह स क ह ल हसरऐ । स क ल हसरऐ नमम।।
4 ka e ī la hrīṁ । ha sa ka ha la hrīṁ । sa ka la hrīṁ namaḥ ।।
Between 1 and 3
4 ऐ क ए ई ल हसरऐ नमम। 4 ka e ī la hrīṁ namaḥ ।
Between 3 and 2
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4 ह स क ह ल हसरऐ नमम। 4 ha sa ka ha la hrīṁ namaḥ ।
Between 2 and 1
4 स क ल हसरऐ नमम। 4 sa ka la hrīṁ namaḥ।
Now draw a circle around this triangle by reciting “haṁsaḥ” (हऐ सम) and
then draw hexagon (ṣaṭkoṇa) as shown in image 19.
IMAGE 19
The inner triangle has already been worshiped. Starting from the
lower outer triangle, in clockwise manner, we have to worship with
Pañcadaśī or Ṣoḍaśī mantra-s. If one finds writing difficult, he/she
can contemplate writing.
1. 4 क ए ई ल हसरऐ हदयरय नमम। हदयशकत शस्शपरदकच ्रऐ पजभ यरलम नमम॥
4 ka e ī la hrīṁ hṛdayāya namaḥ | hṛdayaśakti śrīpādukāṁ
pūjayāmi namaḥ ||
2. 4 ह स क ह ल हसरऐ लशरसध सवरहर। लशरमशकत शस्शपरदकच ्रऐ पजभ यरलम नमम॥
4 ha sa ka ha la hrīṁ śirase svāhā | śiraḥśakti śrīpādukāṁ pūjayāmi

namaḥ ||
3. 4 स क ल हसरऐ लशखरयष वषटस । लशखशकत शस्शपरदकच ्रऐ पजभ यरलम नमम॥
4 sa ka la hrīṁ śikhāyai vaṣaṭ | śikhāśakti śrīpādukāṁ pūjayāmi
namaḥ ||
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4. 4 क ए ई ल हसरऐ कवचरय हऐ ।भ कवचशकत शस्शपरदकच ्रऐ पजभ यरलम नमम॥
4 ka e ī la hrīṁ kavacāya hūṁ | kavacaśakti śrīpādukāṁ pūjayāmi
namaḥ ||
5. 4 ह स क ह ल हसरऐ नधततयरय व षटस । नध तशकत शस्शपरदकच ्रऐ पजभ यरलम नमम॥
4 klīṁ ha sa ka ha la hrīṁ netratrayāya vauṣaṭ | netraśakti
śrīpādukāṁ pūjayāmi namaḥ ||
6. 4 स क ल हसरऐ असतसररय फटस । असतसरशकत शस्शपरदकच ्रऐ पजभ यरलम नमम॥
4 sa ka la hrīṁ astrāya phaṭ | astraśakti śrīpādukāṁ pūjayāmi
namaḥ ||
Now we have to invoke Sudhā Devi in our seven psychic centres –
from mūlādhāra to just below sahasrāra. mūlaṁ refers to the initiated
mantra such as pañcadaśī, saubhāgya-pañcadaśī or Ṣoḍaśī.
i) 4 मलभ ्ऐ पधर थवश तततवम ्सआवरहयरलम नमम (contemplation on mūlādhāra
chakra)
4 mūlaṁ pṛthivī tattvam āvāhayāmi namaḥ
ii) 4 मभलऐ आपम तततवम ्सआवरहयरलम नमम (contemplation on svādhiṣṭhāna
chakra)
4 mūlaṁ āpaḥ tattvam āvāhayāmi namaḥ

iii) 4 मभलऐ तध ज तततवम ्सआवरहयरलम नमम (contemplation on maṇipūraka
chakra)
4 mūlaṁ teja tattvam āvāhayāmi namaḥ
iv) 4 मलभ ्ऐ वरयच तततवम ्स आवरहयरलम नमम (contemplation on anāhata
chakra)
4 mūlaṁ vāyu tattvam āvāhayāmi namaḥ
v) 4 मलभ ्ऐ आकरश तततवम ्स आवरहयरलम नमम (contemplation on viśuddhi
chakra)
4 mūlaṁ ākāśa tattvam āvāhayāmi namaḥ
187
vi) 4 मभलऐ मनस ्सतततवम ्सआवरहयरलम नमम (contemplation on ājñā chakra)
4 mūlaṁ manas tattvam āvāhayāmi namaḥ
vii) 4 मभलऐ उनदसमन तततवम ्स आवरहयरलम नमम (contemplation on manas
(mind) chakra. This is just above ājñā chakra.)
4 mūlaṁ unmana tattvam āvāhayāmi namaḥ
Unmana means the Power of Paramaśiva which is ready to manifest.
Literally it means transcending mind. ājñā chakra refers to mind and
unmana refers to transcending mind.
The following is to be recited in praise of Sudhā Devi
4 मभलऐ तरऐ धचनदसमयशऐ आननदलकणरऐ अमतर कलश-पपलशत हपसतयरऐ पसरसनदसनरऐ दध वशऐ
पजभ यरलम नमम सवरहर॥
4 mūlaṁ tāṁ cinmayīṁ ānandalakṣaṇāṁ amṛtakalaśa-piśita
hastadvayāṁ prasannāṁ devīṁ pūjayāmi namaḥ svāhā ||
After reciting the above verse, take amṛta from viśeṣa arghya pātra in
an uttaraṇi. Now raise the uttaraṇi above the head by saying the
following mantra.
Each of the following mantras has a purpose and these mantras are
classified under different gender.
4 वषटस 4 vaṣaṭ (male; used for invocation, peace and prosperity)
By reciting the following mantra, pour back the amṛta into viśeṣa
arghya pātra.
4 सवरहर 4 svāhā (female; destruction of sins and produces auspicious
results)
Now, show avakuṇṭhana mudra to viśeṣa arghya pātra by saying the
following mantra.
4 हचऐ 4 huṁ (female; infatuation)
188
Now, show dhenu mudra to viśeṣa arghya pātra by saying the
following mantra.
4 व षटस 4 vauṣaṭ (gender not known; invitation)
Now, show astra mudra to viśeṣa arghya pātra by saying the following
mantra.
4 फटस 4 phaṭ (male; destroying evil forces)
(astra mudra is clapping the left palm with index and middle fingers
of the right palm. While doing so, there should be enough sound.)
Now offer flowers to viśeṣa arghya pātra by reciting the following.
4 नमम 4 namaḥ (eunuch; attraction)

Now, by reciting mūlamantra look at the viśeṣa arghya pātra, through
gālinī mudra (open up the left palm and hold the right palm with palm
facing down. Now connect the left ring finger with the right middle
finger and left middle finger with right ring finger. Connect left
thumb with right little finger and vice versa. This is gālinī mudra.)
By reciting 4 ऐऐ4 aiṁ worship Sudhā Devi in viśeṣa arghya pātra with
yoni mudra.
Now recite mūlamantra seven times.
At this point, we have two options. In the first option, Sudhā Devi can
be consecrated in detailed manner and the mantra for this
consecration is as per consecration of Śri Cakra earlier. In the second
option, by skipping the consecration procedure only invocation
procedure can be done, which is as follows. It would be ideal to use
yellow coloured flowers here.
4 सच धरदध वशऐ आवरहयरलम नमम 4 sudhādevīṁ āvāhayāmi namaḥ
189
4 सच धरदध वयष नमम आसनम ्स कलपयरलम नमम। 4 sudhādevyai namaḥ āsanam
kalpayāmi namaḥ |
4 सच धरदध वयष नमम परदऐ कलपयरलम नमम। 4 sudhādevyai namaḥ pādyaṁ
4 सच धरदध वयष नमम अघयरऐ कलपयरलम नमम। 4 sudhādevyai namaḥ arghyaṁ
4 सधच ्रदध वयष नमम सनरनऐ कलपयरलम नमम। 4 sudhādevyai namaḥ snānaṁ
4 सच धरदध वयष नमम आचमनशयऐ कलपयरलम नमम।4 sudhādevyai namaḥ
ācamanīyaṁ kalpayāmi namaḥ |
4 सधच ्रदध वयष नमम वसतसरऐ कलपयरलम नमम।4 sudhādevyai namaḥ vastraṁ
4 सच धरदध वयष नमम धपभ,्ऐ दरपऐ , नष वधद, नशरजनम ्ससमपरयरलम।
4 sudhādevyai namaḥ dhūpaṁ, dīpaṁ, naivedya and nīrajanam
samarpayāmi |
(All the above are to be done separately).
Now worship Sudhā Devi with yoni mudra.
Now take a few drops of amṛta from viśeṣa arghya pātra and sprinkle
on all the pūjā articles. Wash and dry the hands. Recite 16 times
mūlamantra.
Brief note abaout Sudhā Devi:
The nectar in the viśeṣa arghya pātra is known as Sudhā Devi. She
presides over amṛta in viśeṣa arghya or she is in the form of amṛta.
She is revealed through pañcadaśī mantra. Her physical form is
described with two hands. In one hand she holds a pot of nectar
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(amṛtakalaśa) and in another hand she holds a fish. Amṛta or nectar
refers to mokṣa (liberation) and fish refers to the material world. Both
lead to happiness, but physical and material pleasures are short lived.
Only mokṣa gives perpetual Bliss. Difference is in the usage of Bliss
and pleasure. Bliss is due to Divine Grace and pleasure is material

happiness dueto afflicted mind (illusion). Every tarpaṇa made with
viśeṣa arghya in various āvaraṇa-s leads us gradually towards
Lalitāmbikā who is majestically seated in the innermost triangle. She
is prakāśa-vimarśa-sāmarasyātmaka parabrhma svarūpiṇiī (this verse
comes up in ninth āvaraṇa). In inner triangle and bindu the equipoise
stage of Śiva and Śakti prevails, where, the union of the individual
self with the Supreme Self takes place. While advancing from the first
āvaraṇa towards the ninth, our mind has to undergo complete
transformation from egoism to total surrender. By doing tarpaṇa, we
sacrifice our individuality by controlling our senses and antaḥkaraṇa
to finally become one with Her who takes us to Śiva for liberation.
Hence in navāvaraṇa pūjā, there is always a correlation between the
material world and the inner self. There will be no benefit if
navāvaraṇa pūjā is done without staying focussed on Her. Pomp and
vanity have no place in navāvaraṇa pūjā. In general navāvaraṇa pūjā
should always be done privately as far as possible to gain maximum
benefits.
We must remember that viśeṣa arghya pātra should not be moved. So,
whatever we do, should be done without moving viśeṣa arghya pātra
from its place. The same rule applies to sāmānya arghya as well.
Now, viśeṣa arghya will be further purified/sanctified (abhimantraṇa)
with the following kalā-s. Literally abhimantṛ refers to our existence
with ego. Even after all these rituals and procedures, ego still prevails.
The purpose of performing tarpaṇa with viśeṣa arghya is to surrender

our individuality (organs of perception, organs of action and
antaḥkaraṇa) and become one with Her. Abhimantraṇa with these
kalā-s are done to completely purify our mind, intellect,
consciousness and ego (antaḥkaraṇa). At the end of this procedure the
veil of māyā should have been removed, leading to realization of the
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Self. Therefore, while performing navāvaraṇa pūjā, concentration of
mind is the foremost factor and procedures take only a back seat.
Guru pātra and ātma pātra are established at this point according to
krama-s. As we are now further sanctifying viśeṣa arghya, it would
be appropriate to establish them later after completing worship of
Sudhā Devi. Since she is already invoked and present in viśeṣa
arghya, She should not be made to wait.
Following are the 94 kalā-s.
Agni maṇḍala – 10; Sūrya maṇḍala – 12; Soma maṇḍala – 16;
Brahmā maṇḍala – 10; Viṣṇu maṇḍala – 10; Rudra maṇḍala – 10;
Iśvara maṇḍala – 4; Sadāśiva maṇḍala – 16; Śakti kalā-s – 6;
Thus there will be 94 kalā-s with which abhimantraṇa is done. Pañca
brahma mantra-s are given at the end of the respective maṇḍala-s.
Certain versions club pañca brahma mantra-s at the end of all kalā-s.
Brahmā, Viṣṇu, Rudra, Īśvarā and Sadāśiva are pañca brahma-s.
Lalitā Sahasranāma 250 says that She is “pañca-brahma-svarūpiṇī”.
This also goes to prove that there is no difference between the essence
of Lalitā Sahasranāma and navāvaraṇa pūjā.
Kalā-s / maṇḍala-s have subtle conveyances. Agni, sūraya and soma
maṇḍala-s refer to suṣumna, iḍa and piṅgala nāḍi-s. Similarly Brahmā
(actually it is known as brahma Kalā; there is difference between
Brahma and Brahmā; Brahman refers to Brahman and Brahmā refers
to god incharge of creation; in order to differentiate this, Brahmā is
used. Here it refers to god of creation), Viṣṇu, Rudra, Īśvara and
Sadāśiva also refer five psychic chakras mūlādhāra, svādhiṣṭhāna,
maṇipūraka, anāhata and viśuddhi, In ājñā chakra, one’s Guru is
present who helps the sādhaka to get liberated at sahasrāra. This part
of navāvaraṇa pūjā establishes the union of the sādhaka with his Guru
and Lalitāmbikā. Each part of a maṇḍala is known as kalā and several
kalā-s form one maṇḍala. Each of these kalā-s has their own
significance and play a vital part in the actions connected to that
particular maṇḍala. Brahmā, Viṣṇu, Rudra, Īśvarā and Sadāśiva
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represent, pañcakṛtya-s (Lalitā Sahasranāma 274 - pañcakṛtya
parāyaṇā), creation, sustenance, destruction, concealment and re-

creation (Refer Lalitā Sahasranāma 264 to 274).
For the purpose of abhimantraṇa use right hand index, middle and
ring fingers to touch the viśeṣa arghya pātra. While doing so, it is
important to remember that the viśeṣa arghya pātra should not be
moved. The best option would be to hold the wooden/silver
darvi/tweezers using right hand thumb, middle and ring fingers, the
other end of the darvi is immersed into the amṛta. At any point of time
during this procedure, there should be a contact between darvi, viśeṣa
arghya pātra, amṛta within viśeṣa arghya pātra and our hand.
1. Agni maṇḍala – 10
i) 4 यऐ धरसभ धचरषध नमम 4 yaṁ dhūmrārciṣe namaḥ
ii) 4 रऐ उषमरयष नमम 4 raṁ uṣmāyai namaḥ
iii) 4 लऐ जवललनदष नमम 4 laṁ jvalinyai namaḥ
iv) 4 वऐ जवरललनदष नमम 4 vaṁ jvālinyai namaḥ
v) 4 शऐ पवसफचललङस कधगनदष नमम 4 śaṁ visphuliṅginyai namaḥ
vi) 4 षऐ सचधशयष नमम 4 ṣaṁ suśriyai namaḥ
vii) 4 सऐ सचरपरयष नमम 4 saṁ surūpāyai namaḥ
viii) 4 हऐ कपपलरयष नमम 4 haṁ kapilāyai namaḥ
ix) 4 ळऐ हवयवरहरयष नमम ḻaṁ havyavāhāyai namaḥ
x) 4 कऐ कवयवरहरयष नमम kṣaṁ kavyavāhāyai namaḥ
Recite mūlamantra three times.
2. Sūrya maṇḍala – 12
i) 4 कऐ भऐ तपपनदष नमम 4 kaṁ bhaṁ tapinyai namaḥ
ii) 4 खऐ बऐ तरपपनदष नमम 4 khaṁ baṁ tāpinyai namaḥ
iii) 4 गऐ फऐ धस्भ ्रयष नमम 4 gaṁ phaṁ dhūmrāyai namaḥ
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iv) 4 घऐ पऐ मररचयष नमम 4 ghaṁ paṁ marīcyai namaḥ
v) 4 ङऐ नऐ जवरललनदष नमम 4 ṅaṁ naṁ jvālinyai namaḥ
vi) 4 चऐ धऐ रचयष नमम 4 caṁ dhaṁ rucyai namaḥ
vii) 4 छऐ दऐ सच षमस्चनकयष नमम 4 chaṁ daṁ suṣumnakyai namaḥ

viii) 4 जऐ थऐ भमगदरयष नमम 4 jaṁ thaṁ bhogadāyai namaḥ
ix) 4 झऐ तऐ पवशवरयष नमम 4 jhaṁ taṁ viśavāyai namaḥ
x) 4 ञऐ णऐ बमधधनदष नमम 4 ñaṁ ṇaṁ bodhinyai namaḥ
xi) 4 टऐ ढऐ धरररणयष नमम 4 ṭaṁ ḍhaṁ dhāriṇyai namaḥ
xii) 4 ठऐ डऐ कमरयष नमम 4 ṭhaṁ ḍaṁ kṣamāyai namaḥ
Recite mūlamantra three times
3. Soma maṇḍala – 16
i) 4 अऐ अमतर ्रयष नमम 4 aṁ amṛtāyai namaḥ
ii) 4 आऐ मनदरयष नमम 4 āṁ manadāyai namaḥ
iii) 4 इऐ पषभ ्रयष नमम 4 iṁ pūṣāyai namaḥ
iv) 4 ई तच षटटषनमम 4 īṁ tuṣṭyai namaḥ
v) 4 उऐ पषटस ्चयषनमम 4 uṁ puṣṭyai namaḥ
vi) 4 ऊऐ रतयष नमम 4 ūṁ ratyai namaḥ
vii) 4 ऋऐ धतस्रयषनमम 4 ṛṁ dhṛtyai namaḥ
viii) 4 ॠऐ शलशनदष नमम 4 ṝṁ śaśinyai namaḥ
ix) 4 लच ऐ चहनदसरकरयष नमम 4 luṁ candrikāyai namaḥ
x) 4 ॡऐ करनदसतयष नमम 4 ḹṁ kāntyai namaḥ
xi) 4 एऐ जयमतसनरयष नमम 4 eṁ jyotsnāyai namaḥ
xii) 4 ऐऐ धशयष नमम 4 aiṁ śriyai namaḥ
xiii) 4 ओऐ पसरशतयष नमम 4 oṁ prītyai namaḥ
xiv) 4 औ ्ऐ अङस कगदरयष नमम 4 auṁ aṅgadāyai namaḥ
xv) 4 अऐ पणभ ्ररयष नमम 4 aṁ pūrṇāyai namaḥ
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xvi) 4 अम पणभ ्ररमतर ्रयष नमम 4 aḥ pūrṇāmṛtāyai namaḥ
4. Brahmā maṇḍala – 10
i) 4 कऐ सषटस ्र यष नमम 4 kaṁ sṛṣṭyai namaḥ
ii) 4 खऐ ऋदस्यष नमम 4 khaṁ ṛddhyai namaḥ
iii) 4 गऐ समतस्रयषनमम 4 gaṁ smṛtyai namaḥ
iv) 4 घऐ मध धरयष नमम 4 ghaṁ medhāyai namaḥ
v) 4 ङऐ करनदसतयष नमम 4 ṅaṁ kāntyai namaḥ
vi) 4 चऐ लकमयष नमम 4 caṁ lakṣmyai namaḥ
vii) 4 छऐ दच तयष नमम 4 chaṁ dyutyai namaḥ
viii) 4 जऐ हसथररयष नमम 4 jaṁ sthirāyai namaḥ
ix) 4 झऐ हसथतयष नमम 4 jhaṁ sthityai namaḥ
x) 4 ञऐ लसदस्यष नमम 4 ñaṁ siddhyai namaḥ
4 हह सम सच धचपषसच म अनदसतररक पसमतर वध हदषदस अततधथदररमणसत।्स नषर प्र
सदरसदटमम सदस अबजरगमजर ऋतजर अहरजर ऋतऐ बहत॥्स नमम।
4 hagumsaḥ suciṣadvasuḥ antarikṣa saddhotā vediṣad atithirduroṇasat
| nṛṣadvara sadṛsadvyoma sad abjāgojā ṛtajā adrijā ṛtaṁ bṛhat ||
namaḥ |
5. Viṣṇu maṇḍala – 10
i) 4 टऐ जररयष नमम 4 ṭaṁ jarāyai namaḥ
ii) 4 ठऐ परललनदष नमम 4 ṭhaṁ pālinyai namaḥ
iii) 4 डऐ शरनदसतयष नमम 4 ḍaṁ śāntyai namaḥ
iv) 4 ढऐ ईशवयष नमम 4 ḍhaṁ īśvaryai namaḥ

v) 4 णऐ रतयष नमम 4 ṇaṁ ratyai namaḥ
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vi) 4 तऐ करलमकरयष नमम 4 taṁ kāmikāyai namaḥ
vii) 4 थऐ वरदरयष नमम 4 thaṁ varadāyai namaḥ
viii) 4 दऐ हरहदनदष नमम 4 daṁ hlādinyai namaḥ
ix) 4 धऐ पसरशतयष नमम 4 dhaṁ prītyai namaḥ
x) 4 नऐ दरघररयष नमम 4 naṁ dīrghāyai namaḥ
4 पसरतदस पवषणच सतवतध वशयररय मगर ्म न भशमम कचचरम धगरपररम। यसयमरषच तसरतषच
पवकस रमणध षचअधधककयहनदसत भच वनरतन पवशवर॥ नमम॥
4 pratad viṣṇustavate vīryāya mṛgo na bhīmaḥ kucaro giriṣṭhāḥ |
yasyoruṣu triṣu vikramṇeṣu adhikṣiyanti bhuvanāni viśvā || namaḥ ||
6. Rudra maṇḍala – 10
i) 4 पऐ तशकणरयष नमम 4 paṁ tīkṣṇāyai namaḥ
ii) 4 फऐ र ररयष नमम 4 phaṁ raudrāyai namaḥ
iii) 4 बऐ भरययष नमम 4 baṁ bhāyayai namaḥ
iv) 4 भऐ तनररयष नमम 4 bhaṁ nidrāyai namaḥ
v) 4 मऐ तनदसररयष नमम 4 maṁ tandrāyai namaḥ
vi) 4 यऐ कच धरयष नमम 4 yaṁ kṣudhāyai namaḥ
vii) 4 रऐ कस रमधधनदष नमम 4 raṁ krodhinyai namaḥ
viii) 4 लऐ ककस रयरयष नमम 4 laṁ kriyāyai namaḥ
ix) 4 वऐ उदसगरयष नमम 4 vaṁ udgāryai namaḥ
x) 4 शऐ मतस्रयवध नमम 4 śaṁ mṛtyave namaḥ

4 तयमबकऐ यजरमहध सच गहनदऐ पपच षटवधरनम ्स। उवरररकलमव बनदनरन ्स मतस्रयममच रकशय
मरमतर ्रत॥्स नमम॥
4 trayambakaṁ yajāmahe sugandhiṁ puṣṭivardhanam | urvārukamiva
bandhanān mṛtyormukṣīya māmṛtāt || namaḥ ||
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7. Iśvara maṇḍala – 4
4 षऐ पशतरयष नमम4 ṣaṁ pītāyai namaḥ
4 सऐ शवध तरयष नमम 4 saṁ śvetāyai namaḥ
4 हऐ अरणरयष नमम 4 haṁ aruṇāyai namaḥ
4 कऐ अलसतरयष नमम 4 kṣaṁ asitāyai namaḥ
4 तपहषणमम परमम ्सपदऐ सधर पशयहनदसत सरयम। हदवशव चकररततम।्स तपहपसररसम
पवपनदवम जरगवर ्रसह सलमनदत।्ध पवषणमयरतपरमऐ पदम ्स॥ नमम॥
4 tadviṣṇoḥ paramam padaṁ sadhā paśyanti sūrayaḥ | divīva
cakṣurātatam | tadviprāso vipanyavo jāgṛvāsagum samindhate |
viṣṇoryatparamaṁ padam || namaḥ ||
8. Sadāśiva maṇḍala – 16
i) 4 अऐ तनवतस्रयषनमम 4 aṁ nivṛtyai namaḥ
ii) 4 आऐ पसरतपतरयष नमम 4 āṁ pratiṣṭhāyai namaḥ
iii) 4 इऐ पवदरयष नमम 4 iṁ vidyāyai namaḥ
iv) 4 ई शरनदसतयष नमम 4 īṁ śāntyai namaḥ
v) 4 उऐ इहनदकरयष नमम 4 uṁ indhikāyai namaḥ
vi) 4 ऊऐ दरपपकरयष नमम 4 ūṁ dīpikāyai namaḥ

vii) 4 ऋऐ रध धचकरयष नमम 4 ṛṁ recikāyai namaḥ
viii) 4 ॠऐ ममधचकरयष नमम 4 ṝṁ mocikāyai namaḥ
ix) 4 ऌऐ पररयष नमम 4 ḷṁ parāyai namaḥ
x) 4 ॡऐ सभकमरयष नमम 4 ḹṁ sūkṣmāyai namaḥ
xi) 4 एऐ सभकमरमतर ्रयष नमम 4 eṁ sūkṣmāmṛtāyai namaḥ
xii) 4 ऐऐ जरनरयष नमम 4 aiṁ jñānāyai namaḥ
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xiii) 4 ओऐ जनरमतर ्रयष नमम 4 oṁ jñanāmṛtāyai namaḥ
xiv) 4 औ ्ऐ आसयरतयनदष नमम 4 auṁ āpyāyinyai namaḥ
xv) 4 अऐ वयरपपनदष नमम 4 aṁ vyāpinyai namaḥ
xvi) 4 अम वयममरपरयष नमम 4 aḥ vyomarupāyai namaḥ
4 पवषणच यमतनऐ कलपयतच तवषटर रपरखण पवशतच । अलसञचतच पसरजरपततधररत गभरऐ
दधरतच त॥्ध गभरऐदधहह लसनशवरलल गभरऐ दध हह सरसवतत। गभरऐ तध अहशवन दध वरवरधतरऐ
पषस्चकरससरजर॥ नमम॥
4 viṣṇuryoniṁ kalpayatu tvaṣṭā rūpāṇi viśatu | asiñcatu
prajāpatirdhāta garbhaṁ dadhātu te || garbhaṁ dehi sinīvāli garbhaṁ
dehi sarasvati | garbhaṁ te aśvinau devāvādhattāṁ puṣkarasrajā ||
namaḥ ||
9. Śakti maṇḍala – 6
i) 4 mūlaṁ namaḥ । 4 मभलऐ नमम।
ii) 4 अखणडष क रसरननदकरध परसधच ्रतमतन । सवचछनद सपरणरमतस तनधध हह
कचलनरतयकध॥ नमम॥
4 akhaṇḍaīka rasānandakare parasudhātmani | svacchanda
spuraṇāmatra nidhehi kulanāyike || namaḥ ||
iii) 4 अकचलसथरमतर ्रकररध पशच जरनकरध परध । अमतर तवऐ तनधध हहसमनस वसतच तन
हकलनदसनरपपखण॥ नमम॥
4 akulasthāmṛtākāre śuddhajñānakare pare | amṛtatvaṁ
nidhehyasmin vastuni klinnarūpiṇi || namaḥ ||
iv) 4 तरपभपणयकष रसयतवऐ करतवर हध ततसवरपपखण। भभतवर पररमतर ्रकररर मतय
धचतसफचरननऐ कचर॥ नमम॥
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4 tadrūpiṇyaikarasyatvaṁ kṛtvā hyetatsvarūpiṇi | bhūtvā
parāmṛtākārā mayi citsphurananaṁ kuru || namaḥ ||
v) 4 ऐऐ बलभऐ झसरल जचऐ सम अमतर ्धअमतर ्मदसभवध अमतर शवध रर अमवर पषखरण अमतर ्ऐ ससररवय
ससररवय सवरहर॥ नमम॥
4 aiṁ blūṁ jhrauṁ juṁ saḥ amṛte amṛtodbhave amṛteśvari
amṛavarṣiṇi amṛtaṁ srāvaya srāvaya svāhā || namaḥ ||
vi) 4 ऐऐ वद वद वरगवरहदतन ऐ।्ऐ कलरऐ हकलनदसनधकलध हदतन कलध दय महरकमभऐ कचर
कचर कलर।्ऐ स ्म ममकऐ कचर कचर। हससखस ्म। सह ्म ॥
4 aiṁ vada vada vāgvādini aiṁ | klīṁ klinne kledini kledaya
mahākṣobhaṁ kuru kuru klīṁ | sauḥ mokṣaṁ kuru kuru | hsauḥ |
shauḥ ||
(This mantra consists of five parts; three of these are represented by
Bālā mantra, fourth one by prasādaparā mantra and the fifth one by
parāprasāda mantra).
(Meaning: O! Queen of kula-s! Bestower unlimited and

unconstrained Bliss! Incommensurable form of nectar (amṛtavarṣini)!
In this amṛta (in viśeṣa arghya pātra), please endow citśakti (purest
form of consciousness and knowledge). You are shining forth in
akulasahasrāra (beyond sahasrāra; Lalitā Sahasranāma 96 – akulā) in
the form of nectar. Please bestow this amṛta with supreme (viśeṣa)
and pure knowledge.)
With this consecration of viśeṣa arghya is concluded. Once this
procedure is done, sādhaka has to bring in two or three small cups.
When it is two cups, they refer to Guru pātra and ātma pātra. When
three pātra-s are placed, third one is known as patnī pātra, meant for
the wife of the sādhaka, provided she is also initiated either into
Pañcadaśī or Ṣoḍaśī by the same Guru. These pātra-s should be
preferably in silver. These pātra-s should be kept to the right side of
viśeṣa arghya pātra. Next to viśeṣa arghya pātra is Guru pātra, next to
this is ātma pātra. If there is going to be patnī pātra, this should be
kept next to ātma pātra. Guru pātra and ātma pātra are to be placed on
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a maṇḍala drawn (same as discussed in sāmanya arghya) using
sāmānya arghya and these maṇḍala-s are to be worshiped with
initiated mūla mantra (either Pañcadaśī or Ṣoḍaśī).
These three pātra-s should be purified by sprinkling water from
vardhanī kalaśa.
Now using an uttaraṇi, transfer one uttaraṇi of viśeṣa arghya to Guru

pātra after reciting each of the following mantas. Thus there will be
three transfers from viśeṣa arghya pātra to Guru pātra.
i). Parameṣṭhiguru:
सहकमलवरयशऐ सह ्म हऐ सम लशवम समहऐ हऐ सम सवरतमरररम पञचर परमरननद
पवलरन तध जसध शस्शपरमध पप गरवध नमम aaaa शस्शपरदकच ्रऐ पजभ यरलम नमम॥
namaḥ ||
Transfer one uttaraṇi of viśeṣa arghya to Guru pātra.
ii). Paramaguru
ॐ ऐऐ हसरऐ शस्शऐ ऐऐ कलरऐ स ्म समहऐ हऐ सम लशवम हससखस्सरर हसकमलवरयभऐ हससखस ्म
सहकमलवरयशऐ सह ्म समहऐ हऐ सम लशवम सवचछपसरकरश पवमशरहध तवध शस्श परमगरवध
नमम bbbb शस्शपरदकच ्रऐ पजभ यरलम नमम॥
namaḥ bbbb śrīpādukāṁ pūjayāmi namaḥ ||
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Transfer another uttaraṇi of viśeṣa arghya to Guru pātra.
iii). Śrīguru
ॐ ऐऐ हसरऐ शस्शऐ ऐऐ कलरऐ स ्म हऐ सम लशवम समहऐ हससखस्सरर हसकमलवरयभऐ हससखस ्म

सहकमलवरयशऐ सह ्म हऐ सम लशवम समहऐ सवरप तनरपण हध तवध शस्शगरवध नमम
cccc शस्शपरदकच ्रऐ पजभ यरलम तपयर ्रलम नमम॥
śivaḥ sohaṁ svarūpa nirūpaṇa hetave śrīgurave namaḥ cccc
śrīpādukāṁ pūjayāmi (tarpayāmi) namaḥ ||
Transfer another uttaraṇi of viśeṣa arghya to Guru pātra.
aaaa should be replaced with one’s Parameṣṭhiguru’s nāma.
bbbb should be replaced with one’s Paramaguru’s nāma.
cccc should be replaced with one’s Śrīguru’s nāma.
There are variations in the order. First, Śrīguru, then Paramaguru and
finally Parameṣṭhiguru is worshiped.
At the end of Guru Maṇḍala
सदरलशवसमररमभरऐ शऐ कररचरयरमयमरऐ ।
असमदरचरयपर यनदस्र तऐ वनदध गर परऐ परर॥्ऐ
sadāśivasamārambhāṁ śaṁkarācāryamadhyamāṁ |
asmadācāryaparyantaṁ vande guru paraṁparāṁ ||
(Beginning from Lord Sadāśiva, through Śaṁkarācārya and up to my
Guru, I pay my obeisance to all the Gurus)
If Śrīguru is present in person, offer the Guru pātra to him with viśeṣa
arghya. He will consume the viśeṣa arghya and will leave a small
portion in the Guru pātra itself. This is known as Guru prasāda (Guru
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ucchiṣṭa – left over by Guru, which is considered as Guru prasāda).
After taking back Guru pātra from Guru, sādhaka should transfer
Guru prasāda to his ātma pātra and patnī pātra (if present). If Śrīguru
is not present personally, his pādukā should be meditated upon at
sahasrāra, by keeping the Guru pātra at sahasrāra. After reciting Guru
pādukā mantra, transfer this viśeṣa arghya to ātma pātra and patnī
pātra (if present). If Guru is not present personally during this yajña,
only small quantity of viśeṣa arghya should be transferred to Guru
pātra, otherwise, there will be no place to add viśeṣa arghya to ātma
pātra. Now wash Guru pātra and keep this in its place (next to viśeṣa
arghya) or this can be washed kept safely by moving this from the
pūjā maṇḍala.
Now add more viśeṣa arghya to ātma pātra. Take this ātma pātra in
right hand and hold the bottom of the pātra (a small cup) using thumb,
middle and ring fingers. Similarly add more viśeṣa arghya to patnī
pātra (wherever applicable). Both sādhaka and his or her spouse
should recite the following mantras by holding the respective pātra-s
as explained above.
Now contemplate that the viśeṣa arghya held in ātma pātra is the
oblation that is being offered to the fire of kuṇḍalinī burning at
mūlādhāra chakra. This procedure is typically to surrender every
aspect of our individuality such as mind, intellect, consciousness,
ego, good acts, evil acts, good thoughts, evil thoughts, righteous
(dharma) acts and acts of demerits (adharma). We also offer as

oblations our prāṇa, all the five types of bodies (gross, subtle and
causal comprising five types of kośa-s), three normal stages of
consciousness, active state, dream state and deep sleep state, all the
actions done in the past and present, all bad thought processes
contemplated in the past and present are offered in the form viśeṣa
arghya in ātma pātra to fire of kuṇḍalinī. (This also means that having
offered as oblations all the past and present evil thoughts and actions,
one should not accrue any further thoughts and actions from now on.
This oblation means cleansing of physical body as well as
antaḥkaraṇa.)
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Now we have to recite the following mantras.
i) Recite mūlamantra three times.
ii) Recite the following mantra. During recitation one has to
contemplate cidagni maṇḍala in his heart and this contemplation is
known viraja homa. Viraja means purification. Viraja homa is
generally performed before resorting to saṁnyāsa. Though, the
mantras given here are not the replica of viraja homa mantras given
in Mahānārāyaṇa Upaniṣad (63 to 66) yet, the conveyance of the
following mantras relate to the conveyances of this Upaniṣad.
4 कचणडललनदधधपपत धचदहगन मणडलरय नमम।
4 kuṇḍalinyadhiṣṭhita cidagni maṇḍalāya namaḥ |
iii) Recite the following mantras.

4 पणस्चयऐ जच हमलम सवरहर। 4 puṇyaṁ juhomi svāhā |
4 परपऐ जचहमलम सवरहर। 4 pāpaṁ juhomi svāhā |
4 करतयऐ जचहमलम सवरहर। 4 kṛtyaṁ juhomi svāhā |
4 अकरतयऐ जचहमलम सवरहर। 4 akṛtyaṁ juhomi svāhā |
4 सऐ कलपऐ जचहमलम सवरहर। 4 saṁkalpaṁ juhomi svāhā |
4 पवकलपऐ जचहमलम सवरहर। 4 vikalpaṁ juhomi svāhā |
4 धमरऐजचहमलम सवरहर। 4 dharmaṁ juhomi svāhā |
4 अधमरऐजचहमलम सवरहर। 4 adharmaṁ juhomi svāhā |
4 मभलऐ अधमरऐजचहमलम व षटस । 4 mūlaṁ adharmaṁ* juhomi vauṣaṭ |
(* Another version says ‘4 mūlaṁ sarvadharmaṁ juhomi vauṣaṭ’)
iii) Recite the following mantra. While reciting this mantra,
contemplate on what has been explained previously viz. surrender
every aspect of our individuality.......
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4 इतम पवभ ्रऐ पसररण-बपपच -दध ह-धमररधधकररतम जरगसरतस-सवसन-सच षपतस्चयवसथरसच मनस
र यरऐ उररध ण लशशनर यतसमतर ्ऐ यदतच ऐ यतकरतऐ ततसवरऐ

वरचर कमरण हसतरभरयरऐ पदसभ
बसरहरपणर ्ऐ भवतच सवरहर॥
4 itaḥ pūrvaṁ prāṇa-buddhi-deha-dharmādhikārataḥ jāgrat-svapna-

suṣuptyavasthāsu manasa vācā karmaṇa hastābhyāṁ padbhyāṁ
udrareṇa śiśnā yatsmṛtaṁ yaduktaṁ yatkṛtaṁ tatsarvaṁ
brahmārpaṇaṁ bhavatu svāhā ||
(Now it is assumed that all those referred in the above mantras (like
(puṇyaṁ, pāpaṁ, etc) have been offered into the perpetual fire of
Kuṇḍalinī. This is considered as pūrṇāhutī (पभणररहचतश) mantra, which

signifies end of all oblations.)
iv) Recite mūlamantra three times.
v) Now, recite the following mantra.
4 आररऐ जवलतत जयमततरहमहसम जयमततजवरलतत बसरहरहमहसम। यमऽहमहसम
बसरहरहमहसम। अहमहसम बसरहरहमहसम। अहमध वरहऐ मरऐ जच हमलम सवरहर॥
4 ārdraṁ jvalati jyotirahamasmi jyotirjvalati brahmāhamasmi |
yo'hamasmi brahmāhamasmi | ahamasmi brahmāhamasmi |
ahamevāhaṁ māṁ juhomi svāhā ||
(This is verse is from Mahānārāyaṇa Upaniṣad (67). That Supreme
Light which projected Itself as the universe like a soaked seed with
sprouts (or that Supreme Light which shines as the substratum of
liquid element) – I am That (Supreme Light). I am That Supreme
Light of Brahman which shines as the inmost essence of all that
exists. In reality I am the same infinite Brahman even when I am
experiencing myself as finite self (individual soul) owing to
ignorance (māyā). Now by the onset of knowledge, I am really that
Brahman, which is my eternal nature. Therefore, I realize his identity
by making myself the “Finite Self” as an oblation into the fire of the
infinite Brahman which I am always. May this oblation be well
made.)
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Viśeṣa arghya in ātma pātra refers to individual soul (self). The fire
of kuṇḍalinī, which burns perpetually at mūlādhāra, into which viśeṣa
arghya (consuming viśeṣa arghya is known as oblations) is offered is

the Supreme Self (Brahman). This mantra re-associates the individual
self with the Supreme Self (Brahman or the Self). The veil of māyā
is removed by acquiring knowledge. Knowledge is acquired while
performing navāvaraṇa pūjā. Therefore, it is extremely important to
perform navāvaraṇa pūjā with a clean and focused mind and with
great reverence for Her. Anger and ego should not have any place
while performing navāvaraṇa pūjā. One cannot perform navāvaraṇa
pūjayajñā without Her Grace. Unless the sādhaka literally becomes
Her, the complete benefit of navāvaraṇa pūjayajñā can never be
attained.
Now, consume viśeṣa arghya, wash the cup and keep this in its
original place. Patnī pātra need not be kept again in the same place.
This can be washed and taken away. This is required again towards
the end of navāvaraṇa pūjā.
Now add a few drops of viśeṣa arghya into kāraṇa kalaśa (in which
viśeṣa arghya was prepared and the balance kept in this kalaśa).
Similarly, add a few drops of viśeṣa arghya to sāmānya arghya
(conch). It is to be remembered that viśeṣa arghya and sāmānya
arghya should not be shaken or moved from their respective places.
It is to be remembered that one should not get from his/her seat once
nyāsa-s are done. Under exceptional circumstances, the sādhaka can
leave his/her seat now, as later there is no provision at all to leave the
seat. One can leave the seat after seeking approval from his/her Guru.
If Guru is not personally present and if one has to leave his/her seat,
then mūlamantra with all nyāsa-s should be performed 108 times.
After performing mūlamantra japa, recite pādukā and then continue
navāvaraṇa pūjā. After taking seat again, one has to again do
tatvācamanam (described in part 1).
This completes consecration procedure of viśeṣa arghya.
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21. Antaryāgaḥ अनतयररगम
Antara means internal and yāga means oblations, offerings or
sacrifice. In other words, this part deals with internal worship. From
the point of view of Advaita philosophy, Nirguṇa Brahman resides
within as the Self. While performing external pūjā, the Self within is
to be brought out using āvāhanī mudra-s and consecrated in Śri Cakra
and once the entire pūjā is over, the installed Self in Śri Cakra is to
be brought back within. This is symbolically done by taking a flower
from Śri Cakra and placing it on anāhata chakra (placing on ājñā
chakra is still better). The difference between bāhya pūjā and antara
pūjā is that in the case of external worship, it is time bound and in the
case of internal worship, it is perpetual. Without proper internal
worship, She cannot be consecrated in Śri Cakra. This is the basic
principle in any external worship. Bhāvanopaniṣad establishes the
connection between Śri Cakra and human body and this has already
been discussed in the series “Śri Cakra and human body”. This
concept is also explained in Saundaryalaharī verse 9 “mahīṁ

mūlādhāre” which says, “You remain in solitude with Your consort
Śiva in the thousand petal lotus known as sahasrāra (crown chakra),
by piercing the earth element at mūlādhāra chakra, water element at
maṇipūra chakra, the element of fire in svādhiṣṭhāna chakra, the
element of air in the anāhata chakra and the element of ākāśa in
viśuddhi chakra, which is placed above these four chakras; the tattva
of mind in ājñācakra thus transcending the entire path of kula.” In
general, akula refers to Śiva and kula refers to Śakti. Śiva resides in
sahasrāra and Śakti under normal circumstances resides in
mūlādhāra. When She ascends in the form of Kuṇḍalinī (Her subtlest
form) through suṣumna, She illuminates suṣumna and this
illumination is infinite times powerful than the sun. Though She
illumines like the sun, She is as cool as the moon.
Kula and Akula:
Kula is the state of Śiva-Śakti union (Lalitā Sahasranāma 999), where
Śakti is inherent in Śiva. This can also be explained as the state of
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Paramaśiva (the highest state, the Absolute). Akula is the pure state
of Śiva. When akula refers to Śiva, obviously it refers to His place at
sahasrāra. But there is another interpretation for akula, which is the
expression of Śakti through 36 taatva-s which means manifestation.
Jaideva Singh in his Śiva Sūtras says, “There is double entendre
(ambiguity with one interpretation that is indelicate) in the word

akula. It is impossible to bring this out in translation.” Abhinavagupta
in his Tantrāloka (III.67) says, “She is Parāśakti (the highest power
of divine) expands the kula of Akula as Kaulikī, with whom
Parameśvara rests always.” She is Kaulikī śakti whose course consists
of identity, distinction and identity-distinction. In spite of all Her
activities, She is known as amūlā (not akula), which means that Her
origin eternally remains unknown. Ultimately when She ascends
from akula sahasrāra (below mūlādhāra chakra) in the form of
effulgent Kuṇḍalinī and unites with Śiva at sahasrāra, manifestation
of the universe begins. This can be realized only if one attains
absolute perfection in kuṇḍalinī meditation. Akula also means
beyond sahasrāra, the crown chakra. This way, it can be explained
that Śakti as kula resides in mūlādhāra in the form of Kuṇḍalinī and
Śiva is beyond sahasrāra or akula sahasrāra. This is also confirmed
by “akulendugālitāmṛadhārārūpiṇī” which means that they are in the
form of nectar that flows like a stream from akula sahasrāra.
However, in antaryāga, akula sahasrāra refers to the place below
mūlādhāra. This means that She has to be contemplated from the base
of the human body till the top of the head.
Now we have to meditate on Lalitāmbikā along with bīja-s of each
āvaraṇa, name of each āvaraṇa, the name of śakti (devi) in the first
petal (it is like using etc), number of petals in each āvaraṇa, name of
the yogini presiding over the respective āvaraṇa, presiding cakreśvarī
of each āvaraṇa. After mentally worshiping all of them we have to

mentally offer dhūpa, dipārādhana, naivedya and nīrājana. Number
of petals of an āvaraṇa and number of petals of a chakra have no
relevance.
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1. Akulasahasrāra: (below mūlādhāra and this is called akula-

sahasrāra because this too has one thousand petals like sahasrāra)
4 अऐ आऐ स ्म। चतच रशतयरतमक तस्षलमकयममहन ्स चकस ररधपधरतयष अखणमरदषटपव ्ऐशतत
शकत सहहत पसरकटयमधगनशरपरयष तसरतपररदध वयष नमम॥
4 aṁ āṁ sauḥ | caturaśratrayātmaka trailokyamohan
cakrādhiṣṭhātryai aṇimādyaṣṭaviṁśati śakti sahita
prakaṭayoginīrūpāyai tripurādevyai namaḥ ||
Notes: aṁ āṁ sauḥ are the bīja-s of first āvaraṇa devi;
caturaśratrayātmaka – three squares of the first āvaraṇa;
trailokyamohan cakra is the name of the first āvaraṇa;
aṇimādyaṣṭaviṁśati – twenty eight śakti-s of first āvaraṇa, the first
among them is Aṇimā. Prakaṭayoginī is the name of the yoginī, who
presides over the first āvaraṇa. Tipurādevi is the cakreśvarī (presiding
devi) of the first āvaraṇa.
2. Viṣuva chakra (this is between akulasahasrāra and mūlādhāra):
4 ऐऐ कलरऐ स ्म। षमडशदलपदसमरतमक सवरशर ्रपररपरक चकस ररधपधरतयष
करमरकलशणस्र यरहद षमडशशकतसहहत पगच यमधगनशरपरयष तरस तपरध शशदध वयष नमम॥
4 aiṁ klīṁ sauḥ | ṣoḍaśadalapadmātmaka sarvāśāparipūraka
cakrādhiṣṭhātryai kāmākarśiṇyādi ṣoḍaśaśaktisahita
guptayoginīrūpāyai tripureśīdevyai namaḥ ||

Notes: aiṁ klīṁ sauḥ are the bīja-s of second āvaraṇa devi;
ṣoḍaśadalapadma – sixteen petal lotus; sarvāśāparipūraka is the name
of the second āvaraṇa; kāmākarśiṇyādi ṣoḍaśaśaktisahita – sixteen
śakti-s of second āvaraṇa beginning from Kāmākarśiṇi; Guptayoginī
is the name of the yoginī, who presides over the second āvaraṇa.
Tripureśīdevi is the cakreśvarī (presiding devi) of the second āvaraṇa.
3. Mūlādhāra chakra:
4 हसरऐ कलरऐ स ्म। अषटदलपदसमरतमक सवरसऐ कमभण चकस ररधपधरतयष
अनङस कगकचसमच ्रदषटशकत सहहत पगच तरयमधगनश रपरयष तरस तपरसनदस्द

च रर दध वयष नमम॥
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4 hrīṁ klīṁ sauḥ | aṣṭadalapadmātmaka sarvasaṁkṣobhaṇa
cakrādhiṣṭhātryai anaṅgakusumādyaṣṭaśakti sahita guptatarayoginī
rūpāyai tripurasundarī devyai namaḥ ||
Notes: hrīṁ klīṁ sauḥ are the bīja-s of third āvaraṇa devi;
aṣṭadalapadma – eight petal lotus; Sarvasaṁkṣobhaṇa is the name of
the third āvaraṇa. anaṅgakusumādyaṣṭaśakti sahita - eight śakti-s of
third āvaraṇa beginning from Anaṅgakusumā; Guptatarayoginī is the
name of the yoginī, who presides over the third āvaraṇa.
Tripurasundarī is the cakreśvarī (presiding devi) of the third āvaraṇa.
4. Svādhiṣṭhāna chakra:
4 हह हससखकलरऐ हससखस ्म। चतच दरशरररतमक सवसर भरगयदरयक चकस ररधपधरतयष
सवसर ्ऐकमलभणयरहद चददरशशकतसहहत सऐ पसरदरययमधगनशर ्च परयष तसरतपरवरलसतनदध वयष
नमम॥
4 haiṁ hklīṁ hsauḥ | caturdaśārātmaka sarvasaubhāgyadāyaka
cakrādhiṣṭhātryai sarvasaṁkṣobhiṇyādi cadurdaśśaktisahita
saṁpradāyayoginīrūpāyai tripuravāsinidevyai namaḥ ||
Notes: haiṁ hklīṁ hsauḥ are the bīja-s of fourth āvaraṇa devi;
caturdaśārātmaka – fourteen petal lotus; Sarvasaubhāgyadāyaka is
the name of the fourth āvaraṇa; sarvasaṁkṣobhiṇyādi
cadurdaśśaktisahita- fourteen śakti-s of fourth āvaraṇa beginning
from Sarvasaṁkṣobhiṇi; Saṁpradāyayoginī is the name of the yoginī,
who presides over the fourth āvaraṇa. Tripuravāsini is the cakreśvarī
(presiding devi) of the fourth āvaraṇa.
5. Maṇipūraka chakra:
4 हससखसह हससखसकस लरऐ हससखसस ्म। बहहदरशरररतमक सवररथसर ्रधक चकस ररधपधरतयष
सवलरसपपपसरदरहद दशशकतसहहत सऐ पसरदरययमधगनश रपरयष तरस तपररशस्शदध वयष नमम॥
4 hsaiṁ hsklīṁ hssauḥ | bahirdaśārātmaka sarvārthasādhaka
cakrādhiṣṭhātryai sarvasiddhipradādi daśaśaktisahita
saṁpradāyayoginī rūpāyai tripurāśrīdevyai namaḥ ||
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Notes: hsaiṁ hsklīṁ hssauḥ are the bīja-s of fifth āvaraṇa devi:
bahirdaśārātmaka – outer ten triagnles (there are two ten faced
triangles, hence it is mentioned here as outer ten triagles);
Sarvārthasādhaka is the name of is the name of the fifth āvaraṇa;
sarvasiddhipradādi daśaśaktisahita – ten śakti-s of fifth āvaraṇa
beginning from Sarvasiddhipradā; Saṁpradāyayoginī is the name of
the yoginī, who presides over the fifth āvaraṇa. Tripurāśrīdevi is the
cakreśvarī (presiding devi) of the fifth āvaraṇa.
6. Anāhata chakra:
4 हसरऐ कलरऐ बलर । अनदसतदरशरररतमक सवररकरकर चकस ररधपधरतयष
सवरजरहददशशकतसहहत तनगभरयमधगनशरपरयष तरस तपरमरललनशदध वयष नमम॥
4 hrīṁ klīṁ bleṁ | antardaśārātmaka sarvarakṣākara
cakrādhiṣṭhātryai sarvajñādidaśaśaktisahita nigarbhayoginīrūpāyai
tripuramālinīdevyai namaḥ ||
Notes: hrīṁ klīṁ bleṁ are the bīja-s of sixth āvaraṇa devi;
antardaśārātmaka – inner ten triangles; Sarvarakṣākara is the name of
is the name of sixth āvaraṇa. sarvajñādi daśa śakti sahita - ten śakti-s
of sixth āvaraṇa beginning from Sarvajñā; Nigarbhayoginī is the
name of the yoginī, who presides over the sixth āvaraṇa.
Tripuramālinīdevi is the cakreśvarī (presiding devi) of sixth āvaraṇa.
7. Viśuddhi chakra:
4 हसरऐ शस्शऐ स ्म। अषटरररतमक सवररमगहर चकस ररधपधरतयष वलशनदरदषटशकतसहहत
रहसययमधगनशरपयष तरस तपररलपसरदध वयष नमम॥
4 hrīṁ śrīṁ sauḥ | aṣṭārātmaka sarvarogahara cakrādhiṣṭhātryai
vaśinyādyaṣṭaśaktisahita rahasyayoginīrūpayai tripurāsiddhādevyai
namaḥ ||
Notes: hrīṁ śrīṁ sauḥ are the bīja-s of seventh āvaraṇa devi;
aṣṭārātmaka – eight triangles; Sarvarogahara is the name of seventh
āvaraṇa; vaśinyādyaṣṭa śakti sahita – Vaśinī vāgdevatā and seven
other vāgdevi-s of seventh āvaraṇa (composers of Lalitā

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Sahasranāma); Rahasyayoginī is the name of the yoginī, who presides
over the seventh āvaraṇa; Tripurāsiddhādevi is the cakreśvarī
(presiding devi) of seventh āvaraṇa.
8. Lambikā chakra: (lambin means the hanging soft palate in throat)
4 हससखससरहहससखसकस ्सरऐ हससखससर ्म। तसरतकमणरतमक सवलरसपपपसरद चकस ररधपधरतयष आयधच शकतसमध त
करमध शवयररहद तसरतशकतसहहत अततरहसययमधगनश रपरयष तरस तपररमबरदध वयष नमम॥
4 hsraiṁ hsklrīṁ hsrauḥ | trikoṇātmaka sarvasiddhiprada
cakrādhiṣṭhātryai āyudhaśaktisameta kāmeśvaryādi triśaktisahita
atirahasyayoginī rupāyai tripurāmbādevyai namaḥ ||
Notes: hsraiṁ hsklrīṁ hsrauḥ are the bīja-s of eighth āvaraṇa devi.
trikoṇātmaka – inner triangle; sarvasiddhiprada is the name of eighth
āvaraṇa; āyudhaśakti sameta kāmeśvaryādi triśaktisahita – In eighth
āvaraṇa, we worship the weaponries of Kāmeśvara and Kāmeśvarī.
After worshiping their weaponries, Kāmeśvarī, Vajreśvarī and
Bagamālinī are worshiped in the three corners of the innermost
triangle; Atirahasyayoginī is the name of the yoginī, who presides
over the eighth āvaraṇa. Tripurāmbādevi is the cakreśvarī (presiding
devi) of eighth āvaraṇa.
9. Ājñācakra:
4 क ए ल हसरऐ । ह स क ह ल हसरऐ । स क ल हसरऐ ॥ तसरबनदसप्रतमक सवररननदमय
चकस ररधपधरतयष षडङस कगयधच दश सहहत पररपररततरहसययमधगनश महरतसरतपरसनदस्द

च रर
दध वयष नमम॥
4 ka e la hrīṁ | ha sa ka ha la hrīṁ | sa ka la hrīṁ || bindvātmaka

sarvānandamaya cakrādhiṣṭhātryai ṣaḍaṅgayudha daśa sahita
parāparātirahasyayoginī mahātripurasundarī devyai namaḥ ||
Notes: It is important to note that Pañcadaśī mantra is used as bīja-s
for the ninth āvaraṇa. Three sides of the inner most triangle are
formed by each kūṭā of Pañcadaśī; bindvātmaka – refers to the bindu
(dot) within the triangle; Sarvānandamaya is the name of ninth
āvaraṇa; this is stage of Absolute Bliss, where Her Grace (śaktipāta)
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is showered on the contemplator; ṣaḍaṅga śakti sahita- with six śakti-

s; ṣaḍaṅga śakti can be explained in two ways. If we go with
Bālāṣaḍaṅga nyāsa, then these six śakti-s can be interpreted as hṛdaya,
śira, śikhā, kavaca, netra and astra śakti-s. We can also contemplate
these śakti-s as Her six powers such as omniscience, completeness,
supreme levels of consciousness, freedom, everlasting power and
infinity. These are the six qualities of Śiva, who is Prakāśa (Self-
illuminating). This is explained in Lalitā Sahasranāma 386.
Parāparātirahasyayoginī is the name of yoginī of the ninth āvaraṇa.
Mahātripurasundarī Devi is the presiding Deity of the ninth āvaraṇa.
This āvaraṇa is presided because Śiva is also there in the name of
bindu (Lalitā Sahasranāma 905 is Baindavāsanā).
From ājñācakra to brahmarandra (an orifice at the top of the head in
sahasrāra) there are ten minor chakras. These chakras refer to
nādabindu (which means the sound of ṁ, where bindu is the dot
causing the joining of lips to make ṁṁṁ sound; it is the combination

of ‘ma’ (म) and bindu or makāra bindu samyuktam.
Now contemplation is to be made by visualizing a straight line from
ājñācakra to brahmarandra, dividing the entire portion into ten
equidistant points. The first point starts at bindu, just above ājñācakra.
In fact these ten dots have different shapes.
i) 4 अऐ आऐ स ्म नमम 4 aṁ āṁ sauḥ namaḥ at bindu.
ii) 4 ऐऐ कलरऐ स ्म नमम 4 aiṁ klīṁ sauḥ namaḥ at ardhacandra.
iii) 4 हसरऐ कलरऐ स ्म नमम 4 hrīṁ klīṁ sauḥ namaḥ at rodhini.
iv) 4 हह हससखकलरऐ हससखस ्म नमम 4 haiṁ hklīṁ hsauḥ namaḥ at nāda.
v) 4 हससखसह हससखसकस लरऐ हससखसस ्म नमम4 hsaiṁ hsklīṁ hssauḥ namaḥ at nādānta.
vi) 4 हसरऐ कलरऐ बलर नमम hrīṁ klīṁ bleṁ namaḥ at śakti.
vii) 4 हसरऐ शस्शऐ स ्म नमम 4 hrīṁ śrīṁ sauḥ namaḥ at vyāpikā.
viii) 4 हससखससरहहससखसकस ्सरऐ हससखससर ्म नमम 4 hsraiṁ hsklrīṁ hsrauḥ namaḥ
samani.
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ix) 4 क ए ल हसरऐ । ह स क ह ल हसरऐ । स क ल हसरऐ नमम
4 ka e la hrīṁ | ha sa ka ha la hrīṁ | sa ka la hrīṁ namaḥ || at
unmani.
x) 4 षमडशश नमम 4 Ṣoḍaśī namaḥ at brahmarandra.
(x is to be left out, if one is not initiated into Ṣoḍaśī)
Further reading on chakras:
Generally six chakras are known to us, as sahasrāra is not considered
as a chakra. In addition to the above 6 + 1, three more chakras are
also commonly known above ājñācakra’ they are lalanā (tongue),

manas (mind) and soma (moon) chakras. These chakras are also
called ādhāra. Following is the list of twenty chakras that are
mentioned in Advaitamārtaṇda, a modern Sanskrit work by late
Brahmānanda Svāmī.
1.Ādhāra; 2. Kuladīpa; 3. Yajñā; 4. svādhiṣṭhāna; 5. Raudra; 6.
Karāla; 7. Gahvara; 8. Viyāprada; 9. Trimukha; 10. Tripada; 11.
Kāla-daṇḍaka; 12. Ukārā; 13. Kāladvāra; 14. Karamgaka; 15. Dīpaka;
16. Ānanda-lalitā; 17. Maṇipūraka; 18. Nākula; 19. Kāla-bhedana and
20. Mahotsāha.
At the end of antaryāga, we have mentally consecrated Parāśakti
within and now, we have to enthrone Her in Śri Cakra which is
already purified and consecrated in the maṇḍala opposite to us.
Without fully visualising and establishing Her within, She cannot be
invoked in Śri Cakra. She has to be invoked in the inner triangle and
bindu of Śri Cakra from within. The sole purpose of antaryāga is only
to visualize Her within.
Now, we have to invoke Her Śri Cakra and offer Her
catuḥṣaṣṭyupacāra pūjā (Lalitā Sahasranāma 235).
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22. 1) Invoking Her in Śri Cakra:
Technically, navāvaraṇa pūjā begins from here. In the previous part,
antaryāga, She was contemplated in different psychic chakras and
taken to the top of sahasrāra. When we speak about sahasrāra, it is

obvious that we are referring to Śiva-Śakti union. How they are to be
invoked? They are to be contemplated as Kāmeśvara and Kāmeśvarī.
In this form, She is seated majestically and proudly on His left thigh.
Kāmeśvara is Prakāśa and Kāmeśvarī is Vimarśa. Kāmeśvara is in
the bindu and Kāmeśvarī is the innermost triangle. This innermost
triangle and the bindu have manifested as Śivaliṅga, which is the
cause of the universe.
Now, we have to take flowers using trikhaṇḍā mudra, move the
kuṇḍalinī from mūlādhāra to sahasrāra using our breath and
consciousness. First inhale and by holding breath within, move
kuṇḍalinī to sahasrāra. Now exhale and at the time of exhalation, hold
fingers of trikhaṇḍā mudra with flowers below the nostrils and
visualize Kāmeśvara and Kāmeśvarī in the form of subtle prāṇa in the
flowers and place the flowers in the middle of Śri Cakra. If three
different colour flowers are available, they can be kept in three joints
of trikhaṇḍā mudra. This means that we are transferring the visualized
image of the Divine Couple through our prāṇa (exhalation) to be
consecrated in the middle of Śri Cakra. Without proper contemplation
within, as discussed in antaryāga (previous part), consecration in Śri
Cakra will be futile. The flowers are to be placed in Śri Cakra very
carefully and very gently using the following mantra. Under no
circumstances, flowers should be thrown on Śri Cakra. They are to
placed with great reverence.
4 हसरऐ शस्शऐ स ्म शस्शलललतरयरम अमतर चष तनद मभततरऐ कलपयरलम नमम॥

4 hrīṁ śrīṁ sauḥ śrīlalitāyāḥ amṛtacaitanya mūrtiṁ kalpayāmi namaḥ
||
[amṛtacaitanya means imperishable knowledge or supreme
knowledge. This means that They are being invoked in the form of
Supreme knowledge.]
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22.2) Dhyāna verse:
इकच कमदणडपषस्प
च ध षचपरशरङस ककचश चतभच ्चरजरम।्स
सवदर ्धवमयशऐ अऐ बरऐ सवर स भरगय सच नदररम॥्स
सवरतशथरमयशऐ हदवयरऐ सवकर ्रमपसरपररणशम। ्स
सवरमनदसतमयशऐ तनतयरऐ सवररगम पवशररदरम ्स॥
सवरकध तमयशऐ दध वशऐ सवरपवदरमयशऐ लशवरम ्स।
सवरयरगमयशऐ पवदरऐ सवरदध व सवरपपणशम ्स॥
सवशर ्रसतसरमयशऐ तनतयरऐ सवररगम नमसकरतरम।्स
सवरमनरयमयशऐ दध वशऐ सवररयतन सध पवतरम ्स॥
सवररननदमयशऐ जरनगवरसररऐ सऐ पवदऐ पररम ्स।
एवऐ ्यरयध तस पररमऐ बरऐ सहचचदरननद रपपणशम ्स॥
ikṣukodaṇḍapuṣpeṣu pāśāṅkuśa caturbhujām |
sarvadevamayīṁ aṁbāṁ sarva saubhāgya sundarīm ||
sarvatīrthamayīṁ divyāṁ sarvakāmaprapūriṇīm |
sarvamantramayīṁ nityāṁ sarvāgama viśāradām ||
sarvakṣetramayīṁ devīṁ sarvavidyāmayīṁ śivām |
sarvayāgamayīṁ vidyāṁ sarvadeva svarūpiṇīm ||

sarvaśāstramayīṁ nityāṁ sarvāgama namaskṛtām |
savāmnāyamayīṁ devīṁ sarvāyatana sevitām ||
sarvānandamayīṁ jñānagahvarāṁ saṁvidaṁ parām |
evaṁ dhyāyet parāmaṁbāṁ saccidānanda rūpiṇīm ||
Meaning:
She is to be contemplated with a sugarcane bow, flower arrows, noose
and goad in Her four hands. She encompasses all gods and goddesses.
She is an embodiment of all auspiciousness, sacred rivers, fulfilling
all desires, all types of mantras, sacred and traditional doctrines, holy
places (kṣetra technically means geometrical dimensions with
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astronomical and astrological implications and holy places; kṣetra
also means body), grammatical treatises in the form of mantras that
are communicated through initiations orally, all holy places and
temples, blissfulness and knowledge.
Further reading on dhyāna verse:
The above verse says that She is the universe itself or She manifests
as the universe. Parāśakti is the Supreme Power of Śiva, known as
Svātantrya Śakti or independent and absolute power of Śiva, which
He alone possesses. Śiva is in the form of illumination, hence He is
known as Prakāśa. Light without objects around is of no use. If we
light a candle in a desert, there is no use for this candle, as there are
no objects around to reflect the light of the candle. If Śiva alone is
present, the manifestation of the universe will not be visible. Hence

Parāśakti manifests as the universe and is in total control of the
universe and none of the activities of the universe can happen without
Her will, grace and knowledge. Hence, Lalitā Sahasranāma (658)
adores Her as Icchāśakti-jñānaśakti-kriyāśakti-svarūpiṇī (इचछरशकत-
जरनशकत-ककस रयरशकत-सवरपपणश), which is interpreted as follows: “She is in
the form of three energies – the energy of will, the energy of wisdom
and the energy of action. These energies form a part of trīśikā.
Trīśikā (tri + iśikā) means analysis of three. Tri means three and iśikā
means Īśvarī, the power, abiding in divine consciousness. She is the
controller of all triads in the process of creation. For example, the
three acts of the Brahman, creation, sustenance and dissolution.
Though She is said to be Īśvarī of creation, etc, She is not different
from Śiva. The supreme divine consciousness on the point of
expansion according to Her inherent nature is Icchā śakthi. The
actual process of expansion is jñāna śakti and the process of diversity
leading to creation of the universe is kriyā śakti. The One who is the
possessor of all three śakti-s or energies is known as parā-śakti or the
Supreme energy. Śrī Tantrālokaḥ (III.111) says “When the power of
action reflects upon soma (the essence of ecstasy), sūrya (the sun) and
agni (the fire) and we attain the indivisible Light that is our absolute
bindu.” When kriyā Śaktī is accomplished in the phases represented
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by icchā śaktī and jñāna śaktī, in the inner manifestation, the Supreme
Reality of Śiva is realized.”
Vimarśa is also non-dualistic in nature like Prakāśa. In other words,
She is also non-dualistic like Śiva. But there are two perspectives of
Vimarśa, both being non-dualistic. Both are at the metaphysical
levels; first one (metaphysical to physical) is about Self-illuminating
Śiva uniting with Vimarśa to make the world process unfold. This is
about the dynamics of power of Śiva uniting with the recognition of
power of light, Śakti. Therefore, without Śiva-Śakti union, universe
cannot manifest and worldly process cannot be initiated. The second
one is the reverse process, known as spiritual path or path to liberation
(from physical to metaphysical). Liberation can only be offered by
Śiva, but She has to put Her stamp of approval for liberation. This is
explained in Lalitā Sahasranāma (727) Śiva-jñāna-pradāyinī, which
is explained thus: “She imparts the knowledge of Śiva, the Ultimate.
Śiva jñāna (knowledge) means the knowledge of the Brahman, which
is also known as the Supreme knowledge. To know Śiva, one should
first know His Śaktī, who alone is capable of leading a person to the
Brahman or Śiva. Rāmāyaṇa says ‘wind can be realized through
movements, fire can be realised through heat and Śiva can be realized
only through Śaktī.’ It can also be said that Śiva is the source of
knowledge for Her. It is said śaṁkaraṁ caitanyam which means that
Śiva is both jñāna and kriyā. He is the sovereign, pure free will, in
knowledge and action. Based upon this principle, Śiva Sūtra-s opens
by saying caitanyamātmā. Caitanyam means consciousness of the

highest purity and knowledge. There is no difference between
Brahman and the highest form of consciousness. But how Śaktī alone
is capable of unravelling Śiva? This is answered by Śiva Sūtra (I.6)
again which says that by meditating on Śaktī, the universe disappears
as a separate entity thereby unveiling Self illuminating Śiva. The
process of such happening is described in Spanda Kārikā (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 (Śiva), he becomes equal to that Self.’ The
seeker of Śiva becomes Śiva himself. This is known as Śiva jñāna
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and She imparts this kind of Supreme knowledge. It is also said that
Śiva cannot be attained without first realising Śaktī. She alone can
lead one to Śiva. Śiva is inaccessible directly. Unless She chooses to
impart the required Supreme knowledge, none can realise Śiva.
Hence, She is called Śiva-jñāna-pradāyinī.”
What is the transformation that happens within after She imparts
knowledge about Śiva? :New experience unfolds when devotion
transforms into love. This is full of love, full of bliss, intensity of love
rises here in kuṇḍalinī, which is the embodiment of love. Only in
kuṇḍalinī true love exists. It is Her touch within, which leads to tears
of joy, will make us stammer, which makes our voice break and
ultimately blossoms out with laughter.” This stage is known as inner

absorption, known as antaḥ samāveśa (samāveśa means absorption).
When inner absorption is complete, which means ascension of
kuṇḍalinī is complete, universe is transcended and the meditator
becomes one with the highest form of Śiva, Paramaśiva, where She
is inherent. Kulārṇava Tantra says, “A billion pūjā-s equal a stotra
(hymns in praise); a billion stotra-s equal a japa; a billion japa-s equal
a dhyāna and a billion dhyāna equal a laya (absorption).”
Only this understanding and contemplation leads to realization.
Realisation happens only when one surrenders to Her through mind,
intellect, consciousness and ego (antaḥkaraṇa). During navāvaraṇa
pūjā, what is important is one’s ability to contemplate Her within and
bring Her out from within and make Her majestically seated on Śiva’s
left lap in the middle of Śri Cakra. Any extraneous thoughts during
contemplation, are serious distractions for antaḥ samāveśa. We
should establish a strong connection between the Divine Couple and
our consciousness. Here, our consciousness means the dissolution of
mind, intellect and ego into consciousness where pure consciousness
alone prevails. It is like offering as oblations our mind, intellect and
ego into the fire of consciousness.
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22.3) Āvāhana mantra-s:
Āvāhana means invitation or invocation. By using certain mantras
and mudras, the Divine Couple are invited from within to be seated
in the midst of Śri Cakra along with Her retinue. Following is the
mantra.
4 हससखससरहहससखसकस ्सरम ्स हससखससर ्म। महरपदसमवनरनदसतध कररणरननद पवगसरहध । सवभर तभ हहतध
मरतम एहध हह परमध शवरर॥ शस्शलललतरमहरतसरतपसच ्चरनदरर पररभटस टरररकर महरकरमध शर
समध त आवरहरलम॥
4 hsraiṁ hsklrīm hsrauḥ | mahāpadmavanāndaste kāraṇānanda
vigrahe | sarvabhūtahite mātaḥ ehyehi parameśvari ||
śrīlalitāmahātripursundarī parābhaṭṭārikā mahākāmeśara sameta
āvāhyāmi ||
Now place the flowers now being held in trikhaṇḍā in the centre of
Śri Cakra. Now the Divine Couple are seated in Śri Cakra. If they are
contemplated well within and properly invited to be seated in the
midst of Śri Cakra, at the time of taking Their seat, subtle resonances
can be felt in the maṇḍala where Śri Cakra is kept.
In order to pay our respects first, we are now showing some mudras
to them and these mudras are known as āvāhana mudras. These
mudras are used to stabilise our invocation. For each of the following
mantras, there are mudras. 4 is to be added before each of these
mantras.
4 आवरहहतर भव। 4 सऐ सथरपपतर भव। 4 सहनदसनधरपपतर भव। 4 सहनदसनपरर भव। 4
सममच खश भव। 4 अवकचहणठतर भव। 4 सच पसरशतर भव॥
4 āvāhitā bhava | 4 saṁsthāpitā bhava | 4 sannidhāpitā bhava | 4
sanniruddhā bhava | 4 sammukhī bhava | 4 avakuṇṭhitā bhava | 4
suprītā bhava ||
Having thus established Them, now we have to do 64 types of
upacāra-s to Them. Upacāra can be explained as attendance with
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reverence. Sixty four types of upacāra-s is known as chatuḥ-
ṣaṣṭyupacāra. This is referred in Lalitā Sahasranāma (235) as “chatuḥ-
ṣaṣṭyupacārāḍhyā”. Sixty four upacāra-s is a long and time
consuming procedure. If time is a constraint, then these sixty four
upacāra-s are curtailed to either five or sixteen. Five types of upacāra-

s are known as pañca- upacāra-s and sixteen types of upacāra-s are
known as ṣoḍaśa- upacāra-s.
22.4) Chatuḥ-ṣaṣṭyupacāra
Following is chatuḥ-ṣaṣṭyupacāra (64 upacāra-s). om aiṁ hrīṁ śrīṁ
(ॐ ऐऐ हसरऐ शस्शऐ) (4) are to be prefixed to each upacāra. These upacāra-s
are meant only for Lalitāmbikā. Śiva will continue to remain seated
in the bindu of Śri Cakra. It is to be remembered that Śiva is devoid
of any attributes and He is known as Nirguṇa Brahman and
Lalitāmbikā is Saguṇa Brahman, who is the kinetic force of the
universe. Śiva is Supreme and He alone shines by Himself; hence He
is known as Prakāśa. He is beyond all these rituals and hence He is
known as niśkriyā, which means inactive.
Example: The portion marked as ------ each of the upacāra-s
mentioned below is to be filled.
om aiṁ hrīṁ śrīṁ śrī lalitāyai -------- kalpayāmi namaḥ |
ॐ ऐऐ हसरऐ शस्शऐ शस्शलललतरयष -------- कलपयरलम नमम।

(kalpayāmi - an expressive style that uses events to describe some
action; an extended metaphor. Kalpita means inferred or assumed.
Basically, these 64 upacāra-s are to be contemplated. Kalpita also
means arranged. Kalpayāmi is different from samarpayāmi;
samarpayāmi means offering in person, whereas kalpayāmi is
conceptualisation or visualization. It is stated that in the absence of
any of the 64 offerings not available, a drop from sāmānya arghya
can be offered in Her left hand with flowers. It would be better to
contemplate those offerings that are not easily available. The very
purpose of using kalpayāmi indicates that most of these offerings can
be offered to Her mentally.)
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Please note: While reading this article, every upacāra is to be
contemplated. Please spend some time during each upacāra.
For example 1 is be recited like this.
1. ॐ ऐऐ हसरऐ शस्शऐश्
स शलललतरयष परदऐ कलपयलम नमम।
om aiṁ hrīṁ śrīṁ śrī lalitāyai pādyaṁ kalpayami namaḥ |
(offering water for washing hands and feet; in 64 upacāra-s ācamana
is also included here)
2. आभरणरवरमपणऐ ābharaṇāvaropaṇaṁ (removing Her jewels)
3. सगच हनदतलष अभरयङस कगऐ sugandhitaila abhyaṅgaṁ (applying aroma oil on
Her)
4. मञजनशरलरपसरवध शनऐ mañjanaśālāpraveśanaṁ (entering into the place
where She is going to be bathed)

5. मञजनशरल मखणपशठमपवध शनऐ mañjanaśāla maṇipīṭhopaveśanaṁ (taking
Her seat on gem studded pedestal and gets ready for bath)
6. हदवयरसनरनशपयमयतरनऐ divyāsanānīyodvayartanaṁ (applying fragrant
powders)
7. उषणमदकसनरनऐ uṣṇodakasnānaṁ (bathing with hot water)
(Mantramātṛkāpuṣpamālāstavaḥ (verse 4): After visualizing Her
place, Her throne and after having wash Her feet and offered Her
water, the aspirant now gives Her a bath.)
8. कनककलशचयच त सकल तशतररलभषकऐ kanakakalaśacyuta sakala
tīrtābhiṣakaṁ (bathing Her with water brought from various sacred
rivers in gold pots).
9. ध तवसतसरपररमरजरनऐ dhautavastraparimārjanaṁ (predry with towels)
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10. अरणदकचभलपररधरनऐ aruṇadukūlaparidhānaṁ (adoring Her with
crimson garment)
(Mantramātṛkāpuṣpamālāstavaḥ (verse 5) I have gathered bright
precious stones from the golden Mount Meru and fixed them on the
red upper garment which is in the colour of saffron.)
11. अरणदकचभलपररधरनऐ aruṇadukūlaparidhānaṁ (adoring Her with
crimson upper garment)
12. आलध पमणटपपसरवध शनऐ ālepamaṇṭapapraveśanaṁ (entering into a room
for application of perfumes)
(Mantramātṛkāpuṣpamālāstavaḥ (verse 7) “I have prepared sandal

paste mixed with camphor and saffron to apply on Your body. I have
musk tilaka to be placed on Your forehead. I have gorocanā for Your
mirror like cheeks. I have eyeliner for Your eyes and I have thick
paste of pure musk for your lotus like neck. I offer all this for Your
delight.”)
13. आलध पमणटप मखणपशठमपवध शनऐ ālepamaṇṭapa maṇipīṭhopaveśanaṁ
(making Her to sit on a gem studded pedestal).
14. चनदनरगर कचङस ककचम मगर मत कपरर कसतरर गमरमचनरहद हदवयगनदसवरङस कस ्र धगणपवलध पनऐ
candanāgaru kuṅkuma mṛgamata karpūra kastūrī gorocanādi
divyagandhasarvāṅgiṇavilepanaṁ (application of paste made of
sandal, saffron and other five fragrant ingredients; these ingredients
are freshly grinded and made in the form of paste)
(Lalitā Sahasranāma 434 Candana-drava-digdhāṅgī - Her body is
smeared with sandal paste.)
15. कध शभररसय करलरगरधभपऐ keśabhārasya kālāgarudhūpaṁ (offering
aromatic smoke to Her hair)
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(Mantramātṛkāpuṣpamālāstavaḥ (verse 9) Your hair appearing like a
chain of bees, bewitch the mind of Śiva. Though Your body is the
playground for fragrances, I mentally offer to Your body and hair, the
fumes of ten different types of incenses.)
16. महललकर मरलतश जरतश चमपक अशमक शतपतस पगभ गच हळश पच नदसनरग कहरर मच य
स
सवतर कचर ्चसमच मरलरम
mallikā mālatī jātī campaka aśoka śatapatra pūga guhaḻī punnāga

kahlāra mukhya sarvartukusuma mālāḥ
Ten different flowers are mentioned here. Garlands are made out of
these flowers and adorned on Her. These flowers also adorn Her hair.
(Mantramātṛkāpuṣpamālāstavaḥ (verse 8): “There are several flowers
mentioned here and many of them cannot be properly translated into
English. The flowers are white water lily, blossomed blue lotus,
jasmine, fragrant herbs, another flower of jasmine family, yellow
colored campaka flower, another flower of jasmine family that
blossoms in the evening, flowers of coral tree, fragrant oleander,
leaves of another herb, golden lotus and other fragrant flowers.”)
(Lalitā Sahasranāma (13) Campakāśoka-punnāga-saugandhika-lasat-

kacā. “Campaka, aśoka, punnāga, saugandhika are the four types of
fragrant flowers that adorn Her hair. But Her hair does not get
fragrance because of these flowers, whereas these flowers get their
fragrance from Her hair. Her hair is always sweet smelling.”)
17. भभषणमणटप पसरवध शनऐ bhūṣaṇamaṇṭapa praveśanaṁ (She now enters
into a hall where She is going to be adorned with various types of
ornaments.)
18. भभषणमणटप मखणपशठमपवध शनऐ bhūṣaṇamaṇṭapa maṇipīṭhopaveśanaṁ
(She is made to sit on a gem studded pedestal where is She is adorned
with all types of ornaments. These ornaments are adorned on Her one
after another as described in subsequent upacāra-s.)
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(Mantramātṛkāpuṣpamālāstavaḥ (verse 6): Please accept necklaces,

bracelets, bracelets with tiny bells, anklets, ear studs, crown, head
ornament, nose stud, finger rings, bangles and waist band.)
19. नवमखणमकचटऐ navamaṇimakuṭaṁ (crown made of nine precious
gems)
(Lalitā Sahasranāma (14) Kuruvinda-maṇiśreṇī-kanat-koṭīra-

maṇḍitā: Kuruvinda is a rare type of ruby, which is red in colour. This
particular type of ruby is said to enhance love, wealth and devotion
for Viṣṇu (Viṣṇu is Her brother). These rubies adorn Her crown.
When She is meditated upon with this red crown, spirituality and
prosperity will increase. Saundarya Laharī (verse 42) says, “Why
will not he, who extols your golden crown, closely stud with the
twelve Suns (twelve āditya-s - dvādasa āditya-s, each āditya
representing one solar month ) transformed into gems, form the idea
that the digit of the (crescent) Moon, variegated by enveloping lustre
of the inlaid gems, is but the bow of Indra (rainbow)?” Śrī Śaktī
Mahimnaḥ (verse 42) also describes Her crown.)
20. चनदसरशकलऐ candraśkalaṁ (an ornament appearing like crescent
moon)
21. सशमनदसतलसनदरऐsīmantasindūraṁ (vermilion kept at the parting of hair
at forehead).
22. ततलकरतनऐ tilakaratnaṁ (mark on the forehead just above the
meeting points of eyebrows.
(Lalitā Sahasranāma (16) Mukacandra-kalaṇkābha-mṛganābhi-

viśeṣakā - She is wearing a kastūri (kastūrikā a fragrant paste) tilaka
(a mark on the forehead made with musk, sandal-wood, etc) and
Lalitā Sahasranāma (632) Sindūra-tilakāñcitā - She is adorned with
vermillion mark on Her forehead.)
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23. करलरञजनऐ kālāñjanaṁ (black collyrium applied to the eyelashes or
the inner coat of the eyelids)
24. वरलरयगच लऐ vālīyugalaṁ (adorning ear studs)
(Lalitā Sahasranāma (864) Kanat-kanaka-tāṭaṅkā - She is wearing
glittering ear studs made of shining gold. Saundarya Laharī (verse
28) says that it is due to the power of Her tāṭaṅkā (ear studs), Śiva
becomes deathless, even after swallowing the terrible poison. It is
also said that sun and moon are Her ear studs.)
25. मखणकचणडलयगच लऐ maṇikuṇḍalayugalaṁ (a pair of hanging ear studs
made of precious stones fixed to the pair of vālīyugalaṁ)
26. नरसरभरणऐ nāsābharaṇaṁ (nose studs)
(Lalitā Sahasranāma (20) tārākānthi-tiraskāri-nāsabharaṇa-bhāsurā -
She is wearing a nose stud that outshines the stars. Her nose stud is
made up of rubies and pearls. Tārā means stars Tārā also means two
goddesses Maṅgalā and Śuklā. Śuklā has later come to be known as
Śukrā. Possibly these Maṅgalā and Śukrā could mean the two planets
Mars and Venus. Each planet governs certain precious stones. Planet
Mars rules ruby that is red in colour and Venus rules diamond (Mani
Mālā II.79). It can also be said that these two planets adorn Her nose.)
27. अधरयरवकऐ adharayāvakaṁ (lipstick)

28. पसरदमभषभणऐ pradamabhūṣaṇaṁ (māṅgalya-sūtra)
(Lalitā Sahasranāma (30) Kāmeśa-baddha-māṅgalya-sūtra-śobhita-

kandharā - Her neck is adorned with the māṅgalya sūtra (married
women wear this) tied by Kāmeśvara.)
29. कनकधचनदसतरकऐ kanakacintākaṁ (gold necklace that is worn close to
the neck; not of hanging type)
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30. पदकऐ padakaṁ (comparatively small pendant)
31. महरपदकऐ mahāpadakaṁ (bigger pendant)
32. मतच ्रवलर muktāvalī (pearl necklace)
33. एकरवलल ्ऐekāvaliṁ (a necklace made of 27 pearls; probably referring
to 27 stars)
34. छनदसनवशरऐ channavīraṁ (crisscrossing of gold braids)
35. कधयच रयच गल चतच षटयऐ keyurayugala catuṣṭayaṁ (bangle like ornaments
worn on Her four upper arms)
(Lalitā Sahasranāma (31) Kanakāṅgada-keyūra-kamanīya-bhujanvitā
- kanaka – golden; aṅgada – bangles or bracelets; keyūra is a type of
ornament worn in the upper arms. She is wearing these ornaments.
Possibly, this could mean the following. Both these ornaments are
made out of gold and worn in the arms.)
36. वलयरवलल ्ऐvalayāvaliṁ (concatenation of bangles)
37. ऊलमरकरवलल ्ऐūrmikāvaliṁ (rings in every finger)
38. करञचशदरम kāñcīdāma (waist band)
(Lalitā Sahasranāma (36) stanabhāra-dalanmadhya-paṭṭabandha-

valitrayā - The golden belt that She wears supports Her waist as it
bends under the heaviness of Her bosoms, resulting in three folds in
Her stomach area.)
39. कहटसतस्भऐ kaṭisūtraṁ (gold girdle)
(Lalitā Sahasranāma (38) Ratna-kiṅkiṇikā-ramya-raśanā-dāma-

bhūṣitā - She is adorned with girdle studded with mini bells and gems.
Devi’s Pañcadaśī mantra consists of three parts or kūṭa-s. Vāgbhava
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kūṭa was discussed from nāma 13 to 29. Madhya kūṭa was discussed
from 30 to 38 and Śaktī kūṭa will be discussed from 39 to 47. Devi’s
face is vāgbhava kūṭa, from face to hip is madhya kūṭa (also known
as kāmarāja kūṭa) and Śaktī kūṭa is hip downwards.)
40. स भरगयरभरणऐ saubhāgyābharaṇaṁ (various gold shapes are fixed to
gold girdle; what is referred here is a gold leaf resembling peepul tree,
which signifies auspiciousness.)
41. परदकटकऐ pādakaṭakaṁ (anklets)
(Lalitā Sahasranāma (46) siñjāna-maṇi-mañjīra-maṇḍita-

srīpadāmbujā - She is wearing anklets made out of precious gems that
shine.)
42. रतननपभ ्चरऐ ratnanūpuraṁ (ornaments for the toes, ankles and feet
interconnecting them)
43. परदरङस कगच लरयकऐ pādāṅgulīayakaṁ (toe rings; generally they are worn
on the second toe; but they are also worn on all the toes webbed by a
gold chains).
44. परशऐ pāśaṁ (noose or chord)

(Lalitā Sahasranāma (8) Rāgasvarūpa-pāśāḍhyā - Rāga means desire
or a wish. Pāśa is a type of rope used to pull an object. She pulls all
the desires of Her devotees using this rope. There are three śakti-s
(śakti in this context means power) – iccā, jñāna and kriya. This nāma
talks about iccā śakti or the desire. She never allows Her devotees to
sink with desires. This arm is Her left upper arm and is represented
and is represented by Aśvārūdā Devi.)
45. अङस ककचशऐ aṅkuśaṁ (an elephant hook)
(Lalitā Sahasranāma (9) Krodhākāraṅkuśojvalā - She holds an
elephant hook in her right upper arm. Krodha means hatred and akāra
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means knowledge. This nāma talks about subtle body. Knowledge
is always subtle. She uses this elephant hook to destroy the hatred if
developed in Her devotees and gives them knowledge.)
46. पच णसरधकचरपरऐ ्च puṇḍrekṣucāpāṁ (puṇḍra – a type of red coloured sugar
cane; ikṣu – also means sugar cane) adorning Her left arm with sugar
cane bow.
(Lalitā Sahasranāma (10) Manorūpekṣu-kodaṇḍā - Mind involves
both saṃkalpa and vikalpa. Saṃkalpa 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 saṃkalpa and vikalpa
quality as it acts through the impressions received from sense organs

that get fine tuned in the form of thought and finally explodes in the
form of actions. Ikṣu means sugar cane and kodaṇḍa means a bow.
She is holding in Her left upper arm a bow of sugar cane.)
47. पच षपबरणरनसpuṣpabāṇān (adorning Her with five flowers as arrows
in Her right lower arm.)
(Lalitā Sahasranāma (11) Pañcatanmātra-sāyakā - The five flower
arrows represent five subtle elements. These five flowers or arrows
are described differently in various tantra śāstra-s. These five flowers
are lotus flower, raktakairava flower, kalhara flower, indivara flower
and flowers of mango tree. These five flowers represent excitement,
madness, confusion, stimulation and destruction.)
48. शस्शमनदसमरखणकयपरदकचधśrīmanmāṇikyapāduke (a pair of sandals made of
ruby)
She is getting ready to return to Śri Cakra, where Kāmeśvara is
waiting for Her.
49. सवसमरन वध षलभ आवरण दध वतरलभम सह शस्श चकस ररधधरमहनऐ
svasamāna veṣabhi āvaraṇa devatābhiḥ saha śrī cakrādhirohanaṁ
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(She is ascending Śri Cakra with Her attendants (āvaraṇa devi-s), who
are equally well dressed and ornamented. At this point all āvaraṇa
devi-s take their respective positions; but She stands beside
Kāmeśvara.)
50. करमध शवररङस ककपयरङस कक उपवध शनऐ kāmeśvarāṅkaparyaṅka upaveśanaṁ (She
is sitting on the left lap of Kāmeśvara)

(Lalitā Sahasranāma (52) Śiva-kāmeśvarāṅkasthā - She sits on the left
thigh of Śiva. This is the form of Saguṇa Brahman. Śiva is Prakāśa
form and self illuminating and Śaktī is His Vimarśa form. It is good
to meditate upon this posture of Them. Why She is sitting on his left
thigh? Heart is on the left side and She is said to be Śiva’s heart
(could also mean love).
51. अमतर ्रसवचषकऐ amṛtāsavacaṣakaṁ (offering Them cup of honey)
52 and 53 are to be offered twice, one for Kāmeśvara and Kāmeśvarī.
52. आचमनशयऐ ācamanīyaṁ (offering water to wash Their mouths).
53. कपभरर वशहटकरऐ karpūravīṭikāṁ (Karpūravītikā is a combination of
fragrant ingredients, used to chew along with the betel leaves. The
ingredients used are – saffron, cardamom, clove, camphor, kastūri,
nutmeg and mace or myristica fragrans or jātipattrī (arillus of the nut
also known as myristica officinalis). The ingredients are finely
powdered and mixed with powdered sugar candy. This Karpūravītikā
powder when used with betel leaves for chewing gives immense
fragrance and delicious taste). When She chews this, it provides
fragrance to the entire universe.)
(Lalitā Sahasranāma (559) Tāmbhūla-pūrita-mukhī - She is fond of
chewing betel leaves with karpūra vīṭikā (nāma 26). The betel leaves
turn Her lips into red colour. This nāma says that Her face shines
with betel leaves in Her mouth. The fragrance of betel leaves with
karpūra vīṭikā emanates pleasing fragrance.)

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54. आननदमललरसपवलरसहरसऐ ānandollāsavilāsahāsaṁ (She smiles at us if
we have done all the above with devotion and love. When She smiles,
we also smile at Her with tears rolling down. The tears we shed now
signals Her acceptance of our upacāra-s offered to Her.)
55. मङस कगलररतसरतकम ्सmaṅgalarātrikam (Showing nine lamps to Them. This
is a sign of auspiciousness. There is a separate procedure for this,
which is discussed in 22.4.55. Only after performing this, further
upacāra-s should be continued.)
56. छतसऐ chatraṁ (offering them gold umbrella with gems and
diamonds embedded. This is done as a mark of paying our respects
to Rājarājesvarā and Rājarājesvarī (Kāmeśvara and Kāmeśvarī).
57. चरमरऐ cāmaraṁ (this is a kind of fan made out of plumes of white
horse; They are being fanned with cāmara, a mark of respect.)
58. दपरणऐ darpaṇaṁ (showing mirror to them in order to make them
look at the mirror and enjoy the company of each other. It is also a
sign of auspiciousness.)
59. तरलवनदस्रतऐtālavṛntaṁ (fanning them with hand fans made out of palm
leaves.)
60. गनदऐ gandhaṁ (offering them sandal paste)
61. पच षपऐ puṣpaṁ (offering Her flowers – flowers can be placed at Their
lotus feet).
Following three should be done at the end of navāvaraṇa pūjā.
62. धपभ ्ऐ dhūpaṁ (offering incense; incense should be shown to them

from a distance, so that it does not affect their inhalation (they are to
be contemplated with life).
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63. दरपऐ dīpaṁ (waving of lamps before Them. This is done out of
reverence. There are several types of dīpa-s, including ekahāratī
dīpaṁ, alaṅkāra dīpaṁ, pañcahārati dīpaṁ, Gāyatrī dīpaṁ, nandi
dīpaṁ, pūrṇakumbha dīpaṁ and finally nīrājana.
64. नष वधदऐ naivedyaṁ (offering of food and other delicacies along with
fruits. First, cooked food is to be offered, followed by ācamanīyaṁ
(to wash their hands, mouth and feet) followed by offering of drinking
water, followed by fruits and finally betel leaves with karpūravītikā.)
Now we have wait to for Their ascent to proceed further.
22.4.55) मङस गलररतसरतसरकम ्सMaṅgalarātrikam
(This has already been discussed under 55 above. Now, relevant
mantras and procedures are being discussed.)
A copper or silver plate, (image 20) rice or wheat flour, milk, nine
wicks, ghee and camphor are required. Mix flour with milk and sugar
and make dough. Using the dough prepare nine triangle shaped lamps
and make enough dough to make one more lamp for kuladīpa which
will be discussed under serial number 43. They should be designed in
such a way that there is some space available to pour few drops of
ghee in the middle. These lamps should be arranged like eight petal
lotus and the ninth lamp should be placed in the centre. When two
opposite lamps are joined together, it will appear like a damuru. Thus
there will be four damuru-s forming eight triangles and the ninth is
the centre. There are other variations in this arrangement. Now, the
wicks are to be dipped in ghee and smeared with camphor at the tip
of the wicks. In the space available in each of these lamps for ghee, a
few drops of ghee are to be poured and wicks are lit. It is to be ensured
that all the nine lamps burn simultaneously and with the same kind of
flame. When the lamps are lit, “हसरऐ hrīṁ” is to be recited. This should
be recited while lighting all the nine lamps.
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IMAGE 20
Now, by touching (abhimantraṇa) the plate, recite the following
mantra which is known as navākṣarī ratneśvarī mantra (नवरकरर रतनध शवरर).
4 śrīṁ hrīṁ glūṁ slūṁ mlūṁ plūṁ nlūṁ hrīṁ śrīṁ
4 शस्शऐ हसरऐ गलभऐ सलभऐ मलभऐ सलभऐ नदसलऐ भ हसरऐ शस्शऐ
After completing the recitation, show chakra mudra to the lamps.
Now recite mūlamantra by touching the plate (abhimantraṇa means
abhi-mantraṇa-mantra; making anything sacred by a special formula
or consecrating). Now take the plate and rotate clockwise nine times
in front of (like dipārādhana) Kāmeśvarā and Kāmeśvarī (if idols are
available) and Śri Cakra by reciting two mantras. First mantra is the
first verse of Durgā Sūktaṁ.
i) जरतवध दसध सचनवरम समममररतशयतम तनदहरतत वध दम। स नम पषदर तत पवशवर नरववध लसनदऐ च
दररतरतयहगनम॥ ्च
jātavedase sunavāma somamarātīyato nidahāti vedaḥ | sa naḥ
parṣadati viśvā nāveva sindhuṁ duritātyagniḥ ||
ii) समसत चकस र चकस रध शशयच तध दध पव नवरहतमकध।
आररतसरतकलमदऐ तभच रयऐ गहरण मम लपसयध ॥
samasta cakra cakreśīyute devi navātmike |
ārātrikamidaṁ tubhyaṁ gṛhāṇa mama siddhaye ||
After having done this, we have to place the lamp to our right.
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23) चतररयतन पभजर Caturāyatana Pūjā
Āyatana means resting place or abode. Every place and every being
is āyatana of Śiva. As we know that there are five types of śakti-s –
citśakti, ānandaśakti, icchāśakti, jñānaśakti and kriyāśakti. The first
three śakti-s along with the last two śakti-s are responsible for
creation. These five śakti-s are known as Śiva, Śakti, Sadāśiva, Īśvara
and Śuddhavidyā respectively. Technically, worshiping these five
śakti-s is known as pañcāyatana pūjā. Therefore, pañcāyatana pūjā
means worshipping the five primary principles of creation, as
mentioned above. Śiva alone is Absolute and the rest have originated
from Him. He alone pervades the entire universe. He is Cit (Absolute
Consciousness) and Śakti is full of Bliss (Ānandaśakti). Both of them
are known as Saccidānanda, who pervade the universe. In order to let
us know that the whole world is permeated by Saccidānanda and no
object or being is different from Saccidānanda, pañcāyatana pūjā is

performed. There are three types of pañcāyatana pūjā – Śiva, Śakti
and Viṣṇu pañcāyatana pūjā-s. In any pañcāyatana pūjā, five Gods
are worshiped and they are Śiva, Śakti, Viṣṇu, Gaṇeśa and Sūrya. The
presiding deity is placed in the middle and other deities are worshiped
clockwise beginning from North East (īśāna), South East, South West
and North West.
In navāvaraṇa pūjā, which is performed to attain Her Grace and
Compassion, instead of pañcāyatana pūjā, caturāyatana pūjā is
performed, as Kāmeśvarī is majestically seated in the middle of Śri
Cakra along with Mahā-Kāmeśvara. Theoretically, caturāyatana pūjā
is Śakti pañcāyatana pūjā. Kāmeśvarī is worshiped in the middle,
Gaṇeśa in nirṛti (South West), Sūrya in vāyu (North West), Viṣṇu in
īśāna (North East) and Śiva in agni (South East). Gaṇeśa is the chief
of gaṇa-s, who protects the universe (14 worlds). He is an
embodiment of knowledge. He is not only the obstacle remover, but
also causes obstacles. Hence, he is worshiped first in order to remove
any possible obstacles. (However, for a true devotee no obstacles will
be there in his spiritual path; however, he has to undergo the pains
and sufferings of life due to his or her individual karma and the group
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karma - group means society as well as relationships). Sūrya (the sun)
has the ability to create and he rules the world along with his consort
Savitā. Since he is the creator (creator contextually does not refer to
Brahman), Sūrya is worshiped. Viṣṇu is the sustainer of the universe

and hence Viṣṇu is worshiped. Śiva is worshiped as Rudra, who alone
is capable of annihilating the universe, hence He is worshiped. Śiva
has multiple manifestations, from a subordinate staff to the chief
executive. Though He is known through different names such as
Sadāśiva, Īśvara, Mahādeva, Īśāna, Kāmeśvara, Bhairava, etc, all
these forms are different manifestations of Śiva only. Hence Śiva is
worshiped. Parāśakti is worshiped in the centre, in the innermost
triangle of Śri Cakra. She is the embodiment of everything that
prevails in the universe. She gets Her energy from Śiva and She acts
on behalf of Śiva. She gives spiritual knowledge and bliss. Without
Her Grace, liberation cannot be attained. She is Prakāśa Vimarśa
Mahāmāyā Svarūpini. The very purpose of navāvaraṇa pūjā is only
to contemplate Her perpetually, setting aside attachments to material
world (normal living is not material attachment; if we do not live
normal materialistic life, Kṛṣṇa will be angry with us as we would be
violating His teaching on karma yoga!)
Pūjayāmi and Tarpayāmi:
This is the most significant aspect of navāvaraṇa pūjā. Hereafter, at
the end of every mantra pūjanaṁ and tarpaṇaṁ are to be done.
Flowers are to be taken in the left hand. In the right hand, tweezers is
to be taken with a piece of ginger held between the tweezers. At the
time of saying pūjayāmi flowers from the left hand are to be placed.
At the time of saying tarpayāmi, the ginger piece is to be dipped into

viśeṣa arghya using the tweezers and a drop of viśeṣa arghya is to be
offered in the same place where flowers are placed. This is further
explained in Gaṇeśa pūjā.
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23.1) Gaṇeśa pūjā.
i) Gaṇeśa āvahana:
4 लपसलकमश समध त शस्श महरगणपतत ्यरयरलम। आवरहयरलम ॥
आसनऐ ।परदऐ । अघयरऐ ।सनपयरलम।आचमनशयऐ ।वसतसरऐ।गनदरन ्स धररयरलम। पषस्चपम्ष
पजभ यरलम॥
4 siddhalakṣmī sameta śrī mahāgaṇapati dhyāyāmi | āvāhayāmi ॥
āsanaṁ | pādyaṁ | arghyaṁ | snapayāmi | ācamanīyaṁ | gandhān
dhārayāmi | puṣpaiḥ pūjayāmi ||
ii) Gaṇeśa mūlamantra:
(to be recited three times)
4 ॐ शस्शऐ हसरऐ कलरऐ गलल गऐ गणपतयध वरवरद सवरजनऐ मध वशमरनय सवरहर ।
लपसलकमश समध त शस्श महरगणपतत शस्श परदकच ्रऐ पजभ यरलम तपयर ्रलम नमम॥
4 om śrīṁ hrīṁ klīṁ glauṁ gaṁ gaṇapataye varavarada
sarvajanaṁme vaśamānaya svāhā । siddhalakṣmī sameta śrī
mahāgaṇapati śrī pādukāṁ pūjayāmi tarpayāmi namaḥ ||
Now take flowers in the left palm and place the flowers, where
Gaṇeśa idol is kept (nirṛti - South West) and simultaneously take
amṛta using a tweezers made of either silver or copper. This is meant
to perform tarpaṇa. Instead of a tweezers, a thin silver rod with spikes
on one side and a very small uttaraṇi like structure which can hold
one or two drops of viśeṣa arghya can also be used. At the end of the
tweezers peeled ginger should be placed firmly. The tip of tweezers
is dipped into viśeṣa arghya, a drop of amṛta is taken and immediately
placed in the place where flowers are placed. This procedure is known
as pūjayāmi and tarpayāmi. In fact, both pūjanaṁ and tarpaṇaṁ
should be done simultaneously.
Note: śrī pādukāṁ pūjayāmi tarpayāmi namaḥ will hence forth be
referred as spptn.
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iii) Arcana: (only flowers to be offered)
ॐ समच ्चखरय नमम। एकदनदसतरय नमम। कपपलरय नमम। गजकणरकरय नमम।
लमबमदररय नमम। पवकटरय नमम। पवघनररजरय नमम। पवनरयकरय नमम।
धभमकधतवध नमम। गणरसयकरय नमम। फरलचनदसररय नमम गजरननरय नमम।
वकस रतच णडरय नमम। शभपकर णररय नमम। हध रमबरय नमम। सकनदपवभजर ्रय नमम॥
om sumukhāya namaḥ | ekadantāya namaḥ | kapilāya namaḥ |
gajakarṇakāya namaḥ | lambodarāya namaḥ | vikaṭāya namaḥ |
vighnarājāya namaḥ | vināyakāya namaḥ dhūmaketave namaḥ |
gaṇādhyakṣāya namaḥ | phālacandrāya namaḥ | gajānanāya namaḥ |
vakratuṇḍāya namaḥ | śūrpakarṇāya namaḥ | herambāya namaḥ |
skandapūrvajāya namaḥ ||
(Any verses and hymns in praise of Gaṇapati such as Śrī
Gaṇeṣātharvaṣīrṣam can be chanted at this point. Similarly verses,
hymns and Veda mantras can be recited while doing pūjā-s to Sūrya,
Viṣṇu and Rudra).
iv) Upacāra-s:
dhūpa , dipārādhana, naivedya and nīrājana.
v) Gaṇeśa gāyatrī:
ततपरषरय पवदसमहध वकस रतच णडरय धशमहह।
तनदसनम दहनदसतम पसरचमदयरतस॥
tatpuruṣāya vidmahe vakratuṇḍāya dhīmahi |
tanno dantiḥ pracodayāt ||
{From this point onwards, naivedya should be kept ready for every
upacāra. There will be a need of 14 sets comprising of 4 (caturāyatana
pūjā) + 9 (for nine āvaraṇa –s) + 1 (after completing pūjā for all the
nine āvaraṇa –s; this is the main one) dhūpa , dipārādhana, naivedya
and nīrājana; necessary materials should have been kept ready).
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23.2) Sūrya pūjā.
i) Sūrya āvahana:
4 पसरकरश शकत सहहत मरतररणडभष रव ्यरयरलम। आवरहयरलम ॥
4 prakāśa śakti sahita mārtāṇḍabhairava dhyāyāmi | āvāhayāmi ॥
(Mārtāṇḍa is derived from mārtāṇḍa, which means bird sprung from
a lifeless egg. Mārtāṇḍa, which is used here refers to sun god.

Mārtāṇḍa also signifies numeric twelve and therefore could possibly
refer twelve Āditya-s)
ii) Sūrya mūlamantra:
(following spptn to be done 12 times; there are texts which say only
3 times; ultimately Guru’s words alone count)
4 ॐ हसरऐ घखर णम सभयर आहदतयमम॥्स पसरकरश शकत सहहत मरतररणडभष रव शस्श परदकच ्रऐ
पजभ यरलम तपयर ्रलम नमम (spptn) ॥
4 om hrīṁ ghṛṇiḥ sūrya ādityom || prakāśa śakti sahita
mārtāṇḍabhairava śrī pādukāṁ pūjayāmi tarpayāmi namaḥ (spptn).
(spptn - śrī pādukāṁ pūjayāmi tarpayāmi namaḥ; spptn - शस्श परदकच ्रऐ
पभजयरलम तपयर ्रलम नमम)
(om is to be prefixed and namaḥ to be suffixed to each nāma)
ॐ लमतस्रय नमम। रवय।्ध सभयररय। भरनव।्ध खगरय। पषस्भणध। हहरणयगभररय। मररचयध
। आहदतयरय। सपवतस्ध। अकररय। ॐ भरसकस ररय नमम॥
237
om mitrāya namaḥ | ravaye | sūryāya | bhānave | khagāya | pūṣṇe |
hiraṇyagarbhāya | marīcaye | ādityāya | savitre | arkāya | om bhāskrāya
namaḥ ||
iv) iv) Upacāra-s:
v) Sūrya gāyatrī:
ॐ भरसकररय पवदसमहध महरदच ततकररय धशमहह। तनदसनम आहदतयम पसरचमदयरत॥्स

om bhāskarāya vidmahe mahādyutikarāya dhīmahi | tanno ādityaḥ
pracodayāt ||
23.3) Viṣṇu pūjā.
i) Viṣṇu āvahana:
ॐ नमम नररयणरय। महरलकमश समध त शस्श महरपवषणच आवरहयरलम।
om namo nārayaṇāya | mahālakṣmī sameta śrī mahāviṣṇu āvāhayāmi
ii) Viṣṇu mūlamantra:
ॐ नमम नररयणरय। om namo nārayaṇāya |
(following spptn to be done three times)
शस्श महरलकमश समध त शस्श महरपवषणच spptn ॥
Śrī mahālakṣmī sameta śrī mahāviṣṇu spptn ॥
238
Puruṣasūktam can be recited here.
शरनदसतरकररऐ भजच गशयनऐ पदसमनरभऐ सच रधशऐ
पवशवरकररऐ गगनसदरशऐ मध घवणरऐ शभच ्रङस कगम।्स
लकमशकरनदसतऐ कमलनयनऐ यमधगलभयरनरगमयऐ
वनदध पवषणचऐ भवभयहरऐ सवलर ्मकषकनरथम॥्स
śāntākāraṁ bhujagaśayanaṁ padmanābhaṁ sureśaṁ
viśvākāraṁ gaganasadṛśaṁ meghavarṇaṁ śubhāṅgam |

lakṣmīkāntaṁ kamalanayanaṁ yogibhidhyārnagamyaṁ
vande viṣṇuṁ bhavabhayaharaṁ sarvalokaikanātham ||
ॐ कधशवरय नमम। नरररयणय। मरधवरय। गमपवनदरय। पवषणव।्ध मधच सभदनरय।
तसरतपवकस रमरय। वरमनरय। शस्शधररय। हषशकध शरय। पदसमनरभरय। ॐ दरममदररय नमम॥
om keśavāya namaḥ | nārāyaṇaya | mādhavāya | govindāya | viṣṇave
| madhusūdanāya | trivikramāya | vāmanāya | śrīdharāya | hṛṣīkeśāya
| padmanābhāya | om dāmodarāya namaḥ ||
iv) Upacāra-s:
v) Viṣṇu gāyatrī:
ॐ नरररयणरय पवदसमहध वरसच दध वरय धशमहह। तनदसनम पवषणच म पसरचमदयरत॥्स
om nārāyaṇāya vidmahe vāsudevāya dhīmahi | tanno viṣṇuḥ
pracodayāt ||
23.4) Śiva pūjā:
i) Śiva āvahana:
नमसतध असतच भगवनपवशवध शवररय महरदध वरय तयबऐ करय तसरतपररनदसतकरय तसरतकरहगन
करलरय करलरहगनरररय नशलकणठरय मतस्रयजचऐ यरय सवशवध ररय सदरलशवरय
शस्शमनदसमहरदध वरय नमम॥
239
उमर समध त शस्श महध शवरऐ आवरहयरलम॥
namaste astu bhagavan viśveśvarāya mahādevāya tryaṁbakāya

tripurāntakāya trikāgni kālāya kālāgnirudrāya nīlakaṇṭhāya
mṛtyuṁjayāya sarveśvarāya sadāśivāya śrīmanmahādevāya namaḥ|
umā sameta śrī maheśvaraṁ āvāhayāmi ||
ii) Śiva mūlamantra:
ॐ नमलशवरय। सरमबपरमध शवर spptn |
सरङस कगरय सरयधच ्रय सशकतपररवरररय सवरलर ङस कगररभभपषतरय उमरमहध शवर॥
om namaśivāya sāmbaparameśvara spptn |
sāṅgāya sāyudhāya saśaktiparivārāya sarvālaṅgārabhūṣitāya
umāmaheśvara spptn ||
Śrī Rudraṁ can be recited here.
ॐ भवरय दध वरय नमम। शवररय। ईशरनरय। पशच पतय।्ध रररय। उगसररय। भशमरय।
ॐ महतध दध वरय नमम॥
om bhavāya devāya namaḥ | śarvāya | īśānāya | paśupataye | rudrāya
| ugrāya | bhīmāya | om mahate devāya namaḥ ||
iv) Upacāra-s:
v) Śiva gāyatrī:
ॐ ततपरषरय पवदसमहध महरदध वरय धशमहह। तनदसनम ररम पसरचमदयरत॥्स
240
om tatpuruṣāya vidmahe mahādevāya dhīmahi | tanno rudraḥ
pracodayāt ||
24) लयरङस ग पजभ ्र layāṅga pūjā
Some do not perform this pūjā. layāṅga comprises of laya and aṅga;
laya means absorption and aṅga means body, mind, etc. Therefore
layāṅga means absorption into Brahman. The very purpose of
performing navāvaraṇa pūjā is to get absorbed into Brahman, setting
aside the body and mind. Only to accentuate this point, layāṅga pūjā
is prescribed. This principle can be interpreted from the point of view
of Trika philosophy (triads). All the triads originate from the
innermost triangle and bindu of Śri Cakra. Bindu is both Prakāśa and
Vimarśa (Śiva and Śakti), the source of kāmakalā (īṁ ई). The
universe originates from Bindu and dissolves into Bindu. Keeping
this philosophy in mind, layāṅga pūjā is done. Bindu is worshiped
three times at this point. The first pūjanaṁ and tarpaṇaṁ is for the
union of Kāmeśvarā and Kāmeśvarī; the second one is for kāmakalā,
the source of creation; the third one is identifying ourselves with the
universe. Self-realization does not end with the realization of the Self
within. Self-realization also means of identifying universe with the
Self. The Self, the individual self (the Self within, veiled by māyā;
this is known as individual soul) and the universe. Ultimately,
individual soul and the universe get absorbed (laya) into the Self. This
is the purpose of layāṅga pūjā.
This is to be done three times on the Bindu.
4 - mūlaṁ (mūlamantra) – अखखलरणडकमहट बसरहरणडनरयकक शस्श ररजररजध शवरर

लललतरमहरतसरतपरसच नदरर पररभटस टररकर महरदध वयरम पसरकरश पवमशर महरमरयर
सवरपपखण शस्श परदकच ्रऐ पजभ यरलम तपयर ्रलम नमम॥
4 – मभलऐ (mūlamantra) - akhilāṇḍakoṭi brahmāṇḍanāyaki śrī
rājarājeśvarī lalitāmahātripurasundarī parābhaṭṭarikā mahādevyāḥ
prakāśa vimarśa mahāmāyā svarūpiṇi śrī pādukāṁ pūjayāmi
tarpayāmi namaḥ ||
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25) षडङस गरचरनम ्सṣaḍaṅgārcanam:
Basically, this pūjā is also based on pañcāyatana, caturāyatana and
layāṅga pūjā-s. Ṣaḍaṅga means six parts. The following two nāma-s
of Lalitā Sahasranāma speaks about ṣaḍaṅga devata-s.
Ṣaḍaṅga-devatāyuktā षडङस कग-दध वतरयतच ्र (386): ṣaḍ (six) + aṅaga (parts)
means six parts. For every mantra there are six parts and each such
part is under the control of a god/goddess called aṅaga devatā-s of
the presiding deity. These six parts are heart, head, tuft of hair, arms,
eyes and weapons. Before and after the recitation of a mantra, the
deities of these parts are worshipped in our bodies by touching the
respective body parts with fingers. This is with regard to the external
worship. Śiva has six types of known qualities and they are
omniscience, completeness, supreme level of consciousness,
freedom, everlasting power and infinity. These six are the qualities
of the Brahman without attributes or prakāśa form of the Brahman.
This nāma says that She is surrounded by these six aṅaga devatā-s.
It is important to remember that She is described both as Brahman

without attributes or the prakāśa form and as Brahman with attributes
or the vimarśa form.
ṣāḍguṇya-paripūritā षरडस गचणय-पररपभररतर (387) She is endowed with six
qualities that are considered auspicious. They are prosperity,
righteousness, fame, material wealth, wisdom and dispassion.
Dispassion because, She will not show any special favours to a select
few, transcending the law of karma. She does not encourage
favouritism.
This is to be done at the bindu.
Note: Those who are initiated into Ṣoḍaśī should use Ṣoḍaśī mantra,
which is to be divided into six pāda-s. Those who are not initiated
into Ṣoḍaśī should go with saubhāgya-pañcadaśī. What is given here
is saubhāgya-pañcadaśī.
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i) 4 ऐऐ क ए ल हसरऐ हदयरय नमम। हदयशकत शस्श परदकच ्रऐ तपयर ्रलम नमम॥
4 aiṁ ka e la hrīṁ hṛdayāya namaḥ | hṛdayaśakti śrī pādukāṁ
ii) 4 कलरऐ ह स क ह ल हसरऐ लशरसध सवरहर। लशरमशकत शस्शपरदकच ्रऐ पजभ यरलम
4 klīṁ ha sa ka ha la hrīṁ śirase svāhā | śiraḥśakti śrīpādukāṁ
pūjayāmi tarpayāmi namaḥ ||
iii) 4 स ्म स क ल हसरऐ लशखरयष वषटस । लशखरशकत शस्शपरदकच ्रऐ पजभ यरलम तपयर ्रलम
नमम॥
4 sauḥ sa ka la hrīṁ śikhāyai vaṣaṭ | śikhāśakti śrīpādukāṁ pūjayāmi
iv) 4 ऐऐ क ए ल हसरऐ कवचरय हचऐ। कवचशकत शस्शपरदकच ्रऐ पजभ यरलम तपयर ्रलम
नमम॥
4 aiṁ ka e la hrīṁ kavacāya huṁ | kavacaśakti śrīpādukāṁ pūjayāmi
v) 4 कलरऐ ह स क ह ल हसरऐ नध ततयरय व षटस । नध तशकत शस्शपरदकच ्रऐ पजभ यरलम
4 klīṁ ha sa ka ha la hrīṁ netratrayāya vauṣaṭ | netraśakti śrīpādukāṁ
vi) 4 स ्म स क ल हसरऐ असतसररय फटस । असतसरशकत शस्शपरदकच ्रऐ पजभ यरलम तपयर ्रलम
नमम॥
4 sauḥ sa ka la hrīṁ astrāya phaṭ | astraśakti śrīpādukāṁ pūjayāmi
26. तनतयरदध वश यजनम ्सnityādevī yajanam:
Yajana means worship and this part deals with worshiping of fifteen
nityādevī-s.
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26.1) Preliminary study of fifteen nityādevī-s.
Tithi nityā devī-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 nityā devī and hence they are known
as tithi nityā devī-s. Technically speaking, there are only fourteen
tithi-s and the fifteenth tithi is either full moon (pūrṇimā) or new
moon (amāvāsyā). Fifteenth lunar day, either full moon (pūrṇimā) or
new moon (amāvāsyā) is represented by Mahākāmeśvarī Herself.
Pañcadaśī has fifteen letters and each of these letters represent one
kalā (digit) of the moon. But, kalā also means sixteenth part (1/16).
But we have only fifteen letters in Pañcadaśī mantra. The sixteenth
kalā is Ṣoḍaśī bīja śrīṁ (शस्शऐ), which is hidden and always remains
subtle. As there are only fifteen tithi nityā devī-s, how do we worship
the sixteenth Ṣoḍaśī kalā? Answer to this question is considered as
secret, as the answer reveals Mahākāmeśvarī. Sixteenth kalā is
worshiped in the bindu, the place of Śiva. But in the bindu, Śiva is
not worshiped while worshipping tithi nityā devī-s, but
Mahākāmeśvarī is worshiped. This also subtly conveys the union of
Śiva and Śakti. Though there is no separate procedure for Ṣoḍaśī
upāsaka-s (those who are initiated into Ṣoḍaśī), when Mahākāmeśvarī
is worshipped in the central bindu, the above aspect is to be
contemplated. It would be ideal to worship Mahānityā
(Mahākāmeśvarī) in the bindu with Ṣoḍaśī mantra for the sixteenth
kalā, though it is not explicitly mentioned; but it is implied. Texts say
that while worshipping Mahānityā, Pañcadaśī mantra should be
encased (sampuṭīkaraṇa) between two aḥ (अम). Each nityā devī
represents fifteen vowels from a to aḥ (अ to अम). But, those who are
initiated into Ṣoḍaśī should use Ṣoḍaśī mantra, instead of Pañcadaśī
mantra. It is also said that during śuklapakṣa (waxing moon), tithi

nityā devī-s should be worshiped from 1 to 16 (anticlockwise) as
shown in the image. But during kṛṣṇapakṣa (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 Śrī Vidyā
worship, one has to meticulously follow what his or Guru says and
there should be no deviation from his instructions, as he follows the
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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 Śri Cakra and should remain with
Parāśakti all the time. Each tithi nityā devī have their own yantra-s
and mantra-s. They have their own mūlamantra-s, āvaraṇa pūjā-s, etc.
The innermost triangle is formed by the first three tithi nityā devī-s,
viz. Kāmeśvarī, Vajreśvari and Bhagamālinī, each representing one
corner of the triangle. Though as tithi nityā devī-s, they do not hold
the innermost triangle, they hold this triangle as three devi-s
representing three guṇa-s. This will be discussed in the next āvaraṇa,
viz. eighth āvaraṇa. In fact, the innermost triangle is held by them.
However, there are other views on this, which says that Lalitāmbikā,
Kāmeśvarī nityā and Bhagamālinī nityā hold the innermost triangle.
But this argument cannot be accepted. When Lalitāmbikā is seated on
the lap of Śiva, obviously, She cannot be holding this triangle.
Further, She cannot be compared to other nityā devī-s, who function
under Her.
26.2) Further study of fifteen nityādevī-s:
Śrī Vidyā is primarily based on lunar digits. Several Scriptures
concatenate about lunar digits and sixteen vowels. As discussed
earlier, when sun and moon unite, this union subtly conveys Cosmic
Union of Śiva and Śakti and this happens on amāvāsyā or new moon
day. We have also discussed that Lalitāmbikā is in the form of Ṣoḍaśī
mantra (having sixteen letters) on amāvāsyā. When one meditates on
Her with Ṣoḍaśī mantra at the time of 100% conjunction of sun and
moon, which is known as saṁkrama (generally it refers to the
movement of sun through twelve zodiac signs; but contextually it is
used here to mean ‘union or coming together’ of sun and moon), one
is blessed with Śaktipāta. For a few minutes sun and moon remain in
the same degree and these precious minutes should be used to
contemplate Her, which quickly leads to the descent of Her Grace
(Śaktipāta) and subsequent liberation. Descent of Her Grace is known
as Śaktipāta, without which realization is not possible. When our
contemplation is intent and complete during saṁkrama, Śaktipāta is
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possible. However, this purely depends upon one’s depth of devotion
and spiritual evolution, which always progresses concurrently.
When moon comes out of its union with the sun, moon begins to add
one kalā or digit to itself every day and on the full moon day
(pūrṇimā), the moon becomes bright with all its fifteen digits shining.
The sixteenth kalā or digit which is nothing but Lalitāmbikā, is
present in every digit; without this sixteenth digit being present subtly
in all the fifteen digits or kalā-s, these digits cannot individually
function. It is the principle based on the Self and the self. Without the
Self (Brahman) being present in the self (individual soul), latter
cannot function at all. Similar is the case with nityādevī-s. Without
Lalitāmbikā being present in these fifteen nityādevī-s, they cannot
function and without their function, day, week, month, year, decade,
century and other time factors cannot happen leading to chaos and
confusion. We have to remember that time is the crucial factor for
Her five acts – creation, sustenance, destruction, concealment and
grace or compassion. This is explained in detail in Lalitā
Sahasranāma 264 to 274.
Out of the fifteen tithi nityādevī-s, three of them form the inner most
triangle of Śri Cakra and they are worshiped again in eighth āvaraṇa.
Mahā Kāmeśvarī, Mahā Vajreśvarī (She is also known as Mahāvidyā)
and Mahā Bagamālinī are the three tithi nityādevī-s who guard the
three sides of the innermost triangle of Śri Cakra. These three śakti-s
are thus worshiped twice, one as tithi nityādevī-s and another as
eighth āvaraṇa devi-s.
There is direct relationship between Her subtlest form Kuṇḍalinī and
the phases of the moon. This however vastly differs from the
foregoing discussion. As we have already seen that during full moon,
She conjoins with Śiva and hence, She is in sahasrāra, the

microcosmic plane of Their union. Their macrocosmic union takes
place in the cosmos. Whatever happens in the macrocosm is reflected
in microcosm and we are unable to understand this reality, as we have
never seriously looked into these aspects. Sanatkumāra Saṁhita gives
an entirely different interpretation. As Kuṇḍalinī, She rests at
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mūlādhāra during new moon and goes up to sahasrāra during full
moon. In fact, in mūlādhāra, Śiva and Śakti remain united at kula-

sahasrāra. Kula always refers to Śakti and akula refers to Śiva. During
new moon day, their union takes place at kula-sahasrāra, a dark place
below mūlādhāra. Kula-sahasrāra is Śakti’s place and akula-sahasrāra
is Śiva’s place. In both the above versions, it is obvious that both of
them enter into saṁkrama either on the new moon day or the full
moon day. But, this version is not generally accepted and followed,
as the secretive principle is not understood.
This secretive principle can be explained like this. Lalitāmbikā as the
sixteenth digit is present in all the digits of the moon, which are
worshiped as tithi nityādevī-s. We have already discussed on several
occasions that Śakti cannot function without Śiva nor Śiva can shine
without Śakti. Thus they are interdependent in absolute terms.
Whether Śakti is in mūlādhāra or sahasrāra or in any other place, they
cannot remain as two individual entities. If the Self is not present as
the individual soul within, veiled by māyā (Śakti), we cannot function
and the same rationale is applicable to both macrocosmic and

microcosmic principles. Śrī Vidyā worship does not serve any
purpose without understanding this basic principle. The
interconnection between macrocosm and microcosm is subtly and
authentically conveyed through Śrī Vidyā. Most of the followers of
Śrī Vidyā are not able to attain the desired goal because of their failure
to understand the subtle and secretive conveyances. Instead of
learning and understanding the secretive and authentic conveyances,
we tend to get attached more towards practical applications rather
than spiritual implications.
Each of these tithi nityādevī-s represent one vowel of Sanskrit, which
has sixteen vowels. Out of the sixteen vowels, fifteen of them with
bindu-s represent fifteen tithi nityādevī-s and the last one अम does not
have a bindu and instead has visarga (two dots one above the other
by the side of an alphabet is visarga, like a semicolon :). This visarga
represents manifesting aspect of Śakti, whereas the bindu (a dot on
the top of an alphabet) represents the creative aspect of Śiva. Based
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on this principle, in the arrangements of vowels अऐ (aṁ) comes before
अम (aḥ). This signifies that from Śiva, Śakti originates and secondly it
also means that Śakti manifests as the universe. This concept is well
explained in the worship of tithi nityādevī-s. Fifteen tithi nityādevī-s
are worshiped outside the innermost triangle of Śri Cakra and they
represent the first fifteen vowels with bindu. But, Lalitāmbikā is

worshiped on the bindu, which is the central point of Śri Cakra with
the last vowel अम (aḥ). This means that the creation begins from
visarga. It is also important to note that both Śiva and Śakti have
sixteen kalā-s. In the first fifteen kalā-s Śiva is present and the last
kalā अम (aḥ) is entirely left to Śakti for the purpose of manifestation.
But for the first fifteen vowels, sixteenth vowel अम (aḥ) is not possible
and similarly, but for the sixteenth vowel, the presence of first fifteen
vowels are of no use in the process of manifestation. Manifestation is
possible only with visarga and creation is possible only with bindu
which symbolically represents Śakti and Śiva respectively. This also
explains the principle of kaula. Śiva is known as akula and Śakti is
known as kula and their union is known as kaula, which forms the
basis of Tantra Śāstra-s. This creative principle is grossly
undermined, misunderstood and misrepresented now-a-days. Union
of Śiva-Śakti is emblematically represented in macrocosm by the
union of sun and moon and in the microcosm it is actually represented
by Kuṇḍalinī, who unites with Śiva at sahasrāra. This is explained in
detail in Lalitā Sahasranāma 98 Samayācāra-tatparā. This
phenomenon can be better understood only through contemplation.
That is why, worship of Śri Cakra is divided into two categories. One
is “viyat-cakra” (viyat means atmosphere) or worship in space, which
includes understanding both macrocosmic and microcosmic union of
Śiva-Śakti and the other category is “bahirvṛtti- cakra” (bahirvṛtti
means occupation with external objects) which is nothing but

navāvaraṇa pūjā. Viyat-cakra contemplation is considered much
superior to contemplation explained in Bhāvanopaniṣad, because in
viyat-cakra contemplation, everything happens in cosmos whereas in
Bhāvanopaniṣad, contemplation is related to human bodies. This is
known as Chakra rahasya (secret of Śri Cakra). There are other
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rahasya-s like mantra rahasya and pūja rahasya (rahasya means
secret). Another significant point that needs to be understood is about
kāmakalā, which has a lot to do with tithi nityādevī-s. The first fifteen
vowels representing fifteen lunar digits (fifteen lunar days) merge
into a triangle and this triangle is represented by kāmakalā and this is
explained in Lalitā Sahasranāma 322 kāmakalā rūpā.
As far as Kaula-s are concerned, they worship the particular tithi
nityādevī ruling on that particular day. But, as far as samaya-s are
concerned, they worship all the fifteen nityādevī-s daily as they know
that all these nityādevī-s originate from Mahānityādevī, also known
as Lalitāmbikā. In other words, samaya-s are aware that the fifteen
kalā-s originate from the ṣoḍaśa kalā or sixteenth kalā, which is in the
form of शस्शऐ (śrīṁ) bīja. Evolution of Pañcadaśī mantra to Ṣoḍaśī
mantra is based on this principle.
26.3) Worship of tithi nityādevī-s:
IMAGE 21
Fifteen nityādevī-s are worshiped outside the innermost triangle.

Mahānityādevī and the nityādevī presiding over the particular day are
worshiped in the bindu. Each of these nityādevī-s have mantras,
yantras, āvaraṇa devi-s, arcana, etc.
To begin with, Mahānityādevī is to be worshiped in the bindu and
pūjanaṁ and tarpaṇaṁ should be made three times.
4 - मलभ ्ऐ । अम शस्श लललतरमहरतनतयर शस्श परदकच ्रऐ पजभ यरलम तपयर ्रलम नमम॥
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4 - mūlaṁ | aḥ śrī lalitāmahānityā śrī pādukāṁ pūjayāmi tarpayāmi
namaḥ ||
This should be followed by pūjanaṁ and tarpaṇaṁ for three times for
the nityādevī presiding over the particular day in which navāvaraṇa
pūjā is performed. Let us take an example of fifth lunar day of
śuklapakṣa (waxing moon), which is known as pañcamī tithi and
śuklapakṣa pañcamī tithi is presided over by Vahnivāsinī nityādevī.
She is posited in the place marked as 5 in image 21 above. The same
nityādevī viz. Vahnivāsinī nityādevī is worshiped in the same place
during kṛṣṇapakṣa (waning moon) ekādaśī tithi; the only difference is
that she is worshiped as the fifth nityādevī during śuklapakṣa pañcamī
and as the eleventh nityādevī during kṛṣṇapakṣa ekādaśī. All the
nityādevī-s continue to exist in the same place with the same
bījākṣara-s. This also signifies the expansion of kalā-s during
śuklapakṣa and contraction of kalā-s during kṛṣṇapakṣa.
Bījākṣara-s and the names of tithi nityādevī-s are given here. While
performing pūjanaṁ and tarpaṇaṁ, 4 is to be prefixed and nityā and

śrī pādukāṁ pūjayāmi tarpāmi namaḥ is to be suffixed. Following is
the example.
ॐ ऐऐ हसरऐ शस्शऐ वकस प्वरलसनश तनतयर शस्श परदकच ्रऐ पजभ यरलम तपररलम नमम॥
om aiṁ hrīṁ śrīṁ vahnivāsinī nityā śrī pādukāṁ pūjayāmi tarpāmi
namaḥ ||
1. aṁ - Kāmeśvarinityā अऐ - करमध शवररतनतयर
2. āṁ - Bhagamālini आऐ - भगमरललतन
3. iṁ - Nityaklinnā इऐ - तनतयहकलनदसनर
4. īṁ - Bherunḍā ई - भध रनदसडर
5. uṁ - Vahnivāsini उऐ - वकस प्वरलसतन
6. ūṁ - Mahāvajreśvarī ऊऐ - महरवजसरधशवरर
7. ṛṁ - Śivadūtī ऋऐ - लशवदतभ ्श
8. ṝṁ - Tvaritā ॠऐ - तवररतर
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9. luṁ - Kulasundarī लच ऐ - कचलसनदस्चदरर
10. ḹṁ - Nityā ॡऐ - तनतयर
11. eṁ - Nīlapatākā एऐ - नशलपतरकर
12. aiṁ - Vijayā ऐऐ - पवजयर
13. oṁ - Sarvamaṅgalā ओऐ - सवरमङस कगलर
14. auṁ - Jvālāmālinī औ ्ऐ - जवरलरमरललनश
15. aṁ - Citrā अऐ - धचतस्र
There are also other versions about how nityādevī-s are to be
worshiped.
27. गच रमणडलरचनर म॥्स Gurumaṇḍalārcanam ||
27.1) Guru-śiṣya relationship:
In Śrī Vidyā, role of a Guru is extremely important. Pursuing Śrī
Vidyā in its proper perspective leads to liberation step by step. Śrī
Vidyā literally means exalted science. But, there are various
paddhati-s (पपतत) (paddhati means path or divisions) which discuss
about various aspects of worshipping Lalitāmbikā. In Śrī Vidyā cult,
one’s Guru is called Śrī Guru and prefix Śrī not only delineates the
auspiciousness of the Guru, but also used as honorific prefix. Guru-
śiṣya relationship is not only extremely important in Śrī Vidyā, but
also sacred and auspicious. The inherent factor in this relationship is
mutual trust. At the time of choosing the Guru one should make
proper enquiries about the prospective Guru and once Guru-śiṣya
relationship is established, the disciple should not move away from
the Guru without any valid reasons. Similarly, a true Guru from Śrī
Vidyā lineage will also evaluate a person before accepting him or her
as a disciple. But how many Guru-s in Śrī Vidyā really know the
subject and how many of them are capable of taking the disciple to
pursue spiritual path for attaining Her Grace and final liberation, is a
big question. Though many of them are thorough with practices, they
are not aware as to how to lead his or disciple towards liberation.
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Without the goal of realization, mere ritualistic practices are of no
use. In a spiritual journey one begins with dvaita (dualism)

philosophy, moves to Advaita and finally realizes Brahman. In Śrī
Vidyā also this is the fundamental intent. Śrī Vidyā is in no way a
substitute to Advaita Philosophy and on the contrary it explicitly
advocates non-dualism in stages. The culmination of Śrī Vidyā is at
the Bindu in Śri Cakra, where Śiva and Śakti unite. Understanding
the union of Śiva and Śakti is of great importance in Śrī Vidyā. Their
union is known as kāmakalā and only from kāmakalā “mahā
parāprāsāda mantra” mantra originates(mahā parāprāsāda mantra is
hsauṁ shauṁ; from this originates “haṁsa” mantra). This is based on
the revelation made in Saundaryalaharī (verse 1), “Śivaḥ śaktyā yukto
yadi bhavati śaktaḥ prabhavituṁ” which means that Śiva becomes
inert if He is not united with Śakti. The greatest advantage of Śrī
Vidyā is that a practitioner is made to realize Lalitāmbikā first, who
personally takes the aspirant to Śiva for liberation. It is important to
understand that only Śiva is capable of granting liberation and Śakti
evaluates a person for liberation. Hence She is adored as Śiva-jñāna-

pradāyinī (Lalitā Sahasranāma 727). Thus, for the purpose of
liberation, one has to realize Śakti first. Śrī Vidyā strongly paves the
way to realize Her through mantras and yantras and hence attains
great importance. Śrī Vidyā is a quicker way to realize Her due to the
intensity of upāsana. Upāsana consists of four aspects one leading to
the other and they are upādāna or preparation of offering, ijyā or
oblation, svādhyāya or recitation, and yoga or devotion. This means
that there are four stages in upāsana and these can be briefly explained
like this. The first stage is preparatory stage, where a mantra is
initiated to a disciple. The disciple, apart from reciting that initiated
mantra, begins to understand the mantra and with the help of the
mantra, begins to worship the concerned deity. His worship then
evolves into offering oblations to the concerned deity. After having
satisfied himself with all the procedural aspects of worship, he moves
to mantra recitation. This stage is the most crucial aspect of any
upāsana, where inexplicable connection is established between him
and the concerned deity which blossoms into devotion for that deity.
With more intensified pursuit, his devotion transforms into love and
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he becomes one with the deity, the logical conclusion of any upāsana.
Transition from one level to next higher level is aided by one’s Guru.
Transition happens both in the physical plane as well as in the mental
plane. Physical transition leads to perfection in ritualistic procedures
and transition in mental plane leads to realization of the Self through
Her. An aspirant under normal circumstances may not be able to
realize mental transformation and only Guru can guide him in this
aspect. An aspirant will have several confusions when hypervelocity
mental transformation happens. All these doubts can be clarified only
by a Guru. When hypervelocity mental transformation begins to
unfold, one is bound to move away from the first two aspects of
upāsana, upādāna and ijyā, which will stop automatically. When one
enters into trance, even the mantra stops on its own, as in samādhi
everything is stilled including the mantra. During this stage, one
naturally gets a doubt whether it is right to stop this mantra like this.
A Guru will surely advise his disciple, that this is the perfect stage in
his spiritual path. This stage alone leads to perfection in yoga (yoga
means union, union of individual consciousness and Supreme
Consciousness).
There are many Scriptures that describe about Guru-s.
Kāmakalāvilāsa (verse 39) says that both Śiva-Śakti are in the form
of Gurumaṇḍala-s. It describes them as Gurumaṇḍala-svarūpa.
Though they are apparently different from Gurumaṇḍala-s, yet is not
so. This is explained by using the phrase aviśeṣa-bheda bhinna
(अपवशध ष-भध द लभनदसन). Similarly, Kulārṇava Tantra speaks about Gurus
extensively. Two chapters have been exclusively devoted to Guru-

disciple relationship. It speaks about two types of initiations, one is
external initiation (bāhya dīkṣā) and another is internal initiation
(vedha dīkṣā). Bāhya dīkṣā is also known as kriyā dīkṣā, when a
mantra is imparted to a disciple after performing specific rituals. But,
in vedha-dīkṣā, Guru transfers his energy to the disciple, which will
have almost instantaneous impact on the disciple. Śiva tells His
Consort in Kulārṇava Tantra (14.66), “O! My beloved! Difficult to
get is such a Guru who can initiate thus through subtle impact of
vedha (not to be confused with Veda; vedha contextually can be
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explained as penetration, piercing, breaking through, breach);
difficult also is the disciple fit for it.” This means that this type of
initiation is possible only by Self-realized Guru-s and a disciple will
attain such a Guru only if he or she has Her Grace. She manifests in
the form of such a Guru and liberates a well deserved disciple. When
one is fortunate to get initiation from such a Guru, Śiva says,
(KT.IV.95), “For the one who is initiated thus, there is nothing to be
achieved by tapas (meditating for a longer duration), regulations
(scriptural dictums), observances (fasting, etc), pilgrimages (visit to
holy places) and regulative controls of the body (religious symbols
like wearing of sacred ashes, celibacy, restrictions on food, bodily
comforts, etc).”
Another important aspect of a realized Guru is that he will stick on
with one mantra and will prepare his disciple with that mantra alone
to attain liberation. Initiating too many mantras will severely hamper
spiritual progression and such a disciple will not be able to proceed
to the final aspect of upāsana, transforming into a yogi. If there are
too many mantras, it is difficult or rather impossible to establish a
connection between individual consciousness and Supreme
Consciousness. There should be one Guru, one mantra and one
Devata for upāsana, which alone is known as sādhana. Sādhana is not
possible with multiple mantras and multiple forms of devata-s. A true
Guru will impart the knowledge of Brahman to his disciple who has
attained perfection in sādhana. At this point of time, Guru will say to

his disciple “Tat tvaṁ asi” (you are That) and the disciple will explore
this ultimate teaching and after satisfying himself will affirm to his
Guru “ahaṁ Brahmāsmi” (I am Brahman or I am That). Guru will
know whether such an affirmation comes from the disciple after
realization or it is simply a verbal statement or deceptive realization.
Ultimately, Brahman is devoid of any forms and all forms lead only
to the formless Brahman. Though Śrī Vidyā is about Saguṇa Brahman
(Brahman with attributes), ultimately while performing pūjā at the
Bindu, Saguṇa Brahman is dissolved and Nirguṇa Brahman is
revealed. Without understanding this concept, any number of japa-s
and pūjā-s will not yield the desired result.
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A true Guru will not give importance to his attire. He will be one
amongst us. He will be averse to crowd. He will select his disciples
and teach them the ultimate knowledge or Brahmavidyā (Śrī Vidyā is
also known as Brahmavidyā). Brahmavidyā should be taught on one
to one basis, as all the disciples will not attain the same level. It is not
a classroom teaching. It is always one to one teaching. Such a Guru
will not make his disciple to pay him for initiation. Spirituality should
never be traded like a commodity. Spiritual knowledge is to be sown
as a seed within the disciple by his Guru and he will be taught how to
germinate the seed and grow it into a huge tree. Once the tree is fully
grown, that disciple is made to become a Guru. This is how a Guru

maṇḍala grows. Getting initiation from a guru who is not comfortable
with various aspects of Divinity and getting initiation by paying
money will accrue mountain of sins both to the initiator and the
initiated.
27.2) Understanding Guru maṇḍala.
Primarily there are three types of Guru Lineages. They are for
kādividhyā upāsaka-s, ṣoḍaśī upāsaka-s and hādividhyā upāsaka-s.
Upāsaka-s mean worshippers. What is described here is the one that
belongs to ṣoḍaśī upāsaka-s. There are three types of Guru-s in each
of these lineages. They are Divyaguru-s, Siddhaguru-s and
Mānavaguru-s. Let us now understand them. Each āmnāya has one
principle Guru. He is the one who had laid down the methods of
worship in that particular āmnāya. Āmnāya means sacred tradition.
Number of Guru-s under each group differs from tradition to tradition
and similarly, the names of Guru-s also differ. One’s Guru is
worshiped in the lower most dotted line. Guru’s Guru, known as
Paramaguru is worshiped in the middle line (marked in red) and
Paramaguru’s Guru is known as Parameṣṭhi Guru and he is
worshipped in the top line (marked in black). Parameṣṭhi 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 Paramaguru’s Guru (who is Parameṣṭhi Guru for us). At
the time of initiation, Guru apart from initiating a mantra, also gives
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Gurupādukā mantra. Gurupādukā mantra is given for the Guru who
initiates, Guru’s Guru (Paramaguru for the one who is being initiated
and Paramaguru’s Guru (Parameṣṭhi Guru for the one who is being
initiated). During this process, dīkṣā names of all the three Gurus are
revealed to the disciple. There are different mantras for Guru,
Paramaguru and Parameṣṭhi Guru. A disciple has to pay his respect
to his Guru by using mṛgīmudra (mṛgī means female deer or doe).
27.3) Guru maṇḍala mantras.
27.3.1) Mahāpādukkā mantra:
Mahākāmeśvara (Paramaśiva) is worshipped in the bindu with this
mantra:
ॐ ऐऐ हसरऐ शस्शऐ ऐऐ हसरऐ शस्शऐ ऐऐ कलरऐ स ्म गलल हससखसस्सरर
हसकमलवरयभऐ हससखस ्म सहकमलवरयशऐ सह ्म
शस्शपवदरननदनरथरतमक चयररननदनरथ शस्श महरपरदकस ्चकरऐ
पजभ यरलम तपरयरलम नमम॥
om aiṁ hrīṁ śrīṁ aiṁ hrīṁ śrīṁ aiṁ klīṁ sauḥ
glauṁ hskhphreṁ hasakṣamalavarayūṁ hsauḥ
sahakṣamalavarayīṁ shauḥ
śrīvidyānandanāthātmaka caryānandanātha śrī
IMAGE 22
mahāpādukkāṁ pūjayāmi tarpayāmi namaḥ ||
27.3.2) Gurus directly initiated by Paramaśiva:
The Gurus who are initiated directly by Paramaśiva are worshiped on

the three sides of the innermost triangle. It is Mahākāmeśvara
(Paramaśiva), who initiated Mahākāmeśvarī during Kṛita yuga
(consisting or 1,728,000 years). This is the first of four yuga-s. In Śrī
Vidyā cult, Mahākāmeśvara who initiated Mahākāmeśvarī is known
as Caryānandanātha (carya means to be practiced or to be performed,
signifying the importance of sādhana). Caryānandanātha is also
known by other names such as Vidyānandanātha and
Paramaśivānandanātha. After having initiated Mahākāmeśvarī in
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Kṛita yuga, Mahākāmeśvara initiated Uḍḍīśānandanātha in Tretā
yuga (1,296,000 human years), Śaṣṭhīśānandanāta in Dvāpara yuga
(864.000 human years) and Mitreśānandanātha in the present Yuga
(Kali yuga comprising of 432,000 human years; 2013-14 is 5115th
year of Kali yuga). Thus, Mahākāmeśvara is worshiped in the bindu
and the three Gurus who were initiated directly by Paramaśiva along
with three other Gurus are worshipped in the three sides of the
innermost triangle.
On the top of the triangle (left side of the practitioner), following
Gurus are worshiped.
1. 4 - Uḍḍīṣanandanātha śrīpādukāṁ pūjayāmi tarpayāmi namaḥ ||
शस्शपरदकच ्रऐ पजभ यरलम तपयर ्रलम नमम॥
(Note: pūjayāmi tarpayāmi namaḥ || शस्शपरदकच ्रऐ पजभ यरलम तपयर ्रलम नमम॥is
marked as spptn ||)
2. 4 - Prakāśānandanātha spptn || 4 - पसरकरशरननदनरथ spptn ||

3. 4 - Vimarśānandanātha spptn || 4 - पवमशररननदनरथ spptn ||
4. 4 - Ānandanandanātha spptn || 4 - आननदननदनरथ spptn ||
On the right line of the triangle, following Gurus are worshipped.
1. 4 - Ṣaṣṭīśānandanātha spptn || 4 - षषटशशरननदनरथ spptn ||
2. 4 - Jñānānandanātha spptn || 4 - जरनरननदनरथ spptn ||
3. 4 - Satyānandanātha spptn || 4 - सतयरननदनरथ spptn ||
4. 4 - Pūrṇānandanātha spptn || 4 - पणभ ्ररननदनरथ spptn ||
On the left side of the triangle (right side of the practitioner) following
Gurus are worshiped.
1. 4 - Mitreśānandanātha spptn || 4 - लमतस्धशरननदनरथ spptn ||
2. 4 - Svabhāvānandanātha spptn || 4 - सवभरवरननदनरथ spptn ||
3. 4 - Pratībhānandanātha spptn || 4 - पसरतशभरननदनरथ spptn ||
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4. 4 - Subhagānandanātha spptn || 4 - सच भगरननदनरथ spptn ||
27.3.3) Our Gurumaṇḍalārcanam:
If we look at the image above, we can find three lines marked 4, 5
and 6.
In A our Parameṣṭhi Guru is worshiped along with five other
divyaguru-s.
27.3.3.1) Five Divyaguru-s are (from 1 to 5):
1. 4 - Vyomātītāmbā spptn || वयममरतशतरमबर spptn ||
2. 4 - Vyomeśyambā spptn || वयममध शयमबर spptn ||
3. 4 - Vyomagāmbā spptn || वयममगरमबर spptn ||

4. 4 - Vyomacāriṇyambā spptn || वयममचरररणयमबर spptn ||
5. 4 - Vyomasthāmbā spptn || वयममसथरमबर spptn ||
27.3.3.2) In 5 our Paramaguru is worshiped along with nine
Siddhaguru-s and they are (from 1 to 9)
(Names given here are in two separate words for the purpose of
convenience and understanding. They can be clubbed together. In that
the last ‘a’ in the dīkṣā name will be removed and there will be one
‘ā’ for both dīkṣā name and ānandanātha. Let us take the example of
Unmanākāśa ānandanātha. If both the parts are combined, then it
should be pronounced as Unmanākāśānandanātha or
उनदसमनरकरशरननदनरथ)
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IMAGE 23
1. 4 - Unmanākāśa ānandanātha 4 - उनदसमनरकरश आननदनरथ spptn ||
2. 4 - Samanākāśa ānandanātha spptn || 4 - समनरकरश आननदनरथ spptn
||
3. 4 - Vyāpakāśa ānandanātha spptn || 4- वयरपकरश आननदनरथ spptn ||
4. 4 - Śaktyākāśa ānandanātha spptn || 4 - शकतयरकर आननदनरथ spptn.
5. 4 - Dhvanyākāśa ānandanātha spptn || 4 - ्सवनदरकरश आननदनरथ
spptn ||
6. 4 - Dhvanimātrā ānandanātha spptn || 4 - ्सवतनमरतस्र आननदनरथ spptn
||
7. 4 - Anāhatākāśa ānandanātha spptn || 4 - अनरहतरकरश आननदनरथ
spptn ||
8. 4 - Bindvākāśa ānandanātha spptn || 4 - तसरबनदसप्रकरश आननदनरथ spptn
||
9. 4 - Indrākāśa ānandanātha spptn || 4 - इनदसररकरश आननदनरथ spptn ||
27.3.3.3) In 6 our Guru (the one who has initiated into Śrī Vidyā
cult, is worshiped along with nine mānavaguru-s and they are
(from 1 to 9)
1. 4 - Paramātma ānandānātha spptn || 4 - परमरतम आननदरनरथ spptn ||
2. 4 - Śāmbhava ānandanātha spptn || 4 - शरमभव आननदरनरथ spptn ||
3. 4 - Cinmudra ānandanātha spptn || 4 - धचनदसमचर आननदरनरथ spptn ||
4. 4 - Vāgbhava ānandanātha spptn || 4 - वरगभव आननदरनरथ spptn ||
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5. 4 - Līlā ānandanātha spptn || 4 - लरलर आननदरनरथ spptn ||
6. 4 -Sambhrāma ānandanātha spptn || 4 - समसररम आननदरनरथ spptn ||
7. 4 - Cida ānandanātha spptn || 4 - धचद आननदरनरथ spptn ||
8. 4 - Prasanna ānandanātha spptn || 4 - पसरसनदसन आननदरनरथ spptn ||
9. 4 - Viśvānandanātha ānandanātha spptn || 4 - पवशवरननदनरथ
आननदरनरथ spptn ||
27.3.3.4) Worshiping Parameṣṭhiguru, Paramaguru and
Śrīguru:
Parameṣṭhiguru: (to be done at the top line)
ॐ ऐऐ हसरऐ शस्शऐ ऐऐ कलरऐ स ्म हऐ सम लशवम समहऐ हऐ सम हससखसस्सरर हसकमलवरयभऐ हससखस ्म
सहकमलवरयशऐ सह ्म हऐ सम लशवम समहऐ हऐ सम सवरतमरररम पञचर परमरननद
पवलरन तध जसध शस्शपरमध पप गरवध नमम aaaa शस्शपरदकच ्रऐ पजभ यरलम नमम॥
hskhphreṁ hasakṣamalavarayūṁ hsauḥ sahakṣamalavarayīṁ śauḥ
namaḥ ||
Paramaguru: (to be done on the middle line)
ॐ ऐऐ हसरऐ शस्शऐ ऐऐ कलरऐ स ्म समहऐ हऐ सम लशवम हससखसस्सरर हसकमलवरयभऐ हससखस ्म
सहकमलवरयशऐ सह ्म समहऐ हऐ सम लशवम सवचछपसरकरश पवमशरहध तवध शस्श परमगरवध
नमम सतयजशतरननदनरथ शस्शपरदकच ्रऐ पजभ यरलम तपयर ्रलम नमम॥
om aiṁ hrīṁ śrīṁ aiṁ klīṁ sauḥ sohaṁ haṁsaḥ śivaḥ hskhphreṁ
namaḥ Satyajītānandanātha śrīpādukāṁ pūjayāmi tarpayāmi namaḥ
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Śrīguru: (to be done at the bottom line)
ॐ ऐऐ हसरऐ शस्शऐ ऐऐ कलरऐ स ्म हऐ सम लशवम समहऐ हससखसस्सरर हसकमलवरयभऐ हससखस ्म
सहकमलवरयशऐ सह ्म हऐ सम लशवम समहऐ सवरप तनरपण हध तवध शस्शगरवध नमम
आननदरननदनरथ शस्शपरदकच ्रऐ पजभ यरलम तपयर ्रलम तपयर ्रलम नमम॥
om aiṁ hrīṁ śrīṁ aiṁ klīṁ sauḥ haṁsaḥ śivaḥ sohaṁ hskhphreṁ
śivaḥ sohaṁ svarūpa nirūpaṇa hetave śrīgurave namaḥ
Ānandānandanātha śrīpādukāṁ pūjayāmi tarpayāmi namaḥ ||
At the end of Guru Maṇḍala
सदरलशवसमररमभरऐ शऐ कररचरयरमयमरऐ ।
असमदरचरयपर यनदस्र तऐ वनदध गच र परऐ पररऐ ॥
sadāśivasamārambhāṁ śaṁkarācāryamadhyamāṁ |
asmadācāryaparyantaṁ vande guru paraṁparāṁ ||
(Beginning from Lord Sadāśiva, through Śaṁkarācārya and up to my
Guru, I pay my obeisance to all the Gurus)
Seeking Her permission to perform āvaraṇa pūjā-s:
With this preliminaries of navāvaraṇa pūjā are completed. Now we
have to move to āvaraṇa pūjā-s. We have to obtain necessary
permission from Lalitāmbikā to perform navāvaraṇa pūjā.
Following is the mantra for this permission.
सऐ पवमयध परध दध पव पररमतर रधचपपसरय।्ध
अनजच ्रऐ तसरतपरध दध हह पररवरररचरनरय मध ॥
saṁvimaye pare devi parāmṛtarucipriye |
anujñāṁ tripure dehi parivārārcanāya me ||
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Typical āvaraṇa pūjā-s commence now. Various aspects of Śri Cakra
have been dealt with in earlier series, Journey to Śri Cakra and Śri
Cakra and human body. Understanding Śri Cakra and contemplating
Her are the important factors in navāvaraṇa pūjā. Various Tantra
Scriptures deal exhaustively with Śri Cakra and its worship. Samaya
scriptures highlight three important aspects while performing
navāvaraṇa pūjā and they are called as rahasya-s (secret, private or
secret doctrine). Usage of the word rahasya emphasizes that

navāvaraṇa pūjā should not be done as a public ritual. The following
three rahasya-s are mentioned.
1. Chakra rahasya:
This is about our ability to align Śri Cakra with cosmos and our body.
Bhāvanopaniṣad deals with contemplating our body as Śri Cakra and
this has been dealt with in the series, Śri Cakra and human body.
Cosmic contemplation depends upon our ability to align triangles
with gross, subtle and causal bodies, which are also known as Tripura.
She prevails in all the three planes in the form of Consciousness
(cidākāśa; cittākaśa refers to mind space, which remains within
cidākāśa; typically the former refers to the Self and latter refers to an
individual self).
2. Mantra rahasya:
Her fifteen lettered Supreme mantra Pañcadaśī which evolves into
sixteen lettered mantra Ṣoḍaśī, corresponding to the sixteen digits of
moon. The sixteenth digit of the moon is subtle and is considered as
rahasya. Those who understand the significance of the sixteenth digit
of moon are known as the knowers of this secret. The other secret is
about Pañcadaśī mantra which is formed as an inverted triangle with
bindu within. This can be explained through kāmakalā. The ninth
āvaraṇa subtly conveys this secret. Without understanding the
secrecies of Pañcadaśī and Ṣoḍaśī mantras, desired results can never
be attained. Here, one’s Guru plays a significant role.
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3. Pūjā rahasya:
Pūjā-s should not be performed without contemplation. External
rituals should be aligned with contemplation. This is possible only if
one understands the significance of ritualistic practices. For example
let us take the case of हसरऐ (hrīṁ). During pūjā, we recite several hrīṁ-
s. Why we repeatedly use hrīṁ? hrīṁ consists of three letter ha + ra
+ ī and ma conjoins the first three letters. ha + ra + ī represent three
bodies – gross (ha), subtle (ra) and causal (ra) bodies and the ‘ma’
conjoins all the three bodies together to form the self or individual
self. hrīṁ will be complete only if a bindu (dot) is placed on the top
of hrīṁ and the dot represents the Self. Without this dot on the top of
हसर (hrī) the bīja hrīṁ is not complete. Bindu represents Śiva (the
central Bindu of Śri Cakra) and the three letters ha + ra + ī represent
Tripura (three sides of the innermost triangle of Śri Cakra). Similarly,
every letter conveys different aspects of Divinity. Wrong
pronunciation of mantras could cause malefic results.
Types of union:
There are three types of union corresponding to the above three
rahasya-s. These unions are gross, subtle and the subtlest. Gross
union is normal human conjugation. Subtle union is kāmakalā (īṁ)
and the subtest union happens at sahasrāra. These three different
types union are also called rahasya-s. There are two more unions
transcending these three secretive unions. First one is the union of

individual soul with Lalitāmbikā, who showers Her Grace on the
individual soul to unite with Śiva and liberates that individual soul
from transmigration. The second union is the actual merger with Śiva,
which is the ultimate union. Practicing the three rahasya-s in a proper
way leads to liberation, which is the very purpose of all our religious
and spiritual activates. All spiritual practices culminate at “śivoham”
or I am Śiva (I am That or ahaṁ brahmāsmi). Perfection of religious
practices leads to perfection of contemplation and at the height of
contemplation Bliss dawns and at the peak of Bliss, She reveals
Herself. Navāvaraṇa pūjā helps in perfecting both religious practices
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and in contemplation. Mantra japa acts as a catalyst to hasten one’s
spiritual progress. When one enters into the state of stillness, it means
Bliss where all his religious and spiritual practices cease and there
exists only Lalitāmbikā in his own world.
Śri Cakra:
The concept of Śri Cakra is only successive and firm upward
movements towards Śiva. Worshipping of Śri Cakra is done by
evolved devotees. Unholy practices are followed by some, under the
guise of Tāntric worship, without properly understanding the concept
of Tantra śāstra-s. Mediocre devotes resort to idol worship. Out of the
three types of worship, understanding and worshipping Śri Cakra is
considered supreme. When contemplations as prescribed in
Bhāvanopaniṣad and navāvaraṇa pūjā are concurrently done, it is

considered as the highest form of worship. The nine orifices of human
body are related to the nine āvaraṇa-s of Śri Cakra.
There are three types of Śri Cakra worship or Śrī Vidyā upāsanā. First
one is known as pure worship or śuddha worship (śuddha means
pure), which is done by sthitaprajña-s. The entire worship is only
contemplated and visualized. This is done only in the mind, due to
which She begins to pervade his mind and thus he or she becomes a
sthitaprajña (the one with a firm mind that She is within). Navāvaraṇa
pūjā-s done without ego and with unstinted devotion also falls under
this category. It is not necessary that one should renounce worldly life
to attain Her Grace. What is essential is pure mind, destruction of ego,
pure thought processes and absolute love for Her. The next type of
worship is miśra worship (miśra means mixed). This type of worship
is normally done nowadays. It is the combination of mediocre
devotion and mediocre pride. These two types of worships are
acceptable. However, She can be attained only in silence and
seclusion. The third one is known as galita worship (galita means
defective) and is not acceptable at all. Here, rituals are done in a very
casual manner, to impress others, to make money, etc.
With these basic inputs, we now proceed to navāvaraṇa pūjā.
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28.1) Prathamāvaraṇam पसरथमरवरणम ्स- First āvaraṇa
i. Name of the āvaraṇa: Trilokyamohanacakra

ii. Bījākṣara-s of prathamāvaraṇam: अऐ आऐ स ्म aṁ āṁ sauḥ
iii. Cakreśvarī: Tripurā
iv. Siddhi śakti: Animā
v. Mudra śakti: Sarvasaṁkṣobhiṇī
vi. Yoginī: Prakaṭayoginī
(There are nine yoginī-s in navāvaraṇa pūjā. Each yoginī represents
one type of avasthā (state of condition) which gets associated with
Citśakti (Absolute Consciousness of Śiva) with a particular upādhi.
Upādhi means condition or substitution. When upādhi is associated
with Citśakti, the unlimited Citśakti appears as limited. As we
proceed from the first āvaraṇa to the ninth āvaraṇa, the power of
upādhi gradually decreases and in the ninth āvaraṇa, the worshipper
enters into nirvikalpa samādhi and then experiences Her in the form
of Bliss. Yoginī-s have vāsanā-s. Vāsanā means perception or
residual traces of our actions retained in the mind unconsciously, also
known as habit formation. These nine yoginī-s have one common
vāsanā in the form of a mantra ऐऐ हसम असतसररय फटस aiṁ hraḥ astrāya phaṭ.
Typically, this mantra is meant for purification of body. Yoginī-s who
remain in the form of above mantra or who act through the above
mantra purifies different vāsanā-s embedded in our mind. ऐऐ (aiṁ)
signifies the four Vedas; technically this bīja refers to Brahman
(contextually it is Śiva). हसम is known as astra bīja (astra means missile
or weapon). Here knowledge of Advaita is referred as astra, which
acts in destruction of dualistic knowledge. Therefore, worshiping

yoginī-s at the end of each āvaraṇa leads to successive stages of
liberation. Apart from the above, yoginī-s make masculine and
feminine energies unite to cause creation.)
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vii. Number of śakti-s in the āvaraṇa: Twenty eight.
viii. Pūjā procedure:
IMAGE 24
4 अऐ आऐ स ्म॥ तस्षलमकयममहनचकस ररय नमम॥ 4 aṁ āṁ sauḥ ||
trailokyamohanacakrāya namaḥ ||
There are three walls in this āvaraṇa and totally there are 28 śakti-s in
this āvaraṇa. These 28 śakti-s are marked as 1 to 28 in the above
image and are correspondingly numbered below. The worship is
neither clockwise nor anticlockwise. Therefore, sufficient care should
be taken to worship these śakti-s in their respective places marked in
the image. The number in the image and the number mentioned below
refer to the abode and name of each śakti. Both pūjanaṁ and tarpanaṁ
śould be done for each śakti.
First wall or outermost covering:
(4 represents om aīṁ hrīṁ śrīṁ (ॐ अऐ हसरऐ शस्शऐ); aṁ āṁ sauḥ (अऐ आऐ स ्म)
are the bījākṣara-s of Cakreśvarī Tripurā. Apart from these seven
bījākṣara-s, one bījākṣara is prefixed before the name of each śakti.
Thus there will eight bījākṣara-s prefixed to each śakti. Example 
266
om (1) - aīṁ (2) - hrīṁ (3) - śrīṁ (4) - aṁ (5) - āṁ (6) sauḥ (7) aṁ
(8) - aṇimāsiddhi śrī pādukāṁ pūjayāmi tarpayāmi namaḥ. Though
the first seven bījākṣara-s will remain the same, the eight one will
modify according to the respective śakti-s.
1. 4 aṁ āṁ sauḥ aṁ aṇimāsiddhi śrī pādukāṁ pūjayāmi tarpayāmi
namaḥ ||
4 अऐ आऐ स ्म अऐ अखणमरलसपप शस्श परदकच ्रऐ पजभ यरलम तपयर ्रलम नमम॥
2. 4 aṁ āṁ sauḥ laṁ laghimāsiddhi spptn ||
4 अऐ आऐ स ्म लऐ लतघमरलसपप spptn ||
3. 4 aṁ āṁ sauḥ maṁ mahimāsiddhi spptn ||
4 अऐ आऐ स ्म मऐ महहमरलसपप spptn ||
4. 4 aṁ āṁ sauḥ īṁ īśittvasiddhi spptn ||
4 अऐ आऐ स ्म ई ईलशततवलसपप spptn ||
5. 4 aṁ āṁ sauḥ vaṁ vaśitasiddhi spptn ||
4 अऐ आऐ स ्म वऐ वलशतलसपप spptn ||
6. 4 aṁ āṁ sauḥ paṁ prākāmyasiddhi spptn ||
4 अऐ आऐ स ्म पऐ पसररकरमयलसपप spptn ||
7. 4 aṁ āṁ sauḥ bhuṁ bhuktisiddhi spptn ||
4 अऐ आऐ स ्म भचऐ भच कतलसपप spptn ||
8. 4 aṁ āṁ sauḥ iṁ icchāsiddhi spptn ||
4 अऐ आऐ स ्म इऐ इचछरलसपप spptn ||
9. 4 aṁ āṁ sauḥ paṁ prāptisiddhi spptn ||
4 अऐ आऐ स ्म पऐ पसररपतलसपप spptn ||
10. 4 aṁ āṁ sauḥ saṁ sarvakāmasiddhi spptn ||

4 अऐ आऐ स ्म सऐ सवरकरमलसपप spptn ||
267
Second wall or middle covering:
11. 4 aṁ āṁ sauḥ āṁ brāhmīmātṛ spptn ||
4 अऐ आऐ स ्म आऐ बसररहशमरतर spptn ||
12. 4 aṁ āṁ sauḥ īṁ māheśvarimātṛ spptn ||
4 अऐ आऐ स ्म ई मरहध शवररमरतर spptn ||
13. 4 aṁ āṁ sauḥ ūṁ kaumārīmātṛ spptn ||
4 अऐ आऐ स ्म ऊऐ क मरररमरतर spptn ||
14. 4 aṁ āṁ sauḥ ṝṁ vaiṣṇavīmātṛ spptn ||
4 अऐ आऐ स ्म ॠऐ वषस्षणवशमरतर spptn ||
15. 4 aṁ āṁ sauḥ ḹṁ vārāhīmātṛ spptn ||
4 अऐ आऐ स ्म ॡऐ वरररहरमरतर spptn ||
16. 4 aṁ āṁ sauḥ aiṁ māhendrīmātṛ spptn ||
4 अऐ आऐ स ्म ऐऐमरहध नदसररमरतर spptn ||
17. 4 aṁ āṁ sauḥ auṁ cāmuṇḍāmātṛ spptn ||
4 अऐ आऐ स ्म औ ्ऐचरमणस्चडरमरतर spptn ||
18. 4 aṁ āṁ sauḥ aḥ mahālakṣmīmātṛ spptn ||
4 अऐ आऐ स ्म अम महरलकमशमरतर spptn ||
Third wall or the innermost covering:
19. 4 aṁ āṁ sauḥ drāṁ sarvasaṅkṣobhiṇī mudraśakti spptn ||
4 अऐ आऐ स ्म ररऐसवरसङस ककमलभणश मच रशकत spptn ||
20. 4 aṁ āṁ sauḥ drīṁ sarvavidrāviṇī mudraśakti spptn ||

4 अऐ आऐ स ्म ररऐ सवरपवररपवणश मच रशकत spptn ||
21. 4 aṁ āṁ sauḥ klīṁ sarvākarṣiṇī mudraśakti spptn ||
4 अऐ आऐ स ्म कलरऐ सवररकपषरणश मच रशकत spptn ||
22. 4 aṁ āṁ sauḥ blūṁ sarvavaśaṅkarī mudraśakti spptn ||
268
4 अऐ आऐ स ्म बलभऐसवरवशङस ककरर मच रशकत spptn ||
23. 4 aṁ āṁ sauḥ saḥ sarvonmādinī mudraśakti spptn ||
4 अऐ आऐ स ्म सम सवमनदसमरहदनश मच रशकत spptn ||
24. 4 aṁ āṁ sauḥ kroṁ sarvamāhāṅkuśā mudraśakti spptn ||
4 अऐ आऐ स ्म कस रर सवमर ्रहरङस ककचशर मच रशकत spptn ||
25. 4 aṁ āṁ sauḥ hskhphreṁ sarvakhecarī mudraśakti spptn ||
4 अऐ आऐ स ्म हससखसस्सरर सवरखध चरर मच रशकत spptn ||
26. 4 aṁ āṁ sauḥ hsauḥ sarvabīja mudraśakti spptn ||
4 अऐ आऐ स ्म हससखस ्म सवरबशज मच रशकत spptn ||
27. 4 aṁ āṁ sauḥ aiṁ sarvayooni mudraśakti spptn ||
4 अऐ आऐ स ्म ऐऐ सवरयमतन मच रशकत spptn ||
28. 4 aṁ āṁ sauḥ hsraiṁ hsklrīṁ hsrauḥ sarvatrikhaṇḍā mudraśakti
spptn ||
4 अऐ आऐ स ्म हससखससरहहससखसकस ्सरऐ हससखससर ्म सवरतसरतखणडर मच रशकत spptn ||
{After completing the worship of āvaraṇa śakti-s (devi-s),
Cakreśvarī, Siddhi devi, Mudrāśakti (the concerned mudra to be
shown here) and Lalitāmbikā are worshiped jointly, known as samaṣṭi
pūjā and severally. At the end of this worship, dhūpaṁ, dīpaṁ,
naivedya and nīrājana are offered. After offering nīrājana, worship of

first āvaraṇa is submitted to Lalitāmbikā. Lalitāmbikā along with the
Yoginī is worshiped at the end of each āvaraṇa. Finally, Lalitāmbikā
is worshiped with yoni mudra by submitting the first āvaraṇa pūjā to
Her with reverence. The same sequence of these eight pūjā-s/rituals
is applicable to all the nine āvaraṇa-s.}
The following is known as samaṣṭi pūjā. After reciting this mantra,
offer flowers on Śri Cakra. There is no tarpaṇaṁ here.
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1. एतरम पसरकटयमधगनदम तस्ल

ष मकयममहनचकस रध स-मच ररम स-्सलपसयम सरयधच ्रम स-
शतयम स-वरहनरम स-पररवरररम सवमपचररष म सऐ पहभजतरम सनदसतपपतर ्रम सनदसतचषटरम सनदसतच
नमम॥
etāḥ prakaṭayoginyaḥ trailokyamohanacakre sa-mudrāḥ s-siddhayaḥ
sāyudhāḥ sa-śaktayaḥ sa-vāhanāḥ sa-parivārāḥ sarvopacāraiḥ
saṁpūjitāḥ santarpitāḥ santuṣṭāḥ santu namaḥ ||
2. 4 अऐ आऐ स ्म तसरतपररचकस रध शवरर spptn || 4 aṁ āṁ sauḥ tripurācakreśvarī
spptn ||
3. 4 अऐ अखणमरलसपप spptn || 4 aṁ aṇimāsiddhi spptn ||
4. 4 ररऐ सवसर ्ऐकमलभणश मररशकत spptn || 4 drāṁ sarvasaṁkṣobhiṇī
murāśakti spptn ||
Now recite drāṁ and show sarvasaṁkṣobhiṇī mudra.
(pūjanaṁ and tarpaṇaṁ for 5 below is to be done three times by
repeating the mantra three times)
5. 4 – मभलऐ(Pañcadaśī or Ṣoḍaśī) - शस्शलललतर महरतसरतपरसच नदरर पररभटस टरररकर

spptn ||
4 - mūlaṁ (Pañcadaśī or Ṣoḍaśī) Śrīlalitā Mahātripurasundarī
Parābhaṭṭārikā spptn ||
6. dhūpaṁ, dīpaṁ, naivedya, tāmbūlaṁ (betel leaves with
karpūravīṭikā*) and nīrājana to be done now.
7. 4 आभशषटलसपपऐ मध दध हह शरणरगतवतसलध ।
भकतयर समपयर ्धतभच रयऐपसरथमरवरणरचरनम ्स॥
4 ābhīṣṭasiddhiṁ me dehi śaraṇāgatavatsale |
bhaktyā samarpayettubhyaṁ prathamāvaraṇārcanam ||
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{Now take a drop of sāmānya arghya in uttaraṇi (it is important that
sāmānya arghya should not be moved from its place) and offer to Her
left hand}.
8. There is no pūjanaṁ and tarpaṇaṁ here. She is to be worshiped
with yoni mudra.
4 पसरकटयमधगनश मयखभ ्रयष पसरथमरवरण दध वतरसहहतरयष शस्शलललतर
महरतसरतपरसच नदरर पररभटस टररकरयष नमम ||
4 prakaṭayoginī mayūkhāyai prathamāvaraṇa devatāsahitāyai
śrīlalitā mahātripurasundarī parābhaṭṭarikāyai namaḥ ||
(Now we have to worship Her with yoni mudra)
This concludes the worship of the first āvaraṇa.
* Preparation of karpūravīṭikā: saffron, cardamom, clove, camphor,
kastūri, nutmeg and mace or myristica fragrans or jātipattrī (arillus of
the nut also known as myristica officinalis). The ingredients are

finely powdered and mixed with powdered sugar candy. Refer Lalitā
Sahasranāma 26 - Karpūravīṭikāmodha-samākarṣi-digantarā.
29. Dvitiyāvaraṇam पदततयरवरणम ्स– Second āvaraṇa
i. Name of the āvaraṇa: Sarvāśāparipūrakacakram (सवरशर ्रपररपभरकचकस रम)्स
ii. Bījākṣara-s of Dvitiyāvaraṇam: ऐऐ कलरऐ स ्म aiṁ klīṁ sauḥ
iii. Cakreśvarī: Tripureśī
iv. Siddhi śakti: Laghimā
v. Mudra śakti: Sarvidrāviṇīmudrāśakti
vi. Yoginī: Guptayoginī
vii. Number of śakti-s in the āvaraṇa: Sixteen.
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IMAGE 25
Pūjanaṁ and tarpaṇaṁ are to be done anticlockwise in the sixteen
petal lotus, where numerals are marked. We have to go with the
ascending order of the numerals.
By reciting the following mantra, place flowers on Śri Cakra. This
procedure is applicable to all āvaraṇa-s.
4 ऐऐ कलरऐ स ्म सवरशर ्रपररपभरक चकस ररय नमम॥ 4 aiṁ klīṁ sauḥ
sarvāśāparipūraka cakrāya namaḥ ||
1. 4 aiṁ klīṁ sauḥ aṁ Kāmākarṣiṇī nityakalādevī spptn ||
4 ऐऐ कलरऐ स ्म अऐ करमरकपषरणश तनतयकलरदध वश spptn ||
2. 4 aiṁ klīṁ sauḥ āṁ Buddhyakarṣiṇī nityakalādevī spptn ||

4 ऐऐ कलरऐ स ्म आऐ बच दस्यकपषरणश तनतयकलरदध वश spptn ||
3. 4 aiṁ klīṁ sauḥ iṁ Ahaṁkārākarṣiṇī nityakalādevī spptn ||
4 ऐऐ कलरऐ स ्म इऐ अहऐ करररकपषरणश तनतयकलरदध वश spptn ||
4. 4 aiṁ klīṁ sauḥ īṁ Śabdākarṣiṇī nityakalādevī spptn ||
272
4 ऐऐ कलरऐ स ्म ई शबदरकपषरणश तनतयकलरदध वश spptn ||
5. 4 aiṁ klīṁ sauḥ uṁ Sparśākarṣiṇī nityakalādevī spptn ||
4 ऐऐ कलरऐ स ्म उऐ सपशररकपषरणश तनतयकलरदध वश spptn ||
6. 4 aiṁ klīṁ sauḥ ūṁ Rūpākarṣiṇī nityakalādevī spptn ||
4 ऐऐ कलरऐ स ्म ऊऐ रपरकपषरणश तनतयकलरदध वश spptn ||
7. 4 aiṁ klīṁ sauḥ ṛṁ Rasākarṣiṇī nityakalādevī spptn ||
4 ऐऐ कलरऐ स ्म ऋऐ रसरकपषरणश तनतयकलरदध वश spptn ||
8. 4 aiṁ klīṁ sauḥ ṝṁ Gandhākarṣiṇī nityakalādevī spptn ||
4 ऐऐ कलरऐ स ्म ॠऐ गनदरकपषरणश तनतयकलरदध वश spptn ||
9. 4 aiṁ klīṁ sauḥ ḷṁ Cittākarṣiṇī nityakalādevī spptn ||
4 ऐऐ कलरऐ स ्म ऌऐ धचतरकपषरणश तनतयकलरदध वश spptn ||
10. 4 aiṁ klīṁ sauḥ ḹṁ Dhairyākarṣiṇī nityakalādevī spptn ||
4 ऐऐ कलरऐ स ्म ॡऐ धष यररकपषरणश तनतयकलरदध वश spptn ||
11. 4 aiṁ klīṁ sauḥ eṁ Smṛtyāākarṣiṇī nityakalādevī spptn ||
4 ऐऐ कलरऐ स ्म एऐ समतस्रयरकपषणर ्श तनतयकलरदध वश spptn ||
12. 4 aiṁ klīṁ sauḥ aiṁ Nāmākarṣiṇī nityakalādevī spptn ||
4 ऐऐ कलरऐ स ्म ऐऐ नरमरकपषरणश तनतयकलरदध वश spptn ||
13. 4 aiṁ klīṁ sauḥ oṁ Bījākarṣiṇī nityakalādevī spptn ||
4 ऐऐ कलरऐ स ्म ओऐ बशजरकपषरणश तनतयकलरदध वश spptn ||

14. 4 aiṁ klīṁ sauḥ auṁ Ātmākarṣiṇī nityakalādevī spptn ||
4 ऐऐ कलरऐ स ्म औ ्ऐ आतमरकपषरणश तनतयकलरदध वश spptn ||
15. 4 aiṁ klīṁ sauḥ aṁ Amṛtākarṣiṇī nityakalādevī spptn ||
4 ऐऐ कलरऐ स ्म अऐ अमतर ्रकपषणर ्श तनतयकलरदध वश spptn ||
16. 4 aiṁ klīṁ sauḥ aḥ Śarīrākarṣiṇī nityakalādevī spptn ||
4 ऐऐ कलरऐ स ्म अम शररररकपषरणश तनतयकलरदध वश spptn ||
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1. 4 एतरम पगच यमधगनदम सवरशर ्रपररपरकचकस रध स-मच ररम स-्सलपसयम सरयधच ्रम स-
शतयम स-वरहनरम स-पररवरररम सवमपचररष म सऐ पहज

भ तरम सनदसतपपतर ्रम सनदसतचषटरम सनदसतच
नमम॥
4 etāḥ guptayoginyaḥ sarvāśāparipūrakacakre sa-mudrāḥ s-

siddhayaḥ sāyudhāḥ sa-śaktayaḥ sa-vāhanāḥ sa-parivārāḥ
sarvopacāraiḥ saṁpūjitāḥ santarpitāḥ santuṣṭāḥ santu namaḥ ||
2. 4 ऐऐ कलरऐ स ्म तसरतपच रध शशचकस रध शवरर spptn || 4 aṁ āṁ sauḥ tripureśīcakreśvarī
spptn ||
3. 4 लऐ लधगमरलसपप spptn || 4 laṁ lagimāsiddhi spptn ||
4. 4 ररऐ सवपरवररपवणशमच रशकत spptn || 4 drīṁ sarvavidrāviṇīmudraśakti
spptn ||
Now recite drīṁ and show sarvavidrāviṇī mudra.
5. 4 – मभलऐ (Pañcadaśī or Ṣoḍaśī) - शस्शलललतर महरतसरतपच रसच नदरर पररभटस टरररकर
spptn ||

(5 above should be done three times)
6. dhūpaṁ, dīpaṁ, naivedya, tāmbūlaṁ and nīrājana to be offered
now.
भकतयर समपरयध तभच रयऐपहतशयरवरणरचरनम ्स॥
274
bhaktyā samarpayettubhyaṁ dvitīyāvaraṇārcanam ||
(Now take a drop of sāmānya arghya in uttaraṇi (it is important that
left hand)
with yoni mudra.
4 पगच यमधगनश मयखभ ्रयष पसरथमरवरण दध वतरसहहतरयष शस्शलललतर महरतसरतपरसनदस्चदरर
पररभटस टररकरयष नमम ||
4 guptayoginī mayūkhāyai prathamāvaraṇa devatāsahitāyai
śrīlalitā māhātripurasundarī parābhaṭṭarikāyai namaḥ ||
This concludes the worship of the second āvaraṇa.
30. Tṛtīyāvaraṇam ततर ्शयरवरणम ्स– Third āvaraṇa
i. Name of the āvaraṇa: Sarvasaṁkṣobhaṇacakram (सवरसऐ कमभणचकस रम ्स)
ii. Bījākṣara-s of tṛtīyāvaraṇam: हसरऐ कलरऐ स ्म hrīṁ klīṁ sauḥ

iii. Cakreśvarī: Tripurasundarī
iv. Siddhi śakti: Mahimā
v. Mudra śakti: Sarvākarṣiṇī
vi. Yoginī: Guptatarayoginī
vii. Number of śakti-s in the āvaraṇa: Eight.
Pūjanaṁ and tarpaṇaṁ are to be done in the inner eight petal lotus,
where numerals are marked in Śri Cakra. We have to go with the
ascending order of the numerals, as explained below.
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IMAGE 26
1. 4 hrīṁ klīṁ sauḥ kaṁ khaṁ gaṁ ghaṁ ṅaṁ anaṅga kusumā devī
spptn ||
4 हसरऐ कलरऐ स ्म कऐ खऐ गऐ घऐ ङऐ अनङस कगकचसच मरदध वशspptn ||
2. 4 hrīṁ klīṁ sauḥ caṁ chaṁ jaṁ jhaṁ ñaṁ anaṅga mekhalā devī
spptn ||
4 हसरऐ कलरऐ स ्म चऐ छऐ जऐ झऐ ञऐ अनङस कगमध खलरदध वश spptn ||
3. 4 hrīṁ klīṁ sauḥ ṭaṁ ṭhaṁ ḍaṁ ḍhaṁ ṇaṁ anaṅga madanā devī
spptn ||
4 हसरऐ कलरऐ स ्म टऐ ठऐ डऐ ढऐ णऐ अनङस कगमदनरदध वश spptn ||
4. 4 hrīṁ klīṁ sauḥ taṁ thaṁ daṁ dhaṁ naṁ anaṅga madanāturā devī
spptn ||
4 हसरऐ कलरऐ स ्म तऐ थऐ दऐ धऐ नऐ अनङस कगमदनरतच ररदध वश spptn ||
5. 4 hrīṁ klīṁ sauḥ paṁ phaṁ baṁ bhaṁ maṁ anaṅga rekhā devī
spptn ||
4 हसरऐ कलरऐ स ्म पऐ फऐ बऐ भऐ मऐ अनङस कगरध खरदध वशspptn ||
6. 4 hrīṁ klīṁ sauḥ yaṁ raṁ laṁ vaṁ anaṅga veginī devī spptn ||
4 हसरऐ कलरऐ स ्म यऐ रऐ लऐ वऐ अनङस कगवध धगनशदध वश spptn ||
276
7. 4 hrīṁ klīṁ sauḥ śaṁ ṣaṁ saṁ haṁ anaṅga aṅguśā devī spptn ||
4 हसरऐ कलरऐ स ्म शऐ षऐ सऐ हऐ अनङस कगअङस कगच शरदध वश spptn ||
8. 4 hrīṁ klīṁ sauḥ ḻaṁ kṣaṁ anaṅga mālinī devī spptn ||
4 हसरऐ कलरऐ स ्म ळऐ कऐ अनङस कगमरललनशदध वश spptn ||
1. 4 एतरम पगच तरयमधगनदम सवसर ्ऐकमभणचकस रध स-मच ररम स-्सलपसयम सरयधरम स ्च -
नमम॥
4 etāḥ guptatarayoginyaḥ sarvasaṁkṣobhaṇacakre sa-mudrāḥ s-

2. 4 हसरऐ कलरऐ स ्म तसरतपरसच नदररचकस रध शवरर spptn ||
4 hrīṁ klīṁ sauḥ tripurasundarīcakreśvarī spptn ||
3. 4 मऐ महहमरलसपप spptn || 4 maṁ mahimāsiddhi spptn ||
4. 4 कलरऐ सवरकर पषणर ्शमच रशकत spptn ||
4 klīṁ sarvākarṣiṇīmudraśakti spptn ||
Now recite klīṁ and show sarvākarṣiṇī mudra.

spptn ||
(5 above should be done three times)
now.
277
भकतयर समपयर ्धतभच रयऐततर ्शयरवरणरचरनम॥्स
bhaktyā samarpayettubhyaṁ tṛtīyāvaraṇārcanam ||
left hand)
with yoni mudra.
4 पगच तरयमधगनश मयखभ ्रयष ततर ्शयरवरण दध वतरसहहतरयष शस्शलललतर महरतसरतपरसनदस्चदरर
4 guptatarayoginī mayūkhāyai tṛtīyāvaraṇa devatāsahitāyai
śrīlalitā mahātripursundarī parābhaṭṭarikāyai namaḥ ||
This concludes the worship of the third āvaraṇa.
31. Turiyāvaraṇam तच ररयरवरणम ्स– Fourth āvaraṇa

i. Name of the āvaraṇa: sarvasaubhāgyadāyakacakram
(सवरस भरगयदरयकचकस रम ्स)
ii. Bījākṣara-s of Turiyāvaraṇam: हह हससखकलरऐ हससखस ्म haiṁ hklīṁ hsauḥ
iii. Cakreśvarī: Tripuravāsinī
iv. Siddhi śakti: Īśitva
v. Mudra śakti: Sarvavaśaṅkarī
vi. Yoginī: Saṁpradāya
278
vii. Number of śakti-s in the āvaraṇa: Fourteen
Pūjanaṁ and tarpaṇaṁ are to be done in anticlockwise manner in the
outer triangle, where numerals are marked in black in Śri Cakra.
Offer flowers in Śri Cakra by reciting the following mantra. There is
no tarpaṇaṁ here.
4 हह हससखकलरऐ हससखस ्म सवरस भरगयदरयकचकस ररय नमम॥
4 haiṁ hklīṁ hsauḥ sarvasaubhāgyadāyakacakrāya namaḥ ||
IMAGE 27
1. 4 haiṁ hklīṁ hsauḥ kaṁ sarvasaṁkṣobhiṇī śakti spptn ||
4 हह हससखकलरऐ हससखस ्म कऐ सवरसऐ कमलभणश शकत spptn ||
2. 4 haiṁ hklīṁ hsauḥ khaṁ sarvavidrāviṇī śakti spptn ||
4 हह हससखकलरऐ हससखस ्म खऐ सवरपवररपवणश शकत spptn ||
3. 4 haiṁ hklīṁ hsauḥ gaṁ sarvākarṣiṇī śakti spptn ||
4 हह हससखकलरऐ हससखस ्म गऐ सवररकपषरणश शकत spptn ||
279
4. 4 haiṁ hklīṁ hsauḥ ghaṁ sarvāhlādinī śakti spptn ||
4 हह हससखकलरऐ हससखस ्म घऐ सवररहरहदनश शकत spptn ||
5. 4 haiṁ hklīṁ hsauḥ ṅaṁ sarvasaṁmohinī śakti spptn ||
4 हह हससखकलरऐ हससखस ्म ङऐ सवरसऐ ममहहनश शकत spptn ||
6. 4 haiṁ hklīṁ hsauḥ caṁ sarvastaṁbhinī śakti spptn ||
4 हह हससखकलरऐ हससखस ्म चऐ सवरसतऐ लभनश शकत spptn ||
7. 4 haiṁ hklīṁ hsauḥ chaṁ sarvajṛṁbhiṇī śakti spptn ||
4 हह हससखकलरऐ हससखस ्म छऐ सवजर ्ऐलरभणश शकत spptn ||
8. 4 haiṁ hklīṁ hsauḥ jaṁ sarvavaśaṅkarī śakti spptn ||
4 हह हससखकलरऐ हससखस ्म जऐ सवरवशङस ककरर शकत spptn ||
9. 4 haiṁ hklīṁ hsauḥ jhaṁ sarvarañjinī śakti spptn ||
4 हह हससखकलरऐ हससखस ्म झऐ सवररहञजनश शकत spptn ||
10. 4 haiṁ hklīṁ hsauḥ ñaṁ sarvonmādinī śakti spptn ||
4 हह हससखकलरऐ हससखस ्म ञऐ सवमनदसमरहदनश शकत spptn ||
11. 4 haiṁ hklīṁ hsauḥ ṭaṁ sarvārthasādhinī śakti spptn ||
4 हह हससखकलरऐ हससखस ्म टऐ सवररथरसरधधनश शकत spptn ||
12. 4 haiṁ hklīṁ hsauḥ ṭhaṁ sarvasaṁpattipūraṇī śakti spptn ||
4 हह हससखकलरऐ हससखस ्म ठऐ सवसर पऐ पतपरणश शकत spptn ||
13. 4 haiṁ hklīṁ hsauḥ ḍaṁ sarvamantramayī śakti spptn ||
4 हह हससखकलरऐ हससखस ्म डऐ सवरमनदसतमयश शकत spptn ||
14. 4 haiṁ hklīṁ hsauḥ ḍhaṁ sarvadvandvakṣayaṅkarī śakti spptn ||
4 हह हससखकलरऐ हससखस ्म ढऐ सपवरनदसप्कयङस ककरर शकत spptn ||

280
1. 4 एतरम सऐ पसरदरययमधगनदम सवरस भरगयदरयकचकस रध स-मच ररम स-्सलपसयम सरयधच ्रम
स-शतयम स-वरहनरम स-पररवरररम सवमपचररष म सऐ पहभजतरम सनदसतपपतर ्रम सनदसतचषटरम
सनदसतचनमम॥
4 etāḥ saṁpradāyayoginyaḥ sarvasaubhāgyadāyakacakre sa-mudrāḥ
s-siddhayaḥ sāyudhāḥ sa-śaktayaḥ sa-vāhanāḥ sa-parivārāḥ
2. 4 हह हससखकलरऐ हससखस ्म तसरतपच रवरलसतनचकस रध शवरर spptn || 4 haiṁ hklīṁ hsauḥ
tripuravāsinicakreśvarī spptn ||
3. 4 ई ईलशतवलसपप spptn || 4 īṁ īśitvasiddhi spptn ||
4. 4 बलभऐ सववर शङस ककरर मच ररशकत spptn ||
4 blūṁ sarvavaśaṅkarī mudrāśakti spptn ||
Now recite blūṁ and show sarvavaśaṅkarī mudra.
spptn ||
(5 above should be done three times on the bindu)
now.
भकतयर समपयर ्धतभच रयऐतचररयरवरणरचरनम॥स

bhaktyā samarpayettubhyaṁ turīyāvaraṇārcanam ||
281
left hand)
with yoni mudra.
4 समपसरदरययमधगनश मयखभ ्रयष तच ररयरवरण दध वतरसहहतरयष शस्शलललतर
4 sampradāyayoginī mayūkhāyai turiyāvaraṇa devatāsahitāyai
This concludes the worship of the fourth āvaraṇa.
32. Pañcamāvaraṇam (पञचमरवरणम ्स) – Fifth āvaraṇa
i. Name of the āvaraṇa: Sarvārthasādhakacakram (सवररथरसरधकचकस रम ्स)
ii. Bījākṣara-s of Pañcamāvaraṇam: हससखसह हससखसकस लरऐ हससखसस ्म hsaiṁ hsklīṁ
hssauḥ
iii. Cakreśvarī: Tripurāśrīcakreśvarī
iv. Siddhi śakti: Vaśitva
v. Mudra śakti: Sarvonmādinī
vi. Yoginī: Kulottīrṇa
vii. Number of śakti-s in the āvaraṇa: Ten

282
IMAGE 28
Pūjanaṁ and tarpaṇaṁ are to be done in anticlockwise manner in the
inner triangle, where numerals are marked in Śri Cakra.
no tarpaṇaṁ here.
4 हससखसह हससखसकस लरऐ हससखसस ्म सवररथरसरधकचकस ररय नमम॥
4 hsaiṁ hsklīṁ hssauḥ sarvārthasādhakacakrāya namaḥ ||
1. 4 hsaiṁ hsklīṁ hssauḥ ṇaṁ sarvasiddhipradā devī spptn ||
4 हससखसह हससखसकस लरऐ हससखसस ्म णऐ सवरलसपपपसरदर दध वश spptn ||
2. 4 hsaiṁ hsklīṁ hssauḥ taṁ sarvasaṁpatpradā devī spptn ||
4 हससखसह हससखसकस लरऐ हससखसस ्म तऐ सवरसऐ पतपसरदर दध वश spptn ||
3. 4 hsaiṁ hsklīṁ hssauḥ thaṁ sarvapriyaṅkarī devī spptn ||
4 हससखसह हससखसकस लरऐ हससखसस ्म थऐ सवरपपसरयङस ककरर दध वश spptn ||
4. 4 hsaiṁ hsklīṁ hssauḥ daṁ sarvamaṅgalakāriṇī devī spptn ||
4 हससखसह हससखसकस लरऐ हससखसस ्म दऐ सवरमङस कगलकरररणश दध वश spptn ||
5. 4 hsaiṁ hsklīṁ hssauḥ dhaṁ sarvakāmapradā devī spptn ||
283
4 हससखसह हससखसकस लरऐ हससखसस ्म धऐ सवरकरमपसरदर दध वश spptn ||
6. 4 hsaiṁ hsklīṁ hssauḥ naṁ sarvaduḥkhavimocinī devī spptn ||
4 हससखसह हससखसकस लरऐ हससखसस ्म नऐ सवदर ्म्चखपवममधचनश दध वश spptn ||
7. 4 hsaiṁ hsklīṁ hssauḥ paṁ sarvamṛtyupraśamanī devī spptn ||
4 हससखसह हससखसकस लरऐ हससखसस ्म पऐ सवमर तस्रयपसरशमनश दध वश spptn ||
8. 4 hsaiṁ hsklīṁ hssauḥ phaṁ sarvighnanivāriṇī devī spptn ||

4 हससखसह हससखसकस लरऐ हससखसस ्म फऐ सपवरघनतनवरररणश दध वश spptn ||
9. 4 hsaiṁ hsklīṁ hssauḥ baṁ sarvāṅgasundarī devī spptn ||
4 हससखसह हससखसकस लरऐ हससखसस ्म बऐ सवरङस कस ्र गसनदस्चदरर दध वश spptn ||
10. 4 hsaiṁ hsklīṁ hssauḥ bhaṁ sarvasaubhāgyadāyinī devī spptn ||
4 हससखसह हससखसकस लरऐ हससखसस ्म भऐ सवरस भरगयदरतयनश दध वश spptn ||
1. 4 एतरम कचलमतशणरयमधगनदम सवररथरसरधकचकस रध स-मच ररम स-्सलपसयम सरयधच ्रम स-
नमम॥
4 etāḥ kulottīrṇayoginyaḥ sarvārthasādhakacakre sa-mudrāḥ s-

2. 4 हससखसह हससखसकस लरऐ हससखसस ्म तसरतपच ररशस्शचकस रध शवरर spptn || 4 haiṁ hklīṁ hsauḥ
tripurāśrīcakreśvarī spptn ||
3. 4 वऐ वलशतवलसपप spptn || 4 vaṁ vaśitvasiddhi spptn ||
4. 4 सम सवमनदसमरहदतन मच ररशकत spptn || 4 saḥ sarvonmādini mudrāśakti
spptn ||
284
Now recite saḥ and show sarvonmādini mudra.
spptn ||
now.
भकतयर समपयर ्धतभच रयऐपञचमरवरणरचरनम ्स॥
bhaktyā samarpayettubhyaṁ pañcamāvaraṇārcanam ||
left hand)
with yoni mudra.
4 कचलमतशणरयमधगनश मयखभ ्रयष पञचमरवरण दध वतरसहहतरयष शस्शलललतर
4 kulottīrṇayoginī mayūkhāyai pañcamāvaraṇa devatāsahitāyai
This concludes the worship of the fifth āvaraṇa.
285
33. Ṣaṣṭhāvaraṇam षषठरवरणम ्स– Sixth āvaraṇa
i. Name of the āvaraṇa: Sarvarakṣākaracakram सवररकरकरचकस रम ्स
ii. Bījākṣara-s of Ṣaṣṭhāvaraṇam: हसरऐ कलरऐ बलर hrīṁ klīṁ bleṁ
iii. Cakreśvarī: Tripuramālinīcakreśvarī तसरतपरमरललनशचकस रध शवरर

iv. Siddhi śakti: पसररकरमयलसपप Prākāmyasiddhi
v. Mudra śakti: सवमर हरङस ककचशर Sarvamahāṅkuśā
vi. Yoginī: तनगभरयमधगनश Nigarbhayoginī
vii. Number of śakti-s in the āvaraṇa: Ten
IMAGE 29
Pūjanaṁ and tarpaṇaṁ are to be done in anticlockwise manner, where
numerals are marked in Śri Cakra.
no tarpaṇaṁ here*.
286
*4 हसरऐ कलरऐ बलर सवररकरकरचकस ररय नमम॥
*4 hrīṁ klīṁ bleṁ sarvarakṣākaracakrāya namaḥ ||
Pūjanaṁ and tarpaṇaṁ are to be done anticlockwise manner for the
following 10.
1. 4 hrīṁ klīṁ bleṁ maṁ sarvajñādevī spptn ||
4 हसरऐ कलरऐ बलर मऐ सवरजरदध वश spptn ||
2. 4 hrīṁ klīṁ bleṁ yaṁ sarvaśaktidevī spptn ||
4 हसरऐ कलरऐ बलर यऐ सवरशकतदध वश spptn ||
3. 4 hrīṁ klīṁ bleṁ raṁ sarvaiśvaryapradādevī spptn ||
4 हसरऐ कलरऐ बलर रऐ सवष शवयरपसरदरदध वश spptn ||
4. 4 hrīṁ klīṁ bleṁ laṁ sarvajñānamayīdevī spptn ||
4 हसरऐ कलरऐ बलर लऐ सवरजरनमयशदध वश spptn ||
5. 4 hrīṁ klīṁ bleṁ vaṁ sarvavyādhivināśinīdevī spptn ||

4 हसरऐ कलरऐ बलर वऐ सवरवयरधधपवनरलशनशदध वश spptn ||
6. 4 hrīṁ klīṁ bleṁ śaṁ sarvāthārasvarūpādevīspptn ||
4 हसरऐ कलरऐ बलर शऐ सवररथररसवरपरदध वश spptn ||
7. 4 hrīṁ klīṁ bleṁ ṣaṁ sarvapāpaharādevī spptn ||
4 हसरऐ कलरऐ बलर षऐ सवरपरपहररदध वश spptn ||
8. 4 hrīṁ klīṁ bleṁ saṁ sarvānandamayīdevi spptn ||
4 हसरऐ कलरऐ बलर सऐ सवररननदमयशदध पव spptn ||
9. 4 hrīṁ klīṁ bleṁ haṁ sarvarakṣāsvarūpiṇīdevī spptn ||
4 हसरऐ कलरऐ बलर हऐ सवररकरसवरपपणशदध वश spptn ||
10. 4 hrīṁ klīṁ bleṁ kṣaṁ sarvepsitaphalapradādevī spptn ||
4 हसरऐ कलरऐ बलर कऐ सवध हससतफलपसरदरदध वश spptn ||
287
offer flowers on Śri Cakra. There is no tarpaṇaṁ here (only for 1
below).
1. 4 एतरम तनगभरयमधगनदम सवररकरकरचकस रध स-मच ररम स-्सलपसयम सरयधच ्रम स-

नमम॥
4 etāḥ nigarbhayoginyaḥ sarvarakṣākaaecakre sa-mudrāḥ sa-

Both pūjanaṁ and tarpaṇaṁ are to be performed for the following
mantras (wherever spptn is used, it means that both pūjanaṁ and
tarpaṇaṁ are to be performed).

2. 4 हसरऐ कलरऐ बलर तसरतपरमरललनशचकस रध शवरर spptn ||
4 hrīṁ klīṁ bleṁ tripuramālinīcakreśvarī spptn ||
3. 4 पऐ पसररकरमयलसपप spptn ||
4 paṁ prākāmyasiddhi spptn ||
4. 4 कस रर सवमर हरङस ककचशर मच ररशकत spptn ||
4 kroṁ sarvamahāṅkuśā mudrāśakti spptn ||
Now recite kroṁ and show sarvamahāṅkuśā mudra.
spptn ||
now.
288
भकतयर समपयर ्धतभच रयऐपषरसयरवरणरचरनम ्स ॥
bhaktyā samarpayettubhyaṁ ṣaṣṭhākhyāvaraṇārcanam ||
left hand)

with yoni mudra.
4 तनगभरयमधगनश मयखभ ्रयष पषरवरण दध वतरसहहतरयष शस्शलललतर
4 nigarbhayoginī mayūkhāyai Ṣaṣṭhāvaraṇa devatāsahitāyai
This concludes the worship of the sixth āvaraṇa.
34. Saptamāvaraṇam सपतमरवरणम ्स– Seventh āvaraṇa
i. Name of the āvaraṇa: Sarvarogaharacakram सवररमगहरचकस रम ्स
ii. Bījākṣara-s of Saptamāvaraṇam: हसरऐ शस्शऐ स ्म hrīṁ śrīṁ sauḥ
iii. Cakreśvarī: Tripurāsiddhācakreśvarī तसरतपच ररलपसरचकस रध शवरर
iv. Siddhi śakti: भच कतलसपप Bhuktisiddhi
v. Mudra śakti: सवरकध शरर Sarvakeśarī
vi. Yoginī: रहसययमधगनश Rahasyayoginī
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vii. Number of śakti-s in the āvaraṇa: Eight
IMAGE 30
Pūjanaṁ and tarpaṇaṁ are to be done in anticlockwise manner, where
numerals are marked in Śri Cakra.
*Offer flowers in Śri Cakra by reciting the following mantra. There
is no tarpaṇaṁ here.
*4 हसरऐ शस्शऐ स ्म सवरतमगहरचकस ररय नमम॥ *4 hrīṁ śrīṁ sauḥ
sarvatogaharacakrāya namaḥ ||
Pūjanaṁ and tarpaṇaṁ are to be done anticlockwise manner for the
following 8. They are the composers and authors of Lalitā
Sahasranāma.
1. 4 hrīṁ śrīṁ sauḥ aṁ āṁ iṁ īṁ uṁ ūṁ ṛṁ ṝṁ ḷṁ ḹṁ eṁ aiṁ oṁ
auṁ aṁ aḥ blūṁ vaśinī vāgdevatā spptn ||
4 हसरऐ शस्शऐ स ्म अऐ आऐ इऐ ई उऐ ऊऐ ऋऐ ॠऐ ऌऐ ॡऐ एऐ ऐऐ ओऐ औऐ अऐ अम बलभऐ
वलशनश वरगदध वतर spptn ||
2. 4 hrīṁ śrīṁ sauḥ kaṁ khaṁ gaṁ ghaṁ ṅaṁ klhrīṁ kāmeśvarī
vāgdevatā spptn ||
290
4 हसरऐ शस्शऐ स ्म कऐ खऐ गऐ घऐ ङऐ कलहसरऐ करमध शवरर वरगदध वतर spptn ||
3. 4 hrīṁ śrīṁ sauḥ caṁ chaṁ jaṁ jhaṁ ñaṁ nvlīṁ modinī vāgdevatā
spptn ||
4 हसरऐ शस्शऐ स ्म चऐ छऐ जऐ झऐ ञऐ नदसवलरऐ ममहदनश वरगदध वतर spptn ||
4. 4 hrīṁ śrīṁ sauḥ ṭaṁ ṭhaṁ ḍaṁ ḍhaṁ ṇaṁ ylūṁ vimalā vāgdevatā
spptn ||
4 हसरऐ शस्शऐ स ्म टऐ ठऐ डऐ ढऐ णऐ यलभऐ पवमलर वरगदध वतरspptn ||
5. 4 hrīṁ śrīṁ sauḥ taṁ thaṁ daṁ dhaṁ naṁ jmrīṁ aruṇā vāgdevatā
spptn ||
4 हसरऐ शस्शऐ स ्म तऐ थऐ दऐ धऐ नऐ जस्स्शऐ अरणर वरगदध वतर spptn ||
6. 4 hrīṁ śrīṁ sauḥ paṁ phaṁ baṁ bhaṁ maṁ hslvyūṁ jaini
4 हसरऐ शस्शऐ स ्म पऐ फऐ बऐ भऐ मऐ हससखसलसवयभऐ जष तन वरगदध वतर spptn ||

7. 4 hrīṁ śrīṁ sauḥ yaṁ raṁ laṁ vaṁ jhmryūṁ sarveśvarī vāgdevatā
spptn ||
4 हसरऐ शस्शऐ स ्म यऐ रऐ लऐ वऐ झममरसयभऐ सवध शवरर वरगदध वतर spptn ||
8. 4 hrīṁ śrīṁ sauḥ śaṁ ṣaṁ saṁ haṁ ḻaṁ kṣaṁ kṣmrīṁ kaulinī
4 हसरऐ शस्शऐ स ्म शऐ षऐ सऐ हऐ ळऐ कऐ क्स्शऐ क ललनश वरगदध वतर spptn ||
offer flowers on Śri Cakra. There is no tarpaṇaṁ here* (only for 1
below).
1. *4 एतरम रहसययमधगनदम सवररमगहरचकस रध स-मच ररम स-्सलपसयम सरयधच ्रम स-
नमम॥
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*4 etāḥ rahasyayoginyaḥ sarvarogaharacakre sa-mudrāḥ s-

2. 4 हसरऐ शस्शऐ स ्म तसरतपरलपसरचकस रध शवरर spptn ||
4 hrīṁ śrīṁ sauḥ tripurasiddhācakreśvarī spptn ||
3. 4 बचऐ भच कतलसपप spptn ||
4 buṁ bhuktisiddhi spptn ||
4. 4 हससखसस्सरर सवकर ्धचरर मररशकत spptn ||

4 hskhphreṁ sarvakecarī mudrāśakti spptn ||
Now recite hskhphreṁ and show sarvakecarī mudra.
spptn ||
now.
भकतयर समपयर ्धतभच रयऐपसमरवरणरचरनम ्स ॥
bhaktyā samarpayettubhyaṁ Saptamāvaraṇārcanam ||
292
left hand)
with yoni mudra.
4 रहसययमधगनश मयखभ ्रयष पसमरवरण दध वतरसहहतरयष शस्शलललतर महरतसरतपच रसच नदरर
4 rahasyayoginī mayūkhāyai saptamāvaraṇa devatāsahitāyai

This concludes the worship of the seventh āvaraṇa.
35. Aṣṭamāvaraṇaṁ अषटमरवरणऐ (eighth āvaraṇa)
i. Name of the āvaraṇa: Sarvasiddhipradacakraṁ सवरलसपपपसरदचकस रऐ
ii. Bījākṣara-s of aṣṭamāvaraṇaṁ: हससखससरह हससखसकस ्सरऐ हससखससर ्म hsraiṁ hsklrīṁ
hsrauḥ
iii. Cakreśvarī: Tripurāṁbācakreśvarī तसरतपररबऐ ्रचकस रध शवरर
iv. Siddhi śakti: इचछरलसपप Icchāsiddhi
v. Mudra śakti: सवरबशज Sarvabīja
vi. Yoginī: अततरहसययमधगनश Atirahasyayoginī
vii. Number of śakti-s in the āvaraṇa: Four weaponries and three
śakti-s. Fourth pūjanaṁ and tarpaṇaṁ is done on the Bindu.
Eighth āvaraṇa is different from other āvaraṇa-s. Before worshipping
āvaraṇa śakti-s, we have to worship four common weaponries of
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Mahākāmeśvara and Mahākāmeśvarī. After worshiping their
weaponries, three śakti-s are worshiped. For the purpose of easier
understanding, this āvaraṇa is divided into two parts. Part a is about
worshipping weaponries and part b is about worshipping three śakti-

s.
IMAGE 31
viii.a) Āyudhārcanam आयधच ्रचनर म ्स(worship of weaponries):
Weaponries are to be worshiped in the places marked A, B, C and D,
in the same order. (There are versions where no tarpaṇaṁ is done in

āyudhārcanam and instead pūjanaṁ is done twice). However, āvaraṇa
bījākṣara-s are not prefixed before āyudhārcana mantras.
A. 4 यरऐ ररऐ लरऐ वरऐ सरऐ ररऐ ररऐ कलरऐ बलभऐ सम सवजर मभनभर यम करमध शवरर करमध शवर बरणध भरयम
नमम। बरणशकत spptn ||
4 yāṁ rāṁ lāṁ vāṁ sāṁ drāṁ drīṁ klīṁ blūṁ saḥ
sarvajambhanebhyo kāmeśvarī kāmeśvara bāṇebhyo namaḥ |
bāṇaśakti spptn ||
B. 4 थऐ धऐ सवसर मममहनरभरयरऐ करमध शवरर करमध शवर धनभच रयररऐ नमम। धनम्भ शकत
spptn ||
4 thaṁ dhaṁ sarvasammohanābhyāṁ kāmeśvarī kāmeśvara
dhanurbhyāṁ namaḥ | dhanūḥ śakti spptn ||
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C. 4 हसरऐ आऐ सवरवशशकरणरभरयरऐ करमध शवरर करमध शवर परशरभरयरऐ नमम। परशशकत
spptn ||
4 hrīṁ āṁ sarvavaśīkaraṇābhyāṁ kāmeśvarī kāmeśvara
pāśābhyāṁ namaḥ | pāśaśakti spptn ||
D. 4 कस रर कस रर सवसस्र तमभनरभरयरऐ करमध शवरर करमध शवर अङस ककचशरभरयरऐ नमम।
अङस ककचशशकत spptn ||
4 kroṁ kroṁ sarvastambhanābhyāṁ kāmeśvarī kāmeśvara
aṅkuśābhyāṁ namaḥ | aṅkuśaśakti spptn ||
viii.b) Eighth āvaraṇa pūjā:
*4 हससखससरहहससखसकस ्सरऐ हससखससर ्म सवरलसपपपसरदचकस ररय नमम॥
*4 hsraiṁ hsklrīṁ hsrauḥ sarvasiddhipradacakrāya namaḥ ||
Following three śakti-s are to be worshiped in the places marked 1, 3
and 2 in anticlockwise manner as explained in the figure above. Three
kūṭa-s of saubhagyapañcadaśī mantra are used as prefix to these three
mantras. In 4, entire saubhagyapañcadaśī mantra is used as prefix.
1. 4 ऐऐ - क ए ई ल हसरऐ - अहगनचकस रध करमधगररपशठध लमतस्धशनरथ
नवयमतनचकस ररतमक आतमतततव सपर षटकरतय जरगसरदशरधपधरयक इचछरशकत
वरगभवरतमक वरगशशवररसवरप बसरहरतमशकत महरकरमध शवरर spptn ||
4 aiṁ - ka e ī la hrīṁ - agnicakre kāmagiripīṭhe mitreśanātha
navayonicakrātmaka ātmatattva sṛṣṭikṛtya jāgraddaśādhiṣṭhāayaka
icchāśakti vāgbhavātmaka vāgīśvarīsvarūupa brahmātmaśakti
mahākāmeśvarī spptn ||
3. 4 कलरऐ - ह स क ह ल हसरऐ - सभयचर कस रध जरलनदरपशठध पषशशनरथ दशररतवय
चतच दरशररचकस ररतमक पवदरततव हसथततकरतय सवन दशरधपधरयक जरनशकत करमररजरतमक
करमकलरसवरप पवषणवरतमशकत महरवजसरधशवरर spptn ||
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4 klīṁ - ha sa ka ha la hrīṁ - sūryacakre jālandharapīṭhe
ṣaṣṭhīśanātha daśāratvaya caturdaśāracakrātmaka vidyātatva
sthitikṛtya svana daśādhiṣṭhāyaka jñānaśakti kāmarājātmaka
kāmakalāsvarūpa viṣṇvātmaśakti mahāvajreśvarī spptn ||
2. 4 स ्म - स क ल हसरऐ - सममचकस रध पभणधरगररपशठध उडस डशशनरथ अषटदल षमडशदल चतरशस
चकस ररतमक लशवतततव सहऐ ्ररकरतय सषच ्चपत दशरधपधरयक ककस रयरशकत शकतबशजरतमक
पररपरशकत सवरप रररतमशकत महरभगमरललनश spptn ||

4 sauḥ - sa ka la hrīṁ - somacakre pūrṇagiripīṭhe uḍḍīśanātha
aṣṭadala ṣoḍaśadala caturaśra cakrātmaka śivatattva saṁhārakṛtya
suṣupti daśādhiṣṭhāyaka kriyāśakti śaktibījātmaka parāparaśakti
svarūpa rudrātmaśakti mahābhagamālinī spptn ||
4. This is to be performed at the Bindu.
4 ऐऐ - क ए ई ल हसरऐ - कलरऐ - ह स क ल हसरऐ - स ्म - स क ल हसरऐ - परबसरहचकस रध
महमडटरणपशठध चयररननदतरथ समसतचकस ररतमक सपररवरर परमततव सपर षट हसथतत
सऐ हररकरतय तच ररय दशरधपधरयक इचछर जरन ककस रयर शरनदसतरशकत वरगभव करमररज शकत
बशजरतमक परमशकत सवरप परबसरहशकत शस्श लललतर महरतसरतपरसनदस्चदरर spptn ||
4 aiṁ - ka e ī la hrīṁ - klīṁ - ha sa ka la hrīṁ - sauḥ - sa ka la hrīṁ
- parabrahmacakre mahoḍyāṇapīṭhe caryānandatātha
samastacakrātmaka saparivāra paramatatva sṛṣṭi sthiti saṁhārakṛtya
turīya daśādhiṣṭhāyaka icchā jñāna kriyā śāntāśakti vāgbhava
kāmarāja śakti bījātmaka paramaśakti svarūpa parabrahmaśakti śrī
lalitā mahātripurasundarī spptn ||
offer flowers on Śri Cakra. There is no tarpaṇaṁ here (only for 1
below).
1. 4 एतरम अततरहसययमधगनदम सवरलसपपपसरदचकस रध स-मच ररम स-्सलपसयम सरयधच ्रम स-

नमम॥
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4 etāḥ atirahasyayoginyaḥ sarvasiddhipradacakre sa-mudrāḥ s-

2. 4 हससखससरहहससखसकस ्सरऐ हससखससर ्म तसरतपररमबरचकस रध शवरर spptn ||
4 hsraiṁ hsklrīṁ hsrauḥ tripurāmbācakreśvarī spptn ||
3. 4 इऐ इचछरलसपप spptn || 4 iṁ icchāsiddhi spptn ||
4. 4 हससखस ्म सवबर ्शज मररशकत spptn || 4 hsauḥ sarvabīja mudrāśakti spptn.
Now recite hsauḥ and show sarvabīja mudra.
spptn ||
(5 above should be done three times on the Bindu)
now.
भकतयर समपयर ्धतभच रयऐअषटमरवरणरचरनम ्स ॥
bhaktyā samarpayettubhyaṁ aṣṭamāvaraṇārcanam ||
left hand)
297
with yoni mudra.
4 अततरहसययमधगनश मयखभ ्रयष अषटमरवरण दध वतरसहहतरयष शस्शलललतर
4 atirahasyayoginī mayūkhāyai aṣṭamāvaraṇa devatāsahitāyai
This concludes the worship of the eighth āvaraṇa.
36. Navamāvaraṇam (नवमरवरणम ्स) Ninth āvaraṇa: (Bindu)
i. Name of the āvaraṇa: sarvānandamayacakraṁ सवररननदमयचकस रऐ
ii. Bījākṣara-s of navamāvaraṇam: Entire pañcadaśī mantra itself
forms the bījākṣara-s of this āvaraṇa.
क ए ई ल हसरऐ । ह स क ह ल हसरऐ । स क ल हसरऐ ॥
ka e ī la hrīṁ | ha sa ka ha la hrīṁ | sa ka la hrīṁ ||
iii. Cakreśvarī: Śrī Mahātripurasundarīcakreśvarī
शस्श महरतसरतपच रसच नदररचकस रध शवरर
iv. Siddhi śakti: पसररपतलसपप Prāptisiddhi
v. Mudra śakti: सवरयमतन Sarvayoni
vi. Yoginī: पररपररततरहसययमधगनश Parāparātirahasyayoginī
vii. Number of śakti-s in the āvaraṇa: One
Ninth āvaraṇa is the last āvaraṇa in Śri Cakra and only Lalitāmbikā
is worshiped here.
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(Image is the same as given in eighth āvaraṇa.)
*4 क ए ई ल हसरऐ । ह स क ह ल हसरऐ । स क ल हसरऐ ॥ सवररननदमयचकस ररय
नमम॥
*4 ka e ī la hrīṁ | ha sa ka ha la hrīṁ | sa ka la hrīṁ ||
sarvānandamayacakrāya namaḥ ||
For the following mantra pūjanaṁ and tarpaṇaṁ are to performed
three times
4 मभलऐ (Pañcadaśī, Saubhāgyapañcadaśi or Ṣoḍaśī) - शस्श लललतर
महरतसरतपच रसच नदरर पररभटस टरररकर spptn ||
4 mūlaṁ (Pañcadaśī, Saubhāgyapañcadaśi or Ṣoḍaśī) - śrī lalitā
mahātripurasundarī
parābhaṭṭārikā spptn ||
There is no samaṣṭi pūjā in this āvaraṇa. Both pūjanaṁ and tarpaṇaṁ
are offered only to Lalitāmbikā.
For the following mantra only pūjanaṁ is to be done. There is no
tarpaṇaṁ here.
1. एषर पररपररततरहसययमधगनश सवररननदमयचकस रध स-मच ररम स-्सलपसयम सरयधच ्रम स-शतयम
स-वरहनरम स-पररवरररम सवमपचररष म सपऐ ्भहजतरम सनदसतपपतर ्रम सनदसतचषटरऽसतच नमम॥
eṣā parāparātirahasyayoginī sarvānandamayacakre sa-mudrāḥ s-

sarvopacāraiḥ saṁpūjitāḥ santarpitāḥ santuṣṭā'stu namaḥ ||

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For the following mantras, both pūjanaṁ and tarpaṇaṁ are to be
done.
2. क ए ई ल हसरऐ । ह स क ह ल हसरऐ । स क ल हसरऐ ॥ शस्श महरतसरतपरसच नदररचकस रध शवरर
spptn ||
ka e ī la hrīṁ | ha sa ka ha la hrīṁ | sa ka la hrīṁ || śrī
mahātripurasundarīcakreśvarī spptn ||
3. 4 पऐ पसररपतलसपप spptn ||
4 paṁ prāptisiddhi spptn ||
4. 4 ऐऐ सवयर ्मतन मच ररशकत spptn ||
4 aiṁ sarvayoni mudrāśakti spptn ||
Now recite aiṁ and show yonimudra.
** Those who are initiated into Ṣoḍaśī mantra, continue with 5, after
completing additional mantras given below where ** are marked and
shown in italics.
5. 4 – मभलऐ (Pañcadaśī or Saubhāgyapañcadaśi or Ṣoḍaśī) - शस्शलललतर
महरतसरतपरसच नदरर पररभटस टरररकर spptn ||
4 - mūlaṁ (Pañcadaśī or Saubhāgyapañcadaśi or Ṣoḍaśī) Śrīlalitā
Mahātripurasundarī Parābhaṭṭārikā spptn ||
now.
भकतयर समपयर ्धतभच रयऐनवमरवरणरचरनम ्स ॥

bhaktyā samarpayettubhyaṁ navamāvaraṇārcanam ||
left hand)
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with yoni mudra.
4 पररपररततरहसययमधगनश मयखभ ्रयष नवमरवरण दध वतरसहहतरयष शस्शलललतर
महरतसरतपच रसच नदरर पररभटस टररकरयष नमम ||
4 parāparātirahasyayoginī mayūkhāyai navamāvaraṇa
devatāsahitāyai śrīlalitā mahātripurasundarī parābhaṭṭarikāyai
namaḥ||
This concludes the worship of ninth āvaraṇa, subject to the following.
**The following is meant for those who are initiated into Ṣoḍaśī. This
is to be done in addition to what is mentioned above in the ninth
āvaraṇa.
Both pūjanaṁ and tarpaṇaṁ are to be done three times for the
following mantra.
a) 4 हसकल-हसकहल-सकलहसरऐ तचररयरमबर शस्श परदकच ्रऐ पजभ यरलम तपरयरलम नमम॥
4 hasakala-hasakahala-sakalahrīṁ turīyāmbā śrī pādukāṁ
No tarpaṇaṁ for the following mantra# (only for b bleow)

(This is one of the most powerful mantras of Lalitāmbikā)
b) # 4 सवररननदमयध चकस रध महमडटरणपशठध चयरनर नदनरथरतमक तच ररयरतशत दशरधपधरयक
शरनदसतयतशतकलरतमक पसरकरश पवमशर सरमरसयरतमक परबसरहसवरपपणश पररमर तशकतम
सवरमनदसत्
स धशवरर सवरपशठध शवरर सवरयमगध शवरर सवरवरगशशवरर सवरलपसध शवरर सवरवशरध शवरर
सकलजगदतस्चपपत मरतकर ्र सचकस रर सदध वतर सरसनर सरयच धर सशकतम सवरहनर सपररवररर
सचकस रध लशकर परयर अपरयर पररपरयर सपययर ्र सवमचरपसररष म समपभहजतर सनदसतपपतर ्र
सनदसतषटच ्रऽसतच नमम नमम॥
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4 sarvānandamaye cakre mahoḍyāṇapīṭhe
caryānandanāthātmaka turiyātīta daśādhiṣṭhāyaka
śāntyatītakalātmaka prakāśa vimarśa sāmarasyātmaka
parabrahmasvarūpiṇī parāmṛtaśaktiḥ sarvamantreśvarī
sarvapīṭheśvarī sarvayogeśvarī sarvavāgīśvarī sarvasiddheśvarī
sarvavīreśvarī sakalajagadutpatti mātṛkā sacakrā sadevatā sāsanā
sāyudhā saśaktiḥ savāhanā sparivārā sacakreśikā parayā aparayā
parāparayā saparyayā sarvocāpraraiḥ sampūjitā santarpitā
santuṣṭā'stu namo namaḥ ||
c) 4 सऐ सवरकरमलसपप spptn ||
4 saṁ sarvakāmasiddhi spptn ||
d) 4 हससखससरहहससखसकस ्सरऐ हससखससर ्म सवतसररतखणडरमरशकत spptn ||
4 hsraiṁ hsklrīṁ hsrauḥ sarvatrikhaṇḍāmudraśakti spptn ||
Now recite hsraiṁ hsklrīṁ hsrauḥ and show sarvatrikhaṇḍāmudra.
Now, please go back to 5 above and continue.

37. पञचपञञचकरपजभ ्र pañcapañcikāpūjā:
Pañcapañcin means fivefold. This part of navāvaraṇa pūjā contains
some important mantras of Her assistants.
This can be explained as fivefold pūjā. Five thrones are to be
contemplated one above the other over Bindu. The first one just above
the Bindu is to be contemplated. These five thrones or pīṭha-s
represent five stages of samādhi. Each pīṭha is presided over by one
primary Śakti in the form Lalitāmbikā and four other śakti-s in the
four cardinal vāyukoṇa (North West), īśāna (North East), Agni (South
East) and nairṛti (South West). Each of these pīṭha-s are known by
these names beginning from the lowest one, pañcalakṣmyaḥ
(पञचलकमयम) pañcakośāmbāḥ (पञचकमशरमबर), pañcakalpalatāḥ
(पञचकलपलतरम), pañcakāmadughāḥ (पञचकरमदघच ्रम) and pañcaratnāmbāḥ
(पञचरतनरमबरम) respectively. There are five śakti-s in each pīṭha and
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there are five pīṭha-s and thus we have to worship twenty five śakti-s
pañcapañcikāpūjā.
These five pīṭha-s are to be visualized with bigger throne at the
bottom and the smallest throne at the top. This is based on the fact
that the lowest pīṭha is the grossest and the top most pīṭha is the
subtlest. In fact, this can be said as the subtlest because, in this pīṭha,
the aspirant becomes one with Her. These pīṭha-s represent five
stages of samādhi beyond savikalpa stage. Savikalpa is the stage of
samādhi where duality still persists. Soon after performing

navāvaraṇa pūjā, one is supposed to contemplate Her to ultimately
become one with Her. Contemplation attains perfection in successive
stages, which are represented by these five pīṭha-s. In the fifth pīṭha,
the one who performed navāvaraṇa pūjā with perfection and devotion
becomes one with Her. The five stages of samādhi are sāmya (state
of equilibrium), laya (absorption), vināśa (destruction or removal),
atyantābhāva (absolute non-existence) and aikya (oneness with Her).
There are two different versions in doing pañcapañcikāpūjā. One is
to merely contemplate on this aspect of becoming one with Her.
Another is doing both pūjanaṁ and tarpaṇaṁ. Both are acceptable, as
Lalitāmbikā alone prevails in the form of five Devi-s in the middle of
each pīṭha. This is evident from the fact that mūlamantra is prefixed
to the mantra for the pūjā done in the Bindu. Secondly, no pūjā or
tarpaṇa can be done in the Bindu, except for Lalitāmbikā. However,
as this is related to the different stages of samādhi, it would be ideal
to contemplate Her.
In the following mantras, numerical indicate the following.
1 – Middle (always prefixed with mūlamantra and Śrī Vidyā and
represents Lalitāmbikā); 2 - vāyukoṇa (North West); 3 - īśāna (North
East); 4 - agni (South East); 5 - nairṛti (South West). These numerical
are indicated in the diagram below.
Those who perform both pūjā and tarpaṇa should use spptn and those
who wish to contemplate Her should use namaḥ (नमम). Certain

303
mantras are given in abbreviated forms without losing the essence of
the mantras.
IMAGE 32
i) Pañcalakṣmyaḥ पञचलकमयम (bottom most)
1. 4 - mūlaṁ - शस्शपवदरलकमयमबर spptn / नमम।
4 - mūlaṁ - śrīvidyālakṣmyambā spptn / namaḥ |
2. 4 - शस्शऐ लहकमलकमयमबर spptn / नमम ॥
4 śrīṁ lakṣmilakṣmyambā spptn / नमम ॥
3. 4 - ॐ शस्शऐ हसरऐ शस्शऐ कमलध कमलरलयध पसरसशद पसरसशद शस्शऐ हसरऐ शस्शऐ ॐ शस्श
महरलकमयष नमम। महरलकमयमबर spptn / नमम ॥
4 - om śrīṁ hrīṁ śrīṁ kamale kamalālaye prasīda prasīda śrīṁ
hrīṁ śrīṁ om śrī mahālakṣmyai namaḥ | mahālakṣmyambā spptn /
नमम ॥
4. 4 - शस्शऐ हसरऐ कलरऐ तसरतशकतलकमयमबर spptn / नमम ॥
4 - śrīṁ hrīṁ klīṁ triśaktilakṣmyambā spptn / नमम ॥
5. 4 - शस्शऐ सहकलहसरऐ शस्शऐ सवरसरसरजयलकमयमबर spptn / नमम ॥
4 - śrīṁ sahakalahrīṁ śrīṁ sarvasāmrājyalakṣmyambā spptn / नमम
ii) Pañcakośāmbāḥ पञचकमशरसबर: (Second from the base)
304
1. 4 – मलभ ्ऐ- शस्शपवदरकमशरमबर spptn / नमम ॥
4 - mūlaṁ - śrīvidyākośāmbā spptn / नमम ॥
2. 4 - ॐ हसरऐ हऐ ससमहऐ सवरहर। परऐ जयमततमकमशरमबर spptn / नमम ॥

4 - om hrīṁ haṁsasohaṁ svāhā | paraṁjyotiḥkośāmbā spptn / नमम
3. 4 - ॐ हऐ सम परतनषकलरकमशरमबर spptn / नमम ॥
4 - om haṁsaḥ paraniṣkalākośāmbā spptn / नमम ॥
4. 4 - हऐ सम अजपरकमषरमबर spptn / नमम ॥
4 - haṁsaḥ ajapākoṣāmbā spptn / नमम ॥
5. 4 - अऐ to कऐ (all the 51 letters) मरतकर ्रकमशरमबर spptn / नमम ॥
4 - aṁ to kṣaṁ ((all the 51 letters) mātṛkākośāmbā spptn / नमम ॥
iii) Pañcakalpalatāḥ पञचकलपलतरम (third from the base)
1. 4 - मभलऐ – शस्शपवदरकलपलरतरमबर spptn / नमम ॥
4 - mūlaṁ - śrīvidyākalpalātāmbā spptn / नमम ॥
2. 4 - हसरऐ कलरऐ ऐऐ बलभऐ सतसरशऐ पञचकरमध शवरर तवररतरकलपलतरमबर spptn/ नमम॥
4 - hrīṁ klīṁ aiṁ blūṁ strīṁ pañcakāmeśvarī tvaritākalpalatāmbā
spptn / नमम ॥
3. 4 - ॐ हसरऐ हस्रऐ हसकलहसरऐ ॐ सरसवतयष नमम हससरहपरररजरतशवध ररकलपलतरमबर
4 - om hrīṁ hrāṁ hasakalahrīṁ om sarasvatyai namaḥ hasraiṁ
pārijāteśvarīkalpalatāmbā spptn / नमम ॥
4. 4 - शस्शऐ हसरऐ कलरऐ ऐऐ कलरऐ स ्म कचमररर तसरतपटच रकलपलतरमबर spptn / नमम ॥
4 - śrīṁ hrīṁ klīṁ aiṁ klīṁ sauḥ kumārī tripuṭākalpalatāmbā spptn
/ नमम ॥
305
5. 4 - ररऐ ररऐ कलरऐ बलभऐ सम पञचबरणध शवररकलपलतरमबर spptn / नमम ॥

4 - drāṁ drīṁ kalīṁ blūṁ saḥ pañcabāṇeśvarīkalpalatāmbā spptn /
नमम ॥
iv) Pañcakāmadughāḥ पञचकरमदघच ्रम (fourth from the base).
1. 4 – मलभ ्ऐ– शस्श पवदरकरमदघच ्रमबर spptn / नमम ॥
4 - mūlaṁ - śrī vidyākāmadughāmbā spptn / नमम ॥
2. 4 - ॐ हसरऐ हऐ सम जचऐ सञजशवतन जशवऐ पसररणगसरहनदसथसथऐ कचर कचर सवरहर॥
अमतर पशठध शवरर करमदघच ्रमबर spptn / नमम ॥
4 - om hrīṁ haṁsaḥ juṁ sañjīvani jīvaṁ prāṇagranthisthaṁ kuru
kuru svāhā || amṛtapīṭheśvarī kāmadughāmbā spptn / नमम ॥
3. 4 - ऐऐ वद वद वरगवरहदतन हससखससरहकलरऐ हकलनदसनधकलध हदतन कलध दय महरकमभऐ कचर
कचर हससखसकस ्सरऐ स ्म ॐ ममकऐ कचर कचर हससखससर ्म सच धरसकच ्रमदघच ्रमबर spptn / नमम ॥
4 - aiṁ vada vada vāgvādini hsraiṁ klīṁ klinne kledini kledaya
mahākṣobhaṁ kuru kuru hsklrīṁ sauḥ om mokṣaṁ kuru kuru hsrauḥ
sudhāsukāmadughāmbā spptn / नमम ॥
4. 4 - ऐऐ बलभऐ झसरल जचऐ सम अमतर ्ध अमतर ्मदसभवध अमतर शवध रर अमतर वपषखरण अमतर ्ऐ
ससररवय ससररवय सवरहर। अमतर शवध ररकरमदघच ्रमबर spptn / नमम ॥
4 - aiṁ blūṁ jhrauṁ juṁ saḥ amṛte amṛtodbhave amṛteśvari
amṛtavarṣiṇi amṛtaṁ srāvaya srāvaya svāhā |
amṛteśvarīkāmadughāmbā spptn / नमम ॥
5. 4 - ॐ हसरऐ शस्शऐ कलरऐ ॐ नमम भगवतत मरहध शवरर अनदसनपणभ ्धममरलभलपषतमनदसनऐ
दध हह सवरहर। अनदसनपणभ ्ररकरमदघच ्रमबर spptn / नमम ॥
4 - om hrīṁ śrīṁ klīṁ om namo bhagavati māheśvari annapūrṇe
mamābhilaṣitamannaṁ dehi svāhā | annapūrṇākāmadughāmbā spptn
/ नमम ॥
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v) Pañcaratnāmbāḥ पञचरतनरसबरम (top most)
1. 4 - मभलऐ शस्शपवदररतनरमबर spptn / नमम ॥
4 - mūlaṁ śrīvidyāratnāmbā spptn / नमम ॥
2. 4 - जझसरशऐ महरचनदसडध तध जम सङकपषरखण करलमनदसथरनध हम लपसलकमशरतनरमबर
4 - jjhrīṁ mahācanḍe tejaḥ saṅakarṣiṇi kālamanthāne haḥ
siddhalakṣmīratnāmbā spptn / नमम ॥
3. 4 - ऐऐ हसरऐ शस्शऐ ऐऐ कलरऐ स ्म ॐ नमम भगवतत शस्शररजमरतङस ककशशवरर
सवजर नमनमहरर सवमर ्चखरञजतन कलरऐ हसरऐ शस्शऐ सवरर ्रजवशङस ककरर
सवसतसरर ्शपरषवशङस ककरर सवदर षटच मगर वशङस ककरर सवरसतववशङकरर सवरलमकवशङस ककरर
तस्षलमकयऐ मध वशमरनय सवरहर स ्म कलरऐ ऐऐ शस्शऐ हसरऐ ऐऐ शस्शररजमरतङस कगशशरररतनरमबर
4 - aiṁ hrīṁ śrīṁ aiṁ klīṁ sauḥ om namo bhagavati
śrīrājamātaṅkīśvarī sarvajanamanohari sarvamukharañjani klīṁ hrīṁ
śrīṁ sarvarājavaśaṅkari sarvastrīpuruṣavaśaṅkari
sarvaduṣṭamṛgavaśaṅkari sarvasatvavaśaṅakari sarvalokavaśaṅkari
trailokyaṁ me vaśamānaya svāhā sauḥ klīṁ aiṁ śrīṁ hrīṁ aiṁ
śrīrājamātaṅgīśarīratnāmbā spptn / नमम ॥
4. 4 - शस्शऐ हसरऐ शस्शऐ भच वनशवध रररतनरमबर spptn / नमम ॥
4 - śrīṁ hrīṁ śrīṁ bhuvaneśvarīratnāmbā spptn / नमम ॥
5. 4 - ऐऐ गलल ऐऐ नमम भगवतत वरतरलरल वरतररलल वरररहह वरररहह वररहमच खख वररहमच खख
अनदध अहनदतन नमम रनदध रहनदतन नमम जमबध जहमभतन नमम ममहध ममहहतन नमम
सतमभध सतहमभतन नमम सवदर षटच पसरदषटच रनरऐ सवध षरऐ सववर ्रहकचत चकमच खगततहजवरसरसतमभनऐ ्चर
कचर कचर शशघसरऐ वशयऐ ऐऐ गलल ऐऐ ठम ठम ठम ठम हचऐ फटस सवरहर। वरररहररतनरमबर spptn /
नमम ॥
4 - aiṁ glauṁ aiṁ namo bhagavati vārtāli vārtāli vārāhi vārāhi
varāhamukhi varāhamukhi andhe andhini namaḥ rundhe rundhini
307
namaḥ jambe jambhini namaḥ mohe mohini namaḥ stambhe
stambhini namaḥ sarvaduṣṭapraduṣṭānāṁ sarveṣāṁ sarvavākcitta
cakṣurmukhagatijihvāstmbhanaṁ kuru kuru śīghraṁ vaśyaṁ aiṁ
glauṁ aiṁ ṭhaḥ ṭhaḥ ṭhaḥ ṭhaḥ huṁ phaṭ svāhā | vārāhīratnāmbā spptn
/ नमम ॥
38. षडस दशसर्रददर॥ ṣaḍdarśnavidyā ||
There are six types of darśana-s. Darśana refers to philosophical
doctrines, understanding and perceiving Brahman through various
methods. Darśana literally means ‘vision and nature of reality’.
Though Brahman is One, paths to realize Him are different.
Contextually, Brahman here refers to Parāśakti. A particular path is
chosen through lineages and sudden spiritual impetus. It is like
approaching a particular destination through different routes. Six
religious/spiritual paths discussed below lead to the realization of
Citśakti (Supreme Consciousness of Śiva) – Baudha (Buddhism),
Vaidika (Vedas), Saura (worshipping the sun), Vaiṣṇava
(worshipping Viṣṇu), Śaiva (worshipping Śiva) and Śākta (worship
of Śakti). It is important to note that Śri Cakra navāvaraṇa pūjā

encompasses all these six darśana-s and this is conveyed through
ṣaḍdarśnavidyā, which is performed here to make worshipers
understand that all types of worship lead to Brahman and that they
should not undermine or discriminate one path or the other.
This part contains six mantras and both pūjā and tarpaṇa are to be
done at the Bindu.
1. 4 - तररध तच तररध तरध सवरहर। तरररदध वतरधधपपत ब प्दशरन spptn ||
4 - tāre tuttāre ture svāhā | tārādevatādhiṣṭhita bauddhadarśana
spptn ||
2. 4 - गरयतस्श। परमरजसध सरवदमम ्स*। बसरहदध वतरधधपपत वष हदकदशरन spptn ||
4 - gāyatrī | parorajase sāvadom* | brahmadevatādhiṣṭhita
vaidikadarśana spptn ||
308
{* if parorajase sāvadom is added to Gāyatrī mantra at the end, it
becomes Turya Gāyatrī mantra. One recitation of Pañcadaśī mantra
is equivalent to three recitations of Turya Gāyatrī mantra. Generally
it is said that no mantra should be recited beyond the number of
counts of Gāyatrī mantra. Based on the above principle, this rule does
not apply to Pañcadaśī and Ṣoḍaśī mantras.}
3. 4 - ॐ हसरऐ नममलशवरय। ररदध वतरधधपपत शष वदशरन spptn ||
4 - om hrīṁ namaḥśivāya | rudradevatādhiṣṭhita śaivadarśana spptn
||
4. 4 - ॐ हसरऐ घखर णससभयर आहदतयमम।्स सभयदर ्धवतरधधपपत स रदशनर spptn ||

4 - om hrīṁ ghṛṇissūrya ādityom | sūryadevatādhiṣṭhita
sauradarśana spptn ||
5. 4 - ॐ नमम नरररयणरय। पवषणच दधवतरधधपपत वषस्षणवदशरन spptn ||
4 - om namo nārāyaṇāya | viṣṇudevatādhiṣṭhita vaiṣṇavadarśana
spptn ||
6. 4 - ॐ शस्शऐ हसरऐ शस्शऐ भच वनध शवररदध वतरधधपपत शरतदशरन spptn ||
4 - om śrīṁ hrīṁ śrīṁ bhuvaneśvarīdevatādhiṣṭhita śāktadarśana
spptn ||
39. षडरधररपजभ ्र ṣaḍādhārapūjā:
Ṣaḍādhāra means six psychic chakras of human body beginning from
mūlādhāra to ājñā chakras. Each of these chakras are presided over
by six yoginī-s. These six yoginī-s are compared as follows.
1 Mūlādhāra Gaṇeśa Sākini
2 svādhiṣṭhāna Brahmā (God of
3 maṇipūraka Viṣṇu (God of
Kākini
creation)
Lākini
sustenance)
4 anāhata Rudra (God of
5 Viśuddhi Jīvātman (individual
6 Ājñā Paramātman (Brahman) Hākini
309
destruction) or Sadāśiva
(for absorption)
soul)
Rākini
Ḍākini
This is to make us understand that all these forms of Divinity
represent only Parāśakti. In other words, She only manifests in the
forms of different gods. She alone is māyā and when the time is ripe,
She removes the veil of māyā and reveals the Self. This pūjā stresses
that Brahman (contextually it is Parāśakti) alone prevails in various
forms of gods. Knowledge of non-dualism (Advaita) is being
imparted to the aspirants who are blessed to offer pūjā and tarpaṇa at
the Bindu (Lalitā Sahasranāma 905, baindavāsanā and Lalitā
Sahasranāma 974, bindutarpaṇasantuṣṭā.
This part also contains six mantras and both pūjā and tarpaṇa are to
be done at the Bindu.
1. 4 - सरऐ हऐ सम मभलरधरररहपहरनदध वतरयष सरककनशसहहत गणनरथसवरपपणयष नमम।
गणनरथसवरपपनदसणयमबर spptn ||
4 - sāṁ haṁsaḥ mūlādhārāehiṣṭhānadevatāyai sākinīsahita
gaṇanāthasvarūpiṇyai namaḥ | gaṇanāthasvarūpinṇyambā spptn ||
2. 4 - करऐ समहऐ सवधपधरनधपधरनदध वतरयष करककनशसहहत बसरहसवरपपणयष नमम।
बसरहसवरपपणयमबर spptn ||
4 - kāṁ sohaṁ svadhiṣṭhānahiṣṭhānadevatāyai kākinīsahita
brahmasvarūpiṇyai namaḥ | brahmasvarūpiṇyambā spptn ||

3. 4 - लरऐ हऐ सससमहऐ मखणपरकरधपधरनदध वतरयष लरककनशसहहतपवषणच सवरपपणयष
नमम। पवषणच सवरपपणयमबर spptn ||
310
4 - lāṁ haṁsassohaṁ maṇipūrakādhiṣṭhānadevatāyai
lākinīsahitaviṣṇusvarūpiṇyai namaḥ | viṣṇusvarūpiṇyambā spptn ||
4. 4 - ररऐ हऐ सलशशवससमहऐ अनरहतरधपधरनदध वतरयष ररककणशसहहत
सदरलशवसवरपपणयष नमम। सदरलशवसवरपपणयमबर spptn ||
4 - rāṁ haṁsaśiśvassohaṁ anāhatādhiṣṭhānadevatāyai
rākiṇīsahita sadāśivasvarūpiṇyai namaḥ | sadāśivasvarūpiṇyambā
spptn ||
5. 4 - डरऐ समहऐ हऐ सलशशवम पवशच दस्यरधपधरनदध वतरयष डरककनशसहहतजशवध शवर
सवरपपणयष नमम। जशवध शवरसवरपपणयमबर spptn ||
4 - ḍāṁ sohaṁ haṁsaśiśavaḥ viśuddhyādhiṣṭhānadevatāyai
ḍākinīsahitajīveśvara svarūpiṇyai namaḥ | jīveśvarasvarūpiṇyambā
spptn ||
6. 4 - हरऐ हऐ सलशशवससमहऐ समहऐ हऐ सलशलशवम आजरधपधरनदध वतरयष हरककनशसहहत
परमरतमसवरपपणयष नमम। परमरतमसवरपपणयमबर spptn ||
4 - hāṁ haṁsaśiśvassohaṁ sohaṁ haṁsaśiśivaḥ
ājñādhiṣṭhānadevatāyai hākinīsahita paramātmasvarūpiṇyai namaḥ |
paramātmasvarūpiṇyambā spptn ||
40. आसनरयसमदसषटपजभ ्र āmnāyasamaṣṭipūjā:
Sacred traditions or doctrines are known as āmnāya-s and they are the
paths to liberation. The significant aspect of āmnāya-s is that they are
communicated only through words. This means that āmnāya-s should

be known only through a Guru. Commonly known āmnāya-s are five,
corresponding to the five faces of Śiva, four faces facing the four
cardinals (East, South, West and North) and one face facing upwards.
His face facing east represents Pūrvāmnāya; south represents
Dakṣiṇāmnāya; west represents Paścimāmnāya and north represents
Uttarāmnāya. These are His four faces facing four cardinal directions.
His fifth face is facing upwards (ākāśa) and this is known as
Ūrdhvāmnāya. There is one more āmnāya by name Īśāmnāya, which
is not commonly known. This face of Śiva looks down. Some texts
311
call sixth āmnāya as Anuttarāmnāya. Anuttara means the Highest,
referring to Paramaśiva, who is beyond normal human
comprehension. With reference to Śrī Vidyā, those who are initiated
into Pañcdaśī mantra use only four āmnāya-s and those who are
initiated into Ṣoḍaśī use six āmnāya-s, the additional two being
Uttarāmnāya and Anuttarāmnāya. Pūrvāmnāya represents creation. It
also reveals the path of mantra by which He can be attained.
Dakṣiṇāmnāya represents sustenance and represents the path of
devotion, by which He can be attained. Paścimāmnāya represents
destruction (destruction should be taken to mean destruction of
dualities, which alone can lead to realization) and represents Law of
Karma, by which He can be attained. Uttarāmnāya represents His
Grace (anugraha) and represents the path of pure knowledge, by

which He can be attained. Ūrdhvāmnāya symbolizes His face facing
upwards, which represents Śiva Himself in His Absolute form. This
is the direct form of Śiva. This āmnāya is considered to be highly
secretive in nature, as it reveals the true form of Śiva. In each of these
four faces, He reveals a group of goddesses. Śiva can be realized by
worshipping them and reciting their mantras. These goddesses, when
worshipped properly reveal Śiva and Śakti.
There is another interpretation for āmnāya-s. Four āmnāya-s
representing four cardinals are described as four Vedas.
Ūrdhvāmnāya represents Upaniṣad-s and Anuttarāmnāya represents
the essence of Upaniṣad-s (ahaṁ brahmāsmi / I am Brahman). It is
also said that these six āmnāya-s encompass all the mantras
(70,000,000 mantras / seven crores in number). Whatever mantra one
practices, it ultimately leads to Parāśakti alone.
Purport of āmnāyasamaṣṭipūjā is to convey that She alone prevails
everywhere, in the form of Vedas, Upaniṣad-s, Brahma tattva,
mantras, etc. Ultimately, this worship emphasises Her Omnipresence.
Mantras for all the six āmnāya-s are given here. Those who are
initiated into pañcadaśī or saubhāgyapañcadaśī should use only the
first four mantras. For those who are initiated into any type of ṣoḍaśī
should use all the six mantras. There are two verses under each
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āmnāya-s. The first verse is regarding the āmnāya devata and the
second verse is about other devata-s belonging to that āmnāya.

1. Pūrvāmnāya:
i) 4 - हससखससरहहससखसकस ्सरऐ हससखससर ्म - पवभ ्ररमनरयसमय पवदध शवयनदस्चर ममहदनश दध वयमबर spptn
||
4 - hsraiṁ hsklrīṁ hsrauḥ - pūrvāmnāyasamaya
vidyeśvaryunmodinī devyambā spptn ||
ii) 4 – मभलऐ - गरतय गणपततपशठतय सहहतरयष पशच पवदरहद समय पवदध शवरर
पयनदस्र त चतच पवमस्र शतत सहससरदध वतर पररसध पवतरयष करमधगररपशठहसथतरयष
पवभ ्ररमनरयसहमषटरपपणयष श् च यष नमम। शस्शमहरतसरतपरसनदस्चदरर spptn ||

स शमहरतसरतपरसनदस्द
4 - mūlaṁ - gurutraya gaṇapatipīṭhatraya sahitāyai śuddhavidyādi
samaya vidyeśvarī paryanta caturvimśati sahasradevatā parisevitāyai
kāmagiripīṭhasthitāyai pūrvāmnāyasamṣṭirūpiṇyai
śrīmahātripurasundaryai namaḥ | śrīmahātripurasundarī spptn ||
(मभल/ mūla ्ऐ ṁ means initiated mantras such as Pañcadaśī or Ṣoḍaśī)
2. Dakṣiṇāmnāya:
i) 4 - ॐ हसरऐ ऐऐ हकलनदसनधहकलनदसनमदरवध कचलध हससखस ्म दककणरमनरयसमय पवदध शवरर भमधगनश
दध वयमबर spptn ||
om hrīṁ aiṁ klinne klinnamadadrave kule hsauḥ
dakṣiṇāmnāyasamaya vidyeśvarī bhoginī devyambā spptn ||
ii) 4 – मलभ ्ऐ - भष रवरषटक नवलपस घ वटच कतय पदयगच सहहतरयष स भरहगयवधरहद
समयपवदध शवरर पयरनदसत तसरतसहससरदध वतर पररसध पवतरयष पभणधरगररपशठरहसथतरयष दककणरमनरय
स शमहरतसरतपरसनदस्चदयष नमम। शस्शमहरतसरतपरसनदस्चदरर spptn ||

समपषटरपपणयष श्
4 - mūlaṁ - bhairavāṣṭaka navasiddhaugha vaṭukatraya padayuga
sahitāyai saubhāgyvidhādi samayavidyeśvarī paryanta

trisahasradevatā parisevitāyai pūrṇagiripīṭhāsthitāyai dakṣiṇāmnāya
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samaṣṭirūpiṇyai śrīmahātripurasundaryai namaḥ |
śrīmahātripurasundarī spptn ||
3. Paścimāmnāya:
i) 4 - हससखससरहहससखससरशऐ हससखससरल हससखसस्सरर भगवतयमबध हसकमलवरयभऐ हससखसस्सरर अघमरमच खख छसरऐ छसररऐ
ककखण ककखण पवचचध हससरषम हससखसस्सरर हससखससर ्म पहशचमरमनरय समय पवदध शवरर कचहञचकरदध वयमबर
spptn ||
4 - hsraiṁ hsrīṁ hsrauṁ hskhphreṁ bhagavatyambe
hasakṣamalavarayūṁ hskhphreṁ aghoramukhi chraṁ chrīṁ kiṇi kiṇi
vicce hsrauḥ hskhphreṁ hsrauḥ paścimāmnāya samaya vidyeśvarī
kuñcikādevyambā spptn ||
ii) 4 - मभलऐ - दशदतभत मणडलतय दशवशर चतच मषपषटलपसनरथ सहहतरयष लमपरमच ररधध
समयपवदध शवरर पयरनदसत पहसहससरदध वतर पररसध पवतरयष जरलनदरपशठहसथतरयष पहशचमरमनरय
समपषटरपपणयष श् च रर spptn ||
स शमहरतसरतपच रसच नदयष नमम। शस्शमहरतसरतपरसनदस्द
mūlaṁ - daśadūti maṇḍalatraya daśavīra catuḥṣaṣṭisiddhanātha
sahitāyai lopāmudrādhi samayavidyeśvarī paryanta dvisahasradevatā
parisevitāyai jālandharapīṭhasthitāyai paścimāmnāya
samaṣṭirupiṇyai śrīmahātripurasundaryai namaḥ |
4. Uttarāmnāya:
i) 4 - हससखसस्सरर महरचणडयमगशशवरर करललकध फटस । उतररमनरय समय पवदध शवरर
करललकरदध वयमबर spptn ||
4 - hskhphreṁ mahācaṇḍayogīśvari kālike phaṭ | uttarāmnāya

samaya vidyeśvarī kālikādevyambā spptn ||
ii) 4 – मलभ ्ऐ - नवमरर पञचवशररवलर सहहतरयष तयररमबरहद समय पवदध शवरर पयरनदसत ्च
पहसहससरदध वतर पररसध पवतरयष ओडटरनपशठ लसतरयष उतररमनरय सहमषट रपपणयष
शस्शमहरतसरतपरसनदस्चदयष नमम। शस्शमहरतसरतपच रसच नदरर spptn ||
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4 - mūlaṁ navamudrā pañcavīrāvalī sahitāyai turyāmbādi samaya
vidyeśvarī paryanta dvisahasradevatā parisevitāyai oḍyānapīṭha
sitāyai uttarāmnāya samṣṭi rūpiṇyai śrīmahātripurasundaryai namaḥ |
The following two āmnāya-s are meant only for Ṣoḍaśī upāsakas
5. Ūrdhvāmnāya:
i) 4 - मखपरयघच ्स महहचनडयङस कगशफर ऊसवररमनरय समयपवदध शवयरमबर spptn ||
4 - makhaparayaghac mahicanaḍayaṅgaśaphara ūrdhvāmnāya
samayavidyeśvaryambā spptn ||
ii) 4 - मलभ ्ऐ - शस्शमनदसमरललतनमनदसतरस रज गच रमणडल सहहतरयष पररमबरहद समय पवदध शवरर
पयरनदसतरशशतत सहससरदध वतर पररसध पवतरयष शरमभवपशठहसथतरयष ऊसवररमनरय समपषटरपपनदष
शस्शमहरतसरतपसच ्चनदस्र दयष नमम। शस्शमहरतसरतपसच ्चनदस्र दरर पररभटस टररकर spptn ||
4 - mūlaṁ - śrīmanmālinimantrarāja gurumaṇḍala sahitāyai
parāmbādi samaya vidyeśvarī paryantāśīti sahasradevatā
parisevitāyai śāmbhavapīṭhasthitāyai ūrdhvāmnāya samaṣṭirūpinyai
śrīmahātripursundaryai namaḥ | śrīmahātripursundarī parābhaṭṭarikā
spptn ||
6. Anuttarāmnāya:
i) 4 - भगवतत पवचचध महरमरयध मरतङस कधगतन बलभऐ अनतच रवरगवरहदतन हससखसस्सरर हससखसस्सरर
हससखससर ्म। अनतच रशरङस ककयमस्र बर spptn ||
4 - bhagavati vicce mahāmāye mātaṅgini blūṁ anuttaravāgvādini
hskhphreṁ hskhphreṁ hsrauḥ | anuttaraśāṅkaryambā spptn ||
ii) 4 - मभलऐ पररपभणररननदनरथरहद नवनरथ सहहतरयष चतच दरशमलच पवदरहद
शस्शपतभतपरवदरनदसतरननदसत दध वतरपररसध पवतरयष अनच तररमनरय समपषटरपपणयष श्

स शमहरतसरतपरसनदस्चदयष
नमम। शस्शमहरतसरतपच रसच नदरर पररभटस टरररकर spptn ||
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4 - mūlaṁ paripūrṇānandanāthādi navanātha sahitāyai
caturdaśamulavidyādi śrīpūrtividyāntānanta devatāparisevitāyai
anuttarāmnāya samaṣṭirūpiṇyai śrīmahātripurasundaryai namaḥ |
śrīmahātripurasundarī parābhaṭṭārikā spptn ||
41. अचरनम ्सarcanam:
There are three mini versions of arcana given here. Arcana means
praise. Arcana comprises of different names and at the end of each
name (nāma) flowers are offered. There is no tarpaṇa here. These
three arcana-s are performed for Daṇḍanāthā (Vārāhi), Mantriṇī
(Śyāmalā) and Lalitāmbikā respectively.
1. Daṇḍanāthā nāmārcanaṁ:
There are twelve nāma-s for Daṇḍanāthā available in Lalitā
Māhātmyā section of Brahmāṇḍa Purāṇa. Hayagrīva says to Agastya,
“Listen to these twelve names of Daṇḍanāthā on hearing which, she
will become pleased. If a person recites these twelve names with
devotion, he will never have any miseries in his life.”

Following are the twelve names. Each of these twelve nāma-s are to
be prefixed with om - aiṁ - glauṁ (ॐ – ऐऐ- गलल) and at the end namaḥ
(नमम) is to be added.
1. om - aiṁ - glauṁ pañcamyai namaḥ | ॐ – ऐऐ – गलल पञचमयष नमम।
2. daṇḍanāthāyai । दणडनरथरयष । 3. saṅketāyai । सङस ककध तरयष ।
4. Samayeśvaryai । समयध शवयष । 5. samayasaṅketāyai |
6. vārāhyai | वरररहष । 7. potriṇyai | पमतसरतणयष ।
8. śivāyai | लशवरयष । 9. vārtālyai | वरतररलयष ।
10. mahāsenāyai | महरसध नरयष । 11. ājñācakreśvaryai |
12. arighnyai || अररघनदष ॥
समयसङस ककध तरयष ।
आजरचकस रध शवयष ।
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2. Mantriṇī nāmārcanaṁ:
There are sixteen nāma-s for Mantriṇī available in Lalitā Māhātmyā
section of Brahmāṇḍa Purāṇa. Hayagrīva says to Agastya, “Gods and
goddesses praised Mantriṇī by means of these sixteen names. If a
person worships Mantriṇī Devi with these sixteen names, he will
conquer the three worlds.”
Following are the sixteen nāma-s, which are to prefixed with praṇava
and Bālā - om - aiṁ - klīṁ - sauḥ (ॐ - ऐऐ - कलरऐ – स ्म) and at the end
namaḥ (नमम) is to be added.
1. om - aiṁ - klīṁ - sauḥ - saṅgītayoginyai namaḥ | ॐ - ऐऐ - कलरऐ

– स ्म - सङस कगशतयमधगनदष नमम।
2. śyāmāyai | शयरमरयष । 3. śyāmalāyai | शयरमलरयष ।
4. mantranāyikāyai |
मनदसतनरतयकरयष ।
6. saciveśānyai | सधचवध शरनदष । 7. pradhāneśyai | पसरधरनध शयष ।
8. śukapriyāyai | शच कपपसरयरय।्ष 9. vīṇāvatyai | वशणरवतयष ।
10. vaiṇikyai | वष खणकयष । 11. mudriṇyai | मच हरणय।्ष
12. priyakapriyāyai |
पपसरयकपपसरयरयष ।
14. kadambeśyai कदमबध शयष । 15. kadambavanavāsinyai |
16. sadāmadāyai | सदरमदरयष ।
3. Lalitāmbikā nāmārcanaṁ:
There are twenty five nāma-s for Lalitāmbikā available in Lalitā
Māhātmyā section of Brahmāṇḍa Purāṇa. Hayagrīva says to Agastya
that these twenty five nāma-s were used by gods and goddesses in
praising Her during war. Hayagrīva says that these nāma-s are like
twenty five precious gems and are capable of subduing all the sins of
a person.
5. mantriṇyai | महनदसतणयष ।
13. nīpapriyāyai | नशपपपसरयरयष ।
कदमबवनवरलसनदष ।
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Following are the twenty five nāma-s, which are to be prefixed with
praṇava and tritāri (aiṁ - hrīṁ - śrīṁ ऐऐ - हसरऐ – शस्शऐ) and at the end namaḥ
(नमम) is to be added.
1. om - aiṁ - hrīṁ - śrīṁ siṁhāsaneśyai namaḥ | ॐ - ऐऐ - हसरऐ – शस्शऐ
लस ्ऐहरसनध शयष नमम।
2. lalitāyai | लललतरयष । 3. mahārājñyai | महरररजयष ।
4. varāṅkuśāyai | वररङस ककचशरयष । 5. cāpinyai | चरपपनदष ।
6. tripurāyai | तसरतपररय।्ष 7. mahātripurasundaryai |
8. sundaryai । सनदस्चदयष | 9. cakranāthāyai | चकस रनरथरयष ।
10. samrājñyai | सस्रजयष । 11. cakriṇyai | चककस रणयष ।
12. cakreśvaryai | चकस रध शवयष । 13. mahādevyai | महरदध वयष ।
14. kāmeśyai | करमध शयष । 15. parameśvaryai | परमध शवयष ।
16. kāmarājapriyāyai |
करमररजपपसरयरयष ।
18. cakravartinyai | चकस रवततरनदष । 19. mahāvidyāyai | महरपवदरयष ।
20. śivānaṅgavallabhāyai |
लशवरनङस कगवललभरयष ।
22. kulanāthāyai | कचलनरथरयष । 23. āmnāyanāthāyai |
24. sarvāmnāyanivāsinyai |
सवररमनरयतनवरलसनदष ।
महरतसरतपच रसच नदय।्ष
17. kāmakoṭikāyai |
करमकमहटकरयष ।
21. sarvapāṭalāyai | सवरपरटलरयष ।
आमनरयनरथरयष ।
25. śṛṅgāranāyikāyai |
शर ङसकगररनरतयकरयष ।
Those who have time can do Lalitā Sahasranāma and Lalitā Triśatī
arcana here. If flowers are not available, arcana can be done with
kumkum. Instead of arcana, pārāyaṇa can also be done. It is
important that after Lalitā Triśatī no further arcane or pārāyaṇa should
be done. After Lalitā Triśatī we should proceed with dhūpa, dīpa, etc.
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42. धभपम dhūpaḥ:
(Dhūpa is subtly explained. In the fire, when aromatic powder is
added, fragrant fumes come up. Fire is explained as Brahman,
aromatic powder is explained as oblations of our karmendriya-s and
jñānendriya-s; when attachment to the material world is annihilated,
then the fragrance of the Self is revealed.)
Aroma of dhūpa should not be strong and should not be shown at Her
face. While offering dhūpa, dhūpapātra should be kept away from
Meru / Śri Cakra and Her idol as they are live due to proper and
devoted performance of navāvaraṇa pūjā.
Mantra:
4 - धभरलस धभवर धवभनदस्र तऐ धभवर तऐ यमऽसमरनधभवतरत तऐ धवभयर ्ऐ वयऐ धवभ ्रमर सतवऐ दध वरनरमलस
सहसनतमऐ पपपसरतमऐ जच षटतमऐ वकस प्तमऐ दध वहभतममहसतमलस हपवधरनर ्ऐ दरगचम ्स हसव
मरवरसरलमरतसय तवर चकच षर पसरषध ्ध मर भध मरर सहमवथर मर तवरहहगच ऐ लसषम॥्स
4 - dhūrasi dhūrva dhūrvantaṁ dhūrva taṁ yo'smān dhūrvati taṁ
dhūrvayaṁ vayaṁ dhūrvāmastvaṁ devānāmasi sasnitamaṁ

papritamaṁ juṣṭatamaṁ vahnitamaṁ devahūtamamahratamasi
havirdhānaṁ dṛgum hasva māhvārmitrasya tvā cakṣuṣā preṣe mā
bhermā samvikhthā mā tvāhiguṁsiṣam ||
4 - अखखलरणडकमहट बसरहरणडनरयकक शस्श ररजररजध शवरर लललतर महरतसरतपरसच नदरर
परर भटस टरररकर महरदध वयष नमम। धभपमरघसररपयरलम॥
4 - akhilāṇḍakoṭi brahmāṇḍanāyaki śrī rājarājeśvari lalitā
mahātripurasundarī parā bhaṭṭārikā mahādevyai namaḥ |
dhūpamāghrāpayāmi ||
धभपरननदसतरऐ आचमनशयऐ समपयर ्रलम॥ dhūpānantaraṁ ācamanīyaṁ
samarpayāmi ||
(take small quantity of uttaraṇi water from vardhanīkalaśa and offer
in the ācamanīya vessel).
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43. दशपम dīpaḥ:
Three types of dīpa-s are discussed here - pañcahāratī dīpaṁ (पञचहररतश
दरपऐ ), ekahāratī dīpaṁ (एकहररतश दरपऐ ) and pūrṇakuṁbha dīpaṁ (पभणकर ्चऐभ
दरपऐ ). Each of these dīpa-s have their own significance which are
explained along with the respective mantras. There is one more dīpa
called kuladīpa (कचलदरप), which comes after ्ऐ naivedya. After kuladīpa,
nīrājana is performed.
Agni is elaborately worshiped in Vedas. There are more number of
verses for Agni, than any other gods in Vedas, as the effects of
oblations offered in yajña-s are carried by Agni to the respective gods.

Rig Veda (VI.2.4) praises Agni thus. “O! Agni! May the mortal who
propitiates the benefactor and the bountiful Lord with intelligent
actions, with the assistance of divine resplendent powers come safe
through the straits of enmity and sin.” (this is a prayer to Agni and
forms the basis for dipārādhana-s).
i) pañcahāratī dīpaṁ:
This is based on Taittirīya Upaniṣad (I.vii). The Upaniṣad says that
different five folds, both external and internal are expressions of
Brahman. What matters is oneness of these multiple five folds. When
a person realizes this, he is the Lord of universe, he becomes one with
Brahman. As far pañcahāratī dīpaṁ is concerned, it refers to the
existence of five folds such as loka pāṅkta , devatā pāṅkta, bhūta
pāṅkta, prāṇa pāṅkta, indriya pāṅkta, dhātu pāṅkta (pāṅkta means
fivefold), etc. Though they exist as fivefold, they ultimately become
one with Brahman and this is conveyed through ekahāratī dīpaṁ,
which follows pañcahāratī dīpaṁ.
Mantra:
4 - पञच हचतम हवष नरमषष ्म। तऐ वर एतऐ पञचहचतगच म ्ससनदसतम।्स पञचहमततस्धयरचकतध परमकध ण।
परमकपपसरयर इव हह दध वरम॥
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4 - अखखलरणडकमहट बसरहरणडनरयकक शस्श ररजररजध शवरर लललतर महरतसरतपच रसनदस्चदरर परर
भटस टरररकर महरदध वयष नमम। पञचहररतश दरपऐ दशरयरलम। दरपननदसतऐ स आचमनशयऐ समपरयरलम।
पच षपम्ष पजभ यरलम॥
4 - pañca huto havai nāmaiṣaḥ | taṁ vā etaṁ pañcahutagum santam |

pañcahotetyācakṣate parokṣeṇa | parokṣapriyā iva hi devāḥ ||
mahātripurasundarī parā bhaṭṭārikā mahādevyai namaḥ | pañcahāratī
dīpaṁ darśayāmi | dīpanantraṁ ācamanīyaṁ samarpayāmi | puṣpaiḥ
pūjayāmi* ||
(* offer only flowers)
ii) ekahāratī dīpaṁ:
4 - उदशसयसव जरतवध दमऽपघनहनदसनऋततऐ मम। पशगभ ्चमशच मह मरवह जशवनऐ च हदशम हदश।
मरनम हहगच ऐ सशजजरतवदध ्म गरमशवऐ पच रषऐ जगत।्स अतसरबरदगन आगहह धशयर मर पररपरतय॥
4 - अखखलरणडकमहट बसरहरणडनरयकक शस्श ररजररजध शवरर लललतर महरतसरतपच रसनदस्चदरर परर
भटस टरररकर महरदध वयष नमम।एकहररतश दरपऐ दशरयरलम॥ दरपननदसतऐ स आचमनशयऐ समपरयरलम।
पच षपम्ष पजभ यरलम॥
4 - uddīpyasva jātavedo'paghnanniṛtiṁ mama | paśūgumśca mahya
māvaha jīvanaṁ ca diśo diśa | māno higuṁsījjātavedo gāmaśvaṁ
puruṣaṁ jagat | abibhradagna āgahi śriyā mā paripātaya ||
mahātripurasundarī parā bhaṭṭārikā mahādevyai namaḥ | ekahāratī
dīpaṁ darśayāmi || dīpanantraṁ ācamanīyaṁ samarpayāmi | puṣpaiḥ
pūjayāmi ||
iii) pūrṇakuṁbha dīpaṁ:
The concept of pūrṇakuṁbha dīpa is to convey that all worldly
desires are burnt by the fuel of non-attachment and with the wick of
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devotion. When the light is lit with the fuel of non- attachment and
with the wick of devotion, the light of knowledge dawns.
4 - वरष रगय तलष सऐ पणभ ्धभकतवततर समहनदत।्ध
पसरबमधपणभ ्र परतस्ध तच जपत दरपऐ पवलमकयध त॥्स
@ पणभ मर दम पणभ ्रलमतदऐ पणभ ्ररतपणभ ्र मच दचयत।्ध
पणभ ्रसय पणभ मर ्रदरय पणभ ्रमध वरलशषयतध ॥
4 – अखखलरणडकमहट बसरहरणडनरयकक शस्श ररजररजध शवरर लललतर महरतसरतपरसनदस्चदरर परर
भटस टरररकर महरदध वयष नमम।एकहररतश दरपऐ दशरयरलम॥ दरपननदसतऐ स आचमनशयऐ समपरयरलम।
पभणकर ्चऐबदरपऐ दशयर ्रलम। दरपननदसतऐ स आचमनशयऐ समपयर ्रलम। पच षपष म पजभ यरलम॥
4 - vairāgya tailasaṁpūrṇe bhaktivarti samanvite |
prabodhapūrṇa pātre tu jñapti dīpaṁ vilokayet ||
@ pūrṇamadaḥ pūrṇamitdaṁ pūrṇāt pūrṇa mudacyate |
pūrṇasya pūrṇamādāya pūrṇamevāśiṣyate ||
mahātripurasundarī parā bhaṭṭārikā mahādevyai namaḥ |
pūrṇakuṁbadīpaṁ darśayāmi | dīpanantraṁ ācamanīyaṁ
samarpayāmi | puṣpaiḥ pūjayāmi ||
@ This couplet is from Bṛhadāraṇyaka Upaniṣad (V.i). It says, “That
(the Brahman) is infinite and this (universe) is infinite. The infinite
proceeds from infinite. Then, taking the infinitude of the infinite
(universe), it remains as the Infinite (the Brahman) alone.”
44. महरनष वधदम ्सmahānaivedyam:
This is known as mahānaivedya because this is done after worshiping
all the āvaraṇa devi-s and this is offered only to Lalitāmbikā and Śiva
in their unified form as explained in Lalitā Sahasranāma (999) śiva-
śakati-aikya-rūpiṇī. Mahānaivedya in navāvaraṇa pūjā is an elaborate
procedure. Having satisfied with the extreme devotion with which
navāvaraṇa pūjā was performed, both Śiva and Śakti “appear in
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person” (visualization happens in the mind of the sādhaka) and take
the offerings. As naivedya is offered to Them, there are procedures to
sanctify and consecrate the offered materials with mantras and
mudras. Apart from cooked food, curd, coconut, fruits and most
importantly viśeṣa arghya in a separate vessel with few ginger pieces
(from the viśeṣa arghya pātra) are to be offered as naivedya.
1. Procedure:
Even at this point of time, both sāmānya arghya and viśeṣa arghya
vessels should not be disturbed. Therefore, while placing the
offerings for naivedya, adequate care should be taken.
A square is to be drawn to the left of the sādhaka (right side of Devi),
with water from sāmānya arghya using an uttaraṇi. Above this square,
place a plank and sprinkle water from vardhanī kalaśa on the plank
and then place the offerings on the plank. After having placed all the
offerings on the plank, prokṣaṇa (sprinkling) is to be done using all
the three arghya-s, vardhanī kalaśa, sāmānya arghya and viśeṣa
arghya.
After prokṣaṇa, there is a four step process for purifying and

consecrating the offerings. They are nirīkṣaṇa (purification by looks),
prokṣaṇa (purification through sprinkling), mudra- pradarśana
(purification through finger gestures) and doṣanirasana (eliminating
impurities arising out of touching and smelling the offerings while
preparing them).
2. Mantras:
i) By reciting mūla mantra, look at naivedya and touch all the vessels
wherein offerings are kept.
ii) Take arghya from sāmānya arghya pātra in the right palm and do
prokṣaṇa on the offerings by saying “4 ऐऐ हसम - 4 aiṁ hraḥ”.
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iii) Again take arghya from sāmānya arghya pātra in right palm and
recite mūla mantra seven times by continuing to hold sāmānya arghya
in the right palm. After completing the seventh repetition, do
prokṣaṇa on the offerings by reciting “4 ॐ जचऐ सम व षटस – 4 om juṁ saḥ
vauṣaṭ (this mantra is part of mṛtyuñjaya mantra). After sprinkling
arghya thus, show chakra mudra. During this process, abhimantrita
arghya turns into nectar for longevity.
iv) Now three bīja-s of pañcabhūta are going to be used for further
purification of naivedya.
a. Keep the left palm facing down and rotate clockwise seven times
over naivedya by reciting vāyju bīja ‘4 यऐ – 4 yaṁ’. This is done with
the intent of removing doṣa-s, if any. Such doṣa-s are dried up by
vāyju bīja.
b. Repeat the above process with right hand by reciting agni bīja ‘4 रऐ
– 4 raṁ’. If any doṣa-s still persist, they are removed by agni bīja.
c. Recite amṛta bīja ‘4 वऐ – 4 vaṁ’ and show dhenu mudra. During
this process we have to contemplate that amṛta (nectar of immortality)
is being showered on naivedya.
v) We have kept viśeṣa arghya in a separate vessel for offering as
naivedya. Now this is to be consecrated. Take viśeṣa arghya from the
viśeṣa arghya pātra in right palm. Do prokṣaṇa three times on viśeṣa
arghya kept for naivedya.
vi) Now by touching the vessel containing viśeṣa arghya kept for
naivedya, recite mūla mantra seven times.
vii) Now touch all the vessels containing naivedya and recite the
following mantra.
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4 कलरऐ करमदघच ्ध आममघध वरदध पवचचध सपर सपर शस्शऐ पर शस्श॥्ऐ
4 klīṁ kāmadughe āmoghe varade vicce spura spura śrīṁ para śrīṁ.
(vicce refers to mind and perpetual bliss; śrīṁ refers to material and
spiritual wealth; para śrīṁ refers to liberation or mokṣa)
After this, show dhenu mudra. After this procedure, all the offerings
become nectar and ready for offering to Them. Now offer pādyam,
arghyam and ācamanīyam to Them.
viii) Now mentally recite mūla mantra three times. Place the viśeṣa
arghya kept for naivedya in the plate where broken coconut (to be
broken into two pieces - nālikera kaṇḍadvayam), fruits, betel leaves
with karpūravīṭikā are kept. By touching this plate with left hand,
naivedya is to be offered to Them now, by reciting the following
mantra.
4 - मभलऐ - सरङस कगरयष सरयधच ्रयष सवरहनरयष सपररवरररयष सवररहतमकरयष
शस्शमहरतसरतपरसनदस्द
च ररपररभरटस टरररकरयष नमम। नष वधदम ्सकलपयरलम नमम॥
4 - mūlaṁ - sāṅgāyai sāyudhāyai savāhanāyai saparivārāyai
sarvātmikāyai namaḥ | śrīmahātripurasundariparābhāṭṭārikāyai
naivedyam kalpayāmi namaḥ ||
Now offer flowers on the Bindu.
ix) Recite the following mantra:
4 - हध मपरतगतऐ हदवयऐ परमरनदसनऐ सच सकऐ ्रतम।्स
पञचधर षरसमपध तऐ गहरण परमध शवरर॥
शकरररपरयसरपपभ घदर वयञचन सऐ यतच म।्स
पवधचतसरधच नध वषदऐ हदमरवध दमरमयहम ्स॥
4 - hemapātragataṁ divyaṁ paramānnaṁ susaṁkṛtam |
pañcadhā ṣaḍrasopetaṁ gṛhāṇa parameśvari ||
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śarkarāpāyasāpūpa ghṛdavyañcana saṁyutam |
vicitraruci nevaidyaṁ hṛdyamāvedamāmyaham ||
x) Normal naivedya procedure:
Recite this mantra (first mantra is turiya gāyatrī mantra)
ॐ भभभ ्चरवसच वम। ततसपवतच वरर ्धणयऐ भगम दध वसय धशमहह। धधयम यम नम पसरचमदयरत।्स
परमरजसध सरवदमम ्स॥

दध वसपवतम पसरसच व। सतयतसऐ वतध न पररपषञचरलम। अमतर ्मपसतरणमलस॥
om bhūrbhuvasuvaḥ | tatsaviturvareṇyaṁ bhargo devasya dhīmahi |
dhioyo yo naḥ pracodayāt | parorajase sāvadom ||
devasavitaḥ prasuva | satyaṁtvartena pariṣiñcāmi |
amṛtopastaraṇamasi ||
(amṛtopastaraṇamasi refers to offering water before offering
naivedya. If the puja is done in the evening or night satyaṁtvartena
pariṣiñcāmi is be replaced with ṛtantvā satyena)
xi) By reciting the following mantra, naivedya is now offered to
Them.
4 ऐऐ पसररणरय सवरहर। 4 कलरऐ अपरनरय सवरहर। 4 स ्म वयरनरय सवरहर। 4 ऐऐ कलरऐ
उदरनरय सवरहर। 4 ऐऐ कलरऐ स ्म समरनरय सवरहर। 4 बसरहणध सवरहर॥
4 aiṁ prāṇāya svāhā | 4 klīṁ apānāya svāhā | 4 sauḥ vyānāya svāhā |
4 aiṁ klīṁ udānāya svāhā | 4 aiṁ klīṁ sauḥ samānāya svāhā | 4
brahmaṇe svāhā ||
Now all naivedya have been offered to Them.
xii) Following mantras ensure Their satisfaction of naivedya offered.
a. 4 - ऐऐ क ए ई ल हसरऐ – आतमततववयरपपतन अखखलरणडकमहट बसरहरणडनरयकक शस्श
ररजररजध शवरर लललतर महरतसरतपरसनदस्चदरर परर भटस टरररकर महरदध वयरम तपर यत।्च
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4- aiṁ ka e ī la hrīṁ - ātmatatvavyāpini akhilāṇḍakoṭi
brahmāṇḍanāyaki śrī rājarājeśvari lalitā mahātripurasundarī parā
bhaṭṭārikā mahādevyāḥ tṛpayatu |

b. 4 - कलरऐ ह स क ल हसरऐ – पवदरततववयरपपतन अखखलरणडकमहट बसरहरणडनरयकक शस्श
4 - klīṁ ha sa ka la hrīṁ - vidyātatvavyāpini akhilāṇḍakoṭi
c. 4 - स ्म स क ल हसरऐ – लशवततववयरपपतन अखखलरणडकमहट बसरहरणडनरयकक शस्श
4 - sauḥ sa ka la hrīṁ - śivatatvavyāpini akhilāṇḍakoṭi
d. 4 - ऐऐ कलरऐ स ्म - मभलऐ – सवरततववयरपपतन अखखलरणडकमहट बसरहरणडनरयकक शस्श
ररजररजध शवरर लललतर महरतसरतपरसनदस्चदरर परर भटस टरररकर महरदध वयरम तपर यतच ॥
4 - aiṁ klīṁ sauḥ - mūlaṁ - sarvatatvavyāpini akhilāṇḍakoṭi
bhaṭṭārikā mahādevyāḥ tṛpayatu ||
Take a few drops of water from sāmānya arghya pātra and offer in
Her left palm.
xiii) Recite the following mantra:
a. 4 - धचतपरतस्ध पसपवसस ्यऐ पवपवधमनध क भकणम ्स।
तनवध दयरलम तध दध पव सरनगच ्रयष जचषरण तत॥्स
4 - citpātre saddhavissaukhyaṁ vividhoneka bhakṣaṇam |
nivedayāmi te devi sānugāyai juṣāṇa tat ||
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b. 4 - मधच वरतर ऋतरयतध । मधच करहनदसत लसनदवम। मरसवशनम्र सनदसतवमषधशम॥

मधच नतमच तमषलस। मधमच तपरधथरवगच ऐ रजम। मधदच ्मरसतच नम पपतर॥
मधमच ्रननम वनसपततम। मधमच ्रगच ऐ असतच सभयम्र। मरसवशगररवम भवनदसतचनम॥
मधच मधच मध॥्च
बसरहरपरणऐ बसरहहपवबसररहरगन बसरहससखमणर हचतम।्स बसरहष व तध न गनदसतवयऐ बसरहकमरसमरधधनर॥
महरनष वधदम ्सतनवध दयरलम॥
4 - madhuvātā ṛtāyate | madhu kṣaranti sindhavaḥ | mādhvīrnaḥ
santvoṣadhīḥ ||
madhu naktamutoṣasi | madhumatpārthivaguṁ rajaḥ | madhudyorastu
naḥ pitā ||
madhumān no vanaspatiḥ | madhumāguṁ astu sūryaḥ | mādhvīrgāvo
bhavantu naḥ ||
madhu madhu madhu ||
brahmārpaṇaṁ brahmahavirbrahmāgnau brahmṇā hutam | brahmaiva
tena gantavyaṁ brahmakarmasamādhinā ||
mahānaivedyam nivedayāmi ||
c. After having offered Them naivedya, we are now offering Them
water to drink.
{Insted of water, pāṇaka (jiggery mixed with water, ginger, lemon,
cardamom powder, etc) or fruit juices are offered}
परर भटस टरररकर महरदध वयरम अमतर परनशयऐ समपयर ्रलम॥
mahātripurasundarī parā bhaṭṭārikā mahādevyāḥ amṛtapānīyaṁ

samarpayāmi ||
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Now, we have to close our eyes and visualize that They ‘taste’ the
naivedya offered. Mūla mantra can be recited as many times as
possible during this contemplation.
d. Now water for drinking is offered to Them. After having offered
Them water to drink, we have to offer Them water to wash Their
hands, to wash Their feet and to gurgle. Following is the mantra.
परर भटस टरररकर महरदध वयरम हसतपसरकरलनम ्स गणडभ षऐ परदपसरकरलनऐ आचमनशयऐ च
कलपयरलम नमम॥
mahātripurasundarī parā bhaṭṭārikā mahādevyāḥ hastaprakṣālanam
gaṇḍūṣaṁ pādaprakṣālanaṁ ācamanīyaṁ ca kalpayāmi namaḥ ||
xiv) Preparation for bali:
IMAGE 33
Draw a square using sandal paste mixed with water by the side of
naivedya. Within this square draw a circle and within the circle draw
a downward facing triangle. Place a plank on this and do prokṣaṇa
with sāmānya arghya by saying ऐऐ हम असतसररयफटस aiṁ hṛḥ astrāyaphaṭ.
On this, place a copper plate. Now transfer small quantities of
naivedya, viśeṣa arghya and sāmānya arghya into the copper plate.
After having completed this process, all naivedya items should be
taken away from the pūjā area. Balidāna will be done towards the end.
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xv) Offering tāmbūla:
Now betel leaves along with karpūravīṭkā are offered to Them. For
this, place betel leaves on a place and on the betel leaves place
karpūravīṭkā and sprinkle them with sāmānya arghya. Now we have
to offer this to Them by reciting this mantra.
4 - पगभ ्शफलसमरयतच ऐ नरगवललरदलष यतच र म।्स कपरर चणभ ्रसऐ यतच ऐ तरबऐ लभ ्ऐ पसरततगहर तरम॥्स
तमरलदल कपरर ्सपगभ भरग समहनदतम।्स एलरपतसच सऐयतच ऐ तरमबलभ ्ऐ पसरततगहर तरम॥्स
4 - pūgīphalasamāyuktaṁ nāgavallīdalairyutam |
karpūracūrṇasaṁyuktaṁ tāṁbūlaṁ pratigṛhyatām ||
tamāladala karpūr pūgabhāga samanvitam | elāpatrasusaṁyuktaṁ
tāmbūlaṁ pratigṛhyatām ||
परर भटस टरररकर महरदध वयरम कपरर तरऐबलभ ्ऐ समपरयरलम॥
mahātripurasundarī parā bhaṭṭārikā mahādevyāḥ karpūratāṁbūlaṁ
samarpayāmi ||
[There are references in both Lalitā Sahasranāma (26 and 559) and
Lalitā Triśatī (14) about karpūravīṭkā. The ingredients used for
preparing karpūravīṭkā are – saffron, cardamom, clove, edible
camphor, kastūri, nutmeg and mace or myristica fragrans or jātipattrī
(arillus of the nut also known as myristica officinalis). The
ingredients are finely powdered and mixed with powdered sugar

candy.]
45. कचलदशपमkuladīpaḥ:
Maṅgalarātrikam was discussed in 22.4 and forms a part of chatuḥ-
ṣaṣṭyupacāra discussed earlier. Nine lamps were used there and the
balance one lamp is to be used here. Place that lamp in a copper or
silver plate and offer dipārādhana three times with this lamp by
reciting this mantra.
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4 – मभलऐ- अनदसतसतध जम बहहसतध ज एकशकरतयरलमतपसरभम।्स
तसरतधर दरपऐ पररररमय कचलदरपऐ तनवध दयध ॥
4 - mūlaṁ - antastejo bahisteja ekīkṛtyāmitaprabham |
tridhā dīpaṁ paribhrāmya kuladīpaṁ nivedaye ||
(The inner light and external light are the same and that light alone
shines bright and I offer you this light as dipārādhana three times.
This dipārādhana signifies Her omnipresence and at the end of
navāvaraṇa pūjā, the sādhaka realises the Truth.)
46. कपरर नशरजनम ्सkarpūranīrajanam:
Generally this nīrājana is done with camphor. But in many places
camphor is prohibited. Instead of camphor, wick with ghee can be
used. There are six mantras for karpūranīrajanam.
Mantra-s:
a) 4 - सममम वर एतसय ररजयमरदतध । यम ररजरसनसररजयम वर सममध न यजतध ।
दध वसच वरमध तरतन हपवगच ऐ पष भवहनदसत। एतरवनदसतम वष तवध ्रनरगच ऐ सवरम। त एवरसमष सवरनस
पसरयचचहनदसत। त एनऐ पच नम सच वनदसतध ररजयरय। दध वसच ररजर भवतत॥

4 -somo vā etasya rājyamādatte | yo rājāsanrājyo vā somena yajate
| devasuvāmetāni haviguṁṣi bhavanti | etāvanto vai tevānāguṁ savāḥ
| ta evāsmai savān prayaccanti | ta enaṁ punaḥ suvante rājyāya |
devasu rājā bhavati ||
(Soma (contextually to be understood as Brahman) bestows kingship
to those who make sacrifices or oblations. These sacrifices are to
Your various energies (different śakti-s and contextually they are
navāvaraṇa devi-s), who offer kingship to those who perform
sacrifices without any desires.)
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(b) 4 - सरसरजयऐ भमजयऐ सवरररजयऐ वष ररजयऐ पररमध पपकऐ ररजयऐ
महरररजयमरधधपतयम ्स॥
4 - sāmrājyaṁ bhojyaṁ svāarājyaṁ vairājyaṁ pārameṣṭhikaṁ
rājyaṁ mahārājyamādhipatyam ||
(Let us enjoy big empires with sub-kingdoms and sub rulers. Let my
own empire flourish. Let my empire continue as per my dictates. Let
a glorious government enjoy full power.)
c) 4 - न ततस ्ससय
भ म भरतत न चनदसरतररकऐ नमध ्र पवदच तम भरहनदसत कचदमऽयमयहगनम। तमध व
भरनदसतमनच भरतत सवरऐ तसय भरसर सवलरमदऐ पवभरतत॥
4 - na tatr sūryo bhāti na candratārakaṁ nemā vidyuto bhānti
kudo'yamayagniḥ | tameva bhāntamanubhāti sarvaṁ tasya bhāsā
sarvamidaṁ vibhāti ||
(In the presence of Brahman, the sun does not shine, nor do the moon
and stars, nor does lightning, let alone this fire. When Brahman
shines, everything follows. By Its Light, all these are lighted - Kaṭha
Upaniṣad (II.ii.15).
d) 4 - मनसम करममरकभ ततऐ वरचससतयमशशमहह। पशभनरऐ रपमनदसनसय मतय शस्शम
शयतरऐ यशम ॥
4 - manasaḥ kāmamākūtiṁ vācassatyamaśīmahi | paśūnāṁ
rūpamannasya mayi śrīḥ śrayatāṁ yaśaḥ ||
(Please bless me with positive and compassionate thoughts,
overflowing happiness, truth in my speech, bountiful cows, bountiful
food and fame.)
e) 4 - ररजरधधररजरय पसरसह सरहहनध नममवयऐ वशस्ष वणरय कचमरहध । समध करमरऐ
करमकरमरय महम ्स। मरहध शवरम वशस्ष वणम ददरतच । कचबध ररय वशस्ष वणरय महरररजरय
नमम॥
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4 - rājādhirājāya prasahya sāhine namovayaṁ vaiśravaṇāya
kurmahe | samekāmāṁ kāmakāmāya mahyam | māh```````eśvaro
vaiśravaṇo dadātu | kuberāya vaiśravaṇāya mahārājāya namaḥ ||
(We worship and praise Kubera, who is the lord of lords and who is
the giver of all victories. He, who is the fulfiller of all desires and the
lord of wealth, let him bless me with enough wealth to fulfil all my
desires. Praises to you Kubera, the lord of wealth and king of kings.)
f) 4 - अखखलरणडकमहट बसरहरणडनरयकक शस्श ररजररजध शवरर लललतर महरतसरतपरसनदस्द

च रर परर
भटस टरररकर महरदध वयरम कपरर नशरजनम ्सदशयर ्रलम नमम ॥

mahātripurasundarī parā bhaṭṭārikā mahādevyāḥ karpūranīrajanam
darśayāmi namaḥ ||
After showing karpūranīrajanam, place it down and show yoni mudra
to Her. After yoni mudra, recite navākṣarī ratneśvarī mantra (नवरकरर
रतनध शवरर).
g) 4 śrīṁ hrīṁ glūṁ slūṁ mlūṁ plūṁ nlūṁ hrīṁ śrīṁ ॥
4 शस्शऐ हसरऐ गलभऐ सलभऐ मलभऐ सलभऐ नदसलऐ भ हसरऐ शस्शऐ॥
After completing the recitation, show chakra mudra and again show
karpūranīrajanam to Her. After showing, place the karpūranīrajana
plate/ pātra down and offer ācamana thus. Take water from vardhanī
kalaśa in the uttaraṇi and recite the following mantra.
h) 4 - नशररजनरननदसतरऐ आचमनशयऐ कलपयरलम॥
4 - nīrājanānantaraṁ ācmanīyaṁ kalpayāmi ||
Take flowers and place on Śri Cakra by reciting the following mantra.
i) 4 - अखखलरणडकमहट बसरहरणडनरयकक शस्श ररजररजध शवरर लललतर महरतसरतपरसनदस्चदरर परर
भटस टरररकर महरदध वयष नमम। पच षपष म पजभ यरलम॥
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mahātripurasundarī parā bhaṭṭārikā mahādevyai namaḥ | puṣpaiḥ
pūjayāmi ||
47. मनतसरपषस्प
च म ्सmantrapuṣpam
Take flowers in both hands and recite the following mantra. Flowers
can be given to everyone, who is present. Now recite the following

mantras.
a) यमपरऐ पषस्प
च ऐ वध द। पषस्चपवरनपसरजरवरनपशच मरनभवतत। चनदसरमर वर अपरऐ पषस्चपम।्स
पषस्चपवरनपसरजरवरनपशमच ्रनभवतत।
य एवऐ वध द। यमपरमरयतनऐ वध द। आयतनवरन ्स भवतत॥
yopāṁ puṣpaṁ veda | puṣpavān prajāvān paśumān bhavati | candramā
vā apāṁ puṣpam | puṣpavān prajāvān paśumān bhavati |
ya evaṁ veda | yopāmāyatanaṁ veda | āyatanavān bhavati ||
b) अहगनवरर अपरमरयतनम ्स। आयतनवरन ्स भवतत। यमगनध ररयतनऐ वध द।
आयतनवरन ्स भवतत। आपमवर अगनध ररयतनम ्स। आयतनवरन ्सभवतत।
agnirvā apāmāyatanam | āyatanavān bhavati |yognerāyatanaṁ veda |
āyatanavān bhavati | āpovā agnerāyatanam | āyatanavān bhavati |
c) वरयवच रर अपरमरयतनम ्स। आयतनवरन ्स भवतत। यमवरयमररयतनऐ वध द।
आयतनवरन ्स भवतत। आपमवष वरयमररयतनम ्स। आयतनवरन ्स भवतत।
vāyurvā apāmāyatanam | āyatanavān bhavati | yovāyorāyatanaṁ veda
| āyatanavān bhavati | āpovai vāyorāyatanam | āyatanavān bhavati |
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d) अस वष तपनदसनपरमरयतनम।्स आयतनवरनभवतत। यमऽमच षयतपत आयतनऐ
वध द। आयतनवरनस भवतत। आपमवर अमच षयतपत आयतनम।्स आयतनवरनस
भवतत।

asau vai tapannapāmāyatanam | āyatanavān bhavati | yo'muṣyatapata
āyatanaṁ veda| āyatanavān bhavati | āpovā amuṣyatapata āyatanam |
āyatanavān bhavati |
e) चनदसरमर वर अपरमरयतनम ्स। आयतनवरन ्स भवतत। यषचनदसरमस आयतनऐ वध द।
आयतनवरन ्स भवतत। आपमवष चनदसरमस आयतनम ्स। आयतनवरन ्स भवतत।
candramā vā apāmāyatanam | āyatanavān bhavati | yaṣcandramasa
āayatanaṁ veda| āyatanavān bhavati | āpovai candramasa āyatanam |
āyatanavān bhavati |
f) नकतस्रखणवर अपरमरयतनम ्स। आयतनवरन ्स भवतत। यमनकतस्रणरमरयतनऐ वध द।
आयतनवरन ्स भवतत। आपमवष नकतस्रणरमरयतनम ्स। आयतनवरन ्स भवतत ।
nakṣatrāṇivā apāmāyatanam | āyatanavān bhavati |
yonakṣatrāaṇāmāyatanaṁ veda| āyatanavān bhavati | āpovai
nakṣatrāṇāmāyatanam | āyatanavān bhavati |
g) पजरनदमवर अपरमरयतनम ्स। आयतनवरन ्स भवतत। यमपजरनदसयरयतनऐ वध द।
आयतनवरन ्स भवतत। आपमवष पजरनदसयरयतनम ्स। आयतनवरन ्स भवतत।
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parjanyovā apāmāyatanam | āyatanavān bhavati |

yaḥparjanyasyāyatanaṁ veda | āyatanavān bhavati | āpovai
parjanyasyāyatanam | āyatanavān bhavati |
h) सऐ वतसरमवर अपरमरयतनम ्स। आयतनवरन ्स भवतत। यससऐ वतसरसयरयतनऐ वध द।
आयतनवरन ्स भवतत। आपमवष सऐ वतसरसयरयतनऐ । आयतनवरन ्स भवतत।
य एवऐ वध द। यमऽससच नरवऐ पसरततपपतरऐ वदध । पसरतयध वधतपततत॥
saṁvatsarovā apāmāyatanam | āyatanavān bhavati |
yassaṁvatsarasyāyatanaṁ veda | āyatanavān bhavati | āpovai
saṁvatsarasyāyatanaṁ | āyatanavān bhavati |
ya evaṁ veda | yo'psunāvaṁ pratiṣṭhitāṁ veda | pratyevetiṣṭhati ||
i) ररजरधधररजरय पसरसह सरहहनध नममवयऐ वष शवणरय कचमहर ्ध। समध करमरऐ करमकरमरय महम।्स
करमध शवरम वशस्ष वणम ददरतच । कचबध ररय वष शवणरय महरररजरय नमम॥
rājādhirājāya prasahya sāhine namovayaṁ vaiśravaṇāya kurmahe |
samekāmāṁ kāmakāmāya mahyam | kāmeśvaro vaiśravaṇo dadātu |
kuberāya vaiśravaṇāya mahārājāya namaḥ ||
j) ॐ तदस बसरह। ॐ तदस वरयच म । ॐ तदरतमर। ॐ ततसतय।्ऐ ॐ ततसव। ॐ तत ्स ्रऐ
पच रमरस नमम। अनदषचरतत भभतधषचगच हरयरऐ पवशवमभततशर ्च। तवऐ यजस ्स तवऐ वशटस कररस ्स तवऐ
इनदसरस ्सप्ऽगच ऐ ररस ्सतवऐ पवषणच सतवऐ बसरहसतवऐ पसरजरपततम। तवऐ तदरप आपम जयमतश रसमऽ्स्चतऐ
बसरह भभभ ्चवर ससवच रमम॥्स
om tad brahma | om tad vāyuḥ | om tadātmā | om tat satyaṁ | om tat
sarvaṁ | om tat puror namaḥ | andaṣcarati bhūdeṣu guhāyāṁ
viśvamūrtiśu | | tvaṁ yajñas tvaṁ vaśaṭkāras tvaṁ indras dva'guṁ
rudras tvaṁ viṣṇusttvaṁ brahmastvaṁ prajāpatiḥ | tvaṁ tadāpa āpo
jyotī raso'mrutaṁ brahma bhūrbhuvassuvarom ||

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Meaning (a to j)
That one who knows the flowers of water, he becomes the possessor
of flowers, cattle and progeny. Moon is the flower of the water. He
who knows it to be so, he becomes the possessor of cattle and
progeny. That one who knows the source of the water, he becomes
established in his Self. Fire is the source of water. He who knows the
source of fire, he becomes established in his Self. Water is the source
of fire. He who knows it to be so, he becomes established in his Self.
That one who knows the source of the water, he becomes established
in his Self. Air is the source of water. He who knows the source of
air, he becomes established in his Self. Water is the source of air. He
who knows it to be so, he becomes established in his Self. That one
who knows the source of the water, he becomes established in his
Self. The scorching sun is the source of water. He who knows the
source of the scorching sun, he becomes established in his Self. Water
is the source of the scorching sun. He who knows it to be so, he
becomes established in his Self. That one who knows the source of
the water, he becomes established in his Self. Moon is the source of
water. He who knows the source of moon, he becomes established in
his Self. Water is the source of moon. He who knows it to be so, he
becomes established in his Self. That one who knows the source of
the Water, he becomes established in his Self. The Stars is the source
of water. He who knows the source of the stars, he becomes
established in his Self. Water is the source of the stars. He who knows
it to be so, he becomes established in his Self. That one who knows
the source of the water, he becomes established in his Self. Cloud is
the source of water. He who knows the source of the clouds, he
becomes established in his Self. Water is the source of the Clouds.
He who knows it to be so, he becomes established in his Self. That
one who knows the source of the water, he becomes established in his
Self. Rainy season is the source of water. He who knows the source
of rainy season, he becomes established in his Self. Water is the
source of rainy season. He who knows it to be so, he becomes
established in his Self. He who knows the raft that is established in
the water, he becomes established in that itself.
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We worship and praise Kubera, who is the lord of lords and who is
the giver of all victories. He, who is the fulfiller of all desires and the
lord of wealth, let him bless me with enough wealth to fulfil all my
desires. Praises to you, Kubera, the lord of wealth and king of kings!!
ॐ alone is that Parabrahman. ॐ alone is that vāyu (air) and ॐ alone
is Ātman. ॐ alone is the Truth. ॐ is verily everything; ॐ only is the
existence of such a person known by the word Tat and to this ॐ I
salute.
i) लशवध लशवसच लशतलरमतर तरङस कग गनदमललसनदसनवरवरण दध वतध
नवनवरमतर सयहनदतन।
गरकस रमपरसकरतध गणच शररर तनतयमजजवलध षडङस कग पररवरररतध कललत एष
पषस्चपरञजललम॥
śive śivasuśitalāmṛta taraṅga gandhollasannavāvaraṇa devate
navanavāmṛtasyandini |
gurukramapuraskṛte guṇaśarīra nityojjvale ṣaḍaṅga parivārite kalita
eṣa puṣpāñjaliḥ ||
(O! The auspicious one, the embodiment of navāvaraṇa devi-s; Your
sandal fragrance originates from the drops of nectar of Śiva and you
too continue to shower fresh nectars. You are realized through Guru
Lineage. You are the embodiment of three guṇa-s (Lalitā
Sahasranāma 397, mūlaprakṛtiḥ) and You are surrounded by six aṅga
devatā-s (ṣaḍaṅga śakti sahita- with six śakti-s; ṣaḍaṅga śakti can be
explained in two ways. If we go with Bālāṣaḍaṅga nyāsa, then these
six śakti-s can be interpreted as hṛdaya, śira, śikhā, kavaca, netra and
astra śakti-s. We can also contemplate these śakti-s as Her six powers
such as omniscience, completeness, supreme levels of consciousness,
freedom, everlasting power and infinity). Please accept my flower
offerings.)
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48. उपचरररमupacārāḥ:
This is different from chatuḥ-ṣaṣṭyupacāra discussed under 22.4. The
upacāra under discussion here adores Her by recitations from four the
Vedas, hymns (stotra) in Her praise, rendering songs in Her praise.

Apart from the above, generally cāmaraṁ is used for fanning Her
during the above recitations. Veda recitations should not be done,
unless one is very conversant with Veda recitations.
The following recital can be made duly filling the blanks as detailed
below.
दध वदध वमतमध दध वत सवरभ म अखखलरणडकमहट बसरहरणडनरतयकध ------ पपसरयध ******
मवधररय॥
devadevottame devata sarvabhauma akhilāṇḍakoṭi brahmāṇḍanāyike
------- priye ******* mavadhāraya ||
------- is to be filled what is to be recited ****** is again to be filled
with what is mentioned in -------
Suppose Rig Veda is to be recited, then ------ is to be filled with Rig
Veda and ****** is also to be filled with Rig Veda. Example is given
here.
Example:
दध वदध वमतमध दध वतर सवरभ म अखखलरणडकमहट बसरहरणडनरतयकध ऋगस वध द पपसरयध ऋगस वध द
मवधररय॥
devadevottame devatā sarvabhauma akhilāṇḍakoṭi brahmāṇḍanāyike
ṛg veda priye Ṛg Veda mavadhāraya ||
Generally Rig Veda, Yajur Veda, Sāma Veda, Atharva Veda, stora
and saṅgita.
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49. करमकलरदरनम ्सkāmakalādyānam:
This is known as kāmakalā meditation. There are two types of

kāmakalā meditation. One is subtle and another is gross. This is to be
done with intent concentration. Some worshipers do this separately
in solitude after completing navāvaraṇa pūjā.
i) Gross kāmakalā meditation:
It is about the union of two supreme powers of the universe Śiva and
Śakti, the one without the other is inefficacious to create and sustain
the universe. Śiva alone has Power, but He does not use His Power
directly. Śiva by means of a Power of Attorney, transforms a
miniscule of His Svātantrya Śakti (unique and absolute power of
Śiva) to Śakti. Śiva is in the form of Light (Prakāśa) and it is Śakti
who diffuses this Light and the universe is created. Śiva is
contemplated with the first letter of Sanskrit अ (a) and Śakti is
contemplated with the last letter of Sanskrit ह (ha). When these two
letters unite, this union gives rise to अहऐ (ahaṁ), which means “I”. This
is not merely the union of two letters, but the union of Prakāśa and
Vimarśa, also known as union of Śiva and Śakti and Sāmarasya-

parāyaṇā (Lalitā Sahasranāma 792). Śiva is Self-illuminating
Brahman and Śaktī is His svabhāva. Svabhāva means nature, innate
or inherent disposition. The nature of Śiva is reflected through Śaktī.
Śiva can realise His Self only in Śaktī, who acts as a mirror to Him.
Śaktī is the power of doership of Śiva. It is said that the ultimate
reality were to be merely Śiva, He would become inert. Brahman
cannot become inert. Though Śiva continues to be inert, Śaktī, the
power holder of Śiva acts as the energetic force in creation,

sustenance and dissolution of the universe. Therefore Śiva without
Śaktī or Śaktī without Śiva becomes torpid. They are known as the
parent of the universe. Contemplating the union of Śiva and Śakti
leads to the realisation of अहऐ . What is realized as अहऐ (अहऐ means ‘I”)?
The Self (Brahman) is realized as अहऐ . This contemplation is known
as gross kāmakalā meditation. This is explained in all the Upaniṣad-
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s as Cit-ānandā. Saundaryalaharī (verse 19) also explains about
kāmakalā. “The one who meditates on Your Kāmakalā form with
Your face as bindu; below Your face, Your two bosoms and still
below that, the triangle, the creative aspect of Śiva causes immediate
agitation in the minds of women of three worlds, who have sun and
moon as their bosoms towards the aspirant.”
ii) Subtle kāmakalā meditation:
In gross the meditation was on अहऐ (union of Śiva and Śakti). In subtle
meditation, contemplation is to be done on the akṣara ई (īṁ). This
kāmakalā is explained in detail in Lalitā Sahasranāma (322)
Kāmakalā rūpā which can be read in this link. This is about
contemplating Her bosoms and yoni and visualizing our merger with
Her for the purpose of cessation from the pains of transmigration and
ultimate unto Śiva.
iii) Mantras for contemplation.
(Essence of above discussion is given in these two verses.)

a) महरमनदसतरस रजरनदसत बशजऐ पररसयऐ सवतम नदसत तसरबनदसच वयऐ नदसत हरदरम।्स भपवकतस
वकमज गच हरलभधरनऐ सवरपऐ सकरदसभरवयध तस तवमध व॥
mahāmantrarājānta bījaṁ parākhyaṁ svato nyasta hārdam |
bhavadvaktra vakṣoja guhyābhidhānaṁ svarūpaṁ sakṛdbhāvayet sa
tvameva ||
b) तथरनदध पवकलपषध ्च तनपवणस्र ण धचतरसतदध कऐ समरधरय तसरबनदतस्चयऐ तध । पररननदसऐ दरधरन
लसनद तनमगनरम पनच गरभरर नदसरऐ न पशयहनदसत धशररम॥
tathānye vikalpeṣu nirviṇṇa citāstadekaṁ samādhāya bindutrayaṁ te
| parānandasaṁdādhāna sindhau nimagnāḥ punargarbharandhraṁ na
paśyanti dhīrāḥ ||
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50. बशलदरनम ्सbalidānam:
Bali is meant for extraterrestrial beings (referring to all disruptive
forces such as certain demigods, semi-divine beings, household
divinities, spirits, etc in our spiritual journey). In order to satiate their
hunger and in order to please them, bali is offered. This also refers to
bhūta-yajña out of five mahā-yajñas (Lalitā Sahasranāma 946 -
pañcayajña-priyā). Difference between naivedya and bali is that
naivedya should be consumed by the worshipper and bali should not
be consumed. Bhagavad Gītā (III.13) says, “Those who eat the
remnants of fire oblations (yajña) are freed from all sin (referring to
naivedya). But the sinners who eat food merely to nourish their
bodies consume only sin.”
There is another interpretation for bali. Naivedya is meant for the

Divine in whose favour pūjā is done. After naivedya is performed, it
can be distributed to everyone. Bali is meant for all other Divinities,
except the one in whose favour pūjā is done; but mostly, this version
is neither accepted nor followed.
Bali pātrā was already established during mahānaivedya (42.14).
Now worship the base (maṇḍala, on which a plank was placed) with
flowers and akṣata with the following mantra.
4 - ऐऐ वयरपकमणडलरय नमम। 4 - aiṁ vyāpakamaṇḍalāya namaḥ |
Procedure:
Take water from vardhanī kalaśa in uttaraṇi using right hand. Form
tattva mudra (connecting left ring finger and the thumb) and pour the
water from the uttaraṇi through tattva mudra (shown here) on the
contents of bali pātrā. After doing this place the uttaraṇi back in the
vardhanī kalaśa. Now clap using both the hands three times. Now
look up and show bāṇa mundra (bāṇa means arrow). There are two
types of bāṇa mudra. One is to use both the hands as if we are
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releasing an arrow from a bow. Alternatively, avakuṇṭha mudra using
right hand can be shown.
Recite the following manra three times.
4- ॐ हसरऐ सवपरवघनकरदसरभयम सवभर ्भतधभरयम हचऐ फटस सवरहर।
4 - om hrīṁ sarvavighnakṛdbhyaḥ sarvabhūtebhyo huṁ phaṭ svāhā |
Move the bali pātrā along with the contents towards nirṛti cardinal
and then remove from there. Sprinkle water on that place.
After doing balidāna, do ācamana (part 1 -3) and bhūtaśuddhi (part 4
– 14). If the worshipper himself removes the bali pātrā, then he should
wash his/her feet and after resuming his seat, ācamana and
bhūtaśuddhi should be done.
51. जपम japaḥ:
Now do japa with initiated mantras.
52. गच र वनदनम ्सGuru vandanam:
This is offering our respects to our Guru, who has initiated mantras.
Only few lineages do this worship here. Some traditions treat this
section by reciting verses in Her praise apart from including verses in
praise of Guru. Not only the Guru, but also Paramaguru and
Parameṣṭhiguru (Gurytraya) are worshiped in this section.
Following verses are recited.
i) अजरनततलमररनदसय जरनरञजन शलरकयर।
चकच रनदसमशललतऐ यध न तसमष श्

स श गरवध नमम॥
ii) बसरहरननदऐ परमसखच दऐ कधवलऐ जरनमभततमर ्स
प्नदसप्रतशतऐ गगनसदरशऐ ततवमसयरहद लकयम ्स।
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एगऐ तनतयऐ पवमलमचलऐ सवधर ्श सरककभभतम ्स
भरवरतशतऐ तसरतगणच रहहतऐ सदसगरऐ तऐ नमरलम॥
iii) नमसतध नरथ भगवरनलशवरय गररपपणध ।
पवदरवतरर सऐ लसदस्यष सवशकरतरनध क पवगसरह॥
i) ajñānatimirāndhasya jñānāñjana śalākayā |

cakṣurunmīlitaṁ yena tasmai śrī gurave namaḥ ||
ii) brahmānandaṁ paramasukhadaṁ kevalaṁ jñānamūrtim
dvandvātītaṁ gaganasadṛśaṁ tatvamasyādi lakṣyam |
egaṁ nityaṁ vimalamacalaṁ sarvadhī sākṣibhūtam
bhāvātītaṁ triguṇarahitaṁ sadguruṁ taṁ namāmi ||
iii) namaste nātha bhagavān śivāya gururūpiṇe |
vidyāvatāra saṁsiddhyai svīkṛtāneka vigraha ||
Meaning:
i) I pay my obeisance to my Guru, who has opened my eyes through
knowledge, which remained blinded due to my spiritual ignorance.
ii) I prostrate my Guru, who in the form eternal Bliss, eternal
prosperity, knowledge, beyond all dyads, infinite like the sky, knower
of Brahman, incomparable, eternal, pure, unimpaired, beyond
perception and the one who has transcended the three guṇas.
iii) O! Protector and adorable! You attain different forms in order to
help me attain perfection in Śrī Vidyā and I prostrate before you, an
incarnation of Śiva.
Now obeisance is offered to Guru-traya.
iv) अमच करननदनरथरय
अमच करननदनरथरय
1 मम शस्शगरवध नमम।
2 गरवध परमरय मध ।
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अमच करननदनरथरय
Amukānandanāthāya1 mama śrīgurave namaḥ |
Amukānandanāthāya2
Amukānandanāthāya3
Note:
Replace 1 with one’s svaguru dīkṣā nāma;
Replace 2 with one’s paramāguru’s dīkṣā nāma;
Replace 3 with one’s parameṣṭhiguru’s dīkṣā nāma.
Meaning:
I pay my obeisance to my Guru, Paramāguru (Guru’s Guru) and
Parameṣṭhiguru (Guru’s Guru’s Guru). They are known as Gurutraya.
v) बरल भरवरनसच ्ररध ण ममध दऐ हह पवचध पषटतम।्स
मरतवर ्रसतलय सदरशऐ तवयर दध पव पवधशतरम॥्स
bāla bhāvānusāreṇa mamedaṁ hi viceṣṭitam |
mātṛvāstalya sadṛśaṁ tvayā devi vidhīuatām ||
Meaning:
I described the attributes of my Guru to You (Lalitāmbikā) like a child
describing to its mother. O! Divine Mother! Please approve my
description of my Guru with motherly love.
(This underlines the importance of Gurus and mantra initiation should
be taken only from Self-realized Guru-s.)
If Guru is available in the place where pūjā is done, worship him with
mṛgī mudra and yoni mudra.
3 गरवध परमध पपन॥्ध

gurave paramāya me |
gurave parameṣṭhine ||
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53. सच वरशसनश पजभ ्र suvāsinī pūjā:
Suvāsin means a married woman living with her husband. For the
purpose of suvāsinī pūjā in navāvaraṇa pūjā, suvāsin-s are classified
into two types – initiated into Śrī Vidyā and not initiated into Śrī
Vidyā. Suvāsin-s are invited to the place where navāvaraṇa pūjā is
performed and they are worshiped as Lalitāmbikā. Viśeṣa arghya is
offered to the invited suvāsin-s goes to prove that the invited suvāsinī
or suvāsin-s are considered as embodiment of Lalitāmbikā and all
respects paid to Lalitāmbikā are paid to them. This procedure is
generally done only by those who follow dakṣiṇācāra and the worship
is done only to their feet.
Lalitā Sahasranāma 970 says that Lalitāmbikā Herself is a Suvāsinī
and the next nāma says that She is fond of worshiping suvāsin-s
(Suvāsinyarcana-prītā). Qualities of suvāsin-s are described in
Vālmīki Rāmāyaṇa. Lalitāmbikā is also known Mahāsuvāsinī.
Anasūya says in Vālmīki Rāmāyaṇa (ayodhākāṇḍa, Canto 117,
verses 22 to 24). “O! Proud Sītā! Worlds that are attended with great
prosperity await those women to whom their husband is dear, no
matter whether he lives in a city or a forest, whether he is propitious
or adverse. In the eyes of women who are blessed with a noble

disposition, the husband is the highest deity, no matter whether he is
ill-mannered or licentious or entirely devoid of riches. Though
deeply pondering, I do not see for a woman, a friend greater than her
husband and more capable of yielding one’s desired object at all
places like the imperishable fruit of one’s austerities.”
Again in Canto 39 verse 22 says (Rāma’s mother Kausalyā speaks to
Sītā thus) “Neither noble birth nor good turn, nor learning, nor gift
nor even marriage ties capture the heart of such women, who are in
fact devoted to good conduct, truthfulness and the percept of their
elders and keep within the bounds of decorum laid down for their
family, their husband is the most sacred object and he alone excels
all.”
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Yet again Sītā says (Sundarakāṇḍa – canto 24 – verse 9), “I am
devoted to my husband, Śrī Rāma, the foremost of the Ikṣvākus, in
the same way as the highly blessed Śacī waits upon Indra, as does
Arundhatī upon sage Vasiṣṭha and Rohiṇī (the foremost of the twenty
seven spouses of the moon god, presiding over the same number
constellations appearing in the sky) on the moon god, as does,
Lopāmudrā upon sage Agastya and Sukanyā did upon sage Cyavana,
as Sāvitrī did upon Satyavān and Śrīmatī upon Lord Kapila, as
Madayantī did upon King Saudāsa and Keśinī upon King Sagara, and
as Damayantī, daughter of Bhīma, was devoted to her husband,
Nala.”
Based on the above references in Rāmāyaṇa, suvāsini not merely
means the one who is well dressed, but also endowed with the above
qualities. Some are of the view that suvāsinī pūjā is done only for
Lalitāmbikā as Mahāsuvāsinī. However, one should follow what his
or her Guru says. But, in general it is better to perform suvāsinī pūjā
at the end of navāvaraṇa pūjā and also during navarātrī, puraścaraṇa
at the end of homa (Havana), and all other auspicious occasions.
Suvāsinī pūjā, if possible should be done by the sādhaka and his or
her spouse.
Procedure:
1) Invite suvāsinī and offer her a seat. She should wash her feet
thoroughly before taking the seat offered. If suvāsinī is not initiated
into Śrī Vidyā, Bhuvaneśvarī mantra and Bālā mantra should be
initiated to her through a simple initiation procedure. Recite
Bhuvaneśvarī mantra followed by Bālā mantra (om hrīṁ followed by
om aiṁ klīṁ sauḥ - ॐ हसरऐ followed by ॐ ऐऐ कलरऐ स ्म) and ask her to
repeat. The purpose of this initiation is that viṣeśa arghya is generally
not given to those who are not initiated into Śrī Vidyā (at this point
of time). Secondly, worshiping a suvāsinī means worshiping
Lalitāmbikā and it is expected that such a suvāsinī is a devotee of
Lalitāmbikā. If Bhuvaneśvarī and Bālā mantras are initiated, it means
that the suvāsinī is initiated into Śrī Vidyā cult.
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2) Wash the feet (pādaprakṣālana) of suvāsinī, first with water
followed by milk and again by water and dry her feet with a towel.
For this purpose, a plate is used to keep her feet. At the end of
pādaprakṣālana, this plate is removed and replaced with a plank to
enable her to keep her feet on the plank. Now apply turmeric paste to
her feet (this is known as nalaṅgu), place kumkum on both the feet
followed by offering akṣata and flowers.
3) Then a new saree with blouse (top) is given. (Generally, suvāsin-s
are decided much earlier and blouse pieces and sarees are given to
them in advance, so that they can wear the clothes offered to them
and attend the function.)
4) Now recite the following mantra and offer viṣeśa arghya to her in
a small cup called alipātra (like ātmapātra). While receiving alipātra,
she should receive the cup in her left hand using only the thumb,
index and ring fingers (this appears like a tripod). This mantra is to
be addressed to her.
अललपरतसऐ इदऐ तच भरयऐ दरयतध पपलशतरहनदतम।्स
सवशकरतय सच भगध दध पव यशम दध हह ररपनभ ्सदह॥
alipātraṁ idaṁ tubhyaṁ dīyate piśitānvitam |
svīkṛtya subhage devi yaśo dehi ripūn daha ||
(O! The auspicious one! This cup containing nectar (viṣeśa arghya)
is given to you. Please drink this nectar and bless us to overcome our
desire, anger and other afflictions and lead us to a happy and reputed
life.)
Now worship her with yoni mudra.
5) Suvāsinī after receiving alipātra in her left hand as described
above, should join the thumb, index and ring fingers (exactly in the
same way as explained above, but with the right hand here) and take
a few drops of viṣeśa arghya from alipātra and should place the drops
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on her head twice. These drops are meant for her Guru (if she is not
initiated into Śrī Vidyā, then these drops are meant for Śiva). If she is
initiated into Śrī Vidyā, she should recite her Guru pādukā mantra.
After doing this, she has to drink a portion of viṣeśa arghya and
returns alipātra with viṣeśa arghya back to the sādhaka with the
following mantra. If she does not know the mantra, someone who
knows the mantra can recite the mantra on her behalf.
वतस तच भरयऐ मयर दतऐ पशतशध षऐ कचलरमतर म।्स
तवचछतनभ ्ससऐहररषयरलम तवरभशषटऐ ददरमयहम ्स॥
vatsa tubhyaṁ mayā dattaṁ pītaśeṣaṁ kulāmṛtam |
tvacchatrūn saṁhariṣyāmi tavābhīṣṭaṁ dadāmyaham ||
(Suvāsinī, who is the embodiment of Lalitāmbikā grants the wishes
of the sādhaka and gives back the balance of viṣeśa arghya as prasāda
to him/her).
After having given the alipātra with remaining viṣeśa arghya (this is
known as ucchiṣṭa, meaning remains of the food), she shows yoni
mudra to the sādhaka.

6) Now the sādhaka has to do ṣoḍaśa upacāra to the suvāsinī thus.
i) Offer flowers at suvāsini’s feet by reciting this mantra.
परर भटस टरररकर महरदध वयरम सच वरलसनश सवरपध न आवहयरलम नमम ॥
mahātripurasundarī parā bhaṭṭārikā mahādevyāḥ suvāsinī svarūpena
āvahayāmi namaḥ ||
ii) Again offer flowers at suvāsini’s feet by reciting this mantra.
4 - सच वरलसनदष नमम। आसनऐ समपरयरलम॥
4 - suvāsinyai namaḥ | āsanaṁ samarpayāmi ||
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iii) Offer viṣeśa arghya in her hands.
4 - सच वरलसनदष नमम। अघयरम ्ससमपरयरलम॥
4 - suvāsinyai namaḥ | arghyam samarpayāmi ||
iv) Offer sāmānya arghya in her hands.
4 - सच वरलसनदष नमम। आचमनशयऐ समपरयरलम॥
4 - suvāsinyai namaḥ | ācamanīyaṁ samarpayāmi ||
v) Now do prokṣaṇa on her using water from vardhanī kalaśa. During
this process, śrīsūktam and durgāsūktam can be recited, if time
permits.
4 - सच वरलसनदष नमम। मनदसतसनरनऐ समपरयरलम॥
4 - suvāsinyai namaḥ | mantrasnānaṁ samarpayāmi ||
vi) Offer her saree, etc. (as they are already offered to her, now it can
be done through bhāvanā (contemplation).

4 - सच वरलसनदष नमम। वसतसरम ्ससमपरयरलम॥
4 - suvāsinyai namaḥ | vastram samarpayāmi ||
vii) Now offer her ornaments (generally bangles, mirror, etc are
given).
4 - सच वरलसनदष नमम। आभरणरतन समपरयरलम॥
4 - suvāsinyai namaḥ | ābharaṇāni samarpayāmi ||
ix) Now offer her sandal paste in a cup.
4 - सच वरलसनदष नमम। हदवय पररमल गनदम ्ससमपरयरलम॥
4 - suvāsinyai namaḥ | divya parimala gandham samarpayāmi ||
x) Now offer haridrākumkum.
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4 - सच वरलसनदष नमम। हदवय हररररकचमकचम ्ससमपरयरलम॥
4 - suvāsinyai namaḥ | divya haridrākumkum samarpayāmi ||
xi) Now offer her dhūpaṁ.
4 - सच वरलसनदष नमम। धभपऐ आगसररपयरलम॥
4 - suvāsinyai namaḥ | dhūpaṁ āgrāpayāmi ||
xii) Now offer her dīpaṁ.
4 - सच वरलसनदष नमम। दरपऐ दशरयरलम॥
4 - suvāsinyai namaḥ | dīpaṁ darśayāmi ||
xiii) Now offer her food. What is offered as naivedya can be given to
her as a token. But, generally, during this time, she is offered with
lunch. Others should wait till she completes her lunch. Lunch should
be served to her in a secluded place (not to cause any embarrassment

to her).
4 - सच वरलसनदष नमम। महरनष वधदम ्स समपरयरलम॥
4 - suvāsinyai namaḥ | mahānaivedyam samarpayāmi ||
xiv) Offer her water during lunch. Generally a new tumbler (drinking
glass) is purchased for this purpose and is given to her.
4 - सच वरलसनदष नमम। मयध मयध अमतर परनशयम ्ससमपयर ्रलम॥
4 - suvāsinyai namaḥ | madhye madhye amṛta pānīyam samarpayāmi
||
xv) Now offer water to wash her hands.
4 - सच वरलसनदष नमम। आचमनशयऐ समपरयरलम॥
4 - suvāsinyai namaḥ | ācamanīyaṁ samarpayāmi ||
xvi) Now offer her betel leaves with karpūravītikā.
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4 - सच वरलसनदष नमम। कपरर तरमबलभ ्ऐ समपयर ्रलम॥
4 - suvāsinyai namaḥ | karpūratāmbūlaṁ samarpayāmi ||
Now, prostrate before the suvāsini and take her blessings. Suvāsini is
to be sent-off with great respect. Few perform dhampati pūjā instead
of suvāsini. In dhampati pūjā, both husband and wife are to be
worshiped. They are worshiped as Pārvatī and Parameśvara. In
suvāsini pūjā it is preferable to seek the blessings of an elderly
woman. Similarly in the case of dhampati pūjā, it is preferable to
invite elderly couple/s. After suvāsini pūjā and or dhampati pūjā,
kumārī pūjā is to be done.
54. कचमररश पजभ नम ्सkumārī pūjanam:

This is about worshipping girls who have not attained puberty and
their age should be between two years and ten years. There is a lot of
significance attached to kumārī pūjana. This is explained in detail in
Devībhāgavatapurāṇa (book 3: chapter 25). During navarātri days, if
kumārī pūjana is done, apart from attaining Her Grace, some material
benefits also accrue. Depending upon their age, they are worshiped
as different forms of Parāśakti. However, there are variations in the
names from what is given Devībhāgavatapurāṇa and Lalitā
Sahasranāma and the variations are given in the brackets.
Age Names as given in
2 कचमररर kumāri सरसवतश Sarasvatī
3 तसरतमभतश Trimūrtī
4 कलयरणश Kalyāṇī
5 रमहहणश Rohiṇī सच भगर Subhagā
Variations, if any
Devībhāgavata
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6 करललकर Kālikā उमर Umā
7 चहणडकर Caṇḍikā मरललनश Mālinī
8 शरऐ भवश Śāṁbhavī
9 दगच ्ररDurgā बरलर Bālā / रमहहणश Rohiṇī
10 सच भरर Subhadrā ग रर Gaurī
Effects of worship based on the age of the girl as per

Devībhāgavata.
Age Effect of worship
2 Relief from miseries and poverty, long life and
more power.
3 Dharma, artha and kāma; progeny and wealth.
4 Knowledge, home; she fulfills almost all desires.
5 Curing ailments.
6 Destruction of both internal (afflictions of the
mind) and external enemies.
7 Prosperity and richness
8 For enchantment, overpowering negative forces,
removing miseries and poverty.
9 Destruction of dreadful enemies, happiness in the
next world (after death).
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10 Fulfillment of all types of desires.
Procedure:
As in the case of suvāsinī pūjā, girls who are invited for this pūjā are
informed in advance and dress material is given to them so as to
enable them to make them ready for wearing on the day of the pūjā.
On the day of pūjā, when the invited girl arrives (generally with her
mother, who can be treated as suvāsinī), after welcoming her, she
should be requested to wash her feet. A wooden plank is offered for
her to sit. Now the pūjā begins.

1. Take flowers and akṣata and recite the following mantra for the
purpose of āvāhana.
अषटदलमपरर कचमरररऐ समरवशध य।
ॐ कलरऐ कचलकचमरररकरयष नमम॥
मनदसत्
स रकरमयशऐ दध वशऐ मरतणच ्रऐ रपधरररणश।्ऐ
नवदगच ्ररहतमकरऐ सरकरतकनदरमरवरहयरमयहम॥्स
aṣṭadalopari kumārīṁ samāveśaya |
om klīṁ kulakumārikāyai namaḥ ||
mantrākṣaramayīṁ devīṁ mātruṇāṁ rūpadhāriṇīṁ |
navadurgātmikāṁ sākṣāt kanyāmāvāhayāmyaham ||
This is invoking her in nine Divine forms. Now place flowers and
akṣata before her.
2. Washing her feet. Most of the procedures are as per suvāsinī pūjā.
4 - ॐ कलरऐ कचलकचमरररकरयष नमम। परदऐ समपरयरलम॥
4 - om klīṁ kulakumārikāyai namaḥ | pādyaṁ samarpayāmi ||
3. Offering water to drink.
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4 - ॐ कलरऐ कचलकचमरररकरयष नमम। अघयरम ्स समपरयरलम॥
4 - om klīṁ kulakumārikāyai namaḥ | arghyam samarpayāmi ||
4. Offering water to wash her hands.
4 - ॐ कलरऐ कचलकचमरररकरयष नमम। आचमतनयऐ समपरयरलम॥
4 - om klīṁ kulakumārikāyai namaḥ | ācamaniyaṁ samarpayāmi ||
5. Offer her new clothes. If dress material is already given, this can
be contemplated.
4 - ॐ कलरऐ कचलकचमरररकरयष नमम। वसतसरऐ समपरयरलम॥
4 - om klīṁ kulakumārikāyai namaḥ | vastraṁ samarpayāmi ||
6. Offer flowers to her to wear on her head.
4 - ॐ कलरऐ कचलकचमरररकरयष नमम। पषस्चपऐ समपरयरलम॥
4 - om klīṁ kulakumārikāyai namaḥ | puṣpaṁ samarpayāmi ||
7. Offering her sandal paste.
4 - ॐ कलरऐ कचलकचमरररकरयष नमम। गनदऐ समपरयरलम॥
4 - om klīṁ kulakumārikāyai namaḥ | gandhaṁ samarpayāmi ||
8. Offering her ornaments.
4 - ॐ कलरऐ कचलकचमरररकरयष नमम। आभरणरन ्ससमपरयरलम॥
4 - om klīṁ kulakumārikāyai namaḥ | ābharaṇān samarpayāmi ||
9. Offering viṣeśa arghya. Pour viṣeśa arghya in a small cup and offer
this to her to drink.
4 - ॐ कलरऐ कचलकचमरररकरयष नमम। पवषध श अघयरऐ समपरयरलम॥
4 - om klīṁ kulakumārikāyai namaḥ | viṣeśa arghyaṁ samarpayāmi
10. Now do the following arcana with flowers and akṣata.
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4 - ॐ कलरऐ कचलकचमरररकरयष नमम। अचरनऐ समपरयरलम॥
4 - om klīṁ kulakumārikāyai namaḥ | arcanaṁ samarpayāmi ||
In this arcana, all the nine names mentioned in the first table are used.
i) 4 - ॐ कलरऐ क मरयष नमम। 4 - om klīṁ kaumāyai namaḥ |
ii) 4 - ॐ कलरऐ तसरतपररयष नमम। 4 - om klīṁ tripurāyai namaḥ |
iii) 4 - ॐ कलरऐ कलयरणयष नमम। 4 - om klīṁ kalyāṇyai namaḥ |

iv) 4 - ॐ कलरऐ रमहहणयष नमम। 4 - om klīṁrohiṇyai namaḥ |
v) 4 - ॐ कलरऐ करलमकरयष नमम। 4 - om klīṁ kāmikāyai namaḥ |
vi) 4 - ॐ कलरऐ चहणडकरयष नमम। 4 - om klīṁ caṇḍikāyai namaḥ |
vii) 4 - ॐ कलरऐ शरङस ककयष नमम। 4 - om klīṁ śāṅkaryai namaḥ |
viii) 4 - ॐ कलरऐ दगच ्ररयष नमम। 4 - om klīṁ durgāyai namaḥ |
ix) 4 - ॐ कलरऐ सचभररयष नमम। 4 - om klīṁ subhadrāyai namaḥ |
4 - ॐ कलरऐ कचलकचमरररकरयष नमम। नरनरपवध पररमल पषस्चपरखण च अकतरन ्स
समपरयरलम।
4 - om klīṁ kulakumārikāyai namaḥ | nānāvidha parimala puṣpāṇi ca
akṣatān samarpayāmi |
Place some flowers and akṣata before her.
11. Offer her dhūpaṁ
4 - ॐ कलरऐ कचलकचमरररकरयष नमम। धभपऐ आगसररपयरलम॥
4 - om klīṁ kulakumārikāyai namaḥ | dhūpaṁ āgrāpayāmi ||
12. Offer her dīpaṁ.
4 - ॐ कलरऐ कचलकचमरररकरयष नमम। दरपऐ दशरयरलम॥
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4 - om klīṁ kulakumārikāyai namaḥ | dīpaṁ darśayāmi ||
13. Now offer her food. What is offered as naivedya can be given to
her as a token. But, generally, during this time, she is offered with
lunch. Others should wait till she completes her lunch. If her mother
is invited as suvāsini, then both mother and child can be offered food
in a secluded place, not to cause any embarrassment to them).

4 - ॐ कलरऐ कचलकचमरररकरयष नमम। महरनष वधदम ्स समपरयरलम॥
4 - om klīṁ kulakumārikāyai namaḥ | mahānaivedyam samarpayāmi
14. Offer her water during lunch. Generally a new tumbler (drinking
glass) is purchased for this purpose and is given to her.
4 - ॐ कलरऐ कचलकचमरररकरयष नमम। मयध मयध अमतर परनशयम ्ससमपयर ्रलम॥
4 - om klīṁ kulakumārikāyai namaḥ | madhye madhye amṛta pānīyam
samarpayāmi ||
15. Now offer water to wash her hands.
4 - ॐ कलरऐ कचलकचमरररकरयष नमम। आचमनशयऐ समपरयरलम॥
4 - om klīṁ kulakumārikāyai namaḥ | ācamanīyaṁ samarpayāmi ||
16. Now offer her betel leaves with areca nut and dry fruits.
4 - ॐ कलरऐ कचलकचमरररकरयष नमम। कपरर तरमबलभ ्ऐ समपयर ्रलम॥
4 - om klīṁ kulakumārikāyai namaḥ | karpūratāmbūlaṁ samarpayāmi
||
17. Now offer her nīrājana.
4 - ॐ कलरऐ कचलकचमरररकरयष नमम। कपरर नशररजनऐ दशरयरलम॥
4 - om klīṁ kulakumārikāyai namaḥ | karpūra nīrājanaṁ darśayāmi |
18. Offer her mantra puṣpaṁ.
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4 - ॐ कलरऐ कचलकचमरररकरयष नमम। मनदसतपषस्प

च ऐ समपयर ्रलम॥
4 - om klīṁ kulakumārikāyai namaḥ | mantrapuṣpaṁ samarpayāmi ||
Now we have to pray to her. The following verse can be used for
prayer.
वहनदतरङस कतघसरयकचध दध पव सवसर भरगयदरतयतन।

रपऐ दध हह जयऐ दध हह यशम दध हह पहषम जहह॥
vanditāṅghriyuke devi sarvasaubhāgyadāyini |
rūpaṁ dehi jayaṁ dehi yaśo dehi dviṣo jahi ||
Now, prostrate before the kumārī and take her blessings. Kumārī is to
be sent-off with great respect.
Further reading - kumārī pūjā during navarātrī:
As far as kumārī pūjā is concerned, they are worshiped during
navarātrī. There are three types of kumārī pūjā. In the first method,
one kumārī is worshiped on the first day of navarātrī, two in the
second day, three in the third day and so on and on the ninth day
(mahānavami) nine kumārī-s are worshiped. In the second method,
everyday one kumārī is worshiped during the entire period of
navarātrī. In the third method, one kumārī is worshiped during the
entire navarātrī period. Such worship is done on either on aṣṭamī or
on mahānavami day.
55. सरमतयकर पजभ ्र sāmayikā pūjā:
Sāmayika means same minded or like minded, referring to other
upāsaka-s present during this navāvaraṇa pūjā. All those who are
initiated into Śrī Vidyā would have brought their ātmapātra-s. All Śrī
Vidyā upāsaka-s are expected to carry their ātmapātra-s whenever
they attend navāvaraṇa pūjā outside their home. There are certain
controversies here. A sādhaka initiated by a Guru does not take viṣeśa
arghya of a sādhaka initiated by another Guru. This thought is against

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the basic principle of Śrī Vidyā and no such discriminations should
be there. Secondly, in exceptional cases, if a sādhaka forgets to bring
his or her ātmapātra, he or she should not be denied viṣeśa arghya.
Normally, a sādhaka who frequently performs navāvaraṇa pūjā keeps
extra cups for this purpose and these cups are given to those who have
not brought their ātmapātra-s.
If Guru of the sādhaka is present in the place, he should be offered
with sandal paste, flowers, etc and he should be offered viṣeśa arghya
in Guru pātra, which is kept in pūjā maṇḍala. While offering viṣeśa
arghya to Guru, viṣeśa arghya should be worshiped with Guru pādukā
mantras given by him. Guru will return the pātra after consuming the
viṣeśa arghya. In case Guru is not present personally during
navāvaraṇa pūjā, sādhaka should take viṣeśa arghya from kāraṇa
kalaśa and pour into his ātmapātra and keep it on his head and recite
Guru pādukā mantras and consume viṣeśa arghya after reciting
mantras given in the following section.
After doing this, sāmayika-s present should be offered sandal paste,
flowers, etc and fill their ātmapātra-s with viṣeśa arghya along with a
piece of ginger and offer their respective pātra-s to them. On
receiving their respective ātmapātra-s, they will perform mental
worship with the following mantras or as instructed by their Gurus.
This worship is known as tattvaśodhanam, which is described in the
next section.
56. तततवशमधनम ्सtattvaśodhanam:
These mantras are based on virājāhomamantra-s of Mahānārāyaṇa
Upaniṣad. Though mantras are not exactly the same, the conveyance
is the same. Virāj refers to the Supreme Intellect located in a supposed
aggregate of gross bodies, known as Vaiśvānara.
Those who have received their ātmapātra-s filled with viṣeśa arghya
do the following. Sādhaka should also follow this procedure before
consuming viṣeśa arghya from his ātmapātra.
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i) The following mantra purifies the gross body of the sādhaka and
sāmayika-s. This mantra also removes the remnants of ego. The
mantra says that by doing this yajñā (navāvaraṇa pūjā is always
considered as yajñā), let my soul become pure; let me become the
Divine Light, without afflictions and sins. With this in mind, the
following mantra is to be recited. First kūṭa of Pañcadaśī is used twice
in this mantra, one at the beginning and another after the recitation of
16 vowels with bindu, beginning from अऐ to अम. This oblation is
through ātmatattva. Please recall tatvācamanam done in part I.3. All
the four ācamana-s done there are reflected in the first four mantras
here.
4 - क ए ई ल हसरऐ - पसरकरतयहङस ककररबपपच मनम शस्मतस तवकस चकच हजरवरसरघसररण
वरकपरखणपरद परयपभसथ शबद सपशर रप गनदरकरश वरयच वकस प् सललल
भभमयरतमनर अऐ - अम क ए ई ल हसरऐ आतमततवध न आणवमल शमधनरथरऐ सथलभ दध हऐ

पररशमधयरलम जच हमलम सवरहर।
आतमरमध शच दस्यनदसतरऐ जयमततरहऐ पवरजर पवपरसमर भभयरसगच ऐ सवरहर॥
4 - ka e ī la hrīṁ - prakṛtyahaṅkārabuddhi manaḥ śrotra tvak
cakṣurjihvāghrāṇa vākpāṇipāda pāyūpastha śabda sparśa rūpa
gandhākāśa vāyu vahni salila bhūmyātmanā aṁ - aḥ ka e ī la hrīṁ
ātmatatvena āṇavamala śodhanārthaṁ sthūaladehaṁ pariśodhayāmi
juhomi svāhā |
ātmāme śuddhyantāṁ jyotirahaṁ virajā vipāpmā bhūyāsaguṁ svāhā
ii) The following mantra purifies the subtle body of the sādhaka and
sāmayika-s. This mantra also removes māyā. The mantra says that by
doing this yajñā, let my subtle body become pure; let me become the
Divine Light, without afflictions and sins. Second kūṭa of Pañcadaśī
is used twice in this mantra, one at the beginning and another after
the recitation of 25 consonants with bindu, beginning from कऐ - मऐ .
This oblation is through vidyātatva.
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4 - ह स क ह ल हसरऐ - मरयर कलर अपवदर ररग करल तनयतत परषरतमनर कऐ
- मऐ ह स क ह ल हसरऐ पवदरततवध न मरतयकमलशमधनरथरऐ सभकमदध हऐ पररशमधयरलम
जच हमलम सवरहर।
अनदसतररतमर मध शच दस्यनदसतरऐ जयमततरहऐ पवरजर पवपरसमर भभयसगच ऐ सवरहर॥
4 - ha sa ka ha la hrīṁ - māyā kalā avidyā rāga kāla niyati
puruṣātmanā kaṁ - maṁ ha sa ka ha la hrīṁ vidyātatvena
māyikamalaśodhanārthaṁ sūkṣmadehaṁ pariśodhayāmi juhomi
svāhā |
antarātmā me śuddhyantāṁ jyotirahaṁ virajā vipāpmā bhūyasaguṁ
svāhā ||
iii) The following mantra purifies the causal body of the sādhaka and
sāmayika-s. This mantra also removes one’s karmas. Unless karmas
are totally removed, liberation is not possible. This is the state of
jīvanmukta. The mantra says that by doing this yajñā, let my causal
body become pure; let me become the Divine Light, without
afflictions and sins. Third kūṭa of Pañcadaśī is used twice in this
mantra, one at the beginning and another after the recitation of 9
consonants with bindu, beginning from यऐ – कऐ . This oblation is through
śivatatva.
4 - स क ल हसरऐ लशव शकत सदरलशव ईशवर पशच पवदरतमनर यऐ रऐ लऐ वऐ शऐ षऐ सऐ
हऐ कऐ - स क ल हसरऐ लशवततवध न करलमरकमल शमधनरथरऐ कररणदध हऐ पररशमधयरलम
स यनदसतरऐ जयमततरहऐ पवरजर पवपरसमर भभयसगच ऐ सवरहर॥

परमरतमर मध शच द्
4 - sa ka la hrīṁ śiva śakti sadāśiva īśvara śuddhavidyātmanā yaṁ
raṁ laṁ vaṁ śaṁ ṣaṁ saṁ haṁ kṣaṁ - sa ka la hrīṁ śivatatvena
kārmikamala śodhanārthaṁ kāraṇadehaṁ pariśodhayāmi juhomi
svāhā |
paramātmā me śuddhyantāṁ jyotirahaṁ virajā vipāpmā bhūyasaguṁ
svāhā ||
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iv.a) The following mantra purifies all the three bodies comprising of
prakṛti tattva to śuddhavidya tattva and through this process, the
individual souls of the sādhaka and sāmayika-s are purified. The
mantra says that by doing this yajñā, let my jīvātman become pure;
let me become the Divine Light, without afflictions and sins. Mūla
mantra (the highest initiated mantra) is to be recited at the beginning
and another recitation of mūla mantra after the recitation of all the
alphabets with bindu, beginning from अऐ – कऐ . This oblation is through
sarvatatva.
4 - मभलऐ - पसरकरतयहङस ककररबपपच मनम शस्मतस तवकस चकच हजरवरसरघसररण वरकपरखणपरद
परयपभसथ शबद सपशर रप रस गनदरकरश वरयच वकस प् सललल भभलम मरयर कलर
अपवदर ररग करल तनयतत परष लशव शकत सदरलशव ईशवर पशच पवदरतमनर अऐ
- कऐ - मलभ ्ऐ - सवरततवध न सवरदध हऐ सवरदध हरलभमरतननऐ जशवरतमरनऐ पररशमधयरलम
जरनरतमर मध शचदस्यनदसतरऐ जयमततरहऐ पवरजर पवपरसमर भभयसगच ऐ सवरहर॥
4 - mūlaṁ - prakṛtyahaṅkārabuddhi manaḥ śrotra tvak
cakṣurjihvāghrāṇa vākpāṇipāda pāyūpastha śabda sparśa rūpa rasa
gandhākāśa vāyu vahni salila bhūmi māyā kalā avidyā rāga kāla
niyati puruṣa śiva śakti sadāśiva īśvara śuddhavidyātmanā aṁ - kṣaṁ
- mūlaṁ - sarvatatvena sarvadehaṁ sarvadehābhimāninaṁ
jīvātmānaṁ pariśodhayāmi juhomi svāhā |
jñānātmā me śuddhyantāṁ jyotirahaṁ virajā vipāpmā bhūyasaguṁ
svāhā ||
iv.b) For those initiated into Ṣoḍaśī. This mantra says “That (the
Brahman) is infinite and this (universe) is infinite. The infinite

proceeds from infinite. Then, taking the infinitude of the infinite
(universe), it remains as the infinite (the Brahman) alone.”
4 - मभलऐ - पभणमर दम पभणनलमदम ्सपण

भ ररतपभणमर ्चदचयत।्ध पभणसस्र य पभणमर ्रदरय पभणमर
्धवरवलशषयतध ॥
4 - mūlaṁ - pūrṇamadaḥ pūṇnamidam pūrṇātpūrṇamudacyate|
pūrṇasya pūrṇamādāya pūrṇamevāvaśiṣyate ||
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v) This mantra is taken from Mahānārāyaṇa Upaniṣad. That Supreme
Light which projected Itself as the universe like a soaked seed which
sprouts as I am that Supreme Light. I am that supreme light of
Brahman, which shines as the innermost essence of all that exists. In
reality, I am the same infinite Brahman, even when I am experiencing
myself as a finite self, owing to ignorance. Now, by the onset of
knowledge, I am really That Brahman which is my eternal nature.
Therefore, I realize this identity by making myself, the finite self, an
oblation into the fire of the Infinite Brahman, which I am always. May
this oblation be well made. After reciting this mantra, both sādhaka
and sāmayika-s who are holding the viṣeśa arghya pātra with viṣeśa
arghya in their right palm using thumb, middle and ring fingers,
should now consume the viṣeśa arghya.
4 - आररऐ जवलतत जयमततरहमहसम। जयमततजवरलतत बसरहरहमहसम। यमऽहहसम बसरहरहमहसम।
अहमहसम बसरहरहमहसम। अहमध वरहऐ मरऐ जच हमलम सवरहर॥
4 - ārdraṁ jvalati jyotirahamasmi | jyotirjvalati brahmāhamasmi |
yo'hasmi brahmāhamasmi | ahamasmi brahmāhamasmi |

Now wash the ātmapātra and keep it back in the maṇḍala. Sāmayika-
s also should wash their ātmapātra-s and take them back.
57. दध वपतमरसनम ्सdevatodvāsanam:
This is the combination of two words devatā and udvāsanam, where
devatā refers to Śiva, Śakti and all the gods and goddesses who were
worshiped in Śri Cakra and udvāsana means the act of taking away.
It is to be recalled that we have enthroned all of them using our subtle
prāṇa. During external worship, the Self within is brought out and
worshiped externally and once the external worship is done, the Self
in the idols should be brought back within, again using our prāṇa and
this is called udvāsanam. For this purpose, the process done in 22.1
is to be reversed. In addition to this, one has to use kecarī mudra to
bring Them back to daharākāśa.
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Lalitā Sahasranāma (609) is Daharākāśa-rūpiṇī, which is explained
thus.
In the hearts of all beings is Her subtle form. Kaṭha Upaniṣad (I.iii.1)
mentions daharākāśa as “In this superior space of the heart, present
in the cave of the intellect”. It further says (II.i.12), “Of the size of a
thumb, the Brahman resides in the centre of the body”. Chāndogya
Upaniṣad says “This body is the city of the Brahman. Within it is an
abode in the shape of a lotus (meaning heart) and within that there is
a small space (Please note the word. It is ‘space’ and not ‘place’.
Space is infinite and place is definite). One must search within this
space and earnestly desire to know what is there (Self-realization)?”
Brahma Sūtra (I.iii.14) says, “dahara uttarebhyaḥ दहर उतरध भरयम”,
referring to the small space in the heart. It proceeds to say, “That is
which is inside, that is sought for, that is surely to be inquired into”,
indicating the process of Self-realisation.
There are five mantras in this section that impart subtle conveyances.
Following are the mantras, which are to be recited after understanding
their conveyances.
1) O! Devi! I worship You, who shines in the form of Gaṇeśa,
navagraha (nine planets), twenty seven stars, yoginī-s (yoginī-s can
be interpreted to mean nine āvaraṇa yoginī-s or six yoginī-s of
psychic chakras), twelve rāśi-s (astrological houses), saptakoṭi
mantras (70 million), mātṛkā akṣara-s (Sanskrit alphabets) and five
pīṭha –s (kāmagiri, pūrṇagiri, jālandhara, oḍyāṇa and śāmbhava
pīṭha-s associated with five of the six āmnāya-s).
गणध श गसरह नकतस यमधगनश ररशश रपपणशऐ।
दध वशऐ मनदसतमयशऐ न लम मरतकर ्रपशठ रपपणशऐ॥
gaṇeśa graha nakṣatra yoginī rāśī rūpiṇīṁ |
devīṁ mantramyīṁ naumi mātṛkāpīṭha rūpiṇīṁ ||
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2) “Let my speech be your japa, my movement of hands be your
mudras, my locomotion be circumambulation for you, my eating and

drinking be fire oblations for you, my lying down be prostrations for
you, all my enjoyments be my surrender to You and let these actions
of mine become the main part of Your worship.” (Saundaryalaharī –
verse 27)
जपम जलपम लशलपचऐ स सकलमपप मच ररपवरचनर
गततम पसररदककणयकस रमण मशनरदरहचततपवधधम।
पसरणरमम समवशध ्म सच खमखखलमरतमरपरणदरशर
सपयररपयररयसतव भवतच यनदसमध पवललसतम ्स॥
japo jalpaḥ śilpaṁ sakalamapi mudrāviracanā
gatiḥ prādakṣiṇyakramaṇa maśanādyāhutividhiḥ |
praṇāmaḥ saṁveśassukhamakhilamātmārpaṇadṛśā
saparyāparyāyastava bhavatu yanme vilasitam ||
3) By reciting the following mantra, pour a drop of water on Her left
palm. Remove sāmānya arghya (conch) with right hand, lift the conch
and make three circles around Śri Cakra/Meru. Empty the water in
the conch into the right palm and sprinkle on the self and on all others
present there. Wash and dry the conch and place it safely.
“O! Parāśakti! Whatever actions I did in your praise, whether rightly
or wrongly, please accept all my actions with Compassion.” (sādhuvā
asādhu vā in the following verse is taken from Śrīmad Bhāgavatam
8.9.12)
सरधच वरऽसरधच वर कमर यददरचररतऐ मयर।
ततसवरऐ करपयर दध पव गहरणरररधनऐ मम॥
sādhuvā'sādhu vā karma yadyadācaritaṁ mayā |

tatsarvaṁ kṛpayā devi gṛhāṇārādhanaṁ mama ||
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4) “O! Śaṁkari (Consort of Śaṁkara is Śaṁkari; She is Parāśakti,
Lalitāmbikā, Mahādevi and She is everything that exists in the
universe), Mahādevi! Please come back to the pericarp of my heart
(where is Self is seated) with Śiva along with all Your ornaments.”
After reciting this mantra, contemplate that Kāmeśvara and
Kāmeśvarī have come back to your body as the Self. Meditate Them
within for a few minutes and after ensuring that They are back in the
body, mentally perform pañca pūjā, given after the mantra.
4 - हतपदसमकखणरकर मयध लशवध न सह शऐ करर।
पसरपवश तवऐ महरदध पव सवष ररवरणष म सह॥
4 - hṛtpadmakarṇikā madhye śivena saha śaṁkari |
praviśa tvaṁ mahādevi sarvai rāvaraṇaiḥ saha ||
Pañcapūjā to be done mentally:
लऐ - पधर थवयरहतमकरयष गनदऐ समपयर ्रलम।
रऐ - अगनदरहतमकरयष धशपऐ दशरयरलम।
वऐ - अमतर ्रहतमकरयष अमतर ्ऐ महरनष वधदऐ तनवध दयरलम।
सऐ - सवररहतमकरयष सवमपचरर पजभ ्रम ्ससमपरयरलम॥

raṁ - agnyātmikāyai dhīpaṁ darśayāmi |
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58. शरञनतसतवम Śāntistavaḥ:
This is the penultimate part of navāvaraṇa pūjā. This part consists of
three mantras. Śānti contextually refers to eternal peace, which can
be experienced only by jñānin-s. For a jñānin, nothing needs to be
attained, as he is devoid of desires and as a result of which, he always
remains united with the Self. Kṛṣṇa says in Bhagavad Gītā (VII.15 -
17), “Arjuna! Four types of virtuous men worship Me, the seekers of
material prosperity, the afflicted, the seekers of knowledge and men
of wisdom. Out of the four, a man of wisdom (jñānin) who is always
established in Me and possessing single pointed devotion to Me is
superior. I am very dear to him and he is very dear to Me.” This goes
to prove that at the end of navāvaraṇa pūjā, a sādhaka transforms into
a jñānin, as described by Lord Kṛṣṇa.
This part consists of three prayers to Her, not only for the sādhaka,
but also for everyone around him. This confirms his transformation
as a jñānin.
1) Let peace prevail due to the Grace of Brahman for those who do
pūjā, who have conquered their organs of action and perception and
those who rule all the beings.

4 - सऐ पजभ करनरऐ पररपरलकरनरऐ यध तधहनदसरयरणरऐ च तपमधनरनरम ्स।
दध शसय ररषटस रसय कचलसय ररजरऐ करमतच शरहनदसतऐ भगवरनकचलध शम॥
4 - saṁpūjakānāṁ paripālakānāṁ yetendriyāṇāṁ ca tapodhanānām |
deśasya rāṣṭrasya kulasya rājñāṁ karotu śāntiṁ bhagavān kuleśaḥ ||
2) Let all sādhaka-s and all siddha-s (endowed with supernatural
faculties; also means beatified) remain in the state of blissfulness. Let
the curses of yoginī-s befall on those who mock at samayācāra
worship. Let the inexplicable state of śāmbhavī (Lalitā Sahasranāma
122) prevail in me due to the grace of my Guru, as I continue to
behold his lotus feet.
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4 - ननदनदसतच सरधककचलरनद अखणमरहदलपसरम शरपरम पतनदसतच समयपहपष
यमधगनशनरम ्स।
सर शरऐ भवश सफचरतच करपप ममरसयवसथर यसयरऐ गरमशचरणपकऐ जमध व लभरयम॥्स
4 - nandantu sādhakakulānya aṇimādisiddhāḥ śāpāḥ patantu
samayadviṣi yoginīnām |
sā śāṁbhavī sphuratu kāpi mamāpyavasthā yasyāṁ
guroścaraṇapaṁkajameva labhyam ||
3) All the tattva-s (36 tattva-s) beginning from Paramaśiva till the
earth; all the living beings beginning from Brahmā till tiny insects
and from kālāgni (the fire of Śiva that annihilates the universe) to
Śiva (the Creator) become satisfied with this yajña (navāvaraṇa pūjā).
लशवरदवतन पयनदस्र तऐ बसरहरहदसतऐ ब सऐ यतच म।्स

करलरगनदरहद लशवरनदसतऐ च जगदजध न तसर यतच ॥
śivādyavani paryantaṁ brahmādistaṁba saṁyutam |
kālāgnyādi śivāntaṁ ca jagadyajñena tṛpyatu ||
59. दशध ष अघयर पउरसनम ्सviśeṣa arghya udvāsanam:
Now viśeṣa arghya is to be removed as navāvaraṇa pūjā has come to
an end. By reciting mūla mantra, take viśeṣa arghya pātrā above the
head and then transfer the amṛta within to another vessel by reciting
the following mantra. While reciting this mantra, it is to be
contemplated that oblations are made with viśeṣa arghya into the
eternal fire of kuṇḍalinī.
4 - आररऐ जवलतत जयमततरहमहसम। जयमततजवरलतत बसरहरहमहसम। यमऽहहसम बसरहरहमहसम।
अहमहसम बसरहरहमहसम। अहमध वरहऐ मरऐ जच हमलम सवरहर॥
4 - ārdraṁ jvalati jyotirahamasmi | jyotirjvalati brahmāhamasmi |
yo'hasmi brahmāhamasmi | ahamasmi brahmāhamasmi |
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After transferring viśeṣa arghya to another vessel, viśeṣa arghya pātrā
is to be washed and kept safely. Now distribute viśeṣa arghya to all
those present and offer them prasāda.
Navāvaraṇa pūjā concluded
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SECTION III
BHĀVANOPANIṢAD
This is another series on Śri Cakra based on Bhāvanopaniṣad

(bhāvana + upaniṣad). Bhāvana means imagination or formation of a
concept in the mind. Like any other Upaniṣad, this Upaniṣad also
does not deal with practices. It helps us to contemplate our body with
Śri Cakra. There are thirty seven verses (some texts call these as sūtra-
s) in Bhāvanopaniṣad and we will take up for discussion, each verse
in detail.
1. śrīguruḥ sarvakāraṇabhūtā śaktiḥ | शस्शगच रम सवकर ्ररणभभतर शकतम।
First two verses talk about Guru. In Śrī Vidyā, the role of Guru is
extremely important. There are multiple reasons for this. Śrī Vidyā is
also known as Brahmaidyā, knowledge about Brahman. Knowledge
about Brahman means Supreme Knowledge. Since Śrī Vidyā deals
with liberation, it is also known as Brahmaidyā.
The first verse says that Guru is the cause for everything. His power
is phenomenal with regard to the revelation of Divine Knowledge. He
is the one, who can literally show Parāśakti. When the darkness of
illusion is destroyed with the grace of Guru, one can realize the Self.
How māyā can be annihilated to realize Parāśakti within, is revealed
by Guru. He generally takes his disciple step by step to reach the
ultimate goal of realization. Though there are several factors that
determine Guru-disciple relationship, certain aspects are more
important. First, a disciple has to approach a Guru with a request to
accept him as his disciple. In the present day context, it is extremely
important that a disciple should also make adequate enquiries about
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the Guru he is planning to approach and should satisfy himself about
the quality and purity of the Guru. It is not at all advisable to move
from one Guru to another Guru, unless the circumstances so warrant.
A Guru invariably evaluates his disciple to know his spiritual, mental
and physical status. If he is satisfied, Guru accepts him as his disciple.
Next comes, initiation. It is said that without initiation, inherent māyā
in a disciple is not annihilated. Kulārṇava Tantra speaks about seven
types of initiations or dīkṣā-s and they are through rituals, through
letters (mantra given in writing), working through energy body of the
disciple and planting the seed of spirituality within his body, by
touching the body of the disciple, verbal initiation (mantras), through
looks (looking at the disciple) and mental initiation (working through
the mind of the disciple). Except initiation through rituals, none of
the other dīkṣā-s involve rituals. Some Gurus do small rituals, like
saṁkalpa and the like. These are all very small procedures. Again, in
ritualistic initiations, there are several types of procedures. Kulārṇava
tantra explains this in detail. Out of the seven, initiation by touching
the body of the disciple is considered as inferior in quality and
initiations either through energy level or mind are considered as the
highest. Particularly, transmission of energy is considered as the
highest one. For this type of initiation, both Guru and the disciple
should have capabilities. The most important factor during initiation
is the awakening of the disciple’s dormant spiritual energy, which has

to grow and bloom. Generally, a proper initiation makes a disciple to
reach higher levels in about six months to one year, depending upon
the disciple’s sincerity in sādhana. It is very important that Guru
reviews his disciple’s progress and in case the progress is not up to
the mark due to various reasons, Guru has to talk to his disciple to
ensure that he advances in his spiritual pursuit without any difficulty.
Tantric way of initiation is to be ignored and not discussed here, as
this has been grossly misunderstood nowadays.
Guru fixes auspicious date and time for initiation. Various factors are
taken into account while fixing this time. Most important factors are
tārabala, candrabala and eighth place in muhūrta should be vacant. At
the time of initiation, Guru gives his disciple Mahāpādukā mantra.
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Mahāpādukā is worshipping Śiva, who initiated Parāśakti during
Kṛita yuga (3,893,114 years ago from 2013-14, spreading across four
yuga-s). Following is the Mahāpādukā mantra.
ॐ ऐऐ हसरऐ शस्शऐ- ऐऐ कलरऐ स ्म - ऐऐ गलल हससखसस्सरर हसकमलवरयभऐ हससखस ्म सहकमलवयशऐ सह ्म
शस्शपवदरननदनरथरतमक चयररननदनरथ शस्शमहरपदकच ्रऐ पभजयरलम तपयर ्रलम नमम ।
om aiṁ hrīṁ śrīṁ aiṁ klīṁ sauḥ aiṁ glauṁ hskhphreṁ
hasakṣamalavarayūṁ hsauḥ sahakṣamalavayīṁ śauḥ
śrīvidyānandanāthātmaka caryānandanātha śrīmahāpadukāṁ
pūjayāmi (tarpayāmi)* namaḥ ।
* tarpayāmi is used only during navāvaraṇa pūjā.
This is followed by the revelation of Guru pādukā mantras. There are

three mantras, one for Parameṣṭhiguru (parameṣṭhi means superior),
who is Guru’s Guru’s Guru. The next mantra is for Paramaguru
(Guru’s Guru), a little lower than Parameṣṭhiguru and last one is for
svaguru or Śrīguru (initiating Guru). At the time of entering into Śrī
Vidyā lineage, dīkṣā nāma is given to the disciple. Thus, all the three
Gurus will have their own dīkṣā nāma-s and they are worshipped only
with dīkṣā nāma-s and not by their names. Dīkṣā name should not be
revealed to others and is meant to pay respects to one’s Guru.
Generally, all dīkṣā nāma-s end with ānandanātha, which is suffixed
to his dīkṣā nāma comprising of three or four letters (this is a general
rule and exceptions can be made). For example prākāśa, vimarśa
(पसररकरश, पवमशर Prākāśānandanātha, Vimarśānandanātha), etc. For
women disciples dīkṣā nāma-s generally end with ambā (अमबर). For
example, Śukladevyaṁbā, Kāmeśvaryāṁbā (शच कलदध वयबऐ ्र, करमध शवयररऐबर),
etc. The lineage of Śrīguru is revealed to the disciple only at the time
of initiation and not before.
Following are the Guru pādukā mantras for Parameṣṭhiguru,
Paramaguru and Śrīguru (one’s own Guru).
1. Parameṣṭhiguru:
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सहकमलवरयशऐ सह ्म हऐ सम लशवम समहऐ हऐ सम सवरतमरररम पञचर परमरननद पवलरन तध जसध
शस्शपरमध पप गच रवध नमम ----- (dīkṣā name of Parameṣṭhiguru) आननदनरथ

शस्शपरदकच ्रऐ पभजयरलम (तपरयरलम) नमम॥
vilīna tejase śrīparameṣṭhi gurave namaḥ ----- (dīkṣā name of
Parameṣṭhiguru) ānandanātha śrīpādukāṁ pūjayāmi (tarpayāmi)
namaḥ ||
2. Paramaguru
ॐ ऐऐ हसरऐ शस्शऐ ऐऐ कलरऐ स ्म समहऐ हऐ सम लशवम हससखस्सरर हसकमलवरयभऐ हससखस ्म सहकमलवरयशऐ
सह ्म समहऐ हऐ सम लशवम सवचछपसरकरश पवमशहर ्धतवध शस्श परमगच रवध नमम ----- (dīkṣā
name of Paramaguru) आननदनरथ शस्शपरदकच ्रऐ पजभ यरलम तपयर ्रलम नमम॥
namaḥ ----- (dīkṣā name of Paramaguru) ānandanātha śrīpādukāṁ
pūjayāmi (tarpayāmi) namaḥ ||
3. Śrīguru
ॐ ऐऐ हसरऐ शस्शऐ ऐऐ कलरऐ स ्म हऐ सम लशवम समहऐ हससखस्सरर हसकमलवरयभऐ हससखस ्म सहकमलवरयशऐ
सह ्म हऐ सम लशवम समहऐ सवरप तनरपण हध तवध शस्शगच रवध नमम ----- (dīkṣā name
of Śrīguru) आननदनरथ शस्शपरदकच ्रऐ पभजयरलम तपयर ्रलम नमम॥
śivaḥ sohaṁ svarūpa nirūpaṇa hetave śrīgurave namaḥ ----- (dīkṣā
name of Śrīguru) ānandanātha śrīpādukāṁ pūjayāmi (tarpayāmi)

namaḥ ||
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Some Gurus give dīkṣā name on the day of initiation, while others
give after the disciple attains a particular level. The decision of the
Guru is final.
There are innumerable references to the Supremacy of Guru in
various texts. The essence of all these texts goes like this. “Guru is
the ultimate. He is treated on par with Śiva. Guru not only imparts the
mantra, but also guides him in all the rituals and finally he begins to
impart knowledge about Brahman (Brahmaidyā). He cites references
from Upaniṣad-s and helps the disciple to move from Saguṇa
Brahman worship to Nirguṇa Brahman contemplation, formless form
of Brahman. He solidly stands with his disciple and ensures that the
disciple puts every step forward with confidence and dedication. A
true Guru is not satisfied till his disciple realizes the Self within (Self-
realization). Once the Guru is satisfied, he allows his disciple to go
on his own and ensures that he also teaches to others in the same
manner he was taught. Even if God curses a disciple, this curse can
be removed by a Guru, but if Guru curses his disciple, this curse
cannot be removed even by God.”
In Śrī Vidyā cult, Guru-disciple relationship is very important and
hence Guru is worshiped very close to the inner triangle of Śri Cakra.
There is a separate text called Śrī Gurugītā consisting of 274 verses.
This Scripture explains in details the importance of Guru and how he

is to be worshipped.
tena navarandhrarūpo dehaḥ तध न नवरनदसररपम दध हम(2) (Bhāvanopaniṣad)
Navarandhra means nine apertures. This verse says that a human
body with nine apertures is the form of his or her Guru. This verse
compares the nine triangles of Śri Cakra to the nine apertures of
human body. When a human body with nine apertures is the body of
Guru, logically Guru represents Śri Cakra. Thus there is no difference
between Guru, Śri Cakra and the aspirant. Nine apertures of a human
body are two opening of eyes, two openings of ears, two nostrils,
mouth, and organs of procreation and excretion. When the soul leaves
the body, it generally leaves through one of these apertures. In the
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case of yogis, however, their souls generally leave through
brahmarandhra, an orifice located on the vertex, the topmost point of
the skull. This is known as adhipati, a marma point. This aperture
controls two major psychic chakras, sahasrāra (taken as chakra only
for the purpose of this discussion) and ājñācakra.
But, this concept does not apply to all Gurus. There are several
references that speak about Guru lakṣaṇa, which means that there are
several references which discuss about the qualities of a Guru who is
worthy of worship. Almost, all the Tantric Scriptures talk about this
subject. The foremost among all the qualities is that he should have
realized the Self and should be in a position to help his disciples to

attain liberation. Kulārṇava Tantra (chapters 12 and 13) discusses not
only about Guru lakṣaṇa, but also about Guru-disciple relationship.
Some of the qualities of Guru are mentioned here. Wearing clean
dress; charming; knowledge about mantras; easily accessible; ability
to clear doubts; equal minded to Śiva and Viṣṇu; devoid of desire,
anger, greed, ego, delusion and jealousy; complete control over his
senses; endowed with powers of mantras; merciful, etc. The list is a
long one.
What is the main quality of a Self realized person? He would have
realized Śiva, Self-illuminating form of Brahman. Śiva alone is Self-

illuminating and when the Guru has realized the Prakāśa form of Śiva
(Śiva alone is known as Prakāśa, meaning Divine Light), this Guru is
worshipped on par with Śiva Himself. In Kulārṇava Tantra, Śiva
says, “Out of compassion for creatures, Śiva takes the form of
Guru....Guru is none other than Śiva, Viṣṇu and Brahmā..... There is
no difference between Śiva and Guru. Devatā, mantra and Guru ae
one and the same. Therefore Pārvatī, I accept the worship assuming
the form of Guru and annihilate transmigration.”
Śiva alone cannot manifest the world and therefore, He needs Śakti
to make all the objects known or visible. Suppose there is a powerful
light in a huge ground, what is the use of that light? There has to be
some objects around that light in order to realize that light. Similarly,
Śiva, as Prakāśa cannot create the universe and He needs Śakti in
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order to manifest Himself in different shapes and forms. It is
important to remember that Śiva is within the individual soul as the
Self. Therefore, Śakti is known as Vimarśa, who brings about the
world process. It is not enough for a Guru to become a Self realized
personality; he should have the ability to explain and teach the
methods through which he has attained Śiva. As Śiva, he cannot be
inert and as Śakti, he cannot be active in the material world by
imparting spiritual knowledge. If every Self-realized person shuns the
material world and resorts to penance, who will liberate paśu-s like
us? Paśu can be explained as those who are not initiated by a Guru or
the individual souls devoid of any thought about the Self within or
devoid of any spiritual thoughts. Mundane existence without any
connection to Brahman is known as paśu. By remaining as a paśu,
liberation can never be thought of. These explanations are necessary
as to why this verse says that a body with nine openings represents
Guru. These discussions drive home the point that Guru is like a God
with a shape and form and who is also capable of offering liberation.
What we have discussed above is nine gross apertures, which forms
a human body. Instead of saying that there is no difference between
the Guru and his disciple’s body, this verse said that Guru represents
nine apertures of the body. While dwelling on the sensory organs,
Guru teaches his disciples with the help of Upaniṣad-s, quoting
references and examples. Understanding Brahman is a tough subject
as it dwells only on subtleties and can be understood only by the

subtle body, the mind. By quoting such references, the disciple’s
mind is purified by the Guru. The next step is kindling his dormant
spiritual energy.
But there are nine subtle apertures, through which a Guru kindles the
dormant spiritual energy of his disciple at the time of initiation. The
dormant spiritual energy lies at the bottom of the spinal cord
(mūlādhāra cakra; practically speaking dormant spiritual energy lies
in perineum in the form of kuṇḍalinī). According to ancient
Scriptures, a Guru is worshiped as suṣumna nāḍi (a think tubular
vessel inside the spinal cord). A Guru not only represents himself, but
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also represents the Guru lineage. Guru, Paramaguru and
Parameṣṭhiguru originated from the word “ogha” which literally
means uninterrupted tradition. This tradition is remembered as
Divyaguru-s, Siddhaguru-s and Mānavaguru-s. These three types
Gurus represent three types of Divine vibrations Divyaugha,
Siddhaugha and Mānavaugha. Divyaugha is Śiva Himself. The Gurus
who come under this category are liberated souls and Śiva has not
merged their souls unto Him as He has to send them back to resurrect
the world in different places. They are born as great sages and saints,
who exist even today. Their job is only to liberate spiritually
advanced people, who are ready for liberation. Second type of Gurus
are in the mid state. They are neither liberated nor suffer from saṁsāra
(transmigration). This is the state of jīvanmukta-s. Third is
Mānavaguru-s and they are in human forms and generally known as
Śrīguru or Svaguru. In exceptional circumstances, one could be lucky
to get a jīvanmukta as his or her Guru. But for this, Divine Grace is a
must.
What is the need to worship three types of Gurus viz. Śrīguru,
Paramaguru and Parameṣṭhiguru can be understood while
understanding the nine subtle openings in the body. Parameṣṭhiguru.
This aspect can be best understood by marginally dwelling on Trika
philosophy. Parameṣṭhiguru represents three subtleties of the highest
order viz. Śiva, Śakti and Parāsaṁvid. Śiva is Cit or Supreme
Consciousness or Prakāśa. Śakti is Ānanda, the Bliss and She is
Vimarśa, who diffuses the Power of Śiva to create. The third one is
known as parāsaṁvid, which manifests as four forms – the subject,
the means, the object and knowledge. These four put together is
known as awareness, the awareness of Śakti and Śiva. Parāsaṁvid is
the state of union of Prakāśa, Vimarśa, jñānaśakti and Svātantrya
śakti (Independent and absolute will of Śiva).
Paramaguru represents three subtleties of the middle order of spiritual
elevation – knowledge (suddhavidyā), truth and fulfilment. Śrīguru
represents the last of three subtleties viz. inherent nature of the
disciple, niyati, (can be explained in two ways. One is the karmic
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account of the disciple and two religious duties of the disciple. This
is the reason for saying that the moment one gets initiation from a
true Śrīguru, all his sins are burnt); Vidyā, spiritual knowledge (when
all sins are burnt, spiritual knowledge is infused by Śrīguru into the
disciple’s subtle body, the mind); the third is subhaga, where the
initiated disciple transforms into a blessed soul endowed with good
fortunes. Out of all the three Gurus, Śrīguru is very important as he
prepares the mind, body and the soul of the aspirant to attain higher
spiritual levels. After refining, reforming and purifying the disciple,
he is handed over to the Paramaguru, who takes him to higher
spiritual levels by imparting the highest level of spiritual knowledge,
where Tat tvamasi or you are That) is taught. The disciple
understands this Truth and at the end of Paramaguru’s teachings, the
disciple transforms into a soul that is ready for merger into
Paramaśiva (Brahman) and the disciple’s spiritual journey is now
consummated. At the end, the disciple confidently affirms “ahaṁ
brahmāsmi” (I am That or I am Brahman). At this stage, the disciple
is handed over to Parameṣṭhiguru for ultimate merger with
Paramaśiva through Śakti.
This explains the need for Śrīguru and his lineage. Śrīguru is the one
who teaches only spiritual knowledge to attain ultimate realization.
These nine subtle apertures correspond to the nine gross apertures in
the body. Both ears and the mouth correspond to three subtle
apertures (Śiva, Śakti and Parāsaṁvid) belonging to Parameṣṭhiguru.

Both eyes and organ of procreation correspond to three subtle
apertures of Paramaguru (highest level of spiritual knowledge, Truth
and fulfilment). Two nostrils and the organ of excretion correspond
to the three subtle apertures of Śrīguru (inherent nature of the disciple,
annihilating all the sins of the disciple and imparting spiritual
knowledge).
All the gross apertures are in the physical body and all the subtle
apertures are in the subtle body viz. in the suṣumna (spinal cord). A
Guru should have the ability to penetrate into the energy body of the
disciple at the time of initiation. During the time of initiation, Śrīguru
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plants the seed of liberation and it is for the aspirant to make this seed
to sprout and grow.
This concludes discussions about Guru in Bhāvanopaniṣad.
Navacakrarūpaṁ śrīcakram । नवचकस ररपऐ शस्शचकस रम ्स। (Bhāvanopaniṣad 3)
There is also another version of this verse (sūtra) which goes like this:
navaśaktimayaṁ śrīcakram | नवशकतमयऐ शस्शचकस रम ्स।
This means that one with nine forms of cakra is Śri Cakra. As we
know that Śri Cakra has nine triangles. There are two types of
triangles, upward facing triangles and downward facing triangles.
Four upward facing triangles are Śiva koṇa-s (koṇa means triangle)
and five downward facing triangles are Śakti koṇa-s. The most
important factor of these triangles is their intertwining nature. This
explains the inseparableness of Śiva and His Power Śakti. It also

emphasizes the need for twin energies for creation, male and female
energies. This is with regard to only the triangles. Bindu and the
innermost triangle typically refers to the union of Śiva and Śakti,
which is explained in Lalitā Sahasranāma 999, Śiva-śakty-aikya-

rūpiṇī.
If we go by nine āvaraṇa-s, they can also be classified as Śiva and
Śakti āvaraṇa-s. Some texts refer these āvaraṇa-s as cakra-s. Āvaraṇa-

s 1, 2, 3 and 9 (bindu) are Śiva āvaraṇa-s and āvaraṇa-s 4, 5, 6, 7 and
8 (innermost triangle) are Śakti āvaraṇa-s. Let us look at this from
grosser perspective. Śiva, by remaining inside the innermost triangle
as the bindu, protects Lalitāmbikā from the outer side by forming the
first three āvaraṇa-s. This also goes to prove that everything
originates from Śiva, protected by Śiva and dissolves unto Śiva.
Basically, this is the principle of Śri Cakra. Though Śiva is the cause,
we cannot directly go to Him. We have to necessarily go through
Parāśakti. It only She, who imparts the ultimate knowledge known as
Śivajñāna and it is She, who imparts this knowledge and hence She
is known as Śiva-jñāna-pradāyinī (Lalitā Sahasranāma 727). Hence,
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Śri Cakra is predominantly worshiped by those who aim for liberation
from transmigration.
The above discussion pertains to Śri Cakra. Now let us understand
how to correlate Śri Cakra with our subtle body. Already we have
discussed that the nine openings in a human body represent Guru.

That is with regard to gross body. The nine forms discussed here is
about nine śakti-s (powers or psychic powers). If we discuss from this
point of view, then it would be appropriate to say “navaśaktimayaṁ
śrīcakram” instead of “navacakrarūpaṁ śrīcakram”. Cakra not only
means a wheel, but also means subtle energy (śakti also means
energy) centres in the body. Most commonly known psychic centres
are six in number, beginning from mūlādhāra cakra to ājñācakra and
the seventh one sahasrāra, at the top of the head, which is not included
for the purpose of calculating psychic centres. It is not a centre, but is
the Seat of Śiva.
The first six psychic centres are well known and they are mūlādhāra,
svādhiṣṭhāna, maṇipūraka, anāhata, viśuddhi and ājñā cakra-s.
Between ājñācakra and sahasrāra, there are seven subtle centres. If
we include both ājñācakra and sahasrāra, then there are nine subtle
centres. These nine subtle centres are known as bindu (ājñācakra),
ardhacandra, rodhinī, nāda, nādānta, śakti, vypāpikā, samāna and
unmanā (sahasrāra). The nine subtle forms that we are discussing
about in this verse could also mean these nine subtle centres.
Interpretation of these nine forms is based on the spiritual attainment
of the practitioners. For those on the elevated spiritual level can go
with these nine psychic centres from ājñācakra to sahasrāra, and
those who are yet to be spiritually elevated can go with nine forms
beginning with mūlādhāra to sahasrāra. The ultimate end is only
sahasrāra. For the second category of practitioners, apart from

including the lower six psychic centres up to ājñācakra, mind cakra
and lunar cakra are included along with sahasrāra, thus making a total
of nine chakras. Mind chakra and moon chakra are situated above
ājñācakra, one above the other. It is important to remember that
Lalitāmbikā has three types of forms, gross, subtle and subtlest. Gross
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form is the nine apertures in the human body that correspond to Śri
Cakra. Her subtler form is kāmakalā (intertwining of nine triangles)
and Her subtlest form is kuṇḍalinī. During Her journey from the base
chakra to sahasrāra in the form of Kuṇḍalinī, manifestation of the
universe takes place. Meditating Her in the form of Kuṇḍalinī in the
nine psychic centres is known as antaryāgaḥ (internal oblations),
which is more powerful that external oblations.
If we proceed to think further, we can find out that these nine triangles
of Śri Cakra give rise to nine forms of Kālī known as Navakālī, nine
forms of Durgā, Navagrahā-s, etc.
So far, we have not discussed about a few aspects. The first one is
about trivalaya also known as tirvṛtta, the three circles or rings
immediately after the first āvaraṇa. There are different versions
regarding these circles. Many are of the opinion, that these three lines
represent worldly affairs and are to be ignored. Different traditions
adopt different views on these three circles. In Ānadabhiarava
tradition, they are present but not worshiped. In Hayagrīva tradition,

they are not even present. In Dakṣiṇāmūrti tradition, they are present
and worshiped, but not taken into account as an āvaraṇa. There are
sixty one śakti-s, who are present in these three circles. Tradition is
known as sampradāya and thus we have three main sampradāya-s and
they are Ānadabhiarava sampradāya, Dakṣiṇāmūrti sampradāya and
Hayagrīva sampradāya. Which sampradāya one follows can be
known by the mantras practiced. Generally, they become the ṛṣi of
that particular sampradāya.
Another aspect which we have not yet discussed is about krama-s.
Krama means course or procedure followed step by step. Śri Cakra is
worshiped in three types of krama-s. Most commonly worshiped
krama is saṁhāra krama, where the worship begins from first āvaraṇa
and goes step by step towards the bindu (ninth āvaraṇa). This signifies
liberation of individual soul. This is because from the material world,
we move towards Śiva and ultimately get absorbed into Him.
Saṁhāra means absorption or binding together. This refers to the
union of individual soul and the Self, and in this case it is the union
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of jīvātman with Śiva (Paramātman) through Śakti. The second krama
is sthiti krama, where sthiti means continued maintenance or
existence. In this krama, worship begins from the first āvaraṇa,
proceeds up to seventh āvaraṇa; then the worship begins from the
ninth āvaraṇa, the bindu and ends at the fourth āvaraṇa, in the reverse
direction. The last krama is sṛśṭi krama, where the worship begins
from the bindu (ninth āvaraṇa) and ends at the first āvaraṇa.
Coming back to the discussion on this verse about the nine subtle
psychic centres, we already know about the first six chakras, from
mūlādhāra to ājñācakra. Above ājñācakra, there are two very
powerful psychic centres known as manascakra (mind) and
somacakra (moon). These two centres are one above the other. There
is always a direct relation between mind and the moon. There is a
strong connection between these two chakras. If the mind chakra is
calm and composed without any agitation, soma chakra becomes
highly active and begins to secrete nectar like substance, which flows
down the throat after crossing mind chakra and ājñācakra. This nectar
like substance is known as amṛtavarśiṇi. Somacakra has sixteen kalā-
s, corresponding to the fifteen tithi-s (lunar days) and Lalitāmbikā or
corresponding to the sixteen Sanskrit vowels. These sixteen kalā-s are
worshiped during the preparation of viśeṣargḥya during navāvaraṇa
pūjā. These two chakras determine the mind and spirituality of a
person. Without activating these chakras, mind cannot be cleansed.
Once the mind is purified in these chakras, kuṇḍalinī ascends to
sahasrāra to complete the process of union between Śiva and Śakti.
This is the union of individual consciousness with the Supreme
Consciousness. This is liberation.
There are two marma (also known as varma) points known as
sthapanī, one exactly at ājñācakra and another one at manaschkara

(midpoint of the forehead). Applying slight pressure in circular
motions on these two points controls the mind. Almond oil or sesame
oil can be used to massage these two points. If any issues relating to
kuṇḍalinī syndrome are present, this massage will relieve all types of
syndromes related to kuṇḍalinī. One can meditate on these points by
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reciting īṁ (ई). There is a specific way of reciting īṁ, which is known
as Śākta praṇava. While reciting īṁ, emphasis should be given on ṁ
by prolonging the recitation of ṁ. While doing so, eyes should be
closed and by focussing and concentrating on ājñācakra, one should
push the breath towards sahasrāra.
With this, correlation between nine triangles of Śri Cakra and nine
psychic centres of the human body is completed.
Vārāhī pitṛdevatā kurukullā balidevatā mātā || वरररहर पपतदध र वतर कचरकचललर
बललदध वतर मरतर॥
(Bhāvanopaniṣad 4)
This verse says that Vārāhī Devi is the father and Kurukullā Devi is
the mother. This appears to be difficult to explain as there are no
authentic and elaborate explanations on this verse. Both Vārāhī and
Kurukullā need to be separately understood. Though there are enough
materials about Vārāhī, not many are available on Kurukullā. This
verse speaks about their parenthood not only to a human being, but
also to all the beings. It can however be explained that they are
parents both to physical as well as subtle bodies. In other words, they

are the cause for existence of our gross bodies as well as mind (subtle
body). It is said that Vārāhī presides over bones and Kurukullā
presides over other parts of the body. Without bone, no proper shape
is possible and thus, bone forms the basic structure of the bodily
constitution. With bone alone, a shape cannot be completed. Rest of
the bodily material are provided by Kurukullā. Since bone is the
toughest part of the body, Vārāhī is described as father and rest of the
body compositions are subtler and soft and Kurukullā is described as
mother. Both these names are referred in Lalitā Sahasranāma.
A physical body needs two aspects. One is protection, which Vārāhī
does as father and another aspect is nourishment which is provided
by Kurukullā as mother. Kurukullā is rarely known in rituals and
mostly associated with Buddhist tradition. However, she is said to be
one of the nine kula devi-s of Tantric tradition, the other eight being
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Nārasimhī, Cāmuṇdā, Vāruṇi, Kalāpī, Nārāyaṇī, Kaumārī, Parājitā
and Aparājitā.
There are eight mothers (aṣṭa māta-s), representing eight different
human qualities. They are 1. Yogeśvarī representing desire, 2.
Māheśvarī for anger, 3. Vaiṣṇavī for greed, 4. Brāhmaṇī for passion,
5. Kalyāṇī for bewilderment, 6. Indrajā for envy, 7. Vārāhī for disdain
and 8. Yamadaṇḍā for death. There are variations in their names from
the one mentioned above, while worshipping them in Śrī Cakra. They
are worshipped in Śrī Cakra as Brāhmī, Māheśvarī, Kaumārī,
Vaiṣṇavī, Vārāhī, Māhendrī, Cāmunḍā and Mahālakṣmī. These
goddesses are worshiped in the first āvaraṇa in Śrī Cakra worship.
Aṣṭa māta-s also refer to eight veins on both sides of human neck.
How does Kurukullā nourish a human body? It is said that she
receives offerings made during fifteen lunar days and nourishes the
body. It is also believed that tithinityā devi-s receive the offerings
made on a particular tithi and they in turn offer them to Kurukullā to
sustain all the gross bodies in the universe. Hence, she is called as
balidevatā in this verse. Bali is also an offering during rituals made
to other inferior deities. Bali always forms a part of the main offering,
except in the case of kṣetrepāla bali, which is prepared separately.
Some are of the opinion that the presiding deity should be given
offerings which is called naivedya and for all other deities during that
particular ritual offerings made are known as bali.
It is also said that Kurukullā represents full moon, when Parāśakti
remains in the form of Pañcadaśī mantra. As discussed earlier
(Journey to Śri Cakra), Parāśakti is in the form of Ṣoḍaśī mantra on
new moon days, which is represented by Vārāhī. Since the entire
creation is placed between Pañcadaśī and Ṣoḍaśī representing full
moon days and new moon days and since Kurukullā and Vārāhī
represent new moon days and full moon days, it is said that they are
like father and mother of the universe. We have seen Kurukullā Devi
(while discussing Journey to Śri Cakra) in the middle of

vimarśavāpikā, a boat made of rubies. In the boat we are able to see
a beautiful dark green complexioned damsel. She has a well
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developed body. She has beautiful eyebrows that shames
Manmatha’s bow. She is smiling pleasantly. She is wearing ear studs
made of rubies. She is Kurukullā Devi. A reference to her is available
in Lalitā Sahasranāma 438 Kurukullā, and this nāma is explained like
this: “Kurukullā is a goddess who dwells in Śrī Cakra between the
boundaries of ego and consciousness (between forts 21 and 22)”.
Based on her positioning between the forts of mind and ego, we can
also say that Kurukullā controls antaḥkaraṇa (mind, intellect and
ego). If Kurukullā is described like this, it can also be said that Vārāhī
presides over gross body and Kurukullā presides over subtle body.
There are other interpretations also, which are of no significance.
However, it is still intriguing why these references are made in this
Upaniṣad, which belongs to Atharva Veda.
Puruṣārthāḥ sāgaraḥ पच रषरथररम सरगरम (Bhāvanopaniṣad 5)
Object of human pursuit is like an ocean. Puruṣārtha consists of four
ambitions of life – dharma, artha, kāma and mokṣa. They can be
interpreted as leading life following the path of righteousness,
acquiring material wealth, not only to sustain the self, but also to
become a philanthropist, gratifications of desires and attaining
liberation. This verse says these four, making the puruṣārtha-s are like
an ocean. Puruṣārtha–s are not the same in everyone, though the last
of the four, mokṣa is the same in everyone. There are two types of
mokṣa-s. One is final liberation and that soul will not be born again.
This is known as liberation. Another mokṣa is inferior to liberation,
where the soul reaches heavens (higher planes) and sojourns there,
only to be born again to experience the remnants of karmic
impressions. Lalitā Sahasranāma 291 says that She alone is the giver
of these puruṣārtha-s. Śiva will not give puruṣārtha-s, as He is beyond
all these mundane activities. Śiva does not even give mokṣa, as She
after imparting knowledge about Śiva (Lalitā Sahasranāma 727 –
Śivajñānapradāyinī) ensures that such a yogi merges unto Śiva.
The first three of puruṣārtha-s vary depending upon one’s spiritual
advancement. Let us take dharma. Dharma is explained as dos and
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don’ts of ethical and moral life. The precepts of dharma vary
according to spiritual progression. There is no need to tell a
saṁnyāsin that he should not be angry or give room for emotions,
ego, etc. When he has resorted to saṁnyāsa, it is understood that he
should be away from material world with a steadfast mind. Similarly,
a family man is entitled and duty bound to carry out his duties to his
family and should not renounce without completing his duties, and at
the same time pursuing his spiritual path. He has to earn for the
sustenance of his family in a righteous way. What he has to do? This
is explained in Lalitā Sahasranāma 946 Pañca-yajña-priyā. (The five

yajña-s referred in smṛti-s are known as pañca mahā yajña-s. They
are deva yajña (appeasing gods and goddesses), brahma yajña (the
knower of Vedas), pitṛ yajña (for ancestors), bhūta yajna (animals,
etc) and nara or atithi yajña (nara means man and atithi means guest).
Atithi is explained as a person who is entitled for hospitality. Deva
yajña is the worship to one’s kula devatā (the deity worshipped
through lineage). The study of Veda-s is the next. Remembering our
ancestors is the third. This is performed on the annual death days of
ancestors. (There is no point in performing annual ceremonies
without taking care of them when they were alive). The idea behind
this yajña is not only to remember them, but also to remember and
follow the family’s culture and values. Bhūta yajña means sharing
with other living beings. Feeding the hungry animals develops
universal love. The last one also known as manuṣya yajña (manuṣya
means friendly to man), traditional hospitality extended to fellow
beings.) As the one who sustains his family, he has to follow the
above five yajña-s. Thus, dharma though considered by the
commandments, varies according to the level of spiritual
evolvements of individuals.
Artha means wealth (Artha has other meanings such as purpose,
cause, motive, etc). This also depends upon one’s spiritual evolution.
The one at the higher end of spiritual life will not ask for more and
more material wealth and instead will seek spiritual knowledge,

which he considers as supreme wealth. Kāma means desires, which
includes all types of desires such as material, physical, intellectual,
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etc. Therefore, puruṣārtha-s is not a yardstick that can be applied to
everyone equally. Similarly, many are of the opinion that women
should not recite ॐ, or perform agni rituals, etc. This is not true.
Dharma applies to everyone and it does not differentiate based on
gender.
Puruṣārtha-s can be interpreted from the point of view of the previous
verse, which discussed about masculine and feminine energy in the
names of Vārāhī and Kurukullā. Union of masculine and feminine
energies is taken forward through various Tantra śāstra-s, which is
often misunderstood, bringing disrepute to Tantra śāstra-s. This verse
says that one has to transcend puruṣārtha-s, which is like an ocean, to
reach the ultimate goal of liberation. If first three of the puruṣārtha-s
are transcended, the fourth puruṣārtha is automatically attained, as the
first three deal with the mind and the fourth can be attained, only if
the mind is cleansed of the impressions of the first three, beyond the
need for normal existence.
deho navaratnadvīpastvagādi saptadhātu roma saṁyuktaḥ ||
दध हम नवरपतनशपसतवगरहद पसधरतच रमम सयऐ ्चतम॥ (Bhāvanopaniṣad 6)
In some texts this verse is split into two separate verses. In that case,
the two verses will be like this. deho navaratnadvīpaḥ || दध हम नवरपतनशपम।।
and tvagādi saptadhātu roma saṁyuktaḥ || तवगरहद पसधरतच रमम सयऐ ्चतम।।
But the meaning does not change.
This body is an island of nine gems. A body is called an island
because each body functions independently. The next part of this
verse explains these nine gems. They are saptadhātu-s (chyle, blood,
flesh, fat, bone, marrow, and procreative fluids) hair and vital breath
called prāṇa. There are different versions regarding these constituents
which really do not matter much. What we need to know is that the
body is made of nine constituents, as this is more towards grosser
interpretation. Already the nine apertures of human body are
compared to nine triangles or nine āvaraṇa-s. It is important to
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remember that nine triangles are different from nine āvaraṇa-s, which
have been explained already.
Numeric nine has got a lot of significance in Śri Cakra worship. For
example, we have nine triangles, nine āvaraṇa-s, nine yogini-s, nine
mudras (trikhaṇḍa mudra is excluded as it is meant only for those who
are initiated into mahāṣoḍaśī mantra), nine cakreśvarī-s, nine siddhi-

s, etc. Apart from this, there are nine planets, nine gems, navarātri,
etc. Since Śri Cakra is made of nine triangles and nine āvaraṇa-s and
as Śri Cakra represents creation (inner triangle and the bindu within),
it can be explained that the universe originated from the nine
underlying principles of Śri Cakra.
On the subtler side, these nine gems are compared to Her Grace,
which consists of nine components. When we talk about showering

of Her Grace on us, the following nine components get embedded in
our body, both physical and subtle. A body becomes complete only
when both gross and subtle come together and in the best possible
alignment. The nine components of Her Grace are vibhūti (Her
Grandeur), unnati (causing further spiritual elevation), kānti (bodily
splendour), hṛṣṭi (ecstatic Bliss), kīrti (fame), śānti (tranquillity
personified), vyuśṭi (reward), utkṛṣṭa (taking to a much higher
position) and ṛddhi (conclusive evidence).
We can also look at this verse from the angle of navadurgā forms.
Kumārikā (a girl of 10 to 12 years old), Trimūrti (as Brahmā, Viṣṇu.
Śiva), kātyāyanī, Rohiṇī (a girl of nine years), Kālī, Caṇḍikā,
Śāmbhavi, Durgā and Bhadrā (prosperous and happy). There are
other versions of navadurgā. It can also be argued that She bestows
Her Grace through these nine forms. It is also said that the nine forms
of Durgā represent nine different stages of growth of Pārvatī Devi,
Consort of Śiva. The Final Beatitude is conferred by Bhadrā. At the
end of Final Beatitude, Lalitā Mahātripurasundarī Parā Bhṭṭārikā
takes over the meditator and takes him to Śiva for liberation. This
aspect is subtly conveyed here.
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Thus, when She showers Her Grace, all these nine aspects descends
one after another on the meditator making him a perfect yogi. The
moment Her Grace falls on us, our body and mind becomes lustrous
and we spiritually advance further, to finally get liberated. Only based
on these nine components of Her Grace, She is adored as śivajñāna
pradāyinī in Lalitā Sahasranāma 727. Liberation is possible only if
She showers Her Grace.
saṁkalpāḥ kalpataravaḥ tejaḥ kalpakodyānam rasanayā
bhāvyamānā sadhurāmlatiktakakaṣāyalavaṇarasāḥ ṣaḍṛtavaḥ ||
सऐ कलपरम कलपतरवम तध जम कलपकमदरनम ्स रसनयर भरवयमरनर
सधररमलतततककषरयलवणरसरम षडरतवम॥ (Bhāvanopaniṣad 7)
Some texts have split this into two verses.
A resolute mind is like the wish granting tree of the heaven.
Splendour of the mind is the garden of wish granting trees. The taste
buds in the tongue which tastes sweet, sour, bitter, pungent, astringent
and salt are six seasons.
Now Bhāvanopaniṣad begins to discuss about the mind. Bhāvana
means contemplation and Bhāvanopaniṣad enables us to perceive Śri
Cakra through our minds. First part of this verse speaks about the
mind. In order to effectively synchronise our mind with Śri Cakra, we
need to have a resolute mind. What is a resolute mind? When the
mind determines that the Self is within, it is known as resolute mind,
the state of sthitaprajña (firmness of the mind attained through
knowledge and wisdom, where all desires are annihilated). This verse
says that this kind of mind is the garden of celestial boon granting
trees. In a contended mind, there will be no desires, no attachments
and no needs. Though he is aware that he can get whatever he wants

by the Divine Grace, he will not ask for anything, as he has no needs
at all, as he has now become a yogi (union of individual
consciousness with Supreme Consciousness). He is contended in all
aspects of life. Such a person will be able to control multitudes of
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nines (explained in the previous verse as navaratna) that exist in his
body. Here is the situation, where the mind and body are completely
in alignment. He is in full control of his mind and through his resolute
mind he controls all the sense organs of his body. Over a period of
time he will cease to take his food, lose his sleep, etc. All this happens
one after another.
Having explained about the mind, the verse proceeds to discuss about
the six seasons. Six seasons form twelve months of a year are on the
grosser side. Taste of the tongue is also gross. But, as we are
discussing Bhāvanopaniṣad, we have to look for subtle conveyances.
The first part of the verse says that one needs to have a resolute mind;
in other words one has to be a sthitaprajña first. Once the state of
sthitaprajña is reached, Her Grace descends on him. When the Grace
descends on him, how it enters the body is now the question. It enters
through sahasrāra (crown chakra), where there is an orifice known as
brahmarandra. This orifice always remains closed. This orifice can be
opened only through Divine Grace and that is why it is known as
brahmarandra (orifice of Brahman; it is also known as orifice of

Brahmā, the god in-charge of creation; the correct interpretation is
orifice of Brahman). Her Grace enters into our body through this
orifice and activates six psychic chakras from ājñā cakra to
mūlādhāra. She already exists in the form of śaktikuṇḍalinī at the
perineum, but in a dormant state. When the Divine Grace descends,
śaktikuṇḍalinī transforms into parākuṇḍalinī, where Śiva is inherent.
When parākuṇḍalinī is active, that state of the meditator is known as
pūrṇāhantā, the state of Supreme Paramaśiva (where She is inherent
and in a state of inseparableness). Now the meditator becomes one
with That Absolute (I am That or ahaṁ brahmāsmi).
When deep state of devotion transforms into love for Her, without
any efforts on the part of the meditator, he is taken to the advanced
spiritual states through navadurgā concept and at the end of
navadurgā state, She showers Her Grace through his brahmarandra
and ultimately ensures his union with Śiva and this meditator is not
born again.
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While pursuing Śrī Vidyā upāsana, it is important to understand its
intricacies, if one wants to attain liberation. Rituals should pave way
for japa mantras and japa mantras should pave way for understanding
and contemplating Śri Cakra effectively with the help of
Bhāvanopaniṣad and these transitions should happen in quick
successions, aiming for liberation in this life itself.
jñānamarghyaṁ jñeyaṁ haviḥ jñātā hotā | jñātṛ jñāna jñeyānāṁ

abhedabhāvanaṁ śrīcakrapūjanam ||
जरनमघयरऐ जध यऐ हपवम जरतर हमतर। जरतर जरन जयध ्रनरऐ अभध दभरवनऐ शस्शचकस रपजभ नम॥्स
This is one of the important verses of Bhāvanopaniṣad.
This verse says that knowledge is arghya. That which is to be known
is oblation. The one who seeks knowledge is the performer of homa
(oblations into the fire). Understanding that there is no difference
between the knower, the known and the process of knowing
(knowledge) is true worship of Śri Cakra. There are three aspects in
a fire ritual. One is the performer or doer; another is oblation and
while offering oblations, mantras are recited; the third one is to whose
favour (in this ritual, it is Lalitāmbikā) these oblations are made.
There are three words in the second part of this verse – jñātṛ, jñāna
and jñeya. Jñātṛ is the meditator; jñāna is the knowledge; and jñeya
means the one, who is to be known. When these three becomes one,
She is realized. As long as there is differentiation, She cannot be
realized. When there is no differentiation between the three means
that the practitioner has already crossed ritualistic worship and moved
on to mental worship. Where there is no union between the three, it
means that the practitioner still remains in the ritualistic mode. This
is the essence of this verse.
Knowledge is said to be arghya. Arghya literally means welcoming a
guest with great reverence and respectfully offering water. Śri Cakra
pūjā is also known as navāvaraṇa pūjā. When invocation is done
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properly with this mantra using trikhaṇḍā mudra (restricted to those
who are initiated into Ṣoḍaśī), She will surely take Her seat in the
midst of Śri Cakra and now we can offer Her arghya.
om aiṁ hrīṁ śrīṁ hsraiṁ hsklrīiṁ hsrauḥ* mahāpadmavanāntaste
kāraṇānandavigrahe |
sarvabhūtahite mātaḥ yehyehi parameśvari|| Śrī Lalitā
Mahātripurasundarī Parā Bhṭṭārikā Mahādevyāḥ āvāhayāmi ||
But, in navāvaraṇa pūjā, there is one special arghya known as
viśeṣārghya, which is specially formulated using different ingredients
according to one’s Guru Lineage and this viśeṣārghya is mentioned
here while referring to arghya. Why is it so? Viśeṣārghya is the
symbolic representation of “saccidānanda śivaṁ”. Saccidānanda (sat-

cit-ānanda) means existence, consciousness and bliss. But why
Śivaṁ? He is the destination in navāvaraṇa pūjā, as He is in the bindu.
Further, He alone can give liberation, hence Saccidānanda Śivaṁ,
where Śiva refers to Brahman. Since Śrī Vidyā paves way for
liberation, it is also known as Brahmavidyā. Viśeṣārghya is not only
related to ritual worship, it is also related to mental worship. In deep
stage of meditation, ambrosia like substance (Lalitā Sahasranāma
106, sudhāsārabhi-varṣiṇī) drips from the skull into throat chakra and
this is viśeṣārghya (discussed later in this article). Normally, flow of
ambrosia will be felt during kuṇḍalinī meditation. In ordinary

meditation also, this can be experienced. This secretion is directly
related to the purity level of one’s consciousness. Jñātṛ, jñāna and
jñeya are not related to ritual worship and this triad talks about mental
worship, which is the object of Bhāvanopaniṣad.
When spiritual wisdom dawns on the aspirant, he moves forward to
attain Her Grace. Without Her Grace, liberation is not possible. A true
and dedicated Śri Cakra practitioner evolves over a period of time.
The exercise begins with mantra initiation, daily worship, Śri Cakra
worship (navāvaraṇa pūjā), Śri Cakra homa, mantra japa with mental
pūjā, only mantra japa, kāmakalā meditation, kuṇḍalinī meditation,
experiencing samādhi and finally liberation. If this kind of
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progression is not practiced, liberation cannot be attained, even if one
is initiated into Ṣoḍaśī, though Ṣoḍaśī is known as “kevalm mokṣa
sādhanam” (Ṣoḍaśī will be effective only for liberation). Śvetāśvatara
Upaniṣad (I.12) also says, “You have to know that Brahman is always
residing within. There is nothing higher than this knowledge. The
jīva (the enjoyer), the jagat (that which the enjoyer enjoys) and the
Brahman within, who directs – know these three as Brahman.”
This verse says that there should be no differentiation between the
practitioner, the path of practice (knowledge) and Parāśakti. When
this triad is dissolved, She reveals Herself to the practitioner.
Now, Bhāvanopaniṣad proceeds to convey subtleties of nine āvaraṇa-

s.
niyati sahitāḥ śṛṅgārādayo rasā aṇimādayaḥ | kāmakrodhalobhamoha
madamātsaryapuṇyapāpamayyī brāhmyādyaṣṭa śaktyaḥ |
ādhāranavakaṁ mudrāśaktyaḥ ||
तनयतत सहहतरम शर ङसकगरररदयम रसर अखणमरदयम। करमकस रमधलमभममह
मदमरतसयपर णस्चयपरपमययश बसररहससखमयरदषट शकतयम। आधररनवकऐ मच ररशकतयम॥
First āvaraṇa has three types of walls and each wall is protected
different śakti-s. In the outer wall there are ten śakti-s, in the middle
wall there are eight śakti-s and the inner wall there are ten śakti-s;
thus we have twenty eight śakti-s in the first āvaraṇa. Entering into
Śri Cakra through the outer walls is known as saṁhārakrama.
Saṁhāra means contraction, which is opposite of expansion. When
Śiva expands, it is creation and when He contracts, it means
annihilation or liberation. Contraction means that He withdraws the
individual soul (or the entire souls during annihilation) of the devotee
unto Himself. It is not merely liberation; it is merger. The devotee
who dissolves the triad discussed in the previous verse will be able to
attain Her Grace by experiencing Bliss and later getting liberated.
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In the first wall there are ten siddhi devi-s and they are mentioned in
the first part of this verse “niyati sahitāḥ”, which means ‘along with
niyati’. Niyati can be explained in different ways. Niyati means
destiny or fate, which can be corroborated with one’s karmic account.
If niyati is taken to mean one’s karma, entry into Śri Cakra is possible
only if one’s karmic account permits. Liberation is possible only if
one exhausts all his karmas. According to Trika philosophy, niyati is
one of the five coverings of māyā. Since, grosser meaning of
supernatural power is conveyed through the ten devi-s in the first wall
of the first āvaraṇa, there should be some subtle meaning for niyati,
etc (niyati sahitāḥ). Niyati also refers to the power of limitation in an
individual; this is the power that controls the functions of an
individual. Niyati is also known as universal law that controls and
executes normal and successive manifestations. For example, a tiny
seed gives rise to a gigantic tree. If the tree grows all of a sudden
without the seed, then it is against the principle of niayati. For
example, a yogi creates a tree from nowhere (without the usual
procedure of sowing a seed, germination, growth, etc – the normal
and known mode of growth), then it is not niyati. Only exception to
niyati is found in ūrdhvāmnāya pantheon (parāṣoḍaśī), as this
pantheon is not a normal one. Thus ten devi-s in the first wall of the
first āvaraṇa represents niyati, the step by step transformation of a
practitioner, annihilating all his karmas - prārabdha, sañcita and
āgāmin. The very thought of entering into Śri Cakra annihilates all
types of karmas and this is done by these ten devi-s.
There is yet another interpretation possible based on the second part
of the first verse “śṛṅgārādayo rasā”. Lalitā Sahasranāma 376 is
Śṛṅgāra-rasa- saṁpūrṇā, wherein ten types of rasa-s are explained. .

These ten rasa-s are love (śṛṅgāra), heroism, disgust, anger, mirth,
fear, pity, amazement, tranquillity and warmth. As we are talking
about liberation (saṁhārakrama), it means that these rasa-s are
annihilated from both mind and body. Rasa means emotional states.
When we move towards liberation, our emotions should be
annihilated. This is done by these ten devi-s of the first wall.
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If niyati is taken to mean a part of māyā, then it can be considered to
mean that māyā is annihilated by these ten devi-s by working on both
organs of perception and organs of action (totalling ten), so that the
mind is purified and becomes eligible to enter into Śri Cakra. The
ultimate idea of the first part of this verse is that one is purified before
entering into Śri Cakra. This can be compared to performing
puṇyāhavācanam (purification rites by reciting pavamānasūkta).
Now the practitioner is cleansed both internally and externally and
continues his journey further.
Now we go to the second part of this verse, which corresponds to the
second wall of the first āvaraṇa, which is ruled by aṣṭamātṛ-s (eight
mothers or aṣṭamātā-s). They signify kāma (all desires including lust),
krodha (anger), lobha (impatience, cupidity, etc), moha (distraction,
infatuation, delusion leading to continued spiritual ignorance), mada
(pride due to falsified ego, arrogance), mātsarya (envy, jealousy,
dissatisfaction), puṇya (merits accrued both through actions and
thoughts) pāpa (demerits such as sin, vice, crime, guilt), the eight
impediments to realize Her. These eight qualities are annihilated by
aṣṭamātā-s. The yogi is now further purified by eliminating these
qualities, both good and bad. When the mind becomes pure, there
cannot be any differentiation between good thoughts and bad
thoughts, good actions and bad actions, auspiciousness and
inauspiciousness, etc. These are the attributes associated with
dualism. All dyads and triads are related to dualism. When we are
about to be liberated, our mind becomes steadfast and hence we are
called sthitaprajña-s (firm mind with perfect judgment and wisdom,
calm, contented; this is resoluteness by which we affirm that She is
within, without even an iota of doubt). As we move towards the inner
triangle, we are transformed into jīvanmukta-s, ready to merge with
Śiva, who is at bindu.
The last part of this verse speaks about the innermost wall of the first
āvaraṇa. There are ten śakti-s here and they are known as mudrāśakti-
s. The verse says, “ādhāranavakaṁ mudrāśaktyaḥ”. Ādhāranavakaṁ
means nine powers of sustenance and support, which refers to nine
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mudrāśakti-s. Mudras can be understood in three ways. First is gross,
usage of finger gestures. Next is subtle, contemplating the nine
bījākṣara-s, one for each mudrāśakti. These nine bījākṣara-s are drāṁ,
drīṁ, klīṁ, blūṁ, saḥ, kroṁ, hskhphrem, hsauḥ and aiṁ (ररऐ , ररऐ , कलरऐ ,
बल,्भऐ सम, कस रर, हससखसस्सरध म ्स, हससखस ्म and ऐऐ). The tenth one is sarvatrikhaṇḍā
mudraśakti, whose bījākṣara-s are hsraiṁ, hsklrīṁ, hsrauḥ (हससखससर,्हहससखसकस ्सरऐ,

हससखससर ्म). These three bījākṣara-s are used while invoking Her to be seated
in the midst of Śri Cakra*. The third one is to contemplate these ten
śakti-s in the ten psychic centres of the body.
The commonly known psychic centres (chakras in kuṇḍalinī
meditation) are seven in number including sahasrāra. Apart from the
above, there are three important chakras, one at the palate (the
upper surface of the mouth that separates the oral and nasal cavities)
and two more chakras above ājñā cakra – manas (mind) charka and
soma (moon) chakra. Above ājñācakra, there are two very powerful
psychic centres known as manascakra (mind) and somacakra (moon).
These two centres are one above the other. There is always a direct
relation between mind and the moon. There is a strong connection
between these two chakras. If the mind chakra is calm and composed
without any agitation, soma chakra becomes highly active and begins
to secrete nectar like substance, which flows down the throat after
crossing mind chakra and ājñācakra. This nectar like substance is
known as amṛtavarśiṇi.
As Bhāvanopaniṣad is related to contemplation that ultimately leads
to liberation, it is necessary to understand how these ten chakras pave
way for liberation. First five chakras represent five principle elements
of Nature, earth, water, fire, air, ākāśa. The one just above the throat
chakra is known as lampikāstāna or catuṣpada (four-way cleansing of
breath). Ājñā cakra is related to the mind, where one’s mind is

purified here. When consciousness moves away from ājñā cakra to
sahasrāra, where Śiva is seated, one’s mind and consciousness needs
further purification. Liberation at sahasrāra is not possible with
inherent impurities. The inherent impurities in the subconscious mind
are purified and manascara and Divine energies are infused at
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somacakra in the form of spiritual elixir (ambrosia or sudhādhāra)
which drips into the body to cleanse the body and make it fit to
withstand the energy generated at the time of liberation (union of Śiva
and Śakti at sahasrāra).
Thus, this verse (Bhāvanopaniṣad 9) talks about mind-body
purification processes. The first purification is elimination of all
karmic impressions, second elimination is annihilating all emotions
and third part of purification is for the psychic body and mind.
pṛthivyaptejovāyvākāśa śrotratvakjihvāghrāṇa
vākpādapāṇipāyūpasthāni manovikārāḥ kāmākarṣiṇyādi
ṣoḍaśaśaktayaḥ ||
पधर थपवयध जमवरयवरकरश शस्मततवहकजवरसरघसररण वरकपरदपरखणपरयभपसथरतन मनमपवकरररम
करमरकपषरणयरहद षमडशशतयम॥ (Bhāvanopaniṣad 10)
This verse is about the second āvaraṇa, known as sarvāśā-paripūraka
cakra. The sixteen powers that are being discussed in this verse refer
to sixteen subtle elements of the body. Sixteen śakti-s (devi-s)
represent five principal elements - earth, water, fire, air, ākāśa
(another interpretation is that they represent five prāṇa-s); five organs

of perception – ears, skin, eyes, tongue, nose; five organs of action –
mouth, feet, hands, organs of excretion and procreation. Thus five
mahābhūta-s, five jñānendriya-s and five karmendriya-s make fifteen
elements. If we add mind (manas), then we get sixteen śakti-s, each
śakti presiding over one of the above sixteen powers. Mind and
indriya-s (faculty of sense) are purified here in saṁhāra krama (the
process of liberation and ultimate merger unto Śiva). Here all the
embedded thoughts are completely annihilated by these sixteen devi-

s. In particular, subconscious mind is purified here resulting in no-
dream state. The devotee who worships this āvaraṇa mentally gets his
subtle body cleansed by these sixteen devi-s. It can also be said that
the sixteen kalā-s of the moon in their individual capacities purify the
subtle body of the aspirant. There is a strong relationship between
these sixteen śakti-s and sixteen tithi nityā devi-s. The process of
purifying a devotee continues in the second āvaraṇa. During sṛṣṭi
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krama (during creation; creation happens from the innermost triangle
and the bindu), these sixteen sixteen kalā-s of the moon represent
Vimarśa (Śakti) aspect of Prakāśa (Śiva). They work on the subtle
body known as manas or mind (manomayakośa). Each of these devi-

s have different powers and during creation, powers of one or more
than one devi work on a person during birth and that power manifests
in him as he grows. During the reversal process, all such powers are
withdrawn while cleansing his mind.
vacanādānagamananavisargānanda hānopādanopekṣākhya
buddhayo'naṅgakusumāddyāṣṭau ||
वचनरदरनगमननपवसगरनर नद हरनमपरदनमपकध ्रसय पबच यमऽनङस कगकचसमच ्रदटरषट ॥
This verse is about third āvaraṇa, which is also known as
sarvasaṁkṣobhaṇa cakra. The mind that was cleansed in the previous
āvaraṇa is not complete. Still there are some traces left in the mind.
But the mind needs to be completely purified before liberation, as
liberation is possible only through mind. Mind is often afflicted with
non-essential ego. There are two types of egos. One is essential ego,
which is necessary for our existence. Another is non-essential ego,
which is known as pride or self-boasting.
Let us understand this with examples. In a yogi, non-essential ego
alone prevails. He never talks about himself. If one is a truly realized
person, he will not boast himself. There is no need for him. Why
should he go and tell someone that he is a realized person. He does
not like that. This is the stage where non-essential ego is completely
annihilated. Annihilation of non-essential ego is directly related to
one’s spiritual advancement. Let us take an example of a self
proclaimed yogi. He will only try to project himself as a realized
person for reasons best known to him. A Self-realized person can
never be lured with money. Therefore, desire for material gains and
ego are also directly related. Liberation cannot be bought with money
and can be attained only with the guidance of a Guru coupled with
dedication and perseverance to do sādhana. Even for a fully realized
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person, traces of non-essential ego will continue to prevail*. There
are only very few exceptions like Ramana Maharishi. There is every
likely hood that these traces could sprout and grow to unmanageable
proportions, which could be disastrous.
The traces of non-essential ego if any will be removed in this
āvaraṇa*. After purifying his mind, he aspirant begins to develop
detachment from the material world. These eight āvaraṇa devi-s work
on puryaṣṭaka (eight constituents of the body) and remove their
afflictions if any. Liberation can be attained only by those who have
conquered puryaṣṭaka. Puryaṣṭaka consists of the following eight- 1)
five organs of action (karmendriya-s), 2) five organs of senses
(jñānaendriya-s), 3) antaḥkaraṇa (four in numbers - manas, buddhi,
cittam and ahaṃkāra or ego), 4) five prāṇa-s (prāṇa, apāṇa, etc), 5)
five elements (ākāśa, air, etc) 6) desire, 7) ignorance and 8) karma.
The total components of puryaṣṭaka are twenty seven and with this,
the attributes of Śiva is added, takes the total to twenty eight. The
mūla mantra of Mahā Gaṇapati is twenty eight. When all the twenty
seven components of puryaṣṭaka are destroyed, it leads to attributes
of Śiva. The attributes of Śiva (saguṇa Brahman) leads to pure Śiva
or nirguṇa Brahman (Śiva without attributes). Saguṇa Brahman
(Vimarśa aspect of Śiva, known as Śakti) is often realized in the form
of Bliss (Śakti is always known for Her Ānanda; in Trika philosophy,

She is known as Ānanda Śakti). When we merge into Śiva, even this
Bliss is also annihilated, as Bliss is related to mind. Third cleansing
process happens in this āvaraṇa.
The mind that is often agitated gets calmed down at the end of this
āvaraṇa. Agitations prevail only if the mind is filled with desires and
attachments. When desires and attachments are removed, the mind
becomes calm. This process is done in this āvaraṇa, as at the time of
liberation, mind should be completely free of any thought processes
and this process is being done through these eight āvaraṇa devi-s.
alambuṣā kuhūrviśvodarā vāraṇā hastijihvā yaśauvatī payasvinī
gāndhārī pūṣā śaṅkinī sarasvatīḍā piṅgalā suṣumnā ceiti caturdaśa
nāḍayaḥ sarvasaṁkṣobhiṇyādi catrudahsa śaktayaḥ ||
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अलमबषच ्र कचहप
भ वशवर ्मदरर वररणर हहसतहजवरसर यश वतश पयहसवनश गरनदररर पभषर शङस कककनश
सरसवतशडर पपङस कगलर सषच ्चमनर चध तत चतदचरश नरडयम सवसर ्ऐकमलभणयरहद चतदचहससखस शतयम॥
This verse talks about the fourth āvaraṇa, which is known as sarva-
saubhāgya-dāyaka cakra. There are fourteen śakti-s in this āvaraṇa,
who again work on the subtle aspects of a human body. Each of the
devi-s preside over fourteen subtle nāḍi-s of the body. Prāṇa, which
we inhale gets converted and further energised to make our internal
organs function. Under general conditions, we breathe about 21,600
times daily (24 hour period). These 21,600 breaths are distributed to
different psychic centres of the body (chakras), but not equally. Major
portion of breath is distributed to three major psychic centres of the
body – sex chakra, navel chakra and heart chakra. Out of the above
three chakras, navel chakra is extremely important as it represents the
nourishing aspect of the body. Nyāsa-s that we perform while doing
mantra japa is directly related to different nāḍi-s and different psychic
chakras. Nyāsa means depositing. It is a process by which we
mentally place the concerned devata in various parts of the body.
When one surge forward in spiritual path, nyāsa-s can be dispensed
with. For them there is no need for nyāsa-s as they know that the
concerned deity pervades their entire body. Though there are several
types of nyāsa-s, primary nyāsa-s are hrdayādi or aṅga nyāsa. If a
mantra is too long, the mantra is split into six parts and each of these
parts are touched (tactile sense) with right hand fingers to
symbolically implant the mantra and devata into the body (it would
be ideal if only is able to do this mentally instead of doing this
externally). In hrdayādi nyāsa a part of the mantra (in some cases, it
will be full mantra) is implanted in the heart chakra, ājñācakra, back
head chakra, eyes, manas chakra and finally at the eight cardinal
points around us. In the case of mahāṣoḍaśī mantra, there are around
thirty known nyāsa-s.
On the subtle side, the prāṇa that we inhale first reaches the base
chakra known as mūlādhāra, where kuṇḍalinī lies in a dormant state.
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From mūlādhāra, energy proceeds to the navel chakra, to the heart
chakra, to the throat chakra, to the shoulder blades and then to
ājñācakra and finally reaches brahmarandra (a minute orifice at the
top of the skull) in sahasrāra. When the mind is completely purified
in the previous āvaraṇa-s, psychic centres are purified in this āvaraṇa.
Purification of psychic centres not only cleanses the subtle body, but
also cleanses various internal and external organs to which these
psychic centres are connected. When complete purification happens
in this āvaraṇa, kuṇḍalinī pierces brahmarandra to establish
connection between individual consciousness and Supreme
Consciousness. At this stage, connection is established between
brahmāṇḍa (macrocosm) and piṇḍāṇḍa (microcosm). When this
connection is established, purity of the cosmos also prevails within
the human body and pervades the mind. In this āvaraṇa dualism is
completely annihilated and the yogi at this stage always stands
connected to Parāśakti, who has manifested as macrocosm. This
perfect conceptualization may not be possible while performing
navāvaraṇa pūjā, as mind is preoccupied with material objects such
as offerings, flowers, etc. For cleaning the mind, the mind needs to
be without action. Hence meditation is recommended for final
emancipation. Names of the fourteen nāḍi-s and names of the
fourteen devi-s are discussed while discussing fourth āvaraṇa. There
is always a direct relationship between kuṇḍalinī and spiritual level
of an aspirant. Whether someone likes it or not, kuṇḍalinī

automatically ascends with spiritual practices.
prāṇapāna vyānodāna samāna nāga kūrma kṛkara devadatta
dhanañjaya daśavāyavaḥ sarvasiddhipradādi bahirdaśāra devatāḥ ||
पसररणपरन वयरनमदरन समरन नरग कभ मर करकर दध वदत धनञजय दशवरयवम
सवरलसपपपसरदरहद बहहदरशरर दध वतरम॥
This verse talks about fifth āvaraṇa, known as Sarvārthasādhakacakra
and has ten śakti-s. This verse identifies these ten śakti-s with ten
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types of prāṇa-s - prāṇa, apāna, vyāna, udhāna, samāna, nāga, kūrma,
hṛkara, devatatta and dhanañjaya and this has already been discussed
in fifth āvaraṇa. After having cleansed the aspirant’s subtle body, this
āvaraṇa imparts spiritual knowledge with reasoning and makes him
proficient and compatible to move further towards his or her spiritual
goal. Sarvārtha refers to means of accomplishing his goal and
sādhaka means effective, efficient and productive. The purified subtle
body realises its purpose of existence and moves towards the central
point of Śri Cakra to attain liberation. From this āvaraṇa onwards,
knowledge about Śiva is gradually being imparted. When all the
prāṇa-s are purified, the aspirant is totally detached from the material
world.
The cleansing process takes much longer time in this āvaraṇa than in
other āvaraṇa-s, because all the internal and external organs are
controlled by the ten prāṇa-s. These ten prāṇa-s make jñānendriya-s
and karmendriya-s functional. When these ten prāṇa-s unify to
become a single entity called prāṇa, from which these ten prāṇa-s
originated, the functions of organs of perception and action are
subdued and later withdrawn at the time of liberation. This is known
as contraction. Contraction refers to liberation and expansion refers
to creation. Since we are looking at Bhāvanopaniṣad from the angle
of saṁhārakrama, the Upaniṣad is being interpreted from the point of
view of liberation.
Sarva-siddhi-pradā means bestowing of universal success or
bestowing complete accomplishment. This means that the prolonged
contemplation of Her lotus feet has now yielded results. The result
comes in the form of Her Grace, which is showered on the aspirant
through Her various representatives. First comes the Guru, who
teaches “tat tvaṁ asi” (You are That). Next comes Her different śakti-
s beginning from the first āvaraṇa to the eighth āvaraṇa. In the ninth
āvaraṇa She takes over the aspirant and She Herself imparts
knowledge about Śiva (Lalitā Sahasranāma 727 śivajñāna-pradāyinī).
After ensuring that the yogi is perfectly fit for liberation, She reveals
Śiva to him for final liberation and he is not born again.
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etadvāyuḥ saṁsargopādhi bhedena recakaḥ pācaka śoṣako dāhakaḥ
plāvaka iti prāṇamukhyatvena pañcadhā jaṭharāgniḥ bhavati ||
kṣārakaḥ uddhārakaḥ kṣobhako jṛṁbhako mohaka iti nāgamukhyena

pañcavidhāste manuṣyāṇāṁ dehagā bhakṣya bhojya śoṣya lehya
peyātmaka pañcavidhamannaṁ pācayanti ||
etā daśa vahnikalāḥ sarvajñāddyā antardevatāḥ ||
एपतरयम्च ससऐ गमपरधध भध दधन रध चकम परचक शमषकम दरहकम सलरवक इतत
पसररणमच य
स तवध न पञचधर जठररहगनम भवतत॥
कररकम पउररकम कमभकम जभऐ ्र कम ममहक इतत नरगमच य

स ध न पञचपवधरसतध
मनषस्चयरणरऐ दध हगर भकय भमजय शमषय लध ह पध यरतमक पञचपवधमनदसनऐ परचयहनदसत॥
एतर दश वकस प्कलरम सवरजरदटर अनदसतदध वतरम॥
This verse discusses about the sixth āvaraṇa. We have discussed
about five important prāṇa-s in the previous verse. In sṛṣṭi krama, it
is always from subtle to gross and in saṁhāra krama, it is always from
gross to subtle. These five prāṇa-s get modified as five different types
of digestive fires. In particular, nāga (one of the ten prāṇa-s) gets
converted into jaṭharāgni, which aids different types of assimilation
and excretion including belching. There are ten aspects of digestion
referred in this verse and they are recakaḥ (purging, etc), pācaka
(actual digestion), śoṣaka (absorption of water contents into the
body), dāhakaḥ (actual metabolic action for life sustenance), plāvaka
(this can be explained as the fire log for the digestive fire). The second
five are mentioned in the second part of this verse and they are
kṣārakaḥ (bile secretion), uddhārakaḥ (expelling gas generated during
digestive process), kṣobhaka (churning of food), jṛṁbhaka
(expansion of the stomach) and mohaka (assimilation of food by the

body).
In this āvaraṇa the entire digestive system is cleansed. With the
cleansing of digestive system and its associated actions, the one, who
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is going to be liberated does not have appetite. Many living yogis are
examples. They do not eat anything for years. There are certain places
where yogis meditate throughout the year and they see the external
world only on Śivarātri (once in a year). Rest of the days they
meditate perpetually without sleep, water, food and excretion. This is
possible only because their digestive systems do not function and they
live only on prāṇa. They not only inhale prāṇa through their nostrils,
their back head chakra and crown chakra also feeds their body with
cosmic energy to keep their life going.
In this āvaraṇa, the yogi is almost purified except the presence of
three guṇa-s, tanmātra-s and antaḥkaraṇa. They will also be
contracted in the subsequent āvaraṇa-s. By the time, a yogi enters the
ninth āvaraṇa, he or she is completely purified ready to have Her
darśan and ultimate liberation.
śītoṣṇa sukhaduḥ khecchāḥ satva-rajastamoguṇāḥ vaśinyādi
śaktayo'ṣṭau ||
शशतमषण सच खदम्च खध चछरम सतव-रजसतममगणच ्रम वलशनदरहद शतयमऽषट ॥
Eight vāgdevī-s represent climatic conditions such as heat and cold,

mental state such as happiness and sadness, emotionalism and three
guṇa-s.
This verse discusses about the seventh āvaraṇa known as
sarvarogaharacakra. We have already discussed that the seventh
āvaraṇa is presided over by eight vāgdevī-s, who composed Lalitā
Sahasranāma. In Bhāvanopaniṣad, we are discussing about liberation
or saṁhāra krama. As we go towards inner triangle and the bindu
within, our gross and subtle bodies are purified.
Human body is made of five sheaths, known as kośa-s. These sheaths
form the covering of human organism, which is also called piṇḍa
śarīra. The soul is covered by three overlapping vestures. They are
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causal body, subtle body and gross body. The causal body is the
innermost and gross body is the outermost. The gross body is
perishable, subtle body sustains for longer time and the causal body
is permanent till the final liberation of the soul. The soul along with
karmic account is embedded in the causal body. According to
Vedānta philosophy, there are five superimposed sheaths known as
kośa-s. The inner most is ānandamaya kośa (the sheath of bliss),
which corresponds to the casual body. The next three layers are
vijñānamaya kośa (the sheath of intellect and knowledge), manomaya
kośa, the sheath of mind, prānamaya kośa, the sheath of vital airs like
prāna, apāna, etc. These three, vijñānamaya kośa, manomaya kośa
and prānamaya kośa correspond to the subtle body. The fifth and the
outer sheath is annamaya kośa, the sheath of food that corresponds to
the gross body. The entire sheathing structure of the human organism
hides the soul or puruṣa or the self, deep within and falsely projecting
itself as the microcosm and bringing forth the illusion of the world as
the macrocosm.
When we move towards the central bindu for the purpose of
liberation, each of these kośa-s are purified in stages. As far as this
āvaraṇa is concerned, eight aspects are purified or contracted.
Creation is called expansion of Śiva and liberation is called
contraction by Śiva. There is difference between individual liberation
and universal annihilation. At the time of liberation, the individual
soul merges with Śiva (not necessarily during death). An individual
soul, which becomes impure due to different afflictions caused by
māyā has to be purified totally before it is liberated. This process of
purification is done in the eight āvaraṇa-s of Śri Cakra.
When we enter Śri Cakra from the first āvaraṇa, the cleansing process
begins form the gross body and as we proceed towards the bindu,
subtle body and finally causal body are purified. In the seventh
āvaraṇa, any remains of rajo guṇa and tamo guṇa are purified. This is
the state of prakṛti (imperceptible), where all the three guṇa-s lie in
equipoise. In this āvaraṇa, purification is done for the subtle body
comprising of mind and intellect. They are purified by working on
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antaḥkaraṇa (mind, intellect and ego) as well as any modifications of
pañcabhūta-s. He now truly understands advaita or non-dualism, as
all his dualities are destroyed in this āvaraṇa. The process of
liberation from this point onwards is kept as a closely guarded secret.
This is the stage where an aspirant perpetually contemplates Her and
the connection between the aspirant and Lalitāmbikā is kept as a
closely guarded secret. How this secret is maintained due to the
destruction of his mind, intellect and non-essential ego? His external
appearance undergoes complete transformation. He begins to discard
all external accessories such as wearing sacred ashes, rudrākṣa beads,
etc. From the stage of sthitaprajña he moves very close to the state of
jīvanmukta. Jīvanmukta is the stage where one is liberated while he
is alive. The aspirant here continues to live, but as a thoroughly
transformed person, as he is now very close to complete purification.
Once the purification is complete, he becomes jīvanmukta awaiting
his death to merge into Brahman.
Apart from the destruction of dualities, remnants of five principle
elements and antaḥkaraṇa, seven psychic centres (chakras in
kuṇḍalinī meditation) are also purified.
śabdādi tanmātrāḥ pañca puṣpabāṇāḥ | mana ikṣadhanuḥ | rāgaḥ
pāśaḥ |dveṣo'ṅkuśaḥ ||
शबदरहद तनदसमरतस्रम पञच पषस्चपबरणरम। मन इकधनम्च। ररगम परशम। प्धषमऽङस ककचशम॥
Five tanmātra-s are represented by the five flower arrows. Mind

(manas) is the sugarcane bow. Desire is the noose and hatred and
aversion is the goad. These four are the weaponries that are worshiped
outside the eighth āvaraṇa. These four weaponries annihilate all the
qualities, known as guṇa-s of a devotee. At the time of liberation, one
should be devoid of guṇa-s. When there is imbalance in guṇa-s, only
then modifications in the mind happen, which leads to desires,
attachments, hatred, aversion, etc. When the mind is completely
purified and is made devoid of guṇa-s, qualities of the mind are
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annihilated and the mind is made completely placid. In an unruffled
state of mind, the aspirant thinks only about Her. In this state of mind,
mantra and mediation are automatically culminated. All these unfold
on its own, as his mind has already been cleansed and made pure.
avyakta mahadahaṅkārāḥ kāmeśvarī vajreśvarī
bhgamālinyo'ntasrikoṇagā devatāḥ ||
अवयत महदहङस ककरररम करमध शवरर वजसरधशवरर भगमरललनदमऽनदसतलससरकमणगर दध वतरम॥
Avyakta, mahat and ego are Kāmeśvarī, Vajreśvarī and Bhagamālinī
and control the three corners of the inner most triangle.
This verse talks about eighth āvaraṇa. The universe first becomes
visible when avyakta in combination with intellect (mahat or buddhi)
and ego interact with tanmātra-s, as discussed in the previous verse.
Further contraction of the aspirant happens here. Kāmeśvarī,

Vajreśvarī and Bhagamālinī work on him in the subtlest way possible.
His subtlest aspect alone remains, which is the state of ānanda or the
ānandamaya kośa, which is his causal body. Ānanda here refers to
Parāśakti, the Supreme Power of Śiva. Ānanda is also a state of mind,
however without duality. In the state of Bliss or Ānanda the aspirant
completely unites with Her and residues of dualities are annihilated.
At the time of liberation, even ānanda is also considered as a quality.
It is important to understand the difference between Cit and Ānanda.
Cit is Śiva and Ānanda is Śakti. Cit is Prakāśa, the Power of Self-
revelation (the Absolute and the foundational Consciousness that
never undergoes any changes) and Ānanda is Vimarśa, the absolute
state of Bliss, also known as svātantrya śakti of Śiva (Independent
and Absolute Authority of Śiva, beyond which nothing exists). At the
time of creation, everything begins from Śakti and at the time of
liberation of an individual soul, everything is dissolved into Her and
the soul is finally merged with Śiva only by Her. An individual soul
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cannot directly merge with Śiva without Her stamp of approval. The
importance of worshipping Śakti arises from this reality.
Kāmeśvarī cleanses the aspirant with fire. His individual soul is now
totally purified, as fire and water are considered as the best purifiers.
Purification of individual soul means removing the remnants of
karmic impressions. Vajreśvarī purifies him with the rays of the sun.
His inner soul after these two purifications is realised as antarātma.

In this state, the inner soul is prepared to merge with the Supreme
Soul. Finally, Bhagamālinī makes his soul ready to get the final
approval of Lalitāmbikā and takes him before Her for final realization
and liberation.
virupādhikā saṁvideva kāmeśvaraḥ sadānandapūrṇā svātmaiva
paradevatā lalitā | lauhityametasya sarvasya vimarśaḥ ||
पवरपरधधकर सऐ पवदध व करमध शवरम सदरननदपणभ ्रर सवरतमष व परदध वतर लललतर।
ल हहतयमध तसय सवरसय पवमशरम॥
Pure Consciousness is Kāmeśvara. Individual self, which is in the
state of eternal Bliss is Lalitāmbikā. The redness is contemplating the
union of Śiva, Śakti and jīvan (individual soul).
This verse talks about ninth āvaraṇa, which has been elaborately dealt
with while discussing sarvānandamayacakra. This is the innermost
triangle and on each side of the triangle one kūṭa of Pañcadaśī mantra
is placed. At the time of creation, the inner most triangle is known
Divine Procreative point (yoni). A person born out of this point comes
back to Her at the time of liberation. Thus, She becomes the cause,
both for creation and liberation. The entire period from creation to
liberation is controlled by Her. In other words, our existence in this
world is under Her direct control and care. Having born due to karmic
impressions, we have two options before us. One is to realize Her and
get liberated. Another option is to continue our existence, without
making efforts to realize Her. To realize Her, the highest form of

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spiritual knowledge is required and the source of highest spiritual
knowledge is Brahma Sūtra and Upaniṣad-s. A learned Guru imparts
highest spiritual knowledge to his disciples in stages, first by
initiating into mantras and gradually takes the aspirant forward to the
path of liberation. Hence Guru maṇḍala attains great importance in
Śri Cakra worship.
The contraction of the aspirant in this āvaraṇa is complete. When
reflections are withdrawn in stages over a period of time, the aspirant
is able to witness the original illuminating Light of Śiva known as
Prakāśa. This is the point where the aspirant affirms “śivoham” (I am
Śiva or I am That or ahaṁ brahmāsmi). He becomes liberated and
becomes a jīvanmukta (liberated while alive).
Depending upon his karmic account, his period of life is determined.
After becoming a jīvanmukta he continues to live, but without any
traces of duality as every trace of materialistic world is annihilated
and they will not reappear again as She has already showered Her
Grace (Śakti-pāta) on him. Without the decadence of Her Grace,
jīvanmukta state is not possible.
With this, the first part of Bhāvanopaniṣad is completed. There are
another fifteen verses which describe about practice.
ananyacittatvena ca siddhiḥ || अननदधचततवध न च लसपपम॥ (Bhāvanopaniṣad
20)
Undisturbed awareness coupled with yearning for realization is
worship and ultimate attainment.
Having elaborately dealt with the contemplation of various āvaraṇa-

s with different aspects of human body, the second section of
Bhāvanopaniṣad deals with mental worship. Identifying gross and
subtle bodies with different āvaraṇa-s of Śri Cakra is the preliminary
stage of contemplation. This is based on the fact that perfect identity
should be established between the worshiper and the worshiped.
Having thus unified the worshiper (the aspirant) and the worshiped
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(Lalitāmbikā), the next stage is to attain Her. This aspect of worship
is being explained now.
Ultimate object of any worship is only liberation. Liberation is not an
easy task and it entirely depends upon two factors. One is our mind
and another is our karmic account. When karmic impressions are less,
one resorts to the path of spirituality. Worship consists of several
methods. The preliminary stage is gross worship where our sensory
organs are involved. This is ritualistic worship, where She is
considered as someone different from us. This kind of worship is
based on dualism. As long as an object is worshiped, it is always
dualism, though one may claim that it is not dualism. It is dualism
because there are two different objects – worshiper and the
worshiped. The next stage is mantra japas. A proper and perfect
ritualistic practice leads an aspirant to the state of mantra japa where

the aspirant persistently recites a particular mantra by contemplating
Her. Bālā, Pañcadaśī, Ṣoḍaśī and other mantras help in contemplating
Her. There are three types of mantra sādhana-s. One is infantry stage
where the aspirant sits for repeating japa mantras for certain rounds
per day. The mediocre stage is where the performer repeats the
mantra throughout the day without any break during his active state.
Advanced stage is where the performer aligns his or her breath with
the mantra in a way that is convenient to him or her. As long as the
aspirant breathes, he continues to recite mantras.
During the second and third stages mentioned above, a practitioner
while mentally reciting the mantra contemplates on a particular form
of Lalitāmbikā. The description of the form is only secondary; what
is more important is the ability to contemplate Her with a particular
form of his or her choice that is most convenient to the practitioner.
This is based on the fact that Brahman has no shape and form. But
this reality can be understood and experienced over a period of
perfect sādhana. Sādhana does not mean only meditation. Sādhana
begins from ritualistic worship, move forward to japa stage, perpetual
repetition of japa mantras, preliminary stages of meditation and
advanced stages of meditation. We must always remember that
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Lalitāmbikā has three types of forms – gross (in various shapes and
forms such as Bālā, Pañcadaśī, Ṣoḍaśī, Kālī, Lakṣmī, etc), subtle (Her
Kāmakalā form, where Śiva and Śakti unite to create the world
process) and finally the subtlest of Her form, Kuṇḍalinī (combination
of breath and consciousness). Along with our advancement in
sādhana, we also move from gross to subtle and then subtle to subtlest
of Her forms.
The object of Bhāvanopaniṣad is only to enable us to meditate on Her.
This is neither the second stage nor the third stage as detailed above.
This is the preliminary meditative stage. This is so, because still there
are traces of dualities involved here, such as contemplating various
parts of the body with the different āvaraṇa-s of Śri Cakra.
Contemplation here is not on a single object, whereas contemplation
is on more than one object (nine āvaraṇa-s). When the contemplation
is not focussed on a single object, it means dualism still persists. In
the first part of Bhāvanopaniṣad, though we contemplate Her in the
ninth āvaraṇa, yet, it is not pure as elucidated in other Upaniṣad-s,
where Brahman alone is the object of discussion, understanding and
realization. That is why second part of Bhāvanopaniṣad pursues Her
through discussion, understanding and realization.
The first part of Bhāvanopaniṣad dealt with āvaraṇa-s in the following
manner.
First āvaraṇa dealt with schematic attainments, emotions, ritualistic
mudras.
Second āvaraṇa dealt with five prāṇa-s (prāṇa, apāna, vyāna, udāna
samāna); five jñānendriya-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.
Third āvaraṇa dealt with represent psychophysical properties.
Another interpretation is that this āvaraṇa represents expression,
apprehension, movement, elimination, lust, rejections, attention and
detachment.
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Fourth āvaraṇa dealt with represent mental agitation, chasing away
(evil thoughts), attraction (physical), causing happiness, delusion
(māyā), 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 ).
Fifth āvaraṇa dealt with ten prāṇa-s which work on different aspects
of sustenance and death such as bestowing everything, giving
material wealth, worthiness (both material and spiritual), fulfilment
of all types of desires, removal of sorrow and pain, removal of all
pains at the time of death and foretelling death, 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.
Sixth āvaraṇa dealt with requisite knowledge, necessary spiritual

energy, attaining mastery over all types of knowledge leading to
realization, continued spiritual knowledge, free from all types of
diseases, supports all spiritual practices, removal of traces of karmic
impressions, purification of mind leading to Bliss.
Seventh āvaraṇa dealt with five organs of action (karmendriya-s),
five organs of senses (jñānaendriya-s), antaḥkaraṇa (four in numbers
- manas, buddhi, cittam and ahaṃkāra or ego), five prāṇa-s (prāṇa,
apāṇa, etc), five elements (ākāśa, air, etc) desire, ignorance and
karma.
Eighth āvaraṇa dealt with mind that is freed not only from all
afflictions, such as desire, attachment, ego, sensory pleasures, but
also relieved from māyā to a very great extent.
Ninth āvaraṇa dealt with the union of Śiva and Śakti leading ultimate
Bliss and liberation.
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Thus, in the nine āvaraṇa-s discussed above, every form of duality
gets annihilated when we proceed from the first āvaraṇa to the ninth
āvaraṇa and then to the bindu, where merger with Śiva takes place.
Once we reach the innermost triangle, it is the point of no return for
him to be born again in this world. Lalitāmbikā is revered as Śrī Mātā
because She never allows anyone who falls at Her feet to go back to
the mundane world and undergo saṁsāra.
Therefore, it is important that one has to evolve in spiritual life

crossing infant and mediocre stages as quickly as possible to reach
the higher stages of spiritual life. During intent stages of meditation,
sense organs and mind cease to function. Mantra japa is associated
with the mind and hence mantra japa stops on its own when one
begins to experience the initial stages of Bliss or Ānanda, which is
nothing but an indication of our closeness with Her. When our mind
is fully pervaded by Her due to our perpetual contemplation, where
is the question of mantra japa? Mantra japa is needed only to make
Her pervade our mind. When She pervades our mind, we begin to
experience Her Grace in the form of inexplicable Bliss. During this
stage, the differentiation between the knower, the known and the
process of knowing is completely annihilated. In other words, all
types of dyads and triads are dissolved where She alone exists.
This is the conveyance of this verse.
bhāvanāyāḥ kriyā upacārāḥ | ahaṁ tvaṁ asti nāsti kartavyaṁ
akartavyaṁ upāsitavyaṁ iti vikalpānāṁ ātmani vilāpanaṁ homaḥ |
bhāvanā viṣayāṇāṁ abhedānāṁ tarpaṇam ||
भरवनरयरम ककस रयर उपचरररम। अहऐ तवऐ अहसत नरहसत कतरवयऐ अकतरवयऐ उपरलसतवयऐ
इतत पवकलपरनरऐ आतमतन पवलरपनऐ हममम। भरवनर पवषयरणरऐ अभध दरनरऐ तपरणम ्स॥
Contemplating Her alone is reverence. In other words, meditation is
the best practice. I and you, existent and non-existent, that which
ought to be done and which ought not to be done, that is to be
worshiped are to be offered as oblations into the Self (Brahman

413
within). Offering all dyads into the Self is the real fire oblation or
homa ritual. Contemplating non-differentiation is libation (tarpaṇa).
In other words, considering x higher than y, etc is to be discarded
(discrimination is to be discarded). This alone is true tarpaṇa.
This verse talks about higher spiritual level, which takes the aspirant
closer to Her. Reaching Her is the penultimate stage to liberation.
This is based on the fact that Śiva alone can offer liberation. This
verse says that She can be reached through mental contemplation. It
subtly conveys spiritual transformation. Upacāra means approach,
service, polite behaviour and reverence. Upāsana and upacāra are
almost similar. Upāsana means intent concentration on Her.
Concentration can be through rituals or through meditation; the
former always leads to the latter. Emancipation happens in deep
stages of meditation such as nirvikalpasamādhi (the state of
thoughtlessness due to dissolution of all dualities). Again upacāra can
also be through ritual or through contemplation. Śri Cakra navāvaraṇa
pūjā is a typical example of ritual worship.
Mantramātṛkāpuṣpamālāstavaḥ is a typical example of mental
worship.
There are several aspects in external worship and each type of
worship has different purpose. Worshiping different gods for
different purposes, such as worshiping Gaṇapati for removing

obstacles, worshiping goddess Sarasvatī or Hayagrīva for education,
worshiping Goddess Lakṣmī for material wealth, propitiating
different planets to ward off their evil effects, etc. There is another
aspect in external worship, worshiping Iṣṭa Devata for all purposes,
without going into multiple forms of gods and goddesses. This is
known as upāsana. Pursuing multiple upāsana-s leads us to nowhere,
as there can be only one Iṣṭa Devata. Sometimes, Iṣṭa Devata and
Upāsana Devata could be different. Depth of devotion alone is
important in contemplation. It is only the love that connects the
practitioner with Her. Śiva said to His Consort Pārvatī, “When a
sādhaka places offerings before me, I accept them by sight only. But
I eat them through the saintly devotees (saintly devotees are those
414
who have discarded all dualities).” But, we often get struck with
multifarious rituals without making sufficient efforts to move
forward towards emancipation. If emancipation can be attained only
through meditation, one may ask as to what is the very purpose of Śrī
Vidyā. Śrī Vidyā does not refer only to ritualistic procedures. It also
refers to visualization and contemplation. Another person may ask,
what is the purpose of Sage Patañjali’s Yoga Sūtra-s or Bādarāyaṇa’s
Brahma Sūtra or various Upaniṣad-s. It is like asking what is purpose
of high schools and universities. It is obvious that without passing out
from high school, one cannot enter university. Similarly, perfection
in ritualistic practices leads to contemplation, visualization and

meditation and ultimate realisation and liberation.
Let us take the case of pañcapūjā, which is followed both in ritualistic
worship and during mental japa. Pañcapūjā refers to five basic
elements during external worship – earth (applying sandal paste),
ākāśa (offering flowers), air (offering incense sticks), fire
(dipārādhana) and water (food offerings or nivedya). The same
method is followed while mentally performing mantra japa, which is
as follows.
raṁ - agnyātmikāyai dhīpaṁ darśayāmi |
The five basic elements are taken into account in both the types of
worship because the universe is created only with these five elements
and their different modifications.
It is said that more care should be taken during internal worship than
external worship. This is based on the fact that the period of
connectivity between Her and the devotee is restricted only during
the period of pūjā or homa. But this restriction is not present for the
one who always stays connected with Her through his mind. In the
415
beginning of his meditative practices, he tries to install Her in his

mind and when he succeeds in his attempt, perpetual connectivity is
established with Her and his individual ego loses ground over a
period of time. As long as ego is present, realization is not possible
as ego makes a person to identify himself as a separate entity, the
concept of dualism. Though, one may find the process of
contemplation difficult in the initial stages, with persistent practice
and perseverance one can move forward to liberation with ease and
comfort.
Again, homa (oblations offered in the fire) is of two types, external
and internal. In external homa, the concerned deity is invoked in the
fire pit and oblations are offered into the pit. The fire god Agni takes
these oblations to the concerned deity or deities; Agni is the carrier
of these oblations who are posited in higher realms. But the internal
fire oblations are far more powerful than the external fire rituals. The
fire of kuṇḍalinī (the subtlest and the most powerful form of
Parāśakti) is the internal homa pit (homakuṇḍa). Instead of offering
different material oblations as is the case with external fire rituals,
thought processes of the mind, ego, sense organs, desires,
attachments, hatred, and dualism are all offered as oblations into the
fire of kuṇḍalinī. Lalitā Sahasranāma 98, samayācāra-tatparā explains
in detail how mental worship of kuṇḍalinī is to be performed.
Finally, this verse speaks about tarpaṇa, which means offering water
or libation (oblation and libation are almost the same. Former is a fire
ritual where offerings are made into fire. In the case of the latter,
water is offered to appease gods and pitṛ-s). As far as Śrī Vidyā is
concerned, tarpaṇa is made in the central point of Śri Cakra, known
as Bindu (Lalitā Sahasranāma 974, bindu-tarpaṇa-santuṣṭā).
Contemplating tarpaṇa in Bindu is mental worship. Secretion of
nectar fluid during meditation is also known as internal homa. Please
refer Lalitā Sahasranāma 105 and 106 - Sahasrārambujārūḍhā,
Sudhāsārabhi-varṣiṇī.
To conclude, every part of external worship is related to internal
worship. For example, let us take a dhyāna verse. It is not enough to
416
simply recite dhyāna verse verbally. Dhyāna verse is meant for
contemplation through mind. Literally dhyāna means mental
representation of the personal attributes of a deity that are to be
visualized. It is also said that outer worship should not be done
without performing mental worship, for without inner worship, outer
worship is fruitless. Shiva said to His Consort, “A single inner
worship grants the fruits of millions of outer worship.” In Gaandharva
Tantra it is said, “The man who offers mental offerings to Parāśakti
attains happiness (Bliss) and longevity (liberation).”
The ultimate aim of everyone is to attain liberation. If aim of someone
is different from emancipation, he is not considered as a true devotee.
For attaining liberation, there are set of guidelines available. The
whole process starts with external worship. After attaining external

worship, one has to perform japa mantra. During this period both
external worship and japa mantra are done one after another. When
he attains perfection in japa mantras, he has to move on to meditate
on Her. To begin with, one has to meditate on the mantra which will
stop on its own when meditation becomes perfect. After attaining
perfection, the aspirant installs Her in his or her mind and establishes
perpetual connection with Her. When this connection is firmed up,
the aspirant transforms himself or herself into Parāśakti and
experiences Bliss which turns perpetual over a period of time. At the
end of high intensity of Blissful state, he or she confidently says “I
am That” or “ahaṁ brahmāsmi” (I am Brahman). Reaching this stage
is the very purpose of Bhāvanopaniṣad. This can be achieved only
through internal worship such as meditation, contemplation,
visualization, etc.
pañcadaśatithirūpeṇa kālasya pariṇāmāvalokanaṁ pañcadaśa nityāḥ.
पञचदशततधथरपध ण करलसय पररणरमरवलमकनऐ पञचदश तनतयरम॥
417
The verse says that witnessing the changes happening (progression of
time, day, etc, generally known as evolution) through fifteen lunar
days (tithi) is seeing.
Importance of tithi nityā devī-s is very significant in the evolution of
the world. Moon waxes and wanes. As we know, the moon waxes for
a period of fifteen days and each of these days is represented by a tithi

nityā devī. Similarly, the moon begins to wane for the next fifteen
days, thus causing bright fortnight or śuklapakṣa. On the fifteenth
day, the moon becomes complete without any blemishes (pūrṇimā or
full moon). Similarly, the moon begins to wax for another fifteen days
(kṛṣṇapakṣa ) and completely covered by sun on the new moon day
(amāvāsya). On the day of new moon, also known as amāvāsya, sun
and moon are in the same ecliptical longitude (positions and orbits of
solar system objects, in relation to the sun). These fifteen tithi nityā
devī-s are called as changing principles (because they make the time
or kāla), Lalitāmbikā, as the sixteenth digit does not change. Thus She
is the unchanging principle of all changes. This means, everything
changes along with the waxing and waning moon, but Lalitāmbikā
alone does not change. These details are discussed in the above
referred article. It is important to note that Lalitāmbikā, as
Mahākāmeśvari, sits on the left lap of Mahākāmeśvara on the new
moon day (amāvāsya). When She, in the form of moon, conjoins with
Śiva, who is in the form of sun, She becomes Ṣoḍaśī. The sixteen
kalā-s of moon and the sixteen kalā-s of the sun join together and this
is subtly conveyed in the form of Ṣoḍaśī mantra. Based on this
principle, it is said that Ṣoḍaśī mantra gives liberation. Śiva is
worshiped in the form of the sun and Śakti is worshiped in the form
of moon. Their union takes place on the day of amāvāsya, hence
amāvāsya is considered as the most auspicious day for practicing

Ṣoḍaśī mantra.
There is relevance between tithi nityā devī-s and the contemplation
of an aspirant. In the initial stages of one’s sādhana, the aspirant
identifies himself with these tithi nityā devī-s, who represent constant
changes happening in the world with the passage of minute, hour,
418
day, week, month, year and multitude of years. One’s birth and death
are determined by time. When the aspirant identifies himself with
tithi nityā devī-s, he gets bound by time. When he is bound by time,
he has not yet removed his spiritual ignorance. When spiritual
ignorance is removed due to Her Grace, the aspirant shifts his
consciousness from the ever changing principles, to the changeless
principle, viz. Mahākāmeśvari. Only in this state the aspirant enters
into the state of Bliss or Ānanda, which subsequently leads to
liberation. Therefore, one’s object of meditation should be shifted
from ever changing principles in the form of tithi nityā devī-s and
after attaining perfection, one should meditate on the unchanging
principle amongst all changing principles, Mahākāmeśvari. The
method of meditation and the benefits thereof is explained in the next
verse.
evaṁ muhūrtritayaṁ mūhūrtadvitayaṁ muhūrtamātraṁ vā
bhāvanāparo jīvanmukto bhavati | sa eva śivayogīti gadyate ||
एवऐ महचभतरस तर यऐ महभतपहरतयऐ महचभतमर ्रतसऐ वर भरवनरपरम जशवनदसमतच ्म भवतत। स एव
लशवयमगशतत गदतध ॥
This verse and the next verse form phala stuti; this talk about benefits
accruing out contemplation explained in Bhāvanopaniṣad.
This verse says, the one who contemplates as detailed in
Bhāvanopaniṣad for three muhūrta-s, two muhūrta-s, or even one
muhūrta gets liberated in this life itself and such a yogi is called Śiva-
yogin. One muhūrta is equivalent to 1/30 part of a day (24 hour
period), which is 48 minutes. Inhalation of breath alternates between
two nostrils. For a certain period (generally it is 90 minutes under
normal conditions) of time, inhalation is done through left nostril and
after sometime, it automatically shifts to right nostril. Thus inhalation
and exhalation alternates between two nostrils. Under normal
circumstances, twelve to fifteen rounds of breathing takes place per
minute. This can be reduced drastically, if mind is made calm and
419
serene. The process of making the mind pure is possible only through
perfect meditation and in order to attain perfection in meditation and
in order to calm the mind, the number of breaths per minute gets
drastically reduced. In the highest level of meditations, breathing per
minute comes down to two or three. When the entire body is aligned
with Śri Cakra mentally, the aspirant Himself becomes the Abode of
Lalitāmbikā. It is said that the body is the temple and the Self within
is the Sanctum Santorum (garbhagṛha). Only in this stage, She is
realized.
While this process is going on in one side, simultaneously due to the
depth of love for Her, due to the slow and deep breathing patterns,
the aspirant’s kuṇḍalinī is awakened on its own. Kuṇḍalinī can be
awakened by practice and kuṇḍalinī will also awake on its own when
the devotion transforms into Love for Her. When She is fully
awakened, either due to practice or due to Love for Her, She moves
up the spine to become one with Śiva at the crown chakra. During
this union, the aspirant is completely absorbed into this Divine Union
and he enters into the state of Bliss which leads to samādhi or trance.
Realisation gets triggered during the period of trance that lasts for
more than 48 minutes or one muhūrta.
What happens during the final stages of spiritual progression? An
aspirant sheds all his practices; remains calm, does not aspire for
anything. He sheds his non-essential ego and stays attuned with Her
all the time. He does not perform any pūjā-s and japa stops on its own;
he does not even spend separate time for meditation, as he is able
realize Her within. When She is with him, to whom he is going
perform pūjā-s, for whom he is going to repeat japa mantras and on
whom he is going to meditate? He sheds his duality by pursuing the
path of Brahmavidyā. Though Śrī Vidyā is also known as
Brahmavidyā, former is slightly different from the latter. Śrī Vidyā
initially dwells on pūjā-s and japas any by practicing them, the
aspirant gains complete knowledge about Her. Once he understands

and realizes Her, She showers Her Grace on him, which is known as
Śaktipāta. At the end of Śrī Vidyā, a true aspirant experiences
420
Śaktipāta. What is Śaktipāta? It is explained as the descent of Śakti
Herself in the form of Grace on the aspirant. Only on the descent of
Śaktipāta, the aspirant realizes that the individual soul within, is
nothing but the Self. He now understands His true nature and
becomes perfectly fit for emancipation (cessation from
transmigration). What happens to him after the descent of Śaktipāta?
This is explained in Śiva Sūtra (II.8), which says, “Śarīraṁ haviḥ”,
which can be explained briefly thus. The aphorism says that the body
is the oblation. Ego is reflected through I consciousness that
percolates into all three types of bodies (gross, subtle and subtlest)
and if this percolation is allowed to happen for long, destroying this I
consciousness becomes difficult. In the early stage of spiritual path,
if I consciousness in all the three levels of a body are offered as
oblations into the fire of God consciousness or Śiva consciousness,
ego is burnt into ashes not to rear again. It is not just enough to offer
these oblations, but repeatedly affirm that evils of ego have been
reduced to ashes and what exists now is that of Śiva or belong to Śiva.
Such a transformed yogi will not repeat namaśivāya, the great mantra
of Śiva, but he will turn into Śiva himself and affirm confidently
śivohaṁ, meaning I am Śiva. This is possible only if Śaktipāta is
experienced. When he realizes that He is Śiva, he is transformed into

a jīvanmukta, the one who is liberated in this birth itself and waiting
for his death to merge with Śiva.
Though one may boast that he has complete knowledge of various
texts, various practices, etc, such a person will never be realized
person, as he is completely encompassed with ego. When ego is
predominant, he will end up by only remaining as the knower of texts,
capable of criticism, misleading others from reality, etc and due to his
egoistic approach he loses the focus on the Self and will never
experience Śaktipāta. Therefore, one has to be extremely careful
during the transition from Śrī Vidyā to Brahmavidyā. Once Śrī Vidyā
is transcended due to the descent of Śaktipāta, his entry into
Brahmavidyā will be much more comfortable, as in Brahmavidyā,
senses are not at all involved; when senses are not involved, he works
421
only through his mind. In other words, he moves from the ritualistic
path to spiritualistic path. This is the essence of Bhāvanopaniṣad.
kādimatena antaścakrabhāvanāḥ pratipaditāḥ ||
करहदमतध न अनदसतशचकस रभरवनरम पसरततपहदतरम॥
The explanation of Bhāvanopaniṣad is based on kādi vidyā
(Pañcadaśī mantra-s beginning with (क) “ka”). This Upaniṣad taught
about inner meditation based on inner psychic chakras. Meditation
alone will not make a person Self-realized. He has to undergo several

internal process and transformations before he enters into meditative
practices. Spiritual journey typically begins with rituals, fully
understanding the underlying implications. The next stage is to
visualize all these rituals through contemplation. After this stage, the
aspirant moves from different forms of worship to the single formless
Brahman, Only in this stage Śaktipāta descends on him and he is now
called as a yogi. His true spiritual journey begins here and is
completed at the stage of becoming a jīvanmukta.
ya evaṁ veda so'tharvaśiro'dhīte | ityupaniśat ||
य एवऐ वध द समऽथवलरशरमऽधशत।्ध इतयपच तनशत॥्स
The one who understands these important conveyances of this
Upaniṣad is said to have mastered Atharva. Atharva is the eldest son
of Brahmā (god of creation; not Brahman) to whom Brahmavidyā is
revealed. This Upaniṣad comes under Atharva Veda.
Bhāvanopaniṣad is concluded with a Śiva Sūtra (II.1), “Cittaṁ
mantraḥ”, which is explained as follows;
Citta is unconditioned self awareness as opposed to ahaṃkāra (ego)
that is conditioned by self-concern. Mantra in this context does not
merely refer to mantra-s. Mantra is the essential tool to connect
individual consciousness with cosmic consciousness. The general
422
purpose of mantra is to establish his awareness firmly with the
concerned deity. But, in this aphorism, Śiva says that mind itself is
mantra. As far as this sūtra is concerned, citta cannot be simply
explained as mind. It is the modification of the mind where the stage
of supreme consciousness is attained by focusing within. This is the
stage, where one’s awareness is disconnected from his senses. His
mind at this point becomes devoid of sensory perceptions. Only if
the mind becomes devoid of sensory perceptions, the higher level of
consciousness can be reached. Only in the purest form of
consciousness, Supreme Reality can be realised. Apart from
delinking the mind from sensory perceptions, one has to get over
sensory impressions also. Sensory impressions are more harmful
than perceptions.
Mantra is one of the tools, by which one can control the wavering
mind. The repeated recitation of any mantra makes a person to
develop concentration. In the initial stages spiritual pursuits, it is not
easy to control the mind. An effective control of the mind can be
achieved only by persistent practice. Mantra’s main objective is to
tune his mind to concentrate. As a by-product, he is also protected
from transgressing spiritual path. No mantra will fructify if proper
alignment is not made between the practitioner, mantra and the deity.
This is where consciousness assumes greater significance. Such
alignment can happen only in the purest form of the mind. Purity of
thought and mind is very important while pursuing spiritual path.
That is why, mantra-s are recited mentally and not vocally.

Bhāvanopaniṣad concluded
423
USEFULL IMAGES
tattva mudra tweezers for tarpaṇa stick for tarpaṇa
for nyāsa
avakuṇṭhana mudra dhenu mudra
pañca pātra uttaraṇi and kalaśa chakra mudra
sāmānya arghya
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tattva mudra to be used while pouring viśeṣa arghya
51 alphabets of Sanskrit
ळक
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111

UNDERSTANDING & WORSHIPING

© Copyright with the author

All rights reserved. No part of this book may be reproduced, stored

in retrieval system or transmitted, in any form or by any means,

electronic, mechanical, photocopying, recording or otherwise without

quoted in reviews or critical articles.

chapter containing the benefits of recitation, also known as

worshipped with great reverence. Any god or goddess can be

worshipped in Śrī Cakra, as all of them have a place in it.

Cakra) is made up of nine mūlaprakṛti-s, the primary causative force

of the universe, represented by the triangles in Śrī Cakra. There are

counting forty four.”

This is the formation of Śrī Cakra.

three squares put together is known as trailokaya-mohana chakra that

deludes the three stages of consciousness. This is the first enclosure

of Śrī Cakra. This enclosure is ruled by Tripurā Devi. Each āvaraṇa,

yoginī-s. Yoginī-s of the first āvaraṇa are known as Prakaṭa Yoginī-

s. In the outermost walls there are ten goddesses representing ten

goddesses representing the ten mudra-s (hand gestures) like, yoni

mudra, trikhaṇḍā, etc. Therefore, in the first enclosure there are 10 +

8 + 10 = 28 goddesses. Entry into Śrī Cakra is to be made from the

worshipper. After worshipping all the twenty eight goddesses and

The second enclosure is known as sarvāśa-pari-pūraka chakra that

enlivens the spiritual hopes of the practitioner. This enclosure is ruled

where no worship takes place. Each of the sixteen petals is ruled by a

sixteen vowels). After worshipping these sixteen goddesses and after

obtaining permission from them, one has to proceed to the next

The third enclosure is known as sarva-saṁkṣobhaṇa chakra that

presiding deity of this enclosure is Tripurasundarī and the yoginī is

Guptatara yoginī. There are eight goddesses in each of the petals.

After worshipping them and after obtaining permission from them,

one has to enter the first set of triangles of Śrī Cakra.

The fourth enclosure is known as sarva-saubhāgya-dāyaka chakra,

which provides all spiritual and material comforts. It has fourteen

triangles and presided over by Tripuravāsinī. The concerned yoginī

is Saṁpradāya yoginī. Each petal is ruled by a goddess. After

to proceed to the next enclosure.

The fifth enclosure is known as sarvārtha-sādhaka chakara, which

presiding deity is Tripurāśrī and the concerned yoginī is kulottīrṇa-

to proceed to the next covering.

of saṃsāra. This enclosure is known as inner ten triangles and the

previous triangle is known as exterior ten triangles. This āvaraṇa is

presided over by Tripuramālinī and the yoginī is Nigarbha yoginī.

Each of the triangles is presided over by a goddess. After

the next enclosure.

The seventh āvaraṇa is sarva-roga-hara chakra the remover of all

mental afflictions. It has eight triangles also known as vasu koṇa

representing the eight vasu-s (according to Bṛhadāraṇayaka Upaniṣad

pole-star; Soma, the Moon; Dhava or Dhara; Anila, the Wind;

light). The presiding deity is Tripurāsiddhā and the yoginī is Rahasya

yoginī. Each of the triangles is presided over by a Vāc Devi, the

authors of Lalitā Sahasranāma. Vāmakeśvarīmatam (verses 60-63)

outside the inner most triangle. After worshipping these eight

goddesses, one proceeds to worship the armouries of Lalitāmbikā.

innermost triangle. This is where the spiritual attainments begin and

culminate at the bindu within. Outside this triangle, the weaponries

of Mahākāmeśvarī and Her Consort Mahākāmeśvarā are placed. It is

weapons are described in Lalitā Sahasranāma 8, 9, 10 and 11. After

worshipping Her weaponries, one enters the eighth enclosure, known

as sarva siddhi pradhā and is ruled by Tripurāmbā and the concerned

worshipped at the three corners of the triangle and Lalitāmbikā is

worshipped at the central point, the bindu.