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Bhavanopanishad

1. Bhavanopanishad is one among the minor

Upanishads; and is, comparatively   , a recent
one. It is listed under the category of Shaktha
Upanishads viz. the Upanishads that delineate
the tantric outlook and attempt to reconcile that
with the Vedic approach. Bhavanopanishad is
affiliated to Atharva Veda. It is a major text in the
Sri Vidya – Sri Chakra tradition; and, brings out,
very crisply, the symbolism of Sri Chakra and its
upasana; its spiritual mode of worship of kadi
(samaya) school, and contemplation.
Bhavanopanishad is an important text for the
practice of antar-yaga, the internal worship.
2. Before we proceed further, a brief explanation
on the suffix (Upanishad) to the title of the text
appears necessary.
As per tradition, about thirteen Upanishads are
considered major Upanishads; and they
represent the core of the Upanishad wisdom.
They are of doubtless antiquity and constitute
the first tier of the prasthana-traya (the set of
three principal texts), the foundations of the
Vedic heritage; the other two tiers being the
Brahma Sutras and the Bhagavad-Gita. Sri
Shankara commented on ten of those major
Upanishads (Ishavasya, Kena, Katha, Prashna,
Taittireeya, Aithreya, Chandogya,
Brihadaranyaka, Mundaka and Mandukya); and
cited the other three (Kaushitaki, Svethavatara
and Jabaala) as being authoritative
2.1. During the later times, varieties of texts gave
themselves (or were attached with) the suffix-
Upanishad –to their title. That was perhaps
meant to provide those texts a halo of authority
and an elevated position in the hierarchy of
traditional texts. The thoughts in most of such
texts were neither fresh nor universal. Many of
those texts were theistic and sectarian in their
approach; and were, therefore, classified
according to their affiliations, such as Vaishnava,
Shaiva and Shaktha etc. All such Upanishads are
enumerated in the Charana-vyuha section of
Atharva Veda, to which they are affiliated. That
section itself has a supplementary character
about it.
Mukthikopanishad (1.5), itself a  minor
Upanishad affiliated to Atharva Veda, lists about
95 minor (apart from the major 13) Upanishads.
2.2. Their claim to being Upanishads was,
generally, based on their acceptance of the
authority of the Vedas; rejection of the gross
ritualism of karma-kanda; and, highlighting the
esoteric or the mystical significance of the
rituals.

3. Coming back to Bhavanopanishad; it is

described as an Upanishad in the sense of a
secret doctrine or a liberating-wisdom.
3.1. Nothing much is known about its author or
its period. It is surmised the text may belong to
about 12th century.
3.2. Bhavanopanishad is a short text; a collection
of aphoristic statements (vakyas) running into
just about 36 lines. The statements are in Sutra
style; exceedingly cryptic and with no
suggestions. It is not easy to interpret the sutras
and derive meaning out of them.

3.3. The Bhavanopanishad is closely related to

the Tantra-raja-tantra, another major tantric text
of the Kadi School of the Sri Vidya tradition. The
Kadi_ matha is regarded the most orthodox
among all the schools of Sri Vidya tradition. It
insists on virtue, discipline and purity of
rituals. Its attitude is Sattvic;  and its form of
worship is internal. Hence Kadi School (also
known as Samaya) is regarded as Para Vidya
(transcendental knowledge) where the worship
(archana) is conducted in the space of one’s
heart (hrudayakasha madhye).
4. 1.The main purport of Bhavanopanishad is to
establish a relation between structures of the
human body and Sri chakra. The Sri Chakra, in
turn, is regarded as a projection of the essential
characters of the universe. There is an attempt to
harmonize (samarasya) the micro (pindanda) and
the macro (brahmanda), with Sri Chakra being the
median imbibing in itself the characteristics of
the both.
Bhavanopanishad lays greater emphasis on
symbolic representations and contemplation,
than on rituals.
[Please check here for a detailed discussion
concerning the relation between the Sri Chakra
and human body, as per the Bhavanopanishad ]
4.2. The text begins with salutations and
surrender to the Guru, hailing him as the
fountainhead of the liberating wisdom. Then it
goes on to relate the human constitution in its
physical, mental and vital levels to the nine-fold
energy represented by the nine enclosures of the
Sri Chakra. A significant portion of the text is
devoted to the enumeration of the nine
enclosures (avaranas) that compose the Sri
Chakra yantra; and to their geometric, cultic and
psycho-physical representations. The method of
enumeration adopted is the samhara-krama
(absorption or dissolution method), which
commences from the outermost avarana and
proceeds inwards, systematically, till the central
point of the Sri Chakra, the bindu,  is reached.
In short, the text attempts to construct a
harmonious relation between the micro and the
macro; between the Tantric and the Vedic; and
between worship and contemplation. It also
renders the Tantric worship sattvic and sublime.
5.1. In the Sri Vidya tradition, the concept of
Bhavana (after which the text is named) has a
very special significance.
In the tantra tradition, the worship is classified as
external (bahir-yaga) and internal (antar-yaga).In
the former the worship is offered to a concrete
representation of a divinity which inspires
devotion and reverence. Here, the object of
adoration and worship is gross (sthula). The
devotee looks upon the mother-goddess as
having a human form which he can see and
touch. The services (upacharas) are offered to
that form as if it were the most adorable and
highly revered human being. The worship also
includes praising the divinity (stuti), repeating
the mantra handed down by the Guru (japa),
which the tongue can utter and the ears can hear.
There is also the contemplation on the glory of
the God (dhyana). This form of worship is termed
as gross (sthula).
The text says that external worship is only a
stepping stone, a preliminary procedure; and, one
must go beyond that in due course. The external
worship is a means and not an end.
5.2. The other form of worship viz. antar-yaga,
the internal worship, is in two stages – with
external props (sa-adhara) and without such
props (nira_dhara).The props referred to here are
the physical accessories, such as image,
gestures (mudra) or sounds. The devotee
understands and appreciates the symbolism
involved in those objects of adoration and in the
ritual sequences. He knows that the props are
there to help him and guide him along the path;
and yet he submits to them, entirely, with
devotion and reverence until the wisdom dawns.
His dependence on the props tapers gradually.
The worship here tends to be subtle (sukshma).

5.3. The second stage of antar-yaga is

transcendental (para), leading to gradual
dissolution of mind in intense contemplation and
visualization of identity with the mother-
goddess. His entire psyche is immersed in the
mother principle. Now, the external rites,
worships or conducts, no longer carry any
meaning, for him.
5.4. The devotee’s consciousness undergoes a
transformation with the realization that he and
the Mother are one. Such transformation is
termed Bhavana. Etymologically, the term is
derived from the root bhu  (to be) to suggest
bringing something into being. It also suggests a
mental process that transforms an idea into
reality. In an extended sense, the term means
contemplation or meditation, comprehending the
abstract as real and tangible.
5.5 The expression Bhavana here is taken to
mean, internal worship (antar –yaga) of the Devi,
visualizing Sri Chakra as identical with one’s own
being (sva-atma shakthi) and offering worship
through mental constructs , projections and
visualizations. The method of Bhavana is
regarded as the sublime form of worship for
attaining liberation, even while one is alive
(jeevan mukthi).
6. Bhavana emerged as a very significant
concept in the development of the tantric
tradition; and, to an extent, it rescued the tantra
from totally degenerating into grotesque and
abominable cult practices. It came as a breath of
fresh air cleansing the polluted atmosphere of
the tantra. It helped sublimating the coarse
tantric beliefs into universal principles. The
advocacy of meditation (bhavana) rendered the
tantra acceptable to householders too. It also
helped to reconcile the tantra outlook with the
Vedic ethos.
7.1. As I mentioned earlier, the Bhavanopanishad
is in the form of terse Sutras and it is not easy to
understand its import without the aid of a
commentary. The most well known of  all the
commentaries on Bhavanopanishad is The
Bashya by Bhaskararaya Makhin, who called
himself Saubhagya-bhaskara.
7.2. Bhaskararaya was a celebrated authority on
the philosophy and practice of Tantra; and,
especially on the Sri Vidya upasana. Though his
exact dates are uncertain, it is accepted he lived
(between 1690 and 1795) ; mostly  during the
18th century. His father Ghambhira Raya was a
scholar and served as a minister in the court of
the sultan of Bijapur (North Karnataka).His
mother’s name is given as Konnamamba; and his
place of birth is mentioned as Bhaga-nagar (the
present-day Hyderabad in AP).
7.3. He was initiated into tantric worship by his
father; and he had the formal initiation and final
consecration from the tantric master Shivadatta
Shukla of Surat (Guj). He later married Anandi Bai
from Maharashtra and initiated her in Sri Vidya.
After studying for many years in Varanasi, he
returned to the south; and finally settled down in
Tiruvalangadu on the banks of the Cauvery in
Chola mandala. He was a versatile scholar and a
prolific writer with more than forty books in
Sanskrit on several branches of learning.
7.4. His commentary on the Bhavanopanishad is
brief but well constructed. His explanations are
precise and pre supposes familiarity of the
reader with the ideologies and concepts of Sri
Vidya.
His works are of particular interest to Sri Vidya
upasakas, as they furnish practical instructions
and information concerning its upasana and
sadhana. The more important among such texts
are his companion volume to his commentary on
Bhavanopanishad; it is called, for short, prayoga-
vidhi, a practical manual for worship of Sri
Chakra.
His other well-known works concerning Sri Vidya
are his commentaries on: Lalitha sahasranama,
Tripuropanishad, Kaulopanishad and Lalitha –
tripura-sundari Upanishad.

Prof SK Ramachandra Rao in his  Lalitharchana

Chandrika (Kalpataru Research Acedemy,2004)
explains:
The best known work of Bhaskararaya is
on  Lalita-Sahasranama, constructed on the basis
of Lalitopakhyana ,which , in turn, constitutes the
last four Chapters (Chapters 41 to 44)
of  Brahmanda-Purana. 
Lalitha-Sahasranama , recounts with awe and
reverence, the thousand significant names of the
Mother Goddess Lalitha (Lalithamba, Para-
shakthi,Parama Bhattarika,Lalitha-
Tripurasundari and Rajarajeshwari). The text is
constructed over Three Chapters , altogether
consisting 320 Verses.
The First Chapter (51 Verses) introduces
the Vag-Devathas , headed by Vasinis, who are in
the entourage of the Mother Goddess Sri Lalitha.
It is, in fact, these Devathas that composed and
recited the thousand names of  Lalitha , as
commanded by the Goddess herself.
The second Chapter (182 1/2 Verses) contains
the main text of the One Thousand names of Devi
Sri Lalitha.
The Third Chapter (86 1/2 Verses) is in the
nature of the epilogue (Phala-stuti) and so on. 
asya śrī lalitā divya sahasranāma stōtra
mahāmantrasya, vaśinyādi vāgdēvatā ṛṣayaḥ,
anuṣṭup Chandaḥ, śrī lalitā parābhaṭṭārikā mahā
tripura sundarī dēvatā, aiṃ bījaṃ, klīṃ śaktiḥ,
sauḥ kīlakaṃ, mama dharmārtha kāma mōkṣa
chaturvidha phalapuruṣārtha siddhyarthē lalitā
tripurasundarī parābhaṭṭārikā sahasra nāma japē
viniyōgaḥ
[Please check here for  Lalita sahasranama a
study in the light of the commentary of
Bhaskararaya Makhindra – A doctoral thesis by Sri
L M Joshi submitted to the Maharaja Sayajirao
University of Baroda.
Bhaskararaya lived to be a very old man and
spent his last days at his house on
Mahadanapuram Street of Madhyarjuna-kshetra
(Tiruvidaimarudur). He passed away at the age of
95.
8. The best known rendering (in English) of
Bhaskararaya’s commentary
on Bhavanopanishad is by Prof. S K Ramachandra
Rao, published by Kalpatharu Research Academy,
Bangalore.

Sources and References:

The tantra of Sri Chakra by Prof. S K Ramachandra
Rao
Bhavana Upanishad- text in
English  http://www.hinduwiki.com/index.php?
title=Bhavana_Upanishad
Nitya Kala
Devis  http://www.srividya.org/Srividya/Svtsweb/a
pps/?act=viewPhoto&photo_id=8
The Fifteen
Nityas  http://www.religiousworlds.com/mandala
m/nitya.htm
Life sketch of Bhaskararaya
Makhin  http://kamakshi16.tripod.com/bhaskara.h
tml
Kamalamba Navavarana kritis-Part two
Continued from page one.
While discussing the Navavarana kritis, I propose
to restrict myself to those portions of the kritis
that have reference to Sri Vidya and Sri Chakra.
Most of such references occur in
the Charanam segment of the kritis.
[ Note : The worship of Sri Yantra involves use of
ten types of Mudras (Dasa-mudrani) – the
gestures through the fingers – from Sarva-
Samkshobhini to Sarva-Trikhanda . For a
discussion on ; and, for the illustration of these
Mudras,  please click here.]
1.      First Avarana – Bhupura
Kamalaambaa Samrakshatu Maam– Ananda
Bhairavi – Misra Chapu (Triputa)
[The avarana is Bhupura and the Chakra is
Trailokyamohana chakra ‘enchants the three
worlds’. The yogini is Prakata; Mudra is Sarva
Somkshibhni; Siddhi is Anima; and the mental
state of the aspirant is Jagrata. The presiding
deity is Tripura. Her Vidya is Am Am Sauh.The
gem is topaz. The time is 24 minutes and the
Shaktis are 28 that include the ten starting with
Anima, the eight Matruka Devis starting with
Brahmya and Maheshwari;  and the ten Mudra
Shaktis. 28 is the dominant number. This avarana
corresponds to the feet of the mother goddess.]
Tripuraadi Chakreshvari Animaadi Siddhishvari
Nitya Kaameshvari
Kshitipura Trailokyamohana Chakra Vartini
Prakata Yogini
 Suraripu Mahishaasuraadi Marddini Nigama
Puraanaadi Samvedini
Tripureshi Guruguha Janani Tripura Bhanjana
Ranjani
Madhuripu Sahodari Talodari Tripura Sundari
Maheshvari
The Bhupura Chakra, the earth stretch, includes
within its spacial scope the entire design even as
the earth supports the entire existence . As he
enters the first Avarana, Dikshitar submits his
salutations to the Mother Goddess Kamalamba
and prays for protection and guidance. He
address her as the magnificent transcendental
beauty without a parallel in three worlds (Tripura
Sundari); the conqueror of three levels of
existence; the presiding deity of Tripura and
other chakras (Tripuraadi Chakreshvari);
Kameshwari; the empress of Trailokyamohana
Chakra (Trailokyamohana Chakravartini) of
Bhupura (Kshithipura). She is the presiding deity
of the chakra (Tripureshi); mother of Guruguha;
and the enchanting beauty of all the tree worlds
(tripura Sundari).

He also submits his salutations to Anima and

other Siddhi deities of the Avarana (Animaadi-
Siddhishvari); the Nitya Devis; the Yogini of the
Avarana (PrakataYogini); and Maheshwari and
other Matruka Devis.
[The Eight Siddhis (Asta-siddhi)  are:  1.Aṇimā:
reducing one’s body to the size of an atom;
2.Mahimā: expanding one’s body to an infinitely
large size; 3.Laghimā: becoming almost
weightless; 4. Garima  – power to become
inordinately heavy; 5. Prāpti: ability to be anywhere
at will; 6.  Prākāmya: realizing whatever one
desires; 7.Īśiṭva: supremacy over nature;
and,8. Vaśiṭva: control of natural forces
The Nityas are the primary Devatas of the first
Chakra. The Nitya Kameshwari is at the center.
They are sixteen in number, 1. Kameshwari;
2.Bhagamalini; 3.Nityaklinna; 4.Bherunda;
5.Vanhivasini; 6. Maha-vajreswari; 7.Shivadooti
(Roudri); 8.Twarita; 9.Kulasundari; 10. Nitya;   11.
Neelapataka; 12.Vijaya; 13 .Sarvamangala;
14.Jwalamalini; 15.Chidroopa (Chitra);
and 16.Maha-nitya.]
Thus, along with the prayers, he brings out the
salient features of the Bhupura Chakra, the Earth
principle. The name of Raga Anandabhiravi is
suggested by the phrase Kamalaja-ananda
Bodhasukhi. His signature also appears
in Guruguha janani.
2, Second Avarana – Shodasha dala padma
Kamalambaam Bhajare Re Maanasa –Kalyani-
Adi.
[The avarana is Shodasa Dala, and the Chakra is
Sarva asha paripuraka chakra ‘fulfiller all desires
and expectations’; the yogini is Gupta Yogini;
Mudra is Sarva Vidravini; the Siddhi is Laghima;
and the mental state is Swapna, The presiding
deity is Tripureshi. Her vidya is Aim Klim Sauh.
The gem is sapphire. The time is three hours. The
Shaktis are the sixteen starting with
Kamakarshini.16 is the dominant number. This
avarana corresponds to the Savdhistana chakra
of the mother goddess.]
Sarvaashaa Paripuraka Chakra Svaamineem
Parama Shiva Kaamineem
Durvaasaarcchita Gupta Yogineem Dukha
Dhvamsineem Hamsineem
Nirvaana Nija Sukha Pradaayineem
Nityakalyaaneem Kaatyaayaneem
Sharvaaneem Madhupa Vijaya Venim Sad
Guruguha Jananeem Niranjaneem
Garvita Bhandaasura Bhanjaneem Kaamaa
Karshanyaadi Ranjaneem
Nirvishesha Chaitanya Roopineem Urvee Tatvaadi
Svaroopineem
The sixteen petaled lotus(shodasha dala
padma)  called  sarva asha paripuraka chakra ,  the
fulfiller of all desires , is the second enclosure. In
the sixteen   petals , the sixteen vowels of
Sanskrit alphabet is inscribed.These symbolize
sixteen kalas or aspects or phases.This Avarana
is about the self protection of the devotee  (atma
raksha); and liberation from discontent by
seeking identity with Shiva the ever complete and
content.
He calls upon his mind to meditate on
Kamalamba and cast aside attachments to
illusory existence (kalpita maaya) .The
craving Asha springs from discontent; and is
quenched when discontent is eliminated. That is
possible when devotee identifies himself with
Shiva, ever complete and ever content.

He worships the presiding deity

of Sarvasaparipuraka chakra,  the fulfiller of all
desires and expectations  (Dukha
Dhvamsineem);  the beloved of Parama Shiva; the
bestower of true and everlasting bliss  (Nirvaana
Nija Sukha Pradaayineem). She is the
manifestation of attribute_ less supreme
spirit (Nirvishesha Chaitanya Roopineem).  She is
also the representation of the world and its
principles (Urvee Tatvaadi Svaroopineem).
When he calls her “she who is worshipped by
Durvasa (Durvaasaarcchita)”, he is referring to
the Kaadi matha tradition to which he belonged.
The sage Durvasa is one of the gurus of the
Kaadi matha.
Dikshitar also refers to the Gupta Yogini, the
yogini of this avarana; the sixteen, Shakthis
starting with Kama-akarshini (Kaamaa
Karshanyaadi Ranjaneem). They are also
called Nithyas and
named Kamakarshini (fascinating the desires),
Budhyakarshini  (fascinating the
intellect)  etc. They relate to powers in the Five
Elements, the ten senses of perception
or Indriyas (being further divided into five organs
of action and five sense organs) and the Mind.     
The phrase  Nija Sukha Pradaayineem
Nityakalyaaneem refers to the sixteen Devis of
this avarana, called Nitya Kala or Nitya Devis.
[The sixteen presiding deities (Nityas) in the
second Avarana, all ending in the
phrase Akarshini    (the one who attracts or draws
forth) are – Kama-akarshini; Buddhi-akarshini,
Ahamkara-akarshini; Chitta-akarshini, Dhairya-
akarshini; Smrti-akarshini; Sharira-akarshini;
Shabda-akarshini, Sparsha-akarshini; Rupa-
akarshini, Rasa-akarshini;, Gandha-akarshini;
Nama-akarshin; Bija-akarshini, Atma -akarshini;
and, Amrtita-akarshini .]
The Goddess Kamalamba, in this Kriti, is served
by Lakshmi and Sarasvathi. This is said to have
been inspired by the phrase “sacamara Rama
Vani savya-dakshina sevita”, which appears in
the Lalita-sahasranama. Sri Dikshitar, in his
another Kriti in Nasamani Raga,  commences  with
the words “Shri Rama Sarasvati sevitam shri
Lalitambam bhavaye

The Raga mudra is in the

phrase  Nityakalyaneem;  and , his signature is
in Guruguha -jananeem.
3. Third Avarana –Ashta dala padma
Shree Kamalaambikayaa Kataakshitoham
-: Shankarabharanam-Rupaka
  [The avarana is ashta dala; The Chakra is
Sarvasamkshobana chakra ‘agitates all’. The
Yogini is Guptatara; Mudra is Sarvakarshini; the
Siddhi is Mahima; and the mental state is
Shushupti. The Presiding deity is Tripura Sundari.
Her vidya is Hrim Klim Sauh. The gem is cat’s eye.
The time is day and night. The Shaktis are the
eight starting with Ananga Kusuma. 8 is the
dominant number. This avarana corresponds to
the navel region of mother goddess.]
Ananga Kusumaadyashta Shaktyaakaarayaa
Arunavarna Samkshobhana Chakraakaarayaa
Anantakotyandanaayaka Shankara Naayikayaa
Ashta Vargaatmaka Gupta Tarayaa Varayaa
Anangaa Dyupaasitayaa Astadalaabjasthitayaa
Dhanur Baanadhara Karayaa Dayaa Sudhaa
Saagarayaa
Eight petalled lotus (astha dala
padma)  called  Sarva-samkhobhana-Chakra
the agitator of all, is the third Avarana. Each petal
has a consonant inscribed within it that begins
with ‘Ka’  The petals represent eight divinities
associated with erotic urges , independent of
physical body (ananga).
The Avarana is about overcoming
agitations (Samshkoba) and the formless erotic
urges (ananga)that arise in mind .These refer to
mental pleasures and agitations related to the
modalities of mind such as  rejection (repulsion
or withdrawal), acceptance (attention or
attachment) and indifference (detachment).
The eight petals of the Avarana Asta
dala represent eight divinities associated with
such erotic principles. Sri Dikshitar refers to
them as Ananga Kusumaadyashta
Shaktyaakaarayaa.
The eight Shakthis  referred to as Ananga-
kusuma are: Ananga-kusuma; Ananga-mekhala;
Ananga-madana; Ananga madanatura; Ananga-
rekha; Ananga-vegini; Ananga-amshuka;
and Ananga-malini. These Shakthis  are described
as Guptatara yogini-s.
Dikshitar obviously succeeded in gaining
freedom from mental agitations and urges
caused by these erotic principles.

Dikshitar is thrilled with divine ecstasy; I am

blessed by the grace of mother Kamalamba
(Shree Kamalaambikayaa Kataakshitoham); and I
have realized that Absolute
Brahman  (Sacchidaananda Paripurna
Brahmaasmi). 
He describes the Devi as the one seated on the
red colored (Aruna Varna) Samkshobhana
Chakra,  amidst its eight petals (Anangaa
Dyupaasitayaa Astadalaabjasthitayaa) having
names starting with Ananga (Ananga
Kusumaadyashta). In the eight petals of the lotus,
eight consonants such as ka, cha, ta and so on
are inscribed  (Ashta Vargaatmaka).  She holds in
her hands the bow and arrows (Dhanur
Baanadhara Karayaa). She is the ocean of
mercy (Dayaa Sudhaa Saagarayaa).
Ananga has also a reference also to the cult of
Cupid or Eros (Manmatha or Kamaraja) and its
deities that have merged into the tradition of Sri
Vidya. Dikshitar is referring to the school
propagated by Kamaraja, the Kamaraja vidya or
Kadi matha; and continued by the sage
Agasthaya. Dikshitar belonged to this school.
He mentions the yogini of the Avarana, Gupta
Tarayaa (Gupta Tarayaa Varayaa).
Raga mudra is hinted in Shankara Naayikayaa, the
beloved of Shankara. His signature appears in
the phrase Guruguha-tatrai-padayaa.
4. Fourth Avarana –chaturdasha trikona
  Kamalaambikaayai Kanakamshukaayai-Kambhoji
-Khanda Ata
[The Avarana is chaturdasha trikona, a figure
made of 14 triangles; the Chakra is
Sarvasoubhagya dayaka chakra, ‘grants
excellence’. The Yogini is Sampradaya Yogini; the
Mudra is Sarva Shankari; the Siddhi is Ishitva. The
mental state is Iswara Vichara. The presiding
deity is Tripura Vasini. Her vidya is is Haim Hklim
Hsauh. The gem is coral. The time is day and
night . The Shaktis are the fourteen starting
withSamkshobhini.14 is the dominant number.
This avarana corresponds to the heart of mother
goddess.]
Sakala Saubhaagya Daayakaambhoja Charanaayai
Samkshobhinyaadi Shaktiyuta
Chaturthyaavaranaayai
Prakata Chaturddasha Bhuvana Bharanaayai
Prabala Guruguha Sampradaayaantah Karanaayai
Akalanka Rupa Varnaayai Aparnaayai Suparnaayai
Sukara Dhruta Chaapa Baanaayai Shobhanakara
Manukonaayai
Sakunkumaadi Lepanaayai Charaacharaadi
Kalpanaayai
Chikura Vijita Neelaghanaayai Chidaananda Purna
Ghanaayai
Dikshitar worships the presiding deity of the
fourth Avarana, playing on the words occurring in
the title of the Chakra:  sarva sowbhagya
dayaka, the bestower of all prosperity and
addresses the Mother as Sakala Saubhaagya
Daayakaambhoja Charanaayai, the goddess with
lotus like feet and benefactor of all good things
in life. He inserted the Raga mudra, in the
phrase kaambhoja Charanaayai,  worshiping her
lotus feet.

This Chakra referred to as Sarva-

saubhagyadayaka –  that which grants all
auspicious things in life – is also
called Manukona, named after the fourteen
Manus; and, it consists of fourteen triangles. The
fourteen Shakthis (called as Sampradaya-
Yoginis)  that are involved here are:  Sarva-
samkshobini; Sarva-vidravini; Sarva-akarshini,
Sarva-stambhini; Sarva-jhrambhini; Sarva-
vashamkari; Sarva-ahladini; Sarva-sammohini;
Sarva-ranjani;, Sarva-anmodinI, sarva-
arthasadhaka;   Sarva-sampattipurani; Sarva-
mantramayi; and Sarva-dvandvakshyamkari.
The fourteen triangles are inscribed with
fourteen consonants beginning with ka and
ending with dha.The fourteen corners represent
fourteen powers of mother
goddess. The  fourteen triangles  (chaturdasha
trikona) of the chakra represent fourteen
channels  of the vital forces in the
body(naadis), corresponding with the fourteen
divinities Sarva Samkshobhini and thirteen
others. Dikshitar refers to these fourteen forces
of the fourth avarana as Samkshobhinyaadi
Shaktiyuta Chaturthya-avaranaayai.
He adulates the Devi as manifest ruler (prakata
bharanayai) of the fourteen worlds (chaturdasha
buvana).  The fourteen worlds also represent the
faculties : the Mind (Manas), the
Intellect (Buddhi),  Being (Chitta), the Conscious
Ego (Ahamkara) and the ten  Indriyas.
This avarana corresponds to the heart of
the mother goddess. Dikshitar addresses
Kamalamba as the heart  (antah karanaayai) of
the great tradition (prabala sampradaya) to which
Dikshitar (Guruguha) belongs. He is referring to
the tradition of the Kaadi matha of the
Dakshinamurthy School of Sri Vidya.
He describes the mother as seated in fourteen
triangle (manu konayai), smeared with
vermilion (sa-kunkumayai), holding in her
beautiful hands (su_kara)  arrows  (baana
chaapa). She is the creator
of movable and immovable existence (Charaacha
raadi Kalpanaayai). She is the embodiment of
consciousness  (chit) and bliss (ananda).
The symbolism of this avarana is the one
cherished by all, sarva sowbhagya dayaka; for it
suggests the identity of Shiva with his
Shakthis (Chidananda purna ghanaayai).
The Raga-mudra Kambhoji appears slightly
altered as “Kambhoja” in the
line Dayakambhojacaranayai  .
5. Fifth Avarana –Bahir dasara
Shree Kamalaambikaayaah Param
Nahire-  Bhairavi -Misra Jhampa
[The Avarana is Bahirdasara; the Chakra is
Sarvarthasadhakachakra, the ‘accomplisher of all’.
The Yogini is Kulotteerna yogini; the Mudra is
Sarvonmadini; and the Siddhi is Vashitva. The
mental state is Guroopa Sadanam. The presiding
deity is Tripura Shri. Her vidya is is Haim Hklim
Hsauh. The gem is pearl. The time is lunar day.
The Shaktis are the ten starting with Sarva Siddhi
Prada.10 is the dominant number. This avarana
corresponds to the neck of mother goddess.]
Shreekantha Vishnu Virinchaadi Janayitrayaah
Shivaatmaka Vishvakartryaah Kaarayitryaah
Shreekara Bahirdashaara Chakra Sthityaah
Sevita Bhairavi Bhaargavee Bhaaratyaah
Charanam:
Naadamaya Sukshmarupa Sarva Siddhipradaadi
Dasha Shaktyaaraadhita Moorthe
Shrotraadi Dasha Karana-aatmaka Kula Kauli
Kaadi Bahuvidhopaasita Keertthe
Abheda Nitya Shuddha Buddha Mukta Saccida
Anandamaya Paramaadvaita Sphurtthe
Aadi Madhyaanta Rahitaaprameya  Guruguha
Modita Sarva Arttha Saadhaka Sphurtte
Mulaadi Navaadhaara Vyaavrtta Dashadhvani
Bhedajhna Yogibrunda Samraksanyaa
Anaadi Maayaa Avidyaakaarya Kaarana Vinoda
Karana Patutarakataaksa Viksanyaah.
This avarana which is in the form of a figure with
ten corners is called Bahir dasara , the outer ten
triangles; and represents ten vital
currents  (pranas)  responsible for the various
functions of body and mind. They are also the
representations of ten incarnations of Vishnu
meant to accomplish welfare of mankind. Hence
the chakra is called Sarvartha Sadhaka, the
accomplisher of all objects.
Dikshitar addresses the Devi as the auspicious
one  (Shreekara) seated on the Bahirdasara
Chakra, served by
Bhairavi (Kaali),  Bhargavee  (Lakshmi) and
Bharathi (Saraswathi). The term Bhairavi is also
the Raga-mudra, here. (Shreekara Bahirdashaara
Chakra Sthityaah Sevita Bhairavi Bhaargavee
Bhaaratyaah)
The shakthis of the avarana are ten in number;
and are named Sarva Siddhiprada, Sarva
Sampathprada, and Sarva Priyankari and so on.
Dikshitar worships the ten manifestations of
these shakthis  (Sarva Siddhipradaadi Dasha
Shaktyaaraadhita Moorthe); and describes them
as the subtle forms of sounds in the
body (Naadamaya Sukshmarupa).
The yoginis of the chakra are Kulotteerna
yoginis and are also called Kuala
yoginis. Dikshitar worships the mother as being
present in various
forms (Bahuvidhopasthitha) such as the ten
yoginis kula, Kaula and others (Dasha Karana-
aatmaka Kula Kauli Kaadi).

The term Dasha-karana stands for the ten organs,

consisting of the five sense organs (Jnanendriya-
s) and the five organs of action (Karmendriya-s).
The ten Shakthis (Dasha Shakthi) referred to here
as Kulotteerna Yoginis  (those who enhance the
prosperity of the generations) are: Sarva–
siddhiprada; Sarva-sampatprada; Sarva-
priyamkari; Sarva-mangalakarini; Sarva-
kamaprada; Sarva-duhkhavimocani; Mrtyu-
prashamani; Sarva-vighnanivarini;   Sarva-
sundari; and,  Sarva-saubhagyadayini.
He describes the fifth avarana Sarvartha Sadhaka,
the accomplisher of all objects, in highly lyrical
terms. He hails her as the ultimate good (Shiva)
and the objective of the Tantra and Vedic rituals
alike; and as the supreme non-dual non-
differentiated ever pure enlightened free self,
consciousness and bliss. She is the
incomparable, non-dual being, without an end or
beginning. She is loved in devotion by Guruguha;
and is manifested in Sarvartha Sadhaka
Chakra. She is the sublime inspiration. (Abheda
Nitya Shuddha Buddha Mukta Saccida
Anandamaya Paramaadvaita Sphurtthe, Aadi
Madhyaanta Rahitaaprameya  Guruguha Modita
Sarva Arttha Saadhaka Sphurtte).
She is also present as Naada, sound, in the nine
vital centers such as Muladhara and other
chakras. She protects yogis; dispels delusion and
ignorance. The nine chakras referred to
are Muladhara, Svadhistana, Manipura, anahata,
Vishuddha and ajna; together with manasa
chakra (mind centre) situated above ajna, soma
chakra (lunar-centre) situated above manasa
chakra; and Sahasra padma, symbolically, located
above the head. The Sahasra is the seat of
consciousness (Shiva).
  6. Sixth Avarana –Antar dasara
Kamalaambikaayaastava
Bhaktoham- Punnaagavaraali -Thrisra Eka

The Avarana is Antardasara; the Chakra

is Sarvaraksakara chakra The gem is emerald. The
time is Lunar Fortnight. The Shaktis are the ten
starting with Sarvagnya.10 is the dominant
number. This avarana corresponds to the middle
of the eyebrows (bhrukuti) of the mother
goddess.] ‘Protects all’. The Yogini is Nigarbha
Yogini; the Mudra is Sarva mahankusha; and the
Siddhi is Prakamya. The mental state is Upadesa.
The presiding deity is Tripura Malini. Her vidya is
is Hrim Klim Blem.
Dasha-kala-atmaka Vahni Svaroopa Prakaasha-
antar-dashaara
Sarva Rakshaakara Chakreshvaryaah
Tridasha-adi-nuta
Kachavarga Dvaya Maya Sarvajhnaadi
Dasha-shakti-sameta Malini Chakra-eshvaryaah
Tri-dashavim-shad-varna Garbhini Kundalinyaah
 Dasha-mudraa Sama-araadhita Kaulinyaah
Dasharathaadinuta Guruguha Janaka Shiva
Bodhinyaah
Dashakarana Vrutti Mareechi Nigarbha Yoginyaah
Shree
The ten- sided figure (antar dasara) called  Sarva
raksha karaka (one that protects all) consisting
ten triangles is the sixth avarana. The ten
triangles represent the powers of the mother
goddess who presides over ten vital
fires (vanyaha).  These represent  the ten specific
fires within the body; they  being the fire of :
purgation (Rechak);  digestion  (Pachak);absorptio
n (Shoshak);  burning  (Dahak);the secretion of
enzymes (Plavak); acidification (Ksharak); to take
out or excrete (Uddharak); the fires of pessimism
and frustration (Kshobhak);the fire of
assimilation (Jrambhak); and, fire of
creating luster (Mohak).
The significance of this avarana is explained as
protection from all obstacles. The devotee
distances himself from all that hinders his
spiritual progress; and he begins to develop the
awareness he is Shiva (the consciousness).
Dikshitar describes the Antar dasara chakra ,
consisting the inner set of ten triangles , as
endowed with ten aspects; and, glowing like
fire (Dasha-kala-atmaka Vahni
SvaroopaPrakaasha-antar-dashaara)  . 
These ten vital fires correspond to the ten
divinities , also referred to as the Nigarbha
yogini-s, are:   Sarvajna; Sarva-shaktiprada;
Sarva-aishvaryapradayini; Sarvajna-namayi,
Sarva-vyadhivinashini; Sarva-dharasvarupa;
Sarva-papahara; Sarva-anandamayi;, Sarva-
rakshasvarupini;, and, Sarve-psitaphalaprada 
These ten along with the presiding deity Tripura
Malini, reside in the ten-cornered-figure Antar
dasara  (Sarvajhnaadi Dasha-shakti-sameta Malini
Chakra-eshvaryaah).
Tripura Malini is the goddess of the
Chakra Sarvarakshakara (Sarva Rakshaakara
Chakreshvaryaah).
The ten triangles are inscribed with ten
consonants beginning with letters of
the Ka and Ca groups (Tridasha-adi-nuta
Kachavarga Dvaya Maya). They, again, represent
the powers of the mother goddess who presides
over ten vital fires (vanyaha).
She is the goddess Kaulini, propitiated by ten
Mudras . The ten Mudra-s are: Sarva-
samkshobhini; Sarva-vidravini; Sarva-akarshini,
Sarva-veshakari; Sarva-anmodini; Mahankusha;
Khecari; Bija, Yoni and Tr-ikhanda
The mudras of the avarana are Mahakusha
Mudra (Dasha-mudraa
SamaaraadhitaKaulinyaah).  Dikshitar also
mentions the yogini of the chakra:
Nigarbha yogini (Nigarbha Yoginyaah). 
Dikshitar describes the Sri Chakra as containing
in itself the fifty six alphabets and also being the
very representation of Kundalini  (Tri-dashavim-
shad-varna Garbhini Kundalinyaah).
Sri Chakra  has several symbolisms. As per the
Tantric idealogy , the Sanskrit alphabet is
regarded the vocal epitome of the universe; and
each letter is transformed into energy when
introduced into the chakra. It acquires the
character of a “seed_syllable” , Bijakshara,
representing a divine aspect or a retinue divinity.
Here , the Tantra texts explain that the
consonants are basically inert and depend on
vowels (just as Shiva depends on Shakthi) to
manifest in a meaningful form. It is only when the
germinating power (bija) of the vowels is infused
with consonants, the latter gain meaning. That is
the reasons the vowels are Bija aksharas. They
transform ordinary letters into mother like
condition (matrika); that is, they impregnate
ordinary letters with meaning and power. The
consonants inscribed into Sri Chakra derive
power since they are now in union with Shakthi.
Further, in Tantra, the articulate sound is the
basic structure overwhich all our thoughts,
emotions, aspirations and pleasures are woven
as fabrics.
As regards Kundalini, it is basically a terminology
of the Yoga school. In Tantra the term has an
extended meaning. Tantra regards the creation
as an expression of the universal energy (maha-
kundalini); Its representation in the individual is
the kundalini. That Kundalini is the basis for all
his intentions, cognitions and actions. The
awakening of Kundalini signals the spiritual
progress. It is by means of its mediating power
(mantra-shakthi) , the individual realizes the
oneness of consciousness-energy.
Dikshitar therefore says that the vowels and
consonants inscribed into the Sri Chakra as
representations of energy and consciousness

Dikshitar hides the Raga mudra (Punnagavarali) 

in a delightful flight of phrases (Ati-madhuratara-
vaanyaah-Sharvaanyaah-Kalyaanyah-Ramaniya-
punnaaga varaali  Vijita Venyaah Shree)    She
whose braided hair excels the beauty of  lovely
black bees swarming around the Punnaga tree.
The Charanam concludes with salutations to the
Yogini of the chakra, the ten aspects of  Nigarbha
Yogini, shining brightly like the rays of
light (Dashakarana Vrutti Mareechi Nigarbha
Yoginyaah Shree)
7. Seventh Avarana-Ashtara
Shree Kamalaambikaayaam Bhaktim
Karomi- Sahana-Thrisra Triputa
[The avarana is asthakona; the Chakra is
Sarvarogahara chakra ‘cures all ills’. the Yogini is
Rahasya Yogini; The Mudra is sarva khechari; and
the Siddhi is Bhukthi. The mental state is Manana.
The presiding deity is Tripura Siddha. Her vidya is
is Hrim Shrim Sauh. The gem is diamond (Vajra).
The time is Lunar month. The Shaktis are the
eight, starting with Vashini. 8 is the dominant
number. This avarana corresponds to the
forehead (lalata) of the mother goddess.]
Raakaachandra Vadanaayaam Raajiva-
nayanaayaam
Paakaarinuta Charanaayaam Aakaashaadi
Kiranaayaam Hrimkaara
Vipina-harinyaam Hrimkaara-Susharirinyaam
Hrimkaara Taru Manjaryaam
Hrimkaareshvaryaam Gauryaam
Sharira-traya Vilakshana Sukhatara Svaatmaanu
Bhoginyaam
Virinci Harishaana Harihaya Vedita
Rahasyayoginyaam
Paraadi Vaagdevataa-rupa-vashinyaadi
Vibhaaginyaam
Charaatmaka Sarva-roga-hara Niraamaya Raaja-
yoginyaam
Karadhruta Vinaa Vaadinyaam Kamalaanagara
Vinodinyaam
Sura-nara-munijana-modinyaam
Guruguha-vara-prasaadinyaam
Eight-cornered figure(ashtara) called Sarva roga
hara (the remover of all deceases) is the seventh
avarana. In the eight triangles formed by this
figure, eight divinities presiding over speech
reside.They are known as deities of self
expression (Vak Devatha). These include four
forms of speech :  Para; Pashyanthi;
Madhyama and Vaikhari.
These eight shaktis also rule over basic urges
and contradictions in life (dwandwa) such as
cold (water) and heat (fire); happiness (air) and
sorrow( earth); as also the Desire(akasha-space)
and the
three Gunas  of  Sattva    (consciousness) , Rajas 
(ego) and Tamas  (mind).

The eight Shakthis that are involved here are

collectively known as Rahasya Yoginis are:
Vashini; Kameshi; Medini; Vimala; Aruna; Jayini;
Sarveshi; and Kaulini
The significance of this enclosure is its power to
eradicate the most basic of diseases viz.
involvement with impure, fleeting existence laden
with stress. The blessed state is attained
when the distinctions between the subject, the
object and transactions between them are
dissolved.
Hrim is the Bija-mantra (seed-syllable) of this
chakra. In the context of Sri Vidya, hrim is a
particularly sacred syllable; it represents the
mother goddess herself. Dikshitar worships the
mother as the very embodiment
of hrim (Hrimkaara-Susharirinyaam Hrimkaara
Taru Manjaryaam). She is Gauri; she is the
presiding deity of hrim (Hrimkaareshvaryaam
Gauryaam).
Dikshitar refers to his tradition (Kadi matha) by
invoking the name of one of its gurus
Hayagreeva (Harihaya Vedita). He also refers to
the Yogini of the chakra Rahasya Yogini
(Rahasyayoginyaam);  and to the letters of
the Pa group inscribed in the eight triangles,
representing eight Shakthis (Vasini and others)
presiding over the aspect of speech (Paraadi
Vaagdevataa-rupa-vashinyaadi Vibhaaginyaam).
Dikshitar refers to the basic nature of the chakra
Sarvarogahara chakra ‘cures all ills’ and calls the
mother the Raja Yogini, who cures all kinds of
illness ( Charaatmaka Sarva-roga-hara Niraamaya
Raaja-yoginyaam).
The Raga mudra (Sahana) is in the
phrase Harishaana; while the composer’s
signature is in  Guruguha-vara-prasaadinyaam.
  8. Eight Avarana –Trikona
Kamalaambike Avaava-Ghanta-Adi
[The Avarana is Trikona; the Chakra
is Sarvasiddhiprada chakra, ‘grants all
attainments’. the Yogini is Athi Rahasya Yogini;
the Mudra is Sarva Beeja; and the Siddhi is Iccha.
The mental state is Nitidhyasana. The presiding
deity is Tripuraamba. Her vidya is is Hsraim
Hsrklim Hsrsauh.. The gem is Gomaya .The time
is a ritu- two months. The Shaktis are the three:
Kameshwari, Vajreshwari and Bhagamalini.
(4+3=7) is the dominant number. This avarana
corresponds to the top of the head (masthka) of
the mother goddess]
Lokapaalini Kapaalini Shoolini Lokajanani
Bhagamaalini Shakrudaa
Aalokaya Maam Sarva Siddhipradaayike
Tripuraambike Baalaambike
Charanam
Santapta Hema Sannibha Dehe Sadaa-
akhandaika-rasa-pravaahe
Santa-apahara Trikona-gehe Sa-kaameshvari
Shakti-samuhe
Santatam Mukti Ghantaamani Ghosaayamaana
Kavaata-dvaare
Ananta Guruguha Vidite – Karaahnguli Nakhodaya
Vishnu Dashaavataare –
Antahkaraneksu Kaarmuka – Shabdaadi Pancha
Tanmaatra Vishikhaatyanta
 Raagapaasha Dvesa-ankusha Dharakare
Atirahasya Yoginipare

The primary triangle with its apex downward

(East) and colored white
(Sattva) surrounding immediately around the
central point , Bindu , is the eighth avarana. It is
called Sarva Siddhi prada chakra, the one that
bestows all accomplishment. This triangle does
not intersect with other triangles; and stands
independent. It is Kama Kala. It is feminine in its
aspect; and represents three fundamental
manifestations of the mother goddess:
Kameshwari (symbolizing moon – creation);
Vajreshwari (symbolizing sun- preservation); and
Bhagamalini (symbolizing fire -dissolution).
The three angles of the triangle also represent
three forms of speech : Pashyanthi,
Madhyama and  Vaikhari. The triangle is therefore
the speech aspect Vak Bhava.
It also represents the three powers
of iccha (will) , jnana (knowledge)
and kriya  (activity). The three corners of the
triangle stand for three peaks(kuta) of the
fifteen_lettered mantra; or as three dimensions
of all existence. The triangle itself is regarded
the abode of the mother goddess (kama-kala).
Dikshitar in divine ecstasy sings the glory of the
Mother, the protector of worlds adorned with
garland of skulls and holding a trident. She is
Bhagamalini, symbolizing fire representing
Rudra’s power of dissolution. She is also
Tripurambika; the presiding deity of the avarana.
She is Balamba. She is the ruler of the
Sarvasiddhiprada chakra :
Lokapaalini Kapaalini Shoolini Lokajanani
Bhagamaalini Shakrudaa Aalokaya Maam Sarva
Siddhipradaayike Tripuraambike Baalaambike 
She whose body is glowing like molten
gold(Santapta Hema Sannibha Dehe); She who is
the eternal undifferentiated unique bliss(Sadaa-
akhandaika-rasa-pravaahe ); She who resides in
the enchanting  Trikona chakra (Santa-apahara
Trikona-gehe ); and delighting in the company of
Kameshwari (symbolizing moon – creation) and
host of  other friends (Sa-kaameshvari Shakti-
samuhe).
The eight cornered figure that surrounds the
Trikona, suggests five basic elements
of phenomenal existence (tanmatras: earth,
water, fire, air and space), symbolized by five
arrows of flowers (pancha bana) which is also the
symbol of Kama; passion (raga) symbolized by
the noose (pasha); aversion (dwesha) symbolized
by the goad (ankusha); and mind
(manas) symbolized by sugarcane stalk (ikshu
danda); all of which are held by the deity, in the
company of the yogini of the avarana , Athi
Rahasya Yogini.

Dikshitar puts the entire thing, beautifully, in just

two compact lines:
Antahkaraneksu Kaarmuka – Shabdaadi Pancha
Tanmaatra Vishikhaatyanta
Raagapaasha Dvesa-ankusha Dharakare
Atirahasya Yoginipare.
The Raga mudra is in  Mukti Ghantaamani
Ghosaayamaana; while the composer’s mudra is
in Ananta Guruguha Vidite.

9. Ninth Avarana-Bindu
Kamalaambaa Jayati-Ahiri-Rupaka
[The avarana is the Bindu and the Chakra is
Sarvanandamaya chakra, ‘ replete with bliss’. The
yogini is parathi para Rahasya; the Mudra is sarva
yoni; and the Siddhi is Prapthi. The mental state is
Savikalpa Samadhi. The presiding deity is her
Transcendent Majesty Lalita Maheshwari
Mahatripurasundari. Her vidya is Kamaraja
vidya :  ka e i la hrim ha sa ka ha la hrim sa ka la
hrim, plus a secret 16th syllable. The gem is
ruby. The time is year. The Shakti is Maha Tripura
Sundari the personification of Brahman. This
avarana corresponds to Brahma_randra on the
top of the head of the mother goddess.]
Pallavi
Shri Kamalaambaa Jayati Ambaa Shri
Kamalaambaa Jayati Jagadaambaa
Shri Kamalaambaa Jayati Shringaara Rasa
Kadambaa Madambaa
 Shri Kamalaambaa Jayati Chidbimbaa
Pratibimbendu Bimbaa
Shri Kamalaambaa Jayati Shreepura Bindu
Madhyastha
Chintaamani Mandirastha Shivaakaara
Manchasthita Shivakaameshaankasthaa
Anupallavi
Sukara-ananaadya-arccita Mahaa-tripura
Sundarim Raajaraajeshvareem
Shreekara Sarva-ananda-maya Chakra-vaasinim
Suvaasinim Chintayeham
Divaakara Sheetakirana Paavakaadi
Vikaasakarayaa
Bheekara Taapa-traya-adi Bhedana
Dhurinatarayaa
Paakaripu Pramukhaadi Praarthita-Sukalebarayaa
Praakatya Paraaparayaa Paalitodayaakarayaa
Charanam
Shrimaatre Namaste Chinmaatre Sevita Ramaa
Harisha Vidhaatre
Vaamaadi Shaktipujita Paradevataayaah Sakalam
Jaatam
Kaamaadi Dvaadashabhir-upaasita Kaadi Haadi
Saadi Mantra-rupinyaah
Premaaspada Shiva Guruguha Jananyaam
Pritiyukta Macchittam Vilayatu
Brahmamaya Prakaashini Naamaroopa Vimarshini
Kaamakalaa Pradarshini Saamarasya Nidarshini
This Kriti employs all
eight Vibhaktis. The Pallavi is in the nominative
case; the first three lines of the Anu-pallavi are in
the accusative case; and, the rest of the Anu-
pallavi is in the instrumental case.
The first line of the Charanam  is in the dative
case, and, it also incorporates the vocative (in the
word Cinmatre). The consecutive lines are in
ablative, genitive and locative cases.  The last
two lines, meant to be sung in the Madhyama-
kala, are again in the nominative case, in order to
return to the main Pallavi  line.
The Raga Mudra (Ahiri) is slightly altered as
“Ahari”; and, it occurs in the phrase Ramahari.
**
The ninth enclosure is the Bindu. It is
called Sarvananda-maya chakra , the
supremely blissful one.  It is independent of the
intersecting triangles. This, in a temple, would be
the  sanctum sanctorum, with all the other circles
or enclosures representing various parts of the
temple as you move inwards.
It is this Bindu that is in reality the Sri Chakra; it
represents the mother goddess Maha Tripura
Sundari, Lalitha or Rajarajeshwari herself; and
everything else is a manifestation of her aspects.
The goddess is nothing other than the devotees
own self. The self here refers to individual
consciousness (buddhi) which is beyond the
body-mind complex. It is filled with all bliss
(sarvananda maya). This constant, abundant bliss
is the expression of the union of Shiva
(consciousness) and Shakthi (power of
deliberation Vimarsha). It is the very basis of
existence.
The significance of this avarana is the complete
harmony (samarasya) of principles of pure
consciousness (Shiva) and the principle of
energy as deliberation (vimarsha shakthi). It
signifies a state of non-duality, where all
tendencies of approach and withdrawal become
nonexistent, dissolve in a state in which the
devotee ultimately rests. Bliss, in Tantra, is
explained as resting in oneself (Svarupa
pratishta).
Dikshitar bursts forth into a fountain of divine
ecstasy and sings the glory and the celebration
of the Supreme Mother Goddess in highly lyrical
and sublime poetry. The krithi is also rich in Sri
Vidya lore.
He describes the Mother as the very
personification of the Bindu, the pure
consciousness at the centre of Sri Chakra
(Chidbimbaa Pratibimbendu Bimbaa); and as one
who resides as the Bindu, in a mansion of ruby
(Chintaamani Mandirastha), at the heart of the Sri
Chakra (Shreepura Bindu Madhyastha).Here the
expression bimbendu, refers to the moon and the
point. As per the Tantric ideology the mother
goddess is the moon; and the fifteen phases of
the moon are her individualized aspects, kalas.
She resides in the lunar orb.

The phrase Chintamani mandira-sthitha carries

with it an elaborate background. The Devi’s
mansion is visualized as situated in a great
garden (mahodyana) rich with many species
of trees such as Santana, Kalpaka, Hari-
chandana, Parijatha, Bilva etc. The garden is
enclosed by four ramparts made of nine gems.
The central hall of her mansion (prasada) is made
of coral (manikya mantapa). Inside this vast
enclosure are three tanks (vapika) of immortality
(amrita), of biiss (ananda) and of deliberation
(vimarsha). There is also a grove of lotus flowers
(padmatavi). Amidst all these is the magnificent
mansion of the “wish granting jewel” (Chintamani
mandira). The mother goddess resides
(sthitha) in this enchanting mansion.
At the entrance of this mansion (Kavaata-dvaare),
the bejeweled bells (Ghantaamani) constantly
(Santatam) ring and announce loudly the
message of salvation (Mukti  Ghantaamani
Ghosaayamaana).
The line “Shivaakaara Manchasthita Shiva-
kaamesha-ankasthaa” ordinarily means that the
goddess is sitting on the cot in embrace of Shiva.
But, in Sri Vidya, the imagery of the cot on which
the mother goddess rests has a symbolic
significance. The Mother Goddess is imagined to
be seated at the Bindu (in her mansion) on a
cot (mancha). The four corners of the Bhupura
represent the four legs of the cot. The four legs
are the four principles of the phenomenal world:
emanation (shristi-Brahma); preservation (sthithi-
Vishnu); dissolution (upasamhara Rudra);  and 
withdrawal of the entire creation into a very
subtle form (Ishvara).The plank (phalakha), which
rests on the four legs of the cot is Shiva; he
represents the principle of reception, retention of
the withdrawn phenomena. Such dichotomy of
existence is preserved (anugraha) until the time
for re-emanation arrives. This principle
is Sadashiva tattva (the ever auspicious but inert
principle of pure consciousness) ; corpse-like ,
hence also called Sadashiva-preta .  The Mother
Goddess rests on this plank, the principle, of
Shiva. The Mother Lalitha is surrounded by nine
guardian spirits (nava-
shakthi) : vibhuthi  (splendor), unnathi (upliftment)
, Kaanthi  (lustre) ,  hrsti (satisfaction), kirti  (celebr
ity) , shanthi (courtesy ) , vyushti (prosperity ) , ut
krshta (excellence)  and  riddhi   (supremacy or
accomplishment).
*
In Tantra, the female is the predominant aspect
and the male is subordinate to her. The plank of
the cot is male; and the female rests on that. The
cot is inert, and the Devi is dynamic. Yet, the
male provides the female a field to function; and
the two cannot be separated. Sri Chakra
demonstrates this principle.
It is explained further, Shiva and Shakthi should
not be viewed as mere male or female principles.
They are indeed neither male nor female; nor
even neuter. They represent the unity of
consciousness and energy the very basis and the
essence of all Universe.

The seat of Lalitha or Maha Tripurasundari is

Yoga pitha, in the form of red lotus, impressed
with the Sri Chakra design, symbolizing the very
heart of the devotee. The symbolism of this
appears to be that Mother goddess worshipped in
Sri Chakra is indeed the universe in all its
aspects; and the devotee has to identify this
principle in his body; and again his body too is Sri
Chakra and the universe in miniature.]
The presiding deity of the avarana is Maha
Tripura Sundari and her chakra is
Sarvanandamaya chakra. Dikshitar meditates on
the chakra and the presiding deity worshipped by
Varahi and other attendant deties, the Yoginis
(Sukara-ananaadya-arccita –Mahaatripura –
Sundarim Rajaraajeshvareem).
Sri Dikshitar mentions the Sun (Divaakara), the
moon (Sheetakirana) and the fire (Paavaka) as
the expansion (Vikaasa) and manifestation of the
presiding deity. Here, he is referring to the view
that the central point, the Bindu, is actually
composed of three dots or drops (Bindu traya)
representing three fires (vanhi): Moon (soma);
Sun (surya); and Fire (Agni). The Bindu expanding
into three three is an act of swelling (ucchuna);
and is the immediate unfolding of the Sri Chakra.
Sri Dikshitar then sings the glory and the powers
of the mother worshipped by Lakshmi, Shiva,
Vishnu, Brahma and other divinities.
In the line “Kaamaadi – Dvaadashabhir-upaasita
Kaadi – Haadi- Saadi – Mantra-
rupinyaah”, Dikshitar is recalling the twelve gurus
and the traditions of the Sri Vidya. The Sri Vidya
tradition which centres on the worship of Sri
Chakra considers the following twelve gods and
sages as its gurus: Manu, Chandra, Kubera,
Lopamudra, Kama (Manmatha), Agasthya,
Nandisha, Surya, Vishnu, Skanda, Shiva and
Durvasa. It is said; each of the twelve gurus
propagated a school with regard to the worship
and significance of Sri Chakra. Of these, only two
schools have survived to this day; one is the
school started by Manmatha (also called
Kamaraja) known as Kadi-matha. The Kadi
tradition was continued by sage Agasthya. The
other school is Hadi-matha started by Lopamudra
wife of the Sage Agastya. There is also an
obscure third school called Sadi-matha. Dikshitar
belonged to the Kadi Matha School, started by
Kamaraja.
Let my loving mind (chittam) be dissolved
(vilayatu) in her, whose beloved (prema) is Shiva,
and who is the mother (jananyaam) of Guruguha.
In the line “Brahmamaya Prakaashini
Naamaroopa Vimarshini”  Dikshtar touches upon
the core concepts of Sri Vidya. Shiva as
consciousness is illumination (prakasha); and the
Kameshwari as the energy to unfold the creation,
to evolve, is the deliberation (vimarsha).The two
principles are undistinguished, united and in
perfect harmony at the time of dissolution
(pralaya).They however appear distinct at the
time of creation (shristi) and preservation
(sthithi).The twin aspects of illumination
(prakasha) and evolution (vimarsha) are the basis
of the expanding universe. The relation between
the two is analogues to that of lamp and its light.
The rays of lamp spread in all directions and is
responsible for life and its evolution. Shiva is
absolute consciousness (Brahmamaya
Prakaashini) and vimarsha the energy flows into
the world of names and forms (Naamaroopa
Vimarshini). These two principles come together
again at the time of withdrawal or dissolution.

The phrase “Kaamakalaa Pradarshini “ is again a

reference to the concepts of Sri Vidya. The
triangular formation of three dots or drops (Bindu
traya) at the centre of Sri Chakra is rich in
symbolism. The triangle is named Kama Kala.
One of the interpretations is that the top dot is
shiva and the bottom dots are Shakthi (energy)
and nada (sound).Here, Kama is the union of
Shiva (kameshvara) and Shakthi (Kameshvari):
and the concrete manifestation of the two
is Kala. This is also referred to as Nada-bindu-
kala.
The other interpretation is that the top dot stands
for Kama (primordial desire to evolve) and the
bottom two dots represent the manifestation and
eventual withdrawal.
The concluding phrase “Saamarasya Nidarshini”
suggests the complete harmony (samarasya) of
the principle of pure consciousness (Prakasha,
Shiva) and the principle of energy, as evolution or
expansion (Vimarsha, Shakthi). It signifies
(nidarshini) a state of non-duality, a state in
which the devotee ultimately rests (Svarupa
pratishta).
Sri Dikshitar concludes in his
auspicious Mangala kriti (Sri Kamalambike-Sri
Raga) in deep devotion, fulfillment and
celebration of the Mother’s transcendent powers
and glory- Shri Kamalambike Shive Lalite mam
pahi –  Oh Kamalambika, gracious and auspicious
one, protect me.
[ Note : The worship of Sri Yantra involves use of
ten types of Mudras (Dasa-mudrani) – the
gestures through the fingers – from Sarva-
Samkshobhini to Sarva-Trikhanda . For a
discussion on ; and, for the illustration of these
Mudras,  please click here.]

Reference:
Painting of Sri Rajarajeshwrai by Shilpi Siddanthi
Shri Siddalainga Swamy of Mysore
Other pictures are from Internet
Kamalamba Navavarana Kritis – Part One

Sri Kamalamba at Sri Tyagaraja temple, Tiruvarur.

The years he spent at Tiruvavur were richly

creative and highly productive for Sri
Muthuswami Dikshitar, the composer. Dikshitar’s
creations at Tiruvavur included a set of sixteen
kritis on the various attributes of Ganesha; a set
of kritis on Thygaraja and Nilothpalambika the
presiding deities of Tiruvarur shrine; a set of
Tiruvarur Panchalinga kritis; and eleven kritis of
Kamalamba Navavarana group.
Dikshitar had developed a fascination for
composing a series of kritis on a composite
theme, perhaps in an attempt to explore the
various dimensions of the subject. In some of
these, he employed all the eight Vibhaktis, the
various cases that delineate a noun.He also
composed a series of kritis in a set of ragas, all
ending with the same suffix (e.g.Gaula). No other
composer has attempted so many group kritis in
such a planned, orderly, meticulous fashion.
The most outstanding of such series of
compositions is of course the magnificent
Kamalamba Navavarana kritis. They are
incomparable compositions and are the jewels of
Carnatic music.These compositions,
intellectually sublime steeped in deep devotion,
are a testimony to Dikshtar’s musical genius, his
mastery over the Sanskrit language; and his
thorough knowledge of and intense dedication to
Sri Vidya, Sri Chakra and the worship of its
avaranas.
Through its graceful lyrics , majestic sweep of
ragas and descriptive details rich in mystical
symbolism of Tantra, Mantra, Yoga, Sri Vidya and
Advaita ; Dikshitar virtually threw open the doors
to the secret world of Sri Vidya,to all those eager
to approach the Divine Mother through devotion
and music.
It is amazing how Dikshitar builds into each of his
crisp and well-knit structure of lyrics, the
references to the name of the chakra; the names
of its presiding deity, yoginis, mudras, Siddhis
and the gurus of the Kadi tradition of Sri
Vidya ;and to the seed(Beeja) mantras. In
addition he manages to insert, as ever, cogently,
the name of the raga and his signature. The
Kamalamba Navavarana is a treasure house not
merely to the classical musicians but also to the
Sri Vidya upasakas.
Kamala is one of the ten maha_Vidyas, the
principle deities of the Shaktha tradition of
Tantra. But, the Sri Kamalamba referred to by Sri
Muthuswami Dikshitar in this set of kritis, is the
Supreme Divine Mother herself. The immediate
inspiration to Dikshitar was, of course, Sri
Kamalamba (regarded one of the sixty-four
Shakthi centers), the celebrated deity at the
famous temple of Sri Tyagaraja and Sri
Nilothpalambika in Tiruvavur.

Interestingly, the temple complex also

accommodates the shrines of Maha_Ganapathi,
Subrahmanya, Dakshinamurty and Balamba; all
Shakthi deities. The temple complex has a
Pushkarini, a lake, named kamalalaya, the abode
of Kamala.This tank is reffered to by Dikshitar , in
his kritis ,  as Kamalalaya thirtha and the Devi
is Kamalalaya thirtha vaibhave. The town of
Tiruvarur  is mentioned as Kamala nagara
(e.g.  Kamalanagara viharinai) and as Kamala
pura(e.g.Kamalapura sadanam) ; referring to Devi
as one who resides in and walks about the town
of Kamalapura/Kamalanagara.

Sri Muthuswami Dikshitar follows the Smahara

krama, the absorption path, of Sri Chakra puja
and proceeds from the outer avarana towards the
Bindu in the ninth avarana at the center of the Sri
Chakra. At each avarana, he submits his
salutation and worships the presiding deity, the
yogini (secondary deity) and the attendant
siddhis of that avarana; and describes the salient
features of the avarana according to the Kadi
School of the Dakshinamurthy tradition of Sri
Vidya. It is in effect both worship and elucidation.
Dikshitar devoted one composition to each of the
nine avaranas. In addition, there is a Dhyana
Kriti, a verse in meditation, preceding the set of
nine; and a Mangala kriti, the verse celebrating
the auspicious conclusion, at the end. Thus, the
Navavarana composition of Dikshitar, per se, is a
set of eleven kritis.
The Dhyana
kriti Kamalambike_ashrita_kalpa_lathike is
composed in Raga Todi
(Rupaka). The Vaggeyakara Mudra is in 
– Guruguhakarane Sadashiva antahkarane
[The Dhyana-kriti in Todi does not bear the
customary Raga_mudra, the name of its Raga.]
The concluding Mangala Kriti – Sri Kamalambike 
Shive pahimam, Lalite , Sripathi Vinute    – is in the
auspicious Sri Raga , set to Khanda Eka Taala.
The Raga Mudra is in the opening line as  Sri; and,
the Vaggeyakara Mudra is the phrase Shankara-
Guruguha-bhaktha vasankari.

Apart from these eleven Kritis; It is customary, as

a prelude to Kamalamba Navavarana group of
kritis, to invoke Maha_Ganapathi and Lord
Subrahmanya by
singing Shri Mahaganapathivaratu mam (Gaula)
followed byBalasubrahmanyam Bhaje (Surati).
**
Thus , the vocal tradition of the Kamalamba
Navavarana has , in all, a set of thirteen kritis.
The core kritis are however the nine relating to
nine avaranas of Sri Chakra.
For the core nine kritis sang in worship of the
Navavaranas of Sri Chakra, Dikshitar employed
nine different Ragas and eight
different Vibhakthis (case endings denoting the
noun) of Sanskrit grammar; and, in addition,  for
the ninth avarana kriti he employs a garland of all
the eight Vibhakthis.
As regards the Raga-mudra, a distinctive feature
of Dikshitar’s compositions, the kritis in
Anandabhairavi (first avarana), and
shankarabharaaam (third avarana) indicate their
Ragas   only partially (the word “Ananda” for the
former, and shankara for the latter). The
kambhoji, Sahana, and Ahiri compositions have
their Raga mudras hidden within complex
phrases.  In all the other kritis, the Raga mudra is
explicit.
The following briefly is representation of the kriti,
the Raga, the taala and the Vibhakthi of the nine
kritis:

There are several theories explaining Dikshitar’s

selection of Ragas for these kritis. Dikshitar was
a meticulous person and had a methodical
approach to life and to his works. Dr. R K
Srikantan, the celebrated Carnatic musician and
scholar, feels that the Ragas selected for these
kritis are stringed together by an underlying
scheme that is at once simple and logical. He
observes that the Raga of each kriti flows into the
next, seamlessly with minimum alteration in the
structure of its swaras. Here is an extract from
his article:

Sri Dikshitar followed the Venkatamakhin 

sampradaya  – the scheme of classifying the

Ragas – where Bhairavi and Ananda- bhairavi
were treated as Upanga – Ragas. The Ragas
adopted by Sri Dikshitar for the nine
(Navavarana) Kritis, could broadly be classified
under three main categories: two Mela-karta
Ragas (Kalyani and Shankarabharnam); three
Upanga Ragas (Shahana, Bhairavi, Aanda-
bhairavi); and four Bhashanga Ragas (khambhoji,
Punagavarali, Ghanta and Ahiri)
The Swara-structure, the sequential change of
Ragas was methodical:
Sri Dikshitar has used only four Chakras *
– Veda, Netra, Bana and Rudra. This corresponds
to the four types of structures in the Sri-Chakra,
viz.:  square (chaturanga), circle (vyuha), triangle
(tri kona) and point (bindu).
The Swara-structure, the sequential change of
Ragas was methodical:
1. From Ananda-bhairavi to Kalyani meant a
change of Gandhara.
2. From Kalyani to Shankarabharanam meant a
only a change of madhyama.
3. From Shankarabharanam to Khamboji meant
an addition of a nishada.
4. From khamboji to Bhairavi meant removal of
the additional nishada, addition of a dhaivata and
change of gandhara.
5. From Bhairavi to Punnagavarali meant removal
of the additional dhavata and introduction of a
rishabha.
6. The next song shows changes in gandhara and
dhaivata after the removal of the additional
rishabha.
7. Ghanta indicates addition of Rishabha and
dhaivatha with change in gandhara.
8. The last change is extremely complex. It
basically indicates addition of gandhara and
nishadha.
[* Sri Srikantan is referring to 12 series or Chakras
in which the 72 Melakartas are arranged:
The 72 Mēḷakarta ragas are split into 12 groups
called Chakrās, with each Chakra containing 6
ragas. The ragas within the chakra differ only in
the dhaivatam and nishadam notes (D and N). The
name of each of the 12 chakras suggests their
ordinal number as well.
The twelve Chakras are:
1. Indu (moon, one);
2. Netra (eyes, two);
3. Agni (sacrificial fires, three types: garha-patya,
Ahavaniya and  Daksina; and Agni has two other
names : Vaishvanara and Jatavedasa);
4. Veda (four Vedas- Rig, Sama, Yajur &
Atharvana );
5.Bana (arrows of Manmatha the cupid-
five: Aravinda/Asoka/Chuta/Nava-mallika/Nilotpal
a);
6. Ritu (seasons – six seasons of the year-
Vasanta, Greeshma, Varsha, Sharad,
Sisira and Hemanta );
7. Rishi (sages – saptharishi  – seven –Gowtama,
Viswamitra, Kashyapa, Jamadagni, Bharadwaja,
Atri and Vasishta);
8. Vasu (a group of celestial beings –  asta-vasu.
eight – Aapa, Dhruva, Soma, Dava, Pratyusha,
Anila, Anala  and  Prabhasa));
9. Brahma (reference to the nine cycles of the
universe, each presided over by a Brahma –  Nava
Brahma-  Atri, Angirasa, Brighu, Daksha, Kashyapa,
Pulaha, Marichi, Vasishta  and  Pulastya);
10. Dishi (ten directions – eight plus above and
below – their guardians being : Indra, Agni, Yama,
Niruddhi, Varuna, Vayu, Kubera and Isana ;
plus , Akasha and Patala);
11. Rudra (Ekadasha Rudra – eleven forms of
Rudra – Aja, Dwasha, Ekapada, Triambake,
Aparajita, Isana, Tribhuvana, Sambhu, Hara,
Rudra and Ahirputniya); and
12. Aditya ( a group of twelve celestial beings
– Dwadasha Aditya –  Poosha, Bhaskara, Marichi,
Arka, Khaga, Surya, Mitra, Aditya, Ravi, Bhanu,
Savita and Hiranyagarbha)
**
The Svaras (notes) involved with the four Chakras
referred  to by Sri Srikantan are:
Veda: Sa, Chatusruthi Rishaba, Sadharana
Gandhara, Suddha Ma
Netra: Sa, Suddha Rishaba, Sadharana Gandhara,
Suddha Ma
Bana: Sa, Chatusruthi Rishaba, Anthara Gandhara,
Suddha Ma
Rudra: Sa, Chatusruthi Rishaba, Anthara Gandhara,
Prati Ma
For more , please do read Sri S Rajam’s most
wonderful illustrations of the 12 Chakras and their
72 Melakarta-s.
As regards the Ahiri, the Raga of the kriti
associated with the ninth avarana, there is a view,
the raga has all the twenty-two notes in the
octave; and such a fusion of all melodic and
temporal elements in the same kriti is rather
unusual especially when the pallavi has
distinctive prose sections put together,
seamlessly.
Before we enter a discussion on the Navavarana
kritis, let us take a broad look at their association
with the Chakras, the deities, the Yoginis, and
Siddhis etc. of the Sri Chakra.
The Kamalamba Navavarana kritis are works of
musical and poetic excellence. They are adorned
with sublime music, intellectual sophistication,
soulful devotional lyrics and richly imaginative
poetic imagery. Listening to the kritis is a truly
rewarding experience, even if one is not aware of
or ignores the underlying connotations of Sri
Chakra and Sri Vidya tradition.
[Please click here for an article covering an
overview of the Sri Kamalamba Navavarana kritis.]
*
The scholarship of Sri Dikshitar as a Vainika has
reflected in these compositions through
the Gamakas, Viḷaṃba-kala and Madhyama-kala -
Sahitya. His treatment of the Ragas and use of
rare phrases at times bring in an unusual melody
and effulgence to these compositions.
The Kamalamba Kritis ranges from Maṇdra
to Tara-Sthayi; and , in the other way too,
presenting a complete picture of the range and
scope of the Raga,  bringing out
the Lakshaṇa  and grandeur of the Raga, in full
measure.
*
As regards the Taala, Sri Dikshitar in this series
has employed the Suladi-Sapta-Taalas, with the
exception of Dhruva and Mathya Taalas.
The Taalas used include Rupaka (3 beats); Tisra-
Tripuṭa (7 beats); Ata-Taala (14 beats) ; and,
Misra-Jhaṃpa (10 beats).
There appears to be a method or a progression in
accordance with the sequential order of the
Avaranas of the Sri Chakra.
The Kalyani Avaraṇa is an enclosure of 16 lotus
petals (2 times of Adi Taala).
The third Avaraṇa in Shankarabharaṇa is in
Rupaka Taala, consisting of 6 Kriyas (2 times of
Rupaka).
The fourth Avaraṇa in Kambhoji is in Aṭa-Taala,
having 14 Kriyas,  representing  the nature of 14
angles of Chakra.
The fifth Avaraṇa in Bhairavi is set to Jhaṃpa
Taala, having 10 Kriyas denoting the ten
angled Chakra.
The sixth Avaraṇa in Puṇnagavarāli set in Rupaka
Taala,  has 6 Kriyas according to its order of
Avarana .
The seventh Avaraṇa in Raga Sahana is set in
Tisra-Jati-Tripuṭa-Taala; it  being the seventh
one in order.
The eighth Avaraṇa is in Adi Taala referring to 8
Kriyas.
The ninth Avaraṇa in Ahiri is in Tisra-Jati-Eka-
Taala,  has 3 Kriyas , although it is  now being
sung in Rupaka with 6 Kriyas highlighting the
three elements residing in the Bindu Chakra.
The choice of the Taalas follows a definite
scheme. The Avarana in Anandabhairavi is also
sung with Misra Chapu Taala; because it has the
same number of Taala units, although they differ
in the Kriyas. Sri Subbarama Dikshitar, in
his Sangita-Sampradaya-Pradarshini, has
remarked that this Avarana could be sung with
Misra-Jati-Eka-Taala , which again has the same 
measure of 7 Matras. That is to say; this Avarana
could be sung in three different ways, having
either the Triputa, Misra-Eka, or Misra Chapu ( 3
½ *2=7 Aksharas) , effecting slight change in
Kala-pramana.
*

The Kamalamba-Navavarana-Kṛitis are enriched

with rhetorical beauties or the decorative Angas.
The other aspects observed in the Navavaraṇa-
Kritis  are summarised as follows.
Todi is a Raga which generally reflects
compassion; and, Sri Dikshitar in the invocatory
composition begins the song with Madhya-
Sthayi-Nishada in accordance with the invocative
nature of the song. Another significant
description in the composition is Her sitting
posture as ’Vinoda Carane’, which means
enchanting feet. Sri Dikshitar addresses Her as
one who enjoys music and one who bestows best
poetic qualities on those who sing in praise of
her ‘Sangita-rasike sukavitva -pradayike’,
suggesting both his music and poetry are due to
Her blessings . Sri Dikshitar addresses the Devi
by varied   epithets, such as: ’Tripuradi-
chakreshvarī’, ‘Animadi-siddishvarī’, ‘Kshitipura-
Trailokya-Mohana-Chakravartinī; and ‘Prakata-
Yoginī’.
The Kalyani Avarana has the word ‘Kamala’  in the
Anupallavi has different meanings with reference
to the subsequent word. Kamala in “Kamala-
Vani” refers to Lakshmi and Vani is Sarasvathi;
Kamala in “Kamala-pura-sadanā” refers to
Tiruvaruru; and , the Kamala  in “Kamala-
vadanam” refers to lotus-like face.
The ninth Avaraṇa is represented by a Bindu.
This is here the Mother Goddess resides. She
being the empress of the entire empire of Sri
Chakra, named as Sarva-anandamaya Chakra,
wherein the Maha–Tripura-Sundarī lives with
Kameshvari. It has all Vibhaktis and the lengths
of Pallavi, Anupallavi and Caraṇa represent the
three natural equal parts of the Bindu- Moon, Sun
and Fire.
The Mangalam Kṛiti is befittingly composed in
the Raga Sri set to Khanda-Eka-Taala. This
composition has exquisite descriptions and
reflects the immense devotion of Sri Dikshitar;
and, his adherence to Sri Vidya.
**
The discussion on each of the Navavarana kritis,
with reference to and in the light of traditions,
concepts and lore of Sri Chakra and Sri Vidya,
follows in the next page.
Kamalamba Navavarana Kritis – Part Two
The structure of Sri Chakra 

The basis of Sri Chakra is its mantra; the fifteen

lettered mantra in three groups:  a e i la hrim; ha
sa ka ha la hrim; sa ka la hrim.  The sixteenth
letter “srim” is present in a subtle form. Sri
Chakra is basically a triad; and, is also related to
number nine (tridha chaiva navadha chaiva
chakra-samketakam punah) . The triangle which
is primary to the chakra has three angles and the
deity residing in it is Tripura. The mantra of each
of the nine enclosures of Sri Chakra is three
lettered; the Mother Goddess is worshiped in her
three forms; the Kundalini energy in the
individual is threefold, and the phenomenal
processes arising out of the union of Shiva and
Shakthi are also three. The Chakra design
represents Tripura or Tripura Sundari; while her
manifest powers (yogini) are nine. There are also
three dimensions of the Sri-chakra
corresponding to the three sections (kuta) of
the mantra; and, each of these dimensions has a
further division into three units. Each of these
nine units are called as chakras that are encased
in Sri Chakra.
All its other interpretations are also in terms of
three and nine. The three groups that constitute
the mantra are called Kuta (peaks)
or Khanda  (segments). They are interpreted
variously in sets of three as:
 Agni  (fire), Surya  (sun) and  Chandra   (moon);
  srishti  (creation), Shtithi  (preservation)
and laya  (dissolution) ; 
 Iccha  ( will), jnana  (knowledge)
and kriya  (action); 
 Sattva, Rajas and Tamas; Jagrat  (wakefulnes
s) ;
  swapna  (dream state)  and sushupthi (deep
sleep);
 Jnatra (the knower), jnana  (the knowledge)
and  jneya  ( the known) ;
 as Atma  (individual self), Antaratma  (inner
being) and Paramatma  (supreme self); and
also as
 past , present and future.
In general, the Sri Yantra is a ‘cosmogram’ – a
graphic representation of the universal
processes of emanation and re-absorption
reduced to their essential outline.
The diagram of the Sri Chakra is primarily a
Matrix (i.e. womb) of nine interlocking triangles.
Five of these triangles have their apex facing
downward. They are
Shakthi trikonas, the triangles representing five
forms of feminine energy, Shakthi. The other four
triangles with their apex facing upward are Shiva
trikonas representing the male aspect, Shiva,
Consciousness. In Tantra, the feminine is the
active principle; and the male is passive. The
Tantra texts mention that Sri Chakra is produced
when five forms of Shakthi and four forms of
Shiva unite. The intersection of these nine
triangles creates forty-three triangles. It is
customary to regard the point at the centre also
as a triangle. Thus, in effect there are forty-four
triangles in Sri Chakra; and these are arranged in
nine enclosures (navavaranas), in groups of
three. 

. 
The intersection of two lines is called Sandhi; and
there are 24 such Sandhis. These intersections
have certain significance. The meeting of two
lines represents union of Shiva and Shakthi. 

And, the points where three lines meet are

called marma sthanas. There are 18 such marma
sthanas.
The meeting of three lines represents explicit
harmony between Shiva and Shakthi; and they
are vital spots in the body where the life-energy
resides as well as accumulates. The marma has
thus been called the Seat of Life or Jiva-sthana.

A total of 43 triangles are created from the

overlapping of the nine original triangles.
As regards the Bindu , the dimensionless point at
the core of the Sri Chakra Yantra, the Tantra
texts explain  that Bindu is Kameshwara , the
ground of the universe; and the immediate
triangle is Kameshwari the mother of universe;
the union of purusha and prakriti. The union of
these two is the Sri Chakra, which represents the
entire phenomenal pattern. This is denoted by
the secret syllable shrim. In fact, it is this point,
coloured red, which really is the Sri Chakra. Every
other detail is an expansion or a manifestation of
its aspects. The mother goddess worshipped in
Sri Chakra is the universe. The devotee has to
identify that principle in his body, for his body is
the Sri Chakra or the universe in epitome. He is
guided in this endeavour by the guru who is the
representative of Shiva.
The Bindu also represents, at various times, the
principles or activities known as the Pancha
Kriya of: Emanation of the cosmos from its
primal source; Projection of creation into the
primal void; Preservation of the created universe;
Withdrawal of the creative and preservative
energies in cosmic dissolutions; and
lastly, Retention of the withdrawn energy-
universe for the next cycle of re-creation. These
five activities are regarded as the five modes of
expression of the Universal Mother.
There are several other explanations.
Bindu is regarded a sphere in its own right. The
expanded form of the Bindu is the triangle
formed by three points and is called Sarva siddhi
prada (the sphere of fulfilment of all aspirations).
It is described

as Prakriti (as per the Samkhya ideology

– Vyakta the manifest creation) composed of
three Gunas (fundamental fabric of all existence)
Sattva, Rajas and Tamas. The Kadi School
explains sattva as that which covers and
conceals (aavarana); while the other two Gunas
as that which project the world of duality or
multiplicity (vikshepa). The three gods Brahma
(creator), Vishnu (preserver) and Rudra
(destroyer) are actually the representations of
these three gunas. They are in turn the three
aspects of the Devi represented
as trikona  chakra.
It also explained that from Shakthi flashes forth
the creative impulse known as nada (sound),
which manifests as Kundalini or the creative
urge, in all living beings. Here, Bindu is Shiva;
Bija is Shakthi; and nada is their union. These
give rise to the power of will (icchha shakthi); the
power of knowledge (jnana shakthi); and power
of action (kriya shakthi).These in turn give rise to
Rudra, Vishnu and Brahma.
Another explanation is, Bindu, also
called Sarvanandamaya (all blissful), and
represents the transcendental power (Para
Shakthi) and absolute harmony (saamarasya)
between Shiva and Shakthi. This is equivalent to
what the Vedanta calls the Brahman. Owing to
the power of the will (icchha shakthi) there
comes about an apparent differentiation of
Shakthi from Shiva, expressed in the form of
triangle.  Here again, the triangle is the
expansion of the Bindu (bindu vikasana).
If the Bindu represents the Para-nada, the
triangle represents the Pashyanti, the second
stage of the sound, nada. The enclosure next to
this, the eight sided figure (ashta kona chakra) is
the Madhyama or the third stage in the
development of sound. The rest of the Chakra
represents the physical or the phenomenal stage,
the Vaikhari, which is the manifest and articulate
form of sound. The Vaikhari form is represented
by the fifty letters of the alphabet,
called matrikas or the source of all transactions
and existence.
The sixteen vowels (from aa) constitute the lunar
sphere (Chandra mandala), the twenty-four
consonants (from ka to tha) the solar sphere
(Surya mandala); and the remaining ten
consonants (from ma to ksha) the sphere of fire
(Agni mandala). Thus, the triangle is also
known as  tri kuta,  tri khanda and tri mandala.
Bindu is identified with Shiva and trikona with
Shakthi. The process of evolution (shristi) or the
apparent separation of Shiva and Shakthi is
referred to as adi-dwandwa. The evolution from
the primary state into the mundane level is
regarded as a descent, avarohana
krama; whereas the withdrawal from the gross to
the very subtle state is termed Samhara
krama.  Here the devotee moves into higher
spiritual levels; and therefore it is
termed arohana krama. It is a gradual process.
The significance of the triangle is explained thus:
The name of the goddess is Tripura; and number
three is important in approaching her. She is of
the nature of the sun, the moon and the fire. She
is masculine, feminine and neuter. Her form is
red, white and the mixture of the two. Her mantra
has three letters (hrim, klim, sauh); and from this
mantra three segments of time – past, present
and future – emerge. From this mantra too
emerge the realms, three Vedas, three states of
existence ( waking, dreaming and sleeping) and
three gods Brahma,

Vishnu and Shiva.

All these geometric designs are contained within
Sri Chakra, arranged in nine enclosures or nava-
avaranas.They are also termed as nine chakras.
Each of this has its name, a characteristic
physical form and a spiritual significance. Each
has its colour suggesting its tendencies. Each
Chakra has its presiding deity (chakreshwari or
Chakra nayika); and she is a variant form of the
mother goddess abiding at the Bindu. The
Chareshwari rules over her set of attendant
divinities; such as Yoginis who aid the devotee on
in his spiritual progress, and the Mudra Devatas,
seal-divinities, who welcome, purify and delight
the devotee.
The yoginis have a special role in Sri Chakra
worship. They make explicit the union of the
male and female aspects of the Sri Chakra in
each of its enclosures. They are in fact, the
symbols of urges, aspirations, inhibitions,
limitations, obstructions and powers active in
each individual. The yoginis aid the devotees, but
derive their power from the mother goddess.
Sri Chakra is verily the body of the mother
goddess, who resides as energy in the universe
and as pure consciousness in the individual. The
nine enclosures symbolize in a graded series the
significance of the universal and individual; the
ideological and ritual; expressive and
contemplative; and the in inner and outer aspects
of Sri Chakra.
The outer group of chakras (1, 2 and 3)
symbolizes extension or shristi. They represent
Shiva aspect of the chakra. The middle group (4,
5 and 6) symbolizes the preservation
or sthithi. They represent Shakthi aspect of the
chakra. The inner group (7, 8 and the Bindu)
symbolize absorption or samhara. The Bindu
represents the transcendental aspect of mother
goddess. The other two avaranas (7and 8) are
also Shakthi aspects.
The nine chakras are interpreted in terms of Time
(kaala), the five elements that compose all things
(Pancha-Bhuthas); and three states of
awareness-wakefulness, dream and deep sleep.
The nine chakras are also interpreted as
corresponding to parts in human body.

No Chakra Corresponding to part of

. human body
01 Bhupura First line: feet; Second line:
knees; and third line : thighs
Triple girdle Mid portion of the body
02 Shoidasha- Region below navel and  up to
dala padma penis region ; kati
03 Ashta-dala Navel region – nabhi
padma
04 Chaturdasha Abdominal region-kukshi
05 Bahir -dasha Neck-kantha
06 Antar-dasha Region between eye
brows- bhru-madhya
07 Ashtara Forehead-lalata
08 Trikona Top of the head- masthaka
09 Bindu Opening on the crown of the
head leading to Sahasra Dala
padma (Brahma randra)

The nine avaranas are again recognized as

chakras said to be situated along the central
channel or the

Shushumna nadi.

No Avarana in Sri Chakra Nadi-chakra

.
01 Bhupura Muladhara
02 Shoidasha dala Svadhistana
padma
03 Ashta-dala padma Manipura
04 Chaturdasha Anahatha
05 Bahir _dasha Vishuddha
06 Antar-dasha Ajna
07 Ashtara Manasa-chakra
08 Trikona Soma-chakra
09 Bindu Sahasra
Padma

The nine avaranas, enclosures that compose Sri

Chakra are briefly as under. These are described
in the order of absorption (Samhara-krama)
according to Dakshinamurthy tradition. It starts
with the outermost enclosure-Bhupura- and
leads to Bindu, the central point.
1. Bhupura also called Trilokya –mohana-
chakra (Deluder of the Realms) , is the four-sided
enclosing wall. The three lokas being three levels
of experience:  attainments, obstructions and
powers. They are also related to the body- mind
complex of the devotee.
A tantra design is always enclosed within an
outer wall serving as a protective cover. As the
devotee enters into the Mandala he leaves
behind the normal worldly distractions and
conflicts; and emigrates into a world of symbols
and visualizations. A Mandala is thus a mansion
of gods and goddesses, a symbol of a higher
form of existence.

There are actually six gateways to the fort Sri

Yantra, if we take a three-dimensional view of it;
the four obvious dwaras and those ‘above’ and
‘below’. The Eastern gate is the way of
the mantras. The Southern gate is the way of
devotion or bhakti. The Western gate is for the
performance of rites and rituals, or karma-kanda.
The Northern gate is the way of wisdom,
or Jnana. The gate ‘below’ is the ‘path of words’
while the gate ‘above’ is the way or ‘road of
liberation’. These are located at the Southern and
Northern gate, respectively, i.e. ‘above’ is north,
‘below’ is south. Each of these gates also stands
for one of the six primary chakras in the body.

The Bhupura Chakra, the earth stretch, includes

within its spatial scope the entire design even as
the earth supports the entire existence. Bhupura
is a Shiva aspect and is made up of three lines or
ramparts. The first (outermost) line is identified
with the attainments of yoga powers
called Siddhis. They are needed for self-
protection along the inward journey. Such
Siddhis are eight in number; and are attained
consequent on gaining control over the elements
and the mind.
The second or the middle line represents the
powers of eight mother-like
divinities Mathrika who rule over emotions  such
as passionate longing (Brahmi), violent anger
(Maheshwari), avarice (kaumari) obstinacy
(Varahi) etc
The third (inner) line of the square is identified
with ten feminine deties, Mudra devathas,
carrying seals of authority. The mudras are an
approach to the divinities. These could be gross
(sthula) being body postures and gestures by
hand; subtle (sukshma) by way of seed-mantras;
and para  transcendental that is mental or
intuitional approach.
These three lines are also taken to represent the
Mother goddess; the outermost line corresponds
to her feet; the middle line to her thighs; and the
inner line to her knees.
There are also three concentric circles (trivritta)
representing three objectives of life: Dharma,
Artha and Kama.
The avarana is Bhoopura and the Chakra is
Trailokyamohana chakra ‘enchants the three
worlds’. The yogini is Prakata; Mudra is Sarva
Somkshibhni; Siddhi is Anima; and the mental
state of the aspirant is Jagrata. The presiding
deity is Tripura. Her Vidya is Am Am Sauh.The
gem is topaz. The time is 24 minutes  and the
Shaktis are 28 that include the ten starting with
Anima, the eight starting with Brahmya and the
ten Mudra Saktis. 28 is the dominant number.
This avarana corresponds to the feet of the
mother goddess.
2. The sixteen petalled lotus (shodasha dala
padma) called sarva asha paripuraka chakra, the
fulfiller of all desires, is the second enclosure. In
the sixteen   petals, the sixteen vowels of
Sanskrit alphabet is inscribed. These symbolize
sixteen kalas or aspects or phases. They are also
called nithyas and
named Kamakarshini  (fascinating the
desires), Budhyakarshini  (fascinating the
intellect) etc. These relate to powers in the Five
Elements, the ten senses of perception
or Indriyas (being further divided into five organs
of action and five sense organs) and the Mind.

The significance of this enclosure is explained as

self-protection (atma raksha) of the devotee.
Since frustrated desire is the strongest obstacle
to spiritual progress, the next stage is wisely
concerned with satisfying them. Only he who has
experienced can renounce. The values of virtue,
wealth and pleasure are granted at this stage.
The craving Asha springs from discontent; and is
quenched when discontent is eliminated. That is
possible when devotee identifies himself with
Shiva, ever complete and ever content.
This is achieved by the cultivation or
strengthening of power over mind, ego, sound,
touch, sight, taste, smell, intellect, steadiness,
memory, name, growth, ethereal body,
revivification, and physical body.
The avarana is Shodasa Dala, and the Chakra is
Sarvasaparipuraka chakra ‘fulfils all
expectations’; the yogini is Gupta Yogini; Mudra is
Sarva Vidravini; the Siddhi is Laghima; and the
mental state is Swapna, The presiding deity is
Tripureshi. Her vidya is Aim Klim Sauh.The gem is
sapphire. The time is three hours.   The Shaktis
are the sixteen starting with Kamakarshini. 16 is
the dominant number.
This avarana corresponds to the Savdhistana
chakra of the mother goddess.
3. Eight petalled lotus (astha dala padma)
called Sarva-samkhobhana –Chakra the agitator
of all, is the third avarana. Each petal has a
consonant inscribed within it that begins with ‘Ka‘
The petals represent eight divinities associated
with erotic urges , independent of

physical body(ananga).These relate to mental

pleasures derived through five organs and
through the modalities of mind:
rejection(repulsion or withdrawal), acceptance
(attention or attachment) and
indifference(detachment).
This enclosure represents the last of the first
group of the chakras that symbolizes Shrusti or
emanation.
The avarana is ashta dala; The Chakra is Sarva-
samkshobana chakra ‘agitates all’. The Yogini is
Gupta- Tara; Mudra is Sarvakarshini; the Siddhi is
Mahima; and the mental state is Shushupti. The
Presiding deity is Tripura Sundari. Her vidya is
Hrim Klim Sauh. The gem is cat’s eye. The time is
day and night. The Shaktis are the eight starting
with Ananga Kusuma. 8 is the dominant number.
This avarana corresponds to the navel region of
mother goddess.
4. Fourteen triangles (chaturdasha trikona)
called sarva sowbhagya dayaka; the bestower of
all prosperity is the fourth enclosure. This is in
the form of a complex figure made up of fourteen
triangles. The fourteen triangles are inscribed
with fourteen consonants beginning with ka  and
ending with dha.  The fourteen corners represent
fourteen powers of mother goddess. These are
said to preside over fourteen principle channels
of vital forces in human body (naadis)
corresponding with fourteen powers Sarva -
Samkshobhini and others.
They are also related to the seat of Shaktis who
represent: the Mind (Manas), the Intellect
(Buddhi), Being (Chitta), the Conscious Ego
(Ahamkara) and the ten Indriyas.
This enclosure refers to the channels of life
currents in the human body (prana) and their
identity with the aspects of Sri Chakra. The
explanation given in Tantra texts is that the
breathing in human body is influenced by five
elements present in the body; and in turn those
five elements are influenced by the manner we
breathe. Normally, we breathe 360 times in a unit
of time called nadika (equivalent to 24 minutes).
A day (dina) consists 60 such nadikas. Therefore,
in a day (24 hours) we breathe 21,600 times. The
collection of all breathes is mother goddess
herself. This is called nadi-chakra, the
organization of winds within the body. The
distribution of breathes among the body centres
are as follows:

Chakra Number of Time taken Hrs-

Breathes mins-sec
Muladhara 0,600 00-40-00
Svadhistan 6,000 06-40-00
a
Manipura 6,000 06-40-00
Anahata 6,000 06-40-00
Vishuddha 1,000 01-06-40
Ajna 1,000 01-06-40
Sahasra 1,000 01-06-40
Total 21,600 24-00-00

The navel is the central point for distribution of

all breathes and life forces moving along the
channels. Normally breath alternates between
the ida  channel reaching the left nostril
and pingala  the channel reaching the right
nostril. The former is moon principle and cools
the body; and the latter is sun principle warms
the body. The two meet at muladhara, close to
kundalini. Around this central channel is a
network of 72,000 channels of which the more
important are the 14 mentioned earlier in this
paragraph. These are referred also as 14
divinities. In this avarana the number 14 is
dominant.
Sri Chakra is also described as the diagrammatic
representation of the cycle of time (kaala chakra)
and of the chakras in human system.
The Avarana is Chaturdasara; the Chakra is Sarva
soubhagya dayaka chakra, ‘grants excellence’.
The Yogini is Sampradaya Yogini; the Mudra is
Sarva Shankari; the Siddhi is Ishitva. The mental
state is Iswara Vichara. The presiding deity is
Tripura Vasini. Her vidya is Haim Hklim
Hsauh.The gem is coral. The time is day and
night. The Shaktis are the fourteen starting with
Samkshobhini.14 is the dominant number.
This avarana corresponds to the heart of mother
goddess.
5. Ten-sided figure (bahir-dasara)
called Sarvartha Sadhaka chakra (accomplisher
of all objects) consisting ten triangles, is the fifth
avarana. It is named “the outer ten cornered
figure” (bahir dasara) in order to distinguish it
from a similar figure enclosed within it.

The ten triangles in this avarana house ten

auspicious deties , such as Sarva siddhi
prada, Sarva sampath prada, Sarva
priyamkari, Sarva mangala karini and so on. The
five of the triangles are inscribed with
consonants beginning with Ka; and the other five
triangles are inscribed with consonants
beginning with Cha..These represent ten powers
of mother goddess who presides over ten vital
forces pranas  active in the body. The idea of
vayu the winds or vital currents is fundamental to
the concept of channels.
The vital currents are divided into two
groups: prana- panchaka  andnaga-panchaka. The
first group consist:  prana, apana, vyana,
udana and samana vayus. These are responsible
for body functions such as respiration, blood
circulation, digestion, voice and separation of
nutrients from food etc.
The second group consists vital currents such
as naga, kurma, krkara,
devadatta and dhananjaya. These are involved in
body movement like belching, yawning
movement of eyelids, causing various sounds in
the body. The Dhanajaya vayu, it is said, is the
last to leave the body at its death. In this avarana
the number ten is dominant.
The Avarana is Bahirdasara; the Chakra is
Sarvarthasadhakachakra, the ‘accomplisher of
all’. The Yogini is Kulotteerna yogini;; the Mudra is
Sarvonmadini; and the Siddhi is Vashitva. The
mental state is Guroopa Sadanam. The presiding
deity is Tripura Shri. Her vidya is is Haim Hklim
Hsauh.The gem is pearl. The time is lunar day.
The Shaktis are the ten starting with Sarva Siddhi
Prada.10 is the dominant number.
This avarana corresponds to the neck of mother
goddess.
6. Ten sided figure (antar dasara) called Sarva
raksha karaka  (one that protects all) consisting
ten triangles is the sixth avarana. It is
named antar dasara, the inner ten cornered
figure, since it is placed within a similar ten
cornered figure, mentioned earlier.

The ten triangles are inscribed with ten

consonants beginning with the five of Tha and
the five of  Tta group. They represent the powers
of the mother goddess who presides over ten
vital fires (vanyaha).These represent the ten
specific fires within the body; being the fire of
purgation (Rechak), digestion (Pachak),
absorption (Shoshak), burning (Dahak), the
secretion of enzymes (Plavak), acidification
(Ksharak), to take out or excrete (Uddharak), the
fires of pessimism and frustration (Kshobhak),
the fire of assimilation (Jrambhak) and creating
lustre (Mohak).
This enclosure is the third of the second group of
chakras representing Preservation. The advent of
inner realization begins here. The significance of
this avarana is explained as protection from all
obstacles. The devotee distances himself from
all that hinders his spiritual progress; and he
begins to develop an awareness he is Shiva ( the
consciousness).

The Avarana is Antardasara; the Chakra is

Sarvaraksakara chakra ‘protects all’. The Yogini is
Nigarbha Yogini; the Mudra is Sarva mahankusha;
and the Siddhi is Prakamya. The mental state is
Upadesa. The presiding deity is Tripura Malini.
Her vidya is is Hrim Klim Blem.The gem is
emerald. The time is Lunar Fortnight. The Shaktis
are the ten starting with Sarvagnya.10 is the
dominant number.
This avarana corresponds to the middle of the
eyebrows (bhrukuti) of the mother goddess.
7. Eight-cornered figure (ashtara) called Sarva
roga hara (the remover of all deceases) is the
seventh avarana. In the eight triangles formed by
this figure, eight divinities presiding over speech
reside. Between them they cover all the
alphabets in Sanskrit grammar.
These shakthis also rule over contradictions in
life (dwandwa) such as  cold(water) and
heat(fire); happiness(air) and sorrow( earth);  as
also the Desire(akasha-space) and the three
gunas  of Sattvas (consciousness), Rajas(ego)
and Tamas(mind).
The significance of this enclosure is its power to
eradicate the most basic disease viz.
involvement with impure, fleeting existence that
is laden with stress. The blessed state is attained
when the distinctions between the subject, the
object and transactions between them are
dissolved.
The avarana is asthakona; the Chakra is
Sarvarogahara chakra ‘cures all ills’. The Yogini is
Rahasya Yogini; the Mudra is sarva khechari; and
the Siddhi is Bhukthi. The mental state is Manana.
The presiding deity is Tripura Siddha. Her vidya is
is Hrim Shrim Sauh.The gem is diamond
(Vajra).The time is Lunar month. The Shaktis are
the eight, starting with Vashini. 8 is the dominant
number.
This avarana corresponds to the forehead (lalata)
of the mother goddess.
The Four Weapons
In between the mandalas of eight triangles and
the central triangles are the four weapons —
flowery bow, flowery arrows, noose (pasha) and
goad (ankusha). They are red in colour. They are
the weapons of both the mother goddess as
Kameshwari and also of Shiva as Kameshwara.
8. The primary triangle with its apex downward
(East) and coloured white (Sattva) surrounding
immediately around the central point, Bindu, is
the eighth avarana. It is called Sarva Siddhi
prada chakra, the one that bestows all
accomplishment. This triangle does not intersect
with other triangles; and stands independent. It
is Kama Kala. It is feminine in its aspect; and
represents three fundamental manifestations of
the mother goddess: Kameshwari (symbolizing
moon – creation); Vajreshwari (symbolizing sun-
preservation); and Bhagamalini (symbolizing fire
-dissolution).
The three angles of the triangle also represent
three forms of speech: Pashyanthi, Madhyama
and Vaikhari. The triangle is therefore the speech
aspect Vak Bhava.
It also represents the three powers of iccha
(will) , jnana (knowledge) and kriya(activity).The
three corners of the triangle stand for three
peaks(kuta) of the fifteen-lettered mantra; or as
three dimensions of all existence. The triangle
itself is regarded the abode of the mother
goddess (kama-kala).
The Avarana is Trikona; the Chakra is Sarva-
siddhi-prada chakra, ‘grants all attainments’. The
Yogini is Athi Rahasya Yogini; the Mudra is Sarva
Beeja; and the Siddhi is Iccha. The mental state is
Nitidhyasana. The presiding deity is Tripuraamba.
Her vidya is is Hsraim Hsrklim Hsrsauh..The gem
is Gomaya .The time is a ritu- two months. The
Shaktis are the  three starting with Kameshwari.
(4+3=7) is the dominant number.
This avarana corresponds to the top of the head
(masthka) of the mother goddess.
9. The ninth enclosure is strictly not an
enclosure. It is the central dimensionless point,
the Bindu. It is called Sarvananda-maya chakra,
the supremely blissful one.  It is independent of
the intersecting triangles. It is coloured red. This,
in a temple, would be the sanctum sanctorum,
with all the other circles or enclosures
representing various parts of the temple as you
move inwards.

It is this Bindu that is in reality the Sri Chakra; it

represents the mother goddess Maha Tripura
Sundari, Lalitha or Rajarajeshwari herself; and
everything else is a manifestation of her aspects.
The goddess is nothing other than the devotees
own self. The self here does not refer to jiva,
engaged in organizing the body, mind and
senses. The self here refers to individual
consciousness (buddhi) which is beyond the
body-mind complex. It is filled with all bliss
(sarvananda maya). This constant, abundant bliss
is the expression of the union of Shiva
(consciousness) and Shakthi (power of
deliberation Vimarsha). It is the very basis of
existence. It is called beautiful, sundara, in this
sense. It is in this sense the supreme mother
goddess is called Maha Tripurasundari.
The significance of this avarana is the complete
harmony (samarasya) of principles of pure
consciousness (Shiva) and the principle of
energy as deliberation (vimarsha shakthi).It
signifies a state of non-duality, where all
tendencies of approach and withdrawal become
nonexistent, dissolve in a state in which the
devotee ultimately rests. Bliss, in Tantra, is
explained as resting in oneself (Svarupa
pratishta).
There is also a school which propounds that the
central point is composed of three dots or
drops(Bindu traya) representing three
fires(vanhi): Moon(soma);Sun(surya); and
Fire(Agni).The top dot symbolizes the head of the
deity; and the pair of dots at the bottom
symbolize the breasts of the Mother. It is
explained that the central point expanding into
the three is an act of swelling (ucchuna); and that
is how the central point becomes the primary
triangle in Sri Chakra.

The avarana is the Bindu and the Chakra is

Sarvanandamaya chakra, ‘replete with bliss’. The
yogini is parathi para Rahasya; the Mudra is sarva
yoni; and the Siddhi is Prapthi. The mental state is
Savikalpa Samadhi. The presiding deity is her
Transcendent Majesty Lalita Maheshvari
Mahatripurasundari. Her vidya is Kamaraja
vidya:  ka e i la hrim ha sa ka ha la hrim sa ka la
hrim, plus a secret 16th syllable. The gem is
ruby.  The time is year. The Shakti is Maha
Tripura  Sundari the personification of Brahman.
This avarana corresponds to Brahma-randra on
the top of the head of the mother goddess.

Travelling from the outer periphery wall to the

inner bindu is an ascent through various levels of
consciousness and mystical significance,
overcoming myriad obstacles of conditioning and
fears along the way. As he proceeds inward from
the outermost enclosure the devotee’s thoughts
are gradually refined; and the association of
ideas is gradually freed from the constraints of
conventional reality. The Devi is felt or visualized
in his heart and then drawn out through the
breath and installed in the yantra. She is then
worshipped as actually residing there. The true
home of Devi is however in his heart .The
devotee identifies himself with the Devi and goes
through the worship guided by the symbolism.
Whatever be the details, the symbolism involved
is important in the external worship  (baahya
pooja); and more so in internal worship
( Antahpooja-  contemplation on the import of the
chakra).In baahya pooja, the sadhaka or the
practitioner worships the deity with a feeling that
he and the Goddess are two different entities ;
and , for fulfilling a desire
or kaamyasaadhana .  The  Antahpooja  is sublime
seeking identity with the Goddess.  For more on
this , please click here 
Sri Chakra is also a construct of space and time,
just as the universe is a space time continuum.
The way of the universe is continuous and
constant change. That change, in a relative
existence, is measured by the phases of moon.
Mother goddess is the principle of time; she
is kala  or nitya. The Sri Chakra also puts forth the
interdependence of time and space. The devotee
views the evolution of the universe as the
unfolding of a changeless reality of Mother
Goddess.

The Sri Chakra represents the interplay of the

purusha and prakriti; the universe and its energy.
The union of the Devi (energy) and Shiva
(consciousness) worshipped in Sri Chakra is the
universe and its evolution. The universe is thus
stylized into a pattern of energies, symbolized by
the patterns and layout of Sri Chakra. It provides
a model to the individual for transformation. The
consciousness of the individual finds in it an
articulation; and the model helps in breaking the
barriers of subjective feelings and limitations of
the objective world. The devotee identifies that
his body is the Sri Chakra or the universe in
epitome; and that The Yantra too is the Devi. The
aim is to realize that oneness, the bliss of pure
consciousness.

Continued in the Next Part

Kamalamba Navavara kritis –Part One
Reference;
The Tantra of Sri Chakra by Prof.SK Ramachandra
Rao(1953)
Lalita Tripurasundari, the Red Goddess
Sri Yantra – the Significance and Symbolism of its
design
Sri Chakra and Sri Vidya

According to Tantric texts, the Chakra, Mandala

or Yantra is a sphere of influence and a
consecrated environment. It is an instrument to
harmonize feelings; and also to coordinate inner
and outer forces.
The term Yantra is derived from the
root yam  suggesting a sense of control (say, as
in niyantra to control), giving raise to the
meaning of an instrument that can control or be
controlled. In that sense, the body is a yantra.
The other term tra  is from the root word trayati,
that which liberates. Yantra is that which controls
and liberates. It draws towards the centre as also
takes away from the centre of all reality.
The basic energies of the universe, which are
idealized as the  deities, can be approached
through a mental creative process, that is,
through words or through created forms. The
Deities are therefore represented both in words
and forms.
There are different degrees of abstraction. We
can represent a deity through the description of
its characteristics in words, or sounds, that is,
mantras. Similarly, we can represent a deity
through diagrams, geometrical abstractions   or
patterns, the yantra. The representation of a deity
through mantra or yantra is considered more
subtle than through an image.

Yantras are the visual equivalents of the

mantras. The yantra has the mantra as its soul;
and the deity is the soul of the mantra. The
difference between the mantra and the deity is
the difference between the body and the soul.
The deity is invoked by drawing its yantra and
calling its subtle name (bija akshara).
All the elementary geometric figures –lines,
triangles, crosses, and point (bindu) – have a
symbolic value corresponding to their basic
notions. They can be combined to form complex
figures to give expression to forces, the inner
aspects and qualities embodied in a given form
of creation. It is said, there no shape, no form
which may not be reduced to yantra patterns.
Every shape, every leaf, every flower is a yantra,
which through its shape, colour, formation,
perfume can tell the story of its creation.
Yantras which are drawn on flat surfaces are
basically conceived as solid forms. The drawing
is a mere suggestion of its three dimensional
aspects of the yantra. And, the yantra is itself a
static image of the moving, living combination of
forces represented in a divinity.
A Yantra is structured in three levels, of spaces(i)
the level of physical world of beings and things
(mahakasha); (ii) the level of thoughts and
feelings (Chittakasha); and (iii) the level of pure,
undifferentiated consciousness (Chidakasha).
The first level is predominantly inert , Tamas;
while the second level is active and
emotional, Rajas. The third level is of light and
pure awareness Sattva.
A Yantra is a means to progress from the gross
to the subtle, sukshma.
To put it in another way, Yantra is an instrument
to transform matter into energy ; and, the energy
into consciousness. In the final analysis, the
walls separating the objective world, the
subjective person and the Universal
consciousness break down; and, it is all One at
the end. This complete harmony of existence is
symbolized by Bindu; a dimensionless point at
the center of the Yantra or Chakra.
In fact, chakra is regarded the expansion or the
evolution of that Bindu. The Bindu , in turn, is
epitome or the microcosm of the Chakra. The
Yantra facilitates the movement of
consciousness from the concrete form of Chakra
to the abstract Bindu. It also enables movement
from the abstract Bindu to the form of Chakra. A
Yantra , in essence,  is a map of the universe in
its emanation and absorption.
Sri Chakra Yantra is regarded the supreme
Yantra; the Yantra Raja, the king of Yantras. It is
the Yantra of the Shaktha school of Tantra. It is
also variously regarded as the visual
representation of the city, mansion, island or the
body of the Mother Goddess Devi,
Tripurasundari, Lalitha, Rajarajeshwari and
Parabhattarika, the supreme controller. The
design also stands for this divinity’s court with all
her attendant aids, guards, pavilions, enclosures
and entrances. The principal divinity is regarded
as being at the center, the Bindu at the heart of
the Chakra.
The prefix Sri denotes that the Yantra is
auspicious, beneficent, salutary, benign and
conducive to prosperity. Sri is Lakshmi, the
goddess of beauty and prosperity. Sri is also the
Mother Goddess who rules the universe (tvam
sris tvam ishvari).She is called Mother, because
all living beings depend upon her for being, for
happiness for fulfillment of their destiny (sriyete
sarvair iti sriah). Sri Chakra is a representation of
the interplay of the principles of pure
consciousness (Shiva) and primordial power
(Shakthi). Sri Chakra represents the essential
aspects of the universe ;and also of the
constitution of the devotee’s body-mind
complex.
The concept and worship of Sri Chakra is
relevant in the context of an esoteric discipline
known as Sri Vidya.
Sri Vidya is hailed as the Vidya of Sri (the
knowledge that leads to the ultimate
benefit mukthi  – liberation), she therefore is the
highest divinity. Sri Vidya is also the Vidya that
yields Sri (prosperity). Sri Vidya is
thus Bhukthi  Mukthi prada the bestower of well-
being, prosperity and liberation. Sri Vidya is the
path and also the goal.
The term Vidya usually stands for knowledge,
learning, discipline and a system of thought. But,
in the context of Tantra, it has an extended
meaning. Here, it variously refers to a female
deity, to the personification of her
consciousness; or to the manifestation of her
power.Each of these vidyas has a characteristic
form and particular dhyana, mantra, kavacha and
other  worship details .
Devi Durga is described as the Vidya in all beings
(Ya Devi sarvabhutheshu, Vidya rupena
samsthita); and , the form of her Vidya is the
primordial energy Adi prakrithi.
The Tantra texts classify ten divinities into three
levels of Vidyas:
(1) Maha_vidya, the extraordinary Vidyas,
consisting Kali and Tara. The worship of these
divinities requires great rigor, austerity, devotion,
persistence and a sort of detachment. The
practice of Maha_vidya is very difficult and filled
with risks and dangers ;
(2) Vidya, the normal Vidyas consist deities
Shodashi (or Tripura), Bhuvaneshwari, Bhiravi,
Chinmastha and Dhumavathi. The practice of this
class of Vidya is considered safe and suitable for
householders;
and
(3) Siddha Vidya, the Vidya for adepts involves
deities Kamalaa, Matangi and Bhagalamukhi.
This class is not for normal persons as it involves
rituals that cannot be practiced normally.
Shodashi is the first among the Vidyas in the
middle group; she is otherwise known as Sri
Vidya. Shodashi literally meaning “a girl of
sixteen” , is identified with deities Lalitha,
Raja_rajeshwari, Sundari, Kameshwari and Bala.
Lalitha is the playful one; all
creation, manifestation and dissolution is her
play. She is Mahatripura Sundari the most
magnificent transcendental beauty without a
parallel in all the three worlds. She is the
conqueror of three levels of existence.
The Tantra texts however explain that the Vidya
is called Shodashi because the mantra of the
Vidya is made up of sixteen seed-syllables (bija
akshara). There is another school (Kadi Vidya)
which says the mantra consists fifteen visible
syllables (ka e i la hrim; ha sa ka ha la hrim; sa ka
la hrim). It is explained that ka represents the
air; ha the fire; sa the water; la the earth;
and, e the space. The fifteen syllables are: one of
space, two of air; three of fire; four of water; and
five of earth. The sixteenth letter is “srim” in
subtle form. The mantra then becomes Shodashi,
the sixteen lettered.
The fifteen lettered (panch-dasha-akshari)
mantra  is  considered the verbal form of the
Devi. But, it is implicit or hidden. It is only when
the sixteenth syllable ‘Srim’ is included; the
mantra becomes explicit or becomes
visible. Srim is regarded the original or the own
form of the Mother Goddess. And, with the
sixteenth syllable (Srim) the She comes to be
celebrated as Sri-vidya.  And, the mantra itself
becomes the body of the Mother Goddess. She
manifests the un-manifest. She is Prakrti. The
auspicious Sri (Srim) is thus revered as Saguna
Brahman,   the sa-kara approach to the absolute
principle of the Devi. 
The mantra (fifteen or sixteen letters) is , thus, an
expression of Sri Vidya. The verbal expression
(nada  or sound) of the Vidya is mantra ; and, its
visual expression is the Sri Chakra Yantra. The
two are essentially the same. Both seek identity
of consciousness with Maha Tripura Sundari.
Ka is the first letter in the fifteen-lettered
(pancha-dashi) mantra of the Devi in the Sri Vidya
tradition. Ka is an important syllable in the
fifteen-lettered mantra, for it appears three
times. Here, Ka variously stands the principle
from which everything arises; for illumination
(Kan dipatu); or for the principle of
consciousness (buddhi) in beings; and, also for
the symbol of Self.  And,  Ka also stands for  the
form-less Brahman (ka iti Brahmano naamah). 
The fifteen lettered mantra is divided into three
groups:  ka e i la hrim; ha sa ka ha la hrim; and; sa
ka la hrim. The three groups that constitute the
mantra are called Kuta (peaks)
or Khanda  (segments). They are interpreted
variously in sets of three as: 
 Agni(fire) , Surya(sun) and Chandra(moon); 
 Srishti  (creation), Shtithi  (preservation)
and laya  (dissolution);
  Iccha  ( will), jnana(knowledge)and kriya  (acti
on);
 Sattva, Rajas and Tamas;
 Jagrat  (wakefulness); swapna  (dream state)
and sushupthi (deep sleep);
 jnatra (the knower), jnana  (the knowledge)
and jneya  ( the known) ;
 Atma  (individual self) , Antaratma  (inner
being) and Paramatma  (supreme self); and as
,
  Past , present and future ( the three assumed
layers of Time).
There is also a view that the first group starting
with ka is kadi_matha (ka e i la hrim); the second
group starting with ha is Hadi_matha ( ha sa ka ha
la hrim ); and the third group starting
with sa is Sadi_matha (sa ka la hrim ).
Another interesting aspect is that the vowels (aa,
e, i etc.,) are regarded as representations
of Shakthi; while the 35 consonants are basically
inert and depend on vowels (just as Shiva
depends on Shakthi) to manifest in a meaningful
form. It is only when the germinating power (bija)
of the vowels is infused with consonants, the
latter gain meaning. That is the reasons the
vowels are Bija-aksharas. They transform
ordinary letters into mother like condition
(matrika); that is, they impregnate ordinary
letters with meaning and power.
Sri Vidya is also described
as Chandra_kala_vidya, the lore of the lunar
digits. This school of Sri Vidya explains that the
fifteen letters of the mantra correspond to fifteen
digits of the moon in each fortnight, commencing
from prathipada, the first day of the brighter half,
when the moon “comes out of the sun”; and,
ending with the full moon on the fifteenth day.
Similarly, in the dark half of the moon cycles, all
digits “return to the sun”. The emanation of the
fifteen digits of the moon from the Sun
culminates in the full moon (purnima); while the
absorption of the digits into the Sun results in
new moon (Amavasya).The sixteenth letter
(Shodasha kala or Srim) is said to be present in
each of the digits which are
called Kalas or nityas. The digits are invoked as
forms of the Mother goddess.
The first digit is Maha Tripura Sundari; the
second is Kameshwari; and, the third is
Bhagamalini. These three together form the
primary triangle which is the immediate
unfolding of the central Bindu representing
Mother Goddess.
The Sri Vidya tradition which centers on the
worship of Sri Chakra, considers the following
twelve gods and sages as its Gurus: Manu,
Chandra, Kubera, Lopamudra, Manmatha,
Agasthya, Nandisha, Surya, Vishnu, Skanda,
Shiva and Durvasa.
It is said each of the twelve gurus propagated a
school with regard to the worship and
significance of Sri Chakra.  Of these, only two
schools have survived to this day; one is the
school started by Manmatha (also called
Kamaraja) – known as Kadi_matha. The Kadi
tradition was continued by Sage Agastya. The
other school is Hadi_matha , started by
Lopamudra , wife of the Sage Agastya. There is
also a mention of an obscure third school called
Sadi_matha.
Of the three, the Kadi_ matha (with its mantra
starting with letter Ka) is regarded the oldest ;
and , its attitude and worship is Sattvic. It insists
on virtue, discipline and purity of rituals. The
prominent Gurus of this School are Paramashiva,
Durvasa, Hayagreeva and Agasthya. Of the other
two schools, Hadi_matha is Rajasik ; and, the
Sadi _matha is Tamasik.
Kadi matha accepts Vedic authority ; and,
formulates its position in accordance with the
Vedic tradition. The other School is considered
different (iyam anya cha vidya).The
term Samaya also means Vedic convention; as
orthodox and valid. Hence Kadi School came to
be known as Samaya.
Samaya believes in sameness of Shiva and
Shakthi; and, the form of worship is purely
internal. Hence , Kadi School is also known
as Para Vidya , where the worship (archana) is
conducted in the space of one’s heart
(hrudayakasha madhye).
The external worship conducted, say by Kaulas,
lays greater importance on the Muladhara and
Swadhistana Chakras, which are said to be
situated at the base of the spinal column; and,
which relate essentially to physiological needs
and psychological urges.
The Samaya School , on the other hand,
prescribes that the internal  worship (antar
aradhana) be conducted  at higher levels, viz.,
from Manipura to Sahasra. The seat of Tripura is
at Sahasra, beyond the six Chakras. It is also the
seat of supreme consciousness, Shiva from
which Shakthi springs forth.
Shakthi is of the same nature as Brahma
(Brahma rupini) that divides itself five-fold. It is a
spontaneous un-foldment. In Samaya system,
Brahman is called Sadashiva; it is the Bindu, from
which emerges Nada which is Para_shakthi. It is
at the Sahasra, the  Bindu Sthana that Shiva and
Shakthi reside. They are the same; one cannot be
without the other.
Samaya is centered on knowledge (jnana), which
is the realization of the identity of Shiva and
Shakthi: Shiva becomes Kameshwara and
Kameshwari becomes Shiva. Their names too get
intertwined; for instance: Shiva and Shivaa;
Tripura and Tripuraa; Bhava and Bhavani;
Shambu and Shambhavi; Rudra and Rudrani;
and , Sundara and Sundari etc.
Dakshinamurthi is a revered seer of the Kadi
(Samaya) School. The term Dakshina literally
means a woman and refers to the feminine
principle, which can create, unfold and manifest.
When Dakshina assumes a form, it results in
Dakshinamurthi a variety of Shiva’s forms.
Dakshinamurthi, as Ardha_nari; Kameshwara and
Kameshwari, are together regarded the principle
deities of Kadi School.
Sri Chakra is the main device employed by Kadi
(Samaya) school; and the worship is mainly
through symbolism ; and, successive
identifications. The symbolism involves
identification (saamaya) of the arrangements and
the lines of the diagram with the structure of the
Universe; the psycho-physical aspects of the
devotee with the spatial arrangement of the
diagram representing the goddess; and
identifying the Mantra with the Yantra.
As regards the worship of Sri Chakra, there are
three recognized procedures :
:- Hayagreeva tradition regarded
as Dakshina_chara, the right handed method,
reciting Lalitha_sahasra
Nama and Lalitha_tristathi  offering kunkumam.
:- Anandabhirava tradition , a Vama_chara,a left
handed method; and
:-  Dakshinamurthy tradition , a doctrinal school.
Of the three, the last one is considered the best.
*
Sri Vidya  traditions speak of two forms of Sri
Chakra. One is its physical representation of
lines and forms. This form entails external
worship (puja) according to prescriptions
of kalpa sutra, spread over 26 steps. Here,
Kameshwara and Kameshwari are the deities that
receive worship.
There are, again, three methods of worship of Sri
Chakra.
The shrishti_krama the expansion mode of
worship, carried out in morning, comprehends
the chakra from the central point the Bindu to the
outer square.
The Sthithi_krama the preservation mode of
worship, carried out in the afternoon,
comprehends the Chakra from the outer square
to the eight-fold lotus ; and, from the Bindu to the
fourteen cornered figure.
The third, Samhara_krama the absorption mode
of worship, carried out in the night, comprehends
the chakra from the outer square to the central
point.
 [Even in this method the visualizations and
contemplations are not entirely dispensed with.]
The other form of worship is Viyacchakra,  the
chakra emerging within ones heart. This entails
visualization of Bindu, which is in the center of
the Sahasra, within ones heart. The ability to
visualize Viyacchakra  is known Assamaya.  The
worship (maanasa puja) is offered internally and
consists wholly of visualizations
and contemplation; and , is carried out in
seclusion by one who is in control of his senses.
The process here involves a four-fold
conceptualization of identity (aikya chintana).
They are , briefly :
:- Identity of the Supreme goddess who is
un_manifest with Sri Chakra which is manifest;
:- Identity of the design of Sri Chakra with the
Universe. It is viewed as a cosmogram ;
:- Identity of the individual with the Universe .
This is done primarily on the basis of the Shat
chakra ideology (six chakras- muladhara,
svadhistana, manipura, anahata,
visuddha and ajna) and the

tattvas , the principles , of Shaivagama;  and ,

:-  Identity of the letters of the alphabets
(matrikas) with the deities located in various
segments of the Sri Chakra.
As can be seen from the above the six factors
involved are :
1.the Universe (Brahmanda);
2.the individual (pindanda);
3.the structure of Sri Chakra;
4.the letters of the alphabets(matrikas);
5.the goddess (Devi); and
6.the mantra specific to her.
[It is explained ; Matrka-cakra, is the articulate
sound over which all our thoughts, emotions,
aspirations fears and pleasures are woven, as
nothing can go beyond the articulate sound, which
evolves into an extremely complex universe of
sentence to meanings, meanings to mental
images and mental images to pleasures and pain.
This is called as matrka-sakti that can spread out
externally by way of object-denotations, cognition,
intentions (raja), emotions like sorrow, pleasure,
envy, memory traces etc.(vikalpa), and the world
of endless differentiation. This is the outward
emanation (vikasa), standing for creation (srishti-
krama); and, it can also contract (sankocha) by
withdrawing the world of differentiation into pure
awareness (samhara)]

The Tantra texts emphasize the merit of inner

worship (antar_yaga), once a fair degree of
understanding has been gained. They said “Best
of all forms of worship is inner worship. External
worship (ritualistic) is to be resorted until the
dawn of understanding.”
In any case, Sri Vidya is the worship of Mother
Goddess incarnated in the Sri Chakra. Her
worship includes the worship of her consorts
(Devata) and aids (yogini); all of whom are
female. The ritualistic details are
characteristically feminine.
The Upaasana of Srividya is explained in
Upanishads
like Kenopanishad  and  Bhavanopanishad ; and ,
in various Tantra texts, extensively. For more on
the worship practices, please click here.
A Sri Vidya Upasaka worships beauty and grace;
rejecting ugliness in thought, word and deed.  Sri
Vidya is the path of devotion and wisdom. The
wisdom consists in realizing ones identity (sva
svarupa prapti) with the Mother Goddess. It is
this wisdom that liberates the devotee (jivan
Mukthi). This liberating wisdom is granted to him
by the Mother out of pure love, when the devotee
surrenders to her completely in full faith and
devotion. The Mother is the path and the goal. Sri
Vidya is the culmination of all paths, the
consummation of all transformations.

[ Śri-Vidyā as a living Tantra has always

countenanced change as part of the dynamic of a
universe construed to be power itself. ..Śri-Vidyā
embodies her contrast as saubhāgya-
sampradāya, the tradition that entreats to
prosperity by invoking divine self-
identification with grace, beauty, and good
fortune…
The Goddess is transcendence and immanence,
outside and in, macrocosm and microcosm and
she is more: She is whatever she needs to
become to be anything that is possible and all
that precludes possible or impossible. Whatever
transcendence is, she manifests as, for there is
at once the narrowest sense of her fullness
recovered through specific ritual arts
of identification and the broadest sense of her
inclusion in every kind of experience, in every
aspect of reality. Unlike those who would prefer
the perfection of final liberation to make for
simple extrication from a world of opposites, Śri-
Vidyā asserts that transcendence possesses no
otherness and demands immanence without
exception must be none other than she, the
goddess herself in some manifestly karmic or
playful form. Such a universe is not inscrutable
nor can it be reduced to comprehension; illusions
must be real in so far as they refuse any
sensibility of falsity; options trump exiguity
without the slightest diminishment of integrity.
What makes Śri  “the auspicious” is that there
can be no scarcity, no summation, no ultimacy
that finalizes  less than another possibility; and
all of this Śri reveals herself as Vidyā , a science,
a process of veracity, an impeccable wisdom, a
mantra  feminine-encoded as reality true to itself
but beholden to none. Śri-Vidyā conceals itself in
contradictions that pose no threat to those who
embrace paradox as the solution to a world
that is itself not a problem to be solved.. Śri-
Vidyā flourishes, never fails; it assimilates, takes
on new characters  in varied forms.
Sri Muthuswami Dikshitar was initiated
into Srividya Maha Shodasakshari Diksha. In his
first kriti , he referrers  to its Guru tradition, its
twelve gurus and three schools of worship, Kadi,
Hadi and  Sadi: Kamaadi dwadashabhirupa_sthitha
kadi hadi sadi mantra rupinya  .

Sri Dikshitar also mentions that he followed the

tradition of the Sages Durvasa , Agasthya and
Hayagreeva ; and, declares he belonged to Kadi
School:  maatmaka kadi mathanusthano.
Sri Dikshitar followed the Kadi practice of
worship of Sri Chakra from Bhupura , the outer
square to the Bindu, the central point. He had a
certain pride in his tradition; in his
kriti Kamalambikai,  he states “prabala guruguha
sampradaya anthah karayayai –  referring to his
hallowed tradition
Sri Dikshitar composed about forty kritis,  spread
over four sets of compositions on the subjects
related to Sri Vidya;  Kamalamba
Navavarana (11+ 2 kritis); Nilothpalamba kritis (8
kritis); Abhayamba kritis (10 kritis); and, Guru
Kritis (8 kritis). Of these the  Kamalamba set of
kritis, is highly well organized; and,  is truly
remarkable for its classic structure , majesty and
erudite knowledge. More of that in the
succeeding sections.
Sri Muthuswami Dikshitar, in his kritis, yearns
for Videha Mukthi. He beseeches the Divine
Mother repeatedly and addresses her as one who
grants Videha mukthi (Mamaka videha mukthi
sadanam– Ranganayakam-Nayaki); the bestower
of videha mukthi (vikalebara kaivalya danaya–
Guruguhaya-Sama); and , at times , he feels he is
nearing videha  mukthi(Videha kaivalyam yami-
Tyagaraje-Saranga). Sri Muthuswami Dikshitar
was a jivan  Muktha  who attained his Videha
Mukthi.
Videha mukthi is a concept of the later Advaita
Schools. It believes, one can attain
liberation (moksha) from attachments while still
encased in a body. Such an attained one is  Jivan
Muktha. The body continues to function till
its Prarabdha Karma is exhausted; thereafter, the
mortal coils fall away. Videha mukthi is shedding
off the body by a  Jivan muktha, the one who has
already attained liberation.
Jivanmukthi, emancipation while yet alive, is also
a concept of the Tantra Siddantha , which
believes that it is possible for a person to
transact with the world without getting involved
in it. In other words, one lives on actively and
cheerfully, amidst distractions and confusions of
the world without letting his self reflect them. His
moorings in the phenomenal world have withered
away; his instinct of self-preservation and
insecurity has been minimized. He is alive only to
essential thing in life that is the source of life.
The real world continues to exist for him. But he
does not rest in the world but rests in
himself (Svarupa pratishta).
In the Sri Vidya  tradition,  a  jivan muktha is a
devotee, a Bhaktha as well as a  Jnani the wise
one. Here, the wisdom consists in realizing his
identity (sva svarupa prapti) with the Mother
goddess. It is this wisdom that liberates
him  (jivan Mukthi).  This liberating wisdom is
granted to him by the Mother , out of pure love,
when he completely surrenders to her in full faith
and devotion.
Sri Muthuswami Dikshitar, either way, was
a  jivan Muktha who attained Videha Mukth with
the grace of the Devi.
Continued in the Next Part
The structure of Sri Chakra