Copyright © Vinita Rashinkar 2022

All Rights Reserved.

ISBN 979-8-88749-865-2

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 Sri Matrye Namah

Puja, Amit and Snow

 Contents

Preface
Introduction

Chapter 1 Narratives – how spiritual practice can help build better “life
stories”
Chapter 2 The importance of creating our personal ritual
Chapter 3 Samskara, Vasana and Vritti
Chapter 4 The Five Koshas
Chapter 5 Tantra
Chapter 6 Sri Vidya
Chapter 7 Mantras
Chapter 8 Sri Vidya Mantras – Bala Mantra, Panchadashi and Shodashi
Mantra
Chapter 9 Devi Khadgamala
Chapter 10 Navarna Mantra, Siddha Kunjika Stotram, Devi Stuti
Chapter 11 Lalita Trishati
Chapter 12 Lalita Sahasranama
Chapter 13 Argala Stotram
Chapter 14 Kanakadhara Stotram
Chapter 15 Sri Suktam
Chapter 16 Varahi Mantra
Chapter 17 Saundarya Lahiri
Chapter 18 Navaratri Mantras
Chapter 19 Nirvana Shatakam
Chapter 20 Sri Mahaganapati Chaturavritti Tarpanam
Chapter 21 Samputeekarana
Chapter 22 Sattvic lifestyle for the Sri Vidya practitioner
Chapter 23 Simple Sri Vidya worship ritual
Chapter 24 How to use the Sri Chakra Yantra as a tool for Conscious
Manifestation

Acknowledgement
References
 Preface

Words are powerful.

Words have the unique ability to create an inner reality by shaping our
beliefs and driving our behaviour. Our mind ascribes meanings to words,
reacting both physically and mentally with an emotional response, thus
solidifying our perception and creating a world of our own making. Let me
give you two examples taken from my own life. The first example thrust me
into a world of darkness, clouding my vision, inhibiting my personality and
limiting my advancement. The second example released me from my self-
imposed shackles and allowed me to understand that reality as we
experience it is not one continuous, linear stream. It is, instead, a field of
infinite possibilities over which only we can exert an enormous influence as
we go on to manifest our potential.

As a young girl of ten, I was singled out by my music teacher at school as

a “non-singer”. To my pre-adolescent mind, there was no greater
humiliation. This pronouncement of “non-singer” somehow made me feel
like I was a “non-everything”. That I did not belong, that I did not have the
right to be seen, to be heard or to be taken seriously. These two words
shaped my personality until I came to believe that I just did not matter. Just
two small words held sway over my ambitions, aspirations and decisions.
Forty years later, these words may have lost some of their power, but they
lived with me into adulthood, shaping my decisions and carving my destiny
by never allowing me to forget that I was a “non-singer”.
The second experience with words (this time, they took the shape of
mantras) started with my foray into Sri Vidya.
 My mantra sadhana started quite by chance. I was initiated into
Transcendental Meditation about twenty years ago but did not have a
consistent practice. Juggling an active family life with work left no time for
spiritual practice and my Guru, in his wisdom, always said that when the
sadhana is meant to get serious, it will happen and until then, it cannot be
forced. About four years ago, my neighbour invited me to hear her chant the
Lalita Sahasranama on the first day of Dasara. I did not even know what
Lalita Sahasranama was until this day when I visited her and watched her
chant this beautiful stotram while performing kumkumarchana to a small
idol of Sri Lalita Tripurasundari. I sat with her for nine nights while she
chanted. I was so moved by the ritual that I knew immediately that I had
found my path. Soon after, a series of miraculous events and serendipitous
circumstances led me to become not just a Sri Vidya sadhaka but also an
author writing my fourth book on this very subject.
You will find no reference to any personal experiences in my earlier three
books. This book is different. Sri Vidya mantra sadhana changed my life
forever. Chanting, along with a ritual meditation on the Sri Yantra, became
my path to experiencing my most profound, most authentic self and opened
me up to the sensation of an inner awareness that is unchanging, peace-
giving and blissful. It has shown me success that I never dreamt was possible
while giving me tranquillity that transcends all external circumstances.

I sincerely hope this book brings Divine Grace (anugraha) into your life.
I wish you an abundance of all things enriching.

Sri Matrye Namah

 Introduction

I am sure every reader will have their own experiences about how words
have had a life-changing impact on their life. The reason I bring this up is
because this book is, in effect, about the power of words. Words, not just as
we know them - as speech, expression or communication but words which
form a part of what is known in Vedic terminology as “mantra sadhana”.
Mantra sadhana, or the practice of chanting Vedic mantras, not only helps
us to find an oasis of peace and calm amid our frenetic lifestyles but also
provides an unbroken link with hundreds of generations of chanters who
spoke the very same word, with the very same intonation and rhythm and
quite possibly with a similar intention. It immediately connects us to the
past while keeping us rooted in the present moment and provides us with a
roadmap for growth and spiritual evolution.

We find several tools hidden in our Vedas which can help us comprehend
our world better and find ways to navigate this journey called life with more
equanimity, contentment, joy and peace. We may sometimes feel a niggling
doubt about how something written so many thousand years ago can be
relevant to us. In my journey, I have found mantra sadhana contains answers
and conveys solutions which are best suited to our modern lifestyles. The
mind, we are repeatedly told in the Vedas, is in a continuous state of flux,
jumping wantonly between different streams of thoughts but almost always
rooted either in the past or racing into the future.

Mantra sadhana allows our ever-wandering mind to become aware of our

thoughts and, more importantly, understand how each of us builds these
thoughts into narratives and makes up our personal stories. In our race to
embrace modernity, we have also lost sight of the importance of rituals in
our daily lives. In the following chapter, I dwell on these two topics to get a
firmer grasp of how not to be distracted from the present moment. Then, I
have included a short note on samskaras, vasanas and vrittis to understand
how mantras can help us by altering unconscious patterns; I also speak
about koshas (various sheaths of our being) to understand some of the
underlying concepts of mantra sadhana.

A discussion on Tantra and Sri Vidya enables us to understand the

historical antecedents and some of the philosophical concepts that get
clarified when we reach the more esoteric planes of the use of mantra at
both its gross and subtle levels. Eventually, I move on to a broad-based
discussion on what mantra sadhana is all about before finally going into the
actual mantras that are employed in Sri Vidya sadhana.

I begin with the basic mantras such as Bala, Panchadashi and Shodashi
before moving on to the Khadgamala and then to the Navarna mantra,
Siddha Kunjika stotram and Devi stuti. This is followed by Lalita Trishati
and Sahasranama along with other essential mantras such as Argala stotram,
Sri Suktam, Kanakadhara stotram, Varahi mantra and Saundarya Lahiri. I
have included the Nirvana Shatakam as it is a powerful mantra that helps us
realise the true nature of existence. There is a short note on mantras to be
chanted during Navratri.

In the concluding chapters, I have written about how to carry out the
Mahaganapathi Chaturavrriti tarpanam and the method of Samputeekarana
to help manifest in specific areas of life. I have included some simple Sri
Vidya rituals with tips on how to lead a more sattvic life. The final chapter is
about using the tools of Sri Vidya sadhana to manifest your life’s desires.

Swami Veda Bharati says that learning Sri Vidya is not like mastering any
of the sciences; it is mastering one’s own self. In Gifts from the Goddess, Sri
Uma-Parvathinananda Natha Saraswathi writes: “Sri Vidya teacher teaches
us to live as embodied human beings and yet not be limited by our
individual family and cultural histories; how to literally hold power - all
while remaining in our earthly bodies; how to confront a world in political-
ecological and humanitarian turmoil and still find meaning there without
separation or elitism.”

The practice of Sri Vidya mantras, a gradual learning process often

spanning a lifetime (and beyond, possibly), will profoundly influence how
you see life and help you get ahead in both material and spiritual realms.
Swami Amritananda Natha Saraswathi says that a comprehensive knowledge
of the system is not a prerequisite for benefiting from the practice. Begin
your practice today in any way which feels right to you, and it will help you,
just as any other spiritual practice does, to find clarity of thought, calmness,
stability and the ability to manifest all desires while also liberating you from
the limiting bounds of your ego and belief systems.
 Chapter 1

Narratives – how spiritual practice can help

build better “life stories”

As humans, we are born storytellers, constantly engaged in framing and

reframing our personal myths to suit our current requirements. My story of
how the two words “non-singer” shaped my life is a classic example of how
we build narratives around incidents that have taken place in our past. We
give these incidents our unique spin or twist, exaggerate or downplay, as the
need may be, to make ourselves look either like victims or victors in the
drama of our own making.

Anthropologist Mary Catherine Bateson says: “Our identities and

experiences are constantly shifting, and storytelling is how we make sense of
it. By taking the disparate pieces of our lives and placing them together into
a narrative, we create a unified whole that allows us to understand our lives
as coherent – and coherence, psychologists say, is a key source of meaning.”

The stories we make up about ourselves can shape our identity, define our
goals and determine how our future unfolds. We could weave the incidents
in our lives into a positive tale of redemption – how we overcame specific
difficulties and used the situation to our advantage. We could make it a story
of contamination – how an experience left scars and created a flawed sense
of self. I think my “non-singer” story fits in well in this second category.
Psychologist Dan McAdams calls these “narrative choices.” He explains:
“Our stories tend to focus on the most extraordinary events, good and bad,
because those are the experiences we need to make sense of and that shape
us. But our interpretations may differ. For one person, for example, a
childhood experience like learning how to swim by being thrown into the
water by a parent might explain his sense of himself today as a hardy
entrepreneur who learns by taking risks. For another, that experience might
explain why he hates boats and does not trust authority figures. A third
might leave the experience out of his story altogether, deeming it
unimportant.”

One of the most significant contributions of psychology to modern living

is the idea that we can re-interpret and revise the stories we tell about our
lives even as the facts remain the same. Making minor story edits to our
personal narratives can significantly impact our lives. Modern psychology
and psychotherapy research point to how changing our self-authoring style
and focus could be hugely beneficial. To change our narrative, we need to
identify the stories we have been telling ourselves, introspect to understand
how something good did come out of a difficult situation, make suitable
changes by crafting a clear trajectory and create a comprehensive vision that
is in alignment with our own life path.

Any spiritual practice can help bring about this transformation in editing
our narrative. Yoga, meditation, mindfulness, prayer, and chanting are all
tools which help connect us with a reality that is higher than our self and lies
beyond the realm of our immediate concerns. They help us discover hidden
values, enabling us to realise the immense potential that lies within us and
compel us towards a journey of self-acceptance and wholeness.

Mantra sadhana is one of the most powerful methods to bring about this
transformation in our narrative, as the “word” forms the common thread
between the endeavour and the practice. A method that utilises the power of
the word is better than other paths to help clarify our intentions, and regular
practice can profoundly impact our minds and personality. In mantra
sadhana, words with great power and potency are repeated daily, helping the
mind stay in the present moment, calming the vrittis and allowing us a
glimpse into a deeper awareness of the universal consciousness. Repeating
specific mantras evokes the archetypal energy that they represent, which
already exists within us and brings it to the forefront of our conscious
awareness.
 Some of the small changes we can make to start crafting better narratives
about our life:
1. Limit sensory intake. Filter out stories that provoke anger, resentment
and negativity.
2. Develop awareness of the narratives that run in the background of your
life.
3. Listen selectively. Do not give negative remarks made with some agenda
by people around you too much importance. It makes no sense to block
out all criticism or praise but be judicious in choosing what you want to
believe.
4. Be realistic, and don’t get carried away by the power of positivity. While
it is excellent to operate from a space of “being positive”, there are times
when it becomes more important to take a more pragmatic approach
than a blindly positive one. Know the difference.
5. Practice telling good stories about others, even if it is just in your head.
See what good qualities you can identify in the colleague who irritates
you, remember the attributes that first made you fall in love with your
spouse and most of all, be patient with your children as they grapple
with their own narratives. You will find that when you change the story
you are telling about them, they will change too.
6. Become conscious of the script you have written out for yourself and
take control by rewriting your own story with utmost awareness and
clarity.
7. Develop a mindset of abundance as opposed to living with a scarcity
mentality. When we live with a scarcity mindset, we believe that in order
for us to win, someone has to lose. An abundant mindset, on the other
hand leads us to believe that we live in a world filled with infinite
possibilities with enough resources and success for all to share.
Developing an abundant mindset impacts all aspects of life, from the
 personal to the professional, as it allows us to think and make decisions
based on a more positive approach.
8. Cultivate an attitude of gratitude by expressing appreciation for small
and big things on a regular basis. Expressing gratitude is the best way to
invite better things into your life as it compels you to look beyond the
problems and see the bigger picture. Dr. Sonja Lyubomirsky writes:
“Gratitude is an antidote to negative emotions, a neutralizer of envy,
hostility, worry, and irritation. It is savouring; it is not taking things for
granted; it is present-oriented.”
 Chapter 2

The importance of creating our personal ritual

Our contemporary lifestyle, characterised by a hectic pace, juggling

multiple tasks while simultaneously essaying diverse roles, leaves us with
little or no time for any activity outside of our routines. We have become
increasingly cynical of even simple rituals that we see our elders diligently
follow. We cannot fathom how lighting a ghee diya every evening or waving
an agarbathi and sticking it in the tulsi pot can be relevant in a time when
technology is so advanced. We feel that rituals are meaningless and based on
superstitions and that they have no place in our complex, technology-drive
lives. Sadly, this absence of rituals has left us feeling rootless, alone,
disconnected, deeply stressed and depressed. The protection that our parents
and grandparents enjoyed with their small spiritual practices, embedded in
their culture and society, acted as a safety net, helping them cope not only
with life-and-death situations but also in dealing with everyday events with
equanimity and grace.

Rituals are essential as they offer us an opportunity to be conscious of the

present moment. We need them more now than at any other time in human
history as technology isolates us more and more from physical, social
networks. We need rituals to survive just as much as we need food, water,
shelter and social interactions. Rituals help us feel a sense of belonging and
being connected with something greater than our immediate needs and
situation. A sense of belonging is one of the most essential needs that have
to be met to lead a satisfactory life. In ancient cultures and tribes,
excommunication was considered a fate worse than death. We all need to
connect not only with each other but with the universe around us. Rituals
are a portal which can guide us to find connections not only with ourselves
but also with our surroundings and to eventually establish a direct link with
the universal intelligence, which we call divinity.

We need to know the difference between a habit and a ritual. A habit is a

more or less mechanical activity, which we carry out mindlessly, out of sheer
practice. Rituals, on the other hand, can only be carried out with extreme
mindfulness. A ritual needs energy, intention and commitment. A ritual
needs our full attention, and we need to be firmly rooted in the present
moment to carry it out. Carrying out a ritual provides a sense of control
which helps in alleviating anxiety and stress.
Gerontology expert Rhonda Curtis points out that “ritual expands our
horizons to aspects of life beyond daily requirements. Rituals give the events
we experience in our lives meaning and our lives themselves a sense of
purpose. A ritual requires preparation and thoughtfulness, and thus it helps
us shift from “to-do” mode to “into doing” whatever may be required for the
completion of the chosen ritual experience.”
Our cognitive makeup is such that the brain works by making
predictions about present situations based on past experience. In times of
stress or change, the brain’s ability to predict becomes limited because such a
situation has not been encountered before, and there is no previous
experience to base its prediction on. It is here that rituals assert their
importance. By their very nature, rituals are highly structured and repetitive,
making them “predictable”. The brain sees them as activities which offer an
escape from the uncertain. We know how to do the ritual, and the outcome
will hold no surprises; therefore, the mind-body mechanism loves it as it
helps relieve anxiety and calms the overactive nervous system.

Joseph Campbell says: “A ritual is the enactment of a myth. And, by

participating in the ritual, you are participating in the myth. And since myth
is a projection of the depth of wisdom of the psyche, by participating in a
ritual, participating in the myth, you are being, as it were, put in accord with
that wisdom, which is the wisdom that is inherent within you anyhow. Your
consciousness is being reminded of the wisdom of your own life. I think
ritual is terribly important.”

Establishing a ritual requires consistency and dedication. A study

conducted at University College London shows that it takes an average of
sixty six days to form new behavioural patterns. Commitment is essential to
incorporate a new ritual into our routines, but with time and practice, it will
begin to feel natural, necessary and effortless.

Jewish writer Avram Davis observes: “We are what we practice. If we

become angry a lot, then essentially, we are practising anger. And we get
quite good at it. Conversely, if we practice being joyful, then a joyful person
is what we become.”

Though the nature of rituals is highly emotional, research shows they are
more rational than we think. Rituals can turn ordinary experiences into
sacred moments by making us aware of the transcendental nature of the
universe. They increase awareness and help us become more appreciative of
all that we have in our lives. If you have ever been in a group chanting
session or a kirtan, you will know that rituals bring people together around a
shared experience. Rituals are personal – you get to design your own to suit
your lifestyle and fit in with your temperament, and most importantly,
rituals are an evolving practice. Today, a specific ritual may work well for
you, but tomorrow, you may want to try another method. A ritual does not
promise you a destination. It sets you on the path to finding your own.
This book is about the use of chanting as a ritual that we can incorporate
into our daily lives. The purpose of chanting is to bring about silence in the
ever-chattering mind. The process of repetition of a word or set of words
helps bring about a temporary state of mindfulness as the brain is wholly
absorbed in the activity of repetition. Chanting is a beneficial step in
learning meditation as it offers a vehicle for the mind to transport itself to a
higher realm.
 The Kamakoti Mandali, which comprises a close-knit group of Sri Vidya
practitioners, describes how mantras work: “A human being is composed of
various layers or types of bodies, and the Para Shakti pervades and
illuminates all these bodies through different aspects of prana assimilated
through mechanisms such as breathing for the Sthula Sharira, etc., The
energetic link between the lower and higher bodies is the breath or the
prana, and the path to transcendence lies in its neutralisation. Every
technique of upasna is, in one way or the other, aimed at modifying the
breath or prana to refine it and intensify awareness of the subtle and inner
breath current connected with the higher bodies. The simplest way to
accomplish this is through the might of unmoving attention directed
towards an external or internal object, breath itself being an important
option. The acts of silencing the mind and the breath are interconnected,
and a mantra is an important way to accomplish both. The generally chaotic
mind is regulated through powerful waves of energy generated by the
mantra, and the focused attention of the sadhaka on the mantra acts as a
means to sublimate the breath and the mind.”

The Sanskrit word mantra can be broken up into “man,” meaning “mind,”
and “tra,” meaning “tool” or “instrument.” The vibrations created by the
sound and the focus on rhythmic pronunciation profoundly affect the body
and mind. The nervous system experiences a slowdown of activities, and
calmness descends, which reduces stress, high blood pressure and pain and
improves immunity.

The Vedas describe a mantra as “mananaat traayate iti mantrah” – that

which uplifts us by continuous repetition is a mantra and Vedic texts
recommend the chanting of mantras as a part of spiritual practice.

It is not necessary to learn elaborate Sanskrit verses to practice chanting.

Just chanting “Om” is equally effective when done correctly. Om is
considered a mantra even though it is a single word. Modern scientific
studies have established that the sound of Om, when chanted, vibrates at a
frequency of 432 Hz, which is said to be the frequency found throughout the
universe (the humming sound of nature).
 Chapter 3

Samskara, Vasana and Vritti

According to Freud’s psychoanalytic theory of personality, the

unconscious mind works as a reservoir of feelings, thoughts, urges, and
memories that lie outside of conscious awareness. Many centuries before
Freud and other psychologists posited this theory, our Vedas provided a
complex and sophisticated explanation of how the unconscious mind works
through the concept of samskara-vasana-vritti.

Samskaras are subtle impressions and form part of the cycle of karma:
• Action (karma) leads to impression (samskara)
• Impression leads to a tendency (vasana)
• Tendency leads to a specific thought pattern (vritti)
• Specific thought patterns lead to action (karma)
Every action, whether physical, mental or spiritual, creates an impression
in the mind. When these impressions are repeated, they become stronger
and create deep grooves. When they are strong enough, these grooves begin
to influence thoughts and shape personality.

It is analogous to a sheet of paper in a book on which words or symbols

are inscribed. If the inscription is written with pressure or repeatedly, it
leaves an imprint on the following pages of the book. When we turn the
page to write on a fresh sheet, we find traces of the previous inscriptions.
Samskaras are like roots that bind us to the past - essentially impressions or
imprints formed from previous life experiences. The word samskara comes
from the Sanskrit ‘sam’ (joined together) and ‘kara’ (action, or doing).
Samskaras are embedded in the subconscious mind or chitta.
 The effect of a samskara is called a vasana. Vasana in Sanskrit means “a
fragrance”, alluding to the lingering odour of past experiences and
memories. Vasanas are subconscious inclinations formed from our
samskaras, taking the form of likes, dislikes, physical and mental urges,
desires, and feelings. Unlike samskaras which we cannot identify or single
out, vasanas are identifiable. When vasanas arise, they manifest as desire and
cause fluctuations in the mind. These fluctuations are called vritti.

Vritti literally translates to whirlpool or thought wave. In Yoga

psychology, chitta is seen as the mental substance, closest in translation to
the modern term “subconscious mind”. It takes various forms in response to
either internal or external stimuli by the arousal of corresponding thoughts
or emotions. These different forms are referred to as vrittis. Vrittis are the
fluctuations that occur almost constantly in our minds and arise in a
completely random fashion. As a vritti subsides, it leaves a definite
impression in the subconscious mind, becoming a samskara.

Swami Sivananda describes it thus: “Vritti arises in the mind-ocean. It

operates for some time. Then it sinks below the threshold of normal
consciousness. From the surface of the conscious mind, wherein it was
uppermost for some time, it sinks deep into the region of the subconscious
mind (chitta). There, it continues to be a subliminal action and becomes a
Samskara.”

Vrittis pose an obstacle to those on the spiritual path as they interfere

with the ability to focus by causing the mind to get distracted. Most spiritual
practices are focused on cleansing the mind of vrittis. The second verse in
Patanjali’s Yoga Sutra states: “Yoga chitta vritti nirodah”. Yoga, or any
spiritual practice, helps bring about a temporary stillness and absence of
fluctuations in the mind. When the mental chatter ceases, we momentarily
get an opportunity to cultivate a natural union within ourselves and with the
Universal Presence.

Our vasanas are responsible for creating vrittis. One of the strongest
arguments used to support the concept of lack of free will by famous
thinkers such as Sam Harris is that we have no control over what thoughts
will arise in our minds. If we cannot control this fundamental building
block, how can we assume that we have “free will”? The thoughts that arise
in our mental field are based on our tendencies. The thought process exists
only to support the desires that arise out of our vasanas and our thought
process and the patterns it follows, form our attitudes and eventually shape
our personality.

Our behaviour is directed by the vrittis that arise to fulfil the vasanas,
which result from samskaras we have earned from our previous karma. This
is an eternal cycle with karma leading to samskara, which in turn
determines our vasana and is fulfilled by vritti, thereby creating more karma.
In modern-day terminology, the sequence of events we see in this unending
cycle can be correlated to the formation of neural pathways, which are
strengthened with repeated exposure to the same stimuli. Just as “neurons
that fire together wire together”, samskaras and vrittis form deep-seated
neural pathways.

We cannot wholly escape the creation of these unconscious imprints.

However, we can use techniques such as pranayama, mantra japa, and
mindfulness to break this cycle of Samskara-vritti. It is essential to interrupt
this cycle to overcome any obstacle that we are faced with in life. The
solution to dealing effectively with stress, addictions, depression, repetitive
wrong decision-making and thoughts of self-harm can all be overcome
through conscious awareness and self-reflection.

Tosca Park writes: “In order to awaken to our true nature, we must first
become aware of the negative behavioural patterns that have shaped our
world view. Once we recognise their influence, we can begin cultivating new
samskaras that support greater freedom and happiness.” She adds that the
most potent yogic practices for dissolving habit patterns are dharana
(concentration) and dhyana (meditation). She writes: “While dharana can
help us notice our thoughts and feelings, dhyana helps us transcend them.
Through meditation, we learn to stop reacting to external stimuli and start
responding to them rather than being controlled by them. Both processes
require effort and persistence but allow us to separate ourselves from our
emotional reactions and gain insight into its true cause.”

Swami Sivananda says: “The physical body may die. But, the thoughts
and Samskaras of actions, enjoyments and thinking follow you after death
till you attain moksha. These are variable upadhis that accompany you after
death. They are variable because you carry different kinds of samskaras each
time when you die. In different incarnations, you create different kinds of
samskaras. The permanent upadhis that accompany you after death are the
five Jnana-Indriyas, five Karma-Indriyas, five Pranas, a fourfold mind and
the Karana Sharira, which is the support or adhara for the Linga Sharira or
astral body. It is the death of the samskaras; it is the death of the Karana
Sharira that leads to final moksha. It leads to the attainment of Brahma-
Jnana. You will be getting fresh births so long as there are samskaras. You
will have to take birth again and again till all the samskaras are obliterated or
fried up by the acquisition of Brahma Jnana.

The aim of a sadhaka is to fry out or burn or obliterate all these

samskaras through Nirbija Samadhi. Sadhana consists in wiping out the
samskaras. Breathing, hearing, seeing, feeling, tasting, and smelling - all
cause samskaras or latent smriti in the mind. The world enters the mind
through the eyes, ears, tongue (speech) and old samskaras. If you remain in
seclusion, you can shut out the first three doors. Through vichara (right
enquiry of Supreme Self), you can destroy the fourth route. Then, jnana
(Knowledge of Self) will dawn. A Jnani is without samskaras. They are fried
out by jnana. No doubt, the force of the samskaras remains in the
antahkarana. But they are harmless. They will not bind the Jnani.”
 Chapter 4

The Five Koshas

In Hindu tradition, a living being consists of mind, body and spirit. The
Sharira Tatva (Doctrine of Three Bodies) describes the human body as
consisting of three aspects and five sheaths.

The three aspects of the body:

• Sthula Sharira or the gross physical body
• Sukshma Sharira or the subtle body
• Karana Sharira or the causal body
The Sthula Sharira is the gross physical body through which life is
experienced. The main features of this body include birth, ageing and death.
It is related to the waking state.

The Sukshma Sharira is the subtle body that houses the mind and vital
energies (prana). The subtle body is said to be composed of the five elements
(air, fire, water, earth and space) and made up of the five sense organs (ear,
eye, nose, tongue and skin), five organs of action (hand, foot, mouth, anus
and genitalia) and the vital five-fold breath (respiration, elimination,
circulation, digestion and activities such as sneezing, crying, etc.) along with
Manas (mind) and Buddhi (intellect). The dream state is the distinct state of
this Sharira.
The Karana Sharira is the causal body that merely contains the seed of the
Sthula and Sukshma Sharira, and it has no other function of its own. It is the
most complex of the three bodies and is thought to be the portal to entering
higher consciousness. It is identified with the deep sleeping state.
 The gross body ceases to exist when death occurs, becoming one with
nature. The subtle body disintegrates when it is time to take a new birth,
allowing us to develop a new personality in the new life. The causal body
incarnates again and again with each rebirth, carries the imprints of our
previous lives (samskaras), and disintegrates only at the time of moksha or
liberation.

The Taittiriya Upanishad, a Vedic era text, probably composed in the 6th
century BC, is often considered a principal Upanishad and is embedded in
three chapters of the Yajurveda. In this text, we find an allusion to the
principle of koshas that make up our individual ‘being’. This Upanishad
expostulates that each one of us born as a human being is composed of five
koshas or sheaths of consciousness which envelop the atman and act as veils
of illusion, preventing us from seeing the true nature of our self. Each sheath
is made up of increasingly finer shades of energy, beginning from the
outermost layer of the skin to the innermost spiritual core of our being.
These five layers interpenetrate each other and become progressively subtler,
going from the gross and tangible to the most subtle and intangible.

It is possible to slowly and mindfully move through these five layers of

illusion to realise our true essence using spiritual practices. We can only see
the Annamaya Kosha as it is made up of physical matter. The other four
sheaths are purely energy states, which though not visible to us in shape or
form, are perceptible when we focus our attention on them. It is imperative
to ensure that the five koshas are kept well-nourished as they impact our
well-being during the course of our life and are believed to transport our
energy to the next incarnation after the death of our physical body.

Annamaya Kosha
The outermost layer is the Annamaya Kosha, which means “food-body”
and represents our gross physical body or Sthula Sharira. This layer
comprises skin, bones, connective tissues, muscle, organs, blood, etc. It is
associated with the earth element and closely relates to our body type,
weight, a propensity to specific ailments, and disposition towards some
kinds of food. The word “anna” refers to “food” that our body takes from the
earth and eventually returns after death to become food for other organisms.
This sheath is affected by the samskaras in the food we consume. The nature
of this kosha is that it is mortal, and hence, it is subject to the rules of birth,
decay and death. This layer is one we find ourselves preoccupied with most
of the time to pursue physical gratification and enjoyment.

This kosha benefits significantly from:

• Consuming sattvic food and drink
• Practice of asana
• Any form of physical activity
• Mindful eating
• Healthy sleep habits
• Herbs and supplements
• Massage
• Natural clothing
• Maintaining a healthy inner and external environment

Pranamaya Kosha
This is the sheath of prana, the Sanskrit word for breath, life force or vital
principle, that permeates reality on all levels, including inanimate objects.
Prana is responsible for the movement of bodily fluids such as blood
circulation, lymph and cerebral fluids and the circulation of breath through
the respiratory system. This energy body that makes up our Sukshma
Sharira is the first non-tangible layer we encounter, forming a bridge
between the physical and energy body. We cannot see energy but can indeed
perceive it in our bodies. When prana exits the body, all bodily functions
stop, and cell disintegration begins.
 Five types of prana, collectively known as the five vayus (winds), are
described in Vedic texts.
• Prana-Vayu translates as “inward moving air,” is the fundamental energy
in the body that directs the four other vayus.
• Apana-Vayu is a downward and outward flow of energy in the body. It is
responsible for elimination, and its mental function is related to the ego.
• Samana-Vayu is the equalizing air that governs digestion, absorption
and assimilation of all substances - food, air, experiences, emotions, and
thoughts.
• Udana-Vayu is the ascending air that channels the flow of prana from
lower to higher parts of the body. Its action is metabolization. It governs
speech and expression.
• Vyana-Vayu is the diffusing air whose movement is outward. It governs
circulation on all levels and is pervasive and expansive. It is responsible
for the distribution of the movement of all substances throughout the
body and assists the other vayus with their functions. This vayu’s action
is circulation.

Timothy Burgin writes that “Each vayu governs a specific area of the
body and ideally functions in harmony with each other. Their subtle
energetic movements affect and influence our physical, emotional and
mental health and wellness. If a vayu becomes imbalanced, it can create
disharmony through the whole energetic system of the body or can
negatively affect its associate chakra or the organs linked to its location.”

The pranamaya kosha benefits from:

• Fresh air
• Sunlight
• Foods are high in prana
• Pranayama
• Meditation
• Mudras
• Rituals
• Chakra Visualization

Manomaya Kosha
This is the sheath of the mind and includes our emotions, feelings and
workings of the nervous system. It involves processing inputs through our
five senses and responding to them reflexively without conscious application
of focus. Our thoughts, fantasies and daydreams constitute this kosha as
they are all methods of making sense of the outside world. On the most
basic level, we are talking about perceptions, images and emotions, but at a
deeper level resides our prejudices, preconceived notions and beliefs that we
absorb over a lifetime.

This kosha benefits from:

• Mantra japa
• Meditation
• Kirtan
• Satsang

Karen Bullen says: “We tend to have the most imbalance in our
Manomaya kosha; through the powerful practice of mantra, we can work
beyond the gross layer of the body and into our mind-body.”

Vijnanamaya Kosha
This is the sheath of wisdom or the psyche. Sensory perceptions coming
from the Manomaya Kosha are processed here, and meaning is imbued into
them with awareness, insight and consciousness. Here, we make choices
about every aspect of our lives based on our experiences so far. This sheath
can be seen as the one housing our intelligence as we engage in activities
that help us gather wisdom by way of conscious awareness.

This kosha benefits from:

• Chakra visualisation
• Meditation
• Yantra gazing
• Seva (service to others)

Anandamaya Kosha
Among the five sheaths, the Anandamaya Kosha reflects the divine
consciousness and its state of satchidananda (eternal bliss). This is the
sheath of bliss as we move from conscious awareness to pure bliss. In this
sheath, there is nothing but sheer joy and utter contentment. There are no
mortal fears or base emotions such as anger, jealousy and insecurities.

This layer is the closest to the intangible and immortal atman. We can
access this layer through dedicated spiritual practice.

The fact that each of the koshas is suffixed with the word “maya”
(illusion) points to their illusory nature. They may appear to separate us
from the divine consciousness, but that is illusory. The Vedic texts have left
us a clear message that even though we point out all these differences, we are
not separate from the Divine.

To understand the development of the process by which energy

condenses from the unmanifest to the gross physical form of the human
body, we can think of the Anandamaya Kosha as ether or space,
Vijnanamaya Kosha as air, Manonmaya Kosha as steam, Pranamaya Kosha
as water and Annamaya Kosha as ice. Just as it is more difficult to give shape
to ice than to water (as ice is solid and water as a liquid takes on the shape of
its container more readily than ice), the more ephemeral the various sheaths
become as we move towards the higher realms.

Sally Kempton says: “When you know how it feels to be fully present in
your physical sheath, rather than floating through life dissociated from it,
you will find yourself more centred and sane, less prone to accidents, and
more intuitively tuned in to which foods and activities nourish the body.
When you can touch the subtle power of expansion and healing in the vital
energy sheath, you can move stuck energy, release your own vitality, and
connect to the energy in nature and others. When you acknowledge your
mental sheath, you can note the effect of certain thoughts and step out of the
trance-like states that arise when you blindly accept thoughts and emotions.
Access your wisdom sheath, and you’ll find that you have more clarity and
intuition to keep your life on track. And each time you get in touch with the
bliss sheath, you fall into the fundamental goodness of life.”
 Chapter 5

Tantra

“In Sanatana Dharma, among all the spiritual traditions, Tantra is

considered to be the most ancient, and among all the schools of Tantra,
Samaya is the highest. The school of Samaya is profound in both its
philosophy and practices, and it is this school that gave rise to the eternal
knowledge of Sri Vidya.”

–Swami Rama

Tantra is an ancient spiritual tradition common to Hinduism and

Buddhism, contributing immensely to the ideology of other Asian belief
systems. Teun Goudriaan describes Tantra as a “systematic quest for
salvation or spiritual excellence by realising and fostering the divine within
one’s own body, one that is a simultaneous union of the masculine-feminine
and spirit-matter, and has the ultimate goal of realising the “primal blissful
state of nonduality.” It can be described as a broad and diverse practice of the
methodology of Shaktism.

Leora Lightwoman explains how Tantra evolved into its present-day form
in an article titled “The history of Tantra”:

“Tantra is not a religion, although Tantric symbology and practices have

emerged throughout history in all religions and cultures. Tantric principles
are inherent in mystical Judaism (Kabbalah), Christianity and Sufism.
Chinese Taoism is another strand of Tantra. Representations of the sacred
union of the masculine and feminine principles and the nonduality of this
“sacred inner marriage” can be found as far back as 2000 BC in the Indus
Valley civilisation and the Egyptian Old Kingdom.
 The origin and history of Tantra are shrouded in mystery and continue to
be the subject of frequent discourse among theologians. Many scholars
believe that Tantra began in the Indus Valley (current-day Pakistan and
North Western parts of India) between 3,000 and 5,000 years ago when the
Vedas were written. But Tantra did not come into common practice until the
fourth century; at around the same time, Patanjali’s yoga philosophy began
to take root and flourish.

The first Hindu and Buddhist Tantric texts can be traced back to 300 to
400 CE and were purposely obscure so that only initiates could understand
them. Until then, Tantric teachings were closely guarded and transmitted
orally from master to disciple only after long periods of preparation and
purification. Tantra reached the height of its popularity in the 11th and 12th
centuries when it was practised widely and openly in India.

Mathias Rose writes in The Origins of Tantra: “The teachings that began
to spread throughout India had a powerful attraction to a populace that was
increasingly well off and had a robust middle class. The prosperous middle
class was by and large left out of the caste-conscious religions of Vedic origin
and monastic male Buddhism. Moreover, unlike the well-established and
increasingly scholarly traditions, these teachings were vibrant, immediate
and taught that enlightenment was available right now. in this life. No
reincarnation is needed. The Divine was seen not as an abstract and distant
deity or collection of deities but as an all-pervasive presence that each of us
is not just a part of but intriguingly the whole of.”

Renowned yoga scholar Georg Feuerstein believes that Tantra came

about as a “response to a period of spiritual decline, also known as Kali
Yuga, or the Dark Age, that is still in progress today.” He suggests that robust
measures were needed to counteract the many obstacles (such as greed,
dishonesty, physical and emotional illness, attachment to worldly things,
and complacency) to spiritual liberation. He writes that “Tantra’s
comprehensive array of practices, which include asana and pranayama as
well as mantra chanting, pujas (deity worship), kriyas (cleansing practices),
mudras (hand gestures) and mandalas and yantras (circular or geometric
patterns used to develop concentration), offered just that. Also, Tantra
wasn’t exclusively practised by the noble Brahmin class. It gained power and
momentum by being available to all types of people—men and women,
Brahmins and lay-people, could all be initiated.”

Significant debate surrounds the complex and, at times, a controversial

body of knowledge that constitutes Tantra. Until even a hundred years ago,
not much was known to the world about the practices of Tantra as most of
the knowledge was passed down in India through the oral tradition from
teacher to an initiated disciple. In the Nath tradition, the origin of Tantra is
ascribed to Dattatreya, who is said to be the author of the Jivanmukta Gita
(Song of the liberated soul). Matsyendranath is the author of the Kaulajnana
Nirnaya, a 9 century book that deals with several mystical subjects including
Tantra.

“There are widely different Tantric texts,” says meditation teacher Sally
Kempton, “and different philosophical positions taken by practitioners of
Tantra. However, one core aspect of Tantric philosophy remains consistent:
that aspect is nondualism or the idea that one’s true essence (alternatively
known as the transcendental Self, pure awareness, or the Divine) exists in
every particle of the universe. In the non-dualist belief system, there is no
separation between the material world and the spiritual realm. Although, as
humans, we perceive duality all around us—good and bad, male and female,
hot and cold—these are illusions created by the ego when, in fact, all
opposites are contained in the same universal consciousness. For
practitioners of Tantra, that means that everything you do and all that you
sense, ranging from pain to pleasure and anything in between, is really a
manifestation of the Divine and can be a means to bring you closer to your
own divinity.”

In Hindu dharma, enlightenment is often seen as a process that takes

several lifetimes. The Tantra philosophy, on the contrary, suggests that
enlightenment is possible in one lifetime. Hinduism holds three concepts at
the very core of its essence: Brahman (the Absolute), Vedas (sacred
knowledge) and Moksha (liberation from the never-ending cycle of death
and rebirth). Brahman is the nature of truth, wisdom and infinity, according
to the Taittariya Upanishad “Satyam jnanam anantam brahman”. It is above
and beyond the human construct of time, space and matter. Brahman is
derived from “brh,” meaning “that which grows (brhati) or that which causes
growth (brhmayati).” Brahman is often loosely translated as God, but a more
profound study suggests a definite conception of the Absolute – it
transcends all dualities and classifications. The Brahman is the Absolute
Truth (param satya) and the omnipotent and animating life-principle (chit-
atman).

The ultimate aim of a Hindu is to become one with the Brahman.

There are many paths to becoming one with the Brahman – knowledge,
devotion, good deeds, and meditation are of primary importance. Still, there
are no distinctions made between these paths as they are bound to intersect
and work in combination in the due process of living.

The first path to liberation is knowledge, which is contained in the Vedas

– the oldest Hindu scriptures that contain information on all aspects of life.
The word Veda comes from “vid,” meaning “to know,” and it serves to
manifest the language of Brahman to humanity. Tradition indicates that the
Vedas were not composed by humans but were revealed to enlightened
rishis or seers and passed down from generation to generation through oral
tradition.

Vedic knowledge is said to be “Shruti” - that which has been heard

(consisting of revelations): it is the unquestionable truth and can never
change. Other forms of knowledge are “Smriti” - the knowledge that is
remembered (an outcome of the intellect) and can change over time.

The Vedas are not a mere collection of scriptures but a living, ever-
expanding, dynamic communication between the Brahman and humanity
using the subtle laws that govern the universe – sound, form and colour.
Humans can utilise the knowledge contained in the Vedas to lead them to
moksha, which is liberation from suffering and the endless cycle of death
and rebirth. It is the return to Brahman – the realisation of the self as the
Absolute.

Hindu dharma clearly states that liberation is not exclusively promised to

one who embraces sanyasa. It is equally possible for a householder, who
aspires for material prosperity and enjoys a sensory life, to seek moksha. In
both cases, the pursuit of knowledge is the starting point of the journey. A
sanyasi should pursue methods that would lead him to understand himself.
In contrast, a householder should pursue learning, which becomes the basis
of dharma (moral duties), artha (wealth creation) and kama (sensual
enjoyment).

While a sanyasi can seek his Brahma vidya through renunciation,

asceticism and meditation, a householder can begin his journey into the
deepest point of his being through a study of the Tantra and Sri Vidya.

The Brihadaranyaka Upanishad considered the crown jewel among all

the Upanishads, carries the famous statement “Aham Brahmasmi” (I am
Brahman). This concise declaration encapsulates the philosophy of Sanatana
Dharma, the Hindu faith. This statement sufficiently disproves all the
misconceptions about Hinduism and the pantheon of gods worshipped
within its broad framework. Hindu dharma’s basic premise is that only one
Supreme Being is given different names, forms, and assigned specific
qualities. This manifestation as various divine bodies helps establish a
speedier connection between humans and the Divine as it reduces the
Supreme Being to a more tangible, approachable and relatable entity.
Throughout the history of this ancient religion, many sects have formed as
an outcome of devotion to one particular form or one specific philosophy. In
general, Hinduism can be categorised into four major denominations:
• Vaishnavism – worship of Vishnu
• Shaivism – worship of Shiva
• Shaktism – worship of Mother Goddess or Shakti
• Smarthaism – belief in the essential oneness of all gods; offers a personal
choice to the worshipper to determine his own God.

All the four denominations are united in a common purpose: to further

the soul’s unfoldment to its divine destiny. Several concepts, such as
accepting the Vedas as the ultimate authority, belief in the doctrines of
karma, reincarnation, etc., are common to all. They differ primarily in terms
of the deity worshipped by the particular sect as the Supreme Being, and the
traditions followed in offering worship to that deity. Each sect has its
temples, pilgrimage centres, sacred literature and guru lineages.

Shaktas, as the practitioners of Shaktism are commonly known, conceive

the Goddess as a representation of the primordial energy and source of the
cosmos. Shaktism is based on the Vedas, Upanishads and Puranas that speak
about Shaktism’s prevalence during different historical periods, beginning
with early Vedic times, waxing and waning in its influence, gaining
maximum prominence during the Epic period. Shaktism is believed to have
evolved out of a rebellion against the power that Brahmins exercised in
society and a desire to return to the archetypal Mother Goddess concept that
existed in prehistoric times. The essential propagators of Shaktism have been
the practitioners of Advaita Vedanta, including Adi Shankaracharya.

In Shaktism, the world is not approached as Maya or illusion. It is

perceived as real with all its aspects (even the ugly, gross and unholy) as
Divine. Shakti evolves into thirty six tattvas or elements to form the
universe. Therefore, the universe and everything it contains is a mere
manifestation of Shakti. The Brihadaranyanka Upanishad references a spider
spinning its web from its mouth and moving through its own creation of
concentric circles, putting forth new threads and pulling back others while
controlling all of its creation from one single point. This image conveys the
essentially Vedic thought that all existence arises out of and eventually
returns to one single principle. The human body is held sacred as it is the
temple of our spiritual unfoldment.
 Shaktism can be classified into Srikula or the family of Lakshmi, and
Kalikula or the family of Kali. In both aspects, Shakti is worshipped by
mantras, mudras and yantras.

One of Shaktism’s most well-known sub-traditions is Tantra, which refers

to techniques, practices, and rituals and involves mantra, mudra and yantra.
Swami Amritananda Saraswathi describes it as a technique of worship that
removes limits to what you can know and do.

The Vedic knowledge “Shruti” is considered the highest form of

knowledge. Shruti texts include two types of scriptures called Agama and
Nigama. Agama is derived from the verb root “gama,” which means “to go,”
and the preposition “a,” which means “toward”, and refers to scriptures as
“that which have come down.” Agama can therefore be understood as
precepts and doctrines that have come down as tradition. Nigama, on the
other hand, can be understood as a passage from the Vedas, a statement in
the Vedic passage or sacred tradition or Vedic literature in general.
There are three types of Agama scriptures:
1. Vaishnava Agama – which is focused on Vishnu as the Supreme Being
2. Shaiva Agama – which sees Shiva as the Supreme Being
3. Shakta Agama – which regards Shakti as the Supreme Being

Tantra is seen as a subsystem of Shakta Agama. There is speculation

among scholars about whether Tantra is a Vedic tradition. Pandit Vishwa,
the founder of Vishwa Yoga, writes in his article on the difference between
Vedas and Tantra: “In reality, the Vedic and tantric traditions are both parts
of one great system even if there are a few differences in their approaches.
Vedic tradition is an Aryan one, while the Tantric practice is Dravidian in
origin. The Vedic tradition is an earlier form of the tantric tradition. For
example, the Atharva Veda is technically a tantric text. Therefore it will be
correct to assume that both Tantra and Vedas are important systems of
Indian philosophy. Tantra glorifies individual power and practices, while
Vedas emphasise collective power and rituals. However, both share the
common goal of self-realisation.”

Tantra represents the practical aspect of Vedic traditions. It is called a

“Sadhana-shastra,” which means it is practice-oriented as opposed to other
philosophy-oriented traditions. Tantra accepts that the body exists with all
its energies, good and evil; in the same way, the world exists with all its
energies, good and bad. In this sense, Tantra is seen as a body-affirming and
world-affirming spiritual tradition. This is in direct contrast to the classical
view, which insists on renouncing worldly life to attain liberation. This
aspect of Tantra allows householders to aspire for spiritual liberation while
enjoying the sensory pleasures of life.

Leora Lightworker writes, “Tantra has been and still is practised in three
primary forms: the monastic tradition, the householder tradition and by
wandering yogis. Whereas Hinduism had many rules and laws, including
strict caste divisions, Tantra was totally non-denominational and could be
practised by anyone, even in daily life. Thus meditations on weaving, for
example, could be practised by weavers as they contemplated the interwoven
and undifferentiated nature of existence. Kings and queens could practice
meditation on eating, drinking and lovemaking.”

Tantra rests on three pillars:

1. The methodology, skills and techniques
2. The mantra, which on the gross level, are unique sounds, but on a deeper
level, are a vehicle of consciousness. It is said that the world materialised
through sound; therefore, sound acts as a link between the form and the
formless.
3. The yantra is a geometric diagram used for rituals or worship in Tantra
practice, and the yantra becomes the centre of the universe symbolically.

While Tantra, Mantra and Yantra are the three pillars of the Tantra
system, yoga is the practical application of Tantra.
 Tantric Master Shri Aghorinath Ji says: “Tantra is different from other
traditions because it takes the whole person with all their worldly desires
into account. Other spiritual traditions ordinarily teach that desire for
material pleasures, and spiritual aspirations are mutually exclusive, setting
the stage for an endless internal struggle. Although most people are drawn
into spiritual beliefs and practices, they have a natural urge to fulfil their
desires. With no way to reconcile these two impulses, they fall prey to guilt
and self-condemnation or become hypocritical. Tantra offers an alternative
path.
There could not be a better way to explain Tantra. Shri Aghorinath Ji has
described in the above passage one of the most complex, grossly
misunderstood and misinterpreted terms of ancient Hindu traditions in the
most straightforward manner. The word Tantra is sadly synonymous in the
West with erotic sexual practices, while in India, it is most often labelled as
occult and dark – sometimes known as “the left-hand path.” Tantra suffers
from its association with macabre Aghori traditions (eating/drinking from a
skull, crematorium rituals, intoxication, sexual orgies). This is so far from
the truth that the Tantra tradition expounds.
The word itself is derived from tan (to expand or to spread) and tra
(instrument). Tantra literally means a mechanism to expand consciousness.
Some Vedic scholars also interpret the word “to weave,” seeing the universe
as a web in which everything is interconnected. Other scholars understand
the word Tantra to be a “sly pun.” Mathias Rose writes that one must first
understand the word sutra to understand this pun. A core part of the
prevailing religions (Buddhism, Jainism and Vedic traditions) consisted of
sutras - essential collections of compact principles. Etymologically a sutra
literally means thread; therefore, a sutra is a thread of thought or a particular
line of thinking. If a sutra is a single thread of thinking, Tantra is the whole
system of thought. Therefore, the etymological essence of Tantra can be seen
as the “next generation” advance of thinking about the sutras. Initially, sutras
were a collection of aphorisms, while tantras were holistic spiritual teachings
that could only be transmitted directly from teacher to student.
 Antoaneta Gotea writes in Hridaya Yoga that Tantra philosophy can best
be expressed as “nothing exists that is not divine.”
In Tantric tradition, the universe is alive and brimming with joy and
bliss. All manifestations are seen as an interplay between Shiva, who
symbolises pure consciousness, the unchanging, unlimited masculine
principle and Shakti, representing the activating energy, the provider and
the Mother, the feminine principle. Shiva and Shakti are merely
manifestations of the Brahman, but it is only when Shiva and Shakti
combine that creation can occur.
Tantra seeks to dissolve the separateness of the mundane from the
spiritual. Every aspect of life is seen as a tool for spiritual growth. The body
is seen as a living temple, and all its energies – positive or otherwise – are
considered tools for spiritual progress and transformation. Tantra is
profoundly devotional and highly ritualistic, but these rituals are a means to
see and experience life and its energies as divine manifestations. To embody
the essence of Tantra that “nothing exists that is not divine,” it is said that it
is equal to self-realisation.

Tantra is generally classified into three primary schools, although there

are many subdivisions within these:
• Kaula
• Mishra
• Samaya
Kaula Tantra is seen as the lower form of practice, and Samaya Tantra is
the highest in the hierarchy of tantric practices. Kaula Tantra practice is
focused on external rituals and processes. Mishra Tantra advocates a
mixture of external rites and techniques combined with internal practices.
Samaya Tantra describes an entirely internal process, a purely yogic practice
with no use for external rituals.
 The word kaula comes from the term “kula,” meaning “family.” This
means two things: One, that those embracing family life can practise this
path, and two, that everything in this universe is a part of one large family,
much like in the concept of Vasudaiva Kutumbakam expressed in latter-day
Vedic texts and philosophies.

Kaula practices consist mainly of worshipping external objects by way of

rituals. These rituals include idols, mandala, yantra, minerals, herbs, etc. The
emphasis in this path is on devotion and faith, which is expressed by way of
external worship. Many scholars point out that Kaula practices focus on the
lowest three chakras, Muladhara, Swadisthana and Manipura.
Within the Kaula Tantra, we see two types of paths, the left-handed path
and the right-handed path, based on the practices that are followed. The left-
hand path is known as Vamachara Marga, a non-conformist, non-orthodox
path with no distinction between good and evil, pure and impure, clean and
unclean. Sometimes it is seen as a path that uses means which go against the
norms and ethics laid down by society. The Panchamakara ritual that some
Tantra practitioners follow entails using taboo substances such as wine,
meat, fish and sexual union.

The Dakshina Marga (right-handed path) follows more conformist

practices, focusing on mantra, yantra and well-defined processes for
spiritual growth. There is no wrong path in Tantra, but, in modern times,
the Kaula Marga has been at the receiving end of a great deal of flak as it is
grossly misrepresented, especially by Western theologians who do not quite
understand the subtleties of ancient Hindu Vedic texts.
Mishra Tantra is a school where both external and internal practices are
combined – worship is done using rituals and mental practices. While the
rituals continue to include mandala, yantra and herbs, here it is combined
with asana, pranayama, dharana and dhyana. The focus here is mainly on
awakening the Anahata chakra, and the eventual desire is to remove
dependence on all external objects of worship and wholly channel it
inwards.
 Samaya is considered the loftiest school of Tantra as we now move from
the gross aspects of worship to the most subtle. Here, the practices are
purely internal, with no external objects or rituals. Yogic practices such as
asana, pranayama, dhyana and Samadhi are emphasised, and the human
body is seen as a yantra and worshipped accordingly. The Sahasrara chakra
is the main object of focus in this school of Tantra.

As humans, we continually evolve, learn, and change with every life

experience. Every life experience can either be an external one or an internal
one. Based on how the energies move in any specific experience, there is a
corresponding change in the state of awareness. An experience that occurs
due to the sense organs is an example of outward-moving energy. For
example, our desire to enjoy food or drink leads us to seek fulfilment of this
desire through external sources. Therefore, we can see this energy
movement as outward and downward since it further entangles us in the
snare of Maya or illusion.

On the other hand, when we seek fulfilment from within by involving

ourselves in practices such as chanting, meditation, mindfulness or prayer,
we can see that the energy movement is inward and upward. We are now
slowly disentangling ourselves from the veil of ignorance as we move
towards spiritual growth and development.
Based on this movement of energy (outward and downward or inward
and upward), Tantra texts define two paths that any individual may take in
his life journey:

Pravritti Marga (The Natural Path)

This is the path of the outward movement of energy that leads us to the
world of activity, seeking enjoyment and fulfilment, and extroverted nature
with normal and natural social interactions. People on this path live as
householders, fulfilling their obligations and responsibilities with perhaps an
inkling of the understanding that all they seek is transient and
impermanent.
Nivritti Marga (The Source Path)
This is the path of inward movement of energy that a person who wishes
to become one with the source embraces. It is the path of the renunciate or
the hermit, and yet, it does not mean one has to withdraw from society or
community. It only requires developing a gradual disinterest in all material
and worldly pleasures.
In Tantra, Shakti (the Goddess) is secret and subtle. She only reveals
herself to the seeker after years of intense devotion and sadhana. Shakti,
therefore, compromises the inner guiding light, knowledge, and
comprehension. Hence, Shakti is vidya. “In Tantra, the world is not
something to escape from or overcome, but rather, even the mundane or
seemingly negative events in day-to-day life are beautiful and auspicious,”
says Pure Yoga founder Rod Stryker, a teacher in the Tantra tradition of Sri
Vidya. “Rather than looking for Samadhi, or liberation from the world,
Tantra teaches that liberation is possible in the world by emphasising
personal experimentation and experience as a way to move forward on the
path to self-realisation.
Shri Aghorinath Ji writes: “Tantra also can be understood to mean ‘to
weave, to expand, and to spread’, and according to tantric masters, the fabric
of life can provide true and everlasting fulfilment only when all the threads
are woven according to the pattern designated by nature. When we are born,
life naturally forms itself around that pattern. But as we grow, our ignorance,
desire, attachment, fear and false images of others and ourselves tangle and
tear the threads, disfiguring the fabric. Tantra sadhana, or practice, reweaves
the fabric and restores the original pattern. This path is systematic and
comprehensive. The profound science and practises pertaining to hatha
yoga, pranayama, mudras, rituals, kundalini yoga, nada yoga, mantra,
mandala, visualisation of deities, alchemy, Ayurveda, astrology, and
hundreds of esoteric practices for generating worldly and spiritual
prosperity blend perfectly in the tantric disciplines.”
 Chapter 6

Sri Vidya

“Sri Vidya is the purest, holiest and also the most powerful meditation in
the universe. It is the highest form of Tantra, Mantra and Yantra. So sacred
and venerated is this meditation that the word ‘Sri’ is used in its name. Sri
in the Hindi language denotes extreme respect and is used as an honorific
prefix for esteemed people. And the meditation is referred to as a ‘vidya’ or
knowledge rather than just another contemplative practice. The term vidya
depicts the colossal profundity of universal wisdom inherent in it. Legend
has it that all the Gods themselves have performed this sadhana.”

–Avadhoot Baba Shivanand ji

Once we embark on the path of spiritual evolution, we all must carve out
our unique little paths to reach our ultimate destination. This exploration
can be likened to crossing a dense, often dark, uninhabited, virgin jungle in
many ways. We have to cut through vegetation (much like how we have to
hack our way through the obstacles that life places before us), remove
prickly and thorny bushes from our way (as we have to deal with difficult
situations that irritate in everyday living), be cautious not to get entangled in
the low hanging vines (similar to keeping ourselves protected from toxic
relationships and attachments). Most importantly, we must be entirely
mindful of random pieces of driftwood that can cause us to trip and fall (just
as we must beware of tripping on our egos and suffering a great fall). We
also must go through dark patches, knowing fully well that we will soon
reach the light. This journey is exhausting, often soul-wrenching, but
simultaneously, it holds the promise of permanent joy and contentment.
In the Kubjika Tantram, Lord Shiva defines Sri Vidya as:
 Sridatri cha sada vidya Srividya parikirtita
The vidya that renders prosperity and abundance is called Sri Vidya.

Our ancient texts and modern gurus agree on one aspect of Sri Vidya; to
practice this elegant and powerful discipline, one must have done thousands
of years of sadhana in previous lives. It is said:

Athava paschimam janma athava sankarah swayam

This knowledge only becomes available to one who is in their last birth or
is verily Shiva Himself.

Our seers point out that if a person not deserving of initiation into the
practice is lucky enough to be exposed to this valuable knowledge, based on
some good karmas from the past, he may not reach Self Realisation in this
lifetime but will surely enjoy a head start in his next life.

Sri Vidya is an ancient Shakta Tantra school of wisdom that is focused on

the worship of Shakti, the feminine principle. Its ultimate goal is Self-
realization, which is achieved through devotion to the primal force of
Shakti, which empowers Shiva, who is otherwise in Samadhi . Shiva is said
to be a mere “shava” (corpse) until he unites with Shakti and this union of
Shakti and Shiva gives rise to all aspects of the universe including creation,
preservation and dissolution.

Scholars point out that Sri Vidya is not a philosophy like Advaita Vedanta
or Sankhya. It can be called an “upasana paddhati” or a practice-related
science. Most of the Sri Vidya texts focus on the practical aspects of
acquiring this knowledge rather than on its philosophy. Swami Amritananda
Natha Saraswati says Sri Vidya is Advaita in action because it stands at a
point where soaring philosophical theory transforms into experience and
outcomes.

Sri Vidya practise comprises Tantra (a technique or framework for

worship) whose two main elements are Mantra (sacred sound) and Yantra
(sacred geometry). Mantra uses sound energy to bring about oneness with
the Divine, while yantra is a geometric drawing that serves as a tool to reach
the Divine. Tantra, in this context, can be seen as using the mental faculty to
pursue the objectives of worship using Mantra and Yantra.

Sri Vidya is a systematic, esoteric discipline combining knowledge,

devotion and ritual elements. In the Shakta tradition, Sri Vidyopasana
(pursuing enlightenment via Srividya) is considered the pinnacle of human
achievement. It promises the practitioner an experience of union with the
Ultimate Reality or Consciousness.

In the tradition of Sri Vidya, the self is worshipped as a deity and mantras
are offered to the divinity (seen as the yantra inside our body) that lies
within us. Many Vedic scholars describe Sri Vidya as the embodiment of the
tantric experience and see all forms of tantric practices as subsumed in its
practice.

Sri Vidya delves into the hidden essence (tattva) behind nature (Prakruti)
and throws up concepts that deal with the secrets of creation, absorption
and dissolution. Ganapathi Sachidananda Swami says: “It teaches us about
the divine light (chaitanya) and its essence (tattva). It is not any tantric
worship but is very pure knowledge (shuddha vidya). The word Sri is neither
male nor female. It is not stri (feminine) vidya, but Sri Vidya.

Chaitanya is the supreme light or knowledge that glows secretly and

naturally within the being. This divine light (Chaitanya) is visible to different
people in different forms based on their tastes.”

There are two approaches to understanding Sri Vidya:

1. Srishti krama (the basis of creation)
2. Samhara krama (the basis of dissolution)

Srishti krama is the process of delving into the secrets behind the process
of creation. Lalita Tripurasundari is worshipped first, and all the other
goddesses are extracted until all are in their rightful places. This is translated
into a meditation of the Sri Chakra Yantra starting from the Bindu, the seat
of the Goddess, to its outer boundaries traversing through the nine
avaranas.

In Samhara Krama, we begin at the outer boundaries of the yantra and

move inward through the nine avaranas to eventually reach the Bindu and
be one with the Goddess. The word Samhara means absorption and merger.
Each of the goddesses is worshipped and is absorbed into the next until we
reach Lalita Tripurasundari, in whom, by which time, all the Devis are
absorbed.

These two approaches are balanced when one studies Sri Vidya. The
practitioner uses Srishti krama to manifest his life’s desires and create his
future as per his wishes while utilising Samhara krama to dissolve and
eventually destroy all karmic bonds. This balance of the two kramas helps
the practitioner gain temporal and material benefits while ensuring spiritual
gains.

Swami Veda Bharati explains creation and dissolution thus: “expansion

and contraction in space are an identical process, just as creativity and
entropy are interwoven. The boundaries between evolution and devolution
cannot be determined. They are two sides of the same coin. This expansion
and contraction are not opposite principles. They are not to be studied or
even thought of in sequence. Evolution is devolution. Creation is
dissolution. Creativity is entropy. The beginning is the end of any loop. And
the universe is nothing if not a loop. There is nothing in the universe that is
not a loop, a chakra, where one does not return to its origins.”

So, what is Sri Vidya?

Sri Vidya is the sacred knowledge of Lalita Tripurasundari (often referred

to as Rajarajeshwari), who is Adi Mahavidya or the primordial wisdom
Goddess. She is conceptualised as the supreme deity, a beautiful and
auspicious manifestation of Mahadevi, the Great Goddess. The knowledge of
the ritual worship of Lalita Tripurasundari using mantras such as the
Panchadashi and Shodashi, along with meditation on her yantra (the Sri
Chakra Yantra), all come together to form Sri Vidya.

Vidya means knowledge (“vid” means “to know”), learning, discipline

and a system of thought. When Sri is prefixed, it becomes knowledge that is
auspicious, beneficial and conducive to prosperity. Sri is also the name given
to the Mother Goddess who rules the universe (“tvam sris tvam isvari”). She
is called the Mother because all living beings depend on her to fulfil their
destiny.

Sri Vidya is the knowledge of the Cosmic Mother, the absolute reality, an
embodiment of unsurpassed beauty and joy, the queen of the three worlds
(sleeping, dreaming and waking). The entire universe is her manifestation,
and the relationship she shares with the world is akin to that of the ocean
and the waves that arise from it and subside in it.

Swami Veda Bharati writes in an article titled “What is Sri Vidya”:

“Sri was a title originally reserved in ancient times for those who were
initiated into Sri Vidya - they in whom God’s glory of the universe has made
a home, those who are endowed with knowledge, empowered with the
energy and the intuition of Mother Sri. The basic text of Sri Vidya says: that
one who knows Mother Sri can never be orphaned. In the rituals and
ceremonies in the Indian tradition, when one sips the holy water, they say,
“mayi Sri shrayatam,” may “Sri dwell in me”. The word for refuge is Ashraya:
to be one as Sri. “May many come taking refuge in me, may I seek refuge in
none” is the prayer of those who wish to have this capacity to give refuge.
This capacity is Sri. One might translate Sri Vidya as the science of
capacities, the science of potentialities.”

The Ten Mahavidyas

Shakti is the source of all the principles and energies of the universe. The
immense diversity of the manifestations of Shakti is seen in nature – in all
cosmic bodies, forces, nature, all of life’s creations and human beings. These
are all expressions of Shakti’s vidya. Therefore, the symbols of these energies
and their expressions are regarded with immense awe, wonder and
reverence and known as “Maha” (great) Vidya.

Devi Puranas and Bhagavata expound on the glory of Shakti as the

upholder of the cosmic order. The Mahavidya tradition restricts itself to only
dealing with the diverse forms of Shakti that permeate all aspects of reality.
Even though Her vidya is infinite and all-pervasive, it is classified into ten
Mahavidya to simplify the sadhana for the seeker.

The tantric texts speak of ten wisdom goddesses (Dasa Mahavidya)

whose worship brings about health, happiness and wealth in this life and
liberation from the cycle of death and rebirth thereafter.
The origin of Mahavidya as a group is quite unclear. Historians believe
that Mahavidya as a cluster of ten is of comparatively recent origin, possibly
between the 12th and 14th centuries. It is plausible that it began as a revolt
against Brahmin notions of purity and differentiation (much like Shaktism
had at an earlier time). A cursory study of Mahavidya shows a definite urge
to return to a more primitive and indigenous faith as it is based more on
human experience and draws from aspects of humdrum existence.

Devadutta Kali writes in the Power of Consciousness that “the highest

spiritual truth is that reality is One. When personified as the Divine Mother,
that reality expresses itself in countless ways. The ten Mahavidya, or
Wisdom Goddesses, represent distinct aspects of divinity that guide the
spiritual seeker toward liberation. These forms can be approached in a spirit
of reverence, love, and increasing intimacy for the devotionally minded
seeker. For a knowledge-oriented seeker, these same forms can represent
various states of inner awakening along the path to enlightenment.”

The Mahavidya represent ten aspects of the one truth – the Divine
Mother is adored and approached as ten distinct cosmic personalities.

A story from the Shakta-Maha-Bhagavata-Purana narrates the origin of

the Dasa Mahavidya. Sati, daughter of Daksha Prajapathi, is madly in love
with Shiva and marries him against her father’s wishes. Daksha, an arrogant
and angry ruler, decides to conduct a yagna to which he invites all the gods
except his son-in-law Shiva. This angers Sati greatly as she sees it as an insult
to her husband and makes up her mind to attend the yagna. She goes to
Shiva to seek his permission, but he refuses to let her go stating that even if
she went, the fruit of the yagna would remain inauspicious.

Sati gets very angry with Shiva at what she perceives as insulting her
intelligence and wishes to show him her power. Shiva gets afraid and tries to
escape her wrath. She appears in ten different forms, guarding each of the
ten directions. She assumes the shape of the Divine Mother in all her might.
These Goddesses jointly subdue Shiva’s resistance, and Sati goes on to attend
the sacrificial ritual.
Each of these forms of the Divine Mother has been given a name, story,
quality and mantras.

Kali
The first in the Wisdom Goddesses series represents the power of
consciousness in its highest form. She is Adi Mahavidya or the primary
vidya. She is beyond time and space, seen as a “Devourer of Time” and
worshipped as the very essence of the Brahman.

At once, Kali is the supreme power and ultimate reality, bringing home
the fundamental Tantra tenet that consciousness and the power of
consciousness are the same.

The first transcendent cosmic power takes away all darkness and fills us
with the light of wisdom; hence, she is the very embodiment of Jnana Shakti.
She symbolises the power of transformation. The rest of the Mahavidyas
emanate from Kali and reflect her virtues, powers and nature in varying
shades.

Tara
 The Goddess Tara is understood as “a star” who is beautiful but
perpetually self-combusting. She is seen as a guide and a protector who
helps her devotees “cross” the ocean of worldly existence. Tara symbolises
everything in the cosmos that is absolute, unquenchable hunger that propels
all of life. She, therefore, represents the gracious liberator.
Tara’s symbolism is often related to death, but, in its broadest sense as the
death of the ego, she removes the mistaken notions we have of our own
identities.

Lalita Tripurasundari
The manifestation of Shakti who is “the most beautiful in the three
worlds.” The three worlds could variously be described as:
1. The three states of consciousness – sleeping, waking and dreaming
2. The three aspects of humanity – the physical body, the causal body and
the astral body
3. The three aspects of the universe – matter, energy and thought
4. The three aspects of energy – Iccha Shakti (the power of will), Jnana
Shakti (the strength of knowledge) and Kriya Shakti (the power of
action)

Tripurasundari, is “the one who plays.” The Hindu spiritual tradition

asserts that the whole of creation is nothing more than a beautiful, charming
game or play of the Divine Mother.
Tripurasundari is shown with four arms holding five arrows of flowers, a
goad, a noose and a sugarcane bow. The five arrows symbolise our five
senses; the goad represents repulsion; the noose stands for attachment; the
sugarcane bow is an analogy for the mind.

She symbolises our need to purify our awareness and cleanse the mind of
unworthy thoughts. She also symbolises wealth. Lalita Tripurasundari has
three manifestations: Sthula or descriptive as in an image; Sukshma or subtle
as in a Mantra; para or transcendent as in a Yantra. The yantra associated
with this form of Devi is the Sri Chakra Yantra.

Bhuvaneshwari
The Goddess Bhuvaneshwari is known as World Mother. “Bhuvana”
means “this living world,” and “isvari” means “ruler.” She embodies all the
characteristics of the cosmos. She is identified with the manifest world and
all that we experience within it. The entire universe is said to be her body,
and all the beings are ornaments of her infinite being. She carries all the
worlds as a flowering of her nature.

The symbolism of Bhuvaneshwari, who is all-pervasive and completely

identifies with the universe, invites us to cultivate an attitude of universality.
She represents the power of openness and infinite expansion, equanimity in
spirit and profound peace that contains all things that cannot be disturbed.

Bhairavi
The fierce and terrifying aspect of Devi, also called Shubhamkari, is
believed to be an excellent mother to good people and terrible to the bad
ones. She evokes terror and fear and is seen seated on a headless corpse in a
cremation ground. She is depicted as having four hands. In one hand, she
holds a sword of knowledge, and in another, a demon’s head; two arms are
shown in mudras - one in abhayamudra, which teaches us to have no fear
and the other in varada mudra that grants all boons.

Bhairavi symbolises the maternal instinct to protect offspring. She

destroys ignorance and helps us overcome the hostile forces that exist within
ourselves and, at the same time, manifest our material desires.

Chinnamasta
 The Panchatantra Grantha tells the story of Parvati, who once goes to
bathe in the Mandakini river with her two close friends. As the day
progresses, the friends get hungry and ask Parvathi for food. She keeps
putting them off until their demands grow incessant. At one point, she
laughingly cuts off her head using her fingernail and blood spurts out in
three directions. The two friends drink in the blood of two founts, while
Parvati drinks from the third. This gives rise to the manifestation of
Chinnamasta – the self-decapitating goddess.

The severed head symbolises liberation. However, the most symbolic

message of this form of the Goddess is that we all possess the rare courage
needed to make the ultimate sacrifice. The blood spurting from her neck
represents prana (cosmic life force), which sustains her life and that of all
other beings in the universe.

Chinnamasta can also be interpreted as an awakening of the Kundalini in

each of us as we rid ourselves of our mistaken identities and overcome
limitations that hinder our spiritual progress.

Dhumavati
This manifestation of the Devi depicts her as made of smoke that is dark,
polluting and concealing the truth – the worst facets of humanity. This form
is associated with poverty, hunger, thirst and anger - all the aspects of living
everyone wishes to avoid. This transcendent power shows us that the dark
side of life is a reality we all must confront.

Dhumavati stands for the corrosive power of time that robs us of all that
is valuable to us – loved ones, beauty, vigour, vitality. The lesson from
Dhumavati is to understand the transient nature of all the experiences. She
is a great teacher who reveals the ultimate knowledge of the universe and
teaches us to cultivate a sense of detachment from our senses.

Bagalamukhi
 Tantra Shastra describes this manifestation as a goddess seated on a
golden throne in the middle of an ocean. Though generally depicted with a
human head, she is often shown with the head of a crane in some
iconography. This form of Devi smashes misconceptions and delusions
(enemies of spiritual growth). She is the one who paralyses enemies. She
ceases all motion at the appropriate time and silences the mind. She is
praised as the giver of siddhi and riddhi (supernatural and magical powers)
to her devotees who seek her with sadhana.

Matangi
Matangi is the Tantric form of Goddess Saraswathi, showing another
ferocious aspect of Devi. Worship of Matangi is said to give her devotees the
ability to face the forbidden, transcend pollution of the senses and lead them
to gain supernatural powers for attaining worldly goals and ultimately
salvation. Meditation on Matangi is prescribed chiefly to gain control over
enemies, attract people and acquire mastery over the arts. The dhyana
mantra of Brhat Tantrasastra describes Matangi as seated on a corpse,
wearing red garments and red jewellery, carrying a skull and a sword in her
two hands.

Kamala
The Lotus Goddess Kamala is the tantric version of Lakshmi, the goddess
of abundance and wealth. In this form, kamala holds the promise of wealth,
prosperity and wellbeing. She sits holding a lotus with two hands and
bestowing blessings with the other two. The lotus is a recurrent symbol of
the manifest universe in the Hindu tradition. It grows out of the murky
water but brings forth beauty and fragrance. Similarly, it is possible for
humans, with our restricted material body, amidst all the pollution of life, to
rise above and emerge as Divine Consciousness.

Kamala symbolises the unfolding of inner consciousness, much like the

petals of a lotus. She is worshipped in the hope of bringing material wealth.
Kamala’s lesson is to see the beauty in everything around us and understand
that real wealth is only achieved when it is selflessly shared with others.

Undoubtedly, the Mahavidya, as a group with its individual deities,

depicts some of the most unusual, fierce, strange and vivid gods ever
portrayed in any major world religion or culture. The forms radically differ
from the benign and beautiful gods worshipped in the “cultured” society.
They challenge accepted norms of social order with their outlandish
behaviour, grotesque bodies, ugly faces and bizarre habits. These outrageous
manifestations are meant to shock us and compel us to look beyond our
comfort zones. The disturbing and distressing aspects force us to look
deeper into ourselves to identify our shortcomings and show us for what we
are, not what we are meant to be.
The Mahavidya seeks to expand awareness to liberate the mind from
inhibitions and prejudices by rejecting and subverting conventionally
accepted norms.
An interesting aspect of the Mahavidya is that even though they are all
about the power of the feminine principle, the deities are not shown as wives
(although spouses are named in a few forms) or as mothers.
It is natural to wonder why our ancient seers divided all the great
knowledge into ten diverse aspects. Vedic scholars have indicated that it was
an effort to drive home specific essential points:
1. The Divine Mother is absolute, ineffable, immutable, and beyond time
and space.
2. In the act of creation, she subjects herself to time and space constraints.
Time is an aspect of Prakruti (Nature) and one of the thirty six tattvas or
principles of creation. However, as a concept, it is a creation of our intellect
based on our sensory perception. It is a part of “Maya,” or an illusory state in
which we all exist. For the Divine Consciousness, there is no division of time
– there is only the present moment, a continuous and undivided state of
existence.

Space is vast and beyond our comprehension. It is infinite, without a

beginning or an end. To simplify matters, we divide it into ten cardinal
directions – East, West, North, South, South-East, South-West, North-East,
North-West, above and below.
1. Knowledge is one but is understood in ten different ways based on our
five sense organs and five organs of action – skin, eye, ear, nose, tongue,
mouth, foot, hand, anus and genitalia.
2. Truth is one, but we perceive it in various facets, shapes, forms and
meanings.

S. Shankaranarayanan says in his article on “The Ten Great Cosmic

Powers”:
“Each has a particular cosmic function and leads to a special realisation
of the One reality. The might of Kali, the sound force of Tara, the beauty and
bliss of Sundari, the vast vision of Bhuvaneshwari, the effulgent charm of
Bhairavi, the striking force of Chinnamasta, the silent inertness of
Dhumavati, the paralysing power of Bagalamukhi, the expressive play of
Matangi and the concord and harmony of Kamala is the various
characteristics, the distinct manifestations of the Supreme Consciousness
that have made this creation possible. The Tantra says that the Supreme can
be realised at these various points.”

Each one of the Mahavidya holds particular significance as Brahmavidya.

Together as a group, they contain all the wisdom of the universe – of past,
present and the future and all the potential that ever existed or will exist. A
dedicated learner, who seeks with devotion, will be guided and inspired to
find the spiritual strength and capability lying dormant within him to have
his dreams manifested through a study of these great systems of knowledge.
 Bhairavi, Bhuvaneshwari and Chinnamasta are called Vidya;
Dhumavathi, Bagalamukhi, Matangi and Kamala are called Siddhi Vidya;
the forms of Kali and Tara are considered to be Mahavidya. Tripurasundari
is called Sri Vidya. Tripurasundari is the foremost of the Mahavidyas and is
seen as the highest aspect of Adi Parashakti. The Tripura Upanishad
mentions her as the ultimate Shakti, giving energy and power to the
universe. She is described as the supreme consciousness, with her position
higher than that of Shiva, Vishnu and Brahma. This is one of the most
important texts of the Shakta tradition and is notable for its theory of
Tripura (literally “three cities”), symbolising the three roads of work,
worship and wisdom.
The Sanskrit word Tripura is a combination of two Sanskrit words, “Tri,”
meaning “trayas” (three) and “pura” (a city or citadel), understood as
referring to the three states of consciousness (waking, dreaming and
sleeping). Therefore, “Tripurasundari” literally means “She who is beautiful
in the three states of consciousness.”
In the waking state (jagrat), consciousness is turned outward to the
external world as we perceive the world through our senses and experience
the gross objects of the physical world around us. In this second state of
dreaming (swapna), consciousness is turned towards the inner world. In the
third state of deep sleep (sushupti), the senses are not involved in perceiving
external objects; nor are the senses focused on the internal condition. In
deep sleep, all experiences have receded into a realm of undifferentiated
consciousness.
David Kinsley describes Lalita Tripurasundari in his book Tantric Visions
of the Divine Feminine: The Ten Mahavidyas. “She is called Tripura because
she is identical to the triangle (trikona) that symbolises the yoni and forms
her chakra. She is also called Tripura because her mantra has three clusters
of syllables. Here Tripura is identified with the alphabet, from which all
sounds and words proceed and which is often understood to occupy a
primordial place in tantric cosmology. Furthermore, she is threefold because
she expresses herself in Brahma, Vishnu, and Shiva in her roles as creator,
maintainer, and destroyer of the universe. She is threefold also because she
represents the subject (maul), instrument (mina) and object (meya) of all
things. Here again, she is identified with reality expressed in terms of
speech, which involves a speaker, what is said, and the objects to which the
words refer.”
Another unique feature of Sri Vidya, which many scholars have pointed
out, is that the name of the Vidya/Goddess/Yantra is synonymous with Sri.
There is no other name ascribed to the manifestations. For example, the
Vidya is not called Lalita Vidya or Tripurasundari Vidya. Similarly, the
yantra is not called Lalita Yantra (notice how all other yantras carry the
deity’s names such as Ganesha Yantra, Kali Yantra, and Kubera Yantra). This
points to the fact that Sri Vidya is so powerful and all-encompassing that it
does not need another name.
In the Rig Veda, Sri Vidya is found as Sri Sukta. While in the Brahmanda
Purana, there is a comprehensive description of Sri Vidya, its method, and
philosophy, which can be found in the Bhavanopanishad, Shiva Sutras and
Sri Vignana Bhairava. The Bhavanopanishad is a significant Sri Vidya text
that postulates the Sri Chakras symbolism and outlines how this yantra is to
be worshipped. The Saundarya Lahiri, composed by Adi Shankaracharya, is
a hymn consisting of one hundred verses expounding the virtues of Lalitha
Tripurasundari. It is considered the most beautiful and profound
explanation of Sri Vidya. The Lalita Sahasranama, a very auspicious prayer
containing one thousand names of the Devi, is found in Brahmanda Purana
in the form of a discussion between Hayagreeva and sage Agasthya.

It is said that Brahma, Vishnu, Shiva and the seven great rishis
(Saptarishis) of the Hindu tradition have all been Sri Vidya upasakas. Adi
Shankaracharya was the greatest exponent of Sri Vidya and was
instrumental in spreading this knowledge across India. Bhaskararaya, a
renowned spiritual scholar who later took up sanyasa, was one of the
foremost promoters of Sri Vidya in the 18th century. Sri Ramakrishna
Paramahamsa and Swami Vivekananda are also known to be Sri Vidya
upasakas who helped create greater awareness of this school of worship.
 Chapter 7

Mantras

“A mantra, when carefully chosen and used silently, has the ability to help
alter your subconscious impulses, habits and afflictions. Mantras, when
spoken or chanted, direct the healing power of prana (life force energy)
and, in traditional Vedic practices, can be used to energise and access
spiritual states of consciousness.”

–Dr David Frawley

Language and culture share a complex and intrinsic relationship. They

evolve together, influencing one another and, in the process become a
primary tool for expression and communication. While most languages are
considered a product of culture, the ancient Indian language of Sanskrit,
often called “the language of the gods”, is believed to be of divine origin. The
Vedic seers did not independently compose the holiest scriptures of
Hinduism but only gave verbal form to the knowledge that came to them
through direct, intuitional revelations. The language they used to compose
these sacred texts was Sanskrit, and for this reason, rishis are also known as
“mantra drashtara” (seers of the mantra).
Noted Indologist Frits Staal observes that Vedic seers became fascinated
by the inspirational power of poems, metered verses and music and referred
to them with the root “dhi”, which evolved into dhyana (meditation) as seen
in the Hindu Yoga school of thought. The language used to start and assist
this meditation process manifested as a mantra. Over a period of time,
mantras were derived from all Vedic compositions and multiplied in various
ways to meet the needs of the diverse schools of Hinduism.
 Jan Gonda, a widely cited scholar on Indian mantras, defines mantra as a
general name for the verses, formulas or sequence of words in prose which
contain praise, are believed to have religious, magical or spiritual efficiency,
which is meditated upon, recited, muttered or sung in a ritual, and which are
collected in the methodically arranged ancient texts of Hinduism. There is
no universally applicable uniform definition of mantras because mantras are
used in different religions and within each religion in various schools of
philosophy. In some schools of Hinduism, for example, suggests Gonda a
mantra is shakti (power) to the devotee in the form of formulated and
expressed thought.

Mantras became the core principle of the Tantra tradition, which is built
around the concept that the universe is made up of sound. The supreme
(para) brings forth existence through the word (shabda), and creation
consists of vibrations at different frequencies giving rise to the phenomenon
of existence. Tantra not only made extensive ritual and meditative use of
mantra but also posited that each mantra is a deity in sonic form. For
thousands of years, these mantras were never written down, only passed
down directly from guru to disciple.
Avadhutika Ananda Mitra Acarya writes that all mantras must have three
qualities to help transcend the lower mind’s ignorance and illusions. A
mantra must be pulsative, incantatory and ideative to hold the restless mind
steady, energise it, and transport it to subtler realms.

The first quality of a mantra is that it should be pulsative. A mantra

should bring about the steadiness of breath by virtue of its frequency. The
more the breathing is slowed and regulated, the greater the composure in
the prana and the greater the concentration and control of the mind.
The second quality a mantra should have is that it should be inherently
incantatory. The mantra must have a specific sound, a vibrational pattern
that, when chanted, will elevate the individual’s vibration.
 The third quality a mantra should possess is that of allowing an idea to
form. For centuries, philosophers have taught us, “As you think, so you
become”. Modern psychology affirms that the mind makes possible whatever
it ideates. We are all aware of New Age concepts such as the power of
positive thinking, manifestation and the Law of Attraction. Our mind
identifies strongly with whatever is its focus of attention. Mantras can be
affirmations or commands that give the subconscious mind positive
movement towards reaching the highest level of consciousness.

Every mantra has two essential aspects - varna and akshara.

Varna refers to the “shade of sound” that is produced. Varna mala is the
set of basic sounds from which all other sounds emanate. There are seven
basic varnas - a, e, u, ae, o, am and ah. These do not need any intervention of
the tongue to be produced. The other vowel forms, ai and ou, are a
combination of these basic varnas. These seven varnas are called Sapta
Matrikas. Jahnava Nitai Das explains, “As sound is of the nature of the
varnas (syllables) composing it, Tantra affirms that the creative force of the
universe resides in all the letters of the alphabet. The different letters
symbolise the different functions of that creative force, and their totality is
designated as matrika or the “mother in essence”. The Sapta Matrikas in Sri
Vidya are Brahmi, Vaishnavi, Mahesvari, Indrani, Varahi, Kaumari and
Chamundi.

Then various sound roots are arranged in groups or “ganas”. They are
categorised based on how the sounds are produced; for example sound
created by the tongue touching different parts of the palette, teeth or lips or
sound through the movement of cheeks. The total varnas with all the ganas
add up to sixty four in number. These are connected to the 64 kalas or 64
yoginis that serve the Mother and represent the most subtle stage of speech
called para.

Akshara stands for the ‘letter’ or ‘form’. The letters of the Sanskrit
alphabet are said to be akshara or ‘imperishable’. Once a mantra is uttered, it
becomes a part of the eternal Akashic record. Jahnava Nitai Das says:
 “In the Tantras, the aksharas are traced back to their material source
level, representing a particular Shakti deity. Each of her stages of
manifestation is a phase in the evolution of the universe. Thus the aksharas
are potent sound, constitutionally connected to objects as sound (shabda)
and its meaning (artha).”
Every mantra has six parts (known as shadanga):
1. Rishi - Seer who revealed the mantra
2. Ishta Devata - the presiding deity or illumined form who is the revealed
symbol of the mantra.
3. Bija - the seed or the essence of the mantra
4. Shakti - the inherent power of the mantra
5. Chandas - poetic meter in which mantra is composed
6. Kilaka - literally a ‘lock’ which needs to be opened to reveal the
consciousness hidden in the mantra by constant and prolonged
repetition

Mantras in every tradition vary in structure and length. There are three
main types of mantras, Saguna (with form), Nirguna (without form) and
Bija (seed).
Saguna mantras invoke the forms of the individual deities or
personalised aspects of God.
Nirguna mantras are the oldest mantras in existence. No deities or
personalised aspects of God are invoked; such mantras are said to have
their identification with all of creation and contain the fundamental
truths in yogic philosophy.
A bija or “seed” mantra is a monosyllable typically ending in anusvara
(simple nasal sound). Examples of bija mantras include om, aim, hreem,
kleem, shreem, hum, dum, gam, etc. Bija mantras may or may not have a
literal meaning but provide a connection to specific energies, which bring
out the true benefit of the uttered word. The potency of the bija mantra lies
in the sound vibration, not in its meaning. Bija mantras can be prefixed and
appended to other mantras, thereby creating complex mantras. In the Tantra
tradition, bija mantras are believed to be extremely powerful and should
only be chanted by a disciple after receiving initiation (mantra deeksha)
from a guru.

Mantras, especially those chanted in the Sri Vidya tradition, take the
following forms:

Shloka: A poetic form usually comprises four padas or quarter verses of

eight syllables each or two half verses of sixteen syllables each.

Most Hindu scriptures, including the Mahabharata, Ramayana and

Upanishads, are written using this poetic form.

Suktam: a hymn comprising of individual shlokas such as Sri Suktam

Strotram: a hymn written in praise of a specific deity such as

Kanakadhara Stotram
Sahasranama: songs of praise comprising of thousand names and
attributes of specific deities such as Lalita Sahasranama

Trishati: songs of praise comprising three hundred names and attributes

of specific deities such as Lalita Trishati

Shatakam: pronounced shut-a-kam is a song of praise comprising six

verses. This is not to be confused with Satakam, a poem with hundred
verses. Example: Nirvana Shatakam

The mala mantras in Sri Vidya have three essential attributes – nyasa,
viniyoga and dhyana. In mantra chanting, the body is seen as the
embodiment of the supreme Brahman; therefore, the deity is invoked into
the body through the process of nyasa. Nyasa means “to invoke” or “to
stabilise” and is used to negate our sense of individual self and replace it
with the identity of the deity. Viniyoga denotes the utility of the specific
mantra (to attain grace or anugraha, achieve success, etc.) Dhyana shloka
gives us information about the deity’s form by describing In detail the visual
aspect.

In the Vedic tradition, sound is one of the most important principles of

existence. The Sanskrit word for sound is “nada”; the entire universe is made
up of sound vibrations called nada. Nada is of two types – Ahata and
Anahata. Sound is a pulsation or vibration – a form of energy which is both
the source of matter and the key to becoming free from it. Ahata is a sound
produced through contact (clapping of hands, hitting a drum, etc.),
vibration (from striking the chord of a sitar or veena) and obstruction
(blowing into a flute or a trumpet). Anahata is the sound that exists in the
universe as a cosmic hiss, which is eternal and cannot be produced by
human effort.

The Bhagavad Gita defines sound (shabda) as follows:

“arthashrayatvam shabdasya
drashtur lingatvam eva ca
tan-matratvam ca nabhaso
lakshanam kavayo viduh”

“Those who are learned and who have true knowledge define sound as
that which conveys the idea of an object, indicates the presence of a speaker
and constitutes the subtle form of ether.”

In the Vedas, sound is also referred to as “vak” or speech which is in

keeping with the reference to the “presence of speaker”, indicating that
sound is a product of consciousness.

In the Ganapati Atharva Shirsha Upanishad, Ganesha is described as

Tvam chatvari vak padani

You are unquestionably the syllables of the four varieties of speech

 Sound must pass through the four stages of para, pashyanti, madhyama
and vaikhari before the listener fully experiences it. The manifestation of
sound takes place from the subtle (para) to the gross (vaikhari). Still, it is
easier to understand it from the gross stage as this is the sound we are most
exposed to and familiar with in our lives as ordinary verbal speech.

Vaikhari refers to the sound that emanates from our mouth as utterances
and is most commonly devoted to communicating present situations, past
actions or future possibilities. Vaikhari represents physical consciousness
and is associated with the wakeful state.

Madhyama is mental speech, which often precedes external audible

speech. At this stage, speech is verbalised but as yet unspoken. All our
internal thought processes can be clubbed under this category which
represents the dreaming state.

Pashyanti can be defined as the stage of speech where a predefined

message, clear in its content and intent, is prepared in the mind. At this
stage, there is a clear connection between the utterances and the object.
Pashyanti in Sanskrit means “that which can be seen or visualised”.
Pashyanti represents the dreamless state of deep sleep.
Para is the transcendent sound. Para means “beyond all objects”, and this
indicates sound that is beyond the perception of the senses. Para is beyond
the reach of mind and intelligence (avyakta), only to be realised by great
souls (parama-jnanis). At this point, there is no distinction between the
object and the sound. The sound contains within it all the qualities of the
object. Para represents the transcendental state (turiya).

Swami Vamadeva Shastri says: “Vedic mantras yield their deepest secrets
only when spoken simultaneously in each of the four speeches. To sing
Vedic hymns rightly, you must master the pronunciation, inflection, and
melody of the words (vaikhari), sing those words with all the erudition and
passion that your heart can muster (madhyama), concentrate all the prana at
your disposal into a single-minded vision of your message (pashyanti), and
surrender wholly to reality as you speak, so that truth is all you convey
(para).”

Tantra philosophy sees mantra not just as words or vibrations but as a

means to liberation itself. We come across the term “anavriti shabdat” in the
Vedanta Sutra, which translates to “by sound vibration, one gets liberation.”
The most enduring principle of mantra recitation is that sound can help
bring about a heightened state of awareness. “A mantra provides a way to go
beyond negative thoughts,” says Sharon Gannon, a yoga teacher and co-
founder of the Jivamukti method. “Why should we attempt to go beyond
negative thoughts? All of our words spoken, or said silently in our minds,
create the reality we live in.” Mantras, then, not only have the power to evoke
holiness or positivity, but indeed they can transform the reality of our
perception.
Vamadeva Shastri writes: “The development of concentration through
mantra is one of the best psychological healing tools. It can help break up
deep-seated habits, addictions, and traumas, releasing the mental energy
and prana trapped within them. It helps dissolve negative emotional
patterns, even those forgotten by the conscious mind. It does not require we
analyse the unconscious, relive our traumas, or dig up old memories. The
mantra changes the energetic structure of the mind so that such negative
patterns have no place to develop or remain.”
Recent scientific research shows that regular mantra chanting practice
can improve memory, cognitive and reasoning abilities in addition to
helping combat stress and anxiety. Dharma Sing Khalsa, M.D., an expert in
Kundalini yoga and researcher of Alzheimer’s disease, writes: “Yogic
mantras stimulate the secretions of the pituitary gland, which is located only
millimetres from the palate…certain permutations send signals to the
command centres of the brain—the hypothalamus, and the pituitary,
primarily, and also to the pineal gland, [which] orchestrate a healing
response and send out packets of information in the form of
neurotransmitters and chemicals, in the brain and throughout the body,”
Mantra – aloud or in mind
Any spiritual practice calls upon mindfulness to help create a temporary
stillness and a sense of calm. In some forms of meditation, the focus is on
the breath; in others, attention is focused on a yantra. In chanting, the object
of focus is on sound. Naturally, the question then arises, should we chant the
mantra out loud for maximum benefit, or should we chant it mentally?
Vedic scholars point out that there are three ways of chanting a mantra:
• Vaikhari Japa – saying the mantra out loud
• Upamsu Japa – whispering the mantra in a manner that is inaudible to
others
• Manasika Japa – chanting the mantra silently on the mental plane.

At the beginning of mantra chanting practice, it is undoubtedly helpful to

say the mantra aloud to maintain focus. With practice, loud utterance can be
replaced by Upamsu japa, which is said to be several times more powerful
than loud chanting. Once the mantra has become internalised, the practice
can be fully Manasika japa which is the most potent form of chanting. The
ultimate purpose of chanting is to move from external chanting (japa) to
Ajapa (silence becomes the chanting).
The Kularnava Tantra states:

Manasaa yah smaret stotram vachashaa vaa manum japet

Ubhayam nishphalam devi bhinna-bhaandokadam yathaa
The act of reciting Stotras in mind and repeating mantras loudly are both
fruitless just as is the act of storing water in a pot which has a hole in it.
Vedic scholars believe that while reciting a mantra in the mind is the
most effective method for bija mantras or mantras given by the guru,
chanting of all stotrams must be done using the Vaikhari japa method.
Listening to someone else chanting a mantra is also beneficial but
chanting in one’s voice has the most significant effect because of the
resonance and vibration created in the body during the process of chanting.

Mantras and meaning

At this point, you must be wondering: “Can I chant a Sri Vidya mantra
without knowing its meaning?”; “What if I mispronounce some words. Will
it affect me adversely”?
Sri M says:

“We can chant the mantra, even if we are not aware of the meaning, but it
is good always to understand the meaning of the mantra before chanting for
the simple reason that there are good mantras, bad mantras and wrong
mantras. When I say wrong mantras, it means mantras that are not meant
for the purpose that you want to chant for. Even if you don’t know the
meaning, if you chant the mantra properly as taught to you, using the proper
pronunciation, making the right sound, and chanting for the correct time
that is given to you, the effect of the mantra is as much as when you chant
knowing the meaning of the mantra.

Some words, especially the bija akshara mantra like Hrim, Klim etc., have
an effect even when you have no understanding of what they are. Some of
the sounds of bija akshara mantras have no specific meaning except that
they represent certain deities that are manifestations of infinite energy
brought down to finite sound forms.”

My gurus have always been of the view that chanting mantras is more
about the feeling than the pronunciation. If we chant with a feeling of
respect, adoration and belief, then there is no need to worry about negative
repercussions, even if we mispronounce a few words. There is a story about
the mispronunciation of mantras related to Valmiki, who was a petty thief
but became known as Adi Kavi or the first poet after he wrote the
Ramayana.
 The Nagara Khanda of the Skanda Purana states that Valmiki (called
Lohajangha in his earlier days) was born to a Brahmin named Pracheta and
was a devoted son to his parents. He had a beautiful wife, and both were
faithful to each other. Anarta, the region where he lived, went through a
terrible drought with no rainfall for twelve years. Lohajangha started
stealing from people to ensure his family did not go hungry.

During one of his robberies, he met the seven sages (Saptarishis), who
asked him to change his ways and come back into the fold of a disciplined
society. Rishi Pulaha is said to have given him the mantra “Rama,” telling
him to chant it regularly, promising that a positive shift would occur in his
life circumstances.
Lohajangha forgot the word that sage Pulaha had given him and started
to chant “Mara” (death, in Sanksrit) instead of “Rama.” He chanted with
such dedication that he did not notice ant-hills forming around his body.
The Saptarishis returned to the forest to hear “Mara” emanate from the ant-
hills and forgave him even though he was chanting wrongly and blessed him
with the name of Valmiki (the man in the ant-hill).

The following lines can be chanted as a way of seeking forgiveness for any
inadvertent mistakes in chanting before starting any mantra/ shloka/ stotra:
Bhumau skhalita-padanam
Bhumir evavalambanam
Tvayi jataparadhanam
Tvam eva saranam prabho

Just as the ground is the only support for those whose feet have slipped,
so also You alone are the only shelter for those who have erred in their
worship to You.

Mantra as prayer – an intentional act or “karma”

 The law of karma clearly says that each action brings an energetic
vibration, which will inevitably return with similar or the same qualities at
some point in our existence. Our actions, therefore, are the “seeds” of our
future and the circumstances of our present birth are nothing but the fruit of
our past actions. Does this mean that we accept this “fatalistic” approach
and see ourselves as mere puppets in the hands of karma? Not at all. Even
though the events of our destiny are caused and steered as a consequence of
earlier actions, in this life as a human, we now have the opportunity to alter
the course and reduce the impact through our present actions.
Thus, we are in a position to change the course of our destiny. Through
positive actions such as chanting mantras, we can resolve the influence of
the karmas from which we suffer in this present life. In this way, we can turn
our destiny around for the better. On the other hand, negative thoughts,
harsh words, and wrongful deeds lead to additional bad karma, which will
then play a role in what we experience in our future lifetimes. Our Vedic
texts state that our physical body perishes when we die, but the subtle
sheaths persist and are the repositories of our thoughts, words, and deeds.
However, since we do not have a physical body when we die, we lose the
ability to act, and hence, we await another physical incarnation to resolve
our karmas.

Mantra chanting is a volitional act or karma done with a specific

intention. Prayer can be a mental act (manasika karma), an oral act (vachika
karma) or a physical act (kayika karma). Every karma results in two types of
fruit (phala): one that gives immediate, tangible results (dhrista phala) and
one that will yield result at some time in the future (adrishta phala).
In the case of mantra chanting, the drishta phala or the immediate result
is a sense of calmness, an all-pervading temporary sense of peace and well-
being and a general enhancement of positive energy that is experienced. The
adrishta phala will bear positive fruit as blessings at some point in the
future, either in this lifetime or the next. As Swami Tadatmananda says:
“There is no guarantee that the adrishta phala of our prayers will fructify
when and where we want. Prayer is not a magic incantation. Prayer cannot
coerce Ishwara into fulfilling our desires. Prayer simply invokes Ishwara’s
grace. And we can use all the grace we can get!”

Which mantra should I chant?

In the Sri Vidya tradition alone, several hundred mantras are in use.
Therefore, it is a natural question to ask – which of these mantras should I
chant? My experience has been that as I learnt one set of mantras, another
quietly made its appearance, and I felt a compulsion to learn that as well.
Over these few years of practice, I have found the mantras listed in this book
to be the most popular among Sri Vidya sadhakas. It may not be possible to
chant all the mantras regularly but what works for me is that I choose a
mantra based on my specific requirement at any given time. If I want to
reconnect with the divine feminine energy, I chant the Lalita Sahasranama.
When I am feeling unsure or fearful, I find the Khadgamala to be most
helpful. To express gratitude when a sankalpa is fulfilled, I carry out a
Ganapati Chatturavritti Tarpanam. During challenging times, I chant the
powerful Varahi Mantra. On a daily basis, I chant the Sri Suktam, Siddha
Kunjika Stotram and Nirvana Shatakam. We need to figure out what each
mantra stands for at our vibratory level.

Swami Tadatmananda tells us a fascinating story to show us that what

mantra we chant is not as important as the fact that we use the mantra as a
tool to control our vrittis.
A mahout once had to navigate his elephant through a village fair. His
concern was that the elephant would reach out with its long trunk and pluck
bananas or other fruit from the vendors. He decided to place a stick in the
elephant’s trunk so that it could not take fruit away from the fair. The ploy
worked as the obedient elephant did not let go of the stick, and the mahout
manoeuvred the animal safely to its destination without causing panic or
chaos at the village fair. Swami Tadatmanadha says that just as it did not
matter whether the stick the mahout placed in the elephant’s trunk was a
mere bamboo shoot or an elaborate silver cane, so also the mantra we
choose does not matter as long as it serves the purpose of keeping our mind
in control.

Find your Bija Mantra

The bija mantra is derived from the sound connected to each individual’s
nakshatra pada. The moon’s position at the time of a person’s birth
determines the nakshatra pada, thus making the mantra unique to that
person.
Nakshatra refers to the lunar mansion and the 27 sectors along its
ecliptic. In the Vedic system of astrology, there are twenty-seven nakshatras,
which roughly divide the 360 degrees of the zodiac into 13.2 degrees arc per
nakshatra. Further, each nakshatra is divided into four padas. Nakshatra and
pada of an individual are determined by the moon’s position at the time of
birth.

This is especially useful for those who have not received a bija mantra
from a guru.
 Here is a chart that contains details of the twenty-seven nakshatras and
the bija mantras associated with the four padas.

First, you need to find out your nakshatra and pada by looking for them
on the internet. You will need your exact time, date and place of birth to
arrive at the accurate nakshatra and pada.

If the nakshatra is Uttara Ashada and the pada is 1, then the bija akshara
is Bhe. Adding a prefix “Om” and suffix “m” to Bhe and following it up with
Namah makes a bija mantra “Om Bhem Namah.”
 Using the bija mantra helps us connect faster with the universal vibration
present at the time and place of our birth. We can chant mantras at any time
of the day or night while walking, commuting, driving, cooking, trying to
fall asleep or doing yoga. It is advisable to set aside a specific time for
chanting away from the distractions of our daily activities.
Here are a few steps to keep in mind as you begin chanting:
• Sit up straight with your spine erect.
• Gently close the eyes and focus on your breath for a few minutes as the
body begins to relax.
• At first, repeat the mantra aloud, focusing on pronunciation and
duration. Make sure you chant the words at the same pace. Keep track of
the number of breaths between the words to help keep pace.
• Listen to the mantra and repeat it, allowing the words to permeate your
whole being.
• Feel the vibrations as they occur within the body and be mindful of all
the sensations.
• With practice, you will feel your voice is getting deeper and gathering
more power. Use this as a motivation to further spiritual growth.
• Practice chanting every day for 10 to 15 minutes, begin with, and then
increase it to 30 minutes as the practice improves.
• Begin with Om and over time, learn some of the more powerful Sanskrit
mantras from a reliable source. Some of the powerful mantras, apart
from Sri Vidya mantras are the Gayatri mantra, Mahamritunjaya
mantra, Shanti mantras and Dhanvantari mantra.
Chanting helps us connect with our inner self as it allows us to develop a
more mindful state of awareness. Use it as a tool of higher learning for the
soul and to ascend to higher spiritual dimensions. Chanting can be
especially useful at times of stress. It helps bring about a sense of calm and
all-pervading positivity and offers an insight into the transience of all
experiences.
 Chapter 8

Sri Vidya Mantras – Bala Mantra, Panchadashi

and Shodashi Mantra

“Several mantras have been categorised as Srividya mantras. The most

important ones are the Panchadashi, Shodashi, MahaShodashi and
Navarna (also known as Navakshari) mantras. These mantras are very
potent because they are all made up of bija aksharas [the energy seeds in
capsule form]. Among the first three mantras mentioned above, the
Panchadashi syllables form the main base. In the second and third mantra,
certain other syllables are only added at the beginning and the reverse
order at the end. Many are fascinated by Shodashi and MahaShodashi
mainly because their repetition as japa results in acquisition of many
mystic powers. As the Panchadashi consists of three groups, it is said that
many like Kubera, Lopamudra and Atri attained liberation by only
chanting one group alone in the Panchadashi.”

–Swami Shantananda Puri Maharaj

The mantras used in Sri Vidya sadhana are a unique set that
simultaneously bring about material prosperity and spiritual growth.
Typically, all mantras have been categorised as either being useful to attain
liberation (moksha) or as those useful in creating happiness in this world
(kamya). The Devirahasya describes how Lalita Tripurasundari is visualised
as residing in the heart of the chanter at the beginning of the chanting of Sri
Vidya mantras. She is slowly drawn out through the breath through her
mantras and placed on the yantra.

All Sri Vidya mantra chants start with Om. The Kularnava Tantra says
not beginning a mantra with Om causes impurity. The Chandrogya Tantra
says that Om is closest to the Brahman; hence all worship should start and
end with it.

Sri Vidya worship is done using the following mantras:

• Bala Mantra
• Panchadashi Mantra
• Shodashi Mantra

The Bala mantra is possibly one of the most potent in Sri Vidya.

Practitioners are initiated into the Bala mantra before being taught the
Panchadashi mantra. The Bala mantras presiding deity is a child goddess,
shown sitting in a white flower holding a book and a japa mala (rosary).
Bala mantra can be of three types:
• The basic Bala mantra that contains three bija akshara - Aim Klim Sauh
• The Bala Tripurasundari mantra that contains six bija akshara - Aim
Klim Sauh Sauh Klim Aim
• Bala Navaskhari mantra that contains nine bija akshara - Aim Klim Sauh
Sauh Klim Aim Aim Klim Sauh

The most potent version is considered to be the Bala Navaskari mantra

because the reverse order is encased by the Bala mantra. Such an
encasement is known as Samputeekarana, where the mantra’s power,
vibration and energy are sandwiched between two bija akshara. It is believed
that reciting a mantra in the reverse order increases its power several folds.
When a mantra is recited with absolute devotion and concentration, latent
energy inside the body is aroused and diffused throughout the body. This
diffusion is prevented by encasing the mantra between two bija aksharas.

“Aim,” the first of the bija akshara, is known as vaghavabija and is said to
help in perfecting knowledge. It indicates the first stage of the worship,
where the practitioner begins his search of self.
 The second bija, “Klim,” is known as kamabija, where kama means desire,
and the desire here is to attain the knowledge of the Goddess.

The third bija, “Sauh,” is known as parabija, which gives the practitioner
power to realise himself.

Four different meditations can be done on the Bala mantra based on the
outcome sought:
• For gaining material wealth, the young form of the Goddess can be
contemplated as seated in Padmasana or lotus pose, holding a
pomegranate and a lotus in her hands.
• For gaining knowledge, she can be visualised as having four hands,
holding a varada mudra, a pot containing nectar, a book and an abhaya
mudra in each hand.
• She should be meditated upon as wearing all-white garments for curing
diseases, visualised with her face having the lustre of the moon and her
body composed of Sanskrit alphabets.
• For gaining an attractive disposition, she should be visualised with a
radiant smile and dressed in regal finery, holding a noose (to captivate
the attention of the onlooker) in her hand.

After practising the Bala mantra for a specific period of time (as
suggested by the guru) in a form most appealing to the seeker, the
Panchadashi mantra, which is said to be the root mantra of Sri Vidya and
the veritable sound form of the Goddess, is revealed.

The Panchadashi mantra comprises 15 bija akshara which correspond to

the 15 days that are required to complete one cycle of the moon from new
moon to full moon.

The Panchadashi mantra is as below:

Ka E I La Hrim
Ha Sa Ka Ha La Hrim
 Sa Ka La Hrim

The mantra is divided into three kutas or peaks, consisting of five

syllables. The first kuta, Vagbhava kuta, represents the Goddess’s head; the
second, Kamaraja or Madhya kuta, represents her trunk and the body from
neck to neck to navel; the third, known as Shakti kuta, represents the body
below the navel.

The three kutas are shown as joined to form an inverted triangle,

representing the yoni or the source of the universe.

Several books are dedicated to unravelling the meaning of the fifteen

syllables, but Vedic scholars have pointed out that it is indeed esoteric and
convoluted. Hence, it is best to intuit one’s understanding of it as we progress
in our sadhana. In general, the syllables are said to have the following
meaning:

Ka – desire or the creation

E – Maya or the power of illusion
I – Vishnu or the divine ruling power
La – the power of bliss
Ha – space or breath
 Sa – time
Ka – creation
La – bliss
Sa – time
Ka – origin
La – bliss
Hrim – repeated three times to bring about a triple transformation of our
nature

This mantra is not revealed by these bijas but by the following verse in
Sanskrit.

kamo yoni: kamala vajrapanirguhahasa matarisvabhramindraa

punarguhasakala mayaya ca purucyesa visvamatadividya

This is where the fifteen bija akshara of the Panchadashi mantra are
hidden, indicating the highly secretive nature of this mantra. The fifteen
bijas are:

kama (ka) yoni (e) kamala (i) vajrapanir (la) guha (hrim) ha (ha) sa (sa)
matharisva (ka) abram (ha) indrah (la) punar guha (hrim) sakala (sa, ka, la)
mayaya ca (hrim) purucyesa visvamatadividya.

The first five letters (Vagbhava Kuta) originate from the Muladhara
chakra or the root of the spine where Kundalini Shakti lies dormant and
coiled like a snake. The first line promotes the rise of energy from the
Muladhara to the Anahata or heart chakra.

The subsequent six letters (Kamaraja Kuta) start from the Anahata chakra
and touch the Agna or the Third Eye chakra with the power and brilliance of
billions of suns.

The last four letters (Shakthi Kuta) start from the Ajna chakra and touch
the Sahasrara or Crown chakra with the soothing light of billions of moons.
 One repetition of the Panchadashi mantra is equivalent to three
repetitions of the Gayatri mantra.

Om bhur bhuvah svah

tat saviturvarenyam
bhargo devasya dhimahi
dhiyo yo nah prachodayat

The version that begins with Ka is known as the Kadividya, and another
version that starts with Ha is known as the Hadividya.

Ha Sa Ka la Hrim
Ha Sa Ka Ha La Hrim
Sa Ka La Hrim
Shodashi Mantra

After the practice of the Panchadashi mantra as per guru’s

recommendation, the seeker moves on to the highly secret Shodashi mantra.
Shodashi refers to sixteen syllables and also to the sixteenth dimension or
kala of the moon (which remains hidden and secret) that comprises the
movement of the moon from the new moon to the full moon.

The bija akshara “Shrim” is added to the Panchadashi mantra to give us

this secret, highly regarded and guarded mantra. The reason for this secrecy
is often attributed to the potency of the mantra. Lord Shiva gave sixty four
chakras and their mantras to humankind to help them progress in material
and spiritual realms. His consort Devi was given the Sri Chakra and the
Shodashi mantra, which contains the power of all sixty four mantras put
together.
The Shodashi mantra is as below:

Ka E I La Hrim
Ha Sa Ka Ha La Hrim
Sa Ka La Hrim
 Shrim

Shrim is capable of providing auspiciousness and promoting a positive

attitude and growth. This bija akshara is seen as inspiring faith, devotion and
love in the seeker.

These lines from the Brahma Yamala assert the importance placed on
guarding the secret of this mantra:

Shodashiyam sugopyahi snehad devi prakashita

Asya mahatnyamtulam jihvakotishatairapi
Vaktum na shakyate devi kim punah panchabhirmukhaih
Api priyatam deyam sutadaradhanadikam
Rajyam deyam shiro deyam na deyashodash akshari

This Shodashi mantra is extremely secret, but still, I reveal it to you. Its
greatness cannot be described even if one had a thousand tongues. How can
I then describe the same with my five faces? One can give one’s most beloved
possession, son, wealth, wife, kingdom and even one’s head but not the
Shodashi.
Once the mantras are chanted, the Sri Chakra is worshipped through a
long and highly ritualistic Navavarna Puja. For those who cannot do this
puja, the Vedic texts recommend chanting the Sri Devi Khadgamala
Stotram. It condenses a long series of complicated rituals into a recitation
that can be completed in a few minutes. It is advisable to recite it once a day
at 8 p.m., which is considered the most auspicious time for the Khadgamala
recitation.
 Chapter 9

Devi Khadgamala

There are myriad ways of worshipping the various deities that reside in
the Sri Chakra Yantra. One of the simplest ways is by chanting the
Khadgamala, a very powerful invocation, not just a stotram or hymn.
The Khadgamala is considered a “mala mantra” (a mantra with more
than 1000 letters) that invokes Sri Mahatripurasundari and the devatas or
energies that reside in various avaranas within the Sri Chakra Yantra.
The word “Khadga” means “sword,” and “mala” means “garland.” The
Khadgamala bestows a protective garland of weapons upon those who recite
it. The Khadgamala takes us on a mental journey through various avaranas
of the Sri Chakra while describing the significance and meaning of the
enclosures. The symbolic journey begins at the outer periphery and
culminates at the Bindu. Along the way, the ninety eight aspects of Devi are
recognised and internalised to prepare us for the final convergence of Shiva
and Shakti at the Bindu.
Sri Amritananda Natha Saraswathi explains that in the Khadgamala, the
sword bestows upon its reciters the energy to transcend attachment,
enabling Self-realisation. He says: “the sword [metaphorically] severs the
head, separating the body from the mind. It can also be interpreted as
wisdom – that which separates, categorises and classifies. So it is a symbol of
knowledge. The Khadgamala is about imagining a garland of synergistic
ideas, nourishing and protecting them and putting life into them.”

The correct way to chant the Khadgamala is by having an image of the

yantra before us physically or visualising it mentally if we have an accurate
image stored in our mind’s eye. As we recite each name, the specific portion
of the yantra should be the point of focus.

The stotram begins with:

Om Aim Hrim Shrim Aim Klim Sauh Om Namah Tripurasundari and

leads into a tribute to the Devi and the places in which she resides.

Hridaya Devi Goddess who resides in the heart

Shiro Devi Goddess who resides in the head
Shikha Devi Goddess with flowing hair
Kavacha Devi Goddess who is like an armour
Netra Devi Goddess who resides in the eyes
Astra Devi Goddess who gives us weapons

Then the sixteen aspects (nitya) or qualities of the Devi are described.
These 16 qualities represent different phases of the moon, starting from the
new moon (Amavasya) to the full moon (Poornima).

Kameshwari Goddess who controls passion

Bhagamalini Goddess who has a garland of suns
Nityaklinne Goddess who is ever aroused
Bherunde Goddess who is terrifying
Vahnivasini Goddess who resides in fire
Mahavajreshwari Goddess who is like a diamond
Shivaduti Goddess who sends Shiva as an emissary
and a bringer of joy
 Twaritey Goddess who is unstoppable
Kula Sundari Goddess who is the most beauteous in
her clan
Nitye Goddess who is eternal
Nilapatakey Goddess who carries a blue banner
Vijaye Goddess who is victorious
Sarvamangale Goddess who is completely auspicious
Jvala Malini Goddess who is the mistress of flames
Chitre Goddess who is like a picture
Maha Nitye Goddess who is eternal and great

Following are the qualities that pervade Devi and the names of the saints
who have worshipped her in the past:

Parameshwara Goddess of the Divine God

Parameshwari
Mitresamayi Goddess of friendship
Sastisamayi Goddess who is the consort of Lord
Subramanya
Uddiyasamayi Goddess who pervades as the moon
does
Charyanathamayi Goddess who pervades all rituals
Lopamudramayi Goddess who pervades as Sage
Lopamudra
Agastyamayi Goddess who pervades as Sage Agastya
Kalatapanamayi Goddess who pervades penance over
ages
Dharmacharyamayi Goddess pervades the teachers of
Dharma
Muktakeshisvarayamayi Goddess whose hair falls freely
Dipakalanathamayi Goddess who is like the flame of a lamp
Vishnudevamayi Goddess who pervades God Vishnu
Prabhakaradevamayi Goddess who pervades the Sun God
Tejodevamayi Goddess who shines
Manojadevamayi Goddess who pervades the God of
desire
Kalyanadevamayi Goddess who pervades God of
auspiciousness
Vasudevamayi Goddess who pervades Lord Krishna
Rathnadevamayi Goddess who pervades the God of gems
Sriramanandamayi Goddess who pervades the joy of Ram
Anima siddhe Goddess who has the power to become
invisible
Laghima siddhe Goddess who has the power to become
light and fly
Garima siddhe Goddess who can make her body as
heavy as she wants
Mahima siddhe Goddess who has the ability to increase
or decrease the size of her body
Ishitva siddhe Goddess who has creative control
Vashistva siddhe Goddess who can command
enchantingly
Prakamya siddhe Goddess who can realize all her desires
Bhukti siddhe Goddess who can enjoy all she wants
Iccha siddhe Goddess who has powers to wish all she
wants
Prapti siddhe Goddess who can attain all that she
desires
Sarvakama siddhe Goddess who can make us realize all
desires
Brahmi Goddess who is the power of Brahma
Maheshwari Goddess who is the power of Shiva
Kaumari Goddess who is the power of
Subramanya
Vaishnavi Goddess who is the power of Vishnu
Varahi Goddess who is the power of Lord
Varaha
Mahendri Goddess who is the power of Devendra,
God of Heaven
Chamunde Goddess who killed the demons,
Chanda and Munda
Mahalakshmi Goddess Lakshmi
Sarva samkshobini She who agitates everything
Sarva vidravini She who melts everything
Sarvakarshini She who attracts everything
Sarva vasankari She who controls everything
Sarvonmadini She who drives everyone mad
Sarvamahankushe She who is the great goad to all
Sarva khechari She who travels through space
Sarva bijae She who is the seed of everything
Sarva Yoni She who is the womb
Sarva Trikhande She who is responsible for all branching
out
Trilokya Mohana She who is the mistress of all three
worlds – waking, sleeping and dreaming
Chakra Swamini Goddess of the Chakra
Prakata yogini She who is an expert in yoga and
expresses herself without inhibitions

Kamakarshini She who attracts the power of passion

Buddhyakarshini She who is attracted by intelligence
Ahamkarakarshini She who attracts the power of pride
Shabdakarshini She who is attracted by good sound
Sparshakarshini She who is attracted by good touch
Roopakarshini She who is attracted by good form
Rasakarshini She who is attracted by good taste
Gandhakarshini She who is attracted by good smell
Chittakarshini She who is attracted by a good mind
Dhairyakarshini She who is attracted by bravery
Smrithyakarshini She who is attracted by good memory
Namakarshini She who is attracted by good name
Beejakarshini She who is attracted by proper root
mantras
Atmakarshini She who attracts the soul
Amritakarshini She who is attracted by immortality
Sharirakarshini She who is attracted by the body
Sarvasha Paripuraka Fulfiller of all desires
Chakraswamini Goddess of the chakra
Guptayogini Goddess who is a secret practitioner of
Yoga
Anangakusume The sentiment of flowering
Anangamekhale The girdle of love
Anangamadane The sentiment of arousal in love
Anangamadaturey One in the throes of love
Anangarekhe Crossing the threshold of love
Anangavegini The sentiment of urgency in love-
making
Anangakushe Goad of love
Anangamalini Wearing a garland of love
Sarvasamkshobana She who agitates all
Chakra swamini Goddess of Chakra
Guptatara Yogini She who practices the secret yoga
Sarvasamkshobini She who agitates everything
Sarvavidravini She who makes everything liquid
Sarvakarshini She who attracts everything
Sarva Hladini She who makes everyone happy
Sarvasammohini She who deludes all
Sarvastambhini She who stops all activity
Sarva Jhrumbini She who expands everything
Sarva Vasamkari She who makes everyone obey
Sarvanranjini She who makes everyone delighted
Sarvon Madini She who makes everyone ecstatic for her
Sarvarthasadhikaye She who helps in attaining all desires
Sarvasampattipurini She who gives all types of riches
Sarvamantramayi She who is within all mantras
Sarvadvandvakshayankari She who eliminates all duality
Sarvasaubhagyadayaka She who bestows all types of luck
Chakrasvamini Goddess of chakra
Sampradayayogini She who practices yoga in a traditional
way

Sarvasiddhiprade She who grants all occult powers

Sarvasampatprade She who gives all kinds of riches
Sarvapriyankari She who gives all that one wishes for
Sarvamangalakarini She who is the harbinger of auspicious
acts
Sarvakamaprade She who fulfils all desires
Sarvadukhavimochani She who helps rid one of all sorrows
Sarvamrityuprasamani She who can help avoid accidental
deaths
Sarvavighnanivarini She who removes all obstacles
Sarvangasundari She who is beautiful in her entire body
Sarvasaubhyadayani She who gives all types of luck
Sarvarthasadaka She who grants all objects of wealth
Chakrasvamini Goddess of chakra
Kulottirnayayogini She who practices yoga to liberate the
entire clan

Sarvajne She who has all knowledge

Sarvashakte She who is all powerful
Sarvaishwaryapradayini She who gives all kinds of power to
protect
Sarvajnanamayi She who has all spiritual knowledge
Sarvavyadhivinashini She who destroys all diseases
Sarvadharaswarupe She who is the basis of everything
Sarvapapahare She who destroys all sins
Sarvanandamayi She who is full of happiness
Sarvarakshaswaroopini She who is protector to all
Sarvekshitaphalaprade She who gives all desired results
Sarvarakshakara She who protects all
Chakrasvamini Goddess of chakra
Nigarbhayogini She who like a mother protects a child in
the womb
Vasini She who attracts everything
Kameshwari She who is the wife of Kameshwara
(Shiva)
Modini She who is full of joy
Vimale She who is pure
Arune She who is the colour of the rising sun
Jayini She who is victorious
Sarveshwari She who is the goddess of all
Kaulini She who is born in a noble family
Sarvarogahara She who destroys all diseases
Chakrasvamini Goddess of chakra
Rahasyayogini She who practices yoga in secret
Banini She who holds an arrow
Chapini She who holds a bow
Pashini She who holds a rope
Ankushini She who holds a goad
Mahakameshwari She who is the wife of Kameshwara
(Shiva)
Mahavajreshwari She who is as strong as a diamond
Mahabhagamalini She who wears a garland of prosperity
Sarvasiddhiprada She who gives rise to all occult powers
Chakrasvamini Goddess of chakra
Atirahasyayogini She who practices yoga in great secret
Sri Sri Maha Bhattarike She who is the supreme queen
Sarvanandamaya She who offers all kinds of happiness
Chakrasvamini Goddess of chakra
Parapararahasyayogini She who practices yoga in utmost secret
Tripure She who controls the three states of
waking, dreaming and sleeping
Tripureshi She who is the goddess of three worlds
Tripurasundari She who is the most beautiful of the
three worlds
Tripuravasini She who lives in the three worlds
Tripurashri She who gives auspiciousness to the
three worlds
Tripuramalini She who adorns the three worlds
Tripurasiddhe She who is the embodiment of all
achievements in the three worlds
Tripuramba She who is the mother of the three
worlds
Mahatripurasundari She who is the most beautiful
Mahamaheshwari She who can make occult powers
possible in three worlds
Mahamaharajni She who is the great empress
Mahamahashakte She who is the great cosmic power
Mahamahagupte She who is the great cosmic secret
Mahamahajnapte She who is the great cosmic memory
Mahamahaanande She who is the great cosmic bliss
Mahamahaskandhe She who is the great cosmic support
Mahamahashaye She who is the great cosmic thought
process
Mahamaha The great transcendental ruler of Sri
Srichakranagarasamrajni Chakra
Namaste Namaste I offer my salutations
Namaste Namah
 Chapter 10

Navarna Mantra, Siddha Kunjika Stotram, Devi

Stuti

The Devi Mahatmya (Glory of the Goddess) composed around the fourth
century, is an essential text in not just the Sri Vidya tradition but one of the
most revered scriptures in Shakti marga. Variously known as Durga
Saptashati and Chandi Path, the Devi Mahatmya is a philosophical text
describing Shakti as the supreme power and creator of the Universe. It is a
part of the Markandeya Purana and is composed as a long poem consisting
of thirteen chapters, containing seven hundred verses (hence also known as
Saptashati). This seminal work is a eulogy to the glory and splendour of the
Mother Goddess, who shows herself as a manifestation of Maha Devi, the
great warrior, the protector of the Universe (jagat dhatri) from evil and
negativity and the one who saves the world by emerging victorious after
battling the forces of darkness.
The text has hymns addressed to the saguna (manifest, incarnated) form
of the Goddess, which include Mahasaraswati, the giver of knowledge and
wisdom, Mahalakshmi, the giver of wealth and Mahakali, the giver of justice
and peace. It also shows the Goddess taking on a fiery and belligerent form
when she has to save her children from evil in the form of Kali and
Chamundi. In her saguna form, she is seen as a mother who shelters and
nurtures, protects her children from difficulties and blesses them with
worldly riches and contentment.

A mother has three functions – to give birth, nourish and protect. The
philosophical premise of Sankhya is based on the concept that all matter and
living beings are made up of three innate tendencies or attributes (guṇa),
whose equilibrium or disequilibrium drives the nature of a living being or
thing. In her saguna form, the Goddess serves all three while pointing to the
three gunas of creation (rajasic), sustenance (sattvic) and destruction or
dissolution (tamasic). Tamas is dark, heavy and destructive (as seen in the
form of Kali); Sattva is light, balanced and gentle (as seen in the form of
Mahalakshmi), and Rajas is dynamic energy which can either be used for
bringing about stability or chaos (as is seen in the form of Mahasaraswati).
This acknowledgement of the dualistic nature as expounded in Sankhya is
integrated into the non-dualistic Advaita philosophy in Devi Mahatmya, just
as it is reflected in the Upanishads, the Bhagavad Gita, and other Hindu
texts.

The Devi Mahatmya is essentially the description of a battle between

good and evil, where Shakti, manifesting as Durga, leads the forces of good
against the demon Mahishasura, the epitome of evil, to eventually emerge
victorious, thus saving the Universe from the dark forces that threatened to
destabilise existence itself. In peaceful, prosperous times, states the text, the
Devi manifests as Lakshmi, empowering creation and happiness and
Saraswati, promoting learning, knowledge and wisdom.

The Devi Mahtmya is written in the form of four stutis or hymns:

1. Brahma stuti, also known as Tantrika Ratri Suktam, establishes the
Mother’s ultimate transcendence and her identity as creator, preserver
and destroyer of the Universe
2. Sakaradi stuti contains praise for the Mother from other Gods
3. Aparajita stuti comprises the twenty slokas beginning with “Ya devi
sarva bhuteshu” (also known as the Devi Stuti), which offer praise to the
Goddess, celebrating her presence in the Universe as the consciousness
that manifests in all beings
4. Narayani stuti lauds the Goddess in her universal, omnipresent aspect
and the diverse expressions of her powers. She gives an assurance to
protect all of existence and intervene whenever evil arises
 The Devi Mahatmya can be seen both as a Vedic hymn and a mantra.
Each of its three episodes or charitas is associated with a Rishi (the sage who
visualised it), the Chandas (its poetic metre), the presiding deity, and the
Viniyoga for japa. Bhaskararaya asserts in Guptavani that Shakti is present
in every sound and word of the Devi Mahatmya; he reveres the text as a
Mantra Maya scripture. He adds that each shloka of the Devi Mahatmya is a
mantra, thereby making it a maha-mantra in effect.

The Devi Mahatmya outlines a philosophical foundation establishing the

concept that ultimate reality or Brahman is feminine. The Shakta tradition
reveres the Divine Mother as the source of the Universal Power. The Devi
Mahatmya is a celebration of these limitless powers and their splendour. C.
Mackenzie Brown says “the Devi Mahatmya is a culmination of centuries of
Indian ideas about the divine feminine and a foundation for the literature
and spirituality focused on the feminine transcendence in the centuries that
followed.” It is a devotional text, and its aim, states Thomas Coburn, “is not
to analyse divine forms or abstract ideas but to praise. This is accomplished
by laying a foundation wherein the female is the primordial creator; she is
also the Tridevi - the secondary creator, the sustainer, and the destroyer.
Through a language of praise, she is presented as the one who dwells in all
creatures, as the soul, possessing the power to know and the ability to will
and act. She is the consciousness of all living beings, she is intelligence, she is
matter, and she is all that is form or emotion”.

Bhaskararaya (born in 1690 in present-day Telangana) is widely

considered the ultimate authority on all aspects of knowledge of the worship
of the Mother Goddess in the Shakti tradition. Douglas Renfrew Brooks, a
professor of Religion, says that Bhaskararaya was “not only a brilliant
interpreter of Sri Vidya but also an encyclopaedic writer and thinker who
had a wealth of Tantric and Vedic traditions at his fingertips.” In his
commentary on the Devi Mahatmya, titled Guptavati, he defines the role of
mantras in Sri Vidya Sadhana. He points out that mantras can be
tremendously potent when accurately employed. He points out the
particular importance of the Navarna Mantra, which he regards as a maha-
mantra through which we can invoke the Mother Goddess and all the
powers associated with her. This maha-mantra can be used as a prayer for
protection, to fulfil material and spiritual desires and is also a means to
attain moksha or salvation.

Sri Sundari sevana tatparanam

Bhogascha mokshascha karastaeva

Those who practice Sri Vidya are assured of worldly pleasures (bhog) and
eternal solace /liberation (moksha)

The Navarna Mantra and the Shodashi mantra are two of the most
crucial moola mantras in the Sri Vidya tradition. The Navarna mantra is an
essential key mantra during Devi Mahatmya recitation. It is composed of the
following syllables:

Om Aim Hreem Kleem Chamundaye Vicche

In Guptavati, Bhaskararaya writes that a perfect explanation of the
Navarna Mantra can be found in the Devi Upanishad. The opening lines of
this Upanishad state:

Sabravit ahim brahma swarupini

Mattah prakruti purushatmakam jagat
Shunyam chashunyam cha

I am of the same form of Brahman. I am an aspect of Brahma. This

Universe, in the form of Purusha and Prakruti, are generated from me. It is
both the void and non-void

Aham Ananda qnanandau

Aham vijnanavijnane
Aham brahma brahmani veditavye
Aham panchabhutanyapanchabhutani
Aham akhilam jagat

I am both bliss and non-bliss

 I am knowledge and non-knowledge
I am brahman in the manifest state and non brahman in my unmanifest
state
I am the five primordial principles and non-principles
I am the whole perceived Universe.

Navarna Mantra
Rishi: Markandeya

Chandas: Jagati

Devata: Durga, Lakshmi and Saraswati

Bija: Hram

Shakti: Hrim

Kilakam: Hroom

Viniyoga: securing the prasada siddhi of Durga, Laksmi and Saraswati

Om Aim Hreem “We seek the blessings from Mother Durga who
Kleem takes various forms such as Saraswati, the giver
Chamundaye of knowledge and wisdom, Mahalakshmi, the
Vicche giver of abundance and wealth and Mahakali,
the giver of justice and peace. We pray to you to
shield us from evil and negativity and help us
breakthrough the tight knot of ignorance an
illusion and liberate us
Om Om stands for the primordial sound that is
always used at the beginning of every mantra. It
represents the entire cosmos as nirguna
brahman
Aim Aim is the bija mantra associated with
 Saraswati, the goddess of knowledge. It
represents the principle of divine wisdom that
exists in nature. It is the second most common
bija mantra after Om, chanted after it in many
mantras. Aim is a Shakti mantra and acts as an
aid in communication and expression

Hreem Hreem is the bija mantra of goddess

Bhuvaneshwari, one of the many forms of
Shiva’s consort, Parvati. Hreem is used as a tool
to call upon Shakti to promote healing,
creativity, compassion and purity. Hreem is also
seen as the mantra that connects the sadhaka
with both Shiva and Shakti energy
simultaneously
Kleem Kleem is the bija mantra of Mahakali, used to
stimulate the divine feminine energy. It is said
that Kleem has a magnetic energy which helps
draw things (aiding in the process of
manifestation) to the person chanting
Chamunda Chamunda is the fearsome form of er Durga
when she appears as Chandi. She is one of the
sixty four yoginis who are attendants to Parvati.
In the Devi Mahatmye, Chamunda emerges as
Chandika Jayasundara from an eyebrow of
Goddess Kaushiki, who herself was created
from a kosha of Durga and was assigned the
task of killing the generals of the demon-kings
Shumbha-Nishumbha. She fought fiercely to
emerge victorious and earned the title of
Chamunda - the slayer of Chanda and Munda
 and has always been seen as an icon of the
victory of good over evil

Yai Yai refers to the one who grants boons and

blessings to the sadhaka
Vicche Vicche in this context refers to one who helps in
granting the boon of perception to actually see
the universe for what it is. Some commentaries
also describe it as a shield to guard the sadhaka
from all external influences and help untangle
themselves from the knots of illusion and
negativity and finally to lead to moksha or
liberation

The Navarna mantra is one of the most potent mantras used in Srividya
practice which helps to harness the fears aspect of Shakti. Several benefits
are said to accrue from a regular chanting of this mantra. They include
improving focus and concentration, bringing a sense of fearlessness to deal
with everyday issues and unusual circumstances and feeling powerful
positive energy in the body, mind and soul. Sreenivas Rao S, writes in his
blog: “The Navarna mantra of nine syllables is closely related to the extended
Mahashodashi mantra of twenty eight bijas of Sri Lalitha tradition. Both are
Navarna; as they are worshipped in nine levels (Nava–avarana), where the
Devi is worshipped in her nine forms. It is described as a mantra that grants
the highest bliss – mahad-ananda dayakah.”

Siddha Kunjika Stotram

The Siddha Kunjika Stotram is one of the most powerful mantras in the
Sri Vidya tradition. It is said that chanting the Siddha Kunjika Stotram once
is equal in potency to the chanting of the entire text of the Devi Mahatyma.
Sally Kempton, in her book, Awakening Shakti, says “when we meditate on
the goddess of Sri Vidya, we can access two of the most alluring aspects: her
creative, life-enhancing, generative energy, and her power of spiritual bliss,
the inner pull by which she draws the outgoing mind into the spiritual
heart.” This stotram is an ode that carries a reference to both these aspects of
Shakti.
This stotram is said to encapsulate the essence of the Devi Mahathmaya
and the powerful Navarna mantra. It is written in the Tantric tradition and
found in the Gauri Tantra section of the Rudra-Yamala Tantra. It is a short
stotram comprising eight verses, which are chanted before the
commencement and also upon completion of the reading of the Devi
Mahatmya. The Siddha Kunjika Stotram is in the traditional format of
Samvad or a discourse that takes place between a Guru and his disciple and
is considered to be a mixture of three hymns - Argala stotram, the Rahasya
parvam and the Kavacham.
The term Siddha implies that the stotram can lead to the attainment of
the ideal state of ultimate blissfulness. Kunjika means a key which helps
unlock the power of the Devi Mahatmya. Some scholars also interpret
Siddha Kunjika to mean “the hidden song of perfection”, implying that the
stotram symbolizes perfection and those who chant the Kunjika Stotram
find themselves on the path to perfection by unlocking the true potential
that lies dormant in every being. The mantra segment commences with the
chanting of the Navarna Mantra: Om Aim Hreem Kleem Chamundaye
Vichhe. While invoking the blessings of Chamunda, the stotram explains the
meanings of the bija mantras of the Navarna Mantra.

Siddha Kunjika Stotram

Shiva uvacha Shiva speaks

Shiva uvacha
Srunu devi pravakshyami kunjika
stotram uthamam
yena matra prabhavena chandi
japa shubho bhaveth
Na kavacham na argala stotram
kilaka na rahasykam
na suktam napi dhyanam cha na
nyaso na cha varchanam
Kunjika pata mathrena Durga
phalam labheth
athi guhyataram devi devanam
abhi durlabham
Shiva speaks
Listen, O Devi, Let me tell you
about a great prayer, Kunjika
Stotram
By chanting of which the
recitation of Devi Mahatmya
becomes even more potent and
auspicious
There is no need to recite
Kavacham, Argala stotram,
Kilakam or Rahasyakam
Neither is it necessary to recite
Suktam, Dhyanam, Nyasam and
also there is no need to worship
(all of the above are preliminary
stotras that need to be recited
before reading of Devi
Mahatmya)
These lines state that if the
kunjika stotra is recited, there is
no need to recite the any others
By reading the Siddha Kunjika
Stotram, one gets all the benefits
of reading the entire Devi
Mahatmya. Yet is so secretive that
Gods themselves do not know
about it
Shiva uvacha
Gopaneeyam prayathnena
swayonireeva Parvathi
maaranam mohanam vasyam
sthambho ucchadanadhikam
pata mathrena sam sidhayeth
Kunjika stotram uthamam
Atah mantrah
Om aim hreem kleem
Chamundayai vicche
om gloum hoom kleem joom sa
jwalaya jwalaya jwala jwala
prajwala prajwala
aim hreem kleem Chamundayai
viche
jwala ham sam lam ksham phat
swaha
Ithi mantrah
Namaste Rudra roopinyai
namaste Madhu mardini
nama Kaitabha harinyai
namaste Mahishardhini
Shiva speaks
Oh Parvathi, you decide how best
to keep it a secret
As just by chanting this prayer on
Kunjika , we can manifest death,
or attraction or make people
slaves or even make things
motionless
Now this is the actual chant
Tantric sounds and words which
are meant to please the Goddess
This is the chant
Salutations to the one who is
angry, salutations to the killer of
Madhu,
Salutations to one who was
victorious over Kaitabha,
salutations to the killer of
Mahisha
Shiva uvacha
Namasthe Shumbha hanthryai
cha Nishumbhasura gathini
jagratham hi mahadevi japam
sidham kurushwa maey
Aim kari srushti roopayai hreem
kari prathi palika
kleemkari kama roopinyai
beeja roope namostute
Chamunda chanda gathi cha
yaikari varadhayini
vicche cha abhayadha nithyam
namaste mantra roopini
Shiva speaks
Salutations to the killer of
Shumba and the killer of
Nishumbha
Oh Great goddess, please give me
the expertise to chant this mantra
Salutations to the Goddess who
has the form of root chants
Who by the chant “Aim” has the
form of the creator
Who by the chant “Hreem” has
the form of one who takes care of
everything
And who by the chant “Kleem”
has the form of passion
Salutations to goddess who has
the form made of chants
To Chamunda who is the killer of
Chanda and Munda
Who by chanting “Ai” grants
boons
And by chanting “Vicche”, grants
protection and shields the
devotee
Shiva uvacha
Dham dheem dhoom dhoorjate
patni
vaam veem voom vagadheeswari
kraam kreem kroom kalika devi
saam seem soom maye shubham
kuru
Hoom hoom hoomkara
roopinyai
jam jam jam jambha nadhini
breem breem broom bhairavi
bhadre bhavanyai they namo
nama
Aam kam tam pam yam sam
veem dhoom iym veem ham
ksham dhijagram dhijagram
throtaya throtaya deeptham kuru
kuru swaha
paam peem pum Parvathi
poorna khaam kheem khoom
khechari thadha saam seem
soom saptashati devyaa mantra
sidham kurushwa may
Shiva speaks
The wife of Shiva
the goddess of speech,
the goddess Kali
we pray to you to carry out
benevolent acts
She who has the form of the
sound hoom
she who has sound like a
thunderbolt
Oh Goddess of the good,
salutations and salutations to you
Tear apart the end of devotion
and throw where there is
darkness. So be it
The daughter of the mountain
who is complete in herself,
who is also flying in the sky,
help me gain mastery over the
chant of the Goddess of Devi
Mahatmya/Saptashati
 Shiva uvacha
Idham thu kunjika stotram
mantra jagarthi hethave
Abhakthe naiva dhatavyam
gopitham raksha Parvathi
Yasthu kunjikaya devi heenaam
saptashatim pateth
Na thasya jayathe sidhir aranye
rodhanam yadhaa
Ithi sri Rudra yamale Gowri
tantre Shiva Parvathi samvadhe
sri kunjika stotram sampoornam
Shiva speaks
This is prayer of the Kunjika
which is the reason for
awakening
Oh Parvathi, keep this protected
and kept secret from those who
are not devotees
Those who read Devi Mahatmya
without this prayer of Kunjika
will not reach the forest of
perfection as they will weep
alone with no one to shield or
protect them
Thus ends the prayer to Kunjika
which takes place as a discussion
between Shiva and Parvathi and
is written about in the Rudra
Yamala and Gowri tantra texts

Devi Stuti
Ya Devi Sarva Bhuteshu is one of the most popular devotional hymns
taken from the Devi Mahatmya. Gurudev Sri Sri Ravi Shankar says, “this
chant shows the deeper facets of the Devi which are often missed. It
represents Devi’s presence across the universe and time. The chant is meant
to evoke irrevocable equanimity in a devotee with the message of Devi’s
presence in the things, people, and situations we dislike and like. Let us
understand how the Devi is present everywhere and at all times.
• Omnipresent: Devi is present as consciousness in everyone. There is no
place where the Devi is not present.
 In all forms: Nature and its distortions are all forms of the Devi. Beauty
•
and peace are all forms of the Devi. Even if you get angry, that too is
Devi. If you fight, that too is the Devi.
• Ancient and new: Every moment is alive with consciousness. Our
consciousness is ‘Nith nutan’, ancient and new at the same time. Objects
are either old or new, but in nature, you will find the old and the new
existing together. The sun is old and new too. A river has fresh water
flowing in it every moment yet is very old. In the same way, human life is
very ancient, but it is new at the same time. Your mind is the same.”

Ya Devi Sarva Bhuteshu

Yaa devi sarva bhuteshu To that devi who in all beings is known
Vishnu maayeti shabditaa as Vishnu maya
namastasyai namastasyai Salutations to her, salutations to her,
namastasyai namo namah salutations to her, salutations again and
again
Yaa devi sarva bhuteshu To that devi who in all beings is reflected
chetanety abhidhiiyate as consciousness,
namastasyai namastasyai Salutations to her, salutations to her,
namastasyai namo namah salutations to her, salutations again and
again
Yaa devi sarva bhuteshu To that devi who in all beings is abiding
buddhi rupenna in the form of intelligence,
samsthita Salutations to her, salutations to her,
namastasyai namastasyai salutations to her, salutations again and
namastasyai namo namah again
Yaa devi sarva bhuteshu To that devi who in all beings is abiding
nidra rupenna samsthita in the form of sleep,
namastasyai namastasyai Salutations to her, salutations to her,
namastasyai namo namah salutations to her, salutations again and
again
Yaa devi sarva bhuteshu To that devi who in all beings is abiding
kshuda rupenna samsthita in the form of hunger,
namastasyai namastasyai Salutations to her, salutations to her,
namastasyai namo namah salutations to her, salutations again and
again
Yaa devi sarva bhuteshu To that devi who in all beings is abiding
chaaya rupenna samsthita in the form of shadow (of higher self)
namastasyai namastasyai Salutations to her, salutations to her,
namastasyai namo namah salutations to her, salutations again and
again
Yaa devi sarva bhuteshu To that devi who in all beings is abiding
shakti rupenna samsthita in the form of power
namastasyai namastasyai Salutations to her, salutations to her,
namastasyai namo namah salutations to her, salutations again and
again
Yaa devi sarva bhuteshu To that devi who in all beings is abiding
trishna rupenna samsthita in the form of thirst
namastasyai namastasyai Salutations to her, salutations to her,
namastasyai namo namah salutations to her, salutations again and
again
Yaa devi sarva bhuteshu To that devi who in all beings is abiding
kshanti rupenna in the form of forbearance
samsthita Salutations to her, salutations to her,
namastasyai namastasyai salutations to her, salutations again and
namastasyai namo namah again
Yaa devi sarva bhuteshu To that devi who in all beings is abiding
jaati rupenna samstitha in the form of genus (original cause of
namastasyai namastasyai everything)
namastasyai namo namah Salutations to her, salutations to her,
salutations to her, salutations again and
again
Yaa devi sarva bhuteshu To that devi who in all beings is abiding
lajja rupenna samstitha in the form of modesty
namastasyai namastasyai Salutations to her, salutations to her,
namastasyai namo namah salutations to her, salutations again and
again
Yaa devi sarva bhuteshu To that devi who in all beings is abiding
shanti rupenna samstitha in the form of peace
namastasyai namastasyai Salutations to her, salutations to her,
namastasyai namo namah salutations to her, salutations again and
again
Yaa devi sarva bhuteshu To that devi who in all beings is abiding
shradda rupenna in the form of faith
samstitha Salutations to her, salutations to her,
namastasyai namastasyai salutations to her, salutations again and
namastasyai namo namah again
Yaa devi sarva bhuteshu To that devi who in all beings is abiding
kaanti rupenna samstitha in the form of beauty
namastasyai namastasyai Salutations to her, salutations to her,
namastasyai namo namah salutations to her, salutations again and
again
Yaa devi sarva bhuteshu To that devi who in all beings is abiding
lakshmi rupenna in the form of good fortune
samstitha Salutations to her, salutations to her,
salutations to her, salutations again and
namastasyai namastasyai again
namastasyai namo namah
Yaa devi sarva bhuteshu to that devi who in all beings is abiding
vritti rupenna samstitha in the form of thought-waves
namastasyai namastasyai Salutations to her, salutations to her,
namastasyai namo namah salutations to her, salutations again and
again
Yaa devi sarva bhuteshu To that devi who in all beings is abiding
smriti rupenna samstitha in the form of memory
namastasyai namastasyai Salutations to her, salutations to her,
namastasyai namo namah salutations to her, salutations again and
again
Yaa devi sarva bhuteshu To that devi who in all beings is abiding
daya rupenna samstitha in the form of kindness
namastasyai namastasyai Salutations to her, salutations to her,
namastasyai namo namah salutations to her, salutations again and
again
Yaa devi sarva bhuteshu To that devi who in all beings is abiding
tushti rupenna samstitha in the form of contentment
namastasyai namastasyai Salutations to her, salutations to her,
namastasyai namo namah salutations to her, salutations again and
again
Yaa devi sarva bhuteshu To that devi who in all beings is abiding
maatrurupenna samstitha in the form of mother
namastasyai namastasyai Salutations to her, salutations to her,
namastasyai namo namah salutations to her, salutations again and
again
Yaa devi sarva bhuteshu To that devi who in all beings is abiding
bhraanti rupenna in the form of delusion
samsthita Salutations to her, salutations to her,
namastasyai namastasyai salutations to her, salutations again and
namastasyai namo namah again

Indriyanam adhisthatri Salutations to that devi who governs the

bhutanam cha akhileshu faculty of senses of beings in all the
yaa bhuteshu satatam worlds
tasyai vyaapti devyai Salutations to her who is the devi
namo namah pervading all beings
Chiti rupenna yaa Salutations to her who in the form of
krustram mitadhwam consciousness pervades this universe
yasthita jagat and abides in it
namastasyai namastasyai Salutations to her, salutations to her,
namastasyai namo namah salutations to her, salutations again and
again
 Chapter 11

Lalita Trishati

The Lalitha Trishati is a stotra found in the Brahmanda Purana. In a

chapter called Lalithopakyanam, we are told the story of how Agastya is
taught the Lalitha Sahasranama by Hayagreeva but he is not entirely satisfied
as he feels that something is missing in his learning. Hayagreeva insists that
he has taught him all that he knows. At this point Goddess Lalitha
Tripurasundari appears before Hayagreeva and instructs him to teach
Agastya the Lalitha Trishati. Hayagreeva is very thankful to his disciple as he
provided him an opportunity to see the Goddess and teaches him the
Lalitha Trishati.
The stotra contains 300 names of the goddess which are all expansion of
the Panchadashi mantra.

Ka E I La Hrim
Ha Sa Ka Ha La Hrim
Sa Ka La Hrim
It begins with the dhyana (a description of the deity)

Athi madhura chapa hastha aparimitha moda bana sowbhagyam

Aruna athishaya karuna abhinava kula sundarim vande
I bow before her

She who is red in colour

Who is mercy personified

And is an epitome of beauty

 She who holds a bow made of sugarcane
And shoots arrows dispensing joy and grace.

The meaning of the 300 names:

1 Kakara Roopa She who is like the alphabet

ka (represents light)
2 Kalyani She who is endowed with all
good qualities
3 Kalyana guna shalini She who is the
personification of good
qualities
4 Kalyana shaila nilaya She who resides at the peak of
the mountain of good
5 Kamaniya She who is attractive
6 Kalavathi She in whom the fine arts
reside (64 arts)
7 Kamalakshi She who has eyes like lotus
8 Kalmashagni She who destroys sin
9 Karunamritha sagara She who is the sea of the
nectar of compassion
10 Kadamba kaanana vasa She who lives in the forest of
kadamba, which is filled with
Kalpa Vruksha, the tree
which grants all desires
11 Kadamba kusuma priya She who likes the flowers of
kadamba (mind with good
thoughts)
12 Kandharpa vidya She who is the holy
knowledge worshipped by the
God of love
13 Kandharpa janakapanga She who created God of love
veekshana by her sight
14 Karpoora veedi kallolitha She who fills the world with
kakupthada the holy scent of the betel leaf
(made with ingredients like
cardamom, nutmeg, mace,
camphor, saffron, etc.) she
chews
15 Kali dosha hara She who eradicates all evils of
Kaliyuga (era of Kali)
16 Kanja lochana She who has eyes like lotus
and takes care of the universe
by her vision
17 Kamra vigraha She who has hair that can
steal the mind
18 Karmadhi sakshini She who is the witness for
action
19 Karayathree She who evokes Vedic karmas
20 Karma phala pradha She who gives fruits of
actions
21 Eakara Roopa She who is like the alphabet
ea (the absolute truth)
22 Eka ksharya She who is the holy word Om
23 Eka aneka akshara kriti She who is the
 personification of all
alphabets
24 Ethath thathithya nirdesya She who cannot be described
as “this” or “that”
25 Ekananda chidakriti She who is the
personification of ultimate
happiness and knowledge
26 Evamithyaagama bodhya She who is beyond the
scriptures
27 Eka bhakthi madarchida She who is worshipped by
those with single-minded
devotion
28 Ekagra chitha nirdyatha She who can only be
meditated upon with absolute
concentration
29 Eshana rahi dathrudha She who is supported by
those without attachment
30 Ela sugandhi chikura She who has hair that smells
of sweet cardamom
31 Ena kooda vinasini She who destroys all sin
32 Eka bhoga She who is the object of
enjoyment
33 Eka rasa She who is the essence of the
only love
34 Ekaiswarya pradayini She who gives the real and
only asset the asset of
salvation
35 Ekatha pathra samrajya She who gives one the power
pradha to be the emperor of the
world
36 Ekanda poojitha She who can be worshipped
in absolute solitude
37 Edhamana prabha She who has the greatest
lustre
38 Ejadeneka jagadeeswari She who is the goddess of all
the moving worlds
39 Eka veeradhi samsevya She who is worshipped by the
brave warriors first
40 Eka prabhava shalini She who is the only brilliant
power
41 Eekara Roopa She who is like the alphabet
“ee” (that makes us all move)
42 Eesithri She who is the motivating
force behind everything
43 Eepsithartha pradayini She who gives us what we ask
for
44 Eedrigithya vi nirdesya She who cannot be limited or
described by word “like this”
45 Eeswaratwa vidhayini She who establishes oneness
with Eshwara, thereby
destroying duality
46 Eesanadhi brahma mayi She who the embodiment of
5 gods
47 Eesithwadh ashta siddhidha She who gives the eight
 supernatural powers
48 Eekshithri She who exists because of her
will
49 Eekshana srushtanda kotya She who creates billions of
beings by her will
50 Eeswara vallabha She who is the consort of
Lord Shiva
51 Eeditha She who is praised in the
Vedas and Puranas
52 Eeswarardhanga sareera She who is half the body of
Shiva
53 Eesaadhi devatha She who is the Goddess to
Shiva
54 Eeswara prerana kari She who motivates Shiva to
create
55 Eesa thandava sakshini She who is the witness to the
cosmic dance of Shiva
56 Eeswaroth sanga nilaya She who sits on the lap of
Shiva
57 Eedhi badhaa vinashini She who stops unexpected
calamities
58 Eeha virahitha She who is free from all
desires
59 Eesha shakthi She who is the power within
Shiva
60 Eeshath smithanana She who has a smiling face
61 Lakara roopa She who is the form of
alphabet “la” (the wave which
initiates wisdom)
62 Lalitha She who is like the mother
who plays with her children
63 Lakshmi vani nishevitha She who is served by
Lakshmi, the goddess of
wealth and Saraswathi, the
goddess of knowledge
64 Laakhini She who is easily
approachable
65 Lalana roopa She who has a female form
66 Lasadh dhardima paatala She who is the colour of
pomegranate flower in bloom
67 Lalanthika lasadh bala She who wears a beautiful
tilak made of precious gems
68 Lalada nayanarchidha She who is worshipped by
yogis with insight
69 Lakshanojwala divyangi She who shines with all
divine qualities
70 Laksha kodyanda nayika She who is the lord of billions
of universes
71 Lakshyartha She who is the meaning of all
Vedanta
72 Lakshanagamya She who cannot be
understood by explanations
73 Labdhakama She who has achieved all
 desires
74 Lathathanu She whose body is ever young
like a tendril
75 Lalamara jadhalika She who wears a tilak made
of musk
76 Lambi muktha lathanchitha She who beautifies herself
with a necklace made of
pearls
77 Lambodhara prasa She who is the mother of
Lord Ganapati
78 Labhya She who can be attained by
contemplation and
meditation
79 Lajjadya She who has the wealth of
shyness
80 Laya varjitha She who is free from
destruction
81 Hrimgara Roopa She who is of the form of
word “hrim” (denoting
creation, preservation and
destruction)
82 Hrimgara nilaya She who resides in hrim
83 Hrim pada priya She who likes the mantra
hrim
84 Hrim kara bijaha She who is identified by the
mantra “hrim”
85 Hrim kara mantra She who has hrim as mantra
86 Hrim kara lakshana She who has hrim as an
attribute
87 Hrimkara japa supreetha She who is pleased by the
recitation of hrim
88 Hrimathi She who is represented by
hrim
89 Hrimvibhushana She who has hrim as an
ornament
90 Hrim shila She who has all the good
qualities of hrim
91 Hrim padaradhya She who can be worshipped
by the word hrim
92 Hrim garbha She who carries hrim in her
womb
93 Hrim padhabidha She who takes the name of
hrim
94 Hrimkara vachya She who is referred to as hrim
95 Hrimkara poojya She who is worshipped by
hrim
96 Hrim kara peediga She who is the basis of hrim
97 Hrimkara vedhya She who can be realized by
hrim
98 Hrimkara chinthya She who can be meditated on
through hrim
99 Hrim She who gives the ultimate
bliss
100 Hrim sareerini She who has her body as
hrim
101 Hakara roopa She who is of the form of
alphabet “ha” (the valour to
kill enemies)
102 Hala drith poojitha She who is worshipped by the
one with the plough
103 Harinekshana She who has eyes like a doe
104 Harapriya She who is the beloved of
Vishnu
105 Hararadhya She who is worshipped by
Shiva
106 Haribrahmendra vanditha She who is worshipped by
Brahma, Vishnu and Indra
107 Haya roodaa sevithangri She whose feet are taken care
of by Indra
108 Hayamedha samarchidha She who is worshipped
during Ashwa medha yagna
109 Haryaksha vahana She who rides the lion in the
form of Durga
110 Hamsa vahana She who rides the swan in the
form of Saraswathi
111 Hatha dhanava She who kills asuras
112 Hathyadi papa samani She who reduces the effect of
sins
113 Harid aswadhi sewitha She who is worshipped by
 Indra
114 Hasthi kumbhothunga kucha She who has breasts as high
as the forehead of the
elephant
115 Haathi krithi priyangana She who is the darling of
Shiva who wears elephant
skin
116 Haridhra kumkuma digdha She whose body is covered
with turmeric and kumkum
117 Haryaswadhya amara She who is worshiped by
archidha Indra and other devas
118 Harikesa sakhi She who is the friend of
Paramashiva
119 Hadi vidhya She who is the
personification of Hadi vidya
120 Halaa madhalasa She who is drunk on wine
which was created from the
ocean of milk
121 Sakara roopa She who is of the form of
alphabet “sa” (material wealth
and pleasures)
122 Sar vagna She who knows everything
123 Sarvesi She who stimulates
everything
124 Sarva mangala She who is auspicious by
nature
125 Sarva karthri She who is the “doer” of all
 actions
126 Sarva bharthri She who takes care of
everything
127 Sarva hanthri She who destroys everything
128 Sanathani She who does not have a
beginning or an end
129 Sarva navadhya She who does not have any
blemish
130 Sarvanga sundari She who embodies beauty
131 Sarva sakshini She who is the witness of
everything
132 Sarvathmika She who is the soul of
everything
133 Sarva sowkhya dhatri She who gives all kinds of
happiness
134 Sarva vimohini She who enchants
135 Sarvadhara She who is the basis of
everything
136 Sarva gatha She who is omniscient
137 Sarva avaguna varjitha She who is free of all bad
qualities
138 Sarvaruna She who is red in colour and
is the dawn of everything
139 Sarva maatha She who is the mother of
creation
140 Sarva bhooshana bhooshitha She who has worn all
ornaments
141 Kakara artha She whose meaning is the
alphabet ka (represents light)
142 Kala hanthri She who is the destroyer of
time
143 Kameshi She who evokes desires
144 Kamithartha da She who fulfills all desires
145 Kama sanjivini She who brought the God of
love to life
146 Kalya She who is fit to be meditated
upon
147 Kadina sthana mandala She who has firm breasts
148 Kara bhoru She who has thighs like the
elephants trunk
149 Kala nadha mukhya She who has a face like a full
moon
150 Kacha jitambudha She who has hair like dark
clouds
151 Kadakshyandhin karuna She who has a merciful vision
152 Kapali prana nayiga She who is the wife of Shiva
153 Karunya vigraha She who personifies mercy
154 Kantha She who is the stealer of
minds
155 Kanthi dhootha japavali She who has lustre more than
 flowers have
156 Kalalapa She whose speech sounds like
music
157 Kambhu kanti She who has a conch-like
neck
158 Kara nirjitha pallava She whose hands are softer
than tender buds
159 Kalpa valli sama bhuja She who has arms as
beautiful as the kalpaga
creeper
160 Kasturi tilakanchitha She who wears tilak with
musk
161 Hakarartha She whose meaning is the
alphabet ha (money, valour)
162 Hamsa gathi She whose gait is like a swan
163 Haataka abharnojjwala She who shines wearing gold
ornaments
164 Haara Haari kucha bhoga She who has a breast
decorated by ornaments
165 Hakini She who cuts bounds of life
and death
166 Halya varjitha She who is free from
deceptions
167 Harithpathi samaradhya She who is being worshipped
by the eight gods who guard
the different directions
168 Hatahthkara hathasura She who killed the asuras
with her bravery
169 Harsha pradha She who gives happiness
170 Havirbhokthri She who partakes the offering
given to devas in fire
171 Hardha santhama sapaha She who removes darkness
from the mind
172 Halleesa lasya santhushta She who is pleased with the
dance of girls
173 Hamsa mantrartha roopini She who understands the
meaning of the mantra
relating to breath control
174 Hanopadhana nirmuktha She who is beyond wants
175 Harshini She who blesses one with
happiness
176 Hari shodari She who is the sister of Lord
Vishnu
177 Haahaa hoohoo mukha She who is being praised by
sthutya Gandharvas called Haahaa
and Hoohoo
178 Hani vriddhi vivarjitha She who has got beyond
growth and stagnation
179 Hayyangavina hridhaya She who has a heart like
butter
180 Harikoparunam shuka She who is dressed in red
181 Lakarakhya She whose meaning is the
 alphabet la
182 Latha poojya She who is worshipped by
chaste women
183 Laya sthith udbhaveswari She who is the supreme
Goddess
184 Lasya darshana santhushta She who gets pleased by
seeing women dancing
185 Labha labha vivarjitha She who is beyond loss and
gain
186 Langye tharagna She who gives orders which
cannot be disobeyed
187 Lavanya shalini She who is of unmatched
beauty and grace
188 Laghu siddhita She who gives supernatural
powers easily
189 Laksha rasa savarnabha She who shines like lac
190 Lakshmanagraja poojitha She who was worshipped by
Rama
191 Labhyethara She who can help acquire
dharma, artha, kama and
moksha
192 Labdha bhakthi sulabha She who can be attained by
devotion
193 Langalayudha She who has a plough as a
weapon
194 Lagna chamara hastha sri She who is served by
 sharadha parivijitha Lakshmi and Saraswathi
(fanned by them)
195 Lajjapada samaradhya She who is the most fit to be
worshipped by those who
shun this world
196 Lampata She who has hidden herself
from the earthly principles
197 Lakuleshwari She in whom the entire world
merges together
198 Labdha maana She who is praised by all
199 Labdha rasa She whose nature is ultimate
happiness
200 Labdha sampath samunnadhi She who has attained the
apex of riches
201 Hrimkarini She who is the
personification of the letter
“Hrim”
202 Hrimkaradhi She who is the origin of hrim
and Om
203 Hrim Madhya She who is in the midst of
hrim
204 Hrim Shikhamani She who wears hrim on her
head as an ornament
205 Hrim kara kundagni shikha She who is the flame of the
fire place called hrim
206 Hrim kara shasi chandrika She who is the nectar like
rays of the moonlight called
 hrim
207 Hrimkara bhaskara ruchi She who is the powerful rays
of the sun called hrim
208 Hrimkarambodha chanchala She who is the lightning in
the black clouds called hrim
209 Hrimkara kandham kurika She who is the germinating
tendril of the tuber called
hrim
210 Hrimkaraiga parayana She who reminds us of hrim
211 Hrim kara deergiga hamsi She who is the swan playing
in the pond called hrim
212 Hrimkarodhyana kekini She who is the peahen
playing in the garden of hrim
213 Hrimkararanya harini She who is the doe playing in
the forest of hrim
214 Hrimkaravaala vallari She who is the ornamental
climber in the flower bed of
hrim
215 Hrim kara panchara sukhi She who is the green parrot
in the cage called hrim
216 Hrimkarangana deepika She who is the light kept in
the courtyard called hrim
217 Hrimkara kandhara simhi She who is the lioness living
in the cave called hrim
218 Hrimkarambhoja bringika She who is the bee playing in
the lotus called hrim
219 Hrimkara sumano maadhvi She who is the honey in the
flower called hrim
220 Hrimkara tharu manjari She who is the flower in the
tree called hrim
221 Sakarakhya She who is of the form of
alphabet “sa”
222 Samarasa She who is uniformly spread
in the universe
223 Sakalagama samsthitha She who is being praised by
all kinds of worship
224 Sarva vedantha thatparya She who is the basis of
bhoomi Vedanta
225 Sad asada ashraya She who is a refuge for the
formless
226 Sakhala She who is complete
227 Satchidananda She who is the ultimate bliss
228 Saadhya She who is reachable by
devotees
229 Sadgathi dayini She who gives salvation
230 Sanakathi muni dhyeyi She who is being meditated
upon by sages like Sanaka
231 Sada shiva kudumbini She who is the wife of
Sadashiva
232 Sakaladhishtana roopa She who is the basis of all
establishments
233 Sathya roopa She who is the
 personification of truth
234 Samaa krithi She who treats everybody
equally
235 Sarva prapancha nirmathri She who has made the
universe
236 Samanadhika varjitha She who is incomparable
237 Sarvothunga She who is the greatest
among all
238 Sanga hina She who does not have
attachments
239 Saguna She who has all the good
qualities
240 Sakaleshtada She who gives all that is
desired
241 Kakarini She who sounds like the
alphabet “ka”
242 Kavya lola She who enjoys poetry
243 Kameshwara manohara She who steals the mind of
Shiva
244 Kameswara prana nadi She who is the ultimate
influencer of the soul of Shiva
245 Kameshoth sanga vasini She who sits on the left lap of
Shiva
246 Kameshawara alingathangi She who is embraced by
Shiva
247 Kameshwara sukha pradha She who gives pleasure to
 Shiva
248 Kameshwara pranayini She who is the love of Shiva
249 Kameshwara vilasini She who pleases Shiva
250 Kameshwara thapa siddhi She who is the result of
penance done by Shiva
251 Kameshwara mana priya She who is most dear to Shiva
252 Kameshwara prana nadha She who is the ruler of the
mind of the god of Kama (the
god of love)
253 Kameshwara vimohini She who steals the mind of
Shiva
254 Kameshwara brahma vidya She who is the science of
reaching the truth as revealed
by Shiva
255 Kameshwara griheswari She who is the goddess of the
entire universe
256 Kameshwara ahladhakaree She who makes Shiva
supremely happy
257 Kameshwara maheswari She who is the supreme
goddess of Shiva
258 Kameshwari She who is being worshipped
by Shiva
259 Kama koti nilaya She who presides over the
Kamakoti peeta
260 Kamakshitharthada She who fulfils the desires of
devotees
261 Lakarini She who sounds like the
alphabet “la”
262 Labdha roopa She who has taken a form
with all good qualities
263 Labhdha di She who has knowledge of all
things
264 Labhdha vanchitha She who has all that she
desires
265 Labhdha papa mano dhoora She who is far from the reach
of sinners
266 Labhdha ahankara durghama She whom people with ego
will find difficult to reach
267 Labhdha shakthi She who gets all the powers
by her will
268 Labhdha deha She who gets a body if she
wills
269 Labdha iswarya samunnathi She who can get wealth by
her will
270 Labhdha vriddhi She who has reached the
infinite
271 Labhdha leela She who can make others
happy with her playfulness
272 Labhdha yovana shalini She who is forever young by
her will
273 Labhdahika sarvanga She who is the supreme
soundarya beauty by her will
274 Labhdha vibrama She who enchants by her
playfulness
275 Labhdha raga She who has all the feelings
276 Labhdha pathi She who has Shiva as her
husband
277 Labhdha nanagama sthithi She who leads to the
existence of scriptures
278 Labhdha bhoga She who has all kinds of
pleasures
279 Labhdha sukha She who enjoys comforts
280 Labhdha harshabhi pooritha She who is the refuge of all
happiness
281 Hrimkara moorthi She who is the
personification of hrim
282 Hrim kara soudha shringa She who is the dove who lives
kaphodhiga in the palace called hrim
283 Hrim kara durghabdhi sudha She who is the nectar
churned out from the ocean
of milk called hrim
284 Hrimkara kamalendhira She who is Goddess Lakshmi
sitting on the lotus called
hrim
285 Hrimkara mani deeparchi She who is the light of the
ornamental lamp called hrim
286 Hrimkara tharu sharika She who is the bird sitting on
the tree called hrim
287 Hrimkara petaka mani She who is the pearl locked in
a shell called hrim
288 Hrimkaradarsha bimbhidha She who is the image
reflected in the mirror called
hrim
289 Hrimkara koshashilatha She who is the shining sword
in the sheath called hrim
290 Hrimkara sthana narthaki She who is the dancer on a
stage called hrim
291 Hrimkara shukthika She who is the pearl found in
mukthamani the oyster shell called hrim
292 Hrimkara bodhitha She is hrim and hrim is She
293 Hrimkaramaya sowarna She who is the coral statue on
stambha vidhruma puthrika the shining pillars called
hrim
294 Hrimkara vedhoupanishad She who is the Upanishad
placed in the top in Vedas
called hrim
295 Hrimkara dwara dakshina She who is the dakshina
gifted to priests after they
complete a yagna called hrim
296 Hrimkara nandhanarama She who is the new divine
nava kalpaga vallari climber present in the garden
called hrim
297 Hrimkara himavath ganga She who is the river Ganga in
the Himalaya mountain
called hrim
298 Hrimkararnava kousthubha She who is the precious gem
arising from the ocean called
hrim
299 Hrimkara mantra sarvasva She who is the total wealth
churned out of the mantra
“hrim”
300 Hrimkarapara sowkhyadha She who gives all pleasures to
those who chant “hrim”
 Chapter 12

Lalita Sahasranama

In Hinduism, the names of deities are very useful tools in devotion.

Nama strotra is based on chanting various names of a deity. Usually, the
nama strotra includes 100, 108, 300 or 1000 names. The Sahasranama is a
litany of a thousand names. The Lalita Sahasranama is found in Brahmanda
Purana in the form of a discussion between Hayagreeva and sage Agasthya.
Hayagreeva is said to be a powerhouse of cosmic knowledge while Agasthya
is a pious and powerful sage. At the request of Agasthya, Hayagreeva is
believed to have taught him the thousand holiest names of Lalita.
Lalita Sahasrama is said to be the only nama stotra that does not repeat a
single name. Further, to maintain the meter, sahasranama generally uses the
artifice of adding words like tu, api, ca and hi, which are conjunctions that
do not necessarily add to the meaning of the name, except in cases of
interpretation. The Lalita Sahasranama does not use any such auxiliary
conjunctions and is unique in being an enumeration of holy names that
meets the metrical, poetical and mystic requirements of a sahasranama with
its order throughout the text.

Stotras are verses praising the deity that typically begin with a dhyana
shloka, which describes the deity and helps the devotee to bring the deity to
mind and proceed with the meditation. Sometimes there is more than one
dhyana shloka for a deity. There are three dhyana shlokas in Lalita
Sahasranama. There are three dhyana shlokas in Lalita Sahasranama.

Nyasa

Asya Sri Lalita Reciting the great mantra of Lalita

sahasranama stotra Sahasranama
mahamantrasya
Vashinyadi Vagdevata Penned by Vagdeva Rishi
rushayah
Anushtup chandah In the poetic metre of Anushtup
Shri Lalitha parameshwari Worshipping the deity of Sri Lalita
devata Parameshwari
Aim shrimad vagbhava Aim, the first kuta is Ichcha shakti of
kuteti bijam Mahatripurasundari is the bija
Klim madhya kuteti Klim, the middle kuta refers to
shaktih individual awareness
Sauh shakti kuteti Sau is the shakti kuta which also holds
kilakam the lock
Moola prakriti dhyanam Meditating on the Muladhara chakra
Sri Lalita maha With the divine grace of Sri Lalita Maha
Tripurasundari prasada Tripurasundari
siddhi dvara
Chintitah phala May all my intentions be fulfilled
avaptyarte jape viniyogah

Dhyana

Sinduraruna vigrahaam May we meditate on the Mother who

has the red hue of vermilion
Trinayanam One has three eyes
Manikyamaoli sphurat One who wears a crown studded with
precious jewels
Taranayaka shekharam One who is adorned with the crescent
moon (considered to be the chief of the
stars)
Smitamukhim One who is ever smiling
Aapinavakshoruham One who has beautiful limbs
Panibhyam alipurnaratna One whose hands hold a studded vessel
chashakam made of gold which contains nectar
Raktotpalam bibhrathim She holds in another hand a red
coloured flower
Saumyam Her beauty is incomparable
Ratna ghatasdha Like a pot containing rubies
Raktacharanam She placed her red coloured feet on this
pot
Dhyayet paramambikam Her highest and Supreme form

Arunam She is like rising sun, the colour of the

sun at dawn which is red
Karuna tarangitakshim Waves of compassion emanating from
Her eyes
Dhruta pashankusha Supported by a rope, a goad, a bow
pushpa bana chapam made of sugarcane and arrow made of
flowers
Animadibhi ravrutam She is surrounded by eight types of
mayukhai siddhis like anima
Ahamityeva vibhavaye a state of supreme happiness with beams
bhavanim of light
Dhyayet She is seated on a lotus. She has a
padmasanasdham vikasita charming face
vadanam
Padmapatrayatakshim Her eyes look like long petals of a lotus
flower
Hemabham peetavastram Golden complexioned, wearing clothes
with a gold sheen
Karakalita lasadhema holding in her hand a shining golden
padmam varangim lotus
Sarvalankara yuktam She has the most beautiful body adorned
with all types of ornaments
Satatam abhayadam Continually bestowing protection on her
bhaktanam ram bhavanim devotees
Sri vidyam shantamurtim She is in the form of mantra and tantra
sakala suranutam She is the form of tranquillity without
any agitation
Sarva sampat pradatrim Giver of all types of wealth
Sa kumkuma vilepana She is anointed with kumkum which
gives a pleasant fragrance
Adhika chumbi Towards which bees are attracted
sasturikam
Samandahasi tekshenam She looks at her devotees with a benign
smile
Sashara chapa She holds in her hands a bow and arrow
pashankusham
Ashesha jana mohinim Everybody is attracted to her
arunamalya
 Bhushanbaram She wears a red garland made out of
japakusuma bhasuram special sandal wood
Excellent ornaments adorn her body
Japavidhao smared She has the complexion like that of a
ambikam tender hibiscus flower

Meaning of the thousand names of Lalita Tripurasundari:

1 Srimata The Great Mother – this

2 Sri maha raajnee
3 Sri math simhasaneshwari
4 Chidagni kunda sambhoota
5 Deva karya samudhyatha
6 Udyath bhanu sahasrabha
7 Chathur baahu samanvitha
8 Raaga swaroopa pashaadya
9 Krodha kara ankushojvala
indicates her role in creation
She who is the empress and
takes care of the universe
(this indicates her role as
protector)
She who sits on the highest
throne made of lions
(indicating her role in
destruction)
She who is born from the fire
of consciousness
She who is always ready to do
divine work
She who shines like a
thousand suns
She who has four arms
She who wields the rope of
passions
She whose anger is
 represented by the metal
hook in one of her right
hands
10 Mano rupeskhu kodanda She whose mind is sweet like
a sugar cane, which is held
like a bow
11 Pancha tan mathra saayaka She who has five arrows of
touch, smell, hearing, taste
and sight
12 Nijaruna prabha poora She who immerses the
majjath universe in red colour like the
brahmanda mandala sun at dawn

13 Champakashoka punnaga She whose hair is adorned

sowgandhika lasath kacha with flowers like champaka,
punnaga and sowgandhika
14 Kuru vinda mani shreni She whose crown glitters with
kanath kotira mandita rows of inlaid precious stones
15 Ashtami chandra vibhraja She who has a beautiful
dhalika sthala shobhita forehead like the halfmoon
(visible on eighth day from
new moon)
16 Muka chandra kalankabha She who has the tilak (dot) of
mriganabhi visheshaka musk on her forehead which
appears like a blemish on the
moon
17 Vadana smara mangalya She who has eyebrows arched
griha thorana chillika like auspicious flower
decorations in a festive house
18 Vakthra lakshmi parivaha She who has beautiful eyes
chalan which look like two fish in
meenabha lochana the pond

19 Nava champaka pushpabha She whose nose shines like a

naasa danda virajita freshly opened flower of
champaka
20 Tara kanthi thiraskaari She who has a nose ring
naasabharana bhaasura which shines like a star
21 Kadamba manjari kluptha She whose ears are adorned
karna poora manohara with kadamba flowers
22 Taatanka yugali bhootha She who wears the sun and
tapanodupa mandala the moon as ear studs
23 Padma raaga shila darsha She whose cheeks shine more
pari bhavi kapolabhu than a mirror made of
precious gems
24 Nava vidruma bimba sri She whose lips are like
nyakkari dashana chhada beautiful new corals
25 Shuddha vidyankoorakara She whose teeth shine like
dwija pankthi dwayojjvala two lines of the brahmanas
(the purest knowledge)
26 Karpoora veeti kamodha She who gives out the
samaakarsha diganthara fragrance of camphor or
incense
27 Nija sallapha madhurya She whose voice is sweeter
vinirbharsitha kacchaphi than the sounds of Saraswati’s
veena
28 Mandasmitha prabha poora She whose lovely smile leads
majjat kamesha maanasa the mind to dive into a river

29 Anaakalitha saadrushya
chubuka sree virajitha
30 Kamesha baddha mangalya
sutra shobitha kandhara
31 Kanakangadha keyura
kamaniya bujhanvitha
32 Rathna graiveya chinthaka
lola mukta phalanvitha
33 Kameswara prema rathna
mani prathi pana sthani
34 Nabhyala vala romali latha
phala kucha dwayi
35 Lakshya roma latha dharatha
samunneya madhyama
36 Sthana bhara dalam madhya
patta bhandha valithraya
37 Arunaruna kausumba
vasthra bhaswat kati thati
38 Rathna kinkini ka ramya
rasana dhama bhooshitha
of sensuality
She who has a beautiful chin
comparable to nothing else
She who shines with the
sacred thread tied by Shiva
She who is lovely with golden
armlets
She who wears a diamond
necklace with moving pearls
She who has breasts that have
obtained the love of Shiva
She who has breasts that are
like the fruit of a creeper, like
the fine hair rising from her
belly
She whose slender waist can
only be deduced from the
fine hair raising from there
She who has a golden belt
which appears to have been
created to protect her tiny
waist from her heavy breasts
She whose red hued clothes
glow around her tiny waist
She who adorns a golden
thread below her waist,
decorated with bells made of
precious stones
39 Kamesha gnatha sowbhagya She who has tender thighs
mardaworu dwayanvitha known only to Shiva
40 Manikya mukuta kara janu She who has knee joints that
dwaya virajitha shine like a crown studded
with diamonds
41 Indra gopa parikshiptha She who has forelegs like
smarathunabha jangika Manmatha’s case of arrows,
always followed around by
fireflies
42 Kooda gulpha She who has well-rounded
ankles
43 Koorma prashta jayishnu She whose feet are shaped
prapadanvidha like the back of a tortoise
44 Nakadhi dhithi samchanna She who removes darkness
namajjana tamoguna from the mind of her
devotees by the brightness of
her nails
45 Pada dwaya prabha jala She who has two feet that are
parakrutha saroruha more beautiful than lotus
flowers
46 Sinchana mani manjira She whose anklets (filled with
manditha sri padaambuja gem stones) make a
melodious sound
47 Maraali manda gamana She who has the gait of a
swan
48 Maha lavanya shewadhi She who is the treasure house
of beauty
49 Sarvaruna She who is golden red in all
her aspects
50 Navadyangi She who has faultless limbs
51 Sarva abharana bhooshita She who is adorned with all
ornaments
52 Shivakameswar ankastha She who sits on the lap of
Shiva
53 Shiva She who is the
personification of Shiva
54 Swadheena vallabha She who has her husband
under her control
55 Sumeru madhya shring hasta She who lives at the centre of
the peak of Mount Meru
56 Sriman nagara nayika She who is the chief of the
city of Srinagara
57 Chintamani grihantastha She who lives in the wish
fulfilling house
58 Pancha brahmasana sthitha She who sits on the five
aspects of brahman
59 Maha padma tavee samstha She who lives in the lotus-
coloured forest
60 Kadamba vana vasini She who lives in the forest of
kadamba
61 Sudha sagara madhyastha She who lives amid an ocean
of nectar
62 Kamakshi She who fulfils desires by her
 sight
63 Kaamadaayinee She who grants what is
desired
64 Devarshi gana sangatha She who has all the qualities
stuyamanathma vaibhava fit to be worshipped by sages
and devas
65 Bhandasura vadodyuktha She who assembled an army
shakthi sena samanvitha to kill demon Bhandasura
66 Sampathkari samarooda She who is surrounded by the
sindhoora vrija sevitha wealth increasing elephant
brigade
67 Ashwarooda disthi tashwa She who is surrounded by
koti koti biravrutha millions of horse riders
68 Chakra raja ratha rooda She who rides the Sri Chakra
sarvayudha parishkritha chariot with all weapons
69 Geya chakra ratha rooda She who rides in the Sri
mantrini pari sevitha Chakra chariot with the
goddess of music
70 Kiri chakra radha rooda She who rides in the Sri
danda natha puraskrutha Chakra chariot accompanied
by the boar-faced goddess
71 Jwalamalini kaakashiptha She who resides in fort of fire
vahani prakara madhyaka built by the Goddess
Jwalamalini
72 Bhanda sainya vadhodyuktha She who was pleased by the
shakthi vikrama harshitha various Shaktis who helped in
killing the army of
Bhandasura
73 Nithya parakramatopa
nireekshana samutsuka
74 Bhanda puthra vadodyukta
balavikrama nandita
75 Manthrinyamba virachitha
vishanga vadha toshitha
76 Vishukra praanaharana
vaaraahi veerya nandita
77 Kameshwara mukhaloka
kalpitha sri Ganeshwara
78 Mahaganesha nirbhinna
vigna yantra praharshitha
79 Bhanda surendra nirmuktha
sashtra prathyasthra varshini
80 Karanguli nakhothpanna
narayana dashakriti
She who is eager to see the
gods who await the dawn
every day to show their
valour
She who was pleased by the
valour of Bala Devi who
destroyed the sons of
Bhandasura
She who was delighted at
seeing Goddess Manthrini
kill Vishanga (brother of
Bhandasura)
She who appreciates the
valour of Varahi in killing
Vishuka (another brother of
Bhandasura)
She who created Lord
Ganesha by merely looking at
the face of Shiva
She who is overjoyed at
seeing Lord Ganesha destroy
the Vigna Yantra created by
Vishuka
She who rained arrows to slay
Bhandasura
She who created the ten
forms of Narayana from the
tip of her nails
81 Maha paashupathasthragni She who destroyed the army
nirdagdhasura sainika of asuras with the great arrow
of Pashupatha
82 Kameshwarasthra nirdagdha She who destroyed
sabandasura shunyaka Bhandasura and his city of
Shunyaka with the arrow of
Shiva
83 Brahmopendra mahendradhi She who is worshipped by
deva samsthutha vaibhava Lord Brahma Vishnu, Indra
and other devas
84 Hara nethragni sandagdha She who brought back to life
kama sanjeevanoushadi with Sanjeevini, the God of
love, who was burnt to ashes
by the fire from the third eye
of Shiva
85 Srimad vagbhava kootaika She whose flower-like face is
swaroopa mukha pankaja the residence of the goddess
of Speech
86 Kantaadha kati paryantha She whose body from neck to
madhya koota swaroopini hips represents the middle
world
87 Shakti kootaika taapanna She whose body below the
katyatho bhaga dharini womb represents Shakti
88 Moola mantrathmika She who is the soul of all
mantras
89 Moola koota thraya She whose body stands for
kalebhara the three forms of the
Supreme source
90 Kulamruthaika rasika She who enjoys drinking the
nectar flowing from the
moon on an auspicious day
91 Kula sanketha palini She who protects conventions
of families
92 Kulangana She who is the noblest in the
family
93 Kulantastha She who is the highest in the
family
94 Kaulini She who is nobly born
95 Kula yogini She who is the family goddess
96 Akula She who is beyond family
97 Samayantastha She who is the ultimate
aspect of time
98 Samayachara tatpara She who is devoted to time
honoured traditions
99 Muladharaika nilaya She who resides in the
Muladhara Chakra
100 Brahma granthi vibhedini She who breaks the knot of
Brahma
101 Manipurantharudita She who emerges in the
Manipuraka Chakra
102 Vishnu grandhi vibedhini She who breaks the knots of
Vishnu
103 Ajna chakranthar alastha She who lives at the centre of
the Ajna Chakra
104 Rudra grandhi vibhedini She who breaks knot of Shiva
105 Sahasrarambhujarooda She who ascends/floats on the
thousand petaled lotus
106 Sudha sarabhi varshini She who pours out streams of
nectar
107 Tatillatha samaruchi She who is like a flash of
lightning
108 Shad chakropari samstitha She who resides above the six
chakras
109 Maha shakti She who is attached to the
union of Shiva and Shakti
110 Kundalini She who is in the form of a
coiled serpent
111 Bisa tanthu taniyasi She who is delicate as a lotus
fiber
112 Bhavani She who is the wife of Shiva
113 Bhavanagamya She who can be attained
through imagination
114 Bhavaranya kutarika She who is like the axe used
to clear the jungle of samsara
115 Bhadrapriya She who is the giver of
auspicious things
116 Bhadramurthi She who is the embodiment
of all things auspicious
117 Bhakta saubhagya dayini She who confers prosperity
on her devotees
118 Bhakthi priya She who is pleased by
devotion
119 Bhakthi gamya She who can be attained by
devotion
120 Bhakthi vashya She who can be won over by
devotion
121 Bhayapaha She who dispels fear
122 Shambhavi She who is married to Shiva
123 Sharadharadya She who is worshipped by
Sharada (the goddess of
speech)
124 Sharvani She who is the consort of
Shiva
125 Sharmadayini She who confers happiness
126 Shaankari She who is the consort of
Shiva
127 Shreekari She who is the source of all
abundance
128 Saadhvi She who is pure and chaste
129 Sharat chandra nibhanana She who has a face like moon
in the autumn
130 Shatho dari She who has a soft waist
131 Shanthimati She who personified peace
132 Niradhara She who does not depend on
anyone
133 Niranjana She who is devoid of all
blemishes
134 Nirlepa She who does not have any
attachment
135 Nirmala She who is the
personification of clarity
136 Nitya She who is eternal
137 Nirakara She who has no form
138 Nirakula She who is free from
confusion
139 Nirguna She who is without sattva,
rajas and tamas
140 Nishkala She who is indivisible
141 Shanta She who is peaceful and
serene
142 Nishkama She who does not have any
desires
143 Niruppaplava She who is imperishable
144 Nitya mukta She who is forever free from
the ties of the world
145 Nirvikara She who is free from
imperfections
146 Nishprapancha She who is beyond this world
147 Nirashraya She who does not need
shelter
148 Nitya shuddha She who is eternally
auspicious
149 Nitya buddha She who is forever wise
150 Niravadhya She who is beyond reproach
151 Nirantara She who is without barriers
152 Nishkaarana She who is without cause
153 Nishkalanka She who does not have flaws
154 Nirupadhi She who does not have any
basis
155 Nireeshwara She who has no superior
156 Neeraga She who has no desires
157 Raga madani She who suppresses desires
158 Nirmada She who is free from conceit
159 Madanasini She who destroys pride and
conceit
160 Nischintha She who is never worried
161 Nirahankara She who does not have an ego
162 Nirmoha She who is free from delusion
163 Mohanashini She who is the destroyer of
delusion
164 Nirmama She who has no selfishness
165 Mamata hanthri She who destroys selfishness
166 Nishpapa She who is sinless
167 Papa nashini She who destroys sin
168 Nishkrodha She who is devoid of anger
169 Krodha shamani She who destroys anger
170 Nir lobha She who is not greedy
171 Lobha nashini She who removes greed
172 Nissamshaya She who is free from doubt
173 Samshayagni She who dispels doubts
174 Nirbhava She who does not have birth
175 Bhava nashini She who is the destroyer of
sorrow of samsara
176 Nirvikalpa She who is unwavering and
without conflicts
177 Nirabadha She who is not disturbed by
anything
178 Nirbhedha She who is without duality
179 Bhedha nashini She who destroys all duality
180 Nirnasha She who is indestructible
181 Mrityu mathani She who is the controller of
death
182 Nishkriya She who is free from work
183 Nishparigraha She who does not accept
anything from others
184 Nisthula She who is incomparable
185 Nila chikura She who has shining black
 hair
186 Nirapaya She who is never destroyed
187 Nirathyaya She who cannot be
transgressed
188 Durlabha She who is not easy to obtain
189 Durgama She who is difficult to
approach
190 Durga She who is the virgin
Goddess Durga
191 Dukha hanthri She who destroys sorrows
192 Sukha prada She who gives pleasures and
happiness
193 Dushta doora She who keeps away from evil
194 Durachara shamani She who destroys evil
practices
195 Dosha varjitha She who is devoid of
impurities
196 Sarvagnya She who knows everything
197 Saandra karuna She who is full of compassion
198 Samanadhika varjitha She who is without any equal
199 Sarvashakthimayi She who is the universal
energy
200 Sarvamangala She who is universal
auspiciousness
201 Sadgathiprada She who shows the path of
 truth
202 Sarveshwari She who is goddess of all
203 Sarvamayi She who is everywhere
204 Sarva mantra swaroopini She who is the
personification of all mantras
205 Sarva yantratmika She who is the hidden power
of all yantras
206 Sarva tantra roopa She who is also goddess of all
tantras
207 Manonmani She who is a deluder of the
mind
208 Maaheswari She who is the consort of
Shiva
209 Mahadevi She who is the consort of
Shiva
210 Mahalakshmi She who is the great Goddess
Lakshmi
211 Mridapriya She who is beloved to Shiva
212 Maharoopa She who has a huge form
213 Mahapoojya She who is worthy of being
worshipped
214 Maha pathaka nashini She who destroys mortal sins
215 Mahamaya She who is the great illusion
216 Mahasattva She who is filled with purity
217 Mahashakthi She who has great power
218 Maharathi She who gives great conjugal
bliss
219 Maha bhoga She who enjoys great
pleasures
220 Mahaiswarya She who has great wealth
221 Mahaveerya She who has great virility
222 Mahabala She who is very strong
223 Mahabuddhi She who is of superior
intellect
224 Mahasiddhi She who is supreme
attainment
225 Maha yogeshwareshwari She who is goddess of yoga
226 Mahatantra She who is the goddess of
tantra
227 Mahamantra She who is the supreme chant
228 Mahayantra She who is the most
auspicious Sri Chakra Yantra
229 Mahaasana She who sits on the highest
throne
230 Maha yaga kramaradhya She who is worthy of worship
with yagnas
231 Maha bhairava poojitha She who is worshipped by
Shiva
232 Maheshwara mahakalpa She who is witness to the
maha tandava sakshini dance of Shiva at the end of
 creation
233 Maha kamesha mahishi She who is the prime consort
of Shiva
234 Maha tripura sundari She who is the beauty of the
three cities and three worlds
235 Chathu shasti upacharadhya She who should be
worshipped with sixty-four
rituals
236 Chathu shasti kala mayi She who is well-versed with
the sixty-four arts
237 Maha chathu shasti koti She who is being worshipped
yogini gana sevitha by the sixty-four crore
yoginis
238 Manu vidya She who is the knowledge of
Manu dharma shastra
239 Chandra vidya She who is the embodiment
of lunar knowledge
240 Chandra mandala madhyaga She who is in the centre of
the moon’s sphere
241 Charuroopa She who is most beautiful
242 Charuhasa She who has a beautiful smile
243 Charuchandra kaladhara She who wears the beautiful
crescent moon
244 Charachara jagannatha She who is the lord of which
moves and that which is
immobile
245 Chakraraja niketana She who lives in the Sri
Chakra
246 Parvathi She who is the daughter of
the mountain
247 Padmanayana She who is lotus eyed
248 Padmaraga samaprabha She who shines like a Padma
raga gem
249 Panchapretasanaseena She who sits on the seat
formed by five corpses
250 Panchabrahma swaroopini She who gives form to the
five aspects of brahman
251 Chinmayi She who is pure
consciousness
252 Paramananda She who is supremely happy
253 Vignana ghanaroopini She who is the
personification of liberating
knowledge
254 Dhyana dhyathru dhyeya She who represents the
roopa subject and object of
meditation
255 Dharmadharma vivarjitha She who has transcended
justice and injustice
256 Vishwa roopa She who has an universal
form
257 Jagarini She who is always awake
258 Svapanthi She who is in a state of
 dreaming
259 Taijasathmika She who is the soul of a jiva
in the state of deep sleep
260 Suptha She who is in a state of deep
sleep
261 Prajnatmika She who is not separate from
deep sleep
262 Turya She who is in the state of
ultimate realization
263 Sarvavastha vivarjitha She who transcends all states
264 Srishtikarthri She who is the creator
265 Brahmaroopa She who is the form of
brahma
266 Gopthri She who protects
267 Govindaroopini She who has assumed the
form of Govinda
268 Samharini She who is the destroyer of
the universe
269 Rudra roopa She who assumes the form of
Shiva
270 Thirodhana kari She who conceals the reality
271 Eeshwari She who is a consort of Shiva
272 Sadashiva She who is of the form of
Sadashiva
273 Anugrahada She who gives blesses
274 Panchakrithya parayana She who is responsible for the
five universal tasks of
creation, preservation,
concealment, revelation and
destruction
275 Bhanu mandala madhyastha She who is at the centre of the
sun
276 Bhairavi She who is the consort of
Shiva
277 Bhagamalini She who controls the female
reproductive system
278 Padmasana She who sits in the lotus pose
279 Bhagavathi She who is the giver of all
abundance
280 Padmanabha sahodari She who is the sister of
Vishnu
281 Unmesha nimishotpanna She who creates and destroys
vipanna bhuvanavali worlds in the time taken to
blink her eyelids
282 Sahasra seersha vadana She who has thousands of
heads and faces
283 Sahasrakshi She who has thousands of
eyes
284 Sahasrapath She who has thousands of
feet
285 Aabrahma keeta janani She who has created all forms
of life from insects to
 Brahman
286 Varnashrama vidhayini She who created the four-fold
division of society
287 Nijajna roopa nigama She who gives orders based
on Vedas
288 Punyapunya phala prada She who grants fruit of good
and bad actions
289 Shruti seemantha The dust from whose feet is
sindhoorikritha padabjha the sindoor filling up the hair
dhoolika parting of the mother of
Vedas
290 Sakalagama sandoha shukthi She who is the pearl seated in
samputa maukthika the shell of the scriptures
291 Purushartha pradha She who fulfils the four
objects of human life –
dharma, artha, kama and
moksha
292 Poorna She who is complete
293 Bhogini She who enjoys pleasures
294 Bhuvaneshwari She who is the goddess of the
universe
295 Ambika She who is the mother of the
world
296 Anadi nidhana She who has neither
beginning nor end
297 Hari brahmendra sevitha She who is worshipped by
Vishnu, Indra and Brahma
298 Naarayani She who is female
counterpart of Narayana
299 Naada roopa She who is the form of sound
300 Nama roopa vivarjitha She who has shed all name
and form
301 Hrimkari She who is the holy syllable
hrim
302 Hrimathi She who is endowed with
modesty
303 Hrudya She who is the heart
304 Heyopadeya varjitha She who does not have
aspects which can be
accepted or rejected
305 Raja rajarchitha She who is worshipped by
king of kings
306 Raagni She who is the queen of Shiva
307 Ramya She who is pleasant
308 Rajeeva lochana She who is lotus eyed
309 Ranjani She who delights all
310 Ramani She who gives joy
311 Rasya She who is the sap of all
312 Ranath kinkini mekhala She who wears the golden
waist-band with tinkling bells
313 Ramaa She who brings good fortune
314 Raakendu vadana She who has a face like the
full moon
315 Rathi roopa She who is like the wife of
Kama
316 Rathi priya She who is the enjoyer of
conjugal bliss
317 Rakshaa kari She who protects
318 Rakshasagni She who kills demons
319 Raamaa She who is feminine
320 Ramana lampata She who enjoys romancing
her husband
321 Kaamya She who is desirable
322 Kamakala roopa She who represents the art of
sex
323 Kadamba kusuma priya She who is fond of kadamba
flowers
324 Kalyani She who is auspicious
325 Jagatikanda She who is the root of the
world
326 Karuna rasa sagara She who is an ocean of mercy
327 Kalavathi She who excels in all arts
328 Kalaalapa She who has a pleasing voice
329 Kaanta She who glitters
330 Kadambari priya She who likes the intoxicant
kadambari
331 Varada She who gives boons
332 Vama nayana She who has beautiful eyes
333 Vaaruni mada vihvala She who gets intoxicated with
the drink of happiness
334 Viswadhika She who is above the universe
335 Veda vedya She who stands for the
knowledge of Vedas
336 Vindhyachala nivasini She who lives in the
Vindhyachala mountains
337 Vidhatri She who carries the world
338 Veda janani She who is the mother of the
Vedas
339 Vishnu maya She who is the deluding
power of Vishnu
340 Vilasini She who loves pleasure and
enjoyment
341 Kshetra swaroopa She who is the
personification of the body
342 Kshetreshi She who is the goddess of the
body
343 Kshetra kshetrajna palini She who is the ruler of the
body and self
344 Kshaya vridhi vinirmuktha She who is free from growth
and decay
345 Kshetra pala samarchitha She who is worshipped by
 Shiva in an infant’s form
346 Vijaya She who is victorious
347 Vimala She who is free from
ignorance
348 Vandya She who is venerable
349 Vandaru jana vatsala She who has affection
towards all those who
worship her
350 Vaag vadhini She who excels in debates
351 Vama keshi She who has beautiful hair
352 Vahni mandala vaasini She who resides in the sphere
of fire
353 Bhakthi mat kalpa lathika She who is the wish granting
creeper
354 Pashu pasha vimochani She who releases living
beings from bondage
355 Samhrutha sesha pashanda She who destroys people who
have no faith
356 Sadachara pravarthika She who makes things
happen through good
conduct
357 Taapathrayagni santhapta She who is like moonshine
samahladana chandrika and suffers the three fires
358 Taruni She who is eternally young
359 Tapasa aradhya She who is worshipped by
sages
360 Tanu madhya She who has a slender waist
361 Tamopaha She who removes tamas guna
362 Chithi She who is pure
consciousness
363 Tatpada lakshyartha She who is the embodiment
of truth
364 Chideka rasa roopini She who is the nature of pure
intellect
365 Swathmananda lavibhootha She who makes the bliss of
brahmadya ananda santhathi Brahma look insignificant in
comparison to her own
366 Paraa She who transcends all
367 Pratyak chithi roopa She who is the nature of the
unmanifested consciousness
368 Pashyanti She who is the second level of
sound after para
369 Paradevatha She who gives power to gods
370 Madhyama She who represents mental
speech, verbalized but
unspoken (internal
monologues)
371 Vaikhari roopa She who is sound in an
audible form
372 Bhakta manasa hamsika She who is like a swan in the
lake of the mind
373 Kameshwara prana nadi She who is the essence of
 Shiva
374 Kruthagna She who commands all
actions
375 Kama poojitha She who is worshipped by the
god of love
376 Shringara rasa sampoorna She who is full of the passion
of love
377 Jayaa She who is the
personification of victory
378 Jalandhara sthitha She who is on the seat of
learning
379 Odyana peetha nilaya She who resides in a
prescribed order
380 Bindu mandala vaasini She who lives in the dot at the
centre of the Sri Chakra
381 Raho yaga kramaradhya She who can be worshipped
by secret tantra rituals
382 Rahastarpana tarpitha She who is gratified by the
secret rites of worship
383 Sadya prasadini She who bestows her grace
instantly
384 Vishwa sakshini She who is the witness to the
universe
385 Sakshi varjitha She who does not have a
witness for herself
386 Shadanga devatha yukta She who has six deities as
 body parts
387 Shadgunya paripooritha She who is endowed with six
qualities of wealth, bravery,
fame, wisdom, prosperity and
dispassion
388 Nitya klinna She who is always
compassionate
389 Nirupama She who is without
comparison
390 Nirvana sukhadayini She who gives the bliss of
liberation
391 Nitya shodashika roopa She who is of the form of
sixteen goddesses
392 Srikanthardha sareerini She who occupies half the
body of Shiva
393 Prabhavathi She who is effulgent
394 Prabha roopa She who personifies light
395 Prasiddha She who is famous
396 Parameshwari She who is the ultimate
goddess
397 Mulaprakrithi She who is of primordial
nature
398 Avyaktha She who is unmanifested
399 Vykta avyakta swaroopini She who is visible and
invisible
400 Vyapini She who is all-pervading
401 Vividhakara She who has several forms
402 Vidya avidya swaroopini She who is both knowledge as
well as ignorance
403 Maha kamesha nayana She who is the moonlight
kumuda ahladha kaumudi that opens the lotus like eyes
of Shiva
404 Bhaktha hardha tamo bedha She who is like sun rays that
bhanu mat bhanu santhathi remove the darkness from the
minds of devotees
405 Shivaduti She who is a messenger of
Shiva
406 Shivaradhya She who is worshipped by
Lord Shiva
407 Shivamoorthi She who is of the form of
Lord Shiva
408 Shivankari She who is the cause of the
auspiciousness
409 Shivapriya She who is dear to Shiva
410 Shivapara She who is dedicated to none
other than Shiva
411 Shishteshta She who is of virtuous
conduct
412 Shishta poojitha She who is being worshipped
by the virtuous
413 Aprameya She who cannot be measured
414 Swaprakasha She who has her own lustre
415 Mano vachama gochara She who is beyond the mind
and speech
416 Chichchakti She who is the power of
consciousness
417 Chethanaroopa She who is dynamic
418 Jada shakthi She who is static energy
419 Jadathmika She who is the hidden power
of inert matter
420 Gayathri She who is the Gayathri
mantra
421 Vyahruthi She who is the nature of
utterance
422 Sandhya She who is the twilight
423 Dwija brinda nishewitha She who is being worshipped
by the twice born
424 Tattvasana She who is seated on the
principles of creation
425 Tat She who is “that” or the
supreme truth
426 Twam She who is us
427 Ayee She who is the mother
428 Pancha koshanthara sthitha She who is in the five bodily
sheaths
429 Nisseema mahima She who is limitless
430 Nithya yauvana She who is eternally young
431 Mada shalini She who shines by her
exuberance
432 Madha ghurnitha rakthakshi She who has red eyes, rolling
with rapture
433 Madha patala gandabu She who has cheeks that are
red with rapture
434 Chandana drava dhigdhangi She whose body is smeared
with sandal paste
435 Chaampeya kusuma priya She who likes the flowers of
champaka tree
436 Kushala She who is skillful
437 Komalaakara She who has soft beautiful
form
438 Kuru kulla She who is of the form of
Goddess Kurukulla
439 Kuleshwari She who is the goddess for
the clan
440 Kula kundalaya She who is the power of the
Kundalini
441 Kaula marga tat para sevitha She who is being worshipped
by those devoted to Kaula
tradition
442 Kumara gana nathambha She who is the mother to
Ganesha and Subramanya
443 Tushti She who is the
personification of happiness
444 Pushti She who is the
personification of health
445 Mathi She who is the
personification of wisdom
446 Drithi She who is the
personification of fortitude
447 Shanti She who is peaceful
448 Svasthimati She who always keeps herself
fit
449 Kanti She who is the
personification of light
450 Nandini She who gives delight
451 Vigna nashini She who removes obstacles
452 Tejovati She who shines
453 Trinayana She who has three eyes of
sun, moon and fire
454 Lolakshi kama roopini She who is the passion in the
roving eyes
455 Malini She who wears a garland
456 Hamsini She who is surrounded by
swans
457 Mata She who is the mother
458 Malayachala vasini She who lives in the Malaya
mountain
459 Sumukhi She who has a pleasant face
460 Nalini She who is tender
461 Subru She who has beautiful
eyebrows
462 Shobhana She who brings lustre to
things
463 Sura nayika She who is the leader of gods
464 Kalakanti She who is the consort of
Shiva
465 Kanthimati She who has lustre
466 Kshobhini She who creates upheaval in
the mind
467 Sukshma roopini She who is subtle
468 Vajreshwari She who is the goddess of
diamonds
469 Vamadevi She who is the consort of
Shiva
470 Vayovastha vivarjitha She who does not change
with age
471 Siddeshwari She who is the goddess of
supernatural powers
472 Siddha vidya She who has knowledge of
siddhas
473 Siddha mata She who is the mother of
siddhas
474 Yashaswini She who is unequalled in
renown
475 Vishudhi chakra nilaya She who resides in the
Vishuddha Chakra
476 Rakthavarna She who is of a rosy
complexion
477 Trilochana She who has three eyes
478 Khadvangadhi praharana She who strikes with a sword
479 Vadanaika samanvitha She who has only one face
(no deceptions)
480 Payasanna priya She who likes sweet rice
481 Thvakstha She who is the presiding deity
of skin or the sense of touch
482 Pashu loka bhayankari She who invokes fear in the
mind of the ignorant
483 Amruthadi maha shakti She who is surrounded by the
samvritha maha shaktis
484 Dakineeshwari She who is goddess of death
485 Anahathabja nilaya She who lives in the Anahata
chakra
486 Shyamabha She who is black in colour
487 Vadanadwaya She who has two faces
(pleasant and unpleasant)
488 Damshtrojwala She who has fang-like teeth
489 Aksha maladhi dhara She who wears a rosary of
rudraksh beads
490 Rudhira samsthida She who abides in the blood
 stream of beings
491 Kalarathryadhi shakt She who is surrounded by
yogavritha Shaktis like Kalarathri and
others
492 Snigdhaudana priya She who likes oily foods
493 Maha veerendra varadha She who grants boons to
great kings who worship her
494 Rakinyambha swaroopini She who is the form of Rakini
495 Manipoorabja nilaya She who abides in the
Manipura chakra
496 Vadanatraya samyutha She who has three faces
(Saraswati, Lakshmi and
Parvathi)
497 Vajradhikayudhopetha She who has weapons like
Vajrayudha
498 Damaryadhibhi ravrutha She who is surrounded by
goddesses like Damari
499 Rakta varna She who is of the colour of
blood
500 Mamsa nishta She who is found in the flesh
as energy
501 Gudanna preetha manasa She who likes a sweet rice
preparation
502 Samastha bhaktha sukhadha She who gives pleasure to all
her devotees
503 Lakinyambha swaroopini She who is famous in the
 form of “Lakini”
504 Swadhishtanambujagatha She who lives in the
Swadisthana Chakra
505 Chathur vakthra manohara She who has four beautiful
faces
506 Shuladyudha sampanna She who has a spear as her
weapon
507 Peetha varna She who is of golden colour
508 Athigarvitha She who is very proud
509 Medhonishta She who can be found in the
fatty layers of the body as
energy
510 Madhu preetha She who likes honey
511 Bandinyadhi samanvitha She who is accompanied by
the Bandini shaktis
512 Dadhyanna saktha hridhaya She who likes curd rice
513 Kakini roopa dharini She who takes the form of
“Kakini”
514 Muladarambujarudha She who resides in the
Muladhara Chakra
515 Pancha vakthra She who has five faces
516 Sthithi samsthitha She who is in the bones as
marrow
517 Ankushadi praharana She who holds a weapon
called the Ankusha
518 Varadaadi nishevitha She who is surrounded by
Varada and other goddesses
519 Mudgau danasaktha chitta She who likes food that
contains green gram dal
520 Sakinyambha swaroopini She who is in the form of
“Sakini”
521 Ajna chakrabja nilaya She who resides in the Ajna
chakra
522 Shukla varna She who is fair complexioned
523 Shadanana She who has six faces
524 Majja samstha She who located in the bone
marrow
525 Hamsavathi mukhya shakthi She who is surrounded by
samanvitha Shaktis such as Hamsavathi
526 Haridrannaika rasika She who likes rice mixed with
turmeric
527 Hakini roopa dharini She who has the form of
“Hakini”
528 Sahasra dala padmastha She who resides in the
Sahasrara chakra
529 Sarva varnopi shobitha She who shines in all colours
530 Sarvaayudha dhara She who is armed with all
weapons
531 Shukla samsthitha She who is in the semen
532 Sarvathomukhi She who has faces
everywhere
533 Sarvoudhana preetha chittha She who likes all types of rice
534 Yakinyambha swaroopini She who takes the form of
“yakini”
535 Swaha She who is the
personification of the offering
mantra “swaha”
536 Svadha She who is the offering made
to each god
537 Amathi She who is mind-less
538 Medha She who is brilliant
539 Shruthi She who is the Vedas
540 Smriti She who is the guide to the
Vedas
541 Anuthama She who is excellent
542 Punya keerthi She who is famous for good
deeds
543 Punya labhya She who can be attained by
good deeds
544 Punya shravana keerthana She who gives abundantly to
those who listen and sing
about her
545 Pulomajarchidha She who is worshipped by the
wife of Indra
546 Bandhamochini She who releases from
bondage
547 Barbaralaka She who has forelocks which
resembles waves
548 Vimarsha roopini She who is the reflection
549 Vidya She who is learning
550 Viyadhadi jagatprasu She who created the earth
and the sky
551 Sarva vyadhi prashamani She who cures all diseases
552 Sarva mrutyu nivarini She who prevents all types of
deaths
553 Agraganya She who is the foremost of all
554 Achintyaroopa She who is beyond thought
555 Kali kalmasha nashini She who destroys evils of the
dark age
556 Kathyayini She who is Kathyayini
557 Kala hanthri She who dissolves time
558 Kamalaksha nishevitha She who is worshipped by the
lotus-eyed Vishnu
559 Tamboola poorita mukhi She whose mouth is filled
with betel leaves and betel
nut
560 Daadimi kusuma prabha She whose colour is like that
of the pomegranate bud
561 Mrigakshi She who has eyes like deer
562 Mohini She who bewitches
563 Mukhya She who is the main one
564 Mridani She who gives pleasure
565 Mitra roopini She who is of the form of sun
566 Nitya Trupta She who is always content
567 Bhakta Nidhi She who is the treasure of her
devotees
568 Niyanthri She who controls
569 Nikhileswari She who is goddess of
everything
570 Maitryadhi vasana labhya She who can be attained by
habits such as friendship
571 Mahapralaya sakshini She who is a witness to the
great deluge
572 Parashakthi She who is the absolute
energy
573 Paranishta She who is absorbed in the
transcendent
574 Pragyana ghana roopini She who is the
personification of all superior
knowledge
575 Madhavipana lasaa She who enjoys the
intoxicating drink Madhavi
576 Mata She who is inebriated
577 Mathrika varna roopini She who represents the
syllable “Aa”
578 Maha kailasa nilaya She who resides in Kailasa
579 Mrinala mrudhu dhorllatha She who has arms as tender
as a lotus stalk
580 Mahaneeya She who is fit to be venerated
581 Daya moorthi She who is the
personification of mercy
582 Maha samrajya shalini She who is the chief of all the
worlds
583 Atmavidya She who is the knowledge of
the soul
584 Mahavidya She who is the great
knowledge
585 Srividya She who is the knowledge of
the Mother Goddess
586 Kama sevitha She who is worshipped by/as
the God of love
587 Sri shodasakshari vidya She who is the knowledge of
sixteen lettered mantra
588 Trikuta She who is the mountain with
three peaks
589 Kama kotika She who sits on Kama Koti
peetha
590 Kataksha kimkari bhootha She who is attended to by a
kamala koti sevitha multitude of goddesses who
yearn for her glance
591 Shira sthitha She who is in the head
592 Chandra nibha She who is like the full moon
593 Phalasthendra She who is in the forehead of
Indra
594 Dhanu prabha She who is like the rainbow
595 Hridayastha She who is in the heart
596 Ravi pragya She who has the lustre of the
sun
597 Trikonanthara deepika She who is like light in a
triangle
598 Dakshayani She who is the daughter of
Daksha
599 Daitya hanthri She who kills the demons
600 Daksha yagna vinashini She who destroys the sacrifice
conducted by Daksha
601 Darandolitha deergakshi She who has long eyes that
move gently
602 Darahasojwalanmukhi She who has a face that shines
with her smile
603 Guru moorthi She who is the form of a
teacher
604 Gunanidhi She who is the treasure house
of good qualities
605 Gomatha She who is the mother cow
606 Guhajanmabhu She who is the mother of
Subramanya
607 Deveshi She who is the ruler of gods
608 Danda neetistha She who judges and punishes
609 Daharakasha roopini She who is of the form of
wide sky
610 Prathi panmukhya rakantha She who is worshipped on all
tithi mandala poojita the fifteen days, from new
moon to full moon
611 Kalathmika She who is the soul of all arts
612 Kala natha She who is a supporter of all
arts
613 Kavya labha vimodhini She who enjoys poetry
614 Sachamara rama vani savya She who is being fanned by
dakshina sevitha Lakshmi, the goddess of
wealth and Saraswathi, the
goddess of knowledge
615 Adishakthi She who is the primeval force
616 Ameya She who cannot be measured
617 Atma She who is the soul
618 Parama She who is supreme
619 Pavana kriti She who is of sacred form
620 Aneka koti brahmanda She who is the mother of
janani several billions of universes
621 Divya vigraha She who has a divine form
622 Klim karee She who is the shape of
“Klim”
623 Kevala She who is she herself
624 Guhya She who is to be known in
secret
625 Kaivalya pada dayini She who grants redemption
626 Tripura She who lives in the three
aspects
627 Trijagat vandya She who is worshipped by the
three worlds
628 Trimurti She who is the three aspects
of the Supreme Being
629 Tridasheshwari She who is the goddess for all
gods
630 Tryakshari She who is of the form of
three syllables (A, U, M)
631 Divya gandhadya She who has a godly smell
632 Sindura thila kanchita She who wears the red dot on
her forehead
633 Uma She who is in Om
634 Shailendra thanaya She who is the daughter of
the king of mountains
635 Gowri She who has a fair
complexion
636 Gandharva sevitha She who is attended by
Gandharvas
637 Vishwa garbha She who is the womb of the
universe
638 Swarna garbha She whose womb is golden
639 Avarada She who punishes the
ignorant
640 Vagadeeshwari She who is the goddess of
speech
641 Dhyanagamya She who can be attained by
meditation
642 Aparichedya She whose whereabouts
cannot be ascertained
643 Jnaanada She who gives out knowledge
644 Jnana vigraha She who is the
personification of knowledge
645 Sarva vedanta samvedya She who can be known by all
Upanishads
646 Satyananda swaroopini She who is the
personification of truth and
bliss
647 Lopamudrarchitha She who is worshipped by
Lopa Mudhra, the wife of
Agastya
648 Leela klupta brahmanda She who creates different
mandala universes by simply playing
649 Adrishya She who cannot be seen
650 Drishya rahitha She who is without the visible
651 Vignathree She who knows all sciences
652 Vedya varjitha She who does not need to
learn anything
653 Yogini She who is the
personification of yoga
654 Yogadha She who gives knowledge and
experience of yoga
655 Yogya She who is worthy of
practicing yoga
656 Yogananda She who is the bliss arising
from yoga
657 Yugandhara She who upholds the ages
658 Icchashakthi gnanashakthi She who embodies the power
kriyashakthi swaroopini of intention, knowledge and
actions
659 Sarvaadhara She who is the support to all
660 Supratishta She who is well-established
661 Sadasadroopa dharini She who assumes both true
and false aspects
662 Ashta moorthi She who has eight forms
663 Ajajaithree She who has won over
ignorance
664 Loka yatra vidahyini She who sets the world in
motion
665 Ekakini She who is alone
666 Bhooma roopa She who is the aggregate of all
existing things
667 Nirdvaitha She who is without the sense
of duality
668 Dvaitha varjitha She who is beyond duality
669 Annada She who gives food
670 Vasuda She who gives wealth
671 Vriddha She who is ancient
672 Brahmatmaikya swaroopini She who merges herself with
the Brahman
673 Brihathi She who is big
674 Brahmani She who is the female aspect
of Brahman
675 Brahmi She who is the consort of
Brahma
676 Brahmananda She who is the ultimate
happiness
677 Bali priya She who likes sacrificial
offerings
678 Bhasha roopa She who is the
personification of language
679 Brihatsena She who has a big army
680 Bhavabhava vivarjitha She who transcends birth or
death
681 Sukharadhya She who can be worshipped
with pleasure
682 Shubhakari She who makes everything
auspicious
683 Shobhana sulabha gathi She who is beautiful and easy
 to attain
684 Raja rajeshwari She who is a goddess to the
kings
685 Rajya dayini She who gives away
kingdoms
686 Rajya vallabha She who protects all
kingdoms
687 Rajat krupa She whose compassion
captivates all
688 Raja peetha niveshitha She who makes those kings
nijashritha who take refuge in her
689 Rajya lakshmi She who is the wealth of the
kingdoms
690 Kosha nadha She who protects the
treasures
691 Chathuranga baleswari She who commands armies
of four types
692 Samrajya dayini She who is the bestower of
empires
693 Sathya sandha She who is devoted to the
truth
694 Sagara mekhala She who is surrounded by
oceans
695 Deekshita She who is under a vow
696 Daithya shamani She who suppresses the
wicked forces
697 Sarvaloka vasamkari She who keeps all the worlds
under her control
698 Sarvartha daatri She who gives all wealth
699 Savitri She who is the creative power
of the universe
700 Sachidananda roopini She who is of the nature of
existence, consciousness and
bliss
701 Deshakala parichinna She who is not subjected to
divisions of time and space
702 Sarvaga She who is everywhere and in
all things
703 Sarvamohini She who bewitches all
704 Saraswathi She who is the goddess of
knowledge
705 Shastra mayi She who is the source of the
shastras
706 Guhamba She who abides in the cave of
the heart
707 Guhya roopini She whose form is hidden
708 Sarvo padhi vinirmuktha She who is free from all
conditions
709 Sadashiva pativrata She who is a devoted wife of
Shiva
710 Sampradhaeshwari She who is a goddess of
rituals and traditions
711 Sadhvi She who is innocent and
gentle
712 Ee She who is the alphabet “e”
713 Guru mandala roopini She who is a form of the
sphere of teachers
714 Kulotirna She who is beyond the senses
715 Bhagaradhya She who is to be worshipped
in the suns disc
716 Maya She who is illusion
717 Madhumathi She whose nature is sweet as
honey
718 Mahi She who is the
personification of earth
719 Ganamba She who is mother to Shiva’s
attendants
720 Guhyakaradhya She who is worshipped by the
Guhyakas
721 Komalangi She who has beautiful limbs
722 Guru priya She who likes teachers
723 Swatantra She who is independent
724 Sarva tantreshi She who is a master of all
Tantra
725 Dakshinamoorthi roopini She who is the
personification of Shiva
726 Sanakadhi samaradhya She who is being worshipped
 by Sanaka and other sages
727 Siva jnana pradhayini She who gives the knowledge
of Shiva
728 Chit kala She who is creative
consciousness
729 Anandakalika She who is the source of bliss
730 Prema roopa She who is the form of love
731 Priyamkaree She who does what she likes
732 Nama parayana preeta She who likes repetition of
her various names
733 Nandi vidya She who is the knowledge
taught by the bull god on
whom Shiva rides
734 Nateshwaree She who is the goddess of
dance
735 Mithya jagadadhishthana She who is established in this
world of illusion
736 Mukthida She who gives redemption
737 Mukti roopini She who is redemption
738 Lasya priya She who likes dance
739 Laya karee She who is the cause of
musical melody
740 Lajja She who is shy
741 Rambhadhi vandhita She who is worshipped by the
celestial dancers
742 Bhavadhava sudha vrishti She who comforts mortal
beings
743 Paparanya davanala She who is the fire that
destroys the forest of sin
744 Daurbhagya tulavathula She who is the cyclone that
blows away the strands of bad
luck
745 Jaradhvantha ravi prabha She who is the sunshine that
swallows the darkness of old
age
746 Bhagyabdhi chandrika She who is like the full moon
to the ocean of luck
747 Bhaktha chitta keki She who is to the devotees
ghanagana mind what a dark cloud is to
a peacock
748 Roga parvatha dambhola She who is the weapon of
lightning to a mountain of
sickness
749 Mrutyudaru kutharika She who is like the axe which
fells the tree of death
750 Maheswaree She who is the greatest
goddess
751 Maha kali She who is the great Kali
752 Maha grasa She who is a great devourer
753 Mahashana She who is the great eater
754 Aparna She who owes no debt
755 Chandika She who is angry
756 Chandamundasura She who killed Chanda,
nishudhini Munda and other demons
757 Kshara aksharathmika She who is both perishable
and imperishable
758 Sarva lokeshi She who is the ruler of all
worlds
759 Vishwa dharini She who supports all the
universe
760 Trivarga dathri She who gives the three goals
of life – dharma, prosperity
and pleasure
761 Shubhaga She who is the giver of all
auspiciousness
762 Tryimbaka She who has three eyes
763 Trigunaathmika She who represents the three
gunas
764 Swargapavargada She who gives heaven and
liberation
765 Shuddha She who is clean
766 Japapushpa nibhakrithi She who has the colour of
hibiscus
767 Ojovati She who is full of vigour
768 Dyuthidhara She who is the supporter of
light
769 Yagna roopa She who is of the form of
 sacrifice
770 Priyavrita She who likes penances
771 Duraradhya She who is not easily
attainable
772 Duradarsha She who is difficult to be seen
773 Patali kusuma priya She who likes the buds of
patali tree
774 Mahati She who is great
775 Meru nilaya She who lives in Mount Meru
776 Mandara kusuma priya She who likes the buds of
mandhara plant
777 Veeraradhya She who is worshipped by
heroes
778 Virad roopa She who a universal form
779 Viraja She who does not have any
impurities
780 Viswathomukhi She who faces all directions
781 Prathyag roopa She who can be found by
looking inside oneself
782 Parakasha She who is the great sky
783 Pranada She who gives life breath
784 Prana roopini She who is the form of the life
breath
785 Martanda bhairavaaradhya She who is worshipped by
Martanda Bhairava
786 Mantrini nyashtha rajyadhu She who gave Mantrini the
kingdom to rule
787 Tripureshi She who is the head of three
cities
788 Jayatsena She whose army always wins
789 Nistrai gunya She who is free from the
three qualities
790 Parapara She who is transcendental
and immanent
791 Satya jnanananda roopa She who is truth, knowledge
and bliss
792 Samarasya parayana She who stands in peace
793 Kapardini She who is the wife of Shiva
794 Kalamala She who wears the arts as
garlands
795 Kamadhukh She who is the wish fulfilling
cow
796 Kama roopini She who gives shape to
desires
797 Kala nidhi She who is the treasure of the
arts
798 Kavya kala She who is the art of writing
799 Rasajna She who knows all the rasas
800 Rasa shevadhi She who is the treasure of
rasas
801 Pushta She who is healthy
802 Puratana She who is ancient
803 Pujya She who is worthy of worship
804 Pushkara She who gives nourishment
805 Pushkarekshana She who has lotus like eyes
806 Paramjyothi She who is the supreme light
807 Param dhama She who is the supreme
abode
808 Paramanu She who is the subtlest
particle
809 Parath para She who is better than the
best
810 Pasha hastha She who has rope in her hand
811 Pasha hanthri She who cuts off bonds
812 Para mantra vibhedini She who destroys the spells
cast by others
813 Murtha She who has a form
814 Amurtha She who does not have a
form
815 Anitya tripta She who is satisfied by our
perishable offerings
816 Muni manasa hamsika She who is the swan in the
minds of sages
817 Satya vratha She who has resolved to
speak only the truth
818 Satya roopa She who is the real form
819 Sarva antharyamini She who is within everything
820 Satee She who is Satee, daughter of
Daksha
821 Brahmani She who is the strength
behind the Creator
822 Brahmaa She who is the Creator
823 Janani She who is the mother
824 Bahuroopa She who has several forms
825 Budharchitha She who is worshipped by the
enlightened
826 Prasavitri She who has given birth to
everything
827 Prachanda She who is fierce
828 Aajna She who is the order
829 Prathishta She who has been installed
830 Prakataakriti She who is all manifested
forms
831 Praneshwari She who is goddess of the
senses
832 Pranadaatri She who supplies the life
force to the limbs in the body
833 Panchashath peeta roopini She who is in fifty shakti
peethas
834 Vishrankala She who is not chained
835 Vivikthastha She who is found in lonely
places
836 Veera mata She who is the mother of
heroes
837 Viyath prasuh She who has created the sky
838 Mukunda She who gives redemption
839 Mukti nilaya She who is the seat of
redemption
840 Mula vigraha roopini She who is the chief deity in a
temple
841 Bhavajna She who understands
thoughts
842 Bhava rokagni She who cures the sin of birth
843 Bhava chakra pravarthani She who moves the cycle of
birth and death
844 Chandasara She who is the meaning of
Vedas
845 Shastrasara She who is the essence of all
scriptures
846 Mantrasara She who is the meaning of all
chants
847 Talodaree She who has a small belly
848 Udara keerti She whose fame is
widespread
849 Udhama vaibhava She who has unlimited
prowess
850 Varna roopini She who is the
personification of alphabets
851 Janma mrutyu jara tapta jana She who is gives repose to the
vishranti dayini ills of birth, death and aging
852 Sarvopanishadudghushta She who is celebrated by the
Upanishads
853 Shantyathita kalatmika She who is greater than peace
854 Gambhira She whose depth cannot be
measured
855 Gaganantastha She who resides in space
856 Garvitha She who is proud
857 Gana lolupa She who delights in music
858 Kalpanarahitha She who is free from
imagined attributes
859 Kashtha She who is the ultimate
boundary
860 Akantha She who removes sins
861 Kantardha vigraha She who is the one-half of her
husband
862 Karya karana nirmuktha She who is beyond the action
and the cause
863 Kama keli tarangita She who is overflowing with
the pleasure of union with
Shiva
864 Kanat kanakatakanka She who wears the glittering
golden ear studs
865 Lila vigraha dharini She who assumes several
forms as sport
866 Aja She who does not have birth
867 Kshayavinirmukta She who does not decay
868 Mugdha She who is beautiful
869 Kshipra prasadini She who is pleased quickly
870 Antar mukha samaradhya She who is to be worshipped
by internal thoughts
871 Bahir mukha sudurlabha She who is difficult to attain
by those whose attention is
directed outwardly
872 Trayee She who is the three Vedas
873 Trivarga nilaya She who embodies the three-
fold aims of human existence
874 Trista She who resides in the three
worlds
875 Tripuramalini She who is the goddess of
Tripura
876 Niramaya She who is without diseases
877 Niralamba She who depends on none
878 Swatma arama She who enjoys by herself
879 Sudha shruthi She who is the rain of nectar
880 Samsara panka nirmagna She who rescues people from
samuddharana panditha the bondage of life and death
881 Yagna priya She who likes fire sacrifice
882 Yagna karthree She who carries out fire
sacrifice
883 Yajamana swaroopini She who is the doer of fire
sacrifice
884 Dharmaa dhara She who is the basis of
rightful action
885 Dhanadyaksha She who presides over wealth
886 Dhanadhanya vivardhani She who makes wealth and
grain to grow
887 Viprapriya She who likes those who
learn Vedas
888 Vipraroopa She who is the learner of
Vedas
889 Vishwa brahmana karini She who is the cause for the
rotation of the universe
890 Vishwa grasa She who swallows the
universe
891 Vidhrumabha She who has the lustre of
coral
892 Vaishnavi She who is the power of
Vishnu
893 Vishnu roopini She who is the
personification of Vishnu
894 Ayoni She who is without origin
895 Yoni nilaya She who is the seat of
creation
896 Kutastha She who is stable
897 Kula roopini She who is the
personification of culture
898 Veera goshti priya She who likes company of
heroes
899 Veera She who has valour
900 Naishkarmya She who performs desireless
actions
901 Nadaroopini She who is the form of sound
902 Vijnana kalana She who realizes intelligence
903 Kalya She who is an expert in arts
904 Vidagdha She who is an expert in
everything
905 Baindavasana She who sits in the Bindu
906 Tattvadhika She who is above all
metaphysics
907 Tattvamayee She who is the metaphysics
908 Tattvamartha swaroopini She who is the
personification of this and
that
909 Samagana priya She who likes the songs of the
Sama veda
910 Soumya She who is gentle
911 Sadashiva kutumbini She who is the consort of
Shiva
912 Savyapa savya margastha She who stands for the right
and left-hand paths
913 Sarva apadvi nivarini She who removes all dangers
914 Swastha She who is healthy
915 Svabhava madhura She who is sweet by nature
916 Dhira She who is courageous
917 Dhira samarchida She who is being worshipped
by the courageous
918 Chaithnyarghya samaradhya She who is worshipped with
consciousness as an oblation
919 Chaitanya kusuma priya She who likes the flower of
consciousness
920 Sadoditha She who is always shining
921 Sada tushta She who is always happy
922 Tarunadithya patala She who like the red morning
sun
923 Dakshina dakshinaradhya She who is worshipped by the
learned and ignorant
924 Darasmera mukhambuja She who has a face like the
lotus in full bloom
925 Kaulini kevala She who is worshipped by
followers of the Kaula and
 Kevala paths
926 Anargya kaivalya pada dayini She who shows the path to
liberation
927 Stotra priya She who likes chants
928 Stuthi mathi She who is the object of all
chants
929 Sruthi samsthutha vaibhava She whose glory is celebrated
by the Vedas
930 Manasvini She who has a stable mind
931 Manavati She who is high-minded
932 Maheshi She who is the greatest
goddess
933 Mangala kruthi She who does only good
934 Vishwa matha The mother of the universe
935 Jagat dhathri She who supports the world
936 Vishalakshi She who is large eyed
937 Viragini She who is dispassionate
938 Pragalbha She who is confident
939 Paramodara She who is a great giver
940 Paramoda She who has great happiness
941 Manomayi She who is in the form of the
mind
942 Vyomakeshi She who has sky as her hair
943 Vimanastha She who is at a higher realm
944 Vajrini She who is Indra’s wife
945 Vamakeshwaree She who is goddess of the
left-hand path
946 Pancha yagna priya She who likes the five
sacrifices
947 Pancha pretha manchadhi She who sleeps on the bed of
shayini five corpses
948 Panchami She who is the fifth aspect of
Shiva
949 Pancha bhooteshi She who is the ruler of five
elements (air, space, fire,
water and earth)
950 Pancha sankhyopacharini She who is to be worshipped
by five substances of
sandalwood, flower, incense,
light of a lamp and an
offering
951 Shashvathi She who is permanent
952 Shashvathaiswarya She who gives perennial
wealth
953 Sharmadha She who gives pleasure
954 Shambhu mohini She who bewitches Shiva
955 Dhara She who supports
956 Dharasutha She who is the daughter of
the mountain Mandhara
957 Dhanya She who is blessed
958 Dharmini She who practices dharma
959 Dharma vardhini She who promotes dharma
960 Loka theetha She who is beyond the world
961 Guna theetha She who is beyond the
properties of the cosmos
962 Sarvateetha She who is beyond
everything
963 Shamathmika She who is peace
964 Bandhooka kusuma prakhya She who has the glitter of
bandhooka flowers
965 Bala She who is a young maiden
966 Leela vinodini She who enjoys play of
creation
967 Sumangali She who is the cause of all
good things
968 Sukha kari She who grants happiness
969 Suveshadya She who is well-made
970 Suvasini She who is sweet-scented
971 Suvasinyarchana preetha She who likes the worship of
married woman
972 Shobhana She who is always radiant
973 Shuddha manasa She who has a clean mind
974 Bindu tarpana santhushta She who is happy with any
offerings made to the Bindu
of the Sri Chakra Yantra
975 Poorvaja She who is before all
976 Tripurambika She who is the goddess of
three cities
977 Dasa mudra samaradhya She who is worshipped by ten
postures of the hand
978 Tripura sree vasankari She who keeps the goddess
Tripura under control
979 Jnana mudra She who is the symbol of
knowledge
980 Jnana gamya She who can be attained by
knowledge
981 Jnana gneya swaroopini She who embodies both
knowledge and knowing
982 Yoni mudra She who is the symbol of yoni
983 Trikhandeshi She who is the lord of three
divisions of mind, body and
soul
984 Triguna She who is the three qualities
of sattva, tamas and rajas
985 Amba She who is the mother
986 Trikonaga She who stands for the
vertices of a triangle
987 Anaga She who is impervious to sin
988 Adbutha charithra She who has a wonderful
history
989 Vanchitharta pradayini She who grants what is
desired
990 Abhyasa atishaya gnatha She who can be realized by
constant practice
991 Shadat vatheetha roopini She whose form transcends
the six paths
992 Avyaja karuna murti She who shows mercy
without cause
993 Agnana dvantha deepika She who is the lamp that
dispels ignorance
994 Abala gopa vidhitha She who is known to all from
children to cowherds
995 Sarvanullangya shasana She whose orders can never
be disobeyed
996 Sri chakra raja nilaya She who lives in the Sri
Chakra
997 Srimath Tripurasundari The beautiful goddess
998 Sri Shiva She who is divine Shiva
999 Shiva shakthaikya roopini She who is the unified form
of Shiva and Shakti
1000 Lalithambika The divine Mother Goddess
 Chapter 13

Argala Stotram

Argala Stotram is one of the most well-known and beautiful hymns

composed in praise of Shakti. It is said to have been written by Markandeya
Rishi. It has twenty-six verses and is chanted before completing the Devi
Mahatmya. In Argala Stotram, devotees ask the Goddess to bless them with
charm, powerful personality, winning attitude, eternal fame, spiritual
growth, and happiness and peace.

The Argala Stotram is usually interpreted as praise to Goddess Durga, but

a deeper reading and study of the hymn reveals some key truths about the
nature of the Universe itself and suggests some steps to leading a far more
fulfilling and blissful life.

It is said that chanting this Stotram gives the same benefits as chanting
the Devi Mahatmya in its entirety. It is essential to understand the meaning
of each sloka and contemplate its meaning while chanting it to get the
desired results.
The word “argala” means an impediment or a bolt. This stotram helps to
unlock the bolt or remove the impediment or obstruction. An accurate
version of the Argala Stotram should have 26 shlokas even though most
modern interpretations do not contain the fifth shloka, “Dhoomra netra
vadhe devi”. Scholars of Vedanta state that the stotram comprises 26 shlokas
as per evidence found in the Vedas and Puranas.

Argala Stotram meaning:

Om namah chandikayai With the name of Divine I bow down

unto the lotus feet of Goddess Chandika
Markandenya uvacha As spoken by Rishi Markandeya
Om jayanti mangala kali Goddess Durga is always victorious. She
bhadrakali kapalini is Auspicious. She is gentle in nature but
as Goddess Kali, she eliminates dense
darkness
Durga kshama shiva She is tough but merciful. She is the best
dhaatri svaha svadha half of Lord Shiva and she feeds the
namostute universe. O Goddess, I bow down to you
Jaya tvam devi chamunde Goddess Chamunda is always
jaya bhutarti harini victorious. She eliminates evil spirits and
is omnipresent
Jaya sarvagate devi The Goddess of night, I bow down to
kalaratri namostute you
Madhu kaitabha vidra Goddess Durga has killed many demons
vividhatra varade namah such as Madhu and Kaitabh. She herself
is the blessing. O Goddess! bless me
personality and victory. Bless me with
fame and spiritual growth
Rupam dehi jayam dehi From here all the slokas end with
yasho dehi dvisho jahi Roopam dehi……… jahi”
Roopam dehi means give us beauty.
“Roopam” does not refer to beauty but
to “prabha valaya” or a magnificent aura.
It is not possible to experience victory,
fame or spiritual growth if we are not
blessed with this aura.
Jayam dehi means give us victory
Yasho dehi means give us fame
 “dvisha” has many meanings which
include emotions such as hatred, and
hostility.
“Jahi” is to turn down, refuse or reject
In effect these lines ask the Goddess to
help us turn away from enemies, hatred
and unpleasant situations. Once we turn
away from our external and internal
enemies, our spiritual path opens up
Mahishasura nirnashi Goddess Durga was successful in killing
bhaktanam sukhade the dreaded Mahishasura. She also
namah blesses devotees with happiness and
peace
Rupam dehi jayam dehi O Goddess! bless me with victory, fame,
yasho dehi dvisho jahi and all the spiritual growth
Dhoomra netra vadhe Goddess Durga who killed the demon
devi dharma kamarth Dhoomra
dayini She is the giver of the righteous path of
living
Rupam dehi jayam dehi O Goddess! bless me with victory, fame
yasho dehi dvisho jahi and all the spiritual growth
Raktabijaa vadhe devi Goddess Durga killed the demons
chandamunda vinashini Raktbijaa and Chanda -Munda.
She gives us all prosperity with status,
wealth and expansion
Rupam dehi jayam dehi O Goddess! bless me with victory, fame,
yasho dehi dvisho jahi and all the spiritual growth
Shumbhasyaiva Goddess Durga is the slayer of demons
nishumbhasya Shumbha, Nishumbha, and
dhumrakshasya cha Dhumarlochana
mardini
Rupam dehi jayam dehi O Goddess! bless me with victory, fame,
yasho dehi dvisho jahi and all the spiritual growth
Vanditanghriyuge devi Goddess Durga’s lotus feet are praised by
sarva saubhagya dayini all and it is She who is the bestower of
good fortune
Rupam dehi jayam dehi O Goddess! bless me with victory, fame,
yasho dehi dvisho jahi and all the spiritual growth
Achintya rupa charite Goddess Durga is beyond the
sarva shatru vinashini comprehension of the human mind. She
is the destroyer of all enemies
Rupam dehi jayam dehi O Goddess! bless me with victory, fame,
yasho dehi dvisho jahi and all the spiritual growth
Natebhyah sarvada Goddess Durga’s devotees bow with
bhaktya chandike durita great devotion.
apahe She keeps them devotees away from sins
Rupam dehi jayam dehi O Goddess! bless me with victory, fame,
yasho dehi dvisho jahi and all the spiritual growth
Stuvadbhyo bhakti He who praises Goddess Durga with
purvam tvaam chandike complete devotion will enjoy
vyadhi nashini tremendous benefits. The Goddess in the
form of Chandika will destroy all
diseases and ailments
Rupam dehi jayam dehi O Goddess! bless me with victory, fame,
yasho dehi dvisho jahi and all the spiritual growth
Chandike satatam yetvam Durga is always victorious in all her
archayantitha bhaktitah battles. She is also the destroyer of all
 sins
Rupam dehi jayam dehi O Goddess! bless me with victory, fame,
yasho dehi dvisho jahi and all the spiritual growth
Dehi saubhagyam Goddess Durga please bless and grant us
aarogyam dehi me param all good luck, prosperity, perfect health,
sukham along with freedom from all the diseases
Rupam dehi jayam dehi O Goddess! bless me with victory, fame,
yasho dehi dvisho jahi and all the spiritual growth
Vidhehi dvishataam Goddess Durga’s power is such that she
naasham vidhehi can destroy all worldly poisons by going
balamuchchakaih into a deep meditation
Rupam dehi jayam dehi O Goddess! bless me with victory, fame,
yasho dehi dvisho jahi and all the spiritual growth
Vidhehi devi kalyanam Goddess Durga always works for the
vidhehi paramam shriyam welfare of her devotees while providing
them with all that they need and desire
Rupam dehi jayam dehi O Goddess! bless me with victory, fame,
yasho dehi dvisho jahi and all the spiritual growth
Surasura shiro ratna Goddess Durga is worshiped by good
nighrshsta charanambike and bad spirits. Her name is like a crown
on her head. The most divine people and
blessed sages touch her feet in devotion
Rupam dehi jayam dehi O Goddess! please grant us beauty,
yasho dehi dvisho jahi victory, glory, and destroy our inner
enemies
Vidyavantam The 17verse asks of Goddess Durga to
yashsvantam provide us with knowledge, glory, wealth
laksmivantam janam kuru and abundance
Rupam dehi jayam dehi Goddess, please grant us beauty, victory,
yasho dehi dvisho jahi glory, and destroy our inner enemies
Prachanda daitya Goddess Durga destroys the deep egos
darpghne chandike of the excessively violent and powerful
pranataya me demons
Rupam dehi jayam dehi O Goddess! bless me with victory, fame,
yasho dehi dvisho jahi and all the spiritual growth
Chaturbhuje chaturvaktra Goddess Durga is praised by the Creator
samstute parameshvari of the Universe, Lord Brahma who has
four faces and four hands
Rupam dehi jayam dehi O Goddess! bless me with victory, fame,
yasho dehi dvisho jahi and all the spiritual growth
Krshnena samstute devi Goddess Durga is always praised by
shashvad bhaktyaa Lord Krishna.
sadambike Her devotees worship her with a
continuous flow of devotion
Rupam dehi jayam dehi O Goddess! bless me with victory, fame,
yasho dehi dvisho jahi and all the spiritual growth
Himachala suthanatha Goddess Durga is praised by Lord Shiva
samstute parameshvari (who is the husband of the daughter of
the Himachal mountain)
Rupam dehi jayam dehi O Goddess! bless me with victory, fame,
yasho dehi dvisho jahi and all the spiritual growth
Indrani pati sadbhava Goddess Durga is worshiped by the
pujite parameshvari husband of Indrani (Indra leader of all
Devas) with devotion
Rupam dehi jayam dehi O Goddess! bless me with victory, fame,
yasho dehi dvisho jahi and all the spiritual growth
Devi prachanda dordanda Goddess Durga destroys pride, egotism
daityadarpa vinashini and negative thoughts of violent and
powerful demons
Rupam dehi jayam dehi O Goddess! bless me with victory, fame,
yasho dehi dvisho jahi and all the spiritual growth
Devi bhakta janodhaam Goddess Durga rises unbounded joy in
datta nandodaye ambike the hearts of the devotees while chanting
Rupam dehi jayam dehi O Goddess! please grant us beauty,
yasho dehi dvisho jahi victory, glory, and destroy our inner
enemies
Patnim manoramam dehi Goddess Durga grants her devotees with
mano vrittanusarinim a beautiful spouse who will be a perfect
Taarinim durga sansaar match in mind and body
saagarasya kulovardvam
Idam stotram pathitva tu The final verse says that the reading of
mahastotram this Stotra is equal to the recitation of
patthennarah the entire Durga Saptashati
Saptashati sankhaya
varmapnoti sampadaam
 Chapter 14

Kanakadhara Stotram

Adi Shankaracharya is possibly India’s greatest poet-saint, mystic and

philosopher. He was born in a poor Brahmin family in Kerala. After
Brahmopadesa, it was his routine to seek alms from families that lived in the
village. One day he went to a Brahmin house and found that the lady of the
house was so poor that she did not have anything to give him. She was
heartbroken to send away a sanyasi empty-handed, so she gave him a single
gooseberry from a tree outside her house.

Her gesture so touched Shankaracharya that he sang twenty-one

mellifluous hymns in honour of Goddess Lakshmi as he stood outside the
poor woman’s house. The Goddess was so pleased that she showered golden
berries as rain on the poor woman’s home. Even today, it is believed that any
kind of poverty can be banished by singing this hymn.

These twenty-one stanzas became sacred and immensely popular as the

Kanakadhara Stotram, a powerful hymn that can please Goddess Lakshmi
and bring blessings, happiness, wealth and abundance.

The Kanakadhara Stotram describes the beauty, grace, wisdom, and

power of the Goddess of wealth and prosperity. The prayer is a poem that
facilitates the flow of wealth. Kanaka means gold, and dhara means flow.
Those offering the prayers every day are said to be blessed with good
qualities and great fortunes.

Kanakadhara Stotram is chanted on Fridays, mornings and evenings on

Full Moon days, as the alignment of stars and planets is considered very
auspicious on these days.
Kanakadhara Stotram

Angam hare pulaka Salutations to Mother Lakshmi, who

bhooshanamasrayanthi dwells like a delightful ornament within
Bhringanga neva mukula Hari.
bharanam thamalam Like bees that are attracted to the half
Angi krithakhila vibhuthi open buds of the black Tamala tree and
rapanga leela surround it with their humming sound.
Mangalyadasthu mama The one who carries within her the
mangala devathaya opulence of the entire world and
showers wealth through her divine
glance.
May that glance bring auspiciousness
and prosperity into my life
Mugdha muhur Mother Lakshmi, whose glances are
vidhadhadathi vadhane directed towards the face of Hari.
Murare Charmed by his face, her glances are
Premathrapa pranihithani filled with love and shyness, as they
gathagathani return to his face time and again.
Mala dhrishor Her glances are like the honey bees that
madhukareeva maheth hover around the huge water lily.
pale ya She who has risen from the ocean of
Sa ne sriyam dhisathu milk, may she bestow her glance filled
sagara sambhavaya with good fortune upon me
Ameeli taksha Mother Lakshmi who has captured the
madhigamya mudha joyous face of Mukunda through her
Mukundam fully opened eyes, her gaze remaining on
Anandakanda manimesha his ecstatic face with closed eyes.
mananga tantram Her glance is filled with happiness and
love.
Akekara stiththa kaninika Let a glance that lavishes Mukunda, he
pashma nethram who rests on the snake, from the corner
Bhoothyai bhaven mama of her eyes, come to rest on me
Bhjanga shayananga naya
Bahwanthare madhujitha Mother Lakshmi, who resides in the
sritha kausthube ya heart of the Conqueror of the demon
Haravaleeva nari neela Madhu, where lies the Kausthuba Mani
mayi vibhathi (a most valuable gem in the world).
Kamapradha bhagavatho Her glances shine like a bluish yellow
api kadaksha mala string of pearls that evoke love in Hari.
Kalyana mavahathu me Through her string of side glances, may
kamalalayaya the one who resides in lotuses, bless me
with those side glances, touch my life,
and bring auspiciousness and wealth to
me
Kalambudhali lalithorasi Mother Lakshmi, who hovers like a bee,
kaita bhare like a streak of lightning flashing over
Dharaa dhare spurathi yaa the bosom that resembles a black cloudy
tadinganeva sky (the bosom of one who killed
Mathu samastha jagatham Kaithaba).
mahaneeya murthy The gracious Mother of the whole
Badrani me disathu universe, the daughter of the mighty
bhargava nandanaya sage Bhargava.
May her auspicious form touch my life
and bring me prosperity
Praptham padam Mother Lakshmi, through whose power
pradhamath khalu yat Manmatha, the God of Love, was able to
prabhavath reach the one who killed Madhu.
Mangalya bhaji madhu Hari, who is always connected with the
madhini manamathena one who bestows happiness.
Mayya padeta mantara May the power from the glance of that
meekshanardham kind and gentle half open eyes, full of
Mandalasam cha love and blessings, a glance so soft, of
makaralaya kanyakaya the daughter of the ocean, fall upon me

Viswamarendra padhavee Sa Mother Lakshmi, who with a mere

bramadhana dhaksham side glance, could grant the exalted
Ananda hethu radhikam position of the King of the three worlds
mura vid vishwopi to Indra.
Eshanna shee dhathu This made the enemy of Madhu, who is
mayi kshana the Supreme Bliss, overwhelmed with
meekshanartham joy.
Indivarodhara sahodhara I pray that a glance through the
mindiraya splendour of those half-closed eyes
resembling blue lotuses could rest on
me, for just a moment
Ishta visishta matayopi With just divine glance of Mother
yaya dayardhra Lakshmi, even the most difficult desires,
Dhrishtya trivishta like attaining a place in heaven, can be
papadam sulabham achieved.
labhanthe This is the power of her moist,
Hrishtim prahrushta compassionate eyes, the kindest eyes one
kamalodhara deept can ever see.
drishtam Her glance that bears the splendour of a
Pushtim krishishta mama lotus in bloom, that magical, joyous
pushkara vishtaraya moment; may it come my way.
May the merciful glance of the one
seated in a lotus nourish my wishes
Dhadya daya nupa vanopi May Mother Lakshmi bestow the wind
dravinambhudaraam of her mercy and shower her wealth on
Asmina kinchina vihanga this destitute, helpless new-born bird,
sisou vishane driven by poverty
Dhushkarama garma May she remove the impact of the
paneeya chiraya dhooram burden of sins from my life
Narayana pranayinee May she bestow the shower of rain of
nayanambhuvaha mercy from her eyes
She, the beloved of Narayana
Gheerdevathethi garuda Mother Lakshmi is the Goddess of
dwaja sundarithi Knowledge and Speech.
Sakambhareethi sasi She is the beautiful consort of the one
shekara vallebhethi who carries Garuda as his emblem.
Srishti sthithi pralaya She who sustains everyone with nature
kelishu samsthitha yi and vegetation, the beloved, and consort
Tasyai namas tribhvanai of the one with the crescent moon.
ka guros tarunyai She who observes the divine play of
creation, maintenance, and destruction.
The youthful consort of the Guru of all
the worlds.
The three worlds offer her their revered
salutations
Sruthyai namosthu Mother Lakshmi who symbolizes the
shubha karma phala Vedas that help produce auspicious and
prasoothyai positive results in life.
Rathyai namosthu She who is Rathi, an ocean of good
ramaneeya gunarnavayai qualities.
Shakthyai namosthu She who is revered as Shakti, one who
shatha pathra resides in the abode of hundred petals.
nikethanayai Salutations to you, as the one who
Pushtayi namosthu nourishes, the goddess of plenty, the
purushotthama beloved of Purushottama
vallabhayai
Namosthu naleekha Salutations to Mother Lakshmi, the one
nibhananai who has the face of a lotus in full bloom.
Namosthu Salutations to you, the one born of the
dhugdhogdhadhi janma ocean of milk, along with the moon and
bhoomayai the divine nectar.
Namosthu somamrutha Salutations to you, the most beloved of
sodharayai Narayana
Namosthu narayana
vallabhayai

Namosthu hemambhuja Salutations to Mother Lakshmi,

peetikayai who is seated on the golden lotus.
Namosthu bhoo mandala Salutations to the one who is the
nayikayai goddess of the earth.
Namosthu devadi dhaya Salutations to the one who shows mercy
prayai and showers her compassion on the
Namosthu Sarngayudha Devas.
vallabhayai I prostrate before you, O consort of
Narayana, who wields the bow of
Saranga
Namosthu devyai bhrugu Salutations to Mother Lakshmi.
nandanayai My prayers to the one who is the
Namosthu Vishnorurasi daughter of Brighu.
sthithayai To the one who adorns the broad chest
Namosthu Lakshmyai of Vishnu.
kamalalayai Salutations to the one seated on a lotus,
Namosthu Damodhra the one who is the consort of Damodara
vallabhayai
Namosthu Kanthyai Salutations to Mother Lakshmi.
kamalekshanayai I prostrate before thee, the light in the
Namosthu bhoothyai lotus flower, the lotus eyed one.
bhuvanaprasoothyai Salutations to the one who is the earth
Namosthu devadhi bhir and bestows prosperity.
archithayai Salutations to the one worshipped by the
Namosthu nandathmaja Devas.
vallabhayai Salutations to the consort of the son of
Nanda
Sampath karaani Mother Lakshmi, the one whose lotus
sakalendriya nandanani eyes are the cause of all prosperity, and
Samrajya dana vibhavani who is the cause of great joy in all
saroru hakshi senses.
Twad vandanani dhuritha She of the lotus eyes who has the power
haranodhythani to bestow kingdoms.
Mameva mataranisam Singing your glories brings forth your
kalayanthu manye grace that removes all difficulties,
miseries, and the sins from our life.
Mother, may I be always be blessed to
serve you and sing your glories
Yat kataksha samupasana Mother Lakshmi, the worship of your
vidhi side glance that is blessed by the entire
Sevakasya sakalartha wealth and prosperity you bestow upon
sampadhah me.
Santhanodhi vachananga May my thoughts, words, and deeds be
manasai enveloped by your worship, you who are
Tvaam Murari the beloved Goddess residing in the
hridayeswareem bhaje heart of Murari

Sarasija nilaye saroja Mother Lakshmi who abides in the lotus

hasthe and holds the lotus in her hands.
Dhavalathamam sukha She who is dressed in dazzling white and
gandha maya shobhe is adorned with the most fragrant
Bhagavathi hari vallabhe garlands and radiates a divine aura. She
manogne who is the most beloved of Hari and the
Tribhuvana bhoothikari source of immense happiness and is
praseeda mahye captivating.
She who is the source of prosperity and
wellbeing for all the three worlds.
O Mother, please grace me with your
compassion
Dhigasthibhi kanaka Mother Lakshmi who is bathed by the
kumbha mukha vasrushta holy waters of the Ganga that flows from
Sarvahini vimala charu heaven showered from all directions in
jalaapluthangim golden pitchers by the eight elephants.
Prathar namami The water is pure and flows from the
jagathaam janani masesha celestial region and beautifies her.
Lokadhinatha grahini I salute the Mother of the eternal
mamrithabdi puthrim universe early in the morning, she who
is the consort of the Supreme Being, the
Preserver, and the daughter of the ocean
that gives nectar
Kamale kamalaksha Mother Lakshmi who is the lotus eyed of
vallabhe twam her beloved Hari.
Karuna poora She whose eyes are filled with kindness
tharingithaira pangai and compassion, please look at me, this
Avalokaya mam utterly destitute, and make me the first,
akinchananam deserving to be in the path of your
Prathamam unconditional compassion
pathamakrithrimam
dhyaya
Sthuvanthi ye stuthi Those who sing this hymn every day and
bhirameeranwaham glorify she who is the Supreme Goddess,
Thrayeemayim the embodiment of the Vedas, the
thribhuvanamatharam Mother of the three worlds, will receive
ramam blessings of virtues in abundance.
Gunadhika guruthara They shall be blessed to have the wise in
bhagya bhagina their destiny and will become wise by
Bhavanthi the bhuvi her awakening of their wisdom
budha bhavithasayo
 Chapter 15

Sri Suktam

Two mantras, the Purusha Suktam and the Sri Suktam are used most
often during homa, vrata and puja by Vaishnavas, Shaivas and Shaktas. The
Sri Suktam comprising fifteen mantras appears in an appendix to the Rig
Veda and is therefore called a “Khila” suktam. Most Hindus are familiar with
the Sri Suktam because of its association with abundance and prosperity, but
few know of its deep, philosophical significance. The word “Sri”, as we have
discussed before in the chapter on Sri Vidya, originates in the root verb
“Shriy”, which means to take refuge or serve. Therefore, Sri can be described
as that cosmic energy that gives shelter to all creatures.
Each of the mantras in the Sri Suktam has a different Rishi (seer),
Chandah (metre), Devi (deity) and Viniyoga (ritual application). The two
deities addressed are Agni and Sri Devi. The first verse is said to be the bija
of the suktam, while the term “taam ma avaha” is the Shakti. Shakti is that
part of the mantra where the power lies encapsulated. The verse starting
with “Keertimridhim” is said to be the Kilaka, which acts as a nail in helping
the chanter fix his mind to the mantra with complete mindfulness.

Om hiranya varnaam Invoke for me, O Agni, the Goddess

harinim suvarna rajata
srajam
Chandraam hiranmayim
lakshmim jatavedo ma
aavaha
Lakshmi, who shines like gold, yellow in
hue, wearing gold and silver garlands,
blooming like the moon, the
embodiment of wealth.
O Agni! Invoke for me that unfailing
Lakshmi, being blessed by whom I shall
win wealth, cattle, horses and men
Taam ma aavaha jatavedo
lakshmim anapagaminim

Yasyaam hiranyam
vindeyam gaamashvam
purushan aham
Ashva purvaam ratha I invoke Shri (Lakshmi), who has a line
madhyaam of horses in front of her, a series of
hastinadaprabodhinim chariots in the middle, who is being
Dhriyam devim upahvaye awakened by the trumpeting of
elephants, who is divinely resplendent.
shrirma devii jushataam
May that divine Lakshmi grace me. I
Kaam sosmitaam hiranya
hereby invoke that Shri (Lakshmi) who
praakaramaardraam
is an embodiment of Absolute Bliss; who
jvalantim
is of pleasant smile on her face;
Triptaam tarpayantim
whose lustre is like that of burnished
Padme sthitaam padma
gold; who is wet, as it were (just from the
varnaam
milky ocean), who is blazing with
Taam eho upahvaye splendour, and is the embodiment of the
shriyam fulfilment of all wishes; who satisfies the
desires of her votaries; who is seated on
the lotus and is beautiful like the lotus
Chandraam prabhaasam For shelter in this world, I resort to that
yashasa Lakshmi who is beautiful like the moon,
Loke deva jushtaam who shines bright, who is blazing with
udaraam renown, who is adored (even) by the
Padminim im sharanam gods, who is highly magnanimous, and
aham prapadye grand like the lotus. May my
misfortunes perish.
Alakshmir me
nashyataam tvaam vriney I surrender myself to Thee. O Thou,
resplendent like the Sun! By Thy power
Aaditya varne tapas adhi and glory have the plants, (like) the bael
jaato tree, grown up.
Vanaspatis tava vrikshoh May the fruits thereof destroy through
cha bilvah Thy Grace all inauspiciousness rising
from the inner organs and ignorance as
Tasya phalani tapasa well as from the outer senses
nudantu
Mayaantarayascha
baahyaa alakshmih
Upaitu maam deva O Lakshmi! I am born in this country
sakhah kirtishcha manina with the heritage of wealth. May the
saha friend of the Lord Shiva (Kubera) and
Kirti (fame) come to me.
Praadurbhutosme May they (having taken their abode with
rashtresmin keertim me) bestow on me fame and prosperity.
rhidhim dadaatu me I seek you help to keep at bay the elder
Kshupti pasa malam sister of Lakshmi, who is the
jyeshtam embodiment of inauspiciousness and
alakshmim naashayaam such evil as hunger, thirst, anger and
aham hatred.
O Lakshmi! Drive out from my abode all
misfortune and poverty
Abhutim asam riddhim
cha sarvam nirnuda me
grihaat
Gandha dvaraam I invoke that Lakshmi whose main
duradarsham avenue of perception is the odoriferous
Nitya pushtaam sense (i.e., who abides mainly in cows);
karishinim who is incapable of defeat or threat from
anyone;
Eshwarim sarva Who is ever-healthy (with such virtuous
bhutanaam qualities as truth); whose grace is seen
taam eho pahvaye abundantly in cows and who is supreme
shriyam over all created beings.
Manasah O Lakshmi! May we obtain and enjoy
kaamamaakrutim Vaacah the fulfilment of our desires and our
satyamashimahi volitions, the veracity of our speech, the
wealth of cattle, the abundance of
varieties of food to eat! May prosperity
Pashunaam and fame reside in me
rupamannasya
mayi shrih shrayataam
yashah
Kardamena praja bhuta Lakshmi! You have progeny in Kardama.
sambhava kardama (Hence) O Kardama, may you reside in
Shriyam vaasaya me kule me.
maataram padmamalinim Make Mother with garlands of lotuses,
Aapah srijantu snigdani to have Her abode in my (ancestral) line.
chiklita vasame gruhe May the (holy) waters create friendship
Ni cha devim maataram O Chiklita (Progeny of Sri), reside in my
shriyam vaasaya kule home; and arrange to make Divine
Mother to stay in my lineage
Aardraam pushkarinim Invoke for me, O Agni, Lakshmi who
pushtim pingalam padma shines like gold, is brilliant like the sun,
malinim who is powerfully fragrant, who wields
the rod of suzerainty, who is of the form
of supreme rulership, who is radiant
Chandraam hiranmayim
with ornaments and is the goddess of
Lakshmim jatavedo ma wealth.
aavaha
Invoke for me, O Agni, the Goddess
Aardraam yah karinim Lakshmi who shines like gold, blooms
Yashtim suvarnam like the moon, who is fresh with
hemamalinim anointment of fragrant scent, who is
adorned with the lotuses (lifted up by
suryaam hiranmayim celestial elephants in the act of worship),
who is the presiding deity of
Lakshmim jatavedo ma
nourishment, who is yellow in colour,
aavaha
and who wears garlands of lotuses

Taam ma aavaha jatavedo Invoke for me, O Agni, that Goddess

lakshmim anapagaminim Lakshmi who is ever unfailing, being
blessed by whom I shall win wealth in
Yasyaam hiranyam plenty, cattle, servants, horses, and men.
prabhutam gaavo
dasyahashvaan vindeyam
purushanaham
Mahalakshmi cha We connect with the Great Goddess, and
vidmahe vishnu patnim meditate on the Consort of Vishnu. May
cha dhimahi that Lakshmi direct us to our goals

Tano lakshmim
prachodayaat

Shri varchasyam Grant me, O goddess, a wind of vigour,

ayushyam Cereals in abundance, good health,
aarogyamaa vidhaa choba children, cattle, profits and a long life
manam mahiyate

Dhaanam dhanyam
pashum bahuputra
Laabham
Shatasamvatsaram
dirghamayuh
 Chapter 16

Varahi Mantra

Varahi is one of the Sapta matrikas, a group of seven revered goddesses.

She is known as Panchami (the fifth among the seven goddesses) and is
worshipped on the fifth day after the new moon and full moon. She is
described as having an aggressive appearance with the head of a boar. In the
Lalita Sahasranama, she is seen as the Commander-in-Chief (Dandanatha)
of the forces of Lalita Tripurasundari.

Varahi is particularly important in the Sri Vidya tradition, elevating her

to Para Vidya or Transcendental Knowledge status. She is seen as an
embodiment and protector of the Sri Vidya tradition. She destroys evil
forces that obstruct the devotee’s progress, paralyses the enemies, and leads
the devotee to master the knowledge of the Goddess ultimately.

The Markendeya Purana praises Varahi as a granter of boons, and her

worship is particularly useful for acquiring property. She is seen as a “ratri
devata” (night goddess). Tantra texts advocate her worship after sunset or
before sunrise.

Varahi represents the new moon and the illumination aspects of the
mother goddess. Varahi is also said to be one of the Yoginis, taking the form
of a boar to lift the earth with her tusks and to confer the benefits of Lalita
Tripurasundari on all creatures.

This mantra appears to be a new addition to the Sri Vidya tradition, but I
have personally found it to have compelling energy and resonance, helpful
especially at times when I have needed confidence and strength and hence
have added it among Sri Vidya mantras for those who may stand to benefit
from it.
Varahi Mantra

Om Aim Hrim Shrim

Aim Glaum Aim Ga - Ganapathi, La - Lakshmi
Namo Bhagavathi I prostrate before you
Varthali Varthali Calling out to the goddess
Varahi Varahi The deity who gives us protection from
darkness and despair
Varahamukhi The goddess who has the face of a boar
Varahamukhi with a tusk, cleansing us from within
Anthe Anthini Namah She who holds a glittering sword whose
shine blinds the enemies
Rundhe Runthini Namah She who can agitate the mind of my
enemies to such a point that they
become incapable of action
Jambe Jambhini Namah She who can make my enemy become so
egoistic that he ends up taking wrong
decisions
Mohe Mohini namah She who drowns my enemies in a
passionate whirlpool thereby leaving
him incapable of action
Stambe Stambini Namah She will ensures that my enemies are
paralysed into inaction
Sarvadushta She who will attend to all the evil and
Pradusthanam the greater evil as well, and ensure that
all evil is erased
Sarvesham Forever
Sarva Vak Chitta All speech, thoughts, vision
Chakshur
Mukha gati jihva Face, walking, tasting are all stopped
stambanam kuru kuru
Shigram Vashyam May my enemy come under my control
at the earliest
Aim glaum
Thah thah thah hum Sounds which are capable of removing
negativity in the environment
Astraya Phat My devotion to Varahi will be my
weapon
Swaha So be it!
 Chapter 17

Saundarya Lahiri

The Saundarya Lahiri meaning “the waves of beauty”, is a famous Sanskrit

literary work written by Adi Shankara. The Saundarya Lahiri is not only a
collection of holy hymns but also a Tantra textbook, giving instructions
about the ritual worship of Sri Yantra and other worshipping methods.

It is said that Adi Shankara visited Mount Kailash to worship Shiva and
Parvati. There, Shiva gave him a manuscript containing 100 verses
describing the Goddess’s many facets. While Shankara was returning after
visiting Mount Kailash, Nandi stopped him on the way. He snatched the
manuscript from him, tore it into two, took one part and gave the other to
Shankara.

Shankara ran back to Shiva and narrated the incident to him. Shiva,
smiling, commanded him to retain the 41 verses with him as the initial part
of the 100 verses and then write an extra 59 verses in praise of the Goddess.
Thus, verses 1 to 41 are the original work of Lord Shiva, shedding great light
on the ancient rituals of Tantra, Yantra and Mantra. Verses 1 to 41 describe
the mystical experience of the union of Shiva and Shakti and related
phenomena. It opens with the assertion that only when Shiva is united with
Shakti does he have the power to create.

The remaining verses, i.e. 42 to 100, are composed by Adi Shankara,

mainly focus on the appearance of the Goddess. All the 100 verses are
collectively known as Saundarya Lahiri.

Part I Ananda Lahari (The waves of happiness)

Shivah shakthya yukto yadi bhavati Someone as powerful as

shaktah prabhavitum Lord Shiva himself is
only capable of action
Na chedevam devo na khalu kusalah when he is united with
spanditumapi; Shakti.
If he is not united with
Shakti, he is not capable
Atas tvam aradhyam
of even reacting to
hariharavirinchaadibhir api
situations. In other
words, he becomes
inert.
If such is your
importance when it
comes to performing
action, then how can we
Pranantum stotum vaa katham One must be really
akrtapunyah prabhavati fortunate and
accumulated a lot of
virtue to even attempt
praising you or to
worship you
Taniyamsam pamsum tava perform your worship
caranapankeruhabhavam without having done
any good deeds.
Virincih sanchinvan virachayati lokan O Goddess, Lord
avikalam Brahma collects the
dust from below your
feet and from it creates
Vahaty evam shaurih katham api
all these worlds to
sahasrena shirasaam
perfection from it.
Lord Vishnu with a
thousand heads,
Harah samksh udyainam bhajati bhajati
bhasitoddhalamavidhim
Avidyanam anta stimirami hira
dweepanagari
Jadanam Chaitanya
stabakamakarandasruti jhari
Daridranam chintamanigunanika
janmajaladhau
Nimadhanam damshtra
muraripuvarahasya bhavati
Tvad anyah paanibhyam abhayavarado
daivataganah
Tvam eka naivasi
prakatitavarabhityabhinaya
maintains these worlds
with great effort.
Lord Shiva with utmost
reverence powders these
worlds back and smears
it as ash all over his
body
The dust under your
feet, oh Great Goddess
is like the city of the
rising sun that removes
all darkness from the
ignorant mind.
It is like a delicious
torrent of honey that
flows, from the flower of
vital action; to
the slow witted one it is
like the heap of wish
fulfilling gems; to the
poorest of men, it is like
the teeth of Lord Vishnu
in the form of Varaha
who brought to surface
Mother Earth
Oh, She who is refuge to
all this world,
All gods except you dear
mother,
Give refuge and grant
wishes,
Bhayat tratum datum phalam api cha But only you mother
vancha samadhikam never show the world in
detail
Saranye lokanam tava hi charanaveva
nipunav The boons and refuge
that you can give, even
your holy feet will
suffice

To remove fear for ever,

And grant many more
boons than are sought
Haris tvam aradhya You who grant all the
pranatajanasaubhagyajananim good things,
To all those who bow at
your feet
Pura nari bhutva puraripum api Worshipped by the Lord
kshobham anayat; Vishnu,
Who took the lovable
Smaropi tvam natva ratinayanalehyena feminine form
vapusha
And could move the
Muninam apyantah prabhavati hi mohaya mind of he who burnt
mahatam cities

And made him fall in

love.
And the God of love,
Manmatha
 took the form which is
like nectar,

Drunk by the eyes by

Rathi his wife, after
venerating you,
was able to create
passion
even in the mind of the
great sages
Dhanun paushpam maurvi Oh daughter of the
madhukaramayi pancha visikha mountain of ice, armed
with a bow made of
Vasantaha samanto Malayamarud flowers
ayodhanarathah;
Bow string made of
honey bees,
Five arrows made of
only tender flowers,
Tathapy ekah sarvam Himagirisuthe kam With spring as the
api kripaam minister,

Apangat te labdhva jagadidam Anango And riding on the

vijayate chariot of breeze from
the Malaya mountains

The god of love who

does not have a body,
 ets the sideways glance
of your holy eyes,
And is able to win all
the world, alone
Kvanatkanchidama With a golden belt,
karikalabhakumbhastananata adorned with tiny
tinkling bells
Pariksheena madhye
parinatasarachandravadana; Slightly stooping
because of heavy breasts
Dhanur banan pasam srinim api dadhana
karatalaii With a slim, pretty form
and with a face like the
Purastad astam noh puramathitur autumn moon
ahopurushika
Holding in her hands,
A bow of sugar cane,
arrows made of flowers,
And the noose and goad
She who has the
wonderful form,
Of the ego of the God
who burnt the three
cities

We beg you to please

come and appear before
us
Sudhasindhor madhye suravitapivati In the middle of the sea
parivrte
Manidweepe nipopavanavathi
chintamanigrhe;
Shivaakare manche
ParamaShivaparyankanilayam
Bhajanti tvam dhanyah katichana
chidanandalaharim
Mahim muladhare kamapi manipure
huthavaham
Sthitham svadhistane hridi
marutamakasam upari;
of nectar,
In the isle of precious
gems
Which is surrounded by
the wish fulfilling
Kalpaga trees
In the garden filled with
Kadamba trees,
In the house of the gem
of thought
On the all holy seat of
the lap of the great God
Shiva
Sits she who is like a
tide
In the sea of happiness
of ultimate truth
And is worshipped by
only by few select holy
men
Oh Goddess
You live in seclusion
with your consort,
In the lotus with
thousand petals,
Manopi bhruumadhye sakalamapi bhittva
kulapatham
Sahasrare padme saha rahasi patyaa
viharase
Sudhadharasarais caranayugalanta
vigalitaih
Prapancham sinchanti punarapi
rasamnayamahasah;
Avapya svam bhumim bhujaganibham
adhyustavalayam
Svam atmanam krtva svapishi kulakunde
kuharini
Reached after breaking
through the pathways,
Of the power of earth in
Muladhara
Of the power of water in
Swadisthana
Of the power of fire in
Manipura
Of the power of air in
the heart
And of the power of
ether at the Ajna to
finally rest at the
thousand petalled lotus
of the Sahasrara chakra
Using the nectar that
flows between your feet,
To coat all the nerves of
the body,
And descending from
the moon with
nectarlike rays
Reaching back to your
abode

Chaturbhih shrikantaih shivayuvatibhih
panchabhir api
Prabhinnabhih sambhor navabhir api
mulaprakrthibhih;
And coiling your body
into a ring like a serpent
You sleep in the Kula
Kunda with a gap in the
middle
With four wheels of
Lord Shiva,
And with five different
wheels of yourself, my
mother,

Chatuschatvarimsad Which form the real

vasudalakalasratrivalaya basis of this world,
Your house of the holy
Trirekhabhih sardham tava saranakonah wheel,
parinatah Has four different parts,

Of eight and sixteen

petals,

Three different circles,

And three different
lines,
Making a total of forty
four angles
Tvadiyam saundaryam Tuhinagirikanye Oh, daughter of ice
tulayitum mountain,
Kavindrah kalpante katham api Even the creator who
Virinchiprabhrutayah; leads
an array of great poets,
Yadaloka utsukyad amaralalana yanti
manasa Fails to describe your
sublime beauty.
Tapobhir dusprapam api
girisasayujyapadavim The heavenly maidens
who wish to see your
pristine loveliness

Try to see you through

the eyes your Lord Shiva

And do penance to him

and reach him through
their mind
Naram varshiyamsam nayana virasam With dishevelled hair
narmasu jadam,
With the upper cloth
Thava panga loke pathitha manudhavanthi slipping from their busts
sathasa
With the lock of the
golden belt opening in
their hurry to reach
And with saris slipping
away from their
shoulders
Gala dweni bhandha kuch kalasa Hundreds of young
visthrutha sichaya women run after men
Hatath thrudyath kanchyho vigalidha Who get your sidelong
dhukoola yuva thaya glance

Even though they are

very old,
bad looking and not
interested in the sport of
love
Ksitau satpanchasad Your two holy feet are
dvisamadhikapanchasadudake far above

Hutase dvasastis chaturadhikapanchasad The fifty six rays of the

anile essence of earth of
Muladhara,
Divi dvihshatrimsan manasi cha The fifty two rays of the
chatuhsashtir iti ye essence of water of
Swadisthana
Mayukhastesham athyupari tava The sixty two rays of the
padambuja yugam essence of fire of
Manipura
The fifty four rays of the
essence of air of
Anahatha,

The seventy two rays of

the essence of ether of
Visuddhi,
 And the sixty four rays
of the essence of mind
of Agna chakra
Sarajjyotsnashuddham Sweet words that can
sasiyutajatajutamakutam rival honey, milk and
grapes
Varatraasatraanasphatikaghutikapustaka
karaam; Can only come to the
thoughts of the devotee

Who once he meditates

on your face
Which is like the white
autumn moon

Sakrn na thva nathva katham iva sathaam On your head with a

sannidadhate crown with the crescent
moon and flowing hair
Madhukshiradrakhsamadhurimadhurinah
phanitayah And hands that shower
boons and give
protection

Which hold the crystal

chain of beads and
books

Kavindranam She who is the purple lustre of dawn,

chetahkamalavanabaal
ataparuchim To the lotus-forest like mind,
Bhajante ye santah Of the kings of poets of the world,
katichid arunameva
bhavatim And thus called purple coloured one,
Creates happiness in the mind of the
Virinchipreyasyas holy,
tarunatara sringaralahari With tender passionate wave of words
(Of Saraswathi the darling of Brahma,)
Gabhirabhi vagbhir Both royal and youthful
vidadhati satam
ranjanamami

Savitribhir vacham Oh, holy mother, he who

Chasimanisilabhangarucibhir
Vasinyadyabhis tvam saha janani
samchintayati yah
Sa karta kavyanam bhavati mahatam
bhangirucibhih
Vachobhi vagdevivadanakamalamoda
madhuraii
worships you,
Along with the goddess like
Vasini,
Who is the prime source of
words,
And you who have the great
lustre,
Got by polishing moonstone,
Becomes the author of great
epics,
Which shine like those
written by great ones,
And which have the sweet
scent

Thanuschayabhi sthe tharunatharuni
srisarinibhi
Divam sarvamurvimarunimani
magnam smaranthi ya
Bhavanthasya thrasyadhwanaharina
shaleena nayana
Sahervasya vasya kathikathi na
geervana Ganika
Mukham Bindun kruthva kucha yuga
mada sthasya thadha dho
Harardha dhyayedhyo
haramamahishi the manmathakalam
Sa sadhya samkshebham nayathi
vanitha inyathiladhu
Thrilokimapyasu bramayathi ravindu
sthana yugam
Of the face of the goddess of
knowledge
He who meditates on,
the lustre of your beautiful
body,
which is blessed by the rising
sun
Which dissolves the sky and
the world,
In light purple hue,
makes celestial damsels like
Urvasi and others,
Who have eyes like the wild
startled deer, follow him like
slaves
Mother who is Goddess of
all universe,
He who meditates on you
as the crescent of love of our
lord
On the dot of the holy wheel
Your bust is just below,
And you as the half of Shiva
Not only creates waves of
emotion in ladies
But charms the world, which
has the moon and sun as two
bosoms
Kirantim angebhyah
kirananikurumbamrtarasam
Hrdi tvam adhatte himakarasila
murthimiva yah;
Sa sarpanam darpam samayati
sakuntadhipa iva
Jvaraplustan drshtya sukhayati
sudhadharasiraya
Tatillekhathanvim
thapanasasivaisvanaramayim
Nishannam shannam apy upari
kamalanam tava kalaam;
Mahapadma tavyam
mrditamalamayena manasa
Mahantah pasyanto dadhati
paramahladalaharim
He who meditates in his
mind
On you who showers nectar
from all your limbs
And in the form resembling
a statue carved out of
moonstone
Can with a single stare,
put an end to the pride of
snakes
And with your nectar like
vision,
cure those afflicted by fever
Those great souls
Who have removed all
impurities from the mind,
and meditate on you within
their mind,
You who are of the form of
sun and moon
And living in the forest of
lotus,
and also above the six wheels
of lotus,
Enjoy wave after wave,
of happiness and bliss and
joy
Bhavani tvam daase mayi vitara
drishtim sakarunam
Iti sthotum vanchan kadhayati
Bhavani tvam iti yah;
Tadaiva tvam tasmai disasi
nijasayujyapadavim
Mukunda brahmendra sphuta
makutanirajitapadam
Tvaya hrithva vamam vapur
aparitripthena manasa
Sarirardham sambhor aparam api
sankhe hritham abhut;
Yad ethat tvadrupam sakalam
arunabham trinayanam
Kuchabhyam anamram
kutilasadichuudalamakutam
If anyone has a wish in his
mind to pray
“You, my mother,
Please shower on me, a part
of your merciful look”,
Even before he says, “You
Bhavani”,
You my goddess,
Would give to him the water,
Falling from the crowns
Of Vishnu, Rudra and
Brahma,
At your feet,
And grant him, the eternal
life in your world
Your form in my mind
Is the colour of the red,
rising sun,
You are adorned with three
eyes,
And two heavy breasts -
slightly bent,
And wears a crown with the
crescent moon,
And hence arises a doubt in
me,
That you were not satisfied,
By half the body of Shambu
that he gave,

Jagat suthe dhata harir avati rudrah
kshapayate
Tiraskurvan etat svam api
vapurisastirayati;
Sadapurvah sarvam tad
idamanugrhnati cha Shiva
Stavajnam aalambya kshanachalitayor
bhrulatikayoh
Trayanam devanam
thrigunajanitanam tava Sive
Bhavet puja puja tava charanayor ya
virachita;
Tatha hi
tvatpadodvahanamanipithasya nikate
Sthita hyete sasvan
mukulitakarottamsamakuta
Virincih panchatvam vrajati harir
apnoti virathim
And occupied all his body
Brahma creates the world,
Vishnu looks after it,
Shiva destroys it,
Ishwara makes them
disappear,
And also disappears himself,
And Sadashiva blesses them
all,
By your order given to him,
With a mere slight move of
your eyebrows
Consort of Shiva,
The worship done at the base
of your feet
Is the worship done to the
holy Trinity
Born based on your
properties.
This is so true, oh mother,
Because don’t the trinity,
Always stand with folded
hands,
Kept on their crown
Near the jewelled plank,
Which carries your feet
The Creator reaches
dissolution,
Vishnu attains death,
Vinasam kinaso bhajati dhanado yati
nighanam;
Vitandri mahendri vithathir api
sammeelitadrsa
Mahasamhare smin viharati sati
tvatpatirasau
Japo jalpah shilpam sakalam api
mudravirachana
Gatih pradaksinyakramanam
asanadyahutividhih;
Pranamah samvesah sukham akilam
atmarpanadrsa
Saparyaparyayas tava bhavatu yan me
vilasitam
Sudham apy asvadya
pratibhayajaraamrtyuharinim
The God of Death too dies,
Kubera the lord of wealth
expires,
Indra closes his eyes one
after another,
And attain the wakeless
sleep,
During the final deluge,
But you my chaste mother,
Play with your consort Shiva
Let my utterances which are
made with the sacrifice in
my soul
Become the chanting of your
name,
Let all my movements
become mudras
Let my travel become
perambulations around you
Let the act of eating and
drinking become fire
sacrifice to you,
Let my act of sleeping
become a salutation to you
And let all my actions of
pleasure Become parts of
your worship
Oh, mother Gods like Indra
and Brahma,
Vipadyante visve VidhiSatamakhadya
divishadah;
Karalam yat ksvelam kabalitavatah
kaalakalana
Na Sambhos tanmulam tava janani
tadankamahima
Kiritam vairincham parihara purah
kaitabha bhidah
Katore kotire skalasi jahi
jambharimakutam;
Pranamreshwateshu prasabha
mupayatasya bhavanam
Bhavasyabhyutthane tava parijanoktir
vijayate
Svadehodbhutabhir ghrnibhir
animadyabhir abhito
Nishevye nitye tvamahamiti sada
bhavayati yah;
Who have drunk deep the
nectar divine,
Which removes cruel aging
and death,
Do die and disappear.
But Shambu, your consort,
Who swallowed poison that
is potent,
Does never die,
Because of the greatness
Of your ear studs
Yours escorts divine,
Shout with concern
“Avoid the crown of Brahma,
You may hit your feet,
At the hard crown of Vishnu,
Who killed the ogre Kaitaba,
Avoid the crown of Indra”,
When you get up and rush
in a hurry,
To receive your lord who
comes to your place
It is not surprising to know,
Oh mother,
Who does not have birth and
death,
And who is most suitable to
be served,
Kimascharyam tasya
trinayanasamrddhim trinayato
Mahasamvartagnir virchayati
nirajanavidhim
Cautuhshashtya tantraih sakalam
atisamdhaya bhuvanam
Sthitas
tattatsiddhiprasavaparatantraih
pasupatih;
Punas tvannirbandhad
akhilapurusarthaika ghatana
Svatantram te tantram khsititalam
avatitaradidam
Sivah saktih kamah kshitir atha ravih
That the destroying fire of
the deluge,
Who considers you,
(Who is of the form of rays,
And is surrounded on all
four sides,
By the angels of power called
Anima)
As his soul always,
And who considers the
wealth of the three-eyed
God,
As worthless and
comparable to dried grass
The Lord of all souls,
Pashupathi
Did create the sixty four
tantras,
Each leading to only one
desired power,
And started his relaxation
But you goaded him
To create in this mortal
world.
Your tantra called Sri Vidya.
Which grants the devotee
All powers over all the states
in life
She who is mother of us all,
sithakiranah The seed letter “ka” of my
lord Shiva,
Smaro hamsah sakrastadanu cha The seed letter “e” of goddess
paramaraharayah; Shakthi,
The seed letter “i” of the god
Amee hrllekhabhis tisrbhir avasanesu of love,
ghatitha The seed letter “la” of earth,
The seed letter “ha” of the
Bhajante varnaste tava janani sun god,
namavayavatham The seed letter “sa” of the
moon with cool rays,
The seed letter “ka” of again
the god of love,
The seed letter “ha” of the
sky,
The seed letter “la” of Indra ,
the king of devas,
The seed letter “sa” of Para,
The seed letter “ka” of the
God of love,
The seed letter “la” of the
Lord Vishnu,
Along with your seed letters
“Hrim”,
Which joins at the end of
each of the three holy
wheels,
Become the holy word to
worship you.

Smaram yonim lakshmim trithayam
idam adau tava manor
Nidhayaike nitye
niravadhimahabhogarasikah;
Bhajanti tvam
chintamanigunanibaddhakshavalayah
Sivagnau juhvantah
surabhighrtadharahutisataih
This stanza gives indirectly
the most holy Panchadashi
mantra which consists of
three parts ka e I la hrim at
the end of Vagbhava kuta, ha
sa ka ha la hrim at the end of
Kamaraja kuta and sa ka la
hrim at the end of Shakti
kuta
Oh, mother who is Ever-
present,
Those who realize the
essence,
Of the limitless pleasure of
the soul you give,
And who add the seed letter
“Eem” of the god of love,
The seed letter “Hrim” of the
goddess Bhuavaneswari,
And the seed letter “Srim” of
the goddess Lakshmi,
Which are the three-letter
triad,
Wear the garland of the gem
of thoughts,
And offer oblations to the
fire in triangle of Shiva,
With the pure scented ghee
of the holy cow, Kamadhenu,
 Several times and worship
you

Sariram twam sambhoh I always see in my mind’s eye,

sasimihiravakshoruhayugam That your body with sun and moon,
As busts is the body of Shiva,
Tavatmanam manye And his peerless body with nine
bhagavati nav atmanam surrounding motes,
anagham; Is your body, my goddess.
And so the relation of,” that which
Atah seshah seshityayam has”,
ubhayasaadharana taya And” he who has”,
Becomes the one perfect relation of
Sthitah sambandho vaam happiness,
samarasaparanandaparayoh And becomes equal in each of you

Manas tvam vyoma tvam Mind you are, Ether you are,
marud asi marut saarathir Air you are, Fire you are,
asi Water you are, Earth you are,
And you are the Universe, mother.
Tvam aastvam bhoomis There is nothing except you in the
tvayi parinathayam na hi world,
param;

Tvam eva svatmanam

parinamayithum
visvavapusha

Chidanandaakaram But to make believe your form as the

Shivayuvatibhaavena universe,
bibhrushe
Tavaagna chakrastham
thapana shakthi koti
dhyudhidharam
Param shambhum vande
parimilitha paarswa
parachitha;
Yamaradhyan bhakthya ravi
sasi suchinama vishaye
Niraalokeloke nivasathi hi
bhalokha bhuvane
Vishuddhou the shuddha
sphatika visadham vyoma
janakam
Shivam seve devimapi siva
samana vyavasitham
Yayo kaanthya sasi kirana
saaroopya sarane
Vidhoo thantha dwarvantha
vilamathi chakoriva jagathi
You take the role of wife of Shiva,
And appear before us in the form of
ethereal happiness
The one who worships Parameshwara,
Who has the lustre of billions of
moons and suns
And who lives in the Ajna chakra the
holy wheel of order,
And is surrounded by your two forms,
On both sides,
Would forever live,
In that world where rays of sun and
moon do not enter,
But which has its own lustre,
And which is beyond the sight of the
eye,
But is different from the world we see
I bow before Shiva
Who is of the pure crystal form,
In your supremely pure wheel
who creates the principle of ether
And to you my mother
Who has same stream of thought as
Him
I bow before you both
Whose moon-like light
Forever removes the darkness of
ignorance from the mind
 And which shines like the Chakora
bird
Singing on a full moon night
Samunmeelath I pray before the swan couple,
samvithkamala Who only enjoy the honey
makarandhaika rasikam From the fully open lotus flowers of
knowledge
Bhaje hamsadwandham And who swim in the lake
kimapi mahatham Which is the mind of great ones
maanasacharam

Yadhalapaa dhashtadasa
gunitha vidhyaparinathi
Yadadhathe doshad who can never be described.
gunamakhila madhbhaya From them come the eighteen arts,
paya eva And they differentiate the good from
the bad,
Like milk from water
Thava swadhishtane Mother, I think and worship of the
huthavahamadhishtaya fire
niratham In your holy wheel of Swadishtana
And the Rudra who shines in that fire
Thameede sarvatha janani Like the destroying fire of deluge
mahathim tham cha And you who shine there as Samaya
samayam
When that angry fiery look of Rudra
burns the world
Yadhaloke lokan dhahathi
Then your look drenches it in mercy
mahasi krodha kalithe
and soothes it
Dhayardhra ya drushti
sishiramupacharam
rachayathi
Thatithwantham shakthya I bow before that principle
thimira paree pandhi Which is in your wheel of
sphuranaya Manipuraka
Which as Parashakthi shines like the
Sphuranna na enemy of darkness
rathnabharana
pareenedwendra
dhanusham
Which is with the streak of lightning
Thava syamam megham Which is with the shining jewels of
kamapi manipooraika precious stones
sharanam Which is also black as night
Which is burnt by Rudra like the sun
Nisheve varshantham of the deluge
haramihira thaptham And which cools down the three
thribhuvanam worlds like a strange cloud

Thavadhare mole saha I pray in your holy wheel of

samayaya lasyaparaya Muladhara
You who likes to dance
Navathmanam manye And call yourself as Samaya
navarasa maha thandava And that Lord who performs the great
natam vigorous dance
Which has all the shades of nine
Ubhabhya emotions.
Methabhyamudaya vidhi
 muddhisya dhayaya This world has you both as parents
because you in your mercy, wed one
Sanadhabyam jagne janaka another
jananimatha jagathidam To recreate the world that was
destroyed in the grand deluge

Part II Saundarya Lahari (The waves of beauty)

Gathair manikyatvam Oh daughter of

gaganamanibhihsandraghatitham the ice
mountain,
Kiritam te haimam himagirisuthe kirthayathi yah He who
chooses to
describe,
Sa nideyascchayacchuranasabalam chandrasakalam
Your crown
bedecked with
Dhanuh saunasiram kim iti na nibadhnati shining jewels,
dhishanam
Which are but
the transformed
version of the
twelve holy
suns
And arranged
very close to
one another,
Will see the
crescent in your
crown,
In the dazzling
light of those
jewels,
 And think of
them as a
rainbow,
Which is but
the bow of
Indra
Dhunotu dhvaantam nas tulitadalitendivaravanam Oh Goddess
who is the
Ghanasnigdhaslakshnam chikuranikurumbham consort of
thava sive; Shiva,
Let the
darkness of our
mind be
destroyed,
By the
crowning glory
on your head,
Yadhiyam saurabhyam sahajamupalabdhum Which is of like
sumanaso the forest of
blooming blue
Vasanthyasmin manye valamadhanavaativitapinam lotus flowers,
Which are soft,
dense and shine
with lustre.
I believe my
mother,
That the pretty
flowers of
Indra’s Garden,
Are all forever
there,
 To give to your
hair a natural
scent
Tanothu kshemam nas tava vadhanasaundarya lahari Oh mother, let
parting of your
Parivahasthrotahsaraniriva seemanthasaranih hair,
Which looks
like a canal,
Vahanti sinduram prabalakabaribharathimira
Through which
the rushing
Dvisham brindair bandikrtham iva navinarka waves of your
kiranam
beauty ebbs,
And which on
both sides
imprisons,
Your
Vermillion
which is like a
rising sun.
By using your
hair which is
dark like
The platoon of
soldiers of the
enemy,
Protect us and
give us peace
Aralaih swabhavyadalikalabhasasribhiralakaih By nature
slightly curled,
Paritham the vakhtram parihasati And shining
pankheruharuchim like the young
honey bees
Darasmere yasmin dasanaruchikinjalkaruchire Your wispy
Sugandhau madhyanti thread-like hair,
Smaradahanachaksurmadhulihah Surround your
golden face.
Your face
rejoices at the
beauty of the
lotus.
And adorned
with slightly
parted smile,
Showing your
beautiful teeth,
Which are like
the white
tendrils,
And which are
sweetly scented.
Bewitches the
eyes of God,
Who burnt the
god of love
Lalatam Lavanya dyuthi vimalamaabhati tava yath I suspect oh,
mother,
Dvithiyam tan manye makutaghatitham That your
chandrasakalam forehead,
Which shines
with the beauty
 of the moon,
Is but an
imprisoned
half-moon,
By your
glorious crown,
Viparyasanyasad ubhayam api sambhuya cha mithah For if joined
along with the
Sudhalepasyutih pareenamati rakahimakarah inverted half-
moon in your
crown,
It would give
out the
magnificent
lustre
Of the moon on
a full moon day
Bhruvau bhugne kinchit Oh Goddess
bhuvanabhayabhangavyasanini Uma,
She who
Tvadhiye nethrabhyam madhukararuchibhyam removes fear
dhritagunam from the world,
With slightly
Dhanur manye savyetarakaragrhitam rathipateh arched eye
brows,
Tied by a hoard
Prakoshte mushtau ca sthagayati nigudhantharam
of honey bees
ume
forming a
string,
 Which
resembles the
bow of the god
of love
Held in his left
hand.
And having a
hidden middle
part
engulfed by the
wrist and
folded fingers
Ahah sute savyam tava nayanam arkathmakathaya Your right eye
is like the sun,
Triyamam vamam the srujati rajaninayakataya And makes the
day,
Trithiya the drishtir dharadhalitahemambujaruchih Your left eye is
like the moon,
And creates the
night.
Your middle
eye,
Which is like
the golden lotus
bud,
Samadhatte sandhyam divasanisayor antaracharim Gently
blossoming into
a flower,
Makes the
dawn and the
 dusk
Vishala kalyani sphutaruchir ayodhya kuvalayaih The look from
your eyes, Oh
Kripadharadhara kimapi madhura bhogavatika goddess
Is all pervasive,
Avanthi drishtis the bahunagaravistaravijaya Does good to
everyone,
Sparkles
Dhruvam tattannamavyavaharanayogya vijayate
everywhere,
It is a beauty
that can never
be challenged,
Even by blue
lilies,
It is the source
of rain of
mercy,
Is sweetness
personified,
Is capable of
saving devotees,
Is as many cities
as its victory.
And can be
called by
several names,
According to
which aspect
one sees
Kavinam sandharbhasthabaka makarandhai Your two long
karasikam eyes , Oh
goddess,
Katakshavyakshepabhramarakalabhaukarnayugalam; Are like the two
little bees that
want to drink
honey,
And extend to
the ends of
your two ears,
Amunchantau drshtva tava navarasasvada tharalau With a pretence
of side glances,
Asuyasamsargadhalikanayanam kinchid arunam Which are bent
upon drinking
the honey,
From the flower
of poems
Presented by
your devotees,
And make your
third eye
purple,
With jealousy
and envy
Shive sringarardhra taditharajane kutsanaparaa Mother of all
universe,
Sarosha Gangayam Girisacharitevismayavathi; The look from
your eyes,
Harahibhyo bhita sarasiruha saubhagyajanani Is kind and
filled with love

Sakhishu smera the mayi janani dristih sakaruna

when looking at
your Lord,
It is filled with
disinterest for
other men,
Is filled with
anger when
looking at
Ganga,
The other wife
of your Lord,
Is filled with
wonder when
hearing the
stories of your
Lord,
Is filled with
fear when
seeing the
snakes worn by
your Lord,
Is filled with
red colour of
valour of the
pretty lotus
Is filled with
happiness,
when seeing
your friends,
And filled with
mercy, when
seeing me
Gathe karnabhyarnam garutha iva pakshmani Oh flower bud,
dhadhati Who is the
head gear
Puraam bhetthus chittaprasamarasavidhravanaphale; Of the king of
mountains,
Ime nethre gothradhara pathikulottam sakalike Wearing black
eyebrows
above,
Tavakarna krishtasmarasa ravilasam kalayathah
Resembling the
feathers of
eagle,
And
determined to
destroy peace,
From the mind
of he who
destroyed the
three cities,
Your two eyes
elongated up to
your ears,
Enact the
arrows of the
god of love
Vibhakthatraivarnyam vyatikarithalilanjanathaya Oh, Darling of
Shiva,
Vibhati tvannetratrithayam idam Isanadayite; Your three eyes
coloured in
three shades,
 By the
eyeshadow that
you wear,
Punah strashtum devan DruhinaHariRudran To enhance
uparatan your beauty,
Wear the three
Rajah sattvam vibhrat thama ithi gunanam trayam qualities
iva Of satva, rajas
and tamas,
As if to recreate
the holy trinity,
Of Vishnu,
Brahma and
Rudra,
After they
become one
with you,
During the final
deluge
Pavithrikarthum nah pasupathiparadheenahridhaye She who has a
heart owned by
Dayamithrair nethrair arunadhavalasyama Pashupathi,
ruchibhih; Your eyes
which are the
companions of
Nadah sono ganga tapanatanayeti dhruvamamum
mercy,
Coloured red,
Trayanam tirthanam upanayasi sambhedam
white and
anagham
black,
 Resemble the
holy rivers,
Sonabhadra,
which is red,
Ganga which is
white,
Yamuna, the
daughter of
Sun, which is
black,
And is the
confluence of
these holy
rivers,
Which remove
all sins of the
world.
We are certain
and sure,
That you made
these rivers
merge to wash
off our mortal
sins
Nimeshonmeshabhyam pralayam udayam yaati The learned
jagati sages speak -
daughter of the
Tavety ahuh santho Dharanidhararaajanyathanaye; king of
mountain,
That this world
Tvadunmeshaj jatham jagad idham asesham
pralyatah
 Is created and
Paritrathum sankhe parihrutanimeshas tava drusah destroyed,
When you open
and shut
Your soulful
eyes.
I believe my
mother,
That you never
shut your eyes,
So that this
world created
by you,
Never ever has
to face a deluge
Tavaparne karnejapanayanapaisunyachakita Oh, She who is
begotten to
Niliyante thoye niyatham animeshah sapharikah none,
It is for sure
Iyam cha srir baddhascchadaputakavaiam kuvalayam That the black
female fish in
the stream,
Jahati pratyupe nisi cha vighatayya pravisathi
Are afraid to
close their eyes.
Fearing that
your long eyes,
Resembling
them all,
Would murmur
ill about them
 Into your ears
to which they
are close
It is also for
sure,
That the
Goddess
Lakshmi,
Enters the
blooming blue
lily
Before your
eyes close at
night,
And re-enter in
the morning
when they open
Drisa draghiyasya dharadhalitanilotpalarucha She who is the
consort of Lord
Dhaviyamsam dhinam snapaya kripaya mam api Shiva,
Sive; Please bathe me
with your
merciful look,
Anenayam dhanyo bhavathi na cha the hanir iyata
From your eyes
which are very
Vane va harmye va samakaranipaatho himakarah long,
And have the
glitter of
slightly opened,
blue lotus
flower divine,
 By this look I
will become
rich with all
that is known,
And you do not
lose anything
whatsoever,
For does not
the moon shine
In the forest
and palaces
alike!
Araalam the paaliyugalam agarajanyathanaye Oh goddess,
who is the
Na kesham adhatte kusumasharakodhanda daughter of
kuthukam; king of
mountains,
Who will not
Tiraschino yathra sravanapatham ullanghya vilasann
but believe,
That the two
Apaangavyasango disati sarasandhanadhisanam
arched ridges
between your
eyes and ears,
Are the flower
bow of the god
of love?
Your side
glances pierce
through these
spaces,
 Making one
wonder if
arrows have
been
Sent through
your ears
Sphuradganddabhogaprathiphalithathatanka I feel that your
yugalam face,
With the pair of
Chatuschakram manye thava mukham idam ear studs,
manmatharatham; Reflected in
your two
Yamaruhya druhyaty avaniratham mirrorlike
arkendhucharanam cheeks
Are the four
wheeled
Mahaviro marah pramathapathaye sajjitavate
Chariot,
Of the god of
love.
Perhaps he
thought he can
win Lord Shiva,
Who was riding
with the sun
and moon as
wheels,
Because he was
riding in this
chariot.
Sarasvatyah sukthir amruthalaharikaushalaharih Oh Goddess
 who is the
Pibanthyah Sarvani Sravanachuluk abhyam aviralam; consort of Lord
Shiva,
Chamathkaraslaghachalitasirasah kundalagano Your sweet
voice which
resembles
Jhanatkarais taraih prativachanam achashta iva te
The continuous
waves of nectar,
Fills the ear
vessels of
Saraswathi
Without break,
And she shakes
her head hither
and thither,
And the sound
made by her ear
studs,
Appear as if
they applaud
your words
Asau naasavamsas tuhinagirivamsadhvajapati Oh Goddess
who is the flag
Thvadhiyo nedhiyah phalatu phalam asmakam of the clan of
uchitam; Himalayas,
Let your nose
which is like a
Vahathy anthar muktah sisirakaranisvasa galitham
thin bamboo,
Give us the
Samruddhya yat tasam bahir api cha blessings which
muktamanidharah
are apt.
 I feel mother,
That you are
wearing a rare
pearl,
Through your
left nostril,
For your nose is
a storehouse
Of rarest pearls
divine
Prakrithyarakthayas thava sudhati Oh goddess
danthacchadaruchaih who has
beautiful rows
Pravakshye saadrisyam janayathu phalam of teeth,
vidhrumalatha; I tried to find a
simile for your
blood red lips,
Na bimbam tadbimbaprathiphalanaraagad
arunitham And can only
imagine the
fruit of the
Thulam adhyarodhum katham iva bhilajjetha kalaya
coral vine!
The fruits of the
red cucurbit,
Hang their
head in shame,
On being
compared to
your lips,
As it has tried
to imitate its
 colour from
you,
And knows that
it has failed
miserably
Smithajyothsnajalam thava vadanachandrasya The Chakora
pibatham birds,
Chakoranam asid athirasataya chanchujadima; Feel that their
tongues have
Athas the sithamsor amrthalaharim amlaruchayah been numbed,
By forever
drinking,
Pibanthi svacchhandam nisi nisi bhrusam
kaanjikadhiya The sweet
nectar like light
emanating,
From your
moon like face,
And for a
change want to
taste,
The sour rice
gruel during
the night,
And have
started
drinking,
The white rays
of the full
moon in the
sky
Avishrantam pathyur gunaganakathamridanajapa Mother mine,
The well-
Japapushpascchaya thava janani jihva jayathi saa; known tongue
of yours,
Yadagrasinayah sphatikadrishadacchacchavi mayi Which without
rest, chants and
repeats
Sarasvathya murthih parinamati manikyavapusha
The many good
deeds of your
consort Shiva,
Is red like the
hibiscus flower.
The goddess of
learning
Saraswathi
Sitting at the tip
of your tongue,
Though white
and sparkling
like a crystal,
Turns red like
the ruby,
Because of the
colour of your
tongue.
Rane jithvadaithyan apahruthasirastraih kavachibhir Oh mother of
the world,
Nivrittais The lords
ChandamsaTripuraharanirmalvavimukhaih; Subramanya,
Vishnu and
Indra,
 Returning and
resting after the
war with
Asuras
Have removed
their head gear,
Visakhendropendraih sasivisadhakarpurasakala And wearing
the iron jackets,
Viliyanthe maatas tava vadanatambulakabalah Are not
interested in
the left overs.
After the
worship of
Shiva,
Which belongs
to
Chandikeswara,
And are
swallowing
with zest,
The half
chewed betel,
From your holy
mouth,
Which has the
camphor as
white as the
moon
Vipanchya gayanthi vividham apadhanam Oh mother of
Pasupathea all,
 When you start
Thvayarabdhe vakthum chalitasirasa sadhuvachane; nodding your
head,
Tadhiyair madhuryair apalapithatantrikalaravam Muttering
sweetly, “good,
good”
Nijaam vinam vani nichulayati cholena nibhrutham
To the Goddess
Saraswathi,
When she sings
the great stories
to you,
Of Pashupathi
With the
accompaniment
of her veena,
She mutes the
veena with the
covering cloth,
So that the
strings
producing the
sweetest music,
Are not put to
shame,
By your voice
full of
sweetness
Karagrena sprustam thuhinagirina vatsalathaya Oh daughter of
the mountain,
Girisenodasthama muhur adharapanakulataya; How can we
describe the
 beauty of your
Karagrahyam sambhor mukhamukuravrintham chin,
girisute Which was with
affection
caressed,
Kadhamkaram bramas thava chubukam
aupamyarahitham By the tip of his
fingers by your
father
Himavan:
Which was
often lifted by
the Lord of the
mountain
Shiva,
In a hurry to
drink deeply
from your lips;
Which was so
fit to be
touched by his
fingers;
Which did not
have anything
comparable,
And which is
the handle of
the mirror of
your face
Bhujasleshan nithyam Puradamayituh kantakavathi Your neck
appears full of
Tava griva dhatte mukhakamalanaalasriyam iyam; thorns always,
 Due to the hair
Svatah swetha kaalaagarubahulajambalamalina standing out,
By the frequent
Mrinalilalithyam vahati yadadho haralathika embrace of the
Lord,
Who destroyed
the three cities.
And looks like
the beauty of
the stalk,
Of your lotus
like face.
The chain of
white pearls
worn below,
Is dulled by the
incense and
myrrh,
And the paste
of sandal
applied there,
And is like the
tender stalk,
Dirtied by the
bed of mud
Gale rekhas thisro gathigamakagithaika nipune She who is an
expert in gathi,
Vivahavyanaddhapragunagunasamkhyaprahibhuvah; gamaka and
geetha (music)
The three lucky
lines on your
 neck,
Perhaps remind
one,
Of the number
of the
mangalsutra
thread
Virajanthe nanavidhamadhuraragakarabhuvam Tied during
your marriage,
Thrayanam gramanam sthithiniyamaseemana iva the And also
remind of the
place,
In your pretty
neck,
Where
originates the
three musical
notes,
Of Shadja,
Madhyama and
Gandhara
Mrinalimridhvinam thava bhujalathanam Brahma, the
chatasrinam God born out
of Lotus,
Chaturbhih saundaryam Sarasijabhavah stauthi Afraid of the
vadanaih; nails Of Shiva,
Who killed the
Nakhebhyah samtrasyan Asura called
prathamamadhanadandhakaripo Andhaka,
Chaturnam sirshanam samam Which has
abhayahastharapanadhiya clipped of one
of his heads,
Praises with his
four faces,
Your four
pretty, tender
hands,
Resembling the
lotus flower
stalk,
So that he can
ask for
protection for
his remaining
four heads,
By use of your
four merciful
hands at the
same time
Nakhanam uddyotai navanalinaragam vihasatham Oh Goddess
Uma
Karanam te kantim kathaya kathayamah katham You tell us how
Ume; we can
describe,
Kayachid va samyam bhajatu kalaya hanta kamalam The shining of
your hands,
By the light of
Yadi kridallakshmicharanatalalaksharasachanam
your nails,
Which tease the
redness of
 freshly opened
lotus?
Perhaps if the
red lotus mixes,
With the liquid
lac adorning
The feet of
Lakshmi,
Some
resemblance
can be seen
Samam devi skanda dwipa vadana peetham Our Goddess
sthanayugam Devi,
Let your two
Thavedham na khedham harathu sathatham breasts
prasnutha mukham Give out milk,
That are
Yada loakakhya sankha kulitha hridayo hasa janaka simultaneously
drunk deeply
Swa kumbhou herambha parisrusathi hasthena By Skanda and
jhhaddithi the elephant
faced Ganesha
Destroy all our
sorrows.
Seeing them
and getting
confused
The Herambha
feels for his two
frontal globes,
 To see whether
they are there,
Making you
both laugh
Amuu theey vakshoja vamrutharasa manikhya Oh, victory flag
kuthupou of the king of
mountains,
Na sadhehaspatho nagapathi pathake manasi na We never have
any doubt in
our mind,
Pibhanthou thow yasma dhavadhitha bhadusangha
rasikou That your two
divine breasts,
Are the nectar
Kumara vadhyapi dwiradhavadhana krouncha
filled pot made
dhalanou
of rubies,
For the
Bahathyambha sthamberam dhanuja kumbha elephant faced
prakrithibhi one,
And he who
Samaarabhdham muktha mamibhi ramalam haara killed the asura
lathikam
Even today do
not know the
Kuchabhogo bhimbhadara ruchibhi rathna pleasure of
saabhalitham women,
And remain as
Prathapa vyamishram puradamayithu keerthimiva young children.
thee Oh mother
mine.
The place
between your
holy breasts
 Wear the
glittering chain
Made out of the
pearls,
Recovered from
inside the head
of Gajasura,
And reflect the
redness of your
lips,
Resembling the
bimba fruits,
And are
coloured red
inside.
You wear the
chain with
fame,
Like you wear
the fame of our
Lord.
Who destroyed
the three cities
Paya paraabhaara parivahathi saaraswathamiva Oh daughter of
the king of
Dhayavathya dhattham dravida sisu raaswadhya mountains,
thava yat I feel in my
mind
Kaveenam proudana majani kamaniya kavayitha That the milk
that flows from
your breast,
Twa stanyam manye dharanidhara kanye Is really the
hridhayatha goddess of
learning,
Saraswathi,
In the form of a
tidal wave of
nectar.
For milk given
by you who is
full of mercy
Made the child
of Dravida,
The king
among those
great poets,
Whose works
stole one’s mind
Hara krodha jwalaavalibhir avaleedena vapusha Oh daughter of
the mountain,
Gabhire thee nabhisarasi kruthasangho manasija The God of love
who is the king
of the mind,
Being lit by the
flame of anger
of Shiva,
Samuthasthou thasmath achalathanaye Immersed
dhoomalathika himself in the
deep pond of
Janastham janithe thava janani romaavalirithi your navel.
 The tendril like
smoke
emanated from
there,
And mother,
people think,
That this is the
line of hair,
That climbs
from your navel
upwards
Yadhethath kalindhi thanu thara ngaa kruthi shive The mother of
universe who is
Krushe mahye kinchid janani thawa yadbhathi Shiva and
sudheeyam Shakti,
In the narrow
part of the
Vimardha dhanyonyam kuchakalasayo ranthara
middle of your
gatham
body.
The learned
Thanu bhootham vyoma pravishadhiva nabhim men seem to
kuharinim see a line,
Which is in the
shape of a small
wave of the
river Yamuna,
And which
shines and
glitters, and
appears like the
sky
 Made very thin
by your dense,
colliding
breasts,
Entering your
cave like navel
Sthiro gangavartha sthana mukula romaa vali latha Oh daughter of
the mountain,
Kalaabhalam kundam kusuma sara thejo hutha bhuja Is your navel a
whirl pool in
river Ganga
Rathe leelamgaram kimapi thava nabhir giri suthe
Which looks
very stable!
Bhila dwaram siddhe rgirisa nayananam vijayathe
Or is it the root
of the climber,
Of the stream
of your hair
line,
Which has your
two breasts as
buds,
Or is it the
ritual fire,
Where the fire
is the light from
Cupid,
Or is it the play
house of Rathi,
the wife of God
of love
 Or is it the
opening to the
cave,
In which Shiva’s
tapas gets
fulfilled,
I am not able to
make up my
mind!
Nisargha ksheenasya sthana thata bharena Oh daughter of
klamajusho the mountain,
You who is the
Namanmurthe narree thilaka sanakaii sthrutayatha greatest among
eva women,
Long live your
Chiram thee Madhyasya thruthitha thatini theera pretty hips,
tharuna Which look
fragile,
Samavasthaa sthemno bhavathu kusalam Which are by
sailathanaye nature tiny,
Which are
strained by
your heavy
breasts,
And hence
slightly bent,
And which look
like the tree,
On the eroded
banks of a
rushing river
Kuchou sadhya swidhyasthata = ghatitha Oh Goddess
koorpasabhidurou mine,
Placed just
Kasnthou dhormule kanaka kalasabhou kalayatha below your
shoulders,
Thava thrathum bhangadhalamithi valagnam By Cupid , the
thanubhava god of love,
Tearing your
blouse which is
Thridha naddham devi trivali lavalovallibhiriva
attached
To your body
by the sweat,
When you
think of the
greatness of
your Lord,
And resembling
pots of gold,
Your breasts
appear to be
tied by him,
Securely three
times,
By the three
creeper like
folds
Guruthvam vistharam ksithidharapathi paravathy Oh, daughter of
nijaath the mountain,
Perhaps
Himavan , the
Nithambha Dhhachhidhya twayi harana roopena king of
nidhadhe mountains,
Gave readily as
Athasthe vistheerno guruyamasesham vasumathi dowry to you,
The density and
Nithambha praabhara sthagayathi lagutwam nayathi breadth from
cha his bottom,
So that your
behinds are
broad and
dense.
And therefore
they both hide
all the world,
And make the
world light
Karrendranam sundan kanaka kadhali kaadapatali Oh daughter of
the mountain,
Umabhamurubhyam mubhayamapi nirjithya Who knows the
bhavathi rules of the
Vedas,
Savrithabhyam pathyu pranathikatinabham giri Using your two
suthe thighs,
You have
achieved
victory over
The trunks of
the elephant
Vidhigne janubhysm vibhudha karikumbha And the golden
dwayamasi stem of the
 banana plants,
And achieved
victory over
frontal globes,
Of Iravata the
divine elephant,
By your holy
round knees,
Which have
become hard
By repeated
prostrations to
your lord
Paraa jenu rudhram dwigunasara garbhoy girisuthe Oh daughter of
the mountain,
Nishanghou Unghe thee vishamavishikho bhada The five
maakrutha arrowed Cupid,
To win Rudra
Yadagre drishyanthe dasa satra phalaa paadayugali your lord,
Has made your
legs,
Nakhagrachadhyan sura makuta sanayika nishitha
In to an arrow
case,
With ten
arrows.
In the end of
the case,
Are your two
feet,
 Studded with
ten of your so
called nails,
Which are the
ten steel tipped
arrows,
Sharpened on
the crowns of
Devas
Sruthinam murdhano dadhati thava yau Oh mother
sekharathaya mine,
Be pleased to
Mamapy etau Matah sirasi dayaya dhehi charanau; place your two
feet on my head
with mercy.
Yayoh paadhyam paathah Pasupathijatajutathatini
Your feet are
the ornaments
Yayor larkshalakshmir arunaHarichudamaniruchih at the head of
Upanishads,
The water that
washes them is
the river Ganga,
Flowing from
Shiva’s head,
And the lac that
adorns your
feet
Have the red
lustre of the
crown of
Vishnu
Namo vakam broomo nayana ramaneeyaya padayo We offer our
salutations
Thavasmai dwandhaya sphuta ruchi rasalaktha To your two
kavathe sparkling feet.
Which are most
Asooyathyantham yadhamihananaaya spruhyathe beautiful to the
eyes,
And painted by
Passonamisana pramadhavana kamkhelitharave
the juice of red
cotton.
We also know
well
That the god of
all animals,
your consort,
Is very jealous
of the Ashoka
trees in the
garden
Which yearn
for a touch of
your feet
Mrisha krithva gothra skhalana matha vailakshya In a playful
namitham mood, after
teasing you,
Lalate bhartharam charana kamala thadayathi thee About you and
Chiradantha salyam dhahanakritha munmilee your family,
thavatha And at a loss to
control your
sulking,
Thula koti kkana kilikilith meesana ripuna
 When your
consort does
prostrations,
Your lotus-like
feet touch his
forehead,
And the god of
love, the enemy
of your Lord,
who was burnt
By the fire from
his third eye,
And was still
feeling an
enmity with
your lord,
Like the ever
hurting arrow,
Makes a
sneering sound
From your
tinkling anklets
on the legs.
Himanihanthavyam himagirinivasaikachaturau Oh mother
mine,
Nisayam nidranam nisi charamabhaghe cha visadau; The lotus rots
in snow,
But your feet
are used to
being in the
snow,
 The lotus sleeps
at night,
But your feet
are wakeful
night after
night,
Varam laksmipathram sriyam ati srijanthau The lotus makes
samayinam the goddess of
wealth Lakshmi
Sarojam thvadpadau janani jayatas chitram iha kim live in it,
But your feet
offer Lakshmi
to devotees,
And so your
two feet always
win over the
lotus,
What is so
surprising in
this?
Padham the kirhtinam prapadham apadham Devi Oh, Goddess
vipadham Devi,
How did the
Katham nitham sadbhih poets compare
kutinakamatikarparathulam; The foreside of
your merciful
Katham vaa bahubhyam upayamanakaale purabhida feet,
Which are the
source of fame
Yad adhaya nyastham drshadi dayamanena manasa
to your
devotees,
 And which are
not the source
of danger to
them
To the hard
shell of a
tortoise?
I do not
understand.
How did he
who destroyed
the three cities,
Take them in
his hand,
And place them
on hard rock
during your
marriage?
Nakhair nakasthrinam karakamalasamkocha sasibhi Your moonlike
nails,
Tarunam dhivyanam hasata iva te chandi charanau; Oh mother who
killed Chanda,
Phalani svahsthebhyah kisalayakaragrena dhadhatam Which makes
the celestial
maidens,
Daridhrebhyo bhadraam sriyam anisam ahnaya
Fold their
dhadhatau
hands in
shame,
Forever tease
your two feet,
 Which unlike
the holy trees in
heaven,
(Which by their
leaf-bud like
hands,
Give all they
wish to the
gods,)
Give the poor
people wealth
and happiness,
Speedily and
without fail
Dhadhane dinebhyah sriyam anisam My soul with
asaanusadhrusim six organs
Is similar to the
Amandham saundharyaprakaramakarandham six legged
vikirathi; honey bees,
Which dip at
Tavasmin mandharasthabhakasubhage yatu charane your holy feet,
Which are as
pretty
As the flower of
the celestial
tree,
Which always
grant wealth to
the poor,
Nimajjan majjivah karanacharanah satcharanathaam Whenever they
 wish,
And which
without break
showers floral
honey
Padanyasakreedaparichayam ivarabdhumanasah She who has a
holy life,
Skhalanthas the khelam bhavanakalahamsa na jahati; The swans in
your house,
Atas tesham siksham subhagamanimanjiraranitha Follow you
without break,
As if to learn
Chchalad achakshanam charanakamalam
your gait which
charucharite
is like celestial
play.
So your lotus
like feet,
Taking recourse
to the musical
sound,
Produced by
the gems in
your anklets,
Appears to
teach them
what they want
Gataas the mancathvam Brahma,
DruhinaHariRudreshavarabhrutah Vishnu, Rudra
and Shiva,
Sivah svacchacchayaghatitakapatapracchadapata;
 Who are the
Tvadhiyanam bhasaam pratiphalanaragarunathaya gods who rule
the world
Become the
four legs of
your bed
So that they are
able to serve
you always.
Sadashiva who
is white in
colour
Sariri srungaro rasa iva dhrisam dhogdhi kuthukam Becomes the
bedspread on
which you
sleep,
And appears
red because he
reflects your
colour.
And to your
eyes which are
the
personification
Of the feelings
of love,
He gives a lot of
happiness
Araala kesheshu prakruthisaralaa mandahasithe Her mercy
which is
beyond the
Sireeshabha chite drushad upalasobha kuchathate; mind and
words of Shiva,
Bhrusam thanvi madhye pruthur Is forever
urasijharohavishaye victorious in
the form of
Aruna,
Jagat trathum sambhor jayahti karuna kaachid aruna.
So as to save
this world.
That spirit of
mercy is in the
form of
waves in her
hair
In the form of
natural
sweetness in
her smile.
In the form of
pretty
tenderness of a
flower in her
mind,
In the form of
firmness of a
ruby stone in
her breast
In the form of
thin
seductiveness
in her hips,
 In the form of
voluptuousness
in her breasts
and back
Kalankah kasthuri rajanikarabimbham jalamayam The moon that
we know is
Kalabhih karpurair marakathakarandam nibiditam; your jewel box,
Filled with
water of
Athas thvadbhogena prahtidinam idam
incense,
rikthakuharam
The blackness
we see in the
Vidhir bhuyo bhuyo nibidayathi nunam thava krithe moon,
The musk put
for your use in
this box,
And the
crescents we see
of the moon
are canisters of
emerald,
Full of divine
camphor.
And for sure,
Brahma the
Creator refills
these daily,
After your use,
So that they are
always full
thathas thvachcharanayoh You are leading
light of the
Saparyamaryadha tharalakarananam asulabha; home of Lord
Shiva,
Who destroyed
Thatha hyethe neetah sathamukhamukhah siddhim
the three cities,
athulam
And so coming
near you and
worshipping at
your feet,
Is not for those
with weak
mind,
Who do not
have control of
their senses
Purarather antahpuram asi Thava And that is why
dvaropanthasthithibhir animadyabhir amarah perhaps,
Indra and other
Gods,
Stay outside
your gates,
And attain your
sweet self
By practice of
siddhis like
anima
Kalathram vaidhathram kathi kathi bhajante na Many poets
kavayah reach the
Sriyo devyah ko va na bhavati pathih kairapi goddess of
dhanaih; learning,
The wife of the
Mahadevam hithva thava sathi sathinam acharame Creator,
By composing
Kuchabhyam aasangah kuravakatharor apyasulabhah soulful poems.
Many who
search and
attain riches,
Are termed as
the lord of the
goddess of
wealth.
Oh, first among
chaste woman,
Except Shiva
your consort.
Your breasts
have not even
touched
The holy henna
tree
Giram aahur devim Druhinagruhinim agaamavidho

Hareh pathnim padhmam Harasahacharim

adhrithanayam;
Thuriya kapi thvam dhuradhigamaniseemamahima Oh Parashakthi
who is one with
Mahamaya visvam bhramayasi parabhrahma mahish Parabrahma,
 Though those
who have
learned Vedas,
Call you as
Brahma’s wife
Saraswathi
Or call you as
Vishnu’s wife
Lakshmi
Or call you as
Shiva’s wife
Parvathi
You are the
fourth one
called Maha
Maya,
Who gives life
to the world,
And have
attained all that
is to attain
Kadha kaale mathah kathaya kalithalakthakarasam Oh mother
mine,
Pibheyam vidyarthi thava charananirnejanajalam; When shall I
who begs for
knowledge
Prakrithya mukhanam api cha kavithakaranathaya
Be able to drink
the nectar-like
water,
Flowing from
your feet,
 Mixed with
reddish lac
applied there?
When shall that
water attain
The goodness
of saliva mixed
with betel-
leaves
Kadha dhathe vanimukhakamalathambularasatham From the
mouth of
goddess of
learning,
Which made
one born as
mute,
Into the king of
poets?
Saraswathya lakshmya vidhi hari sapathno viharathe Those who
worship you oh
Rathe pathivrithyam sidhilayathi ramyena vapusha mother,
Are so learned
and so rich,
The shreechakra Chiram jivannehva kshapathi pasu
pasa vyathikara That even
Brahma and
Vishnu,
Paranandabhikhyam rasayathi rasam twadjanavaan
Are jealous of
them
They are so
handsome
 That even the
wife of Cupid,
Rathi,
Yearns for
them.
He, unbound
from the ties of
this birth,
Always enjoys
ecstatic
happiness,
And lives
forever
Pradhipa jvalabhir dhivasa kara neerajana vidhih Oh Goddess
who is the
Sudha suthes chandropala jala lavair arghya rachana; source of all
words,
This poem
which is made
of words,
That you only
made,
Is like showing
the camphor
lamp to the
Sun,
Svakiyair ambhobhih salilanidhisauhitya Karanam Is like offering
as ablation to
Tvadiyabhir vagbhis thava janani vacham stutir iyam the moon,
The water got
from the
moonstone,
And is like
offering water
worship
To the sea
 Chapter 18

Navaratri Mantras

Navaratri is a festival that is celebrated over nin nights and ten days. It is
celebrated differently in various parts of India, with one main festival,
Sharada Navaratri, observed across the country in honour of Durga. It is
celebrated in the South as Dasara, North as Dusshera and West Bengal as
Durga Puja. The festival falls in the bright half of the Hindu month of
Ashwin, typically in September or October. Across the country, the common
theme is the battle and the ensuing victory of good over evil based on a
regional legends such as Chamundi in the South and Kali in the West.
Sadhguru explains: “Our culture draws its roots on profound
observations of the human system and its relationship with the Earth, the
Moon, the Sun, and different aspects of the Divine. This is also reflected in
when and how we celebrate our festivals. Navaratri literally means “nine
nights.” These nine nights are counted from the day after new moon day or
Amavasya. These first nine days of the lunar cycle are considered feminine.
This is a special time for Devi, who represents the feminine nature of the
Divine. The ninth day is called Navami. The one-and-a-half days around the
full moon are a neutral time. The remaining eighteen days are masculine in
nature. The feminine phase of the month is about Devi. That is why in the
tradition, all worship up to Navami is dedicated to Devi. The post autumnal
equinox is also the time of the feminine; hence Navaratri is celebrated with
great enthusiasm during this time of the year.”

Chaitra Navaratri, also called Vasanta Navaratri, is the second most

popular Navaratri, named after “vasanta”, which means spring. It is observed
during the lunar month of Chaitra (March–April). The last day is celebrated
as Ram Navami, the birthday of Rama. For this reason, it is also called Rama
Navaratri.

In many regions, this festival falls after spring harvest, and in others,
during the harvest season. It also marks the first day of the Hindu lunisolar
calendar according to the Vikram Samvat calendar.

Magha Navaratri is observed during the lunar month of Magha

(January–February). This Navaratri is known as Gupt (secret) Navaratri as
not many people know about it, and only dedicated Shakti worshippers
follow this festival. The fifth day of this festival is often independently
observed as Basant Panchami, the official start of spring in the Hindu
tradition, a day on which goddess Saraswati is revered through arts, music,
writing, and kite flying.

Ashada Navaratri, another Gupt Navaratri, is observed during the lunar

month of Ashadha (June–July), during the start of the monsoon season.
In all four Navaratris, festivities extend beyond Durga to include worship
of other goddesses such as Lakshmi and Saraswati. Durga, Lakshmi and
Saraswathi are seen as three dimensions of the feminine, symbolizing the
earth, the sun and the moon, tamas (inertia), rajas (activity, passion) and
sattva (transcendence, knowledge, purity), respectively. The nine days of
Navaratri are classified according to these gunas (qualities). The first three
days are dedicated to Durga, the next three to Lakshmi, and the last three to
Saraswati.

Durga or Kali is worshipped by those seeking power and strength,

Lakshmi by those desiring wealth and material gains, while Saraswathi is
revered by those seeking to expand their knowledge and awareness. In South
India, Saraswati is worshipped on the ninth day of Sharada Navratri in a
unique festival called Ayudha Puja, which translates to the worship of
“weapons/ tools of trade”. Vehicles, tools, books, musical instruments, and
factory equipment are all decorated and worshipped on this day.
 Vijayadashami is celebrated on the tenth day, signifying the triumph of
good over evil and all three Goddesses are invoked.

Mantra of Goddess Durga for first three nights of Navaratri

Om Dum Durgayaia Namaha

Mantra to be chanted for Goddess Lakshmi on the second three nights

of Navaratri

Om Hrim Mahalakshmyai Namaha

Mantra to be chanted for Goddess Saraswati on the last three nights of

Navaratri

Om Aim Saraswatyai Namaha

Significance of the nine nights of Navaratri

The nine avatars of Durga are worshipped on each day. Shakti exists in
numerous ferocious and innocent manifestations; hence the celebration of
each day of Navaratri is dedicated to a different form of the Goddess.

Day 1 – Shailaputri
Known as Pratipada (first day), this day is associated with Shailaputri
(Daughter of the Mountain), an incarnation of Parvati. Shailaputri is
considered to be the direct incarnation of Mahakali. It is in this form that
Durga is worshipped as the wife of Shiva; she is depicted as riding the Nandi
bull, with a trishula in her right hand and a lotus in her left.

Day 2 – Brahmacharini
On Dwitiya (second day), Goddess Brahmacharini, another incarnation
of Parvati, is worshipped. In this form, Parvati is seen as a Yogini.
Brahmacharini is worshipped for emancipation or moksha and endowment
of peace and prosperity. Depicted as walking bare feet and holding a
japamala (rosary) and a kamandala (pot) in her hands, she symbolizes bliss
and calm.

Day 3 – Chandraghanta
Tritiya (third day) is dedicated to the worship of Chandraghanta – the
name derived from the fact that after marrying Shiva, Parvati adorned her
forehead with the ardhachandra (half-moon). She is the embodiment of
beauty and is also symbolic of bravery.

Day 4 – Kushmanda
Goddess Kushmanda is worshipped on Chaturthi (fourth day). Believed
to be the creative power of the universe, Kushmanda is associated with the
endowment of vegetation on earth. She is depicted as having eight arms and
seated on a tiger.

Day 5 – Skandamata
Skanda Mata, the Goddess worshipped on Panchami (fifth day), is the
mother of Skanda (Kartikeya). She is depicted riding a ferocious lion, having
four arms, and holding her baby. She is symbolic of the transformational
strength of a mother when her child is confronted with danger.

Day 6 – Katyayani
Born to Sage Katyayana, she is an incarnation of Durga and is shown to
exhibit courage symbolized by the colour red. Known as the warrior
goddess, she is considered one of the most violent forms of Devi. In this
avatar, Katyayani rides a lion and has four hands. She is a combined form of
Parvati, Mahalakshmi and Mahasaraswati. She is venerated on Shashtami
(sixth day).

Day 7 – Kaalaratri
 Considered the most ferocious form of Goddess Durga, Kalaratri is
revered on Saptami. The Goddess appears in red attire or tiger skin with rage
in her fiery eyes and is portrayed with dark skin.

Day 8 – Mahagauri
Mahagauri symbolizes intelligence and peace. She is celebrated on
Ashtami (eighth day).

Day 9 – Siddhidatri
On the last day of the festival, also known as Navami (ninth day),
Siddhidhatri is worshipped. Depicted as sitting on a lotus, she is believed to
possess and bestows all types of Siddhis. The colour of the day is purple.
Siddhidhatri is also seen as the Ardhanarishvara form of Shiva and Shakti.

Mantras for the Nine Nights

First night
Shri Shailaputri Devi Mantra

Om Hreem Shri Shailaputri Durgaaye Namaha

Om Devi Shailputryai Swaha

Second night
Shri Brahamacharini Devi Mantra

Om Hreem Shri Brahamacharini Durgaaye Namaha

Om Devi Brahmcharinyai Namah

Third night
Shri Chandraghanta Devi Mantra
 Om Hreem Shri Chandra Ghanta Durgaaye Namaha
Om Devi Chandraghantayayi Namah

Fourth night
Shri Kushmanda Devi Mantra

Om Hreem Shri Kushmanda Durgaaye Namaha

Om Devi Kushmandayayi Namah

Fifth night
Sri Skanda Mata Devi Mantra

Om Hreem Shri Skanda Mata Durgaaye Namaha

Om Devi Skandmatayayi Namah

Sixth night
Shri Katyayani Devi Mantra

Om Hreem Shri Katyayani Durgaaye Namaha

Om Devi Katyayanyayi Namah

Seventh night
Shri Kaalaratri Devi Mantra

Om Hreem Shri Kaala Ratri Durgaaye Namaha

Om Devi Kalratryayi Namah

Eighth night
Shri Mahagauri Devi Mantra

Om Hreem Shri Maha Gauri Durgaaye Namaha

Om Devi Mahagauri Namah
Ninth night
Maa Siddhidatri Mantra

Om Hreem Shreem Sri Siddhidhatri Namaha

Om Devi Siddhidatryai Namah
 Chapter 19

Nirvana Shatakam

The Nirvana Shatakam, considered a mantra in addition to being a hymn,

is of tremendous value to all those who seek progress in contemplation
practises and are searching for self-realisation. Nirvana means a state with
no reverberations and, therefore, no sound or form. The word “vaana” in
Sanskrit means sound and form, which are inseparable from each other and
create a reverberation that lies at the core of everything in existence. This
formlessness, also known as Shiva, is the cradle of existence. This same
formlessness is the true identity of everything that exists, but the veil of
maya prevents us from identifying with this cosmic consciousness. Any
spiritual sadhana, including Sri Vidya, aims to look beyond this veil of maya
and see the world as it really is. Mantra sadhana is one of the means to look
beyond maya and comprehend the true nature of the Brahman. Chanting of
the Nirvana Shatakam is a reminder to ask ourselves, “Who am I?” to seek
the answers within ourselves.

Adi Shankaracharya has composed some of the outstanding literary

pieces known to humankind. His works can broadly be classified under
three categories:
1. Bhashyas or commentaries on the Upanishads, Brahma Sutra and
Bhagavat Gita
2. Prakarana Granthas (independent works) that explain the philosophy
espoused in the Upanishads. These prakarana granthas were written to
make the scriptures more accessible to the common man.
3. Devotional hymns such as the Kanakadhara Stotram
 Nirvana Shatakam, also known as Atmashatakam, summarises the basic
teachings of Advaita Vedanta. This shatakam is a prakarana grantha
consisting of six verses. It was written around 788-820 CE. Prakarana has
been defined in the Vishnu Dharmottara Purana as “Prakarana is a text
which explains some particular aspects of the Sastra and deals with certain
secondary questions arising out of the explanations given.”

The Patanjali Charitam recounts how Shankaracharya met his guru

Govinda Bhagavatpada. Guru Govindapada resided in a cave near the
Omkareshwar Temple on the banks of the Narmada River in present-day
Madhya Pradesh. At the age of eight, Shankaracharya left his home in
Kaladi, in present-day Kerala and undertook a walk beyond the Vindhyas in
search of a Guru. He reached the banks of Narmada, but since the river was
flooded, Shankara could not cross over to the other side to reach
Govindapada’s cave. He composed the Narmada Shatakam in praise of the
glory of the life-giving river, and soon the floods abated, allowing Shankara
to cross over.

Govindapada was in a state of deep meditation, and upon hearing his

name called repeatedly by Shankara, he displayed his big toe as a form of
blessing and enquired: “Who are you?” The eight-year-old sanyasi answered
this question with the six stanzas of the Nirvana shatakam. Guru
Govindapada immediately realised the spiritual prowess of this young
renunciate and accepted him as his disciple.

Nirvana Shatakam

Mano buddhi ahankara I am not the mind, the intellect, ego or

chittani naaham memory
Na cha shrotravjihve na Neither am I the organ that hears (ear),
cha ghraana netre the organ of taste (tongue), the organ of
Na cha vyoma bhumir na smell (nose) or the organ that sees (eye)
tejo na vaayuhu
Chidananda rupah I am not space, nor earth, not fire, not
shivoham shivoham wind
I am the boundless and eternally blissful
form of Shiva
Na cha prana sangyo na I am not the breath
vai pancha vayuhu Nor am I the five types of vayu (vital
Na va sapta dhatur na va force or energy - Prana, Apana, Vyana,
pancha koshah Udana, Samana)
Na vak paani-paadam na I am not the seven types of tissues that
chopastha payu make up the gross body nor am I the five
Chidananda rupah koshas
shivoham shivoham I am neither speech nor the hands, or
legs or genital or excretory organ
My true identity is the eternally blissful
form of Shiva
Na mey dvesha ragau na I do not feel hatred or attachment. I have
mey lobha mohau no greed or delusion
Na mey vai mado naiva I know no pride or jealousy
matsarya bhavaha I am not within the bounds of dharma. I
Na dharmo na chaartho have no duty, no desire for wealth or lust
na kamo na mokshaha or even liberation
Chidananda rupah I am the form of consciousness and bliss
shivoham shivoham I am the eternal Shiva
Na punyam na paapam na I am not bound by virtuous acts, nor by
saukhyam na dukham sinful deeds. I know neither joy nor
Na mantro na teertham sadness.
na veda na yajnah I chant no mantras and neither do I
Aham bhojanam naiva undertake pilgrimages to holy sites
bhojyam na bhokta I do not study the Vedas or perform holy
rituals
 Chidananda rupah
shivoham shivoham
Na mey mrityu shanka na
mejati bhedaha
Pita naiva mey naiva
maata na janmaha
Na bandhur na mitram
gurur naiva shishyaha
Chidananda rupah
shivoham shivoham
Aham nirvikalpo
niraakaara rupo
Vibhut vatcha sarvatra
sarvendriyanam
Na cha sangatam naiva
muktir na meyaha
Chidananda rupah
shivoham shivoham
The arrangement of sounds in this Shatakam, set to a poetic metre called
“balaaka”, is said to work at a deeper level of consciousness to act as a mental
reminder of one’s true nature.
I am neither the one who experiences,
not the act of experience, nor the
experience itself (not the subject, the
object or the verb)
I am the form of consciousness and bliss
I am the eternal Shiva
I have no doubts about death or no fear
of dying, nor am I bound by the rules of
caste and its distinctions
This “I” has no father or mother
I have no birth or relatives
I have neither friends nor a guru or a
disciple
I am the form of consciousness and bliss
I am the eternal Shiva
I am without variation and without any
form
I am omnipresent as the underlying
layer of all matter
I am the force behind all the sense
organs
I get attached to nothing nor do I free
myself from anything
I am Shiva, the supreme auspiciousness
of the nature of consciousness-bliss
I am Shiva the auspiciousness.
 This mantra systematically negates all that we identify with “I” and
shakes our belief in our false identification with the body, mind and senses.
It calls upon us to shed our ignorance and understand the true nature of the
self, which is the Supreme Brahman. It is this realisation that can lead us to
liberation or Nirvana.
 Chapter 20

Sri Mahaganapati Chaturavritti Tarpanam

Sri Vidya initiation is done in several stages. One of the main events in
Sri Vidya sadhaka’s spiritual progress is the deeksha of the Mahaganapati
mantra from the guru. Once the mantra is learnt and chanted for a period of
time set by the guru, the sadhaka is called upon to perform a Mahaganapati
Tarpanam ritual. Tarpanam is a term in Vedic practice that refers to an
offering made to divine entities. The word stands for both an act of offering
and the substance used in the offering. In the context of Sri Vidya, tarpanam
is seen as a form of arghya or offering made to the devata, while the moola
mantra is recited as a japa.
Tarpanam is offered to Gods, rishis and ancestors in the Vedic tradition,
and each form of tarpanam differs slightly from the other. For example,
aromatic water is used for Gods and rishis, while water and black sesame
seeds are used for ancestors. The hand movements with which the water is
poured also differ. For Gods, the water is allowed to flow downwards
through the four fingers. For rishis, the right hand is tilted to the left to allow
the water to flow off the side of the palm. For departed ancestors, water is
poured on the sesame seeds (held in the palm) while tilting the hand to the
right, so the water and sesame seeds fall on the tip.

Ganapati, the elephant-headed God of beginnings, is traditionally

worshipped before any major undertaking and is probably the most popular
ishta devata among Hindus. The word gana, in Sanskrit, means “flock,
multitude or tribe”. The Ganas also refer to attendants of Shiva who chose
Ganesha as their leader. The various sound roots are arranged in groups
known as “gana”, hence Ganapati is also associated with speech and sound as
“lord of the ganas”.
 In the context of the Mahaganapati Chaturavritti Tarpanam, Ganapati is
seen as a positive influence helping the sadhaka withdraw gently and
mindfully from all external attachments while offering a glimpse of the
cosmic consciousness through a dedicated, time-tested ritual of gratitude.
The Mahaganapati Chaturavritti Tarpanam is a powerful reminder of the
sacredness of the spoken word, which, when spoken with clarity, intention
and devotion, can manifest the sankalpa.

Desire lies at the root of all human existence, driving our actions from
moment to moment, taking the shape of needs, yearnings, aspirations,
craving, addictions and obsessions. Fulfilment of desires can only come
about when we make our choice about which need takes priority and
narrowing down our focus to activate that specific need. This is the reason
why setting a sankalpa is important. A sankalpa is a tool which allows us to
harness our energy to achieve a specific goal.

Mahaganapati Tarpanam is a ritual involving 444 repetitions of the

Ganapathi Mantra offered as a token of gratitude and joy. The ritual, which
takes approximately an hour to complete, comprises making a small
turmeric pyramid with a square base that acts as the recipient of the
tarpanam. This turmeric pyramid is placed on a betel leaf inside a large
vessel. The aromatic water is poured from the vessel into the right hand and
held in the cup of the palm until the mantra is recited. Then, this water is
allowed to flow onto the turmeric mound through the gap between the
middle and ring finger as the hand is held, tilting downward. This is
repeated 444 times to complete one set of Sri Mahagapathi Chaturvritti
Tarpanam.

Break-up of the 444 tarpanas

1 Mahaganapati moolamantra tarpanam 12

2 Bijakshara 28 × 4 times 112
 3 At the end of each bijakshara tarpanam one 112
moolamantra tarpanam 28 × 4 times

4 13 Mithuna Devatas and their consorts (26) × 4 104

5 At the end of each Mithuna devata tarpanam 104
one
moolamantra tarpanam 26 × 4 times
Total 444

Detailed step-by-step guide to performing the Mahaganapathi

Chaturavritti Tarpanam

Preparation:
1. Silver or copper vessel to hold about 1 litre of water
2. A large plate for offering tarpanam
3. Turmeric powder, sandalwood powder, cardamom powder, edible
Camphor powder (in small quantities). Mix all these with water to
prepare a fragrant solution which is used for the tarpanam and keep in a
kalasham (pot) or large bowl
4. A panchapatra (small silver glass) and uddarani (spoon)
5. 100 grams of turmeric to make a triangular mound representing
Ganapati
6. Betel leaf to place the turmeric mound
7. A glass of water for achamanan
8. A small cup of akshata (rice mixed with turmeric)
9. A print out of the Ganapati Yantra to be placed under the plate while
offering tarpanam

Guru Dhyanam
 As is the tradition in Sri Vidya, all rituals begin with an invocation to the
Guru. In case you do not have the Guru Mantra which is given to you by
your Guru during initiation, it is fine to us the Universal Guru Mantra:

Guru Brahma, guru Vishnu, gurudevo Maheshwara

Guru saakshat parabrahma

Tasmay sri guruvenamah
Or the Sri Vidya Guru Mantra
Sadasiva Samarambham Shankaracharya Madhyamam
Asmadacharya Paryantam Vande Guru Paramparam

Translation: Starting with Lord Shiva himself, through Sri

Shankaracharya all the way down to my Guru in the unbroken lineage, I
pay my obeisance to all Gurus.

Achamanam
Achamanam is a purification ritual that is believed to cure all physical
and mental impurities. It is typically done at the beginning of all yagnas and
homams.

At the beginning of the Mahaganapathi Tarpanam, take a spoon of water

from the glass, pour it into your right hand and consume it without
touching the upper lip as you recite:

Aim Aatma Tatvaya Swaha

Take another spoon and repeat the same action while you recite:

Kleem Vidya Tatvaya Swaha

Repeat yet again:

Souh Shiva Tatvaya Swaha

Finally recite
 Aim Kleem Souh Sarva Tatvabhya Swaha

and pour the water into the plate by allowing the water to flow between
the middle and ring finger as you tilt your palm downward.

Pranayama
Fold index and middle fingers of the right palm. Use the little finger and
the ring finger to close the left nostril and the thumb to close the right
nostril. Inhale through the left nostril, hold for a few seconds and exhale
through the right nostril. Bring the pranayama to a close by inhaling
through left nostril.

According to the Siva Svarodaya it is always better to inhale through the

left nostril few times so that normal breathing changes to left nostril
inhalation. When svara or flow of breath is from the left nostril, it brings
further auspiciousness. In particular svara flow through left nostril is very
good while practicing mantra japa.

Sankalpam
Place the turmeric pyramid is placed on a betel leaf inside a large vessel.

Chant
Om shuklambaradaram Vishnu
Shashivarnam chaturbhujam
Prasanna vadanam dhyayet
Sarva vignopa shantaye

Eternally present, wearing white garments, shining like the moon, having
four hands, whose face is full of Bliss, I worship you to remove all the
obstacles while performing this puja. This prayer is addressed to
Mahaganapati
 Take a few akshatas in your right fist. Keep the right fist on your left palm
and place both left palm and right fist on your right thigh and recite

Mama Uppatta Samastha Duritakshaya Dwara Sri Siddha Lakshmi

Sametha Sri Vallabha Sri Mahaganapathi Anugraha Siddyartham
Chaturavritti Tarpanam Karishye
Offer the akshatas to the turmeric pyramid.

Tarpanam recitation

Pour a spoonful of the aromatic water from the vessel into your right
hand and hold in the cup of the palm until the mantra is recited. Then, allow
the water to flow on to the turmeric mound through the gap between the
middle and ring finger as the hand is held tilting downward. The water is
poured simultaneously with the chanting of tarpayami namah.

Mantra Number of
repetitions
Om Shreem Hreem
Kleem Glaum Gam
Ganapathaye Vara
Moolamantra Varada Sarva Janam 12
Mey Vasamanaya
Swaha Tarpayami
Namah

Tarpanam for Bijaksharas

For each Bija, four tarpanams are done and this is followed by four
tarpanams of moola mantra. Tarpanas for 28 bijakshara are done by
suffixing swaha. Similarly the first four bijakshara (Om Shreem Hreem
Kleem) of the moola mantra are to be suffixed to each bijakshara tarpana.

The 28 bijaksharas are:

1. Om
2. Shreem
3. Hreem
4. Kleem
5. Glaum
6. Gam
7. Ga
8. Na
9. Pa
10. Ta
11. Ye
12. Va
13. Ra
14. Va
15. Ra
16. Da
17. Sa
18. Rva
19. Ja
20. Nam
21. Mey
22. Va
23. Sa
24. Maa
25. Na
26. Ya
27. Swa
28. Ha

Recite as below:

OM Om Swaha Tarpayami Namah 4

Moola Om Shreem Hreem Kleem Glaum Gam 4
mantra Ganapathaye Vara Varada Sarva Janam Mey
Vasamanaya Swaha Tarpayami Namah
SHREEM Shreem Swaha Tarpayami Namah 4
Moola Om Shreem Hreem Kleem Glaum Gam
mantra Ganapathaye Vara Varada Sarva Janam Mey
Vasamanaya Swaha Tarpayami Namah
HREEM Hreem Swaha Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum Gam
Ganapathaye Vara Varada Sarva Janam Mey
Vasamanaya Swaha Tarpayami Namah
KLEEM Kleem Swaha Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum Gam
Ganapathaye Vara Varada Sarva Janam Mey
Vasamanaya Swaha Tarpayami Namah
GLOUM Gloum Swaha Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum Gam
Ganapathaye Vara Varada Sarva Janam Mey
Vasamanaya Swaha Tarpayami Namah
GAM Gam Swaha Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum Gam
Ganapathaye Vara Varada Sarva Janam Mey
Vasamanaya Swaha Tarpayami Namah
GA Ga Swaha Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum Gam
Ganapathaye Vara Varada Sarva Janam Mey
Vasamanaya Swaha Tarpayami Namah
NA Na Swaha Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum Gam
Ganapathaye Vara Varada Sarva Janam Mey
Vasamanaya Swaha Tarpayami Namah
PA Pa Swaha Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum Gam
Ganapathaye Vara Varada Sarva Janam Mey
Vasamanaya Swaha Tarpayami Namah
TA Ta Swaha Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum Gam
Ganapathaye Vara Varada Sarva Janam Mey
Vasamanaya Swaha Tarpayami Namah
YE Ye Swaha Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum Gam
Ganapathaye Vara Varada Sarva Janam Mey
Vasamanaya Swaha Tarpayami Namah
VA Vam Swaha Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum Gam
 Ganapathaye Vara Varada Sarva Janam Mey
Vasamanaya Swaha Tarpayami Namah
RA Ra Swaha Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum Gam
Ganapathaye Vara Varada Sarva Janam Mey
Vasamanaya Swaha Tarpayami Namah
VA Va Swaha Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum Gam
Ganapathaye Vara Varada Sarva Janam Mey
Vasamanaya Swaha Tarpayami Namah
RA Ra Swaha Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum Gam
Ganapathaye Vara Varada Sarva Janam Mey
Vasamanaya Swaha Tarpayami Namah
DA Da Swaha Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum Gam
Ganapathaye Vara Varada Sarva Janam Mey
Vasamanaya Swaha Tarpayami Namah
SA Sa Swaha Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum Gam
Ganapathaye Vara Varada Sarva Janam Mey
Vasamanaya Swaha Tarpayami Namah
RVA Rva Swaha Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum Gam
Ganapathaye Vara Varada Sarva Janam Mey
Vasamanaya Swaha Tarpayami Namah
JA Ja Swaha Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum Gam
Ganapathaye Vara Varada Sarva Janam Mey
Vasamanaya Swaha Tarpayami Namah
NAM Nam Swaha Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum Gam
Ganapathaye Vara Varada Sarva Janam Mey
Vasamanaya Swaha Tarpayami Namah
MEY Mey Swaha Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum Gam
Ganapathaye Vara Varada Sarva Janam Mey
Vasamanaya Swaha Tarpayami Namah
VA Va Swaha Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum Gam
Ganapathaye Vara Varada Sarva Janam Mey
Vasamanaya Swaha Tarpayami Namah
SA SA Swaha Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum Gam
Ganapathaye Vara Varada Sarva Janam Mey
Vasamanaya Swaha Tarpayami Namah
MAA Maa Swaha Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum Gam
Ganapathaye Vara Varada Sarva Janam Mey
Vasamanaya Swaha Tarpayami Namah
NA Na Swaha Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum Gam
 Ganapathaye Vara Varada Sarva Janam Mey
Vasamanaya Swaha Tarpayami Namah

YA Ya Swaha Tarpayami Namah 4

Om Shreem Hreem Kleem Glaum Gam
Ganapathaye Vara Varada Sarva Janam Mey
Vasamanaya Swaha Tarpayami Namah
SWAA Swaha Swaha Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum Gam
Ganapathaye Vara Varada Sarva Janam Mey
Vasamanaya Swaha Tarpayami Namah
HAA Haa Swaha Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum Gam
Ganapathaye Vara Varada Sarva Janam Mey
Vasamanaya Swaha Tarpayami Namah

Tarpanam to the 13 Mithuna Devatas and their consorts.

The Mithuna Devatas are as below:

Shreem – Shreepathim
Girijaam – Girijapathim

Rateem – Rateepatim
Maheem – Maheepathim

Mahalaksheem – Mahalakshmipathim
Ridhim – Aamodam

Samruddhim – Pramodam
Kaantim – Sumukham
 Madanavateem – Durmukham

Madadravaam – Avighnam
Dravineem – Vignakartaaram

Vasudhaaram – Sanakanidhim
Vasumatim – Padmanidhim

SHREEM Shreem Tarpayami Namah 4

Moola mantra Om Shreem Hreem Kleem Glaum 4
Gam Ganapathaye Vara Varada
Sarva Janam Mey Vasamanaya
Swaha Tarpayami Namah
SHREEPATHIM Shreepathim Tarpayami Namah 4
Moola mantra Om Shreem Hreem Kleem Glaum
Gam Ganapathaye Vara Varada
Sarva Janam Mey Vasamanaya
Swaha Tarpayami Namah
GIRIJAM Girijam Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum
Gam Ganapathaye Vara Varada
Sarva Janam Mey Vasamanaya
Swaha Tarpayami Namah
GIRIJAPATIM Girijapatim Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum
Gam Ganapathaye Vara Varada
Sarva Janam Mey Vasamanaya
Swaha Tarpayami Namah
RATEEM Rateem Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum
Gam Ganapathaye Vara Varada
Sarva Janam Mey Vasamanaya
Swaha Tarpayami Namah
RATEEPATIM Rateepatim Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum
Gam Ganapathaye Vara Varada
Sarva Janam Mey Vasamanaya
Swaha Tarpayami Namah
MAHEEM Maheem Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum
Gam Ganapathaye Vara Varada
Sarva Janam Mey Vasamanaya
Swaha Tarpayami Namah
MAHEEPATHIM Maheepathim Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum
Gam Ganapathaye Vara Varada
Sarva Janam Mey Vasamanaya
Swaha Tarpayami Namah
MAHALAKSHMIM Mahalakshmim Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum
Gam Ganapathaye Vara Varada
Sarva Janam Mey Vasamanaya
Swaha Tarpayami Namah
MAHALAKSHMIPATIM Mahalakshmipatim Tarpayami 4
Namah
 Om Shreem Hreem Kleem Glaum
Gam Ganapathaye Vara Varada
Sarva Janam Mey Vasamanaya
Swaha Tarpayami Namah
RIDDHIM Riddhim Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum
Gam Ganapathaye Vara Varada
Sarva Janam Mey Vasamanaya
Swaha Tarpayami Namah
AAMODAM Aamodam Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum
Gam Ganapathaye Vara Varada
Sarva Janam Mey Vasamanaya
Swaha Tarpayami Namah
SAMRUDDHIM Samruddhim Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum
Gam Ganapathaye Vara Varada
Sarva Janam Mey Vasamanaya
Swaha Tarpayami Namah
PRAMODAM Pramodam Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum
Gam Ganapathaye Vara Varada
Sarva Janam Mey Vasamanaya
Swaha Tarpayami Namah
KAANTIM Kaantim Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum
Gam Ganapathaye Vara Varada
 Sarva Janam Mey Vasamanaya
Swaha Tarpayami Namah
SUMUKHAM Sumukham Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum
Gam Ganapathaye Vara Varada
Sarva Janam Mey Vasamanaya
Swaha Tarpayami Namah
MADANAVATEEM Madanavateem Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum
Gam Ganapathaye Vara Varada
Sarva Janam Mey Vasamanaya
Swaha Tarpayami Namah
DURMUKHAM Durmukham Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum
Gam Ganapathaye Vara Varada
Sarva Janam Mey Vasamanaya
Swaha Tarpayami Namah
MADADRAVAAM Madadravaam Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum
Gam Ganapathaye Vara Varada
Sarva Janam Mey Vasamanaya
Swaha Tarpayami Namah
AVIGHNAM Avighnam Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum
Gam Ganapathaye Vara Varada
Sarva Janam Mey Vasamanaya
Swaha Tarpayami Namah
DRAVINEEM Dravineem Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum
Gam Ganapathaye Vara Varada
Sarva Janam Mey Vasamanaya
Swaha Tarpayami Namah
VIGHNAKARTAARAM Vighnakartaaram Tarpayami 4
Namah
Om Shreem Hreem Kleem Glaum
Gam Ganapathaye Vara Varada
Sarva Janam Mey Vasamanaya
Swaha Tarpayami Namah
VASUDHAARAM Vasudhaaram Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum
Gam Ganapathaye Vara Varada
Sarva Janam Mey Vasamanaya
Swaha Tarpayami Namah
SANAKANIDHIM Sanakanidhim Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum
Gam Ganapathaye Vara Varada
Sarva Janam Mey Vasamanaya
Swaha Tarpayami Namah
VASUMATEEM Vasumatheem Tarpayami Namah 4
Om Shreem Hreem Kleem Glaum
Gam Ganapathaye Vara Varada
Sarva Janam Mey Vasamanaya
Swaha Tarpayami Namah
PADMANIDHIM Padmanidhim Tarpayami Namah 4
 Om Shreem Hreem Kleem Glaum
Gam Ganapathaye Vara Varada
Sarva Janam Mey Vasamanaya
Swaha Tarpayami Namah

Samarpanam
Upon completion of the tarpanam, recite the mantra

Aarogyam ayushyam aishwaryam balam pushtir mahat yasaha kavitvam

bhukti mukticha chaturavritti tarpanaath
Good health, long life, abundance and wealth, strength, fame, honour,
communication skills, enjoyment of worldly life and ultimately liberation
from the cycle of birth and death
Sprinkle the water from the silver plate (where the turmeric Ganapati has
now melted into a liquid form) and sprinkle it on your head and on all other
people present at the tarpanam ceremony.
Take a spoon of the water as theerta in your right hand and drink it
without allowing it to touch your upper lip. Offer this theerta to all present.
The remaining water can be used to take a bath. This water is highly
energised and will help in curing any recurrent skin infections and increases
immunity.
Tantric texts recommend carrying out this ritual daily for 41 days
continuously, at which point it becomes a yagna. A Mahaganapathi yagna
can be done just before starting out on new endeavour or upon satisfactory
completion of a task. The betel leaves gathered from the 41 days of tarpanam
are offered when a Mahaganapthi Homam is performed.
Adi Shankaracharya states in the Prapancha Saram that this yagna can be
performed by anyone, irrespective of caste or creed to invoke auspicious
blessings to surmount all obstacles.
 The Mahaganapathi tarpanam can be done daily or on Fridays. It is
especially useful if done on special days such as birthday, anniversary or any
other eventful occasion. It is also a good practice to carry out the tarpanam
on Full Moon day as an act of giving gratitude to the Universe for all that
has been received in the preceding days.
Sri Vidya scholars explain that the Mahaganapathi tarpanam, yagna and
homam are all used as a means to reaffirm our sense of gratitude while
seeking blessings to get rid of any obstacles that may be hindering our path
towards material or spiritual growth. Sri Ravi says in his article on the
Mahaganapathi tarpanam that “the dissolution process of the turmeric
Ganapati during the tarpanam is a representation of how are stiffness (from
fear) melts away when the blissful divine grace starts flowing. In essence the
solidity of the base fears is transformed into the pleasure of creativity and
fulfilment. And that principle is at the core of how dreams and desires
become a reality.”
 Chapter 21

Samputeekarana

Rituals performed as per Tantra shastra are believed to give the best and
fastest results. Among the various rituals, chanting of the Lalita
Sahasranama is said to be the most beneficial as it appeals directly to the
archetype of Mother, who can refuse her children nothing. Although the
ideal way to chant is without the expectation of any desired result (nishkama
parayana), the very tenet of Sri Vidya states that its practice promises both
material gratification and ultimate liberation.

Sri Sundari saadhaka pumgavaanaam

bhogashcha mokshashcha karastha eva

“Where there is worldly enjoyment, there is no salvation; where there is

salvation, there is no worldly enjoyment.

Only for followers Sri Lalita Tripura Sundari, both worldly pleasure and
realisation of the highest truth are both attainable.

Each shloka of the Lalita Sahasranama is considered to be a Shakti

mantra and therefore can an useful tool for manifestation when it is recited
using an ancient method called Samputeekarana. Samputeekarana is a
Sanskrit word which literally means “to encase” or “to wrap within” and is
used in the context of mantras, when some parts of a mantra are prefixed or
suffixed to another mantra. The use of Samputeekarana is employed to
accelerate mantra siddhi and most often is used with the intention of
attaining very specific desires and sankalpas.

Typically, Samputeekarana involves using a bija mantra or a set of bija

mantras by encasing it in a moolamantra. However, there are various other
ways to employ this encasing as is done with the Lalita Sahasranama in Sri
Vidya tradition.

How to recite a Samputeekarana

First pick your intention and find the shloka from the Lalita Sahasranama
that matches your desire most closely. For example, if your intention is to
seek divine grace to bring more abundance and prosperity into your life,
pick the shloka

Dhanadyaksha dhanadhanya vivardhini

Chant Om Aim Hrim Shreem Sri Matrye Namah
Make a sankalpa

Begin your recitation with the Sankalpa as below:

Asmaakam saha kutumbanaam kshema stairya dhairya abhaya aayu arogya

Aishwarya abhivruddhi sidhyardham

sri mahaperiyava paripurna karunaa kataaksha sidhyardham

bhakti gnyana vairagya yoganam nirantara abhivruddhi sidhyartham

kula deivam sri sri mahalakshmi swaroopane

sri chakra adhisthana Lalitha paradevata muddisya

prityartham sri Raja Rajeshwari swarupa

sri Balambika anugrahaprasadenaa mama manobhista sidhyartham

yathaa shakti sambhavita dravya sambhavit niyamena

yatha Shakti Lalitha sahasranama pujaancha anugraha prasadena

aadityadi navagraha prasadena, navagraha dosha nivrutti sidhyartham

mama udyoga vyapara vyavahara nirantara abhivruddhi sidhyartham

 sri Balambika Tripurasundari prityartham

sankalpam vidhane karishye

Then recite the nyasa and dhyana (pages 162, 163) for Lalita
Sahasranama.

Begin by chanting dhanadyaksha dhanadhanya vivardhini and follow it

up with one stanza of the Lalita Sahasranama at one time. Again chant
dhanadyaksha dhanadhanya vivardhini.
1. Dhanadyaksha dhanadhanya vivardhini
Om Sri mata sri maharagni shrimat simhasaneshwari
Dhanadyaksha dhanadhanya vivardhini
2. Dhanadyaksha dhanadhanya vivardhini
Chidagni kunda sambhuta devakarya samudyata
Dhanadyaksha dhanadhanya vivardhini
3. Dhanadyaksha dhanadhanya vivardhini
Udyatbhanu sahasrabha chatur bahu samanvita
Dhanadyaksha dhanadhanya vivardhini
4. Dhanadyaksha dhanadhanya vivardhini
Kamesha jnata soubhagya mardavoru dhvayanvita
Dhanadyaksha dhanadhanya vivardhini
5. Dhanadyaksha dhanadhanya vivardhini
Raga swaroopa pashadhya krodha kara ankushojwala
Dhanadyaksha dhanadhanya vivardhini

Continue to do this for all 365 shlokas of Lalita Sahasranama. At the end
of last nama chant
 Om Aim Hreem Shreem Sri Lalitambikayai Namah

Here is a list of shlokas which can be used for setting specific sankalpas.
These are merely indicative and you can choose whichever line you feel
serves your cause to use in the Samputeekarana.

Specific sankalpa for Shloka

1 Abundance and all round
prosperity
2 Good physical health
3 Good mental health and
spiritual well being
4 Spiritual evolution and
growth
5 Successful relationships
6 Achieving inner stability
7 Good communication
skills
8 Good singing voice
9 Charming and graceful
personality
10 Steady progress in career
Dhanadyaksha dhanadhanya
vivardhini
Sarva vyadhi prasamani sarva
mrityu nivarini
Shanti swastimati kanti nandini
vignanashini
Dhyanagamya aparichedya
annada annavigraha
Rama rakendu vadana rathi
roopa rathi priya
Niradhara niranjana nirlepa
nirmala nitya
Shivduti shivaradhya shivamurti
shivankari
Nija sallapa madhurya
vinirbharshita kachapi
Marali mandagamana
mahalavanya sevadhih
Sampathkari samaroodha
sindhura tilakanchita
 Specific sankalpa for Shloka
11 Remove evil eye Pasha hasta pasha hantri para
mantra vibhedhini
12 Strengthen a marriage Kameshwara premaratna mani
pratipanasthani
13 Derive contentment Nitya trupta bhaktanidhi niyantri
nikhileshwari
14 Be fearless Nitya paramkramatopa nireeksha
samatsukha
15 Become well known in Udara keerti uttama vaibhava
one’s area of expertise
16 Auspiciousness on Sarvadharti Savitri sachidananda
entering new business roopini
17 Achieve independence Sarvopadhi vinirmukta sadashiva
and break away from co- pativrata
depenedency
18 Enhance intuitive abilities Bhadrapriya bhadramurthy
bhakta saubhagya dayini
19 Balance the chakras Akula samayantasta samayachara
tatpara
20 Develop higher Medhonista madhuprita
intellectual capacity bandinyadi samanvita
21 Protect the family Kulamrutaika rasika kulasanketa
palini
22 Gain mastery over time Kalahantri kamalaksha nishevita
(punctuality)
 Specific sankalpa for Shloka
23 Develop detachment Tapatrayagni santapta
samahladana chandrika
24 Become one with Rakshakari rakshasagni rama
universal consciousness ramanalampata
25 Free oneself from a Nissamshaya samshayagni
confusing situation nirbhava bhavanashini
26 Build fortitude Tusthi Pushti mati dhriti
27 Gain mastery over arts Chatushasti kala mayi
28 Relief from disease Sarva vyadhu prasamani sarva
mrithyu nivarini
29 Leadership skills Vishukra pranaharana vaarahi
veerya nandita
30 Develop a dynamic Chichchakti chetanaroopa
personality jadashakti jadatmika
31 Remove sorrow Dukha hantri sukha prada

The best time to carry out a Samputeekarana chanting is on a full moon

day, on Fridays (as the day is associated with the energy of Devi), on
Mahanavami and on special days such as birthday, anniversary, etc.,)

Bhanumathi Narasimhan from Art of Living says: “Our needs and desires
change at every stage of our life – from infancy to adolescence to youth and
so on. Along with it, the quality of our consciousness undergoes a sea
change. When we chant each name, it enlivens those qualities in our
consciousness and they manifest in us according to the need of the hour. Its
lets us know that we have come to this planet for a beautiful and higher
purpose. When read with awareness and shraddha (devotion), Lalitha will
bring refinement in the consciousness and make us a storehouse of
positivity, dynamism, and joy. So, let us enjoy and become a joy to the
world.”
 Chapter 22

Sattvic lifestyle for the Sri Vidya practitioner

“Sattva Guna, being pure, is illuminating, and it frees one from all
reactions of bad karma. Those situated in that mode become conditioned
by a sense of happiness and knowledge.”

–Bhagavat Gita

In Hindu philosophy, all matter arises from Prakruti, the fundamental

substance of the universe. From Prakruti arise the five Panchabhutas
(elements of space, earth, fire, water and air) and three gunas (qualities).
These constitute the whole of nature (energy, matter and consciousness) that
pervade all objects and beings in relative amounts.

The three gunas are sattva (pure essence), rajas (activity) and tamas
(inertia). Each of these gunas is present in our mind, body and spirit.
Sattva is the most superior of all gunas. In the universe, it is sattva that is
responsible for creation. Sattva is the quality of intelligence, virtue and
goodness. It creates balance, harmony and stability. It is light (as opposed to
heavy) and light-giving (luminous) in nature. Sattva possesses an inward
and upward motion and is responsible for bringing about the awakening of
the soul. It provides happiness and contentment of a lasting nature. It is the
principle of clarity, wideness and peace, and the force of love that unites all
things.

A sattvic person has mental clarity and is pure in thoughts, words and
actions.

If an analogy were to be made with an animal, sattva would be an

elephant - intelligent, strong and gentle.
 Rajas denotes activity. In cosmic terms, Rajas is responsible for the
maintenance and nurturing of what has already been created. Rajas is the
quality of movement, change and turbulence. Rajas possesses a chaotic
movement in all directions with no fixed actions. It is beneficial in offering
motivation, giving shape to dreams and acting as a call to action.

A Rajasic person has a restless and highly active mind that is always
seeking to be involved in activity and is focused on material achievement
and social progress.

An excellent example of rajasic nature would be that of a tiger which is

fierce, aggressive, strong and restless and always on the move.

Tamas stands for inertia. In the context of the universe, Tamas denotes
destruction. Tamas is the quality of darkness (as opposed to light), dullness
and nonactivity. It possesses a downward motion that causes decay and
disintegration. It helps us by giving us the ability to complete the tasks
initiated by Sattva and Rajas.

A tamasic person is slow, bulky and lethargic and most likely to be

depressed and ungrateful.

In the animal kingdom, a good example of tamas would be a jackal. Lazy,

brooding and cunning, the jackal finds ways of reducing its work by feeding
on other animals’ leftovers.

As humans, we have the unique opportunity to consciously influence the

three gunas in our minds and bodies. Even though we cannot separate or
eliminate one or the other of these gunas, we can choose to increase or
decrease the relative amount of each one by our conscious actions. The
concept of swastya (good health) in Ayurveda highlights the importance of
leading a sattvic or balanced life. In our lives, most situations are tamasic or
rajasic in nature. Sattva is the result of harmonizing these skillfully and
maintaining a balance.
 A balanced personality is a combination of all gunas in different
measures, but the most positive and content personality displays more
sattvic qualities. We are told repeatedly in the Vedas that our basic nature is
satchitananda (ever blissful). As a result of our interactions with the external
world, we sometimes become disconnected from the silent and peaceful
source of our atma due to an imbalance of the gunas.

It is possible to bring more sattva in our lives by making conscious and

mindful choices about all that we come into contact with by focussing on
making alterations in two aspects of our daily lives:

Aahara or diet

Vihara or lifestyle
Aahara
“By changing dietary habits the human organism may be cured without
using any medicine, while with hundreds of good medicines, diseases of the
human organism cannot be cured if the food is wrong. Right food is the
only key to good health.”

Sushruta Samhita
Health is a state of harmonious chemical balance in a living organism.
Our health depends on the chemical environments inside and outside of our
bodies. Food plays an important role in creating the internal chemical
environment. Food, when appropriately cooked, is appetizing, flavourful
and aromatic. Food that is cooked with love, guided by knowledge of the
ingredients and served in an inspiring atmosphere becomes healing.

Ayurvedic texts emphasize that “aahara,” or proper diet is very important

to promote health and happiness. Food creates health by enlivening the
body’s inner intelligence to create harmony. When we eat foods that are
right for us, we provide balance to each cell, thereby ensuring the optimum
functioning of all the organs.

Western nutritionists have propounded theories that are meant to be

common to people of all ages and medical conditions. In Ayurveda, it is
believed that there is no single diet or food that is healthy for all individuals.
It is only by following a diet prescribed for our constitution that we will lead
ourselves to a state of good health.

Vegetarian food cooked with healing herbs and energizing spices can
eliminate many toxins that enter the body through polluted water, air and
noise. Toxins can also enter our bodies through radiation or chemicals that
are supposed to prevent our food from decay and that are used freely on
vegetables, fruits and all types of edible food. Spices are concentrated
chemicals that help in cleansing and vitalizing frequencies and bring about a
balance in our bodies.

All the food that we eat is chemical in nature. Although these foods may
contain many different chemicals, they produce only six different tastes.
Ayurveda, therefore, categorizes all the food items as having one of the six
tastes:
• Sweet
• Sour
• Salty
• Bitter
• Pungent
• Astringent

These tastes are a combination of two of the five elements: earth, water,
fire, air and akasha and are directly responsible for the operation and
balance among the three doshas: Vata, Pitta and Kapha. Each of these tastes
has unique health-giving properties and is beneficial if taken in proper
portions.

An Ayurvedic meal should provide all six tastes in one meal. Unless all
these tastes are consumed, some taste buds will remain unsatisfied, and the
system will experience a chemical deficiency. A balanced meal should
include all the tastes - some in large quantities and some in smaller,
according to their potencies.

These six tastes affect the doshas as well. Different food items cause-
specific doshas to increase or decrease. Doshas increase and decrease on the
principle of “like attracts like.” If our Prakruti is predominantly pitta, we will
show a marked preference for food that tends to aggravate pitta. Food that
decreases a particular dosha is said to pacify the dosha, while those that
increase the dosha are said to aggravate it.
 Foods for various constitutions

Vata Pitta Kapha

Taste Sweet, sour, Sweet, bitter Bitter, pungent
salty and astringent and astringent
Grains Rice, oats, Barley, rice, Buckwheat,
wheat wheat millet
Vegetables Cooked well Cooked or raw Raw vegetables
Carrots, sweet Cauliflower, All vegetables
potatoes, mushrooms, except
celery, leafy beans, potatoes,
greens, okra, potatoes, tomatoes and
cabbage, sprouts, leafy cucumber
cucumber greens
Fruits Bananas, dates, All sweet Avoid very
figs, mangoes, fruits, but sweet and very
melons, avoid sour and sour fruits.
papaya, very juicy Dried fruits are
pineapple, fruits. Apples, the best.
plum dried fruits, Apples,
oranges, apricots,
melons, mangoes,
pomegranates peaches and
pears
 Vata Pitta Kapha
Meat Vata types Avoid seafood Kapha types
need flesh and all flesh rarely need
foods. Eggs, foods as they flesh food. If
goat, chicken encourage they do eat, the
and fish may aggression and meat must be
be consumed irritability roasted or
baked, never
fried.
Nuts and seeds Almonds Coconut Avoid nuts and
seeds
Oils Sesame Almond, Sunflower oil is
coconut and best
olive oil
Dairy Products All dairy All sweet dairy Small amounts
products products of ghee, milk
Sweeteners Sweet reduces Pitta is relieved Kapha is
Vata, so sweets by sweet, so increased by
are sweets may be sweet, so avoid
recommended consumed in all sweets
in moderate moderation
form
Spices Garlic, ginger Cardamom, Can use all
cinnamon, spices except
fennel, excessive salt
turmeric, small
amounts of
cumin and
black pepper
 Some tips on the following sattvic diet
• Seek foods that are rich in prana (life force). Pick foods that are organic,
fresh, seasonally and locally produced as they are nutritionally the
richest and carry the strongest, vital energy.
• As far as possible, stick to eating vegetarian food. Fresh vegetables, fruits,
whole grains, lentils, nuts and spices enhance sattva
• Adopt a diet that consists of food that suits your Prakruti
• Consume food when it is warm as the warmth stimulates the digestive
enzymes and facilitates digestion. Avoid excessively dry food.
• Allow at least six hours between each meal. Ensure that the previous
meal is completely digested.
• Avoid food that has been refrigerated or microwaved as they tend to lose
prana. Keep away from processed, artificially coloured, canned and
chemically preserved foods as they increase ‘ama’ or toxic undigested
matter in the body.
• Ghee (clarified butter) is one of Ayurveda’s most treasured food items as
it plays a crucial role in balancing hormones and maintaining healthy
cholesterol as it contains Omega 3 and Omega 9 fatty acids along with
vitamins A, D, E and K. Ghee has a high heat point, which prevents it
from producing free radicals that damage cell function. Incorporate ghee
in your diet in moderate quantities without guilt.
• Eat foods that are high in fiber and complex carbohydrates. These foods
provide lasting energy throughout the day. Fiber also helps maintain a
toned digestive tract by providing bulk, which helps evacuate toxins and
excesses. When the intestines are regularly cleaned, the body does not
become overloaded with digested material that would otherwise seek
elimination through the skin.
• Avoid consuming excess amounts of salt as it leads to water retention
and elevates blood pressure. Use pink Himalayan rock salt or lime juice
 to add flavor if non-salted food seems unpalatable.
• Avoid refined sugars, which provide empty calories. Refined
carbohydrates give the body a quick boost of energy but put
considerable stress on the pancreas and adrenals, devitalizing the body.
Refined carbohydrates deplete the body of minerals, which are so crucial
for all vital functions.
• Ensure that you get the right amount of proteins. It is better to consue
plant-based proteins. Diets high in animal proteins increase the toxicity
of waste products in the body due to their slow transit time. Red meat
takes about three days to be completely digested and leave the system,
thereby slowing digestion and depleting the body of minerals. Plant-
based proteins, on the other hand, fully nourish the body, being quickly
and efficiently metabolized. If you must eat meat, make sure that it is
made more digestible with spices such as garlic, ginger, cumin and black
pepper.
• Eat food high in mineral content as it keeps the body looking alive and
charged with energy. Minerals significantly contribute to that intangible
radiant, fresh and magnetic look of a person in good health.
• Use sattvic spices such as basil, mint, cardamom, cinnamon, coriander,
cumin, fennel, fenugreek, fresh ginger and turmeric liberally in cooking
and serving. Use rajasic spices such as black pepper, red pepper and
garlic in small quantities.
Vihara – Lifestyle
Ayurveda places a great deal of emphasis on routine, whether it is a daily
one (dina-charya) or a seasonal one (ritu-charya). Routines help in
harmonizing our lives with the rest of the universe. The ancient rishis
considered routines to be a stronger healing force than any curative
medication. Adherence to the routine prescribed by dina-charya keeps the
tridoshas (vata, pitta and kapha) in a healthy state of balance. Cultivating
daily rituals is an important part of living a conscious life.

Rise early
Arise at least 45 minutes before dawn as there is a surge of energy in the
air just before dawn. The Sanskrit texts call this time Brahma Muhurta, and
it is believed that there is more prana and sattva in the air at this time. By
receiving this positive influence, we can gain greater freshness, strength and
inclination for work.

Focus on your body

Upon waking, spend a few moments focusing on your body and mind.
Say a short prayer thanking the forces of nature for having given another
chance to start afresh. Plan for the day ahead and avoid getting into
conversations until later. Walking outside for a few minutes will help you
make the most of the fresh morning air, filling the system with prana or vital
energy.

Eliminate
Establish a routine to evacuate the bowels at the same time each day and
ensure that you do not consume any food or drink before emptying the
bowels. Especially avoid coffee or tea first thing in the morning as they
stimulate the body even before it has a chance to detoxify itself.
Also, eliminate all unnecessary and negative thoughts with positive
affirmations such as “Today, I will have an awesome day” or “Today, I will
bring only goodness into my life.”

Cleanse
After evacuation, clean your teeth and scrape the tongue with a silver
tongue cleaner. Wash your face with cool water. You can bathe the eyes with
rose water or honey. Put three to four drops of warm ghee in nostrils. This
cleanses the sinuses and improves vision and mental clarity. In a dry
atmosphere, it will keep the nostrils lubricated, thereby keeping infections
away. Gargle with herbs such as mint water or neem water, or coconut oil.
This strengthens gums and teeth and prevents bad breath.

Choose your sensory inputs

Our surroundings are continually bombarding us with negativity.
Newspapers and television channels highlight all the things that are wrong
with the world, and the message we send to our minds is that nothing is
right, lawful or fair anymore. This is far from the truth. We are actually
living in the best of times, with fewer wars and a lesser number of poor
people than ever before in history. Be judicious in your choice of reading,
television programs, browsing the internet, and interacting with people.
Avoid news items and films with violence and seek content such as
meaningful documentaries and stories that nourish the soul.

Maintain pleasant human relationships with minimal friction

One of the most fulfilling aspects of living is to have meaningful, loving
relationships. Avoid holding grudges, and words spoken in anger are best
forgotten. Remember that it is OK to be angry, but it is never OK to be cruel.
Words spoken in anger can be exceedingly hurtful so in situations when you
are angry, remain silent whatever be the provocation. Nourish the
relationships with family and friends by being a good listener and having
empathy. It is very easy to judge people, so avoid the temptation to affix
labels.

Live in harmony with the rhythms of the day and seasons

Regulate the daily events of waking up, eating and sleeping at similar
times each day. Make sure to get enough sleep (6–8 hours) on most days.
Increase interaction with nature. Go for a walk in a park or by a lake
whenever possible, taking in the surroundings with keen interest and
observation.

Exercise
Indulge in some form of exercise at least 6 days of the week. Walking for
45 minutes each day would be ideal. However, if you do not have the time,
you can split it into 4 sessions of 10 minutes each. You can also practice
some asanas, which will lend your body strength and flexibility. Learn how
to do the Surya Namaskar as it provides a whole body workout.

Meditate
Meditation is a wonderful way of centering the body, mind and soul and
contrary to popular belief; it is very simple and easy to do. Meditation leaves
you feeling more calm, balanced, creative and healthy. You can start
meditating by merely focusing on your breath and noting the thoughts that
flit past your mind.
The idea behind meditation is not to have a completely blank mind but to
clear the mind of thoughts for that time alone. Just watching your thoughts
and not zeroing in on one thought and letting go of the thought once it has
arisen in the mind is one way of meditating.
 You can use mantras or affirmations to bring yourself into a meditative
frame of mind. It is also very important to meditate on the thought of death
each day. This will help you over come your fear of death as you slowly
understand that if death comes, you will merely be shedding this mortal
body.

Abhyanga
Apply warm oil on the head and massage the body for around ten
minutes at least once a week. Massage promotes healing by releasing toxins,
increasing blood flow and delivering nutrients to all the parts of the body.
Self-massage also helps make us more aware of our own bodies. Take a bath
after the Abhyanga but avoid the use of soap, which depletes the skin of
necessary oils.
Once a week, use a good exfoliant (such as chickpea flour mixed with
sugar crystals) to remove all dead tissues. It leaves the skin feeling fresh and
revitalized.

Detoxify
Take a teaspoonful of Triphala powder each day as it is a powerful
detoxifier and acts as a safe and gentle colon cleanser. Take a Panchakarma,
Ayurveda’s most potent detoxification program, from time to time. To
enable your mind to let go of all the negative emotions, keep a diary
recording all the thoughts and feelings. This will act as a catharsis and enable
you to overcome hurt and disappointment. Forgive all those who you feel
have hurt you. Do this to free yourself of all the negativity so that you can
experience peace of mind.

Care for the environment

We have a deep and abiding relationship with the universe. It may not be
very evident to us at all times, but the environment is constantly influencing
us, and we are exercising our influence on all things around us. It is,
therefore, imperative that we care for our environment.
You can do your bit for the environment by sticking to a vegetarian diet
and eating organic foods. Avoid using silks and leather products. Avoid
wasting precious resources such as water, petrol and power. Limit the use of
soaps and detergents and stop the use of plastic bags. Mother Teresa once
said, “If we cannot live for others, then the life is not worth living.” Care for
others and all that surrounds you, and you will be cared for and nurtured in
return.

Cultivate a Sattvic attitude

The simplest way to cultivate a sattva is to develop a sense of gratitude.
Gratitude allows us to celebrate the present by being thankful for all that we
possess. It magnifies positive emotions and blocks toxic, negative emotions,
such as envy, resentment, regret.

Live mindfully and in the present moment

Life unfolds only in the present moment, yet so much of our time goes
into thinking about the past or worrying about the future. Living mindfully
is to be utterly present in the moment. When we anchor our awareness in
the present moment, we live life to the fullest by not letting our thoughts
rule over us. Remember that the days may seem long, but the years are
short.
It is very easy for all of us to be deluded about our state of mindfulness. It
needs a great deal of practice as it is something that develops when we give
constant attention to our thoughts and actions. Many people whom I met
during my retreats claimed that they had mastered mindfulness. I observed
that their mindfulness was limited only to the extent of their yoga or
meditation class, and once they stepped out in the real world, they reverted
to habitual unmindful thoughts and actions.
 There is a story of a mindfulness master and his pupil, which explains
this delusion beautifully.

A pupil approached his Zen master and expressed his desire to learn
mindfulness. The master told him to practice and come back to him after
seven years. At the end of seven years, the pupil went in search of the master
to show him his proficiency and mastery over mindfulness. It was a rainy
day when he reached the master’s small hut deep inside the forest. He left his
umbrella and wet shoes outside the door as he entered the hut to pay his
respects to the master. The master received him warmly. The disciple was
filled with pride as he announced his mastery over mindfulness. The master
plainly asked him after listening to the description of all his exploits: “Did
you leave your umbrella to the left or to the right side of your shoes?” The
pupil was dumbstruck as he did not know the answer. He realized that in the
moment of excitement of announcing his skill to his master, he had
forgotten to be mindful. He then left for another seven years of practice.

Your efforts to be more sattvic in your living will lead to you to have a
clear mind, with positive and pure thoughts most of the time. Your
perceptions of the world around you become less judgmental as you accept
people and situations for what they are rather than what you think.
It is important to keep in mind that in your striving towards a sattvic life,
you should not be overly goal-oriented or become too attached to the
concepts of right and wrong and dos and don’ts of the process. If you
become too dogmatic in your pursuit, then the outcome would be rajasic in
nature, leading to tamas as you tire yourself needlessly by putting pressure to
conform to a set of guidelines.
The key to evolving into a sattvic person lies in making small changes in
your day-to-day lives, which translates into significant changes when they
become habits. With time, these habits lead you to a life of greater balance,
clarity and peace while allowing you to lead fuller lives with a heightened
awareness of yourself, well-developed intuitive faculties and a sense of deep
connection with the universe. In this state of satchidananda, you will find
that your spiritual destiny is fulfilled as you become capable of manifesting
all that you truly desire to fully enjoy your life.
 Chapter 23

Simple Sri Vidya worship ritual

“Worship does not mean merely offering flowers and fruits. It consists of
setting one’s heart on that highest space of consciousness, which lies above
all thought-constructs. It is the dissolution of individuality with perfect
ardour.”

–Tantra

Kumkuma Archana ritual with Lalita Trishati or Lalita

Sahasranama chanting
An archana is a ritual carried out to shower praise on a deity. The names,
qualities, attributes and greatness of the deity are recited while flowers,
Kumkum, etc., are offered to the idol or picture.

An archana generally consists of the recitation of 108 names of the

archetype. There can also be archanas involving 1008 or even one lakh
names of God. The ritual begins with a sankalpa and ends with the aarti,
where lighted camphor is used as a final offering, which is then presented to
those attending the puja to accept of the blessings. This sacred ceremony is
performed for inviting divine energies into our lives. An archana done using
kumkum is called “Kumkumarchana.”
Kumkum is made of turmeric and other elements which increase its
potency to attract the finest forces of the universe. It is said that all four
forms of purusha - dharma, artha, kama and moksha can be obtained by
regular kumkumarchana to Sri Lalita Tripurasundari. The power of the
ritual is multiplied manifold when it is done simultaneously with the
chanting of the Lalita Ashotara, Trishati or Sahasranama.
 Place the idol of Sri Lalita Tripurasundari or Mahameru on a silver or
copper plate. Decorate the plate with a few yellow coloured flowers. Take a
small bowl of good quality kumkum and take a pinch of it using your thumb
and ring finger. With each name, gently drop the pinch of kumkum on the
idol or Mahameru. Continue to do this till the last name and conclude it
with a camphor arati. It is best to do this on Fridays, full moon days and on
all nine days of the four Navratris as per the Hindu calendar.

Sri Yantra puja

A 12 × 12 inch print out of an accurate Sri Chakra Yantra is sufficient for
daily ritual worship.
If you intend to become a serious practitioner, I would recommend
buying a copper yantra in 12 ×12 inches. Please check for accuracy by
comparing the copper engravings against the ones in the chapter on the
formation of the Sri Chakra Yantra and go with your instinct to pick up the
one that feels most right for you out of the group.

Once you bring the yantra home, keep it in a clean place and cover it with
a red cloth until you take it out for use in the ritual. You can also buy a small
japa mala (rosary made of tulsi beads or any other material, though the ideal
one for the Sri Chakra Yantra is the one made of coral) to use it as a part of
the ritual.

Choose a spot in your home or office where you wish to place the yantra.
The best position would be in the north-eastern quadrant of your space,
with you facing east when doing the puja. Find a small wooden platform
and cover it with a yellow cloth to place the yantra in a horizontal position
for the puja. You can place the yantra in a vertical position during
meditation.
The next step is to consecrate the yantra and infuse energy into it to make
it fit for the ritual. This is called “prana pratistha.” Some people call upon
learned Brahmin scholars to do the prana pratishta puja, but I believe it is
better if it is done by the practitioner with devotion and sincerity.

Ideally, prana pratistha is to be done on a Friday. Check the internet or

Hindu panchanga or a calendar for an auspicious time on the day you
intend to do the puja. The night before, ensure that you soak the yantra in
water with a few crystals of salt to dissipate any negativity it may have
gathered when stored in the shop.

On the day of the puja, shower and wear red clothes. Prepare a sweet dish
that is yellow in color. If you cannot make a naivedyam, it is acceptable to
offer bananas or any other fruit you have at home. Place the yantra on the
wooden platform and adorn it with sandalwood paste on the four corners of
the copper plate. Light two diyas (lamps with a cotton wick and oil/ghee)and
place them on both sides of the yantra. Place a few red flowers around the
yantra. Light some incense sticks.

Chant the mantra 108 times:

Om Sri Tripurasundari Paduka Pujyami Namah
Visualise your yantra getting energized, and with each ritual that you
perform, this energy gets stronger and stronger. This highly energized yantra
is your personal tool to connect with the universe whenever you need it.

Do an arati using camphor and ring a bell. When you are energizing the
yantra, chant all the sounds associated with the Sri Chakra Yantra. This
process would be a long one but will be well worth the time spent as it
further enhances your connection with the yantra while also energizing the
environment around you.

You can start with the Panchadashi mantra (108 times), then follow it up
with Khadgamala and Lalita Trishati. If you are a novice and do not know
any of the above, it is acceptable to play all these mantras in the background
as you prepare and proceed with the pooja.
 Ideally, this ritual should be repeated every Friday, full moon days and
auspicious occasions such as Akshaya Tritiya, Diwali, Dusshera and your
birthday. It is also useful to perform the ritual before you embark on a new
journey and especially when you find yourself at the crossroads or wish to
overcome a challenging time in your life.
Meditation on the Sri Chakra
If you are new to any form of meditation practice, begin by devoting 5-6
minutes every day to gazing at the Sri Chakra Yantra. Initially, do not
overthink the process or the outcome. Just focus on sitting as still as you can
with your gaze at the yantra.

In case you do not possess a copper Sri Chakra, I recommend that you
use an accurate black and white representation printed on paper rather than
a colored one as colors tend to have inherent associations, which we wish to
avoid at this stage. I would suggest that you do not use an image on the
laptop, computer screen, TV screen, or mobile screen as the energy emitted
by electronic devices may interfere with the energy fields.

The most ideal location is a small area dedicated to your practice. This
will help you gain focus faster as your practice progresses. Choose a place to
sit, preferably on the floor with a mat. You must be facing east, sitting in the
north-east quadrant of your space. The Sri Chakra Yantra should be placed
directly before you in the east direction at about one foot from you at eye
level. You must be able to clearly discern the different lines and patterns
without straining the eyes.

Begin by folding your hands in prayer and chanting Om three times to

bring your mind into focus.

Focus on your breath and notice how it slows down when you observe it
consciously. Allow your entire body to relax as you breathe normally but
with awareness. Keep your face always relaxed by smiling very gently and
effortlessly.

Slowly take your eyes to the bindu and let it rest there gently. Do not stare
or fix your gaze tightly. Without moving your eyes, gradually take in the
triangle that contains the bindu and take in the beauty of the symmetrical
design. Allow your vision to expand to the next set of triangles, and rest
your focus on each set for as long as you are comfortable doing so. Then
bring the first set of petals into focus and feel your gaze extending outward
just as the petals are seen blossoming. Include the second set of petals in
your line of vision and let your attention grasp the entire pattern for a while.

Now slowly recognize the three concentric circles and allow them to
enter your line of vision. Slowly acknowledge the square with the four
gateways and let your eyes gaze upon the entire pattern in unity. Keep your
focus there for as long as you can while continuing to breathe slowly and
calmly, feeling a deep sense of relaxation taking over your mind and body.

Now slowly bring your attention from the square to the circles as you
proceed on an inward journey through the various shapes in the Sri Yantra.
Arrive at the triangle that encloses the bindu and focus your attention there
briefly before making the bindu your sole focus of attention. At this time,
your gaze should almost be bringing your attention to the area between your
eyebrows. Rest your gaze there as you have arrived at the point of cosmic
dissolution from where creation begins again.

Slowly close your eyes and bring your attention from the bindu to your
breath and keep your eyes closed as you try to visualize the yantra in your
mind’s eye. Sit in the same meditative position for a few minutes before
gently getting up after folding your hands in the prayer position. Do not be
tempted to judge your experience or be disappointed if you feel no different
from before you took up the meditation.

Understand that the exercise you have undertaken is making changes in

your brain and will continue to do so for as long as you remain steadfast in
your practice. This change in brain structure is scientifically known as
neuroplasticity, and meditation has been one of the most well-accepted
methods to change patterns in the brain.

The Sri Chakra Yantra is a magical tool that stimulates and concentrates
the psychic forces you engage in. In Tantra, creation and destruction are
seen as a continuum, and all manifestations – from the grossest to the
subtlest - are eventually connected and are one.

As you expand your vision from the bindu to the square, you participate
in a meditative method that involves evolution (extending outward from the
center to multiply into an array of creativity). Evolution symbolizes our
gradual moving from the Divine to all the aspects of the outer world while
understanding that the subtle worlds give rise to the mundane and the gross.

As you bring your attention back from the square to the bindu, you are
involved in a method known as involution (collapsing inward from the
perimeter to the center). Involution is the moving away from the gross and
dualities towards the subtle and non-dualistic reality. You dissolve all
misconceptions to become one with the Divine.

The whole universe contains signs of our unity with the Divine, but we
miss out on these signs because of our utter ignorance. This is beautifully
explained in a story from the Puranas.

An elderly couple is living in the forest. Their life is filled with difficulty
and every day is a challenge as they must seek food and water and are at the
mercy of nature. Parvathi, who is watching over the earth, notices the
couple’s despair and asks Shiva to do something to help them. Shiva says I
have tried many times in the past, but they are so caught up in their
difficulties that they fail to see the signs. Parvathi insists that Shiva does
something for them at that instant. Shiva manifests a large bag of coins,
which lands on the forest floor, not far from where the elderly couple is
walking.

At the same time, the lady says to her husband that soon they may be
blind, so they should start practicing living in the forest without being able
to see. They tie blindfolds on each other and walk on. The bag of gold is
lying in their path, but they kick it thinking it is a stone and curse it, saying
that the forest is not at all safe for blind people. Shiva, then, looks at Parvathi
and says that humans are blinded by Maya to the extent that they ignore all
the signs of reality, which are merely manifestations of the Divine.
 Chapter 24

How to use the Sri Chakra Yantra as a tool for

Conscious Manifestation

“Sri Vidya is the ‘Art of Materialization and Dematerialization’. It helps

the worshipper cull his accumulated negative psychic impressions while
conferring upon him all the riches of the material world without letting one
get lost in the greed.”

–Avadhoota Baba Shivananda

We are continuously creating our own reality – consciously or

unconsciously. The reality that we unconsciously create can be unreliable as
we cannot be sure that the outcome will be exactly as we desire.

We could have unconsciously manifested a career out of a childhood

desire. It may or may not have turned out as you desired because when you
manifest unconsciously, you are governed by your beliefs, prejudices and
conditioned thought patterns. As a child, if a teacher told you that you are
no good at math, it might turn you in the direction of commerce or
humanities, simply because you believe what has been told to you. But
commerce or humanities may not be what you really wanted to pursue.
Another example of unconscious manifesting can be your choice of a life
partner. We all tend to go by what is expected of us by our parents, peers or
society in general, which may not necessarily be the qualities that we desire
in our partner. We then end up making the wrong choices, and unhappiness
and frustration follow. Unconscious manifestation can lead to
disappointment and sadness because we create our realities without being
completely aware of what we seek.
 On the other hand, a conscious manifestation is all about clarity and
involves explicitly expressing to the universal energy what it is that you
genuinely, strongly and deeply desire. It is not enough to merely desire
something. You must invest in it your emotions and feelings to make it a
reality. There must be a passion in your desire, not just an apathetic wanting.
Once you are clear about what you desire and state it, it is time to sit back
and trust the universe to deliver. It is very important that you trust the
process and not harbor doubts about “how” it will happen.

For example, you desire a four-bedroom house with a small garden in a

specific area in your city. Do not think for a moment – “where will I get the
money to buy it?” or “will I be able to maintain such a big house?” These
doubts will only negate the entire process of conscious manifestation as they
create confusion about whether you are worthy of it or really desire it in the
first place. You’re your eyes and ears open to any opportunities but never
doubt that the house of your dreams will be yours soon.

Here are a few guidelines to help manifest consciously:

1. Have a clear vision of what you desire. You must know with clarity
exactly what it is that you are seeking. If it is a material object, then be as
specific as you can about size, shape, color and features. If you wish to
see yourself as a published author, then have a vision of how the book
will look. If you seek enhancement of a skill, then outline in what area
you wish to see growth.
2. Energize your vision by stating it to yourself and focusing on it several
times a day for just a few seconds. This way, you are strengthening your
desire by focusing your attention on it repeatedly. Where attention goes,
energy flows in that direction.
3. Make your intention clear to the universe and to yourself. You can do
this in any number of creative ways. In ancient pagan rituals, the desires
were written out on bay leaves or rocks and cave-walls. You can write
your desires down carefully and consciously and store them in a safe
place.
4. Take the necessary actions required to create your vision. Obviously,
some effort is needed from your end to acquire what you desire. You will
need to be on the lookout for that four-bedroom house or complete the
manuscript of the book. You will need to be fully aware and awake to the
possibilities of coincidences and serendipity, bringing you in touch with
people and situations that can make your dream a reality.
5. Visualize profoundly and imagine that what you seek is already yours. If
you are seeking a promotion, then imagine what it would be like to be
seated in your new office, with all the added perks that come with the
position. Visualize yourself as dressed in better clothes, carrying yourself
with greater confidence and leading people in your company. The greater
your sense of visualization, the better will be your ability to manifest.
6. Clear all negative thoughts. Believe and trust the universe. You will have
several moments when you will think, “Ah, this is not going to work”, or
“I don’t deserve this.” Keep such thoughts out while focussing on
thinking that miracles do happen and that you could be at the receiving
end. You have nothing to lose and everything to gain with this positive
mindset.
7. Surrender to the process. Once you have decided to trust the universe,
develop a sense of detachment from the desire and allow your mind to
be free of thoughts that will keep arising about the how and the when.
Just know and be secure in your ability to manifest and bide your time.
There is no time frame in which the manifestation will occur, so be
patient.
8. Give thanks. Even before you see the results of your created reality, get
into a grateful state of mind and remember to thank the universe for
offering you the opportunity to collaborate in the creative process.

While meditating on the Sri Chakra Yantra, focus on the various avaranas
at different stages of your manifestation process.
 As you begin the process, meditate on the 1 avarana to help connect with
the universe. Meditation at this level also helps you to be more grounded in
your own self and will guide you intuitively to make the right decisions.

You now have a vision and clarity about what you seek. It is time to make
the request to the universe. Take your attention to the 2 avarana and clearly
state what you desire with specific outcomes you have in mind.

Allow a day or two before moving on to strengthening and further

clarifying your desire as you meditate upon the 3 avarana. Reiterate your
idea and confirm it in your mind as you keep your eyes focussed on the
eight-petal pattern.

By now, you should be visualizing the outcome in detail. If your desire is

a material one, imagine it with all its qualities, including color, shape and
size. If your desire is an intangible one, such as an entrepreneurial endeavor,
then visualize your business plan with as much detail as possible. Imagine a
buzzing office with staff, see your website being created and visualize
yourself signing business deals. Focus on the 4 avarana with your eyes
moving along the triangles starting from the left in the clockwise direction.

Spend some time each day meditating on the outcome. Imagine how you
will feel when your desire is fulfilled. Visualize your reaction and notice how
you will feel in mind, body and spirit. Feel the excitement and the joy of the
moment and allow yourself to enjoy this sensation. The brain does not know
the real from the imaginary, so just soak in the feeling as your eyes wander
over the triangles of the 5 avarana.

While meditating on the 6 avarana, let go of all the doubts and negative
thoughts that might slip into your mind and distance you from your dream.
As the triangles get smaller, allow your focus to get more intense and
continue to visualize an outcome that matches your desire.

As you approach the bindu, the point of universal creativity, begin to

detach yourself from your desire. This does not mean letting go of your
vision but implies instead that you now have total faith in the universe, and
you surrender with trust. Focus your eyes on the small triangles of the 7
avarana and express your sense of wonder and excitement at what is to
come.
Approach the 8 avarana with a sense of immense gratitude and give
thanks in advance to the process of creation. Gratitude generates positive
emotions and helps improve all aspects of our life – health, abundance and
relationships. It also helps you appreciate what you already have and
prepares you to receive more into your life.

You are now finally at the bindu, the vortex of creation itself. Now, as you
meditate upon the dot at the center of the triangle, do a quick recap of all the
steps from making the connection to visualizing to strengthening and finally
letting go and giving thanks. At this point, intensify your meditation yet
again and ask that your actions be fuelled by the universal energy and spend
a few minutes with your eyes closed, appreciating the calmness of the
moment.

Mircea Eliade wrote that there are two distinct ways of being – the sacred
and the profane. The sacred way of being involves our looking at the world
with awe and fascination, marveling at the mysteries that remain locked in
the universe. The profane way of being is living our lives without ever
wondering about the magic or the mystery of the universe.

Let us use the Sri Chakra Yantra and the Mantra and Tantra of Sri Vidya
as tools to connect us to the sacred, for it temporarily disengages us from
our role in the profane world of humdrum existence and helps us enter a
zone to connect more closely with the sacred. Let us allow them to motivate
us, help us fulfill our deepest desires and create, and sustain our unique
identity on this crowded planet.

Swami Veda Bharati writes that “Sri Vidya begins where the current
understanding of quantum physics ends. It is the science of sciences, the
mega science and the art of arts, the mega art. Wherever we study
configurations, charts and graphs, it is a part of Sri Vidya . Wherever we
study forms as fields of energy it is Sri Vidya. Wherever we study Marmas in
Ayurveda, this too is a part of Sri Vidya. But it is experienced only in the
assimilation of these principles into our consciousness not in an intellectual
process but in our very being in our very essence so that our essence is not
seen apart from the ever expanding and contracting universe.”
 Acknowledgement

My heartfelt thanks to the following Sri Vidya sadhakas who have shared
their knowledge freely with their readers:
• Sri. P.R. Ramachander of Shankaracharya.org
• Sri Sreenivas Rao S of Sreenivasraos.com
• Sri V Ravi of Manblunder.com
• Sri Udaya Shreyas of The Sanskrit Channel
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 Also by this author

Sri Chakra Yantra

Manifest anything with the symbol of everything

Discover how a 12,000-year-old mystical symbol holds the key to

awakening your deepest inner potential and enhancing your powers of
manifestation.

The Sri Chakra Yantra is an ancient symbol depicting the process of

creation in a powerful matrix which represents the macrocosm (the
Universe) and microcosm (the human body), thus acting as a powerful,
cosmic antenna that allows you direct access to communicate with the
Universe.

The book delves into some metaphysical aspects which are reflected in
the philosophies underlying Shaktism, Tantra, Dasa Mahavidya and Sri
Vidya. Once these concepts throw some light on the basis of Sri Chakra
worship, the nature of sacred geometry and the significance, structure and
meaning of the Sri Chakra Yantra is explained. This is followed by chapters
that focus on the relationship of the human body to the Sri Chakra and its
connection with the Pineal Gland. There is also a brief note on healing and
the Sri Chakra.

The use of sounds in the path to spiritual growth is discussed with a

special focus on the sounds (mantras and stotras) associated with the Sri
Chakra Yantra. The book describes the role of mudras and contains details
about the initial infusion of energy into the yantra, the method of worship,
the path to visualisation and meditation on the Sri Chakra.
Chakras
Learn all about the Chakras - mystical energy centres that are integral to
the ancient Indian traditions of Yoga and Ayurveda. The Chakras are inner
portals of harmony, linking the physical and spiritual planes, offering a deep
and time-tested formula for transformation, abundance and the ability to
hack into one’s power of manifestation.

This book equips you using simple, everyday language to harness the
potential of the tremendous internal energy pools that lie dormant in the
body and help you channel it and act upon your life purpose by presenting
Chakras as a tool for self-development. The book delves into concepts such
as Sankhya, Yoga philosophies and the Karma doctrine in order to establish
the context of how the Chakra energies work.

The author has kept in mind the sensibilities of the modern spiritual
seeker and their needs and interests, presenting the information in a non-
dogmatic and practical manner, thereby allowing everyone an opportunity
to learn and experience the benefits of awakening the Chakra energies.
Tantra Mantra and Yantra of Sri Vidya
“Sri Vidya begins where the current understanding of quantum physics
ends”, say modern-day scholars about this little-known, highly esoteric
spiritual tradition that has been carefully kept under wraps by its secretive
and serious practitioners. The study of Sri Vidya is fascinating as much as it
is frustrating because information about its various aspects is tough to find.
This book is an endeavour to explore the Sri Vidya tradition and understand
it as the unfolding of Shakti, the inherent power which lies at the core of our
being and holds the key to our worldly and spiritual success.

Sri Vidya practice comprises tantra (a technique or framework for

worship) whose two main elements are mantra (sacred sound) and yantra
(sacred geometry). Tantra can be described in simple terms as the utilisation
of the mental faculty to pursue the objectives of worship using mantra and
yantra. Mantra is the use of sound energy to bring about oneness with the
Divine, while yantra is a geometric drawing which serves as a tool to reach
the Divine.

The book delves into concepts such as Sankhya, Yoga, Karma and
Kundalini in order to establish the context of how Sri Vidya is to be
approached, combining elements of knowledge, devotion and ritual.

The author has kept in mind the sensibilities of the modern spiritual
seeker and their needs and interests, presenting the information in a non-
dogmatic and practical manner, thereby allowing everyone an opportunity
to learn and experience the benefits of Sri Vidya.

This is the third book by the author in the Spirituality Series. The first
book was about the Sri Chakra Yantra and the second book had Chakras as
its subject.
 About the Author

Vinita Rashinkar is a health and wellness expert, writer, speaker, spiritual

counsellor and healer. She derives satisfaction from helping people find
happiness and aiding them to lead healthy and meaningful life. She has
studied the principles of Ayurveda, yoga, meditation, chanting, chakras and
stress management under various masters for the past 20 years. She has a
master’s degree in English literature.

Vinita is the founder and managing director of Amara Vedic Wellness

GmbH, a Dusseldorf-based company which aims at bringing hidden aspects
of Vedic knowledge to the common man. Vinita has been a regular
contributor to popular publications and portals, writing on subjects of
health and lifestyle. She is also the founder-director of Bluebrick PR, a
specialized international tourism marketing company.

She is presently working on her fifth book based on the life and works of Adi
Shankaracharya, India’s greatest poet-saint, mystic and philosopher.

Vinita has been featured in various Indian and international publications

such as Femina, Outlook, Asiaspa, Finest Finance and Vogue. She is
currently working with a major TV channel to provide health and wellness
content.

For more information, please see www.vinitarashinkar.in.