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Khecari Bija An exploration into the individual seed letter Obeisance to the Loveable Guru, the light of our

lives The Khecari Bija has an important place in the Sri Vidya mantra sastra. This bij a is found in the most important mantra – The Guru paduka, along with the Aanandab hairava–bhairavi and paraapraasaada - praasadaparaa mantras.

Khecari can be split as ‘khe’ and ‘cari’. ‘khe’ means in the space or sky and ‘cari’ means t elling . Combining these, the meaning is travelling in the sky or space i.e. exp loration into the highest realms of spirituality. ‘Kh’ also refers to sadasiva tatva , which is the identity of the universe and the creator and ‘cari’ is residing or fi rmly fixed on this idea. Another meaning of ‘kh’ is Brahman, the highest principle a nd residing in this is also referred by this bija. In the Navavarana Pooja this bija is recited while showing the Khecari mudra in the seventh enclosure Pooja- the sarvarogahara cakra( remover of all diseases). The mantra to be recited while showing this mudra is is HSKhPhrEm. There is only a vowel at the end the consonants are without any vowel, but in practice, it is difficult to pronounce this, hence the mantra sastra offers to place the first vowel ’a’ with the rest of the consonants. It may be pronounced as HaSaKhaPhrEm. If we separate the bijaksharas, we find six bijas – ha, sa, kha, ph, ra, em. Let u s now try to identify these bijas with the internal matruka cakra nyasas of the six adharackras. We find that each charka has a representative akshara in this b ija. Ha is one of the bijas of Agnya charka placed in the right side. Sa is in t he muladhara placed in the left side. kha is in the heart charka (anahata) placed in the right side. pha is in the nav el charka (manipuraka) placed in the left side. ra is in the svadithana cakra(ro ot of the genitals)placed in the left side. Finally ‘e’ the eleventh vowel in Sanskr it alphabet is placed in the throat charka (visudda) also on the left side. Trac ing the path taken by these letters, we see this starts at between the eye brows goes bottom to root (muladhara), then to heart, navel, genital and then to thro at. This is the path taken for the production of the sound. Initially the sound resides as an idea in the mind represented by the agnya cakra, this stimulates t he production of the most subtle sound in the muladhara called as para vak, this further moves up to form the combination of consonants and vowels which is call ed pasyanti vak- the seen or mental form of the idea as words, which is at the h eart. Then the stomach and pelvic muscles formulate this form into physical soun d-the madhyama vak, and then this finally comes out through the throat as the ph ysical sound which is heard called the vaikhari vak. Hence remembering this path we can go back and still our thoughts and concentrate on the unique tatva Brahm an On identifying with the external matruka nyasa we find first two are placed as s tarting from the heart to the tip of the left and right hands, the third on the right elbow, fourth on the left side of the body, fifth on the right arm-pit and the final on the upper lip. The first two indicate that we have to do all actio ns with full heart, the right elbow indicates doing the actions with whatever is in our means, the left side is the praise of sakthi tatva, the right arm pit al so indicates the path taken has to be flexible without any apology to move away from this path, the upper lip is the sound as represented by the vedic ideas.

Now let us look into another meaning of these bijas using the tantric dictionari es. The ‘Ha’ and ‘Sa’ are representing the Siva and sakthi tatvas. ‘kha’ is their expansion as the sadasiva tatva finally resulting in the space and the other four elements

, which when mixed (pancikarana) make up the gross earth. ‘pha’ is the pani-hand tat va indicating our actions , ‘ra’ is the agni tatva which is the first ‘M’akara –the Madhu and by representative logic the rest of the five ‘M’akaras :- together these represe nt the Pooja ritual done by the sadahaka. ’E’ is the eleventh of the vowel and is ta ken to indicate the tatvatiita parasiva state. Hence the import of this mantra i s attaining the parasiva state in the sadhaka by this Srividya saparya which is the constant awareness of the universal Siva sakthi oneness. The gesture (mudra) is shown by intertwining the hands and showing the yoni mudr a. Intertwining the hands is the sivasakthi mithuna tatva and yoni mudra is the realisation of the parasiva state. Interestingly we find the avarana (enclosure) that is removed by showing this gesture is sarvaroghahara charka – the removal of all diseases – sense of duality is that disease. This is offered to the lotus feet of the Guru with all LOVE