Introduction to Srividhya

8/9/2019 Introduction to Srividhya

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alitha/s 9antra is the great Sri 9antra, also called Sri 1akra which contains within it the entire unierseseen and unseen! The human "ody itself is the Sri 9antra, thus our "odies contain within it the entireunierse! This follows the Western hermetic principle of 'as a"oe so "elow, as "elow so a"oe'! Thisprinciple is descri"ed in detail in the +haanopanishad and seeral other important te$ts! So our "odytruly is a temple! * diine temple! rim is the diine mantra of creation and maya, that moement thattakes us out clockwise from the "indu of the yantra through the phases of creatie eolution! Shrim is thediine mantra which takes us "ack counterclockwise into the "indu! ife is not a "indu alone thoughremem"er! ife is the fullness of the yantra itself and the "indu only holds the whole display together! Wecould say that this "indu is simultaneously at the center and also eerywhere!

alitha Tripurasundari/s form shows many powerful sym"ols in addition to the ones descri"ed already!She wears the sun and moon as earrings, emphasi:ing the fact that astrological forces are mereadornments to her! In her > arms, she carries the = arrows of the elements and the senses, the sugarcane"ow of the mind, the noose of desire and attraction, and the goad of anger! So the entire world of theelements, senses, and mind are her instruments! The twin forces of attraction and repulsion-aersion areher instruments as well! *ll powers of the unierse are ers!

These things descri"ed sere to enhance our faith in this powerful tradition and to remind us that thisworld is sacred, that it is all od/s play! It helps us to lighten up, to not "e so concerned with 'li"eration'

and to remem"er that we are er! She is us! 7ur world is diine!

Sakta Vidyas

By Shankara Bharadwaj Khandavalli

Sakta vidyas have grown in practice in the past millennium. It follows from a famous saying that in

Kali Yuga the most effective forms of worship are Devi and Ganapati kalau !andi "inayakah#. $here are

many sakta vidyas% &ut two schools of them are most popular ' (alita Sampradaya and !andi Sampradaya.Devatas like (alita% Bala and )ajarajeswari are worshiped in (alita sampradaya and devatas like Durga and

!andi are worshiped in !andi Sampradaya.

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Contents

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• , -hilosophy

• Sri "idya

• / !andi "idya

• 0 Dasa maha "idyas

o 0., $ripura Sundari

o 0. Bhuvaneswari

o 0./ Kali

o 0.0 $ara

o 0.1 !hinnamasta

o 0.2 Bhairavi

o 0.3 Dhumavati

o 0.4 Bagala 5ukhi

o 0.6 5atangi

o 0.,7 Kamalatmika

• 1 8ther 5ajor Sakta "idyas

o 1., Durga

o 1. Saraswati

o 1./ "arahi

o 1.0 -ratyangira

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Philosophy

Sakta "idyas acknowledge 9dvaita "edanta. :owever Sakta view of 9dvaita differs from Sankara 9dvaita or

"ivarta "ada.

Sri VidyaMain article: Sri Vidya

$he most popular vidya in Sakta is Sri "idya. $he devata of this vidya is $ripura Sundari. $ripura Sundari as

the name suggests% is the most &eautiful of all the devatas.

$here are many vidyas;variants under Sri "idya. $wo major ones are -ancadasi mantra with ,1 sylla&les#

and Shodasi mantra with ,2 sylla&les#. 8f these% Shodasi is counted under dasa maha vidyas. $he original

seer of -ancadasi is said to &e lord Dakshinamurthy :imself. $here are , variants in -ancadasi called 5anu

vidya% !andra vidya and so on. $he seers of these include 9gastya% (opamudra% Durvasa and others.

-ancadasi is said to &e the Gayatri of Sri "idya. $he distinct feature of this is the ,1 sylla&les are classified

into three groups of 1 sylla&les each% called / kutas;khandas. $hese are 9gni% Surya and Soma khandas

this is the reason she is called $ripura Sundari% as she presides over these three transcendental worlds#.

$he mantra is said to &e the soundplains the entire vidya% in which Devi kills Bhandasura% the king of 9suras.

$he three devis that wage this &attle against the powers of ignorance% (alita% Syamala and "arahi preside

over the divine powers of ?ill Iccha#% Knowledge @nana# and 9ction Kriya# and represent these three

khandas of the -ancadasi.

$he yantra used in Sri "idya is called Sri !akra% which is said to &e the sakta model of entire universe. $he

yantra is worshiped as the 5other. It has 6 levels or avaranas.

Texts

$he Sri Suktam of )ig "eda. It has fifteen )iks% eAual to the num&er of &eejas in -ancadasi. 9dding Sri

Gayatri it &ecomes ,2 )iks% eAual to the num&er of &eejas of Shodasi.

(alita rahasya nama found in the Brahmanda purana% is said to &e the compendium of all sakta vidyas%

though primarily the te>t for Sri "idya. It is a consciousness overview and is called Yoga Sahasra. (alita

$risati% which has a commentary &y 9di Sankara% is thestotra form of -ancadasi.

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Sri "idya is found in tantras like )udra Yamala.

Upadesa and alternative

$he Sri "idya needs initiation. :owever (alita Sahasra nama% can &e read as a stotra without initiation.amavali% where each name is used as a mantra for worship% can &e done only &y one having initiation into

the vidya.

Csually the initiation of -ancadasi happens after an initial initiation into another $ripura Sundari mantra

like Bala. (alita and Bala are the Saguna and irguna versions of the vidya respectively. :ence the former

also has nama mantras.

Candi Vidya

!andi is the other most popular Sakta vidya. !andi is also worshiped as Durga% !amundi% 5ahisha mardini

during the nava ratris for "ijaya Dasami.

!andi navakshari 6 sylla&les# is the primary mantra of this vidya% though there are many vidyas as part of

this. Devi 5ahatmya of 5arkandeya -urana% which is also called !andi Saptasati% narrates the story of the

5other slaying 5ahishasura. She assumes 6 different forms on nine days to eliminate the 9sura along with

his army.

Texts

Durga Suktam of $aittiriya 9ranyaka.

!andi Saptasati% though in sloka form% is treated as mantras and is used for :oma. Besides% )atri Suktam%

Devi 9tharva Seersha are also used.

!andi vidyas are found in tantras like )udra Yamala.

Upadesa and alternative

$he !andi;Durga vidyas% including !andi Saptasati need initition from a guru. $he stotras like 5ahishasura

mardini Stotra% Durga 9stottara% Durga Sahasraa can &e read without initiation not as namavali#.

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Dasa maha Vidyas

"asistha Ganapathi 5uni deduced the origins of all the sakta mahavidyas to the "eda Samhita% in his

5ahavidyadi Sutra granthavaliE.

$he smartaclusive. $he seed mantras too%

overlap.

$here are three systems of worship% samaya madhyama and kaula. ?hile samaya acara is smarta<

acknowledged% the other two are tantric. Kaula marga involves is more of vamacara tantra. $antra te>ts like

)udra Yamala and Kularnava $antra deal e>tensively with these vidyas% their philosophy% prayogas%

austerities and results.

?orship is to &e done according to the taste and the nature of the worshiper. $he austerities one should

follow will also follow these to a good e>tent. Devotion is primary and one does not have to impose

impossi&le austerities on himself to please devata. Devi is praised as sukharadhya% one who could &e

worshiped with &liss.

:owever dasa maha vidyas is more of a conceptual classification and we do not find these clearly in

the $antra te>ts themselves. $hey overlap into each other.

$here are different stories that tell how the ten vidyas came% in Devi Bhagavata% Siva -urana and $antra

$e>ts. 9ccording to the one in Devi BhagavataF when Sati devi wanted to attend her father Dakshas yajna%

Siva did not like it. ?hen she insisted% :e got angry. $hen Sati took even more terri&le form and Siva got

afraid and started running. $hen Sati assumed ten forms and stood in all ten directions so he cannot

runaway. $hese ten forms are ten maha vidyas.

$he &rief of these vidyas is given &elow. ?e can consider an e>ample for the nature of sym&olism% in the

description of Kali that follows. Devi is actually worshiped as 9gni


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feature. $he 9gni


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Kali

Kali is ferocious and terri&le form of Devi. Kali is the feminine of Kala% and the sakti of Kala. She is

worshiped as laya karini% the one causing dissolution of universe.

?hile Kali is praised in multiple forms% common attri&utes in those are that She is dark in hue% wearing a

skull garland% naked% with a smile and e>tended tongue% standing on life


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Chinnamasta

!hinnamasta is said to &e the most terri&le form of Devi. 9s the name suggests% the head of this form is

separated from the trunk. She holds her head in a hand. $here are fountains of &lood gushing out of the

neck% the middle one drunk &y her head% the other two &y her two associates. $his is a profound yogic

significance and separation of headE is indicative of a great siddhi where one fully transcends his gross<

su&tle sheaths of consciousness.

!hinnamasta is called vajra "airocani% the sakti of "ajra


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Dhumavati vidya involves many prayogas along with upasana. $his vidya is associated with crows and it is

said that towards siddhi one can see crows giving the message of success. Smoke


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9ccording to Kavyakantha "asistha Ganapati 5uni% Kamalatmika is derived from the "edic 5adhu vidya.

Kamalatmika is a pleasant form% and her grace is treated as the culmination of sadhana% as she &estows

every siddhi along with desirelessness and eternal &liss sampatti#. She is worshiped as the last stage deity

in all vidyas. Hor e>ample She is worshiped as Siddhi dhatri in Durga "idya% the last of nine forms of Durga.

In fact She is the Sri of Sri "idya. 9uspiciousness is the primary &eeja of this "idya% though all Bhuvaneswari

and $ripura Sundari &eejas are used.

Other Major Sakta Vidyas

Durga

Durga is a vast set of 5antra "idyas. Durga is from the wordample in ava Durgas% She is

associated with Kala )atri. Saraswati is also worshiped as eela Saraswati% a form of $ara 5aha "idya. She

is one of the three forms of Gayatri Gayatri% Savitri and Saraswati#. 9nother form of :er% Ila is associated

with Krishna Ila pati#. "ageeswara is an epithet of :ayagriva. Buddhi% :er aspect% is associated with

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Ganapati. Siva is said to &e the si&ling of Saraswati. @nana -rasuna is the form in which the 5other is

associated with :im at Kalahasti% Saradam&a at Sringeri and so on. She is also closely associated with Indra

in the )ig "eda.

In Sakta $antra% Saraswati &eeja is e>tensively used in many vidyas like $ara% $ripura Sundari esp. Bala#

and 5atangi.

Varahi

"arahi is not widely practiced in the recent times. She is one of the seven 5atrikas. 9lso in $ripura Sundari

"idya She is the general of (alita icchaplore 8ther 9rticles

Sri Vidya

Jr"idyL is one of the most comprehensive and popular "idyLs in JLktL. In the conte>t of :indu spiritual

practices% a "idyL can &e defined as the worship of a God;Goddess. (iterally "idyL means learningM it is from

the word


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JrE means prosperity% auspiciousness% divinity. Jr Devi is the Divine 5other who &estows &liss and

plentitude on :er devotees. In"eda% She is praised as Jr. "edic knowledge diversified and developed into

different schools like Nmarta following Nmritis likeDharma JLstras#% Jrauta studying Nruti or "eda#%

-aurLnika following Nmritis like -urLn ?Ls# and so on. $antra is another school of practices that com&ines

methods of worship with philosophy and theology. ?ith these developments% Jr Devi came to &e known and

worshiped in different forms. In -urLn ?Ls% Jr is called (aksmi% the Goddess of wealth and prosperity. $he

worship of Jr 5Lta or $ripura sundari% developed as Jr"idyL% one of the major cults in JLktL $antras. $he

kaula


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Contents

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• , (alitL CpLkhyLna' $he Story of (alita $ripura sundari

• Description of the 5other and :er 9&ode

• / $he 8rigin and -hilosophy of Jr"idyL

o /., "edic and -aurLnika !oncept

o /. 9dvaita -hilosophy

o /./ Su&limation and !onsecration

o /.0 9spects of 9gama

• 0 Yoga and Jr"idyL $antra

o 0., 5antra Yoga

o 0. (aya Yoga

o 0./ Kun d ? alini Yoga

• 1 Geometry and ?orship of Jr !akra

o 1., $railokya 5ohana

o 1. Sarvasa -aripOraka

o 1./ Sarva SankNo&ana

o 1.0 Sarva Sau&hLgya dLyaka

o 1.1 SarvLrtha sLdhaka

o 1.2 Sarva raksha kara

o 1.3 Sarva )oga hara

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o 1.4 Sarva siddhi 5Lya

o 1.6 Sarva Lnanda 5Lya

• 2 -ractical side of Jr"idyL

o 2., Jr"idyL and other DevatLs

o 2. Jr"idyL% JLktL and 5antra JLstra

o 2./ Some Jr"idyL -ractitioners and (ineages

• 3 5antra "idyLs in Jr"idyL

o 3., 5Ola "idyLs

o 3. 9nga "idyLs

3.., -urvamnaya

3.. Daks ? in ? amnaya

3../ -ascimamnaya

3..0 Cttaramnaya

3..1 Crdhvamnaya

3..2 9nuttaramnaya

3..3 itya DevatLs

• 4 $e>ts

• 6 otes

• ,7 Bi&liographies

http://www.hindupedia.com/en/Sri_Vidya#Sarva_siddhi_M.C4.81yahttp://www.hindupedia.com/en/Sri_Vidya#Sarva_.C4.81nanda_M.C4.81yahttp://www.hindupedia.com/en/Sri_Vidya#Practical_side_of_.C5.9Ar.C4.ABVidy.C4.81http://www.hindupedia.com/en/Sri_Vidya#.C5.9Ar.C4.ABVidy.C4.81_and_other_Devat.C4.81shttp://www.hindupedia.com/en/Sri_Vidya#.C5.9Ar.C4.ABVidy.C4.81.2C_.C5.9A.C4.81kt.C4.81_and_Mantra_.C5.9A.C4.81strahttp://www.hindupedia.com/en/Sri_Vidya#Some_.C5.9Ar.C4.ABVidy.C4.81_Practitioners_and_Lineageshttp://www.hindupedia.com/en/Sri_Vidya#Mantra_Vidy.C4.81s_in_.C5.9Ar.C4.ABVidy.C4.81http://www.hindupedia.com/en/Sri_Vidya#M.C5.ABla_Vidy.C4.81shttp://www.hindupedia.com/en/Sri_Vidya#Anga_Vidy.C4.81shttp://www.hindupedia.com/en/Sri_Vidya#Purvamnayahttp://www.hindupedia.com/en/Sri_Vidya#Dak.E1.B9.A3i.E1.B9.87amnayahttp://www.hindupedia.com/en/Sri_Vidya#Dak.E1.B9.A3i.E1.B9.87amnayahttp://www.hindupedia.com/en/Sri_Vidya#Dak.E1.B9.A3i.E1.B9.87amnayahttp://www.hindupedia.com/en/Sri_Vidya#Dak.E1.B9.A3i.E1.B9.87amnayahttp://www.hindupedia.com/en/Sri_Vidya#Dak.E1.B9.A3i.E1.B9.87amnayahttp://www.hindupedia.com/en/Sri_Vidya#Dak.E1.B9.A3i.E1.B9.87amnayahttp://www.hindupedia.com/en/Sri_Vidya#Dak.E1.B9.A3i.E1.B9.87amnayahttp://www.hindupedia.com/en/Sri_Vidya#Dak.E1.B9.A3i.E1.B9.87amnayahttp://www.hindupedia.com/en/Sri_Vidya#Dak.E1.B9.A3i.E1.B9.87amnayahttp://www.hindupedia.com/en/Sri_Vidya#Pascimamnayahttp://www.hindupedia.com/en/Sri_Vidya#Uttaramnayahttp://www.hindupedia.com/en/Sri_Vidya#Urdhvamnayahttp://www.hindupedia.com/en/Sri_Vidya#Anuttaramnayahttp://www.hindupedia.com/en/Sri_Vidya#Nitya_Devat.C4.81shttp://www.hindupedia.com/en/Sri_Vidya#Textshttp://www.hindupedia.com/en/Sri_Vidya#Noteshttp://www.hindupedia.com/en/Sri_Vidya#Bibliographieshttp://www.hindupedia.com/en/Sri_Vidya#Sarva_siddhi_M.C4.81yahttp://www.hindupedia.com/en/Sri_Vidya#Sarva_.C4.81nanda_M.C4.81yahttp://www.hindupedia.com/en/Sri_Vidya#Practical_side_of_.C5.9Ar.C4.ABVidy.C4.81http://www.hindupedia.com/en/Sri_Vidya#.C5.9Ar.C4.ABVidy.C4.81_and_other_Devat.C4.81shttp://www.hindupedia.com/en/Sri_Vidya#.C5.9Ar.C4.ABVidy.C4.81.2C_.C5.9A.C4.81kt.C4.81_and_Mantra_.C5.9A.C4.81strahttp://www.hindupedia.com/en/Sri_Vidya#Some_.C5.9Ar.C4.ABVidy.C4.81_Practitioners_and_Lineageshttp://www.hindupedia.com/en/Sri_Vidya#Mantra_Vidy.C4.81s_in_.C5.9Ar.C4.ABVidy.C4.81http://www.hindupedia.com/en/Sri_Vidya#M.C5.ABla_Vidy.C4.81shttp://www.hindupedia.com/en/Sri_Vidya#Anga_Vidy.C4.81shttp://www.hindupedia.com/en/Sri_Vidya#Purvamnayahttp://www.hindupedia.com/en/Sri_Vidya#Dak.E1.B9.A3i.E1.B9.87amnayahttp://www.hindupedia.com/en/Sri_Vidya#Pascimamnayahttp://www.hindupedia.com/en/Sri_Vidya#Uttaramnayahttp://www.hindupedia.com/en/Sri_Vidya#Urdhvamnayahttp://www.hindupedia.com/en/Sri_Vidya#Anuttaramnayahttp://www.hindupedia.com/en/Sri_Vidya#Nitya_Devat.C4.81shttp://www.hindupedia.com/en/Sri_Vidya#Textshttp://www.hindupedia.com/en/Sri_Vidya#Noteshttp://www.hindupedia.com/en/Sri_Vidya#Bibliographies


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(alitL CpLkhyLna' $he Story of (alita $ripura sundari

In BrahmLnda -urLn ?L% the story of (alita $ripura sundari is narrated &y (ord :ayagrva the horse


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the ten nails of :er hands. ?eapon inspired &y -asupati a form of (ord Jiva# demolished the demonic

armies. Hinally the weapon inspired &y 5ahLKLmeNvara % destroyed Bhand ?Lsura along with his capital

JOnyaka.

$he 5other was applauded and worshiped along with (ord KLmeNvara .

Description of the 5other and :er 9&ode

$he 5other is said to &e red in hue 9runa#. :er a&ode is 5anidwpa% the island of gems and pearls. It is

also called Jr agara. It is not reacha&le even for Gods like Indra. It is through :er grace alone% that one

can reach :er a&ode. She% along with (ord KLmeswara% is worshiped there &y lakhs of :er attendant deities.

She is called KLmakalL% the manifestation of desire. 8ut of desire for cosmic sport She acts. 8ut of desire

for pleasing the (ord% and union with the (ord She plays. ver smiling% &lissful and granting the &oons of :er

devotees% She is praised as personification of grace% &liss and mercy. She rules the universe and all aspects

are :ers. 9ll the &eings% including the gods% act &y :er inspiration and mercy.

In a verse meant for meditation on the 5other% She is descri&ed asF

sindOrLrun ?a vigrahLm trinayanLm mLn ?ikya mau(isphurat tLrL nLyaka NekharLm smita mukhm Lpna

vaks ?oruhLm pLn ?i&yLm a(i pOrn ?a ratna cas ?akam raktotpalam &i&hratm soumyLm ratna gha t ?astha rakta

caran ?Lm dhyLyet parLm am&ikLm

5eaning the seeker meditates on the 5other 9m&ikL#% who is eternal parL#% saffron


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$he first verse meditates on the 5other from head to feet. It is a general practice to meditate% descri&e and

worship male forms or deities from feet to head upwards% and female forms or deities from head to feet

downwards. 9lso% the 5others feet are said to &e the a&ode of devotee% his ultimate destination. $he second

verse is a&out the aspects of Jr"idyL% which are e>plained through the powers of Goddesses% the weapons

held.

$he 8rigin and -hilosophy of Jr"idyL

(alita Sahasra nLma in BrahmLnda -urLn ?L% the hymn that praises the 5other with :er ,777 names% gives

comprehensive description of Jr"idyL% its philosophy and methods. Besides% it is called yoga sahasra% which

e>plains the secrets of all forms of yoga% andconsciousness studies.

Jr"idyL is a well developed form of JLktL $antra. $he various constituent "idyLs are well organi=ed and

arranged in a more systematic hierarchy compared to other sampradLyas. Naundarya (ahari% a hymn

composed in praise of the 5other in a hundred verses% is said to &e one of the most &eautiful and profound

e>planations of Jr"idyL. Jr"idyL is followed &y NmLrta as well as $antric schools. $here is no clear

separation &etween them. Nmriti followers are said to &e NmLrtas. $hey follow elements of tantra to the

e>tent that they do not contradict Nmritis.

Jr"idyL is found in the )ig "eda as Jr Sukta% the hymn with ,1 verses. It is said that this is fashioned after

pancadLNi% the central5antra of Jr"idyL. Jr Sukta% with its application of single


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$he "edic practitioners of JLktL $antra take a middle path% &y praising the 5other as 5Lya who creates

these tendencies to &ind the &eing% seek to &e li&erated from these &y :er grace.

9spects of 9gama

$here are two major schools of literature in :induism. 8ne is the "edic literature% consisting of "edas%

various su&jects that the "edas deal with% -urLn ?Ls% Dharma SLstrLs and so on. $hey deal with theology%

spiritual philosophy% procedure and philosophy of rituals% various paths to salvation% code of conduct and

righteousness% world views% the su&jects one needs to learn to &e a&le to understand such as the science of

chanting% grammar% etymology% astronomy and so on. $here is another stream of literature that deals

primarily with the methods of worship. $hough some of these are found in the BrLhmana and 9ranyaka

portion of the "eda% 5imLmsa inAuiry into the message of "eda#% Kalpa SutrLs code and procedure for

rituals#% most of the elements practiced in popular :induism are from 9gamas.

9gamas e>pound many aspects% including personal worship% temple construction and architecture%

Iconography% worship in temple% "Lstu and so on. It is not an e>aggeration to say that most of the popular

aspects of :induism are found in -urLnic and 9gamic literature. -rimarily 9gamas are of three schools

' "aishnava% Saiva and JLktL. $hey are followed &y "aishnavites% Saivaites and JLktLs

respectively. 9gama has three parts% 5antra% $antra and Yantra.

5antra is a divine word which is chanted repeatedly as part of worship. Yantra in general% is a contrivance

inspired &y the power of a mantra. In many cases it is a geometric shape% carved on a metal plate or stone

or crystal or floor. In case of Jr"idyL% it is Jr !akra. $antra is the entire philosophy and procedure of

worship. $he $antra e>pounding Jr"idyL is called Jr"idyL $antra% and is found in many JLktL te>ts like

-rapancha sLra and )udra Yamala.

CniAuely to Jr"idyL% the name of the "idyL or the Goddess or Yantra does not have a separate name. It is

not popularly called (alita "idyL or $ripura Sundari "idyL. $he tantra is called Jr"idyL% the Yantra JrYantra%

the city of the 5others residence is called Jr agara. :owever JrE as we saw means divine and it is like

saying divine Yantra% divine city and divine "idyL% without a specific name of the deity. very other "idyL% is

e>plicitly referred to% with the name of its presiding deity% !andi or "is ?n ?u or Gan ?apati.

Yoga and Jr"idyL $antra

$hough Yoga is a very technical su&ject and its discussion is mostly restricted to teacher


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$here are three major forms of Yoga% 5antra yoga% (aya yoga and Kund ?alini yoga. $he aim of all the three is

the same% though the methods vary slightly. Jr"idyL tantra involves all these three forms of yoga and

integrates them.

5antra Yoga

Sound is produced through contact% vi&ration and o&struction. $his is called Lhata. :owever cosmic hiss if

one can hear is eternal and e>istent. $his is called 9nLhata. It is not produced &y us &ut only heard. 9 yogi

can hear this. In sLdhana one makes the soundoneself &y doing mantra japa#% in a rhythm% resonant with

the vi&rations of his nLdis and his &reath. $hrough this one will &e a&le to discover the deeper vi&ration. $his

way of merging individual with cosmic is called mantra yoga.

5antra is said to &e the soundperienced &y seer in a state of deep consciousness#% madhyama when it translates as idea in the

intellect# and vaikhLri when it is ver&ally e>pressed#. )eali=ing parL "Lk or Lda Brahman through a

regulated chanting of mantra% first e>ternally then mentally and then finally without producing it% is mantra

yoga.

(aya Yoga

5editation is the means in laya yoga. 8ne controls mind through the control of &reath% so that full

concentration is possi&le in meditation. $hrough meditation% ones consciousness merges in the o&ject of

meditation and one reali=es 9tman. $he state% in which the difference &etween the one who meditates the

act of meditation and the o&ject of meditation dissolves% is called samLdhi or sLyujya.

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8ne also o&serves during meditation ones own &eing% the different sheaths of consciousness. $here are five

kosas or sheaths of consciousness of &eing < anna5Lya physical#% prLna5Lya vital centers cakras# in the spinal channel. Kund ?alini is said to &e initially coiled up at

mulLdhara. She is the 5other. She passes through these si> from mulLdhara at the &ottom of spine to ajna

at the forehead% then to the crown of the head sahasrLra# where individual consciousness fully unites with

cosmic consciousness. $here% the 5other is said to unite with the (ord. $his involves the opening of three

knots or granthis in the path% called Brahma granthi% "is ?n ?u granthi and )udra granthi. $here is one granthi

per two cakras. 5ulLdhara pelvic# and swadhisthLna navel# associate with Brahma granthi% manipura

heart center# and anLhata midway &etween neck and solar ple>us# associate with "is ?n ?u granthi% visuddha

throat# and ajna center of forehead# associate with )udra granthi. $hese three are the triputi discussed

a&ove.

$he worship of Jr!akra with nine levels is also a means to this in Jr"idyL. Kund ?alini is said to &e

completely activated% with the 5other uniting with the (ord at SahasrLra% when the devotee reaches

the &indu of Jr!akra.

$he union of 5other Kund ?alini with the (ord is the li&eration of seeker from 5Lya. $his is possi&le

with anugraha or grace as discussed a&ove% and completes the cycle of &irths. $his is the same as reali=ing

ada Brahman in mantra yoga% and sLyujya of laya yoga.

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Geometry and ?orship of Jr !akra

Jr!akra is worshiped as the 5other :erself. In Jr"idyL% there is usually no other idol worshiped other than

Jr!akra. ven if an idol is worshiped% Jr!akra is worshiped along with idol. 9ll the upacLras or offerings are

done to the Jr!akra.

$he worship of Jr!akra is done through Devi Khad ?gamLla literally garland of swords% indicating energy#

hymn% which enumerates the deities in each level. In an ela&orate worship of Jr !akra% each deity at each

level is invoked% worshiped and offered o&lations. :owever in a regular worship% it can &e done in a much

a&ridged way and Goddesses at each level are worshiped together.

Jr!akra is a model of universe% which represents a JLktL world view. Jr!akra or Jr agara is said to &e

the a&ode of the 5other% and She is its ruler. It has nine levels called LvaranLs. $he nine levels are said to &e

nine levels in evolution of the seeker% &eginning from the outer most to the inner most where the 5other

resides. Jr"idyL tantra e>plains the Goddesses at each level or the epithets or aspects of 5other at each

level#% the method of worship% and the mystical powers one attains through their worship. In the inner most

level called &indu resides the 5other with (ord KLmeNvara . $he various petals or lines and their num&er in

each Lvarana signify the num&er of Goddesses worshiped.

Jr!akra is worshiped in two and three dimensional forms. -lanar Jr!akra is called Bhu prastLra &hu '

earth% meaning flat#. $hree dimensional Jr!akra% where the outer most level is the &ase and each inner

level is in elevation over the outer one% with &indu the inner most triangle# as the peak% as if forming a

cone% is called meru prastLra meru is a mountain% and the name indicates that the figure is similar to a

mountain;cone#. In an ardha meru or half meru% some of the nine levels are depicted in the same altitude.

Hurther% the nine are divided into three levels of three enclosures each. $he outer most three comprise

Nrushti !akra the or&it of creation#. $he ne>t three comprise Sthiti !akra the or&it of sustenance#. $he

inner most three comprise SamhLra !akra the or&it of dissolution#.

$he geometry and worship of Jr!akra is comprehensive and e>haustive. It e>plains the entire JLktL world

view% its enumeration of the world% its philosophy and practice. $herefore we can only give a cursory glance

at it% &ecause otherwise it would &ecome a &ook &y itself.

$he outer most level of Jr!akra is sAuare shaped% with three concentric sAuares and four gates on four

sides. $he ne>t two levels are lotus petals% with si>teen and eight petals respectively. $he ne>t five levels

are &asically nine triangles drawn into each other% producing a total of forty three. $hese are seen as five

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levels of ,0% ,7% ,7% 4% , triangles as we move inwards. $he inner most or ninth level is &indu or a dot. $his

is also counted as a triangle% making the total count 00.

In each level% the 5other is descri&ed as causing those tendencies that &ind &eings at that level. If one

successfully transcends the &inding at one level% that is% when he seeks to proceed further without limiting

oneself to the powers he gets at that level% then he will move to an inner level. $hough all the levels of

Jr!akra are worshiped every time% one actually transcends or gets elevated to these levels gradually.

Trailokya Mohana

$his is the outermost enclosure and has three concentric sAuares% with four gates on four sides. It is called

so &ecause most of the apparently mystic powers can &e got here. It is said that even the Gods stop here

without proceeding inwards% &ecause their desires are fulfilled &y the powers achieved at this level.

$he three lines represent ten 5udra% 5atrika and Siddhis mystical powers#.

5udrLs are gestures% positions of fingers and hands% which are used for e>pressing various e>periences. In

case of worship% they are used as part of worship% to invoke certain e>periences. $he 5other is called dasa

mudra samLrLdhya in (alita Sahasra nLma% meaning She is worshiped through ten mudrLs. $hey are Sarva

SankNo&hini% Sarva "idrLvini% SarvaLkarNini% Sarva "Lsankari% Sarva CnmLdini% Sarva 5ahLnkuNa% Sarva

KecLri% Sarva Bja% Sarva Yoni and Sarva $rikhanda.

5atrikas are the seven primordial forms of the 5other% from which all the sound forms originate. $hey are

BrLhmi% "ais ?navi% 5ahes ?vari% 9indri% KaumLri% "LrLhi and !Lmundi.

$here are ten mystical powers of the 5other which are personified as Goddesses. $hey are 9nima% (aghima%

5ahima% Isitva% "asitva% -rakamya% Bhukti% Iccha% -rLpti and Sarva kLma siddhis. $hey include small powers

like victory over hunger and sleep% to great ones like getting every wish granted% knowing things far off in

distance and time.

$his enclosure is also called &hupura or earthly physical#.

Sarvasa Paripūraka

$his Lvarana is called so% &ecause at this level every desire of the devotee is fulfilled. $his level of Jr !akra

has si>teen lotus petals. !orrespondingly as this enclosure &elongs to desire and their fulfillment% the 5other

is praised as the one who attracts through the primal natural tendencies. $he si>teen forms of desire are

enumerated here. -raising the 5other as Lkars ?ini one who attracts#. $his is where the effect of the 5other

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auspiciousness#% Sarva KLma prada granter of all wishes#% Sarva dukha vimocani a&solver from all kinds of

sorrow and unhappiness#% SarvLmrutyu prasamani one who prevents all kinds of untimely# death#% Sarva

vighna nivLrini one who prevents all o&stacles#% SarvLnga Sundari one who is &eauty personified% with

each lim& &eing perfect#% Sarva Sau&hagya dLyini granter of prosperity and well


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-ractical side of Jr"idyL

Jr"idyL is most popular in $amil adu and 9ndhra -radesh% two of the major states in south India. $here

are two major schools in JLktL% !andi and (alita. $he 5other is worshiped as Durga% !andi% !amundi in

!andi tradition% and as (alita% BLla% )ajarajeswari in (alita tradition.

$here are many common aspects in &oth the traditions% with minor variations. Both are navarna% worshiped

in nine levels. $here are nine forms of Durga and She is worshiped in those nine forms in the navratri &efore

"ijaya DaNami Dussera festival#. In fact% !andi "idyL itself is navarna% in the sense that the two main

mantras have nine letters. $he concept of nine levels of worship in (alita tradition is visi&le in the nine levels

of Jr !akra.

It can &e said that !andi is an older tradition% and Jr"idyL is a more recent and refined form. $antric

practices were e>treme in India% with animal sacrifices and similar practices. Rdi Jankara is said to have

pacified those deities &y installing Jr !akra in famous JLktL temples through out the country% and

prohi&iting animal sacrifices in those places *,+. $hese include Jakti pt ?has like KLmakhya Guwahati% 9ssam#

and @ogulam&a 9lampuram% 9ndhra -radesh# where such practices were rampant*+. 9part from these% he

visited and installed Jr !akra in many other temples like Jr Jailam% KLncipuram% KanyL KumLri% Kashmir

and so on.

$hough Jr"idyL was an older school% it gained popularity with Rdi Jankara and 9dvaita philosophy. $oday

Jr"idyL followers go &y Jankaras 9dvaita*/+.

Jr"idyL and other DevatLs

$hough $ripura Sundari is the deity of Jr"idyL% most of the Goddesses like (akNmi% Durga% -Lrvati are

worshiped in Jr !akra. ot only forms of Devi% &ut in general any God can &e worshiped in Jr !akra.

Besides% there are Jr"idyL samputikaranas compositions of verses;mantras# for different Gods. Hor

e>ample% when Gan ?eNa and DakNin ?amOrti are worshiped in Jr"idyL tradition% they come to &e known as

Jr"idyLGan ?eNa and Jr"idyLDakNin ?amOrti respectively.

In case of a Goddess% this difference is not usually maintained. $hat is to say% (akNmi is worshiped in Jr

!akra &ut not called Jr"idyL(akNmi. Durga is not called Jr"idyL Durga or !andi


29/37

$hough these are mainly schools of sLdana% there are temples too% where those forms are primary deities.

$here is a temple for Jr"idyLGan ?eNa in Bangalore. $here is another installation of Jr"idyL Gan ?apati in Nveta

JrngLchalam.

Jr"idyL% JLktL and 5antra JLstra

5ost traditions in JLktL overlap% and Jr"idyL shares several mantras with other JLktL traditions.

Bhuvanesvari% !andi% KLli% 5Ltangi mantras are found in Jr"idyL% and are independent "idyLs. Similarly

Jr"idyL mantras are found as part of other traditions like !andi. Jr"idyL mantras are &ased on and are

part of the JLktL mantra JLstra% its &jas and mLtrikas. In turn% the JLktL mantra JLstra is &ased on and is

part of the &roader understanding of mantra JLstra that is common to all the traditions including "aiNnava%

Naiva% Jrauta and Bauddha. JLktLs contri&ution to mantra JLstra is not only the variety of mLtras &ut the

foundational mLtrikas.

Some Jr"idyL -ractitioners and (ineages

Jr"idyL is practiced &y many great seers. $he -urLnic seers like 9gastya% DurvLsa and (opamudra the wife

of 9gastya# followed Jr"idyL. Rdi Jankara was a great e>ponent of Jr"idyL. $he Soundarya (ahari hymn

composed &y him% is famous and chanted even today &y many devotees ' &oth practitioners of 5antra

JLstra and followers of popular religion. $here are many commentaries and translations of Soundarya

(ahari% a few authors to mention < (akNmi dhLra pandita% KaivalyLNrama SvLmi% 9cyutLnanda SvLmi%

"is ?n ?u$rtha and arasimha T ?hLkur. -ractice of Jr"idyL is coming down for centuries% in teacher


30/37

Jr"idyLranya Swamy of ,0th century 9D was a great saint and scholar of Rdi Jankaras tradition. :e gave a

commentary on the "eda% along with many other works like "edLnta -ancadLsi. Jr"idyLrnava% a compilation

on the philosophy% practices and secrets of Jr"idyL% is said to &e his work.

BhLskara )Lya from BijLpur area of KarnLtaka was a great Jr"idyL practitioner in the recent centuries. :e

&elonged to ,4th century. :e lived in "LranLsi for many years% and there are many stories a&out his

devotion and the 5others divine grace over him. :e was famous as a practitioner and an e>ponent of

Jr"idyL in his times% and later. :is name marks a lineage of practice in Jr"idyL. $o this date% many

generations after his times% BhLskara )Lya lineage is famous. BhLskara )Lya 5andali of !hennai% are among

the practitioners of his school. BhLskararLyas commentary on (alita Sahasra nama is said to &e one of the

greatest commentaries.

Jr 5uthuswamy Dikshitar who lived in ,4ponent of Jr"idyL tradition. :e was

a multi


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JLstry% a disciple of &oth Jr 9uro&indo and KLvyakLntha "asiNtha Gan ?apati% was a Jr"idyL practitioner too.

:e was the author of Siddhanjana% a commentary on )igveda.

$he previous head of Kancimat ?hL% lateJr !andra Jekharendra Sarasvati% was a great e>ponent of Jr"idyL.

:e also gave an ela&orate commentary on the Soundarya (ahari hymn.

$here are different levels of practice in Jr"idyL. Csually% practitioners are initiated with Bala mantra first.

9fter some practice% they will &e initiated to -ancadLsi or Jodasi% and KhadgamLla. KhadgamLla is the

hymn% which is used to worship Jr !akra. It enumerates the names of deities in each enclosure of the Jr

!akra. $hey are worshiped in the order they come in the hymn. Beyond% there are different stages like

-Lduka dkNa roughly translated as the worship of Devis shoes#. :owever% many will &e happy in continuing

their worship at one of these stages% without necessarily taking the later initiations. $here are seers who do

-ancadLsi% Jodasi% KhadgamLla% -Lduka dkNa or even BLla alone. $Ldepalli )Lghava LrLyana JLstry and

9ddanki Krishna 5urthy of previous century are e>amples of people who worshiped BLla. $here is also a

practice of worshiping Devi with Jr Sukta.

?orship is done in many modes. Some worship everyday and some do collective worship on occasions.

:owever some serious practitioners follow dkNa% for a certain period of time. During that% they follow severe

austerities% worship Devi with red flowers and kunkum vermilion#% wear red clothes during worship and

sleep on the floor. Being red in hue :erself% such practice is said to please Devi.

In recent years in 9ndhra -radesh there started a practice of collective worship of (alita% chanting and

worship with (alita Sahasra ama hymn. $his is done in various occasions and regularly weekly# in groups

&y many. $hey include (akNa KunkumLrcana% in which a hundred thousand names of the 5other are chanted

along with worship with Kunkum. Sahasra nLma hymn having thousand names is chanted hundred times '

ten times each &y ten persons#. ?hile there is a general trend of rise in JLktL practices% most of them follow

Jr"idyL. $here is also a general practice to worship (akNmi in Jr !akra domestically.

$hough there is a different Yantra for different JLktL deities like Durga and (akNmi% it came to &e a practice

that any form of Devi is worshiped in Jr !akra in Jr"idyL procedure. In some places &oth !andi avarna

and Jr"idyL procedures are followed% for e>ample KLnci. $he main priests of all these temples are usually

initiated into Jr"idyL.

$here are many practitioners of Jr"idyL today. $hey not only initiate many seekers into the path and guide

them% &ut populari=e the school through lucid e>planations and popular discourses% collective worship. Some

of the famous teachers and practitioners include Dr Jr "ra&hadra 5ahLdev and Jr Samavedam Janmukha

Jarma. Jr 5ahLdev is primarily a teacher and practitioner of Jr"idyL. JrJanmukha Jarma has reached out

http://www.hindupedia.com/en/Rigvedahttp://www.hindupedia.com/en/Rigvedahttp://www.hindupedia.com/en/Candrahttp://www.hindupedia.com/en/Soundarya_Laharihttp://www.hindupedia.com/en/Soundarya_Laharihttp://www.hindupedia.com/en/Balahttp://www.hindupedia.com/en/Krishnahttp://www.hindupedia.com/en/Krishnahttp://www.hindupedia.com/en/Templeshttp://www.hindupedia.com/en/Rigvedahttp://www.hindupedia.com/en/Candrahttp://www.hindupedia.com/en/Soundarya_Laharihttp://www.hindupedia.com/en/Balahttp://www.hindupedia.com/en/Krishnahttp://www.hindupedia.com/en/Temples


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to people through his discourses% a&out the practice of religion. :is discourses include praises and

e>pounding the philosophy of all the major schools% "is ?n ?u% Devi and Jiva. :e is a living e>ample of how%

having e>perienced the deeper reality% one can easily understand and see the same spiritual philosophy in

different religions or theistic schools like "aiNn ?ava% Jaiva% JLktL. $he same holds true in case of many seers

' "asiNt ?ha Gan ?apati% )aman ?a 5aharshi% Jr 9uro&indo% KapLli JLstry% !andra Jekharendra Sarasvati.

5antra "idyLs in Jr"idyL

$here are several mantra "idyLs that are practiced as part of Jr"idyL worship. Broadly% there are two kinds

of mantras ' mOla "idyLs the central or root "idyLs# and anga "idyLs su&sidiary "idyLs#.

5Ola "idyLs

$here are four main or mOla "idyLs in Jr"idyL

a# GLyatriF "edic GLyatri% the primary "idyL that one is initiated into% &efore the Jr"idyL mantras like BLla

or -ancadLsi.

BLlaF $he three lettered "idyL. $he presiding devata% BLla 5ahL $ripura Sundari% is a child. BLla is said

to &e one of the most attractive and wonderful forms of Devi. :olding &ook and japa mala and sitting in a

white flower% She presides over knowledge and &liss% and grants all the &oons that the devotees ask for. It is

a general practice to initiate Jr"idyL practitioners into BLla &efore initiating them into -ancadLsi. :owever

there are several sLdakLs who are happier practicing BLla "idyL alone and have attained salvation. $hereare multiple BLla mantras% such as the 5Lla mantra and BLla :ridayam.

c# -ancadLsiF -ancadLsi is the famous fifteen lettered Jr"idyL mantra. DakNin ?amOrti is said to &e the seer

of -ancadLsi. $here are several variations to -ancadLsi. $here are twelve major variations% and are called

dvLdasa "idyLs in -ancadLsi. Hirst two of them are the famous ka


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d# JodasiF Jodasi is the si>teen lettered Jr"idyL. -ancadLsi with an additional &ja usually Jr&ja#

&ecomes Jodasi. $ripura Sundari% the presiding Devata is said to &e si>teen years old. -ractitioners say that

there is no form of Devata which is more &eautiful and pleasant than Jodasi. $he very incarnation of Devi in

this form is to restore desire% creation and &liss in the world.

9nga "idyLs

$he several su&sidiary "idyLs of Jr"idyL are arranged into si> 9mnayLs. 9mnayL means "eda;9gama% and

in Saiva there are five 9mnayLs. $hey are represented &y the five faces of Jiva facing -urva eastwards#%

Daks ?in ?asouthwards#% -ascima westwards#% Cttara northwards# and Crdhva upwards#. In Jr"idyL there is

a si>th 9mnaya called 9nuttara. ach 9mnaya is associated with a guru mandala and several

"idyLs% astra kamya and parL. Besides% all the "idyLs are grouped at different levels. Some of the major

"idyLs are listed &elow.

Purvamnaya

$he -urvamnaya contains "idyLs for

three gurus sva


34/37

Pas"imamnaya

-ascimamnaya contains "idyLs for

ten Duti DevatLs messenger DevatLs#

three mandalLs the 9gni


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!atuNpLt or GLyatri of four feet

Jodasi

"arious forms of nyLsa% sankalpa and pLduka "idyLs

%itya Devatās

$here are fifteen itya DevatLs who preside over each day &etween a full moon and a new moon day. ach

itya Devata is worshiped through a "idyL named after :er. $hey are

KLmeNvari

BhLgamLlini

ityaklinna

Bherunda

"ahnivLsini

5ahLvidyeNvari

Jivaduti

$varita

Kula Sundari

itya

la -Ltaka

"ijaya

Sarva 5angala

@vLla 5Llini

"icitra


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$e>ts

$he $antric te>ts like )udra Yamala e>pound Jr"idyL. KhadgamLla Stotra% is the map and worship of Jr

!akra. Besides there are several Jr Kula te>ts in the oral traditions% either as compilations or as part of the

mantra JLstra te>ts like 5antra 5ahodLdhi% 5antra 5ahLrnava and JLktL te>ts. 9 few of these te>ts are

listed &elow <

KLmakala vilLsa

$antrarLja tantra

$ripurLrnava tantra

Jr"idyLrnava tantra

@nanLrnava tantra

Daks ?in ?amurti samhita

Gandharva tantra

itya shodashikarnava

Yogini hridaya.

BrahmLnda -urLn ?L has the story of (alita slaying Bhand ?Lsura. $he (alita Sahasra ama in BrahmLnda

-urLn ?L e>pounds Jr"idyL.BhLskara )vyas "arivLsya )ahasya% a commentary on the Sahasra nvma is a

comprehensive te>t on Jr"idyL. (alita $risati% which is also found in the same -urLn ?L% is the hymn form of

-ancadLsi 5antra. Jr Sukta% a hymn of )ig "eda found in its Khila part is also used in Jr"idyL worship. In

fact $ripura $apini Cpanishad% an entire Cpanishad is dedicated to :er. Rdi Jankaras prapanca sLra tantra

mentions some of the Jr"idyL mantras. Devi BhLgavata descri&es 5ani dvpa% which according to Jr"idyL

is the 5others a&ode.

otes

,. @ $here is no direct relation &etween elimination of animal sacrifice and Jr"idyL. :owever% it &ecame a general

smLrta practice to worship Jr"idyL% and also discourage animal sacrifices.

http://www.hindupedia.com/en/Stotrahttp://www.hindupedia.com/en/Stotrahttp://www.hindupedia.com/en/Brahm%C4%81http://www.hindupedia.com/en/Bh%C4%81skarahttp://www.hindupedia.com/en/Rig_Vedahttp://www.hindupedia.com/en/Rig_Vedahttp://www.hindupedia.com/en/Upanishadhttp://www.hindupedia.com/en/Bh%C4%81gavatahttp://www.hindupedia.com/en/Dv%C4%ABpahttp://www.hindupedia.com/en/Sri_Vidya#cite_ref-0http://www.hindupedia.com/en/Stotrahttp://www.hindupedia.com/en/Brahm%C4%81http://www.hindupedia.com/en/Bh%C4%81skarahttp://www.hindupedia.com/en/Rig_Vedahttp://www.hindupedia.com/en/Upanishadhttp://www.hindupedia.com/en/Bh%C4%81gavatahttp://www.hindupedia.com/en/Dv%C4%ABpahttp://www.hindupedia.com/en/Sri_Vidya#cite_ref-0


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. @ $his is known from the Sthala -urLn ?Ls of these shrines.

/. @ $here is a historic de&ate a&out Jankaras relation to Jr"idyL% and it is said that Saundarya (ahari% $riSati

Bhas ?ya are not originally authored &y Jankara. It is also said that the Jankara lineages worshiping Jr"idyL is a

practice later than Jankara himself. :owever% the Jankara lineages and smLrtas in general do worship Jr"idyL.

Bi&liographies

,.Jr (alita Devi !aritra &y @agadguru Jr Siddheswarananda Swami% -u&lished in $elugu &y

Swayamsiddha Kali -eetham% Guntur

.Jr Guru Samsmarana% $he Souvenir on !entenary of Jr ! " Swami Sastriji
http://www.hindupedia.com/en/Sri_Vidya#cite_ref-1http://www.hindupedia.com/en/Sri_Vidya#cite_ref-2http://www.hindupedia.com/en/Caritrahttp://www.hindupedia.com/en/Sri_Vidya#cite_ref-1http://www.hindupedia.com/en/Sri_Vidya#cite_ref-2http://www.hindupedia.com/en/Caritra

Documents

Introduction to Srividhya