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This is our journey to ri Cakr. We stand miles away from ri Cakr. We are able to
see three huge mountains and another mountain (the fourth one) which is much
bigger than the other three. The highest mountain, known as Mah Meru (Supreme
Mountain) is in the middle, which is the Abode of Parakti. Towards its eastern side,
there is Brahma loka, (world of Brahm) marked as C in the diagram. Towards
southwest, there is Visn u loka (world of Visn u) marked as D in the diagram. Towards
northwest, there is Rudra loka (world of Rudra), marked as E in the diagram. B and A
in the diagram refer to ri Nagara and ri Cakr respectively. Dotted lines represent
the route we take, for our journey to ri Cakr. Out of the four mountains, we are
able to see Mah Meru glittering, as it is made up of gold. All the constructions in
Mah Meru were planned and executed by Vivakarman, divine creative architect.
He is also referred in Vedas. Rg Veda (X.81.2) says, ..the universal architect,
seeing all, creates the earth and creates the heaven with His might.
Now we are standing near Brahma loka (marked as C in the image), which is
situated in the east of Meru Mountain. We begin our journey from here. First we
worship the world of Brahm, but we do not enter this world, as we will be
worshipping Him in ri Nagara. Standing before the world of Brahm, we worship
Mah Meru from its eastern side. Now, we move towards southern side of Mah
Meru and worship Mah Meru from its southern side. Then we move towards
southwestern side, known as nir ti (nir ti means destruction, dissolution, calamity,
etc). Here we see the world of Visn u. Without entering into the world of Vis n u
, we
continue our journey towards west. We worship Mah Meru from its western side
and proceed towards northwestern side, known as Vyu cardinal, where we are able
to see Rudra loka, the world of Rudra. We do not enter into Rudral loka. After
worshipping Rudra loka, we proceed to the point where we have commenced our
journey, the eastern side of Mah Meru, where Brahma loka is situated.
We now enter ri Nagara, which has twenty five forts (marked as B in the chart). We
can reach ri Cakr only after passing through these twenty five huge forts, running
into several thousand miles each. There are forests between any two forts, where
many gods and goddesses perpetually worshipParakti. First we enter through the
huge entrance gate of the fort made of iron. (Description of length, breadth and all
other measurements are omitted.) When we crossed the iron fort, we reach the huge
exit gates of the iron fort, we are able to see huge bronze fort, several miles away.
Once we exit through the exit gates of iron fort, we see a huge forest consisting of
fruit bearing trees, flower trees, etc. We are able to see huge fruits hanging from the
trees and the fragrance of flowers grown in trees and shrubs give us divine feeling.
We are also able to see a lot of birds like peacocks, parrots, etc. We listen to the
hissing sound of several types of bees. In the midst of this dense forest, there are
several rivers and lakes, where several varieties of lotus flowers have fully
blossomed. On the side of these huge rivers, we are able to see huge palaces. Out
of many palaces, we are able to see a huge palace and we walk towards that palace
with great reverence. We walk through the main gates of the palace to reach the
middle of the palace where, we are able to have daran of Mahkl embracing
Bhadrakl, who is dark blue in complexion. We worship both of them, take their
blessings and proceed towards the entry gate of the bronze fort.
We now enter the bronze fort, whose length is beyond description. After walking
through this fort, we reach the exit gates and come out. Once we stand in the open,
we see a huge fort made of copper, several miles away. Before we proceed to the
entry gates of copper fort, we go around the forest garden situated between bronze
and copper forts. This forest/garden is known as forest ofkalpavr ksa-s, the forest of
divine tree known as kalpavr ksa. There are a number of long and broad rivers and
lakes. In the midst of this forest, we see Vasantar t unthan, the one who presides
over vasantar tu (r tu means bi-solar months based on seasons and one year has six
r tu-s, each comprising of two solar months). He is seen with his two wives Madhur
and Mdhavar. Vasantar tunthan (he presides over spring season) holds
an astra (weapon) made of flowers. After worshipping him, we go around this forest
and come to the entrance gates of the next fort, the copper fort.
We enter the copper fort, which is the third fort from the beginning. This fort is also
equally lengthy and after walking through this fort, we reach the exit gates and pass
through them to come to another open space. From here, we are able to see a huge
lead fort several miles away. Between the copper fort and the lead fort, there is a
medium sized forest. This forest has infinite numbers of sandalwood trees and this
forest is known as candanavt i k, the forest of sandalwood trees (candana means
sandal and vt i means an enclosure). This forest has a number of bees, doves, etc.
This forest is extremely hot because of intense heat of the sun. In this enclosure, we
are able to see Grsmar t unthan (god presiding over summer season, known as
grsmar tu) and his two wives ukrar and Sucir. After worshipping them, we
proceed to the entrance gates of the next fort, the lead fort.
Lead fort is the fourth fort and is equally lengthy like any other forts. We walk through
this fort to reach the exit gate. After passing through the exit gates of this fort, we see
the brass fort, situated miles away from the point, where we are standing. We are
now entering the forest area between the lead fort and the brass fort. This forest too
has sandalwood trees and this forest is known as haricandanavt ik. Haricandana
trees are one of the five trees of paradise. The other four trees are Prijta,
Mandra, Sam tna, and Kalpa. Haricandana trees are yellow in colour and are
different from candanatrees and produce yellow coloured sandal. In this forest, there
are a number of cuckoo birds, which sing in chorus. Inside the forest, we are able to
see Varsar tunthan (god presiding over rainy season) along with his wives Nabhar
and Nabhasyar. After worshipping them, we now proceed to the main gates of the
brass fort.
Brass fort is the fifth fort and as we walk through this fort, we reach the exit gates
and enter into an open space. From the exit gates of this fort, we are able to see the
fort of pacaloha (combination of five metals copper, brass, tin, lead and iron; there
are other versions as well by including gold, silver, etc). We now enter into the forest
area between brass and pacaloha forts, which is known as mandravt i k. This is
full of coral tress that can be seen only in heavens. This is one of the five trees of
heaven and cannot be seen in other worlds. The flowers of these trees are highly
fragrant. When we go around this forest, we see aradr tunthan (god presiding over
autumn season) along with his wives Iar and rjar constantly worshipping
Parakti with fragrant flowers. After worshipping them, we now move towards the
entry gates of pacaloha fort.
We walk through pacaloha fort and reach its exit gates. After crossing the huge exit
gates, we are able to see another huge fort made of silver (seventh fort), situated
miles away. We now enter the forest area between pacaloha and silver forts. This
forest is full of prijta trees and this forest is named after these trees as
prijtavt i k. This flower is also one of the five tress of heaven and its flowers are
large crimson flowers. This forest has very cold weather. Here too, a lot of cuckoo
birds sing in chorus. As we walk through prijtavt i k, we are able to see
Hemantar tunthan along with his two wives Sahar and Sahasyar. After
worshipping them, we now reach the huge entry gates of silver fort.
We walk through this silver fort and after exiting from the fort, we are able to see
another huge fort made of gold (eighth fort), which is glittering and shining. We now
enter another forest area by name kadambavipinavt (vipina means thick and this
forest is very dense) situated between silver and gold forts. Parakti is extremely
fond of this forest. Lalit Sahasranma (60) says, Kadam bavana-vsin, which
means that She lives (sojourns) in this Kadam bavana. This forest is different from
the previous ones. The flowers in this forest are highly fragrant in nature and have a
large quantity of pollen. As a result, a lot of honey is produced and there is a huge
falls in which only red coloured honey flows. While we are awestruck with the beauty
of this forest, we also see iirar t unthan along with his wives Tapar and
Tapasyar. We worship them and reach the main entry gates of the gold fort.
(to be continued)
in complexion. She has a melodious voice. She is wearing red and white coloured
garments. She is wearing a beautiful garland made out of kadamba flowers that are
grown in kadamba forest. She is also wearing another garland of basil leaves. Her
hair is falling on her left shoulders. She has four arms. She holds a parrot in one
hand and a lotus flower in another hand. With other two hands, she is playing a
veena, a stringed musical instrument and she appears overwhelmed with the melody
of her tune. Since, she is so fond of music, she is also known as Sa gta Mtr k
(mother of music). We now stand before her seeking her blessings to have personal
daran of Lalitmbik. When she sees such a good gathering of great devotees,
headed by the right Guru, She blessed all of us without any hesitation and told us
that all our afflictions, such as sorrow, anguish and distress now stand eradicated.
With tears of joy, we now move to the next fort.
We now move to the entrance gates of gold fort (fort number 8) and walk through the
fort and reach the other end of the fort. By walking through exit gates, we once again
see huge open space. This place is very well lit by the next fort (fort number 9) made
of pusparga (topaz. Wearing this stone is said to give wealth. It is worn, when
Jupiter is afflicted). When we walk through this open space, we are able to see
Siddha-s (Self-realised persons, who constantly affirm ivoham I am iva meditating on Lalitmbik. When we go around this space, we could see a number
of well known Siddha-s. All of them keep their eyes closed. When we go past them,
we have goose bumps (goose bumps are possible when divine energy enters into
our body). Every one of them appears radiating and this place is not only lit by the
effulgent pusparga fort, but also by the presence of great Siddha-s, from whom
radiating light emerge. They also recite Soda and Pacada mantra-s apart from
reciting ivoham. After paying our obeisance to the great Siddha-s, we now move to
the next fort, pusparga fort.
We stand before the entry gates of pus parga fort (fort number 9) and walk through
this fort to reach the other end of the fort. On exiting this fort, we find another open
area where crana-s sing in praise of Lalitmbik. Crana-s are those who have
surrendered to Her totally. They have got this name because they have made
arangati to Her. arangati means taking refuge in Her. They are complexly
purified from all their sins and they take care of maintaining r Nagara. They are
very fond of true worshippers of Lalitmbik. After paying our respects to them we
now move to the next fort padmarga fort.
We now stand before the gates of padmarga fort (fort number 10, made of ruby)
and enter the fort, only to exit through the other end. We now enter into another open
area, where we see many young bachelors known as Vat uka-s. All of them are
meditating on Lalitmbik. Along with them live certain types of yogin-s (yogin-s are
female demons attending on Goddess Durg). They also worship a goddess by
We are now standing before indranla (sapphire) fort. At that time, Guru, who is
leading us in our journey to r Cakr told us that we did not have daran of an
important goddess, who resides in this area (between vaidrya and indranla forts)
by name todar (Lalit Sahasranma 130). She is known by this name because of
her thin waist (todara means thin waisted). We are also able to see a number of
great kings paying respects to her. After worshipping her, Guru gave us small lecture
about this sapphire fort. Sapphire is a highly auspicious stone. It is often compared
to the colour or Bhramara (literal meaning black bee), an analogue to Manmatha
(Cupid) of ancient mythology. His complexion is said to be beautiful grey. This gem is
available in other colours like the throat of iva (blue in colour) or the complexion
of Kr s n
a (dark blue, more towards black). Depending upon the nature of the stone, it
has the ability to augment ones wealth, fame and prosperity in the family. It is the
favorite stone of planet Saturn. Those who worship Lalitmbik only for material
wealth, get their wealth from this fort. After listening to Gurus description about
sapphire stone, we walk through this fort and reach a huge open space.
This space is really huge and beyond our comprehension. To whichever side we
turn, we see only beautiful trees with flowers and fruits. We are able to see very
huge glittering palaces. The whole place is reverberating with Divine energy. We
have not experienced this kind of feeling so far. The length and breadth of this place
is too vast to describe. Guruji told us that eight gods who are presiding over eight
cardinals live in this place and they are known as as t adikblaka-s. We now proceed
to have daran of ast a
dikblaka-s and we begin from eastern side, where
Brahmaloka (marked as C in the image in part I) is situated outside ri Nagara.
Eastern side is presided over by Indra, who is the chief of all gods and goddesses.
Indra also presides over as t adikblaka-s. We see Indra mounted on his elephant
vehicle known as Airvata (it is also known as Airvana, which is white in colour),
produced while churning the ocean. He is seated on Airvata with his wife a. He
is holding a peculiar club (weaponry called thunderbolt) in his hand, known as
vajryudha, which is his unique weapon. Vajryudha was given to Indra by
Lalitmbik. Vajryudha is made of the spinal cord of a great sage Dadhci, who was
constantly meditation on Her. Lalitmbik, in appreciation of his penance, took him
with Her by offering him liberation through Vajre, a goddess on the banks of river
Vajr, whose daran we had when we were in the open space between 11 th and
12th forts. The spinal cord of Dadhci after his liberation was given to Indra as his
weapon to destroy demons. Vajryudha is considered as one of the most potent
weapons. Kr s n
talks about Indra on three occasions inBhagavad Gt (Chapter X).
a
He says, I am Indra, among gods; Among elephants, I am Airvata (Indras
elephant vehicle) and Among thunderbolts, I am vajryudha. After worshipping
Indra, we now move on to South Eastern cardinal.
South East is presided over by Agni, the god of fire. We move forward to have
daran of Agni, who is the carrier of oblations to the respective gods. He is seated on
a sheep with his two wives Svh (her body is said to consist of the four Vedas, and
her limbs are the six Aga-s; she is the carrier of offerings made as oblations in fire
rituals to gods and goddesses) and Svadh (she is the carrier of offerings made as
oblations in fire rituals to departed ancestors). Form of Agni is dreadful. He has two
faces, six eyes and seven tongues. These seven tongues are worshiped in all fire
rituals (sapta te agne samidhas-saptajihv). Each of these tongues has a name.
Agni is seen with a hand fan (used to kindle fire in the fire pits or fire altar, known as
homakund a-s), sruk (), also written as sruc(), a large wooden ladle, made out
of pala or khadira wood, used to offer ghee into the fire as oblations during fire
rituals, sruva (same like sruc but small in size), jyaptra (a vessel to hold clarified
butter known as ghee, for offering into the tongues of fire, during
oblations), tomara (a long stick) and annaptra (a vessel containing cooked rice for
offering as oblations). Guru informed us that Agni is the best purifier. Kr s n
a says
in Bhagavad Gt (X.23), Among eight Vasu-s, I am Pvaka (Agni). After praying to
Agni that he should keep our mind clean, we move towards Southern cardinal.
(Further reading on Vaus-s: Vasu-s are a class of gods who are highly benevolent.
Their names differ in various scriptures. Vasu-s are eight in number and generally
known as ast avasu-s. According to Vishnu Purana the names of these gods are pa
(Water), Dhruva (the pole star), Soma (moon), Dhava or Dhara, Anila (wind), Anala
or Pvaka (fire), Pratyua (the dawn), and Prabhsa (the light). Amongst them Anala
or Pvaka is said to be the chief.)
As we move towards South, we find darkness. This is known as Yamaloka, the world
of Yama, the god presiding over death. Since Yama is known for dharma, he is also
known as Dharmarja. That is why Kr s n a
says, Among the rulers, I am Yama. He
is upright in following dharma guidelines (Law of Karma) prescribed by Lalitmbik.
Though every one of us is scared to go anywhere near this place, at the insistence of
our Guru, we move forward to have daran of Yama, the upright ruler. When we go
near him, we are more scared on seeing his form, complexion and his vehicle. He is
very dark in colour and two of his teeth are protruding outside his mouth making him
look dreadful. He is seated on a wild ox, which is darker than Yama. He is holding a
club and a noose in his hand. Because he is holding a noose, he is also known as
pahasta (holder of noose). He uses this rope to take the lives of those who are
about to die. There are a number of his assistants around him, who look terribly
dreadful than Yama. He is seated on the ox along with his wife ymala. After
praying to Yama that he should bestow his grace on us to lead a meritorious life, we
move on to South West.
South Western cardinal is presided over by a demon called Nirr ti. Nirr ti means
dissolution, destruction, calamity, evil and adversity. His vehicle is said to be human
and he has dreadful weapons made of iron such as knife, etc. He is dark to look at
and he is with his wife known as Dhrg. Nirr ti sometimes is also referred as a
female form of demon. After worshipping him, we move on to Western cardinal.
Western cardinal is ruled by Varuna, who presides over water bodies. He is bright in
complexion and is seated on a fish vehicle (sometimes referred as crocodile or sea
monster). He has a noose and is seated with his wife Kl (not Goddess Kl). In
Vedic parlance, he is explained as the one with extraordinary powers and often
worshipped along with Indra. He has extraordinary wisdom and those who violate
dharma are punished by him. He is supposed to be presiding over immortality. After
worshipping him, we move on North West.
North West cardinal is ruled by Vyu, god presiding over air. He is known for the
highest level of spiritual knowledge and is extremely wise. He is seated on his deer
vehicle with his wives, susumna, id and pigal, the three nd-s relating to the
movement of Kund alin, the subtlest form of Lalitmbik. Vyu always lives amidst
great yogis, the important one being Goraks a. After worshipping them and seeking
his grace for spiritual knowledge, we move on to the next cardinal, North.
North cardinal is presided over by Kubera, god of wealth. His place is well lit, with
huge gold palaces all-round. The world of Kubera reflects every symptom of
prosperity. Kubera is the chief of yaks a-s (yaksa-s are said to be demigods,
unlike Varuna or Vyu). Kubera is also known as Vairavana. He is seated on a
horse along with his wife Citrarekh (she is also known as Sur gan, one of the
beautiful celestial women). He has only a knife as his weapon. Kubera is often seen
with anotheryaksa by name Mnibhadra, who is also known as prince of yaks a-s. All
of them worship Lalitmbik with great reverence. Kubera worship Her with his
own Pacada mantra. After paying our respects to Kubera, we move on to the next
cardinal, North East.
North East is the eighth and last cardinal point from East and is presided over by
na, who is one of the eleven Rudra-s (ekdaarudra-s). na means wealthy and
splendorous. This place has many palaces constructed with gold. There are many
temples in this place. na with his wife Ktyyan is seated on a pure white bull
(r s abha vhana). na has moon in his crown. na and Ktyyan are believed to
be lower forms of iva and Prvat. The world of na has sixteen varan a-s (like
roundabouts in temples).
With this, our journey in the space between indranla fort and pearl fort (fort number
15) has come to an end. We have reached the starting point, Indra lok, ready to
move into the fort of pearls.
tn
sarves sarvavkpadacittacaks urmukhagatijihvstabha kuru kuru ghra
vaa kuru kuru ai glau ai thah
||
thah
thah
thah
hu phat svh
(Please note: This mantra is taken from Mantramahrnavah and appears as the
correct one. There are several versions of this mantra and authenticity of these
mantras could not be verified.)
Vrh is the chief of Lalitmbiks army. Vrh has the capacity to drive away the
evil forces. If Vrh is worshiped on the 18th day of the month of s dha (JulyAugust), it is believed that those who have difficulties in getting married will get
married. The Bhvanopanis ad considers goddess Vrhi as father and Kurukull as
mother (we will have her daran later in r Nagara). It says, Vrhi pitr u
rp
kurukull balidevat mt ( ).
It is also said Vrhi Devis 110 aks ara-s and ymal Devis 98 aks ara-s, together
form 208 aksara-s used in r Cakr navvarana pj. ymal Devi is between
forts 7 and 8. After praying to Vrh that She should bless us in having a close
daran of Lalitmbik, we move from Her palace and reach the huge entrance doors
of the emerald fort.
Emerald fort is the 16th fort. When we pass through this fort, the green colour of
emerald is very pleasing to our eyes. After exiting this fort, we are able see another
fort, far away, which is fully made of corals. Coral fort is the 17 th fort. We are now in
the open area between the emerald fort and coral fort. When we go around this open
space, we find Lord Brahm in a meditative posture. He is in charge of creation of
beings and this work is allocated to Him by Lalitmbik. He is also known as
Prajpati, meaning lord of creatures. He is often called great-grandfather of the
beings, while Visn u is called as grandfather and iva as father. We, with great
reverence move towards Brahm, who has the complexion of saffron mixed with milk
(combination of red and white), giving golden sheen to His body. After worshipping
Him from a distance, we proceed towards the coral fort.
We walk through the coral fort to reach another open space. From this open space,
we are able to see another fort made of navaratna -s (built with nine types of
precious gems - pearl, ruby, topaz, diamond, emerald, lapis lazuli, coral, sapphire,
and gomedhaka, known as zircon), which is fort number 18. We now begin to walk
around outside the coral fort. We find a huge palace built with highly precious rubies.
We enter into this fort and in the middle of the fort, we find Visn u
along with His
Consort Laksm, seated on His Garuda vhana (Garuda referred here is not a
regular bird, but a mythological bird, born to sage Kayapa and Vinat. Vinat is the
mother of Suparna, Aruna and Garuda). We move closer to Him, as we know that
He sustains the universe and is always compassionate. He has the complexion of
young leaves of Tamla tree (this tree is said to be dark in colour, but blossoms in
white colour). Even from a distance, we are able to see His radiance. He is wearing
kund ala-s in His ears (kunda
la means ear stud or ear ring). The radiance of the
kund ala-s are reflected in His shining cheeks. His lips are red in colour and He is
ever smiling. His face appears like the moon. He has kastr tilak in His forehead
(kastr means musk, naturally fragrant glandular secretion from the male
musk deer). His eyes appear like fully blossomed lotus flowers. He is wearing
garlands made of campaka flowers (fragrant yellow flowers). He is wearing pure
white silk garments. rvatsa adores His chest. (Visn u
Sahasranma 601 is
rvatsavaksh and is explained thus: rvatsa is a mark in the chest of Vis n
u,
which is considered as very auspicious. Vaksas means chest. It is also said that it is
the place where His consort Laks m
resides. Though the Lord Himself is an
embodiment of auspiciousness, the presence of Laks m
makes His form more
auspicious.) He appears exactly as described in this dhyna verse
of Visn u Sahasranma:
saaakha-cakra sakirta-kun
d ala saptavastra
gems), which is known as nnratna fort (fort number 19). We now begin to go
around outside navaratna fort. We are able to see a number of massive palaces,
vast flower gardens. There are big mountains with high peaks. While we are walking
through this place, we find a large hall fully constructed with gold. This hall has one
thousand gold pillars. When we are about to enter this palace, we are able to listen
to the chants of Vedas. Vedic chants reverberate everywhere. In the middle of this
gold hall, we find a throne, fully decorated with tiger skin. In that throne is seated
Rudra, along with His consort, Bhavn. In front of Rudra and Bhavn, is seated with
great reverence, a bull known as Rs a
bha. This is bull is said to be Nandi, the vehicle
of Rudra. Along with Nandi is seated Bhr
gi, one of Rudras attendants. Both
Rs abha and Bhr
gi always recite the names of Rudra and Bhavn. Apart from
Rs abha and Bhr
gi there are other attendants and they are known as Rudragan a
-s.
We prostrate before Rudra and Bhavn and after seeking their blessings, we move
to the next fort.
(Further reading: iva attains several forms depending upon the necessity. His
Supreme form is Paramaiva. This form of iva encompasses Parakti. Both of
them are in a single form. However, this form is different from Ardhanrvara, in
which akti occupies left side of ivas body. But Paramaiva is different from this
form, as akti has not yet been created as a separate entity, but remains in
Paramaiva; still She is inherent in this form. At the time of creation, Paramaiva
becomes iva and akti, as two separate entities. iva, in order to creates modifies
and expands Himself to create the universe through His various forms such as
Sadiva, vara, Rudra, etc. This is like water in a well, in a lake and in an ocean.
Water is the same and only the container in which the water is held is different. In the
same way, inner essence is always iva, who manifests in different names and
forms such as Sadiva, vara, Rudra, etc. Modification of iva into various forms
depends upon the influence of akti, known as My, on Him.)
There are six more forts before we could reach r Cakr. We can begin our journey
inside r Cakr only after crossing these six forts.
In this open space, we see Amr tavpik (lake of nectar). Two banks of the lake are
named as sacala (referring to wavering nature of the mind). In this lake, we are
able to see swans in the colour of pearls (pure white), moving around. We also find
many gold lotus flowers in the lake. Apart from gold lotuses, there are other fragrant
watery flowers, and bees fly around these flowers making buzzing sound, which is
soothing to our ears. In the middle of this lake, there is a boat, built with pure white
pearls. In that boat, we see a beautiful young woman playing with her friends. She is
pinkish red in complexion (sindrapt a
lg). She has moon in her crown, her face
appears like the full moon and her lower lip is deep red in color, like pomegranate
flowers. She has dark curly hair and her eyes are like young does (female deer)
eyes. She has bright ear studs, the reflections of which are seen in her shining
cheeks. She is being given abhis e
ka (sacred bath, accompanied with recitation of
mantras) by her assistants, who also travel with her in small boats. They give her
bath by using gold horns (like horns of cow). She is Tr Devi (one of the akti-s of
daamahvidy). After worshipping her, we move on to the next fort (four number
21), fort of ego.
The fort of mind is a subtle fort (though not explicitly said so). Thought processes of
the mind are explained as the banks of the pond and that is why they are named
as sacala (sacala means wavering). Gold lotuses represent material desires.
Fragrance, colour, complexion, etc refer to lecherousness. Sounds of bees are the
material sounds that afflict our minds. Sight and sound are the primary reasons, for
causing lasting mental impressions in our minds. In order to remove mental
afflictions, Tr Devi is worshipped, as she is known for wisdom and knowledge.
When her grace is obtained, we begin to taste the divine nectar (spiritual
advancement).
(Further reading on Tr Devi: Tr Devi described here and in other mantra texts
do not agree. Some of the common descriptions are boat, pearl, etc. There are three
types of dhyna for her and they are s r s t i , sthiti and sahra dhyna-s
(contemplation for creation, sustenance and destruction). Based upon different acts,
her dhyna verses also vary. For example, white colour is associated during
creation, red during sustenance and black during destruction. It is also said that
Brahm andVisn u
worshipped her with different mantras. Brahm worshipped her
with om tr hr hu phat and Visn u
worshipped her with om hr
r kl sauh hu ugratre hu phat . But her common
mantra is om hr tr hu phat . Her bja is tr )
We are now standing before the gates of fort of intellect (buddhi), which is the
21st fort. As we walk through this fort, we reach another open space. While going
around this place, we find another lake by name nandavpik (lake of bliss), which
is full of nectar. This lake has steps made of rubies, which are deep red in colour.
There is a small boat, built with rubies, in the middle of the lake of bliss. In that boat,
is seated Amr te. She has compassionate eyes and she is well decorated with
shining ornaments. She is also known as Vruni Devi. This Devi is explained in Lalit
Sahasranma (333), Vruni-mada-vihval, which is explained thus: Vruni is the
extract of dates that is allowed to brew and when consumed causes inebriation.
There is a ndi (nerve) called vruni which can be controlled by breath. This ndi
plays a significant role in excretion of bodily waste. If this ndi is brought under
control by proper breathing exercises, one will never feel tiredness in the body.
Sages keep this ndi under their control to cope up with longer duration of
meditation. Opposite to her, some beautiful divine damsels are seated with gold
oars in their hands (to row the boats). We pray to her that she should give us enough
knowledge (higher level of spiritual knowledge known as buddhi) to know about
Lalitmbik and move to the next fort.
Next fort (fort number 22) is fort of ego (aha kra). We walk through this fort to
reach yet another open space. This space is known as malayapavamna (malaya
mountain range; pavamna being purified; this possibly indicates presence of
purified air in this mountain range). We are able to feel the breeze, filled with
fragrance of newly blossomed flowers. There are many birds in this region. There are
many bees tasting the nectar from the newly blossomed flowers. The buzzing sound
of the bees is sweet to our ears. In this mountain range, there is a pond called
vimaravpik. This pond is the store house of nectar that flows into the throat
during kund alin meditation. This is purely a Divine Grace and not everybody is
blessed with this flow of nectar.
(Further reading on the flow of nectar: This is discussed in two nma-s of Lalit
Sahasranma 105 and 106, the essence of which is given here: She has now
reached Her destination, the sahasrra, where iva is waiting for Her. Sahasrra is
just below the brahmarandhra, an orifice in the skull that connects to cosmos (The
existence of this orifice has not been medically proved. Perhaps this is like the pores
that exist in our skin through which sweat comes out. But one can distinctly feel the
cosmic connection through this orifice. But according to Ayurveda, there is marma
point (also known as varma point here, by name adhipati). The union of iva and
akt takes place at sahasrra. The sdhaka, who all along was worshipping only
the akt, begins to worship Her along with Her Creator, iva. There is one soma
chakra in the middle of sahasrra. When Kund alin reaches this cakra, out of the
heat generated by Her presence, the ambrosia which is stored there gets melted and
drips through the throat and enters the entire nervous system.)
We are able to see in the middle of vimaravpik, a boat made of rubies. In the
boat we are able to see a beautiful dark green complexioned damsel. She has a well
developed body. She has beautiful eyebrows that shames Manmathas bow. She is
smiling pleasantly. She is wearing ear studs made of rubies. She is Kurukull Devi. A
reference to her is available in Lalit Sahasranma 438 Kurukull, and this nma is
explained like this: Kurukull is a goddess who dwells in r Cakra between the
boundaries of ego and consciousness. The Bhvanopanisad considers goddess
Vrhi as father and Kurukull as mother. It says, Vrhi pitr urp kurukull
balidevat mt ( ). This is based on the principle that our
body consists of sensory organs along with flesh and blood that cause the feeling of
bodily lust. The physical description of Kurukull is terrifying, probably indicating that
lust is one of the factors that form a stumbling block to the spiritual progression.
After paying our respects to her, we move to the next fort (fort number 23), the sun
fort.
as r
gra-rasa-saprn, which means that She is in the form of essence of love.
Like all other abstractions, love also originates from Her. r
gra fort is built with
gold and precious gems. There is a deep trench outside this fort. This trench is full of
water. There are many gold boats rowing in the trench. These boats are well
decorated with precious gems. Every boat carries pretty divine damsels. We find
Manmatha amongst them! After praying to Manmatha, we enter into the great
r
gra fort.
When we enter into r
gra fort, we place our feet with great reverence on the
cintmani prkra, the roundabout fully constructed with the most precious of all
gems, cintmani. It is called cintmani, because it is capable of fulfilling all types of
desires. After crossing this cintmani prkra, we find a huge tropical garden with
full of different types of herbs, flowering plants, huge lotus ponds with inexplicable
and beautiful lotus flowers, very tall trees, etc and this place is known as
Mahpadmt avi (Lalit Sahasranma 59 - Mahpadmt av-sam sth). Lalitmbik
visits this forest garden frequently. In the midst of this Mahpadmt a
vi, there is a
very huge palace known as Cintmani Gr ha, the Abode of Lalitmbik. Lalit
Sahasranma 57 says, Cintmani-gr uhntasth. In the middle of Cintmani Gr ha is
r Cakra and in the centre of r Cakra, is seated Lalitmbik.
From the point where we are standing now, we are able to see Cintmani Gr ha. To
reach Cintmani Gr ha, we are now walking through Mahpadmt a
vi. As we are
continuously reciting Lalit Sahasranma, we did not have any difficulty in standing
before the Eastern entrance of Cintmani Gr ha. At the outer side, we find huge
vessels made of gold and these are known as arghyaptra-s. These vessels contain
pure water. There will be one big vessel in which clean water is poured. There are
medium sized vessels for the purpose of drinking, washing hands, washing feet and
for gargling. Every time, water is taken from the main vessel and used for the
purposes mentioned above and after usage they are accumulated in smaller vessels.
Thus we have five vessels and hence it is called pacaptra (1 main vessel and 4
medium or small sized vessels). This gold pacaptra is held by god Agni in his
hands, who stands outside the entrance of the main gates of Cintman i Gr ha. Thus,
Agni forms the base of these vessels. The main vessel is also known as vardhan
kalaa. (vardhana means causing to increase or increase in prosperity). There is
another vessel called smnyrghyaptra, usually a conch. Water to this conch is
taken from the bigger vessel of pacaptra. Water from this is used to purify the
offerings made to Lalitmbik (including garlands, food, etc). Then there is another
vessel known as viesrghyaptra (special arghya vessel). Vies rghyaptra is the
body of sun and the contents of vies rghyaptra is nectar and this vessel is
specially worshipped. There are several mand a
la-s in this viesrghyaptra and
they are agni (fire), srya (sun), soma (moon) Brahm, (in charge of creation, not the
Creator), Visn u (sustainer), Rudra (the destroyer), Mahevara (the annihilator or
the one who conceals) and Sadiva (the re-creator; the one who creates the
annihilated universe by Mahevara). These five (except fire, sun and moon) are
known as the chiefs of pacakr t ya-s. This is explained in Lalit Sahasranma 274
(She is the abode of all the five functions discussed above. Nma 250 Pacabrahma-svarpin says that She is the cause of all these five acts. All these five acts
are carried out by Her as prkaa (cit) vimara (akt) mah my svarpin. She is
also known as Cit akt. Cit means the consciousness that is absolute and
unchanging). These five gods reside inside the vies
rghyaptra and their palaces
are situated beneath vies rghyaptra. It is said that all the fourteen worlds (seven
below the earth, the earth and six above the earth) are illuminated by these palaces.
Preparation of viesrghya and worshipping vies rghyaptra are important aspects
in r Cakra Navvarana worship.
We are now at the main gates of Cintmani Gr ha. We go around Cintmani Gr ha to
fully understand its grandeur. Now we are on the eastern side. Main entrance gates
to Cintmani Gr ha are situated on the eastern side. We are now facing Cintman i
Gr ha and to our right, is the palace of mala Devi. We have already seen her in the
space between forts 7 and 8 (silver and gold forts). This is another palace of mala
Devi (this can be explained as a palace for refreshment). To our left is the palace of
Vrhi Devi. We have already seen her in the space between forts 15 and 16 (forts
of pearls and emerald). Like Mantrin Devi (mala Devi), Vrhi too uses this
refreshment.
Cintmani Gr ha has four main entrance gates, one each at the four cardinals. Each
of these main gates is guarded by mnya devata-s. Eastern gate is guarded by
Bhuvaneavar (representing mantra yoga). South side is guarded by Daks ina Kl
(path of devotion). Western side is guarded by Kubjik (path of tantra, the main
authority being Kubjikatantra). Northern side is guarded by Guhya Kl (path of
knowledge).
As we go around, at Southeast corner, we find a fire altar, known as
Cidagnikund a. Lalitmbik originated from this kunda
. This is explained in Lalit
Sahasranma 4, Cidagnikund a-sam bht, which is interpreted thus: {Cit + agni +
kund a + sam bhta. Cit means nirguna Brahman or Brahman without attributes (the
foundational consciousness). Agni kund a means a fire altar, in which fire sacrifices are done
by offering oblations. Sam bht means born. Agni kund a or the fire altar means the
dispeller of darkness. Darkness means lack of knowledge or ignorance which is called avidy (vidy means knowledge). This should not be interpreted as the one who was born
out of the fire. She is the Supreme Consciousness who dispels ignorance. She dispels
ignorance through Her form of pure Consciousness, who illuminates within, dispelling the
darkness of my.} After prostrating before this fire altar and after having seen the
While we are waiting for necessary permissions, our Guru gives a small lecture
about r Cakra (should be read as chakra).
We have reached this place after crossing twenty five forts and we are about to
enter into r Cakra. I am not going into the details of various enclosures now. There
are two types of worshipping r Cakra. One is ritualistic worshipping all the nine
enclosures with flowers, etc. There are several goddesses in these enclosures and
all of them are worshipped before reaching the innermost triangle and the bindu (the
dot in the center). The inner most triangle and the bindu are the source of creation of
the universe. There is another way of worshipping r Cakra through mind, as
explained in Bhvanopanis ad (), which is based on certain subtle
conveyances of Atharvaveda. Bhvanopanis ad is in the form of stra-s (aphorisms)
and enlighten the similarity between human body and r Cakra. Bhvana means
contemplation, where only the mind is used. When you involve your mind in worship,
you are bound to have significant and instantaneous effects. You must always
remember that you can reach Her feet only through your mind and not through your
sensory organs. At the same time, you must also remember, that you cannot straight
away begin mental worship, without going through the process of ritual worship. If
you do that, your sdhana will be imperfect and you cannot achieve the desired
results. Bhsakararya, one of the greatest devotees of Parakti in recent times
spoke about three stages of worship. First one is worshipping Her with gross forms,
such as having Her idol, etc. This includes navvarana pj, Lalit Sahasranma
or Triat arcane, etc. In this kind of worship, we always consider Her as someone
different from us and we adore Her by placing Her on a higher pedestal. When one
attains perfection in these rituals, he moves on to worship Her with mantras,
gradually moving away from ritualistic worship. Initiation of mantras happens during
this period. One moves from Bl mantra to Pacada and ultimately to Soda.
Even in mantra sdhana, one begins with all types of nysa-s (touching a particular
part of the body with specific fingers of the hand, symbolically placing Parakti all
over the body). Over a period of time, he dispenses all nysa-s and concentrate only
on the mantra. When he is comfortable with this stage, he begins to move on to the
final stage of his sdhana, merely contemplating Her within. He does not need the
help of pj-s and mantra recitations and he, on his own establishes a cosmic
connection with Her in deep meditation. In the deep state of meditation (nirvikalpa
samdhi or deep trance), there should be nothing, except your mind and Her subtle
form. This stage is explained inLalit Sahasranma 254, Dhyna-dhytr -dhyeyarp (She is the form of a triad the meditation, the meditator and the object of
meditation. This triad leads to another triad the knower, the known and the
knowledge.
Higher level of spiritual knowledge can be attained only
through dhyna or meditation. Meditation is only a process of powerful
concentration. Reading books and listening to sermons are not knowledge.
Knowledge is attained through internal quest and exploration. The store house of
knowledge is not extraneous, but within. The store house is nothing but the
Supreme Self. Patajali Yoga Stra (III.2) explains this further. Unbroken flow of
that concentration in that object is called dhyna.) At the initial stages, he tries to
become one with Her, but he is not able to sustain this union for long. However, he
continues his practice ignoring his own form and after a long and hectic sdhana, he
realizes Her within. Now he knows that there is no difference between Her and his
own self, which thought destroys all his dualities, which in turn removes the veil of
my in his mind. This can be further explained, but this is not the place to discuss
more on this.
Concept of Guru is very important in knowing Her truly. Unfortunately, many say that
they are realized souls, which is only a myth. This is known as deceptive realization,
where their egos play spoil sport. Guru will know his disciple and will take him
through the stages over a period of time. The transition from stage one to the third
stage depends upon ones devotion, level of sdhana and willingness to move
forward, without questioning the intentions of his Guru. A true Guru knows how to
uplift his disciple. A true Guru will not take much time to shape his disciple. That is
why Bhvanopanisad begins by saying rguruh sarvakranabht aktih ||
The next stra says that only because of Guru, the disciple has nine
openings in his body. In other words, the Upanis a
d says that the body of the disciple
is in no way different from the body of his Guru. You will be surprised to know that
the nine openings of the body (pair of eyes, pair of ears, two nostrils, mouth, organs
of excretion and procreation- total nine) are the nine enclosures of r Cakra. This
not only establishes that there is no difference between Guru and his disciple but
also establishes that there is no difference between our body and r Cakra. Thus,
there is no difference between Guru, r Cakra and the disciple.
Each of the nine enclosures (varana) of r Cakra is presided over by a cakrevar
(presiding goddess of that particular varana). Apart from cakrevar, there is a
yogin in each of these nine varana-s (navvarana- nine enclosures). Cakrevar is
not different from Parakti. Everycakrevar represents Parakti, but in a much
concealed manner. Let us assume that a lamp is covered by eight different veils.
When we complete one varana, one of the veils will be removed. These veils are
known as tiraskarani, who is worshipped in the beginning itself during navvaran a
pj. When we move towards inner triangle and bindu, at the end of each varan a
,
one veil is removed and Parakti reveals Herself more clearly.
But yogin-s are different. Yogin-s can be explained as spiritual powers, symbolically
represented as divine damsels. Yogin is derived from the world yoke (English word),
which means union. Yoke is a word derived from yoga, which also means union.
Practice of yoga leads to the union of jvtman with Paramtman. Yogin-s play
mudra, She is also worshipped with yoni mudra at the end of each varana. As far
as worshipping this prathamvarana (first enclosure) is concerned, first square which
is protected by ten akti-s is white in colour is to be worshipped with white flowers.
Second wall or second square, which has eight akti-s is to be worshipped with red
flowers. Third and the last wall or square, which has ten akti-s is to be worshipped
with yellow flowers. Now we are going to have daran of these twenty eight akti-s.
(During r Cakra worship, the innermost triangle should be facing the practitioner.)
Numbers indicated in the chart and numbers indicated in the narration correspond to
the place of that particular akti in the wall.
First wall:
Second wall:
This wall is protected by eight akti-s, who are commonly known as as t a
mtr -s
(eight mothers or ast a
mt-s. It is important to note that the first four of them (11,
12, 13 and 14) are guarding the four entrances of r Cakra and the rest guarding
the four corners (15, 16, 17 and 18) of r Cakra.
11. brhmmtr ; 12. mhevarimtr ; 13. kaumrmtr ;
14. vaisn a
vmtr ; 15. vrhmtr ; 16. mhendrmtr ;
17. cmund mtr
.
; 18. mahlaksmmtr
Third wall:
This wall is protected by ten mudraakti-s. During navvaran a pj, at the end of
each varana,Parakti is worshipped through these ten finger gestures, known as
ten mudra-s. This is also referred in Lalit Sahasranma 977, daamudrsamrdhy. (Mudra-s are the configuration of fingers that represent the energy of
the deity concerned. They are the secret signs of exchange between the practitioner
and the deity and should never be used in public. Mudra-s are highly powerful.) The
last of these mudras can be used only by those, who are initiated into Soda
mantra.
19.
sarvasaksobhin
mudraakti ;
20.
sarvavidrvin
mudraakti ;
21.
sarvkarsin
mudraakti ;
22. sarvavaakar mudraakti ;
23.
sarvonmdin
mudraakti ; 24. sarvamhku mudraakti ;
25.
sarvakhecar
mudraakti ;
26.
sarvabja
mudraakti ; 27. sarvayooni mudraakti ; (Lalit
Sahasranma 982 is Yoni-mudr (iva says to Prvat (Todala tantra II.25) My dear,
this yoni mudra removes all illness. Oh! Goddess, without elaborating I can just say
that it destroys great diseases and Oh! Goddess, without exaggerating I can say that
this mudra causes the realisation of the mantra, brings about direct perception of one
s self and bestows on the practitioner the great liberation.). 28. sarvatrikhan d
7. Bhukti siddhi is not mentioned by Sage Patajali and this is out of the purview of
eight siddhi-s known as as t a
masiddhi-s. It is the power to enjoy with what is
attained. This siddhi is discussed only in tantric scriptures.
8. Icch siddhi is also outside the purview of ast amasiddhi-s referred by Patajali.
Some are of the opinion that sarvakmasiddhi is icchsiddhi. We go only by the ten
goddesses mentioned in authentic texts and hence we consider icchsiddhi and
sarvakmasiddhi as two different siddhi-s. Sometimes, sarvakmasiddhi and
prkmyasiddhi are considered as the same. But tantric texts have different
versions. Icch siddhi means power to attain any form according to his will. He can
become an ant and again he can become an elephant.
9. Prpti is the power to go anywhere, even to other worlds.
10. Sarvakma is fulfillment of all his desires.
(There could be certain variations while interpreting siddhi-s).
As discussed earlier, no male god can enter ri Cakra. Goddesses who guard
different cardinal points are known as siddhya b. The ten siddhya
ba-s discussed
above guard ten cardinal points. For example, Anim siddhyab, guard eastern
cardinal, Laghim siddhyab is guarding the western cardinal, etc and other
siddhyab-s and their cardinals can be found out from the chart attached to the
previous article.
It is also said that out of these siddhya b-s, nine siddhya b-s
represent navarasa or nine emotional states. Lalit Sahasranma 376 is r
grarasa- saprn, which is explained thus: Lalitmbik is said to be the embodiment
of extracts (rasa) of finer things in life. There are said to be eight to ten types of
rasa-s, though only nine types of rasa-s are generally mentioned. These ten rasa-s
are love (r
gra), heroism, disgust, anger, mirth, fear, pity, amazement, tranquillity
and warmth.
In the above interpretation, only nine types of emotional states are mentioned. The
tenth one isniyati, which can be interpreted to mean prrabdha karma (that part of
karma which is carved out of the total sum of karma accumulated over past several
births and known as sacita karma; prrabdha karma is the karma meant for the
present life and to be experienced in this life itself).Niyati also forms one of the six
kacuka-s (coverings) of my, as per Trika philosophy. Niyati is not included while
interpreting Lalit Sahasranma 376, because, Brahman is beyond the concept of
karma and hence not applicable to Her.
The second wall is protected by eight divine mothers known as ast a
mt-s.
According to tantric texts, these as t a
mt-s originated from eight different gods and
worshipped and apart from the specific mudra, She is also worshipped with yoni
mudra at the end of each varana.
The second varana is in the form of lotus petals (s odaadala padma ) and
there are sixteen such lotus petals that form sarv-paripraka cakra. Between the
first enclosure and this enclosure, there are three circles known as trivr tta
or trivalaya, where tri refers to numeric three and vr tta or valaya means circles.
There are no akt-s in any of these three circles guarding ri Cakra. There circles
are not worshipped. These circles mean three of the four purus rtha-s (human
pursuits) viz. dharama (prescribed conduct), artha (acquiring wealth) and kma
(satiating desires). The fourth purus rtha, viz. moksa (liberation) can be attained
only if we reach the central triangle of ri Cakra.
This varana is worshipped in anticlockwise direction, as indicated by ascending
numerical in the chart (in red ink). The sixteen lotus petals are attached to trivr t ta in
the outer side and in the inner side they are attached to the eight lotus petals of the
third varana. Now let us begin our journey in the second varan a
for worshipping
these sixteen akt-s. It is to be remembered that we are now moving anticlockwise
direction.
The peculiarity of these devi-s is that their names begin with ana ga. Ana ga means
bodiless. Worshipping varana devi-s begin from western side as against the
eastern side of the second varana. varana devi-s are marked in blue ink in eight
petal lotus. They are worshipped clock wise, west, north, east, south, north west,
north east, south east and south west.
1. anaga kusum dev ; 2. anaga mekhal dev ;
3. anaga madan dev ; 4. anaga madantur
dev ;
5. anaga rekh dev ; 6. anaga
vegin dev ;
7. anaga agu
dev ; 8. anaga mlin dev
All these devi-s represent Manmatha (Cupid) in some way or other. Manmatha is
also bodiless. These devi-s form flowers, girdle, intoxication, addiction, silhouette,
urge, goad and garland of Manmatha. Apart from representing and acting on behalf
of Manmatha, they also cause certain subtle modification in the mind of a human
being and these modifications are explained as psychophysical in nature.
Psychophysical is explained as quantitative relations between physical stimuli and
their psychological effects. It is a sort of body-mind combination.
There are different interpretations as to how they represent psychophysical
properties. According to one version they represent prakr ti (primordial nature),
mahat (mahat means great; according to S khya philosophy, mahat arises from
the union of purusa and prakr ti; the Self within can be realized only due to mahat
principle and this depends upon mind), ego (non-essential ego), pacatanmtra-s
(sound, touch, sight, taste and smell), five principle elements of the universe (ka,
air, fire, water and earth), ten organs of action and perception (karmendriya-s and
jnendriya-s), antahkarana (mind, intellect, consciousness and ego) and purus a
are 14 akti-s in this triangle. This is the first triangle that we come across when we
enter into ri Cakra. ri Cakra has nine triangles like this and out this nine, four
triangles are facing upwards and five triangles are facing downwards. These nine
triangles intersecting each other give rise six varana-s and 44 triangles. All these
triangles represent Divine Procreative energy. Four upward facing triangles are
known as iva cakra-s (triangles) and the five downward facing triangles are known
as akti cakra-s.
This varana consists of 14 triangles and this is marked in the above image. When
we worship these devi-s, we have to move in anticlockwise manner.
1. Sarvasaksobhin akti
(at the end of the name, akti is to be
added); 2.Sarvavidravin ; 3. Sarvkarsini 4.
Sarvhldin ;
5. Sarvasamohin
; 6. Sarvastabhin ; 7. Sarvajr
bhin
8. Sarvavaakar ; 9. Sarvarajan ; 10. Sarvonmdin ;
11. Sarvrthasdhin ; 12. Sarvasapattipran ;
13. Sarvamantramay ; 14. Sarvadvandvaksayakar akti
Their worship begins from the East and proceeds in anticlockwise manner. These
fourteen akti-s are referred as the fourteen upper worlds as mentioned in
Brahmagytr mantra and these worlds are Bh, Bhuva, Sva, Maha, Jana, Tapa
and Satya. It is also said that these fourteen akti-s represent fourteen important
nd-s (tubular vessels) in our body and they are ala bhu, kuh, vivodar*,
vran*, hastijihv, yaovati*, payasvin*, gndhr, p, a khin, sarasvat*, id,
pigal and susumna. These nd-s help in excretion, procreation, digestion,
locomotion, hearing, vision, taste and of course three divine nd-s. id, pigal and
susumna. However, Yogacdmani Upanisad (verses 18,19 and 20) talks about only
ten nd-s (* represent those nd-s not mentioned in the Upanis ad). There are other
variations also.
The above 14 akti-s are in charge of fourteen qualities or attributes such as mental
agitation, chasing away (evil thoughts), attraction (physical), causing happiness,
delusion (my), obstruction (in the path Self-realization), release (releasing
obstructions in the path of Self-realization), subjugation (surrendering to Her),
rejoicing (experiencing Bliss), maddening, accomplishment of desires (both material
and spiritual), providing wealth (material wealth), all mantras (to conquer mind) and
dispelling all types of dualities (dispelling ). When this varan a is worshiped, She
sends the right Guru to the worshiper who will take him to higher spiritual levels. It is
also said that iva Himself appears as Guru in human form. This also establishes
the difference between Guru (imparts spiritual knowledge, leading to Self-realization)
and guru (who initiates into mantras and teaches the aspirant about performing pjs and other rituals).
At the end of the fourth varana, we have worshipped 66 akt-s. (First varana 28;
second varana 16; third varana 8 and this (fourth) varana 14 totalling to 66).
This varana consists of 10 triangles and this is marked in the above image. When
we worship these devi-s, like in the previous varana, we have to move in
anticlockwise manner. These devi-s are marked 1 to 10 in red in the chart above.
These devi-s also represent ten vital breaths - prna, apna, vyna, udhna,
samna, nga, krma, hr kara, devatatta and dhanajaya. Each of these prna-s
occupy certain specific parts in a human body. Prna in the chest; apna in the
navel and is the cause for procreation and excretion; vyna in nostrils, stomach and
is the cause for circulation of blood and lymph; udhna having its abode at throat
and circulates in arms and legs; samna causes digestive fire (jat hargni). These
five are primary prna-s and the next five are secondary prna-s and their functions
are nga in vomiting; krma in winking of eyes; hr kara in digestion; devatatta in
yawning and sleeping; and dhanajaya is the cause for subtle sounds within the
body and this does not leave the body even after death; by continuing to remain in
the corpse, it makes the corpse to decay and at the time of cremation, it escapes
through the skull by breaking open the skull. It continues to remain in the corpse that
is buried and makes the corpse to decay and finally escapes through the skull after a
few days in the same manner discussed above.
1. Sarvasiddhiprad dev ; 2. Sarvasapatprad dev ;
3. Sarvapriyakar dev ; 4. Sarvamagalakrin dev ;
5. Sarvakmaprad dev ; 6.Sarvaduhkhavimocin dev ;
7. Sarvamr tyupraaman dev ; 8. sarvighnanivrin dev ;
9. Sarvgasundar dev ; 10. Sarvasaubhgyadyin dev .
Their worship begins from the eastern side and proceeds in anticlockwise manner.
The difference between the previous varana is that the former was gross in nature
like material wealth, etc and this varana ias purely in subtle in nature and deals with
invisibilities like prna. Apart from controlling prna-s, these ten akti-s control the
following. They are bestowing everything, giving material wealth, worthiness (both
material and spiritual), fulfilment of all types of desires, removal of sorrow and pain,
removing all pains at the time of death and foretelling death (Birth and death are
always painful, hence there is an urgent need to get liberated in this birth itself. It is
said that everyone knows very clearly, when the process of death is initiated in his or
her body. It is also said that process of death does not even last for a few seconds.),
removal of all obstructions both in spiritual and material life, giving a good external
appearance and good looks and bestowing both material and spiritual prosperity.
From this varana onwards, knowledge about iva is imparted gradually.
In order to merge with iva, to whom alone an individual soul can merge to get total
liberation, one has to have complete knowledge of iva. iva here means Brahman.
Such a soul merges with iva (Brahman), to become one with Him. This can be
done only by Lalitmbik, as explained in Lalit Sahasranma 727, iva-jnapradyin.
{Further reading on iva-jna-pradyin: She imparts the knowledge of iva, the
Ultimate. iva jna (knowledge) means the knowledge of the Brahman, which is
also known as the Supreme knowledge. To know iva, one should first know His
akt, who alone is capable of leading a person to the Brahman or iva. Rmyana
says wind can be realized through movements, fire can be realised through heat
and iva can be realized only through akt. It can also be said that iva is the
source of knowledge for Her. It is said akara caitanyam which means that iva
is both jna and kriy. He is the sovereign, pure free will in knowledge and action.
Based upon this principle, iva Stra-s opens by saying caitanyamtm. Caitanyam
means consciousness of the highest purity and knowledge. There is no difference
between Brahman and the highest form of consciousness. But how akt alone is
capable of unravelling iva? This is answered by iva Stra (I.6) again which says
that by meditating on akt, the universe disappears as a separate entity thereby
unveiling Self illuminating iva. The process of such happening is described in
Spanda Krik (I.8) (another treatise of Kashmiri Saivism) which says the empirical
individual cannot ward off the urge of desires. But entering the energetic circle of the
Self (iva), he becomes equal to that Self. The seeker of iva becomes iva
himself. This is known as iva jna and She imparts this kind of Supreme
knowledge. It is also said that iva cannot be attained without first realising akt.
She alone can lead one to iva. iva is inaccessible directly. Unless She chooses to
impart the required Supreme knowledge, none can realise iva. Hence, She is called
iva-jna-pradyin.}
We are now entering the sixth varana (sast hvarana), which is known as
Sarvarakskaracakra( ). This varana has ten triangles as indicated in
blue colour in the chart and each varana is presided over by a akti. On the subtle
side, sarvarakskara means protection from the spiritual stage attained. This is
presently being explained in detail in the series on Brahma Stra. Guru-disciple
relationship that was strengthened in the previous varana leads to destruction of
duality in this varana, which ultimately leads to liberation. On the grosser side,
these ten akti-s represent ten digestive fires. Ten prna-s of the fifth varana, now
transforms into ten digestive fires (ten aspects of digestion, absorption and
excretion). This varana is presided over by Tripuramlin Cakrevar.
Sarvamahku is the Mudrakti and Nigarbhayogin is the Yogin. In this varan a
also, worship is to be done in anticlockwise manner. Now, let us worship these ten
akti-s.
1. Sarvajdev ; 2. Sarvaaktidev ;
3. Sarvaivaryapraddev ; 4. Sarvajnamaydev ;
5. sarvavydhivinindev ; 6. Sarvthrasvarpdev :
7. Sarvappahardev ; 8. Sarvnandamaydevi ;
9. sarvarakssvarpindev ; 10.
Sarvepsitaphalapraddev .
Like other varana-s, we proceed from the Eastern side in anticlockwise manner. If
we look at devi-s in various varana-s, we can understand that their activities
become more subtle as we proceed towards the central triangle. An aspirant who
has reached this stage is further fine tuned to make him eligible to attain Her.
However, he has to be still more perfected to merge into the Praka form iva. iva
is worshipped in the bindu, the central point of ri Cakra. Creation begins from Him
and leads to the immediate next triangle, the innermost triangle of ri Cakra. The
three angles of the innermost triangle represent icch, jna and kriya akti-s.
Let us find out how these akti-s cleanse the aspirant. First devi gives him all the
requisite knowledge so that he is completely freed from my. In this stage, the
aspirant begins to realize I am That. This devi imparts this knowledge by saying,
You are That. Second devi gives him necessary spiritual energy to transform into a
yog, in whom the union between the individual soul and Brahman takes place. A
yog is the one, whose individual consciousness is yoked with Supreme
Consciousness. Third devi assists him in attaining mastery over all types of
knowledge that leads him to realization. Fourth devi ensures that such knowledge
stays with him. During spiritual practices, one will not pay attention to his or her
physical body. Due to lack of physical activities, he is bound to have some disease or
other (in modern times it is about diabetes and heart ailments). He has no time or
inclination to take care of his body. Instead, this devi takes care of his body and frees
him from all types of diseases (it can be observed that those who are at highest
spiritual level have paunch. This is the reason why many ancient sages have been
depicted with big bellies). Sixth devi supports all his or her spiritual practices (please
recall Lalit Sahasranma 659 sarvdhra. Every devi in ri Cakra is connected to
any one of the nma-s of Sahasranma. This will be discussed towards the end of
this series). When one attains liberation, even the traces of karmic imprints have to
be removed. Seventh devi does this. Parakti is an embodiment of purity. In order
to go anywhere near Her, one has to be purified. This purification process is related
to mind. When one is able to reach this varana, it means that he has almost
disowned his body. This concept is not applicable to navvaran a
pj, which is done
externally. What is being discussed here is related to Bhvanopanis a
t (mental
worship; bhvana means contemplation).
(There is a reference about physical and mental worship. A king built a temple and
fixed a date for its consecration. He prayed to iva that He should be present
personally during consecration rituals. But iva refused and said that He has already
accepted invitation from someone else, who is also building a temple very close to
kings temple and the consecration is fixed and both these dates coincided. King was
surprised and asked his men to find out this temple. His men could not find any
temple nearby. King was surprised and requested iva to show him the temple so
that he can be present to attend the consecration function. iva told him the place
and asked the king to go to that place only the next day, the day fixed for
consecration. King went to that place and he did not find any temple. But there was a
hut in that place and in front of the hut, there was a man in rags who was bursting
with emotions with tears rolling down his eyes. King called him and without opening
his eyes he told the king not to disturb him as he was performing consecration of his
temple. Now king understood why iva did not accept kings invitation and gladly
accepted the poor mans invitation. This story highlights the power of mental
worship.)
Eighth devi causes Bliss. When the mind sheds all types of thought processes, mind
becomes pure. In a completely purified mind, all types of dualities are annihilated.
When the mind is pure, one experiences Bliss. This stage cannot be explained that
easily. This Bliss is to be experienced. For no reason, one becomes emotional and
enters into the state of Bliss. The only external symptom of Bliss is tears rolling
down. Ninth devi protects this yog completely (this is the stage where one cannot
fall from his spiritual level attained; there are many instances where one falls from
his hard earned spiritual level. If one falls from his spiritual level, it is virtually
impossible to get back to his original spiritual level. Therefore one has to be
extremely cautious while pursuing spiritual path). Tenth devi grants his two wishes of
falling at Her lotus feet first and later getting liberated. This devi approves him to go
to the next varana.
Below Arun vgdev (marked as 5 in the image), three lines can be noticed. This is
called Guru Mand ala, where Guru-s reside. There are four types of Guru-s. First is
Paraguru, who is the first Guru or di Guru. di Guru is Mahkmevara. It is He,
who has initiated Mahkmevar into r Vidy. Thus iva becomes the first Guru
and the first disciple of r Vidy lineage is Parakti. Therefore di Guru
Mahkmevara and His disciple Mahkmevar are worshipped in the inner most
triangle and the bindu within. If we look at the image, above the flat end of the
innermost triangle and below the triangle where Jaini vgdevi resides, there are
three horizontal parallel lines. This is the place our Guru-s live. There are three types
of Guru-s in r Vidy cult. Ones own Guru is known as svaguru. He is the one who
has initiates the aspirant into r Vidy cult. He is often called Guruji!!. He should be
a Self-realized person and should be capable of taking the aspirant beyond my. A
true Guru is the one who carefully follows up with those who are initiated and takes
them to successive higher stages, till Parakti is realized. His job does not end
here. After making the aspirant to realize Parakti, he has to make the aspirant
realize iva. A Guru has to tirelessly work hard with his students, till they are able to
evolve themselves. Only this type of Guru is considered on par with Parakti and
not those who merely initiate his disciples. If the second type of guru is considered
on par with Parakti, both the guru and his students accrue huge amount of
insurmountable karma. This is to be always kept in mind before getting initiated
into r Vidy cult. Lalit Sahasranma 713**** says that Lalitmbik Herself is in the
form of Guru Mand ala.
This nma subtly conveys that the meaning and interpretation of kmakal should be
learnt only from a Guru as this has intrinsic and subtle meaning. Most of these
interpretations have already been dealt with elaborately. Guru mand a
la means
lineages of Guru-s. r Vidy attaches great importance to Guru and his lineage.
Whatever Guru says should be final. Lineage of Guru is stressed because, rituals
and certain procedures differ from manda
la to mand ala (manda
la here means
group) and each manda
la follows different customs and practices. Each r vidy
student will have three categories of Gurus - Guru, Paramaguru (Gurus Guru) and
Paramest h
iguru (Paramagurus Guru). During navvarana pja, all these Guru-s are
worshipped along with many other Guru-s. This nma says that She is in the form of
Guru mand ala. There is no difference between Guru and Lalitmbik, hence this
nma. The first Guru or di Guru is iva. Guru is also worshipped in sahasrra,
where She conjoins iva.
If we look at the image above, we can find three lines marked A, B and C. In A our
Paramest h
i Guru is worshiped along with five other divyaguru-s. Nine Divyaguru-s
are (from 1 to 5):
1. Vyomttmb ; 2. Vyomeyamb ;
3. Vyomagmb ; 4. Vyomacrinyamb
5. Vyomasthmb
In B our Paramaguru is worshiped along with nine Siddhaguru-s and they are (from 1
to 9)
1. Unmanka nandantha ; In subsequent eight names,
nandantha
() is to be added next to their names. 2. Samanka ;
3. Vypaka ; 4. aktyka ; 5. Dhvanyka ;
6. Dhvanimtr ; 7. Anhatka ; 8. Bindvka ;
9. Indrka .
In C our Guru (the one who has initiated into r Vidy cult, is worshiped along with
nine mnavaguru-s and they are (from 1 to 9)
1. Paramtma nandntha ; In subsequent eight names,
nandantha ()
is to be added next to their names.
The Gurus who are initiated by Paramaiva are worshiped on the three sides of the
innermost triangle.
On the left side of the triangle (left side of the practitioner) following Gurus are
worshiped.
1. Udd sanandantha ; 2. Praknandantha ;
3. Vimarnandantha ; 4. nandanandantha .
On the top of the triangle, following Gurus are worshipped.
1. Sast nandantha; 2. Jnnandantha ;
3. Satynandantha ; 4. Prnnandantha .
On the right side of the triangle (right side of the practitioner) following Gurus are
worshiped.
1. Mitrenandantha ; 2. Svabhvnandantha ;
3. Pratbhnandantha ; 4. Subhagnandantha .
In general, in r Vidy cult, great importance is attached to Guru and Guru
Mand a
la. It is also said that Paramaiva not only initiated Gurus into r Vidy, but
also imparted tmavidy (tat tvaasi or you are That, where That stands for
Brahman).
At the time of initiation, Guru apart from initiating a mantra, also gives Gurupduk
mantra. Gurupduk mantra is given for the Guru who initiates, Gurus Guru
(Paramaguru for the one who is being initiated and Paramagurus Guru (Paramest hi
Guru for the one who is being initiated). During this process, dks names of all the
three Gurus are revealed to the disciple. There are three types of mantras for
Further readings:
* Further reading on mnya-s
Guru and the process of initiation
kr s n a
paksa (waning moon), they should be worshiped in clock wise manner, i.e.
from 16 to 1. However, one has to follow what his or her Guru says. In r Vidy
worship, one has to meticulously follow what his or Guru says and there should be
no deviation from his instructions, as he follows the traditions of his Guru and
Paramaguru. But, it should always be remembered that he should be a Guru, who
has attained mastery over the various types of worshiping ri Cakra and should
remain with Parakti all the time. Each tithi nity dev have their own yantra-s and
mantra-s. They have their own mlamantra-s, varana pj-s, etc. The innermost
triangle is formed by the first three tithi nity dev-s, viz. Kmevar, Vajrevari and
Bhagamlin, each representing one corner of the triangle. Though as tithi nity devs, they do not hold the innermost triangle, they hold this triangle as three devi-s
representing three guna-s. This will be discussed in the next varana, viz. eighth
varana. In fact, the innermost triangle is held by them. However, there are other
views on this, which says that Lalitmbik, Kmevar nity and Bhagamlin nity
hold the innermost triangle. But this argument cannot be accepted. When
Lalitmbik is seated on the lap of iva, obviously, She cannot be holding this
triangle. Further, She cannot be compared to other nity dev-s, who function under
Her.
Following are the tithi nity dev-s and their abode is marked as 1 to 15 in the image
above and mentioned in anticlockwise manner.
Worship of tithi nity dev-s begin with the worship of Mahnity, Lalitmbik. She is
worshipped like this in the bindu, three times using the following mantra.
Om aihr r
( ) followed by the initiated mlamantra (either Pacada
or Soda) and at the end of mlamantra alphabet ah () is recited followed by Lalit
Mahtripurasundar Par Bht t
rik pjaymi (tarpaymi) namah. Tarpaymi is
included only while performing navvarana pj. Navvarana pj will be dealt with
separately, in due course.
way for the soul to experience the result of actions or in other words it causes karmas. The subtle body is of two kinds, superior and inferior. The superior one is the
subtle body of hiranyagarbha and the inferior is the subtle body of living beings. The
subtle body of hiranyagarbha is called as mahat or the cosmic intellect and the
subtle body of living beings is called ego.
This means that we worship the bows of both Kmevar and Kmevara, as usage
of dhanurbhysignifies two and not one. In reality, both of them are not different.
They are the same. What Kmevar holds is nothing but the mirror image of the
weaponries, which Kmevara hold. This subtly conveys that our inherent my has
not yet been annihilated, even at this point of time. Why our my has not yet been
annihilated, though we are very close to the innermost triangle? My can be
annihilated only if we realize and merge into Her. This has not yet happened as we
are still outside the innermost triangle. Unless we enter into the innermost triangle
(innermost triangle is the place where our merger with Her takes place), our inherent
my will continue to be present. Though major portion of my has been
annihilated, still traces continue to remain even at this stage. We must always bear
in mind that Parakti is svtantrya akti of iva and is in no way different from Him.
Both of them are single entity and not two separate entities. It is due to my or
delusion that they appear as different to our mind. These details have been
elaborately dealt with in differnt articles. We now proceed to worship their
weaponries.
A is their bna, which means arrow. Both of them have five arrows. These five
arrows imply pacatanmtra-s (sound, touch, sight, taste and smell). This is
explained in Lalit Sahasranma 11, Pacatanmtra-syak.
B is their bow. This bow is made up of sugar cane. Lalit Sahasranma 10 calls this
bow as kodand (Manorpeksu-kodand
). This bow implies the mind. Mind involves
both sam kalpa and vikalpa. Sam kalpa means resolve, process of thought. Vikalpa
means difference of perception. Both are opposite to each other. Mind is also
subtle, like knowledge. Mind is reflected through the five sensory organs. It has
both sam kalpa and vikalpa qualities, as it acts through the impressions received from
sense organs that get fine tuned in the form of thought and finally explode in the form
of actions.
C is pa, the noose. Lalit Sahasranma 8 (Rgasvarpa-pdhy) speaks about
this pa. She pulls all the desires of Her devotees using this noose, which
represents icc akti, the desire. When a devotee reaches this stage, She
annihilates all his desires by using this noose and transforms him into absolute
purity. This transformation happens because in the next stage he is going to merge
with Her, by entering into the innermost triangle.
D is hook or akua and this is explained in Lalit Sahasranma 9
(Krodhkrakuojval). A hood is a weapon to control elephants. Mind by nature,
always leans towards sensory organs. By using this a kua, She ensures that the
devotee gets himself detached from all types of sensory excesses.
After worshipping these weaponries, we are freed not only from the afflictions of the
mind, such as desire, attachment, ego, sensory pleasures, but also relieved from
my to a very great extent. All types of delusions get annihilated, just before we
enter into the inner most triangle, yet the traces remain. Parakti is the embodiment
of purity and before we merge into Her, all our impurities are annihilated. These
impurities will not rear their heads again, because She showers Her Grace on us
during this time. This stage can be attained only if our karmic account permits. All our
karmas should have been experienced and we should have surrendered to Her
much before entering into the firstvarana of ri Cakra, which is not merely a yantra.
Ultimate goal of reaching Her is often not achieved as we merely consider ri Cakra
as an yantra. It is the point of origin of the universe. The innermost triangle and the
bindu within is the point of origin and the manifestation of the universe is complete
before the entry into ri Nagara (not ri Cakra), which has been discussed in the
beginning of this series. Therefore, when navvaran a
pja is performed, one has to
mentally stay connected with Her. This is also the reason for performing navvaran a
(Paramtman means the Supreme Spirit, yet not the Self or Brahman. Brahman,
also known as the Self is Paramaiva, with whom we are going to merge in the next
varana). She also represents jlandharapt h
a.
All the three Devi-s are now satisfied with our spiritual attainment and they remove
the veil of tiraskarani and we now become speechless as we are seeing Lalit
Mahtripurasundar Par Bht t
rik with our biological eyes. She is not seated in the
bindu as we were thinking all these days. She is seated quite a distance away from
the Bindu towards West. Bindu also remains veiled. Bindu is the seat of iva. We are
awe struck. We become totally immobile for several moments till She calls us by our
names. She is fully aware of our past, present and future. We are not able to speak.
We forget all the mantras, hymns and verses that we have been practicing till now.
We fall flat before Her and by touching Her pinkish feet, we reach the Supreme stage
Bliss. Our individual consciousness is now totally lost. We forget ourselves. We are
literally unconscious now. We need nothing now. We have attained the goal of our
lives. She calls us by names and makes us to sit on Her lap. We now understand
that ivas lap is meant for Her and Her lap is meant for us. She looks into our eyes
with compassion and love. We are blessed to notice that everlasting smile in Her
face. We now understand what infinity is. We are now half dead. We are not aware
of what is happening around us. We feel the Divine Fragrance throughout this
innermost triangle. We have no mind to leave Her lap. We now fully understand the
DIVINE MOTHER, about whom we were talking about for years and years. She is
the Supreme Power of iva, known as Parabrahmaakti and presides over
Mahodynapt ha. We continue to remain in Her lap, in spite of Her willingness to
take us to iva. We dont want to leave Her lap. We do not even want liberation. We
are completely satisfied by remaining on Her lap.
She is now raising up from Her throne (LS 3) and by holding our hands, She enters
into the Bindu. Bindu is full of Splendorous Light and in the midst of blinding light we
could not see anything around. The place is full of Divine Fragrance. We could not
move any further as the Light was so blinding. We have read in Upanis a
d-s, how this
Light would be. But we have an opportunity to personally experience this Light now.
When She moves towards the Light, the blinding white Light gradually turning red
and iva is revealed to us, who is fully radiant, in crystal complexion, extraordinary
brilliance throughout His body. He cannot be explained at all. The energy from Him
is so powerful and we feel as if we are being pushed towards Him. This is what is
known as the energy of liberation, which is explained as Mah-grs (LS
752). Kat h
a Upanisad (I.ii.25) says the best among all people are like food to the
Self. Death overcomes everyone, yet even death is a mere condiment for the Self.
Parakti is now seated by ivas side. The crystal complexion of iva now looks like
the colour of the rising moon on a full moon day. We now understand that this is the
Bindusthna, the place from which the universe originates and dissolves. As we
have almost lost our consciousness, nothing goes into our minds. We have lost our
mind, intellect, consciousness and ego. All the four components of antah karana are
already annihilated when we entered the eighth varan a. At this point where we are
now, our body, mind and soul are completely purified. We have read that merger into
Brahman cannot take place unless these are purified. What we have read once, we
are experiencing now. For any experience, knowledge is very important and without
knowledge, spiritual experiences cannot be explained or defined.
She now asks all of us to come near Her and She makes us to sit on Her lap again.
By sitting on Her lap, we are able to have close daran of iva. He smiles at us and
then He looks at Parakti. Now She begins to move slowly towards iva and
ultimately She merges with Him. Now we understand what is really meant by ivaakty-aikya-rpin (LS 999). We are now inside iva and we are liberated, not to be
born again!
As far as ninth varana is concerned, there is an additional procedure for those who
are initiated into Soda. The mantra for Soda upsaka encompasses everything
that is possible in this universe. She is worshiped as Praka Vimara smarasya
rpin. Praka refers to iva, (praka means Light, principle of Self-revelation, by
which everything else in the universe is made known) and Vimara is akti (vimara
refers to that part of praka, which makes the worldly objects visible, the state of
manifestation of the universe) and smarasya is the procreative union of iva and
akti (smarasya is explained as the identity of Consciousness, in which all
differentiation has disappeared).
This completes the first section of this series. This series will be continued later, for
the purpose of understanding ritual aspects of ri Cakra and other intricacies.
Contemplating our body with ri Cakra with the help of Bhvanopanis ad will also be
dealt with.