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SrIvidya Article
It is clearly mentioned
that the ucciSta gaNapati upAsana will be effectiv e only by the
vAmAcAra methods. When any one approaches his guru for the first
time, his intention would be in pursuit of the supreme god and
mOkSha. The guru who is "swrUpa nirUpaNa hEtuh" is initiating with a
mantra of some dEvata or dEva. This is becaus e one should not/can not
say any thing about god in an establishing voice. "kaula pratiShTam
na kuryAt" Even in the books like "soundarya lahari", the way to
emancipation was nerrated with slOkas like "muKam bindum kritwa",
"naram varSIyamsam". They appear like mAdana prayOgAs to attract
women. Is it the advice of SankarAcarya who himself is a staunch
sanyAsi, for a Sishya who approaches him to show him the way for
liberation? Instead of trying to understand the inner esteric
objective of the guru, he is opting to master the texts, and bring
out the materialistic benefits like a mad man gathering all the
useless stuff seen on the roadside, thinking it all so precious. My
guru was telling "what ever is written in the scripture, even by any
great sage, it would be only vAmAcara mehod. It is you to search for
the meaning which reminds you about your own 'swarUpa'. All the
mantras are the reminders of your own swrUpa. If you take
materialistic meaning, even the nArAyaNa mantra or the siva mantra
will never save you from the present state of misery, but throws you
in to the ditch of samsAra, "SR^iNyEva sitayA viswa carShaNih pASEna
pratibadhnAtyabhIkAn | iShuBhih pancaBhir dhanShEna|
viddhatyAdiSaktir aruNAca viswajanyA ||" I dont understand how can
any other god can give any one the 'mOkSha', when there is Siva and
nArayaNa who are considered to be the sole distributors of mOkSha?
"sahasram vartantE jagati vibudhAh kSudra phaladah na manyE swpnE vA
tadanusaraNam tatkR^ita Palam ||"
Please don't believe any of these gods. They will always be saying
nonsensical promises. Trash every thing. -- L.Krishnarao
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yogic secrets of Radha and krishna
Tue Sep 18, 2007 3:19 am (PST) From: -
Krishnaraokrishnarao.lanka@gmail.com Subject_ Yogic secrets of Radha
and Krishna Date :- 18th september 2007 mAnya mahASayAh, On one
BhAdrapada suklapakSha aShtami day, it was said that Sri rAdhA dEvi
has manifested herself in a village like 'barsAnA' of the vraja
BhUmi. Of course this was mentioned in some purANAs. But vyAsa
BhagavAn who rendered the SrImahA BhAgavatam did not mention this
name any where in it. Some people say that rAdhA is the concealed
heroine of the BhAgavatam. In fact there was no individual person
with the name of rAdha, but it
is the total personification of not only the women kind of
br^indAvan, but the whole of the living and non living beings in the
world. In dEvI BhAgavatam, the Bhagavan has highlighted rAdhA as the
fifth prakR^iti of SrIkR^ishNa in making the creation of the
universe, where the other prakR^itis were named as "durgA dEvi,
BhArgavi, brahmANi and sAvitri. ": and that, as a result of the
conjunction of SrIkr^iShNa with rAdhA, myriads of caturBhuja
nArayaNAs were created. It was also said in another place that both
SrIkR^iShNa and rAdha have emerged from the same kAmAKya Adya bindu
which has split into two and those two have become the sole cause for
the creation. So, we have to understand that rAdhAdEvI is the
creative prakR^i ti of SrIkR^iShNa. In the SrIrAma avatAra, rAma was
very handsome personality, that no body were willing to drop their
eye lids, for fear of missing that visual perception even for that
fraction of a moment. Before concluding his avatAra and entering into
the river 'sarayu', he called all the people to give boons, any thing
whatever they wish for. Some persons asked for total liberation; some
persons wanted to live with SrIrAma in vaykunTa paradise. At that
time, all the gods (dEvatAs) and R^iShis have attended th at
gathering. While looking at SrIrAma, they all were caught with lust
(mOha) for him, forgetting every thing of their identity that they
are not females. They all expressed their strong desire to have close
hugging and conjugation with SrIrAma. SrIrAma told them that he is
such an EkapatnIvrati that not only he ever looked amorously at any
woman other than sItA, his own wife, but never gave chance for other
women too to have any romantic view for him. He advised all of them
to be born as gopikAs in his next avatAra as SrIkR^iShNa. As we all
know that SrIkR^iShNa avatArA was a paripUrNa pUrNa avatAra, has
exhibited innumerable super human miracles. Firstly, he did not born
from the womb of dEvakIdEvI, even though she carried him all the nine
months in her uterus. She did not have the labor pains at all. The
paramAtma has simply appeared before her without the plecenta, that
too with four hands holding all the weapons and decorations of
SrImahAviShNu. As he himself revealed it with aSwattHAma in
mahABhArata, that he could secure sudarSana cakra, pAncajanya SanKa,
kaumodaki gadA, nandaka Khadga and SAr.nga dhanuSh, and also the
chariot with five horses of SrImahAviShNu, only after performing very
severe penance for many thousands of years. He has performed such a
penance, only while he was remaining in his mother`s womb, like
vAmadEva could learn every thing while he was in his mother`s womb.
He knows the secret of many yugas of time existing in a split of a
second. It was proved in the story of sage nArada, experiencing sixty
years of married life bearing twenty seven children just with in the
fraction of a time of dipping his head and rising out of the river
waters. Almost all the vedantic texts say the same thing, that whole
of this universe and the incidents o ccurring are nothing but a myth,
and only they are all impressions of the mind created by the mAyA
Sakti. There is only one self and nothing else is there other than
that self. "Siva swarOdaya", a yogic method says that such events and
incidents are occurring according to the condition of the five
elements of the body. They will be revolving one after another in a
cyclic manner, along with their bAlya, yauvana, kaumAra, prauDa,
vR^idda avasthAs. It is in the hands of the yOgi, who practices this
yOga, to predestine the events to come in his favor. He will be able
not only to predict the future, but also he can mould the event in
the way what ever he wishes to be. In the same way, one can also
create such impressions in the other man's mind also, just like an
aindrajAla magician creates false impressions in our minds.
SrIkR^iShNa is known to be "yOgESwarESwara". There is no yOgic
method, which he does not know about. With such a similar yOga,
SrIkR^iShNa might have created impressions in all the gOpikAs and
also in the minds of his sixty thousand and eight wives, all
according to their wishes, because he was an "asKalita brahmacAri"
all through his life. He never involved in any sexual
pleasures with any one of them. Sage nArada has tested this yogic
power in SrIkR^iSNa. He searched in all the houses of SrIkR^iSNa`s
16,008 wives and found that SrIkR^iSNA was living with every one of
them all the time at the same time. There is one SlOka saying
"a~nganAm a~nganamantare mAdhavam , madhavam madhavam antare a~ngana"
(I don't remember the slOka in total) All the gOpikAs are dancing in
a circular rotary. In it, between every two gOpikAs, there is one
kR^iSNa and between every two kR^iShNAs, there is one gOpika. In the
midst of the circle, one kR^iShNa is lying on the l ap of his mother
YaSOda. The fact that kR^iShNa lying on the lap of his mother is only
the truth. Dancing between the gOpikAs and every thing is all a myth.
All the gOpikAs are desirous of having kR^iShNa on their both sides;
and they are experiencing the same impression according to their
wishes "purastat pArSwayOh pR^iShTE namas kuryAd uparyadhah" The
gOpikAs were imagining in their minds, if kR^iShNa comes to them and
do some naughty deeds, instantly, they all experience such
impressions like kR^iShNa as if eating away their butter and curds,
breaking their pots of milk by thrusting stones etc. They were
thinking what if kR^iShNa comes to them, stealing their cloths; ask
them all to stand naked before him with raised hands. They were all
enjoying with their imaginations and experiencing the physical
kR^iShNa`s presence also because they were endowed with such a boon
in rAma avatAra. In fact kR^iShNa has no connection with all those
incidents at all. In my opinion, there was no person with the name of
"rAdha" at all, and that is why, vyAsa BhagavAn did not mention that
name in the mahA BhAgavatam. The name rAdhA is in fact is the
personification of
the entire women kind in the vraja BhUmi. Not only that, but the
whole of the living and nonliving beings not o nly of the vraja BhUmi
but the total world populace too. We should not try to find any
partition between kR^iShNa and rAdha, They are not two separate
individuals. They look like two different personalities, but they are
in fact a single unit. Two bindus ( visarga) have emerged from the
single "kAmAKya" bindu "m~"(Brahman) for the purpose of making a new
creation of universe. That visarga was heard like "ah". This division
into two is "kalA". Those two bindus did not come out side of the
bindu, but are remaining embedded inside the nAdA "m~" itself.
Counting upon all the three bindus we hear it as "aham~", and its
name is the "kAmakaLA". All the three bindus, 'kAma'bindu and the
dual bindu 'kalA' are all existing in the very 'aham' only. This dual
bindu, which is an inseparable unit, is in fact the symbol of puruSha
and prakR^iti of which one bindu was named as kR^iShNa and the other
as rAdhA. Here is a yOgic secret in the birth of rAdhA and kR^iShNA,
which can be useful as an instructor and guide for us while doing
japa of any mantra. Four types of meditation were mentioned in the
tantra granthas. They are all secretly arranged in our routine life
connecting with some "parva dinAs" (holy days) and purAnic tales and
also by installing idols of deities with diff erent and different
names. They are – 1. "pUrNima" the full moon day. It contains all the
fifteen kalAs in it. So it is signified with widely opened eyes. This
is also depicted with the picture of "gangA avataraNam". The posture
of Siva with raised head and widely opened eyes. This is said to be
the "sR^iShti kramam"of any mantra. This posture is formed by the
nAda "aaa" of the compound symbal "Om". Our forefathers have
installed the idol of 'madhura meenAkSi' to serve this purpose. It is
said that all the sahasra nAmAs should be recited with this nAdA and
posture only, because they are all written in the sR^iShti order. 2.
"amAvAsya" the new moon day is a tithi which is empty of all kalAs,
was
named as "anadhyayanam". On that day, no one should recite vEda
mantras because it is considered as "SUnya tithi". If we fully close
our eyes, it will become 'amAvAsya', but closing eyes slightly
remaining to close is considered as kR^iShNa caturdaSi and it can be
acceptable for us to adopt it for the samhara kramam of any mantra,
so we have prefered kR^iShNa caturdaSi as the parva dinam. This
posture was depicted by the picture of Siva immersed in deep tapas
after the demise of sati dEvi. This was formed by the nAda of "m~" of
"Om". SrISaila BhramarAmba was installed o nly to remind us this
message. All the 'triSati nAmAs' which were told in samhAra kramam
should be recited in this nAdA and posture. .3. In between these two
(pUrNima and amAvAsys) there is 'aShtami tithi, One in the Sukla
pakSha and the other is in kR^iShNa pakSha. Both are depicted as half
closed eyes, but in Sukla pakSha, it is half closed while raising the
lids and in kR^iShNa pakSha it is while drooping the eye lids. This
is "sthiti kramam" and indicated by the middle alphabet of Om, the
"U".kAra nAdA. kAmAkshi of kanci is a reminder for this posture. All
the ashtottara Sata nAmAs should be recited in this nAdA only. This
sthiti karma declares that the god is inside of us as pratyagAtma and
also outside in front of us on the idol we are worshipping with
flowers and naivEdya offerings. If kR^iShNa has born on the aShtami
night of the dark fortnight of the SrAvaNa month in samhAra krama,
our mother rAdhA has manifested herself on the aStami day of the
BhAdrapada month in sR^IShti karma. If kR^iShNa can be compared with
Siva, who only remains after the total dissolution, and she is
comparable with brahma, who is the only remaining one to start
creation. Both are one ande the same. (Here we have to notice one
thing that aShtami is considered as "kaSta tithi", and both the
SrAvaNa and BhAdrapada months are the hardest months in whole of the
year. This rainy season is an indication for sorrow and ignorance.
Both SrIkR^iShNa and rAdha have manifested themselves only to repel
such
hardships of the human kind. The conjunction of these samhAra and
sR^iShti kramas reminds us the Siva Sakti sAmarasya. This is creating
a new dimension of "sthiti kramam", while SrIkR^iShNa is coming down
from the candra mandala with white silvery rays, the mother is
uprising with golden hue. When both of these two apparently met
together in the mid way, there itself formulated an artificial sUrya
manDalam.and that otherwise called as the delusory world of
plurality. This beautiful scenery was described in the SrIsUktam as
"suvarNa rajata srajAm", which means that it appears like the matted
chains of gold and silver. We should not try to find out any
partition between kR^iShNa and rAdhA. They are not two separate
individuals. They look like two, but they are in fact a single unit.
Two bindus (visarga) have emerged from the single lone "kAmAKya bindu
(Brahman) for the purpose of creating the new universe. That pair of
bindus were heard as "ah". Its name is visarga, which means the
creation. But these two bindus did not come outside of the
'Adyabindu', but remaining embedded inside the nAdA "m~" itself.
Counting upon all the three bindus we hear it as "aham" and its name
is "kAmakalA". All the three bindus (kAma bindu and the dual "kalA
bindu" are all existing in the "aham" only. This dual bind u which is
an inseparable unit is in fact the symbol of puruSha and prakriti,
among which, one bindu was named as kR^iShNa and the other rAdha. We
can not distinguish which bindu is kR^iShNa and which is rAdhA. They
will be intermingling with each other like an electron in an atom.
This unit is called the "sandhyA", for which we were asked to pay
oblations every day. This is the persona of the "nR^isimhAvatAra"
which killed the demonical hiraNyakaSipu and protected prahlAda. This
is the coordinated combination of SrIkR^iShNa as guru and arjuna as
disciple which has inaugurated the wisdom of BhagavadgIta. This is
the philosophy of both dwaita and advita which is the essence of all
vEdAs and vEdA~ngAs. This is the theory of prANAyAma to mix both the
ida and pin~gala to generate the suShumna and many more of the yOgic
methods too.
Please excuse me if I have exceeded any limits. BhavadIya Krishnarao
(SrIparasuKAnandanAtha) -- Krishnarao Lanka Tags --- dEvI BhAgavatam,
SrIrAmA,anuBhUti,yOga,aShtami,bindu traya,sandhya,guru and SiShya
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Who is neela devi ?
From:- lanka.krishnarao@gmail.com (SrIparasuKAnandanAtha) Subject :-
Who is nILAdEvi. Who is nILA dEvi ? Priya mahASayAh, I wish to share
my own understandings and views about the esoteric meaning of
nILAdEvi with you all in this group. I may be pardoned if I am
exceeding any limits or wrongly interpreting any thing from the text.
SrInIlAdEvi is said be one among the three wives of Sri vEnkatESwara,
the other two are SrIdEvi and BhUdEvi. The vEda addressed her as
"Bhuvanasya patni". It also praised her as the one who is supporting
the heavens and holding the earth, from falling them downwards.
"viShtamBhO diva dharuNah". In the tAntric SrIvidya she is called as
"niila saraswati", a different form of `mahAkAli'. If the word `SrI'
is indicative of the heavens (the world of all gods with all its
wealth and pleasures), is significant of the first part of the above
word "niila", and the second part `BhU' indicates the abode of all
our ancestors (pitR^u dEvatas) from whom we all have acquired all the
knowledge whatever we now possess. That knowledge indicates
"saraswati". Because it is acting like a conjunctive force between
the heaven and the earth, connecting both `niila'and `saraswati', the
fellow-mate of these two was named as "niila saraswati". This force
is a kind of vacuity formed in the empty vacant space (AkASE
avakASam), which facilitated the paramAtma to palpate his first throb
as "ah" (Adyaspandam), from which all the five elements were
manifested in a group and that in its turn, became the universe. By
the jerk of movement created by the throb of paramAtma, this vacant
space itself transformed as the air named "m AtariSwa". This principal
air along with its subordinates "prANa", "apAna", "vyAna", "udAna"
and "samAna" vAyus and also their subordinates called "nAga",
"kUrma", "kR^ikara", "dEvadatta" and "dhananjaya" are maintaining all
the living beings with their six activities, "asti" remaining in the
biija BhAva, "jAyati" prakAsa BhAva, "vardhati"AmarSana BhAva,
"vipariNamati", pariNAma BhAva, "apakSIyati" kShaya BhAva, and
"naSyati" samhAra BhAva. By all this, we can come to the conclusion
that the sole cause for all the activities of the universe is this
vacant space. By saying "dR^k diSam", she has no directions of the
compass like east, south, west, north etc., because she has occupied
all the
edges of all directions. She has no divisions of time also, because
there is no device or machinate like 'the sun' outside of her. She
herself is the sovereign regulator of time even for this sun and
solar system. She is the `kAla". She is the "kAla sarpa" upon which
SrimahAviSNu is reclining. SrImahAviShNu is lying upon this `kAla
sarpa' which is called as "Adi sESha", the remainder at the beginning
itself. We generally calculate any remainder after subtracting any
sum. It reminds the story of three daughters -in-law of a lady. One
was asked to arrange tables and plates for the guests` dinner, the
second one to serve the preparations and the third one was given the
charge of removing the plates and cleaning the table. They all have
accomplished their duties accordingly. But how? The first one
arranged the table and plates. Immediately the second one served all
the food items in the plates and the third one instantly removed all
the plates and cleaned the tables even before any one come to take
meals. In the same way one god is creating the universe and another
god is dissolving it at one and the same time. In between these
creations and dissolutions there is one force saying loudly "I am
here, I am here" and "I am maintaining, I am maintaining" .That force
itself is called "Adi SESha". kAla sarpa. This is the kAla swarUpiNi
which is swallowing all the living beings, including brahma, viSNu
and the so called mR^ityunjaya mahESwara and wearing the long garland
of skulls of mahESwara. This mahA Sakti`s name is "MahA kALi" and
also "niila saraswati". The subordinates of this mahAdEv ata, the
"mAtariSwa vAyus" and their subordinate vAyus are actually acting
like the creators by creating new generations, and acting like
maintainers by providing nutrition to the living beings ("viSwasya cA
iShayantii"), and also acting like the destructing agents also making
all beings prey for mortification ("asyESAnA jagatO"). If "SrI" can
be called as "bindu" for all its objective visualizations, the earth
(saraswati) becomes `nAda" and our "niila saraswati" is occupying the
place of "kaLa". She is the sole cause to show the small single atom
into so many kinds of forms in different shapes and varieties. That
is why she is called "kaLa".
She is that third foot of `trivikrama' after he has occupied the
whole heven and earth (Sri and BhUh), which made the emperor `bali'
to surrender before `vAmana'. The other two feet are `SrI' and `Bhuh'
She is the `turiiya iimkAra swarUpa mahA mAyA' of SrImahA viShNu. She
is also called as "aditi" the mother of all deities in whose bosom
the whole universe exists. ."suBh Utih SivA nO astwaditir upasthE" the
vEdA says. Dear members, I hope I could convey my understanding
clearly to you all. I humbly solicit any suggestions and additions
upon these views. Yours in the service of the mother, Krishnarao
(SrIparasuKhAnandanAtha)
Tags --- Bhuvanasya patni,viShtamBhO diva dharuNah,niila
saraswati,kAla sarpa,bindu nAda kalA,foot of trivikrama
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The marriage of Siva and Sakti From :- krishnarao
(SrIparasuKAnandanAtha) Subject :- The marriage of Siva and Sakti.
The marriage of Siva and Sakti priya mahASayAh,
Siva, at that time, when he was resting in his own self, he was
absolutely `nirguna' (devoid of guNas). He is said to be alone
(kEvalah), and none else were there other than him. But the `Sakti',
also should have been there along with him, because she is the sole
cause for his desire and wish to create the universe. "sO~kAmayata,
bahusyAm prajA yEyuh". She is his wife and ever inseparable from him,
She is with him in his soul and self. But in contrary to him, she is
the embodiment of all the three guNAs `sattwa', `rajas' and `tamas'.
Then how did she become his wife? The vEda mAta herself is projecting
its doubts. "When did their marriage occur?", " Who were there to
witness that marriage?", and "Where from she actually came?" "yan
manyur jAyAm Ava ith sankalpasya gR^ihAd adhi ka Asan janyAh kE varAh
ka u jyEShTavarO~Bhavat ||" (atharvaNa vEda 11 kAnda 10 sUkta 1 R^ik)
Meaning of this mantra reads as – `yat' = when `manyuh' = manyatE iti
manyuh = the omniscient, all knowing, who is without any obscurations
(enclosers) ie., parama Siva `jAyAm Avahat' = jAyatE asyAm sarvam =
sarvam jagat iti jAyA = the whole of the universe takes birth in her.
So jAyA means the mAyA Sakti (paramESwari) who is in the form of the
inclination to create the universe, `tAm' = her, `aBhimuKyam
prApayat' = it means that he has accepted her to be his consort. Now,
some one has to fetch the bride from his father -in- law's house. So
it says "sankalpasya gR^ihAt".= from the house of volition (wish) The
god's first volition is "sO~kAmayata bahusyAm prajAyEya" "tasya
gR^hAt = from his house (the first volition of god); (adhi = from)
(He fetched her from that house. That is why all this critical
circumstance of procreation has encountered).
It is common that the relatives of both the bride and bridegroom
together will jointly perform the marriage. But at that time there
was none else other than the paramaSiva existing. Then how could that
marriage effectuated? The vEda is questioning "ka Asan janyAh"
`janyAh' = "jani = sambandhinah = Who are the relatives of the bride?
"kE varAh" = Who are the approvers (selectors) of the bride? "tasmin
kAlE = at that time "jyEShTa varah kO nAma" = What is the name of the
chief priest? …………………………………………………………………………… This spiritual quiz is so
puzzling, that except a very few, nobody could solve this problem.
Therefore, the vEdamAtA is kind enough to reveal the answer in the
very next R^ik, for those who have lesser understanding,.
"tapascaivAstAm karmacAntar mahArNavE ta u vAsan janyAstE varAh
brahma jyEShTavarO~Bhavat" This R^ik reads as, 1. "tapah" = penance.
"yas sarvaj~nah sarvavit yasya j~nAnamayam tapah" = The all knowing
and all-understanding almighty's penance is consistent of knowledge
and spiritual. The visualization of his thought process about the
prospective creation of the universe itself is his `tapas'. 2. "karma
ca" = The fructified effects of the sacred and evil deeds of the
living beings of his past creation. "Eva" = these two only "antar
mahati arNavE = The god paramaSiva who is all pervading, spread all
over like a vast, agitated, endlessly extensive ocean. The above two
are situated in him only. "ta Asan janyAh = Those two, `tapas' and
`karmas' stood like his elder relatives. They are the selectors/
approvers of the bride. The brahma who was the sole cause for the
creation has become the chief purohit to bring the bride `mAyA' and
to be the supreme elder. The marriage of Siva with Sakti (mAyA) was
performed in this way.
The above two R^iks are suggesting us that persistent meditation upon
the mantra initiated by the guru and also the `janmAntara sukR^ita'
(the benefic results of ones own `samskArAs) both should be there to
achieve "siddhi". Krishnarao (SrIparasuKAnandanAtha)
Tags --- nirguNa and kEvala Siva,relatives,priest,meditation and
sukrita
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The secret of all secrets
From :-- krishnarao {SrIparasuKAnandanAtha} Subject :- The secret of
all secrets The secret of all secrets I *ke y-out the essence of my
own self, the secret of all the secrets, He who knoweth this, knoweth
the secret of Brahman, The stand point from where all the *negation
commenced, From where originated the *cause, effect and the actor, I
knoweth this all by myself after an *adept grueling, Passing through
series of numerous *divinity, Journeying to the interior *door of all
the worlds, Where only the prime of all truths exist, as *oneness and
all-ness, Where all the *trilateral trinity set forth, Reflecting out
from same prism of "I" in *tricolor, Where birth, life and death
intermixed all in one, Where the *principle nature is still in the
embrace of *pratyagatma, Where the sun, moon and fire all formed from
same *incessant effulgence,
Where all the `*guNAs' emerge out from the source of all guNAs ever
known, Where I formed formless of myself, the supreme necessity of
all, Where I am the `*this', an iota of atom, with pseudo -infinite
*radiation, With ever shifting *scene spread around, I traced out the
essence of my own self. Brief === Key-out = discover Negation =
niShEdha kriya, nEti nEti Cause, effect and actor = kAraNa, kriya and
karta Adept grueling = intensive sAdhana Divinity = taking births as
33 crores of dEvatas Door of all the worlds = "lOkasya dwAram =
brahma-randha bindu cakra Oneness and all-ness = samaShti, mahat
Trilateral trinity = triputi, triplicity of the world Tricolor =
ajAmEkAm lOhita Sukla kR^ishNAm Birth, life and death = sR^iShti,
sthiti and laya Principle nature = mUla prakR^iti Pratyagatma = the
paramatma turned in opposite direction Incessant effulgence = endless
and uninterrupted light guNAs = sattwa, rajas and tamas this = idam
aham radiation = vyapti scene = jada prakR^iti krishnarao
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A spectacular SlOka
From: -- krishnarao (SrIparasuKAnandanAtha)
lanka.krishnarao@gmail.com
Subject: --- A Spectacular SlOka A Spectacular SlOka "nALIkAsanam
ISwarasya SiKariNAm, tat kandharOtthAyinah, gandhrvAh punar Etad
adhwa caritE, cakrE tad uddhArakah, patrI tat prabhu vairiNAm
parivR^uDO, jIvA ca yasya aBhavat, jIvAnte vasatam, ripu kShaya
vidhau, dEvAya tasmai namah ||" Please observe how twistingly this
SlOka is narrated --- ripuh = the enemies of jIvasya antEvasatAm =
the disciples of bR^ihaspati, the guru of all the dEvatAs kShaya
vidhau = in the task of wiping out the rAkShasAs like tripurAsura
etc., yasya = for whom SiKariNAm ISwarah = the lord of all mountains,
the mEru paravatam nALIkAsanam = has become the bow, (the weapon for
shooting arrows) (this is in referring with the paramESwara)
nAlIkAsanam = the lotus seated brahma tat, kandharOtthAyinah = from
whose lingua all the vEdAs set forth yasya = for whom gandharvAh
aBhavan = assumed as horses (Now the same word "nALikAsana" is meant
in relation with `brahma', the creator) Punah = again E tat adhwa
caritE = E tat = gandharvAs i.e., dEvatAs Adhwa = of their (dEvatAs)
passage i.e., yonder skies caritE = journeyers of those yonder skies
(i.e., The sun and the moon) yasya = for whom cakrE = become the two
wheels of his chariot ( Here the word "gandharva" is used in dual
meanings, one as horses
and another as `gandharvAs a particular sect of dEvatAs) tad
uddhArakah = who is holding the cakra i.e., sudarSana cakra (viShNu)
yasya = for whom patrI = became the arrow ( again the duel meanings
of the word "patri", one as the `arrow' and the other as the `wheel'
of the chariot. Another meaning of this word indicates the "bird").
Here the word "chakra" denotes as the sudarSana cakra and also the
wheel of the chariot. tat praBhu vairiNAm parivR^iDhah = tat=tEShAm,
patriNAm=for those birds, tat praBhOh = the lord of all birds i.e.,
`garutmAn' vairiNAm parivR^iDhah = GarutmAn`s enemies are the snakes.
Their lord is "vAsuki". yasya = for whom aBhavat = has he become jIvA
= string of the bow (Here the word "jIvA" indicates both the meanings
as "bR^ihaspati" and also as the "string" of the bow.) tasmai dEvAya
namah = obeisance to that supreme being, the god krishnarao
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about SrIcakrAs
From :- Lanka Krishnarao (lanka.krishnarao@gmail.com} Subject :-
About SrI yantrAs SrIguruh sarvakAraNBhUtA Saktih |
SrI mahA gaNAdhipatayE namah || priya mahASayAh, The foll owing verse
is the 15th one in the "sowndarya lahari" composed by SrI Adi
SankarAcArya. "Sarat jyOtsnASuddAm SaSiyuta jatAjUta makuTam Vara
trAsa trANa sPatika GatikA pustaka karAm | SakR^innatwA kathamiva
satAm sannidadhatE madhu kSIra drAkShA madhurima d hurINAh PhNitayah
||" Unless one has ever prostrated before you, who is lustrously
glowing like the autumnal moonlight, having lunar crescent upon the
crown over the dressed hair, and wearing a crystal rosary, varada
mudra, aBhaya mudra and the book in all the four hands, how anyone
could dole out poetry elegant like honey, milk and the sap of grapes?
! This is the commonly understood meaning of the above verse. But for
a person with an intense desire to achieve the eternal emancipation,
can this be an advice given by the jagadguru? Has he to go to the
court of a king or any others to please them and earn money and fame?
In my opinion, there should be some esoteric meaning also behind this
superficially understood meaning. Let us search for it. The above
Sloka appears to be indicative of "Saraswati", who is the goddess of
speech {vak devata). But the book "sowndarya lahari" was intended in
praise of "LalitA mahA tripurasundari". Is Sarasawati and Lalita are
one and same? Yes, it must be so. "rUpairanEkair bah uhudhAtma mUrtim,
kritwAmbikE tat prakarOti kAnyA" Just as all the thee crores of
devatAs are only the extensions of LalitAdevi who is "sarvAnatItya
lalati", this saraswati also is just an extension from her. In the
Lalita sahasranAma, the devi was praised with the names as "brAhmI",
"vAgadhIswarI", "vAgvAdinI", "mAtR^ikA varNarUpiNI",
"SAntyatItakalAtmikA" and also as "saraswatI". So it is evident that
both are one and the same. This paradEvata, lalitA
mahAtripurasundari, has got thee varieties of configuration,
"sthUla", "sUkShma" and "kAraNa" forms. The `SthUla dEha' is
described as "caturBhujE candrakalAvatamsE kucOnnatE kunkuma rAga
SONE-----"etc., The second one `sUkShma dEha' is "pancadaSi mantra
akSharAs" and the third
one `kAraNadEha' is "tEjOrUpam" or `jnAna rUpam' (sOham or sAham
jnAnam) "stree rUpam vA smarEd dEvIm, pum rUpam vA smarEd athavA
niShkalam dhyAyEt" In fact, the god, whatever name he/she has, will
not have any body or form. But every god has got innumerable forms.
Every one is having its own effigy. Lord Siva is symbolized in a
Linga form. viShnu in sAligramam, In the same way this lalitA mahA
Tripura sundari or rAjarAjESwarI parA BhattArikA also is having an
effigy in the name of a "SrIcakra". For any yOgi who is capable of
subsiding all the external earthly visualizations and introspectively
ponder over the ten chakras in his own body may not be in need of any
SrIcakra, but it would be a proclaimed obligation for him to protect
the sacred SrIcahkra entrusted to him by his gurunAtha, ju st like a
housewife keeps the `mangal sUtra' fastened by her husband at the
time of marriage. Just as any image (of any god) could be seen in
three forms as a painting upon a paper, a half protruded front side
image with flat back side and a full-fledged statue, fully carved
both front and back sides. The first one is called `BhUprastAra, the
second one is "kUrma prastAra" and the third one is "mEru prastAra"
Just as any other god is having innumerable forms and also
innumerable effigies in the form of different yantras, our lalitA
mahA Tripura sundari also is having innumerable forms of effigies in
the names of different SrIyantras. A yantra is a kind of language to
understand the details of any particular thing. Language of
recognizing other`s expression will be in four ways. One is
alphabetical (writing in letters), another is numerical (writing a
digit instead of writing many letters), another one is gestural
(showing signs with hands like come, go etc.,)and the other one is
symbolic (marking lines, curved and strait, to show the direction of
a route, or any instruction as, that there is a railway line ahead or
there is a school or a playground nearby). These yantras also will
come under the fourth category i e., symbolic of directing the way to
reach that particular deity or god. It all describes how one has come
out from his own abode dragged in to the `jiiva' state by the
influence of `mAya'. The SrIcakras are innumerable in number, but
mostly considered are, in ten types. They are categorized so,
according to their lines and cones. They are
1.Bhadra cakram 2. vR^iddhi cakram 3. mahA cakram 4. SrIkaram cakram
5. SuBha cakram 6. kAmikam cakram 7. mOhakam cakram 8. Vyjayantam
cakram 9. Jayantam cakram and. 10.nandanam cakram. Among these ten
cakras, Bhadra cakram is the safest one and can be worshiped by every
one. This cakra is otherwise called "BhUprastAra", which consists of
only lines drawn upon a flat surface. `kUrma prastAra' means the
cakra having a tortoise like appearance with a flat base upto the
three avaraNAs and the rest upon a dome like elevation upon the base.
If that surface is drawn by curved lines it is called "vR^iddhi
cakra" and the same thing, if the surface is carved with cones
instead of the lines, it is called "mahA cakra". Both of these cakras
are two types of `kUrmaprastha cakrAs'. This `kUrmaprasth cakra' is
also called as "kailAsaprastha cakra" This cakra should be kept in
the houses of "gR^ihasthIs, worshipped regularly only according to
the scriptures. The chakra, carved in cones with all the AvaraNAs one
step upon another, from `BhUpura' to `bindu cakra', is called "mEru
prastAra". It is highly essential that it should be worshipped only
by the `pUrNa dIkShita' sAdhakAs only, in accordance with the mantrAs
mentioned by the Agama SAstra. That pUrNadiikShita upAsaka only is
eligible to worship this `mEruprastAra cakra'with all the regular
services of obeisance according to samayAcAra only. It is mentioned
in the SrIvidyArNava tantra that mEruprastAra is nityA tAdAtmaka and
the kailAsa/kUrma prastAra is mAtR^ikA tAdAtmya, and the BhUprastAra
is vaSinyAtmaka. Also, it says "mEru cakrEtu samhAra krama pUjA na
vidyatE, sR^iShtikramENa dEvESi pUjanIyam prayatnatah ||" For this,
SrI lolla lakShmIdhara clarifies that samhArakrama pUja means
vAmAcAra method and the sR^iShtikrama is samayAcAra tradition. It was
also said, "samhAra pUjA kailAsa prastArE2tra vidhIyatE BhUprastArE
mahESAni sthiti pUjA sadOttamA || sthitikramO gR^ihastasya samhAro
vaninO yatEh brahmacAriNa utpattih striyah sUdrasya cEShtatah||"
Almost all the SAstrAs are loudly saying that if any one performs
vAmAcAra pUjA with mEru cakra, it destroys all gratifications both in
this and in other worlds too. The descriptions of all the other
SricakrAs are available in so many tantra texts.
To arrive at this criterion of attaining untainted mind and heart is
most important for worshipping SrIcakra, this verse of soundarya
lahari ordains as "Sarat jyOtsnA suddhAm". In saying "SaSiyuta
jaTAjUTa makuTAm" it indicates the `candra manDala vikAsam' The
central point (nucleus) in the `bindu cakra' is the `guru swarUpa
sOma manDalam'. Determination to implement the instructions of ones
own gurunAtha itself is the "jatAkalpam" ` in saying "vara trAsa
trANa sphatika ghatikA pustaka karAm" it indi cates as, "varam" means
the boon in the form of mantra pramAta, acquired by the parampara.
"trAsa trANa" means – devoid of all the fears, I e., `mR^itunjayam'.
Or "aham sphuraNAtmaka SivO2ham BhAvam" "sphatika GatikA" indicates
an unsoiled bowl, I.e., "Siva Sakthi sAmarasyAnandAmR^ita sEvanam"
achieved after relentless `japa sAdhana' "pustaka karAm" indicates
persuasion in accordance with the teachings of `vEda mArga'. Having
all these four affluences, (one should have) "sakR^innatwA"
prostrated flat before her even once. Or else, "madhu kSiira drAkShA
madhurima dhurINAh phaNitayah" In saying this, it indicates that,
`madhu' means honey, the thing obtained from some creatures (bees),
after gathering it from so many places and preserved at a safe place.
This indicates the SrIcakra arcana performed by the `uttamAdhikAri
pUrNa dikShita upAsakAs, who have attained the mantra, tantra and
yantra siddhi as endowed by the pAramparika AgamAs "Sirah sthita
gurOr daharasthA nAda vidyAyA parAvasAyi citkalArUpa
dEvyAtmanaScAdwaita BhAna sama kAlam sakalEndriyair viShayAn
BhunjAnas tajjanyAnanda dhArAmAtra viShayaka nirvikalpaka j~nAnaika
sAratayEtara niKila viShaya pramOShENa kancitkAlamavsthAnam"
Including this type of introvert `parA pUjA', along with the
extrovert `aparA pUjA' simultaneously performing in the exterior
SrIcakra implanting flowers etc., on its top, together with certain
and certain mantras in each of the "AvaraNA dEvatAs". It is possible
for none other than the "pUIrNAhamBhAva BhAvitAs" only. The `kShiira"
is the milk extracted from the cow, potable to drink. This is also
obtained with some effort. This is to be performed upon a `kUrma
cakra' by `madhyamAdhikAri upAsakAs in
accordance with the guidelines of Sriguru, doing `antaryajana' and
`bAhya yajana' simultaneously, doing `Shat cakra anusandhAna rUpa
navAvaraNa ShODaSOpacAra pUja' with a difference of `nitya and
naimittika anuShTAna', as said "parAparasya bAhyasya cidvyOmni
vilayah smR^itah" "drAkSha" is simply taken from the plant and easily
eatable. ShODaSOpacAra pUja performed upon the BhUprastAra SrIcakra
by any one with `kavaca, stOtra, nAma' etc., "PaNitayah" means,
Unless one is performing Sricakraarcana in this way, in different
ways "kathamiva satAm sannidadhatE" how anything is not possible for
those "madhurima dhuriiNAh" who attain the efficiency of making
`amR^ita utpAdanam' krishnarao
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kirItam vyrincam parihara
KirItam vyrincam parihara …… From :-lanka.krishnarao@gmail.com
SrIguruh sarvakAraNaBhUtA Saktih | SrImahAgaNAdhipatayEnamah ||
"kiriitam vyrincam parihara purah kaitaBhaBhidah kaThOrE kOTIrE
sKalasi jahi jamBhAri makutam | praNamrEtEShvEShu prasaBha mupayA
tasya Bhavanam BhavasyABhyutthAnE tava parijanOktir vijayatE ||" This
is the 29th SlOkA in the soundaryalahari of SrI AdiSankarAcArya.
Commonly understood meaning of it is, "O mother, when your husband
`Bhava' is approaching thy abode all the attendants of yours are
perturbed in order to alert you, while you rise in haste to receive
him, they utter --- "Skip over the crown of brahma, who is lying
prostrated before you. Skirt the hard coronet of the flat lying
`viShNu' also, without stumbling. You have to safely pass over the
diadem of the crouching `indra' too, which may hurt your foot in your
swiftness. For this, I found another meaning also, which I wish to
share with all our members too. "BhavasyABhyutthAnE" means creation
of the universe. That is the fulfillment of the core wish of
parabrahma `Siva'. While the aspirations of the `jIva' is, to achieve
`kaivalya' of the `kailAsa', the completion of paramESwara`s wish
would be to build up the universe, extending himself to the ends of
the "pR^ithvI tattwa". When the Siva tattwa shrinks, the creation of
the universe will come into existence and when the same expands, it
returns to become dissolved and merged in the same `Siva tattwa'. It
is the nature`s law to make both of these simultaneous actions one
after another alternatively. The condition of expansion in the `Siva
tattwa' which is `samhAra rUpa' (dissolution), is termed as "Urdhwa
kunDalini"; and the condition of contraction in the `Siva tattwa'
which is `sR^iShti rUpa' is termed as "adhah kunDalini". While doing
`japa', it is customary that we should raise our kuNDalini towards
the `brahmarandhra', leaving out all the 36 tattwAs behind, one after
another. After reaching the destination, it will sneak down, in the
form of nectarous flow, into all of the seventy two thousand
pulsations (nADI manDala) of the body. The `prANa Sakti' which flows
through `idA' and `pingala' nADIs in the form of "utChwAsa" and
"praSSwAsa"'. and enters in to the three subtle
layers, confined in the `suShumnA nADi as an `antarvAhini' (obscured
stream). The names of these three layers are – 1. "vajriNi" which is
stretched as the outer layer, 2. "citriNi" which is positioned as the
middle layer and the 3.the inner most is "brahmanADI", also it is
called as "mUrdhanya nADi". The goal of the sAdhaka would be to
extend the `prANa' up to this `mUrdhanya nADI' only. In the
`rudrayAmala tantra' there is an elaborate description about these
nADIs. pR^iShTadESE mahAdanDE mErumUlE mahApraBhE, mUlAdi
brahmarandhrAdhah sadAsthirUpa dhArakah, kanakAcala nAmnA ca
pratiBhAti jagattrayE|| tanmadhyE muni swarUpA ca manas caitanya
kAriNI, tanmadhyE BhAti vajrAKyA Gora pAtakanASinI, siddhidA BhAva
vij~nAnam mOkShadA kularUpiNAm || TanmadhyE citrine dEvI dEvatA
prItivardhinI, hitaiShiNI mahA mAyA kAla jAla vinASinI || sA pAti
sakalAn cakrAn padmarUpadharAn parAn, trailOkya manDalagatAn
sAkShAdamR^ita vigrahAn || swayam dadhAra sA dEvI citrAKyA
cArutEjasI, citrine madhyadESE ca brahmanADI mahA praBhA||
sarvasiddhipradA nityA sA dEvI sakalA kalA, vyOmarUpA BhagavatI sarva
caitanya rUpinI || Eka rUpam parambrahma brahmAtItam jagattrayam ||
This was said in the order of expansion (vikAsakramam or
samhArakramam), whereas the soundaryalahari SlOkA is describing the
same in the order of contraction (sankOcakramam or sR^iShtikramam).
While doing our mantra japa, we will have to adopt the samhAra kramam
only, in order to raise the kuiNDalini up to the bindu cakra. The
`nyAsakramam' for these three nADIs also was mentioned there itself
as, "talE pR^iShTE UrdhwadESe SIrShE vakShasi nABhiShu, kanThakUpE
cakramadhyE brahmAnDam pAti sarvadA, SarIrAtmakam ISArtham trailOkyam
sa carAcaram ||
See the dhyAna SlOka mentioned for the "mAtR^ika nyAsam" "AdhArE
linga nABhau hR^idaya sarasijE tAlumUlE lalAtE dwE padmE ShODaSadaLE
dwAdaSArthE catuSkE vAsAntE bAlamadhyE DaPakaTa sahitE AdiyuktE
swarANAm hamkSham tattwArthayuktam sakala daLagatam varNarUpam namAmi
||" The central idea of this SlOkA is that, the kuNDalinIrUpa
mAtR^ikA saraswati is streaming through all the tattwAs namely the
Atmatattwa, vidyAtattwa and Sivatattwa, in this way in "gudasthAna,
linga, nABhi, hR^idayam, kanTham, lalATam, aShtAra and trikONa and
the sahasrArapadma which is called "the ShOdaSAnta". All these are in
the ascending order in the gross body (sthUladEha). Included with
`Aj~nAcakra' and `viSuddhicakra' the catuShka which means, anAhata,
maNipura, swAdhiShTAna and mUlAdhAra cakrAs in descending order in
the subtle body (sUkShmadEha) And in the causal body (kAraNadEha), in
the mounting shift, again in the mUlAdhAra, swAdhiShTAna, maNipUra,
anAhata, viSuddha and Aj~nA cakrAs" "purascakrE dwipadah purascakrE
catuShpadah Purasca pakShI BhUtwA purah puruSha AviSEt ||" Human form
in the gross body, dharma form in the subtle body and in the causal
body in `garuDa form' which carries us to the brahmarandhra. Th e very
next, we will attain the "viShNupadam", our eternal abode.
"sakR^iduccAritamAtrENa UrdhwamunnayatiityOmkArah" So defined praNava
too— it was said in the `uttara giita' that, "OmkAra dhwani nAdEna
vAyOssamharaNAntikam | nirAlambam samuddiSya yatra nAdO layamgatah
tad viShNOh paramam padam—" Ahead of the brahmanADi, `viShNupadam' is
attained and that is the emancipation (mOkSha). While doing
mantrajapa, the prANaSakti enters into the `suShumnA nADi' which
looks like the tiny passage of a lotus string, and rises upwards
towards the sahasrArapadma like a furious serpent. After
entering into it, it returns back from there along with the nectarous
flow of that place, to satiate all the 72 thousand nADIs of the body.
While descending from the sahasrAra it en ters first in the
brahmanADi. This brahmanADi was described as so soft and smooth like
the film of iceberg and that it belongs to the `candramanDalam'. It
gives the impression that this is the stage of `niShkalAtmaka
parabrahma' transforming towards the "sakalAtmaka form". Having its
`raSmipunja' downwards, this brahmanADi is so subtle that it is not
possible to recognize whether it is there or not. "SaktirUpA hi sA
dEvI sAkShAdamR^ita vigrahA". This is the `samaShti swarUpa' of the
five Siva tattwAs, viz., Siva, Sakti, sadASiva, ISwara and
Suddhavidya. When Siva, in the beginning, aspired for "another one",
his own "iccha" (wish), which is his own `Sakti', manifested as
"aham". That itself when being introvert, became "sadASiva" and when
it became extrovert, it was called "ISwara". The samaShti j~nAna of
these two stages is called "Suddha vidyA". Although they all appear
as different, all are not different from the "cidEkarasa Suddha
samvinmAtra Siva tattwa" only. These five `Suddha tattwAs" related to
the causal body, are actually the `bindu' and `trikONa'. While the
Siva and the Sakti are one single entity in the bindu cakra, the
sadASiva, ISwara and Suddhavidya are manifesting as the `trikONa'.
"trikONE baindavam SliShtam". So all the five are "bindu" only.
Looking at this descending Siva swarUpa, it comes to our mind that
this is the divine "anugraha swarUpa". "kaEIlahrIm". While returning
from the sahasrArapadma after doing pradakShiNa around in the
`trikONa' for the `bindu cakra, this `sAraswata kUTa' first enters
into the `brahmanADi' with a humble request to remove the hurdles for
brahma (vEdamAtA) in delivering the dharma for the universe. This is
the essence of `gAyatrI mantra'. This is `smaraNarUpA' and
`adhyayanarUpA' and also `brahmavidyA rUpA' too. "kanyantE
prakASyantE SabdajAlAni" Exhibiting the universal creation by
expounding the magical flow of words. It is considered worthy to be
meditated by the `brAhmins' After satisfying the brahmanADi, the
kuNDalinI prANaSakti enters into the middle layer called `citriNi'.
This prANaSakti itself is the `candra manDalAmR^itam', but slightly
solidified and indurate by the
influence of the winds from the `agni manDalam'. "jyOtir vAyau
pratiShThitam". This citriNi nAdi is really a peculiar one. This
being the abstract form of the `mahA maya', exercising its power and
authority over all the `ShatcakrAs' (universe). This is the
collective form of the seven tattwas from "mAyA tattwa" to "puruSha
tattwa". Engulfed by the `mAyA', the `puruSha', capriciously came to
the conclusion that he was duty bound to accept the fetters of all
the five tattwas viz., "kalA", "vidyA", "rAga", "kAla" and "niyati".
He thought himself that he was enclosed by them as five jackets
(panca kancukAs). In fact all these five tattwAs and the `mAyA tattwa
are just imaginary and not any existent things, the purusha tattwa
with all these six tattwAs is the only single tattwa. "puruShassuKa
duhKAnAm BhOktR^itvE hEturuccyatE". The one who is in dilemma of
"ahamBhAvam idamBhAvam" is really the replica of and not at all
different from the `paramAtma' who has been deluded by the `mAyA',
aspiring for the experience of his wish "sO~kAmayata". This is the
form of "kAmarAja kUtA" (hasakahalahrIm). The two purushArthAs
`artha' and `kamA' are amenable to the effort (kriya), hence it
becomes worthy to be worshipped by kShatriyAs. "hasakam" means, 1.
`tApa trayam' 2. riches of wealth and food 3. improvises the desire
for all kinds of corporeal pleasures. And also — "hasa" = enlighten
upon; "halAm" = understanding; "kam"= brahma (dharma) and, "hrIm"=
yearning for knowledge. So, we have to understand that this is
capable of affording pleasures of both the present and also for next
of the worlds. This `citriNi' is acting in both the ways in the form
of "citi" swarUpam, which substantiates the differential notion
(BhEda BhAvana), the nature of the `agni manDalam' and also in the
form of j`nAnarUpa "cEtanA swarUpam", that endows the non -
differential recognition (aBhEda BhAvana), because of the nature of
"candra mandalam" With upward rays of `agnimanDalam' and the downward
rays of `candra manDalam' mixed together in the form of the
"sudarSana cakra", inwards and outwards, it is acquiring the
administrative talents of SrImahAviShNu. It is viscous, as if to say
that it would be useful as an adhesive in strengthening the concept
of "agnIShOmAtmakam jagat'. It seems that only to indicate, that this
`citriNI nADi' should be
melted to flow down, the word "sKalasi" was inscribed in the SlOka.
We can well say that this `citriNi' is the `mAya', which exists
between `jiivatma' and `paramAtma'. This is the real form of the four
antahkaraNAs, by which the puruSha was immersed in the delusion of
samsAra. With all its upward rays, being extrovert, wrapping up as a
covering around the `citriNi is the "vajriNI nADi". This is the form
of "sahasrArciSha"(the fire), which emphasizes the concept of
perception of the universe. This is the collective form of the twenty
four tattwAs from "prakR^iti" to "pR^ithivi. `rajas tamascABhibhUya
sattwam Bhavati BhArata, rajas sattwam tamas caiva tamah sattwam
rajas tathA ||" What was said as "prakR^iti" in the matching stage of
`guNA's, the same is called as "antahkaraNAs" in the clashing stage
of the guNAs. These `antahkaraNAs' are not at all different f rom the
`prakR^iti' of the `puruSha' who is after all the collective form of
`bAhyakaraNAs' only. Since there is no difference between the
`prakR^iti' and `puruSha', we can substantiate that the `samaShti' of
all these tattwAs is the `puruSha' only. The `p rakR^iti of `puruSha'
which wore the "antahkaraNa sahita panca kancukAs" itself has created
the `panca BhUtAtmaka dEha' which is the aggregate of `panca
tanmAtrAs', `panca j~nAnEndriyAs' and the `panca karmEndriyAs'; and
providing him the experience of viewing the existence of the
universe. The outer most cover like layer is named as "vajriNi". The
"sakalahrIm" of the "SaktikUta" indicates that this `vajriNi'
contains many "kaLAs" and proposing heterogeneity of the world. It
specifies that it consists of all the process of the four
`antahkaraNas', sixty four varieties of `kaLAs', and also the twenty
four kinds of tattwAs. By saying "tasmAd AdhAram ASrayEt", it
signifies that this "vajriNi" is the fundamental basis for all the
four "puruShArthAs" "jamBhO~mSE". `jamBham' means `diversity". Even
though it says, that this `nADi' is the sole proposer of all
diversification, when esteemed as `paradEvata', it hinders all the
activities of the "citta" and strips off all variegation and it
upholds the way for "Kaivalya" too.
"sEyam kriyAtmikA Saktih Sivasya paSuvartinI, bandhayitrI
swamArgasthA j`nAta siddhyupapAdikA ||" Soon after one acknowledges
the `kriyA Sakti' as `parA Sakti' and identifies himself with it, the
personage of "j`nAna Sakti", which is the form of the three kinds of
"antahkaraNa" and the form of "kriyA Sakti" which is called as "bAhya
karaNas" with the Sum total of the mind and the ten `indriyAs' making
eleven, becoming the fourteen types of the jIva`s `kaLA rUpam'
itself, is the all pervading "dESa kAlAparicCinna
vyBhavAdhiShTHAtri", he will be able to realize that "viSwarUpa
prakR^iti itself is the "SivakaLa". "parAparayOh SaktyOraBhEdah". In
fact, all the thirty six tattwAs from `pRithivi' to `Siva' are only
one tattwa and none of them is separate from any one. The indivisible
`Sakti' of `Siva' who is "cidAnandaGana" and "paramAkShara vigraha",
by its own will (iccha), hersef being the "jagannATaka sUtrdhAri",
manifests in the forms of "citi", "mAya" and "prakR^iti" and creating
many forms of diverseness and exhibiting "swAtantrya mahima" of
`paramaSiva' "vartamAnAvaBhAsAnAm BhAvAnAmavaBhAsanam, antah
sthitavatAmEva GaTatE bahirAtmanA ||" What is there in the kailAsa of
brahmarandhra, that itself is situated and found in the "pR^ithivi"
of `mUlAdhAra also "yasyAmantarviSwam Etad viBhAti bAhyaBhAvam
BhAsamAnam visR^IStau, kShObhE kShINE~nuttarAyAm sthitau tAm
vandEdEvIm swAtma samvittim EkAm ||" "sR^iShti" which means that,
whose inside and out side, all this universe is delusively imaginable
in the "kShObha daSa", and when it contracts, who settles again in
the "anuttarAtmaka sthiti", I adore to that the ONE "aKanDa swAtma
samvitti (Atma j`nAna) rUpa paradEvata". So praises "aBhinavaguptA"
for this `jaganmAtA' only. Please excuse me if I have exceeded a ny
limits of sampradAya. krishnarao (SrIparasuKAnandanAtha)
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simhasanESwari