Cidgaganacandrikā - A Study

CIDGAGANA CANDRIKĀ
- A Study
A THESIS SUBMITTED TO THE

UNIVERSITY OF MADRAS
FOR THE DEGREE OF Ph.D
By
Smt.S.MAHALAKSHMI
M.Com.,CAIIB,M.A.(Sans),M.Phil.(Sans)
Under the guidance of

Dr.R.Thiagarajan, M.A.Ph.D.,
Former Prof & Head, Department of Sanskrit,
Presidency College,
Chennai – 600 005.
March 2017
POSTGRADUATE AND RESEARCH
DEPARTMENT OF SANSKRIT
PRESIDENCY COLLEGE, CHENNAI – 600 005.
DECLARATION
I, Smt.S.Mahalakshmi hereby declare that this thesis Cidgagana

Candrikā – A Study” has been prepared by me and this has not been
presented for any Degree or Diploma of any University.
Place: Chennai.
Date:
Signature of the Candidate

Dept of Sanskrit,
Presidency College, Chennai.
ABBREVIATIONS
AG - Abhinavagupta
BG - Bhagavad Gītā
BS - Bhuvaneśvarī stotra
CGC - Cidgaganacandrikā
DC - Divyacakorikā
Isv.P - Īśvarapratyabhijňā
Ka.U - Kaţhopanişad
Ke.U - Kenopanişad
KP - Kramaprakaśikā
KS - Kramastotra
LS - Lalitasahasranāma
Man. U - Māŋdūkhyopanişad
MMP - Mahārthamaňjarī parimala
MNP - Mahānayaprakāśa
Mun. U - Muŋdakopanişad
MVT - Mālinīvijayottaratantra
PS - Paňcaśatīkā
PST - Prapaňcasāratantra
Sh.V - Śiśupalavadham
Sp.K - Spanda Kārikā
Sv. T - Svacchandatantra
Sve. U - Śvetāśvataropanişad
TA - Tantrāloka
TS - Tantrasāra
VBhT - Vijňānabhairava tantra
VBhV - Vijňāna Bhairava Vivŗtti
VKt - Vijňānakaumudi tīkā
VVr - Varivaśyārahasya
YS - Yogasūtra
YH - Yogini Hŗdaya
CIDGAGANA CANDRIKĀ
PREFACE
Sanskrit literature is abundant with various technical sciences

called Śāstra-s. Mantra-s and Tantra-s are the important Śāstra-s which
expound the principles and practices for the fulfillment of materialistic
and spiritual aspirations. “Mannāt trāyate iti mantra:” The contemplation
on the Mantra initiated by an able Guru is capable of warding off all sorts
of difficuties of the Disciple. It also has the capacity of revealing the deity
governed by it to the Sādhaka if done with proper procedures. “Tanyate
vistāryate anena iti tantram”. This is the science of tecnicalities which
spread as knowledge (Jňāna). The acquiring of the right knowledge
protects one from all illusions and results in revelation of the Absolute
truth.
Sādhana under tāntrik path is widespread covering all aspects in

human life. Relation as Guru and Śişya, Işţadevata, Dīkşa, Mantra, Japa,
Puraścaraŋa, Pūja, Homa, Yantra, Nyāsa, Mudra, Kundalini and Cakra-
s are some of the significant aspects of Tantra Śāstra. There are 64
tantra-s. One of the tantra-s called Niruttara is associated with Anuttara
āmnāya or Urdhvāmnāya. Kashmir Śaiva tantra-s fall under this
category.
Present study relates to one of the treatises in this category dealing

with Krama system which forms part of Trika school of Philosophy. The
focus of Krama is the path of retracing the source of the entire objective
world and thus reaching the state of Paramaśiva, the ultimate substratum
of the manifestation projected by His kinetic aspect Śakti/Kāli.Trika,
Krama,Pratyabhijňā are the schools of Kashmir Śaivism with a monistic
philosophy belonging to the Ardhatryambaka lineage.
The work Cidgaganacandrikā (Cgc) is reckoned as a tantrik work
relating to the Krama system of Kashmir Śaivism, composed by Kālidāsa
(Śrīvatsa), in praise of Kāli as the Absolute and the practice of Śāktopāya
to attain liberation.
Sri Siddhanātha (alias Sri Shambhunātha), was one of the most

learned men of the famous Trika school of Kashmir composed earlier
Kramastuti Kālidāsa composed the Stotra Cgc which serves as a
commentary on Kramastuti. Thus, it may be stated that Cgc belongs to
the Trika school.
This work CGC has been published and commented partially by

Arnold Avalon the son of Arthur Avalon. It is divided into four Vimarśa-
s. The first Vimarśa gives concisely the main subject and the next three
Vimarśa-s are like commentaries of the main theme.
Later, two Sanskrit commentaries were also written on Cgc in 1941

and 1980.But so far there is no analytical study on Cgc. Hence, here is an
attempt to present the essence of the treatise which could unravel the terse
technical ideas contained in this work.
The thesis contains eight chapters. The first chapter elucidates the
date and authorship of Cgc. It is an imporant Śaiva Tāntrik text belonging
to Kashmir School of Tantrism attributed to Kālidāsa. Cgc states (
V.305) that it is a continuation of Kramastuti by Siddhanātha. The Cgc is
stated by Srivatsa the author as a commentary Paňcika on the Krama
Stotra of Siddhanātha.
The Second chapter the “Gleanings from the first two Vimarśa-s
of Cgc” provides the excerpts of the single English commentary made
available by Karra Agni Hotri Śāstri (Dhanadhānanda nātha). It explains
the various topics covered under Cgc in an elaborate manner.
The Third Chapter is a comparative analysis of the first two
Vimarśa-s, based on the two available commentaries viz., Divyacakorika
and Kramaprākaśika. Topics of the first two Vimarśa-s cover the
following :-
Śivatattva, Prakāśa-Vimarśatattva, Īśvara tattva, Brahmasvarūpa,

Pratyabhijňā, Śakti tattva, Bhedakāraŋa, Guŋa traya, Īśvaraśakti, Jňāna,
Dhyāna, Ekāgratā, Śŗşţi, and Samhāra, etc., from the I Vimarśa. Then,
Vimarśa lakşaŋa, Vāmāśakti, Parā-paśyantyādi-vākcatuşţaya, Dhāma,
Anāhata svara, Kalā, Mātŗka. Nādabindu, Ādyaspanda,
Khecaricatuşţaya, paňcavāha, Unmanī, Prakāśa, Citta, Vāsana,
Parātattva, Sāmarasya, şodaśa kalā, Upāsana-sādhana etc., are detailed
as found in Vimarśa II .
The fourth chapter is a comparative study of the Third Vimarśa

based on the above two commentaries.It deals with matters regarding
Upāsana, Pīţhotpatti, Pīţhacakra, Pūjaprakaraŋa, paňcavāhacakra,
Kalā, Kundalitritaya, Śivamūrti, Pankti, Divyaugha, paňcavrtti,
Guruvŗŋda, Ānandacakra, Prakāśacakra, Vŗŋdacakra, Mantraśakti,
Mudra, Śivarūpa, Śūnyapada, Śŗşţi, Anta:cakra, Vŗŋdacakravyāpti,
Nāda, paňcayoni, Pūrŋaprathā, Khandacakra, Vyomatattva, etc.,
The fifth chapter, similarly, forms a comparative analysis of the

fourth Vimarśa of Cgc. It deals with Şadadhvā, Candikā, Pūjadravya,
Pūjarahasya, Vimarśasvarūpā, Srutipramana, The Stula(gross) form of
the Devi, Mantraśakti, the different forms of Kāli, Nāda, Sudhāsindhū,
Samvitpadma, Māyākarŋika, Prakŗtimaya pātra, Pīţha, Pretāsana,
Pūjādhikāri, Kālisvarūpā, paňcavāhakrama, Mūrticakra, Turīyapada,
Jňāna sādhanā, Caranavidyā, Samhārakrama, Mantrapīţha, Vyomarūpā,
Yantra, Navacakra, Gurūparampara, Gurupāduka, Jňānanişţha, etc.,
The sixth chapter discusses Cgc in detail and the impact of
Kashmir Śaivism.The seventh chapter deals with influence of Krama
system and Trika school on Cgc. The eighth is the concluding chapter
which establishes Śrīvatsa-Kālidāsa’s concept, tradition and philosophy
of śakti worship.
Appendices contain the Select Bibliography, Tables, Śloka-s,

Pictures and an elaborate Glossary of Tāntrik terms.
My gratitude is first due to Sri G. Narayanan, the Grand-son of my

Paramaguru Sri Cidānanadanātha of Guhānanda mandali who had written
an article in one of the Srividya Journals about the scope of research in
this topic.
This was further nourished by the suggestion of my guide Dr.

R. Thiagarajan and hence the topic was chosen. Mrs. Rajamma
Suryanarayanan a Srividya upāsikā also had given references of Cgc, in
her commentary on Lalitha sahasranama based upon the work of Sri
Bhaskararaya makhi’s work called Sowbhagyabhaskara. This gave
impetus to our choice.
I thank Sri Goda Venkatesvara Sastrigal for his explanations on the

verses of Cgc in initial stages which helped me to pursue my effort.
I place at the feet of my guide Dr. R. Thiagarajan, the former Head

of the PG & Research department of Sanskrit, Presidency College,
Chennai (Autonomous), my sincere thanks, for the appropriate guidance,
moral support and encouragement. I thank Dr. O.R. Devanathan the
present H.O.D of Sanskrit, and the Principal Presidency College for their
help, encouragement and support.
I thank my husband Sri S. Balasubramaniam and my son Sri B.
Ashwin for their constant support. I thank my brothers and sisters and
my sister-in-laws for their good wishes.
I thank my friend, philosopher and guide Mrs. Muthulakshmi for

her constant encouragement. I thank my friend Mrs. Praveena
chandrasekhar for her sincere prayers for my success. I thank my Guru’s
grand-daughter Srividya Sairam for her motivation.
I salute the authors of all the works mentioned in the Bibliography

for affording me the tools for this reaearch. I thank KSRI and Adyar
Library and Sri Ramesh namboodari, Mrs. Usha G Narayanan of
Guhananda mandali, Smt. Ushadevi President of Shyamala
satsangamandali and my Guruputri Smt. Shantakumari for helping me
with reference books and details on Kali worship.
I dedicate this thesis to my departed Parents Sri. M. Saranathan and

Smt. Rajesvari Saranathan and my Sadguru Champakambika Smt. Janaki
Natarajan who inspired me in Srividya worship.
S. MAHALAKSHMI
CONTENTS
Chapter Page
Title
No. No.
CERTIFICATE
DECLARATION
PREFACE
ABBREVIATIONS
I Introduction 1
II Gleanings from the first two vimar -s of Cgc 11
III The discussion on the first two Vimar a-s 38

based on Divyacakorika and Kramaprak ika
IV The discussion on the Third Vimar a based on 79

Divyacakorika and Kramaprakasika
V The discussion on the Fourth Vimar a based on 118

Divyacakorika and Kramaprak ika
VI Cgc and Philosophy of Kashmir tantric system 172
VII Cgc and the Concepts of Krama system and 223

Trika school
Conclusion 244
Bibliography
Tantra words-Glossary
LIST OF TABLE
Table of aktip ta
Table of aktikuta
Table of Devi Manam
FIGURES
Chart of Pratyahara of Panini
Chart of Divine Manifestation According to the Saiva Agamas
Chart of Pancabrahma Veda Mantras
Chart of Cosmic Manifestation
Chart of Four Levels of Speech
Chart of Sri - Yantra Cosmo Gram
Chart of Mudra Vidhanam
Chart of Lineage of Krama Preceptors

Cidgagana-Candrik – A Study 1
CHAPTER I
Introduction
The Text Cidgaganacandrik
The Cidgaganacandrik , an important aiva T ntrik text with the

intricate style, is attributed to K lid sa not the one popularly known.1 This
work is in the form of eulogy of the all powerful goddess, the Par akti. It is
like the moon light pleasantly reflecting simultaneously the ultimate knowledge
of the absolute upon the Macrocosmic as well as at the Microcosmic
phenomena. There are four vimar a-s (reflections) in this work. The first
Vimar a contains 22 verses; the second contains 52 verses; the third contains
105 verses; the fourth Vimar a contains 133 verses; totally 312 verses.
The author
The name of the author of Cgc is often confused as the Popular K lid sa
as there are some similarities in many places of the text about his authorship.
In the benedictory verse the author says:-
“iha k lId sa candrapras tir nandini stutir vy jat/” 2
The ending verses of the work also reiterate the same fact:-
“siddhan thak tatatkramastute: k lId saracit ca pa cik m/”3
“k lId sapadav m tav ritastatpras dak tav gvijrumbha a:4
The Importance of Cgc
Gorak an tha alias Mahe var nandan tha in his ‘Parimala’-

commentary on his own work “Mah rthama jar ”, to emphasize his own
views on Krama doctrine, has quoted several verses from the
Cidgaganacandrik . Bh skara R ya alias Bh suranandan tha, in his
‘Sowbh gya-bh skara, a commentary on the Lalit sahasran ma, mentions
Cgc as authored by K lid sa and quotes the verses from it. Amrt nandan tha,
too, in his ‘ pika’ commentary on the ‘Yogin daya,’ has refered to this
celebrated work. Kaivaly srama, a pupil of Govind rama, in his ‘Saubh gya
subodhin Tika on Anandalahari refers to the Cgc as the work of K lid sa.5
Problem of authorship
There is room for the conjecture that the great poet K lid sa could be
the author of a work on Tantra also because of his supreme devotion to
Goddess K li from whom he obtained the gift of his unparalleled poetic genius.
This work Cgc also deals with the worship of li . In many places of this
work, while speaking of the glory of devotion, the author addressed the Dev as
li and introduced himself as K lid sa, the devotee of li . He says:-
‘kevalam tadanuvar ane apyume tvanmude tadapi d sajalpitam 6
The proposition ascribing the Cgc's authorship to this famous K lid sa

has been reiterated and echoed several times. For, the last line of the second
opening verse “sanm rg lokan ya vyapanayatu sa vas t mas m v ttimi a: (cgc
-I-2) is practically the same as the last line of the opening verse of the
Mal vik gnimitra of K lid sa. This leads to the supposition that the Mah kavi
lid sa and the Tantrik K lid sa, the author of the Cgc, are one and the same
person. According to the traditional view the Goddess li pleased with
lid sa’s devotion, out of pity marked upon his tongue the ka letters
( ara-s) which endowed him with a ready wit in speaking and versifying.
After that he came to be known as a Mah kavi and became a devoted
worshipper of li .7 His stotra mal da daka, praises the glory of tangi
who is one of the Mah vidy -s in the ntric system.
These factors have led the editor Svami Trivikrama Tirtha of the
Calcutta edition of the Cgc to concede its authorship to K lid sa. Karra
Agnihotri astri, the erudite modern commentator on the text, fully endorses
his views. To cite an instance, he finds an implicit reaffirmation of the
Abhij na- kuntala's eightfold Puri-s in the eightfold structure of the nda-
cakra.
The passages from the Cgc quoted by Bh skarar ya in his commentary

famed as Saubh gya-bh skara on the Lalit sahasranama have been
acknowledged by him to be the assertions of K lid sa occasionally with

reference to the name of this text. Similarly, astri has invoked the support of a
Tantric text called dayacandrika by Kavi Cakravartin which explicitly
identifies the author of the Cgc with K lid sa. But it must be frankly stated that
a host of scholars, who have profusely quoted from the text in question, have
maintained complete silence over its authorship. Among these are
Mahe var nanda, Am nandan tha and Kaivaly rama.
The concluding line of the Cgc ‘ nararthamah guhyam rivatso

vidadhe sa tu’ suggests that the author was known as rivatsa -perhaps his
gotra name. This is the line which is of key importance in connection with the
authorship issue. Even to this last line, astri accords an entirely mystic
interpretation taking him as a crest of meaning called rivatsa.
Date of Cgc
But, the documentary evidences relating to the date and authorship of

the Cgc go against the above views. The loka 305 of Cgc, states that it is
more or less a supplement of Kramastuti by Siddhanatha who is also known as
ambhunatha. P thv dhar rya in his Bhuvane vari stotra confirms this view.8
So there can be no doubt that the Cgc of K lid sa was composed after the
Kramastuti. But Abhinavaguptapada also composed another work named
Kramastotra. Again, it is known that ambhunatha and Abhinavaguptapada
lived and wrote in the same age. To be a little more precise, it should be made
clear that from ambhunatha, Abhinavagupatapada gathered a complete
knowledge of the purport and mystery of the Tantra-s, and then began writing
Tantra-Nibandha-s. 9
Abhinava composed hat-pratyabhij -vimar i, in 1014

A.D.Probably the Cgc was composed a little earlier than Abhinava’s
Tantr loka. The date of the composition of Cgc may, therefore, be fixed near
the beginning of the 11th century A.D. The date of the great poet K lid sa of
immortal fame, was certainly predated.
From the references to Mat gupta obtained from Kalhana’s

jatara gi i10 it appears that he was regarded as the K lid sa of Kashmir,
who lived during the time of Emperor Harsa-vikram ditya of Ujjayini. He
belonged to the Trika school of Kashmir.Further, in the Prabandha-Kosa by
ja ekhara it is stated that there were three poets of the name of K lid sa,
Abhinava K lid sa, and Nava-K lid sa.(9th-10th cent A.D.,)11 There is a work
on astronomy named JyotirvId bhara a, so also Uttarak lam ta, that also pass
in his name. But later researches proved that these works were written by some
later authors. So much so that different types of works belonging to different
ages composed by different unknown authors have been wrongly ascribed to
him. The attempt to ascribe this Cgc also to Poet K lid sa, seems to have been
inspired by some later scribe or scholar who did not think of the chronological
discrepancies involved in the matter.
rivatsa K lid sa
The time of the author of the Cidgaganacandrika is not as puzzling as

his identity. Cgc is a commentary described as Pa cika by him, on the Krama
Stotra of Siddhan tha. In autobiographical references, he too introduces
himself as K lid sa. He mentions one iva as a pioneer of the perceptorial line,
Cakrabh nu as an eminent teacher and Soma as the concluding figure of the
lineage to which the author pledges his allegiance. The author received his
tuitions in Krama from the son of Soma.(Annexure-Krama lineage)
This justifies that he is not the legendary K lid sa, but a different
person. Cakrabh nu and Somar ja, and for that matter his son, more or less
have a definite chronological status that puts them within a century's bracket
running from 1050 to 1150 A.D. as they come in preceptor’s hierarchy. Even
the earliest limit cannot go beyond the tenth century, because the author of the
Krama Stotra i,e., Siddhan tha, belongs to the first half of the tenth century.
But since the author maintains direct doctrinal and scholastic affiliation to
Cakrabh nu etc, his date can not be pushed back to 11th or 12th cent.A.D.
Besides, the earliest references made to this are by Mahe var nanda who
belongs to the close of the twelfth and beginning of the thirteenth century.
Therefore his date cannot be advanced either. Had he flourished much earlier,
the early texts could not afford to ignore him altogether. Therefore, on every
count, the present author is different from the great poet.
Further, Mankha (1127 - 1151 A.D.) refers to a pair of the two celibates
namely Bhudda and rivatsa in course of his description of the literary circle of
his brother and heaps an exceedingly high praise on both of them for
unparalleled poetic richness and beauty of their verses - as if Goddess Muse
herself put a stamp on the wealth of their poetic art. rivatsa, therefore,
belonged to this period.
Internal evidence
The author of the Cgc in the last verse gives out his name as rivatsa in
an assertive tone. K lid sa seems to be his honorific title and not his actual
name, according to his own statement. Due to the grace of Divine Mother, his
unique literary and spiritual accomplishment fetched him this valued title.
rivatsa, the author of the Cgc,thus seemed to have secured the title of K lid sa
for his poetic brilliance, ingenuity and achievements.
The necessary corollaries that follow in the wake of such proposition are
that the author of the Cgc was rivatsa. He was a pupil of Soma's son who
perhaps was also known as Gupta. He belonged to api ha, the centre of his
spiritual activity, where he wrote his Pa cika on the Krama stotra.
This Srivatsa alone is certainly the author of Cgc. Probably, he was

much influenced by the writings of the famous K lid sa which made him to
reflect certain lines or ideas of him.
The structure of the work
The whole work, according to the author, comprises three hundred and
nine verses in traistubha metre, However, there are in all three hundred and
twelve verses in the printed edition and the first two verse are not in the above
metre. Thus the total number of verses in the above metre amounts to three
hundred and ten and if the last verse pertaining to the author himself is
excluded, the total corresponds to the figure mentioned by the author.But it is
doubtful that the original text has come down to us in full, because a few verses
quoted by Kaivaly rama, Amrt nandan tha are not traceable to the printed
text.
Critical Estimate of the work
The Cgc is in the form of prayer addressed directly to di akti. It

reminds all ontological aspects on principles of worship. The text of Cgc has
four divisions of expostions called Vimar a-s (the creative power or the
reflecting Principle)The first of the four divisions serves as the prelude to the
central idea of the entire text in a concise form. Other three divisions augment
the main theme, as if like the expansions.
Contents of Cgc
In Vimar a I, the author deals mainly with ivatattva, Prak a-Vimar a

tattva, varatattva, Brahmasvar pa, Pratyabhij , akti tattva, Bheda k ra a,
Gu atraya, vara akti, J na, Dhy na, Ek grata, i, and Samh ra, etc.,
In Vimar a II Vimar a lak ana, V akti, Par -pa yanty di-v k

catu aya,Dh ma, An hata svara, Kal , M ka. N dabindu, dyaspanda,
Khecaricatu aya, Pa cav ha, Unman , Prak a, Citta, V sana, Paratattva,
marasya, oda a kal , Up sana-s dhana etc., are the subjects chiefly
discussed.
In the third Vimar a there is a description of Up sana, P hotpatti,

hacakra, P prakara a, Pa cav hacakra, Kal , Kundalitritaya, ivam rti,
Pa kti, Divyaugha, Pa cav tti, Guruv nda, nandacakra, Prak acakra,
ndacakra, Mantra akti, Mudra, ivar pa, nyapada, i, Antacakra,
ndacakravy pti, N da, Pa cayoni, P rnapratha, Kha dacakra,
Vyomatattva, etc.,
The fourth Vimar a deals with adadv , Ca dika, P dravya,

rahasya, Vimar asvar pa, rutipram a, The St la(gross) form of the
Devi, Mantra akti, the different forms of K li, N da, Sudhasindhu,
Samvitpadma, M yakar ika, Prak ti-maya p tra, P ha, Pret sana,
dhikarin, K lisvar pa, Pa cav hakrama, M rticakra, Tur yapada, J na
dhana, Cara avidya, Samh rakrama, Mantrap ha, Vyomar pa, Yantra,
Navacakra, Guruparampara, Gurup duka, J nani ha, etc.
This apart, principles that are exclusively known to the Up saka-s, such
as Pa cav ha, Dv da akti, Khecari, Gurukrama, the different forms of
Ady akti that are worshipped, krama, adadhv , Bh vana, the
consequence of Bh vana, the Mantra and Mantra akti, ra, Rava, ru, the
practical results of Mudra etc., have been discussed as matters of importance in
many loka-s in every division of the work. In the concluding ten stanzas of
the text, the author has explained the purpose and impact of his compostion.
Cgc and Trika school
The author of the Kramastuti ri Siddhanatha( ri ambhunatha), was

one of the most learned men of the famous Trika school of Kashmir. Though
lid sa composed Cgc in the form of a commentary on Kramastuti, it follows
the Trika school also.
Cgc and li forms
Cgc elaborately deals with the forms of li, unknown to Bengal and
southern India viz. i K li, Sthitik li, Samh rak li, Raktak li, M tyuk li,
Ca dograk li, K la kar ik li etc., described later by Abhinavagupta and
others of Kashmirian tradition.
It does not mention such forms of li as Guhyak li, Hamsak li,

mas nak li, Dak ak li, Kamakal li, and Guhya na K li etc.,
which are worshipped in Bengal and Kerala. Cgc mentions about
la kar i K li which is dealt with elaborately, in the prologue of
Anuttar mnaya prakarana of Cidambara Tantra.
Paratattva up sana
lid sa in his Cgc speaks about the up sana of Paratattva (worship of

the Supreme Principle) in the form of dy akti K lik . Abhinavagupta, too,
reiterates the same thing in details in his Tantr loka and Tantras ra. There is
no doubt that K lid sa was prior to Abhinavagupta; but both of them were
from the same traditional line of Guru-s. This is evident from a few verses in
the first and fourth Ahnika of the TL.
Significance of Guruparampara
Guru-s, in Tantra stra, impart the knowledge of the secrets and

technicalities of their science to the disciples, traditionally transmitted to
Posterior generation. (samprad ya). In case of a break in this system due to
want of disciples the secrets known to that school die with the ultimate Guru;
For this very reason, the secrets current among the members of one particular
school, are guarded against the members of other school, Hence, Kumarila
Bhatta, the great Mim msa activist of the Veda-s, got himself initiated into
Buddhism, and mastered the essence and spirit of the non-Vedic religion.
Gradually the links in the chain of Guru-s and isya-s of the ntrika schools
broke and because of this the secret principles of the tantra-s became garbled.
This paved the way for misinterpretation of the ntrik doctrine resulting in
the loss of faith.
The Secret Principles of Up sana
Vedic worship, has been discussed in the Agama stra-s, and explained
by Raghava Bhatta in the very beginning of his illuminating commentary on
rad tilaka. The knowledge of the Mantra-s are the basis for rituals. The
knowledge of abda is essential to know the meaning of the mantra-s.
“Securing the knowledge of the secrets and techniques, of this particular school
of Tantra, is necessary to catch the secret principles of Up sana focussed in
Cgc, from one who has obtained this knowledge in an unbroken line of
discipleship from the author. When Arnold Avalon wrote this in his
introduction to the work edited by Sw mi Trivikrama Tirtha at Calcutta in
1937, there was no Commentary available.
Two Commentaries
At present, there are two commentaries written subsequently and

available on this Cgc. “Divya cakorik ” is a commentary written by Agnihotri
tri in the year 1941 which was published by ri arada Printing Press,
Amalapuram. Yet another commentary called “Kramaprak ik ” was written
by Pandit Raghun tha Mi ra and published by Sampurnand Sanskrit
Visvavidy lay , V ran si, in the Year 1980. Agnihotri tri has given also the
English translation for the first two vimar as only of Cgc. His style of
explanation is too vast and hard for the Up saka-s to understand the nuances
and technicalities he often uses in his Divyacakorik . Kramaprak ik written
by Pandit Raghun tha Mi ra, on the other hand is relatively understandable.
Hence an attempt is made to study this Cgc mainly with the help of
Kramaprak ik with out totally ignoring Divya Cakorik . It is to say, where
ever the views of Agnihotri tri are relevant and appealing, they are also
incorporated in this study.
The next chapter deals with the content of the first two Vimarsa-s based
on the version of Agnihotri tri.
Chapter I: Introduction
Notes
1 Pandit Trivikrama Tirtha. (vide:Intro. by Arnold Avalon, Cidgagana
Candrika)
2.
Cgc - Vimarsa – I – Verse 3

3.
Cgc - Vimarsa – IV – Verse 305

4.

5. Cf. Catalogus Codicum Sanscriticorum (oxf,), p. 108.
6.

7. Vide: Intro by Arnold Avalon, Cidgagana candrika, Fn.P.2
8.
-
B.S. Verse 37.
9.
– T.S.
-
Paratrimshika
10 Ct. “Matrgupta was, according to Kalhana, a predecessor of Pravarasena the
celebrated author of the Sethubandha), and his personality nas suffered a
confusion with Kalidasa by unwise conjecture”
Keith,A Hist of Sans Lit, p132 Ct-Winternitz, Gd; Levi,TI.i, 183f.
Stein fixes the dates of Mtrgupta and Pravarasena to be the latter part of the
6th cent A.D.,-Stein,Rajtar, III.125-326.
11. Aufrecht;Cat;Cat, P I, p, 99.
CHAPTER II
Gleanings from the first two vimar -s of Cgc
Invocation to Lord Ga a
Lord Ga a is invoked, as the dispeller of the yamala or illusion.

He is like the full moon shining on the calm milky ocean. He creates all of a
sudden, an upheaval of incessant roaring waves, foaming white with spray, at
the calm and deep speech centre, Cidvyoma, cave of the heart. He is shining as
the prime cause or the first impulse,”prathama spandar pa’, a sound, that
reaches far and wide, resulting in lustrous, sprayful, incessant speech waves.
Ga a- Lord of Ga a-s, the fifteen channels through which sense group flows
out( fifteen-Karmendriya-s, J nendriya-s, and Tanm tr -s) has his trunk in
the form of the sanskrit seed letter ‘ ’ (personal Ego). He is the result of the
three fold power - Knowledge, youthful Desire and Action practical (Kriy -
k, Dant sya:,and akti-Janm ).1
Invocation to iva
vara is invoked as the dispeller of rma amala-desire of doing good

and evil. The supreme Lord vara or la’s true nature can be conceived or
understood as the apparent entity or seeming separate existence of three fold
creation- Visible, Subtle and Invisible or the formal, the Spiritual and the
Divine creation. He is of lustrous form and his action flows in the form of
Power Discriminate, in whose wake or by whose presence the creation exists or
seen. He is invoked to light the path of true knowledge or give the eye of true
knowledge.2
Purpose of the Work Cgc
The work Cgc is praised as the dispeller of avamala, the imperfect

Ahamt both in the Siddh and the dhaka, the author and the reader, and
incidentally mentions his name lId sa. Siddh emphasises that the pain of
the fire of ocean of Sams ra, the illusion that the ‘I’ Aham is imperfect or
limited, i.e., avamala, will be cooled or quietened by the bliss or nectar in the
form of this treatise or work, Cgc, born of the moon, the poet lId sa. ”By
the different readings in this verse, ‘ ’or ‘‘ ‘, your or our, it is suggested
that the seekers after the truth have the three Malas, illusions; whereas the
Siddh has only the avamala and to him the sams ra flows as Divya-bh va;
It hints the fourfold path of a devotee. The S dhaka stands on the plane of
Vij na and Pralay kala-s; whereas the Siddh stands on the plane of Sakala
and rises to the Ni kala, the place of oneness, the Par pada.3
Fruit of Up sana
Siddh mentions the fruit of Up sana, the understanding of the work

that leads to the truth, through the four-fold path of Vi aya, Prayojana,
Sambhandha and Adhikari. He states that if dhaka always has the Sadbh va,
the desirable desire at his heart, to see always through the eye of the mind the
Supreme le vara and finally to become one with the Supreme or obtain
Fullness, then he can proceed further with this treatise or work. Cgc is a
revelation of Siddh ’s experiences. A search by dhaka to find the treasure
embedded in this work will lead him to his eternal good.4
Non-difference Between Up saka and Up sana
Siddh says that he at the state of the impersonal I or pure self, the
seeker or knower after Truth, enthroned in the cave of the heart,’Cidvyoma’ has
gained an inner sight and has become one with vara or ivak la. He is
beyond knowledge or action, shining in all His perfection, the Destroyer of all
Dualism. As an instument of ivak la he reveals the nature of truth from this
state.5
iva and akti are Divine parents
iva- akti are the Divine parents in the six fold path.The pure Self in its
word abda-state, by nature, knowledge or Truth itself, is none other than the
Divine li, the unrevealed word(Mah da), at the centre, the cave of the
heart. la is the meaning(artha), lustrous by nature. The word and its

meaning, K li-K la, constitute the impersonal Ego, shining together in creation
as its form and spirit, as nature and its inner spirit, as the Divine Pair, ruling in
the six-centered path of ‘ umn ’ the spinal column. I, Aham, exists in and
permeates through that Pair as liK la the knowledge-pure and simple.6
Rudra is Manth na Bhairava
Bhairava churns i.e. dissolves all objects into Self-consciousness.

lId sa submits that he clings to the visible churning rod, Rudra Manth na
which is the space or visible creation. It is encircled by the churning thread -
the eye of li- time, supported by the radiant rays of nectar- Sudh ready to
be offered to li. Siddh says he is la, the known, the visible world. Thus
he is the knower, the knowledge and the known.7
The true nature of the dual-Deity the la-K li
Siddh informs that I, the pure self, the impersonal Ego, the combined
form of the word and its meaning, the heart of all creation, born of the three
Gu -s or Virtues (Sattva-Light, Rajas-Light and Darkness, Tamas-Darkness)
is one with the dual self la-K li. He is in the hearts of the three different
types of human creation- the Higher, the Medial and the Lower. One in the
Lower stage sees himself and creation as real and has no knowledge of la.
One in the Medial stage knows himself and the world imperfectly and has a
glimpse of K la. One in the Higher stage knows himself and the world as none
other than la. Bhairava is eternally present, in the past, present and future as
the inner self of all beings in all states. la shines as self in the hearts of the
dhaka-s.8
Meditation on the line of Spiritual preceptors
The Siddh recollects the lineage of i-s starting with Patanjali, with
respectful devotion, who mentally realized themselves to be in union with
le vara as abda and Artha or both, in whom the creation lives or who in
turn live in creation. He is known as Puru a because of his all pervading

nature, the dispeller of the three kinds of Mala-s or pollutions of the mind,
word and body.9
The inseparable form of iva- akti
The Siddh has his seat in the inner sky. He is none other than the Truth,
the Cidgagana- the centre of the five-fold da. ( given in detail later in the
work) This Cidgagana is the eternal source of the two-fold power viz. li
and K la a state without name and form that shines as (Vyoma) the inner sky.
It is the ever shining inseparable combination viz. la-K li or iva- akti by
virtue of the lustrous rays of the word and its meaning.10
Ambik , the aggregate form of Pa ca akti
The word and its meaning are inter-dependent. The li and la forms
are one and the same. By li ’s state or Power with varied lustrous forms, the
true nature of the indivisible One-ness of le vara, is understood or
conceived. The Siddh bows to Ambik the presiding Deity of the entire 36
individual elements that are invisible. They are the ivakal Tattva-s of nature
or forms.11
Ambika is Kil sa.
There is the highest peak of Kil sa, the highest pinnacle of Sattva(Light)
predominating Rajas and Tamas. K le vara lives in that luminous mountain
Kil sa. That Kil sa is Ambik . It is to be recollected here that : refer
to Atma-Par -mantras in the path of realization. In ignorance there is an

assumption of a mountain Kil sa, in the Himalayas and one vara living there;
but where fire of knowledge burns, the tk ra i.e the experience ( :-
), “ ”, reveals the non-dual state, the ttvic Kil s.12

The nature of Cit the form-less state.
The Siddh bows to the pure Self “cit”- the Impersonal Ego, which is
beyond the conception of the mind and the senses; which is beyond the concept
of the knower, knowledge and the known; which shines as creator and
destroyer between creation and destruction; which exists in between thought
and non-thought, the form-less one.13
Sat, Cit and nanda; ( Truth, Knowledge and Bliss).
The Siddh then resorts to the abode - Sat, Cit and nanda of Ambik
where she shines as the united form of word and meaning, name and form in
14
the unlimited variety of diverse creations.
External Manifestations of Bhav ni
Addressing the akti as Bhav ni ( the queen of Sams ra or Creation) the

Siddh says that Vidhi and Ni edha (ordained and denied as means to attain
the self-illumination and realization) through evolution and involution of the
space, time and knowledge; or mind, genus or species and body etc.are all her
15
external Manifestations.
State of Amb as the three Gu -s and their Impact
Siddh invokes Amb as existing in the ‘I’ Ahamt in all beings as

Sattva (sat), the illuminous light; Mine or Mamat as Rajas ( sat and asat) and
as Idanta- pointed as that or this ( or ), i.e Tamas(Asat)-Darkness. In
other words, when she is conducive to harmony and producing universal love
she is Sattva. When she reverses it she remains as Tamas; when she blends
both She is in Rajas. In all Gu -s her manifestations remain pure. 16
The visible form of Amb as Fire, Water and Earth.
Next, akti is invoked by the name Siv . Siddh says that the three
gu -s are her three fold divine body both the Invisible and the Visible. When
she is in the state of Tamas or Darkness she represents thvi-Tattva, (Earth)
Her ttvic body is Tejas or Agni; The mixture of both is Rajas. All the three
gu -s are born of her quiet nature- nt or ama. So she gradually creates
and evolves in her nt form (calm state) as Fire to Water and then to Earth .
While destroying she is in her Ugra or (Fierce) form. Thus, the world exists by
her ttvic nature, but in the physical form of the three gu -s.17
Amb the Supreme wealth behind vara
The Siddh then praises Amb calling her as the supreme wealth of her
Lord, vara in visible creations. This awareness resulting in the pure
knowledge and action leads the seeker to the highest or a perfect state qualified
by non-attachment.18
Amb in Dual and non-dual aspect.
The Siddh calls Ambik as Knowledge (Vidy ) shining subtle as light

in the heart. It spreads or lightens the whole sphere of Arthama ala. The
meaning of word symbolized as half-circle (Ardha-bindu) and full circle
(Bindu) whose external form is the objective creation. When these two semi-
circles (ardha bindu-s) are opposite, it is in vimukha state which is Amb ’s
masic body. Amb in this state shines as Truth in her dual aspect, when she
brightens T masic body. However, there is yearning for the fullness
( abh va). When the semicircles are in unmukha or sumukha state, facing
each other they become one Complete circle (bindu) when Amb shines with
her ttvic body as one in her non-dual aspect in every thing 19
Amb as Ca i transcends khya and Yoga
The Siddh addresses Amb here appropriately as Ca ika. She with the
grace of Rudra (Lord of destruction) approves the views of the preceptors of
two paths khya and Yoga (knowledge and action), as equally useful in
attaining the end, as long as they shine in their conceptual form; but if they
manifest in Perceptional form as theory and practice ( khya is dualistic
realism, yoga – which treats citta intellect alone as the means of realisaion)
She as Ca , (anger incarnate) excels above their Philosophy and destroys
both their views in a wink.20
Moon the motif of creation and destruction.
The Siddh addresses akti as Siv as bathing in the light born of her
self or bathing the world in her light. She is the full moon, ‘ im ’. While
shrinking or with-drawing the light, she becomes the new moon, ‘am sy ’
or ‘kuhu’.Light and darkness exist together at a time for the visual eye.
Likewise, she exists simultaneously as light (creative force) and as darkness
(the destructive force) at a time. In other words, creation starts where
destruction ends and vice versa. Thus both light and darkness constitute her
nature in her full and Perfect state.21
Nine a-s (measure of Time)
The Siddh now addresses akti as li suitably. She shines as time, (as
the eighth day of the dark or bright fortnight ( a and ukla a amis) in the
‘pit a, i.e between im and am sy .) Though she shines as such
time without distinction apparently creates a gradual distinction in time as night
and day, months, seasons, years etc., and removes the same and exists as the
eternal Time ( li); In other words,she neither creates nor destroys time. She
is the unbroken and the endless flow of time ( la cakra), apparently day
killing night and night devouring the day. They are the opening and closing of
her eyes”.22 Here the suggestion is that the full moon as knowledge dispelling
non-knowledge i.e new moon and in turn new moon shading or swallowing
knowledge i.e full moon.
(Thus ends the First Vimarsa)
The Naure of ever liberated soul
A dhaka who gains the knowledge shown in the first Vimar a, will
be a mukta.The naure of nitya mukta, of ever liberated soul, is defined by the
Siddh .According to him a ni is liberated, who realizes through buddhi,the
three fold form of Devi, as the knower, known and knowledge. He shines
through her will knowing her as subtle and pure. The wise who sees her as
knowledge as well as the cause of knowledge is liberated.23
li the Kinetic and ivak la the Potential
A wise man, who knows ivak la as power discriminate shining in

between creation and destruction, who is untouched by both, doing nothing,
but known through both, and li as destroyer of creation or creator of
destruction having the three fold knowledge as her face, is liberated24
Prayer to dispel the avamala.
The Siddh then prays to Amb for dispelling his avamala (i.e the
awareness that he is an atom) that envelopes his body in its three stages of
birth, growth and death; That avamala aided by the illusion in its double
capacity as the knower and the known depends on creation as real and that
creation takes the form through the external sense perceptions.25
Misconception removed
When the avamala is dispelled by li’s grace like the snow or

darkness dispelled by the lustre of the Sun the awareness comes through the
vision or conception that li is at the root of all actions(karma-s) or at the root
of all external sense perceptions, or the perceptions themselves. The
realization dawns now as nothing is done by himself and all his actions in the
form of the three fold karma- past, present and future, result through the
different san -s or attachments, influenced by the illusion. Thus the
avamala is destroyed.26
li realised as one in all dual creations
Addressing Goddess Amb the Siddh then says that the s dhaka
through his secret and peculiar introspection becomes aware that all that is
acquired or seen are nothing but her Self. He through his external senses, sees
oneness in all dual creations. He knows everything in the world as her body
damaya or abdamaya.27
The State of iv in CId a
Addressing as iv , the Siddh says that her powers that are in the sky
of the cave of the heart as means to the threefold knowledge, stop all external
activity and have their being in herself. In that state she shines over and above
that path or state.28
vari leads Siddh and S dhaka to CId a
She as vari glowing through the seven channels- eyes, ears, nostrils
and mouth- external sense perceptions and standing aloof from the dual
creation, leads the Siddh or dhaka to the iva or la’s pada or abode, by
the method of either evolution or involution. That abode (pada) is Cidvyoma,
sky of knowledge quiet and lustrous.29
Spoken word incapable of revealing Par mb
The Siddh says that Amb is known as k- word in its pure form as
par , in the unspoken state who shines as the knower, the knowledge and the
known. Vaikhar , the spoken word can not reveal her. If at all it reveals her, it
simply spells that she is la.30
Place of Par k
Amb is addressed as le vari the mistress of vara. She is

Mah bindu, or p a bindu. She is Mah sarasvat , Par k, sound in its
unheard (an hata) state. She stands in between one group, da-bindu-kal
and other group pa yant -madhyam and vaikhar . The powers of
discrimination are of two kinds, the higher and the lower. da, Bindu, Kal ,
sound, sense and word are subconscious in their higher state before they are
heard or uttered an hata.. They are in hat state when they become
components of the revealed word. Bindu shines as Pa yant (the desire to
express). da becomes Madhyam , (the process of expression). And, Kal
becomes Vaikhar which is the spoken word. The na and Kriy kara-s,
rays, in full form become knowledge understandable by the hearer. The da,
Bindu, Kal of the super plane, are subtle; as Pa yant , Madhyam and
Vaikhar they in turn become purely material as destruction, protection and
creation of the visual world. Thus in between the two forms of power she
stands as Par k, the pure unruffled state, constituting the seven channels of
knowledge.31
Revelation of vara
Siddh prays to Ambik to reveal to him that vara in the Par a,

inner sky of her self shining as fire above the path of the Pr s as if soaking
in nectar in between the Moon and the Sun as the eyes of knowledge and
action.32
Forms of Manifestation
The wise think of her form as manifold. The nine wheeled form,
(Navacakr tmika svar pa) is constituted by the three fold k as Pa yant ,
(desire) Madhyam (knowledge) and Vaikhar (action); known, knower and
knowledge shining as one or many. The three states of mani-festation as
creation, protection and destruction shine in varied forms.33
Fivefold creation
Siddh addresses Ambik as Kule i the Mistress of like groups. He says

that she has her place of calm sublimity in the body of vara. He is the inner
soul and therefore unseen by the physical eye. She shines there with her
perfection, which gives rise to the five fold creation. The outward form of
vara is the objective world 34
Trinkets of li’s anklets
Ambik is called Par akti, the unruffled state of sound, da in

Cidguh , wherefrom are born the five sense perceptions, sound, touch, form,
taste and smell. They are none other than the melodious sounds or trinkets of
her anklets. They are as the waves in the ocean, as many subtle forms or sounds
of her self. 35
Power group of akti ( akti v ndam)
Siddh conceives akti residing in the three physical- word form as,
abdamaya ar ra, or the body of meaning Arthamaya ar ra as
physical, mental and spiritual. Her face is lustrous. She is the chief source of all
powers. She shines in creation through the twelve fold subtle path or form. In
abdamaya ar ra she shines as the twelve svar s, vowels, excluding the
da Svar -s, . Her Arthamaya ar ra is revealed as twelve fold as
the three worlds, physical, mental and spiritual, each having a four fold state,
grat (wakeful), Svapna (dream), Su upti (deep sleep) and Tur ya
(transcendental )stage.36
Bindu and Visarga
The svar -s are sparks or rays emanating from her gmaya ar ra .

From the three primary svara-s, other svar -s are born or evolved. Their
true nature shines as Sun, Moon and Fire, as the -measurer, Meya-
measured, and M a- the measurement represented as Bindutraya. From
Bindutraya, the whole creation is evolved. Bindu (°) stands for vara and
Visarga (:) shines as laK li ( the Divine Pair) and then the creation starts.
Ambik is the prime source or cause of all .37
akti emanates as Var a
Siddh now sums up. The ever auspicious akti is the soul of iva. She
is the cause of creation, protection and destruction and non-appearance(
Tirodh na) and appearance-(Anugraha); She is the source of the three svar -s
or sounds, sounded or heard, hata, creation; She emanates having the body in
the form of enhancing or spreading or destroying the worldly knowledge. She
becomes the body of sense and sound, having the five elements. She takes
shape as Var a-alphabets to reveal( Samvit ) knowledge.38
Nine-fold N da
Amb in the form of the word sounded or heard further manifests

through the three stages, Dh ma (lips, teeth, palate etc;), Kara a(open or
closed) and Prayatna; - (light touch, full touch) etc.It may be melodious or
harsh. The same in its unsounded or unheard state becomes mental and shines
in five forms- Vimar a, Bindu, N da, Spho a and abda. The form of Amb
constitute both in the undivided form of her. These five and the four different
kinds of k, Par , Pa yanti, Madhyam and Vaikhari, form the da
navaka.39
Soma S rya Agni ma ala-s
All the sixteen vowels from to are her rays, lustrous and brilliant.
When they are analysed, the primary vowels , shine as Sun, Moon and
Fire. Sun has twelve Kal -s or rays- vowels excluding the four da svar -s
. Agni has ten excluding Bindu and Visarga also. Moon has sixteen,
all the vowels. Thus these form her lustrous province or ma ala-s.40
abda akti- Action oriented
Amb as a source power, remains as seed syllables ( ja and Yoni) (both

as vowels and consonants), measure the power of mantra inlaid in the abda-s.
The same abda akti becomes action oriented ( Kriy may ); that is her body
belonging to Parame vara. The Siddh hails victory to that action oriented
body.41
da, the cause of creation and plurality
da, is taking the form and becomes knowledge and dissolves itself
into the three fold form in the Bindu spanda, ruffled state; (the letter or eternal
sound; and action, inner desire and outer, spoken word, unsounded or sounded
word,) She is that da, cause of creating the letter ‘ ’ and the cause of
plurality. At this stage akti is called Par the sum total of the three ma ala-s,
Soma, S rya and Agni. Thus, She is taking her seat in vara, in whom the
three ma ala-s shine.42
Udyama and Mahodaya
In the waveless ocean of iva’s desire, or waveless ocean of pure

knowledge, the first wave is known as Udyama (attempt). The second wave in
the Cidguh , the cave of the heart, known as festive body (Mahodaya) is born
to enjoy the world through bhoga; or renounce the world through yoga before
the va or vara takes birth or reveals through gu -s. This refers both to
vara and va as well.43
Transformation of Vyome vari
akti (Bhav ) with her power of desire (Mahodaya or Vyoma

Vame vari) tranforms in different states as Khecar , (Pr na akti); Dikcar , all
pervading; Gocar , revealing through senses; and Bh car , the objective
world44.
Gocar -the external body
Amb ’s four states excluding Gocar , are her external body. It is the
source of the word ( kpadam) or that which is spoken of by the word, the
objective world, or the Svar pa of k (self- illumined form of the word,
knowledge or source of knowledge). Her perfect undivided state, (Niram am),
is that which swallows all distinctions of duality and non-duality. It may be her
Spirit, or Inner or the outer body. When Gocar becomes the outer body, the
other four, form the inner ones.45
akti and Kula-Dharma
Amb is the power, having as her seat well developed or illumined in

any one similar group of three or five (knower, known and knowledge;
creation, protection, destruction, non-appearance and appearance) emanating
from iva who has no Kula or seat in any of the groups. Again she retires or
merges in iva only. This is her Bh va the power of birth and death revealed
as Samsara. If vara gives Kula-Dharma to akti, there is creation, if akti
surrenders Kula Dharma to vara, there is Pralaya, destruction or deluge.46
vara and J va Bh va-s
Amb by knowledge or inter mixture, appears as the five elements and

their virtues. The five channels through which, her power flows, have a dual
aspect as Dharmi and Dharma, as substance and its nature. They are termed
Siddh -s and akti-s. Siddh -s are-Brahm , Vi u, Rudra, vara and Sad iva.
akti-s are Sarasvat , Lakshm , Gowr , Ambika and Jye ha, Both are her faces
in vara Bh va. Thus, she shines as everything. That which is revealed or
perceived as her self is va Bh va.47
Siddh s and aktis
He, who imagines or remembers the Siddh pa caka and Saktipa caka,
and also her unmanifested da- sound form as Siddh -s and akti-s- becomes
foremost among the Siddh -s. He is free from va Bh va and is a liberated
soul.48
akti’s effulgence causes creations and forms
A Siddh who is inspired by Amb or who shines through her, is created

as iva and akti. Thus every form gets created by her effulgence.49
Amb the Perennial source of power N da in the Cidguh
Her form is knowledge. She is never understood by senses. As self-

illumined or self-revealed knowledge, as da in the (Cidguh ) cave of the
heart, in the space (Dahar a, Khe ) She has no form to be conceived. She is
the one that perceives objects in creation. In Artha ma ala, (in the creation of
sound and sense as word and its meaning) She reveals only her-self or She
only remains. 50
Perinial fountain of powers
Even reminiscences of the past birth, ( san -s) have no impact on the
wonderful varied external creation. She is the source for everything. She is the
perennial fountain of power. The life power of her is the form revealed as
external world which is in her abdomen. Untouched by the external creation
She creates the psychic and sensory world.51
World reflects in the mirror of Buddhi
This world is eternal and shines in all states. She, with the varied forms
of word shines as world reflected in the mirror of knowledge or Buddhi. The
temporary external world that is enjoyed, shines through her form that shapes
through the senses.52
a adhv ta and Bheda bh va
As long as the Puru a (self or ego) possesses the multifarious thoughts or

ideas, through the six fold path and thinks that in the seventh stage
a adhv ta), there is calm or peace above. Till then, Puru a’s appearance
shines always through the varied creation and his knowledge with many forms
of dualities (Bheda bh va)53
Negated world
As long as the varied creation (that is negated), shines through virtues

and the sense group, everything appears as inanimate and spiritless. But, She
by nature shines as world lustrous through knowledge, having a form similar to
the negated world. She is never the cause of difference in the appearance of the
Puru a. She shines together with Puru a or Ego as lustrous and blissful in
creation.54
akti’s Dual role
Thus, She is the world that shines differently. She is by nature

inanimate, spiritless or powerless. The world shining through the four fold
word or da is ever different or varied. Pr a is ever flowing and its da is

also varied. She is the cause of dispelling this difference. At this stage she is
known as An hata n da. She shines very rarely to the experience of the senses.
She shines as the eternal source of creation, beyond thought. She exists
simultaneously in the world of word and its meaning, Artha ma ala.55
Amb , the Lustre of that lustrous vara
She remains in the form of creation - as man or woman the third gender
or a lifeless thing. All this and the varied creation, viewed apart from name and
form, is her self. Since, she is the lustre of that lustrous vara, she neither
shines as objects of name and form, nor, is she revealed by means of something
else, for nothing exists besides her. She is the lustre pure and simple. This
suggests that vara has no separate existence without her.56
Amb ’s form of existence as Caitanya
“Then what about the visible world?” The answer to this question is
given by Siddh . This world exists in vara (without name and form) only as
an idea in the mind’s eye, depending on lustre pure and simple, where the Ego
is also lost. When knowledge shines, (self-illumined) the world is lost in Truth
or shines as Truth. Then all is one luminous existence the Caitanya form.57
(
Herein, the Aj ta Siddh nta, spoken in the kya Upanisad and in the
Gauda da K rika, is recollected).
Amb remains as ever changing
Everything in creation depends on akti, (power), which is ever

changing, (‘an sritam padam’); yet calm reigns all over. Still to bring creation
to its pure lustrous state, she acts as the creator and destroyer; She repeats the
action of the cycle of birth and death as goldsmith heats and cools gold, until he
gets pure gold.58
Merger of all powers in Amb
Every substance in creation maintains its individuality- (Artha nikara),

through species ( ), form (Dravya), virtue (Gu a) and action-(Kriy ).
Through these the utility of Triput is understandable. There is a permanent
three fold power. In the presence of Amb , everything merges in her. That is,
she is the power that transforms everything into pure lustrous state.59
Amb reveals I vara as knower and the known etc
Know that vara appears as the seer and seen, as the knower and the
known, as the taker and the taken, only supported by her lustre, power or
nature.60
Macrocosmic form of Amb
She is in the state of nanda, (Blissful form) and shines through the
action and inaction (Sat and Asat). She shines as thirteen types of independent
elements viz Buddhi, Manas and Aha kara and the ten Indriya-s. She is the
tma, shining as Sat and Asat (animate and inanimate). The , inaction
(the mbhava Visarga) and “ :” (the akti visarga) action, are after her;
that is, they are part and parcel of her self.61
ava visarga
va or ava visarga, enjoys the Arthamaya jagat, visible world; by

consuming that world by her power of Cidambara, knowledge, he, the va
shines as the destroyer, the Para iva; thus he transforms himself into the
foremost among men and is bliss incarnate.62
Eight fold path
As the va or Pa u lives in akti or takes his seat on her breast, he

shines as eight fold, each in turn having the three forms or bodies, visual,
mental and spiritual. Acting in that eight fold path and from that state are born
san -s or actions. The body, in its three states, with the eight fold group. Is
detailed here under;-
Sth la- Visible Body:- Knowledge, Mind, Action, Man and Woman,
va, Pr a and Body.
ma-Mental Body:- V di pa ca, rava di pa ca, Pr adi Pa ca,

Bh ta pa caka, Anta:kara a catu aya, Non-knowledge, Desire and Action-
mental.
ra a-Subtle or Spiritual Body:- Eight wheels-‘ a cakra’ and nine

paths- ‘Nava dv ra-s’, these help the va to rise to the Par -tanu, the Supreme
body or being through na and Karma yog -s.63
va, aham and idam
akti fills the Pa u or J va, with intelligence, mind and sense. The va
stands between ‘ ’ and ‘ ’, creation and destruction, the one devouring
the other.64
va is
Because of self-illumining nature and of giving pleasure or happiness to

Prak ti or creation, I, va, am known as :, Ruler or vara. akti is the
cause of stirring one or awakening one, through the activities of the twelve
suns, in two groups, given by her. There are five subtle senses with the mind
as the sixth and the five external kara -s or Karmendriya-s, instruments of
outward action with Buddhi as the Sixth.65
rti, Prak a and nanda cakra-s
akti is shining in the three cakra-s, wheels or states, of form- rti, of

brilliance or lustre- Prak a , and of bliss- nanda; or in the three ma ala-s-
Agni, S rya and Candra. She as the Candrakal , moon-light, assumes a body
constituted by the Agnikal defined as Bindu, having kal -s or rays shooting
upwards and by the ryakal -s, rays of the Sun, of Pr na S rya, twelve in
number, according to the order of the Guru-s, the preceptors. akti is the Guru
as well as the Devata in the Siddh state.66
Bhogya vigraha
The word or abda brought down through the da or sound that has a
downward flow or current, the Ap na soma, the form or body of enjoyment,
Bhogya vigraha, has sixteen kal -s, given or made by akti, whose body is the
wheel of nanda, in the Guru Krama or order of preceptors.67
K la gati
Calling akti as Ca i (angry towards him whose vision is multifarious)

Siddh says that she is the cause of time in the form of Sun and Moon, in
whose wake day dawns and sets; in truth they are her two eyes functioning in
her visible body, opening or shutting, revealed or hidden. The Sun has 360
days, whereas the Moon has twelve days and twelve nights, the two fortnights,
in the unit, the year. The sum total of this K la gati, time flow or cycle is
herself.68
Agni M rti
Siddh explains the form of Dev as being merged into one lustrous
form , where the Sun and the Moon, Bindu and da, Word and Sound, the
Knower and the Known stand undistinguished; if distinguished she appears as
Agni M rti,Fire.69
Pralay gni
Siddh says Siv is the fire of deluge (Pralay gni) devouring Sun and
Moon.She resides in the house, supported by the mental form or body, as 10
and 7, the sense group of knowledge and action of ten and Pa ca Pr -s with
Mind and Buddhi as seven, conceived in the wake of the order of the Guru.70
Tur ya p da
Siddh views Dev as taking her seat in the fourth state of super
knowledge or Tur ya p da, creating the triads such as, Desire, Knowledge and
Action, the three states of the world, Destruction, Being and Creation; and the
three mental states, Sleeping, Waking and Dreaming.71
Tur ya-P da, state beyond and above existence
Where, in the neighbourhood of or within the Kula, like-group,

constituted by the known, knower and knowledge, the dhaka, resumes or
attains perfect calm, which is known as the great ocean, having no name
beyond that of the ocean, that state is her Tur ya-P da, state beyond and above
existence.72
Guru Parampara, P and Mudr s
Siddh says that the worship or of Dev , in the gradual unfolding

through action, sound and word, accompanied by the timely facial expressions
known as the Mudr -s. This assumes a distinctive form or feature as specified
or initiated by the order of Guru Parampara; Thus the worship of Dev attains a
changeless varied form, changeless in truth but varied in expression.73
akti Prabh va
Siddh further continues that the auspicious Dev shines, in the body of
k, as Par , Pa yant , Madhyam and Vaikhar ; in the body of human
creation as masculine:- a, hari a, v a and a va; as feminine:- khin ,
cittin , hastin and padmin ; in the three wheels or subtle bodies as Prak a,
nanda and rti cakras; in the symbolic body as sound, sense and word.
Thus Siddha worshipped Dev through the above states or forms.74 (Thus ends
the Second Vimar a).
Chapter II: Gleanings from the first two vimar -s of C.G.C
Notes
1. , ,
-DCp 8-Cgc 1.
2.
- -
DCp10-Cgc 2.
3. ,
-DCp12-Cgc 3.
4.
-DCp13-Cgc 4.
5. , ,
,
-DCp17-Cgc 5.
6.
,
-DCp19-Cgc 6.
7.
—DCp 22-Cgc 7.
8.
- DCp 25-Cgc 8.
9.
“
”
DCp
26-Cgc 9.
10.
-DCp 27-Cgc 10
11. , ,
-DCp 29-Cgc 11.

12.
-DCp 30-Cgc 12.
13.
,
-DCp 33-Cgc 13.
14. -DCp 35-Cgc 14.
15.
-DCp 36-Cgc 15.
16.
-DCp 38-Cgc 16.

17. -
DCp 40-Cgc 17.
18.
-DCp 42-Cgc 18.
19.
-DCp 43-Cgc 19.

20.
-DCp 44-Cgc 20.
21.
- DCp 46-Cgc 21.

22.
“ ”
-DCp 48-Cgc 22end of I Vimarsa.
23.
- DCp 52-Cgc 23.

24.
-DCp 53-Cgc 24.

25.
- DCp 54-55-
Cgc 25.
26.
DCp
55-Cgc 26.
27. - DCp57-
Cgc 27.
28. -DCp 58-Cgc 28.
29.
-DCp 59-Cgc 29.
30. “ ”
-DCp 61-Cgc 30
31.
- DCp 62-
Cgc 31.
32.
-DCp 63-64- Cgc 32.

33.
- DCp 65-Cgc 33.

34.
- DCp 65-Cgc 34
35.
-DCp 67-Cgc 35.

36.
-DCp 68-Cgc 36.

37.
-DCp70-Cgc 37.
38. :
-
DCp75-76-Cgc 38.
39.
- DCp 77-Cgc 39.

40.
- DCp 80-Cgc 40.

41.
- DCp 82-Cgc 41
42.
,
- DCp 83-Cgc 42.
43.
DCp 84-85-Cgc 43.
44.
-DCp 86-Cgc 44.

45.
—DCp88-Cgc 45.
46.
,
-DCp 89-Cgc 46.
47.
-DCp 90-Cgc 47.
48.
-DCp 91-Cgc 48.
49. - DCp 92-Cgc 49.
50.
—DCp 94-Cgc 50
51.
-DCp 95-Cgc 51.

52. -DCp 96-Cgc 52.
53. -DCp 97-Cgc 53.
54.
-DCp 99-
Cgc 54.
55.
-DCp 100-Cgc 55.

56. ,
, -DCp
103-Cgc 56.
57.
-DCp 107-Cgc
57.
58.
-DCp110-Cgc 58.
59.
- DCp 111-Cgc 59.
60.
-DCp 112-Cgc 60.
61.
-DCp 114-Cgc 61.

62.
-DCp 115-
Cgc 62.
63.
-
DCp 117-Cgc 63.
64.
,
- DCp 120-Cgc 64.
65.
-DCp 121-Cgc 65.

66.
“ ”
-DCp 124-Cgc 66.

67.
- DCp 128-Cgc 67.

68.
- DCp 130-Cgc 68.

69.
-DCp 134-Cgc 69.

70.
- DCp 135-Cgc 70.

71.
,
-DCp 137-138-Cgc 71.
72. -
DCp 139-Cgc 72.
73.
- DCp 140-Cgc 73.

74.
- DCp
143-Cgc 74 end of II Vimarsa.
CHAPTER III
The discussion on the first two Vimar a-s

dasa’s concept of k Cult
dasa named this work suitably as Cidgagana Candrika (the

moonlight in the sky of consciousness) to suggest that the great akti who co-
existed in the form of light (Prak a- iva), without showing off her brilliance
at the time of deluge, is beaming out at the time of creation. He names the
chapters aptly as Vimar a –reflecting aspect of the Prak a principle called
iva.
The Prime creation of Vibration
The full moon, emitting its coolest and pleasant rays on this whole
world, is allegorically expressed as rising from the calm milky ocean, so as to
add to the effect of fullness of its lustre. Generally, the full moon causes high
tides full of lather in the ocean with many waves like numerous garlands. The
bubbles in the tides, vying with each other to reflect the moon, form a beautiful
diamond necklace. The ocean here is mentioned as Calm, and hence the rising
of the moon in its fullness, forms the first cause of tidal activity in the ocean.
– the generator of other akti-s
The idea that the Absolute iva’s ( la) initial vibration Prathama Spanda, is
in the form of a desire to start creation, i.e., Icch akti, is indicated as K
(Vimar a). She as the lustre of the fullmoon proceeds to create the empirical
world by the first tide, in the form of her progeny Ga a, with a trunk and
tusk. Ga a is the Controller of the organs of activity Karmendriya-s as well
as the organs of knowledge nendriya-s. He is empowered with Kriy and
na akti-s for effecting the cycle of creation. The trunk of Ga a
represents the prime seed letter which paves the way for subsequent
abda i (creation of the prime sound).Thus, the Icch akti, in order to

fulfill iva) K la’s desire, proceeds in creation by enjoining the na and
Kriya akti-s for Sth la i (gross). She then as Par k, forms the Prathama
ja , a conjunct form of - - from iva. This forms the expansion as
Icch , Kriy and na akti-s which in their wake create the k in the form
of the lustrous speech waves, from the calm Cidvyoma (the cave of the heart in
empirical world).
An esoteric explanation of ktapra ava
is the first Spar a letter of the var am la excluding svara-s,‘ ’, is the
last consonant representing akti. The ara- is the ma i
denoting her independence and the benedictory verse starts as with p-
pratyaya ‘ ’ added to the ktapra ava ‘ ’.The function in the way of energy-
akti, by means of ktapraty ra produces the mantra of akti ‘ . The verse
starts with‘ ’ ga a which denotes the auspicious note for a benedictory verse.
The poet’s deity of worship is the dy akti-K , who is capable of creation

as ‘Sv tantrya akti’. ‘ ’ of Pa u aspect in grat -wakeful state and ‘ ’ of
Sad iva (Pati) aspect in Tur state are by an act of churning in the space of
heart cidvyoma by the power of , a, result in creation of the lord of
subsequent creative process Ga a.
Allusion to ward off Illusion
sa salutes Gane a the first of creation, ascribed with aspects of

St la and ma i, to do away with the illusion caused as difference
between the self and the Absolute yamala, which posts the very first
barrier in the true nature of Absolute in the process of manifestation.
Salutation to iva-Lord of Three worlds
iva the Prak a aspect is worshipped to do away the rmic-

limitations ( rma a mala) - ubh ubha anu ar pa (experience of good
and bad actions) which the empirical beings suffer. It is said
“ var nugrah teva pums m advaitav san ” (the Impression of Non-duality
is attained only with the grace of God). iva is the illuminate of the three
worlds viz.,
1) the gross world-Earth, mountains, man etc.,
2) the subtle world-Five tanm tra-s and objects of perception-

pa cabh ta-s,
3) the subtlest-the unmanifest form of the world understood only by

the stra-s and pram a-s.
iva the substratum of Knowledge
iva is the very form of knowledge. His only act is to create the Vimar a
akti-the awareness of “I” ( ). The significance of the prayer to iva is to
remove our ignorance due to limitations acquired through the rma amala
and lead us in the path of Kramamukti-The orderly progress from the empirical
I-self (ego) to the universal I-self (Supreme consciouness).
and K sa
The author suggests that his work, which is in praise of , is the

candrika from his cit, to alleviate the three kinds of obstacles in life, similar to
the Worship of , which is capable of removing the avamala- the cause of
pa traya- Adhy tmika, Adhidaivika, Adhibhouthika.It help us realise our true
Self. This composition rendered with metrics brings joy to the Guru and ya
and removes anguish from their selves.
The fruit of the Up sana of K
kt gama says, “Ye str rambh bhavanti lokasya te vandy ”.

(Worship the treatise that begins scientifically). A seeker of truth, intending to
obtain Ultimate Knowledge, must be aware of 1) the unity of Self with iva; 2)
the unity of the Universal beings with iva; and 3) the union of self with the
universal iva thus achieving completion of the life. The treatise itself is
intended by the author, placing himself at the Nishkala state of dhan , to
give the initiation to the Kramamukti through up sana, for the lower three
categories of Adhik ri-s-Pram ta-s -Sakala, Pralay kala and Vij nakala. The
ni by the knowledge of the oneness of iva and of His various manifest
forms, sees iva as the sum total of all and of his self as one with iva.
The Identity of limited Ego to the Absolute “I”Conciousness, iva
The limited ego, residing in the cave of the heart of the dhaka ,
forgetting its true nature to be the Supreme I-Conciousness1, assumes the
limitations of gross and subtle forms as the Self. Thus the self loses memory
that it was the Illuminating Absolute Conciousness. This up sana renders
the Supreme Knowledge accessible by removing this duality of the
consciousness. This is the ultimate knowledge that destroys the three mala-s-
ava, rma a and ya. Parama iva in his compassionate state, enters
the cave of heart of the living beings to help them attain liberation.
The parents of the Six-fold Path Universe
The first impulse, the awareness ‘I-( ), which arose in iva - Prak a
is (Vimar a) herself. The word- k ( ) denotes its meaning, as the
ever illumining iva himself. These two become the parents of the six path
universe, being the word and meaning of the creative activity resulting in the
expanse of empirical world of names and forms.
The six-fold path of creation.
Vimar a - the creative power is represented by the Primary word

( caka) and the Prak a( creation) represented by the meaning ( cya) Three
pairs of them, form the six-fold path2 of creation. The subjective creation based
on them also fall into three categories.
Creation caka cya
Sth la-Gross Mantra Bhuvana
ma-Subtle Pada Tattva
Para-Subtlest Var a Kal
Prior to manifestation, caka and v cya-(word and meaning) are in a

limitless state of indivisibility in Par k i.e. Sv tantriya akti (the independent
source power) . as (Measurer/mother) brings about a limitation in
the process of creation while manifesting under six forms viz., adhva-s(six
ways). K -K la the word and its sense, constitute the Universal Ego, ‘I’,
shining forth in creation as form and spirit, as Prak ti and Pratyaya, who are
depicted as the Divine Parents, ruling in the six-lotuses of spinal cord, the path
of um .
Praise of Manth na Bhairava, Rudra
Author praises Rudra, who was in union with akti prior to creation,
who acting as the churning rod, churns the luminous ocean of truth in his
Prak a aspect, with the help of His akti (Vimar a) forming the churning
chord a) and brings out nectar-like digits of the moon to please her in her
creative play.
The outcome of this Am tmika vidya3 is the Ak a m ka resulting in

the universal emanation of names and forms representing the union of Prak a
and Vimar a aspects of the Absolute.
The life force in the form of Sudh (nector) is the Am tmik J akti .
Her kal is Vidy . Candra (Soma) is Sudh kal :. His abode is akti. Rudra is
meditating Agnikal . The union of the Soma and Rudra results in ryakal .
These three (Candra, S rya and Agni) form the eyes of iva and akti.
In meditative state the dhaka while raising himself to the state of

Manth na Bhairava (Bhairava that churns i.e. dissolves all objects into Self-
consciousness) feels the flow of nectar after reaching the Soma ku alin level,
when his Ku alin akti unites iva in Sahasr ra. The Ku alin akti of the
dhaka is divided into three states viz., Agni ku alin , rya ku alin and
Soma ku alin .
Manth na Bhairava’s omni-presence in the inner self of all beings
The dhaka who thus raised himself to the state of Manth na

Bhairava, becomes one with the dual self viz.,the la-K . iva being the
pure self , the Universal Ego, resides in the hearts of the three different types of
human creation in the combined form of word and its meaning ( la-K
mithunam). All the creations born of the three gu -s (sattva, rajas & tamas),
in three levels viz., higher, medial and lower, see himself and creation
differently. The one in the lower level feels himself and the creation as real
oblivious to the knowledge of the Absolute; mediocre dhaka knows himself
and the world imperfectly but with a slight glimpse of the la; higher level
dhaka experiences himself and the universe as none other than la. Thus
Bhairava4 is omnipresent in the past, present and future in the hearts of the
beings as the inner self in all three states.
Salutations to Guruparampara from Patanjali
iva, who, in and through the process of creation in his dual aspects
(immanent and transcendental) is complete in existence and vibration; He being
the very form of abda and Artha, because of his omnipresence, is called
vara (Puru a); Mind, Speech and Body are cleansed by Yoga, Pada and
Vaidhya gurus viz., Patanjali5, Panini and Dhanvantari respectively. They
guide us in treading the suitable path for attainment of oneness with this
Puru a.
This line of guru-s suggestively refers to the Paraugha, Divyaugha,

Siddhaugha and navaugha guru-s in the akti up sana. This emanation of
guru’s lineage is the Anugraha act of iva, for dispelling the three malas of the
aspirant in the path of liberation.
Projection of the Universe by the union of iva and akti in her five-fold
form ( hantasvar pa)
iva or Prak a, represents the ‘ ’ kara. ‘ ’ kara the ending alphabet
represents four folds of ethereal (vyom tmaka) Khecar , Bh car , Dikcar and
Gocar akti-s.‘ ra represents Vimar a- akti.
They all unite to form the complete I consciousness6. ( hanta

pa- ( ) The creation of the entire universe thus unfolds step by step. The
first impulse “Cit” (Vimar a) is the me var , who brings out the projection
of the universe of names and forms with the help of the other four fold akti-s.
She operates in the space of Cit (Cidgagana) to bring about the variances in
creation. She assumes doership and becomes Khecar the form of Pram ta.
Then attains the form with hands etc., and seeks worldly enjoyment. At this
stage she is called Bh car , Then by inheriting the faculties of sight, hearing
(Cak u, rotra) etc., directs the sense organs towards sense objects. At this
level she is Dikcar . Then She is called Gocar when she takes the form of
four inner sense organs (“Anta:kara a catu aya r ”). From this stage she
undertakes the worldly journey.
The five stages of the first Impulse “sound” ( da) are me var ,
Khecar , Bh car ,, Dikcar and Gocar - akti-s. They are the akti-s who
operate in the Subtlest form of the Universe before the actual manifestation.
Hence they are called the forms of “Vyom tmaka akti-s”.
akti representing the Vi vott a and Vi vamaya aspects of iva
The innumerable varieties in creation, which are brought forth by the

divisions due to direction, place, time and things, lay conceived in the Vimar a
aspect in the form of the thirty-six elements of manifestation. This is the
Vi vamaya aspect of iva. akti addressed as Ambik here, being one with iva,
representing his power of illumination, indicates His Vi vott a form. Thus
Ambik the presiding deity of all the 36 individual and indivisible states of
manifestation is present simultaneously as and la signifying the
inseparable word and its meaning7.
vara- cy rtha for Kil sa v caka and akti as Kail sa his abode .
Prior to manifestation vara was one without a dual. (Kila sa). Kil sa
is the vara, and the place of his dwelling is Kail sa. In the phenominal world
vara’s abode is stated to be the snow covered peaks of Kail sa mountains. In
the process of creative force of akti through her three gu a-s, he took the pure
and bright sattva gu a as his abode, which dominated the Rajas and Tamas
gu a-s. This predominant Sattva gu a is akti8 only.
(I) and : (He) are the words of discrimination that indicate
duality. The path of liberation through attaining the ttvic state and knowing
the knowable, removes this duality. The conciousness “ ” (I am He) the
oneness, is attained by realizing the concept of akti and iva as s ttvic Kil s
and vara.
vara- formless pure Self (Impersonal Ego)-oneness with his akti
The boundless (pure self) shines as the substratum of creation and

destruction; of creator and destroyer; of thought and its absence; It is beyond
the images of the mind, purview of the senses and all the worldly knowledge.
That pure Self, the formless ultimate Truth is one with His akti 9 (Cit) before
the process of manifestation. This formless state of consciousness ( ) is
Kil sa ( Sat).
The Unique state of Sat (Truth), Cit (Knowledge) and nanda(Bliss)
Sv tantrya akti of vara, which remained as unique without a dual,

prior to the process of manifestation, becomes the core of all sentient and non-
sentient beings at the time of the manifestation of universe. The state of Sat,
can be attained through the knowledge of the Ultimate by discarding the
process of manifestation in the form of the names and forms. This experience
brings in the dhaka, the state of Bliss. In the Cid sa of that dhaka, who
thus discards the path of manifestation through the reverse journey, shines Sat,
the Ultimate Truth10. That is the abode to be aspired by a true dhaka.
Manifestation of akti as Bhav ni from Mah bindu, the Bhava
The initial throb felt in iva is epa, projection); At this stage there is
no awareness of (I exist). When the awareness of evolves this stage
is called nam(Knowledge); When it evolves as various forms in the stages

of creation and when the awareness of “ ” i.e the distinctive awareness
from the pure self arises, then it is Sa khy nam (Determination); The
awareness in iva that ‘ - ’. “I am - This”, thus viewing the universe as
His reflection is Gati (Self-Identification); The furthering of the knowledge that

this universe is nothing but the external projection of His Sv tantrya akti
‘ - ’ This is me, is da (Pure Awareness); These are the five stages of
Manifestation brought forth by akti from the first throb in iva in the form of
Mah bindu. These five modes of Absolute dynamics are brought about by
, the Ultimate reality.
The twelve movements of any one cognition in ktop ya, are denoted
by the twelve forms of expansion of -known by Twelve -s11.
(i) i K -the conception of creative power in relation to the

object
(ii) Rakta K the conception of the power of maintenance of the

objective world through the five senses
(iii) Sthitin a K ,the power of Samh ra or withdrawal of the

objective world
(iv) Yama K -the An khy or indefinable power in relation to

objective experience
(v) Samh ra K in this stage, the experience is, "The object is non-
different from me"
(vi) tyu K - She swallows up even residual traces of the idea of

the withdrawal of the entire objective world .
(vii) Bhadra K - efflorescence of different objects and the

dissolving of those different forms again in Her essential Nature.
(viii) rta da K dissolution of the 12 senses in the ahamk ra to

such an extent that they become unnameable.
(ix) Param rka K the emergence of the limited subject by merging

ahamk ra in Her creative power.
(x) gnirudra K - She makes the limited self rest in the

Universal Self; also termed Mah - She holds within Herself
everything including Time.
(xi) Mah la K the dissolution of the "I" which is posited in

opposition to ‘This’, in the "Perfect I" which is free from all
relation to objectivity; withdrawal in relation to the limited
subject
(xii) Mah bhairavaghora-ca ak the subject, the object, the means

of knowledge and knowledge are all dissolved into
I-conciousness.
(Supposing you look at any object-a flower- the sensation travels to the
place of the flower by our thought process. Then it returns again to your
thought registering the sensation in the form of realization of the flower. Now
the flower instead of being realized in the place it is seen, is realized in your
mind. Thus your perception from inside has moved to the flower and has
retraced to your thought from the flower. The corresponding movements of this
cognition take twelve forms as the twelve K -s in Krama system.)
The three gu a-s- Sattva, Tamas and Rajas in their Subtle forms
I-ness (Aham) in all beings is Sattva, is the body of , the Kil sa form
of the fully luminous light. This relates to all that leads to harmony and love,
resulting in Universal Love. That which operates against the Universal love and
harmony is termed as Tamas meaning darkness and represents the This -ness
( ) aspect. The mixed effect, is termed as, Rajas represented by Mine
(Mamata) aspect. At the subtle dormant level they are pure and harmless,
shining as such through the entire manifestation.
The transformation of Sattva is Manas which constitutes the will of

vara and the ni; For normal people it takes the form of Ahanta. Similarly,
the transformation of Rajas is Pr a which is the causative aspect in vara and
ni; Others feel its presence in the form of vital air (Pr a). The
transformation of Tamas takes the form of c (Speech) which emerges as the
auspicious speech of vara and the ni and is called ; Others feel it in
the form of Sound. rya, Soma and Agni are the abodes of these three gu a-s
respectively.12
Three gu a-s forming the Gross elements viz.,Fire water and others.
The three gu a-s, which emerge from the Pure Sattva, the abode of
Kil sa i.e. form, transform into the Gross elements (Pa ca mah bh ta-s)13.
Due to the change undergone in Tamas-Darkness, the form of iti(P thvi) is
formed with the qualities of being inert and hard. Change undergone in Sattva-
Bright results in formation of Tejas (Fire) having the qualities of brightness and
lightness. The mixture of these two-Sattva and Tamas, which is Rajas, gets
transformed into the rest of the three Mah bh ta-s ( yu, sa and Jala).
yu has the quality of movement and felt by touch. sa has the quality of
being a medium for sound. Jala has the quality of being the medium for taste.
These gu a-s form the three facets of the divine form of the
supreme (Para), invisible (S ma) and visible (Sth la). All these gu a-s
emenate from her anta form ( ama). A gradual process of manifestation from
Fire to Water and then to Earth is from her anta form. Destruction on the
contrary is from her Ugra-terrible form. Thus the Pure ttvic anta form
undergoes transformation into the physical forms of the three gu a-s
experienced in the empirical universe.
the Supreme Wealth of vara is the cause of creation
The fruits of the na and Karma,viz., the knowledge of the Absolute

that exist in all the three divisions of time as well as the unlimited wealth14,
are due to the power potential emerging as . She accompanies vara for
effecting the five karma-s viz the i, Sthiti, Samh ra, Nigraha and
Anugraha. Without the emergence of , the kinetic aspect, the outward
expression in the form of the universe is not viable. Thus it is the co-existence
of these two aspects which results in the completion of creation. This
guides the seeker to the highest and perfect inseparable state of attaining the
pure knowledge and action. This is the path of retreading to iva state by an
aspirant.
Oneness even in the dual aspect of akti – (Vidy knowledge ( na) as

ttvic, action (Karma) as masic being her two forms
The light of knowledge, which fulfils the yearning of the aspirant for
completeness, shines in his heart as ’s ttvic form. Darkness which is
driven away by that light, the Avidy , which is the masic form is also herself.
Thus Ambik shines as one even in her dual15 aspects.
The universe of word and meaning, the Arthama ala brightened by the
light of knowledge shining in the heart is subtle. When the Mah bindu, at the
instinct of creativity, splits into two ardhabindus (taking the variant reading
‘ardha’) (semi circles) which are opposite, Vimukha, then also the Absolute
shines through ’s dual aspect; but when they are Unmukha, face to face, at
dissolution, they become one and everything shines through her oneness as
Bindu.
khya, the path of knowledge, (Prav tim rga) and Yoga, the path of
action, (niv tim rga) both lead to same goal of self-realisation.
Grace of Rudra flourishing through , accepts the aspirant’s efforts

through either the path of knowledge, nam rga, as professed by khya or
the path of action, yogam rga. But if these philosophies16 claim that they can
reach the supreme through their paths then Ca i’s Tattva reigns above and
destroys them in a wink by her anger.
Creation -New Moon; Destruction - Full Moon are effects of Amb
In line with iva’s intention to indulge in creation and destruction,

herself shines as Fullmoon (P im ) by absorbing the entire luminance of
iva alongwith the proposed universe for creation. When she brings out of her
that universe emitting her light fully thus becoming dark, she becomes New
moon (Am sya-Kuhu). Thus as brightness and darkness17 form part of the
two aspects of the same power. Creation is associated with Her dark phase and
destruction with Her bright phase which co-exist in manifestation. Hence,
is the light in destruction simultaneously having her darkness in creation as she
emits her light fully to become the Mah nya and viceversa. Both reveal Her
aspect of absolute Perfection. Here she acts like the preceptors of khya and
Yoga philosophies who follow different paths but agree in principle about the
State of Sam dhi and Upliftment.
Non-existence of Time (K la) aspect in the junction of creation and

destruction is the display of ’s power (time eternal)
Measures of time are nine and here pit a (dark fortnight) is

reckoned. in the form of pit a, shines, at the junctures of im and
Am sya, and as the midpoint, the eighth day of waxing and waning moon.
She is then unattached and unpolluted by Time. But she creates an apparent
progressive distinction in time as day and night, months, seasons, years etc.,
and she becomes the consumer of the same time when she indulges in the
destructive process, thus she exists as the Eternal (time eternal). In other
sense she neither creates nor destroys at that point. She is the continuous,
endless flow of time18 (K lacakra), apparently the day consuming night and
night consuming the day. This phenomenon is referred to as the opening and
closing of ’s eyes.
Vimar a II
Nature of the eternally liberated (Nityamukta)
In general, Knower, Known and Knowledge shine through the Buddhi,

the discriminating power accorded to mankind by akti for the purpose of
knowing the ultimatum of all knowledge. The J ni realises this threefold
aspect of knowledge as shining through her akti and understands her to be
pure and as the cause of all knowledge as well as knowledge itself. He becomes
a liberated soul.
The subtlest Anta:kara a catu ayam is the instrumental cause of M

(Knower). The Instrumental cause of Meya (Known) is the combination of the
Karmendriya-s and nendriya-s, each presided over by Manas and Buddhi
respectively. The knowledge is the offshoot of the activities of the ma
indriya-s (Tanm a-s). Vikalpadh :19 is the tool afforded by Her- the very
personification of c-Artha (word and Sense) as the Cit. A ni using this
tool finds the true source as the pure Svara-N da svar pam which is her
original form and becomes enlightened soul.
Krama and Akrama
Krama is i. Akrama is Pralaya. Both form part of Vimar a akti20 in

accordance with the i - i v da. Par akti, the Vimar ar akti,
proceeds to create the Svara-s and da-s in the form of ka-s which is the
Akrama Vimar a; Var a M ka-s abide in N dasamh ra and thus dissolve in

iva is the Krama Vimar a. Par Prak tir pa akti, is the cause of destruction
in creation and of creation in destruction. She has her face as the three fold
form of knowledge and iva- K la is the power discriminate, untouched by
both creation and destruction. He shines in actionless state. His presence shines
in both creation and destruction. The ni knows this and hence gets liberated.
Dispelling avamala- the limitation of Self
The limitation brought forth in the all-pervasive iva residing in a

devotee due to (illusion) in its dual capacity as the knower and the
known is avamala. This pervades his body in all three phases of time and
space and it depends on the creation in the form of external worldly outlook.
The grace of akti is necessary for removing avamala21.
akti’s grace dispels avamala
Due to the effect of , the limitation is imposed on the dhaka in

the form of three fold karma-s, past, present and future, resulting out of the
san -s ( rmic imprints causing the present behaviour of a person.). akti’s
grace22 dwells upon the dhaka, like the lustre of the Sun, and by giving the
right knowledge advocated in the form of Mah kya-s-(tattvamasy di)
dispels Avidy which is the darkness imposed as avamala upon the all-
pervasive J iva.
akti is all in all
akti’s abdamaya ar ra is attained when ni sees nothing but

oneness of akti in all dual creations.23 The S dhaka, by following the path of
( ma-m rga) unnatural and secret dhan , has the vision of her pervasive
power, as her abdamaya ar ra in and through all duality in creation in the
form of knower and known. All the worldly activities get consumed into
herself in his vision.
Citi akti the material cause.
In creating the universe akti24, being the material cause, assumes three
forms- ryar pam, K ra ar pam and Paramak ra ar pam. K ryar
denotes the deities in the gross form such as Durg , ,T , Bagal etc.,
who descend for fulfilling a particular activity. They operate amidst the
Brahm a. The ra ar pa denotes the ones, which assume subtility in
form, having freedom of movement, occupying the sky of the cave of heart,
Cid sa (V gm nasa- M tragocara:) and who are beyond the Indriya-s.
They operate above Brahm da in Cid sa. Paramak ra ar pa denotes the
one who is subtler than the ra ar pa (V gm nasayorapi agocara:). They
operate on a higher plane than the Cid sa. There are three planes at this stage
called atrayam(viz., Prak tya a, M a, Saktya a) (Vide Glossary)
where akti resides in the form of Prak ti, M and akti. The ra ar pa
deities that are in the Cid sa as means of threefold knowledge, free of all
external activities, have their being in akti(Paramak ra a) who shines on a
higher plane .
Mah in the form S rad
akti is above all duality in creation, though she emits the seven fold
var a-groups (akaca atapay dyai: saptabhir var a vargai:25) instrumental in
the formation of Pada and kya and hence the abd rtha. She leads the
dhakas who worship her in the path of evolution or involution, to the tranquil
Cidvyoma, the sky of knowledge shining as ivapada.
akti as Parav c in the Knower
akti in her pure form is Par c in the Knower. akti shines through
26
four forms of c (Speech). Par that presides in M dh ra, Pa yant that
forms in the bhi, Madhyam that occupies daya and Vaikhar that
emerges from Throat.27 Par c is the Vimar a, the Power Discriminate,
dwelling in the pure Self of the knower, shining as the knower, knowledge and
the known. So the revelation of akti by Vaikhar means to say that she is not
different from iva.
akti emerges as Bindu, N da and B ja(lipi).
akti in the presence of Pr sa ( iva) the Citr pa, solidifies to become

the Mah bindu to proceed with i in the form Bindu, N da and B ja(lipi)28.
Cit akti being the Vimar ar pa of Prak a iva, holds a position higher to the
divisions of Bindu in i, N da in Sthiti and ja-Lipi in Samh ra. These
three divisions are like the droplets from the ocean of Cit akti projected in the
Krama of manifestation. Here Bindu is vara, N da is Cit aspect of Cit akti
called Puru a, ja/Lipi is the Acit aspect of akti-the Bh tavarga-s. The three
powers of discrimination viz., N da,Bindu, Kal (Lipi) sound, sense and word
are subconcious in their higher state-the hata state or Visarga.
akti is Par c. Her three forms of c- Pa yant , Madhyam and

Vaikhar which are the revealed form of word. When the Bindu of hata state
gets revealed, then it shines as Pa yant - discrimination and becomes the desire
to express; da becomes Madhyam - the discrimination to express; ja
becomes Vaikhar -the spoken word. Thus da, Bindu and Kal of the higher
plane are subtle and as Pa yant , Madhyam and Vaikhar , they in turn become
purely material as Samh ra, Sthiti and i in the manifestation of the visual
universe. akti shines as Par c in the pure unruffled state, in between the
higher and lower kinds of powers of discrimination.
Ma alatrayam and Tridh ma: transcendence by the grace of Ambik
Just like the fire, in the sky of the empirical universe, which operates in
between the Solar and Lunar systems, in the metaphysical body also the aspect
of fire takes the path, in between the Somama ala formed by the n i,
representing the na akti, and ryama ala formed by the Pi gal i,
representing the Kriy akti, called umn n i which is the midpath
(sudh ma:) the peak of which is the Cid sa. Brahmabilam which is the top
portion of this midpath situated in the Dvadas ntam that is the abode of iva,
Param nabha:29. The grace of akti will operate in the aspirant to see that iva
in that Mah sa.
Dual akti tattva-s-Param and Aparam
akti tattva is explained in its Par and Apar forms30. Par form is that
in which akti is inseperable, changeless, actionless, beyond words and one
with iva in which state the concept of “This or that” does not arise. Apar
form is the manifest universe, formed of sound and sense; in the abda form of
Vaikhar ,Madhyam and Pa yant ; in the Artha form of Meyam, Manam, Miti,
; in the form of States of the Artha i viz.,Udbhava, Sthiti and Laya.
Manifold manifestation of Jagat arises due to this nine wheeled form which is
akti's Navacakr tmika svar pam.
Prime creation by akti 's emergence is fivefold
The multiforms arising of the three fold knowledge viz., knower, known
and knowledge, is the outward form of vara, which transforms into the
objective world. As the first aspect of creation she shines in the form of
pa capr -s31. akti's abode is iva, when she attains unity in his formless,
attributeless state, which is stated as the form of vara, invisible to physical
eye. iva is the inner soul in both states.
Transformation of
, as par c, transforms into var amat ka32-s, thus becomes the

up na k ra a for the manifestation of the pa camah bh ta-s and the pa ca-
tanm tra-s and so on. Par akti, being the unruffled da (cidguh ), is like the
ocean, from which the var amat ka-s flow like waves, in the form of five
mah bh ta-s and the tanm tra-s. She is the up na k ra a for this
manifestation. All these are the multiple subtle forms of .
Emergence of K with twelve powerful forms
akti is the substratum of all the triads. She forms the akti-v ndam
consisting of her four luminous forms viz., Par , Par par , Apar and
kar i. with these prime four forms multiplies as twelve forms at
the stages of i, Sthiti, and Samh ra33. They percolate through the
adhva-s viz Var a, Pada, Mantra, Kal , Tattva, and Bhuvana. They exist in
Akrama pada as eternal and omnipresent not being limited by place and time.
Yet they are present in the Kramapada too which is limited by the time and
place. These four forms multiply as twelve powers at the stages of i, Sthiti
and Samh ra.
Triple abodes in akti
akti’s three eyes are the Dhamat aya-I , Pi gal and umn ;
Soma, S rya and Agni; M na, M and Meya.34
akti is the prime Bindu the source of svara-s (in gmaya
ar ra) whose three eyes are Soma, (m na) S rya (meya) Agni (miti) shining in
the zodiac. Here the i cakra refers to the 12 i-s in the zodiac as well as
to the vibratory vowels and consonants.The following table will show the
identification of syllbles with i. (Ref: Prapa cas ra-fourth tala.)
i cakra35
Me a , , and
abha , and
Mithuna and
Karkataka and
Simha and
Kanya , , , , and
Tulam varga
chika varga
Dhanu varga
Makara varga
Kumbha varga
na , , and
Her power exists in the physical form as , Pingal and umn

i-s extending from dh ra. Thus She shines as Knower, Known and
Knowledge. iva exists in the entire sixteen svar -s. akti exists in twelve
svar s leaving the dasvar -s, She pervades the entire universe
through these letters. This signifies the cosmic form, physical form and the
verbal vibratory form of Par akti.
Cit akti resides in An hata cakra as Samvit
Samvitrup akti who is non-different from iva, is the prime cause of

Svar -s,i.e V caka and hence the creative force of the entire universe. In the
body of dhaka, Vimar a-Samvit akti rises as svar -s from dh ra cakra
as knowledge and mystically reaching An hata36 she becomes both the
knowledge and the known. At this stage she illumines both the word and sense.
Two forms of Sound hata and An hata
Vimar ar pa, Par c shines as An hata (m nasa abda) (thought

wave) and hata (Vaikhar abda) (Sound waves). The expressed word which
is heard passes through three stages:-
1. Dh ma -Palate, Teeth, Lips etc.,

2. Kara a-Viv ta,Samv ta etc.,
3. Prayatna-Spar a, I atspar a etc.
The unsounded word in the mind (man sa abda) shines in five forms on
the subtle plane as Vimar a, Bindu, N da, Spho a and abda. The sound
vibration (beaten) takes the four forms-Par , Pa yant , Madhyam and
Vaikhar . These form the danavaka, the form of Vimar a, which becomes
the material(up na) cause of the emergence of word and thus of creation.
Parame vari is kinetic akti, the cause of var amat ka
All the vowels (svar -s) in sanskrit(a to a:) totalling sixteen are called
the Soma (Moon’s) kal s. Except the four da ( ) svar s, the rest
of the twelve svar -s form the ryakal -s. Leaving even the Bindu and
Visarga in addition to asvar -s, the balance ten svar -s become the Vahni
(agni) kal -s. The primary vowels respectively represent the Soma, S rya
and Agni ma ala-s which consist of these kal -s. akti indulging in ma
i proceeds to create the var amat ka-s with the ten Agni kal -s vowels as
ja-s and Vya jana-s which are the bh tayoni-s.37
Mah bindur pa, Amb activates the subtle forms - da, Bindu and ja.
38
The Prapañcas ra Tantra says that akti, who as the first Tattva
(mere "thatness"), quickens under the influence of Cit ( iva) which She
reflects; then She as Icch akti longs to create (Vicik u) and becomes massive
(Ghan bhut ) and appears as Bindu (Par bindu). Ghan bh ta means that which
was not dense or Ghana but which has become so (Ghan vasth ). It involves
the notion of solidifying, coagulating, becoming massive. This is the first gross
condition (Sth vasth ); The Par bindu is thus a compact aspect of akti
wherein action or Kriy akti predominates. It is the state of iva- akti in close
and undivided union. The Bindu is symbolized by a circle. The nya or empty
space within is the iva pada.39 The supreme Light is formless, but Bindu
implies both the void and gu , for, when iva becomes Bindur He is with
gu . According to PST, akti alone can create. When the desire for
appearance as all Her tattvas captures Her, She assumes the state of Bindu
whose characteristic is action (Kriy akti). This Bindu is the sprouting root of
the universe, is called the supreme Bindu (Par bindu), or causal or K ra a
Bindu. In Ni kala iva, Prak ti exists in a hidden potential state. The Bindu
iva- aktimaya is the first movement of creative activity.
This Par bindu "divides"or "differentiates. She, intent on creation

(Unmukh ) becomes threefold, and then on this differentiation in iva and akti
arises creative apprehension ( ikalpan ). As so unfolding,the Bindu is
known as abdabrahman. On the differentiation of the Par bindu there arose
unmanifested sound" (Bhidyam nat par d bindor avyakt tm ravo, 'bhavat).

abda here of course does not mean physical sound, which is the gu a of the
Kary a or atomic a. The latter is integrated and limited and evolved at
a later stage in Vik ti Pari ma from masika Aha ra. abdabraman is in
the undifferentiated Cid a or Spiritual Ether of philosophy, in association
with its Kal , or Prak ti or the Sakala iva of religion. It is Cit- akti vehicled
by undifferentiated Prak ti, from which is evolved dam tra ("Sound only"
or the "Principle of Sound") which is unmanifest, from which again is
displayed the changing universe of names and forms. It is Pra ava or Om
which is the cosmic causal Principle and the manifested abd rtha. Avyakta
da or unmanifested Sound is the undifferentiated causal principle of
Manifested Sound without any sign or characteristic manifestation such as
letters etc., which mark its displayed product. abdabrahman is the all-
pervading, impartite, unmanifested dabindu substance, the primary creative
impulse in Para iva which is the cause of the manifested abd rtha. This
Bindu is called Par because It is the first and supreme Bindu. Like the akti
and N da which precede It, It is considered as akti on the point of creating the
world, and as such It is from this Par bindu that Avyakta Sound is said to
come.
The Par bindu on such differentiation manifests under the threefold

aspects of Bindu, N da, B ja. This is the fully developed and kinetic aspect of
Par abda. The Bindu which thus becomes threefold is the Principle in which
the germ of action sprouts to manifestation producing a state of compact
intensive akti. The threefold aspect of Bindu, as Bindu (K rya), N da and B ja
are ivamaya, iva aktimaya, aktimaya; Par , S ma, Sth la; Icch , Jñ na,
Kriy ; Tamas, Sattva, Rajas; Moon, Fire and Sun; and the aktis which are the
cosmic bodies. All three, Bindu, B ja, N da are the different phases of akti in
creation, being different aspects of Par bindu “am” the Ghan vasth of akti.
Thus, Par N da ( iva) which is the subtlest becomes the cause of

Mah bindu. The combination of these two, results in creation of the three
orders da, Bindu and ja. N da is identified by Buddhi only. ja is the
Ak ara-s, which result in the creation of ( ma and Rupa) universe of names
and forms. Bindu is the cause of da. Thus each of these unfold from the
previuos principle which becomes their cause in evolution and get merged in
the same way in involution. da is akti’s form of knowledge in five fold
viz., Svara, Var a, Bindu, N da and Kal . Three Dharma-s are ra a, K rya
and Kriy . Kriy akti positioning Herself as one’s Self between the cause and
effect of actions, brings about the transformations.
rmitrayam unfolds from Amb in union with iva .
The first wave arising from the calm ocean iva, is Udyama: (effort), i.e
Icch akti- the Prathamaspanda. The second one is the na akti. This rises
in the Cid sa and called the Mahodaya:-the great emergence. The third one
is the Kriy akti which is creator of universe -the Acit. These three are the
prime waves40 that set forth the pace of evolution of the universe by Amb in
union with iva.
The Icch akti expands as universe gradually from cidgagana.
The first wave i.e. Icch akti41 taking her place in the cave of heart,
spreads in all directions to become na akti, knowledge and then emerging
as subtle sense organs41 for receiving the knowledge as Kriy akti, unfolds the
universe identifiable by names and forms ( danavaka).
In the physical world, in human being Khecar is the Knower (pram

who moves in the vast expanse of conciousness. Gocar is the Anta: kara a
(Buddhi, Manas, Citta and Aha ra) the subtle organs. Dikcar operates
amongst the na indriya-s (Tvak, Cak u:, rotra: Jihv and Ghr a) organs
of knowledge and k, P i, P da, P yu, Upasth -the karmendriyas
(Pram a) i.e.the senses of perception. Bh car , (Prameya) is the objects of
perception in the form of the empirical beings of name and forms. The
boundless nature and power of tm is concealed into limitations in the
dhaka..
Another interpretation is given in the Divyacakorika commentary.

Accordingly is the pr aspanda:,( kta-anuttara-visarga); is the
daspanda:( ambhava anuttara-visarga). is Khecar akti (Pr a
visargar pa,) This Khecar moves in the space, (Dahar sa as well as

Bh sa) Ether. Anta:Khecar moves in Dahar sa. Bahi: Khecar moves
in Bh sa and gains the nomenclature at this stage as the Khecar
mudr akti .42From the letter to using the praty ra pattern of Panini,
all the letters based on the organs of speech beginning with c is called
Dikcar mudr .43 That akti becomes Gocar at the meeting point of the
organs and object of denotation.44 As the letter denotes earth, so, when that
akti reaching the earth gets the name as Bh car .45
akti as the Par and Apar form
In the Pati ( iva and a liberated soul), Khecar denotes the unlimited
power of action (sarvakart tv di akti). Gocar denotes the certainity of identity
with Absolute. Dikcar is the identity of awareness of the state of the Absolute.
Bh car , denotes the identity of the universal presence as a part of His own
residing in the heart of iva(Pati). All these are the forms46 of me var akti,
who is united with iva and is none other than Citi aktir pa. In her Par form
akti is beyond the purview of c, (names and forms) and identical with
Prak a ( iva)- because her form at this stage is da.47 This is the advaita
state. The nine aspects of da48 are Bindu, Ardhacandra, Rodhin ,N da,
nta, akti, Vy pik , Saman and Unman .
In her Apar form, She is emanating as four forms beginning with

Khecar to project the universe of names and forms. She still shines as the word
and meaning considered as one but in divided state.
The destination of the power groups of iva and akti
akti offers iva the Projection of the entire manifestation through these
five akti-s beginning with me vari by her five functions49 (Pram a,
Vipary ya, Vikalpa, Nidr ,and Sm ti). This projection alone is her effort. In the
state of Sam dhi or Sleep, by meditation or by her interest to unite with iva in
the Akula state, she reverts from the act of creation. There is another
interpretation with regard to the five functions.50
Manifestation of Five Siddha-s and Five akti-s
The five functions51 Pram a etc, illumine the insentient

pa camah bh ta-s with their respective characteristics. ( abda, Spar a, R pa,
Rasa,Gandha). Akula iva is not tainted with any activity. All the five
functions i, Sthiti, Samh ra, Tirodh na and Anugraha in the manifestation
of universe, pertain only to akti. The male aspects as per Agama-s are
Brahma, Vi u, Rudra, vara and Sad iva who form the Siddha pa caka-s.
The feminine aspects are called aktipa cakam viz Bh rati, Vi vamb ,
Raudri, vari and Sad iv ).52 These five akti-s53through their five Siddha
forms, execute the aforesaid five functions.
Eleven forms of Par akti
The five Siddha-s, starting with Brahma, and the five akti-s starting
with Bh rati and the Par akti (Unman )are the eleven forms. Any one who
meditates upon these eleven forms of Par akti attains the status ( pyam)
of Siddha-s and thus released from the bondage of sams ra54.The Supreme
form of Par akti resides in Unman . But it is stated as preceptor’s face in
Svacchandatantra.55 In this state of Unman there is no remembrance of Kal ,
kal ra and Tattva56.This stage is also denoted as Sa khya with reference to
Siddha Parva57, one of the aspects of Kalana).
Cosmic Energy and worldly Energy (Cit-Acit)
The subtle akti manifests as two dimensional energy viz Cosmic and
worldly.58 Cosmic power ‘Cit’ is in Siddhapa caka (dharmi). The worldly
energy ‘Acit’ raises from Dharma( aktipa caka).
‘Citi akti’ projects objects as ‘cidr pa’ on the mirror mat (the abode) viz
vara. That is the self illumination in Cit akti of vara, on virtual
manifestation gets the form and shape identical with the projection in subtle
levels. Thus she begins her action of i (creation). This is called the ik
form in other tantras.(vide also: Glossary for Drsti iv da).
Mahak consumes the created objects in Involution
akti is the highest knowledge and her transformation into objects brings
out the manifestation of names and forms. She forms the very core principle of
life in creation. In Pralaya where the whole creation (arthama alam) is
consumed into her womb, then she alone shines as supreme Knowledge and
59
nothing binds her. This is called her Pralayak form.
akti is the mother of the universe conceived in subtle form.
If san is the reason for the variety in creation of Jagat, and Citi akti
is assumed to be unrelated to it, then how can there be empirical manifestation
without the san (the previous experience). To this objection the author
reflects by highlighting the fact of the first creation happening in her cit form
acting as a wall for projection of the proposed creation at the macrocosmic
level as ma i.
akti being the mother who conceives the proposed creation in her
womb,60gradually gives shape to the empirical universe, St la i, as per her
wish at the microcosmic level, in the form of the inner organs and external
organs and objects of cognition.
akti’s internal form in Buddhi as v san ; external as Sense organs
Eternally the manifestation remains in the form of san -s61

(reminiscences of the past) in the mirror of Buddhi as Par c.62 This is the
internal projection of Jagat in the unmanifest form.The Outer manifestation
shines through the sense organs and the abdartha-s.
Vimar a akti’s duality only upto the seventh stage of dan .
At the Macro cosmic level Puru a has varied ideas in the six fold path
of knowledge ( adadhv ) due to varied creations. This is Bhedabh va. At the
seventh stage63 he experiences Peace. At this stage the duality disappears.
(Abhedabh va) There is another yogic interpretation.
Seven Bh mika-s for attainment of Brahmaj na as per Yogav si a 64
1. Insight into the ra-s,
2. The instruction of Guru,
3. Self-determination,
4. abda
5. Bhakti
6. Aparok a anubhava
7. Kaivalya.
Kaivalya is got only after attainment of J na.65 The ascent from one
bh mika to the next higher one is gradual and possible only after being well
established in each stage. The awareness of Puru a which is called ntata is
the seventh stage, that reveals the oneness of the Vimar akti with iva the
ultimate. Up to the sixth stage the duality is experienced.
Citi akti attained in the state of Sam dhi is eternal luminance
This state is assumed as inactive substance (Ja a) by those, who

conceive duality, but together with gu a-s, Par akti shines simultaneously as
manifest and unmanifest energy at the Macrocosmic level.66 At the micro level
the Citi akti67 and Citta (Matter and energy) simultaneously shine and by
arresting the waves of thoughts68 one attains the seventh stage of na.
Togetherness of akti in Jada and in Arthama ala
Inactiveness is inherent in the universe and it is not caused by state of

cit. Beginning with Par , the worldly creations take varied forms and names
and hence called Jada. When Par akti actively shines in the Universe,
gradually inactivity is driven out69. In the province of word and its meaning
she ever shines 70 in the form of cit(Prak a).
Aham -Idam - Asau
Vimar akti, determines that “this” is the Universe. She is the revealer
of the sense of “ (I-ness) in iva and in the universe in its names and forms71
as (this). When she is bereft of them, she becomes identified with iva as
: (I-ness-Being). Prak a- iva’s Dharmar pa akti also has identical
luminance.
Jagat as an apprehension in iva( I-ness in Thisness)
The universe before the Pralaya, is consumed into Cit akti72 the abode
for all subtances with their names and forms. When iva (I-ness-Being) is
created by Icch akti, in Prathamaspanda, the awareness na, about the
Jagat shines. In the context of Pralaya, the cognizance of Jagat as “i am this”
(I-ness in Thisness) is created in the mirror called Cit -Vimar a. At that time the
reflection of Jagat is retained in iva (Sada iva)which is like the shining jewel
in the darkness i.e. Kal ( nyaratnam).
Functions of Siddhapa caka and aktipa caka.
The reflections of energies in their Siddhapa caka and akti pa caka

forms, perform their respective functions73. The akti-s with the duties imbibed
in them by Vimar akti act as the illuminator of the respective Siddha

pa caka. This illumination causes iva ( vara), to recognize his image as the
manifestation. (Thisness in I-ness, This universe is my own Expansion).
akti manifests objects as compliments to iva (Bhogya)
This realisation of iva as the enjoyer and the enjoyed, imposes the dual
perception of Himself as distinct from the universe is the fifth stage in the
manifestation of Pure elements74. This is the state of Suddha vidy (I-ness in I-
ness-Thisness in Thisness). All these are the dynamics created by Vimar a in
the Absolute iva at the micro level of manifestation.
uddha tattva-s = Pure Elements

iva = Iness (Being)
akti = Iness
Sad iva = Iness in Thisness
vara = Thisness in Iness
uddha vidy = I -ness in I ness – This-ness in Thisness
These are the first five basic Tattvas in the process of Creation.
Svatantrat is the “asau” aktirup -Amb ’s Dharma
The thirteen elements viz Intellect, mind, and I –ness-Aha ra along

with Karmendriyas and J nendriyas at the cosmic level function on their own,
independently. It is the power of akti indicated by the dual terms aham and
asau suffixed to I-ness of iva.75 iva is the consumer and the consumed.
observer and observed. Here both Ahant and Idant of iva ( - :) shine
as Dharma-Dharmi form of Absolute’s manifestation.
iva the enjoyer as well as Destroyer
akti through the creation of Sentient and Insentient objects

compliments iva with enjoyment. She becomes the creator of nanda iva76.
She consumes the same Jagat in the Cid sa in the process of destruction and
makes iva the destroyer.
mam purya akar pam is the Li ga ar ram
The abode shines in eightfold forms by attaining the subtle form as a

Li ga ar ra. The activities of mind are born out of the Purya akam.77 They
supported by Anta:kara a remain as v san -s. They are residing in akti’s
womb and as san -s in all living beings. akti who enlightens them is said to
be omniscient (Sarvaj ) 78.
Li ga ar ram of J is the eight-fold Purya aka, the city of the group

of eight. It is the subtle body of consisting of Pa catanm tra-s, Buddhi,
Manas and Aha ra. The subtle body of Purya aka iva (Macro Cosmic)
consists of
1. Citi the consciousness power of Absolute,

2. Cittam the cosmic mind
3. Caitanyam Freedom of knowing and doing
(J na & Kriy akti)
4. Cetan Supreme Consciousness ( iva)

5. Cetan Empirical consciousness of individual (Pasu).
6. Jiv Life
7. Kal Ray
8. ar ram Karma. (Vide notes)
iva’s as Vir ( in creation); as (in destruction)
In the form of creation as well as destruction, and in the state of

obsorber and the obsorbed, iva exists as ‘ - I-ness.79 During this period
akti bestows Buddhi, Manas and Indriyas, to this I-ness in the manifested
universe (Vir ) and in the state of Enjoyer (as Vir ). In dissolution iva
obsorbs his creations into his ar ra (as vara). Thus akti acts as mother
in both the stages, likewise in the empirical aspect.
Motherhood of akti and her grace
akti endows the Li ga ar ra of all living beings with the Purya aka
and shines as their conciousness. For the purpose of Bhoga, the term is
denoted to Jiv ’s consciousness which enjoys the fruits80 of knowledge of
objects by virtue of the nendriya-s and Karmendriya-s along with Manas in
learning and action. It is the act of her motherhood81 and grace showered on
.
Bindu lak a
Kal -s of Pr as rya; Pr acandra and Siddaugham in rdv mn ya

are detailed. akti in Bindu form (Apar bindu) with twelve digits (Refer Sl 36)
moves upwards as Pr as rya and illumines the Pr acandra. The -s
endowed with the Purya aka (Dh manok a) are guided by akti herself acting
as Guruparampara (the Siddaugha-Prak sam tra vigraham) in the path of
enlightenment82. The creation of var a-s causes activities in and helps the
as his life force.83
lak -Moon(Ap na) with its sixteen digits is a source of Bliss
The form of N with downward motion which is the Ap nasoma is

the form of enjoyment84. Vimar a shines as nandacakra consisting of this
moon with its Sixteen kal -s. Fifteen are of the form of particle (Trut ) and
Sixteenth is akti who is perpetual.85
Rise of Day and Night in Macro cosmos and micro body
The rise of day by Pr as rya kal -s, and that of night by the
Ap nasoma kal -s happen both at the Subtle and Gross levels of
manifestation.The subtle function is day and night caused by the opening and
closing of akti’s two eyes86 - the Sun and the moon. The time cycle of Sun
enumerated as years and the Moon cycle as fortnights are the gross
identification. The fierce akti is the power inert in them for the whole
activities.
iva aktis marasya by control of Pr a and Ap na inSam dhi state
By the integration of the Kal -s of the Pr as rya and Ap nasoma, the

Knowledge and the Known merge and shine as the oneness of iva- akti and
Bindu-N da. The S dhaka who balances the twin flow of Pr a and Ap na,
gets a state of consciousness, the form of akti87 .
Mah shines as 17 forms in Sam dhi within the abode of Pr a
In the Sab ja sam dhi state when the external thinking is stopped, as per
the instruction of the Preceptors, akti acting as the Pralaya fire consumes the
actions of Pr a and Ap na. The dhaka gets the flash of the Seventeen
images at this state.The Seventeenth is the creative and destructive force
Buddhi, who is the eternal Mahak in the macro level. The other sixteen
being Manas, five Pr a-s and ten Indriya-s88 .
Similarly the Seventeen forms of worship of Mahat is described thus. In

the Ga apati vara a, (first vara a) akti as Sr projects three images
Girija,Rat and Mah . In the second vara a- akti as ddhi projects seven
images-Sam ddhi, K nti, Madan vat , Madadrava, Dr vi , Vasudh ra and
Vasumat . In the third vara a six deities of the limbs 89 are not mentioned for
they are not the deities of full form. Caturt vara a- akti being Br hm projects
seven images-Mahe var , Kaumar , Vai avi, Var , M hendr , C mu da,
Mah lak . As the fifth vara a deities are the guardians of the directions,90
they are excluded in the count. The up sana that is done in the line of teachings
of Guru-s leads the dhaka to realise the worshipped deities.
Abode of Mah akti and her manifestation
Mah akti creates the other powers viz Icch , J na and Kriy as well
as in three states i, Sthiti and Samh ra herself residing in the Tur ya pada
(the fourth state of awareness) and pervades the grat, Svapna,Su upti states
in Nirb jasam dhi of the devout up saka.91
Abode of the universe at the time of deluge is Tur ya, i.e., Mah akti
The manifestation which consists of Knowledge, Knower and the

Known, is merged at the time of deluge into the Tur ya92 state shining as subtle
Cit akti and the S dhaka-s pursue this power in Nirb jasam dhi.
ra, R va, Caru, Mudr of up sana
There are four parts of worship in Agama-s (Cary , Vidy , Yoga and
Kriy which are synonymous with ra,93 N da (R va),Caru and Mudr
respectively in Krama. These tradional methods of worship result in step by
step revelation of the deities and help them to realise the superior state.
Pr sa- nanda-V ndacakra-s
The auspicious akti (Ma gala), Par c, shines as Par , Pa yant ,

Madhyam and Vaikhar in aktim rti ma ala. She remaining in Pr sa,
nanda and V ndacakra-s94 shines in the form of da, Bindu and Lipi(B ja)
respectively. Former two levels are contemplated through meditation. She
shines in the V ndacakra in the Lipi (B ja) form as Vaikhar . and in this form
she is worshipped externally with Mudra-s, Yantra-s and idols.
Chapter III: The discussion on the first two Vimar a-s

based on Divyacakorika and Kramaprakasika
NOTES
1.
- DC p 17-Cgc-5.
2.
- KP p 4-Cgc-6.
3. - DC p 24-Cgc-7.
4. DC p 26-Cgc-8.
5.
- DC p 26-Cgc-9.
6.
:
- KP p 7-Cgc-10.
7.
( )
- KP p 8-Cgc-11.
8.
- KP p 8-Cgc-12.
9.
- KPp 9-Cgc-13.
10. , , ,
, , - KPp 9-Cgc-14.
11.
(Quote-TA-ahn-4- sl 173-176) KP p 10-Cgc-15
-(Qte-ibid Ahn-4tika) KPp11-Cgc-15.

12.
(Quote-Bhavaprakasa chap –I )- DCp-39-Cgc-16.
13.
- KP p 12-Cgc-17.
14.
- KP p 12-Cgc-18.
15. , Kp p 13- Cgc19
16.
- DCp45-Cgc-20.
17.
,
- KP p 13-Cgc-21.
18.
- KP p 14- Cgc-22.
20.
- KP p 15-Cgc-25.
21.
, KP p 15-Cgc-25
22. /
- KP p 16-Cgc-26
23.
“ , ” .
) - KP p 16-Cgc-27
24. - ,
- KP p 17-Cgc-28.
25.
- KP p 17-Cgc-29.
26. ,
- KP p 18-Cgc-30.
27. “
” - KP p 18-Cgc-30.
28.
,
- KP p 19-Cgc-31
29.
,
,
-
KP p 20-Cgc-32.
30.
- KP p 21-Cgc-33.
31. - KP p 22-Cgc-34.
32.
, - KP p 22-Cgc-35.
33. , , , ,
- KP p 23-Cgc-36.
34.
-KP p 23-Cgc-37.
35.
- (Quote Prapancasara-4th
patala- Sl-33- 37) KP p 24-Cgc-37
36.
,
- KP p 24-Cgc-37.
37. “ , ”
“
” “
, ”
“ ,
” TS, III Ahnika - (Quotes) KP p 26- Cgc-40-41

38.
- (Quote-Ps 42) KP p-27-Cgc-42

39.
- Yoga minaksi stotra

40.
MVT-III adhikara v 5-
MVT III adhi v 6
- MVT III Adhi V 7 KP p 27- Cgc-43.

41.
- KP
p28- Cgc-44.
42. –
- DC p 87- Cgc-44.
43.
ibid .
44. ibid .
45. -ibid Cgc-44
46.
,
-KP p 29- Cgc-45.

47. - DC p88- Cgc-45.
48.
- DC p 88-Cgc-45.
49. ,
,
KP p 29- Cgc-46
50.
- kaulopanisad DC-p 88-89

51. ,
- svaprakasam prakasate/ KP p 29- Cgc-47.
52. —“
—
” -YH Bhavarthasvarupanirupana vyakhya sl 17-KP-p30Cgc.47
- LS 115.
53.
- LS.112.
Tripurasiddhanta Kp p 30-Cgc-47
54.
- KP p 31-Cgc-48.
55. “ ( . )
- Patala 10. SvaT KP p 31- Cgc-48.
56. “ ” ( . )
Patala 10. SvaT KP p 31- Cgc-48.
57.
Dc p 91-
Cgc-48 .
58. , ,
KP p31-Cgc-49.
59. ,
- KP p 32- Cgc-50.
60. ,
, ,
-KP p 33- Cgc-51.
61.
-KP p33-
Cgc-52
62. Saptasati Adhyaya-5 KP p 33- Cgc-52
63.
KP p 33- Cgc-53.
64. ChII.- S 27(sutra) (Sadhanapada) “
” KP p 33- Cgc-53.
65. ( ) KP p 33- Cgc-54.
66.
KP p 34-Cgc-54.
67. - Cgc-54.
68. –
– L.S Cgc-54.
69. ,
, KP p 35-
Cgc-55
70.
- R.V of Kalidasa sl 1
71. ,
,
KPp35-Cgc-56
72.
, -
KP p 35- Cgc- 57-58
73. , , , ,
KP p 36- Cgc- 59.

74. ,
,
KP p 38- Cgc- 60
75. ,
- Pratyabhijna 3.1/11 KPp 38-Cgc-61

76.
,
- KP p 38- Cgc- 62
77. 49-50.SKV
- cidvalli karika 40KKV

( )
- YH Tika Karika 54, (Vyakhya) Quote-in Kp p 39- Cgc-63.
78.
Quote-Pancadasi- KP p 39-Cgc-63.
79.
- KP p 40-Cgc- 64.
80. “ ” -Quote from Manu-KP p 41-Cgc-65
81.
/ KP p 40 -Cgc-65
82.
- KP p 41-Cgc-66.
83. TA IIIAhnika Sl131.
ibid sl 132.
Ibid sl 133
TA III ahnica Sl 170
Siddhamandalam as enlisted in Srividyarnavatantra I svasa- KP p 41-Cgc-66.

84. , , ,
. - KP P 42-Cgc- 67
85. “ ” - MNP-VI udaya
-TA III 185
-TA III 186
- 187.
86.
, - ,
KP p 43- Cgc-68.
87.
KP p 43-Cgc-69
88.
, ( )
- KP p 43- Cgc- 70
89. (i) , (ii) (iii) (iv) (v) and
(vi) –
90. (i) , (ii) , (iii) , (iv) , (v) , (vi) , (vii) ,
(viii) –
91.
,
KP p 44-Cgc-71
92.
, KP p 44-Cgc- 72
93.
KP p 45-Cgc-73
94.
, ,
MNP VII Udaya prusta 84

Ibid pru 84 MNP IV Udaya prusta 78
KPp - 46-Cgc74.
CHAPTER IV
The discussion on the Third Vimar a

Eternal iva in Nirb jasam dhi
The initial vibration (Vimar a akti) is the image of Cit at the time of
creation. She being consumed in Pralaya attains oneness with iva. The
changeless and eternal iva is the abode of akti in Pralaya. A dhaka, who
in the state of Nirb ja sam dhi1 worships that ultimate abode of iva gets the
liberation from cycle of birth caused by akti.
Vimar a- dyaspandhar pa- aktip tha: sa kalpar pa:Mahattattva:
When the necessity arises for the creation, then Vimar a- dya
spandhar pa unites like the milk and water with iva, to spring out the first
form of creation, the Mahat tattva, as aktip ha2. He is Ga a as per the first
verse of First Vimar a. He is the creator of the whole universe born out of the
Sa kalpa created in iva towards manifestation. This Sa kalpa is the first seed
letter form “ ”.
Sphuratta aktir pa M laprak ti
Gleam of absolute freedom of the Consciousness (Sphuratt )3, who is

Eternal, Omnipresent in S ma (k di) bh ta pa caka-in the form of Citi,
sets forth in bringing about the world process by her Sa kalpa as Mahat. From
Mahat she brings forth the hacakra which is the Vir tr pa of the animate
and inanimate gross worldly form. P ha includes both the aspects of
Individuality and Totality of the Body.4 Here pa catanm tra-s cause the Mahat
tattva which then causes the Gross manifestation from the bh tapa cakas.
hacakra in Savikalpaka and nirvikalpaka sam dhi
Mahatr pa akti who is the mother of the Vir t r pa which is the

hacakra, resides in the hacakra5 as the core in all animate and inanimate
beings. In the Savikalpaka sam dhi state, a dhaka attains her multitude form
in the hacakra. By perseverence when he attains the Nirvikalpaka sam dhi,
he transcends beyond the hacakra and realizes her omnipresence in the
entire manifestation (sarv tma).
Var aktir pa- B jar pa
The group of letters (Ak araga a) in different tones desire to attain one
of the three stages (Tridh mas) of Bindu, N da and B ja at the time of Pralaya.
The dhakas who desire to reach the state of iva, approach through the
various jak aras to transcend these levels. Her form as Citkal assuming the
position of Var akti6, fecilitates the attainment of the ultimatum of
Bindutvam or datvam or varatvam depending upon the state of up sana.
Revelation in accordance with the type of worship
Cit akti who is in the forms of Agni(Bindu), S rya (N da) and Soma
(B ja) kal s, who moves in the An hata (Cid a) as Citkal reveals one of
her forms stated above, in accordance with the choice of worship (B hya or
nasa)7 of the dhaka.
Sodasasvara:, mantrar pa:, M kar pa:
The sixteen vowels are the seed letters which form the mantra-s. They
are the prime cause for the creation and maintenance of the manifestation in
their akti forms. ka akti8 who is the expressed form of iva( a-kara) are
also the cause of i, Sthiti and Laya. When they are pronounced in the
up sana they are Mantra-s. They rise eternally with out any obstruction to
form the seat of akti (dvaya akam manustava sanam)
akti- mas nam in Savikalpaka and Nirvikalpaka sam dhi-s
mas na9 is, the subduing of experiences caused by the contact of

Indriyas with the sense objects. The cosmic abode of akti at this Savikalpa
stage is present in the form of eternal brilliance though it is beyond Perception.
This is the state in which the universe is withdrawn at the time of Pralaya. It is
beyond all modes of knowledge and is not void. It is realizable by the self as
the cit evershining in the Heart. When all activities vanish in Nirvikalpaka
sam dhi, the dhaka experiences his self shining as Prak a( iva) which is
the state of Karav ra mas nam.10 This appears to have a corresponding
treatment of this subject by Patanjali.11
dy Vimar a akti is K etrap la
Par is beyond the knowledge level where the knowledge, knower and
known culminate into oneness. Par which is K etrap la- tm takes three
further forms (Pa yant , Madhyam and Vaikhar ) constituting the base for
emanation. Par who causes resonance in the An hata region is Pa yant . Her
form of Madhyam with descriminating Buddhi and everactive Manas creates
and maintains the universe, as the Jagat-c laka:, The Var as consisting of
sixtyfour letters in conjunction in different forms becomes Vaikhar which
completes the creation. In deluge the process gets reversed from Vaikhar to
Par . At the Nirvikalpakasam dhi state where there is no activity, then she is
called An khya, who bestows the union of etrap la12 (S dhaka’s tm ) with
iva.
Gurukrama
Vyomav me var moves in four states called Khecar (Pram r pa),

Gocar (Anta:kara ar ), Dikcar (Bahiskara ar ) and Bh car (Bh va
svabhavar ). The akti-s who rule the atcakras are kin , R ki , L kin ,
kin , kin and H kin . Leaving out H kin -Ajna, the other five cakra rulers
( kin - M dh ra, R ki -Sv dhi a, L kin -Ma ip raka, K kin -An hata,
kin -Vi uddh ) correspond to Khecary di pa ca aktis in the Gurukrama13.
Before i and after Samh ra there is an abode called An khy which is a
special abode sought for by the dhaka-s. Krama is known as the different
phases of one akti in a certain process, known as i, Sthiti, Laya and
An khy . An khy cakram is process of withdrawal but it forms the prime
phase of Akrama .
akti’s grace causes i and Sthiti of Jagat
Nirniketanapadam which is the abode where akti and iva are always
in union. This is attained only by the grace of akti in the Nirvikalpakasam dhi
state in the dhaka. There both are in the state of Bliss. From that state for the
purpose of Jagat i and Sthiti there is the spread of the divinity14 in the form
of the Prapa ca. This unfoldment of akti in her state of nanda is wonderful.
Pa cav hamayam mana: attains nirniketapadam
In the state of Nirvikalpakasam dhi, the activities related to the Enjoyer

and the Enjoyed cease to exist, and Manas15 is one with the pa capr -s.
Thus the nirniketa- iva aktis marsyar pampadam is attained owing to the
absence of enjoyment of objects of senses called Aj nam. As long as one is in
this state, till then there is no existence of the Festivity of creation.
akter dya: parin ma: Pr :
akti’s first change is in the form of pa capr :16 both in the

Vir ar ram and the human body. In the Vir , they are called Pravaha:,
vaha:, Vivaha:,Samvaha:and Parivaha:. In human they are Pr , Ap na,
Ud na, Sam na and Vy na. akti resides in the form of pa capr : in both
Vir t and Human bodies.She in the form of Prak ti coexisting in her the three
gu as having her place in the Heart of both ar ras becomes active through
these five pr -s. She carries out uninterruptedly the activities of the entire
manifestation till deluge . In pr ma she is worshipped like Ganga by the
Siddha-s in her pr pa(Par ).
Vi valayar pa: sam dhi:
The universe,which is iva in his immanent form, on the context of total

stoppage of the activities of pa capr a-s in sam dhi through the Vyomay na
in cidgagana disappears (visvalayar pa:)17. Before i, owing to the grace
on the living beings to be created, akti kindles the state of bliss in the path of
Paramaguru iva’s face. This flows out as the emanence of Jagat in the
Pr dhva with Mati as pioneer.(mano matir mahan brahma). Thus akti in

her pa capr r pa becomes the Instrumental cause(Up nak ra a) in
creation.
va (N da) emerges from nyadh ma by dynamism of akti
Nirniketapada is the abode of Prapa ca at the time of deluge

where, akti remains merged in the Prak a iva when prapa ca does not exist
before the first Spanda. This abode which is the union of iva- akti (Cit
Prak tm kam) is the nyadh ma18. When the form of Prathama spanda
(Iccha akti) arises with the three gu a-s (Sattva, Rajas and Tamas) the varied
forms of manifestation takes place. akti being dar pa emerges as va
which forms the threshold for creation of Jagat.
akti’s pa cav ha tanu: (pa caslokakulakam)Khecar
Adyaspandhar pa-Icch akti shines first as V me var (tvakv tti

ranupatit ) in the pa cav ha19 as Pram pa. She solidifies her desire in
further flow to assume the waves of forms and names. She is then called
Khecar whose form is Anta:kara a. (r pagraha a unmukhatve cak urv ttim
anupatita)
Bh car
akti then moves forward as the one, consuming the objects of cognition
relating to Spar a in quick motion and shines as Tvakv ttir pa and is called
Bh car . She adorns the form of Svabh va.
Dikcar
akti further moves with intention of consuming the manifest objects

into her stomach as food with her tongue, thus governing the Rasanendriya,
obstructs the j na of the Pratya tm as being iva. She creates the
Bh var pa in the tm . She acts as the consumer of the manifestation in the
form of Samh ti.
Gocar
akti, having become the face, Citta, properly established in the form of
Raudri (Ghr av ttipatita), whose rush outside in the form facility of Smell,
Ghr endriya, becomes the Bh vasvar pa of Antar tm as Anta: kara a
aktir pa, and though being one, reflects outwardly as many in accordance
with the activities of Ghr aktir pa. This form is called Gocar .
me var
Pa cav hamaya akti’s first form is me var (Ady kala). She is the
Brahma svar pa who emerges from iva aktis marasya as first descent in the
process of creation. In the pure internal organs of cognition of the Siddha-s20
she shines always as Brahmamaya without forms and actions related to the
external activities of manifestation.
Par akti as Kal kar ini in cakrapa cakam

21
The grace of akti flows in the form of Kalakarsi , who shines as the
Cakrapa cakam consisting of rya, Soma,Agni,Bindu,Par and Apar ) and
lifts the dhaka-s to the level where the effect of Time is felt no more .
Pra ava produced by Cakrapa caka in Ku alin
Pra ava consists of six ak aras. In Ku alin , they occupy the six
cakra-s as devata-s in charge of each cakra (n bhy didv das n taparyantam).
The fourth one Ardham tra being Pras da- Cit akti. Ku alin has six cakra-s
called Ghosa (Sv dhi nam), Vadav (Ma ip rakam) (Vahnicakram), ikh
(An hatam), Binducakram (Vi uddh ), N dacakram ( a) and Pras da
(Sahasr ram). Pranava’s six divisions22 are; -k ra:, -k ra:, -k ra;,
Ardham tra, Bindu and da23. Pras da is Pra ava’s fourth division
Ardhamatra, which is the Citi akti attained in the Heart of the dhaka. So the
Pra ava is produced by Citi akti in the form of Ardham tra representing
Pras da in combination with the other five letters.

atcakr ra ar re pra ava: pi amantra:
Pra ava which represents the atcakra-s of body as pi amantra24 is

also obtained from the mah kyam “ ” which is the reverse form of :
mantra. Indu “ ”, lam “ ”, v a “ ”, ta ka “ ”, k la B jam “ ” these five
ak ara-s form the base for akti’s form “ ” . When the “ ” and “ ” the
consonants are omitted and avagraha: representing rvar pasandhi’s effect is

also removed, then we get the Pra ava B ja “ ” from . The dhaka
who meditates on the Pra ava and the one who meditates on soham, both get
the awakening of Self as Cinmaya(Cit).
akti’s Adhy tm gurupa kti
Heart is the place of pain and pleasure(as na akti). It is controlled by

pr -s (as Kriy akti). The peek of Ku alin ( ikha) the residence of akti as
Citr pa, is called nectar (madhu) as it bestows bliss on the dhaka who attains
it in the worship of Ku alin . Buddhi is tainted with Aj na which is Ni
(Darkness) (Icch akti) and is the cause for the manifestation and Aj ni-s
tend to feel happiness (madhu) in the i which subsides when one gets
knowledge ( na). Thus akti in her first three forms- Icch , J na and Kriy
akti25 , sets the prime path for creation in the subtle form.
akti’s expansion as Adhibh ta
After forming the first three levels in the form of three akti-s in the
Adhy tm pam, akti expands further in the Adhibh ta26 form as Pa ca
mah bh ta-s- P thvi, V ri, Vahni, V yu and a, in the process of creation
of Jagat.
Mu a-da akramau j nakriy tm kau
me var ’s pa cav ha krama takes two forms viz., Mu akrama and

Da akrama27. Mu akrama relates to her expansion as J na akti, Kriya akti
being subtle, acting through the Buddhy di J nendriya-s in the path of

Knowledge. Da akrama relates to her expansion as Kriy akti with
na akti in subtiliy, acting through the V kadikarmendriya-s in acquiring
knowledge. Bh car with Gocar , Dikcar and Khecar establishes the
Da akramam. Bh car with Gocar , Dikcar , Khecar and V me var form
the Mu akramam. By these the enjoyment of the objects of cognition is
endowed on va.
da’s path
In manifestation, N da is of the nature of vertical flow28 produced from

the dh ra taking the form as Pa capr :, in and around the Jatar gni of
dh ra. It is held in An hata before proceeding its upward journey to
Sahasr ra.
akti’s forms in i, Sthiti and Samh ra
In i, akti takes the form of the elements abda,Spar a, R pa, Rasa

and Ghandha) that help in enjoyment through the cak ur di pa ca
nendriya-s.
In Sthiti, she is activity-oriented and takes the form of Vargapa caka-s-

Var a M ka-s. In Samh ra akti becomes the pa capretar pa
(Brahm dima ca pa cakam) withdrawing all activities.
Divyougha janani
akti is the Brilliance that requires no seperate illumination. She is the

nyam called Mahat Jyoti who adorns the Cid a (Cidgaganam-Heart) as
the ever-rising luminance, from which flow the Divyougham29 ( rya
Parampar -Amb parampar ). Still she is Mahatr pa,as she is beyond the
influence of Indriya-s as V mavigraha. She is realised in the states of sam dhi,
Su upti and Pralaya as Mahat in the Cidgagana.
Khecar akti in Krama i
akti who thus shines in one’s cidgagana transcending all limitations of

empirical entity, is devoid of all activities and becomes one with iva as
Cittam/caitanyam. iva, the one who is worshipped by the celestial beings,
remains with the Prathamaspanda,i.e.,Khecar akti in Cidgagana. akti
leaving worldly activities in roha krama, fuses in iva. iva joins akti who is
the first impulse for commencement of evolution in Avaroha krama.
Bh car in Akrama i
When the creative impulse clearly gets an impression, simultaneously

the heaven (Svarga) and world (Bh mi) are created with different kinds of
beings. Bh car is the akti who from Khecar impulse, becomes the ruler of
these two Bhuvan s which are formed of Akrama i30.
Dikcar as Samh rakarta
Bh car , which represents the sphura ar pa of Cit akti, is immanent

aspect which spreads through all the names and forms in creation. Suddenly
when she decides to revert to her origin i.e., Cidgagana, then she draws back
the entire manifestation in her. Then she is called Dikcar -Samh rakarta.
Gocar as cause of Samh rakrama
Dikcar who is heading towards her abode Citr pa: iva:, reversing
from creation, gets her union in iva relinquishing her three differences in
manifestation namely, saj ya, vij ya and svagata bhedas. Then she
withdraws her own Samh rakrama, and transcends even the Cidgagana to
reach the Mah a. She is named as Gocar at this stage.
Khecar as Sphura akti
Khecar akti’s five types of activities emerge in the form of Cak ur di

pa ca J nendriyas. If one of them attain akti’s identity to shine on its own ,
it is only due to akti’s all pervasiveness but it cannot attain the ability to grasp
the objects related to the other four indriya-s.The Cak u can not consume the
object of Rasana indriya.
Khecar rules over Dikcar in i
During creation Khecar who is in the abode of iva, desires to create

the space to be governed by her and then proceeds towards creation of
dasarga in her own capacity. Then she brings Dikcar who governs the
Samh rakrama under her control, as there is no need for Samh ra during i.
Bh car governs nandacakra
akti who unites with iva and attains Bindu form, flows through the
sixteen am tan dis in the Dh makrama, becomes the Sixteen rays of Cit as
da, then with four asvara-s forms the sixteen svaras as Var ar ra in
Var akrama, with Buddhi, karmendriya-s, J nendriya-s Manas forms the
Samvit krama. Thus Bh car in nandacakra31 shows her capability in i.
Dikcar illumines the Bindu leading Bh car also towards laya
Dikcar who emerges from Cidgagana goes about consuming the

abd di vi ayapa cakam. Bh car resides in Cidgagana controlling the
tiy di Arthapa cakam, and creates undivided Bindu only. As Samh ra karta,
32
Dikcar who illumines the Bindu, thus leads even Bh car to the state beyond
Bindu. This is her aspect of Sthitivibhakta Samh rak liki. The total dissolution
of all souls of universe does not happen at that time.
Dikcar proceeds to the Par vac, the abode of even the bindu.
Dikcar in her path of withdrawal towards the source of manifestation,

thus crosses the Apar bindu to reach the Par c33 form which is ivar pa.
She ascends to the M rticakra consisting of ten kal s and seven ik -s of
Vahni. Then Dikcar enters the Par c, where akti and iva are in union.
The form and process of reaching the Par c -Asvaram ambaram
akti overwhelmed by her manifestation sets the minds in delusion,

thereafter proceeds to reach the abodeless asvaram ambaram34 which is the
form of cit, then she discards the consumption of the objects. That is the state
of Par vac. And as she subdues all the inauspiciousness at this level she is
called Ma gala, the form of auspiciousness. In the gross level it is an ascend
from the Sv dhi hana to citpadam which is the significant state of sam dhi
attained progressively.
Samh rak li stuti as Sasvara ambara adhi tri
akti’s effects are felt in the manifestation which is subtle and called
Sasvaram ambaram35. She is always engaged in bringing about the union of the
entire universe with the Absolute. She is beyond the activities of creation of
various bh vana-s and the five phases of actions exhibited by the five faces of
iva. This ultimate seat is worshipped by the dhaka-s in their state of
sam dhi. This is akti’s abode called Sasvaram ambaram.
Ambara dvaya r pam of akti
Sasvaram consists of three forms viz., Pa yant , Madhyam and

Vaikhar . Each of these three forms again have sixteen svara-s respectively.
They are identified as Bindu:- -k ra:, N da:- k ra:, sasi:- ra:, P ham
-k ra:, jv la:- - ra:, r - -k ra:, bhaga:- -k ra:,k la: , ra:.(eight
svara-s). and Var a’s( long and short )form 4 svara-s. (long and
short form) 6 svara-s. form 4 svara-s. These together sum up to
sixteen svara-s. These emerge in the three levels of V c which form the three
types of Sasvara ambaram.
Asvaram ambaram is the Par c form which transcends these three

levels and is most subtle. This Par c is called Ma gala. Ma gala is further
classified as Par and Apar . Par ma gala is the Par form of V c. Apar
takes the three forms of Pa yant , Madhyam and Vaikhar represented by
, , (three)Var a-s. and Var a-s are also found in Sasvara ambar tmika
akti.
Both abodes36 are akti’s form as V c. She is Par at the highest

subtility stage of manifestation of the universe of names and forms.
akti is abode of Sasvara and Asvara ambara-s
Citir pa akti through the sixteen svara-s exhibits her word power of
illuminating the objects in the Sasvara ambara which is the universe. When
akti adorns the Asvara ambara, which is the abode of svara-s, she is Par and
she continuously emits rays of ultimate knowledge even without the presence
of words and meanings. She is the instrumental cause37 of creation of both
abda and Artha.
Kara gi i form of akti
Kara gi i38 is the akti, who facilitates the resting of the ar ratrayam
obtained off pa cabh ta-s, in the Ultimate abode called Cid a. ar ra
trayam consists of Sth la, S ma and K ra a ar ra-s which emerge out of
akti’s expansion as the universe. Sth la ar ra is endowed with Anta: kara a
and Bahiskarana indriya-s totalling nine. Kara gi i leads even the other two
ar ra-s viz., S ma and K ra a ar ra-s towards the Cid a.
li in the Form of Krodhani
Krodhani39 akti helps the S dhaka in the course of Tracing back the
elements of manifestation from Earth to Prak ti. At the time Laya these
elements vanish but the M ka Var a-s being instrumental for these elements
remain. The Mantram rti of akti made up of these Var a-s, is eternal and
hence called Nithya. In Mah pralaya since akti also merges in ivatattva the
mantram rti also vanishes.
Raudrar pa Krodhani
Sattva, Rajas and Tamas are the three gu a-s exhibiting the three
aspects of akti as Prak a, Prav tti and Niyama, that expand as the causal
body ( ma ar ra-k ranam) and the empirical body (Sth la ar ra-k ryam).
In order to transcend these two bodies, akti assumes the Raudr 40 form which
is endowed with the competence to consume these two ar ra-s into her Mantra
pam. Krodhani akti is the emotion of anger (krodha,sth yibhava) in the
Mantr tmikavapu of akti assuming Raudri form.
Sarga Samh rada yam Bhairavi
The five types of impressions acquired through the five external sense
organs and the impression of pleasure and pain etc., felt in the Anta-kara a are
the six knots that are snapped by the Bhairavi41 who resides in the Cidgagana
without any veils. She is Visva-abhedini in the Samh ra. When she assumes
the form of Prathama Spanda (Kriya akti) and spreads the entire manifestation
in different varieties in i then she is Visva-bhedini.
Jagadb jav san consumption by Lelih .
akti’s determination to enable the Jiva-s of Jagat, to retrace their way

back towards their origin, culminates in her consuming the Sth la and S ma
jagat, with their cause of manifestation viz., san -s. These san -s arise in
the subtle cosmic body called a apuri (see Cgc v-63) She is termed as
42
Lelih .
Citr paprak i Khecar
akti engages herself as Khecar 43 in withdrawing the entire

manifestation of forms and names formed of the four kinds of c- Par to
Vaikhar , into the unveiled abode of ambhu, the Cid a. There she shines as
Cidr pa.
Khecar attains ambhupadam through umn n i
Ku alin akti which shines in three stages as Vahni, S rya and Soma
Ku alin , rises like lightning through the Su umn i which is central to
and Pi gala. This is likened to the stem of lotus which leads to the mbhava
state (brahmar pam) in the unveiled Cidgagana. Khecar takes this path44 .
nda krama and Mudr pa cakam
akti in Nirvikalapakasam dhi holds the Thirtysix elements in the form

of impression in her womb. There she always revels in her experience of the
manifestation. In Savikalpakasam dhi she acts in the ndacakra, which
represents the constituents of the subtle body ( ma ar ra)in the form of
syllables. According to Krama, there are Sixty-four siddha-s. They are
classified into Five types of siddha-s-
1. J nasiddha (sixteenvowels)
2. Mantrasiddha (24 consonants-ka-bha)
3. Mel phasiddha (12 neuters)
4. ktasiddha (8 from ya-ha)
5. mbhavasiddha (4 ak ra-kal pas-Bindu, Ardhacandra,

Nirodha and da) *Kalatattvakosa-p306.
akti stationed in five forms of Mudra akti-s- Kara gi , Krodhin ,

Bhairav , Lelih and Khecar helps these siddha-s attain their suitable
enlightenment45.
di-H di mata mantrar pa akti
The twelve vowels excluding the four asvara-s, and the
vyanjana-s ending with either Anusvara or Visarga become the various Mantra
forms of Devata-s. akti is attained by the di (starting with ka) and by the
46
di (starting with ha) ar mantra-s.
Cidambaragat akti’s four forms in Gross body
In the Gross level, akti who adorns the Cid a of the empirical being
shines in four ways viz., Bindu cakra, i, Ku ali and ikar pa47. Bindu
cakra is the M dh ra cakra. i ap nav ta dh racakra (Sv dhi na),
Ku alin is the Ku alin akti, a snake form, wound in three and half
circular-ring form (Adhasahasr ra). ik is the Vahni that depicts the stomach
(Ma ip raka). akti piercing through the Bindu cakra ( iv tm ka) with the
help of vital air, reaches higher and higher progressively. Then she shines as
Par , Pa yant , Madhyam and Vaikhar respectively and acquires the form of
Sixtyfour Var a-s.
Sixty-fourVar a akti in i and Samh ra
Ma gal akti in her ma form governs the fortynine syllables (16

vowels and 33 consonants). She expands as sixtyfour48 rays while assuming the
Sth la form in i. She again deposits them in the womb of Khecar akti at
the time of involution.
Raudry di Kal : mbhavya: Samvitkrama:
The four types of Siddha-s-J na, Mantra, Mel pa, and kta siddha-s,
accompanied by Raudri, V ma, Ambik and Jyesth respectively create the
four kal -s akti who is beyond the Kal s shines as a-k ra svara in the fifth
mbhava49 state.
At emphirical level, nam refers to worldly Knowledge ; Mantra is

the tm that is the effect of the rise of Pada and Artha; When tm is at self-
realised state then it is Mel pa; At this self-realised state when there is
containment of san -s then it is kta; when this state of self and that of
awareness of iva merge then it is the state of mbhava.
At the Cosmic level, Prak a, iva is of the nature of a calm ocean and
enjoys the Svatantrya akti, Vimar a as his Ananda akti-anubhava. From this
state arise the akti-s which are called mbhavya:. When there is a slight
throb and iva is ready to act, then it is the state of kta-Ull sa. When there is
the feeling of Union of these two, then it is Mel pa-Sphura a. When there are
series of waves, then there arises the Mantra-Unmesa. When like Candrodaya,
which increases the tidal activity, there is complete shaking then arises the
nasiddha-Udaya.
nasiddha are to be considered as form of Prameya; Mantrasiddha as

Pram a; Mel pasiddha as Pram -the self, tm ; ktasiddha as uddha
pram . mbhavasiddha as the Samvit with absolute freedom in the
Par ma iva Bha raka state.
Thus the combination of the Siddha-s of ndakrama and the

Pa cav ha akti-s reflect the Samvit krama consisiting of the five phases of
actions on the part of iva viz., i, Sthiti, Samh ra, An khy and Bh sa.
c catu ayamapi aktir patv t kal abdena game u vyavahriyante
Arising out of nasiddha, Raudri represents the Kriy akti expressed

as Vaikhar vac. Subtle Mantrasiddha brings forth the ma akti representing
Icch akti, who vomits the manifestation impregnated in her, hence called
. c at this level is Pa yant . Yoga,(Mel pa) siddha give rise to the ever-
shining Ambik who represents Par vac. Vimar akti equivalent to
ktasiddha, represents na akti to occupy the Madhyam of v c. When all
these unite then it is the mbhava state, where akti leaving her form of
kas, takes the formless state of A-kara represented by Bindu. This is the
Samh ra krama for attaining the source of manifestation. In the ikrama the
whole process gets reversed.
Citi akti is one with retinue of countless akti-s
The retinue of akti-s50 with eternal luminance of Citi akti as

Mahat,residing in the Cidgagana, keep on spreading their effects in
manifestation in the i and Sthiti and spontaneously engage in maintaining
the varieties everywhere in manifest universe.
Citi akti’s perpetuity in the four mental states
The three activities of i, Sthiti and Samh ra, which are also depicted
by the three mental states grat, Svapna and Su upti and the fourth ,Tur ya51,
which is the withdrawal from all these three states or of the manifested
universe, shine with Citi’s presence.
Two types of delibration of the Puru a
akti (Vimar a) is attained by the Puru a in her two forms52. She is

omnipresent as the sheer luminance (ni prak raka:) in the Nirvikalpaka state,
without the manifold manifestation. In the Savikalpaka state, where the
manifestation is about to be evolved, she as na akti, shines as the various
elements in the subtlest level.
Savikalpaka Vimar a is Samvitkramar pa
Vimar a attained at the Savikalpaka state53 as regards the objects and

such as ‘this being in this form and name’ at the cosmic mental level, forms the
Samvitkramar pa. She enters the ndakrama and now con-templated in forms
and names, she is also Mantrar pa. akti’s activity of creation of the Universe
proceeds through this path only.
Union of iva and akti in the Aggregate form (Vi vamelini)
The union of iva and akti54 assuming forms of enjoyer and enjoyment,
is for the purpose of creating the universal objects for the enjoyment of the
worldly beings, intended to be created. This is the grace of the Divine couple
arising out of their sheer compassion towards the Jiva-s (Mel pa siddha).
akti in Nirvikalpaka state shines as na in the abode of iva
Cit akti without the tinge of san s, shines in the abode of iva in the
form of Knowledge alone. To the dhaka who attains the Nirvikalpaka state,
she always shines in the form of J nasiddha55.
In Cidgagana, akti merges in Prak a form of Cit ( iva)
Mahatr pa akti, without the urge to illuminate the objects of

knowledge, is the Cid a, which is void ( nya). When kta siddha reaches
this level, immediately the kinetic waves of the creative forces of Citi akti in
this Nirvikalpaka state, become the brilliance of ambhu56 viz., the Prak a of
Cidr pa. ambhu and akti unite to form a single luminance.
akti as rdhvama ala
nar akti is known through the abd di vi ayapa cakam. When

she rises in wave form in the calm ocean of iva as Vimar a, she creates
innumerable forms, which are the elements that result in the Manifestation and
the Devolution. These form the rdhvama ala57 whose causal factor is
Vimar a .
Vimar a reflects Prak a of Cit as Up nak ra a
Vimar a akti shines in the form of Buddhi in the Sthiti state of Jagat.
When united with iva,she reflects and spreads58 his lustre as the very soul of
everything in the entire manifestation. Bh vav nda consisting of sa, yu,
Agni, Jala and Bh mi is born out of the union of iva and akti (Cid nanda).
akti acquires the lustre of mbhu due to his proximity. She in turn reflects his
Cidr pam in and through the entire creation.
Vargapa cakam forms seed for pa at Var a-s
Taking the Sth la form in Buddhi which is likened to camphor that

acquires Vimar a’s shine, her five divine seed forms spark as the
Vargapa cakam59 of syllables. Kula means that these five groups represent the
entire Var am la, of 51 letters, which act as seeds in the process of creation of
the universe of names and forms. They are endowed with power to offer the
right knowledge by removal of the Aj na and help dhaka realise the shine
of Cid a viz., Vimar a.
atcakre M nasa: sthiti:
There are six cakra-s in the body of every human being. akti in the
form Buddhi guiding its activities, throws her strands of light in the form of
knowledge through the first five cakra-s in the mental state of Savikalpaka
sam dhi. She projects the proposed creation like a dream in Manas at this state.
This progressive ascend of the five cakras- dh ra, Sv dhi hana,
Ma ip raka, An hata and Vi uddh , paves the way for attainment of
knowledge of identity of iva with Self, at the mental state60 of Nirvikalpaka

sam dhi in the Sixth- cakra. In Nirvikalpakasam dhi the entire activity
vanishes into the luminance of iva.
Pa cadevat krama i
Devat krama, which is the i of the presiding deities of the five

cakras61 viz., Brahma,Vi u, Rudra, vara and Sad iva or kin , R ki ,
kin , K kin and kin is the result of the akti B ja which is the resulting
letter of the kara iva combining with kara Icch akti-Vimar a. This ja
helps attain siddhi in the form of Bhoga and Mok a and Vidy siddhi. On the
contrary the unattached pure lustre- iva, occupies the cakra, the sixth one.
Vyomav mesvary di pa cav ha akti-s
akti, who attains oneness with ambhudh ma, which is Cidgagana. is

called Ambare vari or Vyomav me var . When she transforms into buddhi and
resides in aktidhama, then she is Khecar . Then in Savikalpakasam dhi in
Yogadh ma she represents the ma indriyas and called Bh car . When in
Mantradh ma she adorns the Var am lar pa she is named Dikcar .
The fifth akti is Gocar , who presides over the knowledge acquired
through the Sth la indriyas due to the play of Rudra, a form of Prak a. In this
manner, there is a process involved in ikrama. In the Ultimate abode, where
there is complete union of iva and akti , none of the activities of Indriya-s
exists and hence no process of creation. 62 & 63
Sakti as source of pa cav ha akti-s
The pentad akti-s Gocar etc., represent the activities of the respective
sense organs with the help of the flow64 of the pa capr -s. akti presents her
pa cavaha form at the time of Savikalpaka sam dhi as well as at the time of
arising back to consciousness, of S dhaka in the five states of nasiddha etc.,
In the Nirvikalpaka sam dhi state she is the body of Par -Cid a
impregnating the Pa cavaha aktis at the subtlest level. She then shines as
Svaprak asamvit.
Nirantaracidambar tmika akti
In the Nirvikalpaka sam dhi and Susupti, akti reflects the ivatattva in
the Cidgagana and at this state she stops iva, the ocean of compassion, from
illuminating the Objects of knowledge. The thought waves which are causal for
the activities of Buddhi, in the Savikalpakasam dhi and Prabodha state, like
rivers, reach the abode, ocean of Cidambara in Nirvikalpaka state65 , as Buddhi
also disappears, thus bringing completion.
Pa ca akti-s dwell in aktitattva in causal form
The five akti-s (Vyomav me var , Khecar , Bh car , Dikcar and

Gocar )66 which cause the festivity of manifestation in i, are never
seperated from aktitattva of Cit akti. She is in union with iva, beyond
perception of speech or mind, either in Nirvikalpakasam dhi or Savikalpaka
sam dhi.
Spread of V ndacakra
ndacakra consists67 of the following:-The five Dh mas

( ambhudh ma, aktidh ma etc.,), The various Mudr s specified in the
Agama stra-s, The Samvit (Citir akti) whose abode is iva, The Anur pa
Jiva which is iva’s kal and Var am kar which is akti’s kal .
Samvitr pa iva and Vimar a project vara - iva’s form
da is akti’s form. From da rises A-k ra. da is prime cause for

the proposed manifestation of Var a-s and Bh va-s. It is instrumental in
creation and hence is called ja. This da is formless because at this stage
Var a-s are non-existant and there is no Var akrama. This is vara, iva’s
form68 who exhibits his capacity for creation.
akti rar pa, pa cayonir pa
Citi akti in her abode ivatattva is formless, unattached. She is the

destroyer of the five granth -s of knowledge ( abda,spar a,r pa,rasa &
gandha) in the dhaka. She is the form of the Lipi , the Pra ava mantra.
This consists of three horizontal lines, one vertical line, fifth is bindu. This
Pra ava is Citi akti’s form. The Pa camah bh ta-s are the Pa cayoni-s69
because they are the material cause for the Jagat i.
Kali’s Samh rakart tvam; and jagat sargak ryam
akti withdraws into herself the entire creation along with their Karma-s
(Pr rabdha). At the time of i, according to the Karma-s of the various
living beings, she begins from the step of da to proceed with the projection
of the pa ca spar avarga-s and from them the Pada-s, kya-s and the
respective names and forms.70
ilaksan in Sakrama
i, before the formation of Padas and Arthas, rests eternally in akti

in the ma pa cabh ta form as Kramamaya: and as such it belongs to
Akrama. From that stage when i begins its Sakrama, it is first formed from
the Yonipa caka71 viz., bh tapa caka in the order sa:, V yu:, Agni:, pa:,
and thivi.
iva aktis marasyam rti: Akrama Yoni:
The form of union of iva and akti72 atttained by the dhaka only is
the eternal womb which is prime material cause for entire manifestation and
called the Akramayoni. It is called the Mahat tattva in stras. The pa cayoni-s
which arise out of Karma thereafter acquire their power from Mahat only.
Vi va Sarga Sthiti Samh ra kart tva Yonitrayam
After the splash of bh tapa caka, akti transforms into the forms of -
kayoni-Vi ur pa for managing the activity of Sthiti; form of Rudra who
manages the Time and the activity of Samh ra; form of Padmayoni,
Hira yagarbha for handling the activity of Sarga (creation).73
Kramas nya Samh ra avasth is inherent nature of akti
All the multitude forms of akti in i are consumed at the stage of

Laya74, into akti’s abode of Cidgagana, which equals a calm ocean called the
Divyayoni (Mahat). This is akti’s real nature. In i, she spreads her power
out of this calm state, which is against her nature.
Pa cabh tas by means of Pa kara a hold i ma ala
Siddha s, who realise the Vi vamaya svar pa of iva, as one’s Self-

experience, know the presence of the ma bh tapa cakas as causing the
formation of the Sth la ima ala75.
Oneness of iva and akti is Pralaya; Dvaitar pa is Sarga
When iva ( aktimat) and akti are in union, it is Pralaya where there
is complete deluge. When iva and akti unite for the purpose of creation then
it is their revelation as dual entity76. Due to this arise the bh va ( nam).
Then the four mental States of grat,Svapna, Su upti and Tur ya (avasth -s)
are experienced.
To the Siddhama ala the duality of akti and iva is revealed in the
form of in the Savikalpakasam dhi state in Jagrat-Svapn vasth -s. In the
state of Nirvikalpaka sam dhi she at once reveals the abode Cidgagana, where
iva and akti are united.
Svaracatu aya governs Jagatkrama
“ , , , ”77 are the four letters which hold the proceedings of i.
Before i, they find their place in the heart (Manas) encircled by Ku alin .
These Sandhi ak ara-s form the material cause for i and are also the abode
for Laya. The protecter of the proposed Jagat is Vi u who gets his power from
akti.
Pr : Hamsa: is prathamaspanda:, vara is the controller of pr -s
Pr is the first transformation of akti. That takes three paths Ap na,

Mukham, N sika. As it is fast moving like Swan and it is capable of moving
between ar ra and sa. Hence it is called Hamsa:78, Khaga: Spandam rti.
Food for the Pr -s is found in two forms- Bhokta, Bhogyam, through out the
universe. bhi is the resort for the food consumed by Pr -s. There
ar gni churns the food with the help of Pr . Hamsa r pa Pr is Abode
for Agni who is vara and is engaged in directing the Pr -s.
akti in Suddh dhva
The first effort of akti towards creation as the Prathamaspanda, in the

form of Icch akti, is the determination of her to project the manifestation in its
multitude form. Then she shys away in the Suddh dhva79 state, where there is
oneness of iva and akti. This is because, she feels, iva is the Doer in this
state.
akti’s abode tranforms Sheep stronger than Elephant
Like the trained Sheep, which follows the orders of the master, the mind
which is trained80 to divert its attention from the consumption of objects,
towards the realility of the subject and the source of knowledge, with the grace
of akti, attains the Tur ya state. There it realises the power of Self. It becomes
very powerful and thus drives away the strong elephant like darkness viz.,
Aj na. It reaches Cidgagana to merge with Cidr pa akti.
Mind’s activities aim to attain the Ultimate abode
The mind as mentioned above, is purified of the three malas-

ava,M ya, K rma a and the Cid bh sa activities guided by the grace of
akti transcend81 beyond the desire of acquiring the eight Siddhi-s(Br hmy di)
to the Nir sraya pada, the abodeless Cidgagana.
Vimar akti’s desire causes ikrama and Layakrama
The calm ocean of pure luminance is the Ultimate Oneness state of iva
and akti, where no division exists and is the Ultimate abode attained by
dhaka-s in sam dhi state. Vimar a, the Prathama spandar pa82 is the Icch
akti, who causes the ikrama. In the Layakrama, with the help of la,
Mahakalir pa, Vimar a, consumes even Manmatha, which act represents the
desire of akti towards Samh ra.
iva akti’s Avabh sanakrama:
Citir pa, iva akti’s experience of the i etc., is Avabh sana krama83.
It is the abodeless, formless aggregate state. From this state akti spreads her
power in the various objects with different phases of movement and respective
rulers for their effective control.
Ek da aVar ai: Kha acakram Sam i-Samh tikramau
Within the Var am kacakra of A-kara and da, is the Ak a cakra

formed of letters from ra to k a- k ra. In the Sam tikrama eleven Var a-
s from to ‘ :’ form the Kha acakra, leaving the four asvara-s and -
ra are removed. -k ra is also left out, to form the Kha acakra having a set
of eleven Var a-s for each84 of the four krama-s ( i, Sthiti, Samh ra and
an khya). Eleven Var a-s from ‘ ’ to ‘ ’ form the Samh tikrama which is
Mah li’s Krama arising in Kha acakra, which must be meditated upon by
dhaka.
Kha acakra vivaranam-Samh tikramena
Kha acakra of Samh tikrama is enormous as it involves the tracing

back of the path of manifestation. The knowledge of objects as “this is like
this” which is attained through the Kha acakra is excluded in the Akrama as
there is abscence of the specification. The means of knowledge Anum na or
abda (Var am ka)85 are transcended as there is no form at the Laya stage. In
the state of sam dhi it is realised as Self-experience. Hence Akrama is the
highest abode viz., Cidgagana.
Sthitikrama vi am
Anvayakrama is the protecive aspect of akti in the form of Sthiti being

facilitated by the creative aspect- in which the retinue of aktis emanating from
Citr pa spread their effects in multitude of forms. This act forms as relief to
the emanated universe86 from the Samh ti krama which is beyond the outward
manifestation as Jagat. akti’s effect in Sthiti krama results in the continued
existence of manifestation until deluge.
Cidrupe laya: kha acakra krame aiva
abda and Artha are the two forms of Sound and Sense (Dhvani tmaka
and pad tmaka) ( dayugmam- vya jaka and vya gya). They are essence of
the entire manifestation simultaneously being the efficient and material causes.
The retinue of sakti represented by the eleven kha acakravarnarupa: emanate
from Citi akti desiring to consume the dayugmam. When they aspire for
salvation into their source i.e. Citi akti then they have to do so only through the
Samh ti krama of Kha acakra.87
Kal kar ini svar pam
The objects of knowledge, abd di pa cakam and their abodes the

Pa ca bh tas are sought for by the ten means of knowledge, na and Karma
indriyas. When these Indriyas are withdrawn from them, then the knowledge
thus acquired through them, gets stored in Anta: kara a in the form of
memory/ san . Thus in state of Su upti or pralaya, the san s continue to
reside in subtility. kar ini88 emerges as the power, capable of wiping out
even the effect of time and enables complete destruction (cittalaya).
ivaikyas tk ram
The twelve Indriya-s, na and Karma indriya-s with Manas reckoned

with in both classes, form the Ak a cakra. They tend to enjoy the objects of
knowledge, abd di vi ayapa cakam, in their respective capacities. Jiva which
detaches itself from this Bhoga and turns the attention towards knowing their
very source of manifestation, viz., pratya tm experiences Citr pam non
different89 from Self. This wonderful state providing complete bliss is the State
of oneness with iva.
Vidvadanubhavasiddham s marasyam
When Jiva diverts his mental activies from the objects of knowledge by
means of practice and determination, (abhy sa and vair gya) then he
immediately attains Par level. Then his retinue of Citr pa, shining in him,
attain the Serene Param a and achieve oneness with Citi akti. This is also
the state attainable by the dhaka-s90 through proper pursuit.
Antarbahi: sthitacakra dvayasya adhi tri akti
akti, in individual form(vya isar ra) of manifestation, is the

commander through the vowel “ ” (prak acakram). In the aggregate form
(sama ar ra) she commands the sense of the same vowel. Thus in both inner
and outer embodiments91 she rules in her vowel ( ) which equals the creative
aspect starting from “ ” k ra and “ ” kara of Kha acakra. Thus she
commands the Svar tmakam and Arth tmakam rucicakra-s.
latattvasya bhyantara satt svabh vavilasa:
The retinue of akti which resides in the abode of Cid a in

Nirvikalpa state, leaves the external forms of Pa yant , Madhyam and
Vaikhar , in Par , receives the sheen from akti to attain fullness in the internal
level92. They, with their own prowess, proceed outwardly towards
manifestation of universe, only due to their expansive effect.
li as creator of Par -apar bheda
li is eternal throughout the three stages of i,Sthiti and Pralaya as

Par vac. The different manifestations occurring due to three Pa yant ,
Madhyam and Vaikhar forms are brought about by her Svatantraya akti
called Vimar a93. Par akti retains her Oneness and at the same time like the
sheen of lightning, enlightens the entire universe through her aspect as
Kriy akti which is caused by the Prathamaspanda-Vimar a akti in the form
of garland of waves.
Four Speech waves (Tanu, Krama, Udyoga and Mukhya)
iva’s Icch akti, samav yin , causes variation in manifestation by the

four waves of speech and retracts all into one to attain the unmanifest pure
status. This is the Nirniketanapadam where akti shines as Pure Cit only, being
one with iva. The names and forms no more occur at this state. Par ,
Pa yant , Madhyam and Vaikhar form the four waves (Tanu, Krama, Udyoga
94
and Mukhya) which cause creation of the Universe of varied names and
forms.
ik li’s Dv da akrama Cid rmi
Vimar a with the intend to initiate manifestation, emerges out of

Prak a. This Krama is la:. This is Cit which evolves the retinue of twelve
aktis95. She as ikali acts as the pioneer in starting the cycle of emanation.
For the effect of universal existence, Sv tantra Cit akti is the prime cause
.Cit akti assuming four forms-Par , Apar ,Par par and kar gets
multipled as twelve in the three Stages of awareness ( i.Sthiti and Samh ra).
Krama-akrama caused by the Divine Couple (Prak a-Vimar a)
The manifestation of la, the Krama and the subsequent process of

emanation by li results in the two phases called Krama (Expansion as Jagat)
and Akrama(Withdrawal into the source of creation)96. Thus the Jagat is
illumined by the Divine Couple shining as two aspects viz., Prak a and
Vimar a.
akti causes Bhairavatva in iva in monist aiva doctrine
dhaka’s pursuit to transcend the activities of mind and reach the

Unman level in yoga, leads them to the Bhairava97 state. This Bhairava is
akti’s effect for the purpose of emitting, protecting and dissolving the universe
in the i, Sthiti and Samh ra stages. Khecar mudr leads one to reach this
Unman level. iva is realised in one’s self at this stage.
In one’s self, there are four inner revelations Rudra, iva, Bhairava and
Par ma iva. With the assistance of the twelve aktis stated earlier, when one
gets the revelation of the wholeness of all these divine waves, then he gets
liberated on reaching this great Bhairava state.
akti unfolds Krama through M rticakra
In projecting the Krama in the form of Universe, akti acts from Her
abode the Tur ya state, the Mah a. Brahma, Vi u and Hara emerge from
98
this state only. Thus akti becomes Kramamayi in projecting manifestation.
Though She is Kramamayi in i, Sthiti and Samh ra states, when the
ultimate deluge occurs, she completely withdraws all her waves to reside in the
Khacakra, the Anuttara Cid a where iva and akti merge as One.
akti as abdatattva in the form of Pra ava
The union of Prak a and Vimar a aspects of the Absolute, solidifies

into a Bindu, which is the purest illuminance. Three aspects emerge out of this
Mah bindu viz., Apar bindu,N da and B ja (lipi) which spread their pictoral
manifestation. abda i99, which is simultaneous with this process, starts with
the Pra ava , which consists of five tras. (‘ ’ ra1, ‘ ’ k ra and ‘ ’
ra with da and Bindu). ,‘ , ’ represent the Icch , j na and Kriy
aspects of akti. In the empirical self, these letters represent the three stages
Vi va,Taijasa and Pr a, who rule the three states of awareness- grat,
Svapna and su upti. Pra ava, which evolves from Mah bindu as Bindu, N da
and B ja, proceeds with the ikrama, and also leads the dhaka in its
oneness state with Paratattva (Nirvikalpa state).
Chapter IV: The discussion on the Third Vimar a

Notes
1.
,
- KP p46-Cgc 75.
2.
, -
KP p47-Cgc 76
3. , —“
”
,
/ - KP p 47 -Cgc-77.
4. (Mahanayaprakase IV Ullase 2
padyatikayam). - KP p 48- Cgc-77.
5. :
,
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6. ( )
-KP p 49- Cgc-79.

7.
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8. ,
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KP p49- Cgc-81.
9. 4 51
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10. - Udaya padya 3 p.51.)
11. ,
- KP p 50- Cgc-82.
- Sutra-17-YS of Patanjali
- YS S.18.
12. “ ” MNP IV Udaya Sl 4
“
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KP p 51- Cgc-83.
13. - ,
- - - -
,
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15.
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17.
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18. ,
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KP pp 54 & 55- Cgc-89.
19. “ ,
) ,
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20.
. ) KP p 58-Cgc-94
21. -
KP p 58-Cgc-95
22.
( ), ,
, , , /
- KP p 58-Cgc-96 “ ” Sapthasati I
adhyaya.
23. “ , , ,
, , ”
- KP p 59-Cgc-96.
24.
-KP p59- Cgc-97.
(Quote) KP p 60- Cgc-97

-
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25. ,
,
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26.
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27.
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28.
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29.
KP p64-Cgc-103.
30. ,
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31. —“
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” - KP p 66 - Cgc-110.
32. ,
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- KP p 67-Cgc-111.
33.
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- KP p 67- Cgc 112.
34.
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35. , ,
- KP p 68--Cgc 114.
36. — - KP p 69- Cgc 115.
37.
, -KP. p69-Cgc 116.
38.
- KP p70-Cgc 117.
39.
KP p71- Cgc-118.
40.
KP p 71-72- Cgc- 119.

41. ,
-KP p 72- Cgc-120.

42.
. KP p 72- Cgc-121
43.
- KP p 73- Cgc-122.
44.
, KP p
73- Cgc-123.
45. MMp 38 !
-
TL
- Kpp 74-Cgc-124.
46. ’
- KP p 74- Cgc- 125.

47.
- (Quote-Paniniyasiksa-sl 3-5) KP p 75- Cgc-126.

48.
- KP p 76-Cgc-127.
49.
- Ibid-note 45 KPp76-Cgc-128&129.
50.
,
-KP p77-Cgc-130.
51.
KP p.77- Cgc- 131.
52. —
,
KP p77-Cgc- 132.
53. ,
,
KP p 78- Cgc-133.
54. ,
KP p 79-Cgc-134.
55.
-KP p79-Cgc-135.
56.
- KP p 80- Cgc-136.
57.
,
, ,
- KP p 80- Cgc-137.
58.
,
, KP p 80-Cgc-138 +
-5.
59.
-KP p81-Cgc-139.
60. - -
-
- KP p82-Cgc-140.
61.
- (Quote in KP p 83)-Cgc- 141.
62. ,
, ( )
,
- KP p 83-Cgc-142.
63. ,
- KP p 83-Cgc-143.
64.
Kp p 84 -CGC-144.
65.
- Kp p 84 -CGC-145.
66.
,
- Kp p 85 -CGC-146.
67.
, ,
,
- Kp p 85 -CGC-147.
68. ,
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Kp p 86 -CGC-148.
69.
- Kp p87-CGC-149.
70.
—Kp p 87 -CGC-150
71. ,
,
“ , , ,
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72.
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73.
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74. , ,
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76. ,
- Kp p 89 -CGC-155.
77.
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78.
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79. —“
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80.
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81. ,
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82.
-Kp p93-CGC-161.
83. ,
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84.
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85.
-Kp p 95 -CGC-164.
86.
,
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-Kp p 95-96 -CGC-165.

87.
Kp p 96 -CGC-166
88. ,
-
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89.
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- Kp p97 -CGC-168.
90. ( ) ,
-“
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91. ,
Kp p98 -CGC-170.
92.
- Kp p 98 -CGC-171.
93.
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94. ,
,
,
,
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95. ,
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96.
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97. - Kp p 103 -Cgc-176.
98. , - -
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Kp p104 - Cgc-177.
98.
, -Kp p107-Cgc-178.
99.
- Kp p 108 -Cgc-179.
CHAPTER V
The discussion on the Fourth Vimar a

na arising of Sattva releases bond of Sams ra
The wrong knowledge of non-self as self and the related attachment

towards the non-self is Aj na (ignorance) or avamala. This Aj na is of
two types- i.e awareness of self without the freedom of will and freedom of
will with the limitation of Knowledge (Kincitj atvam). When the right
knowledge of self is acquired then all the three veils- ava, May ya and
rma a- mala-s disappear. Then the reality of Self as Cid nanda appears.1
Sattva (Laghu Prak akam) which gives rise to na, has to be attained to
alleviate the effects of wrong awareness of non-self as self by the two types of
Aj na. Till this stage the destructive forces of akti-s projected as Kal , Agni
and Bhuvana operate vigourously to bind the souls in Sams ra. Their
containment by na, will uplift the souls of the dhaka-s to the innate
ivabh va. Japa, Vrata, Up sana-s are the Carya-s that result in Cittasuddhi
only (purifying the mental state).
akti’s worship helps transcend bond of adhv
adhv consists of three cak dhv -s-Var a, Pada and Mantra -

and three cy dhv -s- Kal , Tattva and Bhuvana. Var a-s are 50. Pada-s are
81. Mantra-s are 11. Kal -s are 5 (Niv tti, Prati ha, Vidy , nta and
ntyat ta). Tattva-s are 36. Prominant among them are 11( iva, akti,
Sad iva, vara, uddhavidy , M , Kal , Vidy , R ga, K la, Niyati) and the
rest of 25 start from Puru a to thvi. Bhuvana-s (Planes of existence) are 222
as per Saiva-S kta gama-s. adhv -s are the cause of bondage 2 and hence
they have to be transcended by tracing back towards the very source of
emanation. They emerge out of akti to assert their effect during i and
Sthiti. akti Up sana and the grace of akti assist the Seeker in the right
direction of identifying the Self with Cit.
Yogic experience of Cidr shining in Self and Manifestation
Yogis through ktop sana, achieve the status of oneness with Vimar a
and they transcend all the obstacles caused by adhv -s in acquiring right
knowledge. By her will (Icch akti), they realise the shining of Self (Citr )
as well as her manifestation of the universe as one. They enjoy this
transcendence by discarding the six-fold path.3
Cid nandamay akti enfolds the projection in one’s Self
The twelve cakra-s4 starting from M dh ra till Dv da nta are the

abode of manifestation in the Cosmic Self (CitPrak a) which are absorbed in
Cid nandamay akti in order to afford dhaka-s attain oneness with
Parama iva. Five spots of vacant space ( nyasth na-s) which depict the
a element, exist between the Six cakra-s starting from Bindu (Bindu,
Ardhacandra, Rodhin , N da, nta and akti). Heart is the abode of the
Pa capr -s-the yu element. Like Agni which purifies the impurities, yu
also purifies the Smell and hence referred to here as vaka. The first
appearance of spanda in ikrama, from Prak a- iva as Vimar a transforms
into Pr -s5. akti in her Bliss state affords the dhaka-s to attain this abode
of her, by her grace of revelation of the eternal nature of Self. Pra ava’s three
vowels represent the grat, Svapna and Su upti states of mind. Su upti is
traced to the Mid of Brows ) position known as Bindu. It also represents
the sanskrit letter ‘hr m’ ( llekha). Cause of Manifestation of Soul is N da -
name for the group of Ardhacandra, Rodhin and da-which is the Tur ya
state. The fifth Tur ta state is state of Bliss which spreads through da,
nta, akti, Saman , Vy pin and Manonma levels of contemplation.
Forms of Pra ava
Pra ava is understood in two forms, Am tra and Sam tra. Am tra
Pra ava is iva. Bindu which emerges as Citkala acts as pointer towards the
tra. M tra splits to form Ardham tra. The union of tra and Ardham tra
is very obscure. Ekam tra is Cit’s experience of gross form of Jagat. Mind is
the knower of both Consciousness and complete unawareness. abda and
Artha, which are the experiences of transformation, shine from memory. This
experience is obtained by single mindedness. When abda is remembered,
automatically its Artha is reflected. It is impossible to bring the mind into
single track. When the Grace of akti and Guru is obtained, then occurs the
realisation of the Ardham tra state. Upto Su upti, the Ekam tra level, the
whole Jagat is experienced. Tur ya, Tur ta levels pertaining to Ardham tra
is attainable only by the Yogi-s. When the mind’s concentration is directed
towards the least of the tra realisation level, then the Am tra Citprak a is
attained. Triput is one form at the Ardham tra level without any base.
The rise of Ardham tra happens only after the splitting of m tra.
nyam (Mah nyam) is the illuminous vacant space felt at this stage. The
spot, like moon in the skull, seen in the path from Bindu to Sahasr ra is
Ardhacandra. The Var am la which is the Cit-B jar shines in three forms-
Saumya, Saura and gneyi. The place of triangle, above Ardhacandra and
below Brahmarandhra is the place of Rodhin . She stops the progress to higher
levels. Here the rule of Bindu ends.
Thereafter is the position for da. This is the gateway for

Brahmarandhra. Gradually nta, Vy pini, Saman and Unman are
attained. The abode of Parama iva, known as “hamsa” or rya with his
twelve kal -s, is thus beyond all the nyasa kam, Avasth pa cakam and
Vi uvatsaptakam, which is beyond universal level- the absolute bliss state. This
bliss state shines due to the sixteen Candra kal -s eternally. The twelve Var as
in Guru p duk mantra denote these twelve cakra-s ending with Dv da nta.
On attaining this Ciddh ma, s dhaka uproots the bondages and becomes pure.
He enjoys peace because of reaching the unity with Divine Couple.
(Paraprak avimar a s marasyam panna).
Eligibility for attainment of release from Sams ra
The manifold manifestation of objects of the world is transcended by the

Yogi-s, who constantly worship akti, in their Cid a. Duality arising due to
Triput in the form Mat , Meya and M na, does not occur in Yogi-s though they
continue to be active in their relative pursuits of livelihood. Their
transcendence is in the form of realising Self in everything.
Three ways are to be followed by the dhaka-s. They are ruti,

Sv nubh ti and Yukti. ruti is Tantra- gama s tra-s. Yukti is the effort to
sacrifice the worldly pursuit, in the sense of attaining the undifferentiated form
of Sv tma iva in union with his akti. The dhaka-s, who stay in this state of
Nir vara a-yukti, realise the luminance of the Absolute in their Cid a. At
this state even the worldly knowledge and the san -s get destroyed. The
Ultimate knowledge that, Mahe vara in his Vi var dwells in Self and in
entire manifestation, arises as “ - akha nanda” state. On reaching this
level the dhaka-s always stay in their ever-awakened state6.
akti’s domination as Absolute
Expanse of akti in the form of Icch , J na and Kriy , which includes

all subsequent forms adorned by akti in manifestation, merges into iva
( aktim n) leaving their individual name and form. But in case of their merger
in akti, they continue to adorn their names and forms. In the first case, they
loose their identity as a whole and are then called as aktim n only. In the
second, they neither loose their identity nor in their emerged forms. Hence
akti in this case overrules iva in atttaining aktim n state. Such untoward
activity is not appreciable on the part of akti, the graceful mother, says
lid sa.7
Praise of worship of akti by Mantra, Yantra and Tantra-s
Bindu is the source for the various ak ara-s (lipi) arising out of its
swelling effect. Mantra-s and Yantra-s for invoking various Gods and
Goddesses are formed of these ak ara-s only. The yantra-s are made of various
materials like Mud, Stone, Cloth, Iron, Copper, Silver and Gold. As per one’s
requirement, the worship on these are performed with the prescribed mantra-s,
to get the desired results. li’s akti-s, which act in the form of objects of
cognition ( ,rasa etc) are equated to nectar. They grant the wish of the
worshipper, when they are pleased with their p . But if they go wrong in
spelling mantra-s or in following the prescribed procedures, the very same
akti-s act destructively.8 These akti-s acquire their power to grant boons only
by worshipping li, the m ka svar .
Vimar a’s abode attained through aktipa cakam and Bh ta atkam
Pa cav ha akti-s-(Vyomav me var , Khecar , Gocar , Dikcar and

Bh car ) and the Bh ta kam (Manas,P thvi, Ap, Tejas, V yu and a) are
9
drowned in Vimar a’s luminance. These akti-s in iva’s abode, shine as
expansive forces of cid a, discharging their respective functions under the
control of Krama Adhi tri K li. They shine in the form of Cakra-s -Khecar
as Pram ta, Gocar as Anta:kara a, Dikcar as Bahyendriya-s and Bh car as
the sense objects in the individual being. This act on the part of the retinue of
akti-s in getting themselves purified and ready for the ultimate oneness with
iva, becomes the cause of pride for them. Vimar a, who is Pra avar is
Vyomav me var , brings forth the creation. She is in the abode of Parame vara
as Cit akti in non-distinct form.
Reflection without an external object
The Jagat’s reflection in the Mirror of Cit, in the Cid a,which shines
due to Cidagni is engulfed by the twelve rays of rya. Twelve rays of rya
are: Tapini, T pini, Dh mra, Mar ci, Jv lin , Ruci, Su um a, Bhogada, Vi va,
Bodin , Dh ri and K ama. In quadrangular brilliance of Citi, the reflection of
Cit, is wonderful, Supernatural and Invisible. The usual reflecting surfaces i.e.
Fire, Water, Sword, Oil, Wall and Mirror, have one side as substratum and the
other shining side reflects. But in the form of Cit, Jagat shines with four
dimensional effect and this also happens without an external object for
reflection10. The necessity of an object for reflection is unwarranted in memory

and the motive itself is sufficient to project a reflection of previous
experience11. In case of Cidr J na and Kriy aktis form the neccesary
cause for akti to absorb the reflection as Universe in her own self.12
akti projects reflection of Jagat on Herself, acting as wall.
A good medium of reflection-Water etc., is not capable of projecting a

reflection without an outside object for reflection. But this rule does not apply
to Cidr , who assumes the form of Cid a to reflect the Jagat, in her own
body as Cit.13
Necessity of external object for reflection disproved
If it is told that an object is a must for reflection, then it is acceptable as

a Fact, because of its reputation only. There is lack of determined proof for this
Fact. Hence the external object for projection of image, is not at all
indispensible. When there is no necessity for material, then where is the
necessity for the intelligence factor? Hence in case of reflection of Jagat by
Cit akti, there is no argument.14
Reflection of Self as in the mirror is i
The aspiration of Knower’s Self as Mahe vara towards manifestation or

his sacrifice of his actionless state, results in Jagat i. This-ness of Jagat,
experienced as different from oneself, gets merged in “I-ness” , when each
living being realises its true self. Reflection of Jagat as This arises from
, as per the “ dar a-avalokana ny ya”(The light from our own eyes, reach
the Mirror and returns back to show our face) “Ahant ” is the tm of all
beings. It is the Knowledge. Knowledge of the Absolute is for the enjoyment of
Knower. “This is like this”( ketat) is the understanding posed by
Consciousness. The subsequent guess of the same as “That is like that”
(tat-tath ) is the storage in the heart of Vimar a.15 She shines as the Triput -
Knowledge, Known and the Knower. She also as li consumes back the entire
Triput acting as their ultimate abode.
akti as M projects the limitations in manifestation
Jagat is in the womb of akti as the asatt (Nityasiddha), in the

form i and Samh ra16. In her uddh dhv ( iva, akti, Sad iva, vara,
uddhavidy ) which is the activity of iva, there is no place for . The
feeling about Jagat, that “this is different from me” is the projection of
as Tirodh na akti.She is the sixth element in the progression. is of two
types. One form is Parame vara’s akti limiting his Omnipresence. Second
one confuses the Knower with respect to the knowledge of non-self as self. The
thirty-six elements from iva to Earth are reflections in Cit only, but due to
they shine as form of Cit. It is difficult to tide over the spread of ,
who produces a mirage form of the Jagat reflected by akti in the Cidgagana.
creates this illusion of Jagat, as if it has emerged in the present and the
same applies to that which was and which is to be created. The omnipotence
(Sarvakart tvam) of iva is limited by the seventh element Kal . This gives
rise to the eighth element vidy ( uddha vidy ) which limits his omniscience
(Sarvaj atvam). Thus with Kal , Vidy , R ga, K la and Niyati forms the
six coverings on iva’s omnifarious state, in the projection of the mirage of
inner reflection of Jagat as being outside emanation17.
Pr icakra of iva is preserved in the cave of akti’s heart.
Anuttaralipi is‘ k ra:, Vimar alipi is‘ ra:. In combination they
form ‘ ’ representing iva, who resides in Dahar a (cid h daya). That is
the Cave of Par c18 which is brilliant. The cycle of living things, the City of
19
iva, gets reflected by Vimar a in the form of Citprak a . akti, thus being
the abode for iva, with his City in her heart, becomes the ultimate director of
the manifestation. Here akti is hinted to be the protector of Ja avastu and iva
the protector of living things.
External projection as Jagat is Bimba; it’s mental contemplation is

Pratibimba.
Jagat, that is projected by , as being outside iva, is assumed as

Bimba and its reflection is nasa. Both these are illumined by Vimar a in
whom both these projections take place20.
Reflection by akti in Ardhabindu, a cup-shaped mirror
All things-water, fire, mirror etc., capable of reflection need an external

object as image. Icch akti, who is omnipotent does not actually require any
such external object or aid. She projects the reflection, lest the object (as the
reflection takes place in Ardhabindu the cup shaped mirror, the Catura ra
(Bh puram) is flashed first i.e., universal creation in ascending manner from
thvi tattva to akti. 21
Similarity of projection of images as formed in Svapna and Sa kalpa.
Memory of the things that are merged in akti at the time of deluge, get
reflected without any need for external object at the time of creation. This
image is similar to the projections in Svapna and in Sa kalpa.
akti’s creation effect is real like power of Garu a mantra
The projections in Svapna are unreal but the projection of universe by

iv (wife of iva) is divine. Creation is also not a mirage because Sa kalpa
and Vikalpa happening in Manas, can not be neglected. This is similar to
acquiring the power of Garu a by chanting his Mantra for the purpose of
removing snake’s poison. Hence in everything and all times, the proliferation
of Cit akti has to be felt.
iva illumines the sense of the Jagat as pronounced by akti
Understanding of the reality of universe as ‘this is of this form’ occurs in

the Seeker22 thus bringing about oneness with Jagat, then afterwards the
memory of ‘the jagat was that’ occurs and the omnipresence of iva gets
ascertained. Complete knowledge of the Absolute23 is got, when oneness of

Self and Jagat and oneness of Jagat and Parama iva are experienced.
All objects of projection are the immanence of iva
The reflection shown as pa:, Agni, rya ,Soma , a or V yu can

be felt only when the indriya-s and anta:kara a are represented by iva in his
apuri form. The reflection of Jagat by Vimar a gets illumined by iva-
Prak a. Thus Jagat is ar ri of iva.
Kalpan -Dh ra -K lidevata tattva-s
Creative form is like mirage and is not fruitful effort is an objection

made. Anything starts first with the formation of idea and then the rules or
injunctions are fixed24. An imaginary form is worshipped by the dhaka, with
focussed mind within the framework of rules and injunctions becomes his
Deity. The created image and its placement occur through the expanse of
na akti. Thus akti, who is the creator, is knowledge. na akti is the soul
of the deity called li, who possesses all the characteristics for projecting the
whole manifestation.
Projected effect-Jagat gets absorbed into Cit akti-the cause
akti’s external manifestation in the form of Jagat, denotes the process

of effect-Jagat, which gets merged ultimately into the cause-Cit akti. Vi u
projected Candra25one of the fourteen ratna-s, from churning of his abode
(K bdhi). kara projected from the fire of his third eye Skanda26 the
brother of Ga a. In kta monism, there is no difference between the cause
and effect. Retracing the path of Krama to reach the cause of jagat by s dhaka
is highlighted.
Examples of Hayagriva and K a
The projection occurs as past, present and future. The past act of
retreading krama is illustrated by two events. Vi u first took Hayagriva form
and later during Tretayuga took cowherd form as a. He traced back to the
Cid a and attained oneness with Cit. The s dhaka who worships in line
with these two forms gets all material things. He also gets to know the path of
tracing the cause of Jagat in his inner Self. Thus the external projection which
is done with the intension to enable all beings attain such a stage through
retracing the path of Krama, is highlighted.27 Forgetting the past, One must be
content with the present and future effects of exrernal projection.
Ak ara form of akti shines in Cid a
The knowledge form i.e Citi akti is also called M akti, who shines
in Cid a in ak ara form. The knowledge of akti in k (vedic mantra) form
which is ruti, has to be attained by contemplating upon her as in
the ultimate abode of Cid a. This worship begets the Devas and s dhaka-s,
the Brahma-J nam and Liberation from lifecycle28.
Deities- In charge of various territories have Cid a as their abode
Agni, S rya, Candra, Lightning, Brilliance and Deva-s, Gandharva-s,

Yak a-s,etc., (those who move in a), akti-s who reside in the daya, the
predators of living beings, Powerful akti-s, all these are capable of moving
about inside and outside the Cid a. Though they reside in their territories,
still they are as whole taken to be residing in the Cid a.29 iva and va both
have the function of sense and action. iva of his own “will” takes the u
form of va (Cinm trar and nirmitar ).
k, Sm ti and pohana
na akti consists of the form of na (Knowledge / experience),

Sm ti (memory) and pohana (reasoning faculty). Knowledge is Experience.
Variety of experiences occur through the contact of ten sensory organs and
their respective objects. This creates differing knowledge in the experiencer
depending upon the Place and Time. Experience gives rise to memory in
accordance with the variety of Knowledge acquired. On the other hand
knowledge born of Nature is Bhava (existence/idea). “This and That” in na
have eternal relation. Sm ti is born by setting aside the Experience.30 Vikalpa

pohana)31 is M abda. This Vikalpa is of two types- uddha and
uddha. uddha vikalpa is not confined to u as it is the Nirvikalpa
aktisvar . That which limits knowledge is the A uddha Vikalpa. Here the
process is Experience First, then after a moment Memory then reasoning. As
per the type of Vikalpa the experience is reflected by Memory as regular or
irregular.
Experience of vara
Experience of knowledge about vara, if lost, is once again regained as

as akti. From this experience once again memory as of
iva arises. This regaining of original memory, results in the knowledge as

‘That is this’. This is called the na of Pratyabhij . Generally, when
experience is lost only the memory remains. But when memory is lost,
experience can not be brought back. In Pratyabhij Anubhava shines on its
own.32
akti shines as Anubhava and Sm ti
Sm ti recollects knowledge similar to that gained by Anubhava-D k33.

Here, experience forms the base for memory. They differ only due to Time and
Place. But both are known by the same knower. na is the one that throws
light on the known. Memory recollects this unimpaired by de a and k la. akti
shines as both.
Icch akti’s Opening and Closing of eyes causes i and Laya
Knower, known and Knowledge is the Triput 34 that results as Jagat.

Before memory, this Jagat gets absorbed in akti and attains oneness. Sm ti
akti rises, when there arises the will towards manifestation. Again due to
Icch akti’s will towards Laya, the memory is lost and the Jagat merges into
akti. na akti absorbs the Jagat and then unites with iva.35
Rising and setting of k and Sm ti from K li denotes i and Laya
In the multitude of manifestation, Sm ti denotes the Pr -s in va. In

iva it induces the will to create. On creation, the cycle of efforts (Udyama)
starts. Same is the case with na- D akti also. Both lose their identity by
merging in li akti. Thus the rise and set of these two types of na akti
result in evolution and involution of Jagat.
Samh ra, Nigraha and Anugraha by her Yogic and masic forms
In the Universal manifestation, D akti projects ( i) and Sm ti akti

takes care of the activities during Sthiti. In between these two, li takes her
position to perform the other three aspects -Nigraha, Anugraha and Samh ra.
By Yoga, indicating the union of tm and Param tm and by Tamas she
discharges these activities i.e., Yoga and Tamas respectively for Anugraha and
Nigraha and Complete tamas for Samh ra. At the same time, she is beyond the
five activities in manifestation. She is in her immanent and transcendent
aspects at the same time. Her transcendent form is called An rita or
An khy .36
akti in Krama and Akrama
laprak ti being Satt , on intending to create, emerges from the state

of oneness i.e., from the state of calm ocean, with the help of the waves
assisted by yu, churns the ocean to get a solidified form as Par Bindu. This
is associated with the Pr icakra which is bound by good and bad karma-s.
From this bindu progressively creative force starts as first three division- Apar
Bindu, N da and ja. N da is also called va. Then thirty six tattva-s from
Mahat to thvi, emerge from ja. Ku alin akti is K li. She wishes to
project her own image, hence with her akti she prostrates mentally her
husband iva. Their union produces the Bindu which is Mah li.Thus the
universal manifestation starts from Bindur Mah li. When this emerging
path is retraced to the cause of creation as inward journey, then akti shines in
entirety as Cit. Thus with form and without form akti shines in Krama and
Akrama. Still she is one with iva always.
Status of va in i and Sthiti
Prior to manifestation, the Enjoyer and the objects of Enjoyment were in

concealed form in the womb of Vimar akti in a stable and painless state. In
manifestation, however, Vimar a shines like rya, who illumines Agni and
Soma, with his rays thus assuming all forms for enjoyment. akti, on
manifestation37 assumes from of Par c. In the Var a-s, some are Saura:
(svara-s); some are gneya:( a:); some are Soumya:(Spar a- - to ).
From these sets, begin the adhv -s- , k ra: and ’ k ra: create
Tattva, Kal , Bhuvana-V cy dhv -s; Var a, Pada, Mantra- the V cak dhv -s
are the result of all Var a-s and Svara-s. Thus they represent both Prak a and
Vimar a effects. rya, Soma and Agni are the propagators in i. They await
the intension of Vimar a in doing so. In S kta monism, the projection of the
inner concept as outside universe is i. The inner absorbtion of the
manifestation into akti’s heart is Samh ra. These are like opening and closing
of the eyelids for Cit akti.
Bhoga and Mok a
Manifested objects are treated as permanent as per their use with respect
to that time and place. This knowledge is gained through the Indriya-s which
enjoy the worldly things and the objects of Indriya-s which are perceived38.
This is ikrama ( ireva i:). Pralayakrama is by discarding the gross
form of objects and going through the process of the power that illuminates the
entire perceived Jagat. Realizing through the proper knowledge endowed with
Buddhi, that the Jagat, that is experienced, is meaningless and the illumining
akti is the state of pralaya, one gets the Bhoga in i or Mok a in Laya.
Knowledge of Prak a Bindu is ultimate
Param tma and Pa u differ only in respect of the neccessity of Indriya-s

to acquire knowledge. akti by her own will adorns the Pa u - form for the
purpose of manifestation. Thus she splits into two halves as Prak a and
Vimar a. Pa u- form spreads as thirty six tattva-s. Then in the Layakrama she
draws back the entire Jagat into her to combine the two halves. Only her being
(satt ) is felt and Jagat remains contemplation through Dh ma, Mudr , Var a,
Kal and Samvit cakra-s. akti’s retinue of five Mudr akti-s- viz., Kara gi i,
Krodhani, Bhairavi, Lelih and Khecar - are significant39. By knowing her
Prak a -bindu form, all the other worldly practices like mudr -s etc., for
attaining her become futile.
Significance of Mantra form of akti
Sphuratta, who emanates the universe of Names and forms, and

illumines the Jagat, does so after secret counseling with iva thus ‘for the
welfare of the Jagat shall we manifest and illumine the same’40. She herself is
the form of Jagat. She spreads her shine in all manners and in all things that are
created. She is the combination of the three akti-s-Icch , J na, Kriy and
she is ever-present41.The dhaka, who intends to attain li, follows the secret
path of Mantra-s and gets enlightened by pleasing the respecive deities.
Omnipresence of akti’s shine in everything
akti bears in her womb, Agni, whose form is (Sapta ikh ) only flames.
Three shining objects Agni, S rya and Candra are significant in the world.
Candra gets his shine from rya so he is not reckoned. rya submits his heat
to Agni while setting, in the evening. Both of them alternatively produce light
day and night. But akti illuminates everything all the time42.
Retracing the path of Tattva-s to reach nyat
Every human born in Jagat is endowed with intelligence assisted by

thirteen faculties (da a indriya-s, Buddhi, Manas and Aha ra). The objects
of knowledge, which attract their attention, have to be discarded to reach that
abode of akti which is Vacuum ( nyata). Retracting from worldly activities
towards the very source of their being, brings forth endless bliss. This is the
abode of Cid nanda, where all three -Icch , J na, Kriy - akti-s are merged
with Cit akti. This is the ultimate goal of one’s existence. K la consumes the
entire Jagat in Pralaya with one’s respective Pr rabhda karma-s. lya: who
are non-different from K la, are gracious to va-s, who leave their bodies after
the enjoyments of karmaphala. dhaka can attain this state while he is alive
by the worship of K li by retracing the path of Tattva-s.
lana meaning and sense
Kalana is the Absolute dynamism having five modes, imposing on

Absolute, for discharging the five functions, which form the essence of Krama
system.
Kalana abd rtha
kala kila bila k epe, kala gatau, kala sa khy ne, kala abde,
from these four Dh tus, five meanings are given in Krama.
‘k epo J nam ca sa khy nam gatirn da iti kramat’
epa (Projection)-Akula iva’s Kauliki akti for the purpose of

projecting universe, divides herself as Svatantra(Icch akti) and agitates
outwardly to purify the multitudes of souls .- -Satta -Being
nam(Knowledge)- Reflection that it is not different from Absolute

occurs after outward agitation.- -
Sa khy nam-Vikalpa43 (Determination) - Differentiation as to “This and

Not this” thus word and sense- difference occurs.- - .
Gati (Self-Identification) is - attainment of oneness of Self with

Absolute. (Pr pti) Bimba pratibimabavat bheda abheda pradh nam -
- .
da (Pure awareness) is reflecting on Self .

These are the stages in Kalana, which is the activity of li, who is
Kramasvar . iva is K la without Krama (Akrama). li with reference to
iva is Akrama. Thus she is both Akrama and sakrama.
Wonder of dual (Bright and Dark) forms of li
li in Cid a averts the spiritual ignorance and drives away the

darkness outside by her brilliance. Great dhaka-s, who know such form of
her call her, Pure and crystal white. When dark and thick clouds of ignorance
conceal the natural light of Bhut a, then by the ordinary human being li,
is seen as Dark or Black44. This is said to be a matter of humour by K lid sa.
li’s Ultimate form is beyond imagination
rya, who has twelve forms, is the controller of Time and hence K la.
Even rya finds abode in li, who is the highest step that takes dhaka-s to
the ultimate abode of iva. Those who know her as one with iva 45will find no
words to explain that experience.
akti as Wave in the Ocean of Prak a iva
Objects of Cognition, Cogniser and the Cognition are the three parts of
knowledge which is called Kulam. The entire manifestation shines by the effect
of these three aspects of Triput . Many other meanings are sorted out by
Abhinavagupta in Tantraloka46 commented by Jayaratha with many
explanations. All these meanings taken together, are like an ocean, which is
equated to iva, who is in his Calm actionless state. akti, in order to activate
manifestation, is assimilated to wave whose abode is the ocean. iva with just
the Brilliance aspect without activity is stated to be incomplete. akti by
enacting manifestation brings about completeness in iva.
Proposed evolution and involution are borne in akti’s womb
The Evolution (Unme a) and Involution (Nime a)47 include akti’s other
three functions- Sthiti, Nigraha and Anugraha also. akti holds the entire
manifestation in her womb and when the will of manifestation arises in the
ocean iva, she assumes the wave form (Vimar a) and spreads as the entire
manifestation. She enters every living and non-living being as core matter.
Thus she pervades in and through the entire manifestation for the purpose of
uplifting all beings48 to iva state. Like the waves in ocean, which are present
everywhere and always, she shines through out manifestation with her five
functions.
akti in Mahat state is Bliss
Oneness without a second occurs, when there is no threat about another

person49. This is the Mahat state. The actions of Mahat ( iva) are also
excellent. In manifestation, it reaches the state of nanda. akti is not only
Bliss but also the supreme Intelligence (Cidgana). Thus the couple iva and
akti always stay in Bliss, which is their nature. Thus Cid nandar makes
even the Bhoga as means for Mok a.
i K li’s form
akti emits the Jagat from her heart by her Sv tantrya akti. She with
ease devolves the entire manifestation to effect involution. Generally these
occur in cyclical manner in parts and hence intermittent states are managed by
her retinue of akti-s. In the Pralaya when, there is complete involution, then
even these akti-s merge into one - akti. This akti is the form of ik li50.
li takes away the life of s dhaka through the Central path
Inhaling and exhaling is an automatic, happy event occurring in all

beings. akti is the controller of the thacakra, consisting of Ten types of
yu. When the two Pr a and Ap na V yu-s causing inhalation and
exhalation are stilled, then through the central path Pr akavalayatrik li takes
away the life (Vital air).
Sahasr ra and shower of Somarasa
ndacakra, which is the essence of Krama school, centres round five

siddh -s - na, Mantra, Mel pa, kta and ambhava.
Dh makrama51 denotes the respective abodes (five dh ma-s- Kanda,

bhi, H t, Ka ha and Bhr madhya) of these five siddh -s.
Var a krama is the Pa ca-pi a-s (five letters- , , , , ).
Ku alin akti rises from Cidagni, to take the upward journey and on
the path breaks through the Dh macakra and progressively attains Sahasr ra.
There, she enjoys the shower of Somarasa and thus shows the way of attaining
the ivapada. Here she shines as the abode of all knowledge and is in Samvit
form only.
lid sa says that, he, from outside, will explain this entire
play of akti. Vahnima alam consists of three Cakra-s-M dh ra,
Sv dhi na and Ma ip raka. Fourth An hata cakra is Dh macakra.
Sahasr ra is Dv da nta Cakra.
akti’s flow that rises in Krama or Akrama, starts from dh ra and

Sv dhi na assisted by yu to reach An hatacakra. There she takes the
form of Five flows, when she wills to create. This happens in Dh ma, Var a
and Samvit cakra-s, within which the entire manifestation can be classified. All
things in the universe have names, which is Dh macakra. Their forms fall
under Var a cakra. Prak a, nanda and rti cakra-s pervade the i,
Sthiti and Samh ra states. Cit akti descends from Samvit state through Dh ma
and Var a krama-s, to become Prak a and Vimar a ( aktimat and akti). She
resides in Brahmarandhra as Par . She is also called as Vimar a, Spanda,
dayam, Visarga etc.,
The dhaka, who meditates upon her, as akti, in her couple form of
aktimat ( iva) and akti y mala, realises her akti form ; and the one who
contemplates as iva realises iva form. At this state of rest, there is no
expansion or contraction, which happen only by her Sv tantrya (Icch ) aspect.
Unman akti- Paratattvar
The peacock’s egg contains all the multiple colours of the peacock
feathers. Thus, in akti’s heart, lie the entire Var a-s ( to ), which take the
“Ahamta” form in manifestation of names and forms. Bindu and Visarga are
Puru a and Prak ti forms. is Puru a and “ :” is Prak ti. “ :” is Jagat.
When akti knows her Puru a aspect, she reckons herself as “ ”. In this
form, by the elision of the consonants “ ” and “ ” it becomes “ ” by the
application of rvar sandhi. This elision of pada-s happens at the Unman

level, which is akti’s form. Paratattvar akti, thus, exhibits her power of
immanence and transcendance.
stra-s call akti as Avyapade ya, An maka, An khya etc.,
Eternally rising akti holds the entire manifestation in the form of J na

akti, on containment of intentions without Samh ra and i activities. When
she manifests the universe, she pervades it with her power. Thus li retains
both her Samvit form (Vi vott a) and Vi tma forms52. She is called as
Avyapade ya, An maka, An khya and so on.
Colour for na akti is like White camphor
Thirteen Indriya-s, Anta:kara a (Aha ra,Buddhi, Manas) and the ten

Karma and J na indriya-s, which freely operate in their respective fields of
activity, indicate their findings to the Sakalapram (Human). To indicate a
colour to them is impossible. Whereas, akti does not require indriya-s for
indication, because she herself is the experiencer. Her colour is white, like the
powdered camphor and is associated with na.
Sm ti akti and Nityasiddh
The retinue of akti, which arises from the Indriya-s and the entire
manifestation, is withdrawn into akti as reminiscence. This is evolved once
again by her Sm ti akti, when she wills to manifest. These two functions
happen eternally in Nityasiddh viz., Bhairava, in meditative mode53.
dhyaK li
When, from K lap la (S rya) upto iva tattva, who are like droplets in
the ocean, get their completeness, shine of Citi akti appears in manifestation.
She including them in herself assures their fulfillment. This is dhyak li.
Thirteen li-s indicated in Samvit krama in TL by A.N.Gupta does not
mention this li.
Yamak li
Vikalpa raises the doubt as to ‘This is right or not’ in our hearts. Yama is
the dictator of the right and wrong, whose expertise is to direct the human
beings in the right path and to punish when they go wrong. akti annihilates
even Yama and hence gets the name Yamak li54.
Two ways of attaining Sv tma- ivar
Yama creates the doubts about the right knowledge and thus directs the
strong and coward in pursuing the path of Niv tti and Prav tti respectively. The
determined souls pursue the Niv tti m rga to attain their source of creation.
The weak ones engage in Prav tti m rga to enjoy the worldly pleasure.
Prav tti distances one from the source of creation and thus is threatened by
Yama, who is engaged in that activity by akti, for helping the Humans attain
libertation.
Two types of Ignorance as seat of li
Two traits lead to destruction. Worldly pleasures such as wealth, wives

etc., create possessiveness as “This is mine” ( , ). This is the first one.
The second one is the wrong perception of non-self as self and the resulting
pride (Aha ra). Ignorance is destructive. akti takes her seat on these two
types of ignorance and enlightens the right knowledge in them. She consecrates
tyu in her Samr jya as king.
Yama is the consecrated King
Cit akti, with her retinue of akti-s, projects the undivided creation as
the inner celebration, for the purpose of Bhoga and Mok a. By her own freewill
she takes her seat on the same creation, to devour the same and thus helps
Yama, in her terrible form as li. This is like consecrating Yama. In the
empire of K li, Yama is the consecrated King55. Retracing the path towards
inner journey is possible, only if the external manifestation is rejected. The
creation is impure due to pervasion of akti and purification is only
through its destruction56.
Bhadrak li
Retinue of Cit akti relentlessly flooding the manifestation as Pr :and

na and Karmendriya-s, is capable of grasping specific cognition only. This
external cognition of Jagat is redirected by Bhadrak li, in the retracing path to
project the same in the Inner-self57.
Rudrak li
san -s are the form of precept and prohibition, which establish in the
Sthiti state of Jagat. They limit the Self and induce the created beings to
observe the good and evil acts. Rudrak li by knitting of her eyebrows,
swallows the entire manifestion in a second, along with the san -s which
cause the creation58.
lak li
Jagat, which is the object of knowledge, holding the multitude of living

and non-living beings, is pervaded by akti in immanent aspect. When it is
decided to return the gaze towards the origin, then lak li with her knitted
brows, destroys the entire manifestation by giving the right knowledge about
the origin of the entire picture.
li consumes Agni, who emerges from rya
rya’s image produces a reflection of Agni in full lustre. The image and
the reflections are also counted as subject matter in Krama system. Agni and
rya get their power to shine from Prak a aspect of akti ( iva)59. Par bindu
svar akti gives rise to rya, who rises and sets with his rays throwing
light on the entire creation during day. He produces Agni, to do this duty of
illumination in night. akti herself swallows these two lutres into her brilliance.
Thus through proper inner pursuit for knowledge the dhaka attains the
source of illumination.
rya enjoys Bliss with grace of akti
Vimar a akti -Svatantrya Icch akti purifies even Prak as rya

( iva). iva rests in the dayar akti, after getting cleansed by her help.
60
rya who shines in the Jagat being attracted by objects, with her grace,
attains the endless bliss, on being drawn into her brilliance.
Sport of Sv tantrya akti
The Arthapa cakam ( ma Bh tapa cakam), which is born along

with Prak ti with her three gu a-s-Sattva, Rajas and Tamas, stands equated by
lidasa with Am a. This is attained by the Living beings, at the time of
withdrawal in the hearts of their Selves illumined by rya. Again he creates
the arthapa cakam as outside manifestation. Emergence of inner agitated
constellation as outside Jagat is i; It’s inward journey towards the source of
illumination is Samh ra; this is the sport of Sv tantrya akti.
Samh rak li
After the involution of manifestation of word and sense, till its memory
exists, akti shines as Jaganmay . When experience transcends even the
memory, then entirety of the Brahm a brings great rejoice. Hence, K la,
who is repositary of the Kal , viz., Samh rak li, is sought after by s dhaka-s.
i Krama is the best of the Kal -s of akti, in which her supremacy shines.
Sthiti Krama enables vivid experiences of the cognitions. Sthiti highlights the
beauty of i. Then it is Samh rakrama which is the effort to trace back to the
source of creation. i is associated with birth which starts with the pain of
containment in the womb of mother. Sthiti is the constant thought process
wavering between the twin concepts-Pain and Pleasure; Gain and Loss; Victory
and Defeat etc., Samh ra is the natural instinct of the soul to get back to the
original blissful state which is one’s source in creation61.
Twelve ryakal -s merge into akti’s Brilliance alongwith rya
Bh tacakram, the totality of pa camah bh ta-s is the treasury of honey.

It is said to be brimming with honey. The rays of rya wish to drink the
respective sweetness from different Bh ta-s. They along with rya, like the
moths, get attracted towards akti’s brilliance and merge into her light.The
greatness of akti’s brilliance surpasses that of rya, whose rays enliven the
living things in the universe.
Yamak li
Pa capr -s take care of the enlivening, stabilising and nourishing of

the human body. The place of pr -s is heart, the operating centre of the
Pa cav ha-s. The controller of the pr is Yama-K la: This K gni Rudra is
taken to the Cid a and he is made by Yamak li62 to retract to Samh ra,
from progress towards i.
gnirudrak li
The universe is projected through Par , Par par , Apar and

lakar i akti-s multiplying as twelve in the states of i, Sthiti and
Samh ra. Four of them are the means of cognition; next set of four are the
objects of cognition and rest set of four denote the state of cognizer. S rya
ma alam emits the terrible Pralay gni form of rays, desirous of delightment
of consuming the universe. These ferocious rays are dissipated in Vimar khya
li-Kal gnirudra K li63. This Samh ra is the ultimatum in the cognitive
process.
Help of Retinue of akti by consuming the Triput
In the empirical world the retinue of twelve akti-s, first consumes the
objects of cognition. Then the cognition stored in Buddhi is also dispelled by
them. Ultimately the Cogniser is also led towards the Param rtha, the source
of their creation. Triput akti also attains Laya in iva, assisted by her retinue.
In the Laya krama, Meya (measurable) is enfolded into Miti (True knowledge);
Miti subsumed into (Knower). Means of cognition are the inner states and
their Laya does not occur. akti as Buddhi exists at the end as the Ultimate
means of cognition64. Kriy akti enfolds into na akti. na akti gets
absorbed in Icch akti, which is the cause of the mutitude of Manifestation.
Icch akti is li (Vimar a).
Mah la is drawn into K li Herself, in Pralaya
The crematorium of all the empirical beings in the real world is called
the Karav ra. Mah la is the ruler of this ma na. Even Pr gni is
incapable of consuming this form. akti dissipates Him in herself (Karav ra
ma na), in the light of withdrawing entire manifestation into her.
Samh rakrama of Dikcar and Khecar
Dikcar as the name implies, moves in the form of ten indriya-s, plying
in all the ten directions (east, south, west, north, southeast, southwest,
northwest, northeast, beneath and loftier). She intends to unfold the objects of
cognition. In the Anta:kara a (Aha ra, Buddhi and Manas) rules Khecar .
Both of them are dear to akti, who swallows them also. Krama is the making
of la. K la is ever ready to consume and hence the significance of Samh ra.
Samvitr akti is li
iva- the rya who awakens, is called Tva , as he is the initiator in

i. His rays right from i, continuously carry out their functions in their
twelve counts. Their functioning exceeds the three stages of emanation viz.,
i,Sthiti and Samh ra, to the higher stage in their consolidated form. This
akti is called Trayoda i, who is the controller of these rays.
An khyakrama-Bh mak li
The state of co-existence of Krama and Akrama is called Sakrama,

which is An khya krama65. This is the fourth state, which differs from the other
three viz., i, Sthiti and Samh ra, in the sense that there is no particular
krama for this state. The beauty of this krama is that, it acquires the status of
Samvit, due to transcendence of any krama. Bhimak li is the core of this
An khya krama. The fourth lasa kar i akti, in classification of Par ,
Apar , etc., who dwells in the Highest abode, in no time, shows her presence in
the entire krama66. Krama is of the nature of semblance and destruction in the
Three states- i etc., But Akrama is illuminating all of them at the same time.
iva-Candra and akti-the luminance in Cid a
In An khya state, akti’s twelve rays rise. She appears as moonshine of

Prak iva-Candra dwelling in the highest abode cid a. She is in union
with iva in her place.
Omni-potency of akti in Cid a
The highest Cid a is peaceful, without any parts, without projection,

without differences and is the Absolute oneness. Even the solidity of Bindu is
removed there. But akti conceals in herself the da ( abdanasvabh va) and
ja (vikalpada ) and is in potent form even at this state. Omni-potency of
akti is beyond the Sakala and Ni kala stages.
akti as dar
In the three states of i, Sthiti and Samh ra that arise from the womb
of akti, where Vikalpa is absent, akti remains as da67 only. Then she
always being one with him in the Dhvani r pa, veils kara and emits in each
and every living being that inner da, when she emancipates.
Vi vott akti realised as Caitanyar
Cgc is the betower of Nectar for those dhaka-s, who understand

akti’s aforesaid form and for those, who are making efforts to know such
form. Those, who follow the path of external worship find, this as poisonous.
Only valour can achieve retreading the path of creation and bring about the real
identity of soul and Absolute68. The destruction of ignorance through
69
uddhavidy is obtained only then. Caitanyar Cit akti is opposed to
Jada akti, which is the projection of her akti subjected to limitations70.
The entire manifestation is pervaded by Paratattva Cit akti and she is also the
Substratum of the manifestation. J va has to aim for acheivement of the
Caitanya level of awareness. akti is the final abode of all the elements in
manifestation and hence she is Vi vott a.
Cgc drowns the Ignorant s dhaka and uplifts the Intelligent ones
Cgc leads the dhaka-s to the liberated state (Citr papr pti), who with
their Buddhi indulge in Sattarka and discard the various attractions posed by
akti, in order to get the Caitanya level of awareness. Par hanta,
Vimar a bestows on them the revelation of the peaceful state nta). The
grace of Svatantra- Anugraha akti is boundless to them. Cgc immerses the
bewildered minds completely into the cycle of birth and death.
Prak a-Vimar a couple cause Nama-r in manifestation
Treasure of Nectar, which is the Arthapa cakam in Sams ra, has its
claybase in the Form of li akti, which holds those, who are immersed in the
ocean of Sams ra. K li71 is in the form of the Thirty-six tattva-s starting from
akti to P thvi, which is the display of Samvit, with names and forms in Jagat.
Citr is called as the nectar in the form of Arthapa caka.
uddhavidy liberates iva from limitations imposed by akti
The objects of Cognition are compared to the honey of Lotus, because of

their power of attraction and the lotus being the abode of Vi u and Lak mi and
also birth place of Brahma the initiator of the Jagat. When dhaka feels
perfection in Bhoga and desires to attain Mok a, M akti72, creates an
illusion of Omnipotency in him, in the form of A uddhavidy ( tmabh vam in
An tmavastu). This is compared to the closure of Eyes. Buddhi form of
Vimar a, which is uddhavidy , is the eyeopener of them, who are engrossed
in uddha vidy .
Human body is akti’s throne and the Jagat is Cinmayap ha
The universe is the pedestal of akti, which is the lotus with honey and
filaments in the form of the Artha-s, blooming with effect of Vimar a. This is
her grace for the upliftment of living beings. The Human body is the pedestal
of Samvit and the universe is the pedestal of Cinmayar pa akti. akti is
enthroned in ricakra form, in the Human body, which consists of
Bh van cakram ( mar pa, agiri, J landhara and Oddiy na p ha-s;
Buddhi, Aha ra, Manas and akti; Para, Itara, B a and Svayambhu li ga-
s; Cakra, P ha, Li ga and Mudr ) Thus, in her divine form of Cid nandaga a
vi var m and the impirical seat of names and forms, akti grants both Mok a
and Bhoga.
akti shines as Prak a- nanda with iva as her body
akti removes the three impurities ( ava,May ya & rma a mala-s).

She resides in the ap ha called , which is the resting place of
Prak a, which is the florescense of cya-V cak ; the blissful state of the
entire universal being; the desireless state; a perfect blissful self; Praty ra
rule starting from penultimate -k ra upto -k ra, forming aham with
Anusv ra bindu. This, again, merges into iva, who is -k ra. S dhaka-s, who
worship this -P ap ha, which is the union of Prak a73 iva as ar ra
and nanda akti as ar ri, are followers of Kramadar ana.

akti representing the act of overpowering the husbands by wives
akti supports the ocean of nectar ever-present to churn out the Am ta of

the Milky ocean. She being seated on the Lotus, holds within her the sixteen
digits (kal s)74 of iva, who has abandoned the going and coming. He is one
among the pa capreta-s ( iva, Sad iva, Brahma, Vi u, Rudra). In the
embrace of iva with the smiling face, she laughs loudly. These indicate the
actions opposed to normalcy but denotes rarasa in couples.
akti’s supremacy over Candra in showering bliss
Author compares the pleasure endowed by akti and the Candra. Both
are sources of joy to the experiencer but akti’s supremacy in showering bliss
is highlighted. She is addressed as Ca i, the ferocious one in contrast to,
author’s intending pretext, of her grace. She chides those, who deserve it and
showers her grace on those, who worship her. Candra’s traits are coolness and
pleasure. When akti’s grace is showered, then it is permanent bliss as
compared to Candra’s pleasure giving aspect. This is because Candra waxes
and wanes75 and his illumination also is subject to shadowed areas in him.
akti, who eternally shines on her own might, is the illuminator of rya,
whose light is reflected by Candra76. She is wholesome brilliance and by her
will shine rya, Candra and Agni. Every living and non-living beings shine by
her will as she is the Paratattva in ktadar ana and Brahmamahi i in others.
li’s greatness revealed only to dhaka-s whose pursuit is relentless
Ku alin akti resides as dormant snake in three and a half rings; the
head is residence of K li, called Kula. Those, who worship li as
Kulaku alin are called Kaula. iva’s abode is the Bindu which is called
Akulam77. dhaka-s, who worship the Akula iva, attain the knowledge of the
United form of iva and akti and Kaula-s worship akti’s greatness as a via
media for attaining iva. The Divine Couple are complimentary78 to each other
by their very nature of being akti and aktimat. The equal status of iva and
akti consists of five classifications.
1. Adhi nas myam - Place in Cakras and Yantras of worship.

2. Anu nas myam - Performance of the di pa cak tyas.
3. Avasth nas myam - Dwelling in tyadi activities.
4. N mas myam - iva, Rudra, Bhairava etc.,
5. R pas myam - Aru a(Red), Nila(blue) etc.,
li akti is realised by these dhaka-s as the complete Radiance as
well as the ultimate substratum for the entire manifestation.
akti destroys the masic mental ignorance
Tamas, which resides in the va-s as their mental condition in the form
of arrogance or pride, is driven away by the flames of fire or rays of brilliance
emenating from li. The Equal-status of iva and akti as stated above is the
ultimate purpose of each living being. Kulam rga of worship is once again
reiterated for attainment of the highest knowledge.
Wonder of akti’s Brilliance
akti shines as the brilliance, which equals that of abundant number of

moons, which receive their brilliance in turn, from abundant number of Suns,
in an indirect manner. She also endows bliss in abundance. The author pleads
li to lead him to such form of akti, after removing his suffering in the form
of vicious cycle of birth and death, thus granting him the wish of being non-
different from li.
dhaka-s surrender at akti’s feet
akti is always meditated upon by the dhaka-s following kta and

aiva dar ana-s within their hearts. They know akti to be the Kula, who
purifies even the rya, Candra and Agni. She is the mistress of the thirteen
means of knowledge- na and Karmendriya-s(10), Anta:kara a (Buddhi,
Manas and Aha ra) and also the tma(spirit). dhaka-s, who realise akti
in and through every element of creation as the Ultimate source,79 are subject to
her grace.
Fruitful living is ktay ga
In the i krama, akti first transforms in the form of pr -s. All

living beings are ruled by these Pa capr -s in the entire universe. The
thirtysix elments, which culminate in “Aham-Asmat abda”, felt in all living
beings is akti’s will. The living itself forms ktay ga as they hold akti 80 in
their innerselves in the form of Pr -s.
hanta state destroys the three impurities
The perpetual meditation upon akti leads dhaka-s to reach the P a

Ahant state and removes the three impurities. Hence, they relish this bliss as it
removes his three sufferings. Even the Fullmoon, which represents the
complete form of sixteen digits of Candra, does not give this effect.
Praise of avat ra in the light of K li Up sana
The divisions in time as past, present an future and the existence of the
names and forms in them, rest in akti. kar is akti’s form which
consumes even la (Time). This universal form is worshipped by all yogi-s
and kta Up saka-s starting from a. li Up saka-s always worship
a81 as the protector of their Kula.
Sv tantrya akti’s supremacy in i and Samh ra
The objects of cognition viz., Spar a, R pa, Rasa and Gandha, project
the knowledge of word and sense formed by abda starting from -kara.
These are the variety of projections in the form of adhv , posted by akti’s
brilliance. These divisions formed of time and space form the rticakra of
ikrama. In the Samh rakrama, she deactivates even this cakra by
consumption into her and the means of knowledge- J na, Karma indriya-s
and Anta:kara a are also defunct. Thus akti’s presence in i and Samh ra
are highlighted.
akti’s presence as Light and Darkness
In the empirical world, two aspects of light and darkness, get highlighted
by form of akti. The triad of Moon, Fire and Sun are called the Kula which is
superseded by akti to the fourth stage, in the form of pr -s in all beings.
Through proper justifications and dhana she is realised by the noble ones.
Meditation upon iva- akti is goal of J vana yatra
akti rejoices at the knowledge of the towering grandeur of her spouse

iva and feels affluent. In her such supremacy, she administers the affairs of
the entire manifestation starting from Brahma to Bhuvana. She is the power of
the sight of eyes. Under the supervision of iva and akti all the beings enjoy
sight and knowledge.
lid sa’s CGC is for getting the grace of K li
Author K lid sa exclaims at the grace of akti in enabling him compose

the work, Cidgaganacandrika, which highlights the greatness of li. This state
is attained by the ones endowed with special inward sight. They understand her
grandeur in different forms, then with perseverence get to know her will to
manifest82 in various forms. Further they worship the form as per the
instructions of the Guru-s and get a glimpse of her glory. This text is the praise
of li for appeasing her and to get her grace.
akti shines as all three genders
akti is neither masculine nor feminine. She is not neuter gender also.
Her spouse iva is also beyond the three genders. In manifestation all beings
coming under these catagories, get their gender effect from power of akti
only. Thus akti quivers (sphuratt ) and is cause of manifestation.
akti as the Supreme principle
vara is endowed with the qualities of Supremacy, Granting wishes,

Eternal, Praiseworthiness, Great spirit and Highest intelligence by K li. These
shine due to her power and they are drawn into her at deluge. Thus her
existence as supreme principle is impossible of denial.83
Immmutable akti causes all varieties in creation
akti can not be breached, but she can cause divisions Hamsa-hams , i.e.
Male and female (Rakta- ukla) aspects. Even her spouse falls into this
category, when he adorns a form. She is an unique female who acts like male.
Being the male aspect actually, she is interposed with feminity. iva is the
Prak a aspect only, like rya. Vimar a akti is the prime cause of all
variations.
Exhibition of akti’s sovereignity in four ways
Par akti’s absoluteness principle is discussed in this work as four

aspects. First is the shine of akti flooding the entire manifestation. Second is
the confirmity of Var a-Pada-Artha and the Param rtha. As forms of Bh ta
pa caka-s differ, their formations also are various. Third is akti’s presence in
the form of pr -s in J va-s. The pictorial representation of all these three
aspects is the fourth one. Here the existence of Jagat as different from Absolute
is explained from ntrik point of view of Bhoga and Mok a as against the
theory of Jaganmithya v da.
Dual play of akti
kta duality is highlighted by author in the following aspects. Light and

Darkness, where light is knowledge and darkness is ignorance. arvari is
akti’s form in Night, causing the living beings sleep and thus protect their
bodies. The administration of the entire activities of the universe, is done when
the day breaks. Day is associated with iva (Light) in tantra-s. Adorning of
these two forms of Prak ti and Puru a, Day and night etc., is the play of akti
only.
Reason for li’s colours- Red, Black and Yellow
akti attains redness at the time of her freeplay of transformation into

various forms. Red colour is obtained by mixing of black and white in equal
quantity. li’s dark complexion84 is obtained by combination of excess Black
85
with little white colour. Gowri’s light yellow colour is owing to the mixture
of excess of white and a little black. As per tantra stra the deity with cited
colour is meditated upon to get their wishes fulfilled.
akti’s three forms-Sowmya, Gora and nta
When akti wills to create and protect the manifestation, she assumes
the Gentle form.When she wills to withdraw the entire manifestation into her
womb, she assumess the terrible form. Vimar a akti as Quietitude state, is the
power of will, in all these states in order to help the living beings attain her, by
single minded meditation86.
akti’s brilliance dissipates the cosmic group
iva is the lord of K gni.When he is in the form of Prak a, then the

cosmic group of rthiva-Pr ta-M ya-S kta a a-s exist in him in their
respective forms. akti’s form of brilliance in pervasion, dissipates the entire
group. Both iva and akti with their forms of brilliance, administer the
manifestation. iva needs the help of gni for Samh ra, whereas akti
being Sovereign, acts on her own power. This is to highlight the greatness of
akti as compared to iva.
Citsvar is beyond all triads
akti’s triad consists of Icch -J na-Kriy ; i-Sthiti-Samh ra; Nara-

akti- iva; mbhava-S kta- ava; Par -Apar -Par par ; Yantra -Mantra-
Tantra; Sakala-Ni kala-Sakalani kala; etc., These exist as contemplation in the
womb of akti at all times. Her absolute form, which is Cit is beyond these
triads, which shines with and without projection.
Citi akti is kinetic element of Cit
Name and form relate to Jagat. Name of akti as li in feminine

gender is the mental supposition, which is given equivalent form by the
Buddhi. Actually as mentioned earlier akti, has no gender discrepancy. She is
the power of the entire functioning of the whole universe. Thus she is Citi, who
is the active element of Cit ( kara).
akti, ruler of svapna and Tur ya; iva, ruler of Su upti and Tur ta
In the mental states of grat, Svapna, Su upti, Tur ya and Tur ta,
akti rules the Svapna and Tur ya states. iva rules the states of Su upti and
Tur ta. The fourth state has to be transcended to stay in Tur ta state and
the stability in this level depends upon the steadiness in Tur ya state. Thus
Sv tantrya Vimar akti enables the shine of Cit (Prak a).
Progressive transcendence of the mental states by dhaka
The progressive transcendence of the grat, Svapna and Su upti

towards the Tur ya is the form of akti,who enfolds the triad and reaches the
ultimate Tur ta state. iva, who remains in Su upti and Tur ta is unable
to stabilise, as they are not progressive. Thus progressive effort is more fruitful.
Kramadar ana is praised by author as best.
akti- ra and Nir ra
akti, being Goddess of Cidgagana, is without form and with multiple

forms simultaneously, as she is the dictator of the laws of the universe. She
with her five capabilities of Omni-potence(sarvakart tva), Omniscience
(Sarvaj tva), Eternity (Nityatva), Wholeness ( atva) and Omni-
presence (Vy pakatva), always occupies the seat of united Cit (Consciousness)
and nanda(Bliss) and spreads the brilliance of Cit in both forms87 of iva(the
liberated and the bonded).
ktop san only leads to revelation of Cid nanda akti
Whole and Non-dual form of akti, which is Cid nanda-

Sv tantryagana, can be attained only by adherance to ktop san .Veda-s,
Words of Siddha-s, gama-s, which talk of duality of Absolute, the ga-s
stipulated by ruti and Sm ti, the Yogic meditative paths ( ga/ ga) all
these can not help the s dhaka realise the deity described in this work.
Pure devotion and surrender at akti’s feet yield results
Paths of Knowledge through stra-s, dar ana-s and Satsa ga and

Yogic path of contemplation, in order to know akti’s traits of Eternity,
Wholeness and Pervasion, are not capable of giving a dhaka the apprehesion
endowed by akti, unless there is an element of devotion. Relentless surrender
at her feet in pure devotion yields results88.
Clearance of confusions in perceptions of other doctrines
nyav dina:, whose theory is based on the Gross manifestationun

folded by akti as names and forms and their worship is with external
instruments; Ny ya-Vai ika dar ana followers who opine that Param u is
the cause of i; khya-Yoga dar ana followers whose doctrine of i
being the admixture of the three Gu a-s- Sattva, Rajas and Tamas; All these
preceptors of various doctrines condemn themselves when they get the
enlightenment of the truth that the manifestation is nothing but Vimar a akti’s
expansion. They are taken into her fold when they show interest in knowing
akti’s power in and through the Samvit, Var a, Dh ma, V da and
Mah krama-s and cleared of all the confusion of perceptions in their doctrines.
Thirty-six Tattva-s and the Seven Pram -s
akti’s scope of own instinct, contains the na (Omni-science) and

Kriy (Omni-potence) along with her traits of Eternity, Wholeness and
Prosperity. She, like the Sky, in which shine the Planets, Stars, Sun, Moon etc.,
She is the substratum of all the Thirty-six Tattva-s. ga is the attachment in
objects. Veda is Vidy -Knowledge and means of knowledge. Sakala indicates

the seven performers of true conception (Pram ) viz., iva (Parapram and
nyapram ), akti (Parapram tri in kta dar ana). Three uddh dhv
pram tara: are Mantramahe vara;, Mantre vara:, Mantra:.Vij nakala
pram is placed at the abode of Mah (below uddhavidy but above
) / Pralay kala pram reaching the state of Pralaya, still possesses
May ya and K rma a mala-s (impurities). Sakala pram is the Pa u (Apar
pram ) who is accompanied by all three impurities ( ava, May ya and
rma a mala-s). All these fall into the Thirty-six tattva-s, which cause the
entire manifestation89. Knowing these tattva-s and each in turn enfolding into
the higher tattva-s leads the s dhaka to the source of manifestation.
Deva-s assist akti in her pentad functions
Deva-s who are capable of moving everywhere in sky as a whole, help

akt in her performance of the Five activities, without seeking the oneness with
her prosperity or the doership of the five activities. Indriya-s also in their group
of thirteen, help in the disposal of these five functions of akti, who is the
cause of their creation.
Eternal ascent of her Pentad functions
The pentad of akti is of three categories. i, Sthiti, Samh ra,

Nigraha and Anugraha; Cit, nanda, Icch , J na and Kriy ; Sarvakart tva,
Sarvaj tva, Nityatva, P atva and Vy pakatva are according to her
proficiency. Eternal Ascent of the popular pentad, i etc90., of akti, happens
with tremendous speed, creating confusion in following the sequence. The
expansion and withdrawal sequence of this pentad is wonderful and at the same
time a difficult research. Ever-shining form of akti, the whole and only
principle, is beyond all the other principles and the Jagat, but at the same time
shines in and through the entire manifestation.
i krama consists of thirty five elements of akti
Devat Krama includes the hya- ntara Indriya-s, which operate

persistently. In the whole form, which is the substratum of all the fifteen forms
of expansion, Manas, Buddhi and Aha ra-the Anta:kara a and da endriya-s,
emerge without hassles. akti is the source of these outer and inner groups of
deva-s. The i starts with akti taking the pr form first. The sequence
happens thus- akti; pr ; Anta: kara a; J nendriya-s; Karmendriya-s;
pa catanm tra-; pa ca-sth labh ta-s. akti, who is Akrama, is the substratum
of this Krama i. The fifteen-fold expansion of akti in Krama is as follows91
uddh dhv ’s Five Experients are reckoned in conjunction with three

akti-s-Par -Par par -Apar , and projected as fifteen states, forming the triad
Knower, Known and Means of knowledge. The seven Pram -s iva,
Mantramahe vara, Mantre vara, Mantra, Vij nakala, Pralayakala and
Sakala, doubled in akti- aktimat form along with their aggregate form
become Fifteen. The seven pramat -s, when multiplied with Seven akti-s
render, forms of 49 mat ka-s. aktimat group of 49, on multiplying inter se,
give rise to an expansion of 2401 divisions. Thus with regard to the three
classifications of Pram -Prameya and Pram a, such forms will be
numerous. akti-s also are different as per their grouping with respect to ve a-
Nimajjana-Vik sa-Nigur a. ve a is Identity; Nimajjana is entry into the
Independent soul; Vik sa is Expansion towards Independence; Nighur a is
the oscillation towards expansion. Thus in the activities of the wise persons
arises these varities of experiences.
Eternal operation of Samh rakrama by akti
akti is the very form of the nine letters, which denote her mantra in two
aspects- Lalita and Ca i. Lalita /Tripurasundari mantra is of two versions
di and di vidy - mantra-with letters - (°) (Bindu)
and N da. di pa cada i mantra92 is
kae lahr m hasakahalahr m sakalahr m.

ma ( ), Yoni ( ), Kamal ( ), Vajrap ni -Indra ( ), Guh (HR M),
( , ) Var a-s M tari va, V yu ( ), Abhra ( ) Indra ( ), Puna: Guh (HRIM),
, , Var as and M (HR M). Hadi pa cada i mantra is
hasakalahr m hasakahalahr m sakalahr m
The second srividy mantra commencing with letter and therefore
known as “ di vidy ”. First tradition is known to have been followed by

ma, is ascribed to the guru-s: Parama- iva, Durv sa, Hayagr va and
Agastya. Tantraraja-tantra and V make vara-tantra are its chief authorities.
Second one is founded by Lop mudra, wife of Agastya.The main text on which
this tradition relies, is Tripuropani at.
Ca i mantra is aim hrim klim camundayai vicche which is the very

popular Navar a mantra.
Divya v ha are the Pr -s, which manifest along with akti, in her
ascent in the Krama i, as pioneers. The reverse sequence in Samh ra krama
is the bosom of akti. The constellation of the florescent elements abide in their
source of brilliance in Samh rakrama. Samh ra brings about the mitigation of
the the Soul, Time and Body of the empirical beings but as such it is
indestructible. This shows the greatness of akti’s power of withdrawal which
eternally operates as the supreme activity promoted by li.
akti not only shines in Rasmicakra but also as Bliss
Samh ra is the form of Mah lamel pa. Three resting phases of akti
in this level are, That, which is to become, which has become and which is
extinct. The ascent of akti is the innate beginning point from this level of
resting. akti assumes the different and non-different forms.The first point of
evolution of akti in diversity, lies in her Rajogu a aspect of complete
unsteadiness. Rasmicakra consists of rya, Soma and Agni that shine due to
akti’s emergence outwardly. When she is in the non-different form, her own
brilliance shines lest Rasmicakra. She is in her luminant Consciousness-bliss

form. The san -s which are acquired by good deeds rest in her.
Mantr dhv - “ :- ”
akti assumes the seat of Mantra-s by her free will. This seat consists of
the adhv -s- Var a, Pada, Mantra, Kal , Tattva and Bhuvana-s. In the
cak dhv the first is Var a; Kal /Kalanasvabh va is the first in cy dhv .
Kalana is epa, J nam, Sa khy nam, Gati and N da, which are capable of
reducing the age of the universe in no time. These are the withrawing nature of
akti.
Var a-s are classified as 50 or 51in Tantra stra, 63 or 64 in some other

tantra-s. They are in the form of Dhvani and with their presence only the
manifestation occurs. They are of two types- ja and Yoni, (Svara-s and
Vya jana-s). Their combination in various forms results in Krama and their
divisions give rise to the state of Akrama.
Further this seat is said to indicate the Candrab ja ( ) which is also
akti’s form93. iva’s form and akti’s form are always inseperable and
hence results the Ajapa japa mantra - :-which happens automatically
in ( :- exhale and inhale94) breathing. is the reverse order of breathing.
akti in her mantra form is the substratum of entire universe and hence
she does not need an abode. She expands and withdraws the manifestation on
the wall of herself with her freewill. Her mantra p ha is the best and unique
one without hassles. In the li Up sana the mantra-s and their practices are
learnt from Dh ti-s95.
Cidgagana as source of Krama and Akrama
akti assumes the nap ha, through uddhavidy . This envisages the
revelation of self in the impirical being and causes upliftment of souls to the
abode that is beyond enclosures and which is unstoppable brilliance as
Caitanya.This is the incomparable state of Citr , who is beyond divisions of

Time and Space. This is attainable by a s dhaka as the Sv tantriya - Spanda
principle96. He further procceds to reach the abode of iva, which is the state of
rest of even the akti cakra. Such a na p ha is retraced as one’s own
Cidgagana, which is the source of emergence of the Krama-s and in which the
entire expansion retracts.
Trika principle of Nara- akti- iva
va, which is image of Nara and akti, is established by ka akti-s

(Jagad yoni-s)97. The eight varga-s form the eight petals which is Puru a. The
variety of activities and the instruments of action in the form of hya-
Anta:kara a-s form the various akti-s in Krama and K li is the box who
contains them. iva, spouse of akti, is a Li ga form (am rta). iva is
Kame vara, akti is Kame vari, and due to their divine union the entire Triad
principle in the form of Nara- akti- iva triad emerge in manifestation. The
entire universe with immovable and movable things, emerge from ak ara-s,
more specifically from Pra ava . Thus the Triad of Nara- akti- iva is the
effect of ka akti-s and hence of K li. The whole group of Rudra, Siddhas,
Muni-s worship this form of li.
Cakranavakam is sum of li’s pentad functions and quarted ha-s
lid sa pleads with li to bless him with the worship of

Cakranavakam, which is praised by Deva-s, nava-s, i-s, Siddha-s and
Gandharva-s. Pentad of akti’s functions start with i are i,Sthiti,
Samh ra, Nigraha and Anugraha; in other words i, Sthiti, Samh ra,
An khya and Bh sa; or her form of me var , Khecar , Dikcar , Gocar and
Bh car . These are equal to iva in brilliance emerging off the rtiv nda.
Citicakra is kacakra with 50 ka-s which reflects the shine of iva as
A-k ra98. Four tha-s are mar , P agiri, J landhara and Oddy na
which are ruled by akti-s. li’s K tyapa cakam and the hacatu ayam put
together form the Cakranavakam.
Nara- akti- iva in akti’s empire
akti in the form of the Nav a mantra and A acakra(a avargas)

projects seventeen devata-s (9 letters of Mantra and , , , , , , , - the eight
varga-s) which rest in her bosom. iva (Prak a), who is her companion, is
assimilated to Candra. Her prime status is upheld by K lidasa, fixing iva, in
secondary stage in the form of Candra Prak a. When in union, it is difficult to
fix the primacy of status to either because they are the divine couple99. akti
forms the base for the Trika form-Nara- akti and iva that falls within her
empire.
ambhava- kta-Guru krama-s with special emphasis to ktakrama
Kramatraya is discussed in various manners. MMP allocates the status

of Mah krama to the P hakrama, where empirical body constitutes the
ha100. The worship of own body is the resort for the best results. Then the
Indriya-s which form the life support, form the Devat krama.
Dh ma-Samvit-Var a krama-s are the Dh di trayam101. Then comes

the rti krama, which is ktakrama. This consists of the three illuminates,
which emerge out of Sv tantrya akti, in the form of rya, Candra and Agni as
rti-s. These naturally kindle the intensity of inner and outer sense organs.
When contained, they result in the Pa u status of empirical being. When they
broaden, the result is the auspicious form of Parama iva-bh va. kta krama is
also called the nanda krama. mbhava krama is the Meaning absolute, the
Prak iva.
ha krama is also named as Mah rthakrama and Gurukrama; Dh ma

krama is like wise called mbhavakrama; Var akrama is ktakrama;
Samvitkrama is Gurukrama. All the sensient and insensient being of the
manifestation are the effects of these three krama-s. Candra causes nanda;
rya arises out of iva; Agni is produce of S rya.
From iva upto Soma, is the ktakrama. Gurukrama is the aspect of

iva that shines as omni-present in manifestation and hence has its base the
kta krama. Bh nucakram is mbhavakrama, which acts as the face which is
predominant. ktakrama forms the substratum for both the Gurukrama and
mbhavakrama due to their projection along with akti’s expansion. Here in
an implied sense, Cakrabhanu, the First of the preceptorial lineage of krama
school (Annexure) is mentioned by Kalidasa.
akti shines in Krama but she rests always in Akrama
iva, the omni-present, is non-different from the sense of each object in

the Krama. When he breaks forth in the reverse process, in knowing the object
of each stage of manifestation, he reaches the akti’s state and gets the divine
form, which is above the phenominal level. This is the Akrama state in which
he is the projection by akti as . This is not the Asmat abda, but the
hant bh va, which is nothing but the primal throb (Spanda). Though this
can not be explained or given name and form, still for the purpose of
understanding the Krama and Akrama levels, the different stages are created in
divine couple, who are always complimentary to each other. Author in order to
place his Goddess of worship at a higher plane, gives her a prominance in
status as the Absolute. akti in Krama, due to her Sovereign power, is the form
of the entire manifestation. iva as Puru a is said to take the process of Akrama
to reach the oneness with akti the absolute.
Bh van of Manomayi akti
The goal of attaining the brilliance of akti, who is beyond the Gross
and Subtle levels of manifestation, which is her form of -k ra, is pursued by
the dhaka by worshipping her Manomayi akti. nam is of three types.
Knowing through element of hearing (Srotra) is Vaidikam; Through thought
process is Ved nt and other schools of philosophy; third is produced through
meditation and imagination. Knowledge of akti in the third form is the best as
it is capable of projecting even the non-existent object. Bh na of Manomayi
akti is highlighted.
Tivra aktip ta
aktip ta is the Anugraha aspect of akti. It is of nine forms. Three

aspects T vra (strong), Madhya (medium) and Manda (weak) of aktip ta gets
multiplied interse, as vra-T vra, T vra-Madhya, T vra-Manda etc., to nine
forms of aktip ta. It differs with each dhaka, according to his capacity. In
the first category akti’s grace is endowed upon the s dhaka through
Gurukr , by cleansing the ava mala and due to this the other two
impurities (May ya and K rma a mala-s) vanish on their own. Hence he gets
released from the five limitations of Kal ,vidy , R ga, K la and Niyati. He
acquires the five powers of Omni-potence etc., and transcends the state of
limitation. Thus he reaches akti, who resides as the sky, in the heart of the
dhaka. He gets freedom from the rays of Cit (Khecary di), which turn to
help him in free functioning102 and experiences his Self as iva/ akti with
unlimited power. Thus he becomes a Siddh . (Refer chapter VI)
akti anugraha enabled author to describe ktakrama in Cgc
Ga a, who is the son of Soma- iva, the prime manifest form, the
controller of the Buddhi and other indriya-s is Mahat -Aha ra element in
manifestation. Author says103 this Aha ra element is removed, when the
author purported to do this work Cidgaganacandrika, which is the Stuti form of
Krama doctrine. Sams ra struggles, which impeded were cleared by the
Perseverence and Bhaktibh van of him towards K li.
Offering Cgc to K li by the author
Siddhan tha had composed Kramastuti, which formed the basis of

lid sa’s present work Cgc. K lidasa pleads with li to accept his offering
of the work104, though he is yet to get release from clutches of and the
worldly sufferings.
Significance of Kramadar ana
Author requests his Deity to bestow popularity to those, who recite the
hymns of K li, i.e. Cidgaganacandrika, which highlights Krama dar ana. He
further reiterates that the knowledge of Kramadar ana105 is capable of

affording Lordship and prosperity and pleads the same for himself. He records
the fact that, K lid sa is a title given to him based upon his work Cgc, due to
grace of K li, who ruled over his language in proper path. He dedicates the
work and title to his a-devat K li.
Cgc for the benefit of all dhaka-s
Author explains his state of reaching the ap ha ( hanta) and

becoming aware of the world as non-different from hanta state of self.
This awareness purifies the confused mind clouded with ignorance. After
attainment of this state106, K lid sa by the grace of li meditated upon her by
the stuti-Cgc -which he presents to benefit the entire universe.
Fruitfulness of Cgc
The benefit of this Stuti is sought from li by author. Cgc, which is in

praise of the Candrika, the divine brilliance that emanates from Cid a, has
endowed the author with the Bliss par excellance, by fulfillment of his needs.
Who ever learns or contemplates on this stuti will attain, whatever he desires.
The s dhaka, who purports to elucidate the meaning elaborately or one who
deeply studies into the subject matter of Cgc gets satisfactory benefits107 and
lives happy and peaceful. He/ She attains liberation.
Enacting the bh va-s help attain iva
Author prays that the s dhaka, who sings the stuti in musical notes and
who procreates the sentiments in Dance/Drama may be blessed with success by
li. Three hundred and nine verses are composed in Cgc which is done in
praise of akti worshipped in Kramadar ana. One who follows the process
highlighted in this work will definitely fulfill all his aspirations.
Daily recital and Meditation
The work is composed in the metre called Tristup, which is made up of

eleven ak ara-s. By grasping the meaning of the verses, a s dhaka spends his
lifetime and he feels the divine grace showered on him.108 li’s grace falls on
the s dhaka, who takes the path of sattarka to transcend from empirical levels
of manifestation upto the Source of manifestation. Similarly even without the
path of J na, the s dhaka, who exhibits bhaktibh va is also blessed with
li’s grace in knowing the ultimate abode ( iva).
Meaning of Kalana and discussion of only two aspects in Cgc vouched
Kala is the name obtained from Kalana, which relates to the five modes
of absolute dynamism.
Kalana is epa (Projection)- akti as manifestive force by her own

Sovereign power radiates the universe engraved in herself as projection on the
Wall of her own self.
Kalana is na (Knowledge); The knowledge of the Self ( iva) and the

radiated universe being non-different. epa and Dhi cause all the activities of
the manifestation.
Kalana as Sa khy nam, Gati and N da are aspects relating to the modes
operating after the empirical manifestation.
lidasa has vouched that he has dealt with the first two aspects109 only
in his work Cgc. He dedicates the completion of this work as Devi’s grace. She
is the Queen who causes the creation, Sustenance and Annihilation of the
universe. K lid sa pleads with Devi, to take due care of himself and lead him to
iva pada. The process involves rising and falling efforts and the grace of akti
is needed in each and every fall, till the s dhaka attains the iva state.
lidasa’s Cgc benefits entire mankind
In the concluding stanza the author spells out his name as Srivatsa, and
dedicates his entire work to all s dhaka-s and mankind110. He after attaining the
hant status in his Self, being in union with iva, states that the grace of
li was showered on him due to his relentless devotion and effort.
Chapter V: The discussion on the FourthVimar a

NOTES
1. ,
— ,
- KPp 110 Cgc 180.
2. —“ ” - KPp 111 Cgc 181.
3.
KPp 112 Cgc 182.
4. - - - -
- - -
KPp 113 Cgc 183.

5. “ ”
KPp 114 Cgc 183.
6. -
12 - KPp 116 Cgc 184.
7.
,
- KPp 117 Cgc 185

8. “ ” KPp 118 Cgc 186
9. “ ”
- KPp 119 Cgc 187
10. - KPp 121 Cgc 188.
—“
” KPp 121 Cgc 188.
11. - KPp 122 Cgc 188.
12.
- KPp 122 Cgc 189.
13. —
- KPp 123 Cgc 190.
14. —“
-( ) KPp 124 Cgc 191.

15.
- KPp 125 Cgc 192.

16. - KPp125. Cgc 193.
17. -
- KPp 128 Cgc 193.
18. -
- KPp 128 Cgc 193.
19.
- KPp 129 Cgc 194.
20.
- KPp 130 Cgc 195.

21. “ ” - KPp 132 Cgc 198.
22. “ ... ”
- KPp 132 Cgc 198.
23. “ ” - KPp 134 Cgc 200
24. “
” - KPp 135 Cgc 201.

25. “
!
!
”
- KPp 135 Cgc 201.
26. “ ” - B. Gita KPp 135 Cgc 202.
27. “ ” - Mu.U. – 1/13.
“ ” Mu.U. – 2/26 “
” Sve.
U.4/8 “ ” - KPp 136 Cgc 203
28. “ ”
- KPp 137 Cgc 204.
29. “ ”( ) Isv.P. 1/1/13- KP p138 Cgc 205.
30. “ ” ,“ ”
KPp 138 Cgc 206.
31. “ ” B.Gita KPp 138 Cgc 206.
32. ‘ , ’
KPp 139 Cgc 207.
33. “ ,” “ ”
- KPp 139 Cgc 208.
34. “ ”
- KPp 139 Cgc 208.
35. -
- KPp 141 Cgc 210.
36. “ ”“
” -KPp 142 Cgc 212.
37. —“ .... ”
-KPp 143 Cgc 213.
38.
- T.A.Viveka KPp 144 Cgc 214.
39. “ ,
, “ ”
- KPp 134 Cgc 215.
40. ‘ ”
, “ ”
KPp 144 Cgc 215.
41. —“
, ” - KPp145 Cgc 216.
42. , “ ”
KPp 147 Cgc 218.
43. -
( ) - KPp148 Cgc219.
44. , “ ”
- KPp 148 Cgc 220.
45. -
TA.29 Ahnika-KP p149 Cgc 221.
46. ,
-“
” - KP p150 Cgc 222.
47. -
4/14-Mrgendra Agama KPp150 Cgc 222.

48. “ ”
- KPp 151 Cgc 223.
49. - 4/190 KPp152 Cgc 224.
50. – KPp 153 Cgc 226.

“ , ,
, ”
51. – KPp 155 Cgc 228.
“
” -
52.
-“
” - KP p157 Cgc 230.
53. -
—
- KPp 158 Cgc 234.

54. ,
—“
”( . ) -KPp 158 Cgc 235.
55. -
-
- KPp 161 Cgc 235.
56. -
-
( . , . )
-
( , . )
-KPp 161 Cgc 235.
57. , -
-KPp162-163 Cgc 237.

58. —“ ”
“ ” - KPp 163-164 Cgc 239.
59. “ ”, “
”, “ ”, “ ”
, - KPp 164 Cgc 240.

60. —“
” -KPp 166 Cgc 242.
61. -
-
- KPp 167 Cgc 244.

62. -
-
–
- KP p168 Cgc 245.
63. “ ”
“
” , ,
- KPp 169 Cgc 246.
64. -
. , . ) - KPp 171 Cgc 250.

65.
-
- . , .
) -
- KPp 171 Cgc 250.

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CHAPTER- VI
Cgc and Philosophy of Kashmir tantric system
Origin of Tantric system
Kashmir is placed in the womb of the Himalayas and endowed with

beautiful flora and fauna. It has emerged as an elite seat of knowledge from
early times, as famous as Universities of Taksasila and Nalanda. High
mountains and seclusion of the land helped her to preserve the life and
conditions of early times.
Kashmir was called rad de (the land of goddess rada) by Bilhana

and others. This rad ha is believed to be abode of goddess Sarasvati and
is also known as ha, conferring Sarvaj a degrees. Sr cakra worship
seems to have originated from this concept of the poets regarding the
characteristic learning of the land. The Siddha-s and i-s indulge in exerises
of the highest order of metaphysical speculation here.
Literaray Reference
Kashmir is rich in cultural heritage and derives its inspiration and

strength from her natural environment and the bountyful literature and literary
traditions. Literature of a country reflects the unique and peculiar characteristic
of her people and highlights numerous subjects developed in the language with
varied aspects pertaining to that area. Tantra stra forms an important branch
of the general stra-s. Veda-s are the source of all these stra-s and abda
stra or Vy kara a (grammar) is their expression and basic source material.
Tantra-s have secular outlook and are free from all personal, communal or race
restrictions. They assign a very important place to women in religion and
account for the growth of the kta cult. Sir John Woodruffe - Arthur Avalon is
the one to point out first, the philosophical and practical value of the Tantra-s
and gradual displacement of Vedic rituals by worship of kti Jaganm ta.
Significance of the system
Experiences gained in the kta cult and aivism are a clear exposition
and manifestation by Tantric Treatises, most of which are lost. The rituals
anyway bear a clear imprint of these tantric influences. Present day S dhaka-s
of the kta and aiva cult are the direct descendants of the Tantric group of
preceptors. Subject of Tantra stra are expounded in the form of a male-
female dialogue, viz. the gama-s dialogue between iva and rvati. Tantra
stra-s which advocate supremacy of Par akti are called kta tantra-s1 .
Different manifestations of the world with three-fold form and the
collective energy of Brahma, Vi u and Mahe vara are called Tripura or
Tripurasundari who represents the three forms of Mah sarasvat , Mah lak
and Mah also.
Emergence of aiva philosophy
aiva philosophy emerged in the sixth century with its roots in the
contemporary Tantric literature. Gradually it got refined and evolved as iva
advaitav da. Group of gama-s bringing forth the exposition of the Trika cult
are: Svacchanda Tantra, M lin vijayatantra, Netra Tantra, V make vara
tantra, Rudray malatantra and Vij nabhairava tantra. Svacchanda Tantra
gives a clear exposition of Tantra- stra in all its aspects viz.,'d a', ' sana'
'pa cak tya','pa camukhas', ma ala bhuvana, guru- disciple, mantra, abda,
var a etc. gamika-tantra deals with Parama iva svar pa Bhairava.
Agastyasamhita,Dak in rti kalpa, Yoga stra, V make vara, rada,
Kal mata, Tantra-r ja, Dak in rti Samhita, Bhairavi Tantra, Siddha
rasvata Tantra, Uttara Tantra, Kul ra ava, Pingalamata, ivay mala,
haty mala, Rudray mala, Kulaprak a Tantra, N rada, P nca-r tra, Yogin
Tantra, Ak a stra, rada Tilaka, N la Tantra, Sr krama, N raya ya, B hat
raya ya, atapata-samhita etc, regarded as an encyclopaedia of Tantra-
stra and its literature.
Significant concepts of Kashmir Saivism

In Kashmir Saivism certain concepts are very significant which form the
epistructure of the philosophy. Some of them which find place in our text under
study-Cgc, are dealt with in this chapter.
The Anugraha aspect of iva’s five great functions viz., i, Sthiti,

Samh ra, Tirodh na and Anugraha is called aktip ta which falls under nine
classifications based upon the state of grace. Next is the very cause of empirical
evolution viz., the three impurities ( ava- M ya- K rma a Mala-s) which is
imposed by Sv tantrya akti in her form of ya. Then come the four Up ya-s
-the ways and means to ascend to the level of universal consciousness from
individual consciousness known as mbhava kta ava Anup yas.
adadhv -s of universal manifestation come next, three each in cya and
caka representing iva and akti governing the subjective and objective
aspects which encompass the entire evolution. kacakra the s ma form of
the universal manifestation occuring due to the union of iva and akti is
discussed in detail. Four phases of c which constitute the subtle form of
creation in cosmic and empirical manifestation is described.
Uniqueness of reflection technique unfolded by the divine couple in

projecting the manifestation is highlighted next.
The very important concept of the emergence of the thirty-six elements,
from iva to thv are reckoned in the retreading order in manifestation is
explained. Next the travel through five states by the Micro-cosmic body of
empirical being to attain the state of iva-the Macrocosmic form is
enlisted.Lastly the seven levels of the seven types of perceivers who undertake
the inward journey towards the souce of emanation is emphasised.
aktip ta- Anugraha aspect of iva
The five great acts of iva are i, the creative act; Sthiti, the act of
Maintenance; Samh ra, the destructive act; Tirodh na, the act of enfolding or
concealing His nature; Anugraha, the act of unfolding or revealing His nature.
Individual soul also accomplishes each of these acts which are called ‘actions’
because this kind of act is dependent on the will of iva only.Individual being
can not act on his own will. As iva only is completely independent ‘Act’ is
attributed to iva and ‘Action’ relates to the individual soul .
Nine-fold grace of iva
iva creates Guru-s and ya-s through His fifth act(anugraha) the act
of grace. This grace ( aktip ta) is nine fold creation of Guru-s and disciples.
vrat vra aktip ta
First and highest level of grace is called vrat vra aktip ta (Super
Supreme Grace) bestowed by iva leads one to perfectly recognized state of
Self. By this kind of intense grace he knows his real nature completely and in
perfection and unable to resist it by his body and he condemns his body and is
dead. He being not visible in this world, becomes a Guru, however,
accomplishing the act of his mastery secretly in the hearts of deserving
disciples, who experience his subtle existence.
vramadhya aktip ta
Second intensity of grace is called vramadhya aktip ta (Supreme

Medium Grace). By this intensity of grace of iva, though the recipient
becomes completely and perfectly illumined, he does not leave his body. He is
said to be a Pratibh guru, who is self-made guru without any initiation by
another guru. He experiences spontaneous enlightenment. Pratibh guru lives
in this world with his physical body for the upliftment of mankind.
vramanda aktip ta
Third intensity of grace is called vramanda aktip ta (Inferior

Supreme Grace).One who receives this grace, desires to go to the feet of a
spiritual guru. The guru thus found by him, has received the second intensity of
grace, vramadhya aktip ta. This guru is perfect and all knowing. There is
no difference between this guru and iva. This guru does not initiate him, but
with simple touch with his divine hand, or gaze, or embrace , makes this
disciple who is a recipient of medium supreme grace, to transcend individuality

perfectly and enter into that supreme transcendental state without the need of
practicing japa (recitation) or dhy na (contemplation), etc. Although he still
experiences pleasure and pain in his physical body it does not affect him as his
being has become supreme. The guru who has received this intensity of grace
known as Rudra akti-sam ve a: is called Rudra akti-sam vi a: because he
has completely entered into the trance of Rudra akti, the energy of iva. He
exhibits five signs which can be observed by others. The first sign is his intense
love for iva. The second sign is (mantrasiddhi:) i.e., whenever he recites any
mantra the devat (deity) of that mantra appears to him at once without his
having to wait. The third sign is his control over the five elements. The fourth
sign is that whatever work he begins he completes it without defect. The fifth
sign is that either he is a master of all the scriptures or he becomes a great poet.
These three supreme intensities of grace of iva, create guru-s in the

kingdom of spirituality2. Lesser intensities of grace of iva create deserving
disciples.
Madhyat vra aktip ta
Fourth intensity of grace is called Madhyat vra aktip ta (Medium

Supreme Grace). By this intensity of grace the disciple reaches the feet of that
guru who is absolutely perfect. But because the foundation established in the
mind of this disciple is not quite completely perfect, the mere touch or glance
of this perfect guru will not bring this disciple to enlightenment. He, therefore,
initiates this disciple in the proper manner by giving him a mantra and teaching
him the proper way of treading. Through this initiation this disciple becomes
enlightened3, however, he is not completely satisfied with this enlightenment
during the period of the existence of his physical body. At the time of his death
while leaving his physical body, due to the earlier initiation received, he
obtains completely satisfactory results and becomes one with iva.
Madhyam dhya aktip ta

Fifth intensity of grace is alled Madhyam dhya aktip ta(Medium

Middle Grace). When iva bestows this particular intensity of grace upon
someone, the intense desire for achieving the existence of iva arises in this
person’s mind. He does not want to enjoy worldly pleasure along with wanting
to realize the existence of iva. Yet the intensity of his desire is only for
achieving iva’s state. So, though he is initiated by a guru and realizes his Real
nature as iva, his Real Self, and enjoys the bliss of that state while remaining
in his physical body, simultaneously he also enjoys the pleasures of the
world.As these worldly pleasures, which take place in this mortal field of the
universe, are not real pleasures, he at the time of his leaving his physical body
enters into the Kingdom of Paradise (svargaloka) and enjoys all the pleasures
to his entire satisfaction. After he has satisfied his desire for worldly pleasures
he does not come down again into this world but is again initiated by his
guru,who is all pervading, remaining in heaven. Through this initiation he
becomes complete and realizes the reality of his Supreme Nature and from
heaven itself he enters into the Kingdom of iva and merges in Him
completely.
Madhyam nda aktip ta
Sixth intensity of grace is called Madhyam nda aktip ta (Medium

Inferior Grace). The effect of this grace is similar to the effect of Medium
MiddleGrace but for the difference in premodinance. The effect of Medium
Middle Grace is that in the mind of the disciple arises both the desire for
attaining the State of iva and the desire for experiencing worldly pleasures,
however, the predominant desire is for attaining the State of iva. The effect of
Medium Inferior Grace is also that in the mind of this disciple arises both the
desire for attaining the State of iva and the desire for experiencing worldly
pleasures, however, the predominant desire here is for experiencing worldly
pleasures. Though he achieves Self Realization it is not complete because of
the agitation he experiences for seeking worldly pleasures. So at the time of
his leaving his physical body this intensity of grace carries him from this
mortal world first to paradise where he enjoys the pleasures of the world. While
in paradise, however, he does not gain the fitness to begin practicing for
attaining the realization of his Self. He must, therefore, be again reborn and
come down into this mortal field. And from that very birth he sentences his
mind toward the fulfillment of his Self realization. Although his life in this
mortal realm is very short as iva wants to carry him quickly to His own State,
yet he becomes absolutely complete in that short span of time and enters, in the
end, into the Transcendental state of iva.
The above three medium intensities of grace take place in the field of
aspirants living in the kingdom of ivadharma. Those aspirants living in this
field of ivadharma have the tendency for achieving the state of Self
Realization at least half hourly during the day and at least twice during the
night. The remaining period they keep aside for worldly pleasures.
Mandat vra, Manda Madhya, Manda manda aktip ta
The following three inferior intensities of grace, Mandat vra (Inferior

Supreme), Manda Madhya (Inferior Medium), and Manda manda (Inferior
Inferior), take place in the field of aspirants living in the kingdom of
lokadharma, the kingdom of worldly life. These aspirants have the desire for
achieving the state of iva, Self- realization, only when the pains and pressures
of this world become too much to bear. At that moment they want to abandon
everything and achieve Self realization, however, they are not able to and
though they want to leave this worldly life they can not leave. These aspirants
have more tendency for worldly pleasure and less tendency for realizing their
Self. But, as the grace of iva shines on them, in the end, which may take many
lifetimes, they become one with the Supreme Being. This is the greatness of
iva’s grace that in no matter what intensity His grace is with you it will carry
you in the end to His Nature.
ava- M ya- K rma a Mala-s

Three impurities (malas) reside in ya as per aiva system and not in

Sv tantrya akti. Though being one, Sv tantrya akti and ya differ in the
sense that Sv tantrya akti is that state of energy which can produce the power
of going down and coming up again, both at will, whereas ya will only give
you the strength of coming down and not the ability of rising up again. This is
the reality of the state of ya, which binds him.
ya akti is the universal energy residing in the empirical being as

Impure universal energy. The same universal energy residing in the universal
being is called Sv tantrya akti and is pure universal energy. It is only the
formation that changes through a difference of vision. Experience of
Sv tantrya akti in a perverted way results in ya akti for Individual soul.
Same ya akti becomes Sv tantrya akti when realizing her true form4.
The three impurities
The three impurities (mala-s) are respectively gross (sth la- rma a-
mala), subtle ( ma-M ya), and subtlest (par ava).
rma a mala
rma a mala connected with actions, inserts the impressions such as

those which are expressed in the experiences, “I am happy, I am not well, I
have pain, I am a great man, I am happy, I am not well, I have pain, I am a
great man, I am really a lucky man”, in the consciousness of the individual
being. This impurity of action ( rma amala), is due to, ubh ubha v sana,
the impressions of pleasure and pain. These impressions of pleasure and pain
actually remain in individual consciousness. A dhaka residing in the highest
state, Anup ya, or in mbhava- state would have no mala-s. rma a mala is
in action5.
ya mala
ya mala is the next subtle impurity, the impurity of ignorance

(avidy ), which creates differentiation in one’s own consciousness. Duality in
thoughts, “This house is mine, that house is not mine; This man is my friend,
that man is my enemy; She is my wife, she is not my wife”, are creations of
ya mala. M ya mala is Bhinna vedyaprath , the feeling of difference
between myself and others. This impurity makes iva appear as many rather
than as one6.
avamala
The subtlest third impurity is called avamala relates to particular

internal impurity of the individual. Even on reaching the nearest state of the
consciousness of iva, the inability prevails in sustaining in that state of iva,
which is due to avamala. If consciousness of one’s own nature fades away
quickly, it is due to avamala. avamala is ap ata, the feeling of being
incomplete in every way. Because of this feeling there arises an abhil a, the
desire for completion. The feeling of not having a thing without knowing what
this lack really is, is caused by avamala. One cannot fill this lacking unless
the guru points it out to him and then carries him to fullness7. avamala and
yamala are only in perception, in experience and not in action.
Divine grace shines on the aspirant who is perseverant in attaining the

state of iva by following one of the Up ya-s drives away the clutches of ya
who causes limitations in empirical beings8.
mbhava-- kta- ava- Anup ya-s
Up ya is the term Kashmir Saivism uses, to denote the ways and means
to enter into Universal God Consciousness from individual consciousness.
mbhavop ya, the superior means, ktop ya, the medieval means, and
avop ya, the inferior means are three means advocated by Kashmir Saivism.
mbhavop ya
mbhavop ya functions in ka Cakra, Praty ra, and

Pratibimbav da. Thoughtlessness is called mbhavop ya. Aspirant finds the
reflection of the whole universe in his own self as if it is from within rather
than outside. The state of Absolute, “I” the Parama iva who emits the letters,
words, sentences and the whole universe is attained by the aspirant, who is
guided by a guru to practise to be thoughtless and preserve thoughtlessness. It
is through guru that entry into the transcendental consciousness happens in this
up ya. This is called Icchop ya due its emergence from Icch akti. It is the
state of ultimate knowledge and only grace of Guru makes it automatic. This
means that the disciple must merge in his Guru’s consciousness where only
Guru exists. Guru selects only the disciples highly developed in awareness for
this up ya. aivaite yogi, established in mbhavop ya illumines the whole
universe just like Sun. Guru is most significant here. This means which exists
in the world of pure monism (abheda) is mbhavop ya and is called
Abhedop ya.
ktop ya
ktop ya is called nop ya because of its origin from na akti,

the energy of knowledge. It is functioned by the means of energies. The
dhaka’s efforts to improve his eligibility to receive Guru’s grace is
important in this up ya. This requires lot of effort and reaching the feet of
Guru(Gurupaduk ) is the target. dhaka, in ktop ya, need not recite
mantra-s or concentrate upon any particular spot (Sth naprakalpana) or breath
(Ucc ra). He has only to see and concentrate on that Supreme Being that is
found in two actions without actions. ‘One-pointedness’ is called ktop ya.
This is called centering in the “Vij na Bhairava Tantra” (“madhyam
sam rayet” Vij na Bhairava Tantra; Verse 61)
Centering can be practiced between any and all actions and or thoughts.
In centering, the yogi practising in ktop ya must develop great velocity of
awareness. Great velocity means firmness of awareness. If dhaka’s
awareness becomes loose he will be forced out of ktop ya into the lowest
up ya, avop ya9 iv. He will loose the right to tread on the path of ktop ya.
In his practice there must be in continuity in the cycle of his awareness,
maintaining an unbroken chain of awareness and then he will be able to find
out the reality between any two thoughts or actions. The practice of centering is
meant to be functioned between any two actions or any two thoughts. He can
center between any two thoughts or any two movements, between one thought
and another thought, between waking and dreaming, between one step and the
next step, between one breath and the next breath. All actions and all thoughts
are the proper framework for the practice of ktop ya. The ktop ya aspirant
must simply insert breakless awareness in the center of any two actions or
thoughts. Faulty awareness and Interruption lead him to fall and enter into the
lowest up ya, avop ya.
The means which exists in the world of mono-duality, in the world

where duality and non-duality exist together, is ktop ya and is called
Bhed bhedop ya.
avop ya
avop ya is concerned with u, the individual soul. It is the means,

which functions by the process of concentrating on ucc ra (breathing), kara a
(organs of sensation), dhy na (contemplation), and sth na prakalpana
(concentrating on some particular place). These processes in toto are called the
means of the individual (up ya-s of va), and are the means which exist in
avop ya. It is known as Bhedop ya and is found in the world of duality.
avop ya is called Kriyop ya because it is the means with basis in Kriy
akti.
The strength of dhaka-s awareness in avop ya is that he has to take

the support of everything to maintain and strengthen his awareness.
‘Concentration on and with the support of mantra and breathing and all other
elements’ is called avop ya. Though he concentrates on the center he needs

to take the support of two things for concentrating on that center. In ktop ya
his awareness is strengthened to some extent as only one support point is
required for his concentration and that point is the center. In ktop ya he
begins with the center and then get established in that center. The strength of
his awareness in mbhavop ya, is that threre is no need of support. He
already resides in the meant. There is no where to go, just reside at his own
point. The rest is automatic.
All these up ya-s lead dhaka to the state of one transcendental

consciousness. The difference in them is that avop ya will carry him in a
long way, ktop ya in a shorter way, and mbhavop ya in the shortest way.
Anup ya
Though it is not actually an up ya, in Kashmir Saivism, apart from these

three up ya-s, there is a mention of another up ya called Anup ya meaning ‘no
up ya’. The aspirant has only to observe that nothing is to be done in Anup ya.
Be as you are, If you are talking, go on talking. If you are sitting, go on sitting.
Do not do anything, only reside in you being. This is the nature of Anup ya.
Anup ya is attributed to nanda akti of iva and is called nandop ya.
adhv -s of the Universe
adhva means six ways in the process of creation having a set of three
each relating to word and its sense which cause the empirical manifestation.
They operate in the fields of Subjectivity and Objectivity by the union of akti
as word and iva as sense10.
Three-fold cy dhv
Objective universe, in aivism is composed of three paths (Par ,

ma, Sth la adhv -s). Par , the subtlest path is the final one, the Kal dhv .
Middle one is ma, the subtle path, Tattv dhv . Sth la, the gross and first
path is Bhuvan dhv . One has to either tread on the path or discard the path.
For realisation of God, the latter method is fruitful. Disposal/Discarding of this
path is achieved only by the grace of Guru, who is personification of Parama
iva himself. By such disposal of this path one reach the state of Parama
iva11. These three fold adhv -s is called Vacy dhv , which is the objective
cycle of this creation.
Bhuvan dhv
Bhuvan dhv means the path of all the worlds and consists of 118
worlds revealed to Siddha-s in sam dhi state. The whole cosmos containing
many suns, moons, stars and planets is meant by world here.This is Gross path.
Tattv dhv
The thirty six tattva-s in aiva philosophy, form the Tattv dhv . This is
a subtle path.
Kal dhv
The subtlest and more refined path is Kal dhv consisting of the five
kal -s acting as enclosures for all of the thirty six tattva-s, from earth up to
iva.
First and outermost enclosure is Niv tti kal corresponding to the first
gross tattva( thv ) earth.
Second boundary is Prati ha kal existing in 23 higher level elements

from Jala tattva to Prak ti tattva.
Third enclosure is Vidy kal , consisting of the next seven higher tattva-
s from Puru a tattva to yatattva.
Fourth boundary is nta kal covering the next four higher tattvas from
uddhavidy tattva to akti tattva which is last but one of the Supreme Tattva.
Fifth is nt ta kala where only the supreme iva tattva exists.

Three-fold Vacak dhv
The creator of this three-fold path of universe viz.,Vacy dhv , is

Vacak dhv , which is the subjective cycle of this creation also in three fold
form (Par ,S ma, Sth la adhvan-s)12
Subtlest form(Par ) is the path of letters, Var dhv .
Subtle ( ma) vacak dhv is Pad dhv and consists of the world of
words.
Gross (sth la) cak dhv is Mantr dhv consisting of sentences.
The combination of these six adhv -s, consisting of the three objective
adhvan-s and the three subjective adhv -s is called adhv , the six fold
adhv -s which effect expansion of this whole universe, both subjective and
objective.
ka akti
kacakra explains this whole universe as being created by iva in

union with His own nature ( akti)13. The creation of universe by Him, in His
own Self is as the reflection of His sweet will (Icch akti, the energy of will).
Creation is the outcome of this reflection in His own nature. Unlike the
reflection in an ordinary mirror wherein the mirror is the reflector and the thing
that is reflected is an external object, the reflection of the universe taking place
in iva’s own nature14, is like the reflection that takes place in a cup shaped
mirror. iva takes the form of a cup and places another cup in front of His
nature. The second cup, inseparable from Him, reflects the universe.
Reflection of the thirty six tattva-s
This universe is contained in, the thirty six tattva-s, in descending order
starting with iva tattva in the following order: akti tattva, Sad iva tattva,
vara tattva, uddhavidy tattva, M yatattva, and so forth and ends with
thv tattva. The reflection of the universe takes place not exactly in this
descending order from iva tattva but takes place in a reverse order from thv
tattva(earth), the lowest element, to the highest akti tattva, and not from the
highest to the lowest. When one sees his face in a cup shaped mirror, his head
will appear as down and the body will appear as up. Similarly this whole
universe begins from akti tattva, but it is experienced as beginning from
thv tattva.
No external reflector
No outside mirror15 is there, separate from that which is reflected in the

mirror. In the ordinary course of experience the object for reflection is at one
place and the mirror, which is the reflector, is at another. In the reflection of the
universe, however, the reflected and the reflector are inseparable iva and His
akti-the energy holder and His energy of will.
Five energies of reflector in the process of manifestation
The reflector of this whole universe, iva, is full of five energies,

viz.,Cit akti, the energy of consciousness, nanda akti, the energy of bliss,
Icch akti, the energy of will, na akti, the energy of knowledge, and
Kriy akti, the energy of action. These five energies are represented by the
sixteen vowels of the Sanskrit alphabet, , , , , , , , , , , , , ,
, i.e., iva tattva.
Universe resides in the womb of akti
First Sanskrit alphabet, represents Cit akti, the energy of
consciousness of iva. Second letter of the Sanskrit alphabet, , represents

nanda akti- energy of bliss of iva. Cit akti and nanda akti, the energies
of consciousness and bliss, are totally inseparable. Where there is
consciousness (cit) there is bliss ( nanda), and where there is bliss there is
consciousness. At this stage, the universe is yet to take its shape. It only resides
in nanda akti16, the energy of bliss.
Dual forms of Icch akti
Icch akti-energy of will, comes after Cit akti and nanda akti,
represented by the third and fourth letters of the alphabet, the letter . Icch
akti takes two forms, unagitated and agitated. Unagitated Icch akti resides
peacefully in its own nature taking the form of the letter . Agitated Icch akti
is formed as the next letter of the alphabet, the letter . In this state iva’s will
is agitated but not in such a way that it is separated from His own nature. It
remains as residing in his own consciousness and bliss, Cit and nanda.
Apprehension in na akti-Unme a and nata
The apprehension takes place at this point is na akti- energy of

knowledge in iva’s consciousness, that if I go forward, if I move onwards I
may loose my own nature. It is represented in the next two letters of the
alphabet, the letters and . The first of these two letters , is called unme a.
Unme a indicates that the universal existence is about to begin, it is just

forthcoming. It has not yet begun, it is not yet created, it is about to be created.
When He begins to create the universe iva has the apprehension that His Cit
akti and nanda akti may be decreased if He continues to move out to create
the universe which is known as nata (lessening). This apprehension is
represented by the letter . This apprehension keeps Him at a stand still and
prevents Him from moving forward.

An rita iva
Hence he discards and separates the universe from His own nature and
resides in His own Cit akti (consciousness) and nanda akti (bliss). This
state, wherein iva has rejected the fact that the universe resides only in His
own nature of consciousness and bliss, is represented by the next four vowels
of the alphabet,viz., . At this state, indicated by the four vowels, the
Supreme, filled with consciousness and bliss, resides in His own nature. He
does not move out. Due to this there is no possibility of the universe coming
out into manifestation. The manifestation of the universe stops totally. Hence
these four vowels,, are called Am ta b ja, meaning “residing in His
own bliss (ananda)”. At this stage there is no thought of creating the universe.
These four vowels ( asvara-s) do not create anything. The state of iva
represented by these four vowels is known as An rita iva, who has not
accepted the existence of the universe in His own nature. He does not allow
the universal existence in His own nature. In this state iva resides always in
His own nature.
Universal Manifestation
The apprehension, “If I create this universe I may loose My own

nature.” is from the agitated state of his Icch akti- the agitated will of iva .
Yet the first two energies of consciousness and bliss, of iva Cit and nanda
akti-s, do not recognize this apprehension. They are at ease. They understand
that to create this universe is only the glory of His nature, therefore, there is no
question of apprehension arising in iva. He should not be afraid about coming
out. Coming out or going in is the same thing to him. Cit akti and nanda
akti-s with this understanding begin to create this universe afresh.
Four states of Kriy akti
Cit and nanda akti-s, the energies of consciousness and bliss, denoted
by the vowels and , create contact with Icch akti, the energy of will,
represented in the vowels and create the letter . Then simultaneously Cit
and nanda akti-s, and contact and give rise to the letter . When Cit
and nanda akti-s and come in contact with na akti, the energy of
knowledge, represented in the letters and , they create the letter . When
simultaneously Cit and nanda akti-s and are in contact with the letter
they give rise to the letter .
These four letters, , , , , which were created by the contact of Cit
and nanda akti-s with Icch and J na akti-s, represent the four states of
Kriy akti, the energy of action of iva. The first state of the energy of action,
represented by the letter “ ”, is called Asphu a (not vivid) Kriy akti. In this
state the energy of action is not clear. In the next movement and state of Kriy
akti, represented by the letter , the energy of action becomes Sphu a, vivid.
In the third state of Kriy akti, represented by the , the energy of action
becomes Sphu atara, more vivid. In the fourth and final stateof Kriy akti,
represented by the letter , the energy of action becomes Sphu atama, most
vivid. So the energy of action has four statesrepresented in the letters , , , .
In this energy of action the reflection of the whole universe takes place.
Although this universe is reflected in His total energy of action, yet this
reflection has taken place primarily in His fourth energy of action which is
represented by the letter .
Anusv ra state of iva
Even though this whole universe has been created, the nature of His
Self, that is full of consciousness and bliss, has not been lessened at all.
Nothing has happened. He is only residing in His own point. This state of iva
is represented by the letter (anusv ra). The letter or a dot °, shows that
the existence of iva has not moved from His own nature even though this
whole universe is created in His Self.
iva bindu and akti bindu
The reflection of the universe, being in the form of a cup shaped mirror,
is represented by the sixteenth letter of the Sanskrit alphabet, visarga, the letter
. In Devanagari script the letter “ ” takes the form of the two points of the
colon “ (:)”. And these two points of the visarga (:), represent the two cups in
which the reflection of the universe takes place. These two points are known as
iva bindu and akti bindu.
iva tattva-s and akti tattva-s
The Sanskrit vowels from the letter , which is Anuttara, to the letter
“:”, which is visarga, are iva tattva-s. The remainder of the alphabets is akti
tattva, the universe of thirty five tattva-s. This universe is the reflection of His
Sv tantrya. It is not created, it is a reflection. It is the reflection of Sv tantrya
that gives rise to each succeeding letter. The Sv tantrya of iva is reflected in
Cit akti, nanda akti, Icch akti, J na akti, and Kriy akti. All
elements (tattva-s) are a reflection of the five energies of iva.
First twenty five tattva-s
Everything comes out from these five energies. His Sv tantrya acts like
a wall on which the projection of First twenty five tattva-s takes place. From
the five energies first come the five mah bhuta-s, and then come the five
tanm tra-s, and then come the five karmendriya-s, and so on. All of the five
energies co-exist in each of these energies. For example in Cit akti all the five
energies, Cit akti, nanda akti, Icch akti, J na akti, and Kriy akti,
are present. Although in one energy all the energies are present, yet only one
energy is predominant. So five energies multiplied by five energies become

twenty five to form the first twenty five tattva-s, from P thv to Puru a.
The five mah bhuta-s, which are the five consonants from to , are
produced by Cit akti (anuttara) and nanda akti, which are one and which
are the letters and , when mixed with His five energies. That reflection
where His Cit akti is predominant in sa (ether) and this is the letter . The
reflection of His nanda akti is V yu and the letter is . The reflection of His
Icch akti is Agni (fire) and this is the letter . The reflection of His na
akti is pa (water) and this is the letter . And the reflection of His Kriy
akti is P thv (earth) and this is the letter . akti tattva is a reflection of iva
tattva. The reflective flow is in each case from the last letter to the first letter,
e.g., from to , and the order of the consonants is reversed.
The five tanm tra-s, which are the consonants from to , are
produced by Icch akti, the letters and , when it is mixed with the five
energies. This reflection where His Cit akti is predominant is abda, the
residence of sound, and this is the letter . The reflection of His nanda akti
is Spar a, the residence of touch, and this is the letter . The reflection of His
Icch akti is R pa, the residence of form, and this is the letter . The
reflection of His na akti is Rasa, the residence of taste, and this is the letter
. The reflection of His Kriy akti is Gandha, the residence of smell, and this
the letter .
The five Karmendriya-s, which are th five consonants from to are
produced by the letters and , which is An rita iva, in conjunction with

the five energies. The reflection where His Cit akti is predominant is k, the
organ of speech, and the letter is . The reflection of His nanda akti is
i, the organ of action, and the letter is . The reflection of His Icch akti
is da, the organ of locomotion, and the letter is . The reflection of His
na akti is P yu, the organ of excretion, and the letter is . The reflection of
His Kriy akti is Upasth , the active organ of sex, and this is the letter .
Five nendriya-s, are the five consonants from to and are
produced by the same tattva through the letters and . The reflection where
His Cit akti is predominant is rotra, the cognitive organ of hearing, and the
letter is . The reflection of His nanda akti is Tv k, the cognitive organ of
touch, and the letter is . The reflection of His Icch akti is Cak u, the
cognitive organ of sight, and the letter is . The reflection of His na akti is
Rasan , the cognitive organ of taste and the letter is . Reflection of His Kriy
akti is Ghr a, the cognitive organ of smell, and the letter is .
na akti, which is the letters and , when mixed with the five
energies produces the five elements Manas, Buddhi, Ahamk ra, Prak ti, and
Puru a, which are the five consonants from to . That reflection where His
Cit akti is predominant is Puru a, the limited self, and the letter is .
Reflection of His nanda akti is Prak ti-nature and the letter is . Reflection
of His Icch akti is Ahamk ra, egoity, and this is the letter . The reflection
of His na akti is Buddhi, intellect17 and the letter is . Reflection of His
Kriy akti is Manas, mind, and this is the letter .

Six internal states of Puru a
The six internal states of Puru a, which are M ya, Niyati, K la,
ga,Vidy , and Kal , are reduced to four by combining Niyati with R ga and
la with Kal . The four limitations which result from these combinations
correspond to the next four semi-vowels. The limitations la and Kal , which
are the limitations of time and creativity, correspond to the letter . Vidy ,
limited knowledge, corresponds to the letter , ga and Niyati, the limitations
of attachment and space, to , and ya, the element of self ignorance and
objectivity, corresponds to .
These limitations are created by the energies of iva and they represent
the state of Puru a internally. These limitations, therefore, are called Anta:stha
because they reside inside Puru a, one’s own limited self. They are the internal
state of limited Puru a.
Last Four tattva-s are States of iva in His own nature
The four tattva-s, uddhavidy , vara, Sada iva, and akti, are also not
created by the energies of iva. Instead, they are the swelling of the heat of His
own nature. uddhavidy , which is the state of aham-aham / idam-idam, is the
letter . vara, which is the state of idam-aham, is the letter . Sada iva,
which is the state of aham-idam, is the letter . akti, which is the state of
aham, is the letter . This is the reason that these four letters in grammar are
called ma, which means “the heat of His own nature.” They are the
expansion of the state of unlimited. Being and as such are attached to the
unlimited state of Puru a which is the expansion of that state of unlimited
Being.
kacakra represents creative field
The aim of M kacakra is to function with the first and the last letter in
either the way of iva or in the way of akti. To function in the way of iva
take the first letter which is the first step of iva in the creative field, and
combine this first letter with the last state of iva the letter , which is the
resting place and the last letter of kacakra. This also corresponds to
Panini’s concept of Praty ra. Annexure. The first letter along with the last
letter represents all of the letters mentioned therein. The whole universe of
letters will come within those two letters.
iva pratyahara and akti pratyahara
According to the rules of Sanskrit grammer we then, after combining the

letters and , have to put the letter on the end and this creates the mantra
18
of iva, . The letter has a special significance. It indicates that this
whole Praty ra, which is contained in the letters from to , and which has
produced the one hundred and eighteen worlds, the thirty six elements, and the
five circles (kal -s), has in reality created nothing. It is just one point. This is
the significance of the letter which is Anusv ra.
The way of akti is the way of energy. The difference between akti
prathy ra and iva praty ra is that in akti praty ra two akti-s
combine together and create a world of their own. akti is actually the
existence of created Being. iva is the creator. Here akti wants to become
independent of iva. To do so She must create a world of Her own. It is like
what happens with bees. When the queen bee stops creating eggs then the
worker, without mating bees create eggs of their own. This is the mating of
akti-s. iva is put aside and akti combines with akti to create their own
world which is the expansion of akti-s. This creation takes the first letter of
the consonants, the letter , which is the first letter of the akti-s and combines
it with the last letter of the akti-s, the last consonant, the letter and produces
the mantra of akti, the mantra . 19

mbhava- visarga, kta visarga, and ava visarga.
In the kingdom of kacakra there exists three kinds of visarga-s,

three kinds of flow. These three visarga-s are known respectively as
mbhava- visarga, kta visarga, and ava visarga.
The first visarga exists at the state of Ananda akti and is represented by
the letter “ ”. This visarga is known as mbhava- visarga. The mode of this
visarga is said to be Cittapralaya:. The word “cittapralaya:” indicates that

state where your mind does not function and only thoughtlessness exists. This
is a thoughtless flow. This mbhava- visarga is also known as Par visarga,
the supreme visarga. This supreme visarga is concerned with iva.
The second visarga is known as kta visarga. It is also known as

Par par visarga, the highest cum lowest- medium visarga. This visarga is
represented by the last letter of the vowels, which is also called visarga, the
letter . The mode of this visarga is called Cittasambodha:.Cittasambodha:
indicates that state where awareness is maintained in one-pointedness.
The third and last visarga is called ava visarga. It is also known as
Apar visarga:, the lower or inferior visarga. It is the visarga of the individual
(nara:). This visarga is attributed to the letter , the last letter of the Sanskrit
alphabet. The mode of this visarga is called Cittavi nti:. The word
cittavisraniti: indicates that state where the mind rests in concentration, where
the mind takes a permanent seat in concentration.
kcatu ayam
Par , Pa yant , Madhyam and Vaikhar are the four forms of speech
called V kcatu ayam. They cause the manifestation of the universe20.
Par k
When the dhaka resides in the state of complete universal I-ness

( ahanta)21 i.e. in the mbhava state, he is said to travel in the kingdom of
k and resides in the principal and supreme speech called Par k. In the state
of Par k he also travels in other sounds. He has the ability of traveling from
the supreme to the gross and from the gross to the supreme. He can ascend and
descend without varying his consciousness. His consciousness will remain the
same in each and every state.
Pa yant v k
Pa yant v k is nirvikalpa (without differentiation). In this first flow of

perception, one observes, looks, but does not see anything. This kind of
observation, which takes place at the level of Pa yant v k, is in the Nirvikalpa
state. It is only pure sensation without any differentiation (vikalpa), without
any thought. In aivaite literature the state of Pa yant v k is denoted as
“ ikharastha j na-meaning the knowledge of something in its entirety when
observed from the top. This is just seeing without thought. It is subtlest speech.
Madhyam v k
Madhyam v k is speech in the middle state between the lowest speech,

Vaikhar , and the highest speech, Pa yant . Madhyam v k is the state of mind
where one resides only in thoughts. This is only mental state, without words,
sentences or letters. When one is in sleep and dream he resides in Madhyam
k. Here residence is only in the mind, not in action and hence no sensation.
It is subtle speech.
Vaikhar v k
Vaikhar meaning “gross/rough” is ordinary speech. Vaikhar v k

emerges by use of one’s tongue and lips. It is Gross speech.
Inter se subtility of Pa yant , Madhyam , and Vaikhar
Of these three states of speech (subtlest, subtle, and gross)in turn, each
state of speech is itself also gross (sth la), subtle (s ma), and subtlest (Para).
Therefore there is gross Pa yant , subtle Pa yant , and subtlest Pa yant , gross
Madhyam , subtle Madhyam , and subtlest Madhyam , gross Vaikhar , subtle
Vaikhar , and subtlest Vaikhar .
Gross levels of Pa yant , Madhyam , and Vaikhar
In Saivism the location of these different refinements of sound are

indicated for the easy apprehension of the aspirant.
First is gross (sth la) Pa yant , then gross Madhyam , and then gross
Vaikhar at the gross level. While playing metal strung instrument, the sound
produced by the instrument resides in Gross Pa yant . Concentration on this
sound leads one to enter sam dhi, in the Supreme transcendental being. That
sound must make one travel inside because that sound is Pa yant , even though
it is gross Pa yant .
Sound produced by Drum instrument covered by leather is the sound of

gross Madhyam concentrating on which carries the disciple inside his own
nature. Although it is easier to enter into gross Pa yant than it is to enter into
Gross Madhyam , it is more difficult to reside in gross Pa yant than it is to
reside in gross Madhyam . To reside in gross Pa yant one must have the grace
of the preceptor.
Gross Vaikhar consists of all the sounds produced by the mouth, by the
contact of the lips and tougue. Concentration is impossible in this state of
speech. Only that aspirant who resides in the mbhava- state can enter into
sam dhi by concentrating on this gross Vaikhar . He enters into sam dhi
through ordinary talk. This also leads him to that supreme consciousness.
Subtle levels of Pa yant , Madhyam , and Vaikhar
Saivism traditionally gives the combined explanation of subtle

(S ma)Pa yant , subtle Madhyam , and subtle Vaikhar . The inclination in
thought that ( adajam karomi) “I will play this string instrument”, or the
inclination (madhuram v day mi) “I will play on this drum”, or the inclination
(bruve vaca:) “I will speak to you”, is subtle. It is this thought that resides in
the mind, in the consciousness, of that person. And this is not so much a
thought as an inclination, that first comes in his mind. In these three
inclinations to think a thought, the inclination ( adajam karomi) “I will play

this string instrument” is subtle Pa yant , the inclination (madhuram
vadayami) “I will play this drum” is subtle Madhyam and the inclination
(bruve vacah) “I will speak to you” is subtle Vaikhar .
Subtlest levels of Pa yant , Madhyam , and Vaikhar
When only the sensation of the thought ( adajam karomi) “I will play
this string instrument”, or (madhuram vadayami) “I will play this drum”, or
(bruve vacah) “I will speak to you”, begins, when it just starts to take rise, that
sensation, which is only in the thoughtless world, is subtlest. It is before desire.
And that sensation of the thought ( adajam karomi) “I will play this string
instrument”, is subtlest Pa yant . The sensation of the thought (madhuram
day mi) “I will play this drum” is subtlest Madhyam . And the sensation of
the thought (bruve vaca:) “I will speak to you” is subtlest Vaikhar .
Aspirants of three Up ya-s and levels of k
Those aspirants who reside in the mbhava state have no restrictions of

only traveling in some particular k. They can travel in each and every state
of k, and yet remain in the mbhava state. The aspirant of the mbhava
state can travel in gross Pa yant , subtle Pa yant , and subtlest Pa yant , gross
Madhyam , subtle Madhyam , and subtlest Madhyam , gross Vaikhar , subtle
Vaikhar , and subtlest Vaikhar and still remain in his transcendental state. This
is the greatness of the mbhava state.
Aspirant of the kta state is one who has gained transcendental

consciousness through adopting the means of Saktop ya, and for him there are
only two movements of speech in which he can travel, subtle and subtlest. If he
tries to travel in the movement of gross speech he will be scattered, he will go
astray from his Reality.
Aspirants who are in the state of avop ya, can only utilize the gross
movement of speech because they have no experience of the subtle or the
subtlest states of speech. They must, therefore, initially practice on the gross
state of speech. Gradually their concentration on that gross speech will carry
them to Saktop ya where they will then reside in their own nature.
Uniqueness of reflection
Prathibimbav da
All five reflections viz., sound, Touch, Form, Taste and Smell, are
experienced individually in all of the organs (ear, skin, eye, tongue and nose) in
the presence of Supreme iva Consciousness. Awareness needed is found in
consciousness and not in the organs. Normally reflections are just like the
reflection in a mirror which take place individually. All five reflections are not
available at once, only one thing is reflected in each. A mirror will only reflect
form and not Touch, Taste, Smell or Sound.
Reflected and the reflection are one
The universe is reflected in the mirror of consciousness, not in elements

having no capacity of reflecting. Consciousness exhibits only the reflected
thing (Bimba) which is Sv tantrya and not anything that is reflected. This
whole universe is the reflection in iva consciousness of Sv tantrya. Sv tantrya
kta is one with iva Consciousness. There are no two elements such as the
mirror and the object which is reflected in the mirror. The reflected and the
reflection are one. The mirror, which is the absolutely independent will of iva
(Sv tantrya), is iva Consciousness. There is no object existing outside of this
world that He reflects in His nature. The outside element, which is reflected, is
only Sv tantrya. The infinite variety which is created is only the expansion of
Sv tantrya.
Mirror of iva Consciousness
There is the Material cause which in Sanskrit is called Up na k ra a.

This cause travels with the effect and is not separated from the effect.
Secondly,the Formal cause called Nimittak ra a does not travel with the effect.
In the ordinary worldly course the reflected object (bimba) seems to be the
cause of the reflection (pratibimba) because the reflected object cannot exist
without that which is reflected. In manifestation, however, all reflection is
really a reflection in iva consciousness. In Saivism nothing can exist outside
of iva Consciousness. No other agency which is separate from iva
Consciousness travels with the cause, because if it is separate from iva
Consciousness and hence, the effect, it would not exist. If the object reflected
were to remain outside iva Consciousness then it would not exist. Therefore
there is nothing outside to be reflected in the mirror of iva Consciousness.
There is only the mirror. There is no external cause which has gone into the
reflection which is the effect. There is only the mirror of iva Consciousness.
Sv tantrya is the formal cause
Th cause of this reflection is Sv tantrya, the absolute independent will

of iva. Sv tantrya is the mirror. It is the cause of this effect- the reflection.
Unlike ordinary reflection which is experienced in the world, wherein an object
can be distinguished as being the cause of that reflection, in iva Consciouness
only the reflection exists and not anything that is separate and reflected
(bimba). In this causality, the effect of which is the reflection, Sv tantrya is the
formal cause (nimittak ra a) not the material cause (up nak ra a). It is His
free will that He wills and what He wills appears in the mirror of His
Consciousness. It is simply His will (Sv tantrya). In reality only the reflection
exists and not anything that is reflected.
Sv tantrya is the seed of everything
Thus the universe, is found in the reflector of God Consciousness,

through His Sv tantrya, where the universe is contained in a seed form and not
through the agency of anything of which it is a reflection (bimba). Sv tantrya is
the seed of everything. Everything exists in the mirror of God Consciousness
with Sv tantrya as its cause.
Practice of Pratibimba
Advanced disciples see that all of actions move in their Supreme

Consciousness, when they are doing all of these various actions. Their limited
perception becomes unlimited. The mode of their actions becomes absolutely
unique. They see each and every action in their iva Consciousness. They exist
in the state of Sad iva. Each and every action of their life becomes glorious.
This is the awareness that comes from the practice of Pratibimba.
Thirty Six Elements of Saivism
Ascent from Grossest element(earth) to finest Parama iva
There are only twenty five tattva-s in Ved nta. In aivism there are
thirty six tattva-s which are significant points of entry. Aspirant must rise up to
Parama iva through these tattva-s. The ascent starts from grossest element
‘earth’ first; proceeds to subtler and subtler elements until the subtlest element
Parama iva is attained.
Pa ca-mah bhut -s
Gross tattva-s, which form the lowest degree of the tattva-s are the five
great elements-the Pa ca-mah bhut s viz.,P thvi (earth), pa (water), Tejas
(fire), yu (air), and a (ether). a is not a perceptible element, it is
space that gives room for movement wherein exist the other four gross
elements. It is a special vacuum which is filled by the other four great elements.
Gross tattva-s are called mah bhut -s(great elements) forming the basis for
the whole universe.
Pa ca-tanm tra-s
At the next level come the five tanm tra-s(Gandha-smell, Rasa-

impression of taste, R pa-impression of form, Spar a-sensation of touch,
Sabda- sensation of sound) arising from the five mah bh tas (P thvi , pa,
Tejas, V yu , a ).
Pa ca-karmendriya-s
Five tattva-s emerging therefrom are the five Karmendriya-s, the five
organs of action ( k-organ of speech, P ni-organ of action i.e., hand, P da-
organ of locomotion i.e., foot, P yu- organ of excretion, and Upastha- organ of
procreation).
Pa ca-J nendriya-s
Next come the five organs of cognition or knowledge (the five

nendriya-s- viz.,-Ghr na, Rasan , Cak u, Tvak, and rotra), the mental
organs for experience of the world. Ghr na is nose-the organ of cognition of
smell creates odours. Rasan is tongue as an organ of cognition of Taste
creating flavours. Cak u is eye, the organ for sight that creates form. Tvak is
skin an organ for feeling, that creates touch. rotra is ear an organ to hear
which creates sound.
The twenty objective elements consisting of Pa ca-mahabhuta-s,

Tanm tra-s, Karmendriya-s and J nendriya-s end here .
Objective cum subjective elements
Next come a set of tattva-s forming the objective cum subjective

elements. In aivism, only the Super Being is subjective while all other
elements are really objective elements. The present set of elements are attached
with subjectivity more than the former.
In this classification first come a set of three elements known as

anta:kara a-internal organs-{Manas(mind), Buddhi:(intellect) and Ahamk ra
(ego)}
Manas (mind) is the means to create thought (sa kalpa s dhana).
Buddhi:(intellect) confirms if an action should be done or not. The

rightness of the proposed action is determined.
Ahamk ra(ego) is connected with objectivity attributing the action to

itself, creating the limited ‘I’ consciousness.
Next are the two interdependent tattva-s (Prak ti and Puru a). Prak ti
is nature who is the combination of three gu a-s (Sattva, Rajas, and Tamas) but
without any distinction from whom they arise and expand. They being created
by Prak ti, do not come under tattva-s as they are not creators themselves.
Puru a responds to and wins that Prak ti, is on higher level.
The twentyfive elements form the limit of the Vedanta philosophy of the
tattva-s. In aivism, all of these tattva-s exist in the field of , in the field
of objectivity, and nothing as yet has happened. Puru a is not a realized soul
but is bound and limited like Ahamk ra tattva. Puru a is connected with
subjectivity and Ahamk ra is connected with objectivity. This is the only
difference between Puru a and Ahamk ra.
Ka cuka-s on Puru a
Five Ka cuka-s- Niyati, K la, R ga, Vidy , and Kal bind Puru a in
five ways. Niyati tattva operates to put the impression in Puru a as with respect
of particular place of his existence and not in all places (De a). It causes
limitation on the place of residence(Omni-presence) of Puru a22. K la means
time. The action of K la tattva is to keep Puru a in a particular period. It
poses limitation of particular period of existence on Puru a of Eternity.‘ ga’
means attachment. This is that attachment which results from not being full. By
creating in Puru a the feel of lacking which he must fill, it limits Puru a from
feeling of fullness.( atva). Vidy ’ means knowledge. This limits his omni-
scient nature. It puts an impression in Puru a that he has limited knowledge,
that he is not knowing all for he knows only some limited things. Kal tattva
creates the impression in Puru a that he has some particular creativity, as
against his actual unlimited creativity. (Kart tva)
Puru a’s ignorance of his own nature is known as tattva who

causes these five bondages and makes him her victim. He does not know his
own real nature and becomes bound and entangled by these five (Ka cuka-s)
and thus becomes a victim of Prak ti. He takes on individuality and becomes a
limited individual.
These five tattva-s plus are six tattva-s which are known as
Ka cuka-s (the six fold coverings). These six coverings bind and entangle and
thus limit Puru a. These coverings must be removed, uncovered and this is
done automatically by the grace of the Guru. Through his grace, at the time of
real knowledge, is transformed into His akti, His great energy. In His
glory becomes the glory of Parama iva. When Puru a realizes the
reality of his nature, becomes glory for him.
Tattva-s of pure subjectivity
Following tattva-s are connected with pure subjectivity. This is the

subjective course to be entered into by Puru a for rising from pure subjectivity
to purer subjectivity to purest subjectivity. uddhavidy tattva exists, when
Puru a actually realizes his own nature but that realization is moving,
flickering and is not stable. This realization at the level of uddhavidy tattva is
in movement. The experience (Par mar a) of uddhavidy tattva is, “I am
iva, this universe is in duality.This universe is unreal, I am iva.” Sometimes
you realize it, sometimes you forget it. This is the impression which comes in
uddhavidy tattva and it is pure subjectivity.
Tattva-s of purer subjectivity
Subsequent two tattva-s, vara tattva and Sada iva tattva lead to purer
subjectivity levels. Realization at the level of vara tattva is “This universe is
my own expansion. This universe is not an illusion, it is my own expansion.”23
In Sada iva tattva the same realization with more refinement occurs thus “I am
this whole universe.” In the first it is an impression whereas in the next it is
refinement of the same.
Tattva-s of purest subjectivity
Final two tattva-s to purest form of subjectivity are akti tattva and iva
tattva, the interdependent tattva-s. The impression which comes in these two
tattva-s is only I, the pure I, the universal I. It is not the impression ‘this
universe is my own expansion’ or ‘I am this whole universe,’ no, it is just I,
pure I, universal I.
The Absolute Parama iva
Last is Absolute which does not come in the cycle of tattva-s, is called
Parama iva. Parama iva is not only found in iva tattva or in akti tattva. It
is not only here, It is not only there, everywhere It is present -from the lowest
tattva to the highest tattva. It is in and through all levels and is everywhere24.
Five states of Microcosmic body
Macrocosmic body of iva
One universal subjective body of iva is traveling in each element on the

path of the thirty six elements. In fact all subjects (J va-s) are only that one
subjective body. When He travels in each element He becomes that element
respectively losing His subjectivity of Self. They are only an expansion of that
one universal subjective body which travels from earth to iva and retraces the
state of iva.
Five states of Microcosmic body
Just like the travel of the universal subjective body in the thirty six
elements, the individual subjective body travels in five states.
When individual subjective body travels in objectivity, it becomes the

object ignoring its subjective consciousness and this is ( grat) state of
wakefulness. In grat, wakefulness, the individual subjective body is traveling
in the world of objectivity (prameya), becomes one with the objective world,
which comprises of elements, names, forms, words, and sounds, losing
consciousness of its subjectivity.
When it travels in the cognitive world and becomes one with it and loses
consciousness of its subjectivity, it is (Svapna), the second state, Dreaming.
The individual subjective body travels in the impressions (samsk ra-s) of the
objective world in Svapna, the dreaming state and becomes one with the world
of impressions, losing the awareness of its subjective consciousness.
When it travels in the subjective world without being conscious of that

and becomes one with that unconscious subjectivity,it is (Su upti) Deep sleep
state. In Su upti, deep dreamless sleep, it has entered a state of entire voidness-
nya. If it was previously travelling in the world of objectivity in the waking
state, then upon entering deep sleep it loses consciousness of this objectivity
and also of its subjectivity. If it was previously traveling in the world of
impressions in the dreaming state then upon entering deep sleep it loses
consciousness of these impressions. At this state, awareness of these
impressions no longer exists but they however remain as if dead. When it again
returns from the state of deep sleep these impressions, which were seemingly
dead, again come to life.
When it travels in absolute subjective consciousness, it becomes that

subjective consciousness then it is (Tur ya) the fourth state.When, by the grace
of a Guru, this subjective body enters into subjective consciousness with full
and breakless awareness, and becomes fully illumined in its own Self, this state
is called the fourth state, Tur ya25.
And when it becomes fully established in that subjective consciousness,

it is (Tur ta), beyond the fourth,the fifth state. The individual subjective
body comprises of these five states. When this individual subjective body takes
a firm hold of Tur ya and does not lose consciousness of this state at all, then it
26
is completely established in it’s Self . That state is called Tur ta, above
the fourth. The awareness of self is maintained constantly in wakefulness,
dreaming, and deep sleep. It never loses its consciousness, it remains
completely self aware.
grat, Svapna, Su upti and Tur ya -inter se form Fifteen states
The four states of the individual, J grat, Svapna, Su upti and Tur ya are
found inter se in these four states. Tur ta is absolute. In Tur ta there is
no contact of either objectivity or subjectivity. It is for this reason that only
four different states are to be found in each of the four states of the individual
subjective body.
grat in all these four states
The state of grat, wakefulness exists in all these four states.
The first state is grat J grat, wakefulness in the world of

wakefulness.This objective wakefulness is the absence of wakefulness actually
because in this state only the world of objectivity exists and there is complete
loss of subjective consciousness. when they observe any object such as a lotus
they become completely one with that object and lose consciousness that they
are the observers. In saivism we call this state Abuddha:, the state of absolute
unawareness. grat svapna is the next state, i.e., dreaming in the state of
wakefulness. When subjective consciousness enters into objective
consciousness and loses consciousness of that objectivity and lives, while in
wakefulness, only in the impressions of objectivity, this is dreaming in the state
of wakefulness. For instance, when in the objective world, you look at a
particular person and you are not aware of looking at that person, then you are
traveling in your own impressions, this is grat svapna in other words, day
dreaming; In our philosophy this state is termed as Buddh vasth , that state
which has some awareness, some consciousness.
grat Su upti, deep sleep in the state of wakefulness, the next state in
grat is, when in the state of wakefulness that individual subjective body loses
consciousness of the objective world and loses consciousness of the world of
impressions; when externally he is not experiencing the objective world and
internally he is not experiencing the objective world of impressions. In Saivism
this state is called Prabuddha:, “with consciousness,” because he has reached

very near to the supreme consciousness of Being.
grat Tur ya, the fourth state in the state of wakefulness is the highest
and most refined state in grat. In this state, the individual subjective body,
after losing consciousness of both external and internal objectivity, enters into
some consciousness of self, of Being. He is partly illuminated by that
awareness of self and he becomes quite aware internally of the consciousness
of self. He moves and travels in the objective world, and at the same time he
resides in self consciousness. He does not lose hold of his internal subjective
consciousness. Saivism calls grat Tur ya as Suprabuddha:, absolutely full of
awareness.
grat refers to that state wherein one is full of awareness from his own
point of view of individual consciousness, not from the point of view of
subjective consciousness. Worldly people call this state grat (waking) but
Yogi-s differently name this state as Pi astha: because it is really the state of
becoming one with objectivity. This state,th erefore, is not actually the state of
waking ( grat). Enlightened souls ( ni-s) have another name
Sarvatobhadra (everywhere divine) for this state as they experience in this
state that the Being of iva has expanded His Body of Consciousness in names,
forms, space, and time and feel the consciousness of iva everywhere. For
these enlightened souls wherever they go they feel the divinity of iva
Consciousness. Whenever they travel in the objective world, whether in name,
form, space, time, whether walking or talking, whatever they may be doing,
they are traveling in Absolute Consciousness.
Svapna in all these four states
Likewise in Svapna, the state of dreaming, where you travel only in

impressions, the four states of grat, svapna, Su upti and Tur ya are found.
Svapna is the state found in dreaming, in impressions, in memory, in madness,
and in intoxication.
Svapna J grat is the first state in svapna, I.e., wakefulness in the state
of dreaming. When the subjective body travels in impressions and is given to
those impressions in the field of objectivity and at the same time loses
consciousness of those impressions, this is the state of individuality in the
waves of impressions and sometimes travels in the waves of objectivity.
Everything in this state, whether normal or abnormal, seems normal and
ordinary to him. It is objective because one travels in objectivity and is lost in
the object. Saivism calls this as Gat gatam, which means ‘you go and you
come’- some times it is a pen and sometimes it is different object.
Svapna svapna, dreaming in the state of dreaming is the next stage

found in svapna, the dreaming state. In this state the individual subjective body
travels only in the world of impressions without the least awareness of their
connection of one to the other. You see a pencil, then you see a book, then you
fly in the air, then you are driving a motor car and yet you are not aware of any
of this. You feel that everything is perfectly alright. Saivism calls this state as
Suvik iptam, ‘absolutely dispersed consciousness, ‘You travel here and there,
you do this and see that, and yet you do not know anything.
Svapna Su upti, deep sleep in the state of dreaming is the third state
found in svapna. Sometimes in the dreaming state this subjective body, while
traveling in the world of impressions and thoughts, also develops some
awareness of subjectivity. Realization that you are not awake, that you must be
dreaming exists. One is traveling in subjectivity; however, that subjectivity
does not remain. As this state is Su upti in the state of dreaming one’s
subjective consciousness comes and goes. Questions and arguements arise and
then they are forgetten. There exists the loss of this consciousness and again the
travel in impressions. This state of individuality is called Samgatam, which
means ‘touched’. Experience of the occasional touch of consciousness is the
significance of this state.
Svapna Tur ya, the fourth state in the state of dreaming is the next and
highest state in Svapna. When one is in the dreaming state and observes some
particular object, he perceives this particular object in the world of impressions.
At that very moment, while in the dreaming state, he becomes aware and
becomes conscious that he is not awake, that he is in the dreaming state and, by
the grace of his Guru, he castes away the objective world of impressions and
enters into sam dhi, this is the state of Svapna Tur ya. This state, however, is
not permanent. Again he falls into the dreaming state full of impressions and
begins to dream. Realizing that he is again dreaming he enters again into
sam dhi and then again another dream comes and takes him away. He moves
from the dreaming state to sam dhi and then back to the dreaming state and
again to sam dhi and so forth. He is incapable of maintaining that state of
sam dhi. Saivism terms this state as Susam hitam, which means ‘absolutely
aware, full of awareness.’
The dreaming state is called Svapna, (the absence of worldly activity) by

worldly people because the outer objective world is absent in this state. Yogi-s
name this state Padastham meaning, ‘being established where you are’,
because here you get established in your own point. Yogi-s find that Svapna is
a nearer way when entering into sam dhi, in the path of retracing the abosolute.
In the state of Svapna the struggle is only half as much as the struggle in grat
to enter into the sam dhi state. Concentration of awareness is much easier in
Svapna than in grat. Children exist primarily in Svapna. If illuminating
power is put in them by some Guru or greater soul they will enter into sam dhi
in an instant. They have no external thoughts, they have only internal thoughts.
They are very near to their own Self. ni-s call the state of Svapna, Vy pti,
which means ‘pervasion’, because in the dreaming state they pervade
everything and they know that they are pervading. The reality is that none of
the objects are produced by any outside agency. They are all existing in their
own self. It is Universal Will that acts. The ni is touched with Universal
Will as he does not desire to direct his actions in a dream.
Su upti in all these four states
The first state of these four states in Su upti, deep sleep is Su upti
grat, wakefulness in the state of deep sleep. In this state of deep sleep, there
is loss of all impressions and thoughts and dwelling in absolute void ( nya).
While remaining in this state one is not aware and does not taste its joy. In this
state of dreamless sound sleep, one neither travels in objectivity nor in
impressions, and on coming out from the dreamless state, there is this
experience “I was peacefully sleeping,” does not occur in Su upti J grat. In
Su upti J grat you remember afterwards that you were experiencing nothing.
Saivism calls this as Uditam, full of rising because one throws away the world
of impressions and enters into the negation of impressions. There is a rise out
of the world of impressions towards iva.
Su upti svapna, dreaming in the state of deep sleep is the next state in
deep sleep, where in deep sleep one travels in the world of unconscious
subjectivity. It is the world of subjectivity where subjectivity is absent from
consciousness. In deep sleep there is no consciousness, nor awareness of that
subjectivity. One remains in that subjectivity without knowledge that he is in
subjectivity. In this state however, one has some impression of being in
subjectivity, there is some congnition of remaining in that subjectivity. In this
state one is slightly conscious of his traveling in subjectivity. Saivism calls this
state as Vipulam, which means ‘gets nourished.’ This means that the
impression and awareness that one is traveling in the world of subjective
consciousness gradually becomes stronger and stronger, it slowly increases.
Su upti Su upti, deep sleep in the state of deep sleep is the third state of
deep sleep. In this state, while one is traveling in the world of subjective
consciousness, the impression, the faint idea that this is the world of subjective
consciousness remains in the background through out, without interruption as
against the interrupted perception in the state of Su upti svapna. However in
both Su upti svapna and Su upti Su upti, where the impression, the faint idea
that this is the world of subjective consciousness remains in the background,

Su upti is in predominance. Saivism states this state in which the subtle
awareness that this is the world of subjective consciousness remains in
uninterrupted continuity, is ntam meaning “peaceful”. This is called ntam
because one’s awareness remains in the background in an absolutely peaceful
state. There is no agitation in this state.
Su upti Tur ya, the fourth state in the state of deep sleep is the fourth
state of deep sleep. In this state one travels in the world of subjective
consciousness. He is aware in the background of that subjective consciousness
in continuation and at the same time experiences the bliss of this state. In the
state Su upti Su upti experience is not of the real bliss of this subjective state,
but only the experience of peace. In Su upti Tur ya, however, there is
experience of the positive bliss of this state. This state leads one enter into
sam dhi while consciousness still remains in the background. Saivism terms
this state Suprasannam because this is that state which affords absolutely full
bliss even though one is not fully aware of that bliss.
Worldly people call the state of deep sleep Su upti (asleep) because
knowledge of objectivity is absent in this state. In this state there is neither
objectivity nor impressions. This state for worldly people is full of
unconsiciousness. This state is an appeased state, mbh va, which
means‘absolute silence’. They feel that after leaving this state they are more
peaceful and find this state to be nourishing. Yogi-s, however,feel that in this
state of sound sleep they become attached to their own nature. For them it is
full of consiciousness. Yogi-s call this state ‘R pastha, which means
‘established in one’s own Self’, because here they are established in their own
Consciousness. ni-s call this state Mah vy pti (the great pervasion) because
here they find that there is absolutely no limitation of objectivity or
impressions.
Peculiarity of Tur ya state
In Trika Saivism predominance is given to the three energies for iva,

viz., Par akti- the supreme energy, Par par akti- medium energy, and
Apar akti- inferior energy. The kingdom of Apar akti, the lowest energy,
is found in wakefulness and dreaming. The kingdom of Par para is deep sleep.
Lastly the kingdom of Par akti, the supreme energy, is found in the state of
Tur ya.
The state of Tur ya is above the state of Pram . It is called the state of
Pramiti where subjective consciousness prevails without the agitation of
objectivity. Where the agitation of objectivity is also found in subjective
consciousness then it is the state of Pram . The state of Pramiti is without
any object at all. In other words, when he is residing in his own Nature, that
subjective consciousness is called the state of Pramiti.
In the state of Tur ya the penetration of all energies is simultaneous, not

in succession. All of the energies are residing together without distinction
there, but not in manifestation. Tur ya is called Savy ra because all of the
energies get their power to function in that state. This state is also known as
An maya because it remains unagitated by all of these energies.
This state is called Tur ya(the fourth.),by worldy people, ta by

Yogi-s, and Pracyaya by illuminated humans (Jnani-s). Worldly people use this
name because they have no descriptive name for this state. They are unaware of
this state, have not experienced it and, therefore, simply say that it is the fourth
state. Yogi-s have named due to the reason that this state has crossed ‘the touch
of one’s self ‘ and is ‘the establishment of one’s self.’ The touch of one’s self
was found in sound sleep (Su upti), however, the establishment of this takes
place in Tur ya. J ni-s, find the entire undifferentiated totality of universal
existence in this state of Tur ya. There is no succession here.
Tur ya in the three states of grat, Svapna and Su upti
The states of Tur ya J grat, Tur ya svapna, and Tur ya Su upti only are
possible in Tur ya. As Tur ya cannot be divided Tur ya Tur ya is not possible.
The preceding states of individual subjective consciousness, grat, Svapna,
and Su upti, each have four aspects, the state of Tur ya has only three.
The state of Tur ya J grat exists when the consciousness of Tur ya is

not vividly manifested. The consciousness of Tur ya is in a subconscious state,
found in the background as unmanifested. In this state, though strong
consciousness exists, it is not manifested totally, it is yet to be manifested.
Tur ya J grat is called Manonmanam ‘beyond the span of the mind’, because
it is that state where the mind has taken rise in mindlessness, complete
thoughtlessness.
In Tur ya svapna the consciousness of Tur ya is more vividly

manifested. Consciousness is stronger here. The state of Tur ya svapna is
named Anantam which means ‘unlimited’ as there is found the unlimitedness
of the Self. There is no limitation of Being here. This is the state of unlimited
Being.
In the state of Tur ya Su upti the consciousness of Tur ya is most vivid.

Consciousness is the strongest. Tur ya Su upti is called Sarv rtham.
Sarv rtham means that in this state, although you are unlimited, yet you find
existing here all of the limitations of the universe.
Tur ta the ultimate state
Tur ta is that state which is the absolute fullness27 of Self. It is filled

with all consciousness and bliss. It is really the last and the supreme state of the
Self. This state is found in sam dhi, as well as in each and every activity of the
world. There is no possibility in this state for the practice of yoga. If you can
practice yoga then you are not in Tur ta. In yoga there is the intention of
going somewhere. Here, there is no where to go, nothing to achieve. As
concentration does not exist here the existence of the hand of yoga is not
possible.
There are only two names actually attributed to this state of Tur ta,
one given by worldly people and one by ni-s. Worldly people, because they
know nothing about this state, call it Tur ta, which means ‘that state which
is beyond the fourth.’ ni-s, on the other hand, have named this state as
Mah pracaya which means ‘the unlimited and unexplainable supreme
totality.’ Yogi-s have no knowledge of this state. It is completely outside of
their experience. Yogi-s have however, by the use of their imagination and
through guesswork, imagined one name which might be appropriate for this
state. They say that it is Satatoditam which means ‘that state which has no
pause, no break.’ It is a breakless and unitary state. It is there in sam dhi;
When sam dhi is absent; In the worldly state; In the dreaming state; And in the
state of deep sleep. In each and every state of the individual subjective body it
is there. These are the five states of individual subjectivity in the Trika system.
Seven States of the Seven Perceivers
Seven perceivers viz., Sakala Pram ,Pralay kala Pram ,

Vijnanakala Pram , Mantra Pram , Mantresvara Pram , Mantra
mahesvara Pram and iva Pram adorn the ladder of achieving the path
of tracing back to the origin of manifestation. The lowest rung is Sakala
Pram and the highest is iva Pram on the subjective level28.
Sakala Pram
The first state for the Sakala Pram (perceiver) is the state of
Prameya, the state of the object of perception. The perception takes place in the
objective world and not in the subjective world. This state is realized by its
Sakala Pram ,where the observer dwells in the field of objectivity and its
world. All the three mala-s, ava, M ya, and K rma a mala, are active in
him.
Pralay kala Pram
Second state, Pralay kala is the state of negation, where the whole
world is negated. Pralay kala Pram of this state who resides in this world of
negation has no experience of the state of this voidness because this state is
actually the state of unawareness. rccha, Coma etc., represent this state
which is like unnatural and heavy sleep, like deep sleep which is void of
dreams. Pralay kala Pram , resides in that void unawareness. Only two
mala-s ava mala and M ya mala remain, in this state which are concerned
with thought rather than action as against rma a mala that is concerned with
action.
The twin states mentioned above are states of worldly people not
spiritualists as they function in the state of individuality not in the state of one’s
real nature.
Vij nakala Pram
Vij nakala Pram , the third state is attained by one pursuing on the
path of yoga. At times awareness is experienced by the yogi but the same is not
active. At other times his awareness is active but he is not aware of that active
awareness. “ ava mala is two fold. It is the cause of ignorance of free will
and it is also the cause of the loss of free will.Thus it carries one away from
their own Real Self.” Sometimes it is full of action (Sv tantrya- full of absolute
independence) without awareness and sometimes it is full of awareness without
actions. Being full of awareness is nap a, full of knowledge29.Only
ava mala, remains while the other two mala-s are removed.
Mantra Pram
The observer of the fourth state, uddhavidy , is called Mantra pram

in whom all mala-s are removed. He observes only the state of his own Self,
his own Real nature, full of consciousness, full of bliss, full of independent
will, full of knowledge, and full of action. This state, though not a stable state,
is the real state of iva. The mantra for this state is “aham aham, idam idam”.
The meaning of the first section of this mantra, “aham, aham”, is that in this
state he experiences that he is the reality, the Real nature of Self, the Truth of
this whole universe. On the other hand the meaning of the second section of
this mantra, “idam, idam”, tells us that he also experiences that this universe is
false, unreal. He feels that the universe is false, that he is the truth of this
reality. Due to instablity of this state, the yogi does not always remain in this
state. The experience of this state comes and goes. Sometimes he experiences
this state and sometimes he does not experience this state. Sometimes he
experiences only “aham aham”. Sometimes, when his consciousness is a little
damaged, he experienced only “idam idam”. Therefore, his reality of Self
remains unstable and uncertain.
Mantre vara Pram
vara Pram is the fifth state and the observer is Mantre vara which
means the one who has sovereignity on mantra (aham - I). Just like the state of
Mantra Pram this state is full of consciousness, full of bliss, full of will, full
of knowledge, and full of action but this state is a more stable. The mantra for
this state is “idam aham”, meaning that the aspirant in this state of mantresvara
feels that this whole universe is not false, on the contrary, he feels that this
whole universe is the expansion of his own nature. He unites the state of the
universe with the state of his own consciousness. This is actually the
unification of va, the individual, with iva, the universal. In this state of
mantre vara he finds the universe in his Self.
Mantra mahe vara Pram
Sada iva is the sixth state, the observer of which is Mantra mahe vara
who finds himself to be absolutely one with the Universal Transcendental
Being. He experiences this state to be more valid, more solid, and deserving of
confidence. Entry into this state ensures no falling from it at all. This is the
established state of his Self, his own Real nature. The mantra of this state is
“aham idam”. The meaning of this mantra is, I am this universe. Here, he
realizes his Self in the universe. In the former state he realized the universe in
his Self.
iva Pram
iva is the seventh30 and last state where iva himself is the observer. In
this final state, the state is iva and the observer is also iva. There is nothing
outside iva. The mantra in this state is , universal I. This state is
completely full with consciousness, bliss, will, knowledge, and action.
In the former six states, the state is one thing and the observer is
something else. However in the final seventh state Thisness is gone, melted in
His Iness.
Energies of the seven Pram
In these seven states of seven Pram -s there are seven Pram akti-
s. They are the energies of the seven Pram -s.
Sakala Pram akti the first energy makes one capable of residing in
all the three mala-s and thereby remaining in the state of Sakala.
Pralay kala Pram akti the second energy enables one to be in

unawareness, in void ( nya).
Vij nakala Pram akti, the third energy enables one to be seated in
the state of vij nakala, where only ava mala is active. Mantra Pram
akti, the fourth energy enables one to reside in the state of “aham aham, idam
idam” in the state of Mantra Pram , which is the state of uddhavidy . All
three mala-s have vanished completely31.
Mantre vara Pram akti, the fifth energy is that energy which carries
one in the state of mantre vara and is found in the state of vara as perception
“idam aham”32.
Mantra mahe vara akti the sixth energy guides the yogi to the state of
Sad iva, the state of mantra mahe vara and it carries the aspirant in the
perception of “aham idam” where he finds his I-ness in the universe33.
The seventh energy is the state of energy of iva. This energy

strengthens His state which is already established in the state of Supreme I-
ness, the state of the universal and transcendental “I”. This energy is called
iva Pram akti34.
P cada avidhi:
In the M V T purpose of these seven states is fully described for the

benefit of the aspirant termed Pa cada avidhi:, the mode of fifteen fold
thoughts for ascending and descending. The theory of the seven Pram -s and
their seven energies is meant not only for rising but also for descending. The
aspirant must be capable of both rising and descending. The one who rises and
can not descend is incomplete. It is that aspirant who can rise and also descend
simultaneously who is considered to be complete and full35.
Supremacy of The state of iva
The state of iva36 is actually that state where iva can rise and descend,
and after descending He can again rise. On the other hand the state of
individuality is that state where iva descends from the state of iva to the state
of individuality and then having descended cannot rise again. This is the
difference between the reality of iva and the reality of individual.
Chapter VI : Cgc and Philosophy of Kashmir tantric system

Notes
1.
Cgc-Vim-IV Ver-282.
2.
Cgc -Vim- I Ver-9.
3.
Cgc -Vim-III Ver-186.
4.
Cgc -Vim-IV Ver-259.
5.
Cgc -Vim-I Ver-2.

6.
-
Cgc -Vim-I Ver-1.
7.
Cgc -Vim-I Ver-3.
8.
Cgc -Vim-II Ver-26.
9.
10.
Cgc -Vim-I Ver-6.
11.
12.
13.
Cgc -Vim-II Ver-35.
14.

15.
Cgc -Vim-IV Ver-189
16.
Cgc -Vim-II Ver-51
17.
Cgc -Vim-II Ver-52
18. Note 5 Cgc -Vim - I - Ver- 2
19. Note 6 Cgc -Vim - I - Ver- 1
20.
Cgc -Vim - II - Ver- 33
21.

22.
Cgc -Vim - I - Ver- 15
23.
24.
25.
Cgc -Vim - IV - Ver- 283
26.
27.
28.
29.
Cgc-Vim-II-Ver- 25
30.
Cgc-Vim-II-Ver- 53
31.
Cgc-Vim-II-Ver- 59
32.
Cgc-Vim-II-Ver- 58
33.
Cgc-Vim-II-Ver- 57
34.
Cgc-Vim-I-Ver- 5
35.
Cgc-Vim-II-Ver- 23
36.
Cgc-Vim-II-Ver- 56.
CHAPTER VII
Cgc and the Concepts of Krama system
and Trika school
Krama system
Awareness of Krama system was brought about by Arthor Avalon when

he focussed his attention on Kashmir School of philosophy. We owe our thanks
to him as the present text under study “Cidgagana- Candrika” belonging to
Kashmir school of philosophy, is made available to us due to his efforts in this
area.
Significance and concepts of Krama
Krama system has triple significance. It is a
1) ntric system,
2) Monistic aiva system1
3) Emergence of kta tendency in aiva philosophy2.
Krama system deals with a synthesis of the aiva philosophy, the kta
esotericism and ntric concepts of life. It is a fine philosophical system
dealing with epistemic and ontological matters and also deals with the esoteric
discipline of Spirituality contained in the ntric culture.
Monistic aiva thoughts can be classified under two classes-

Traiyambaka and Ardhatraiyambaka. Kula is Ardhatraiyambaka. Krama, Trika
and Pratyabhijñ belong to Traiyambaka.
The important concepts, exclusively belonging to Krama, are duka,

Bh sa, Kalana and Krama. Krama concepts of the Absolute as li, the
supreme Absolutic function called An khy , the progressive character of
manifestations as logical thought construction called Vikalpa and the Six-fold
yogic processes correspond to notions of lasankar i/ la akti, Sunya,
Sabdapurva yoga, pohan and adanga yoga.
Krama as T ntric system
Krama system being nurtured under gamic influence, had ntric

character from the very beginning but its philosophical and mystic side enjoyed
more attention. Latter side gradually became subservient to T ntric demands.
The Monistic stream got split into two paths. First is Tantra Prakriy
advocated by Traiyambaka, and the second is Kula Prakriy associated with
Ardhatriambaka. Kula is identified as Ardhatriambaka line of thought. Other
monistic systems viz., Trika, Krama and Pratyabhijñ are grouped in the
Tantra- Prakriya or Triambaka school. Monistic aiva thought of Kashmir
generally called ardha-Krama-vijñ na comes under the Triambaka school.
Thus Trika and Krama though having different secular history seem to be one
in their origin.
There is, generally, a close affinity between Krama and Trika. The idea
that Krama culminates in the Kula system is more due to the final spiritual
possibilities of the Krama than to their apparent structure. The identity between
Krama and Trika systems ensues from their present character. AG learnt
Krama from the very lineage of Guru-s, led by Som nanda, who taught him
Trika and Pratyabhijñ . For Kula he had an entirely different lineage of Guru-s
culminating in ambhun tha, the author of Kramasrsti.
Krama is akti-oriented
Krama system seems to reflect a gradual emergence of kta tendencies

in monistic Kashmir aivism. Two schools of the system are there, based upon
the supremacy of the iva aspect and the akti aspect of the the Absolute.
Krama is akti-oriented3. Kula, Pratyabhijñ and Trika are iva-oriented.
Spanda having a greater emphasis for the Dynamic aspect of Absolute( akti) is
via-media of the two schools . Krama is a ntric system. AG in his TA
announces Krama as unique system while dealing with ktop ya.
Unity in Duality
The emphasis on the idea of dualism/diversity within the ambience of

monism earns a designation Bhed bheda up ya to the spiritual discipline
under Krama. Krama brings out the unity in the phenomenal duality as an
intrinsic tendency or character(Bhede abheda:-unity in diversity). Krama
relates more to the immanent reality and interprets immanence as the essential
expression of transcendence4. Krama system regards the concept of duality or
non-duality of Absolute as irrelavant. Hence it is against the concepts of
Bandha versus Mok a.
ktop ya- Spiritual progression
ktop ya is an up ya which is functioned by the means of energies.

ktop ya is called Jñ nop ya5 as it is the means originating from Jñ na akti,
the energy of knowledge. Aspirant is more important in this up ya than the
Guru because he must make himself capable of receiving the Guru’s grace. He
must work to develop great velocity of awareness until he reaches the “feet of
the Guru(Gurup duk ).” which does not mean literally the physical feet of the
Guru. “Being at the feet of the Guru” means reaching that state where the
aspirant is capable of receiving the grace of the Guru. Those who reach that
state become eligible to be at the “feet of the Guru.”
Yogi in ktop ya need not recite mantra-s or be aware of using his

breath or concentrate on any particular spot. He has only to see and concentrate
on that Supreme Being that is found in two actions without actions. This is
called centering in “Vijanana Bhairava Tantra”.
Centering can be practiced in ktop ya, in between any and all actions
and thoughts. In centering, the yogi must develop great velocity of awareness.
Great velocity means firmness of awareness. Awareness must not become
loose. If the yogi’s awareness becomes loose he will be forced out of ktop ya
into the lowest up ya, avop ya. He will loose the right to tread on the path
of ktop ya. His practice must be continuous in the cycle of his awareness.
Only by maintaining an unbroken chain of awareness will he be able to find out
the reality between any two thoughts or actions. The practice of centering is
meant to be functioned between any two actions or any two thoughts. He can
center between any two thoughts or any two movements, between one thought
and another thought, between waking and dreaming, between one step and the
next step, between one breath and the next breath. All actions and all thoughts
are the proper framework for the practice of ktop ya. The ktop ya yogi
must simply insert breakless awareness in the center of any two actions or
thoughts. If his awareness is faulty and is not breakless then he falls and enters
into the lowest up ya, avop ya. The concept of spiritual progression is the
very essence of Krama system.
Mok a as a synthesis of Bhoga and Mok a
Theory of the refinement of thought-constructs (Vikalpa-Samsk ra) for

self-realisation, the T ntric ideal, as synthesis of Bhoga and Mok a (Bhoga-
Mok a-s marasya)6 is attainable in Krama system only. Krama, gives equal
emphasis on each and every step of self-realisation as an embodiment of
spirituality through the theory of progressive refinement of Vikalpa-s. The
image of Krama system is understood by learning the concept of the
marasya of Dh ma-Var a (Name and form) and Cit (Consciousness).
Functions of Absolute
Slight modification of the five functions of the Absolute viz Srsti, Sthiti,
Samh ra, Tirodh na and Anugraha as extolled by ntric gama-s and other
schools of Kashmir aivism are made in Krama by terming the last two
functions as An khya and Bh sa.
Emphasis on the Cognitive experience
Krama system places positive emphasis on the epistemic side of our

experience which forms its special character.
ntric character of Krama
Mah rthamanjari of Mahesvarananda is crystal clear in elucidating the

ntric character of Krama. His generalization of significant aspects of Krama
are:
1. The worldly multiplicity of sensuous objects which are the cause of

attachment form the very certain means for self realisation7
2. The means and goals of liberation are identical.
3. Union of Prak a aspect (Being-Potential) and Vimar a aspect

(Becoming- Dynamic) constitutes the substratum of our empirical
existence which is also identical with the totality of Six-paths of
knowledge ( adhva-s).
4. Bhoga and Mok a are synthesized into one and thus an object of
enjoyment itself is an expression of liberation8.
5. Three of the Pañca Mak ra-s, Madhu, M msa and Mithuna which
are condemned in vedic practices are most significant in the rituals
and offer the toughest test of one’s spiritual progress.
6. Mantra9 is the indeterminate matrix of the world known as

Par c and forms the basis in spiritual pursuit. It is also identified
with the Absolute I-consciousness or self-experience as it reveals
that Mantra, Puj (Worship), Devat (Deity), and Mudr (Physical
postures) are essentially a reflection on the individual Self’s
identity with the Universal-Self10.
Krama is a system that believes in the identity of the Full(Pur ) and

Lean(Kr a) deity11. This implies that even when Reality(Vi vott a) is not
involved in cosmic manifestation due to withdrawal of the manifest universe, it
retains its perfection(Pur at ). Thus recourse to practices like Puj etc., lead to
meditative realization of one’s divine nature and turn out to be the very nature
of our spiritual personality.
Pentads of Krama system
tha with nine Kal -s is also identified with Pañcav ha, the basic
pentad .
1. Primal subjective stir- dyaspanda12
2. Extrovert subjective tendency13
3. The stir of means of Perception14
4. The rise of tendency in the means of knowledge to apprehend

determinately.
5. to 9.The awareness of the objective which is five-fold in

accordance with the five elements15.
Divyaugha - Prak a, nanda16, M rti17, Pañcav ha and

Vr dacakra18-s form the superstructure of
Divyaugha.
Pañcav ha - Primary pentad of five flows of self-emanative

spiritual energy. (Vyoma-v me var , Khecar ,
Dikcar , Gocar and Bh car )19
Pañcakritya-s of
Absolute - i, Sthiti, Pralaya, An khya and Bh sa20.
21
Pañca akti - Cit, nanda, Icch , Jñ na and Kriy .
Pañcavac - Par , S , Pa yant , Madhyam and Vaikhar .
Five groups for contemplation - ha, Pañcav ha, Netratraya22,

Vr dacakra and Gurupañkti.
Five Siddha-s of Vr dacakra - Jñ na, Mantra, Mel pa, kta and

23
mbhava .
Five Dhama-s of Vr dacakra - Kanda, N bhi, Hrt, Ka ha and

Bhrumadhya.
Pañca Mudr -s of Mudr Krama- Karañki i, Krodhani, Bhairavi,

Lelih na24 and Khecari.
Quartic Tendency
Basic concepts of Krama are also classified in groups of four. The fifth
function (Anugraha/Bh sa) is included in the fourth viz., Tirodh na or
An khya. Ultimate reality here is not Bh sa but An khya. The fifth power, Cit
of the Absolute is subsumed under nanda. Division of twelve li-s of Samvit
cakra are formed by the four functions in relation to each of the Subject
(Pram tr), object (Prameya) and means of knowledge (Pram a). c under
this does not reckon the S ma introduced to the popular Four-fold speech25.
Prak a and Vimar a aspects of reality
Evaluation of precise relation between Prak a and Vimar a aspects of

reality is the solution evolved in Krama transformation. Prak a, here is
Parame vara, Manth na/Manth na bhairava26; and akti or Vimar a is li,
Devi or K lasankar i.
Where male aspect iva is the Ultimate reality, li/ akti is treated as
His Manifestation and hence relegated to a subsidiary level. Then Bh sa and
An khya functions become the domain of Prak a. Vyome vari of Pañcav ha
emerges from him. The exponents of the Male Absolute subscibe to the Twelve
li (Dv da aK li)27 aspect theory under Samvit cakra and sixty-four aspects
under Vr dacakra excepting Pañcav ha.
Where supremacy of female aspect Absolutic Dynamism is significant,

akti herself becomes Dynamic Reality. iva gets secondary position28. She is
identified with Bh sa and An khya. Vyoma-v me vari is identical to li.
Under An khya cakra thirteen li-s are classified here. Sixty five mystic
powers constitute the ndacakra.
In akti-oriented school of Krama the Ultimate Reality forms part of the

whole episode. In iva-oriented school the ultimate is treated seperately.
Cidgagana candrika which is the text for our study, is a commentary

on the work, Kramastuti of ambhun tha (Siddhan tha). Here li is the
Absolute and hence the five function theory of the Absolute commands
supremacy. The other believers in the absoluteness fo iva follow the Four fold
functions of the Absolute. Both tendencies, Quartic and Pentad are the logical
outcome of conscious and sub-conscious analysis by the Krama thinker of
philosophic and esoteric bearings of the theory of Absolute functionalism.
Trika Philosophy
aivism is classified under two ways as dualistic and non-dualistic.

Former refers to the philosophy dealt with in the aivasiddh nta and ra
aivism followed in South indian traditions. The latter Non-dualistic
philosophy comprises of Kashmir aivism.
iva concepts are triads such as Pati, a and Pa u; iva, akti and
u; iva, akti and Nara etc., Trinity principle in Kashmir aivism is known
as Trika stra/Trika s sana comprising of principles and practice. As the
whole thing is transmitted through Guru- ya lineage it is called Rahasya
sampradh ya.
Trika, a concept of Kashmir aivism mentions the 3 goddesses Par ,

Par par and Apar which are named in the linivijayottata-tantra, a
Bhairava Tantra.
Triads which form the basis of Trika are mentioned below.
iva, akti and A u
Trika Darsa a expounds three essential realities, the Cosmic trinity29.
The Supreme Transcendent - iva
The Supreme Creative Energy, immanent in creation - akti
The Spiritual Atom, the limited atom or individual - u (nara)
u, a complete image, is a microcosm, miniature of the macrocosm

that is in permanent resonance on multiple levels with the macrocosm
(universe). The resonance between the microcosm and the macrocosm is akti.
She is the one who can help u recover his memory that he is one with iva.
She being the completely free will of iva, Sv tantrya akti makes this
possible.
akti trinity
akti trinity30 consists of:
Par akti - supreme energy, akti(Being) existing in

transcendence
Par para akti - supreme-unsupreme akti, existing both

in transcendence and immanence.
Apar akti - unsupreme energy, exists in immanence
Trinity of energies of will, knowledge and power of action
Any action of any being, including iva, is subject to three fundamental

energies:31
Icch akti - Energy of will. It appears in the

beginning of any action or process.
Jñ na akti - Energy of knowledge, by which clear

expression of any action appears first in
mind, before it is put into action.
Kriy akti - Energy of action
The trinity of knowledge
Pram tr - Observer, the subject
Pram a - Means of knowledge
Prameya - Known, the object
When Pram tr, Pram a and Prameya32 become one, the true nature of
the world is discovered. This monistic state is the experience by iva and
perfect yogi-s of the world.
Three fundamental states of consciousness
grat - Waking state
Svapna - Dreaming
Su upti - Dreamless sleep
In addition to these three, there is a fourth state known as (turya - the

fourth). This fourth state is that of perfect fusion of pram tr, pram a and
prameya, also known as superconsciouness, pervading the other three states
and existing also outside them33.
Three-fold spiritual path
mbhavop ya- Path of iva, the divine path, unstoppable spiritual

aspiration is the characteristic of this short and difficult spiritual path.
ktop ya-Path of the Divine Energy, the path of akti, the intermediary
path;Yogi must be able to perfectly control his emotions and thoughts in this
up ya and merge his consciousness with one or more Divine Energies, akti-s
avop ya– Individual’s path, accessible to the limited beings ( u);

The aspirant must strive to awaken his soul by working with his intellect
(Buddhi), subtle breath(Pr a), physical body (Sar ra) or exterior objects like
yantra-s or the pictures of Preceptors.
Three levels of the k (speech)
Pa yant - subtle speech, undifferentiated speech,

intuitive language, the seeing word (in the
heart)
Madhyam - mental speech, intermediate speech(in the

mind)
Vaikhar - spoken speech (exterior).

Transcendental triad - Paratrika
Prak a (cit, iva) - Luminosity
Vimar a (or spanda) - Dynamism
marasya - Homogeneous bliss
Three types of Trika schools
Abheda - non dualism (Kashmir aivism)
Bhed bheda - qualified dualism
Bheda - dualism ( aiv gama)
Triad of vara, Jagat and J va
This triad34 is identical to iva, akti and A u.
Pati - master, lord, iva-
a - bondage, the three mala-s, akti
Pa u - bonded, animal, the limited soul, tman
Three impurities
Mala means impurity, bondage or poison. These impurities are

responsible for the limitation of the divine condition. The limited being
becomes liberated by transcending them35.
avamala - being incomplete, non-full
mala - limitation in knowledge, avidy , illusion
K rma mala - limitation in the power of action, wrong
Identification of the doer of action with

the limited self instead of iva.
Philosophically important distinction of Kashmir aivism from the

Advaita siddh nta has to be discussed as both are non-dual philosophies which
give primacy to Universal Consciousness (Cit or Brahman). Kashmir aivism
asserts that all things are a manifestation of this Consciousness. Kashmir

aivism views the phenomenal world ( akti) as real and existing, with its being
in Consciousness (Cit). On the contrary, Advaita Vedanta holds Brahman as
inactive(ni kriy ) and that the phenomenal world is an illusion ( ). The
philosophy of Kashmir aivism, also called the Trika, can be seen in contrast to
Sankara's Advaita. So much so Krama the other Kashmir aivism school
advocating monism also advocates the same view.
The goal of Kashmir aivism is to merge in iva or Universal

Consciousness, or realise one's already existing identity with iva, by means of
wisdom, yoga and grace.
Philosophical aspects
Salient points of Kashmir aivism can be summarised by the concepts of

Citi, Mala, Up ya and Mok a, as follows.
1. Citi: Universal Consciousness (Citi) is the fundamental stuff of the

universe. This Consciousness is one and includes the whole. It
could also be called iva.
2. Mala: Limitations imposed by Maya on Consciousness contracts

iva. One becomes many. iva becomes the individual ( va).
Contraction of this nature is called mala (impurity). There are three
mala-s, the mala of individualisation ( ava mala), the mala of the
limited mind ( ya mala), and the mala of the body ( rma a
mala).
3. Up ya: An individual caught in the suffering of embodied

existence, afflicted by the three mala-s, desires to return finally to
his or her primordial state of Universal Consciousness. dhana or
spiritual practice is undertaken by him to attain this ultimatum.
While most other paths observe offering incense and external
objects to the deity, this path takes on to offering breaths. The
individual controls his heart and pulse by reducing it significantly.

The final stage is renouncing consumption of food and water. As a
result, he/she connects with the state of the supreme in the form of
iva which results in purification of the body and generation of
ojas. Kashmir aivism prescribes four methods (up ya-s):
avop ya, the method of the body, aktop ya, method of the
mind, mbhavop ya, method of Consciousness, and Anup ya the
‘methodless’ method.
4. Mok a: The fruit of the individual’s dhana is the attainment of

Self-realisation (mok a). In Kashmir aivism, the state of liberation
(mukti) is called sahaja sam dhi and is characterised by the
attainment of unwavering bliss-consciousness while living one’s
ordinary life.
Anuttara, the Supreme
Anuttara is the ultimate principle in Kashmir aivism, and as such, it is

the fundamental reality underneath the whole Universe. Among the multiple
interpretations of Anuttara are: "supreme", "above all" and "unsurpassed
reality". In the Sanskrit alphabet Anuttara36 is associated to the first letter - "A".
As the ultimate principle, Anuttara is identified with iva, akti (as akti is
identical to iva)37, the supreme consciousness (cit), uncreated light (Prak a),
supreme subject and atemporal vibration (spanda). This school is
classified under the Anuttar mnaya. The practitioner who realizes Anuttara38
through any means, whether by her own efforts or by direct transmission by the
Grace of iva/ akti, is liberated and perceives absolutely no difference between
herself and the body of the universe. Being and beings become one and the
same whereby subject perceives object and in that act of perception is filled
with non-dual being/ consciousness/bliss. Anuttara is different from the notion
of transcendence in that, even though it is above all, it does not imply a state of
separation from the Universe.
, the Heart of iva-
is the concept of supreme reality as heart which is a non-dual
interior space39 of iva, support for the entire manifestation, supreme mantra
identical to akti.
Sv tantrya, self-created free will
The concept of free will viz., Sv tantrya is the cause of the creation of
the universe - a primordial force40 that stirs up the absolute and manifests the
world inside the supreme consciousness of iva. It plays a pivotal role in
Kashmir aivism.
All conscious subjects co-exist in various degrees of the divine

sovereignity in Sv tantrya. Humans have a degree of free will limited by their
level of consciousness. Kashmir aivism as a monistic philosophical system
views all subjects to be identical - "all are one" - and that one is iva, the
supreme consciousness. Thus, all subjects have free will and are divine but can
be ignorant of this. Ignorance is a force projected by sv tantrya itself upon the
creation and can be removed by sv tantrya and also by Self-knowledge.
One function of sv tantrya is granting divine grace - aktip ta. In this

philosophical system, spiritual liberation is attained by mere effort, but can be
guided by the will/grace of god (i.e.the liberated preceptors). When the disciple
finds such a preceptor, he has to surrender himself and await divine grace falls
on him to eliminate the limitations imposed on his consciousness.
Causality is considered to be created by Sv tantrya along with the

universe. There can be no contradiction, limitation or rule to force iva to act in
one way or the other. Sv tantrya always exists beyond the limiting shield of
cosmic illusion, Maya.
Spanda
Spanda system, introduced by Vasugupta (c.800 AD), is usually

described as "vibration/movement of consciousness"41. AG uses the expression
"some sort of movement" to imply the distinction from physical movement; it
is rather a vibration or sound inside the Divine, a throb. Essence of the
vibration is an ecstatic self-recurrent consciousness. Central tenet of the system
is "everything is Spanda", both the objective exterior reality and the subjective
world. Nothing exists without movement, yet the ultimate movement takes
place not in space or time, but inside the Supreme Consciousness (cit). So, it is
a cycle of internalization and externalization of consciousness itself, relating to
the most elevated plane in creation ( iva - akti).
In order to describe the connotations of the Spanda concept, a series of

equivalent concepts are enumerated, such as: self recurrent consciousness -
vimar a, unimpeded will of the Supreme Consciousness (cit) - sv tantrya,
supreme creative energy - visarga, heart of the divine - daya and ocean of
light-consciousness - cid nanda. The most important texts of the system are
ivasutra-s, Spanda Karika and Vijñ na Bhairava Tantra.
aktip ta (from akti - "(psychic) energy" - and ta, "to fall")

aktip ta refers to the conferring of spiritual "energy" upon one person by
another. aktip ta can be transmitted with a sacred word or mantra or by a
look, thought or touch – the last usually to the jñ cakra or third eye of the
recipient.
aktip ta is considered an act of grace (anugraha) on the part of the

guru or the divine. Its reception cannot be forced and the recipient must be
open to such an influx as it also cannot be imposed by force. The consciousness
of the god or guru is held to enter into the Self of the disciple, constituting an
initiation into the school or the spiritual family (Kula) of the guru. It is held
that aktip ta can be transmitted in person or at a distance, through an object
such as a flower or fruit or else by telephone or letter.
Levels of intensity
According to the intensity, aktip ta can be classified in Kashmir

aivism as:
vra-t vra- aktip ta- the so-called "Super Supreme Grace" - produces
immediate identity with iva and liberation; due to the extreme intensity of this
grace the physical body dies; such a being goes on to become a Siddha master
and bestows grace from his abode (Siddhaloka), directly into the heart of
deserving aspirants
vra-madhya- aktip ta - "Supreme Medium Grace" - such a being

becomes spiritually illuminated and liberated on his own, relying directly on
iva, not needing initiation or instruction from other exterior guru. This is
facilitated by an intense awakening of his spiritual intuition (pratibh ) which
immediately eliminates ignorance
vra-manda- aktip ta- "Supreme Inferior Grace" - the person who

received this grace strongly desires to find an appropriate guru, but he does not
need instruction, but a simple touch, a look or simply being in the presence of
his master is enough to trigger in him to the state of illumination
Madhya-t vra- aktip ta- "Medium Supreme Grace" - a disciple who

receives this grace desires to have the instruction and initiation of a perfect
guru; in time he becomes enlightened. However, he is not totally absorbed into
this state during his lifetime and receives a permanent state of fusion with iva
after the end of his life.
Madhya-madhya- aktip ta- "Medium Middle Grace" - such a disciple

will receive initiation from his guru and have an intense desire to attain
liberation, but at the same time he still has desire for various enjoyments and
pleasure; after the end of his life, he proceeds to paradise where he fulfills all
his desires and after that he receives again initiation from his master and
realizes permanent union with iva
Madhya-manda- aktip ta - "Medium Inferior Grace" - is similar to

"Medium Middle Grace" except that in this case the aspirant desires worldly
pleasures more than union with iva; he needs to be reincarnated again as a
spiritual seeker to attain liberation
Manda- "Inferior Grace" - for those who receive this level of grace, the
aspiration to be united with iva is present only in times of distress and
suffering; the grace of iva needs to work in them for many lifetimes before
spiritual liberation occurs.
These concepts are highlighted in the text Cidgaganacandrika, our topic

of research. The work elaborates on the Trika school tenets in the Third and
Fourth vimar a-s in relevant places. This work Cgc of K lidasa (Srivatsa)
being a commentary on Kramastuti of Sambhunatha gives more emphasis on
the Krama aspects of Trika philosophy.
Chapter VII: CGC and the Concepts of Krama system and Trika school
Notes
1.
-
Cgc-Vim-I-Ver- 1
2.
Cgc-Vim-I-Ver- 2
3.
Cgc-Vim-I-Ver-7
4.
Cgc-Vim-I-Ver-8
5.
Cgc-Vim-I-Ver-9
6.
Cgc-Vim-II-Ver-23
7.
Cgc-Vim-II-Ver-28
8.
Cgc-Vim-II-Ver-62
9.
Cgc-Vim-III-Ver-118
10.
Cgc-Vim-II-Ver-73
11.
Cgc-Vim-I-Ver-21
12.
Cgc-Vim-II-Ver-43
13.
Cgc-Vim-II-Ver-44
14.
Cgc-Vim-II-Ver-45
15.
Cgc-Vim-II-Ver-49-55
16.
Cgc-Vim-III-Ver-110
17.
Cgc-Vim-III-Ver-112
18.
Cgc-Vim-III-Ver-124
Cgc-Vim-III-Ver-147
19.
Cgc-Vim-II-Ver-34
20.
Cgc-Vim-III-Ver-109
21.
Cgc-Vim-III-Ver-149
22.
Cgc-Vim-II-Ver-37
23.
Cgc-Vim-III-Ver-79
Cgc-Vim-III-Ver-144
24.
Cgc-Vim-III-Ver-121
25.
Cgc-Vim-II-Ver-74
26. Note 3 Cgc-Vim-I-Ver-7
27.
Cgc-Vim-II-Ver-36
28.
Cgc-Vim-IV-Ver-185
30.
Cgc-Vim-I-Ver-2
31.
Cgc-Vim-II-Ver-43
32.
Cgc-Vim-II-Ver-37
33.
Cgc-Vim-IV-Ver-253
Cgc-Vim-IV-Ver-254
34.
Cgc-Vim-IV-Ver-297
35. Note 1 & 2 Cgc-Vim-I-Ver- 1&2
Cgc-Vim-I-Ver-3
36.
Cgc-Vim-IV-Ver-193
37.
Cgc-Vim-IV-Ver-252
38.
Cgc-Vim-III-Ver-171
39.
Cgc-Vim-I-Ver-5
40.
Cgc-Vim-II-Ver-61
CONCLUSION
The knowledge of the Mantra-s are the basis for rituals. Knowledge of
Sabda is essential to understand the meaning of the mantra-s. Securing the
knowledge of the secrets and techniques of the particular school of tantra from
one who has obtained this knowledge in an unbroken line of discipleship is a
must to catch the secret principles of Up sana.
Srivatsa, author of Cgc, was a pupil of Soma's son who belonged to

Purnap ha, the centre of his spiritual activity. The author wrote his Pa cika on
the Krama stotra here. The whole work comprises of three hundred and nine
verses in Trai ubh metre. Totally there are three hundred and twelve verses in
the printed edition and the first two verse are in Sragdharav ttam. Leaving
these two as benedictory verses, the total number of verses in the above metre
amounts to three hundred and ten.After excluding the last verse pertaining to
the author himself the total corresponds to the figure mentioned by the author
in Cgc- Vimar a – IV (Verses 309 & 310).
The study of Cidgaganacandrika reveals an emphasis by the author on

the Female deity called by him as dya akti,K li. She is placed at the level of
Parabrahman, the highest abode of a dhaka. The gama-s make no
differentiation between akti and aktiman.
Na tvamamba puru ca n ngana citsvar pi i na at pi te /
N pi bharturapi tetrir ta tv mvina tadapi nasphurettrayam//

(Cgc-Vimar a-IV-Verse-273)
Aspects such as Pa cav ha, Dv da akti, Khecari, Guru krama, forms

of worship of dya akti, jakrama, adadhv , Bh van and its consequence,
Mantra and Mantra akti, ra, va, Caru, the practical results of Mudra etc.,
have been highlighted in many loka-s in every division of the work. The
author has explained in the final ten verses of the text, his aim of composing
this work and its impact in future.
The philosophy propounded in the text Cgc, can concisely be elucidated

thus:
Parama- iva, the Absolute, is all complete in Himself and holds the
universe as Par da in his womb. He remains as such the substratum of all
that is subsequently expressed as manifestation in categorical terms of
expansive thought and speech. He transcends even this extremely ideal
universe ,i.e.,the universal experience. All complete in Himself, He is both the
transcending Reality, Bliss and Conciousness as well as the One All-pervading
Supreme Experience. There is neither the need of a universal manifestation nor
is there any feeling of want. He however exerts His akti for the existence of
the universe which manifests itself.
After the manifestation He allows the universe to vanish, as if by magic,

from His view.Then there is a feeling of want of a universe in Him. But as He
is all complete in Himself, there can not be any feeling of the want of a
manifested world in Him. At this stage He is almost identical with Parama-
iva in all essentials.The experience of the ideal Universe is no more to be
found in Him and consequently His immanent aspect as pervading the universe
is eliminated. He no longer feels as one and identical with Himself. When the
experience of the supremely ideal universe is eliminated, the iva Tattva
becomes pure self-illuminous Consciousness (Cinm tra or Cit only). At this
state, it shines as Prak a m tra tanu:,as the very source of illumination, not as
something illumined and there is no feeling or notion of a universe in the
experience.
Thus in the experience of the iva-Tattva there is only the pure “I-sense”
in its sublimest aspect without even the conception of “I-am” lest it speaks of
an identity, however, subdued or indistinct, indicating ‘I am this” viz., the mind
and the body.
The ivatattva is counted as the first stage in the universal

manifestation, though Parapratyabhij hrdaya excludes it from the range of the
Tattva-s which manifest only in i. iva- akti Tattva in such case is treated
as two aspects of same absolute.AG speaks of it as a state in which the Cit
aspect of akti is most manifest. All the other aspects are present but they are
held in suppression. Due to the suppression of these aspects of the Divine akti
and negation of the experience of the universe, there arises an imminent need
of some akti to make such an act possible. This Divine akti is known as the
akti-Tattva forming the second aspect in the manifestation of the universe
which cannot be called second stage. Due to its operation the manifestation of
iva-Tattva becomes possible.
If reckoned separately, it is nothing but the manifestation of the nanda

aspect of the Divine akti. The virtue of nanda , as the most supreme Bliss
and self-satisfaction is perfect Rest in one’s own self and cessation of all
motions and agitations or conclusions. Perfect Bliss is not possible without all
goings and movings out. A particular stage in ivaTattva is considered here,
where there is no moving out yet, but only feeling of absolute rest and peace is
found. This feeling can be only the realization of nanda aspect of the Divine
akti.
As they enter into the process of the universal manifestation, the iva
and akti Tattva-s are happily united to each other, the former as the sacred
light(Prak a) of the Cognizing Principle, as Cit realizing Itself as the pure ‘I’,
devoid even of the experience of an “am”; and the latter, as the realization of
the feeling of only the profoundest Bliss and Peace beyond all understanding as
that nanda which lies at the root of all things to come (Vimar a).
The origin of iva- akti Tattva-s is Parama iva in as much as they

develop a knowledge which is other than Par samvit. Still they hold their
experience for an eternal space of time.
They have no destruction in Pralaya but abide in the bosom of

Parama iva as the seed of the universe that would come to be. This view leads
us to the knowledge that the iva-Tattva may be termed as the life (Pr a) in
the universal seed, whereas the akti-Tattva abides as the potential energy of
the various forms in which that life is manifested in the universe.
iva-Tattva when used to indicate Life/Pr a, is nothing more than

Prathama Spanda or first vibrative motion of Parama iva, as it is noted
“paspande sa spanda: prathama: ivatattvamucyate tajj ai:
akti-Tattva is the life and soul of the principle of Restraint and so its
main task consists in controlling and regulating that movement of Life.
The Krama system suffers from continuity of its lineage due to the latter
developements and admixture of Kula concepts. Krama is basically a
philosophical system with least weight towards the external techniques of
worship. Complete internalisation is advocated in this system by enfolding the
various levels of objective manifestations into their next level subjective
awareness.
This progressive path should be pursued until one reaches ivapadam -

the very source of entire manifestation. ktop ya is the means for retreading
the path towards the source of manifestation and is termed as path of na.
Saktip ta is the Anugraha aspect endowed upon the dhaka-s as per their
eligibility levels, which leads him in this path of attainment liberation.
Many more aspects of the Krama system need a deeper study. The text
is stated to be an ocean which submerges the less intelligent ones and the same
provides the knowledge for attaining the extreme bliss only if a dhaka
follows the philosophy propounded in it.
An advanced study may yield fruit as there is still lot of scope for a
deeper probe.
Cgc-Vim-IV-Ver- 310 & 311

Table of aktip ta
What is the
What one
When is the defining
needs in order
Type of spiritual grace moment of quality
to attain
liberation? of the
liberation?
recipient?
vra-t vra- aktip ta immediate nothing capability to

Super Supreme Grace exterior, only abandon
the grace of duality
iva
vra-madhya- immediate nothing intuition of
aktip ta exterior, only nonduality
Supreme Medium the grace of
Grace iva
vra-manda- aktip ta after meeting a the presence total surrender
Supreme Inferior perfect guru of for his guru
Grace a physical
guru
madhya-t vra- at the end of the initiation intense
aktip ta life in this and instruction spiritual
Medium Supreme physical plane of a guru aspiration
Grace
madhya-madhya- after living for the initiation spiritual
aktip ta some time in a and instruction aspiration is
Medium Middle Grace paradise of a guru more intense
than worldly
desires
madhya-manda- in the next the initiation lower
aktip ta physical and instruction aspiration than
Medium Inferior incarnation of a guru worldly desires
Grace
manda after many the initiation
Inferior Grace lifetimes of and instruction
incremental of a guru and
progress lots of time
Pratyahara of Panini
The great Sanskrit grammarian Panini also explains the alphabet as done in Saivism.
1 2 3 4 5 6
7 8 9 10 11
12 13 14
The place where the following letters are produced is the throat.
, , , , , , , & :
The place where the following letters are produced is the palate.
, , , , , , , &
The place where the following letters are produced is the head.
, , , , , , , &
The place where the following letters are produced is the teeth.
, , , , , , , &
The place where the following letters are produced is the lips.
, , , , , , &
upadhmaniya is used in the recitation of mantras in the Vedas.
The place where the following letters are produced is the nose.
, , , ,
The place where the following letters are produced by the throat and palate.
The place where the following letters are produced by the throat and lips.
,
The place where the following letters are produced by the teeth and lips.
From the root of the tongue is produced.
From the nose is produced.

-
DIVINE MANIFESTATION ACCORDING TO THE
SAIVA AGAMAS
COSMIC MANIFESTATION
SRI-YANTRA COSMO GRAM
MUDRA VIDHANAM
LINEAGE OF KRAMA PRECEPTORS
Sivananda
Hrasvanatha
Cakrabanu
Soma
Somapurtra
Author of Cgc.
(Srivatsa)
Mahesvarananda
1173 – 1225 AP
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Tantra words-Glossary i
A
A : Symbol of iva, short form of anuttara (the Supreme)
the one letter pervading all the other letters of the
alphabet.
Akrama : Successionless manifestation of the essential nature.
Ak trima : Natural ; inartificial
Akhy ti : Primal Ignorance
Agni : Fire-god: one of the elements of the physical world,

fire.
Agni (Symbolic) : Pram – knower or subject.
Agnisomamayam : The universe which is of the nature of pram na

(knowledge) and prameya (object).
Aghora : The merciful iva.
Aghora akti-s : akti-s that lead the conditioned experient to the

realization of iva.
Ajap Mantra : The involuntary prayer, “Hamsa:, soham,” made by

incoming and outgoing breath. It corresponds to the
cosmic creative process by which the entire universe is
breathed forth at intervals and then withdrawn.
Ajñ nam : The primal limitation (mala)inherent in Puru a, known

as Pauru a Ajñ na, on account of which he considers
himself as of limited
Anu : One that breathes i.e. the limited, conditioned experient.
Anim : Power to become small as an atom through Tantra.

Adhik ra : Office, prerogative, right.
Adhi th na : Substratum, support, base.
Adhi th tr : The superintending, governing, presiding principle.
Adhv : Course or path. uddha Adhv is the intrinsic course,

the supra- mundane manifestation. A uddha Adhv is
the course of mundane manifestation.
An hata abda : Unstuck sound.

Tantra words-Glossary ii
An hata : The fourth cakra or center of consciousness, situated in

the cardiac region. It is sometimes called the “heart
lotus.” Twelve mystic ducts or petals emanate from it.
Ananta : Meaning “endless”; Identified with a, the great

Naga (serpent), whose thousands heads fan out in a
mighty hood, forming the couch of Vi nu;
An rita- iva : The state of iva in which there in no objective content
yet, in which the universe is negated from Him.
Anantabhatt raka : The presiding deity of the Mantra experients.
Antarmukhibh va : Introversion of consciousness.

Anup ya : Spontaneous realilzation of Self with no special effort.
Anugraha : Grace.
Anuttara : (1) The Highest; the Supreme, Absolute. (2) Sanskrit

letter ‘a’ ( ).
Anusandh na : Repeated intensive awareness of the source or essential
Reality; Joining the succeeding experience to the
previous one; synthetic unity of apperception.
Anusandh : One who joins the succeeding experience into a unity.

Anusy ta : Strung together; connected uninterruptedly.
Anusvara : An extended nasalized sound of the Sanskrit alphabet;

A“vibration” unpronounceable, capable of articulation
in conjunction with a letter of the alphabet; represented
as a semi-circle in which a dot symbolizing the bindu
is inserted.
Ap na : One of the energies that goes downwards, controlling

the vital air in the abdominal region. Inhalation.
Ap : The material element of water.
Apavarga : Liberation.
Abuddha (Aprabuddha): Unawakened one, one who is in spiritual ignorance.
Abh va : Void
Abhinna : Non-different, identical
Tantra words-Glossary iii
Abhiyoga : Backward reference of awareness
Am yiya : Beyond the scope of .

Am dha : Sentient.
Avadh na : Constant awareness.
Avikalpa (Nirvikalpa)
Jñ na : Direct realization of Reality without any mental

activity.
Avikalpa (Nirvikalpa)
Pratyak a : Sensuous awareness without any perceptual

judgement, unparticularsided awareness.
Aviveka : Non-awareness of the Real.
Avyakta : Non-manifest.
Avasth : State.
Asat : Non-being.
uddha vidy : Knowledge of a few particulars, empirical knowledge.
uddhi : Impurity, limitations.
Ahamk ra : I-making principle, I-feeling of the empirical self.
Ahant : I-consciouness
Ardhacandra : A sound-level above the jñ cakra. In the gradual
elimination of differentiation experienced by the
dhaka, on the sonic level upward from jñ cakra,
Ardhacandra resonance is symbolized by half moon.
A-U-M : The three sounds which compose the root mantra, Om
a : Ether; an invisible manifestation of primordial

substance, which pervades entire universe as its
substratum; region of pure consciousness.
gama : Sacred Tantrik scripture dealing with rites, dharma, and

cosmology.
Tantra words-Glossary iv
jna : The sixth cakra or center of consciousness in the subtle

body, situated between the eyebrows. It is called the
Third Eye. Two wing - like “petals” or subtle channels
emanate from it.
tma-l bha : Realization of Self.
tma-vi nti : Resting in the Self.
tma-vy pti : Realization of the Self without the realization of the all-
inclusive iva- nature.
nava up ya : The yoga whereby the individual utilizes his senses,
prana and manas for Self-realziation. It is also known
as navayoga, Bhedop ya and Kriy yoga or
Kriyop ya.
nava samvesa : Idenfiication with the Divine by the above means.
nava mala : Primal limiting condition which reduces universal
consciousness to a jiva (an empirical experient).
dya akti : The Primal Energy. knowledge and activity.Being in
Buddhi, it is known as Bauddha Ajñ na due to which
one forms all kinds of asuddha vikalpas - thought-
constructs devoid of essential Reality.
nanda : Essential principle of joy, bliss, spiritual ecstasy. The
letter ‘ ’, symbolizing akti.
nandamaya : The most subtle “bliss-formed” sheath (ko a) of the
causal body, the sphere of the all-transcendent blissful
consciousness.
nanda up ya : Realization of iva-nature without any yogic
Discipline. Also known as Ananda yoga or Anup ya.
bhoga : Expansion; camatkara or spiritual delight.
I
Icch : Will ; Representing the letter ‘ ‘ (i).
Ichhop ya : ambhava up ya, also known as Iccha yoga.
Icch akti : The inseparable innate Power of Parama iva intent on
manifestation;that inward state of Parama iva in which
jnana and kriya are unified; the predominant aspect of
Sada iva.
Tantra words-Glossary v
Idant : This-consciousness; objective consciousness.
Ida : Conduit of white, lunar, subtle energy, coiling about the

Su umna and terminating in the left nostril. Opposite
in polarity from the Pingala.
Indra : The most celebrated god of the Rg-Veda.
Indriya-s : The ten faculties of sensation and perception in the

human body; five “knowing” agents or jnanendriya-s;
hearing, touching, seeing, tasting, and smelling: five
“action” agents or karmendriya-s; walking, handling,
speaking, procreation, and evacuation.
Indu : Prameya or object; apana; kriy akti.
Ista-devata : An individual’s chosen deity.
svara-tattva : The fourth tattva, counting from iva. Consciousness

of this tattva is ‘This am I’. Jnana is predominant in
this tattva.
svara-bhattaraka : The presiding deity of the Mantresvara-s residing in

Isvara tattva.
U
Uccara : One technique of concentration on Prana akti under

Anava up ya.
Ucchalatta : The creative movement of the Divine ananda bringing

about manifestation & withdrawal.
Udaya : Rise, appearance, creation.
Udana : Upward movement of vital life-force in pranayama.

akti that moves up in Su umna at spiritual awakening.
Udyama : The sudden spontaneous emergence of the Supreme
I-consciousness.
Uddiyana : Mudra in which one alternately contracts and relaxes

the abdominal muscles, rapidly changing from side to
side, “like quivering water.”
Unmesa : Opening of the eye.

Tantra words-Glossary vi
(1) From the point of view of svabh va or the

essential nature of the Divine, it means the
emergence of the Divine I-consciousness.
(2) From the point of view of manifestation, it means

the externalizing of Iccha akti, the start of the
world process.
(3) From the point of view of aiva yoga, it means the
emergence of the spiritual consciousness which is
the background of the rise of ideas.
(4) Representing the letter ‘u’.

Upalabdhr : The Experient, knower or subject.
Upaladbhi : Cognition, awareness.
Upanisad-s : Spiritual doctrines of ancient Indian philosophies

composed in their present form around 1000 BC. The
Upanisad-s are the identity of the individual soul with
the Universal Soul, and is essentially an inquiry into
the nature of the ultimate reality.
Upasana : Worship.
Upeksa : Mental balance, equanimity.
rdhva m rga : Upward path; su umn .
rdhvareta : Yogic or Tantric exercise in which the polarity of male

and female is controlled through tantric practices. The
technique of this is called “urdhvareta” and converts the
polarity into vital energy, giving it an upward direction
and opening higher powers of spirituality.
E
Ekagrata : One-pointed.
Ojas : Energy developed by certain yogic practices, which

stimulate endocrine activity within the body.
Tantra words-Glossary vii
OM : Seed mantra compounded of three sounds, aum,

embracing all the secrets of the cosmos which are
gathered to a point within it. The sound liberating the
muladhara or root cakra into the energy (Kundalini) of
the body and connecting that energy to the cosmos.
Ka
Kañcuka : The coverings of M , throwing a veil over pure
consciousness and coverting iva into jiva. They are:
(1) Kal (2) (a uddha) Vidy (3) ga (4) Niyati and
(5) la.
Kanda : An egg-shaped electromagnetic sphere surrounding the
Kundalini, located in the area of the perineum.
Karana : The means of jñ na and kriy - Anta:karana, the inner

psychic apparatus and bahiskarana the external senses.
Kalana -Ksepa : Various meanings of the root Kala, such as Ksepa,
Jnana, Sankhyana, Gati & Nada, are given. They are
Identifiable with these five acts, Srsti, Sthiti, Samhara,
Anakhya / Vilaya and Anugraha respectively. Likewise
it may be noted that in their nature and structure they
anticipate Iccha, Kriya, Jnana, Ananda and Cit
respectively. Thus, the sub-equations of creation (Srsti),
sustenance(Sthiti), withdrawal (Laya), etc., with the
knowable, the means of knowledge and the knower
respectively are clear. The five acts havebeen
differently termed in the many schools of the Krama
system owing to their affiliations with different Pitha-s.
Kramana and Kalana happen to be synonymous in this
aspect. The ultimate Principle acquires the name of Kali
/Kalasankarsini for its inherent potency to effect all the
five sorts of Kalana.
Manifesting with magnitudes or definite dimensions
(Iyattaya kalana) and knowing - are the two most
popular aspects that allow an aspect of spiritual
dynamism to be known as Kali. They are intrinsically
vivid aspects of the supreme dynamism. Although it
Tantra words-Glossary viii
manifests succession, it is not imperative for it to toe

down to a specific order. The external emanation of self
is Ksepa.
Kalana-Jnana : Energy so far latent in it and identical with it, is driven

out as universe constituted by cognizing subject, objects
of cognition and means of cognition.This involves
interplay of time as there is gradation in manifestation.
In its Jnana-aspect it realizes the unity of the world,
thus manifested, with itself
Kalana-Samkhyana : The third aspect, Samkhyana by name, refers to its

determining capacity that provides a clear-cut
connotation of every category of experience. Thus
reckoning of the external world in definite forms finds
expression in such propositions as 'this is a jar and it
may be technically called Apohana or Vikalpa, that is,
exclusion of all things not coming under a particular
category. Hence subject is excluded from object -and
so on.
Kalana-Gati : Gati is another form of the supreme dynamism
Kalana). Gati (i.e. Prapti) is the attainment of one's
true nature after dispelling the clouds of distinction
between all categories of experience. The artificial
bifurcation of subject, object etc., is abolished here.
Abhinavagupta employing a metaphor suggests that,

just as the difference between the original proto- type
and reflected figure is absent in case of the phenomena
of reflection,- if the mirror breaks the reflected figure
goes back to its original source, notthat It attains
something new -; in the same way, realisation of one’s
essential nature follows the sublation of logical
distinction between the self and the manifested world.
The realization that the reflection is meta-physically an

imaginary construction leads to the grasp of their basic
identity.
Tantra words-Glossary ix
Kalana-Nada : (1) Metaphysical-The first movement of iva- akti

towards manifestation,
(2) In yoga --- The unstruck sound experienced in
su umna.
Karane vari : Khecar , gocar , dikcar and bh car cakra .
Kartrtva : The state of being the subject.

Karma : Action; the law of universal cause and effect.
Karma-yoga : A yoga of action, attaining liberation through reversing

previous harmful actions and moving to liberating and
energy-producing actions.
Karmendriya : The five powers and organs of action- speaking ( k),
handling (hasta), locomotion ( da), excreting ( yu),
sexual action (upastha).
Kala : (1) The akti of consciousness by which all the

thirtysix principles are evolved,
(2) Part, particle, aspect,
(3) Limitation in respect of activity (kiñcitkartrtva)

(4) The subtlest aspect of objectivity, viz;
ntyatita, nta, Vidy , Pratistha and Nivrtti.
Kalpa : Aeon; a “day” of Brahma the creator
Kal sar ra : That of which the essential nature is activity; Karma

mala.
kini : The akti of the Anahata cakra .
ma : Enjoyment and love; desire as a cosmic power
rana : Cause.
rya : Effect; objectivity.
rma mala : Mala or limitation due to karma.
la : Time: The power that limits the existence of

unchangeable elements in matter.
Tantra words-Glossary x
la adhv : Temporal course of manifestation, viz., Varna, mantra,

pada.
lacakra : Matrcakra, akticakra, Dev cakra, the group of letters
from ‘a’ to ‘ksa’.
la tattva : Time- past, present and future, determined by the sense

of succession.
la akti : Power of the Divine determining succession.
gni : The lowest plane (bhuvana) of existence.
li : Divine akti, representing the creative and destructive

aspects of nature, a transcendental symbol of human
abilities.
Ku
Kundal or Kundalin : The creative power of iva; a distinct akti that lies
folded up in three and a half folds in dh ra. akti
energy coiled like a serpent sleeping near the base of the
spine, behind the genitals. When aroused, it ascends the
central channel of the spine or su umna.
Kumbhaka : Retention of pr na.

Kula : All-transcending light of consciousness; akti herself
manifesting in 36 tattva-s.
Kulam rga : Discipline for attaining the all-transcending light of

consciousness; mbhava up ya.
Kul mn ya : kta system of realizing the Supreme by means of all
letters from (a) to ( a).
Kularnava Tantra : An important Tantra of AD 1150.
Kai
Kaivalya : Realization of one’s self as being identical with Reality.
Ko
Ko a : Subtle envelope surrounding the gross body, one layer

of the electro-magnetic field the body generates. The
Tantra words-Glossary xi
human body is considered to have between three and

nine such envelopes.
Kau
Kaula : “Left-hand” sect of Tantra, usually associated with

literal translation and use of Tantric Texts.
Krama : Realization of the Supreme by means of purification of

vikalpa-s (determinate ideas) through successive stages
(Krama). Krama employs ktop ya. It is also known
as Mah naya or Mah rtha dar ana.
Krtrima : Constructed by vikalpa/determinate idea;pseudorealilty.
Kriya : The path of action.
Kriy yoga : nava up ya, also known as kriyop ya.
Kriy akti : The power of assuming any and every form

(Sarv rayogitvam kriy akti).
Kr da : Play or Divine sport.
KLIM : A Bija mantra often used in Tantric rituals.
iti : The earth element.
etrajña : The empirical subject.
obha : Identification of the Self with the gross or the subtle

body.
Kha
Khecari : Sub-species of Vamesvari akti, connected with the

pramata, the empirical self. Khecari is one that moves
in kha or the vast expanse of consciousness.
Khecari cakra : Group of the akti-s who move in the expanse of

consciousness of the empirical subject.
Khecari Mudra : Bliss of the vast expanse of spiritual consciousness, also

known as divya mudra or iva vastha (the state of Self).
Khyati : Jnana ; knowlege ; wisdom.

Tantra words-Glossary xii
Ga
Gaganangana : Cit akti, consciousness power.

Garbha : Akhyati, primal ignorance, Mahamaya.
Guna : Attribute, Quality; Three guna-s sattva, rajas, and

tamas are the substantive qualities of nature of which
the world is composed.
Gunatraya : The three genetic constituents Sattva, rajas, tamas.
Guru : Teacher.
Gocari : Sub-species of Vamesvari, connected with anta: karana

of an experient. ‘Go’ means ‘sense’. Anta:karana is
the seat of the senses; hence Gocari is connected with
anta:karana.
Grahaka : Knower, Subject; Experient.
Grahya : Knowable; object of experience.

Gha
Ghora akti-s : Deities that draw the jiva-s towards worldly pleasures.
Ghoratari akti-s : Deities that push the jiva-s towards a downward path
in samsara.
Granthi-s : Psychic knots. Three cakra-s, Muladhara, Anahata, and
Ajna are associated with Brahma,Vi nu, and Rudra
knots respectively and with psychic blockages called
linga-s-the Bana, Svayambhu and Itara linga-s-which
are to be surmounted in the passage of the rising
Kundalini.
Ca
cakra-s : Centers of consciousness and psychic energy in the

body. The Sanskrit word cakra means “wheel”. There
are many cakras in the body, viz., seven major cakra-s
along the median of the body (along the spine) and on
the hands, feet, knees, and other body areas.
Tantra words-Glossary xiii
cakra-puja : Literally, “circle worship” the group ritual of union,

performed collectively by a circle of Tanrtic initiates.
The rite is designated Panchamakara or five sacrifices.
Cakresvara : Leader of the cakra-Puja, the communal ritual of union;

lord of the group of akti-s
Candra : Prameya(object of knowledge), apana prana or nadi

(channel -nerve).
Camatkara : Bliss of the pure I-consciousness; wonderful delight of

an aesthetic experience.
Caramakala : The highest phase of manifestation known as Santyatita

/ Santatita kala.
Cit : The Absolute; foundational consciousness; the

consciousness that is the unchanging principle of all
changes. the pure consciousness attributed to the
knowledge of the one reality.
Cit- akti : Consciousness as power, the supreme energy.
Citta : The limitation of the Universal Consciousness

manifested in the individual mind, the mind of the
empirical individual.
Citi : The Consciousness-power of the Absolute that brings

about the world-process.
Cidakasa : Mental or physical inner space

Cidananda : (1) The nature of ultimate Reality consisting of
consciousness and bliss
(2) The sixth stratum of ananda in Uccara yoga of

anava up ya .
Cetana : Parama iva, Self, Conscious individual.
Cetya : Knowable, object of consciousness.
Caitanya : The foundational Pure Consciousness which has

absolute freedom of knowing and doing, of jnana and
kriya akti.
Tantra words-Glossary xiv
Cha
Cheda : Cessation of prana and apana by sounding of anachka

(vowel-less) sounds.
Chakini akti : Or Rakini akti, is the power of Visnu, the presiding

deity of Svadisthana cakra.
Ja
Jagat : The world process.
Jagadananda : The bliss of the Self or the Divine appearing as the

universe, the bliss of the Divine made visible.
Jagadguru : The world teacher.

Jambu-dvipa : The earth seen as the gigantic jambu (rose apple) tree
of Mount Meru casting its protective shadow over the
island which is the earth.
Japa : Constant repetitionof a mantra, silently or audibly,

grat : Esoteric meaning-Enlightenment, undeluded awakening
of consciousness at all levels.Waking consciousness.
grat avastha : The waking condition.
grat jnana : Objective knowledge common to all people in waking

condition.
Jitandriya : Control of the senses;
va : The individual soul, the empirical self whose conscious-

ness is conditioned by the samskaras of his experience
and who is identified with the limitations of his subtle
and gross constitution.
vatma : The self, soul, or individual consciousness
vanmukta : The liberated individual who, while living in the

physical body, is not conditioned by the limitation of his
subtle and gross constitution and believes the entire
universe as an expression of iva or his highest Self. ;
spiritually free but still manifest in human form.
Tantra words-Glossary xv
vanmukti : Experience of liberation while still living in the body.-

acquisition of iva- consciousness while the physical,
biological and psychic life are still going on.
na : Spiritual wisdom; limited knowledge (which is the

source of bondage). Self-knowledge Knowledge of the
absolute through meditation.
na yoga : Sakta up ya.
Trika : System of philosophy of the triad-Nara, akti and iva

(1) para, the highest, concerned with identity,
(2) parapara, identify in difference, and
(3) apara, difference and sense of difference.
Trika (Para) : Prakasa, Vimarsa and their Samarasya.

Trika (parapara) : Iccha, Jnana and Kriya.
Da
Dakini : The presiding akti of the muladhara cakra.
Ta
Tanmatras : That only; the primary elements of perception; the
general elements of the particulars of sense perception:-
Sabda,Sparsa, Rupa, Rasa, Gandha; Infra-atomic energy
potentials.
Tantra : One of a series of scriptures that emphasize practical
ways of self- enlightenment, especially relating to the
power of akti.
Tantric/Tantrika : One who follows the discipline of Tantra.

Tapa : Self discipline.
Tamas : One of the constituents of Prakrti, the principle of

Inertia and delusion. Power of inertia; the lowest of the
three gunas.
Tattva : Thatness; principle; reality, very being of a thing.
Tantra words-Glossary xvi
Tattvajnana : Knowledge of nature, of all powers and principles.
Tattva-traya : The three tattvas, viz; Nara, akti and iva or Atma,
Vidya, and iva .
Tatpurusa : One of the five aspects of iva .
Tarka sastra : Logic and Dialectics.
Tarpana : Libation of water allowed to fall from the palm of the

hand.
Tejas : Fire, heat, energy.
Turiya or Turya : The fourth state of consciousness beyond the states of

waking, dreaming and deep sleep and stringing together
all the states; the Meta- physcial Consciousness distinct
from psychological / empirical consciousness; the saksi
or witnessing consciousness; the transcendental Self.
Turiyatita or Turyatita : The state of consciousness transcending the turiya, the

state in which the distinction of the three, viz., waking,
dreaming and deep sleep states is annulled; that pure
blissful consciousness in which there is no sense of
difference, in which the entire universe appears as the
Self.
Trataka : To look at the space between the eyebrows, or to gaze

without blinking, concentrating on a single point or
object.
Trikona : A triangle.
Da
Darsana : Seeing, insight; system of philosophy.
Dik : Space
Dikcari : Sub-species of Vamesvari, connected with bahiskaranas
or outer senses.
Divya Mudra : Khecari mudra.
ksa : (1) The gift of spiritual knowledge

Tantra words-Glossary xvii
(2) The initiation ceremony pertaining to a disciple

by which spiritual knowledge is imparted and
the residual traces of his evil deeds are purified.
Dipa : A sacred oil lamp.
Desa : Space.
Desa adhva : Spatial course of manifestation, viz., Kala, Tattva,

Bhuvana.
Durga : Aide to Kali, and generally identified with her.
Drsti-Srsti Vada. : There are two fundamental theories about creation.

They are:Srsti-Drsti Vada and the Drsti-Srsti Vada. The
first, Srsti-Drsti Vada means that 'We see the creation
because it exists', and the second one implies that 'The
creation exists because we see it'.
Dha
Dharana : (1) Meditation, (2) The letters, ya, ra, la, va ( ).
Dhruva : (1) Anuttara stage, (2) The letter ‘a’ ( ).
Dhyana : Meditation, sustained inner concentration beginning

with concrete and ending with abstract awareness; the
way of inner vision.
Dhyana yoga : The highest dharana of anava up ya in which pramana

(knowledge), prameya (object of knowledge) and
pramata (knower) are realized aspects of Samvid or
consciousness.
Dharana yoga : A dharana of anava up ya consisting of concentration

on anahata nada (unstruck sound) arising within through
prana akti. This is also known as Varna yoga.
Na
Nigraha krtya : iva ’s act of Self-veiling.
Nibhalana : Perception; mental practice.
Nimesa : (1) closing of the eye-lids, dissolution of the world;

(2) the inner activity of Spanda by which the
object is merged into the subject;
Tantra words-Glossary xviii
(3) the dissolution of the akticakra in the Self;
(4) the involution of iva in matter.

Nimilana Samadhi : The inward meditative condition in which the
Individual consciousness gets absorbed into the
Universal consciousness.
Niyati : Limitation by cause-effect relation; spatial limitation,
limitation of what ought to be done and what ought not
to be done.
Niyama : Control; yogic discipline of the mind and body
Nirvana : Dissolution of all thought-construct or ideation.
Final emancipation.
Nirbija samadhi : This is the higher state of samadhi in which the mind
dissolves and becomes non-mind, samadhi without the
seed of desire, samadhi without subject- object
distinction.
Nirvyutthana Samadhi: Samadhi (absorption into Universal consciousness)
which continues even when one is not engaged in
formal meditation.
tha yogis : “Lord” yogis who rose to prominence in Northern India
during the tenth century AD. Those saints bear the title
of Natha. Natha yogis were usually Saivites (followers
of iva), and developed a yogic body- language,
believing in this way to attain supernatural powers.
da : Vibrational energy permeating all things, and
manifesting as sound.
Nada-Bindu : Primal vibration; the seed sound out of which the
universe emanates.
Nadis : Invisible conduits of psychic energy, woven throughout
the subtle body. There are 72,000 of them.
Nama: : Salutation.
Nama-Rupa : Name and form.
.Nyasa : Projection of divine entities into various parts of the
body.
Tantra words-Glossary xix
Pa
Patanjali : Author of the systematized treatise on Yoga-Sutra

(c. 100 BC-AD 300).
Pati : Experient of Suddha adhva; Liberated individual.
Pati dasa : The state of liberation.
Padma : Lotus; symbolic name of the cakras.

Padmasana : Lotus yogic posture in which one sits with legs crossed,
right foot placed on left thigh, left foot crossed over on
right leg, soles of feet turned upwards, with hands
holding the toes.
Pancakrtya : The ceaseless five-fold act of iva, viz.(srsti)
Manifestation, (sthiti) maintenance of manifestation,
(samhara) withdrawal of manifestation, (Tirodhana)
Concealing the reality and (Anugraha) Revelation;
Five-fold act of Abhasana (Manifesting), Rakti
(Enjoyment), Vimarsana (Mediation), Bijavasthapana
(Seeding) and Vilapana (Dissolution)
(Pratyabhijnahrdayam,sutra 11).
Pancamantra/Vaktra : Isana, Tatpurusa, Sadyojata, Vamadeva, and Aghora.
Panca akti : The five fundamental aktis of iva, viz., Cit, Ananda,
Iccha, Jnana, and Kriya.
Pancabhutas : Five gross elements; earth, water, fire, air, ether or

space.
Pancatattva : Lit., the five tattvas. This applies to the material of the
earth used as sacrifice in Tantric rituals. Also called
pancamakaras.
Para : The Highest, the Absolute. The last stage of
consciousness.
Param : The supreme
Para pramatr : The highest experient; Parama iva .

Paratpara : The supreme of the supreme.
Paramanu : A gross atom.

Tantra words-Glossary xx
Parama iva : The Highest Reality, the Absolute.
Parapara : The intermediate stage, both identical and different,

unity in diversity.
Paramartha : The highest reality, essential truth; the highest goal.
Paramarsa : Seizing mentally; experience; contemplation,

remembrance.
Paravak : Vibratory pulsation of the Divine Mind causing
manifestation, Logos; Unmanifest vibratory movement
of cosmic ideation. Spanda. The highest form of sound.
It issues forth from the Supernal Ether (paramam
vyomam) where all the sound vibrations that build the
various worlds pre-exist in an undifferentiated state.
Para akti : The Highest akti of the Divine, Citi.
Parinama : Transformation.
Pasu : The empirical individual bound by avidya or spiritual
nescience.
Pasu matara : Mahesvari and other associated aktis-active in the

various letters, controlling the life of the empirical
selves.
Pasyanti : The Divine view in undifferentiated form; Vak - akti,

going forth as seeing, ready to create in which there is
no difference between vacya (object) and vacaka
(word). Sound emerging towards the visible.
sa : Bondage.
Pingala : A subtle channel through which prana moves. It coils

around the central sushumna canal and terminates in the
right nostril. It has a positive polarity.
Pidhana Krtya : The act of Self-veiling, same as vilaya.
Pumstattva/Purusa tattva: Pasu pramata; jiva; the empirical self.
Puranas : “Old”; “ancient” Hindu scriptures expounding in

legendary form the powers and deeds of gods and
goddesses.
Tantra words-Glossary xxi
Purusa-Prakriti : Consciousness in its relation to Nature, male-female,

static-kinetic, ie; polarity.
Purusa : Pure, unmanifested consciousness, the counterpart of
Nature or Prakriti.
Puryastaka : The city of the group of eight i.e. the five tanmatras,
buddhi, ahankara and manas; the suksma sarira (subtle
body).
ja : Ritual worship.
Purakam : Inhalation process in the practice of yogic breathing.
rnatva : Perfection.
Purnahanta : Perfect I-consciousness; non-relational I-consciousness.
Prakasa : The principle of Self-revelation; consciousness; the
principle by which everything is known; Light.
Prakrti or Pradhana : Source of objectivity from buddhi down to earth.
Manifested or materialized nature. It posses three gunas
/ qualities, (Sattva) the governing order and time,
(Rajas) activation and mental power, and (Tamas) the
gross form of dense matter characterized by stability
and inertia.
Prajna : Wisdom, First Principle
Pranava : The primal sound.
Priti : Rapture or inspiration.
Prama : Exact knowledge.
Pramana : Knowledge, means of knowledge.
Pramatr : Knower; Subject; Experient.
Prameya : Knowable; object of knowledge, object.
Pratha : To expand; unfold; appear; shine.
Pratha : The mode of appearance.
Pratibha : 1) Ever creative activity of consciousness;
(2) The spontaneous Supreme I-consciousness,
(3) Para akti.
Pratimilana : Both nimilana and unmilana Samadhi i.e. turning of the

consciousnessof both within i.e. into iva and outside
Tantra words-Glossary xxii
i.e. the akti of iva,experience of divinity both within

and outside.
Pratyabhijna : Recognition.
Pratyahara : (1) Comprehension of several letters into one

syllable effected by combining the first letter of
a sutra with its final indicatory letter.
(2) In yoga, withdrawal of the senses from their
objects.
Pratyavamarsa : Self-recognition.
Pralaya : Dissolution of manifestation. The end of a cycle of

aeons.
Pralayakala/
Pralayakevali : One resting in Mayatattva, not cognizant of anything;

cognizant of sunya or void only.
Prasara : Expansion; manifestation of iva in the form of
Universe through His akti.
Prasada : The mantra sauh .
Prana : Generic name for vital power; vital energy; specifically

it is the vital Vayu in expiration. The total energy,
manifest and unmanifest of the cosmos. It is known to
the earth sphere as the seven-rayed emanation from the
sun. power of the breath.
Prana-Pramata : The subject considering prana to be his Self.
Prana-bija : The letter ha.
Pranayama : Yogic regulation of the breath flow for purposes of

prana control.
Prthivi : The earth tattva. .
Paurusa ajnana : Innate ignorance of Purusa regarding his real Self.
Paurusa jnana : Knowledge of one’s iva-nature after elimination of

ignorance of one’s real Self
Ba
Tantra words-Glossary xxiii
Banda : (1) Bondage, (2) Limited knowledge, (3) Knowledge

based on primal ignorance; (4) Yogic practice in which
certain organs of the body are contracted and locked.
Bala : Cid-bala, power of Universal consciousness or true Self.
Bahirmukhata : Externalization, extroversion
Bindu : (1) A point, a metaphyscial point,

(2) Undivided Light of Consciousness,
(3) The compact mass of akti gathered into an

undifferentiated point ready to create
(4) Parah pramata, the Highest Self/

Consciousness.
(5) Anusvara or nasal sound indicated by a dot on

the letter, suggesting the fact that iva despite
the manifestation of the universe is undivided,
(6) A specific teja or light appearing in the centre
of eye-brows by the intensity of meditation,
(7) A drop of semen.
(8) A sacred symbol of the universe in its

unmanifested form.
Bija : (1) The active Light of the highest akti which is

the root cause of the universe
(2) Vowel
(3) The mystical letter forming the essential part of
the mantra of a deity.
(4) The first syllable of a mantra.
Bija mantra : A seed sound, produced from the hidden power or

primordial akti. Tantrik texts say the universe evolved
out of the fifty original bija mantras, which correspond
to the fifty letters of the Sanskrit alphabet.
Buddha : One awakened of a mantra.

Buddhi : The ascertaining intelligence; the intuitive aspect of
consciousness by which the essential Self awakens to
Tantra words-Glossary xxiv
truth. The principle of intelligence; intelligence which

reveals knowledge of the cosmic unity.
Buddhindriya : The five powers of sense-perception, viz.,smelling,
tasting, seeing, feeling by touch, hearing, also known
as jnanendriya.
Baindavi kala : Baindavi-pertaining to Bindu or the knower, kala-will

power. Baindavi kala is the freedom of Parama iva by
which the knower always remains as the knower and is
never reduced to the known, svatantrya akti.
Bauddha ajnana : The ignorance inherent in Buddhi by which one

considers his subtle or gross body as the Self on
account of asuddha vikalpas.
Bauddha jnana : Considering oneself as iva by means of suddha

vikalpas.
.Brahma : In Sankara Vedanta-Pure foundational consciousness
full of svatantrya akti, i.e. unimpeded power to know
and do any and every thing, parama iva.
Brahmanda : the whole universe. The four Kalas going outward from
Santatita can also be envisioned as concentric eggs
(andas) - named after the highest tattva within:
Santa Kala is called the akti Anda (Egg of akti)

Vidya Kala is called the Maya Anda (Egg of Maya)
Pratistha Kala is called the Prakrti Anda (Egg of
Prakrti)
Nivritti Kala is called the Prithvi Anda (Egg of Prithvi),

which is synonymous with Brahmanda (Egg of Brahma)
To know the five spheres and the four eggs is to know
the entire objective reality existing with in iva
consciousness.
Brahma nadi : Susuma or the central pranic channel or psychic channel

helping the ascent of the Kundalini.
Brahmarandhra : The Sahasrara cakra .
Brahmavada : Sankara Vedanta.

Tantra words-Glossary xxv
Brahmagranthi : A psychic blockage in the subtle body. To clear this

knot at the time of the rising of Kundalini is to get
established in totality.
Brahma-rudhra : The “gateway of Brahma,” an aperture in the crown of

the head, through which the soul may leave the body
(also Brahmarandhra).
Brahma : The god of creation in the Hindu religion.
Bha
Bhakti (apara) : Devotion; intense feeling and will for being united
with iva.
Bhakti (para) : The constant feeling of being united with iva and the
supreme bliss of that consciousness.
Bhava : Transmigratory existence (both internal and external);

object. Emotion: specifically the aesthetic state or
feeling which enlivens the senses, the vehicle of rasa.
Bhavana : Practice of contemplating or viewing mentally oneself

and everything else as iva; jnana yoga; Sakta up ya;
creative contemplation, apprehension of an inner,
emergent divine consciousness.
Bhuvana : Becoming; place of existence; abode. There are 108

bhavanas.
Bhuta : Gross physical element.

Bhucari : Sub-species of Vamesvari, connected with bhavas or
existent objects.
Bhumika : Role.
Bhairava : Destructive aspect of Shiva.

Bhairavi : A female guru. It is considered ideal to be initiated by a
Bhairavi. Tantrics perform group rituals of many asanas
known as cakra Puja or “circle worship” of which
Bhairavi-cakra is one of the most important
Bhairava (apara) : Siddhas who have unity-consciousness and
consider the whole world as identical with Self.
Tantra words-Glossary xxvi
Bhairava (para) : Parama iva; the Highest Reality; An anacrostic

word, bha, indicating bharana, maintenance of
the world, ra, ravana or withdrawal of the world,
and va, vamana or projection of the world.
Bhairava or Bhairavi mudra : This is a kind of physical condition brought

about by the following practice: “Attention
should be turned inwards; the gaze must be
turned outwards, without the twinkling of eyes.
Bhairava Samapatti : Identity with Parama iva .
Bhoga : Experience, Enjoyment.

Bhokta : Experient.
Bhavana : Meditation.
Bhuta : Any of five elemental condition of matter.
Bhutadi : Rudimentary matter devoid of any physical

substance.
Bhuta-suddhi : Ritual.Purifying the gross physical aspects
Ma
Madhya : (1) Central Consciousness, Pure I-

consciousness,
(2) The susumna or the central pranic nadi.
Madhya dhama : Central nadi, known as brahmanadi or susumna.
Madhyama : Sabda or sound in its subtle form as existing in

the anta:karana, prior to its gross manifestation.
Madhya akti : Samvit- akti, the Central Consciousness-power.
Manas : That aspect of the mind which co-operates with

the senses in building perceptions, and which
builds up images and concepts, intention and
thought-constructs.
Mind, the mental faculties of coordination,

reasoning and assimilation.
Mantra : (1) Sacred word or formula to be chanted
Tantra words-Glossary xxvii
(2) In Saktopaya, that sacred word or

formula by which the nature of the
Supreme is reflected upon as identical
with the Self. It is called mantra, as it
induces manana (reflection) on the
Supreme and because it provides trana
(protection) from the whirling of trans-
migratory life. In Saktopaya, the Citta
itself assumes the form of mantra.
(3) Experient who has realized the

suddha vidya tattva.
Mantra-mahesvara : The experient who has realized Sada iva-tattva.
Mantra-virya : Perfect and full I-consciousness; iva- consciousness;

the experience of paravak, the energy of the mantra of
I-consciousness.
Mantresvara : The experient who has realized Isvara tattva.
Manthana Bhairava : Bhairava that churns i.e. dissolves all objects into Self-
consciousness; Svacchanda Bhairava.
Marici : akti.
Mahartha : The greatest end; the pure I- consciousness, the Krama

and Kaula discipline; the highest value.
Mahamantra : The great mantra of pure consciousness, of supreme

I-consciousness.
Mahamaya (apara) : The state below suddha vidya and above Maya in which
resides the vijnanakala.
Mahamaya (para) : The lower stratum of suddha vidya in which reside the
vidyesvaras who, though considering themselves as of
the nature of pure consciousness, take the world to be
different from the Self.
Mahanaya : Krama discipline.

Mahahrada : Highest, purest I-consciousness. It is called mahahrada
or the great lake because of its limpidity and depth.
Tantra words-Glossary xxviii
Matrka : (1) The little unknown mother, the letter and

word power which is the basis of all knowledge,
(2) The paravak akti that generates the world.
Matrka-cakra : The group of aktis pertaining to Matrka.
Maya tattva : The principle that throws a veil over pure consciousness
and is the material cause of physical manifestation, the
source of five kancukas.
Maya : In Sankara Vedanta: The beginning less cause that

brings about the illusion of the world. Creative power,
the limiting principle, illusion of the real nature of the
world- appearance.
Maya akti : The akti of iva that displays difference in identity and
gives rise to maya tattva; the finitising power of the
Infinite.
Maya-pramata : The empirical self, governed by Maya.
Mayiya mala : The limitation due to Maya which gives to the soul its
gross and subtle body, and brings about a sense of
difference.
Malini : akti of letters which holds the entire universe within
itself and in which the letters are arranged in an
irregular way from ‘na’ to ‘pha’.
Mahesvarya : The power of Mahesvara, the supreme lord.

Mahesvaryadayah : Mahesvari and other deities presiding over the group of
letters.
Mukti : Liberation from bondage; Jivan-Mukti-Liberation While

living;acquisition of iva consciousness, Videha-mukti-
establishment in iva-consciousness after the mortal
body has been dissolved; Krama mukti - Retracing the
source of Manifestation.
Mudra : (1) Mud (joy), ra (to give); because it gives the

bliss of spiritual consciousness or because it
seals up (mudranat) the universe into the being
of turiya-consciousness, it is called mudra.
Tantra words-Glossary xxix
(2) Yogic control of certain organs as help in

concentration which produces psychic
responses.
(3) Seal, finger gesture;
Mudra-Krama : A condition in which the mind swings alternately by the

force of samavesa, Krama-Mudra between the internal
(Self or iva) and the external (the world which now
appears as the form of iva).
Mudra-Virya : The power by which there is emergence of the

Supreme I-consciousness; mantra-virya; khecari state.
Meya (prameya) : Object.
Moha : Delusion by which one regards the body as the self;

Maya.
Mahakala : An aspect of iva, personification of the disintegrative

forces of the cosmos.
Mahamudra : Yogic asana known as the “great posture” in which the

practitioner sits with the left heel pressed against the
perineum-yoni place with the right leg stretched
outward, and holding the right foot with both hands.
The nine orifices of the body are pressed closely into
the chest (jalandhara) for the control of the breath.
Mahavidya : Transcendental knowledge of nature.

Mala : Rosary. The 108 or 27 beads or knots commonly used
to keep track of the mantras / other ritual performances.
Mamsha : Meat, one of the five ritual ingredients used in some

schools of Tantra.
Mandalas : A mystic geometric-based diagram of squares, triangles,
and circles, symbolic of cosmic forces, used as a
support for concentration.
Manipura : The cakra located in the area of the solar plexus. It has
ten “petals.”
Manomaya : A sheath of discriminatory process.
Marga : Path.
Tantra words-Glossary xxx
Matsya : Fish, one of the five ritual ingredients used in some

schools of Tantra.
Meru : The mythical mountain supporting the world,
merudanda; the spine in the human body.
Mithuna : Paired, as in polarity.
Moksa : The ultimate spiritual liberation from material bondage.

Muladhara : The “root” cakra located at the base of the spine and
behind the genitals. Its emanation on the surface of the
body is in the area of the perineum and lower genitals.
It has four “petals” surrounding it.
Mula-Prakrti : Primordial root energy.
Ya
Yajna : Sacrifice, one of the main pillars of the Vedic ritual

system.
Yama : The first stage of Tantra which restrains and controls
the physical.
YAM : The seed mantra of the Anahata cakra.
Yantra : A form symbol, aid to contemplation, geometrical

representation of a deity.
Yaksha : A female spirit or fairy; also, a guardian angel and, in

Tibet, a demon.
Yoga : (1) acquisition of what is not yet acquired.

(2) communion. Communion of the individual
soul with the Supreme; discipline leading to
this communion.
(3) (In Patanjali)-Samadhi, cessation of mental
fluctuation (yuji samadhau).
(4) self discipline; Union;
(5) a system of philosophy;
(6) the path on which the individual self is united
with the Universal self; teaching about that
path of realization.
Yogi : Seeker of essential identity with the Reality.

Tantra words-Glossary xxxi
Yogin : A student of yoga; feminine, yogini.
Yoginya: : The aktis---Khecari, Gocari, Dikcari, Bhucari,

Yoni : (1) Womb, source,
(2) The nine classes of consonants; in the context

of letters, akti is yoni, and iva is bija,
(3) The four aktis( Amba, Jyestha, Raudri, Vama)

(4) Maya akti.
Yonivarga : Maya and its progeny; mayiyamala
Yoni-mudra : Yogic posture in which the adept is required to sit in

Siddhasana and contract the perenium.
Yuga : An age or vast cycle of time. Four classical yugas are:
Satya yuga, Treta yuga, Dvapara yuga, and Kali yuga
(the present yuga and lowest in powers of them all).
Ra
Rajas : Principle of motion, activity and disharmony-a
constituent of Prakrti.
Ravi : Sun, in esoteric philosophy and yoga, pramana

(knowledge), prana.
Raga : One of the kancukas of Maya on account of which there
is limitation by desire, passionate desire.
Rudra (Kalagni) : Rudra residing in the lowest plane of Nivrtti kala.
Raja yoga : Royal yoga which emphasizes mental and spiritual

rather than physicalculture. Its aim is to make one a
“ruler” over all one’s mental and spiritual equipment,
the general aim of all Tantric schools.
Rajasika : Active quality of the mind.

Rakini : The akti dominating the svadhishthana cakra of the
genitals.
RAM : The seed syllable of the Manipura cakra .
Rasa : Essence of a thing, aesthetic delight, the substance of

aesthetic experience, pleasure in the pure source of
feeling (pure joy of life).
Tantra words-Glossary xxxii
Rechaka : Exhalation of air in yogic breathing exercises.
Retas : Physical substance.

Rishi : An inspired Seer or Sage.
Rudra Granthi : Psychic blockage of the sushumna at the Ajna cakra .

Cleared by the raising of the Kundalini. One of the
knots that Kundalini has to pierce in its ascent.
Rudra : Originally a Vedic deity of many aspects; later
mythology associates Rudra with iva.
La
Laya : Interiorization of consciousness; Merging, Total

dissolution, Cessation.
Loka : Plane of existence.
Laghima : Power to attain weightlessness by yogic practice.
Lakini : The akti of the Manipura cakra .

Lakshana : Auspicious sign; feature of self-expression; attribute.
LAM : The seed mantra of Muladhara cakra .
Laya-yoga : The awakening of the Kundalini.
Lila : The divine play.

Linga : Generative force in its creative aspect; according to
Skanda Purana, the linga is the name for space in which
the whole universe is in the process of formation and
dissolution.
Linga-sarira : Totality of the subtle or psychic body.
Lokas : Planes of existence inhabited by sentient beings.
Lotus : Symbol of purity, unfolding. The lotus petal

surrounding the cakras represent the varying intensities
of the energies working in the different cakras.
Va
Varga : Classes of letters like kavarga, cavarga, etc.
Varna : (1) Letter

Tantra words-Glossary xxxiii
(2) Object of concentration known as dhvani in

anavopaya;
(3) Anahata nada unstruck sound experienced in
susumna).
(4) Caste distinctions.
Vacaka : Word, Varna mantra and pada.

Vacya : Object, referent, Kala, tattva, bhuvana.
Vama or Vamesvari : Divine akti that emits (root-‘vam’ to emit) or projects

the universe out of the Absolute and produces reverse
(vama) consciousness of difference (whereas there is
non-difference in the Divine).
Vasana : Residual traces of actions and impressions retained in

the mind; habit energy. a behavioural tendency or
karmic imprint influencing present behaviour of a
person.
Vaha : Flow, channel.Prana flowing in the ida nadi on the left,

and apana in the pingala nadi on the right of susumna
are together known as vaha.
Vikalpa : Difference of perception; distinction; option; an idea as
differentiated from another idea; fancy; imagination;
thought-construct.
Vikalpa-ksaya : The dissolution of all vikalpas.

Vikalpanam : The differentiation-making activity of the mind.
Vikalpa (suddha) : The fixed idea that I am iva .
Vikasa : Unfoldment; development; expansion.
Vigraha : Individual form or shape; body.

Vigrahi : The embodied one.
Vijnanakala : Experient below Suddha Vidya but above Maya who

has pure awareness but no agency. He is free of Karma
and mayiya mala but not free of anava mala.
Vidya : (1) Suddha vidya tattva;
(2) Unmana akti, Sahaja Vidya

Tantra words-Glossary xxxiv
(3) Limited Knowledge, a Kanchuka of Maya.
Vimarsa : Self-consciousness or awareness of Parama iva full of

jnana and kriya which brings about world-process.
Visva : The universe; the all; all (adjective).
Visvamaya,Visvatmaka: Immanent.
Visarga : Emanation, creation.

Visargabhumi : Two dots, simultaneously representing akti’s external
manifestation of the universe and internal assimilation
of the same into iva.
Vedaka : Experient.
Vedya : Object.
Vaikhari : akti as gross physical word. The fourth stage of the

gross physical sound or vibration manifesting as word.
Vyapakatva : All-pervasiveness.
Vyamohitata : Delusion.
Vyutthana : Rising, coming to normal consciousness after samadhi

or meditative absorption.
Vaiseshika : One of the six systems of Indian Philosophy;its founder,

the author of Vaiseshikasutra, was Kanada (c. 250 BC-
AD 100).
Vajrini : A tiny duct carrying psychic energy within the subtle

body.
Vamachari : Member of a Tantric School which practices certain
disciplines including the panchatattva (pancamakara).
Vama-marga : “Left hand” path of Tantra.
VAM : The seed mantra of the Svadhisthana cakra .

Vara : A mudra (hand gesture) granting boons.
Varuna : Vedic deity, lord of the oceans.
Vayu : Vital air.
Vedas : The original source books of India, revealed knowledge

of the Aryans, consisted of 100,000 verses and are in
Tantra words-Glossary xxxv
four divisions, the Rig-Veda from about 2000 BC,

considered the oldest literature of the world; the Yajur-
Veda; the Sama- Veda; the Atharva-Veda. Written in
Vedic, an early Sanskrit dialect.
Vibhuti : Expression of higher spiritual and physical powers.
Vidya(gupta) : Secret tradition conveyed from guru to disciple only by

word of mouth.
Vira : An initiate in Tantric rites is called vira as distinguished

from the pasu, the unitiated, one in bondage.
Virya : Effort resulting from a joyful attitude; a spontaneous

urge.
Visnu granthi : The psychic blockage associated with Anahata, the

heart cakra.
Visnu : The second god of the Hindu trinity, the Preserver.

Vishuddhi : The cakra situated at the throat level. Called the Great
Purity center, it has sixteen “petals.”
Visvarupa : The universal form of the absolute.
Vyana : One of the five vital airs(vayu) distributed in body.

a
akti : (1) The power of iva to manifest, to maintain the

manifestation and to withdraw it.
(2) The spanda or creative pulsation of iva or

foundational consciousness.
(3) Power; the secret force permeating all creation.

(4) The female, form- giving, energy of creation and
the leading transcendental symbol of Tantra and
Tantric rituals.
akti-cakra : The group of twelve mahakalis, the goddesses

responsible for creation, etc; the group of, aktis of the
senses; group of mantras; the group of khecari, etc.
akti-chalanas : Energy-movers.
akti-tattva : The second of the 36 tattvas.

Tantra words-Glossary xxxvi
akti-pancaka : The five foundational aktis of iva(Cit, ananda, iccha,

jnana, and kriya).
aktipat : In kundalini yoga, the path through which kundalini
ascends.
akti-pata : Descent of akti; Divine grace by which the empirical

individual turns to and realizes his essential Divine
nature.
aktiman : Mahesvara; iva.
Sabda : Word . Vibrational energy manifested as sound.
Sabda-brahma : Ultimate Realilty in the form of cit-vibration in which

state thought and word are identical. The Brahman as
the primal sound energy.
Sabda-rasi : The group of letters from a to ksa.
Sarira : The material body, substance.

Savasana : The corpse-like yogic posture for complete relaxation.
Sabda-tanmatra : Infra-atomic sound potential.
Santi : Spiritual peace.
Sastras : Sacred books of divine authority, scriptures.

Sakta-up ya : The ever-recurring contemplation of the pure thought-
construct of oneself being essentially iva/ Supreme I-
consciousness.
ambhava up ya : Sudden emergence of iva- consciousness without any

thought-construct (vikalpa) by a mere hint that one’s
essential Self is iva; also known as ambhava yoga or
Icchopaya or Iccha-yoga.
iva : The good; the name of the Divine in general; the

foundational prakasa or divine light. The male transcend
dental symbol of cosmic energy. Considered the consort
of akti, iva represents a more harsh and demanding
energy than the gentle and loving akti. In Tantra,
representing pure consciousness manifesting in the
creative union with akti.
Tantra words-Glossary xxxvii
iva : (parama): The Absolute; the transcendent divine

principle.
iva Tattva : First of the 36 tattvas, the primal manifestation.
Sishya : Disciple
Suddha Adhva : A course of extra-mundane manifestation from iva

upto Suddha vidya.
Suddha Vikalpa : The thought of one’s self being essentially iva .
Suddha Vidya : The fifth tattva, counting from iva. In this tattva the
consciousness of both ‘I’ and ‘This’ is equally
prominent.
Sunya (Bauddha) : A state in which there is no distinct consciousness of
knower, and known; an indefinable state of Reality.
Sunya (Saiva) : A state in which no object is experienced.
Sunya-pramata : Experient who is identified with the void, pralayakala.

Saiva agama : The ten dualistic sastras, eighteen sastras which teach
identify in difference, and sixty-four non-dualistic
sastras expounded by iva.
adadhva : The six forms of manifestation - three on the subjective

or temporal side, viz., mantra, varna, and pada, and
three on the spatial or objective side, viz; Kala tattva,
and bhuvana.
Sandha-bija : The four letters r,R,l,L-which are unable to give rise to

any other letter.
Sandha-bhasa : The secret language of Tantra.

Sastha-vaktra : The sixth organ or medhra-kendra, near the root of the
rectum.
Sa
Sakala : All limited experients from gods down to worm

Sat : Existence which is consciousness.
Tantra words-Glossary xxxviii
Sattva : The principle of being; light and harmony, a constituent

of Prakrti.
Sadvidya : Suddha vidya.
Sada iva
(Sadakhya tattva) : The presiding deity of the Visuddha cakr and The third
tattva, counting from iva. At this stage, the ‘I-
experience’ is more prominent than ‘this’-experience.
Sabija samadhi : Concentration, meditation and samadhi are simply three
degrees of the same thing: samadhi-sabijasamadhi,
savikalpa samadhi, samprajnata samadhi.
Samana : When the Unmana akti begins to display herself in the
form of the universe beginning with Sunya and ending
with earth, then descending from the highest state of
Pramata (knowing Self), she is known as Samana in as
much as she has started the mentation of all phenomena
(asesamanana-matra-rupatvat samana). The vital vayu
that helps in the assimilation of food etc., and brings
about equilibrium between prana and apana.
Samarasa : One having the same feeling or consciousness.
Samadhi : Collectiveness of mind in which there is cessation of

the fluctuations of the mind; mental absorption.
Samapatti : Synonym of Samadhi; Consummation; attainment of

psychic atonement.
Samavesa : Being possessed by the Divine, absorption of the

individual consciousness in the Divine.
Sarvakartrtva : Omnipotence.
Sarvajnatva : Omniscience.
Savikalpa jnana : Knowledge which is acquired by the manas.
Sahaja : Innate essential nature.
Sahaja vidya : Knowledge of the innate essential nature, pervasion of

iva consciousness. Used also in the sense of Unmana
pure divine consciousness in which mental
consciousness ceases.
Tantra words-Glossary xxxix
Sankoca : Contraction, limitation.
Sandhana : Union of the individual consciousness with the

Universal consciousness through intensive awareness;
joining, union.
Samghatta : Meeting; mental union; concentration.
Samvit : Consciousness; Supreme consciousness in which there

is complete fusion of prakasa and vimarsa; jnana akti;
Svatantraya akti.
Samvit-devata : From the macrocosmic point of view, Samvitdevatas are

Khecari, gocari, dikcari and bhucari. From the micro
cosmic point of view, the internal and external senses
are said to be samvit-devata.
Samsara or samsrti : Transmigratory existence, the world process.
Samhara krtya : Withdrawal /reabsorption of the universe into iva.

Samsarin : Transmigratory being.
marasya : Unison of iva and akti; identical state in which all

differentiation has disappeared; identity of
Consciousness.
Saksad up ya : ambhava up ya.
Saksatkara : Direct intuitive experience of the essential Self.
Sugata : The Buddha.
Suprabuddha : One who has awakened to the transcendental state of

consciousness and in whom that consciousness is
constantly present.
Susupti : Sound, dreamless sleep.
Susupti (savedya) : Sound sleep in which there remains slight trace of the
sense of pleasure, lightness, etc.
Susupti (apavedya) : Very deep sleep in which there is complete absence of

all objective consciousness.
Suksma Sarira : The inner subtle body, puryastaka.

Surya (symbolic) : Prana, pramana (knowledge), jnana akti.
Tantra words-Glossary xl
Surya nadi : The Ida nadi carrying prana.
Soma (symbolic) : Prameya or object, apana.

Soma nadi : The Pingala nadi carrying apana.
Sthana-kalpana : A mode of anava up ya concerned with concentration

on external things.
Sthiti krtya : Maintenance of manifestation.

Sthula bhutam : Gross elements - ether, air, fire, water and earth.
Sthula Sarira : Gross physical body.
Spanda : Throb in the motionless iva which brings about the

manifestation, maintenance, and withdrawal of the
universe; Svatantrya akti, creative pulsation.
Sparsa : ka,kha,ga,gha etc. consonants
Sphuratta : Gleam; a throb-like gleam of the absolute Freedom of

the Divine bringing about the world-process; spanda,
the light of the spirit.
Svatantra : The Absolute of unimpeded will.
Svacchanda : The absolutely Free Being, iva, Bhairava.
Svapna : Dream, dreaming condition, vikalpas or fancies limited

to particular individuals.
Svarupa : Essential nature.
Svarupapatti : Attaining one’s essential nature or true Self.
Svalaksana : An object limited in its particular space and time.

Svasamvedana : An intuitive apprehension of Self.
Svacchandya : Absolute Freedom of the Supreme
Svatantrya : Absolute Freedom of Will; Vimarsa akti.
Svatma-saktkr : To assimilate to oneself; to integrate to oneself.

Sveccha : iva ’s/ akti’s own will, synonym of svatantrya
SA HAM : I am she and SO HAM, I am he are phrases identifying

one’s own essential nature.
Sad-guru : A teacher of spiritual wisdom.

Tantra words-Glossary xli
Sadhaka : One who practices Tantric diciplines.
Sadhana : Meditative practice combining the physical rituals of

Tantra; Spiritual discipline.
Sadhu : Holy person.
Sahaja : Spontaneous, inborn, innate; also a minor sect

influenced by Tantra.
Sahasrara : Thousand-petaled cakra located on the crown of the
head and represented by the lotus flower. Considered
the seat of unmanifested iva .
Sakini : The akti presiding over the Visuddha cakra located in

the throat area.
Samadhi : Ecstasy, unification; The deep meditation, trance,

super-conscious state in which identification is realized;
the final goal of yoga.
Samhita : Mystic divine union as distinct from Maithuna.
Sankalpa : The determination or resolution to achieve the desired

goal. In Tantra, these are unified and the student is
taught to attain through joy and satisfaction.
Samkhya : One of the major systems of Indian Philosophy founded
by the sage Kapila (c 500 BC), which influenced
Tantric practices.
Samsara: Created forms: The world in which the law or reincarnation operates.
Samskara : An imprinted impression or fruit of karmic action.
Samyak-sambodhi : Striving after perfect enlightenment.
Samyavastha : State of equilibrium, undifferentiated condition.
Sannyasa : The final stage in the pilgrimage of life which cutsthe

thread of bondage.
Sanskara : An imprinted impression of memory-trace, fruit of

karmic action (see Samskara).
SAT : Being, pure existence.

SAT-CHIT-ANANDA: Being Consciousness, Bliss, as a unity; the peak stage
of realization.
Tantra words-Glossary xlii
Sattva : The highest of the gunas, principle of equilibrium, truth,

purity.
Siddhi : Occult or paranormal powers. The byproducts of the
practice of Tantra.
Sila : Ethical values.
Smrti : Clear awareness, mindfulness.

Soma : Certain type of vine from which wine was made.
Sphotavada : Concept of sound.
Srsti : Creation, one of the three aspects of the world process.
Sthula : Gross
Sudha : Nectar
Sukra : Male seed
Suksma : Subtle
Sunyata : The all-encompassing emptiness.

Sushumna : A nadi or strong electrical current within the bodies
electromagnetic field which is located in the spinal
column.
Sutras : Ancient metaphysical and philosophical texts.

Svadisthana : The second cakra located behind the genitals and
surfacing on the body at the genitals. This is affected
by the colour orange and is closely connected to the
Muladhara cakra, the red cakra. It has six “petals.”
SVAHA : Commonly used terminal word for many mantras.
Svara sadhana : Practice of the yogi causes the breath to flow through
the left nostril from sunrise to sunset; and through the
right nostril from sunset to sunrise.
Ha
Ha : Symbol of akti or divine power.
Hathapaka : Persistent process of assimilating experience to the

central consciousness of the experient.
Tantra words-Glossary xliii
Hrdaya : Lit., heart; the central consciousness which is the

substratum of all manifestation, citprakasa.
Hetu : Cause.
Hetumat : Effect.
Hrada : Lit., Lake; the supreme spiritual awareness. It is called a

lake, because it is clear, uncovered by anything, deep,
and infinite.
Hamsa : Lit., a swan, used to indicate spiritual unfolding. The

seed mantra of the Visuddha cakra.(aham sa:/ soaham);
The jiva, the soul.
Hamsajapa : The consciousness of n da-kal .
Hakini : The akti who presides over the Ajna cakra .
Hatha-yoga : A yoga teaching bodily disciplines leading to psychic

development.

Cidgaganacandrikā - A Study

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Cidgaganacandrikā - A Study

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CIDGAGANA CANDRIKĀ

A THESIS SUBMITTED TO THE

Under the guidance of

PRESIDENCY COLLEGE, CHENNAI – 600 005.

I, Smt.S.Mahalakshmi hereby declare that this thesis Cidgagana

Signature of the Candidate

Sanskrit literature is abundant with various technical sciences

Sādhana under tāntrik path is widespread covering all aspects in

Present study relates to one of the treatises in this category dealing

Sri Siddhanātha (alias Sri Shambhunātha), was one of the most

This work CGC has been published and commented partially by

Later, two Sanskrit commentaries were also written on Cgc in 1941

Śivatattva, Prakāśa-Vimarśatattva, Īśvara tattva, Brahmasvarūpa,

The fourth chapter is a comparative study of the Third Vimarśa

The fifth chapter, similarly, forms a comparative analysis of the

Appendices contain the Select Bibliography, Tables, Śloka-s,

My gratitude is first due to Sri G. Narayanan, the Grand-son of my

This was further nourished by the suggestion of my guide Dr.

I thank Sri Goda Venkatesvara Sastrigal for his explanations on the

I place at the feet of my guide Dr. R. Thiagarajan, the former Head

I thank my friend, philosopher and guide Mrs. Muthulakshmi for

I salute the authors of all the works mentioned in the Bibliography

I dedicate this thesis to my departed Parents Sri. M. Saranathan and

II Gleanings from the first two vimar -s of Cgc 11

III The discussion on the first two Vimar a-s 38

IV The discussion on the Third Vimar a based on 79

V The discussion on the Fourth Vimar a based on 118

VI Cgc and Philosophy of Kashmir tantric system 172

VII Cgc and the Concepts of Krama system and 223

Table of Devi Manam

Chart of Pratyahara of Panini

Chart of Divine Manifestation According to the Saiva Agamas

Chart of Pancabrahma Veda Mantras

Chart of Cosmic Manifestation

Chart of Four Levels of Speech

Chart of Sri - Yantra Cosmo Gram

Chart of Mudra Vidhanam

Chart of Lineage of Krama Preceptors

The Text Cidgaganacandrik

The Cidgaganacandrik , an important aiva T ntrik text with the

“iha k lId sa candrapras tir nandini stutir vy jat/” 2

“siddhan thak tatatkramastute: k lId saracit ca pa cik m/”3

“k lId sapadav m tav ritastatpras dak tav gvijrumbha a:4

The Importance of Cgc

Gorak an tha alias Mahe var nandan tha in his ‘Parimala’-

‘kevalam tadanuvar ane apyume tvanmude tadapi d sajalpitam 6

The proposition ascribing the Cgc's authorship to this famous K lid sa

The passages from the Cgc quoted by Bh skarar ya in his commentary

acknowledged by him to be the assertions of K lid sa occasionally with

The concluding line of the Cgc ‘ nararthamah guhyam rivatso

But, the documentary evidences relating to the date and authorship of

Abhinava composed hat-pratyabhij -vimar i, in 1014

From the references to Mat gupta obtained from Kalhana’s

The time of the author of the Cidgaganacandrika is not as puzzling as

This Srivatsa alone is certainly the author of Cgc. Probably, he was

The structure of the work

Critical Estimate of the work

The Cgc is in the form of prayer addressed directly to di akti. It

In Vimar a I, the author deals mainly with ivatattva, Prak a-Vimar a

In Vimar a II Vimar a lak ana, V akti, Par -pa yanty di-v k

In the third Vimar a there is a description of Up sana, P hotpatti,

The fourth Vimar a deals with adadv , Ca dika, P dravya,