ALCHEMY LAB
T HE W ORSH ORSHIP IP OF THE G ODDESSS T ODDES RIPURA RIPU RA S UND UNDARI ARI Nowadays one of the most large-scaled current venerating the Mother Goddess in India is the cult of the Goddess Tripurasundari. One can find a lot of information and stories about the Goddess Tripurasundari in the multitude of published books. In this material I would like to acquaint you with the essential a spects of the theme and practice. In accord with the etymology «shri» has the singnificance of abudance, plenitude, splendour and «vidya» means the knowledge which leads a jiva (embodied soul) to mukti (liberation). This Tradition is mostly known by its famous Shriyantra which is considered to be a Raja-yantra — the queen of all yantras. The tantr ics often invoke other deities and worship them in this yantra. It i s not a casual thing because the shakta-tantrics of Shrividya believe that the Mother Goddess Tripura Sundari gives the birth and manifistation fist ation for the whole Universe and all deities. Shrividya is t he tradition of mantras indeed as this ta nric cult includes a really extensive multitude of them as well as a variety of deities. Generally Generally there are two groups of mantras — male and female. The male one is called «mantra» and the female mantra — «vidya». Mantras are supposed to be the subtle body of a Deity. They may have the form of «bija» — a seed syllable sylla ble or monosyllabic mantra. Sometimes mantras consist of several bijas and in this case they are called «k utakshara» — a gathering gathering of syllables. Mantras can form a subtle body of the Deity with the help of nyasas (depositions) inside of the body of a worshipper. In consequence of this process a practitioner can meditate on t he oneness with the Deity. It is also possible to install a yantra inside of t he body, for example every chakra of yantra upon a chakra of sadhaka. Such kind of depositions of a Deity or its energy may be made on ones own body or upon other participant of the tantric ritual. This approach is popular in the tradition of Kaula. This tradition is nominaly divided into Shrikula (Shrividya) and Kali kula (the cult of Kali). However these currents of the Mother Goddess suplly each other and maintain the same elements. elements. But talking about Shrikula it is to be emphasized that at advanced levels of Shrividya we start worshipping
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Kali as well. It is concerned with the fact that Kali is ugra (fierce) (fierce) Goddess, cutting off t he mundane attachments. This is why one must perform high-quality worship of Tripurasundari before beginning the practice of Kali especially in the form of panchamakaras. The name «Lalita Tipurasunadari» is translated as «one who has the nature of a play» (leela or v ilasa), also «splendid in the three worlds». She liberates from these 3 worlds or bestow jivanmukti in them. Ususally she has the forms of Bala of 8 years old, Panchadashi of 15 years old, then of the age 16 and 28 years. There are some definite mantra s for every age wit h the corresponding amount of bijas. Nevertheless every of her aspects may has very diverse forms. For instance Bala has a standard form of the threeakshara ma ntra, but at the same time there are more then 30 types of this mantra with the larger number of aksharas for different dif ferent purposes. There There is also a sadhana of Bala when she is worshipped as Kamakhya and there is a special yantra, retinue of yoginis and the performance of puja in this case. At t he same time it is possible to worship Kamakhya Balasundari with panchatattva. There is also an upasana of Bala when she turn s into Tripura Bhairavi and the syllables Ha, Sa and Ra are added to the threeakshara mantra. They simbolize Kameshvara, Kameshvara, Kameshvari and their Union. The Naths as well have the worship of Bala. She is depicted the same way like in the first variant, but the mantra and practice are very different, although goals are similar to Shrividya Tradition. It is possible to say the Naths are more prudent with the practice of abhichara. Usually the parctitioners meditate on the image of Bala keeping in mind the secret sacral meani ng of every element. Bala holds in one left h and a book — the sy mbol of knowledge, other left hand shows the abhaya-mudra — the symbol of fearlessness, one right hand holds a rosary and the other shows the varada-mudra — the symbol of compassion bestowing the good. She wears red clothes which symbolizes Shakti, therefore the red colour is very significant for the shaktas. Her th ree eyes are the symbols of the Fire, the Sun and the Moon. She is adorned with the crescent on her hair
(ardha-chandra) — the symbol of the Div ine Light द-िद and of the Divine v ision (clair (clair voyance) द-द द-द ट , the power of vision t hrough any dist ance (space) (space) न द द त. The adornment on the head means the Divine knowledge. Her earrings ुक ं डल य stand for Divine Hearing and the ornaments on her hands symbolize the power of catching anything even ob jects at a great distance dis tance द गहण दत. Ornaments on her feet are the symbols of the Divine Migration (motion, dis ूषण placement). The adornment of the neck क ं ठ भ ू षण means the Divine voice द कंकंठ . The fingers of her hands symbolize ुषा the Divine touch and four arms — the four aim s of life प षा . In the form of Tripurasu ndari (Shodashi) she is enthroned on Sadashiva. From his navel appears a lotus. According to Shrividya there is a para-vac in navel, so actually Lalita is manifestated from it. Sadashiva lies on the throne of Lalita which is situated upon the heads of Brahma, Vishnu, Rudra and Ishvara. For this reason the Goddess Tripurasundari is worshipped along with P anchabrahma Shiva — fivefaced f ivefaced Shiva from whom 5 amnayas are descended. There is also a special form of Ganesha known as Kshipra Ganapati (quick Ganapati) that corresponds with the Goddess Lalita. He is supposed to be quick in revealing spiritual experience. Tripurasundari is glorified by her proper respective Shriyantra like a symbol of all yantras. Obviously this is the reason all Deities may be worshipped in Shrividya. The whole sacred image of Tripurasundari with all its elements has a large amount of meanings: her lasso symbolizes devotion, the curved knife means the t he power of cutting off attachments, the 5 arrows of sugar cane — the 5 arrows of Kamadeva as well as 5 senses. She is sirved by Lakshmi and Sarasvati. It is said in «Lalita-sahasranama» that Ten Avatars of Vishnu appear from Her ten nails. nail s. In fact if i f we study thoroughly «Lalita-sahasranama» «Lalita-sahasrana ma» we can find descriptions of numerous numerous symbols of the Goddess appearance as well as her diversed powers. Moreover Moreover her symbolism sym bolism is even deeper for those who practise Shriv idya: for example from the essential form of Tripurasundari may be manifestated either Durga or Kali. In the aspect of Rajarajeshwari Tripurasundari assumes the form of Durga. Rajarajeshwari is depicted on simhasana — sitting on the lion, it is the symbol of royal authority of the Goddess साा. We all know that Durga as well move around on a tiger. Tripurasundari may also assume the form of Bagalamukhi, Chinnamasta (Shrividya form is Vajraprastarini), etc. It is to be said that in the linage of Shrividya three Goddesses — Kali, Lalita and Durga personify the three component elements elements of Panchadasha mantra. Therefore first three Goddesses are very significant for Shrividya-upasana. The principal mantras of Shriv idya are the following: Balasundari Mantra:
aiṁ klīṁ sauḥ Panchadashi mantra:
ka e ī la hrīṁ ha sa ka ha la hrīṁ sa ka la hrīṁ Shodashi mantra:
ka e ī la hrīṁ ha sa ka ha la hrīṁ sa ka la hrīṁ śrīṁ Mahashodashi mantra:
śrīṁ hrīṁ klīṁ kl īṁ aiṁ sauḥ oṁ hrīṁ śrīṁ ka e ī la hrīṁ ha sa ka ha la hrīṁ sa ka la hrīṁ h rīṁ sauḥ aiṁ klīṁ hrīṁ śrīṁ |
It is to be noticed all these principal mantras are transmitted by a Guru wit h the corcorresponding initiations. On the other hand there is an infinite amount of mantras in Shrividya. For instance there are a lot of sorts of Shodashi and Mahashodashi mantras, usually they are constitued by alternating syllables what changes characteristic of mantra. My Guruji explains this by the following way. In the beginning we worship young Balasundari Goddess of 8 years old. So we use the Bala mantra of three aksharas aiṁ klīṁ sauḥ in practice. The bija « aiṁ » is the bija of speech, «klīṁ » — Kama — wish and « sauḥ» — Shakti (mystical power). power). After the practice of th is mantra t he experienced sadhaka starts the practice of mantra of 15 years old Goddess — ha sa ka ha la hrīm Panchadashi mantra. It is a symbol of the Goddess starting to s a have the menstrual cycle. Her k m ī a vidya is div ided into 3 kutas: the r h l a first starts with « ka » ka e ī la a l h ī r hrīṁ; the second with « ha » ha sa ī m e ka ha la hrīṁ and the third one with a k «sa» sa ka la hrīṁ. These kutas are speech, wish (will) and shakti (power), in fact they proceed with what is practised in Bala mantra. Then sadhaka practises the mantra of 16 syllables which is the essence of the two previous and allows to recieve knowledge directly from the Goddess perceiving the Atman. The tra nsmission of the 16 syllables mantra my Guru call s shakta abhisheka. After this sadhaka worships Tripurasundari with the mantras of more then 20 syllables when the Goddess becomes like a mature woman united with Shiva Kameshvara and from this moment she is Kameshvari. At this stage sad haka is empowered and gains authority to practise the most secret methods of Shrividya in the form of panchamakara-puja etc. This intiation is called purna abhisheka abhis heka. Afterwards upasaka worships Kali and other fierce forms of Goddess. In general all these stages are considered to be the process of Kundalini awakening and realizing of her oneness with Shiva.Certainly all these stages have a lot of secrets and Guru may tr ansmit t hem only to tested disciples in whom he has a real confidence. In some currents of Shrividya other Gurus may have different algorithm of initiation and principles, but in this article we will explore the most famous mantra and its meaning. It is to be mentioned here that in the li neage of the Naths there is also one initiation called Upadeshi-diksha or T r i kona Goddess Consort Function Shakti Sound stage Consciousness
L e f t s id e Va ma Br a h ma Crea Creati tio on Ic c h a Pa shya nt i Wa k i ng
Center J yosht h a Vi sh nu Suste ustena nan nce J ny a n a Madhya m a Dream i ng
R ight side Bi ndu R au d r i A mbi k a Sh iva I s hv a r a Dest Destru ruct ctiion K r iya Va i k ha r i Pa ra Deep Sleep t he Fou r t h
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vāgbhavakūṭa kāmarājakūṭa tat tat Kameshv Kameshvara ara Brahman Brahman ha Kameshvari (Shakti) sa savitur (three syllables = t hree mantra words) savitur varenyam e Shiva bhargo devasya dhīī ka varenyam Earth la mahi bhargo devasya dhī- (one sound = six syllables) ha hrīṁ dhiyo yo naḥ pracodayāt Maya la mahi hrīṁ dhiyo yo naḥ pracodayāt ka
Shankhadhal when Guru trasmits mantras and forms of upasana to disciples. But mantras themselves and the way of G oddess Bala worship are quite different. At the same time the image of Bala is identical to Bala of Shrividya and t he mantra is like a derivation from Paraprasada ma ntra Soham along with Threeakshari mantra, but with the symbolism of Sarasvati, Kali and Lakshmi united in the image of Bala. The principal Panchadashi mantra of Srividya i s considered to have the origin of Atharvaveda, Shri devi atharvashirsha in particular. This shloka can assume the form of bijas.
sa ka la hrīṁ
śaktikūṭa tat savitur varenyam bhargo devasya dhīmahi dhiyo yo naḥ pracodayāt
Kama, Yoni, Kamala, Vajrapani (Indra), Guha, Hamsa, Matarishva, Abhra, Indra, Punarguha, Sakala, Maya are also mantras of the Mother of Universe who is the Brahman undoubtedly. There are a lot of ways of decoding of this shloka, I offer the three well-known variants: 1. Каmа Каm а (eros) (eros) — ka , Yoni (source) — e , Каmаlа Каm аlа (Goddess) — ī , , Vajrapani (Indra) (Ind ra) — la , Guha (Skanda) — hrīṁ , Hasa (Ham ( Hamsa) sa) — ha , sa , Mataris Mata rishva hva (air) — ka , Abhra (sky) — ha , Indra Indr a — la , hrīṁ , sa , ka , la, Maya — hrīṁ. 2. ka — wish, e — intention, ī — motivation, la — accomplishment, hrīṁ — light and realization of soul, ुहा ha — the Sun, sa — the Moon, ka — wish, ha — praकाम यदनः यद नः कमला वजपाद वजपाद णर ु हा हसा िमाद ाद म मःः । र ुहा ुपनर प ु na, la — accomplishment, hrīṁ — light and realizaन ु हा सकला मायया च ु ष द वशिमाा वशिमाादद िमाा िदवम ्॥१४॥ ॥१४॥ tion of soul. sa — moon energy of mind, ka — wish, kāmo yoniḥ kamalā vajrapāṇirguhā hasā la — accomplishment, hrīṁ — shakti and light. mātariṣvābhramindraḥ | 3. ka — Shiva, e — Shakti, ī — the God of Love, la — punarguhā sakalā māyayā ca purucyaiṣa earth, ha — the God of Sun, sa — the rays of the cool viśvamātāditividyom || 14 || Moon, ka — the God of Love, ha — the Sky, la — Indra, sa — Parа, ka — the God of Love, la — Vishnu. Derived Vocal root Esoter ic mea ning sound There is a multitude of mantras in Shrividya with the vāgbhavakūṭa various number of aksharas similar to panchadashi where ka kan , shine Shiva , Enlightener aksharas ca n have the concealed concealed alchemical meaning. This learning tool, i.e. Buddhi e in, learn alchemy as a rule is formulated by mutual interaction of [ka + e point to radiant mind] different dif ferent powers and energies. energies. But most of Gurus keep it i n ī ī , fill filling of all reality secret. In some sense the alchemy of Shrividya is very alsuperiority la + ha + lied to that one of the Naths. However it is to be noticed rī that nowadays not all of Guru manage to retain th is knowlṁ reason of superiority edge. In fact there are a few experts in this field of prackāmarājakūṭa tice. Most of such kind of Masters prefer to teach only reaf fect braver y, ha – cause of victory ha han , affect stricted c ycle of followers followers selecting aspirants by extremely over the enemy exigent way. sa so , enjoy or wealth, assista nce in enjoyenjoyThe splitting from bindu to trikona (triangle) generates ment su , generate ka kam , wish wi sh women, who are attrac at tracted ted by manifestat ion of these categories categories of tri adic deities and enmantra and a re objects of ergies and there are various descriptions of them in the desire texts of Shrividya. A lot of Masters list different connecha oharn, go regard to the ach ievement of tions and metaphisical principles of them and sometimes courage, wealth, desire etc. they vary deeply in significance and interpretations deglor y la + ha + ī , shi ne pending on a school. rī The unfolding of the triangle starts from the left line ṁ (rekha) of the inner triangle of Shriyantra ( sarvasiddhipśaktikūṭa rada) and goes clockwise. This way every element of the that whereby there exist sa ka la symbolic tr iads becomes related to the lines of the tria ngle aforementioned aforementioned actions ac tions in the center of Shriyantra. The bindu (point) is situated at Destroyer of Universe Un iverse hṛ hṛ , elim inate the same center and symbolizes the Goddess Ambika perī shine, cause of creation and sonify ing the authentic Self of a man — Atman. When the maintenance Mother Goddess creates the Universe the unique source in [hṛ + ī = = Mother who shines in the heart and d issolves the the form of mahabi ndu is divided i nto 3 bindus (sun, moon pain, hrī – – dependent determined component and fire fi re)) and they are joined by the dif ferent forms of nada. (karmadhārya) with ṁ] primary sound (nāda) or ṁ These three bindus symbolize the corners of Shri Yantra knowledge triangle tria ngle which is in its turn the yoni of the Goddess. Goddess.
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ka e ī la hrīṁ — Kameshvar i (rajas) (rajas) ha sa ka ha la hrīṁ — Vajreshvari (sattva) sa ka la hrīṁ — Bhagamalini (tamas) All Shri Yantra appears, following the evolutionary trends ( pravr itti ), from the cenitt i ), tral triangle. Panchadashi-mantra is considered to be the foundation of Shri Yantra. Together with the central bindu and syllable r it appears as Shodashi. Some tantrics also relate Panchadashi-mantra to the Vedic Gayatri and they believe that Gayatri can be tra nsformed into a form of Panchadashi bi jas, and that tha t Panc P anchad hadash ashii conta con tain inss all al l the Gayatri. Please find attached the relevant tables of interrelation Gayatri with Panchada shi. And, even each kutakshara is able to contain the potential of Gayatri-mantra. Panchadashi mantra is unique because it is capable to untie the three nodes ( granthas) in human body, awaken chakras and Kundalini. So, for example, pronouncing ka e ī la hrīṁ , we untie u ntie Brahma-grantha and activate the condition of fire. When we recite ha sa ka ha la hrīṁ , so we unt ie the Vishnu V ishnu node nod e and ac tivate the Sun power, while pronouncing sa ka la hrīṁ , we untie the Rudra node and a nd activat ac tivatee the Moon power. The sixteenth bija śrīṁ allows to open the Sahasrara — chakra, and by vibrating bindu (anusvara) in syllable śrīṁ with wit h mantra’s help we can activate sukshma-chakras of dvadashanta. Panchadashi mantra syllables are also known by their connection with fifteen lunar days ( tithi ), ), which are associated with fifteen Nitya Goddesses. In Indian astrology the Moon plays a key role, while in Tantra it is believed that the Moon contains both powers — its own a nd the solar one. For example, the new moon ( amavasya) is related to the lunar power, whereas the full moon ( purnima) — to the solar power. In human body new moon is associated with lower chakras, while f ull moon — with upper chakras. If we translate the word hatha-yoga , so hа means Moon and tha means lunar and solar discs simultaneously. simultaneously. Hatha-yoga is the balance of the lunar and solar power or Prana and Apana (ascending and descending forces), and also the u nion of Shakti and Shiva. How the mantras of fifteen Goddesses are associated with t he outer and inner cosmos, this is a topic for another article, here I will just mention thi s connection. Furthermore, the greatness of fifteen syllabic Tripura Sundari mantra is al so in fact that its syllables contain 36 metaphysical categories of Being which are popular in both Shivaism and Shakt ism. Moreover, Moreover, Panchadashi mantra ha s the potential of all the letters of of Sanskrit, in Shakti sm they are considered as the Goddesses Mothers (Matrika). For example, the first system a-ka-tha is connected with three kutas of Yantra. The f irst kuta i ncludes ncludes all Sanscrit vowels
from a , the th e second secon d kuta kut a includes inc ludes conson c onsonant antss from fr om ka to ta , and the third kuta — remaining ak sharas from tha . There are other systems that link matrikas w ith mantra. Sanscrit aksharas have a feature: consonants contain contain also the vowel «a», which is pronounced at the end of the word. For example, syllable ka has t wo sounds fused together such as k and а , while vowel vow el е contains just itself and nothing else. If we count the number of sounds in Panchadashi-mantra, including the sounds of Nada and Bindu in hrīṁ , we will wil l get 37 sounds. These sounds are related to the 36 tattvas, including the 37th category category Pa ramashiva (tattvatita) or that Shri Abhinavagupta called Anuttara. All the Sanscrit letters, from Tantrism point of view, have a deep sacred value, so, for example, vowels are often seen as being associated with Shiva, while the consonants — with Shakti. Consequently, all mantras consi sting of compounds of vowels and consonants are the personification of the blessed union of Shiva and Shakti. Yogi Shri Matsyendranath
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