Sri Chakra Navavarana Pūjā

8/12/2019 Sri Chakra Navavarana Pj

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3er "race is kno#n as aktipta, #ithout #hich realiEation is not possible. +henour contemplation is intent and complete during sakrama, aktipta ispossible. 3o#ever, this purely depends upon ones depth of devotion andspiritual evolution, #hich al#ays progresses concurrently.+hen moon comes out of its union #ith the sun, moon begins to add one kal or

digit to itself every day and on the full moon day &pr im', the moon becomesbright #ith all its fifteen digits shining. $he si5teenth kal or digit #hich is nothingbut @alitmbik, is present in every digit= #ithout this si5teenth digit being presentsubtly in all the fifteen digits or kal>s, these digits cannot individually function. 4tis the principle based on the %elf and the self. +ithout the %elf &Brahman' beingpresent in the self &individual soul', latter cannot function at all. %imilar is thecase #ith nitydev >s. +ithout @alitmbik being present in thesefifteen nitydev >s, they cannot function and #ithout their function, day, #eek,month, year, decade, century and other time factors cannot happen leading tochaos and confusion. +e have to remember that time is the crucial factor for 3erfive acts I creation, sustenance, destruction, concealment and grace or

compassion. $his is e5plained in detail in@alit %ahasranma 0L2 to 0K2.Out of the fifteen tithi nitydev >s, three of them form the inner most triangle of riakra and they are #orshiped again in eighth vara a. ah 8me)var , ah

!ajre)var &%he is also kno#n as ahvidy' and ah Bagamlin are thethree tithi nitydev >s #ho guard the three sides of the innermost triangle of ri

akra. $hese three )akti>s are thus #orshiped t#ice, one as tithi nitydev >s andanother as eighth vara a devi>s.$here is direct relationship bet#een 3er subtlest form 8u alin and the phasesof the moon. $his ho#ever vastly differs from the foregoing discussion. 6s #ehave already seen that during full moon, %he conjoins #ith iva and hence, %heis in sahasrra, the microcosmic plane of $heir union. $heir macrocosmic union

takes place in the cosmos. +hatever happens in the macrocosm is reflected inmicrocosm and #e are unable to understand this reality, as #e never seriouslylooked into these aspects. %anatkumra %ahita gives an entirely differentinterpretation. 6s 8ualin , %he rests at mldhra during ne# moon and goesup to sahasrra during full moon. 4n fact, in mldhra, iva and akti remainunited at kula> sahasrra. 8ula al#ays refers to akti and akula refers to iva.*uring ne# moon day, their union takes place at kula>sahasrra, a dark placebelo# mldhra. 8ula>sahasrra is aktis place and akula>sahasrra is ivasplace. 4n both the above versions, it is obvious that both of them enterinto sakrama either on the ne# moon day or the full moon day. But, this versionis not generally accepted and follo#ed, as the secretive principle is not

understood.$his secretive principle can be e5plained like this. @alitmbik as the si5teenthdigit is present in all the digits of the moon, #hich are #orshipedas tithi nitydev >s. +e have already discussed on several occasions that akticannot function #ithout iva nor iva can shine #ithout akti. $hus they areinterdependent in absolute terms. +hether akti is in mldhra or sahasrra orin any other place, they cannot remain as t#o individual entities. 4f the %elf is notpresent as the individual soul #ithin, veiled by my &akti', #e cannot function
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and the same rationale is applicable to both macrocosmic and microcosmicprinciples. r !idy #orship does not serve any purpose #ithout understandingthis basic principle. $he interconnection bet#een macrocosm and microcosm issubtly and authentically conveyed through r !idy. ost of the follo#ers of r!idy are not able to attain the desired goal because of their failure to

understand subtle and secretive conveyances. 4nstead of learning andunderstanding the secretive and authentic conveyances, #e tend to get attachedmore to#ards practical applications rather than spiritual implications.

ach of these tithi nitydev >s represent one vo#el of %anskrit, #hich has si5teenvo#els. Out of the si5teen vo#els, fifteen of them #ith bindu>s representfifteen tithi nitydev >s and the last oneK does not have a bindu and instead hasvisarga &t#o dots one above the other by the side of an alphabet is visarga, like asemicolon %'. $his visarga represents manifesting aspect of akti, #hereas thebindu &a dot on the top of an alphabet' represents the creative aspect of iva.Based on this principle, in the arrangements of vo#els K &a' comesbefore K &a'. $his signifies that from iva, akti originates and secondly it also

means that akti manifests as the universe. $his concept is #ell e5plained in the#orship of tithi nitydev >s. -ifteen tithi nitydev >s are #orshiped outside theinnermost triangle of ri akra and they represent the first fifteen vo#els #ithbindu. But, @alitmbik is #orshiped on the bindu, #hich is the central point of ri

akra #ith the last vo#el K &a'. $his means that the creation begins fromvisarga. 4t is also important to note that both iva and akti have si5teen kal>s.4n the first fifteen kal>s iva is present and the last kalK &a' is entirely leftto akti for the purpose of manifestation. But for the first fifteen vo#els, si5teenthvo#el K &a' is not possible and similarly, but for the si5teenth vo#el, thepresence of first fifteen vo#els are of no use in the process of manifestation.

anifestation is possible only #ith visarga and creation is possible only #ith

bindu #hich symbolically represents akti and iva respectively. $his alsoe5plains the principle of kaula. iva is kno#n as akula and akti is kno#n as kulaand their union is kno#n as kaula, #hich forms the basis of $antra stra>s. $hiscreative principle is grossly undermined, misunderstood and misrepresentedno#>a>days. ?nion of iva>akti is emblematically represented in macrocosm bythe union of sun and moon and in the microcosm it is actually represented by8ualin #ho unites #ith iva at sahasrra. $his is e5plained in detail in @alit%ahasranma 9 %amaycra>tatpar. $his phenomenon can be betterunderstood only through contemplation. $hat is #hy, #orship of ri akra isdivided into t#o categories. One is :viyat>cakraC &viyat means atmosphere' or#orship in space, #hich includes understanding both macrocosmic and

microcosmic union of iva>akti and the other category is :bahirvtti> cakraC&bahirvtti means occupation #ith e5ternal objects' #hich is nothingbut navvaraa pj. !iyat>cakra contemplation is considered much superior tocontemplation e5plained in Bhvanopaniad, because in viyat>cakracontemplation, everything happens in cosmos #hereas in Bhvanopani ad,contemplation is related to human bodies. $his is kno#n as hakra rahasya&secret of ri akra'. $here are other rahasya>s like mantra rahasya and pjarahasya &rahasya means secret'. Other t#o rahasya>s #ill be discussed later in
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the series. 6nother significant point that needs to be understood is aboutkmakal, #hich has a lot to do #ith tithi nitydev >s. $he first fifteen vo#elsrepresenting fifteen lunar digits &fifteen lunar days' merge into a triangle and thistriangle is represented by kmakal and this is e5plained in @alit %ahasranma100 kmakal rp.

6s far as 8aula>s are concerned, they #orship the particular tithi nitydev rulingon that particular day. But, as far as samaya>s are concerned, they #orship allthe fifteen nitydev >s daily as they kno# that all these nitydev >s originate from

ahnitydev , also kno#n as @alitmbik. 4n other #ords, samaya>s are a#arethat the fifteen kal>s originate from theoa)a kal or si5teenth kal, #hich is inthe form of &)r ' b ja. volution of (a;cada) mantra to - oa) mantra isbased on this principle.(,.)! Bor/hip of tithi nity 8e9';/%

-ifteen nitydev >s are #orshiped outside the innermost triangle. ahnitydevand the nitydev presiding over the particular day are #orshiped in the bindu.

ach of these nitydev >s have mantras, yantras, varaa devi>s, arcana, etc.$o begin #ith, ahnitydev is to be #orshiped in the bindu and pjana andtarpaa should be made three times.2 > > K % ! " ) * " ' %". +2 > mla Q a )r lalitmahnity )r pduk pjaymi tarpaymi nama QQ$his should be follo#ed by pjana and tarpaa for three times for thenitydev presiding over the particular day in #hich navvaraa pj isperformed. @et us take an e5ample of fifth lunar day of )uklapaka a5ingmoon', #hich is kno#n as pa;cam tithi and )uklapak a pa;cam tithi is presidedover by !ahnivsin nitydev . %he is posited in the above image in the pacemarked as F. $he same nitydev viE. !ahnivsin nitydev is #orshiped in thesame place during kapaka aning moon'pa;cam tithi= the only differenceis that she is #orshiped as the fifth nitydev during )uklapaka pa;cam and asthe eleventh nitydev during kapaka pa;cam . 6ll the nitydev >s continueto e5ist in the same place #ith the same b jkara>s. $his also signifies thee5pansion of kal>s during)uklapaka and contraction of kal>s duringkapaka.
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B jkara>s and the names of thiti nitydev >s are given here. +hile performingpjana and tarpaa, 2 is to be prefi5ed and nity and )r pduk pjaymitarpmi nama is to be suffi5ed. -ollo#ing is the e5ample.

! " ) * " ' %" . +om ai hr )r vahnivsin nity )r pduk pjaymi tarpmi nama QQ

/. a > 8me)varinity K> * &J ! 0. > Bhagamlini9 >3 1. i > Gityaklinn > ! ? 2. > Bherun g >3& AP F. u > !ahnivsini n > L. > ahvajre)var s > ' &J K. > ivadt Q > ) %

. 2 > $varit ~ > ! % 9. lu > 8ulasundar > * A) /P. 3 > Gity > ! //. e > G lapatk a > "% * /0. ai > !ijay > ' /1. o > %arvama gal C > . T /2. au > Uvlmlin` > D /F. a 7 itrK 7 $% $here are also other versions about ho# nitydev >s are to be #orshiped.

(-. F$r$"a al rcana" (-.1! F$r$;:i ya relation/hip%4n r !idy, role of a "uru is e5tremely important. (ursuing r !idy in itsproper perspective leads to liberation step by step. r !idy literally meanse5alted science. But, there are various paddhati>s & "k % ' &paddhati means path or divisions' #hich discuss about various aspects of #orshipping @alitmbik. 4n r!idy cult, ones "uru is called r "uru and prefi5 r not only delineates theauspiciousness of the "uru, but also used as honorific prefi5. "uru>)i yarelationship is not only e5tremely important in r !idy, but also sacred andauspicious. $he inherent factor in this relationship is mutual trust. 6t the time ofchoosing the "uru one should make proper enDuiries about the prospective "uruand once "uru>)i ya relationship is established, the disciple should not movea#ay from the "uru #ithout any valid reasons. %imilarly, a true "uru from r!idy lineage #ill also evaluate a person before accepting him or her as adisciple. But ho# many "uru>s in r !idy really kno# the subject and ho#many of them are capable of taking the disciple to pursue spiritual path forattaining 3er "race and final liberation, is a big Duestion. $hough many of themare thorough #ith practices, they are not a#are as to ho# to lead his or discipleto#ards liberation. +ithout the goal of realiEation, mere ritualistic practices are ofno use. 4n a spiritual journey one begins #ith dvaita &dualism' philosophy, moves


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to 6dvaita and finally realiEes Brahman. 4n r !idy also this is the fundamentalintent. r !idy is in no #ay a substitute to 6dvaita (hilosophy and on thecontrary it e5plicitly advocates non>dualism in stages. $he culmination of r!idy is at the Bindu in ri akra, #here iva and akti unite. ?nderstanding theunion of iva and akti is of great importance in r !idy. $heir union is kno#n

as kmakal and only from kmakal :mah parprsda mantraC mantraoriginates&mah parprsda mantra is hsau shau= from this originates:hasaC mantra'. $his is based on the revelation made in %aundaryalahar&verse /', :iva )akty yukto yadi bhavati )akta prabhavituC #hich meansthat iva becomes inert if 3e is not united #ith akti. $he greatest advantage ofr !idy is that a practitioner is made to realiEe @alitmbik first, #ho personallytakes the aspirant to iva for liberation. 4t is important to understand that onlyiva is capable of granting liberation and akti evaluates a person for liberation.3ence %he is adored as iva>j;na>pradyin &@alit %ahasranma K0K'. $hus,for the purpose of liberation, one has to realiEe akti first. r !idy stronglypaves the #ay to realiEe 3er through mantras and yantras and hence attains

great importance. r !idy is a Duicker #ay to realiEe 3er due to the intensity ofupsana. ?psana consists of four aspects one leading to the other and they areupdna or preparation of offering, ijy or oblation, svdhyya or recitation, andyoga or devotion. $his means that there are four stages in upsana and thesecan be briefly e5plained like this. $he first stage is preparatory stage, #here amantra is initiated to a disciple. $he disciple, apart from reciting that initiatedmantra, begins to understand the mantra and #ith the help of the mantra, beginsto #orship the concerned deity. 3is #orship then evolves into offering oblations tothe concerned deity. 6fter having satisfied himself #ith all the procedural aspectsof #orship, he moves to mantra recitation. $his stage is the most crucial aspectof any upsana, #here ine5plicable connection is established bet#een him and

the concerned deity #hich blossoms into devotion for that deity. +ith moreintensified pursuit, his devotion transforms into love and he becomes one #iththe deity, the logical conclusion of any upsana. $ransition from one level to ne5thigher level is aided by ones "uru. $ransition happens both in the physical planeas #ell as in the mental plane. (hysical transition leads to perfection in ritualisticprocedures and transition in mental plane leads to realiEation of the %elf through3er. 6n aspirant under normal circumstances may not be able to realiEe mentaltransformation and only "uru can guide him in this aspect. 6n aspirant #ill haveseveral confusions #hen hypervelocity mental transformation happens. 6ll thesedoubts can be clarified only by a "uru. +hen hypervelocity mentaltransformation begins to unfold, one is bound to move a#ay from the first t#oaspects of upsana, updna and ijy, #hich #ill stop automatically. +hen oneenters into trance, even the mantra stops on its o#n, as in samdhi everything isstilled including the mantra. *uring this stage, one naturally gets a doubt #hether it is right to stop this mantra like this. 6 "uru #ill surely advise his disciple, thatthis is the perfect stage in his spiritual path. $his stage alone leads to perfectionin yoga &yoga means union, union of individual consciousness and %upreme

onsciousness'.


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$here are many %criptures that describe about "uru>s. 8makalvilsa &verse19' says that both iva>akti are in the form of "urumaala>s. 4t describesthem as "uruma ala>svarpa. $hough they are apparently different from"uruma ala>s, yet is not so. $his is e5plained by using the phrase avi)e a>bheda bhinna &K & N >3& ) 3? '. %imilarly, 8ulr ava $antra speaks about "urus

e5tensively. $#o chapters have been e5clusively devoted to "uru>disciplerelationship. 4t speaks about t#o types of initiations, one is e5ternal initiation&bhya d k' and another is internal initiation &vedha d k'. Bhya d k is alsokno#n as kriy d k, #hen a mantra is imparted to a disciple after performingspecific rituals. But, in vedha>d k, "uru transfers his energy to the disciple,#hich #ill have almost instantaneous impact on the disciple. iva tells 3is

onsort in 8ulr ava $antra &/2.LL', :ON y belovedN *ifficult to get is such a"uru #ho can initiate thus through subtle impact of vedha &not to be confused#ith !eda= vedha conte5tually can be e5plained as penetration, piercing,breaking through, breach'= difficult also is the disciple fit for it.C $his means thatthis type of initiation is possible only by %elf>realiEed "uru>s and a disciple #ill

attain such a "uru only if he or she has 3er "race. %he manifests in the form ofsuch a "uru and liberates a #ell deserved disciple. +hen one is fortunate to getinitiation from such a "uru, iva says, &8$.4!.9F', :-or the one #ho is initiatedthus, there is nothing to be achieved by tapas &meditating for a longer duration',regulations &scriptural dictums', observances &fasting, etc', pilgrimages &visit toholy places' and regulative controls of the body &religious symbols like #earing of sacred ashes, celibacy, restrictions on food, bodily comforts, etc'.C

6nother important aspect of a realiEed "uru is that he #ill stick on #ith onemantra and #ill prepare his disciple #ith that mantra alone to attain liberation.4nitiating too many mantras #ill severely hamper spiritual progression and such adisciple #ill not be able to proceed to the final aspect of upsana, transforming

into a yogi. 4f there are too many mantras, it is difficult or rather impossible toestablish a connection bet#een individual consciousness and %upremeonsciousness. $here should be one "uru, one mantra and one *evata for

upsana, #hich alone is kno#n as sdhana. %dhana is not possible #ithmultiple mantras and multiple forms of devata>s. 6 true "uru #ill impart thekno#ledge of Brahman to his disciple #ho has attained perfection in sdhana. 6tthis point of time, "uru #ill say to his disciple :$at tva asiC &you are $hat' andthe disciple #ill e5plore this ultimate teaching and after satisfying himself #illaffirm to his "uru :aha BrahmsmiC &4 am Brahman or 4 am $hat'. "uru #illkno# #hether such an affirmation comes from the disciple after realiEation or it issimply a verbal statement or deceptive realiEation. ?ltimately, Brahman is devoid

of any forms and all forms lead only to the formless Brahman. $hough r !idyis about %agua Brahman &Brahman #ith attributes', ultimately #hile performingpj at the Bindu, %agua Brahman is dissolved and Girgua Brahman isrevealed. +ithout understanding this concept, any number of japa>s and pj>s#ill not yield the desired result.

6 true "uru #ill not give importance to his attire. 3e #ill be one amongst us. 3e#ill be averse to cro#d. 3e #ill select his disciples and teach them the ultimatekno#ledge or Brahmavidy &r !idy is also kno#n as Brahmavidy'.


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Brahmavidy should be taught on one to one basis, as all the disciples #ill notattain the same level. 4t is not a classroom teaching. 4t is al#ays one to oneteaching. %uch a "uru #ill not make his disciple to pay him for initiation.%pirituality should never be traded like a commodity. %piritual kno#ledge is to beso#n as a seed #ithin the disciple by his "uru and he #ill be taught ho# to

germinate the seed and gro# it into a huge tree. Once the tree is fully gro#n, thatdisciple is made to become a "uru. $his is ho# a "uru ma ala gro#s. "ettinginitiation from a guru #ho is not comfortable #ith various aspects of *ivinity andgetting initiation by paying money #ill accrue mountain of sins both to the initiator and the initiated.(-.(! Un8er/tan8in# F$r$ "a ala.(rimarily there are three types of "uru @ineages. $hey are for kdividhyupsaka>s, oa) upsaka>s and hdividhy upsaka>s. ?psaka>s mean#orshippers. +hat is described here is the one that belongs to oa) upsaka>s. $here are three types of "uru>s in each of these lineages. $hey are *ivyaguru>s, %iddhaguru>s and navaguru>s. @et us no# understand them. ach mnya

has one principle "uru. 3e is the one #ho had laid do#n the methods of #orshipin that particular mnya. Smnya means sacred tradition. Gumber of "uru>sunder each group differs from tradition to tradition and similarly, the names of"uru>s also differ. Ones "uru is #orshiped in the lo#er most dotted line. "urus"uru, kno#n as (aramaguru is #orshiped in the middle line &marked in red' and(aramagurus "uru is kno#n as (arame hi "uru and he is #orshipped in thetop line &marked in black'. (aramehi means supreme. 4n other #ords, "uru#ould have been initiated by his "uru ho is (aramaguru for us' and(aramaguru #ould have been initiated by (aramagurus "uru ho is(arame hi "uru for us'.

6t the time of initiation, "uru apart from initiating a mantra, also gives

"urupduk mantra. "urupduk mantra is given for the "uru #ho initiates,"urus "uru &(aramaguru for the one #ho is being initiated and (aramagurus"uru &(arame hi "uru for the one #ho is being initiated'. *uring this process,d k names of all the three "urus are revealed to the disciple. $here aredifferent mantras for "uru, (aramaguru and (arame hi "uru. 6 disciple has topay his respect to his "uru by using m g mudra &mg means female deer, adoe'.
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On the left side of the triangle marked in black &left side of the practitioner',follo#ing "urus are #orshiped./. 2 > ? anandantha )r pduk pjaymi tarpaymi nama QQ " ) * " ' %". +&Gote7 pjaymi tarpaymi nama QQ " ) * " ' %". +is marked asspptnQQ'0. 2 > (rak)nandantha spptn QQ 2 > " * A) M spptn QQ1. 2 > !imar)nandantha spptn QQ 2 > . A) M spptn QQ2. 2 > Snandanandantha spptn QQ 2 >9 A) A) M spptn QQOn the top line of the triangle marked in green, follo#ing "urus are #orshipped.

/. 2 > - a )nandantha spptn QQ 2 > NL A) M spptn QQ0. 2 > U;nnandantha spptn QQ 2 > b A) M spptn QQ1. 2 > %atynandantha spptn QQ 2 > ! A) M spptn QQ2. 2 > (r nandantha spptn QQ 2 > " 0 . A) M spptn QQOn the right side of the triangle marked in red &right side of the practitioner'follo#ing "urus are #orshiped./. 2 > itre)nandantha spptn QQ 2 > % & A) M spptn QQ0. 2 > %vabhvnandantha spptn QQ 2 > 3 A) M spptn QQ1. 2 > (rat bhnandantha spptn QQ 2 > " % 3 A) M spptn QQ2. 2 > %ubhagnandantha spptn QQ 2 > 3 A) M spptn QQ(-.).)! $r F$r$"a al rcana"%

4f #e look at the image above, #e can find three lines marked 6, B and .4n 6 our (arame hi "uru is #orshiped along #ith five other divyaguru>s.(-.).).1! Gi9e 7i9ya#$r$;/ are fro" 1 to +!%/. 2 > !yomt tmb spptn QQ 6 % % 45 spptn QQ0. 2 > !yome)yamb spptn QQ 6 & c 45 spptn QQ1. 2 > !yomagmb spptn QQ 6 45 spptn QQ2. 2 > !yomacriyamb spptn QQ 6 $ B 45 spptn QQF. 2 > !yomasthmb spptn QQ 6 M 45 spptn QQ(-.).).(! In ? o$r Para"a#$r$ i/ =or/hipe8 alon# =ith nine Si88ha#$r$;/an8 they are fro" 1 to !&Games given here are in t#o separate #ords for the purpose of convenience

and understanding. $hey can be clubbed together. 4n that the last Ya in the d kname #ill be removed and there #ill be one Y for both d k name andnandantha. @et us take the e5ample of ?nmank)a nandantha. 4f both theparts are combined, then it should be pronounced as ?nmank)nandantha or nA * A) M '/. 2 > ?nmank)a nandantha 2 > nA * 9 A) M spptn QQ0. 2 > %amank)a nandantha spptn QQ 2 > * 9 A) M spptn QQ1. 2 > !ypak)a nandantha spptn QQ 2> 6 "* 9 A) M spptn QQ
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2. 2 > aktyk)a nandantha spptn QQ 2 > * 9 A) M spptn QQF. 2 > *hvanyk)a nandantha spptn QQ 2 >8 A * 9 A) M spptn QQL. 2 > *hvanimtr nandantha spptn QQ 2 >8 % 9 A) M spptn QQK. 2 > 6nhatk)a nandantha spptn QQ 2 >K % * 9 A) M spptn QQ

. 2 > Bindvk)a nandantha spptn QQ 2 > 5AI * 9 A) M spptn QQ

9. 2 > 4ndrk)a nandantha spptn QQ 2 > ^A) * 9 A) M spptn QQ(-.).).)! In C o$r F$r$ the one =ho ha/ initiate8 into &r' Vi8y c$lt i/=or/hipe8 alon# =ith nine " na9a#$r$;/ an8 they are fro" 1 to !/. 2 > (aramtma nandntha spptn QQ 2 > " ! 9 A) M spptn QQ0. 2 > mbhava nandantha spptn QQ 2 > 43 9 A) M spptn QQ1. 2 > inmudra nandantha spptn QQ 2 > $A ) 9 A) M spptn QQ2. 2 > !gbhava nandantha spptn QQ 2 > @3 9 A) M spptn QQF. 2 > @ l nandantha spptn QQ 2 > 9 A) M spptn QQL. 2 >%ambhrma nandantha spptn QQ 2 > 43 9 A) M spptn QQK. 2 > ida nandantha spptn QQ 2 > $) 9 A) M spptn QQ

. 2 > (rasanna nandantha spptn QQ 2 > " ? 9 A) M spptn QQ

9. 2 > !i)vnandantha nandantha spptn QQ 2 > J A) M 9 A) M spptn QQ(-.).).*! Bor/hipin# Para"e hi#$r$ Para"a#$r$ an8 &r'#$r$%Para"e hi#$r$% to 5e 8one at the top line!

! "#$ %&' & " & ( & aaaa " ) * " ' %". +om ai hr )r ai kl sau hasa )iva soha hasa hkhphre hasakamalavaray hsau sahakamalavaray )au hasa )iva soha hasa svtmrmapa;cara vil natejase )r paramehi gurave nama aaaa)r pduk pjaymi tarpaymi nama QQ

aaaa is to be replaced #ith oneTs (arame higuru

Para"a#$r$% to 5e 8one on the "i88le line! ,-" * . & % & " & bbbb " ) * " ' %". +om ai hr )r ai kl sau soha hasa )iva hkhphre hasakamalavaray hsau sahakamalavaray )au soha hasa )ivasvacchaprak)a vimar)ahetave )r paramagurave nama bbbb )r pduk pjaymi tarpaymi nama QQ

bbbb is to be replaced #ith oneTs (aramaguru&r'#$r$% to 5e 8one at the 5otto" line!

/" /"0 &% & & cccc " ) * " ' %". %". +om ai hr )r ai kl sau hasa )iva soha hkhphre hasakamalavaray hsau sahakamalavaray )au hasa )iva soha svarpa nirpaa hetave )r gurave nama cccc )r pduk pjaymitarpaymi nama QQ

cccc is to be replaced #ith oneTs "uru.At the en8 of F$r$


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) 43 * $ . 8>

K ) $ ." .A% A)& " " +sad)ivasamrambh )akarcryamadhyam Qasmadcryaparyanta vande guru parapar QQ&Beginning from @ord %ad)iva, through akarcrya and up to my "uru, 4 paymy obeisance to all the "urus'See4in# Her per"i//ion to perfor" 9ara a pj ;/%+ith this preliminaries of navvaraa pj are completed. Go# #e have to moveto varaa pj>s. +e have to obtain necessary permission from @alitmbik toperform navvaraa pj.-ollo#ing is the mantra for this permission. & " & )& " F % $ " &>K b % " & )& " $. &+savimaye pare devi parmtarucipriye Qanuj; tripure dehi parivrrcanya me QQ

$ypical varaa pj>s commence no#. !arious aspects of ri akra have beendealt #ith in earlier series, Uourney to ri akra1 and ri akra and human body ( .?nderstanding ri akra and contemplating 3er are the important factors innavvaraa pj. !arious $antra %criptures deal e5haustively #ith ri akra andits #orship. %amaya scriptures highlight three important aspects #hile performingnavvaraa pj and they are called as rahasya>s &secret, private or secretdoctrine'. ?sage of the #ord rahasya emphasiEes that navvara a pj shouldnot be done as a public ritual. $he follo#ing three rahasya>s are mentioned.1. Cha4ra raha/ya%$his is about our ability to align ri akra #ith cosmos and our body.Bhvanopaniad deals #ith contemplating our body as ri akra and this hasbeen dealt #ith in the series, ri akra and human body. osmic contemplationdepends upon our ability to align triangles #ith gross, subtle and causal bodies,#hich are also kno#n as $ripura. %he prevails in all the three planes in the formof onsciousness &cidk)a= cittka)a refers to mind space, #hich remains#ithin cidk)a= typically the former refers to the %elf and latter refers to anindividual self'.(.


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(j>s should not be performed #ithout contemplation. 5ternal rituals should bealigned #ith contemplation. $his is possible only if one understands thesignificance of ritualistic practices. -or e5ample let us take the case of &hr '.*uring pj, #e recite several hr >s. +hy #e repeatedly use hr R hr consists of three letter ha M ra M and ma conjoins the first three letters. ha M ra M

represent three bodies I gross &ha', subtle &ra' and causal &ra' bodies and theYma conjoins all the three bodies together to form the self or individual self. hr #ill be complete only if a bindu &dot' is placed on the top of hr and the dotrepresents the %elf. +ithout this dot on the top of &hr ' the b ja hr is notcomplete. Bindu represents iva &the central Bindu of ri akra' and the threelettersha M ra M represent $ripura &three sides of the innermost triangle of ri

akra'. %imilarly, every letterconveys different aspects of *ivinity. +rongpronunciation of mantras could cause malefic results.3ype/ of $nion%$here are three types of union corresponding to the above three rahasya>s.$hese unions are gross, subtle and the subtlest. "ross union is normal human

conjugation. %ubtle union is kmakal)

& ' and the subtest union happensat sahasrra *. $hese three different types union are also called rahasya>s. $hereare t#o more unions transcending these three secretive unions. -irst one is theunion of individual soul #ith @alitmbik, #ho sho#ers 3er "race on theindividual soul to unite #ith iva and liberates that individual soul fromtransmigration. (racticing the three rahasya>s in a proper #ay leads to liberation,#hich is the very purpose of all our religious and spiritual activates. 6ll spiritualpractices culminate at :)ivohamC or 4 am iva &4 am $hat or aha brahmsmi'.(erfection of religious practices leads to perfection of contemplation and at theheight of contemplation Bliss da#ns and at the peak of Bliss, %he reveals3erself. Gavvaraa pj helps in perfecting both religious practices and in

contemplation. antra japa acts as a catalyst to hasten ones spiritual progress.+hen one enters into the state of stillness, it means Bliss #here all his religiousand spiritual practices cease and there e5ists only @alitmbik in his o#n #orld.&ri Ca4ra%$he concept of ri akra is only successive and firm up#ard movementsto#ards iva. +orshipping of ri akra is done by evolved devotees. ?nholypractices are follo#ed by some, under the guise of $ntric #orship, #ithoutproperly understanding the concept of $antra )stra>s. ediocre devotes resortto idol #orship. Out of the three types of #orship, understanding and #orshippingri akra is considered supreme. +hen contemplations as prescribed inBhvanopaniad and navvara a pj are concurrently done, it is considered as

the highest form of #orship. $he nine orifices of human body are related to thenine varaa>s of ri akra.$here are three types of ri akra #orship or r !idy upsan. -irst one iskno#n as pure #orship or )uddha #orship &)uddha means pure', #hich is doneby sthitapraj;a>s. $he entire #orship is only contemplated and visualiEed. $his isdone only in the mind, due to #hich %he begins to pervade his mind and thus heor she becomes a sthitapraj;a &the one #ith a firm mind that %he is #ithin'.Gavvaraa pj>s done #ithout ego and #ith unstinted devotion also falls under


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this category. 4t is not necessary that one should renounce #orldly life to attain3er "race. +hat is essential is pure mind, destruction of ego, pure thoughtprocesses and absolute love for 3er. $he ne5t type of #orship is mi)ra #orship&mi)ra means mi5ed'. $his type of #orship is normally done no#adays. 4t is thecombination of mediocre devotion and mediocre pride. $hese t#o types of

#orships are acceptable. 3o#ever, %he can be attained only in silence andseclusion. $he third one is kno#n as galita #orship &galita means defective' andis not acceptable at all. 3ere, rituals are done in a very casual manner, toimpress others, to make money, etc.+ith these basic inputs, #e no# proceed to navvara a pj in the ne5t part ofthis series.

(0.1! Pratha" 9ara a" ; Gir/t 9araai. Game of the varaa73rilo4ya"ohanaca4raii. B jkara>s of prathamvaraam7 K 9 a sauiii. akre)var 7 $ripur

iv. %iddhi )akti7 6nimv. udra )akti7 %arvasakobhi vi. Jogin 7 (rakaayogin &$here are nine yogin >s in navvaraa pj. ach yogin represents one typeavasth &state of condition' #hich gets associated #ith it)akti &6bsolute

onsciousness of iva' #ith a particular updhi. ?pdhi means condition orsubstitution. +hen updhi is associated #ith it)akti, the unlimited it)aktiappears as limited. 6s #e proceed from the first vara a to the ninth varaa,the po#er ofupdhi gradually decreases and in the ninth vara a, the #orshipper enters into nirvikalpa samdhi and then e5periences 3er in the form ofBliss. Jogin >s have vsan>s. !san means perception or residual traces of our

actions retained in the mind unconsciously, also kno#n as habit formation. $hesenine yogin >s have one common vsan in the form of a mantra K % Y ai hra astrya pha . $ypically, this mantra is meant for purification of body.Jogin >s #ho remain in the form of above mantra or #ho act through the abovemantra purifies different vsan>s embedded in our mind. &ai' signifies the four !edas= technically this b ja refers to Brahman &conte5tually it is iva'. iskno#n as astra b ja &astra means missile or #eapon'. 3ere kno#ledge of 6dvaitais referred as astra, #hich acts in destruction dualistic kno#ledge. $herefore,#orshiping yogin >s at the end of eachvaraa leads to successive stages ofliberation. 6part from the above, yogin >s make masculine and feminine energiesunite to cause creation.'

vii. Gumber of )akti>s in the varaa7 $#enty eight.viii. (j procedure7


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2 K 9 + % 2 $* +2 a sau QQ trailokyamohanacakrya nama QQ$here are three #alls in this vara a and totally there are 0 )akti>s inthis varaa. $hese 0 )akti>s are marked as / to 0 in the above image and arecorrespondingly numbered belo#. $he #orship is neither clock#ise noranticlock#ise. $herefore, sufficient care should be taken to #orship these )akti>sin their respective places marked in the image. $he number in the image and thenumber mentioned belo# refer to the abode and name of each )akti. Bothpjana and tarpana should be done for each )akti.-irst #all or outermost covering7&2 represents om ai hr )r & '= a sau &K 9 ' arethe b jkara>s of akre)var $ripur. 6part from these seven b jkara>s, oneb jkara is prefi5ed before the name of each )akti. $hus there #illeight b jkara>s prefi5ed to each )akti. 5ample om &/' > ai &0' > hr &1' >)r &2' > a &F' > &L' sau &K' a & ' > aimsiddhi )r pduk pjaymitarpaymi nama. $hough the first seven b jkara>s #ill remain the same, theeight one #ill modify according to the respective )akti>s./. 2 a sau a aimsiddhi )r pduk pjaymi tarpaymi nama QQ 2K 9 K K 0 k " ) * " ' %". +0. 2 a sau la laghimsiddhi spptn QQ 2K 9 X k spptn QQ1. 2 a sau ma mahimsiddhi spptn QQ 2K 9 k spptn QQ2. 2 a sau )itavasiddhi spptn QQ 2K 9 g g % k spptn QQF. 2 a sau va va)itasiddhi spptn QQ 2K 9 % k spptn QQL. 2 a sau pa prkmyasiddhi spptn QQ 2K 9 " " * 4 k spptn QQK. 2 a sau bhu bhuktisiddhi spptn QQ 2K 9 3 3 % k spptn QQ

. 2 a sau i icchsiddhi spptn QQ 2K 9 ^,- k spptn QQ9. 2 a sau pa prptisiddhi spptn QQ 2K 9 " " _% k spptn QQ/P. 2 a sau sa sarvakmasiddhi spptn QQ 2K 9 .* k spptn QQ
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%econd #all or middle covering7//. 2 a sau brhm mt spptn QQ 2K 9 9 5 G % F spptn QQ/0. 2 a sau mhe)varimt spptn QQ 2K 9 g &J % F spptn QQ/1. 2 a sau kaumr mt spptn QQ 2K 9 s * % F spptn QQ/2. 2 a sau 2 vaiav mt spptn QQ 2K 9 ~ 2


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0. 2 K 9 % " $* &J spptn QQ 2 a sau tripurcakre)var spptn QQ1. 2 K K 0 k spptn QQ 2 a aimsiddhi spptn QQ2. 2 ) . 30 % spptn QQ 2 dr sarvasakobhi mur)akti spptn QQGo# recite dr and sho# sarvasa kobhi mudra.&pjana and tarpaa for F belo# is to be done three times by repeating the

mantra three times'F. 2 I &(a;cada) or - oa) ' > % % " A) " 3V * spptn QQ 2 > mla &(a;cada) or - oa) ' r lalit ahtripurasundar (arbharikspptn QQL. dhpa, d pa, naivedya and n rjana to be done no#.K. 293 L k & )& 0 % ! &> 3 ". & % " M 0 $. +

2 bh asiddhi me dehi )ara gatavatsale Q bhakty samarpaye tubhya prathamvararcanam QQ&Go# take a drop of smnya arghya in uttarai &it is important that smnya

arghya should not be moved from its place' and offer to 3er left hand'. $here is no pjana and tarpaa here. %he is to be #orshiped #ith yonimudra. 2 " *Y O 2 " M 0 )& % % 2 % % " . A) " 3V * 2 QQ 2 prakaayogin maykhyai prathamvaraa devatsahityai )r lalitmahtripursundar

parbha arikyai nama QQ&Go# #e have to #orship 3er #ith yoni mudra'$his concludes the #orship of the first vara a.

A (reparation of karprav ik7 saffron, cardamom, clove, camphor, kastri,

nutmeg and mace or myristica fragrans or jtipattr &arillus of the nut also kno#nas myristica officinalis'. $he ingredients are finely po#dered and mi5ed #ithpo#dered sugar candy. Hefer @alit %ahasranma 0L >8arprav ikmodha>samkar i>digantar.

( . 79itiy 9ara a" Secon8 9ara ai. Game of the varaa7Sar9 : paripra4aca4ra" & . " " *$* 'ii. B jkara>s of dvitiyvaraam7 hr kl sau iii. akre)var 7 $ripure) iv. %iddhi )akti7 @aghimv. udra )akti7 %arvidrvi mudr)akti

vi. Jogin 7 "uptayogin vii. Gumber of )akti>s in the varaa7 %i5teen.viii. (j procedure7


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(jana and tarpaa are to be done anticlock#ise in the si5teen petal lotus,#here numerals are marked in red. +e have to go #ith the ascending order ofthe numerals.2 . " " * $* + 2 ai kl sau sarv)paripraka cakryanama QQ/. 2 ai kl sau a 8mkar i nityakaldev spptn QQ 2 K * * N.0 ! * )& spptn QQ0. 2 ai kl sau Buddhyakar i nityakaldev spptn QQ 2 9 5 S8 * N.0 ! * )& spptn QQ1. 2 ai kl sau i 6hakrkar i nityakaldev spptn QQ 2 K * * N.0 ! * )& spptn QQ2. 2 ai kl sau abdkar i nityakaldev spptn QQ 2 g u) * N.0 ! * )& spptn QQF. 2 ai kl sau u %par)kar i nityakaldev spptn QQ 2 n " .* N.0 ! * )& spptn QQ

L. 2 ai kl sau Hpkar i nityakaldev spptn QQ 2 s /" * N. 0 ! * )& spptn QQK.2 hr kl sau Haskar i nityakaldev spptn QQ 2 Q * N.0 ! * )& spptn QQ

. 2 ai kl sau 2 "andhkar i nityakaldev spptn QQ 2 ~ A7 * N.0 ! * )& spptn QQ
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9. 2 ai kl sau 4 ittkar i nityakaldev spptn QQ 2 $R * N. 0 ! * )& spptn QQ/P. 2 ai kl sau 3 *hairykar i nityakaldev spptn QQ 2 72 .* N.0 ! * )& spptn QQ//. 2 ai kl sau e %mtykar i nityakaldev spptn QQ 2 a F ! * N. 0 ! * )& spptn QQ/0. 2 ai kl sau ai Gmkar i nityakaldev spptn QQ 2 * N.0 ! * )& spptn QQ/1. 2 ai kl sau o B jkar i nityakaldev spptn QQ 2 C 5 ' * N.0 ! * )& spptn QQ/2. 2 ai kl sau au Stmkar i nityakaldev spptn QQ 2 ` 9! * N.0 ! * )& spptn QQ

/F.2

ai kl sau a 6mtkar i nityakaldev spptn QQ 2

K K F % * N.0 ! * )& spptn QQ/L. 2 ai kl sau a ar rkar i nityakaldev spptn QQ 2 K * N.0 ! * )& spptn QQ$he follo#ing is kno#n as sama i pj. 6fter reciting this mantra, offer flo#erson ri akra. $here is no tarpa a here./. 2 a% _% A . " " *& $* & > ) > k 7 > % > > " . "$ 2 " '% A% ".% A% L A% +2 et guptayoginya sarv)pariprake cakre sa>mudr s>siddhaya syudh sa>)aktaya sa>vhan sa>parivr sarvopacrai sapjit santarpit santu santu nama QQ

-or the mantras belo#, both pjana and tarpaa should be done.+herever spptn is mentioned, it means that both pjana and tarpaa shouldbe done.0. 2 % " & $* &J spptn QQ 2 ai kl sau tripure) cakre)var spptn QQ1. 2 k spptn QQ 2 la lagimsiddhi spptn QQ2. 2 ) . ) 0 ) %spptn QQ 2 dr sarvavidrvi mudra)akti spptn QQGo# recite dr and sho# sarvavidrvi mudra.F. 2 I &(a;cada) or - oa) ' > % % " A) " 3V * spptn QQ 2 > mla &(a;cada) or - oa) ' r lalit ahtripurasundar (arbharik

spptn QQ&F above should be done three times'L. dhpa, d pa, naivedya, tmbla and n rjana to be offered no#.K. 293 L k & )& 0 % ! &> 3 ". & % I% 0 $. + 2 bh asiddhi me dehi )ara gatavatsale Q bhakty samarpaye tubhya dvit yvararcanam QQ


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&Go# take a drop of smnya arghya in uttarai &it is important that smnyaarghya should not be moved from its place' and offer to 3er left hand'

. $here is no pjana and tarpaa here. %he is to be #orshiped #ith yonimudra. 2 _% O 2 I R 0 )& % % 2 % % " .A) " 3V * 2 QQ

2 guptayogin maykhyai dvittiyvaraa devatsahityai )r lalitmahtripursundarparbha arikyai nama QQ

&Go# #e have to #orship 3er #ith yoni mudra'$his concludes the #orship of the second vara a.A77I3I NA6 ING Rs. +henever time permits, these songs are sung at the end of each vara a. 6 video for thesecond vara a is available in the link belo#.http7


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2 * O X j K T* )& spptn QQ0. 2 hr kl sau ca cha ja jha ;a ana ga mekhal dev spptn QQ2 $ - ' p q K T & O )& spptn QQ1. 2 hr kl sau a ha a ha a ana ga madan dev spptn QQ2 Y ] P r 0 K T ) )& spptn QQ2. 2 hr kl sau ta tha da dha na ana ga madantur dev spptnQQ2 % M ) 7 K T ) % )& spptn QQF. 2 hr kl sau pa pha ba bha ma ana ga rekh dev spptn QQ2 " 5 3 K T &O )& spptn QQL. 2 hr kl sau ya ra la va ana ga vegin dev spptn QQ2 K T & )& spptn QQK. 2 hr kl sau )a a sa ha ana ga a gu) dev spptn QQ2 N K TKT )& spptn QQ

. 2 hr kl sau / a ka ana ga mlin dev spptn QQ2 d K T )& spptn QQ$he follo#ing is kno#n as sama i pj. 6fter reciting this mantra, offer flo#erson ri akra. $here is no tarpa a here./. 2 a% _%% A . 30& $* & > ) > k 7 > % > > " . "$ 2 " '% A% ".% A% L A% +2 et guptatarayoginya sarvasakobhae cakre sa>mudr s>siddhaya syudh sa>)aktaya sa>vhan sa>parivr sarvopacrai sapjit santarpit santu santu nama QQ

-or the mantras belo#, both pjana and tarpaa should be done.+herever spptn is mentioned, it means that both pjana and tarpaa shouldbe done.0. 2 % " A) $* &J spptn QQ 2 2 hr kl sau tripurasundar cakre)var spptn QQ1. 2 k spptn QQ 2 ma mahimsiddhi spptn QQ2. 2 .* N.0 ) %spptn QQ 2 kl sarvkar i mudra)akti spptn QQGo# recite kl and sho# sarvkar i mudra.F. 2 I &(a;cada) or - oa) ' > % % " A) " 3V * spptn QQ 2 > mla &(a;cada) or - oa) ' r lalit ahtripurasundar (arbharikspptn QQ&F above should be done three times'L. dhpa, d pa, naivedya, tmbla and n rjana to be offered no#.K. 293 L k & )& 0 % ! &> 3 ". & % % F % 0 $. + 2 bh asiddhi me dehi )ara gatavatsale Q bhakty samarpaye tubhya tt yvararcanam QQ&Go# take a drop of smnya arghya in uttarai &it is important that smnyaarghya should not be moved from its place' and offer to 3er left hand'

. $here is no pjana and tarpaa here. %he is to be #orshiped #ith yonimudra.


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2 _% O 2 % F % 0 )& % % 2 % % " .A) " 3V * 2 QQ 2 guptayogin maykhyai tt yvaraa devatsahityai )r lalitmahtripursundar

parbha arikyai nama QQ&Go# #e have to #orship 3er #ith yoni mudra'

$his concludes the #orship of the third vara a.)1. 3$riy 9ara a" Go$rth 9araai. Game of the varaa7/ar9a/a$5h #ya8 ya4aca4ra" & . 3 @ ) *$* 'ii. B jkara>s of $uriyvaraam7 t hai hkl hsauiii. akre)var 7 $ripuravsin iv. %iddhi )akti7 W)itvav. udra )akti7 %arvava)a kar vi. Jogin 7 %apradyavii. Gumber of )akti>s in the varaa7 -ourteenviii. (j procedure7

(jana and tarpaa are to be done in anticlock#ise manner in the outertriangle, #here numerals are marked in black in ri akra.

Offer flo#ers in ri akra by reciting the follo#ing mantra. $here is no tarpaa here.2 t . 3 @ ) *$* + 2 hai hkl hsau sarvasaubhgyadyakacakrya nama QQ/. 2 hai hkl hsau ka sarvasakobhi )akti spptn QQ 2 t * . 30 % spptn QQ0. 2 hai hkl hsau kha sarvavidrvi )akti spptn QQ 2 t O . ) 0 % spptn QQ1. 2 hai hkl hsau ga sarvkar i )akti spptn QQ 2 t .* N.0 % spptn QQ2. 2 hai hkl hsau gha sarvhldin )akti spptn QQ 2 t X . ) % spptn QQF. 2 hai hkl hsau a sarvasamohin )akti spptn QQ 2 t j . % spptn QQ
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L. 2 hai hkl hsau ca sarvastabhin )akti spptn QQ 2 t $ . % 3 % spptn QQK. 2 hai hkl hsau cha sarvajbhi )akti spptn QQ 2 t - .' F 30 % spptn QQ

. 2 hai hkl hsau ja sarvava)a kar )akti spptn QQ

2 t ' . % spptn QQ9. 2 hai hkl hsau jha sarvara;jin )akti spptn QQ 2 t p . % spptn QQ/P. 2 hai hkl hsau ;a sarvonmdin )akti spptn QQ 2 t q . A ) % spptn QQ//. 2 hai hkl hsau a sarvrthasdhin )akti spptn QQ 2 t Y .M. 7 % spptn QQ/0. 2 hai hkl hsau ha sarvasapattipra )akti spptn QQ 2 t ] . " R" 0 % spptn QQ/1. 2 hai hkl hsau a sarvamantramay )akti spptn QQ 2 t P . A% % spptn QQ/2. 2 hai hkl hsau ha sarvadvandvakaya kar )akti spptn QQ 2 t r .IAI % spptn QQ$he follo#ing is kno#n as sama i pj. 6fter reciting this mantra, offer flo#erson ri akra. $here is no tarpa a here./. 2 a% " ) A . 3 @ ) *& $* & > ) > k 7 > % > > " . "$ 2 " '% A% ".% A% L A% +2 et sapradyayoginya sarvasaubhgyadyakecakre sa>mudr s>siddhaya syudh sa>)aktaya sa>vhan sa>parivr sarvopacrai sapjit santarpit santu santu nama QQ

-or the mantras belo#, both pjana and tarpaa should be done.+herever spptn is mentioned, it means that both pjana and tarpaa shouldbe done.

0. 2 t % " $* &J spptn QQ 2 hai hkl hsau tripuravsinicakre)var spptn QQ1. 2 g g ! k spptn QQ 2 )itvasiddhi spptn QQ2. 2 u . ) % spptn QQ 2 bl sarvava)a kar mudr)akti spptn QQGo# recite bl and sho# sarvava)a kar mudra.F. 2 I &(a;cada) or - oa) ' > % % " A) " 3V * spptn QQ 2 > mla &(a;cada) or - oa) ' r lalit ahtripurasundar (arbharikspptn QQ&F above should be done three times on the bindu'L. dhpa, d pa, naivedya, tmbla and n rjana to be offered no#.K. 293 L k & )& 0 % ! &> 3 ". & % % 0 $. + 2 bh asiddhi me dehi )ara gatavatsale Q bhakty samarpaye tubhya tur yvararcanam QQ&Go# take a drop of smnya arghya in uttarai &it is important that smnyaarghya should not be moved from its place' and offer to 3er left hand'


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. $here is no pjana and tarpaa here. %he is to be #orshiped #ith yonimudra. 2 4" ) O 2 % 0 )& % % 2 % % " .A) " 3V * 2 QQ 2 sampradyayogin maykhyai turiyvaraa devatsahityai )r lalitmahtripursundar

parbha arikyai nama QQ&Go# #e have to #orship 3er #ith yoni mudra'$his concludes the #orship of the fourth vara a.

)(. Pa ca" 9ara a" ! Pa ca" 9ara a"i. Game of the varaa7Sar9 rtha/ 8ha4aca4ra" & .M. 7*$* 'ii. B jkara>s of (a;camvara am7 t hsai hskl hssauiii. akre)var 7 $ripur)r cakre)var iv. %iddhi )akti7 !a)itvav. udra )akti7 %arvonmdin vi. Jogin 7 8ulott r a

vii. Gumber of )akti>s in the varaa7 $enviii. (j procedure7(jana and tarpaa are to be done in anticlock#ise manner in the innertriangle, #here numerals are marked in red in ri akra.

Offer flo#ers in ri akra by reciting the follo#ing mantra. $here is no tarpaa here.2 t .M. 7*$* +2 hsai hskl hssau sarvrthasdhakacakrya nama QQ/. 2 hsai hskl hssau a sarvasiddhiprad dev spptn QQ2 t 0 . k" ) )& spptn QQ0. 2 hsai hskl hssau ta sarvasapatprad dev spptn QQ2 t % . "!" ) )& spptn QQ1. 2 hsai hskl hssau tha sarvapriya kar dev spptn QQ2 t M . " )& spptn QQ2. 2 hsai hskl hssau da sarvama galakri dev spptn QQ
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2 t ) . T * 0 )& spptn QQF. 2 hsai hskl hssau dha sarvakmaprad dev spptn QQ2 t 7 .* " ) )& spptn QQL. 2 hsai hskl hssau na sarvadukhavimocin dev spptn QQ2 t .) O $ )& spptn QQK. 2 hsai hskl hssau pa sarvamtyupra)aman dev spptn QQ2 t " . F ! " )& spptn QQ

. 2 hsai hskl hssau pha sarvighnanivri dev spptn QQ2 t .\ 0 )& spptn QQ9. 2 hsai hskl hssau ba sarv gasundar dev spptn QQ2 t 5 .T A) )& spptn QQ/P. 2 hsai hskl hssau bha sarvasaubhgyadyin dev spptn QQ2 t 3 . 3 @ ) )& spptn QQ$he follo#ing is kno#n as sama i pj. 6fter reciting this mantra, offer flo#erson ri akra. $here is no tarpa a here./. 2 a% * R 0. A .M. 7*& $* & > ) > k 7 > % > > " . "$ 2 " '% A% ".% A% L A% +2 et kulott r ayoginya sarvrthasdhakecakre sa>mudr s>siddhaya syudh sa>)aktaya sa>vhan sa>parivr sarvopacrai sapjit santarpit santu santu nama QQ

-or the mantras belo#, both pjana and tarpaa should be done.+herever spptn is mentioned, it means that both pjana and tarpaa shouldbe done.0. 2 t % " $* &Jspptn QQ 2 hai hkl hsau tripur)r cakre)var spptn QQ1. 2 ! kspptn QQ 2 va va)itvasiddhi spptn QQ2. 2 . A ) ) % spptn QQ 2 sa sarvonmdini mudr)akti spptn QQGo# recite bl and sho# sarvava)a kar mudra.F. 2 I &(a;cada) or - oa) ' > % % " A) " 3V * spptn QQ 2 > mla &(a;cada) or - oa) ' r lalit ahtripurasundar (arbharikspptn QQ&F above should be done three times on the bindu'L. dhpa, d pa, naivedya, tmbla and n rjana to be offered no#.K. 293 L k & )& 0 % ! &> 3 ". & % "#$ 0 $. + 2 bh asiddhi me dehi )ara gatavatsale Q bhakty samarpaye tubhya pa;camvara rcanam QQ&Go# take a drop of smnya arghya in uttarai &it is important that smnyaarghya should not be moved from its place' and offer to 3er left hand'

. $here is no pjana and tarpaa here. %he is to be #orshiped #ith yonimudra. 2 * R 0. O 2 "#$ 0 )& % % 2 % % " .A) " 3V * 2 QQ 2 kulott r ayogin maykhyai pa;camvaraa devatsahityai )r lalitmahtripursundar

parbha arikyai nama QQ


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&Go# #e have to #orship 3er #ith yoni mudra'$his concludes the #orship of the fourth vara a.

)(. a h 9araa" Si>th 9araai. Game of the varaa7 %arvarakkaracakram . * $*

ii. B jkara>s of- ahvaraam7 u hr kl bleiii. akre)var 7 $ripuramlin cakre)var % " $* &J iv. %iddhi )akti7 " * 4 k (rkmyasiddhiv. udra )akti7 . %arvamah ku)vi. Jogin 7 3. Gigarbhayogin vii. Gumber of )akti>s in the varaa7 $enviii. (j procedure7

(jana and tarpaa are to be done in anticlock#ise manner, #here numeralsare marked in blue inri akra.

Offer flo#ers in ri akra by reciting the follo#ing mantra. $here is no tarpaa hereA.A2 u . * $* +A2 hr kl ble sarvarakkaracakrya nama QQ(jana and tarpaa are to be done anticlock#ise manner for the follo#ing/P./. 2 hr kl ble ma sarvaj;dev spptn QQ 2 u .b )& spptn QQ0. 2 hr kl ble ya sarva)aktidev spptn QQ 2 u . %)& spptn QQ1. 2 hr kl ble ra sarvai)varyapraddev spptn QQ

2 u J ." ) )& spptn QQ2. 2 hr kl ble la sarvaj;namay dev spptn QQ 2 u .b )& spptn QQF. 2 hr kl ble va sarvavydhivin)in dev spptn QQ 2 u .6 7 )& spptn QQL. 2 hr kl ble )a sarvthrasvarpdev spptn QQ 2 u .M /" )& spptn QQK. 2 hr kl ble a sarvappahardev spptn QQ
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2 u N ." " )& spptn QQ. 2 hr kl ble sa sarvnandamay devi spptn QQ

2 u . A) )& spptn QQ9. 2 hr kl ble ha sarvaraksvarpi dev spptn QQ 2 u . / "0 )& spptn QQ

/P. 2 hr kl ble ka sarvepsitaphalapraddev spptn QQ 2 u H _ % " ) )& spptn QQ$he follo#ing is kno#n as sama i pj. 6fter reciting this mantra, offer flo#erson ri akra. $here is no tarpa a here &only for / belo#'./. 2 a% 3. A . * &$* & > ) > k 7 > % > > " . "$ 2 " '% A% ".% A% L A% + 2 et nigarbhayoginya sarvarakkarecakre sa>mudr s>siddhaya syudh sa>)aktaya sa>vhan sa>parivr sarvopacrai sapjit santarpit santu santu nama QQBoth pjana and tarpaa are to be performed for the follo#ing mantrasherever spptn is used, it means that both pjana and tarpaa are to be

performed'.0. 2 u % " $* &J spptn QQ 2 hr kl ble tripuramlin cakre)varspptn QQ1. 2 " " * 4 k spptn QQ 2 pa prkmyasiddhi spptn QQ2. 2 * . ) % spptn QQ 2 kro sarvamah ku) mudr)akti spptn QQGo# recite kro and sho# sarvamah ku) mudra.F. 2 I &(a;cada) or - oa) ' > % % " A) " 3V * spptn QQ 2 > mla &(a;cada) or - oa) ' r lalit ahtripurasundar (arbharikspptn QQ&F above should be done three times on the bindu'L. dhpa, d pa, naivedya, tmbla and n rjana to be offered no#.K. 293 L k & )& 0 % ! &> 3 ". & % N( 0 $. + 2 bh asiddhi me dehi )ara gatavatsale Q bhakty samarpaye tubhya ahkhyvararcanam QQ&Go# take a drop of smnya arghya in uttarai &it is important that smnyaarghya should not be moved from its place' and offer to 3er left hand'

. $here is no pjana and tarpaa here. %he is to be #orshiped #ith yonimudra. 2 3. O 2 N( 0 )& % % 2 % % " .A) " 3V * 2 QQ 2 nigarbhayogin maykhyai- ahvaraa devatsahityai )r lalitmahtripursundar

parbha arikyai nama QQ&Go# #e have to #orship 3er #ith yoni mudra'$his concludes the #orship of the si5th vara a.

)). Sapta" 9ara a" Se9enth 9ara ai. Game of the varaa7 %arvarogaharacakram . $* ii. B jkara>s of %aptamvaraam7 hr )r sauiii. akre)var 7 $ripursiddhcakre)var % " k $* &J


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iv. %iddhi )akti73 % k Bhuktisiddhiv. udra )akti7 .*& %arvake)ar vi. Jogin 7 Hahasyayogin vii. Gumber of )akti>s in the varaa7 ightviii. (j procedure7

(jana and tarpaa are to be done in anticlock#ise manner, #here numeralsare marked in red inri akra.AOffer flo#ers in ri akra by reciting the follo#ing mantra. $here is no tarpaahere.A2 .% $* + A2 hr )r sau sarvatogaharacakrya nama QQ(jana and tarpaa are to be done anticlock#ise manner for the follo#ing .$hey are the composers and authors of @alit %ahasranma./. 2 hr )r sau a i u 2 4 3 e ai o au a a bl va)in vgdevat spptn QQ 2 K 9 g n s Q ~ a C ` K K u @)& %spptn QQ0. 2 hr )r sau ka kha ga gha a klhr kme)varvgdevat spptn QQ 2 * O X j v * &J @)& %spptn QQ1. 2 hr )r sau ca cha ja jha ;a nvl modin vgdevat spptn QQ 2 $ - ' p q A6 ) @)& %spptn QQ2. 2 hr )r sau a ha a ha a yl vimal vgdevat spptn QQ 2 Y ] P r 0 i @)& % spptn QQF. 2 hr )r sau ta tha da dha na jmr aru vgdevat spptn QQ 2 % M ) 7 D K 0 @)& %spptn QQ

L. 2 hr )r sau pa pha ba bha ma hslvy jaini vgdevat spptnQQ 2 " 5 3 16 '2 @)& %spptn QQK. 2 hr )r sau ya ra la va jhmry sarve)var vgdevat spptn QQ 2 w4f HJ @)& %spptn QQ

. 2 hr )r sau )a a sa ha / a ka kmr kaulinvgdevat spptn QQ 2 N d x * @)& %spptn QQ
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$he follo#ing is kno#n as sama i pj. 6fter reciting this mantra, offer flo#erson ri akra. $here is no tarpa a hereA &only for / belo#'./. A2 a% A . &$* & > ) > k 7 > % > > " . "$ 2 " '% A% ".% A% L A% + A2 et rahasyayoginya sarvarogaharecakre sa>mudr s>siddhaya

syudh sa>)aktaya sa>vhan sa>parivr sarvopacrai sapjit santarpit santu santu nama QQBoth pjana and tarpaa are to be performed for the follo#ing mantrasherever spptn is used, it means that both pjana and tarpaa are to beperformed'.0. 2 % " k $* &J spptn QQ 2 hr )r sau tripurasiddhcakre)varspptn QQ1. 2 5 3 % kspptn QQ 2 bu bhuktisiddhi spptn QQ2. 2 .*& $ ) % spptn QQ 2 hskhphre sarvakecar mudr)akti spptn QQGo# recite hskhphre and sho# sarvakecar mudra.F. 2 I &(a;cada) or - oa) ' > % % " A) " 3V * spptn QQ

2 > mla &(a;cada) or - oa) ' r lalit ahtripurasundar (arbharikspptn QQ&F above should be done three times on the bindu'L. dhpa, d pa, naivedya, tmbla and n rjana to be offered no#.K. 293 L k & )& 0 % ! &> 3 ". & % _% 0 $. + 2 bh asiddhi me dehi )ara gatavatsale Q bhakty samarpaye tubhya %aptamvararcanam QQ&Go# take a drop of smnya arghya in uttarai &it is important that smnyaarghya should not be moved from its place' and offer to 3er left hand'

. $here is no pjana and tarpaa here. %he is to be #orshiped #ith yonimudra. 2 O 2 _% 0 )& % % 2 % % " .A) " 3V * 2 QQ 2 rahasyayogin maykhyai saptamvaraa devatsahityai )r lalitmahtripursundarparbha arikyai nama QQ

&Go# #e have to #orship 3er #ith yoni mudra'$his concludes the #orship of the seventh vara a.

)*. A a" 9ara a ei#hth 9araa!i. Game of the varaa7 %arvasiddhipradacakra . k" )$* ii. B jkara>s of aamvaraa7 t hsrai hsklr hsrauiii. akre)var 7 $ripurbcakre)var % " 5 $* &J iv. %iddhi )akti7 ^,- k 4cchsiddhiv. udra )akti7 .5 ' %arvab javi. Jogin 7K % 6tirahasyayogin vii. Gumber of )akti>s in the varaa7 -our #eaponries and three )akti>s. -ourthpjana and tarpaa is done on the Bindu.


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ighth varaa is different from other varaa>s. Before #orshipping varaa)akti>s, #e have to #orship four common #eaponries of ahkme)vara and

ahkme)var . 6fter #orshiping their #eaponries, three )akti>s are #orshiped.-or the purpose of easier understanding, this vara a is divided into t#o parts.(art a is about #orshipping #eaponries and part b is about #orshipping three

)akti>s.viii. (j procedure7

9iii.a! @y$8h rcana" =or/hip of =eaponrie/!%+eaponries are to be #orshiped in the places marked 6,B, and *, in the same

order. &$here are versions #here no tarpaa is done in yudhrcanam andinstead pjana is done t#ice'. 3o#ever,vara a b jkara>s are not prefi5edbefore yudhrcana mantras.

6. 2 5 ) ) u .'43 & * &J * &J 5 0& > 5 0 % spptn QQ 2 y r l b s dr dr kl bl sa sarvajambhanebhyokme)var kme)vara bebhyo nama Q ba)akti spptn QQB. 2 M 7 . 4 * &J * &J 7 = > 7 % spptn QQ 2 tha dha sarvasammohanbhy kme)var kme)vara dhanurbhy nama Q dhan )akti spptn QQ

. 2 9 . * 0 * &J * &J " > " % spptn QQ 2 hr sarvava) karabhy kme)var kme)vara p)bhy nama Q p)a)akti spptn QQ*. 2 * * . %43 * &J * &J K > K % spptn QQkro kro sarvastambhanbhy kme)var kme)vara a ku)bhy nama Q a ku)a)akti spptn QQ9iii.5! Ei#hth 9araa pj %Offer flo#ers in ri akra by reciting the follo#ing mantra. $here is no tarpaa hereA.A2 t . k" )$* +
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A2 hsrai hsklr hsrau sarvasiddhipradacakrya nama QQ-ollo#ing three )akti>s are to be #orshiped in the places marked /, 0 and 1 inanticlock#ise manner as e5plained in the figure above. $hree k a>sof saubhagyapa;cada) mantra are used as prefi5 to these three mantras. 4n 2,entire saubhagyapa;cada) mantra is used as prefi5.

/. 2 > * a g >K @ $* & * " ] & % & M $* ! * 9! %: F L* F ! ' 7( * ^,- % @3 ! * J /" 5 G ! % * &J spptn QQ 2 ai > ka e la hr > agnicakre kmagirip he mitre)anthanavayonicakrtmaka tmatattva s iktya jgradda)dhihayaka icch)aktivgbhavtmaka vg )var svarupa brahmtma)akti mahkme)var spptn QQ0. 2 > * > . $* & " 0. " ] & N( M ) ! $% ). $* ! * ; %! M %* F ! ) 7( * b % * ' ! * * * /" sa ka la hr > somacakre jlandharap he u )antha aadalaoa)adala catura)ra cakrtmaka )ivatattva sa hraktya suuptida)dhi hyaka kriy)akti )aktib jtmaka parpara)akti svarpa rudrtma)aktimahbhagamlin spptn QQ2. $his is to be performed at the Bindu. 2 > * a g > > * > > * > " 5 G$* & 0" ] & $ . A)% M %$* ! * " " %! F L M % * F ! % ) 7( * ^,- b * A% % @3 * ' % 5 ' ! * " % /" " 5 G % % % " A) spptn QQ

2 ai > ka e la hr > kl > ha sa ka la hr > sau > sa ka la hr >parabrahmacakre maho yap he carynandattha samastacakrtmakasaparivra paramatatva s i sthiti sahraktya tur ya da)dhihyaka icch

j;na kriy )nt)akti vgbhava kmarja )akti b jtmaka parama)akti svarpaparabrahma)akti )r lalit mahtripurasundar spptn QQ$he follo#ing is kno#n as sama i pj. 6fter reciting this mantra, offer flo#erson ri akra. $here is no tarpa a here &only for / belo#'./. 2 a% K % A . k" )& $* & > ) > k 7 > % > > " . "$ 2 " '% A% ".% A% L A% + 2 et atirahasyayoginya sarvasiddhiprade cakre sa>mudr s>siddhaya syudh sa>)aktaya sa>vhan sa>parivr sarvopacrai sapjit

santarpit santu santu nama QQBoth pjana and tarpaa are to be performed for the follo#ing mantrasherever spptn is used, it means that both pjana and tarpaa are to beperformed'.0. 2 t % " 45 $* &J spptn QQ 2 hsrai hsklr hsrau tripurmbcakre)var spptn QQ1. 2 ^,- kspptn QQ 2 i icchsiddhi spptn QQ2. 2 .5 ' ) % spptn QQ 2 hsau sarvab ja mudr)akti spptn QQ
http://www.manblunder.com/2013/09/saubhagya-panchadashi-mantra-japa.htmlhttp://www.manblunder.com/2013/09/saubhagya-panchadashi-mantra-japa.htmlhttp://www.manblunder.com/2013/09/saubhagya-panchadashi-mantra-japa.htmlhttp://www.manblunder.com/2013/09/saubhagya-panchadashi-mantra-japa.htmlhttp://www.manblunder.com/2013/09/saubhagya-panchadashi-mantra-japa.htmlhttp://www.manblunder.com/2013/09/saubhagya-panchadashi-mantra-japa.html


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Go# recite hsau and sho# sarvab ja mudra.F. 2 I &(a;cada) or - oa) ' > % % " A) " 3V * spptn QQ 2 > mla &(a;cada) or - oa) ' r lalit ahtripurasundar (arbharikspptn QQ&F above should be done three times on the Bindu'

L. dhpa, d pa, naivedya, tmbla and n rjana to be offered no#.K. 293 L k & )& 0 % ! &> 3 ". & % KL 0 $. + 2 bh asiddhi me dehi )ara gatavatsale Q bhakty samarpaye tubhya aamvararcam QQ&Go# take a drop of smnya arghya in uttarai &it is important that smnyaarghya should not be moved from its place' and offer to 3er left hand'

. $here is no pjana and tarpaa here. %he is to be #orshiped #ith yonimudra. 2 K % O 2 KL 0 )& % % 2 % % " .A) " 3V * 2 QQ 2 atirahasyayogin maykhyai aamvaraa devatsahityai )r lalit

mahtripursundar parbhaarikyai nama QQ&Go# #e have to #orship 3er #ith yoni mudra'$his concludes the #orship of the eighth vara a.A77I3I NA6 ING Rs. +henever time permits, these songs are sung at the end of each vara a. 6 video for theeighth varaa is available in the link belo#.http7 * +ka e la hr Q ha sa ka ha la hr Q sa ka la hr QQiii. akre)var 7 r ahtripurasundar cakre)var % " A) $* &J iv. %iddhi )akti7 " _% k (rptisiddhiv. udra )akti7 . %arvayonivi. Jogin 7 " " % (arpartirahasyayogin vii. Gumber of )akti>s in the varaa7 OneGinth varaa is the last vara a in ri akra and only @alitmbik is #orshipedhere.viii. (j procedure7&4mage is the same as given in eighth varaa.'
http://youtu.be/21MyOL-gg7ohttp://youtu.be/1Er86YgP1Pohttp://www.manblunder.com/2013/05/journey-to-sri-chakra-part-18.htmlhttp://www.manblunder.com/2013/06/sri-chakra-and-human-body-part-9.htmlhttp://youtu.be/21MyOL-gg7ohttp://youtu.be/1Er86YgP1Pohttp://www.manblunder.com/2013/05/journey-to-sri-chakra-part-18.htmlhttp://www.manblunder.com/2013/06/sri-chakra-and-human-body-part-9.html


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Offer flo#ers in ri akra by reciting the follo#ing mantra. $here is no tarpaa hereA. A2 * a g > * > * + . A) $* +A2 ka e la hr Q ha sa ka ha la hr Q sa ka la hr QQ sarvnandamayacakryanama QQ

-or the follo#ing mantra pjana and tarpaa are to performed three times inthe Bindu2 &(a;cada) , %aubhgyapa;cada)i or - oa) ' > % % " A) " 3V * spptn QQ2 mla &(a;cada) , %aubhgyapa;cada)i or - oa) ' > )r lalitmahtripurasundar parbha rik spptn QQ$here is no sama i pj in this varaa. Both pjana and tarpaa areoffered only to @alitmbik.-or the follo#ing mantra only pjana is to be done. $here is no tarpa a here./. aN " " % . A) & $* & > ) > k 7 > % > > "

. "$ 2 " '% A% ".% A% L E % + e parpartirahasyayogin sarvnandamayecakre sa>mudr s>siddhaya syudh sa>)aktaya sa>vhan sa>parivr sarvopacrai sapjit santarpit santuTstu nama QQ-or the follo#ing mantras, both pjana and tarpaa are to be done in theBindu.0. * a g > * > * + % " A) $* &J spptn QQ ka e la hr Q ha sa ka ha la hr Q sa ka la hr QQ )rmahtripurasundar cakre)var spptn QQ1. 2 " " _% k spptn QQ 2 pa prptisiddhi spptn QQ

2. 2 . ) % spptn QQ 2 ai sarvayoni mudr)akti spptn QQGo# recite ai and sho# yonimudra.AA $hose #ho are initiated intooa) mantra, continue #ith F, after completingadditional mantras given belo# #here AA are marked and sho#n initalics.F. 2 I &(a;cada) or %aubhgyapa;cada)i or - oa) ' > % % " A) " 3V * spptn QQ 2 > mla &(a;cada) or %aubhgyapa;cada)i or - oa) ' r lalit

ahtripurasundar (arbha rik spptn QQL. dhpa, d pa, naivedya, tmbla and n rjana to be offered no#.K. 293 L k & )& 0 % ! &> 3 ". & % 0 $. + 2 bh asiddhi me dehi )ara gatavatsale Q bhakty samarpaye tubhya navamvararcanam QQ&Go# take a drop of smnya arghya in uttarai &it is important that smnyaarghya should not be moved from its place' and offer to 3er left hand'

. $here is no pjana and tarpaa here. %he is to be #orshiped #ith yonimudra. 2 " " % O 2 0 )& % % 2 % % " .A) " 3V * 2 QQ


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2 parpartirahasyayogin maykhyai navamvaraa devatsahityai)r lalitmahtripursundar parbhaarikyai nama QQ&Go# #e have to #orship 3er #ith yoni mudra'$his concludes the #orship of ninth varaa, subject to the follo#ing.

))"he following is meant for those who are initiated intooa&. "his is to bedone in addition to what is mentioned above in the ninth varaa.*oth p+ ana and tarpaa are to be done three times for the following mantra.a- * ' * ' * % 45 " ) * " ' %". + hasakala'hasakahala'sakalahr& tur&y mb r& p duk p+ ay mitarpay mi nama //0o tarpa a for the following mantra1 2only for b bleow-2"his is one of the most powerful mantras of %alit mbik -b- 1 . A) & $* & 0" ] & $ . A) M ! * % % % ) 7( * A! % %* ! * " *

. ! * " 5 G / "0 " F% % . A% &J ." ] & J . & J . J . k & J . & J * ' ) !" R % F* $* )& % 7 % " $* & * "

K" " " " . . $ " 2 4" '% A% ".% A% L E % + sarv nandamaye cakre mahoy ap& he cary nandan th tmaka turiy t&tada dhi h yaka ntyat&takal tmaka prak a vimara s marasy tmaka

parabrahmasvar+pi & par m taakti sarvamantrevar& sarvap& hevar&sarvayogevar& sarvav g&var& sarvasiddhevar& sarvav&revar&sakala agadutpatti m t k sacakr sadevat s san s yudh saakti sav hanspariv r sacakreik paray aparay par paray saparyay sarvoc prarai samp+ it santarpit santu 3stu namo nama //c- .* k spptn // sa sarvak masiddhi spptn //d- t . % OBP ) % spptn //

hsrai hsklr& hsrau sarvatrikha mudraakti spptn //0ow recite hsrai hsklr& hsrau and show sarvatrikha mudra.0ow, please go back to 4 above and continue.

na9 9araa /erie/ i/ not yet concl$8e8!

35. 8pa+$apa+$i! mea!s fi.efold9)his part of !a..araa p* $o!tai!s some importa!t ma!tras of Her assista!ts:)his $a! be e-plai!ed as fi.efold p*: ;i.e thro!es are to be $o!templated o!e abo.e theother o.er ,i!du: )he first o!e *ust abo.e the ,i!du is to be $o!templated: )hese fi.e

thro!es or p ha7s represe!t fi.e stages of samdhi: est9? 0!a 8/orth


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)hese fi.e p ha7s are to be .isuali@ed (ith bigger thro!e at the bottom a!d the smallestthro!e at the top: )his is based o! the fa$t that the lo(est p ha is the grossest a!d the topmost p ha is the subtlest: A! fa$t? this $a! be said as the subtlest be$ause? i! this p ha?the aspira!t be$omes o!e (ith Her: )hese p ha7s represe!t fi.e stages of samdhi beyo!d sa.i%alpa stage: a.i%alpa is the stage of samdhi (here duality still persists:

oo! after performi!g !a..araa p*? o!e is supposed to $o!template Her to ultimately be$ome o!e (ith Her: o!templatio! attai!s perfe$tio! i! su$$essi.e stages? (hi$h arereprese!ted by these fi.e p ha7s: A! the fifth p ha? the o!e (ho performed!a..araa p* (ith perfe$tio! a!d de.otio! be$omes o!e (ith Her: )he fi.e stages of samdhi aresmya 8state of eBuilibrium9? laya 8absorptio!9? .i!0a 8destru$tio! or remo.al9?atya!tbh.a 8absolute !o!7e-iste!$e9 a!d ai%ya 8o!e!ess (ith Her9:)here are t(o differe!t .ersio!s i! doi!g pa+$apa+$i%p*: C!e is to merely$o!template o! this aspe$t of be$omi!g o!e (ith Her: !other is doi!g both p*a!a a!d tarpaa: ,oth are a$$eptable? as Lalitmbi% alo!e pre.ails i! the form of fi.eDe.i7s i! the middle of ea$h p ha: )his is e.ide!t from the fa$t that mlama!tra is prefi-ed to the ma!tra for the p* do!e i! the ,i!du: e$o!dly? !o p* or tarpaa $a! be

do!e i! the ,i!du? e-$ept for Lalitmbi%: Ho(e.er? as this is related to the differe!tstages of samdhi? it (ould be ideal to $o!template Her:A! the follo(i!g ma!tras? !umeri$al i!di$ate the follo(i!g:1 E Middle 8al(ays prefi-ed (ith mlama!tra a!d =r idy a!d represe!ts Lalitmbi%9F2 7 .yu%oa 8/orth >est9F 3 7 0!a 8/orth 0r.idyla% myamb sppt! G !ama 2: 4 7 x x4 45 sppt! G + 0r la% mila% myamb sppt! G +3: 4 7 * & * & " ) " ) x4 2 > x4 45 sppt! G +

4 7 om 0r hr 0r %amale %amallaye prasda prasda 0r hr 0r om 0rmahla% myai !ama mahla% myamb sppt! G +4: 4 7 % % x4 45 sppt! G + 4 7 0r hr %l tri0a%tila% myamb sppt! G +5: 4 7 * . D x4 45 sppt! G + 4 7 0r saha%alahr 0r sar.asmr*yala% myamb sppt! G +ii) Pacakomb : 8 e$o!d from the base mar%ed i! red91: 4 E 7 ; * 45 sppt! G +
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4 7 mla 7 0r.idy%o0mb sppt! G +2: 4 7 > " D % * 45 sppt! G + 4 7 om hr hasasoha s.h para *yoti%o0mb sppt! G +3: 4 7 "


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3: 4 7 3 % ' % J .' . O . ' . % " N .) L F . ! . * % 2 & ' %T l 45 sppt! G +

4 7 ai hr 0r ai %l sau om !amo bhaga.ati 0rr*amta%0.arsar.a*a!ama!ohari sar.amu%hara+*a!i %l hr 0r sar.ar*a.a0a %ari

sar.astrpurua.a0a %ari sar.aduamga.a0a %ari sar.asat.a.a0a %arisar.alo%a.a0a %ari trailo%ya me .a0am!aya s.h sau %l ai 0r hr ai 0rr*amtag0arrat!mb sppt! G +4: 4 7 3 &J l 45 sppt! G + 4 70r hr 0r bhu.a!e0.arrat!mb sppt! G +5: 4 7 @ 3 % % . % . O O KA7& K A7 A7& A7 '45& ' 43 & %43& % 43 .) L" ) L HN . $R $ .O % 'Z 43 * * X c @ ] ] ] ] Y > l 45 sppt! G +

4 7 ai glau ai !amo bhaga.ati .rtli .rtli .rhi .rhi .arhamu%hi.arhamu%hi a!dhe a!dhi!i !ama ru!dhe ru!dhi!i !ama *ambe *ambhi!i !ama

mohe mohi!i !ama stambhe stambhi!i !ama sar.aduapradu! sar.e sar.a.%$itta $a% urmu%hagati*ih.stmbha!a %uru %uru 0ghra .a0ya ai glauai ha ha ha ha hu pha s.h .rhrat!mb sppt! G +

),.

$here are si5 types of dar)ana>s. *ar)ana refers to philosophical doctrines,understanding and perceiving Brahman through various methods. *ar)analiterally means Yvision and nature of reality. $hough Brahman is One, paths torealiEe 3im are different. onte5tually, Brahman here refers to(ar)akti. 6particular path is chosen through lineages and sudden spiritual impetus. 4t is like

approaching a particular destination through different routes. %i5religious 5 G)& % 7 (% 2 )*) . spptn QQ \A if parorajase svadom is added to "yatr mantra at the end, it becomes $urya"yatr mantra. One recitation of (a;cada) mantra is eDuivalent to three


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recitations of $urya "yatr mantra. "enerally it is said that no mantra should berecited beyond the number of counts of "yatr mantra. Based on the aboveprinciple, this rule does not apply to (a;cada) and - oa) mantras.^

1. 2 > > ) )& % 7 (% 2 ) . spptn QQ

2. 2 > X F 0 . 9 )! > . )& % 7 (% ) . spptn QQ

F. 2 > 0 > s. $hesesi5 yogin >s are compared as follo#s.

1 mldhra Iae0a %i!i2 s.dhih!a ,rahm 8Iod of $reatio!9 J%i!i3 maipra%a iu 8Iod of suste!a!$e9 L%i!i4 a!hata Rudra 8Iod of destru$tio!9 or

ad0i.a 8for absorptio!9R%i!i

5 .i0uddhi K.tma! 8i!di.idual soul9 5 %i!i6 *+ aramtma! 8,rahma!9 H%i!i

$his is to make us understand that all these forms of *ivinity representonly (ar)akti. 4n other #ords, %he only manifests in the forms of different gods. %he alone is my and #hen the time is ripe, %he removes the veil of my andreveals the %elf. $his pj stresses that Brahman &conte5tually it is (ar)akti'alone prevails in various forms of gods. 8no#ledge of non>dualism &6dvaita' isbeing imparted to the aspirants #ho are blessed to offer pj and tarpa a at theBindu &@alit %ahasranma 9PF, baindavsan and @alit %ahasranma 9K2,bindutarpaasantu. ntire 6alit Saha/ran "a 5oo4 can be read here.$his part also contains si5 mantras and both pj and tarpa a are to be done atthe Bindu.

/. 2 > 7 ( )& % 2 * % 0 M / "B 2 > 0 M / "AB 45 spptn QQ 0. 2 > * 7( 7( )& % 2 * * % 5 G / "B 2 > 5 G / "B 45 spptn QQ 1. 2 > 0" * 7( )& % 2 * % J K % 7( )& % 2 * 0 % ) / "B 2 > ) / "B 45 spptn QQF. 2 > P S8 7( )& % 2 P * %' &J / "B 2 > ' &J / "B 45 spptn QQ
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L. 2 > J 9b 7( )& % 2 * % " ! / "B 2 > " ! / "B 45 spptn QQ )0. %

%acred traditions or doctrines are kno#n as mnya>s and they are the paths toliberation. $he significant aspect of mnya>s is that they are communicated onlythrough #ords. $his means that mnya>s should be kno#n only through a "uru.

ommonly kno#n mnya>s are five, corresponding to the five faces of iva, four faces facing the four cardinals & ast, %outh, +est and Gorth' and one face facingup#ards. 3is face facing east represents (rvmnya= south represents*ak imnya= #est represents (a)cimmnya and north represents?ttarmnya. $hese are 3is four faces facing four cardinal directions. 3is fifthface is facing up#ards &k)a' and this is kno#n as rdhvmnya. $here is onemore mnya by name W)mnya, #hich is not commonly kno#n. $his faceof iva looks do#n. %ome te5ts call si5th mnya as 6nuttarmnya. 6nuttara

means the 3ighest, referring to (arama)iva, #ho is beyond normal humancomprehension. +ith reference to r !idy, those #ho are initiated into(a;cda) mantra use only four mnya>s and those #ho are initiated into - oa) use si5 mnya>s, the additional t#o being ?ttarmnya and 6nuttarmnya.(rvmnya represents creation. 4t also reveals the path of mantra by #hich 3ecan be attained. *ak imnya represents sustenance and represents the pathof devotion, by #hich 3e can be attained. (a)cimmnya represents destruction&destruction should be taken to mean destruction of dualities, #hich alone canlead to realiEation' and represents @a# of 8arma, by #hich 3e can be attained.?ttarmnya represents 3is "race &anugraha' and represents the path of purekno#ledge, by #hich 3e can be attained. rdhvmnya symboliEes 3is face

facing up#ards, #hich represents iva 3imself in 3is 6bsolute form. $his is thedirect form of iva. $his mnya is considered to be highly secretive in nature, asit reveals the true form of iva. 4n each of these four faces, 3e reveals a group of goddesses. iva can be realiEed by #orshipping them and reciting their mantras.$hese goddesses, #hen #orshipped properly reveal iva and akti.$here is another interpretation for mnya>s. -our mnya>s representing fourcardinals are described as four !edas. rdhvmnya represents ?pani ad>sand 6nuttarmnya represents the essence of ?pani ad>s &aha brahmsmi < 4am Brahman'. 4t is also said that these si5 mnya>s encompass all the mantras&KP,PPP,PPP mantras < seven crores in number'. +hatever mantras onepractices, it ultimately leads to (ar)akti alone.

(urport of mnyasama ipj is to convey that %he alone prevails every#here,in the form of !edas,?pani ad>s, Brahma tattva, mantras, etc. ?ltimately, this#orship emphasises 3er Omnipresence.

antras for all the si5 mnya>s are given here. $hose #ho are initiatedinto pa;cada) or saubhgyapa;cada) should use only the first four mantras.-or those #ho are initiated into any type of oa) should use all the si5 mantras. $here are t#o verses under each mnya>s. $he first verse is regarding the


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mnya devata and the second verse is about other devata>s belonging to thatmnya.

1. Pr9 "n ya%

i' 2 > t > " .m ; &J . A ) )& 6 45 spptn QQii' 2 I > % 0" %" ]% % 2 k ; ) ; &J " .A% $% .4 % )& % " & % 2 * " ] M% 2 " .m 4L/ "B 2 % " A) spptnQQ

& < mla means initiated mantras such as (a;cada) or - oa) '

(. 7a4 i "n ya%

i' 2 > ?& ? )) & * & ) 0 m ; &J 3 )& 6 45 spptn QQ

ii' 2 I > 32 L* k X Y *% ") % 2 3 @i 7 ) ;&J " .A% % !

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Sri Chakra Navavarana Pūjā