muKam bindum kR*itwa...

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From :- krishnarao (lanka.krishnarao

Subject :- " muKam bundum kR^itwA …. " .

 

SrIguruh sarvakAraNaBhUtA Saktih |

 

SrI mahAgaNAdhipatayE namah ||

" muKam bundum kR^itwA ….. "

" muKam bindum kR^itwA kucayugam adhastasya tadadhO

harArtham dhyAyEd yO haramahiShi tE manmadhakalAm |

sa sadyah sankShObham nayati vanitA ityatilaGu

trilOkImapyASu Bhramayati ravIndu stanayugAm || "

 

This is the 19th SlOka in the soundaryalahari of Srimad

BhagavatpAdA SrI Adi SankarAcArya, and its li literal

meaning runs as follows.

 

" hariNi ! He who meditates upon your face in the

bindu-sthAna and having the Sun and moon as the pair of breasts

beneath of it, and its underneath the cupid`s segment (the yOni),

instantaneously he is creating distress and delusion in the women of

the three worlds " .

 

But in my opinion, the esoteric meaning of it is otherwise

different. I submit hereunder my view point, for the perusal of our

members.

 

" nityA kUta trayam dEvi turIya swara SEKaram |

tat turIyam swarUpan ca bindutrayam udIritam ||

tadAtmakan ca dEvyAstE sAdhakasya ca yadBhavEt |

tad BhAvanAm SR^iNu prAj~nyE mahOdayakarIm SuBhAm ||

Urdhwa bindwAtmakam vaktram adhO bindu dwayAtmakam |

kuca dwayam tu tatChEShA gatimEtAm viBhAvayEt || "

 

The kAditantra has described the `kAmakalA' as above.

At the end of the three `kUtAs'of any mantra, as heard in the ends of

nAda and nAdAnta, that " ImkAra nAdA' itself is the " turIya swarUpam "

(the fourth avastha).The `ImkAra " is meant for the " mahA mAya " . That

is to say that it is the witnessing spirit for both the concepts of

existence and nonexistence. (BhAvABhAva sAkShi caitanyam).

 

" kUta trayE mahAdEvi kuNDalI tritayEpi ca |

cakrANAm pUrva pUrvEShAm nAdarUpENa yOjanam || "

 

This is an instruction of guide lines for the three

types of " adhikAri BhEdAs " for doing japa and dhyAna of " kAma kaLA " .

The first one for the beginners is, to conjoin the three kUtAs

of the mantra In the `kuNDalini " , which is in three forms as gross,

subtle and `para' and doing japa associating the nada in each of the

cakras.

The second one for the `madhyamAdhikAris' is, to meditate upon

the nine `nAda sthanAs' from the centre of the forehead up to the

brahmarandhra viz. `bindu', `arthacandra', `rOdhini', `nAda',

`nAdAnta', `Sakti', `vyApika', `samana' and `unmani' each at a

distance of one `anguLi' linking up with the `mantra akSharAs',

with a feeling of the nectarous flow showering in the `dwAdaSAnta'.

The third one for the `unnatAdhikArIs' (advanced devotees) is,

visualizing the face of fully ornamented divine mother in the

'bindu', (`nAdasthAna' in the centre of the forehead), brace of

breasts appearing as " visarga " in the " nAda, (nAda Sthana " in the

hairline); and the vagina in the `trikONa' of `brahmarandhra',

adopting the three kUtAs/KanDAs of the mantra with the feeling of

absorbing oneself in that `citkaLa', which is the real source of the

birth of us all. This kind of dhyAna is called as " kAmakaLA dhyanam " .

Every alphabet of the mantra being merged into the preceding one and

forming into one single " EkAkShari mUrti swarUpam "

" dEvA dEvEShu Srayadhwam| prathamA dwitIyEShu

Srayadhwam| dwitIyAstR*itIyEShu Srayadhwam| tR^itIyAscatuturdhEShu

Srayadhwam| etc., etc.,| dEvA~~strIrEkAdaSA streestrayastigmSA| uttarE

Bhavata| uttara vartmAna uttara sattwAnah| yat kAma idam juhOmi| tanmE

samR^idhyatAm| vayagg syAma patayO rayINAm|| "

Here " nAdarUpENa yOjanam " means, merging all the

bindurUpa alphabets in the ultimate nAda. Generally many of the

sAdhakAs recite the `mantrAkSharAs' and at conclusion, prolong it with

the nAda. It is just like proceeding yourself in fore-front and

asking the `kuNDalinI rUpa paradEvata' to follow you behind. The

above verse is asking us to keep behind of the `paradEvata' until her

destination to the `bindu'. Or, recite all the `mantrAkSharA's as

lightly as the uninterrupted nAdA only. .

" trikONE baindava sthAnE adhOvaktram vicintayEt |

bindorupariBhAgE tu vaktram paricintya sAdhakah ||

taduparyEva vakShOja dwitayam samsmarEd budhah |

taduparyEva yOnin ca kramaSO BhuvanESwarIm |

SrIvidyAm kAmarAjan ca vinyaSyASu vimOhayEt || "

`SanatkumAra samhita' also describes the same in another

slightly changed method.

" bindutraya samAyOgAn mahAtripurasundarI

nAdarUpENa sA dEvI hakArArtha swarUpiNI || "

`J~nAnArNava tantra' also is describing it as " nAda rUpa " only.

" Antaram nAdAnusandhAna lakShaNam japah " and also,

" nAsti nAdAt parO mantrO na dEvah swAtmanah parah "

That is why, by accomplishing the 'turIya swara japa' in the

form of `nAda', is achieving instantaneous " siddhi " . This very

`turIya swaram' is also called as " gupta mahA sAraswata bIjam " .

" avyakta nAmnI paramESa Saktih

anAdyavidyA triguNAtmikA parA |

kAryAnumEyA sudhiyaiva mAyA

yayA jagat sarvamidam prasUyatE || "

AdiSankarAcArya has described this " mahAmAyA swarUpiNi " as

" sannAp yasannAp yuBhayAtmikAnO

Bhinnap yaBhinnap yuBhayAtmikAnO|

sAngAp yasAnga hyuBhayAtmikAnO

mahAdBhutA~nirvacanIyarUpA || "

Which is neither the form of " SUnya " nor the form of " sat " ,

being and not being both the forms, is " mAya " . The `rudrayAmalam'

says that the influence of this `mAya' is extent all over the three

worlds.

" naBho mahA bindumuKI candra sUrya stanadwayA |

sumEru hAravalayA SOBhamAna mahIpadA ||

pAtALatala vinyAsA trilOkIyam tavAmbikE |

kAmarAja kalArUpA jAgarti sacarAcarA || "

All the three worlds of BhU, Bhuvah and swah were stretched in

the three `avasthAs' of `jAgrat', `swapna' and `suShupti' just by this

`mAyA Sakti' only.

This `mAyA' is neither a male nor a female, nor it

belongs to both genders. The form of it is visualized as a fully

ornamented woman. Because this is the highest of all the dEvatAs, the

japa samarpaNam is intended in the name of masculine gender and the

dhyAna slOka is indefinitely saying,

" dhyAyEd BhAskara SItAmSu vahnInAm manDalOpari

sthitE vahnipurE nAgadaLa padma samASritam |

anguShTa mAtra mamalam viShgnu mOnkAra rUpiNam

sarva dEvamayam dEva manantam sarvatO muKam |

swamAyayA samAkrAntam sUkShma jyOti swrUpakam

sa brahma sa Sivah sa hari ssEndrah sO~kSharah parama swarAt ||

Here ' viShnum' indicates the extensiveness and `sUkShma jyOti

swarUpakam' indicates the last visible state of an object. " swarAT "

indicates the sovereignty.

As many of us think, there are no three bindus, nor

there any `trikONa' at all. There is only one `bindu' in which all

these are embedded, in the same bindu, there are two bindus, just like

a seed of any plant having two cotyledon cups. With the extensions on

both sides of this, it appears like a triangle. If this `bindu' is

considered as " Siva " , the two cotyledons can be taken as " Siva and

Sakti " . However they are not two different individuals. On the

whole, because of the duel appearance, just as the seed is appearing

with two extensions on both sides like a triangle, the bindu also

appears as a triangle when it is all set for creation of the universe.

Prior to the separation of `icCha, j~nAna and

kriya " , all of these three were remaining in the same `icCha' of

`paramaSiva' only. The j~nAna and kriya of the ensuing creation both

were embedded in that `icCha'. It means, both of the two bindus,

(j~nAna and kriya) were set in the main " kAraNa bindu " only. Because

there was no pollution of external " viShayAs " (worldly interactions)

they were glowing in perfect and pure brilliance. Those three

luminaries were named as the moon, Sun and fire.

The consequence of the " aham sphuraNa " (the quiver of

`I' consciousness) in `parama Siva' itself has appeared as `a' and

`ha'. If `a' is the `prakASarUpA' of Siva, `hakAra' is his

`vimarSarUpa'. `akAra' is called bindu and SUnyam ( " binduh SUnyam

akArah " ). From this `SUnyarUpa bindu' only all the fifty alphabets

emerged out. `ha'kAra' also is the outcome of this `SUnyarUpa

anuswAra' (`a'kAra), and this is called as `visarga'. In this `hakAra'

both hakAra and akAra are existing, just like the " agnIShOmAtmaka

rUpam' coming out as an accessory of the `sUrya maNDalam'. It is the

deceptive form giving us the impression that the Sakti' is different

from `Siva'. This `visarga', the twin bindus is the persona of the

`vimarSarUpa cit Sakti' which is actuating in the act of creating the

universe.

…………….. From this `visarga', the whole of the universe came out

through six `adhwAs' in three stages, viz., firstly `varNa'

(alphabets) from one bindu and `kalA' (division) from the other; again

these alphabets developed as `padam'(words) and the `kala' became

`tattwam' (constituent element); and then the `padam' transformed as

`mantram' (sentence) from which all the `vEdAs, AgamAs and the whole

literature; and the `tattwam' transformed as `Bhuwanam' in which all

the fourteen worlds existed. By this we can understand that the whole

of the universe and whole of the knowledge, every thing is the product

of this twin bindus ie., visarga. All of these issues were dispensed

out through the triangle which is the reflected manifestation of the

`bindu' and `visarga'.

For any one who aspires to explore about his own

primary origin (swaswarUpa j~nAnam), he has to go and search for it in

the basic source of his entering into these worlds. That source is

nothing else but this unit of `bindu', ` visarga' and the `trikONa'.

This unit is called " kAmakaLa " , because all the intelligent

intellectuals always yearn for it. They all know that this is the

" viShNupadam " they eternally aspire for.

" tad viShNOh paramam padam sadA paSyaNTI SUrayah.

divIva cakShur Atatam "

" puNDarIkAkSha!, puNDarIkAkSha!!— "

All of these sages are relentlessly staring at this unit only, making

their eyes as wide as the skies.

" nEtrAdi jAlakOpAntE hR^it padmAsana lIlayA

vAram vAram twayA dEvi rUpAdi madhu sEvyatE || "

For every thing of the worldly experiences, the external and internal

senses are the sole generators. This mahAmAya is observing every thing

with the help of these senses like a spectator and also controlling

every thing like a dictator. Nothing is there which is not deluded by

this `mAya'. Undisputedly every one is in her grasp. She is

" sarvavimOhi " . and when graciously kind, she becomes " mOhanASani " .

In the above SlOkA the word " trilOkIm " indicates the

" sthUla, sUkShma and kAraNa dEhAs " . The word " ravIndu stana yugam "

indicates " brilliantly glowing visions " and the word " vanita " is

indicative of the worldly attractions. It means if the mahAmAya is

kind and benevolent, she will disrupt all the clutches of the worldly

attractions. " ravIndu stana yugam " again indicates the " agnI shOmAtmaka

jagat "

Every thing is Siva_ Sakti mayam!!

" EkAm prakR^iti rUpENa sarva Saktim vicintayEt |

kAmayEt kAminIm sarvAm dEvIm AvarNa rUpiNIm ||

cintayEt sundarIm dEvIm sarva vyApaka rUpiNIm |

ikAraBhUta mantrasyAvayavam ca catuShtayam ||

bindu trayasya dEvEsi pratham dEvEshkaka viduh |

bindu dwayam stana dwandwam hR^idi sthAnE niyOjayEt ||

hakArArtham kalAm sUkShmAm yOni madhyE vicintayEt |

udyadAditya samkASam sindUrABham stanadwayam ||

bindum sankalpya vaktram tu sphurad dIpa SiKa praBham |

kAmO bindu raham dEvi tatrasthA paramESwarI |

Siva Saktimayam dEva tadadhastat kucadwayam ||

tadadhah saparArtham tu cidrUpA paramA kalAm ||

sancintya sAdhakaSrEShTastrailOkyam vaSamAnayEt |

Etat tE kathitam dEvi kAmakalA sunirNayam ||

gOptavyantu prayatnEna yadIcChEdatmanO hitam || "

 

krishnarao (SrIparaSuKAnandanAtha)