kirItam vyrincam parihara

[Guest guest]

KirItam vyrincam parihara ……

From :- lanka.krishnarao

 

SrIguruh

sarvakAraNaBhUtA Saktih |

SrImahAgaNAdhipatayEnamah

||

 

" kiriitam vyrincam parihara purah kaitaBhaBhidah

kaThOrE kOTIrE sKalasi jahi jamBhAri makutam |

praNamrEtEShvEShu prasaBha mupayA tasya Bhavanam

BhavasyABhyutthAnE tava parijanOktir vijayatE || "

 

This is the 29th SlOkA in the soundaryalahari of SrI

AdiSankarAcArya.

Commonly understood meaning of it is,

" O mother, when your husband `Bhava' is approaching thy abode

all the attendants of yours are perturbed in order to alert you, while

you rise in haste to receive him, they utter ---

" Skip over the crown of brahma, who is lying prostrated before you.

Skirt the hard coronet of the flat lying `viShNu' also, without

stumbling. You have to safely pass over the diadem of the crouching

`indra' too, which may hurt your foot in your swiftness.

 

For this, I found another meaning also, which I wish to share with all

our members too.

 

" BhavasyABhyutthAnE " means creation of the universe. That is

the fulfillment of the core wish of parabrahma `Siva'. While the

aspirations of the `jIva' is, to achieve `kaivalya' of the `kailAsa',

the completion of paramESwara`s wish would be to build up the

universe, extending himself to the ends of the " pR^ithvI tattwa " .

When the Siva tattwa shrinks, the creation of the universe will come

into existence and when the same expands, it returns to become

dissolved and merged in the same `Siva tattwa'. It is the nature`s

law to make both of these simultaneous actions one after another

alternatively. The condition of expansion in the `Siva tattwa' which

is `samhAra rUpa' (dissolution), is termed as " Urdhwa kunDalini " ; and

the condition of contraction in the `Siva tattwa' which is `sR^iShti

rUpa' is termed as " adhah kunDalini " .

 

While doing `japa', it is customary that we should raise our

kuNDalini towards the `brahmarandhra', leaving out all the 36 tattwAs

behind, one after another. After reaching the destination, it will

sneak down, in the form of nectarous flow, into all of the seventy two

thousand pulsations (nADI manDala) of the body. The `prANa Sakti'

which flows through `idA' and `pingala' nADIs in the form of

" utChwAsa " and " praSSwAsa " '. and enters in to the three subtle

layers, confined in the `suShumnA nADi as an `antarvAhini' (obscured

stream).

The names of these three layers are –

1. " vajriNi " which is stretched as the outer layer,

2. " citriNi " which is positioned as the middle layer and the

3.the inner most is " brahmanADI " , also it is called as " mUrdhanya

nADi " .

The goal of the sAdhaka would be to extend the `prANa' up to this

`mUrdhanya nADI' only.

 

In the `rudrayAmala tantra' there is an elaborate description about

these nADIs.

 

pR^iShTadESE mahAdanDE mErumUlE mahApraBhE,

mUlAdi brahmarandhrAdhah sadAsthirUpa dhArakah,

kanakAcala nAmnA ca pratiBhAti jagattrayE||

tanmadhyE muni swarUpA ca manas caitanya kAriNI,

tanmadhyE BhAti vajrAKyA Gora pAtakanASinI,

siddhidA BhAva vij~nAnam mOkShadA kularUpiNAm ||

TanmadhyE citrine dEvI dEvatA prItivardhinI,

hitaiShiNI mahA mAyA kAla jAla vinASinI ||

sA pAti sakalAn cakrAn padmarUpadharAn parAn,

trailOkya manDalagatAn sAkShAdamR^ita vigrahAn ||

swayam dadhAra sA dEvI citrAKyA cArutEjasI,

citrine madhyadESE ca brahmanADI mahA praBhA||

sarvasiddhipradA nityA sA dEvI sakalA kalA,

vyOmarUpA BhagavatI sarva caitanya rUpinI ||

Eka rUpam parambrahma brahmAtItam jagattrayam ||

 

This was said in the order of expansion (vikAsakramam or

samhArakramam), whereas the soundaryalahari SlOkA is describing the

same in the order of contraction (sankOcakramam or sR^iShtikramam).

While doing our mantra japa, we will have to adopt the samhAra kramam

only, in order to raise the kuiNDalini up to the bindu cakra.

 

The `nyAsakramam' for these three nADIs also was mentioned

there itself as,

 

" talE pR^iShTE UrdhwadESe SIrShE vakShasi nABhiShu,

kanThakUpE cakramadhyE brahmAnDam pAti sarvadA,

SarIrAtmakam ISArtham trailOkyam sa carAcaram ||

 

See the dhyAna SlOka mentioned for the " mAtR^ika nyAsam "

 

" AdhArE linga nABhau hR^idaya sarasijE tAlumUlE lalAtE

dwE padmE ShODaSadaLE dwAdaSArthE catuSkE

vAsAntE bAlamadhyE DaPakaTa sahitE AdiyuktE swarANAm

hamkSham tattwArthayuktam sakala daLagatam varNarUpam namAmi || "

 

The central idea of this SlOkA is that, the kuNDalinIrUpa

mAtR^ikA saraswati is streaming through all the tattwAs namely the

Atmatattwa, vidyAtattwa and Sivatattwa, in this way in

" gudasthAna, linga, nABhi, hR^idayam, kanTham, lalATam, aShtAra and

trikONa and the sahasrArapadma which is called " the ShOdaSAnta " . All

these are in the ascending order in the gross body (sthUladEha).

Included with `Aj~nAcakra' and `viSuddhicakra' the catuShka which

means, anAhata, maNipura, swAdhiShTAna and mUlAdhAra cakrAs in

descending order in the subtle body (sUkShmadEha)

And in the causal body (kAraNadEha), in the mounting shift, again in

the mUlAdhAra, swAdhiShTAna, maNipUra, anAhata, viSuddha and Aj~nA

cakrAs "

 

" purascakrE dwipadah purascakrE catuShpadah

Purasca pakShI BhUtwA purah puruSha AviSEt || "

 

Human form in the gross body, dharma form in the subtle body

and in the causal body in `garuDa form' which carries us to the

brahmarandhra. The very next, we will attain the " viShNupadam " , our

eternal abode.

 

" sakR^iduccAritamAtrENa UrdhwamunnayatiityOmkArah "

So defined praNava too— it was said in the `uttara giita' that,

" OmkAra dhwani nAdEna vAyOssamharaNAntikam |

nirAlambam samuddiSya yatra nAdO layamgatah

tad viShNOh paramam padam— "

 

Ahead of the brahmanADi, `viShNupadam' is attained and that is the

emancipation (mOkSha).

 

While doing mantrajapa, the prANaSakti enters into the `suShumnA

nADi' which looks like the tiny passage of a lotus string, and rises

upwards towards the sahasrArapadma like a furious serpent. After

entering into it, it returns back from there along with the nectarous

flow of that place, to satiate all the 72 thousand nADIs of the body.

While descending from the sahasrAra it enters first in the brahmanADi.

This brahmanADi was described as so soft and smooth like the film of

iceberg and that it belongs to the `candramanDalam'. It gives the

impression that this is the stage of `niShkalAtmaka parabrahma'

transforming towards the " sakalAtmaka form " . Having its `raSmipunja'

downwards, this brahmanADi is so subtle that it is not possible to

recognize whether it is there or not.

" SaktirUpA hi sA dEvI sAkShAdamR^ita vigrahA " .

This is the `samaShti swarUpa' of the five Siva tattwAs, viz., Siva,

Sakti, sadASiva, ISwara and Suddhavidya.

 

When Siva, in the beginning, aspired for " another one " , his own

" iccha " (wish), which is his own `Sakti', manifested as " aham " . That

itself when being introvert, became " sadASiva " and when it became

extrovert, it was called " ISwara " . The samaShti j~nAna of these two

stages is called " Suddha vidyA " . Although they all appear as

different, all are not different from the " cidEkarasa Suddha

samvinmAtra Siva tattwa " only. These five `Suddha tattwAs " related to

the causal body, are actually the `bindu' and `trikONa'. While the

Siva and the Sakti are one single entity in the bindu cakra, the

sadASiva, ISwara and Suddhavidya are manifesting as the `trikONa'.

" trikONE baindavam SliShtam " .

So all the five are " bindu " only. Looking at this descending Siva

swarUpa, it comes to our mind that this is the divine " anugraha

swarUpa " .

 

" kaEIlahrIm " . While returning from the sahasrArapadma after doing

pradakShiNa around in the `trikONa' for the `bindu cakra, this

`sAraswata kUTa' first enters into the `brahmanADi' with a humble

request to remove the hurdles for brahma (vEdamAtA) in delivering the

dharma for the universe. This is the essence of `gAyatrI mantra'.

This is `smaraNarUpA' and `adhyayanarUpA' and also `brahmavidyA rUpA'

too. " kanyantE prakASyantE SabdajAlAni " Exhibiting the universal

creation by expounding the magical flow of words. It is considered

worthy to be meditated by the `brAhmins'

 

After satisfying the brahmanADi, the kuNDalinI prANaSakti enters into

the middle layer called `citriNi'. This prANaSakti itself is the

`candra manDalAmR^itam', but slightly solidified and indurate by the

influence of the winds from the `agni manDalam'. " jyOtir vAyau

pratiShThitam " . This citriNi nAdi is really a peculiar one. This

being the abstract form of the `mahA maya', exercising its power and

authority over all the `ShatcakrAs' (universe). This is the

collective form of the seven tattwas from " mAyA tattwa " to " puruSha

tattwa " .

 

Engulfed by the `mAyA', the `puruSha', capriciously came to the

conclusion that he was duty bound to accept the fetters of all the

five tattwas viz., " kalA " , " vidyA " , " rAga " , " kAla " and " niyati " . He

thought himself that he was enclosed by them as five jackets (panca

kancukAs). In fact all these five tattwAs and the `mAyA tattwa are

just imaginary and not any existent things, the purusha tattwa with

all these six tattwAs is the only single tattwa.

 

" puruShassuKa duhKAnAm BhOktR^itvE hEturuccyatE " . The one who is in

dilemma of " ahamBhAvam idamBhAvam " is really the replica of and not at

all different from the `paramAtma' who has been deluded by the `mAyA',

aspiring for the experience of his wish " sO~kAmayata " .

 

This is the form of " kAmarAja kUtA " (hasakahalahrIm). The two

purushArthAs `artha' and `kamA' are amenable to the effort (kriya),

hence it becomes worthy to be worshipped by kShatriyAs. " hasakam "

means, 1. `tApa trayam' 2. riches of wealth and food 3. improvises the

desire for all kinds of corporeal pleasures. And also—

" hasa " = enlighten upon; " halAm " = understanding; " kam " = brahma

(dharma) and, " hrIm " = yearning for knowledge. So, we have to

understand that this is capable of affording pleasures of both the

present and also for next of the worlds. This `citriNi' is acting in

both the ways in the form of " citi " swarUpam, which substantiates the

differential notion (BhEda BhAvana), the nature of the `agni manDalam'

and also in the form of j`nAnarUpa " cEtanA swarUpam " , that endows the

non-differential recognition (aBhEda BhAvana), because of the nature

of " candra mandalam "

 

With upward rays of `agnimanDalam' and the downward rays of

`candra manDalam' mixed together in the form of the " sudarSana cakra " ,

inwards and outwards, it is acquiring the administrative talents of

SrImahAviShNu. It is viscous, as if to say that it would be useful as

an adhesive in strengthening the concept of " agnIShOmAtmakam jagat'.

It seems that only to indicate, that this `citriNI nADi' should be

melted to flow down, the word " sKalasi " was inscribed in the SlOka.

We can well say that this `citriNi' is the `mAya', which exists

between `jiivatma' and `paramAtma'. This is the real form of the four

antahkaraNAs, by which the puruSha was immersed in the delusion of

samsAra.

 

With all its upward rays, being extrovert, wrapping up as a covering

around the `citriNi is the " vajriNI nADi " . This is the form of

" sahasrArciSha " (the fire), which emphasizes the concept of perception

of the universe. This is the collective form of the twenty four

tattwAs from " prakR^iti " to " pR^ithivi.

 

`rajas tamascABhibhUya sattwam Bhavati BhArata,

rajas sattwam tamas caiva tamah sattwam rajas tathA || "

 

What was said as " prakR^iti " in the matching stage of `guNA's, the

same is called as " antahkaraNAs " in the clashing stage of the guNAs.

These `antahkaraNAs' are not at all different from the `prakR^iti' of

the `puruSha' who is after all the collective form of `bAhyakaraNAs'

only. Since there is no difference between the `prakR^iti' and

`puruSha', we can substantiate that the `samaShti' of all these

tattwAs is the `puruSha' only. The `prakR^iti of `puruSha' which wore

the " antahkaraNa sahita panca kancukAs " itself has created the `panca

BhUtAtmaka dEha' which is the aggregate of `panca tanmAtrAs', `panca

j~nAnEndriyAs' and the `panca karmEndriyAs'; and providing him the

experience of viewing the existence of the universe.

 

The outer most cover like layer is named as " vajriNi " . The

" sakalahrIm " of the " SaktikUta " indicates that this `vajriNi' contains

many " kaLAs " and proposing heterogeneity of the world. It specifies

that it consists of all the process of the four `antahkaraNas', sixty

four varieties of `kaLAs', and also the twenty four kinds of tattwAs.

By saying " tasmAd AdhAram ASrayEt " , it signifies that this " vajriNi "

is the fundamental basis for all the four " puruShArthAs "

 

" jamBhO~mSE " . `jamBham' means `diversity " . Even though it

says, that this `nADi' is the sole proposer of all diversification,

when esteemed as `paradEvata', it hinders all the activities of the

" citta " and strips off all variegation and it upholds the way for

" Kaivalya " too.

 

" sEyam kriyAtmikA Saktih Sivasya paSuvartinI,

bandhayitrI swamArgasthA j`nAta siddhyupapAdikA || "

 

Soon after one acknowledges the `kriyA Sakti' as `parA Sakti'

and identifies himself with it, the personage of " j`nAna Sakti " ,

which is the form of the three kinds of " antahkaraNa " and the form of

" kriyA Sakti " which is called as " bAhya karaNas " with the Sum total of

the mind and the ten `indriyAs' making eleven, becoming the fourteen

types of the jIva`s `kaLA rUpam' itself, is the all pervading " dESa

kAlAparicCinna vyBhavAdhiShTHAtri " , he will be able to realize that

" viSwarUpa prakR^iti itself is the " SivakaLa " . " parAparayOh

SaktyOraBhEdah " .

 

In fact, all the thirty six tattwAs from `pRithivi' to `Siva'

are only one tattwa and none of them is separate from any one. The

indivisible `Sakti' of `Siva' who is " cidAnandaGana " and " paramAkShara

vigraha " , by its own will (iccha), hersef being the " jagannATaka

sUtrdhAri " , manifests in the forms of " citi " , " mAya " and " prakR^iti "

and creating many forms of diverseness and exhibiting " swAtantrya

mahima " of `paramaSiva'

 

" vartamAnAvaBhAsAnAm BhAvAnAmavaBhAsanam,

antah sthitavatAmEva GaTatE bahirAtmanA || "

 

What is there in the kailAsa of brahmarandhra, that itself is

situated and found in the " pR^ithivi " of `mUlAdhAra also

 

" yasyAmantarviSwam Etad viBhAti bAhyaBhAvam BhAsamAnam visR^IStau,

kShObhE kShINE~nuttarAyAm sthitau tAm vandEdEvIm swAtma samvittim

EkAm || "

 

" sR^iShti " which means that, whose inside and out side, all

this universe is delusively imaginable in the " kShObha daSa " , and when

it contracts, who settles again in the " anuttarAtmaka sthiti " , I adore

to that the ONE " aKanDa swAtma samvitti (Atma j`nAna) rUpa

paradEvata " .

So praises " aBhinavaguptA " for this `jaganmAtA' only.

 

Please excuse me if I have exceeded any limits of sampradAya.

 

krishnarao (SrIparasuKAnandanAtha)

[Guest guest]

Dear krishna rao garu,

 

Namaste. There is no issue of crossing the sampradaya so long as one

is in the purview of sastra maryada, vaidika karmanushtana, shoucha

dharma and sadachara. And i believe your parampara has all these.

 

Personally, i have a GURU BHAVA for your paramaguru Shri Ishwara

Satyanarayana Sastry who happens to be the friend of my gurunatha. My

gurunatha was never tired of extolling the qualities and anushtana of

satyanarayana sastry. He was also a good ayurvedic physician with in-

depth knowledge of mulika vaidya.

 

Among his wonderful literature on srividya, his book " amma to

mucchatalu " in telugu is out of print. Any knowledge of the source of

this book, kind inform me its whereabouts.

 

with regards,

sriram

 

 

, " krishnarao "

<sriparasukhanandanadha wrote:

>

> KirItam vyrincam parihara ……

> From :- lanka.krishnarao

>

> SrIguruh

> sarvakAraNaBhUtA Saktih |

> SrImahAgaNAdhipatayEnamah

> ||

>

> " kiriitam vyrincam parihara purah kaitaBhaBhidah

> kaThOrE kOTIrE sKalasi jahi jamBhAri makutam |

> praNamrEtEShvEShu prasaBha mupayA tasya Bhavanam

> BhavasyABhyutthAnE tava parijanOktir vijayatE || "

>

> This is the 29th SlOkA in the soundaryalahari of SrI

> AdiSankarAcArya.

> Commonly understood meaning of it is,

> " O mother, when your husband `Bhava' is approaching thy abode

> all the attendants of yours are perturbed in order to alert you,

while

> you rise in haste to receive him, they utter ---

> " Skip over the crown of brahma, who is lying prostrated before

you.

> Skirt the hard coronet of the flat lying `viShNu' also, without

> stumbling. You have to safely pass over the diadem of the

crouching

> `indra' too, which may hurt your foot in your swiftness.

>

> For this, I found another meaning also, which I wish to share with

all

> our members too.

>

> " BhavasyABhyutthAnE " means creation of the universe. That is

> the fulfillment of the core wish of parabrahma `Siva'. While the

> aspirations of the `jIva' is, to achieve `kaivalya' of the

`kailAsa',

> the completion of paramESwara`s wish would be to build up the

> universe, extending himself to the ends of the " pR^ithvI tattwa " .

> When the Siva tattwa shrinks, the creation of the universe will

come

> into existence and when the same expands, it returns to become

> dissolved and merged in the same `Siva tattwa'. It is the nature`s

> law to make both of these simultaneous actions one after another

> alternatively. The condition of expansion in the `Siva tattwa'

which

> is `samhAra rUpa' (dissolution), is termed as " Urdhwa kunDalini " ;

and

> the condition of contraction in the `Siva tattwa' which is

`sR^iShti

> rUpa' is termed as " adhah kunDalini " .

>

 

> While doing `japa', it is customary that we should raise our

> kuNDalini towards the `brahmarandhra', leaving out all the 36

tattwAs

> behind, one after another. After reaching the destination, it will

> sneak down, in the form of nectarous flow, into all of the seventy

two

> thousand pulsations (nADI manDala) of the body. The `prANa Sakti'

> which flows through `idA' and `pingala' nADIs in the form of

> " utChwAsa " and " praSSwAsa " '. and enters in to the three subtle

> layers, confined in the `suShumnA nADi as an `antarvAhini'

(obscured

> stream).

> The names of these three layers are –

> 1. " vajriNi " which is stretched as the outer layer,

> 2. " citriNi " which is positioned as the middle layer and the

> 3.the inner most is " brahmanADI " , also it is called as " mUrdhanya

> nADi " .

> The goal of the sAdhaka would be to extend the `prANa' up to this

> `mUrdhanya nADI' only.

>

> In the `rudrayAmala tantra' there is an elaborate description about

> these nADIs.

>

> pR^iShTadESE mahAdanDE mErumUlE mahApraBhE,

> mUlAdi brahmarandhrAdhah sadAsthirUpa dhArakah,

> kanakAcala nAmnA ca pratiBhAti jagattrayE||

> tanmadhyE muni swarUpA ca manas caitanya kAriNI,

> tanmadhyE BhAti vajrAKyA Gora pAtakanASinI,

> siddhidA BhAva vij~nAnam mOkShadA kularUpiNAm ||

> TanmadhyE citrine dEvI dEvatA prItivardhinI,

> hitaiShiNI mahA mAyA kAla jAla vinASinI ||

> sA pAti sakalAn cakrAn padmarUpadharAn parAn,

> trailOkya manDalagatAn sAkShAdamR^ita vigrahAn ||

> swayam dadhAra sA dEvI citrAKyA cArutEjasI,

> citrine madhyadESE ca brahmanADI mahA praBhA||

> sarvasiddhipradA nityA sA dEvI sakalA kalA,

> vyOmarUpA BhagavatI sarva caitanya rUpinI ||

> Eka rUpam parambrahma brahmAtItam jagattrayam ||

>

> This was said in the order of expansion (vikAsakramam or

> samhArakramam), whereas the soundaryalahari SlOkA is describing the

> same in the order of contraction (sankOcakramam or

sR^iShtikramam).

> While doing our mantra japa, we will have to adopt the samhAra

kramam

> only, in order to raise the kuiNDalini up to the bindu cakra.

>

> The `nyAsakramam' for these three nADIs also was mentioned

> there itself as,

>

> " talE pR^iShTE UrdhwadESe SIrShE vakShasi nABhiShu,

> kanThakUpE cakramadhyE brahmAnDam pAti sarvadA,

> SarIrAtmakam ISArtham trailOkyam sa carAcaram ||

>

> See the dhyAna SlOka mentioned for the " mAtR^ika

nyAsam "

>

> " AdhArE linga nABhau hR^idaya sarasijE tAlumUlE lalAtE

> dwE padmE ShODaSadaLE dwAdaSArthE catuSkE

> vAsAntE bAlamadhyE DaPakaTa sahitE AdiyuktE swarANAm

> hamkSham tattwArthayuktam sakala daLagatam varNarUpam namAmi || "

>

> The central idea of this SlOkA is that, the kuNDalinIrUpa

> mAtR^ikA saraswati is streaming through all the tattwAs namely the

> Atmatattwa, vidyAtattwa and Sivatattwa, in this way in

> " gudasthAna, linga, nABhi, hR^idayam, kanTham, lalATam, aShtAra and

> trikONa and the sahasrArapadma which is called " the ShOdaSAnta " .

All

> these are in the ascending order in the gross body (sthUladEha).

> Included with `Aj~nAcakra' and `viSuddhicakra' the catuShka which

> means, anAhata, maNipura, swAdhiShTAna and mUlAdhAra cakrAs in

> descending order in the subtle body (sUkShmadEha)

> And in the causal body (kAraNadEha), in the mounting shift, again

in

> the mUlAdhAra, swAdhiShTAna, maNipUra, anAhata, viSuddha and Aj~nA

> cakrAs "

>

> " purascakrE dwipadah purascakrE catuShpadah

> Purasca pakShI BhUtwA purah puruSha AviSEt || "

>

> Human form in the gross body, dharma form in the subtle body

> and in the causal body in `garuDa form' which carries us to the

> brahmarandhra. The very next, we will attain the " viShNupadam " ,

our

> eternal abode.

>

> " sakR^iduccAritamAtrENa UrdhwamunnayatiityOmkArah "

> So defined praNava too— it was said in the `uttara giita' that,

> " OmkAra dhwani nAdEna vAyOssamharaNAntikam |

> nirAlambam samuddiSya yatra nAdO layamgatah

> tad viShNOh paramam padam— "

>

> Ahead of the brahmanADi, `viShNupadam' is attained and that is the

> emancipation (mOkSha).

>

> While doing mantrajapa, the prANaSakti enters into the `suShumnA

> nADi' which looks like the tiny passage of a lotus string, and

rises

> upwards towards the sahasrArapadma like a furious serpent. After

> entering into it, it returns back from there along with the

nectarous

> flow of that place, to satiate all the 72 thousand nADIs of the

body.

> While descending from the sahasrAra it enters first in the

brahmanADi.

> This brahmanADi was described as so soft and smooth like the film

of

> iceberg and that it belongs to the `candramanDalam'. It gives the

> impression that this is the stage of `niShkalAtmaka parabrahma'

> transforming towards the " sakalAtmaka form " . Having its

`raSmipunja'

> downwards, this brahmanADi is so subtle that it is not possible to

> recognize whether it is there or not.

> " SaktirUpA hi sA dEvI sAkShAdamR^ita vigrahA " .

> This is the `samaShti swarUpa' of the five Siva tattwAs, viz.,

Siva,

> Sakti, sadASiva, ISwara and Suddhavidya.

>

> When Siva, in the beginning, aspired for " another one " , his own

> " iccha " (wish), which is his own `Sakti', manifested as " aham " .

That

> itself when being introvert, became " sadASiva " and when it became

> extrovert, it was called " ISwara " . The samaShti j~nAna of these

two

> stages is called " Suddha vidyA " . Although they all appear as

> different, all are not different from the " cidEkarasa Suddha

> samvinmAtra Siva tattwa " only. These five `Suddha tattwAs " related

to

> the causal body, are actually the `bindu' and `trikONa'. While the

> Siva and the Sakti are one single entity in the bindu cakra, the

> sadASiva, ISwara and Suddhavidya are manifesting as the `trikONa'.

> " trikONE baindavam SliShtam " .

> So all the five are " bindu " only. Looking at this descending Siva

> swarUpa, it comes to our mind that this is the divine " anugraha

> swarUpa " .

>

> " kaEIlahrIm " . While returning from the sahasrArapadma after doing

> pradakShiNa around in the `trikONa' for the `bindu cakra, this

> `sAraswata kUTa' first enters into the `brahmanADi' with a humble

> request to remove the hurdles for brahma (vEdamAtA) in delivering

the

> dharma for the universe. This is the essence of `gAyatrI mantra'.

> This is `smaraNarUpA' and `adhyayanarUpA' and also `brahmavidyA

rUpA'

> too. " kanyantE prakASyantE SabdajAlAni " Exhibiting the universal

> creation by expounding the magical flow of words. It is considered

> worthy to be meditated by the `brAhmins'

>

> After satisfying the brahmanADi, the kuNDalinI prANaSakti enters

into

> the middle layer called `citriNi'. This prANaSakti itself is the

> `candra manDalAmR^itam', but slightly solidified and indurate by

the

> influence of the winds from the `agni manDalam'. " jyOtir vAyau

> pratiShThitam " . This citriNi nAdi is really a peculiar one. This

> being the abstract form of the `mahA maya', exercising its power

and

> authority over all the `ShatcakrAs' (universe). This is the

> collective form of the seven tattwas from " mAyA tattwa " to " puruSha

> tattwa " .

>

> Engulfed by the `mAyA', the `puruSha', capriciously came to the

> conclusion that he was duty bound to accept the fetters of all the

> five tattwas viz., " kalA " , " vidyA " , " rAga " , " kAla " and " niyati " .

He

> thought himself that he was enclosed by them as five jackets (panca

> kancukAs). In fact all these five tattwAs and the `mAyA tattwa are

> just imaginary and not any existent things, the purusha tattwa with

> all these six tattwAs is the only single tattwa.

>

> " puruShassuKa duhKAnAm BhOktR^itvE hEturuccyatE " . The one who is

in

> dilemma of " ahamBhAvam idamBhAvam " is really the replica of and not

at

> all different from the `paramAtma' who has been deluded by the

`mAyA',

> aspiring for the experience of his wish " sO~kAmayata " .

>

> This is the form of " kAmarAja kUtA " (hasakahalahrIm). The

two

> purushArthAs `artha' and `kamA' are amenable to the effort (kriya),

> hence it becomes worthy to be worshipped by kShatriyAs. " hasakam "

> means, 1. `tApa trayam' 2. riches of wealth and food 3. improvises

the

> desire for all kinds of corporeal pleasures. And also—

> " hasa " = enlighten upon; " halAm " = understanding; " kam " = brahma

> (dharma) and, " hrIm " = yearning for knowledge. So, we have to

> understand that this is capable of affording pleasures of both the

> present and also for next of the worlds. This `citriNi' is acting

in

> both the ways in the form of " citi " swarUpam, which substantiates

the

> differential notion (BhEda BhAvana), the nature of the `agni

manDalam'

> and also in the form of j`nAnarUpa " cEtanA swarUpam " , that endows

the

> non-differential recognition (aBhEda BhAvana), because of the

nature

> of " candra mandalam "

>

> With upward rays of `agnimanDalam' and the downward rays of

> `candra manDalam' mixed together in the form of the " sudarSana

cakra " ,

> inwards and outwards, it is acquiring the administrative talents of

> SrImahAviShNu. It is viscous, as if to say that it would be useful

as

> an adhesive in strengthening the concept of " agnIShOmAtmakam

jagat'.

> It seems that only to indicate, that this `citriNI nADi' should be

> melted to flow down, the word " sKalasi " was inscribed in the

SlOka.

> We can well say that this `citriNi' is the `mAya', which exists

> between `jiivatma' and `paramAtma'. This is the real form of the

four

> antahkaraNAs, by which the puruSha was immersed in the delusion of

> samsAra.

>

> With all its upward rays, being extrovert, wrapping up as a

covering

> around the `citriNi is the " vajriNI nADi " . This is the form of

> " sahasrArciSha " (the fire), which emphasizes the concept of

perception

> of the universe. This is the collective form of the twenty four

> tattwAs from " prakR^iti " to " pR^ithivi.

>

> `rajas tamascABhibhUya sattwam Bhavati BhArata,

> rajas sattwam tamas caiva tamah sattwam rajas tathA || "

>

> What was said as " prakR^iti " in the matching stage of `guNA's, the

> same is called as " antahkaraNAs " in the clashing stage of the

guNAs.

> These `antahkaraNAs' are not at all different from the `prakR^iti'

of

> the `puruSha' who is after all the collective form of

`bAhyakaraNAs'

> only. Since there is no difference between the `prakR^iti' and

> `puruSha', we can substantiate that the `samaShti' of all these

> tattwAs is the `puruSha' only. The `prakR^iti of `puruSha' which

wore

> the " antahkaraNa sahita panca kancukAs " itself has created the

`panca

> BhUtAtmaka dEha' which is the aggregate of `panca tanmAtrAs',

`panca

> j~nAnEndriyAs' and the `panca karmEndriyAs'; and providing him the

> experience of viewing the existence of the universe.

>

> The outer most cover like layer is named as " vajriNi " . The

> " sakalahrIm " of the " SaktikUta " indicates that this `vajriNi'

contains

> many " kaLAs " and proposing heterogeneity of the world. It

specifies

> that it consists of all the process of the four `antahkaraNas',

sixty

> four varieties of `kaLAs', and also the twenty four kinds of

tattwAs.

> By saying " tasmAd AdhAram ASrayEt " , it signifies that

this " vajriNi "

> is the fundamental basis for all the four " puruShArthAs "

>

> " jamBhO~mSE " . `jamBham' means `diversity " . Even though it

> says, that this `nADi' is the sole proposer of all diversification,

> when esteemed as `paradEvata', it hinders all the activities of the

> " citta " and strips off all variegation and it upholds the way for

> " Kaivalya " too.

>

> " sEyam kriyAtmikA Saktih Sivasya paSuvartinI,

> bandhayitrI swamArgasthA j`nAta siddhyupapAdikA || "

>

> Soon after one acknowledges the `kriyA Sakti' as `parA Sakti'

> and identifies himself with it, the personage of " j`nAna Sakti " ,

> which is the form of the three kinds of " antahkaraNa " and the form

of

> " kriyA Sakti " which is called as " bAhya karaNas " with the Sum total

of

> the mind and the ten `indriyAs' making eleven, becoming the

fourteen

> types of the jIva`s `kaLA rUpam' itself, is the all pervading " dESa

> kAlAparicCinna vyBhavAdhiShTHAtri " , he will be able to realize that

> " viSwarUpa prakR^iti itself is the " SivakaLa " . " parAparayOh

> SaktyOraBhEdah " .

>

> In fact, all the thirty six tattwAs from `pRithivi' to `Siva'

> are only one tattwa and none of them is separate from any one. The

> indivisible `Sakti' of `Siva' who is " cidAnandaGana "

and " paramAkShara

> vigraha " , by its own will (iccha), hersef being the " jagannATaka

> sUtrdhAri " , manifests in the forms of " citi " , " mAya "

and " prakR^iti "

> and creating many forms of diverseness and exhibiting " swAtantrya

> mahima " of `paramaSiva'

>

> " vartamAnAvaBhAsAnAm BhAvAnAmavaBhAsanam,

> antah sthitavatAmEva GaTatE bahirAtmanA || "

>

> What is there in the kailAsa of brahmarandhra, that itself is

> situated and found in the " pR^ithivi " of `mUlAdhAra also

>

> " yasyAmantarviSwam Etad viBhAti bAhyaBhAvam BhAsamAnam visR^IStau,

> kShObhE kShINE~nuttarAyAm sthitau tAm vandEdEvIm swAtma samvittim

> EkAm || "

>

> " sR^iShti " which means that, whose inside and out side, all

> this universe is delusively imaginable in the " kShObha daSa " , and

when

> it contracts, who settles again in the " anuttarAtmaka sthiti " , I

adore

> to that the ONE " aKanDa swAtma samvitti (Atma j`nAna) rUpa

> paradEvata " .

> So praises " aBhinavaguptA " for this `jaganmAtA' only.

>

> Please excuse me if I have exceeded any limits of sampradAya.

>

> krishnarao (SrIparasuKAnandanAtha)

>