muKam bindum kR*itwA...

[Guest guest]

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 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)

[Guest guest]

Mahodaya Pranams

 

Reading your post gave me immense pleasure and remained one of my Hero

Siddha purusha Sri Iswara Satyanarayana Sharma and his work on

Soundarya Lahari.

 

But for my limited knowledge I couldn't follow some lines.

 

many of the sAdhakAs recite the `mantrAkSharAs' and at conclusion,

prolong it with the nAda.

 

could you please throw some light on the above line for nada at conclusion

Namaste

Diwakar

 

> 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.

[Guest guest]

This great kamakala mahamantra in diagrammatic form is engraved on

the mukha mantapa of the great temple of Chitsabhapati - Chidambaram.

 

The kamakala which is the tantric script for the word " AHAM "

represents the triputi looks like " inverted therefore " of mathematic

in Sharadi Lipi. So, the upper two circles of therefore are the two

breasts and the lower circle is the yoni. When all the 3 circles are

joined becomes a Triangle - Which is the Source of Entire Creation.

 

BTW, i enjoyed reading this article and has come out wonderfully.

 

My pranamas to your guruparampara and this samskara is only

inherited through the good lineage of guruparampara.

 

with regards,

sriram

 

 

, " krishnarao "

<sriparasukhanandanadha wrote:

>

> 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 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)

>

[Guest guest]

mAnya SrI Diwakarji,

 

I have sent the reply through rediff.com, because my Gmail id.

was hacked and my password changed by some unknown guy. That message

reached the group blankly. So I am writing it again.

 

The matter you asked for is not to be discussed openly in

detail. How ever I give you an example about this subject

 

While doing 'Saiva ShaDkShari, The nAdA actually starts with the

syllable " Om " , and continues till the end of the last syllable " ya " .

All the other five alphabets, (namahSivAya) are immersed in that

'nAdA' only in almost 'visramBha' mode of 'anudAtta swara'. This is

all an inexplicable " BhAwana " only. For more details better you

should know it from your own SrIguru.

 

For all 'samayAcArIs, any of the mantra should be divided in

thee 'kUtAs' (six of course) and the third kUtA should be entered

through the " indrayOni " which lies behind of the Uvala and there

itself our progression remains effortless. The mother will take

charge of conducing us up to the trikONa and she only enters into the

'bindu' for 'sAmarasya with Siva paramAtma'. The third kUta is

'suShuiptirUpa' and hence we have to wait there itself for her

anugraham for returning back to our 'jAgrdAvastha'. That is called

the 'samayam'

" sarva mangala mAngalyE(jAgrat); SivE sarVArtha sAdhikE (swapna);

SaraNyE tryambakE dEvi (suShupti) and " nA...rA..yaNi namOstutE

becomes turIyAvastha " .

 

Sir, I think I could give you the required information even

though indirectly to some extent. To go deeper more, it would be

against the rules of sampradAya.

 

Yours always in the service of the mother,

krishnarao (SrIparasuKAnandanAtha)

 

 

 

, " Diwakar N.V.L.G " <diwakarvlg

wrote:

>

> Mahodaya Pranams

>

> Reading your post gave me immense pleasure and remained one of my

Hero

> Siddha purusha Sri Iswara Satyanarayana Sharma and his work on

> Soundarya Lahari.

>

> But for my limited knowledge I couldn't follow some lines.

>

> many of the sAdhakAs recite the `mantrAkSharAs' and at conclusion,

> prolong it with the nAda.

>

> could you please throw some light on the above line for nada at

conclusion

> Namaste

> Diwakar

>

> > 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.

>