5.3sixty four upacaras

8/13/2019 5.3Sixty Four Upacaras

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Sixty four Upacaaraas meditation

In the r Kramah of the rvidyaa pooja we offer sixty four upacaaraas to the invoked deity, Lalithambikaa. hese services are the most important, central pooja to the main deity invokeand they have to done with utmost care and involvement !sraddhaa".

#ixty four is two power six, i.e. two multiplied six times. $ere two will point to the #hiva aktcouple !mithuna" and six to the five elements and mind. his number six will also point to the s pathways !shadhvaa", thus the identity of them with the universe and the #hiva akti can also envisa%ed from this number. &lso sixty four is ei%ht times ei%ht. 'i%ht is number denotstability, the number of electrons in the outer orbit of an atom will tend to loose or %ain electroto reach this number, further if an atom has this number of electrons in the outer orbit, it will bchemically so stable that it is inactive in any reactions. his ei%ht times ei%ht will point to a mstable position, that(s envisa%ed by the rishis for as aspirant who does these services in both bahya and aantara pooja.

)e find in our daily ritual manuals a basic panca upacaaraaa * five services, more elaborateshodasha upacaraa * sixteen services, as seen in all kalpa pooja and the most elaboratcatusshashti upacaaraas+ the sixty four services.

-pa( means near and caraa( means move, thus keepin% one awareness on the invoked deitymeant. urther these services are to be done as if to a human form. #ince the invoked deity none other than the atma svaroopaa, these services have a meanin% for the deity and the aspiran

/n constant practice of these upacaraas, some thou%hts on the inner meanin% and hiddemessa%es of these services were revealed and are shared.

#ome basic ideas in this discussion0 he orm of the deity is identical to the pancadasi manthe ace is va%bhava, middle portion is madhyama, kamaraja and lower portion is the akti k

of the pancadasi. 1evi is in the form of bliss+ sacchidanada roopa.


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The First Upacaraa service is paadyam washing of the feet of the invoked Devis feet

with water.

he feet are indicative of a path and 1evi(s feet are indicative of the specific path * he rvidya. hey are two, indicative of the outer and inner service paths, the internal and externrituals methodolo%y. Literally to wash indicates some stain or dirt. $ere the dirt is the suppose

inconsistency of the two paths said earlier, while we %enerally find the internal methodolo% believin% themselves as superior to the external rituality. In an e2ual parlance they are oncontemporary of each other3 one cannot be without the other. hus removin% the notion%reatness in any path is this service

he feet form a part of the lower body which is identical to the third akti kuta of pancadamantra. his part will point to the sustained awareness of the knowled%e that this prapancasivasakthyaatmaka in experiential terms. he dirt here a%ain will be the doubts on the sustenanof this awareness. hus removal of this doubt is this service

he body of the deity * Lalitha is the form of bliss. &%ain the dirt is the naama roopa prapanvasana which is adherin% to the universal, all pervasive shiva tattva, which is blissful. hremoval of the notion of the nama roopa in the prapanca and viewin% with an sacchidaananoutlook is this service

The second is aabharana avapropanam removal of all ornaments from the body of Devi.

he meditated form before invocation, in the mind, will be with all ornaments and will b

invoked in the pooja idol+ bimba. 4emoval of all these ornaments is the service here. /rnamentare said to be padaadhva, one of the six paths !adhvaas". #ince 1evi(s body is the pancadamantra, ornaments adorin% this body which will point to multitudes of various padas or othmantras which are initiated as a pre+re2uisite for this sadhana. 5ow the sadhana has culminatto that level, wherein focusin% on the m-la mantra is the only condition, parasuraama say

sadaa vidyaa anusamhatih(. hus removal of ornaments will point to the constant remembranof only the r vidya mantra.

The next is s gandhi tailaabhyangam anointing the body of the Devi with scented oil.

&nointin% of oil on the body will have two effects, one is to remove the dirt which is or%aninature, and is not easily removed by %ross physical washin% and the second is a cool refresheffect on the body. hus now we can infer the removal of finer doubts and hence a fresh sur%evi%or in the sadhana is this service

taila( mean oil, as per secret code katapayaadi will reveal the number thirty six., which indicative of the thirty six tattvaas which make this visible universe.


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he syllables in the mantra are separated into consonants and vowels to %et thirty sevsyllables. In 6aramaananda antra correspondence of these syllables with pancadasi is explaine

he 6ara #iva state is represented by '(. 6rthvi, %andha, %hrana + three L( 3aapa, rasa, jihvthree k( 3 ejah, rupa, cakshu *three r( 3 7ayu, sparsa, tvak+three m(3 aakaasa, sabda, sthree nada(3 7ak paani paada paayu uapastha *five h(3 8aya, kalaa, avidyaa, raa%a, ka

niyati, prakruti, ahamkaara, bhuddhi, manah *ten a(3 #adaasiva. Isvaraa, suddavidyaa, purushfour I(3 #iva and akti *two s(4eali9ation of the above is the anointin% of oil on the 1evi(s body.

&%ain the body of 1evi is sacchidaananda+ bliss and pervasiveness of this bliss in all the thisix tattvaas is the service envisa%ed here.

The next is ma!!ana salaa praveshanam entering the bath room.

he 1evi after bein% anointed will come down from the cakra raja and reach the wash room the south east corner. he purpose of wash room is to remove all subtle dirt in the body and %a clean feelin%. &s said the dirt are the doubts in the mind and chan%es in practices seen by aspirant in various linea%es. his can be eliminated only by a throu%h study of this siddhaaand a deep understandin%. o reali9e this we need the company of learned men. hus a stuwith like minded people is the wash room meant here.:onsiderin% further upacaraas there are three mandapaas+ rooms where 1evi enters for differe

services. hese can be e2uated to the three kutaas of pancadasi. he above first room point to tfirst kutaa of pancadasi, the removal of the dvaita bhaava, which in a way is washin% off malaa

The next is ma!!ana sala mani peetopavesanam alighting a !eweled seat in the washroom.

#eat is a personification of the mind of the aspirant. hus establishin% the m-la mantra with thtattvaas in the mind is the reali9ation of this upacaraa. $ere mani( * jewel is a code of thsadhana of five 8(. hus to establish the tattvaa with the m-la mantra in the mind with aconstant practice as per the ;uru(s ritual manual * pooja paddhati + is hinted in a veiled manner.

The next is divya snaaneevodvartanam application of high " ality lathering material to the

Devis body.

o wash off the dirt, this lather is used, the idea is trailin% from the above upacaraa, which poito the sadhana and immersion of the tattva vicaara, this is the effect of the same tattva vicaarthe removal of doubts and confusion in the sadhana line


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The next is shnodaka snaanam bathing with warm water.

)ater is the residence of all devataas+ apo vaa idam sarvam..sarvaa devataa aapa(. ire is callesuchi+ clean it cleans and never be polluted. :ombinin% these two elements will result in thwarm water. hus an unpolluted+ pure divinity is envisa%ed here. he bath will remove the and brin% freshness and vi%or to the body. hus washin% off., utmost removal of all doubts

confusion, and brin%in% in peacefulness in the sadhana is the reali9ation of this service. $ere usa%e of the first 8( * 8adhya to tran2uil the mind and absorb the tattva vicaraa is the fineaspect of this upacaraa.The next is kanaka kalasha cy ta sakala teerthabhishekam bathing with waters of sacred

rivers# places po red from golden pot.

)ater of sacred places < rivers always hold a spiritual power, because of connection with holysa%es and divine bein%s, is believed to cleanse a person of even unknown sins. $ere the substains called mayika and karmika malaa are envisa%ed. ;old always represents the divine and isplendor, and pot will point to a form, the most divine form envisa%ed by a sadhaka is r ;uru

hus the blessin%s of r ;uru throu%h the a%eless parampara on to the mantra and ener%ithe same for a successful sadhana are the service here. In short the aktipath throu%h the manis visuali9ed here.

The next is dha ta vastra parimar!!anam$ sage of a dry towel to remove moist re sticking

on to the body$ i.e to dry.

1ryin% will mean removal of water drops adherin% to the body. &s seen above the use of the f

8( was washin% with water, now a hi%her sta%e is envisa%ed, that without the five (8(, awareness has to sustain. his is pointed in this service. 7astra as per katapayaadi will point tthe number twenty four. his is the aatma tattvaa which will cleanse the sth-la sariraa * %ros body, and the anavamalaa. hus a shodhana * cleansin% of the anava malaa is envisa%ed in service

The next is ar na d koola paridhanam$offering red soft garments

:lothes are used to hide the nakedness of humans. & person clothed is also a symbol of culture#oft clothes represent hi%h 2uality, richness and superior texture. 4ed is a symbol oindiscriminatin% Love. hus offerin% of clothes to the deity will represent civili9ed thou%hts utmost Love for all humanity.4eferrin% to the mantra, Lower %arments will now point to ponderin% on the messa%awareness and richness of the idea said in the third kuta of pancadasi+ complete awareness at times.


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he idea of red as said in =havanopanishat is the unity of nirupaadika samvideva kamaeshvara * the attribute less =rahman, sacchidananapoorna lalitha * =lissful nature and antakarancatushtaya sadhaka+ the sadhaka with mind !manas", intellect !bhuddi", e%o !ahamkara" chitta. . hus clothin% the sacchidanana form will now point to the reali9in% of this in practical day to day life

The next is ar na k chottareeyam$offering red pper garment %blo se&. he breasts of woman + 1evi are likened to the universe, like the universe they are not fulseen by all in totality except the husband, )e can only see limitedly, we know there are places inthis world, take example of this earth we know about south &merica, but we cant see it, similarthe breasts of a woman are seen partially. $ence this is an alle%ory. akin% the same idea for and %arment from the above, ponderin% on the nature of universe with unlimited Love ascrutiny will be this service.

The next is aalepa madapa praveshanam$ entering into the dressing room for perf me

application

he earlier washroom was identified as con%re%ation of like minded people, which wasremove doubts. his is the same idea of con%re%ation with like minded people to study texts %et %ood appreciation of the vasanaas and their nature.

his second mandapaa will now point to the second k-taa of pancadasi, the rise of undividesiva akti mithuna knowled%e, is akin to the study and assimilation of the knowled%e.

The next is aalepa madapa mani peetopaveshanam$ alighting a !eweled seat in the aboveroom.

&s said earlier, fixin% on the mind in such a situation is the service indicated here, same ideamani( the sadhana with the five 8( is hinted here. his will now be more subtle.

The next is candanaagar k mk masank mrgamada karpoora kastoori gorocanaaadi divya

gandha sarvaangeena vilepanam$ anointing of fine perf med sandal paste with wood resin'

saffron' edible camphor' m sk' cows bile and other fragrance

he various perfumes mentioned are the multitudes of texts available with us, this is an alle%o#andal tree takes years to %row and this will indicate older texts+ like the tantra raja, kalpasuvamakeshvara, wood resin will point to the commentaries of the texts by various %uru(s asadhakas, saffron and edible camphor will hint at the kaula texts like kularnava, kastoori ta%amas like mr%endra , %orocana will be the di%est of all a%amas like the rvidyarnava aas pooja paddhatis, the suffix aadi+ like wise will encompass all other a%ama texts , thcommentaries and philosophical < mantra di%est available to the sadhaka. hus study of moola mantra with respect to these texts is the service here.


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The next is keshabharasya kalaagar dhoopam$ drying the hair with incense smoke of black

eagle wood resin.

he deity(s form has the shadhavaa in it, the hair is the bhuvanaadhvaa. here are three, fourteand two hundred and twenty four bhuvanaa from the 7edic to a%ama texts. & throu%understandin% of this needed for an aspirant, since the cakra and body is a replica of the unive

this study in necessary, as seen from above service on perfumes, resin is likened to commentary. hus a throu%h study of the bhuvaanadhvaa usin% the commentaries is the messin this service.

The next is mallika malati !ati campasoka sata patra pooga k dmali p nnaga kalhara

m khya sarav rt k s sma malaa$ adorning a garland made of !asmine' campa' asoka' betel

n t b ds' p nnaga' bl e lot s and flowers of all seasons

lowers are symbol of space, since they form and expand from a bud3 here the expansionlikened to the space. he different seasons point to the time, thus a time space+continuumenvisa%ed in this service. he whole visible experiential universe is said to be the body of t paradevataa and also is identified with the r cakra as below0

Loka Part of body rcakra#atya =rahmarandhra =indu

apah mastaka+head rikona

>anah lalata+ forehead astakona8aha bhrumadhya+ mid eyebrow antar dasara#vah kantha+ neck bahir dasara=huva $rdaya * heart caturdasara=huh kukshi+ stomach first circle&tala nabhi+ navel asta dala7itala kati+ hip second circle#utala svadhistana * %enital area shodsa dala4asatala m-ladhara vrtta traya

alatala janu * knee third bhupura8ahatala jan%ha * calf muscle second bhupura6atala pada * feet first bhupura


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The next is bh shna madapa praveshanam$ entering into the dressing room for wearing

ornaments

he dressin% room identified as con%re%ation of like minded people, which was to remdoubts with study. his is the same idea of con%re%ation with like minded people to study teand %et %ood appreciation of the vasanas and their nature.

he third mandapa will now surely mean the third kuta of pancadasi, the continual experientiknowled%e. hey are similar the ornaments worn, have da99lin% luster and are precious.

The next is bh shana madapa mani peetopaveshanam$ alighting a !eweled seat in the above

room.

&s said earlier, fixin% on the mind in such a situation is the service indicated here, same ideamani( the sadhana with the five 8( is hinted here. his will now be more subtle with textu

study and introspection

From here we find a list of ornaments being adorned to the Devi one by one and each is treateas an upacaaraa. There are twenty five ornaments, four weapons and a pair of sandal offered tothe Devi at the end. Thus Thirty services from now will focus on the decoration of Devi The wodharaNa will also mean to realize the import of the said te t in totality. Thus realization of thte t in totality with the panacadasi will be these services. !ll these services have a third "uta #sa"alahrim idea in it is the continual e periences of the bliss and the divine manifestation o

the universe. $imultaneously we can also see from the %alitha sahasranama &%$N' on theornamental details. !s seen in the second upacaaraa the ornaments were different mantras as a pre(re)uisite for *r+ idya upasana, now we are seeing the same as mantras adoring the devi.

(. )avmani mak tam* 5ava means new, mani means jewels or %ems, makutam is the crown.:rown is worn over the head, which is the place of sahasrara+ the thousand petal lotus. ;emshave luster, an inner luminance. hus the experience of the bliss in the sahasrara, which is thinner bliss, alle%orically said as inner luminance, ever new in each second is the service heL#5+ kuruvinda manisreni kanat kotreera mandita(+ kuruvinda mani is red in color and kotreis the tiara like crown. he mantra envisa%es is the ;uru paduka+ 5ava will point to thevidyavatara navanatha %uravah

+. ,handra sakalam* he crescent of moon of the crown. :handra is the mind * shakala( is anhidden form of the third kuta+ sakalahrim, which denotes the continual experience without a%ap, thus we are ama9ed to see that this service is immersion in bliss always. he L#5 dhyasloka says+ manikya mauli sphurat taraa naayaka shekharaam(+ the crescent on the ruby cro


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his will point to the most secret shodaskshari bija * the lakshmi bija, veiled reference fro:handra as :handra sahodari.

-. eemante sindooram* #eemanta is the partition of hair in the fore head, #induram is the red *crimson colored powder worn there by the ladies whose husband is alive. he seema or th border and anta is end, the last alphabet is h(, which is the seen universe+ the outward visar

#indoora is red in color which is the identity of the attribute+less =rahman, with an attribucalled bliss and with the four or%ans if the individual co%nition. hus a continual experiencthe divine and its bliss is said here. he mantra is surely the pancadasakrai mantra, the redne by sindooram points in that direction.

/. Tilaka ratnam* he mark on the fore head with %em. (tilaka( seen by katapayadi code is ?@the total rasmis of the third khanada * visuddhi and a%yna, which the third kuta of pancada

hereby enforcement of the identity with bliss and the universe and the individual is thluminance pointed by the ratna+ jewel. L#5+ mukha candra kanakaabha mr%anaabvisheshaka(+ he blemish in the moon is e2uated to the mark on the fore head of 1evi. $ermoon also hints at the third kuta * sakalahrim(. he ratna * jewel will point to the third eye athus the pancaaksharaa of Lord #hiva+ the tryambaka.

0. 1aalan!anam* &pplication of collrium on the eyes, this application to humans will clear anydirt and help to have a clear vision. Kaala accordin% to katapayaadi will point to number thione, the maaya tattvaa. hus understandin% the maayaa tattva will clear the vision, out look afinally lead to experiential knowled%e+ the import of sakalahrim( #urely the blackness(

lead us to kaalika(2. pali y galam* he adorin% ornaments on the ear upper part. lower shaped ornaments okadamba tree flowers on the top of the ears. 6aali also accordin% to katapayaadi will mean thione, the mayatattva said above, earlier it was vision3 here it is the hearin%, and understandin%the tattva leadin% to the experience L#5+ kadamba manjariklipta karan poora manohara( ears are said here, hence the shrutidharani vidyaa.

3. 4anik ndala y galam* 'ar rin%s. L#5 + atanka yu%aleebhoota tapanodupa mandalaa. heuniverse seen by us consists of mainly the sun ind ay time and moon in the ni%ht. hey are tear rin%s. /ne is the prakasa aspect and the other is the vimarsha aspect. hey are on the eawhich are *akasha tattva * in turn the sabda tattva in other words, the learnin% aspect. hknowled%e of identifyin% the seen universe with the m-la mantra and its experience is the id behind this service. he sun and moon are seen here thus all the nava%raha mantras are seen

5. )asabharanam* 5ose rin%. 5ose represents the %andha tattva+ in turn the prthvi tattva * th%ross or in other words the created and visible universe. L#5+ taraakaanti tiraskanaasabharana bhasura(. he evenin% star is e2uated to the nose rin%. his is one more celes


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object which has a reflected %low, other than moon. his reflected li%ht is the vimarsaha and tthe third kuta(s experience of the bliss for ever in the seen universe is envisa%ed. he eaelement said by nose+ %andha will point to the varaha , dharani mantras, the evenin% star+ shalso meanin% pro%eny, will point to the #antana %opala.+ in short all the vaishnava mantras

6. adhara yavakam* lip %loss. L#5+ 5ava vidruma bimba r nyakkari radanachadaaa.+ h

splendor and redness of fresh coral or the bimba fruits fails in comparison with the lips. he lihelp in the production of sound which communicates ideas throu%h hearin% < listenin%. huscan be e2uated to the 7edas * called shruti * heard sound. he redness as seen above is the onness of the attribute+ less =rahman, with ananda and the individual aspirant. hus the 7ediidentity of the awareness of the uni2ue identity said above is this service. he lips are indicativspeech and lo%ic ar%uments and hence directly the va%vadini and nakuli mantras are envisa%&! small outcome of the above services are that they focus on the gyana indriyas, the s"in &tvain the sindoora and tila"a, the ear &srotra' in pali and mani"undala yugala, the eye &ca"shus' inthe "aa"aln-ana , the nose &ghrana' in the nasabharana, the lips # suggestive of tongue & -ihva'in the adhara yava"a. Thus the gyana # "nowledge of the undifferentiated universe self and Dev # the "auli"artha is emphasized'

(7. prathama bh shanam* he main auspicious ornament, the man%alya+ thaali. his si%nifiethat the wearer of this symbol is married. his symboli9es the primordial pair + shiva akmithuna bhava. Identifyin% the pratama !initial" spanda !movement" *ekai vaaham , bhahusya prayayayeti + with the m-la mantra ! =haskara raya identifies this movement as the ten

kaaras in the m-la mantra, a( is shiva vacaka * the auspicious" he vimarsa aspect experiential knowled%e and its synthesis is the service done.L#5 + Kamesha bhaddha man%alya sutra shobita kandara(.

he saubha%ya devata * #vayamvara kalyanai mantra is directly seen.

((. 1anaka cintakam* he %olden necklace * a ti%ht fittin% ornament. ;old, the noble metawill point to the %uru and the %uru mandala. :intaka is the necklace, a %uru parampara . Likenecklace which is close to the body, that too near the neck, which will symboli9e the vaikavaak, the expressed sound as mantras and mantra upadesha, they are close to the m-la mantrsvarupa 6aradevata in the bindu of rcakra . hus an identity of these %urus with 8-la mantrand amba and the self * the kaulikaartha is envisa%ed here. L#5 + 4atna %raiveya cintaaka lmukta phalanvitaa. he three types of necklaces are said here, %raiveya, cintaka, lola. hey c be taken as divya, siddha and manava %urunathas, %raiveyaka close to the neck, the divyasalways in r na%ara, cintaka * a loose+fittin% one which will dwell on the body and some timay not dwell, like the siddhas who dwell both in rna%ara and in this world, and finally mloose * dan%lin% from the neck, lola( they are on this earth field and are held by the amba


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manau%has. he %olden necklace will show the ;oddess of wealth * r 8ahalakshmi and hemantra.

(+. padakam* he 6endant. 6adaka accordin% to katapayadi sankhya will mean ?B?, the numbeof deities in the khad%amala. hus the identity of cakra with all attendant deities with the m-mantra * panacadasi is envisa%ed in this upacaaraa. * animadyabhir mayookhaih .. bhavaanee

he khad%amala is a mantra itself.(-. 4aha padakam* & bi%%er pendant. he 8aha( in the front will point to ma( as aananda the upastha tattva and ha( is a%ni roopa shiva tattva, $ence takin% the above padaka numb?B?, will now point to the siva sakthi muthuna mala, the identity of these devatas with th paradevata and the m-la mantra pancadasi is this service. he 8ithuna khad%amala is a mantrtoo.

(/. 4 katavali* #trands of pearls. his is trailin% from the above upacaaraas. he strand of thabove will mean the fifteen types of khad%amala chanted as per the Lalitha parishishta tant$ere the pearls will point to :handra and thus the waxin% and wanin% of the moon is envisa%:hantin% the above khad%almala alon% with the thiti+ lunar phases, and identifyin% them pancadasi is this upacaaraa.

(0. 8kavali* & strand of twenty seven bi% pearls. $ere pearls point to :handra and the mind,thus offerin% this necklace will mean that the mind is continually en%a%ed in the m-la man parasurama kalpa sutra says+ sadaa vidyaa anusamhatih(. &s a trailer from the above this w point to the suvarna kusuma pushpanjali, wherein the kadi vidya %uru parampara alon% with

sva%uru parampara will be present.&! corollary from the above two upacaaraas( earls are white in color, indicative of satva guNa, and pancadasi is sacchidananda svaroopa, hence the ananda in the satvic state is theessence of the above two upacaaraas'.

(2. channaveeram* #ari pin. :hanna will mean hidden, veera will point to a position, hence thehidden positionin% of the %arments are meant by this service. he #ari pins are used for teffect. &s seen above the %arments were red in color, indicative of the unity of the attribute lwith bliss !an attribute" and the individual. Keepin% them in position by hidden will mean tkaula sadhana, these %arments are coverin% the body * the m-la mantra pancadasi, hence tkaula sadhana to re affirm the idea said and to brin% an experiential knowled%e is this serv

he hidden mantras in the anuttaramnaaya * the shodasha m-la vidya are referred here

(3. key ray gala cat shtayam* our pairs of /rnament of the upper arm shaped, like serpent+the armlet. & pair of upper armlet made of %old. ;old is the precious and rare metal, thu pointin% to r ;uru, & pair will be the %uru dampati. &rm explicitly points to the or%an of wo


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karmendrya. our will now show the maha vakyas initiated by the %uru dampati. .( pra%yan brahma , aham brahmasmi, tattvamasi, ayamaatma brahma(.

hus as awareness of the maha vaykya(s meanin% as said by the %uru in work with remembraof the m-la mantra is this service.L#5+ kanakaan%ada keyura kamaneeya bhujaanvitaa

(5. valayavali* =an%les. va la ya( as per katapayadi is ?@C, total is ei%ht. he puryashtaka jivseen, and also the experiential universe is visuali9ed. here are two hundred and twenty fosuch experiential universes as per Kashmir shaivism, thus the word aavali * in a line, whicmeans a collection of those bhuvanas. 4eco%ni9in% that they are a part of the m-la mantra is thservice. he =huvaneshvari mantra, ;ayatri mantra with the three vyahrudis is seen here.

(6. oormikavali* 4in%s on fin%ers. he fin%ers are the real executors of the work. he %oldrin%s are envisa%ed as the %race of %urunatha. hus the finer aspect of the %race in the endof all acts is the service done here. L#5+ Karan%uli nakhotpanna narayana dasaakrtih(+ the avatar mantras of r 8aha 7ishnu are seen here

+7. kanchi daama* & broad %olden ornament as waist band+ /dyanam+ kaanchi( is split as kand aanchi( meanin% the creator brahma and the fire sacrifice done by him to %et the crea power. he mid portion of the woman holds womb and ovaries + which has the creative powand nourishes the new born in its %rowth. daama( means a %arland, a respectful si%n, respectin% the mother hood in all livin% bein%s is this service. he waist is the mid point of body, where the second kuta ends kati paryanta(, and third kuta starts katyadhobha%a(.

hrllekha bija at this juncture, the sound representation of the creative force is visuali9ed here.L#5 +ratna kinkinikaa ramya rashanaa daama bhushitaa. he tiny bells are in the beautifullyadorned waist band. $ere the sound bein% the first element(s * space+ aspect is said in tune witthe above idea.

+(. kati s tra* & rope like ornament on the waist. #utra means sucana( * %ivin% ideas in a %irather a pointer. Kati is the startin% of the akti kuta which is a constant reminder of the blissfustate, hence the onus is on the pointer and this service reminds us that the %oal is the everlastin blissful state. he concise pointers like parasurama kalpa sutra are seen here.

++. sa bhagya abharana* #pecial auspicious ornament worn at the waist. his decoration ismeant for coverin% the %enitals. hus the most auspicious act in the third kuta said by the bthe waist( * katyadhobha%a+ is continual remembrance of the bliss in all actions. he trian%shaped alphabet !like the female %enital" denoted the 6ara #hiva state as seen in the anointin%oil service3 thus, this ornament will point to the manifestation of the universe. his serviceremindin% us that same. he mantra here is =ha%amalini(+ he second nitya 1evi.


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+-. pada kataka* &nklets * thick ones filled with pearls < %ems. &nklets make sound when the person moves. $ence the primordial sound element and its first expansion as the 7edas areinferred. he 7edas have strict procedures and pronunciations3 this is si%nified d by the hardneof this anklet. Identifyin% that all 7edas and 7edic procedures are in turn with the third kuta of panacasdasi+ the continual experience of the bliss is this service

+/. ratna noop ra* &nklets of %ems. his is a loose fittin% one made of red %ems. he rednesand slack will point to the tantra * esp. redness to the rvidya, wherein the mental modificationare stressed !=havanas"3 the slack to the more freedom in procedures. hus identifyin% that allthe tantric procedures are in tune with the third kuta of pancadasi wherein the continualexperience is stressed.L#5 + sinjanamani majeera madita r padambujaa

+0. padaank liyaka* rin%s on the toes. he feet points to the way and the %olden rin%s alreawas envisa%ed as the %race of %uru, thus the %race of the %uru in leadin% in both the ways service. he pooja paddati mantras are seen here. It is apt that after the two above services whiare depicted as 7eda and tantra, here the personali9ed ;uru Kripa and the pooja paddhati is seenL#5+ nakha deedhiti sajjanna namajjana tamo%unaa(.

?. 8ka kare pasham* & coral noose !rope" on one hand, L#5 + ra%a svaproopa pashadhyaahe attraction or desire personified is the noose. #ince the first creation itself is desired

all livin% bein%s have this desire inherently. $ence the re color and a stone material

coral, is the form of hardness and the deepness this idea has in all 4eco%ni9in% that desires are due to the divine(s will and command is this service. he 6ratyan%a devaashvaroodha ridin% the horse aparajita has emer%ed from this weapon. L#5 &shvaroodaha sdhistaitaashva koti koti bhiraavrtaa pasha( accordin% to katapayadi wmean D?, the matruka alphabets. #ince all creation is from sound this primordial aspect desire is also shown thus.

E. anya kare ank sham* & silver %oad in the other, L#5 * krodhaa kaaraamkusho jvalaa.he repulsive force or hatred, the opposite if the above said is seen here, since all th

creation is paired, this pair also exist. his will cause the expansion of the universe due tthe diversity this aspect will cause. #ilver is shukra the pro%ency or expansion intmultifold. he devi * #ampatkari ridin% the elephant ranakolahala has emer%ed from tweapon. L#5 * #ampatkari samaaroodha sindhura vraja sevitaa(

&The above two weapons have a control effect, the noose will tie a person a goad will conta big elephant. Thus "aulopanishat says( sarvendryanaam nayanam prdhanam( tocontrolled lead of the senses is the foremost approach. '


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@. itara kare p nsdreksh capam* he red variety of su%ar cane in the next hand. #u%arcane has lot of fiber and juice, it is a type of bi%%er %rass hence will bend and adjusthe wind not break down in stormy weather. 'ach di%it len%th of the su%arcane wh planted will brin% forth more su%arcane. hese ideas are identical to the mind, It has of essence as well as %arba%e, will adjust to the situations and will not breakdown, w

have lots of inherent potential for new ideas and visions. hus offerin% the mind to th pancadasi svaroopa paradevata is this service. L#5 + .mano roopekshu kodanda. :apa per katapayadi will point to sixteen, the shodasi and its blissful experience. hureco%ni9in% the bliss of the mind in the hi%hest level of identity is this service. 4aja8atan%i 1evi ridin% the %eya cakra emer%ed from this weapon L#5 * %eya caratha rooda mantrini parisevitaa(.

C. apara kare p shpa bhanam* lowery arrow+ man%o, red lotus, white lotus , red lily andwhite lily in the other hand. lowers are si%nifyin% the expansion of the universe, loand lily will show the day and ni%ht, white i.e. the time, the colors white will comprise all colors, red is the love, man%o flower to the sprin% season. hus the whole time+spcontinuum experienced as the universe is visuali9ed. his is no way different from thm-la mantra is the service is envisa%ed here L#5 + panca tanmaatra sayakaa. ba( an

na( are three and five respectively as per katapayadi code, the three will point to ththree worlds+ bhur, bhuvah and svah and five to the five elements. r 8aha varahi 1evridin% the kiri cakra emer%ed from this weapon. L#5 * kiri cakra ratharooda dana

puraskrtaa(.&Tantra says # iccha *a"ti mayam pasham an"usham gyana roopinam, "riya *a"ti mayi bandhanushi( the noose represent the divine will, goad to the divine "nowledge and bow witarrows to the divine deeds.'

reeman manikya pad ke* 4uby studded sandals. 6aduka( s etymolo%y is paalanaat+ thwhich sustains, durita kshalanaat(+ cleanin% the discomfort or sadness. he redness as above will show the identity of the attribute+less parabrahmana with bliss as an attribute and taspirant with his four or%ans for co%nition. hus the discomfort is removed and r( the hi% bliss is experienced. he katpayadi of 6aduaka( will be ?B?. his will now show the ?Bmithunas in the six adhara cakras and the final pair at the sahasrana+ tesham api upari ta paadaambuja yu%am(+ above all these is your divine feet. 4eali9ation of this is the service here

va samaana veshabhih aavarana devatabhih saha maha cakradhirohanam** &li%htin% thercakra raja chariot alon% with attendant deities who are also attired like her. -sin% the abo


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sandals walkin% up the nine tiered chariot called rcakra. he sandals indicate the %uru anddirections, understandin% the identity of the m-la mantra and the rcakra is the servicenvisa%ed here.In the r vidya mantra, the three ka( and I( are identified with bindu, the trikona and astakonare identified with three hrim( 3 the two dasa kona and the caturdasara are identified with two

ha( and '(3 the asta and shodasa dala are identified with two sa( and the bhupura with two

&nother way of lookin% at this is, without repetition, the fifteen syllable r vidya mantra reduto nine syllables which are identified with the nine enclosures of r cakra.r cakra mantra=indu =indu

rikona 5ada&stakona ka&ntar dasara ra=ahir dasara ':atur dasara I&stadala ha#hodasa dala sa=hupura la

1ameshvaranga paryankopaveshanam* =ein% seated on the lap of Kameshvara. Kameshavra isthe attribute+less, un2ualified =rahman, 1evi is the same =rahman with an attribute calledaananda. 4eco%ni9in% that like inseparableness of the dye and cloth, the un2ualified =rahmanidentical to the blissful state is this service.

9mrtaasava cashakam* /fferin% a drink *ambrosia * filled cup. :up here is indicative of the body and amrta is deathless state, on reali9ation of the above identity the same identity extended to the aspirant, that reali9ation is this service.

aacamaneeyam* )ater taken ritually for purification. Is there a necessary for purification of1eviG his ritual is seen for aspirants. &camana will also serve as a reminder, thus the remindeof the above state of unity is this acamana to 1evi.


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1arpoora veetikaam* offerin% a betel pan for chewin%. he royalty si%n is chewin% the be pan, the word raaja( denotes this state, 4aaja( per katapayadi is sixteen, the shodasi, and continual experience of the above blissfulness is this service.

9anandaollasa vilasa haasam* $earty lau%hter. he expression of the blissful state is by a

hearty lau%hter. haasa( has in it the hamsa( the breath personified. hus identifyin% the bwith the m-la mantra in a continual blissful state is this service.

4angalaaraartikam* )avin% of li%hted lamps in front. 8an%ala is auspicious. &arati is array oflamps of li%ht that are waved. his service is to be done with the kneelin% position. 5ow, we c be deli%hted to see that this awareness has encompassed the world+ su%%ested by the knedown for the feel+world, li%hts for the visible universe. he expansion of the above idea tuniversal level is this service.

he lamps can be five, seven or nine in number. he five lamps are the five elements, the sevelamps are the seven adhara cakras and the nine lamps are the nine steps beyond a%yna to reathe sahasrara.

,hatram* offerin% bi% royal white umbrella. he umbrella is held over the head, white in cosi%nifies the satva %una, hus we are ama9ed to see the r ;uru who is pure satva and above mantra, protectin% it for the aspirants sadhana. he #va %uru paduka is the mantra here

,aamaram* fannin% with a pair of fly whiskers made of deer hair. he word caamara is split aca( and amara( + translated as with eternal bein%s. rom the above service the eternal be

with the %uru is his parampara, thus the whole linea%e of %uru is envisa%ed as makin% comthe mantra for its sadhana by the aspirant. he parama %uru and parameshti %uru paduka mais envisa%ed here.

darpanam* offerin% a mirror. he tantra advocates a theory called bimba+ pratibimba vada, trefection principle. his is said very elaborately by the Kashmir shavisim. hus reali9ation ththe bimba of the adi shiva , which is the akti is identical to the m-la mantra is the service donhere

taala vrntam* fannin% with palm leaf hand fans. taala( per katapayaadi will point to numbthirty six. hus the m-la mantra is fanned * literally cooled3 which means is made comfortablewith the thirty six tattvas by identifyin% their unity.


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&The below five are the main services to be done without any substitute, till now any short falthen services can be reconciled by offering the samanya arghya or pushpa"shataas. These are simportant that even during the -apa sadhana they have to be mentally offered to visualizedevatas. They do represent the five natural elements'

gandham* offerin% sandal paste or perfumes. he smell is the attribute of the element earthwhich is %ross in nature. $ence the %rossest of all, which can be easily envisa%ed, is offered the identity with the m-la mantra and para devata is envisa%ed. $ere we can visuali9e a yellowcolored devata offerin% the best of all perfumes to amba and mer%in% in her nostrils.

p shpam* offerin% flowers he flowers as already seen will point to the subtlest of all elementthe space. 5ow we %o to the other end of the elements in the universe, which is neither felt nseen. /nly could be envisa%ed. )e can visuali9e a white crystal colored devata !white is acombination of all visible ran%e" offerin% the best flowers to paradevata and mer%in% in her

he attribute of the subtle space is sound, which is heard3 hence the aakaasha devata mer%es iit.

dhUpa* offerin% incense smoke . he element air is the next subtlest one, where we can havefeel( of it. he visibility of the air in dense fumes is clear. hus the incense smoke will mean t

offerin% or identification of this element with the m-la mantra or para devata. )e can visuali9e

a %rey colored devata offerin% the incense smoke at the navel and mer%in% into it. 5avel isource of all nadis, subtle channels of the body, throu%h which the vayus !air" travels. 6re+bthe fetus breathes( throu%h the navel. $ence this service is done at the navel. &fter the servthe holder !stand" of incense burner is to be kept on the ri%ht side of the deity(s altar. he ri%side of the deity is the male+ #hiva aspect. hus it is apt that the experiential most subtelement(s attribute be kept on his side.

deepam* offerin% li%hts. he element which has a form is the fire. he attribute of fire is alwarmth and %low. here for another word for fire is divya(. )e can visuali9e a red color devaofferin% the lamps at the eye level of the deity and mer%in% into it. 'ye has the co%nition of fand thus this service is done there. &fter this service the holder !stand" of the lamp is to be keon the left side of the deity(s altar. he li%ht alos points to the vimarsha aspect, deliberation knowled%e. hus the placement on the left side of the deity+ the akti+ is most appropriate.


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naivedya* offerin% food. he fodd has all the essence, it is the aspect called rasa. he wateli2uid is the element envisa%ed here. )e can visuali9e a white devata offerin% food and mer%into the ton%ue of the deity. he food offerin%s are to be kept in front of the deity, if spadoesn(t permit, then the cooked food on the left side and uncooked on the ri%ht side of 1ev

on%ue will represent te idea of taste another aspect of rasa and hence this service is done so.

This completes the sixty fo r pacaaraa poo!a.

he below said are for completeness of the above ritual.

)ava m dra pradarshaya* #how the nine %estures !mudras". 8udam raati dadaati * the oneaspect which will experience < %ive bliss is called mudraa. he nine enclosures of the r :akraare opened by these %estures for the aspirant to reach hi%her level of bliss. r 1evi bein% thetotality of all the attendant deities in the cakra * animaadyaabhih may-kaih..( nava means newalso, thus the constant experience of bliss as ever new is this service as in abhinavakulasundareem(+ the trisati dhyana.

Deveem tris santarpya* offerin% tarpana to 1evi hrice. $ere tarpna is only envisa%ed, som-lam(+ r Lalitaam tarpayaami namah * is the mantra. =havanopanishat says bhavanaa

vishayaanaam abheda bhaavanam tarpanam( * undifferentiated knowled%e of all action is the aof tarpana. hus the whole catusshashti upacara pooja is a contemplation of the identity of thenir%una, sacchidaananda =rahman and antakarana catushtaya sadhaka.


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The Suagndhi tailabhyangam

As revealed in the internalization process of the 64 upacara pooja, the service of sugandhi tailabhyangam

the anointing with perfumed oil of Devi Lalitha is the real research of the identity of the thirty si tattvaand the moola mantra !panca dasi"# $his idea was further confirmed by the tantras li%e nitya

shodasi%arnava and paramananda tantra# $he following is the identity got from paramanada tantra&

L(3) K(3) r(3) m(3) nada(3)

'rthvi!(6" Apa!()" agni!(4" vaayu !((" a%asha !(*"

+andha !( " rasa !(-" roopa !*." sparsha!*/" sabda !*0" +hrana !* " jihva !*-" ca%shu ! ." tva% ! /" srotra ! 0"

H (5) I (4) a (10) s (2) E (1)

1a% !**" 2adashiva !(" maya !6" siva ! " 'arashiva 'aani !*(" 3svara !4" %alaa !0" a%ti !*" 'aada !*4" 2huddhavidyaa!)" vidyaa!/" 'aayu !*)" 'urusha ! *" raga !." 5pasthaa !*6" %aala ! -"

iyati! "

'ra%ruti ! ("

Aham%aara ! 4"

7huddhi ! )"

8anas ! 6"

99 ote& $he number in the parentheses of tattvas is in the order from prthvi to siva tattva, $he alphabets

in heading are brea%up of panca dasi mantra and corresponding number in those parentheses

correspond to the number of occurrences of those syllable in the mantra


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A fill up of the tattvas from the higher order !siva tattva" to the lowest !prthvi tattva", since grace li%e water

flows from above to below, corresponding to the order as said in the mantra was tried resulting in&

: ; a jihva ; maya

< 'arashiva

3 2adashiva

L ; a ghrana ; %alaa= ; r ; 3 ; m ; nada va% ; ca%shu ; 3shvara ; tva% ; srotra

= ; a paani ; vidyaa

2 ; a siva ; raaga

: ; a rasa ; %aala

= ; a paada ; niyati

L ; a gandha ; pra%ruti

= ; r ; 3 ; m ; nada paayu ; roopa ; shuddhavidya ; sparsha ; sabda

2 ; a a%ti ; aham%aara

: ; a apa; bhuddhi

L ; a prthvi ; manas

= ; r ; 3 ; m ; nada upastha ; agni ; purusha ; vaayu ; a%aasa

$he first :uta called as vagbhava is mainly regarded as removal of the duality in this seen universe, this

is in tune with the tattva distribution# $he first tattvas seen are the jihva and maaya the gyanendriya of

e pression of inherent > recorded thoughts and the duality cause being at the start is wonderful# $hegrace of the Lord as 'arashiva thru the 2adashiva !in Lalitha sahsra nama we find the order as sadasivaa

anugrahadaa" in the ne t two bijas is most appropriate# $he ne t ghrana and %alaa? the vasanaas and the

various states of e istence are graced by the @sadaashiva # Besulting in the last bija ? va% ; ca%shu ;

3shvara ; tva% ; srotra# $his can be seen as the dee%sha %arma wherein the grace is manifested as va%

!srotra" dee%sha, ca%shu dee%sha, sparsha !tva%" dee%sha, by the 32hvara who is the +5B5 himself#

$he second :uta called %amaraja is the emergence of the practical %nowledge by the sadhana# $his is

also in tune as seen above# $he paani and vidya can be seen as the action with %nowledge, 2hiva andraga will now denote the love for the shiva tattva and its continual e perience, rasa and %aala will show

the e perience of all levels of aananda in the course of time !sadahana time line", paada and niyati will

show the tenets of restrictions of this path, gandha and par%ruti will show the grossness of the manifested

universe implying the panca ma%ara sadhana and the last bija paayu ; roopa ; shuddhavidya ;

sparsha ; sabda? payu to the rejection of the other thoughts !again a %armendriya action based",

shuddha vidya to the @real unified %nowledge in all the seen !roopa" , felt !sparsha" and heard ! sabda"#


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$he last a%ti %uta is the continual e perience of the above blossomed %nowledge , the first bija itself

shows the identity with a%ti and ahma%ara the universal sense of e istence, the second is apa and

bhuddhi which show the fluidity of the %nowledge to accommodate all the e perience as bliss through

grace, the prthvi and manas to the stability of the mind in this e perience and the last bija upastha ; agni

; purusha ; vaayu ; a%aasa# $he upastha to bliss , purusha to the sadha%a and the three main elements

a%asha, vaayau and agni to the manifested universe wherein the sadha%a is e ternally e periencing this

bliss#

5.3sixty four upacaras

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